GV FLS 2015 137963 rA 11 V-/ / DRILLS AND MARCHES Class &Vn°H Book __ Kfi i Fancy Drills and Marches Fifty-three New Fancy Drills, Marches. Motion Songs, Action Pieces For Arbor Day, Christmas Day, Memorial Day, Closing Day and Patriotic Occasions EDITED BY ALICE M f' KELLOGG n Author of^Spring and Summer School Celebrations,’' Etc. PHILADELPHIA The Pehn Publishing Company 1923 Copyright 1895 by E. L. Kellogg & Co. Copyright 1908 by The Penn Publishing Company Copyright 1923 by Herbert S. Kellogg, Mrs. R. W. Barrington and E. L. Kellogg fKAWSftfirtfcO FROM OOi»WGKT OFFICf x Aft $ ' MAR 1-3 1323 c < < 4 « c Fancy Drills and Marches / CONTENTS. Dmt^s and Marches : Fancy Ribbon March. By Carl Betr.. Hatchet Drill for February S2d. By I. A. Storey. The Pink Rose Drill. By Eloise Hemphill. Christmas-tree Drill. By R. S. Dayton. Wand Drill. By Mara L. Pratt. Delsarte Children. By M. D. Sterling. Free Drill. By Eloise Hemphill . Zouave Drill. By the author of “ Preston Papers.”. A Scarf Drill. By Clara J. Denton. Wreath Drill and March. By I. J. C...-4.. Rainbow Drill. By M. D. Sterling. Glove Drill. By Clara J. Denton. Tambourine Drill. By Eloise Hemphill. Finale for a Tambourine Drill. By Jay Bee . Ruler Drill. By Lettie Sterling. Flag Grouping and Posing. By Carl Betz. Flag Drill No. i. By Lillian E. Snow.... Flag Drill No. 2. By Eloise Hemphill. Muff and Gun Drill. By Jay Bee. Cane Drill. By Clara J. Denton. The March of the Red, White, and Blue. By M. D. Sterling. Sifter Drill. By Frances L. Allison.. A Fancy Scarf Drill. By A. Alexander. The Fan Fairies. By Ethel Powell Harris... A Drill With Rings. By Imogen A. Storey.. Christmas Stars. By Lettie Sterling.. Motion Songs : Gladly May Our Song be Ringing. By Rose Seelye Miller.. Up and Down. By Lettie Sterling. Sing, Sing, Oh What Shall I Sing? By Jennie Norton. We’re Just as Happy. By Rose Seelye Miller. Hands are Clasped. By Lettie Sterling . . Froebel’s Birthday. By Louise Pollock. The Milk Measure Song. By W. Price.... Standing Straight Upon Our Feet. By Lettie Sterling. A Stormy Day. By Rose Seelye Miller. See the Children. By Jennie D. Moore. The Holidays. By Louise Pollock.... Christmas Stockings. By A. S. Webber. Thanksgiving. By Lettie Sterling. Marching On. By John Fox...... Mction Ptctrq • The Little House. By M. D. Sterling. Eight White Horses. By Clara J. Denton... The Evergreen Day. By M. D. Sterling. Flowers and Bees. By Clara J. Denton..... Christmas Stories Told with Fingers. By Lettie Sterling.... Ten of Them. By Clara J. Denton. Physiology in Action. By Nellie B. Brown. Nature Song: The Maple and the Pine. The Winds... The Tree in the Field. 1 . The Diminishing Class. The Seasons. The Gossips............. Rag* A >8 33 35 30 43 4<5 48 5 * 55 57 5« <54 73 77 79 80 84 88 98 114 121 129 • 143 . 144 • 143 . 146 . 147 . 148 . 149 . 149 . 150 • 151 • 152 • 152 • 154 • 155 156 157 158 162 162 164 164 168 171 U3 176 179 183 I PART I. jfancp Drills ant> /Iftaccbes. A Fancy Ribbon-march with Grouping and Posing. By Carl Betz. (The exercise is best suited for a class of sixteen girls, ranging in age* from fe* to fifteen years. Plain white dresses are appropriate, although a more cla.lxv.*<. costume would add much to the beauty of the figures in the march. Each g'd carries a red, white, and blue ribbon (scarf). This may be of calico, cheese-cloth, sateen, serge, or silk, according to the means at the disposal of the teacher. The ribbons are about twelve feet long and seven inches wide, each stripe being two and one half inches in width. If the sixteen girls are not of the same height they should be carefully graded according to size, and each girl be given a specific number in the rank, thus: i 2 3 4 5 6 7 8 9 io it 12 n 14 15 16 Number one should be the shortest, number sixteen the tallest, girl. Next, one half of the class, the odd numbers, is to be arranged on one side of the stage, the other half, the even numbers, on the opposite side, thus : x 3 5 7 9 11 x 3 *5. 16 14 12 10 8 6 4 2 Wherever the arrangement is not convenient, the entire class may be arranged on one side or in an adjoining room or hall, thus: 1 3 5 7 9 xx x 3 15 16 14 12 10 8 6 4 2 The ribbon is doubled, so as to be six feet long, and grasped with the left hand at the middle in such a way as to allow two feet or less of ribbon to hang down on both sides of the hand. Unless otherwise stated both arms hang naturally at the side. The ribbon should not quite touch the floor. If twelve-foot ribbons are found inconvenient for girls of about ten years old, they may be made shorter to suit. For the fancy march any march or quickstep will answer ; for the grouping and posing, waltz music; for the last grouping, “ The Star-spangled Banner for the closing march, march or quickstep. All changes are made at a light tap given by the teacher with a muffled caM-bell or with a pencil on a small tile or book.) Part First. The Fancy March. I. CLASS enter in two flank ranks in the rear of the stage from both sides, meeting at E and mark- 5 6 FANCY DRILLS AND MARCHES. ing time until all sixteen are arranged between A and B in one flank rank (Fig. i). A g ^ I 3 i ' »G *4 • 1 to S fr V 2 During the entire march the movement of the feet does not cease, the class marking time between the changes. II. Face Front. —(Fig. 3.) Odd numbers quar¬ ter-turn right, in Fig. 1. Even numbers quarter- turn left, in Fig. 1. A I 3 $T 7 9 n n is- to r+ ,z ,0 © c * 2 * ^ T 'i 3 . III. FORWARD in front rank to front of stage. Odd numbers guide right and dress left. Even numbers guide left and dress right. IV. Triangle.—R ank of odd numbers, eighth- A FANCY RIBBON-MARCH WITH GROUPING AND POSING. ? wheel backward on No. 15 as pivot; rank of even numbers, the same, No. 16 as pivot. All guide towards the moving point, and dress towards the pivot (Fig. 4). • />' fit »«»'•• rn m m m Ti<> -f V. Square. —(Simultaneous, Fig. 5.) Rank 1, 3, 5, 7, quarter-wheel backward, No. 7 pivot; rank 2, 4, 6, 8, quarter-wheel backward, No. 8 pivot ; rank 9, 11, 13, 15, and rank 10, 12, 14, 16, mark time. ^ 1 4 ^^ N 4 * fc .tr VI. CROSS.—(Simultaneous, Fig. 6.) Rank 1,3, 5, 7, quarter-wheel left, centre pivot; rank 9, 11,13,15, 8 FANCY DRILLS AND MARCHES. quarter-wheel left, centre pivot; rank 2, 4, 6, 8, quar ter-wheel right, centre pivot; rank 10, 12, 14, 16, quarter-wheel right, centre pivot. VII. FACING.—(Simultaneous, Fig. 9.) Nos. 2, 4, 6 , 8, IO, 12, 14, 16, two quarter-turns left, individu¬ ally ; Nos. 1. 3, 5, 7, and Nos. 9, 11, 13, 15, mark time. 9 I _ Jl _- t a. I VIII. Cross Revolve, Twice.— (Fig. 8.) All guide outward towards moving points and dress towards pivots. IX- CIRCLE.—(Simultaneous, Fig. 9.) Rank 1, 3, IS * I* ■V * * >. * I ^ ' Tig 9 1 /IO /'* ._• pig.Jd • k * A FANCY RIBBON-MARCH WITH GROUPING AND POSING. 9 5, 7, and rank 9, 11, 13, 15, eighth-wheel right, centre pivot; rank 2, 4, 6, 8, 10, 12, 14, 16, eighth-wheel left, centre pivot. All mark time until the circle has been perfectly formed (Fig. 10). X. Facing.—A ll face to the right (Fig. 11). * M \n, s <4 TV 1 - « XI. FORM Fours. —All march forward in circle. Nos. I, 3, 2, 4 face front and march in fours to the front. The others continue their march in circle towards E, where each four in turn face and march to the front (Figs. 12 and 13). e itr • 3 N- ^ . ' _ r » <• S . 1 A A ✓ LL Jl to tZ, * ,r ^ * " l «*■ \ X tr - - IS* IG —■ JE ~ •T IS,. T, QL * 3 XII. OPEN Ranks and arrange as shown in Figs. 19 and 20. (Simultaneous.) Nos. 1, 5, 9, 13 march in ^ ^ y ' figure in front of Nos. 3, 7, 11, 15 (Fig. 19), and arrange as in Fig. 20 Nos. 2,6, 10, 14 fo fancy drills and marches. march in / figure in front of Nos. 4, 8 t 12, 16 (Fig. 14), and arrange as in Fig. 15. i*h <7 n to. /© ~ 7 a * A. XIII. Halt. —All continue marking time until Fig. 20 is perfectly formed, and then halt. Part Second. Grouping and Posing. (The music changes to a waltz and continues throughout the grouping and posing without interruption. Between each two groups a slight pause intervenes. In the rosing the arms should never be quite straight, but should always be more or less curved.) I. All grasp ribbons, giving six feet of length,with both hands, drooping it in a graceful curve between the hands and in front of the body, allowing about one foot of ribbon to hang down straight on the outer sides of the hands. The arms are gracefully bent. II. ARCH. —(Simultaneous, Fig. 16.) Nos. 1, £, 9, 13, and Nos. 4, 8, 12, 16 lunge sideways to the left, turning trunk slightly to the left and bending head gently backward. Left arm in oblique position up¬ ward to the left, right arm in oblique position down¬ ward to the right. The ribbon droops in a curve from left hand to right hand in front of the body; Nos. 3, 7, 11, 15, and Nos. 2, 6, 10, 14 the same, reversely. Diagram gf First File. I /\ / \ a Fancy ribbon-march with grouping and posing, n III. All recover to starting position as in I. IV. Arch.- —(Simultaneous, Fig. 17.) The same posing as in II. Nos. 1, 5, 9, 13, and Nos. 4, 8, 12, 16 to the right; Nos. 3, 7, n, 15, and Nos. 2, 6, 10, 14 to the left. Diagram of First File. < $ tf * *7 V. All recover to first position as in I. Before the attitudes on the following groupings are taken, the girls first group themselves, walking slowly, in steps and time, from their places in the ranks to their places in the group. After the posing the girls walk in the same manner back again to their places in the ranks. VI. Grouping in Squares. —(Simultaneous.) Nos. I, 3, 5, 7, first square; Nos. 4, 2, 8, 16, second square, Nos. 9, 11, 13 15, third square; Nos. 12, 10, 16, 14, fourth square The members of each square face the centre. All lunge inward with inner feet, inner hands in oblique position upward, hands meet- over centre of square. Outer hands in oblique posi¬ tion downward. The ribbons droop diagonally from inner to outer hands (Fig. 18). 'V / ' r "*\/ % * /\ ix id r • * 1 N/- a. IS FANCY drills and marches. VII. All recover to position I and march back into the ranks. VIII. Grouping in Fours and Threes. —(Si¬ multaneous, Fig. 19.) Nos. 7,8, 11, 12, square in centre; Nos. 1, 3, 5 ; 4, 2, 6; 9, 13, 15 ; 10, 14, 16, threes at the corners. Threes, same posing and position of ribbon as in VI. Square in centre same posing as in VI, but reverse position of ribbons, outer arms in oblique position upward, inner arms in oblique position downward, all ribbons meeting in one point over centre of square. \ / * ✓ Nr 1 + / \ •0 < % \_ 3 / TV*. 4^'* IX. All recover to first position, and march back into the ranks. X. Form Circle. —All form in circle, facing cen¬ tre as in Fig. 20, and halt. \ \ V v l«> A FANCY RIBBON-MARCH WITH GROUPING AND POSING. 13 XI. Nos. 1 to 13 walk singly, but following each other as quickly as possible to No. 15, and place one end of their ribbons in her right hand, holding on to the other end of the ribbons; Nos. 2 to 14 do the same, placing one end of their ribbons in the left hand of No. 16; Nos. 15 and 16 drop their ribbons or fasten them to their waist-band. In walking walk back again ; all turn and walk forward, forming in semicircle in front of Nos. 15 and 16 (Fig. 21). » 3 l 111 /«* XII. Fan. —(Fig. 22.) All in the semicircle kneel on right knee, placing right hand holding ribbon drooping over head, and left hand on left knee. Nos. 15 and 16 raise inner hands holding ribbons high over head, both hand and all ribbons meeting in one point. XIII. Facing. —All rise, facing outward, even numbers to the right, odd numbers to the left, and march in circle around and in back of Nos. 15 and 16. Nos. 15 and 16 hold the ribbons overhead. AU *4 FANCY DRILLS AND MARCHES. arrange in semicircle behind Nos. 15 and 16, and face front (Fig. 23). 111 . \* \+ u XIV. Fan. —All in the semicircle raise their rib- bons high over head with right hands. No. 15 kneels on left knee; No. 16 kneels on right knee; No. 15 holds ribbons in left hand ; No. 16 in right hand. All ribbons meet in a point, and are held low between and in front of Nos. 15 and 16 (Fig. 24). 1* XV. Form Circle. —Nos. 15 and 16 rise, let go of all ribbons and pick up their own ; No. 15 takes her place in the semicircle; No. 16 stands in the middle of the stage; all the others draw in their ribbons, fold them double, and grasp them with both hands as in I. Simultaneously with all the above movements those in the semicircle move for¬ ward at both ends, and close in a circle facing in- A FANCY RIBBON-MARCH WITH GROUPING AND POSING. I* ward, around No. 16 as centre. The ranks of the circle remain slightly open (Fig. 25). XVI. All place right hand in oblique position up¬ ward, left arm down, all hands and ribbons meeting in a point over the head of No. 16 (Fig. 26). XVII. All turn outward to the left, lunge for¬ ward with the left hand, place left hands in oblique position upward, right hands in oblique position backward, and bend heads slightly backward. The ribbons droop diagonally downward and backward at the right side of the body, from the raised left hand to the lowered right. No. 16 remains station- ary, facing 1/ont, with her ribbon grasped in her right hand, ready to swing it over her head (Fig. 27). XVIII. ALL in the circle remain in the lunge position, but change the position of the arms and FANCY DRILLS AND MARCHES. 16 the ribbon, drooping the right hand over the right shoulder, and lower the left hand into oblique posi¬ tion downward, the ribbons drooping diagonally downward towards the floor. No. 16 waves her rib¬ bon in circle over. The music changes to “ The Star- spangled Banner.” This group is held a little longer than the others. XIX. All recover to first position, both hands at sides grasping the ribbon, twice doubled, as in Part First, in the left hand; No. 16 takes her place in the circle. The music changes to a march or quickstep. XX. MARK time and close circle by moving for¬ ward. XXI. Wheel backward from Nos. i and 2, and on Nos. 15 and 16 as pivots, into front rank (Fig. 28). XXII. Form Flank rank, odd numbers facing right, even numbers facing left. If only one exit, all face either right or left. XXIII. Exit. —Forward to both sides of and off the stage. Hatchet Drill for February 2 2d. By I. A. Storey. This drill requires from seventeen to twenty-five children to make a full company and be most effec¬ tive. The younger the children the better, so long HATCHET DRILL FOR FEBRUARY 22c*. 17 as they are capable of doing the drill without too many mistakes. The odd child should be selected with care to assume the character of George Washington ; he should be a bright boy, for there will be much de¬ pending upon him. The costumes should be as near as possible those of the colonial times for both the boys and the girls, and each must be armed with the weapon which “ cut the cherry-tree.” The handles of the hatchets should be decorated with ribbons of red, white, and blue. The floor or stage necessary for this drill should be amply large, to allow for the plan as in (a) and a 18 FANCY DRILLS AND MARCHES. margin besides. A stage would be preferable if large enough. This track should be about a foot wide, and each line, quite heavy, should be laid off as indicated in (a). Children should enter from the rear by twos, the boys making a low bow, the girls a courtesy, march¬ ing straight up the centre, as indicated in ( b ) by the arrows. Washington enters in front of the rest, and after his salute marches a little past the centre, tak¬ ing his position a little on the oblique, as shown in (b). V) When the leaders arrive at the centre, Washington gives the command, “Company halt! " After this command has been executed, he gives a second command, “Leaders left and right— face! " then a third command, “Forward— march!" Number HATCHET DRILL FOR FEBRUARY 2 2d. t9 three and four ditto following down the line, a,a shown in (b) by arrows. (f) When they reach the centre of the sides, which must be marked as shown in ( a) f at a command from Washington, “ Face—rear ! ” they march to the corners, reaching there at the same time, each turn¬ ing a square corner where number one and two did. When they reach the corners Washington commands, “ Oblique— Face! ” They face and march on oblique lines shown in ( c ). When the last two reach the corners (the first two remaining at centre and marking time) and face, Washington gives command, “Company Halt!” then “Charge!” as in Fig. I. They charge with foot toward centre, diagonally, 16 FANCY DRILLS AND MARCHES. throwing the hatchet over the shoulder at the same time. At command, “ Two! ” from Washington they fall on their knees, striking the floor with their hatchets, as in Fig. 2. HATCHET DRILL FOR FEBRUARY a 2 d. At command, “ Three ! ” they assume position as in Fig. i. At command, “ Four ! ” they shoulder hatchets as they have in previous marching, as shown in Fig. 3. 3 Repeat this charging with the opposite foot 5 Washington giving commands, “Five!” “Six!” “ Seven ! ” “ Eight! ” eight being of course like Fig. 4. Washington then commands, “ Company forward— March ! ” When numbers one and two reach centre, as shown in ( c ) by foot-marks Washington gives command, “ Company halt! ” They halt and cross hatchets above heads, as shown in Fig. 4. The rest by twos march under the hatchets of numbers one and two. After they have passed under they cross their hatchets above in same way, at the same time be¬ ginning this fancy step: Advance left foot straight forward, as shown in Fig. 4 0 ), and touch it lightly to the floor. (1 count) Advance the left foot a little more in same direc« £2 FANCY DRILLS AND MARCHES. tion, as shown in Fig. 4 ip), and place the weight on it. (2) Advance the right foot in the same way; be sure not to advance the foot too much the first time, since it has to be advanced again. (3) Advance a little more and place weight on it. (4) Continue this until all have passed under the hatchets of numbers one and two, Washington then gives the command, “ Company halt / ” Numbers one and two. who are now at the rear of the line, march through under the hatchets, lowering theirs a little in order to pass under, then raising them again. When numbers one and two reach the front of the stage, as shown by foot-marks in ( c), they resume THE PINK ROSE DRILL. 