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Native Performers in Wild West Shows

Native Performers in Wild West Shows
Author: Linda Scarangella McNenly
Publisher: University of Oklahoma Press
Total Pages: 279
Release: 2015-04-23
Genre: Social Science
ISBN: 0806149809
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Now that the West is no longer so wild, it’s easy to dismiss Buffalo Bill Cody’s world-famous Wild West shows as promoters of stereotypes and clichés. But looking at this unique American genre from the Native American point of view provides thought-provoking new perspectives. Focusing on the experiences of Native performers and performances, Linda Scarangella McNenly begins her examination of these spectacles with Buffalo Bill’s 1880s pageants. She then traces the continuing performance of these acts, still a feature of regional celebrations in both Canada and the United States—and even at Euro Disney. Drawing on interviews with contemporary performers and descendants of twentieth-century performers, McNenly elicits insider perspectives to suggest new interpretations of their performances and experiences; she also uses these insights to analyze archival materials, especially photographs. Some Native performers saw Wild West shows not necessarily as demeaning, but rather as opportunities—for travel, for employment, for recognition, and for the preservation and expression of important cultural traditions. Other Native families were able to guide their own careers and even create their own Wild West shows. Today, Native performers at Buffalo Bill Days in Sheridan, Wyoming, wear their own regalia and choreograph their own performances. Through dancing and music, they express their own vision of a contemporary Native identity based on powwow cultures. Proud of their skills and successes, Native performers at Euro Disney are establishing promising careers. The effects of colonialism are undeniable, yet McNenly’s study reveals how these Native peoples have adapted and re-created Wild West shows to express their own identities and to advance their own goals.

Wild West Shows and the Images of American Indians, 1883-1933

Wild West Shows and the Images of American Indians, 1883-1933
Author: L. G. Moses
Publisher: UNM Press
Total Pages: 388
Release: 1999
Genre: History
ISBN: 9780826320896
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Examines the lives and experiences of Show Indians from their own point of view.

Wild West Shows

Wild West Shows
Author: Paul Reddin
Publisher: University of Illinois Press
Total Pages: 356
Release: 1999
Genre: History
ISBN: 9780252067877
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The Wild West: a term that conjures up pictures of wagon trains, unspoiled prairies, Indians, rough 'n' ready cowboys, roundups, and buffalo herds. Where did this collection of images come from? Paul Reddin exposes the mythology of the American frontier as a carefully crafted product of the Wild West show. Focusing on such pivotal figures as George Catlin, Buffalo Bill Cody, and Tom Mix, Reddin traces the rise and fall of a popular entertainment shaped out of the "raw material of America." Buffalo Bill and other entertainers capitalized on public fascination with the danger, heroism, and courage associated with the frontier by continually modifying their presentation of the West to suit their audiences. Thus the Wild West show, contrary to its own claims of accuracy and authenticity, was highly selective in its representations of the West as well as widely influential in shaping the public image of life on the Great Plains. A uniquely American entertainment--colorful, energetic, unabashed, and, as Reddin demonstrates, self-made--the Wild West show exerted an appeal that was all but irresistible to a public hovering uncertainly between industrial progress and nostalgia for a romanticized past.

Lakota Performers in Europe

Lakota Performers in Europe
Author: Steve Friesen
Publisher: University of Oklahoma Press
Total Pages: 275
Release: 2017-06-08
Genre: History
ISBN: 0806158271
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From April to November 1935 in Belgium, fifteen Lakotas enacted their culture on a world stage. Wearing beaded moccasins and eagle-feather headdresses, they set up tepees, danced, and demonstrated marksmanship and horse taming for the twenty million visitors to the Brussels International Exposition, a grand event similar to a world’s fair. The performers then turned homeward, leaving behind 157 pieces of Lakota culture that they had used in the exposition, ranging from costumery to weaponry. In Lakota Performers in Europe, author Steve Friesen tells the story of these artifacts, forgotten until recently, and of the Lakota performers who used them. The 1935 exposition marked a culmination of more than a century of European travel by American Indian performers, and of Europeans’ fascination with Native culture, fanned in part by William F. “Buffalo Bill” Cody’s Wild West from the late 1800s through 1913. Although European newspaper reports often stereotyped Native performers as “savages,” American Indians were drawn to participate by the opportunity to practice traditional aspects of their culture, earn better wages, and see the world. When the organizers of the 1935 exposition wanted to include an American Indian village, Sam Lone Bear, Thomas and Sallie Stabber, Joe Little Moon, and other Lakotas were eager to participate. By doing this, they were able to preserve their culture and influence European attitudes toward it. Friesen narrates these Lakotas' experiences abroad. In the process, he also tells the tale of collector François Chladiuk, who acquired the Lakotas’ artifacts in 2004. More than 300 color and black-and-white photographs document the collection of items used by the performers during the exposition. Friesen portrays a time when American Indians—who would not long after return to Europe as allies and liberators in military garb—appeared on the international stage as ambassadors of the American West. Lakota Performers in Europe offers a complex view of a vibrant culture practiced and preserved against tremendous odds.

