Susan Kramer, Jacob's Pillow alumna 1963 & 1964
A dancer in spirit is a frequent phrase used to describe a women whose gentle charisma drew in alert listeners from all walks of life. Mary Williams Campbell was much more then a skill accompanist or a talented composer. She was a moving scholar who helped dancers an students learn the structure, form and the basic codes for creating works. She dedicated her life to unleashing the imagination and instilling a respect for the history of dance, particularly modern dance. Campbell's unique artistry and experienced artist-teachers alike.
The partnering role of an accompanist with the teacher and choreographer has only recently begun to be analyzed and appreciated. Accompanists are expected to have the patience of Job and be willing to be at each rehearsal, each class, playing the same work again and again in ways that motivate dancers. Often waiting while the teacher gives feedback to a student or while the choreographer works out the next section of dance material, sometimes they, as in the case of Miss Campbell, left the bench to correct or coach a dancer. Surely, talented accompanists, as was Campbell, demonstrated that "music and dance were interrelated" (Gladys Keeton, taped interview, May 8, 2000).
Effortlessly and selflessly Miss Campbell moved through numerous roles in her six-decade long career. In an age before technology afforded dancers options to mix, cobble together and overlay pieces of music to fulfill their choreographic needs, Campbell was accompanist, arranger, and composer to many of the famous names in modern dance. One such is Jerry Bywaters Cochran, former head of modern dance at Texas Christian University, who declared that Mary Campbell is one of the "undiscovered angels of American modern dance in the Southwest" (taped interview, January 23, 2004). Some of the artists and teachers remembered in the collection include Ted Shawn, Miriam Winslow, Barton Mumaw, Foster Fitz-Simons, La Meri, Anne Schley Duggan, Ruth St. Denis, Jess Meeker, Jeanette Schlottman Roosevelt, Margaret Morris's The Celtic Ballet of Scotland, Walter Terry, Elizabeth Waters, Betty Jones, Jack Cole. Norman - Walker, Joseph Pilates, Erick Hawkins, and the many instructors and student dancers associated with Jacob's Pillow University of the Dance as well as with the Texas Woman's University dance and physical education program, particularly its performing company the Modern Dance Group.
Through her innovation, discipline, and open spirit, Campbell influenced the emergence of the dance accompanist as an artistic partner with the instructor, choreographer, dancer, and viewer. The courses she developed and taught, Accompaniment for Movement and Music Appreciation, at both Jacob's Pillow and Texas Woman's University were probably the first of their kind in the United States. Empowered students in turn incorporated music in their teaching and dance curricula at such institutions as Florida State University, Arizona State University – Tempe, the Juiliard School, Texas Woman's University, Jacob's Pillow, Houston High School for Performing and Visual Arts, Booker T. Washington High School for the Performing and Visual Arts, the American Dance Festival, and many others. "As an accompanist, she was a witch!" recalls La Meri, because "... she seemed to breathe with the dancer"' (For information concerning other key choreographic works, refer to Diane Patrick, p. 62). During her later years Campbell's contributions to her church and civic organizations in Denton, Texas fostered music and dance as integral artistic and spiritual arts.
Mary Williams Campbell was born on September 9, 1899 in a rural lumbering community of Island Falls, Maine, a town where Campbell's sister remembers, "everybody knew everybody" (Patrick, 1986, p. 26). Piano lessons began at age four even though that meant a ten-mile trek, sometimes going by sleigh in the harsh snowy winters. While she studied dance for about three years as a youngster, it was the piano that beckoned her fancy and became her first paying job. Like the late imaginative choreographer, Alwin Nikolais, the young pianist accompanied silent movies for 25 cents per day while only a high schooler. At fifteen, Campbell graduated from high school, and by her sixteenth birthday had moved to Boston, Massachusetts where she studied at the Faelton Pianoforte School from 1915 to 1919. Certificate in hand, Campbell joined a musical trio named "Melody Mansion" to tour in vaudeville with an act described as a "novel singing, dancing, and pianologue offering." The trio did not stay together very long. Following this engagement, Campbell bounced around in jobs that usually revolved around accompanying dance classes or providing background music for diners and dancing at a luxury hotel in Banff Springs for five years.
Campbell rediscovered the art of dance when a friend of Francesca Braggiotti recommended her as accompanist and arranger for the Braggiotti-Denishawn School of Dancing in Boston. Along with her two sisters, Braggiotti had studied and performed with Ruth St. Denis (1877 –1968) and Ted Shawn (1891 – 1972). Theirs was one of the more successful Denishawn franchise studios, visited frequently by St. Denis and Shawn, Ions of American dance. Campbell worked for the Braggiotti sisters from 1921-1928. Impressing St. Denis and Shawn, her real break came the following year, 1929 –1930, when Campbell was invited to join what was the last tour of the Denishawn Company. As a member of "The Symphonic Quartet", she played as well for several dance works on the whirlwind tour consisting of more than 70 performances. Following this, in the spring of 1931, Campbell went abroad with Shawn to perform in Germany and Switzerland. What Campbell may not have realized was that this was the grand finale of a company already splintered by the departure of its leading artists a few years earlier: Martha Graham, Louis Horst, Doris Humphrey, Charles Weidman, and Pauline Lawrence among others.
At the conclusion of the tours, in fall of 1932, an embittered, discouraged, and bankrupt Ted Shawn and Ruth St. Denis dismantled Denishawn the company, Denishawn House the school, and separated their personal lives. How Campbell figured in this famous break-up is hard to say, but suffice it to say, she continued to work with Shawn. She accompanied Shawn's dance classes at Springfield College (officially the International Young Men's Christian Association College) and at Miriam Winslow's new dance studio in Boston. Winslow was one of Shawn's advanced students.
From December 1931 to March 1932, Campbell toured the U.S. with Shawn's mixed company to earn badly needed funds to develop his newest venture, an all-male company. The trip was financially and artistically satisfying and netted another composer-accompanist, Jess Meeker. Following this stint, Mary returned to New York, there assembling musical scores before heading back to Springfield College in fall,1932, with Shawn, Barton Mumaw, and Margerie Lyon, Shawn's secretary, for the winter of teaching. Sharing a house, the foursome was the talk of the small town. For the men's physical education classes, Campbell played easily identifiable Indian drum music, folk tunes, and Negro spirituals.
Particularly remarkable is her role as an original member of the Jacob's
Pillow enclave near Lee, MA. At the end of the last Denishawn tour, Ted Shawn decided to
move permanently to his favorite weekend getaway in the Berkshire Hills, near Boston. He had found a
bucolic yet horribly dilapidated farm to inaugurate his new artistic life as a solo artist, a place to house and
rehearse his new company, the Men Dancers. He wrote in September, 1931 after producing
Thus it was, at the miserable height of the Great Depression, that Campbell donned men's pants and shirt to share the backbreaking work of renovating the decrepit old house while living a youthful bohemian life as an art zealot and enduring Jack Cole's practical jokes. Campbell recalled: "we didn't have anything. Just a horrible old house, no telephone, no running water, no lights, no anything.... " (Patrick, p. 35).
What today is a sophisticated summer dance institution
known the world over was at first an eye sore demanding ingenuity, grit,
and perseverance by Shawn and his cohorts, among whom was Mary Campbell.
Once the barn-studio was remodeled, members of Shawn's last mixed company assembled and
rehearsed in 1933 for a three-month tour that climaxed with an appearance at the annual San Jacinto
Celebration in San Antonio, Texas. Campbell was both rehearsal and performance pianist “playing for several
ensemble dances and one outstanding new solo for Shawn", titled
When Shawn disbanded the mixed company in favor of his famous Ensemble of Men Dancers (1933 – 1940), Campbell took part in its historic first tour. Living communally, the group, including Mary, resided at Jacob's Pillow. Limbering her fingers each morning, the men assembled to work out. It was not all work and no play. Following the ritual sherry before supper, card games were played in the living room, long hikes taken admiring the foliage, and afternoon `holidays' of swimming in the nearby pond, dinners out at The Log Cabin or excursions to see the latest film were all part of life at Jacob's Pillow. To earn funds for necessary renovations to the compound and to survive, the Mens Dancers began giving their famous "Tea Lecture Demonstrations" with Campbell at the keyboard. Before the summer ended, the theater was. packed. Following the historic first tour, Campbell decided that her place was not with an all-male company. Frankly spoken, she told Shawn that he needed a male accompanist-composer, and recommended that Jess Meeker come from Kansas for the post of accompanist and composer. Mary also had another desire. That was a permanent position with Mimi Winslow's school in Boston (she had taken over the Braggiotti School when the sisters gave it up).
Besides the more famous breaking away of Martha Graham,
Doris Humphrey, and Charles Weidman from Denishawn, two lesser known
Denishawn performers left to form their own company. Miriam Winslow and Foster Fitz-Simons
created the Winslow/Fitz-Simons Ballet, while Foster was a member of Shawn's Men Dancers.
Knowing that Mary had left Ted Shawn's group, Mimi and Foster brought Campbell aboard as their accompanist
and musical director. From 1933 to 1942, she toured the world with their company. During the summers of 1933 and again in 1936,
Campbell went to Dresden, Germany with Winslow where they both studied at the Wigman-Schule with the architect of
These years with Mimi and Foster were abundantly rich for Campbell. During its 1941 tour of Argentina, the Winslow/Fitz-Simons Ballet gave 32 performances to rave reviews. In a letter dated June 9, 1941, L. Braun de Fischer lauded Campbell and the company, saying "Your American dancers ... showed us a new style of art...." She also accompanied other, now little known, dancers. One was the doyen of modern dance in the southwest, Elizabeth Waters.
What happened at Jacob's Pillow? Throughout these years of touring, Campbell maintained her friendship with Shawn and played for Ruth St. Denis's annual residency (St. Denis taught and performed every season until her passing in 1965). When his Men Dancers company broke up in 1940, most of the dancers joined the armed services during World War II, Jacob's Pillow foundered financially. Shawn, near bankruptcy and burned out, turned the operations to a loyal dance teacher, Mary Washington Ball, who managed the summer program and innovated what was first known as the Berkshire Hills Dance Festival. Mary Campbell came on board first as accompanist then later as musical director. Artistically the venture of a summer training school succeeded, but financially disaster still loomed. The next year, internationally known British ballet stars, Anton Dolin and Alicia Markova, rented the Pillow to house their International Dance Festival and school. Owing to their stellar reputations, internationally known dancers performed and audiences and students flocked to the Berkshires.
This was a turning point in the history of American dance.
Supporters pulled together $50,000 to purchase the property and design a
proper dance theater, named the Ted Shawn Theatre. In 1942, Shawn returned to lead the program, adding the
University of Dance educational program to the popular dance festival that continues to this day to span the breadth of dance,
from ethnic artists to jazz, ballet and modern dance to the
Until 1976 (four years after Shawn's passing in 1972), Mary returned each summer to head of the music department then later as assistant music director, but always as teacher and accompanist/composer. Overlapping her summers at Jacob's Pillow was her continued work with various solo dancers and small companies. During these years she continued to evolve a sophisticated intellectual vision, a broad artistic palette imbued with the rhythms of diverse artists and world cultures of the dancers who appeared at the Pillow.