2 3 hatchet position, as shown in Fig. 3, making a low bow and courtesy. Then cross each other, as shown in ( c)> and, marching single file on opposite sides of hall or stage, turning the corners very square, and keeping opposite each other, they meet at rear and march out by twos, followed by Washington. The hatchets used for this drill should be made of tin, but wood covered with silver-paper would answer. The Pink Rose Drill. By Eloise Hemphill. (The dresses should be of some soft white material, trimmed elaborately with pink roses and ribbon. Each pupil should have a wreath of roses, which she holds in her right hand when marching. The wreath is made of strong wire or wood, fastened securely where the ends are joined, then covered with roses, as shown below. The spaces not covered with roses are about two inches, and are left that the wreath may be held in the hand without crushing the roses; these spaces should be neatly wrapped with pink ribbon and finished off with a bow and streamers. The roses should be made of tissue-paper. The class should be arranged according to size, with smallest in front; begin¬ ning with No. 1, every other one should enter from left rear, the others from right rear. Nos. i and 2, meeting at A, march down the centre to the front, and No. 1 line turns to the left, No. 2 to the right, each pupil taking her stand according to number, which should correspond with diagram. The last five couples do not separate when marching down the centre. Impress it upon each pupil to remem¬ ber her number throughout the drill. At a given signal lines 1 and 3, 21 and 22, 2 and 4 face each other, standing with toes on the line ; at signal two , lines 2, 22, and 3 change wreath from right to left hand ; at signal three, lines 1, 21, and 4 extend wreath to partners, who take hold of the wreath with right hand ; at the same time all should place the right toe on dotted line so as to touch the toe of partner. Arms extended should be perfectly straight, which necessitates the body to bend backward slightly, with left knee bent, while right is straight. By practice all of these positions can be quickly taken. The musician should here oegin to play some slow march or waltz.) Position 1.—The wreaths, which are perpendicular to the floor, should be turned towards the front on I, 3, back to perpendicular position on 2, 4; this is done by the couples simply twisting the arm from the elbow down. On 5, all step back to places, with arms at the side, and remain so on 6. Position 2.—On 7, the lines 2, 22, and 3 extend their wreaths, or left arm to partner, who also ex¬ tends her left arm and takes hold of wreath ; left toes touching on dotted line; position of body and knees the same as above, except right is bent and left is straight; remain in this position on 8, On 1 24 FANCY DRILLS AND MARCHES. and 3 twist wreaths towards the rear: bach to per¬ pendicular position 2,41 on 5, 6, all step back to /i 6 . Position 8.- -Same as directed in Position 7. Position 9. —With wreath still on shoulder, arms down at the side on 1, on shoulder at 2, out at the side on 3, back to shoulder on 4, up on 5, shoulder on 6, out at the side on 7, shoulder on 8. Repeat. Position IO.—On the last 8, drop arms at the side instead of on shoulder; keep arms at the side daring the following 16 counts. On 1, 3, all put the right foot diagonally forward, back on 2,4; same with left foot on 5,6, and 7, 8. Alternate right, left, etc., through 8 counts; right foot out on 1 and 5, back on 2 and 6; left foot out on 3 and 7, back on 4 and 8. Position 11.—With backs still together, the couples step to the side (or front of stage) on 1, 3, 5, 7, back on 2, 4, 6, 8; lines 1, 21, and 4 using the right foot, and lines 3, 22, 2, using the left. Same movement with other foot to the other side (rear of stage) through 8 counts. As the step is taken toward the side each time, the arm corresponding to the foot used should be thrust upward on 1, 3, 5, 7, back to 1 side on 2, 4, 6, 8. Position 12.—On 1, of next measure, arms toward rear of stage should be thrown over heads; and every one, holding wreath in right hand, should step back to position as at the beginning of the drill. MARCH. At a given signal lines 1 and 3, 21 and 22, 4 and 2, raise their right arms so w to form an arch hv 25 FANCY DRILLS AND MARCHES. having the wreaths touch. Stand a few seconds in this position, as the three arches are very effective. At signal 2, Nos. 21 and 22 drop right arms at the side and march to the rear of stage wider the centre arch; the leaders are followed by 23 and 24, etc.; at A the lines separate, No. 21 turning to the right and marching to front of stage under the right-hand arch; No. 22, turning to left, marches to front of stage under left-hand arch. As Nos. 21 and 22 meet at B they form an arch, under which 23 and 24 pass and form an arch; each couple as it passes under the last arch forms another, until the centre arch is complete. When the three arches are formed again Nos. 1 and 3 and 2 and 4 drop their right arms at the side, and Nos. 1 and 2 lead their lines to rear of stage under their respective arches. No. 1 is followed by 3 ; 3 by 5, 5 by 7, etc. No. 2 is fol¬ lowed by 4; 4 by 6; 6 by 8, etc. Nos. 1 and 2 meet at A and march with their lines side by side down to front under centre arch; at B the lines separate, No. 1 going to the left and No. 2 to the right. Instead of stopping at their places, Nos. 1 and 2 lead their lines off the stage. As the last couple, 19 and 20, turn to the left and right, all in the centre arch drop their arms at the side, face the front, and follow 21 and 22, who fall in place behind 19 and 20. Christmas-tree Drill. By R. S. Dayton. (An even number of girls and boys may be taugh* this simple drill. Each one must be provided with a small branch of evergreen. The number to take part will vary with the space necessary to perform the different movements. Pupils march in by twos to lively music from the piano. (The “ High-school Cadet ” is a good selection for marking the time.) A fancy march is executed, and all stand in a row, with enough space between to keep the branches from in¬ terfering during the movements. An older pupil may give the orders in place of the teacher if desired.) Carry arms l Hold the branch vertically in right hand, with top downward. CHRISTMAS-TREE DRILL. 2* Present arms! Grasp branch, top downward, with both hands, bring in front of centre of body, with the other end in front of face. Carry arms ! (Same as first command.) Order arms! Grasp branch with right hand, let go with left, lower branch to floor. Carry arms ! Charge! Place left foot slightly in advance ol right, leaning slightly forward. Raise branch with right hand, then grasp with left. Keep elbow against body, and keep end of branch on level with shoulder. Carry arms ! Port arms / Hold branch diagonally across body. Left hand above right, and resting against left shoulder. Secure arms ! Advance branch a little, grasping with left hand, then with right, turn the end down¬ ward and rest the top of branch under right arm. Drop left arm. Carry arms ! Load. Left foot slightly forward, knee bent. Hold branch with left hand, turning end downward, top of branch under right arm. Place right hand a few inches below top of branch, then grasp the end again. Ready . Raise the end to level of chin. Aim. Hold branch with both hands, supporting end against right shoulder. Rest head upon branch and close left eye. Fire! Slip left hand down the branch and ex¬ claim “ Bang!” (The aiming and firing may be repeated kneeling if desired.) Carry arms ! Inspection arms! Toss branch with right hand upward, opposite centre of body. Grasp with left hand. Hold in front of eyes. Carry arms and march off stage. FANCY DRILLS AND MARCHES. a8 Wand Drill. By Mara L. Pratt. Children march in, take their positions on floor, vands in position of Fig. I. At signal One ! from the piano place left hand as In Fig. 2. At signal Two! drop wand to position of Fig. 3. At signal Three ! turn right hand. (Fig. 4.) At signal Four ! turn left hand. (Fig. 5.) (Note. —Let there be a generous pause between signals.) I. Counting one and, two and, three and, four and, five and, six and, seven and, eight halt , raise and lower the wands. (Figs. 5 and 6.) Raise on the 3° fancy drills and marches. cou?its } lower on the ands: and after eight , hold the wand in place on halt, one beat of time. 2. From the position of halt (Fig. 6) raise and lower wands—one and, two and, three and, four and, five and, six and, seven and, eight halt. (Figs. 6 and 7.) Raise on counts , lower on ands; and after eight hold the wand in place on halt one beat of time. 3. Now from Fig. 7, lower and raise wands, to shoulders (Fig. 8), up (Fig. 7), chest (Fig. 6), up again (Fig. 7), shoulders (Fig. 8) up (Fig. 7), chest (Fig. 6), etc., counting as before one and, two and, three and, etc. The wand will be up on the ands y on shoulders or chests, alternating on the numbers. 4. Drop (Fig. 5) and, rest and. On drop , drop to Fig. 5. Remain in that position through and rest and (three beats). WAND DRILL. 3 1 5. Plunge to tableau of Fig. 9 (right side). Re¬ main in that position counting : Plunge and, two and, three and, four and, five and, six and, seven and, eight and. 6. Drop (Fig. 5) and, rest and. On drop , drop to Fig. 5, remain in that position through and rest and (three beats of time). 7. Repeat plunge this time on left side . 8. Drop (Fig. 5) and, rest and. On drop> drop to Fig. 5. Remain in that position through and rest and (three beats of time). Class is nowleft in the position from which the drill commenced. Now go through the same move¬ ments exactly, substituting second tableau (Fig. 10) for the before-used tableau of Fig. g. Then “ drop and rest and ” and the class is ready again to begin. 32 FANCY drills and marches. Repeat again same movements, using this time third tableau of Fig. II. Then “ drop and , rest and," and class is again in its first position, Fig. 5. (Other tableaux or poses may be * added if desired to lengthen the drill.) Children are left in position of Fig. 5. 9. Children standing in position of Fig. 5. It makes a pretty break and gives the children a rest, to have here a song. “ The Fisher Maiden ” is sug¬ gested as a pleasant song for boys’ voices. 10. Repeat entire drill from 1 to 9. 11. Music stops. Then a signal from the piano. One! and wands are placed in position of Fig. 2. Signal Two ! and the left hand drops to march¬ ing position (Fig. 1). Music-school marches from the floor. (Note. —Let any teacher who wishes to learn this drill, study it out wmnd in hand. We recommend for music the “Stephanie Gavotte. ) delsarte children. •*e i,a Delsarte Children. By M. D. Sterling. (Any number may take part in this exercise, all girls or all boys, or of boys and girls in equal proportions. For exhibition purposes, not more than eight or ten children should be selected, however, as with a small number it is easier to secure the exact uniformity which is desirable in a drill of this kind. If the boys are dressed in Lord Fauntleroy style, and the girls in white Mother Hubbard gowns with wide-rimmed garden hats tied under chin, it will, of course, add to the effect, though a special costume is not absolutely necessary. If the little folks can be in¬ duced to enter into the spirit of the movements, giving due expression to each, that is the main point. At a prearranged signal, one pose is succeeded by another smoothly and easily as possible, avoiding angular, stiff, or jerky motions. Signals for changes should be given by the instructor, who takes her place where a nod or wave of the hand can be seen by her pupils without its being observed by the audience. The objects aimed at are gracefulness, harmony, correct expression. To cultivate these the exercise may be used as a daily drill by all the school, with such additions or changes as are appropriate to the time and place. “ Old Folks st Home,” or some similar melody, is softly played throughout the exercise. The children being arranged in line, the following are the thoughts to be expressed.) 1. We ARE SHY.— For this, each head droops on chest, eyes are cast down, each forefinger of right hand is held to right corner of mouth, knuckles out¬ ward, fingers bent inward. 2. We ARE SORRY. —Corners of mouth droop in a grieved expression, knuckles of hands are held to eyes. 3. We ARE PLEASED.- —One step forward oblique¬ ly to right, arms outstretched, slanting upward, as if about to receive something. The face smiling. 4. We ARE COLD. —For this, bring arms together across chest, shoulders drawn up in the effort to keep warm, body shivering, the mouth puckered into a whistle, brows knit together. 5. We ARE HOT. —Make a motion as if fanning vigorously with the right hand, while the left is em¬ ployed in mopping perspiration from brow, face, and neck. 6. We ARE LISTENING. —Bend body sidewise to right, holding hand to ear as if to catch some sound. The face wears an intent expression. 7. We ARE CALLING. —Throw head slightly back ; place a hand each side of mouth, and part lips as if 34 FANCY DRILLS AND MARCHES. shouting “hello ” to some one at a distance. Pac<.- obliquely left. 8 . We are gossiping. —In each couple the chib dren turn toward each other. One, with emphatic gestures of forefinger and nods of head, appears to be relating a piece of news to which the partner lis¬ tens attentively, with gestures of surprise, throwing out hands, lifting eyebrows, etc., as the imaginary narrative proceeds. 9. We ARE THINKING. —Support the right elbow upon the left hand, while the right cheek rests against the clenched right hand. Drop eyes to ground and look very grave. 10. We are affectionate. —All in line lay arms over neighbor’s shoulders, while faces beam with smiles. 11. We are looking for somebody. —Lean forward slightly to right, with right hand shading eyes, and face eager, intent. 12. We are pleasantly surprised. —Step with right foot obliquely backward, at the same time clasping both hands together. The face must ex¬ press joy. 13. WE ARE TELLING SECRETS. —The one at right of line appears to tell his neighbor something; she divulges it to the next, and so on until the end of the line is reached ; immediately after each has told the secret, the hand is clapped over mouth, and then the forefinger is held over closed lips; after the se¬ cret has gone from one end of line to the other all the children will be standing erect with forefinger pressed on lips, side of hand outward, fingers slightly bent, face grave. 14. WE are having FUN.— Partners taking each other’s hands dance forward, backward, and around, smiling and gesticulating. 15. We are tired. —Using the right arm bent at elbow for a pillow, lay the head thereon, face out¬ ward, and close the eyes as if asleep. 16 WE ARE Polite.—C ouples shake hands wkh FREE DRILL. 35 low bows and courtesies. Then, bow or courtesy to audience, front, right, left. 17. We bid YOU GOOD-BYE. —Kiss palms and blow kisses to audience, front, right, left. [Exeunt .] Free Drill. By Eloise Hemphill. The word free, as applied to this drill, means movements in which the pupils exercise, each by himself, without apparatus. While free exercises are iess valuable than exercises with apparatus, they are neverthe¬ less so convenient and sus¬ ceptible of immediate use in the school-room, that they will always enjoy a certain popularity. This free drill should be taught with accu¬ racy ; for example, if the teacher command a thrust of the arm upward, let it be ex- actlv vertical. * The very first drill to be given, is the exercise of the neck. For these movements the music should be played sloivly; if no music is used, count slowly. No. 1. Standing, as Fig. 1 indicates, with heels together; Drawn by Sue Clarkson, toes out; knees joined ; body 12 years. erect ; shoulders back ; and hands on hips, with thumbs in front, fingers meeting in the back; bow the head forward on I, 3, 5, 7, and back to erect position on 2, 4, 6, 8. No. 2. Throw the head back (being careful to 3^ FANCY DRILLS AND MARCHES. move only the neck) on i, 3, 4, 7; back to erect position on 2, 4, 6, 8. No. 3. Alternate, front, back; front, back, through 16 counts, down on 1 ; erect on 2 ; back on 3; erect on 4, etc. No. 4. Turn the face, and only the face , toward the right on I, 3, 5, 7 ; back to the front, on 2, 4, 6, 8. No. 5. Same as No. 4, only the face is turned toward the left , instead of the right. No. 6. Alternate. Turn to the right, on I ; front, on 2; left, on 3; front, on 4, etc., through 16 counts. After the neck come the shoulders. Music a lit¬ tle faster. For this exercise the position is the same as shown in Fig. 1., except that the hands are dropped from the hips, down at the side. No. 1.—Move the right shoulder up on I, 3, 5, 7; and down on 2, 4, 6, 8. No. 2.—Same movements with the left shoulder. No. 3.—Alternate, first the right, then the left, shoulder through 16 counts; raising the right shoul¬ der on 1, lowering it on 2; raising the left on 3, lowering it on 4, etc. No. 4.—With right arm extended to the right, perfectly straight, elbow stiff, make a circular move¬ ment, as if drawing an immense circle on some sur¬ face at arms’ length from the body; continue this movement through 16 counts. No. 5.—Same circular movement with left arm ; 16 counts. ; No. 6.—Make circular movements with both arms at the same time, through 16 counts. These circles are made from back, down, front, up. No. 7.—Now, with the right arm make a circle in front , by carrying the arm to the left, down, right, up; through 16 counts. No. 8.—Same movement across the front with left arm passing to the right, down, left, up ; through 16 counts. FREE DRILL. 37 No. 9.