
of Native American crafts industries. The status of Native Americans as subjects of a
colonizing state was clear in the early ethnological and archaeological explorations
among the pueblo dwellers funded by the Bureau of Indian Affairs and the concessions
given to
mining
companies such as Peabody Coal, despite the fact that the reservations o
the Navajos, Hopis and Zunis are sovereign territories. Early visitors also established
discourses of the region, talking about both Native Americans and the colors and forms
of deserts and mountains.
In the postwar years, the desert Southwest grew as a destination for American families
on vacation, lured by the Grand Canyon and the last reminders of the
frontier,
evident in
abandoned mines, ghost towns and places like Tombstone, Arizona.
Roadside
attractions
like the Cadillac Ranch in Amarillo (Texas) and trading posts, natural
henomena like the Petrified Forest and historical sites such as Los Alamos (New
Mexico),
Santa Fe,
the alleged
UFO
landing site at Rosewell (New Mexico), Native
American reservations and missions from
San Antonio
(Texas) to the California coast all
pulled in tourists. Like the
road movie,
the family driving vacation along western
highways,
including Route 66, has produced enduring images of the neon-lit motor
courts and the station wagon as symbols of American freedom,
family values
and leisure.
The monumental landscape of the Southwest also figured significantly in the romantic
imagination of North Americans in literature and film. The red rocks of Monument
Valley evident in John
Ford westerns
such as
The Seekers
(1956) and
Cheyenne Autumn
(1964), suggested not only the desolation and wildness that was the American West, but
the epic proportion of human struggles there. This evocation of the West as a lonely place
in which to hide, where freedom and danger were mixed, remains a theme in more recent
films such as
Butch Cassidy and the Sundance Kïd
(1969) and
Thelma and Louise
(1991); the quest also underpinned television’s 1960s series
Route 66
. The landscapes
and intersecting peoples of the desert Southwest also have inspired popular authors such
as Barbara Kingsolver, Tony Hillerman and Leslie Marmon
Silko
.
As the industrial Northeast declined, the Southwest grew into the
Sunbelt,
attracting
an influx of rich
white
North Americans to planned retirement communities like Sun City
and poor South and Central Americans to its transient-
ased service economy Early
redictions of a massive movement of people from the Rustbelt to the burgeoning
Southwest have not been entirely borne out, although
Phoenix,
the largest city in the
region, proved popular as a vacation and conference site. Beginning in the 1960s and
1970s, the Southwest also became a mecca for those seeking an alternative lifestyle.
Inspired by writers such as Carlos
Castañeda,
young whites moved to Tucson and
northern New Mexico. The
New Age
movement is the heir to this earlier migration;
mystical places like Sedona, Arizona continue to draw those interested in harmonic
convergences and holistic healing.
The contemporary Southwest is also organized by the border, which produced a mixed
opulation including white retirees, ranchers, entrepreneurs, transient white laborers,
Mexican cross-border workers, Native Americans, a
Chicano
underclass and a Mexican
American middle class, among others. Pockets of Hispanics, descendants of the original
Encyclopedia of Contemporary American Culture 1046