USA > Indiana > The Indiana centennial, 1916; a record of the celebration of the one hundredth anniversary of Indiana's admission to statehood > Part 16
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Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7 | Part 8 | Part 9 | Part 10 | Part 11 | Part 12 | Part 13 | Part 14 | Part 15 | Part 16 | Part 17 | Part 18 | Part 19 | Part 20 | Part 21 | Part 22 | Part 23 | Part 24 | Part 25 | Part 26 | Part 27 | Part 28 | Part 29 | Part 30 | Part 31 | Part 32 | Part 33 | Part 34
It was entitled, "Ma-con-a-quah" (White Rose of the Miamis) as Frances Slocum was known by the Indians. One of the most impressive features was the rendition of the pro- logue parts by Rev. D. Lawrence Monahan, by whom they were written. As he stood out on the background of the night, it was as if a spirit had come to interpret the dim past in the light of the present. The prologue opened thus :
Miami! What wealth of history This name suggests! Here in years" A hundred past and more,
The red forbears of your possessions Roamed the virgin wood, and called it Home.
Here, in primal glory, ere white man's craft Had fashioned this, your city, lived we, the Miamis.
Here fierce aggression found us out
From savage Delaware;
And painted Iroquois, with blood-lust rampant,
Dyed the very ground on which you tread With blood of our brave warriors;
Until for vengeance, we, the red men of the Valley Rose in fearful strength
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To smite our ancient foe,
And blot them from the earth. Here on scenes of bloody conflict You come this night, to re-enact
The story of our domain.
Sweet content replaces olden bitterness, And kindly peace the enmities of yore.
You are inheritors of the earth. We are gone-down into the vastness of the Past Crushed by civilization's onward march;
With folded wigwams, toward the setting sun We have gone.
Time has made us poor to make you rich,
And naught remains of us but name and memory.
But we have left a story rich in romance,
The story of Ma-con-a-quah.
You call her Frances Slocum, we, the White Rose. And in her story shall be reflected
The history of your beginnings. Attend, ye people, while Present Turns back the page of Time
And witness here the dawning of your City.
The first scene was located in Wyoming Valley, Pennsyl- vania, 1778, and represented the abduction of the little Frances Slocum.
The second episode consisted of symbolical dances, inter- pretive of the spirits of the primeval forest. Episode three brought the action to Miami County, representing in two parts, the coming of the Indians, one depicting the Indians in peace and the other in war. In this episode, Frances Slocum becomes the bride of the war chief, Shepoconah. Striking interest was contributed in the fact that the part was taken by Mabel Bundy Sausaman, a great granddaughter of Frances Slocum, whose auburn hair and fair features she inherits.
The fourth episode represented the advent of the pioneer, and the fifth the destruction of Deaf Man's (Shepoconah's) village, which led to the battle of the Mississinewa. The sixth episode gave the treaty scene preliminary to the cession of the Indian lands, and then the Indian migration. The last episode, which treated of the settlement of the white people, reproduced the discovery of the White Rose of the Miamis, now an old woman, by her people. She steadfastly declined to return with them to the life to which she was born and they sorrowfully depart homeward.
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In so scant an outline hardly a suggestion of the strong appeal of the pageant can be given. It was primarily an Indian pageant, and to the writer's mind was the best and most vivid portrayal of this period of our history given in the State. He will never forget the deep impression made upon him by the scene portraying the departure of the In- dians for new and distant homes. Single file, out of the dark they came and into the dusk they went-a long, long line which seemed to have no end. A veritable nation passed into the dim unknown, making way for the ruthless demands of Progress.
The pageant was directed by J. Ross Woodring of Peru. It was an artistic success and a financial one as well, as it paid, through a nominal admission fee, the expenses of the whole week's celebration. It was repeated for several days beyond the original schedule, in response to popular demand, and was widely attended by people from surrounding counties.
The Miami observance opened on Sunday, August 13, with appropriate services in the churches. On Monday evening ceremonies were held marking the opening of the new orna- mental street lighting system, of which Peru was justly proud. A pleasing touch of symbolism marked the ceremonies, the latter being initiated by the arrival by canoe of the spirit of the Historic Past who was escorted to the court house where an interesting public colloquy took place between him and the mayor.
