Chapter 10: Jacksonian Democracy, 1820–1840
Indian Removal
Learning Objectives
By the end of this section, you will be able to:
- Explain the legal wrangling that surrounded the Indian Removal Act
- Describe how depictions of Natives in popular culture helped lead to Native removal
Pro-Jackson newspapers touted the president as a champion of opening land for White settlement and moving native inhabitants beyond the boundaries of “American civilization.” In this effort, Jackson reflected majority opinion: most Americans believed Native peoples had no place in the White republic. Jackson’s animosity toward Native Americans ran deep. He had fought against the Creek in 1813 and against the Seminole in 1817, and his reputation and popularity rested in large measure on his firm commitment to remove Native residents from states in the South. The 1830 Indian Removal Act and subsequent displacement of the Creek, Choctaw, Chickasaw, Seminole, and Cherokee tribes of the Southeast fulfilled the vision of a White nation and became one of the identifying characteristics of the Age of Jackson.
INDIANS IN POPULAR CULTURE
Popular culture in the first half of the nineteenth century reflected the aversion to Native Americans that was pervasive during the Age of Jackson. Jackson skillfully played upon this racial hatred to engage the United States in a policy of ethnic cleansing, eradicating the Native presence from the land to make way for White civilization.
In an age of mass democracy, powerful anti-Native sentiments found expression in mass culture, shaping popular perceptions. James Fenimore Cooper’s very popular historical novel, The Last of the Mohicans, published in 1826 as part of his Leatherstocking series, told the tale of Nathaniel “Natty” Bumppo (aka Hawkeye), who lived among Native Americans but had been born to White parents. Cooper provides a romantic version of the French and Indian War in which Natty helps the British against the French and the feral, bloodthirsty Huron. Natty endures even as his Native American friends die, including the noble Uncas, the last Mohican, in a narrative that dovetailed with most people’s approval of Native removal.
Native Americans also made frequent appearances in art. George Catlin produced many paintings of Native peoples, which he offered as true representations despite routinely emphasizing their supposed “savage” nature. The Cutting Scene, Mandan O-kee-pa Ceremony (Figure 10.12) is one example. Scholars have long questioned the accuracy of this portrayal of a rite of passage among the Mandan people. Accuracy aside, the painting captured the imaginations of White viewers, reinforcing their disgust at the savagery of Native Americans.
The Paintings of George Catlin
George Catlin seized upon the public fascination with the supposedly exotic and savage Indian, seeing an opportunity to make money by painting them in a way that conformed to popular white stereotypes (Figure 10.13). In the late 1830s, he toured major c