James Luna: A Native Place - Research Paper Example

?James Luna: A Native Place Who is an Indian? Is he the traditional brave wearing a loin cloth and a feather in his hair? Is he the screaming, angry,savage, so often, portrayed attacking helpless settlers? Is he an uneducated, heathen, sub-set culture of human history that vanished over a hundred years ago? The answer to all of these questions is “no”. The interpretation of native peoples has always been a very inaccurate stew of false concepts, racial slander, and cultural misinterpretations. What many people perceive as the American Indian of history is one that has been, primarily, provided by film and television over the years. The phenomenon has been labeled the “Pocahontas Paradox.” Simply defined, it refers to the accepted representations of Indians as a singular structure perpetrated by fictional storytelling which lumps all native tribes as one singular group that behave in one singular stereotyped way (Pewewardy). These terrible misrepresentations and stereotypes has become a very important part of , native born, James Luna’s work. Born in 1950, he is, and always has been, an active member and resident of the Luiseno tribe at the La Jolla reservation in California. In 1976 he earned his degree in Fine Arts-Studio Art, from the University of California at Irvine. Over an artistic career spanning more than 30 years he has set a precedent using his gifts to change the perception of native culture and redefining what it means to be an American Indian today. There are an incredible number of pieces created by James Luna that stands out as fine testaments of his talent and cultural focus. Some are quite innovative installations and others are profound performance pieces. He has the wonderful ability to blend the relevant cultural elements with emotion, satire, and humor (Ketchum-Heap of Birds). Those listed in these pages are but a sampling of the work available, but highlight some of the works with truly profound messages that can speak to people and capture the audiences in exceptionally profound ways. The first is, probably, the most simplistic piece structurally speaking. The elements are common, but make their own profound statement. Luna took a single high-top tennis shoe and adorned it with beads, Conchos, tribal patches, and feathers. The piece is titled, Two Worlds, first appeared for viewing in 1989. Its message is very self explanatory even to the least savvy art viewers. The piece is representative of the his struggle with his tribal life and his life outside the reservation. It clearly expresses the feeling of not quite knowing how to balance his place within the two. That is a situation that a lot of people in a lot of different ethnic backgrounds coming to terms with their cultural identity can relate to. The artist admits that he struggled with this issue in his youth. However, today, he states, “…I am an Indian in this modern society…I can move easily between these two places”(qtd. in “California Indian Conference”). The second piece has a profound significance because it is not, simply, a static artistic work, but an interactive experience for the spectators, where the audience does not, necessarily, realize that at first. This performance piece is titled, Take A Picture With A Real Indian. He began performing this in 1985 and it has remained a relevant “teaching tool” in his attempt to test people’s understanding of what they perceive an actual Indian to be (Righthand). The artist, himself, dresses in different clothing. First, he appears in a loin-cloth and feathers, sometimes a bone-ribbed breastplate. He calls to people, “Take a picture with a real Indian?” People will often line up for the opportunity to do so. They seem fascinated by the concept of seeing an actual Indian in just walking around in modern day America. It is a little disturbing to see how easily people perceive the vision of a Native American in tribal regalia as a novelty. The performance changes when he steps away and changes into his everyday street clothes, a T-shirt and jeans. He again makes the same offer. “Take a picture with a real Indian.” People are not as the forthcoming. People no longer perceive him as an Indian. It proves that much of modern society only sees an Indian in the stereotypical fashion. It is saddening to see that this is the mindset of so many. “Native Americans have a long history of one-sided portrayals”(Bull). This work has the power to encourage the audience to face this unpleasant reality and learn from it. The next piece of Luna’s work that has had a stunning effect on those who have experienced it is titled, Artifact Exhibit. First presented in 1985 as a reaction to,”…the tendency in western museum displays to portray present Native American cultures as extinct cultural forms” (Thompson). His ingenious concept was to create a museum-like display where he, himself, climbs inside and acts as the actual exhibit. Lying upon a bed of sand and surrounded by “artifacts” of personal significance including his college degree, cultural items and divorce papers. He even added a sign directing spectators to acknowledge the scars on his body as the negative result of a drinking habit. This piece is extremely bold, exposing, and thoroughly compelling. It is quite shocking that there are people who actually think that Native Americans are extinct, just as the Neanderthal. The most poignant element of this particular installation comes when those viewing realize that the subject on display is very much alive. This is one of the most empowering works by Luna, because without speaking at all he manages to frame his point beautifully, like any brilliant artist. Luna explained, in an interview with Smithsonian magazine, his indignation that fired this piece, “…we were objects among bones, bones among objects, signed and sealed with date” (qtd. in Fletcher). This presentation is incredibly