Brummett Echohawk was an Indigenous artist with an international reputation, but he was much more than that. Born in Oklahoma and a member of the Pawnee tribe, Echohawk was also a writer, public speaker, actor, and served in the military as part of the 45th infantry during World War II where he saw action in Italy. Limited histories of Brummett Echohawk tend to remember him well for his contributions to the art world. His work as a commercial artist, illustrator, and cartoonist has not received as much attention. More research is needed to uncover that part of Echohawk’s history so we can see the depth of his contribution to the history of illustration, a problem we hope today’s episode will begin to rectify.
Brummett Echohawk was a war hero, an artist, a writer, and a public speaker, and he was also a member of the Pawnee tribe, born in Oklahoma in 1922. Though he is well known for his contributions to the art world, he is less known for his contributions to the history of illustration and commercial art, he turned to these outlets throughout his life to successfully augment his income. Brummett Echohawk considered himself a historical or classical artist, rather than an “Indian” artist, though his work often centered on his indigenatity. His first notoriety as an artist was for his war sketches from his time in Italy in World War II. Though these sketches were initially confiscated, they were later (mostly) returned and published in newspapers across the U.S. The success of his sketches cemented his interest in becoming an artist, and he made it his goal to attend the Chicago Institute of Art for formal instruction at what he believed to be the best art school in the nation. Though he lived in Chicago, New York, Detroit, and Dallas, he ultimately returned to Oklahoma. He refused to compromise his values and, therefore, painted only what he wanted to paint; he also spent a lot of time researching the historical themes for his paintings, which slowed down his production. These factors likely made it more necessary for him to supplement his income through the development of his comic strip “Little Chief,” which ran in the Tulsa World Newspaper beginning in 1954, as well as numerous illustrations for magazine and book publications as well as working as a commercial artist throughout his career.
TIMELINE
1829 - Te-ah-ke-kah-wah Who-re-ke-coo (He Makes His Enemies Ashamed), Brummett Echohawk’s Great-Grandfather is born in Nebraska, the traditional homeland of the Pawnee
1855 - Kutawakutsu Tuwaku-ah (Echo Hawk), Brummett Echohawk’s Grandfather is born in Nebraska
1864 - Te-ah-ke-kah-wah Who-re-ke-coo, serves with the first company of Pawnee Scouts
1876 - Kutawakutsu Tuwaku-ah, then known as Tawihisi (Leader of the Group) signs on with the Pawnee Scouts, he earns the name Kutawakutsu Tuwaku-ah (Echo Hawk) as part of his efforts as a warrior during this time
1892 - Elmer Echohawk, Brummett Echohawk’s father, is born in Indian Territory
1907 - Elmer Echohawk, is sent by his parents to the Carlisle Indian School in Pennsylvania
1922 - Brummett Echohawk Born, March 3, Pawnee Oklahoma
1939 - Brummett Echohawk joins the National Guard
1943-1944 - Serves in WWII, 45th Infantry Division (known as the Thunderbirds)
1945-1948 - Attends Chicago Institute of Art, (education not funded by the GI Bill!)
1954 - Creates Comic strip “Little Chief”, for the Tulsa World
1955 - Juror of the Tenth Annual Exhibition of Contemporary American Indian Painting at the Philbrook Museum of Art in Tulsa
1969 - Battlefield sketches included in the Faces of War exhibition at London’s Imperial War Museum
1977 - Brummett Echohawk began services as a member of the board at the Gilcrease Museum in Tulsa
1983 - Brummett Echohawk awarded the “Unknown Indian Award” by the Committee for the Preservation of the Unknown Indian, North Platte, Nebraska
1994 - actor featured in one episode of the television series Walker Texas Ranger
2001 - Cartoons from Little Chief were featured in “Little Chief the Comic Art of Brummett Echohawk,” an exhibition at the Frye Art Museum in Seattle, Washington
2006 - Brummett Echohawk Dies, February 13, buried in Pawnee, Oklahoma
2008 - - Cartoons from Little Chief were featured in “Out Of: Sequence: Underrepresented Voice in American Comics,” an exhibition at the University of Illinois Krannert Art Museum
REFERENCES
Brummett Echohawk - Gilcrease Museum. (n.d.). https://collections.gilcrease.org/creator/brummett-echohawk
Brummett Echohawk: An Artist’s Journey - Oklahoma State University. (2023, April 14). https://museum.okstate.edu/art/brummett-echohawk.html
Echohawk, B., & Ellenbarger, M. R. (2018). Drawing fire: A Pawnee, Artist, and Thunderbird in World War II. University Press of Kansas.
