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Sitting Bull Film to be Shown in North Dakota – Bismarck Tribune

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Sitting Bull Film to be Shown in North Dakota

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Cheryl McCormack | Bismarck Tribune | July 26, 2018

[/fusion_text][fusion_imageframe image_id=”11722|full” aspect_ratio=”” custom_aspect_ratio=”100″ aspect_ratio_position=”” skip_lazy_load=”” lightbox=”no” gallery_id=”” lightbox_image=”” lightbox_image_id=”” alt=”” link=”” linktarget=”_self” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” sticky_display=”normal,sticky” class=”” id=”” max_width=”” sticky_max_width=”” align_medium=”none” align_small=”none” align=”none” mask=”” custom_mask=”” mask_size=”” mask_custom_size=”” mask_position=”” mask_custom_position=”” mask_repeat=”” style_type=”” blur=”” stylecolor=”” hue=”” saturation=”” lightness=”” alpha=”” hover_type=”none” margin_top_medium=”” margin_right_medium=”” margin_bottom_medium=”” margin_left_medium=”” margin_top_small=”” margin_right_small=”” margin_bottom_small=”” margin_left_small=”” margin_top=”” margin_right=”” margin_bottom=”” margin_left=”” bordersize=”” bordercolor=”” borderradius=”” z_index=”” caption_style=”off” caption_align_medium=”none” caption_align_small=”none” caption_align=”none” caption_title=”” caption_text=”” caption_title_tag=”2″ fusion_font_family_caption_title_font=”” fusion_font_variant_caption_title_font=”” caption_title_size=”” caption_title_line_height=”” caption_title_letter_spacing=”” caption_title_transform=”” caption_title_color=”” caption_background_color=”” fusion_font_family_caption_text_font=”” fusion_font_variant_caption_text_font=”” caption_text_size=”” caption_text_line_height=”” caption_text_letter_spacing=”” caption_text_transform=”” caption_text_color=”” caption_border_color=”” caption_overlay_color=”” caption_margin_top=”” caption_margin_right=”” caption_margin_bottom=”” caption_margin_left=”” animation_type=”” animation_direction=”left” animation_speed=”0.3″ animation_offset=”” filter_hue=”0″ filter_saturation=”100″ filter_brightness=”100″ filter_contrast=”100″ filter_invert=”0″ filter_sepia=”0″ filter_opacity=”100″ filter_blur=”0″ filter_hue_hover=”0″ filter_saturation_hover=”100″ filter_brightness_hover=”100″ filter_contrast_hover=”100″ filter_invert_hover=”0″ filter_sepia_hover=”0″ filter_opacity_hover=”100″ filter_blur_hover=”0″]https://lakhota.org/wp-content/uploads/2018/07/180726-sittingbullfilm.jpg[/fusion_imageframe][fusion_text columns=”” column_min_width=”” column_spacing=”” rule_style=”” rule_size=”” rule_color=”” hue=”” saturation=”” lightness=”” alpha=”” content_alignment_medium=”” content_alignment_small=”” content_alignment=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” sticky_display=”normal,sticky” class=”” id=”” margin_top=”” margin_right=”” margin_bottom=”” margin_left=”” fusion_font_family_text_font=”” fusion_font_variant_text_font=”” font_size=”12″ line_height=”” letter_spacing=”” text_transform=”” text_color=”” animation_type=”” animation_direction=”left” animation_speed=”0.3″ animation_offset=””]Starring Jessica Chastain, right, as Catherine Weldon and Michael Greyeyes, left, as Sitting Bull, “Woman Walks Ahead” depicts Weldon’s journey to the Dakotas in the late 1800s to paint a portrait of the Indian chief and offer support to his people. Submitted photo[/fusion_text][fusion_text columns=”” column_min_width=”” column_spacing=”” rule_style=”” rule_size=”” rule_color=”” hue=”” saturation=”” lightness=”” alpha=”” content_alignment_medium=”” content_alignment_small=”” content_alignment=”” hide_on_mobile=”small-visibility,medium-visibility,large-visibility” sticky_display=”normal,sticky” class=”” id=”” margin_top=”” margin_right=”” margin_bottom=”” margin_left=”” fusion_font_family_text_font=”” fusion_font_variant_text_font=”” font_size=”” line_height=”” letter_spacing=”” text_transform=”” text_color=”” animation_type=”” animation_direction=”left” animation_speed=”0.3″ animation_offset=””]

BISMARCK-In 1889, an artist and activist living in New York journeyed to what is now the Standing Rock Indian Reservation, stretching across the Dakotas, where she befriended Sitting Bull and created four paintings of the Indian chief – one of which hangs in the North Dakota Heritage Center & State Museum’s Inspiration Gallery.

