Fire Dancer Jacques Cartier
Not afraid of anything, in constant motion, Jacques Cartier was perpetually on fire.
It probably felt like his whole life was going up in flames when, fresh out of high school, he sat on a park bench in New York City without a penny to his name, kicked out of drama school, his spark burnt out before he’d begun. A girl he’d befriended found him and said she was in a dance show and she’d introduce him to the director.
Dance! He was in New York City to act, not to dance, but what choice did he have? He followed her to the Greenwich Village Theater where director Frank Harling told him to get on the stage and do his stuff. He said that he didn’t have his costume and music with him and couldn’t do a thing. Harling told him to get on the stage and dance anyway. The young Jacques Cartier asked the musicians to play as slowly as they could. He didn’t remember what he did, but Harling hired him.
He told that he was born in 1907 on a ship out in the Indian Ocean. His father was an ambassador, which meant that he’d gotten to live in exotic places and it explained why he knew the dances of so many peoples. He asked his father for money to go to acting school, called him in South Africa, and when his father said a firm, “No,” he sold some diamonds his mother had given him. It turned out to be of no avail because he was kicked out and ended up on that park bench not having eaten in four days.
That’s Jacques Cartier’s story, one told by a young man with a fiery determination to create his own great life.
But there’s another story. On April 26, 1902, William Marion Carter was born to William (W. E.) and Cessa Carter in South Pittsburg, Tennessee, near Chattanooga. He was their third son with older brothers Ewing and Cotnam Carter. W. E. Carter was the General Manager of the Tennessee Coal, Iron & Railroad Company. He and his wife were very social and appeared to be wealthy; what they wore to events was written up in the newspaper. They were both very political. W. E. Carter was the mayor of South Pittsburg for a time and was nominated the chairman of the Democratic Convention in 1916. Mrs. W. E. Carter was the Chairman of the Marion County Board of Women Commissioners. In 1897, an article stated “it is largely due to the energy and influence of Mrs. Carter that the County Court of Marion made its liberal appropriation, and from the first she has been a tireless worker, determined in the effort to represent appropriately the patriotism and resources of Marion County.” (The Tennessean, 1897.)
In 1913, when Will was eleven, his oldest brother Ewing went to Central and South America as an engineer. He returned in 1916 when his father died. W. E. Carter struggled with his health starting as early as 1904. Will was fourteen when he lost his father.
By 1918, Will and his mother moved from South Pittsburg to Nashville. This may have been so that Will could attend the Peabody Demonstration School. He graduated from there in June of 1921.
In the span of months just before graduation, Will began to experiment with what was to become his life’s calling.
In April 1920, Will Carter performed a pantomime interpretation solo called The Land of the Sky-Blue Water at one of Peabody’s “Stunt” Nights. That May, he was in the cast of Chimes of Normandy at Peabody Demonstration School.
The spring before he graduated, he played the role of Thaddeus, a Polish fugitive, in The Bohemian Girl at Peabody Demonstration School. In charge of the Vanderbilt Players, Nancy Rice Anderson cast Will Carter in The Blue Bird. Later, once he was famous, she took some credit for getting the young performer started.
And then, Will Carter’s story ended. It picked up again a few times when he made an appearance in Nashville to visit his mother and there’d be a newspaper article about the famous Jacques Cartier, remembered by those in Nashville as Will Carter. During the war years, he returned to Nashville to perform The Noble Czar on the Peabody Demonstration School stage: the last recorded appearance of Will Carter.
During those initial years of struggle in New York, Will’s mother went on a ship from New York City to Palestine with her son Cotnam and his wife. Cotnam Carter had an intriguing international health mission position in the middle east where he remained for over a decade.
Meanwhile, the newly christened Jacques Cartier began his career dancing in The Fantastic Fricassee. It did not get good reviews and one critic even came right out and wrote that it was a pretty bad show. However, most reviewers tried to be encouraging, emphasizing the earnest energy of the young performers.