Culture - Pawnee Nation flag and seal. (n.d.). Pawnee Nation. https://pawneenation.org/pawnee-nation-flag-and-seal/
Gilcrease Museum. (2023, March 2). Joel Echohawk Reminisces about Brummett Echohawk [Video]. YouTube. https://www.youtube.com/watch?v=5u1HgSCHI2Q
Jones, R. (n.d.). OSU students present exhibition on Brummett Echohawk. Stillwater News Press. https://www.stwnewspress.com/news/osu-students-present-exhibition-on-brummett-echohawk/article_3b940cb6-ef84-11ed-b2fd-2796481b6b6b.html
OSU Museum of Art. (2023, May 18). Student Curator Talk - “Brummett Echohawk: An Artist’s Journey” [Video]. YouTube. https://www.youtube.com/watch?v=P6mWGFQEzm4
Wydeven, J., & Klaphake, C. (1984). Art and Eloquence. Nebraskaland, 62(1), 104–111.
Youngbull, K. M. (2015). Brummett Echohawk: Pawnee Thunderbird and Artist. University of Oklahoma Press.
This is Incomplete Design History, a podcast that explores overlooked and ignored topics in graphic design history. It is our goal to deepen and expand the knowledge, understanding, and interpretation of design history.
Because history is messy. It’s incomplete.
Thank you for joining us today, I am your host, Mandy Horton.
Intro
Brummett Echohawk was an Indigenous artist with an international reputation, but he was much more than that.
Born in Oklahoma and a member of the Pawnee tribe, Echohawk was also a writer, public speaker, actor, and served in the military as part of the 45th infantry during World War II where he saw action in Italy.
Limited histories of Brummett Echohawk tend to remember him well for his contributions to the art world. His work as a commercial artist, illustrator, and cartoonist has not received as much attention. More research is needed to uncover that part of Echohawk’s history so we can see the depth of his contribution to the history of illustration, a problem we hope today’s episode will begin to rectify.
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[Lead into episode’s content]
Bio and family history
Brummett Echohawk was born in Pawnee, Oklahoma, on March 3rd, 1922, to Alice and Elmer Echohawk.
Brummett and his family were members of the Pawnee tribe, which, between 1873 and 1875, had been relocated by the U.S. Government from its traditional homeland of Nebraska and northern parts of Kansas to Indian territory in what is now Oklahoma.
Pawnees are historically considered to be “Plains Indians” or “Central Plains Indians” who practiced both hunting and farming as part of their traditional lifestyle.
A quick side note on the word “indian”. Though the term is inaccurate, it was in use during the periods and events described here and has been used as a legal term to define laws and lands of North American indigenous people. The word will be used in quotations and when referring to historical events, places, and laws. Whenever possible, we’ll use the terms “Native American”, “American Indian,” and “Indigenous” to be respectful of the people to whom we’re referring.
The Pawnees were part of the Native American plains horse cultures, groups of North American Indigenous peoples who adopted horses as an instrumental part of their culture after European explorers reintroduced them to the continent.
“Horses proved invaluable, and many tribes gradually incorporated them into their various cultural practices and activities until they became fundamental to survival on the plains.” Additionally, the “use of horses also escalated levels of raiding and warfare. The increased prominence of warrior societies is often credited to the development of horse culture.“ (Youngbull 2015)
Brummett Echohawk’s great-grandfather and grandfather were born in Nebraska, the latter being part of the removal to Indian Territory, where Brummett's father Elmer was born in 1892.
Elmer attended the Pawnee boarding school where they wore what looked like military uniforms, and the educational model was based on military training/practices and also included Christian education or biblical instruction.
However, in 1907, the same year Oklahoma became a state, Elmer was sent off to the Carlisle Indian School in Pennsylvania—where Angel De Cora, who we talked about in season 2, had been a teacher.
Did they meet? De Cora taught there for at least a decade, beginning in 1906, so while definitely a possibility, there isn’t any evidence one way or the other.
Elmer attempted running away, but his father Howard Echohawk took him back.
Like his father before him, young Brummett Echohawk attended the Pawnee boarding school and recalled being excited about school and claims it was an overall good experience.Of course, Brummett had never been set as far away as Pennsylvania without the support of his family, either.
