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Culture Documents
and
tourist
destinations,
which
in
turn
created
a
cultural
expectation
for
a
current
society
of
American
Indians.
In 1978, Diane H. Thomas wrote the book Southwestern Indian Detours, and it
was
treated
as
an
instructive
and
historical
guide
for
tourists
who
were
interested
in
traveling
through
the
southwest
United
States.
In
the
title
alone,
it
implies
that
Native
American
exposure
will
not
only
be
present,
but
the
vocal
point
of
the
detour.
The
word
itself
expresses
that
its
not
a
destination
where
one
would
want
to
vacation
for
a
week
but
rather
it
is
a
place
to
stop
and
explore
the
area
for
a
day
or
two.
From
Thomas
book,
she
explains
the
root
of,
the
companys
name,
This
would
be
a
detour,
a
detour
to
see
the
Indian
pueblos,
the
Indian
ruins;
why
not
call
it
the
Indian
Detour?
Agreed.2
Within
that
one
sentence,
this
company
not
only
provides
the
image
that
the
Hopi
tribe
or
Indians
of
the
southwest
are
treated
as
an
object
to
be
viewed
upon
by
tourist.
Also,
by
incorporating
the
word
Indian
in
the
name
of
the
company,
this
only
stresses
the
point
of
Indian
exploitation
to
gain
a
profit
off
of
a
culture.
2
Darnall,
Diane
Thomas.
The
Southwestern
Indian
Detours:
The
Story
of
the
Fred
Harvey/Santa
Fe
Experiment
in
Detourism.
Phoenix:
Hunter
Pub.
1978.
45.
Its interesting to analyze the photographs within the book because they
want
to
expose
the
Indianness
of
the
location
but
still
make
it
comfortable
for
the
traveler.
By
doing
this,
the
traveler
has
a
sense
of
familiarity
and
is
more
welcome
to
the
idea
of
visiting
rather
than
not.
One
aspect
of
this
is
the
presence
of
Christian
churches.
As
seen
in
Appendix
1A,
the
photographer
made
it
a
point
to
get
the
message
of
the
Hopi
people
but
that
Christian
ideals
are
planted
in
that
area.
Along
with
that
presence
comes
the
message
of
assimilation.
By
having
the
church
there,
it
shows
visitors
that
there
is
no
harm
coming
from
what
could
potentially
be
savage
Indians,
but
with
the
planting
of
an
Anglo
Christian
church,
the
threat
no
longer
exists
and
shows
that
they
have
adopted
it
to
live
a
better
life.
Having
the
subtle
but
obvious
Christian
existence
in
the
areas
of
this
Indian
Detour,
it
provides
the
traveler
with
the
comforts
of
familiarity
and
one
of
a
message
that
these
Native
Indians
are
assimilated
and
will
not
be
a
treat.
All
in
all,
the
Indian
Detour
Company
wanted
the
native
experience
to
be
very
real
but
real
in
a
single
sighted
manner.
experience
or
is
it
more
of
a
first
hand
account
with
the
Hopi
Indians?
The
whole
experience
was
a
blended
effort
in
being
able
to
visit
an
area
rich
of
Hopi
Indians
and
Native
culture,
which
could
have
been
done
either
by
driving
through
the
area
but
also
the
opportunities
to
stop
and
explore
were
also
present.
By
stopping,
a
tourist
would
gain
what
they
thought
as
only
an
authentic
experience
as
much
as
it
could
possibly
be
done.
Business
realized
this,
so
the
implementation
of
interaction
and
product
consumption
with
the
tourist
would
benefit
both
the
Hopi
and
Indian
Detour.
As
shown
in
Appendix
1C,
the
appearance
of
Hopi
women
selling
hand
made
pottery
that
would
lie
at
the
feet
of
the
culturally
interested
traveler
for
easy
picking
and
convenient
timing.
Philip
J.
Deloria,
author
of
the
book
Playing
Indian,
backs
the
mentality
of
the
Indian
Detour
Company
by
stating
that
it
is
an
authentic
experience
for
the
traveler
and
that
the
pottery
serves
a
slight
example
of
this.
