Steve Friesen, with Franҫois Chladiuk, Lakota
Performers in Europe: Their Culture and the Artefacts
They Left Behind. Norman: University of Oklahoma Press, 2017. 304 pp. ISBN 9780806156965.
http://www.oupress.com/ECommerce/Book/Detail/2199/lakota%20performers%20in%20europe
Buffalo
Bill, his name and his legend, live on until the present day. He keeps re-appearing
across a wide range of media in the United States as well as in Europe, in
history books, in film (notably Robert Altman's Buffalo Bill and the Indians: Or Sitting Bull's History Lesson), in
novels (like French novelist Eric Vuillard's Tristesse de la Terre: Une histoire de Buffalo Bill
Cody). In the manner of so many stars of the international stage, he seems
unable to take leave from the adulation of audiences who flocked to see his
show in their millions in its heyday, roughly from the 1880s to the 1910s. Not
even the trifling detail of his death prevented him from entering a long and
successful afterlife. During his life as a showman he had set the parameters
for the translation of the history of the American West into myth, turning
recent history into the quintessential American narrative of "how the West was
won," and how the Americans found their national destiny. Through the
re-enactment of heroic high points in this narrative the message of "manifest
destiny" and of the Indians as a vanishing race, where Anglo-Saxon whites kept
winning and Indians kept losing battles, was hammered home to audiences that
themselves were caught in the process of becoming Americans.
Not
only that: Buffalo Bill's Wild West went on tour internationally, to England
first, in 1887 on the occasion of the golden jubilee of Queen Victoria's rule,
to other European countries in following decades. Rival shows, such as Pawnee
Bill's Great Wild West, were cut of the same cloth and vied for the same
audiences. They all combined to disseminate the story of the American West as
spectacle and entertainment. Nor were they the only carriers of this
information. Countries like Germany and France had a long infatuation with the
romance of the American West and the American Indian. In France we can trace
this back to the popularity of what is arguably the first "Western" in
literature, Chateaubriand's Atala, or to later French fiction by Gustave
Aimard. In Germany a similar long-standing
sentimental involvement with the American Indian spurred initially by
translations of James Fennimore Cooper's frontier tales, was being fed by Karl
May's stories of white-Indian male bonding in the pristine open spaces of the
American West. In addition, local entrepreneurs blended the appeal of the
untamed "wild", whether animals or human beings, in what became known as "human
zoos." People from the far reaches of the world, explored in the frantic
competition for colonial expansion, were put on display in European countries
and the U.S. for local publics to gaze at in a blend of anthropological and
prurient interests. They could
hail from the Pacific, from Africa, but American Indians were a prominent
presence.
Thus,
in these varied ways, European publics were exposed to forms of mass
entertainment as these had recently been shaped, particularly in the United
States. At the same time, they may have taken in the many implied readings of
contemporary civilization. The rank order of human cultures as projected
through these pageants and spectacles was from primitive and un-civilized to
high, with white civilization at its pinnacle. It was a view that confirmed
white audiences, on both sides of the Atlantic, in their sense of global
mission, what the French called their mission
civilisatrice. This particular blend of
entertainment and indoctrination led American author Mark Twain, centrally
involved in the production of an American cultural vernacular, to re-assure
Buffalo Bill, on the eve of his first European tour, that he would be offering
Europeans a sample of something truly and authentically American, not –
as had been the case all too often before – something at best derivative
of European culture. The role the Indians were given to play In the Wild West
show formed part of the larger message of American pre-eminence in the world
order of civilizations. Most of them were Lakota and kept performing in the
Wild West show even after images of the massacre at Wounded Knee, in particular
of Lakota chief Spotted Elk's frozen body left out in the open following the
carnage, had reached a larger public.
One
is left wondering how a man like Mark Twain, a powerful voice in the international
protest against Belgian King Leopold's reign of terror in his Congo colony,
could at the same time ignore domestic atrocity visited upon native
American Indians. Clearly a matter of selective observation
and indignation. Yet there they were, Lakota performers in traveling
Wild West shows. Why did they get themselves involved? This is the central
question that the book under review tries to answer.
Toward
the end of the 19th century American Indians had a limited number of
options: a miserable life on reservations, forced Americanization imposed on
Indian children at Indian Schools, or the chance to earn money and keep their
own culture alive through its continuing re-enactment before eager publics.
This may have made sense for those involved, although only limited numbers
could avail themselves of this option.
Much
of the story that the book under review tells has been told before. There is no
original research for this book to report. In fact, although
published by a university press, this is not an academic, or scholarly, book.
It is a coffee table book, gorgeously produced. It is a fan's product in two
ways. It lovingly orders and reproduces in beautiful color a collection of
cultural artefacts that go back to what Lakota performers
had left behind or had sold to a Belgian "collectionneur"
after their last stay in Brussels. That, we might say, was the first fan's
critical intervention. Subsequently, re-discovering this cultural hoard,
cataloguing it and making it accessible to a larger public Is
important cultural work in its own right, and we have to thank the instigators
for it. Local fans have found a way of sharing their enthusiasm with the wider
world. It is a triumphal act of resistance against the forces of entropy and
oblivion.