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A Shen Yun Life

There is perhaps no single endeavor in the human experience so filled with equal parts love and worry than raising children. Levi Browde pondered the irony of this quandary as he lay in bed one winter evening back in 2015.

He was worried about his boys, Jesse and Lucas.

The family had recently moved to an upscale neighborhood in northern New Jersey. The homes were large, the lawns immaculate. The parks and baseball fields were in abundance and filled with activity. The blue-ribbon schools were well-funded and considered among the best in the state.

Yet Levi felt a specter looming over him, over his boys, and indeed, over schools and communities across the country.

So there he was lying awake long after everyone else had fallen asleep. His mind was racing through options.

Move to a ranch in Montana? Return to the family home in New Mexico and the small, spirited school that shaped his own formative years? Sell everything and travel the globe, and let the world provide an education for his boys? As the string of options passed before his mind’s eye, each seemed less plausible than the last.

Little did Levi know that in just a few weeks, he would stumble upon the most unlikely of solutions: a set of educational and artistic institutions that would give his boys both an education and career that would transform them into young men with resilience, compassion, and a remarkably positive attitude.

Jesse, Levi, Vivian, and Lucas Browde circa 2016 in upstate New York. (Courtesy of the Browde family)

A Leap of Faith

In the spring of 2015, Levi and his elder son, Jesse, embarked on a series of road trips. Determined to find a quality educational institution for the boys during their critical high school years, they scoured the northeastern U.S. for options. Levi’s father had attended Deerfield Academy in Massachusetts, which was initially high on the list. Levi’s former high school teacher and mentor was now at Phillips Exeter Academy—certainly something to consider. They also looked across New Jersey, stopping at the Peddie School, Blair Academy, and even Don Bosco, a sports powerhouse where Jesse was eager to play baseball.

With each stop, however, Levi grew only more despondent. “I just felt no one offered a clear solution,” Levi said.

About a month after the flurry of school visits had yielded no good prospects, Levi had reconnected with an old friend, Dr. Samuel Zhou, who had recently helped to start a new private school in Middletown, New York called Northern Academy. The school was new, very small, and barely on its feet.

“’Scrappy’ would be an understatement,” Levi said matter-of-factly.

Yet the vision of its staff was intriguing—and just what he was looking for.

A former University of Pennsylvania professor, Dr. Zhou had studied the education landscape for the past decade, noting several worrying trends: declining competency in core subjects, the discarding and vilification of classics, and a meteoric rise in depression and anxiety among students. And the cause of it all? The explosion of smartphones and social media among teens, a combination that several studies had already shown was decimating the lives of young people.

“This was not just a new trend like the advent of the Atari game console, or Nintendo,” Dr. Zhou said. “The combination of smartphones and social media was tearing apart the mental health of young people fundamentally, and for many, irrevocably. From the start, these platforms were engineered to addict, to distract, to inflame, and to isolate. The sky-rocketing depression, suicidality, and other horrific trends among students is 100 percent correlated to the rise of smartphones and social media.”

This was precisely the specter that had haunted Levi, and now, finally, he found a place that recognized the scale of the problem and was determined to confront it head on.

The staff at Northern Academy wanted to create a school that halted these terrible trends and gave young people “a place to re-engage with their education, as well as wholesome, tried-and-true traditions,” said Dr. Marilyn Torley, the school’s former co-principal.

For Levi, it was a no-brainer. For his wife, Vivian, not so much.

Vivian was raised in Taiwan. By U.S. standards, the strict protocols and teaching methods found in Taiwanese schools were almost military grade. Hair and skirt lengths were regulated down to the centimeter. Transgressions were met with swift punishment. All students lined up in rows for morning announcements. Boys and girls were separate, and never mingled.

For Vivian, schools were large, well-funded institutions operating consistently for decades. So when she first laid eyes on the scrappy collection of buildings that constituted Northern Academy, it was, as Vivian put it, “a hard no.”

But this wasn’t just about the school.

For the past year, Vivian had been working full time renovating a lovely, grand home located in the prestigious East Hill area in northeastern Bergen County. “It was our dream home, and I put my heart and soul into it,” Vivian said. “I designed the foyer pillars and arches myself… I hand-picked every tile and paint color. I redesigned the west wing so it could accommodate our parents.”

“The home was her third child,” Levi said. “This is where we were going to raise our boys. This was where we’d bring our parents to live with us when the time came. This was going to be our family fortress, perhaps for generations.”

Compounding the problem was the prospect of losing a warm circle of friends Vivian had accumulated in the neighborhood over the last few years. If they decided to enroll the boys in Northern Academy, Vivian would have to leave all of them behind too.

Her resistance mounted.

(L–R) Levi, Lucas, Jesse, and Vivian Browde circa 2017 in upstate New York. (Courtesy of the Browde family)

“It was a very difficult time for Vivian,” Levi said. “I was asking her to give up so much, and for what? To send our kids to a scrappy little school with an untested staff, unproven curriculum, and uncertain future. Any mother in her right mind would scream ‘no,’ and she often did… at the top of her lungs.”

And so, Levi employed a time-tested method, proven to move mountains, and yes, even Taiwanese wives.

“Baby steps,” Levi said.

That summer, the boys enrolled in Northern Academy’s summer program. During the course of the summer, the boys built a close-knit circle of friends, and enjoyed the young school immensely.

In early August, Levi called a family meeting, a common practice with the Browde family. “I know it sounds oddly formal,” he said, “but it’s actually a great way to bring the family together and engage on a singular topic. It teaches the kids to be part of informed decision-making as well as to learn how to articulate their ideas, to hear and weigh the opinions of others, and to take ownership of decisions made, even when it wasn’t their first choice.”

Levi started, laying out a case for “trying” Northern Academy for one year. If it didn’t pan out the way they liked, in the spring they’d move back to New Jersey—no harm done. The boys concurred; it was worth a shot. Everyone looked at Vivian. It was still a tough decision, but all the reasons calling her back to her dream home could not stack up against one overarching priority: a quality education and upbringing for her boys.

”OK, let’s try it,” she said with a sigh.

Lucas and Jesse in New York City on the way to see a Shen Yun Performing Arts show at Lincoln Center, circa 2015. (Courtesy of the Browde family)

A Diamond in the Rough

According to Dr. Torley, Northern Academy’s mission includes a commitment to educate in both scholastics and moral integrity. The school’s materials and clothing all bear its core values: Integrity, Compassion, Resilience.

For Jesse, who was a freshman in high school, and Lucas, who entered the seventh grade, the school did not disappoint.

Within the first two weeks of school, staff had not only ascertained Jesse’s aptitude for math, but also altered his schedule so that he could move up a grade to match his level, while carving out space for a private class that would allow him to complete the entirety of his high school math requirements by the end of his freshman year.

This kind of personal attention and willingness to create custom paths for students to flourish became a hallmark of the school.

For Levi and Vivian, the Northern Academy difference really showed through in their own interactions with teachers. “These days, parent-teacher conferences are often orchestrated to minimize the risk of parents attacking or even suing the schools instead of what it should be: an open and honest discussion about what’s best for the kids,” Levi said. In previous schools, for example, he said teachers would always have a second “witness” attend parent-teacher conferences, and the substance of the conversations was clearly calculated to minimize discomfort rather than maximize understanding.

“It was really frustrating,” Levi said. “It seems their priorities were to placate the parents and protect the school, when the priorities should be to tell the parents, in clear and no uncertain terms, exactly what’s being taught and how the student is doing.”

Northern Academy was refreshingly different. Teachers met regularly with parents, one-on-one, laying out the curriculum clearly and not mincing words about how students were progressing, and what they needed to work on.

Jesse and Lucas eat breakfast before heading to school at Northern Academy in 2016. (Courtesy of the Browde family)

The Key Ingredient

While Northern Academy offered a complete academic curriculum, from the day it opened its doors, it also offered students the option of an arts focus: classical Chinese dance, music, or fine arts. The idea behind these offerings, explained Dr. Torley, had roots in ancient Greece and reemerged in Renaissance Italy, from which the moniker “Renaissance man” was coined.

“We believe the arts are not just extracurricular activities,” said Dr. Torley. “They imbue the students with wisdom, an expanded range of empathy, and refined personal character traits like resilience, patience, and an appreciation for beauty. For any school that is serious about helping young people develop into thoughtful, moral people, they need to have a rigorous classical arts program.”

And Northern Academy was serious, especially in the classical Chinese dance program: Many of the teachers were former principal dancers of Shen Yun Performing Arts, the world’s premier classical Chinese dance company, whose training headquarters was located just 15 minutes down the road. Consequently, dance students at Northern had the opportunity to learn from professionals who, just a few years prior, were at the pinnacle of their field.

“If the school were offering a basketball clinic,” explained Dr. Torley, “it would be the equivalent to learning directly from the likes of James Worthy and Scottie Pippen. These weren’t just pros, they were former all-stars, and they had performed alongside some of the best in the world.”

Levi and Vivian had heard about the dance program at Northern Academy, but did not look into it, thinking dance was the last thing their boys would be drawn to. It was therefore somewhat of a surprise when, at the beginning of the year, Jesse and Lucas called a family meeting.

“We want to join the dance track,” the boys proclaimed.

Levi sat in the corner intrigued by the idea. He initially said nothing.

Vivian’s reaction, was immediate and clear: “No. You’re both too old and too fat,” she said.

“Woah!” Levi sat up in protest. He stared at Vivian in bewilderment, mouth open, thinking, “What are you doing?”

Vivian was unmoved. “It’s true,” she replied matter-of-factly.

While the meeting had been called by Jesse and Lucas, they quickly sank back into the couch as their parents’ discussion escalated. Vivian opposed the idea because there was “no future” in dance for them. Professional dancers start much earlier in life, and dedicate a significant part of their lives to the craft. And even if they did, by some miracle, make it to a professional level, dancing careers are usually over by the age of 30. Then what?

Levi felt this was irrelevant. The point was not to become professional dancers, but rather, to learn a discipline—any discipline—from someone who had reached the pinnacle of the craft.

“World-class excellence is something few people achieve,” Levi said. “You can learn a great deal from those that have done so, which can then be applied to many aspects of your life. If the boys have a chance to be trained by these teachers—former principal dancers with Shen Yun—it would be invaluable to building stamina, resilience, confidence, poise. Honestly, the benefits seemed endless, and they could be applied to all aspects of their lives.”

Later reflecting on the divergence of opinion, Levi said he realized his corporate experience informed his perspective on the issue. “At that point, I’d been running a software company for almost 20 years, hiring …and firing staff,” Levi said. “Over all that time, one key thing I learned is that integrity, which usually manifested as ‘soft skills,’ was significantly more important than technical know-how. You can teach pretty much anyone to code, but having employees who are honest, willing to help others, don’t show-boat for the boss, take responsibility for things—these people are priceless. They are the ones you can build an organization around.”

“Finding an educational institution that could help the boys develop these character traits, I felt, was very important.”

Finally, Vivian relented, but not because of Levi’s insistence. As with the move from New Jersey, it came down to one overarching priority: the boys’ education and upbringing. She saw this was something they wanted and were willing to work for.

“And I had to admit they could certainly use the exercise,” she added.

Looking back years later, the Browdes, especially Vivian, identified this one decision as the single most important one they made the boys were at Northern. Embarking on classical Chinese dance literally changed the boys’ lives.

No Blood, but Certainly Sweat and Tears

The boys were pushed physically. They were challenged mentally. They had to learn to work with, and indeed trust the dancers to either side of them while in formation. Not unlike a martial arts dojo, the classical Chinese dance classes also featured disciplinary measures.

Lucas recalled one particularly difficult week during the second semester. The students were not focusing on their dance combinations, and minds were wandering. “That night, our dancer instructor made us write each dance sequence we missed 100 times,” Lucas said. “I was up until 3 a.m.”

And all this on top of a full academic schedule. “We didn’t usually all get home until 7 p.m. or 8 p.m.,” he said. “And that’s when homework started.”

Still, the boys relished their new life. Weeks turned into months, and with the passing of time, there was less and less acknowledgement that they were living a “trial” period. In fact, Levi would have largely forgotten about it were it not for the sizable property tax bill he was still paying for their Jersey home. So, it brought not a little surprise and much relief when Vivian, while sitting at the breakfast table one crisp spring morning, said out-of-the-blue, “We should sell the house.”

Levi froze. He didn’t want to make any sudden moves lest she change her mind.

“OK, makes sense,” he replied nonchalantly, while barely able to contain his excitement.

Vivian got up, placed her bowl in the sink, and quietly walked upstairs. She was not upset, but clearly it was not an easy decision. “She was basically giving up her dream home, her circle of friends… everything in life outside of her immediate family,” Levi said. “I never really pushed the issue because I knew she had to come to this decision herself. She was like Frodo and that Jersey house was the Ring. I knew I couldn’t take it from her. She had to want to let it go herself, and in the end, she did.”

Finally, Levi recalled, the decision was made, and the move was permanent. He felt they were settled, ready to see their boys through high school and beyond in their new school and new home.

Little did Levi or Vivian realize that within just a few months, Jesse, and soon after, Lucas, would make a decision that would yet again, alter the trajectory of all of their lives.

The Browdes prepare for a family dinner at home in 2023. (Samira Bouaou for American Essence)

An Audacious Attempt

It was a cold winter afternoon. Snow that fell the prior week still lined the driveway. They were late—again.

As the boys huddled in the backseat reluctantly wearing suits, they sat fidgeting with their ties. Levi’s eyes were fixed on the rear-view mirror, waiting for Vivian, trying to not get agitated. “What is taking her so long?” The boys smirked, finding some amusement that their father would expect to get an answer to a question he’d been asking thin air for as long as they could remember.

A few minutes later, and a full 30 minutes after she said she would, Vivian emerged from the house.

They were off to New York City’s Lincoln Center to see an opening night performance of Shen Yun Performing Arts. Widely regarded as the world’s premier classical Chinese dance company, Shen Yun showcases authentic Chinese culture “before communism.” The company tours the world each year, covering 200 cities across five continents. The Browde family had seen Shen Yun each year since its inception in 2006.

“Shen Yun is a rich cultural experience that showcases different historical, cultural and spiritual elements of China’s 5,000 year-old civilization,” said Levi. “Each time we see the show, honestly it feels like I’ve just emerged from a spiritual retreat—rejuvenated. Enthused. I just feel like, OK, everything’s going to be fine… better than fine.”

Levi concedes there is an additional element that makes Shen Yun unique.

“Any show that can captivate a 7-year-old and 5-year-old boy for two solid hours is definitely employing magic,” observed Levi. “That’s how old the boys were when we first took them to see the show together. I intentionally bought seats near the exit in case we needed an early out, but that never happened.”

Shen Yun, based in New York state, is the world’s premier classical Chinese dance company. (Courtesy of Shen Yun)

While the brothers had seen the show many times over the years, this year was very different, because it was the first time seeing the show after they themselves began training in classical Chinese dance.

Remembering that night, Jesse said this performance was different than in previous years. “This was the first time I understood the whole show,” said Jesse, “especially the story dances. I almost cried a couple of times that night. I remember going home that night and thinking: I wanted to be a Shen Yun dancer,” he said.

Jesse didn’t say much to his parents at that time, but a spark had been lit.

In early May, tryouts were announced for Fei Tian Academy—an elite performing arts institution that specializes in classical Chinese dance and shares a campus with Shen Yun Performing Arts. Similar to Northern Academy, Fei Tian Academy employed a more traditional approach to education, emphasizing classics, development of moral character, and a strict policy forbidding smartphones and social media on campus. The dance program at Fei Tian, however, was far more rigorous than at Northern Academy, and so admission into Fei Tian would greatly increase a young dancer’s chances of eventually being accepted to Shen Yun.

Jesse made it clear he wanted to try.

The tryouts for Fei Tian were at Shen Yun’s training center and lasted about two hours, and the results were, at least to Levi, not entirely surprising. “The instructors were very sweet and encouraging, but it was clear Jesse did not make the cut,” Levi said. “He was too stiff, and there were some questions as to whether he had the right physique for the rigors of classical Chinese dance. They offered words of encouragement and suggested Jesse keep training, but there was no indication it would lead to a place at Fei Tian Academy.”

On the drive home, Levi studied Jesse’s face. “He was a little disappointed, but not clearly deterred,” Levi said.

Digging Deep

Over the next few weeks, Jesse conferred with his dance teachers to formulate a stretching and strength-training plan that was safe but demanding. Each night, after homework, Jesse would reconfigure the living room to provide the space and support structures needed for his training routines—routines that sometimes were hard to watch, or listen to.

“While he was being safe in his technique, he was really pushing himself,” Levi said. “There were some nights when Vivian would come into my study with a pained expression on her face.”

“I can’t watch this,” she would say as she plopped down on the chair next to his desk, staring at the door.

Reflecting on these sessions, Levi later shared how these stretch routines and workout sessions really tested his parenting resolve to truly parent, instead of “coddle.”

“I believe one of the primary causes of depression and sadness is when people go through life without meaning… without ever finding a place where they belong, a mission they feel is theirs,” he said. “In many cases, this happens because they never build the resolve and drive to overcome barriers to find their ‘thing.’ And this is usually because the parents were too busy coddling them. So, as painful as it was to watch Jesse put himself through this rigorous stretching and training, deep down inside I was at peace because I could see he had found something: a purpose that touched his heart. How could I not do everything to support that?”