What remains elusive is Campbell's personal aesthetic. While some scores are included in the collection, there are no recordings of her playing. In Shawn's lecture on "The Relationship of Music to the Dance," given in 1937, we glean some of the qualities that he surely valued in the refined rhythmic complexity of Campbell's music. Barton Mumaw, an original member of the Shawn's Men Dancers and his artistic inspiration for many years, speaks of the special atmosphere of Jacob's Pillow to which both Mary Campbell and he played key roles: "The energy generated on this spot is like something that oozes out of the earth. It doesn't - it oozes from the people who are here" (Carman, p. 27).
In 1942, her first year as music director of Jacob's Pillow's University of the Dance, Campbell met Dr. Anne Schley Duggan, head of the Physical Education Department and the dance program at Texas State College for Women, Denton, Texas (when the programs were formed into a college, 1954, she was named dean; and TSCW became the Texas Woman's University in 1957). A well-respected dance educator. Duggan was invited to teach at the Pillow. Campbell was her accompanist. The following year, Duggan returned; again Campbell accompanied her. Overwhelmed by her abilities, Duggan invited Campbell to relocate to Denton, Texas to be the part time accompanist — composer at the college. Campbell and Duggan bonded to form a lifelong professional partnership and personal friendship. So respected was she that the following year, the master of dance music theory and composition, Louis Horst, also solicited her to work with him, but Mary had already agreed to Duggan's proposal. Flushed, she noted, "I was very much flattered," and "I often wonder what my life would have been if I could have accepted" (Patrick, p. 41).
From 1943 until her retirement, Mary Campbell was composer/accompanist at Texas Woman's University while her summers were spent at Jacob's Pillow and her 'heart home' in Maine. If the cultural transition from New York to the small north Texas town was shocking, she never revealed it. Never owning a car, she usually walked to and from the studio and to the grocery store. A familiar phrase was, "Oh no, I need to walk" (Gladys Keeton, taped interview, May 9, 2000).
In 1946, Campbell inaugurated what may be the first course in "Accompaniment for Movement" and, in 1953, a second course was added emphasizing percussion. In 1962, graduate students were permitted to enroll in her courses by adding a graduate section. She taught the two courses until 1970 when she trained the late Sarah Davis to take over for her. Campbell's lectures and workshops on rhythm and movement are remembered well. Not only did she play for all the dance classes, from ballet and tap to children's dance, improvisation and composition to folk dance, she jumped in to the recreational life of the college by organizing and participating in many of its traditions.
One major writing project was published in 1948 by Ronald Press. Collaborating with Jeannette Schlottman Roosevelt and Abbie Rutlege, the three produced a five volume set of notated arrangements of folk melodies from Great Britain, United States, Mexico, Scandinavia, and Europe. Of her many compositions found in this archival collection, these particular arrangements attest to her diversity and wide-ranging artistic and cultural interests. From classical forms to tripping waltzes and folkloric polkas, Campbell both arranged strains of existing pieces and created new music for ballets and modern dances. First and foremost a talented pianist, when introduced to percussion with Mary Wigman, she became a credible percussionist, often composing percussion scores or including a strong percussion part in her compositions.
For Jerry Bywaters Cochran, who first heard Mary play for the TWU Modern Dance Group performances at the Dallas Museum of Fine Arts, Mary's improvisations introduced the then youngster to the world of modern dance; it was like nothing she had heard as a piano and dance student. Years later, after a career of performing and then teaching at Texas Christian University, Jerry came to TWU to teach a six-week summer workshop course with Campbell as her accompanist. For Jerry, Miss Campbell was a fountain of wisdom from whom she learned as much as the students. It was a delightful six weeks. Cochran was amazed by Mary's virtuosity and quick silver ability to shift among such contrasting dance technique styles as Graham, Limon, from Horst's pre-classic to his percussive compositional style, then move Cochran even more by Mary's own tour de force full-bodied style. Remembers Cochran: "It was as though her music had just issued from the hand of God" (taped interview, January 23, 2004).
Probably the most stunning composition for the TWU Modern Dance Group was premiered in 1950.
Even though the TWU Modern Dance Group traveled extensively each year, one tour is especially memorable. In the summer of 1956 the company went to New York City where it appeared on NBC's Home show with Arlene Francis and Steve Allen's Tonight show, followed by a season as the first university dance company to perform at Jacob's Pillow. The program also featured ballerina, Mia Slavenska, and Japanese kabuki dancer, Sahomi Tachibana.
In 1957 Ted Shawn arranged a sumptuous twenty-fifth anniversary gala for the Men Dancers at the Pillow. The season boasted a distinguished roster of artists representing ballet, Spanish, modern dance and ethnic companies. The celebration of the Men Dancers was saved for the final week of the season. All but one of the original company showed up, but Campbell evidently did not, so was toasted in absentia. In 1963 Shawn planned another anniversary extravaganza honoring the thirtieth anniversary of his Men Dancers. Choreography from the first season was performed with both Mary Campbell and Jess Meeker playing. It was a grand finale of a great era in American dance.
1965 marked a turning point in the history of American modern dance. With
minimalist dancers beginning to dismantle the canons of modern dance, much heralded
was Ruth St. Denis' and Ted Shawn's historic Golden Wedding anniversary celebrated
at Jacob's Pillow. Surely Campbell played a key role in planning the glamorous occasion
and playing for their performances. The end of the golden age of modern dance was at hand for only four
years later, in 1968, Miss Ruth passed away followed by Shawn's death in 1972. Although Shawn had criticized Alvin
Ailey's early choreography for the Lester Horton Company when it danced at Jacob's Pillow years earlier, Shawn was one
of the first producers to regularly engage black artists. The next season, in 1973, Ailey, artistic director of Alvin Ailey's American
Dance Theatre, honored Shawn by restaging one of his most enduring and substantial works,
Campbell's was a consuming position at TWU, yet she found the time to bond with everyone. She could be strong and say what she felt, yet she had an equally committed faith in students and colleagues, remembers Gladys Keeton, TWU dance faculty (taped interview, May 9, 2000). Her informal work load consisted of composing and arranging music for all the dance concerts, planning tours by the TWU Modern Dance Group alongside Dr. Duggan, arranging for guest artist appearances, teaching the music for dancers course, composing music for thesis and dissertation choreography, and coaching student scholars on their written theses and dissertations, and helping students sort out personal life problems. Rehearsals took up most nights as well as weekends. There was a willingness to make the tremendous commitment of time, particularly to assist Dean Duggan with grading dance history papers or to proofread hers and student writing. Unflappable, gentle, and easy going, Campbell was revered by students and colleagues as a delightful, inspiration artist; someone whose personality was markedly different from Duggan's commanding style.
Through the years of living in Denton, Campbell was deeply involved in community and church affairs, giving lectures on dance and music to civic groups and women's clubs and to encourage liturgical dancing in her church. Helen Norgaard remarked, "She wanted everyone to know about dance" (taped interview, January 23, 2004). Campbell's influence in developing sacred dance and music in the Dallas, Denton and Fort worth region draws again from St. Denis' and Shawn's Contention that "if we use the dances of religious content with intelligence we can make a great contribution to the field of educational progress and I think we who are educators and are interested in the dance have received a great challenge- that we use the dance for these magnificent ends" (Shawn, 1940, p. 37). Indirectly, Campbell brought liturgical dance into her church in Denton and encouraged others to press for its inclusion in special concerts and church services.
What about her artistic legacy? Although her particular visionary attributes and artistic contributions to dance accompaniments and composition remain elusive, a published lecture by Ted Shawn may hold clues to Campbell's artistic and pedagogical principles. Shawn championed the concept of "music visualization" which is a method whereby the form and feeling of movement is mirrored by the rhythm and quality of the music. Energy, tension line and rhythm are the result of an intense partnership of creative intention, motion, and sound. Shawn could not have arrived at his principles for how music and dance are related without the insight and examples of his musicians, first Louis Horst, then Mary Campbell and Jess Meeker. Whether it was a class project or a commission, Campbell composed, arranged and improvised music that encouraged dancers to deeply feel themselves embodied through the music.
In 1967 a young dancer now chair of the Dance Division, Texas Christian University in Fort Worth, studied at the Pillow with the modern dance and ballet greats. Vividly Ellen Garrison Shelton remembers "Mary at the piano playing solid, strong meters with passion and enthusiasm. Jess [Meeker] would sometimes "talk back" or challenge a teacher but my memory of Mary is that she had no need for that kind of conversation. A strong and confident presence in the studio, Mary supported the class while she added her own beautiful artistry with her music." (Shelton, Ellen Garrison). Campbell championed the integral role that music is to the dancer's training, creative inspiration, and intellect. For Mary, the musician must not be so absorbed in achieving technical perfection that she has "little initiative as regards to the creation of completely new forms" through a kinesthetic association with the fundamentals of human movement (Shawn, p. 55-56).
Without a doubt, Mary Campbell was a dancer's musician. Former student, Myrtle Louise Rollins, remembers that "her versatility at improvisation amazed me, and I was always mesmerized by the fitting sounds and rhythms she could anticipate with each move” (Patrick, p. 44).
Campbell was devoted to the professionalism of her demanding field, never absent even when playing through illness and injury. "She never complained ..., giving to others over giving to herself" (Rae Faulkner, Patrick, p. 54). Through her fluent improvisational style, the dancers felt her support through the mood of the music as they released themselves to new movement. Whether Mary drew upon musical themes, melodic ideas and so forth, occasionally from other pieces of music, they were woven into the sound texture that she created. (Jeannette Schlottmann Roosevelt, Patrick, p. 45)
Mary Campbell was perfectly tuned to the movement. If something wasn't working, she had no qualms about changing it to best suit the choreographic intention and the actual shape and content of the movement.
This writer and another doctoral student worked with Campbell during her final years at TWU. "'I was touched immediately by her sparkling wit, her generous smile and patience" and Kathy Lowrey was impressed that this woman who had a "tremendous sense of humor [yet also] happened to be a superb accompanist'" (Patrick, p. 57-58). Indeed, Mary Campbell inspired artistry. Gracious and eloquent is the way Jerry Bywaters Cochran remembers her relationship with Campbell during Cochran's six-week guest teaching residency. And a few years later, Jerry's daughter, Mary Cochran, formerly with the Paul Taylor Dance Company and now head of the MFA program of the Dance Department, Barnard College, was introduced to her music when Campbell played for her mother's classes. What Mary Cochran recalls is the joy, playfulness and variety of the music. "When Mary arrived and played the piano," reminds Ray Faulkner, "the students executed the dance and it came to life.... The students responded to the beauty and the magic of this woman" (Patrick, p. 89).
Sadly, while some scores have survived, very little of Campbell's music was recorded for she insisted on playing every class, every performance. Gladys Keeton, TWU dance faculty who worked and shared an office with Campbell from 1969, remembers that until the last two years the Modern Dance Group was totally dependent on Mary playing live. Although she was an easy person who never seemed to be hurried, when she sat down to play, a different persona emerged. It was all "beautiful music," so powerful and different from other accompanists with whom Keeton had worked. Remembers Keeton, Mary's music was "full ... [rhythmically and emotionally] precise, interesting and dynamic" (taped interview, May 9, 2000). The music was dancing with you, so it made you want to get up and dance too. Much of it was by ear; for only rarely did Campbell actually play from a score.