—Move both arms at once; through 16 counts. This last movement may seem a little difficult at first, but by a little practice will prove to be very simple and pretty ; resembling a windmill. After the shoulder comes the arm exercise Music faster. No. I.—Standing position, the same as before. Both fists resting on the chest and arms close to the body, so that elbows will very nearly touch the waist. Thrust both arms, with much force, straight down in front (with palms of hands towards the front), on I, 3, 5,7; and back to chest on 2, 4, 6, 8. No. 2.—Position the same as in No. 1 ; thrust the arms out at the side (in a line with shoulders) on 1, 3, 5, 7; and back to chest on 2, 4, 6, 8. No. 3.—Arms thrust upward on 1, 3, 5, 7; on chest, on 2, 4, 6, 8. No. 4.—Exactly the same movement as in No. 2. No. 5.—Arms thrust down in front on 1, on chest at 2 ; out at side on 3 ; on chest at 4; up on 5 ; on chest at 6; out at side on 7; on chest at 8. Re¬ peat. On the last 7, drop the arms at the side. No. 6.—On 1, 3, 5, 7, thrust the arms up over head and clap hands; on 2, 4, 6, 8, arms down be¬ hind so as to clap hands together. After the arms come the wrists. Music, very fast. No. 1. With the upper part of arms resting against the body, elbows on waist line, and forearm in an upward oblique position, shake the right hand (just from the wrist) vigorously up and down, letting the fingers be perfectly limp; keep this up through 16 counts. No. 2. Shake the left hand in the same way. No. 3. Shake both hands through 32 counts. Care should be taken to move only the wrist, not the arm. Finger exercise. Arms down at the side, palms of hands in front, hands closed. 3« FANCY DRILLS AND MARCHES. No. i. Open the right hand on I, 3, 5 > 7 i an< ^ close tightly on 2, 4, 6, 8. No. 2. Same with left hand. No. 3. Alternate; right, open on 1, close on 2; left, open on 3, close on 4, etc., through 8 counts. No. 4. Exercise both hands at the same time; through 8 counts. No. 5. Arms extended at the side, in a straight line with shoulders ; exercise the fingers in the same order as directed when arms were at the side. No. 6. Arms now straight up over head, exercise the fingers as before. No. 7. Arms out in front, palm of hands down. No. 8. With arms down at the side open the hands on 1, shut hands on 2 ; arms out at the side, open and shut hands on 3, 4; on 5, 6, open and shut hands with arms over head ; on 7, 8, open and shut hands with arms out in front. Repeat. For trmik exercise the music should be slower; standing position the same as shown in the figure. No. 1. Bend the body forward on 1. 3, 5, 7; erect position on 2, 4, 6, 8 ; keep the knees stiff. No. 2. Bend the body back on 1, 3, 5, 7 ; erect position on 2, 4, 6, 8. No. 3. Alternate; forward on 1, erect on 2; back on 3, erect on 4, through 16 counts. Hip, thigh, and knee exercise. Position the same as shown in the figure. Music slow. No. 1. Bend the right knee, and raise it as high up in front as possible on 1, 3, 5,7; foot stamping the floor on 2, 4, 6. 8. No. 2. Same with left. No, 3. Alternate, through 8 counts. No. 4. With feet firmly planted on the floor, bend both knees by stooping as if going to sit on a very low scat. Stoop down on 1, 3, 5, 7; stand erect on 2, 4, 6, 8. The foot exercise is one of the most important of all. For curing a “ pigeon-toed ” person there is nothing better than a daily use of this exercise. ZOUAVE DRILL. 3$ Standing position, same as shown in the figure. Music a little faster than for the preceding exer¬ cise. No. i. Raise the right toe as high as possible off the floor on i, 3, 5, 7; on the floor with slight emphasis on 2, 4, 6, 8. Care should be taken to keep the heels firmly planted on the floor, and touching each other. No. 2. Left foot exercised in the same way as the right. No. 3. Alternate, through 8 counts. No. 4. Raise both toes by throwing the weight of body on the heels; through 8 counts. No. 5. Raise the right heel as directed to raise the toe in No. 1. No. 6. Raise the left heel . No. 7. Alternate, through 8 counts. No. 8. Raise both heels, by throwing the weight of the body on the toes on 1, 3, 5, 7; heels striking the floor on 2, 4, 6, 8. No. 9. Keeping heels close together, turn the right toe as far as possible to the right on 1, 3, 5, 7; back to the front on 2, 4, 6, 8. No. 10. Same with left foot. No. 11. By turning on the heels, twist both toes to the right on 1 ; front on 2 ; both to the left on 3 ; front on 4, etc.; through 16 counts. 12. Spread the toes as far apart as possible on 1 ; both to the front on 2; and so on through 16 counts. Keep the heels close together. Zouave Drill. (Arranged by the author of “ Preston Papers.") For a company of twenty-five boys or any odd number—one to act as captain. Band composed of such instruments and “make-believes” as are most readily obtainable—drum, fife, mouth-organ, bones, cymbals, etc., with piano or organ accompaniment. COSTUMES. Zouaves .—Bright red pants (Arab style) and caps; blue sashes and jackets; leglets of leather-colored cambric ; light calico shirt-waists under jackets. Captain , same zouaves with addition of gilt braid (or paper) on edge, sleeves. FANCY DRILLS AND MARCHES. 40 and shoulder of coat and across the front in graded stripes; white gloves ; gilt band on cap. For guns, broom-sticks, cut to required length, may be used. Car¬ tridge-boxes may be of pasteboard, covered with cambric. Band .—Any fancy costume that will blend the national colors—for instance, “soldier,” blue pants with red braid down outside seam; navy blue cap and jacket ; white gloves. Drum Major .—Gorgeous as possible—to imitate the real article. Girls .—White cheese-cloth dresses, all made in same style—any simple, old- fashioned cut ; red slippers and stockings—any ordinary slippers can be covered with red cloth ; blue cheese-cloth sashes. Carry small flags. (The red and blue must all be of same shades.) DEFINITIONS. 1 I. Positio?i. Heels on same line; feet turned out about equally and forming an angle of about fifty degrees; knees straight; body erect; shoulders square; arms hanging easily; head to front. 2. Rest. Silence not required, nor fixed position of any part of body except left heel, which must be kept in place. 3. Attention. Zouave takes position, remains motionless, and fixes attention on the captain. 4. Eyes Right. Turn the head slowly so as to bring the inner corner of the left eye in line with coat buttons. Left is reverse. 5. Eyes Front. Turn head so that nose is in line with buttons. 6 . Face Right , Left y or Front . Same as 4 and 5. 7. Salute. Right hand raised, palm down, arm extended and horizontal; bring hand slowly to lower edge of cap, turn head a little to left, looking toward person to be saluted ; bring hand and arm back to position slowly and gracefully, and head to front. 8. Parade Rest. Carry right foot slightly to rear, and bend left knee; clasp gun lightly with both hands in front of centre of body. 9. Mark Time. Make a show of marching, with¬ out advancing. ZOUAVE DRILL. 41 10. Forward. Throw the weight of the body upon the right leg, without bending the other knee. 11. March. Begin with left foot, carrying each alternately to a stated distance forward, without crossing or hitting the legs. 12. Halt. Stop instantly, feet side by side. 13. Change Step. The hollow of the right foot is placed against the heel of the left, the zouave then stepping with the left. (Change on right foot is similar.) 14. Back Step. Separate. Carry left foot straight to rear; half the company stepping back. ! 15. Present Amis. Carry with right hand in front of centre of body; grasp with left hand six inches above right. 16. Support Arms. Pass from right hand to left arm, which bends at elbow, holding stick vertical and close to body; left arm from elbow crosses stomach horizontally. 17. Order Arms. Grasp with left hand, let go with right; lower to ground at right side regrasping, with right hand, dropping left arm at side. 18. Carry Arms. Raise vertically with right, at 42 FANCY DRILLS AND MARCHES. same time grasping with left above right; carry in front of centre of body—then resume with the right hand, dropping left hand by side. 19. Charge Bayonet. Bend left knee slightly; drop stick into left hand ; elbow bent; right hand grasping stick firmly, resting on hip; body slightly forward ; left foot advanced, stick pointing forward. 20. Shoulder Arms. Raise vertically with right hand ; place it against front of shoulder with inclina¬ tion to left; rest it against back of head ; left hand by side. 21. Arms Port. Carry diagonally across front of body from right hip to left shoulder; hold firmly with both hands. 22. Load. Bend left knee slightly; drop stick into left hand, elbow against body; eyes toward motions; take cartridge from box in rear, holding firmly. 23. Ready. Raise as in charge. 24. Aim. Bring to chin with both hands lightly, right near chin, left several inches ahead ; body ea¬ sily erect; head brought over so that eyes follow stick. 25. Fire. Without lowering or turning head or moving stick, yell bang ! (The entire manual of arms would be too long for some of the youngest pupils —but each teacher will select the portions adapted to her own school, and by omitting or repeating adjust the length of the drill to her own school ; and so of the line of march—if the platform is small, omit the fourth and fifth turns ; but in all eventSj drill, drill , drill, DRILL, until the mechanical technique is instanta¬ neous, uniform, and perfect—for therein lies all the beauty of the panorama.) DIAGRAM. 1. Enter Band from left, playing “Dixie”—- marching to rear of stage; stand at left of rear while zouaves drill. 2. Zouaves enter from right near front, preceded by captain, followed by single file—ones and twos alternating. March across front; turn squarely; march back to right; then to left, and so continue until rear of stage is reached, captain facing right of A SCARF DRILL. 43 stage. March up right side to front; across front to left. Captain commands : Halt; face f ront; position ; mark time ; back step . (Separate, the twos only, bringing them into rear. These should be the tallest;) attention; salute. From here the drill may be “according to discre¬ tion,” but if the pupils are very young—too little rather than too much. Marching in double file down the centre, then separating, makes a pretty change; also reversing , one half crossing the stage from left to right in front, while the rest cross from right to left in rear. During the zouaves 1 march band plays “John Brown’s Body ”—but is quiet during drill. After zouaves march away band follows, and girls march in reverse order from that of zouaves ; sing “ Brave Boys.” (Words and music may be had of Oliver Ditson Co., Boston; 867 Broadway, New York.) Where girls are not obtainable school may sing. A Scarf Drill. By Clara J. Denton. (The scarfs used in these movements should be about a yard in length, they may be made of silkolene, China silk, or even silesia. The colors must be bright and varied, care being taken that no two are of exactly the same shade. A pretty effect will be obtained if each scarf matches the dress worn. If preferred, the scarfs may be trimmed across the ends with small bangles. These will rattle pleasantly when moved. Red, white, and blue scarfs could be chosen for a patriotic occasion. The drill should be given with music. Any lively “ two-four ” tune maybe played ; “ Columbia, the Gem of the Ocean ” would be appropriate if the drill i9 performed on Washington’s Birthday. There are twenty-two movements. The commands accompanying the movements represent various emotions. These commands, therefore, should be given loudly and distinctly, that the audience may catch the meaning of the movements. As the beauty of a drill of this kind depends upon its precision and vivacity, it is an excellent exercise in training pupils to habits of promptitude and alertness. COMMANDS. 2. Attention. 3. Salutation. 4. Invitation. 1. Repose. 5. Curiosity. 6. Derision. 7. Surprise. 8. Defiance, 44 FANCY drills and marches. 9. Mortification. id. Indifference. 11. Indecision. 12. Consideration. 13. Reconsideration. 14. Watching. 15. Waiting. 16. Challenge. 17. Triumph. 18. Relenting. 19. Dismissal. 20. Recall. 21. Appeal. 22. Reconciliation. DESCRIPTION OF POSITIONS. The pupils march upon the stage in single file, each with her scarf lying across her breast, one cor¬ ner carelessly thrown over the right shoulder. They march to the centre of the stage and turn, facing the audience, when the teacher gives the first command. 1. Repose .—They stand erect, heads up, eyes front, feet in military position, arms at sides, naturally. 2. Attention. —With the right hand catch the scarf in the centre, and hold it up, keeping the elbow bent. This will bring the upper part of the hand just below the ear. 3. Salutation .—Wave the scarf until next com¬ mand is given. 4. Invitation. —Still keeping the right hand at the centre of the scarf, catch the two ends in the left hand, hold it loosely, and move it out the length of the arms, then bring it back as if beckoning, contin¬ uing until next order. 5. Curiosity. —Take the right hand from the cen¬ tre of the scarf and catch it near the other end, then hold the scarf tight across the face just below the eyes ; bend body slightly forward. 6. Derision. —Throw the scarf over the right shoulder, hands on hips, head thrown back ; face smiling. 7. Surprise. —Catch lower end of scarf in the left hand, pull it quickly from the shoulder, then drop arm rigidly at side. The scarf must touch the floor. Facial expression startled. 8. Defiance. —Bring left hand up quickly on a level with the eyes, catch the other end of the scarf m A SCARF DRILL. 45 the right hand, throw both hands up with the scarf behind the head, head well up and facial expression stern. 9. Mortification. —Head bowed until chin touches breast, right hand laid on back of head, still hold- ing scarf, of course; left hand as low as is possible, while still retaining hold upon scarf; be careful not to let the scarf cover the face. 10. Indifference. —Bring both arms forward, rest the left hand at centre of waist-line, swing scarf with right hand slowly back and forth; head in natural pose, face quiet. 11. Indecision. —Same position, but right hand at rest, scarf held loosely, head on one side, eyes down¬ cast. 12. Consideration. —Slowly roll the scarf upon both hands, head and eyes as in foregoing. 13. Reconsideration. — Eyes and head as in fore¬ going, unroll scarf from hands. 14. Watching. — Draw the scarf out tightly, raise just above the level of the head, body bent slightly forward ; facial expression eager. 15. Waiting. —Lay left hand across the breast, right hand at centre of waist-line, letting the scarf fall at will. 16. Challenge. —Raise the hands as high as possi¬ ble above the head, then throw them forward sud¬ denly, and at the same time take one step forward. Scarf held tightly, facial expression stern. 17. Triumph. —Step back into former place, drop the end held by the left hand, bring right hand back and wave scarf above head. Face smiling. 18. Relenting. —Catch one end of scarf in the left hand, right hand holding other end, bring arms down so that elbows touch sides, turn hands, palms up¬ ward, and bring them nearly together; scarf hangs loosely down in loop. 19. Dismissal. —Arms and elbows as before, hands in upright position, palms outward; suddenly throw them out, drawing the scarf tight. 46 FANCY DRILLS AND MARCHES. 20. Recall .—Hands brought slowly backward, until their backs touch the shoulders. Scarf lies loosely across the breast. 21. Appeal .—Fall on one knee; left hand at side in easy position, right hand extended in front ot breast with palm upturned, and holding the scarf at its centre. 22 . Reconciliation. —Rise, throw the scarf quickly around the waist so that the ends fall behind, hands extended as if in greeting. Face smiling. This concludes the movements, and at a signal from the teacher the pupils right about, so that they are standing in single file in marching order. When the teacher calls out “ march,” each girl takes one end of her scarf in her left hand, and places that hand on her hip, while with her right hand she seizes the free end of the scarf belonging to the girl in front of her. If there is plenty of stage room the pupils may march across the stage in this way two or three times, or they may march out at once. On this point each teacher must be guided by circumstances. Wreath Drill and March. By I. j. c. C 09 TUME. — (Girls.) Simple white dresses with blue sashes. Care should be taken to have the dresses of uniform length, and the sashes of same shade. Caps. —Blue with ordinary black visor. Wreaths— Twisted with white flowers, and tied with long blue ribbon, same shade as sashes. (Boys). Should it be convenient, a simple gray suit could be made of any cheap material. Should this be impracticable confine yourself to gray caps, whicn should correspond to the girls’ in shape. Wreaths.— Same size as girls’, but made of red flowers, and tied with long bows of gray ribbon. Flags .—Two good-sized bunting flags. At the top of one are streamers of blue, find at the top of the other one are streamers of gray. Music .—Any march in which the time is strongly marked. Lines .—One line of boys and one line of girls. Leaders .—One line will be headed by flag-bearc* wreath drill and MARCH. 47 (a ); boy who carries flag with gray ribbons. The other line headed by flag-bearer ( b ) will consist of girls with blue ribbons. 1. The girls enter from the right in single file, carry wreaths as high as head and in the right hand. Boys enter from opposite side with wreaths in left hand. 2. By marching up either side of the stage and turning corner the leaders meet in centre of stage. 