The video for Supamanâs 2015 song âWhyâ opens with the stunning image of blue and white ribbons swaying in the wind. Adorned in traditional Native American regalia, the rapperâwho was born Christian Parrish Takes the Gun and raised on a reservation near Billings, Montanaâperforms the menâs fancy dance alongside world champion jingle dress dancer and Umatilla tribe member Acosia Red Elk.
As the two move together in the countryside, Supaman layers his signature drum loops against a prayer melody from the Native American Church (NAC), then begins rapping about economic inequality and the struggles of parenting. Over the phone, Supaman tells me his grandfather was once president of NAC and played a key role in regaining religious rights for the church.
A member of the ApsĂĄalooke (or Crow) Nation, Supaman is energized by the movement for indigenous unity. Heâs also passionate about another culture: hip-hop. Drawn to parallels in the genreâs stories of systematic oppression, Supaman was inspired by B-boying and the Rock City Crew, and began DJing in the â90s.
While he frequently inserts Native instrumentation into his beats now, it hasnât always been easy to blend those traditions with hip-hop. Throughout our conversation, Supaman reminds me that heâs âold schoolâ and has witnessed decades of change within his community.
âI was raised in the church culture, and so everything that I was saying early on was always geared towards them,â he explains. âThere were times that I didnât want to offend them, and I wanted to make sure this [music] was accepted, so I wasnât really being an expressive artist.â
Itâs a delicate balancing act: âIt was almost taboo to put [hip-hop and Native melodies] together,â he says. âYou knew youâd definitely catch heck from some people.â
Little by little, Supaman began incorporating lyrics about rez life. And over time, elders came to embrace his music, which he says is a response to the vital need for cultural preservation.
âThe elders are realizing the culture is dying,â he says, âand we gotta do everything we can, you know. Anything to empower our youth and say, âHey, itâs a good thing to be proud of who you are and learn the songs.â Weâre in a state of emergency.â
Supamanâs workâboth in uplifting Native culture and his knack for melodic ingenuityâhas earned him numerous accolades, including an Aboriginal Peoples Music Choice Award, Native American Music Award, and seven Tuney Awards. The well-decorated artist encourages others to learn about their history, no matter their background.
âWhen Iâm invited to a nonnative school, itâs an amazing opportunity to share music and culture with them,â he says. âI feel like I have a responsibility to educate about Native people, and the history of the United States, and basic things like breaking stereotypes of Native people. Like, âHey, Iâm drug- and alcohol-free, believe it.â I invite all of them to my reservation because theyâve been taught not to go to the rez, [or theyâll] get killed.â
âWhen itâs all-Native itâs great too,â Supaman continues, âbecause you get to share your accomplishments with them. You get to say, âHey, Iâm a fancy dancer. I embrace the culture and I embrace this other culture, which is hip-hop.â We have the opportunity to share our heart and tell them that itâs good to stand up for these rights; itâs good to be drug- and alcohol-free, and embrace culture... I want to show Native youth that itâs okay to embrace other cultures, so long as you donât forget who you are and where you come from.â