The Indian Craze

In the early twentieth century, Native American baskets, blankets, and bowls could be purchased from department stores, “Indian stores,” dealers, and the U.S. government’s Indian schools. Men and women across the United States indulged in a widespread passion for collecting Native American art, which they displayed in domestic nooks called “Indian corners.” Elizabeth Hutchinson identifies this collecting as part of a larger “Indian craze” and links it to other activities such as the inclusion of Native American artifacts in art exhibitions sponsored by museums, arts and crafts societies, and World’s Fairs, and the use of indigenous handicrafts as models for non-Native artists exploring formal abstraction and emerging notions of artistic subjectivity. She argues that the Indian craze convinced policymakers that art was an aspect of “traditional” Native culture worth preserving, an attitude that continues to influence popular attitudes and federal legislation. Illustrating her argument with images culled from late-nineteenth- and early-twentieth-century publications, Hutchinson revises the standard history of the mainstream interest in Native American material culture as “art.” While many locate the development of this cross-cultural interest in the Southwest after the First World War, Hutchinson reveals that it began earlier and spread across the nation from west to east and from reservation to metropolis. She demonstrates that artists, teachers, and critics associated with the development of American modernism, including Arthur Wesley Dow and Gertrude Käsebier, were inspired by Native art. Native artists were also able to achieve some recognition as modern artists, as Hutchinson shows through her discussion of the Winnebago painter and educator Angel DeCora. By taking a transcultural approach, Hutchinson transforms our understanding of the role of Native Americans in modernist culture.

In the early twentieth century, Native American baskets, blankets, and bowls could be purchased from department stores, “Indian stores,” dealers, and the U.S. government's Indian schools. Men and women across the United States indulged in a widespread passion for collecting Native American art, which they displayed in domestic nooks called “Indian corners.” Elizabeth Hutchinson identifies this collecting as part of a larger “Indian craze” and links it to other activities such as the inclusion of Native American artifacts in art exhibitions sponsored by museums, arts and crafts societies, and World's Fairs, and the use of indigenous handicrafts as models for non-Native artists exploring formal abstraction and emerging notions of artistic subjectivity. She argues that the Indian craze convinced policymakers that art was an aspect of “traditional” Native culture worth preserving, an attitude that continues to influence popular attitudes and federal legislation.Illustrating her argument with images culled from late-nineteenth- and early-twentieth-century publications, Hutchinson revises the standard history of the mainstream interest in Native American material culture as “art.” While many locate the development of this cross-cultural interest in the Southwest after the First World War, Hutchinson reveals that it began earlier and spread across the nation from west to east and from reservation to metropolis. She demonstrates that artists, teachers, and critics associated with the development of American modernism, including Arthur Wesley Dow and Gertrude Käsebier, were inspired by Native art. Native artists were also able to achieve some recognition as modern artists, as Hutchinson shows through her discussion of the Winnebago painter and educator Angel DeCora. By taking a transcultural approach, Hutchinson transforms our understanding of the role of Native Americans in modernist culture.

The leaders of anticolonial wars of resistance--Metacom, Pontiac, Tecumseh, and Cuauhtemoc--spread fear across the frontiers of North America. Yet once defeated, these men became iconic martyrs for postcolonial national identity in Canada, the United States, and Mexico. By the early 1800s a craze arose for Indian tragedy on the U.S. stage, such as John Augustus Stone's Metamora, and for Indian biographies as national historiography, such as the writings of Benjamin Drake, Francis Parkman, and William Apess. With chapters on seven major resistance struggles, including the Pueblo Revolt of 1680 and the Natchez Massacre of 1729, The Indian Chief as Tragic Hero offers an analysis of not only the tragedies and epics written about these leaders, but also their own speeches and strategies, as recorded in archival sources and narratives by adversaries including Hernan Cortes, Antoine-Simon Le Page du Pratz, Joseph Doddridge, Robert Rogers, and William Henry Harrison. Sayre concludes that these tragedies and epics about Native resistance laid the foundation for revolutionary culture and historiography in the three modern nations of North America, and that, at odds with the trope of the complaisant "vanishing Indian," these leaders presented colonizers with a cathartic reproof of past injustices.

Examines the literary output of four influential American Indian intellectuals who challenged conceptions of identity at the turn of the twentieth century.

At the turn of the twentieth century, the United States was faced with a new and radically mixed population, one that included freed African Americans, former reservation Indians, and a burgeoning immigrant population. In The Autobiography of Citizenship, Tova Cooper looks at how educators tried to impose unity on this divergent population, and how the new citizens in turn often resisted these efforts, reshaping mainstream U.S. culture and embracing their own view of what it means to be an American. The Autobiography of Citizenship traces how citizenship education programs began popping up all over the country, influenced by the progressive approach to hands-on learning popularized by John Dewey and his followers. Cooper offers an insightful account of these programs, enlivened with compelling readings of archival materials such as photos of students in the process of learning; autobiographical writing by both teachers and new citizens; and memoirs, photos, poems, and novels by authors such as W.E.B. Du Bois, Jane Addams, Charles Reznikoff, and Emma Goldman. Indeed, Cooper provides the first comparative, inside look at these citizenship programs, revealing that they varied wildly: at one end, assimilationist boarding schools required American Indian children to transform their dress, language, and beliefs, while at the other end the libertarian Modern School encouraged immigrant children to frolic naked in the countryside and learn about the world by walking, hiking, and following their whims. Here then is an engaging portrait of what it was like to be, and become, a U.S. citizen one hundred years ago, showing that what it means to be “American” is never static.

Americans are still fascinated by the romantic notion of the "noble savage," yet know little about the real Native peoples of North America. This two-volume work seeks to remedy that by examining stereotypes and celebrating the true cultures of American Indians today. The two-volume American Indians and Popular Culture seeks to help readers understand American Indians by analyzing their relationships with the popular culture of the United States and Canada. Volume 1 covers media, sports, and politics, while Volume 2 covers literature, arts, and resistance. Both volumes focus on stereotypes, detailing how they were created and why they are still allowed to exist. In defining popular culture broadly to include subjects such as print advertising, politics, and science as well as literature, film, and the arts, this work offers a comprehensive guide to the important issues facing Native peoples today. Analyses draw from many disciplines and include many voices, ranging from surveys of movies and discussions of Native authors to first-person accounts from Native perspectives. Among the more intriguing subjects are the casinos that have changed the economic landscape for the tribes involved, the controversy surrounding museum treatments of American Indians, and the methods by which American Indians have fought back against pervasive ethnic stereotyping.

"Founded in the late nineteenth century, the Women's National Indian Association was one of several reform associations that worked to implement the government's assimilation policy directed at Native peoples. While male reformers worked primarily in the political arena, the women of the WNIA combined political action with efforts to improve health and home life and spread Christianity on often remote reservations. During its more than seventy-year history, the WNIA established over sixty missionary sites in which they provided Native peoples with home-building loans, supported the work of government teachers and field matrons, founded schools, built missionary cottages and chapels, and worked toward the realization of reservation hospitals. Gender, Race, and Power in the Indian Reofrm Movement reveals the complicated intersections of gender, race, and identity at the heart of Indian reform. Using gender as a lens of analysis, this collection of original essays offers a new interpretation of the WNIA's founding, arguing that the WNIA provided opportunities for Indigenous women to advance their own agendas, creates a new space in the public sphere for white women, and reveals the WNIA's role in broader national debates centered on Indian land rights and the political power of Christian reform"--