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Copyright by John William Troutman 2004 Copyright by John William Troutman 2004 The Dissertation Committee for John William Troutman Certifies that this is the approved version of the following dissertation: ‘Indian Blues’: American Indians and the Politics of Music, 1890-1935 Committee: Neil Foley, Supervisor Erika Bsumek Rayna Green Karl Hagstrom Miller Pauline Turner Strong ‘Indian Blues’: American Indians and the Politics of Music, 1890-1935 by John William Troutman, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August, 2004 Dedication To Rebekah and Malisa Troutman Acknowledgements There are two things that history graduate students and musicians typically share: a vow of poverty, though relatively short-lived for students, and the privilege to spend exorbitant amounts of time, whether in the archives or in a van en route to the next show, pondering and crafting an explanation of the world before them. Over the past nine years, I have been lucky enough to consider the intersection of music and history from the perspective of both a graduate student and a touring musician. More importantly, however, I have met some remarkably generous people along the way. The American Indian Studies Program at the University of Arizona has boasted an incredible faculty over the years, but I am particularly indebted to Tsianina Lomawaima and Nancy Parezo. As a young and uncertain Masters student, they not only gave me a chance, but also provided me with more confidence through their enduring support than they will ever know. Their dedication to their students, their excellent scholarship, and their friendship has had a tremendous impact on me and will forever inspire me both professionally and personally. I have to admit, I had long desired to live in Austin regardless of whether or not I was accepted into the University of Texas, but I was fortunate enough not only to move v to the “music capital of the world” in the fall of 1997, but also to work with an incredible selection of faculty. I could not possibly ask a dissertation advisor for more than what Neil Foley has provided me. He maintains an intense interest in his students and their professional endeavors, stands fully behind them, and has a tremendous knack for asking just the right questions with regard to their intellectual pursuits, no matter the topic. He has made me feel welcome in the world of academia. Due in no small part to his support, the College of Liberal Arts provided me with four years of University Fellowships, as well as several opportunities to teach; to him, and to the University of Texas, I owe a great deal. Additional faculty and staff at UT insured that my stint here was well worth it, both inside the classroom and out. Gunther Peck (a fellow musician), Judy Coffin, Robin Kilson, and Howard Miller have all left me with increased insight and fond memories of their seminars and extra-curricular conversations. Polly Turner Strong not only encouraged me to dive into the heady waters of her anthropology seminars, but she also encouraged me to actively pursue this topic from its earliest incarnations. Her participation and careful critique as a committee member of this dissertation is highly valued and appreciated. It was welcome news to receive Erika Bsumek as a faculty member of the UT history department, and she has paid remarkable attention to my scholarship and my initial foray into the (gulp) job market. I am very lucky to have worked with her up to this point, and I look forward to sharing our work in the future. Mary Helen Quinn and Marilyn Lehman kept me alive and afloat more times than I can count. They embody what every graduate student dreams of: a graduate program vi coordinator that not only goes beyond the call of duty to watch out for your best interest, but also embraces you as a friend. And where to place my thanks to Karl Miller—as a dear friend? Bandmate? Graduate student peer? Mentor? Dissertation committee member? How about all of the above!! No one can talk music like Karl, and from the summer of 1998, when we met as graduate students at the Smithsonian, until the present, he has inspired me intellectually, musically, and personally. And despite our multiple episodes of shared desperation, he could always make me laugh. I miss the ‘ol red Kramer... Rayna Green is one of my favorite people. Besides her consistent, exceptionally smart scholarship and unbounded sense of humor, she has maintained undying support while I amply tested her patience. Because of her interest in this project and her faith in me, I received both a Graduate Student and a pre-Doctoral Fellowship to research at the National Museum of American History. Without her encouragement, wisdom, and advice throughout this process, I would have never