Tag Archives: Native Americans

SongCatcher: Reckoning and (possibly) Reconciling with Frances Densmore.

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Written in 1998 by Native American playwright Marcie Rendon, SongCatcher follows two young Native American protagonists who are visited by the spirits of their ancestors, as well as that of Frances Densmore, infamous in the field musicology for her recordings of Native American songs, including those of the Ojibwe and Sioux, among others.

The protagonists of the play, Jack and Chris are foils. Jack tries to get back in touch with tradition through reading Densmore’s work and playing her transcriptions on a keyboard. Chris, on the other hand, participates in more traditional ways of gaining knowledge. She learns from elders.

The pair are visited by spirits in their dreams. The spirit of Frances Densmore initially visits Chris. The audience might see similarities between the two; both young women who are sure of themselves. In the initial dream, Rendon even imagines them smoking together (31). Their exchange, though, quickly turns a bit hostile:

FRANCES DENSMORE
This is the one habit I’ve acquired while in the company of your people. I find it most relaxing. I might even venture to say that tobacco might be Native people’s greatest contribution to modern civilization.
CHRIS
Well that contribution you’re sitting there smoking was given to us by the Creator to pray with.
FRANCES DENSMORE
I’m well aware of the spiritual significance your people place on this plant. If I daresay, given the extent of my research, there are a few things I could possibly even teach you.
CHRIS
Oh, really? (31-2)


Densmore is a kind of Faustian anti-villain in the piece. The scenes we do see her in show her dubious ethics, but many of the dream scenes center on her personal life, her relationship with her best friend and her sister. Her obsession with her work consumes her over the course of the play, culminating in the final scene where she burns her personal papers:

FRANCES DENSMORE
… I don’t want people rifling through the attachments of my heart once I am gone.
OLD MAN SPIRIT
I cry for your spirit. The songs you recorded were always The People’s. The work you clung to was never yours. Once you’ve burned the stirrings of your heart, you will be no more. (80)


Densmore, by erasing her letters, is erasing herself. She hopes to be remembered through her work. In a similar way, she erased the people who gave her the songs in trying to preserve them. They are missing the living knowledge essential to them.


This highlights an essential difference in Densmore’s view of knowledge, and an Indigenous view represented by Chris and the spirits of this play: To Densmore, knowledge is information. It is the notes of the page, the words in the songs, etc. To Chris, knowledge is a gift from previous generations to the next, and most importantly, it is lived (“being Indian is something you live. It’s inside you. You can’t learn it from a tape.” (12) )


In her Author’s note, Rendon says that the conversation around Densmore does us a disservice by implying that “the real songs are locked up in Washington, D˙C˙, instead of in the hearts and spirits of Native people themselves. It is a systematic erosion of a people’s belief in themselves, their own history, and their very existence as a living, breathing, modern people.” (4-5)


The play handles the life of Frances Densmore with a focus on her heart and spirit, extending to her what she did not extend to her subjects.

Rendon, Marcie. SongCatcher. 1998.

Government Documents for Indian Boarding Schools

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It can be said that the worst outcomes come from the best of intentions. Of course, we look back in history and find that the definition of ‘best’ is thoroughly different between cultures, backgrounds, classes, races, etc. And obviously, if one were to take the extremely low-hanging fruit, it requires an impressive amount of logic leaps to find the ‘best intentions’ in some of the greatest historical tragedies, such as the Holocaust, any number of catastrophic wars, or the Trail of Tears.

While the history of Indian boarding schools is undoubtedly tragic, the discussion of the goals behind them is surprisingly frank and positive. As a report from a member of the Advisory Council on Indian Affairs to the Secretary of the Interior (one who had the fantastic decency to write his name in an illegible scrawl at the end of his letter to said Secretary of the Interior, at the time Hubert Work; I therefore have absolutely no idea who wrote thing beyond this) notes that the primary goal is to “place the American Indian… upon the same basis as the rest of our citizenship, politically, intellectually, and industrially…” with the disturbance of “community life or tribal or family relationships” no more “than a growing degree of general participation in economic and… political affairs has interfered with… the Negro…”1

An excerpt from page 2 of a letter written to the Secretary of the Interior Hubert Work

Piercing through the incredible wordiness of this statement, it is perhaps difficult to gauge the true opinion of the report’s author. There is much wiggle-room presented in the goal, particular in the definition of an appropriate level of disturbance, but there does not seem to be explicit mention of disrupting family groups, of squashing heritage, and the like. Indeed, the report author notes that “the average American Indian should be educationally as well equipped and as self-reliant and self-sufficient as the average citizen of any other racial descent.”2 A noble goal, if not for the fact that the peoples in question had been self-reliant for well before the arrival of Europe in the New World.