In the early 1970's Mary was forced to retire due to an age requirement, but funds from anonymous donors allowed her to continue playing for selected classes until 1974 when she fully retired (the exact year remains in question). In May of 1973, Dean Duggan retired. Campbell and Duggan planned to take up residence together, but this plan was short circuited when, in September, Duggan succumbed to a heart attack. With the department expanding in full time faculty and a new dean, the following year Campbell decided to pull up stakes and return to her beloved Maine where she once again enjoyed the fall colors and being close to family.
Until 1976 she continued her summers playing at Jacob's Pillow. Perhaps contributing to her decision to retire from the Pillow was a shift in dance aesthetics generally and her own dwindling energies capped by hospitalization in Waterville, Maine. However, following her retirement, Campbell continued to be involved in events at Jacob's Pillow (see photographs, such as the 1978 retirement of business manager, Grace Badorek, shown with Norman Walker, director of Jacob's Pillow from 1975 to 1979). She traveled and seems to have divided her time among friends and colleagues in Denton, especially at St. Barnabus Episcopal Church, where she was organist for many years, and her home town in Island Falls, Maine. Each year found her returning to Denton where she faithfully attended TWU events, especially concerts by the Dance Repertory Theatre (the Modern Dance Group's name changed in 1974, co-directed by Gladys Keeton, Adrienne Fisk, Penelope Hanstein, and, after 1980, Dr. Janice LaPointe-Crump).
Little is known about Mary Campbell's last years. But, following, a period of ill health, she passed from this world on June 13, 1985, at the age of 86. Today, her spirit of dance continues in the way accompanists are trained by dance educators and choreographers who learned through Mary Campbell, the artist and the person, that the accompanist should also be a dancer in spirit.
The Mary Campbell Collection documents the professional life of this dance accompanist, composer and educator. The papers include correspondence and business files, Texas Woman's University records, musical scores, programs, news clippings, and photographs.
The correspondence and business section contains both personal and work related papers from 1930 to 1976. While the bulk of these items are letters and postcards, other manuscripts are included. For example, two travel diaries and other memorabilia from the Winslow/Fitz-Simons' 1941 Argentinean tour are a part of the collection. Also, Campbell's community activities are well represented. Correspondence to Campbell from Ted Shawn are included, however, the largest grouping of these letters are housed at The Dance Collection of The New York Public Library.
Texas Woman's University is included with a section of letters, business files, programs, news clippings, and photographs. Most items reference Texas Woman's University's Modern Dance Group, with whom she served as accompanist. The majority of the musical scores compiled are from her work with the Modern Dance Group, 1943- 1973, however, the collection does encompass several items by other composers.
Programs abound with detailed information from almost every performance that Mary Campbell was a part. Beginning with Braggiotti/Denishawn in 1928 through Jacob's Pillow in 1976, the programs give an insight into the longevity and scope of her performance life. The programs also reveal her interest in other disciplines and artists. News clipping from the early 1930's to the early 1970's coincides nicely with program events.
Photographs span from Campbell's vaudeville days in the 1910's until retirement in the 1970's. They portray not only the performance aspect but also rehearsals and publicity photos of Campbell and other performers such as Ted Shawn, Miriam Winslow, Ruth St. Denis, Foster Fitz-Simons, Joseph Pilates, Barton Mumaw and Jess Meeker. Jacob's Pillow is detailed as is the Winslow/Fitz-Simons' Argentinean Tour, the Denishawn dancers, and the Texas Woman's University's Modern Dance Group.
Additional information is available at Texas Woman's University in the Master's Thesis,
Researchers may access the Mary Williams Campbell Papers Monday through Friday, 8:00 am to 5:00 pm in the Woman's Collection. The Woman's Collection is located on the second floor of the Blagg-Huey Library. All materials are viewed in the Catherine Merchant Reading Room, and photocopies are provided at the discretion of the Woman's Collection.
Permission to publish materials must be obtained in writing from the Coordinator for Special Collections.
All responsibility for questions of copyright that may arise in copying, scanning, and use of material shall be assumed by the user.
The Mary Campbell collection was delivered to the Woman's Collection at Texas Woman's University by Diane Patrick on May 8, 1986. Campbell's sister, Claire Hathaway, requested that the papers be made a gift to the institution in 1988.
Ranu Singhvi, 2007
Mary Campbell grew up in this small rural community less then thirty miles from the Canadian border. She retained her roots in her hometown through performing musical lectures/demonstration for various church and civic organizations
Program of lecture/demonstration given by Mary Campbell at Whittier Congregational Church. Different styles of music are represented: classical,
boogie-woogie, folk, etc. Includes eight pages of notes.
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Program of Campbell's lecture/demonstration entitled
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Unknown sources. Gives positive reviews of Campbell's benefit performance at the United Church of Christ, the Southern Aroostook Community School, and the home of Mrs. Frank Wescott. n.d.
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Unknown sources. "Modern Dance Composer Plans Island Falls Event." announcement of a program at Whittier Congregational United Church of Christ to benefit the
Katahdin Public Library of Island Falls. n.d.
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Unknown sources. Reports on the musical and silver tea to benefit the Women's Fellowship of Whittier Congregational Church.
The event was hosted by Mrs. Wescott and Campbell performed. Island Falls, Maine. n.d.
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In the summer of 1930, several dancers and musicians involved in the previous Denishawn Company took refuge at Ted Shawn's recently purchased, rather primitive "farm" in Lee, Massachusetts. The founding member of what was to become the world renowned Jacob's Pillow dance enclave were Ted Shawn, Mary Campbell, Marjorie Lyons, Jack Cole, Barton Mumaw, Harry Joyce, and Don Moreno. In 1933 eight men were recruited from Springfield College who, along with Barton Mumaw formed Ted Shawn and His Men Dancers. In 1942, shawn redesigned Jacob's Pillow operations into two parts, the University of Dance and Jacob's Pillow Dance Festival. Mary Campbell returned from her work with Winslow/Fitz-Simons to become the musical director for the Pillow, a post that include teaching as well as composing and accompanying. Campbell continued in this position each summer from 1942 to 1976.
Publicity photographs are merged together to form a collage of snapshot. The photographs of "Friends of Jacob's Pillow" constitute a visual record of annual happenings. n.d.
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Postcards picture the Ted Shawn Theatre at Jacob's Pillow. n.d.
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Postcard shows an early view of the Main House at Jacob's Pillow. n.d.
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Postcards detail the 1962 and 1963 festival season.
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Postcards of places of interest in the surroundings area of Berkshire Hills, Massachusetts. n.d.
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The story of Jacob's Pillow" includes history, festival, and University of the Dance information. n.d.
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Pamphlets include admission forms, curriculum guidelines, description of courses, school schedules, and list of faculty members. Various dates.
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Pamphlets announce the future season's performances and ticket information. n.d.
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From 1933 to its disbanding in 1940, Ted Shawn and His Mens Group were the principal performers, famous for its afternoon tea concerts. Deep in debt, in 1940, Ted Shawn was forced to put Jacob's Pillow on the market. "Mary Washington Ball, a dance teacher from Cortland, New York...leased the place with an option to buy." Shawn credits all with having conceived of the "Jacob's Pillow School of Dance" and "The Berkshire Hills Dance Festivals, the diverse programming was the hallmark of a Jacobs Pillow season." For the first time, guest artists and companies performed at the Pillow, something that continues to this day . While this season set an artistic precedent, it was a financial disaster. In 1941, Shawn turned to British ballet stars, Anton Dolin and Alicia Markova. Their International Dance Festival was an artistic and financial success. In 1942, Shawn resumed leadership until his death in 1972.
Credits: Owen, Norton.
Announcement of the opening of the school with a listing of course dates. Ted Shawn, Miriam Winslow, and Foster Fitz-Simons are named as instructor. July - August 1940.
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Flier describing philosophy of Jacob's Pillow's school of the Dance. Also provides details of the "Berkshire Hills Dance Festival" and tea lectures. 1940.
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Description of the goals of Jacob's Pillow School of the Dance includes the daily regime and tuition expenses. 1940.
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Mailing list with the names and addresses of faculty and staff members. Mary Campbell is listed as living at Rodin Studio, 200 W. 57th Street, New York, New York. 1940.
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Signed contract accepting a position as assistant musical director for the 1973 season from acting director Walter Terry. April 20,1973.
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Signed Contract agreement for the 1974 season from Jacob's Pillow director Norman Walker. May 21, 1974.
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Unsigned Contract agreement for the 1975 season from Norman Walker. May 28, 1975.
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Signed Contract agreement for the 1976 season from Norman Walker. March 5, 1976.
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Letter written by Mary Campbell to chairman Dr. Ira Colby and the members of the board of directors of Jacob's Pillow Dance Festival Incorporated. The letter explains Campbell's concern for the "lack of purposeful coordination in the curriculum and an expressed philosophy pertinent to the dance education" exhibited by the 1973 season's leadership. It is unclear whether the letter was actually mailed. 1973.
1 item.
Letter of thanks for cooperation during the problematic season under new administration after Ted Shawn's death in 1972. A receipt is included for a contribution of $25.00 made by Campbell. October 9, 1973.
2 items.
Friendly letter from Jacob's Pillow comptroller Grace Badorek sending news of the upcoming season. March 19, 1975.
2 items.
Friendly letter from Grace Badorek states, "glad to hear that you [Campbell] are doing better." November 2, 1976.
1 item.
Get well card to Campbell addressed to Thayer Hospital in Waterville, Maine from Norman Walker. March 23, 1976.
1 item.
Miscellaneous thank-you cards to Campbell from Jacob's Pillow fellow faculty members and/or students. n.d.
1 item.
Musical event to commemorate Campbell's farewell performed by the students. Campbell's notes are included. n. d.
1 item.
Announcement of University of the Dance tuition, schedule, requirements, application for admission, and faculty names. "Miss Mary Campbell will again head the music department." 1943.
2 items.
Announcement of University of the Dance tuition, schedule, and requirements. 1945.
1 item.
Application for admission to Jacob's Pillow University of the Dance, medical examination form included. 1952, 1953.
4 items.
Notice of dance books for sale through Jacob's Pillow. The profits from the books were designated to support 1963 student scholarships. 1962.
1 item.
Student rules and regulations sent to the faculty "in order to know what is expected... and not, unwittingly, encourage or make any situation that causes them to break these rules." June 26, 1963.
2 items.
Letter of student rules and regulations sent to the staff and faculty. June 16, 1966.
3 items.
Letter of rules and regulations of the 1967 season.
3 items.
Notice from Shawn about the visit of Miss June Arey, a "member of the National Endowment for the Arts and Humanities." He implored those who had the opportunity to speak positively and constructively about the school and festival. August 20,1967.
1 item.
Letter of rules and regulations regarding the 1968 season. June 20,1968.
3 items.
Letter of request for contributions began "Dear Friend - (Patron? Sponsor?)." October 16,1969.
1 item.
Announcement of the faculty and curriculum for the 1974 season. 1974.
1 item.
Notice of 1975 school curriculum and admission form. January 13, 1975.
2 items.
University of the Dance rosters list names and addresses of faculty, staff, and resident students for the years 1961-1967, and 1974.
