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This is the official collection of Central Michigan University’s Orchesis Dance Troupe, and also documents the CMU career of its found, Yvette Birs Crandall, and her impact on Orchesis and its students, performances, practices, workshops, and social events, mainly 1967-2010, with a few materials postdating that through 2023.

This is the official collection of Central Michigan University’s Orchesis Dance Troupe, and also documents the CMU career of its found, Yvette Birs Crandall, and her impact on Orchesis and its students, performances, practices, workshops, and social events, mainly 1967-2010, with a few materials postdating that through 2023. The collection also includes a small amount of material documenting earlier CMU dance instructors, including Grace Ryan, country dancing classes, and performances, formal dances, possibly Sadie Hawkins dances, as well as social dances at CMU, 1928-1967, in photographs and a scrapbook, which Crandall likely inherited from prior CMU instructors. Yvette’s Wisconsin and CMU University papers and research materials, related to movement and dance, and photographs of and clippings about her (see Box 1) and her published reviews on music, dance, and theatre in the Midland Daily News, 1991-1992 (see Box 5) complete the collection. A list of performances was compiled by Archivist Marian Matyn from documentation in the collection and is found in Orchesis, Programs, 1969-1979 (in Box 2).

Nearly complete, the collection provides excellent documentation of Orchesis and how crucial Crandall was to its success and vitality. All aspects or Orchesis are documented in this collection including advertising, auditions, welcoming or “initiations” of new members, graduating senior events, performances, choreographer’s workshops, social events, travels, competitions, training, backstage preparations, classes, costume and makeup design, choreography, , and participation in CMU events such as country dancing and doing dance movements after a float in Homecoming parades and dancing in Madrigals. Orchesis also performed at various local institutions, such as Mid-Michigan Community College. In 1969 Orchesis performed Peter and the Wolf, for which they received hand printed thank you notes and hand drawn art from elementary school children at Longview Elementary School in Midland, Michigan. Because the children’s materials was very acidic, they were photocopied. In the early 2000s Orchesis performed with Dance Umbrella dancers. Dance Umbrella is an international modern dance festival.

The collection also provides important evidence of how one woman successfully built and expanded a nationally recognized modern dance company from scratch composed mainly of female students. When compared to the CMU Athletics collection, it is clear that she did not have the resources nor the support accorded the more traditional recognized athletic programs which merited CMU published programs and posters, so Crandall and her daughter, Rebecca Crandall Folt, designed and made Orchesis posters and programs themselves by hand. The lack of official CMU photographs in the collection is also interesting and unusual among CMU collections. Crandall paid private photographers for the professional, non-CMU photographs.

The collection is organized by size, format. and then alphabetically and chronologically within each series. Photographs are further organized by those with and without negative numbers. The paper-based and photographic series (Boxes 1-5 which are all .5 cubic foot boxes) are: Biographical Materials, Orchesis materials, Photographs that are not specific to Orchesis, and Crandall’s published reviews. There are two oversized scrapbooks document dance at CMU, 1928-1967, and CMU Orchesis, 1968-1971. The three oversized folders include CMU Orchesis posters (Folder 1-2) and oversized Orchesis professional photographs, both black and white and color, undated. Additionally, photographs are further organized within folders by those with a negative number or date/time stamp and then those without. Overall the collection is in very good condition except for the acidic contents of the scrapbooks and a few posters with tape stains or have hole punctures. Most of collection, as donated, was original material, but some were photocopies. Formats in the collection include paper, original art, photographic materials, including two DVDs, and scrapbooks

Recordings:

In March 2024, Orchesis recordings were donated (see Boxes 6-12, which are all cubic foot boxes). The recordings are organized chronologically and document Orchesis concert performances, workshop performances, Madrigal dinner concerts, “Puttin’ On The Ritz” events, Swing Club, and dancing in Homecoming parades, and liturgical dances. The recording formats include Ampex, Karex, Memorex, and Sony five- and seven- inch helical video tapes, VHS videotapes, CDs, DVDs. And Sony Mini Discs. Warren Crandall recorded most of the recordings, but there are some recordings created and presumably copyrighted by Kabobel’s Kamera and Heitman Video Services, that Yvette paid for, and one that is a gift copy from a Channel 9 and 10 News segment. None of the recordings were created or copyrighted by CMU.