Turning attention to the boarding schools established for the purposes of educating American Indians to the degrees mentioned above, analysis of their curriculum identifies that a significant amount of effort seems to have been put in to ensure a full coverage of all subjects, in science, history, math, and more. One example from the Office of Indian affairs, prepared for use throughout the Indian school service in 1915, dedicates 30 pages in its curriculum overview to Industrial work and over 130 pages to various vocational studies (trade, agriculture, home economics, nursing, etc)3.

A excerpt from the table of contents from curriculum proposed for American Indian students. Note the wide variety of topics available, especially relating to ‘practical’ work.

A section is, of course, dedicated to music. Although there is attention given to the coverage of ‘good’ music (which is something that many others have covered, I will therefore not beat a dead horse), interesting emphasis is placed on proper vocal techniques. Notes to have a “light, pure tone”, with special exercises for “preventing huskiness” and “the elimination of monotones” in the lower grade levels, perhaps were included specifically to ‘correct’ vocal styles that are used for Native American singing 4.

A excerpt from the table of contents from curriculum proposed for American Indian students. A guideline for vocal standards lays out what to prioritize while singing.

For example, in an analysis of different pow-wow singing styles, it is noted that the Great Lakes style uses a “medium-high voice, often with a gravelly or rough timbre” while in both the Great Lakes and Midplains style the women’s part is described as “high and tense”.5 These assertions are difficult to confirm, as during the early 20th century musical analysis of Native American styles was in its infancy, and unfortunately there is little literature that refers directly to behaviors or tendencies that need to be prevented (which would have been an obvious indicator of this type of connection), but the possibility of a link is still there.

In conclusion, this serves as a slightly different approach, as I was surprised to see that reports regarding Native Americans in the 20th century were not as overtly hostile as I might have suspected, going from history. This, of course, could entirely be fancy political language, and there is the additional factor of the majority not understanding the minority and wishing to impose upon them an idea of ‘correctness’, but I found it interesting regardless.

Works Cited:

1 Member of the Advisory Council on Indian Affairs, Report on Indian Affairs (United States Government, 1923), 1-2. Retrieved from American Indian Histories and Cultures https://www.aihc.amdigital.co.uk/Documents/Images/Ayer_MS_668/3#Chapters (accessed Oct 26, 2023).

2 Ibid

3 Department of the Interior (Office of Indian Affairs), Tentative Course of Study for United States Indian Schools (Washington D.C: Government Printing Office, 1915), Table of Contents. Retrieved from American Indian Histories and Cultures https://www.aihc.amdigital.co.uk/Documents/Images/Ayer_386_U5_1915/5 (accessed Oct 26, 2023).

4 Dept. of Interior, Tentative Course of Study, 111-113.

5 Tara Browner, Judith Vander, et al., Music of the First Nations: Tradition and Innovation in Native North America (University of Illinois Press: 2009), 137-138. Retrieved from https://ebookcentral.proquest.com/lib/stolaf-ebooks/reader.action?docID=3413835&ppg=147 (accessed on Oct 26, 2023).

The Expansion of the “Vanishing Indian”

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In his paper “MacDowell’s Vanishing Indians,” Dr. Daniel Blim writes that the “Indianist” movement of using Native American inspiration for American music owes its success largely to the composer Edward MacDowell, and especially to his Indian Suite, premiered in 1896. Blim connects this to the “vanishing Indian” trope: “the Indian as a cultural figure . . . began to ‘vanish,’ and no longer a threat, could be reappropriated in the national imagination as a nostalgic figure rather than a living oppositional force.” He discusses MacDowell’s Westernization of Native American music as one way in which it aligns with this trope. Regarding MacDowell’s piece “From an Indian Lodge,” Blim writes, “the subject of this work is not Native America, but a reenactment, subtly Westernized.”1

Reviews of the Indian Suite support this view, showing a strong alignment with the “vanishing Indian” trope and praising MacDowell’s Westernization of Native American music. Blim uses the Indian Suite as an example of MacDowell’s music before it reflected the shift to the “vanishing Indian” view, still depicting Native Americans as a “living oppositional force.” However, the following two reviews, though approaching the Indian Suite from opposite directions, both project the “vanishing Indian” trope onto the piece.

