Native American People Photography By Edward Sheriff Curtis

He also is known to have paid natives to pose in staged scenes, wear historically inaccurate dress and costumes, dance and partake in simulated ceremonies. In Curtis' picture Oglala War-Party, the image shows 10 Oglala men wearing feather headdresses, on horseback riding down hill. The photo caption reads, "a group of Sioux warriors as they appeared in the days of inter tribal warfare, carefully making their way down a hillside in the vicinity of the enemy's camp." In truth headdresses would have only been worn during special occasions and, in some tribes, only by the chief of the tribe. The photograph was taken in 1907 when natives had been relegated onto reservations and warring between tribes had ended. Curtis paid natives to pose as warriors at a time when they lived with little dignity, rights, and freedoms. It is therefore suggested that he altered and manipulated his pictures to create an ethnographic simulation of Native tribes untouched by Western society.
In fact, it is doubtful that Curtis did anything disreputable or intentionally misleading considering his lifelong dilligence to this art. His obvious intention was to showcase the American Indian in "their own element" as accurately as possible which provided the only credible motive to his removing Western materials, e.g. "a clock", from his photographs which were out of place anachronistically with "pure" Indian culture. The same motivation can be applied to costuming and posing of the native Americans which, contrary to his intention of exposé, gave the impression of idealism beyond his actual intention of realism, albeit euphemistic.
One of the more balanced reviews of The North American Indian comes from Mick Gidley, Emeritus Professor of American Literature, at Leeds University, in England, who has written a number of works related to the life of Edward S. Curtis: "The North American Indian-extensively produced and issued in a severely limited edition-could not prove popular. But in recent years anthropologists and others, even when they have censured what they have assumed were Curtis' methodological assumptions or quarrelled with the text's conclusions, have begun to appreciate the value of the project's achievement: exhibitions have been mounted, anthologies of pictures have been published, and The North American Indian has increasingly been cited in the researches of others... The North American Indian is not monolithic or merely a monument. It is alive, it speaks, if with several voices, and among those perhaps mingled voices are those of otherwise silent or muted Indian individuals.”
Of the full Curtis opus N. Scott Momaday says: “Taken as a whole, the work of Edward S. Curtis is a singular achievement. Never before have we seen the Indians of North America so close to the origins of their humanity...Curtis’ photographs comprehend indispensable images of every human being at every time in every place”