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PAGEANTRY V for I0WA COMMUNITIES TRAVELING LIBRARY , of the STATE of IOWA Books Are Loaned to Communities

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PAGEANTRY V for I0WA COMMUNITIES TRAVELING LIBRARY , of the STATE of IOWA Books Are Loaned to Communities 1 BULLETIN OF INFORMATION SERIES :No. 10 I. EDITED BY BENJAMIN F. SHAMBAUGH 'a 2 ( a 394.5 Murley for 10 unities 39%5 PAGEANTRY V FOR I0WA COMMUNITIES TRAVELING LIBRARY , OF THE STATE OF IOWA Books are loaned to communities. schools and organizations for, three months, to individuals for two to four weeks. All borrowers are requested to re- turn books as soon as need of them is passec BY Rules for Borrowing Books horn a Local Gusto GEORGE 0. HURLEY BORROWER-Adnlts are entitled to dmw books by Alli application card. Minors most obtain the signatureof are NUMBER OF VOLUBIES-Each borrower may draw 01 except where a wort is issued in more than one volume issued. TIME KEPT-Any book may be kept howeeks horn da be once renewed for same period. FINES-A fine of one cent a day ehall be paid for each and any money thus received shall be uset+ by the fih-srn..".-., qsaociation- for libran expenses. NO b~kshall 1 whom a book or an unpaid fine is ch harped. lNJUl31ES-The pages of these bc mks must nol be mt I are reqo ired to collect fines for iniu ries beyond re !asonat 1 will be Ireturned with the library. UBLISHED AT IOWA CITY IOWA IN 1923 BY HE STATE HISTORICAL SOCIETY OF IOWA EDITOR'S INTRODUCTION Pageantry is primarily an educational institution. William Chauncey Langdon, first president of the Amer- ican Pageantry Association, defines the pageant as "A dream of the community in which the place is the hero and its history is the plot." It aims to stimulate civic pride, to supply historical knowledge, and to promote the spirit of community cooperation. And it attains these aims by making an appeal to the natural desire of people for self expression. Moreover, the pageant brings together all classes and groups of a community in a common enterprise where through the mediums of speech, action, dance, music, and song the life and ideals of the community are dramatized. In so doing the pageant not only affords a wholesome means of recrea- tion and entertainment, but stimulates the imagination and creative powers of the community. Although the pageant is properly defined as a com- munity institution it should not be considered as beyond the possibilities of smaller units. Churches, schools, chambers of commerce, women's clubs, lodges, and other organizations may use pageantry to advantage and profit. In recent years interest in community pageantry has become widespread throughout the United States. Cities, counties, and States have made successful use of this form of the drama in commemorating notable anniver- saries. Furthermore, the field for the extended use and development of this form of entertainment is large. Every town and community is a potential center for 4 PAGEANTRY FOR IOWA COMMTJNITIES the reproduction of vivid glimpses of the past through pageantry. The purpose of this bulletin is to offer a practical discussion of some of the problems involved in the writing, organization, and production of a community pageant. does not aim to be an exhaustive treatise PAGEANT - It FORM AND CONTENT OF THE on the historical development and abstract theories of pageantry : it attempts to present practical suggestions Although there are many ways to classify pageants, which have been found helpful by the author who is an they may, generally speaking, be included in two types. experienced pageant master. The material in the bul- In the first place, there are pageants dealing with themes letin is drawn largely from his own experience, supple- of an historical nature, such as The Landing of the Pit- mented by a careful study of the literature extant on grims. Such a pageant. is usually given in commemora- the subject of pageantry. tion of some event and is much easier to produce than A bibliography of helpful books on pageantry, a list the other type. Its possibilities are limited, however, of successful pageants, names of costume houses, refer- by historical fact and tradition; but on the whole it is ences on acting, the dance, and color, together with a more desirable for amateur production because the list of suggestedl themes for Iowa pageants are ap- problem of composition is not so great. The dialogue pended. can usually be taken from authentic sources with little In response to numerous requests for practical sug- or no change. gestions The State Historical Society of Iowa offers The second type of pageants d'eals with themes de- this bulletin on Pageantry for Iowa Commwnities as an picting some spiritual or abstract conception. While it aid in the preparation of pageants which will fittingly is seldom desirable for amateurs to undertake the com- commemorate important events in the history of the position of this