Presenting Buffalo Bill

Presenting Buffalo Bill
Author: Candace Fleming
Publisher: Macmillan
Total Pages: 287
Release: 2016-09-20
Genre: Juvenile Nonfiction
ISBN: 1596437634
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Everyone knows the name Buffalo Bill, but few these days know what he did or, in some cases, didn't do. Was he a Pony Express rider? Did he serve Custer at the Battle of Little Big Horn? Did he scalp countless Native Americans, or did he defend their rights? This, the first significant biography of Buffalo Bill Cody for younger readers in many years, explains it all. With copious archival illustrations and a handsome design, Presenting Buffalo Bill makes the great showman come alive for new generations. Extensive back matter, bibliography, and source notes complete the package. This title has Common Core connections.

Spectacular Native Performances

Spectacular Native Performances
Author: Linda Scarangella McNenly
Publisher:
Total Pages: 338
Release: 2008
Genre: Circus performers
ISBN:
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This dissertation engages with anthropological debates of the representation of Native peoples in performance through a series of comparative case studies that examine Native North American participation in wild West shows. Using multi-sited ethnographic and ethnohistorical approaches, it investigates the experience of some Native performers with the top wild West shows historically (1885-1930), of three Mohawk families who performed in a variety of spectacles (early 1900s), and of contemporary performers in wild West show re-creations at EuroDisney (France) and Buffalo Bill Days (Sheridan, Wyoming, U.S.A.). This research focuses on Native performers' perspectives and experiences in order to complicate the picture of exploitation and commercialization in this context. In this dissertation, rather than focusing solely on the production of stereotypes, I trace the extent and various forms of Native agency and expressions of identity through a series of encounters that occur in a wild West show "contact zone." Drawing on the concept of transculturation, I argue that Native performers adopted and used contact zone encounters as a space to express their opinions or to maintain, express, and/or contest Native identity. I thus elucidate the various forms of agency that Native performers wielded, whether expressive, communicative, performative, or agency of cultural projects. A "cultural projects" approach to agency considers Native performers' own goals and social relationships in addition to the socio-political constraints and power relations that structure their lives. Native performers had their own cultural projects; they actively pursued the opportunities and benefits of working in wild West shows. I argue that narratives of opportunity, success, and pride found in the employment encounter, in oral histories of Mohawk performers' experiences, and in interviews with contemporary performers, represent agency of cultural projects. Oral histories from Mohawk performers' descendants and their interpretations of the archival record were crucial for revealing and substantiating these alternative perspectives of Native experiences in wild West shows and spectacles.

Life in a Wild West Show

Life in a Wild West Show
Author: Stephen Currie
Publisher:
Total Pages: 100
Release: 1999
Genre: History
ISBN: 9781560063520
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Discusses life in a Wild West show, including its origins, the show content, the performers, its relation to Native Americans, moving the show, daily life, and the death of the Wild West.

Buffalo Bill's Wild West Warriors

Buffalo Bill's Wild West Warriors
Author: Michelle Delaney
Publisher: Harper Collins
Total Pages: 179
Release: 2010-09-14
Genre: History
ISBN: 0062045350
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A visual pleasure and a unique insight into American history For the first time ever, here is renowned photographer Gertrude Käsebier's haunting collection of photographs of Native American performers from Buffalo Bill's Wild West show at the turn of the century. One hundred years later, Käsebier's portraits remain significant visual records into the lives of these Sioux performers and their nation. Her striking photographs capture the strength and character of each individual, documenting the complexity of true warriors playing a staged version of themselves. In 1898, Käsebier wrote to William F. Cody requesting to photograph Indians performing in his Wild West show at Madison Square Garden. Her photographs proved poignant. Her studio had no elaborate backdrops, and she removed Indian regalia to depict her subjects as "raw" individuals, with strong personalities and experiences that blurred the distinction between traditional life and contemporary times. Käsebier developed long relationships with several of the Indians, corresponding with a few for many years. Examples of these letters appear in the volume, as well as drawings done by Indians waiting in her studio, photographs of Dakota Sioux on their reservation, little-known historical background, and Wild West show memorabilia, including rare pages from Buffalo Bill's original route book. Käsebier's photographs are preserved at the National Museum of American History's Photographic History Collection at the Smithsonian Institution.

