— Bemorraiic: Wada Bellefonte, Pa., June 27, 1919. THIS FOURTH OF JULY. Don’t you want this year’s Fourth of July to be the best ever? We're celebrating the birth of freedom not only in our own land but throughout the whole civilized world, and it’s worth a good, hearty celebration— one that every member of the com- munity can take part in. A combination of tableaux, dances, and songs was most effectively work- ed out at a foresighted girls’ camp last summer. The program is pecu- liarly suited for use this year, be- cause it shows America’s struggle for liberty from the very beginnings of the nation to the present day. THE STRUGGLE FOR LIBERTY. America’s history was divided into four periods: the Revolutionary war, when America wanted liberty for her- self; the Civil war, when the United States wanted freedom for the blacks; the Spanish-American war, when she wanted freedom for her near neigh- bor, Cuba; and the World war, when she wanted it for all the world. The speaker of the occasion gave a little talk when the audience had gathered, telling the share America has taken in the struggles for liber- ty since 1776, and showing how she has tried to extend it as her vision widened. If you have no one to make a little introductory address, a prologue, such as the one given just below, spoken by America—dressed in a simple red, white and blue costume—could very easily be substituted: PROLOGUE. Throughout all time America has sought For Liberty. Her valiant sons have fought And laid their lives down to unbind the chains That kept the goddess fettered. Stubborn chains, That could be broken only bit by bit. And in her hand a feeble light was lit In the New World, where, struggling to be free From England's heavy yoke of tyranny, America claimed Liberty her own. How vastly broader has her vision grown! Never again for self alone she sought! With Civil war, a bitter price, she bought Liberty for the blacks. Yet even more Her vision widened. In her next great war She helped to set free From the harsh rule of Spain across the sea. Then came the fiercest struggle of them all: America, in answer to the call, Looked out across three thousand miles of sea, And sent her sons to fight for liberty. She’ll fight on till the tyrant’s flag is furled And Freedom’s torch has lighted all the world. The main figure is, of course, Lib- erty, who posed as the first tableau of each of the four periods. Her cos- tume, a loose, flowing white robe draped in voluminous folds, was the same throughout the tableaux. But a variety of effect was obtained by the changes in the bands and chains, signs of her bondage, and by the dif- ferent poses signifying the gradual but certain progress toward freedom. The Revolutionary period shows Liberty half kneling, half lying upon the ground, bound to it by hands and feet. In the Civil war period she is kneeling in a more nearly upright po- sition, but her head is still bowed and her hands, banded together, are stretched over her head. The Span- ish-American war period shows Lib- erty standing. Her hands, their bonds nearly loosened, struggle to be entire- ly free. The World war shows Liber- ty freed at last from her bonds, ex- tending her arms as though to em- brace the entire world. On her face is a look of fierce, eager determina- tion. CHARACTERISTIC DANCES. The second part of each period was a dance characteristic of the time. I wish you might have seen the delight- ful Revolutionary couple walking de- murely through the slow, measured minuet! Powdered hair, dainty fichu and pannier skirt for one, gay waist- coat and breeches for the other, trans- formed two modern girls into an irre- proachable Colonial pair. The Civil war dances made an equally attract- ive act. Only one couple was needed for the varsovienne, while the lancers, usually danced by eight people, was effectively managed with only four. Fluffy, full, beruffled skirts, basque waists, and bobbing curls made the “Belles of ’61” very charming. The polka was the popular dance of the Spanish-American war, and was per- formed by one couple. The charac- teristic of the costume of this time was the bustle, much ridiculed in its day, but very quaint to look back up- on. A series of dances characteristic of the Allies, suggesting the World war, offered an opportunity for charming peasant costumes—the gay and vivid dress of the Italian pez