By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on October 12, 2024)

What a difference an administration can make.

On October 9th, 2020, the Former Occupant of the White House issued an official Columbus Day Proclamation, which reads in part:

Sadly, in recent years, radical activists have sought to undermine Christopher Columbus’s legacy. These extremists seek to replace discussion of his vast contributions with talk of failings, his discoveries with atrocities, and his achievements with transgressions. Rather than learn from our history, this radical ideology and its adherents seek to revise it, deprive it of any splendor, and mark it as inherently sinister. They seek to squash any dissent from their orthodoxy. We must not give in to these tactics or consent to such a bleak view of our history. We must teach future generations about our storied heritage, starting with the protection of monuments to our intrepid heroes like Columbus. This June, I signed an Executive Order to ensure that any person or group destroying or vandalizing a Federal monument, memorial, or statue is prosecuted to the fullest extent of the law.

I have also taken steps to ensure that we preserve our Nation’s history and promote patriotic education. In July, I signed another Executive Order to build and rebuild monuments to iconic American figures in a National Garden of American Heroes. In September, I announced the creation of the 1776 Commission, which will encourage our educators to teach our children about the miracle of American history and honor our founding. In addition, last month I signed an Executive Order to root out the teaching of racially divisive concepts from the Federal workplace, many of which are grounded in the same type of revisionist history that is trying to erase Christopher Columbus from our national heritage. Together, we must safeguard our history and stop this new wave of iconoclasm by standing against those who spread hate and division.

On October 11th, 2024 (and for the 4th year in a row), in addition to an official Columbus Day Proclamation, President Biden issued an official Indigenous People’s Day Proclamation , which reads in part:

On Indigenous Peoples’ Day, we honor Indigenous peoples’ strength, courage, and resilience.  We celebrate the vast contributions of Indigenous communities to the world.  And we recommit to respecting Tribal sovereignty and self-determination and working to usher in a new era of our Nation-to-Nation relationships.

The history of America’s Indigenous peoples is marked by perseverance, survival, and a deep commitment to and pride in their heritage, right to self-governance, and ways of life.  Since time immemorial, Indigenous peoples have built and sustained powerful Tribal Nations, cultivated rich cultures, and established vibrant communities.  And their discoveries and knowledge still benefit us today.  But because of our Nation’s failed policies of the past, generations of Native peoples have faced cruelty, violence, and intimidation.  They were forced to leave their homelands, prohibited from speaking their own languages and practicing their sacred traditions, and forced into assimilation.  Indigenous lives were lost, livelihoods were ripped away, and communities were fundamentally altered.  Despite the trauma and turmoil, Indigenous peoples have persisted and survived.  Their stories are testaments to the bravery and resolve of generations to preserve their heritage, cultures, and identities for those to come after them. 

Today, Indigenous peoples lead in every way, share their histories, and strengthen their communities.  They are also stewarding lands and waters, growing our shared prosperity, and celebrating the good of our Nation while pushing us to tell the full truth of our history.  Indigenous peoples have long served in the United States military, fighting for democracy.  And Indigenous communities continue to be an integral part of the fabric of the United States, contributing so much to our shared prosperity. […]

From day one, I have worked to include Indigenous voices at the table in all we do. I have appointed Native Americans to lead across the Federal Government, including the Secretary of the Interior, Deb Haaland — America’s first Native American Cabinet secretary — and so many others serving in key roles in my Administration. I was proud to re-establish the White House Council on Native American Affairs to help coordinate policy. Together, we have taken historic steps to improve the consultation process between Federal agencies and Tribal Nations. […]

When my Administration reauthorized the Violence Against Women Act in 2022, we included historic provisions to reaffirm Tribal sovereignty and expand Tribal jurisdiction in cases where outside perpetrators harm members of their Nation.  And recognizing the ties of Indigenous peoples across North America, I supported a Trilateral Working Group with Canada and Mexico to ensure Indigenous women and girls in all three countries can live free from violence. 

My Administration is also preserving important ancestral Tribal lands and waters.  I have protected and conserved more than 42 million acres of our Nation’s lands and waters.  I established, expanded, or restored 11 national monuments. […]

On Indigenous Peoples’ Day, we recognize that it is hard work to heal the wrongs of the past and to change course and move forward, but together, nothing is beyond our capacity.  May we take pride in the progress we have made to establish a new era of Tribal sovereignty and Indigenous self-determination — one grounded in dignity, respect, and friendship.

