Plotting a Better Future for Agriculture, Women, and the Empire State:Historical Pageantry in the 1920s Nancy K. Berlage (bio) The craze for historical pageantry swelled rapidly in rural New York during the early 1920s. While what was then called "the new pageantry" had been gaining in popularity over the previous decade throughout America, its orientation had been toward the city and town. Now, the phenomenon brought excitement to rural areas, inspiring amateur thespians, would-be playwrights, and snappy song writers from the farm. New York took the lead over other regions in presenting small plays and pageants that were aimed at farm people and centered on agricultural and rural issues. New York farm pageantry was important for several reasons. First, it linked farm populations to national developments in popular and mass culture. The New York farm theatricals, for the most part, drew upon the template and symbols used by other pageants of the period, but shifted them to an agricultural setting. Alongside the usual shimmering spirits, neo-classical nymphs, medieval knights, and American patriots guiding the plotlines now stood the venerable farm man and woman. Second, it inserted farming into the national dialogue on contemporary socio-political and economic agendas that historical pageantry, as a whole, facilitated. Many Americans were troubled by the rapid changes wrought by increasing industrialization, urbanization, and immigration. Moreover, farm people in New York were deeply affected by economic downturns in agriculture and outmigration from the farm to city. Through pageantry, communities came together to promote agriculture and farm life. Finally, some pageants reflected attitudes about changing gender ideals as women slowly gained more access to public life through their reform efforts and enfranchisement. Women dominated New York farm pageantry, turning it into a form expressing various notions about women's goals, needs, and [End Page 319] desires. Indeed, female pageantry authors of the day penned a commentary on gender relations both subversive and iterative of dominant ideals about farm men and women's labor, political, and social roles. My focus on farm pageants fills a gap in the growing body of cross-disciplinary scholarship on historical pageantry, which has primarily focused on productions in urban areas. In his foundational study of American historical pageantry, David Glassberg showed us how to unpack the historical narratives of theatricals, revealing, among other insights, how cultural elites used the past to assert social control in the present. Subsequently, historical geographers, public historians, and others have examined historical pageants as tourist attractions, mnemonic devices, and commemorative statements and revealed how they had implications beyond these prosaic functions. Other scholars have focused on pageants as shapers of national identity and as symbolic ideations of local civic orders. Even so, the scholarship on historical pageantry rarely addresses farm themes or gender relations on the farm.1 This article examines a set of rural plays and historical pageants authored by members, predominantly female, of farm and home bureaus in New York. The small collection of scripts constitutes a unique subset of the pageantry genre. Written specifically for an organization, they differ from the popular place-based narratives celebrating a particular town or city. My inquiry focuses less on their use for organizational purposes, and more on how reading these texts can provide insight into the values projected and [End Page 320] applauded by ordinary citizens. Moreover, these texts express relatively unguarded notions about gender that were rarely written down by farm women. Indeed, within this context, the act of writing and then producing the plays was an assertion of female agency.2 These theatricals promoted a scientific ethos as a necessary corollary to improvement in the countryside. This is not surprising, for a primary purpose of the farm and home bureaus, and the cooperative extension service with which they worked, was to promote scientific knowledge. Yet, these plays promoted science in a way that differed from the dry, technocratic words describing local project work found in extension service bulletins and farm bureau newspapers. The spectacle of the performances offered a powerful visceral experience, one fraught with emotion. The dialogue and the background sets prompted an audience to feel a particular way. Dramatic performances simultaneously appealed to the aural, visual, and olfactory senses...
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