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In Europe, Indian hobbyism, or Indianism, has developed out of a strong fascination with Native American life in the 18th and 19th centuries. \"Indian hobbyists\" dress in homemade replicas of clothing, craft museum-quality replicas of artifacts, meet in fields dotted with tepees and reenact aspects of North American Indian lifeworlds, using ethnographies, travel diaries, and museum collections as resources. Grounded in fieldwork set among networks of Indian hobbyists in Germany, the Netherlands, Belgium, France, and the Czech Republic, this ethnography analyzes this contemporary practice of serious leisure with respect to the general human desire for play, metaphor, and allusion. It provides insights into the increasing popularity of reenactment practices as they relate to a deeper understanding of human perception, imagination, and creativity.

Between the English Civil War of 1642 and the American Revolution, countless British missionaries announced their intention to \"spread the gospel\" among the native North American population. Despite the scope of their endeavors, they converted only a handful of American Indians to Christianity. Their attempts to secure moral and financial support at home proved much more successful. InThe Poor Indians, Laura Stevens delves deeply into the language and ideology British missionaries used to gain support, and she examines their wider cultural significance. Invoking pity and compassion for \"the poor Indian\"-a purely fictional construct-British missionaries used the Black Legend of cruelties perpetrated by Spanish conquistadors to contrast their own projects with those of Catholic missionaries, whose methods were often brutal and deceitful. They also tapped into a remarkably effective means of swaying British Christians by connecting the latter's feelings of religious superiority with moral obligation. Describing mission work through metaphors of commerce, missionaries asked their readers in England to invest, financially and emotionally, in the cultivation of Indian souls. As they saved Indians from afar, supporters renewed their own faith, strengthened the empire against the corrosive effects of paganism, and invested in British Christianity with philanthropic fervor.The Poor Indiansthus uncovers the importance of religious feeling and commercial metaphor in strengthening imperial identity and colonial ties, and it shows how missionary writings helped fashion British subjects who were self-consciously transatlantic and imperial because they were religious, sentimental, and actively charitable.

Throughout the nineteenth and twentieth centuries, Germans exhibited a widespread cultural passion for tales and representations of Native Americans. This book explores the evolution of German national identity and its relationship with the ideas and cultural practices around \"Indianthusiasm.\" Pervasive and adaptable, imagery of Native Americans was appropriated by Nazi propaganda and merged with exceptionalist notions of German tribalism, oxymoronically promoting the Nazis' racial ideology. This book combines cultural and intellectual history to scrutinize the motifs of Native American imagery in German literature, media, and scholarship, and analyzes how these motifs facilitated the propaganda effort to nurture national pride, racial thought, militarism, and hatred against the Allied powers among the German populace.

Museum exhibitions focusing on Native American history have long been curator controlled. However, a shift is occurring, giving Indigenous people a larger role in determining exhibition content. InDecolonizing Museums, Amy Lonetree examines the complexities of these new relationships with an eye toward exploring how museums can grapple with centuries of unresolved trauma as they tell the stories of Native peoples. She investigates how museums can honor an Indigenous worldview and way of knowing, challenge stereotypical representations, and speak the hard truths of colonization within exhibition spaces to address the persistent legacies of historical unresolved grief in Native communities.Lonetree focuses on the representation of Native Americans in exhibitions at the Smithsonian's National Museum of the American Indian, the Mille Lacs Indian Museum in Minnesota, and the Ziibiwing Center of Anishinabe Culture and Lifeways in Michigan. Drawing on her experiences as an Indigenous scholar and museum professional, Lonetree analyzes exhibition texts and images, records of exhibition development, and interviews with staff members. She addresses historical and contemporary museum practices and charts possible paths for the future curation and presentation of Native lifeways.

Responding to anti-Indianism in America, the wide-ranging perspectives culled in Unlearning the Language of Conquest present a provocative account of the contemporary hegemony still at work today, whether conscious or unconscious. Four Arrows has gathered a rich collection of voices and topics, including: • Waziyatawin Angela Cavender Wilson's “Burning Down the House: Laura Ingalls Wilder and American Colonialism,” which probes the mentality of hatred woven within the pages of this iconographic children's literature. • Vine Deloria's Conquest Masquerading as Law, examining the effect of anti-Indian prejudice on decisions in U.S. federal law. • David N. Gibb's “The Question of Whitewashing in American History and Social Science,” featuring a candid discussion of the spurious relationship between sources of academic funding and the types of research allowed or discouraged. • Barbara Alice Mann's “Where Are Your Women? Missing in Action,” displaying the exclusion of Native American women in curricula that purport to illuminate the history of Indigenous Peoples. Bringing to light crucial information and perspectives on an aspect of humanity that pervades not only U.S. history but also current sustainability, sociology, and the ability to craft accurate understandings of the population as a whole, Unlearning the Language of Conquest yields a liberating new lexis for realistic dialogues.

