The
Exposition occurred at a key moment in the nation’s
history: It was planned as part of a celebration of four hundred
years of “progress” since Columbus’s arrival
in the “New World” and was designed to showcase advances
in technology, science, government, the arts, and human relations
since 1492. But, in early 1893, a financial panic threw the United
States into an industrial depression more serious than any the
country had ever before experienced. Banks closed, jobs disappeared,
suffering
increased, and doubts about the inevitable march of “progress” swept
the country. Yet the Fair went on.
The
Columbian Exposition, a huge extravaganza that covered
664 acres on the lake shore, offered the public an escape
from
the harsh realities of the day and provided all manner
of reassurances about the forward march of the industrial
age.
President Cleveland opened the fair to a crowd of 200,000
people and he likened the new power of electricity that
was about to energize all of the exposition’s machinery—and
would awaken forces that would transform society! [Talk about
spin!!!…But the spin did not stop there…] |
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The
official goals of the Exposition were overtly nationalistic:
Its promoters hoped to provide stability in the face of great
change,
to encourage American unity, to celebrate technology and commerce
(“progress”), and to encourage popular education. These
themes were echoed in later World’s Fairs held in Chicago
and New York in the 1930s, and continue today in those most permanent
of American fairs, Disneyland and DisneyWorld. In some ways, though,
the Columbian Exposition dwarfed them all.
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It
marked the first celebration of Columbus Day as a national
holiday, the debut of the Pledge of Allegiance (without
the words “Under God”—which were not added
until after WWII), its hastily-constructed “White City” inspired
L. Frank Baum to write about the Emerald City of Oz, and
Dvorak composed the New World Symphony in celebration of
the Exposition. |
For
our purposes, the Columbian Exposition is most important
because it reveals interesting tensions between three different
types of representation of American Indians: Anthropological
Representations, Assimilationist Representations, and the
Mythical Representations of the Wild West shows. |
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Another
good article on this subject is Ray Fogelson’s “The
Red Man in the White City”, published in Native Chicago (2002).
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