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Jamake Mamake Highwater (born Jackie Marks; February 13, 1931 – June 3, 2001[1]), also known as "J Marks", was an American writer and journalist of Eastern European Jewish ancestry who mispresented himself as Cherokee.

Key Information

In the late 1960s, Marks assumed a false Native identity, claiming to be Cherokee, used the name "Jamake Highwater" for his writings. As Highwater, he wrote and published more than 30 fiction and non-fiction books on music, art, poetry, and history. His children's novel Anpao: An American Indian Odyssey (1973) received a Newbery Honor. His book The Primal Mind: Vision and Reality in Indian America (1981) was the basis of a PBS film documentary about Native American culture.

Marks was exposed as an impostor in 1984 by Assiniboine activist Hank Adams and reporter Jack Anderson in separate publications.[2][3] Despite this, Marks continued to be widely perceived by the general public as Native American.[4]

Early life, education, and career

[edit]

Jackie Marks was born on February 13, 1931, in Los Angeles to parents Martha (Turetz) Marks, then 27, and Alexander Marks, then 49; they were born in Philadelphia and New York City respectively.[1] His parents each had immigrant grandparents of Eastern European Jewish ancestry. His father's Jewish identification was affirmed by his family requesting a Star of David for his military gravestone. Alexander Marks was a veteran of World War I.[1]

While living in San Francisco, Marks started a small dance company, the San Francisco Contemporary Dancers. He was the principal director and choreographer from 1954 to 1967. Marks moved to New York City around 1969 and started publishing professionally as J. Marks. In New York, he started using the name Jamake Highwater and claiming to be Cherokee.[5] At various times he said his father was Eastern Cherokee and his mother, whom he called Marcia Highwater, was Blackfoot/French.[6]

Career

[edit]

As Jamake Highwater, Marks wrote and published more than 30 fiction and non-fiction books, including children's books, and works about music, art, poetry, and history. His pseudonym "Jamake Highwater" appeared on Anpao: An American Indian Odyssey (1973), a children's book; and The Sun, He Dies: A Novel About the End of the Aztec World (1980).[7]

In 1981, Marks (as Highwater) published a non-fiction book, The Primal Mind: Vision and Reality in Indian America.[7] By this time, he had made many connections in the media world. PBS adapted this book as the basis of a documentary about Native American culture, The Primal Mind (1984). Marks served as the host of the documentary.[7]

Marks "gained wide public exposure"[7] as Jamake Highwater through making several documentaries on Native American culture for PBS television, and serving as host.[4] In the 1980s, he was known nationally as a Native American figure. In 1993, Marks was a consultant on the TV series Star Trek: Voyager for the character Chakotay.[1] Marks was responsible for verifying each script for accuracy.[8]

Marks also wrote for The New Grove Dictionary of Music and Musicians and the Los Angeles Free Press under the Highwater name.[9][7]

False ancestry claims

[edit]

Following his move to New York in 1969, Marks claimed his new identity as Jamake Highwater.[5] He said that he had been adopted as an Indian child from Montana by a Greek-American family and raised in Los Angeles (a variation he told was that the family was Armenian). Another time, he said that the Marks family had adopted him as a child.[10][2] In yet another version he said both his parents were Cherokee.[1] He reportedly graduated from North Hollywood High School, attended college in Los Angeles, and gained a PhD degree by the age of 20; this information was never documented.[1]

Marks gave conflicting accounts of his purported Native American background.[2] He never said that he was enrolled in a Cherokee tribe, but that he had "recovered" his Native identity.[2]

Marks's false claims to American Indian ancestry were explored and documented by Hank Adams (Assiniboine) in a 1984 Akwesasne Notes article. He identified Marks's inconsistencies about birthplace and date, parents, college, and other biographical details.[2] Between 1982 and 1983, Marks and his Primal Mind Foundation had received more than $825,000 in federal grant money from the Corporation for Public Broadcasting (CPB), based on his claimed identification as Native American.[2] His claims of Native ancestry were strongly disputed by American Indian activists and intellectuals,[2] who argued that his works were inauthentic and stereotypical. They said that he had illegally received the grant money by misrepresenting material facts about his life.[3]

