Indigenous Peoples and Media

A Look at the Complex Relationship between Indigenous Communities and Media

Introduction Giancarlo Gilbert-Igelsrud

Buffalo Dance Giancarlo Gilbert-Igelsrud

Contemporary Use of Buffalo Dance

Indigenous Media Production Giancarlo Gilbert-Igelsrud

Indigenous Futurism Giancarlo Gilbert-Igelsrud

The 6th World Giancarlo Gilbert-Igelsrud

Indigenous Art and Star Wars Giancarlo Gilbert-Igelsrud

If Yoda was an Indian
Darth Custer
Hopi Princess Leia

Counter Mapping, Social Media & Affective Publics :

Counter Mapping Fazli Abdul
Indigenous People and social media Fazli Abdul
Indigenous people and affective public Fazli Abdul
Indigenous People and Mapping Fazli Abdul
Tibetan Counter Mapping and China Fazli Abdul

Native Americans in German media culture

Basis of the fascination in Germany David F. F. Münch
The stereotypes in contrast to reality David F. F. Münch
A film genre that shaped a nation and a stereotype: The German Western David F. F. Münch
People as costumes David F. F. Münch
Debate on racism and modern media David F. F. Münch
Neoshamanism or "Plastik-Shamans" David F. F. Münch
Decoding Cultural Representation and Appropriation in documentations David F. F. Münch

Conclusion Giancarlo Gilbert-Igelsrud

Ryan Singer, Tuba City Spaceport, Acrylic on canvas, 2011

Sourced from Fricke (2019)

Introduction

The relationship between indigenous peoples and media is long and complex. There is a history of stereotyped and racist portrayals of indigenous peoples, ones that have perpetuated colonial views of indigenous communities. Conversely, there are many examples of indigenous communities producing their own media and reclaiming the ability to represent their own communities to the world.

Buffalo Dance

Published in 1894

Indigenous communities in North America appear in films dating back to the very earliest days of filmmaking, long before Hollywood Westerns seared stereotyped imageries into the public consciousness. An example of early film depictions of indigenous populations in North America is a film titled Buffalo Dance. It was produced by William Kennedy-Laurie Dickson, filmed by William Heise, and published in 1894, four years after the Massacre at Wounded Knee (Wakpa 2022). The performers include Last Horse, Parts His Hair, and Hair Coat, as well as the drummers Pine and Strong Talker; the Lakota men were all actors in Buffalo Bill’s Wild West show (Wakpa 2022). While the title serves marketing purposes for Buffalo Bill’s show and caters to the colonial view of the Native American population as powerful but close to extinction, Wakpa (2022) argues that the dance itself serves as a form of sovereignty and survival for the future within the context of US settler colonization. The attached paper, written by Tria Blu Wakpa, goes into detail about the meaning of the dance.

Giancarlo Gilbert-Igelsrud

From Buffalo Dance to Tatanka Kcizapi Wakpala, 1894â•ﬁ2020_ Indigenous Human and More-Than-Human Choreographies of Sovereignty and Survival.pdf

Contemporary Use of Buffalo Dance

This very short film is being used in contemporary media productions. We can see this film clip, as well as another film published in 1894 titled Sioux Ghost Dance, used in a video titled Burn Your Village to the Ground, a Neon Nativez remix. The video includes The Halluci Nation's song of the same name along with images from the Massacre at Wounded Knee, other videos of Native Americans in different contexts, and a clip of Wednesday Adams from the Addams Family Values film released in 1993 in which she critiques US colonialism and states that she will burn down the villages of the pilgrims (Wakpa 2022).

(Background image: Untitled painting by George Blue Bird (2021) a descendant of Parts His Hair. Source: Wakpa (2022).)

Giancarlo Gilbert-Igelsrud

Indigenous Media Production

We can see examples of indigenous media production across the globe. There has been the creation of local and regional indigenous radio and video broadcasters such as the Central Australian Aboriginal Media Association in Australia or the Inuit Broadcasting Corporation in Canada (Ginsburg 2016). There is also the World Indigenous Broadcasting Network which encompasses indigenous broadcasting companies from Canada (Aboriginal People’s Television Network), New Zealand (Māori TV), Taiwan (Taiwan Indigenous Television), and Australia (National Indigenous Television) (Ginsburg 2016).