Caroline “Catherine” Weldon’s journey was recently made into a motion picture, “Woman Walks Ahead,” which will premiere Friday, July 27, at the Grand Theatres, Bismarck. Audiences will have one week to take in the special showing.

The film was released about a month ago, but it was not widely promoted in theaters, according to Grand Theatres owner Jerry Brekke, who first watched the film on DirecTV pay-per-view.

“I thought, ‘Oh my goodness, this is such a wonderful film. Why is this not in the theater?'” he said. “It’s beautifully shot and acted, and is totally awe inspiring.”

Film distributor A24 granted Brekke special permission to show the western, which was filmed in New Mexico with Jessica Chastain starring in the lead role. Michael Greyeyes plays the part of Sitting Bull.

Prior to production, filmmaker Susanna White visited Lakota lands, including Standing Rock, but opted for locations near Santa Fe, N.M. Filming began a week before protests erupted at Standing Rock over the Dakota Access Pipeline, according to Film Journal International.

“The movie really does depict the scenery that we have here,” said Brekke. “It looks like it could’ve been filmed here.”

As a member of the National Indian Defense Association, Weldon advocated for Native American rights. She headed west to offer support to Sitting Bull and his people in response to the Dawes Act of 1887, which broke up indigenous land into individual allotments.

Once she arrived in Standing Rock, Weldon acted as Sitting Bull’s secretary for several months. She also offered financial support to the chief and his family, drawing on a small inheritance from her mother.

Weldon painted four portraits of Sitting Bull, of which two are known to have survived. One is held by the State Historical Society of North Dakota and the other is on display at the Historic Arkansas Museum in Little Rock, Ark.

When Matthew F. Steele donated the portrait to the SHSND in 1953, a story accompanied it.

After creating the image, Weldon presented it to Sitting Bull, who hung the gift on the wall of one of his cabins. In the exchange of gunfire that resulted in Sitting Bull’s death in 1890, seven of his followers and six American Indian police died.

A policeman whose brother was killed tore the painting from the cabin wall and struck it with his rifle, causing the rip still visible today on the portrait, which hangs in the “our lives, our communities” section of the North Dakota Heritage Center’s Inspiration Gallery.

Steele, who was a lieutenant with the U.S. Army forces that arrived after the fight, rescued the painting and purchased it from Sitting Bull’s widow. He went on to become a Fargo businessman.

“Woman Walks Ahead” is based on true events, which means it sometimes sacrifices accuracy for drama. For instance, the primary reason Weldon travels to Standing Rock in the movie is to paint a portrait of Sitting Bull. She also travels alone when, in reality, she made the journey with her young son, Christie.

Brekke says the film reminds him of the well-known western, “Dances with Wolves,” which was shot primarily in South Dakota.

“I just hope people see it. It’s really a great film,” he said. “It’s a rare thing that it wasn’t released, theatrically, on a wide basis. Only a few theaters have even shown it.”

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Lakota father and daughter on working to revitalize their language – Prairie Public Broadcasting

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Lakota father and daughter on working to revitalize their language

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Prairie Public Broadcasting | July 25, 2018

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Those who work to revitalize Native American languages often find it challenging to reach the hearts of young people. But for one Lakota father and daughter, language has always been at the center of their lives, their bond and their purpose.

Manny and Claudia Iron Hawk recently visited the StoryCorps MobileBooth in Bismarck to discuss family history and the Lakota language as a healing force.

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LLC July 2018 Newsletter

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News for Lakota Language Warriors  •  July 2018

A Lakota Summer to remember!

The Lakota Language movement took a major leap forward this summer!

We brought LSI to two new sitesLakota Summer Academy at Oglala Lakota College on the Pine Ridge Reservation in South Dakota, and Lakota Summer Institute— North at United Tribes Technical College in Bismarck. 

More than 150 Lakota enthusiastic learners attended. That’s a tribute to many people: our host partners, funders, superb instructors, and to all the students who brought their full attention and passion to the classroom.

Attendees at both Institutes told us they loved the work. Here’s just a small sample:

“All I can say is that where you lead, I will follow!”
“I feel like I have all of the tools to continue learning on my own.”
“My instructors were absolutely phenomenal.”

