Afro-American Pavilion
Expo '74 was the first World’s Fair to have an official pavilion celebrating the achievements of African Americans. The pavilion was developed by the non-profit Pan-African Foundation and sited opposite the U.S. Pavilion. Funds for the pavilion were raised from multiple public and private sources in a determined campaign. Leaders of the fundraising effort included the pavilion's coordinator, Frank H. Russell, and Senator George Fleming of Seattle. Resources for the exhibit were loaned from museums, galleries, and archives all over the country.
For at least eight decades, nothing like this had been seen at world's fairs. Black advocates had asked again and again that African-American accomplishments be included in the U.S. Pavilions abroad or highlighted at World’s Fairs hosted on American soil. Their requests were always denied. This exclusion was particularly painful in light of the fact that Africa and Africans were often portrayed in past world’s fairs as uncivilized and primitive.
At left, Ida Wells’ work, “The Reason Why The Colored American is not in the World’s Columbian Exposition,” 1892. At right, the "Exhibit of American Negroes" created by Daniel Murray, Thomas J. Calloway, and W.E.B. DuBois for the 1900 World’s Fair in Paris. This exhibit, created and exhibited without any support from the official U.S. fair delegation, was also brought to the 1901 Pan American Exposition in Buffalo.
The Afro-American Pavilion of Expo ‘74 was first announced to the public in September of 1973. Its spokesman was Frank H. Russell, a Tacoma resident and the president of the Pan-African Foundation. The Pan-African Foundation developed as part of planning for Expo ‘74 and its board included representatives from across the state. Spokane-based trustees of the foundation included future Spokane mayor James E. Chase and Spokane community leader Betty J. Richey. Spokane-based advisory board members included Joseph G. Trim, James J. Whitmore, and Alonzo C. Livers. In Russell’s words:
We perceive the environment to be more than water, air, and the pollutants in the air. We would suggest strongly that environment relates to man’s attitude. We think experiences with people create the true environment that we will live and improve in. The theme of the fair is for a better tomorrow, so we would suggest that the pavilion should offer an experience that tomorrow’s hope would be for black and white to have the experience of appreciation of each other, and that the black contribution to this society has been meaningful, so we do not mean appreciation through condescension. (Spokesman-Review, September 25, 1973, p. 6.)
James E. Chase called on Spokane’s Black community to support the pavilion’s development (Spokesman-Review, December 13, 1973):
Success will depend on the cooperation, interest, and desire expressed by black people in the Spokane community. […] People will come from throughout the Inland Empire and will see things in the pavilion they have never seen before. This pavilion will bring out the black man’s contribution to society which has not been adequately recognized. Expo ‘74 will not be something we should have unless the Afro-American Pavilion is part of it.
State funding for the pavilion was requested by State Senator George Fleming (D-Seattle), who was needed to “carry the ball” in Olympia as Spokane’s own legislators had pledged not to ask for any additional Expo funding (Spokane Chronicle, January 22, 1974, p. 4). As of January 1974, the pavilion had raised $80,000 of the estimated $500,000 needed. Political support for appropriations was also given by U.S. Representative Floyd Hicks (D-Tacoma) (Tacoma News-Tribune, January 20, 1974, p. 4). Although the funding was opposed by some Republican legislators, the supplemental budget eventually passed with $200,000 of state money allocated to the Afro-American Pavilion on the condition that matching funds would be raised from other sources (Spokesman-Review, February 13, 1974, p. 7). With this contribution secured, the Pan-African Foundation had 74 days to raise the remaining $200,000 needed for the pavilion (Spokesman-Review, February 20, 1974, p. 4).
Amazingly, the Foundation was able to secure this additional $200,000 in only a month. By mid-March of 1974, matching funds had been secured through “donations from private and public sources in varying amounts.” (Spokesman-Review, March 13, 1974, p. 1). With so much success in garnering support, it makes sense that Russell and the Pan-African Foundation continued to seek further funding and endorsement to make the Pavilion even better.