These indigenous productions can be highly important in sustaining and proliferating the culture, traditions, and language of indigenous communities. A successful example of this can be seen in Sami media production in Finland. The Sami community is indigenous to very northern parts of Europe, encompassing areas of what are now Norway, Sweden, Finland, and Russia (Pietikäinen 2008). Looking at Sami radio broadcasting, as well as a few television broadcasts, Pietikäinen (2008) found that this indigenous media production was successful in helping to keep alive and strengthen Sami languages and create greater self-awareness among the Sami people. However, there remain difficulties in this experience, such as exclusion from participation due to some members of the community not knowing Sami languages or the homogenization of the multitude of Sami identities (Pietikäinen 2008). Many indigenous media production companies also face other difficulties, such as financial or legal constraints from outside forces such as local or national governments; in some cases, such as indigenous radio stations in Colombia, the effort to promote indigenous media through the intervention of the state can do more to constrain indigenous media (Cortés 2019).

Giancarlo Gilbert-Igelsrud

Indigenous Futurism

The term ‘Indigenous Futurism’ was first coined and explored by Grace Dillon, an academic of Anishinaabe and European descent, in her anthology Walking the Clouds: An Anthology of Indigenous Science Fiction (Fricke 2019). Influenced by the ideas of Afrofuturism, Indigenous Futurism is a term that can capture an array of different ideas, images, and mediums and is not inherently about the future; Indigenous Futurism can include the past and in many ways is about existing in an alternate timeline (Frike 2019). It is about engaging with the complex intertwining of indigenous thinking, technology, and science with Western techno-science (Dillion 2012, cited in Frike 2019).

Much of popular Western science fiction seems to play out under a colonial gaze and perpetuate stereotypes of indigenous communities. Many science fiction films include conquering other planets and terrains or fighting against a hostile alien population (Roanhorse et al. 2018, as cited in Frike 2019). While these groups are not labeled as specific, real indigenous communities, these science fiction creations can often be seen as a perpetuation of stereotypical views of indigenous communities that have been prevalent in much of Western media. Simultaneously, those real indigenous communities are excluded from the human/earth communities within those productions. Indigenous Futurism works against that notion, providing a space for indigenous creators to create a vision of the future that not only includes indigenous communities and their ideas but allows those communities productive spaces to renew their traditions and voices for those future imaginaries (Dilion 2012, as cited in Estrada 2014).

Giancarlo Gilbert-Igelsrud

The 6th World

The 6th World is a science fiction short film by Navajo writer/director Nanobah Becker. This film tells the story of a Navajo woman who is taking a trip, along with her colleague, to Mars to start a new colony on the planet. This trip is being funded by the Navajo Nation in conjunction with a corporation. Before the trip, Tazbah Redhouse, the film’s protagonist, has a dream of the near death of an entire cornfield, the last stalk of which is saved by a non-human glowing being. During the actual journey to Mars, the GMO corn provided to the travelers begins to parish, leaving the voyagers with no food to start the colony on Mars. However, before leaving, Redhouse was given a gift of traditional Navajo corn from General Bahe, corn which allows them to successfully set up base on Mars.

The film is ripe with Navajo imagery, beliefs, landscape, and spirituality (Estrada 2014) and is an excellent example of Indigenous Futurism. For instance, the title of the film, The 6th World, alludes to traditional Navajo emergence beliefs, a belief in the emergence through many different worlds (Estrada 2014). In this film, Becker reflects Navajo science and reinterprets this emergence belief in the context of future travels through space; she underlies the Western technology that is used in the film with Navajo understandings (Estrada 2014). Additionally, she uses Monument Valley for the landscape of both the Holy People and Mars (Estrada 2014). Becker includes more references to Navajo spirituality, beliefs, and culture in the communication between the characters, the inclusion of a figure such as Changing Woman with both white and yellow corn, the casting of a woman as the lead, and the juxtaposition between GMO corn and traditional Navajo corn (Estrada 2014). Estrada (2014) argues that the film critiques issues facing the Navajo community, such as GMO agribusiness, while advocating for the survival of traditional Navajo beliefs and spirituality into the future.