Next, Jacques Cartier toured with Albertina Rasch and her troupe of girls. Born in Vienna, Albertina Rasch was an accomplished dancer who pressed the boundaries, experimenting with pantomime opera. Rasch combined ballet moves with American Jazz in the Rhapsody in Blue performed by her dancers in 1925. By 1926, Jacques Cartier was causing a stir with his Fountain of Gold performance, part of the Rasch show. That year, the Albertina Rasch Dancers toured Europe. In each place he traveled, Jacques Cartier took the opportunity to learn the dances native to the cultures he encountered and later applied what he learned to a wide variety of characters. He was one of the dancers in Garrick Gaieties, the show that gave Richard Rodgers the success he needed to stay in theater at a pivotal moment when he almost decided to sell children’s clothing instead. “My Funny Valentine,” “Bewitched, Bothered, and Bewildered,” “The Lady is a Tramp,” “Oh, What a Beautiful Morning,” “If I Loved You,” “Getting to Know You,” “I Whistle a Happy Tune,” “You’ll Never Walk Alone,” “Some Enchanted Evening,” “My Favorite Things,” “Climb Every Mountain,” “Edelweiss.” These are a few of my favorite songs that wouldn’t have been if Richard Rodgers had let his early failures cause him to give up and if Garrick Gaieties hadn’t been a success and he decided to play it safe by selling children’s clothing.
Jacques Cartier was among the performers in the lauded production The Manhatters in Greenwich Village’s Selwyn Theater in 1927. “The most applauded member of the cast was Jacques Cartier, master of ancient Chinese and Nubian dance interpretation,” wrote The Standard Union of Brooklyn on August 4, 1927. On that same day, the Brooklyn Citizen stated that “The dances of Jacques Cartier, one was called The Dance of the Dragon and the other The Jungle Dance and particularly the last named, are worth the price of admission alone. Between the acts we overheard a chap telling his companion that he saw the show twice down at the Grove Street Theatre and that here he was again, all because he wanted to see Cartier’s Jungle Dance once more.”
It was at this time that Jacques Cartier began doing his Voodoo Dance that became such a sensation that it ended up in a movie. “He does a Voodoo dance minus music, with only the monotonous tomtom accompaniment to go with his stamping feet,” described Robert F. Sisk of The Baltimore Sun on August 14, 1927. “His body is blacked. Lights catch the flexed muscles and weirdly illuminate their taut movements. This, plus the devilish face and the bewitching monotony of the tomtom, runs Cartier’s dance to the point where it is as thrilling an item as the current New York stage affords. That, you may feel, is rather ecstatic praise for a dancer. Ecstatic or not, when a dance, by its rhythm, dressings, and general accoutrements can make the blood run faster and the feelings tingle, it is magnificent. And that is precisely what Mr. Cartier’s Voodoo dance turns out to be.”
By December 1927, he was part of the cast of Golden Dawn by Otto Harbach and Oscar Hammerstein in the new Hammerstein Theatre, now the Ed Sullivan Theater. Little did anyone know that they were acting with Cary Grant, known then as Archie Leach, in a small role for his first Broadway performance.
Jacques Cartier danced with Agnes De Mille in her stage debut as well. Agnes De Mille wrote guardedly about Jacques Cartier in her memoir Dance to the Piper. It sounded like the energy was off between them. However, the piano player who accompanied their dances was Mary Morley and she had so much of a rapport with Jacques Cartier that she was his piano player until the war.
In 1929, Paramount brought Jacques Cartier to Hollywood to produce one of the strangest movies of cinema history, King of Jazz. The sprawling scrapbook of memories and sketches, showcasing as much young talent as could be crammed into the expensive film, cost over a million dollars. King of Jazz was the film debut of young Bing Crosby, who appeared briefly as part of a singing trio. Select King of Jazz for the film and fast forward to 43:33 to watch Jacques Cartier dance. He’s also the guy in green “playing” the clarinet immediately afterward.
In 1930, Jacques Cartier and Joyzelle Joyner danced together for the Eddie Cantor movie Whoopee!” and it appears that their collaboration did not make the final cut.
Jacques Cartier danced in Chicago with Ruth Page in 1931, bringing to life Indian, Japanese, and Mexican characters.
