An ‘Electric Pow Wow’: dance, still wearing his glasses, in his own regalia. Indigenous American use of Music Videos to Discuss Over the last two decades as the internet has become increasingly Identity and Reclaim accessible, contemporary Native Visual Sovereignty American artists have been using audio-visual platforms like YouTube By Katharine Kibort to create content that navigates and defines what it means to be Native American or a member of the First Introduction Nations. They particularly emphasize the reclaiming of their depiction in DJ Shub’s Indomitable music video the media by self-representing and begins with a montage of cityscapes self-defining, challenging colonizing – a crosswalk counting down assisted depictions of indigenous Americans by drumbeats, traffic, skyscrapers; as stoic, “other”, or extinct. Further, from the sea of grey one pedestrian rap and hip-hop serve as an ideal comes into focus. Moving quickly, form of self-expression in this regard his long braids bounce as he jogs to because, as Kyle Mays illustrates, the his office. The scenes are interrupted genre is a reflection of the “Black by seconds of colorful dress and American experience in the U.S. … rhythmic dance. At the end of the day rooted in the dialect of oppression he leaves the office. The dance scenes and resistance” (Mays, 2016, 197). becoming more frequent, symbols of his This has obvious appeal for minority indigeneity become apparent – a flash groups who are fighting to reclaim of his feather tattoo as he changes, the some form of sovereignty for headdress he packs into a suitcase as themselves, something which the he heads into the countryside. Here, artist Red Hawk addresses in Song of he is transformed – the world is full Survival with the lyrics “Why do we of colour, he is smiling, embraced emulate what’s popular in a society by friends, surrounded by families, that wasn’t built for us or even with symbols of the nations in attendance us in mind? Why do we participate (dress, dreamcatchers, crafts, t-shirts in what’s killing us?” Hip-Hop and referencing reservation life, etc.) as alternative culture provides an outlet chants in a native language mix with of expression grounded in resistance electronic sounds and beats. The day rather than oppression, providing builds up to the pinnacle moment tools and a common language of and the reason for his coming – to liberation for artists and audiences.
ETHNOGRAPHIC ENCOUNTERS KATHARINE KIBORT 1 After watching a variety of music this ability to the fullest, infusing videos produced by indigenous references, slang, and American Black North American artists, mostly Vernacular into lyrics like Gunna’s “I First Nations rap, EDM, and hip- used to sell yola, trap on Motorolla”, hop, I noticed repetitions of certain which borders on incomprehensible themes and features both lyrically to someone who doesn’t understand and visually. This essay will attempt the language used. “Yola” is slang to illustrate how these contemporary for crack, “trap” generally refers indigenous artists use music videos to the inescapability of poverty in to discuss their identity and reclaim Black neighborhoods and the drug visual and rhetorical sovereignty trade, while Motorolla phones are a through politics, community, and the practical choice for dealers as they relationship between modern and are cheap and cannot be traced. traditional ways of life. This code-switching tactic allows the artist to address either his own community (or at least those with Background and Context shared experiences) or a broader, general audience. In the indigenous Genre, Medium, and American context, Snotty Nose Rez Rhetorical Sovereignty Kids’ (SNRK) I Can’t Remember My Name not only interweaves The language of rap and hip-hop Ojibway words like “neechie” (which is rooted in the Black American translates to “friend” or perhaps experience of systemic racial more accurately within the context, discrimination, slavery, and, ultimately, the slang “homie”) but responds colonial and imperialist modes to terms used by Black rappers. of oppression. The genre acts as a Made memorable by Lil Pump in form of resistance, rebellion, and 2017, Gucci Gang is adapted and even exclusion against neo-colonial recontextualized by SNRK in the lyrics oppressors, operating as rhetorical “neechie gang, neechie gang, neechie sovereignty, “the inherent right gang” which follows the same rhythmic and ability of peoples to determine repetition as the original song. This their own communicative needs and is useful both to re-emphasize their desires in this pursuit, to decide for indigenous standing and also to themselves the goals, modes, styles, draw parallels between Ojibway and and languages of public discourse.” other minority communities – a (Lyons 2000, as referenced by Mays rhetorical sovereignty that is both 2016). Black rap artists have exercised indigenous and compatible with
