"Beyond the Sundown": A History and Analysis of the Drama of the Alabama-Coushatta
by Caroline Jones
"This is the story of two Indian tribes, the Alabama and the Coushatta, who joined together and met the white invasion of the early 1800’s without compromising their character: who looked beyond the sundown of their time toward a broader world of universal brotherhood..." [1]
As part of their plans for tourist enterprise, the Alabama-Coushatta enlisted the help of Dallas playwright Kermit Hunter to create a work of drama which would best represent their history and attract attention to their culture. Written in 1975, Beyond the Sundown, was a play about the Alabama-Coushatta in the midst of the Texas War of Independence from Mexico, illustrating the story of their struggle to decide which party to throw their lot in with. Beyond the Sundown served dual roles of both presenting the history of the Alabama-Coushatta for tourists and preserving the history of their culture for their own tribal members.
Following termination of the recognition of their tribal status by the United States federal government in the 1950’s, and the loss of the annual support from the Bureau of Indian Affairs, the Alabama-Coushatta found themselves in the economic equivalent of sink or swim. The need for a tourist enterprise became especially stressed in the 1960’s and 1970’s by members of the tribe as a means of becoming self-sufficient, arguing that the revenue from tourist attractions would be able to provide for the entirety of their community. As stated in a letter from Chief Kina Fulton Battise dated July 9, 1973, as well as described in tribal news releases from July 16th of that same year, the Alabama-Coushatta were given a grant from the Economic Development Administration of $2,400,000 in order to provide for tourist and social welfare developments such as housing, sanitation, and a performance venue. The initial plans for the theater as described in these documents dictate that the outdoor amphitheater would be able to seat 1,600 people for a “two hour drama about the two tribes” which would be performed every night. The estimated date for the first show was to be June 25, 1975 with construction on the amphitheater set to begin on June 1, 1974. [2]
Following termination of the recognition of their tribal status by the United States federal government in the 1950’s, and the loss of the annual support from the Bureau of Indian Affairs, the Alabama-Coushatta found themselves in the economic equivalent of sink or swim. The need for a tourist enterprise became especially stressed in the 1960’s and 1970’s by members of the tribe as a means of becoming self-sufficient, arguing that the revenue from tourist attractions would be able to provide for the entirety of their community. As stated in a letter from Chief Kina Fulton Battise dated July 9, 1973, as well as described in tribal news releases from July 16th of that same year, the Alabama-Coushatta were given a grant from the Economic Development Administration of $2,400,000 in order to provide for tourist and social welfare developments such as housing, sanitation, and a performance venue. The initial plans for the theater as described in these documents dictate that the outdoor amphitheater would be able to seat 1,600 people for a “two hour drama about the two tribes” which would be performed every night. The estimated date for the first show was to be June 25, 1975 with construction on the amphitheater set to begin on June 1, 1974. [2]
The amphitheater, known as Sundown, was a large open-air auditorium carved into the hillside allowing for the hill itself to be part of the scenery.[3] Alongside this historical tale, the play also featured ritual dances of the Alabama-Coushatta and an original score created within the influence of traditional tribal music.[4] Though an estimated one hundred of the six hundred individuals within the reservation were employed within the tourist enterprise, the lead characters were portrayed by professional actors while actual members of the Alabama-Coushatta served in minor roles.[5] The cast of characters according to the 1977 version of the script are as follows: the narrator, “The Bowl” war lord of the Cherokee, “Anton” principal chief of the Alabama, “Long King” principal chief of the Coushatta, “Tamatha” a young Coushatta warrior, “Nellakawi” daughter of Anton, “Manoah” mother of Nekllakawi, “Captain Serafin Montesinos” sent by Santa Anna, “Lem Hawkins” sent by Sam Houston, white refugees, the Caddo leader, medicine man of the woods people, and a series of Indian villagers as well as Anglo soldiers. The drama takes place in Southeast, Texas between the months of February and April of 1836. Consisting of two acts, eighteen scenes and eleven scenes respectively, the play not only demonstrates the tribes’ devotion to peace, but also illustrates the tension between a concern to “Americanize” themselves or follow their traditions.[6]
"Music of 'Beyond the Sundown,'" [CD cover]: from www.netstate.com