Tuesday's program was unique, being known as Frances Slocum Day. Some years before, a big reunion of the Slocum family was held at Peru, attended by Slocum connections from many States. In response to an invitation to be present and participate in the county's celebration, another gathering of the clans was held. As guests of the county, the visitors were taken out to the Bundy cemetery where appropriate memorial and patriotic services were held before a large audience, ad- dresses being made by members of the Slocum family, includ- ing Mrs. Sausaman, and by one or two others. The success of the day was due largely to Omer Holman, who has done more than any one else to preserve the Frances Slocum tra- dition.
The three succeeding days were known as Township and Civic, Fraternal and Industrial days, respectively, on which
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parades took place. Throughout the week a splendid pioneer relic exhibit was on display in the court house, arranged by Hal C. Phelps, making an excellent nucleus for a county museum.
The Miami county celebration was a real historic observ- ance, free from sham, and was of outstanding merit.
Prior to the county observance, two or three township celebrations took place, including those of Jefferson and Clay.
The work in the schools of the county was apparently not very far-reaching, little if anything being done before Ad- mission Day, apart from the assigning of an essay on local history to grade children. The schools did not take a very active part in the county observance.
Mrs. John Crume rode in the Centennial Cavalcade for Miami County.
MONROE
The importance and significance of the Centennial observ- ance in Monroe County does not in any way rest upon a county basis. Indeed, while the prevailing scheme of organization was followed in the naming of a County Chairman in the person of Oscar H. Williams of the University, little or no at- tempt was made to identify the whole county with the move- ment. The Centennial activities carried on in Monroe County were of state-wide significance-were in a peculiar way a part of the state celebration and were so recognized.
In a very large way the Centennial movement took its form and received its inspiration from the seat of Indiana's university. In anticipation of the year, the university brought to its summer school of 1915, William Chauncy Lang- don, first president of the American Pageant Association, to sow the seeds of pageantry in the virgin soil of the Hoosier State. Few knew aught of the new art and Mr. Langdon's classroom was not crowded. Little recked he. With a few eager disciples about him, he walked and talked 'neath the academic fronds, conveying vision and inspiration to those who were so largely to give form to the Centennial spirit.
When, some months later, Mr. Langdon was chosen by the State Historical Commission as State Pageant Master, it was with the understanding that his work should begin at Bloomington. There he carried on an intensive study of In-
The Pageant, of Bloomington and Indiana University
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diana history, character and institutions, as a basis for his interpretation of the motive forces and spirit of the common- wealth, which he would portray in pageant form. The first fruit of this study was the pageant of Bloomington and In- diana University, presented May 16 to 19 inclusive.
The importance of this pageant in the development of the Centennial idea can hardly be overemphasized. In the first place, it was, for Indiana, the model pageant. The quickly contagious eagerness for pageantry on the part of Centennial enthusiasts, represented zeal without knowledge. The Bloomington pageant gave that knowledge. From all over the State journeyed those upon whose shoulders rested the responsibility of local celebrations. It would be idle to imply that they thus learned the art of pageantry. But they were able to catch its spirit, to discern something of its funda- mentals, to get a vision of its possibilities. They went home with an inspiration and the result was to be traced in many a county in pageants well worthy of the model.
The Bloomington pageant gave tone, dignity and beauty to the Centennial idea, which were far-reaching in conse- quence. The serious, patriotic purpose of the observance was so emphasized as to make an indelible impression upon all who saw and heard. The regret is that the representation of the counties could not have been more complete and general, in which case the State would have been spared not a few trav- esties on the name, Centennial.
It was fitting that the first pageant should represent the educational development of the State, so well expressive of the basis of state progress, and focusing in its university. It was there, too, that Mr. Langdon uncovered talent which was to be no little factor in expressing the spirit of the year. Ap- propriate music is an integral part of pageantry, and herein Mr. Langdon had the invaluable assistance of Prof. Charles Diven Campbell of the university, who composed the music for the pageant; more particularly the stirring music for "The Hymn to Indiana," written by Mr. Langdon, and which became the uplifting Centennial refrain of the State.
