https://foundsf.org/index.php?title=California_Midwinter_Fair_of_1894:_An_Orientalist_Exposition&feed=atom&action=historyCalifornia Midwinter Fair of 1894: An Orientalist Exposition - Revision history2024-03-28T22:29:24ZRevision history for this page on the wikiMediaWiki 1.39.1https://foundsf.org/index.php?title=California_Midwinter_Fair_of_1894:_An_Orientalist_Exposition&diff=36210&oldid=prevCcarlsson at 21:26, 11 December 20232023-12-11T21:26:24Z<p></p>
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</table>Ccarlssonhttps://foundsf.org/index.php?title=California_Midwinter_Fair_of_1894:_An_Orientalist_Exposition&diff=25384&oldid=prevCcarlsson at 22:58, 31 May 20162016-05-31T22:58:57Z<p></p>
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<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Berglund-Making-San-Francisco-American-cover.jpg|200px|left]] ''Originally published <del style="font-weight: bold; text-decoration: none;">as </del>chapter 5 “Imagining the City: The California Midwinter International Exposition” in [https://kuecprd.ku.edu/~upress/cgi-bin/award-winners/978-0-7006-1722-7.html ''Making San Francisco American: Cultural Frontiers in the Urban West, 1846-1906''] by Barbara Berglund (University Press of Kansas: Lawrence KS 2007)''</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Berglund-Making-San-Francisco-American-cover.jpg|200px|left]] ''Originally published <ins style="font-weight: bold; text-decoration: none;">in </ins>chapter 5 “Imagining the City: The California Midwinter International Exposition” in [https://kuecprd.ku.edu/~upress/cgi-bin/award-winners/978-0-7006-1722-7.html ''Making San Francisco American: Cultural Frontiers in the Urban West, 1846-1906''] by Barbara Berglund (University Press of Kansas: Lawrence KS 2007)''</div></td></tr>
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</table>Ccarlssonhttps://foundsf.org/index.php?title=California_Midwinter_Fair_of_1894:_An_Orientalist_Exposition&diff=25371&oldid=prevCcarlsson at 21:35, 31 May 20162016-05-31T21:35:25Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>But just below the surface, there were other less sanguine meanings suggested by the Midwinter Fair’s Orientalist architecture. Although this particular style did not express the mastery of order and balance implied by neoclassicism, it nevertheless symbolized an ordered vision. By choosing Orientalist architecture, Sunset City’s planners actively looked to the imaginings of a powerful, imperial Europe to symbolize the new civilization of the United States in the Pacific West. Sunset City’s embrace of Orientalist styles was undergirded by an understanding of the Orient—known as Orientalism— that developed as Europe extended its imperial control over parts of Asia, India, and North Africa. Through the selective appropriation of cultural artifacts as well as styles of architecture and design, Europeans produced what came to be recognized as the authoritative representation of the Orient. In this representation, which was based upon a sense of ownership, Europe constructed “the Orient” as inferior to the “Occident.” In doing so, Europe strengthened its own identity and reaffirmed its dominance over colonized peoples and places. Sunset City’s Orientalism, although founded upon European precedent, was both more broadly and somewhat differently conceptualized as a result of local conditions. In addition to encompassing East Indian, Egyptian, and Moorish qualities, it also claimed the power to represent Chinese, Japanese, and the related Mission and Spanish Colonial styles.(7)</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>But just below the surface, there were other less sanguine meanings suggested by the Midwinter Fair’s Orientalist architecture. Although this particular style did not express the mastery of order and balance implied by neoclassicism, it nevertheless symbolized an ordered vision. By choosing Orientalist architecture, Sunset City’s planners actively looked to the imaginings of a powerful, imperial Europe to symbolize the new civilization of the United States in the Pacific West. Sunset City’s embrace of Orientalist styles was undergirded by an understanding of the Orient—known as Orientalism— that developed as Europe extended its imperial control over parts of Asia, India, and North Africa. Through the selective appropriation of cultural artifacts as well as styles of architecture and design, Europeans produced what came to be recognized as the authoritative representation of the Orient. In this representation, which was based upon a sense of ownership, Europe constructed “the Orient” as inferior to the “Occident.” In doing so, Europe strengthened its own identity and reaffirmed its dominance over colonized peoples and places. Sunset City’s Orientalism, although founded upon European precedent, was both more broadly and somewhat differently conceptualized as a result of local conditions. In addition to encompassing East Indian, Egyptian, and Moorish qualities, it also claimed the power to represent Chinese, Japanese, and the related Mission and Spanish Colonial styles.(7)</div></td></tr>
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</table>Ccarlssonhttps://foundsf.org/index.php?title=California_Midwinter_Fair_of_1894:_An_Orientalist_Exposition&diff=25370&oldid=prevCcarlsson at 21:34, 31 May 20162016-05-31T21:34:01Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>But just below the surface, there were other less sanguine meanings suggested by the Midwinter Fair’s Orientalist architecture. Although this particular style did not express the mastery of order and balance implied by neoclassicism, it nevertheless symbolized an ordered vision. By choosing Orientalist architecture, Sunset City’s planners actively looked to the imaginings of a powerful, imperial Europe to symbolize the new civilization of the United States in the Pacific West. Sunset City’s embrace of Orientalist styles was undergirded by an understanding of the Orient—known as Orientalism— that developed as Europe extended its imperial control over parts of Asia, India, and North Africa. Through the selective appropriation of cultural artifacts as well as styles of architecture and design, Europeans produced what came to be recognized as the authoritative representation of the Orient. In this representation, which was based upon a sense of ownership, Europe constructed “the Orient” as inferior to the “Occident.” In doing so, Europe strengthened its own identity and reaffirmed its dominance over colonized peoples and places. Sunset City’s Orientalism, although founded upon European precedent, was both more broadly and somewhat differently conceptualized as a result of local conditions. In addition to encompassing East Indian, Egyptian, and Moorish qualities, it also claimed the power to represent Chinese, Japanese, and the related Mission and Spanish Colonial styles.