Within Indian wars and the Wounded Knee massacre

Besides recorded in textbooks, historical events sometimes are adopted into literary works. Rebecca Wiles’ Bury Me at Wounded Knee is one of which since it portrays the Indian Wars and the Wounded Knee Massacre on 29 December 1890. The clause Bury Me at Wounded Knee in the poem is a form of self-determination of Native Americans. This paper aims at mapping the causal relation of historical events found in the poem to examine the Native Americans’’ self-determination inside it. As the basis, the paper employs the Historicism theory and Self-Determination theory (SDT) about autonomous and controlled motivations. The results found that the Native Americans’ self-determination in the poem is an undermined one. It is built by their internal autonomous motivation of deeply rooted culture and beliefs. However, the encroachments of the U.S. government who seized their rights, acted as controlled extrinsic motivations, internalized and thwarted the intrinsic motivation so that the self-determination is undermined. It decreases in the degree from an eagerness to act and resist to merely a wish of being buried in the location where they die and think of extinction.

THE NARRATIVE WORLD OF NATIVE AMERICANS SEEN FROM THE ADAPTATION OF OHIYESA IN BURY MY HEART AT WOUNDED KNEE

Native American narratives are often presented through media presenting native American figures. Bury My Heart at Wounded Knee (BMHWK) is a non-fiction history-based film that tells the fate of Native Americans against white colonialism. The key figure in the film, Ohiyesa, is an adaptation of Native American figures from the The Indian Boyhood (TIB) written by Charles Eastman. This article reveals the meaning of the character Ohiyesa in the film Bury My Heart at Wounded Knee. This research used an adaptation approach. Data obtained from the exploration of the figure of Ohiyesa in TIB and BMHWK. Data analysis was performed by conducting a comparative analysis of Ohiyesa at TIB and BMHWK. The results of the analysis show: (1) Ohiyesa character was adapted and dominantly raised by the name of Charles Eastman, (2) this character revealed the memory of deprivation of Native American culture, (3) the character functioned as an assimilation agent, and voiced the concept of cultural assimilation by white Americans. Ohiyesa was made an assimilation agent by the American government. With a strong presentation through his success through his role as a doctor and lobbyist, the American government offers a new life expectancy to American society, which is a cultural assimilation. Ohiyesa has become a symbol of the helplessness and evaluation of the future of Native Americans.Keywords: ohiyesa, native American, narrative, symbol of the helplessness,DUNIA NARATIF PRIBUMI AMERIKA DILIHAT DARI ADAPTASI OHIYESA DALAM BURY MY HEART AT WOUNDED KNEEAbstrakNarasi terkait pribumi Amerika sering dimainkan melalui media yang menyuguhkan tokoh pribumi Amerika. Bury My Heart at Wounded Knee (BMHWK) merupakan film berbasis buku historical non fiction yang menceritakan nasib pribumi Amerika melawan kolonialisasi kulit putih. Tokoh kunci dalam film tersebut, Ohiyesa, merupakan adaptasi tokoh pribumi Amerika dari teks The Indian Boyhood (TIB) karya Charles Eastman. Artikel ini mengungkap pemaknaan terhadap tokoh Ohiyesa dalam film Bury My Heart at Wounded Knee. Penelitian ini menggunakan pendekatan adaptasi. Data didapatkan dari eksplorasi tokoh Ohiyesa dalam TIB dan BMHWK. Analisis data dilakukan dengan membandingkan Ohiyesa dalam TIB and BMHWK. Hasil analisis menunjukan bahwa: (1) Karakter Ohiyesa diadaptasi dan secara dominan dimunculkan dengan nama Charles Eastman, (2) Karakter ini mengungkap mengungkap memori perampasan budaya pribumi Amerika, (3) karakter tersebut difungsikan sebagai agen asimilasi, dan menyuarakan konsep asimilasi budaya oleh kulit putih Amerika. Ohiyesa dijadikan agen asimilasi oleh pemerintah Amerika. Dengan pemaparan kuat melalui keberhasilan dia melalui perannya sebagai dokter sekailgus pelobi parlemen, pemerintah Amerika menawarkan harapan hidup baru kepada pribumi Amerika, yaitu sebuah asimilasi budaya. Ohiyesa telah menjadi simbol dari ketakberdayaan dan gambaran masa depan pribumi Amerika.Kata kunci: Ohiyesa, pribumi Amerika, narasi, simbol ketakberdayaan

Political Medicine

Berkman’s high standing in medical school got in a prestigious internship at Columbia. But the extra care given to his white upper-class patients versus the poor he saw in the clinics tugged at his sense of justice as he saw the consequences of unequal treatment. After the state’s vicious retaking of the Attica Prison after a prisoner uprising, Berkman evaluated the medical conditions of the prisoners. He quit after the first year of internship and became instead a community doctor. With Barbara Zeller, he snuck medical supplies into the American Indian Movement stalwarts during the siege at Wounded Knee, escaping FBI surveillance. His intellectual commitment to politics now had a deeper emotional tone.

Co-conspirator for Justice

Alan Berkman (1945–2009) was no campus radical in the mid-1960s; he was a promising Ivy League student, football player, Eagle Scout, and fraternity president. But when he was a medical student and doctor, his politics began to change, and soon he was providing covert care to members of revolutionary groups like the Weather Underground and becoming increasingly radicalized by his experiences at the Wounded Knee takeover, at the Attica Prison uprising, and at health clinics for the poor. When the government went after him, he went underground and participated in bombings of government buildings. He was eventually captured and served eight years in some of America's worst penitentiaries, barely surviving two rounds of cancer. After his release in 1992, he returned to medical practice and became an HIV/AIDS physician, teacher, and global health activist. In the final years of his life, he successfully worked to change U.S. policy, making AIDS treatment more widely available in the global south and saving millions of lives around the world. Using Berkman's unfinished prison memoir, FBI records, letters, and hundreds of interviews, Susan M. Reverby sheds fascinating light on questions of political violence and revolutionary zeal in her account of Berkman's extraordinary transformation from doctor to co-conspirator for justice

Jack Jackson, Native Representation, and Underground Comix

Chad A. Barbour analyzes how US Anglo underground comix creator Jack Jackson reconstructs Indigenous identities and experiences in a complex and progressive way. Barbour locates Jackson’s work within the contexts of resistance movements such as Alcatraz and Wounded Knee to show how he interrogates “the parameters of historical recollection and nationalistic mythology in the United States.”

“A First-Class Attraction on Any Stage”

This chapter examines the 1890 Ghost Dance, a nonviolent religious practice among the Lakota Sioux. In covering the Ghost Dance, daily newspaper editors Joseph Pulitzer (the New York World) and William Randolph Hearst (the San Francisco Examiner), along with the New York Herald and ChicagoTribune, experimented with the limits of news illustration. Their images mischaracterized the dance as a declaration of war, contributing to events leading to the massacre at Wounded Knee. Their quest for illustrations that were both “authentic” (photograph-based) and dramatic led editors to appropriate images from the entertainment marketplace (photographs of Sitting Bull, and Buffalo Bill’s Wild West show), for political and commercial benefit. The Lakota’s efforts had limited power to correct misrepresentations of the dance and its aftermath.