Beyond the Sundown tells the story of the Alabama-Coushatta during the Texas struggle for independence from Mexico. Though a traditionally peaceful tribe, their decision to remain neutral or fight, “and the choice of which ‘white men to believe’ would affect the course of Texas history” as siding with Mexico or Texas would bring more man-power to either side. The Alabama and Coushatta leaders are approached by the leader of the Cherokee, a representative of Santa Anna, and a representative of Sam Houston in efforts to convince them to fight for their side. However, after refusing both representatives from Houston and Anna, both parties promise that if the Alabama-Coushatta remain neutral then they will not be bothered ever again. Anton and Long King are not satisfied with this promise though due to their past issues with their white neighbors. While a few young warriors like Tamatha run away to join the Texas militia, the leaders of the tribes do not wish to fight and exile these men for their actions. They use the tribal Medicine Man in an attempt to discover whether the gods desire for them to join in the fight or if they should leave their homes and move further east, but before they are given an answer the Texans defeat the Mexican army. Additionally, the play “depicts the timeless conflict between the zealous passion of youth” like Tamatha “and the staid wisdom of their elders” who felt that they were Mexican allies. Although the young men are banished, Tamatha returns six days later after being shot in order to see the woman he wants to marry, Nellakawi, again. Due to his actions the gods refuse to answer the tribal leaders concerning what to do about the battle since he has brought "evil" into the village. Tamatha recovers and returns to fight with the Texas army only to be killed in battle, but his martyrdom is recognized by the Texas army and both the tribe and Texas mourn his loss. The letter from General Houston read at the end of the play states that Sam Houston commends the Alabama-Coushatta for staying out of the war. For this, Houston guarantees that “Texas will never bother you again” and that he would “personally set aside a large tract of land that [the tribe] could call [their] very own.” As the story closes, the narrator states that General Houston kept his word, the state of Texas gave the tribe even more land, and Tamatha’s dream for his tribe to “learn how to live in the white man’s world” began to come true. The play ends with a final line, stating that as Texas joined the Union its people “gave thanks for these peaceful nations, and they gave these Indians a new name: The People Who Looked Beyond the Sundown.” [7]
Image courtesy of Texas State Archives
While attracting tourists, the dilemma of the Alabama-Coushatta resonated with the state of Texas and was considered one of the official plays of the state, according to the House of Representatives Subcommittee on Tourism. As part of Senate Bill No. 93, authored by State Senator A.R. “Babe” Schwartz, the play The Lone Star was approved as the official play of Texas on April 24, 1979 in celebration of the anniversary of Texas independence. After the bill moved on to the Texas House of Representatives, the House Committee on State Affairs added three more historical plays to the list: Texas, Fandangle, and Beyond the Sundown. This addition was approved by the Senate on May 25, 1979 and Beyond the Sundown was declared one of the four official plays of Texas on June 6, 1979.[8] However, by the 1980’s it is apparent that the play was not producing enough revenue to fully sustain the community or its production. As stated in a newspaper article from The Cherokeean, a local Texas newspaper, the fifth season of Beyond the Sundown was scheduled to open on June 22, 1979 by the aid of grants from the Moody Foundation and the Sid W. Richardson Foundation. The play was able to receive grants from the Moody Foundation based on the plays service as an instrument “to improve the quality of life” for the small towns it surrounded. Furthermore, the efforts of the Alabama-Coushatta to preserve their culture “in an historically accurate, artistically meritorious manner” also earned them financial aid. Additionally, the Richardson Foundation stated that the theater provided an excellent family vacation spot which allowed its viewers to “[step] out of the fast pace of today into the Tribes fascinating past history.”[9] Although these grants were able to sustain the play for some time, by 1983 Beyond the Sundown was no longer produced.[10]
There are several significant themes and consequences of this drama. According to interviews conducted by University of Texas graduate student Stephanie May, a former employee of the Alabama-Coushatta tourist enterprise stated that she learned everything she knew about the tribal history from Beyond the Sundown.[11] Although the 1977 version of the script states that the characters and events are based on historical records, it adds that creative license was allowed “in the interest of dramatic unity.” While this preserves a significant amount of their culture, it is unclear which parts of the play are more dramatized than the actual events or people it is based on. As previously stated, the play also exhibits the tension between tribal identity and American identity both in and out of the tribal setting. Part of the struggle between the older and younger generations of the tribe is the idea of individuals like Tamatha that “the destiny of the Red Man” was that they “must become Americans” in order to survive. Tamatha further argues this idea in Act II stating that “This country is filling with white people, and one day there will be one single government between the two oceans! The Red Man must be part of this country.” Although Nellakawi protests, Tamatha continues:
“The Red Man can be whatever he wants to be: a savage living in the wilderness, a drunken sot wallowing in the gutters of New Orleans, or a good citizen who works hard and makes the white man respect him! Our people cannot sit here in the woods for the next two hundred years! Tamatha wants our people to build schools, get doctors, plant fields of grain, educate our children! Then little by little we can join the white man’s society.”
