Building Shared Histories: Dioramas, Architectural Models, Collaboration, and Transatlantic African American Spaces, 1900–1940

Abstract

Between 1900 and 1940, African American participants in transatlantic public exhibitions reclaimed a medium that often oppressed non-White bodies: the diorama. This essay traces a transatlantic conversation among African American artists about how to render Black history in diorama form, leveraging the miniature format to make political arguments. In diorama series which circulated on both sides of the Atlantic, such as those designed by Thomas W. Hunster for the Exhibit of American Negroes in the Paris Universal Exposition in 1900 and the Pan-American Exposition in 1901, Meta Vaux Warrick Fuller for the Jamestown Ter-Centennial Exposition in 1907, and Charles C. Dawson for the American Negro Exposition in Chicago in 1940, African American makers selectively used architectural models to signify histories of oppression and liberation as they told transatlantic stories about Black migration and enslavement. This essay argues that this set of dioramas is entwined, growing from 9 to 14 to 33, and that Hunster, Fuller, and Dawson all rendered archetypal buildings, such as slave cabins or plantation homes, to designate the wide and encompassing scope of oppression, while they reference singular buildings associated with public institutions from government to universities—the M Street School in Washington DC, Carnegie Library at Howard University, Mother Bethel AME Church in Philadelphia, the Old Massachusetts State House, and the White House—to signify and emplace spaces of Black liberation. Building on research on the layered functions of miniatures and drawing on burgeoning scholarship on entwinements between race and architecture, the article speculates on how architecture style signifies through the models to reinforce what James C. Scott has parsed as dominant narratives and hidden transcripts. Seeking to build Black futurity, all three series facilitated community participation and collaboration to produce an intersocial construction of transatlantic African American history built through mobile models of architecture.