Texas centennial pageant entitled "Texas under six flags" [Electronic Edition]

[Front Cover Image]

Texas Under Six Flags

An Historical and Patriotic Pageant, Depicting in a Symbolical
Way, in Story, Song, Dance, and Tableaux,
The History of the Lone Star State

In Celebration of the Centennial of the Founding of
the First Anglo-Saxon Colony by Stephen F. Austin

November 10, 1921

Filed for Copyright

Texas Centennial Pageant
Entitled
“Texas Under Six Flags”

Initiated and Fostered by the Texas Rotary Clubs
in Cooperation with all Civic Organizations
and other Societies and Institutions of the State

ED. R. BENTLEY, Editor

Superintendent of Schools and
President Rotary Club of McAllen

ANDREW S. BUSH,
Superintendent Cuero Public Schools
and Chairman Centennial Committee GEORGE C. HOLMGREEN,
Governor 18th Rotary District

INTRODUCTION

The following pageant is largely a reproduction of the content
and stage directions used in a patriotic celebration by the
McAllen Public Schools, April 20th, 1920, and acknowledgement
is made to the following persons for assisting in compiling the
same: Mrs. Roberta Stowall Waites, Brackenridge; Miss Corrie
Martin, Willis; Miss Anna D. Linn, McAllen; Mrs. Olive Caldwell
Blucher, Corpus Christi; Mrs. Florence Shumaker Tilsch, Houston;
Miss Hope Harden, Longview; Miss Lora McComb, Van Alstyne;
Mrs. W. G. Stewart, McAllen; Mrs. Pearl Hooker, San Antonio;
and Misses Jennie and Mattie Case, Harlingen.

Further acknowledgement is made to the following for material
assistance: Miss Amy Thalman, McAllen, for preparation
of the folk dances; Miss Elfleda Littlejohn, Austin, for assistance
in arranging the songs; Mr. E. G. Littlejohn, Galveston, for passing
on historical correctness of the manuscript; Mr. George H.
Sholts, San Marcos, for preparation of Finale; and for valuable
suggestion to Mrs. Lillie Terrell Shaver, San Marcos, and Dr. M. R.
Gutch, Austin.

The Rotary Clubs of Texas, out of a patriotic desire to see
the hundredth anniversary of the founding of the first Anglo-Saxon
colony in Texas properly celebrated, initiated the movement
to have an historical pageant of Texas presented in every community
on the 10th day of November, 1921, has caused this booklet
to be issued. Further than a desire to increase and foster an appreciation
of Texas and her stalwart heroes to the end that the
state may have a more intelligent and patriotic citizenship, Rotary
has no motive. We now submit these suggestions to the various
communities of the State with the hope that they may prove helpful
in the organization and execution of a pageant of Texas History
worthy of the great State and creditable to the community engaging
in this patriotic celebration. The Rotary Clubs will feel fully
repaid for the money spent and the labor necessary to issue this
booklet if there is a generous response in staging this pageant.

ED R. BENTLEY

McAllen, Texas,

September 5, 1921.

FOREWORD

One hundred years ago Stephen F. Austin led the first
Anglo-Saxon settlers into Texas to lay the foundations of a new
empire in the great southwest. How successfully he and his colaborers
wrought is attested by the phenomenal growth and pros
perity of the mighty commonwealth of Texas.

The military hero seldom fails to receive his full mead of
glory—and glory be to the Soldier who fights valiantly for the
safety and the honor of his country; he is the guardian of civilization,
and no one would rob him of his guerdon.

But we too often forget the lowly pioneer who blazes the
trail, fells the forest, drives out the savage and the wild beast, and
subjugates the forces of nature for the service of man. He marches
not to battle under the inspiration of martial music, but goes bravely
to his daily toil with a stout heart and a willing hand. He fights
not amid streaming colors and the acclaim of cheering comrades,
but fights single-handed and alone the sterner battles on the outposts
of society. Full glory, too, to the Pioneer; he is the founder
of civilization.

In grateful memory, therefore, of the unsung heroes of
peace—those sturdy pioneers who laid deep and well the foundations
of our great state, Texas Rotary accepts this opportunity
of service in offering this Pageant of Texas History to be presented
throughout the state November tenth of this Centennial Year,
in commemoration of the founding of Texas by Stephen F. Austin
and his associates in 1821.

For the successful consummation of the purpose and plans
of a centennial celebration much credit is due Rotary Governor
George C. Holmgreen of San Antonio. He has been active in cooperation
and wise in counsel. For the preparation of the pageant
full credit is due Mr. Edwin R. Bentley of McAllen and his colaborers.

Whatever the executive committee has done in promoting
the movement for a worthy observance of the Centennial Year of
Texas Founding has been a labor of love and glad Rotarian service.

ANDREW S. BUSH.

Cuero, Texas,

September 1, 1921.

1.	General Suggestions as to organizing and staging a Pageant.
2.	A Pageant—“Texas Under Six Flags”
3.	Folk Dances.
4.	Songs.
5.	Sources of materials needed.
6.	Costuming.
7.	Suggestions for Smaller Communities and Rural Schools a. A Patriotic Ceremonial—“The Heritage of the Star” b. A Pageant—“One Hundred Years” c. A Texas Birthday Party.

GENERAL OBSERVATIONS ON PAGEANTRY

Nature and Subject of Pageants:

Pageants are simple or elaborate presentations of historical,
mythical, and allegorical subjects. They are wonderful means of
education because they make visible and intelligible the unvisualized
scenes to the mind. They are of great literary benefit not
only to those who present the scenes but also to those who assist
in their preparation.

Pageants may be produced in any community. The size of
the community has no effect whatsoever except in the degree of
elaborateness. Pageants may be played either indoors or out of
doors.

For a community pageant to be a success there must be a
9representative from every organization in the community. Ministers,
doctors, musicians, newspaper men, club women, boy scouts,
camp fire girls, teachers and school children should take part. The
more you can put in the cast the more interest there will be in the
community.

Launching the Organization:

1. Some person or organization interested should interest
a few leading citizens then call a meeting of representatives of
every civic organization, club, society, school, and in the smaller
communities churches should be called in.

2. At this meeting the matter should be thoroughly discussed
and provision made for a central committee to put the proposition
over and to select a director and assign the responsibilities.

3. The director is the most important personage in the
whole organization. Select a strong aggressive and rather imaginative
person who can organize and direct then stick with him or her
through thick and thin. The director must be recognized as a dictator
for the time.

4. Committees on finances, membership, location and setting,
properties, music, costumes etc., should be appointed.

Staging the Pageant:

1. The various episodes should be placed in the hands of
sub-committees or delegated to definite organizations for preparation.

2. Rooms or groups of rooms at the public schools will be
found valuable units to use. The more children used the greater
will be the interest. The Expression department of the Public
Schools will be glad to stage the folk dances and tableaux. Some-times
it is best to make various women's clubs responsible for the
living statuary tableaux. The Music department of the Public
Schools will be a helpful organization in the preparation of the
patriotic songs.

3. The stage director must see that each part of the pageant
is worked out in detail and then that the parts are put together
harmoniously and smoothly. He must work with the master of
dancing and the music director to see that each cooperates in the
scheme for the whole pageant.

4. Rehearsals should be by group. It is well to have a
leader for each group so that after the first rehearsal, the members
of the group may get together and practice before the next
regular rehearsal with the director. When each group has its action
well in hand, all the parts of the episode may be put together.
Not more than one rehearsal of the whole pageant should be necessary.

5. During the presentation the director must be in communication
by signal or telephone with each group director, music
director, and dance director. Each group must have a definite
place to stay, andSTAY at that place until the pageant is over. An
effective finale depends upon the spirited singing of the entire caste
and the ensemble on the stage with all flags and costuming complete.

6. Throughout the rehearsals, keep uppermost the spirit
of cooperation. Make it a power for creating loyalty and civic
pride.

Orchestra or Band:

If at all possible have a good orchestra or band from the
time the pageant starts until it closes. An outdoor pageant is
necessarily mostly pantomine, and music must be used continuously
throughout the performance. Soft music generally will be
preferred. The orchestra or band leader should be consulted several
days before the performance so suitable selections can be arranged
for the various cues marked on his copy of the program

Optional Material:

Much optional material is inserted here. The director can
use all or part of the material just as local conditions may dictate.
Many folk dances and songs are included and as many as time will
permit may be used. For the smaller communities material has
been included here which may prove helpful. They have access
to the songs and dances etc. of the main pageant. Those communities
who desire to combine materials used here or add other scenes
are at perfect liberty to do so.

Living Statuary Tableaux:

For those communities that are able to do so, living statuary,
tableaux would be very effective either with flash powders or spotlight.
It is suggested that Texas characters, famous pictures of
Texas subjects be used as models. For instance, one effective group
for the last act would be a reproduction of the famous Red Cross
poster, “The Greatest Mother in the World.” Local committees
will be able to devise interesting and effective groups. It is usually
more effective to have characters draped in white or in white
tights with white wigs or powdered hair. The use of the state and national flags can also be worked in effectively.

Make Much Use of Flags:

Flags always have a strong appeal. Make generous use of
them. In the pageant, “Texas Under Six Flags” the director should
see to it that the flag of that episode is brought into prominence
somewhere during the act.

The Stage:

By far the best effects can be gained if the pageant is
staged out of doors. A plot of ground for the stage about 60x90
feet is desirable for the stage with a slope upward in front for the
audience seats. If this can be obtained you have an ideal condition.
The next best arrangement is to build elevated seats or grand stand
for audience. Three sides of stage can be built of trees and shrubs.
Holes can be dug and large trees brought in from the woods and
stood up in the holes. The securing of low growing shrubs about
the trunks of these trees will give a splendid hedge or wall. Lapped
entrances L and R should be left large enough for a wagon and
team to enter and leave, but so constructed that the audience can
not see through to the back of the stage where all the actors and
property are. The orchestra can be seated to one side with light
shaded from audience. The stage must have good lighting and
where possible a spotlight should be used for the dances, tableaux
and some of the more important scenes in the acts. The local
electrician aided by boys who are interested in electricity will
readily take care of the lighting problem. One extra large tree
should be erected to R of stage for the Sam Houston Scene.