Giancarlo Gilbert-Igelsrud

Indigenous Art and Star Wars

Indigenous artists in North America have used and continue to use Star Wars imagery to create pieces of social criticism and address issues of representation and sovereignty (McLaughlin 2017). Star Wars, as a film with massive popularity, creates a common cultural touchstone whose well-known characters can be manipulated and worked with to address those aforementioned issues. It is also a space where these artists can explore the often fraught and complex relationship between indigenous communities and the film industry (McLaughlin 2017).

Bunky Echo-Hawk, an indigenous artist of Pawnee/Yakama descent, painted both of these paintings.

The first image, If Yoda Was an Indian, indigenizes Yoda, causing him to celebrate Pawnee culture. Bunky Echo-Hawk purposefully dresses Yoda in Pawnee-specific clothing as an expression of Pawnee culture. That decision also serves as a critique of the generalized, pan-Indian stereotype often portrayed in Hollywood Westerns. Instead, this depiction creates a positive, Pawnee-specific celebration of Pawnee culture.

Source (which provides more specific details about this painting): McLaughlin (2017)

Giancarlo Gilbert-Igelsrud

The second image, Darth Custer, is meant to make an obvious association between the character of Darth Vader and General Custer. It is intended to create an alternate view of General Custer than the mythic hero, associating him instead with the evil empire of the Star Wars films. These two photos in combination serve to cast indigenous populations as the rebels fighting against the evil Empire.

Intertwining indigenous culture and history with popular culture can serve as a form of cultural subversion, interjecting indigenous beliefs into the mainstream, undermining hegemonic power, and reclaiming the ability to define indigenous communities.

Source (which provides more specific details about this painting): McLaughlin (2017)

Giancarlo Gilbert-Igelsrud

If Yoda Was an Indian

Bunky Echo-Hawk, acrylic on canvas, 2007

Photo sourced from McLaughlin (2017)

Darth Custer

Bunky Echo-Hawk, acrylic on canvas

Photo sourced from McLaughlin (2017)

Hopi Princess Leia

Steven Paul Judd

Photo sourced from McLaughlin (2017)

This piece, created by Steven Paul Judd, an indigenous artist of Kiowa/Choctaw descent, combines the photo Pulini and Koyame-Walpi (Edward Curtis, 1921) and an image of the Star Wars character Princess Leia pointing a gun. On a visual level, there is an obvious similarity between Princess Leia and the Hopi women. We could interpret this piece as a critical commentary on non-indigenous people dressing up as indigenous and the idea of cultural appropriation. However, the piece can also be interpreted as the inclusion of the Hopi women into the Star Wars narrative, once again on the side of the rebels. The injection of the indigenous presence fights against the myth that indigenous cultures have disappeared or a disappearing. Once again we see the creation of a positive representation of an indigenous North American community intertwined with popular science fiction.

Source (which provides more specific details about this painting): McLaughlin (2017)

Giancarlo Gilbert-Igelsrud

Sources

Cortés, D. M. (2019): “‘Era Mejor Cuando Éramos Ilegales’ (It Was Better When We Were Illegals): Indigenous People, the State and ‘Public Interest’ Indigenous Radio Stations in Colombia”, Journal of Alternative & Community Media, 4(3), pp. 28–42. https://doi.org/10.1386/joacm_00056_1.

Estrada, G. (2014): “Navajo Sci-Fi Film: Matriarchal Visual Sovereignty in Nanobah Becker’s The 6th World”, Journal of the American Academy of Religion, 82(2), pp. 521–530. https://doi.org/10.1093/jaarel/lfu008.

Fricke, S. N. (2019): “Introduction: Indigenous Futurisms in the Hyperpresent Now”, World Art, 9(2), 107–121. https://doi.org/10.1080/21500894.2019.1627674.

Ginsburg, F. (2016): “Indigenous Media From U-Matic To Youtube: Media Sovereignty In The Digital Age”, Sociologia & Antropologia, 6(December), pp. 581–599 https://doi.org/10.1590/2238-38752016V632.

McLaughlin, O. (2017): “Native Pop: Bunky Echo-Hawk and Steven Paul Judd Subvert Star Wars”, Transmotion, 3(2), pp. 30-52.

Pietikäinen, S. (2008): “Broadcasting Indigenous Voices: Sami Minority Media Production”, European Journal of Communication, 23(2), pp. 173-191.