After the untimely death Alice, Brummett’s mother, Elmer, who himself fell ill, left Brummett and his other children in the care of his brother George and his wife Lucille, who raised the children as their own.
They moved to Albuquerque, New Mexico, for a time, where Brummett briefly attended high school.
Then they moved back to Pawnee, Oklahoma, where Brummett continued his high school education until being called up for war.
In 1939, at the age of 17, Brummett enlisted in the Oklahoma National Guard, which was later activated as the 45th Infantry.
As a result, he was unable to finish high school, something that bothered him enough that he took it upon himself to continue his education on his own. One of his efforts included reading Webster’s Dictionary
Military & 45th infantry
There was a long history of military service in the Echohawk family.
His grandfather, Kutawakutsu Tuwaku-ah (Echo Hawk), who later came to be known as Howard Echo Hawk, had served in the US military as part of a special unit known as the Pawnee Scouts in 1876.
In fact, it was his participation and recognition as a warrior for the scouts that earned him the name Echo Hawk.
The Pawnee Scouts unit was formed in 1866 when the 39th U.S. Congress granted the President the power to enlist a thousand Native Americans and was part of a broader effort to reduce the size of the army. Unlike regular soldiers, the Native American scouts could be called up as needed as auxiliaries. Their warrior-like lifestyle meant that they were conditioned for fighting yet did not have to be trained or salaried like soldiers.
This was, of course, a controversial practice, however, General William T. Sherman, General Philip Sheridan, General George Crook, and Indian Commissioner Francis A Walker all argued in support of Native American Scouts.
Many argued that the use of Native American scouts helped with assimilation and used their skills as trackers and warriors while also neutralizing them as a threat to American colonizers.
Even before Echo Hawk served as a Pawnee Scout, it has been reported that Brummett Echohawk’s Great-Grandfather, Te-ah-ke-kah-wah Who-re-ke-coo (He Makes His Enemies Ashamed), served in 1864 as part of the first company of Pawnee Scouts. This predates the official formation of Native American scout units in 1866, meaning this was possibly a trial or experimental unit.
Whether or not Te-ah-ke-kah-wah Who-re-ke-coo was a Pawnee Scout it is safe to say that he was a Pawnee warrior, held in high esteem among the Pawnee people and indeed many Native Americans.
Some might wonder why the Pawnee would agree to this, but Kristin Youngbull argues that “The Pawnees stood to gain from the military service. Pragmatism and syncretism allowed the scouts to use the U.S. Army in their own way. They fought their old enemies [the Lakota, Cheyenne, and Arapaho], got away from the reservation, received pay, earned respect within their communities as warriors, and secured the respect to many American soldiers and officials.”’
Syncretism is a term usually associated with studies of assimilation and refers to the ways in which the individual selects which characteristics to adopt from the foreign culture without disrupting one’s own cultural structure.
However, some Pawnee Chiefs opposed service to the U.S. military, but this seems to be more about the treatment of the Pawnee Scouts by other U.S. Soldiers than anything else.
By the 1880s, the Pawnee Scouts as an individual auxiliary unit was phased out in favor of enlisting Native Americans “individually, as regular soldiers.”
This is described as a move toward further assimilation and was part of an effort to “help disintegrate tribal organizations” (Youngbull 2015)
Brummett’s father, Elmer, also served, but in a regular unit in the U.S. Army. He enlisted during the First World War, though the war ended before he was called up to active service.
One might wonder why the Echohawk family, or other Native Americans for that matter, were so inclined to enlist as American soldiers.
At the time there was a high number of Native American soldiers in the 45th infantry, about 1/5th of the soldiers in this unit identified as indigenous, and beyond that, a number of them were specifically Pawnee. And more broadly, there was a high number of Native American enlisted soldiers.
In truth, there are likely multiple motivations for these high numbers, including the military-like training that many indigenous children received in federal boarding schools.
Kristin Youngbull posits that this is likely what inspired many of them to serve later in life.
But it is also likely due to their cultural heritage and the importance of being a “warrior,” which translated to signing up to be a soldier in modern-day warfare.
“Hybrid Patriotism” is a term used by Paul Rosier (according to Youngbull) to describe the influence of the dual identity of many American Indians faced and their willingness to serve in American military capacities. The idea let many American Indians see themselves as both “American” and “Indian” which allowed them to “reconcile their tribal communities and culture with support for the United States.”