Printing of Programs:

The appreciation of the audience will be much increased if a
complete printed program is issued, telling rather completely the
story being represented by each act and scene. Put down the
names of the characters and the local person playing the same.

Useful Helps in Pageantry:

Useful information can be gotten from the Pageant Number
of the Sam Houston Normal Bulletin, Huntsville; from Bulletin
No. 72 of the University of Texas, Austin; and from the Technique
of Pageantry by A. S. Barnes and Co., New York.

[Back to top]

TEXAS UNDER SIX FLAGS—A PAGEANT

EPISODE I
French Discovery and Possession

A band of Indians enter, pass across the stage and halt at
one side to make camp. These Indians are led by a band of warriors
with their chief. They are dressed in their feathers, paint,
and war costumes, and carry tomahawks. They are followed by a
group of women with their shawls, papooses, and bundles; and
Indian children. While the women are building a fire and making
camp the warriors hold a council of war—seated in a semi-circle in
foreground. Scouts are sent out to reconnoitre. They soon return
with news. Camp is hastily broken, the Indians disappearing into
the forest. The scouts linger in the background, hiding behind the
trees. Soon there appears a party of Frenchmen headed by La
Salle and his nephew, a flag bearer, and two men bearing a plate.
They appear to be exploring the country and seeking a location.
They finally gather in the foreground and LaSalle takes possession
of the land in the name of his King, Louis XIV. The French flag
is planted and the plate is buried after which the Frenchmen depart.
(This scene took place near the mouth of the Mississippi in
1682).

After the French depart the Indians reappear to investigate—
and carry away the flag, destroying any marks the French have
left. Presently the French reappear carrying bundles and implements
and tools. They seek the flag but failing to find it select
a new site and begin the erection of buildings. At first all goes
well but soon some begin to quarrel, others loiter at their work.
Some appear to be sick, then follows the conspiracy against La
Salle—and his death. Indians make a raid and destroy all traces
of the settlement.

Costumes: The Frenchmen are dressed in dark coats reaching
half way to their knees with white ruffles at the neck and
wrists. They wear knee trousers with boots or leggings, and wear
wigs of long hair with big hats. They carry swords and guns.
The Indians are in characteristic costumes.

Dances: “Poppy Dance” or “Firefly Dance”

Song: “Battle Hymn of the Republic”

EPISODE II
Spanish Exploration and Mission Building

Scene 1. Indians are heard in the distance, coming closer
all the while, until they appear. Execute a war dance and finally
all sit around a fire, which two or three kindled at the command of
the chief.

Scene 2. Indians see a little band of Spaniards approaching
led by priests and aSpanish captain. Chief gives signal to aim their
arrows, but as the priests hold up their hands, the chief and his
men fall back, slackening their bows. One priest advances slowly
holding up the cross, the Indians for a time remain rigid but soon
the chief shows signs of friendliness to the priests. All gather
around the fire and smoke the pipe of peace.

Scene 3. Soldiers aided by some of the Indians, build a mission.
Other Indians are sitting on the ground, listening to the
priest's teachings. After the mission is completed, the captain
hoists the Spanish flag and the Indians execute an Indian harvest
or torch dance.

Scene 4. Procession of priests, Indians, and soldiers, with
priests in lead holding crosses and chanting Ave Maria, halt before
the mission. Priest turns, holds cross high and Indians fall to the
ground. Two priests baptise Indians with holy water. Bell rings.
Procession forms again and leave stage. (This entire act is done
in pantomine except the yelling of the Indians. If curtain is used
it should be drawn as the Priests baptise the Indians).

Characters: Any number of Indians with some squaws and
children; Tejas chief; smaller number of priests; a few Spanish
soldiers of the gold seeking type with captain.

Property and Costumes: Bows and arrows, colored blankets
and head dress. Chief must have elaborate costume. Wood and
flint for fire. Pipe of peace. Robes for priests with black skull
caps with white collars. Several crosses, one large. A bell, pewter
bowl for holy water etc. Soldiers dressed in Spanish style of the
period. Captain wears black knee trousers with white waist coat,
hat with plumes, carries sword and gun. (Mission can be made of
Beaver Board to represent the Alamo. The sections can be concealed
among the trees and ready to hook together. Spanish flag
should be run up on the mission when completed.)

Dances: “Tamborine Dance”, “Scarf Dance”, “Tarantella”
or “Castinet Dance”

Song: “The Flag of a Single Star.” Each child should hold
a Texas flag and keep time with the music while singing the
chorus).

EPISODE III
Mexican Reign

PART A

Colonization by Stephen F. Austin in 1821

Historical: Mexico, after winning her independence from
Spain, offered great bounties of land to Americans, who would
settle in Texas. Stephen F. Austin, the first American to make a
settlement, landed in Texas with his colony in December 1821 and
located between the Colorado and Brazos rivers. Homes were

crude and much suffering was the result. The Indians were a
constant source of danger.

Stage Action: Stephen F. Austin, who is idolized by the
colonists, rides cautiously onto the heavily wooded stage looking
about him for a suitable location for his settlement. He rides over
to a spring, dismounts, kneels, and drinks, then walks back and
motions for the wagons to enter from R. The colonists enter in
several covered wagons of the period drawn by oxen or horses
(about two wagons well loaded with traps and children will be
about right). They bring with them spinning wheel, bedding, old
fashioned churns, pans, gourds for dippers, iron pots, kettles,
buckets guns, ammunition, tubs, hoes, rakes, a pot rack used to
hang pot over the fire and is made by putting rod across two forked
sticks. Use anything that will add to the making of an old time
settlement. Have pots, buckets etc. hanging to the back and sides
of the wagons. It will save time to have crude stools, benches, or
stumps already made and hidden back of the scenes to be brought
in as if just made by the men and boys. One wagon enters at a
time with children's heads sticking out on all sides, is driven to the
center of the stage in full view and is unloaded. The women and
children get out at back and side next the audience. Have wagon
well filled with women, children and traps. A number of boys and
men can come on to stage on horse back, driving or leading cows
and calves etc. Women and children look around in amazement.
When unloaded the wagons are driven off L. Men can sing “Old
Chisholm Trail” in this scene.

Everydbody sets to work to build a settlement. One man
sets up the pot rack in front. The hoes and rakes etc. are placed
over on the R. The men cut the trees and build the house. The
women build the fire, put the pot on the rack, cook, and straighten
the furniture in front of where the men are constructing the building.
(Like the mission this house can be made in sections of
Beaver Board painted to represent logs on one side and concealed
in the brush ready to set up and hook together). One of the smaller
girls is sent to the spring after a bucket of water. When she
stoops over to get the water an Indian, who slips in at L and steals
across the front picks her up and runs back across the front of the
stage. She screams, the men grab guns and rescue her at L. This
causes much excitement among the women and children. Everybody
goes to work. Some large boys bring in the stools and benches.
Assign each a certain piece of work to do and everything will
go off smoothly.

Any amount of business can be worked in here. Everybody
must be kept doing something. While some work others play.
Several of the larger boys take guns and go hunting, others take
fishing poles and go fishing. They come back in a short time bringing
rabbits, wild fowl, fish etc. They are very tired and fall down
on the grass to rest. Austin takes some of the boys over to the
side of the stage for a shooting match. The fiddler sits on a stool

and plays the “Little Brown Jug” while four men and four women
dance it. The children play games.

A message is brought to Austin. He reads it and motions,
for one of the boys to bring his horse to him. He tells everybody
goodbye and leaves for Mexico. Colonists are sad at his departure.

After Austin leaves, the home life is depicted. Men take
hoes and rakes on their shoulders and leave for the fields that have
been previously cleared. One woman spins, one churns, one
goes for water, and another washes the children. This action is
simultaneous.

While the men are away the Indians rush in, tear down the
house and carry everything away. The men rush back, get their
families and leave. This clears the stage for the next section.

Coctumes: Austin is dressed in a hunting suit. The ladies
are dressed, some in hoop skirts and tight waists other in tight
waists and full gathered skirts made of homespun. The men
wear suspenders, patched jean trousers, homespun shirts, broad
brim hats, rather old. The boys wear jean trousers extending
half way between knees and ankles, suspenders, old shirts and
slouch hats. The girls wear their dresses rather long and made of
homespun or similar material. They have their hair braided.

Staging: Plant trees on stage (Previous episodes can be
played in front of them) to be cut down and cleared away by the
colonists during this episode. There should be a spring over in the
R corner of the stage from which the colonists use water. A good
way to make this is to dig a hole and put a tub in it and fill with
water. Skins of wild animals should adorn the walls of the hut.

Dances: “Spirit of Conquest” or “Morris Dance”

Song: “Texas Land, My Texas Land”

PART B.
Texas Revolution

Scene 1. Fall of the Alamo. Mrs. Dickinson, wife of a Texas
lieutenant and sole survivor of the Battle of the Alamo, with her
child in her arms is seen fleeing from the dreaded Mexicans. She
enters R and advances slowly with weary staggering steps and
falls exhausted near the center of the stage. Two Texas Scouts
entering L see her and leaping from their horses rush to her assistance.
First scout kneels and lifts her to a sitting posture and
gives her water from his canteen. Second scout picks up baby and
quiets it. Recovering, Mrs. Dickinson tells her story of the Fall of
the Alamo with many gesticulations. After learning her story one
scout assists Mrs. Dickinson and child to a place of safety off L
while the other hurries off R to spread the saw news of the fall of
the Alamo to the colonists.

