Copyright © 2001 NLThomas
All Rights Reserved

I have observed that had it not been for non-Indians, eg.White Tourists, White Anthropologists, White Curiosity Seekers, White Art/Craft Collectors, White Patron/Mentors, we would not have any/many/most of the "traditional" arts expressions of which we are so proud.

I will probably be attacked venomously for what I say next, but here goes: For the past 100 years, if Indian people had depended on other Indian people to buy or support the aesthetic fruits of their labors, Indian artists and craftsmen would have starved to death in two weeks! Which is why the best, more ambitious Indian artists in all genre are forced to seek outlets for their wares, products, talents, creativity in greener pastures outside and away from their home territory. Were it not for White Producers, White Patrons, White Philanthropists in New York, LA, Chicago, Nashville, Los Vegas, etc., who recognized and were willing to front the efforts of raw talent, we would not have the list of accomplished National/World recognized Indians we have today.

While I do not disagree with the premise that Indians, Cherokees in particular, are very PROUD of their brothers and sisters who bring honor to the tribe by acknowledging their blood heritage, I must take exception to the hyperbole of the espousal when the following was written, (copy quote) "There are literally hundreds of Native American peoples over the years who have achieved prominence in the arts including Tallchief in dance, McAlester in opera, Studi in film, music, stage and television, Sellers in film and television and stage, and many others in all medias of art including martial arts, etc. And of course thousands more within respective Indian nations who have carried on traditional arts for centuries."

I recognize those names listed, except for Sellers whom I should probably know but the association of the sur name, without the given, escapes me. With the exception of Studi, who we now idolize for his success (he can now afford to live in Santa Fe) and to whose movies we have flocked many dollars in hand for the Indian content and subject matter, I challenge anyone reading this board to tell me when and where they saw Maria (or is sister Marjarie) Tallchief dance on stage (old movies or TV kinescopes don't count).

Who among us has attended a major production of a Wagnerian Opera staring Virginia McAlister? (The few times I heard her perform was at Indian fund-raising events for non-profit civic groups where she sang for her supper and a plane ticket from New York).

As for the hundreds of the other un-named who have achieved success in various art media, are they household names we hold up to our children as national heros worthy of their accomplishments, rather than the fees they demand. Fees I might add that are willingly given by wealthy Producers, cultured conosures, exotic seeking Socialites, tax-break viewing industrialists, and altruistic philanthropists who can both afford and are overly delighted to employ them as an ephemeral aesthetic experience for themselves and their peers.

We collective Indians take credit upon our selves by tribal association and are quick to criticize the Non-Indian money men for "exploiting" the poor, unsuspecting, perhaps naive artist who ambitiously offers his/her talents in exchange for some pottage made sweeter by a tiny little spot light in front of the public eye. Yes, we heap accolades upon our accomplished artist, and yet we have very little reason to share that glory for we collectively have not contributed much of anything to them to ease the pain, hunger, poverty or loneliness as they climbed up the ladder in their personal quest to reach the stars.

Who of us can take credit for being the hand that reached down or the shoulder that pushed them up to their final destination? Probably some little old white school teacher gave them the incentive by exposing them to the potential; Or perhaps it was an obscure white coach in a do-nothing little school that placed them in the front start up line for the first time on opening night or at the first game of the season. No doubt it was a white patron, a neighbor, teacher, friend, who gave the first canvas and tubes of paint to our traditional Indian painters.

Remember it was a white professor at OU, Norman, who launched the legacy of the Kiowa Five with money and supplies. While some who may or may not have have even purchased a CD or bought a ticket viciously criticize Non-Indian producers/directors/writers/distributors for taking their rightful place at the awards podium as prescribed by the rules of the Industry, shouldn't we ask the artist/performers/craftspeople how they feel about who receives public recognition at such times? If those Indians are comfortable with the current system of their chosen profession, should not we also?

Until such time as we Indian people as a tribal nation, community group or an individual make the investment to provide money, venues, opportunities and learning experiences, I believe that we will continue to see non-Indians step forward into the larger spotlight. And yet, who is actually more deserving than those who make the greatest investment? The man who signs the multi-million dollar checks or the smug Cherokee who pays six dollars and fifty cents to see a movie? I am certainly against individuals who capitalize on using Indian identity for personal agonizement, but I have nothing but respect and gratitude for the who honestly admit their European, Jewish, Black, Hispanic, Arab identity in their professional promotion of Indian talents and gifts.

Here is one Cherokee who was forced to develop his talents, wealth of knowledge and gained extraordinary experience outside the boundaries of the Cherokee Nation because of limited, perhaps I should say hindered, opportunities to reach my star.

Below I will list my litany of truths as I have experienced them in the higher art forms of Art and Crafts Expression be they traditional or non-traditional. No doubt other Indian artists have often thought but not publicly expressed many of the same truths:

"The best of Indian original creativity is not appreciated by Indians; The best of Indian products are not purchased by Indians; The best of Indian abstract creative thought is not considered a saleable commodity to other Indians; The best of Indian talent is not employed, mentored, or patronized by other Indians; The best examples of Indian industry (mastery of the skilled arts) are not to be seen in the homes, business, and public spaces of Indians; Indian geniuses are feared, lambasted, criticized and shunned by other Indians for their non-traditional experimentation rather than adhering to tenets of perpetuating affordable (give it to me for free) mediocrecy!"

I feel that in some distant, more perfect economic time when a greater number of our people of all Indian Nations have achieved more wealth and have leisure time to indulge themselves in the aesthetic pleasures of the arts, some of these things will change.

In a similar vain, these things will only change when Indian people recognize the economic values of investing in ventures other than nuts and bolts as we have done in the past. Our horizons of opportunities have been very limited; perhaps issues like these in which the arts are the main focus will extend our horizons toward greater opportunities for young artiest who need income producing jobs in alternative areas besides office work or building and trades. It is something to think about. The current limitations are both provocative and provoking!