8 items.
Announced the presentation of an oil portrait of Ted Shawn to "the world" by his associates and friends. August 4, 1964.
1 item.
Announced two parties given at Jacob's Pillow to celebrate the golden wedding anniversary of Ted Shawn and Ruth St. Denis. August 13, 1964.
1 items.
Announcement that Norman Walker would replace the ailing Ted Shawn for his "Dance Appreciation" course at Jacob's Pillow's University of the Dance. August 17,1966.
1 item.
Report of a fifteen percent drop in attendance for the 1966 season. 1966.
1 item.
Announcement from Walter Terry, director of Jacob's Pillow in 1973, of future events for the dance festival lecture series. Mary Campbell is listed as instructor for the "Music and Dance" lecture. July 24, 1973.
1 item.
Announcement from Norman Walker, director of Jacob's Pillow from 1975 –1979, of the schedule for the eight-week professional season for 1976.
1 item.
The fourth lecture of the "Dance Appreciation" course marks the 35th anniversary of the festival. July 14, 1968.
1 item.
Newsletter details a retrospective view of Jacob's Pillow Dance Festival and University of the Dance first summer season. Includes the names of the board of directors and staff, as well as a history of Jacob's Pillow. 1942.
2 items.
Newsletter describes the upcoming 1964 season. Also includes a ticket and purchasing information.
2 items.
Report on the 1965, 1967, 1968, 1970, and 1972 seasons including staff and event photographs.
5 items.
Details regarding upcoming performances of the Jacob's Pillow Festival and news of various dancers. Signed by Madame La Meri. April, May 1974.
1 item.
Jacob's Pillow Dance Festival Company's itinerary for October 4 – December 7, 1952. Campbell made use of the headings on itinerary (day of week, month and date, city, auditorium, mail in care of) as a journal.
2 items.
The Winslow/Fitz-Simons group were heralded as "dance ambassadors" when they arrived in Buenos Aires, Argentina on April 1, 1941; the first North American modern dance ensemble to tour South America since Isadora Duncan in 1916. They gave approximately thirty-two performances to enthusiastic crowds in principal cities throughout Argentina. Performers included Miriam Winslow (choreographer/dancer), Foster Fitz-Simons (choreographer/dancer), Mary Morse (percussionist/dancer), and Mary Campbell (pianist).
The letters received by Campbell during the 4-month tour (April 1– July 30,1941) were primarily from fellow artists and patrons extending welcome, invitations to social events, and congratulatory messages. Although the letters, cards, and messages do not provide descriptive detail, they do convey the cohesiveness and support of the international arts community that transcended both cultural and linguistic barriers.
Letter from Eva Fischer, wife of musician L. Braun de Fischer, admiring Campbell's work. She explained that "your American dances ... showed us a new style of art, quite different from the European." June 9,1941.
1 item.
Letter from Clara Newelt de Joseph, Profesora de Musica de la Universidad de Budapest, thanks Campbell for her letter and includes the names and addresses of fellow artists in New York that she wanted Campbell to visit. Includes name card. August 6, 1941.
2 items.
Letter written by Frances, wife of Henry (no last name) shortly after Campbell's departure from South America. She thanked Mary for the "wonderful book" and sends all her "good wishes." n.d.
1 item.
Letter from Francisco Meana and Francisco (Paco) Rodriguez who represented the Teatro Odeon in Buenos Aires invites Winslow/Fitz-Simons to return to perform more concerts. December 27, 1941.
1 item.
Letter written on
1 item.
Item written on the back of Odeon Teatro, Buenos Aires program. Correspondent with illegible signature states that a letter was received from Ted [Shawn] informing them of Campbell's stay in Argentina. April 15th, (year unknown).
1 item.
Note of introduction for Campbell written by Cookie Moyano to Dolly Yaniz de Santillan in Tucuman. n.d.
1 item.
Telephone message taken at the Savoy Hotel in Tucuman, Argentina for Campbell from La Radio L.V.F. The message discusses the details of a radio interview and recital. July 9, 1941.
1 item.
Note referring to the Banco de Londres in Tucuman, Argentina. n.d.
1 item.
The names of Julia Calaira Pasteur and Mr. Braunsdorf Eugene with numbers, written on scraps of paper. n.d.
2 items.
Card from Ateneo Luis Bello Sec. Cultural del C. E. de Union Republicana to Teatro La Opera in Rosario, Argentina. The card announces the visit by, "de los extraordinarios componentes del Ballet Winslow/Fitz-Simons," under the, "auspiciados por la Comision Nacional de Cultura de Washington." April 1941.
1 item.
Name card included from flowers sent to Campbell by Miriam Winslow while in Tucuman. "Dearest Mary, hope that all goes well tonight too. Devoted always, Mimi." n.d.
1 item.
Postcard from M. Anderson in Brazil to Campbell in Buenos Aires. n.d.
1 item.
Christmas card from "The Correas, Shipmates from
1 item.
Name card from flowers sent to Campbell on the
1 item.
Photo postcard of Carlos Lottermoser wished Campbell a "very happy new year." December 1, 1942.
1 item.
Collection of name cards, some with telephone numbers and addresses that Campbell collected while in Argentina. 1941.
12 items.
Campbell's diary contains her observations, emotions, and experiences during the South American tour. A partial transcript is included. March, 1941— August, 1941.
2 items.
Monetary transactions, dates, and names comprise this collection piece. March, 1941 - August, 1941.
1 item.
Certificate proclaims Campbell a "Good Neighbor in Waiting"
by the captain of the
1 item .
Recuerdo de Buenos Aires. n.d.
1 item.
Passenger list of the
1 item.
Downtown Buenos Aires map courtesy of Pan American Airways System. n.d.
1 item.
A "Rough Outline of the Prospectus" called for a dance conservatory under the management of Winslow and Fitz-Simons to begin in 1942. The duo planned to organize a company to tour North and South America during the 1943-1944 season. Campbell was listed as musical director with Jess Meeker as assistant . The project never materialized. n.d.
1 item.
In 1972, The Alvin Ailey American Dance Theater performed
Ted Shawn's
Christmas Card with the sole message of "Peace," signed by Ailey. n.d.
1 item.
Signed contract regarding Campbell's "employment as soloist with the 1972 season of The Alvin Ailey City Center Dance Theater." The letter states that she would be paid $50.00 per performance for three weeks. November 3,1972.
1 item.
Invoices and check stubs. November 17,1972 through December 5,1972.
5 items.
Letter of apology from Ivy Clark, the general manager of the Alvin Ailey American Dance Theater. She refers to a note she received from Jess Meeker concerning the failure to reimburse Campbell for her 1972 travel expenses to New York. March 16,1973.
1 item.
Cochran thanks Campbell for the gift of a Jacob's Pillow booklet and informs Campbell of her hobby of "collecting things regarding dance." Two brochures from Mary Cochran, the daughter of Jerry Bywaters Cochran, dance courses at Texas Christian University, Fort Worth, Texas are included. September 20,1975.
3 items.
Thank-you for Campbell's gift of a 1932 Ted Shawn program. June 23, 1978.
1 item.
Program of Mary Cochran sent by Jerry Bywaters Cochran. August 8, (year unknown).
1 item.
John (Chris) Christian became associate director of the Jacob's Pillow theatre in 1949. Later he was architect for major renovations in 1967. He dedicated his life to Ted Shawn, professionally and personally. He was a prominent role in Jacob's Pillow business affairs before and after Ted Shawn's death. In 1972, before Shawn died, Christian was designated his successor, but served only that one season; withdrawing due to illness.
This letter was written from his home, once shared with Shawn, at "Shawn Lake" in Eustice, Florida. Christian discusses Campbell's illness and the activity in and around the Florida retreat. A belated Christmas card is enclosed. March 23, 1976
2 items.
Cohen was one part of "The Symphonic Quartet" that accompanied Denishawn's 1929 –1930 tour. The quartet also included Mary Campbell, Muriel Watson, and Hugo Bergamasco.
A descriptive letter from Cohen accompanied Campbell's first trip to Europe as Ted Shawn's accompanist. Meant for reading aboard ship, "for the steamer," Cohen encourages Campbell to appreciate her exciting venture as a most wonderful experience. Written on Manger Hotel (New York City) stationary. December 11, 1930.
1 item.
Dean of the College of Health, Physical Education and Recreation at Texas Woman's University until shortly before her death in 1973. In 1943, Dr. Duggan persuaded Campbell to accept a position at Texas Woman's University as dance accompanist. Duggan and Campbell became friends through their careers at Texas Woman's University, remaining close for the next thirty years.
A thank-you letter to Campbell for her "superb role as initiator, coordinator, and speaker" at the Anne Schley Duggan Appreciation Day festivities presented by Texas Woman's University. She also discusses her upcoming retirement and her plans to reside in Campbell's home in Denton, Texas. May 1,1973.
1 item.
A letter of condolence addressed to Campbell concerning the death of Anne Schley Duggan from the Dance Division of the American Association for Health, Physical Education, and Recreation. b.1905, d.1973. October 25,1973.
1 item.
A Thanksgiving poem with handwritten note expressing appreciation for Campbell's friendship. Thanksgiving, 1969.
1 item.
Program of the memorial service for Dr. Anne Schley Duggan. n. d.
1 item.
Foster Fitz-Simons was one of the original members of Ted Shawn and His Men Dancers who danced with the company from 1933 – 1939. He left to pair with dancer Miriam Winslow to form the Winslow/Fitz-Simons Ballet. Mary Campbell was the company accompanist until 1942. Later, he was professor at University of North Carolina - Chapel Hill, a novelist, and playwright.
A birth announcement of Fitz-Simon's first son. May 20,1942.
1 item.
Christmas cards with photograph of his growing family included. n.d.
3 items.
One of George Balanchine's earliest male students and dancers, he began studying and performing with Martha Graham and later became her only husband from 1948 - 1952. In the early 1950s Erick Hawkins formed his own successful school and company. He is remembered as a widely respected brilliant dancer, philosopher and dance innovator whose dance ideas combined classical myth and primal western American directness and subtlety.
The letter cites Ted Shawn, Jacob's Pillow, and Campbell's work at Texas Woman's University. February 5, 1964.
1 item.
Letter from President L. H. Hubbard expresses his "personal appreciation" for a performance given at the Redbud Festival. March 30,1950.
1 item.
Signed gift card from Jones and a host of others. n.d.
1 item.
Christmas card from Jones and Ludin to Campbell mentioning Dr. Duggan's death. Postmark: January 30, 1974.
1 item.
2 items.
1 item.
Koner was revered dancer and teacher of modern dance whose company, the Pauline Koner Consort toured internationally from 1976 - 1982. A student of Mikhail Fokine and Michio Ito, later she was mentored by Doris Humphrey and danced with Jose Limon.
Note thanks Campbell for her work and "wonderful cooperation." n.d.
1 item.
Postcard written by Koner while working in Tokyo, Japan. n.d.
1 item.
Rosann McLaughlin Cox was dance director of the University of Houston's Department of Health and Physical and Education, and later originated the dance program at the Booker T. Washington High School for the Performing & Visual Arts until 2002. Mary Martha Lappe was a dance instructor in the same department, and later directed the dance program at the Houston High School for the Performing and Visual Arts. Materials pertain to the Martha Graham Company's performance and demonstration at the University of Houston in 1971. Mary Campbell and Texas Woman's University students participated.
