Met Curator Alleged to be a Pretendian

By Isaac White

The Metropolitan Museum of Art finds itself at the center of a heated controversy involving Patricia Marroquin Norby, its first curator of Native American art, whose Indigenous heritage claims are now hotly contested. Appointed with considerable fanfare in 2020, Norby presented herself as having Apache and Purepacha descent. However, her heritage has recently come under scrutiny by Native American activists who have dubbed her a "Pretendian," a term for someone falsely claiming Native American ancestry.

The crux of the controversy lies in Norby's assertion of her lineage to the Purepacha people, a group indigenous to Mexico but not recognized as a Native American tribe by the U.S. Department of the Interior’s Indian Affairs division. This has led to a broader debate about authenticity and the consequences of misrepresenting cultural heritage, particularly in roles that influence cultural representation and education in prestigious institutions like The Met.

Activists and members of recognized Native American tribes have expressed concerns about the impact of such misrepresentations. A detailed genealogical investigation conducted by members of the Cherokee Nation found no evidence linking Norby to any federally recognized tribes, further fueling doubts about her claims. This revelation has not only intensified the accusations against Norby but also sparked discussions about cultural appropriation and the marginalization of legitimate Native voices in the art world.

The controversy surrounding Patricia Marroquin Norby is not isolated. Historical instances of "Pretendians" have periodically stirred debates within both the Native American communities and the broader public. One notorious example is Sacheen Littlefeather, who, during the 1973 Oscars, claimed Apache and Yaqui heritage when she delivered a speech on behalf of Marlon Brando to decline his Academy Award. Decades later, investigations revealed that Littlefeather had no verifiable Native American ancestry, highlighting a pattern of cultural impersonation.

Another prominent case involved Canadian singer-songwriter Buffy Sainte-Marie, who has claimed Cree heritage. While Sainte-Marie's contributions to music and activism are significant, her ethnic origins have been a subject of dispute, underscoring the complex layers of identity and acceptance within Native communities. These cases illustrate the sensitive nature of cultural identity and the potential harm caused by false claims, which can lead to mistrust and dilution of genuine indigenous voices.

In response to the growing criticism, Norby took to social media to defend her identity, affirming her pride in her purported Purepacha and Nde (a group often associated with the Apache) roots that span across Mexico and Texas. Despite her attempts to assert her heritage, the label "Pretendian" continues to cast a long shadow over her tenure at The Met. Critics argue that such claims, if proven false, could undermine the integrity of The Met's efforts to inclusively represent Native American art and culture.

Moreover, the controversy has invited comparisons to other notable cases of cultural identity disputes, enhancing the discourse on identity politics within the realms of academia and cultural institutions. This situation poses significant questions about the criteria for cultural affiliation and representation, the responsibilities of cultural institutions in verifying the backgrounds of their staff, and the broader implications of misrepresentation in roles meant to bridge cultural understanding.

As the debate unfolds, the art world and Indigenous communities alike are watching closely, awaiting further developments that could have lasting impacts on cultural representation and the authenticity of identity in high-profile positions.