But
real
Indians
still
existed,
and
Indian
pueblos
were
in
fact
rapidly
becoming
attractive
destination
points
of
travelers
in
the
American
Southwest,
where
tourists,
like
ethnographers,
sought
to
touch
an
authentic
past
by
touching
a
contemporary
Indian
person.3
This
idea
of
touching
a
contemporary
Indian
person
is
one
that
vacationers
look
forward
to
doing
and
one
that
the
business
expects
to
have
happen.
If
the
Indians
have
a
positive
interaction
with
the
guests
than
business
increases,
but
if
the
interactions
are
either
negative
or
non-existent,
than
Indian
Detour
loses
the
lasting-effect
they
wanted
travelers
to
leave
with
and
business
goes
down.
Indians.
Appendix
1D
provides
the
viewer
the
image
of
a
Native
man
having
a
conversation
with
a
Courier
of
Indian
Detour
in
which
both
natives
pictured,
show
that
it
is
a
peaceful
time.
The
interesting
thing
about
photography
in
the
historical
sense
is
if
the
photograph
is
staged
in
order
to
guide
the
viewer
into
seeing
what
they
want
to
see,
for
example
the
two
photographs
of
the
churches
from
before
and
hiding
what
reality
is
within
the
setting
of
the
pictures.
Looking
again
at
Appendix
1D,
initially
it
seems
like
its
a
peaceful
conversation
and
its
just
another
day
but
what
did
the
photographer
want
to
portray
of
the
Hopi
man
and
the
Courier?
Was
this
an
attempt
to
present
the
idea
that
there
is
no
turmoil
between
the
Native
Americans
and
the
White
Americans?
Photography
is
hardly
a
simple
mirror
of
reality.
The
meanings
behind
each
image
must
be
uncovered
through
careful
exploration
and
analysis.
On
the
surface,
certainly,
photographs
often
provide
the
historian
with
the
wealth
of
concrete
detail
The
photographic
details
communicate
a
stirring
casefull
of
subjectivity
as
well
as
objective
intent.5
Roland
Merchand,
the
author
of
the
book
Advertising
the
American
Dream
also
discusses
the
fact
of
portrayal
through
photography.
None
of
the
canons
of
this
new
art
defined
the
photographer
as
merely
a
passive
recorder
of
literal
fact.
Romanticized
as
artists,
photographers
assumed
the
role
of
active
manipulators
of
their
subjects.6
Yes,
this
photograph
of
friendly
interaction
could
have
been
true
and
real
with
laughter
and
peace
but
at
the
same
time
the
photographer
could
have
asked
them
to
give
off
this
5
Davidson,
James
West,
and
Mark
H.
Lytle.
After
the
Fact:
The
Art
of
Historical
Detection.
New
York:
Knopf,
1982.
224.
6
Marchand,
Roland.
Advertising
the
American
Dream:
Making
Way
for
Modernity,
1920-1940.
Berkeley:
University
of
California
Press,
1985.
149.
image
in
order
to
promote
business
in
saying
that
all
is
well
with
the
Whites
and
Natives.
Moving forward with the idea of using the Native American image to promote
a
business,
it
can
also
be
used
in
order
to
verify
the
quality
of
certain
products.
This
deemed
not
only
true
for
Pawnee
Bill
and
his
Indian
Trading
Post
in
the
late
19th
century
but
Native
products
were
the
focus
of
the
entire
store.
Pawnee
Bill
and
his
business
would
mail
out
catalogues
to
people
who
would
voluntarily
sign
up
to
receive
them
and
they
could
shop
for
handmade
authentic
Indian
products.
When
one
would
turn
the
front
cover
over,
they
would
be
presented
with
a
letter
from
Pawnee
Bill
saying,
We
have
120,000
Indians
within
150
miles
of
the
Trading
Post,
which
gives
us
the
greatest
opportunity
of
securing
the
remnants
of
the
plains
Indians.
Both
Mr.
Ray
O.
Lyon
and
Major
Lillie
Pawnee
Bill
are
known
to
every
tribe
that
exists
to-day,
and
it
is
through
the
great
personal
friendship
with
the
various
Indian
tribes,
that
gives
us
an
opportunity
of
securing
much
of
the
historical
ceremonial
articles
that
have
made
the
Indian
tribes
so
attractive
and
interesting7
By
providing
the
number
of
Indians
in
the
area
the
notion
that
they
have
great
opportunities
to
gain
Native
products
and
distribute
it
to
the
buyer
either
directly
from
the
store
or
through
mail
was
supported.
