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Lecture 5

Lecture 5.docx

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Linda Mc Nenly

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The Cool Culture Soul Machine: The Anthropology of Everyday Life Lecture 5 – May 22, 2013 Who is a Native American? Stereotypes, Indian Hobbyists and Self-Representations Readings for todays lecture: - Francis (1999) “Performing Indians” (Chapter 5) In Imaginary Indian: The Image of the Indian in Canadian Culture, pp 87-108. **Read pp 87-96 and 105-108 for this week** - Scarangella, Linda (2010) “Indigeneity in Tourism: Transnational Spaces, Pan- Indian Identity, and Cosmopolitanism.” In Indigenous Cosmopolitans: Transnational and Transcultural Indigeneity in the Twenty-First Century, edited by M. C. Forte. New York: Peter Lang Publishing Inc. **READ up to p177** - Carlson, Marta (2002) “Germans Playing Indian.” In Germans and Indians: Fantasies, Encounters, Projections, edited by C. G. Calloway, G. Gemunden and S. Zantop. Lincoln: Lincoln University Press. - VIDEO - Artist Sascha Pohle’s commentary on Indian hobbyists through an art instillation “German Indians”: - WEB BLOGS: Native Appropriations o “But why can’t I wear a hipsters headdress?” (April 27, 2010) AND “Ecko’s ‘Weekend Warrior’ Line and Headdressed Skulls Everywhere” (July 26, 2012) o AND “So you want to be an Indian for Halloween?” (October 23, 2012) o Also, see poster images from: “We are a culture not a costume” poster campaign NOTE: the readings for “Bollywood” is now switched for MAY 29 (the prof changed this in class), and the Supermen film is on June 3 . Todays lecture we will look at: 1. What Images of Native Americans exist and persist? - What is a wild west show? o Scholars agree that this is when and where imagery became sentimental of what Native Indians (savage warrior) - What is Indianism (a.k.a. Indian hobbyist groups) - What are the images and discourses? o Methods: Content and discourse analysis 2. Do representations and the consumption of Indianness through various forms and mediums lead to greater cultural understanding and tolerance, or perpetuate sereotypes? How? - Native Responses o Euro Disney performers o File: Native Americans watch Russian powwow o Adrieene K. Native Appropriations blogger What Images of Native Americans Exist and Persist? History of Wild West Shows - 18 -19 centuries – larger context of performance and display o Examples: Catli travelling paitings and lecture, Paul Kane, world fairs and exhibitions o This is one of the spaces where non-native people could see native people (spaces of contact) o Important site for displaying ideas of who Native Americans are through different kinds of imagery The Cool Culture Soul Machine: The Anthropology of Everyday Life Lecture 5 – May 22, 2013 - Wild West shows: a form of live exhibition illustrating frontier life o Started right after the Indian war emerged after the height of assimilation policies therefore came out of this historical time period o BEST KNOWN AND SUCCESSFUL: Buffalo Bill’s Wild West show o William F. “Buffalo” Cody was the brain behind Wild West shows, he took his hand at doing spectacles and frontier theatre performances o Nate Salsbury convinced them to do live travelling shows, and employed up to 100s Native Americans and have performed hundreds of shows - Three decades and 2 continents - Sitting Bull and famous Natives o The bull is what gave momentum and its popularity o Tried to hirer “famous” Natives who did a lot in battles to help bring popularity to their shows - Spectacular extravaganze – standard formula: o Included dances that were very popular with audiences that was important to Native Life o Included at least one historical battle that was reenacted from that time period (Cowboy vs. Indians) o There were other side shows of ethnic others, ie. acrobats Performance Strategies and Authenticity - Shows Emphasized educational value and authenticity o Promoted as presenting real life scenes from the frontier o Whissel used certain strategies to promote the authenticity of the show - Media: example, programs informative and educational/ anthropological like o Booklets (up to 64 pages long), showing the authenticity of the show by showing biographies and historical information about different battles - Real people: “… these noble red men are the genuine article.” Gazette, 1889 o This fact was constantly highlighted and advertised (again creating a sense of authenticity of this is the real thing) - Spectator position (Whissel 2002): performers are witnesses o Hired famous Indians and veterans of the US Calvary to give the audience the assurance that what they are seeing is the real account o Yet privileges one view of history – the white view - Pictorial Realism (Whissel 2002): presents living pictures of cultures and events o And world-as-exhibition model (Mitchell 1992) o Examples: vignettes, reenactments, Indian village Content and Discourse Analysis Content Analysis Discourse Analysis - Def’n: interpretation of text (of a message)- Def’n/Goal: Study of discursive practices to by systematic and objective identification of shed light on social inerteractions and power characteristics of the message relationships - Goal: Deconstruct the content of the - Uncover discourse message to reveal underlying meanings: - Un
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