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Title: Ten recreational parties
Author: Helen Durham
Release date: October 10, 2025 [eBook #77020]
Language: English
Original publication: New York: The Womans Press, 1924
Credits: Charlene Taylor, Super Queer Historian and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.)
*** START OF THE PROJECT GUTENBERG EBOOK TEN RECREATIONAL PARTIES ***
_Ten Recreational Parties_
_by_
HELEN DURHAM
THE WOMANS PRESS
600 LEXINGTON AVENUE
NEW YORK, N. Y.
Copyright, 1924, by
Helen Durham
This is a revised and amplified edition of Six Recreational
Parties, by the same author. The last three are not parties,
strictly speaking, but suggestions for adding variety to larger
entertainments.
Printed in the United States of America
CONTENTS
Page
Foreword 5
Peanut Party 7
Newspaper Party 12
Balloon Party 16
Doll Party (Pantomime) 20
Japanese Party 25
George Washington Party 31
Circus Party 37
Italian Street Scene 43
Gypsy Scene 47
Christmas Service 53
FOREWORD
As a recreational director under the War Work Council of the National
Board of the Young Womens Christian Associations, I discovered that it
was difficult to get simple yet colorful recreational material suitable
for the various groups with whom I worked. Game parties, in which
straight games were played, became tiresome. Each group, accustomed
to the thrill of the movies, sooner or later demanded something
more exciting, so I hit upon the plan of combining the most popular
games, featuring with them some simple property such as balloons or
newspapers, as an entire evening’s entertainment. The Peanut, Newspaper
and Balloon Parties are the result of this experiment. Then, after a
while, the groups would want to take a more active part themselves.
The Japanese, Doll, George Washington and Circus Parties are the
outcome of this stage in my recreational experience. These parties are
more elaborate than the first; in fact, they require a great deal of
preparation and cooperation on the part of the group. After these came
the demand for something still more colorful and entertaining. Again
I took something familiar, such as a group of songs and dances, and
combined them with some idea of the dramatic, costumed and set them
in a suitable and attractive background. The result was surprisingly
effective in spite of the simplicity of the material and the idea. The
Italian Street Scene and the Strolling Gypsy Scene are two examples of
this type of entertainment.
The Christmas Service is an example of a still more elaborate attempt
at “recreational dramatics,” as one might call this collection. The
particular merit of the tableau is that it is very simple to produce,
yet very lovely, if well done. The pictures themselves can be planned
and worked out before the tableau itself is put together. In one or two
rehearsals the music, chorus singing and the pictures can be combined.
If the performers themselves catch the spirit of the occasion the
effect of the whole is very beautiful and impressive.
Helen Durham.
A PEANUT PARTY
In which peanuts are featured in a variety of old and new ways.
_Invitations_: Carefully split a large-sized peanut and fold inside
a small piece of white Japanese tissue on which the invitation is
written. Tie the peanut together with a narrow orange ribbon. Or
write the invitation on an orange-colored card and attach to it
several round peanuts, the shells of which have been grotesquely
decorated to represent tiny faces. The color, orange, is suggested in
the invitations, properties and decorations only because it vividly
contrasts with the neutral shade of the peanut.
_Properties_: Upon arriving, the guests are given small orange-colored
paper or tarlatan bags in which they may keep the peanuts won in the
various games. At the end of the party there is a final counting and
the person having the greatest number of peanuts in his bag wins the
prize.
_Note_: The games suggested need not be played in the following order.
This is one arrangement which has proved satisfactory for both large
and small groups. The first three games are played at a table around
which four or six people sit. A bowl of peanuts and two or three
hatpins should be placed on each table before the game starts.
1. GUESSING GAME
At a given signal from the director, each person at the table tries to
guess the number of peanuts in the bowl. After all the players have had
their chance, the peanuts are counted. The person who came nearest to
the correct number receives four peanuts as a reward, which he keeps
for the final counting. All the other peanuts are returned to the bowl
for the next game.
2. PIERCING GAME
Each person is given a hatpin with which he tries to pierce the peanuts
in the bowl. He has three trials. All the peanuts he pierces he may
keep.
3. GRABBING GAME
Each person in turn grabs all the peanuts he can hold in his hand.
After counting the number grabbed, he returns all of them to the bowl
and the next player tries his grabbing capacity. The person grabbing
the largest number may keep that number of peanuts as a reward.
4. PEANUT RELAY
Chairs and tables are pushed aside and the players are lined up for a
relay race in two, three or four even lines, depending upon the size of
the crowd.
Draw on the floor two chalk circles for each relay line, one directly
in front of each leader and another several yards beyond, at the
farther end of the room. Place one peanut in each circle. At a given
signal each leader picks up, with a table knife, the peanut from the
circle directly in front of him and runs with it to the circle at the
other end of the room. He must then pick up the peanut from that circle
and carry it back to the first circle. Then he touches off the next
player in his line, who tries to do the same stunt, that is, exchange
the peanuts from one circle to the other circle. The winning line is
the one which accomplishes this feat most quickly. Each member of it
gets three peanuts as a reward; the line which finishes second gets two
peanuts each.
5. PEANUT THROWING
From these relay lines swing into one big circle, with hands joined.
Place an empty waste-basket in the middle of the circle. Give each
player three peanuts. At a given signal each player tries to throw his
three peanuts into the basket. Those that fall on the floor he loses.
Those that land in the basket he may reclaim. As a reward he receives
twice the number reclaimed.
6. PEANUT PASSING
Line up two even groups facing each other with hands joined. At a given
signal each leader, the first person in each line, picks up with his
free hand as many peanuts as possible from a large bag at his feet. He
passes them to the person next to him, who in turn passes them to the
person next to him, and so on. The person at the very end of the line
deposits them in a bag at his feet. At the end of two or three minutes
a signal from the director ends the game. The peanuts passed by each
line are counted and the total amount is divided among the players of
the line which passed the greatest number in the given time.
Of course in passing the peanuts the players must not unclasp hands. If
a peanut is dropped, two people with hands clasped must pick it up.
7. PEANUT ALPHABET
Retain the players in the same formation as for the peanut passing.
Have two sets of cardboard letters which spell the word “peanut.”
Choose any twelve players, six from each side. Line up these teams
of six opposite each other. Give a letter “p” to the first player on
either side, a letter “e” to the next one, and so on, so that each
team spells the word “peanut.” The director then calls off a word like
“net.” Each player who has the letter “n” must step out in front of his
team, holding up his letter so it may be plainly seen by the director.
The person on that team holding the “e” must step out beside him, and
so on until the required word is formed. The team that forms the words
most quickly wins. As a reward each member of the team and everyone on
that side gets a peanut. Use simple words like “pa,” “tune,” “pat,”
“pen,” “aunt,” “pun,” “ate,” “pan,” and finally the word “peanut.”
8. MUSICAL PEANUT
Let the crowd break up and seat themselves about the room.
Send someone out of the room. Give to any member of the group a
“musical peanut,” which is of course an ordinary peanut. Explain to the
group that when the searcher enters, all must sing some popular song,
at first very softly, and then more loudly as the searcher wanders in
the vicinity of the musical peanut. The searcher is then invited in
and, guided by the song of the group, tries to find the peanut. When
the peanut is found, the person holding the musical peanut becomes the
searcher.
9. PEANUT BAGS
Before the guests arrive, paper bags containing various numbers of
peanuts are strung across the end of the room, about eight feet from
the floor. Give each player three peanuts and line them all up about
twenty or twenty-five feet from the bags. At a given signal the entire
line tries to hit a bag. Each person has three throws. He may have the
contents of each bag he hits.
_Note_: It is usually necessary to leave someone near the line to cut
down the bags the moment they are won, otherwise there will be much
confusion.
10. PEANUT HUNT
At a given signal the players scurry around, looking for peanuts which
have been hidden in all parts of the room. Each player may keep all he
finds.
