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SOCIAL GAMES 
 GROUP DANCES 
 
 A COLLECTION OF GAMES AND 
 DANCES SUITABLE FOR COM- 
 MUNITY AND SOCIAL USE 
 
 BY 
 
 J. C. ELSOM, M.D. 
 
 ASSISTANT PROFESSOR OF PHYSICAL EDUCATION 
 THE UNIVERSITY OF WISCONSIN 
 
 AND 
 
 BLANCHE M. TRILLING 
 
 ASSOCIATE PROFESSOR OF PhVsICAL EDUCATION 
 THE UNIVERSITY OF WISCONSIN 
 
 WITH AN INTRODUCTION BY 
 PROFESSOR M. V. O'SHEA 
 
 ILLUSTRATED 
 
 PHILADELPHIA AND LONDON 
 
 J. B. LIPPINCOTT COMPANY 
 
 1919 
 
Q^.^ 
 
 COPYRIGHT, I919. BY J. B. LIPi-INCOTT COMPANY 
 
 PRINTED BY J. B. LIPPINCGTT COMPANY 
 
 AT THE WASHINGTON SQUARE PRESS 
 
 PHILADELPHIA, U. S. A. 
 
 AUG-1 1B19 
 
 0r,:, A 520431 
 
INTRODUCTION 
 
 For a number of years the authors of this vol- 
 ume have been testing the practical value of social 
 games and group dances for children of all ag ,s and 
 also for adults. They have had gratifying success 
 in devising games and dances which make a strong 
 appeal to young and old alike. The writer of this 
 Introduction has often observed Professor Elsom 
 and Professor Trilling take groups of children or 
 grown persons who were diffident, restrained and ill- 
 at-ease in each other's presence and quickly make 
 them forget their embarrassment so that they par- 
 ticipated readily and gladly in what was going on. 
 These players or dancers of whatever age always 
 had a good time. They " let gO' of themselves," to use 
 a phrase which they have often been heard to use in 
 describing their experiences in these games and 
 dances. Their tensions were quickly released and 
 their social impulses' and desires were indulged. So 
 they were benefited physically as well as socially; 
 they were really humanized during these play-hours 
 because they learned how tO' enjoy one another and 
 to appreciate the versatility and companionability 
 of each other. The chief reason why a person so 
 often does not see anything to admire or enjoy in 
 others is because they are stiff, awkward, inhibited 
 when they are togetlier. They do not reveal any 
 
 3 
 
 
4 INTRODUCTION 
 
 human traits to one another; and so why should they 
 like each other or wish to be together? 
 
 The writer has observed the change in social 
 relations and aittitudes which has taken place in 
 groups of mature persons who have, during a few 
 weeks each summer for several years, participated 
 in the games and dances described in this volume. 
 They have been transformed socially, and they have 
 greatly enjoyed the experiences which were respon- 
 sible for their transformation. They have been 
 made more spontaneous and unconstrained in their 
 intercourse with their fellows, and less self-conscious 
 and self -critical. They really have been put in the 
 way of getting more out of life than they had been 
 in the habit of getting. 
 
 The games and dances described herein are suit- 
 able for almost any occasion or any social group of 
 either youthful or mature persons in the city or in 
 the country, in the home or in the school, in the 
 social center or in the ballroom. The teacher, the 
 parent or the social leader who is familiar with 
 these games and dances will always have at hand 
 the means of miaking the members of a group feel 
 at home with each other, and keeping them occupied 
 in entertaining and wholesome ways. Anyone who 
 is responsible for the icare and culture of young 
 children will find these games and dances an ever- 
 present help in time of need. Mischief and mis- 
 conduct are due mainly to lack of proper amusement 
 
INTRODUCTION 5 
 
 and interesting occupation, and the teacher or parent 
 who cannot suggest legitimate group activities for 
 the leisure hours of the young, misses the chief 
 opportunity to be of service in averting disorder of 
 one kind or another and in developing resource- 
 fulness and competency in social situations. 
 
 Particular mention should be made of the use- 
 fulness of these games and group dances by way 
 of substitution for ballroom dancing. Complaint 
 comes from every quarter that young people are too 
 much in the ballroom. Boys and girls often get on 
 poorly together outside the ballroom because they 
 do not know anything interesting to do that will 
 eliminate their stiffness and embarrassment. These 
 social games and group dances will accomplish this 
 purpose. They are much better suited to the nature 
 and needs of youth than present-day ballroom dances, 
 for they are full of action and humorous and dra- 
 matic situations, not overemphasizing the sex factor. 
 
 The games and dances are so clearly and con- 
 cretely described and so fully illustrated that they 
 can be easily understood by any teacher or parent 
 or social leader or even by a group of players or 
 dancers themselves. The authors have tested them 
 with so many groups under such a variety of con- 
 ditions that they have learned how to present them 
 so that they can be followed without difficulty or 
 confusion. 
 
 M. V. O'Shea. 
 
ACKNOWLEDGMENT 
 
 At the beginning of this book, I wish to express 
 my indebtedness to Professor Clark W. Hethering- 
 ton and to Mr. WilHam B. Owen, whose interest, 
 encouragement and suggestions had much to do with 
 the success of my Social Hour experiment in the 
 Chicago Normal School and later in the University 
 of Wisconsin, for this book is itself an outgrowth 
 of the Social Hour. 
 
 The preparation of the book would have been 
 well nigh impossible without the assistance of Pro- 
 fessor C. H. Mills, Director of the School of Music 
 of the University of Wisconsin, who arranged the 
 music for many of the dances. Miss Mabel Dooley 
 of the University of Wisconsin has been an invalu- 
 able helper in the preparation of the manuscript. 
 Many of the practical problems in connection with 
 the dances and the music were worked out in coopera- 
 tion with Mrs. Mary Ayer Trumpf, and Mrs. W. F. 
 Steve made the child pictures possible. 
 
 Blanche M. Trilling. 
 University of Wisconsin 
 
 December, 1918. 
 
CONTENTS 
 
 PART I 
 
 CHAPTER PAGE 
 
 I. Social Mixers and Acquaintance Games 15 
 
 II. Active Games of Tag 48 
 
 III. Parlor and House-party Games 66 
 
 IV. Games with Pencil and Paper ii2 
 
 V. " Stunts " 122 
 
 PART II 
 
 Group Dances 133 
 
 Portland Fancy. French Reel. Circle Dance. 
 Vineyard Dance. Pop Goes the Weasel. Ring 
 Dance. How Do You Do? We Won't Go Home 
 Till Morning. Virginia Reel. Country Dance. 
 Cschbogar. Swedish Clap Dance. Bean Porridge. 
 Barn Dance for Three. Dancing on the Green. 
 Circle Bam Dance. ^ 
 
 PART III 
 
 Singing Games and Dances Especially Adapted 
 
 TO Children 215 
 
 Swinging in the Swing. Jolly is the Miller. Did 
 you Ever See a Lassie. Dance of Greeting. Greet- 
 ing and Meeting. The Circus. Carrousel. Captain 
 Jinks. Our Little Girls. The First of May. 
 Hickory Dickory Dock. Ribbon Dance. 
 
PART I 
 
 SOCIAL GAMES 
 
 By 
 J. C. ELSOM, M.D. 
 
INTRODUCTION TO PART I 
 
 The social value of the game, the play and the 
 folk-dance is unquestioned; and, with this truth in 
 view, the authors of this volume have endeavored to 
 furnish some suggestions which shall serve as a 
 working basis for the practice of these healthful 
 activities. It has 'been our purpose especially to 
 emphasize those games and dances which have 
 seemed to us to contribute best to the social educa- 
 tion of young people, and which furnish for them 
 the most healthful forms of physical activity. In 
 many instances there have been described plays and 
 dances which may be given to large numbers at once ; 
 and the authors have kept constantly in mind the 
 furthering of social acquaintanceship among large 
 groups of young people who have come together per- 
 haps not only unacquainted, but unfamiliar with 
 methods of promoting acquaintanceship. These 
 methods have been tested successfully over and over 
 again in groups of students and in miscellaneous 
 gatherings of young people, and are especially suited 
 for social " mixers," house-parties, picnics, for 
 social settlements and the like. 
 
 No attempt has been made to give a large col- 
 lection of games essentially suited to the gymnasium ; 
 or of group- or team-games, because there is abun- 
 
 13 
 
14 INTRODUCTION TO PART I 
 
 dant literature already existing descriptive of these 
 activities. Neither have the games and dances 'been 
 selected with special reference to young children, 
 although many of them are suitable in this connec- 
 tion. Many of the methods described in this 
 volume have been productive of admirable results 
 in groups composed of people of varying ages, many 
 of the interested participants being persons of mid- 
 dle life. In fact, we have come to believe that for 
 all people — ^young and old — ^social activities are 
 desirable, and that wholesome recreations contribute 
 in large measure to the joy of living. In our busy 
 American life, we are apt to overlook or neglect these 
 activities ; and, from such neglect, we are convinced 
 that our people are distinctly losing much that would 
 add to their welfare, physical, mental and social. 
 We believe that to " live happily ever afterward," we 
 need to have developed in our youth an essentially 
 social instinct, and that the development of this 
 instinct will be a distinct asset to us all, whatever 
 our age or calling or station in life may be. 
 
 J. C. Elsom. 
 
 The University of Wisconsin. 
 
SOCIAL GAMES AND 
 GROUP DANCES 
 
 PART I 
 
 CHAPTER I 
 
 SOCIAL MIXERS AND ACQUAINTANCE GAMES 
 
 Social Values. — ^We are brought increasingly in 
 these days to recognize the value of a cultivation of 
 the social instinct. With few exceptions, this desire 
 for intermingling with our fellows is strong in us all, 
 and the social education is of utmost importance. 
 If we are to be successful in any line of life's endeav- 
 ors, we must constantly be thrown with our fellow- 
 men, and must learn to be easy and natural in the 
 presence of others. It is no mean accomplishment to 
 be able to converse with ease, to convey our thoughts 
 and feelings to others, and tactfully to meet our 
 fellows in social intercourse. It is unfortunate that 
 the veneer of artificiality so often exists in modern 
 society and in our every-day dealings with our asso- 
 ciates. We are not quite ourselves with our " com- 
 pany manners," and our dress clothes; we too often 
 seem to desire to appear what we are not. 
 
 We are Ourselves in Play. — But in our play and 
 In our games our most intimate characteristics and 
 
 15 
 
16 SOCIAL GAMES 
 
 points of individuality s!how themselves. In plays 
 which are natural, unrestricted and enjoyable we 
 throw off all artificialities and abandon our pretense. 
 A spirit of comradeship immediately takes posses- 
 sion of us in our games, and some of the most val- 
 uable social characteristics are developed. Groups 
 of young people, thrown together for the first time, 
 are apt to be stiff and unnatural, strained in their 
 feelings and formal in their outward expressions. 
 Bashf ulness and uneasiness are often felt and shown ; 
 but when a game is proposed and played with enthu- 
 siasm all is changed. Natural and unrestrained 
 conduct now takes the place of formality and arti- 
 ficiality, and everybody has a " good time." Self- 
 forgetfulness has been developed. 
 
 Purpose of Chapter. — It is proposed in this chap- 
 ter to deal specifically with certain activities which 
 have to do with promoting acquaintanceship and 
 breaking down formality in rather large gatherings 
 of young people, who have come together for social 
 purposes. Am.ong such occasions might be men- 
 tioned large house-parties, socials among high- 
 school, college or university students; social gath- 
 erings of young people in church, lodge or social 
 settlement, and in similar groups of whatever kind — 
 in the home, the hall, or at the picnic. 
 
 Leadership. — The successful engineering of 
 social " mixers " of this kind depends largely upon a 
 committee who must consider and prepare a rather 
 
SOCIAL MIXERS AND GAMES 17 
 
 definite program, arud upon a leader who must spe- 
 cifically direct the activities of the group. Much 
 depends upon the qualifications and tact of the leader. 
 He should himself possess the social instincts and be 
 of easy address, and temperamentally free from 
 formality, A spirit of comradeship and friendship 
 is essential. He should tactfully lead in the activ- 
 ities, and not drive them. An overbearing and tact- 
 less leader in fimotions of this kind is v^orse than 
 none at all. 
 
 Dividing the Company into Groups. — Presup- 
 posing that the " mixer " is to be held in a large hall 
 or church parlor, it is well that each person, as he 
 enters, be requested to write his name upon a small 
 slip of paper or card, and this card should be worn 
 so as to be easily seen. If it is desired to form small 
 preliminary groups, some of the following methods 
 may be used : 
 
 Birth Months. — In addition to the name, each 
 writes on the card his birth month. When all have 
 arrived and so " tagged " themselves, the leader 
 should announce that around the hall have been 
 arranged twelve large signs, bearing the names of 
 the months of the year, and under these signs the 
 people must group themselves according to the 
 months in which they were bom. It is announced 
 that, without formal introduction, each is given the 
 opportunity to become acquainted with the others. 
 If one can explain why his particular month is more 
 
 2 
 
18 SOCIAL GAMES 
 
 desirable than all the others, or why it is historically 
 noted, so maidi the better. At least, a topic of con- 
 versation immediately pre'sents itself, and that 
 counts for something. After a sufficient period of 
 time is given for this form of social activity, the 
 leader should direct the groups to exchange visits. 
 For instance, December might be urged to visit May, 
 Novem'ber to exchange greetings with June, and 
 blustery March to greet the greater calmness of 
 August. By such initerchange, the individuals in the 
 group will have had opportunity for meeting each 
 other. 
 
 Colors, etc. — A similar method is to tag each 
 one as he enters with a bit of colored crepe paper. 
 Around the room should be arranged large sheets 
 of the various papers, under which the people group 
 themselves. A similar interchange of visits between 
 the different colors should be suggested. 
 
 States, Cities, Counties, etc — In the case of 
 students who come from different states or counties, 
 and w^ho have not had occasion to meet each other, 
 cards bearing the names of the different states may 
 mark the location of the gathering places. A more 
 inclusive method is to inscribe the cards with sec- 
 tions of the country, as New England, The South, 
 The Rocky Mountain District, The Pacific Coast, 
 e^c. When m'any come from the same state, the 
 division into counties is suggested, or even of streets 
 or wards, in case many live in the same large city. 
 
SOCIAL MIXERS AND GAMES 19 
 
 In all cases, however, there should be the opportu- 
 nity to intermingle with other! groups. 
 
 Acquaintance Cards and Signatures. — In com- 
 bination with these plans, or as a separate method, 
 the " acquaintance card " is a very efficient means 
 of mutual introduction. To each person is handed, 
 as he enters the room, a card of rather generous 
 size, and the direction is given that he shall secure 
 the signature of each person with whom he con- 
 verses for one minute or longer. This scheme imme- 
 diately sets all to work, and accomplishes its purpose 
 very admirably. To introduce a little element of 
 variety, and perhaps O'f fun, the cards may be 
 printed in this fashion : 
 
 NAME 
 
 COLOR OF HAIR 
 
 COLOR OF EYES 
 
 PROBABLE AGE 
 
 DISPOSITION 
 
 
 
 
 
 
 The signature is secured from the person with 
 whom converse is held, but the description mentioned 
 is jotted down by the person holding the card, who 
 need not confine himself strictly to the truth. The 
 description of the probable disposition of the new 
 acquaintance must be made by the use of one adjec- 
 tive. The cards, with tiheir miscellaneous data, may 
 
20 SOCIAL GAMES 
 
 be retained as souvenirs of a very pleasant occasion. 
 
 Prizes. — ^In connection with this method, prizes 
 may be awarded to those who secure the largest 
 number of names. This adds zest to the quest for 
 wider acquaintanceship. The prizes need not be 
 elaborate ; often it is better to present some trifling 
 or ludicrous prize, which should be carefully 
 wrapped, with the requirement that it be publicly 
 opened at the proper time, and perhaps oratorically 
 acknowledged by the winner. First and second 
 prizes should be given to the men and' to the women 
 w*ho secure the largest number of names, and a 
 " booby " prize might be similarly awarded. The 
 leader may quickly pick the winners by requesting 
 those w'ho have a certain number of names (say 
 twenty) to indicate that fact ; then thirty, or forty, 
 and so on, until finally the winner is found. 
 
 The " Mysterious Couple." — It is often the very 
 simplest exipedient that brings results. If there is 
 given some topic of conversation, even if it be the 
 weather, people immediately begin to talk and to 
 become acquainted with each other. A common 
 interest or a common topic of conversation is all that 
 is needed to foster acquaintanceship ; and " one thing 
 leads to another." The " Mysterious Couple " is one 
 of these simple methods. The leader announces to 
 the crowd that there is in the room a mysterious 
 couple, who must be found by diligent inquiry. Any 
 couple may be the " mysterious " ones — either a boy 
 
SOCIAL MIXERS AND GAMES 21 
 
 and girl, or two boys, or two girls. They are pre- 
 viously selected, and so informed; the trick is to 
 find them. In order to do so, one musit question 
 every couple whom he sees together. The formula 
 may be, " Tell me, please, are you the mysterious 
 couple? " As the mysterious couple may not always 
 be standing together, the finding process is not so 
 easy; but the search must be made, the questions 
 must be asked, and "mixing" must be done. 
 Finally, when the couple is discovered, they must 
 quietly acknowledge it, take the name of the dis- 
 coverer, which is afterward announced, and perhaps 
 a prize is awarded to the lucky one. Second and 
 third prizes might be awarded. The couple, after 
 having been " discovered " for the first time, imme- 
 diately separate, and afterward court a second 
 discovery. 
 
 The "Millionaire Friends." — ^A similar "mix- 
 ing" scheme has been tried with success by the 
 author, which he has named the " Millionaire 
 Friends." A couple, or couples, with the prize in 
 their possession, are ready to deliver it to the first 
 who discovers their identity and their generosity. 
 The committee provides a twenty-five-cent piece as 
 a prize. Any other amount or any prize might be 
 used. The money prize is given to the couple who 
 pose as the " millionaire friends," and of course 
 these friends are eagerly sought, and discovered 
 only after much questioning. The question to which 
 
22 SOCIAL GAMES 
 
 they respond must be after the formula : "I am in 
 need of money and friends. Will you two people 
 lend me a quarter ? " If the millionaire friends hap- 
 pen to be together, they reply : " On signing your 
 name, the money will soon be delivered to you." 
 The name is taken^ and later on the prize is publicly 
 awarded. In order that the search may not ter- 
 minate too soon, the couple must separate at first, 
 afterward coming together. They may only award 
 the prize when they happen to be together. In large 
 crowds it would be well to have three or four cou- 
 ples, each willing to " lend " the money, if properly 
 asked to do so. If three couples are selected — a. boy 
 and a girl, two boys, and two girls — ^the quest will 
 be more interesting. 
 
 The " Mixing March." — One of the best methods 
 of quickly and surely " mixing " young people is th« 
 " Mixing March." It has always been, in the 
 author's hands, productive of splendid results, and 
 provokes much amusement. Two large circles are 
 formed around the room, the boys making up the 
 outside circle and the girls the inside. The leader 
 stands in the center of the circles, and all face toward 
 him. He commands, " Outside circle, face to the 
 right ; inside circle face to the left ! " At the corn- 
 man, " Forward, March ! " the boys thus march 
 around in one direction, and the girls in the opposite 
 direction, preferably to the music of the piano. 
 When the piano stops playing, the circles must face 
 
SOCIAL MIXERS AND GAMES 23 
 
 each other, and each must talk without stopping, to 
 the person he faces, for thirty seconds. When the 
 music begins again, or other signal is given, the 
 march must continue as before, When the music may 
 suddenly stop. Then the conversation merrily 
 begins. The pauses in the music should be frequent ; 
 and it will be seen that each boy and girl secures 
 a different conversational partner each time. It may 
 be required that they shake hands, mention their 
 names and deal with as great a variety of topics as 
 may be disposed of in thirty seconds ; and even the 
 dullest and most bashful person becomes less dull 
 and more at ease under the stimulus of the Mixing 
 March. 
 
 Tableaux and Poses. — After a given time spent 
 in the " March," pleasing and ludicrous variations 
 may be introduced by the leader, who may direct a 
 so-called gymnastic drill. The following are a few 
 suggestions : 
 
 The inner circle (the girls) faces toward the 
 center. The leader may command somewhat as 
 follows : " Right foot forward, place ! Forward, 
 bend ! Left hand extended backward ! Right hand 
 over fordiead ! " After these movements are given 
 several times, the girls are at rest. These commands 
 are then given to the boys, in the outer circle : " On 
 the right knee, kneel ! Arms upward, raise ! " 
 When the command " Tableau Position! " is given, 
 both lines assume the positions indicated in Fig. i, 
 
24 SOCIAL GAMES 
 
 •which rather ludicrously represents the rejection of 
 a suitor. The total effect of the combined movements 
 is striking and mirth-provoking. 
 
 A second tableau may be directed similarly as 
 follows : The inner circle faces toward the men. 
 The command is: "Left foot forward, knee bent! 
 Forward bend! Right arm upward, raise!" To 
 the men the command is given : " Left foot forward, 
 place! On the right knee, kneel! Right hand back- 
 ward (on the floor), place! Left arm, flexed, up- 
 ward raise! " The positions are illustrated in Fig. 
 2, and represent an Amazon in the act of striking 
 down a Mere Man, who feebly attempts to protect 
 himself. 
 
 A third tableau is similarly ordered, the girls 
 being required to face the boys, and to kneel on both 
 knees. At a given command, the boys place both 
 hands on the heads of the kneeling girls, and repeat 
 in unison: " Bless you, my child, bless you! " (Fig. 
 3 ) . Similar tableaux may be given, as pointing and 
 looking (Fig. 4), whispering and listening (Fig. 5), 
 accusing (Fig. 6), expectancy (Fig. 7), contrition 
 (Fig. 8). 
 
 The Alphabetical Mixer. — An admirable mixing 
 device is this one, which presents a combination of 
 good points. When each person arrives, he is given 
 a rather generous-sized card, which he must wear 
 prominently displayed; on the card is written or 
 printed something like this : 
 
FIG. I. — REJECTION 
 
 FIG. 2. — STRIKING 
 
 FIG. 3. — "bless you, my CHILD" FIG. 4. — POINTING AND LOOKING 
 
SOCIAL MIXERS AND GAMES 
 
 o 
 
 25 
 
 HELP ME 
 
 SPELL A WORD 
 
 I HAVE THE LETTER 
 
 A 
 
 My Name is. 
 
 For convenience and for small grouips perhaps 
 only the large letter is necessary. The cards should 
 bear different letters of the alphabet, with a gen- 
 erous 'proportion of the vowels, and as many sets 
 of the letters of the alphabet provided as is war- 
 ranted by the expected size of the company. It will 
 be necessary to provide only a few of the less-used 
 letters, such as X, Z, Q, etc. 
 
 The object of the mixer is to have members of 
 the group select their word, find the persons wearing 
 
26 SOCIAL GAMES 
 
 the necessary letters, and then keep together until 
 the time comes for them tO' display their completed 
 word. As the desirable letters are liable to be 
 quickly appropriated by the various groups, there is 
 need of some haste in finding the required ones, and 
 attach/ing them to the special groups. When the 
 words have been formed, each group displays its 
 result by marching to the front of the room, or on a 
 platform, where they stand in order. Then the 
 word is spelled by having each member shout in 
 order the name of his letter; then the whole group 
 shouts the word in unison. 
 
 Certain rules may be made for the management 
 of this mixer. For instance, no word which contains 
 less than ten letters shall be allowed the group which 
 displays a word may be required to rearrange them- 
 selves so as to spell a different word, using the same 
 letters; or the word must begin and end with the 
 same letter, and so on. 
 
 The program may 'be continued by requiring the 
 groups to disband, and to seek other companions, 
 who will assist tlhiem in spelling names of states, 
 rivers or mountains; or by spelling words which 
 pertain to agriculture, chemistry, engineering, 
 astronomy, etc. ; and so the mixer may be varied in 
 a number of entertaining ways. 
 
 The Concerted Sneeze. — A mirth-provoking 
 experiment in any group of a half-dozen up to a 
 hundred or more is the " concerted sneeze." The 
 
FIG. 5. — WHISPERING AND LISTENING 
 
 FIG. 6. — ACCUSING 
 
 FIG. 7. — EXPECTANCY 
 
 FIG. 8. — SIR, YOU SEE A PENI- 
 TENT BEFORE VOU" 
 
SOCIAL MIXERS AND GAMES 27 
 
 leader divides the gnoup appiroximately intO' three 
 settions, and directs that at his signal the first sec- 
 tion shall sharply and quickly exclaim, "Hish!" 
 The second group likewise makes' use of the word, 
 " Hash," and the third, " Hosh." He explains that 
 he will raise his hands, and command : " One, tiwo, 
 three, sneeze! " When 'his hands go down, the syl- 
 lables are to he pronounced loudly and staccato, with 
 a result that is surprisingly like a sneeze oif generous 
 and extensive proportions. It may be made even 
 more realistic by having the first group exclaim, 
 " Hishy," the second, " Hashy," and the third, 
 " Hoshy." 
 
 A Church Mixer — ^An effective method of enter- 
 taining and mixing a group of young people, used by 
 a church society, is herewith given : 
 
 A large room was arranged with chairs, placed 
 in pairs, to represent seats on a railway train, with 
 an aisle between the double seats. The young peo- 
 ple were required to be seated in couples, the boys 
 next to the aisles, and the girls next to the " win- 
 dows." To give realism to the program, some were 
 dressed as country travelers, with umbrellas, suit- 
 cases, parcels, etc. The " Conductor," in uniform, 
 punched the tickets and tore off the lower slip', 
 marked " Excursion Transportation." A newsboy 
 with his papers and wares was at intervals much in 
 evidence ; and the brakeman announced the " sta- 
 tions " with frequency. At every station the men 
 
28 SOCIAL GAMES 
 
 A TRIP ACROSS THE CONTINENT 
 
 EXCURSION TICKET 
 
 Tour Op The United STATEa 
 
 indndrng traiuportation vuita to places of Interest, meali, sncfa ticket 
 to the faiDDua San FranciBco Theatre, 
 
 THE WISCONSIN 
 
 Ticket must not be exchanged or transferred. 
 DON'T CROWD SAFETY FIRST 
 
 Baptist C £. Railroad Co. 
 
 il! 
 
 /(. Grtat Itt The Bat 
 
 The Wisconsin 
 ADMIT ONE 
 
 Big. Concluding Event 
 Oct 2, 1914 9:30 o'clock. 
 
 Good for 
 
 ONE LUNCH 
 
 Railway Eating House 
 
 Good for 
 
 a personally conducted 
 WALKING TRIP IN THE ROCKIES 
 
 Not good if detached. 
 
 Good tat 
 
 TRIP TO YELLOWSTONE 
 
 Not good if detached. 
 
 STOP-OVER SIDE TRIP 
 FOUR LAKES OF MADISON 
 
 Not gold if detached. 
 
 TOUR OF PITTSBURG 
 
 TUNNEL NO. 3. 
 
 Not toad ifdetaclud 
 
 ONE TRIP 
 HORSESHOE FALLS. 
 
 Not good i/detacktd. 
 
 Baptist C.E. Railway 
 
 Not Good IfDttached 
 : NumerouB Guidej Accompaay Thi« Ejicunioo. If Yob 1 
 
SOCIAL MIXERS AND GAMES 29 
 
 were required to move forward one seat in the train ; 
 thus there was a frequent change of traveUng com- 
 panions and opportunity was offered for acquaint- 
 anceship and conversation. Afiter a journey of 
 thirty or forty minutes, Niagara was announced, 
 when aill passengers had to leave the train to see the 
 wonderful " Horse Shoe Falls." In the gallery of 
 the audience room oi the church a guide called 
 attention to the scenery, dropping a horse shoe to the 
 floor 'below! 
 
 The " Tour of Pittsburgh " was down in the 
 dark furnace-room of the church, with a glimpse 
 into the glowing coals. In another room was 
 arranged a stereopticon, and a lecturer exhibited 
 a series of lantern slides representing local scenery 
 and' college happenings. 
 
 A " Trip to the Yellowstone " was quickly com- 
 pleted, although in devious fashion, to see a large 
 stone in the basement painted 3^ellow; and the 
 " Walking Trip in the Rockies " was likewise in the 
 lower part of the building; many obstacles had to 
 be crossed, narrow precipices passed, and a sudden 
 climb to be made — ^altogether a cleverly arranged 
 obstacle race. The lunch served was typical of 
 railway eating-houses; and the conclusion O'f the 
 program consisted of a musical and histrionic per- 
 formance on an improvised stage in another part of 
 the building. 
 
 Entertainments in great number of a similar 
 
30 SOCIAL GAMES 
 
 character might be arranged. The whole object of 
 such programs should be to afford plenty of inno- 
 cent fun and amusement, and to provide abund- 
 ant opportunities for acquaintanceship, easily and 
 naturally brought about. 
 
 A Musical Mixer. — ^A pleasing variation of the 
 mixing scheme is to give to each of the young 
 people as they arrive a slip of paper bearing the 
 name of some familiar song. Among these songs 
 may be mentioned " Suwanee River," " Old Black 
 Joe," " Annie Laurie," " America," " Drink to Me 
 only with Thine Eyes," " Marching Through 
 Georgia," " Home, Sweet Home," " John Brown's 
 Body," " Dixie," etc., etc. As early as possible, each 
 one must mix with the crowd and find his co-partners 
 in song, who shall group themselves in a particular 
 part of the room, and when called upon by the 
 leader they must present their musical selection. In 
 this way each group exhibits its musical abilities, 
 iand prizes may be awarded to those who render their 
 selection in the best form. Finally, the leader may 
 direct certain groups to sing at once, and then all 
 the groups to sing their separate songs at the same 
 time ; and the resulting " confusion of tongues " may 
 be imagined. Two' groups, however, one singing 
 " Solomon Levi " and the other " The Spanish Cav- 
 alier," may do so in musical concord. As a part of 
 this scheme, in addition to the song specified, a 
 musical instrument may be designated ; and when 
 
SOCIAL MIXERS AND GAMES 31 
 
 the singing is called for, the song must be given with 
 imitations of the special musical instrument which 
 has been assigned. 
 
 Matching Poetry, Advertisements, Proverbs, etc. 
 — An excuse for " mixing " is readily given by cer- 
 tain matching schemes, which demand, of course, 
 some preparation on the part of the committee or 
 the hostess. One of the easiest of these is to cut 
 advertisements out of newspapers and magazines. 
 These are cut or torn into two parts. One half of 
 each advertisement is given to a boy, the other half 
 to a girl. A sufficient number must be prepared 
 to accommodate all those who are expected to be 
 present. Each member must seek to find the person 
 who has the other half of his advertisement. To the 
 first one who has found his partner may be given a 
 prize or other form of recognition ; or they may be 
 partners for seats at refreshment tables, or other- 
 wise, according to the program of the evening. 
 
 Other forms of matching may be used in similar 
 manner. Familiar proverbs may be written on slips 
 and divided into two parts, the halves to be given 
 to different people who must seek each other. Verses 
 of poetry may be used in like manner, the lines 
 divided and distributed among the crowd. 
 
 Bean Penalties. — Another effective and amusing 
 way of furnishing an excuse for mixing is the fol- 
 lowing : About a dozen beans or grains of corn are 
 given to each person in the party. At a suitable 
 
32 SOCIAL GAMES 
 
 time the explanation of the " Bean Penalties " is 
 made to the whole group. According to the rules, 
 no one is allowed to say " yes " or " no " during the 
 conversation and " mixing " that follows ; if he does 
 so, he has to give up a bean to the person who has 
 forced him to say " yes " or " no." The game con- 
 sists in trying to catch as many persons as possible 
 by making them use the forbidden words. Each 
 one has to look out that he does not lose his own 
 beans while trying to win them from others. After 
 fifteen or twenty minutes a prize may be given to the 
 person who has gathered the largest harvest of 
 beans, and a booby prize presented to the one who 
 has lost all or most of his own. 
 