2 KATHARINE KIBORT ETHNOGRAPHIC ENCOUNTERS Black American rhetoric. Similarly, While the lyrics suggest indigenous the word “savage” has been taken struggles, and uses Ojibway words, up by Black communities as an it is not as prominent a feature as in empowering identification (Megan other music videos where chanting Thee Stallion’s song Savage serves as and drums take on major roles. a convenient example). This enabled SNRK to reclaim the use of “savage” Depictions of Indigenous for themselves, subverting the racially Americans and Visual derogatory history with reference to Sovereignty indigenous Americans with lyrics “I’m a savage from back in the day.” In order to make sense of the importance of cinematographic As there is limited academic choices featured in the music videos, a writing on the use of music videos viewer must have some understanding within anthropology, for the sake of the depictions of indigenous of this argument music videos will Americans in the media. Firstly, it is be discussed as a cinematic artform critical to note that when indigenous understood through the more people are represented, they are established writings on indigenous historicized more often that not. A American film, art, and music more 2017 study from the First Nations generally. Arguably, the music video Developmental Institute reported medium would not be impactful 40% of their respondents (randomly or even comprehensible without selected members of the American the musical/lyrical composition for public) did not believe indigenous which it was created. In this view, the Americans existed in present times music video becomes a secondary (Nagle 2018). Monika Siebert (2018) and optional complementary summarizes some key features of addendum to the music itself. While these contemporary and historical this may be true in certain cases, representations by tracing the many of the videos discussed are historical depictions of Pocahontas reframed by the visual component as handmaid to colonialism, convert, and discussions of indigeneity thus object, subject with agency, and to the become unavoidable. Referring back categories indigenous Americans are to SNRK’s I Can’t Remember My allowed or encouraged to occupy by Name, the video intercuts images of the dominant media – a caricature, the artists in contemporary clothing the stoic Indian, the vanishing race, with traditional dancers, oftentimes and the “protestant” (activist) Indian. reflected in a broken mirror (fig.1). All of these roles are part of the classic
ETHNOGRAPHIC ENCOUNTERS KATHARINE KIBORT 3 “cowboys vs. Indians” stereotype, communities rather than broader, which revisionist interpretations specifically white, audiences. This illustrate “…how Indigenous peoples coincides with a portion of Siebert’s of the Plains have long been pitted— analysis of The Shirt (a video art in nineteenth-century paintings project in which an indigenous and Hollywood films—against the woman is filmed within a variety White American cowboy to create an of American landscapes while her imbalanced and misleading binary.” shirt reads off a narrative of colonial (McMaster 2018). oppression). Those familiar with indigenous art may recognize the This context serves to highlightwoman as Hulleah Tsinhnahjinnie, a the importance of a reclamation of prominent artist famous for working indigenous visual sovereignty, the right with the politics of “the gaze”. Siebert of a peoples to represent themselves argues that the woman’s sunglasses “… (and by extension be seen by others) served as metaphors for demand for in the manner of their own choosing. privacy, refusal of objectification and In this context, music videos produced denial of access to eye-to-eye contact by and featuring indigenous persons and the illusion of authenticity such enables them to frame themselves in personal contact implies, and thus a dignified and truthful manner but to insider cultural knowledge…” also, critically, to explore the diversity (Siebert 2018: 220). Essentially, it is of identity and lived indigenous an error of ethno-centric thinking to experience. assume that indigenous artists have put themselves on display for the Audience rest of the world. The use of popular genres such as rap, hip-hop, and Extending from visual and rhetorical EDM cannot be generalized as a way sovereignty, the discussion of audience of reaching wider audiences, gaining becomes increasingly relevant. Merara attention, or staying relevant. Equally, Mita (a Maori director) argues that some indigenous artists may aspire the purpose of indigenous film does to international fame and aesthetics not have to be for broader audiences made popular by the genres. For and that indigenous artists should be this argument, it is more important able to create content relevant to their to focus on the specific audience for communities (Dowell 2006). Similar to whom the message within the music the linguistic choices of Black rappers, is intended. it seems the majority of the music videos analyzed address their own
