Stephen Shooster’s “American Dreamer” de- picts the story of The White Buffalo Calf Wom- an (Lakxótiyapi: Ptesáŋwiŋ), who is the primary cultural prophet of the nation and considered sacred of supernatural origin. Oral traditions say she brought the “Seven Sacred Rites” to the Lakota people. In the painting, she dreams while being protected by the legendary white buffalo, also a part of the Lakotah Indian creation sto- ry. The girl is dressed in ceremonial clothing made of natural deerskin with adornments of beads. She is well dressed like a princess. Her hair, painted green, blends into the landscape, connecting her with the land. Beside her is an animated flute and a buffalo skull. The painting depicts the circle of life from mythical to death and back again through the drumming of the big horn sheep into the moon. The whole composition is set in the painted rocks of North Dakota, otherwise known as the badlands, just outside of the Theodore Ros- evelt National Park. The painted rocks earned
their name because of their horizontal stria- tions, which turn different colors depending on the time of day and weather. In the background stands an Indian dancing while holding a drum, symbolizing a big horn sheep. That drumming is causing the spirit of the big horn sheep to leap into the sky, becoming the moon. The painting is full of symbolism. The flute snake represents the ability of humans to apply mythical perceptions on inanimate objects. The skull, death. The white buffalo, protection. The drummer now, and the big horn sheep head the future. The painting’s use of color is striking. The bad- lands’ reds, yellows, and raw sienna are juxta- posed with the cerulean and cobalt blue of the sky. The colors are vibrant and alive. They help to create a sense of wonder and magic. Shooster’s painting can be compared to Hen- ri Rousseau’s “Sleeping Gypsy.” Both paintings
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AMERICAN DREAMER
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