Wakpa, T. B. (2022): “From Buffalo Dance to Tatanka Kcizapi Wakpala, 1894–2020: Indigenous Human and More-Than-Human Choreographies of Sovereignty and Survival”, American Quarterly, 74(4), pp. 895-920.

Counter Mapping, Social Media, and Affective Publics

Counter Mapping

Sociology of Absences “an inquiry that aims to explain that what does not exist is in fact actively produced as nonexistent.” The objective of a sociology of absences is to uncover the diversity and multiplicity of social practices and confer them credit, thus counterbalancing the exclusive credibility of hegemonic practices.

Sociology of Emergences “an inquiry into the alternatives that are contained in the horizon of concrete possibilities,” which aims to identify the range of future experiences and include counter-hegemonic, subaltern practices within the realm of available possibilities.

Both the sociology of absences and the sociology of emergences become necessary in order to incorporate past and present experiences of the colonized world into general social theory and build collective global futures.

At the same time, critical cartographers have proposed counter-mapping as a means to address the silences and absences produced through maps grounded in the Western political tradition of a territorial norm and a settled subject, in which migrations and refugee movements appear as deviant (Manuela, 2021).

Indigenous People and Social Media

For Indigenous peoples and communities, social media technologies have had conflicting political effects. Social media platforms like Facebook and Twitter, which enable "platformed racism" and disproportionately damage Indigenous people, have a complex effect on Indigenous subjectivities. These platforms give Indigenous peoples the chance to oppose colonial reasoning, but they can also cause trauma and marginalization. The Zapatista movement in Mexico, the #IdleNoMore movement in Canada, and the #SOSBlakAustralia demonstrations against forced closures are a few examples. These movements support anti-colonial collectives and subvert prevailing paradigms.

Scholars are currently investigating the use of social media in the daily political expressions and representations of Indigenous peoples. They contend that self-writing, or the online expression of identities by Indigenous Australians, is a type of microactivism that dispels negative preconceptions and offers encouraging political opportunities in opposition to settler colonialism ( Carlson & Frazer, 2020).

Indigenous People and Affective Publics

Political scientists find it difficult to comprehend social media politics because of bogus news, scattered networks, and cancel culture. Affect theories, which emphasize connections, in-betweenness, and circulation, can aid in the understanding of digitally mediated publics. Papacharissi's notion of "affective publics" aids in the comprehension of online movements that transcend conventional solidarity. Using sentiment bonding on Twitter, affective registers define "publics" with an emphasis on political possibilities and feasibility. Activists form internal relationships and linkages with the outside environment through affect ( Carlson & Frazer, 2020).

Indigenous People and Mapping

Cultures around the world participate in a particular form of mapmaking. Mapping, similar to language, defines a cultural exercise that demonstrates the ontological and epistemological edifices of that culture. Consequently, various map conventions result independently in diverse cultures and are the distinctive illustration of the necessity for spatial tools in that certain time and place. when one culture communicates spatial concepts by employing the rhetorical forms of another culture’s cartographic routine, it is a procedure of cartographic translation in which details are lost. Chronically, the mistranslation and misrepresentation of indigenous cartographies into Western cartographies practically determine the history of Western colonization and enforcement of indigenous people. The origins of this mistranslation are obvious when non-Indigenous and Indigenous cartographies are juxtaposed (Manuela, 2021).

(source: https://www.visualcapitalist.com/cp/mapped-the-worlds-indigenous-peoples/)

Tibetan Counter Mapping and China, Specimen

With the Seventeen-Point Agreement, Tibet and the PRC restored Tibet's autonomy following China's invasion of the region in 1950–1951. Tibetans argue that the agreement was signed under duress and that the Beijing delegation lacked the power to sign it. At the age of fifteen, the 14th Dalai Lama attempted, after his banishment, to yield to Chinese rule, but the UN offered him no assistance. After 1959, China reformed Tibet, which had previously been divided into the Tibetan Autonomous Region (TAR), which resembles more contemporary maps. Tibet had previously been divided into Amdo, Kham, and U-Tsang.

