http://Ellingtonweb.Ca Ellington on CD The Dooji Collection (Ellington on record)
On Thursday, May 9, 1940, Duke Ellington and His Famous Orchestra
arrived in Emporia, Kansas to play for the Grand Ball celebrating the
opening of the new Civic Auditorium during the city's first annual Fiestaval festival.
The ads for Emporia's First Annual Fiestaval May 5 to 10 included exhortations to plan to attend the grand opening of the new $600,000 Civic Auditorium.
Fiestaval began Sunday, May 5, with a community-wide religious service. On Monday a dedication program was attended by 2,500, and speeches were made by the governors of Kansas and Missouri. The civic parade on May 7, with about 170 parade units, was seen by an estimated 10,000 people. It was followed by an historic pageant and a square dance.
On Wednesday, a vaudeville show called "Three Cheers" was performed at 3:30, 7:30 and 10:00. It featured "name" Nick Lucas, Sid Page and Peggy, the Broadway Darlings dancers and Bobby Pope, His Blues Trumpet and Orchestra, and included the comedy teams of Hill and Hill and The Arkansas Hotshots, a novelty dance team Dennet and Dae, and dancer Donny Dee, acrobats the "Mad MacBrides," and the Ziemba Troupe.
The Fiestaval Grand Ball came Thursday evening, May 9, with Ellington providing the music. The Queen of the festival and her party entered to The Triumphal March from Aida, played by Ellington and his orchestra. Since the band did not have this in its repertoire, Ellington was given the sheet music and wrote a band arrangement shortly before the dance.
Since a dance for African-Americans (without Ellington) was held May 10, it would seem the May 9 dance was for whites only.
The Emporia Gazette provided an extraordinary level of coverage. Click here to see the ads, advance publicity and other reviews published in the Gazette during April and May.
I was particularly taken by this 1,800 word review cum essay, written by the owner of the newspaper, William A. White, published May 10 in his newspaper. Parts of his review were copied by other newspapers in the region.
|Date of event|| Ending date
|1940 05 09||.||Emporia, Kan.||Civic Auditorium|
Fiestaval Grand Ball
William A. White:
'Last night, for three
hours and a half, 2,000 Emporians on a gorgeous dance floor in the
Civic auditorium - so thick you could stir them with a spoon - busted
bustles to music furnished by Duke Ellington, the colored swinging,
jittering, jiving dance band leader. Two thousand other citizens of
Emporia and vicinity looked on from well-filled galleries at the amazing
(But before we go into that, as the lawyers say,
let us qualify as an expert. Fifty-five years ago and more, the writer
hereof earned his first dollar playing for dances in Butler county, a
young boy in his middle teens. We make no boasts but our outfit
consisting of a blind fidler, a competent cornetist and deponent at the
cabinet organ or piano, as the case happened to be - used to go out in
the country to farm dances, where they took down the bed and the
cookstove and emptied the houses and danced in three rooms. Mostly we
played square dances, thought we had two or three waltzes - "The First
Kiss Waltz," "The Cornflower Waltz," the "Skaters" and "Where, Oh Where
Has My Little Dog Gone?" There wasn't a note in the lot. We all played
by ear. As for calling off the square dances - the blind fiddler
couldn't see to do it, the cornetist was busy with something else, so it
fell upon this affiant to play the cabinet organ and call off - by
which task we had to let out a boy's changing voice so that, after a
year of it, we could be heard on a clear, windless, moonlit night in
three townships, and we made a hog-caller look like a Quaker meeting.
We were, in a way, the Duke Ellington of the Walnut valley. So, looking
back over nearly 60 years, we can persuade the gentle reader that we
know something about dance music as the light fantastic - or more or
less fantastic - Kansas toe was tripped in the middle or early 1880's.
And how music and the dance have changed in these
two passing generations! The change marks better than anything else the
spirit of the times. A few years after our Butler county experience,
we used to dance here in Emporia at the skating rink on the corner of
Eighth and Commercial; in Bancroft's hall, a barny room on the third
floor at the corner of Fifth and Commercial, and a few years later, in
the Wigwam on Merchant Street. In those pre-historic days, dance music
was tuneful, something you could whistle, and as we know full well by
pleasant experience, something that could be harmonized in simple chords
and when one knew the key the tune was cast in, an accompaniment could
be faked in that key by six or seven simple major and minor chords. But
the ancient music had consistent flowing cadence, definite harmony and
distinct rhythm that was carried by the melody, by the flow of the tune.
