Get rich, young man, for money is power and power ought to be in the hands of good people. I say you have no right to be poor. [21] Other speakers [ edit ] In 1850, another tenuous compromise was negotiated to resolve the question of slavery in territories won during the Mexican-American War. Many masters raped enslaved women, and rewarded obedient behavior with favors, while rebellious enslaved people were brutally punished. A strict hierarchy among the enslaved (from privileged house workers and skilled artisans down to lowly field hands) helped keep them divided and less likely to organize against their masters. Hibschman, Harry (1928). "Chautauqua "Pro" and "Contra" ". The North American Review. 225 (843): 597–605. JSTOR 25110497. Early religious expression in Chautauqua was usually of a general nature, comparable to the later Moral Re-Armament movement. In the first half of the 20th century, fundamentalism was the subject of an increasing number of Chautauqua sermons and lectures. But the great number of Chautauquas, as well as the absence of any central authority over them, meant that religious patterns varied greatly among them. Some were so religiously oriented that they were essentially church camps, while more secular Chautauquas resembled summer school and competed with vaudeville in theaters and circus tent shows with their animal acts and trapeze acrobats.

Chautauqua Girl, a Canadian telefilm that takes place in the context of the 1920s Chautauqua movement Circuit Chautauquas" (or colloquially, "Tent Chautauquas") were an itinerant manifestation of the Chautauqua movement founded by Keith Vawter (a Redpath Lyceum Bureau manager) and Roy Ellison in 1904. [12] Vawter and Ellison were unsuccessful in their initial attempts to commercialize Chautauqua, but by 1907 they had found a great success in their adaptation of the concept. The program was presented in tents pitched "on a well-drained field near town". [13] After several days, the Chautauqua would fold its tents and move on. The method of organizing a series of touring Chautauquas is attributed to Vawter. [14] Among early Redpath comedians was Boob Brasfield. [15] at Mountain Lake Park in Garrett County and at Glen Echo Park in Montgomery County, Maryland Humanities launched the modern Chautauqua in 1995 at Garrett College. The theme of the first Chautauqua was “Democracy in America” and featured seven historical figures: Maria W. Stewart, P.T. Barnum, Alexis de Tocqueville, Harriet Beecher Stowe, Horace Greely, Domingo Faustino Sarmiento, and Frances Wright. Since then, this popular program has spread to other parts of the state, educating and entertaining thousands of Marylanders every summer. Gentile, John S (1989): Cast of One: One-Person Shows from the Chautauqua Platform to the Broadway Stage. Champaign, Illinois: University of Illinois Press. ISBN 0-252-01584-3.

A Lot of Stories

A route taken by a troupe of Chautauqua entertainers, the May Valentine Opera Company, which presented Gilbert and Sullivan's The Mikado during its 1925 "Summer Season", began on March 26 in Abbeville, Louisiana, and ended on September 6 in Sidney, Montana. [31] In popular culture [ edit ] This article is about the adult-education movement. For other uses, see Chautauqua (disambiguation). Cover of a 1917 promotional brochure Mott, Frank Luther. A History of American Magazines, 1865-1885. Vol.3. The Belknap Press. pp.544–47. ISBN 9780674395527. Americans who had never studied chemistry saw frozen CO2 and other wonders. Farm wives sat by the lake, sketching, painting. Thousands forced to leave school for work listened to professors from Boston and New York. In 1892 alone, Chautauqua featured 168 different talks.

Throughout the 17th and 18th centuries, people were kidnapped from the continent of Africa, forced into slavery in the American colonies and exploited to work in the production of crops such as tobacco and cotton. Gentile, John (1989). Cast of One: One-person Shows from the Chautauqua Platform to the Broadway Stage. Champaign, IL: University of Illinois Press. p.43. Rieser, Andrew (2003): The Chautauqua Moment: Protestants, Progressives, and the Culture of Modern Liberalism. New York: Columbia University Press, ISBN 0231126425. Gould, Joseph Edward (1961): "The Chautauqua Movement". Albany, New York. State University of New York Press, ISBN 0-87395-003-8. What was Chautauqua? Theodore Roosevelt called it “the most American thing in America,” Woodrow Wilson described it during World War I as an “integral part of the national defense,” and William Jennings Bryan deemed it a “potent human factor in molding the mind of the nation.” Conversely, Sinclair Lewis derided it as “nothing but wind and chaff and…the laughter of yokels,” William James found it “depressing from its mediocrity,” and critic Gregory Mason dismissed it as “infinitely easier than trying to think.” However Chautauqua was characterized, it elicited strong reactions and emotions.

Frequently asked questions about the things America is famous for

Chautauqua ( / ʃ ə ˈ t ɔː k w ə/ shə- TAW-kwə) is an adult education and social movement in the United States that peaked in popularity in the late 19th and early 20th centuries. Chautauqua assemblies expanded and spread throughout rural America until the mid-1920s. The Chautauqua brought entertainment and culture for the whole community, with speakers, teachers, musicians, showmen, preachers, and specialists of the day. [1] U.S. President Theodore Roosevelt is often quoted as saying that Chautauqua is "the most American thing in America". [2] [3] What he actually said was: "it is a source of positive strength and refreshment of mind and body to come to meet a typical American gathering like this—a gathering that is typically American in that it is typical of America at its best." [4] Several Chautauqua assemblies continue to gather to this day, including the original Chautauqua Institution in Chautauqua, New York. SOCIAL MOVEMENT THAT TEDDY ROOSEVELT PROCLAIMED THE MOST AMERICAN THING IN AMERICA Crossword Answer Because the independent assemblies were separated by great distances and because there was spirited competition among them to attract the most popular performers, they turned to the lyceum bureaus for help in booking their “talent.” Keith Vawter, a Redpath Lyceum Bureau manager and later a manager of one of the Redpath Chautauqua circuits, became aware of the inefficiencies and expenses that the talent experienced when appearing at the scattered assemblies. His solution was to organize a series of touring Chautauquas where each performer or group was assigned to a definite day on the program throughout the touring season. Performers for the first day remained first-day talent; second-day talent always appeared on the second day, and so on for the other days of the circuit. Talent could travel from one tent outfit to another, appearing in each in turn. Circuit Chautauqua begun in 1904 and by the 1910s could be found almost everywhere, presenting its message of self and civic improvement to millions of Americans. At its peak in the mid-1920s, circuit Chautauqua performers and lecturers appeared in more than 10,000 communities in 45 states to audiences totaling 45 million people.