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Photographic Travel Journal documenting a - Compiled by Elbert John "Dutch" Reut - 1928. 
Indiana, Missouri, Kansas, New Mexico, Arizona, 1928. The large (approximately 14" x 9") album contains 82 pages with approximately 230 photographs (ranging in size from 1.5" x 2.5" to 7" x 10.5") and a few postcards and other ephemeral items. The photographs are in nice shape and glued to the album pages. Many of the pages are artistically decorated and captioned in white ink. The album has a worn yapped leather cover over its boards with an abbreviated version of the poem [Out] Where the West Begins printed on the front above vignettes of cowboys, a wagon train, and one lone Native American. This exceptional album, although not in chronological sequence, documents Reuter's trip and his first several years living in Prescott. Highlights include * Buildings, towns, streets, mines, people, and scenery along the way and in Prescott; * The Missouri River ferry at Arrow Rock, Missouri; * Reuter's auto-tent camping setup including one image after a rainstorm at Topeka, Kansas; * The road with seventeen hairpin turns between Santa Fe and Albuquerque, New Mexico, and Reuter's car at the top of the mountain pass; * Reuter sitting on a spare tire lashed to the back of his car after arriving in Arizona; * Reuter at his desk and standing by the linotype machines at the Journal-Miner, * Prescott's Annual Fourth of July Frontier Days Wild West Show and Rodeo including bull wrestling, bronco busting, the parade, and * Six images (four photographs and two postcards) of the Smoki People. Dutch Reuter, a young journeyman printer, traveled from Indiana to Prescott, Arizona in 1923 to begin work at Journal-Miner newspaper as a machinist and linotypist. Eventually, Reuter established the Prescott Printing Company where he edited and published the Yavapai County Messenger. Reuter was a very early member of the Smoki People, joining soon after his arrival in Prescott. The Smoki originated in 1921 when a group of Prescott businessmen dressed in Native American costumes and performed a "Snake Dance" loosely based on the Hopi Snake Dance as a way to support the Prescott Wild West Show. The dance proved to be exceptionally popular, and continued success led the group to formally organize and repeat an ever-enlarging annual show for the next seventy years. As a group, the Smoki became very interested in preserving Southwest Indian culture at a time when the federal government had outlawed tribal ceremonies and compelled tribal children to attend boarding schools and abandon traditional ways. As part of that effort, they established an important museum to showcase pottery, baskets, lithics, and textiles. In the late 1980s, members of the Hopi tribe began to formally complain about the Smoki's cultural appropriation of its religious Snake Dance. In turn, the Smoki People invited a delegation of Hopis to attend the event in 1989 to see that the celebration was well-intended. The effort did little to change anyone's mind, and the Smoki ceased their performances the following year. The Smoki Museum, however, continues in operation today guided by a Native American Advisory Council.
[Bookseller: Read 'Em Again Books, ABAA]
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