Besides the Recordings, other major Orchesis series include Photographs, Programs, and Posters, which merit further description to assist researchers.

Photographs:

Photographs, 1940s-2010, 2023, in the collection are from multiple photographers, both professional who hold copyright, and amateurs. CMU copyright of photographs taken by CMU Photographer Robert Barclay are few and found interfiled with other photographs dated 1981, 1993-1998 and 2000-2006. Bryan P. Wallace, a professional photographer, took all the photographs which are stamped with his name and copyright information, 1986-1987, including all the galley proofs and related negatives. Other photographer’s names are occasionally found on photographs, while others are unidentified. Most of the professional photographs are black and white until the 2000s. Amateur photographs taken by those in the company and probably also by Yvette document individuals, groups, travel, social events, performances. There is one photograph of the liturgical dance troupe in 1973 in Muskegon with a priest. There are also photographs of a country dance troupe in costume dancing during a CMU Homecoming parade, 1989. Part or all of the company traveled to various trips to cities including Washington, D.C. and Milwaukee, Mid-Michigan College, and Western Michigan University, to perform and participate in regional or national dance events. The company also had summer picnics, a welcoming event, referred to as the initiation, for new members, and a graduation recognition event after the show of the academic year with a cake where each graduating senior receive an award, hug, and the applause of peers. Within folders photographs are sorted by those with a negative number or date/time stamp and those without. Those with additional identification, especially amateur photographs, with a specific event and/or a year date, are in separate folders. Some people, dates, and events are identified in photographs by labels or writing on the back of photographs. If the labels were loose or detached, the Archivist wrote the information in pencil on a piece of acid-free paper and included that in the photograph sleeve, and withdrew the original label or note.

Programs:

CMU Orchesis programs, 1969-2010, are nearly a complete and include mostly Orchesis events: Choreographers Workshop Performance, all concerts, “Puttin’ on the Ritz” events, CMU Madrigal dinners, and Choreographers Workshop Performances, dance competitions, events outside of CMU that she choreographed or advised, and a Church program, featuring CMU liturgical dancers, December 3, 1978. The programs vary in size, format, and materials, and some were photocopies when donated. Those listed as ‘Program’ are only the list of dances and performers. During the 1970s many of the early programs and posters were hand drawn or written in penmanship. Both programs and posters featured photographs from the past. Sometimes there are matching illustrations for programs and posters.

Most of the programs were dated, some with dates written on them by Crandall, when donated. Depending on the information in the program, Archivist Marian Matyn looked up names and information online in digitized CMLife, and reviewed perpetual calendars to try to determine the year for undated programs, and matched materials to posters or other information in the collection. To assist with the process the Archivist generated a list of performance dates from the programs which she added to the collection. Many Orchesis performances were not listed in CMLife. Overall the programs are in excellent to very good condition.

Posters:

Posters, 1970-2010 in the collection are mainly Orchesis posters for Auditions, Choreographer’s Workshop, Dance Concerts, and “Puttin on the Ritz” events and are almost a complete run. There is also one Orchesis Fall 2008, Dancers Photographic collage poster, 2008, which Yvette crafted. The posters vary widely in size from 8.5x11 inches to 30x20 inches, in shape, colors, and format including paper, cardboard, and plastic. During the 1970s many of the early programs and posters were hand drawn or written in penmanship. Some posters listed are actually the original drawings and composite information with parts taped and glued to paper or cardboard from which posters or printed copies were made. Crandall appears to have created many of these posters by hand. Both programs and posters featured photographs from the past. Sometimes there are matching illustrations for programs and posters. Posters are housed in two Oversized folders. Oversized Folder 1 contains all concert performance posters in chronological order and the collage photographs poster. Oversized Folder 2 includes Oversized art, and all remaining poster series grouped alphabetically by series, then chronologically within each series.

Many posters lacked a year date as published. Depending on the information on the poster, Archivist Marian Matyn compared the information to the programs, and then followed the process she used to determine program year dates. (See that process above.) She wrote years on the posters in pencil. If there is more than one year during Yvette’s CMU career that the poster could date from, the year is in square brackets with a question mark.