Investigative journalist Jack Anderson followed up on Marks in 1984, revealing the inconsistencies in the writer's biography and ultimately, his pose. His column, "A Fabricated Indian?", was published in The Washington Post.[3] Following the major exposé by Anderson, Marks stopped claiming Cherokee heritage in his promotional literature; however, he continued to take advantage of having become publicly established as an "Indian" figure.[2] When questioned by Anderson about why he had assumed a Cherokee identity, Marks said that he had thought he could not break into the writing world otherwise.[6]

Two years after Anderson's exposé, Marks published Shadow Show: An Autobiographical Insinuation (1986), in which he wrote: "the greatest mystery of my life is my own identity."[6] Vizenor commented on this that the "impostor" was an artist, and his "insinuations are clever simulations, but surely not a great mystery".[6]

Death and aftermath

[edit]

Marks died of a heart attack at home on June 3, 2001. Mainstream press such as the New York Times and Los Angeles Times carried obituaries that repeated his false claims about his alleged Native American background.[4][7] Through his attorney, Marks had blocked access to his papers for at least 50 years.[1]

In response to the published mainstream obituaries, Hank Adams published an open letter that detailed Marks's many falsehoods:

This man was the Golden Indian … he made gold, he made money. It's about stolen voices … he blocked millions of dollars in funding to real Indian writers. We ended his federal funding and TV contracts, but he's still an Indian author, he sold more books than Vine Deloria, his work is still taught in schools and universities to Native and non-Native students. He died an Indian, his lawyer handles his estate and all its Indian royalties. At least this ends it for sure … it finishes his career as an Indian and an Indian expert. He's Jack Marks…not Jamake Highwater. Remember that. He's Jack Marks … not Jamake Highwater. There never was a Jamake Highwater.[1]

Native American intellectual Gerald Vizenor (Anishinaabe) described individuals such as Marks, who take on false Native American identities, as "varionatives" in his 2000 book Fugitive Poses.[6]

In 2015, Indian Country Today reported additional findings about Marks's elaborate ruse. It published a copy of his 1931 birth certificate from Los Angeles, and a photograph of his father's military gravestone, marked with the Jewish symbol, a Star of David.[1]

Honors and legacy

[edit]
  • Marks's children's novel, Anpao: An American Indian Odyssey (1973), received a Newbery Honor.[7]
  • Marks's children's books received "a half-dozen Best Book for Young Adults awards from the American Library Association and School Library Journal."[7]
  • Marks's book The Primal Mind: Vision and Reality in Indian America (1981) was the basis of a PBS documentary, The Primal Mind (1984).[7]

Representations in other media

[edit]

According to Alex Jacobs, Gerald Vizenor (Anishinaabe) in his 1988 novel, The Trickster of Liberty, based his character Homer Yellow Snow on Jamake Highwater. Jacobs notes that Yellow Snow says to his Native audience:

If you knew who you were, why did you find it so easy to believe in me? … because you want to be white, and no matter what you say in public, you trust whites more than you trust Indians, which is to say, you trust pretend Indians more than real ones.[1]

Discography

[edit]

See also

[edit]

References

[edit]

Further reading

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Jamake Highwater

View on Grokipedia
from Grokipedia
Jamake Highwater (born Jackie Marks; February 14, 1931 – June 3, 2001) was an American writer, choreographer, and media producer who falsely presented himself as of and Blackfoot Native American ancestry. Highwater began his career as a dancer and choreographer, directing the Contemporary Dancers from 1954 to 1967 and contributing to under pseudonyms. In the late , he adopted the persona of a Native American intellectual, authoring over 30 books on Indigenous cultures, such as Anpao: An American Indian Odyssey (1977), which received a Newbery Honor in 1978. He hosted documentaries, secured substantial grants including from the , and consulted on Native American portrayals in media, notably advising on the character . Highwater's claims originated around 1969, asserting descent from a full-blooded mother and Blackfoot ties, supported by fabricated stories and lack of verifiable tribal enrollment. Born to Jewish parents of Eastern European origin—mother Turetz from and father Alexander Marks—his heritage was confirmed through , Social records, and genealogical evidence showing no Indigenous ancestry. Exposure came in via activist Hank Adams, who published documents revealing his identity as Jackie Marks, leading to revoked funding and criticism from Native communities for appropriating voices and resources.