Scene 2. Declaration of Independence. (Optional) Here
famous Texas characters of this period may be shown sitting
around a council table. Several short speeches may be made stating
grievances if it is possible for audience to hear. Travis' speech
made in the Alamo may be reproduced here and some pertinent
paragraphs read from the Declaration of Independence.

Scene 3. Sam Houston and Santa Anna After the Battle of
San Jacinto. Enter Sam Houston on a horse followed by his soldlers
and Mexican prisoners from L. His leg is bandaged from his
knee to ankle. His men assist him from his horse to a blanket
spread under a large tree. A surgeon makes preparation to dress
the wound. The Mexican prisoners are closely guarded nearby.
Houston's men move about and gather in small groups discussing
the recent battle but all the time keeping a watchful eye on the
prisoners. Soon the scouts appear L. Thrown across the forepart
of a saddle, behind which a scout rides, is the form of a man dressed
in the garb of a common Mexican soldier. Upon arriving near
Houston, the captive is pushed roughly from the horse. He falls
to the ground and arising is recognized by the other Mexicans who
shout “El Presidents! El Presidente!” Immediately all Texans
stiffen as they realize that the hated tyrant is in their midst. Several
patriots start toward their oppressor, drawing their knives or
pistols, but Houston prevents this by the raise of his hand and the
command “Slop”! Deaf Smith puts his hand to his ears as if trying
to hear. Santa Anna bows deeply, then draws himself to his full
height and says in his haughtiest manner, “I am General Antonio
Lopez de Santa Anna, President of the Republic of Mexico.” He
pausses expecting Houston to recognize his greatness. Houston
refuses to be overawed and with a wave of his hand orders him
treated like the other prisoners. Santa Anna is pushed over into
a group of prisoners and gradually the whole company exits L.
(This scene should follow closely the well known picture which
hangs in the corridor of the State Capitol a copy of which can be
found on page 153 of Pennybacker's History of Texas Revised).

Scene 4. Texas Crowns Her Heroes. Herald enters R blowing
a long trumpet bearing a gold banner. Following him, not too
closely together, are four pages carrying a flower decked dais.
Texas attended by Immortality and Justice stand R and L respectively.
Pages sit at four corners of dais. Herald blows trumpet
and calls, “Stephen Fuller Austin”, who advances with measured
step from R. and kneels on one knee at Texas' feet. Justice hands
Texas a laurel wreath, who places it on Austin's brow, as Immortality
proclaims, “Stephen Fuller Austin, the Father of Texas”.
This action is repeated when each of the following names is called
by Herald:

Herald Says:	Immortality Says:
“Sam Houston”,	“General Sam Houston, Hero of San Jacinto.”
“William B. Travis”	“William B. Travis, Defender of the Alamo”
“David Crockett”	“David Crockett, A Hero of the Alamo”
“James Bowie”	“James Bowie, A Hero of the Alamo”.
“James Bonham”	“James Bonham, A Hero of the Alamo”
“Deaf Smith”	“Deaf Smith, A Texas Scout”
“Ben Milam”	“Ben Milam, Captor of San Antonio.”
“Lorenzo de Zavala”	“Lorenzo de Zavala, Friend of Texas”
“Johanna Troutman”	“Jonhanna Troutman, Maker of First Texas Flag”

Costumes: Pictures appearing in various Texas histories
will furnish a guide to the costuming of the characters appearing
in the above act.

Dances: “Cricket Dance” or “Spanish Fandango”

Song: “Texas, the Pride of the South”

EPISODE IV
The Republic of Texas

Scene 1. Various nations are leisurely moving around on
stage when Sam Houston anters with Miss Texas on his arm and
introduces her into the family of nations as “Texas, the fair Republic
of the South, newest nation of the earth.”

Scene 2. John Bull (after the introduction) begins to “make
up” to Miss Texas. France makes himself agreeable as also does
Holland and Belgium. Uncle Sam has never liked John Bull, looks
on disapprovingly. Mexico from a corner, also scowls, remembering
how he lost his fair daughter. As Bull's attentions become
more earnest, and Texas seems impressed, Uncle Sam steps quickly
across the stage and elbowing Bull aside takes his place beside the
Fair one. Mexico, still scowling, and more fiercely, creeps towards
the pair. Uncle Sam with Texas by the hand stars off stage. Mexico
in a frenzy of anger springs forward, knife in hand, to kill Uncle
Sam. A fierce fight ensues. Mexico is brought to his kneas begging
for mercy. Uncle Sam, bearing the happy Texas on his arm,
triumphantly exits as the band plays a lively air.

Dance: “Blue Bonnet Dance”

Song: “The Eyes of Texas Are Upon You”

EPISODE V
Under the Confederacy

Negro enters with hoe and pipe, during the first part of
scene he pretends to hoe around but does not exert himself. Negro
mammy and five or six pickninnies follow with box or bench, wash
tub, board, buckets, etc. One carries a guitar or ukulele. Business
of mammy getting ready to wash. She makes some of the children
help, boxing their ears etc. Some wrestle, others shoot craps, and

still others play. The child with the guitar and one or two others
beg the mother to play. Finally she consents, and sitting down on
the end of the bench, plays “Turkey in the Straw” or some appropriate
air, while the children jig in a semi-circle at one side.

Some confederate soldiers with old muskets can file in and
be drilling in the background.

The master and mistress enter with two or three children
The man wears khaki or hunting trousers, gray coat, slouch hat
The adults look at the soldiers drilling and are serious. The man
nods to the negroes who retire to one side of stage. As the soldiers
finish drilling the officer comes over and gives rifle to planter who
hesitates but takes it and slings its strap over his shoulder. Walking
down the center of the stage he looks around as if for the last
time, takes a confederate flag from his shirt bosom, kisses it,
hands it to his wife, who unfolds it, and walking R to flag pole,
which is low, she takes down the U. S. flag, which she kisses,
and places in its stead the Confederate flag. A great deal of
reluctance in making the change should be shown by the characters.
As the U. S. Flag is being lowered the orchestra
should play softly “America”, “Columbia the Gem of the Ocean,”
or “Star Spangled Banner.” A bugle is heard off stage in the distance.
They all look at the flag reverently then slowly turn, motionary
to the children to precede them, go off R back, the man putting
his arm about his wife's shoulders. Negroes go off mournfully,
the mammy having taken on characteristic all during the
scene, but cuffs a few children to relieve her feelings.

Dances: “Dixie Dance” or “Virginia Reel”

Song: “The Bonnie Blue Flag”

EPISODE VI
Under the United States

Scene 1. Herald cries: _ _ “Enter Thirteen Original Colonies”
John Bull rushes in, also, rope in hand, and begins binding the
colonies. Liberty enters, putting John Bull to flight, while Uncle
Sam appears, frees the colonies, and escorts Liberty to the pedestal,
while all single “Yankee Doodle.”

Scene 2. As Liberty names each state in order of its admission
to the Union. Herald cries, “Enter—(Calling the name of the
state). The child representing the state enters running, curtsies
and takes piece with other states. Texas is not called but comes in
seeking the protection of Liberty. Uncle Sam waves her back,
when he sees that it will cause trouble with Mexico, who is slyly
following Texas. When Uncle Sam sees that both Mexico and John
Bull are seeking control of Texas he rescues her, giving her a place
among the states. After the admission of the other states they all
sing: “My Own United States” or “Columbia”.

This scene can also be enacted effectively by having a huge
United States map erected and when a state enters tear off a blank
piece of white paper which will expose the map of that state with
the name plainly visible.

Characters: Liberty, a beautiful young lady; Uncle Sam, a
tall slender young man; Herald, a handsome young man; John
Bull a corpulent man; Mexico a low heavy swarthy man. These
characters can be the same as used in preceding acts.

Costumes: Liberty should be dressed in white draped in
bunting or U. S. flag, crown, carrying wand. Herald can be dressed
in any convenient costume of a courier carries megaphone
Uncle Sam and John Bull dressed characteristically with high hats,
striped suit of Sam and Union Jack vest for Bull. Forty-eight
states are little girls dressed in white each carrying a large red,
white and blue shield on which is printed the name of the state
across the top so the audience can plainly read.

Dance: “Spirit of Prophesy Dance”

Songs: “America, My America”, “America for Me,” or “My
Own United States”

The pageant may be brought to a close here with an ensemble
of all who have taken part in the pageant on the stage and
the singing of the “Star Spangled Banner” or a patriotic medley
ending with a stanza of the “Star Spangled Banner”.

EPISODE VII
FINALE

Curtain rises on America and Peace on the U. C. elevation.
Justice below and R Liberty on same level and L music throughout
a march.

1. Enter the Indian group from R., stands L. Salutation
by Liberty:
“Deep and wide the wheels of progress have passed on. The
daring Indian brave is gone. Yea, Time, the grand old harvester,
has gathered you from the wood and the plain. But we, your followers,
salute you again.”

Indians respond with salute, “How, How.”

2. Music continues. Pioneer group enters L and stand R
Salutation by Justice:
“In strength, in power, with loyalty our country was up
builded. To them, our sturdy pioneers, be praise and tribute
always.”

Pioneers salute.

3. Music continues. Community Interests enter as follows:

a. Child Welfare and Play from L to R. Play is graceful
girl of eight or nine years. She leaves Child Welfare and does a
graceful dance step across the stage, bouncing a ball before her.
Child Welfare follows her to position.
b. Christianity, carrying a cross, enters R to L.
c. Forest Preservation, carrying a branch, enters L to R.
d. Art, carrying a pallette or Grecian urn enters R to L.
e. Education, carrying an open book or flaming torch, enters
L to R.
f. Drama assumes a dramatic pose near center of stage—
R to L.
g. Community Spirit carrying charter, enters L to R.
h. Music, carrying lyre or other musical instrument, R to
L.