3. At signal of piano (one) wreaths are lowered and boys change wreaths into right hand ; (two) face audience ; (three) flags and wreaths are raised as in salute; (four) lowered, boys change back to left hand; (five) face; (six) march. Lines cross each other in a short diagonal line and march to back of stage, where they meet and cross again. Repeat in front. 4. Meeting again at back they form a double column and march down the centre of stage. Wreaths are now raised over heads horizontally. 5. Line separates again at centre, marching across front of stage and down sides to back. 6. Lines join at centre as before and cross wreaths in centre. The leaders going in single file, the flag- bearer (a) in advance. 7. At front of stage first pair headed by leader (a) turn to left, second pair headed by flag-bearer (b) turn to right (remaining pairs alternating with these lines). 8. Meeting at the back each couple slips into its original position. (With the assistance of one of the teachers or the older pupils who will stand quietly by during this separation and replacing, and motion to the children who are apt to become con¬ fused, this otherwise intricate march will become quite within the scope of little folk.) 9. Wreaths are held over the heads of the pair in front as the lines come up the centre. 10. Separate into single lines and proceed around stasre as at first. 4 8 FANCY DRILLS AND MARCHES. 11. Meeting at back both lines join into one; a boy behind each girl. 12. At front the flag-bearers make an arch with their flags, and the line marches under it and back to leaders. 13. Leaders fall in line and (a) forms the line into a circle. 14. Piano chord (one) face out; (two) salute as before ; (three) girls fall on one knee, each boy drops his wreath over his partner’s head. Flag-bearers step to centre of ring and cross flags; (four) girls stand and boys step forward and kneel. The girls then crown the boys; (five) stand, and all fall ip line, the leaders marching one around the stage and out. Rainbow Drill. With Recitations, Motion Song, and Physical Exercises. By M. D. Sterling. Recitation.— The Prism. (This should be given to one of the youngest scholars. If possible, let the speaker be supplied with a prism-shaped glass pendant from a chandelier or old- fashioned candelabra. It will add to the effect if the recitation is so timed that a ray of light can be caught by the prism, and made to dance upon the wall, dis¬ playing the rainbow colors. This will give the children an interesting object-les¬ son in connection with the recitation, but may be omitted, if net practicable.) There’s a chandelier at our house ; I tell you it is fine !— All hung with prisms just like this, (holds up glass) You ought to see it shine. When thro* a sash or open door The sunbeams chance to fall (catch ray iti prism ) We often see a rainbow dance Upon our parlor wall. 'Tis violet, and indigo, ’Tis blue, and green, and yellow, ’Tis orange, and ’tis also red, In colors bright and mellow. RAINBOW-DRILL. 4 $ Three-sided glasses {hold up prism ) show t'nai fight Is made of colors seven, The very same which, after rain, Shine out a bow in heaven. /always thought that light was white, Just trusting to my eyes ; But rainbow colors on the wall Have made me grow more wise. Motion Song by School.— The Shower. (This is sung to the air “ Flow Gently, Sweet Afton,” page 59 of Frankh* Square Song Collection, No. 2. The children are seated at their desks when they begin to sing. Figures 1—1. In time to the music, tap upon desks with ends of fingers. 2—2. The same, but more quickly, imitating the raindrops. 3—3. Hands in lap, heads drooping forward. 4—4. Heads uplifted, slightly thrown back. 5—5. Hands descending, palms down. 6—6. Hands lifted, palms up. 7—7. Hands descending, palms down, in time to music. 8—8. Arms folded, head and body very erect, giving a prim effect. 9—9. Rise in time to music , and remain stand¬ ing. 10—10. Bending right arm at elbow, and lifting it, incline head upon it to imitate a bird’s hiding head under wing. 11—11. Same movement with left arm. 12—12. Sway the body, right and left alternately, at the same time waving about the arms. 13—13. Hold right hand, palm downward and fingers slightly bent, above left hand, palm upward, as if sheltering the latter. 14—14. Hold arms out and widen distance between them in time to music, is—15. With hands on hips dance softly up and down on tiptoe. 16—16. Pass both hands with a smoothing motion right and left alternately. 17—17. Clap hands. 18—18. Looking upward diagonally to right, raise right hand slowly in same direction. 19—19. The sam; reversed. 20—20. Arms out in front, palms downward, wave hands up and down from wrist. 21—21. Place finger-tips together, and arch arms over head. 22—22. Look and step to right, still arching arms. 23—23. The same, reversed. 24— 24. Fold hands on breast, eyes looking upward. 25—25. Same as 21.) 1 1 Par, pat come the raindrops, pat, pat on the pane ; 2 2 Then, faster and faster, down rushes the rain ; 3 . 3 The earth plants are thirsty, and parched with the sun, A drink from the clouds will refresh every one. s 6 Deep, deep in the ground, from the sky far above, 7 7 Sinks the warm, friendly shower all growing things love; 8 8 The flowers lift their heads, while the grass and the grain 9 9 Spring higher and higher at call of the rain. 10 to In soft nests are hiding, with head under wing, 11 it The birds that in sunlight so cheerily sing ; 5 ° FANCY DRILLS AND MARCHES. 12 12 The trees wave their branches and drink with the rest, Their leaves keep the rain from each bird’s tiny nest. Now, widening streams as they haste on their way, 15 ... 15 Now, dancing on rooftree like fairies at play, 16 16 Now, laying the dust in both country and town, 17 17 Pat, patter, pat-patter, the rain-drops come down. 18 18 But lo ! overhead clouds are rolling away,— 19 . I9 . The sun through the rain sending out a bright ray 20 20 That falls on the lingering shower’s last tears, 21 21 In sevenfold beauty, a rainbow appears ! 22 22 Shine forth pretty rainbow ! thy lesson is kind : 23 23 “ Tho’ dark be the clouds there is sunlight behind ; 24 24 With glad hearts look up to our Father above 25 25 Who gave in the rainbow a pledge of His love. Recitation.— Story of the Rainbow. (Seven children are selected for this recitation. The first child has a red block; the second, an orange-colored one; the third, yellow ; the fourth, green ; the fifth, blue ; the sixth, indigo ; the seventh, violet. The blocks should be held behind backs, or otherwise concealed, until it is time for their use, at the indicated place in the recitation. The children form a semicircle in the order of rainbow colors, beginning with red.) First child: Long, long ago, there was a great flood over all the earth. t v Second child: It rained, rained, rained, forty days ~ and forty nights. Third child: The waters of the flood rose higher and higher. Fourth child: At last, even the mountains were covered with water. Fifth child: Nearly every living creature was drowned. Only a few escaped. Sixth child: After a long, long time, the rain RAINBOW-DRILL. $* came down less heavily, and the flood began to go away. Seventh child: By and by a beautiful rainbow was seen in the sky. It had seven colors: red, orange, yellow, green, blue, indigo, violet. (As each color is named the child having a corresponding cube takes it to a table standing near. The blocks should be piled one above another , beginning with red.) All the children: “And God said. ... I do set my bow in the cloud, and it shall be for a token of a covenant between me and the earth. . . . The waters shall no more become a flood to destroy all flesh. And the bow shall be in the cloud ; and I will look upon it, that I may remember the ever¬ lasting covenant between God and every living creature of all flesh that is upon the earth.” Rainbow Exercise. (Provide for each one taking part a bow painted or covered, either red, orange, yellow, green, blue, indigo, or violet. Of every color there should be an equal number of bows. The smallest children should occupy the front row, and have red bows • the next in height should stand directly behind the first, and have orange-colored bows, and so on, the tallest pupils occupying the last row. If there are more than seven rows, repeat the colors in order, beginning with red. The bows can be made of half hoops, or cut out of pasteboard ; the ordinary wooden coat-hangers, with the hook removed, would be excellent. In zephyr the exact prismatic colors can be procured ; therefore that material is best for covering the bows, winding them round and round, evenly. Count one and, two and, three and ^four and. to each movement. Music in four-four time with well-accented measures should be used. In counting, number the accented beats only. I. Attention. 2. Rise. 3. Mark time. 4. March for bows (hold with both hands, front). First strain : Push bow out and in. Second strain : Push bow right and left. Third strain: Raise bow, still holding it with both hands, up and down, alternately. Fourth strain : Combine the previous movements —out, right, left, up. Fifth strain : Grasp bow in centre with right hand and charge diagonally to the right, throwing right foot out, and stamping while the bow is held at arm’s length, left hand on hip. Sixth strain : Repeat the former movement, using left foot and hand in place of right. FANCY DRILLS AND MARCH HS. 5 2 Seventh strain: Bend knees and straighten alter¬ nately, bow resting, ends on shoulders, in an upright position. Eighth strain: Bend body at waist-line, forward and back, still holding bow across shoulders. Ninth strain : Holding bow at arm’s length over¬ head, sweep forward, lay it down, clap hands, and bring to position again. Tenth stram : Holding bow at arm’s length over head, sway body to the right and left, alternately. Eleventh strain: Bending diagonally right, hold¬ ing bow with right hand down, imitate the act of sawing wood. Twelfth strain : Same movement, only left instead of right. Thirteenth strain: Rock the bow from side to side, holding it with both hands. Fourteenth strain : Imitate the act of shooting with bow and arrow, aiming right, front, left, alternately. Fifteenth strain: Describe circles in the air, right hand grasping bow in middle, and arm moving from shoulder. Sixteenth strain : The same, with left hand. {March. Retur?i bozvs to place si) The Glove Drill. A SERIES OF MOVEMENTS FOR GIRLS. By Clara J. Denton. (Any number of girls may give this drill, but if the class is Jarge, a pretty effect may be obtained by dividing it into companies, placing two girls abreast, and arranging them in semi-circles about the stage. This, of course, can only be done where the stage is large. Where the class is small the eirls should march onto the stage in single file, and take their places in a row. They should carry a glove in each hand, held lightly (not swinging) by the fastening cord. The girls should be arranged according to height, unless there is little or no variation in size, which on the whole gives the most pleasing effect. The gloves used should be of as great a variety in color as possible, and in sizes ranging from six to seven. They must be new, and must have the “ Foster ” fas¬ tening. Fancy costumes, of bright colors, should be worn. Each glove and cos¬ tume should match as nearly as possible. The movements should be given with lively music. Any tune of “ two-four ” time may be played. There are in all twenty-one movements, which are made in obedience to the following commands, given by the teacher in a loud, clear voice : THE GLOVE DRILL. 53 1. At Rest. 2. Attention. 3. Salutation. 4. Invitation. 5. Watching. 6. Waiting. 7. Joy. 8. Greeting. 9. Indecision, to. Assent, tl. Surprise. 12. Reconsideration. 13. Denial. 14 Discussion. 15. Disagreement. 16. Defiance. 17. Reflection. 18. Relenting. 19. Conciliation. 20. Reconciliation. 21. Au Revoir. 1. At Rest. —Head erect, attitude easy, feet in military position, hands, still holding gloves by the fastening cord, crossed easily, below waist-line. 2. Attention. —Catch gloves by the tips, holding the opening toward the body if possible, bring hands to waist-line, and let the backs of fingers touch. Head up, chin close to neck, eyes front, feet in mili¬ tary position. The directions here given for head, chin, eyes, and feet, must be observed throughout the drill, except where otherwise ordered. 3. Salutation. —Bring hands up, touch tips of gloves to forehead, head slightly inclined; drop hands at side. 4. Invitation. —Bring hands up to level with shoul¬ ders, beckon with gloves, so that the ends of the gloves flap back against the shoulders. Repeat three times. Face smiling. 5. Watching. —Bring tips of fingers together just above the eyes, and so peer between the gloves. 6. Waiting. —Hands on hips, gloves thrown well forward over body. 7. Joy. —Raise arms above head and wave gloves; clap hands three times. Facial expression smiling. 8. Greeting. —Left hand at side, right hand ex¬ tended, glove held lightly by tips. Face smiling. 9. Indecision. —Take’ both gloves in right hand and draw them slowly through the left hand. Head on one side, eyes wandering. 54 FANCY DRILlS AND MARCHES. 10. Assent. —Roll the gloves around the left hand slowly. 11. Surprise. —Drop both gloves suddenly; in re. covering, catch them by the fastening cord, one in each hand. 12. Reconsideration .—Hands at sides, swing gloves lightly by cords. Head and eyes as in No. 9. 13. Denial. —Hands behind back; facial expres¬ sion stern; while the hands are in this position re¬ new again the hold on the tips of the gloves. 14. Discussion. —Rest the elbows on the hips, and holding the hands up, flap the gloves quickly to¬ gether. Facial expression earnest. 15. Disagreement .—Take elbows from hips, and with the hands at about the same height turn the gloves quickly around and around, letting them strike and twist together. Facial expression as in foregoing. 16. Defiance. —Throw right glove down angrily, extend right foot, right hand held in throwing posi¬ tion until next command is given. Facial expres¬ sion stern. 17. Reflectio 7 i. —Hands clasped at waist-line, still holding tips of one glove by left hand. Head bend¬ ing forward, eyes downcast. 18. Relenting. —Recover glove, place it in left hand with its mate, and stand with left elbow on hip and left hand upheld in easy position, right hand holding one glove at wrist. Face calm. 19. Conciliation. —Still holding both gloves by the left hand, throw them upon the left shoulder. Fa¬ cial expression slightly smiling. 20. Reco 7 iciliation. —With a glove in each hand held by the tips, extend the hands close together, but toward the right. Facial expression smiling. 21. An Revoir. —Kiss tips of fingers on both hands, throw the hands out with a swift upward movement, waving gloves. As they march out each girl lays her hands on the shoulders in front of her so that the wrists of the gloves fall down over the shouF TAMBOURINE DRILL. 5S ders. March around the stage three times to lively music and then exit. Tambourine Drill. By Eloisk Hemphill. (A Spanish costume is very pretty for this drill, but a dress of any color and material may be used. Ribbons, corresponding to predominating colors in cos¬ tume, should be tied through the thumb-hole of tambourine. Arrange the class with the smallest in front; in marching to places, have the class march single file down the centre of stage; numbers i, 3, and 5 turn off to the left and stop about three feet apart on the front line ; numbers 2, 4, and 6 turn to the right and take their stand three feet apart on front line; numbers 7, 9, and 11 take their places three fret behind t, 3, and 5, respectively ; numbers 8, 10, and 12 behind 2, 4, and 6, and so on until all the odd numbers stand on the left half of stage, and the even numbers on the right half. Pupils should hold the tambourines in the right hand, at the side when marching, and throughout the entire exercise. The arms and body should move gracefully. The eyes should follow the tambourines in every movement except in positions 8 and 10.) 1st Position. —With drum of tambourine turned toward the audience, strike the front of tambourine with tips of fingers of left hand on the odd beats through 8 counts. 2d Position. —Throw right arm obliquely across front of body to left side, and strike the tambourine against left finger tips, through 8 counts, as in first movement. 3d Position. —Swing tambourine from left to right alternately, striking once each time through 8 counts. 4th Position. —Holding tambourine up to the right, proceed as in direction 1st. 5th Position. —Holding tambourine up to the left, proceed as in direction 2d. 6th Position. —With arms still up, alternate from left to right as in direction 3d. 7th Position. —Strike once at right side with arms down as in position 1; once at left side with arms up as in position 5 ; once at right side with arms up as in position 4; once at left side with arms down as in position 2 ; repeat through 16 counts. 8th Position. —Left hand on hip; body slightly bent forward as if listening, standing with weight on 56 FANCY DRILLS AND MARCHES. right foot which is about 12 inches in advance of left foot; bend right arm at elbow until side of tam¬ bourine rests on right shoulder; shake tambourine gently through 8 counts. 9th Position. —Feet in same position; body straightened with weight thrown on left leg which is slightly bent; right one perfectly straight; eyes forward; left elbow at waist-line, hold the fore-arm in front of body in an easy, graceful position ; bring tambourine down from right shoulder on the odd counts, striking it against fingers of left hand; through 8 counts. 10th Position. —Left hand on hip; weight of body on left leg; head turned toward the left; right arm straight in front; wave the tambourine toward the audience on the odd counts, as if repelling some one; this move¬ ment is made by wrist motion alone ; through 8 counts. 