Jessica Crabtree

February 2, 1830: Seth Eastman is stationed at Fort Snelling, Minnesota

Seth Eastman (born 1808) was a West Point graduate who worked as an illustrator and mapmaker in the army. His first assignment to Fort Snelling – one of the army’s most important posts on what was then the edge of the frontier – marked the start of a life-long journey that resulted in an outstanding pictorial record of the Dakota people.

Eastman’s tours at Fort Snelling gave him a special advantage as an artist. Working as an embedded journalist with the army, he served as a military liaison with the Dakota (or Santee), learning their language and customs, and staying with them for extended periods, giving him valuable experience that he channeled into hundreds of sketches and small paintings.

During his first stay, he married Wakanin ajin win (“Stands Sacred”) the daughter of a Santee chief, and had a daughter named Winona. According to the custom of the day, however, such a marriage was not legally binding for an American male – and when he was reassigned nearly two years later, this “unofficial union” was dissolved. From then on he had no further association with his Indian family.

(His daughter Winona later took the name Mary Nancy Eastman and was the mother of another famous Eastman, Ohiyesa – also known as Charles Eastman. A writer, teacher, and advocate, he became the first Native American medical doctor.)

When Eastman later married into a prominent Virginia family, his wife Mary accompanied him to various military posts – including a second tour at Fort Snelling that lasted seven years – and wrote stories about Dakota life for which Eastman provided illustrations.

In 1847, Congress commissioned Henry Rowe Schoolcraft’s series Indian Tribes of the United States, a large-scale illustrated series similar to the landmark
McKenney-Hall & King work of a generation earlier. Eastman immediately petitioned for the job of illustrating the work, but was at first denied. Eventually, through the influence of his wife and friends, he won a furlough to concentrate on the artwork. The project was five years in the making and ultimately consisted of 6 volumes and nearly 300 detailed illustrations.

The success of the work led to other government commissions, many of which now hang in the nation’s capitol. While his paintings have long been recognized for their historic value, they were not always accepted without controversy, because they were so objective in portraying Dakota people and their customs at a time dominated by a strong negative bias, even open hostility against them. For the most part he portrayed the traditional village life of Minnesota’s farming communities, and not the more familiar – and more romanticized – nomadic horse culture of the Plains. Eastman’s documentary accuracy, and his thorough and detailed precision, make his portfolio such a monumental achievement.

Before his death in 1875, Eastman would have been witness to the wars and forced removals that opened Minnesota to American expansion and systematically dismantled the Dakota lifestyle he had spent so many years documenting. Ironically, his own grandson Charles was among the community of relocated Dakota who fled first to Canada, then to North Dakota; there he attended mission schools, later to graduate from the best colleges in the East. Like his grandfather, Charles also married an accomplished woman with a deep interest in making a written record of Native American cultures. As a certified medical doctor, he was assigned to the Pine Ridge reservation where he was a first responder following Wounded Knee.

It is a paradox that these two men, despite their close relation and their individual influence in giving the world a glimpse of Dakota culture, were alienated by convention on two opposing sides.

More on the Eastman family:

Seth Eastman: Painting the Dakota – companion website for the PBS docudrama (excellent resource!)

Wikipedia: Seth and Mary Eastman

PBS “History Detectives” Episode: Investigating Eastman’s pieces A researcher determines an uncovered Eastman painting to be a forgery – but in the process explores some of the ironies about Eastman’s career and relationship to the Dakota. He also meets with a descendent of Eastman’s Dakota marriage.

Historic Fort Snelling – Seth Eastman

Minnesota Historical Society: Seth Eastman Exhibit

See also:

“Ohiyesa” – Charles Eastman

This Day in History: Charles Bird King

The first time I saw a glimpse of Disney-Touchstone’s 2004 Hidalgo, the thing that stopped me in my tracks was the gorgeous paint pony that gives the film its name. Since I’m hard to displease with a movie about horses – and since, as I later learned, the film has a strong Native theme – I made it a point to see the whole thing.

Hidalgo is a quasi-historical production about Frank Hopkins, a Wild West rider who takes his mustang on a treacherous race through the Arabian desert. At face value, it’s fun and attractive and more of a family flick than a plausible historical epic. But once you’ve seen it (and the epilogue explaining that the whole thing was a true story) your first thought is to find out more about this amazing guy who used his outstanding feats on horseback as a catalyst for one of the greatest efforts of wild mustang preservation.