In 1898, the magazine The Critic published a review (right) praising MacDowell’s ability to “weave a series of tone-pictures out of . . . purely native material.” It contrasts his suite with Dvořák’s ninth symphony, stating that MacDowell “clings to what is elemental and more thoroughly representative, . . . carefully avoiding as inappropriate a too complex treatment of native themes.”2 Rather than seeing Native Americans as a living opposition still in need of Westernization, The Critic praises MacDowell for getting to the core of what is Native American, showing the extent to which their opposition had been replaced by an opportunity for inspiration.

In 1939, 41 years later, the magazine Forum and Century also published a review (left) praising the Indian Suite, but comparing it favorably with Dvořák’s symphony: “The Suite is in no sense a sequence of Indian tunes. It is a sweeping orchestral work, symphonic in nature, that evokes auditory images of our ancestors, their mores, and their cherished aspirations and bitter frustrations.”3 For Forum and Century, rather than Westernization being an obstacle, it allows the Native American to be more effectively appropriated, so much so that they are now “our ancestors,” and the music’s frustration that Blim associates with their oppositional position now reflects the “bitter frustrations” of the Native Americans themselves.

From only two years after the premier through the following several decades, MacDowell’s Indian Suite was fully enveloped by the trope of the “vanishing Indian.” Though approaching the piece from opposite directions, both reviews celebrate MacDowell’s synthesis of Native American music. They do not make Blim’s differentiation between the suite and pieces that more explicitly align with this trope. Rather, due to the strength of the national shift spurred by MacDowell himself, they project onto this piece the concept that the Native American has vanished and transformed into fodder for American music.

1. Blim, Daniel. “MacDowell’s Vanishing Indians.” Paper presented at the Annual Meeting of the American Musicological Society and the Society for Music Theory, Vancouver, BC, November 2016.

2. “Music: Notes of the Season.” The Critic: A Weekly Review of Literature and the Arts (1886-1898), Feb 05, 1898, 97, https://search.proquest.com/docview/124892533?accountid=351.

3. ARTHUR, WALLACE HEPNER. “THE RECORD REVIEW.” Forum and Century (1930-1940), 11, 1939, 1, https://search.proquest.com/docview/90883079?accountid=351.

“Edward MacDowell, Suite No 2, Indian, Op 48.” YouTube video, 36:24, posted by
Gunnar Frederikson, Feb 28, 2018, https://www.youtube.com/watch?v=QUDiGsjKS_k.

“Woodland Sketches, Op. 51: No. 5. From an Indian Lodge.” YouTube video, 2:48, posted by Alexandra Oehler – Topic, Jan 30, 2015, https://www.youtube.com/watch?v=c0oeP9V27C0.

Once Upon a Time White Folk had a Small Falling Out With Native Americans, The End.

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I would like to preface this by stating any criticisms to the article are not specifically directed at the author, as I believe it is a common mistake and something that we are currently all working on more, especially within newer discussions that have emerged recently.

In searching for a topic to write about for this blog post I was searching for something relating to Native Americans, as I’ve been focusing on that topic in my blog posts. I was having trouble finding sources as each article in the Manitou Messenger only had the word a couple times and the actual focus was not Native Americans. I found the word once or twice in each article used as a supporting fact but nothing more. I was going to try to find something else to research because I was afraid I wouldn’t be able to find enough information, when I realized that the lack of information I had found was the exact thing I needed. Where were articles on Native Americans? Why weren’t they ever talked about or discussed? Why have we, as “Americans,” generally effaced Native Americans from conversation and discussion?

I eventually found an article regarding the creation of Indigenous People’s Day vs Columbus Day. This article provided some good information about the importance of this type of change, especially considering that as people become more #woke Columbus day isn’t necessarily something to be proud of. Sure, he “discovered” America, but at the same time how can something truly be “discovered” if it’s already inhabited. I expected the article to provide some insight on this, but it almost seemed as though it was skirting around the subject. It did provide a small portion of the issue by stating

The American Indian culture has been repressed since America’s origins. They were torn from the land that was theirs for centuries and forced to live on Indian Reservations. As the demand rose from white settlers, pieces of that land were taken away until the enactment of the 1934 Indian Reorganization Act.