(7)</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>But just below the surface, there were other less sanguine meanings suggested by the Midwinter Fair’s Orientalist architecture. Although this particular style did not express the mastery of order and balance implied by neoclassicism, it nevertheless symbolized an ordered vision. By choosing Orientalist architecture, Sunset City’s planners actively looked to the imaginings of a powerful, imperial Europe to symbolize the new civilization of the United States in the Pacific West. Sunset City’s embrace of Orientalist styles was undergirded by an understanding of the Orient—known as Orientalism— that developed as Europe extended its imperial control over parts of Asia, India, and North Africa. Through the selective appropriation of cultural artifacts as well as styles of architecture and design, Europeans produced what came to be recognized as the authoritative representation of the Orient. In this representation, which was based upon a sense of ownership, Europe constructed “the Orient” as inferior to the “Occident.” In doing so, Europe strengthened its own identity and reaffirmed its dominance over colonized peoples and places. Sunset City’s Orientalism, although founded upon European precedent, was both more broadly and somewhat differently conceptualized as a result of local conditions. In addition to encompassing East Indian, Egyptian, and Moorish qualities, it also claimed the power to represent Chinese, Japanese, and the related Mission and Spanish Colonial styles.(7)</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">The Columbian Exposition’s White City had offered Americans a utopian vision of a well-ordered city. It emphasized the consolidation of the country’s landed empire and displayed the United States as a country ready to dominate the other nations of the world. If some of the first ideological steps toward realizing the nation’s nascent overseas imperial ambitions were taken at Chicago, the second steps were taken at the San Francisco fair. The Orientalist architecture of Sunset City represented San Francisco as “The Imperial City of the West” and communicated a more aggressive and targeted imperial position. Sunset City declared the United States—by way of San Francisco, its far Western commercial, financial, and military outpost—a force actively reaching out toward and desiring dominance over Asia and Latin America. In this sense, Sunset City looked outward, to order places and people beyond the city. “It is through this ocean gateway,” Taliesin Evans’s popular guide to the fair reminded its readers, “that the commerce of the nation with the Orient, with the lands of the Pacific, with Australasia, the Russian and Asiatic Possessions, British Columbia, the western coasts of South and Central America </del>and <del style="font-weight: bold; text-decoration: none;">the bulk of the commerce of Mexico passes</del>.<del style="font-weight: bold; text-decoration: none;">” Just four years later in 1898, the United States annexed Hawaii while troops en route to the Spanish American War—which resulted in further overseas imperial acquisitions—were stationed at San Francisco’s Presidio precisely because of its strategic location as a base for American expansion into the Pacific</del>.<del style="font-weight: bold; text-decoration: none;">(8)</del></div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">[[Cairo Street camels </ins>and <ins style="font-weight: bold; text-decoration: none;">drivers wnp15</ins>.<ins style="font-weight: bold; text-decoration: none;">141</ins>.<ins style="font-weight: bold; text-decoration: none;">jpg|720px]]</ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>In extending and adapting Orientalism’s formulation, Sunset City wove together a web of outward facing positions that expressed the kinds of relationships that the United States in the Pacific West desired with those beyond its borders and inward looking stances that reaffirmed local power relations. Sunset City’s use of Orientalist architecture represented deep desires and anxieties connected to the local conditions and imperial ambitions of San Francisco and California vis-à-vis the American West, the American nation, and the Western Hemisphere. For example, following the logic of European Orientalism, the fair’s promotional literature’s renditions of Mission and Spanish Colonial styles created a “mythical architectural past” that echoed an equally mythical social history. The fair’s Official Guide blithely suggested to readers that “whatever this Spanish period may have been to the people who actually lived in it, to modern Californians it is a heritage of legend and romance.” Accordingly, the period was represented as one of “old grey Mission churches, with their tiled roofs, pillared corridors and high altars, crumbling into rust and dust;” “low, weather stained ranch houses where the haughty Dons lorded it in feudal fashion, and where the sound of the guitar and the castanets still seem to linger;” and “ruined presidios where swash-buckler soldiers passed their days in rough, careless gaiety.” Remnants of this not-so-distant past could be seen “in many a suggestive bit of architecture or display of costume, custom or handiwork within the walls of the Midwinter Exposition.” Through these kinds of representations of Mission and Colonial styles—that existed more in the imagination of Americans than they ever had in the reality of Mexican California—the Midwinter Fair, echoing mainstream histories of the region, presented conquest as an act of generosity, in which civilized Anglos lifted the lazy, yet romantic and colorful Californios out of the semi-barbaric state in which they had languished. This representation spoke to the position of Mexicans and Californios within the state’s borders as dispossessed colonized peoples and manifested a powerful image of Latin American nations as decaying and primitive that worked to justify and encourage the United States’ increasingly imperial and bellicose posture.