Beijing has dominated TAR ever since, albeit with some degree of Tibetan autonomy. This loss is especially apparent in the eastern regions of Amdo and Kham, where the bulk of Tibetans were born and raised. These lands were incorporated into the provinces of Yunnan, Gansu, Sichuan, and Qinghai; semi-nomalies Tibetans were housed in protected areas. 91% of China's population is ethnic Han, and other non-Tibetan minorities predominate in the provinces due to the lack of Han settlers and the remnant small, remote communities. A number of causes, including population pressure, government incentives, access to modern technologies, and the availability of resources such as Sichuan forests and rare animals, have drawn Han and Islamic Hui, as well as other non-Tibetan people, to the Tibetan Autonomous Region (TAR) (MacPherson, Bentz, & Bhuti Ghoso, 2008).

Native Americans in German media culture

Winnetou and Old Shatterhand © picture alliance/United Archives/IFTN David F. F. Münch

Trigger warning

The following section contains text passages and visual examples on topics such as racism, black-facing, and red-facing.

Karl May as Old Shatterhand, 1896. © Karl May Museum photo.

Basis of the fascination in Germany

Germany’s interest in “Indians”, despite the geographical distance and absence of direct contact, is largely attributed to media portrayals, especially the works of Karl May. His novel “Winnetou” and its film adaptations often stereotype Native Americans. The characters of Old Shatterhand and Winnetou, created by May, represent ideals that echo a post-industrial society's sentiments. D.S. Red Haircrow argues that Germans find in the romanticized image what they lost with the rise of Christianity. Winnetou is perceived as the noble savage, in harmony with nature and embodying virtues that Germans appreciate. As quoted by Alexander Klaws in ‘Ich bin kein Kostüm’, “Let’s not look at the color of the skin, but the color of the soul”.

The author Karl Friedrich May (1842–1912) is best known for his adventure novels. He is one of the most widely read authors in the German language, with his works circulating around 200 million copies worldwide, half of which are in Germany.

Winnetou, a fictional Native American hero, is May’s most celebrated creation. The character first appeared in the novel “Old Firehand” in 1875. The stories center on the friendship between Winnetou, an Apache leader, and Old Shatterhand, a German immigrant in the United States. These stories have been reprinted numerous times, adapted into films and plays, and have even inspired musical compositions. The Winnetou series symbolizes a romantic longing for a simpler life in close contact with nature. The series’ popularity is largely due to its ability to captivate the fantasies many Europeans have for this wilder environment. The series has given rise to festivals, with the first regular Karl-May-Spiele taking place from 1938 to 1941 in Rathen, Saxony. The most popular festival, in Bad Segeberg, draws about 250,000 people annually. Despite recent controversies over the portrayal of Native Americans in the books, Karl May’s works continue to shape a European perspective of the post-Civil War American West. His stories have become classics of popular literature and are proudly displayed on the bookshelves of many German homes.

David F. F. Münch

The stereotypes in contrast to reality

In a report featured on the DW.com website, LeAndra Nephin, an activist from the Omaha tribe who resides in the United Kingdom, discusses the issue of the racist stereotyping of Native Americans. She explains that the root cause of the lack of acceptance and understanding of Native American culture is the relatively small population of Native Americans. This results in a limited number of voices advocating for change and a widespread lack of interest in the truth about their culture and history. This, in turn, leads to a significant gap in education about Native Americans.

Stereotyping often leads to the misconception that Native Americans still dress in the same traditional attire as depicted in films and media. This can lead to the false assumption that the “typical” Native American no longer exists and that they have become a romanticized figure of fiction. However, this overlooks the fact that traditional clothing is still worn on special occasions and sacred dances and rituals are still practiced by many tribes.

Moreover, items such as dream catchers or Tithu figures made of poplar are often made and sold by individuals who have no Native American background. This is a clear example of cultural appropriation, where elements of a minority culture are adopted by members of a dominant culture.

The stereotypes that persist are largely based on old images and narratives from stories and books. For instance, the term “redskins” is not an ethnic fact but was derived from the war paint used by some tribes. Similarly, the totem pole is not a universal symbol among all tribes.

It’s important to note that the stereotypical representations are generally about the tribes of the prairie, which does not represent all tribes. As of 2020, there are 550 tribes currently recognized in the USA, and this does not include those that were wiped out by the genocide of immigrants. Furthermore, the image of wild nomads who live only from hunting and reside in tepees is presented as reality. However, there are tribes such as the Lenni Lenape who lived in wooden huts until the aggressive takeover of the Europeans and also practiced agriculture during the warmer months.

