Posted on Leave a comment

Testing True Love in Faith

One of the most colorful characters around Faith was Jens Peterson, aka Rattlesnake Pete. Pete came to South Dakota from Nebraska with a carnival about 1909. He drove a racehorse and chariot, and between acts ran a concession stand.

When he got to Faith he liked what he saw, and decided to stay. For years he lived in a sheep wagon, killed and skinned rattlesnakes to make belts and hatbands, stocked ponds and fished — and raised goats.

Now and then Pete gave a kid goat to a neighbor kid for a pet. In the early 1930s he brought a pair of baby goats to my friends Bernard and Eldora Thomas. As they grew, the goats lost popularity with Bernard and Eldora’s mother, especially when they ate the garden and the flowerbed. But in the middle of the Depression, children had few toys, and at least the goats brought some fun.

One afternoon I was playing with Bernard and Eldora when a shiny new car pulled up the wagon trail from the south. A tall young man got out, stepped back to admire his car, and hollered up to us,”You kids stay away from my new car, ya hear?”

It was a gleaming brown Whippet coupe with a tan canvas top. The young man was Gene Baker, who worked at Gilbert Lee’s garage in Faith. He’d come to take Bernard and Eldora’s visiting aunt Melissa to town to a dance.

When the sun set, I headed over the hill toward home, long before Gene and Melissa returned in the wee hours of the night. They got out of the car and went to the house, where Gene would spend the night. The commotion woke the two little goats, which slept in the yard. They apparently decided to inspect the new car.

The leapt onto the running board and climbed the fenders to the hood, their hooves furrowing the shiny paint for traction. From there they hopped to the canvas top, where they romped and butted in a game of king on the mountain, their sharp little hooves poking holes in the canvas. Then they nibbled the fraying fabric until they’d ripped a gash big enough to drop through to the shiny, patent leather seat. There they danced, pottied and chewed. But even fun can be tiring, so eventually they settled down to nap on the torn cushions.

Exactly what happened when Gene went out to his car early Sunday morning I know not, though Monday morning at school Eldora and Bernard told the terrible tale of the ruined Whippet.

In the spring, when Gene asked Melissa to marry him, she had no reason to doubt his love.

Editor’s Note: This story is revised from the November/December 2002 issue of South Dakota Magazine. To order a copy or to subscribe, call (800) 456-5117.

Posted on 1 Comment

Crow Creek Christmas

Every community has unique holiday traditions, including the Crow Creek Reservation in central South Dakota where the first Christmas was a sorrowful occasion.

Head Start students at Stephan Mission (from left) Chris Pomani Jr., Jude Colombe and Layla Zigler made Christmas stockings.

It occurred in 1863 after 1,300 Dakota Indians were imprisoned, then banished from Minnesota following the bloody Great Sioux Uprising of a year earlier. The Dakotas were packed on barges and shipped westward on the Missouri River, escorted by U.S. Army soldiers and a Presbyterian minister named John Williamson.

Three hundred men, women and children died of disease and starvation at their new home along the river. Promised government supplies failed to materialize, but the young preacher saved hundreds of lives when he convinced the Army to allow the Indians to organize a buffalo hunt.

Williamson also attempted to nourish the Dakotas spiritually, and his compassion for their physical needs prompted them to pay some attention to his Bible lessons. As their first Christmas in Dakota Territory neared, they listened to stories about a savior born in a barn to a poor young couple far from home. One can only imagine how the story might have resonated with the displaced Dakotas.

Floyd Hand, a Pine Ridge spiritual leader who is also called Looking for Buffalo, said Pastor Williamson’s Christian religion paralleled the Lakota and Dakota beliefs. Jesus was a poor man who became a leader by giving of himself to others, said Hand. He found his way while spending 40 days in the wilderness. He sacrificed himself for his people, who then prayed that he might live again. Meanwhile, his followers strove to live up to his ideals of charity.

A photograph of Shoots the Enemy hangs inside the Fort Thompson Senior Center, where many of the 19th century chief’s descendants now gather for socialization.

“Every day is Christmas in Indian Country,” Hand said.”Daily living is centered around the spirit of giving and walking the Red Road. Walking the Red Road means making everything you do a spiritual act. If your neighbor John Running Deer needs a potato masher and you have one that you are not using, you offer him yours in the spirit of giving. It doesn’t matter if it is Christmas or not.”

Clark Zephier, a traditional Dakota dancer and cultural leader in Crow Creek, says Christianity still blends with Dakota spirituality.”Some white clergymen will say that Christianity is the only way to pray, but we believe that every way is right and we don’t condemn anybody’s prayers. We go to church at Christmas and sing the carols and I help my brother-in-law, [Pastor] Everett Harrison, who is Dakota Presbyterian.”

Everett’s original family name was Shoots the Enemy but when his grandfather went to school in the 1880s that name either offended or confused the teachers, so they assigned him the surname of the president, Benjamin Harrison.

Pastor Harrison’s church, which sits on a hill southwest of Fort Thompson, always concludes the holidays on Jan. 6 with a ceremony known as Little Christmas. All of the community’s church members join together in the non-denominational event, which has been held for as long as anyone can remember. Gifts are given to youths and adults, and everybody brings hot dishes and salads.

Little Christmas is just one of many Crow Creek gift-sharings and gatherings. The Lode Star Casino in Fort Thompson buys toys and clothes for children. St. Joseph Catholic Church provides the meat for a Christmas Day potluck at the church hall following Mass. The local Senior Center also hosts a Christmas week banquet.

Perhaps the most unusual holiday event is a chilly cookout that was started several years ago by Diamond Willow Ministries.”The children do a program, and then no matter how cold it is we have a wiener and marshmallow roast outdoors,” said Gail Griner, who works at the ministry.”Two years ago it was bitterly cold but the roast went on.”

Griner said youth at Diamond Willow also prepare care packages for elderly and disabled members of the community, and groups of kids go caroling and deliver treats as they visit the houses.

Following the annual Christmas program, everyone dons parkas and circles the fire for an outdoor cookout that is held regardless of the weather.

The Crow Creek Reservation encompasses 40 square miles of central South Dakota, but there are no stores offering Christmas trees for the living room, plastic snowmen for the front yard, or toys and sweaters for loved ones. The 2,800 tribal members travel 26 miles south to Chamberlain for the commercial aspects of Christmas that are a major part of the season elsewhere in South Dakota.