Looking
at
the
language
of
it,
they
are
presenting
the
notion
that
they
are
gaining
these
products
through
personal
friendship
rather
than
it
being
an
entirely
business
relationship.
The
catalogue
itself
is
24-pages
and
80%
of
it
is
a
long
list
of
varied
items
a
customer
can
buy.
From
Indian
herbs,
to
beaded
moccasins,
to
complete
costumes
that
covers
head
to
7
Catalog
for
Native
American
Items
Pawnee
Bill
Papers
Accession
#9477
Box
1
Folder
1.
University
of
Wyoming.
American
Heritage
Center.
toe
as
shown
in
Appendix
2.
Their
products
were
not
only
exposing
the
Native
Americans
but
they
modeled
these
products
in
order
to
emphasize
the
authenticity
they
hold
and
that
the
customer
could
purchase
the
real
thing.
It
would
be
a
different
thing
if
the
outfits
were
on
a
manikin
or
just
on
a
hanger,
but
since
the
Indians
are
modeling
the
outfits
it
provides
a
sense
of
verification
and
approval
that
people
are
buying
the
products
and
it
reassures
the
buyer
that
they
are
getting
the
real
thing.
The
image
doesnt
only
portray
the
products
but
it
also
creates
the
stereotypical
appearance
of
what
a
Native
looks
like
both
before
and
after
the
assimilation
process.
This
appearance
is
one
that
makes
them
look
like
they
are
not
with
current
society
and
still
living
a
very
savage
and
ancient
lifestyle.
When
in
reality,
most
Natives
were
not
living
this
way.
Native
Americans
during
this
time
were
fighting
to
retain
tribal
land
rights,
boarding
schools
were
implemented
on
the
reservations,
and
cultural
identity
was
becoming
an
issue.
The
goal
of
bringing
Native
Americans
into
civilized
white
society
backfired
as
white-educated
Native
Americans
and
those
increasingly
familiar
with
white
society,
laws,
and
government
started
organizing
and
fighting
alongside
whites
for
Native
American
rights
to
land,
religion,
and
education
in
the
early
1900s.8
These
issues
were
current
society
issues
with
current
society
Native
Americans.
They
werent
stuck
in
the
past
of
wearing
traditional
clothing
and
living
in
a
traditional
manner.
These
people
were
living
just
like
their
white
counterparts.
8
Progressive
Era:
1890-1920s:
Native
Americans
Fight
for
Land,
Identity,
&
Education.
Progressive
Era:
1890-1920s:
Native
Americans
Fight
for
Land,
Identity,
&
Education.
2015
Another example of how the image and culture of Native Americans was used
in
order
to
justify
the
quality
of
a
product
was
with
the
DeMaris
Hot
Springs
and
Mineral
Water.
These
hot
springs
are
located
in
Big
Horn
County,
Wyoming
near
Cody
and
the
DeMaris
Company
decided
to
implement
the
history
of
the
springs
in
order
to
push
the
significance
it
holds.
In
a
brochure
advertising
for
the
springs
on
the
second
page
it
states
Crow
Indians
encamped
at
the
Stinking
Waters
(Now
DeMaris
Springs)
in
1860
the
great
Absakora
or
Crow
Indian
tribe
kept
a
permanent
camp
for
the
sick
here.
Other
tribes,
the
Sioux,
Cheyennes,
Shoshones
and
Arapahoes
all
visited
them.9
If
the
Indians
kept
a
permanent
camp
there
then
it
must
be
good
right?
Well
thats
the
message
that
was
sent.
Further
on
in
the
brochure
they
were
able
to
have
the
infamous
Buffalo
Bill
Cody
comment
on
the
springs
by
saying
I
myself
have
come,
when
worn
out
with
my
labors,-
always
to
go
forth
with
new
life
and
vigor.
The
magnetic
and
quickening
effects
of
these
waters
must
be
tested
to
be
realized.