At this point, one could list further stereotypical differences and errors that can be attributed to the different tribes, which are not homogeneous. However, due to space constraints, it is not possible to cover all aspects in this text. The diversity and complexity of Native American cultures are vast and cannot be adequately represented through stereotypes.

David F. F. Münch

A film genre that shaped a nation and a stereotype:

The German Western

Michael Herbig as Abahachi (hachi is the German sound of sneezing) learning how to start a fire. Scene of the movie "Der schuh des Manitu" (The shoe of Manitu). (c) ORF/SZM Studios GmbH

French actors Marie Versini (left) and Pierre-Louis Le Bris (right) as the Apache characters Nscho-tschi and her famous brother Winnetou from Karl Mays novels. © imago images/Mary Evans

The German Western film genre, also known as "Euro-Western", has a unique place in the world of cinema. These films, often inspired by the works of German author Karl May, have been a significant part of German popular culture since the mid-20th century. The fascination with this genre can be attributed to the exotic and adventurous narratives set in the American Wild West, a setting far removed from the everyday life of the German audience.

One of the most notable aspects of German Westerns is their portrayal of Native Americans, often referred to as "Indianer" in German. These portrayals have been influenced by the romanticized and idealized depictions of Native Americans in Karl May's novels. However, these depictions are largely based on stereotypes rather than the diverse realities of Indigenous peoples of the Americas. For instance, Native Americans are often portrayed as noble savages, wise elders, or mystical beings with a deep connection to nature. These stereotypes, while seemingly positive, can be harmful as they oversimplify and homogenize diverse cultures, and ignore the contemporary realities and historical injustices faced by these communities.

Comedy films within the German Western genre, such as "Der Schuh des Manitu", often exaggerate these stereotypes for comedic effect. This film, directed by Michael Herbig, is a parody of the traditional German Westerns and has been one of the most successful German films since the Second World War. However, the film's portrayal of Native Americans, while intended to be humorous, can perpetuate harmful stereotypes. The characters are often shown as naive, superstitious, or primitive, which can reinforce outdated and prejudiced views about Native Americans.

The popularity of these films has also influenced trends in Germany, such as the wearing of "Indian" costumes. These costumes, often based on stereotypical depictions of Native Americans in German Westerns, are common sights at carnivals and costume parties. However, this trend has been criticized for cultural appropriation and for perpetuating harmful stereotypes¹⁷.

In conclusion, while the German Western film genre has been a significant part of German popular culture, it's important to critically examine its portrayals of Native Americans. Recognizing and challenging these stereotypes is a crucial step toward promoting a more accurate and respectful understanding of Native American cultures. It's also important to remember that Native Americans are diverse communities with their own contemporary realities, far removed from the stereotypical depictions seen in films.

David F. F. Münch

People as costumes

In Germany, "Indian" costumes are a common sight at events like Fassnacht, Halloween, and festivals. Some even partake in "plastic shamanism", a form of shamanism tailored for white Europeans. However, this fascination often neglects the intricate realities and challenges Native Americans face.

Popular media and comic characters like Pocahontas and Yakari, which are based on stereotypes, contribute to a simplified understanding of Native American culture. Children are exposed to these representations from an early age, and while not intended to offend, they can lead to ingrained, subconscious racism.

The Oakland American Indian Child Resource Center (AICRC) emphasizes that while costumes are temporary, the identities they represent are lived by real people daily. These costumes often depict the "noble savage", creating a binary of "good" or "bad" "Indians". The "good" ones are those who aid Euro-Americans, while the "bad" ones resist the immigrants. This oversimplified portrayal fails to capture the diversity and complexity of Native American cultures.

While many sources discuss the problem in the United States, it is also reflected in Germany. Native American activist Daunnette Reyome discusses this issue in a video, stating that one can dress up for a day and then remove this identity, but the problems and experiences of Native Americans are often overlooked.

Red HairCrow actively addresses this issue through interviews, performances, and their documentary: "Forget Winnetou! Loving in the wrong way.". Here, Native Americans are generalized and dismissed as fantasy figures. Like other minorities, they face subliminal racism and are offended by costumes at events such as "Fasnacht". It's particularly distasteful considering that some Native Americans living in Germany are descendants of those who fought for Germany's liberation in the Second World War, and are now being misrepresented.