11. PEANUT PRIZE
After the players have counted the number of peanuts won throughout the
evening, have them march to music around the room in a big circle.
When the music stops, those having less than fifteen peanuts drop out
of the circle. The marching continues until the music again stops, when
those having less than twenty-five peanuts drop out, and so on until
the person having the largest number of peanuts stands alone. As a
reward he is given a grotesque doll made of peanuts.
A NEWSPAPER PARTY
In which newspapers are featured in a variety of ways.
Have the hostesses and guests, upon arriving, dress themselves in
newspaper costumes. All sorts of unique ideas can be carried out, such
as newspaper duncecaps, bonnets, aprons, frills for collar and cuffs,
pleated skirts. It will be found that surprising originality and taste
will be shown by some. Have plenty of string, pins and toothpicks at
hand, for they will be needed to keep these fragile creations in place.
Open the party with a grand march and have the judges immediately award
the prize for the cleverest newspaper costume.
Have the players group themselves in a three, four or five line
formation, ready to play an adaptation of Bancroft’s “Maze Game.”
1. POLICEMAN AND NEWSBOY
The chaser, who carries a paper club, is called the “Policeman.” The
runner is called the “Newsboy.” Have the players stand in parallel
ranks with hands joined, thereby making aisles through which the
Policeman can chase the Newsboy. When the director gives the order
“right face,” or “left face,” the players drop hands and face in that
direction, clasping hands with their new neighbors. In this way new
aisles are made which alter the direction in which the Policeman is
running and which give the Newsboy a better opportunity of escape. The
director, who tries to keep the Policeman from catching the Newsboy,
must give his orders with alertness and wisdom, so as to prevent the
capture. Neither Policeman nor Newsboy can break ranks or tag across
lines. It sometimes adds excitement if two Policemen are used.
2. PREFERRED NEWSPAPERS
This game is an adaptation of the familiar “Black and White.”
Line up the players in two even ranks down the center of the floor,
with their backs to each other. Call each side after a popular local
paper. At a given signal the director shouts the name of either
newspaper. The players in the line bearing that name run frantically to
the side of the room toward which they are facing. The players on the
opposite side turn and try to catch them. Those caught must go over to
the other side. The second line-up, uneven this time, proceeds in the
same way, awaiting the call of the director.
3. MUSICAL NEWSPAPER
Divide the players again into the same even groups. This game is an
adaptation of the familiar “Musical Partners.”
Every player takes a partner from his group, so that each partner has
the same newspaper name. They march around the room to music. When the
music stops for a moment, everyone must change partners, being sure
that the new partner belongs to the same paper. This necessitates hasty
shifting and much shouting of identification.
4. NEWSPAPER RELAY
Line up the players in two or three even ranks, giving each player two
single sheets of newspaper. At a signal from the director, the leaders
race down to the opposite goal and back again, stepping only on the
sheets of paper, which they lay on the floor as they progress. The
next player in line repeats the process after he is touched off by the
preceding player. The line which finishes most quickly wins.
5. PROTECT THE NEWSBOY
Adaptation of the familiar “Wolf and Hind.”
The players form in a straight line with their hands around the waist
of the person ahead. At the very end of the line stands the “Newsboy.”
The chaser, called the “Policeman,” faces the leader of the line and
at a given signal tries to catch the Newsboy. The line, however, tries
to keep itself between the Policeman and the Newsboy. The players must
hold on tightly to each other, so as not to break the line, thereby
enabling the Policeman to dart through and get a better chance at
the Newsboy. When that Newsboy is caught he changes places with
the Policeman, who takes the place at the head of the line. The new
Policeman tries to catch the person at the very end of the line, who
has now become the Newsboy.
6. CATCH THE NEWSBOY
Adaptation of “Bird Cage.”
Divide the players into groups of four. Three of each group join hands
in a circle and call themselves “Policemen;” the fourth is called the
“Newsboy.” Without unclasping hands, the Policemen try to catch in
their ring the Newsboy, who may run anywhere in the room. If he is
caught he becomes a Policeman and one of the Policemen takes his place.
7. PREFERENCE OF LOCAL PAPERS
Adaptation of familiar “Jerusalem and Jericho.”
The players are in circle formation. The director, who stands in the
center of the circle, takes a vote on which of the two local papers the
group prefers. The director then explains that if he calls the name of
the preferred paper, everyone must repeat the name and bow, but if he
calls the name of the unpreferred paper, everyone must repeat the name,
but not bow. If anyone bows after the name of the unpreferred paper
is called, that person must come into the center of the circle. The
director himself bows after both names, thereby trying to get the other
players to mimic him. The success of the game depends largely upon the
enthusiasm of the director and his helpers.
8. NEWSPAPER FIGHT
Blindfold any two players and give to each a club made of newspapers
folded lengthwise. Spread a newspaper on the floor. At a signal from
the director, each combatant puts his left hand on this newspaper
and with his paper club in his right hand fights his opponent. Being
blindfolded, both quickly lose their sense of direction, so instead of
striking each other they usually strike the floor. If there are several
pairs, each cheered by their followers, the game becomes very exciting.
BALLOON PARTY
Decorate the room with balloons, and perhaps crêpe paper streamers.
Upon arriving give every guest a crêpe paper cap to which he may attach
a balloon for decoration. Give balloons as prizes for each game. All
the balloons which are used as prizes may be effectively used as a
central decoration in some such way as follows. Have a large barrel
hoop, bound with crêpe paper, suspended from the ceiling in the center
of the room. To this attach by strings dozens of colored balloons. When
a person wins a balloon, give him one of these at once or wait until
all the games are over and the final score is taken and then present
the balloons as a final ceremony.
1. BALLOON RELAY
Three or four strings should be stretched tightly from one end of
the room to the other, about four feet from the floor. An ordinary
brass ring hangs on each taut string. To each of these rings attach a
bright-colored balloon.
Divide the players into even groups, according to the number of
strings. Line them up at one end of their respective strings. At a
given signal, the leader of each line starts blowing the balloon on his
string down to the other end of the room. After each leader has taken
his balloon down to the other end of the room, he runs back to place
and touches off the next player in line, who runs down to the balloon
and returns it to the original place in the same fashion. The third
player in line then takes his turn, and so on. Of course no player must
touch the balloon with his hands. A balloon is given as a reward to the
player in each line who accomplishes the feat most quickly.
2. BALLOON TOSSING GAME
Keep the players in the same formation. Each group is given a large
sheet which they hold by the edges parallel to the floor. At a given
signal the director tosses a balloon into the center of the sheet.
Each team tries to keep this balloon tossing in the air by moving the
sheet up and down. No one is allowed to touch the balloon save the
director. Even if it falls to the floor the director must pick it up
and put it back in place. The group which keeps the balloon moving the
greatest number of minutes wins. Each player of that winning group gets
a balloon as a prize.
3. MUSICAL BALLOON PARTNERS
Give each person a colored balloon, being careful that there is an
even number of each color. The two people having the same color march
together. An extra person, who marches alone, is given a balloon of any
of the colors used. When the music stops, everyone must quickly change
partners, choosing a new one who carries a balloon of the same color as
his own. This gives the extra person an opportunity to get a partner,
who, however, must carry a balloon of his color. When the music again
starts, the new person left without a partner marches alone, waiting
his chance to get a partner.
4. BALLOON VOLLEY BALL
Stretch a piece of colored string across the room. The object is the
same as in volley ball, that is, to keep the balloon off the floor on
your own side and make it touch the floor on your opponents’ side. Use
either one or two balloons, depending upon the number of players. Of
course use only the simplest rules of volley ball, thus making the game
suitable to play in the average room. Each player on the winning side
gets a balloon.
5. BALLOON SNATCHING
A large balloon is placed on a chair, or preferably on a small stool,
anywhere on a line which is halfway between two even lines of players.
At a given signal a player from each line walks forward to the balloon.