Letter of thanks from Mary Martha Lappe and Rosann McLaughlin Cox regarding a master class taught by Mary Hinkson, leading dancer with the Graham Company. Texas Woman's University students participated in the workshop. The letter also extends an invitation to Texas Woman's University students to perform on the Spring Dance Concert. 1971.
1 item.
Notes from both Mary Martha Lappe and Rosann McLaughlin Cox regarding a news article about the workshop. n.d.
2 items.
1item.
Printer's proof for the Graham Company's performance on November 19, (year unknown).
1 item.
"Houston's only fine arts magazine for the cultural community... published five times a year." The issues include more than one performance's program, as well as biographical information on artists, and various articles. November — December 1970 — February 1971.
2 items.
Invitation to Mary Campbell from D. Cater Cranford, president of the Southwestern Regional Ballet Festival to accompany four master classes at the upcoming festival in Arkansas hosted by the Little Rock Civic Ballet. December 5, 1969.
1 item.
Mary Campbell's response to D. Cater Cranford's letter declines to play for the master classes at the Southwestern Regional Ballet Festival because of obligations with the Texas Woman's University's Modern Dance Group. December 18, 1969.
1 item.
The New York Times dance critic and writer was an influential figure in establishing
modern dance as a major American art form through his criticism,
advocacy, books, and teaching.
A letter of thanks from Martin for Campbell's letter praising his radio broadcast a few days prior. April 2,1942.
1 item.
In 1933, Ted Shawn focused his attention on developing an all male ensemble. In order to finance his Men Dancers, Shawn accepted a paid engagement with the Order of the Alamo in San Antonio, Texas. In route, Campbell and Shawn met Meeker through former Denishawn dancer Ernestine "Teenie" Day in Arkansas City, Kansas. Campbell toured with Ted Shawn and his Men Dancers for a few dates, but soon relinquished the position to Meeker. Campbell felt that she could not adequately compose for an all men's troupe. Campbell and Meeker remained friends and collaborated musically over a span of 40 years.
Source: Patrick, Diane G. Mary Campbell: Accompanist/Composer. Master's Thesis, Texas Woman's University. Denton, Texas. 1986, (p. 36 - 37).
A letter in which Meeker asks Campbell for
permission to publish her compositions
1 items.
Meeker relays his excitement about Campbell's upcoming
visit to New York. He reserved time at Electric Lady Studios for them to record the score
for the Alvin Ailey Dance Company's production of
2 items.
Meeker forwarded Campbell's payment from the Ailey Company for her
1 item.
A carbon copy of the letter sent by Meeker to Ivy Clark of
the Ailey Company reads: "I was shocked to learn that she [Mary Campbell] had
never received payment from your people covering her transportation to and from
Denton for the
2 items.
Meeker discusses the reorganization of Jacob's Pillow that followed Ted Shawn's death in 1971. He mentions the resignation of Walter Terry and relates that "poor Walter has made enemies or close enemies of almost everyone of his old friends." Meeker also mentions the passing of Nancy Duggan who died a few days earlier while residing in Campbell's apartment. Letter dated September 24, 1973.
1 item.
Check stub from the Dance Theater Foundation for reimbursement of "out-of-pocket expenses, air fare - in connection with Fall,1972 City Center season, $204.00" Check stub and postmark dated May 21,1974.
1 item.
Mendinger writes of her time spent "dancing with the girls and meeting you at TWU." She enjoyed working "in such a stimulating situation for the dance." June 17, 1965.
1 item.
With Ted Shawn's Men Dancers from 1933 –1940. Also member
of the original cast of
Mumaw thanks Campbell for her shared composition of
1 item.
Mumaw's response to a letter sent by Campbell. Instead of stationary, Mumaw wrote on the back of a program for a production in which he was the featured dancer in 1941. Postmark: September 15, 1969.
1 item.
Letter from Mumaw to Campbell following Ted Shawn's death. Mumaw asks Campbell if she felt it was right to perform a "Shawn solo" the following summer at Jacob's Pillow. Mumaw writes about the memorial performances held in Shawn's honor and sends his condolences to Campbell. Postmark: January 27, 1972.
1 item.
Photo postcard of Mumaw in costume taken at the Parthenon in Nashville, Tennessee. n.d.
1 item.
Christmas card from Mumaw thanking Campbell for her gift. n.d.
1 item.
Thank-you card from Nadel expresses appreciation of the support given by Campbell as accompanist at Jacob's Pillow. August 27,1974.
1 item.
"To dear Mary, the Seasons Greetings and every blessing for the New Year." 1938. From Bashka Paeff.
1 item.
"To dear Mary, the Seasons Greetings and all good wishes for the New Year,1940 and hope to see you back up in Boston... Bashka."
1 item.
"...To Miss Campbell. Bashka..." n.d.
1 item.
Printed inscription reads "The Seasons Greetings and all best blessings for the New Year." n.d.
1 item.
Uninscribed postcards depicting Paeff pieces. n.d.
1 item.
Notice of the death of Nel Roos written in Dutch. The services were held in Holland. August 27, 28,1970.
1 item.
This letter thanks Campbell for the musical score composed especially for
Rosado.
1 item.
Letter "expressing heartfelt thanks and appreciation for services rendered as Church Organist." January 28, 1948.
1 item.
Reports Mary Campbell as being "recognized by the rector as 'Outstanding Laywoman'." January 28, 1972.
1 item.
1 item.
1 item.
1 item.
1 item.
The collaborative relationship between Ted Shawn and Mary Campbell developed in the 1920's when Campbell worked as pianist at the Braggiotti/Denishawn School of Dancing in Boston, Massachusetts. Over the next 50 years, Campbell and Shawn were side by side through the founding of Jacob's Pillow, countless performances and tours, summer seasons at Jacob's Pillow, and deep friendship.
Account of Ted Shawn and His Men Dancers' trip to London. The three-page letter documents their activities and includes newspaper reviews of their performances. June 6, 1935.
1 item.
Running Jacob's Pillow during the WWII years left Shawn exhausted. He retreated to Australia for a yearlong sabbatical in 1947 where he gave several recitals and visited friends. This letter to Campbell container a photograph of Shawn, and daughter and son-in-law of his accompanist, Ida Beeby. Also, Shawn includes a program from his upcoming Farewell Recital on July 25, and two newspaper reviews of his Australian performances. July 14, 1947.
4 items.
Shawn's letter written from Jacob's Pillow in response to one received from Campbell detailed the performances, people, and events of the previous week. July 31, 1958.
1 item.
The letter from Shawn discussed an upcoming Texas Woman's University dance workshop that he
taught. An account followed of Ted Shawn books, original films, clothes, and music either sent to "Nancy [Duggan]" or brought
by Shawn himself. He added that every student "SHOULD HAVE" the books,
1 item.
Shawn expressed sympathy over Campbell's "cracked rib" and then recounted the chaos at Jacob's Pillow from the mischief of one of the "scholarship boys. Campbell got out of here just in time." n.d.
1 item.
Note informing Campbell of Shawn's attempt to gather all the "Men Dancers" for a Jacob's Pillow "Old Home Week." He asked if she could come and "make it really GALA." n.d.
1 item.
Note written as "a small token of my deep appreciation of your contribution to our 1970 season." n.d.
1 item.
Postcard from Stuttgart told of stops on Shawn's lecture tour. He noted that his stay in the, Germany Dom Hotel Koln (Germany) flooded back memories of their tour together in 1931. November 24, 1958.
1 item.
A card entitled "All I Do The Whole Day Through Is Think Of You" and staff at Jacob's Pillow. July 17, 1964.
1 item.
Small card stating only "Merry Christmas dearest Mary, from Ted." n.d.
1 item.
Photo postcard of Shawn given as a "token of my deep gratitude for your faith, loyalty and love." n.d.
1 item.
Photo postcard of Shawn signed "Merry Christmas." n. d.
1 item.
Photo postcard of Shawn receiving an award. n.d.
1 item.
Although professionally and personally separated in 1931, Shawn and St. Denis never divorced. They continued to support each other in their professional endeavors and maintained a deep friendship over the years untill their death.
Letter regarding purchase of gifts and call for donations for both St. Denis and Shawn on their golden anniversary. July 24,1964.
1 item.
Invitation to the program and reception honoring the golden wedding anniversary of Ruth St. Denis and Ted Shawn on August 11, 1964. The invitation sent by "the committee representing the Dance World of America" included Walter Terry as chairman, Martha Graham, Jose Limon, and Charles Weidman. July 22, 1964.
1 item.
Form letter from St. Denis and Shawn thanking the participants and attendees at their golden anniversary celebration. Includes a collage of photos and press clippings. September 13, 1964.
1 item.
Sybil Shearer was described as a maverick in modern dance. She studied in New York with Hanya Holm and was Agnes De Mille's assistant choreographer. She danced with the Humphrey-Weidman Dance Company until 1941. Later in her career, she left New York to perform and teach her unique interpretive style at the National College of Education in Northbrook, Illinios where she continues to teach and write.
Letter to Mary Campbell referred to a performance by Shearer at
Jacob's Pillow in the Elizabeth Waters's
1 item.
The letter referred to Campbell as the "lady of the piano" and mentioned her work with Miriam Winslow. n.d.
1 item.
Terry wrote extensively for a myriad of news publications
including the
In the letter beginning, "Mary, My Crotchety Coryphee." Walter explains his reasons for not sooner reporting Ted Shawn's 1947 Australian tour in his newspaper columns. November 17. 1947.
1 item.
Letter sent with a belated Christmas gift. He refers to Miriam Winslow and her South American tour with Jess Meeker as accompanist. January 29, 1949.
1 item.
Christmas card asks about Campbell's plans after retirement. He explained that he knew of several positions available. ca. 1972.
1 item.
Torkanousky expressed regret and sympathy at the death of "Papa Shawn." She also recalled with "great gusto and pleasure" her collaboration with Campbell at Jacob's Pillow. March 4, 1972.
1 item.
Elizabeth Waters began her career as a member of the Hanya Holm Dance Company. Eventually, she accepted a faculty position at the University of New Mexico, Albuquerque, where she continued her work and her friendship with Mary Campbell.
Note from George Irwin Rohrbough, president of Monticello College in Alton, Illinois. He thanked Campbell for accompanying Waters in a dance recital on January 4, 1945. He enclosed a $50.00 check as agreed and stated that the performance "was a very substantial, artistic piece of work throughout." January 10, 1945.
1 item.
Letter informed Campbell about Water's reception of the Arts Commission Award for Achievement and Excellence in the field of dance from the New Mexico Arts Commission to be given on Oct. 4, 1975. She stated, "I wish you could be here." Enclosed is the award letter and a program of planned dance workshops. September, 1975.
3 items.
Muriel Watson performed with Mary Campbell as part of the Symphonic Quartet during the 1929 - 1930 Denishawn tour.
Campbell planned to meet with Watson while in New York for her performance with the Alvin Ailey American Dance Theater. Watson wrote Campbell to confirm their reunion. September 12,1972.
1 item.