(9)</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">'''Cairo Street in the Midwinter Fair with camels and drivers, part of the Orientalist aesthetics that shaped the Exposition.'''</ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">''Photo: Private collector, via [http://opensfhistory.org/ OpenSFHistory.org], wnp15.141''</ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">[[Cairo Street interior drinking coffee wnp15.126.jpg|720px]]</ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">'''Cairo Street interior drinking coffee.'''</ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">''Photo: Private collector, via [http://opensfhistory.org/ OpenSFHistory.org], wnp15.126''</ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">The Columbian Exposition’s White City had offered Americans a utopian vision of a well-ordered city. It emphasized the consolidation of the country’s landed empire and displayed the United States as a country ready to dominate the other nations of the world. If some of the first ideological steps toward realizing the nation’s nascent overseas imperial ambitions were taken at Chicago, the second steps were taken at the San Francisco fair. The Orientalist architecture of Sunset City represented San Francisco as “The Imperial City of the West” and communicated a more aggressive and targeted imperial position. Sunset City declared the United States—by way of San Francisco, its far Western commercial, financial, and military outpost—a force actively reaching out toward and desiring dominance over Asia and Latin America. In this sense, Sunset City looked outward, to order places and people beyond the city. “It is through this ocean gateway,” Taliesin Evans’s popular guide to the fair reminded its readers, “that the commerce of the nation with the Orient, with the lands of the Pacific, with Australasia, the Russian and Asiatic Possessions, British Columbia, the western coasts of South and Central America and the bulk of the commerce of Mexico passes.” Just four years later in 1898, the United States annexed Hawaii while [[SAN FRANCISCO'S ROLE IN THE WAR IN THE PHILIPPINES|troops en route to the Spanish American War]]—which resulted in further overseas imperial acquisitions—were stationed at San Francisco’s Presidio precisely because of its strategic location as a base for American expansion into the Pacific.(8)</ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>In extending and adapting Orientalism’s formulation, Sunset City wove together a web of outward facing positions that expressed the kinds of relationships that the United States in the Pacific West desired with those beyond its borders and inward looking stances that reaffirmed local power relations. Sunset City’s use of Orientalist architecture represented deep desires and anxieties connected to the local conditions and imperial ambitions of San Francisco and California vis-à-vis the American West, the American nation, and the Western Hemisphere. For example, following the logic of European Orientalism, the fair’s promotional literature’s renditions of Mission and Spanish Colonial styles created a “mythical architectural past” that echoed an equally mythical social history. The fair’s <ins style="font-weight: bold; text-decoration: none;">''</ins>Official Guide<ins style="font-weight: bold; text-decoration: none;">'' </ins>blithely suggested to readers that “whatever this Spanish period may have been to the people who actually lived in it, to modern Californians it is a heritage of legend and romance.” Accordingly, the period was represented as one of “old grey Mission churches, with their tiled roofs, pillared corridors and high altars, crumbling into rust and dust;” “low, weather stained ranch houses where the haughty Dons lorded it in feudal fashion, and where the sound of the guitar and the castanets still seem to linger;” and “ruined presidios where swash-buckler soldiers passed their days in rough, careless gaiety.” Remnants of this not-so-distant past could be seen “in many a suggestive bit of architecture or display of costume, custom or handiwork within the walls of the Midwinter Exposition.” Through these kinds of representations of Mission and Colonial styles—that existed more in the imagination of Americans than they ever had in the reality of Mexican California—the Midwinter Fair, echoing mainstream histories of the region, presented conquest as an act of generosity, in which civilized Anglos lifted the lazy, yet romantic and colorful Californios out of the semi-barbaric state in which they had languished. This representation spoke to the position of Mexicans and Californios within the state’s borders as dispossessed colonized peoples and manifested a powerful image of Latin American nations as decaying and primitive that worked to justify and encourage the United States’ increasingly imperial and bellicose posture.(9)</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The inward and outward looking ordering visions of the Orientalist architecture manifested in the quadrangle of buildings that formed Sunset City’s Grand Court were reinforced by a number of concessional structures and exhibits that existed beyond the court’s boundaries.(10) As the ''Official History'' explained, the fair’s overall “arrangement assumed something of the character of an inner circle of purely expositional buildings with an outer concentric circle of concessional features.”