 Solemn and Jolly. — This method of breaking 
 down barriers of formality is effective. The com- 
 pany is divided into two equal groups, preferably all 
 boys in one, all girls in the other. If the size of the 
 room permits, they should stand in lines facing each 
 other. There must be a leader, who must also be 
 timekeeper. At his signal each boy will begin to 
 make the girl who stands opposite him smile. He 
 may attempt some ludicrous action, or say some 
 amusing thing, or adopt any legitimate means to 
 excite a smile from his vis-d,-ins. Only fifteen sec- 
 onds is allowed for the trial. The girls, meantime, 
 must keep sober, solemn faces; if any girl smiles, 
 she must immediately come over to the side of the 
 boys. The boys and girls take turns in this per- 
 
SOCIAL MIXERS AND GAMES 83 
 
 formance, which is a pretty severe test of one's 
 self-control. After a time-limit of four or five min- 
 utes, that side wins which contains the largest num- 
 ber of persons, and which has secured most captives. 
 
 Self-Introductions. — This is a splendid game to 
 familiarize a company with the names of the indi- 
 viduals who compose the group. They should be 
 seated around the room. One arises and says, " I 
 am glad to meet you all ; my name is Smith." The 
 one on his right then arises and says : " I am glad to 
 know you, Mr. Smith; my name is Jones." The 
 next says : " Glad to meet you, Mr. Smith and Mr. 
 Jones; I am Miss Brown." The next in turn says : 
 " I am so glad to meet Mr. Smith and Mr. Jones and 
 Miss Brown; my name is Johnson." Thus each 
 mentions the name of each person in turn, and finally 
 gives his own name. The task of remembering con- 
 stantly becomes harder as the self -introductions pro- 
 gress, and for a larger company than twenty or 
 thirty it is somewhat difficult. 
 
 Follow the Leader. — The game of " Follow the 
 Leader " lends itself to almost limitless variation. 
 It may be made simple or difficult, according to the 
 character of the participants. Below are given some 
 variations which have been used successfully in a 
 group of three hundred summer-school students, 
 most of them teachers, and all of them men and 
 women of considerable maturity. It is necessary to 
 have a leader, and very desirable to have a piano or 
 s 
 
34 SOCIAL GAMES 
 
 music of some sort. The company is formed into 
 line and instructed to follow accurately the move- 
 ments and the course of the leader. These move- 
 ments may be as follows : 
 
 1. Walk, directing course around room, with 
 turns, reverses and zig-zag movements. 
 
 2. Walk backward ; sideways ; with a limp. 
 
 3. Walk on heels, toeing in ; high on tip-toes. 
 
 Fig. 9. 
 
 4. Walk, arms extended forward; sideways; 
 upward. 
 
 5. At every third step, stoop as if picking up an 
 object. 
 
 6. Walk with a movement to imitate reaping, 
 right and left. 
 
 7. Clap hands twice with each step of foot. 
 
 8. The " Indian look," right and left (Fig. 9). 
 
SOCIAL MIXERS AND GAMES 35 
 
 9. Skip sideways. 
 
 10. Sit down. Sing some familiar song; hum 
 the same. 
 
 Various devious courses may be pursued in the 
 " following " game, and obstacles overcome. The 
 game is well suited for almost any kind of group, 
 indoors and out. 
 
 Jerusalem and Jericho. — The old game of 
 " Jerusalem and Jericho " lends itself admirably to 
 large groups, and always provokes amusement. The 
 leader stations himself preferably on an elevation, 
 such as a chair, table or platform, and announces 
 that when he speaks the word " Jerusalem " all 
 must bow as low as possible; but when he pro- 
 nounces the word " Jericho " no one may bow. The 
 leader, however, bows when he speaks either word, 
 and so seeks to confuse the players. The change of 
 words should be made rather rapidly. When one 
 makes a mistake, either by not bowing when he 
 should, or bowing at the wrong time, that one must 
 come to the platform and take the place of the leader, 
 and direct the game until he, in turn, detects someone 
 who has made a mistake. And so the game goes on. 
 Other words may be used instead of " Jerusalem " 
 and " Jericho." During the holiday season, " Merry 
 Christmas " may be the words which shall cause all 
 to bow, and " Kris Kringle " the other words. 
 Words of somewhat similar sound and of local inter- 
 est might well be used in the game. 
 
36 SOCIAL GAMES 
 
 Fly Away — Any number may take part in the 
 game of " Fly Away," which, while simple, is amus- 
 ing, and requires attention and quick action. The 
 leader calls out quickly the names of certain birds 
 or animals, each time raising his arms to imitate 
 the act of flying. The players must imitate his 
 movements only when some animal or insect with 
 wings is mentioned, and must refrain from doing 
 so when the animal mentioned does not fly. Certain 
 penalities may be imposed upon those who make mis- 
 takes ; or, when the group is small, the ones " flying 
 away " at the wrong time may be eliminated, and 
 thus the one who remains longest without a mistake 
 is declared the winner. A variety of insects and 
 animals may be mentioned, such as the elephant, 
 horse, robin, hippopotamus, eagle, crocodile, mos- 
 quito, oyster, squirrel, fish (the last two may belong 
 to the flying variety), wasp, duck, ichthyosaurus, 
 bat, monkey, crab, aniiadillo and countless others ; in 
 some cases the scientific names may be given, and 
 when a long list is prepared the game may promote 
 a knowledge of natural history. 
 
 Going to Jerusalem — This is a game of consid- 
 erable antiquity, and perhaps well known, but it is 
 a good one and deserves a brief description. It may 
 be played by ten or up to a hundred or more players, 
 provided there is a sufficient number of chairs. The 
 chairs are placed in line in the center of the room, but 
 are so arranged that they face alternately in opposite 
 
SOCIAL MIXERS AND GAMES 37 
 
 directions. " Going to Jerusalem " consists in 
 marching around the chairs, preferably to music; 
 and when the music stops, or the leader cries 
 " Jerusalem ! " each one must scramble for a seat ; 
 but as there must be fewer chairs than players, some 
 of the players are left out, and they must retire 
 from the game, each one retiring taking a chair 
 away from the row. Then the music begins again, 
 and the marching continues as before until the music 
 stops. Toward the end of the game there will be 
 only one chair left, and two or more players march- 
 ing aroimd it. The height of the fun is reached in 
 the struggle for the last chair; and the successful one 
 is said to have " got to Jerusalem." In small groups 
 there should be only one chair less than the number 
 of players, and after each " sitting " one chair should 
 be removed. To hasten the game in large groups, 
 two or more chairs may be reimoved, and thus two 
 or three people are eliminated after each struggle for 
 seats. 
 
 A Game of "Country School."— This game 
 combines a " lesson " in arithmetic, English and 
 drawing, with a relay race, and is an admirable form 
 of diversion for the schoolroom, or for groups of 
 adults. While best given to twenty or forty players, 
 a smaller number than twenty may take part, or 
 more than forty, if blackboard facilities permit. The 
 game is a fine one for " mixers," regardless of the 
 number present. Although all may not play, the 
 
38 SOCIAL GAMES 
 
 spectators will be amused. The "teacher" places 
 rows of chairs in order, an eqiial ntimber in each 
 row, with ample room in the aisles. Ten dhiairs in 
 a row make a good arrangement, with two or more 
 rows, according to the seating requirements of the 
 class. There must be a blackboard in front of the 
 class, preferably of generous proportions. The 
 " teacher " marks on the board, directly in front of 
 each row, the space allotted to that row. To the 
 one seated in the front chair of each row is given a 
 piece of chalk. The " teacher " explains that at the 
 word " Go ! " the first " scholars " in each row must 
 run up to the board, write down a number (a single 
 figure) , then must run back and give the chalk to the 
 one sitting next behind him in that row. Each 
 player in turn goes through this performance, until 
 the last in the row is reached. This last one, when 
 his turn oomes, must run to the board, draw a line 
 under the figures with w*hich his row is concerned, 
 and add them up. The line wins whose column of 
 figures is first placed on the board and correctly 
 added. A requirement of the game is that the figures 
 must not be all alike, but must be varied as much as 
 possible. The little element of competition and the 
 moderate muscular exercise involved make the game 
 interesting. 
 
 Sentence Game. — The "teacher" next announces 
 that a lesson in English will be given. The scholars 
 are arranged in rows as above, and the game is 
 
SOCIAL MIXERS AND GAMES 39 
 
 played in similar fashion. The first scholar writes 
 on the board one word ; he then runs back and gives 
 the chalk to the one seated next behind him. This 
 one, in turn, adds a word, and so on down the line, 
 each adding a word which must build up a complete 
 sentence. The last in the line must complete the 
 sentence, and may use more than one word if netes- 
 sary. The writing must be legible, the sentence 
 grammatical; and the "teacher" may be judge of 
 the best sentence, giving his reasons for his decision, 
 or he may appoint someone else as judge. The game 
 furnishes a great deal of amusement as the rival 
 teams do their impromptu composition, and no one 
 may predict the completed sentence until the finish- 
 ing touches are added. 
 
 Jumbled Words. — ^A variation of this game may 
 be used, in which the " scholars " have agreed upon 
 their sentence in advance. If there are ten in the 
 row the sentence must contain ten words, each pupil 
 having his word previously assigned. But instead 
 of writing the words in order the teacher calls on 
 the pupils in irregular order; hence they are written 
 as " Jumbled Words." The trick is correctly to read 
 the sentence, and this may be done by any pupil in 
 any of the other rows. Each row should be given an 
 opportunity to present its " jumbled word," the vic- 
 tory going to that row whose members guess the 
 greatest number of correct sentences. The teacher 
 may prepare the sentences in advance, giving to each 
 
40 SOCIAL GAMES 
 
 pupil a slip on which is written the word to be tran- 
 scribed on the blackboard; or he may whisper to 
 each scholar the word to be written, as the scholar 
 comes to the board. In this latter case the sentence 
 will be a mystery to all, and anyone in the room may 
 try to guess it. 
 
 Progressive Drawing — ^Having given the les- 
 sons in arithmetic and English, the " teacher " 
 announces that the class in drawing will exhibit their 
 artistic ability. He writes on the board the name 
 of some animal, bird or person as an assignment for 
 their drawing. With chalk in hand, as before, each 
 pupil makes a few lines in outline of the animal, then 
 runs and gives the chalk to the next, until the last, 
 who must complete the drawing. The game is a 
 source of much merriment, which may be heightened 
 by the clever remarks of the judge, whose final deci- 
 sion as to merit of each drawing shall put to rest 
 the doubts of the spectators. 
 
 Progressive Poetry. — As a more difficult part of 
 this game, poetry may be written, each pupil writing 
 one line, and the next adding one line, to complete 
 the " sonnet." The game, of course, calls for quick- 
 ness of thought and action, and is rather a severe 
 test of one's literary abilities. 
 
 The Compass Game. — As an excuse for bringing 
 into action a large number of people at once (because 
 only " standing room " is needed) we may make 
 use of the simple game of facing about rapidly from 
 
SOCIAL MIXERS AND GAMES 41 
 
 one point of the compass to another. The leader 
 should ask the group to indicate to him the direc- 
 tion of North, South, East and West. Then he 
 explains that when he mentions the different 
 points of the compass, they must quickly face in 
 that direction. He may say, " I come from the 
 North ! " when all are required instantly to face 
 North; and so likewise they follow his course when 
 he says : " I am going South ; I am sending a letter 
 East; I want to visit the Southwest; I have a farm 
 in the Northeast ; my house faces East-by-Northeast ; 
 the wind blows West." When the wind is men- 
 tioned, the group may imitate the sound of the wind : 
 and if a whirlwind is suggested, all must keep turn- 
 ing rapidly until another direction is mentioned. To 
 make the game more difficult, states or countries may 
 be named, the facing to be done in the direction of 
 those localities. It will be interesting to notice the 
 discrepancy of ideas as to direction when cities of 
 our own or other countries are mentioned, and one 
 is required to turn his face in that direction. The 
 game is a good one for the schoolroom. It requires 
 attention, quickness and thought, and a knowledge 
 of the points of the compass as well as of geography. 
 The Laughing Game. — Perhaps a forced laugh 
 is not of such hygienic value as the genuine one; 
 but this game will no doubt change the imitation 
 into the reality. The leader tosses up a bunch of 
 keys or other object, and makes the requiremeat 
 
42 SOCIAL GAMES 
 
 that while the object is in the air, each one must 
 laugh as loud and as genuinely as circumstances will 
 permit; but as soon as the object falls to the floor 
 there must be sudden and complete silence. By- 
 varying the height of the throw the " laugh " may 
 be long or short, and the sudden stop gives a peculiar 
 eflfect. It may be noted that there are usually some 
 who become quite unable to curtail their laughter 
 at the given time. 
 
 Progression. — The next two games, " Progres- 
 sion " and " Menagerie," are best adapted for fifteen 
 or twenty players, but they are mentioned here 
 because of their value in social mixers, chiefly on 
 account of the amusement furnished to the spec- 
 tators. In " Progression " the players are lined up 
 side by side, and the explanation is given that each 
 one, when called on, must "progress," one at a 
 time, to a certain line (perhaps fifteen or twenty 
 feet distant), and his method of progression must 
 be altogether different from that of any other player. 
 For instance, he may walk or run forward, back- 
 ward or sideways ; he may hop, waltz, crawl, roll or 
 progress in histrionic strides or gymnastic move- 
 ments or gestures, of any sort, as long as he does 
 not duplicate the movements of any previous player. 
 If a player uses any such method, he is sent back to 
 start over. When all have " progressed " to the 
 given line, they may be required to return to the 
 starting-point, still using different styles of locomo- 
 
 m 
 
SOCIAL MIXERS AND GAMES 43 
 
 tion; and so on, backward and forward, until the 
 limit of combinations has been reached. After one 
 group has reached the line, another relay of players 
 may be called upon. The gymnastic ingenuity of the 
 boys especially is brought out in this game, and it 
 is not difficult to show a hundred methods of " pro- 
 gression" (Fig. lo). 
 
 Menagerie. — This is a mirth-provoking game, in 
 which dignity must be " thrown to the winds." The 
 leader of the " menagerie " explains that within the 
 group there is a wonderful variety of strange animals 
 who, when called upon, will do two things — imitate 
 the movement of the animal and duplicate its cry. 
 He may declare in bombastic language that he " will 
 first exhibit the primeval kangaroo, recently cap- 
 tured in the wilds of Hoboken, exhibited for the 
 first and last time on civilized American soil." He 
 indicates some member of the group, who must at 
 once do his part to carry out the suggestion. The 
 hopping movement of the kangaroo must be imitated, 
 and the sort of cry must be uttered which the player 
 may fancy properly belongs to the animal in ques- 
 tion. After a very brief exhibition by the kangaroo, 
 the animal is required to remain at a given point until 
 joined by other members of the menagerie. In like 
 manner others of the crowds are miscellaneously 
 picked out to represent different animals, and when 
 called on they must unhesitatingly obey the demands 
 of the leader. Following is a suggested list : 
 
44 
 
 
 SOCIAL GAMES 
 
 
 Crab. 
 
 Bear. 
 
 Lobster. 
 
 Eagle. 
 
 Grasshopper. 
 Antelope. 
 Seal. 
 
 Hippopotamus. 
 Lion. 
 Blue Jay. 
 Camel. 
 
 Bumblebee. 
 Elephant. 
 Mosquito. 
 Tiger. 
 
 Rooster. 
 
 Oyster. 
 
 Giraffe. 
 
 Frog. 
 Hen. 
 Mule. 
 
 Monkey. 
 Squirrel. 
 Buffalo. 
 
 Additions may easily be made to this list. After 
 each animal has joined his companion the leader 
 announces that, wonderful as his exhibition has been, 
 there is something still more wonderful in store 
 for. the spectators, because there is going' to be a 
 circus parade, in which all the animals will take part 
 at once, each doing his particular exhibition and 
 uttering his own peculiar cry. The resulting parade, 
 which may extend entirely around the room or for 
 a shorter distance, is extremely ludicrous, if entered 
 into in the spirit of the game. The leader may head 
 the circus parade by a band, which may add to the 
 ludicrous character of the game. Different persons 
 should illustrate the movement, or take the part of 
 the following instruments : Drum, trombone, comet, 
 clarinet, piccolo, cymbals, etc. ; and, by all means, the 
 calliope should be included ! 
 
 Advancing Statues. — ^This is a game in which 
 large numbers may take part ; it is likewise suitable 
 for small groups. It is adapted to a large hall, but 
 is best played out-of-doors. The players are either 
 lined up or must all start from one end of the play- 
 
-■•i— 
 
 FIG. lO. — PROGRESSION FIG. II. — ADVANXING STATUES 
 
SOCIAL MIXERS AND GAMES 45 
 
 ing-space. The leader is stationed as far away from 
 the players as convenient. He explains to them that 
 they may progress toward him and toward the goal- 
 line on which he stands, but they may advance only 
 when his back is turned. It is also required that 
 when the leader turns around and faces the ad- 
 vancing players, they must instantly stop and assume 
 some statue-like attitude, or hold themselves in some 
 gymnastic position. This statuesque pose must be 
 held until the leader again turns his back to the 
 group, when they are at liberty to advance. The 
 leader should frequently and suddenly turn toward 
 his " statues," and if he discovers any in the act of 
 advancing, or showing any movement, he sends 
 that one back to the starting-line again. The first 
 of the " advancing statues " to cross the goal-line 
 wins the game. This play requires close attention, 
 and develops muscular co-ordination and control. 
 The players should endeavor to offer a great variety 
 of poses, and if any two are alike in their positions 
 both may be sent back to the starting-line as a 
 penalty (Fig. ii). 
 
 Left-handed Handshaking Mixer. — ^A variation 
 of the " Mixing Socials " may be used to good 
 effect by a program which shall require that all hand- 
 shakes be given with the left hand only; and all 
 autographs (as described on p. 19) must be written 
 with the left hand. If refreshments are served, the 
 left hand must be used. 
 
46 SOCIAL GAMES 
 
 Further variations of the handshaking methods 
 have been successfully tried as follows : The leader 
 announces that each person dn the group must at 
 once shake hands with at least five people in the 
 group, using the old style " pump-handle " grasp, 
 up and down; after this has been accomplished, he 
 directs that a similar number be greeted with the 
 high handshake; then a side-to-side movement; a 
 hearty grasp; the Chinese method, in which one 
 shakes his own hand instead of that of his com- 
 panion; etc. 
 
 Historical Characters. — An amusing method of 
 promoting acquaintance and furnishing topics for 
 conversation is this one of " Historical Characters." 
 Before the arrival of the members of the party, there 
 must be prepared a sufficient number of slips of 
 jfaper bearing the names of various characters, his- 
 torical and contemporary, men and women, real and 
 fictitious. One of these slips is pinned on the back 
 of each person, without his knowledge of the name 
 which he bears. The people who talk to him must 
 first observe his label, and then address to him some 
 remark or some question which might pertain to 
 the historical character whose name is pinned on his 
 back. Thus it happens that it is only after consid- 
 erable conversation that each person finds out who 
 he himself is. The questions and remarks should 
 not be too leading or too pointed. 
 
 Some of the characters which might be assigned 
 
 I 
 
SOCIAL MIXERS AND GAMES 47 
 
 are the following: Sir Walter Raleigh, Mother 
 Goose, P. T. Barnum, Shakespeare, Jess Willard, 
 Henry Ward Beecher, '' Uncle Remus," Queen 
 Elizabeth, the King of the Sandwich Islands, the 
 Czar of Russia, the Queen of Sheba, Alice (of Won- 
 derland fame), Simple Simon, the Pied Piper, the 
 President of the United States, Bret Harte, Mark 
 Twain, King Solomon, Julius Caesar, David Copper- 
 field and an infinite variety of others. 
 
 As illustration, the following remarks might be 
 made to Sir Walter Raleigh : " Could you, sir, give 
 me a pipeful of tobacco tonight? " " What a fine 
 cloak you wear ! " " How does it seem to live in 
 the sixteenth century?" "How did you find the 
 climate O'f Virginia? " " What is the mood of your 
 queen to-day?" "Won't you let me brush your 
 coat off for you? " etc., etc. No doubt, from these 
 questions, Sir Walter will become fully aware of his 
 identity. In the meantime, he must be asking other 
 personages appropriate questions and making fitting 
 remarks. 
 
CHAPTER II 
 
 ACTIVE GAMES OF TAG 
 
 It is a well-known fact that when we analyze the 
 spontaneous games of children we find in many of 
 the games — ^perhaps in most of them — the element 
 of Tag. The racially old instincts of chasing, flee- 
 ing, dodging, hiding and seeking seem to perpetuate 
 themselves in numerous play activities of childhood. 
 
 It is the purpose of this chapter to deal with cer- 
 tain games of this nature, with especial reference 
 to those which seem to possess elements of social 
 value. Some of the games here described may be 
 used when there are many participants — a hundred 
 or more — but in this case it will often be found 
 necessary to divide the company into groups of 
 twenty or less. For the playing of most of the 
 games a generous space is demanded. Practically 
 all the games here mentioned may be played indoors 
 in a large room or hall, but an out-of-door playing- 
 space is always desirable. 
 
 Back-to-Back Tag. — There are several methods 
 of playing this game, the variations to be made 
 according to the number of players (Fig. 12). In 
 small groups it is understood that the players must 
 confine themselves to a certain area, marked off on 
 a gymnasium floor or playground. The players are 
 only safe from being tagged when they are standing 
 
 48 
 
ACTIVE GAMES OP TAG 49 
 
 in couples, with their backs together, close to each 
 other. They assume this position at the beginning 
 of the game. One player is selected as " It," and 
 another is the runner. The runner may save him- 
 self from being tagged at any time by taking the 
 back-to-back position with any of the players, but 
 in order to find a partner it may be necessary for 
 him to appropriate some already attached player. 
 In this case, the one who' has been displaced must 
 at once seek another companion before he is tagged 
 by " It," who is always pursuing the disengaged 
 players. When a! player is tagged, he immediately 
 becomes " It," and at once chases the player who 
 has no partner. 
 
 A simpler form of the game is played by having 
 " It " run about among the group, trying to tag 
 those who do not quickly stand " back-to-back " with 
 a partner as " It " passes by. When " It " has 
 passed, and the players are not in danger of being 
 tagged, they must change partners as frequently as 
 possible. Frequent changes lend variety and inter- 
 est to the game. 
 
 In large groups the game may be played very 
 well by having the couples arrange themselves back- 
 to-back at the beginning of the game. There should 
 be one odd one, who starts the game by commanding 
 loudly, " Change ! " At this signal each player must 
 seek a different partner, and in the general scramble 
 tfhe odd one, of course, endeavors to secure for him- 
 
 4 
 
50 SOCIAL GAMES 
 
 self a partner. After each change, one player will 
 be left without a partner. He, in turn, gives the 
 command, " Change ! " and thus the game pro- 
 gresses. The changes may be directed by a leader 
 who is taking no part in the gam^e, and in this case 
 there will be less confusion, because the commands 
 to change come from but one source. 
 
 Shadow Tag. — ^The Shadow Tag game is best 
 played out-of-doors in the sunshine; but it may be 
 played in a park, playground or other locality under 
 a bright electric light, or even in the moonlight, or 
 around the camp-fire. The one who is " It " tries to 
 step on, or otherwise touch, the shadow of any 
 of the players. It is, therefore, essentially a 
 running game. Various ruses may be adopted by 
 the players to save their shadows from the ruthless 
 footstep of " It." For instance, a player may seek 
 the shade momentarily ; or by bending, twisting and 
 dodging may change the position of his shadow, or 
 reduce it in size. He may lie down, squat or roll 
 over, but if he allows his shadow to be touched, he 
 himself becomes " It," and he must at once seek to 
 step on the shadow of some other player. This is a 
 very pleasing and pretty game for little children, who 
 seem to enjoy the variation from the customary 
 games of Tag. 
 
 Double and Triple Tag. — The team element is 
 brought into play when this Tag game is used. 
 Instead of fleeing as individuals from "It," the 
 
FIG. 13 
 
 FIG. 12. — BACK-TO-BACK TAG. FIG. I3. — RABBIT S NEST 
 
ACTIVE GAMES OF TAG 51 
 
 players join hands, or better, lock their arms, either 
 in couples or in threes. If the number of players is 
 large, the "triple " game is best. To begin the 
 game, a group of three is selected as " It," and in 
 order that they may be always recognized, they carry 
 in plain sight a small flag, or bit of red cloth, or 
 perhaps a handkerchief. Each trio must keep 
 together, and do their running and dodging without 
 breaking apart. On the playground or on a lawn it 
 is best to restrict the playing area, so as not to have 
 too large a playing space. When the three who are 
 " It " tag another group, they give their red flag to 
 the ones tagged. The game is vigorous and full of 
 funny situations; and if the "triplets" co-ordinate 
 their movements in running forward, backward or 
 sideways, and in dodging, some very clever work 
 may be done. The game has worked well in large 
 " mixers " indoors ; but the demands of one's respir- 
 atory apparatus are very considerable, and the play- 
 ing is usually limited to rather short periods. In 
 very large groups of players, and in large playing- 
 spaces, there may be two or more triplets who are 
 " It " ; but it is always best to have each of these 
 groups designated by the red flag. Thus there is 
 never any doubt as to who is " It." 
 
 White Folks and Indians. — This is a Tag game 
 in which large numbers may take part ; or it may be 
 played very well by a dozen or even fewer players. 
 The players form into two equal groups. They line 
 
52 SOCIAL GAMES 
 
 up, side by side, the two groups facing each other, 
 so that there is a lane, five or six feet wide, between 
 them. One group is designated the Red Men, or 
 Indians, and the others the White Men. The leader 
 of the game stands in the middle of the lane, between 
 the two opposing groups of players, and tosses up a 
 card or piece of wood, which must be colored white 
 on one side and red on the other. If the card comes 
 down with the red side up, the " red men " must all 
 turn and run to their goal, which may be ten or 
 twenty yards away; or if played indoors they must 
 run to the wall nearest to their side. The " white 
 men " pursue them, and endeavor to tag as many 
 of the reds as possible before the goal is reached. 
 If one is so tagged, he becomes a " white man," and 
 must then go to the side of his captors. If the card 
 or board falls with the white side up, the whites 
 must flee, chased by the reds, who in turn try to tag 
 the whites. After reaching the goal all the players 
 return to their starting position, and thus the game 
 is continued — perhaps until all on one side or the 
 other have been captured. The uncertainty as to 
 which side shall flee and which pursue lends interest 
 to the game. The chance falling of the card must 
 instantly determine the action of the players. The 
 game is sometimes called " Black and White," or 
 " Day and Night." 
 
 Rabbit's Nest. — ^The photograph will illustrate 
 the positions to be taken in the Rabbit's Nest game. 
 
ACTIVE GAMES OF TAG 53 
 
 Two players, facing each other and joining hands, 
 form one " rabbit's nest," and between tih^e out- 
 stretched arms of the two stands the " rabbit " (Fig. 
 13). As many of these nests may be formed as the 
 number of the players will warrant, and the groups 
 should be distributed irregularly around the play- 
 ing-space. In order to begin the game, there must 
 be one extra " rabbit," who is being chased by " It," 
 or the " dog." This extra rabbit may at any time 
 run into any nest; and as there can be' only one 
 " rabbit " in a nest, the original " rabbit " is dis- 
 placed, and must at once get out and run, because 
 now the " dog " is after him. The game is best 
 when the " rabbit " who is chased quickly gets into 
 a nest, instead of running for a long time, trying to 
 elude the " dog." The changes should be frequent, 
 and it must be remembered that the " dog " can only 
 tag the " rabbit " who is without a nest. 
 
 In order that all the players may have the oppor- 
 tunity of being rabbits, the formations should be 
 changed, and as soon as a rabbit gets into a nest he 
 should change places with one of the players who 
 form the nest. 
 
 In large groups there should be several " rab- 
 bits," with a " dog " after each, and thus the changes 
 will be more frequent. As soon as a " rabbit " is 
 tagged, he becomes a " dog," and the " dog " 
 becomes a *' rabbit," thus reversing their former 
 activities. 
 
54 SOCIAL GAMES 
 
 Three Deep Tag — The old game of "Three 
 Deep " has been an interesting and popular one for 
 ages, and deserves to continue in popular favor 
 because of its excellent points. The players arrange 
 themselves in a circle, standing in couples, facing 
 the center. In the arrangement of the couples, one 
 player is close to and directly behind his companion. 
 The couples, thus arranged, should be from three to 
 five feet apart. There must be one player who is 
 the runner, and another who is " It." The runner 
 tries to escape from " It " by dodging through or 
 around the circle, and may save himsdf from cap- 
 ture by taking his position in front of any of the 
 couples. As soon as he takes this position, how- 
 ever, the players are " three deep," which is not 
 allowed in the game; and the third man (the one 
 standing in the rear) must run, as he is now the 
 object of the pursuit of " It," and is in danger of 
 being tagged, until he in turn can save himself by 
 taking his place quickly in front of one of the cou- 
 ples. The third or rear man is always thus dis- 
 placed, and " It " is constantly trying to tag the 
 displaced player. When one is tagged he immedi- 
 ately becomes " It," and endeavors to tag the one 
 who was formerly " It." The changes should be 
 quick, and the players should not endeavor to run 
 long at a time. The third man must get in front of 
 one of the couples as quickly as possible. 
 
 If one becomes the third man, instead of run- 
 
ACTIVE GAMES OF TAG 55 
 
 ing to seek a position in front of some rather distant 
 couple, he may quickly get in front of his own cou- 
 ple, fhus making an unexpected change, and causing 
 a player in his own group to become third man. 
 
 Variation. — ^^When the game has been thoroughly 
 learned, a variation may be tried which makes the 
 game a trifle more complicated. The two players 
 who form a couple face each other, instead of facing 
 toward the center of the circle, as in the usual form 
 of the game. In this variation, the runner w'hio is 
 seeking to escape " It " gets between instead of in 
 front of a couple, and the one to whom his back is 
 turned becomes third man and must run. Thus 
 either one oi the players in the couple may become 
 third man, depending on which way the runner 
 faces when he seeks refuge with any other two 
 players. 
 
 Co-ed or Partner Tag. — A splendid variation of 
 this game of " Three Deep " is " Co-ed Tag " or 
 " Partner Tag." There must be an equal number 
 of boys and girls, who arrange themselves In couples, 
 standing arm-in-arm beside each other. There 
 should be room enough between the couples for a 
 good playing-space, several feet, at least, as In the 
 previous game. A girl is selected as runner, and a 
 boy as " It " ; the girl endeavors to escape the boy, 
 and at any time may save herself from being tagged 
 by locking arms with any of the boys around the 
 circle. As soon as she does so the girl on the other 
 
56 SOCIAL GAMES 
 
 side of the boy becomes displaced and must run,~ 
 because no boy may have two partners. If the girl 
 is tagged before she can save herself she at once 
 becomes "It," and must then chase the boy. He 
 saves himself by locking arms with the girl in any 
 couple, thus displacing her original companion. The 
 game is Easier to learn than " Three Deep," because 
 it must be remembered that a boy is always chasing 
 a girl, or vice versa. The game is a fine one, full 
 of quick changes and variations. 
 
 Nose and Toe Tag. — ^This rather ridiculous 
 game of Tag affords merriment and exercise for 
 children, and sometimes for grown-ups as well. 
 The players arrange themselves in a limited play- 
 ing-space, and one who is " It " runs in and out 
 among the players, seeking to tag any who has not 
 assumed the " nose and toe " position. This is illus- 
 trated in the accompanying photograph (Fig. 14). 
 Each player, in order to be safe from, the tagging of 
 " It," must grasp his nose with his right hand, and 
 the toe of his left shoe with his left hand. As soon 
 as the tagger has passed by, and a player is not in 
 danger of being touched, he must assume an ordi- 
 nary standing position, and may move about vdthin 
 the playing-space. " It " may make use of certain 
 feints and devices for tagging a player, by pretend- 
 ing to pass him, and suddenly turning to tag the 
 player who may be off his guard, and who may have 
 relinquished his " nose and toe " position. 
 