Of course, the quiet also equates to a dearth of jobs. Only 10 to 20 percent of adults get regular paychecks on the Crow Creek Reservation. A young teacher at the Head Start program wrote this Christmas wish on her stocking:”a man with a job.”

Though lacking city sidewalks, busy sidewalks dressed in holiday style, there is a distinct Christmas atmosphere on the Crow Creek Reservation. The country churches and the modest houses in the community of Fort Thompson display strings of lights. Children laugh and sing with expectation and anticipation. Their elders gather for potlucks, giveaways and a Midnight Mass at St. Joseph. Christmas is a centuries-old tradition in many of the world’s communities; at Crow Creek the season has been celebrated for a little more than 150 years, but it already has a nice ring to it.

Editor’s Note: This story is revised from the November/December 2010 issue of South Dakota Magazine. To order a copy or to subscribe, call (800) 456-5117.

Posted on Leave a comment

Head ’em Up

Tara Anderson shared these photos of her family’s cattle drive early this month. The drive takes place west of Wilmot each fall. The herd is driven from their summer pastures in the hills to their winter pasture in Whetstone Valley. “My grandfather, Glenn Ammann, began the tradition decades ago with his Hereford cattle,” Anderson says. “My father, Tyler Ammann, continues the annual event with his herd of 800 Black Angus cattle.” See more of Anderson’s work at www.facebook.com/sweetlifephotographybytara
Posted on Leave a comment

A Working Artist

“The Figure.”

Editor’s Note: Celebrated South Dakota artist Marian Henjum died at her home in Sioux Falls on Sept. 24 at age 69. “She’s one of the state’s finest watercolorists,” Kara Dirkson, director of the Visual Arts Center at the Washington Pavilion of Arts and Science, told the Sioux Falls Argus Leader.”She just really embodied this sense of optimism and comfort in her work.” Henjum illustrated several South Dakota Magazine covers during her career and designed the state’s centennial postage stamp in 1989. We visited Henjum in her Sioux Falls studio in 1994, and this story appeared in our July/August 1994 issue.

Marian Henjum’s paintings depict the flowers, rocks, trees and plains she grew up with on a Garretson farm. Now she paints from a studio in Sioux Falls, where her designs are inspired from scenes outside the city limits.

Marian Henjum in 1994.

Life as an aspiring artist in South Dakota hasn’t been easy. To support her watercolor habit, she has worked as a teacher, fashion illustrator, commercial artist and free-lance designer. Slowly, she won a reputation as one of South Dakota’s most accomplished artists. Her works are in many private and public collections, including six permanent collections.

Upon graduation from Garretson High School, Henjum received a home economics scholarship to attend South Dakota State University in Brookings. She entered college with the goal of becoming a fashion illustrator. Eventually she dropped home economics as a major and went into art. After some time as an art major, Henjum decided she had to find a safety net because, as she said, “you don’t often pick up the classified ads and see ‘Help Wanted: Artist.’ I took the education block of classes just to be safe.”

After Henjum graduated from SDSU with high honors, she was offered an opportunity to teach. “When I was a senior in college, one of the professors took a sabbatical for a year so they asked me to take his place. It was like going to graduate school. I had to do a lot of research to get my stuff together. It was really good experience for me,” she said.

Instead of just remaining for a year, she stayed for three before she moved to Sioux Falls to become a freelance artist. She covered all kinds of territory working as a fashion illustrator at Michael’s and Burke’s, art director at the Argus Leader and at an advertising agency. Henjum counts her time at these jobs as valuable in learning her trade as an artist.”I got to learn production and how to turn these things around fast,” she said. All during the time she worked on the commercial side of art, she continued to work with paint and went to art shows.

“Tulips/Red Stripes.”

Today, Henjum works out of her home on the east side of Sioux Falls. Her studio in the basement looks like a small commercial artist’s office. A drafting table sits under a window with a view of flowers in her back yard. A long shelf holds books of art and design above her desk. The wall opposite the window displays various pictures clipped from magazines for design ideas and drawings by nieces, nephews and the neighbor kids.

Henjum’s paint of choice is watercolor. She was initially attracted to the medium while taking a course in college.”I just started working with it and I loved the spontaneity. I’m not one to sit and labor over anything, like you would with an oil painting. You put it down, it’s dry, you’ve got to move ahead. It fits my personality I think.”

Another aspect of watercolor she enjoys is its unpredictability.”I like the way it happens. The nature of the medium is just so exciting and things happen that you just can’t control. It’s more exciting than other mediums,” she said.

Every characteristic of watercolor painting she lists suggests the need for speed and an almost athletic, concentrated effort. Henjum’s paintings are large (she has a 4-by-8-foot table she uses to work on some paintings), and she takes little time in completing them.”I use big brushes, and it takes a lot out of me. Sometimes I do a painting in an hour. I put so much into it that I’m just pooped afterwards. That’s the nature of the subject and the way I treat it,” she said.

Her most popular subjects are flowers, which Henjum likes because they lend themselves to working with elements of design and abstraction.”First of all I like all subject matter. I’m more interested in design, patterns and composition than I am in expressing an emotional statement about what is going on in the world today. I don’t know if that is shallow or what. It’s not as if I am not emotionally involved with politics. I like to stylize what I see around me. I’ve done a lot of floral paintings, but I don’t feel that I am just a floral painter.”

“Bluegrasses.”

Henjum plans to move into other subject areas and has entertained the idea of getting into figure painting. But subject matter has never been a limiting factor.”I like to do anything, mainly just designing what I see. I don’t have to travel to China to paint something although that would be wonderful,” she said.

Her ability to quickly produce paintings has helped her keep up with the many commissions for her work.”I’ve always got at least two or three commission projects going. I just finished up some and I now I have a couple more. But before I get one done it seems a couple more come in.”

Commissioned work has been easier to come by in recent years. Henjum has noticed the attitude toward art in the area, and especially Sioux Falls, has improved.

“I think people’s feelings toward art have changed a lot even in the last ten years or so. People want original art in their home more so than a print. This isn’t Chicago or the West Coast, but it is going forward.”

About half of Henjum’s commissioned works end up in private homes and the other half in businesses.”I sell a lot to the medical centers and to doctors and lawyers,” Henjum said. “People in general want to save up money for an original piece of art.”

