上演土著化：拯救旅游与美洲原住民历史表演

19世纪末和20世纪初，随着游客越来越多地在美国各地流动，数量惊人的社区希望利用美洲原住民的历史来创造旅游景点。从俄勒冈州彭德尔顿的快乐峡谷印第安选美和西部荒野秀，到像特库姆塞这样的户外戏剧！在俄亥俄州的奇利科特和北卡罗来纳州切诺基的这些山丘上，当地人举行了一些表演，声称要纪念一个土著人的过去，同时用白人定居者的话说描绘那个过去。这本精辟的书将这些表演的起源与他们现在的化身联系起来，揭示了他们是如何构成卡特里娜·菲利普斯所说的“打捞旅游业”的——这是一套与所谓的打捞民族志平行的实践，记录了土著人民的历史、语言和文化，同时强化了一种信念，即美洲原住民社会不可避免地正在消失。
菲利普斯认为，随着时间的推移，旅游业、怀旧和真实性在打捞旅游业的创造中融合，打捞旅游业融合了旅游业和历史，围绕公民身份、身份、归属的争论，以及继续利用印第安人和印地安人作为逃避、娱乐和经济发展的手段。
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Staging Indigeneity: Salvage Tourism and the Performance of Native American History
As tourists increasingly moved across the United States in the late nineteenth and early twentieth centuries, a surprising number of communities looked to capitalize on the histories of Native American people to create tourist attractions. From the Happy Canyon Indian Pageant and Wild West Show in Pendleton, Oregon, to outdoor dramas like Tecumseh! in Chillicothe, Ohio, and Unto These Hills in Cherokee, North Carolina, locals staged performances that claimed to honor an Indigenous past while depicting that past on white settlers’ terms. Linking the origins of these performances to their present-day incarnations, this incisive book reveals how they constituted what Katrina Phillips calls “salvage tourism”–a set of practices paralleling so-called salvage ethnography, which documented the histories, languages, and cultures of Indigenous people while reinforcing a belief that Native American societies were inevitably disappearing.
Across time, Phillips argues, tourism, nostalgia, and authenticity converge in the creation of salvage tourism, which blends tourism and history, contestations over citizenship, identity, belonging, and the continued use of Indians and Indianness as a means of escape, entertainment, and economic development.
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