N I C K W H I T E S W A N
nickwhiteswan@gmail.com
Bio & Background
Nick was born to a white mother of German descendents and a full blood Native American (Lakota Sioux) father. Born and raised in South Dakota, Nick also grew up in several different states such as Colorado, Iowa, Florida, Wyoming, and in several different communities in his home state.
His mother, by herself, raised him and his half-sister Shawna with great love. She put herself through nursing school, and always provided the best life for Nick and his sister possible. As a result, Nick has developed profound family values of respect and closeness.
However, he was also affected by the hardship of not having his father or other male role models. By the time he was 16, he had his first of two treatments for alcoholism. His disease plagued him throughout high school and a post high school military career. Facing serious trouble while in service, Nick got help on his 20th birthday, beginning a new journey into healing and spirituality.
He worked on establishing his recovery the first few years, adjusting to and embracing his new way of life. Within his first year of being clean and sober, a group of Natives invited him to ceremony. He found great meaning and promise in those ceremonies, promptly committing his life to the theology of his father’s ancestors. Thus, he emerged from early recovery intently focused on healing and well-being. He also began the practice of developing ties with spiritual mentors and wellness leaders. Deciding it was time to expand himself much further, he went to college in Lawrence, Kansas at Haskell Indian Junior College, obtaining his degree in Indian Studies.
While at Haskell, Nick also got involved with several organizations, was commissioned to produce various college artworks for publication and fundraising, won several academic scholarships, and was elected to two student councils – one at his local campus for honor students, and the other with an international tribal college platform, as its president.
During his summer breaks he also got hired with the elite hotshot fire crews of the US Forest Service. While in school, he held a full-time job in addition to his academics and his educational activities. Moreover, he continued with his love of recovery and wellness, and stayed fully dedicated to his personal growth.
Nick discovered many passions in this period. His intellect and imagination were ignited. He discovered a very good aptitude at writing, public speaking, and organizational activities. However, he was most naturally drawn to the arts, always his first love. He had been a picture-perfect portrait and landscape artist since early high school. At Haskell, he discovered the enjoyment and reward of being on stage, whether it was the stage of debate, creativity, or activity.
There was one stage that he had never been on though, and when he got there, he found it to be the most fulfilling. He discovered theater and his favorite endeavor, acting. In his first audition, he felt more energized and alive than ever, yet more natural and calm than anywhere else. And so, he changed his direction, focusing as much effort as possible on getting all he could out of the theater program at Haskell.
Shortly after graduation in 1992, he was in a severe freak car accident. The wreck mangled his right leg and left him with some other long-term injuries. He was debilitated for several years, but continued to pursue his education in South Dakota.
In 1995, Nick moved to Vermillion, South Dakota where he began theater classes at the University of South Dakota. His passions had gone untended for too long. So, he began getting involved in activist issues, promoting cultural diversity and social injustice. He rallied against government misconduct, and attended indigenous conferences. He was either part of or spearheaded campaigns to raise ethnic awareness and facilitate safeguards of spiritual practices. He also started a Native American radio show at the University to support Native artists and provide a forum for discussion of Native issues.
Soon after establishing the radio program, he joined a Native American drum group. The drum group quickly became central in his commitment to wellness and wellbeing. In fact, he still continues with the drum group today attending as many of its functions as possible.
He became very involved in the local Native community, which was comprised of local residents, and USD students and faculty. Of the faculty he befriended, many were national and international leaders or consultants. Yet, he was privy to them personally, and Nick began a total immersion into the culture of his Lakota spirituality. That immersion has led to much greater understanding – and responsibility – than he had ever imagined. Moreover, as the majority of the community was involved in higher education, Nick was able to immerse himself in academia as well. He even added a second academic major in psychology to balance his experience.
While at USD, Nick became intensely interested in certain Native American issues. One such interest was the criminal case of American Indian activist Leonard Peltier. Nick stipulated that it is a very real embodiment of the contemporary Native American experience. Not to mention, he heartedly agrees it is one of the greatest miscarriages of justice in American history – tantamount to the same effect of JFK’s assignation. Consequently, he was the first actor in the country to portray Leonard Peltier on stage. In bringing the production to stage, Nick wrote an arts grant, and produced and directed the production as well.
In 2000, Nick was offered an opportunity to go to work in the construction industry on the reservations. He had always helped his Native adopted brother who was in the commercial flooring trade, and Nick became skilled in certain hard-to-do applications. So, he began self-contracting and moved back to Rapid City, South Dakota. Though he is in the construction field, he has continued to act. He has been in two movies, and has done some commercial and training video work, as well as some theater.
