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A History of Creative Tradeswomen in Eighteenth Century Virginia

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A History of Creative Tradeswomen in Eighteenth Century Virginia ! ! ! PLAYING FOR THEIR SHARE: A HISTORY OF CREATIVE TRADESWOMEN! IN EIGHTEENTH CENTURY VIRGINIA ! ! ! ! ! ! Elisabeth Woronzoff-Dashkoff! ! ! ! ! ! ! A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 2014 ! Committee: Andrew M. Schocket, Advisor Katherine L. Meizel Graduate Faculty Representative Mary Natvig Clayton F. Rosati ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! © 2014! Elisabeth Woronzoff-Dashkoff! All Rights Reserved! ! "!iii ABSTRACT Andrew M. Schocket, Advisor This dissertation reveals the commonality of public and active women who used creative trades to substantiate their lives in Virginia from 1716-1800. A creative tradeswoman, an existence identified by this scholarship, was an individual who used her musical, dancing, and singing abilities to incur wages. This study focuses on prominent creative tradeswomen such as Mrs. Sully and Mrs. Pick, a traveling musical duo; the singing actresses of the Hallam; Mary Stagg, assembly manager and contributor to the first theater in Williamsburg; Baroness Barbara deGraffenreit, who competed for Williamsburg’s premier dancing manager position; and Mrs. Ann Neill, an enterprising music teacher. Despite times of subordination, these women showcased unique forms of creative agency such as acquiring widespread idolization or organizing traveling musical duos. Creative tradeswomen challenged the conventional oppositions between trade and gentry women, education and creative ability, submission and dominance, amateur and professional culture, public and private spaces. The histories of creative tradeswomen demonstrate the fluidity between these binaries while also remapping cultural and social identities as informed by power, subjectivity, trade, music, and dance. As a result, this dissertation illustrates creative tradeswomen as situated within paradoxical systems of power and subordination. The archives at the Rockefeller Library, Virginia Historical Society, New York Historical Society, and the Library of Congress supported the research. This dissertation utilizes a feminist historiography methodology, incorporating a consideration of cultural and social conditions that "!iv bring forward creative women’s untold histories. Interdisciplinary in nature, this study makes points of contact between women’s history, cultural history, and gender studies. Creative tradeswomen expands the research on women’s labor while locating gender and class as major influencers informing a woman’s creative labor. This dissertation expands the normative categories used to shape historical women while demonstrating their contributions to the development of early American culture. This research appends women’s creative trade histories into the scholarly conversation and identifies their contributions as valuable components of American cultural history. The history of creative tradeswomen expands the foundational modes of early American scholarship while presenting a rarely included emphasis on women’s creative trades. ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! "!v ACKNOWLEDGMENTS! ! ! I want to take this opportunity to express my profound gratitude and respect to my advisor Dr. Andrew Schocket for his exemplary mentoring and constant encouragement throughout the course of this project and my time at BGSU. Especially in my moments of bewilderment, Dr. Schocket earnestly reminded me to approach my work with a sense of fun. From his guidance and teaching he proved that we should always question what we learn from a three-minute record. I would like to convey my gratefulness for the important contributions and guidance provided by my committee, Dr. Clayton Rosati, Dr. Katherine Meizel, and Dr. Mary Natvig. Their words of advice and kindness were valuable components during the writing process and foundational for my future career. Without the great support of the Department of American Culture Studies and the School for Culture and Critical Studies it would not have been possible to develop and challenge my research interests. My thanks and appreciation also goes to Rebekah Patterson for her kind willingness to answer all my questions. ! ! I would especially like to thank my cohort and colleagues, our shared experiences provided endless support and I learned a lot from our course work, dog walks, cat petting, and friendships. ! To my family, who always asked how the writing was progressing and reminded me to take more breaks. And above all to James Ross for his companionship and patience as I read, and read, and read draft after draft to him. ! ! "!vi TABLE OF CONTENTS! ! Page! INTRODUCTION!!.................................................................................................................! 