Nationalism and Progress

The Chicago Century of Progress Exposition of 1933-34 articulated United States nationalism through displays of abundance and utopic visions of the future. The surface of the fair boasted abundant displays of agriculture and technological innovation that would restore the economic and imperial successes of the United States. The centrality of discourse of modernity fused with rhetoric of nationalism in the century of progress expositions as whole during the interwar period. There was an urge for the United States to enforce isolationist policies as they recovered from the Great War and the economic depression of 1929. The Century of Progress Exposition was a moment for the United States to reassert its power on the imperial stage. After receiving much inspiration from the 1931 Paris Colonial Exposition, the United States emphasized their colonial prowess through anthropological exhibits in several fairs that have become known as the century of progress expositions. 

Nationalism as praxis centers on the maintenance of sovereignty of homeland which for colonial powers required a certain cultural and social hierarchy. On the imperial stage of world’s fairs, countries continuously negotiate their nationalism through imperialist and cultural displays of power. In the Century of Progress Fair, there was a particular emphasis on technology that would propel the United States into the future or modern and “dreams of empire” that girded their past and future imperialistic endeavors. The influence of the Paris Colonial Exposition is seen in the anthropological display of “exotic bazaars, an African village concession, a Native American village, and… a Mayan Temple.” Nationalism and imperialism elide in many cases of the exhibits in the Century of Progress World fair. The imperialist anthropological displays spurred the love of nation that defines U.S. nationalism. The abundance of land, resources, innovation—all products of imperialism—were the currency and capital of nation building, thus the focus of displaying nationalism at world’s fairs.

            The African village concession comprised of African’s living in a jungle setting with a “Congo River” was the brainchild of John Stephen Sewell and other anthropologist who believed it would be great alongside the exhibit of indigenous peoples. What came to fruition was the controversial “Darkest Africa” exhibit. The Chicago Defender, a prominent Chicago-based African-American newspaper, chronicled the protests and divides that occurred during the planning and execution of the Century of Progress world fair. The Darkest Africa exhibit and its subsequent coverage in the Defender further elucidates how nationalism functions on various registers and almost always at tension with racial identity. The divide intra-racially, which mirrors that of the 1893 Columbian Exposition, complicates the homogeneity of racial identity and how it elides with national identity. Nationalism in the Century of Progress fair centralizes homogeneity of ideals and beliefs through the initial barring of any racially assertive material in the fair. However, it becomes clear that the rule only applies to races operating outside of whiteness as it was defined at that time. Therefore, race and nationalism are in perpetual conversation and frequently appeared on the world stage.