The
rejuvenating
effects
are
marvelous,
which
but
voices
the
expressions
of
thousands
of
white
and
red
men
alike.10
It
is
possible
Buffalo
Bill
could
have
been
truly
expressing
his
feelings
for
the
springs
but
its
important
to
consider
that
DeMaris,
being
close
to
Buffalo
Bills
headquarters
of
Cody,
Wyoming,
that
they
could
have
offered
to
pay
him
to
say
such
things.
Words
such
as
these
waters
must
be
tested
to
be
realized
make
it
sound
more
of
an
advertising
provcation
rather
than
ones
personal
description
of
their
experience.
DeMaris
used
the
historical
aspect
of
the
springs
to
provide
knowledge
of
their
9
Joseph
C.
Spenser
Collection
Acc.
No.
1994
Box
#2
Article
Folder-
DeMaris
Natural
Mineral
Water,
University
of
Wyoming.
American
Heritage
Center.
10
Joseph
C.
Spenser
Collection
Acc.
No.
1994
Box
#2
Article
Folder-
DeMaris
Natural
Mineral
Water,
University
of
Wyoming.
American
Heritage
Center.
importance,
but
where
is
the
image
of
the
Native
Indian
to
support
the
product.
Well,
Appendix
3
shows
a
very
standard
looking
Indian
with
the
head
dress
apparel
and
his
hand
reaching
out
front
to
present
the
idea
of
him
advising
one
to
take
advantage
of
the
water
because
it
is
full
of
life
and
healing.
The
use
of
the
stereotypical
Native
American
image
was
used
to
help
solidify
the
presentation
of
the
springs
and
used
as
a
marketing
strategy
in
that
ties
the
customer
to
the
earth
as
the
Native
Americans
once
did
before.
This marketing of the American Indian so presented has been a black and
white
portrayal.
Coming
back
to
the
southwestern
Indians
and
looking
at
Santa
Fes
tourism
flyer
from
1947,
they
do
something
that
was
different
from
other
findings.
This
was
the
implementation
of
color
in
advertising
the
Native
Americans.
Whether
printing
in
black
and
white
was
cheaper
and
more
efficient,
the
color
print
provides
more
of
a
message.
Shown
in
Appendix
4
is
a
group
of
Southwestern
Indians
looking
not
overly
happy
but
not
uncomfortable.
There
is
a
sense
of
content
from
their
faces
in
terms
of
where
they
are
living.
The
colors
themselves
set
the
mood
for
this
piece
of
artwork.
There
are
a
lot
of
bright
and
vibrant
colors
that
are
welcoming
to
the
eye
and
through
that
they
are
sending
a
message
that
says
come
visit
Santa
Fe
and
we
welcome
you
to
our
beautiful
land
that
is
full
of
culture.
Another
thing
to
look
at
and
it
continues
this
cultural
expectation
for
the
Indians
is
the
clothing
they
are
wearing.
It
appears
to
be
very
traditional
with
the
exception
of
the
lady
on
the
far
left,
who
is
wearing
more
of
a
western
style
outfit.
This
expectation
is
only
backed
by
the
constant
use
of
the
stereotypical
appearance
of
these
Native
Indian
people.
10
Overall,
these
portrayals
and
the
language
used
to
advertise
and
exploit
the
Native
American
makes
the
Indian
seem
like
a
subject
or
a
thing.
Its
the
mentality
of
being
able
to
not
only
view
these
people
but
their
culture,
as
if
they
are
it
is
an
archeological
site.
Its
there
to
be
observed
for
entertainment
and
educational
purposes,
but
all
it
is,
is
a
thing
of
the
past.
The
use
of
advertising
has
forced
a
stereotypical
image
of
these
people
and
one
that
is
culturally
insensitive.
Of
the
supporting
actors
and
actresses
in
the
social
tableaux,
few
were
more
stereotyped
than
the
children.
Two
children
invariably
meant
a
boy
and
a
girl,
never
two
girls
or
two
boys.
Virtually
never
were
children
described
or
depicted
in
such
a
ways
to
suggest
distinctly
individual
personalities.
Except
when
the
selling
message
specifically
dictated
otherwise11
This
same
type
of
approach
is
true
for
the
stereotypical
image
of
Native
Americans.