(All are characteristically dressed and wear a band from
left shoulder to right waist stating what they represent.)

Salutation by Liberty:

“In the fullness of cooperation, in the strength of community
spirit, in the reward of earnest work, our nation has grown
until she stands revealed in the beauty and richness of strength
and wisdom.”

4. Enter Foreigners as follows: Irish, L to R; Dutch, R
to L; Italian, L to R; French, R to L; Scotch, L to R. As many
nations can be used here as desired. Each should be in characteristic
dress which can be found in geographies, reference books etc.

Salutation by Justice:

“For all the nations of the world,
America's flag has been unfurled.
She offers freedom, peace and rest.
It welcomes those who go in quest.
America, the new, from every land
We offer you the outstretched hand,
We welcome you and all who come
To make our shores the home you love.”

5. Music changes to “Dixie”. Enter the soldiers of Yesterday,
the Confederate Veterans in uniform.

6. Music changes to “Over There.” Enter the soldiers of
Today. Well dressed young men with khaki uniforms of each
branch of service.

7. Music changes to “Stars and Stripes.” Enter the Soldiers
of Tomorrow (Boy Scouts.)

Salutation by America:

“In the strength of these, our brothers,
Soldiers of Yesterday, Today, and Tomorrow,
In patriotism born anew,
To burn with stronger hue,
As each new cross is ours to bear,
America, our universal love
America, all else above
America, beloved America.”

3. Audience and players all join in singing “Star Spangled
Banner.”

DANCES
CRICKETT DANCE

Music: Grasshopper Green. Danced by very small children

Formation: Simple circle, stopping with hands on ground.
Each child carries a small tin cricket.

Figure 1. Hop forward four counts. Pop crickets four
counts. Repeat until circle is formed.

Figure 2. Face out from circle. Hop four counts. Pop
crickets four counts and hop back to circle four counts. Pop crickets
four counts.

Figure 3. Face partners. Hop half way round partner,
four counts. Pop crickets four counts. Hop back to place. Pop
crickets.

Figure 4. Leave field as entered. Nod heads throughout
while popping crickets.

WILL O' THE WISP OR FIRE FLY DANCE

Dress: Grey and Yellow to represent fire-flies.

Step No. 1 Eight children enter, four from each side, hands
joined (Nos. 1, 2, 3, 4). Use quick running step. As the two lines
cross the stage the last girls (No. 4 in both lines) join hands, the
leaders continuing towards each other until they form one circle.
All stand on tip toe, hands high. (Measures 1-8). All circle to left
(use running step) once and a half round and stop and rise on toes
(measures 9-16).

All circle to the right (use running step) counting 1, 2, 3
hops, lifting knees high (measures 1-11). At measure 12 the leaders
are in the center of the front. No. 1 who entered at the left
now runs to the right corner and No. 1 who entered on right goes
to the left corner; 2, 3, and 4 follow their own leaders but each
child runs one measure later than the girl preceding her. The
leader uses measures 13-14-15. Both 2's use measures 14-15-16.
Both 3's use 9-10-11-12 and 4's use 13, 14, 15, 16, which are repeated.
The formation is now in two diagonal lines and the step
used in running to the corners is 1, 2, 3, hops.

Step No. 2. Leaders run toward each other and lock righ
elbows and swing twice (measures 17-20). Drop right arms, advance
to No 2's, lock right elbows and swing twice (measures 21-24).
The leaders drop the right arm of No. 2's and advance to
No. 3's and swing with right elbows. At the same time No. 2's
swing each other. The leaders now drop No. 3's and swing No. 4's
while No. 2's swing No. 3's (measures 17-32). At measure 33 No
3's are standing in the center with their backs toward the audience
No. 1's are standing opposite them facing the center. No. 2's and
4's are on either side in the form of a square.

MUSIC FOR TWO FOLK DANCES

Step No. 3. No. 1's and No. 3's run toward and pass each
other, No. 3's going between No. 1's. The dancers turn out and
pass around the stationary couples back to place. At the same
time the stationary couples (2 and 4) drop on their knees and face
each other waiving their wings back and forth. This is repeated
by couples 1 and 3 kneeling and couples 2 and 4 running. (measures
33-48).

Step No. 4. No. 3's remain kneeling and join hands very
low. Beginning with No. 4 on the left all run forward and jump
over the joined hands of No. 3's one by one.

As the last couple jumps over, No. 3's jump up and fall in
line and all exit with flying step (measures 17-48).

TAMBORINE DANCE

Dress: Spanish costumes. Tamborines.

Music: Any good waltz, as, A Mi Amor.

Dance: Any number may dance. Hold tamborine in right
hand.

I. Waltz in on 4 M. take places in center of stage.
II. 2 steps forward, r. f. leading; clap tamborine over head
on count 3, 1 M. 2 draw steps to r. diagonally, r. f. leading, shaking
tamborine over 1. f., 2 M. Turn round to left, clap tamborine over
head., 1 M.
III. Same as II, but begin with 1 foot.
IV. R. f. forward, bend knees, shake tamborine over head
on c. 1 and 2, clap in front of r. knee on count 3, 1 M. Repeat for
2 M. alternating from r to 1 feet. Place both feet together, clap
tamborine in front of knees 3 times, going from r. to 1.
V. Hop off r. f. turning to right, kick 1. f., clap tamborine in
front 1 M. Repeat 2 M. alternating feet. Step forward on 1, f.
make low curtsey, head held high, shake tamborine over r. f. 2 M.
VI. The whole dance is repeated, beginning on left foot.

SCARF DANCE

Dress: Spanish costume; scarfs 2 yds. long, 10 in. wide.

Music: Any good waltz

Dance: Any number may dance. Partners.

I. Come in from both sides of stage on following step:
Hop on r. f., kick 1. f. over r. f., swing scarfs to right, 1 M. This is
repeated on as many measures as is necessary to get in place on stage.
II. The above steps repeated 4 M., beginning on r. f. Take
4 follow steps diagonally right, r. f. leading, body bent, 1 hand
pointing over 1. f., 4 M.
III. No. 11 is repeated beginnnig with left foot.
IV. Same step used as in I. but turn body completely from
r. to 1., 8 M.
V. 3 waltz steps forward, alternating position of scarfs
with change of feet., 3 M. Point inside toes to partner, with inside
hands pointing to inside feet, heads touching; hold 3 M.
VI. Make exit in same manner as made entrance.

SPIRIT OF CONQUEST

Dress: Dress in skins. Large bow and arrow.

Music: March time.

Dance: Solo.

I. Take 16 long running steps to center from 1 of stage,
kneel, pose as if to shoot, hold pose 4 counts.
II. Circle to 1. coming back to r. of stage, kneel, Pose as if
shooting, 20 counts.
III. Repeat II., going from r. to 1., 20 counts.
IV. Walk on tip-toe, taking long steps, to center, shield
eyes with 1. h. as if looking for game; pose as if to shoot standing.
V. Repeat IV. going from r. to 1.
VI. Run completely round stage, with long steps, pose in
center as if shooting.

Leave stage on running step.

BLUE BONNET DANCE

Dress: Dress in blue tarlatan or crepe paper to represent
the blue bonnet as nearly as possible.

Music: Any good march.

Dance: From 16 to 24 children.

I. Run in from each side of stage keeping time to music.
Make two rows on stage.
II. Hold out either side of skirt, step forward on r. f., point
left toe over r. f., step forward on r. f., point r. toe over 1. f., 1 M.
Repeat 4 M.
III. Step to right, point 1. f. to left at same time bending
body at waist to left, right hand over head, palm down, left hand
at side, palm upward, 1 M. Repeat same on r. side. Repeat 4 M.
IV. Front line take, joins hands, take 16 running steps to
right forming a semi-circle; at same time back line takes 16 running
steps to left forming semi-circle, two circles join hands, 4 M.
4 running steps back, 1 M. Curtsey 1 M. Take 16 running steps
back to original formation, 4 M.
V. Back line takes 4 steps forward, front line 4 steps backward,
weaving between each other; 1 M. Curtsey, 1 M. Repeat,
going back to original places, 2 M.
VI. Repeat III.
VII. Leave stage same way came in.

DIXIE DANCE

Dress: White hose and pants, or pantalets. White dresses
with red and blue strips of crepe paper sewn round the waist to
give bodice effect, strips hang loosely round skirt. Hat is made
of white buckram and crepe paper after an 1865 model.

Dance: One couple—more may dance. Partners stand almost
touching each other, hands on hips.

I. Come in from each side of stage meeting in center on
Following step: Step forward and hop on r. f. at same time bringing
1. f. to heel of r. f. Repeat bringing 1. f. forward, 1 M. Repeat
8 M.
II. Slide outside foot diagonally out, close insside foot to
outside, slide outside foot to outside, 1 M. Repeat starting on inside
foot. Repeat 8 M. Partners look at each other over shoulders,
smiling, shaking heads etc.
III. Outside foot forward, inside close to outside; outside
foot slide back, close with inside; 1 M. Repeat starting with inside
foot. Repeat 8 M.
IV. (a) Extend arms in front, parallel. Hop 8 steps
forward on inside foot; 2 M., 4 hops on outside away from partner,
1 M. 4 hops towards partner, 1 M. (b) is repeated with backs
to audience going to back of stage, 4 M.
V. Hands on hips. Step outward on outside foot, inside
close to outside; step outward on outside foot, inside close, 1 M.
Same repeated on inside foot. Repeat 8 M.
VI. Hop on outside foot, point inside toe in front then over
outside foot, kick over outside foot, 1 M. Repeat beginning on
inside foot. Repeat 8 M.
VII. Leave stage same manner came in.

VIRGINIA REEL

Dress: Colonial costume.

Formation: Parallel lines, partners facing each other.