With commissioned work, people often request specific colors and subject matter, but these limiting factors have never got in the way of Henjum’s creative spirit.”It’s more of a challenge than anything. Once someone wanted me to do posies, and they wanted them black with a black background. Well I don’t think much of posies, and black posies just struck me as strange, but once I got down to it I really enjoyed the challenge,” she said.

Henjum received critical praise for her work. In 1989 she was selected by the United States Post Office to design the South Dakota Centennial Stamp. The honor gave her attention and name recognition in the state. She was also awarded the Emerging Artist Grant from the South Dakota Arts Council.

“Containers.”

Henjum succeeds in making a living, but she admits there are difficulties in her line of work that can’t be overcome. “It’s a profession that demands isolation to get the job done. When I talk at schools the kids ask what it’s like to be an artist, and that is one of the things that I like to stress the most because I never thought of that. It is the hardest thing for me to deal with, more so than making a living at it. Especially if you are a people person like I am.”

As far as advice for those who would choose to go into art, Henjum suggested following the road she took: “Know more than just one subject and have something to fall back on, because it’s not easy to make a living as an artist.

“I think it’s important to have a double interest, and if it complements the other that’s great. But let’s get realistic about making a living in art. I think I am able to make a living because I have been here a long time and I’ve worked like you can’t believe. I would suggest that people have a second profession to fall back on.”

Henjum is busy with more things than ever. Recently she returned to work part-time with the art department at the Argus Leader. She also is part owner of Dakota Galleries in Sioux Falls. Through her recent divorce, she took over her husband’s portion of the gallery, and she successfully found a new business partner. She is concentrating on advertising and revamping the image of the gallery and hopes to continue offering her services as a freelance designer.

Henjum says she works at many things so she is able to keep painting. There probably will come a day when her painting is all she will need to support herself, but for now she enjoys her sideline occupations as well as watercolors.

And when she is asked to define her painting, she answers the question as if there is only one answer she could give:”It’s my work.”

To Marian Henjum, it’s that simple.

Editor’s Note: This story is revised from the July/August 1994 issue of South Dakota Magazine. To order a copy or to subscribe, call (800) 456-5117.

Posted on Leave a comment

Making Hay

Whenever I glanced toward the highway, its glare nearly blinded me. Profiled faces were silhouettes in stone behind winking windshields. I wanted to scream in their ears, or maybe whisper to startle them. I wanted to make those drivers jam their right foot hard on the brakes, jerk their sunglasses off, and look out over the dusty alfalfa fields where I sat on my tractor, yelling.

There I was in the hayfield, 47 years old, bouncing along eating dust on a little 420 John Deere tractor my father bought on my 14th birthday. The 420 was our newest tractor, making it an antique to equipment salesmen, which explained why they hadn’t called us lately. To pass time, I imagined what I’d say if someone actually stopped to talk. Conditions weren’t conducive to reasoned discourse.

Pay attention! I’d bellow. I’m doing this so you can eat! In a rational tone, I’d add that you should watch out for folks like me as you drive the highways in your air-conditioned car. Look for the man, woman, or child on a tractor, hat pulled low, and back bowed to the blazing sun. Trying to drive the pleading tone from my voice, I’d add that we’re making hay to fill the bellies of calves out on the hillside, to feed them fat through a long, cold winter.

What do you care? My voice might rise, my throat tighten. You’ll be snug in your houses and offices when the blizzards arrive, or edging along the highway again, cursing the ice and yourself for forgetting snow tires. We’ll be out here, in bone biting cold, riding the same Popping Johns and loading the hay we’re cutting now. We’ll be here, muscles straining to lift the pitchfork full of hay, to pitch it off the rack for cows running behind. Every effort we make is manufacturing beef. We do this so you can fill your bellies.

One day you’ll go to the supermarket and choose a fine cut of steak, juicy and red, or shape hamburger to fry, mouth watering as it pops in the pan; if you’re watching your cholesterol, you’ll drain the grease. You can do this because we’re here, in this hot noon, making hay. If you can’t see us as you drive by, imagine our squint into the sun, which burns those grimaces against dust and heat into lines our faces will wear all our lives. When you see us in town, and notice how old we look, you shake your heads and wonder why we put up with such a hard life. Or grin and remark that we’ve never heard of makeup.

Listen to me. I’ve spent 10 hours on this tractor today, the engine popping steadily, deafening; the muffler fell off years ago. It’s 104 degrees, with a wind blowing gritty dust into my teeth. I’m not doing this just because I’m not smart enough to get a job in town.

I began driving the mower tractor the year I turned 14, proud to replace, with my skinny body, the unreliable hired men. Each year I relearn intricate steps to start the motor because the generator didn’t last past my 16th birthday. I tighten bolts like the one that whizzed past my ear last summer, check connections, hydraulic fluid, mower parts. Sweat runs out from under my hat, stings my eyes, makes me think there’s a wasp in my pant leg.

Making hay in summer is mental and physical torture, and traditional as religious rites. My parents, with my husband and me, spent 10 years together operating a small family ranch in western South Dakota. My father, whose father left the shoe making profession in Sweden to homestead this land in the late 1800s, was conservative politically and economically. His primary rule of ranch management was “Never Spend Any Money.” Translated into practicality, that meant we never spent a dime for anything we could do ourselves.

Making hay with old equipment meant we were using outdated methods, and were never typical representatives of high-tech “agribusiness,” a terrible word for an evil trend. None of us owed anyone money; we paid our taxes on time. Both couples took vacations yearly — not all of our neighbors with shiny new air-conditioned tractors could make those claims. But many of them have done less labor as they moved into the modern age. First they bought a “side delivery” rake, a long implement with rotating toothed wheels that swept the hay into queues the length of the field, making big, even hay bundles.

Meanwhile, we drove an old tractor towing a short dump rake. This model of tractor, designed with its two front wheels close together, was known for its ability to kill ranchers. When I hit the throttle, it leapt in the air, looking around for a hole to drop its front wheels into so it could tip over and break my neck. I never flipped it, but the summer a neighbor used it to put up our hay when I was occupied elsewhere, he rolled it twice on flat ground and survived. On later models, the front wheels are set nearly as far apart as car wheels for greater stability.