“You get to learn things you would never learn from a book.”
“It’s never too early, or too late, to learn Lakota”
Thanks to LSI, I’m on the path to learning Lakota.”

We can’t wait to see you again in 2019! 

In the meantime, stay connected and keep practicing! To start: 
• Follow us on Facebook.
• Visit the Lakota Language Bookstore for the latest books, apps and more.
• Join Lakota Language Learning Group are great sites to bookmark. 

Update: Lakota Language Immersion Schools

After leading two intensive Lakota Summer Institutes this summer, LLC Linguistics Director Jan Ullrich returned to Pine Ridge to consult with Lakota Language Immersion teachers in childcare, pre-school and elementary class.

LLC has been a catalyst for Language Immersion Schools for Lakota, Crow and other languages for years. Day in and day out, these schools do the vital work to help children speak at an early age, and carry the language forward.

Lakota Language comes to Storycorp for first time

StoryCorps — the world’s largest oral history project — arrived in Bismarck, ND in June and partnered with LLC to invite Lakota speakers to share their stories in the Storycorp Mobile Booth.

One of the most remarkable recordings happened when Ben Black Bear invited Jan Ullrich to record a conversation — 75% in Lakota — about their work as Lakota language ambassadors. This invaluable recording will be shared with Jan and Ben for their archives, and the Library of Congress and public radio.

 StoryCorps will be in Bismarck until July 27. meaning there’s still time to tell YOUR story! Sign up here.

News Coverage of LSI (click to watch, listen, read)







Lakota Language Weekends

Get ready for a new season of Lakota Language Weekends, beginning this fall through 2019! We’ll be bringing our excellent instructors to cities around the country. Here’s the tentative lineup — note, these cities are subject to change, and we haven’t finalized dates yet. We’ll keep you posted!

Denver
Rapid City
Los Angeles
San Francisco (new!)
New York
Washington, DC (new!)

Two Youth Scholarships available for LSI 2019

The New York Community Trust is offering two full scholarships for Native Americans age 24 and under residing in New York City to attend the Lakota Summer Institute in 2019. All expenses paid, including travel, meals and accommodations, and program fees.

To apply: Please send an email describing yourself and why you would like to attend to events@languageconservancy.org.

Support Languages by shopping on Amazon

Support endangered languages by shopping at Amazon Smile! 

Here’s how it works:
1) Go to smile.amazon.com
2) Select “Lakota Language Consort”
3. Continue shopping!

Amazon will donate 0.5% of purchases to LLC. Done!

Taŋyáŋ úŋ po (Walk well)

– the LLC Team

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Lakota storyteller on lessons learned from a good friend and mentor – Prairie Public Broadcasting

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Lakota storyteller on lessons learned from a good friend and mentor

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Prairie Public Broadcasting | July 10, 2018

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Kevin Locke tells StoryCorps Facilitator, Madison Mullen, about a promise and gift made by his friend and benefactor, Arlo Good Bear, shortly before his death. He describes Good Bear’s lessons and gift of the hoop dance, which Locke has since shared with people all over the world.

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‘Woman Walks Ahead’ Lead Sees A Sea Change For Indigenous People On Film – NPR

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‘Woman Walks Ahead’ Lead Sees A Sea Change For Indigenous People On Film

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Lulu Garcia-Navarro | NPR | July 1, 2018

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In Woman Walks Ahead, an artist and activist from New York City (Jessica Chastain) travels to North Dakota to make a portrait of Sitting Bull (Michael Greyeyes).

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In Woman Walks Ahead, a New York City activist and artist named Catherine Weldon (played by Jessica Chastain) travels across the United States to paint the great Native American chief Sitting Bull. The role of Sitting Bull is portrayed with humor and complexity by Michael Greyeyes, who is Plains Cree and hails from Muskeg Lakes First Nation in Canada.

Based on real-life events, the movie finds Sitting Bull just after he was released from penitentiary for his involvement at the Battle of the Little Bighorn. “So this is really a portrait of a man near the end of his life — disillusioned, really, by the dispossession and violence that his community had faced,” Greyeyes says.

Greyeyes has had plenty of meaningful roles in an acting career that is nearing three decades. But in an interview, he explained why he considered this a “role of a lifetime.”


