CA

In-Depth Notes on James Luna's Work and Cultural Critique

  • James Luna's Background

    • Luna's family has a history of ethnographic scrutiny in the 19th and 20th centuries.

    • Family portraits and the practice of ethnographers digging up ancestors showcases a historical trend of objectifying Native American cultures.

    • Specific example: In 1906, Luna's great-grandmother, Maria Soledad Apiche Trujillo, was photographed in a way that objectified her family rather than celebrating their individuality.

  • Representation at Museums

    • Luna's family photographs are archived at the Museum of Man in San Diego, signifying their representation not as individuals but as subjects of study.

    • The portrayal of the Luiseno tribe reflects notions of being part of the past and risks being forgotten; ethnographers aimed to preserve what they believed to be a disappearing culture.

  • Critique of Ethnography and Museums

    • Jane Blocker critiques the motives of ethnographers, labeling their work as a scientific pursuit despite the potential for sacrilege.

    • Ethnologists often sought bones and artifacts; however, they overlooked the living descendants who still cherish these histories.

    • Luna staged the "artifact piece" in 1987 at the Museum of Man.

  • Artifact Piece

    • Luna lay in a glass vitrine for several days surrounded by museum exhibitions depicting the Coumadier way of life.

    • The installation included traditional items and contemporary objects, merging past and present.

    • Luna's body was not a mannequin but rather alive, veering the voyeuristic power dynamics in museums.

    • The exhibit challenged perceptions of Native American identity and disrupted conventional modes of representation.

  • Take a Picture with a Real Indian

    • Performed multiple times in 1993 and into the 2000s; aimed to critique the commodification of Native American culture.

    • The “Mick Indian” concept represents the commercialization of Native identities.

    • At one performance in Washington DC, Luna stood in various outfits inviting people to pose with him.

    • Initial moments drew attention, leading to a line-up of people wanting to take pictures.

    • The performance underscored the sometimes humiliating experience of being seen as an object for consumption.

  • Cultural Commentary

    • Reflects on how American culture operates, such as naming cars after tribes or naming festivals after sacred practices.

    • Highlights the ongoing issues of representation, commodification, and historical oppression faced by Native American communities.

  • Overall Implications

    • Luna’s works confront institutional narratives surrounding Native American identity, seeking to reclaim agency in cultural representation.

    • His performances serve as powerful critiques of how Native cultures are understood and displayed within contemporary contexts, forcing audiences to reckon with their perceptions and biases against living cultures.