Many people, influenced by their “childhood memories” and the “fact” that the stories they grew up with are fictional, often overlook the issues associated with certain costumes. This is particularly true for Native Americans living in Germany, who are frequently reduced to these stereotypes. These individuals struggle to be recognized as more than just the fictional ideas portrayed in popular culture.

In recent times, harmful acts such as black, red, or yellow-facing have been addressed, but those who point out these issues often face significant backlash. Another problem that is often overlooked is the oversexualization of minorities. Despite the harm it causes, some people still refuse to acknowledge this issue. It’s important to continue these conversations to promote understanding and respect for all cultures and identities.

David F. F. Münch

Debate on racism and modern media

Native Americans are often overlooked in discussions about racism, typically being mentioned only in relation to fictional characters. This issue is evident in the comments on a Der Spiegel article about the 2020 animated film Yakari. Users dismiss concerns about stereotyping, contending that historical depictions don’t need to reflect modern sensibilities. Despite explanations, daycare centers that ban offensive costumes face backlash. Wolfgang Thierse suggests that such prohibitions could incite reactionary forces. The conversation could shift if people engaged more deeply with history. The dispute over displaying scalps at the Karl May Museum underscores the need for a more nuanced understanding. The film “Der junge Häuptling Winnetou” has ignited a new debate in Germany in 2022 about the depiction of Native Americans in the media. Critics claim the film perpetuates damaging stereotypes and antiquated portrayals of indigenous peoples. The lead actor, Mika Ullritz, defended the film as an adventure story, not a documentary. This debate mirrors wider discussions about representation, cultural appropriation, and the media’s role in shaping perceptions and stereotypes. It also emphasizes the need for more accurate and respectful representations of indigenous cultures in the media. Another problem is the fact, that PoC, or in this case Native Americans, are often excluded in discussions about that matter. Therefore, in the end, most of the discussions end with the conclusion that "there is not a problem".

David F. F. Münch

Shamanic drums like this one from Amazon can be bought in many different places and are used for shamanic rituals, a lot in neo-Shamanism or in yoga. © mysevendo

Neoshamanism or "Plastik-Shamans"

Neoshamanism, or "Plastic Shamanism," is a contemporary spiritual movement in Germany that draws from the beliefs and rituals of indigenous tribes. However, it has faced criticism for its commercialization and exploitation of these spiritual practices. "Plastic shamans" are individuals who falsely represent these traditions for personal gain, power, or financial profit. This issue is particularly evident in events like the "Medicine Wheel Gathering" organized by the Bear Tribe, founded by a plastic shaman.

Moreover, spiritual objects such as dreamcatchers, necklaces, and sage, often produced by non-Native Americans, are sold purely for profit. This commodification reduces the traditional spiritual beliefs of Native Americans to a tool for monetary gain. There are even schools where anyone can learn to be a shaman.

It's essential to approach these practices with a critical eye, respecting the cultural contexts from which they originate. Genuine spiritual practices are deeply rooted in specific cultural contexts and histories. They cannot be commodified or taken out of context without losing their authenticity and respect for the cultures they originate from. It's crucial to remember this when engaging with such practices.

David F. F. Münch

In conclusion, the portrayal of Native Americans in German media culture, influenced significantly by Karl May's works and the German Western film genre, has had profound impacts on perceptions and stereotypes about Native Americans. These depictions, often romanticized and simplified, fail to capture the diversity and complexity of Native American cultures. The practice of neoshamanism or "plastic shamanism" further contributes to the commodification and exploitation of Native American spiritual practices. The trend of wearing "Indian" costumes, influenced by these media portrayals, has been criticized for cultural appropriation and perpetuating harmful stereotypes. Organizations like the Native American Association of Germany play a crucial role in addressing these issues and promoting a more accurate and respectful understanding of Native American cultures. It's imperative to approach these portrayals with a critical eye and strive for representations that respect and honor the rich cultural heritage of Native Americans.

David F. F. Münch

Further videos and links

Native American Association of Germany e.V.

