Résumés
Abstract
This article focuses on Esther Deer, also known as Princess White Deer, and her family of Mohawk performers from Caughnawaga and St. Regis (now Kahnawà:ke and Ahkwesáhsne) in the late nineteenth and early twentieth centuries, a period often considered the nadir of genocidal policies and practices against the Peoples of Turtle Island. Working, as a settler scholar, with the Princess White Deer Collection in the Kanien’kehá:ka Onkwawén:na Raotitióhkwa Language and Cultural Center and with voluminous non-Indigenous press coverage, Bold reconstructs and reads details of the Deers’ acts on the international circuit. In their choreography of spectacle and control of theatrical space, their management of their own labour and their address to their audiences, they seem not only to seize agency in the entertainment marketplace but also to sustain intergenerational family, kinship, and community relations. The most visible marker of their border-crossing mobility and cultural brokerage lies in the layers of their performance attire—the topmost of which is the show blanket, especially as wielded by Princess White Deer.
Résumé
Dans cet article, Christine Bold s’intéresse à Esther Deer, aussi connue sous le nom de Princess White Deer, et à sa famille d’artistes mohawks originaires de Caughnawaga et Saint-Régis (le Kahnawà:ke et Ahkwesáhsne d’aujourd’hui). Ces derniers se produisaient sur scène à la fin du XIXe et au début du XXe siècle, à une époque considérée par plusieurs comme la moins glorieuse pour ce qui était des politiques et des pratiques génocidaires à l’endroit des peuples de l’Île de la Tortue.
Bold, une chercheure colonisatrice, s’est penchée sur la collection Princess White Deer au centre linguistique et culturel Kanien’kehá:ka Onkwawén:na Raotitióhkwa. Appuyant ses recherches au moyen d’un volumineux dossier de presse non indigène, elle a reconstruit dans le détail le parcours des Deer sur le circuit des spectacles à l’échelle mondiale. Leur chorégraphie spectaculaire et leur maîtrise de l’espace théâtral, leur gestion de leur propre travail et leur façon d’adresser le public laissent entendre qu’ils ont réussi à obtenir le pouvoir d’agir d’eux-mêmes sur le marché du spectacle tout en maintenant des relations familiales et communautaires intergénérationnelles. La mobilité transfrontalière et le courtage culturel des Deer transparaissent dans les nombreuses couches de leur tenue de scène, la dernière desquelles était la couverture de spectacle que maniait si bien Princess White Deer.
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Biographical note
Christine Bold is Professor of English and Canada Council Killam Research Fellow, 2018-2020, at the University of Guelph. She has published six books and many essays on popular culture and cultural memory, including the award-winning The Frontier Club: Popular Westerns and Cultural Power, 1880-1924 (Oxford UP, 2013). She is currently working on a book tentatively titled “‘Vaudeville Indians’ on Global Circuits, 1880s-1930s.”
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