August 13, 2017

Doing "what I could," Wilma Mankiller changed Native America

Review by Sequoia Carrillo

Wilma Mankiller
Wilma Mankiller. Photo by James Schnepf, courtesy of the Wilma Mankiller Foundation.

“I hope that when I leave it will just be said: I did what I could.” –Wilma Mankiller

In Mankiller, by filmmaker Valerie Red-Horse Mohl, the legacy of a true female powerhouse is explored. Born in Tahlequah, Oklahoma, in 1945, a citizen of the Cherokee Nation of Oklahoma, Wilma Mankiller was the sixth of eleven children. When she was 11 years old, her family moved to San Francisco under the Bureau of Indian Affair’s Relocation Program. The move was supposed to relieve the family of the poor living conditions in their homeland and bring them to a “modern world.”

Through archival footage and photographs, the documentary depicts the obvious flaws in the BIA’s reasoning. The Mankillers’ move to the Bay Area resulted in dangerous conditions and the striking realization that they were poor. In Oklahoma they often lacked running water and electricity, but they consistently had a community of people who lived the same way. They quickly found that what was poor in Oklahoma was destitute in California.

“It was in San Francisco during the Civil Rights Era that she found her voice and the power to make change.” —President Bill Clinton

A teenage Wilma Mankiller acclimated to an environment with elevators and societal unrest as the 1960s roared around her. Although she was a peer with many of the student activists who gave the San Francisco Protest movement its voice, by the time she was 20 years old she was married and a mother of two. Despite this, she assisted and supported the early Black Panthers in their mission to feed elders and children. In fact, her daughters emphasize in an interview clip that the political and activist side of life was always a given with their mother.


“Fortunate Son” by Creedence Clearwater Revival begins to play as archival footage of the occupation of Alcatraz rolls. The film does a brilliant job of depicting the spark that Alcatraz set off inside Wilma Mankiller. She and her family participated in the protests alongside such activists as John Trudell and Richard Oakes. Many Indians herald the occupation, which began in November 1969 and lasted 19 months, as the event that brought Native America into the modern era. The occupation yielded direct results in federal policies signed by President Richard Nixon.

“More than anything it was like coming home and I felt that I was where I should be.” —Wilma Mankiller on the occupation of Alcatraz

Following the occupation, Wilma Mankiller continued to volunteer frequently in the Indian community. She and her daughters eventually moved her back to Oklahoma to work for the Cherokee Nation. Much of the film’s dialogue following her return to Indian Country is from her peers. I found this particularly poignant because of the widespread reverence she received from Natives and non-Natives, Democrats and Republicans. This support is unusual for any politician, but especially for a woman more than a generation ago.

After successfully initiating and raising the funds for a clean-water project that reinvigorated unemployed tribal members in Bell, Oklahoma, Mankiller gained recognition. As a result, she was approached to run as deputy chief in Ross Swimmer’s 1983 bid to be principal chief. Despite rampant sexism, including death threats, she won alongside Swimmer.

Groundbreaking as deputy chief
Deputy Chief Mankiller (center) at the groundbreaking for a new development project. Photo courtesy of the Wilma Mankiller Foundation.

After Swimmer stepped down in 1985, Mankiller ran two successful campaigns earning her a decade as principal chief of the Cherokee Nation. In her last race, she won 83 percent of the vote. The headlines flash across the screen as a victory that ten years before was scoffed at becomes a reality.

“In a just country, she would have been elected president.” —Gloria Steinem

Wilma Mankiller was the first female Principal Chief of the Cherokee Nation. President Bill Clinton awarded her the Medal of Freedom in 1998. She revolutionized the largest Indian-run health care system in the country. She doubled annual tribal revenue and tripled tribal enrollment. Under her leadership the Cherokee Nation became what her parents had set out for decades earlier—a modern world.

The voices of her peers depict the life of a woman who surmounted societal pressure to make her life a living example of achievement and dedication to others. The film successfully documents this challenging rise to power by honoring her in remembrance. Mankiller is impactful and soft-spoken, just like its namesake.