When he was out playing Indian, enacting Hollywood-inspired scenarios, it never occurred to the child Roger Welsch that the little girl sitting next to him in school was Indian. A lifetime of learning later, Welsch's enthusiasm is undimmed, if somewhat more enlightened. In Embracing Fry Bread Welsch tells the story of his lifelong relationship with Native American culture, which, beginning in earnest with the study of linguistic practices of the Omaha tribe during a college anthropology course, resulted in his becoming an adopted member and kin of both the Omaha and the Pawnee tribes. With requisite humility and a healthy dose of humor, Welsch describes his long pilgrimage through Native life, from lessons in the vagaries of \"Indian time\" and the difficulties of reservation life, to the joy of being allowed to participate in special ceremonies and developing a deep and lasting love of fry bread. Navigating another culture is a complicated task, and Welsch shares his mistakes and successes with engaging candor. Through his serendipitous wanderings, he finds that the more he learns about Native culture the more he learns about himself-and about a way of life whose allure offers true insight into indigenous America.  

Long before the Boston Tea Party, where colonists staged a revolutionary act by masquerading as Indians, people looked to Native Americans for the symbols, imagery, and acts that showed what it meant to be \"American.\" And for just as long, observers have largely overlooked the role that Native peoples themselves played in creating and enacting the Indian performances appropriated by European Americans. It is precisely this neglected notion of Native Americans \"playing Indian\" thatNative Actsexplores. These essays-by historians, literary critics, anthropologists, and folklorists-provide the first broadly based chronicle of the performance of \"Indianness\" by Natives in North America from the seventeenth through the early nineteenth century. The authors' careful and imaginative analysis of historical documents and performative traditions reveals an intricate history of intercultural exchange. In sum,Native Actschallenges any simple understanding of cultural \"authenticity\" even as it celebrates the dynamic role of performance in the American Indian pursuit of self-determination. In this collection, Indian peoples emerge as active, vocal, embodied participants in cultural encounters whose performance powerfully shaped the course of early American history.

Representations of Indian economic life have played an integral role in discourses about poverty, social policy, and cultural difference but have received surprisingly little attention. Daniel Usner dismantles ideological characterizations of Indian livelihood to reveal the intricacy of economic adaptations in American Indian history. Officials, reformers, anthropologists, and artists produced images that exacerbated Indians' economic uncertainty and vulnerability. From Jeffersonian agrarianism to Jazz Age primitivism, European American ideologies not only obscured Indian struggles for survival but also operated as obstacles to their success. Diversification and itinerancy became economic strategies for many Indians, but were generally maligned in the early United States. Indians repeatedly found themselves working in spaces that reinforced misrepresentation and exploitation. Taking advantage of narrow economic opportunities often meant risking cultural integrity and personal dignity: while sales of baskets made by Louisiana Indian women contributed to their identity and community, it encouraged white perceptions of passivity and dependence. When non-Indian consumption of Indian culture emerged in the early twentieth century, even this friendlier market posed challenges to Indian labor and enterprise. The consequences of this dilemma persist today. Usner reveals that Indian engagement with commerce has consistently defied the narrow choices that observers insisted upon seeing.

Even as their nations and cultures were being destroyed by colonial expansion across the continent, American Indians became a form of entertainment, sometimes dangerous and violent, sometimes primitive and noble. Creating a fictional wild west, entrepreneurs then exported it around the world. Exhibitions by George Catlin, paintings by Charles King, and Wild West shows by Buffalo Bill Cody were viewed by millions worldwide. Norman Denzin uses a series of performance pieces with historical, contemporary, and fictitious characters to provide a cultural critique of how this version of Indians, one that existed only in the western imagination, was commodified and sold to a global audience. He then calls for a rewriting of the history of the American west, one devoid of minstrelsy and racist pageantry, and honoring the contemporary cultural and artistic visions of people whose ancestors were shattered by American expansionism.

This book explores how wartime symbolism and imagery propelled the \"Indian problem\" onto the national agenda, and why assimilation remained the goal of post-war Canadian Indian policy - even though the war required that it be rationalized in new ways.