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”The Face of the Cowboy” - Perspectives on Myths and Identities among Texan Cowboys Lene Cecilie Hellum Thesis submitted in partial fulfillment of the cand. Polit. Degree at the Department of Social Anthropology, University of Oslo, March 2007 i Abstract This paper is about negotiations and strategies for implementing cowboy identity and masculinity. I’ll argue that this have to be seen in a multi-dimensional light. For this purpose I have divided the cowboy into three analytical dimensions: the Factual cowboy, who enfold the cowboys that lived in the 1800’s, the Imagined cowboy, which comprise the common representations of the cowboy derived from Western movies and literature, and finally the Performed cowboys, who comprise the individuals that identifies themselves as cowboys. American history, ranching history, common generalizations and imageries about the cowboy, and different practices - all have to be taken into consideration when talking about cowboy identity. This paper is based on a research period of seven months in Texas. I also find it necessary to bring in other sources of information in the discussion, like American history and western film and literature, which is significant in the formation of the Imagined cowboy. I’ll argue that the hegemonic imagery of the cowboy is a figure that never has existed other than in myths and legends. He came into existence in a time when America was experiencing great changes, and he came to stand as a symbol for manliness and highly valued virtues, like freedom, individuality, rationality and progress. I argue that these virtues were abstracted from history, and together with certain symbols, like the horse, the hat and the spurs, they formed what I call the cowboy template. This template is a structure, a caricature, which can be filled with almost anything by anybody who wants to utilize its repertoir to relate to the cowboy identity. This template has no contact with history, and constitutes the structures of the cowboy myths. By introducing the notion of the cowboy template, I have opened up for an explanation of how anybody can utilize some of the templates’ repertoir to connote to a cowboy identity. To be recognized as a cowboy by other cowboys demands more than putting on a cowboy hat and ride a horse; it also requires knowledge of practice, and a degree of habituation of these practices. Through these practices the individual cowboy can find a way to communicate his own identity as a cowboy, and the hegemonic masculinity that is attached to this identity. Male-to-male relations are important in this regard; in such relations the men can challenge each other and assess their identity. ii Acknowledgements There are many people that have contributed to the process of completing this study. First of all I would like to thank all my informants in Texas. I am still overwhelmed by the hospitality and amiability you all showed me, and to which lengths you went to make my stay pleasant. You showed a true warmness in opening up your homes and lives to a stranger like me, and I will be in debt to you forever. My appreciation can not be described in words. You gave me an experience for a lifetime, and thanks to you, Texas has got a special place in my heart. Some relations that started out as a researcher-informant relationship developed into a true friendship, and I am so happy to still call you good friends. Among the numerous museums and galleries I visited, the ones that proved to be the most significant to me were Buckhorn Saloon and Museum, San Antonio, Cowboy Artists of America Museum, Kerrville, and the Ranching Heritage Center in connection to Texas Tech University in Lubbock, Texas. There I met Paul Carlson, a professor in history, who has written several books about cowboys and Texas ranching and history. He was another door- opener for me, putting me in contact with significant persons. I also received help and useful hints at Haley Memorial Library in Midland, Texas, as well as from other local libraries around Texas. My thanks also go to the Working Ranch Cowboy Association for their helpfulness. I would like to thank my supervisor, Odd Are Berkaak, who has given me so many ideas and showed such an enthusiasm for the topic. Your inspirations are great, you helped me on whenever I got lost in frustration, and our discussions have made the process of writing this thesis very interesting. I would also like to thank Laurie McIntosh for her work on my language. I am grateful to my fellow students at the Institute of Social Anthropology, and especially my good friends Bente, Camilla, Martha and Kageye for reading uncompleted drafts of this thesis, and giving me new ideas, constructive critique, and most of all invaluable support in this process. You have been the best company I could ever have for the last years, sharing ups and downs. I would also like to thank Eline and Vibeke for always being my friends, and iii for having patience with me in this period; you have been wonderful supporters. My thanks also go to Tom, who has encouraged me and helped me in so many ways. Likewise, my sincere thanks to my aunt, Jorunn, who has taken such good care of me; thanks for good food, late-night talks, and for looking after my beloved dog whenever I needed in the final stages of the process of writing this thesis. Last, but not least, I would like to thank my wonderful parents; thank you for your contributions in every way, thank you for never loosing your faith in me, and for always loving me and being there for me. iv Table of Content ABSTRACT...........................................................................................................................................I ACKNOWLEDGEMENTS................................................................................................................II TABLE OF CONTENT.....................................................................................................................IV CHAPTER I. INTRODUCTION........................................................................................................ 1 The Cowboy................................................................................................................................. 1 Definition..................................................................................................................................... 3 Historical background................................................................................................................. 5 The Wild West.............................................................................................................................. 6 Texas............................................................................................................................................ 7 The Frontier................................................................................................................................. 8 GTT - Gone to Texas ................................................................................................................... 9 CHAPTER II. THEORETICAL PERSPECTIVES AND ANTHROPOLOGICAL METHOD 11 LOOKING FOR COWBOYS.................................................................................................................. 19 CHAPTER III: THE COWBOY TEMPLATE............................................................................... 24 Deconstruction........................................................................................................................... 24 The horse ................................................................................................................................... 30 CHAPTER IV: THE FACTUAL COWBOY.................................................................................. 34 Fighting on the Frontier............................................................................................................ 35 What kind of men were the Factual cowboys? .......................................................................... 37 CONCLUSION ................................................................................................................................... 38 CHAPTER V: THE IMAGINED COWBOY.................................................................................. 39 THE INVENTION OF THE IMAGINED COWBOY.................................................................................... 41 VOICES ............................................................................................................................................ 42 WESTERN MOVIES............................................................................................................................ 47 Billy the Kid............................................................................................................................... 50 The mythification process.......................................................................................................... 51 The Land of Endless Opportunities ........................................................................................... 52 v The story behind .........................................................................................................................55 CONCLUSION ....................................................................................................................................56 CHAPTER VI: THE PERFORMED COWBOY ............................................................................57 Authenticity.................................................................................................................................58