In fact, in his first film experience, he was able to take part in some of the behind-the-scenes work. He was able to stand feet away from an award winning actor during takes also. It was different than a stage production, but clearly all the motions were anchored in the same principles. The acting was no different than any other good acting, the main difference being in point-of-focus. On stage, rehearsals are scheduled and spaced. In theater the work gets fine tuned and polished through time and repetition. On set, they are achieved through various takes (hence repetition). As for being polished, the actor must be able to achieve focus quickly, especially because of production costs. So pressure and stress must be managed. In theater though, that on-cue stress translates to stage fright on opening night.
He also has begun writing and developing film and TV production projects. He is still intensely political, but feels the starting point in any activity should be tempered and guided by spiritual influence. He is very motivated by political issues plaguing the Northern Plains Indian tribes, as well as political issues facing the vast majority of US and other tribes. There is also a dreadful need for appropriate media material to address the social issues that are overpowering our tribal cultures, or that tribal peoples are facing.
There are so many serious concerns to be brought to the fore in Indian country. Yet, there are very few people that can or want to navigate the course of going from concept to product. There are those that can, but Nick is looking for material that is not mainstream, romantic, or disingenuous. That interest is also part of another point: there are very talented Native Americans that can act as well as any other mainstream accomplished actor. Unfortunately for all, Hollywood is only interested in certain socially plausible (and financially viable) projects.
Thus it continues to make nostalgic, but contrived, reinventions of the same old Indian euphemisms, using typical Hollywood modelesque talent. So, Hollywood does what Hollywood does, which never has been measurably helpful. Consequently, truly talented Indigenous individuals never get accessed, i.e. Thunderbird Theater alumni at Haskell Indian Nations University. Similarly, material that begs to be voiced never gets produced because it is not part of conventional scripting, which by default is tethered to comfort and correctness.
Like his own journey, he looks for the story within the story. He strives to seek understanding, he strives for courage to stand, and he strives for humility to bow. These are the essence of the Red Road approach in the path of his mentors, and in his own experience. In his production development he strives to foster and facilitate the same spirit. His effort isn’t to achieve a semi-catatonic fulfillment of the theatrical code of entertainment. Rather, he seeks to raise awareness, understanding, and ultimately – inspiration.
When inspired, people are open, and ready. Inspiration does not happen on its own though. Somebody has to do it. Nick has in his own life been totally committed to this cause.
nickwhiteswan@gmail.com
Bio & Background
Nick was born to a white mother of German descendents and a full blood Native American (Lakota Sioux) father. Born and raised in South Dakota, Nick also grew up in several different states such as Colorado, Iowa, Florida, Wyoming, and in several different communities in his home state.
His mother, by herself, raised him and his half-sister Shawna with great love. She put herself through nursing school, and always provided the best life for Nick and his sister possible. As a result, Nick has developed profound family values of respect and closeness.
However, he was also affected by the hardship of not having his father or other male role models. By the time he was 16, he had his first of two treatments for alcoholism. His disease plagued him throughout high school and a post high school military career. Facing serious trouble while in service, Nick got help on his 20th birthday, beginning a new journey into healing and spirituality.
He worked on establishing his recovery the first few years, adjusting to and embracing his new way of life. Within his first year of being clean and sober, a group of Natives invited him to ceremony. He found great meaning and promise in those ceremonies, promptly committing his life to the theology of his father’s ancestors. Thus, he emerged from early recovery intently focused on healing and well-being. He also began the practice of developing ties with spiritual mentors and wellness leaders. Deciding it was time to expand himself much further, he went to college in Lawrence, Kansas at Haskell Indian Junior College, obtaining his degree in Indian Studies.
While at Haskell, Nick also got involved with several organizations, was commissioned to produce various college artworks for publication and fundraising, won several academic scholarships, and was elected to two student councils – one at his local campus for honor students, and the other with an international tribal college platform, as its president.
During his summer breaks he also got hired with the elite hotshot fire crews of the US Forest Service. While in school, he held a full-time job in addition to his academics and his educational activities. Moreover, he continued with his love of recovery and wellness, and stayed fully dedicated to his personal growth.
Nick discovered many passions in this period. His intellect and imagination were ignited. He discovered a very good aptitude at writing, public speaking, and organizational activities. However, he was most naturally drawn to the arts, always his first love. He had been a picture-perfect portrait and landscape artist since early high school. At Haskell, he discovered the enjoyment and reward of being on stage, whether it was the stage of debate, creativity, or activity.
There was one stage that he had never been on though, and when he got there, he found it to be the most fulfilling. He discovered theater and his favorite endeavor, acting. In his first audition, he felt more energized and alive than ever, yet more natural and calm than anywhere else. And so, he changed his direction, focusing as much effort as possible on getting all he could out of the theater program at Haskell.
