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149559 https://hdl.handle.net/2286/R.I.8855 http://rightsstatements.org/vocab/InC/1.0/ All Rights Reserved 2011 vii, 111, [31] p. : ill. (some col.) Masters Thesis Academic theses Text eng Hanawalt, Tammi Jo Duncan, Kate Fahlman, Betsy Malagamba-Ansótegui, Amelia Mesch, Claudia Arizona State University Partial requirement for: M.A., Arizona State University, 2011 Includes bibliographical references (p Field of study: Art history The Indian princess began as an imposition, a Eurocentric conception based in preconceived notions of cultural structures and gendered power roles - a mixture of noble woman and provocative demure maiden - created by Anglo men to epitomize an idyllic image of otherness and womanhood. This analysis begins by exploring the history of the icon that was first conceived through sixteenth century explorer's tales of exotic queens then traces her progression through the romantic idealizations of the Indian woman Pocahontas. Research then explores how the character, comprised of a mixture of feathers, beads, and buckskin, was implemented into performance, and discusses how her flesh and blood enactment became critical to her survival. Drawing on the theories of contemporary critics, final examination turns to twentieth century perceptions of the Princess and reactions to her by contemporary Native artists whose manipulations of the character opens alternative dialogs about the stereotype to offer reconstructions of her historic discourse. Art History Indian Princess Stereotype Indian women in art Indian women in literature Indians in the performing arts Princesses--Public opinion. Princesses Indian women--Public opinion. Indian women Princesses in buckskin: interrogation of a stereotype