When he got serious about studying the dances of Native Americans, he ended up in Santa Fe for the first time. From there, he went into Zuni and Hopi country in order to learn and brought Native American dances to New York for the winter season. Along the way, he fell in love with Santa Fe. The Santa Fe community embraced Jacques Cartier, his stage manager and percussionist Ray Baldwin, and his piano player Mary Morley, considering them all Santa Feans by August 1931.
In November 1931, Jacques Cartier performed Hopi, Zuni and Taos Pueblo dances in the Times Square district on 45thStreet at the Booth Theater. Proceeds for the dances benefited the Eastern Association of Indian Affairs. That winter, he brought the Native American dances to Europe where they were received with curiosity and great interest.
Jacques Cartier performed in the Ziegfeld Follies on Winter Garden Stage with Fannie Brice, Buddy Ebsen, and Eve Arden in January 1934. During the production, he sought out Ruth St. Denis for additional dance training. She told him, “You don’t need a teacher. You need to put your ideas into dance form.”
And so he did.
Keeping a notebook by his bedside to sketch what he imagined, Jacques began a tradition of creating a new show full of intriguing characters, history, and costumes that he would debut at home in Santa Fe and then tour throughout the country and overseas. The first year in Santa Fe, the creative trio (Jacques, Ray and Mary) stayed on Canyon Road, then they stayed in Martha and Amelia White’s guest houses on East Garcia Street where the School for Advanced Research (SAR) is today. Jacques created and staged a vast array of shows with vivid and diverse characters. For Theater Cavalcade, the Metropolitan Museum of Art loaned ancient instruments to Jacques Cartier. What appears to be the final show he toured, Figures of Fire was about galvanizers who, because of extraordinary lives or achievements, burned their impressions on the consciousness of the world; he portrayed Lazarus, the Aztec high priest Coatl, Louis XIV, Josef Cardinal Mindszenty in Budapest, gypsy matador Joselito, Russian Czar Ivan V, and Apache war chief Cochise.
“After seeing Cartier perform recently Oliver LaFarge, Pulitzer prize winner, wrote: ‘ Jacques Cartier’s production is a complete performance calling for the combined skill of actor, dancer, writer, and pantomimist all rolled into one and resulting in a corking good show.’” (Ventura County Star Free Press, 1943).
“The title of “…the Noble Czar!” is taken from the old Russian national hymn, “God Save the Noble Czar!” and it is a series of portraits of eight of the most interesting of the emperors of Russia, ranging from the unbelievable Ivan the Terrible down to the last one, Nicholas II. Following its first performance, Sidney Whipple in the New York World-Telegram said: ‘It’s the most exciting history of Russia ever written, and darn good drama, too!’ The dancer himself calls it ‘a study in madness’ with its portraits that run the gamut of personalities and character, although he adds that it contains ‘a great deal of comedy and several belly-laughs.’” (Santa Fe New Mexican, 1941.)
The new concert form combining ballet and narrative was well received. “That one man can portray the courts of Russia over a period of 400 years is a miracle in itself. That he does it so richly, with form and color, and sympathetic understanding of each one of eight reigning czars portrayed is evidence of great art. (Santa Fe New Mexican, 1941.) The article described the characters and the way Jacques Cartier was able to draw viewers in. “There is something frightening in an audience being allowed to thus enter the subconscious mind of an individual. The effect is staggering.” (Santa Fe New Mexican, 1941.)
Mary Morley composed the music for many of Jacques Cartier’s shows, most notably The Grand Monarch about Louis XIV. Additionally, Mary composed music for Santa Fe resident writer Alice Corbin’s Songs of Childhood. Jane Baumann, a trained singer and wife of woodblock print artist Gustave Baumann, was enamored with Mary Morley’s music and did a recital of her works in Santa Fe.
With each cycle of the year’s new performance to bring to the world, the pull of Santa Fe grew stronger and stronger. In 1939, Jacques Cartier assembled a Pageant of Gloom and Joy to precede the burning of the Zozobra during Santa Fe Fiesta. The artist Will Shuster was the one keeping the tradition, an idea among the resident artists, to annually burn away fear and darkness. Gustave Baumann made the first towering Zozobra figure to burn in 1924. Fifteen years later, Jacques Cartier surprised everyone, probably most of all Will Shuster, when he performed as the Fire Dancer for the first time.