A few posters have tape attached, while others have tape or hole damage from being pinned, and one, CMU Faculty Dance Recital, (taped, tape stains and term schedule in pen and marker on revere), September 21-22, 1972, has the term schedule written in pen and marker on the back. Overall the posters are in excellent condition. Most of the photographs donated were originals with some being photocopies.

Also included are posters of events in which CMU dancers participated. These posters include dance festivals, for the now American College Dance Association, 1979-1980, and the Great Lakes Regional Dance Festival, 1991 and 1999, and CMU Madrigal Dinner Concert posters, 1986, 1988-1994. The Madrigals occurred annually at CMU, 1977-1992.

Included with the posters is one oversized original art piece. There is also a folder in Box 2 of a few original hand drawn Orchesis art. The oversized image does not appear in posters nor programs. It is similar to a hand drawn image on the front page of the 1968-1971 scrapbook.

Researchers Note:

Researchers may also be interested in other collections documenting Grace Ryan and Rev. John Goodrow in the Clarke. The CMU Posters collection contains one early Orchesis poster and some Madrigal posters found in Crandall’s Orchesis collection.

Processing Notes:

Approximately 5 cubic feet of paper and audio-visual materials were withdrawn during processing. This includes duplicates, undated and/or unidentified, or very dark or damaged photographs, acidic materials, empty envelopes. If there were larger and smaller versions of the same poster, the smaller version was retained in the collection and the larger version was withdrawn. Acidic materials, except for the pages and contents of the scrapbooks, were photocopied, and the copies were added to the collection while the originals were withdrawn. .75 cubic feet of nationally recorded and distributed LP dance records were withdrawn. Family photographs were returned to the donor. Three cubic feet of recordings were withdrawn during processing, including duplicates, rehearsals, personal recordings of television dance programs and music CDs, non-CMU produced dance instructor videotapes, and unidentifiable, inaccessible, and very dark recordings.

History, administrative and financial records, files of church organizations, publications, and papers of individual pastors; also record books (prior to 1875) of Frederick Schmid, formerly pastor of the Bethlehem Church, now Bethlehem United Church of Christ; and photographs.

The records of Zion Lutheran Church of Ann Arbor span the years 1875-1981. Those records in the collection which date before 1875 were kept by the Rev. Frederick Schmid probably when he was minister of the Bethlehem Church. These record books (in box 12) include two volumes of baptismal records, a family register, and a record book of marriages performed. These four volumes date from 1833 to approximately 1875 when Zion was established. The volumes are in German.

Except for these volumes, the records in the collection are of Zion Lutheran Church. Included are historical materials, administrative and financial records, records of church organizations, church bulletins and newsletters, membership records, and sermons and collected materials of the church's pastors. The earlier records of the church are usually in German.

Ann Arbor chapter of international women's professional and service organization. Administrative records, newsletters, yearly members booklets, correspondence, and other materials relating to club activities.

The records of the Zonta Club of Ann Arbor cover the period 1972 to 1990, though the bulk of the materials date since 1987. The record group largely concerns the official functions of the Club and the various events that it sponsored. The folders in the record group are arranged alphabetically, with the contents of folders either arranged chronologically or alphabetically.

The folders labeled Administrative, Board Meeting Agenda, Business and Social Meetings, and Treasurer's Reports contain organizational records of the club. Included with these files are such items as the president's conference report, the proposed budget for operations, the report of pledges and contributions, various committee reports, committee announcements, officers reports, and financial credits and disbursements. The Correspondence folder constitutes the largest portion of the collection. Included is correspondence with the Zonta International Headquarters in Chicago, Illinois, with the state (District XV) office, and with other clubs in the area (Area III). Also included is correspondence with other service organizations that Zonta of Ann Arbor financially endorsed or worked with in charity functions.

The Published Meetings file contains a set of booklets which are produced annually with the following topics in each booklet: the Zonta Blessing, Zonta Code, Clubwomens Collect written by Mary Stewart, listing of former Club Presidents, Officers Board Members, Committees, yearly calendar, and roster of members. The Social and Educational file contains notices of upcoming charity, social events, educational seminars and regional and national conferences of Zonta International.