FIG. 14. NOSE AND TOE TAG FIG. 1 5. HORSE AND 
 
 RIDER POSITION 
 
 b-MORNING 
 
ACTIVE GAMES OF TAG 57 
 
 Freight Train Tag.; — ^A game requiring plenty of 
 vigorous exercise is called " Freight Train Tag." 
 The players arrange themselves in groups of three, 
 one behind the other. The one heading the line is 
 the " Engine " ; directly behind is a second player, 
 who has locked his arms around the waist of the 
 '* engine," and a third player behind him, similarly 
 joined. These three compose the " freight train." 
 As many freight trains may be formed as there are 
 players to make them up. The game consists of 
 trying to escape from an extra player, who is " It," 
 and who tries to hook on to the rear of any freight 
 train. But there must be only an engine and two 
 cars in any one group ; consequently, if " It " suc- 
 ceeds in " hooking on," the front player, or engine, 
 becomes displaced, and he in turn must try to catch 
 another train, and to become the rear car, or 
 " caboose." The efforts of the trains to escape the 
 extra car afford much amusement, and very vigorous 
 running exercise. (This game has been described 
 by Mr. E. D. Angell as " Broncho " Tag, with head, 
 body and tail. The prancing movements of the 
 game seem to justify the name.) 
 
 Horse and Rider Tag.^ — ^This game for boys 
 demands team work and quick action. A player is 
 only safe from being tagged when he is either horse 
 or rider, as illustrated in the photograph (Fig. 15). 
 The boys begin the game by assuming the position, 
 the horses and riders being scattered at considerable 
 
58 SOCIAL GAMES 
 
 intervals around the playing-space. After getting 
 accustomed to their " mounts," they must all change. 
 In the meantime, " It " has appeared among them, 
 and seeks to tag any player who has not secured a 
 position as either horse or rider. When not in dan- 
 ger of being tagged, tlie riders may dismount. They 
 must always be ready, however, for the horse-and- 
 rider position whenever the tagger comes near. 
 Horses become riders, and the reverse, as the exi- 
 gencies of the occasion demand. Changes should 
 be frequent and lively. 
 
 Sore Spot Tag — In this ludicrous game of Tag, 
 the game begins as in the simple form, but the first 
 one who is tagged must hold his left hand on the 
 part of his body which was touched; and he can- 
 not take his hand away until he in turn tags some- 
 one else. The object of the game is to cause as 
 much inconvenience to the players as possible. 
 Hence " It " tries to tag his victim on the knee, or 
 foot, or between the shoulders or elsewhere, so that 
 he may be handicapped as much as possible on 
 account of the requirement that he shall nurse his 
 " sore spot " until he succeeds in tagging some other 
 player. 
 
 Last Couple Out — ^This old game is such a good 
 one that it deserves some description here. It is said 
 to be an old Swedish game, a survival of some of 
 the ancient wedding games of that country. It is 
 usually played as follows: The players stand in 
 
ACTIVE GAMES OF TAG 59 
 
 twos, one couple behind another. They all face in 
 the same direction. Any number of couples may 
 play. On odd player stands ten or twelve feet in 
 front of the rest of the players, with his back toward 
 them. He calls, " Last couple out! " when the cou- 
 ple at the rear of the others separate, one player com- 
 ing up the right of the line, and the other up the left. 
 These two endeavor to pass the player at the head 
 of the line without being tagged by him, and to 
 join hands again some distance in front. If they 
 succeed they are safe, and take their places just in 
 front of the f orw'ard couple, the whole line moving 
 backward to make room for them. If one is tagged, 
 he becomes the odd player in front. The one not 
 tagged and the original tagger now join hands and 
 become the couple at the head of the line, the others 
 moving backward a trifle to accommodate them. 
 The player in froot is not allowed to turn his head 
 and look around to see when and how the " last 
 couiple out " is coming. This couple may vary their 
 method of progress toward the front, one going 
 well out to the right (or le'ft) and the other running 
 close in to the lines. The game is interesting and 
 demands much quickness, running and dodging. It 
 may be played indoors or out. 
 
 The Beater Goes Round. — ^This hilarious and 
 sometimes raither rough game is a good one for cer- 
 tain groups. The situations are often ludicrous in 
 the extreme. The players arrange themselves in a 
 
60 SOCIAL GAMES 
 
 circle, facing inward, and hold their hands behind 
 their backs. The game is started by one player who 
 has in his hands a towel or similar object. As he 
 runs around the outside of the circle he puts the 
 towel into the hands of any player. As soon as this 
 player gets the "weapon," he immediately begins 
 beating the neighbor on his right, and chases him 
 around the circle with as many blows as he is able 
 to administer, until the player gets back to his 
 original place in the circle. Then the towel is passed 
 secretly to some other player, who in turn falls upon 
 his right-hand neighbor with a vengeance. The 
 rules bar striking* about the head and face. There 
 is plenty of exercise and excitement about this game, 
 but its most valuable result is the laughter and fun 
 which it is sure to stimulate. 
 
 Line Tag. — ^This game is called also " Maze 
 Tag " and " Right Face," and is played best when 
 there are twenty-five or more players, although the 
 number may be less. They are arranged in lines, 
 all facing in the same direction, as a gymnasium 
 class, as follows: 
 
 JJC >JC 5*C ijS 5JC 
 
 ;j< >fc :}::}: 5): 
 He H^ 5(t H^ :jc 
 
 The distance between the players should be such as 
 to admit of their joining hands easily. This they 
 
ACTIVE GAMES OF TAG 61 
 
 do, forming lanes between the lines of players. One 
 player is runner, and another catcher; the runner 
 tries to evade his pursuer by running up and down 
 the lanes between the rows of players. There must 
 be no attempt to break through the joined hands 
 of the players. The leader of the game calls out, 
 "Right Face!" at any time, while the catcher is 
 pursuing the runner. When the command is given, 
 the players in the lines face to the right, and join 
 hands in this new direction. Thus new lanes are 
 formed, and the catcher may find himself suddenly 
 cut off from the one whom he pursues. Again the 
 command is given, " Left Face ! " when the players 
 face toward the left, joining hands with those in the 
 original lines. The game furnishes sudden sur- 
 prises to the runner and catcher. When one is 
 caught, or tagged, both players should go to the 
 lines, others taking their pilaces, who continue the 
 game as runner and catcher. 
 
 Good-morning. — Ten or fifteen players consti- 
 tute a good number for this game, although a larger 
 number may be used (Fig. i6). A circle is formed, 
 the players facing toward the center. An extra 
 player runs around the outside of the circle and 
 touches on the shoulder any one of the group. As 
 soon as the runner does this he turns around and 
 runs in the opposite direction around the circle. The 
 one who has been tagged also immediately begins 
 to run in the opposite direction so as to meet the 
 
62 SOCIAL GAMES 
 
 tagger. When the two meet, which is usually about 
 half-'way round the circle, they shake hands, and say, 
 " Good-morning! " as cordially and politely as cir- 
 cumstances will permit. Then each one continues 
 his course, the oibjefct being to reach and occupy as 
 quickly as possible the vacant place in the circle. 
 The one who fails continues to run and tags some 
 other player, reverses his direction, meets and greets 
 his friends, as before described. The game is, of 
 course, a contest to secure the vacant place, and it 
 must be remembered that during the greeting, which 
 may be cordial and prolonged, neither player loses 
 by his temporary stop. 
 
 Variations. — ^Several variations to this " Good- 
 morning " game may be played. When the runner 
 touches a player, ihe reverses his dire^ction, but instead 
 of nmning directly around the circle, he runs in and 
 out among the players: — that is, in front of one 
 player, and behind the next one, and so on, all 
 around t!he circle. The one who has been tagged 
 begins immediately in the opposite direction his cir- 
 cuitous course. The " Good-morning " greeting is 
 made when they meet; after which they continue 
 their race for tihe vacant place, winding in and out 
 as they go. 
 
 A second variation may be used by changing 
 the arrangement of the players around the circle. 
 They stand in couples, one player behind another, 
 as in "Three Deep." The ruimer tags the rear 
 
ACTIVE GAMES OF TAG 63 
 
 player in any couple, then reverses his direction and 
 runs, as in " Good-morning " ; the player who has 
 been tagged immediately tags also the player who 
 stands in front of him. As soon as the " tags " are 
 received, the players chase each other around the 
 circle. Thus three are running at once, two in one 
 direction, and one in the other. The first two to 
 arrive at the vacant place are " safe." The third 
 must continue the game by tagging the rear man in 
 some other couple, when the game is continued as 
 before. 
 
 Cat and Mouse. — While this is essentially a 
 children's game, it has often been played with 
 enthusiasm by older people. A circle is formed, as 
 in the last game. One player is selected as " Cat," 
 and another as " Mouse." The cat endeavors to 
 catch the mouse, who runs into the circle and out 
 again. The players assist the mouse in its escape 
 by allowing it to pass freely under their arms into 
 the circle, or out of it; but they try to hinder the 
 progress of the cat as much as possible, lowering 
 their arms as he tries to go in and out of the circle 
 while pursuing the mouse. If the mouse is caught, 
 both cat and mouse take their places in the 
 circle, two others being selected to continue the 
 igame. The players who form the circle may move 
 around either to the right or to the left, always 
 keeping their hands joined. The cat tries to select 
 a weak spot in the line in order to break through. 
 
64 SOCIAL GAMES 
 
 Prisoner's Tag. — In this game the player who is 
 " It " puts his hands behind his back, crossing his 
 wrists as if they were tied behind him, Hke a pris- 
 oner. In this rather inconvenient position he runs 
 about within the playing-space and tries to tag the 
 others, keeping his hands behind him. If one is 
 tagged he b^omes *' It," and must assume the pris- 
 oner's position and continue the game. 
 
 Handkerchief Tag. — A knotted handkerchief or 
 a small ball or other convenient object is used in this 
 game. The aim is to tag the person who has the 
 handkerchief. The players try to get rid of the 
 handkerchief by handing it or tossing it to another 
 player as quickly as possible ; and hence, on account 
 of the rapid changes, " It " sometimes has a hard 
 time in tagging the right person. 
 
 Snatch the Handkerchief. — ^When this game is 
 played out-of-doors, a small stake or stick a couple 
 of feet long must be driven into the ground. On this 
 stake the handkerchief is placed. The two opposing 
 players take their positions fifteen or twenty feet on 
 opposite sides of the stake'. At the word " Go," each 
 runs to the stake, tries to snatch the handkerchief 
 and return with it to his goal without being tagged 
 by the other player. If a player is tagged it counts 
 a point against him; eleven points win the game. 
 As the object of the game is to tag the player who 
 has the handkerchief, rather than to secure the hand- 
 kerchief itself, some funny situations maybe brought 
 
ACTIVE GAMES OF TAG 65 
 
 about. Often the players meet at the stake on which 
 the handkerchief is placed, and neither one may 
 attempt immediately to snatch the handkerchief, 
 btit they watch one another, each ready to admin- 
 ister his " tag " when the handkerchief is snatched. 
 Various feints and ruses may be employed, the 
 players sometime's walking around the stake, each 
 ready to catch his opponent off guard. 
 
 When there are many players, they form two 
 equal groups, facing each other, with a sufficient 
 number of stakes and handkerchiefs to allow the 
 whole group to play at once. Instead of stakes, the 
 handkerchiefs may be simply laid on the ground. 
 When the game is played in a gymnasium, Indian 
 clubs may be set up on the floor to serve the purpose 
 of stakes. 
 
CHAPTER III 
 
 PARLOR AND HOUSE-PARTY GAMES 
 
 It is proposed in this chapter to suggest and 
 describe certain interesting games which are suitable 
 for the entertainment and amusement of groups of 
 people who have come together for a social evening. 
 The games here given are more or less quiet, in the 
 sense that they demand but little movement or exer- 
 cise; but often they are quiet in no other sense. 
 Many of them stimulate quickness of mental action 
 by demanding sudden and unusual answers, spoken 
 or written. Others of the games suggested have 
 their chief worth in the fun and laughter which they 
 provoke, and hence in this respect they possess 
 hygienic value of considerable importance. 
 
 In the home, around the fireside, these games will 
 assist in cultivating the art of family amusement. 
 Too often in our rushing American life we neglect 
 (the simple'r means O'f entertainment. These games 
 will dissipate some of the dullness and monotony of 
 home life which often cause young people to seek 
 entertainment outside of tlie home circle. 
 
 But little preparation will be found necessary for 
 most of the games here described. In some of them 
 paper and pencil are needed, while in others a very 
 simple preparation will suffice. The successful Intro- 
 duction of these games into social parties often 
 
PARLOR AND HOUSE-PARTY GAMES 67 
 
 results in rich enjoyment on the part of all; and 
 the social leader who has them in his repertoire is 
 usually in demand, and always welcomed in any 
 group. The fact that the participants in these 
 games are usually at once put at ease renders their 
 social value very considerable. Even the old game 
 of "Consequences " has its strong points. At least 
 it furnishes amusement, even though sometimes of 
 the cruder sort. 
 
 Descriptive Adjectives — ^A good illustration of 
 a simple social game wliich may be introduced into 
 any company of people is one which is called 
 " Descriptive Adjectives." One of the persons pres- 
 ent is selected as the object to be described. The 
 leader suggests that "this gentleman must be 
 described by an adjective beginning with A, and he 
 will not be disturbed by your outspoken impression 
 of him." The players in turn give their answers; 
 he is an " austere " gentleman, an " avaricious " 
 gentleman, or he may be " antiquated," " awful," 
 " arrogant " or " amiable," according to the mental 
 operation of the person questioned. And so adjec- 
 tives, beginning with B, C and so on down the alpha- 
 bet, are given. The change from one letter to the 
 next is made) after all in the group have had their 
 chance to describe their victim with the given letter, 
 and no two may give the same adjective. In large 
 groups, ii is often a severe test of one's inventive- 
 ness; it would be doubly so, if one had to confine 
 
68 SOCIAL GAMES 
 
 himself to the truth, which, in this case, is not at 
 all necessary. After several letters have been used, 
 it is well to change the subject of the descriptive 
 adjectives. The name of some lady in the group 
 may be mentioned, and the game proceed as before. 
 For increasing the vocabulary of children this game 
 has considerable value. 
 
 The Geography Game. — ^As a test of one's 
 knowledge of geography, this game is a good one. 
 The leaded explains that he will mention some 
 country, state or island; and before he counts ten 
 the person to whom he points miust give the name 
 of some city, mountain or river which is located in 
 that state or country. The game may be varied by 
 asking for some of the products of the state men- 
 tioned, or for the names of some of its noted citizens. 
 One must keep his wits aibout him to play this game, 
 because of the limited time allowed for his answer. 
 The game may be played by having the participants 
 stand in line, as a class in school; the one who 
 misses goes to the foot. In other cases, the one 
 who misses three times in succession may be required 
 to pay some forfeit." The game may be very well 
 reversed, i.e., the names of cities given, and the play- 
 ers must quickly mention the states or countries 
 to which they belong. It is often well for the leader 
 to have a prepared list of cities, rivers, etc., at hand, 
 so that his questions may :be given rapidly, and may 
 be of great variety. 
 
PARLOR AND HOUSE-PARTY GAMES 69 
 
 Water, Earth, Fire, Air. — The game of " Bird, 
 Beast or Fish? " is peAaps well known, but this 
 English adaptation, called " Waiter, Earth, Fire, 
 Air," is better. The company is divided into two 
 equal groups who sit facing each other. Each group 
 has a leader, or captain, who holds a knotted hand- 
 kerchief in his hand. The captain on one side begins 
 the game by calling out " Water! " and throws the 
 handkerchief in the lap of some player on the oppo- 
 site side. Before the captain counts ten the player 
 must mention some animal which lives in the water, 
 some variety of fish, aquatic plant or insect. If the 
 captain calls " Earth ! " some quadruped, or land 
 animal, vegeta:ble or plant must be named ; if " Air ! " 
 some species of bird or insect; and if " Fire! " the 
 player must remain silent and motionless while the 
 ten is being counted. If a player cannot think of 
 a correct answer, he may toss the handkerchief to 
 another on his own side, thus shifting the respon- 
 sibility; but the answer musit be given before the 
 ten is counted. If a player misses twice, or speaks 
 when he should keep silent, he is eliminated from 
 the contest, and must withdraw. The captains on 
 each side take turns in calling either Water, Earth, 
 Fire, Air, and in tossing the handkerchief to the 
 players. In this form of the game, by eliminating 
 the unsuccessful players, there is an element of con- 
 test. The side which succeeds in eliminating all the 
 opponents wins the game. 
 
70 SOCIAL GAMES 
 
 Even in so simple a game there is a considerable 
 degree of fun, which is increased by the absurd 
 answers sometimes given by the players, who have 
 so little time to frame a correct answer. The lead- 
 ers on each side should insist that a variety of ani- 
 mals, birds, fish, etc., be mentioned, so as to avoid 
 monotony. Hence a rule may be made that at least 
 different things shall be mentioned by the players on 
 each side for a period of two or three minutes. 
 
 Analogies. — A first-rate game for developing 
 quickness in framing clever answers is this one, 
 sometimes called " What is my thought like? " but 
 better named, perhaps, " Analogies." The leader 
 announces that he has in mind a thonght, which, 
 however, he will not disclose until later. In the 
 meantime he requires each player to tell him what, 
 in his opinion, that thought may be like. Of course, 
 the answer must be at random. The first player may 
 suggest; " Your thought is* like! a star." The second 
 may say, " Like a watermelon " ; another, " Like an 
 automobile tire " ; and another may declare that the 
 mysterious thought is " like a Fourth of July celebra- 
 tion." The leader must write' down in turn each of 
 the answers given, and when he has secured them 
 all he announces that his thought was of his pocket- 
 book. Then he glances at the written answers, and 
 asks the first player why his thought, i.e., his pocket- 
 book, is like a star? The player may answer: " It's 
 rather light! " or, " There's nothing in it! " Then 
 
PARLOR AND HOUSE-PARTY GAMES 71 
 
 the next player must explain why the pocket-book is 
 like a watermelon? The answer may be given, 
 " Seedy " ; " Often busted " ; "May be easily opened, 
 and there's plenty in it," etc. The player who sug- 
 gested an automobile tire must give his reasons of 
 similarity, and may say, " Your pocket-book is like 
 an automobile tire because it is necessary for suc- 
 cessful travel " ; or, " siometimes gets flat," etc. 
 
 And thus each player must frame a reason, twist- 
 ing his answer tO' suit the occasion as best he may. 
 Often the replies are extremely ludicrous. Having 
 secured! them all, the leader may suggest that he will 
 change the form of his question, and ask : " Why is 
 my thought not like the objects mentioned? " The 
 first player must then explain why the pocket-book 
 is not like a; star. It may be, " Because it is usually 
 very near you " ; or, "It may sometimes be seen in 
 the daytime," etc. 
 
 In almost any company, a number of clever 
 answers may be secured ; and these answers must be 
 made, of course, on the spur of the moment. 
 
 Exchafige. — A jolly house-party game which is 
 full of funny situations and some exercise is called 
 " Exchange." Ten or a dozen players may take 
 part in the game, but a larger number is desirable. 
 The players are seated in chairs, forming a large 
 circle ; the play^s are numbered consecutively from 
 one upward. 'After receiving their numbers they 
 may arrange themselves in irregular order. One 
 
72 SOCIAL GAMES 
 
 of the players is blindfolded and begins the game 
 by standing in the center of the group and calling 
 out any two numbers. The players who bear these 
 numbers must exchange places. While they are 
 doing so the blindfolded player endeavors to tag 
 either one of them, or to secure for himself one of 
 the chairs vacated. Those whose numbers are called 
 exchange places as quietly as possible, and by dodg- 
 ing or going a long way around try to evade the 
 blindfolded catcher. They may rush for their seat- 
 exchange, or proceed more slowly, according to the 
 nearness of the catcher. If one is tagged, or robbed 
 of his seat during the process of exchange, he is 
 required to take the blindfold, and thus the game 
 progresses. A clever catcher will endeavor to 
 remember the location of the numbers and act 
 accordingly; and he may stand very close to the 
 chair which he thinks is occupied by the person bear- 
 ing the num'ber which he proposes to call. 
 
 Twirl the Plate. — The players in tibis game 
 arrange their chairs in, a circle, each one being num- 
 bered, as in the previous game. The one who begins 
 the game stands in the center, with a tin plate, or 
 some similar circular object, which he spins around 
 on the floor. As he does so he calls out one of the 
 players by number. This one immediately runs 
 forward and endeavors to catch the plate before it 
 has fallen on its flat side to the floor. If he suc- 
 ceeds he returns to his seat; if not, he must spin the 
 
PARLOR AND HOUSE-PARTY GAMES 73 
 
 plate and call out by number some other player, Who, 
 in turn, tries to catch the plate before it falls. In a 
 small company where the players are all well known 
 to each other, the names of the persons may be 
 used, instead of numbers. 
 
 The game may assume the character of a con- 
 test. An " official scorer " may make note of the 
 number of times each player is called out, and bis 
 percentage of successes or failures as the basis for 
 the award of a possible prize. 
 
 Shouting Proverbs — I f the company will arrange 
 themselves into two e'qual groups, and try this game 
 of " Shouting Proverbs," they will be astonished at 
 the difficulty of solving what might seem to be an 
 easy problem. One of the groups secretly selects a 
 proverb, beginning, perhaps, with a well-known one, 
 such as " All's well that ends well," " A rolling 
 stone gathers no moss," etc. The words of the 
 selected proverb are divided among the players, each 
 word being assigned to at least one player, or to 
 more than one if the group is large. Each group 
 should have a leader; and at his signal the mem- 
 bers of his company simultaneously shout the words 
 assigned to them. The other group must guess the 
 proverb. The resulting " Babel of Sound " is 
 utterly confusing. Three or four trials for guessing 
 may be allowed. If the proverb is correctly guessed, 
 the " shouting " group must turn and run toward a 
 ■goal, pursued by the guessers. The goal may be the 
 
74 SOCIAL GAMES 
 
 end of the room, or other designated place if the 
 game is played out-of-doors. Those who are tagged 
 must go over to the side who captured them. The 
 two sides take turns in shouting their proverbs. The 
 easiest way to guess is to listen carefully for single 
 words, and try to patch them together into a com- 
 plete proverb. 
 
 Gossip. — The game of " Gossip " illustrates how 
 an ordinary statement of an item of news may grow 
 in proportions and become distorted in fact as it 
 passes from mouth to mouth. The players arrange 
 themselves in a row or around a room. One whis- 
 pers to his neighbor a bit of news of any sort. This 
 neighbor in turn whispers what he heard, or thought 
 he heard, to the one next to him, and so on around 
 the room. If any player does not he!ar or under- 
 stand clearly he is not allowed to ask for a repetition, 
 but must give to the one sitting next to him his own ' 
 version of the " gossip." The last player states 
 aloud his understanding of the statement made to 
 him, and each one in turn may give his version, 
 until at last the original statement is given by the 
 first player. Astonishing variations are often found, 
 and sometimes the last person receives the bit of 
 " gossip " so different from the original statement 
 that it does not contain a single word suggested by 
 the first player. 
 
 The Game of One Eye. — ^Considerable amuse- 
 ment may be furnished a parlor group by the game 
 
PARLOR AND HOUSE-PARTY GAMES 75 
 
 of " One Eye." The company divides itself into 
 two groups. In the doorway of the room is hung 
 a sheet or large curtain which completely hides the 
 players in one room from those in the other. A hole 
 an inch and a half or so in diameter is cut in the 
 sheet at about the height of the heads of the players. 
 One group selects one of its members, who places 
 one eye in the opening of the sheet, and the other 
 group must guess whose eye it is. Each member of 
 the group may write his guess on a slip of paper. 
 After all the players on one side have made their 
 exhibition of " one eye," and guesses have been 
 recorded by players on the other side, the papers 
 may be collected, and the percentage of correct 
 guesses may be ascertained. Each group takes its 
 turn at guessing, which may proceed in the nature 
 of a contest if the papers are •taken up and scored 
 according to their correctness. 
 
 If one has not tried this game he will be sur- 
 prised at the difficulty of recognizing even an inti- 
 mate acquaintance when only a small part of his 
 face is exposed to view. Sometimes the game is 
 played 'by thrusting one hand through the opening 
 in the sheet, the others guessing to whom it belongs. 
 A variation has also been tried of having the sheet 
 hung so as to leave a space of six inches at the bot- 
 tom. The game then consists in guessing to whom 
 the exhibited shoes belong ! 
 
 The Game of Wink. — This game is played best 
 
76 SOCIAL GAMES 
 
 when there is an equal num>ber of boys and girls. 
 The girls (or one-half the company) are seated 
 in chairs placed in a circle. There should be one 
 empty chair. Behind each chair stands a boy. The 
 one who stands behind the empty dhair must seek to 
 seciire an occupant for that place. In order to do 
 so he is not allowed to speak, but must wink at any 
 one of the girls who are seated. As soon as she 
 observes this silent appeal, she tries to slip away 
 quickly to the empty chair ; but her partner, standing 
 behind her may prevent her from doing so by touch- 
 ing het on the shoulders. If this is done she cannot 
 escape, but must keep her seat. The player behind 
 the empty chair then gives his imploring sign to some 
 other girl. If she escapes she occupies the empty 
 chair, but of course leaves one behind. Thus the 
 guardians of the empty chairs are continually chang- 
 ing, and the standing players endeavor to avoid hav- 
 ing an empty chair in front of them. The guardians 
 of the chairs must watch closely the " winks " of the 
 lonesome players, and see that their charges do not 
 escape ; but they must avoid roughness. The seated 
 players must only be touched when tfne standing 
 players think they are about to lose their partners. 
 When the game has progressed for a while, the boys 
 take the seats, and the girls become their guardians, 
 when the game proceeds as before. 
 
 The Acrostic Sale. — ^This game taxes the wits 
 of the players who make the " sales." One member 
 
PARLOR AND HOUSE-PARTY GAMES 77 
 
 of the party announces that he has some article to 
 sell — any imaginary article will serve the purpose, 
 especially if the word is composed of seven or eight 
 letters or more. To illustrate : The one who begins 
 the game may say: '* I have an AUTOMOBILE 
 for sale." To the next player he says: " What will 
 you give me for the first letter in this word, the A ? " 
 The answer may be " An alligator." And so he 
 requests of the different players their offers, taking 
 the letters of the word Automobile in turn; the 
 answers must begin witib the letters named. The 
 " salesman " must make a written list of the items 
 mentioned. The complete list of articles offered for 
 his automobile may read as follows : 
 
 Alligator. Oil-can. 
 
 Urn. Blackberries. 
 
 Tom-cat. Isinglass. 
 
 Oatmeal. Locket. 
 
 Mush-bowl. Ear-ring. 
 
 Having secured this miscellaneous collection of 
 useful articles, the player who has made the sale 
 must explain in a little story what he is going to do 
 with all those things, weaving each separate article 
 into the web of his narrative. For instance, he may 
 say : " I am going to start a little Zoo. I have 
 already for my collection an Alligator and a Tom- 
 cat. I shall feed them with Oatmeal served from my 
 Bowl, and Blackberries from my Urn. I shall put 
 a window of Isinglass in their cage, and in case 
 
78 SOCIAL GAMES 
 
 of sickness use my Oil-can. With the Locket, I 
 shall adorn the Alligator, and put the Ear-rings on 
 my Tom-cat ! " The trick is to bring into a very- 
 short story every article mentioned, in as reason- 
 able a way as is found possible. Each player takes 
 his turn in offering things for sale, and when the 
 articles are all secured he must explain his line of 
 conduct after he has come into possession of Dhe 
 various things which have been offered. The game 
 is capable of many funny interpretations. The arti- 
 cles offered should be as absurd and unusual as the 
 wits of the players may suggest. The greatest tax, 
 of course, comes on the ingenuity of the possessor 
 of the article which is offered for sale. 
 
 I Went to Paris. — ^This game justifies itself only 
 by the laughter it provokes on account of its absurd 
 movements. The company, seated around the room, 
 imagines that it has taken a journey to Paris in order 
 to purchase certain necessary commodities. The 
 first player says, " I went to Paris." The second, 
 next to him, asks, " What did you buy? '" The first 
 player makes answer, " A pair of shoes," and moves 
 his feet about slightly, to indicate the nature of his 
 first purchase. He must continue the movement 
 throughout the whole g'ame. The second player says 
 to the third, " I went to Paris." The third asks, 
 "What did you buy?" Whereupon the same 
 answer is given, " A pair of shoes," this player also 
 indicating his purchase by the movement. Each 
 
PARLOR AND HOUSE-PARTY GAMES 79 
 
 player in turn makes the same assertion, " I went to 
 Paris," his neighbor always asking, " What did you 
 buy ? " and when the shoes are mentioned, the move- 
 ment with the feet is made. By the time the ques- 
 tion has gone all around the circle, all are moving 
 their feet about. On the second round the leader 
 again says he has gone to Paris, and when asked as 
 to his purchase he may say, "A fan." Then with his 
 right hand he begins imaginary fanning, at the same 
 time keeping his feet moving. The questions and 
 answers go around the circle as before, each making 
 imaginary movements with a fan, at the same time 
 keeping up movements with ihe feet. On the third 
 round the leader may say he bought a pair of gloves, 
 and wiggles the fingers of his left hand to indicate 
 that article of apparel, and all the company imitate 
 him as before, after the question is asked. On the 
 next round the leader states that he bought a pair of 
 eye-glasses, and indicates it by winking fast, at the 
 same time keeping up all the other movements. The 
 next time he has bought a set of false teeth, and 
 illustrates that purchase by rapidly opening and clos- 
 ing the mouth. When the game has reached this 
 point, the whole company is patting its feet, open- 
 ing and closing the fingers of the left hand, fanning 
 with the right, winking fast with the eyes, and 
 opening and closing the mouth! No doubt, the 
 fatigue point will have been reached at this juncture. 
 The game can be played quickly by hundreds of 
 
80 SOCIAL GAMES 
 
 people at a time by the omission of the questions and 
 answers. A leader is necessary, who makes the 
 statement of his purchases and the necessary move- 
 ments, which all the company must imitate at once. 
 Then he adds to the list of articles, one at a time, 
 by tdling the little story of his Paris purchases, and 
 all the company imitate. 
 
 The Donkey Solo. — This game takes rather an 
 unfair advantage of one of the players, but the 
 merriment of the others is its justification. The 
 leader announces that he will direct a game, the 
 name of which he cannot divulge. He explains, 
 however, that a little barnyard music may be the 
 result, and that at a given signal all must play their 
 parts, which he will suggest to each separately and 
 privately. He Intimates that he will Indicate some 
 particular form of noise for each to make. Then 
 he goes around and whispers his directions to each 
 player. Selecting a victim, he whispers to him to 
 bray loudly, like a donkey, when the signal is given. 
 He whispers to all the rest to remain absolutely 
 silent. Then when he gives the signal for the game 
 to begin and everybody is quiet except the one who 
 bursts out Into the " Donkey Solo," the effect may 
 be Imagined. It Is needless to say that the game is 
 only of brief duration, and can be played but once 
 In any one group ! 
 