Each tries to snatch it and run back to his place without letting his
opponent touch him or the balloon. If he arrives safely it counts one
for his side. The next two players then try the same stunt. After each
pair of players has tried the stunt, each member of the line having the
largest score gets a balloon.
6. TABLE BALLOON
The players are seated at a table. The object of the game is for each
side to bat several balloons back and forth without letting them drop
on the table. If a side fails to return the balloon while it is in
midair, it counts one against them. Players may rise to bat the balloon
when it is necessary but they must immediately sit down again. Each
player on the winning side gets a balloon.
7. BALLOON DANCING
This introduces the game element into social dancing.
Give to each person a colored balloon, being sure that there is an even
number of balloons of the same color. Each dancer must find and dance
with a partner with a balloon of the same color. When the music stops,
everyone must find a new partner with a balloon of the same color.
Give to each couple a balloon. At a given signal all start dancing, at
the same time keeping their balloons tossing in the air. If a balloon
falls to the floor it counts against that couple. The couples who keep
their balloons in constant motion throughout a dance receive a balloon
as a prize.
DOLL PARTY
The invitations may be written on pieces of colored paper cut in the
shape of tiny dolls. Have the guests come to the party dressed as dolls
or children and the hostesses as nursemaids.
1. DOLL DRESSING CONTEST
Place the guests at small tables on which there are bits of colored
crêpe paper, scissors, string, pins, needles and thread. Give everyone
a tiny penny doll to dress. It is a good plan to have on exhibition
one or two dolls already dressed in crêpe paper, to furnish ideas
to the guests. Very cleverly dressed dolls can always be bought
from the Dennison Company, 26th Street and Fifth Avenue, New York.
One of these makes an excellent prize for the person who makes the
best doll costume. Usually people, whether old or young, if given a
few suggestions will enter into the spirit of the game and the most
ingenious and attractive creations will be made.
2. CHILDREN’S GAMES
Play the simple, familiar games such as “London Bridge” or “Drop the
Handkerchief,” “Going to Jerusalem” and so on.
3. MIDNIGHT IN THE DOLL SHOP
Entertain the guests by dramatizing some children’s story, or staging a
pantomime such as the following.
Midnight in the Doll Shop
A pantomime by Barbara Wellington.
_Scene_: A doll shop with counters running along left wall, back-stage
and right.
_Characters_, from stage right to left:
Right--Brownie, French Doll, Tin Soldier.
Back--Chinese, Indian, Jack-in-the-Box, Dinah, Golliwog, Dutch Girl.
Left--Two Rag Dolls.
The clock strikes twelve. Curtain opens on dolls lifeless on counters,
in characteristic attitudes. Brownie is sitting cross-legged; the
French doll is holding her skirt and peeking up at the soldier; the
soldier holds his gun, stiffly; the Chinese has his arms folded, hands
in sleeves; the Indian stands with tomahawk raised; Jack is in his
box with cover shut; Dinah’s hands are on her hips; Golliwog’s arm is
around her; the Dutch doll has a pail on her arm; the rag dolls lean
limply against each other.
All slowly come to life. Jack pops out of his box and goes through
jerky exercise. A dumb-bell drill may be used (music 4-4 time). At the
finish, Indian raises tomahawk over Jack with threatening attitude.
Jack pops back into box; cover shuts. Indian does war-dance of seeing
enemy, giving war cry (silently), fighting battle, and smoking
peace-pipe.
He ends by chasing the rag dolls down-stage and around to the right
and center, taking his place where they were. The rag dolls do a limp
dance exactly alike, leaning against each other and flopping heavily
at each step. They finish by dropping down up-stage right, with feet
straight out before them.
Jack-in-the-Box pantomimes clapping and the tin soldier sends him into
his box again by aiming his rifle. Then, wound up by French doll,
he marches forward stiffly to center-stage. She works his arms and
head and makes him embrace her, then winds him up for dance step of
progressing across stage, toeing out with both feet, and then in. She
does a ballet dance kick-step as she watches him. Finish off-stage.
Golliwog and Dinah try to imitate them in the same positions on stage,
and burlesque the steps. They turn it into an old-fashioned cake-walk
and as they finish up-stage right, Dinah waves her bandana and drops
it.
The Chinese doll shuffles forward and picks bandana up, goes back
to get his tub, scrubbing board and iron, and proceeds to launder
handkerchief, center-stage, facing audience. He turns scrubbing board
over for an ironing board. Finishes, folds handkerchief and hands it
to Dinah with bow. Goes left.
The Dutch doll comes forward, sees imaginary water splashed onto the
floor and holds up her hands in horror. She gets pail, and kneeling,
scrubs vigorously, facing left center and then right, on knees in each
new position. Then, trying the floor with her sabot, she puts away her
pail and does a Dutch wooden shoe dance. Finishes right.
The Brownie, who has been mimicking everybody as he sat on the
counter, right, hops down and does a clown dance, ending with a
cartwheel, left.
As each doll finishes his stunt he takes his place in a semicircle at
back-stage.
All swing into dance. As orchestra sounds cock-crow, all break line
and scramble back to original places.
Tableau, as in the beginning.
Doll Dance
To the “Parade of the Wooden Soldiers” from the “Chauve Souris,”
published by Ed. B. Marks Music Company, 223 West 46th Street, New
York.
1. 8 measures.
Introduction--4 measures--dolls take places in line.
(Omit 28 measures of music.)
Starting R foot, kick in front, kick to side. 1 measure.
Step R foot behind L, step L to side, step R in front and
hold. 1 measure.
Repeat, starting L. 2 measures.
Repeat, starting R. 2 measures.
Repeat, starting L. 2 measures.
2. 8 measures.
Point R heel forward, point R toe in back. 1 measure.
Take 3 short steps forward, starting R, and hold. 1 measure.
Repeat, starting L foot. 2 measures.
Step back R and kick L. 1 measure.
Step back L and kick R. 1 measure.
Step back R and kick L. 1 measure.
Step back L and kick R. 1 measure.
(Omit 4 measures of music.)
3. 16 measures
Whole line moves to R, toeing in and out, as follows: With
heels together and toes out, rise on R toe and L heel
and swing both feet to R so that toes are pointing in;
then step on R heel and L toe and swing feet to R so
that toes are pointing out again. 1 measure.
Repeat 7 times. 7 measures.
Repeat, swinging feet to L instead of R so that line returns
to original position. 8 measures.
(Omit 24 measures of music.)
4. 8 measures.
Repeat 1.
5. 8 measures.
Repeat 2.
Interlude. 4 measures.
With knees bent and feet together, jump on both feet, making
one half-turn to R. 1 measure.
Jump back to place. 1 measure.
Jump on both feet, making one half-turn to L. 1 measure.
Jump back to place. 1 measure.
6. 8 measures.
Move to R with following step: Step R to side, step L, toe
beside R heel, step R to side, step L, toe beside R heel.
1 measure.
Repeat. (Keep R foot on floor and knees stiff, as though
being pushed by L foot.) 1 measure.
Turn in place with same step. 2 measures.
Move back to place with same step, using L foot and R toe. 2 measures.
Turn in place with same step. 2 measures.
7. 6 measures.
Step back R and kick L. 1 measure.
Step back L and kick R. 1 measure.
Step back R and kick L. 1 measure.
Step back L and kick R. 1 measure.
Step back R and kick L. 1 measure.
Step back L and kick R. 1 measure.
8. 8 measures.
With very small steps run to front of stage. 4 measures.
Throw kisses to audience on all sides. 4 measures.
A JAPANESE PARTY
A Japanese Party may be made very attractive and picturesque if
Japanese costumes, properties and music are featured.
Write the invitations on Japanese paper fans and ask the guests to
come in Japanese costume. Light the room with low-hanging Japanese
lanterns and decorate it with Japanese screens, hangings and flowers.
