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| The author's father, Charles Keeler |
Almost Trayvon
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| Argus Leader, May 2, 1955 |
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| The author's father, Charles Keeler |
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| Argus Leader, May 2, 1955 |
However, since the Boston Globe article came out, Indianz.com did further reporting, "Museum won’t verify claims of tribal ancestry after artists withdraw from show: Native women raised alarms about exhibition in Massachusetts" and some of the details were honestly shocking to me. I had not realized Gina Adams, who falsely claimed to be of Native descent and was the exhibit's co-curator, had sold her work to my own alma mater, Dartmouth College. I had also been aware that she had made an extremely exploitive series of quilts featuring Tribes' treaties with the United States, including the Yankton Sioux––my father's own tribe.
Also, looking at the "Echoes in Time: New Interpretations of the Fruitlands Museum Collection" webpage, I found other questionable tribal affiliations listed in artists still part of the exhibit. These include Betsey Garand (French Canadian, English, Abenaki), Brenda Garand (French Canadian, English, Abenaki), and Mimi Gellman (Anishinaabe/Ojibwe, Ashkenazi Jewish, Metis). So, I contacted researchers I work with and took a look at the family trees of the Garand sisters and Mimi Gellman. Then, I wrote an email to the Boston Globe writer with some of my findings and concerns.
"I'm a Dartmouth alum, and Native alumni of Dartmouth are contacting the college about their acquisition of Gina Adams' work.
Also, as a Yankton Sioux, I am appalled and devastated that she sold a quilt with my dad's tribe's treaty on it. She monetized our trauma. Also, my grandmother was a star quilt maker. She never sold her work but gave it to family and donated it for good causes and raffles for the community.
Looking at the Garand sisters' family tree, they have no Abenaki connections. Their father's family is almost entirely French Canadian. There is one ancestor from New England, but she is of English descent. Her family was kidnapped by a French Canadian party when her village in Massachusetts was raided. Abenaki and Mohawks took part in the raid, but she was already married to a French Canadian man, and her family was spared death and later were not taken as captives by the tribes but allowed to live in Quebec with their in-laws.
Mimi Gellman is a 5th generation descendant of a Native woman of an unknown tribe. The rest of her mother's family tree is French Canadian. I can't verify her claims to the Rattlesnake clan, etc. But it seems unlikely as historians don't know her ancestor's tribe. The connection to Red River Settlement is legitimate. Her ancestor was a prominent and wealthy white man who was a stakeholder in the North West fur trading company. But his descendants appear to have married white people and not other Metis for the past 5 generations."
I am saddened but not surprised that the claimed Native ancestry of these artists, who capitalize on the alleged tribal identity for their careers, is either non-existent or extremely remote. But, it is still very troubling. I hope museums and other institutions will do their due diligence from now on. However, I don't hold out much hope for that. Shockingly, the Fruitland Museum's managing director of art and exhibitions, Jessica May, refuses to even consider the possibility that anyone would lie about being Native American or Indigenous. Even worse, the Fruitland Museum has a Native American advisory board, but they were not even made aware the installation was in the works, much less consulted.
Systems of accountability must be developed. It is not realistic to think people won't lie to promote their own self-interest. And indeed, with the investigation into ethnic fraud I've been conducting, we have found that 96% of those we have investigated either have no Native ancestry whatsoever (81%) or have unverifiable claims (15%). Unless someone can prove that such a high percentage of "Native" people have totally white family trees and are victims of "paper genocide," our findings are evidence of widespread deceit.
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| My latest at Sierra Magazine. Photo: Dustin Wero |
"Many Diné I have spoken to over the years have expressed hope that the revival of the Fundamental Law offers us a way to reconnect to the wisdom of our ancestors. Another hope is that our non-Native neighbors and fellow US citizens might find a way to learn from the example of our long-standing values. Among those lessons is the connection between right relationships among people and right relationships to place.
'These lands offer a form of healing that we want people to accept so we can live in harmony together,' Willie Grayeyes once told me, expressing his hope that dominant, white culture might find 'a more harmonious approach than just hit-and-run.'"
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| Senator Warren (far right) and her family from her campaign website: FACTSQUAD |
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| Reps. Deb Haaland (Laguna Pueblo-NM) and Sharice Davids (Ho-Chunk-WI) at an event celebrating their swearing-in to Congress (Creative Commons non-commercial license) |
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| An 18th c. portrait of a Mohawk woman (Getty Images) |
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| Wounded Knee Massacre, Oscar Howe (Dakota), 1960 |
Then this recent Sunday came the anniversary of the Wounded Knee massacre, just three days after the Dakota 38 riders reached Mankato bearing gifts for reconciliation for the town. A tweet by @williamcander of the image of the burial of the frozen victims’ bodies was retweeted hundreds of times with my twitter name attached to it. My Twitter stream became filled with that painful image repeated ad infinitum regarding the December 29th, 1890 massacre at Wounded Knee, South Dakota: “123 years ago today,150 #Lakota men/women/children were massacred by the US 7th Calvary @ #WoundedKnee H/T @jfkeeler.” Each time someone would retweet it would show up again on my timeline. And so, even though I clicked on the image only once, the long rectangular hole dug for mass burial with the bodies of Lakota people strewn in it kept reappearing before me. Over and over again, I saw those waiting frozen on the ground while white men pose, holding guns or with their hands at their hips as if for a job well done — and I am a descendant of someone who was there.
Seeing photos of Redsk*ns and Chiefs’ and Braves’ fans dressed up in fake eagle feather headdresses, I think of a photograph of Owl Man, my great-grandmother’s grandfather, as he stood with a delegation of Yankton Dakota headmen at the White House in Washington, DC in 1868 to sign the Yankton treaty with the U.S. Government. A diminutive President Andrew Johnson stands in frock coat in the balcony above the Yanktons, and he is flanked by the Miami tribe’s delegation who tower over him in turbans and eagle claw necklaces. My ancestor is easily identifiable as he is the only one wearing the full eagle feather headdress. I think what he would have thought of all this. Each feather is said to have represented the confidence the people had for the leader. It was something very precious, but it came with a great deal of responsibility and accountability to the people. When the headmen returned home, the women chastised them for signing away the salt mines which they needed to preserve the meat. Even then, there were no good deals to be made in DC. The people were focused on securing their survival, to live, to protect and raise the young, and sometimes, like at Wounded Knee, even that was an impossibility. ![]() |
| Yankton Sioux Delegation at White House, 1867 |
My grandmother told me about the second relative her uncle, the Rev. Charles Cook. One day, we were in her attic, and she unrolled a large portrait-sized daguerreotype of a young, handsome Indian man. She told me he was the Episcopal minister at Wounded Knee during the massacre. It was the holidays, so the church was decorated for Christmas; desperate to save the people, he and Dr. Charles Eastman, a Dakota, turned it into a hospital for the wounded and dying. They were both young, educated Dakota men still in their 20’s, working tirelessly to save the lives of their people. I asked her what happened to him, as I had never heard of him spoken of before. She said quietly, “Oh, he died a few years later, they say, of a broken heart by what he saw that day.” Funnily enough, in the HBO movie done about Charles Eastman’s life a balding, middle-aged white man portrayed him. However, Eastman is more accurately depicted by Canadian Saulteaux actor Adam Beach.
What she does: “I write, think, and lecture. In 2017, I also edited a book titled ‘Edge of Morning: Native Voices Speak for the Bears Ears,’ which compiles the works of Native poets, activists, teachers, writers, students, and public officials, and shares their passionate feelings about the Bears Ears.”