11 th Position. — Posi¬ tion of left hand still on hip: weight of body, which is bent considera- ;CENTEK bly orward, thrown on right leg with knee well bent; strike the right knee with drum of tam¬ bourine on odd counts, and left shoulder on the even counts, through 16 counts. 12th Position. — All kneel on right knee, hold¬ ing both arms over head; __ strike tambourine 0 m m mm m 9 0 0 0% 0 mmm through 8 counts* FINALE FOR A TAMBOURINE DRILL. 5t MARCH. At a given signal, all rise from kneeling position with tambourine held at right side. Half of the class turn to the left and half to the right following their respective leaders, who march to the left and right making each a circle, as shown in diagram above. When leaders have reached the centres, at a given signal, let every one raise arms above head and strike tambourine in perfect time with music; while leaders wind their way out, which is done by following the dotted lines. Finale for a Tambourine Drill. By Jay Bee. A tambourine drill was successfully ended, the children each having a tambourine with red, white, and blue ribbon tied on it. A two yards bow of the same, two inches in width, with a safety-pin sewed in to prevent its opening, had been placed on the right shoulder of each girl and boy, as the children marched from the wing back of the stage. At a given signal, when the drill was finished, the tambourines were taken in the left hands, while each child took one end of the ribbon hanging from the shoulder of the child in front and slowly marched around, gradually winding up thus. The effect was pretty and patriotic, and after a minute or two in that position the leader slowly turned and marched out, the tambourines with rib¬ bon and bells, and the children still forming a chain, made a very graceful exit, while the applause which followed showed the delight and appreciation of the audience. 58 fancy drills and marches. Ruler Drill. By Lettie Sterling. (For an even number of children, twelve being a good number to take part. Each child requires two rulers one foot long. All the rulers should be alBt*. For the music use the tune of the college song, “ Jingle Bells.” Each stanza in¬ cludes a verse and the chorus.) I. For this stanza the children enter marching, keep, ing step and beating time by clapping rulers to¬ gether softly and musically, moving them so that they can clap on the words marked They march twice around the stage singing “ Tra la la,” and pause in order when they begin to sing, “ Clap away! ” Tra 1 la la la la, 1 Tra 1 la la la la, 1 Tra 1 la la la la, 1 Tra 1 la la la la, 1 Tra 1 la la la la, 1 Tra 1 la la la la, 1 Tra 1 la la la la la la la, 1 Tra 1 la la la la 1 Clap 1 away ! Clap 1 away! Rulers 1 that are law 1 When 1 we wish to measure things, 1 When we wish to draw. 1 Play 1 a tune, play 1 a tune, Merry, 1 glad and gay, 1 Rulers 1 help us in our work, 1 They shall join our play. 1 II. 2. Stretch right hands with rulers as high as po* sible. 3. Let right hands drop. 4. Stretch left hands with rulers as high as possi¬ ble. r Let le£t hands drop. RULER DRILL. 59 6. Stretch both hands up, and use rulers as if try¬ ing to knock the peach off. 7. Lay rulers at the feet. 8. Rub left arms as if they pained. 9. Rub right arms. 10. Pick up rulers. First 5 let’s make believe That* a tempting peach Hangs 4 upon a limb That’s 5 quite out of reach ; We stretch* our arms up high, And lengthen them with sticks, To find we only beat the air: It 5 still defies our tricks. O dear me ! O dear me !* Arms are aching now Just because we wanted fruit On too high a bough ! O dear me ! O dear me !“ Listen while we preach, Folks must suffer who will try For what’s out of reach. 10 III. 11. Place rulers together so they can be grasped horizontally in both hands as if they were but one, and in that position lift both arms toward the ceil¬ ing to bring the rulers as a bar over the head. 12. Let the arms move slowly down until the rulers (that now look like a horizontal bar) nearly touch the toes. 13. Repeat 11. 14. Repeat 12. 15. Repeat 11. 16. Be in position. 17. Turn so as to face the right. The one at the head of the line holds the two rulers pointing straight ahead, the rest place the tips of their rulers on the shoulders of the one in front. 6o FANCY DRILLS AND MARCHES. 18. March until the next stanza begins, keeping the rulers as in 17. Healthy girls and boys 11 Never can be still, Though their elders frown 1 * Move about they will ; Sometimes climbing high,'* Sometimes bending low, 14 Every day they’re quick and spry 1 * And every day they grow. 18 March along, march along,” March along the way. 1 * Each one guide the one ahead So that none shall stray. March along, march along, March with music gay ; When our lessons all are done, Merrily we play. IV. 19. Stand with rulers as in 17, and prance by marking time with feet while standing still. 20. Stand still and mark time, and in addition gently hit the shoulders of the one ahead with rulers. 21. March as in 18. When our path is stopped, 19 All impatient we In our places prance, Longing to be free ; Naughtily we tease, 20 Naughtily we fret, Till we see our road is clear And we our wishes get. March along, march along, 9 ’ March along the way. Each one guide the one ahead. So that none shall stray. March along, march along, March with music gay ; When our lessons are all done, Merrily we play. RULER DRILL. 6t V. 22. Hold rulers so they meet in an acute angle over the head. The first one starts toward the right, the last one starts toward the left. Each is followed by half of the children. Keeping rulers in position, they march back, meet in centre, come down two by two, separate and repeat the march, and come back to position, still keeping rulers in an acute angle overhead. 23. Do what the words say. 24. Look over right shoulder. 25. Same as 23. 26. Look over left shoulder. An arch of triumph now ” We place above the head, And bravely follow on Wherever we are led ; No soldier of the past Who knew his cause was won Could in his heart feel greater joy Than we who march for fun. Yes, yes, yes ; no, no, no ; 2 * Guessing is delight. Now we’ll o’er our shoulders glance*" 1 For another sight ; Yes, yes, yes ; no, no, no ; 56 Oft we change our mind— You can tell us which is right 5 * While we look behind. VI. 27. Face back of stage ; two middle ones become leaders of two divisions, marching toward the back two by two, separating and coming back and re¬ peating, while rulers rest upon the shoulders, held there in some pretty way. 28. Let tips of rulers touch as words direct. 29. Touch shoulders. 30. Touch hips. 62 FANCY DRILLS AND MARCHES. 31. Touch shoulders. 32. The first and last drop the outside hand, while all stretch out their arms at either side, and with the tips of the rulers touch their neighbors’ shoulders and hips. 33. Touch neighbors’ shoulders. 34. Touch neighbors’ hips. 35. Stand in position. Oft we change our ways; ,T Old things will not do. When we of them tire, Up comes something new. On our shoulders straight Rest a pair of wings ; Tripping, tripping go the feet And jolly music rings. Shoulders, hips, shoulders, hips,* 8 See the rulers go,* 9 Touching ball-and-socket joints, 80 Flying to and fro ; 31 Shoulders, hips, shoulders, hips, 88 Of our neighbors see— 1,3 Oh how fast our muscles move, 84 Oh how great the glee ! 86 VII. 36. Half-follow the first one, half-follow the last one, one company going toward the right, the other toward the left. Each company marches around twice, passing the other twice during the march, and comes back to position for 37. Rulers are held above the head as if they were a heavy basket, until the march ceases. 37. Touch hips with rulers. 38. Touch knees. 39. Touch toes. 40. Touch hips. 41. Touch knees. 42. Touch toes. RULER. DRiLL. *3 43. Raise rulers over head. 44. Swing arms in a circle and bring them back to the side. 45. Touch hips. 46. Touch knees. 47. Touch toes. 48. Touch hips. 49. Touch knees. 50. Touch toes. 51. Raise rulers over head. 52. Repeat 44. Now we march again M In another way ; For variety Is the spice of play. Rulers over head Like a heavy load, We gladly many burdens bear Along this pleasant road. One/' two/" three ; 39 one/ 0 two/ 1 three; 44 We must keep the time ; 43 With whate’er the verses say 44 Movements all must chime. One/ s two/ 8 three ; 47 one/ 8 two/* three;** Not too fast or slow/ 1 But in perfect harmony Let the rulers go. VIII. 53. With rulers held upon the hips in some pretty manner, skip in a frisky way around the stage. 54. Stop the skipping, and march ; as each one t eaches the centre of the stage let him make a grace¬ ful bow to the audience. A Rulers on the hips/ 3 See us skip away ! Tra la la la la, ’Tis a happy day! Merrily we come, Merrily we go, & FANCY DRILLS AND MARCHES. This is healthy exercise— Cheeks are all aglow. Now good-bye, now good-bye,** Now good-bye to play, For it seems as bad as work When it lasts all day ; Now good-bye, now good-bye, Now good-bye to play, When again our work is through, It will seem as gay. IX. 55. Stand still in line and softly beat time witr. rulers, as in first stanza, while singing “Tra la la.” 56. Begin to march out, waving good-bye with rulers in hands toward audience. Tra la la la la, 66 Tra la la la la, Tra la la la la, Tra la la la la, Tra la la la la, Tra la la la la, Tra la la la la la la, Tra la la la la. Clap away ! Clap away ! Rulers that are law When we wish to measure things, When we wish to draw. Play a tune, play a tune, 68 Merry, glad and gay. We are still a cheerful crew Though we leave our play. Grouping with Flags. By Carl Betz. (T.ht Flags .—The flags may be of any design or color desired. The common, printed American flags are the most inexpensive. Flags made of merino or any other soft, pliable goods are prettier and will drape better. All the flags (with the exception of the American flag) have three broad stripes, the middle stripe being invariably white. The two outer stripes are colored. Each GROUPING WITH FLAGS. 6 S jjirl has two flags of the same color, and there may be other flags of the same colo» in the group (See Fig i). The flags should be about 24 inches long and 18 indies wide. The stripes run lengthwise and at right angles with the stick. The stick is round, 36 inches long and % inch thick. The flag is fastened about 2 inches from the top of the stick Holding the Flags. —Each girl has two flags (of the same color), one in each hand. The stick is grasped about two inches from the lower end and is held be tween the thumb and the first two fingers, similar to the position of the hand when holding a pen. The backs of the hands are turned to the front. The flags are held vertically at the sides of the body, the upper part of the stick being pressed into the shoulder-groove. Costume. —The girls may be dressed in plain white or in fancy dresses, accord, ing to the taste and design of the teacher. Musical Accompaniment. —The exercise is to have a musical accompaniment (piano or orchestra). Almost any brilliant march or waltz music will answer. Conducting the Exercise. —The teacher conducts the exercise. She (or he) should stand in front and at one side of the class, where she can see all and all tan see her. All changes are made at a signal given by the teacher. A call-bell \muffled) will answer. A tambourine, which may be decorated with ribbons, lightly tapped by the teacher, is more pleasing and prettier. The Class. —The girls composing the class should, if possible, be of the same size. If this be not practicable, the girls should be graded as to size, so that the appearance of the class will be symmetrical.) ARRANGEMENT OF THE CLASS ON THE STAGE* Pint Rule. Give IV T -7- W- T T" Re* *T S AM AM — 40 — 11 • • Red *7* *Z IK <0.1 nvo«3 An\ • ^ AM V 7 Salmon 7 S U QiyC # * • ”T* 3 61*5- ^ i A B C 1 O Distance apart : Full arm’s-length (not including the flags.) THE MARCH. ENTRY. The march must be left largely to the ingenuity of the teacher. If the exercise is given on a large stage, the girls arrange behind the scenes on either or both sides. If the exercise is to be given in the school, the girls arrange in the hallway or in one of the class* rooms. . 66 FANCY DRILLS AND MARCHES. They arrange in one flank rank (standing behind each other) and in their regular order, as indicated in Fig. I. The flags are held at the sides, as already described, and as soon as the music has begun, the class march to the place where the exercise is to be given. The first four face front, take proper distance, and halt when they arrive at their places. The second, third, and fourth four, successively, do the same thing. This is about the simplest way to bring the class out. Teachers may, and should, if possible, elaborate on this march. THE EXERCISE. Each of the following attitudes, which form the figures, is to be taken after the signal has been given by the teacher, and each girl is to resume her origi¬ nal position again at the proper signal. The move¬ ments are to be moderately slow and uniform. When changing places all feet are to move in unison. Be sure to guard against the movements being too slow, and avoid all hurrying and fussing. The fig¬ ures of the first part should be held through about eight slow counts. Those of the other parts througn at least sixteen counts, and the last tableau must be held as long as is necessary to finish the song. The pause intervening between two changes must not be too long. The music does not stop at any time, except for the song, and the gymnastic movements are not bound to any particular measure or part of the music. PART I. I. (a) All: turn to the right, longe forward with the right foot to the right, and place arms and flags in slant position forward-upward (Fig. 2). flKOUPING WITH FLAGS. 6? \\ 'A \V B C r % * W w All: recover. {Flags at sides.) All: the opposite position (Fig. 3). fs // // // V // // // A B C t> 3 a (*) 3 * (*) All: recover. r Ranks A and B : the same po¬ sition to the left. Ranks C and D : the same po- ^ sition to the right (Fig. 4). Simul¬ taneous // // sx •A // nN \\ A © C O ~Fl<> .Af (£) All: recover. 4. (a) All : the opposite position (Fig. 5). "A N\ // // \ N \\ // // A 0 C O T.6 s 68 FANCY DRILLS AND MARCHES. (£) All: recover. ' Ranks A and C : the same po- / v J sition to the left. 5 * \ a ) ] Ranks B and D : the same po¬ sition to the right (Fig. 6). //\\ // \\ a e V D // w Simui- taneous. (£) All: 6 . (a) All: recover. the opposite position (Fig. fy \\ w A // \\ // \\ 6 C // // O (£) All: recover. PART II. I. ( a ) All: arrange in four squares, facing the cen tre (flags at sides). (Fig. 8.) n H /tr It A /. N V 7 N* V 9 10 II IZ f. £ h .\ 9 V V V •/ 1 t % 3 8. 4 GROUPING WITH FLAGS. 6a (t) At the next tap, cross inner flags with op¬ posite girls. The arms and flag-sticks are to be straight, slanting upward. The four flags in each square are to be grouped symmetrically and held over the middle of the square. (c) At the next tap all place inner flags at sides. (< d) At the next tap, all resume the original position (Fig. i). 2 . (a) At the next tap, all arrange in four squares (Fig. 8). ( b ) At the next tap, all cross inner flags as in I b. ( c ) At the next tap, cross the outer flags in the same way, arranging the eight flags in a symmetrical group. ( d) At the next tap, all place flags at sides. First take off the outer flags, one at a time, and then the inner flags in the same way. (e) At the next tap, all resume the original position (Fig. i). PART III. I. (a) At the tap, all arrange in five groups, as shown in Fig. 9. \ g/ / IS* V <4 Simultaneous *o FANCY DRILLS AND MARCHES. {b) At the next tap : Nos. 6, 7, io, and ii place the inner arms and flags in slant position forward-upward, the points of the sticks meeting over the middle of the square. The outer arms and flags in oblique •< position downward. The four groups of three, facing outward, longe forward (i, 2, 5 ; and 12, 15, 16 with right foot, the other two groups with the left foot) and place both arms and flags in slant position forward-upward. (c) At the next tap, all recover (Fig. 9). ( d ) At the next tap, all resume the original position (Fig. 1). PART IV. I, At the tap : ( a ) All arrange in a circle, facing inward, with No. 11 in the middle (Fig. 10). 'k ' 7 . j>Y \0 *3T £ ft •\? -H V<* * % 10. At the next tap: All, except No. 11, place both arms and flags in slant position for¬ ward-upward, all flags meeting in a point over the head of No. 11. (c) At the next tap: All, except No. 11, turn half-way around {about-face /), those at the right turning to the right, those at the left turning to the left; longe forward (those at the right with the right foot, those at the Simultaneous. GROUPING WITH FLAGS. 7 * left with the left foot), and place both arms and flags in slant position forward-upward. Those in the rear raise their flags a little higher, those in front hold their flags a little lower than the true slanting position. No. 11 places her right arm and flag in ver¬ tical position upward. [d) At the next tap: All recover, standing in a circle, as in Fig. io, but facing outward. [e) At the next tap: All resume the original pa sition (Fig. i). PART V. *, (0) At the tap : All arrange as shown in Fig. 11. (J?) At the next tap : All assume positions as follows: All in the half-circle place both arms and flpgs in oblique position upward, crossing own flags with neighbor’s flags on both sides, except Nos. 1 and 4 outer flags, and Nos. 14 and 15 inner flags. Nos. 1 and 4 outer flags are placed in the same position, but more to the side. Nos. 14 and 15 inner flags are also placed in the same position, but flag-points meet. (See Fig. 12.) V Simultaneous. ?2 FANCY DRILLS AND MARCHES. Nos. 10 and 11 stand in front and at some distance from Nos. 14, 15, and place outer flags to a point beneath their crossed inner flags. (See Fig. 13*).. No. 6, standing in front and between Nos. 10 and 11, places both flags together, and folds the sticks horizontally in front of her, just below the shoulders, letting the flags hang straight and vertically downward. (See Fig. 13). No. 7 kneels on one knee in front of No. 6, and crosses her flags on her breast (Fig. 13). 