 Barnyard. — ^This noisy game Is somewhat sim- 
 ilar to the preceding, except that all the company 
 
PARLOR AND HOUSE-PARTY GAMES 81 
 
 actually take part in the activities. The leader 
 assigns to each the name of the animal which the 
 player shall imitate. When the leader raises his 
 right hand certain ones must imitate the squeahng 
 of pigs ; others, the crowing of roosters, the cackling 
 of hens, the neighing of horses, the braying of don- 
 keys, the bleating of sheep, the barking of dogs, the 
 mewing of cats, the gobble of the turkey, the 
 " quack " of the ducks, the hiss of the geese, the 
 mooing of the cows, etc. One must represent the 
 call to breakfast, made by the farmer's wife, and 
 the response by the farmer himself. Other farm 
 noises may suggest themselves ; the rattle of machin- 
 ery, or the " honk " of the auto horn. Children, who 
 are primitive enough to enjoy noises of this sort, 
 greatly delight in the game. It is understood that 
 when the left hand of the leader is raised, there shall 
 be absolute silence. Several alternate raisings of 
 the right and left hands will no doubt suffice. If 
 immediately following this game the leader gives 
 the game of the " Donkey Solo," the latter is made 
 very effective. 
 
 Suggested Activities. — The leader by clever 
 planning may make this a very spectacular game, 
 filled with humorous or pathetic situations, as his 
 fancy may elect. To each member of the group a 
 " suggested activity " is mentioned, and when all 
 have been directed as to the course they must pur- 
 sue, each one must hasten, at a given signal, to do 
 
82 SOCIAL GAMES 
 
 the particular duty which has been whispered to him 
 by the leader. Each player is in ignorance of what 
 his neighbor will do. For illustration, the following 
 will suffice : Mary is told by the leader to play on 
 the piano slow and doleful music; Jdhn must dance 
 a lively jig; Tom is directed to clap his hands, and 
 keep time with his foot ; Julia to take her handker- 
 chief and to weep bitter tears, groaning continually, 
 " This is too sad, too sad! " Ned must pat her on 
 the back, and say, " Poor Julia, it might be worse ! " 
 Robert brings a glass of water to John, and says, 
 " Drink to me only with thine eyes ! " Oscar shines 
 Julia's shoes, as she weeps; Ellen grasps Jcxhn's 
 hands as he dances, and implores him repeatedly to 
 " Cease this savagery before it is too late ! " Alice 
 and Joe put on their hats, and say in unison : " This 
 is no place for us ! " Charles kneels before Alice and 
 Joe, and begs, " Don't leave us thus in our sorrow ! " 
 Martha sings, " There is no' place like home." 
 
 Thus eacih player is given his suggested activity, 
 and must begin his performance only when the signal 
 is given. Endless variation may be introduced, and 
 funny situations brought about ; but they have to be 
 carefully planned by the leader beforehand. The 
 movements and speeches should be repeated for a 
 time sufficiently long to allow the players as well as 
 the audience to grasp the situation fully. 
 
 Instead of working in unison, each player may 
 be assigned a separate performance as his share of 
 
PARLOR AND HOUSE-PARTY GAMES 83 
 
 the game. This is easier for the leader. Various 
 members of the group may take turns as directors of 
 the activities of the rest. 
 
 The Cracker-eating Relay. — This rather absurd 
 game takes the nature of a contest. Each girl of 
 the party holds a cracker, and she has in mind a 
 ** knight " to whom the cracker is to be given. The 
 boys who take the places of the knights line up some 
 distance away, fifteen or twenty yards if the game 
 is played out-of-doors, or at one end of a hall or 
 room if played indoors. At the word " Go," the 
 knights run to the ladies, each receiving his 
 cracker, and return to their starting-point. They 
 must eat the cracker as quickly as possible, and 
 return to their ladies, kneel before them, and whistle 
 a tune which the lady recognizes and names. The 
 first lady tO' name the whistled tune of her knight 
 wins the contest. Spectators as well as participants 
 secure much amusement from this game. 
 
 Who Is My Neighbor? — ^This game may be 
 played indoors with one-half of the players blind- 
 folded, and beside each one an empty chair; or it 
 may be played out-of-doors, the blindfolded players 
 all being seated with so'me space between them. The 
 rest of the players seat themselves by the side of 
 those who' are blindfolded and begin to sing to them 
 In a disguised voice. Each blindfolded person must 
 guess who his right-hand neighbor is; and in the 
 
84 SOCIAL GAMES 
 
 confusion of voices this is not always an easy matter. 
 Sometimes it is better' to have the " singing " done 
 by one player at a time, especially when the crowd is 
 a large one. After a brief period of this vocal 
 display, and when each ihas guessed his neighbor 
 correctly, the sides change places, the former vocal- 
 ists assuming the blindfolds, and the program is 
 repeated. 
 
 Ghosts — The name of this game seems to have 
 no particular bearing on its nature ; but it furnishes 
 amusement, and demands some concentration of 
 thought. The! leader begins by naming some letter 
 of the alphabet ; the next player adds a letter, look- 
 ing toward the formation of a word. Each one in 
 turn adds a letter, but must avoid any addition which 
 would complete the word. If he inadvertently does 
 so, he becomes a " half -ghost." By the rules of the 
 game, no one is allowed to speak to a half-ghost; 
 if any player does this he himself becomes a half- 
 ghost. The half-ghosts, however, may continue 
 playing, and may talk all they please ; but they must 
 not be answered, although they endeavor to trap 
 others into conversation with them. If, then, a 
 player is obliged to add a letter which finishes a 
 complete word, he becomes a half-ghost. The next 
 player immediately begins a new word, by naming 
 another letter; the other players, in turn, add their 
 letters as before. If a half-ghost is obliged to fin- 
 ish the word by the addition of his letter, he becomes 
 
PARLOR AND HOUSE-PARTY GAMES 85 
 
 a whole ghost, and is out of the game. He may still 
 speak, however, but if a player talks to him, that 
 player immediately becomes also a full ghost, and 
 can play no more. Thus the players are rapidly 
 eliminated from the game and tihe contest in word- 
 making narrows itself down to two players, one of 
 whom, sooner or later, must become a full ghost. 
 To illustrate the game, the first player may mention 
 the letter L ; the second, I ; the third avoids any let- 
 ter which would complete a word, and may add G; 
 the next, A ; the next, T ; the next may not add E, 
 because that would finish the word " Ligate " ; so he 
 adds I ; the next O, and the next must of necessity 
 add the letter N, completing the word " Ligation," 
 which makes him a "half-ghost." It will be seen 
 that the point of the game is to develop skill in 
 orthography, and to twist the words in such fashion 
 as to avoid adding any letter which might be a 
 final one. 
 
 Jack's Alive ! — The necessary equipment for this 
 game is a small stick of wood, lighted at one end; 
 and while the stick is glowing it is passed from one 
 player to another. Each one announces as he passes 
 the stick along that " Jack's alive ! " When the bit 
 of fire at the end of the stick goes out. Jack is dead. 
 The object of the game is to pass the stick to one's 
 neighbor while the fire still burns. When the spark 
 is nearly extinguished, there will be no doubt fran- 
 tic efforts to pass the stick rapidly, so as not to be 
 
86 SOCIAL GAMES 
 
 responsible for " Jack's " death. Each must take 
 the bit of wood as it is handed to him; and if he 
 should be so unfortunate as to have Jack die in his 
 hands, the charred end of the stick is used to paint on 
 his face a delicate moustache, which shall serve as 
 an epitaph. The " Jack " is lighted again and passed 
 around as before. Needless to say, the game does 
 not progress very far before several of the g^up 
 will bear evidences of the sad fact of Jack's demise ! 
 If Jack should die more than once in the hands 
 of any one player, various additional decorations are 
 given him — a goatee, a penciled eyebrow and clown- 
 like marks of various designs. An ordinary match 
 may be used, but perhaps will be found rather short- 
 lived. A larger stick of some soft wood or a cork 
 is better for use in the game. 
 
 Sardines. — This game is suitable for a large, 
 roomy house, with many closets, nooks and secret 
 corners. It is played in reverse fashion to the old 
 game of hide-and-seek. One member of the party 
 is allowed time to hide, when the rest go in search. 
 So far as possible, each player must go alone to 
 seek the hidden one; preferably they should not 
 move about in groups. When the hidden player is 
 discovered the one finding him must quietly go also 
 into the hiding-place, and remain there with the 
 first player. If no one observes him, he must take 
 his place with the hidden one as quickly as possible; 
 but he must try and avoid betraying the hiding- 
 
PARLOR AND HOUSE-PARTY GAMES 87 
 
 place to others. Hence, if there are others in the 
 room or in the immediate vicinity, the player who 
 has discovered the hidden one may go elsewhere, as 
 if still seeking; and at a favorable opportunity he 
 may return and sneak in with the hidden one. 
 
 Each player, then, crowds into the hiding-place 
 as he discovers it; and as the game progresses the 
 fun increases. The players become packed like 
 " sardines " ; hence the name of the game. The dif- 
 ficulty of keeping quiet under the circumstances may 
 be imagined! The last player finds himself alone, 
 of course, and searching for all the rest. The game 
 may be played out-of-doors, if the conformation of 
 the locality permits; boulders and trees, rocky 
 ledges and ravines and miniature caves have made 
 the game possible for an excursion party in the 
 Dells of the Wisconsin River, 
 
 Scouting for Words. — This splendid game has 
 to do with the letters of the alphabet, and might be 
 called " Initials," or a " Word at a Glance." Besides 
 the pleasure it gives, it may be made decidedly edu- 
 cational. It certainly tends to quicken one's wits 
 and to test his knowledge along miscellaneous lines. 
 For children it is fine and well adapted to Boy 
 Scouts patrols. 
 
 It is necessary to have cards or slips of paper 
 on which have been: written or printed plainly the 
 letters of the alphabet, one letter on each card. It 
 is well to have three or four cards of each letter of 
 
88 SOCIAL GAMES 
 
 the alphabet, omitting the X and Z and Q, or having 
 only one card bearing those letters. 
 
 The cards are mixed in the pack. One player 
 must act as leader of the game, and he holds all the 
 cards, face downward. He turns them over, one 
 at a time, so that the letters may be clearly seen by 
 each of the players. Just before he turns a card he 
 may say, " Mention to me some bird whose name 
 begins with this letter." Then the card is quickly 
 exposed to view. The invitation is open to all ; the 
 one who first gives a correct answer gets the card. 
 If no one can think of an answer in five seconds, 
 the leader puts the card into the pack again and gives 
 some other subject, turning another card. The game 
 may be varied by a clever leader to suit almost any 
 group from very young children to college profes- 
 sors. For the younger players the leader may say, 
 " I am going tO' take a walk through the woods. 
 What objects would I be likely tO' see, the names of 
 which begin with this letter? " Then he turns the 
 card, which is always given to the player who i's first 
 with his answer. When the cards in the pack have 
 been exhausted, the game is over and won by the 
 person who holds the largest number of cards. 
 
 Below is given a list of subjects which the leader 
 may make use of in directing the game : 
 
 Literary: Names of authors, poets, poems, es- 
 says, books, magazines, newspapers, characters in 
 well-known novels, Bible names, etc. 
 
PARLOR AND HOUSE-PARTY GAMES 89 
 
 Geographic: Names of rivers, mountains, coun- 
 tries, cities, lakes, states, capes, islands, etc. 
 
 Natural History: Names of birds, animals, fish, 
 insects, trees, flowers, fruits, plants, vegetables, etc. 
 
 Historical: Celebrated characters, warriors, 
 statesmen, presidents, kings, emperors, governors, 
 noted battles, etc. 
 
 Musical : Names of musical instruments, songs, 
 hymns, composers, musical note and signs, etc. 
 
 Commercial: Articles found in drug stores, 
 drygoods stores, book stores, groceries, hardware 
 shops, banks, photographic houses, clotlhing stores, 
 offices, etc. ' 
 
 Anatomical : Parts of the body, organs, m;uscles, 
 nerves, blood-vessels, bones, etc. 
 
 Grammatical: Parts of speech, initials of adjec- 
 tives, verbs, adverbs, nouns, etc. 
 
 Miscellaneous: Names of girls, boys; articles 
 found in the schoolroom, in the home, in bedrooms, 
 etc.; parts of automobiles, bicycles, typewriters; 
 names of articles concerned in railroading; objects 
 seen on a city street, on a country road, at church, 
 in a theater ; articles to eat, drink, smell ; articles of 
 clothing-, etc. 
 
 The above list will suffice to show the great 
 possibilities of the game, and how it may be made 
 interesting to groups of varying ages and degrees of 
 mental development. The game may be conducted 
 as a contest by having the players divide into two 
 equal groups, the individual players winning cards 
 for their side; or a small group of players may stand 
 in line, the one giving the answer first going to the 
 
90 SOCIAL GAMES 
 
 head. This plan adds interest to the game, because 
 the position of the players is constantly changing. 
 The game may also be varied for schoolroom pur- 
 poses by having all the pupils stand. As soon as 
 each child gives first a correct answer he takes his 
 seat and is out of the game. The slower players, of 
 course, will have to remain standing longer than 
 the rest. 
 
 A good variation of the game is called " Oppo- 
 sites." When the card is shown, an adjective and 
 its opposite must be given ; for instance, old, young ; 
 polite, rude; quick, slow; intelligent, ignorant; 
 bright, dull, etc. 
 
 The Silver Spoon Identification. — In this rather 
 odd game all the players arrange themselves in a 
 circle, except one, who is blindfolded and takes his 
 position in the center, with a large silver spoon in his 
 hand. His duty is to identify the players as best he 
 can by passing the round end of the spoon over their 
 heads, faces and shoulders. If he fails in his first 
 attempt, he tries another player as his subject. If 
 he succeeds in this rather difficult and ludicrous 
 fashion in identifying one of the players, that one 
 assumes the blindfold and the spoon, and the posi- 
 tion in the center. The members of the company 
 may change seats frequently, so as to confuse the 
 blindfolded player as to the locality of the individual 
 players. A player may stoop, or try to disguise the 
 fact of his height, but must not otherwise interfere 
 
PARLOR AND HOUSE-PARTY GAMES 91 
 
 with the efforts of the Mind man to guess the names 
 of the players whom he touches with the spoon. 
 
 Guessing Baby Pictures — If the hostess will ask 
 each of her invited guests to bring with him a photo- 
 graph of himself taken when he was very young, 
 a great deal of merriment will be created when these 
 pictures are all collected and exhibited. Each pic- 
 ture should be numbered and displayed in order on a 
 table and each player must record his guesses on a 
 slip of paper. When this has been done, the hostess 
 may collect the papers and mark them on the per- 
 centage of correct answers. For the benefit of the 
 others, each guest must finally acknowledge his own 
 photograph. The game works best in a company 
 of people who know each other well. Even in this 
 case the guessing is not always an easy matter. The 
 comments made on the photographs by the players is 
 often very ludicrous. 
 
 Hid in Sight. — In this game it is required that 
 all the players leave the room except one who 
 remains behind to hide any small object; a piece of 
 money answers admirably. He endeavors to hide 
 it in a fairly secluded spot, but it must be placed in 
 plain sight, and not in any way covered up. The 
 players must be informed as to the nature of the 
 object which is hidden. When they return to the 
 room each player separately must begin his search, 
 and after having discovered the hidden object he 
 must avoid disclosing the secret by word or action 
 
92 SOCIAL GAMES 
 
 and take his seat. He may even try to put other 
 players off their guard by pretending to continue his 
 search and going to another part of the room before 
 sitting down. When nearly all the players have dis- 
 covered the hidden coin the fun increases, because 
 these have the enjoyment of watching the futile 
 efforts of the unsuccessful players. Usually those 
 who are more fortunate do not fail to comment in 
 disparaging fashion upon the stupidity of the slow 
 ones. 
 
 Impromptu Performances. — This amusing game 
 may bring forth a great deal of clever talent if 
 played in the right company. It is liable to tax one's 
 wits, but invariably causes a pleasing diversion in 
 the company. The leader must prepare beforehand 
 a list of " stunts " or suggested activities, eaoh one 
 being written on a slip of paper. The players must 
 not know beforehand the nature of their perform- 
 ances. As each one is called to a platform, or to the 
 front of the room, he is handed the slip bearing the 
 name of his " stunt." Objections or protests from 
 the players are not allowed, and it must be under- 
 stood that no one will be excused from an attempt 
 at his " impromptu performance." The sooner it 
 is over, the better ! Following are some suggestions 
 as to the list of stunts : 
 
 Dance a jig. Make a speech. 
 
 Sing a song. Pose as a statue. 
 
 Tell a funny story. Impersonate an actor. 
 
PARLOR AND HOUSE-PARTY GAMES 93 
 
 Make a Fourth of July oration. 
 
 Preach a sermon. 
 
 Teach a class in geography. 
 
 Illustrate a lesson in gymnastics. 
 
 Repeat a bit of Shakespeare, or other author. 
 
 Give a Mother Goose rhyme. 
 
 Give in pantomime a lady dressing her hair in 
 front of a mirror. 
 
 Take the part of Hamlet. 
 
 Play the piano or some other musical instrument. 
 
 Assume attitudes of anger, grief, jealousy, re- 
 morse, horror, ecstasy, etc., in quick succession. 
 
 Imitate the various barn-yard noises. 
 
 Hold a conversation with an imaginary friend, 
 or with some noted historical character, etc. 
 
 Christmas Shopping. — To impersonate a toy, a 
 household article or a book is the task which taxes 
 the ingenuity of those who play this amusing game. 
 The leader of the " Christmas shopping " expedition 
 announces to the company that he 'has come into 
 possession of several interesting articles which he 
 proposes to offer for sale. Previously he has whis- 
 pered to several of the players to represent by sound 
 or action these different articles. He may ask one 
 to take the part of a jumping- jack when called on to 
 exhibit himself ; to others, he may whisper the names 
 of the following suggested articles : 
 
 Toy automobile. Teddy bear. 
 
 Jack-in-the-box. " Moo " cow. 
 
 Tin horn. Mary's Httle lamb. 
 
 Drum, Pet poodle. 
 
94 SOCIAL GAMES 
 
 Phonograph. Monkey on a stick. 
 
 Doll. Carpet sweeper. 
 
 Rocking-horse. Alice in Wonderland. 
 
 Tin soldier. Robinson Crusoe. 
 
 Having selected his players and having secretly 
 assigned them their duties, he asks them all to stand 
 quietly in line. Then he requests one of the com- 
 pany to act as a purchasing agent, and explains that 
 this agent must first discover the nature and names 
 of these objects. In order to do so it is necessary 
 that he press a button on one of the players standing 
 in line, and immediately that player gets into action. 
 If the purchasing agent recognizes the article repre- 
 sented, he may say : " I like this little tin soldier 
 very w^ell. I shall buy him." Then he asks the tin 
 soldier to stand aside, and begins testing the other 
 players, endeavoring to guess from their motions 
 or sounds what they are until they have all been 
 tested and he has seen the performances of each. As 
 he guesses the articles, he sets each aside, and finally 
 he begins to carry the " articles " off with him. 
 Every " article " theti must follow the purchaser 
 around the room, each one exhibiting his individual 
 movements and making the noise required. It is 
 often ridiculously funny to witness the procession 
 of the jumping-jacks in action, tin horns blowing, 
 autos " honking," tin soldiers stifBy marching, pho- 
 nographs playing, Cheshire cats grinning, Robinson 
 Crusoes looking for footprints in the sand, etc. If 
 
PARLOR AND HOUSE-PARTY GAMES 95 
 
 the game is played with spirit and originaHty, it is 
 as funny to spectators as to players. Old and young 
 seem equally amused at the absurd spectacle pre- 
 sented by the results of the " Christmas shopping." 
 
 Fruit Basket — This is a good parlor game in 
 which there is much movement and scrambling for 
 seats. The players should arrange themselves in 
 chairs placed in a circle. They must then be num- 
 bered I, 2, 3, 4, I, 2, 3,4, I, 2, 3, 4, etc., as they are 
 seated. When they have thus been counted in fours 
 the leader explains that all the ones are oranges; 
 the twos are apples; the threes are bananas; the 
 fours are lemons. By this arrangement it will be 
 seen that the different varieties of fruits are scat- 
 tered around the circle. The one who begins the 
 game stands in the center of the circle, and calls out 
 " Lemons and Oranges ! " whereupon the lemons 
 and oranges must quickly exchange seats. In the 
 scramble, the one in the center endeavors tO' secure 
 a seat for himself. If he succeeds, there will be 
 one left without a seat. This one in turn may call 
 out, " Bananas and Apples ! " when the players who 
 represent these fruits must change seats. And so 
 any combination of fruits may be spoken, and the 
 change of seats made. If the player in the center 
 should call out " Fruit Basket ! " the whole company 
 must exchange seats. The center player thus gives 
 himself an admirable chance of securing a chair. 
 The company may be counted off in fives or sixes, 
 
96 SOCIAL GAMES 
 
 and a greater variety of fruits assigned. More con- 
 tinuous action is secured, however, by having only 
 three or four varieties of " fruits." 
 
 Shifting Seats, — ^Another Hvely game of Chang- 
 ing seats is this one, sometimes called " Cover the 
 Stool." All the players are seated, except one. 
 There must be one unoccupied chair In the circle. 
 The player beginning the game stands in the center, 
 and commands "Shift seats to the right!" The 
 one on whose right the empty chair is placed must 
 quickly shift to it. His neighbor moves to the one 
 just vacated, and so on, all around the circle. If 
 the command " Shift Right ! " is given each one 
 must see to it that there is no vacant chair immedi- 
 ately on his right. All do not, therefore, move at 
 once, but in quick succession, and it is quite difficult 
 for the standing player to secure the empty chair. 
 If he' succeeds in doing so, the one who should 
 have shifted to it becomes " It," and he in turn 
 stands In the center of the circle, and gives again 
 the command to shift right or left. The command 
 should be given quickly and repeatedly, so that the 
 players are moving pretty constantly. 
 
 Polite Conversation. — ^This game is an amusing 
 trial of the conversational powers of the players. 
 Two players only can take part in the game; but 
 the rest will be abundantly amused. These two 
 players who are to engage first in the " polite con- 
 versation " must leave the room. While they are 
 
PARLOR AND HOUSE-PARTY GAMES 97 
 
 gone the remaining' ones select some subject or some 
 particular phrase which these two shall make use 
 of in their conversation. The phrase or subject to 
 be used is whispered privately to each player. 
 Neither one must know what sentence has been 
 assigned to his fellow-conversationalist. The object 
 of the game is for each player to make use of his 
 phrase or subject in a natural and reasonable way 
 before his opponent has an opportunity to speak his 
 own sentence. The sentences must not be abruptly 
 spoken, but a preliminary conversation must be held, 
 which may lead up naturally and logically to the 
 expression of the desired words. To give an illus- 
 tration : Miss Jones and Mr. Smith are sent from 
 the room. Miss Jones is assigned the subject of 
 False Teeth; Mr. Smith must introduce somehow 
 into his conversation the subject of Watermelons. 
 The leader privately informs each one of the subject 
 on which he or she shall talk. When they enter the 
 room they are fonnally introduced. They must act 
 and speak as if they were entire strangers. All the 
 members of the group, of course, know the subjects 
 which have been assigned. The conversation might 
 be conducted as follows : 
 
 Mr. Smith : I am very glad to meet you, Miss 
 Jones ; I have heard of you through a brother of 
 mine, who was a classmate of yours in college. 
 
 Miss Jones: I remember him very well, Mr. 
 7 
 
98 SOCIAL GAMES 
 
 Smith ; he was a celebrated football player, and had 
 a serious accident in one of the games, 
 
 Mr. S, : Yes, and when he left college, he moved 
 down South, and bought a farm in Georgia. Fruit- 
 raising was his specialty, and he had always wanted 
 a Southern farm. 
 
 Miss J. : That is interesting. I remember how 
 the whole college sympathized with him when he 
 lost his teeth in the game I referred to. I believe 
 it was even necessary for him to have a set of false 
 teeth as a result of his sad accident ! 
 
 Mr. S. : Yes, indeed, it was ; but as he raised 
 watermelons on his Georgia farm, and was himself 
 very fond of them, he managed to get along very- 
 well indeed on that diet, in spite of his accident. 
 
 But Miss Jones succeeded in getting around 
 to the *' 'false teeth " first, and so wins from Mr. 
 Smith, who was a little delayed in mentioning his 
 watermelons! The audience in the meantime has 
 taken a lively interest in the conversation, watching 
 its turn to the desired subjects. Two other players 
 are sent out, two other subjects are selected, which 
 may be as ridiculous as possible. When a specified 
 sentence, instead of a general subject, is given to 
 the players, it is a little harder to weave it into the 
 web of the conversation. 
 
 The Reporter's Game. — This is another conver- 
 sational game, in which eadh gelitleman in the com- 
 pany must talk for five minutes to his lady partner 
 on some distinctly masculine subject or occupation, 
 the more technical the better; and at the end of his 
 
PARLOR AND HOUSE-PARTY GAMES 99 
 
 conversation the lady must make a written report 
 of what she remembers of the conversation. The 
 gentleman may converse on subjects pertaining to 
 athletics, games and records; may describe a foot- 
 ball or baseball game, with technical terms, scores, 
 etc. ; or he may tell stories of hunting, fishing and 
 camping; or talk about automobiles, about business 
 dealings, stocks and bonds, or commercial or scien- 
 tific subjects, or of professional subjects generally. 
 If he can talk on any subject in which the lady is not 
 well versed, so much the better. After each lady 
 has written her report, the tables are turned, and 
 some essentially feminine subject is given by the 
 lady, the gentleman being required to submit his 
 report in writing after her remarks have been com- 
 pleted. The ladies may converse on such subjects 
 as dress-making, the trimming of hats, of shopping 
 and domestic occupations of various kinds; they 
 may give recipes for cooking, reports of club meet- 
 ings or societies of essentially feminine interest. It 
 is not permitted to take notes during the conversa- 
 tions; the reports must be written entirely from 
 memory, and read aloud to the company at the close 
 of the " Reporter's Game." 
 
 Animal Voices and Bird Songs. — In this game 
 one player is blindfolded while the rest stand in a 
 circle around him. The players in the circle may 
 move about occasionally to confuse the blindfolded 
 one as to their locations. With a small wand or 
 
100 SOCIAL GAMES 
 
 pencil the blind man locates and touches a player, 
 and asks him to grunt like a pig. If he guesses the 
 name of the player who imitates that animal, they 
 exchange places; if he fails to guess correctly he 
 must make trial of some other player. Thus the 
 amusing game proceeds. The following requests 
 may be made : to roar like a lion ; bray hke a donkey ; 
 crow like a rooster; sing like a canary; bark like a 
 dog ; mew like a cat ; howl like a hyeiia ; hoot like an 
 owl ; cackle like a hen ; whistle like a whip-poor-will ; 
 imitate the notes of the meadow lark, boib-white, 
 chickadee, mocking-bird, mourning-dove, etc.; cry 
 like a baby ; gobble like a turkey ; neigh like a horse ; 
 " quack " like a duck, etc., etc. 
 
 If the blindfolded player cannot name the per- 
 son who has attempted the noise suggested he may 
 demand a second or third repetition of the perform- 
 ance. It is not always easy to identify the players, 
 since the imitations are usually weird and peculiar 
 and often given in disguised voices. 
 
 Pertinent Questions and Impertinent Answers. 
 — ^In the playing of this game the company divides 
 itself into two groups who sit facing each other. 
 If there is an equal number of boys and girls, so 
 much the better. The ladies sit together on one 
 side of the room, the gentlemen opposite them. 
 
 Two le'aders are necessary, one for the boys, one 
 for the girls. The leader of the boys passes down 
 their line, and whispers to each one a question which 
 
PARLOR AND HOUSE-PARTY GAMES 101 
 
 must be asked the lady who sits opposite him. These 
 questions should be varied, unusual and as ridicu- 
 lous as possible. The leader of the girls likewise 
 passes down their line and whispers to each one some 
 answer which must be given. 
 
 The game is begun by the boy at the head of the 
 line who propounds his question to the lady opposite, 
 and she gives the reply which she was instructed to 
 furnish. Each player in turn thus asks his ques- 
 tion and receives his answer. The ans-wers, of 
 course, are frequently irrelevant, and usually amus- 
 ing. Much depends on the skill of the two leaders, 
 who frame for the players their questions and 
 answers without any prearranged consultation. The 
 game is varied by having the girls propound the 
 questions and the boys give the answers. The 
 answers to the questions will be more fitting if each 
 of the first set of questions begins with " Why?" 
 and another set with " Where? " The two leaders 
 should agree beforehand on some such general 
 scheme of questions and answers. 
 
 Millinery Creations. — This game requires some 
 preparation on the part O'f the hostess. It will be 
 necessary for her to furnish to each gentleman pres- 
 ent a lady's untrimmed hat. Materials for the fash- 
 ioning of this " creation " must also be furnished, 
 with an abundance of pins. The materials for trim- 
 ming and the hats themselves may be as cheap and 
 as fantastic as possible. It would be easier for the 
 
10£ SOCIAL GAMES 
 
 hostess if each lady guest should bring with her the 
 hat and materials for trimming. The feature of the 
 game is to furnish to each gentleman a hat, trim- 
 mings and pins, and in a given time (five or ten 
 minutes) he must trim the hat as effectively as his 
 limited ability will allow! When all the hats are 
 finished, the gentlemen are requested to put them 
 on for display, and to pass in review before a set of 
 judges who shall pass upon the merits of the "Millin- 
 ery Creations." 
 
 Carpenters and Seamstresses. — The program of 
 a social evening may be varied by a game of some- 
 what similar nature to the above. To each gentle- 
 man is given a piece of cloth, a needle and thread 
 and ten 'buttons. At a signal to begin operations, 
 each gentletaan must thread his needle, and begin 
 sewing on buttons. The one who has accomplished 
 most in five minutes wins a prize. 
 
 A task of driving tacks or nails into boards may 
 be assigned to the ladies. To each is given a small 
 hammer and a sulfificient quantity of tacks. She 
 must drive the tacks in straight rows, without physi- 
 cal injury to herself. The contest is decided by the 
 straightness of the rows and the number of tacks 
 driven in a given time. 
 
 Biographic Cartoons. — ^A great deal of fun may 
 be had in playing this game, which is well suited to 
 a small parlor group, and if the players know each 
 other well the game works admirably. 
 
A Startling Creation! 
 
 
 FAIRY SOAP 
 
 iia^ ^.^^ #, 
 
 
 
 Grape-Nuts 
 
 
 t,e aoon -TooK <a ^\m5e\r o. b-Kv-- b^^Y, ""^tt- 
 
 J^ / / A Garden Full 
 
 <V?eX V,vea V)4V'K 
 
 ^Oll 
 
 'ind be, 
 
 'y/ifT-Wome Bwildor*; " — * BuT 
 
 critical age of midtllc lile 
 
 
 FIG. 17. — BIOGRAPHICAL CARTOON 
 
PARLOR AND HOUSE-PARTY GAMES 103 
 
 To each player is given an old magazine with 
 abundant advertising pages. Each person is required 
 to write a brief biographic sketch of one of the 
 other players, and the biography must be illustrated 
 as profusely as possible by the pictures and head- 
 lines of such advertisements as he may find fitting 
 the person in question. The pictures or words are 
 cut from the magazine and pasted in proper position 
 on the sheet containing the 'biography. A limited 
 time is given each player for the preparation and 
 writing of his " biographic cartoon " — ^perhaps fif- 
 teen minutes. When all the papers are finished, the 
 players pass along the results to their right-hand 
 neighbors, sa that e(ach one may see for himself and 
 fully appreciate the amusing efiforts which have been 
 recorded by woi J and picture. The illustration here 
 submitted will show the possibilities of the game 
 (Fig. 17). 
 
