They Sang, Danced, Played, and Prayed

Transcription

1 They Sang, Danced, Played, and Prayed The History And Philosophy Of The Cultural Arts Of The Mormon Pioneers by Shirlee Hurst Shields, Ph.D. Salt Lake City

2 text 1987, 2014 by Shirlee Hurst Shields ALL RIGHTS RESERVED Including the right of reproduction in whole or in part. No portion of this book may be reproduced in any form without written permission from the publisher or the author s representative, except for brief passages quoted for review purposes. First Edition Paperback(CS) First Printing 2014 Zion BookWorks ISBN-13: ISBN-10: Also available: Trade Paperback Edition 2014 Zion BookWorks Kindle Edition: 2013 Zion BookWorks BISAC: Performing Arts / Theater / History & Criticism Zion BookWorks 3877 Leicester Bay, South Jordan, UT ( Cover Photo: Interior Salt Lake Theatre, Image courtesy of the Special Collections Department, J. Willard Marriott Library, The University of Utah. All rights reserved. Other photo credits on page 48.

3 Introduction The State of Utah has long been noted for producing an excellent cultural arts environment, especially in view of having a small population and as one Eastern critic said: being out west -- somewhere. The Mormon Tabernacle Choir, Utah Symphony, Utah Opera, Utah Shakespeare Festival, Ballet West, Repertory Dance Theatre, Salt Lake Acting Company, Pioneer Theatre Company, to name a few, have received rave reviews in the United States and internationally. Also the large number of participants in the many cultural activities, amateur and professional, throughout the worldwide membership of the Church of Jesus Christ of Latter-day Saints (Mormon), is indeed remarkable. Where did it begin? It began with the Mormon pioneers as they sang, danced, played, and prayed in the mid-1800s when other religions of the time considered such activities as "vain amusements".

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7 Preview -- 1 They Sang, Danced, Played, and Prayed In the early seventeenth century, America was settled by people who broke away from the established countries and religions throughout Europe. The New World made life very different. Distance and the danger of the ocean journey tended to reduce communication and prevented vogues in the arts from being recognized as rapidly in America as they were throughout Europe. The untamed North American continent was a difficult homeland. Survival was the primary concern. one had to plant crops, cut down forests, clear fields, build shelters, and protect oneself against changeable weather, hunger, disease, and Indians. In such a situation, it was difficult to justify amusements and public entertainment. In this new land there was no royalty to support dance, theatre, or other arts as

8 2 -- Preview was common in Europe among the upper class. Also, the predominant religious thinkers during this time were of the Puritan ethic who held the view that to live religiously, one must refrain from recreation and play activities including dance and theatre. During the seventeenth century there was widespread condemnation of idleness arid casual amusements in Puritan New England. The tradition was that life should be wholly devoted to work. There was no place for amusements in such a society. 1 Some resisted the Puritan dominance, but these few were often punished or banished. Typically, Massachusetts, Connecticut, and upper New York remained a strict and pious Puritan stronghold. The theatre was completely prohibited in a number of Colonies. The Methodist Episcopal Church prohibited play in the strongest terms, 2 and Connecticut served fifteen lashes on the bare back of anyone foolish 1 Foster Thea Dulles, A History of Recreation (New York: AppletonCentury Crofts, 1965), p H. C. Lehman and Paul A. Whitney, Psychology of Play Activity (New York: A. S. Barnes Co., 1957), pp. 1-2.

9 Preview -- 3 enough to set up and practice common plays, interludes, or other crafty science. 3 In Puritan New England, there were ordinances against gambling, some sports, drama, certain forms of music, and dancing. The early Puritans forbade mixed dancing (between men and women), dancing in taverns, Maypole dancing (which they saw as an expression of paganism), or dancing accompanied by feasting and drinking. 4 By the time of the American Revolution, dance, theatre, and games were popular forms of recreation in the Colonies. The predominant attitude toward them, however, among religious thinking people of Puritan origin remained the same. To live one s religion one must refrain from recreation and play activities including dance and theatre. It was amidst these influences that The Church of Jesus Christ of Latter-Day Saints was organized under the leadership of Joseph Smith, 3 Dulles, p Joseph E. Marks, America Learns to Dance (New York: Exposition Press, 1957), p. 18.

10 4 -- Preview Jr., in Fayette County, New York, April 6, This new church differed in its attitude toward the arts by fostering and encouraging them on most occasions. Only a few months after the Church was organized, Emma Smith was called to collect hymns. The first hymnals did not include the music; melodies were learned and passed on by rote. The hymnals were books of poetry to be sung to the familiar tunes. The early hymn book contained ninety poems, of which thirty-nine had been written by Saints, including some that are still favorites, like Redeemer of Israel, Gently Raise The Sacred Strain, and The Spirit of God Like A Fire is Burning. Music began the Latterday Saint artistic tradition. In Kirtland, Ohio, the School of Prophets commissioned evening classes in voice and the Kirtland choir had a fine reputation. The Church grew rapidly, but because of conflict with outsiders, the Mormons began migrating westward. After much persecution in Ohio and Missouri, the Saints fled to Quincy, Adams County, Illinois, the largest town on the

