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Back around 1980 I had several acquaintances who were avid theater and
film goers; we would discuss the events of the day as well as what was
currently on a stage or screen. One of the more pointed conversations
had to do with their aggressive inquiries on why all the Indian roles
on films were acted by Italian-Americans and not by Native American
actors. At the time I had a feeling of impotence and loss, not quite
knowing what to say; it would appear that the world had two eras, one
of the spaghetti western (invariably, the Indians would lose the battle,
the cowboy get his ‘girl’, and patriarchy rule the day), and
the world after Dances With...?
The world has changed; for more than a decade now, the Native American
Actors’ Showcase has been sponsored and produced by the American
Indian Community House. Now in its 13th year, the showcase has proven
an ample and worthy proving ground for Native American actors; this
year’s showcase, organized by Jim Cyrus of the AICH Performing
Arts Dept., was directed by Janice Goldberg and produced by Lou Viola,
PSNBC, and held at the H.E.R.E., a gallery/ theater space located in
fashionable Soho in New York City. The focus of this particular showcase
is to highlight Native talent and to increase mainstream visibility.
The death of the spaghetti western may be the renaissance of Native
people defining ourselves as we are.
This may require some clarification: when the term ‘Indian’
and ‘theater’ are used simultaneously, immediate images of
beads and feathers appear; is this the only ‘valid’ definition?
Absolutely not, and this year’s showcase was able to indicate that
whatever medium- original work, work with a cultural context of complex
issues that Native people live with, or work by accepted playwrights,
the work presented was all of an extremely high quality, and the intimacy
and innovativeness of the H.E.R.E. space allowed for an engaging and
immediate theater experience. While some of the original work focused
on themes about identity and one’s own personal journey, through
the experiences of the writer/ actor, some of the work with a cultural
base had a very wide base, indeed, from fry bread to adoption and surviving
multi generational loss. Additionally, performances of more classical
theater scenes had a brightness and freshness, as if being said for
the first time, new, original, and daring. And, with humor being the
great salve for human passion, there was joy, laughter, and compassion
in seeing Native life as Native people. Serious commentary was tempered
with understanding and imagination.
The one thing that struck me most, though, was the beginning and the
ending; the cast, as themselves, assembled on the stage, introducing
themselves by both name and nation, setting up the drama of Native life
before our very eyes. At the end, after all was said and presented,
the ensemble reassembled, one last time, and reminded us of their nation
this time before the performance ended. This, to me, was very striking;
with all the richness and varied degrees of theatrical expertise, what
remains most important is having and claiming ownership to Native humanity.
Riches may come in the form of glowing reviews, large paychecks, and
important cameos, but real wealth is claimed by the strengths one came
from, what will be prepared for future generations, and a community
that can stand in honor, proud and in awe of its own. This was one such
night.
Death to the spaghetti westerns, I say, and long live the Native American
Actors Showcase!
Tim Hays (Ho Chunk), is a guest writer;
he is a pianist & lives in Brooklyn.
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