In 1940, Jacques Cartier had commitments on the East Coast, so he was unable to attend Fiesta and the burning of the Zozobra, but from 1941 until 1969, when he passed the flaming baton to another dancer, one he had trained, Jacques Cartier danced in the shadows of the flickering flames immersed in smoke. It was a dangerous undertaking. “It damn near killed me half a dozen times,” Jacques Cartier said, “and I even broke both my ankles; thank God, not at the same time.” In 1943, “Jacques Cartier injured an ankle Saturday night while completing his fire dance in front of the flaming Zozobra at Fort Marcy park. During a leap his foot slipped on loose pebbles, badly straining the ankle ligaments. The accident prevented his appearance at the Roof Show at La Fonda on Sunday night.” (Santa Fe New Mexican, 1943.)
The Fiesta Roof Show had become one of Jacques Cartier’s traditions as well and it was also a tradition for my great-grandmother Pansy Stockton.
The La Fonda Roof Show Jacques Cartier prepared in September 1944 was a big production in which he performed the Dance of the Snow God. Local Spanish dancer and close friend of Pansy’s Maida Lopez Stark danced with him as Lady Maida. Included were famous dancers from the pueblos. Pansy had a part as an Indian priestess and was in charge of make-up.
Pansy wrote a poem about Jacques Cartier dated September 30, 1944. It expresses the turbulent and varying nature of the mercurial man.
The lofty snow-clad mountains,
Remote in all their splendor,
You personify.
The cool deep forest
Where so many things come to full and perfect life
This too, is you.
A mountain spring
That brings new verve.
The silent peaceful moonlight
Softening harsh edges;
And, sometimes you are storm clouds raging fiercely;
Yet, leaving a cleaner, more glistening path
Where you have passed.
And I have known you
When you were
The scorching Desert Sun:
You are all elements
Rolled into one.
For you are “Es Todo”
All things, everywhere.
There are indications here and there of the stormy side of Jacques Cartier. During the 1944 Fiesta, he “withdrew” from the annual Fiesta Play that the community had spent weeks rehearsing, investing time and money in costumes, and there was a stage and screen star lined up for the leading role. However, the Fiesta Council canceled the performance without Jacques Cartier, deciding it was too late to get someone else up to speed for the role. There is no indication about what happened, but it is clear from the article in the Santa Fe New Mexican, that it was disappointing. Jacques Cartier was crafting the big La Fonda Roof Show and was involved in the Fashion Show, perhaps he had too many commitments to do them all. Given Jacques’ energy level, I suspect it was some kind of artistic difference.
In 1945, the La Fonda Roof Show for Fiesta was an elaborate response to the end of the war. Jacques Cartier was the King of Land and Fun who went out to fight the evil and misery in the world and bring back happiness and joy. While away, the Fiesta Queen went into deep mourning and the Court Jester and Court Astrologer did everything they could to restore her happiness. The Astrologer brought out his crystal ball to show the Queen glimpses of her lover in the jungles of a South Sea Island. Suddenly, eight of the real returned heroes of Bataan entered with a Japanese flag, which they laid at the feet of the Queen, who walked over the flag and kissed each hero. The victorious King of Land and Fun returned and the 1945 Fiesta ended on a note of victory and peace on September 2, 1945, the very day that WWII ended. My great-grandmother Pansy was in the cast of players for the show as Pani-Pani the Hawaiian Maid, and her close friend Maida Lopez Stark was among the ballet dancers.