In yet another striking way was this pageant a model. It was indeed the pageant of Bloomington and Indiana Uni- versity-a pageant of town and gown. It fully justified its claims as the promoter of community consciousness and unity.
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"It brought the community and University into closer and more helpful and appreciative relationship than at any time in their history," reports the County Chairman.
OUTLINE OF THE PAGEANT
I
INTRODUCTION: THE PIONEERS
1. The Settling of Bloomington (1818).
2. The Indiana Seminary (1820).
3. The Installation of President Andrew Wylie (1829).
II LIGHT AND TRUTH
4. The Hoosier Opposition (1850).
5. North and South (1861).
6. The New Regime (1883).
III THE AGE OF WOOD AND STONE
7. The City Schools.
8. The Chamber of Commerce.
9. The Service of the State.
IV FINALE: CENTENNIAL
Manifestly, it is impossible so to amplify or clothe the above outline as to give adequate impression of the finished production. We do reproduce, however, the "Introduction : The Pioneers," since it sets forth so well the spirit of the pageant and the masterful blending of symbolism and realism in introducing the dramatic portrayal of the life of the Com- monwealth.
INTRODUCTION : THE PIONEERS
The full orchestra sounds forth fortissimo the theme of The Hymn to Indiana, based on the chief motif of the pageant, the Indiana motif. When this is once clearly stated, the music immediately passes to the Hope motif. Coming as in answer to the call in the music, the spirits of Hope appear in the far background emerging from among the trees, running forward and stopping to listen eagerly, then calling, singing with a mere vocable the simple Hope motif. They are young women in blue, blue as of the sky flashing as with light, ever changing and ir- ridescent. From all the arc of the background they come in ever in- creasing numbers, converging as they approach.
When they have come near enough for their mass to dominate the scene, there is heard clearly in the orchestra the motif of Determination, and there come in answer from either side of the grand stand the spirits of Determination, young men in some one deep, rich forceful color such as simple purple. . They advance more in mass, more slowly, in a slower rhythm. They stop at intervals as they advance and answer the call of the spirits of Hope, replying to them similarly in a lower tone, singing,
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calling back and forth, and approaching nearer and nearer to each other, the spirts of Hope for the most part advancing but a little, while the spirits of Determination with strong, bold steps advance directly toward them, till they meet and join in a whirling dance of exquisite joy- ousness, the music of which is based on the two motifs of Hope and De- termination, the one rapidly sweeping free as air through all the range of music in the strings and woodwind, while the other moves strong and inflexible in the brass. The motion of the dance corresponds in the two groups.
While this dance still continues, there comes, almost intrudes, into the music a new motif, essentially human, the motif of the Pioneers. It increases rapidly until it subordinates the other two motifs. The spirits feel the interruption and stop to find the source of the new ele- ment. They turn their search toward the woods to the southeast. There they see a procession of Pioneers making their way slowly, pain- fully, with great difficulty along. They are men, women, and children, mostly on foot, a few on horseback, one or two driving oxen. Those in front are clad in buckskin, jeans, and linsey woolsey; those behind near the end of the procession are dressed as of the first part of the nine- teenth century. When the spirits of Hope see the Pioneers they raise their arms to them to cheer them on and sing their call to them. The Pioneers, seeing and hearing them, take courage and plod on. The spirits of Determination then also give their motif call and the Pioneers respond, repeating it.
Breaking in upon this encouragement, discordant Indian phrases are heard in the music. From the two sides of the little wooded ravine along which Pioneers come there pour stealthily down on them bands of Indians attacking them with ferocity, yelling the war-whoop, shooting their arrows, and brandishing their tomahawks. The Pioneers resolute- ly draw together to resist, and struggle to make their way on toward their goal. The spirits of Determination rush forward to the rescue. They divide into two lines to protect both sides of the Pioneers, and some of the spirits of Hope rush down between and mingle with the men, women and children of the Pioneers, cheering them and encouraging them, as the spirits of Determination help the men to repel and drive off the Indians. The rest of the spirits of Hope remain where they were, near the orchestra, singing their call of Hope constantly with the music of the orchestra.
