Arthur Kopit's compelling drama, Indians, delves deep into the harrowing theme of genocide— the deliberate and systematic extermination of a people. Such atrocities are often fueled by racial, ethnic, or nationalistic biases. With a keen eye, Kopit draws parallels between the U.S. government's brutal annihilation of American Indians and its involvement in Vietnam, highlighting a shared hubris. Through the narrative, he unflinchingly exposes the moral bankruptcy, displacement, agony, and death inflicted upon Native Americans by the U.S. government.

Driven by avarice, national pride, and a misguided sense of ethnic superiority, nineteenth-century white Americans of European heritage, entrenched in the U.S. government, repeatedly resorted to deception, coercion, and outright murder against the indigenous peoples of North America. Their relentless pursuit was to seize fertile lands and obliterate a culture seen as an obstacle to their expansionist ambitions. Indians vividly portrays the multifaceted devastation inflicted upon native tribes: from the ineffectual Senate Committee hearings, the reckless decimation of buffalo herds, and the shocking ambush and massacre of entire communities, to the theatrical spectacle of Buffalo Bill’s Wild West Show.

Within the narrative, Buffalo Bill emerges as a complex figure attempting to bridge his government and the American Indians. Yet, despite his better understanding of the native peoples compared to many of his contemporaries, his comprehension falls short of crafting a resolution satisfactory to both sides. Tragically, the scourge of genocide persists throughout human history, its grim shadow evident in events across the twentieth and twenty-first centuries, including the atrocities in World War II's Europe, Rwanda, and Darfur.

The Complex Guilt of Buffalo Bill

Buffalo Bill wrestles with a heavy heart, burdened by the part he played in disrupting the native way of life. In his youth, under the banner of the U.S. Army, he decimated countless buffalo herds, pushing them to the brink of extinction. This act, while not directly against the indigenous people, contributed to their plight. Despite intentions to aid them, his involvement in their downfall cannot be denied. Driven by a combination of guilt and a thirst for fame, he sought to assist the American Indians in adjusting to their new reality. This dual ambition led him to create a traveling Wild West Show, captivating audiences with its spectacle and featuring iconic figures like Geronimo, Sitting Bull, and Chief Joseph. However, his attempts to support the American Indians ultimately fail to stop the relentless advance of the U.S. government, determined to displace them. His approach, promoting assimilation, only hastens the erosion of their vibrant culture.

The Unyielding Stance of Authority

In stark contrast, the Ol’ Time President and Colonel Forsyth actively engage in the systematic destruction of the American Indians, devoid of any guilt. They perceive the natives as adversaries, dehumanizing them through a clear-cut us-versus-them mentality. Their allegiance lies solely with their government, which they see as imperiled by the indigenous way of life. This justification allows them to dismiss any moral conflict, viewing their actions as a necessary defense rather than an aggression.

The Unwavering Nature of Wild Bill Hickok

Wild Bill Hickok embodies the quintessential cowboy archetype—bold, fiercely independent, and unyieldingly true to himself. His straightforward demeanor leaves no room for doubt or guilt, as he never questions his own actions. Towards the play's conclusion, Buffalo Bill, lost in his own remorse, turns to Hickok for guidance. However, Hickok's perplexing suggestion of conjuring multiple Buffalo Bills only deepens Bill's internal struggle. Consumed by regret yet convinced of his inherent goodness, Buffalo Bill emerges as the most human and compassionate figure among the white characters in the play, left to grapple with the...

The chasm between ownership and stewardship forms the heart of cultural divergence between white settlers and American Indians in Kopit’s evocative play. For Western white people, the credo of individuality and the pursuit of property reign supreme. Success is often gauged by the accumulation of wealth, measured by tangible assets such as possessions, estates, and expanses of land. In stark contrast, American Indians embrace a communal way of life where property is held collectively and not as personal assets. To them, the role of the steward is paramount, as they see themselves as guardians of the earth, entrusted with its care.