Weidman studied at the Denishawn School, Los Angeles, California,
and performed with Denishawn until Doris Humphrey and he broke away in 1928 to form their own
company and school in 1929. When Humphrey was forced to retire in 1948 due to arthritis, Weidman formed his
own company to foster his "kinetic pantomime" and a male point of view within a then female dominated art form. In 1960,
Weidman and Mikhail Santaro established the Expression of Two
Arts Theater in New York. Josh Limon, who later went on to begin his own company, was a student of Weidman's.
Source: New York Public Library, Digital Library Connection http://digilib.nypl.org/dynaweb/hgc/findaid/weidman
Charles Weidman thanks Campbell for the gift of a book and states that, "I think that you are a very lovely lady." June 26,1965.
1 item.
Campbell's "wonderful help, talent and cooperation" was the focus of Weidman's thanks. He also added, "when you see Ted, give him my best." July 9,1966.
1 item.
Letter from The Expression of Two Arts Theatre "Charles Weidman is now booking
two programs for the coming seasons." The shows,
1 item.
The letter was written of the back of copied newspaper reviews of his new dance project. Weidman refers to the establishment of the Charles Weidman Foundation. He asks Campbell for contributions "down there." August 18, 1969.
1 item.
Newsletter of the Charles Weidman School of Modern Dance, Inc. Weidman credits Nik Vanoff for making the foundation possible. The theatre will retain the name of Expression of Two Arts. November 1969.
1 item.
Newsletter of the Charles Weidman School of Modern Dance, Inc. March 23, 1970.
1 item.
Newsletter of the Charles Weidman School of Modern Dance Inc. Fall, 1970.
1 item.
Letter from Weidman to inform recipients of touring availability, with enclosed brochure. September 1, 1972.
1 item.
Photocopies of the Weidman company's news articles, with enclosed note.
1 item.
Thank-you for Campbell's role as accompanist and composer in a program organized by the Council of Administrative Women in Education. April 15, 1944.
1 item.
Thank you for contributing to the conference on
1 item.
Thank-you for participation in the 1971 Annual Recognition Banquet honoring volunteers for the Denton State School. October 27, 1971.
1 item.
Donation made by Mary Martha Lappe in tribute to Campbell to the National Dance Association.
1 item.
Certificate of Plaudit Award given by the National Dance Association to Campbell for "dedicated and inspiring teaching of dance." Letter of congratulations is included. n.d.
2 item.
Dean Aileene S. Lockhart of Texas Woman's University's College of Health Physical Education and Recreation congratulates Campbell on an award received by the Southwestern Regional Ballet Association. March 25,1974.
1 item.
Pamphlet titled
1 item.
Mary Campbell accepted a position at Texas Woman's University as dance accompanist in 1943. This thirty-year affiliation provided her an opportunity to promote dance accompaniment as an important art form and to educate students in the vital relationship between dance and music and to compose original music for dance.
Proposal for the establishment of the Mary Campbell Fund to "facilitate writing, composing, and recording by Miss Campbell... in order that the unique value and benefits of her work shall not be lost...." Handwritten note stated that the "balance of the fund was $583.00 which has been used to establish the Mary Campbell Scholarship Fund." October 13,1970.
1 item.
Addressed to former students asks for donations to establish the Mary Campbell Foundation. September, 1970.
1 item.
Mary Campbell taught a course entitled "Accompaniment for Movement" at Texas Woman's University from 1946 through 1970. The notes, written on numerous index cards, pertains to the course content.
1 item.
Pamphlets concern the studies in dance and related arts produced by the College of Health, Physical Education, and Recreation at Texas Woman's University. n.d.
8 item.
Program of the
1 item.
Program for the
1 item.
Program for the
1 item.
List of the
1 item.
Copies of speeches delivered in honor of Anne Schley Duggan by Mary Campbell, Jeanette Schlottman Roosevelt, and Leona Holbrook.
3 items.
Letter to former students of Dr. Anne Schley Duggan inviting them to participate in the "Appreciation Day" events. n.d.
1 item.
Letter from Diane Baker at Lamar University, Beaumont, Texas expresses gratitude for witnessing the festivities of the "Appreciation Day." April 12, 1973.
1 item.
College of Health, Physical Education, and Recreation, Texas Woman's University. Letter to "Very dear Alumnae" lists various plans and scheduled events. Fall, 1970.
1 item.
Various materials including cards, letters, and programs from students and faculty. n.d.
11 items.
Hospitality and food guide for the visiting Indrani Dance Group, TWU guest artist. n.d.
1 item.
1 item.
Press release from Mary Hardin-Baylor College announces the upcoming performance of the Modern Dance Group. Dr. Duggan received her bachelor's degree from Mary Hardin-Baylor College in Belton, Texas in 1923. April 16, 1968.
1 item.
Correspondence pertained to bookings, hospitality arrangements, and performance details between the Modern Dance Group represented by Duggan and Mary Campbell and various other institutions. March 20, 1968 — April 16, 1969.
18 item.
Correspondence pertained to bookings, hospitality arrangements, and performance details between Anne Schley Duggan, Mary Campbell, and Gladys Keeton representing the Modern Dance Group and various other institutions. September 11,1969 – April 28,1970.
6 items.
Correspondence pertained to bookings, hospitality arrangements, and performance details between Anne Schley Duggan, Mary Campbell, Gladys Keeton representing the Texas Woman's University's Modern Dance Group and various other institutions. March 10, 1971– April 14,1971.
9 items.
Letter of introduction from Anne Schley Duggan requesting invitations for the Texas Woman's University's Modern Dance Group. September 29,1971.
1 items.
3 items. 1967 –1968.
1 item. 1968 - 1969.
3 items. 1969 - 1970.
7 items. 1970 - 1971.
14 items. 1971 - 1972.
1 item. 1972 - 1973.
Costume design for a headdress. n.d.
1 item.
1 item.
1 item.
1 item.
1 item.
1 item.
1 item.
1 item.
1 item.
1 item.
1 item.
1 item.
1 item.
1 item.
1 item.
1 item.
1 item.
1 item.
1 item.
1 item.
1 item.
1 item.
1 item.
1 item.
Modern Dance Group presented by Southeast Missouri State College, Cape Girardeau, Missouri. April 7,1964.
1 item.
1 item.
Modern Dance Group presented by the Texas Association for Health, Physical Education, and Recreation Convention, Austin, Texas. December 4, 1964.
1 item.
Modern Dance Group presented by the National Convention of the American Association for Health, Physical Education, and Recreation, Dallas, Texas. March 22,1965.
1 item.
Modern Dance Group presented by San Jacinto College. Women's Physical Education Department, Pasadena, Texas. April 29, 1965.
1 item.
1 item.
1 item.
Modern Dance Group presented by Phillips University, Enid, Oklahoma. March 27, 1966.
1 item.
Modern Dance Group presented by Texas Woman's University, Concert and Drama Series, Denton, Texas. April 18,1966.
1 item.
Modern Dance Group presented by Arkansas College and Batesville Musical Arts Club, Harrison, Arkansas. April 20,1966.
1 item.
Texas Woman's University, Concert and Drama Series, Denton, Texas. April 29,1966.
1 item.
Modern Dance Group presented by The Austin Council for Health, Physical Education, and Recreation, Austin, Texas. April 10, 1967.
1 item.
1 item
1 item.
Modern Dance Group presented by AIM, the Ecumenical In-Group of Ardmore Youth, Ardmore, Oklahoma. December 9,1967.
1 item.
1 item.
1 item.
Modern Dance Group presented by Incarnate Word College, San Antonio, Texas. April 5,1968.
1 item.
Modern Dance Group presented by Texas Lutheran College, Seguin, Texas. April 8,1968.
1 item.
Modern Dance Group presented by St. Stephen's Episcopal School, Austin, Texas. April 20,1968.
1 item.
Modern Dance Group presented by First Presbyterian Church, Austin, Texas. April 21,1968.
1 item.
Modern Dance Group presented by Huston-Tillotson College, Austin, Texas. April 22,1968.
1 item.
Modern Dance Group presented by Texas Woman's University, Denton, Texas. April 18,1968.
1 item.
Modern Dance Group presented by Mary Hardin-Baylor College, Belton, Texas. April 23,1968.
1 item.
Modern Dance Group presented by Texas Woman's University, Concert and Drama Series, Denton, Texas. April 26,1968.
1 item.
1 item.
1 item.
Modern Dance Group presented by the First United Methodist Church of Richardson. Richardson, Texas. March 16, 1969.
1 item.
Modern Dance Group presented by the Department of Speech, Texas Woman's University, Denton, Texas. April 7 - 19,1969.
1 item.
Modern Dance Group presented by Mary Hardin-Baylor College, Belton, Texas. April 21, 1969.
1 item.
Modern Dance Group presented by The Schulenburg High School Dramatics Club, Schulenberg, Texas. April 23,1969.
1 item.
Modern Dance Group presented by the Sam Rayburn Girls' Physical Education Department in Pasadena, Texas. April 25,1969.
1 item.
Modern Dance Group presented by Texas Woman's University, Concert and Drama Series, Denton, Texas. May 9,1969.
1 item.
1 item.
Generic Program Form. 1 item.
1 item.
Modern Dance Group presented by First Christian Church and First United Methodist Church, Lewisville, Texas. March 15, 1970.
1 item.
Modern Dance Group presented by the 25th National Convention Young Women's Christian Association of the United States, Houston, Texas. April 14, 1970.
2 items.
Modern Dance Group presented by St. Marks United Methodist Church, McAllen, Texas. April 16,1970.
1 item.
Modern Dance Group presented by Pan American College, McAllen, Texas. April 17,1970.
1 item.
Modern Dance Group presented by the Prairie View Agricultural and Mechanical College of Prairie, Texas. April 20,1970.
1 item.
Modern Dance Group presented by Calhoun High School of Denton, Texas. April 21, 1970.
1 item.
Modern Dance Group presented by Texas Woman's University, Concert and Drama Series, Denton, Texas. May 1,1970.
1 item.
Generic Program Form. April 20,1970.
1 item.
1 item.
1 item.
Modern Dance Group presented by Texas Lutheran College, Seguin, Texas. March 25,1971.
1 item.
Modern Dance Group presented by Eagle Pass High School Spotlight Club, Eagle Pass, Texas. March 26,1971.
1 item.
1 item.
Modern Dance Group presented by Texas Woman's University, Concert and Drama Series, Denton, Texas. April 16, 1971.
1 item.
Modern Dance Group presented by South Plains College in Levelland. Texas. April 21, 1971.
1 item.
Modern Dance Group presented by West Texas State University, Amarillo, Texas. April 24,1971.
2 items.
Modern Dance Group presented by Eastern New Mexico University, Portales, New Mexico. April 26, 1971.
1 item.
Modern Dance Group presented by Texas Woman's University's College of Arts and Sciences in honor of Dean Autrey Nell Wiley, Denton, Texas. May 5, 1971.
1 item.
Generic Program Form. n.d.
1 item.
1 item.
1 item.
Modern Dance Group presented by Temple Junior College Temple, Texas. February 4, 1972.
1 item.
Physical Education Workshop presented by Pan American University, Edinburg, Texas. Anne Schley Duggan and Mary Campbell listed as session instructors. February 10-11,1972.