 Trades — This very old game of " Trades," or 
 " Activities," usually proves of interest because of 
 its great variety and the amount of originality 
 which may be put into it. A parlor group divides 
 itself into two equal parts, and the actors who are 
 to represent the " trades " withdraw to another 
 room, appoint a leader and agree upon some trade 
 or activity which they are to act out in pantomime. 
 Movements are assigned to different players. On 
 their return to the parlor the leader of the opposite 
 party asks, " What is your trade? " The leader of 
 
104 SOCIAL GAMES 
 
 the actors must .give the initials of the words which 
 they seek to represent, which may be " P. O." 
 (Peehng Onions). Wihen the request is made, 
 " Show us the motions," the players variously act 
 out the peeling* of onions, some picking onions from 
 an imaginary basket, others peeling, some wiping 
 their eyes as a probable result of the operation. If 
 one of the guessing party gets the clue, and gives 
 the right answer, the actors must all turn and run 
 toward a goal previously agreed upon. If one of 
 their number is tagged before reaching the goal 
 he is a captive and must go to the side of the oppo- 
 site party. The two sets of players take turns in 
 guessing and in acting. Below is given a suggested 
 list of activities which may be represented in 
 pantomime : 
 
 Laying bricks. Beating carpets. Roasting corn. 
 Making bread. Doing nothing. Fighting fire. 
 Weeding vegetables. Taking photographs. Catch- 
 ing a train. Going to the country. Eating water- 
 melons. Building houses. Playing baseball. Go- 
 ing to school. Blowing soapbubbles. Doing busi- 
 ness. Running a hotel. Waiting on table. Wash- 
 ing dishes. Star-gazing. Being initiated. Traveling 
 abroad. Making popcorn. Cleaning house. Doing 
 farmwork. Climbing trees. Playing games, etc., 
 etc. 
 
 The game is suited both for indoor and outdoor 
 use, and is admirable for picnics. 
 
PARLOR AND HOUSE-PARTY GAMES 105 
 
 Rapid Transit. — The players in this game group 
 themselves in a circle, standing rather close together. 
 The leader must provide a number of miscellaneous 
 articles of different sizes and weights. When played 
 indoors the f dllowing articles might be used : a sofa 
 pillow, a flat-iron, a small chair, a book, a tin dish- 
 pan, a waste-basket, a peanut, a brick, a pail half filled 
 with water, a carpet sweeper, etc. Each player is 
 provided with one of these objects, and at the word 
 " Go " he passes his article in " rapid transit " to 
 his right-hand neighbor. Thus the group is kept 
 uncommonly busy; and at the command " Change ! " 
 the players must pass their possessions to the left, 
 instead of the right. These changes should be fre- 
 quently made. To complicate the transit of the 
 articles, one or two of them should be selected for 
 passage in a direction opposite tO' the rest. The 
 sudden necessity of handling in rapid succession 
 light objects, heavy objects, small and large objects, 
 and un wieldly objects is a peculiar sensation, and 
 tests one's muscular co-ordination, besides produc- 
 ing a good deal of laughter. Any player who drops 
 an object withdraws from the game, but does not 
 withdraw the article which was dropped. Thus as 
 the players drop out, the ones remaining have con- 
 stantly a more difficult task. If all the players are 
 eliminated except three or four, they will probably 
 find themselves with armfuls of household articles 
 of mixed character, and the exchange becomes very 
 
106 SOCIAL GAMES 
 
 difficult, especially since the articles must be passed 
 from one to another as rapidly as possible. 
 
 Hand Organ. — The object of this parlor game 
 is to test the players' knowledge of music, and their 
 familiarity with tunes and hymns and songs, new 
 and old. The members of the company are provided 
 with pencils and paper, and their task is to transcribe 
 correctly the names of the musical compositions as 
 they are played rapidly in succession. A pianist is 
 necessary who is able to play the music easily from 
 memory ; the medley of airs should include as large 
 a variety of familiar songs and hymns as the pianist 
 is capable of presenting. The person who has 
 secured the largest correct list of the names of the 
 compositions wins the game. It is generally advis- 
 able that the pianist have at hand a numbered list 
 of the songs which are to be played. 
 
 Rhyming Verbs. — In this game, half of the com- 
 pany retires to another room, those left behind agree 
 upon some verb, which the first-mentioned group 
 must guess and act out in pantomime. The only clue 
 which is given to them is some word which rhymes 
 with the verb selected. For instance, one group 
 selects the verb "meet," and informs the guessers 
 that the rhyming word is " feet." The guessing 
 party concludes that the word is " eat " ; they 
 return to the room and in various ways go through 
 thd movements of eating. The members of the first 
 party silently shake their heads, when the others 
 
PARLOR AND HOUSE-PARTY GAMES 107 
 
 must withdraw and select another word. Perhaps 
 they guess that the verb " compete " is the one, and 
 when they return their pantomime must represent 
 that idea. Again they learn they are wrong. Thus 
 successive trials are made until finally the right verb 
 is guessed and acted out, when the members of the 
 first group clap their hands. The sides take turns 
 in guessing the verbs. Sometimes it is required that 
 silence be maintained throughout the game, the 
 only spoken word being the one which rh3niies^ with 
 the verb to be guessed and acted in pantomime. 
 
 Up, Jenkins ! — This game is a very old one, and 
 has furnished amusement for many generations. 
 It is still good, howeve'r, and is played to best advan- 
 tage by from ten to twenty players, who divide into 
 equal groups, each group having a captain. The 
 groups are seated on opposite sides of a table, or on 
 the ground or floor. One side has possession of a 
 small coin, which they pretend to pass from one to 
 the other. The effort is to conceal from their oppo- 
 nents the final location of the coin. 
 
 The leader of the opposite side says, "Up, 
 Jenkins! " when all the closed hands of the players 
 who have the coin on their side are raised for inspec- 
 tion. At the command, " Dbwn, Jenkins ! " all the 
 raised clenched hands are suddenly brought down to 
 the table with a bang, the' fingers opening as the 
 hands strike the table. The op'posite side endeavors 
 to guess under which hand the coin lies, and this is 
 
108 SOCIAL GAMES 
 
 no easy task. The leader of the guessing side, with 
 the sii^gestion of his team-mates, orders the hands 
 raised from the table one at a time, leaving for the 
 last the hand under which he tJhinks the coin is. If 
 he should make a mistake, and order a hand up 
 which covers the coin, points are counted against 
 him. Every hand which still remains down counts 
 one point against him, and for the side which has 
 the coin. Twenty-one points count as the game. 
 The sides take turns in the possession of the coin, 
 keeping account of their scores. No one may give 
 orders for the raising of the hands except the cap- 
 tain, although he may give consideration to the 
 suggestions and opinions of his team-mates before 
 giving his orders. 
 
 Hunt the Ring. — The players in this game are 
 seated around a circle, holding in their hands a 
 string which has been tied so as to form a large 
 loop, and on which a gold ring has been placed. One 
 player stands in the middle of the circle and all the 
 rest of the players take hold of the cord and move 
 their hands as If passing the ring from one to an- 
 other. The standing player tries to guess its location, 
 and taps the hand of any player which he supposes 
 may conceal the ring. That hand must be opened, 
 and if any player Is caught with the ring, he ex- 
 changes places with the one in the center of the circle. 
 
 Electric Shock — ^A similar game is played by 
 having those who participate form a circle, each 
 
PARLOR AND HOUSE-PARTY GAMES 109 
 
 player crossing his arms and joining hands around 
 the circle. 
 
 In the center stands the player who is to locate 
 the '' electric shock." The shock consists of a sud- 
 den little squeeze given by the thumb and fore- 
 finger to any adjacent player. This player in turn 
 passes the ". shock " to the next, and so on around 
 the circle. The person in the center tries to tap the 
 hands of the players who exhibit the symptoms of 
 shock, and if successful he exchanges places with 
 the player w'ho was "caught in the act." Any player 
 may start the shock, and if the group is large, sev- 
 eral shocks may be started, sometimes traveling in 
 opposite directions. 
 
 Slipper Slap. — A similar game, which possesses 
 a little more violent action, is " Slipper Slap." The 
 players form a circle, but stand as close together as 
 possible, holding their hands behind their backs. In 
 the center of the circle stands the victim of the 
 " slaps." One player in the outside circle holds in 
 his hand a soft slipper, or some similar object, which 
 he passes around to the other players ; the slipper is 
 passed behind the backs of the players, and each 
 endeavors to conceal its location. Any one of the 
 players, who occupies a favorable position, suddenly 
 raises the slipper, and slaps the one in the center on 
 the back or shoulders, but in doing so he must escape 
 the observation of his victim, and quickly pass the 
 slipper to another player. The game affords merri- 
 
110 SOCIAL GAMES 
 
 merit and demands quick action. The center player 
 should be constantly turning and trying to locate 
 the position of the slipper and the one who delivers 
 the slaps. A player who is caught must take his 
 place in the center. 
 
 Soap Bubbles. — From time immemorial the 
 blowing of soap bubbles has been a form of amuse- 
 ment for children, young and old. A formula is 
 here given for a solution which will produce bubbles 
 of surprising size and durability. 
 
 Half an ounce of soap — ^preferably castile — is 
 cut into shavings, put into a pint of water and 
 gently heated until the soap is dissolved. The solu- 
 tion should be allowed to cool and should then be 
 filtered. Into three parts of this solution should be 
 mixed two parts of glycerine, and the mixture thor- 
 oughly shaken in a bottle. It will at first be clear, 
 but will soon become turbid. After a day or two 
 the solution will be found to be whitish or turbid 
 at the top and clear underneath. Pour off the turbid 
 portion and use the clearer part for the blowing of 
 soap bubbles ; or, better, siphon out the dear portion 
 and keep it for use. 
 
 A bubble made from this glycerine liquid will 
 last for hours, if not disturbed by draughts of air, 
 and if allowed to rest on some soft woolen fabric. 
 New clay pipes should be used in the blowing of the 
 bubbles, and contests may be held in the blowing of 
 the largest bubble or the most lasting one. 
 
PABLOR AND HOUSE-PARTY GAMES 111 
 
 A pleasing game for children is played by 
 arranging a cord, or some sort of screen, across the 
 room, the bubble blowers taking opposite sides. The 
 object of the game is to blow the bubbles and force 
 them over the dividing line into the enemies' ter- 
 ritory, by either blowing them over or using small 
 fans. The opposing side tries to blow them back 
 again. Every bubble that bursts in the territory 
 of either side counts a point against that side. An 
 umpire is necessary to decide on the points of the 
 bubble warfare. The game is often indulged in by 
 people who have passed their childhood days, but 
 who seem to enjoy the pastime nevertheless. The 
 contest may take place on a lawn instead of indoors. 
 
CHAPTER IV 
 
 GAMES WITH PENCIL AND PAPER 
 
 Games of tihe quiet sort have a legitimate place 
 on various social occasions. Some of those men- 
 tioned here are tests of mental alertness and origin- 
 ality, and afford pleasant opportunities for diversion 
 in parlor companies. 
 
 Telegrams. — The players in this game are pro- 
 vided with pencil and paper. The leader suggests 
 that each must write a telegram, and gives a number 
 of letters with which the words of the telegram must 
 begin. He may give, for instance, the following 
 eight letters as the initials of the words of the tele- 
 gram : O, H, V, S, A, T, E, P. In one game recently 
 played under the writer's direction the following 
 different and patlhetic messages were dictated : 
 
 Old Horse Very Sick. Appendicitis. Tell Every- 
 body Pray. 
 
 Our House Violently Shaken Apparently Terrible 
 Earthquake Prevailed. 
 
 Osicar Has Very Suddenly Agreed to Eat Peanuts. 
 
 Outlandish Hash. Very suspicious. Ate too Ea- 
 gerly. Painful. 
 
 After all the players have written their tele- 
 grams they are collected and read by the leader, 
 often to the great amusement of the company. 
 Sometimes a word of eight or ten letters is given 
 112 
 
GAMES WITH PENCIL AND PAPER 113 
 
 out, the separate letters to serve as the initials of the 
 telegram. The full name of one of the players may 
 be selected for this purpose. A time limit of five 
 minutes, or less, should be set on the construction of 
 the telegraphic sentences. 
 
 The Game of Artistic Efforts. — One's ability, or 
 more usually inability, to express his ideas by means 
 of a drawing, is shown in rather interesting fashion 
 in this game. The players are provided not only 
 with paper and pencil, but also with colored crayons, 
 and each one must busy himself for five minutes or 
 so by attempting to illustrate some historical scene 
 or current news event, or to make a representation 
 of a noted painting; or he may select any subject 
 or happening which strikes his fancy. He does not 
 disclose the title of his *' artistic effort," but when 
 all have finished their drawings each one passes his 
 work to his right-hand neighbor. This neighbor 
 must guess the subject of the drawing and inscribe 
 its title underneath, folding the paper so as to hide 
 his inscription. Thus the paper is passed all around 
 the circle, each writing down his guess, then fold- 
 ing it out of view and passing the paper along. In 
 this way each player Inspects each drawing and 
 records his guess. When the papers have been 
 passed around the circle and each original artist has 
 received his own drawing, he writes upon it the 
 name of the scene which he had in mind at first. It 
 Is needless to say that when the artistic efforts have 
 8 
 
114 SOCIAL GAMES 
 
 all been displayed and the guesses read aloud, a great 
 discrepancy in descriptions will be noted, and much 
 merriment will result. No player need hesitate to 
 take part in the game because of inability to draw 
 well. The cruder the attempt the more perplexing 
 will be the answers. The following are suggestions 
 for the "artistic efforts " ; George Washington and 
 the Cherry Tree ; Pocahontas and John Smith ; The 
 Landing of the Pilgrim Fathers ; Spartacus and the 
 Roman Gladiators; Scene at a County Fair; A 
 Presidential Inauguration; a Medieval English 
 Tournament; a Colonial Thanksgiving Day; the 
 Launching of a Battleship; Columbus Discovering 
 America; a Mexican Bull- Fight; Street Scene in 
 Venice; Daniel in the Lion's Den, etc. 
 
 Animal Cartoons. — ^A variation of this "Artist's 
 Game " may be played in simpler form as follows : 
 The hostess furnishes to each player a card or piece 
 of paper about three by five' inches in size, and 
 secretly directs him to draw the picture of some ani- 
 mal. A long list of animals should be prepared by 
 the leader of the game in order that there may be 
 a great variety and no duplicates. Two or three 
 minutes are given for the drawing; then the cards 
 are collected and placed on exhibition, in order that 
 each player may record his guess as to the name of 
 each zoological specimen. The leader of the game 
 should previously number the cards, the numbers 
 corre'sponding to the numbered list of animals which 
 
GAMES WITH PENCIL AND PAPER 115 
 
 the leader holds as his catalogue of the specimens. 
 Birds may be included in the list and, in addition to 
 pencil and paper, colored crayons are desirable for 
 more realistic representations. 
 
 The game is won by the player who correctly 
 names the greatest number of animals which have 
 been attempted by the makers of the " Animal 
 Cartoons." 
 
 Book Reviews — ^This game is played somewhat 
 similarly to the old game of " Consequences." The 
 players are provided with rather long sheets of 
 paper. At the top of the paper each one writes the 
 name of a book, preferably one well known. Each 
 player then makes a fold in his paper, so as to cover 
 his writing, and passes, his paper to his right-hand 
 neighbor. No player should know what has been 
 previously written. Thus in succession the follow- 
 ing items are written, each one being folded over and 
 passed along as described above: 
 
 1. Name of Book. 4. Publishers. 
 
 2. Author. 5. Review. 
 
 3. Date of Publication 
 
 As many " Reviews " may be written as the 
 number of players will allow, since this is the most 
 important aspect of the game. When each player 
 has (had his part in the writing of the review, the 
 slips are opened up and read aloud. They are usu- 
 ally amusing and sometimes accidentally clever. The 
 following is a sample of a " Review " : 
 
116 SOCIAL GAMES 
 
 Name of Book, Uncle Tom's Cabin ; Author, Julius 
 Caesar; published in 1776 by Sears, Roebuck & Co., 
 Hoboken, N. J. 
 
 A clever sea story, with a dark plot. Because 
 of its gilt lettering and blue binding, it has been one 
 of the season's best sellers. Abounds in pleasing de- 
 scriptions of baseball games, with many original pho- 
 tographs. Contains fifty-seven varieties of pages, in 
 blue-black type. {Chicago American.) 
 
 This joyous and light-hearted volume should be on 
 every center table, and find a place in every sea-side 
 resort. Its thrilling rehearsals of wild-west stories 
 will satisfy the most ardent reader, and the moonlight 
 scenes are well depicted with actual flashlights taken 
 on the spot. {N. Y. Times.) 
 
 A good book for Boy Scouts who have passed their 
 forty-fifth birthday, but of doubtful utility for younger 
 readers. The book is altogether too heavy for poorly 
 developed readers, but is a valuable means of exercise 
 if properly used. The scene is laid in the Alaskan 
 gold mines, and depicts the weary life of a beautiful 
 maiden seeking riches, a mother-in-law and the North 
 Pole. She lived happily ever afterward. (Atlanta 
 Constitution.) 
 
 Poetic Answers — ^There is no accounting for the 
 names of certain games. This one has masqueraded 
 under the irrelevant name of " Crambo " for ages. 
 " Poetic Answers " would seem to be a name carry- 
 ing a better description. 
 
 Each member of the group must write on a slip 
 of paper a question of some sort, reasonable or 
 otherwise. On another slip he will write a noun. 
 
GAMES WITH PENCIL AND PAPER 117 
 
 common or proper. The slips containing the ques- 
 tions are placed in one pile, and the slips with the 
 nouns in another, the writing downward. Each 
 player then draws a slip from each pile, one question 
 and one noun; and with this framework he must 
 construct a little verse which in some way answers 
 the question and also brings in the noun. The game 
 is very amusing and often brings out unexpected and 
 humorous results. 
 
 As illustrations, the following examples may be 
 given, selected from a game actually played by a 
 parlor group. On this occasion, however, there hap- 
 pened to be an insufficient number of questions and 
 nouns, so that two persons used the same question 
 and noun for their " poetic answers." (This is per- 
 missible in the game.) The question drawn was, 
 " Where was Moses when the light went out? " and 
 the noun was " Habitat." One player wrote thus : 
 
 To know our friend Moses and where he was at. 
 Surpasses our knowledge of his habitat. 
 
 The other wrote: 
 
 Where was Moses when the light went out? 
 Down in the cellar, eating sauer kraut ! 
 No doubt a strange location that, 
 But 'twas his usual habitat! 
 
 The next question drawn by these two players 
 was, " Can you cook a pie like Mother used to 
 make? " and the noun was " Rooster." Following 
 are the results : 
 
118 SOCIAL GAMES 
 
 To-day no pies are baked like these, 
 
 I'm Mother's ardent booster; 
 I'll keep a-crowing for them pies. 
 
 Although I ain't no rooster ! 
 
 The second was this : 
 
 I can't make a pie like Mother use ter, 
 
 I can't jump over the moon; 
 I cannot cry like hen or rooster, 
 
 But I hope to be able to soon ! 
 
 Again, the question was drawn, " When do you 
 wear a silk hat ? " and the noim was " Flowers " : 
 
 A silk hat is worn at night, 
 And certainly not in showers; 
 
 Generally it implies a cab, 
 And very costly flowers. 
 
 The second : 
 
 When we go off to the opery house. 
 We primp and primp for hours; 
 Fm all decked in my tall silk hat. 
 My gal decked out in flowers. 
 
 When the group does not exceed five or six, it 
 may be a good plan to select the question and nooin, 
 and each one may use those subjects in his verse. 
 For greater variety, however, and in larger groups 
 the first plan is recommended. 
 
 Train o' Thought. — ^This amusing game illus- 
 trates the association of ideas, which varies so 
 
GAMES WITH PENCIL AND PAPER 119 
 
 greatly in different people. Each player writes at 
 the top of his paper a certain word which is sug- 
 gested by the leader. Frora! this word as a starting- 
 point he writes a list of nineteen other words, which 
 represent his " train o' thought." The first word 
 must suggest the second and bear some relation to 
 it; the second word must suggest the third, and so 
 on down the list. After five minutes the papers are 
 collected and read, often to the great amusement of 
 the players. The following is an example of how the 
 game may result, three players beginning with the 
 word "Automobile," and at the twentieth word end- 
 ing with " Bumblebees," " Ice Cream " and " Incu- 
 bator," respectively. 
 
 I. Automobile. 
 2."Gasoline. 
 
 3. Odors. 
 
 4. Roses. 
 
 5. Brides. 
 
 6. Domestic Hap- 
 
 piness. 
 
 7. Home. 
 
 8. Comfort. 
 
 9. Discomfort. 
 
 10. Tight Shoes. 
 
 11. Leather. 
 
 12. Cows. 
 13 Milk. 
 
 14. Dairy. 
 
 15. Farm. 
 
 16. Ploughing. 
 
 17. "Barefoot Boy 
 
 with Cheeks of 
 Tan." 
 
 18. Summer Time. 
 
 19. Clover. 
 
 20. Bumblebees. 
 
 Automobile. 
 
 Automobile. 
 
 Money. 
 
 Country Roads. 
 
 Wall Street. 
 
 Dust 
 
 Sky-Scrapers. 
 
 Cough. 
 
 Elevators. 
 
 Lungs. 
 
 Sinking Sensations. 
 
 Tuberculosis. 
 
 Sickness. 
 
 Sanitarium. 
 
 Doctors. 
 
 Nurses. 
 
 Pills. 
 
 White Dresses. 
 
 Bills. 
 
 " Sweet Girl Grad- 
 
 Banks. 
 
 uates." 
 
 Robbery. 
 
 Diplomas. 
 
 Jesse James, 
 
 Sheep Skin. 
 
 Penitentiary. 
 
 Wool. 
 
 Stripes. 
 
 Warmth. 
 
 Flag. 
 
 Fire. 
 
 Calamus Root 
 
 Wood. 
 
 (Wild Flag). 
 
 Trees. 
 
 Uncle Remus. 
 
 Birds' Nests. 
 
 Georgia. 
 
 Eggs. 
 
 Peaches and Ice 
 
 Hatching. 
 
 Cream. 
 
 Incubator. 
 
120 SOCIAL GAMES 
 
 The list of words would also convey the asso- 
 ciation if read from the bottom upward. Some- 
 times the game is played by giving both the first 
 word and the twentieth word, and the players must 
 each progress in some sort of reasonable fashion 
 from the first word to the last. Using the illustra- 
 tions here given, the leader might direct that each 
 player attempt some line of associated ideas from 
 " Automobile " to " Bumblebees," the list of words 
 being limited to twenty. 
 
 Illustrated Songs. — Each player in this game is 
 requested to make a drawing of some sort, which 
 shall illustrate the title of some familiar song. The 
 cruder the drawing, the more amusing it is. Each 
 individual selects his own song which he attempts 
 to illustrate, and, when all have finished, the papers 
 are numbered and collected, and each player after 
 inspection of the results registers his guess as to the 
 name of the song. As illustration, one player may 
 attempt to represent " Home, Sweet Home " by a 
 crude drawing of a house and of a small bowl which 
 is labelled " Sugar." The drawing of a pair of eyes 
 and a glass labelled " Water " may go for " Drink 
 to Me Only with Thine Eyes." The game is lim- 
 ited only by the originality and imagination of the 
 players. 
 
 Significant Initials. — In this game (sometimes a 
 little difficult to play) each person in the group writes 
 at the top of a sheet of paper his own initials. The 
 
GAMES WITH PENCIL AND PAPER 121 
 
 leader directs that he shall answer certain questions, 
 and the words in the answers must begin with the 
 initials of the individual player. The following 
 illustration will suffice to show the possibilities of 
 the game. 
 
 A certain gentleman's initials are S. C. W. 
 These are the questions and his answers : 
 
 In what are you most success- 
 ful? Singing Curious Warblings. 
 
 What is your favorite food? Sliced Cool Watermelon. 
 
 What is your favorite drink ? Scotch Club Whiskey. 
 
 What is your chief diversion ? Swearing Cuss Words. 
 
 What is your fear of the fu- 
 ture? Sweating Continually Worse. 
 
 Your favorite wearing ap- 
 parel ? Striped Cheesecloth Wrinkled. 
 
 Your favorite place of abode? Sumptuous Qoister. White- 
 washed. 
 
 Your greatest hope ? Soaring Continually West- 
 ward. 
 
 The game may be played very well by selecting 
 a certain individual in the group, and all the players 
 framing their answers from the initials of the one 
 selected. A variety of questions may be asked. 
 
CHAPTER V 
 
 " STUNTS " 
 
 No otner word will describe so well the miscel- 
 laneous performances which are to be described in 
 this chapter. The value of these " stunts " con- 
 sists in the amusement and sometimes surprise whidh 
 they create and the friendly camaraderie which they 
 engender in any group. Some of the performances 
 mentioned may be used in connection with other 
 games, to be given as " forfeits " or penalties, and 
 in this way also have their legitimate places. 
 
 The Jug-Balancing Act. — A gallon jug, a candle 
 and a match are the pieces of paraphernalia required 
 for this test of balancing ability, which is not nearly 
 so simple as it seems. The jug is placed on its side 
 on the floor or ground, and the performer sits on it, 
 with legs outstretched, and one heel placed on the 
 toe of the other foot. One is allowed to touch the 
 floor with his hands while getting his balance; but 
 in the one hand there must be a candle and in the 
 other a match. The trick consists in raising the 
 hand which holds the candle and in applying the 
 lighted match with the other hand. It is a surpris- 
 ingly difficult feat to one who has not tried it. A 
 similar and no less difficult test is to write one's 
 
♦'STUNTS" 123 
 
 name on a card while trying to maintain equilibrium 
 in the position described above. 
 
 Blind Man's Biff. — This contest between two 
 performers is intended primarily for the amusement 
 of the spectators. The two antagonists are blind- 
 folded and required to lie face downward, while 
 each grasps the other's left hand with arms extended, 
 as illustrated in Fig. i8. Each holds in his right 
 hand a generous-sized newspaper, rolled tightly into 
 the shape of a wand. The contestants are permitted 
 to strike at each other, only one blow being delivered 
 at a time by the contestants alternately. Mr. Jones 
 says to Mr. Smith : " Where are you, Mr. Smith ? " 
 Mr. Smith replies : " Right here, Mr. Jones ! " 
 whereupon Mr. Jones delivers a blow in the direction 
 from which he thinks the voice comes. It is per- 
 mitted to dodge and change the position of one's 
 head as much as possible so as to evade the blows. 
 After Mr. Jones delivers his blow, Mr. Smith takes 
 his turn. The futile, badly aimed blows are very 
 amusing. After the contest has proceeded for a 
 while, one of the spectators may quietly remove the 
 blindfold from Mr. Smith, greatly to the detriment 
 of Mr. Jones, who, still blindfolded, Is unaware of 
 the sudden advantage gained by his antagonist, and 
 naturally he is rather surprised when the situation 
 has dawned upon him. 
 
 The Dizzy Circle. — This is an effort to walk 
 straight under difficulties. The contestant holds in 
 
124 SOCIAL GAMES 
 
 his hand a cane, umbrella or stick of some kind, 
 one end of which he places on the floor. He bends 
 forward and places his forehead on the hand whidi 
 holds the stick, and in this position he is required 
 to walk around the stick three or four times. Then 
 he must stand erect and walk immediately in a 
 straight line to a goal ten or fifteen feet distant. The 
 leader of the game may stand about this distance 
 from the performer, and rather safely offer him a 
 small coin, if he can walk in a straight hne and pro- 
 cure the coin. The dizziness which most people 
 experience in this performance is very temporary, 
 but rather surprising. A similar result will be 
 obtained if the stick is held on the forehead, pointing 
 upward, and the performer, looking upward at the 
 stick, turns around three or four times. 
 
 Knocking a Coin. — As a proof of the value of 
 perspective, which we gain by using both eyes, and 
 which in large measure we lose when using only one 
 eye, the following experiment is of interest. One 
 iperson holds in front of him, balanced on his Index 
 finger, a small coin. Another tries to knock it off, 
 using a pencil, which he holds horizontally; but 
 before making the attempt, he must stand eight or 
 ten feet away from the coin, close one eye, and then 
 walk directly toward it, and with one quick blow 
 attempt to dislodge the coin from the finger of the 
 holder. Generally the blow falls short of the mark, 
 or is directed above or below the coin. Similarly, 
 
G. 19 
 
 AND 20. CROSSED FINGERS 
 
"STUNTS'* 125 
 
 a ring may be held between the thumb and fore- 
 finger. The " stunt " is to close one eye, approach 
 the ring and try to run a pencil through it sideways. 
 
 Nose and Ear. — The old effort of trying to " rub 
 the head and pat the stomach," and ince versa, has 
 Its counterpart in this trick. One must take hold 
 of his nose with his right hand and grasp his right 
 ear with the left hand. From this position one must 
 grasp his nose with his left hand and his left ear 
 with his right hand. To reverse the action quickly 
 requires a co-ordination which one does not usually 
 possess without practice. 
 
 Leg and Arm Movements. — ^Another difficult 
 co-ordination to acquire is the following : One stands 
 on his left foot and describes a right circle with his 
 right leg, i.e., swings the leg in a circle to the right 
 ((in the direction the hands of a clock travel). The 
 movement is easily done ; but when he is directed to 
 describe with his right hand a large figure 6, and 
 at the same time to continue the leg movement, trou- 
 ble begins. The leg tends to reverse its direction, in 
 rather obstinate fashion, because of the reversed 
 co-ordination of leg and arm. 
 
 Crossed Fingers. — ^Another amusing experiment 
 in which nerve impulses seem to get tangled is this 
 one. The arms are extended, hands crossed, turned 
 and placed palms together, with fingers tightly Inter- 
 laced, as Illustrated in Fig. 19. Held In this position, 
 the hands are brought toward the chest, and then 
 
126 SOCIAL GAMES 
 
 turned upward, as in Fig. 20, If now a pencil is 
 pointed at any one finger, with the command to 
 raise it quickly, the nervous impulse seems to go to 
 a finger on the opposite hand, and usually a finger 
 on the wrong hand is moved. Different fingers on 
 either hand should be designated in rapid succes- 
 sion, and the error is apt to be repeated in each case. 
 The fingers must not be touched by the pencil because 
 the sensation enables one to move the touched 
 finger very readily. 
 
 Magic Music — Fig. 21 illustrates the position in 
 which a fork may be held on a table and by which 
 musical tones seem to emanate from objects near 
 by. The performer explains that he can draw forth 
 music from a glass of water, or a salt dish, or from 
 a neighbor's nose ; or that he can throw the tones up 
 in the air. Holding the fork in the left hand, as 
 illustrated in the figure, he sharply pinches the tines 
 of the fork with his right hand, and quickly touches 
 some nearby object, when the music seems to arise 
 from the object touched. The trick is caused by 
 pressing quickly the tip of the handle of the fork on 
 the table, which should be done tmobserved. The 
 spectators are apt to follow with their eyes the 
 movement of the right hand, and fail to notice the 
 action of the left. When the fork is pinched there 
 is but little sound ; but when the handle touches the 
 table the sound is intensified, and its source some- 
 times puzzling. Two or three waves of sound may 
 
FIG. 21. — MAGIC MUSIC. FIG. 22. — DOG FIGHT 
 
"STUNTS" 127 
 
 seem to be tossed into the air by the right hand, by 
 touching the fork to the table several times in rapid 
 succession. The trick is best done when the table 
 is covered with a cloth; otherwise the touching of 
 the handle to the bare table would be heard and dis- 
 close the trick. 
 
 Dog Fight. — A somewhat strenuous contest is 
 this one, which generally proves of interest to the 
 spectators, if not to the participants. The two con- 
 testants get down on " all fours," facing each other. 
 A strap or canvas band is placed around the back 
 of their heads, as. shown in Fig. 22. A line is drawn 
 between them, and at the word "Go!" the tug 
 begins. The contest is won when one of the con- 
 testants succiecds in dragging the other entirely 
 across the line. The cheers or " barks " of the spec- 
 tators generally act as incentive to the two who are 
 engaged In the " dog fight." Two belts buckled 
 together make a good improvised pulling apparatus. 
 