The land is revered as a sacred gift from the Great Spirit, a vibrant entity that defies the concepts of buying, selling, or trading but is instead considered a shared blessing for all. Kopit poignantly illustrates this in his play, where the American Indians are mystified by the white men's desire to purchase their land, as highlighted in the Laramie Treaty. The Indians, perceiving the offer as a symbolic gesture rather than an actual transaction, accept it in the spirit of receiving a gift, for they believe the land cannot truly be transferred between individuals. Meanwhile, the white men, seeing the treaties as binding legal contracts, are perplexed and offended by what they perceive as the Indians’ failure to honor the agreement, skewed as it was. This fundamental disconnect feeds into the prejudiced narrative that paints American Indians as less intelligent and honorable than their white counterparts.

The essence of America can be vividly captured in the character of Buffalo Bill, an embodiment of youthful vigor, masculinity, and charm. Bill's straightforwardness and well-intentioned nature are undeniable, yet his actions often overlook the long-term consequences. His unthinking aggression leads to the decimation of buffalo, inadvertently destroying the very foundation of Native American livelihood. Consequently, Buffalo Bill becomes a mere imitation of himself, trapped in the spectacle of his Wild West Show, a symbolic representation of a nation repeating its historical missteps.

Arthur Kopit's exploration in his play Indians subtly parallels Buffalo Bill’s narrative with America’s own trajectory, particularly during its contentious involvement in Vietnam. Though the play does not explicitly address the Vietnam War, it draws on the historical echoes of America's past endeavors to control and dominate. Kopit suggests that in its attempts to assert its influence, the United States inadvertently mirrors its own mythos—a nation that, despite its good intentions, finds itself acting out a version of itself that may lack moral conviction.

This narrative raises poignant questions about the myths that shape the American self-image. In 1968, were Americans overly confident in their perceived infallibility? Is there an inherent trait within the American national character that propels the nation forward with force, even when the path chosen is fraught with error? Kopit’s play invites the audience to consider these questions, prompting reflection through implication rather than direct exposition.

In essence, Indians challenges the viewer to contemplate whether the United States, like Buffalo Bill, has become a shadow of its former self—an entity enamored by its past achievements but blind to the moral complexities of its actions. Through Buffalo Bill's life and the nation’s history, Kopit paints a portrait of a country grappling with its identity, questioning whether it remains true to its core or has become an echo of its idealized self.

Arthur Kopit's play Indians offers a critical reflection on the American character and its implications for national policy, particularly focusing on the United States’ involvement in the Vietnam War. Although the play does not explicitly mention Vietnam, it serves as a poignant critique of America's foreign policy decisions during that era. By drawing parallels between historical events and contemporary issues, Kopit raises important questions about the repetition of past mistakes.

In the narrative, Buffalo Bill emerges as a metaphorical figure representing America’s actions and attitudes. As the play unfolds, Buffalo Bill comes to realize the destructive consequences of his actions but finds himself powerless to change the course of events. This serves as an allegory for the United States' position in Vietnam, suggesting a country caught in the momentum of its own decisions, unable to halt the escalation of conflict. Despite coming to understand the futility and moral ambiguity of his situation, Buffalo Bill’s plea to the president for action goes unanswered, and the impending destruction remains unstoppable. This mirrors the complex dynamics faced by the U.S. government during the Vietnam War.

Kopit’s portrayal of Buffalo Bill’s fear of "dying with his makeup on" underscores a deeper commentary on the American psyche—an urge to shed superficial pretenses and confront the harsh realities of its international conduct. The "makeup" symbolizes the facade maintained by the United States in its foreign policy, a facade that Kopit argues should be discarded to avoid repeating historical errors. The notion of a "Wild West Show" in Vietnam serves as a powerful metaphor, illustrating the dramatic and misguided nature of America’s involvement.

The outcome Kopit envisaged—a seemingly inevitable victory marred by moral failure—was prescient, capturing a sense of impending realization that would unfold as the United States ultimately withdrew from Vietnam. His critique of national identity and policy reflects a broader concern about the American trajectory in global affairs, urging introspection and change. Through Indians, Kopit delivers an enduring message about the need for genuine reflection and the courage to alter the course of history.