NOW, THEREFORE, I, JOSEPH R. BIDEN JR., President of the United States of America, by virtue of the authority vested in me by the Constitution and the laws of the United States, do hereby proclaim October 14, 2024, as Indigenous Peoples’ Day.  I call upon the people of the United States to observe this day with appropriate ceremonies and activities.  I also direct that the flag of the United States be displayed on all public buildings on the appointed day in honor of our diverse history and the Indigenous peoples who contribute to shaping this Nation.

Pledging to end the scourge of violence against human beings, but nary a peep about protecting monuments? Preserving sacred Tribal lands while (apparently) letting the National Garden of American Heroes go to seed? Where are your priorities, Joe?!

Think of your legacy…I mean, come ON, man!

At any rate…in honor of this coming Monday’s Indigenous People’s Day, I’ve selected 10 related films that are well worth your time.

Arctic Son — I first saw this documentary (not to be confused with the unrelated 2013 film Arctic Son: Fulfilling the Dream) at the 2006 Seattle International Film Festival. Andrew Walton’s film is a classic “city mouse-country mouse” story centering on a First Nations father and son who are reunited after a 25-year estrangement.

Stanley, Jr. was raised in Washington State by his single mom. Consequently, he is more plugged in to hip-hop and video games than to his native Gwich’in culture. Troubled by her son’s substance abuse, Stanley’s mother packs him off for an extended visit with Stanley Sr., who lives a traditional subsistence lifestyle in the Yukon Territories. The initially wary young man gradually warms to both the unplugged lifestyle and his long-estranged father. Affecting and heartwarming.

The Chant of Jimmie Blacksmith — One of the highlights of the “Australian New Wave” that flourished in the 70s and 80s, writer-director Fred Schepsi’s 1978 drama (adapted from Thomas Keneally’s novel, which is loosely based on a true story) is set in Australia at the turn of the 20th Century.

Jimmie Blacksmith (Tommy Lewis) is a half-caste Aboriginal who goes out into the world to make his own way after being raised by a white minister and his wife. Unfortunately, the “world” he is entering from the relative protective bubble of his upbringing is that of a society fraught with systemic racism; one that sees him only as a young black man ripe for exploitation.

While Jimmie is inherently altruistic, every person has their limit, and over time the escalating degradation and daily humiliations lead to a shocking explosion of cathartic violence that turns him into a wanted fugitive. An unblinking look at a dark period of Australian history; powerful and affecting.

Dead Man — Rhymes with: “deadpan”. Then again, that could describe any film directed by the idiosyncratic Jim Jarmusch. As far as Kafkaesque westerns go, you could do worse than this 1995 offering (beautifully photographed by the late Robby Müller).

Johnny Depp plays mild-mannered accountant and city slicker William Blake (yes, I know) who travels West by train to the rustic town of Machine, where he has accepted a job. Or so he assumes. Getting shooed out of his would-be employer’s office at gunpoint (a great cameo by Robert Mitchum) turns out to be the least of his problems, which rapidly escalate. Soon, he’s a reluctant fugitive on the lam. Once he crosses paths with an enigmatic Native American named Nobody (the wonderful Gary Farmer), his journey takes on a mythic quality. Surreal, darkly funny, and poetic.

The Emerald Forest — Although it may initially seem a heavy-handed (if well-meaning) “save the rain forest” polemic, John Boorman’s underrated 1985 adventure (a cross between The Searchers and Greystoke: The Legend of Tarzan) goes much deeper.

Powers Boothe plays an American construction engineer working on a dam project in Brazil. One day, while his wife and young son are visiting the job site on the edge of the rain forest, the boy is abducted and adopted by an indigenous tribe who call themselves “The Invisible People”, touching off an obsessive decade-long search by the father. By the time he is finally reunited with his now-teenage son (Charley Boorman), the challenge becomes a matter of how he and his wife (Meg Foster) are going to coax the young man back into “civilization”.

Tautly directed, lushly photographed (by Philippe Rousselot) and well-acted. Rosco Pallenberg scripted (he also adapted the screenplay for Boorman’s 1981 film Excalibur).

