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+*** START OF THE PROJECT GUTENBERG EBOOK 77020 ***
+
+
+_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.
+
+
+
+*** END OF THE PROJECT GUTENBERG EBOOK 77020 ***