On the other hand, while this statement is true and something we should focus on, I still feel that a 3 sentence excerpt on the issue at hand of the utter massacre of Native American’s doesn’t do the situation justice let alone respect. Massive groups weren’t simply told to move, which is an issue in itself, but were rather murdered and utterly erased from The Land of the Free. Simply skipping the fact that this happened isn’t doing anyone a favor as it’s a part of the history that we cannot ignoring. Ignoring it is almost just as sinful as disrespecting it, as it’s basically the same thing.

I found a vinyl of American Indian Music in the Southwest: Sound Recording, which provided a fascinating insight into recordings of some music that was passed down. Of course, I cannot be completely sure of the authenticity of the recordings, but it’s something that can still be studied alongside legitimate sources.

This sound recording is something that we would have possibly never been able to listen to had we completely and utterly effaced the existence of Native Americans. If we had ceased to have discussions and respectful learning, which often times it seems we are on our way to doing so, we would not have been able to learn about this culture that we mistreated so horribly in the past. Discussions like the Manitou Messenger had on Columbus Day, while it had it’s faults, are good in enlightening the folk around who are not aware of the issues. Discussion of current issues and movements as well as historical events are what we need to continue keeping our history alive. It’s not all pretty, and in fact some of it was a downright bloodbath, but we cannot pick and chose what we want to remember in our history.

Rhodes, Willard. “American Indian Music of the Southwest : Sound recording” (Folkways Records, 1951). Link

Haggstrom, Katie. “New indigenous peoples day challenges the status quo,” (Manitou Messenger, May 13 2014). Link

 

Romanticizing Groups of People that We Slaughtered: American Music

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Once white folk had finally finished settling in American, and only after they’d properly slaughtered thousands upon thousands of Native Americans, they could truly begin defining their musical compositions. Of course, per protocol, they began this by romanticizing those that they had previously eradicated and despised. Music has long since been composed through exoticism and romanticism of the “Other,” but it is brought to a new level when that “Other” is a group that was previously massacred in the place that this new music is now being composed.

My Indian Maiden, a beautiful piece composed by Edward Coleman in New York in 1904, is a prime example of this romanticism. He presents in the title a love story between a white man and his “Indian Maiden,” who is presented on the title page of the work as an exotic beauty of incomparable standards.
Coleman, Edward, Wilson, Harry H. My Indian maiden. New York: The American Advance Music Co., 1904.: Page 1 of 4

Not only is this in itself problematic, but the music also holds some truly “exotic” melodies and aspects.

Coleman, Edward, Wilson, Harry H. My Indian maiden. New York: The American Advance Music Co., 1904.: Page 2 of 4

The piece is written in Em and even in the first bar presents stereotypically Native American musical tones. The chromatic grace notes in the top part could be associated to a war cry or horn. The rhythmic bottom line can also be tied to drums or body percussion, as it doesn’t change often and is the baseline of the music. The grace notes continue throughout the piece in the accompaniment to the melody, as well as a repeated e f g f e, highlighting the minor key and the minor third.

The lyrics portray a man venturing into a forest glade where a young Native American maiden sits outside her teepee, wearing beautiful beads and awaiting him. He then presents her with trinkets abound in riches and sings his love to her. Eventually, they will be together and all of the tribes will rejoice as they exist in harmony with nature.

Of course, these lyrics present a slightly different truth from what truly happened. Music that romanticizes the “Other” has always been present in society, but the levels to which we accept it as entertainment without either knowing the proper story or respecting that it is extremely problematic must be addressed. In children’s books, in shows, and in society as a whole, exoticism and romanticism run amuck in a disrespectful manner, and it must be addressed and discussed, else it will never be changed.

 

Coleman, Edward. My Indian Maiden. New York, New York: The American Advance Music Co., 1904. Link

The Melting Pot: Remington’s Chinese Figure Study and American Music

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Frederic Remington (1861-1909) was an American painter, sculptor, illustrator, and writer (no relation to the rifle- and typewriter-makers, Eliphalet and Philo Remington). Although he studied for short periods at Yale’s School of Fine Arts as well as at the Art Students League in New York, he was a mostly self-taught artist. After a period traveling through the Dakotas, Montana, the Arizona Territory, and Texas, he had one of his drawings published in Harpers’s Weekly, leading to a long relationship with that publication as well as with The Century Illustrated and Scribner’s Magazine.

