Buffalo Nation: The Series
The Land | The Legend | The Legacy
Buffalo Nation
History & Culture
The series explores Lakota society, the people of the Buffalo Nation, or Pte Oyate, at its apex, in the 1860s, when hunters and warriors, mothers and fathers, lovers and leaders, children and elders, faced their biggest challenge – how to balance their lives and ways with the advance of American settlers and soldiers. It is a series focused on the human condition on the Great Plains in the midst of a changing world before it, ultimately, fell apart.
Nomenclature & Culture
At the outset, it is worth noting that throughout this website the term “American Indian” is used to refer broadly to peoples indigenous to North America. Over time, there has been quite a bit of debate about the use of “American Indian” as opposed to “Native American,” “First Nations,” or other terms. However, while there seems to be some agreement among American Indian people that the use of either term is acceptable — according to a 1995 census survey, 49.76 percent of American Indians preferred that term, compared to 37.35 percent preferring Native American and much smaller numbers preferring other terms. (Preference for Racial or Ethnic Terminology (Bureau of Labor Statistics, U.S. Census Bureau Survey, 1995)). Of course, when speaking about a particular tribe, such as the Lakota, the tribe name is used.
Furthermore, despite its ubiquity in modern culture, the word “Sioux” is not used in Buffalo Nation. While there is some debate as to its origin, it appears to be a bastardization of the Chippewa word for snake, “Nadowessi,” as used by French traders. Whether meant as a compliment, insult, or a warning, the word is said to translate to “Little Serpents” and was used by the U.S. Government and enemy Plains tribes to describe the Lakota, but it was not used by the Lakota to describe themselves.
The proper name for the people known commonly as “Sioux” is Oceti Sakowin, which means “Seven Council Fires.” These seven fires denote different tribal bands, based on family, language and proximity, and included the following groups:
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The Mdewakanton,
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The Wahpekute,
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The Sisitonwan/Sisseton,
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The Wahpetonwan,
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The Ihanktown or Lower Yanktonaim,
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The Ihanktowana or Upper Yanktoni, and
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The Tetonwan, or “Teton,” also known as Lakota.
The Lakota grouping, having so large an area, would itself break into a confederation of seven tribes that inhabited different parts of the Great Plains until American encroachment and war relegated them to their current reservations. These seven sub-tribes included:
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Oglála
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Húnkpapa
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Brulé
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Sans Arc
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Blackfeet
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Oohenumpa (“Two Kettles”)
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Mniconjou
Broken down further, these sub-tribes included many “bands” that were influenced by charismatic warriors, or “chiefs.” These bands, while of a similar background, often had a fundamental disagreement, generally personal in nature, which separated them from each other. The focus of Buffalo Nation is on the Oglála, which, in the 1860s, consisted of the seven “bands:”
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Wágluȟe (“Loafers”),
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Oyukpe (“Broken Off”),
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Wazaza (“Shred Into Strips”),
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Tapisleca (“Split Liver”),
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Payabaya (“Shove Aside”);
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Kiyaksa (“Little Wound”); and
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Ite Sica (“Bad Face”),
Of these seven, Buffalo Nation will center on the “Bad Face” band and the legends that arose from its ranks. Of course, as the seasons progress, the politics and conflict inherent among and within these bands will play a pivotal role in the choices and consequences faced by the Lakota.
Chiefs and Leaders
Contrarty to popularized thinking and "knowledge," the Lakota rebuked centralized leadership. Instead, the People were drawn to brave men best able to provide for their families and tribes. These war leaders, or chiefs, would influence events, without expressly directing those events. Their words held weight, but not direction. Unlike western society, there was no formal “leader” and decisions were made, not by vote, but through dialogue and deep listening by a council of elders who held no authority. As such, most often, personalities arose that swayed the dialogue. In the 1860s, those personalities included Red Cloud, Sitting Bull, Spotted Tail, and even the young Crazy Horse. As a statesman, a mystic, a politician, and a warrior, each of these men brought differing perspectives and visions for, not only the Lakota, but all of the Seven Council Fires and their allies. This is the world that is explored in Buffalo Nation.
In Lakota culture, the decision of the council and the laws of the Lakota were carried out by a select group of individuals – the Aki’cita. The men chosen as Aki’cita were highly regarded and served, for all intents and purposes, as a tribe’s enforcement officers. They were marshal, judge, jury and, sometime, executioner. During moves, which occurred frequently for hunting purposes, they ensured that the tribe was on their way and everyone was working together to progress towards their objective. Here again is a strange dichotomy in Lakota culture – the Aki’cita were granted authority by mutual respect of the tribe without ever really being in charge.
Lakota Women
Perhaps one of the greatest injustices film has introduced to audiences is the stereotype of the helpless but beautiful Indian ingénue. Such a character is absolute fiction. Women were - and remain - a vital and powerful part of Lakota culture and, as such, will be properly represented in Buffalo Nation.
In their culture and society, Lakota women and men often shared equally in social, economic, and ritual roles, with women playing a pivotal part in community survival: They controlled material property and food; held positions of political importance, status, and power; educated children about traditional ceremonies and practices; and taught family history. In fact, the continuation of Lakota oral traditions relied on female empowerment and action. All told, especially for the times in which the Lakota dominated the plains, Lakota women enjoyed more economic, social, and political status than American and European women. They often had final say when the warriors’ council disagreed. They could stop the tribe from going to war by refusing to provide rations. They even made decisions about captives. It is for this reason that it was often said that Lakota society was only as strong as its women because it was they who accumulated, dispensed, and mediated a tribe’s power and knowledge.
Generally speaking, gender differences were vital for the division of tribal labor and other activities, but roles were not set in stone. “Women’s work” tended to include necessary elements of promoting advancements such as tanning hides, carrying wood, and raising the tribe’s children. While there were varied, socially accepted roles for women, there were also reports of women who pushed aside expected gender roles and became warriors. Although women were not officially allowed to join war parties, many of these Winoxtca participated and even led war expeditions.
As a cable drama intended for mature audiences, Buffalo Nation will contain sexual situations and nudity. When required, such scenes will be honest and unflinching depictions of intimacy between these highly athletic and fit people. While nudity may be common – after all they are generally alone in the wilderness – Buffalo Nation, unlike many cable dramas, will not show sex as a commodity. Rather, sex will be used as a means to explore the depth, freedom, and intimacy shared by the characters.
Homosexuality and Transgender
One of the most intriguing and progressive parts of Lakota society was their recognition and acceptance of homosexuality. Known as winkte, gay and lesbian Lakota were not marginalized. Rather, they were seen as possessing a mystical balance of both feminine and masculine energies, making them inherently sacred people. These “third gender” members of the tribe were said to hold “two spirits” and esteemed as great holy people possessing strong medicine, capable of walking between worlds and able to see the world in a different light.
Homosexuality in Lakota culture has never been depicted in film. Ever. This is but one more reason that makes Buffalo Nation unique – the story (and the history it captures) includes a winkte who played a historic part in the life of Crazy Horse giving the audience a unique and redefining perspective of Lakota culture.