Artificial cherry blooms, which look surprisingly like the real ones,
can be made in the following way. Out of pale pink French tissue paper
cut little circles about one and a half inches in diameter and make
a pin hole in the center of each circle. Slip these circles on bare
branches, creasing them around the branch so as to give the effect of
a budding blossom. The hostesses, who are in Japanese costume, should
preside over the tea trays. Have the guests sit in small groups on the
floor and be served tea and rice cakes in Japanese fashion. By way of
entertainment the story of Puccini’s opera, “Madame Butterfly,” can be
told in some such charming way as the following.
THE STORY OF “MADAME BUTTERFLY”
A girl, dressed to represent Madame Butterfly, tells the story of the
opera while appropriate bits of the score are being played.
Use an end or corner of the room and decorate it to represent a
Japanese garden or interior. A Japanese screen as a background, one or
two low-hanging lanterns, lighted, a rug and several vivid cushions on
the floor, some cherry blossoms or a low bowl of Japanese flowers make
a very suitable and effective setting. Madame Butterfly, dressed in a
pale gray or wisteria Japanese kimono and brilliant obi (sash), enters
with short, pattering steps. She wears a chrysanthemum in her hair
and perhaps she carries a Japanese fan. She kneels upon the cushions
and bows in oriental fashion to her audience. After the prelude to
the opera, she begins the tale of Madame Butterfly. The story must be
simply and vividly told, bringing out its pathos and charm. When she
finishes she bows again to the audience, rises and makes her exit with
the same little pattering steps.
Oriental bow: Kneel on both knees and bend directly forward so that the
head almost touches the ground; then slowly assume an erect position.
If the narrator can sing one or two selections from the opera,
especially the famous solo “One Fine Day,” of course it adds
tremendously. It is very important that the music harmonize with the
words, which necessitates careful selection and practice. Probably only
an accomplished musician with a feeling for atmosphere can successfully
do this.
The following song and dance can follow Madame Butterfly’s story.
JAPANESE SONG AND DANCE
Music. Geisha Dance, by Eduardo Marzo in “Dance Songs of the
Nations,” John Church Company, publishers, New York. Words of the song
by Margaret Lacy.
To be sung by the dancers themselves, or by one or more soloists while
the dancers go through the steps.
In a forest of Japan a pretty maple grew.
She coquetted morn and even with the strong bamboo;
Maidens hung on her their lanterns when they came to dance,
And she watched with exultation each admiring glance.
Then her leaves would gently whisper, nestling in the breeze,
To the pretty maidens dancing there beneath the trees,
“O! O! Dance, O pretty maidens, dance ye on the grass below,
Forward bending, lightly swaying gently to and fro.
Each of you will have a hero, loyal, brave and true,
But not one will be more loyal than my strong bamboo.”
When the bamboo heard her singing he was filled with glee
And he nodded to the maple, so that she might see
That he loved her very dearly and was worthy, too,
Of the trust that she confided in her strong bamboo.
And the maple peeping over saw his signal sweet,
Sang again unto the maidens dancing at her feet.
“O! O! Dance, O pretty maidens, dance ye on the grass below,
Forward bending, lightly swaying gently to and fro.
Each of you will have a hero, loyal, brave and true,
But not one will be more loyal than my strong bamboo. O!”
Stage this song and dance in the same setting that was used for the
Madame Butterfly story. Before the dancers appear, place bright
cushions, one for each dancer, on the floor in a semicircle. Have eight
or more dancers enter from each side with little pattering Japanese
steps, take their places behind their cushions and bow in oriental
fashion to the audience. They are dressed in bright-colored Japanese
kimonos and sashes, with chrysanthemums in their hair. Each carries
a fan which is held stiffly in front of her chest, with the forearm
pressed slightly against the body. The head is held to the side in a
prim little fashion such as one sees in old Japanese prints. Every
gesture is formal and studied. (This is the Japanese pose referred to
in the dance.)
Japanese Dance
For the introduction any number of measures may be played while the
dancers enter and take their places.
_Figure 1_--16 measures.
Starting on the first word of the song, “In,” make the following
motions, keeping time with the music.
(a) Sway to the R side. 1 meas. }
Sway to the L side. 1 meas. } through word
Sway to the R side. 1 meas. } “grew.”
Body and head held erect. 1 meas. }
4 measures.
(b) The same motions, but starting L, that is,
Sway to the L side. 1 meas. }
Sway to the R side. 1 meas. } through word
Sway to the L side. 1 meas. } “bamboo.”
Body and head held erect. 1 meas. }
4 measures.
Repeat through word “glance.” 8 measures.
_Interlude--Japanese pose._ 4 measures.
_Figure 2_--16 measures.
Walk with the quick little Japanese pattering steps
described above around the cushions to R, coming back
to place on word “below.” 4 measures.
Repeat (b) of Figure 1 through word “fro.” 4 measures.
Walk in the same fashion as above around cushions to L,
coming back to place on word “true.” 4 measures.
Repeat (b) of Figure 1 through word “bamboo.” 4 measures.
_Interlude--Japanese pose._ 4 measures.
_Figure 3_--16 measures.
Repeat (a) of Figure 1 through word “glee.” 4 measures.
Nod head slowly forward. 1 meas. }
Raise head slowly. 1 meas. } through word
Repeat. 2 meas. } “see.”
4 measures.
Repeat (b) of Figure 1, through word “too.” 4 measures.
Same nodding motion repeated twice, through word “bamboo.” 4 measures.
_Interlude--Japanese pose._ 4 measures.
_Figure 4_--8 measures.
Repeat (a) of Figure 1, through word “sweet.” 4 measures.
Repeat (b) of Figure 1, through word “feet.” 4 measures.
_Interlude_--All dancers kneel slowly forward and down
on both knees without losing balance or bending body,
and slowly sit back on their heels in oriental fashion.
_Figure 5_--16 measures.
Repeat (a) of Figure 1, through word “below.” 4 measures.
Repeat nodding motion of Figure 3, through word “fro.” 4 measures.
Repeat (b) of Figure 1, through word “true.” 4 measures.
Turn head slowly to R side. 1 meas.}
Turn head slowly to L side. 1 meas.} through word
Hold head, face forward. 2 meas.} “bamboo.”
4 measures.
As the dancers sing the prolonged “O” of the last two measures they
bend their bodies forward so that their heads almost touch the floor.
Repeat the music until they rise and exit with the same little
pattering steps.
PANTOMIME OR PLAY
“Cat Fear,” a fanciful Japanese comedy in pantomime by Marion N.
Gleason,[A] or any other Japanese play or pantomime, may be added in
order to make a complete evening’s entertainment.
FOOTNOTES:
[A] The Womans Press. Price 50 cents. Royalty of $5.00; $2.50 to
Y.W.C.A. groups.
COLONIAL OR WASHINGTON’S BIRTHDAY PARTY
The guests are invited to come in Colonial costumes. The host should
be dressed to represent George Washington; the hostess, Martha
Washington. Feature these two people as much as possible in the
receiving line, as leaders of the minuet and grand march, and as master
and mistress of the ceremonies throughout the evening. When it is time
for the program to begin, have George Washington himself announce that
he is going to present to his guests all the various types of American
girls who live or will live in this country.
The music then swings into a plaintive Indian tune and an Indian girl
dressed in a striking costume of brown leather enters. She bows to
George Washington, to his lady and to his guests and passes down the
center of the room and away. George Washington then announces that a
Puritan girl will be presented next. The music changes to “Auld Lang
Syne,” and a lovely girl in Puritan costume enters, bows shyly to
her host and passes in a demure manner down the center of the room.
A Colonial girl and her escort come next. They dance the minuet for
the guests. One by one the various types of girls who have lived in
this country present themselves. The program can be made elaborate
or simple, depending upon the number of characters used. The modern
American girls may be omitted or others substituted, according to
occasion. Those suggested are described below in detail. If one wishes
to add others, see the Fashion Review, “Down Petticoat Lane,” published
by The Womans Press, from which the idea of this party has been taken.
