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In 1851 the world's first international exhibition - the Great Exhibition - opened in Hyde Park in London. For the first time exhibits from across the world were brought together and displayed in Joseph Paxton's Crystal Palace. Although organised to mark the centenary of the Great Exhibition, by the time of its opening the Festival of Britain had taken on a quite different hue. The Festival was a deliberately national show. When Herbert Morrison wrote 'The Festival is the British showing themselves to themselves - and to the world' he could not have put it more clearly. The Festival was self referential - it was about the British, for the British, and to which the world was invited as observers.

after Empire

We are not holding an international festival - or even a commonwealth festival. The Festival of Britain is British in the purest sense of the word (Lord Ismay in 'The Daily Mail Festival Guide')

When, in 1943, the Royal Society of Arts suggested the Great Exhibition be commemorated, the initial idea was to hold the first post war international exhibition. Whilst there were real practical difficulties in organising such an exhibition - the cost and the inability to find and construct a large enough site - there also developed a lack of enthusiasm for such a project. In 1951 Britain did not occupy the same international position she had done a hundred years earlier. She had already lost the jewel in her Imperial crown when, in 1947, India gained her independence. Nationalist movements throughout the colonies were advancing, signalling the demise of the British Empire. Unlike 1851, Britain was struggling economically and attempting to come to terms with her diminished international position.

This uncertainty is reflected in the Festival of Britain. In a period of great change internationally the Festival looks to Britain's future by almost entirely ignoring its relationship with the rest of the world. The only reference to the Commonwealth was made in a small programme of exhibitions held at the Imperial Institute in South Kensington - one a revamped display of life in various colonies, another a show of traditional craft and sculpture and a Colonial Office exhibition 'Focus on Colonial Progress'. Britain's future was to be assured by developing a pride in herself and asserting a passive nationalism.

Whether or not the outside world is impressed, Britain has polished up her buttons and gained new self respect (Loggia L Wilkie in the Festival of Britain edition of 'Rotor' magazine)

selling the nation

Britain will be an exceptionally interesting country to visit next year. All over Britain her people are today busy preparing for a once-in-a-century event - a great National Festival. (from a leaflet distributed in America)

Although the Festival was inward-looking in perspective, it was used as an opportunity to attract visitors from abroad. A tremendous effort was made to promote the exhibition overseas, particularly in Europe and North America. In 1950 four London buses were fitted out with mini-displays describing the Festival. They toured eight European countries, including Germany, Sweden and Belgium, and were visited by over 120,000 people. Leaflets were published in six languages and a special Festival Office was opened in New York. But the results were mixed. The Korean War and the deteriorating international situation deterred American visitors. Problems obtaining foreign currency made it difficult for some Europeans to travel. A major success was the increase in Commonwealth visitors, with substantial numbers coming from Australia, New Zealand and South Africa.