Fig. 1. Gentlemen bow, ladies curtsey.

Fig. 2. Leading lady and last gentleman meet in center and
how. Leading gentleman and last lady repeat.

Fig. 3. Leading lady and last gentleman meat in center
and pass back to back and return to place with arms folded and
held high. Leading gentleman and last lady repeat.

Fig. 4. Leading lady and last gentleman join right hands
in center and swing. Leading gentleman and last lady repeat.

Fig. 5. Repeat, joining left hands.

Fig. 6. Repeat, joining both hands.

Fig. 7. Leading lady and leading gentleman swing each
other and each lady and gentleman in line alternative leading
lady swinging gentleman and leading gentleman swinging ladies.

When all have been swung, leading lady and gentleman join both
hands follow step down the line, up to front, separate and lead the
lines back to back, join hands at back, holding arch high until all
are back to place, the second couple becoming leading couple and
leading couple becoming last. Repeat from first until each couple
has been leading couple, or until dance is as long as desired.

Music: “Turkeyin the Straw.”

SPIRIT OF PROPHECY

Dress: Short, white costume. Grecian effect.

Music: Simple Aveu, by Francis Thome.

Dance: One person.

I. Take 4 steps to right, slowly raising r. h. from side and
pointing from horizon to zenith; 1. h. on hip, body slightly bent
back M 1, 2. 4 stops to left, 1. h. pointing r. h. on hip, M. 3, 4.
4 steps back, back to audience, 1. h. pointing M. 7, 8.
II. R. f. step forward, bring 1. f. to r. f. rise on tip-toe; at
same time hand down front, back of hands touching, gradually
coming apart till they are on level with shoulder, and extended
out, then palms are turned up, head up. Pose taken on M. t, held
on 10. Repeat beginning on 1. f., M. 11, 12.
III. Point r. toe front, bend body till hands touch toe, gradually
bringing up front, and unfolding at either side of head, as
arms are brought up body is benefits far back as possible, M. 13, 14.
Repeat on 15, 16.
IV. Music faster. 16 steps in circle, M. 17-22, hands on
hips, body bent back. Kneel arms extended on level with shoulder,
palms up, M. 21, 22. Repeat going in opposite direction, M. 23-28.
V. Point r. f. to r. bringing r. h. in circle over head, down
to level with shoulder, palm up, 1. h. at side, M. 29. Repeat with
1. h. leaving r. h. in position, M. 30. Bend body to left, bringing
1. h. down level with waist, palm up, r. h. over head, palm down.
M. 31, 32. Head always follows hand in play.
VI. Repeat V. M. 33—36.
VII. Take 16 running steps to r. M. 37-40. Point r. toe,
slowly make circle with r. h., M. 41, 42. Repeat going to left, front
and back, alternating hands; M. 43-60. Music is not retarded.
VIII. On last 3 measures spirit backs off stage on slow step,
arms extended in front, palms up.

SONGS

THE LAND OF TEXAS

Tune: Dixie

Texas is the land for me;
On a winter morning the wind blows free;
Away, boys away down South in Texas!
In Texas land, where I was born in,
Early one fine summer morning;
Away, boys, away down South in Texas.

Chorus

In the happy land of Texas, hurrah, hurrah!
In Texas land we'll take our stand,
And fight and die for Texas land,
Hurrah, hurrah! hurrah for the boys of Texas!

THE BONNIE BLUE FLAG

We are a band of brothers, and natives to the soil,
Fighting for the property we gain'd by honest toil,
And when our rights were threatened, the cry rose near and
far,
To hoist on high the Bonnie Blue Flag that bears a single
star.

Chorus

Hurrah, hurrah! for Southern rights hurrah!
Hurrah for the Bonnie Blue Flag that bears a single star.
Now here's to our Confederacy, strong we are and brave,
Like patriots of old, we'll fight our heritage to save;
And rather than submit to shame, to die we would prepare,
So cheer for the Bonnie Blue Flag that's filled with glorious
stars.

TEXAS LAND

Tune: My Maryland

When first war's clarion sounded loud,
Texas land, Texas land,
Thy sons were first to catch the sound,
Texas land, Texas land,
They met the foe in Tennessee,
On Shiloh's field their blood flowed free—
Texas land, Texas land,
They'll ne'er fill a cowards grave,
Texas land, Texas land,
They ne'er will live to be enslav'd,
Texas land, Texas land,
For they have won historic lore,

Upon her own bright plains before,
And they their warmest blood will pour,
Texas land, Texas land,

Then cherished be each Texan's name
Texas land, Texas land,
Who bled upon the battle plain,
Texas land, Texas land,
May fame record their names on high,
Who fought, and for their country died,
And long may live the battle cry
Of Texas land, Texas land.

THE EYES OF TEXAS ARE UPON YOU

Tune: Levee Song

The eyes of Texas are upon you
All the live long day,
The eyes of Texas are upon you,
You cannot get away,
Do not think you can escape them
At night or early in the morn,
The eyes of Texas are upon you,
Till Gabriel blows his horn.

Where to Get Songs and Music:

“Dixie”, Battle Hymn of the Republic,” “Yankee Doodle”,
“Star Spangled Banner,” and many other good songs are in the
University song book which can be had by writing the University
Publications, University Sta., Austin.

The following songs and music may be obtained from Thos.
Goggan and Sons, Houston, San Antonio or Dallas: “Blue Bonnets”
by Irene Bergeri, “Texas the Pride of the South” by Ella H. Day.
“Texas Land, My Texas Land” “O'Lone Star Flag of Texas,” by
Mrs. Nettie H. Bringhurst. “America, My America” Ella H. Day.
“The Flag of n Single Star”.

“My Own United States” price 30 cents.

McKinley Music Co., Chicago, III.

Folk Dances: Additional folk dances can be gotten from
G. Schirmer, Boston in a volume known as “Folk Dances and Singing
Games” or from the “Folk Dance Book” published by A. S.
Partners and Company, N. Y., from Harper Brothers, New York;
from Milton Bradley Co., Springfield, Mass.

Texas Folk Songs: “The Old Chisolm Trail” or “Goodbye
Old Point” from “Cowboy Songs” by John A. Lomax and published
by McMillan will give a tinge of the pioneer to the pageant
and should be given a place. The former is found with the music in
the University Song Book.

Costuming:

The costuming in the staging of a pageant is extremely
important but not necessarily expensive. Much of the costuming
can be done with crepe paper or cheese cloth or similar material.
Costume material made of crepe paper can be procured from the
Dennison Co., Chicago. Reference should be made to the Pageant
Number of the Sam Houston Normal Bulletin for costuming suggestions.

Texas histories, theatrical magazines, pictures found in the
pageant books listed elsewhere in this pamphlet, and famous art
subjects will be found helpful in working out the costume designs.

The costuming committee should give much attention to
the color scheme. If necessary cheese cloth and unbleached muslin
can be dyed to suit the requirements. White knit underwear and
stockings can be dyed any color and are indispensable part of
court page, fairies, and many other characters. In pageantry colors
and costumes symbolize ideas and to neglect this part of the representation
will be to give a meager conception of the idea desired to
be presented.

Where dark, thin material is used, like cheese cloth, the color
will be much richer if not made over white. Underslip of the same
color and material will secure the best effect.

Very useful wigs have been made from flaxen-colored
threads of fiber mops, sewed on skull caps cut from stocking tops
or knit underwear. The caps form a foundation for the wigs and
aid in keeping them on the head.

In unfigured stuffs, cheese cloth and silkaline lend themselves
best to draping, and come in a variety of colors. Sateen,
cambric and outing flannel are suitable for costumes requiring
firmer, heavier material and not demanding flowing, graceful lines
in their design. In figured goods splendid colors and effective patterns
are found in silkaline, outing, flannel, comfort calico and
cretonne.

Make-Up Materials:

Paints, crepe hair, greases, and all other make-up materials
may be had from Walter H. Baker and Co., Boston.

[Back to top]

SUGESTIONS FOR THE SMALLER COMMUNITIES AND
RURAL SCHOOLS

BY MISS KATHERINE GRAY

Department of Education, Austin

Those communities that do not feel able to undertake a
celebration as elaborate as the foregoing may use or adapt one of
the following simpler suggestions.

THE HERITAGE OF THE STAR
A Patriotic Ceremonial

Characters.

The Goddess of the Star—Liberty.

Two standard bearers.

Texas, The Republic.

Texas, The State.

The Spirit of the Land—Light.

Seven attendants—Rainbow Colors.

The Prairies—Red.
The Plateaus—Orange.
The Plains—Yellow.
The Trees—Green.
The Rivers—Blue.
The Gulf—Indigo.
The Hills—Violet.

The Great Empresario—Stephen F. Austin.

The Representative of the Spanish Government—Senor
Don Erasmo Seguin.

The Heroes.

The Soldiers—Sam Houston, Travis, Fannin.

The settlers.

The Mothers.

The Statesmen.

Representative of The Declaration of Independence.

Representative of The Bill of Rights.

Representative of The Constitution.

Representative of The People.

The Citizens.

The Children.

Scene: Any Texas school room. The seats should be arranged
so as to leave a central isle. A stage is desirable but not
necessary. No decorations should mar the simplicity of effect.

Music: “O Lone Star Flag of Texas.”

The children, led by a boy carrying the Texas flag, march
from the back of the room down the central isle to the front. The
teacher marches last.

Song by the children: “O Lone Star Flag of Texas.”

Teacher: Does our song have a special meaning for us
today?

Children: Yes, this is Texas Day.

Teacher: Henry, you tell us what we are celebrating.

Henry: We celebrate today the one hundredth anniversary
of the founding of the Austin Colony.

Teacher: After you are seated, we will tell the story of
Texas. Pass to your places.

The children take the front seats reserved for them.