To help Jesse along, Levi sought out a retired Shen Yun dancer to see if he might offer additional assistance to Jesse to reach his goal. Lucas asked to participate, and pretty soon, the Browde home living room was transformed into a make-shift dance training space. Each week, the dance trainer would come to the house and work with both boys.

“One thing I loved about this arrangement is that it turned the brothers into training partners,” Levi said. “There were evenings when Vivian and I would be sitting at the kitchen table, and the boys were off in the living room, standing next to each other facing the large windows [to see their reflections] as they walked through dance routines.”

It was just a few months later that Fei Tian Academy offered Jesse another chance to try out. This time, the tryout was quick, and his acceptance almost immediate.

“I can’t say for sure,” Levi said, “but my impression is that it was Jesse’s dedication and heart that garnered his acceptance more than the strides he had made in technique or flexibility, although he had made progress in those areas too.”

The new semester at Fei Tian Academy would not start for another month, so Levi and Vivian pulled both boys out of school for a week, and took off for Los Angeles. “We wanted to celebrate Jesse’s accomplishment,” Levi said, “but we also realized Jesse would be entering a rigorous program. RnR would be rare, so we took this chance to catch a Dodgers game and enjoy some fun in the sun!”

“It was like a last hoorah before Jesse reports to a sort-of boot camp, so we made the most of it.”

Exhausted after a Northern Academy dance recital in 2017, Jesse and Lucas get some well-deserved rest. (Courtesy of the Browde family)

Times That Try Men’s Souls

Cultures around the world, and throughout history, have often adopted rights of passage for their young people. Trials that serve both as a test to determine if the person can serve a productive role in the tribe or society, but also something to help the person realize his or her potential.

“Sometimes it’s hard to imagine yourself doing something difficult…. until you actually do it,” Levi observed. “And that success, far more than any encouragement or coddling, builds confidence and poise.”

Levi felt Jesse’s first few months at an elite classical Chinese dance training academy would serve as his own right of passage. “He had only been training for about two years, and he was going into a program where many there had been training since they were very young,” Levi said. “My sense is that he had a difficult road ahead of him.”

Jesse later confirmed that his father’s suspicions were spot on.

“The first couple of weeks were tough,” said Jesse. “It was obvious that many in my training class not only knew techniques that were beyond me, but they knew… how to dance. Like, with rhythm and bearing [or “yun” in Chinese, a vital element of classical Chinese dance].”

“By comparison, I felt like Dumbo out there,” Jesse said.

As part of his plan to catch up with his class, Jesse would spend extra time in the dance room, mostly working on stretching and flexibility—essential skills of any elite classical Chinese dancer. Sometimes he’d go in before lunch or stay late, continuing some of the rigorous stretching routines that had sent his mother into his father’s study at home so they didn’t have to watch.

Sometime in the first month, Levi got a call from Jesse out of the blue. Levi was just getting out of a luncheon meeting when his cell phone rang. It was Jesse on the line… in tears. “He was stretching and just needed someone to be with him… to help him make it through the full stretch,” Levi said. “So there I was sitting in the parking lot, just listening to my son on the other end of the line sweating it out. We said a few words, but not much…I just sat there on the line with him.”

It was at this point that Levi was mentally preparing for what he thought might be a tough time period as a parent.

“I believe one of the most important balancing acts one performs as a parent is the one between comforter and drill sergeant,” Levi said. “Parents who comfort too much actually hurt their children. I remember hearing Dr. Phil describe it as a form of child abuse because you deprive them of the chance to grow and become strong. And yet, there are also parents who push too much, which can create a whole host of other problems.”

Levi felt this balance was one of the most important tests as a parent.

“It requires that you really purify your own motives. You have to make sure you’re not imposing your own stuff on your kid, whether that’s your own desire to see joy on the kid’s face or your own attachment to what the kid should do or be. You have to get rid of all that…all your own baggage, and just give the kid exactly what he needs for his life,” Levi said.

He felt that in the weeks and perhaps months ahead, he would be tested to see if he could strike the right balance with Jesse. He would perhaps need some support and encouragement, but he may also need some “tough love,” to make sure he did not give up on himself or his own goals.

But Levi was wrong. Another call for help never came.

It would be almost a year before Levi said he fully grasped what had happened: that the educational and training environment at Fei Tian Academy had given Jesse the support, training, and tools he needed to exceed everyone’s expectations, including Levi’s.

Jesse and his mother Vivian enjoy a day off during Jesse’s first year at Fei Tian Academy. (Courtesy of the Browde family)

A Training Environment Like No Other

Nestled in the rolling hills of Orange County, New York is Dragon Springs—a 400-acre campus that combines the natural beauty of the Hudson River Valley with ancient Chinese architecture, performing arts, academic learning, and spiritual practice.

Dragon Springs is a 400-acre campus nestled in the rolling hills of Orange County, New York, that contains a collection of Buddhist-style temples built in the authentic Tang Dynasty tradition, an educational complex that hosts Fei Tian Academy and Fei Tian College, and the professional training center for Shen Yun Performing Arts. (Courtesy of Dragon Springs)

The campus hosts three distinct yet symbiotic entities: a temple grounds featuring a collection of Buddhist-style temples built in the authentic Tang Dynasty tradition, an educational complex that hosts Fei Tian Academy and Fei Tian College, and the professional training center for Shen Yun Performing Arts.

The Academy and College combine a standard academic education with a rigorous performing arts program. Fei Tian students that reach professional standards are invited to join Shen Yun’s annual tour as part of the school’s practicum. Many, upon graduation, are then hired by Shen Yun as professional artists.

“It’s one of the most beautiful campuses I’ve ever seen,” Levi explained. “Every time I take someone to campus for the first time, there’s this one moment when they emerge from the long, winding road through the woods and come to the lake, and see the beautiful temple buildings rising up the slope across the lake. Without fail, everyone says the same thing: ‘wow’.”

“But as beautiful as the campus is, the real treasure of the place is the educational and company culture that pervades both the schools and the Shen Yun company,” Levi said. “I don’t know of any other organization in the world that has so successfully brought together quality education, world-class artistry, and faith into one.”

According to Dr. Tianliang Zhang, a professor at Fei Tian College, this is no accident. “The Buddhist-based spiritual practice of Falun Gong is rooted in traditional Chinese culture, which is the foundation of the environment at Fei Tian and Shen Yun, and really a key element that has propelled Shen Yun to be the world’s premier classical Chinese dance and music company.”

“In traditional Chinese culture there’s this idea that great art—art that really inspires and uplifts—can only be created by people of high integrity,” Professor Zhang said. “That is, the more virtue the artist embodies, the more beautiful and impactful his or her art will be.”

At Fei Tian and Shen Yun, this principle guides every aspect of their training and work. Students and professional artists alike strive to perfect their technique while simultaneously improving their character through the practice of Falun Gong.

“Elevation of one goes hand-in-hand with the other, and this is not just a feel-good concept,” Zhang clarified. “It is an approach that produces some of the best classical Chinese dancers in the world. It is also one of the secret ingredients that makes a Shen Yun performance like no other. Time and time again, audience members remark how the purity of the artists on stage is unlike anything they have ever witnessed, and was a core element to the hope and inspiration they experienced at the show.”

This approach—what some artists affectionately call the “Shen Yun way” —was a revelation for Jesse.

Jesse performs in the Techniques portion of the Ninth NTD International Classical Chinese Dance Competition in 2021. He received a silver award in the Junior Male Division. (Dai Bing)

“For me, it was like a huge change in my way of thinking and approach to life in general,” Jesse said. “Before coming here, I was a moderately motivated person, at best… I’d never really poured my heart and soul into anything. But here, you are surrounded by people who not only strive for artistic excellence, but believe, deep in their bones, that achievement of that excellence can only really happen when you put yourself, your ego, down. Greatness can only come when you strive to transcend yourself and put others first. That was a game-changer for me.”

And it wasn’t always easy. Levi recalled something Jesse said near the end of his first year at Fei Tian that spoke to the character-building aspect of the education.

“Jesse was at home during his weekly off-campus day, and out of the blue, he turned to me and said, “I wish you had yelled at me more [growing up].”

“For a split second, this took me by surprise,” Levi said, “but very quickly, looking at Jesse’s face, I realized what he was saying. Even in those first few years, he was seeing the importance of taking criticism constructively, and to not get down or take offense when someone tells you how and why you need to improve.”

Reflecting on that question and his progression at Fei Tian, Jesse said: “At some point, I realized how big of a problem ego can be. As you improve as a dancer, you may start to think, ‘Oh, I’m pretty good.’ But having people tell you your problems is one of the few ways you can improve really quickly, so when other people see your problems and they point them out to you—if you don’t accept that, then you are really hampering your own development, and you’re missing a good opportunity to mesh with your troupe. A good, strong, healthy relationship includes honesty, and genuinely wanting each other to improve… even if you have to get in someone’s face about it.”

“My dance troupe is my platoon—my band of brothers,” Jesse said. “They push me to do better, to be better, and together, we are better.”

Less than a year after Jesse was accepted to Fei Tian, his younger brother Lucas was also accepted and joined his brother at the prolific academy.

Like his brother, Lucas found the training environment at Fei Tian transformative. In particular, Lucas said it gave him the support and tools to push through what he describes as his own “weaknesses.”

“In general, before coming to Fei Tian, I think my body was relatively weak and I lacked toughness… especially mental toughness in the face of physical trials,” Lucas said. “In the past, I didn’t see much value in trying to change this, I would just avoid heavy physical activity.”

After coming to Fei Tian and later being invited to join Shen Yun’s tour, however, Lucas said he noticed a big change.

“Not only does this environment push me to expand my limits, but for the first time in my life, I was given a compelling reason to do so,” Lucas said. “I realized that the stronger and more resilient I become, the more expressive and captivating dancer I can be on stage… and the better I do that, the more impact I can have on the audience.”

Lucas said that understanding this connection in a very real and visceral way was the game changer for him.

“For the first time, I would approach physical challenges as an opportunity not just to become stronger and more explosive, but as a tangible way to better touch the hearts of the audience,” Lucas said. “That rationale…that revelation changed everything for me. Fundamentally, pushing myself was not just about me.”

As Lucas delved more deeply into how this revelation impacted his life, it’s clear that, although there was clarity of purpose, there was still a significant effort to push past his perceived physical limitations. Dance training is, after all, very demanding, especially at Fei Tian. Having a clear purpose certainly provided the necessary foundation, but it was one other key ingredient to the “Shen Yun way” that Lucas relied on heavily.

“Always stay positive,” Lucas proclaimed.

“We’re often pushing our own limits as well as what we can achieve as a group,” Lucas said. “That means stumbling and failure come with the territory, so it’s very important to keep a positive attitude at all times. This is so important.”

“What I find really interesting,” added Levi, “is that this educational and company culture stems from the salt-of-the-earth Chinese who founded Shen Yun and the Fei Tian schools in New York. It’s like you have the best of both worlds: a company with the freedom found in America combined with a cultural depth and work ethic endemic to heartland China. That is a powerful combination.”

Lucas Browde received the Gold Award in the Junior Male Division of the NTD International Classical Chinese Dance Competition in 2021 and 2023. (Dai Bing)

Authentically Chinese, Made in America

Many are surprised to learn that Shen Yun is an American company, and even more so, the tragic reasons as to why.

When communist forces seized power in China in 1949, they spent the next 70 years systematically destroying traditional Chinese culture, and targeting anyone who stood firm to defend it. Throughout this time, violent campaigns targeting different segments of society decimated communities throughout the country.

During the land reform and “counterrevolutionary” campaigns of the early 1950s, 3-5 million people were killed. The disastrous Great Leap Forward from 1959-1962 resulted in the deaths of 30-40 million. The Great Cultural Revolution from 1966-1976 reached such a frenzy that children would beat or even kill parents, teachers, and elders; many turned them in to authorities for torture or public humiliation; 7-8 million died amidst the madness.

In 1989, the world watched as the Chinese Communist Party (CCP) took aim at students protesting in Tiananmen Square, where over a thousand were gunned down or crushed by tanks. In the years that followed, an eerie quiet settled across China as people sought ways to live meaningful lives without provoking the wrath of the regime. It was during this time that qigong practices (aka “Chinese yoga”) began to emerge, offering people a non-confrontational outlet for maintaining health and reconnecting with a semblance of Chinese culture.

In 1992, the Buddhist-based spiritual practice called Falun Gong was first introduced to the public. Over the next several years, it became widely popular across China, both for its health benefits and its spiritual teachings centered on Truthfulness, Compassion, and Forbearance. Yet, when a government survey found there were 70-100 million people practicing, in 1999, the CCP launched yet another campaign: this time targeting Falun Gong.

In the first few weeks, tens of thousands of Falun Gong practitioners were detained, as a brutal, nationwide campaign was launched to “eradicate” the practice. Since that time and continuing to this day, millions have been detained or imprisoned, with hundreds of thousands tortured. Thousands have died from torture and abuse in custody.

According to the 2019 London-based China Tribunal, a “significant number”—possibly hundreds of thousands—have been killed to forcibly remove their organs, a crime reaffirmed by new academic research and targeted by recent legislative efforts around the world.

All the while, vilifying propaganda from the CCP has dominated state-run media in China, and greatly tainted media reports on Falun Gong around the world.

Fleeing persecution, Falun Gong artists looked to America’s shores. But they didn’t just want to build a new life for themselves. They had a larger goal in mind.

“What most people don’t realize is that Falun Gong is authentically Chinese, and much more so than almost anything you can find in China today,” Professor Zhang said. “Falun Gong has roots in China’s traditional culture that stretch back for millennia. In fact, Falun Gong’s popularity in the 1990s itself constituted a spiritual renaissance of sorts… a re-emergence of the wholesome, spiritual traditions of China’s heartland. In trying to ‘eradicate’ Falun Gong, the CCP was in effect, stamping out a resurgence of China’s true culture… it was the CCP’s ‘final solution’ to eradicate traditional Chinese culture itself and fully impose Marxism on the Chinese people.

Shen Yun dancers take time out of their busy rehearsal schedule to do the Falun Gong sitting meditation. (Courtesy of Shen Yun)

“When Shen Yun’s founders landed here in New York, as Falun Gong practitioners and world-class artists, they were uniquely qualified to revive China’s traditional culture and share it with the world… and that’s precisely what they did.

“That’s why, today, Shen Yun represents a renaissance in Chinese culture, but this time, on the world’s stage, and for everyone to enjoy.”

Shen Yun now has eight companies that tour the world simultaneously, performing in more than 200 cities across five continents each season. With innovative digital stagecraft, the world’s first orchestra to feature both classical Chinese and Western instruments as permanent members, and storylines that draw from the tapestry of China’s 5,000-year history, Professor Zhang said, “the company quickly raised the bar on what a group of artists could accomplish.”

While it took some time for Levi to understand the nature of this Shen Yun renaissance, the importance of it—and the opportunity it presented for his boys—was not lost on him. “This is a remarkable group of people engaged in a grand mission… and the boys are right in the middle of it,” Levi said.

A Golden Surprise

During the fall of 2020, Levi was often at home by himself. Vivian had flown to Taiwan for a few months to work and visit family.

“One night I was out on the deck watching the sunset, and my phone started blowing up,” Levi said. “People were sending me ‘congratulations’ and saying stuff like, ‘Oh wow, gold!’ I had no idea what they were talking about.”

Then, the phone rang, and it was Vivian calling from Taiwan. She was also confused.

“I was getting the same messages, and didn’t know what was happening,” Vivian said. Levi said he’d find out and hung up. He finally got ahold of a friend on campus who told Levi the news: the Fei Tian Academy had hosted a competition and both Jesse and Lucas had won gold in the junior category.

“Honestly, at that point, I was even more confused,” Levi said. “Years ago, I was surprised when the boys first wanted to ‘try’ dance. And then, later when they were accepted into Fei Tian Academy, I was just hoping they would like it enough to stay… I never ever thought they might actually get good at it.”

The competition results were not an anomaly.

The following year, both boys participated in the New Tang Dynasty International Dance Competition. Lucas again secured a gold award in the junior division. Jesse received a silver award.

“This was one of the most emotional times for me as a father,” Levi said. “Although they had been studying dance at that point for about five, six years, because of COVID, this was the first time I saw both boys live on stage dancing solo since they had joined Fei Tian Academy, and I couldn’t believe what I was seeing.”

“I knew them as stocky, slow baseball players,” recalled Levi, “and what I was seeing on stage was a complete transformation. They were elegant, expressive, captivating… like they had been doing this their whole lives. I was in tears… I just couldn’t believe what they had accomplished in just a few short years.”

The brothers’ success in such a short time period, however, is not unusual for Shen Yun’s training program.

“It normally takes 10 or more years and a grueling schedule for someone to reach a world-class standard,” said Vivian, “which is why I was initially skeptical about the boys starting when they did. But, I have to admit: Fei Tian and Shen Yun proved me wrong.”

According to Levi, the success of Shen Yun’s training program goes beyond just hard work and dedicated staff. “There’s a special sauce to the Shen Yun recipe that no one else has,” Levi said. “Shen Yun’s artistic director has infused the entire program with a foundation and know-how that had been essentially lost to history.” As an example, Levi pointed to the twin techniques of “shen dai shou” (the body leads the hands) and “kua dai tui” (the hips lead the legs). Often cited by international dance competition winners as the key ingredient to their success, Levi said these twin techniques have elevated Shen Yun performance art to a whole new level. “No one was even talking about them, let alone able to do them until Shen Yun burst on the scene,” added Levi.

