A few weeks ago, No Doubt’s “Looking Hot” video (featuring Gwen Stefani as a white Indian bound and writhing for the delectation of hunky hostiles) revived a centuries-old tradition of captive fantasy art just in time for Native American History Month. There was John Vanderlyn’s 1804 “Murder of Jane McCrea,” John Mix Stanley’s 1845 “Osage Scalp Dance,” Erastus Dow Palmer’s full frontal “The White Captive” (1857-8, allegedly inspired by Olive Oatman), and this priceless lesser known piece, “The White Captive,” by Astley D.M. Cooper:
A California artist with a drinking problem and a penchant for painting semi-clad ladies, Cooper was an erratic talent (but you have to hand it to him for this 4 x 8 foot piece of sheer high concept brilliance). Though it was painted in 1902, his captivity scenario is positively postmodern: the natives look like they could be Indians from a whole different continent, and the chubby little devils—wearing angel wings and carrying spears, tomahawks, and bows and arrows–merrily menace a blissed out androgyne who’s about to get roasted and float to heaven.
This painting always struck me as a little late in the day for captivity fantasy art. But No Doubt has extended the timeline by over a century. After hearing from outraged viewers (and receiving an open letter from UCLA ‘s American Indian Studies Center), Interscope pulled the video and the band issued a formal apology (as did Victoria’s Secret for dressing this model in leopard skin panties and a floor length Indian headdress):
One particularly offensive aspect of the No Doubt video, the AISC letter noted, is that one in three Native American women is raped (primarily by non-Indians). Perhaps as penance for singing “Do You think I’m Looking Hot?” in redface during Native American history month, Stefani should read Louise Erdrich’s The Roundhouse, a novel about the rape of an Ojibwe woman, which just won the National Book Award. It was written, said Erdrich, to honor “the grace and endurance of native women.”