10 ±1 7 X (c) At the next tap: One of the girls, No. 6, sings “ The Star-spangled Banner,” accompanied by the orchestra or the piano. All the girls join in the chorus, No. 6 waving her flags, taking one in each hand. (d) At the next tap : All recover (Fig. 11). (e) At the next tap: All resume the original posi¬ tion (Fig. 1). FINALE AND EXIT. The girls march off as they came. All march for¬ ward, the first four face to the right, the second, third, and fourth tours following, successively, until flag drill NO. i 73 all have arranged in one flank rank. The class then marches out of the room or off the stage. This march, too, is left to the taste of the teacher. Flag Drill No. i. By Lillian E. Snow. MARCH. —Eight children on each side of stage enter from the back side-entrance; lines pass, com, ing to front, pass in front, meet in the centre of back of stage, and march forward in couples, first boys in each line marching together, number twos together, and so on. During this part of march flags are held in right hand and leaning against right shoulder. Lines separate at front and meet again at back; with flags crossed, march again to front, separate, meet again at back. When first couple meet, each grasps the other’s right wrist with left hand, face front, arms crossed so that flags are perpendicular in front of partner’s right shoulder. Each succeed¬ ing couple does the same, with no loss of time. First couple march to middle, and then two steps to left. Second couple to middle, two steps to right. Third couple to left of first. Fourth couple to right of second, making a line of eight. Fifth couple march around first line to left, and stand in front of first couple. Sixth couple march around to right, and stand in front of second, seventh in front of third, and eighth in front of fourth, all moving at same time till places are reached in line. At a given 74 FANCY DRILLS AND MARCHES. signal or certain count, arms are uncrossed, and each holds flag against right shoulder. After eight counts the teacher outside or leader on stage gives the following commands. Each command requires eight counts, every eighth count being first position , viz., flag in front of right shoulder, facing front. It will be well to give the command either on every seventh or every eighth count, so that pupils will be ready to assume the new position. The figures after each direction indi¬ cate the counts. 1. SALUTE.—Right hand forward (i), back (2), out at side (3), back (4). Position, 5, 6, 7, 8. 2. SHOULDER.—Right hand placed on left shoul¬ der, flags perpendicular, I, 2, 3, 4, 5, 6, 7. Position, 8 . » 3. DROOP.—Step obliquely forward with right foot, 1, 2, 3, 4, 5, 6, 7, at same time holding flagstaff horizontally out in front of body, with flag waving downward. Position, 8. 4. Retreat.—B ack eight steps. 5. Break Ranks.—E ach pupil face partner (1), cross flags, 2, 3, 4, 5, 6, 7. Position, 8. 6. FORWARD. — Eight steps forward, waving on every count—left 1, right 2 ; 1. 3, r. 4; 1, 5, r. 6; 1. 7. Position, 8. 7. Friendship.—C ross flags, facing front. 8. UNFURL.—Step, obliquely forward and place right hand on left shoulder on count 1. Wave flag to right on count 2, and hold it up counts 3, 4, 5, 0, 7. Position, 8. 9. Wave. —Left 1, right 2, left 3, etc. Position, 8 . 10. Line. —First line move back against second line, stand—eight counts. 11. STACK.—First, third, fifth, and seventh couples composing left end. Second, fourth, sixth, and eighth couples forming right-hand end. Left end and right end each form small circle, right hands ex¬ tended toward middle, bringing all flags in a bunch ; hold as high as shortest boy can reach. Take eight counts to get this position. 12. Wheel. —Still with stacked flags each circle moves forward in circle eight counts. FLAG DRILL NO. i. 7S 13. Back. —Wheel back eight counts. 14. Line. —Move gradually into same position as No. 10. Position of flags on 8. (Caution.—Do not take position of flags in numbers 11, 12, 13.) 15. POSITION.—First line march forward eight abreast to same place occupied at opening of the drill. 16. March. —First couple move first—left hand No. 1 to left; right hand No. 1 to right; second couple next, third next, etc., forming in two lines, facing each other, one line at left side of stage, other line at right side of stage. Take as many eights as necessary. Two will probably be enough. 17. Forward. —Four steps forward, waving flags at same time, stand, 5, 6, 7, 8. 18. March. —To position in the two lines as they were at opening of drill. (This may take more than one set of eight counts.) 19. GROUND.—Right hand forward, 1, 2, lay on floor, but holding staff in hand, 3, 4, rise with hand forward, 5, 6. Position, 7, 8. 20. TRIUMPH.—Step obliquefy forward on count one , also waving to left and right on 1, 2. Hold flag in that position, 3, 4, 5, 6, 7. Position, 8. 21 . DEFIANCE. —Partners face, 1, step obliquely forward with right foot, and at same time place right hand with flag on left shoulder, 2. Wave out to right, 3, hold it, 4, 5, 6, 7. Position, 8. 22. Friendship. —Repeat number 7. 1 23. PEACE. —Let flag droop behind shoulder, right hand against shoulder, staff pointing horizontally backward. Position, 8. 24. WAVE.—Repeat number 9. 25. Surrender. —Hold flag in position four counts. On count five , open the hand, letting flag fall. (Do not take position on count 8.) 26. Recover. —Take two counts to stoop, take hold of and lift flag, hold on 3, 4. Position, 5, 6, 7, 8 . 27. Shoulder.—R epeat number 2. 76 FANCY DRILLS AND MARCHES. 28. WAVE.—Repeat number 9. 29. Rest. —Place top of flag on floor, holding still in right hand. Position, 8. 30. Display. —Bend the hand so as to let the staff lie horizontally across body from right shoulder to left, flag drooping down. Position, 8. 31. Wave.—R epeat number 9. 32. Friendship. —Repeat number 7. 33. Salute. —Repeat number 1. 34. March.—R epeat number 16. 35. Forward. —Flags pointing slightly forward, take four steps which will bring the lines nearly to¬ gether with flags meeting at the top, forming a bower. Hold this position, 5, 6, 7. Position, 8. Now the performers are in line in centre of stage, facing front, flags against shoulders, with the number eights as leaders instead of numbers ones, who led in. Left line march to left, forming a circle with his line; at same time, right line march to right, form¬ ing a circle with his line. This will take two eights to get space between boys tolerably even. At given signal or count they stop and form a complete circle by each left hand taking the other’s right. Stand through the eight counts, and then, raising hands as high as possible, circle eight steps forward and eight steps back and stop. Break into circles of four, stand through eight counts, then circle eight steps forward and eight steps back, with flags high. Then stop, form the two large circles again, circle forward and back, then number eights break and march to front of stage, sevens next, then sixes, and so on, making a double line in centre of stage. (It may take two sets of counts to get all in position.) Then march off to left in double line, waving flags to left and right as they pass off. Note.— This can be made longer if desirable by repeating numbers. The ef¬ fect of the drill is very pretty when the pupils are thoroughly acquainted with it. Lines must not be formed too far to the front, so that when flags are Surrendered (No. 35) there will be plenty of room on stage. The flag's should be two-foot flags. FLAG DRILL NO. 2. 77 Flag Drill No. 2. By Eloise Hemphill. Any number exactly divisible by six may take part in this drill. Arrange according to size, the smallest in front; each child is to carry a flag 18 X 36 inches, the staff 18 inches longer than length of right arm measured from index finger to shoulder, ii yards average length. Position of flag in march¬ ing, staff at C held in right hand, resting on right hip, diagonally crossing the breast to left shoulder, where it is held at A by left hand. Enter class from right side at H , march across to /, down to a , first six turn to left, stop at respective places, 1, 2, 3, 4, 5, 6; next six turn at b , stopping at 7, 8, 9, 10, 11, 12, the remaining sixes turning to left at c , d y and e. All mark time with left foot, until musician strikes a chord, then all must stand perfectly still, facing left. Chord 2 is for all to face the front, heels to¬ gether, toes out. Chord 3, right arm straight down at side, left hand at right shoulder, still clasping staff at A. Chord 4, left arm down at side. Musician should at once begin with some good march, on first note of which the class should commence drilling. 7* FANCY DRILLS AND MARCHES. 1st Position. —Extend right arm forward (flag held vertically), grasp flagstaff at B with left hand on first note; hold flag in the position through 4; on 5, 6, right hand at A, left slipping down to C , bring flag to left side, right hand at left shoulder, in this position on 6; on 7, 8, drop right hand at side. 2d Position. —Extend left arm forward, flag held vertically, right hand at B, etc., as in first move¬ ment; on 5, 6, flag in front of right shoulder, right hand at C, left at A ; on 7, 8, left hand at side. 3d Position. —Staff held in right hand at C on left hip; left hand at By staff slanting upward to left side ; head drooping a little to the left; eyes down ; remain in the position 8 counts. 4th Position .—Right hand at C y staff perpendicu¬ lar on right shoulder; left hand at B ; arm curved gracefully over head, which is now erect, eyes for¬ ward ; 8 counts. 5th Position. —Right hand at C\ left at B ; staff on left shoulder slanting upward to the left; eyes looking up at flag; 8 counts. 6th Position. —Same as third, except staff slants upward to the right from right hip ; 8 counts. 7th Position. —Kneel on right knee, left hand at A f right at C, both arms in a vertical position above head ; flag hanging down ; eyes down ; 8 counts. 8th Position. —Rise ; hold flags in same position as when kneeling ; eyes forward ; 8 counts. 9th Position .—Right foot diagonally forward with some emphasis; left hand on hip; right arm straight upward to the right, flag held vertically; body bent slightly forward ; eyes looking up at flag; 8 counts. 10th Position .—1 and 2, 3 and 4, 5 and 6 lines, with left hands still on hips, right arms holding flags aloft, face each other and cross flags at A f forming 3 arches ; stand thus through 8 counts. Remember all positioyis must be taken on 1, and remain through 8 counts. MUFF AND GUN DRILL. 79 MARCH. The centre arch, which is led by 3 and 4, stand still. 1 and 2, 5 and 6, lead their respective lines under their own arches to the rear of room, as in¬ dicated by arrows ; 7 and 8 falling in behind 1 and 2; 11 and 12 behind 5 and 6, etc. Upon reaching D and E, 1 leads to the right, followed by 2, 7, 8, etc.; 5 leads to the left, followed by 6, n, 12, etc. At F, 1 and 5 lead their respective lines under the centre arch, separating at G, 1 and 2, now marching to the right, side by side; 5 and 6 to the left, side by side, cross flags, and march down to their places, forming again the 3 arches. As soon as 1 and 2, 5, and 6 lines have reached their places, 3 and 4 lead their lines under their own arch to the rear of the stage; they separate at G , 3 leading her line down the right-hand arch, 4 leading down the left-hand arch; 3 and 4 meet at F, and stop at their respective places. As each couple reaches its place, they cross flags for their followers to pass under, forming again 3 arches. At a given signal all lower their flags, carrying in front of right shoulder, and turn to left: 1 leads her line 2, 3, 4, 5, 6, round behind 7, 8, 9, 10, 11, 12, who fall in behind 1st line, and march round behind 18, 17, 16, 15, 14, 13, who join 1st and 2d, and march round behind the next line, etc., until the rear of stage is reached; then march off. Muff and Gun Drill. By Jay Bee. MOTION FOR THE DRILL. N Music : “ Reuben and Cynthia.’* I. Children to stand so that a boy is next to a girl; he to take a gun, and she, muff in right hand ; his left hand at side, and her left hand on left hip. FANCY DRILLS AND MARCHES. So Both right hands up four times, on toes. “ “ “ out from shoulder four times Right foot stamp out. Both right hands down toward knee, four times. Then I up right hand as before on toes. i out “ “ with stamp, i down “ “ and i up “ “ The entire motion to be repeated with gun and muff in left hands. II. Guns and muffs in right hand. Both, 4 times out from the level of the eyes. 4 u “ right shoulder as in shooting. Alternate twice ; then repeat with left hand. III. Boys drop back one step and hold guns as if aiming, while girls with frightened faces hold left hand at waist and muff from right shoulder to waist, quickly slipping left hand in muff and out, four times; then repeat with right hand at waist, and left hand holding muff, etc. Change music to “ Cornin’ Thro’ the Rye.” Chil¬ dren to take one step forward, then one step back, as slow waltz; the guns and muffs each in right hand. The girls raise muffs coquettishly to right eye, while boys hold guns across eyes and peep over mis¬ chievously; then each girl takes a boy’s right arm, and forming in line two by two, slowly march off stage to the same music. Cane Drill. A SERIES OF MOVEMENTS FOR BOYS. By Clara J. Denton. (The canes used in this drill should be small and light, of uniform size, but dif¬ fering in heads and general finish. They should be decorated by tying narrow ribbons of various hues and tints around the top of each cane. A more pleas¬ ing effect will be obtained if the performers are of the same height. If a large ciass is to take part in the drill, they may be divided into companies, selected ac¬ cording to height. The drill should be given with music, the motions, of course, keeping time with k. Any pleasing “ two four” tune may be played. In giving the drill the commands should be so loudly spoken that the audience . THE CANE DRILL. 8i Can hear them; they will thus understand more fully the meaning of the several movements. The boys should wear neat suits of black, as nearly alike as possible in general style and arrangement. There are in all twenty-three commands, as given below.) 1. At Rest. 2. Attention. 3. Salute. 4. Curiosity. 1 5. Satisfaction. 6. Discussion. 7 Disagreement. 8. Angen 9. Dismissal. 10. Meditation. 11. Relenting. 12. Indecision. The boys should march in to lively music, either in single or double file, according to number en¬ gaged. In marching, the canes should be carried in the right hand and used as in walking, touching the floor at every step. Let the tap of the canes be in perfect unison. Where the stage and class are both large, a pleasing effect may be obtained by forming the boys into companies of six, arranged in a semi¬ circle, two abreast. But if the class is small, let them take their places in a line across the front of the stage. 1. At Rest .—Head erect, feet in military position. Left hand at side, right hand at side and loosely clasping the cane at its centre. 2. Attention .—Chin close to neck, eyes front, feet as in foregoing (which position they retain through¬ out the drill, except where otherwise ordered). Shift right hand to head of cane, take tip of cane in left hand, and hold the cane horizontally across the body, as low down as the length of the arms will permit. The hands should clasp the cane with the backs up¬ permost. 3. Salute .— Raise arms, extended, until level with shoulders; touch cane to forehead, throw hands, still grasping cane, out quickly. 13. Decision. 14. Waiting. 15. Surprise. 16. Secrecy. 17. Indignation. 18. Denial. 19. Consideration. 20. Reconsideration. 21. Appeal. 22. Reconciliation. 23. Au Revoir. 8i FANCY DRILLS AND MARCHES.’ * A 4. Curiosity. —Bring cane back to face and hold it just below eyes, so that they seem to peer over it; bend body slightly forward. 5. Satisfaction. —Drop left hand at side, right hand still holding head of cane ; place cane in slanting position across the breast toward right shoulder; head inclined to right; face smiling. 6. Discussion. —Thrust cane under right arm, let¬ ting the head protrude a few inches; palm of left hand outstretched, index finger of right hand laid thereon, face earnest. 7. Disagreement. —Quickly shift cane in same po¬ sition to left arm, and bring the two fists together quickly, body bent slightly forward. 8. Anger. —Grasp head of cane quickly and strike the point emphatically on the floor. 9. Dismissal. —Grasp head of cane with position of the hand reversed ; that is, the back thereof on the inside, or toward the body; throw the arm out swiftly ; facial expression stern. 10. Meditation. —Bring the cane back slowly and lay the point in the palm of the left hand ; then lay the head of the cane in the right palm in the same way, and by motions of the fingers slowly roll the cane back and forth in the hands; head slightly bowed ; eyes downcast. 11. Relenting. —Close right hand around head of cane, drop left hand at side, and let the cane fall very slowly until its tip touches the floor; head * and eyes as in foregoing. 12. Indecision. —Extend right foot and, with the tip of the cane resting thereon, slowly move the cant back and forth; sway the head gently and move the eyes about. 13. Decision. —'Take cane from toe, draw foot back, extend the arm on a line with the shoulder, and then bring cane down firmly; head erect, chin close to neck, eyes front, face firm. 14. Waiting. —Right hand laid on top of cane, which is held in front of body with tip resting THE CANE DRILL. 83 lightly on the floor, left hand laid on right (back up), head slightly inclined ; whole attitude easy. 15. Surprise. —Drop cane on floor suddenly; re¬ cover immediately by catching cane around the centre. 16. Secrecy.— Retaining same hold of cane as in foregoing, hold it up on the left side of the mouth, letting it lie slanting across the face. 17. Indignation .