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He's Giving The \ INDIAN
A BREAK!
By LARRY SPAIN
IN an ancient adobe out in Taos, New Mexico, Woody Crumbo, Indian artist and historian, is engaged in a project that is unique. It is Crunv bo's contention that if a nationwide audience could be shown Indian arts and crafts, the present precarious economic condition of the Indian would cease. Crumbo and a small group of full-blooded Indians are conducting one of the sanest programs for the rehabilitation of a race ever attempted.
Crumbo, a 4Oyear'0ld Pottawatomi Indian, is actually in the busi' ness of "discovering" Indians. "I've spent most of my life studying the Indian and his needs," says he. "His biggest need is publicity. The apathy that has characterised general accept' ance of Indian handiwork is due to widespread ignorance of its existence, and too few sales outlets."
Every effort in the past to bring stability to the red race has failed. "And the reason," says Crumbo, "is that most of those efforts were misdirected. The Indian does not want charity; he wants only to work in his chosen fields and sell his output for a modest profit. He wants education, a better way of life."
Some months ago, Crumbo launched the campaign he believes will even
tually give his people the publicity break they must have. His plan to bring recognition and security to the Indian took concrete form several years ago, when he began painting historical records of the red man. It resolved into four series of authentic Indian subjects, each series comprising 12 different scenes from his religion, rituals, wars, customs. It forms a complete saga of America's first resident, a graphic account of a minority race.
At the time he began painting his series, Crumbo had evolved the plan which is now in effect — publicizing Indian arts and crafts. The original paintings are being reproduced in full-color serigraphic prints in his old Taos workshop. Most of the skills involved are supplied by Indians, who were trained under Crumbo's supervision.
With all four series complete, they will be exhibited in the art classes of schools and colleges, in clubs, fraternal societies, youth and church organisations. It is believed that many sets will be purchased by these groups for art-history study mediums, and as home decorations. The student of early American history must have a firm grounding in Indian art and be able to interpret it faithfully, if he is to read the past of our ancient peoples.
Woody Crumbo 's ability to portray the whole gripping story of In