Brummett’s willingness to enlist and serve, much like his father before him and his father’s father, meant that this was also part of his family heritage. Echohawk’s great-grandfather and grandfather were Pawnee Scouts, and by serving in the 45th infantry, he had his own opportunity to earn a reputation as a warrior.
The 45th infantry's symbol, the Thunderbird, was designed by one of the unit's members and is tied to many Indigenous cultural beliefs about thunderbirds bringing thunder and lightning.
The unit's original insignia was a swastika, symbolizing good luck and prosperity and having associations with Native American heritage. It was featured on the Patch of the 45th Infantry Division from 1924-1939. However, when the Nazis started using the swastika, the unit dropped this insignia and adopted the Thunderbird instead.
Though he received no formal instruction as an artist at this point, it was during World War II that Brummett Echohawk began drawing in earnest, which earned him a reputation as an artist and later led to more formal art instruction.
(Gilcrease Museum) “His artistic career began while he was serving in World War II, in the 45th Infantry Division (known as the Thunderbirds). His battlefield sketches were initially confiscated by the army; some were returned after the war and shown in London’s Imperial War Museum in the exhibition Faces of War (1969)”:
Initially, the Army sought to censor Brummett Echohawk’s illustrations because it was trying to maintain morale and support for the war. They saw Echohawk’s illustrations as being in direct contrast to that effort because they showed the realities and difficulties of the war.
Despite this initial censorship in 1944, many of Echohawk’s illustrations were published in 88 newspapers across the U.S. as part of the article “What We Should Know”
This publication was seen as a “dose of reality Americans need to dispel illusions they had about the war.”
His battlefield sketches were raw, showing some harsh realities: dirty, unshaven soldiers who were tired, nervous, or tense, as well as the wounded and the dead.
Art Education & Career
Education had long been important to Echohawk, and he was determined after the war to gain a formal education as an artist.
Like many others, he should have been able to get his college education through the GI Bill.
However, due to a clerical error, he was incorrectly listed as “Killed in action in November of 1943,” which prevented him from receiving his benefits.
Of course, he contacted the government to correct this issue but failed to receive a response.
With help, he eventually secured a scholarship to Dartmouth, an Ivy League school that was founded in 1796 with “the purpose of educating American Indians.” The school proved to be a poor fit as Echohawk was unable to receive the art education he was looking for.
He learned about the Art Institute of Chicago and was told it was the world’s best art school. So he set off for Chicago. Unfortunately, he was unfamiliar with the enrollment process. He showed up to Chicago ready to attend classes without applying and was, therefore, sent away.
Ultimately, Echohawk made a plea to the dean to allow him to enroll. His plea must have worked; according to Echohawk, he was handed some forms and told he would be enrolled the next day.
He spent the next 3 years at the institute, from the fall of 1945 to the summer of 1948.
During his time in Chicago, Echohawk avoided the stereotypical “Indian art” of his day.
Joseph Wydeven and Clem Klaphake argue that “the term “Indian art” needs definition. They ask “When we use it, what do we mean? Art which pictures Indians, whether produced by Indians or not? Art which shows the ceremonial lives of Indians? Art by American Indians no matter what the subject matter?” They go on to say that much of what has been deemed “Indian art” has to do with both education, the strictly defined art programs of OU and the Studio school are called out in particular, as well as the role of white patrons.
Thinking back to our episode on Acee Blue Eagle, it seems likely that the education Echohawk received at the Chicago Institute of Art was very unlike the education Blue Eagle received at the University of Oklahoma, which possibly explains his different approach.
At OU, the special “Indian Art Program” segregated Native American art students from the rest of the students in the hopes of cultivating a uniquely “Indian” style of art.
While this research has not revealed the specifics of Echohawk's education, it seems unlikely that his experience was similar in any way.
His art has been described as follows, “He paints in the educated classic style which has no relation to the stylized Indian art designs of symbols and forms currently favored in the popular market.” However, his work is very much in line with his identity and often features American Indians, Indigenous themes, and depictions of the American West.
Instead of an “Indian artist” Echohawk considered himself more of a “historical artist” or a “fine artist.” He didn't connect more broadly with the identity of “Indian artist” beyond the fact that he was an Indian creating art.
In fact, Brummett described himself as follows: “I am not an Indian artist; I am a fine arts painter… I am a realist painter who is an Indian—there’s a difference.”