—Retaining same hold of cane, place it firmly on right shoulder, so that the head of the cane is back and the tip well forward ; throw the head and shoulders back, and raise the chin slightly. 18. Denial. —Turn the cane over quickly, bringing the head down firmly on the floor; performers shake heads slowly. 19. Consideration. —Hold the cane near the tip, and swing slowly back and forth; head inclined to right, eyes downcast. 20. Reconsideration. —Reverse cane quickly, hold¬ ing it at head; then repeat directions given in No. 19. 21. Appeal. —Extend both hands with the palms upturned and the cane laid on them, both hands being near the middle of the cane; raise them to nearly the level of the shoulders; eyes upturned. 22. Reconciliation. —Still holding the cane in both hands, turn the tip toward the breast, the head ex¬ tended, as if offering it to some one ; head slightly ;inclined; face smiling. 23. Au Revoir. —Reverse cane, taking head in right hand; touch hand to lips and make swift, out¬ ward motion. When the performers turn to march out each one must take the tip of his cane in his right hand and lay the head thereof on the shoulder of the one in front of him, holding it there until they are all off ihe stage. 04 FANCY DRiLLS AND MARCHES. The March of the Red, White, and Blue. By M. D. Sterling. i Any number of little girls divisible by three (pro¬ viding the quotient is an even number) may take part in this exercise. They should wear red, white, and blue gowns made with short plain waists, full skirts and sleeves; close-fitting Puritan caps of the same color and material as the dress worn should com¬ plete the costume. Cheese-cloth is an inexpensive and effective material from which to make the gowns and the caps. One third of the number of children wear red, one third white, and one third blue. En¬ trance is made by threes, “ red, white, and blue ” coming in together, to the tune of “ Yankee Doodle.’* Places are taken in rows of three each, one behind another, as in Fig. I, the letters standing for the colors. T.£. i« R W B R w a R W B R v/ B r w e> r w a When all are in place, first, third, and fifth rows face right , while second, fourth, and six throws face left . The alternate rows now march around each other, as indicated in following diagram, repeating THE MARCH OF THE RED, WHITE, AND BLUE. 8$ the movement as many times as seems desirable be fore taking taking position again, (Fig. 2). T-4 * Those in the column of blues, headed by the girl on right of front row, now march front , to the right % backward , left , to the front again , right , and form a line right front of platform. As soon as the end of the blue column comes to the front at beginning of march, the leader of the white column will march, falling in behind the last of the blue column. Those in the red column fall in directly after the white column. When the movement is completed, a long row of children, one third in blue, one third in white, and one third in red will be ranged along front of platform (Fig. 3). ■RRRRKR \/Vw , w r wV'i3&&BBB The children mark time to the music, throwing out left and right feet alternately. Then, the lead¬ ers of the red and the blue march obliquely backzvard until they meet each other at a point on a line with the middle of the white row. The last one in the red row will halt just behind the girl on left of white row, while the last child in the blue row will halt 86 FANCY DRILLS AND MARCHES. behind the extreme right oi white row. This move' merit forms a triangle (Fig- 4 )- *.* R • 0 * : © ^ : 0 R ! Q f : 8 vJ W 'yv7 W vj The reds now march, following their leader to the left , forward, to the right, and into line directly in front of the whites. At the same time the blues close in behind the whites, when the rows will be arranged as in Fig. 5. ® 0 s s & 3 V W R R 1\ K The blues now fall back, stepping in time to 0 8s 13 3 3 w v/ V w w W R *** R music and keeping a straight line. At the sara* THE MARCH OF THE RED, WHITE, AND BLUE. 87 time, the reds step forward and range themselves in a semicircle, curving outward. When the blues and reds are in position, the leader of the whites inarches to a place directly back of the centre of the red semicircle; the others in white row form a straight column behind the leader. The completed movement will make Fig. 6. The whites now range themselves in front of the blues, while the reds fall back into line in front of* the whites. In this position the children make a low bow, then march and countermarch by threes fred, white, and blue together) while they sing as r ollows to the music of “Yankee Doodle”: Here we go, red, white, and blue, The best of colors wearing— The colors of our country’s flag, In whose love we are sharing. Red, white, and blue ! Red, white, and blue 1 Tell out, tell out the story— We wear the colors of our flag, Our country’s pride and glory ! [Exeunt, singing. ] 83 FANCY DRILLS AND MARCHES. iT'TeK n>Biu, By Frances L. Allison, Suggestions. This drill may be used for twelve little girls, aged from Bix to fourteen years. The sifters should be the old-fashioned round one with wooden rims, the smallest size made. Or, if a sufficient num¬ ber of these cannot be had, let the older girls (four or six) have sifters of a size larger. Each girl should have a white cooking cap, white sleevelets, and a plainly hemmed white apron. Blue gingham and pink gingham dresses should be worn, the former by fair-haired girls, the latter by dark-haired girls. A little drilling should be given every day, for several weeks. Two or three figures each day are enough. They should be slowly but thoroly learned, giving the slowest child ample time to learn the fig¬ ures and the order in which they come, so that by the time the last figure is given they should be able to begin at the first and give the drill without the atecher giving one command. Chords should be the only signal. The exercise is much more enjoyable when given in Vhfo way, and is perfectly practicable. SIFTER DRILL. 89 A well-marked piece of music should be used, but not neces¬ sarily the same that is used for the marching. In third verse of “ Can you make a loaf of bread ? n when the child sings the reply telling where she has learned the rule for making bread, let her sing the name of her own school. This will please the children very much. The cooking song can be made very much more entertaining oy keeping the sifters down at right hand until they come to the last word of each verse. At the last word of the verse bring sifters to front and hold with both hands as tho ready to sift flour. Then while singing chorus the girls look down at sifters and keep time to music by moving sifters from right to left. At fourth and eighth lines of chorus, the sifters should be moved quicker than at other lines. At last word of chorus, sifters are placed back at the sides. The number of counts that should be given to each figure must be left to the discretion of the teacher. Eight or twelve counts should be given to some of them. For instance : Ex - pedation : At one, two, put out right foot; at three, four, bend body slightly forward and towards the right; at five, six, raise the sifter to position above eyes ; eleven, twelve, sifters back to sides, and at same time bring right foot back to posi¬ tion. The teacher should use the rules of this drill as a foundation only. Her own ingenuity will permit such alterations as will adapt it to her own use. Order of Marching. Partners enter on opposite sides of stage carrying sifters in right hands. March along back to center. Pair, march to front and separate, one girl going to right, the next to left, the third to right, etc. Turn square corners at front, again at back corners of stage, march along back to center and join partners. March 90 FANCY DRILLS AND MARCHES. front again as before, then to center of back. Join partners, march to front, separate and form two rings. Wind. Unwind. Meet again at center of back. First couple move to the front two steps and form arch by fac ing and putting up sifters. Second couple pass under arch made and stand next to first couple, putting up sifters also to form arch. Other couples follow suit. When last couple to pass thru has marched to position, the first take down sifters and march thru archway to front of stage, second couple following, and so on. Form arch twice. When the arch has been formed the second time, and the last couple has taken position at the end of the line and at the front of stage, have two chords struck on the piano. At the first chord sifters drop down to sides, at second, face to front. First little pair of girls (smallest girls should be at the front) sing, one the question and the other the answer of the first song given below, after which they march to op¬ posite corners of the stage and take position near the front ready for drill. Second couple sing second verse and march to front, completing first row. Third couple sing third verse and march to opposite sides of stage, taking position directly behind first couple who sang. Other couples sing and fill in the rows until all are in position for drill. ►song.—C an You Make A Loaf of Bread ? (Tune, Billy Boy.) . 1 X . P 4- . | - ■ (* 1 N—! J m _J -—i 0 £ 4— =-T7~#— d Can you make a loaf of bread. Lit - tie SIFTER DRILL. 9i maid, lit - tie maid ? Can you make a loaf of bread, Lit - tie maid - en ? 1 :e j£ -9- I can make a loaf of bread, Just the $ way my teach - er said, If am Will you tell me how it’s done Little maid, little m aid? Will you tell me how it’s done, Little maiden ? Yes, I’ll tell you how it’s done, And I think it’s lots of fun, If I am but a very little maiden. Tell me where you learned this rule, Little maid, little maid, Tell me where you learned this rule, Little maiden. Why, my dear, I learned the rule 92 FANCY DRILLS AND MARCHES. At the dear old cooking school, Tho you see I’m a very little maiden. May we learn to do this too, Little maid, little maid ? May we learn to do this too Little maiden ? Yes, of course, you may learn too, Come with us, why shouldn’t you ? To our school where they teach each little maiden. Chord —6th couple (two largest girls in the center of back row), at chord, turn back to back then march to sides of stage, along outside of rows, turn square corners at front and march to position in the center and a little in advance of first row of girls. Recitation. First girl: I’m heartily tired of cooking, And trying so many to please ; I wish we could breakfast on berries, And dine on the fruit of the trees. How nice if we lived like the squirrels, That gather in autumn their store, That hide when the snowflakes are falling, And sleep till the winter is o’er. I think of the pretty canaries That sing in their cages all day, While I am so constantly busy, I’ve scarcely a moment to play. I’m tired of lighting the fire. SIFTER DRILL. 92 •v ■X And making the coffee and tea, Of peeling and washing potatoes— It never was pleasant for me. Tm tired of roasting and boiling, And frying and baking the meat, Of making the biscuits too heavy, And making the puddings too sweet. Recitation. Second girl (interrupts in a surprised, indignant tone) saying : Why, what in the world are you saying ? To murmur like that is a sin ! You had better a new leaf turn over, And on a new page begin. Just try to remember the lessons, You learned at the dear cooking school. For everything there that they taught you. They always give you a rule ; And if their directions you follow, Your cooking will then be complete, Your biscuits will not be too heavy, Your pudding will not be too sweet. First girl replies: “ Thank you. That is good advice. I believe I will take it.” Then they march back to positions in back row. Drill. Salutation —Right foot forward in front of left; raise sifters to erect position on left shoulder by right hand. 94 FANCY DRILLS AND MARCHES. As the sifter is being raised to the left shoulder, raise the left hand and strike sifter three times, dropping left hand down to side again. Position (both hands down at sides). Expectation —Raise sifter slowly with right hand to a position just above the eyes. While raising sifter, bend the body slightly forward, left hand down at side. Body should be turned to the right, and right foot in advance of the left. Alertnesi —Raise sifter slowly to position back of right ear with the right hand, head turned toward the left, Left hand down at side. Attitude that of some one lis¬ tening. Position. Cooking Song. 1— - i—I* -P-N N __ 1 2 •1 zn -I If v a \ N N # J J N e 9 a 1 ^=i a j=rz a v| Lj- f—\ 9 —- L 9 We’re a class of cooking girls, Learning to make bread; zM— :q N —f -*-J— —\ -\ -i — - ■ — -V-N - 9 - --h- h - 9 - V9- — 4»7" m—r- -c- w 4 •1 1 Of 1 -V- p -*- - We’ll fol-low all the rules, And do as teach-er said; 9-S- -N -\- r- -Ps-y — 1 1 ! A ^ - L i , SL -*■ J i 7 . f \ ft k i . . W .. 1 ^ 9 9 J t r • • 9 m • 9 • Mer-ri - ly our voi-ces ring, Mak-ing spir-its gay; A^ 9 k A 1 V \0 _ m • p_p 1 tr V i 1 ss X J— - 0 ->- y - 1/ U 1 1/ * d «/ What fun it is to work and sing, A Chorus. ±8-a — r~, — I"'-- 1 -| 1 . tr 1 - *1 c a. j. l. r J • 1 9 9 0 c ? *- lZ ^ y □ L L i h h — - tJ “ * * 1- W V 1- cook-ing song to - day. Sift-ing flour, sift-ing flour, t SIFTER DRILL. 95 Sift with all our might, Oh, how nice it n ——-- -N - v—~ v- . - - V || A A • A J nr r m 1 1 fzx c r r r. m 9 w a m — • |Z- \/ - ‘y - y - p - * --1 is to have the flour ex - act - ly right, - - T 1 » 1 1 fn\ 9 9 9 9 r ° 9 ! , ' J m * • 1 J V\J /-*-»-- — ~ i ^ w -i SAL v - v --*-* u,-L y J Sift-ing flour, sift-ing flour, Sift with all our might; T ft m m . ~~rc zq 7 9 9 m • m 0 m ^ • a 9 9 m M j . f N III D r i 9 A z—L/b—b .. b b bS J / D " W i Oh, how nice it is to have the flour ex - act • ly right. At night we set the sponge, Take water, salt, and flour, And stir in with them yeast— Be sure it is not sour. Then mix and knead it well, And when you’ve got it right Then place it near the fire, So that it may grow light. Chorus: We’ll rise at break of day, When sponge has grown quite light* And knead and knead it well, Until we have it right. Next mold when raised again, In the pan it then must go, One parting touch we add, At last we leave it so l Chorus: 96 FANCY DRILLS AND MARCHES. Triumph —Both arms held high above head, sifter in right hand, left hand closed in a fist as tho about to strike, body bent slightly backward. Clash —Strike four times the wooden rim of the sifter with closed fist. t Gossip —Girls in two inside rows move two steps toward girls on outside rows (sides of course). Raise* sifters with right hand to right side of face, face each other, motioning lips as tho gossiping. Heads near to¬ gether. Position. Anger —Girls in two middle rows again move nearer girls on outside rows. Stamp right foot, raise sifter with right hand and shake at each other. Then turn back to back. Position. Sorrow —Girls on outside rows move one step nearer girls in the two middle rows. Kneel on left side, cross arms over sifter and bend head over sifter as tho deeply sorry. Forgiveness —Girls standing show signs of relenting in face, bend bodies forward, place right hand on head of kneeling ones. Pleasing smiles and looks of recognition pass between them. Those kneeling rise. Friends —Slip arms around each other’s waists, with happy looks on faces. (Count four.) Step back to posi¬ tion. { Weary —Right elbow supported by left hand, head leaning to right and resting on sifter which is held in right hand. Eyes closed. Rest —Right foot forward, knee slightly bent, sifter pressed against breast with both arms crossed over it. Head bent forward, eyes closed. Awake —At tap of bell all unclose eyes. SIFTER DRILL. 91 Good-bye - Right foot forward, knee slightly bent; rise slowly on tip-toe. While raising body raise at same time right hand, placing finger-tips on lips (sifter for this figure should be held in left hand). After placing fingers on lips then give a graceful wave with right hand to audience (counting all the while) and bring hands back to position at sides. Final March. At chord, leader of single file leads off, partners falling into line, one behind the other as usual. Form a circle, each girl extends sifter with right hand, and girl in front takes hold of sifter with left hand. Wind. Unwind. March off stage. 93 fANCY DRILLS ANU MALI'S. A Fancy Scarf Drill By A. Alexander. This “ Scarf Drill ” will be found a very pretty, graceful, and at the same time exceedingly beneficial set of exercises for girls. The scarfs may be made of calico, silk, or muslin, and should measure about three feet in length, and be of various colors, according to the taste of the teacher. The exercises are princi¬ pally performed in pairs. The pupils, therefore, she:»M be marched on in double lines, as in Fig. I. Waltz : “ Daughter of the Regiment." (To be played rather slowly.) A FANCY SCARF DRILL. /. Words of Command: “ Attention/' “ Behind the Back,” “ Front," “ Raise Right Arm and Advance Left Foot." At “ Attention " bring the heels together, body erect, head and shoul¬ ders well back ; shorten the scarf by holding it in double lengths. (Fig.i.) Fig, a. Fig. t. At M Behind the h ac\ " release the double fold into the full length, and throw the scarf over the head. (Fig. 2.) At “Front" bring the scarf over the head to the waist again. Eight bars of the waltz music are played. II. Words of Coni' mand: “Raise Right Arm and Advance Left Foot," “ Change." At the first word of command raise the right hand above the head, bring the left hand slightly to the rear of the left side p jg ^ IOO FANCY DRILLS AND MARCHES. Fig. 4- at the same time advance the left foot to the front^ pointing the toes downwards ; the face should b e upturned to the right hand, the head being thrown well back. (Fig. 3.) At 44 Change," the position of “ Atten¬ tion* should be as¬ sumed for a moment, and then spring out with the right foot,rais¬ ing the left arm above the head, looking at the left hand, point- ingtheioot downwards (Fig. 4), thus reversing the attitude of Fig. 3. Sixteen bars of the waltz are played. III. Words of Command : “ Shorten Scarfs," “ Face," M Throw." At “Shorten Scarfs," the scarf should be quickly folded and held in the right hand, one end being firmly held, the other loosely and ready to throw. At the word “ Face," the pupils' face each other as in Fig. 5. At the “ T h ro w," each p u p i 11 “ throws one end," of her scarf towards her partner's left hand ; both part' ners catch the end of the scarf thus thrown to wards them with the left hand. (Fig.6.) This move¬ ment should be made with the body as erect as pos* sible, without any bending forward or getting out oi A FANCY SCARF DRILL. lor position. The partners also should be of equal height as far as possible, in order to increase the general effect of the movements. IV. Words of Com¬ mand : “ Above the Head,” “ Outwards Bend,” “ Rise.” Standing with the arms at the sides at the word of com¬ mand “Above the Head,” the pupils Fic. 6. should raise their arms outwards and above the head until the hands meet, arms to be kept very stiff and body erect.