Floyd Red Crow Westerman, a name synonymous with both artistic talent and unwavering advocacy, carved a unique niche for himself in the tapestry of American culture. While he achieved widespread recognition for his compelling performance in the acclaimed western epic "Dances with Wolves," Westerman’s contributions extended far beyond the realm of acting. He was a multifaceted individual – a Dakota Sioux activist, a talented musician, and a passionate voice for environmental protection and Native American rights. His life was a testament to the power of art as a vehicle for social change, and his legacy continues to inspire generations.
Westerman’s commitment to activism was deeply rooted in his experiences as a Native American. He was a prominent figure in the American Indian Movement (AIM), an organization that emerged in the late 1960s to address systemic injustices faced by Native American communities. Decades before the concept of sovereignty became a mainstream topic, Westerman and his fellow activists were at the forefront, demanding recognition of Native American rights and advocating for self-determination.
One of the pivotal moments in AIM’s history was the 1973 occupation of Wounded Knee, South Dakota. This event, a powerful act of protest against the U.S. government and the tribal leadership on the Pine Ridge Reservation, brought national attention to the plight of Native Americans. Floyd Red Crow Westerman was an active participant in this demonstration, emphasizing that the core issue was not simply about Indian rights in general, but about securing justice and accountability for the Lakota people at Pine Ridge.
Westerman held strong opinions about the political dynamics within the Pine Ridge Reservation, particularly concerning Dick Wilson, the tribal chairman at the time. He believed that Wilson’s policies exacerbated existing divisions within the community, creating a chasm between traditionalists and those who he described as "half-breed Christians." Westerman lamented what he perceived as the inequitable distribution of resources, alleging that traditionalists were marginalized while others profited from the sale of tribal lands – a practice he vehemently opposed.
While the Wounded Knee occupation brought AIM into the national spotlight, Westerman underscored that the organization’s origins lay elsewhere. He traced AIM’s roots back to Minneapolis, Minnesota, where it was initially formed to combat police brutality against Native Americans. The organization sought to document these injustices through the use of cameras and legal representation. However, Denver, Colorado, became the formal headquarters of AIM in 1968, marking a significant step in its evolution as a national movement.
Following its emergence in Minneapolis, AIM was invited to Pine Ridge to assist traditional Lakotas in their efforts to prevent uranium mining on their ancestral lands. Westerman and others believed that Dick Wilson was acting in collusion with mining interests, prioritizing financial gain over the well-being of the community and the preservation of the environment. According to Westerman, Wilson’s administration employed a paramilitary group known as the "Goons" to suppress dissent and prevent demonstrations on the reservation. This led to the decision to occupy Wounded Knee, a symbolic act of defiance that drew a heavily armed response from the National Guard, complete with tanks and machine guns.
Beyond the dramatic confrontations, Westerman emphasized that the underlying principles of the protests and demonstrations were rooted in fundamental human values. He articulated that the core demand was for the United States to honor its treaties with Native American tribes, particularly concerning land rights. For Westerman, these treaty rights were inextricably linked to human rights, and he viewed the struggle for Native American self-determination as part of a larger global movement for liberation.
Floyd Red Crow Westerman’s activism also found expression through his music. As a Dakota Sioux, he drew inspiration from the AIM movement to create his album and song, "Custer Died For Your Sins." This title, borrowed from the influential book by Vine Deloria, Jr., offered a Native American perspective on historical events and contemporary issues. Westerman explained that the album resonated deeply with Native American audiences because it captured their experiences and addressed their concerns. He acknowledged that the album, while impactful, could not encompass the full spectrum of challenges facing Native American communities.
His friendship with Vine Deloria, Jr., further solidified his commitment to using art as a platform for social commentary. Deloria, recognizing Westerman’s musical talent, encouraged him to write songs that addressed issues such as the role of anthropologists and missionaries in Native American communities, as well as the importance of religious freedom for Native Americans. These conversations inspired Westerman to create music that reflected the realities of Native American life in the late 1960s and early 1970s.
Westerman’s songs served as a powerful means of conveying the Native American perspective and highlighting the challenges they faced. He believed that treaty rights were inherently human rights, and he saw the struggle for Native American liberation as an ongoing process. His music became a voice for the voiceless, amplifying their concerns and advocating for justice and equality.
In addition to his activism and musical endeavors, Floyd Red Crow Westerman dedicated himself to raising awareness about environmental issues. He joined forces with Sting, a prominent musician and environmental activist, for a South American concert tour focused on protecting the rainforests. This collaboration underscored Westerman’s commitment to environmental stewardship and his belief that the preservation of natural resources was essential for the well-being of all people.
While his activism and music were integral parts of his identity, Floyd Red Crow Westerman achieved widespread fame for his acting, particularly his role in "Dances with Wolves." Although acting was not initially his primary focus, he was encouraged to pursue it by his friend and fellow actor, Will Sampson. Sampson, recognizing Westerman’s talent and potential, urged him to audition for a role when he was no longer able to perform due to illness. This led to Westerman’s first acting job in a MacGyver television show, setting the stage for his subsequent success in film.
"Dances with Wolves" held a special place in Westerman’s heart. He also enjoyed working with director Oliver Stone on the film "The Doors." Westerman also expressed admiration for actors such as Kevin Costner, Keifer Sutherland, Lou Diamond Phillips, Johnny Depp, Mary McDonald, and Angelica Huston, highlighting the collaborative nature of filmmaking and the importance of working with talented and supportive colleagues.
The widespread recognition that Floyd Red Crow Westerman gained from "Dances with Wolves" provided him with a broader platform to advocate for causes that were important to him, including environmental protection. His concert tour with Sting exemplified his commitment to using his celebrity to raise awareness about pressing global issues.
Westerman also paid tribute to one of his musical heroes with his CD, "Floyd Red Crow Westerman – A Tribute To Johnny Cash." He recounted meeting Johnny Cash at an AIM rally and various benefit concerts. Westerman admired Cash’s unwavering support for Native American rights, citing his album "Bitter Tears" and his song about Ira Hayes, a Pima Indian and U.S. Marine, as examples of his commitment to social justice.
"Tribute to Johnny Cash" featured Westerman’s interpretations of Cash’s iconic songs, including "Ring of Fire." This album served as a testament to Westerman’s musical talent and his deep respect for Johnny Cash, a fellow artist who used his platform to advocate for marginalized communities. Floyd Red Crow Westerman remained a voice of conscience.