The Gods Must Be Crazy — Writer-director Jamie Uys’ 1984 cult favorite is a spot-on allegory regarding First World/Third World culture clash. The premise is simple: A wandering Kalahari Bushman named Xi (N!xau) happens upon a discarded Coke bottle that has been carelessly tossed from a small plane. Having no idea what the object is or how it got there, Xi spirits it back to his village for a confab on what it may portend. Concerned over the uproar and unsavory behavioral changes the empty Coke bottle ignites within the normally peaceful community, Xi treks to “the edge of the world” to give the troublesome object back to the gods. Uys overdoes the slapstick at times, but drives his point home in an endearing fashion.

The Last Wave —Peter Weir’s enigmatic 1977 courtroom drama/psychological thriller concerns a Sydney-based defense lawyer (Richard Chamberlain) who takes on five clients (all Aboriginals) who are accused of conspiring in a ritualistic murder. As he prepares his case, he begins to experience haunting visions and dreams related to age-old Aboriginal prophesies.

A truly unique film, at once compelling, and unsettling; beautifully photographed by Russel Boyd. Lurking just beneath the supernatural, metaphysical and mystical elements are insightful observations on how indigenous people struggle to reconcile venerable superstitions and traditions while retaining a strong cultural identity in the modern world.

Mekko — Director Sterlin Harjo’s tough, lean, and realistic character study is set in Tulsa, Oklahoma. Rod Rondeaux (Meek’s Cutoff) is outstanding in the lead, as a Muscogee Indian who gets out of jail after 19 years. Bereft of funds and family support, he finds tenuous shelter among the rough-and-tumble “street chief” community of homeless Native Americans as he sorts out how he’s going to get back on his feet. Harjo coaxes naturalistic performances from his entire cast. There’s a lot more going on here than initially meets the eye; namely, a deeper examination of Native American identity,

Powwow Highway —A Native American road movie from 1989 that eschews stereotypes and tells its story with a blend of social and magical realism. Gary Farmer (who resembles the young Jonathan Winters) plays Philbert, a hulking Cheyenne with a gentle soul who wolfs down cheeseburgers and chocolate malts with the countenance of a beatific Buddha. He has decided that it is time to “become a warrior” and leave the res on a quest to “gather power”.

After choosing a “war pony” for his journey (a rusted-out beater that he trades for with a bag of weed), he sets off and is waylaid by his childhood friend (A. Martinez) an A.I.M. activist who needs a lift to Santa Fe to bail out his sister, framed by the Feds on a possession beef. Funny, poignant, uplifting and richly rewarding. Director Jonathan Wacks and screenwriters Janey Heaney and Jean Stawarz keep it real. Look for cameos from Wes Studi and Graham Greene.

This May Be the Last Time — Did you know that the eponymous Rolling Stones song shares the same roots with a venerable Native-American tribal hymn, that is still sung in Seminole and Muscogee churches to this day? While that’s far from the main thrust of Sterlin Harjo’s documentary, it’s but one of its surprises.

Harjo investigates a family story concerning the disappearance of his Oklahoman Seminole grandfather in 1962. After a perfunctory search by local authorities turned up nothing, tribal members pooled their resources and continued to look. Some members of the search party kept up spirits by singing traditional Seminole and Muscogee hymns…which inform the second level of Harjo’s film.

Through interviews with tribal members and musicologists, he traces the roots of this unique genre, connecting the dots between the hymns, African-American spirituals, Scottish and Appalachian music. The film doubles as both history lesson and a moving personal journey.

Walkabout — Nicholas Roeg’s 1971 adventure/culture clash drama introduced audiences to charismatic Aboriginal actor David  Gulpilil (who also appears in another film on my list, The Last Wave). Gulpilil is an Aboriginal teenager (“Black Boy” in the credits) who unexpectedly encounters a teenage “Girl” (Jenny Agutter) and “White Boy” (the Girl’s little brother, played by Luc Roeg) while he is on a solo “walkabout” in the Australian Outback.

The sun-stroked and severely dehydrated siblings have become stranded as the result of a family outing gone terribly (and disturbingly) awry. Without making any promises, the Aboriginal boy allows them to tag along; teaching them his survival techniques as they struggle to communicate as best as they can.

Like many of my selections here, Roeg’s film challenges us to rethink the definition of “civilization”, especially as it pertains to indigenous cultural identity.