Negotiated in 1835 by a small group of Cherokee citizens without legal standing, challenged by the majority of the Cherokee nation and their elected government, the Treaty of New Echota was used by the United States to justify the removal of the Cherokee people along the Trail of Tears. Representatives of the three federally recognized Cherokee tribes came together to see the treaty go on exhibit on the National Mall.
Designer Norma Baker–Flying Horse (enrolled citizen of the Mandan, Hidatsa and Arikara Nation) grew up loving toy high heels and secondhand accessories. "I was the most stylish six-year-old on the cattle ranch," she says. This year, Paris Fashion Week featured her work. "To be a Native American designer showing for the Fashion Week Studio was amazing. I felt like a childhood dream had come true." Happy Women's History Month!
According to the U.S. Commission on Civil Rights, Native American women are ten times more likely to be murdered and four times more likely to be sexually assaulted than the national average. Yet the issue has received little attention outside Indian Country. Artist Jaime Black (Métis) calls attention to the crisis through her installation "The REDress Project," on view in Washington throughout March. On March 21, she and other speakers will discuss ending violence against Native women at a symposium at the National Museum of the American Indian.
The First Amendment of the U.S. Constitution states: “Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof.” Forty years ago, the American Indian Religious Freedom Act finally finally extended that right to the country's Native citizens. Here Native Americans who observe traditional ways talk about religious freedom.
Col. Wayne Don, a citizen of the Cupig and Yupik tribes, talks about his service in the Regular Army and the Alaska Army National Guard. Col. Don, who has been deployed to Bosnia, Afghanistan, and other overseas posts, is a member of the Advisory Committee helping to build the National Native American Veterans Memorial on the grounds of the Smithsonian's National Museum of the American Indian in Washington, D.C.
When the museum asked Native Americans if their families celebrate Thanksgiving, a friend from the Crow Agency in Montana spoke for many Native people when she told us, "My Dad used to say, 'We give thanks everyday. . . .' " The Ohenten Kariwatekwen is often called the Haudenosaunee Thanksgiving Address, but translated directly the name refers to "words spoken before all others." The Haudenosaunee nations—the Seneca, Cayuga, Onondaga, Oneida, Mohawk, and Tuscarora—traditionally open and close every important gathering with a version of these thanks.
Six Nations Indian Museum and the Tracking Project
S. Joe Crittenden, deputy principal chief of the Cherokee Nation, talks briefly about his service in the U.S. Navy in the mid-1960s and what it has meant to his life. Five years ago, Deputy Chief Crittenden testified in support of the Act of Congress creating the National Native American Veterans Memorial. Now he is a member of the advisory committee seeing the memorial through to its dedication in 2020.
On October 26, delegations from the Fort Peck Assiniboine and Sioux Tribes, Oglala Sioux Tribe, Rosebud Sioux Tribe, Yankton Sioux Tribe, and Northern Arapaho Tribe traveled to Washington, D.C., to see the Treaty of Fort Laramie installed at the National Museum of the American Indian. Signed in 1868, the treaty was broken less than ten years later when the United States seized the sacred Black Hills. In 1980, the Supreme Court ruled that the United States had acted in bad faith, but the issue remains unresolved.
Jordan Cocker describes herself as “Indigenous in two ways—as Native American from the Southern Plains, K’gou màyí, a Kiowa woman; and as Pasifika, a Tongan woman.” Thinking of herself “in halves,” however, doesn't reflect her lived experience. “The years spent on and between my two ancestral territories,” she says, “braided together my two lines in a good way. Everything is about the ancestors—who they are by name, what they did, where they went, and the legacy that they created and passed down to me. My ancestors on both sides of my family survived colonization, boarding school, and so many other types of trauma so that I can live in a good way.” The museum’s Dennis Zotigh interviews Jordan for Asian American Pacific Heritage Month.
This May the National Museum of the American Indian was privileged to host four remarkable Inuit women from Nunavut who were in Washington as guests of the Embassy of Canada to attend the opening of the exhibition "Captain George Comer and the Inuit of Hudson Bay." At a related symposium, Bernadette Dean, Rosie Kowna Oolooyuk, Manitok Thompson, and Veronica Connelly spoke of the knowledge of land, ocean, ice, sky, and animal behavior their people shared with George Comer, a whaler who wintered over at Cape Fullerton 14 times in the early 1900s. They also described the knowledge Inuit women needed to make life-saving caribou and sealskin clothing. Now they're concerned with passing that knowledge on, to help museums conserve Inuit collections and to help Inuit women heal from the deep-rooted scars left from attending Indian Residential Schools.
The Treaty with the Delaware Nation, signed at Fort Pitt in September 1778, represents a time when the newly independent United States needed American Indian allies to drive British troops from forts and outposts west of the Appalachian Mountains. Despite the treaty's provisions, however, conflict continued in the Ohio Territory, leading the Delaware people to look for safer lands farther north and west. This month, delegations from the Delaware Nation at Moraviantown, in southern Ontario; the Delaware Tribe of Indians, in northeastern, Oklahoma; and the Delaware Nation, in central Oklahoma, came to the National Museum of the American Indian in Washington, D.C., to see the Treaty of Fort Pitt placed on exhibit and to honor their forebears, who made their marks to secure the future of their people.