Early Life and True Identity

Birth and Family Origins

Jamake Highwater, born Jackie Marks, entered the world on February 14, 1931, in , . His parents were Martha (also Marcia) Turetz Marks, aged 27 at the time and a Russian-born immigrant, and Alexander Marks, aged 49 and a native of whose own parents had emigrated from regions spanning modern-day and . The Marks family maintained Jewish heritage rooted in Eastern European immigrant traditions, with no documented Native American ancestry. worked in various capacities, including as a printer, while Martha managed the household in their residence, reflecting the modest circumstances of many Jewish families navigating early 20th-century America. Highwater's , uncovered during later investigations, confirms these details, contradicting his subsequent public assertions of a 1942 Montana birth to mixed French Canadian and Blackfoot parentage.

Education and Initial Pursuits

Jackie Marks, later known as Jamake Highwater, was born on February 14, 1931, in , , to Martha Turetz, a Russian-born immigrant, and Alexander Marks, a New York City native of Jewish heritage who worked as an actor and writer. Little is documented regarding his formal , with no records of higher schooling or specialized training publicly verified in biographical investigations. In the mid-1950s, Marks moved to and established the Contemporary Dancers Guild, later known as the San Francisco Contemporary Dancers, which he directed and for which he served as principal choreographer from 1954 until 1967. This marked his entry into the , focusing on amid the city's burgeoning cultural scene. Following the dissolution of the dance company, he transitioned to , co-authoring the book Rock and Other Four-Letter Words with Linda Eastman in 1968 and contributing to related recordings under variations of his name. These early endeavors in choreography and rock criticism preceded his later pursuits in writing and media under an assumed identity.

Assumed Native American Identity

Adoption of Persona and Name Change

Jackie Marks, born on February 14, 1931, in , , was adopted at approximately age seven by Alexander and Marcia Marks, a couple in , and raised in the . After graduating high school, he shortened his name to Jack Marks or J. Marks for professional endeavors, including founding and directing the New York Dance Company in the and early , as well as writing articles on dance and music. Under J. Marks, he authored a 1973 biography of , in which he disclosed that his "real name" was Jamake Highwater, marking an early public signal of his shifting identity. From the late onward, Marks began cultivating a fabricated Native American , aligning it with emerging cultural interests in indigenous themes amid broader societal shifts toward ethnic revivalism. This facilitated his pivot from dance and journalism to writing on Native topics, with his first such publication, Fodor's Indian America, appearing under the Jamake Highwater byline. Around 1974, he formally changed his name to Jamake Highwater, a composite evoking indigenous —"Jamake" purportedly from a maternal Native root and "Highwater" suggesting ritual significance—while claiming it reflected his suppressed heritage revealed by family. The persona change was strategic, enabling Highwater to position himself as an authentic voice on Native culture despite lacking verifiable indigenous ancestry or ties; biographical documents from this period, including a legal filing, reiterated invented origins tying his to Native parentage before by the Marks family. This constructed identity persisted in his public presentations, lectures, and subsequent works, though it later faced scrutiny for inconsistencies, such as varying accounts of his adoptive circumstances and ethnic claims.

Specific Heritage Claims and Initial Public Assertions

In 1969, Highwater publicly asserted Native American heritage for the first time, telling a reporter for the New York Sunday News that his mother was a "full-blooded Indian." This claim coincided with his adoption of the Jamake Highwater persona and initial writings under that name, marking the onset of his self-presentation as an Indigenous intellectual and author focused on Native themes. By 1970, promotional materials amplified these assertions; a biography identified his mother as a woman named Marcia Highwater, reinforcing the narrative of direct tribal lineage. In 1973, a biography of by further detailed his claimed background, stating that Highwater's real name was Jamake Mamake Highwater and describing him as the son of a half-Blackfoot mother and a father, while falsifying his birth year as 1942 to align with the persona. Highwater's specific heritage claims centered on mixed Blackfoot and descent, with his mother's side purportedly Blackfoot and his father's Eastern Cherokee, assertions repeated in subsequent publications and interviews throughout the . For instance, his 1975 guide Fodor's Indian America credited him as an authority informed by personal ancestry, mentioning his mother Marcia without contradiction at the time. These initial representations positioned Highwater as an authentic voice on Indigenous culture, enabling his entry into literary and media circles specializing in Native topics.

