Examines surviving drafts of The Rite of Spring’s written scenario, created jointly by Roerich and Stravinsky, to explore how the ballet embodies on stage some of the ritual festivities that take place through the spring season of the Russian rural agricultural calendar. Prominent within this context is the singing of vesnyanki, ritual ‘calls’ for spring – short, repetitive invocations sung outdoors, from an elevated position, by children and unmarried girls. Khorovod dancing and games are also shown to be important activities central to springtime ritual observances. Charting how these activities make an appearance in the ballet, this chapter also explores the nationalist agenda of the Russian Silver Age, a period of roughly three decades, from the 1890s (the Russian fin de siècle) to the late 1910s, which witnessed a tremendous explosion of creativity in literature, philosophy and the arts. Folk song anthologies from the period, including those by Mily Balakirev, Nikolai Lvov and Ivan Prach, Nikolai Rimsky-Korsakov and Anton Juszkiewicz, emerge as historical artefacts of key significance to our understanding of the inspiration behind and source material of original works such as The Rite of Spring. In conclusion, this chapter considers a little-known connecting thread between the ballet and the opera Snow Maiden by Rimsky-Korsakov, which also features prominent ritual springtime observances, including a scene of sacrifice.