Not "A Nation of Immigrants": Settler Colonialism, White Supremacy, and a History of Erasure and Exclusion

by Roxanne Dunbar-Ortiz

The site of the fair in South Chicago was nicknamed the “White City” for the massive and glistening white fake-marble buildings constructed specifically for the fair, not meant to be permanent, but rather templates for how a future city should appear, grandiose and imposing, as well as symbolizing the triumph of capitalism. On the carnivalesque midway of the White City was the Ferris wheel, which was invented for the occasion. Not far away, the historian Frederick Jackson Turner delivered his thesis, “The Significance of the Frontier in American History,” to the American Historical Association, which had convened its annual meeting at the exposition. Nearby, Buffalo Bill’s Wild West performed.19 Without mentioning the 1890 Wounded Knee Massacre, Turner chose the year 1890 as the demarcation of the end of the frontier, warning that the seemingly endless moving frontier of white settlement that had formed US wealth, character, and culture had closed, and the future was not clear without the frontier escape valve for the teeming landless masses. Buffalo Bill had the answer: fantasy, reenactment, premiering the soon-to-be-born western movies. Self-identified Christian socialist and ordained Baptist minister Francis Bellamy wrote a pledge of allegiance to the US flag in 1892, which was a presidential election year in addition to being the quadricentenary of Columbus. Both presidential candidates, Benjamin Harrison and Grover Cleveland, urged the use of the new pledge as a way o...