type of pageants, they are written in Commonwealth. considerable numbers ; and since they are usually adapt- able, original composition is not as essential as is fre- quently the case in the historical pageant. OFFICEOF TTHB SUPERINTENDENTAii EDITOR The pageant is a succession of pictures. Each episode THE STATEHISTORICAL SOCIETY OF IOWA IOWACITY IOWA or picture is complete within itself, and expresses one chapter of the pageant story. Ordinarily the episode should not be long, but it must be so complete that the spectators may easily understand the story. The action, pantomime, and stage business must be rather elaborate in order that the impersonations may be clear. On the other hand, there is a danger of retarding the develop- ment of the plot if the stage business is too elaborate. 6 PAGEANTRY FOR IOWA COl/IMUNITIES PAGEANTRY FOR IOWA COMMUNITIES 7 In fact, each episode must be concise, self-evident, and a distinct advantage incidental to symbolism in that it interesting in itself. requires a definite functioning of the imagination of the Episodes should be arranged in chronological order student. On the other hand, symbolism is difficult to since the coherence of the story depends upon it. Obvi- handle successfully in the large community cast. ously this order is easily ascertained in the historical It is frequently possible to combine the two methods pageants. It is also desirable to maintain a dramatic i in the most effective manner. Sometimes this is best order when possible : that is, episodes of the same gen- accomplished by filling the interlude between episodes era1 nature, structure, and tempo should not be grouped 1 with a symbolical presentation of the succeeding episode. together, since such an assemblage tends to destroy the I In this manner the atmosphere is created before the sense of variety and the emotional appeal is lost in a I actual episode appears. Some themes do not lend them- monotonous rhythm. If the chronological order will per- selves to such treatment. At the same time usually such mit, the short, quickly moving episodes should be inter- I a parallel construction is not diEcult. At least this plan spersed among the longer and more slowly moving ones, 1 tends to balance the performance; but it is dangerous thus giving both variety and change of tempo. if the symbolism is not accurate. A pageant may be developed in either one of two The transition from episode to episode is the cause of ways or by a combination of both. The first and most considerable worry and comment. Some of the best acceptable method in most communities is what is com- known pageant writers discredit the idea of interlude monly termed the realistic. This plan of presentation music and dancing. These would be improper if they aims to reenact the actual scenes in as nearly as possible only called attention to themselves as artistic units, but the same manner as they happened originally. The abrupt transitions between episodes of adverse moods realistic performance is more easily understood and are effectively bridged when music and dancing are used more easily directed because of its tangible aspects. as a transitory medium. Episodes are usually short, The costumes and properties, however, must be accurate- and by the time the spectators are in a receptive mood ly reproduced in order to preserve the realism. the scene is nearly over. Naturally, it is a distinct ad- The second method of developing the pageant is com- vantage to have a desirable atmosphere created before monly known as the symbolical. This type relies upon the episode begins. Such is the function of interlnde symbolical acts as representative of the scenes imper- music and dancing. The mammoth pageant spectacle sonated, as a dance representing rain. Such a represen- moves slowly and relies upon its majestic beauty, color, tation is usually effected by the use of the so-called line, and mass for effect. &cordingly, the transition spirit dance where the dancer in the character of a between episodes is of less consequence than in the small- spirit, by dance and pantomime, represents the falling er pageant. of the rain. Mendelssohn's "Fairy Music" from "Over- The night-time pageant is growing in popularity over ture : Midsummer Night's Dream" is representative of the daylight performance, not only because of the gen- the music for such dances. In school pageants there is eral preference people feel toward evening over matinee PAGEANTRY FOR IOWA COMBTCTNITIES 9 8 PAGEANTRY FOR IOWA COMMUNITIES t performances, but also because of the many possibilities on en mass. Ordinarily each group is brought on in the offered by colored lighting effects. Consequently, there order of its first appearance and stationed on the stage is the problem of coiirdinating the elements of action, with reference to its prominence and with reference to music, and light, the combined effect of which is intended the stage picture.
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