The peoplehood matrix is considered as innovative, and at the same time admittedly one of the most underdeveloped guidelines of indigenous knowledge. This doctrine holds that indigenousness is linked to the ceremonial cycle, place territory, sacred history, and specific language (Washburn & Stratton, 2008). Washburn and Stratton (2008) go on to ascertain that it is paramount to understand the interrelationship of these four crucial aspects in analysis and that they are all important to provide a sense of identity. The main strength of the peoplehood matrix is that it encompasses everything and provides comprehensive analysis, and that is why it is adopted in this paper to analyze the Little Big Man film in regards to the four aspects of the ceremonial cycle, place territory, sacred history, and specific language.
The film, Little Big Man, directed by Arthur Penn, was released in 1970. It was based on the novel, Little Big Man, which is an exquisite work by an excellent American author, Thomas Berger. Various scholars and writers such as Ralph Fielding and Natasha Friar have described the film as a satire depicting the Western genre; it can also be termed as a work falling into the picaresque literature genre. This is because the film depicts the explorations of a hero who has gone rogue, in that, he rises from a low class battling against the unjust and corrupt society. The film tells the supposed story of Jack Crabb, who is one hundred and twenty years old, a white man that has been brought up by the Cheyenne nation (Brewer, 2020). The film aligns itself with the memoir as explained by Ralph Snell, who is a fictional writer, following the adventures of Crabb as he meets different famous characters throughout his life and how he escapes the claws of death. This exciting film follows similar themes researched through different Western novels and films, and it also depicts the parody of those discovered themes. The main theme that has been highlighted in the film is the complex relationship that exists in the American West culture and the imbalance relations between the Natives and the White Americans.
The film not only provides a great plot but also portrays a good picture of what it was and meant to be a Native American. Jack Crabb retells and reflects on his life as he is much older and has reentered white society. Jack and his sister were apprehended and raised by the Indians after an accident in their overturned wagon. They slowly fit in their new “home” they adapt to the tribe, he marries into the tribe, and later his sister is killed (Urlacher, 2021). One of the most interesting parts of the movie is that it displays occurrences majorly from the perspectives of the Indians. Most movies display Indians as malicious and crazy people: however, this film gives them credit and shows that the Whites and the cowboys as the instigators of the fights and battles. The film also shows that the Indians as “real humans” while the Whites as inhuman.
A younger tribe mate in the movie criticized John Crabb terming him as not being human because he was White. The movie shows how the Whites perceived the Native Americans to a point that a small boy would utter such words, meaning that the cruelty was deeply rooted among the Whites. It is unfortunate that a young boy can have the perception that there are other humans, in this case, the White, as inhuman. Brutality among the Whites was so evident throughout the scenes, as it was seen how the white men killed men, women, and children. The film description appeared heavy-handed as shown by the director Arthur Penn, in that he did not only make the movie but also comprehensively challenged the manner Hollywood mythologized the American West history. He was also providing a response to the Vietnam wars leading to the well-exposed atrocities of the wars such as the My Lai Massacres (Sonneborn, 2022). Penn did not shy away from showing the brutalities in the West which led to the various criticisms he received. The author detailed the ugly sides of the wars which included the cruel killings of unarmed mothers, innocent civilians, and children. Indians were painted as killing each other, the young murdered the older people and fur trappers brutally killed animals for profits.
The locations for shooting the film were historic sites such as Little Bighorn and also using real reservations in Montana provided a realistic edge that was not used to depict the West (Washburn & Stratton, 2008). The director enjoyed engaging the public and their perception of historical occurrences such as the Left-Handed Guns of 1958 focusing on Billy the Kid who was an outlaw, but in this film, Little Big Man, Penn brought out the urgency that was needed to address the cruelty in the society. It showed immeasurable proportions of tragedies in society and still, the film managed to be personal and entertaining. The film concentrates on injustices, immorality, and the lifestyles of Native Americans, and Jack is seen as a man full of love, unity, courage, and merciful. His brave character propels him to fight for humanity highlighting courageousness as the theme in the film.
References
Brewer, J. (2020). An Expression of Self-Determination: Incorporating Alaska Native Knowledge into Community-Driven Energy Sovereignty. American Indian Culture and Research Journal, 44(4), 1-20. Web.
Sonneborn, L. (2022). The American West: An Illustrated History Hardcover. New York: Scholastic Reference.
Urlacher, B. R. (2021). Introducing Native American Conflict History (NACH) data. Journal of Peace Research, 58(9), 133-145. Web.
Washburn, F., & Stratton, B. J. (2008). The Peoplehood Matrix: A New Theory for American Indian Literature. University of Minnesota Press, vol 23, issue 18, 51-72.