To use our old dump rake, I sat sideways on the rusty metal seat, steering with my left hand while I looked over my left shoulder to gauge when the rake teeth filled with hay. At that moment — and before the rake began to slide over hay on the ground — my right hand yanked hard on a rope that pulled a lever and dumped the hay. After an hour, my neck and shoulders hurt from twisting to watch the rake behind and the tractor’s path ahead — and I’d usually hit a couple of holes or boulders. My hand was blistered; and my arm ached from pulling the dump rope.

A few years after I started haying, the neighbors bought a windrower, a top-heavy machine that mowed hay in swathes 12 feet wide, gathering it in the same operation, and leaving neat rows around the field. The operator sat high on the machine where he could look down on me, probably chuckling, as I tightened bolts and greased zerks on my old 9-foot mower. I’d climb on the tractor and mow around and around the field three hours, unless I broke a sickle tooth, or mower guard, or a bolt snapped.

Then I’d unhook the mower, attach the rake, and drive around in circles for another couple of hours to windrow my hay. Meanwhile, the neighbor started piling hay while I was still mowing, unless he was smart enough to mow another field and let the crop dry out a day before stacking. If he wasn’t, his haystacks sometimes burst into flames, spontaneous combustion, because it was stacked too green. In fairness, he might have admitted that I didn’t break down any more often than he did. To be really fair, he might have admitted that buying advanced machinery used up a lot more of his cash than we spent repairing our old equipment.

Once hay is mowed and raked, a variety of machinery exists for making the big loaf-shaped piles common to the arid Great Plains. In our case, when I’d half-raked a field, I’d see a glint of light through the dust as the massive old John Deere carrying the hydraulic stacker moved into the field. It’s simplest to describe a stacker as a wheeled fork; the teeth operate hydraulically to raise the load to the height of a stack.

My father would drive to a far corner of the field and drop the teeth flat against the ground, then drive toward the spot where he intended to place the first stack. As he drove, trying not to stick the metal teeth in a hole that would bend them, the hay would collect against the back wall of the fork. When he got to the stack site, he’d stop and back up, pushing a lever that caused the push-off to slide the hay off the fork tips. Then he’d turn and drive at a right angle to the rows of hay, returning to pile each load on the first.

Stacking my father’s way, however, was much more complex than simply shoving hay into a pile. His progress around the field on the noisy stacker was more like a ballet: he never drove a foot more than necessary to collect the hay and bring it back to the stack. As he delivered hay from alternating directions, he dumped each load so the end crossed the end of a previous load, weaving strips of fodder together at the corners. Integrating the bundles this way made the finished stack firmer. Every three or four loads, he’d lift the teeth enough to dump hay into the center of the square, building it high so it wouldn’t collect water in a depression that would rot hay from the core outward. The finished stack might have been shingled, so rightly did the bundles overlap one another, and would shed water for years. Such stacks were also incredibly hard to tear apart with a pitchfork.

The neighbors’ next innovation was a device I never envied: a four-paneled fence set up on the site of each stack. Using a stacking fork, they simply dumped hay casually over the fence until it made an untidy pile my father refused to dignify with the term “stack.” Then they unhooked the fence connections and dragged the panels to the next site. The hay pile was uneven, haphazard, without layering or the woven corners that would resist wind, snow and water, and much smaller than the monster loaves in our fields.

The neighbors defended this technique by saying they’d feed the hay that winter anyway, so it didn’t have to last. The same philosophy has created an entire throwaway economy. And, to continue the social parallel, a lot of the hay blew away before it was used. If we had a wet summer and fall, it was already rotting when they fed it in January. Sometimes it made cattle sick, or killed them. If we didn’t feed our stacks during the first winter we knew they’d last awhile.

One winter when I was 40, we tore into a stack built the summer I turned 15. My father used another hydraulic gadget on the tractor to feed hay: the grapple fork. Visualize a hand raised to catch a ball: the curved “fingers” could be raised as the operator drove straight into the stack. Then the fingers closed, holding the hay firmly against the row of bars on the bottom, just as you might pick up a handful of spaghetti. The outside of the 25-year-old stack was weathered gray, a pile of leafless sticks that had shed water like a palm thatched roof in the tropics. Inside, the hay was green and leafy, and smelled as if it was fresh cut. I wouldn’t believe it either, if I hadn’t stood on the hayrack and pitched it off to cows that filled their bellies with it.

Summer haying was only part of a year-round cycle that turned grass and hay into meat. All winter, either with a tractor, or with a pitchfork and his pickup, my father fed to his cows the hay we put up during the summer. Driving in the country on some March morning, watch for pickups with miniature haystacks in the back moving slowly through pastures along the highway. Look again; the pickup has no driver. The rancher stands in back pitching hay. Behind him, cows stream from all corners of the pasture. New calves, confused by all the action, run back and forth, bawling. When they find their mothers, they curl up to sleep on a ton of hay, until a cow eats it out from under them.

One of my friends tells a story typical of this method of feeding hay. One day her dog, left in the pickup cab, managed by his bouncing around to lock both doors. As the pickup headed down a steep hill, she ran alongside trying to pry open the wing window to get at the steering wheel, and hoping no neighbors drove by. The dog barked encouragement, and the pickup eventually hit a rock big enough to stop it, whereupon she broke the side window and resumed control. She’s trying to teach the dog to unlock doors and turn off the ignition, but heís old and she doesn’t have much hope he’ll learn these new tricks.

One of ranching’s skills is figuring out in the fall how long the hay and winter will last before pasture grasses grow green and tall enough in spring to support the herd. Ranchers who don’t keep surplus hay in case they guess wrong can be ambushed by spring blizzards. Entire cattle herds have died when the rancher miscalculated when winter would be finished with him.

In fall, ranchers sell calves six to nine months old; most are bought by feedlot operators who will maintain them through another winter, usually on grain, to produce the fat meat sold to supermarket chains. Some ranchers keep half their calves through another winter, hoping prices will be higher next spring. Meanwhile, each cow protects another calf in her womb.

The meat a rancher eats is nothing more than grass and hay, conveniently packed inside cowhide. By the time meat appears wrapped in cellophane at the grocery store, additional processes have raised the price far above the rancher’s costs or profits. Large companies feed expensive, chemical-laden grain, and use hormones to increase weight gain. Cattle that spend months crammed together in a feedlot that may be wet and muddy also receive medication to help the withstand disease, and you also pay for butchering and wrapping, tracking — dozens of other costs.