“The boys were very fortunate to find an institution that could take their heartfelt aspirations and provide a way to make them reality,” Levi said. “They are living their dream.”

Lucas Browde performs “King Gou Jian’s Return” during the Ninth NTD International Classical Chinese Dance Competition in 2021. (Dai Bing)

A Growing Bond

The changes in the boys during their years at Fei Tian were also evident on the home front, “especially between the two of them,” Levi said. “It was different from when they were younger. They had different personalities so it’s not like they were inseparable,” said Levi.

“I mean, they had baseball in common and played together like brothers do, but as they got older, their differing personalities became more apparent and so there was not a tremendous amount of overlap in interests. And there were plenty of times when they looked at each other, and were both thinking, “Why is he like that—so annoying?”

“I used to worry about it, actually,” admitted Vivian. “I always had this ideal of my boys being best friends, so seeing them not quite that… I worried a little. I wanted to know that no matter what happened in their lives, they would be there for each other.”

Yet, if their boyhood years represented a growing apart, the Fei Tian years were clearly a coming back together.

“When they started spending more time together practicing and talking about dance, I initially thought it was really just a new-found common interest,” said Levi. “However, over the years, it became clear the togetherness transcended their shared dance interest; a close bond had emerged between the two of them.”

Lucas and Jesse at home in upstate New York. (Samira Bouaou for American Essence)

As the younger brother, Lucas began demonstrating a respectful deference to Jesse. “It became common for Lucas to check with Jesse on which restaurant he wanted to go to, or which movie to see,” Levi said. “And it wasn’t like a burdensome thing… it seemed just more respectful, from the heart. Honestly, I think it was a direct extension of the more traditional environment found at Fei Tian and Shen Yun.”

For Jesse, who typically was more focused on what was in front of him—including not always considering others around him while going about his day—there was a new-found inclusion. “Just little things,” noted Vivian. “In choosing a restaurant or shopping for things online, he’d call Lucas over and they’d pore over the product options and styles together, immersed in joyous banter. In the past, he wouldn’t care very much about his brother’s opinion, nor want to hear it, but now he sought out and genuinely appreciated his brother’s perspective.”

On a recent family vacation, Levi said the strength of their relationship became even more apparent. “Family vacations can sometimes try people’s patience,” said Levi, “especially as different preferences and opinions emerge among family members. But the boys were like two peas in a pod, making plans together, and exploring each region we traveled to like best friends on spring break, which I guess is pretty much what it was. They went everywhere together. Their mother and I just tried to keep up!”

According to Levi, this change is not disconnected with the culture at Fei Tian and Shen Yun.

“Being immersed in a culture that encourages you to put aside ego, and try to think of others’ interests first… that’s going to have ramifications on all your relationships, including with your brother,” Levi said.

The brothers have grown closer to each other ever since they took up dance training. (Samira Bouaou for American Essence)

One Profound Moment

The artists of Shen Yun believe that a life-changing experience is not predicated upon prolonged time and effort (as in, “medical school changed my life”) nor is it relegated strictly to the religious realm. “Even in a relatively brief moment—during the course of a two-hour show, for example—one’s life can indeed be changed, provided something truly and deeply touched the soul,” Professor Zhang said. “A person’s outlook on life, and consequently his or her approach to life, can be elevated, infused with hope, or driven by a newfound positivity, and therefore, a new direction.”

“Over the years, this is exactly what has happened to many people who experience a Shen Yun performance,” Professor Zhang said.

Upon reviewing hundreds of recorded Shen Yun audience reviews over the years, the trend Professor Zhang described is certainly evident. In fact, this is one of the unique and fascinating aspects of Shen Yun: the substance of what audience members say right after stepping out of the theater. Gushing accolades are certainly not unique to Shen Yun—many performances around the world elicit wholesale praise. What’s fascinating about Shen Yun audiences is how often their comments go much deeper, talking about the performance as “therapy for the soul” and a “life-changing experience.”

All of this is not lost on the performers. In fact, for many, it’s their North Star.

“For many Shen Yun dancers, they usually started because they wanted to be artists, they wanted to dance or play music, or maybe they were just encouraged by their parents,” Lucas said. “As you progress at Shen Yun, however, you gain a more profound appreciation for the culture behind the art. That is, the thousands of years of virtues, and the fascinating stories and art forms that exhibit those virtues for the audience in a tangible way… in a way that makes them worthy of aspiring to.”

“But there’s something else,” Jesse interjected. “As we mature as artists and people, and as we spend more time touring with Shen Yun and seeing the impact on the audience, I think we all get a sense for how impactful the show can be… the possibility that on any given night, the audience can experience something really profound.”

“For us as dancers, I think we all feel a tremendous sense of responsibility to do well,” Jesse continued. “That responsibility can sometimes feel like a burden, but it also infuses our lives with tremendous meaning and purpose. Honestly, I can’t imagine wanting to do anything else.”

Lucas described how sometimes at night, after a long day of training and rehearsals, he crawls into bed, sore and exhausted, “but with a big smile on my face,” said Lucas.

“Dancing with Shen Yun is demanding… sometimes exhausting, and honestly achieving this level of artistry with the whole group as we refine and refine and refine every detail to ensure each piece will touch the audience… it can be frustrating because we all need to be in sync, and even if just one person is off, we need to work together to fix it.”

Lucas added, “To really succeed here as an artist, you’ve got to be willing to not only do your part individually, but ensure you’re helping everyone around you do the same thing. It can be exhausting, but… it’s the most rewarding thing I’ve ever done. I feel fulfilled, like deep down, truly happy with this opportunity and the journey I’m on with all these great people.”

Lucas performs during the Techniques portion of the NTD International Classical Chinese Dance Competition. (Dai Bing)

Lucas smiled and then added, “Like Joe DiMaggio famously said: ‘I’d like to thank the Good Lord for making me a… well, not a Yankee, but a Shen Yun dancer!”

From a father’s perspective, Levi said he thinks Jesse and Lucas have found something that is “a great deal more” than just a dance career, and that it couldn’t have come at a more critical time.

“Honestly, I think there’s an epidemic in parenting and education across the country that inhibits young people from learning to grow, succeed, and lead rewarding lives,” said Levi.

“The sky-rocketing rates of depression and a whole host of other problems that are so prevalent in schools and universities across the country are the result. People need to develop a certain level of resilience so they overcome obstacles in life, and more importantly, they need to have a reason to do so. They need to find meaning for their lives that is wholesome and connected, in some way, with time-tested, universal values. Without this level of meaning, it’s easy to become bitter or lost.”

And the antidote to this epidemic?

“It’s Fei Tian and Shen Yun, without a doubt,” Levi said. “Actually, I’ve encouraged them [Shen Yun] to open up academies across the country. They really have a special recipe for developing young people. I always thought it would be great if more young people had a chance to become part of this. It would certainly give me more hope for the future of their generation, and the future in general.”

Jesse performs “Loyalty Amidst Corruption” during the Ninth NTD International Classical Chinese Dance Competition in 2021. Jesse received a silver award in the Junior Male Division. (Dai Bing)

All the World’s Their Stage

Vivian was excited. She’d never been to Prague before, and for this trip, they had a surprise.

For the past few years, Jesse and Lucas have toured with Shen Yun as part of their practicum at Fei Tian. This year, their troupe was opening the season with shows in Germany, Poland, and France.

“Vivian had always wanted to see Prague, and that is driving distance to Berlin so we decided to see some of Europe and surprise the boys in Berlin,” Levi said.

They landed in Prague on a crisp winter day, and found their way to their hotel nestled on the banks of the Vltava River that divides the old city. They explored the Charles Bridge, took in the famed Christmas markets, and even enjoyed one of the many chamber music concerts offered every night around the city during the holidays.

Two days later, they were in Berlin, at the Theater am Potsdamer Platz. Levi had bought tickets on the balcony so they wouldn’t be spotted. “We didn’t tell the boys or anyone we were coming,” he said.

After the performance, Levi and Vivian made their way to the side of the theater. There were some picnic tables near the performers’ entrance alongside a fountain. Small restaurants lined the small plaza. As the dancers and musicians emerged from the theater, Levi and Vivian kept their heads down.

Finally, Jesse emerged, and both his parents jumped up, “Bravo!” Jesse stared at them, the “Wha…?” not fully formed out of his mouth. They hugged and talked about their travels in Prague and up through Germany. Other members of the troupe stopped to say hello and chat. Lucas, the last of the performers to emerge, walked over to see what the commotion was.

Then, just as quickly as the crowd converged, it dispersed. The bus was waiting to take the troupe back to their hotel. Levi and Vivian said their goodbyes and watched their boys board the bus and drive away.

Curtain call at a Shen Yun Performing Arts performance. (Courtesy of Shen Yun)
(Samira Bouaou for American Essence)

After Berlin, their troupe had two more performances in Germany before going to Poland, and then France. They would start in Paris, and then work their way south performing in cities along the French Riviera. Then, one stop in Spain before flying back to the U.S. for shows later in the spring throughout the northeastern U.S.

Turning to Vivian, Levi said that both boys, in their young lives, have been to more cities and countries than he has in his entire life. “And they’re just getting started,” Vivian responded with a beaming smile.

Levi watched the bus fade into the Berlin night. He looked at Vivian and said “I need a minute.” Levi walked over to the fountain and began to cry.

Reflecting on the moment later, Levi said, “I was thinking about the journey we had all been on, and more specifically reflecting on my journey as a parent.”

“Honestly, I’ve had concerns about my parenting from the very beginning. Looking back, I can see so many times when I could have and should have done better as a parent. But that night in Berlin, as I watched them board the bus, I could see clearly what they have become, the life that Shen Yun has given them, and all my doubts and worries faded away.”

Levi paused for a moment, searching for the right words: “In a way, I feel like we’ve raised these boys together with Shen Yun: my wife and I gave them a foundation, but Shen Yun gave them direction and wings to soar, and for that, we’re eternally grateful.”

Categories
Features American Artists

A Transcendent Art Form: 3 Siblings Join a Cultural Renaissance Spearheaded by Shen Yun

A “white Mulan?” That’s weird, they bluntly told her.

Katherine Parker, an award-winning dancer with Shen Yun Performing Arts, the world’s premier classical Chinese dance company, recalled the first time that she portrayed a historical figure in a dance. For a local competition, she wanted to tell the story of Hua Mulan, the courageous heroine of one of ancient China’s best-known legends. Despite her reservations, she decided to press on.

As the legend goes, Mulan disguises herself as a man to go to war in place of her elderly father—thereby saving his life. By imperial decree, one man from every family had to serve.

She fights for 12 years on the frontlines. The dance meant to capture her thrilling moments on the battlefield—but more than that, to tap into an internal struggle. The fast-paced battle music gives way to a slower melody, and the audience gets a glimpse of Mulan’s thoughts.

“Throughout the piece, Mulan is simultaneously waging an inner battle,” Katherine explained. “She longs to return home to her father, but she must remain where she is and fight in a bloody war. The irony of her predicament is that she wishes to take care of her father more than anything, but for his sake, she cannot return to him. I feel this dance highlights Mulan’s filial piety and selflessness.”

dancing movement
Katherine does the “kong hou tui” move, which requires holding the back leg high. (Samira Bouaou)

Katherine knew that capturing that emotional complexity was crucial to the success of her performance.

“I generally tend to hold back, and automatically close myself off a bit when standing in front of an audience. Often, I doubt myself,” she said. “And the moment I hesitate, the performance falls to pieces, because I am no longer in character—I am just being my old self.”

To prepare, she repeatedly listened to the music in her free time.

“​​I would sit there with my eyes closed and visualize Mulan’s story playing out in my mind, in sync with the music. I would imagine the battlefield, the war cries, and the hoof beats of galloping horses. When the softer, sadder music began, I would focus more on Mulan’s emotions and the heart-wrenching sorrow of being separated from her father.”

The dance was a success: She won gold.

The following year, her growth became apparent on a grander stage. At NTD’s 10th International Classical Chinese Dance Competition in 2023, she portrayed another great Chinese heroine, Lady Wang Zhaojun, who chose to marry the leader of a northern nomadic tribe to prevent war, leaving behind her beloved homeland and family in an act of selfless sacrifice. For her moving performance, Katherine took home a silver medal.

classical Chinese Dance
Katherine won a silver medal in the junior division at the International Classical Chinese Dance Competition in 2023 for her dance piece portraying Wang Zhaojun, a historical figure in ancient China who married the leader of a nomadic tribe in order to prevent war from breaking out. (Larry Dye)

On the same stage that year, her older sister, Lillian, and younger brother, Adam, won silver and gold in their respective divisions. 

The secret to their triple win? The siblings point to years of honing not only their craft but also their moral character—the true key, they say, to artistic excellence of the highest level and a core tenet of this millennia-old art form.

Based in upstate New York, Shen Yun was established with a mission to revive 5,000 years of true, traditional Chinese culture, a glorious heritage that was nearly destroyed under communist rule. The company’s eight troupes tour internationally each year, and its elite performers hail from around the world—from America, Europe, Asia, and Australia. 

It’s a distinctly Chinese art form, but one that has resonated with people from all walks of life. Whether it be a daughter’s devotion to her father or a patriot’s sacrifice for country, the values portrayed are universal; its power to connect transcends boundaries. 

“Dance is a language without words,” Lillian said.

Foundations of Family and Faith

A uniquely expressive art form, with roots tracing back to martial arts and Chinese opera and theater, classical Chinese dance has the power to depict an endless spectrum of stories and emotions. The Parker siblings were captivated by it from a young age. 

Growing up in multicultural Toronto, Canada, their family made a tradition of seeing Shen Yun when it came to their city each year. 

“We would all get dressed up, and we’d be bouncing in our seats, waiting for the show to start, so excited,” Katherine recalled. “When the curtain opens, it’s just magnificent. It blew our tiny little minds.”

Their parents, Andrew and Christine Parker, signed them up for classical Chinese dance classes when Lillian was 6, Katherine 4 1/2, and Adam 3. 

“They had an interest in cultural dance, and they just loved it,” Andrew said. 

Such early immersion in the arts was part of his and his wife’s vision to “have a traditional lifestyle for the children,” Andrew said. 

“We wanted to fill them with as many wholesome and positive things that we could,” he said.

They sought out traditional values from different cultures, finding inspiration in the moral foundations of both Western and Chinese civilization, what “people in the past used to think of as virtuous, or good.”

“Honor, integrity, loyalty, honesty, good old-fashioned hard work, kindness—these were the things that we wanted to pass on to the children. These are what people traditionally refer to as the God-given values, or maybe in Chinese culture, they’d say the divinely bestowed values,” he said.  “I believe [these values] are what actually make people feel whole and feel good on the inside, not necessarily the modern values that are promoted nowadays.”

An avid student of the classical art of storytelling, Andrew regaled them with tales, one of Adam’s most vivid childhood memories. 

“Some parents might tell their kids stories to entertain them, but whenever [my dad] tells a story, there’s always a moral behind it,” Adam said. 

The whole family enjoyed music, so Andrew would often set his story to a tune—such as one of the “Star Wars” soundtracks—describing the action of a scene as it unfolded to the score. (“He watched the movies so many times, he memorized all the scenes,” Lillian explained.) 

Looking back, Lillian realized how that helped set an early foundation for her dancing career. 

“We’re hearing the storytelling, and the moral of the story, but at the same time, connecting with the emotions in the music … how the music is bringing out the emotion. Now, whenever I listen to music, I’m automatically thinking of dance moves, or a story or a character starts forming,” Lillian said.

Like their parents, the Parker siblings practice the Chinese spiritual discipline of Falun Dafa. Based on the principles of truthfulness, compassion, and tolerance, with an emphasis on refining moral character, the practice fostered a harmonious family life—and set the foundation for a sort of rectitude and grit that would continue to drive the siblings beyond childhood. 

“It’s like the root—it shaped us a lot,” Lillian said.

At home, the siblings nurtured rich, creative lives, too. Aside from the occasional family movie night, their parents kept a screen-free house—no TV, no video games. As a result, the kids were naturally drawn to books, the arts, and other creative activities to fill their time. 

“​​I’m grateful to our parents for that,” Katherine reflected. “A lot of kids are in their own box with this technology, and it can really suck you in. Staying separate from that, we could learn.” 

They devoured books, from “The Lord of the Rings” and “The Chronicles of Narnia” to Nancy Drew and ”The Hardy Boys.” Lillian, an aspiring novelist, wrote stories of her own. They created their own clubs and crafted mailboxes out of cereal boxes to leave at each other’s doors.

Most memorably, they put on an annual Christmas show for a captive audience of parents, grandparents, and stuffed animals, complete with original dance choreography, music, lighting, costumes, tickets, a security guard (5-year-old Adam), and a rotating emcee. It was influenced, no doubt, by the format of a Shen Yun performance.

