Rick West (Southern Cheyenne) grew up at Bacone College in Oklahoma, where his father taught art and portrayed traditional Cheyenne stories through his paintings. West received his B.A. from the University of Redlands, a master's degree in history from Harvard University and a law degree in 1971 from Stanford University. He is the founding director of the National Museum of the American Indian.

Native Peoples: On Nov. 28, 1989, nearly 15 years ago, the NMAI/Smithsonian existed only as one component of a highly complex three-way piece of legislation. Now in 2004, it is on the brink of opening its doors to the public. You have led this endeavor working under three different secretaries of the Smithsonian Institution (NMAI exists administratively under the Smithsonian's wing) and three different U.S. presidents; how would you characterize this journey?

Rick West: Long and unqualifiedly wonderful, yet not without moments of challenge. And I would really emphasize that they were "moments." Throughout this journey, there has been an air of destiny, an air of inevitability, which in turn makes all problems transitory. Certainly there were questions about tribal response, but the people came together. The great Oneida elder Oren Lyons told me, "We have a history of beating our own, but I pledge my support. This is a major opportunity not to be lost in political wars."

Fundraising challenges, of course, were a big part of the journey, but I have been so fortunate to have two of the best people possible as my colleagues directing the fundraising: first, John Colonghi (Aleut) and now Elizabeth Duggal Taghipour. As you recall, the original legislation required one-third of the funds to be raised privately, and over time the price of the building on the Mall actually doubled to $220 million. We raised $80 million in private funds to support those costs. In fact, in 1994, the $20 million appropriation for construction of our first building here in the Washington area, the Cultural Resource Center, was zeroed out of the budget. Only another gallant act by senators [Daniel] Inouye, [Ted] Stevens and [John] McCain got $13 million restored, and we then raised the remaining $7 million for the home of our collections. The portion we had originally planned on raising from Native American sources was $2.5 million, but when all was said and done, some $36 million in funds were from Native peoples.

NP: When you were chosen to lead this creation, your background as an advocate for Native rights was in the field of law, as opposed to being a museum professional. How do you feel your particular background has shaped NMAI's approach?

RW: My legal work in Washington had given me the advantage of knowing my way around Capitol Hill. I felt comfortable in the political climate of the Department of the Interior and the Senate Select Committee on Indian Affairs. Secretary Robert McCormick Adams of the Smithsonian was looking for someone who could operate in both worlds. I had served on the board of directors of the Institute of American Indian Arts in Santa Fe in the 1970s, and my Cheyenne upbringing always led me to look beyond the museum to shape it: bottom-up and outside-in. I believe that expertise and authority sit outside the institution in Native peoples and communities. As a core value, we wanted to see the Native peoples interpreted as a cultural continuum across time up to the contemporary. Our public programs and exhibits are based on a first-person voice. Actually, the first three inaugural exhibits comprise 24 different communities from throughout the Western Hemisphere.

NP: The original consultations were quite unique in museum planning; will you tell us about them?

RW: Over the span of almost three years we conducted 25 to 30 visits to discuss our plans, but, more important, to listen to the views of the people. The groups assembled were regional at times, but we also visited groups by discipline, such as artists, educators and writers. Through these consultations we developed design and program information, formally characterized as "The Way of the People." With the exception of the South American meetings in Washington D.C., we went to the people in their lands for this exchange of ideas. We were also establishing our base with other institutions, American Indian higher education, public broadcasting, the BIA and other parties. The National Museum of the American Indian must always leverage its programs, by collaborating with other interested parties.

NP: On Oct. 30, 1994, the George Gustav Heye Center of the NMAI opened in New York. This fine facility served-and continues to act-as a preview of the new national center. Were you ready?

RW: NMAI had a very young staff and this was their first time out on the track. This was the opening of the first of the three physical facilities, but it was also a test approach-a check of public understanding. Everyone got caught up in the spirit of the event; in fact, if you recall, Senator Inouye even auctioned off the watch he was wearing during the live auction event.

NP: The opening of the Cultural Resource Center in Suitland, Maryland and transfer of the collection from New York completed the second facility accomplishment, did it not?

RW: Yes, and it was completed ahead of schedule, in March 2004. Bruce Bernstein, Scott Merritt and their most able colleagues accomplished an incredible feat, cataloging and bar-coding all objects, and conserving to a degree as they went. This CRC is the real revolution, a huge departure from typical museums. I believe it to be perhaps our most important long-term contribution. The CRC staff also serves as advocates of the living community's connection to the collection, overseeing research and training programs and coordinating traveling exhibits and loaned objects-what we call "the Fourth Museum" (see sidebar). As part of these efforts, we're constructing NMAI's own ramp to Webcasting. Inupiaq students in the Center studying materials can be linked to elders at home in real time. The digitized storage of information can link schools and the Cultural Center. Culture is maintained at the community level. Culture can't be saved in Washington, D.C.; it is saved in the community. And through the "Fourth Museum," we intend to bring the NMAI to Indian Country.

NP: On Sept. 21, 2004, you will open the third and final facility in the legislative mandate outlined almost 15 years ago, with a procession. Would it be fair to say that this procession will be emblematic of the NMAI's long journey to fruition?

RW: Quite true. At the opening there will be more Indian people in Washington, D.C. at one time than ever before in history. The procession will move from the original Smithsonian Institution "Castle" eastward through the National Mall to the new museum, moving as a collective body of inclusiveness, Indian and non-Indian, with our cardinal colors respecting the diversity existing in the same sphere. It will be a thrilling moment.