Increased concern about what we eat has made some changes. A customer who looks hard enough may find grass-fed beef. Cows are ruminants, after all, and like elk, moose and deer, they prefer to wander wide grasslands, selecting their own meals based on their needs. Old-fashioned ranchers like us try to accommodate their natural needs. We use hay only as a winter supplement when natural feed is covered by snow and unavailable. I refuse to eat supermarket beef. Grass-fed meat is healthier. And while chewing a steak, I can picture the hours of haying from which its firm, tasty flesh is made.

Editorís Note: Linda M. Hasselstrom lives and writes at Windbreak House near Hermosa. This is revised from the July/August 1998 issue of South Dakota Magazine. To order a copy or to subscribe, call 1-800-456-5117.

Posted on Leave a comment

Oscar Howe’s ProtÈgÈ

Editor’s Note: Bobby Penn, a student of Oscar Howe, was among the foremost Native American artists of the late 20th century. He was a master of oil and acrylic painting, drawing and printmaking. His subjects focused primarily on Indian themes and his own life story. Penn died Feb. 7, 1999, after a long battle with lung problems. His work is included in public collections at the Smithsonian Institution in Washington, D.C., the Minneapolis Institute of Arts and the Vincent Price Gallery in Chicago. Some of Penn’s artwork is available through the Akta Lakota Museum online gallery. This story is revised from the July/August 1991 issue of South Dakota Magazine.

From its perch above a southern window in a century-old Clay County farmhouse, a stuffed crow watches Bob Penn paint South Dakota landscapes and Native American symbolisms. Outdoors, a pair of red-tail hawks flies above the hilly grasslands. Just a few country miles away is the University of South Dakota in Vermillion, where Penn studied under Oscar Howe, the master of Sioux art.

Penn, a 44-year-old Sicangu Sioux/Omaha, is rising to the top of his field and is currently doing some of his most bold and striking work. Penn paintings hang in permanent collections at the Smithsonian and the Vincent Price Gallery in Chicago, as well as a dozen regional galleries on the Northern Plains. He has been the focus of 16 one-man shows, including exhibits at the Dahl Fine Arts Center in Rapid City and the Two Rivers Gallery in Minneapolis. Next year, he will share the spotlight with two Oglala Sioux artists, Richard Red Owl and Arthur Amiotte, at an exhibit of Plains Indian Art at the Minneapolis Institute of Fine Art. A new mural commissioned by the Hennepin County (Minneapolis) Medical Center and the mounting of a traveling retrospective occupy his current studio time.

He served as chairman of the art department of Sinte Gleska College in Mission for three years, and has also taught at three other institutions. Early this summer he taught the Oscar Howe Native American Art Institute at the University of South Dakota, an honor Penn particularly cherished. The workshop had been discontinued since Howe’s death in 1983. Penn originals can sell for many thousands of dollars, and thanks to his partner/wife Alta, many of his works are now marketed as prints.

He never imagined such success when growing up on the Winnebago Sioux Reservation in Nebraska. At the age of 8, he was placed in an orphanage. In the summer, the school closed and students were sent to foster homes.

Bob learned about farming, carpentry and machinery in boyhood summers. He also joined the orphanage boxing team and for two years was the national champion in his weight class. Every boxer on the orphanage team, in fact, placed as either the national champ or the runner-up.

Looking back, he attributes such success to the fact that other fighters cannot “psyche out” an Indian. Bob’s father was a professional boxer and Bob thought about going to the Olympics or turning pro. Instead, he turned to the other love of his life — painting.

Ironically, it was the second time art triumphed over combat for Penn. His first art lesson occurred when his father separated him from a fight with his brother, sat him down and drew an Indian chief’s head. “Sit here until you can do that,” he commanded. Bob was fascinated … and hooked on art.

He attended St. Francis Indian School on the Rosebud Reservation and then enrolled at USD in Vermillion and experienced “super shock.” It was the first time he felt the pains of prejudice. But it was also the place he met Oscar Howe, the Yanktonai Sioux from the Crow Creek Reservation who became South Dakota Artist Laureate and was recognized worldwide as the leading painter of Sioux art.

Howe rigorously fought the categorization of Indian art. In 1958, the curator of the Philbrook Art Center in Tulsa refused one of Oscar’s works because it didn’t fit the “Indian style.” In an indignant reply, Howe wrote: “Who ever said that my paintings are not in the traditional Indian style has poor knowledge of Indian art indeed. There is much more to Indian art than pretty, stylized pictures. … Every bit in my paintings is a true studied fact of Indian paintings. Are we to be held back forever with individualism, dictated to, as the Indian always has been, put on reservations and treated like a child … ?

“Well, I am not going to stand for it,” continued Howe’s letter. “Indian art can compete with any art … I only hope the art world will not be one more contributor to holding us in chains.”

Howe’s letter cast off restrictions that had bound Indian artists for years at the Oklahoma exhibit. Indian painters deluged the competition with new and innovative styles of work.

It was in this atmosphere of new artistic freedom that Bob Penn began his instruction under Howe. For five years, the two worked together, often one-on-one, and Penn recalls these years as the most significant period of his life. Howe termed Penn his most talented student.

However, talent and hard work don’t always mean immediate success in the art world. Penn has paid his dues. He played in several rhythm and blues bands and worked as an artist for both the USD School of Medicine and USD Educational Media Services. Though much of the work involved graphic layout, signs and posters, he learned technique and self-discipline. Between jobs he traveled to show his art, and slowly his paintings gained popularity.

His career also was boosted by romance. He met his wife, Alta, when she was an art gallery curator in Sedona, Arizona. She is an artist in her own right, but she is also adept at business and handles most of the family financial arrangements. She spirits Bob’s works from the studio as soon as he finishes. “Otherwise,” she says, ”I’m likely to come downstairs and find that he’s done a touch-up, and covered a perfectly good painting completely with an entirely new one!”

They enjoy Clay County living. The hawks who patrol the river valley seem to welcome the Penns, and Bob and Alta persuaded their landlord to preserve the prairie grassland pasture which cascades southward from their front porch to the Vermillion River.

Vermillion, despite those first awkward years in the 1960s, has been good to Bob Penn. The university commissioned him to create a mural for the Lakota cafeteria in 1989. It is a traditional Sioux design Penn had contemplated for years, saving for just the right location. The pattern — narrow horizontal bands of color which represent the four directional winds, struck through with yellow (lightning) and anchored by a shield — wishes visitors a long and fruitful life.

