![]() This interdisciplinary article examines and contextualizes the popular visual representations of Native American peoples and their lifeways at the World’s Fairs and Buffalo Bill’s Wild West from 18, respectively, to 1904. Delving into Polish press of that period, I will attempt to demonstrate how the Polish press made various, sometimes quite unexpected uses of the show. I will discuss the show as well as the Native American performers and their reception while the show travelled among Polish cities during the summer of 1906, almost at the end of that tour. In 1902 they participated in the third European tour of Buffalo Bill’s Wild West, now called Buffalo Bill’s Wild West and Congress of Rough Riders of the World. A few months later, almost one hundred Lakotas, including those who survived Wounded Knee massacre, joined the Buffalo Bill show during its second European tour. On December 29, 1890, at least two hundred, but perhaps as many as three hundred, Lakotas were killed in the tragic battle (that soon turned into a massacre) at Wounded Knee or died in its aftermath. In 1890, the Sioux and other tribes lived a great religious awakening that was named Ghost Dance, hoping that by performing the Ghost Dance ritual they would make their lives better and get rid of the white men who took their lands, put them in reservations, broke treaty promises and brought hunger and diseases. Wild West shows toured not only the United States but the Old World as well, including the south-eastern edges of the AustroHungarian Empire. ![]() At the turn of the 20th century many Native Americans took part in white man’s enterprises: first Wild West shows, then silent movies. ![]()
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