Many of the other noted Native American artists exhibited together and participated in special “Indian Art” exhibitions. Echohawk generally avoided such exhibitions and tended to liken his work to Van Gogh and Rembrandt.
Of course, the subject matter of his work meant that others often connected it to Fredric Remington and Charles Russell.
Echohawk was known to do extensive research for his paintings which took a lot of time and effort. He also had a unique painting technique: he not only used a palette knife to mix and apply color, which in and of itself is not unique, but he was known to use his Bowie knife as well.
The popular story of how this began is that he was painting outside one day and dropped his only paintbrush on the sand so he used the only other tool he carried with him, his Bowie Knife, a reminder from his time fighting in WWII.
He created several notable paintings in his lifetime, many of which are in private collections.
He donated paintings of members of his unit to the 45th Infantry Museum in Oklahoma City, Ok
Some of his most interesting paintings were parodies or remixes of iconic works from art history in which he changed the characters to be Native American. He put his own spin on the Creation of Adam, from the Sistine Chapel Ceiling, painted by Michelangelo in 1512, replacing Adam, God, and the angels with Native American figures. These types of parodies also included the Mona Lisa, Blue Boy (later also parodied by Kehinde Wiley, A Portrait of a Young Gentleman, 2021), and Whistler’s mother.
Echohawk did one painting of Frank Eaton, popularly known as Pistol Pete and who is the inspiration for the Oklahoma State University mascot. Echohawk had known Eaton since childhood and considered him an important part of Oklahoma history. Echohawk painted Eaton from real life, the only artist to do so. The painting, valued at $50,000, was completed shortly before Eaton’s death in 1958 and donated to OSU. Unfortunately, the painting has since been lost.
Brummett Echohawk did not see himself as an “Indian artist” like many of the other artists of his day. He did not promote himself in the same ways as the others tended to, catering to white audiences.
Instead he relied on private commissions and purchases of his work. While this limited his income it did allow him to paint only the things he was interested in, rather than catering to popular themes for “Indian artists”.
It is safe to say that Echohawk earned recognition as a painter and ultimately had a successful career, he was not without struggles as an artist, the kind that turned him towards commercial art and illustration on more than one occasion.
Comics & Illustration
The years he spent at the Chicago Institute of Art were difficult for him financially.
He took odd jobs, freelanced whenever possible and took any paying work as an artist he could get, like illustrating cartoons of peanuts for Planters.
He also became a staff artist for several newspapers in the Chicago area, including the Chicago Sun-times, the Chicago Daily Times, and the Chicago Herald American.
This would become a theme throughout his career, during his lean years, he worked on and off as a commercial artist, drawing cartoons and illustrating for books and magazines.
One notable illustration was for author and historian Mari Sandoz and her article “There Were Two Sitting Bulls,” which was published in 1949 in The Blue Book Magazine.
He lived for a time in Chicago, New York, Detroit, and Texas, where he worked as a commercial artist, but when he first moved back to Oklahoma, this time to Tulsa, it was for love.
Brummett had met Mary McInness at a sketching class held at the Philbrook Museum of Art in Tulsa. Shortly thereafter, he moved to Tulsa, and the two were married.
It was also around this time that he pursued commercial work more diligently.
According to Youngbull, “Echohawk worked as an artist for a Tulsa oil company in the early 1950s before deciding to pursue a full-time career as a commercial artist.”
Despite ample mentions of him working as a commercial artist, research has not yet turned up many specifics about the work he did. Like which oil company did he work for? What types of work did he do for them? Did he work for any particular agencies or studios as a commercial artist? Or did he work strictly freelance?
However, one thing that is clear is that he began drawing a comic strip regularly for the Tulsa World Sunday newspaper beginning in 1954.
This comic strip had ties to his Indigenous heritage and was called “Little Chief”. It appears to mostly follow the antics and day-to-day life of a Native American child.
Youngbull contextualizes “Little Chief” a bit further, stating that it “exposed non-Indians to Indian humor and offered comedy with Native Americans as the subject, but not at the expense of stereotypical representation. He turned down syndication in favor of maintaining a positive representation of American Indian.”
Echohawk did receive offers for syndication, which undoubtedly would have led to greater income, however requirements to include some stereotypical ideas of “Indians” from a white audience’s perspective, mostly established through films and television, came with them. Holding himself to a higher standard, he turned down syndication.