 John Brown's Baby. — ^Almost everybody is 
 familiar with the tune, "John Brown's body lies 
 a-moldering in the grave." A very ludicrous par- 
 ody may be simg by a group, directed by a leader, 
 who first tells the audience that " however well John 
 •Brown may be known in history and song, his baby 
 has hitherto escaped public recognition! And so 
 we will raise our songs to him. Like other babies, 
 he was sometimes afflicted by a cold on his chest; 
 and for the relief of the infant, the old household 
 
128 SOCIAL GAMES 
 
 remedy, camphorated oil, was applied." Together 
 they sing the first verse: 
 
 John Brown's baby had! a cold upon hiis chest, 
 
 John Brown's baby had a cold upon his chest, 
 
 John Brown's baby had a cold upon his chest. 
 
 So they rubbed him with camphorated oil ! 
 
 The second verse is similar, except the word 
 " baby " is not spoken; instead, the Indian sign for 
 baby is made^ — the right hand placed on the left 
 elbow, and the left arm swung to and fro, as if rock- 
 ing a ba,by. The third verse is like the second, except 
 that the word " cold" is not spoken ; inste^id, a little 
 cough is given. The fourth verse is like the third, 
 but the word " chest " is not sung. The chest is 
 tapped with the open hand, instead. The fifth verse, 
 same as the fourth ; the word " rubbed " is not 
 spoken, but a rubbing movement is made on the chest. 
 Sixth verse, same as the fifth, but words " camphor- 
 ated oil " are not spoken. A little sniff is given, indi- 
 cating odor. 
 
 If the singers are not too convulsed by the ridicu- 
 lous movements and progressive dropping of words 
 and substitution of signs, the sixth verse may finally 
 be completed, to the edification of singers and audi- 
 ence alike. 
 
 Say, Have You Heard the Story of Harry? — 
 This little illustrated recitation causes great amuse- 
 ment, especially when repeated in unison by three 
 
"STUNTS" 129 
 
 or four people. The words are these : " Say, have 
 you heard the story of Harry? He's just come back 
 from the front. They had need of his feats in the 
 army; I know it; everybody knows it. Hip, hip, 
 hooray ! " The rather senseless words are accom- 
 panied by these movements : Say ! (hand placed near 
 mouth) have you heard (hand placed back of ear) 
 the story of Harry? (hand rubbed on hair). He's 
 just (hand on chest) come back (hand behind back) 
 from the front (hand , on stomach). They had 
 need (right hand on left knee) of his feats (right 
 hand on left foot) in the army (hand on left arm). 
 I (finger pointed to eye) know it; everybody knows 
 it (hand on nose). Hip, hip (right hip struck 
 twice with right hand) hooray! (right hand held 
 above head). When the movements are done rap- 
 idly and correspond to the spoken words the efifect 
 is very ridiculous. 
 
 Siamese Yell.— The leader of the "yell" ex- 
 plains that he will teach it as it was originally given 
 in Siam, and the; company will give the performance 
 in unison. The words are " Oiwha tagoo Siam." 
 When they are given slowly for a time or two and 
 then run together each player will soon realize that 
 he is saying: " O, what a goose I am! " 
 
 The Confusing Coins. — For this little perform- 
 ance three coins or similar objects are necessary. 
 The leader lays the coins on a table and counts each 
 one aloud as he picks them up — -one, two, three; 
 9 
 
130 SOCIAL GAMES 
 
 then lays them down again one at a time, counting 
 each as before — four, five, six; then picks two of 
 them up — seven, eight. When he reaches eight, 
 there is one coin left on the table. He hands the 
 three coins to another person, and asks that he dupli- 
 cate the performance. The second person will, in 
 all probability, begin to lay the coins down on the 
 table, counting each as he lays it down, and takes 
 it up again, but is surprised to find that when eight 
 is reached, there are two coins on the table, instead 
 of one, as was shown by the first performer. (After 
 counting eight, there is always one coin left, but 
 according to the position of the coins at the start, 
 the one left may be in the hand or on the table.) 
 Even so simple a trick is often confusing. When 
 the coins are handed to the second player his natural 
 impulse is to begin counting as he places them down, 
 instead of starting with the coins on the table. 
 
 Divesting a Friend — When a person proposes to 
 remove the vest of a friend, while he still keeps his 
 coat on, it seems an impossible trick ; and yet it may 
 be done if the vest is fairly loose and the coat sleeves 
 not too tight. The performer stands in front of his 
 friend, unbuttons the vest, and loosens the buckle on 
 the strap behind. Next, he runs his left hand under 
 the) coat, raises the lower end of the back of the 
 vest, while with his right hand he grasps the end 
 of the vest behind the neck of the person, who holds 
 his arms high above his head. The back of the vest 
 
"STUNTS" 131 
 
 may then be pulled over the head of the subject, and 
 it will lie on the upper part of his dhest. The next 
 step is to raise the lower right end of the vest and 
 push it down the right coat sleeve. The operator 
 then runs his hand up the coat sleeve, pulls the vest 
 down the sleeve, until the armhole is free from the 
 subject's hand. The vest is then pushed back 
 through the right sleeve of the coat, and into the 
 left; and then by introducing the hand into the left 
 coat sleeve, the vest may be entirely removed with 
 no damage save a few wrinkles. 
 
PART II 
 
 GROUP DANCES 
 
 By 
 BLANCHE M. TRILLING 
 
INTRODUCTION TO PARTS II 
 AND III 
 
 This collection of group dances is the result of 
 several years of experimentation with social and play 
 hours for various groups of students, both children 
 and adults. The book is an attempt to bring together 
 and present with simplicity dances that everybody 
 can take part in and enjoy. Its purpose will have 
 been achieved if it helps restore the true democracy 
 of the dance, which, was lost when waltz and two- 
 step took the place of the quadrille. 
 
 In 1 910, the writer (then a member of the 
 teaching staff of the Chicago Normal School) 
 assisted Mr. WilHam B. Owen, principal of the 
 school, to introduce and conduct at the Parker High 
 School in Chicago what he called a " Social Hour." 
 Confronted with the necessity of bringing some sort 
 of social organization out of a disorganized mass 
 of shy and bewildered boys and girls, she found her 
 inspiration In certain childish memories of social 
 gatherings in the small southern town where her 
 youth had been spent. There, at the Christmas 
 dances, to which the whole village came, a certain joy- 
 ous group-consciousness was gained by dancing a 
 Virginia Reel or a Portland Fancy, and by interspers- 
 ing the more conventional waltzes and two-steps with 
 quadrilles In which everybody took part, and where 
 
 135 
 
136 GROUP DANCES 
 
 everybody daiiced with everybody else. So it was 
 decided to begin the first social hour with a group 
 dance. The boys, lined up along one side of the 
 room, were asked to choose partners from among 
 the girls clustered opposite. There was an imme- 
 diate stampede; every boy made for the nearest 
 exit. Watchful teachers pursued and brought them 
 back, now decidedly belligerent. At last, however, 
 the leader got them to marching, boys in one line 
 and girls in another, finally maneuvering the two 
 lines so that they marched abreast; each boy had 
 acquired a partner, how, he did not know, but he 
 was quite willing to continue the march beside her — 
 a march that finally ended in a group dance. This 
 experience demonstrated the necessity of finding or 
 inventing dances which involved continuous group- 
 activity, and in which pairing was entirely fortuitous. 
 The boys and girls soon lost their self -conscious- 
 ness sufficiently to choose partners for themselves 
 and to learn new and complicated dances, but they 
 continued to find pleasure in dancing for its own 
 sake, not for the companionship it created. They 
 entered into the spirit of the hour, and the effect of 
 the weekly playtime was speedily manifest through- 
 out the school. A new feeling of good-fellowship 
 grew up; social life was increasingly free from 
 petty jealousy and juvenile snobbishness ; the school 
 bade fair to approach the democratic ideal of Amer- 
 ican educational institutions. 
 
INTRODUCTION TO PART II 137 
 
 When, soon after, the writer went to the Uni- 
 versity of Wisconsin, this experience prompted her 
 to institute a play-hour at the Summer Session of 
 that university. The problem seemed at first 
 slightly different, for here were mature men and 
 women. But, although their modes of expression 
 differed from those of the children, their attitude 
 was not so different. At first only women came — 
 women eager to play, if only they knew how; grad- 
 ually men began to drift in, looking on at first, then 
 timidly eager to join in. Again were called into 
 service dances that involved no choosing of part- 
 ners, no knowledge of difficult steps. Soon every- 
 body who came was dancing, and more and more 
 people were attracted, tmtil larger quarters and more 
 leaders were necessary. "Play-hour " was removed 
 to the men's gymnasium, and with Dr. Elsom's 
 co-operation social games were added to the dances. 
 As many as four hundred people have been on the 
 floor at one time, but the original character of the 
 hour has been preserved — a complete lack of self- 
 consciousness, and an abandonment to the fun of 
 movement and to the joy of finding oneself identified 
 with large rhythms. 
 
 To keep such big and heterogeneous assemblages 
 active and amused required much more material of a 
 very particular kind than was to be had in any 
 existing book or books. So, constant searchings 
 and adaptations had to be made; dances new and 
 
138 GROUP DANCES 
 
 old were gathered from all sources, cut, added to 
 or revised, tried out, and revised once more, until 
 a serviceable collection of some size was gathered 
 together. Numerous requests for this material, 
 especially from teachers who had taken part in the 
 play-hour during the Summer Session and who 
 wanted the material for school use, have decided the 
 author to publish it with the addition of singing 
 games and dances especially suitable for smaller 
 children. She feels that the present collection should 
 be especially useful to teachers in town and city and 
 rural schools, to counselors of summer camps, to 
 leaders of community and recreation centers, and, 
 indeed, to the leaders of any group in which the 
 play-instinct is to be stimulated and satisfied. 
 
 Just a word with regard to the dances them- 
 selves and the principles which have determined their 
 selection. They are simple, easily executed and 
 directed ; they do not require a previous knowledge 
 O'f dancing ; they may be accommodated to small or 
 large groups; moreover, as far as possible, those 
 dances have been selected in which the entire group 
 is active most of the time. Those which have strong 
 social qualities have been given the preference, and 
 leaders will notice that practically every dance has 
 been so arranged that there is either a change of 
 partners or, in the case of the group dances, a pro- 
 gression of groups, and at each repetition new part- 
 ners or groups meet each other and dance together. 
 
INTRODUCTION TO PART II 139 
 
 This adds interest to the dance, and creates a demo- 
 cratic spirit of good-fellowship and informality. 
 
 While a division has been made between the 
 dances for children and for adults, it is merely an 
 arbitrary one, intended to serve as a suggestion 
 and a working-basis for the leader. The round of 
 the child was evolved from the dance of the adult; 
 and practically every dance in the collection should 
 prove full of interest and enjoyment to both young 
 and old. The writer has attempted to make the 
 description simple and explicit, has purposely 
 avoided all technical terms, and wherever necessary 
 has added illustrations to the text. While the book 
 ought to be of value to trained workers, it has been 
 planned also to meet the needs of the leader who 
 lacks technical knowledge. It ought to be possible 
 to teach the dances from the descriptions given, with- 
 out any supplementary directions. Such a collec- 
 tion, it is hoped, will remove difficulties from the 
 way of leaders who desire to gain for their com- 
 munities the benefits of group-dancing, but who have 
 felt themselves inadequately equipped for the task 
 of leadership in this direction ; it should greatly sim- 
 plify the play-hour and social-hour problem in 
 schools and social settlements where space and equip- 
 ment are limited ; it should help to bring into many 
 communities some of the joy and freedom that 
 wholesome play alone can give. 
 
 Blanche M. Trilling. 
 
140 
 
 GROUP DANCES 
 
 PORTLAND FANCY 
 ( English ) 
 
 Arraneed by C. H. Mills 
 
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142 GROUP DANCES 
 
 The dance requires eight persons for each set, 
 and as many sets as the room can accommodate may 
 dance at one time. 
 
 Step: A skip step is used throughout the dance 
 in all except the last figure. 
 
 The music is divided into four parts, A, B, C 
 andD. 
 
 Count one, two to a measure. 
 
 Formation: Groups of eight. In each group 
 dancers should be in lines of four facing the opposite 
 lines, and girls should be on, the right of the boys 
 (Diagram A). Circles represent the girls; crosses, 
 the boys. 
 
 O X O X 
 X O X o 
 
 DIAGRAM A. 
 
 Groups of eight should be arranged around the 
 room so as to form a large circle (Diagram B. 
 Each number represents a group similar to Dia- 
 gram A). 
 
 DIAGRAM B. 
 
FIGS. 23 AND 24. — PORTLAND FANCY 
 
PORTLAND FANCY 143 
 
 I. Circle Left 
 
 Each group of eight joins hands and forms a 
 small circle. Take sixteen skip steps, making one 
 full circle to the left, and finish in first formation of 
 two lines (Fig. 23). 8 meas. 
 
 Music A. 
 
 II. Down the Center and Back 
 
 Head girl and boy in each set (those nearest the 
 center of the room) join hands and take four slides 
 down the aisle made by the other three couples and 
 four slides back to places. 4 meas. 
 
 Foot boy and girl join hands and take four slides 
 up the aisle and return to places. 4 meas. 
 
 Music A repeated. 
 
 III. Grand Right and Left 
 
 Partners face. Give right hand to partner, pass 
 partner and give left hand to next person. Con- 
 tinue around circle giving right and left hands alter- 
 nately to each person until you meet your own 
 partner. Use four counts for each person. 16 meas. 
 Music B and repeat. 
 
 IV. Ladies Change 
 The girls who are diagonally across from each 
 other change places, touching right hands as they 
 pass in the center (Fig. 24) . When the girl reaches 
 the opposite side she joins left hands with her new 
 partner who turns her once around. 4 meas. 
 
144 GROUP DANCES 
 
 Girls return to places touching right hands as 
 they cross in the center, then join left hands with 
 partners who turn them once around. 4 nieas. 
 
 Music C. 
 
 Repeat Figure IV. 8 meas. 
 
 Music C repeated. 
 
 V. Forward and Back 
 
 Lines of four with joined hands take three walk- 
 ing steps forward and make a " bob " courtesy 
 (touch the right toe behind left foot and bend both 
 knees). Take three walking steps back to place 
 and courtesy. 4 meas. 
 
 Walk forward dropping hands as lines meet. 
 Each person must pass to the right of the person 
 he meets. Use seven steps for this figure, making 
 a " bob " courtesy on the eighth count as a new 
 group is met. 4 meas. 
 
 Music D. 
 
 Dance is now repeated from the beginning with 
 the new group. 
 
 Dance may be repeated as often as desired, start- 
 ing with a new group each time. 
 
146 
 
 GROUP DANCES 
 
 FRENCH REEL 
 
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FRENCH REEL 
 
 147 
 
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 While the dance is full of interest for adults, it 
 is so simple that it may easily be taught to children 
 in the primary grades. 
 
 Formation: Any number of couples may take 
 part. Dancers should be arranged in groups of four 
 around the room thus: 
 
 X O 
 
 O X 
 
 Couples should be numbered alternately one, two. 
 
 Partners are opposite and not side by side, as 
 is usually the case. The person at the side of the 
 dancer is spoken of as the corner. 
 
 Music is divided into three parts, A, B and C. 
 
 Count one, two to a measure. 
 
148 GROUP DANCES 
 
 I. Hand-Shaking 
 
 Partners join right hands, and at the same time 
 
 swing hands upward (one, two). i meas. 
 
 Make downward movement of hand (one, two). 
 
 1 meas. 
 Partners shake left hands in the same manner. 
 
 2 meas. 
 Repeat the figure with corner. 4 meas. 
 Music A. 
 
 The hand-shaking should be vigorous; in fact 
 the entire dance is a vigorous and Hvely one. 
 
 Ha. Hand-Clapping 
 
 Clap both hands together (one) and clap right 
 hand with partner (two), i meas. 
 
 Clap both hands together and clap left hand 
 with partner. i meas. 
 
 Clap both hands together and clap both hands 
 with partner. i meas. 
 
 Lean away from comer and clap hands vigor- 
 ously three times. i meas. 
 
 lib. Step-Hop. 
 
 Place both hands on hips; step on right foot 
 (one), hop on right foot, extending left foot (two). 
 
 I meas. 
 Repeat the same, alternately left, rig^ht, left. 
 
 3 meas. 
 Music A repeated. 
 
FRENCH REEL 149 
 
 III. Eight Hands Round 
 
 The two couples who are facing join hands mak- 
 ing a circle of four (Fig. 25). Walk around for 
 eight steps to the left, taking two steps to a measure, 
 and stamp on the eighth step. 4 meas. 
 
 Turn, take eight walking steps, returning to 
 place, and stamp on the eighth step. 4 meas. 
 
 Music B. 
 
 IV. 
 
 Repeat Ha and lib. 
 Music B repeated. 
 
 V. Grand Right and Left 
 
 Give right hand to person you are facing (part- 
 ner) and change places with four walking steps. 
 
 2 meas. 
 
 Comers are once more side by side, but in oppo- 
 site places. 
 
 Give left hand to corner and change places with 
 four walking steps. 2 meas. 
 
 Give right hand to partner and change places 
 with four walking steps. 2 meas. 
 
 Give left hand to comer and return to original 
 place with four walking steps. 2 meas. 
 
 Music C. 
 
 In this figure each dancer should be careful to 
 walk a perfect square. 
 
150 GROUP DANCES 
 
 VI. Arches and Change 
 
 Dancers should form a circle as in Fig. III. 
 Walk around tO' the left eight steps and stamp on 
 the eighth. This should bring dancers back to ori- 
 ginal places. 4 meas- 
 
 Couple I join inside hands and form ani arch. 
 Both couples walk forward for eight steps, with a 
 stamp on the eighth, Couple 2 passing under the arch 
 made by Couple i . 4 meas. 
 
 Music C repeated. 
 
 Dance is now repeated from the beginning with 
 the new couple. 
 
 Dance may be repeated as often as desired, 
 always starting dance with a new couple. 
 
152 
 
 GROUP DANCES 
 CIRCLE DANCE 
 
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 This is an excellent dance to be used at social 
 centers or at entertainments where the majority of 
 the guests are strangers to each other, and it is desir- 
 able to break up the stiffness and formality of the 
 group. This dance will furnish a quick medium for 
 introducing persons to each other, and by the time 
 it has been danced twice all traces of formality will 
 have disappeared. 
 
 The music is divided into two parts, A and B. 
 
 Count one, two to a measure. 
 
 Formation : There must be an uneven number of 
 persons in each set. Any number may take part, 
 but a circle ranging from 21 to 31 persons is the most 
 convenient number to direct. 
 
 One person (the odd one) stands in the center of 
 the circle. The other dancers form a single circle, 
 partners facing each other. 
 
154 GROUP DANCES 
 
 The dancers stand in place. Meas. i 
 
 Take three stamps, right, left, right. Meas. 2 
 Stand in place. Meas. 3 
 
 Clap own hands three times. Meas. 4 
 
 Shake right hand with partner three times. 
 
 Meas. 5 
 Shake left hand with partner three times. 
 
 Meas. 6 
 Stamp right foot, stamp left foot. Meas. 7 
 
 Take three light steps, turning right, and face 
 out, all having backs toward center of circle. 
 
 Meas. 8 
 Music A. 
 
 II 
 
 All join bands, forming a single circle, facing 
 away from center of circle. 
 
 Take four slides to the right, clockwise. 2 meas. 
 
 All drop hands, face toward center of circle, join 
 hands and take four slides left, clockwise. 2 meas. 
 
 Repeat the above, taking four slides right, facing 
 out from circle, and four slides left, all facing center 
 'of circle. 4 meas. 
 
 All drop hands and run to find a new partner. 
 At this time the person in the center of the circle 
 finds a partner. The person who is now left with- 
 
CmCLE DANCE 155 
 
 out a partner remains in the center. The other 
 dancers form a single circle and the dance is repeated 
 from the beginning. 
 
 Music B. 
 
 While the new partner is being found the musi- 
 cian plays the last eight bars of Music B. 
 
 Note: Much of the success of this dance 
 depends upon the instructor, who must insist that 
 all persons find new partners at the end of each 
 dance. It should also be noted that in Part II all 
 of the sliding is done clockwise. 
 
156 
 
 GROUP DANCES 
 
 VINEYARD DANCE 
 (Fbench) 
 
 Arranged by M. L. Ayer 
 
VINEYARD DANCE 
 
 157 
 
 This dance is an occupation dance and represents 
 the planting of the grape-vine, the picking of the 
 grapes and finally the merrymaking at the end of 
 the day's work. 
 
 Formation : In a single circle, all facing the cen- 
 ter, girl on boy's right, six to ten couples, to a circle. 
 Music is divided into three parts, A, B and C. Each 
 measure is counted one, two, three and four. 
 
 I. A OPlanting the Vine 
 Pantomime: Each dancer places the left hand on 
 hip, stoops down and with the right hand imitates 
 motion of digging up the earth (one, two). Turn 
 the hand over, palm down, and smooth the earth 
 (three, four). i meas. 
 
158 GROUP DANCES 
 
 All stand up, place both hands on hips and take 
 three stamps in place — right, left, right. i meas. 
 
 Repeat all the above three times, the last time 
 making a complete turn to the right on the three 
 stamps. 6 meas. 
 
 Music A. 
 
 I. B Chorus. 
 
 All join hands in a circle and take eight slides 
 to the left and eight slides back to the right. 
 
 8 meas. 
 
 Music B. 
 
 Partners join right hands, left hands raised at 
 the side. Take eight light skip steps, turning around 
 each other clockwise. 4 meas. 
 
 Join left hands and take eight light skip steps in 
 the opposite direction. 4 meas. 
 
 Music C. 
 
 Repeat the skip steps with the right hands joined, 
 taking very high steps and bringing the foot firmly 
 down. 4 meas. 
 
 Repeat high skip step, with left hands joined. 
 
 4 meas. 
 
 Music C repeated. 
 
 II. Picking the Grapes 
 
 Pantomime: Curve the' left arm to imitate a bas- 
 ket. With right hand reach up high and pick the 
 grapes (one, two). 
 
 Place the grapes in the basket (three, four). 
 
FIG. 26 
 
 FIGS. 26 AND 27. — VINEYARD DANCE 
 
VINEYARD DANCE 159 
 
 Take three stamps in place — right, left, right. 
 
 I meas. 
 
 Repeat all the above three times. The last time 
 drop grapes into mouth and turn completely around 
 on the three stamps. 6 meas. 
 
 Music A. 
 
 Chorus: Repeat i. B. 
 
 III. The Merry-making 
 
 Give right hand to partner. Skip around the 
 circle with the " Grand right and left," girls mov- 
 ing clockwise, boys counter-clockwise. Each person 
 should go around the circle twice. On meeting part- 
 ner the second time form a circle, with boys facing 
 center, girls having backs to center. Boy clasps part- 
 ner's right hand with his left hand (Fig. 26). The 
 leader of the group drops the hand of the girl on 
 his left and winds the circle; into a, concentric design 
 and then unwinds it, in this way making the " grape- 
 vine" (Fig. ^y^. 
 
 Music : Play B, then C ; repeat as often as neces- 
 sary until end of the dance. 
 
 Note : " Grand right and left " is danced in the 
 following manner : Each dancer gives his right hand 
 to his partner, passes on to the next dancer and gives 
 her his left hand, at the same time dropping his 
 partner's right hand. Continue around the circle 
 giving the right and left hands alternately to each 
 person. Boys will move around the circle counter- 
 clockwise ; girls move clockwise. 
 
160 
 
 GROUP DANCES 
 
 POP GOES THE WEASEL 
 
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POP GOES THE WEASEL 161 
 
 Formation: Form in sets of three couples each. 
 
 Dancers should stand in two parallel lines facing 
 each other. 
 
 Lines should be about six feet apart. When 
 facing head of room girls should be on right of 
 boys (Diagram A). 
 
 Foot 
 
 O X X=Boy 
 
 O X 0=Girl 
 
 O X 
 
 Head 
 
 DIAGRAM A. 
 
 Head boy and girl face head of room. Turn and 
 each pass outside of own line, taking eight skips 
 toward foot of set. (Girl goes outside of girl's 
 line, boy outside of boy's line.) Return with eight 
 skips to places. 8 meas. 
 
 Head boy and girl join hands with arms 
 extended, take eight slides down center of lines and 
 eight slides back to place. 8 meas. 
 
 II 
 
 The head couple join hands with the second 
 girl, forming a circle of three. In this position all 
 
162 GROUP DANCES 
 
 skip to the left for 12 counts. The dancers must so 
 time these skip steps that at the end of count 12 
 the second girl is facing her own place. The head 
 couple now raise their joined hands and the second 
 girl pops imder arch to place (Fig. 28). The sec- 
 ond girl passes under to place on Measures 7 and 8 
 as the music plays " Pop Goes the Weasel." 
 
 On the accented note of Measure 7, as the girl 
 pops under to place, all the other dancers clap hands 
 vigorously. 8 meas. 
 
 The first couple now repeats the figure with sec- 
 ond boy. 8 meas. 
 
 The first couple repeats the same figure with 
 third girl and boy. 16 meas. 
 
 Note: In order to prevent dizziness, circles 
 should skip to the left when dancing with the girl 
 and to the right when dancing with the boy. 
 
 Ill 
 
 The head couple is now at the foot of the set. 
 All join hands, making a circle of six, and skip one 
 full circle to the left. 8 meas. 
 
 The first couple (now at the foot) joins both 
 hands and takes eight slides up the center and eight 
 slides back. 8 meas. 
 
 Partners take four skip steps advancing toward 
 each other, join right hands and take four skips 
 turning (Fig. 29). Join left hands and take four 
 skip steps, turning in the opposite direction. Take 
 
FIGS. 28 AND 29. — POP GOES THE WEASEL 
 
POP GOES THE WEASEL 163 
 
 four skip steps back to place, face partner and make 
 peasant courtesy. 8 meas. 
 
 Dance is now repeated from the beginning, start- 
 ing with the second couple, which is now at the head. 
 
 Dance is completed when all couples have 
 reached their original places. 
 
 Music is played straight through, repeating as 
 often as necessary. 
 
164 
 
 GROUP DANCES 
 
 RING DANCE 
 
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 The music is divided intoi three parts, A, B 
 and C. 
 
 Count one, two to- a measure. 
 
 Play straight through and then repeat B for 
 finish. 
 
 Formation : The dancers form in a double circle, 
 partners standing side by side with inside hands 
 joined, outside hands on hips. All should be facing 
 ready to move clockwise around the circle. Number 
 One is on the left. Number Two on the right. If 
 the group which is dancing consists of girls and 
 boys, the girl should be on the boy's right, or on the 
 inside of the circle. 
 
166 GROUP DANCES 
 
 I. Walking and Skipping 
 
 Partners join inside hands, take eight walking 
 steps in the line of direction, hands swinging easily. 
 
 4 meas. 
 Take eight skipping steps in the line of direction. 
 
 4 meas. 
 Music A. 
 
 II. Circle Left and Right 
 
 All face center and join hands, forming a single 
 circle. 
 
 Take eight slides to the left and eight slides to 
 the right. 8 meas. 
 
 Music B. 
 
 III. Sliding 
 
 Still remaining in a single circle, partners face 
 each other (Fig. 30). Number One (boy) will have 
 left side toward center of circle, and Number Two 
 (girl) will have right side toward center of circle. 
 All take four slides to the left. This will take the boy 
 toward center of circle, girl away from center, 
 
 2 meas. 
 
 Take four slides, returning to place. 2 meas. 
 
 All take four slides to the right, girl sliding 
 toward center of circle, boy away from center. 
 
 2 meas. 
 
 Take four slides, returning to place. 2 meas. 
 
 Music C. 
 
FIG. 3( 
 
 FIG. 31 
 
 FIGS. 30 AND 31. RING DANCE 
 
RING DANCE 167 
 
 IV. Leap and Change 
 
 Link right arm with partner, left hand should 
 be held high (Fig. 31). Take eight leaping steps, 
 circling around partner, leaping first on left foot. 
 
 4 meas. 
 
 Link left arm with partner, right hand held high, 
 take six leaping steps circling around partner in 
 opposite direction, leaping first on left foot. On 
 the seventh and eighth counts partners unlink arms 
 and progress to new partners. Boys will progress 
 counter-clockwise, girls clockwise. 4 meas. 
 
 Music B. 
 
 At the end of this figure dancers should imme- 
 diately fall into place by the side of new partners, 
 being careful that Number One (boy) is on the 
 outside of the circle, and Number Two (girl) is on 
 the inside. 
 
 Dance may be repeated as often as desired, with 
 a new partner each time. 
 
168 
 
 GROUP DANCES 
 HOW DO YOU DO? 
 
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HOW DO YOU DO? 
 
 
 Formation: In groups of four, forming a circle 
 around the room. Each group consists of two 
 couples facing each other, thus : 
 
 O X 
 X o 
 
 The girl is on the right-hand side of the boy. 
 Music is divided into three parts, A, B and C. 
 Play straight through, and then repeat A and B. 
 Count one, two to a measure. 
 
 I. Slide and Circle 
 
 Partners join inside hands. All slide four slides 
 to the left. This means that couples will slide in 
 opposite direction from the couple they are facing. 
 One couple slides toward center of circle, the other 
 couple away from center. 2 meas. 
 
170 GROUP DANCES 
 
 Take four slides, returning to places. 2 meas. 
 
 The two couples, who are facing, join hands to 
 make a circle of four. Take eight skipping steps to 
 the left and finish in original places. 4 meas. 
 
 Music A. 
 
 II. Forward and How Do You Do? 
 
 With inside hands joined, partners walk forward 
 three steps toward opposite couple, and make a 
 " bob " courtesy on fourth count. 2 meas. 
 
 Return to place with three walking steps back- 
 ward and make a " bob " courtesy. 2 meas. 
 
 Take four walking steps forward. 2 meas. 
 
 Join right hand with person opposite (one) 
 and make downward movement of hands (two) 
 (Fig. 32). 
 
 Keeping right hands joined, join left hand with 
 person opposite (one) and make downward move- 
 ment of hands (two). 
 
 During this hand-shaking the dancers should all 
 say "How Do You Do?'* out loud. The words 
 " How Do " should come with the shaking of the 
 right hands, "You Do" with the shaking of the 
 left hands. 2 meas. 
 
 Music B. 
 
 III. All Slide Center 
 
 With both hands still clasped with opposite per- 
 son, all slide eight slides toward center of room. 
 
 4 meas. 
 
FIG. 32 
 
 FIG. 33 
 
 FIGS. 32 AND 33. — HOW DO YOU DO? 
 
HOW DO YOU DO? 171 
 
 Take eight slides, returning to place. 4 meas. 
 
 Music C. 
 
 IV. Wind-mill 
 
 Join right hands with the person diagonally 
 opposite. This means that in each group the boys 
 of the couple will join right bands, and the girls will 
 join right hands, the joined hands of the girls com- 
 ing under those of the boys (Fig. 33) . In this posi- 
 tion skip around eight steps clockwise. 4 meas. 
 
 Join left hands and skip around eight steps back 
 to place. 4 meas. 
 
 Music A. 
 
 V. Forward and Pass 
 
 Join inside ihands with partner, take three walk- 
 ing steps forward toward opposite couple and make 
 a " bob " courtesy. 2 meas. 
 
 Take three walking steps back to place and make 
 courtesy. 2 meas. 
 
 Take four walking steps forward, drop partner's 
 hand, and, with three more steps, couples who are 
 facing pass each other. 
 
 Each person should pass tO' the right of the per- 
 son he is facing. This brings couples facing new 
 couples, and a " bob " courtesy finishes the figure. 
 
 4 meas. 
 
 Dance is now repeated with new couple. 
 
