Barnklubben  Elsa  Rix #1

(Children's  Club  Elsa  Rix  #1)

HISTORY

The history of Barnklubben Elsa Rix #1, the oldest Swedish American children’s club in the Vasa Order of America, was obtained from many sources – separate books by Johannes Hoving and Hilding Peterson, articles by Elaine Poroma Gyllenhammer, Elaine Lindquist McGrath and the vivid memories of several past members and leaders with whom we consulted.  We hope it brings back many happy memories and that those who read this and hear our CDs will appreciate what a glorious and rich heritage they have chosen to embrace.

A mass immigration from Sweden to America took place in the 1900’s.  These immigrants settled all over the United States, and many found their way to the Northeast.  Because of this immigration, the Vasa Order of America and other ethnic fraternal organizations, which had existed, began to flourish.  At the outset, it was natural that the Swedish language would be used in homes, as the English language was not the native tongue for these immigrants.  But, once established as Americans, these immigrants adopted the ways of America.  Though they held fast to some traditions – food, music and celebrating Swedish holidays - many were starting to speak English at home and were anxious to assimilate into American customs and be a part of the “melting pot”.

One immigrant with much foresight recognized early on that if something Swedish was not created for the American-born generation, Swedish culture in America would be lost.  Her name was Helga Hoving.  In November 1921 at a St. Erik’s Lodge meeting in New York, she made a motion that a “Barnens Dag” (Children’s Day) should be on the program for the upcoming Vasa Bazaar.  The members unanimously endorsed this motion and mothers were asked to send their children to Helga Hoving’s home on December 10^th to prepare for the performance by learning dances and Swedish songs.

Helga Hoving, a woman of exceptional ability, was at one time a celebrated actress and singer at the Royal Swedish Dramatic Theatre in Stockholm.  She immediately started training the children to sing Swedish songs.  On Saturday, January 22, 1922, the day of the bazaar, a group of thirty children in Swedish folk costumes, singing in Swedish, made their first public appearance.  This was how the Vasa Orden’s Barnklubb #1 was established. 

Soon after this, St. Erik’s Lodge sent out invitations to a contest for children to sing, recite and play an instrument.  This affair was held at Vasa Hall in Brooklyn on April 9, 1922.  Here, before a full house and an enthusiastic audience, Barnklubben Lucia #2 was born.  Helga Hoving also trained this group together with Magda Måneskjold Haugland, who later became the leader. 

Helga Hoving was named the first NY District Supervisor for Children’s Clubs and taught Swedish songs and dances to both clubs for many years.  Her husband, Dr. Johannes Hoving became the first Grand Lodge Supervisor for Children’s Clubs.  Much history can be found in a book entitled “Barnklubben Elsa Rix #1:  The First 50 Years” by Hilding Peterson; and “Vasabarnens fran Amerika:  Trenne Resor I Fars Och Mor Land” (a compilation of data from 3 trips to Sweden by both clubs in 1924, 1929 and 1933), by Dr. Hoving.

 Helga and Johannes Hoving retired and moved back to Sweden after the third trip with the children.  There have been many leaders, assistant leaders, musicians, business managers, and others who have given their time, talents and expertise to Barnklubben Elsa Rix #1 since then so that the children and their children to come would be able to share in their Swedish heritage.  A vital person in perfecting the skills of the folkdance was Eskil Wernblad along with his wife Tekla.  His strict discipline in learning the details of the dances remains with many former members who were fortunate to fall under his tutelage.  Harry Hedin and Doris Poroma Buday (graduates themselves) also offered their folk dancing expertise over the years. 

When the Hovings returned to Sweden to retire, “Tant” Elsa Rix took over the reigns for over 15 years until her illness and death.  “Tant” Henny Anderson was chosen to assume the leadership.  However, she was called back to Sweden just then because of illness in the family.  Elaine Poroma Gyllenhammer, herself a product of Tant Elsa’s training, filled in as leader from 1949 to 1950, until Tant Henny Anderson returned to New York to continue in the remarkable tradition of dedication to the purpose of the original founder.  During this time the name of Barnklubb #1 was changed to Barnklubben Elsa Rix #1 in tribute to that dynamic leader.  It was also around this time that members who had passed childhood age, enrolled as members in the “senior club”.  Thus, the Vasa Folk Dancers of New York was formed.

Betty Hermanson served as Tant Henny’s Business Manager until 1963.  Ingegerd Ericson filled that position and continued the tradition with help from Edna Lindquist.  Upon Tant Henny’s retirement to Sweden in 1978, Ingegerd and Ruth Nelson assumed the co-leadership on the business side while Karin Norrman took over the dance leadership assisted by Lynn Nelson-Toro (another Elsa Rix graduate).

Upon Karin Norrman’s retirement in 1988, Ellen Kritzer (another alumnus) accepted the leadership position.  During this time Connie Thorsen became Business Manager.  In 1993, illness made it necessary for Ellen to pass the leadership to Elaine Lindquist McGrath and Ada Hedin Chirafisi.  Both of them had children in the club and they were both graduates of the club themselves.  In 1998, Connie retired as Business Manager and Elizabeth Dahlstrom (an Elsa Rix graduate) volunteered to be an assistant.  Upon Ada’s retirement in 1999, Elizabeth assumed the duties of co-leader with Elaine.