So while the Parkers had no expectations for their children to pursue Chinese dance professionally, it hardly came as a surprise when they did. When Lillian was 12, after watching the annual Shen Yun performance, there came an opportunity to audition for Fei Tian Academy of the Arts, which teaches classical Chinese dance, the primary art form of Shen Yun. She decided to try out, especially moved by how Shen Yun uses the art form to tell an important story on stage: the modern-day plight of her fellow Falun Dafa adherents in China amidst the brutal persecution of the faith by the ruling communist regime since 1999. Exposing the persecution is something that “no other performing arts companies are doing,” she said, “and that’s very meaningful. That’s not an opportunity you can find elsewhere.”

The family relocated to New York to support Lilian’s studies, and one by one, Katherine and Adam followed in their sister’s footsteps. 

“[Lillian] auditioned at the school and got in, and then [Katherine] did too,” Adam said, so the next step was only natural. “I mean, I had to try out,” he said, smiling. “Everything was preparing me for that moment.”

Dancing in Chinese 

Still, they were unprepared for other aspects, such as the rigors of classical dance training—with challenges understanding what their Chinese-speaking dance teachers were saying. 

Learning the language was just the beginning; trickier was parsing the hidden layers of meaning beneath the surface, due to cultural differences in communication styles and etiquette.

“Westerners are very direct—what I say, that’s what I mean,” Lillian said. Chinese people, on the other hand, place value on self-restraint and thus “always hold something back.” 

The differences spill over into the language of dance. She’s been told by dance teachers that her movements often look “very frank, very ‘Ba-bam! I’m here!’” she said. Classical Chinese dance, however, calls for a sort of restraint, a tension behind each move, a unique feeling built into the principles that underlie and define the art form. A hero character striking a pose facing the audience, for instance, would never hold his shoulders and hips square and stiff, but instead perhaps twist an opposite shoulder and hip toward one another, in a more dynamic stance. Or take the movement of bringing an arm up and over one’s head: Rather than straight and rigid, the movement would be rounded and pulled back at the edges, as if painting a rainbow with a brush, following the art form’s emphasis on roundness. 

“Every part of your body [has] that feeling, … to the point where it’s a look in your eyes,” Lillian said. “That’s what draws in an audience.”

They often lean on each other for support: At weekly “Parker Council” meetings, they swap videos of their practice sessions and advice for improvement. They found that they not only think and feel similarly, but also hit similar roadblocks in dance. One sibling could thus help another translate confusing feedback from a teacher, as Katherine put it with a smile, “into Parker language.”

male classical Chinese dance
Adam performs one of the many technically difficult flips found in classical Chinese dance. (Samira Bouaou)

Universal Values

A crucial component of their training takes place outside the dance studio, in the classroom: Students at Fei Tian study, among other subjects, Chinese history, its rich repertoire of stories and legends, to understand the values that form the foundation of the culture—and inform every movement of the art form. The Parkers found the same universal virtues they’d grown up with in Western culture—faith, loyalty, integrity, kindness—but embedded at a deeper level. 

“China’s had 5,000 years for those values to sink into the Chinese people’s hearts,” Adam said. 

To be able to experience and take part in reviving such a rich heritage is “just so precious,” Katherine said. What struck her most was how firmly so many figures in Chinese history held to their moral convictions.

“They’re going to do the thing that they believe is right, no matter what the consequences are. It’s part of who they are, so they will give up everything for it—even their life. And it wasn’t just one or two people, but the society as a whole,” she said.

On stage, they channel these ancient figures—whether a palace maiden, an imperial scholar, or Mulan on the battlefield. 

“One of the biggest changes for me as an artist was acquiring the ability to really get into character and feel whatever the character would be feeling,” Adam said. “There’s a saying we use in dance: ‘To move the audience, you have to first move yourself.’” 

Imbuing every movement with genuine emotion, “the audience will actually be able to feel it, even if they’re really far away,” he said. 

Being able to convey these values to the audience is key to capturing the essence of classical Chinese dance. Beyond the demanding technical skill required, to truly be a great dancer, “you have to be a good person,” Lillian said. “And then, you have to want to express or share those values through dance.”

Training in Chinese dance, like all the classical arts, inherently shapes dancers into better people, she pointed out, building self-discipline and the ability to persevere through physical and mental hardship. Maintaining the right mindset over the long run, always striving to be better without being discouraged, is one of the hardest parts, Lillian said.

A teacher once gave her a piece of advice that stuck with her: “Don’t be afraid of not being good. Just be afraid of not improving.” She resolved to focus on her potential to improve, on how much better she could get every day, “instead of being afraid of making mistakes.” She reminds herself: “Everything that’s hard is the root of something that will be great later—this is something that is going to make me into a better person or a better dancer. You see it as what it actually is—a tool to help you grow, even though it’s hard to go through.”

The siblings have also internalized lessons from the historical characters they’ve studied and portrayed. After they started their dance training, their father noticed profound changes in their character—most notably, that they had all grown more selfless. 

“They’ve truly benefited from these traditional values and ancient virtues from Chinese culture,” Andrew said, “and because they’ve benefited from it so much, they truly have a sincere wish to share it with others. I think this is one of the main reasons why they can work so hard. … It requires a very noble spirit and a very pure heart; otherwise, you just can’t endure that much rigorous work.”

Lillian sees their art as having a higher purpose. 

“Aristotle believed that one of the reasons people should learn music is to upgrade their moral values. By listening to good music, you’re learning how to enjoy something that is noble and something that is upright, and therefore, you are making yourself a better person,” she said.

Dance, she says, is the same. 

“You should be giving out upright energy; the message you’re sending to the audience should be a positive, upright message,” she said. 

She hopes audience members leave feeling uplifted and inspired to strive for goodness. 

For Katherine, it makes everything worth it in the end. 

“You know you’re doing something that’s just very special,” she said. “Not everybody gets the opportunity to be a part of something so remarkable.”

This article was originally published in American Essence, Vol. 4 Issue 1, Jan.-Feb. Edition.

Categories
Features American Artists Arts & Letters

How Two Brothers Found Their American Dream Through Shen Yun

The count was full, the bases loaded. Jesse Browde stepped out of the batter’s box, took a deep breath, and fixed his eyes on center field, like a hunter finding his mark. While his teammates were making a ruckus in the dugout, an eerie quiet fell over the parents on the bleachers. They were nervous—but curious.

Who was this kid?

Jesse had just moved to town the previous week, and since he was an unknown player in his first game with his new team, the Little League coach had slated him last in the lineup. No one knew what to expect.

He stepped into the batter’s box, tapped home plate, and settled his weight on his back foot. The opposing team’s pitcher was a big, strong kid. The late afternoon sun bore down on the side of his face, forcing him to squint in a way that made him look even more menacing. The next pitch came in fast, and a little high. Jesse stepped in, and with a quick pivot of his hips, he swung the bat. 

Crack!

The moment the ball hit his bat, he knew it: It was a laser to dead center field and cleared the fence by more than 20 feet. His teammates went bonkers, and the hush that had settled over the parents erupted into cheers.

Jesse rounded third base heading for home plate, where the entire team had gathered for the age-old ritual of helmet tapping and bear-hugging reserved only for home runs and walk-offs.

After that day, it didn’t take long for Jesse to settle into his new team. 

Jesse and Lucas grew up with a deep love for baseball, they played for a local Little League team and a travel baseball team. (Courtesy of Levi Browde)

These were happy times for Jesse and his younger brother, Lucas, who also played baseball. Their new school was great. Their baseball coaches were knowledgeable and dedicated. And despite the frequent protests of their Taiwanese mother, who fervently believed in home-cooked meals, their dad would often take them to Shake Shack or Five Guys after games.

Many burgers and fries were eaten.

At the time, Jesse and his brother felt that they were living the American dream. Later, they would come to realize that was only half true.

“As I grew older and learned more about our country’s founding, I came to realize that the American dream is not only about making a great life for oneself and one’s family,” Jesse said. “It’s about helping to build and create things that can be a force for good in the world and shared with others. It’s about giving back.”

For Jesse and Lucas, it wasn’t until years later when they joined the world’s premier classical Chinese dance company—Shen Yun Performing Arts—that they found their calling.

An Unexpected Path

At the Browde home, conversations at the dinner table often delved into American history—a subject the entire family is passionate about. (Samira Bouaou for American Essence)

Their parents, Levi and Vivian Browde, describe their sons’ upbringing as quintessentially American—Little League baseball; Thanksgiving, Christmas, and Fourth of July with family; and discussions about American history around the dinner table. The family pored over biographies of America’s founders, spurred on by the family patriarch—Levi’s father is a professor who specializes in constitutional law.

Dance was never part of the conversation.

That all changed on a trip to New York City, when Jesse and his family saw a performance of Shen Yun Performing Arts at Lincoln Center. Its programs feature classical Chinese dance, a dynamic and expressive art form that’s thousands of years old. What captivated Jesse most, however, was the message of the performance. Drawing upon a wellspring of legends and stories from traditional Chinese culture, Shen Yun performances showcase timeless themes such as loyalty, compassion, resilience, and faith.

“While they take the form of Chinese stories,” Levi said, “these themes are quite universal and not so different from the stories we discuss around the dinner table. The resilience of Washington and his men at Valley Forge, the loyalty of Lafayette, the faith of the pilgrims—these are values that resonate universally.”

For Jesse, the impact was immediate and profound.

“It wasn’t just the choreography or the message that was being conveyed that struck me. It was the passion of the two lead dancers I saw on stage that day,” Jesse said. “I remember very clearly, it was like, ‘That’s what I can do.’” 

The future is bright for these two young dancers. (Samira Bouaou for American Essence)

To the surprise of his parents, Jesse sought out an audition at Fei Tian Academy of the Arts, the preparatory school for Shen Yun’s dancers. He had trained in tumbling and some fundamentals in classical Chinese dance for a few years, but the audition was still a long shot.

“I was conflicted,” Levi said. “I appreciated the kid having a dream, but at the same time, it felt like a quarterback from some backwater Division III school trying out for the New England Patriots. … He had a long way to go.”

Jesse’s mother, Vivian, was more specifically skeptical. She believed her son was too bulky from years of baseball and didn’t seem to have the lithe, flexible physique required for classical Chinese dance, and didn’t mince words in telling him so. “I just said I thought he was too old to start professional dance trainingand too chubby,” Vivian said, with a laugh.

His parents weren’t the only skeptics. One of Jesse’s dance instructors initially gave him similar feedback, saying he was likely too old and inflexible to ever become an elite dancer.

But Jesse was determined.

“He had that look in his eye,” Levi recalled, “the same one he used to have in the batter’s box when facing a dominant pitcher. Sometimes he wouldn’t even see the pitcher and just focused on the center field fence—where he wanted to go.”

Left: Jesse in the dance “The Immortal Poet” at the 10th NTD International Classical Chinese Dance Competition.
Right: Lucas took on the role of the famous Chinese general in “Loyalty of Yue Fei” at the same competition. (Larry Dye)

For the next several months, Jesse painstakingly trained his flexibility, constantly pushing his own limits. Sometimes, he recruited his parents to help him stretch or work on strength conditioning

“Up until that point, I had never really set my heart on anything in my life before. I never had that drive or passion to push my limits for anything before,” Jesse said.

A little more than a year later, Lucas had his own epiphany while watching Shen Yun. For him, however, it wasn’t due to any one particular dance or story, but rather to the effect the artists created. 

“There’s an energy to it, and you feel it when watching the show,” Lucas said. “It doesn’t just entertain people or even just teach about culture; it inspires morality in people and connects them with the divine. If people walk out of the theater with a new sense of virtuousness and faith, I feel this is the greatest gift you can give to people, and I wanted to be a part of that.”

Practice, Practice, Practice

For the next several years, Jesse and Lucas were not only brothers; they were classmates, training partners, and confidants.

“Classical Chinese dance is not easy,” Lucas said. “With the rigorous training, you really have to develop camaraderie with your classmates to help each other through, and you also learn the importance of staying positive.”

 “On a typical day, we do three hours [of training] in the morning, a full load of academics, and I’m usually with friends in the training room for another three hours at night,” Jesse said. “And that’s only if there are no extra rehearsals. So, a minimum of six hours a day.”

Left: Jesse (L) and Lucas at a playground in New York City, early 2006.
Right: Young Lucas and his grandmother. (Courtesy of Levi Browde)

Despite the rigors of their training, or perhaps because of it, Lucas feels a great satisfaction with his life’s path. 

“Sure, at the end of the day, I’m often physically and mentally weary, sometimes literally crawling into bed. But those times are the most fun and give me the best memories and sense of satisfaction,” he said.

And despite the initial skepticism, years of hard work and an affinity for the millennia-old Chinese art form have paid off for both brothers. After winning a gold medal in the junior division of his academy’s dance competition, in 2020, Jesse was invited to join Shen Yun’s annual tour as part of a student practicum. Lucas, who also won gold in the same dance competition, was able to join his brother a year later.

The brothers’ success in such a short time period, however, is not unusual for Shen Yun’s training program. “It normally takes 10 or more years and a grueling schedule for someone to reach a world-class standard, which is why I was initially skeptical about the boys starting when they did,” Vivian said. “But, I have to admit: Shen Yun proved me wrong. They turned my slow, slightly chubby little baseball players into elite dancers. It’s remarkable.”

According to Levi, the success of Shen Yun’s training program is attributable to factors beyond just hard work and dedicated staff. “There’s a special sauce to the Shen Yun recipe that no one else has,” Levi said. “Shen Yun’s artistic director has infused the entire program with a foundation and know-how that had been essentially lost to history.” As an example, Levi points to the twin techniques of “shen dai shou” (the body leads the hands) and “kua dai tui” (the hips lead the legs). Often cited by international dance competition winners as the key ingredient to their success, Levi said these twin techniques have elevated Shen Yun performance art to a whole new level. “No one was even talking about them, let alone able to do them until Shen Yun burst onto the scene,” he added.

“The boys were very fortunate to find an institution that could take their heartfelt aspirations and provide a way to make them reality,” he said. “They are living their dream, and Shen Yun made it possible.”

Today, Jesse and Lucas—now both adults—share the stage together, traveling the world to perform. Yet, as audiences across the globe marvel at the Chinese art form that they exhibit, few may realize that it’s an American enterprise.

An American Company Showcasing Authentic Chinese Culture

Shen Yun Performing Arts was established in New York in 2006 with a mission to revive China’s 5,000 years of traditional culture.

Within a few years, Shen Yun’s shows were routinely sold out wherever they went. Today, the group has eight companies that tour the world simultaneously, performing in more than 200 cities across five continents each season. With groundbreaking innovations in digital stagecraft, the world’s first orchestra to feature both classical Chinese and Western instruments as permanent members, and storylines that draw from the rich tapestry of China’s 5,000-year history, the company quickly raised the bar on what a group of artists could accomplish.

The response from audiences around the world was immediate, and heartwarming.

 Lucas says one of the most inspiring things for him is watching the short interviews that people give after watching a Shen Yun performance. 

Although it’s just a performance, you can tell by watching audience reviews that something very different and special happens at a Shen Yun show. It touches people,” he said. 

After seeing Shen Yun this past year, world-renowned author and life coach Tony Robbins said: “The stories are amazing, the execution and the dance is amazing. … I think this is beautiful because it’s keeping [Chinese culture] alive, and it’s sharing it with the world.” 

(Samira Bouaou for American Essence)

Actor and comedian Tim Allen, who also saw Shen Yun recently, concurred, saying, “I loved it … quite wonderful.”

For U.S. Brig. Gen. Hector Lopez, a former wartime chief of staff, seeing Shen Yun was transformative: “It was a very emotional experience. … It was not just entertaining, but at the same time, it has a message. I believe we become better people just by watching and witnessing this.”

But none of this could be done in China today. For decades, the Chinese Communist Party (CCP) has sought to eradicate traditions and impose communist ideology on the people. Because Shen Yun showcases authentic Chinese culture from before the rise of communism, and the CCP views that mission as a threat, the dance company cannot be based in China, nor travel there to perform. For more than a decade, the CCP has pressured theaters and local governments around the world to cancel Shen Yun’s shows.

With no safe haven to nurture authentic Chinese culture at home, elite classical Chinese dancers and musicians have turned their sights on America’s shores to establish Shen Yun.

“At first glance, it may seem strange to have a company here in America whose artistry and cultural foundations are more authentically Chinese than anything you can find in China today,” said Shujia Gong, an associate professor at Fei Tian College. “However, America has long been the place where great ideas grow into great enterprises.

“From the Magna Carta to Locke and Montesquieu, those great ideas unfolded in Europe long before the American Revolution, and yet it was in America where these ideas coalesced into a system of government that inspired freedom and democracy around the world. The Industrial Revolution started in England, and yet it was in America where the automobile, manned flight, as well as computers and the Internet really took off. 

“America was the ‘Great Experiment’ in self-governance, but it has also become the great incubator for industry, culture, and progress in general. So it’s not at all surprising that the world’s premier classical Chinese dance company is an American company.”

That idea isn’t lost on Jesse and Lucas. In fact, it’s a point of pride.

“It’s people from all around the world, America, Korea, Japan, Europe—we are from all over the place,” Lucas said. “People come to America to expand what it is they want to do, to make dreams happen.”

“These artists at Shen Yun are people who want to showcase the truth [of real Chinese culture], and they are from all around the world,” Jesse added.

(Samira Bouaou for American Essence)

A Foundation of Freedom, a Global Reach

With Shen Yun, Jesse and Lucas have traveled around the world, as the company routinely takes to the stage on five continents. This past season, their group ventured into new markets, performing 63 shows in eight European countries, as Shen Yun has become a phenomenon across the Atlantic in recent years.