 

Mankiller will open the National Museum of the American Indian’s Native Cinema Showcase in Santa Fe, New Mexico, August 15. Director Valerie Red-Horse Mohl will be in attendance. To watch for other screenings, follow the film on Facebook or Twitter.

Sequoia CarrilloSequoia Carrillo (Navajo/Ute) is an intern in the Office of Public Affairs at the National Museum of the American Indian. In the fall, she will be a junior at the University of Virginia, where she is specializing in History and Media Studies. During the school year, Sequoia works for the American History podcast and public radio program BackStory.

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April 17, 2015

Behind the Scenes of "Cerámica de los Ancestros: Central America's Past Revealed"—Guayabo and Las Mercedes

Tomorrow, April 18, Cerámica de los Ancestros: Central America’s Past Revealed opens at the National Museum of the American Indian in New York. The exhibition is making its New York debut after first appearing at the museum in Washington, D.C. In anticipation, the museum is releasing four behind-the-scenes videos about research sites that are the sources of many of the objects in the exhibition. This third video, led by Ricardo Vázquez Leiva, an archaeologist who works at the National Museum of Costa Rica, takes a look at two archaeological sites in what is now Costa Rica—Guayabo and Las Mercedes.

Guayabo and Las Mercedes are important for excavation because the scale of the architecture found there suggests that they represent societies where power was highly centralized. In southern Central America, they stand as uniquely monumental examples.

Many of the objects unearthed in this area were excavated in the early 20th century by teams who worked for the American businessman Minor Cooper Keith and his wife, Cristina Castro Fernández, whose family was prominent in Costa Rica. The Keiths amassed a collection of nearly 16,000 objects during their time in Central America. In 1916, Minor Keith became a trustee of the Museum of the American Indian—Heye Foundation, later to become the Smithsonian National Museum of the American Indian. 

Research excavations resumed in the region in 2005. Objects recovered from Guayabo and Las Mercedes continue to provide new insights into the lives and societies of the peoples who lived there.
 

  

For more details about the first peoples of Costa Rica, download the free exhibition catalogue. A short article on Minor Keith can be found on pages 72 and 73.

All four exhibition videos can be seen as a playlist here.

—Joshua Stevens


Joshua Stevens is the Public Affairs specialist at the National Museum of the American Indian in New York.

 

Cerámica de los Ancestros: Central America’s Past Revealed is a collaboration of the Smithsonian’s National Museum of the American Indian and the Smithsonian Latino Center.

 

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April 13, 2015

Behind the Scenes of "Cerámica de los Ancestros: Central America's Past Revealed"—Stone Spheres of Costa Rica

This Friday, April 18, Cerámica de los Ancestros: Central America’s Past Revealed opens at the National Museum of the American Indian in New York. The exhibition is making its New York debut after first appearing at the museum in Washington, D.C. In anticipation of the opening, the museum is releasing four behind-the-scenes videos about research sites that are the sources of many of the objects in the exhibition. This third video takes a look at three archaeological sites—El Silenció, Finca Seis, and Batambal—all of which contain stone spheres made by peoples of what is now Costa Rica before AD 1500.

The video features Francisco Corrales, a member of the Anthropology Department at the National Museum of Costa Rica. The three sites he invites us to experience are within the Greater Chiriquí region of Central America, an area that is further explored within Cerámica de los Ancestros.

The sites are unique from one another in terrain. El Silenció houses the largest stone sphere recorded thus far, but years of pasture burns in the grasslands area have taken a toll on the stone's outer layers. In the low-lying river plain of Finca Seis, flooding buried the spheres under many layers of sediment, preserving the only original alignment found to date. Batambal rests high in the mountains, a strategic position for views of surrounding hills and the valleys below.