As the contest goes on more and more successfully, the Indiana motif mingles more and more distinctly with the other motifs in the orchestra and the Indian phrases disappear, until the Pioneers come on again, successful and enheartened, escorted by the spirits of Hope and Determination, the music now opulent with the motif of Indiana.
As they arrive at the nearer grounds the spirits point to the uni- versity, and the Pioneers all turn to see the vision toward which they press, as the orchestra swings full and strong into the Hymn to Indiana, and the chimes in the university tower join in the melody also. At the same time the symbolic figure of the State of Indiana, attended by the figures of the city of Bloomington and of the university, appear on
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the slope to the gaze of the Pioneers. Thus escorted now by all the spirits singing their motifs, the Pioneers proceed on their way, ac- claiming with outstretched arms the future, women lifting their babies to see and men doffing their coonskin caps and beavers and pointing the children to the vision of their ideals. So they pass on and out, the music closing with the plain statement of the Indiana theme as in the Hymn.
As for the body of the pageant, the outline of episodes sug- gests its progress, the founding of the university town, the establishing the old seminary, forerunner of the university, the Hoosier opposition to higher education, the stirring times of '61, followed by a steady development. The outline can- not suggest, however, some of the very effective incidents in- troduced which characterize so graphically the life of the early period-such for instance as that of the camp meeting repentance of the "tough" young man brought within range of the eloquence and magnetism of Lorenzo Dow.
Neither can the outline suggest the largeness, the dignity of treatment of the motif as shown in the introduction to Part II, Light and Truth, as shown in the following:
LIGHT AND TRUTH
With sudden and piercing brilliance the orchestra strikes instantly into a motif suggestive of clear Light in the strings accented with the cymbals and maybe the high brass. As suddenly there appears at the top of the slope the figure of Light-not merely physical, but intellectual and spiritual as well. He shines in white radiance and carries in his right hand a great torch. He stands on the crest of the hill near the Observatory and calls to men to come and receive the fire of Light and Truth.
LIGHT: Light! Light! Light! Light! Ye Men of all the Earth Who dwell throughout the range of Time and Space Arise! Arise from out the lower plane Whereon you live! Bring forth the unlit torch Of life! Receive the fire of Light and Truth!
In response to the call of Light there comes from one side of the grand stand the figure of the Hebrew race, followed by several men of learning and inspiration of that race, Moses, David, and Isaiah. In close sequence from the other side there comes the figure of Greece, followed by Socrates, Plato, and Aristotle; then Rome, followed by Caesar, Virgil, and Cicero. To cach racial figure the Light inclines his torch and there- by lights its torch and says to them as they open their books:
LIGHT: Reveal the light! Unveil the truth! Except by these dare not to live! Except for these dare not to die! Go forth upon thy way!
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As these withdraw and take their places a little down the slope, there come in turn from either side the Arabians and the Monastic Learning of the Middle Ages; and then, coming from both sides, a larger group representing the Renaissance. They join as they go up through the center of the other groups, who welcome them as the heirs of all alike. To these also the figure of Light inclines his torch and addresses his exhortation in briefer form:
LIGHT: Reveal the light! Unveil the truth!
Almost immediately following the Renaissance group, yet distinct from it, come two figures representing the University of Oxford and Cambridge, together from the same side. They go along the way the Renaissance group has gone, up through the middle, and as they ap- proach the Light, the Renaissance group divides to welcome them among them and to introduce them to the Light. Herewith the music in the orchestra returning to the first clear form of the Light motif in the strings and cymbals works up to a first climax, marking the completion of the first, the European stage of the development.
As the universities of Oxford and Cambridge turn round there enter people of the American Colonies-Puritans from New England, Mer- chants from New York, Quakers from Pennsylvania, and Cavaliers from Virginia. They stand in two great groups near the grand stand, gazing at the academic tableaux before them. To them, one on either side, the universities of Oxford and Cambridge go down, and from them bring the earlier American universities-Harvard, William and Mary, Yale, Brown, Pennsylvania, Princeton-and escort them up the slope to the Light. These in turn go back and take their places in front of their own people.
As this proceeds, a number of Hoosier backwoodsmen, hunters and pioneers, men, women and children, come together in the center. Some of the eastern people join them. They stand far down by the grand stand in the center. To them the figure of Light calls:
LIGHT: Intrepid Indiana men, arise!