W.H. Over Museum in Vermillion also commissioned a piece that Penn calls “in the Charles Russell style.” The museum is building a room to showcase the painting.

Penn has not yet seen the movie Dances With Wolves but says he was glad to hear it is not just another movie where the white super-hero comes along and saves the Indian. “I understand that (Costner as) Lt. Dunbar is respectful and inquisitive, willing to let the world be what it should be.”

Penn added, “I try to approach my art the same way. To be prejudiced closes so many doors to things you can learn.”

A look around his workshop makes it obvious that Penn, like his mentor Howe, is stretching the limits of what might be considered traditional. Abstracts, still lifes and unusual landscapes are on canvasses. With a smile, he notes that anything he does is Indian art solely because he is Indian.

“The important thing is not to draw limits for myself, but to continue exploring new media and styles,” he says. “If a brush stroke doesn’t give me the effect I’m seeking, I may go into the yard for a misshapen twig. Art is what forces me to grow … my desire is just so strong.”

The crow watches, always, from his roost by the farmhouse window. And the crow often appears in his works. Penn calls it his personal totem.

“Birds were important to the Indian,” he explained. “They could fly higher, carry the prayers closer to God. I chose the crow because of its cunning, its adaptability, and ability to survive. The crow is the organic shape of many of my works that balances the harder edges. For a good painting I try to find a balance; I try to live my life the same way.”

Rick Geyerman, of Mitchell, was a classmate of Bob Penn at USD in the 1960s. One of his avocations is freelance writing.

Posted on Leave a comment

Boots, Caps and Taxes

Editor’s Note: This examination of South Dakota culture appeared in the September 1985 issue of South Dakota Magazine, one of the first issues to be published. The state has changed, but many of these observations seem as true today as they did over 30 years ago.

It isn’t like I’ve been a logger or a merchant marine or a soldier of fortune or anything, but I guess I’ve kicked around a little even if I’ve never lived anywhere but the Midwest. I spent my adolescence here in this Land of Infinite Variety, four years in college in Omaha, then a little more than five in the Twin Cities before returning to Sioux Falls late last year.

Along the way, I’ve made stops of varying duration — a few hours, a few days, a week — in New York, Chicago, San Francisco, Las Vegas, Athens, Paris, Washington, and more. It didn’t strike me while I was in any of these places, but it certainly has since we’ve relocated to Sioux Falls. Namely, South Dakota is different from the rest of the world. Here are a few examples:

  • In South Dakota, there are no supermarkets. Just”grocery stores.”
  • In South Dakota, people do not drive like maniacs. They don’t drive especially well, but this seems to have more to do with a relative lack of other vehicles on the thoroughfares than with pride, vindictiveness or insanity.
  • In South Dakota, there are more cowboy boots per capita than in any other Midwestern state. Only a few of them are on the feet of people who look anything like cowboys.
  • In South Dakota, a $50,000 house costs $60,000. A $50,000 house costs $75,000 to $90,000 in neighboring states.
  • In South Dakota, people do not drink soda. They drink”pop.”
  • In South Dakota, an awful lot of towns have the word”city” in their names. And none of them is a city (see below).
  • In South Dakota, there are no cities. Just”towns.”
  • In South Dakota, the”gimme cap” is king. The mesh-backed adjustable-cap industry would collapse without the active support of nearly every South Dakotan.
  • In South Dakota, people seldom say,”Have a nice day.” However, when they do, they usually mean it.
  • In South Dakota, automobile mechanics, electricians, contractors, repairmen and the like speak English. They speak some kind of prehistoric patois in other nearby states. Auto mechanics in the Twin Cities don’t speak at all.
  • In South Dakota, you can still put out your arm, bend your elbow, yank your fist up and down in the air, and have a passing semi driver give you a blast on his horn. Which is of a lot more interest to kids than it ought to be to you.
  • In South Dakota, stop signs are seen as suggestions. Yield signs aren’t seen at all.
  • In South Dakota, people say hello to you in shopping centers, in office buildings, or along the sidewalk. I mean, total strangers!
  • In South Dakota, the driver of any kind or size of truck will wave at you when you meet on the highway. But only if you’re driving a truck, too.
  • In South Dakota, people invariably ask you how it’s going. I have no idea what”it” is, or how it should be going.
  • In South Dakota, residents enjoy playing tricks on folks from other states. That’s why Pierre, Hayti, Belle Fourche and Flandreau are pronounced as they are.
  • In South Dakota, you’re constantly asked what on earth you’re doing in South Dakota. The correct answer is,”Not paying state income taxes.”

About the Author: William J. Reynolds is the author of The Nebraska Quotient and Moving Targets and does not own a pair of cowboy boots. He lives in Sioux Falls.

Posted on Leave a comment

Discourse in Dad’s Dairy Barn


Editor’s Note: Nancy Ruskowsky, a native South Dakotan, lived on a ranch near Cody, Wyoming when this story appeared in the March/April 1988 issue of
South Dakota Magazine. To order a copy or to subscribe, call 1-800-456-5117.


Long before articles on positive motivation moved the world toward success, most of my at-home education took place with me seated on a ledge by the barn wall, waiting for the next cow to be milked. As a child on our eastern South Dakota farm, it was my job to wash our Holsteins. There was only one requirement — that I stay just one cow ahead of my dad and our lone Surge milker.

Milking was the only time of the day that Dad stayed in one place long enough to talk. Sometimes he and I would practice naming all the counties in South Dakota. The next morning we’d dig into why I thought Judy Daniels was prettier than me. If I got good grades at our country school up on the hill, there’d be something new to offer Dad at milking time. The reward of his smile guaranteed my renewed attempt for another A tomorrow.

I always knew it was milking — and discussion — time when I heard Dad at the back of the barn calling,”Come boss, come boss.” As soon as the stanchions were closed and the first cow washed, I’d wait expectantly for Dad to adjust the milker on Rosie. “Okay, honey bunch,” he’d say, “what will we talk about tonight?”

I’d dust off one of the stanchion supports, sit down and take a deep breath before asking, “Did you know there are trees in Australia that have an oil used for medicine?” Dad would listen intently, as he readjusted Rosie’s milker and I rolled the word “eucalyptus” around my tongue.