While the experience has exposed the brothers to a broader range of peoples and cultures, it has also given them a newfound appreciation for America.

Recently, on a rare day off, Jesse and Lucas sat in their living room and reflected on this idea.

 “Being American is about contributing to our country in a way that allows many different opinions and perspectives to flourish,” Jesse said. “I draw strength and inspiration from knowing that I come from a country whose principles dictate that everyone should be treated as human beings blessed with the right to life, liberty and the pursuit of happiness, no matter who they are.” 

“For me,” Lucas added, “it’s about embracing the liberty we have here that allows us to not only pursue our own happiness, but also have the freedom to share culture and ideas with others. In a way, it’s about having the strength to spread my wings beyond America’s borders. I feel confident and fulfilled traveling the world, partially because I know my home is in America—and that gives me a sense of a foundation to do so much.”

From Nov. Issue, Volume 3

Categories
Arts & Letters American Artists Features History

Gary Cooper’s Daughter Shares Uplifting Lessons From Her Dad

Gary Cooper is synonymous with the Golden Age of Hollywood. He was one of its most successful box office draws. He was nominated five times for the Best Actor Oscar and won twice for “Sergeant York” and “High Noon.” Handsome, strong, and with an honest stare, Cooper became the country’s model of masculinity, integrity, and courage.

His roles were varied. They ranged from military heroes, like Alvin York, the most decorated U.S. soldier in World War I, and Billy Mitchell, considered the Father of the U.S. Air Force; to a Quaker father in “Friendly Persuasion”; the tragic baseball player Lou Gehrig in “The Pride of the Yankees”; and a tamer of the Old West, none better known than the fictional Marshal Will Kane in “High Noon.”

Maria Cooper Janis, the daughter and only child of Cooper and Veronica Balfe, recalled her father saying that he wanted to try to portray the best an American man could be. These dignified and masculine roles surely captured the ideal, but they also captured something else. Janis said the man that millions of moviegoers saw, and still see today, was, in so many ways, playing himself.

Gary Cooper waits on set. (Courtesy of Maria Cooper Janis)
(L to R) Actors Clark Gable, Van Heflin, Gary Cooper, and James Stewart enjoy a laugh during a New Year’s party held at Romanoff’s restaurant in Beverly Hills, Calif. (SSLIM AARONS ESTATE/Getty Images)

Rugged and Sophisticated

From the rough-and-tumble Western stereotypes to the sophisticated man-about-town, he was “as comfortable in blue jeans as he was in white ties and tails,” she said.

There is a famous photo called “The Kings of Hollywood” of Cooper standing alongside Jimmy Stewart, Clark Gable, and Van Heflin in their white ties and tails, cocktails in hand, having a laugh. It is the elegant and sophisticated version of Cooper—the quintessential image of Hollywood’s leading man. Indeed, Cooper was one of the kings for several decades.

But he was also an everyman. Cooper grew up in early 1900s Montana. He was born in Helena just a few years after it was named the state’s capital. It was a rich town despite being part of the recently settled West. It was an environment―both rugged and luxurious―that Cooper would go on to personify.

The Cooper family enjoying a romp in the snow. (Courtesy of Maria Cooper Janis)

Janis said her father’s first friends were the local Native Americans. They taught him how to stalk and hunt animals and perform his own taxidermy. His friendships helped him understand the plight of the Indians. His father, Charles Cooper, a justice on the Montana Supreme Court, had long been concerned about the Native Americans.

“My grandfather was always working for the underdog,” she said. “My father must have heard a lot of those stories. [My father] always felt he should defend those who needed defending, especially those who didn’t have the clout or standing to win.”

Cooper and the cast on the set of “High Noon.” (Courtesy of Maria Cooper Janis)

The Defender

Cooper found himself defending others on film and in real life, and sometimes those two mixed. Although he stated before Congress that he was “not very sympathetic to communism,” he was sympathetic to those in Hollywood―actors, writers, and directors―who were targeted by the Hollywood blacklist movement. One of those with whom he was sympathetic was Carl Foreman, who had written the script for “High Noon” and had refused to cooperate with the House Un-American Activities Committee. After “High Noon,” Foreman left for England, where he would write “The Bridge on the River Kwai.”

“My father was actually very close to Carl Foreman,” Janis said. “My father told Stanley Kramer [the producer], ‘If Foreman’s off the picture, then Cooper is off the picture.’” Foreman remained, and Cooper performed one of his most definitive roles as a marshal who stands against a criminal gang in a town where everyone is too afraid to help. “High Noon” is believed to be a representation of the Hollywood blacklist era―a belief that Janis holds as well.

“My father passionately believed you were free to believe what you wanted to believe,” she said. “He was threatened that he would never work in Hollywood again. But he knew what he believed and he lived his life.”

Cooper in the ring with a bull in Pamplona, Spain. (Courtesy of Maria Cooper Janis)

Lessons From Cooper

Cooper kept working in Hollywood for nearly a decade more until his tragic death from cancer. But Janis wants people to know that there was so much more to her father than his time on the big screen. It is one of the reasons she wrote her book “Gary Cooper Off Camera: A Daughter Remembers,” which focuses on his family life.

“We had a very close family bond,” she said. “If you have loving parents who show you discipline, that’s a leg up in life. I think the importance of a loving, strong father figure for a girl is excruciatingly important.”

Her mother and father were both a source of encouragement. Despite growing up the daughter of Gary Cooper, she never felt pressured to go into acting.

“He basically left it up to me. He and my mother were very realistic. I came to my own conclusions about what I wanted in my life,” she said.

She studied art at the prestigious Chouinard Art Institute in Los Angeles and began a successful career as a painter. She said that being an artist was apparently in her DNA, as her father, her grandmother Veronica Gibbons, and her great-uncle Cedric Gibbons, who designed the Oscar statuette, were gifted artists.

Family time at Cooper’s Brentwood, Calif., residence. (Courtesy of Maria Cooper Janis)

Cooper―at home and on-screen―had given his daughter the proper perspective of what she should look for in a husband. He had thoroughly educated her on the fact that there were some men who “don’t act very gentlemanly.” So he taught her boxing and self-defense.

“He told me, ‘Don’t let any man intimidate you. You are going to be a beautiful woman. Stand up for yourself,’” she recalled. “It was enough to give me a sense of confidence.”

When her father died in 1961, she continued her career in art and retained that confidence. In 1966, she married another artist, Byron Janis, one of the world’s greatest classical pianists. She said marrying Janis was “the greatest fortune that could have ever happened to me.” The two celebrated their 57th wedding anniversary this April.

Cooper and little Maria at the Grand Canyon. (Courtesy of Maria Cooper Janis)

In Cooper’s Memory

Although Cooper has been dead for more than 60 years, his legacy remains. That legacy has been entrusted to his daughter’s care. She has worked to champion her father’s causes as well as his name.

Janis established a scholarship at the University of Southern California in Cooper’s name for Native American students who wish to pursue an education in film and television. She also advocates for continuing research into the terminal illness of amyotrophic lateral sclerosis (ALS), famously known as Lou Gehrig’s disease.

Along with her book, she collaborated with Bruce Boyer on his book “Gary Cooper: Enduring Style” and contributed to the documentary “The True Gen,” about Cooper’s friendship with Ernest Hemingway. She also established the official Gary Cooper website dedicated to his memory.

Janis said she has understood her past and that of her father’s better over the years, quoting the Danish theologian Soren Kierkegaard: “Life can only be understood backwards; but it must be lived forwards.” In a broader sense, her efforts are to ensure Gary Cooper will be better understood by all as the years go by.

The family loved making music together. (Courtesy of Maria Cooper Janis)

From Aug. Issue, Volume 3

Categories
American Artists Arts & Letters Features Uncategorized

How Rodgers and Hammerstein Ushered in Broadway’s Golden Age

On the evening of March 31, 1943, American musical theater entered its Golden Age. That was the night the curtain at Broadway’s St. James Theatre rose on an old woman churning butter and a cowboy praising the beauty of the morning. It was the night “Oklahoma!” proclaimed the arrival of composer Richard Rodgers and librettist/lyricist Oscar Hammerstein II as a writing team and theatrical force.

The show wasn’t expected to be a hit. “No gags, no girls, no chance,” was the infamous response of a critic who saw “Oklahoma!” in out-of-town previews. Musicals at the time were expected to exhibit a certain degree of glitz that this one lacked. Through the magic of Rodgers’s music and Hammerstein’s words, however, “Oklahoma!” made audiences—and critics—forget all that. It ran for an unprecedented five-plus years.

(Photo by Pictorial Parade/Archive Photos/Getty Images)

“Rodgers and Hammerstein,” as the team quickly became known, went on to define the span of the Golden Age they initiated, which for most commentators ends with Hammerstein’s death in 1960. These years, 1943–1960, were the era of the “book musical,” the blending of musical, lyrical, dramatic, and choreographic elements into a seamless whole, each contributing to the tone and meaning of the story. That may seem old-fashioned in a time of jukebox musicals and pop star tributes, but in the 1940s it was the leading edge of innovation.

Debuting at New York’s Niblo’s Garden in 1866, “Black Crook” was a hodgepodge of song, dance, and story that set the stage for the first American musical. (Public domain)

The Birth of the Musical

The American musical began as a hodgepodge of song, dance, and dialogue loosely strung together to tell a story—or sometimes not. The first example is said to be “The Black Crook,” an 1866 grab-bag of tunes and jokes linked to a thin plot. Over the ensuing decades, the American musical painstakingly crawled its way toward the integration of music, dance, and story line into a sophisticated whole. Two giant steps in that direction were “Showboat” (1927) and “Pal Joey” (1940). Hammerstein wrote the dialogue and lyrics for “Showboat” while Rodgers was the composer of “Pal Joey.”

Original Playbill cover for the 1949 production of “South Pacific,” starring Mary Martin and Ezio Pinza. (Public domain)

Prior to 1942, Rodgers had been working with lyricist Lorenz “Larry” Hart on musicals that slowly advanced the notion of an integrated whole, culminating in “Pal Joey.” But Hart was plagued with personal problems, drank heavily, and was increasingly difficult to work with. Rodgers, intent on turning a little comedy called “Green Grow the Lilacs” into a musical, knew Hart wasn’t up to it. He asked Hammerstein, whose work on “Showboat” he admired, and Hammerstein said yes.

It was a match made in theatrical heaven. Rodgers, tired of the urban style he used with Hart, turned to a more broadly lyrical, operetta-like musical language flecked with American folk elements. Hammerstein’s poetic lyrics matched this and evoked atmosphere, character, and sensibility in a way no popular lyrics of the time did. He could dream into the hearts of a young couple and find them fantasizing about a “Surrey with the Fringe on Top,” or imagine the plaint of an outcast (Judd) in his “Lonely Room.”

BLACK CROOK’s plot involved a fairy queen, and evil count, treasure and a lovely village girl. More importantly, the play integrated music, dance, and spoken lines in a new format similar to that of the modern musical comedy. Poster for an 1882 production. (Public domain)

American Stories Told Through American Music

“Oklahoma!” and the three remaining Rodgers and Hammerstein shows of the 1940s concern American characters. “Carousel” (1945) finds us in New England, witnessing the tragic yet transcendental romance of Billy Bigelow and Julie Jordan. “Allegro” (1947), the only box-office failure of the four, traces the life of an American doctor. “South Pacific” (1949) considers the lives of American servicemen and women in World War II.

Mary Martin with children in mountain landscape. Martin played the leading role, Maria, in the Broadway musical The Sound of Music. (Toni Frissell)

In the 1950s, however, the musicals moved beyond American shores. The two biggest Rodgers and Hammerstein hits of that decade focus on an English lady tutor in 19th-century Siam (“The King and I,” 1951) and a singing Austrian family fleeing the Nazis (“The Sound of Music,” 1959). Their only ’50s box office success set in America was “Flower Drum Song” (1958), considered “minor” Rodgers and Hammerstein. Their TV musical “Cinderella” (1957) used European fairy tale material.

The fading of the book musical is not surprising, given the nature of contemporary song. Traditional popular song, the framework for Rodgers’s music, was harmony-based, whereas current pop is largely beat-based and harmonically much narrower than the earlier type. Harmony was central to creating the appropriate musical language for a book show.

Original poster for Flower Drum Song.

Creating a Musical Universe

All the songs in “Carousel” have a certain melodic gesture in them. This gesture, based on a specific interval between notes (the augmented fourth) generates shared harmonies among the various songs. That’s why numbers as rhythmically distinct as “If I Loved You” and “June Is Busting Out All Over” belong to the same universe: Their harmonic structures are related. But one song is an exception: “You’ll Never Walk Alone.” That’s the hymn Carrie sings to comfort Julie when Billy dies, and the reason it feels transcendent, separate from the others, is that it is harmonically unique. Rodgers and the other composers of the Golden Age didn’t just make up tunes willy-nilly. A deep craftsmanship informed their art.

Rodgers and Hammerstein’s catalogue is today a frequent target of critics who bandy about words like “conventional” and “bourgeois” as if the values represented by them are automatically to be dismissed as out of date. But the clock, as G.K. Chesterton once observed, is a human invention, and humans may set it back any time they wish. Perhaps it’s time to dial our musical theater clocks back to the era of Rodgers and Hammerstein.

From April Issue, Volume 3

Categories
Arts & Letters American Artists Features History

How John Wayne Became the Face of America—On-Screen and Off

Rarely is a man remembered for who he was when he was so overshadowed by what he did. In the case of John Wayne, however, who he was and what he did were one and the same.

John Wayne, born Marion Robert Morrison on May 26, 1907, in the very small Iowa town of Winterset, became one of the, if not the, most iconic actors of the 20th century. At 13 pounds, he was born to become a large man, destined for grand entrances and memorable exits. He was the eldest child of the Morrisons, a marriage that was etched with struggles, insults, and uncertainties. The family was poor and moved a lot, eventually landing in California in 1914.

Out in the farmlands and small towns of his upbringing, he learned how to handle guns, having to protect his father from rattlesnakes while working untamed land. He learned to ride horses. He perfected his reading as he went through the Sears catalogs cover to cover, noting each item he wished he could afford. He learned the idea of hard work, even when it wasn’t profitable, something his father consistently experienced and was reminded of just as often by his mother. He honored both his parents, but he loved his father.

Studio portrait of American actor John Wayne wearing his signature cowboy hat and neckerchief, circa 1955. (Hulton Archive/Stringer/Archive Photos/Getty Images)

Wayne grew up strong and tall, suitable for an athletic career. His athleticism landed him a football scholarship to the University of Southern California in the fall of 1925. While attending school, he worked on movie sets as a prop man and was at times a film extra, typically a football player. During this time, he met the already famous and successful film director John Ford. While bodysurfing on the California coast, Wayne injured his shoulder and lost his scholarship. His football playing days were over, but he was still tall, dark, and handsome, and he decided to join the “swing gang” at Fox Film Corporation moving props.

His relationship with Ford blossomed. The two were opposite in nearly every way, but they attracted, as opposites sometimes do. Ford and Wayne developed a kind of father-son relationship, as Wayne would often call Ford “Coach” and “Pappy.” Ford would be credited with giving Wayne his big break—twice.

A Break and a Name

Ford introduced the young actor to director Raoul Walsh, who decided to have him star in his 1930 epic Western “The Big Trail.” The film was a flop at the box office, though in defense of the film, the Great Depression had just begun. During the filming, however, the studio executives decided that “Marion” was not much of a name for a leading man. Anthony Wayne, after the Revolutionary War general, was considered. Anthony didn’t work either. One of the executives suggested John. When the film was released, his new name was on the posters. Much like his nickname “Duke” was given him by local firemen, his new name, bestowed upon him by others, stuck throughout his life.

A new name and a starring role, however, would hardly change his film career. Throughout the 1930s, Wayne was relegated to B Westerns. As he ascended from his 20s into his 30s, he used his time wisely to perfect his on-screen persona―a persona that he assimilated off-screen as well. His choice of wardrobe, his walk, his fighting style were all tailored for himself by himself. The Duke was an icon in the making, and the making was all his creation. He just needed a true opportunity to showcase it.

American actor John Wayne as a young boy, sitting against a fence on the prairies with his younger brother Robert. (Photo by Hulton Archive/Getty Images)

A Memorable Entrance

That opportunity arrived in 1939 when Ford chose Wayne to star in his Western film “Stagecoach.” The director had always been a believer in Wayne. The young actor had proven to be a hard worker, receptive to directorial guidance, and willing to do many of his own stunts. Along with that, he was 6 feet, 3 inches tall, with a broad-shouldered frame, blue eyes that showed gray on the silver screen, and a strong nose and jawline. His acting also came across honest, as if he was speaking directly to the person in the audience. There was a magnetic pull with Wayne, and Ford decided to do all he could in his film to draw viewers to him.

Wayne was a familiar name and face for moviegoers, having already appeared in 80 films by this time. Familiar, yes. A star, no.

The 1939 film revolves around seven passengers trying to get from one town to the next while trying to avoid the inevitable Indian attack. Nearly 85 years removed, “Stagecoach” remains one of the great Westerns. The movie did more than tell a great story. It did something more important. It introduced the world to John Wayne. Eighteen minutes go by before Wayne makes his entrance in the film, and it is an entrance that was created specifically for the induction of a soon-to-be American icon.

