On March 3, 1913, day before Woodrow Wilson's inauguration, National American Woman Suffrage Association sponsored first national woman's suffrage pageant. Although public demonstrations for woman's suffrage had been part of American suffragists agenda since 1910' (Bland, Techniques 26-30), 1913 pageant was unprecedented in its scale-thousands of women from across United States and of ages and social classes marched through capitol city demanding vote-while pageant itself was characterized by an elaborate combination of theatricality, allegory, decorative pictorial effect, and radical politics. Daring to make a spectacle of themselves, organizers of and participants in National Woman Suffrage Pageant stood completely outside of conventional standards of feminine behavior and propriety while negotiating new definitions and boundaries of women's roles in society. At same time, pageant betrayed conflict within suffrage movement itself between conciliatory and militant voices. Self-consciously positioned at intersection of and production of meaning and construction of femininity, National Woman Suffrage Pageant of 1913 galvanized highly charged current debates on role of women and underscored woman question, in capital letters, as a topical political issue. The decision to stage a suffrage pageant was not without precedent with respect both to suffrage movement, which was enjoying a renewed vigor and militancy, and to pageant craze which swept United States during first two decades of twentieth century. In fact, pageantry's mandate for social reform and optimistic belief in change through democratic cooperation reflected confidence, positivism, and soaring rhetoric of civic idealism that characterized Progressive Era. Between roughly 1905 and 1920, literally hundreds of pageants were staged in United States-as one observer noted, ...the country's gone pageant mad (Beard 239)with overarching orientation toward social reform as their common denominator. Resonating with rhetoric of civic idealism that characterized much of Progressive Era, one contemporary observer declared pageantry the greatest, most characteristic form of democratic art (Rainwater 267, 281). In 1912, Percy MacKaye, one of most active and outspoken proponents of civic ideal in pageantry argued for pagentry as an of civilization in contemporary society in his 1912 book, The Civic Theatre in Relation to Redemption of Leisure: A Book of Suggestions. Pageantry is poetry for masses...[and due to its dedication] to civic education, [does] more than any other agency to provide popular symbolic form and tradition for stuff of a noble national drama (176-77). Moreover, MacKaye argued that pageants not be restricted solely to historic themes of past but rather that all vital modern forces and institutions of our nation...might appropriately find symbolic expression in majestic masques, educative and entertaining to people (176). In 1913, leading reformers and professional artists organized American Pageant Association (APA) which attempted to promulgate standards for new pageantry movement and sought to guide its development through publications, training programs, conferences, and even certification of pageant masters.2 The American Pageant Association Bulletin, published monthly between 1913 and 1916, included technical information and featured chronological lists of pageants sanctioned by Association. A heady mix of idealism, patriotism, and belief in power of pageantry to counteract centrifugal forces of diverse and heterogeneous communities guided American Pageant Association which flourished in teens. Seeking to diminish impact of dislocations and transformations brought about by industrialization, shifting roles of women, vigorous immigration, urbanization, among others, APA sponsored pageants that gave tangible form to such intangible concepts as social cohesion, civic idealism, citizenship, and nationalism through organized and aestheticized rituals. …