This incomplete collection, 1878-2019 (Scattered) and undated, includes a diary, a diary/ledger book, a restored photograph of Adam Assal (and a photo print copy), and genealogical research compiled by and about Assal and his extended family.

This incomplete collection, 1878-2019 (Scattered) and undated, includes a diary, a diary/ledger, a ledger, a restored photograph of Adam Assal (and a photo print copy), and genealogical research compiled by and about Assal and his extended family. The biographical section of this finding aid details the topics Assal wrote about in his diaries. The Biographical Materials folder includes genealogical research compiled by Adam‘s descendants, their genealogical correspondence (copies) and related materials. There is an undated, professional portrait photograph of Adam Assal, which appears to have been restored in the twentieth or early twenty-first century and a photographic copy print of it. In the photograph Assal is an adult with dark hair and a greying beard. There are also three folders of genealogical information from Ancestry.com, 2019, about Assal and his family, including Eva’s incarceration as an insane woman in the State Hospital in Traverse City, and documentation of Henry Irons’ Civil War pension records. There are also two folders of Charles (Carl) Swanson) genealogical information from Ancestry.com, including one folder on extended family information, 2020-2021.

Miscellaneous notes are found on the inside covers of all the volumes in the collection. The diaries include his handwritten entries in pencil or black or red ink. The dates are scattered, sometimes skipping months in between entries, while at other times they are almost daily. Some events are recorded in a summary fashion after the fact.

The legal-size diary/ledger spans January 19, 1878-September 21, 1891 on pages 112-236 of the volume. Page 111 (the first surviving page in the volume) and page 266 include accounts concerning wood and potatoes and miscellaneous, 1885 and undated. Pages 261-262 and 265 document the daily temperature and wind. Only the G-Z front index pages, and pages 1-68, 145-148, and 217-250 survive in this ledger. An additional index is written on page 33. The dates of recorded entries jump from September 14, 1888 to May 7, 1889 on the same page (p.190). The volume includes a variety of accounts, some specifically with Assal. Accounts vary from basic mathematical totals to specific accounts for lodging, wood and log jobs, rent, postage, groceries, dry goods, and money donated to an orphan's home. Children's drawings of Essexville (p.68), blobs (pages 145, 235), and deer (page 218) are included in the volume, as well as evidence a child practiced writing their numbers (page 219). There is a printed note by a child, "Alonzo Assal Jr four years old, Frank J. Assal, ten years old" with other names and Michigan locations (p. 48). When he was age nine, Alonzo printed his name in the volume (p. 166). Scribbles are found throughout the volume. The pages that survive are separated from the covers and spine. The cover has some leather rot issues, and some pages are acidic.

A smaller diary volume contains Adam’s diary entries for September 10, 1885-January 11, 1887 (pages 43-142). There are lines in pencil around the words on pages 84-85, 114-115 and 118-121, presumably drawn by children. This volume is also missing pages. The extant pages are separated from the covers and spine. A receipt to Alonzo Assal for $62.50 from Richardson Lumber Co., Bay City, Mich., July 3, 1925 is found inside the back cover. It is printed and typed on a small, acidic envelope with a corner ripped off. Because it is acidic, the envelope is now in a folder piece of acid-free paper.

The collection consists of personnel files of Central Michigan University, 1939, 2003.

These are the Personnel Files of Central Michigan University (CMU) faculty and staff who died, retired, or otherwise separated from the university at least thirty years ago. According to the CMU Records Schedule, the records are kept by CMU. Faculty Personnel Services for thirty years, and then they are transferred to the Clarke. All social security numbers, health, and personal information have been removed as per agreement with FPS in June 2007.

A Personnel File may include: appointment letters/contracts; approvals/denials relating to personnel matters, reappointment/promotion/tenure, sabbatical/leave records, salary notices, reduced assignments; commendations (CMU related); curriculum vitae (resume); disciplinary documentation; personnel transaction forms; transcripts; clippings (copies); obituary notices; or photographs. The collection is physically in very good condition. In some cases acidic copies of materials were photocopied and the originals were withdrawn from the collection.