In a wide shot, the stagecoach rides up a slight incline when suddenly there is a gunshot. The stagecoach comes to an abrupt halt. Starting with what is known as a cowboy shot (pioneered by Ford and also known as the American shot), the camera moves in for a close-up of Wayne, who twirls his Winchester rifle. The shot starts in focus, slightly goes out of focus as it moves toward the actor, and then finishes in focus. The actor stands majestically wearing a cowboy hat and neckerchief, which would soon become synonymous with Wayne. The shot was out of place not just for the film, but also for Ford. But it was intentional for reasons explained by Scott Eyman in his biography “John Wayne: The Life and Legend.”

“This is less an expertly choreographed entrance for an actor than it is the annunciation of a star.”

“Stagecoach” was Wayne’s big break into the Hollywood movies, making him one of America’s leading actors and soon to become a star. Theatrical poster for the 1939 American release of “Stagecoach.” ( Public domain)

America’s Leading Man

From this point on, Wayne would embrace his role as America’s leading man. There were other actors, of course, during his rise. Some on the decline, like Clark Gable and Gary Cooper. Some on the rise, like Cary Grant and Jimmy Stewart. Their greatness in their own ways cannot be diminished. Gable with his force of nature persona. Cooper as an embodiment of honesty and kindness. Grant as the romantic symbol of the 20th century. And Stewart, a personified symbol of truth. But Wayne embodied something else, and yet he was all of these things. He became the face of the country.

Authors Randy Roberts and James Olson both noted that Wayne became America’s “alter-ego.” Wayne hoisted that alter-ego upon his cinematic shoulders, which proved more than capable of bearing the load. The Duke chose films that promoted and often propagandized America’s greatness. His primary film genres were war films and Westerns.

When America entered World War II after the Pearl Harbor attack, Wayne was closing in on 35 years of age and already had four children. Film stars, like Stewart and Gable, along with directors, like Ford, joined the war effort overseas. In 1943, Wayne applied to join the Office of Strategic Services, the precursor to the Central Intelligence Agency, but the spots were filled. In 1944, when there was a fear of a shortage of men, Wayne’s status was changed to 1A (draft eligible), but Republic Pictures filed for a 3A deferment for Wayne, which kept him in front of the camera. Ultimately, Wayne believed, arguably correctly, that his impact as an actor (or more cynically a propagandist) would be far greater than as a soldier.

“I felt it would be a waste of time to spend two years picking up cigarette butts. I thought I could do more for the war effort by staying in Hollywood,” he told John Ford’s son, Dan.

Cinematographer Bert Glennon (L) and director John Ford on the set of “Stagecoach”
in 1939. (Public domain)

For all intents and purposes, Wayne, who would have been classified as a private, would have most likely remained behind the scenes doing busy work or promotional bits for the military. Though he would never be a military hero, Wayne proved more than patriotic. As Eyman wrote regarding the type of roles Wayne chose to perform, “His characters’ taste for the fulfillment of an American imperative was usually based on patriotic conviction, rarely for economic opportunity.”

Between the span of America’s entry into the war and the end of its occupation in Japan (1952), Wayne starred in eight World War II films. He would also join the United Service Organizations (USO) overseas, where he entertained the troops and helped boost morale.

A Conservative Stalwart

Throughout his career as America’s leading man, he never shied away from making his conservative views known, and he never wavered from opposing liberal viewpoints. He and Paul Newman, a known Hollywood liberal, regularly talked politics and shared books with each other that discussed their differing political perspectives. Wayne’s 1974 visit to Harvard University, to possibly be disparaged by the student body, resulted in both sides walking away with mutual respect.

Wayne knew what was to be expected, especially with the anti-war movement on campuses. He took verbal barbs and responded in his typical fun-loving yet pointed manner. At one point, he told the young audience: “Good thing you weren’t here 200 years ago or the tea would’ve never made the harbor.” The comment was greeted with cheers rather than boos.

As the New York Post columnist Phil Mushnick wrote, concerning the outcome of the Harvard visit, “There were many who found themselves actually—and incredibly—liking John Wayne. They still disliked his politics, of course, but was he any different from many of their parents?”

Wayne reads a “Prince Valiant” comic with his four children, 1942. (Hulton Archive/Stringer/ Archive Photos/Getty Images)

Eyman pointed out the actor’s quasi-familial influence on the American homeland. Wayne’s growth on-screen and off-screen proved to be near equal in its cultural weight. He reminded “people of their brother or son, he gradually assumed a role as everyone’s father, then, inevitably, as age and weight congealed, everyone’s grandfather.”

On June 11, 1979, America’s grandfather passed away from stomach cancer. He had beaten cancer once before, and it had cost him a lung and some ribs. His final film, “The Shootist,” is about an old gunfighter dying of cancer. Though he had another film lined up, his death after his final film is, still tragically, more fitting than ironic.

Wayne was America’s cowboy. He was the war effort on film. He worked to root out communists in Hollywood. He was a man who believed in patriotism when many Americans tried to give that a bad name. John Wayne was, and, according to polls, still is, part of the American family. When Wayne was being considered for the Congressional Gold Medal in May 1979, the stars came out in support. Elizabeth Taylor told Congress, “He has given much to America. And he has given to the whole world what an American is supposed to be like.”

He was awarded the medal a month after his passing. In 1980, President Jimmy Carter posthumously awarded him the Presidential Medal of Freedom. Of all the attributes one could give John Wayne, the one recommended to Congress by his five-time co-star Maureen O’Hara seems to be the most appropriate.

“I feel the medal should say just one thing,” O’Hara tearfully said. “John Wayne: American.”

Wayne stars as Robert Marmaduke Hightower in the 1948 western “3 Godfathers.” (Hulton Archive/Stringer/ Archive Photos/Getty Images)

From April Issue, Volume 3

Categories
Arts & Letters American Artists Features

Madama Butterfly

Maria Callas was of Greek decent, born in New York in December 1923. Just one year later, in 1924, Giacomo Puccini, who was from the small town of Lucca in Italy, died. They never met. They never even knew each other, and yet their lives will be forever entwined.

Maria Callas, of course, would come to know Puccini intimately through the miraculous beauty of his work. But it seems almost a tragedy that Giacomo Puccini would never know the woman, or hear the phenomenal voice, that would give such flight to his work.

It is almost inconceivable that Maria Callas, one of the most renowned and influential sopranos of the 20th century, detested her own voice. She thought it too nasal! The first time she listened to a recording of one of her performances, she broke down in tears. She had wanted to give up singing entirely. Though she later said she was able to accept her voice and be objective about it, it seems impossible that she might well have been the only person on earth left unmoved by the fluid power, that lilting delicacy and startling expression of authentic emotion, that brought audiences to their knees.

Given her tumultuous childhood, perhaps the very thing that gave her access to such raw emotion, it seems understandable that she might have viewed herself with a sense of remote disconnection. She commented often that “Callas,” the woman who went up on stage, was another person.

While the tone or quality of her voice might have been subjective—and there were detractors—through her style and phrasing, her voice came to be revered as the most telling, the most expressive and true voice of her time. With the fiery passion and theatricality she brought to each performance, she captured the hearts of audiences the world over.

But more: Victor de Sabata, the acclaimed conductor and composer, noted, “If the public could only understand, as we do, how deeply and utterly musical Callas is, they would be stunned.” Tullio Serafin, another conducting giant of the time, considered her musicality “extraordinary, almost frightening.” And indeed, Callas viewed herself foremost as a musician, the first instrument of the orchestra, though she never thought of herself as “good enough.”

Thirty-five years after her death, she was still one of classical music’s best-selling artists. While the press named her the first “diva” of the opera and concentrated on the drama and spectacle of her private life, those who actually listened to her voice were transported to another world: a world where each moment caught your breath, where each phrase, in the best tradition of opera, was love—life or death.

Maria Callas’ first performance in a leading role was that of Tosca, written, of course, by Giacomo Puccini. Callas went on to sing the arias from every one of Puccini’s most popular operas.

Maria Callas’ first leading role was in Giacomo Puccini’s Tosca. Cover of the libretto for Tosca, 1899, by Alfredo Montalti. (Public Domain)

Puccini came from a lineage of musicians who were well established in Italy. While they were certainly not wealthy, Puccini’s grandfather, after whom he was named, was the organ player and chief conductor at the Cathedral of St. Martin in Lucca. Members of the Puccini family had occupied that position going back to 1740!

After the death of his father, the family fell on difficult times. Giacomo was said to have been an unruly child, often playing truant from school, and at one point being accused of stealing the lead pipes from the church organ to buy cigarettes! Later on, he would actually elope to marry his wife, so it is clear he was not exactly a shrinking violet. There was a vibrancy to his personality, and it showed in the myriad colors of his work.

Composer Giacomo Puccini in a studio photograph. (US-PD)

At age 17, he literally walked from Lucca to Pisa to see a performance of Verdi’s latest opera, “Aida.” At that point, Verdi was the rock star of Italian opera. Apparently, Puccini had no money and no ticket, but that did not stop him. It would not be long before Verdi’s ardent fan would equal his fame.

It was expected that Giacomo would follow in the family’s musical tradition. He was sent to study at the Conservatory of Milan, where he lived the bohemian life of the starving artist. His adventures there would inspire his later opera,

Set Design for Giacomo Puccini’s opera “La Boheme,” 2010, by Reginald gray.

Apparently, apart from enjoying the nightlife of Milan, his schooling bored him to tears. But the Conservatory required he compose a piece as part of his thesis. Puccini responded with a composition for full orchestra entitled “Capriccio Sinfonico.” Writing for full orchestra, with just pen and paper, is an unfathomable skill. But Puccini’s remarkable symphonic talent and style were immediately clear.

It might have been expected that a man from such a background would become an excellent composer, but that doesn’t explain the incomparable genius that gave the world the operas “La Bohème,” “Tosca,” “Madama Butterfly,” and “Turandot.” It is an unparalleled contribution of such magnificence that words simply fail. To this day, these works still thrill audiences around the world.

Later in life. “Una fotografia del” compositore of Giacomo Puccini. (Public Domain)

As a musical dramatist, he was unequaled. As a writer of the most memorable arias, with melodies such as the impassioned “Nessun Dorma,” which became the theme for the 1990 soccer World Cup, he broke through the elitist notions of opera, bringing that magical world of imagination to the common people.

But neither Giacomo Puccini nor Maria Callas were common people. They may have grown up on the same streets as the common people, but the miracle of their uncommon gift was to distill everything of the human experience, from our highest ideals to our lowest cravings—the fears and secrets hidden in the corners of our hearts, desires, heartbreaks, the sacred and the profane—and reflect every one of us back upon ourselves.

It is a rare gift—so rare, in fact, that we still know the names of those few who have been able to do it. Their lives and their work enrich us all with a greater sense of the meaning, the depth and width, of our existence.

Giacomo Puccini and Maria Callas were not alike in terms of their personalities, but in their work, they appear as almost the same person. Their brilliance, of both sheer technical skill and deep, human, expressive passion, is truly as one. It is as if Callas was born specifically to bring ultimate expression to Puccini’s work.

Screen set on Madame Butterfly. “Collina presso Nagasaki,” 1906, by Alexandre Bailly and Marcel Jambon. (Storico Ricordi, Collezione Digitale Ricordi, ICON000079 – Restoration. (CC BY-SA 4.0)

I mentioned that they never actually met. Puccini was leaving this world just as Callas was coming into it. But there is a song, “Un Bel Dì, Vedremo” (one fine day we will see). It is an aria for soprano from the second act of Puccini’s opera “Madama Butterfly.” If you never listen to another piece of opera in your life, just read the outline to the story of Cio Cio San, and then listen to Maria Callas perform it. It is a piece of such searing drama and delicate beauty that it leaves me speechless each time I hear it. And each time I hear it, I am more convinced that Giacomo Puccini must be standing right there in the wings, listening.

Pete McGrain is a professional writer, director, and composer best known for the film “Ethos,” which stars Woody Harrelson. Currently living in Los Angeles, Pete hails from Dublin, Ireland, where he studied at Trinity College.

Categories
American Artists Arts & Letters

Norman Rockwell’s America

“I was showing the America I knew and observed to others who might not have noticed.”
—Norman Rockwell

Norman Rockwell’s career spanned six decades, and he is certainly one of America’s best-known 20th century artists. Many of us love him. Many dismiss him as a romanticist and kitschy caricaturist, but a showing of his works gives a much deeper appreciation for “America’s Best Loved Artist.”

“Triple Self-Portrait,” cover illustration for The Saturday Evening Post, Feb. 13, 1960. (Norman Rockwell Museum Collection)

When the show came to the Museum of the Shenandoah Valley, we went to see it with anticipation. “Will it have any original paintings in it?” my wife asked. “I certainly hope so,” I replied. Yes, I would have enjoyed a selection of Saturday Evening Post covers, but I really wanted to see brushstrokes! I was not to be disappointed!

Rockwell began painting professionally at a young age. At 21, he was painting covers for the Saturday Evening Post. He was a disciplined and masterful painter and achieved solid success very early. While most of us are familiar with the oft-reproduced Saturday Evening Post illustrations, few are aware of other masterful works that appear early in his career. These paintings show a keen sense of observation and composition, and a genuine knowledge of the techniques of the old masters.

“Young Valedictorian” by Norman Rockwell, circa 1922.

She stands erect before an audience, lit from above and behind, in a style reminiscent of the works of Degas or Rembrandt. The light is accentuated by a touch of impasto and skilled brushwork. The subject is a serious one. “The Young Valedictorian,” painted in 1922, captures a young girl standing before her school in a white dress at graduation. The interior behind her is meticulously detailed. In the shadows, a row of seated faculty members listens. A globe on stage reflects a spot of light in highlight on its varnished surface. A clock on the wall, to the upper right of the speaker, marks time.

All eyes are on the face of the young speaker. Rockwell’s lighting and masterful composition see to that. Here are the brush strokes of a genius! Amazingly enough, this work was never published. Few people are aware of it, and if it were on a wall by itself, perhaps few would attribute it to Norman Rockwell. There is no irony, no humor, and no caricature. It is a beautiful capture of a poignant moment. It reveals a Norman Rockwell I want to know.

“After The Party” by Norman Rockwell, circa. 1922

“After the Party” is another painting by Rockwell from the same year. It was painted as an advertisement for Edison Mazda (later to become General Electric). In a masterful bit of chiaroscuro, Rockwell captures a conversation between a young woman and an elderly lady. A single electric lamp backlights the two figures—presumably talking late in the evening after an important social event. The composition creates the conversation. Again, it shows Rockwell’s mastery of his art, as well as his observational skills.

In “Two Children Praying,” painted much later in his career—in 1954—Rockwell captures an America still in touch with its core values. This painting was done for a billboard advertisement for Longchamps Restaurant, Union Square, New York. The background is a night sky illuminated by a bright star, and its light falls across the faces of a young boy and girl as they pray. Rockwell’s detailed pencil study for the work shows the artist’s commitment to excellence in a work like this. The sketch is reminiscent of those that Leonardo da Vinci did leading up to painting “The Last Supper.” When one remembers that Leonardo took a commission for a rather common refectory scene and added the drama of the betrayal—rendered in the relatively new medium of oil paint—one can begin to appreciate that Rockwell stepped up to the easel of an illustrator and brought to it the drama that his artistic skills made possible.

Both da Vinci and Rockwell could capture the fine nuance of personality. Though Rockwell would often push it to the limit in his magazine covers, he could pursue subtlety. In a painting entitled “Norman Rockwell Visits a Country School,” painted in 1946, Rockwell depicts a loving teacher in a small (perhaps one-room) schoolhouse reading to a rapt group of students hanging on her every word—all but one! There, on the other side of the wood stove that heats the room, sits a girl lost in her own book. The painting tells its own story. Here I must tell you, Rockwell’s interiors are gorgeous! If I wanted to recreate a country schoolhouse, this painting is the template, rendered down to the minutest detail. Even the children’s art on the walls is amazingly realistic. Norman Rockwell was witness to an America in transition.

The body of his work is no less than a historical record. His work spans the Roaring ‘20s, the Great Depression, and the Great War. Read the headlines of the Saturday Evening Post covers, and you discover an America whose journalists were not afraid to call out the evils of Communism. Rockwell may indeed have romanticized some of his work, but he had a sense of the life and struggle of ordinary Americans.

Nowhere is this more evident than in a series of posters he designed for a commission from the government: “The Four Freedoms.” The paintings are based on Franklin D. Roosevelt’s 1941 State of the Union Address. The president laid out four “fundamental freedoms” in that speech: freedom of speech, freedom of worship, freedom from want, and freedom from fear. The first two, taken directly from the First Amendment of our Constitution, reiterate freedoms unique to people living under a system of limited government—freedoms that belong to the people. In the painting “Freedom of Speech,” a man in a worn work jacket stands to address a meeting of local government. The image resonates with all of us who are now standing up at school board meetings to protect the interests of our families.

The second painting, “Freedom of Worship,” shows a rich composition of diverse faces—the faces of the devout. This resonates with all of us whose ancestors came here for freedom to practice our faith’s dictates. But here, the freedoms take a turn from freedom to “do” something to freedom “from” something.