As far as I can tell, there was only an Afro-American Pavilion at one other fair, the Knoxville world's fair in 1982. After a certain point, I assume that it seemed more appropriate (and affordable) to simply include this perspective meaningfully in the U.S. exhibit, rather than coordinating a separate display. In the long run, that makes the most sense. But it somehow feels right that, when African American accomplishments first received their due at a world's fair, they were given their own dedicated space to shine. And it happened here in Spokane at Expo '74.
The Afro-American Pavilion (Official Guidebook, p. 75-77):
According to the philosophy of the Pan-African Foundation, the non-profit organization which conceived and built the Afro-American Pavilion at Expo ’74, the environment is more than land, water and air. Environment relates to man’s attitude; and experiences with people create the true environment in which we live. Therefore, it is the theme idea behind the Afro-American Pavilion exhibits that tomorrow’s hope for black and white alike is to develop an environment of mutual appreciation and respect for one another.
The Afro-American Pavilion is located on a 6,000 square foot landscaped site directly across from the United States Pavilion. It presents in pictorial, graphic, animated and dramatic form, the meaningful contributions that minority citizens of this nation have made to the orderly growth of our present environment.
The presentations are divided into various areas, such as education, music, art, science, recreation, technology and the humanities. The displays also depict, in vivid and unique forms, the improved opportunities for minority citizens who enjoy the enriched living standards of America.
The Afro-American Pavilion emphasizes Black Culture, and the exhibits are segmented into a number of areas, using different styles of presentation, each having separate sponsorship.
Upon entering the Pavilion foyer area, you’ll be confronted with a multi-hued montage of Black Heritage and origins displayed in a panoramic mosaic. Just overhead is a bold, three-dimensional representation of the Pan-African Foundation’s logo, a gigantic outline of the continent of Africa, with a cascade of rainbow-like streams crossing the top. The various arcs of the rainbow depict the variety of resources, both people and product-oriented, emanating from that continent.
Moving in a semicircular path into the first display area, you’ll see a presentation of the history of Black people in this country, displayed in a multi-media technique which blends the contrasting images of a bank of slide projectors with motion picture scenes, all enhanced with a compelling musical and narrative sound accompaniment.
Another area of interest is the presentation of Black achievement in this country, a parade of living history illustrating the struggles and accomplishments of the Black man from the earliest days of the United States. The exhibits, live, animated or graphic, examine every major area of ethnic achievement, from letters to athletics, from business and religion to the visual arts.
As you move into the next area, which is devoted to visible demonstrations and testimony of Black achievement, you come into a small staging area on which continuous entertainment and mini-shows are presented by Black artists and entertainers. This area is also used for a rotating display of contemporary Black painting, photography and sculpture, some of which has been commissioned just for the fair.
The Afro-American Pavilion spotlights and details primary contributions which the Black community have made to the American environment and to our enjoyment of it. The Pavilion underscores opportunities for a better life for Blacks in this country in terms of living standards, health and life expectancies.
In separate exhibits, the rich history of Northwest American commitment to the well-being of minorities is portrayed. The favorable business climate, in particular, will be recognized, and you’ll come away with a better understanding and appreciation of Black America’s contributions, culture, and its potential for the future.
At the end of the Black Cultural experience of the exhibits you’ll pass between a pair of charming and intriguing shop areas. The first, an attractive restaurant area, displays a steaming selection of general menu items, but specializing in a small selection of specialty ethnic snacks. The second, across the corridor, its closeness enhanced by low bannisters and fabric ropes to suggest walls, is an interesting Black Boutique, filled with items ranging from African artifacts and objects d’art to contemporary ethnic clothing, accessory items, books, games and jewelry.
The Afro-American Pavilion symbolizes the heritage, pride and achievement of a great people living in a great land. It must be one of the highlights of your visit to Expo ’74. This is the first time in history that the contributions of the Black American have been presented at a world’s fair.
Art at the Afro-American Pavilion