Professional Achievements

Literary Works and Publications

Jamake Highwater published extensively under his adopted name, producing more than 30 works of fiction and primarily centered on Native American art, mythology, rituals, and cultural . His initial in this persona, Fodor's Indian America, appeared in 1975 as a travel guide to indigenous sites and . From the mid-1970s through the mid-1980s, he issued over a dozen titles exploring indigenous , traditions, and intellectual frameworks, often presented as authoritative interpretations drawn from purported personal and cultural insight. Key non-fiction publications include Song from the Earth: American Indian Painting (1976), which examined historical and contemporary Native artistic expressions; Ritual of the Wind: North American Indian Ceremonies, Music, and (1977), detailing ceremonial practices; : Rituals of Experience (1978), analyzing movement in indigenous contexts; and The Primal Mind: Vision and Reality in Indian America (1981), contrasting Euro-American with what Highwater described as holistic Native perceptual modes. Highwater's fiction encompassed mythological narratives and historical novels, notably the Ghost Horse Cycle: Legend Days (1984), The Ceremony of Innocence (1985), and I Wear the Morning Star (1986), a trilogy depicting Plains Indian life through archetypal figures and events. He also authored Anpao: An American Indian Odyssey (1977), a young adult novel retelling Lakota creation myths and quests, which garnered a Newbery Honor award. Later works extended to Myth and Sexuality (1990), linking archetypal symbols to human experience, and El Sol, Se Muere (1982), a novel on Aztec decline.

Broadcasting, Consulting, and Other Media Involvement

Highwater hosted the Public Broadcasting Service (PBS) series Native Americans in 1983, which featured discussions and depictions of Indigenous cultures. He also developed The Primal Mind for PBS, adapting content from his 1981 book of the same name to explore Indigenous worldviews through visual storytelling. These productions included scripts and overviews for additional Native American-themed programs during the 1970s and 1980s, often incorporating elements of ritual dance, drama, and narrative to trace historical migrations and cultural practices, as seen in the documentary Native Land: Nomads of the Dawn. In addition to hosting, Highwater served as a cultural consultant for television productions seeking authenticity in Native American representations. Notably, he advised producers of (1995–2001) on Indigenous elements for the character , a officer portrayed as having Native heritage, influencing aspects like vision quests and spiritual practices despite later revelations about Highwater's background. He appeared in other media, including a 1978 with Barbaralee Diamonstein-Spielvogel, where he discussed his claimed Indigenous perspectives. These involvements contributed to his visibility in public media, with archives documenting multiple appearances across their programming.

Awards and Honors Received

Highwater's book Anpao: An American Indian Odyssey (1977) received the Newbery Honor Award from the in 1978. It also earned designation as a Best for Young Adults by the and a Boston Globe–Horn Honor. In 1979, Anpao was awarded the Jane Addams Children's Book Award, recognizing its contribution to on peace and social justice themes. Highwater's Song from the Earth: American Indian Painting (1976) won the in 1981, honoring works addressing racism and cultural diversity. Several of Highwater's other children's books, including titles on Native American themes, were selected as Best Books for Young Adults by the and School Library Journal during the 1970s and 1980s. Highwater also secured substantial federal funding, including over $800,000 in grants from the between 1982 and 1983 for projects like the Primal Mind Foundation, though these were later scrutinized amid revelations of his misrepresented heritage.

