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Celena
White (Thomas Ryan RedCorn)
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Photos like these of
Osage women have a complex history.
Like many Americans,
Osage women in Oklahoma in the early 1900s loved to put on their
best clothes and have their portraits taken. The photos were a nice
gift for family or descendants and an expression of self-respect
that attacked prevailing American attitudes about indigenous people.
But the practice quickly went bad.
After being removed to
northeast Oklahoma in the 1800s, Osages had negotiated themselves
into an advantageous position. Oil was discovered on
their land, and by the 1920s, Osages were the wealthiest people
per capita on the planet. But as American discoveries
so often go, murder followed hundreds of murders. Osage women
were the primary targets of unscrupulous white men.
Portraits of Osage women
like these were created by local photographers. Merchants would
sell the photos to white men to track down wealthy Osage women.
They would proceed to court and marry an Osage, then kill her relatives
so she would receive an inheritance and then kill her, too.
The Osage Nation paid
the fledgling FBI to come investigate, trying to fight corruption
of local, state and federal government in Oklahoma. Only two white
men went to prison. The vast majority of the killings would go unsolved.
While the FBI was impersonating
heroes, Osage women protected themselves and their families, holding
fast to values that came before them and still exist today.
Osage men and women looked
after my grandfather when his father was killed in 1931, well after
the FBI solved the crimes. Those relatives, despite
being targets themselves, gave my grandfather the tools and values
that he used not only to survive, but to laugh his way to 94.
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Olivia
StandingBear (Thomas Ryan Red Corn)
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Melyssa
Hight (Thomas Ryan RedCorn)
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Lulu Goodfox (Thomas Ryan RedCorn)
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To this day, non-Native
photographers are sent to Native communities to document.
The relationship between indigenous people and non-Native photographers
is at best strained, and at worst, gratuitous, invasive, repulsive
and deceitful. America loves photos of Indians (usually old photos),
but everyone loses when the country sees and hears only images and
stories that reinforce disappearance, poverty, silencing and voyeuristic
othering of our ways.
My collaborative approach
for these portraits respects the person, the space, the voice and
the time the photo is being taken. Through this lens, these womens
voices and values emerge. These values have always been central
to the Osage community. They carry with them respect, generosity,
fairness, adaptation, prayer and humor.
Melyssa Hight, pictured
above, described Osage women as strong, loving, nurturing
and wise. It means being a survivor of genocide and becoming hope
made into flesh all while being beautiful.
These photos are a manifestation
of Osage values, too. These women dont dress this way on a
daily basis, but its their representation, their choices.
The representation of self is itself an Osage value. And the fact
that those ideas survive and thrive is its own hero story.
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Lydia
Cheshewalla (Thomas Ryan RedCorn)
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Thomas Ryan RedCorn
is a photographer, designer, filmmaker, founding member of the 1491s
and a resident of Pawhuska, Okla., Osage Nation Reservation.
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