Christian Parrish Takes The Gun (Apsáalooke Nation), who performs as Supaman, has won a Nammy (Native American Music Award), an Aboriginal Peoples Music Choice Award, and the 2017 MTV Video Music Award for "Best Fight Against the System"—the last as part of the group of Native and non-Native musicians who recorded "Stand Up/Stand N Rock." What motivates him, however, isn't recognition but spirituality, Native culture and values, the people he meets on the road, and the chance to make a difference in the world.
In celebration of Jazz Appreciation Month, the museum talks with musician Delbert Anderson. The sources of Anderson's always-evolving art are eclectic, ranging from jazz standards and improvisation, to Navajo spinning songs and the traditional melodies his grandfather hums, the scenery of the Navajo Nation, and the historic experience of both Native and African American people. “Most of the time I explain the Delbert Anderson Trio’s music as traditional Native American jazz—fusing ancient Navajo cultural music with the hard swing and funk of the jazz masters,” Anderson says. “But I’d rather just call it music.”
Daniel Kahikina Akaka, who died today at the age of 93, was the first Native Hawaiian to serve in the U.S. Senate. In 2013, shortly after he retired, he spoke with the museum about his determination to protect the languages, cultures, and traditions of the world's Indigenous peoples; support for Hawaiian self-determination; and hopes for Native Hawaiian young people. We're republishing Sen. Akaka's interview tonight in remembrance of his life of service.
Caroline Monnet—a multidisciplinary artist with roots in Algonquin, Quebecois, and French culture—talks about her background, artists she admires, the challenges contemporary Native artists face, and the hopes she and her colleagues in the ITWÉ Collective have for their art, including the installation "Manifestipi": "Our intention was to create a place of gathering where dialogue would be central to the experience. I think we’ve managed to achieve that. Each person comes out of the experience with a different perspective or take on the work. It is fantastic when an artwork becomes an experience."
In 1847, only 14 years after their long, sad march along the Trail of Tears ended, Choctaw people in Oklahoma learned of the Irish famine. With great empathy, Choctaw individuals made donations totaling $170, the equivalent of several thousand dollars today, for the relief of the Irish poor. Here Judy Allen, historic projects office of the Choctaw Nation of Oklahoma, describes “an act that shaped tribal culture" and the lasting friendship it created between the two nations.
A new multimedia presentation surrounding the monumental sculpture "Allies in War, Partners in Peace" at the National Museum of the American Indian in Washington details the Oneida Nation's aid and support to the American Revolution. “This enhanced interpretation provides an immersive experience for visitors to understand the country's rich history, so that there is a deeper understanding of the nuance, texture and depth of that history,” says Oneida Nation representative Ray Halbritter. “This exhibit commemorates the friendship that was forged between the Oneida Nation and the United States during the Revolutionary War, as well as the incredible sacrifices made by our ancestors during the founding of our country.”
Teachers often struggle, through no fault of their own, to locate culturally appropriate and historically accurate teaching materials about American Indians. Many textbooks, popular media, and prepackaged curricula relegate American Indians to the distant past and fail to illustrate the dynamic and diverse cultures of Native America. The National Museum of the American Indian—through the national education initiative Native Knowledge 360°, Teacher-in-Residence (TIR) Program, and outreach to educators—wants to change all that.
Michael Smith (Fort Peck Sioux Tribe), the founder and director of the American Indian Film Institute and American Indian Film Festival, was an advocate for Native people and a leader in bringing their voices to mainstream media through film. His dedication to showcasing films by or about American Indians and First Nations people was tireless. He could be seen at conventions, film festivals, tribal communities—even at local diners—where he would chat with anyone about his loves: the American Indian Film Festival and his family.
Written on paper from an army ledger book, the Navajo Nation Treaty reunited the Navajo with a portion of the land taken from them by the U.S. government. Between 1863 to 1866, in an event that became known as the Long Walk, the United States forced more than 10,000 Navajo from their homelands to a resettlement camp at Bosque Redondo, 300 miles to the east. But the Navajo made an eloquent case to return home and in 1868 negotiated a treaty that reversed their removal. The original treaty is on view at the National Museum of the American Indian in Washington, D.C., through early May.
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![Kevin Gover, director of the National Museum of the American Indian, and Ray Halbritter, Oneida Indian Nation representative and CEO of Oneida Indian Nation Enterprises, at the dedication of the new interpretive sound, light, and imagery around the sculpture “Allies in War, Partners in Peace.” (Katherine Fogden [Mohawk], National Museum of the American Indian)](https://th-thumbnailer.cdn-si-edu.com/VuwWkyQ85kJC4DTPgkNjuFjM3VI=/150x150/filters:focal(711x336:712x337)/https://tf-cmsv2-smithsonianmag-media.s3.amazonaws.com/blogging/featured/Oneida_dedication_2018-03-15_1500w.png)
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