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UC Irvine UC Irvine Electronic Theses and Dissertations Title Ainu Fever: Indigenous Representation in a Transnational Visual Economy, 1868–1933 Permalink https://escholarship.org/uc/item/83f1b2rm Author Spiker, Christina Marie Publication Date 2015 License https://creativecommons.org/licenses/by-nc-sa/4.0/ 4.0 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, IRVINE Ainu Fever: Indigenous Representation in a Transnational Visual Economy, 1868–1933 DISSERTATION submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in Visual Studies by Christina M. Spiker Dissertation Committee: Professor Bert Winther-Tamaki, Chair Associate Professor Fatimah Tobing Rony Associate Professor Roberta Wue 2015 © 2015 Christina M. Spiker TABLE OF CONTENTS Page LIST OF FIGURES iii ACKNOWLEDGMENTS vi CURRICULUM VITAE vii ABSTRACT OF THE DISSERTATION x INTRODUCTION 1 CHAPTER 1: ‘Civilized’ Men and ‘Superstitious’ Women: Isabella Bird, Edward 42 Greey, and Late Nineteenth-Century Visualizations of the Ainu CHAPTER 2: Narrating a Multi-Layered Visual Experience at the 1904 St. 103 Louis Exposition: W. J. McGee, Frederick Starr, and Pete Gorō CHAPTER 3: Art, Science, and the Artist-Explorer: Arnold Genthe and A. H. 144 Savage Landor, 1893–1908 CHAPTER 4: A Modern Tourist Experience in Shiraoi: Kondō Kōichiro’s 187 Illustrations in the Yomiuri Shinbun, 1917 CHAPTER 5: Asserting Identity in the Face of Disappearance: Katahira 223 Tomijirō, Takekuma Tokusaburō, and Reverend John Batchelor, 1918–1933 EPILOGUE: Ainu Visual Economy Enters the Digital Age: New Battlegrounds 271 of Representation BIBLIOGRAPHY 287 ii LIST OF FIGURES Figure Page 1 “Hairy Ainu to be Brought to America,” New York Tribune, 1904 2 2 Broughton, “A Man & Woman of Volcano Bay,” 1804 12 3 Bird, “Ainos of Yezo” frontispiece, 1880 64 4 Stillfried, “Ainos,” ca. 1875 65 5 Stillfried, “Stehender Ainu-Jäger,” ca. 1875 66 6 Bird, “Shinondi and Shinrichi,” 1880 67 7 Bird, “An Aino Patriarch,” 1880 70 8 Bird, “Aino Lodges (Based on a Japanese Sketch),” 1880 75 9 Reclus, “Aino Types and Costumes,” 1882 77 10 Stillfried, “Yesso, Ainos,” ca. 1870 78 11 Stillfried, “Five Ainu,” ca. 1871-73 79 12 Krammann, Stehender Ainu mit Köcher, Pfeil und Bogen, 1882 81 13 Greey, “Aino Babies,” 1884 85 14 Hirasawa, “Iyomante,” late-19th century 86 15 Greey, “Ainos Entertaining Japanese Officials,” 1884 87 16 Hirasawa, “Drinking Banquet,” late-19th century 88 17 Greey, “Samelenko Baby,” 1884 90 18 Mamiya, Kita-Ezo zusetsu, 1855 90 19 Matsuura, Ezo manga, 1859 120 20 Matsuura, Map from Ishikari nisshi, ca. 1860 121 21 Beals, Ainu Group Photograph, 1904 129 iii 22 Beals, Ainu Group Crafting, 1904 133 23 “Strangest People in the World,” Chicago Daily Tribune, 1908 136 24 Batchelor, “A Hairy Specimen,” 1901 138 25 Detail 1 from “Strangest People in the World,” 1908 138 26 Detail 2 from “Strangest People in the World,” 1908 140 27 Beals, Shutratek Carrying Kiku 2, 1904 140 28 Genthe, “Travel Views of Japan,” 1908 150 29 Landor, “Benry, the Ainu Chief at Piratori” 1893 165 30 Landor, “Ainu Women Dancing, Piratori,” 1893 165 31 Landor, “An Ainu Festival,” 1893 165 32 Genthe, “Crane Dance of the Ainu Women,” 1908 167 33 Genthe, “Ainu Chief,” 1908 167 34 Genthe, “Ainu Chiefs at Piratori,” 1908 167 35 Genthe, “A Slave Girl in Holiday Attire” (cropped), ca. 1896-1942 176 36 Genthe, “A Slave Girl in Holiday Attire,” ca. 1896-1906 176 37 Genthe, “Genthe and an Ainu Woman,” 1908 180 38 “The Religious Ceremony of Getting Drunk,” San Francisco Call, 1912 183 39 “Former Aborigine Proceeds to the Capital,” Niroku Shinpō, 1900 199 40 Illustration of Kawakami Konusaainu, Hōchi Shinbun, 1900 200 41 “Ainu Representative Kawakami Konusaainu,” Niroku Shinpō, 1900 201 42 “Peoples within the Expanding Territory…” Otaru Shinbun, 1911 203 43 Kondō, “To the Village at Shiraoi Station,” Yomiuri Shinbun, 1917 209 44 Kondō, “Howling of the Pitch Black Ainu Dogs,” Yomiuri Shinbun, 1917 211 iv 45 Kondō, “Shiraoi Village’s Imai Kiyoshi,” Yomiuri Shinbun, 1917 212 46 Kondō, “Standing Before the Chief, Who is Drunk..,” Yomiuri Shinbun, 1917 213 47 Kondō, “An Exhibition of the Real Thing…,” Yomiuri Shinbun, 1917 216 48 Kondō, “Peeking at a Bear inside of a Cage,” Yomiuri Shinbun, 1917 218 49 Batchelor, “The Skylark,” 1924 233 50 Katahira, “Kutri” and “Yai-mah,” 1927 241 51 Katahira, “Ara-shik” and “Wenku,” 1927 241 52 Anonymous, “Husband and Wife with Noses Cut Off,” 1927 245 53 Studio Photograph of Ainu Man and Woman with Noses Cut, ca. 1890 247 54 Anonymous, “Spring-Bow, for Killing Bears,” 1918 248 55 Photograph of Takekuma Tokusaburō and Parents, 1918 257 56 Photograph of Ainu Settlement, 1918 259 57 Photograph of Ainu Schoolhouse, 1918 259 58 Book Cover of Takekuma Tokusaburō’s Ainu Monogatari, 1918 260 59 Journal Cover of Utarigusu, 1921 263 60 Illustration of an Ainu