Freedom from want and freedom from fear are not in the Constitution. They are rather a statement of some of FDR’s New Deal ideals. They would play out in the work of the Beltsville Agricultural Research Center, near Washington, D.C., where much work was done to create our modern, chemically dependent agriculture. Located next to Beltsville is Greenbelt, Maryland, originally an example of Eleanor Roosevelt’s idea of a centrally planned city, intended to replace the squalor of depression America. Here, the government proposed that it could eliminate want and fear. That was a new idea. All one had to do was “democratically assent to central planning.”

In 1963, Rockwell left the Saturday Evening Post, and worked for Look magazine. Here he was given more creative latitude, and he freely pursued his passion for civil rights and space exploration. He painted right up to his death in 1978 at the age of 84, leaving an unfinished work on his easel.

Categories
American Artists Arts & Letters

Paintings in Glass

Tiffany is a name that’s synonymous with the enchanting and sublimely beautiful glassware of the Art Nouveau movement in the United States.

With a career spanning from the 1870s through the 1920s, Louis Comfort Tiffany embraced virtually every artistic medium: leaded-glass windows, mosaics, lamps, glass, pottery, jewelry, and furniture. Of all Tiffany’s artistic accomplishments, it was his innovation in leaded glass that brought him the most recognition. Tiffany was among the first U.S. designers to be acclaimed abroad. His techniques in glass and the union of his craft with American arts set him apart as the most innovative designer at the turn of the century.

“I have always striven to fix beauty in wood or stone or glass or pottery, in oil or watercolor, by using whatever seemed fittest for the expression of beauty.”

—Louis C. Tiffany

Louis C. Tiffany was the son of Charles Lewis Tiffany, founder of the successful and influential silver and jewelry firm Tiffany & Co. In lieu of working for his father’s business, Louis C. Tiffany chose to pursue his own artistic interests. The young Tiffany began his career as a painter, working and studying under the tutelage of American landscape artist George Inness. Inness is reputed to have remarked of Tiffany: “The more I teach him the less he knows, and the older he grows the farther he is from what he ought to be.”

Electrolier, c. 1904. Black-eyed Susan design. Leaded glass. Photo by Raymond Martinot. (Courtesy of The Charles Hosmer Morse Museum of American Art, Winter Park, Florida)

Tiffany’s fervor for the arts led him to France, where he studied with Léon Belly in Paris. It was Belly’s exhibition of Islamic genre scenes and landscapes that initially opened Tiffany’s eyes to a bright world of patterns and colors—which became Tiffany’s signature trademark for his leaded glass. In spring 1869, he met artist Samuel Colman, cofounder and first president of the American Watercolor Society. Colman taught Tiffany the value of watercolors for sketching, and together they traveled to Spain and North Africa in search of exotic subjects. Tiffany spent his time in North Africa collecting photographs, glassware, and objects that helped further formulate new ideas and theories about color.

“When first I had a chance to travel in the Near East and to paint where the people and the buildings are also clad in beautiful hues, the pre-eminence of color in the world was brought forcibly to my attention. I returned to New York wondering why we made so little use of our eyes, why we refrained so obstinately from taking advantage of color in our architecture and our clothing when Nature indicates its mastership.”

—Louis C. Tiffany

The Gilded Age

The term “Gilded Age” was coined by writers Mark Twain and Charles Dudley Warner to represent the era of American opulence. The reconstruction of the United States following the Civil War was a time of unprecedented economic development. Manufacturing production boomed and railways grew across the United States, attracting millions of migrants to the nation. The economic wealth financed the growth of the luxury goods market, and wealthy art patrons sought extravagance as a way of displaying status. The Gilded Age set the stage for the rise of the Arts and Crafts movement in the United States.

Large Memorial window, Education commissioned by Simeon B. Chittenden was made for the window of new library at Yale University. The window, 30 feet long and 5 feet high, was installed in time for commencement week 1890.

The Arts and Crafts movement had already gained popularity in Victorian England during the second half of the 19th century. The return to traditional styles of artisan design was a direct revolt against the Industrial Revolution and what was felt to be the “soulless industrialization of craft.” British artist, designer, and philosopher William Morris led the movement and believed production by machinery to be “altogether evil.” He also advocated for the union of all arts within the field of interior design, emphasizing nature and simplicity of form. The theme of nature remained a powerful iconography throughout the Arts and Crafts movement—especially in the works of Tiffany and in the aesthetics of Art Nouveau.

A Wooded Landscape in Three Panels c. 1905. Leaded Glass. Museum of Fine Arts, Houston.
Transom, c. 1910–20. Wisteria Leaded glass. Tiffany Studios, New York City. (Photo by Raymond Martinot. Courtesy of The Charles Hosmer Morse Museum of American Art, Winter Park, Florida)

In 1876, Tiffany was first exposed to the lure of the movement when he exhibited his paintings at the Philadelphia Centennial Exposition. It was then that he became attracted to the decorative arts and began to think about moving his artistry into the field of design, remarking to a fellow exhibitor: “I believe there is more in it than painting pictures.”

Tiffany embarked on a design career in 1879, opening the interior design firm Louis Comfort Tiffany and Associated American Artists, together with Candace Wheeler, Lockwood de Forest, and Colman. In the company’s four short years of existence, it fulfilled numerous interior design commissions, including contracts to design home interiors for wealthy clients such as writer Mark Twain, actor and inventor James Steele MacKaye, and President Chester Alan Arthur.

The Rise of Tiffany Glass

In the early 1870s, Tiffany’s passion for glass blossomed and he began experimenting with different techniques and materials. Between 1880 and 1881, Tiffany filed three patents for his glass-making process. One patent was for the creation of iridescent glass tesserae (small square tiles used in mosaics). Traditional mosaics were made with squares of uniform color. Tiffany’s innovations in glass-making technique, however, allowed for the creation of mosaics with shimmering tiles that were both iridescent and luminous.

Another patented technique utilized metallic oxides to create iridescent window glass. While Tiffany wasn’t the first to invent iridescent glass, he’s the most recognized for popularizing it on the market. Prior to 1880, iridescence in modern glassmaking was used in Venice, Italy, and earlier by Scottish physicist Sir David Brewster, who experimented with iridescent patina.

The third patent involved inducing opalescence by layering stained-glass panels. Tiffany and his early rival John La Farge, another prominent glassmaker, had both been granted similar opalescent glass patents by 1881. Opalescence revolutionized the look of stained glass, which had remained essentially unchanged since Medieval times. Early stained glasswork used flat panes of white and colored glasses, and details were painted atop with glass paints before firing. However, the paint reduced light transmission.

Tiffany sought to find natural ways to allow for gradations of depth, lines, and color—particularly in order to depict the tone and texture of human flesh without losing luminosity. The opalescent effect was so highly sought after because it enabled form to be defined by the glass itself, without paint.

Woman in a Pergola with Wisteria, ca. 1915. Leaded glass. (Courtesy of Chrysler Museum of Art, Norfolk, VA.)

“By the aid of studies in chemistry and through years of experiments, I have found means to avoid the use of paints, etching, or burning, or otherwise treating the surface of the glass, so that now it is possible to produce figures in glass of which even the flesh tones are not superficially treated, but built up of what I call ‘genuine glass’ because there are no tricks of the glass-maker needed to express flesh.”

—Louis C. Tiffany

Tiffany’s newfound obsession with glass developed and proliferated after the Associated Artists disbanded in 1883. Tiffany continued as an interior designer for many years, but with a new focus on purely decorating, using glass and light. One of his most ambitious interiors was the Tiffany Chapel, exhibited in 1893 at the World’s Columbian Exposition (the Chicago World’s Fair), which was notable for being the first world’s fair to feature electrical exhibitions. A total of 27 million visitors from all around the world came to enjoy the event.

View of the chapel interior designed by Louis Comfort Tiffany for the 1893 World’s Columbian Exposition. (Courtesy of The Charles Hosmer Morse Museum of American Art, Winter Park, Florida)

Light filtered in through 12 leaded windows and a 1,000-pound cruciform-shaped chandelier covered in sparkling jewels and pieces of glass. Created in the Byzantine-Romanesque style, Tiffany Chapel also included 16 mosaic columns and a mosaic altar of marble and white glass. The chapel’s visual impact was undeniable, bringing Tiffany international recognition. It was reported from Wilhelm von Bode, director of the Gemäldegalerie (Painting Gallery) in Berlin, Germany, that the opalescent windows received more attention from visitors than any other industrial art project in the United States. Tiffany Chapel became a symbol of American ingenuity, which could rival and even surpass anything created abroad at the time.

Baptistery and Field of Lilies leaded-glass window from the Tiffany chapel interior at the Morse Museum. Photo by Raymond Martinot. (Courtesy of The Charles Hosmer Morse Museum of American Art, Winter Park, Florida)
Closeup of glass mosaic with Peacocks in Tiffany Chapel c. 1893. (Courtesy of The Charles Hosmer Morse Museum of American Art, Winter Park, Florida)

Art for Beauty’s Sake

Tiffany’s aesthetics were based on the belief that the most beautiful and perfect design was present in the natural world and that world should therefore be the primary inspiration for art. He had an extensive horticultural library and a collection of plant photography that he commonly used for source material. His youngest daughter, Dorothy Tiffany Burlingham, recalled of her father: “He knew every plant and flower. … To watch the flowers grow from bud to full bloom was his greatest pleasure.”

The fascination with nature and extending the capabilities of glass to replicate the subtle shading and lush palettes found in flowers and plants led Tiffany to explore another technique—Favrile. The term is derived from the Old English word fabrile, meaning handmade. Favrile glass is different from other iridescent glasses because the color doesn’t sit solely on the surface; it’s actually embedded within the glass.

In 1893, Tiffany hired expert glassblowers, some of whom came from the not-long-defunct Boston and Sandwich Glass Company, and established his own glass furnaces in the neighborhood of Corona, in New York’s Queens borough. From there, large quantities of his Favrile blown-glass vases and bowls could be sent to museums worldwide. In 1896, Tiffany took his new products to market, holding the first public Favrile glass exhibition at his Fourth Avenue studio in New York.

Flower-Form Vase, ca. 1899–1900. Blown glass. (Courtesy of Chrysler Museum of Art, Norfolk, VA.)

After 1900, the name Tiffany became associated with art glass, lamps, and decorative objects, more so than the formerly acclaimed stained-glass windows and mosaics. Among the items made at the time were desk sets, ash trays, enamel boxes, and jewelry. It was Tiffany’s passion that beautiful art and objects be made available to the widest audience of American homeowners. He set out to provide everyday items that he felt would enrich people’s lives with beauty and justified shifting the focus of art from public displays to household objects with the reasoning that items such as lamps, flower vases, and toilet accessories reach wider audiences than a painting might. Tiffany looked to artisans as “educators of people in the truest sense” and as masters of art appealing to emotion and the senses, thus “rousing enthusiasm for beauty in one’s environment.”

Necklace, c. 1903–6. Exhibited at the Salon of the Société des Artistes Français, Paris, 1905 or 1906. Peacock and flamingo. Enamel, opal, amethyst, ruby, sapphire, demantoid garnet, emerald, chrysoberyl, pearl, gold. (Photo by Raymond)

He consistently held to a traditional criterion of beauty similar to that of the Irish philosopher Edmund Burke in his treatise “On the Sublime and Beautiful,” positing that man’s concepts of beauty arise from the passion of love, the senses, the calming of nerves, and the divine providence of God. An article written by Tiffany for Country Life in America titled, “The Gospel of Good Taste” publicly shares his aesthetic views, hoping to educate and inspire a surge of beautiful art in America: “It is all a matter of education, and we shall never have good art in our homes until the people learn to distinguish the beautiful from the ugly. … We should study classic art, and learn that the simplest things are the best.”

A Dream Realized

The unification of the arts and the culmination of Tiffany’s artistic and aesthetic endeavors were embodied by the final house he designed in its entirety—his own estate. Laurelton Hall was erected in Cold Spring Harbor, New York, in 1905. The 84-room property sat on 580 acres of land, 60 acres of which were devoted to the design of picturesque gardens and woodlands containing ponds, tennis courts, and a bathing beach.

View of Laurelton Hall. (Courtesy of The Charles Hosmer Morse Museum of American Art, Winter Park, Florida)
Living Room at Laurelton Hall. (Courtesy of The Charles Hosmer Morse Museum of American Art, Winter Park, Florida)

The estate housed his collection of unique art gathered from around the world, as well as numerous relics designed by Tiffany Studios: furniture, lamps, windows, vases, and more. The architecture, both interior and exterior, was ornamented with glass mosaics and carved wood, inspired by art and designs from Asia and the Middle East.

Dining room from Laurelton Hall, c. 1925. (Courtesy of The Charles Hosmer Morse Museum of American Art, Winter Park, Florida)

The décor included wisteria-bordered long glass panels that lit up the dining room. In a sheltered alcove of the living room, Tiffany displayed several of his stained-glass windows, including “The Four Seasons,” which he cut into separate panels—the window had previously been awarded a gold medal at the 1900 Paris Exposition and inspired the French government to appoint Tiffany a Chevalier (Knight) of the Legion of Honour.

“God has given us our talents, not to copy the talents of others, but rather to use our brains and our imagination in order to obtain the revelation of True Beauty.”
—Louis C. Tiffany

Spring panel from Four Seasons window, c. 1899–1900. Exhibited: Exposition Universelle, Paris, 1900. Leaded glass. Photo by Raymond Martinot. (Courtesy of The Charles Hosmer Morse Museum of American Art, Winter Park, Florida)

Tiffany wanted to create a school of rational art (as he referred to it), where students would be shown specimens of good artwork collected from various periods and countries, fostering education in the simple, true, and beautiful. His plan for a special “museum school” was denied by the Metropolitan Museum of Art, but reimagined through the transformation of his own estate, Laurelton Hall, into an artists’ retreat. In 1918, a gift of 62 acres (with several structures included) was granted to the newly established Louis Comfort Tiffany Foundation. The stables were converted into dormitories and the gatehouse into an art gallery to accommodate students eager to learn the aesthetics of Tiffany’s doctrine of beauty.

Capital, c. 1915 Daffodil Terrace, Laurelton Hall, Long Island, New York. Cast and cut glass, concrete Tiffany Studios, New York City. (Photography by Joseph Coscia Jr. Courtesy of The Charles Hosmer Morse Museum of American Art, Winter Park)

Tiffany’s Legacy

Tiffany’s work and ethics resolved the conflicting ideals of the Arts and Crafts movement, making an assorted range of products available to consumers of every economic level. While Arts and Crafts influencer Morris once said, “What business have we with art at all unless all can share it,” in reality, most companies couldn’t produce high-quality art at affordable prices. Tiffany, however, successfully created an art industry for all classes of people, in part because his personal wealth allowed him to sacrifice profits in the interest of advancing his artistic philosophy.

With the modernization of the United States, Tiffany’s art had fallen out of favor by the 1920s. However, after several decades of neglect the Art Nouveau movement was revived through interior design, publications, and museum exhibitions—a common aphorism is that we often scoff the arts of our parents and revive those of our grandparents. Since the turn of the century, the United States has seen the design of public buildings enhanced by ornamentation and mosaics, and many artists have begun to work in glass—glassblowing, as an art form, is more appreciated now than ever before.

Tiffany’s legacy lives on through the careful preservation of relics obtained and collected after his death in 1933. Following a fire that ravaged the abandoned Laurelton Hall in 1957, Hugh F. McKean, former artist in residence at Laurelton Hall, and wife Jeannette Genius McKean, founder of the Morse Museum, purchased what they could of the intact remains. Today, the Morse Museum’s collection of Laurelton Hall relics is the largest single collection of surviving materials from Tiffany’s turn-of-the-century estate and will likely remain a visual masterpiece of influence and inspiration for generations of artists to come.

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American Artists Arts & Letters Features

Artful Stories of Historic New England

Historic New England is the largest regional heritage organization in America today. Founded in 1910, it was the earliest organization of its type with a focus on the preservation and continued use of properties of historic significance. Historic New England aims to educate the public on their archives and collections and engage in public outreach by establishing house museums—working with homeowners and communities to protect buildings and landscapes.

With a collection of over a million records of photographs, homes, paintings, objects, sculptures, and documents, Historic New England has been able to tell the most complete story of how New Englanders lived from the 17th century to today. There are over 6,500 works of fine art housed across the New England states. Recognizing the importance of their collection, and to engage with the public, “Artful Stories” has brought together works from ten different house museums as well as a number of works from Historic New England’s storage.

The exhibition is held at the historic Eustis Estate in Milton, Massachusetts—a jewel of late-19th-century American architecture built in 1878. The estate was designed by William Ralph Emerson, prominent American architect and cousin of transcendentalist American philosopher and poet Ralph Waldo Emerson. Not only was Emerson of the eponymous family, he was a close friend of leading Boston painter William Morris Hunt, and he collaborated with American landscape architect Frederick Law Olmsted. It was a time of cultural renaissance in America, when bronze foundries produced full-scale works on American soil for the first time, and the cities were filling with Neoclassical architecture.

Eustis Estate, Milton, Mass. Public Domain.

Curated by Nancy Carlisle (Historic New England’s Senior Curator of Collections) and Peter Trippi (European art historian and editor-in-chief at Fine Art Connoisseur), “Artful Stories” explores regional stories told through art. Rather than simply showcasing Historic New England’s best paintings and sculptures, the curators selectively chose artists, portraits, and settings to give the artwork and theme a larger sense of context. As Carlisle noted, the experience of curating a show like this reveals new information every time you scratch at the surface of history.