Teacher: I see a visitor coming. Edith, you may invite
her to come in.

Edith rises, passes down the central isle, then returns followed
by two boys, one carrying the Texas flag and representing
Texas, the Republic, the other carrying the United States flag and
representing Texas, the State. Behind her standard bearers, walks
the Goddess of the Star whose name is Liberty. She holds aloft
star in her left hand; in her right, she carries a sword. This is the
pose of the statute on the State Capitol at Austin. When the procession
reaches the front, Edith quietly sits down. The standard
bearers step to the side and the Goddess of the Star takes her place
in front of the standard bearers facing the teacher who stands
on the opposite side by the seated children.

Teacher: We are glad to welcome you here.

Goddess: And glad am I to come. Goddess of the Star
some call me, and others, Liberty. I heard the singing of the children,
and I came to ask them if they would like to see some scenes
of Texas.

Teacher: Would you, children?

Children: Yes, yes.

Goddess: The Star of Liberty has magic power, Children
of Texas, see What the Past and the Present pledge this hour
Your heritage to be.

Music: O Lone Star of Texas.

Teacher sits down. The Goddess moves forward to the center
of the front space. If there is a stage, she walks up on it followed
by the standard bearers. The Chair of Honor is placed
a little to the right of the center of the stage. The Goddess stands
in the center and somewhat farther front than the chair facing
the audience. The standard bearers takes places, the United
States flag on the right, the Texas Flag on the left of the Chair of
Honor.

Goddess: (Lifting the star high in front of her)

Star of Texas,
Lone Star shine,
Show us the Land,
Shine, Star, shine.

Music: The Russian Hymn.

The music of this hymn can be found in almost any hymn
book listed under Tunes as Moscow. The author is Lvof. The

words most commonly used begin, God, the all terrible, Thou who
ordainest.

Enter from the back of the room down the central isle, The
Spirit of the Land—Light, holding a loft a torch made of tin foil
or silver paper or of white crepe paper. Streamers of rainbow
colors issue from the torch. Each attendant holds the end of a
streamer. The group form a tableau on the stage during the song
which may be a solo or a chorus. If the music can not be obtained,
The Spirit of the Land may recite the lines, the attendants repeating
in concert the last line of each stanza.

GLORIOUS SUNSHINE OF TEXAS

Tune: Moscow.

Light on the prairies, light on the wooded hills
Flashes of crimson, of orange, of blue,
Clear light of heaven, coloring earth's dullness,
Glorious sunshine of Texas.
Bright on the cattle range, bright in the corn field,
Life giving light blesses man and beast,
Kisses the tender grain, caresses young cotton,
Glorious sunshine of Texas.
Shadowless stretches of plain, Truth's dominion,
Stronghold of Justice, the far purple hills,
Courage reflecting from gulf, lakes, and rivers
Glorious sunshine of Texas.
Burning the sun's rays, falsehood shall perish,
Wrong and deceit scorch and shrivel away,
Quickened and purified the land and its people,
Let there be light in Texas.

The Spirit of the Land and her attendants take their places
to the left of the Chair of Honor.

Goddess: (Lifting Star high in front).

Star of Texas,
Lone Star, glow
Show the Great Empresario.

Enter Stephen F. Austin and Senor Don Erasmo Seguin.
Austin walks with bowed head. He holds in his hand a letter
Seguin has the official document of the Spanish government
authorizing the establishment of the Austin colony. The two men
walk up on the stage. They stand in silence for a few moments
Then Austin lifts his head with a gesture of the hand across his
brow. The action and the speech in this scene should be slow and
deliberate. Dignity of effect is desired.

Austin:: Senor, you will pardon my grief. I have but now
(showing letter) learned of the death of my father.(Seguin offers his hand which Austin grasps).

Seguin:: His journey from San Antonio was a hard one.

Austin:: Yes, exposure in the wilderness caused his death.

Seguin:: (showing document) This grant then comes too
late.

Austin:: Not so. My father's last request was that I take
up his work, and God helping me, I shall carry out his purpose to
establish a colony in Texas.

Seguin:: To establish a colony is not easy. For two hundred
years Spain has tried to settle this trackless waste. The
country is wild. The Indians are hostile. What can you promise
the colonists you hope to bring to Texas?

Austin:: The hardships of the frontier, toil, privation, sacrifice,
danger.

Seguin:: And will they come—three hundred families?

Austin:: They will come. The blood of pioneers is in their
veins. With ax and rifle their fathers and their grandfathers won
their way westward, and they also will make a home for their children
in the wilderness.

Seguin:: Fortunate is a land to have such citizens! My
government will recognize your rights under the contract made
with your father. The grant is yours and your children's after you
(Hands Austin the document).

Austin:: God make us and our children worthy of the heritage
received from our fathers.

The Goddess of the Star and the Spirit of the Land move
forward with outstretched hands.

Goddess of the Star: Stephen F. Austin!

Spirit of the Land: Father of Texas!

Both Together: Take the Chair of Honor.

Music They lead Austin to the chair; then take their places
as before. Seguin follows and takes his place back of and to the
right of the Goddess of the Star.

Goddess of the Star: (Lifting aloft the star).

Star of Texas, Lone Star burn,
Show the Heroes in their turn.

Music: Enter the Heroes—Sam Houston with his Indian
blanket and great staff, Travis with a sword, Fannin with a gun,
two settlers with ax and grubbing hoe, two mothers, one with
baby in her arms, the other knitting a garment for a little child
who holds on to her skirt.

Spirit of the Land: Texas delights to honor her heroes.
General Sam Houston—

Houston: (Interrupting the speech of the Spirit with uplifted
hand) Give honor to whom honor is due. The men who died
for Texas are the heroes of Texas. Travis and Fannin and—
(Travis and Fannin make gestures of dissent).

Travis: The heroes of Texas are the homesteaders.

Fannin: The farmers have blazed the trail of civilization.

Both: Give honor to the settlers.

Settlers: (refusing the tribute) Give honor to the women.

1st settler: They have borne the burdens of the frontier
with courage and good cheer.

2nd settler: They have made homes for us in the wilderness.

Both: Honor Texas mothers.

Mothers: Love asks no reward and seeks no honor.

1st mother: For the children of Texas the men have fought
and toiled.

2nd mother: For the children of Texas the women have
suffered and sacrificed.

Spirit of the Land: Texas delights to honor her heroes, the
men, women, and children who are true to the challenge of the
Star.

Music:

The Heroes take a position to the right balancing the group
of Rainbow attendants on the left.

Goddess of the Star: (Holding aloft the Star).

Star of Texas, bright and clear,
Shine for the Statesmen who appear.

Music:

Enter Statesmen.

1st Statesmen: The Declaration of Independence states:
It is an axiom in political science that unless a people are educated
and enlightened it is idle to expect the continuance of civil liberty,
or the capacity for self-government.

2nd Statesman: The Bill of Rights declares: All free men,
when they form a social compact, have equal rights, and no man,
or set of men, is entitled to exclusive separate public emoluments,
or privileges, but in consideration of public service.

3rd. Statesman: The Texas Constitution provides: A
general diffusion of knowledge being essential to the preservation
of the liberties and rights of the people, it shall be the duty of
the Legislature of the State to establish and make suitable provision
for the support and maintenance of an efficient system of
public free schools.

4th Statesman: Texans have always believed with Mirabeau
B. Lamar that “Cultivated Mind is the Guardian Genuis of
Democracy. It is the only dictator that freemen acknowledge and
the only security that freemen desire.”

Music:

The Statesmen take their place to the left of the Rainbow
attendants.

Goddess of the Star:

Star of Texas, Lone Star blaze

Show the citizens of present days.

Music:

Enter citizens—a farmer, a stockman, a minister, a doctor,

a merchant, a mechanic, several women.

The Heroes advance to meet the new group.

Heroes: We are the Pioneers of Yesterday.

Citizens: We are the citizens of Today.

Heroes: We gave you a noble inheritance.

Citizens: We hold it in trust for our children.

Heroes and Citizens: Let us give thanks.

Minister: Let us pray.

God of our fathers, we thank Thee:

For our heritage received from heroes;;

For our cattle plains and cotton fields;

For our hard-working, clear-seeing citizenship;

But most of all, O God, we thank Thee

For our children.

God of our fathers, we pray Thee:

That we shall be true to the ideals of Texas heroes;

That we shall be free from greed and from inordinate
passion for possessions;

That we shall be trustworthy to neighbor and to state;;

But most of all, O God, we pray Thee:

That we shall be generous and just to our children,

Teaching them the faith of Texans, providing for them out
of our poverty or out of our wealth such homes and schools that
all the children of Texas in the country and in the city shall have
equal opportunity.

God of our fathers we thank Thee for our heritage.

Music: Citizens and Heroes go to opposite sides of stage.

Teacher: Children, do you want to thank our visitors?

Children: Yes, yes.

Teacher: How?

Children: We can sing.

Children take their places on the stage and sing—The Flag
Song of Texas.

Final Tableau.
	Seguin X		U. S. Flag bearer X
				X Texas Chair of Honor	Flag bearer
Heroes X		X Goddess of The Star			X Spirit of the Land
Citizens X					X Rainbow Attendants
Children X					X Statesmen X Teacher

[Back to top]

ONE HUNDRED YEARS
PAGEANT TO COMMEMORATE THE HUNDREDTH ANNIVERSARY
OF THE FOUNDING OF STEPHEN F.
AUSTIN'S COLONY

By MISS ROBERTA MATTHEWSA
State Board of Examiners, Austin

The Characters.