172 
 
 GROUP DANCES 
 
 WE WON'T GO HOME TILL MORNING 
 ( English ) 
 
 Arranged by M. L. Ayer 
 
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WE WON'T GO HOME TILL MORNING 173 
 
 Formation: In two parallel lines facing, lines 
 about six feet apart. Girls in one line, boys in the 
 opposite one. As the couples face the head of the 
 room the girl should be on the boy's right. Couples 
 should be numbered alternately i, 2, commencing 
 with the head couple. Six or eight couples make a 
 convenient number for each set, though if necessary 
 a set may be composed of more or less couples as 
 may be determined by the total number of dancers. 
 Each set should contain an even number of couples. 
 The music is divided into two parts, A and B. 
 
 Count one, two to a measure. 
 
 I. Arches 
 
 The dancers in each line join hands, and with 
 three walking steps the lines advance toward each 
 other and make a "bob" courtesy on the fourth 
 count. Both lines retire with three steps and 
 courtesy. 4 meas. 
 
 With eight walking steps, boys and girls cross 
 over to opposite sides and face partners. In this 
 step boys keep hands joined and raise them to form 
 an arch. Girls pass under arches to the right of 
 partner. 4 meas. 
 
 Music A. 
 
174 GROUP DANCES 
 
 Repeat entire figure, girls making arches and 
 boys passing under. 
 Music A repeated. 
 
 II. Clapping and Changing 
 
 Each dancer leans toward the left with left toe 
 pointed and claps hands three times. 2 meas. 
 
 All lean toward right, point right toe and clap 
 hands three times. 2 meas. 
 
 The head couple joins both hands, holding arms 
 extended shoulder high, takes eight slides down 
 between the two lines and eight slides back to place. 
 
 8 meas. 
 
 Music B. 
 
 Repeat the clapping left and right. 4 meas. 
 
 All couples join right hands with partners. Take 
 eight skip steps, pulling away from center of line 
 and eight skip steps back toward the center. 8 meas. 
 
 Music B repeated. 
 
 In returning to place, the even couples all 
 advance one couple and finish above the odd couples. 
 The odd couples always skip toward the boys' side 
 and progress down the line. Even couples skip 
 toward the girls' side and always progress up the 
 line (Diagrams A and B). Diagram A shows 
 original formation — ^Diagram B the formation after 
 the first change. 
 
WE WON'T GO HOME TILL MORNING 175 
 
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 DIAGRAM 
 
 B 
 
 
 After couples have arrived at either the head 
 or the foot of the line, they remain there through one 
 change and then start dancing again, skipping in the 
 opposite direction from the one originally taken. If 
 the following rules are observed there should be no 
 difficulty in teaching " changing." 
 
 1. All even, couples progress up the line; all odd 
 couples down the line. 
 
 2. Even couples skip toward the girls' side; odd 
 couples toward the boys' side. 
 
 3. When a couple reaches either the head or 
 the foot of the line, they remain through one change, 
 and then progress in the opposite direction. This 
 means that a couple becomes an odd couple when 
 starting down from the head of the line, and an 
 even couple when starting up from the foot of the 
 line. 
 
 4. During the first change all couples will change 
 places. The second time only the four central 
 couples will change, and the head and foot couples 
 will remain in place. The third time all will change, 
 and so on. 
 
 Dance is completed \v'hen original head and 
 foot couples have reached the opposite end. 
 
176 
 
 ^-.^ 
 
 GROUP DANCES 
 VIRGINIA REEL 
 
 Arranged by C. H. Mills 
 
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178 GROUP DANCES 
 
 Two descriptions are given of the Virginia Reel. 
 The one which follows is the authentic reel, and in 
 England is called the Sir Roger de Coverley. The 
 second description is an adaptation, and is particu- 
 larly to be recommended for use in the gymnasium, 
 or for large groups of dancers, as all members of the 
 set are dancing all the time, and it is simpler to 
 teach. It is also an exceedingly good dance for 
 small children. 
 
 Formation: Two parallel lines facing, about six 
 feet apart. Girls in one line, boys in the opposite 
 one. As the couples face the head of the room, girls 
 should be on the boys' right. Six couples make a 
 convenient number for a set, though there is no 
 limit to the number that may take part. 
 
 Music is divided into three parts, A, B and C. 
 
 Count one, two to a measure. 
 
 Couples should be numbered consecutively from 
 the head of the line, thus : i, 2, 3, 4, 5, 6. 
 
 Note: In each section of the first figure it is to 
 be understood that girl of Couple i and boy of 
 Couple 6 lead or " set " the figure, and boy of 
 Couple I and girl of Couple 6 repeat it. 
 
 (a) Girl i and Boy 6 advance four steps toward 
 
 each other, bow and retire to places. 4 meas. 
 
 Girl 6 and Boy i repeat. 4 meas. 
 
VIRGINIA REEL 179 
 
 (b) Girl I and Boy 6 advance, join right hands, 
 turn once around and return to places. 4 meas. 
 
 Girl 6 and Boy i repeat. 4 meas. 
 
 (c) Girl I and Boy 6 advance, join left hands, 
 turn once around and return to places. 4 meas. 
 
 Girl 6 and Boy i repeat. 4 meas. 
 
 (d) Girl I and Boy 6 advance, join both hands, 
 turn once around and return to places. 4 meas. 
 
 Girl 6 and Boy i repeat. 4 meas. 
 
 (e) Girl i and Boy 6 advance, pass each other 
 back to back, right shoulders touching first and retire 
 to places. 4 meas. 
 
 Girl 6 and Boy i repeat. 4 meas. 
 
 (/) Repeat (e), touching left shoulders first. 
 
 8 meas. 
 
 II 
 
 Head couple joins hands, arms extended shoulder 
 
 high, slides down center eight counts and slides 
 
 eight counts back to place. 8 meas. 
 
 Ill The Reel 
 
 The head couple links right arms, turns once 
 and a half around, unlinks arms and Boy i links 
 left arm with Girl 2, while Girl i links left arm with 
 Boy 2, and both couples turn. 
 
 Partners again link right arms and turn ; link left 
 arms with Couple 3 and turn. This is continued 
 down the entire line. Partners turn each other with 
 
180 GROUP DANCES 
 
 right arms and turn each succeeding couple with 
 left arms. 
 
 IV 
 
 Couple I joins both hands and slides to the head 
 of set; Couple i drops hands and all couples face 
 forward. 
 
 Couple I divides, Girl i leading down outside of 
 the girls' line followed by all the girls. Boy i leads 
 outside of the boys' line followed by all the boys. 
 All the dancers clap hands during this counter-march. 
 On reaching the end of the line Couple i joins 
 hands, forming an arch. All the other couples pass 
 under to places. Couple 2 are now the head couple 
 and Couple i the end couple. 
 
 Repeat the dance imtil all couples have returned 
 to their original places. 
 
 Note : Play music A and B and repeat as often 
 as necessary for Figure I. Play music C and repeat 
 as often as necessary for Figures II, III and IV. 
 
VIRGINIA REEL 181 
 
 VIRGINIA REEL II 
 
 This description of the Reel is especially recom- 
 mended for use in the gymnasium, for children, or 
 for teaching to large groups of persons, either chil- 
 dren or adults. It is simple, easily taught, and all 
 the dancers are active through the entire dance. The 
 objection to the Virginia Reel as it is usually danced 
 is that mo'St of the time only the head and foot 
 couples are active. 
 
 A skipping step is used throughout the dance. 
 
 The music is divided intoi three parts. A, B and C. 
 
 Each measure should be counted one, two. 
 
 Formation: Two parallel lines about six feet 
 apart, facing each other. Six couples make a con- 
 venient number for a set, though more may be used 
 if necessary. 
 
 I 
 
 Dancers in each line join hands and with four 
 skipping steps the two lines advance toward each 
 other. 2 meas. 
 
 With four skipping steps the lines retire to place. 
 
 2 meas. 
 
 Repeat the above. 4 meas. 
 
 Music A. 
 
 II 
 
 Partners skip toward each other, join right 
 hands, turn once aroimd and return to places. 
 
 Skip forward, join left hands, turn once around 
 and return to places. 8 meas. 
 
 Music A. 
 
182 GROUP DANCES 
 
 III 
 
 Partners skip forward, pass each other back to 
 back and retire to places, right shoulders touching 
 first. 4 meas. 
 
 Partners skip forward, pass each other back to 
 back and retire to places, left shoulders touching 
 first. 4 meas. 
 
 Music B. 
 
 IV 
 
 Partners take four skipping steps, advancing 
 toward each other, join both hands with partner, 
 arms extended shoulder high, and take four slides 
 toward head of line, four slides toward foot of line, 
 four skipping steps back to place. 8 meas. 
 
 Music B. 
 
 Head boy and girl lead off toward foot of line. 
 Boy passes outside of boys' line, followed by all the 
 other boys. Girl passes outside of girls' line, fol- 
 lowed by all the other girls. On reaching the foot 
 of line all join hands and skip back to places. All 
 couples except the head couple now join both hands, 
 and raise arms to form arches. Head couple skips 
 under arches to the foot of line. i6 meas. 
 
 Music C. 
 
 Dance is now repeated with second couple at the 
 head of line. 
 
 Dance is completed when all couples have 
 regained their original places. 
 
GROUP DANCES 183 
 
 Note: Sometimes for variety and also to give 
 dancers an opportunity to rest, as the dance is quite 
 strenuous, a quick walking step may be used for this 
 last figure in place of the skip step. When the walk- 
 ing step is used, dancers should clap hands in time 
 with the music during the counter-march. 
 
184 
 
 GROUP DANCES 
 COUNTRY DANCE 
 
COUNTRY DANCE 185 
 
 Formation: Each set consists of eight dancers. 
 The dancers should be arranged in two lines of four 
 each, the lines facing each other. Girls should be 
 on the right side of boys. In each group the lines 
 should be numbered i and 2 (Diagram A). The 
 groups should be arranged around the room tO' form 
 a large circle. 
 
 1. O X O X X— Boy 
 
 2. X O X O O— Girl 
 
 Music is divided into two parts, A and B. 
 
 The dancers in Line i join hands and take four 
 skip steps forward and four skip steps back to place. 
 At the same time Line 2 joins hands and takes four 
 slides to the left and four slides back to place. 
 
 4 meas. 
 
 Repeat the above, but Line i takes four slides 
 to the left and four slides back to place while Line 2 
 skips forward four steps and back to place. 4 meas. 
 
 Music A. 
 
 II 
 
 Couples join right hands across with couples they 
 are facing, forming a star (Fig. 33). All skip 
 around clockwise 8 counts. 4 meas. 
 
 Join left hands across and skip counter-clockwise, 
 returning to place. 4 meas. 
 
 Music B. 
 
186 GROUP DANCES 
 
 III 
 
 The eight dancers in the group join hands, form- 
 ing a circle, and take eight slides to the left and 
 eight slides to the right. Finish in original posi- 
 tion of two lines facing each other. 8 meas. 
 
 iMusic A. 
 
 IV 
 
 Dancers in each line join hands, take three walk- 
 ing steps forward and make a "bob" courtesy. 
 Take three walking steps back to place and courtesy. 
 
 4 meas. 
 
 Walk forward, dropping hands as lines meet. 
 Each person must pass to the right of the person he 
 meets. Use seven steps for this figure, making a 
 " bob '* courtesy on the eighth count as a new group 
 is met. 4 meas. 
 
 - iMusic B. 
 
 'Dance is now repeated from the beginning. 
 Dance may be repeated as often as desired, each time 
 with a new group. 
 
188 
 
 GROUP DANCES 
 
 CSCHBOGAR 
 (Hungaeian) 
 
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CSCHBOGAR 189 
 
 Any number may dance, but if there is a large 
 group to be directed, it is best to have only eight or 
 ten couples in each circle. 
 
 Formation: In couples forming a single circle 
 facing the center, girls on the right of boys. 
 
 Music is divided into two parts, A and B. 
 
 Count one, two to a measure. 
 
 All join hands, forming a circle, and take eight 
 slides to the left. 4 meas. 
 
 Take eight slides right. 4 meas. 
 
 Music A. 
 
 Beginning with the left foot, walk forward three 
 steps toward center of circle and stamp vigorously 
 on the fourth count. 2 meas. 
 
 Take three steps backward to place and stamp 
 on the fourth count. 2 meas. 
 
 As dancers move toward center of circle arms 
 should swing forward and upward. As they move 
 away from center, arms should swing downward 
 and backward. 
 
 Partners face each other, and linking each other's 
 right arms raise left arms slightly curved over heads. 
 In this position take four step-hops, turning in place 
 (Fig. 34). 4 meas. 
 
 Music A repeated. 
 
190 GROUP DANCES 
 
 Partners join both hands, arms extended 
 shoulder high, and stand so that the boy has his left 
 shoulder toward the center of circle, girl her right 
 (Fig. 3"5). The step is described for the boy; girl 
 takes the same step beginning with the right foot. 
 Slide toward the center with the left foot, and 
 at the same time bend the body well over to the left 
 (one). Bring the right foot up to the left foot and 
 raise the body (two). i meas. 
 
 Repeat three times, moving toward center of 
 circle. 3 meas. 
 
 Repeat, taking four steps away from center of 
 circle, bending body in opposite direction. 4 meas. 
 
 Music B. 
 
 Take two of the same steps toward center. 
 
 2 meas. 
 
 Take two steps away from, center. 2 meas. 
 
 Take the position described for the turn in I 
 and turn with four step-hops. 4 meas. 
 
 Music B repeated. 
 
 Dance may be repeated as often as desired. 
 
192 GROUP DANCES 
 
 SWEDISH CLAP DANCE 
 Allegro. (J = 96) 
 
 pi^rTl^ l ^l l l ff ijr 
 
 j,^rprn | ^ - - |. f ^f|j^l i 
 
SWEDISH CLAP DANCE 193 
 
 Formation: In couples forming a circle around 
 the room. Girl on boy's right. Circle moves clock- 
 wise around the room. Any number of couples may 
 take part. The steps which are referred to in the 
 dance are executed as follows : 
 
 A. Polka Step 
 
 Step forward on the right foot (one). 
 Bring the left foot up to the right foot (and). 
 Step forward on the right foot (two). 
 Hop on the right foot (and). 
 
 The step should be executed very lightly and 
 high on the toes. 
 
 B. Heel and Toe Polka 
 
 Place the right heel forward, toes raised. 
 
 At the same time lean slightly backward (one, 
 and). 
 
 Sway the body forward and place the right toe 
 back (two and). i meas. 
 
 Polka step forward. i meas. 
 
 Music is divided into two parts, A and B. 
 Count one and two and to a measure, 
 
 la 
 
 Partners join inside hands, boy starts with left 
 foot, girl with right. One polka step forward, part- 
 ners turning toward each other and swinging joined 
 hands backward and upward. i meas. 
 
194 GROUP DANCES 
 
 One polka step forward, partners turning away 
 from each other, and swing arms forward and 
 upward. i meas. 
 
 Take six more polka steps alternately left and 
 right. 6 meas. 
 
 Music A. 
 
 lb 
 
 Partners dance heel and toe polka four times. 
 
 8 meas. 
 Music A repeated. 
 
 Ila 
 
 Dancers stop and face each other; girls place 
 hands on hips, boys fold arms in front of chest. 
 
 1. Girls make a peasant courtesy by placing right 
 foot behind and bending both knees. At the same 
 tirfle boys make a stiff bow. i meas. 
 
 2. All clap own hands three times. i meas. 
 
 3. Repeat bowing and clapping. 2 meas. 
 
 4. Partners strike right hands together and clap 
 own hands once, i meas. 
 
 5. Strike left hands together and clap own hands 
 once. I meas. 
 
 6. Take two stamps, making a complete turn to 
 the left. I meas. 
 
 7. Take three vigorous stamps in place, facing 
 each other. i meas. 
 
 Music B. 
 
SWEDISH CLAP DANCE 
 
 195 
 
 lib 
 
 Repeat i of Ha. 
 
 Shake the right forefinger at partner. 
 
 Repeat i of Ha. 
 
 Shake left forefinger at partner. 
 
 Repeat 4, 5, 6, 7 of Ha. 
 
 At the end of the dance, boys all step back one 
 couple and repeat the dance with the girl just behind 
 them. 
 
 Music B repeated. 
 
 I meas. 
 I meas. 
 I meas. 
 I meas. 
 4 meas. 
 
196 
 
 GROUP DANCES 
 
 BEAN PORRIDGE 
 
 <f'^%rfffirrf h4U^*-\ 
 
BEAN PORRIDGE 
 
 197 
 
 Formation : Double circle around the room, part- 
 ners facing, girls on the inside with backs to center 
 of circle. Music is divided into three parts, A, B 
 and C. 
 
 Count one and two and to a measure. 
 
 I. 
 
 The hand-clapping in Part I should accompany 
 the words of the old nursery rhyme as follows : 
 
 Bean porridge hot 
 Clap hands against thighs (one). 
 Clap own hands together (and). 
 Qap both hands with partner (two and). 
 
 Bean porridge cold 
 
 Repeat above. 
 
198 GROUP DANCES 
 
 Bean porridge in the pot 
 
 Clap hands against thighs (one). 
 
 Clap own hands together (and). 
 
 Clap right hand with partner (two). 
 
 Clap own hands together (and). i meas. 
 
 Nine days old. 
 Clap left hand with partner (one). 
 Clap own hands together (and). 
 Clap both hands with partner (two and). 
 
 I meas. 
 
 Some like it hot, 
 
 Some like it cold, 
 
 Some like it in the pot. 
 
 Nine days old. 
 
 Repeat the motions described above for the first 
 verse. 4 meas. 
 
 Music A. 
 
 11. 
 
 Partners join right hands, and commencing with 
 the left foot take three little running steps left, right, 
 left, and hop on the left foot. Repeat, beginning 
 with the right foot ; while taking this step partners 
 change places. 2 meas. 
 
 Partners now stand facing each other, clap own 
 hands together three times. i meas. 
 
 Stamp right, left, right. i meas. 
 
 Join left hands and repeat the above, returning 
 to places. 4 meas. 
 
 Music B. 
 
 i 
 
BEAN PORRIDGE 199 
 
 III. 
 
 Partners join both hands, extend them to the 
 side, shoulder high, and take four ghde polkas, going 
 around the room clockwise. 8 meas. 
 
 Music C. 
 
 Note : The glide polka is danced in the following 
 manner; the description is for the boy ; the girl's part 
 is the same, starting with the right foot : 
 
 Slide the left foot to the side (one)J. 
 
 Close the right foot to the left (and). 
 
 Repeat. i meas. 
 
 Take three little steps left, right, left, turning 
 half-way around, partners facing in opposite 
 directions. i meas. 
 
200 
 
 GROUP DANCES 
 
 BARN DANCE FOR THREE* 
 Tempo di achottiache 
 
 8 ^a ~' 
 
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 * 
 
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 * The music is from " Sunbeam Dance Schottische," by Walter Rolfe. 
 Published by The Walter Rolfe Music Co., Ramford Falls, Maine. Special 
 arrangement has been made with the author for the use of same. 
 
 J 
 
BARN DANCE FOR THREE 
 
 201 
 
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202 
 
 GROUP DANCES 
 
 BARN DANCE FOR THREE 
 
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 While the dance Is a little more complicated than 
 most of the dances in the collection, its figures are 
 full of interest, and a competent teacher should have 
 no difficulty in teaching it to a group of persons who 
 are not very skilled in dancing, and who would like 
 to attempt a dance of a little more advanced type. 
 
 Music : Play the music as indicated, repeating as 
 often as is necessary. 
 
 J 
 
BARN DANCE FOR THREE 203 
 
 Steps: The schottische step and the step-hop 
 referred to are described in the " Circle Barn 
 Dance " on page 211. 
 
 Formation: Groups of three around the room. 
 If boys and girls are dancing, each group should con- 
 sist of one boy and twoi girls, the boy being the leader 
 of the group. 
 
 The boy is in front with arms folded across 
 chest. The first girl is just behind the boy with her 
 hands on his shoulders, the second girl just behind 
 the first girl with hands on her shoulders (Fig. 36). 
 
 I. 
 
 Take one schottische step diagonally forward 
 right, and one schottische step diagonally forward 
 left. 2 meas. 
 
 Take four step-hops right, left, right, left. 
 
 2 meas. 
 
 Repeat the above, and at the first step-hop the 
 boy claps both hands vigorously together and 
 stretches out his arms to the side, shoulder high. 
 At the same time Girl i steps to boy's left side while 
 Girl 2 steps to his right. Boy takes inside hands 
 of both girls and on the third and fourth step-hops, 
 both girls tiirn toward boy and swing a complete 
 turn under own arms. 4 meas. 
 
 11. 
 
 Groups are now three abreast with boy in center 
 '(Hg. 37)- 
 
204 GROUP DANCES 
 
 Schottisdie forward, right and left. 2 meas. 
 
 During the four step-hops the girl on the left 
 crosses over in front of boy, passing under the raised 
 arms of boy and girl on right. The girl on the 
 right is at the same time crossing over to the oppo- 
 site side and the boy turns under his own right arm. 
 All are now facing in the opposite direction. Do not 
 drop hands during the turning. 2 meas. 
 
 Repeat entire step, facing about in original 
 direction. 4 meas. 
 
 III. 
 
 In lines of three abreast, sohottische right and 
 left. 2 meas. 
 
 On the first two step-hops Girl i (on boy's left) 
 passes under joined arms of Boy and Girl 2, while 
 Girl 2 also crosses over. Both should now be facing 
 the boy, who has his hands crossed in front of him, 
 the left hand under the right (Fig 38) . 
 
 On the third and fourth step-hops, girls move 
 backward, pulling boy toward them. 2 meas. 
 
 Schottische right and left, boy moving backward 
 and pulling girls forward, 2 meas. 
 
 On the four step-hops boy raises arms, and girls 
 return to places and turn under their own arms. 
 
 2 meas. 
 
 IV 
 
 In the first part of this step, boy drops girls' 
 hands and folds arms across his chest. He takes one 
 
IG. 36 
 
 IG. 38 
 
 FIGS. 36, 37, 38 AND 39. — BARN DANCE FOR THREE 
 
BARN DANCE FOR THREE 205 
 
 schottische step right, and one left, facing girls. At 
 the same time girls face each other in front of boy, 
 join right hands and change places with one schot- 
 tische step right, join left hands, and return to places 
 with one schottische step left. 2 meas. 
 
 The three fonn a circle by placing hands on 
 each other's shoulders, all facing center (Fig. 39). 
 In this position take four step-hops, making a half- 
 circle, and finish with all in opposite places from 
 where they started. 2 meas. 
 
 Drop hands and repeat entire figure from the 
 beginning. This brings the boy back facing in 
 original direction and on the last step-hop he passes 
 under the joined arms of Girls i and 2. 4 meas. 
 
 All immediately form into the first position with 
 Girl I just behind boy, and Girl 2 at the rear (Fig. 
 ^6) . Repeat dance from the beginning. 
 
206 
 
 GROUP DANCES 
 
 DANCING ON THE GREEN* 
 Tempo di achottische 
 
 ^^^^^ 
 
 * The music is from "Sunbeam Dance Schottische," by Walter Rolfe. 
 Published by The Walter Rolfe Music Co., Rumford Falls, Maine. Special 
 arrangement has been made with the author for the use of the music. 
 
DANCING ON THE GREEN 
 
 207 
 
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GROUP DANCES 
 
 DANCING ON THE GREEN 
 
 Bam dance for four. 
 
 Music : Play the music as indicated, repeating as 
 often as is necessary. 
 
 Steps: The schottische step and the step-hop 
 referred to are described in the Circle Barn Dance, 
 page 211. 
 
 Formation : Each group consists of two couples. 
 Couple I is facing forward, partners having inside 
 hands joined. Couple 2 is just behind Couple i, 
 facing forward, partners having inside hands 
 joined. Couple i reaches back and has out- 
 side hands joined with outside hands of Couple 2 
 (Fig. 40). 
 
FIGS. 40, 41, 42 AND 43. — DANCING ON THE GREEN 
 
DANCING ON THE GREEN 209 
 
 I 
 
 Take one schottische step forward diagonally 
 right. I meas. 
 
 One schottische step forward diagonally left. 
 
 I meas. 
 
 Partners of Couple i drop hands (keeping out- 
 side hands joined with Couple 2) and take four step- 
 hops circling out to the side and finishing in the 
 rear, Joinihands again (Fig. 41). 2 meas. 
 
 Couple 2 is now in the lead. 
 
 Repeat the schottische steps forward. 2 meas. 
 
 Repeat the four step-hops with Couple 2, circling 
 to the rear. 2 meas. 
 
 II 
 
 In the original position take two schottische steps 
 forward. 2 meas. 
 
 On the four step-hops Couple 2 raises joined 
 hands, forming an arch (Fig. 42). Couple i dances 
 backward under the arch, while Couple 2 passes for- 
 ward and untwists by turning toward each other 
 under own arms. 2 meas. 
 
 All four dancers must keep hands joined during 
 this entire figure. Couple 2 is now in the lead and 
 the figure is repeated, Couple i making the arch. 
 
 4 meas. 
 
210 GROUP DANCES 
 
 Ilia 
 
 In original position take two schottische steps 
 forward. 2 meas. 
 
 On the four step-hops Couple i raises joined 
 hands forming an arch, while Couple 2 dances for- 
 ward under the arch, Couple i dances backward 
 ( Fig. 43') . 2 meas. 
 
 During the step-hops partners keep hands joined, 
 but release hands with the opposite couple. 
 
 Illb 
 
 Couple 2 is now in the lead. All join hands and 
 take two schottische steps forward. 2 meas. 
 
 During the four step-hops the following figure 
 is danced: The leading couple (Couple 2) drops 
 partner's hand, and each dancer holds inside hand 
 up slightly curved over head; outside hand is 
 extended shoulder-high to side. 
 
 The rear couple divides and steps to the outside 
 of the forward couple (boy joining hands with boy, 
 girl joining hands with girl) (Fig. 44). In this 
 position take four step<-hops, each couple circling 
 outward and backward to original places. 2 meas. 
 
 Finish with Couple 2 in the lead. Repeat IHa 
 and Illb with Couple 2 forming the forward arch, 
 Couple I passing under to place. 8 meas. 
 
 DIancers should now be in their original places, 
 and dance Is repeated from the beginning. 
 
CIRCLE BARN DANCE 211 
 
 CIRCLE BARN DANCE 
 
 Music: The music used for "The Barn Dance 
 for Three " or " Dancing on the Green " may be 
 used for this dance. 
 
 The steps which are referred tO' in the dance are 
 executed as follows : 
 
 A. Schottische Step 
 
 Slide forward with right foot (i). 
 Bring left foot up to heel of right foot and raise 
 right foot forward (2). 
 
 Step forward on right foot (3). 
 Hop on right foot and extend left foot forward (4) . 
 
 I meas. 
 Repeat, starting with left foot. i meas. 
 
 B. Skating Step 
 
 Slide diagonally forward on right foot, raising left 
 foot backward (i, 2). 
 
 Repeat, sliding on left foot (3, 4). i meas. 
 
 Repeat right and left. i meas. 
 
 The movements should represent skating as 
 nearly as possible. 
 
 C. Step Hop 
 
 Step on right foot (i). 
 
 Hop on right foot and raise left foot forward (2). 
 Repeat, stepping on left foot first (3, 4). i meas. 
 Repeat all right and left. i meas. 
 
212 GROUP DANCES 
 
 Dance 
 
 Formation ; The dancers form in a double circle, 
 partners standing side by side with both hands joined 
 as in skating. The circle moves around the room 
 clockwise. Boy is on the outside) of circle, girl on 
 the inside. 
 
 I. 
 
 One schottische step diagonally right. i meas. 
 
 Repeat left. i meas. 
 
 Take four step-hops right, left, right, left. 
 
 3 meas. 
 
 II. 
 
 Schottische step right and left. 2 meas. 
 
 Four skating steps right, left, right, left. 
 
 2 meas. 
 
 III. 
 
 Repeat I. 4 meas. 
 
 Partners face each other. (This will make two 
 circles, facing, boys on outside, girls on inside.) 
 
 Take one schottische step, each circle moving to 
 the right. i meas. 
 
 One schottische left. i meas. 
 
 Partners join right hands and take two step- 
 hops — right, left — circling halfway around partner. 
 
 I meas. 
 
 Boy gives left hand to girl diagonally behind 
 him in the circle. 
 
CIRCLE BARN DANCE 213 
 
 Girl gives left hand to the boy who is in the 
 couple in front of her. 
 
 Take two step-hops — right, left — with new 
 partner. i meas. 
 
 Finish in original starting position with new part- 
 ner and start dance from the beginning. Repeat as 
 often as desired, with a. new partner each time. 
 
 Note: In changing partners girls always pro- 
 gress clockwise, boys counter-clockwise. 
 
PART III 
 
 SINGING GAMES AND DANCES 
 
 ESPECIALLY ADAPTED TO CHILDREN 
 
 By 
 
 BLANCHE M. TRILLING 
 
216 SINGING GAMES AND DANCES 
 
 SWINGING IN THE SWING 
 
 Adelaide M. Ott 
 
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 heads Up 
 
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 5 
 
 FIG. 45. — SWINGING IN THE SWING 
 
SWINGING IN THE SWING 217 
 
 This is an excellent game for very small children. 
 Any number may take part. 
 
 Formation: Children in groups of three, form- 
 ing a circle around the room. Each group of three 
 is arranged in the following way : No. i stands with 
 back to circle; No. 2 faces No. i, and they join 
 both hands together crossed as in skating. This is 
 the " swing." No. 3 faces Nos. i and 2, and takes 
 hold of their clasped hands. See Fig. 45. 
 
 Child No. 3 pushes the swing forward and 
 upward and at the same time balances forward on 
 the right foot with the left foot raised behind. 
 
 I meas. 
 
 Pull the swing downward and balance backward 
 with all the weight on the left foot. i meas. 
 
 These movements should be continued rhythmi- 
 cally until the end of the refrain. At the same time 
 the following words should be sung by all of the 
 children : 
 
 Swinging in the swing, 
 
 Swinging up so high, 
 We can almost bump our heads 
 
 Up against the sky. 
 
 lAt the word " sky " the swing is pushed high 
 and the child passes under and catches the next 
 swing as it comes toward her. Game may be 
 repeated as often as is desired. Care should be taken 
 to shift the positions of the children so that each in 
 turn may have the chance to do the swinging. 
 
218 SINGING GAMES AND DANCES 
 
 :76 
 
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 s 
 
 oth-er In the lack, The right steps forward and the left iteps back. 
 
 : fi'i.'f f Liifii 
 
JOLLY IS THE MILLER 219 
 
 Any number may take part. 
 
 Formation : Double circle around the room, girls 
 on the right of the boys. One child, the " miller," 
 stands in the center of the circle. Circle moves clock- 
 wise around the room. 
 
 Jolly is the miller who lives by the mill, 
 The wheel goes round with a right good will ; 
 One hand in the hopper and the other in the sack 
 The right steps forward and the left steps back. 
 
 Game 
 Children join inside hands with partners and walk 
 quickly and joyously around the circle, swinging the 
 arms, back and forth, and singing the words of the 
 song. As the words in the last line are sung, the 
 outer circle steps backward, the inner circle for- 
 ward, and each child takes a new partner. As the 
 change is made the child in the center tries to get a 
 partner. The game is now repeated with the odd 
 child in the center. If the " miller " is not success- 
 ful the first time, he remains in the center until he 
 secures a partner. 
 
