Let’s Beguine Again: A Syllabus for Music and Dance

This year the Center is celebrating the life and work of Loja Saarinen for our House Party fundraiser. Lynette Mayman’s post on 1930s fashion offered an excellent guide to dressing à la mode for this historically themed evening event, while highlighting Loja’s freedom and creativity in celebrating her own authentic style. Being curious about the events to which such attire might be worn, I looked to the Kingswood School records to explore its history of music and dance events during that era.

Kingswood School Annual Dance Book, 1932. Courtesy of Cranbrook Archives.

From the abundance of programs and ephemera, it was clear that music and dance were a valued part of the curriculum and school life, and its purpose was elucidated by the educational philosophy in the school catalogs for the 1930s:

“Music and Dance, two of the greatest social forces, and most closely related in essential nature, are organized in the curriculum under the direction of one department for concurrent purposes… The program of work is such as to encourage the fullest and freest development of individual personality which is the basis for true dramatic and musical expression.”

Kingswood School Catalogs, Kingswood School Records (1980-01)

Formal classes in music theory and social dancing (taught in physical education classes under the direction of Luella Hauser) were augmented by extracurricular activities. These included the Glee Club and various kinds of themed and annual dances, which offered students a variety of ways in which they could learn through participation, as well as recitals by visiting performers, which offered learning through observation and listening.

Program for the Mothers’ Day Tea, May 1937. Courtesy of Cranbrook Archives.

The Glee Club for girls was formed in 1932 for those interested in singing. They performed one concert per year, the first being held on March 11, 1932. The Club would also perform at other events throughout the year, such as the Mothers’ Day Tea and the ‘Carnival,’ which was an informal jamboree of themed gaiety and fun. The first Carnival, on December 10, 1932, was described as one of “grand vaudeville,” including a fashion show that embraced lovely old fashions and lively modern ones.

The 1937 Carnival was a Masque that traced the development of dance from the fourteenth century to the present time, including the Carole, Pavane, Sarabande, Minuet, Gavotte, Waltz, Schottische, Tango, and Fox Trot. The Glee Club sang songs typical of each period, while three jolly spirits, Dance, Play, and Song, presented the dancers.

Invitation to the Ypsilanti Madrigal Club performance, December 1931. Courtesy of Cranbrook Archives.

The first visiting performance was held on December 11, 1931, when the Madrigal Club, a choir of men and women from State Normal College, Ypsilanti, under the direction of Mr. Frederic Alexander, performed as a Christmas gift from Mr. Alexander to Mr. George Booth. The concert of unaccompanied songs and compositions on harpsichord was described as “unusual in character and delightful in content,” and became an annual event at the school.

Other annual visitors included Mildred Dilling, the internationally known harpist, and Cameron McLean, the Canadian baritone who was accompanied by various local pianists, including Detroiter Gizi Szanto. There were also one-time visits by performers such as pianists Stanley Fletcher and Samuel Sorin, singer Marion Anderson, baritone Earle Spicer, and opera singer Alexander Kipnis.

Program of Music printed by Cranbrook Press, April 1932.

Kingswood School Records. Courtesy of Cranbrook Archives.

Celebrated teachers of modern dance were invited to give dance recitals including Ted Shawn, Ronny Johansson, and Martha Graham. Visiting in March 1936, Graham gave a comprehensive recital of her work, leaving us with an autographed program—an archival treasure!

Program for Dance Recital autographed by Martha Graham, March 1936. Courtesy of Cranbrook Archives.

While Graham’s dance was reported in the Kingswood Newssheet as casting aside, “all old standards of beauty and grace,” through her use of angles and quick movements rather than the legato rhythm of conventional dancing, her philosophy of the dancer speaks poetically to the purpose of the 1930s Kingswood curriculum for music and dance—drawing out the essence of the individual through social artforms:

“You traverse, you come to the light, you work, you make it right… you embody within yourself as much curiosity, use that curiosity and avidity for life … and the body becomes a sacred garment – it’s your first and your last garment, and as such it should be treated with honor, and with joy, and with fear too, but always with blessing.”

Martha Graham, Martha Graham on Technique

As we celebrate the life and work of Loja Saarinen this year, we celebrate her as immigrant, entrepreneur, designer, and fashionista. Please join us for the Virtual Film Premiere as we support and acknowledge the work of the Center at our House Party, May 21, 2022.

Laura MacNewman, Associate Archivist, Center for Collections and Research

Photo (Album) Friday

Over the past decade, digital photo albums have become commonplace. Although I enjoy seeing photos in digital albums, there is something magical about peering into the pages of a book constructed by someone decades ago. Here in the Archives we have many scrapbooks – from oversized books with newspaper clippings to school scrapbooks with photographs and ephemera related to sporting events, dances, and awards ceremonies.

Scrapbooks are a fundamental part of many of our manuscript collections – documenting the work and life of artists, educators, and scientists. The four scrapbooks in the Saarinen Family Papers contain newspaper clippings of Eliel Saarinen’s work, as well as photographs of family and friends in the U.S. and Europe.

I find that photographs and scrapbooks document life in a way that is unique to written correspondence. A letter provides detail to the reader or researcher, but a captioned photo provides visual representation and the details that were important to the creator. The Archives recently accessioned the Smith House Records, which includes 20 albums. The albums include artwork that the homeowners valued, as well as photographs of people enjoying their home. These images show what a fun couple the Smiths were – and how much they loved entertaining guests in their Wright home.

Smith Family album

A page from one of the Smith family albums, Dec 1970.

Henry Scripps Booth, youngest son of Cranbrook founders George and Ellen Booth, elevated the scrapbook to a new level with his series of 14 albums, titled “Pleasures of Life.” These albums celebrate travel, as well as family life here at Cranbrook from 1911-1940. The carefully constructed pages in the “Pleasures of Life” series include captions for nearly all the photos (penned by Henry), including one of a house party at Cranbrook House in 1915.

Pleasures of Life, Vol II

“House Party, Cranbrook House,” Pleasures of Life, Vol 2, 1915.

Gina Tecos, Archivist

NB: This weekend, 103 years after Henry captioned his photo of “House Party, Cranbrook House,” the Center for Collections and Research is hosting a gala fundraiser A HOUSE PARTY AT CRANBROOK. It will celebrate the three historic houses under the Center’s care, and honor the legacies of the families who built and lived in them. Hopefully someone takes photos for an album to be appreciated in another 100 years!

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