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Given the interest in the current eruption in Hawaii, this would have been an interesting Pavilion to visit.  The Hawaii Building at the 1893 Columbian Exposition in Chicago.



Here is a description that I found:

     After Kalākaua's death in 1891, his sister Lili‘uokalani assumed the throne. Though she tried to restore monarchical power through a new constitution, she was met with resistance by a clandestine Annexation Club, which eventually overthrew her and established a provisional government in 1893. After the promulgation of the 1887 Bayonet Constitution and the 1893 coup, a gradual but forceful erasure of Native Hawaiian art, culture, and history ensued. By 1893, the imaging of Native Hawaiians at the world fairs had dramatically altered. The Hawaiian exhibit at the World's Columbian Exhibition in Chicago in 1893 was organized by settler Hawaiians who were rallying for American annexation and trying to encourage tourism and more white settlement in the Islands. The main feature of the display was the cyclorama of the Kilauea volcano painted by Chicago artist Walter Burridge, located near the Ferris Wheel and surrounded by the American Indian Village, Algerian and Tunisian Village, and East Indian Palace in the entertainment district of the exhibition known as the Midway Plaisance.51 Lorrin A. Thurston, a prominent leader in the overthrow of the monarchy and Annexation Club, initiated and promoted this concession.52 Another Chicago artist, Ellen Rankin Copp, modeled a monumental twenty-five foot statue of "Pele, the Goddess of Fire," seated on a lava flow wielding a torch in one hand with her other hand ready to pitch a mass of lava, which decorated the entrance to the cylindrical building housing the cyclorama53 (figure 17), a clear gesture towards the eroticization and trivializing of Native Hawai‘i and its declining power to represent itself. The volcano concession also advertised the first hula troupe to perform at a world fair, accentuating the shift in the character of Native Hawaiian displays in international exhibitions from sovereign, historically-situated, and modern self-presentation to feminized, exotic, tourist curiosity.54 This representational trend continued and expanded into the twentieth century so that by the time of the Pan-American Exposition in 1901 (at Buffalo, New York), which took place after the annexation of Hawai‘i by the United States had been accomplished through persistent lobbying on the part of haole leaders of what had become the Republic of Hawai‘i in 1894, the principal popular image of Native Hawaiians consisted of topless or barely clad "hula-hula girls" (figure 18) and male troubadours who performed in the "Hawaiian Village," an orientalist-styled structure on the Midway. Their exhibition now closely conformed to the exotic and erotic spectacles of "other" non-European colonized peoples.

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It was Benjamin Harrison who supported the annexation Hawaii after he won the electoral college vote in 1888 and took office in 1893.  Grover Cleveland, who had won the popular vote in 1888 and had first been elected in 1884, soundly defeated Harrison in 1892.  Cleveland rejected Hawaiian annexation as alien to American values, in 1893, after resuming the presidency.  He restored the Hawaiian monarchy and asked fellow Democrats in Congress to reverse the bill and Hawaii remained independent until 1897 when Cleveland retired and McKinley took office.

Those "settler Hawaiians" were Americans who were operating massive pineapple and sugar plantations and making big money.  They could make even more if Hawaii actually belonged to the US and they could export their Hawaiian products into the US and avoid tariff duties.  They fomented the so-caled Revolution; attempted to overthrow the ancient monarchy, and clamored for US annexation.  It's not exactly a noble moment in American history.

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