The reasons for the stones’ creation remain a mystery. Corrales explains that while spheres apparently marked locations with special significance where important events would have taken place, some may have had astronomical purposes as well. Anthropologists and archaeologists continue to survey the areas, and junior members of their fields do much of the cataloguing work, providing a unique learning environment in which to build the expertise of a new generation of scholars.

 


For more details about the first peoples of Costa Rica, download the free exhibition catalogue

All four exhibition videos can be seen as a playlist here.

—Joshua Stevens


Joshua Stevens is the Public Affairs specialist at the National Museum of the American Indian in New York.

Cerámica de los Ancestros: Central America’s Past Revealed is a collaboration of the Smithsonian’s National Museum of the American Indian and the Smithsonian Latino Center.

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April 06, 2015

The Skábmagovat Film Festival: Indigenous Film above the Arctic Circle

Yoik singer, opening night
A yoik singer opens the Skábmagovat Film Festival. January 2015, Inari, Finland.


As a film programmer you become a seasoned festival-goer, immersed in the cultural landscape of film, new media, and the relationships you build with other filmmakers and film institutions around the world. The Film and Video Center of the National Museum of American Indian thrives on building those relationships, and my experiences with the Skábmagovat Film Festival are some of those unique cultural exchanges.

The village of Inari
The village of Inari, Finland, 2 degrees north of the Arctic Circle.


The Skábmagovat Film Festival is presented in Inari, Finland, a small village in Finnish Lapland just north of the Arctic Circle. The region is known for its sub-zero temperatures during the winter, spectacular Northern Lights, reindeer herding, and community of Sámi, the indigenous people of Scandinavia. The Sámi reside in Finland, Norway, Sweden, and parts of Russia and are the only indigenous people officially recognized in the European Union. They continue to preserve their language and culture in order to better provide for the livelihood of future generations.

The Skábmagovat Film Festival, which celebrated its 16th anniversary in January, is one of the premiere international Indigenous film festivals in the world. Each year the festival spotlights films from all indigenous regions, including First Nations, American Indians, Aboriginal Australia, Maori, and many others. This year the festival’s focus was on Latin America, and featured films came from Mexico, Chile, Brazil, Peru, and Bolivia. I was honored to be asked by Skábmagovat executive director Jorma Lehtola (Sámi) to help curate the Latin American indigenous section and serve as an invited speaker at this year’s film festival seminar.

Inari lake troutAs an invited delegate I had the pleasure of eating some traditional dishes, like reindeer and trout with a side of lingonberries, even eating a meal in a Sámi lavvu, a traditional tent or tipi. With other delegates, I had an opportunity to explore the wilderness by visiting a Sámi reindeer farm. Our reindeer adventure included a snowmobile journey over a frozen lake, sitting and observing wild reindeer, drinking coffee brewed over an open fire, and learning about the Sámi people’s nomadic traditions.

In the lavvu

The reindeer farm 

Coffee over an open fire
From top right to bottom: Inari lake trout with lignonberries and herbs, on china decorated with an antler motif. In the lavvu. The reindeer farm. Coffee brewed on an open fire.


I also explored the Sámi Museum Siida, the national museum of the Finnish Sámi people, which offers beautiful exhibitions and displays on Sámi history and culture and serves as an official venue for the film festival.

The most eye-opening experience was being in the Northern Lights Theatre, an open-air theater made completely of snow. Festival hosts lent me a snowsuit and boots, and I sat outside alongside other visitors to listen to festival introductions in Finnish, Sámi, and English and watch films under the moon and stars.

Sámi Museum Siida

Serious film lovers in the Northern Lights Theatre

%22My Legacy%22 on the ice screen at the Northern Lights Theatre
Top: An exhibition gallery at the Sámi Museum Siida, the Finnish national museum of the Sámi people. Photo courtesy of Siida. Middle: The audience seated on snow risers in the Northern Lights Theatre. Photo by Jeanette Paillán. Bottom: The film My Legacy on the big screen at the Northern Lights. 

