Skip to main content

Photos of a time when the U.S. held Filipino tribesmen in zoos

Igorot men from the Philippines dance in a semi-circle at the St. Louis World's Fair.

It wasn't too long ago that thousands of Filipino tribesmen were taken from their motherland and displayed as carnival or zoo exhibits for the American people to gawk at. The year was 1904. The place was St Louis, Missouri. Filipino ethnic groups were a rarity for the American audiences in that era, and the US government decided to bring 1,300 Filipino minorities from various tribes to the tune of $1.5 million and exhibited them like animals in front of large crowds.

The St. Louis World's Fair unveiled to the world new ideas, products and technological feats that captivated thousands of visitors. But during the seven months that the fair was open, 'living exhibits' also entertained guests with their religious songs, war dances, and other tribal rituals. The biggest crowd-drawers were the Igorots, who were introduced to their colonial masters as primitive dog-eating headhunters.

These exhibits were conducted to prove that indeed, white people were at the top of civilization, and turned native peoples of darker color into objects, to be scrutinized, to be gawked at, and inevitably to be pitied and despised.

Igorots resting after performing a ritual dance.

In 1905 former Bontoc lieutenant governor Truman Hunt brought with him a group of Igorots to the United States where they travelled around and put on human exhibits. Hunt's operation came to an end after rumors broke out how he maltreated the tribesmen. The export of ethnic groups was finally banned by the Philippine government in 1914 when it passed a comprehensive anti-slavery law. With that, the concept of human zoos largely faded from public consciousness.

Filipino tribesmen at Dreamland, Coney Island, New York.

Young Filipino girl, Coney Island, New York.

This article was published in the Los Angeles Herald on December 10, 1905. Found via this blog.

[h/t: FilipiKnow]

Comments

Popular posts from this blog

Gilbert Legrand turns mundane stuff into delightful characters

Gilbert Legrand doesn't see the world like the rest of us. You see a scrubbing brush, he sees an Apache chief. You see a a pair of scissors, he sees smooching lovers. The French artist's imagination is so wild and unrestricted that he can turn the most ordinary objects into unexpected sources of delight. I just spent half an hour lurking on his website, and you should, too.

The Salimbaa

Here's a strange tribal instrument I never heard of before now. Originally from the Tinananon tribe of southern Philippines, the bowl-shaped Salimbaa is made of metal and wood, has 30 bronze wound strings, and is played using two small sticks.  Caleb Byerly, who makes lost/extinct musical tools in his North Carolina workshop, has an interesting story on how he made his first Salimbaa. WATCH: More details about Caleb and his craft over at  Our State .

Italy's True Movie Poster King

What you see here is the hand-crafted magic of Renato Casaro, the late Italian designer who practically defined an era of cinematic cool. His work wasn't just advertising; it was art. Casaro's journey into becoming one of the most recognizable poster artists wasn't by chance; it was a pure obsession. As a kid, he was fascinated by billboards, trying to mimic the styles of Norman Rockwell and Angelo Cesselon. Think of a teen so determined that he was drawing right onto the walls of a local cinema just to snag a few free tickets. Casaro created posters for a lot of Spaghetti Westerns. His big break came with A Fistful of Dollars in 1964. The movie starred Clint Eastwood and was directed by Sergio Leone. The poster didn’t just promote the film; it helped make it a global hit. Naturally, Leone came calling again, commissioning posters for My Name Is Nobody (1973) and the epic crime saga, Once Upon a Time in America (1984). A Casaro poster is easy to spot because of his uniqu...