(11) It was along this outer ring that a visitor to the fair would find, among other things, the Chinese, Japanese, Hawaiian, and Esquimaux exhibits. According to the Official Souvenir, the purpose of the various buildings and village settings that made up these displays was purely educational. “The villages of Hawaii, Esquimaux, China, Japan and other localities are perfect reproductions of the originals in the lands they represent, and the whole is an object lesson which no book could teach. . . . a living and moving encyclopaedia.” In a sense, this was true, as the reality these exhibits represented did have a pedagogical mission. More often than not, displays of Asians, Native Americans, and Pacific Islanders used Orientalist logic to instruct observers in the racial difference, strangeness, and barbarism of the exhibited groups. Although some of these exhibits had appeared at the Columbian Exposition, in San Francisco they were arrayed against a different local context. The social meanings derived from the exhibition of these peoples and cultures arose from the confluence of San Francisco’s relatively high percentage of residents of Asian descent; its equally long history of anti-Asian racism; the conquest of the region’s Native American inhabitants; and the nation’s most recent imperial ambitions that necessitated the evaluation of the inhabitants of the Pacific as potential colonial subjects.(12)</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The inward and outward looking ordering visions of the Orientalist architecture manifested in the quadrangle of buildings that formed Sunset City’s Grand Court were reinforced by a number of concessional structures and exhibits that existed beyond the court’s boundaries.(10) As the ''Official History'' explained, the fair’s overall “arrangement assumed something of the character of an inner circle of purely expositional buildings with an outer concentric circle of concessional features.”(11) It was along this outer ring that a visitor to the fair would find, among other things, the Chinese, Japanese, Hawaiian, and Esquimaux exhibits. According to the Official Souvenir, the purpose of the various buildings and village settings that made up these displays was purely educational. “The villages of Hawaii, Esquimaux, China, Japan and other localities are perfect reproductions of the originals in the lands they represent, and the whole is an object lesson which no book could teach. . . . a living and moving encyclopaedia.” In a sense, this was true, as the reality these exhibits represented did have a pedagogical mission. More often than not, displays of Asians, Native Americans, and Pacific Islanders used Orientalist logic to instruct observers in the racial difference, strangeness, and barbarism of the exhibited groups. Although some of these exhibits had appeared at the Columbian Exposition, in San Francisco they were arrayed against a different local context. The social meanings derived from the exhibition of these peoples and cultures arose from the confluence of San Francisco’s relatively high percentage of residents of Asian descent; its equally long history of anti-Asian racism; the conquest of the region’s Native American inhabitants; and the nation’s most recent imperial ambitions that necessitated the evaluation of the inhabitants of the Pacific as potential colonial subjects.(12)</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The Chinese and Japanese exhibits created representations of these countries that had relevance for how China and Japan as distant nations were imagined as well as for the ways Chinese and Japanese residents in California were perceived. The Chinese Building, designed by a local architectural firm and financed by the city’s Chinese merchants, allowed visitors to view and possibly purchase “the deft handiwork of Chinese artisans and the wonderful products of Chinese ingenuity” and provided “a curious and instructive object-lesson of the architectural ability of the inhabitants of the great Empire of the East.” But the positive associations that could be derived from the Chinese Building about the achievements of Chinese culture were tempered by negative associations with Chinatown. Since the Chinese Building contained a restaurant, tea house, joss house, theater, and bazaar it not only replicated many of the standard sites of Chinatown’s tourist terrain but also the racializing work done by them.(13) The fair’s promotional literature even told visitors that all of the “attractive features” of Chinatown could be seen at the exposition’s Chinese Village “under much pleasanter conditions”—thus playing on prevailing stereotypes of the neighborhood as filthy, malodorous, and teeming and conjuring up unfavorable images of Chinese immigrants willing to live in such an environment.(14)</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The Chinese and Japanese exhibits created representations of these countries that had relevance for how China and Japan as distant nations were imagined as well as for the ways Chinese and Japanese residents in California were perceived. The Chinese Building, designed by a local architectural firm and financed by the city’s Chinese merchants, allowed visitors to view and possibly purchase “the deft handiwork of Chinese artisans and the wonderful products of Chinese ingenuity” and provided “a curious and instructive object-lesson of the architectural ability of the inhabitants of the great Empire of the East.” But the positive associations that could be derived from the Chinese Building about the achievements of Chinese culture were tempered by negative associations with Chinatown. Since the Chinese Building contained a restaurant, tea house, joss house, theater, and bazaar it not only replicated many of the standard sites of Chinatown’s tourist terrain but also the racializing work done by them.(13) The fair’s promotional literature even told visitors that all of the “attractive features” of Chinatown could be seen at the exposition’s Chinese Village “under much pleasanter conditions”—thus playing on prevailing stereotypes of the neighborhood as filthy, malodorous, and teeming and conjuring up unfavorable images of Chinese immigrants willing to live in such an environment.(14)</div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">[[Image:Japanese Tea Garden wnp15.117.jpg|720px]]</ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">'''Japanese Tea Garden in 1894.'''</ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">''Photo: Private collector, via [http://opensfhistory.org/ OpenSFHistory.org], wnp15.117''</ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Visitors to the fair’s elaborate Japanese Tea Garden were told by Taliesin Evans’s guidebook that with “one step” they would pass from “the grand plaza of this great achievement of Western civilization into a romantic scene faithfully depicting life in the ancient, but still semi-barbaric, ‘Land of the Mikado.’” Conceptualized and designed by ardent Orientalist and local purveyor of Japanese goods George Turner Marsh and built by Japanese craftsmen, the Midwinter Fair’s Tea Garden featured an impressive gateway, a thatch and wood tea room, and a three-story theater that hosted the performances of a troupe of Japanese jugglers. Japanese landscapers filled the grounds around the Tea Garden with various plants and bonsai trees, tranquil ponds, bridges, winding paths, restful benches, and colorful lanterns. Although Evans had initially described Japanese culture as “semi-barbaric,” he also noted that the Japanese exhibit illustrated “the great regard of the Japanese people for cleanliness and fresh air in their homes, and public places, and their instinctive love for art and fine workmanship.” The Monarch Souvenir of Sunset City and Sunset Scenes took a less charitable view and emphasized the religious and racial differences of the Japanese that could be inferred from the exhibit. It explained to readers that the “peculiar style of Japanese architecture” was “suggestive of all sorts of mysteries, to say nothing of idols and heathen rites” that were “a part and parcel of the home life of the ‘little brown men.’” Here, even when the grandeur of a distant Asian civilization was invoked, it was double-edged and coupled with demeaning statements designed to highlight the inferior and less than fully civilized status of the Japanese and their culture vis-à-vis the West.(15)</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Visitors to the fair’s elaborate Japanese Tea Garden were told by Taliesin Evans’s guidebook that with “one step” they would pass from “the grand plaza of this great achievement of Western civilization into a romantic scene faithfully depicting life in the ancient, but still semi-barbaric, ‘Land of the Mikado.’” Conceptualized and designed by ardent Orientalist and local purveyor of Japanese goods George Turner Marsh and built by Japanese craftsmen, the Midwinter Fair’s Tea Garden featured an impressive gateway, a thatch and wood tea room, and a three-story theater that hosted the performances of a troupe of Japanese jugglers. Japanese landscapers filled the grounds around the Tea Garden with various plants and bonsai trees, tranquil ponds, bridges, winding paths, restful benches, and colorful lanterns. Although Evans had initially described Japanese culture as “semi-barbaric,” he also noted that the Japanese exhibit illustrated “the great regard of the Japanese people for cleanliness and fresh air in their homes, and public places, and their instinctive love for art and fine workmanship.” The Monarch Souvenir of Sunset City and Sunset Scenes took a less charitable view and emphasized the religious and racial differences of the Japanese that could be inferred from the exhibit. It explained to readers that the “peculiar style of Japanese architecture” was “suggestive of all sorts of mysteries, to say nothing of idols and heathen rites” that were “a part and parcel of the home life of the ‘little brown men.’” Here, even when the grandeur of a distant Asian civilization was invoked, it was double-edged and coupled with demeaning statements designed to highlight the inferior and less than fully civilized status of the Japanese and their culture vis-à-vis the West.(15)</div></td></tr>
</table>Ccarlssonhttps://foundsf.org/index.php?title=California_Midwinter_Fair_of_1894:_An_Orientalist_Exposition&diff=25366&oldid=prevCcarlsson at 21:24, 31 May 20162016-05-31T21:24:35Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><hr></div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><hr></div></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Berglund-Making-San-Francisco-American-cover.jpg|200px|left]] ''Originally published as chapter 5 “Imagining the City: The California Midwinter International Exposition” in ''Making San Francisco American: Cultural Frontiers in the Urban West, 1846-1906'' by Barbara Berglund (University Press of Kansas: Lawrence KS 2007)''</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Berglund-Making-San-Francisco-American-cover.jpg|200px|left]] ''Originally published as chapter 5 “Imagining the City: The California Midwinter International Exposition” in <ins style="font-weight: bold; text-decoration: none;">[https://kuecprd.ku.edu/~upress/cgi-bin/award-winners/978-0-7006-1722-7.html </ins>''Making San Francisco American: Cultural Frontiers in the Urban West, 1846-1906''<ins style="font-weight: bold; text-decoration: none;">] </ins>by Barbara Berglund (University Press of Kansas: Lawrence KS 2007)''</div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">[[California Midwinter Fair of 1894: ’49 Mining Camp glorifies Gold Rush Fantasies|continue reading]]</ins></div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[category:Amusement Parks]] [[category:1890s]] [[category:racism]] [[category:Chinese]] [[category:Golden Gate Park]] [[category:Japanese]] [[category:Power and Money]]</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[category:Amusement Parks]] [[category:1890s]] [[category:racism]] [[category:Chinese]] [[category:Golden Gate Park]] [[category:Japanese]] [[category:Power and Money]]</div></td></tr>