Shortly after graduation in 1992, he was in a severe freak car accident. The wreck mangled his right leg and left him with some other long-term injuries. He was debilitated for several years, but continued to pursue his education in South Dakota.
In 1995, Nick moved to Vermillion, South Dakota where he began theater classes at the University of South Dakota. His passions had gone untended for too long. So, he began getting involved in activist issues, promoting cultural diversity and social injustice. He rallied against government misconduct, and attended indigenous conferences. He was either part of or spearheaded campaigns to raise ethnic awareness and facilitate safeguards of spiritual practices. He also started a Native American radio show at the University to support Native artists and provide a forum for discussion of Native issues.
Soon after establishing the radio program, he joined a Native American drum group. The drum group quickly became central in his commitment to wellness and wellbeing. In fact, he still continues with the drum group today attending as many of its functions as possible.
He became very involved in the local Native community, which was comprised of local residents, and USD students and faculty. Of the faculty he befriended, many were national and international leaders or consultants. Yet, he was privy to them personally, and Nick began a total immersion into the culture of his Lakota spirituality. That immersion has led to much greater understanding – and responsibility – than he had ever imagined. Moreover, as the majority of the community was involved in higher education, Nick was able to immerse himself in academia as well. He even added a second academic major in psychology to balance his experience.
While at USD, Nick became intensely interested in certain Native American issues. One such interest was the criminal case of American Indian activist Leonard Peltier. Nick stipulated that it is a very real embodiment of the contemporary Native American experience. Not to mention, he heartedly agrees it is one of the greatest miscarriages of justice in American history – tantamount to the same effect of JFK’s assignation. Consequently, he was the first actor in the country to portray Leonard Peltier on stage. In bringing the production to stage, Nick wrote an arts grant, and produced and directed the production as well.
In 2000, Nick was offered an opportunity to go to work in the construction industry on the reservations. He had always helped his Native adopted brother who was in the commercial flooring trade, and Nick became skilled in certain hard-to-do applications. So, he began self-contracting and moved back to Rapid City, South Dakota. Though he is in the construction field, he has continued to act. He has been in two movies, and has done some commercial and training video work, as well as some theater.
In fact, in his first film experience, he was able to take part in some of the behind-the-scenes work. He was able to stand feet away from an award winning actor during takes also. It was different than a stage production, but clearly all the motions were anchored in the same principles. The acting was no different than any other good acting, the main difference being in point-of-focus. On stage, rehearsals are scheduled and spaced. In theater the work gets fine tuned and polished through time and repetition. On set, they are achieved through various takes (hence repetition). As for being polished, the actor must be able to achieve focus quickly, especially because of production costs. So pressure and stress must be managed. In theater though, that on-cue stress translates to stage fright on opening night.
He also has begun writing and developing film and TV production projects. He is still intensely political, but feels the starting point in any activity should be tempered and guided by spiritual influence. He is very motivated by political issues plaguing the Northern Plains Indian tribes, as well as political issues facing the vast majority of US and other tribes. There is also a dreadful need for appropriate media material to address the social issues that are overpowering our tribal cultures, or that tribal peoples are facing.
There are so many serious concerns to be brought to the fore in Indian country. Yet, there are very few people that can or want to navigate the course of going from concept to product. There are those that can, but Nick is looking for material that is not mainstream, romantic, or disingenuous. That interest is also part of another point: there are very talented Native Americans that can act as well as any other mainstream accomplished actor. Unfortunately for all, Hollywood is only interested in certain socially plausible (and financially viable) projects.
Thus it continues to make nostalgic, but contrived, reinventions of the same old Indian euphemisms, using typical Hollywood modelesque talent. So, Hollywood does what Hollywood does, which never has been measurably helpful. Consequently, truly talented Indigenous individuals never get accessed, i.e. Thunderbird Theater alumni at Haskell Indian Nations University. Similarly, material that begs to be voiced never gets produced because it is not part of conventional scripting, which by default is tethered to comfort and correctness.
Like his own journey, he looks for the story within the story. He strives to seek understanding, he strives for courage to stand, and he strives for humility to bow. These are the essence of the Red Road approach in the path of his mentors, and in his own experience. In his production development he strives to foster and facilitate the same spirit. His effort isn’t to achieve a semi-catatonic fulfillment of the theatrical code of entertainment. Rather, he seeks to raise awareness, understanding, and ultimately – inspiration.
When inspired, people are open, and ready. Inspiration does not happen on its own though. Somebody has to do it. Nick has in his own life been totally committed to this cause.
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