Over the years, quite a collection of performances fill our resume, such as:  the 1939 & 1964-65 New York World’s Fairs, Lincoln Center, South Street Seaport for the New Sweden ’88 fest performing for King Carl XVI Gustaf, performing for Queen Sylvia and several Princes and Princesses, King Gustaf V, Chicago, Boston, Penn’s Landing, NJ, Philadelphia, the 1965 Eastern Vasa Youth Tour to Sweden, World Trade Center, Rockefeller Center, Vasa Temple, Stuyvesant Casino, television shows and specials, Vasa Days, Sweden Days, Swedish National Days, Dean Street, IKEA, Solhem, Central Park, Battery Park City, parades, international fairs, old age homes, healthcare centers, United Nations, Hotel Pierre, Schmidt’s Farm, Lindbergh Park, Eisenhower Park, Girl Scouts World fest, Vasa Lodges, Lucia festivals almost every day or night in December, etc.

And who played for all the performances and events in Sweden and across America, as well as for the many practice sessions?  Eric Olof Ericson played for us the longest (20 plus years), never accepted pay and was completely dedicated to Barnklubben  Elsa Rix.  He faithfully attended all of our practice sessions and carried his accordion to every performance as well.  He would also have extra sessions in his home for our Lucia brides  so that they could practice their solos.  He continued to play for us even when his own daughters had graduated from the club.  Eric Olof on his accordion and Einar Ericson, his brother, on his guitar welcomed in the Christmas season when they played at our Lucia pageants.

We were also fortunate to have other talented individuals who played for the club through the years.  This alphabetical list of dedicated musicians may be short in number but it is long in loving support –JoAnn Åkeson, Lillian Anderson, Artie Carlson, Anita Swanson Dreizler, Elaine Poroma Gyllenhammer, Lucille Jacobsen, Ruth Johnson, Dorothy Kvalden, Carol Ohlsson Larson, Elaine Lindquist McGrath, Gladys Nelson, Richard Peterson and Justina Russo.  Others, such as:  Walter Ericksson, Eric Johansson, Wayne Soderlund, Jeanne Ericksson Widman and Randy Widman have played for Barnklubben Elsa Rix at various performances (sometimes joined by traveling musicians from across America and Sweden).  If we have left anyone out of this list, we are truly sorry; memories aren’t infallible.

While Helga Hoving was the first music director, many mothers and fathers also helped with the singing through the years.  Yvonne Ericson Dryden (Eric Olof’s daughter) was another long-term music director.  She is fluent in Swedish and sings beautifully.  Yvonne enhanced our Lucia program by adding some new songs and was always available to the club even after her own son, Morgan, graduated.  When Yvonne retired, Ingegerd Ericson (her mother) came back to help us with our Swedish songs and verses.   

Nina Prasso serves as the club’s current music director and was instrumental in training the Elsa Rix children for their Lucia recording.  Not only does she have a beautiful voice, she is also a music teacher who lends her talents to helping the children sing in near-perfect Swedish, on key.  Over the years we have also been blessed with several other mothers who speak and sing Swedish.  Their translations have made the children understand what they are singing about and has added a new insight to the meaning of Lucia.

We couldn’t finish before we mentioned the wonderful parents groups we have had over the years.  The parents transported children, equipment, musicians, leaders, gowns, folk costumes, Lucia paraphernalia; you name it, all over.  They supplied refreshments, support, financing, discipline, applause, encouragement, and anything that was asked of them.  Without the strong support of the parents, Barnklubben Elsa Rix #1 wouldn’t be what it is today. 

We are still proudly displaying our Swedish heritage. Our members range in ages from toddlers to teens and they still:  learn Swedish folk dances and songs, present Lucia pageants and the traditions and culture of their ancestors.  The Lucia legend, songs, poem and candle girl verses contained in this booklet are how we currently perform our Lucia pageant.  Over the years, songs and verses have been changed, deleted and enhanced.  We have tried to keep the original Swedish versions alive throughout the pageant and have added the legend and a few verses in English as a way of translating the meaning to those in the audience who don’t understand Swedish.  The second half of the Lucia CD is instrumental only so that you may use it to perform your own Lucia pageants. 

You have our permission to use this music for your own folk dancing or Lucia performances; however, you must not duplicate it for any reason or try to profit from it.  We ask that you respect our copyright which we will enforce.

Barnklubben Elsa Rix #1 currently meets at St. Andrew’s Lutheran Church, 54 Nassau Blvd., West Hempstead, New York 11552.  For information, contact Elaine Lindquist McGrath or Elizabeth Dahlström at: 252 Wellington Road South, Garden City South, NY 11530.  You can also find us at elsarix.htm   or email us at ElsaRix1@aol.com.  

We hope to have our dance instruction book (a work in progress) available in the spring or summer of 2006 to go with our folkdance CD.  Information about this book will be posted on the website.

Thank you for your support,

Elaine Lindquist McGrath

LUCIA  HISTORY