Controversies and Exposure

Investigations into Fraudulent Claims

In the early 1980s, Native American activists increasingly scrutinized Jamake Highwater's assertions of Cherokee and Blackfoot heritage, prompted by inconsistencies in his and lack of verifiable tribal enrollment or family records. These challenges intensified after Highwater's prominence grew through publications and media appearances, with critics demanding evidence of his claimed indigenous roots amid a broader pattern of non-Native individuals adopting Native personas for professional gain. The pivotal investigation occurred in 1984 when activist Adams compiled an exposé tracing Highwater's real identity to Jackie Marks, born February 13, 1931, in to Jewish immigrant parents Simon and Rhoda Marks, with no documented Native American ancestry or connections. Adams's research uncovered Marks's prior careers as a music promoter under names like "J.M. Highwater" and "Accuracy Productions," including failed ventures like a label and event planning, alongside multiple name changes that obscured his non-Native background. This report, submitted to Native publications, was printed in the National Indian Youth Council's Warpath, highlighting how Highwater had fabricated an adoption narrative by his mother to explain the absence of indigenous lineage. Concurrently, syndicated investigative journalist Jack Anderson conducted an independent probe, publishing the column "A Fabricated Indian?" on February 16, 1984, in and other outlets via . Anderson corroborated Adams's findings through , interviews, and discrepancies in Highwater's evolving personal history—such as shifting birthplaces from to and unsubstantiated claims of tribal affiliation—concluding that Highwater's persona was a deliberate construct unsupported by . These parallel efforts marked the first systematic dismantling of Highwater's claims, though they relied on archival documents rather than legal proceedings, reflecting the absence of formal institutional mechanisms at the time to prosecute cultural imposture.

Revelations of Non-Native Background

In 1984, activist Hank Adams published an exposé in Akwesasne Notes revealing that Jamake Highwater, born Jackie Marks on February 14, 1931, in , had no Native American ancestry. Adams's investigation, supported by researchers including Suzan Harjo, examined tribal enrollment records and found no individual named Highwater listed among Blackfoot or rolls, contradicting Highwater's claims of heritage from those nations. Birth and Social Security records confirmed Marks's parentage: his mother, Marcia (Martha) Turetz, was Russian-born, and his father, Alexander Marks, was a native of Jewish descent, with no documented Native ties. Separately, syndicated columnist Jack Anderson detailed the fraud in a Washington Post article titled "A Fabricated Indian," corroborating Adams's findings through and prior professional identities, such as Marks's early career as a dancer and filmmaker under names like Alex Kosinski. Highwater responded by asserting he was an adopted Native child, a bolstered by statements from his , but tribal leaders like Quileute activist Joe DeLaCruz, then president of the , dismissed it for lacking verifiable enrollment or blood quantum evidence. These revelations centered on the absence of empirical proof for Highwater's indigeneity, relying instead on fabricated personas built over decades.

Responses from Highwater, Critics, and Native Communities

Highwater responded to early skepticism about his ancestry in a 1983 essay titled "Second-Class Indian" published in Akwesasne Notes, where he portrayed himself as a mixed-race Native American facing discrimination akin to other marginalized groups, thereby framing critics as dismissive of his hybrid identity. To counter the 1984 exposé by activist Adams, Highwater invoked claims of informal adoption into a Blackfoot community in and affiliation with the White Buffalo Council, organizations he presented as validating his Indigenous ties despite lacking formal tribal enrollment. He further leveraged statements from his , Marcia Marks, suggesting he had been raised with Native influences or adopted into an Indian family, an narrative intended to reconcile biographical inconsistencies but which Adams and others dismissed as fabricated, given documented records tracing Highwater's origins to non-Native European descent without verifiable Indigenous lineage. Critics, including investigative journalist Jack Anderson, amplified Adams' findings in separate 1984 publications, highlighting Highwater's name changes—from Jack Marks to Jamake Highwater—and his exploitation of federal grants exceeding $800,000 for Native-themed projects without authentic credentials, arguing this diverted resources from genuine Indigenous creators. Anthropologist condemned figures like Highwater in a address for perpetuating distorted "Indian realities" through outsider interpretations that overshadowed tribal self-representation, a critique rooted in the causal harm of non-Natives monopolizing cultural narratives. Anishinaabe writer satirized Highwater in his 1988 novel The Trickster of Liberty via the character Homer Yellow Snow, a whose deceptions erode trust in Native authenticity, with Vizenor questioning why communities would "find it so easy to believe" such impostors. Native communities and activists expressed outrage over Highwater's fraud as emblematic of broader "pretendian" exploitation, with Quinault leader Joe DeLaCruz, then president of the , stating in 1984 that Highwater possessed "no Indian experience or credentials" and engaged in stereotyping and that misrepresented tribal histories. Adams' detailed investigation, published in Akwesasne Notes, mobilized opposition by revealing Highwater's lack of any continental American Indian blood quantum, leading to the cancellation of a major documentary deal and underscoring the empirical damage: impostors like Highwater secured awards, such as the 1977 Newbery Honor for Anpao, and media roles that supplanted authentic voices. By 1991, at the Mythos Festival, critics like Renee Renouf labeled Highwater "the biggest myth of them all," reflecting persistent community distrust despite occasional defenses from non-Native figures like anthropologist , who downplayed the fraud's significance. This exposure fostered heightened scrutiny of identity claims within Native advocacy circles, prioritizing verifiable tribal affiliation over self-assertion.