Sometimes Dad would already know about my topic of conversation and could add more to my mental picture. Other times he’d never heard of my news, and the questions flew. I was always glad if I could answer every query.

It’s been years since those conversations. But last night I again leaned against a barn wall, a thousand miles and twenty years from those South Dakota memories. I watched as my own twelve year old, Traci, attempted to milk her newly fresh Jersey heifer for the first time.

She and I talked for nearly the whole hour it took to milk that cow. As if it was yesterday all over again, I found myself backing against the wall as we discussed her day at school. As the sky darkened the single pane window, I slid down the wall to a dusty seat. We tried to define reasons for the world’s troubles she’d been reading about in class.

Later, as we crossed the barnyard toward the house, she and I watched stars blinking over Sheep Mountain. The moon slipped up behind us, reflecting the satisfaction each of us felt. Suddenly my daughter stopped. As she shifted the pail from one hand to the other, she looked up at me with a glow that could have been the reflection of moonlight or inspiration as she asked, “Well, Mom, what will we talk about tomorrow?”

Posted on Leave a comment

Lady of Justice

Mildred Ramynke in 2004.


Editor’s Note: The Hon. Mildred Ramynke passed away Sept. 7, 2013 at age 96. To pay tribute to this remarkable woman, we wanted to share this story, which originally appeared in the July/August 2004 issue of
South Dakota Magazine.

Dressed in judge’s-robe black slacks and jacket relieved only with a flash of brilliant coral at the neck, 87-year-old Mildred Ramynke told her story — an incredible story of firsts — as if it was no big deal.

To her, it wasn’t.

Trick roper (she taught herself to twirl three at once), pilot (the only woman in her class), flight instructor (solo again), and finally, judge (you’ve got it — South Dakota’s first woman circuit judge), Ramynke said simply,”I just felt like I was doing what I was supposed to do.”

This tiny woman — though no one mentions her size — tilled a wide furrow across northeastern South Dakota’s legal landscape, winning the affection and respect of those she worked with, those she lived with, and even those she sent to jail.

Chief Justice David Gilbertson, who brought his first cases to Ramynke’s courtroom, said she was the biggest influence on why he became a judge.”I saw the good that she was able to do,” he said, adding that Ramynke resolved disputes as peacefully as she could and still retained the community’s respect for the court system.”I don’t have too many heroes in this life, but she’s one of them.”

It all began on what is now the Standing Rock Sioux Reservation, where her parents, Harrison and Alta, homesteaded. Mildred was their only child, born in 1917. By the time she was walking, she could ride a horse.”Riding horseback was just a way of life,” she said,”especially when we lived West River.”

When Mildred was eight, the family moved to Wisconsin to farm, but they returned to South Dakota after Mildred finished eighth grade. They bought land in the hills of Agency Township on the Sisseton-Wahpeton Sioux Reservation, where they raised livestock in the foothills.

There were no school buses and no car to drive to town, so Mildred lived with her aunts’ families in Watertown while she finished high school. In summers she helped on the farm, putting up hay and riding the fences. And she got involved with Whipple’s Rodeo, five miles down the road.

In her youth, Ramynke was a cowgirl and rope artist.

“My dad got together with him, and he did a lot of his promoting and became an announcer for the rodeo,” Ramynke remembered. Nobody planned on her joining the show, but she learned trick roping to make herself useful.

“[Roping] is one of those things you kind of grow up with,” she said. Watching the cowboys, she taught herself to jump in and out and through the spinning rope. She learned the butterfly and how to twirl three ropes at once — one in each hand, the third in her mouth.

But at age five, she had set her sights on law school.”It never dawned on me I’d do anything other than that,” she said.”I wanted to be a lawyer.” The fascination was born when Ramynke’s dad, looking for entertainment on remote Standing Rock, went to town, watched trials, then came home and acted them out.”To me, they were the big heroes, the attorneys,” Ramynke said.

She finished two years of pre-law in Brookings, and three years later, she and Margaret Crane were the first two women to graduate from the University of South Dakota Law School. Both were admitted to the bar in 1939.”There weren’t many people looking for a woman lawyer,” Ramynke said. She took a collections job with the Federal Deposit Insurance Corp., which was trying to sort out where the money had gone when banks closed during the Depression.”It wasn’t interesting,” she said,”but it was work.”

Her posting to Huron was the beginning of another adventure. It was six years before Pearl Harbor, but the Army wanted to train pilots, and began its Civil Pilot Training with ground school and 40 hours of flight instruction. Ramynke had her degree, but Huron College wanted more students in its program, so she learned to fly.”I’d never been off the ground before,” Ramynke remembered.”But I loved it, every minute.”

She earned her private license and took a receptionist job at the airport with the promise of more flight training.”I kind of got used to being the only woman doing things,” she said. That’s also where she met Cliff Ramynke, a flight instructor; they were married in March 1941.

When Cliff landed a job at Iowa Wesleyan University to train men in the Army Air Force, Mildred, with her flight instructor rating, taught young men to fly. She loved working with cadets and learning the maneuvers, including stalls and spins.”We weren’t teaching them to do loops, but whenever we had a little free time, we’d do them just for the fun of it,” she said.

During World War II, Ramynke joined the WAVES, Women Accepted for Military Service.

When Cliff went into the military, Mildred joined the WAVES, Women Accepted for Volunteer Emergency Service, only to be assigned to aerographers school to learn meteorology. She was sent to Washington, D.C. to work in Naval Intelligence, where aerographers used their weather training and Japanese weather reports to try to break the Japanese codes.

At the end of the war, the Ramynkes returned to Roberts County. The couple had three daughters, and Cliff worked with Mildred’s dad raising registered Hereford cattle. In those days, every county had its judge, but the Roberts County judge was elderly. Seeking a replacement, local lawyers came to Ramynke, who hadn’t opened her law books since she left college.”It wasn’t that they thought I’d be so smart or anything,” she remembered.”They just needed a warm body.” Besides, she said, none of the lawyers wanted to give up lucrative probate work to become a part-time judge. She won by a landslide, and took office in 1958. W. R. Brantseg, elected Roberts County states attorney that same year, said he never expected a pushover.”And we soon found out she sure as heck wasn’t.”

In court, Ramynke found her second home. While she handled probate, civil cases and mental illness, juvenile work was her forte. Kids from 10 to 18 came to her court, mostly for burglaries or alcohol violations, but not many violent crimes. Judge Ramynke tried to figure out how to help them.