4 KATHARINE KIBORT ETHNOGRAPHIC ENCOUNTERS suicide in indigenous communities is Activist “Medicine” and shown and the boy goes to a cabinet the Visual Language of and contemplates a bottle of pills Resistance before reaching for his headphones. Red Eagle can be heard saying Indigenous song and dance have a “…my people could use more self- long history of political statement and love, especially the youth. Anyways, entanglement inherently because they here’s some medicine.” The running are indigenous and subsequently set theme of music serving as a medicine themselves apart from mainstream for an indigenous audience is a media. One of the most prominent crucial point. Not only does it indicate figures in recent history is Buffy Sainte- that indigenous artists are making Marie, who began her career with the music for their own people, but the peace movements of the 1960s, acting struggles faced by indigenous people as both artist and advocate. In 2017 she and the fight to overcome them make released an album entitled Medicine up a significant part of their cultural Songs, a politically charged critique identity. of unfolding political strife within the United States. Mays writes in relation Still Here goes on to address other to Tall Paul’s Songs in a Prayer that issues facing indigenous communities, it serves as mshkiki, or medicine, for in particular the stereotype of the Anishinaabeg people for is power to stoic Indian. Using closely cropped “…heal and uplift; it can reclaim and portrait shots the video calls to mind (re)map; above all hip-hop can be the Edward Curtis’ photographs of stoic, tool through which indigenous people “disappearing race” native Americans. assert a form of cultural sovereignty” Unlike Curtis’ photographs however, against colonial and neo-colonial forces the subjects, dressed in contemporary (May 2002: 205). “Medicine” in this clothing, break into laughter after a few sense can be any means of social and seconds, disproving both stereotypes. cultural healing for communities These images reflect not only the visual affected by those forces. Further, the sovereignty of indigenous peoples music video for Red Eagle’s Still Here made possible through the music video begins with an indigenous youth medium but also lay the groundwork watching the history of oppression and for a contemporary, indigenous visual violence of his people when his mother language of resistance. Certain themes (presumably) returns home drunk in arise in a call-and-response fashion the middle of the day. A Black screen throughout the videos, suggesting that reflecting the increased likelihood of the videos are themselves a
ETHNOGRAPHIC ENCOUNTERS KATHARINE KIBORT 5 conversation between artists within the indigenous community across Kinship Structures and the borders and boundaries of Community nationhood. These discussions extend to the video comments where Another widespread feature of indigenous Americans share support, indigenous music videos is central pride, or experiences of indigeneity. emphasis on kinship and community For example, a short clip in Still within discussions of identity and Here, seemingly taken from a news sovereignty. Many of the videos feature broadcast, depicts tensions over the the artists’ families, neighborhood racial and cultural implications of events (BBQs, parties, dancing), “Chief Wahoo,” the mascot for the and members of their tribes or Cleveland Indians baseball team. reservations (figs. 3&4). Anastasia Drezus responds to this issue in Get Lapsui (Nenet) is quoted in reference Up! using a Canadian mascot, Chief to her work as a screenwriter ‘I just Wannawin, by engaging in a tense take a slice of life, of my life or the eye to eye standoff with the mascot life of my neighbors, I write it up and to the lyrics “I’m doing this for a film comes out. We the nomadic real, you just playin’ Mr. Dress Up” people live collectively, and our films (fig.2). The iconography of the raised are born collectively as well.’ (Dowell; clenched fist, a long-standing symbol 2006: 380). Lapsui’s sentiment is of resistance and rebellion, has also likely shared by other indigenous become an established feature of artists who understand their identity the activist indigenous music video. and experience as a collective one. “The clenched fist first became a Vergunst and Vermehren interpret spontaneous gesture of protest, sociality as an on-going social action, discontent, and readiness to fight an “…experience of immersion during the strike wave of the 1880’s in a shared world of meaning and [across Europe]” before it became understanding…” rather than fixed associated with movements like the social structures (2012: 128) In this Black Panthers (Korff and Peterson way, the inherent sociality of the 1992: 77). Indigenous music videos music, video, production process, engage with this visual language of and artist’s identity is expressed in its protest by featuring it prominently in inclusion of kin and community. Drezus’ Red Winter and Get Up!, Red Eagle’s Song of Survival, and SNRK’s Tattoos also serve to draw attention I Can’t Remember My Name to name to important aspects of the a few. individual’s identity. In Drezus’ War
KATHARINE KIBORT ETHNOGRAPHIC ENCOUNTERS Path, similarity is drawn between social orders and indigenous thinking the temporary war paint worn and despite social restructuring by colonial the permanence of their tattoos. powers. Numerous times the camera focuses in on tattoos worn by Drezus’ tribesmen Indigenous Motion: Moving – for example the word “family” Between Worlds elegantly written onto the forearm of a man in a car which re-emphasizes the The final overarching theme of importance of family and tribe within indigenous music videos that will the indigenous identity (fig.5). Drezus’ be discussed is the relationship tattoos serve to inform us about his between modern and traditional life totemic and spiritual associations. At as it is lived and embodied by the the beginning of the video is his bicep indigenous American. In multiple tattoo of Piapot, a chief whose spirit a videos, such as in Prayers in a Song wise woman had sensed