Raise high the torch that guides your feet from birth To death along your trails and streams. Be all
Your ways with radiance filled, with Light! With Light!
At once, in answer to his call, there comes recurrent in the music the Indiana motif, and from among the pioneers there enters the State of Indiana. She advances part way up the slope and says that there is among these frontier people no university or means for spreading the light, but that she will herself supply the need and create anew, a State University.
STATE OF INDIANA: No torch sheds light, no volume shines for these; But I, the State, will for them well provide!
The Torch! The book! The child! The robes and shield !
At her call for the torch and the book, two of those who have come from the east bring them. At her call for the child, a circuit rider and a pioneer lead forward to her a child dressed only in the tunic. When 13-15997
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the robes and the shield are brought to her, she robes the child in them, hangs the shield on her shoulder, and gives her the torch and the book. As all the Hoosiers raise their arms in acclamation, the State of Indiana leads the child up to the Light. He lights the torch and opens the book of the new State University, repeating in full the exhortation :
LIGHT: Reveal the light! Unveil the truth! Except for these dare not to live! Except for these Dare not to die! Go forth upon thy way!
The State of Indiana turns the child around and presents her to the people of the State, who acclaim their State and their University with shouts sung on the Indiana motif with the words:
ALL: All hail, Indiana hail!
The music sweeps into a brilliant, ecstatic march built on the In- diana and the Light motifs, strong and clear, full orchestra. To a con- tinuation of this march the academic groups descend the slope and go out at the base of the hill: first the ancient and medieval races, then the universities of Oxford and Cambridge and the earlier American univer- sities, followed by their people. The people of Indiana go forward to meet their State and the child University; then return and go out with them. The music returns to the clear intense music of pure Light with which the Interlude began, mainly in the strings and cymbals. The figure of Light vanishes whence he came, to this music.
FINALE: CENTENNIAL.
The orchestra bursts into the Light music as the figure of Light raises his torch high, goes to the top of the slope, as a signal to the people of all the past to return. From both sides of the grand stand they pour in singing. At the same time the spirits of Hope and Deter- mination sweep out into a circle on the horizon.
THE HYMN TO INDIANA.
To Heaven raise thy star-crowned head, Superb Indiana! Thy future to glory wed Through toil! Praise God! Hosanna!
Arise! Stand! Strive!
Thy faith revive! With courage and decision
Press onward toward thy vision!
Arise! Firm! True!
Thy strength renew! God prosper thy gages To serve the coming ages!
To Heaven raise thy star-crowned head, Superb Indiana! Thy future to glory wed Through toil! Praise God! Hosanna!
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Sounding abruptly in the orchestra are heard the first six notes of The Star Spangled Banner as a trumpet call. Indiana turns around and points far off where in the distance is seen America coming on horse- back, attended by the other States of the old Northwest Territory- Ohio, Illinois, Michigan and Wisconsin. America rides a white horse and is robed in white; she carries on her left shoulder the Shield of the United States and in her right hand the American Flag. The States ride dark colored horses, and wear the Shields of their Seals, but do not carry flags, as having no sovereignty in Indiana. All the people of the pageant turn in the direction whence America is coming and raise their hands in acclaim. A Pioneer and a Man of 1816 bring Indiana a horse. She mounts, takes from the City her State Flag, and rides forth to meet America. When she approaches her, Indiana stops and inclines her flag in salute, an honor which America acknowledges by inclining the American flag. Indiana then rides back with America, to the left and a little behind her.
As America approaches the top of the slope near the Observatory, the orchestra plays The Star Spangled Banner in salutation, and all the spirits of Hope and Determination sweep forward until they are quite near. Then all the people join in singing The Hymn to America.
America still seated on her horse raises her flag, and all the people kneel and sing, kneeling, the prayer stanza of the hymn "America."
All rise, and the music playing the Hymn to Indiana, march in heavy massed column out before America, Indiana, the other States, the City, and the University, into the future, in the direction whence America came. The figure of Light leads the way. The spirits of Hope and Determination converge on the moving column of the people of the pageant and march out with them. When all have passed, the central group comes down toward the grand stand and passes out to the south by the wood road.
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