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INDIANS
Yeagley’s Indian experience may seem peculiar to some. It is unique in some ways, and quite typical in others. To begin with, Yeagley’s Comanche mother did not raise her children (three boys and a girl) within Indian culture. She felt that culturally, socially, and professionally, this was a dead end. (She had come from the boarding school generation, during which Indians were forcefully taught not to be Indian, or to be ashamed of being Indian.) She also disagreed with many Indian ways and customs. Therefore, her children were raised with the values of White Anglo-Saxon Protestants.
However, Yeagley’s physical appearance made it quite obvious that he was Indian. He had the dark features, skin, hair, eyes, etc., and grew up amongst a once lily-white population of Oklahoma City. Yeagley can remember certain key stories about his mothers Indian background, and even some stories about Bad Eagle; but Yeagley was simply not taught Indian ways. Much of what he thought was “Indian” came to him through his experience with whites.
“I was better at everything,” Yeagley said. “I and my brothers were just more talented.” This shaped Yeagley’s concept of what it meant to be an Indian. “Because whatever they did, I could do better, I assumed that an Indian was supposed to be better.” Whether it was throwing a ball, spelling, drawing, running, or thinking, or even understanding morality and character, Yeagley grew up finding himself in a position of leadership.
There is one peculiar childhood incident Yeagley remembers. “I was six years old, in first grade. There was a school art contest, and it was sponsored by the local fire department. They wanted a fire prevention theme for the contest, and each grade and class would have a blue ribbon, and the winning works would be displayed in the school halls.” Yeagley drew an Indian camp of teepees, all ablaze. “Help Stop This,” was his title. It was a most violent, vividly colored picture, and Yeagley won first prize for the first grade level. “At six years old, with no Indian orientation, why did I pick chose that burning Indian camp as my theme?”
It wasn’t until his teenage years, beginning with his first major, incapacitating surgery, that Yeagley left the main stream school interests and entered the Fine Arts. There he excelled, of course, but was further alienated from the Oklahoma tradition of athletics. He was always teased about being Indian, but, since he was genuinely superior in his every endeavor, he never took the teasing seriously, nor did anyone else. Yeagley was respected, and teasing was just a mild defense on the part of his peers.
That same kind of teasing continued throughout his education, even at Yale. By then, however, it was Yeagley’s ideas that were ridiculed as well, and that somehow was more personal. Yet, none of this ever altered his theology or philosophy or personal pursuits.
His ‘return to the Indians’ really began in the mid ‘80’s, when Yeagley created a series of portraits of his Comanche ancestors. (His mother had rebuked him for “wasting his time” drawing portraits of Diane Von Furstenberg. “Draw your ancestors,” she commanded.) Yeagley created six portraits of the Comanche family, beginning with Bad Eagle himself, and the descendents. It is a unique male line, expect for Yeagley’s mother, who was necessary in order for Yeagley to work himself into the line. This genealogy in portraiture was the first, and so far the only, of its kind. It is five generations of a single Comanche family, portrayed by a Comanche artist, the living generation.
The show, “Bad Eagle and His Descendents,” was first shown at the National Hall of Fame for Famous American Indians, Anadarko, OK, then shown at the Yale Peabody Museum (1989), Philips Academy (Andover, MA), President’s Church (Quincy/Boston), and elsewhere. The show was accompanied by lectures.
It was in Andover, Massachusetts, in 1990, that Yeagley first conceived of a social theory for America which was based on Indian warrior concepts. “To take pain, and not to complain,” says Yeagley, “seemed like an Indian thing to me.” Yeagley concluded, “The lack of courage is at the root of all the social ills in America.” It seemed to him that the population was encouraged by politicians to complain. Yeagley saw that this disposition meant weakness and in time would bring the country down. Yeagley interviewed with corporate leaders in New York to solicit funding for a social campaign, but was finally unsuccessful. He also was stricken with cancer, for the third time, the following year.
Yeagley saw in the American Indian warrior stereotypes a theme that might provide a new impetus, a revival as it were, of much needed American Patriotism. All during the ‘90’s, Yeagley developed this theme in his mind. He began advocating that patriotism should be taught in public schools as early as 1998, when he was teaching for Oklahoma State University, Oklahoma City. He made a proposal to Governor Keating, who endorsed it immediately, but was not able to procure legislation.
Asking advice from his mother, Yeagley was told, “Call David Horowitz.” His mother had read at least two of Horowitz’ books, and thought Horowitz had the kind of intellect that could appreciate her son. Horowitz responded. It was in Jaunary, 2001, that Yeagley became a columnist for Front Page Magazine. Under the managing editor, Richard Poe, Yeagley’s ideas finally found expression. Poe taught Yeagley about journalism. “Poe is an artist if there ever was one,” Yeagley says. “He’s a humanist, a mediator, like a Beethoven, or a Mirabella, somewhere between the throne and the galley. He has enormous knowledge, but will not pretend it’s inaccessible like an academic does. He believes in practical communication, whatever the idea.”
Since then, Yeagley has become a public speaker, listed on the Young America’s Foundation speakers list (www.yaf.org), and continues his efforts to define and encourage American Patriotism.
“It’s my childhood all over again,” Yeagley says. “I love being American, and, as an Indian, I just felt like I was supposed to be better at it” At least, Yeagley has tried to lead out in special efforts to restore original American values. The Indian, Yeagley believes, should have the role of savior, guide, and host of the American people, as the Indian did in the beginning with the Pilgrims. Yeagley sees the pre-reservation days, and the old warrior images, as powerful guides for the American future. This is why Yeagley advocates the value of Indian monikers and mascots, and the necessity of personal weapons.
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