AMERICAN GIRLS
_Character_ _Music_
American Indian Girl 1500 “The Chattering Squaw”
Striking brown Indian costume, beaded and fringed; brown stockings,
leather moccasins, and beaded head-band with bright red feather at the
back. Stands at opening in characteristic Indian pose, head up, body
erect, arms folded across chest. Comes down room with familiar Indian
loping step, bows to guests and exits.
Puritan Girl 1650 “Auld Lang Syne”
Simple gray Puritan costume; white cap, kerchief, cuffs and apron,
white stockings and black shoes.
Bows shyly to the audience, walks forward with hands demurely clasped,
makes a quaint courtesy to George Washington and exits.
Colonial Girl and Man 1750 Mozart’s Minuet from “Don Juan”
Girl in Colonial costume of bright satin: tight bodice, lace kerchief,
pannier skirt; white stockings, black pumps with silver buckles;
powdered hair or wig.
Gentleman in brocade or satin coat, vest, ruffled stock and frill,
knee breeches, white stockings, black pumps with Colonial buckles, and
powdered wig.
They enter together, bowing to each other, then to audience, and come
to the center of the room. They dance the Colonial minuet,[B] and exit
at farther end of the room.
Empire Girl and Partner 1800 “Glow Worm”
Girl in high-waisted costume of Empire period: short, puffed sleeves,
neck cut low off shoulders, long train; poke bonnet of satin to match
gown, either worn or carried by streamers; high-heeled satin slippers
to match gown; hair parted and done high in back with curls at each
side.
Gentleman in tight-fitting satin trousers, satin coat of darker color,
brocaded vest, ruffled stock and high silk hat.
They enter and dance Gavotte.
Hoopskirt Girl 1850 “Believe Me, If All Those
Endearing Young Charms”
Girl in wide, old-fashioned hoopskirt costume; tight basque, lace
kerchief, ruffled pantalettes, poke bonnet, white lace mitts and small
parasol.
Gentleman in light broadcloth trousers, long-tailed coat, plain
double-breasted vest of a contrasting color, high stock, high silk hat
and burnsides.
They stroll in together. When they reach the center of the room the
music changes to Jump Jim Crow from “Maytime” by Victor Herbert. The
man sings the song to the girl and they dance together.[C]
Bustle Girl 1875 “When Johnnie Comes
Marching Home Again”
Girl in old-fashioned bustle costume of silk: long full skirt with
very stiff petticoats underneath, tight bodice, leg-o’-mutton sleeves;
elaborately trimmed hat of the period, perched high on the head; black
silk mitts and parasol.
She enters with quick steps, courtesies to host and hurries down the
room.
Southern Girl “Dixie”
Girl in light, ruffled dress and large floppy leghorn hat covered with
flowers. She carries a ruffled parasol and flowers in her arms.
She enters, smiling left and right, courtesies in a rather flirtatious
manner, presents a flower to her host and saunters down the room.
Western Girl “Cheyenne”
Girl in short khaki riding skirt and blouse, red handkerchief around
neck, broad-brimmed western hat, high boots, belt and pistol.
She dashes in, waves hat to the audience and to host and rushes out
through audience.
Debutante and Dancing Partner Any popular waltz
Lovely girl in dance frock; stockings and evening slippers to match.
Carries a bouquet of flowers.
Enters with partner as if entering a ballroom and bows to the host.
They dance some of the latest steps.
Modern Gym Girl Any suitable music
Girl of athletic type in gym costume of dark blue bloomers, white
middy, black tie, black stockings and white sneakers.
She carries a basket ball which she dribbles down to center of room.
Evening Girl Any popular song
Tall striking-looking girl in handsome evening gown with stockings and
slippers to match; bright velvet evening wrap with handsome fur collar.
Carries huge black ostrich fan.
She enters with great poise and assurance, displays her gown like a
manikin and exits down the center.
Bride and Her Attendants Wedding March from
“Lohengrin”
Beautiful girl in white satin bridal gown with long court train and
white tulle veil caught with orange blossoms. Carries huge shower
bouquet of white roses and lilies-of-the-valley.
Attendants in organdie dresses of pastel shades; tarlatan hats to match
gown; small nosegays of pink roses.
Bridesmaids enter by twos, followed by the bride. The wedding
procession passes down the center to the end of the room, where the
bridesmaids group themselves in a semicircle around the bride. The
other performers enter and come forward to congratulate the bride. The
music changes to a march. George Washington gives the bride his arm and
together they lead everyone, performers and guests, in a grand march.
At the close of the march George Washington may make a little speech
to the guests, saying that he hopes everyone has enjoyed his party and
that they will come again next year to help him celebrate his birthday.
FOOTNOTES:
[B] For description of dance see “Ten Timely Dances,” The Womans Press.
[C] “Ten Timely Dances,” The Womans Press.
A CIRCUS PARTY
A Circus Party may be made just as elaborate or just as simple as
one wishes. If one is planning to give an elaborate affair, detailed
suggestions can be found in “A Circus,” published by the Womans
Press.[D] The following plan has been worked out to meet the demands of
those who wish to give a rather simple circus party.
A typical circus barker stands at the outer door. In professional lingo
he invites the guests to come inside. “Ladies and gentlemen, right this
way, right this way! The cleverest collection of comical characters
that ever came to town! Right this way, ladies and gentlemen, right
this way! Nothing finer in the world! Don’t fail to see it. Right this
way!”
The room in which the circus is held should be decorated to look like
a circus tent, if possible. Stretch a piece of old canvas across the
ceiling so that it gives the effect of a tent roof. At each end of the
room arrange booths where refreshments are served. Pink lemonade and
ice-cream cones should be in one, and perhaps “hot dogs” in another.
Have peanuts distributed by venders throughout the crowd. Try to
arrange all sorts of side shows. Display in one the freaks, such as
the armless woman, an Albino, the dog-faced boy, the bearded lady, the
tallest man in the world and others of Barnum and Bailey fame. Be sure
that there is a good barker to “ballyhoo” them and to point out the
peculiarities of each. Have one or two fortune-telling booths, perhaps
a Gypsy palmist and a Turkish crystal gazer.
All sorts of throwing contests can be arranged to attract and amuse the
crowd. For instance, in one booth have a row of cocoanuts suspended
from the ceiling on strings. Give everyone three chances at hitting a
cocoanut. If anyone succeeds he may keep the cocoanut as a prize. Or
have a broken china booth where each person may take three chances at
breaking any bit of crockery he wishes.
Or a game known as “Hoop-la” amuses people immensely. In the center
of a roped-off ring place several prizes on small blocks of wood. The
object of this game is to ring these blocks with ordinary embroidery
hoops, which should exactly fit over the blocks. The person who throws
a hoop so that it circles the block completely, gets the prize on that
block.
Or have a tub or watering trough full of water, on which small shallow
dishes are floating. The object of the game is to throw coins onto
these dishes. The money that lands in the dish is doubled and returned
to the person but any which falls in the water he loses. (Of course
this game should not be played if the party is an invitation affair.)
A dart contest is always popular. Tack at the back of a booth a pack
of playing cards. Give each player five small wooden darts with a
sharp point in the end of each. The object of the game is to hit with
these darts three cards of the same kind, that is, three Jacks or
three Queens. If a player hits the three cards of the same kind in
five trials he is given a pack of playing cards as a prize. Such games
always attract people, especially if at each booth there is a lively
barker who will amuse the crowd and keep things going.
To add atmosphere have all sorts of comical circus characters wander
through the audience--clowns, a rube and his wife, a big fat Irish
policeman, Charlie Chaplin, Sis Hopkins and others. Let them play
all sorts of tricks on each other and on the crowd. Have balloon and
confetti venders everywhere, dressed in bright costumes.
THE BIG SHOW
Of course no circus party can be complete without a Big Show. This also
may be made just as simple or as elaborate as one wishes. Suggestions
for a few acts are briefly described. If one wishes to give a more
elaborate program, detailed directions can be found in “A Circus”
mentioned above.