Wild West Shows

Wild West Shows
Author: Source Wikipedia
Publisher: University-Press.org
Total Pages: 60
Release: 2013-09
Genre:
ISBN: 9781230499567
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Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Pages: 59. Chapters: Adam Bogardus, American Exhibition, Annie Oakley, Arizona Charlie, Bee Ho Gray, Bill Pickett, Brushy Bill Roberts, Buffalo Bill, Calamity Jane, Fannie Sperry Steele, Frank E. Butler, Gabriel Dumont (Metis leader), Georgian horsemen in Wild West Shows, Joe Bowman (marksman), Jones Bros.' Buffalo Ranch Wild West, Ken Maynard, Lillian Smith (entertainer), List of Wild West shows, Lucille Mulhall, May Lillie, Mexican Joe, Miller Brothers 101 Ranch, Pawnee Bill, Ray "Crash" Corrigan, Red Shirt (Oglala), Ruth Roach, Samuel Franklin Cody, Show Indians, Sitting Bull, Texas Jack (South Africa), Texas Jack Omohundro, Tom Mix, William Frank Carver. Excerpt: Show Indians, or "Wild West Show Indians," were Native American performers hired by Wild West Shows, most notably in Buffalo Bill's Wild West and Congress of Rough Riders. The Show Indians were primarily Oglala Lakota from the Pine Ridge Agency, South Dakota. Performers took part in reenacting historic battles, demonstrations of equestrianism, and performing ceremonial dances for audiences. Veterans from the Great Plains Wars chose to offer their services to Colonel "Buffalo Bill" Cody and appreciated that Wild West Shows preserved Native American heritage during a time when the Bureau of Indian Affairs was intent on promoting Native assimilation. Often central to the popular image of the American West are American Indians, specifically northern Great Plains tribes popularly characterized as dwelling in tipis, skilled in horseback riding, and hunters of bison. The shaping of the western myth was aided in part through the Wild West Shows of William Frederick Cody, whose show toured the United States and Europe between 1883 and 1917. Native Americans were hired from the earliest stages of the show, first drawn from Pawnee and then Lakota. For many Indians who chose to offer...

The Red Man's Bones: George Catlin, Artist and Showman

The Red Man's Bones: George Catlin, Artist and Showman
Author: Benita Eisler
Publisher: W. W. Norton & Company
Total Pages: 432
Release: 2013-07-22
Genre: Biography & Autobiography
ISBN: 039324086X
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The first biography in over sixty years of a great American artist whose paintings are more famous than the man who made them. George Catlin has been called the “first artist of the West,” as none before him lived among and painted the Native American tribes of the Northern Plains. After a false start as a painter of miniatures, Catlin found his calling: to fix the image of a “vanishing race” before their “extermination”—his word—by a government greedy for their lands. In the first six years of the 1830s, he created over six hundred portraits—unforgettable likenesses of individual chiefs, warriors, braves, squaws, and children belonging to more than thirty tribes living along the upper Missouri River. Political forces thwarted Catlin’s ambition to sell what he called his “Indian Gallery” as a national collection, and in 1840 the artist began three decades of self-imposed exile abroad. For a time, his exhibitions and writings made him the most celebrated American expatriate in London and Paris. He was toasted by Queen Victoria and breakfasted with King Louis-Philippe, who created a special gallery in the Louvre to show his pictures. But when he started to tour “live” troupes of Ojibbewa and Iowa, Catlin and his fortunes declined: He changed from artist to showman, and from advocate to exploiter of his native performers. Tragedy and loss engulfed both. This brilliant and humane portrait brings to life George Catlin and his Indian subjects for our own time. An American original, he still personifies the artist as a figure of controversy, torn by conflicting demands of art and success.