220 SINGING GAMES AND DANCES 
 
 DID YOU EVER SEE A LASSIE? 
 1=66 
 
 mf^-tx-rt^nn-^ii^Ti 
 
 ^ 
 
 DidyoQ 67- er Bee a las-sie, a las-sie, a las-sieTDidyoa 
 
 4MMJ 
 
 es 
 
 1 1 
 
 I 
 
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 :l=:t 
 
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 thi$ way and iJiat way. And this way and tJuU way; Did yon 
 
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 er - er see a laa - sie do 7%ia way and thaif 
 
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DID YOU EVER SEE A LASSIE? 221 
 
 This is a favorite game for very little children. 
 In the beginning the play director may give sugges- 
 tions as to the movements to be illustrated by the 
 center child, but the children should be encouraged 
 toi devise their own movements. 
 
 Formation: Children form a single circle with 
 hands joined, one child standing in the center. 
 
 The children in the circle move around clockwise 
 singing the first two lines of the verse. On the 
 words " Do this way and that " the child in the 
 center illustrates some movement which the others 
 are to imitate. As the last two lines of the verse 
 are sung the children in the outer circle stand still 
 and imitate the movements of the leader, who con- 
 tinues with them. 
 
 Did you ever see a lassie, a lassie, a lassie (a laddie), 
 Did you ever see a lassie do this way and that? 
 
 Do this way and that way, and this way and that 
 way. 
 Did you ever see a lassie do this way and that. 
 
 At the end of the verse the child in the center 
 chooses a child from the circle to become the leader 
 and the original leader joins the circle. 
 
 Movements Suggested: Gymnastic movements 
 of various kinds, a galloping horse, raking leaves, 
 rocking a doll, throwing snowballs, picking fruit, 
 climbing a ladder, etc. 
 
 Note: All movements must be done rhytlimi- 
 cally with the music. 
 
222 SINGING GAMES AND DANCES 
 
 DANCE OF GREETING 
 ( Danish ) 
 A AUegreito. (J = 112.) 
 
 £ 
 
 ^ miM^ifM 
 
 f r I ^ 
 
 ^ ^^ v^ i^ 
 
 ^IZ T' '^i' \ ' A^i^^ \ ' '' -^t^r^ * ^-r ^ 
 
 riint- 
 
 m^.^ ij-^U- ic—fi i 
 
DANCE OF GREETING 223 
 
 This is an excellent dance for very small children. 
 
 Formation : The dancers form a single circle, all 
 facing the center. Partners are standing side by 
 side. 
 
 Music is divided into two parts, A and B. 
 
 Count one and two and to a measure. 
 
 All clap own hands together twice (one and). 
 Take skirts with both hands, face partners and make 
 a little courtesy (two and) (Fig. 46). i meas. 
 
 Repeat the above, turning the back toward part- 
 ner and courtesy to dancer on the other side. 
 
 I meas. 
 
 Face the center of the circle, place hands on hips 
 and stamp right (one and) , stamp left (two and) . 
 
 I meas. 
 
 Take three little steps, right, left, right, turning 
 completely around. i meas. 
 
 Repeat all the above. 4 meas. 
 
 Music A. 
 
 II 
 
 All join hands forming a circle, and face so that 
 circle will move clockwise around the room (Fig. 
 47). Starting with the left foot take sixteen run- 
 ning steps (four to a measure). 4 meas. 
 
224 SINGING GAMES AND DANCES 
 
 Turn and take sixteen running steps in the oppo- 
 site direction. 4 meas. 
 
 Music B. 
 
 These steps should be very light and high on the 
 toes. 
 
 Note : With little children it is helpful to have 
 them repeat the following words in rhythm as they 
 learn the movements of the first part of the dance. 
 
 Clap, clap, bow, 
 Clap, clap, bow. 
 Stamp, stamp, 
 And turn around. 
 
FIGS. 46 AND 47. — DANCE OF GREETING 
 
226 SINGING GAMES AND DANCES 
 
 GREETING AND MEETING 
 
 (Swedish Singing Game) 
 
 Arranged by M. L. Ayer 
 Moderato ■ 
 
 » ; l-q: 
 
 i r^rrn 
 
 4* 
 
 l - J-M !^ 
 
 How-d'ye do, my part-ner? How-d'ye do to - day? 
 
 ^ 
 
 I 
 
 Zjt 
 
 4=*: 
 
 ^=i 
 
 Will you dance in the cir - cleT 
 
 I will show you the way. 
 
 ^^ 
 
 r' Nir n N i 
 
 lit 
 
 This is a great favorite with Httle children. 
 
 Formation: Double circle, partners facing each 
 other, movements accompanying words as indicated 
 below. 
 
 " How d'ye do my partner? ** 
 
 Children of the outer circle make a courtesy to 
 
 the children of the inner circle. 2 meas. 
 
 " How d'ye do today? " 
 
 Children of the inner circle make a courtesy to 
 
 those of the outer. 2 meas. 
 
 " Will you dance in the circle? " 
 
 Join right hand with partner and shake four 
 
 times. 2 meas. 
 
GREETING AND MEETING 227 
 
 " I will show you the way." 
 Join left hand with partner, crossing over right 
 and shake four times. 2 meas. 
 
 II 
 
 With both hands joined with partner as in skat- 
 ing, couples face in the line of direction and all 
 skip clockwise around the circle, singing " Tra-la- 
 la-la," etc. 8 meas. 
 
 At the end of the dance the children of the outer 
 circle all step backward and take the next child in 
 the inner circle for a partner. Dance is repeated 
 as often as is desired, with a change of partners 
 each time. 
 
 Note : The music is played a little faster for the 
 skipping step. 
 
228 
 
 SINGING GAMES AND DANCES 
 
 THE CIRCUS 
 
 ( Swedish ) 
 
 Arranged by M. L. Ayer 
 
 p'TUM-ns^ ^ m 
 
 ^:4: 
 
 Yoang maid, young maid, yonng maid, young maid dear.Go get your hat and par-agol, The 
 
 A 
 
 ^ 
 
 m 
 
 f 
 
 
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 * r? 
 
 i y \m^~- 
 
 zi;n=iL 
 
 Hur - ry up, hur - ry up, or you can- not go at aD, Hop, hop, hop, the 
 
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 i=^i 
 
 ^^ 
 
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 r^^ 
 
 5=* 
 
 ■M^ i fZZZ^ (. 
 
 1 J J J 
 
 3tZ3t 
 
 =if=3=^ 
 
 day it 
 
 dear, For An - der- son and Pe - ter-son and Innd-Btrom, my dear, 
 _.,^_Mt_-^- 
 
 ^^ 
 
 ^; 
 
 Hop, hop, hop, the day it is so clear, For Anderson and Peterson and Inndstrom, my dear. 
 
 } ^mt^= ^ ^^^^ 
 
THE CIRCUS 229 
 
 This game is vigorous and full of life, and is 
 much enjoyed by all children. It is also a very good 
 game for boys, who, as a rule, do not care for sing- 
 ing games. 
 
 Formation : Double circle around the room, part- 
 ners facing each other. The movements accompany 
 the words in the following manner : 
 
 Count one and two and to a measure. 
 
 I 
 
 " Young maid, young maid." 
 
 All dancers make a little jump, placing the heel 
 of the right foot forward, ball of the foot raised, and 
 at the same time place the hand under the right 
 elbow (one and) (see Fig. 48). Change, placing 
 the left foot forward, and right hand under the 
 elbow (two and). i meas. 
 
 " Young maid, young maid, dear." 
 
 Make three quick changes, right (one), left 
 (and), right (two), and hold (and). i meas. 
 
 " Go get your hat and parasol 
 The circus, it is here." 
 
 Repeat the movements described above, starting 
 with the left foot forward. 2 meas. 
 
230 SINGING GAMES AND DANCES 
 
 II 
 
 " Ten for the big ones 
 Five for the small." 
 
 Partners join both hands, extend arms sideways, 
 shoulder high, take four slides clockwise around 
 circle. Four slides back to places. a meas. 
 
 Ill 
 " Hurry up, hurry up 
 Or you cannot go at all." 
 
 Link right arm with partner, left arm raised (see 
 Fig. 49). 
 
 Turn rapidly in place with quick, short steps, 
 taking as many steps as can be crowded in. 2 meas. 
 
 At the end of the step finish with both circles 
 facing the center. 
 
 IV 
 
 " Hop, hop, hop, the day it is so clear 
 For Anderson, and Peterson and Lundstrom, my 
 dear." 
 
 The inner circle joins hands. Each dancer in 
 the outer circle places hands on the shoulders of 
 partner (see Fig. 50). 
 
 This represents a merry-go-round. The children 
 of the inner circle are the horses, those in the outer 
 circle the riders. 
 
FIG. 48 
 
 FIG. 49 
 
 FIG, 50 
 
 FiL.s. 4,S, 4y AM) 50. — 'IHE ClKtLS 
 
THE CIRCUS 231 
 
 In this formation slide i6 counts tO' the left. 
 
 4 meas. 
 Repeat words and slide i6 counts to the right. 
 
 4 meas. 
 Dance is now repeated, the horses and riders 
 changing places. 
 
232 
 
 SINGING GAMES AND DANCES 
 
 CARROUSEL (Merry-Go-Round) 
 (Swedish Senqing Game) 
 
 A Moderato eon moto ( J = 84) 
 
 Arranged by C. H. Mills 
 
 ^^^P^^^ 
 
 5 
 
 1 ! 1 \ ■• '' h a 
 
 % dime. Hur - ry up! Get a mate! Or you'll 
 
 B -Rwier (J = 108) 
 
 I i i H i:- i a J. J > l i Pd 
 
 aure-ly be too late! 
 
 , -t 
 
 Hal ha! ha I Hap-py are we, 
 
 m 
 
 Friir nw ^z^ 
 
 T. 
 
CARROUSEL 
 
 ? r 
 
 An-der-son, and Pe-ter-son, and Carl- Btrom, and me! 
 
 P^ =£=t^ 
 
 ^ 
 
 This game is a great favorite both with children 
 
 and adults. On account of its action, it is much 
 enjoyed by small boys, for whom it is difficult to 
 find many appropriate singing games. The dance 
 represents a " merry-go-round," the inner circle 
 being the horses, the outer circle the riders. 
 
 Music is divided into two parts, A and B. 
 
 Count one, two, three, four to a measure. 
 
 Formation: A double circle, all dancers facing 
 the center. The children of the outer circle place 
 their hands on the shoulders of their partners of 
 the inner circle (see Fig. 50 of "The Circus"). 
 
 Little children sweet and gay, 
 
 Carrousel is running, 
 It will run till evening; 
 
 Little ones a nickel, big ones a dime. 
 Hurry up! get a mate! 
 Or you'll surely be too late. 
 
234 SINGING GAMES AND DANCES 
 
 Dancers move clockwise around the circle, taking 
 two long, slow slides to a measure. The slide is 
 made by sliding left with the left foot (one), and 
 closing the right foot to the left (two). This is 
 continued through the fifth measure. 5 meas. 
 
 In the last two measures dancers take two stamps 
 to a measure, and have the stamps come exactly on 
 the emphasized words. The music is accelerated in 
 these two measures. 2 meas. 
 
 Music A. 
 
 II. 
 
 Ha, ha, ha! Happy are we, 
 
 Anderson and Peterson and Carlstrom and me. 
 
 Ha, ha, ha! Happy are we, 
 
 Anderson and Peterson and Carlstrom and me. 
 
 Continue sliding clockwise around the circle, but 
 take four slides to a measure and music is much 
 quicker. 4 meas. 
 
 Repeat, changing the direction and sliding 
 toward the right. 4 meas. 
 
 Music B. 
 
 At the end of the dance the horses and riders 
 change places, and the dance is repeated from the 
 beginning. 
 
 Note: The music starts slowly, while the 
 " merry-go-round " is winding and gradually 
 becomes faster, until for the last four measures it 
 is quite fast. 
 
SINGING GAMES AND DANCES 
 
 CAPTAIN JINKS 
 
 :i=ii 
 
 1. I'm 
 S. Sa 
 
 ^te 
 
 Gap - tain Jinks of the horse ma - rines, I 
 late your part- ner and turn to the righl^ and 
 
 i 
 
 0i '} ;V LA ^ 
 
 4V=1= 
 
 ::S=S: 
 
 feed my horae on com and beans, And swing the la - dies 
 awing your neighbor with all yonr might,Then promenade all the 
 
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 Fink 
 
 m 
 
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 in their teens for thaf s the style in the ar - my. 
 la - dies right for that's the style in the ar - my. 
 
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 y: 
 
 rJ-|s S E 
 
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 dies how 
 
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 2. I teach 
 
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 to dance, 
 
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CAPTAIN JINES 
 
 237 
 
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 how to dance, how to dance, I teach the la - dies 
 
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 \ 1 I 17 I 1 
 
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 how to dance for that's the style in the ar - my. 
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 Formation: A single circle moving clockwise 
 around the room, girls in front of boys. Any num- 
 ber may take pa.rt. 
 
 Music is in two parts, A and B. 
 
 The dance accompanies the words of the song 
 as indicated below. 
 
 I'm Captain Jinks of the horse marines. 
 I feed my horse on corn and beans. 
 
 Dancers walk joyously and briskly clockwise 
 around the circle, letting the arms swing easily. 
 
 4 meas. 
 
 And swing the ladies in their teens, 
 For that's the style in the army. 
 
238 SINGING GAMES AND DANCES 
 
 Girls turn quickly and face their partners who 
 are just behind them. Join both hands with part- 
 ner, and turn partner once around, taking eight skip 
 steps. At the word " army," partners should have 
 completed turn and be standing side by side, inside 
 hands joined, girl on boy's rig<ht. 4 meas. 
 
 Music A. 
 
 II 
 
 I teach the ladies how to dance, 
 How to dance, how to dance. 
 
 I teach the ladies how to dance. 
 For that's the style in the army. 
 
 Partners standing side by side, girl on the right, 
 inside hands joined, skip clockwise around circle, 
 swinging arms easily and naturally. 8 meas. 
 
 Music B. 
 
 Ill 
 
 Salute your partner, and turn to the right 
 
 Partners stand still, face each other and make 
 a courtesy. 
 
 Each dancer then makes a quarter turn to the 
 right on the words, " and turn to the right." 2 meas. 
 
 The outer circle will now be facing in the oppo- 
 site direction (counter-clockwise). 
 
 And swing your neighbor with all your might 
 
CAPTAIN JINKS 239 
 
 The boy joins both hands with the girl of the 
 couple just behind him, and turns her once around 
 with four skip steps. Girl swings boy of the couple 
 just in front of her. On the word " might " the 
 turn should be completed and girls should be stand- 
 ing on the right of new partner with inside hands 
 joined. 2 meas. 
 
 Then promenade all, the ladies right, 
 For that's the style in the army. 
 
 Girls are on boys' right with inside hands joined. 
 AH march clockwise around the circle, and on the 
 word " army " girls step forward in front of boys, 
 forming a single circle as at the beginning of the 
 dance. 4 meas. 
 
 Music A repeated. 
 
 Dance may be repeated as often as desired, with 
 a new partner each time. 
 
240 SINGING GAMES AND DANCES 
 
 P 
 
 — 1= 
 
 i 
 
 OUR LITTLE GIRLS 
 ( Swedish Singing Game ) 
 
 Arranged by C. H, Mills 
 (J = 108) 
 
 5: 
 
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 s d -f 
 
 n i l r: 
 
 i=* 
 
 lit - tie girla, we know.When to danc-ing they go, Would 
 
 Onr 
 
 Then boom - fa - ra - la, boom-f a-ra-la, boom-f a-ra-la - la. Yes, 
 
 i^ 
 
 f ii f i jf r f 
 
 gnj 
 
 3=? 
 
 TT 
 
 like 
 boom 
 
 a boy to know, With whom to dance jnst bo. And 
 fa- ra - la • la. Yes, boom - fa - ra - La - la. 
 
 ^ 
 
 FTTMi ^ ' i^ 
 
 m 
 
 £3 
 
 ^ 
 
 I 
 
 yon will dance a few steps with me, Jnat 
 
 i 
 
OUR LITTLE GIRLS 241 
 
 Formation : Dancers form in a single circle, with 
 hands joined, facing the center of the circle. Several 
 dancers stand on the inside of the circle, the num- 
 ber depending on the total number of dancers in each 
 circle. 
 
 The game accompanies the rhyme as indicated 
 below. 
 
 Our little girls (or boys), we know, 
 When to dancing they go, 
 Would like a boy to know 
 With whom to dance just so. 
 
 The dancers forming the circle, with hands 
 joined, walk joyously around the circle, taking two 
 steps to a measure, arms swinging easily. Circle 
 moves clockwise. The extra dancers on the inside 
 of the circle walk around in the opposite direction, 
 in single file, arms swinging. These dancers should 
 keep close to the outer circle and should not walk too 
 close to each other. 8 meas. 
 
 And If you will dance 
 
 A few steps with me 
 Just put your hand in mine, 
 
 And sing so merrily. 
 
342 SINGING GAMES AND DANCES 
 
 On the words, " And if you will dance," each 
 dancer on the inside of the circle chooses a partner 
 from the outer circle. The outer circle closes up 
 the vacant spaces and continues walking around to 
 the left. The inner couples walk counter-clockwise. 
 
 8 meas. 
 
 II 
 
 Then boom-fa-ra-la, boom-fa-ra-la, boom-fa-ra-la-la 
 
 The outer circle takes eight skip- steps to the left. 
 At the same time the couples in the center join both 
 hands with partner and take eight skip steps turn- 
 ing (see Fig. 51). 4 meas. 
 Yes, boom-fa-ra-la, boom-fa-ra-la, boom-fa-ra-la-la 
 
 The outer circle turns and takes eight skip steps 
 to the right. At the same time the center couples 
 turn and swing in the opposite direction. 4 meas. 
 
 And if you will dance 
 
 A few steps with me 
 Just put your hand in mine, 
 
 And sing so merrily. 
 
 All stop skipping and walk. The outer circle 
 moving clockwise as in the beginning, the center 
 couples walking in the opposite direction. 8 meas. 
 
 At the end of the dance those who were originally 
 in the center join the outer circle. Those who were 
 chosen remain in the center, and the game is repeated 
 from the beginning. 
 
FIG. 51. — OUR LITTLE GIRLS 
 FIG. 52 FIG. 53 
 
 FIGS. 52 AND 53.— THE FIRST OF MAY 
 
244 
 
 SINGING GAMES AND DANCES 
 
 THE FIRST OF MAY 
 (Swedish Singing Game) 
 
 Arranged by C. H. Mills 
 A Allegro U = 120) 
 
 To-day's the first of May, To-day's the first of May, May, May,To- 
 
 Good-bye,dear f riend,good-bye,ril see you soon some day,Soine day,ril 
 
 see yoTi soon some day, 
 
 3t=i: 
 
 Be - fore the glad May- Day. 
 
THE FIRST OF MAY 245 
 
 Any number may take part, but circles of not 
 more than from six to ten are more easily directed, 
 if partners are to change at the end of the dance. 
 
 Music is divided into two parts, A and B. 
 
 Count one and two and to a measure. 
 
 Formation: Children form in double circle. 
 Partners stand side by side with inside hands joined, 
 outside hands on hips, facing ready to move clock- 
 wise around the circle. Boys are on the outside. 
 
 Today's the first of May, 
 
 Today's the first of May, May, May; 
 
 Today's the glad May-day, 
 
 Today's the glad May-day. 
 
 Beginning with the inside foot, partners take 
 four slides forward in the line of direction. With 
 the first slide, arms are swiing forward, upward, 
 and partners turn back to back (Fig. 52). Dur- 
 ing these four slides the inside foot is always in the 
 lead, and partners remain back to back. 2 meas. 
 
 Take four slides, commencing with the outside 
 foot, swing arms downward, backward, and part- 
 ners face each other. 2 meas. 
 
246 SINGING GAMES AND DANCES 
 
 Repeat, taking eight slides, four with partners 
 back to back, four with partners facing. 4 meas. 
 Music A. 
 
 II 
 
 Good-bye, dear friend, good-bye, 
 I'll see you soon some day, some day, 
 I'll see you soon some day 
 Before the glad May-day. 
 
 Partners face each other, standing still. Join 
 right hands and shake hands slowly three times 
 while singing the first line of the above verse (Fig. 
 53). The hand-shake comes on the emphasized 
 word, " Good-bye, dear friend, good-bye." 
 
 2 meas. 
 
 Partners make a quarter turn to the right, clap 
 own hands and stamp right foot vigorously, and skip 
 around the circle, singing the last three lines of the 
 verse. 6 meas. 
 
 Music B. \ 
 
 The inside circle moves forward In the way it 
 was dancing in the beginning. The outside circle 
 moves in the opposite direction (counter-clockwise). 
 
 The stamp and the clap come on the first note of 
 Measure 3> on the word " see." 
 
 In returning to places, dancers pass their own 
 partners and commence the dance with the next 
 person. 
 
THE FIRST OF MAY 247 
 
 The dance may be repeated as often as is desired, 
 always with a new partner. 
 
 Note: For little children, use the slidlng-step 
 described in Part I. For older children, the polka 
 step which is described in Part I of the Swedish 
 Clap Dance, page 193, may be used. 
 
248 
 
 SINGING GAMES AND DANCES 
 
 HICKORY DICKORY DOCK 
 
 ^^^ 
 
 -.-5: 
 
 ^ 
 
 Hlck-o - Tj Dick-o - ry Dock, The mouse ran up the 
 
 PiiH-^ 
 
 i=^^ 
 
 m 
 
 \-i-^t^ 
 
 ^ 
 
 ^=.1^JU=^M 
 
 ± 
 
 clock, 
 
 ^» !: 
 
 The clock struck one, 
 
 The 
 
 IT X 
 
 t> tl J- 
 
 i 
 
 ^3Q 
 
 s 
 
 e t: 
 
 I 
 
 mouse ran down, Hick- o - ry Dick-o - ry Dock. 
 
 m 
 
 t^. 
 
 -* — zT"* — 
 
 -^ 
 
HICKORY, DICKORY, DOCK 249 
 
 This is a great favorite with Httle children. 
 
 Formation : Children form a double circle around 
 the room, facing each other. The dance should 
 accompany the nursery rhyme as indicated below : 
 
 I 
 
 Hickory, Dickory, Dock, Tick-tock. 
 With arms hanging rather stiffly in front of body 
 to represent a pendulum, swing arms slowly left, 
 right, left. On the words " tick-tock " place hands 
 on hips and take two light stamps in place, left, 
 right. 2 meas. 
 
 The mouse ran up the clock. 
 Partners change places with quick, little, run- 
 ning steps. 2 meas. 
 
 The clock struck one. 
 
 Partners clap right hands vigorously together. 
 
 1 meas. 
 The mouse ran down. 
 
 Partners return to places. i meas. 
 
 Hickory, Dickory, Dock, Tick-tock. 
 Swing arms from left to right as described above. 
 
 2 meas. 
 II 
 
 Partners join both hands and extend them to 
 the side, shoulder high. Take three slides, going 
 clockwise around the circle, and two stamps in 
 place. 2 meas. 
 
250 SINGING GAMES AND DANCES 
 
 Three slides in opposite direction (counter-clock- 
 wise) and two stamps. 2 meas. 
 
 Join right hands with partner, start with the left 
 foot, take three slow steps, left, right, left, changing 
 places with partner. Turn, facing partner, place 
 right foot behind, take skirts with both hands and 
 make courtesy to partner. 2 meas. 
 
 Join left hands with partner, start with right 
 foot, repeat the above, returning to place and cour- 
 tesy to partner. 2 meas. 
 
 Note: Diuring II the children sing softly the 
 syllable " la." Music should be a little quicker for 
 the slides and should retard again while children are 
 changing places. Make a decided retard for the 
 courtesy. 
 
252 
 
 SINGING GAMES AND DANCES 
 
 AUtgro. (J = 100) 
 
 RIBBON DANCE 
 ( English ) 
 
 Arranged by C. H. Mills 
 
 
 d^ 
 
 i. 
 
 ^ 
 
 ^ 
 
 ^ 
 
 fcrj 
 
 i 
 
 'I J J n 
 
 ^^^ 
 
 j-yj n 
 
 m 
 
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 Pedf. 
 
 i 
 
 j^cni-AJ j_^ p 
 
 ^a 
 
 §^-r >^ - ^f =f 
 
 i 
 
 ffi^ 
 
 J=i^ 
 
 f=*=f 
 
 i=:i:S: 
 
 ^5 
 
 ffi 
 
 ^- ^ X iF=^ 
 
RIBBON DANCE 
 
 25S 
 
 Si m )l f it -L. V * . tZ 
 
 -*— T- 
 
 m 
 
 r 7 J 
 
 m 
 
 £^ 
 
 ^ 
 
 -»— *- 
 
 td^ 
 
 i^JTT] j^j. 
 
 ^ 
 
 1- — t 
 
 g grr^ 
 
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 ^ 
 
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 Formation: Two parallel lines facing-, standing 
 about six feet apart. As seen from the front the 
 girls should be on the right side of the boys. Each 
 couple holds a scarf between them, holding scarf 
 in right hands. In place of scarf two large hand- 
 kerchiefs knotted together may be used. Six or 
 eight couples make a good number for a set. 
 Couples should be numbered alternately i, 2, com- 
 mencing at the head of the line. 
 
 Music is divided into two parts, A and B. 
 
 Count one, two to a measure. 
 
 Couples I all face Couples 2. With four skip 
 steps Couples i and 2 change places. All Couples 
 2 pass under the kerchiefs of Couples i. 2 meas. 
 
254 SINGING GAMES AND DANCES 
 
 All turn, but do not let go kerchiefs, and return 
 to places. Couples i passing under the kerchiefs this 
 time. 2 meas. 
 
 Repeat all above. 4 meas. 
 
 Music A. 
 
 II 
 
 The girls drop the kerchiefs, the boys hold them 
 high, using both hands. The head girl turns and 
 skips outside of the girls' line, followed by all the 
 other girls. The head boy leads down outside of the 
 boys' line, followed by all the other boys. The end 
 couple does not follow, but remains in place hold- 
 ing the kerchiefs high for the others to pass imder. 
 
 When partners meet at the end of the line, girls 
 take hold of scarfs and all skip back to places under 
 the arch of end couple. 
 
 Music B and first four measures of Music B 
 repeated. 
 
 Ill 
 
 Couples now hold kerchiefs high, forming arches. 
 Head couple skips under arches to end of line. 
 
 Last four measures of Music B. 
 
 Dance is now started from the beginning. Repeat 
 until all couples have returned to original places. 
 
BIBLIOGRAPHY 
 
 DANCING 
 
 A. Books Containing Music and Descriptions of 
 
 Dances 
 
 Berquist, Nils, " Swedish Folk Dances." A. S. 
 
 Barnes & Co. 
 BuLT, Mildred. " Old Devonshire Dances," Edition 
 
 5640. J. Curwen & Sons. 
 BuRCHENAL, ELIZABETH. (a) " Polk Dances and 
 Singing Games." G. Schirmer & Co. 
 
 (b) " Dances of the People." G. Schirmer & Co. 
 
 (c) " Dances of Finland." G. Schirmer & Co. 
 
 (d) "Dances of Denmark" G. Schirmer & Co. 
 Coles, Alice M. C. " Old English Country Dance 
 
 Steps," Edition 5713. J. Curwen & Sons, London. 
 " The Hornpipe," Edition 1365. J. Curwen & Sons. 
 
 Crampton, C. Ward. *'Thc Folk Dance Book." 
 A. S. Barnes & Co. 
 " The Second Folk Dance Book." A. S. Barnes & Co. 
 
 Davison, William J. " Gymnastic Dancing for 
 Men." Y.M.C.A. Press. 
 
 Gilbert, M. Ballou. " School Dances." G. Schir- 
 mer & Co. 
 
 Graham, John. " Lancashire and Cheshire Dances." 
 J. Curwen & Sons. 
 " Shakesperean Bidf ord Morris Dances." J. Cur- 
 wen & Sons. 
 
 Hinman, Mary Wood. (a) " Couple Dances." 
 Hinman School of Dancing. 
 
 (b) " Ring Dances." Hinman School of Dancing. 
 
 (c) " Group Dances." Hinman School of Dancing. 
 HoFER, Mari R. (a) " Popular Folk Games and 
 
 Dances." A. Flanagan & Co. 
 (b) **PoliteandSocialDances." Clayton F.SummyCo. 
 
 255 
 
256 BIBLIOGRAPHY 
 
 Hughes, E. " Maypole Exercises," Edition 5675. 
 
 J. Curwen & Sons. 
 KiMMiNS, G. T., " Guild of Play Books " ; Parts I 
 
 and II, Festival and Dance ; Part III, For Little 
 
 Children ; Part IV, National Dances. J. Curwen 
 
 & Sons. 
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 A. S. Barnes Co. 
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 I, II. J. Curwen & Sons. 
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 4 Volumes. Contains descriptions of dances 
 
 only. H. W. Gray & Co. 
 
 (b) " Country Dance Tunes." 8 Parts. Contains 
 the music for dances described in " The Country 
 Dance Book." H. W. Gray & Co. 
 
 (c) "The Morris Book," 2nd Edition. Contains 
 descriptions of dances only. H. W. Gray & Co. 
 
 (d) " Morris Dance Tunes." 10 Parts. Contains 
 music for dances described in " The Morris Book." 
 H. W. Gray & Co. 
 
 (e) " The Sword Dance Book of Northern Eng- 
 land." 2 Volumes. Contains descriptions of 
 dances only. H. W. Gray & Co. 
 
 (f ) " Sword Dances of Northern England, Songs 
 and Airs." 3 Parts. Contains music for dances 
 described in " The Sword Dance Book of North- 
 ern England." H. W. Gray & Co. 
 
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 Barnes Co. 
 
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BIBLIOGRAPHY 257 
 
 DoDWORTH, Allen. " Dancing and Its Relations to 
 Education and Social Life." Harper & Bros. 
 
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 John Lane Co. 
 
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 cers." J. B. Lippincott Company. 
 
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 ing." Doubleday, Page & Co. 
 
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 ume I, Chapter ii. Educational Value of Dancing 
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 February, 191 1. 
 
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 Singing Games 
 
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 (b) " More Song Games." George Philip & Son. 
 
258 BIBLIOGRAPHY 
 
 Brown and Boyd. " Old English and American 
 
 Games." Saul Bros. 
 Crawford, Caroline. " Dramatic Games and Dances 
 
 for Little Children." A. S. Barnes Co. 
 GiLLiNGTON, Alice, (a) " Old Hampshire Singing 
 
 Games." J. Curwen & Sons. 
 
 (b) " Old Isle of Wight Singing Games." J. Cur- 
 wen & Sons. 
 
 (c) " Old Surrey Singing Games ahd Breton Sing- 
 ing Games." J. Curwen & Sons. 
 
 GoMME, Alice B. "Traditional Games of England, 
 Scotland and Ireland." 2 Volumes. David Nutt. 
 
 HoFER, Marie R. (a) " Children's Old and New Sing- 
 ing Games." A Flanagan & Co. 
 (b) "Old Tunes, New Rimes, and Games." A. 
 Flanagan & Co. 
 
 Kastman and Koehler. " Swedish Song Games." 
 Ginn & Co. 
 
 Kirk, Florence, (a) " Old English Games and 
 Physical Exercises." Longmans, Green & Co. 
 (b) " Rhythmic Games and Dances for Children." 
 Longmans, Green & Co. 
 
 Kidson and Moffat. " Eighty Singing Games." 
 Bagley & Ferguson. 
 
 Newell, Wm. " Games and Songs for Am.erican 
 Children." Harper Bros. 
 
 Pedersen and Boyd, (a) " Folk Games of Denmark 
 and Sweden." Saul Bros, 
 (b) " Folk Games and Gymnastic Play." Saul Bros. 
 
 Sharp and Gomme. " Children's Singing Games." 
 6 Sets. H. W. Gray & Co. 
 
 Van Cleve, Cecilia " Folk Dances for Young Peo- 
 ple." Milton Bradley Co. 
 

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