The Personnel Files are filed alphabetically by surname, and then by first name. Most of the records date from the 1970s and 1980s.

Processing Note:

The collection includes biographical information, correspondence, notably of the Boys' Republic, photographs and photograph albums, subject files, plaques, etc.

The collection includes: Biographical Information, consisting of diplomas, family history materials, photographs, newspaper clippings (copies), and related materials, 1930s-2002, undated; Correspondence, General (from students), to parents related to World War II, from two girl friends, Rebecca Reynolds and Verna May, and Dale Williams, a boy in the Boys’ Vocational School in Lansing, 1939-1955, undated, and the Boys’ Republic and student there, Bob Downes, 1948-1951; Photographs, 1922, 2000; Subject Files, including materials related to CMU, Flushing High School, Greeting Cards, Historical Michigan Calendars, Flint Junior College, the University of Michigan, the Boys’ Republic, juvenile delinquency, and other materials, 1935, 2000, undated; Photograph Albums related to his family and CMU, military service, and HOSTS/Mentor Program, 1941, 2000; Photographs of the Flushing High School Senior Class, 1939; and Plaques, for his outstanding work as a school and senior volunteer at West Elementary School, Florida, 1997-1998. The Oversized folders include Historical Landmarks of Brighton, a collection of illustrations of and text about Brighton, Michigan’s landmark buildings and history, undated, and a CMU war years class reunion photograph, 2000.

Because some of the materials in the Boys’ Republic correspondence and notebook contain sensitive, personal information about the students, researchers are asked to not name the individual students who created or are discussed in these materials.

The following materials were removed from the collection and cataloged: Memory Lane Gazette, 1982-2002, the Montrose Historical Association Newsletter, and Fieldbook of Natural History, c. 1949, by E. Laurence Palmer, which includes autographs and souvenir materials from Rufus’ favorite teacher, CMU Biology Dept. Professor Irene Jarae.

The collection includes the following series, biographical information, a photograph, correspondence, meeting minutes, photographs, reports, speeches, subject files, documenting Arthur Ellis' tenure as Central Michigan University's president, 1970, 1989.

The collection includes President Ellis’ biographical materials, correspondence, meeting minutes, reports, and subject files on a wide variety of CMU topics. A number of the minutes and subject files document budgetary issues, 1985-1989. Other well documented topics include commencements 1985-1988 and MMI (Michigan Molecular Institute), 1984-1988, including apartheid issues.

The collection consists mostly of letters from Post to/from his family and friends during World War II, photographs, and biographical materials.

The collection is organized alphabetically by topic: Biographical Materials, Letters (in chronological order), Miscellaneous, and Photographs.

The collection consists mainly of letters. There are 68 letters handwritten by Albert Post to his children, wife, in-laws, and other relatives, dating from April 1944 through March 1945. Four of his letters, dated June 24, August 29, and September 5 and 11, 1944, were censored by officials. Most of them were written on onion skin paper. Another nine letters from family members and friends are also included, as is Albert’s telegram to Leila of June 15, 1944. All of the letters are in excellent physical condition. After the Box and Folder Listing, researchers will find a detailed Collection Inventory detailing the contents of each letter, as well as the author, addressee, dates, etc. to facilitate use of the collection. The letters are organized in chronological order.

The rest of the collection consists of one folder each of Biographical Materials (Albert’s birth certificate, business card, the letter Leila received from the Secretary of the U.S. Navy declaring Albert officially dead in 1946, information about the U.S.S. Halligan and its crew, and other materials,), 1916-2005 (Scattered). Photographs in the collection are of Albert Post either alone or with his immediate family. There is also a photograph of Albert and Leila with her parents, Maria and Milton Williams, and a formal studio group portrait of Leila and the children. All of the photographs are dated or from 1944 to 1945. A few Miscellaneous Materials in the collection, a newspaper clipping, undated, of Art Jackson, a famous hunter, which Albert carried in his pocket until he went to war, and Albert’s train ticket stub to California [1944].