Ramynke even looked after the ones whose families couldn’t do it, such as a 12-year-old who ended up in Ramynke’s courtroom. The boy’s dad was in jail for drinking when the boy was picked up. His mother’s younger brother, who had a history of trouble, had taken the boy along for a burglary. By the time the boy came to court, his mom was also in jail for drinking.

“It was pretty obvious there wouldn’t be anyplace he could go after he’d been in court,” Ramynke said, so she reluctantly sent him to the Plankinton training school. When no one visited him, she sent him letters. When no one sent him clothes, she did. When he was ready to be released, the parents’ situation had deteriorated, and Ramynke placed him with an aunt.”He turned out OK,” she said, and he still visits her.

“That was the good part about it,” Ramynke said,”getting involved.” In those days, judges had more discretion, she said. People were more concerned with children being treated well and learning right from wrong.”Now there’s more of that put-them-away-and-throw-away-the-key.”

Ramynke posed with one of her students in her flight instructor days.

Brantseg figured he and Ramynke learned the law together.”You learn not only by the books but by doing,” he said, calling Ramynke a good student and exceptionally bright. He’s not alone in saying Ramynke was always willing to listen — to everybody — and that she was fair to everyone, a virtue in a multicultural corner of the state.

Having built a reputation as county judge, a decade later Ramynke became district judge for Roberts, Day, Grant and Marshall counties. In 1974, when voters approved the State Unified Court System, she ran in a field of five judges for four Fifth Circuit Court positions. She came in second, and in 1975 was sworn in as South Dakota’s first woman circuit court judge. The circuit included Aberdeen, Sisseton, Mobridge, Redfield and Faulkton. Ramynke’s new job was full-time.

“She was an honorable judge,” said Long, who was Roberts County Sheriff from 1975 to 2003. He remembered a judge he could visit any time he wanted, one who took more time than most to interview witnesses to understand what was up.

“She’s one of these you can learn a lot from,” said Vivian Hove, who went to the Roberts County Clerk of Courts office just out of high school and later was elected to the office.”She never put herself above other people.” One of the things Hove remembered best was that Ramynke didn’t let anybody take advantage of her. When defendants told outrageous stories — about finding alcohol under a tree or along the road, for example — Ramynke let them know she wasn’t going to buy a lie.”I think that’s why she was so well liked,” Hove said.”She used wisdom, good common sense.”

Gilbertson met Ramynke in 1975, when he returned to Sisseton to practice law. He was still a young prosecutor the day Ramynke stopped court and sternly asked to see him immediately in the back room.”I thought she was angry at me,” Gilbertson remembered. Instead, the judge said,”That kid’s got a gun on him. You can see the bottom of the holster sticking out of his jacket.” Gilbertson figured he could take the gun away, but Ramynke called the sheriff. The deputy agreed to come in the back door; Gilbertson went back in the front. They jumped the boy and found a hunting knife in the holster. Gilbertson credited Ramynke for sentencing the boy only on the original charge, not penalizing him for the crime of stupidly carrying a knife into the courtroom.”She always kept her cool on the bench, was very fair to everybody, very polite,” Gilbertson said.

When she saw alcohol-related crimes, she always tried to include alcohol treatment in the sentence. When she saw kids, she’d try to educate them on where their misdeeds were heading them and what they needed to do to turn their lives around. She’d tell them she had full confidence they could make successes of themselves, and some of those speeches even choked up Gilbertson, who said he wished he could’ve recorded them.

Being a woman had nothing to do with Ramynke’s success, those who encountered her said. She earned respect.

Besides her many firsts, Mildred Ramynke was honored often, including induction into the South Dakota Hall of Fame in 1987. Looking back her life, Ramynke was one of those rare people who have no regrets.”I was fortunate to have opportunities to do all these things, because I enjoyed every minute of it,” she said.”Everything I’ve done I would have done if I didn’t earn a penny.”

Posted on Leave a comment

Name That Film

Jamie McDonald, British actor and part-time cowboy.


Editor’s Note: Below is a short interview with Jamie McDonald, England’s lone bull rider, conducted after the main event. Click here to watch a short video of McDonald’s trip to Burke.


What do you call a movie about a brand new cowboy making his first bull ride? Jamie McDonald, the British newbie at the Burke Stampede Rodeo, is looking for ideas.”Please ask your readers to write in with suggestions and we’ll credit any winners in the film,” he says. We asked him a few questions in the hopes that his answers might stir your creative juices.

1. What does it feel like to get that first bull ride behind you?

I felt riding a bull for the first time was much like meeting your girlfriend’s parents for the first time: potentially dangerous, never as bad as you think and you’re very glad when it’s over.

2. What was the name of the bull, by the way?

I never found out the name of the bull but retrospectively I think I’ll call him Alex, someone I was at school with. He was also big and hairy and gave me a hard time.

3. What brought you to Burke?

We chose Burke because of the Suttons and their incredible hospitality. Zach spoke with several people about where to go and it was Billie’s kindness and willingness to help our project that made us pick Burke. And we’re sure pleased we did — what a reception.

4. What surprised you most about the weekend rodeo and the town?

We were blown away by the level of hospitality we received, not just from the Suttons but all over. Riders, new and old, were more than willing to help us out and extend some words of wisdom about bull riding. Justin Hathaway in particular was a great find for us and he helped us an enormous amount.

I was also surprised how beautiful South Dakota is; maybe it’s your intention to keep it a secret, but you should advertise that more. It’s stunning countryside.

On the flip side, I was amazed how bad I was at singing. I thought I was good until then.

5. Any advice for someone who’s never been to a rodeo?

For those riding for the first time, like many things, it’s so much mind over matter. If you are too scared, you hold on too loosely and you will get thrown around harder. The stronger you are, the easier it is, so be strong. Also, when you are thrown off, don’t hang around. Run.

Also, if you go to South Dakota, never ask a ranch owner how many cattle he has. It’s not exactly good bovine etiquette.



When McDonald is not riding bulls, he’s busy thinking up new adventures. (He’ll take suggestions on that, too.)”Right now I’m in Alaska typing this from a tiny plane heading into the wilderness to try and see some grizzly bears — so right now I’m all about bulls and bears. It’s almost like I’m working in finance,” McDonald says.