Wild West Shows

2000 ◽  
Vol 31 (3) ◽  
pp. 362
Author(s):  
L. G. Moses ◽  
Paul Reddin
Keyword(s):  
Wild West Shows ◽  
Wild West

Beyond Feathered War Bonnets

2019 ◽  
pp. 15-31
Author(s):  
Jenny Tone-Pah-Hote
Keyword(s):  
Cultural Production ◽  
Turn Of The Century ◽  
Native People ◽  
Cultural Expression ◽  
Wild West Shows ◽  
Cultural Life ◽  
Wild West

Despite the messages of power and progress that museums, exhibitions, and even Wild West shows created and encouraged, Kiowa and other Native people negotiated and transformed them, making cultural and political spaces and opportunities. Creating these spaces for cultural expression was also work, and Kiowa people engaged in cultural production as labor and as a means to maintain cultural life during the assimilation era. The spaces that Kiowa and other Native people created at the turn of the century would later be taken up by subsequent Kiowa cultural producers.

Poor Lo

Jockomo ◽  
2019 ◽  
pp. 53-74
Author(s):  
Shane Lief ◽  
John McCusker
Keyword(s):  
United States ◽  
Nineteenth Century ◽  
Native Americans ◽  
New Orleans ◽  
Cultural Practices ◽  
The United States ◽  
Entertainment Industry ◽  
Mardi Gras ◽  
Wild West Shows ◽  
Wild West

While based on local families expressing their blended Native and African legacies, the development of the Mardi Gras Indian cultural system was also shaped by the stereotyped notion of the “American Indian.” Throughout the nineteenth century, as the United States expanded westward across the continent, theatrical and musical productions increasingly incorporated stereotypes of Native Americans, sometimes appearing in Wild West shows. This fell within a larger pattern of minstrelsy, a form of entertainment based on ethnic caricatures especially popular at that time. This chapter examines how minstrelsy, including the Wild West shows, influenced local enactments of “Indianness” in New Orleans. Conventional historiography has often seen the Wild West shows as the point of origin for Mardi Gras Indian traditions. This historical axiom is dispelled, however, and the nineteenth century entertainment industry is instead revealed as a phenomenon which reinforced previously existing cultural practices.

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