Albert’s letters were saved by Leila. In the 1960s, she distributed some of the letters to her children, notably those letters written just to Darrel to him and letters with interesting parts about Sharron Lei to her. When Leila’s house burned in 1981, the family thought all the letters still in the home had been destroyed. However, after Leila died in 1999, Sharron Lei found a cache of letters in a two-pound chocolate box in the garage, with the pearl ring Albert bought for his wife, as described in his letter of August 21, 1944.

Sharron Lei was so young when Albert died that she has no memory of him. She only knows him from stories family members told and his letters. Her research at the National Archives concerning Albert and the history of the U.S.S. Halligan, provided her family with Albert’s official death date for the first time.

Sharron Lei and Darrel donated letters in their possession, which are extremely precious to them, as well as some of their family photographs and biographical materials to the Clarke in December 2005. This is all that they have of their Father. Additional materials from the National Archives were provided by Sharron Lei and their Father’s favorite newspaper clipping on Art Jackson by Darrel.

Many of Albert’s letters survived time, moves to various homes, and a fire. Those that survived are in excellent physical condition and provide an in-depth, personal biography of their author. Albert was an articulate writer and wrote in a legible, cursive hand, occasionally being creative in his spelling. His letters are highly emotional, sad, lonely, and full of loving concern for his family. It is obvious that he adored his family. His loneliness and despair when mail was not delivered for sometimes up to two months at a time, is palpable and painful to the reader.

Today, World War II veteran are viewed as the greatest of the great, as super heroes, and perhaps at times the younger generations may think they were devoid of human frailties. These letters plainly document Albert’s very human pain and, indeed, agony he endured when physically separated from his family. He missed watching his children grow up, and his longed both physically and emotionally, for his beloved wife. Albert’s letters are also full of his hopes, dreams, future plans, and concerns for his wife and children, particularly Darrel, and his in-laws. Albert repeatedly wrote how he cried when he read and received letters and sometimes got so emotional he had to stop reading and go for a walk or into an empty part of the ship to compose himself. He also wrote that other proud shipmates got together after receiving letters to brag about their children and show off pictures of their beloved wives and children. Albert wrote mostly about his family, but there are many references to life in Gladwin, farming, hunting, fishing, relatives, and neighbors. He missed home cooking, particularly pies and cakes, hated naval chow beans, and longed for mail and photographs from his family, whom he thought about constantly, even in his sleep.

Besides his duties aboard ship and writing letters, Albert spent time developing his artistic side. He wrote a poem “Phantasma, found between two letters dated August 29, 1944, to his wife about his physical and emotional longing of a man for his wife when separated by war, clearly based on his feelings for Leila. He also sketched quite a bit from magazines. At the top of his letter dated March 1, 1945, Albert sketched an outline of a mother holding a baby from a magazine, and filled it in with his interpretation of how he thought Leila looked holding Sharron Lei.

This collection is wonderful for documenting the individual in war, a Michigan man who served in World War II while he loved and missed his family. It is also excellent for documenting the sometimes difficult and lonely lives that women and families endured while the men went to war and the necessary role that letters and photographs played in helping soldiers and sailors endure the stresses and strains of war.

The collection consists of Case’s Biographical Materials; Correspondence; Diaries; Date Books (mostly addresses); his Degrees; Class Record Books; Publications and Thesi, an Account Book; and Photographs and Maps of topics he researched, such as Oak Ridge, Tennessee, and Beaver Island, Michigan. Also included are his Genealogical Materials and Family Photographs. Most of collection except for his research materials and Genealogical Materials date from 1919 to 1982.

The collection consists of Case’s Biographical Materials; Correspondence; Diaries; Date Books (mostly addresses); his Degrees; Class Record Books; Publications and Thesi, an Account Book; and Photographs and Maps of topics he researched, such as Oak Ridge, Tennessee, and Beaver Island, Michigan. Also included are his Genealogical Materials and Family Photographs. Most of the collection except for his research materials and Genealogical Materials date from 1919 to 1982.

The papers include biographical materials, miscellaneous, photographs, postcards, and an autograph album.

The collection includes biographical materials, miscellaneous, photographs, postcards, and an autograph album. An inventory is available to assist researchers.