1 item.
Modern Dance Group presented by Texas A & I University, unknown location. April 10, 1972.
1 item.
Modern Dance Group presented by Beverly School of Dance in Del Rio, Texas. April 12, 1972.
1 item.
Modern Dance Group presented by the J. W. Nixon Golden Spurs at the J. W. Nixon High School, Laredo, Texas. April 13, 1972.
1 item.
Modern Dance Group presented by the Girls Physical Education Department of Mission High School, Mission, Texas. April 15, 1972.
1 item.
Modern Dance Group presented by Concordia Lutheran College, Austin, Texas. April 18, 1972.
1 item.
Modern Dance Group presented by the Southern State College Activities Board, unknown location. April 21,1972.
1 item.
1 item.
Flier announcing performance by the Master Class of Texas Woman's University Dancers at Texas Woman's University, Denton, Texas. n.d.
1 item.
1 item.
Modern Dance Group presented by Grambling College Lyceum Series and Orchesis Dancers, Grambling, Louisiana. February 26, 1973.
1 item.
Modern Dance Group presented by the 50th American Physical Therapy Association Annual Banquet, Houston, Texas. June 28,1973.
2 items.
Mary Campbell, playing the piano in a dance studio at Texas Woman's University. Note indicated that the photo was a gift to Campbell from Mrs. H.M. Cox, Lauri and Julie. March 29,1969.
1 item.
Texas Woman's University children's dance class. Ruth St. Denis and Anne Schley Duggan are standing. Mary Campbell is seated in chair on the right by the piano. Unknown instructor is seated on the floor. 1965.
1 item
Ted Shawn during a dance workshop held at Texas Woman's University. n.d.
2 items.
Modern Dance Group publicity photos. Dancers are shown in costume, n.d,
7 items.
Snapshots taken either in rehearsal or during a class. May 1961.
2 items.
Publicity photos of an unspecified dance group. n.d.
1 item.
Photographs of the Modern Dance Group taken by Leon E. Tujague, Jr. n.d.
5 items.
Mary Campbell, the Modern Dance Group, Anne Schley Duggan, and Ruth St. Denis are viewing the Denishawn Collection Dance Collection at the New York Public Library. 1956.
1 item.
Student Jacqueline Latham pictured with Duggan and Mary Campbell at Texas Woman's University. Also, photographs from Latham's wedding. n.d.
3 items.
Photos of unknown dancer and two children. n.d.
2 items.
Various news articles pertaining to Anne Schley Duggan Including her obituary in the January 1974 issue of the Journal of Health, Physical Education, and Recreation, written by Mary Campbell.
5 items.
Issues of
1 item.
6 items.
Miscellaneous articles feature news of upcoming dance events. 1965.
16 items.
1 item.
1 item.
1 item.
3 items.
1 item.
1 item.
1 item.
Articles announced performances, featured artists, and details of the season's repertoire.1960 – 1961.
4 items.
Articles announced performances, featured artists, and details of the season's repertoire. 1963 –1972.
78 items.
Mary Campbell's work as dance accompanist for Texas Woman's University's Modern Dance Group required her to select music that would best suit the choreography. If appropriate music did not already exist she composed original scores. Also, her tenure as faculty member afforded her the opportunity to create music for graduate students; creating original works for their master's theses or doctoral dissertations. This collection of musical compositions represented these varied roles. The sheet music was placed in the collection as it was received. The handwritten titles she gave each document are listed.
1 item.
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1 item.
1 item.
1 item.
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1 item.
1 item.
1 item.
1 item.
1 item.
1 item.
2 item.
Schedule of events and programs including Miriam Winslow and Foster Fitz-Simons in
7 item.
In 1921, Campbell was pianist, arranger, and composer for the Boston based Denishawn franchise run by sisters Francesca, Gloria, and Bertha Braggiotti. It was there that Campbell developed a relationship with Ted Shawn during his periodic school visits. In 1928, Bertha died suddenly and Francesca married Governor of Connecticut John Lodge. The school was taken over by advanced Denishawn student Miriam Winslow and Campbell left, at Shawn's request, to accompany the 1929 - 1930 denishawn tour.
Mary Campbell's role in the Denishawn tour was as a musician in the "Symphonic Quartet." The 1929 - 1930 tour was the grand finale for Ted Shawn and Ruth St. Denis as partner professionally and personally. Following this tour ,Shawn and St. Denis disbanded their company, dismantled the school and separated, leaving heavy debts. With the depression and faded creative strength, the tour did not make near enough to resolve debts and taxes. Campbell's handwritten notes on the back of each program tell of her experience during this final last ditch historic endeavor.
October 18 - October 29, 1929.
7 items.
November 1 - 9, 1929.
9 items.
Items include programs from performance at Dallas Fair Park and Texas State College for Women both November 11, 1929. Campbell wrote,"Flew to Dallas Trolley to Denton- Adolphus Hotel. Parker Craig's wife changed rattling for Starr upright. College girls very warm." November 11– 23, 1929.
9 items.
December 2 - 13, 1929,
6 items.
January 10 – August 30,1930.
4 items.
Programs from various Denishawn performances including one at the Boston Opera House. Campbell's notes on the programs included.
8 items.
"Anne Marley and Mary Campbell at the pianos." October,1942.
2 items.
Programs reflect Campbell's work during the summer seasons at Jacob's Pillow as both faculty member and dance accompanist. One professionally created souvenir program was typically produced per season. Items consist of typed sheets of individual programs with performance details, dates, and times account for the majority of items.
The programs from this first season include performances by Elizabeth Waters, Sybil Shearer, and Miriam Winslow, to name only a few. The 1942 collection also holds four autographed programs signed by many Jacob's Pillow performers including Ted Shawn, Ruth St. Denis, and Bronislava Nijinska. Anne Schley Duggan was listed among the faculty members. July 9 – September 12,1942.
11 items.
Jacob's Pillow Dance Theatre programs. 1943, 1944, 1946 1948 –1950.
12 items.
1 item.
Jacob's Pillow Dance Festival souvenir program. 1951 - 1953.
16 items.
Jacob's Pillow Dance Festival. Celtic Ballet souvenir programs contain Campbell's notes. 1954.
10 items.
Jacob's Pillow Dance Festival. One autographed souvenir program presents photographs of Francesca Braggiotti, Ted Shawn, and Mary Campbell taken at Jacob's Pillow. 1955.
7 items.
Jacob's Pillow Dance Festival souvenir programs. 1956 –1957.
2 items.
The programs changed in their representation to announce the twenty-sixth year of the Jacob's Pillow Dance Festival and the seventeenth year of the Ted Shawn Theatre. Autographed souvenir program. 1958.
4 items.
Jacob's Pillow Dance Festival autographed souvenir program. 1960.
7 items.
Jacob's Pillow Dance Festival souvenir program. 1961.
8 items.
Jacob's Pillow Dance Festival souvenir program. Includes program notes for the Balasaraswati Indian dance performance and one souvenir program. 1962.
11 items.
Jacob's Pillow Dance Festival souvenir programs. 1963 - 1965.
26 items.
Jacob's Pillow Dance Festival souvenir programs. One signed, "To Mary from Ted." 1966.
3 items.
Jacob's Pillow Dance Festival souvenir programs. One signed, "To Mary, Happy 25th Anniversary. With Love From Ted." 1967.
12 items.
Jacob's Pillow Dance Festival souvenir program signed, "To Mary with love. From Ted. June 26,1968."
7 items.
Jacob's Pillow Dance Festival souvenir program signed, "To Mary with love. From Ted. 1969."
7 items.
Jacob's Pillow Dance Festival souvenir program signed, "To Mary with endless Love Ted." 1970.
8 items.
Jacob's Pillow Dance Festival souvenir program. 1971.
8 items.
Jacob's Pillow Dance Festival souvenir program signed, "Best Love! To Mary, Chris." Includes handwritten copy .
Jacob's Pillow Dance Festival souvenir programs. 1973 - 1976.
30 items.
Various programs from the three-month fall tour. A November 10,1952 program with Ruth St. Denis as guest star was autographed by all those who were part of that performance. All programs listed Campbell as "Pianist by courtesy of, and on leave of absence from Texas State College for Women, Denton, Texas." Also known as Texas Woman's University.
9 items.
Ted Shawn in Germany. Mary Campbell and Paul Lichtenstein listed as accompanists. March 15,1930.
1 item.
Ted Shawn and Mary Campbell traveled to join Corporal Barton Mumaw stationed at Kessler Field near Biloxi, Mississippi. They performed a benefit concert, proceeds from which were used "to erect and furnish a Reception Cottage for enlisted men on Keesler Field." The program boasts a beautifully designed red, white and blue cover. 1942.
1 item.
Tour included Ted Shawn, Grace and Kurt Graff, Miriam Winslow, and Mary Campbell as accompanist. The recital took place at the Teatro Oriente, presented by Pro-Ante de Oriente. January 15,1943. 1 item.
Performance presented by Sociedad Pro-Arte Musical. March 12, 1943.
1 item.
Ted Shawn, assisted by Anna Austin and Mary Hazel Benedict, performed at Old Silver Beach, West Falmouth. Mary Campbell and Muriel Watson were accompanists. Program outline included. August 22 and 23, 1930.
2 items.
Ted Shawn, Barton Mumaw, and La Meri were accompanied by Mary Campbell at McFarlin Auditorium. Presented by Southern Methodist University, Dallas, Texas. Friday, March 8, (year unknown).
1 item.
Performance presented by North Texas State University, Denton, Texas. Tuesday, March 5, (year unknown).
1 item.
1 item.
1 item.
Program entitled
11 items.
1 item.
Barbara Benzaquin, Wendolyn Bever, June MacLaren, Christine Maynard, and Mary Morse joined the Winslow troupe. 1938.
2 items.
Winslow performed with former Ted Shawn dancer, Foster Fitz-Simons. By the end of that year, only Mary Morse remained as associate dancer. 1939.
11 items.
Miriam Winslow and Foster Fitz-Simons. 1940.
17 items.
Miriam Winslow and Foster Fitz-Simons presented by The University of Rochester. December 16,1941.
1 item.
Miriam Winslow and Foster Fitz-Simons. January - February,1942.
3 items.
Miriam Winslow and Her Dancers - miscellaneous programs. n.d.
2 items.
Miriam Winslow and Foster Fitz-Simons - miscellaneous programs. n.d.
8 items.
Mary Campbell's Landscape with Figures or Paisaje Con Figuras was featured in every performance during the four-month expedition.
April 1941 - 3 items.
May 1941 - 7 items.
June 1941 - 2 items.
July 1941 - 13 items.
"Classical Pianist from Uruguay, soloist for Orquesta Sinfonica de Montevideo or SODRE" on tour in Forth America. n.d.
1 item.
Performance at the Town Hall. March 8,1941.
1 item.
Evening of Inter-American Fellowship presented at the West Side Y.M.C.A. n.d.
1 item.
Program with Campbell's handwritten notes. February 8,1957.
2 items.
Programs from 1961 through 1971. One signed by Cochran, "Thank you for all the 'elegant music,' Denton 1970."
8 items.
1 item.
1 item.
Program of performance at the Embassy Theater. n.d.
1 item.
1 item.
1 item.