Due to Remington’s first-hand experience with the quickly-vanishing frontier, he grew renowned for his visual and textual depictions of cavalry, cowboys, Native Americans, and the American West:

 5042214861_ec9ed5fa5f_z 5169152407_ea99bdf4fc_z 5042171903_3c65c10bbe_z 6329189165_f7370ae467_o6332165260_ed50d9552e_o 6329996698_7396f6a42b_o

Knowing about his affinity for the American West, it might at first seem odd that while painting cowboys and campfires Remington also drew this Chinese figure study:

Screen Shot 2015-04-29 at 10.14.32 AM

I promise you though, this is not odd at all.

As everyone knows, America is a land of immigrants, referred to in past years as the great melting pot (now we opt for the great salad bowl, kaleidoscope, or mosaic). Beginning in the 19th century, immigrants from China came to America, especially to the West, to work as laborers for the transcontinental railroad and the mining industry. These immigrants faced fierce racial discrimination, leading to such laws as the 1882 Chinese Exclusion Act, prohibiting immigration from China for ten years, and the 1892 Geary Act, extending the prohibition for another decade. Thus the presence of Chinese immigrants in the American West would not have been uncommon, and Remington would have found many study subjects as he traveled the frontier.

“That’s interesting, but why is this post in a music history blog?”

By presenting a Chinese figure in various outfits, Remington demonstrates the Americanization of immigrants: on the left is a figure in more traditional clothing, while the figures on the right take on more and more aspects of Western culture, such as replacing the tunic with a baggy shirt and the cap with a Spanish guacho or grandee. So, by including Chinese immigrants in his oeuvre, Remington was portraying other cultures as an important piece of the American pie. In similar ways, composers like Amy Beach, Edward MacDowell, and Antonín Dvořák also sought to include other cultures as members of the American family.

Take the fifth movement of MacDowell’s Indian Suite of 1892, which pulls tunes from the Iroquois tribe:

Or listen to the Largo from Dvořák’s From the New World, which, while not directly copying songs, features original melodies similar to Native American music:

https://www.youtube.com/watch?v=2TIFEQLANpw

Or sample Amy Beach’s Gaelic Symphony, in which she incorporates traditional Irish-Gaelic melodies, tapping into the rich heritage of a people long part of the American fabric:

Remington and these three composers are just a few of the numerous artists who rather than exoticizing other cultures sought to portray them as an essential part of the American melting pot.

Beach, Amy. Symphony in E-minor, No. 2 “Gaelic.” American Series Vol. 1. Detroit Symphony Orchestra, conducted by Neeme Järvi. Chandos CHAN 8958. Streaming audio. YouTube. https://www.youtube.com/watch?v=VmLU1CfHcJw. Accessed April 29, 2015.

Dvořák, Antonín. Symphony No. 9 “From the New World”, Op. 95. Prague Festival Orchestra, conducted by Pavel Urbanek. LaserLight Digital 15824. Streaming audio. YouTube. https://www.youtube.com/watch?v=2TIFEQLANpw. Accessed April 29, 2015.

Foxley, W. C. “Remington, Frederic.” Grove Art Online. Oxford Art Online. Oxford University Press. http://www.oxfordartonline.com/subscriber/article/grove/art/T071404. Accessed April 29, 2015.

MacDowell, Edward. Suite No. 2 “Indian”, Op. 48. Village Festival. Bohuslav Martinu Philharmonic, conducted by Charles Johnson. Albany Records TROY 224. Streaming audio. YouTube. https://www.youtube.com/watch?v=efDZ100iJMQ. Accessed April 29, 2015.

Remington, Frederic. “A Mining Town, Wyoming.” Oil on canvas. Ca. 1898. Frederic Remington Art Museum Collection. https://www.flickr.com/photos/fredericremington/6329189165/in/set-72157649247951734. Accessed April 29, 2015.

Remington, Frederic. “Chinese Figure Study.” Ink on paper. Date unknown. Flaten Art Museum Collection. http://embark.stolaf.edu/Obj4142?sid=162&x=83&sort=9. Accessed April 29, 2015.