</table>Ccarlssonhttps://foundsf.org/index.php?title=California_Midwinter_Fair_of_1894:_An_Orientalist_Exposition&diff=25365&oldid=prevCcarlsson at 20:30, 31 May 20162016-05-31T20:30:20Z<p></p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 13:30, 31 May 2016</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The Midwinter Fair’s exhibitions of Hawaiians and Inuits took place against a backdrop of heightened anxieties about the suitability of these colonized peoples for integration into the American nation. The ''San Francisco Morning Call'' described the Midwinter Fair’s Hawaiian Village as displaying “a street of ancient Hawaiian straw cottages” in which “natives” made “mats, manufacture leis and poi and pursue other vocations.” Taliesin Evans’s guidebook noted its cyclorama that provided a “realistic representation of the burning crater of Kilauea.” Visitors were also treated to an exhibition of “two empty ‘throne’ chairs that formerly were owned by Kamehamehali and Kalakaua, and that a little over a year ago were wrested from the possession of Liliukalani by the Provisional Government of Honolulu.” The fact that the Monarch Souvenir deemed the Hawaiian Village “truly representative” was identified as being particularly important because “recent events” had “created a desire in the public mind for a more intimate knowledge of the Hawaiian people.” “Recent events” was a euphemism for the United States’ imperial maneuvers on the islands. As the reporter for the ''Call'' explained, “in permitting the transportation of these idle baubles of a deposed dynasty to a foreign land,” the American sugar plantation owners who had taken control of the island “intended to give notice that these things would never again be needed at home.” However, this account also noted that the “native islanders who serve as attendants in the Hawaiian Village” maintained “a different view.” Instead of happily accepting the overthrow of their queen and agreeing that the chairs they were exhibited with symbolized her defeat, they looked “hopefully” to the time when she would “be re-enthroned” on one of the chairs. Hawaiians, seen from this vantage point, did not appear to be the kind of willing, passive subjects that would be easily assimilable into the American national fold. In fact, the issue of the desirability of Hawaiians as American citizens hovered over the subject of Hawaiian Annexation, which was debated at the inaugural meeting of the Midwinter Fair Congresses, on January 25, 1894, two days before the fair’s official opening. Although the side opposing annexation in the debate was declared the winner, this—according to the judges—was “decided merely on the strength of the arguments and did not attempt to offer any suggestion in regard to the solution of the question of annexation.”(16)</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The Midwinter Fair’s exhibitions of Hawaiians and Inuits took place against a backdrop of heightened anxieties about the suitability of these colonized peoples for integration into the American nation. The ''San Francisco Morning Call'' described the Midwinter Fair’s Hawaiian Village as displaying “a street of ancient Hawaiian straw cottages” in which “natives” made “mats, manufacture leis and poi and pursue other vocations.” Taliesin Evans’s guidebook noted its cyclorama that provided a “realistic representation of the burning crater of Kilauea.” Visitors were also treated to an exhibition of “two empty ‘throne’ chairs that formerly were owned by Kamehamehali and Kalakaua, and that a little over a year ago were wrested from the possession of Liliukalani by the Provisional Government of Honolulu.” The fact that the Monarch Souvenir deemed the Hawaiian Village “truly representative” was identified as being particularly important because “recent events” had “created a desire in the public mind for a more intimate knowledge of the Hawaiian people.” “Recent events” was a euphemism for the United States’ imperial maneuvers on the islands. As the reporter for the ''Call'' explained, “in permitting the transportation of these idle baubles of a deposed dynasty to a foreign land,” the American sugar plantation owners who had taken control of the island “intended to give notice that these things would never again be needed at home.” However, this account also noted that the “native islanders who serve as attendants in the Hawaiian Village” maintained “a different view.” Instead of happily accepting the overthrow of their queen and agreeing that the chairs they were exhibited with symbolized her defeat, they looked “hopefully” to the time when she would “be re-enthroned” on one of the chairs. Hawaiians, seen from this vantage point, did not appear to be the kind of willing, passive subjects that would be easily assimilable into the American national fold. In fact, the issue of the desirability of Hawaiians as American citizens hovered over the subject of Hawaiian Annexation, which was debated at the inaugural meeting of the Midwinter Fair Congresses, on January 25, 1894, two days before the fair’s official opening. Although the side opposing annexation in the debate was declared the winner, this—according to the judges—was “decided merely on the strength of the arguments and did not attempt to offer any suggestion in regard to the solution of the question of annexation.”(16)</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>While the Hawaiian Village represented many of the ambiguities that surrounded the issue of American imperial adventures and conveyed an image of Hawaiians as possibly unwilling and probably undesirable Americans, the Inuit exhibits represented “Esquimauxs” as more thoroughly conquered, docile, physically weakened, and childlike. The Esquimaux Village occupied three acres at the fairgrounds and displayed the “mode of homelife” of Inuit people from both Labrador and Alaska. The exhibit featured igloos made from plaster staff, a lake, canoes, sealskin tents, and sled dogs. It offered, according to the Monarch Souvenir, an excellent way to learn about Inuits, “whose ways of living are so peculiar and whose race characteristics are so little known to the civilized nations of the world.” The issue of integration in the American body politic was not as acute as in the Hawaiian case, in part, because Inuits at the fair conformed to prevalent understandings of Native Americans as, what the Chronicle termed, a “rapidly diminishing race of people.” This image was reinforced by a tragically high infant mortality rate among the Inuits at both the Chicago Fair and the San Francisco Fair. All five of the children born to Inuits during the tenure of these two fairs died as infants.