“Vaudeville Indians” on Global Circuits, 1880s-1930s (The Henry Roe Cloud Series on American Indians and Modeity)

by: Christine Bold (Author)

Publisher: Yale University Press

Publication Date: 2022/6/30

Language: English

Print Length: 400 pages

ISBN-10: 0300257058

ISBN-13: 9780300257052

Book Description

Uncovering hidden histories of Indigenous performers in vaudeville and in the creation of weste modeity and popular culture   Drawing from little-known archives, Christine Bold brings to light forgotten histories of Indigenous performers in vaudeville and, by extension, popular culture and modeity. Vaudeville was both a forerunner of mode mass entertainment and a rich site of popular Indigenous performance and notions of Indianness at the tu of the twentieth century. Tracing the stories of artists Native to Turtle Island (North America) performing across the continent and around the world, Bold illustrates a network of more than 300 Indigenous and Indigenous-identifying entertainers, from Will Rogers to Go-won-go Mohawk to Princess Chinquilla, who upend vaudeville’s received history. These fascinating stories cumulatively reveal vaudeville as a space in which the making of weste modeity both denied and relied on living Indigenous presence, and in which Indigenous artists negotiated agency and stereotypes through vaudeville performance.

About the Author

Uncovering hidden histories of Indigenous performers in vaudeville and in the creation of weste modeity and popular culture   Drawing from little-known archives, Christine Bold brings to light forgotten histories of Indigenous performers in vaudeville and, by extension, popular culture and modeity. Vaudeville was both a forerunner of mode mass entertainment and a rich site of popular Indigenous performance and notions of Indianness at the tu of the twentieth century. Tracing the stories of artists Native to Turtle Island (North America) performing across the continent and around the world, Bold illustrates a network of more than 300 Indigenous and Indigenous-identifying entertainers, from Will Rogers to Go-won-go Mohawk to Princess Chinquilla, who upend vaudeville’s received history. These fascinating stories cumulatively reveal vaudeville as a space in which the making of weste modeity both denied and relied on living Indigenous presence, and in which Indigenous artists negotiated agency and stereotypes through vaudeville performance.

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