Though Nellakawi argues that the sun is setting on the Red Man, Tamatha believes that “We must look beyond the sundown” and consider the future. [12]
The words of the young warrior who gave his life up for Texas Independence serve as a strong example of the struggle of Native American tribes across the United States. Furthermore, they highlight the fear of a peaceful people at a time of internal struggle and destruction. Although the original intent of this play may have been to attract tourists, its memory not only serves as a potential historical record of the Alabama-Coushatta but as a piece of culture continually celebrated and shared with outsiders. For this reason Beyond the Sundown not only told the history of the tribe during the birth of Texas, but the fundamental ideology of the tribe to promote peace regardless of all circumstances.
“The Red Man can be whatever he wants to be: a savage living in the wilderness, a drunken sot wallowing in the gutters of New Orleans, or a good citizen who works hard and makes the white man respect him! Our people cannot sit here in the woods for the next two hundred years! Tamatha wants our people to build schools, get doctors, plant fields of grain, educate our children! Then little by little we can join the white man’s society.”
Though Nellakawi argues that the sun is setting on the Red Man, Tamatha believes that “We must look beyond the sundown” and consider the future. [12]
The words of the young warrior who gave his life up for Texas Independence serve as a strong example of the struggle of Native American tribes across the United States. Furthermore, they highlight the fear of a peaceful people at a time of internal struggle and destruction. Although the original intent of this play may have been to attract tourists, its memory not only serves as a potential historical record of the Alabama-Coushatta but as a piece of culture continually celebrated and shared with outsiders. For this reason Beyond the Sundown not only told the history of the tribe during the birth of Texas, but the fundamental ideology of the tribe to promote peace regardless of all circumstances.
Endnotes
[1] Kermit Hunter, "Beyond the Sundown: A Drama of the Alabama-Coushatta," (Livingston, TX: Alabama-Coushatta Tribes of Texas, 1977) 2.
[2] Chief Kina Fulton Battise, letter to Truett Latimer of the Historical Survey Committee July 9, 1973. News release by Alabama-Coushatta Indian Reservation July 16, 1973 "Texas Indians Detailed Plans for Final Phase of Tourist Development," Texas Historical Commission, Marketing Communications Division Papers, Texas State Library and Archives Commission.
[3] Stephanie May,"Performances of Identity: Alabama-Coushatta Tourism, Powwows, and Everyday Life," (PhD, diss., University of Texas, 2001) 96.
[4] "'Beyond the Sundown' Sets Opening Date for Season," The Cherokeean. (Rusk,Tex.), Vol. 130, No. 15, Ed. 1 Thursday, May 31, 1979, 14.
[5] Stephen Harrigan, "Bury My Heart At the Souvenir Shop," Texas Monthly (1975) 87.
[6] Hunter, "Beyond the Sundown."
[7] Hunter, "Beyond the Sundown."
[8] "Texas State Play: Beyond the Sundown," last modified May 7, 2012, http://www.netstate.com/states/symb/plays/tx_beyond_the_sundown.htm.
[9] "'Beyond the Sundown' Sets Opening Date for Season."
[10] "Texas State Play: Beyond the Sundown."
[11] May, "Performances of Identity," 93.
[12] Hunter, "Beyond the Sundown," 38-39.
[1] Kermit Hunter, "Beyond the Sundown: A Drama of the Alabama-Coushatta," (Livingston, TX: Alabama-Coushatta Tribes of Texas, 1977) 2.
[2] Chief Kina Fulton Battise, letter to Truett Latimer of the Historical Survey Committee July 9, 1973. News release by Alabama-Coushatta Indian Reservation July 16, 1973 "Texas Indians Detailed Plans for Final Phase of Tourist Development," Texas Historical Commission, Marketing Communications Division Papers, Texas State Library and Archives Commission.
[3] Stephanie May,"Performances of Identity: Alabama-Coushatta Tourism, Powwows, and Everyday Life," (PhD, diss., University of Texas, 2001) 96.
[4] "'Beyond the Sundown' Sets Opening Date for Season," The Cherokeean. (Rusk,Tex.), Vol. 130, No. 15, Ed. 1 Thursday, May 31, 1979, 14.
[5] Stephen Harrigan, "Bury My Heart At the Souvenir Shop," Texas Monthly (1975) 87.
[6] Hunter, "Beyond the Sundown."
[7] Hunter, "Beyond the Sundown."
[8] "Texas State Play: Beyond the Sundown," last modified May 7, 2012, http://www.netstate.com/states/symb/plays/tx_beyond_the_sundown.htm.
[9] "'Beyond the Sundown' Sets Opening Date for Season."
[10] "Texas State Play: Beyond the Sundown."
[11] May, "Performances of Identity," 93.
[12] Hunter, "Beyond the Sundown," 38-39.