Re-Visioning Wildfire: Historical Interpretations of the Life and Art of Edmonia Lewis

Posted in Biography, History, Literary/Artistic Criticism, Media Archive, Native Americans/First Nation, Papers/Presentations, United States, Women on 2013-04-16 01:50Z by Steven

Re-Visioning Wildfire: Historical Interpretations of the Life and Art of Edmonia Lewis

Southeastern Oklahoma University
Native American Symposium
2005-Proceedings of the Sixth Native American Symposium
pages 31-39

Julieanna Frost
Concordia University

As a feminist historian, one of my major goals is to reclaim the histories of women and to broadcast the diversity of the female experience. In many ways creating a multicultural curriculum is a form of political activism for me. Regarding inclusive history, I strongly agree with Gloria Joseph, who stated that learning history “will help to shatter the prevailing mythology that inhibits so many from acting more decisively for social change and to create a more just society and viable future for all.” My first brief introduction to Edmonia Lewis came in the article “Object Into Subject: Some Thoughts on the Work of Black Women Artists” by Michelle Cliff, which was included in the anthology Making Face, Making Soul: Creative and Critical Perspectives by Feminists of Color. This piece created a desire for me to learn more about the life and work of Wildfire Mary Edmonia Lewis (ca. 1843 – ca. 1911).

In art encyclopedias and critiques, Lewis is often noted as the first African American female sculptor. To be more accurate, her father was African American and her mother was Anishinabe. Orphaned as a child, she was raised among her mother’s people. The majority of her work was accomplished between 1866 and 1876. Her art has primarily been read as a representation of her Black heritage, ignoring her strong connection to her Native American heritage. In an attempt to rectify this oversight, this paper will examine how her Anishinabe ancestry influenced Lewis’s life and artwork, and explain why scholars tend to ignore this ancestry.

Much of Lewis’s early life and later life went unrecorded. It is believed that she was born near Albany, New York around 1843 and named Wildfire. Her father was a free Black and her mother was Anishinabe. Lewis also had a brother, Sunrise. It appears that Lewis spent most of her early years with the Anishinabe. In an interview, Lewis related,

Mother was a wild Indian and was born in Albany, of copper color and with straight black hair. There she made and sold moccasins. My father, who was a Negro, and a gentleman’s servant, saw her and married her … Mother often left home and wandered with her people, whose habits she could not forget, and thus we were brought up in the same wild manner. Until I was twelve years old, I led this wandering life, fishing and swimming … and making moccasins.

In 1849, Lewis’s mother died and her maternal aunts took her in and raised her. Lewis recalled, “when my mother was dying, she wanted me to promise that I would live three years with her people, and I did.”…

…One reason Lewis is viewed as an African American artist is based upon the social construction of race, as it existed during her lifetime. Dating back to the 17th century, laws that affected Africans and a small number of Native Americans were passed in the English colonies that made slavery an inheritable condition that passed from mother to child. To make the institutionalization of slavery complete, most English colonies outlawed intermarriage between whites and “colored” people by the 18th century. In addition, the legal system did not recognize marriages between “colored” people, although such common law arrangements existed from the colonial period when Blacks and Indians were utilized as indentured servants and later as slaves for life. Nash noted that, “institutions created by white Americans have disguised the degree of red-black intermixing by defining the children of mixed red-black ancestry as black and using the term mulatto in many cases to define half-African, half-Indian persons.” This typology served the economic interests of the ruling class, since classifying these people as Black typically bestowed slave status upon them. Additionally, this classification decreased the population of Native American nations because whites did not acknowledge Black Indians as belonging to the tribe. In contrast to the white practice of racial classification, most of the Native American nations granted full tribal membership to mixed race people if the mother was a member of the tribe. At the time of her birth the Anishinabe also accepted mixed-bloods into the tribe. Although Lewis had an Anishinabe mother and lived among this nation during her formative years, white society classified her as black…

Read the entire paper here.

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Black Indian With a Camera: The Work of Valena Broussard Dismukes

Posted in Literary/Artistic Criticism, Media Archive, Native Americans/First Nation, Papers/Presentations, Women on 2013-04-15 02:01Z by Steven

Black Indian With a Camera: The Work of Valena Broussard Dismukes

Southeastern Oklahoma University
Native American Symposium
2005-Proceedings of the Sixth Native American Symposium
pages 40-46

Sarita Cannon
University of Illinois, Urbana-Champaign

In this paper, I examine the liberatory photography of a living African-Choctaw-French American artist, Valena Broussard Dismukes. I am especially fascinated by the way in which Dismukes takes the camera, an object that had previously been used as a weapon of oppression against Native Americans and people of African descent, and uses it to capture the spirit of twenty-first-century Black Indians on their own terms. In her series of portrait photographs entitled “Red-Black Connection: The Cultural Heritage of Black Native Americans,” Dismukes highlights the varied experience of Black Indians in the United States and forces her viewers to reevaluate their notions of what a “real” Indian and what a “real” Black person look like….

…The verbal narratives that accompany many of the portraits highlight many issues that contemporary Black Indians face, including the difficulty of tracing their lineage and the responses they receive from others about their authenticity or lack thereof. However, generally the narratives celebrate Black Indian Identity. A few of Dismukes’ subjects discuss how their own family members obscured their “true” ancestry. For instance, Elnora Tena Webb Mitchell (of Cherokee/Blackfeet descent) writes, “My grandparents and other members of my family were identified as Native American. However, there is much information about our ancestry that is kept secret. Being Native American is not revered nor honored by many family members.” It is interesting to note here that it is not the Black blood that is repressed, but rat her it is the Indian ancestry. It was not always advantageous to be identified as Black rather than Native. This choice depended upon historical and geographical context. Still others note how they are viewed as “wannabes” who are trying to distance themselves from Blackness. Gene “Quietwalker” Holmes of Comanche descent says, “There have been people from both communities who react to my heritage on a negative basis and ask, ‘Who or what are you trying to be?’” But Carol Munday Lawrence of Cherokee descent responds to these attacks simply by saying that she is merely discovering her multiple selves: “I fully understand why some fear that to claim Native American, or any other heritage, is to reject one’s Blackness, but this is not about ‘going Native.’ Knowing who your people are, and embracing them all unconditionally, can only enrich your life.” And Stella Vaugh playfully embraces this historical moment in which she can identify as a multiracial person: “In fact, I’m having fun boasting about my mixed-race. I jokingly say I’m 57 Heinz Variety. My mother’s mother is Cherokee and Irish. My father’s mother is Bohemian and his father is Choctaw. I am told that one of my ancestors is black and I’m still searching for that beautiful person.” Vaugh proudly embraces her multiple heritage and openly acknowledges the mystery that still surrounds her ancestry. She symbolizes the twenty-first century Black Indian who is coming out” after living much of her life in a space where she felt the need to repress parts of her identity. If Dismukes’ project can give at least one person the opportunity to feel a sense of dignity about who she is and introduce her to a community of people who also live at the crossroads of Native and African American cultures, then it is, without a doubt, a meaningful political and artistic endeavor…

Read the entire paper here.

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