The exhibition was well planned, but just as society had to contend with the pandemic lockdowns, so did “Artful Stories.” They quickly pivoted to online programming and immersive 360-degree videos. Karla Rosenstein, the site manager of the Eustis Estate, shared that “from the beginning, we had planned to utilize the interactive touchscreens to add extra multimedia materials to ‘Artful Stories,’ so we luckily had already been developing some online content for the exhibition.” As it became clear that they would not be able to open up as scheduled, they wanted to provide an online preview that was a full version of the exhibition. “While working from home, we created a far more robust version than we had initially planned” added Rosenstein.

“Homeward Bound” by John George Brown, New York, 1878. Oil on canvas. Gift of Ralph May.

The curators chose to present the works in a variety of themes across four galleries. The first gallery, “Land & Sea,” is a survey of the historical geography of New England. The second gallery, “At Home in New England,” showcases how and why the people of New England came to settle there, while the third gallery, “New England’s People,” reveals the cast of characters involved. The fourth gallery, “Wide World,” is about how the New Englanders interacted with people and places outside their region.

Unlike other exhibitions that would source works from outside their collection, Rosenstein noted, “it was very fortunate that this show was entirely from Historic New England’s collection as we did not need to negotiate date changes with other institutions.” The gallery was open to in-person visits in October 2020 and welcomed small groups of visitors to enjoy the exhibit. “We had a good number of members eager to attend it and get back into our museums,” added Rosenstein. “We also found ways to pivot our planned programming online and hosted a series of conversations between the curators and scholars, artists, and other curators that was attended by far more people than we would have expected in person.”

The show is full of interesting distinctions—a striking, perfect copy of Vigée LeBrun’s self portrait was a surprise for Carlisle. “The copy of Vigée’s portrait was by Elizabeth Adams, an artist about whom we knew nothing. During our research, we discovered who she was and the lengths she went to receive professional training.”

Copy of “Self-Portrait of Élisabeth Louise Vigée Le Brun” by Elizabeth Adams, Florence, Italy, 1865–74. Oil on canvas. Gift of the artist’s nephew, Boylston Adams Beal.

As our collective American [MISSING NOUN] shifted so much throughout 2020, this allowed the curators to examine some of the asymmetries of the past, confronting the history of race and social class through the lens of today. Two such landscape paintings are hung in the first gallery, “Land & Sea.” One painting is a tight, Hudson-River-School-influenced panorama by the son of poet Henry Wadsworth Longfellow, while the other is a pure Barbizon, Romantic landscape by an African-American barber who had to strive for his training as a painter. On these two paintings, Peter Trippi noted “the contrast between the landscapes painted by Ernest Wadsworth Longfellow and his neighbor (on the wall), Edward Mitchell Bannister—what different life journeys they had, but they both ended up being talented painters flourishing in New England at the same time!” Truly, one of the most important aspects of representational painting is its ability to transcend setting and social class and rely on truth, skill, and beauty.

Left: “View of Boston Across the Flats” by Ernest Wadsworth Longfellow, Boston, 1876. Oil on canvas. Gift of D. Codman. Right: “Woman Reading Under a Tree” by Edward Mitchell Bannister, probably R.I., 1880–85. Oil on canvas.

Throughout the show, there are a number of thoughtful arrangements and connections made that came to light through their research. In gallery four, “Wide World,” there is a wall which showcases not only the talent and skill of the artists, but the ingenuity and distinction of the American art patrons during the late 19th century. One is a portrait painting of Richard Norton by Italian artist Antonio Mancini. Hanging next to it is Edward Burne-Jones’ portrait of Sara Norton, Richard’s sister. These two paintings couldn’t be more stylistically distinct; Edward Burne-Jones was a Pre-Raphaelite, a classicist in the truest sense of the word, and Mancini an innovator, regarded by American artist John Singer Sargent as the greatest living painter of the time.

Left: “Richard Norton” by Antonio Mancini, Rome, c. 1905. Oil on canvas. Bequest of Susan Norton, the sitter’s daughter. Right: “Sara Norton” by Edward Burne-Jones, London, 1884. Oil on canvas. Bequest of Susan Norton, the sitter’s niece.

The simple fact that these two now hang side-by-side in contrast to each other displays the power of patronage—allowing the artists to fully express their vision of the subject, rather than attempting to impose their own aesthetics onto their likeness. This is further driven home by their accompanying painting on the wall, “St. Servan Harbor” by Edward Darley Boit. Best remembered as the patron who commissioned John Singer Sargent to paint his four daughters (housed at the Museum of Fine Arts in Boston), Boit was also an accomplished painter in his own right.

“St. Servan Harbor” by Edward Darley Boit, Dinard, Brittany, France, 1882. Oil on canvas. Gift of Dorothy S. F. M. Codman.

Throughout the exhibition, there are multimedia opportunities to learn more about the various artists and subjects. For those residing outside of New England, the website offers one of the most complete possible viewing experiences online. “Artful Stories” is both a truthful retelling of the Northeast’s history and an important chapter in cultural preservation, which Historic New England continues to champion. The exhibit has been extended until October 17th, 2021.

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American Artists Arts & Letters

A Time for the ‘Adagio’

As a teenager, I had little time for classical music. Opera just about made my hair stand on end. Choirs would send me running for the door. Orchestral music, in general, had been written for fuddy-duddies or nerds, I thought. It might not be too much of a generalization to say that most teenagers are drawn more toward hot dogs, fizzy drinks, and loud music than fine wine, nicely aged cheddar, and a prelude, but I have often wondered why. Is it perhaps simply a matter of waiting until we have matured and developed a more sophisticated sense of taste?

However, a dear friend of mine, an older composer, assured me it was otherwise. “One has to have suffered the slings and arrows of life, got some bangs and bruises, suffered unrequited love, lost a loved one or suffered a few failures, to appreciate the beauty of the finer arts,” he assured me. “Fine arts are a salve for the wounds, chicken soup for the soul. Teenagers have little use for salves. They are, after all, immortal, are they not?”

I couldn’t disagree. Indeed, in moments of doubt, I have clung to the arts, keeping my attention on the higher expressions of life and humanity, if only to maintain hope.

This last year has been difficult for us all, no doubt. Few have escaped unscathed, and yet somehow we seem to have made it through the slings and arrows. There seems to be light at the end of the tunnel, but I wonder how people have managed.

During my most difficult days, I had quite a few good friends I could turn to. Most of them died a hundred years ago or more, but their music is still very much with us. One of them left us just forty years ago, and yet his contribution stands with the greats of all time. His name is Samuel Osmond Barber II.

Barber was born in Pennsylvania in 1910. Music critic Donal Henahan said of him, “Probably no other American composer has ever enjoyed such early, such persistent and such long-lasting acclaim,” and yet, while I can almost guarantee you will at least have heard one of his compositions somewhere, few know his name.

You may have heard this particular piece in several movies, from David Lynch’s “The Elephant Man” to Oliver Stone’s Oscar-winning “Platoon.” There is even an electronic dance music cover by the famed DJ Tiësto, which, though it veers drastically from the original, is actually pretty great!

The composition I am referring to comes from the second movement of Barber’s String Quartet, Opus 11, the iconic “Adagio for Strings.” It is a composition of such lilting and yet uneasy and suspenseful beauty that most composers would wait an entire lifetime for such a piece to come from their pen, and yet Barber was just 26 years old when he wrote it.

Author Alexander J. Morin said of the piece, “It was so full of passion and pathos that it seldom left a dry eye.” Right from its first gentle refrain, the mournful yet delicate strings begin an ascending melody that is passed like a holy grail from yearning cellos to violas and violins. With the end of each passage, the orchestra seems almost to pause for breath, or even to sigh, before continuing the melody’s upward progress, as if searching desperately for daylight through the clouds. Rising and falling in an arch-shaped progression, the ascent leads to a searing, breathtaking crescendo that could pierce the stoniest of hearts.

At a time when many composers had begun experimenting with curious scales and discordant musical arrangements—“modernism,” they called it—Barber shunned the trends, focusing on a lyrical use of classic tonal harmony that gave his work a singular and remarkable charm and beauty, catapulting it into the spotlight.

In 1938, Barber sent a copy of the orchestration for the “Adagio” to famed conductor Arturo Toscanini. Toscanini was one of the most acclaimed and influential musicians of the 20th century, renowned for his ear for orchestral detail and his notoriously fierce perfectionism. When Toscanini returned the pages without comment, Barber was understandably quite upset. But Toscanini sent word that he had returned the pages simply because he had already memorized the entire opus! It seems the maestro was impressed.

In November of 1938, Toscanini conducted the piece for radio broadcast from Studio 8H at Rockefeller Center in New York. Apparently, Toscanini hadn’t had to look at the music until the day before the performance! The rest, as they say, is history.

Barber went on to win two Pulitzers, with many of his compositions being adopted as part of the canon of orchestral performance. He earned a permanent place in the concert repertory, with all of the renowned orchestras around the world performing his works.

The “Adagio for Strings” was later adapted for choir and titled “Agnus Dei,” meaning Lamb of God, referring to Christ in the liturgical text. It is beyond sublime and equals, if not surpasses, the heartrending orchestral version. While Barber’s mother was an accomplished pianist, his maternal aunt, Louise Homer, was a leading contralto at the Metropolitan Opera. She is known to have influenced his interest in voice, and some of Barber’s most beloved pieces are written for choir. While it seems natural that the “Adagio” would be adapted, the result is almost too beautiful to bear.

It is often difficult to reconcile the worst expressions of the human race when one witnesses the finest. After all, one need only read the news to fall into despair. However, the great writers, poets, painters and composers not only reflect how incredible we actually are as a species, but they continue to both salve our wounds and point the way to our higher ideals. Perhaps it is right that we pay attention to world events, but that is all the more reason to pay attention to the miraculous beauty that surrounds us, too. And so, dear reader, in this time of healing, after having suffered the slings and arrows of this past year, I heartily recommend you take solace in Samuel Barber’s “Adagio for Strings.”


Pete McGrain is a professional writer/director/composer best known for the film “Ethos,” which stars Woody Harrelson. Currently living in Los Angeles, Pete hails from Dublin, Ireland, where he studied at Trinity College.

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American Artists Arts & Letters Features

‘The Voyage of Life’

America’s first great landscape painter, Thomas Cole, was a pivotal figure in the development of a distinctly American artistic identity in the early 19th century. Cole’s masterful landscapes range from picturesque compositions of America’s pristine wilderness to imaginative historical and allegorical scenes. The revered artist’s devotion to seeking the presence of God in nature inspired him to create depictions of divinity within the world and the human experience.

A prime example of this undertaking, and one of Cole’s most renowned series, “The Voyage of Life,” is a group of four paintings that illustrate the major stages in a man’s life: “Childhood,” “Youth,” “Manhood,” and “Old Age.”

The series was commissioned by wealthy banker Samuel Ward for his private residence. Ward, a religious man, hired Cole to portray the faith-based view of a man’s allegorical path through life ending in salvation. Ward died shortly after the commission commenced, but Cole continued work on the series with the new intention of showing them to the public. In his later years, Cole was an increasingly religious man, to which this series is a testament. Regardless of your faith, “The Voyage of Life” captures a journey through different seasons, challenges, and the varying mental, emotional, and physical states we experience as we ride the river of life.

‘Childhood’

“The Voyage of Life: Childhood” by Thomas Cole circa 1842. National Gallery of Art.
Detail of Thomas Cole’s The Voyage of Life: Childhood.

Cole originally worked on “The Voyage of Life: Childhood” when he was in his late 30s in 1839–40. This first landscape of the series symbolizes man’s birth into the world. A baby whom Cole called “the Voyager” is the passenger on a boat being guided down a river by an angelic figure. The front of the boat has an hourglass that is held by one of many angelic carvings whom Cole called “the Hours.” A shadowy cavern at the base of a massive rocky mountain, whose precipice is lost in clouds, gives the viewer the sense that the child has been delivered into this world of time from a mystery beyond it. The rosy light of sunrise casts an inviting glow on a vast and verdant landscape. Lush foliage and vibrant flowers greet the child on the banks of the calmly flowing river.

The child holds his arms outstretched joyously clenching flowers as he sits on a lush green bed of foliage that fills the boat. His guiding angel looks down lovingly while navigating the child into this colorful and wondrous new world. The painting symbolizes the optimism and mystery of childhood. Everything is fresh and filled with amazement. It is the dawn of existence for Cole’s voyager that is symbolized by the glow of morning light and the abundant natural flourishing of spring.

‘Youth’

“The romantic beauty of youthful imaginings, when the mind elevates the Mean and Common into the Magnificent, before experience teaches what is the Real.” – Thomas Cole

“The Voyage of Life: Youth” by Thomas Cole circa 1842. National Gallery of Art.
Detail of Thomas Cole’s The Voyage of Life: Youth.

Cole completed “The Voyage of Life: Youth” along with the rest of the series in 1840. In this second painting, the landscape has opened up to reveal the course of the river through lofty trees and distant hills that elevate into soaring mountains. The voyager has now confidently taken the helm of the boat and looks longingly forward, pointing toward a glowing palace of clouds in the sky. For Cole, this symbolized “the daydreams of youth, its aspirations after glory and fame.” The young man seems to rush toward his lofty goals unconscious that he seems to have left his angelic guide behind him on the shore.

The landscape of “Youth” is enticingly gorgeous and teeming with life. The many flowers of childhood have been replaced with the ambition of mighty trees. A spirit of adventure and lust for the glories of life are pervasive in the painting. The boy charts a course for the palace in his mind without noticing that the river makes a sharp turn in the distance. It flows toward the right side of the painting where rocky cliffs await the voyager foreshadowing the third painting in the series. The naiveté and optimism of youth are going to be challenged by the realities of manhood. Cole seems to imply that wisdom and humility are the result of tempering the beautiful, yet inexperienced, visions of youth.

‘Manhood’

“The Voyage of Life: Manhood ” by Thomas Cole circa 1842. National Gallery of Art.
Detail of Thomas Cole’s The Voyage of Life: Manhood.

“The Voyage of Life: Manhood” is a very dramatic shift in tone and content from “Youth.” The now middle-aged voyager finds himself in a dark and dreary landscape rushing down a treacherous part of the river. Rocks jut out of rapids that are mere seconds ahead of him. Looking forlorn, the helm of the boat is gone and his hands are clasped together in desperate prayer. The angels on the boat look concerned as time in the hourglass seems to be running out. Cole, who himself had bouts of melancholy, seems to be outlining his sobering and blunt view of middle age. In his words, “Trouble is characteristic of the period of manhood.” Above the voyager in the clouds are ghostly apparitions. The man seems haunted by “demons’ and the place to which he has been delivered by the ignorance of his youth.

The viewer is left with a feeling of uncertainty as to what will happen to the voyager. Out of the bewildered man’s sight, behind him in the clouds, light shines down into the unpleasant scene from where the angel continues to watch over him. This offers the insight that life’s difficulties may not be as serious or lasting as they may seem during the experience. Adulthood is a challenging part of the voyager’s journey that he is navigating with his faith. Even when all seems lost, it is not, and a higher power is watching over him. The flowers and superficial beauty of youth are behind him but what lies ahead is a more meaningful truth.

“The upward and imploring look of the voyager shows his dependence on a Superior Power; and that faith saves him from the destruction that seems inevitable.” – Thomas Cole

‘Old Age’

“The Voyage of Life: Old Age” by Thomas Cole circa 1842. National Gallery of Art.
Detail of Thomas Cole’s The Voyage of Life: Old Age.

In “The Voyage of Life: Old Age,” the river has reached the mouth of a calm ocean symbolizing the end of the voyager’s experience in this world. The boat’s hourglass has broken off and there isn’t much left in the landscape. The angel appears before him now, pointing his gaze toward the heavens, which appear to be opening up to him in a gesture of invitation beyond this world.

“The chains of corporeal existence are falling away; and already the mind has glimpses of Immortal Life,” described Cole. It is here that the Christian doctrine of salvation in the afterlife is most prominent allegorically. The voyager had his time on the wildly changing river of life and now looks in hopeful wonder toward the faith-based promise to which Cole and his patron subscribed.

“The Voyage of Life” was well received by the public and critics alike. The poet William Cullen Bryant remarked that “the conception of the series is a perfect poem … set before us are the different stages of human life under images which every beholder admits the beauty and deep significance.” The paintings form a powerful allegory for human life and the hope of salvation in the mystery beyond it. Cole was hugely influential in establishing America’s artistic reputation and his works went on to inspire many other American artists. His attempt to instill the divine into his landscapes played an important part in forming the beauty, soul, and allure of America.

In 1842, after the initial success of the series, Cole made the impressive and somewhat shocking decision to laboriously paint all four paintings a second time in order to be able to further display them publicly. The first series was privately owned by Ward’s family and thus no longer under his control. For this reason, two slightly different yet essentially similar sets of “The Voyage of Life” exist at two different American galleries. The first set (1839–40) is at the Munson-Williams-Proctor Arts Institute in Utica, New York, and the second set (1842 and pictured in this article) is at the National Gallery of Art in Washington, D.C.


Jeff Perkin is a graphic artist and an Integrative Nutrition Health Coach available at WholySelf.com.