Director Jeanette Paillan (left) and Cynthia Benitez at the reindeer farmThe film festival seminar was held in Solju, the Parliament Hall in the Sámi Cultural Centre Sajos. During my presentation, I discussed museum initiatives for film and video, ongoing film programs like Native Cinema Showcase, and a step-by-step tutorial on navigating the Film and Media Catalog on the museum’s website. I also listened to some inspiring stories from invited delegates, including Mapuche director Jeanette Paillán, the founding director of CLACPI (La Coordinadora Latinoamericana de Cine y Comunicación), Sámi filmmaker Marja Bål Nango, and Yakutian director Michail Lukachevskyi, on film techniques and resources available in indigenous communities

Other highlights? Watching a new shorts film collective made by young Sámi filmmakers and funded by the International Sámi Film Institute’s Sámi Film Lab, as well as attending the festival’s concerts, which featured performers from various musical genres, including rap, bluegrass and yoik, a traditional Sámi form of song. 

Sámi Film Collective in Sajos

Upper: Jeanette Paillán (Mapuche), the founding director of CLACPI (La Coordinadora Latinoamericana de Cine y Comunicación) and Cynthia Benitez at the reindeer farm. Lower: Young filmmakers supported by the Sámi Film Lab discuss their work.

 

The Skábmagovat Film Festival was an unbelievable experience for me both as a visitor and as a film enthusiast. The Sámi people were so gracious and kind as hosts that I felt like I was with family. By bringing people from all different backgrounds together in one small village in Finland, the festival gives voice to the power of how film to strengthen dialogue across on all indigenous communities. To say my journey was surreal is an understatement. It’s an experience that will remain with me forever.

—Cynthia Benitez, NMAI

Cynthia Benitez is the Film and Video programmer for the National Museum of American Indian in New York. Before joining the museum staff, she worked as a publicist for international film festivals and Native media organizations, including the American Indian Film Institute, Sundance Film Festival’s Native Forum and World Competition, and the Native American Film and Video Festival. She is currently seeking her M.S. in Media Studies at Brooklyn College. 

Photographs not credited above are by Cynthia Benitez, NMAI

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April 03, 2015

Behind the Scenes of "Cerámica de los Ancestros: Central America's Past Revealed"—El Panteoncito

In just a few weeks, Ceramica de los Ancestros: Central America’s Past Revealed opens at the National Museum of the American Indian in New York. The exhibition is making its New York debut after first appearing at the museum in Washington, D.C. In anticipation of the April 18 opening, the museum is releasing four behind-the-scenes videos about research sites that are the sources of many of the objects in the exhibition. This second video looks at El Panteoncito, an archaeological site located in El Salvador. 

El Panteoncito is one of several sites in the Cordillera del Bálsamo Project surveyed by Marlon Escamilla, an archaeologist with the School of Anthropology at the Technological University of El Salvador. In this video, National Geographic Society archaeologist and anthropologist Fabio Amador explains the geographic and social significance of El Panteoncito, uncovered in part by Escamilla’s research.

El Panteoncito sits high in the mountains. Living there would have been very difficult, but the site would also have provided its inhabitants with a strong defensive posture. From El Panteoncito, views are practically unimpeded in all directions, offering advance warning when the community needed to protect itself.

One unique aspect of the site is that it affords scholars the opportunity to learn what foodstuffs the inhabitants grew and consumed. Researchers have determined that many of these food practices have been carried forward to people who live in the area today. The site also serves as a place to study the history of the last migration of peoples in the region before contact with the Spaniards. 

  

 

To learn much more about the first peoples of what is now El Salvador and the sites where they lived, download the free exhibition catalogue

All four exhibition videos can be seen as a playlist here.

—Joshua Stevens


Cerámica de los Ancestros: Central America’s Past Revealed
 is a collaboration of the Smithsonian’s National Museum of the American Indian and the Smithsonian Latino Center.

Joshua Stevens is the Public Affairs specialist at the National Museum of the American Indian in New York.

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