A blog is kind of like a newspaper column. Posts pile up as they're written, by date, one atop the other. Over time it becomes more difficult to find certain articles. A book organizes content by chapter and subject, but a blog is more like one long, unordered scroll.
Thus, I've created this index as a Table of Contents. The titles below are links that will take you directly to the story.
Chautauqua began in 1874 as a summer camp on Lake Chautauqua, New York, to train Sunday School teachers. It expanded and developed into travelling public fairs that featured lectures and entertainment of all sorts.
Americans J.R. Ellison and Clarence H. White brought the concept to Canada in 1917. One of their employees, John Michael (“J.M.”) Erickson, felt Canada would embrace Chautauqua, and convinced Ellison–White to finance his efforts.
The resulting Dominion Chautauquas company was headquartered in Calgary, managed by J.M. Erickson and Nola Critz. In 1917, they landed summer bookings in the four Western provinces and a few American locales, meeting the Ellison–White demand to book at least 40 towns. It was a busy and notable year for J.M. and Nola, who married in September of 1917.
John M. and Nola B. Erickson, 1917 [1]
In 1917 the Winnipeg Free Press announced the coming of Chautauqua. “Its introduction in Canada has everywhere been enthusiastically greeted, and great future success seems promised.” [2]
In 1918, there were two six-day circuits operating in Canada, and Pilot Mound was one of 204 towns that hosted Chautauquas that year. The Prairie Six Circuit served 61 towns, the Rocky Mountain Sixes had 63 towns, and there were others for smaller three-day events. Festivals operated indoors in winter, and lyceums gave off-season lecturers employment. By 1921, 398 towns had Chautauquas, supervised by office staff in Calgary and 116 staff in the field.
A Chautauqua tent and its ticket booth in a western Canada town, 1920s. Brown tents lent a more serious air and differentiated them from circuses with white tents. [3]
Chautauqua circuits featured a new program each day, and performers travelled from town to town, leapfrogging on a precise schedule. But a six-day festival didn’t just drop in on a town. The complicated enterprise required good business sense, careful planning, and efficient coordination.
Ingredients for a successful Chautauqua were: well-rounded programs, good management, and good, effective field staff. A fourth was just as essential:
This ingredient was the active co-operation and assistance of the citizens of the communities on the circuits. The involvement of influential local people through providing potential financial support by the guarantee process and, psychologically, by personal endorsement was a prime factor in the success of the travelling Chautauqua. Thus, local interest was ensured, wide participation was fostered, and as a result there emerged a team spirit that handled the all-important ticket buying and selling procedures as well as lesser facets of the operation. This community collaboration was paramount to the venture. [4]
Pilot Mound was enthusiastic about its first Chautauqua in 1918:
The lineup of performers was always published well ahead of the event (and newspapermen would eventually learn how to spell Chautauqua). [5]
Chautauqua’s advance personnel supplied ad copy, detailed newspaper supplements, photos and performers’ profiles for newspapers to use. Programs were printed and posters, placards and banners festooned the town’s storefronts and streets.
Ads in the Sentinel announced the feature acts and encouraged ticket sales. [6]
The Chautauqua organization wanted towns to feel the event was important and was theirs. The cooperation of local sponsors was critical. To book a Chautauqua, the town’s committee would have signed a contract a year ahead of time. Their influence helped drum up interest and pride in the event. As guarantors of the $1,500 cost of a six-day program (paid upfront), its members were motivated to ensure its success.
A town committee worked closely with a Chautauqua superintendent/director (typically a young woman) who arrived several days prior to the event and “handled the financing, did advertising, sold tickets, got the sponsors on-side, supervised putting up the tent, coordinated the artists and lecturers, was the master of ceremonies for the actual event, and then collected any shortfall in the contracted amount from the sponsors, who often had to make it up out of their own pockets.” [7] The superintendent noted which performers were favoured, and reports and financials were routinely sent to the head office in Calgary.
The Local Committee took their duties seriously, with officers and subcommittees, including a Ticket Committee, Advertising Committee, Grounds Committee, Reception Committee, and Ways and Means Committee. Town volunteers helped with ticket sales, grounds and tent, local transportation, lighting, a piano, and lent lumber for seats and stages. Local high school students and junior workers were needed to staff the ticket booth, provide babysitting for attendees, and manage children’s programming and parades.
There was a lot of organizing and work to be done ahead of the event. The enthusiasm in Pilot Mound was evident as their first Chautauqua drew near:
A 1918 Sentinel article introduced the Local Committee and encouraged others to pitch in. [8]
Pilot Mound’s committee was pleased to declare its first Chautauqua a success, despite some rainy weather, and their newspaper confirmed that Chautauqua would return in 1919.
Pilot Mound’s first Chautauqua has come and gone, leaving behind it many pleasing recollections. […] Whether one considers the character of the vocal or instrumental music supplied by the various performers; the inspirational messages brought by the different lecturers, or even the pleasure of witnesses the performance of the Wales’ players, it has to be admitted that the past week has been one of unalloyed, uplifting enjoyment, without the memory of which we should be an altogether poorer people than the saving of the $2.50 on our season tickets would imply.
