Colonized through Art: American Indian Schools and Art Education, 1889–1915 by Marinella Lentis

Abstract

Reviewed by: Colonized through Art: American Indian Schools and Art Education, 1889–1915 by Marinella Lentis Mackenzie J. Cory Colonized through Art: American Indian Schools and Art Education, 1889–1915. By Marinella Lentis. Lincoln: University of Nebraska Press, 2017. xxvii + 421 pp. Marinella Lentis's Colonized through Art examines how local and federal policy decisions shaped the implementation of art education in Native American boarding schools across the United States in the late nineteenth and early twentieth centuries. At the core of her analysis is Jean and John Comaroff's conception of colonization as both a physical and mental imposition, supported by Gramsci's idea of cultural hegemony, the soft policies used to maintain control across generations without physical violence. This "colonization of consciousness" influenced the actions of boarding school administrators as they sought to create a serving class of Indigenous workers with skills learned in art classrooms (xxi). Throughout the volume, Lentis also relies on Lomawaima and McCarty's "safety zone" to describe how education incorporating traditional Indigenous arts fell in and out of fashion (xxii). This inclusion serves as the keystone explaining the seemingly contradictory policies present in boarding schools and constitutes one of the most groundbreaking aspects of the volume. The volume's chapters first present an overview of the current research regarding art education and Native boarding school policies before demonstrating how these policies were actually implemented at two institutions. These case studies are followed by a broader look at how the works produced by Native students were viewed by audiences from pedagogical backgrounds and the general public, both nationally and internationally. Chapter 1 introduces the reader to the development of art education pedagogy for the lower classes during the nineteenth century. Lentis argues that these efforts to develop the morality and character of children of rural and immigrant workers directly influenced boarding school policies in the last twenty [End Page 322] years of the nineteenth century. Chapter 2 presents a general discussion of how pedagogical models affected boarding school arts education during this time, strengthening Lentis's argument and setting the groundwork for the rest of the volume. These chapters provide excellent overviews of art education both broadly and in the boarding schools and allow scholars lacking familiarity with either field to form an understanding of Lentis's argument. Chapter 3 examines how the beliefs of individual boarding school superintendents influenced the policies identified in the preceding chapter. Though the ultimate goal of the superintendents was to educate Native youth into becoming productive members of industrial society, Lentis discerns considerable disagreement between administrators' opinions of the economic role of art in Native communities, the danger of preserving Native artistic motifs, and the risk of over-homogenization of Native youth. In particular, this chapter does an excellent job of demonstrating how the whiplash between superintendents with relatively short tenures and widely differing pedagogies opened the door for more local control, which is confirmed in the following two chapters. Chapters 4 and 5 present case studies of how these policies were implemented in the Albuquerque Indian School and Sherman Institute, respectively. Though it would be expected that the Albuquerque Indian School would encourage a strong arts program, given the emergence of a local Native art scene in the late nineteenth century, local administrators often defied federal calls for just that due to their belief that Native artisans were preventing the community from integrating into industrial American culture. Conversely, the Sherman Institute in Riverside, California, encouraged art education, going so far as to include regional Native motifs in their lessons and encouraging performance of indigeneity for the local community and tourists. In both cases, Lentis clearly shows the influence of local administrators on their school's art education as well as the impact these choices had on other boarding schools in the region and nationally. Chapter 6 discusses the inclusion of artwork created by boarding school students at international fairs. The artworks and their creators were instrumental in producing a narrative of the United States' success in taming the North American interior while simultaneously allowing foreign visitors to experience the Other. During the early twentieth century, this belief shifted towards one of Native artwork as an essential method...