Many minor characters may be used in this pageant. Colonists.
Mexican soldiers, priests, traders, women, children, and Indians
may be added to the different scenes to make them more
complete and more picturesque. The important characters are:

LaSalle; Nika, his Indian servant; and his nephew, Moranget;
and two priests. Governor Alonzo de Leon and a Franciscan
priest, Father Massanet, Moses Austin, Stephen F. Austin, Baron
de Bastrop, Joseph Hawkins, Colonists (any number up to 300).
Mrs. Jane Harris, President Burnet, Anson Jones, Confederate
soldier, United States soldier.

The Costumes

Women and children wore basques, full sleeves and full
skirts. The material used was calico, challis, alpaca, linens, mostly
homespun clothes. Sometimes the old ladies wore lace caps and
linen wrappers. Sometimes the women and children were too poor
to have clothes so they wore skins which they got by trading
with the Indians. They wore moccasins on their feet.

The Franciscan priests wore long brown robes tied around
the waist with brown cords. On their heads they wore brown
hoods. They wore leather sandals on their feet.

The Mexican soldiers wore leather trousers and boleros or
short jackets. Brass buttons and fringes of cut leather were sewed
down the sides of the trousers. They wore large Mexican hats
made of palmetto straw on their heads and sandals on their feet.
Antonio Martinez's clothes were made of leather and cut the same
as the clothes of the soldiers but they looked very different, as they
were heavily embroidered in colored floss and colored beads. He
wore a bright colored sash around his waist.

Ideas for the costumes of Moses Austin, Stephen F. Austin,
Jeseph Hawkins, and Anson Jones may be obtained by looking
at the pictures of them in any good Texas history.

A reader in a clear expressive way should read or tell the
story as the scenes and parts are displayed. The parts to be given
by the reader are listed below each scene or part. The reader may
be some talented pupil in school, or some member of the community.
The parts and scenes follow each other as quickly as possible.

National hymns or favorite airs of the countries may be
played between the parts.

THE PAGEANT

Part I.

Music: La Marsellaise.

Enter: LaSalle, Nika, his Indian servant, Moranget his
nephew and two priests. LaSalle is carrying the French flag
which they all plant on Texas soil in the name of France. Then
they kneel and pray.

(Part to be given by reader as scene is displayed)

Listen to the story of the Chevalier de LaSalle, who gave
Texas its first flag, establishing thereby the claim of France to the
country, and hastening Spanish occupation. Turn your thoughts
back 437 years. In July 1684, the great French adventurer sailed
from harbor of Rochelle with his little fleet and company of 300
persons. His dream was to reach the mouth of the Mississippi
and to take possession of the country for his King. The voyage
was a long and weary one, and because of an error in the calculation
of latitude; they sailed many miles west of the Mississippi's mouth.
In February 1685, they entered a little bay at the mouth of the
Lavaca, and landing on the soil of what is now Texas, the band of
Frenchmen planted this flag. Two years, their number were
dwindling, they toiled and suffered. At first they were filled with
courage and high hopes for the discovery of the great river. But
sickness and death came, and mutiny and treachery, and there
were sorrow and bitter loneliness for those who nobly endured. In
the end, LaSalle, desperately hunting for the Mississippi, was killed
by a traitor's bullet. The fate of those who remained at the Fort
on the Lavaca is not certainly known. When the Spaniards came
in search of them in 1689, scarcely half a dozen were left, scattered
among various tribes of friendly Indians.

Part II

Music: National hymn of Spain.

Enter: Alonzo de Leon and Father Massanet. DeLeon is
bearing the Spanish flag. He holds it out and motions to Father
Massanet as though he is explaining that all of this land now belongs
to Spain.

(Part to be given by reader as scene is displayed)

DeLeon and Father Massanet! The soldier and the priest!
For God and for Spain they planted their emblems. To this
unexplored country they came, and the wild creatures of the woods
looked amazed at the dark-eyed Spaniards with their gleaming
weapons and brilliant banners, and at the lowly Franciscan priests
clad in brown robes. In 1690, all the land of Texas was claimed
for Spain as a part of Mexico; the first mission San Francisco de
las Tejas was built; and the first mission-bell rang out its invitation
to the Tejas Indians on the Trinity. Spain did not build largely
upon the work of these two men, but can we not believe that in the
soil of Texas was planted their love of country and spirit of unerring
devotion?

Part III.

Music: National hymn of Mexico.

Enter: Antonio Martinez and several Mexican soldiers.
Martinez is bearing a large flag of Mexico, and the soldiers carry
guns on their shoulders. They go through a drill with the guns
while Antonio Martinez stands off holding the flag with pride and
dignity.

(Part to be given by reader as scene is displayed).

One hundred and thirty years have passed since the Spanish
flag was erected over the first Texas mission. Priests have come
and gone, and their labors and sacrifices appear to have left no
trace in the wilderness. Spanish troopers, French traders, and
American filibusters have marched and fought and died on her
soil, yet, from the Rio Grande to the Sabine, the country is practically
a trackless and unsettled waste. But see! Another flag!
The people of Mexico have risen against their cruel and despotic
Spanish rulers! Spanish dominion has been overthrown and the
Republic of Mexico has arisen. What will be the fate of, Texas,
now a province of the new republic? Whence will come the spirit
which is to awaken the buried and undreamed of power beneath
its soil?

In the east, thousands of eyes are turned eagerly towards
Texas. Who will be the first to venture the hardships of colonization?
Near A. Burton, a mine in Missouri lives Moses Austin and
his family. At this time Moses Austin is very depressed because
he has just lost his stock in the mine due to the failure of the Bank
of St. Louis. He and his son, Stephen F. Austin, have been listening
to a tale of adventure, and a thrilling account told by two men who
have just returned from Mexico. Their account of the wonders of
the Texas land owned by Mexico inspires Moses Austin with the
idea of bringing three hundred families and settling there. He
proposes his plan to Stepen F. Austin who encourages the project
To facilitate the colonization project, he sends Stephen F. Austin
to Arkansas to start a small farm near the Red River. Several
months later he sends him to New Orleans to make that city the
gateway to Mexico.

He makes his preparation and starts to San Antonio to interview
the Mexican Governor and to get permission to plant his
colony in Texas.

Scene I.

Time: November 1820.

Place: San Antonio.

Setting: Room in government building—bare walls square
windows, small panes, deep window sills, low ceilings and ground
floor. Table and several chairs. Antonio Martinez and Moses
Austin are sitting in chairs across from each other at the table.
Papers spread on the table. Angry expression on Martinez's face
and a worried unhappy look on Austin's face.

(Part to be given by reader as scene is displayed).

Moses Austin carefully lays his plans before Martinez, but
Martinez is not pleased with the idea. He becomes very angry
and orders Austin to leave San Antonio at once. Austin beseeches
and urges Martinez to grant him permission to plant a colony of
American in Texas. Martinez remains stubborn, so dejected and
depressed Moses Austin leaves the room.

Scene II

Time: Same.

Place: Same.

Setting: Public square, tall palms and trees. Several Mexican
vendors talking in groups. Moses Austin shaking hands with
Baron de Bastrop.

(Part to be given by reader as scene is displayed).

As he is crossing the public square to join his friend and
start on his tedious march homeward he accidentally meets Baron
de Bastrop a former friend of his. Fortunately, Bastrop is a friend
of Antonio Martinez and is helping him with the Mexican Government.
Austin showed Bastrop his papers and tells him his plans.
Bastrop intercedes with Martinez in Austin's behalf. Martinez
listens to Bastrop who shows him many advantages the government
would receive from such a colony. So Martinez decides to
send Austin's papers and request to head officials at Monterey for
consideration. Austin full of hope starts home. The hardships
and privations of his return in the midst of winter are so severe
that on his way he becomes very sick with fever and is confined to
his bed for three weeks. He finally reaches his home, but he is
very ill and dies soon afterwards. Before he dies, he tells his wife
and daughter his plans and urges them to have Stephen F. Austin
carry them out should the officials at Monterey give him permission.

Scene III.

Time: June 1821.

Place: Near Nacogdoches.

Setting: Interior of a pioneer home. Scanty furniture,
cooking. Warriors smoking pipes.

Stephen F. Austin talking to two Spanish commissioners
about his father's permit from the government. Messenger brings
him the sad news of his father's death.

(Part to be given by reader as scene is displayed)

Stephen F. Austin has been at work in the interest of the
prospective journey in New Orleans. He hears that messengers
from Monterey are on their way to deliver to him his father's permit.
Se he hastens to Nacogdoches where he meets them. One of
them reads the permit which has been granted to his father. It
reads:

“It will be very expedient to grant the permission solicited
by Moses Austin, that the three hundred families, which he says
are desirous to do so, should remove and settle in the province of
Texas, but under the conditions indicated in his petition on the
subject, presented to the governor of that province, and which
your honor (used) transmitted to this deputation with your official
letter of the 16th instant. Therefore, if to the first and principal
requisite of being Catholics, or agreeing to become so, before
entering the Spanish territory, they also add that of accrediting
their good character and habits, as is offered in said petition, and
taking the necessary oath to be obedient in all things to the govern-to
take up arms in its defence against all kinds of enemies, and to
be faithful to the king, and to observe the political constitution of
the Spanish monarchy, the most flattering hopes may be formed
that the said province will receive an important augmentation in
agriculture, industry, and arts by the new emigrants, who will introduce
them; which is all this deputation have to say in reply to
your lordship's aforementioned official letter.

God preserve you many years.”

ANTONIO MARTINEZ, Governor

Just as he finishes reading the letter from the Governor,
messengers come up to Stephen F. Austin with the sad news of his
father's death and with his father's dying request that he carry
out his plans. He decides to devote the rest of his life to materializing
his father's wishes and ideas.

Scene IV.

Time: November 1821.

Place: New Orleans.

Setting: Docks, Vessel “Lively” setting sail. Wagons,
horses and carriages may be seen near by with colonists ready for
the journey by land. Austin and Hawkins are watching boat depart.