Interview Highlights

On what drew Greyeyes to the script

It was almost, really, from the first page that Steven Knight’s writing grabbed me. And of course, the first time Sitting Bull actually appears on the page immediately … where he meets Katherine and Katherine’s sort of speaking this elevated sort of language … and immediately Sitting Bull just shoots back really, with this comfortable, easy, vernacular tone. And we realized right away at how sophisticated he is, and the audience laughs. Every screening I’ve been in the audience laughs heartily. And from that moment I realized we were looking at a paradigm shift in terms of how Hollywood is treating native characters.

Very often in films and scripts that, you know, deal with our community or have native content, we’re often placed as foils against which some larger questions, some so-called more important question is examined. But in this film we see a Sitting Bull that is three-dimensional. We see his irony, his regret … his brokenness. And in that way it’s actually quite startling. It’s quite politically startling to see a native character treated with that with that scope — scope usually reserved for other ethnicities. And of course that drew me to the project immediately.

On the film’s role in telling the history of the American West

I think it’s a powerful corrective, to be quite honest. When I speak to people about the role and about what happens – and, of course, where the assassination of Sitting Bull lies in terms of the political landscape, the historical landscape of that time — I’m quite stunned, often, when I realize people don’t know that history. So when I encounter people that don’t know these kinds of monumental historical events, you know, whether it’s Indian removal or Wounded Knee, I’m often stunned. And so I know that with this film and its detailed examination of the Lakota struggle for sovereignty, for their lives even, I knew that this was timely. And with Susanna White, our director’s treatment, the humanism of her work, of Steven [Knight]’s work, creates a kind of empathy that I find is desperately lacking in our discourse.

On playing such an important historical figure

Sitting Bull is a hero. He’s a hero to indigenous people around the world. And for me to approach that role I too am an outsider. I’m indigenous but I’m — I come from a different community, a different culture. And so when I sought to approach this, I looked for support. I had language consultants and cultural advisers from Standing Rock and from the Lakota community who had worked in Hollywood, and we had numerous people behind the scenes, behind the camera. And it’s with that support, it’s with that literal love, that I felt confident I could approach this and portray him as I think we understand him. We as indigenous people understand our leaders to be that they’re — that they’re human, they’re complex, they’re sophisticated. They were grappling with huge issues at the time when — you know, we learn about them later, you know Dawes Allotment act, the violence in the West. So for me it was, and is, a role of a lifetime.

On choosing roles to perform, and the responsibility therein

Interestingly, actors of color, I think, bear a particular, an added responsibility, because dominant culture often see us as exemplars, or as sort of icons for a larger culture — not something we always assume of, you know, a Caucasian actor … and so I kind of carry this with me. I’ve always been adamant about trying to expand or agitate or subvert in some way our collective notion of Indian-ness. And so for example, when I spoke English I always fought that my characters would have a really profound grasp of the language. You know, English is relatively easy, you know, compared to indigenous languages. So I said, “Why wouldn’t he learn English well?” And you know, producers or directors would often wonder about that. But with Susanna [White] and these producers, that wasn’t an argument I had to make. They were allies from the beginning.

On the push for indigenous (and other minority) actors to portray roles that aren’t directly related to their heritage

Greyeyes: I’ve been fortunate in my career. I’ve always been incredibly proud to represent my community, whether it’s as a Cree man or as an indigenous person here. So I’ve played Comanche characters, Lakota characters, you know, other cultures. And even though I’ve played these different roles, they were always a period role. But then more recently I started to get cast as police officers or lawyers and, you know, even a serial killer. But they were always native doctors, native lawyers, until just recently actually. It was only about two weeks ago that I was finally cast, after 27 years in the business, as a character whose ethnicity was not determined. They just liked me as a performer. And so that to me was actually a watershed moment.

Garcia-Navarro: Do you think it signifies something broader?

Greyeyes: I do. I do. I think there’s a sea change. I’ve seen it for maybe the past 4-5 years, actually. I’ve started to see a dimensionality finally appear in the materials I was being sent, the scripts I was reading, and I started to see it in other places — in the treatment of our cultures, of our characters. For example, just recently I watched a fabulous episode on Westworld, and there was an episode that was really focused on the indigenous “hosts” in the show, and it was beautifully done — truly sophisticated, and the performances were nuanced. So it’s there. It’s with films like Woman Walks Ahead. It’s of course in the work of indigenous filmmakers and indigenous writers — it’s always been present. But I think we’re on the eve of something. It gives me great hope, as I continue to work in an industry that I love, that change is on hand.

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