Again exchanging scarfs, take positions as in Fig. 5, the odd figure posing

like Fig. 1.

Turning inward with slow, rhythmic movement we have Fig. 6. Bowing as before to each other, scarfs are returned to owners and audience is faced. Next, preparations for tableaux. Slowly retreating from front (faces always to audience), those in the rear ascend steps. The height must be nicely graduated. Then slowly sinking into position at a given signal, we have the first consolidated grouping, as in Fig. 7.

Hold through eight counts, then, rising, draw to a centre, join hands, and simultaneously assume pose of Fig. 8.

Rising from that pose, unite for the grouping of heads, Fig. 9, with or without scarfs over heads (the former preferred, but not easily photographed). From that pose a straight line is formed and, accurate to the moment, a cross is presented, Fig. 10.

In Fig. 11 great grief and sorrow over the death of a loved one in foreground must be personated.

Rising easily, space widely, and form three stars, as nearly accurate as possible, Fig. 12.

From that to the three triangles is an easy transition, Fig. 13.

Fig. 14, or the forming of the ladder, will be found an exceedingly difficult position to assume, as the greatest care and accuracy of position are necessary. A close examination of the illustration will be sufficient explanation.

Separating from this, a division of four to a side is required. The central figure remains stationary. The outer arms of the others are quickly raised, inner hands clasping the raised hands of the one above. This forms the grouping as presented in Fig. 15.

In Fig. 16, everyone must show suitable emotion, as over a great sorrow. The one clasped in the arms of highest figure, by the simple process of devitalizing or de-energizing the body, assumes the limpness of one dead.

Rising from that pose and standing in a semi-circle in front of the central figure, preparation for the final pose is made. The two right and left of central figure approach, bend on one knee upon step, bow and present scarfs to central figure, who bows in receiving, holds scarfs, and awaits the approach of the next two, and so on, all scarfs being held loosely in hands. All stand erect until the signal is given, then sink gracefully, and we have the last tableau, Fig. 17.

Great flexibility of body is required throughout, as anything approaching stiffness would utterly destroy harmonious movement. Faces throughout must be expressive of the emotion embodied. This requires vivid imagining, and a thorough understanding of the characters to be portrayed. The success of "Scarf Fantastics" depends upon these qualities, combined with accuracy of time and movement.