Later Career and Death

Continued Activities Post-Exposure

Following the public exposure of his fabricated Native American heritage in 1984, Highwater maintained his professional output, including consulting roles and authorship, though he increasingly distanced his work from explicit Indigenous themes. In 1993, he served as a cultural on Native American matters for the early development of the television series , contributing notes on script verification for the character , a role that drew later criticism given his non-Native background. Highwater continued publishing books into the late and , with works such as Eyes of Darkness (1985), a exploring themes of and identity, and anthologies like Words in the Blood: Contemporary Indian Writers of North and (1984, with later editions). By the , his output shifted toward broader subjects including mythology, sexuality, and gay experiences, phasing out overt references to Native American topics amid ongoing scrutiny. Archival records indicate persistent media coverage and biographical sketches of Highwater through the , alongside correspondence related to his writings up to approximately , reflecting sustained but diminished public engagement. He did not publicly retract his heritage claims, and legal challenges to the fraud accusations against him were reportedly dismissed, allowing his career to proceed without formal interruption.

Death and Immediate Aftermath

Jamake Highwater suffered a heart attack and died at his home in , , on June 3, 2001. He was 70 years old, born February 13, 1931, as Jackie Marks to Jewish immigrant parents. Contemporary obituaries in mainstream outlets such as , , and focused on his authorship of over 30 books, poetry, and nonfiction on Native American themes, as well as his media consulting roles. The New York Times titled its notice "Jamake Highwater, American Indian Author," and reports described him as a prominent voice on indigenous history and culture without referencing the 1980s investigations that had debunked his claims of Cherokee and Blackfoot ancestry. This selective portrayal in establishment media, despite accessible prior exposés in outlets like (1984), underscores a pattern of institutional reticence to amplify corrections to narratives once established, prioritizing established personas over updated empirical scrutiny. No immediate public reckonings or Native community statements followed his death in the accessible records from June 2001; instead, the announcements reinforced his professional legacy amid the earlier unresolved controversies. Highwater's papers, spanning 1954–2001, were later archived at the , preserving his writings for scholarly access.

Legacy and Cultural Impact

Positive Assessments of Contributions

Highwater's novel Anpao: An American Indian Odyssey (1977) garnered significant literary recognition, including the Newbery Honor Award in 1978 and designation as a Best Book for Young Adults by the . Reviewers praised its adaptation of diverse Native American myths into a cohesive narrative of love, quest, and spiritual transformation, noting Highwater's "firm command of his sources" and creation of a "serious, craftsmanlike work" that preserved the "other-worldly, magical quality of Indian tradition." His nonfiction The Primal Mind: Vision and Reality in Indian America (1981) was described as critically praised for delineating contrasts between Indigenous holistic perceptions of reality and Western analytic frameworks, influencing discussions on . Some educators have incorporated the text into courses on non-Western thought patterns, citing its utility in drawing parallels to other minority cultural experiences, such as African American . Similarly, from the Earth: American Indian Painting (1976) was awarded the , with assessments highlighting Highwater's "eloquent and creative" articulation of Native artistic evolution and its broader implications for cultural representation. These works, produced before the exposure of Highwater's fabricated heritage, were credited by contemporaries with broadening public awareness of Native cosmologies, artistry, and traditions through accessible and interdisciplinary synthesis. Post-exposure, while primary acclaim diminished, residual positive evaluations persist in select academic and reader contexts for the books' role in stimulating initial interest in Indigenous perspectives, independent of authorship authenticity.

