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Why do people at certain historical moments choose to define themselves in terms of their ethnicity? What concrete concerns are embedded in such identification? What does the creation of this identity mean in the larger context of history and social relationships?
These are some of the questions April R. Schultz addresses in this interdisciplinary study of the way in which ethnic identity has been shaped and expressed in American culture. Drawing on the work of historians, anthropologists, literary critics, and cultural theorists, Schultz analyzes one national celebration—the 1925 Norwegian-American Immigration Centennial—as a strategic site for the invention of ethnicity. She shows how Norwegian Americans used this ceremony to create a distinctive vision of their past and present—a social and cultural construction that both accommodated and resisted dominant Anglo-American conceptions of assimilation.
By taking a close look at the experiences of a white, middle-class, Protestant ethnic community, this book challenges many assumptions about the "Americanization" of immigrant groups and offers new insight into the uses of historical memory.

In May 1853, Charles Dickens paid a visit to the “savages at Hyde Park Corner,” an exhibition of thirteen imported Zulus performing cultural rites ranging from songs and dances to a “witch-hunt” and marriage ceremony. Dickens was not the only Londoner intrigued by these “living curiosities”: displayed foreign peoples provided some of the most popular public entertainments of their day. At first, such shows tended to be small-scale entrepreneurial speculations of just a single person or a small group. By the end of the century, performers were being imported by the hundreds and housed in purpose-built “native” villages for months at a time, delighting the crowds and allowing scientists and journalists the opportunity to reflect on racial difference, foreign policy, slavery, missionary work, and empire.

 

Peoples on Parade provides the first substantial overview of these human exhibitions in nineteenth-century Britain. Sadiah Qureshi considers these shows in their entirety—their production, promotion, management, and performance—to understand why they proved so commercially successful, how they shaped performers’ lives, how they were interpreted by their audiences, and what kinds of lasting influence they may have had on notions of race and empire. Qureshi supports her analysis with diverse visual materials, including promotional ephemera, travel paintings, theatrical scenery, art prints, and photography, and thus contributes to the wider understanding of the relationship between science and visual culture in the nineteenth century.

 

Through Qureshi’s vibrant telling and stunning images, readers will see how human exhibitions have left behind a lasting legacy both in the formation of early anthropological inquiry and in the creation of broader public attitudes toward racial difference.

The Veiled Prophet organization has been a vital institution in St. Louis for more than a century. Founded in March 1878 by a group of prominent St. Louis businessmen, the organization was fashioned after the New Orleans Carnival society the Mystick Krewe of Comus. In The St. Louis Veiled Prophet Celebration, Thomas Spencer explores the social and cultural functions of the organization's annual celebration—the Veiled Prophet parade and ball—and traces the shifts that occurred over the years in its cultural meaning and importance. Although scholars have researched the more pluralistic parades of the eighteenth and early nineteenth centuries, very little has been done to examine the elite-dominated parades of the late nineteenth and twentieth centuries. This study shows how pluralistic parades ceased to exist in St. Louis and why the upper echelon felt it was so important to end them.

Spencer shows that the celebration originated as the business elite's response to the St. Louis general strike of 1877. Symbolically gaining control of the streets, the elites presented St. Louis history and American history by tracing the triumphs of great men—men who happened to be the Veiled Prophet members' ancestors. The parade, therefore, was intended to awe the masses toward passivity with its symbolic show of power. The members believed that they were helping to boost St. Louis economically and culturally by enticing visitors from the surrounding communities. They also felt that the parades provided the spectators with advice on morals and social issues and distracted them from less desirable behavior like drinking and carousing.

From 1900 to 1965 the celebration continued to include educational and historical elements; thereafter, it began to resemble the commercialized leisure that was increasingly becoming a part of everyday life. The biggest change occurred in the period from 1965 to 1980, when the protests of civil rights groups led many St. Louisans to view the parade and ball as wasteful conspicuous consumption that was often subsidized with taxpayers' money. With membership dropping and the news media giving the organization little notice, it soon began to wither. In response, the leaders of the Veiled Prophet organization decided to have a "VP Fair" over the Fourth of July weekend. The 1990s brought even more changes, and the members began to view the celebration as a way to unite the St. Louis community, with all of its diversity, rather than as a chance to boost the city or teach cultural values. The St. Louis Veiled Prophet Celebration is a valuable addition not only to the cultural history of Missouri and St. Louis but also to recent scholarship on urban culture, city politics, and the history of public celebrations in America.