(17) Moreover, because Inuits were also perceived as childlike and thus naturally dependent and in need of protection, resistance to American dominance was not expected to be forthcoming. This image was reinforced by Chronicle reports of Inuits at the fair, who when left to their own devices were found “dropping dimes into the cocktail and rum slots of the automatic bar” and not attending educational exhibits geared more toward “the elevation of the race.” Accounts in the Chronicle of their shopping trips downtown emphasized their attraction to shiny, childlike things: “gold watches and toys.” Within three years, the Klondike gold rush would send Americans pouring into Alaska and thus add a new dimension to the conquest of the Inuits already well under way.(18) </div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>While the Hawaiian Village represented many of the ambiguities that surrounded the issue of American imperial adventures and conveyed an image of Hawaiians as possibly unwilling and probably undesirable Americans, the Inuit exhibits represented “Esquimauxs” as more thoroughly conquered, docile, physically weakened, and childlike. The Esquimaux Village occupied three acres at the fairgrounds and displayed the “mode of homelife” of Inuit people from both Labrador and Alaska. The exhibit featured igloos made from plaster staff, a lake, canoes, sealskin tents, and sled dogs. It offered, according to the Monarch Souvenir, an excellent way to learn about Inuits, “whose ways of living are so peculiar and whose race characteristics are so little known to the civilized nations of the world.” The issue of integration in the American body politic was not as acute as in the Hawaiian case, in part, because Inuits at the fair conformed to prevalent understandings of Native Americans as, what the Chronicle termed, a “rapidly diminishing race of people.” This image was reinforced by a tragically high infant mortality rate among the Inuits at both the Chicago Fair and the San Francisco Fair. All five of the children born to Inuits during the tenure of these two fairs died as infants.(17) Moreover, because Inuits were also perceived as childlike and thus naturally dependent and in need of protection, resistance to American dominance was not expected to be forthcoming. This image was reinforced by <ins style="font-weight: bold; text-decoration: none;">''</ins>Chronicle<ins style="font-weight: bold; text-decoration: none;">'' </ins>reports of Inuits at the fair, who when left to their own devices were found “dropping dimes into the cocktail and rum slots of the automatic bar” and not attending educational exhibits geared more toward “the elevation of the race.” Accounts in the Chronicle of their shopping trips downtown emphasized their attraction to shiny, childlike things: “gold watches and toys.” Within three years, the Klondike gold rush would send Americans pouring into Alaska and thus add a new dimension to the conquest of the Inuits already well under way.(18) </div></td></tr>
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<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">[[Image:1894-Fair Esquimaux-village.jpg]]</ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">'''The Esquimaux Village.''' The Midwinter Fair’s exhibits of Inuits and Hawaiians occurred in the context of debates about whether or not such newly colonized peoples would make suitable citizens. </ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">''Photo: I. W. Taber, photographer. Souvenir of the California Midwinter International Exposition 1894, Bancroft Library, University of California, Berkeley''</ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Although the representations of Asians, Pacific Islanders, and Native Americans that emanated from these concessions were frequently negative, this did not stop exhibited peopled from partaking of aspects of some of these same Orientalist displays and participating in both the elaboration and disruption of the fair’s ordered vision. On Sundays when the Esquimaux Village was closed, Inuit men explored the fairgrounds, taking in all the other shows, and both men and women traveled downtown on shopping expeditions. Special celebration days, like Chinese Day on June 17 and Japanese Day on June 9, complete with parades and pageants, drew large numbers of Asian patrons to the Midwinter Fair even though—or perhaps because—people of Asian descent had to struggle harder than other ethnic and fraternal groups to have these days set aside for them.(19) Numerous accounts drew attention to the wide-ranging participation of Chinese at the Midwinter Fair. The Official History remarked upon the “liberal patronage accorded the general features of the Exposition by the large Chinese population of San Francisco.” The ''Chronicle'' reported that the young actors from the Chinese theater roamed the fairgrounds when not working and were apparently very fond of “the nickel-in-the-slot contrivance in Machinery Hall.” During the fair’s run, Chinese fair-goers regularly attended the Chinese theater, thoroughly enjoying an experience that many white patrons found educational but distasteful. On the day that the Chinese Building opened, a Chronicle report related, “The Chinese themselves took a huge interest in the exhibit and the place was thronged all day.” This account noted that the merchants and tourist entrepreneurs “in charge” were “mightily proud of their building.” They “conducted visitors to the joss house,” while in the “reception room” a “cultured Chinese . . . explained the hidden meaning of the wondrous works of art which adorned the walls.” These men aided and abetted the Midwinter Fair’s Orientalist fantasy by presenting an image of the Orient that, to non-Asian visitors, likely came across as reinforcing the difference, strangeness, and barbarism of people of Asian descent. However they also created a space that San Francisco’s Chinese could participate in and succeeded in representing Chinese culture in ways that this local community could respond to with enthusiasm and pride.