Several sources indicate that Echohawk designed the Pawnee Flag, including the Pawnee Nation website, which also indicates he designed the Pawnee Nation seal as well.
Both the flag and the seal use symbols to represent the dual identity of the Pawnee people, both as members of their tribe with their customs and beliefs but also their role as United States citizens.
The most obvious symbols in both are the use of color: red, white, and blue, though blue is clearly dominant in both.
They also both contain a wolf head, a symbol of the Pawnee people due to their cunning and courage. According to the Pawnee Nation website, the Pawnee have been called “wolves” by other plains Indian tribes. Below the wolf head are crossed symbols of a tomahawk and a peace pipe. This is probably the most obvious representation, indicating both war and peace.
Beyond these elements the flag and the seal start to differ. The flag includes a miniature version of the US. flag, though lacking detail because of its small size.
The flag also includes nine arrowheads representing wars in which the Pawnees fought in the service of their country, including the Indian Wars, the Spanish-American War, World War I, World War II, the Korean War, the Vietnam War, Desert Storm, Operation Enduring Freedom, and Operation Iraqi Freedom. Obviously, some of the arrowheads were added to Echohawk's original design.
The Seal includes two more symbols, sprigs of cedar and the Morning star, and a motto “Chaticks si chaticks”, which means men of men and is connected to the importance of “warrior” status among the Pawnee.
Cedar is sacred and used in ceremonies and prayer. It is a token of prayer and peace.The Morning Star symbolizes God. The Skidi band of the Pawnee tribe believed this star is where God lived.
Echohawk illustrated books for children and young adults including, but likely not limited to Young Rider of the High Country by Edward Marcus Marcus McGough, The Four Brothers: Why We Have The Four Seasons--Spring, Summer, Autumn And Winter by Howard Bell Wright, and Little Scar Face by Gilbert Livingtone Wilson.
He also partnered with the Leanin’ Tree Greeting card company to create a line of 28 American Indian-themed Christmas cards.
Outro: Duration:( ___ )
Brummett Echohawk was well regarded as an artist, in fact it is the thing he is most known for.
But he was much more than that.
He was regarded as a writer, a public speaker, and also reported to be a television and film actor, though actual evidence of this is scant. He does, however, receive credit for an episode of Walker Texas Ranger, and there are reports that he did some work on the Tonight Show when it was first getting started and did some local television in Tulsa, Oklahoma.
He was undoubtedly a war hero, recognized for his valor with many awards, including the Bronze Star, Combat Infantry Badge, Army Commendation Medal, four battle starts, two Invasion Arrowheads, a Purple Heart with Oak Leaf Cluster, and a Congressional Gold Medal.
Brummett Echohawk was wounded in action and hospitalized three times, but always returned to his unit to continue the fight, which he wrote about in the posthumously published memoir Drawing Fire.
This book also includes many of his sketches from World War II, which are indeed eye-opening, and it’s easy to see why the Army initially wanted to censor them. They do not paint a picture of glamorous or glorious war, but show an extreme amount of skill for someone who, at this point, was entirely untrained.
His contributions to the history of commercial art and illustration, while scant, haven’t gone entirely unacknowledged. In 2001, Cartoons from Little Chief were featured in an exhibition at the Frye Art Museum in Seattle, Washington in an exhibit titled “Little Chief the Comic Art of Brummett Echohawk” and in October of 2008, an exhibition at the University of Illinois Krannert Art Museum intended to represent diversity in the field of comics included Little Chief Cartoons.
Biographer Kristin Youngbull describes the story of Brummett Echohawk as part of a broader telling of American history, explaining that his history intersects with American Indian History, Pawnee History, Military History, and more specifically, the history of World War II, and of course art history, and that “His story, ultimately, must be placed in the context of American history” (2015) as well as the histories of illustration, graphic design, and visual communication.
Credits:
This episode was produced with the aid of a grant from the University of Central Oklahoma
Research & Writing credits for this episode are from – Mandy Horton
With additional research assistance provided by – List research assistants here…
Story editing provided by Spencer Gee
Sound design/engineering – By the University of Central Oklahoma’s Center for eLearning and Connected Environments
Music by Christina Giacona and Patrick Conlon of Onyx Lane
Contact:
If you would like to contact me about this episode or about the podcast please email me at Hello@idh.fm That is HELLO@idh.fm
Our website can be found at idh.fm
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