student. Utari no Tomo, 1933 265 61 Illustration of an Ainu Man in a Sake Cup, Utari no Tomo, 1933 265 62 Illustration of an Ainu Traveler, Utari no Tomo, 1933 266 63 Journal Cover of Mukawa’s Utari no Hikari, 1933 269 64 Wikipedia Entry for “Ainu People,” 2015 274 65 10 Zloty Bronisław Piłsudski Commemorative Coin, 2008 277 66 “Ainu Group” from The Ainu Group at the St. Louis Exposition, 1904 278 v ACKNOWLEDGMENTS Over the past seven years, I have benefitted tremendously from the insight and guidance of many individuals and institutions in both the United States and Japan. This project would not have been possible without their support. My deepest gratitude goes to the three members of my dissertation committee who pushed me to become a better scholar and writer. Fatimah Tobing Rony encouraged my work on Ainu representation at an early stage, and taught me not to fear interdisciplinary research as I dove headfirst into anthropological readings. I must thank Roberta Wue for being one of my strongest allies and toughest critics, and for constantly fielding all of my crazy ideas. She not only aided me in navigating academia, but modeled the kind of scholar I one day hope to be. I am sincerely going to miss knocking on her door. My most heartfelt thanks go to Bert Winther-Tamaki for being such a stalwart advisor. He never discouraged me from hurdling down new paths, and was always there to guide me through major obstacles. Despite all of my worries, he never once doubted my ability to make it through. I am so fortunate to have such an awesome mentor—and friend—as I move on from my time at UC Irvine. I must also thank other professors at UC Irvine who gave me solid advice through the years, including Cécile Whiting, Kyung Hyun Kim, Anne Walthall, and Catherine Liu. Matthew Mizenko at Ursinus College deserves special recognition for not only introducing me to Japanese as a first-year undergraduate, but for encouraging me to apply to graduate school and then for following my progress through the years. I would have ended up on a very different path without his mentorship and support over the last twelve years. My research in Japan could not have been completed without the funding from the Pacific Rim Research Program at the University of California that allowed me to spend a year working with the foremost scholars of Ainu and indigenous studies at Hokkaido University in Sapporo. I will forever be in the debt of my Japanese advisors Sasaki Toshikazu and Tanimoto Akihisa for their patience and guidance, and for allowing me to be a part of the amazing community at Hokudai. I am also deeply indebted to Satō Mari, Abe Tetsuya, and the rest of the Japanese History Department for not only providing sustained feedback on my scholarship, but for helping me drag luggage across Sapporo on multiple occasions. I must also thank Faustine Juliette Favre whose friendship, encouragement, and occasional English conversation helped me through many long winter days in Japan. In the United States, I learned a great deal from research conducted at the Smithsonian Institution Libraries as a Baird Society Resident Scholar, and I appreciate the assistance of those working in the Special Collections Department at the Joseph F. Cullman 3rd Library of Natural History and the Dibner Library of the History of Science and Technology, including Lilla Vekerdy, Kristen van der Veen, Leslie K. Overstreet and Daria Wingreen-Mason. I am also grateful for the assistance of Christine Wirth at the Longfellow House and the staff at the Special Collections Research Center at the University of Chicago for their continued patience during my archival research. The Chancellor’s Club Fund for Excellence vi Fellowship at the University of California, Irvine provided me with precious time to write, and I also appreciate additional financial support from the School of Humanities, the Humanities Collective, the Center for Asian Studies, and the International Center for Writing and Translation over the years. Several institutions must be thanked for the permission to include images in this dissertation. In Chapter One, permission to reproduce the photograph of Baron Raimund von Stillfried’s “Five Ainu” was granted by the Tom Burnett Collection, and permission to include two reproductions from Hirasawa Byōzan’s Ezo-shima kikan was granted by the British Museum. In Chapter Two, permission to include three photographs by Jessie Tarbox Beals was granted by the Missouri History Museum. All other included images exist in the public domain, are licensed through Creative Commons, or are reproduced under fair use. Viewing these images enlivens my analysis, and I am ever grateful for being allowed to share these works with prospective readers. I thank my family—William, Patricia, and Stephanie Spiker—for all of their love and support from afar, and for teaching me the value of hard work.