(20)</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Although the representations of Asians, Pacific Islanders, and Native Americans that emanated from these concessions were frequently negative, this did not stop exhibited peopled from partaking of aspects of some of these same Orientalist displays and participating in both the elaboration and disruption of the fair’s ordered vision. On Sundays when the Esquimaux Village was closed, Inuit men explored the fairgrounds, taking in all the other shows, and both men and women traveled downtown on shopping expeditions. Special celebration days, like Chinese Day on June 17 and Japanese Day on June 9, complete with parades and pageants, drew large numbers of Asian patrons to the Midwinter Fair even though—or perhaps because—people of Asian descent had to struggle harder than other ethnic and fraternal groups to have these days set aside for them.(19) Numerous accounts drew attention to the wide-ranging participation of Chinese at the Midwinter Fair. The Official History remarked upon the “liberal patronage accorded the general features of the Exposition by the large Chinese population of San Francisco.” The ''Chronicle'' reported that the young actors from the Chinese theater roamed the fairgrounds when not working and were apparently very fond of “the nickel-in-the-slot contrivance in Machinery Hall.” During the fair’s run, Chinese fair-goers regularly attended the Chinese theater, thoroughly enjoying an experience that many white patrons found educational but distasteful. On the day that the Chinese Building opened, a Chronicle report related, “The Chinese themselves took a huge interest in the exhibit and the place was thronged all day.” This account noted that the merchants and tourist entrepreneurs “in charge” were “mightily proud of their building.” They “conducted visitors to the joss house,” while in the “reception room” a “cultured Chinese . . . explained the hidden meaning of the wondrous works of art which adorned the walls.” These men aided and abetted the Midwinter Fair’s Orientalist fantasy by presenting an image of the Orient that, to non-Asian visitors, likely came across as reinforcing the difference, strangeness, and barbarism of people of Asian descent. However they also created a space that San Francisco’s Chinese could participate in and succeeded in representing Chinese culture in ways that this local community could respond to with enthusiasm and pride.(20)</div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">[[Image:1894-Fair White-rickshaw-puller.jpg]]</ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">'''White man pulling a jinrikisha at the Midwinter Fair.''' Despite fair organizers’ hopes, Japanese men refused to pull jinrikishas at the fair because of the degrading nature of the work. White men in Japanese garb were employed to take on the task instead. </ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">''Photo: I. W. Taber, photographer. Souvenir of the California Midwinter International Exposition 1894, Bancroft Library, University of California, Berkeley''</ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The story of the jinrikishas at Sunset City, however, attests to the fact that there were limits beyond which people of Asian descent refused to go in the creation of an Orientalist version of their heritage. In the context of the Midwinter Fair, a “jirinkisha [sic]” was, according to Taliesin Evans’s guidebook, “a conveyance used for the rapid transportation of visitors around the Fair grounds.” It was “drawn by a human beast of burden at a fixed rate per trip or by the hour, at the pleasure of the person hiring the conveyance.” The jinrikishas at Sunset City were acquired from Japan by George Marsh, the same Australian Orientalist who commissioned the Japanese Tea Garden. Mr. Marsh and others had hoped that jinrikishas would be pulled by Asian men and thus provide a form of transportation for fair-goers that would fit nicely with the Sunset City’s Orientalist theme. To their dismay, they discovered that the jinrikisha was, as Evans related, “very unpopular with the natives of Japan” because it was “regarded as a dreadful degradation to be impelled to haul one.” In fact, the Examiner published a portion of a petition that publicly articulated the extent of the Japanese community’s opposition to the use of jinrikishas at the Fair. It had been “sent to the Midwinter Fair Executive Committee, the Supervisors and the Park Commissioners, signed by the Japanese residents of San Francisco and by M. C. Harris and E. A. Strong, in charge of the local Japanese missions.” It read:</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The story of the jinrikishas at Sunset City, however, attests to the fact that there were limits beyond which people of Asian descent refused to go in the creation of an Orientalist version of their heritage. In the context of the Midwinter Fair, a “jirinkisha [sic]” was, according to Taliesin Evans’s guidebook, “a conveyance used for the rapid transportation of visitors around the Fair grounds.” It was “drawn by a human beast of burden at a fixed rate per trip or by the hour, at the pleasure of the person hiring the conveyance.” The jinrikishas at Sunset City were acquired from Japan by George Marsh, the same Australian Orientalist who commissioned the Japanese Tea Garden. Mr. Marsh and others had hoped that jinrikishas would be pulled by Asian men and thus provide a form of transportation for fair-goers that would fit nicely with the Sunset City’s Orientalist theme. To their dismay, they discovered that the jinrikisha was, as Evans related, “very unpopular with the natives of Japan” because it was “regarded as a dreadful degradation to be impelled to haul one.” In fact, the Examiner published a portion of a petition that publicly articulated the extent of the Japanese community’s opposition to the use of jinrikishas at the Fair. It had been “sent to the Midwinter Fair Executive Committee, the Supervisors and the Park Commissioners, signed by the Japanese residents of San Francisco and by M. C. Harris and E. A. Strong, in charge of the local Japanese missions.” It read:</div></td></tr>
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