Remington, Frederic. “Recent Uprising Among the Bannock Indians — a Hunting Party Fording the Snake River Southwest of the Three Tetons (Mountains).” Wash on paper. Ca. 1895. Frederic Remington Art Museum Collection. https://www.flickr.com/photos/fredericremington/5042171903/in/set-72157651574818071. Accessed April 29, 2015.

Remington, Frederic. “The Broncho Buster #275.” Bronze cast. 1895. Frederic Remington Art Museum Collection. https://www.flickr.com/photos/fredericremington/5169152407/in/set-72157625248734897. Accessed April 29, 2015.

Remington, Frederic. “The Outlier.” Oil on canvas. 1909. Frederic Remington Art Museum Collection. https://www.flickr.com/photos/fredericremington/5042214861/in/set-72157649247951734. Accessed April 29, 2015.

Remington, Frederic. “Then He Grunted and Left the Room.” Wash on paper. 1894. Frederic Remington Art Museum Collection. https://www.flickr.com/photos/fredericremington/6329996698/in/set-72157651574818071. Accessed April 29, 2015.

Remington, Frederic. Untitled [possibly The Cigarette]. Oil on canvas. Ca. 1908-1909. Frederic Remington Art Museum Collection. https://www.flickr.com/photos/fredericremington/6332165260/in/set-72157649247951734. Accessed April 29, 2015.

Recapturing the Dignity of the American Indian

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The caricature of the savage Native American is all too common in the history of American Art. This is especially true in  art of the American West, rife with its depictions of pioneers and cowboys fighting off Indians and the elements in the name of survival and Manifest Destiny.

Some turn of the century artists like Charles Marion Russell (1864-1926) and Frederic Remington (1861-1909) managed to rehabilitate this image, depicting ways in which Native Americans (and men in particular) could be pleasant to look at artistically. In the masculine world of the West, this primarily meant depicting them as active participants in the drama of uncharted territory. However, this also reinforced the notion that American Indians led a violent, uncivilized life.

Painting of a buffalo hunt by Frederic Remington

Painting of a buffalo hunt by Frederic Remington

"For Supremacy" by Charles Russell

“For Supremacy” by Charles Russell

This serves as a marked contrast to the Native American Portrait Study by Olaf Carl Seltzer (1877-1957) in the Flaten Art Museum Collection. The first word that came to mind when I saw it was ‘dignity’; the second was ‘still’.

OCS

Seltzer lived in Great Falls, Montana from the time he was 19 until his death. From that, I inferred (with the consultation of a map of Native American tribal territories) that this study is of individuals belonging to the Blackfoot tribe. A simple google image search confirmed this suspicion, as I found numerous portraits of Blackfoot members whose hairstyles and earrings strongly resemble those in the study.

BF1BF2

Of course I don’t mean to suggest through this analysis that the Blackfoot people or any other group of Native Americans needs a white man to recapture their dignity. But it is refreshing to see that there is at least one instance in American art of someone capturing the dignity of Native Americans authentically not through violence, but through still portraits. Even if it is just a study.

In studying the history of American music, we have seen multiple times how non-white cultures have been repeatedly misrepresented. The violence latent in portraits by Russell and Remington can be found in stereotypical musical depictions of Native Americans that rely on similarly simplistic and vulgar generalizations: I’m thinking especially of pulsing drums, war-whoops, and melodies that only use pentatonic scales.

Even recent depictions rely on the simplistic drum patterns and repetitive melodies that have been stuck to Native American’s since the beginning, even when the atmosphere isn’t as frenetic, violent, or (in the case of Peter Pan) partially sexualized.

Who then is the Seltzer of American music? In other words, is there anyone that we can point to as capturing the essence of Native Americans without cheap theatrics? Perhaps the closest is Edward MacDowell’s Indian Suite (1892), which utilizes (alleged) Native American melodies. Luke provides an excellent study of this depiction here.

The unfortunate truth remains that we are relying on inauthentic depictions of Native Americans by whites to explore Indian-ness. But isn’t to say that there aren’t any Native American composers trying to do the same; a simple YouTube search shows otherwise. Unfortunately, these composers don’t hold a firm place in the current music history curriculum. While articles like this are a start, we as musicologists must strive to support authentic depictions of Native American music while remaining critical of the Russell’s and Remington’s of American music.