(Part to be given by reader as scene is displayed)

Stephen F. Austin goes back to New Orleans where he advertises
his scheme and plans. Many people become interested,
and he soon has as many people promise to accept the governor's
terms as he needs. He makes preparations for the journey. Twentyone
men are to go on the ship “Lively” which is loaded with provisions
and tools. Austin and Hawkins watch the ship depart little
dreaming that they will suffer many hardships on account of the
loss of their provisions, tools and friends.

Some of the colonists are waiting in the wagons and carriages
near the deck to go over land to their new home. En route
more colonists will join them.

Scene V.

Time: December 1821. Early in the morning.

Place: Brazos River.

Scene: Men unloading wagons. Some of them cutting

down trees. Hunters start out for game. Children frollicking.
Austin directs all operation.

(Part to be given by reader as scene is displayed).

After a pleasant but hard journey the colonists reach their
destination and with firm determination and much hope set about
to building their new village.

Scene VI.

Time: July 1823.

Place: Village made by settlers.

Setting: Interior of a pioneer home. Scanty furniture,
mostly made of logs by hand, fire-place and spinning wheel. Mother
sitting at spinning wheel spinning. Daughter cooking at fire place.
Children playing on floor. Husband and sons talking to Stephen
F. Austin. Austin's face full of hope. Poineer faces are down cast
and dejected. They are poorly clad.

(Part to be given by reader as scene is displayed).

Austin has just returned from Mexico where he went to get
titles to the land. While there, he was imprisoned and had much
trouble. He succeeds though, and returns to his colonies full of
hope. Baron de Bastrop accompanies him. He has been appointed
by the Spanish government to lay out the town of San Felipe de
Austin. The husband and sons tell Austin of the hardships, sickness
and struggle, the colonists have experienced during his absence,
and of how many have returned home. Austin, however,
does not become discouraged. He is so enthusiastic he gives them
new hope. In the years that follow, the colony prospers and other
colonies are planted elsewhere. A struggle with Mexico follows.

Part VII.

Music: Lone Star Flag of Texas.

Enter: Oliver Jones and Anson Jones. Oliver Jones is
carrying the first Lone Star flag of Texas which he has just presented
to the President Jones at the Third Congress. They are
examining the flag.

(Part to be given by reader as scene is displayed)

Crockett! Travis! Bowie! The Alamo! Goliad! San
Jacinto! Followers of Stephen F. Austin! What Texas heart does
not thrill at the sound of these names! It is of such heroes and
such scenes that our Lone Star flag is the emblem! Can we not
say, too, that this flag, unique among the banners of the world
breathes the spirit of the men whose flags have preceded it: The
dauntless and high-hearted patriotism of LaSalle, the unselfish
devotion of the Spanish friars, and the daring love of liberty which
inspired the revolt of Mexico against Spanish tyranny. The Republic
of Texas! Surely, more than an ordinary power aided the
pioneers from whose hearts and brains came the vision of the great
state—the State of the Lone Star.

Part VIII.

Music: Columbia, Gem of the Ocean.

Enter: Federal soldiers and Anson Jones, each bearing the
Federal or United States flag. On a pole there is floating the Texas
flag. Jones lowers it and raises the United States flag.

(Part to be given by reader as scene is displayed).

A lone star no longer, but E pluribus unum—one of many.
On February 16, 1846, amid the booming of cannon and the mingled
smiles and tears of Texas patriots, the flag of the Republic with
its single star was lowered, the broad banner of the American
Union was unfurled, and President Jones declared in tones as once
solemn and said: “The Republic of Texas is no more!”

The first result of annexation was the war of 1848 between
the U. S. and Mexico. By its victorious end, Texas was forever
freed from fear of her old enemy. Henceforth she was to be
governed by Anglo-Saxon ideals, and firmly established in the tide
of progress.

The stars and stripes! Our Flag! But we must not forget
that our own star in the flag carries with it the ideals of the men
who have made its presence there possible, and that it means all,
as one of the many, that it did when it was the lone star.

Part IX

Music: Some southern air.

Enter: Confederate soldiers bearing Confederate flags.

(Part to be given by reader as scene is displayed).

At times, in the midst of a bright and stirring march, will
come a sad and tender strain, arresting thoughts of victory, and
bringing tears for the dreams which failed. Behold the flag of the
lost cause, the flag of Texas from 1861 to 1865, the flag of the Confederacy!
This flag stands for the war clouds, dark and fearful
which covered the land during these years.

Fortunately for the people of Texas, there was less fighting
here than in any other Confederate state, although we must not
forget the gallant Dick Dowling and the battle of Sabine Pass.

But even in Texas the war brought hard times and great
suffering which fell heaviest upon the women of the state. But
they bore all bravely. No sacrifice was too great for them to make,
for they believed strongly in the right of the South to withdraw
from the Union, and they wanted their soldiers to fight and win.

All efforts were in vain, and all was over when General Lee
was compelled to surrender. The Confederate armies broke up,
and the men returned to their homes. Their joy at seeing their
loved ones again was mixed with sorrow that their cause was lost,
but they spent no time in idle grief. There was work to do in restoring
the state to prosperity and bravely they set themselves to
the task, just as bravely and earnestly as Stephen F. Austin and
his noble colonizers had done.

Part X

Music: Star Spangled Banner.

Enter: The Spirit of Progress, holding aloft the Texas
flag, attended by farmers, miners, professional men and women,
nurses, statesmen and children, etc.

(Part to be given by reader as scene is disylayed).

Behold! Texas today: with her broad fields yielding rich
and abundant crops. Her great industries. Her mines giving up
their hoarded treasure of ages. Broad rivers and bays supplying
food for thousands. Her great cities thronging with a happy prosperous
people.

Behold, Oh Spirit of Stephen F. Austin! The result of your
perserverance and long suffering, your unfailing energy and enthusiasm.
While these things endure, thy memory shall ever live
and the story of thy brave life be an inspiration to our future
generations as it has been to the past.

[Back to top]

SUGGESTIONS FOR A TEXAS BIRTHDAY PARTY

By Miss Mabel Grizzard
Rural School Supervisor, Austin

I. Uncle Sam entertains the States of the Union honoring
Texas. This “party” could be carried out in true “banquet-fashion”
with toast-master and program.
II. Texas entertains Uncle Sam and her sister states of the
Union with a pageant, showing the many historical facts of the
past. (Here one of the previous pageants may be “cut” to answer
the purpose.)
III. Texas entertains her many counties, each county being
allowed to show or tell its part in the State's history.

[Back to top]

[Back Cover Image]

Date: (unknown) . Author: ED. R. BENTLEY, Editor.
This work is licensed under a Creative Commons attribution license.

Title: Texas centennial pageant entitled "Texas under six flags" [Electronic Edition]

Title: Texas centennial pageant entitled "Texas under six flags" / A pageant of Texas; Centennial celebration, 1821-1921.

Texas centennial pageant entitled "Texas under six flags" [Electronic Edition]

Contents

[Front Cover Image]

Texas Centennial Pageant Entitled “Texas Under Six Flags”

INTRODUCTION

FOREWORD

CONTENTS

GENERAL OBSERVATIONS ON PAGEANTRY

Nature and Subject of Pageants:

Launching the Organization:

Staging the Pageant:

Orchestra or Band:

Optional Material:

Living Statuary Tableaux:

Make Much Use of Flags:

The Stage:

Printing of Programs:

Useful Helps in Pageantry:

TEXAS UNDER SIX FLAGS—A PAGEANT

EPISODE IFrench Discovery and Possession

EPISODE IISpanish Exploration and Mission Building

EPISODE IIIMexican Reign

PART A

PART B.Texas Revolution

EPISODE IVThe Republic of Texas

EPISODE VUnder the Confederacy

EPISODE VIUnder the United States

EPISODE VIIFINALE

DANCESCRICKETT DANCE

WILL O' THE WISP OR FIRE FLY DANCE

MUSIC FOR TWO FOLK DANCES

TAMBORINE DANCE

SCARF DANCE

SPIRIT OF CONQUEST

BLUE BONNET DANCE

DIXIE DANCE

VIRGINIA REEL

SPIRIT OF PROPHECY

SONGS

THE LAND OF TEXAS

THE BONNIE BLUE FLAG

TEXAS LAND

THE EYES OF TEXAS ARE UPON YOU

SUGESTIONS FOR THE SMALLER COMMUNITIES AND RURAL SCHOOLS

THE HERITAGE OF THE STARA Patriotic Ceremonial

GLORIOUS SUNSHINE OF TEXAS

ONE HUNDRED YEARSPAGEANT TO COMMEMORATE THE HUNDREDTH ANNIVERSARY OF THE FOUNDING OF STEPHEN F. AUSTIN'S COLONY

The Characters.

The Costumes

THE PAGEANT

Part I.

Part II

Part III.

Scene I.

Scene II

Scene III.

Scene IV.

Scene V.

Scene VI.

Part VII.

Part VIII.

Part IX

Part X

SUGGESTIONS FOR A TEXAS BIRTHDAY PARTY

[Back Cover Image]

Texas Centennial Pageant
Entitled
“Texas Under Six Flags”

EPISODE I
French Discovery and Possession

EPISODE II
Spanish Exploration and Mission Building

EPISODE III
Mexican Reign

PART B.
Texas Revolution

EPISODE IV
The Republic of Texas

EPISODE V
Under the Confederacy

EPISODE VI
Under the United States

EPISODE VII
FINALE

DANCES
CRICKETT DANCE

SUGESTIONS FOR THE SMALLER COMMUNITIES AND
RURAL SCHOOLS

THE HERITAGE OF THE STAR
A Patriotic Ceremonial

ONE HUNDRED YEARS
PAGEANT TO COMMEMORATE THE HUNDREDTH ANNIVERSARY
OF THE FOUNDING OF STEPHEN F.
AUSTIN'S COLONY