A herd of 40 life-sized buffalo puppets plodded through the streets of Lower Manhattan today, retracing the path of a mammal that once shaped American history and nearly vanished from it. The event, titled “Return of the Buffalo: Tatanka Owe Akupi,” honored 38 Dakota men executed by President Abraham Lincoln in Mankato, Minnesota, in 1862.
The procession took its name from the Lakota phrase “buffalo trail home.” It moved through Bowling Green, Federal Hall, the World Trade Center, Chinatown, and several other historic sites, ending its first day of migration today, September 18. A second leg will hit downtown Brooklyn tomorrow, September 19.
The project was created by theater writer and director Amir Nizar Zuabi, working with descendants of the Lenape, the original Indigenous inhabitants of New York, and Lakota elders. Their relationship with the buffalo dates back thousands of years.
Zuabi’s Approach
Zuabi let the elders shape the conceptual backbone of the work, according to JJ Lind (Cherokee-Shawnee), the artistic director for the performance group Immediate Medium. Lind spoke to Hyperallergic about the process.
“We just followed the elders’ lead in who they wanted involved, what they wanted to be said, really letting them shape the conceptual backbone of the work,” Lind said.
“We’d bring community members in to provide feedback on the activities that happen along the route,” he added.
The result is a procession that moves through nine historic sites in Manhattan, including Broad Street Plaza and Zuccotti Park. At each stop, concurrent performances from Native dance troupes, gospel choirs, and Lenape youth provided a lively backdrop.
The Route Through Manhattan
The buffalo puppets moved through Bowling Green, Federal Hall, the World Trade Center, Chinatown, and several other historic sites. The route then wound through several other historic locations before reaching its final destination for the day.
The second day of the procession will continue into downtown Brooklyn.
The Story Behind the Trail
The buffalo’s history in the United States is a story of near extinction and recovery. The procession traces that arc from the rampant slaughter of the 19th century to the species’ recovery led by Native activists and conservationists.
The event also honors the 38 Dakota men executed by President Abraham Lincoln in Mankato, Minnesota, in 1862. That execution is a dark chapter in American history, and the procession uses the buffalo as a symbol of resilience and renewal.
The Lakota phrase “Tatanka Owe Akupi” translates to “buffalo trail home.” The title suggests a return, a restoration, and a connection to the land.
The People Behind the Herd
Amir Nizar Zuabi is the creator of the project. JJ Lind (Cherokee-Shawnee) serves as artistic director for Immediate Medium, the performance group behind the event. Lind brought community members into the creative process, gathering feedback on the route and the performances.
The Lenape descendants and Lakota elders were central to the creation of the work. Their involvement shaped the conceptual backbone of the project, according to Lind’s account.
The Performances Along the Way
Nine historic sites throughout Manhattan hosted concurrent performances during the procession. Native dance troupes, gospel choirs, and Lenape youth performed at Broad Street Plaza and Zuccotti Park.
Each site offered a different perspective on the buffalo’s cultural significance.
“We just followed the elders’ lead in who they wanted involved, what they wanted to be said, really letting them shape the conceptual backbone of the work.”
What the Event Means
The Return of the Buffalo is more than a parade. It is a public acknowledgment of a troubled history and a celebration of survival.
The buffalo was once central to Native American life. Its near-extinction was a blow to culture and economy alike. The recovery led by Native activists and conservationists is a story of persistence.
The procession connects that recovery to the broader narrative of American history. It places the buffalo alongside the Dakota execution.
The event also highlights the role of elders in contemporary Indigenous communities. Their leadership shaped the conceptual framework of the work, according to Lind’s account.
The procession continues tomorrow, September 19, in downtown Brooklyn. The sight of 40 life-sized buffalo puppets moving through Manhattan’s streets is unlikely to be forgotten.
The event honors a difficult history while celebrating a recovery. It is a reminder of the power of public art to connect people to their past.
The procession is a gift to the city. It invites everyone to consider the buffalo’s place in American life.
It is a delight to watch.
Source material: “Buffalo Puppet Procession Traces Native History Through NYC’s Streets,” Hyperallergic.
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