Decoding Cultural Representation and Appropriation in documentations

Two documentations can be mentioned as good sources about this topic. The first documentary is “Forget Winnetou! Loving in the Wrong Way” by Red Haircrow. Haircrow, a Native (Chiricahua Apache/Cherokee) and African American, is an award-winning writer, poet, educator, psychologist, and filmmaker. Born in Germany to a US military family, he grew up primarily in Alabama and Tennessee. His documentary challenges the conventional narratives about Natives, focusing not just on the indigenous experience in North America, but also on Natives living abroad. The film explores the peculiar fascination with the Native American stereotype in Germany, a country where “Indian” fandom has taken many forms. It presents Germany as a microcosm of global struggles for decolonization and the correction of white privilege and supremacy that have divided and damaged our world.

The second documentary, “Ich bin kein Kostüm” (I am not a costume), raises critical questions about cultural appropriation. It asks whether white actors and artists should be allowed to adopt the physical characteristics of ethnic minorities, such as blackface makeup, dreadlocks, or painting images of black victims of violence. The documentary, which first aired on 3sat on Saturday, February 13, 2021, gives a platform to representatives of ethnic minorities who argue against such practices. They criticize “cultural appropriation” as a form of exploitation, where white people profit from adopting elements of minority cultures. This debate, which originated in the USA, has now reached Germany, leading to calls for politically correct clothing bans and a new moral police force.

Both documentaries offer insightful perspectives on the ongoing debates about cultural representation and appropriation, providing viewers with a deeper understanding of these complex issues. They are a must-watch for anyone interested in cultural studies and social justice.

David F. F. Münch

Sources

GALCHEN, R. (2012): Wild west Germany. Why do cowboys and Indians so captivate the country? (02.04.2012).

GOETHE UNIVERSITY OF FRANKFURT (n.d.): Tithu. The wanderers. Internet: https://www.diewan- derer.info/tithu/introduction (16.05.2021).

GRAVERT, K. (2021): I am not a costume! Documentation. Internet: https://www.3sat.de/kultur/kulturdoku/ich-bin-kein-kostuem-100.html (01.07.2021).

HATEF-ROSSA, G. (2020): Our longing for the brave "Indian". Information. Time Online. Internet: https://www.zeit.de/kultur/film/2020-10 yakari-kinofilm-kinderfilm-animation-film-cultural-appropriation-sioux (25.07.2021).

KIMMELMANN, M. (2007): Fetishizing Native Americans. In Germany, Wild for Winnetou. Spiegel International. Internet: https://www.spiegel.de/international/fetishizing-native-americans-in-germany-wild-for-winnetou-a-505494.html (09.07.2021).

MCLAURIN, V. A. (2012): Stereotypes of Contemporary Native American Indian Characters in Recent Popular Media. Master's thesis. Massachusetts.

MCLAURIN, V. A. (2019): Why the Myth of the "Savage Indian "Persists. Sapiens. Internet: https://www.sapiens.org/culture/native-american-stereotypes/ (11.06.2021).

MOHAMED, Z. (2019): INDIGENOUS REPRESENTATION IN MEDIA. INTERNET: HTTPS://STORYMAPS.ARcgis.com/stories34bdcbb62ba04aa2a63a2bdc1e8accab (11.07.2021).

SCHUMACHER, E. (2020): Why Germany can't quit its racist Native American problem. Top stories. Internet: https://www.dw.com/en/why-germany-cant-quit-its-racist-native-american-problem/a-52546068 (13.06.2021).

STERN. (2019): Why a Hamburg daycare center celebrated carnival without Indians. News. Stern. Internet: https://www.stern.de/lokal/hamburg/fasching--hamburger-kita-wollte-keine-indianer-kostueme-8607510.html (21.07.2021).

WEIMARER74 (10.2020): Comment section. Our longing for the brave "Indian".

Information. Time Online. Internet: https://www.zeit.de/kultur/film/2020-10/yakari-kinofilm-kinderfilm -animationsfilm-kulturelle-aneignung-sioux (25.07.2021).

ZOTSCH (10.2020): Comment section. Our longing for the brave "Indian". Information. Time Online. Internet: https://www.zeit.de/kultur/film/2020-10/yakari-kino film-kinderfilmanimationsfilm-kulturelle-aneignung-sioux (25.07.2021).

David F. F. Münch Native Americans in German Media Culture

Conclusion

All these examples make clear that the relationship between indigenous people and media is complex, multifaceted, and spatially differentiated around the world spanning all types of media. It is important that we work to understand this relationship and critically engage with this media.

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