The next year, Pansy and Maida teamed-up to chair the annual fashion show at La Fonda. The Santa Fe New Mexican stated that hundreds crowded in La Fonda to witness the first postwar event and largest scale show seen in years involving an orchestra, dancers, singers, a De Vargas impersonator, and Jacques Cartier dancing two numbers. Maida’s daughter Carmen Stark, at this time a pupil of Jacques Cartier, also danced. The fashion was predominately Native American and there were Spanish, Mexican, and New Mexican garments modeled by locals. A high caste Hindu sari embroidered in pure gold was worn by the chairman of the all-nations group: Baroness Zina de Rozen, destined to become Mrs. Cartier about seven years later. Both Pansy and Jacques were at the party Zina threw when she became a U.S. citizen earlier in the year. Born in Kiev with Russian and French nationality, Zina spent part of the year at Rancho Ancon in Pojoaque with her friend the celebrated swimmer Cecily Cunha, whose life story is a book in itself. They spent the cold part of the year in Cecily’s home state Hawaii, stopped off to visit friends in Hollywood, and spent the rest of the year at their ranch just north of Santa Fe. Once the war ended, they travelled to Europe and Zina visited her home for the first time in ten years.
Thumbing through party announcements in the Santa Fe New Mexican, it’s clear that there was a group of single adults in their thirties and forties that ran around together during the 1940s, organizing and decorating Santa Fe community events, celebrating birthdays, holidays, and house warmings by beating drums, singing with all their might, and dancing Spanish dances. Pansy Stockton, Maida Lopez Stark, Pop Chalee, Jacques Cartier, Zina de Rozen, and Cecily Cunha were among core members of that group. They found every opportunity to create shows for the community that would benefit causes such as the animal shelter, the March of Dimes, and programs to feed the hungry.
In 1947, Maida and Pansy co-chaired the Fiesta Fashion Show and Jacques was the Entertainment Chairman. In 1948, Jacques prepared a toreador dance and involved pupils from his studio, including Maida’s daughter Carmen. Maida was again the chair and Pansy was the costume chairman. Jacques and Pansy participated together in a presentation for the Associated Equipment Dealers who were visiting Santa Fe. Pansy spoke about her sun paintings and Jacques emceed a fashion show.
On August 29, 1952, a descriptive article in the Santa Fe New Mexican painted a detailed picture of what it was like to participate in the Fiesta in Santa Fe and the only people mentioned were Jacques Cartier executing a fantastic feather dance on the roof of the La Fonda: “his body leaps and soars against the shadows, and people are quiet in appreciation,” and Pansy Stockton whose sun paintings were on view in the New Mexico Museum of Art: “her smile is generous, simple, and enigmatic all in one, and very real.”
And then they started to get married. Maida was the first to go, marrying Albert Kool of Albuquerque in September 1947. A month later, they were all at the wedding of Pop Chalee, a Navajo ceremony in Chinle, Arizona. Pansy was next. She married a man twenty-four years younger than her, Howard Fatheree, in December of 1950. They moved to Rochester, New York where Howard was stationed. Pansy missed the community of Santa Fe so much that within a year Howard left the military and they were back.
Meanwhile, Jacques Cartier was honored when beloved Santa Fean Helene Ruthling chose him to be padrino (godfather) for her twins. Their older sister Theo Ruthling, later nicknamed Doodlet and much later opening a well-known store in Santa Fe with that name, became Jacques Cartier’s manager as he continued to tour the country with his visionary, historic, imaginary dance stories. Somehow, he also maintained large dance studios in Santa Fe, Espanola, and Los Alamos and his young students frequently performed grand productions that Jacques wrote and staged.
As a reminder of what he wanted to do in the first place and perhaps an indicator of a moment of mid-life crisis, in 1950, Jacques was in a Noel Coward play, The Marquise, in Albuquerque with the screen actress Leatrice Joy.
In 1952, there was a change. Zina and Cecily had an annual pattern of traveling to Cecily’s home state of Hawaii in the cold early part of the year, dropping in to visit friends in California on the way back to Santa Fe for the spring, often planning a trip to Europe for a few months at some point in the year. In 1952, they went to California for a short time and apparently that is where, after ten years doing everything together, they went separate ways with Cecily beginning a world tour to include West Africa while Zina remained in southern California. Jacques Cartier did a brief tour of the West Coast and returned to Santa Fe to write, direct and perform the part of Archbishop Lamy in a production he called The Shining Years in honor of the Sisters of Loretto Chapel in Santa Fe. And he performed the leading role in the play The Firebrand in Albuquerque.