The
image
of
a
tan
skinned,
longhaired,
skinny
person
wearing
a
headdress
with
leather
clothing
and
beadwork
through
out
is
what
the
cultural
norm
is
for
Native
American
people,
which
has
been
created
through
businesses
and
their
advertising.
Really
looking
at
it
from
a
big
picture
standpoint
not
only
these
businesses
but
also
many
others
across
the
nation
have
basically
been
pimping
out
the
Native
American
culture
with
the
products
and
land
tied
to
those
products.
As
seen
in
the
Indian
Detours,
that
company
exploited
the
land
of
the
Hopi
in
order
to
benefit
from
the
tourist
dollar.
From
the
1920s
to
the
1940s,
the
stereotypical
representation
of
the
Native
American
was
used
to
advertise
products
and
destinations,
which
in
turn
created
a
cultural
expectation
for
current
society
American
Indians.
The
image
that
11
Marchand,
Roland.
Advertising
the
American
Dream:
Making
Way
for
Modernity,
1920-1940.
Berkeley:
University
of
California
Press,
1985.
191.
11
the
general
public
envisions
when
the
idea
of
a
Native
American
enters
their
mind
is
what
was
expected
of
these
American
Indians
in
both
the
showcase
tourist
destinations
and
in
everyday
life
outside
of
these
destinations.
This
expectation
was
created
through
advertising
and
media
efforts
in
order
to
sell
products
and
welcome
people
to
a
region
typically
not
known
to
tourism
traffic.
12
Bibliography
Primary
Sources:
Appendix
1A.
Diane
Thomas
Darnall
Box
Accession
#
9688-89-03-22.
Kodak
Film
Box.
University
of
Wyoming.
American
Heritage
Center.
Appendix
1B.
Diane
Thomas
Darnall
Box
Accession
#
9688-89-03-22.
Kodak
Film
Box.
University
of
Wyoming.
American
Heritage
Center.
Appendix
1C.
Diane
Thomas
Darnall
Box
Accession
#
9688-89-03-22.
Kodak
Film
Box.
University
of
Wyoming.
American
Heritage
Center.
Appendix
1D.
Diane
Thomas
Darnall
Box
Accession
#
9688-89-03-22.
Kodak
Film
Box.
University
of
Wyoming.
American
Heritage
Center.
Appendix
2.
Catalog
for
Native
American
Items
Pawnee
Bill
Papers
Accession
#9477
Box
1
Folder
1.
University
of
Wyoming.
American
Heritage
Center.
Appendix
3.
Joseph
C.
Spenser
Collection
Acc.
No.
1994
Box
#2
Article
Folder-
DeMaris
Natural
Mineral
Water.
University
of
Wyoming.
American
Heritage
Center.
Appendix
4.
Diane
Thomas
Darnall
Box
Accession
#
9688-89-03-22,
University
of
Wyoming.
American
Heritage
Center.
Secondary
Sources:
Deloria,
Philip
Joseph.
Playing
Indian.
New
Haven:
Yale
University
Press,
1998.
101-
106.
Darnall,
Diane
Thomas.
The
Southwestern
Indian
Detours:
The
Story
of
the
Fred
Harvey/Santa
Fe
Railway
Experiment
in
Detourism.
Phoenix,
Ariz.:
Hunter
Pub.,
1978.
45.
Davidson,
James
West,
and
Mark
H.
Lytle.
After
the
Fact:
The
Art
of
Historical
Detection.
New
York:
Knopf,
1982.
224.
Marchand,
Roland.
Advertising
the
American
Dream:
Making
Way
for
Modernity,
1920-1940.
Berkeley:
University
of
California
Press,
1985.
149-191.
Ostler,
Jeffrey.
The
Plains
Sioux
and
US
Colonialism
from
Lewis
and
Clark
to
Wounded
Knee
New
York:
Cambridge
University
Press,
2004.
20.
13
Progressive
Era:
1890-1920s:
Native
Americans
Fight
for
Land,
Identity,
&
Education.
Progressive
Era:
1890-1920s:
Native
Americans
Fight
for
Land,
Identity,
&
Education.
2015.
http://www.museumca.org/picturethis/timeline/progressive-
era-1890-1920s/native-americans-fight-land-identity-education/info
14