11 Preview -- 5 upper Mississippi. In the spring of 1839, the Prophet Joseph Smith and his followers purchased one hundred thirty-five acres of swampland and forty-seven acres of improved land in Commerce, Illinois. The impoverished exiles drained a wooded malarial swamp and built wide streets crossing at right angles. Even through the uneven and sloping surface at the big bend in the river, straight streets stretched in every direction. From the swamps of Commerce rose the city beautiful, called Nauvoo by Joseph Smith. The pre-planned city, Nauvoo, became an area of interest to many. Along with other things, music was encouraged and dancing and small theatrical entertainments became a desirable part of the life of the Saints in Illinois. Here, after years of persecution, moving, and building new lives, the Saints found the time and energy for festivities and their leaders began to favor and participate in these activities: Nauvoo became a social center. It was easily accessible to settlements up and down the river, and great celebrations held on the

12 6 -- Preview fourth of July and other holidays, attracted people for many miles. Excursion boats from Warsaw, and even from St. Louis, were common, the vessels docking at Nauvoo amidst much laughter and gayety (sic). Dances were held on such occasions, usually lasting until the early hours of the following morning. The beauty of the city and the hospitality of its people became known far and wide. 5 In 1840, William Pitt organized a brass band in Nauvoo and they performed at the Masonic Hall, and later at the Music or Concert Hall, which could seat seven or eight hundred people. Musical instruction was offered by the Nauvoo University, the Nauvoo Singing School, and Mrs. Pitchforth s Piano School in such a musical atmosphere, public dancing was a popular cultural activity. Joseph Smith stated: There certainly can be no harm in dancing... it has a tendency to invigorate the system and promote health. Dancing, or anything that has a tendency to circulate the blood is not injurious, but must rather be considered 5 Williams E. Barrett, The Restored Church, 10th ed. (Salt Lake City Deseret News Press, 1961), p. 160.

13 Preview -- 7 beneficial to the human system. 6 Candlelit, formal balls became highlights of society in Nauvoo; though many Mormons, converted from austere Protestant sects that had prohibited dancing, stumbled through the steps with unaccustomed feet. Elder Orson Hyde described the problem of fellow apostle, Parley P. Pratt, when the quadrilles and cotillions were first introduced: I observed brother Parley standing in the figure, and he was making no motion particularly, only up and down. Says I, Brother Parley, why don t you move forward? Says he, When I think which way I am going, I forget the step; and when I think of the step, I forget which way to go. 7 The Nauvoo Dancing School was organized and held evening classes at the Masonic Hall to teach those who had similar problems. 6 Joseph Smith, History of the Church of Jesus Christ of LatterDay Saints, vol. IV, ed. B. H. Roberts (Salt Lake City: The Church of Jesus Christ of Latter-Day Saints, 1964), p Journal of Discourses, 6:150

14 8 -- Preview Individuals of the city frequently opened their homes for dancing and theatrical entertainment: Soon after the Mansion House was completed, weekly dancing parties were featured, a few hundred young couples taking advantage of the opportunity of the social program sponsored by the Church. 8 On Christmas Day, 1843, Joseph Smith recorded these lines in his diary-.. A large party supped at my house, and spent the evening in music, dancing, etc., in a most cheerful and friendly manner. 9 The most outstanding building of the city was the Temple, built as a center for Mormon rites and worship. For a short time, before the completion of the Temple, the Saints enjoyed social activity as well as worship services there. So grateful were the Saints to have the Temple opened for them that their thanksgiving was expressed in music and 8 Cecil E. McGavin, The Mormon Pioneers (Salt Lake City: Stevens and Wells, Inc., 1947), p McGavin, pp

15 Preview -- 9 dancing at the close of the devotional activities of the day. One day a hundred or more couples might spend the day in the Temple, remaining far into the night to participate in the recreational program which was conducted at the close of the day s worship The Prophet Joseph Smith introduced drama into Nauvoo, forming a dramatic company in which Brigham Young, Erastus Snow, George A. Smith, and other prominent Latter-day Saints acted. A Nauvoo school of dramatics was opened by a Mr. J. M. and Miss Cole. When veteran actor Thomas A. Lyne was converted to the Church in Philadelphia, he came to Nauvoo and produced such plays as William Tell, Damon and Pythias, and Pizarro. Brigham Young distinguished himself as an actor in the role of a Peruvian high priest in Pizarro, leading the chorus and company of actors into an Incan temple. Later, Thomas A. Lyne, with a merry twinkle in his eye told an interviewer, I ve always regretted having cast Brigham Young for the part of the 10 McGavin, pp

16 10 -- Preview high priest... He s been playing the character with great success ever since John S. Lindsay, The Mormons and the Theatre or the History of Theatricals in Utah, With Reminiscences and Comments Humorous and Critical (Salt Lake City: Century Printing, 1905), pp. 6-7: Stanley B. Kimball, Also Starring Brigham Young, the Ensign (October, 1975), pp

17 Preview About The Author Shirlee Hurst Shields is the recipient of a Ph.D, Theatre, Speech and Cinema, Brigham Young University; MFA, Theatre, University of Utah; BS, Speech, University of Utah. Playwright, author, historian, she has written published manuals and magazine articles on the subjects of Theatre, Dance and Speech, as well as three plays, six reader s theatre scripts and three books, THE HISTORY OF THE GENERAL ACTIVITIES COMMITTEE OF THE CHURCH OF JESUS CHRIST OF LATTER-DAY SAINTS, CHANGE YOUR VOICE CHANGE YOUR IMAGE, and THE POPCORN WREATH, a memoir of growing up in Utah at Christmastime. Married to the late attorney Jed W. Shields, she is the mother of two daughters and two sons and grandmother of fifteen children.