In April 1953, Jacques Cartier brought home his new wife, Zina de Rozen Cartier, and their son, Marc, born on March 8.
Now that he had a family, Jacques Cartier began to explore a new career: landscaping. He went to Japan to study from a master and brought back ideas for his own ranch in Pojoaque where the Cartiers raised peacocks. He called his landscaping business: Gardens by Cartier: Landscaping in All Its Forms.
“I was in the midst of an important garden, and when it came time to stop gardening and rehearse to go on a concert tour, I thought, ‘now’s the time to make up your mind, be either fish or fowl,’ so I called my manager and said ‘I’m not going to do this tour. I’m retiring. And so, I gave up the last vestige of theater,” said Jacques Cartier to a reporter in 1969. “But designing a garden is like designing a stage set, except that you have to know how plants grow.” (Santa Fe New Mexican, 1969)
He may have stopped touring, but Jacques did not give up dancing and staging. He continued to perform as Fire Dancer, regardless the extreme danger, each Fiesta season, he maintained his dance studios, writing and staging shows for his students who numbered in the hundreds, and he emceed local events.
Jacques Cartier had been master of ceremonies for fashion shows of all varieties for all kinds of causes for years when a new cause surfaced. John Crosby enlisted Jacques’ landscaping help for a little dream of his: an opera theater complex for the fledgling Santa Fe Opera. Not only did Jacques help with the landscaping, he emceed and staged the first three years of fundraising fashion shows.
The Distinctly Different Fashion Show of 1957 included “Madame Pomponini,” my great-grandmother Pansy, in a gown and hat. The Santa Fe New Mexican said, “She caroled a few high notes at the request of emcee Jacques Cartier much to the delight of the 400 or more guests in the audience.” For the 1958 Santa Fe Opera Fashion Show, Pansy did an encore performance, this time as “Madame Cacciatore” of the New Mexico Horse Opera.
In 1959, Jacques was master of ceremonies for an art auction and Pansy chaired the committee collecting donations and contributing some of her works as well. They were both instrumental in the organization, staging, and decorating of the Inaugural Ceremonies and Balls for the governors of New Mexico.
In 1962, although he wasn’t touring the country anymore, Jacques Cartier travelled to London where the BBC filmed him portraying royal characters for a series.
The year Zozobra implementer Will Shuster died in 1969, Jacques Cartier danced his last fire dance after 27 years.
Jacques came to fabric artist Helen Rumpel’s show with orchids as a thank you for the painting, “Russian Countess,” that Helen made in honor of his wife Zina who died in 1976.
And Jacques was a pall bearer for Maida Lopez Stark Kool’s funeral.
Jacques outlived Zina by fifteen years and outlived most of that lively group of creative people he’d grown to love. Santa Fe became a less cohesive and friendly place. Jacques even ended up in a confrontation with police over a misunderstanding. He spent his last three years in a nursing home in Fairhope, Alabama where the flame went out on November 4, 1991.
“He was a little man, little and wiry, but elegant,” his friend Louise Turner remembered. “He dressed exquisitely. He had a wonderful sophistication, a wonderful presence. You felt you were in the presence of a celebrity when you were around Jacques, but a kind celebrity who was interested in his guests’ welfare.” (Santa Fe New Mexican, 1991.)
There was a line Jacques had in a play once that the reviewer thought was appropriate for the performer’s life: “Men like myself don’t happen twice.”
It makes me wonder if he’d ever met Charles Eagle Plume.
KEY SOURCES:
“Adopted.” Santa Fe New Mexican. July 23, 1935.
“Beating His Way.” The Brooklyn Daily Eagle. August 21, 1927.
Bird, Kay. “The many movements of Jacques Cartier.” Santa Fe New Mexican. November 10, 1991.
“‘Blue Bird’ Plays Again This Week.” Nashville, TN: The Tennessean. May 1, 1921.
“Bohemian Girl Is Presented.” Nashville, TN: The Tennessean. May 8, 1921.