begun, much less completed, this dissertation. On top of that, she has the hottest set of wheels in D.C. Over the years I have encountered many wonderful people in the world of academia. Sally Wolff King and John Juricek encouraged me in my days as an undergraduate at Emory University not only to consider graduate school, but to study American Indian history. Charlie McGovern (another musician) and Pete Daniel masterfully encouraged vigorous intellectual debate at the Smithsonian under the guise of –really- having a good time. Elena Razlogova, Adria Imada, and Matt Wray were some of my favorite co-conspirators in the fellow’s office, and Suzanne McLaughlin always vii welcomed my return. Phil Deloria (yet another musician!) has always maintained a supportive interest in my research, and has shared his work and ideas with me in an unnecessarily kind and generous manner. I also owe a great deal of thanks to David Wilkins, Tom Holm, Reeve Huston and Rob Williams who provided excellent seminars and guidance at the University of Arizona, as well my fellow AISP students and friends, particularly Angela Fox, Kara Gniewek, John Shaw, Adrienne King, Dan Ferguson, Howard and Mary Hayes, Travis Vincent, Karen Christopher, Chris Corey and Meaghan McLaughlin. Speaking of fellow students, I was immediately surrounded at the University of Texas by an outstanding, yet mischievous cohort in the history department. In particular, Rebecca Montes, Clint Starr, Andrew Falk, and Stephen Berrey have been tremendous friends, excellent critics, and loving peers, and I owe them, the Writer’s Bloc, my sanity and undying appreciation. Barbara Landis at the Cumberland County Historical Society went out of her way to ensure that my time at Carlisle was well spent. She has dedicated an incredible amount of her own time poring over and organizing the Carlisle school archives, and I owe her a great deal for her interest, correspondence and help along the way. Likewise the archivists and librarians at the National Archives, Library of Congress, National Anthropological Archives, University of Iowa, the NMAH Archives Center, New York Public Library, State Historical Society of Wisconsin, and Angélico Chávez History Library were all extremely helpful and kind. One of my friends and compadres in the American Indian Studies Program, Traci Morris (okay, one more academic/musician), encouraged me to consider making a go as a viii musician as well as a scholar. Little did I know that eventually I would take her up on the challenge. I have been blessed with many tremendous friendships through music, and I thank all of those that I have met or played with over the years, particularly Michael Tenerowicz, Brian Just, Carlos Orozco, Tyler Mallory, Ben Dickey, Miss Darlene, and Jeff Klein. As for my bandmates in the Mendoza Line—Pete, Shannon, Paul, Sean, and Tim—thanks for saving a seat in the van, and for accommodating my teaching/research calendar in our tour schedule, both overseas and at home. I’ll never look at Snooker, or the rest of the world, the same way again. Sara Ritchey was absolutely integral to the successful completion of this dissertation, both in its genesis and conclusion. She and I traveled to and perused many an archive together years ago, and she provided her (much needed) editorial skills in the final phases. I can only aspire to approach one day the level of critique, writing, imagination, and thoughtful analysis that seems so second nature to her. She sacrificed many a day and night to the completion of the dissertation, and has maintained an incredible degree of patience with me in spite of often trying circumstances. More importantly, however, she inspires me to laugh and love, and for that I can only hope that she will allow me to forever repay her. My family has been incredibly supportive of my dreams and desires, no matter where they brought me. My mother, Rebekah, has sacrificed more for the fruition of this dissertation, and more for my general happiness over the years, than should be legally permitted for any parent. She has been a wonderful mother to my sister, Malisa, and I, especially when the circumstances turned grim. She has dedicated her life to her children ix and to the education of the underprivileged, and has displayed more integrity, curiosity, and love than anyone I know. My passion for history was fostered by her meticulous genealogical research of our family. Enrolling in an Ed.D. program a few years after I arrived at the University of Texas, for a while I was admittedly nervous that she would even earn her doctorate before me (she’s defending in less than a month). Malisa has also provided unwavering support (thanks for coming to see us play in the UK!) and inspiration (making a home in Manhattan as a Ph.D.
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