Aside from the mustang outreach, the film’s other attraction was its roots in Plains Indian culture. Hopkins isn’t just a cowboy; he’s a born-and raised Lakota struggling to come to terms with his mixed white heritage, serving as an army scout and finding himself involved in the fateful events at Wounded Knee. By movie’s end he is able to reconcile his purpose in life by embracing his Indian heritage and working to preserve the horse lifestyle.

It’s obvious to any objective viewer that the story line is a little far-fetched, slightly on the feel-good side of reality. The reinvented cowboy figure sanctified by his Indian heritage, making it more politically correct for a modern audience; damsels in distress (an Arabian princess, no less); a journey of self-discovery and redemption, and the impossible victory of the underdog in a typical Disney-ish fashion.

Add to this the faux pas of having a half-Lakota portrayed by a blond Nordic (you probably already know my feelings about Indians played by non-Indians), and some really deplorable geography (Damascus is nowhere near the sea, and a 3,000 mile race would take a rider far out of the range of the film’s setting). But that’s my more abrasive approach. You’d really have to see it to get that it really works. It’s good in a genuine, almost-but-not-really-believable sort of way.

The Hopkins Controversy

But back to my investigation. Unbeknownst to me, the movie had already stirred up a long-standing, long-winded debate about this marvelous legend of a man, Frank Hopkins. “Camp A” lauded Hopkins’s accomplishments as a champion endurance racer, and his landmark efforts of preserving the mustang and traditional Lakota knowledge of horsemanship. “Camp B” called him a hopeless huckster, and Hidalgo merely the cheap and devious sequel to his colossal fraud. Some of these even purport that he may never have ridden a horse in his life, and the whole legend was the pipe dream of a thwarted wannabe cowboy. Oddly enough, this time, the cry of stretched or embellished facts was not aimed directly at Hollywood.

I was interested in what first provoked such a vociferous debate. It seems that if Hopkins were half the man he was claimed to be – and did half the things he was claimed to have had accomplished – he should literally be the most famous man on earth. Excuse my ignorance but I had never heard of him before I saw the movie. Apparently, the historical record is none too familiar with him either. A quick read of his biography and you can easily sympathize with Hidalgo’s detractors:

“As well as spurring his mustang to victory in (to be exact) 452 endurance races around the globe, Frank Hopkins also has an impressive list of other achievements. He claimed to be the most famous dispatch rider in the West, an associate of Buffalo Bill Cody and one of the “cowboys” from the Congress of Rough Riders of the World performing in Buffalo Bill’s internationally famed Wild West Show. He says he was Chief Crazy Horse’s protégé, put on a two-hour equestrian performance before Queen Victoria at Windsor Castle and helped famed plainsman Buffalo Jones capture and tame the first buffalo.
 
Hopkins also said he served with the Pinkerton detective agency, was a secret agent of the US government during World War I, a guide in the Grand Canyon for big game hunters including novelist Zane Grey, and once charged up San Juan hill with Teddy Roosevelt and the Rough Riders. All this, of course, was in addition to mentoring Billy the Kid.”
 
“Hidalgo: A Film or Flimflam?” by Peter Harrigan, Arab News

Please give me a break. Either he suffered from borderline personality disorder, senility, or the world’s worst midlife crisis – or someone was seriously messing with this man’s memoirs.

I am not about to get embroiled in the convoluted debate over whether Hopkins was the world’s greatest endurance racer, or which episodes of his exploits are plausible and which are merely spin; there’s far too much literature on the subject for me to add more (and almost nothing about the man is not in question, starting with his date of birth!) But the material points here are 1) what’s the best evidence for and against the legend of Frank Hopkins, and 2) what to make of Hidalgo the movie?

Supporters vs. skeptics (continue reading…)

Pencil sketch in 8b graphite. This woman was the wife of Lakota chief American Horse; she was very beautiful and I love her serene expression.

MINNESOTA PUBLIC RADIO: New documentary remembers largest mass execution in US history

The largest mass execution in U.S. history occurred 148 years ago, when 38 Dakota warriors were hanged from a single scaffold in Mankato.

