Indian blues: American Indians and the politics of music ; 1879 - 1934
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Norman
Univ. of Oklahoma Press
2009
|
| Schriftenreihe: | New directions in Native American studies
3 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | Includes bibliographical references (p. 305-314) and index |
| Beschreibung: | XVI, 323 S. Ill. |
| ISBN: | 9780806140193 |
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Datensatz im Suchindex
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Contents
List of Illustrations
vii
Preface and Acknowledgments
ix
Introduction
3
1.
The Citizenship of Dance: Politics of Music
in the Reservation Environment
19
2.
The "Dance Evil": Cultural Performance,
the Press, and Federal Indian Policy
66
3.
The Sounds of "Civilization":
Music and the Assimilation Campaign
in Federal Indian Boarding Schools
108
4.
Learning the Music of Indianness
151
5.
Hitting the Road: Professional Native Musicians
in the Early Twentieth Century
201
Epilogue
253
Archives and Abbreviations
260
Notes
263
Bibliography
305
Index
315
HOW DOES MUSIC
CHANGE HISTORY?
HOW DOES MUSIC
TRANSFORM POLITICS?
This book addresses these questions within
the context of one of the most difficult and
transformative periods in American Indian
history. From the late nineteenth century
through the
1920s,
the U.S. government sought
to eradicate practices of music on reservations
and to carefully manage musical productions in
Indian boarding schools as part of its campaign
to assimilate American Indians and liquidate
the remainder of tribal lands. At the same time,
American Indian singers, dancers, and musicians
successfully resisted and manipulated those
same federal policy initiatives through their
musical performances.
In this innovative study, John W. Troutman
examines the politics of music by American
Indians on reservations, in the boarding schools,
and in public theaters and other music venues.
He argues that music served American Indians
and non-Indians alike as a unique means to
negotiate, challenge, or fortify the lines of
citizenship, Indianness, and whiteness prevalent
in U.S. culture and politics in this era.
Music provided inventive political opportunities
for Native peoples. On their reservations,
the Lakotas manipulated concepts of U.S.
citizenship and patriotism to reinvigorate and
innovate their social dances, despite the dance
bans blanketing Indian Country. At Carlisle
indian
School, teachers and bandmasters
linked musical practice to Americanness, using
music to "kill the Indian [and] save the man."
Students, however, created their own meaning
from their music, often reinforcing their tribal
and Native identities. Finally, many former
students, armed with saxophones, violins, or
operatic vocal training, formed their own "all
Indian" tribal bands and quartets and traversed
the country, challenging the oppressive climate
of federal Indian policy and engaging the market
economy on their own terms.
While recent scholarship has offered new
insights into the experiences of "show Indians"
and evolving powwow traditions, Indian Blues
is the first book to explore the polyphony of
Native
musicai
practices and their relationship
to federal
Indiar*
policy in this important period
of American Indian history.
VOLUME
3
IN THE NEW DIRECTIONS IN
NATIVE AMERICAN STUDIES SERIES
John W. Trauenan is Assistant
Professor
of
History at the University of Louisiana, Lafayette, |
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| title | Indian blues American Indians and the politics of music ; 1879 - 1934 |
| title_auth | Indian blues American Indians and the politics of music ; 1879 - 1934 |
| title_exact_search | Indian blues American Indians and the politics of music ; 1879 - 1934 |
| title_full | Indian blues American Indians and the politics of music ; 1879 - 1934 John W. Troutman |
| title_fullStr | Indian blues American Indians and the politics of music ; 1879 - 1934 John W. Troutman |
| title_full_unstemmed | Indian blues American Indians and the politics of music ; 1879 - 1934 John W. Troutman |
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