Hidden History, Part 2: Joy McLean Bosfield Sings at Kennedy Center Dedication

 By Jennifer Sieck

Joy McLean Bosfield framed this page from the score for “Gloria in Excelsis” signed for her by MASS composer Leonard Bernstein. She sang in the choir for MASS’s world premiere, conducted by Bernstein for the Kennedy Center’s dedication in 1971. Joy McLean Bosfield papers, Anacostia Community Museum, Smithsonian Institution, gift of Joy McLean Bosfield.

"Gloria in Excelsis" proclaims the title of this autographed musical score in prelude to the story of Joy McLean Bosfield (1924-1999), a musician, educator, and entrepreneur who lived in Washington, DC from 1962 to 1985. Like another accomplished African American musician in the District featured in a prior post on this blog, McLean Bosfield was instrumental in bringing the Kennedy Center into being. Her contribution took the form of singing in Leonard Bernstein’s MASS: A Theatre Piece for Singers, Players and Dancers at the Kennedy Center’s dedication on September 8, 1971. Commissioned by Jacqueline Kennedy Onassis in memory of her husband, President John F. Kennedy, Bernstein riffed on the traditional Latin mass to honor the nation’s first Roman Catholic president in an operatic piece featuring more than 200 performers and choreography by Alvin Ailey. The Kennedy Center’s 50th Anniversary Season concludes with a new interpretation of MASS in September 2022.

Original Production of Leonard Bernstein’s MASS, 1971. Photo by Fletcher Drake. Courtesy of the John F. Kennedy Center Archives, 1971. Joy McLean Bosfield might be among the robed choir members above the dais, possibly the second singer in the first row to the right of the center aisle. The photo ran on the front page of The Washington Post on September 9, 1971.

The framed sheet music might have been especially meaningful for McLean Bosfield, as she had co-founded a business that prepared printed music for publication in 1959. This excerpt from “Gloria in Excelsis” shows the choral and orchestral parts for an exuberant response to the absolution of sin. Across the opening bars, Bernstein inscribed in red ink, “Gloria to Joy McClean!” [sic] along with his signature and the date. Significantly, it is the only framed item among the newspaper clippings (including Washington Post articles about MASS at the Kennedy Center), photographs, and programs in the Joy McLean Bosfield papers at the Anacostia Community Museum.

A photo from Joy McLean Bosfield’s scrapbook shows the cast of Porgy and Bess in Hollywood in 1954: left to right, unidentified man, Irene Williams, Leslie Scott, Joy McLean, LeVern Hutcherson. Courtesy of The Joy McLean Bosfield papers, Anacostia Community Museum, Smithsonian Institution, gift of Joy McLean Bosfield.

“Joy McLean” appears among the names in the MASS program along with other renowned artists, such as Alvin Ailey dancers Judith Jamison and Sylvia Waters. The name served as both her real and stage name for much of her career, including when she sang the role of Clara in an international touring production of Porgy and Bess that played a significant role in Cold War cultural diplomacy in the 1950s. 

Norman Scribner wrote a letter to the original MASS cast members on Kennedy Center letterhead, Feb. 16, 1972. Courtesy of The Joy McLean Bosfield papers, Anacostia Community Museum, Smithsonian Institution, gift of Joy McLean Bosfield.

McLean Bosfield’s papers also include a letter from Washington Choral Arts and MASS choir director Norman Scribner. Its salutation reads, “Dear ‘Original Cast’ Member,” and invites her to participate in a 1972 touring revival of MASS. Professional obligations likely prevented her from participating, such as her service as music minister for John Wesley AME Zion Church in the District’s Logan Circle. A church colleague, Rev. John R. Kinard, became the founding director of the Anacostia Neighborhood Museum in 1967. Recognizing the value of her papers, he worked with Senior Curator Portia James to acquire them for the museum’s collection as McLean Bosfield prepared to retire to Mexico in 1985.

Annotated scrapbook photos show Joy McLean Bosfield teaching her choreography to youth in rehearsals for the Community League of West 159th Street’s Cotillion in New York City, 1958. Courtesy of The Joy McLean Bosfield papers, Anacostia Community Museum, Smithsonian Institution, gift of Joy McLean Bosfield.

Born and raised in New Jersey, McLean Bosfield came of age artistically in New York City. Like Bernstein, she performed and conducted at Lincoln Center. Her scrapbooks attest to a wide-ranging repertoire rooted in African American musical traditions, including those of her mother’s birthplace of Demarara, British Guiana (Guyana, in 2022), alongside fluency in mélodie (French art song), classical compositions, and Broadway showtunes.

A verse on a handmade card congratulating McLean Bosfield on her college acceptance concludes with the double entendre, “Let Joy Be Unconfined.” Her archive and students bear witness to a legacy of unconfined Joy.

In harmony with this post and in honor of Black History Month, McLean Bosfield’s scrapbooks are being relaunched on the Smithsonian Transcription Center. Digital volunteers can refine prior transcriptions, which proved challenging due to the scrapbooks’ varied and fragile materials. Check out the scrapbooks: here and here.

Jennifer Sieck, Ph.D., Collections Researcher

Smithsonian Anacostia Community Museum