The shock waves of that mass execution still reverberate today among the Dakota people. A new documentary film remembers the 38, and also a group of Dakota who ride on horseback each year at this time to Mankato to commemorate the executions of Dec. 26, 1862.

Charles Eastman was a widely respected, influential and accomplished man in his day; he had much in common with other famous Native Americans – such as Ely Parker – whose lives straddled two different worlds. Born into a Lakota family and raised during a period of grievous conflict for the Plains Indians, he helped to forge a cultural bridge between Indians and white America, and used his talents as a doctor and a writer to confront racism and corruption.

He was born in 1858, the grandson of painter Seth Eastman whose first wife was the daughter of a Santee chief. The artist left his Indian family after returning east, but his daughter Winona passed his name on to her family. Charles, the youngest of five, spent much of his childhood in Canada following the outbreak of hostilities between the Lakota and the US army.

His father converted to Christianity and sent him to mission schools, where his rapid progress placed him on a fast track to Ivy League universities such as Dartmouth and Boston. He graduated with a doctorate in medicine in 1889 – making him the first Native American to become a certified medical doctor.

Eastman began his practice as a staff doctor for the BIA working on reservations, and opened a small private practice. But the rapidly deteriorating situation for the Plains Indians following the Ghost Dance movement and Wounded Knee prompted him to put his skills to further use.

He became active in organizing youth outreach programs, including the Native American departments of the YMCA, and was one of the founders (along with others such as Ernest Thompson Seton) of the scouting movement. He lectured widely and wrote several several books that drew upon his Lakota upbringing. His main goal was to help educate a widely misinformed and biased public, and to shed a more positive light on the traditional Plains Indian lifestyles.

His career became increasingly demanding as he was drawn further into politics, acting in various capacities as a representative of Indian country. He served as lobbyist on behalf of the Lakota, Indian inspector, investigator, and reform activist during the administrations of Theodore Roosevelt, Calvin Coolidge, and Franklin Roosevelt. His efforts contributed to the eventual citizenship of Native Americans and many sweeping policy changes within the government during the first part of the 20th century.

Right: Eastman and his daughter Dora.

Eastman married writer and social worker Elaine Goodale in 1891, and raised six children. But eventually the pressures of his work and disagreements over their life directions led to their separation. He retired to a cabin he built in the woods near the Great Lakes, where he died of a heart attack in 1939 at the age of 80.

Recently, the role of Charles Eastman was portrayed by Ojibwa actor Adam Beach in HBO’s “Bury My Heart at Wounded Knee.” (Not having seen it myself, I can’t review – however this page offers some interesting comment on the portrayal.)

See also:

Wikipedia: Charles Eastman

Charles Eastman’s page on Legends of America

Ten Myths of the Little Bighorn » HistoryNet
by Gregory Michno

“The Battle of the Little Bighorn, fought on the banks of the river of that name in Montana Territory in June 1876, is the most often discussed fight of the Indian wars. It has been said that we will never know what happened there because there were no survivors. That is nonsense. There were thousands of survivors. The Indians clearly told us what happened. We need only to listen to what they said.”

June 25, 1876: Battle of Little Big Horn

There’s not much about this event that hasn’t been said – both true and not so true. It has been studied more extensively, and become more entrenched in popular culture, than possibly any other encounter between Indians and US forces. Maybe that’s because it involved so many influential figures – General Custer, Sitting Bull, Crazy Horse – or maybe because it was so shocking to Americans when it occurred that it was instantly and permanently seared into the public memory. Whatever the reasons, our understanding of the conflict and the events surrounding it have changed dramatically through time. The technologies of forensic archaeology and ballistics have reconstructed the course of events on the Greasy Grass, from the movements on the field to weapons used and the nature of the combat.

Perhaps the biggest change in perception is the shift in bias. The role of the US military, and of Custer in particular, is no longer so glorified as it once was, and the Indians not so vilified. We’ve come to understand how the hunger for gold in the forbidden Black Hills motivated the Custer Expedition of 1876. And with more Native accounts coming to light – and being heard – our understanding of the events on the ground has become more objective and comprehensive.

These changes are relatively recent, however. For most of the 20th century, discussing the legitimacy of US Indian policies was strictly taboo – and so was challenging the objectivity of “official” accounts. (continue reading…)

You can see National Geographic’s photo gallery feature here.