Stage the Big Show in the center of the floor and have the audience
stand or sit around this ring. Use the barker who stood at the entrance
as the ringmaster. In the most extravagant professional lingo he
should announce each act, pointing out its marvels. There should be a
band to help create the circus atmosphere. If a real band cannot be
had, a kazoo or a vocophone jazz band makes an excellent substitute.
Vocophones are papier-mâché instruments the size and shape of regular
band instruments but made in such a way that by blowing or humming
through the mouthpiece a most melodious and voluminous sound comes
forth. They may be purchased from A. Schoenhut Company, Hagert and
Sepviva Streets, Philadelphia, Pennsylvania, eight instruments for
twelve dollars. Kazoos, small musical mouthpieces, are only a few
cents apiece. Dress the musicians themselves in regular brass-buttoned
uniforms such as bandmen usually wear, or dress them as a colored
minstrel group with white duck suits, huge bright-colored ties and
blackened faces. They should lead the parade and play the piano
whenever such type of music is needed.
PROGRAM
The Parade.
All the performers used in the circus should enter, headed by the
ringmaster, who leads his group around the ring several times and out
through the opposite exit. First comes a jazz band followed by the
clowns, who prance from side to side tormenting the other performers
and doing all sorts of queer antics for the crowds. The freaks should
follow them, and then the wild animals, led by their animal trainer,
the acrobats, the jugglers, bareback riders and the rest of the circus
outfit. After the parade the ringmaster may detain the freaks in the
ring to display the peculiarities of each.
Animals.
If you can rent or make any animal costumes, be sure to have an animal
act. It always amuses the audience if it is cleverly and realistically
done. Have the ringmaster, who acts as animal trainer, put the animals
through all sorts of stunts. He should have a long whip which he snaps
vigorously as he shouts his orders. The lion and the tiger may play
ball with each other, keeping up a constant roar as they toss the ball
back and forth. The polar bear may ride a bicycle, the monkeys may have
a boxing match. The act may be ended by having all the animals dance
around on their hind legs to some lively fox-trot music.
Clowns.
Be sure to have a clown stunt. Use all sorts of clowns, tall and short,
fat and thin. Have some of them do some tumbling or pyramid stunts,
familiar to any gym instructors, and have others mimic them in a
ridiculous fashion. They may end the act with a dance.[E]
The other numbers on the program can be any special stunts that lend
themselves to circus burlesque. Two others from “A Circus” have been
included below to show the type of thing which is always popular at a
circus and which will not take any special time or work in preparation.
JATO, THE JAPANESE JUGGLER
Judged to Have the Jump on All Jugglers.
The act should be performed by two people who are able to put a lot
of burlesque into it and play it successfully to the gallery. Jato,
the juggler, dressed in Japanese kimono, balances his Japanese wife on
his upturned feet. Of course she merely sits on his feet, balancing
herself with the tips of her toes safely on the floor, but bowing and
smiling as though it were a most difficult stunt. Then, with the aid
of an invisible wire suspended from the ceiling, Jato balances such
articles as chairs and tables on his nose. He must hook them cleverly
to the loop end of the wire, as he arranges them in place, so that for
a time the audience is in ignorance of how he does the trick. Finally,
Jato carelessly leaves an object hanging in midair and thus discloses
his secret. His wife quickly snatches it away as he bows to the amused
audience. The old trick of lifting a supposedly heavy weight, which is
finally allowed to bounce on the floor, may be included in this act.
DAISY, THE DARING AND DAZZLING TIGHT ROPE WALKER
Displaying Unrivaled Skill and Recklessness.
A tight rope stunt can be worked out by one, or even two girls,
dressed in fluffy tarlatan costumes with tight bodices and short full
skirts. Stretch a rope tightly across the floor. On it the performer
makes her way across the ring, going through all the gestures and
balancing movements of a real rope walker while the orchestra plays
very melodramatic music. When she reaches the center, have the music
stop while she makes a daring turn, presumably in midair. The orchestra
starts up again with a bang. Of course there is much applause from
the audience. She may even dance along the rope, finishing her stunt
with a quick pirouette turn and a dainty jump to the floor. With many
elaborate bows to the audience and to the ringmaster she leaves the
ring.
As a finale have all the performers prance around the ring several
times to lively music, throwing confetti and serpentine at the
audience. This procession will make a very gay and appropriate ending
for the Big Show.
Be sure that everything pertaining to your evening’s entertainment is
gay, colorful and circus-like. Try to have the audience and performers
catch the spirit of fun and jollity that makes a circus party go.
FOOTNOTES:
[D] “A Circus,” The Womans Press. Price 50 cents.
[E] “Ten Timely Dances,” The Womans Press. Price 50 cents.
AN ITALIAN STREET SCENE
_Note_: This is a side show or interlude in a larger entertainment
rather than a party in the usual sense of the word.
The setting is a gay, sunny Italian street or corner in the market
place. Across the center-back is a fruit stand piled high with
vegetables and fruits and bunches of hanging bananas. At one side is a
two-wheeled pushcart; at the other, a wooden bench. When the curtain
goes up everything suggests the happy, lazy activity of an Italian
street on a bright summer day. The fat, good-natured looking fruit
dealer, in gay peasant costume, is selling vegetables to a chattering
peasant woman who carries a huge basket on her arm. A handsome Italian
youth lounging on the bench is being persuaded by a pretty Italian
flower girl to buy her flowers. “Fiori, belli fiori, un soldo al’uno”
(Flowers, flowers, one cent apiece), she urges. He feigns amused
indifference and goes on smoking his cigarette. An Italian boy, sitting
on the floor against the wheel of the pushcart, is playing a harmonica,
utterly oblivious to his surroundings. An old bent-over vender, pushing
his cart across the back of the stage, cries, “Tomati, potati, e
pepperone freschi” (Tomatoes, potatoes and fresh peppers). Two pretty
Italian girls stroll by.
This action goes on in pantomime until way in the distance “O Sole Mio”
can be heard. The boy with his harmonica stops his playing and runs in
the direction from which the music comes. The music grows nearer and a
group of strolling Italian street musicians enter. They are dressed in
the bright costumes of the troubadour type. Some of them are playing
stringed instruments. The singers carry tambourines. One of the girls
in the group, who is evidently a dancer, catches sight of the handsome
Italian youth and goes over toward him. Two peasant girls who chance to
be passing by stop and watch her. The fruit dealer, his customer and
several other passers-by stop and listen to the music. From “O Sole
Mio” it changes into the well-known solo from “Il Trovatore,” “Oh, I
Have Sighed to Rest Me,” sung by one of the men in the group. Without
a pause, two others, a man and a woman, sing the duet from the same
opera, “Home to Our Mountains.”
The crowd applauds with great enthusiasm, and the music begins again
in a gayer strain. “Fickle Is Woman,” from “Rigoletto,” is sung with
spirit. The men sing the first line, the women the next, and so on,
alternating, until the last refrain, “Borne on the Breezes,” which is
sung together. From that they swing into “Finiculi, Funicula,” which
pleases the crowd immensely. The music changes to a lively Italian
dance rhythm. The dancer who has been trying to attract the attention
of the Italian youth strikes her tambourine and dances a wild, spirited
dance, without taking her eyes off him. She ends the dance with several
fast turns down-stage, stopping directly in front of him. The crowds
applaud, the youth rises and together they dance the Tarantella to gay
Tarantella music. Some of the singers and several of the onlookers join
them, dancing and singing “La Peppinetta.” They dance round and round
in a glad carefree fashion, laughing and throwing flowers at each other.
The music swings back into “Finiculi, Funicula,” which everyone sings
and applauds wildly. The musicians collect their pennies from the crowd
and start off, singing “O Sole Mio,” the song with which they entered.
Some of the crowd follow, others wander off. The Italian youth watches
the dancer for a minute and then resumes his lazy pose on the bench.