Souvenir programs detailing Hawkins' work. n.d.
2 items.
Programs of Mumaw's solo concerts. Includes souvenir program. n.d.
3 items.
1 item.
Programs gathered during Campbell's 1972 trip to New York. The programs and playbills attest to her varied and enthusiastic interest in all kinds of performance arts. n.d.
10 items.
Rosado sent Campbell a program of his performance that included her original
composition,
1 item.
Souvenir Program.
1 item.
1 item.
1 item.
Promotional Brochure. "Ted Shawn and the Friends of Jacob's Pillow Dance Festival Tour to Spain, Greece, Turkey, and Egypt." n.d.
1 item.
The American Museum of Natural History presented Ruth St. Denis and Ted Shawn in
1 item.
Ruth St. Denis in
1 item.
Program of
1 item.
Miriam Winslow in a
1 item.
Miriam Winslow program for concert at Jordan Hall in Boston, Massachusetts. November 6, 1946.
1 item.
1 item.
Three folders contain programs from Latin performers like Clara Esteves as well as American groups on tour. Yale's Glee Club and George Balanchine's American Ballet Company programs are representations of the later. 1941.
15 items.
SEE ALSO OVERSIZE BOX 11X
These programs represent music, theater, art, and local cultural exhibits from all areas of the United States.
1934 - 1938. 2 items.
1960 - 1969. 6 items.
1970 - 1977. 10 items.
Undated. 7 items.
1 item.
"Balanchine Stages 'Scotch' Symphony." December 1, 1952.
1 item.
"Review of Dance at the Repertory: Francesca Braggiotti Presents Program." n.d. 1 item.
1 item.
"Portrait of First Lady 'Lovely,' Governor Declares." December 29, 1951.
1 item.
1 item.
"Spanish Brush Up." n.d.
1 item.
Portrait of Miss Lily Lodge, daughter of Ambassador to Spain, John Lodge, by Albert Lake. n.d.
2 items.
2 items.
2 items.
1 item.
"First U. S. Male Dancer Looks at Dance Today." n.d.
1 item.
1 item.
"Dancer's Accompanist Is Composer." Mary Campbell provided accompaniment for dancer Elizabeth Waters at a University of New Mexico recital. Albuquerque, New Mexico. July 25,1944.
1 item.
1 item.
Berkshire week, Pittsfield, Massachusetts. "Personal But Uneconomical, Their Art Is Being Challenged" by Kitty Cunningham. August 28,1971. 1 item.
1 item.
1 item.
1 item.
News articles concerning upcoming workshops and programs. n.d.
2 items.
1 item.
1 item.
Unknown source. "Ted Shawn Leads Dance Program at Lyric Theater." n.d.
1 item.
1 item.
1 item.
Several articles dated 1966 and 1974 discuss her life and work.
2 items.
1 item.
1 item.
1 item.
Details of events, guest performers, reviews, schedules, and people surrounding Jacob's Pillow Dance Festival. 1950 - 1959.
8 items.
1960 - 1969.
16 items.
Includes articles covering the transition period of management at Jacob's Pillow after Shawn's death. 1970 - 1979.
11 items.
1 item.
Jacob's Pillow University of the Dance. n.d.
5 items.
Benton Harbor, Michigan, "Twin city Audience Responds to Artistry of Dance Group." October 14,1952.
1 item.
1 item.
1 item.
Danced with Alvin Ailey American Dance Theater and named his successor as Artistic Director following Ailey's death in 1989.
1 item.
"Dance: 'Choros,' Dunham Gem, Unveiled." n.d.
1 item.
"Peggy Lawler Wins Award at Cornell." n.d.
1 item.
"A Dance Festival in Genoa" by Walter Terry. August 14, 1955.
1 item.
1 item.
Pauline Koner's late husband, son of composer Gustov Mahler.
1 item.
Notice with photograph of Minor's marriage to Robert Alexander Cameron. n.d.
1 item.
A collection of diverse reviews. 1941.
3 items.
1 item.
A collection of diverse reviews. 1940 –1972.
13 items.
4 items.
A collection of reviews. 1950 –1968.
7 items.
1 item.
News photo from German newspaper picturing "die girls" arriving to study at the Mary Wigman School in Dresden, Germany. Mary Campbell and Miriam Winslow are both featured. June 29, 1935.
1 item.
Articles chronicling Winslow's development as a performer. 1935 –1936.
8 items.
1939 - 1950 - Articles chronicling the partnership of Winslow and Fitz-Simons over their many years of collaboration. Mary Campbell is featured in many of the articles until her departure from the company in 1942.
8 items.
Although Winslow danced with Fitz-Simons, she performed some solo concerts. 1943 –1946.
3 items.
1 item.
Arrival in Argentina and performances while there. April, 1941.
6 items.
May, 1941. 3 items.
Performances in Salta. June 1941.
1 item.
Articles from Tucuman, Argentina.
2 items.
Articles from United States:
2 items.
1 item.
Articles pertaining to the dance worlds various performers and events. n.d.
3 items.
Mary Campbell playing piano at Texas Woman's University. Note indicated that the photo was a gift to Campbell from Mrs. H. M. Cox, Lauri, and Julie. March 29,1969.
1 item.
Texas Woman's University children's dance class. Ruth St. Denis and Anne Schley Duggan are standing. Mary Campbell is seated in chair on the right by the piano. Unknown instructor is seated on the floor.1965.
1 item.
Ted Shawn during a dance workshop held at Texas Woman's University.
2 items.
The Texas Woman's University Modern Dance Group Dr. Anne Schley Duggan, and Ruth St. Denis were captured viewing the Denishawn Collection at the New York Public Library. n.d.
1 item.
Student Jackie Latham is pictured with Dr. Duggan and Mary Campbell at Texas Woman's University. Also, photographs from Latham's wedding. n.d.
3 items.
Photos of two unknown children. n.d.
2 items.
Campbell pictured at pianos throughout the years beginning in the 1930's.
4 items.
Mary Campbell's venture into vaudeville as part of an all girl trio. The act was billed as a "novel singing, dancing, and pianologue offering." ca. 1918.
5 items.
Campbell with unknown gentleman seated at a New York City theatre. n.d.
1 item.
The first U.S. performance of the Celtic Ballet of Scotland at the 13th Jacob's Pillow Dance Festival. One photo is autographed by the troupe. 1954.
2 items
Ted Shawn and dancers: Don Moreno, Harry Joyce, Jack Cole, and Barton Mumaw. Fall of 1931.
2 items.
Mary Campbell at Jacob's Pillow. n.d.
6 items.
Various snapshots at Jacob's Pillow during the years. Includes Ted Shawn, Miriam Winslow, and Barton Mumaw. n.d.
5 items.
Photo taken at Mary Washington Ball's production of "The Berkshire Hills Dance Festival" during her period managing Jacob's Pillow in 1940.
6 items.
Miriam Winslow and Foster Fitz-Simons with dancers in the studio at Jacob's Pillow, probably during the 1940 season.
16 items.
Ted Shawn with dancers in the studio. n.d.
6 items.
Scenes of Jacob's Pillow faculty, visitors, and students including a shot of Jeanette Schlottman, Anne Roosevelt, Clara Pilates, Anne Schley Duggan, and Joseph Pilates standing together. 1942.
6 items.
Mary Campbell and Ted Shawn together at Jacob's Pillow. n.d.
2 items.
Composer, Jess Meeker and Mary Campbell over the years. n.d.
8 items.
Ruth St. Denis with Ted Shawn at Jacob's Pillow. n.d.
2 items.
Construction of the Ted Shawn Theatre at Jacob's Pillow. Also included are other Jacob's Pillow structures in varying stages of completion. Shawn Theatre: October 1941 through July 1942.
9 items.
Miscellaneous Jacob's Pillow associates. Includes one photo autographed by Ted Shawn. n.d.
3 items.
Autographed photo of Jacob's Pillow performer and faculty member, Myra Kinch, n.d.
1 item.
Autographed photographs of Manual Rosado thanking Mary Campbell for her composition, Demencia. 1952.
2 items.
Mary Campbell, Ted Shawn, and Barton Mumaw at Kessler Field near Biloxi, Mississippi. 1942.
2 items.
Autographed photo of Ted Shawn in performance. n.d.
1 item.
Snapshot of Ted Shawn and John Christian at their home during the Christmas season.
2 items.
Autographed photo of Ruth St. Denis in Salute to America. n.d.
1 item.
Photographs of Miriam Winslow. n.d.
7 items.
Photos of the early Winslow dance troupe including Olive Cousens, Mary Hughes, Jacqueline McGrath, and Nancy Minor. n.d.
7 items.
Various photos of the early troupe taken out-of-doors. Snapshots of Mary Campbell are also included. n.d. 24 items.
The early Winslow Dancers in Francestown, New Hampshire. n.d.
5 items.
Photos of the expanded Winslow company outdoors. Includes a photo while on tour in New Orleans. n.d.
21 items.
Snapshots of the "house and environment" at Chapel Hill, North Carolina. Miriam Winslow, Mary Morse, and Mary Campbell are pictured together. n.d.
8 items.
Miscellaneous photos. n.d.
3 items.
Snapshots of fellow artists taken at Miriam Winslow's family farm in Francestown, New Hampshire. n.d.
5 items.
Publicity photos of Miriam Winslow with Foster Fitz-Simons. Includes one caricature.
11 items.
Publicity photos of Foster Fitz-Simons.
3 items.
Snapshots taken at Sea Island, Georgia. Mary Campbell, Miriam Winslow, Mary Morse, Foster Fitz-Simons, and Alice Winslow enjoy the beach.
13 items.
Production of
7 items.
Mary Morse pictured in her role as both percussionist and dancer for Winslow/Fitz-Simons n.d.
2 items
Ballet Winslow's production of
12 items.
Ballet Winslow's performance of
9 items.
The first North American contemporary dance ensemble to tour South America since 1916, the Winslow/Fitz-Simons troupe gave thirty-two performances from April 1 to July 30,1941 throughout Argentina. Members included Miriam Winslow, Foster Fitz-Simons, Mary Morse, and Mary Campbell.
32 items.
Diverse group of photos taken while aboard the
11 items
Miriam Winslow, Foster Fitz-Simons, and Mary Morse on stage. 1941.
12 items.
2 items.
8 items.
Poster with performance dates and reviews of previous performances. May 30, 1935.
1 item.
Poster for
1 item.
Theater poster from performance in Cuba. Tour included Ted Shawn, Grace and Kurt Graff, and Miriam Winslow; Mary Campbell as accompanist. 1943.
1 item.
Poster announcing Bach's Easter Oratorio at the Expression of Two Arts Theatre December 21 to January 7, (year unknown).
1 item.
Autographed photographs of Winslow. Includes one with Foster Fitz-Simons.
2 items. (Also listed with photographs).
Certificate proclaiming Campbell a "Good Neighbor in Waiting" by the captain of the
1 item.
Argentina tour programs of Winslow/Fitz-Simons performances. One program printed on silk material given to Campbell by Carlos Lottermoser. 1941.
11 items.
Interview and typed transcription of interview with sister of Mary Campbell. Interviewed by Carolyn Norgaard in Island Falls, Maine. August 2000. 1 cassette tape.