The rhythm was not syncopated and sometimes the tunes were so well
known, being popular songs, that the dancers would break into song as
the danced - as for instance, in a square dance to one of Stephen
Foster's songs, the dancers would catch and carry the tune carrolling:
Now these details of the dance romantic which your fathers ang grandfathers knew in the seventies and eighties - you young bloods of the fifth decade of this century - were as different from the dance we saw last night and the music was as different from that which squawked and shrieked and roared and bellowed in syncopated savagery as if the two - the music and the dance of th eold days - had been threaded and heard upon another planet. Moreover - and here we take a long deep breath before saying if that noise last night in the Civic auditorium for which the town paid $1,100 to Mr. Duke Ellington, is music, then the subscriber hereto is a trapeze performaer. The point is, if you wish to knwo, that dance music today is merely syncopated, blood raw emotion, without harmony, without consistent rhtythm, and with no more tune that the yearnful bellowing of a lonely yearning and romantic cow in the pastures or the raucous staccatto meditation of a bulldog barking in a barrel. "Shoot if you must this old bald head" but you might just as well know the God's truth about it.
Looking from the second balcony for two hours at the dancing crowd last night, the first dancing crowd I have watched for many a long year, I was tremendously impressed with the fact that there were no new steps there; also amused to observe that the same music last night incited different couples to different kinds of dancing. But evrey step that any couple danced last night was almost the exact reproduction of some gay galloping that must have originated many thousand years ago. That same step was preserved in the old square dances in the little prairie shacks in the Walnut valley 60 years ago. The thing we used to call a "hoedown" which we indulged in when the caller-off said "Everybody dance," was nothing more than the jitterbug. And the scraping, sideways bustle flopping hip-hinging (sic) form used by many other dancers last night was very much like do-si-dos in the square dance. And the hop-skip-and-jump, tumble-in-the-hay that some dancers used last night was only the "grand sashay" that I used to bellow when I got the dancers a bit tangled up in the 'eighties and could not straighten them out. The "peavine" that was challenged in the old song to Ann Jemimah above mentioned was the jitterbug preserved in the amber of time. But it was the same old showoff that mating animals have used far down the zoological line through the beasts of the fields, the birds of the air and the lightning bugs on a summer evening. At bottom it is deep calling unto the deep unto the deep to keep the life stream flowing! How could it all be less than beautiful - this vast primeval panorama that flowed so slowly around the big hall with its kaleidosope of ever mingling colors and forms.
Kipling asks the old question: "It is beautiful but is it art?" Probably all art is emotion. I believe that the finest art comes out of constructive rather than destructive emotion. And to keep the world moving, fecund, is the finest and loveliest art of all. In a time when destructive emotion, hate and jealousy and terror are bringing death and devastation to the earth, it is good to see youth carefree and intent upon the main business of youth - joyously building up its own art, conforming to its own day and generation. For how could the slow, moving, billowy, syrupy muisc of the 'eighties fit into this new world picture? Youth had to construct its rowdy modern music. Youth today had to revive the primal passions that moved the old dances if youth felt at all in terms of its own contemporary life. So let Duke Ellington and his black boys blare and bleat and bawl with their saxophones and bull fiddles and muted trumpets syncopating the call of the wild. And it is all right. But it's the same old inner urge, the more we change the less we change.
One of the really interesting sights on last
night's dance floor was the crowd of adorers who stood like acolytes,
crowding in front of the stage, motionless, a hundred of them, watching
with eager worshipping faces every movement of Duke Ellington and his
band. There were country band leaders from all over Kansas: from as far
west as Burrton, as far east as Lawrence, as far south as Sedan and
north as Manhattan. They stood there all evening with their eyes glued
on the band. Never a toe did they wiggle and never a foot did they
jostle, all popeyed, listening, watching, trying to find out how to get
in the big money. Their passionate curiosity was as real as the
electric urges that were throbbing through the moving crowd. The
oldsters who watched it, the dancers and the alter acolytes were
something pretty real in it all. Life and youth, the modern world,
dancing on the brink of the abysm that is tomorrow! It was a brave and
cheering spectacle, and also most beautiful. And through it all across
two genearations we heard the dying notes of a young voice bawling:
"Swing your partners, same on the corner balance all and a grand right
and left" and the wild echoes flying in "Shake your wooden leg Sal my
gal, show them fellers your balmoral!"
April 4, 1940
April 10, 1940
May 4, 1940, page 13
May 4, 1940, page 17
May 7, 1940, page 1
April 30, 1940
May 2, 1940
May 3, 1940
May 4, 1940
Full page ad for the new
auditorium and Fiestaval
Reviews and reports
May 10, 1940
May 10, 1940
Mr. White's review
The Emporia Gazette
May 10, 1940
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