The music grows fainter and fainter in the distance. The peasant woman
continues her bargaining with the fruit dealer. The boy takes his place
by the pushcart and goes on playing his harmonica. Gradually the street
resumes its accustomed lazy atmosphere, which had been interrupted for
a moment by a group of strolling players.
LA PEPPINETTA
From “Songs of Italy,” collected by Marzo, published by Schirmer, New
York.
Milan (Lombardy). Sung by the group or by the dancers.
Italian: Che bel moffin la Peppinetta!
English: What a sweet face has Peppinetta!
Corpa de dia, vui fagh l’amor!
Body o’ me, if she were only mine!
La la lie-ra la la la lie-ra la la la la la la la la la la!
la la lie-ra la la la lie-ra la la la la la la la la la la!
Che cara tosa allegra, scetta,
She is a dear, I cannot forget her,
L’eona bellezza, l’èon ver te-sor!
Lively, and lovely, truly divine!
La la lie-ra la la la lie-ra la la la la la la la la la la!
la la lie-ra la la la lie-ra la la la la la la la la la la!
Se o-na quei volta su quel moffin,
If any time I dare to do it,
Podess mo fagh quel che vui mi,
What I would like to, on her face,
Mi ghe faria on bel basin,
With a warm kiss I’ll venture to woo it,
Che no desideri de pu d’insci!
And I shall wish no more and no less!
(Repeat last two lines twice.)
D’insci, d’insci, d’insci, d’insci!
No less, no less, no less, no less!
La la lie-ra la la la lie-ra la la la la la la la
la la la la la la lie-ra la la la lie-ra la la la
la la la la la la la la la la la la la la la la!
GYPSY DANCE
This dance is arranged for four or more couples, a solo dancer and
her partner. To be effective it must be staged with the proper Gypsy
atmosphere and the larger the group the better. Have the Gypsies seated
and lying around the stage in a rough circle. When the curtain rises
they are talking, laughing and humming songs. Almost instantly a Gypsy
man enters, dragging after him a Gypsy maid, whom he throws into the
center of the circle. The captive gradually raises her head and, seeing
the curious gaze of the group around her, decides to win them by her
dancing. As the music starts and she begins to dance, some of the
Gypsies in the group take up tambourines and play them in time to the
music; others sway back and forth or hum snatches of the tune.
Music. Danse de la Gipsy, by C. Saint-Saëns, from the Opera
“Henry VIII.”
Introduction. Rise to standing position with hands on hips.
2 measures.
Steps.
_Figure 1_--16 measures.
{Starting with R foot, run 5 steps toward one group
{ of Gypsies. 1 measure.
(a) {Step forward on L foot, step backward on R foot and
{ drag L foot back to R toe. 1 measure.
{Turn and repeat whole toward another group of Gypsies.
2 measures.
{Step with R foot and make half-turn toward R, count 1.
{Step with L foot and make half-turn toward R, count 2.
(b) {Step with R foot and make half-turn toward R, count 3.
{Step with L foot and make half-turn toward R, count 4.
{Hold position, standing on L foot with R foot extended
{ at side and head flung back, looking over
{ R shoulder, counts 5 and 6. 1 measure.
Repeat (b) twice. 2 measures.
Hold final position and swing R arm in arch in front of
body and out to R at shoulder height. 1 measure.
Repeat (a) and (b), bringing feet together at end of final measure.
_Figure 2_--18 measures.
Progress around circle, keeping back to center, with following step,
hands on hips.
{Step L foot diagonally across R, bending both knees.
(a) {Step R foot back and to the side, step L foot behind
{ R, step R to the side.
Repeat 8 times. 3 measures.
(b) Step to R and pirouette with arms circling overhead. 1 measure.
(c) Repeat (a). 3 measures.
{Run 5 steps, starting L, toward one of the groups of
{ Gypsies. Step forward on R foot and hold R hand
(d) { out as though in supplication. 1 measure.
{Repeat 3 times, advancing toward a different group
{ each time. 3 measures.
Repeat (a) for one measure. 1 measure.
{Step L foot across R, bend L knee and extend R foot
{ at side, then sweeping R arm across body in circle,
(e) { raise body to standing position with feet together.
{ 1 measure.
Repeat (e). 1 measure.
Repeat (a) in double time. 3 measures.
Pirouette in center of stage with arms circling overhead
and pose with feet together, arms stretched out overhead
and head flung back. 1 measure.
_Figure 3_--34 measures.
{Step R foot to side, bring L foot to R heel, change
{weight to L foot, change weight to R foot. (This
(a) {should be done on the toes with a slight bend in the
{knees.) 1 measure.
{Repeat to L. 1 measure.
{4 mazurkas, starting R. 2 measures.
{ Mazurka: Slide R foot diagonally forward R;
{ bring L foot up to R heel and step on it, raising
{ R knee high with R foot pointing down at L
(b) { knee.
{Step forward R and hold with L foot at R heel,
{ counts 1 and 2.
{Step back on L foot, count 3. Drag L foot back to
{ position in front of R toe and then place weight on
{ L foot, counts 4, 5, 6. 1 measure.
Step back L, dragging R foot to position. { 1 measure.
Step back L, dragging R foot to position. {
{Pirouette L, hands circling over head, and hold pose,
{ standing with weight on L foot, L hand on hip and
{ R arm extended over head. 1 measure.
{ (An experienced dancer may substitute a leap-turn
(c) { for the pirouette.)
{Pirouette R and pose. 1 measure.
{Pirouette L and pose, swinging R arm across body
{ and back to position over head. 2 measures.
{Repeat (b) through (c) three times. 24 measures.
_Figure 4_--12 measures.
{Hold final position of Figure 3 for 2 counts, then drop
{ on R knee, with body and head turned toward R and
{ bent over R knee and L leg extended straight out
(a) { behind. L arm swung back following line of L leg,
{ count 3. Rise to standing position through 3 counts
{ of music, swinging R arm forward and over head. 1 measure.
{Repeat to L. 1 measure.
{Hold 2 counts in standing position, replacing hand on
{ hip.
{With 5 two-steps forward, starting R, progress in a
(b) { small circle around stage.
{ Note: The two-steps should be done with the knees
{ slightly bent and a swaying motion from side to
{ side. 2 measures.
Repeat (a) and (b). 4 measures.
{Step R and pirouette, 2 counts.
{With 20 large steps, starting R, run around circle,
(c) { keeping back to center.
{Step R in center of stage and pirouette, ending with
{ arms stretched out over head, and head flung back, 4 measures.
_Figure 5_--22 measures.
Four couples jump up from the group and take places in four corners of
a square around the solo dancer. Man joins solo dancer as her partner
for this step. This action must be spontaneous, as though the solo
dancer had excited the rest so that they could no longer keep still.
The girls stand with their backs to the center of the circle. The
weight is on the L foot and the R foot is extended toward partner. The
R hand clasps partner’s R hand, the L arm is flung straight up over
head.
The men stand facing the center of the circle in the same position as
the girls.
The solo dancer and her partner take the same position as the rest of
the group, standing in the center of the stage.
Hold position for 2 counts, then, swinging L arm down at
side and keeping R hands joined, exchange places with
partner with 4 running steps, starting R. 1 measure.
Repeat back to place. 1 measure.
Hold original position for 2 counts, then, placing hands
on hips, with 5 two-steps, starting R, each girl advances
toward the man in the couple on her L, each man advances
toward girl in the couple on his L, while the central
dancers dance around each other. 2 measures.
Take both hands of new partner and with feet together and
bodies stretched away from partner, heads flung back, swing
partner around in place. 4 measures.
Repeat whole, using two-steps to return to original partner.
8 measures.
Men stand in place facing center of stage, with arms folded
and held high, watching the girls dancing around them.
Girls with hands on hips dance around partners with 11 waltz
steps, starting R, and a pirouette L in front of partner. 4 measures.