The Chautauqua is no place for the mere giddy amusement seeker, although wholesome amusement is to be found there in plenty. It brings within reach of our country people however some of the most powerful educative influences at work on this continent. [9]
Pilot Mound embraced Chautauqua from the start. A parade added to the excitement. [10]
Pilot Mound’s 1919 Chautauqua was scheduled earlier in the summer, from June 6 to 13. Prices had inched up, but the next lineup was impressive, featuring noted lecturers and musical acts:
The Sentinel assured readers that its international lecturers spoke fluent English. (No doubt they could spell Chautauqua correctly, too.) [11]
That year, efforts were made to introduce a September Lyceum series in Pilot Mound’s Foresters’ hall, but the idea never really took hold, and was not repeated. A November effort was undersubscribed, too. Tuckwell could not explain why these were not popular, but acknowledged that “there is too much going on in the town during the winter.” [12]
Fall and winter events were never as popular as the original summer Chautauquas. [13]
Performances changed each day, and Chautauqua presented lectures, music, and dramas of all sorts, comedians, animal acts, impersonators, artists—you name it—from all over the world. Content could be inspirational, educational, and entertaining. Especially talented performers might make more money elsewhere, but were loyal to the Chautauqua concept and the warm audience response.
Chautauqua understood the importance of including children in their plans, beyond ticket revenues. Young audiences were thrilled by magicians, jugglers, and puppet shows. Separate programs led by junior staff and local high school students allowed children to present their own brief dramas and musical performances. They especially enjoyed the parades, and earned prizes (often tickets) for their costumes and pets.
Pilot Mound kiddies loved a parade! [14]
Town newspapers like the Pilot Mound Sentinel welcomed the additional business and were keen to advertise Chautauqua. Readers were urged repeatedly to buy tickets. The price was reasonable; a three-dollar season ticket ($1.50 for soldiers and their wives, $1 for children) in 1919 covered 22 performances across six days. Single day tickets were also sold.
Editor Ron Tuckwell was a sponsor and guarantor, and his paper featured a lot of advertisements and reviews of the event. Stores (whose owners were often also committee members), advertised special sales. Editorials told of the great benefits, and countered grumbling from “croakers” who didn’t support Chautauqua.
Growth
The banning of public meetings due to the Spanish flu of 1918 threatened the Chautauqua business, as did the 1919 General Strike, but the company survived and the 1920s were its best years, especially in the West. In 1926 the enterprise expanded to Ontario and Quebec. Other companies operated in the Maritimes. Ellison and White sold their interests to the Ericksons that year, and Dominion Chautauquas changed its name to Canadian Chautauquas.
Chautauqua week attracted audiences from neighbouring school districts and towns. [15]
People in small western towns, in isolated northern and mountain regions, and in larger centres, starved, it seemed, for culture and drama flocked to the tents where they received a veritable feast of education, inspiration, and entertainment. The lecturers, musicians, play companies and other entertainers brought to them a new experience. [16]
Chautauqua programming entertained, enlightened, and educated audiences. Towns like Pilot Mound welcomed new performers each year. Its 1919 committee, under president Dr. T. A. Cohoe, included the usual movers and shakers in town. The event was again well attended and profitable, generating a donation of $105.15 given to the Children’s Aid Society of Winnipeg.
Pilot Mound’s Chautauqua of 1920 was its most successful yet, and the next year’s event was booked. An editorial did acknowledge, however, complaints that the event took money out of the district. The writer shrugged off the gripes, assuring that the big tent would be full. It was; a review confirmed its success. An editorial reminded readers that the event drew visitors to the town, and that
when one considers the value given an individual for the money expended on a season ticket here again nobody can assert with justice that Chautauqua is anything but very much worth while. And then, as we said on previous occasions, there are things which cannot be measured in dollars and cents. The value of Chautauqua to a community is one of these. [17]
In 1921 Pilot Mound’s fourth Chautauqua attracted great crowds again and was even more successful than the previous one, in spite of the fact that its last day was July 1 and rain pounded the area. The editor published a long, favourable account of the week and defended its value once more:
People who knock Chautauqua for various reasons—best known to themselves—may be surprised to find what a big hole it leaves in our community life after it has once been let go. Chautauqua makes a fine annual holiday for many farm people—who reap much enjoyment from the fine and musical and entertainment programs and much education on present day economic and political happenings and facts from the wealth of inspirational and educational lectures presented. The man who can’t see three dollars’ worth out of this year’s Chautauqua would consider himself stung if somebody sold him a five dollar gold-piece for a k-nickle. [18]
1922’s Chautauqua was another successful one, and in spite of having a small deficit, the event was booked for the following year. The Pilot Mound newspaper claimed the 1923 program would be the best ever, adding:
There is no doubt that the people of this community welcome Chautauqua—else fifty citizens of town and country would not have signified their willingness to assume the obligation involved in bringing it back again this year. There is something about the annual visit of this combination of education, inspiration and recreation that makes it valuable beyond mere dollars and cents in welding a community spirit. [19]
The Sentinel always promoted the event with numerous advertisements, articles and editorials. Tuckwell was a great believer in the cause.
