Chapter I: Part 1

_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.