1! CHAPTER I: THE CREATIVE CULTURE OF VIRGINIA: POSSIBILITIES, LIMITATIONS, AND SOCIAL NEGOTIATIONS!!......................................................................................... 47! CHAPTER II: MARY STAGG AND WOMEN’S CONTRIBUTION TO DANCE AND CREATIVE TRADE CULTURE!!........................................................................................... 82! CHAPTER III: MARY STAGG AND BARBARA DEGRAFFENREIT: COMPETITION, DANCING, AND SOCIAL NORMS!!.................................................................................... 111! CHAPTER IV: MUSICAL THEATER, SINGING ACTRESSES, AND THE HALLAMS ........................................................................................................................... 136! CHAPTER V: NANCY HALLAM, THE CULTURAL EXTRAORDINAIRE!!................... 169! CHAPTER VI. GIRLS’ EDUCATION AND THE CLASS DIVISION REFLECTED BY MUSIC .................................................................................................... 208 ! CHAPTER VII: PUBLIC CONCERT LIFE: ‘A CONSTANT TUTING’ OF ! GENDER NEGOTIATION!!................................................................................................... 248! CHAPTER VIII: PLAYING FOR THEIR SHARE: THE LIVES OF ! ITINERATE FEMALE MUSICIANS!!................................................................................... 273! CONCLUSION!!......................................................................................................................! 302! REFERENCES!!......................................................................................................................! 312! ! "!vii LIST OF FIGURES! !Figure!! Page! 1! The Fry-Jefferson Map of Virginia. Special Collections, University of Virginia Library, ! ! Charlottesville, VA!!.................................................................................................. 6! 2 ! The Frenchman's Map of Williamsburg. Special Collections Research Center, Swerm Library, College of William and Mary……………………………………………….. 7 3! John Mitchell’s Map of the British and French Dominions in North America. Library of Congress Geography and Map Division!!...........................................................................8! 4 ! Playbill. The Provoked Husband or, A Journey to London. Also Love a-la Mode. Performed by the American Company, Fredericksburg. May 28, 1771!!......................146! 5 ! Playbill. The Beggar's Opera and The Anatomist. Performed at the Old Theatre, by the Virginia Company of Comedians. June 3, 1762!!...........................................................152! 6 ! Playbill. The Constant Couple or A Trip to the Jubilee and The Miller of Mansfield. ! ! Performed by the Virginia Company of Comedians, Williamsburg. May 18, 1768….153! 7! Playbill. Love In a Village and The Buck Or, The Englishman in Paris. Performed by the American Company, Williamsburg. May 1, 1771.!!.......................................................172! 8! Charles Willson Peale’s 1771 painted portrait of actress Nancy Hallam!!................... 203! 9! Playbill. The Clandestine Marriage and Thomas and Sally or the Sailor's Return. Performed by the American Company, Williamsburg. June 20, 1770.!!.........................219! ! ! 1 INTRODUCTION A creative tradeswoman was an individual who used her artistic abilities, such as musicianship, dancing aptitude, and singing dexterity to incur wages. In brief, women such as Mrs. Sully and Mrs. Pick, a traveling musical duo, the women of the Hallam family, renowned as singing actresses, Mary Stagg, who aided the management of the first theater in Williamsburg, Baroness Barbara deGraffenreit, who competed for Williamsburg’s premier dancing manager position, and Mrs. Ann Neill, an enterprising music teacher, were prominent cultural laborers. It was these women’s creative trades and social contributions that complicate eighteenth century Virginia’s cultural history. This complication arises from the inclusion of tradeswomen whose lives exposed the instabilities of social and historical categories such as gender, class, and creative ability. The aim of this dissertation is to further develop the enormous diversity of women's experiences in eighteenth century Virginia. As the forthcoming historiography demonstrates, there has been major gain in showcasing early American women as more than hapless victims succumbing to the domineering patriarchy. This dissertation is no exception. However, this project adds the lives of creative tradeswomen to the historical conversation while furthering the scholarship on early American women, trade culture, and gender ideologies. The research supporting this dissertation specifically contextualizes women, gender roles, class, and creative trades.
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