moving, speaks to the heart of an important cultural issue, and boldly reminds us that the Native American people are hardly extinct. Emendatio is a blending of multiple pieces, a combination of installation art and performance, which debuted in 2003. There are three major sections of this piece. The first is both art and a dedication, titled, A Chapel for Pablo Tac. Emendatio, in English, means “to correct what is erroneous and faulty.” This is exactly what Pablo Tac, also a member of the Luiseno tribe, was trying to do, in 1834, when he traveled to Rome to study for the priesthood and to, also, be studied himself. His hope was to learn, but, also, to dispel the misconceptions that Europeans had about his culture and people as well (“Smithsonian Institute”). This tribute by Luna is a beautiful, nearly, full scale chapel. There are Christian elements of pews, candles, and an altar in the forefront. However, there are, also, native blankets and wall coverings. Atop the altar and along the walls are delicately placed ceremonial items from his native heritage. It is so well balanced that you feel as if you have entered a sacred space. The second installation within Emendatio is a photographic montage, entitled, Apparitions-Past and Present. This a very subdue and minimalist design, involving the use of lighting and simple decor to add ambiance to the photographs of Luna’s own relatives, tribal members, and ancestors. There is a warmth and care that transcends from the images that are cast onto the floors and walls. Almost like looking through a heartfelt scrapbook of memories. The last part of the Emendatio endeavor is titled Renewal. There are several segments that are performed over four hour intervals over a period four of days. The first portion involves the making of a circle, which is indentified not just by the items laid out to form the ring, but, also, by a light that shines down from above. Luna begins by adding a few items, rocks and acorns as an offering. Whenever he steps into the circle music, a combination of drum beats and tribal voices, begins to play. Finally, added to the ring of rocks are sugar packets, salt, a can of Spam, and syringes and vials of insulin. Luna appears in street clothes, enters the circle and the music plays, he shakes his rattle as he walks the inner edge of the circle, and then exits, the music ceases. He returns, this time in tribal garb, again entering the circle with a rattle, the music plays, and then he exits. He continues to do this through several costume changes. Next ceremonial attire, then in a jacket and sunglasses. Each time he follows the same routine with a different appearance, but each one a representation of an Indian. That is the point, there is no correct Indian, they are all every bit a Native American as the last. His final appearance is in a bright plum colored tuxedo (“Smithsonian Institute”). There are elements of humor present in his presentation, but there are deeper, much more serious issues shared here as well. The presents of the insulin and syringes is a very clear reminder that there are many health concerns among Native Americans, notably, diabetes among the more severe. The sacred circle is a recognizable symbol of Native American culture, this piece could be perceived as, both, an artistic attempt to inspire change and a prayer that that changed is realized. It is quite beautiful and moving way to capture the attention of the audience that is both thought provoking and sentimental. The work of James Luna is moving, intriguing, and impacting. He brings to light the very real misinterpretations that so many have about those we call Indians. He shows us his culture and his talent, while offering himself, figuratively and physically, to bring better understanding. Luna said of his work, “I am here to teach.”(qtd. in Fletcher) There is no nobler effort than to want to teach people how to change for the better. He uses his art and culture together and with that he brings the potential for new understanding and a dismissal of long outdated and foolish misconceptions. Total Word Count of Essay 1,657 Works Cited Bull, Brian. "For Native Americans, Old Stereotypes Die Hard." NPR. NPR-PBS, 4 May 2009. Web. 7 Jun 2012. http://www.npr.org/templates/story/story.php?storyId=103711756 . "The Californian Indian Conference: 25th Anniversary." The California Indian Conference. Kendra Bean, 2010. Web. 12 Jun 2012. https://eee.uci.edu/clients/tcthorne/performances.html. Fletcher, Kenneth R. "James Luna." Smithsonian.com. Apr 2008: 1-2. Web. 7 Jun. 2012. http://www.smithsonianmag.com/arts-culture/atm-qa-james-luna.html?c=y&page=2 . "IAIA's 2012 Commencement: Honorary Doctorates Given N. Scott Momaday and James Luna; John Trudell Goeves Commencemet Address." Institute of American Indian Arts. The College of Contemporary Native Arts, 24 Apr 2012. Web. 12 Jun 2012. http://www.iaia.edu/news/iaias-2012-commencement-honoray-doctorates-and-john-trudell-commencement-speaker/. Ketchum-Heap of Birds, Shanna. "James Luna." Museum of Contemporary Native Arts. Institute of American Indian Arts, n.d. Web. 7 Jun 2012. http://www.iaia.edu/museum/vision-project/artists/james-luna/ Pewewardy, Cornel. "The Pocahontas Paradox: A Cautionary Tale of Educators." Journal of Navajo Education. (1997): n. page. Web. 7 Jun. 2012. http://www.hanksville.org/storytellers/pewe/writing/Pocahontas.html Righthand, Jess. "Q and A: James Luna." Smithsonian.com. Jan 2011: 1. Web. 7 Jun. 2012. http://www.smithsonianmag.com/arts-culture/Q-and-A-James-Luna.html "Emendatio." The Smithsonian Institute. The Smithsonian Institute-The National Museum of the American Indian, 2008. Web. 7 Jun 2012. http://nmai.si.edu/exhibitions/emendatio/jamesluna.html Thompson, Kristen A.. "Artifact Piece." Post-Colonial Performance and Installation Art. Emory-Post-Colonial Studies, 1998. Web. 7 Jun 2012. http://www.english.emory.edu/Bahri/ArtifactPiece.html Read More