Wild West Shows and the Experience of Native American Performers
During the late 19th and early 20th centuries, the American landscape was captivated by the spectacle of Wild West shows. While these productions were designed for entertainment, they served as complex intersections of culture, commerce, and identity for the Native Americans employed within them. From the world-famous Buffalo Bill’s Wild West to smaller troupes like Pawnee Bill, Cummins Wild West, Miller's 101 Ranch, and the Sells-Floto Circus, these shows projected specific images of the American West to global audiences.
For the performers, these shows were not merely theatrical engagements but a means of survival and a platform for personal agency. The term Oskate Wicasa, a colloquialism meaning "one who performs," emerged during the early days of Buffalo Bill Cody's shows to describe those who took part in these exhibitions. While the term "Show Indians" was later adopted by journalists and the Bureau of Indian Affairs (BIA), some historians view it as a derogatory label reflecting the romanticization and exploitation of Native peoples.
ไม่มีภาพประกอบ
Key Facts
- Major Shows: Buffalo Bill’s Wild West was the most prominent, alongside Pawnee Bill, Cummins Wild West, Miller's 101 Ranch, and Sells-Floto Circus.
- Economic Agency: Performers supplemented their wages by selling handmade Lakota crafts, such as beadwork, moccasins, and purses.
- Global Reach: Performers like Chief Iron Tail achieved international fame, appearing in Paris and Rome.
- Government Tension: The Bureau of Indian Affairs often viewed these shows as demoralizing and antagonistic to government assimilation policies.
- Internal Governance: Shows often employed "Indian policemen" from among the performers to maintain order, with one officer typically assigned per dozen performers.
The Economics of Performance
Beyond their official salaries, many Native American performers operated as entrepreneurs. Chief Geronimo, for example, sold his suit buttons as celebrity souvenirs to fairgoers, and created bows, arrows, and canes for sale, while signing photographs for twenty-five cents.
Women played a vital role in the community and economy of the shows. Women like Calls the Name created and sold Lakota crafts to tourists, museums, and collectors across the United States and Europe. To support this, promoters like Cody and Nate Salsbury sometimes provided wholesale materials at cost, enabling performers to maximize their profits from souvenir sales.
Life on the Road and Social Structure
Life in the Wild West shows mirrored a traveling village. Newborn babies were integrated into the camps set up outside performance areas, creating a familial atmosphere amidst the touring. To maintain discipline, the shows implemented a system of internal policing. These Indian policemen were given badges and earned an additional $10 per month in wages. In 1898, this police force was managed by Chief Iron Tail.
However, the lifestyle was not without risk. Travel was occasionally hazardous; for instance, both Luther Standing Bear and another performer were severely injured in train accidents, with Standing Bear nearly losing his life.
ไม่มีภาพประกอบ
Public Image and Political Conflict
The portrayal of Native Americans in these shows was a point of contention. While some productions portrayed "docile natives," others depicted them as armed and dangerous. This created a tension between the "progressive image" of Native Americans and the stereotypes demanded by the audience.
The U.S. Government, via the Bureau of Indian Affairs, was often critical. Commissioner John H. Oberly argued in 1889 that the "immoral and unchristianizing surroundings" of circuses and shows were demoralizing and encouraged a "roaming and unsettled disposition" that contradicted government policy. Despite this, some performers found the shows a way to escape the restrictive environments of reservations or boarding schools, such as the Carlisle Indian School.
The Legacy of Chief Iron Tail
Few performers achieved the stature of Chief Iron Tail. An international personality, he was feted by the aristocracy in England and France. His legacy was permanently etched into American currency when his profile became one of the three models for the 1913 "Buffalo nickel" (or Indian Head nickel), celebrating the beauty of the American West.
Summary of Wild West Show Dynamics
| Category | Details |
|---|---|
| Prominent Performers | Chief Iron Tail, Chief Geronimo, Luther Standing Bear |
| Income Sources | Show wages, craft sales (beadwork), celebrity souvenirs, signed photos |
| Governance | Internal Indian Police (1 officer per 12 performers) |
| Key Locations | USA, France (Champs-Élysées), Italy (Colosseum), England |
| Opposing View | BIA viewed shows as demoralizing and contrary to assimilation |
Frequently Asked Questions
What does the term Oskate Wicasa mean?
Oskate Wicasa is a colloquial term meaning "one who performs," which originated during the early years of Buffalo Bill Cody's Wild West shows.
How did Native American performers make extra money?
Performers supplemented their wages by selling handmade Lakota crafts, such as moccasins and purses, and selling celebrity souvenirs. Chief Geronimo specifically sold his suit buttons and signed photographs.
Who was Chief Iron Tail and why is he significant?
Chief Iron Tail was a lead performer in Buffalo Bill's shows and an international celebrity. He is most notably recognized as one of the models for the 1913 Buffalo nickel.
How did the Bureau of Indian Affairs view these shows?
The BIA generally viewed the shows as harmful, claiming they were demoralizing to Native Americans and fostered a lifestyle that was antagonistic to the government's official policies of the time.
Were there safety risks for the performers?
Yes, travel was occasionally hazardous. Some performers, including Luther Standing Bear, suffered severe injuries in train accidents during their tours.