We shall continue “boosting” for Chautauqua—as long as it comes here—because we believe in the principle behind it. When the company gives excellent programs—this paper will call them such. When they cease to be up to standard, we shall report them as they appeal to us—and as we have always done in the past. Some opinions to the contrary—this paper gets nothing out of Chautauqua. Our “boosting” is done at cost and away below. [20]
As a sponsor, Tuckwell certainly saw value in the event, but the claim that his paper did not get anything out of it is suspect. The event provided fodder for promotional articles, reviews, and editorials, for starters. As for revenue, it’s likely that the multitude of advertisements supplied by Chautauqua and the inclusion of their multi-page supplements would have been subsidized. As well, Pilot Mound vendors often ran ads for special sales while visitors were in town.
Large detailed ads were part of advanced publicity campaigns organized by Chautauqua. [21]
Smaller ads promoted specific acts and headliners like the ever-popular Graus’ Swiss Yodlers. [22]
Local shopkeepers were onboard, and welcomed visitors in town for Chautauqua week. [23]
Increasing numbers of guarantors were evidence of the support for Chautauqua in Pilot Mound, and lessened the personal financial obligations should a deficit result. In 1924 guarantors paid $3.10 each to cover a small deficit of $153.86, and the next year’s event was booked. By 1925 even thrifty Pete Fraser agreed to sit on the Ticket Committee, likely persuaded by his good friend Ron Tuckwell.
And so, Chautauqua continued in Pilot Mound for another seven years in much the same manner.
Decline
Not surprisingly, the Great Depression affected the business of Chautauqua. Hard times meant the support for Chautauqua waned, and the participation of local committees dropped.
Gradually, as the 1930s went on, this strength through involvement became a weakness. The people in the towns no longer were willing to act as guarantors and it became increasingly impossible for even the most dedicated and persuasive of directors to get new contracts signed. Without the contracts and local support, Chautauqua circuits could not function. [24]
Detractors continued to mutter that Chautauqua was taking money out of the district, and complained that the company should end the requirement for financial guarantees. Boosters like Tuckwell defended Chautauqua, insisting that the value of the educational and inspirational was worth it. People needed the uplifting entertainment, and prices had been lowered.
As well, there were other competing factors at play. Better cars and roads meant people were less isolated and could travel more easily to other communities and entertainment venues. In the movie age, talkies attracted viewers, and radio brought music and other entertainment straight into their homes. Social mores and principles changed, and interest in educational lectures faded in favour of lighter entertainment and dramas.
A Jubilee Celebration in the middle of the June 12–18 Chautauqua week in 1930 offered free admission for a full day of exciting events, including airplane rides! Chautauqua guarantors had to pay a deficit of $312 that year.
There had long been competing sources of entertainment in small towns. Aside from its well established local fair, Pilot Mound offered baseball and hockey tournaments, harness race meets, ploughing contests, dramas, school productions, picnics and dances, movies in the Tivoli Theatre, and more. There was always something going on. Similar events in nearby towns (and in the U.S.) were attended, too, and the provincial exhibition in Brandon was an especially big draw.
Clouds were forming. Enthusiasm was waning. Guarantors met in October 1930 to discuss the future of Chautauqua in Pilot Mound. It was decided that the town would host its 14th and final Chautauqua in 1931.
A meeting’s been called? Never a good sign. Pete Fraser remained on the list of guarantors for the town’s final week. [26]
Nine Chautauqua circuits were operating in 1931, still a successful year, but most were four-day events rather than six. Business dropped in subsequent years, though. In 1935 three-day programs were operating, charging $1.00 for a season ticket, and half that for children.
Pilot Mound hosted its final Chautauqua in 1931. The year ended with another deficit. Tuckwell’s editorial admitted that after fourteen years, “the Big Six Day Festival is now just slightly beyond the resources of the community.” [27] Many like him were sad to see its end, and Tuckwell continued to thank those who worked to make the event possible. He wrote of the value and quality of Chautauqua, and at the end of his usual review, he added:
Attendances throughout Chautauqua were remarkably good in view of the trying times. And appreciation was shown in no uncertain manner of the uniform quality of the entire program.
In accordance with the decision arrived at prior to the opening of the season, no effort was made by the Local Committee to re-sign for another year—consequently there will be no Six-Day Chautauqua here next year. The Committee faces a deficit—but real co-operation was practised by the Chautauqua officials in granting a very substantial consideration, considerably lessening the burden on those who obligated themselves to bring Chautauqua to the community. [28]
What had been a remarkable 14-year run was relegated to history and the archives of the Pilot Mound Sentinel.