Girl pirouettes R in front of man, who holds position, then
man takes girl’s L hand in his L hand and lets her fall back
over his R arm, while she supports herself with her R foot
on the ground, her R knee bent and her L leg extended in the
air. 2 measures.
As music ends, all exeunt laughing, singing and striking tambourines.
COSTUMES
Girls: Short, bright-colored skirts and blouses; bare legs; scarfs tied
over the head; beads, earrings, bracelets, etc.
Men: Long dark trousers, bright-colored shirts, and scarfs tied around
the hips.
A CHRISTMAS SERVICE
Time. Christmas Eve.
Place. A dimly lighted hall or church.
Persons in the Tableau.
The Three Wise Men
A Shepherd
An Angel
Mary, Joseph and the Child
A group of singers in choir robes
The Setting. A dark curtain background.
The audience is seated in a dimly lighted hall, at the windows of
which long Christmas tapers are burning. When everything is still,
far outside in the distance “Adeste Fideles” is heard. The song comes
nearer. A group of singers dressed in choir robes enter and pass up
the center aisle, singing in a glad, spirited fashion.
O come, all ye faithful, joyful and triumphant,
O come ye, O come ye to Bethlehem;
Come and behold Him born the King of Angels;
O come, let us adore Him,
O come, let us adore Him,
O come, let us adore Him, Christ the Lord.
They group themselves in a semicircle in front of the stage, kneeling
as they sing the “Amen.” The lighted tapers which they carry throw a
lively, warm light on their young faces.
The curtains part, revealing the tableau of the Three Wise Men, their
gifts of gold, frankincense and myrrh. They enter from the right and
slowly move across the stage toward a great light, singing.
_Tune: Traditional Melody_
We three Kings of Orient are,
Bearing gifts, we wander afar
Field and fountain, moor and mountain,
Following yonder star.
The singers down in front sing the chorus:
O star of wonder, star of might,
Star with royal beauty bright,
Westward leading, still proceeding,
Guide us to thy perfect light.
The King bearing gold sings:
Born a King on Bethlehem plain,
Gold I bring to crown Him again,
King for ever, ceasing never
Over us all to reign.
The chorus chants:
“O star of wonder” etc.
The King bearing frankincense, sings:
Frankincense to offer have I;
Incense owns a Deity nigh;
Prayer and praising all men raising,
Worship Him, God on high.
Chorus chants the refrain:
“O star of wonder” etc.
The King bearing myrrh sings:
Myrrh is mine; its bitter perfume
Breathes a life of gathering gloom:
Sorrowing, sighing, bleeding, dying,
Sealed in the stone-cold tomb.
The chorus chants:
“O star of wonder” etc.
All three Kings sing:
Glorious now behold Him arise,
King and God and Sacrifice;
Heaven sings Alleluia;
Alleluia, the earth replies.
The chorus chants the refrain and the Three Wise Men go off to the left
in the direction from which the light came. The curtains close and
choir sings:
_Tune: Carol, by R. S. Willis_
It came upon the midnight clear,
That glorious song of old,
From angels bending near the earth
To touch their harps of gold.
“Peace on the earth, good-will to men,
From heaven’s all-gracious King,”
The world in solemn stillness lay,
To hear the angels sing.
They swing from the “Amen” of this hymn to another old familiar one,
“While Shepherds Watched Their Flocks by Night.” The curtain rises,
revealing the tableau of the Shepherds. The persons in the picture
pantomime the action as the chorus sings the words.
While shepherds watched their flocks by night,
All seated on the ground,
An angel of the Lord came down
And glory shone around.
And glory shone around.
Fear not, said he, for trembling dread
Had seized their troubled minds,
Good tidings of great joy I bring
To you and all mankind.
To you and all mankind.
To you in David’s town this day
Is born of David’s line,
A Savior who is Christ the Lord
And this shall be the sign.
And this shall be the sign.
The curtains close on the “Amen.” The chorus sings:
_Tune: Old Traditional German Melody._
Silent night, holy night,
Darkness flies, all is light,
Shepherds hear the angels sing
Alleluia, hail the King,
Christ, the Saviour is here,
Jesus, the Saviour is here!
Silent night, holy night,
Guiding star, lend thy light!
With the angels let us sing
Alleluia to our King,
Christ, the Saviour is here,
Jesus, the Saviour is here!
After the “Amen” the chorus sings “Sleep, Holy Child,” as the curtain
rises on the tableau of the Nativity.
_English version by Frederick H. Martens; tune: Old French Noël,
arranged by Herbert Tones._
Lying around the oxen mild,
Sleep, sleep, sleep, O Holy Child!
Round Thee as they wing,
Guardian angels sing,
Homage pay to Thee,
To infant love’s sweet King.
Sleep, sleep, sleep, O Holy Child!
2nd. Roses and lilies round Thee piled, etc.
3rd. Dreams by the shepherds’ song beguiled.
The curtain closes as the chorus chants with bowed head the “Amen.” The
singers rise and turning toward the audience sing “Joy to the World.”
_Tune: Antioch._
Joy to the world! The Lord is come,
Let earth receive her King,
Let every heart prepare Him room,
And heaven and nature sing,
And heaven and nature sing,
And heaven, and heaven and nature sing.
He rules the world with truth and grace.
And makes the nations prove
The glories of His righteousness
And wonders of His love,
And wonders of His love,
And wonders, and wonders of His love.
The music changes to the same processional to which they entered. The
chorus, with lighted tapers held high, pass down the aisle and away,
singing as they go.
_Adeste Fideles._
Yea, Lord, we greet Thee, born this happy morning,
Jesus, to Thee be all glory given:
Word of the Father, now in flesh appearing:
O come, let us adore Him,
O come, let us adore Him,
O come let us adore Him, Christ the Lord.
The “Amen” is heard way in the distance. The tableau is ended.
SETTING
Across the width of the stage is a dark curtain which hangs in deep
folds. It opens in the center on a space wide and deep enough to stage
each of the three pictures. Across the back of this space there should
be a dark, midnight-blue, starry background against which each picture
is set.
DESCRIPTION OF THE PICTURES
The Three Wise Men
The first picture is of the Three Wise Men on their way to Bethlehem.
They are dressed in oriental robes and turbans. The first carries a
pot of gold; the second, a jeweled casket filled with frankincense;
the third, an incense holder filled with myrrh. As the curtains part,
they enter from the right. Their gaze is fixed on a great light which
streams from off-stage, left, on their upturned faces. They move slowly
across the stage and toward the light as they sing “We Three Kings of
Orient Are.”
The Angel and the Shepherds
The second picture is of the Shepherds watching their flocks by night.
When the curtains part, two shepherds are seated at the right of the
picture, half reclining against a rock. At their feet another lies
asleep. A little to the left-center of the picture, two others are
stretched on the ground. Suddenly there is a great light off-stage, at
the left, and an angel robed in white appears from the direction in
which the light comes. The shepherds sink back in fear and awe. The
angel raises her left hand in token of peace, and turning toward the
light, points with her right hand toward Bethlehem, where the Christ is
born. The shepherds gaze a moment and then start to rise and follow, as
the angel moves away in the direction of the light.
The Nativity
The last picture is the Nativity of the Manger. In the center sits Mary
bending over the Christ Child. Behind her stands Joseph. Kneeling in
front of her and a little to her left are the Three Wise Men, to her
right the same shepherds to whom the angel appeared. The Wise Man at
the extreme right of the picture stands with bowed head; the other two,
at his left, kneel, one with outstretched hands, the other with head
and shoulders bent low. At the extreme left of the picture a stalwart
shepherd leans upon his staff, his gaze fixed in wonder upon the Child.
At his right, one companion kneels; the others are prostrated on the
ground. All the light in the picture seems to radiate from the Child,
casting a beautiful radiance on the face of the Virgin. The figures
stand immovable, wrapped in worshipful awe, as the choir sings “Sleep,
Holy Child.”
Transcriber’s Note
Perceived typographical errors have been changed.
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