in him during and Still Here, the artist is filmed his troubled youth. After overcoming rapping on a highway overpass. As his struggles with drugs, alcohol, and with most videos, scenes cut back mental health, Drezus turned to the and forth between the indigenous figure of Piapot (fig. 6), who turned community and native symbols to the from horse thief to respected chief, as a urban world in which many native guide for his life. With his arm flexed, peoples live. The artist, especially in it indicates from where Drezus draws the case of Tall Paul who switches his strength – from a character of his between Anishinaabeg and English, own history, told through indigenous walks across a bridge, moving between story telling. The second is of a large these two worlds and embodying both chest piece of an eagle to which he raps simultaneously. For a people who “forever reppin’ my clan/The eagle’s are often only represented as a relic an old man, watchin’ over my plans”, of the past, historicized and erased claiming his totemic association to the from modernity, this act of visual and Eagle (fig.7). rhetorical sovereignty demands that the viewer acknowledges the place and Using Meyer Fortes’ (1972) existence of the indigenous American understanding of totems as “quasi- within the viewer’s own society. kinship” in native American communities to maintain social orders, The importance of dance in indigenous Drezus’ continued representation of culture cannot be downplayed. the Eagle totem identifies both his Indomitable, clearly presents dance as “kinship” and keeps alive traditional the purest freedom of expression
ETHNOGRAPHIC ENCOUNTERS KATHARINE KIBORT 7 and pinnacle moment for the videos, but the connection is most central character. Dance is used clearly drawn in Red Eagle’s Song of by indigenous Americans as an Survival. Here, two scenes stand out. expression of heritage and ancestry, In one, a break dancer is featured in deeply rooted in indigenous contemporary clothes flanked by spirituality and prayer. Native Hope, two traditional dancers in traditional a blog which aims to support Native dance. In the second, a woman in American communities, explains the traditional dance performs a series word pau-wau (pow wow) originally of steps before passing her headdress referred to healing ceremonies. In to Red Eagle and transitioning into this way we can understand dance to a breakdance. The evolution of be “medicine” in the same sense Mays indigenous American dance is headed argues rap and hip-hop serve the towards that of urban street dance, native community. but it retains its indigeneity through both the identity of the performer and Recollet (2014) argues that break the dance steps used, which Recollet dance, like hip-hop, is rooted in argues are hidden languages which the language of Black American can subvert dominate narratives resistance to systematic violence. (2014: 5) Her analysis focuses on how break dance has been taken up by native Conclusion communities as a modern means of “indigenous motion”, something While it is impossible to reduce an which colonialism restrained by the entire world of music down to a simple taking of land, drawing of borders, set of out-sider observations, I hope and forced exile of indigenous this essay may serve to illustrate the communities. She also highlights the importance of some contemporary expression of native thought in break music and accompanying videos dance such as “eagle step”, a move that produced by indigenous North emulates the motion of a hovering American communities. Subaltern eagle, which corresponds to the peoples everywhere are engaged in creation of traditional dance moves. anti-colonial forms of resistance, In the same way that rap becomes a fighting to reclaim their identities. The modern form of chant, modern dance, use of music videos on platforms like in particular breakdancing, features YouTube help these nations reclaim alongside traditional dance as its new rhetorical and visual sovereignty and form within the community. Again, engage both their own people and the theme is repeated across many broader audiences in discussions
8 KATHARINE KIBORT ETHNOGRAPHIC ENCOUNTERS of media representation, colonial struggles, and the future they will build for themselves. It is this aspect that makes the music video “medicine” to communities that bridge the divide between modern and traditional ways of living. The result is what Recollet credits A Tribe Called Red, a First Nations music group which rose to popularity in 2013-16, for highlighting – “an urban identity…expressed as an “electric pow wow” weaving in and out of these [dominant] representations through layers of samples and re-mixes of invented Indians.” (2014 p. 14). This said, indigenous artists should not be confined within the parameters of indigeneity. They are inherently artists and while an understanding of the messages behind their work can further appreciation for the complexity of their productions, their content can be enjoyed simply for what it is – art.
NOTES
Figure 1: Snotty Nose Rez Kids, I Can’t Remember My Name
ETHNOGRAPHIC ENCOUNTERS KATHARINE KIBORT 9 Figure 2: Drezus, Get Up! Figure 3: Red Eagle, Still Here
Figure 4: Drezus, War Path Figure 5: Drezus, War Path
Figure 6: Drezus, War Path Figure 7: Drezus, War Path
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