Criticisms of Deception and Long-Term Harm

Highwater's fraudulent claims of Native American ancestry, exposed in 1984 by activist Hank Adams in Akwesasne Notes and columnist Jack Anderson in , drew sharp rebukes for undermining authentic Indigenous scholarship and diverting resources from genuine Native voices. president Joe DeLaCruz criticized Highwater as lacking any Indigenous heritage or expertise, arguing his publications recycled derivative and stereotypical portrayals rather than offering original insights. scholar described him as a "pretend Indian" whose elevation over real Native experts eroded trust in Indigenous intellectual contributions. The deception inflicted lasting economic harm by securing grants intended for Native creators, thereby blocking millions in funding that could have supported authentic Indigenous writers and artists, according to Adams. Highwater received federal support for media projects under , contributing to broader patterns of resource misallocation that disadvantaged real Native communities. Mohawk writer Jacobs labeled this a "multi-generational " and "series of actual crimes," emphasizing how such imposture entrenched misrepresentations and stole opportunities from legitimate Native individuals across , academia, and public programming. Culturally, Highwater's influence persisted post-exposure, as his works like Anpao (1977 Newbery Honor winner) continued circulation in school curricula, perpetuating inaccuracies and diluting genuine Native narratives. His consultancy on Star Trek: Voyager (1993–2001) shaped the character Chakotay's portrayal, blending disparate tribal elements into a homogenized depiction that critics argue reinforced stereotypes rather than accurate cultural representation. Upon his death in 2001, major outlets including The New York Times, Los Angeles Times, and The Washington Post inaccurately eulogized him as a Native American author, further entrenching the fraud and damaging Indigenous credibility in mainstream discourse. Standing Rock Sioux scholar Vine Deloria Jr. had earlier warned that non-Native "experts" like Highwater distorted tribal truths, fostering skepticism toward legitimate Native scholarship. Highwater's writings and public persona significantly shaped non-Native perceptions of Indigenous cultures in mid-20th-century American media, particularly through adaptations into television documentaries. His 1981 book The Primal Mind: Vision and Reality in Indian America served as the foundation for a documentary series exploring Native American thought and aesthetics, which aired and contributed to his reputation as an authoritative voice on tribal traditions despite lacking authentic credentials. He hosted multiple programs on Native heritage, securing substantial funding from the —estimated in the hundreds of thousands of dollars—and amplifying romanticized, generalized depictions of Indigenous spirituality that blended elements from diverse tribes into a homogenized . In the 1990s, Highwater consulted on the development of the character in , influencing key aspects such as vision quests, animal spirit guides, and a pan-Indigenous spiritual framework that drew from his synthesized interpretations rather than specific tribal practices. This consultation occurred over a after his 1984 exposure as non-Native, yet producers reportedly relied on his prior media prominence without rigorous verification, resulting in criticisms that Chakotay embodied inauthentic "New Age" stereotypes rather than accurate representations of any real Indigenous group. His input perpetuated a fictionalized Native identity that prioritized mystical tropes over historical or cultural specificity, impacting the series' portrayal of indigeneity for millions of viewers from 1995 to 2001. Posthumously and following revelations of his fabricated Cherokee heritage, Highwater's legacy in media has been reframed primarily as a in cultural and its distortions. Native-led outlets, such as ICT News, have highlighted his enduring "Golden Indian Expert" status in discussions of pretendians, arguing that his unchecked influence normalized misleading tropes in documentaries, , and that persist in . In fandom and analyses, he is frequently cited as a factor in the backlash against Chakotay's characterization, with commentators noting how his pan-tribal amalgam contributed to ongoing debates about Hollywood's superficial engagement with Native themes. While some of his remain in circulation or referenced in , contemporary representations emphasize the harm of his deceptions, serving as a caution against uncritical elevation of self-proclaimed experts in media productions.

References

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  36. https://www.kirkusreviews.com/book-reviews/a/jamake-highwater-2/anpao-an-american-indian-odyssey/
  37. https://www.barnesandnoble.com/w/anpao-jamake-highwater/1102663121
  38. https://singingtotheplants.com/2007/12/who-is-an-indian/
  39. https://www.amazon.com/-/he/dp/B0000640WG
  40. https://www.amazon.com/Anpao-American-Odyssey-Jamake-Highwater/dp/1664435638
  41. https://muse.jhu.edu/book/11637/epub
  42. https://indianz.com/News/2015/06/30/alex-jacobs-fake-indians-damag.asp
  43. https://screenrant.com/star-trek-voyager-chakotay-native-american-controversy/
  44. https://redshirtsalwaysdie.com/2021/02/26/voyagers-native-american-consultant-was-a-fraud/
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