Brooklyn, NY: The Brooklyn Daily Eagle. January 23, 1928.
“Cartiers Are Welcomed Home.” Santa Fe New Mexican. May 13, 1953.
“Cartier art theft a ‘cloak and dagger’ case.” Santa Fe New Mexican. May 20, 1975.
“Cartier ‘Figures Of Fire’ To Be Presented June 23.” Santa Fe New Mexican. June 8, 1950.
“Cartier Injures Ankle in Leap During Fire Dance.” Santa Fe New Mexican. September 8, 1943.
“Cartier to dance his farewell to Zozobra.” Santa Fe New Mexican. Aug 31, 1969.
De Mille, Agnes. Dancing to the Piper. Boston: Little, Brown and Company. 1952.
“Death Watch Forum.” The Indianapolis Star. September 16, 1922.
Field, Rowland. “The New Play: ‘Golden Dawn.’” Brooklyn Times Union. December 1, 1927.
Field, Rowland. “The New Play: ‘The Manhatters.” Brooklyn Times Union. July 20, 1927.
Harwell, Coleman. “Former Tennessee Boy Wins Plaudits of New York With His Art as Dancer.” Nashville, TN: The Tennessean. March 10, 1928.
“Jacques Cartier Discusses His Earlier Life During Interview By Opera Guild Members.” Santa Fe New Mexican. January 18, 1959.
“Jacques Cartier Had Parts In Famed Movie Productions.” Ventura County Star Free Press. April 2, 1943.
“Jacques Cartier to Dance at Museum March 21; Program Series of Portraits of Czars.” Santa Fe New Mexican. February 19, 1941.
“Jacques Cartier’s New Program With Narrative By the Dancer Is Vital Social Document Colorfully Staged.” Santa Fe New Mexican. March 23, 1941.
“Leatrice Joy, Jacques Cartier Set for New Play.” Albuquerque Journal. October 31, 1950.
Mantle, Burns. “’The Golden Dawn’ in a Gothic Cathedral.” New York, NY: Daily News. December 1, 1927.
“Marc Cartier Born On Coast.” Santa Fe New Mexican. April 9, 1953.
“Marion County Women Will Erect a Fountain of Beautiful Design.” Nashville, TN: The Tennessean. February 24, 1897.
“Nashvillian Presented In New Dance Cycle.” Nashville Banner. April 16, 1934.
“’One Man Theatre’ Due Friday Night.” Corvallis, OR: Corvallis Gazette-Times. December 6, 1962.
“Opera Fashion Extravaganza Firmly Established By Show.” Santa Fe New Mexican. July 6, 1958.
“Peabody Pupils To Give Opera.” Nashville Banner. May 23, 1920.
“Peabody ‘Stunt’ Night.” Nashville Banner. April 16, 1920.
“Program of Dances.” The Brooklyn Citizen. November 21, 1924.
Rodgers, Richard. “Success at 16, Failure at 23: Rodgers.” Fort Worth Star Telegram. August 25, 1961.
Shuster, Will. “The Why and How of Zozobra.” Santa Fe New Mexican. August 30, 1939.
Sisk, Robert F. “Takes Shine To The Grand Street Follies And The Manhatters, Even If The Ladies Do Wear Clothes.” The Baltimore Sun. August 14, 1927.
“Stunt Night at Peabody College.” Nashville Banner. April 17, 1920.
“Tea for Soldiers’ Home.” The Chattanooga News. March 4, 1909.
“The Premiere: Don’t Miss This One.” The Brooklyn Citizen. August 4, 1927.
“‘The Manhatters’ Moves Uptown to the Selwyn.” New York, NY: The Standard Union. August 4, 1927.
“Two Favorites To Return For Opera Festival.” Santa Fe New Mexican. March 15, 1959.
Union Springs, AL: Union Springs Herald. April 10, 1941.
“W. E. Carter Dies in South Pittsburg.” Nashville, TN: The Tennessean. September 29, 1916.
“Will Carter Wins Success in Rhythmic Pantomime.” Nashville Banner. September 7, 1924.
“Zozobra.” Santa Fe New Mexican. August 30, 1953.