(Fig. 7.) At “Outwards Bend,” the arms should be separ¬ ated outwards, and when level with the shoulder the knees should be kept stiff, bending from the waist only. (Fig.8.) At the word “ Rise ” the pupil should assume the erect position, and repeat the 102 FANCY DRILLS AND MARCHES. exercise. The waltz music should be played until the movements are finished. V. Words of Command: “Swing above the Head/* “ Right/’ “ Left.” Starting from the position of “Attention,” and at the words of command “ Swing Above the Head— Right/’ swing the arms simultaneously upwards and above the head to the right end of the room, with the feet kept together, the arms stiff, the head thrown back, looking up to the upraised arms. (Fig. 9.) At the word “ Left ” swing the arms downwards past the waist and upwards to the left side of the room. (Fig. 10.) This movement must be made with the arms alone, the body remaining erect. Sixteen bars of Ibfc waltz are played. A FANCY SCARF DRILL. to$ VI. Words of Command i “Bend Sideways—Right/' w Left.” At “Bend Sideways— Right,” the pupil bends side¬ ways from the right side of the room, at the same time raising the arm nearest to that end above the head, as in Fig. II ; the head should be turned upwards, the pupils looking upon the upraised arms. At the word “ Left,” the position should be re¬ versed by lowering the up¬ raised arms and raising up the others at the other side, bending from the waist in the reverse direc¬ tion. (Fig. 12.) The feet should be kept together and the arms stiff in this movement. Eight bars of the march are to be played. MARCH. Fig. 12. (To be played boldly, but not quickly.) 164 FANCY DRILLS AND MARCHES. At “Raise Arms,” raise the \ arms from the side until they are forwards and level with the shoulders. (Fig. 13.) At the word “Backwards,” bring the arms outwards and backwards until the position of Fig. 14 is reached. At the word “Forwards ” bring the arms to the front in the position of Fig. 13 again. It is important that in this movement the arms alone should be moved, the rest of the body being kept rigid and erect, with the heels fixed firmly together. The arms should, during the exercise, be kept level with the shoulders. The march music should be played. VIII. Words of Command: u Left Foot Forward/' “ Extend Arms/' “ Forwards,” “ Backwards.” At “ Left Foot Forward” bring the left foot for¬ wards at right angles, the left knee bent. At 44 Extend Arms the arms should be raised and extended out¬ wards, in a line with the shoulders, as in Fig. 15. At borwards,' one pupil will lean forwards, at the same time bringing the arms to the front ; the opposite VII. Words of Comma?id : 41 Raise Arms,” 44 Backwards,” “ Forwards.” A FANCY SCARF DRILL. *°5 pupil will lean backwards, bringing her arms to the rear as much as possible. (Fig. 16). At “ Backwards/' the pupils will reverse their positions. Play sixteen bars of the march. IX. Words of Com¬ mand : “ Charge Side¬ ways—Right/’ “ Recov¬ er/’ “ Left/’ “ Recover," “Forwards," “ Recover." At “ Charge Sideways —Right," the pupils step out to the right end of the room, their feet at right angles, and advanced knee bent, the other leg kept stiff; one hand FANCY DRILLS AND MARCHES. io6 should be raised above the head, the eyes looking upon the upraised scarf. (Fig. 17.) At “ Recover,” assume the position of “ Attention.” At “ Left,” the pupils will step out to the left side of the room with the other foot, and raise the other hand. At “Recover,” again assume the position of “Attention.” At “For¬ wards,” each pupil will advance forwards with the right foot, at the same time raising his arms outwards and above the head, as in Fig. 18. At “ Recover,” drop the arm and close the heels. Play sixteen bars of the march. X. Words of Command: “Charge Forwards—Right,” “ Recover,” “ Left.” At “ Charge Forwards—Right,” the pupils will ad¬ vance right foot forwards towards each other, the feet to be at right angles, the advanced knee bent, the left leg kept straight. 1 he right hand should be raised ab®ve the head, the left down by the side. (Fig. 19.) A FANCY SCARF DRILL. 107 At “ Recover,” resume the position of “Attention/' At “ Left/’ advance the left feet forwards towards each other, bending the left knee, keeping the right leg straight, feet at right angles as before. Raise the left hand above the head, keeping the right down by the side, the head thrown back. (Fig. 20.) At “Recover,” again assume the position of 44 At¬ tention.” Play eight bars of the march. XI. Words of Command: “Ready,” “Through/* 44 Above the Head,” “ Down.” At “ Ready,” the pupils will raise the arms, which) are opposite to each other, above the head. (P'ig. 21 ) At “Through,” they will pass under the upraised arms, and bring both arms to sides, coming back to back, as in Fig. 22. FANCY DRILLS AND MARCHES. lo8 ways from the right side of the room, at the same time raising the arms nearest to that end above the head. (Fig, 23.) At “ Above the Head,” the arms must be raised outwards and above the head, as shown in the dotted lines in Fig. 22. At “ Down,” the arms will be brought outwards and downwards until position of Fig. 22 is again reached. The body must be kept perfectly erect, and the arms alone moved in this exercise. Eight bars of march. XII. Words of Command: “Bend Sideways—Right/* Left.” At “ Bend Sideways—Right,” the pupil bends side- A FANCY SCARF DRILL. 109 The head should be turned upwards, the pupils looking upon the upraised arms. At the word “ Left/' the position should be reversed by lowering the up¬ raised arms and raising up the others at the other side, bending from the waist in the reverse direction. (Fig- 24.) The feet should be kept together and the arms stiff in this movement. Play eight bars of the march, XIII. Words of Comma?id : 44 Shoulders—One,” “Two," ‘‘Three/’ 44 Four.” At “Shoulders— One,” raise the arms outwards until upon the shoulders. (Fig. 25.)- At “Two,” thrust them vigorously up¬ wards until above the head, as shown in the dotted line of P'ig. 25. At “ Three ” bring the arms back again upon the shoulders ; and at ‘Four,” thrust the arms vigorously outwards. (Fig. 26.) 1X0 FANCY DRILLS AND MARCHES. On reaching this latter position, drop the arms to the sides at once. Keep the body rigid, moving the arms alone ; keep heels closed together. Sixteen bars of the quick march. QUICK MARCH. XIV. Words of Comma?id: “ Charge Forwards— Arms Outwards,” “ Right,” “ Recover,” “ Left,” “ Re¬ cover.” At “ Charge Forwards—Arms Outwards ” the pupils step forwards with the right foot, keeping the feet a* right angles, and the advanced knee bent, the other leg kept stiff ; at the same time the arms must be A FANCl SCARF DRILL. til raised outwards until level with the shoulders. (Fig. 27.) At “ Recover," close the heels, and bring the arms to the sides. (Fig. 28). At “ Left," again step out for¬ wards, this time with the left foot, and raising the arms as before. At “ Recover," again come to the position of Fig. 27. Eight bars of the march music. XV. Words of Com¬ mand : “ Charge Sideways—Right," ‘‘Recover," “ Left," “ Recover," “ For¬ wards," “Recover." At “Charge Side¬ ways—Right," the pupils step out to the right side of the room, bending FANCY DRILLS AND MARCHES. 1*2 die advanced knee, keeping the other leg stiff and the feet at right angles; at the same time raise one arm above the head, and look up, as in Fig. 29. At “ Recover,” close the heels and bring the arms to the sides. At 44 Left,” perform the same movement in the opposite direction, with the reverse arms and feet. At “ Recover,” again close the heels. At “ For¬ wards,” the pupils step out forwards, with upraised arms, as in Fig. 30. At “ Recover,” again close the heels and drop the arms to the sides. Sixteen bars of the march. XVI. Words of Com?nand : 44 Face,” “ Raise Scarfs,” f Disband.” ) At 44 Face,” the pupils face each other in two lines- At the words “ Raise Scarfs,” each pupil throws one end of her scarf towards her partner’s left hand, and each pair will raise the scarfs above their heads, mak¬ ing an archway down the lines. (Fig 7.) If the lines are too close together, a step to the rear should be taken by one, or both lines, as the scarfs are raised above the head. At “ Disband,” the first pair will drop their arms to the sides, and making a half-right A FANCY SCARF DRILL turn, walk under the archway of raised scarfs, and, on reaching the end of the line, march off. The next pair will follow, and so on until the end of the line is reached, when the last pair will drop their arms and march away together. This may be varied by each pouple “ Halting,” after passing under the archway and marking time ; and when all have passed through, the whole company will march away together. When the arms are dropped to the side, the scarfs should be quickly folded and held in the right hand during the march off. (Fig. 5.) FANCY DRILLS AND MARCHES. 114 The Fan Fairies. (A fancy drill for little girls.) By Ethel Powell Harris Much of the charm of this exercise lies in the dainty coloring of the dresses, in the strict “military” pos¬ ing, and in the statue-like rigidity of the tableaux. Music should accompany the movements and the singing throughout—the first melody serving for all the words. No commanding signals or words are given to the little people. Hence much of the suc¬ cess will depend upon the pianist, who should be skil¬ ful in changing smoothly and easily from the gay music of the marches, to the soft accompanying .chords for singing. First a dash of bright music ! Then—far away— the sound of little voices : Air, Old Song. The fan fairies. ns A hush. Four “ left—right ” chords from the piano and then, to the strains oi a pretty march, ten charm¬ ing little maidens step out upon the stage—five from each side. Advancing to the center of the stage, everyone bows to the one who comes from the op¬ posite side, and touching hands lightly, steps to her place on a line at the front. The first pair take the ends of the line ; the last the inner places. They are dressed alternately in delicate pink and exquisite green, the dainty gowns being made with “ baby waists ” and reaching quite to the floor. The fans match in color exactly. One chord from the piano,—fans are raised and held with both hands in front of chest. Two —fans open. Three —a slow, sweeping courtesy to the audience is made. Four —erect ; military position. Five (sing)—“ This is the way we tap our fans, tap our fans, tap our fans; this is the way we tap our fans when we wish your attention.” At the word “ tap/’ fans rise swiftly and tap palms of left hands in time to music. “ This is the way we wave our fans when we are glad and happy.” (The same music is used throughout and the words repeated as at first.)—Sparkling eyes, fans waved gaily to and fro. “This is the way we shoulder our fans when we go out a-marching.” Chord —face ; shoulder to snoulder, march to back of stage ; face again. Chord one —fans raised high above left shoulder ; faces turned and looking upward. FANCY DRILLS AND MARCHES. Chord two —fans opened fully. Tableau. Fig i. Chord three —position, fans on right shoulder. March to front. “ This is the way we flutter our fans, when we are gay and saucy.” Butterflies could not be airier, daintier. u This is the way we shake our fans when we are cross and naughty.” What change is this ! Brows wrinkled, eyes flashing, little feet stamping, fans shaken threateningly. Chord one —position, fans at side. Two —face, half to right, half to left. Three —march to back, joining hands, returning down center, to position on line. Four —numbers 3 and 4, 7 and 8, step back thus : Five —I, 3, 5, 7, and 9 change . fens to left hand ; all open at side. Six —“ Minuet ” courtesy ; ten little grandmothers have stepped out of the 44 'ong ago ! ” (Tableau.) THE FAN FAIRIES. Ilf Fig. 2.—“ Little grandmothers stepped down from the long ago.” Seve?i —turn, fans shut. Eight —position on line. “ This is the way we hold our fans when we are sad *nd thoughtful. (Fig. 3,) Fi». 3. “ When we are sad and thoughtful.” This is the way we hide our fans, when we don't wish you to see them." All mischief again. Fans closed behind backs. FANCY DRILLS AND MARCHES. 118 “This is the way we use our fans, when we talk about our neighbors/' Little couples turn, open fans raised and crossed, bent heads indicating the gossip that is brewing. (Fig. 4.) /< Ffa Fig. 4. “When we talk about our neighbors.” Chord one —Position. Two —face ; march to back. Three —face again. Four —fans raised, with both hands, to front of chests. Five —fans opened. Six —raised to tops of heads. Seve?i —held open at front. Eight —march thus to front. “ This is the way we ?nend our fans when they are torn and broken." Anxious faces, fans half opened, little fingers flashing in and out as if mending. “ This is the way we spread our fans—our fans so neatly mended." Little figures drop to their knees» fans spread on the floor, faces expressing admiration. Chord —all rise. Then softly, dreamily,—“This is the way we sway our fans, when we are tired—and— sleepy.” Fainter and fainter, slower and still nv ~e THE FAN FAIRIES. ii 9 slow, grow the little voices. Heads sleepily sway and nod with the fans. A tremor, asleep ! Then, quick as a flash, fans are waved rapidly to and fro. “ And now we think we’ll say 4 good-night,’ for— (spoken) really , we must be going ! ” Anxiety visible on all faces. 4 120 FANCY DRILLS AND MARCHES. Chord one —face, half to left, half to right. Two —march to back of stage, down center, to pos¬ ition on line. Three —Numbers 2, 4, 6, 8, and 10 drop gracefully on their knees, fans spread downward at sides. I, 3 5, 7, and 9 stand, holding closed fans above their partners’ heads. Four —fans opened. Tableau. Five —position. Six —face to right and left. March three times to back and down center, joining hands. The last time, the little “fairies” pass out at exits, kissing their hands to the audience as they go. The last two, the tiniest of all, step quite to the front of the stage, and with sweeping courtesy, smile,—“good-night!” t 1 4 A DRILL WITH RINGS. iar A Drill With Rings. By Imogen A. Storey. (For very small children.) In order to make this drill a success it requires at least twenty-four children. These may be all girls, or an equal number cf boys and girls. For a national holiday entertain¬ ment the rings should be trimmed with red, white, and blue ribbons, and the suits are most effective made of white with bright red sashes, as shown in the illustrations. The rings are made of light, flex¬ ible wood (a carpenter or even an amateur can make them of barrel hoops). The regu¬ lar gymnastic rings could be used, al¬ though they are rather too broad and heavy for this purpose. If grace hoops are available they will ans¬ wer very well. We will suppose a stage is to be used, though a gym¬ nasium or school-room floor will answer the purpose. The floor should be laid off with a black line in order to insure straight march¬ ing and sharp turns at the corners. The black line should be far enough from the edge of the stage to give sufficient room for the movements. The entrance should be at rear as shown in Fig. A. The class enters by twos and marches (following black lines as shown in A) down center of stage. The i. FANCY DRILLS AND MARCHES. 122 ones on the line marked L using left foot and ones on line marked R using right foot; they skip, using the common skipping step familiar to any child, only add¬ ing this arm movement. As the right foot is in ad' vance, swing left arm over head and right hand on hip, as shown in Fig. I. Continue alternately Follow the lines as shown in A, turning sharp cor¬ ners in opposite directions as indicated by the arrows, and on reaching the rear corner, D S, the command M direct step ” (ordinary march step) is given. This a. command is given as the forward foot reaches the floor; the rear foot steps off with the march. The music for the skip step should be quick, but is now changed to ordinary march time. Numbers I and 2 are now marching facing each other, using one the left and the other the right foot, and both hands on hips. When the leaders reach the lines L and R, in Fig. B, the whole company halts, heels together, at command from teacher or else signal from piano. A distance of twenty inches should A DRILL WITH RINGS. 123 be kept from the one in front all through this drill. The fancy step is now begun, leaders turning on lines LR facing front. Swing andde foot diagonally forward knees straight, and touch toe to floor ; inside arm straight up beside head and grasp partner’s ring. Outside hand still on hip, as shown in Fig. 2 (1st count.) Forward, upward, bend inside knee, knee should be bent to a right angle, toe pointing to the floor. (2nd 1 count.) 4. Inside foot point touching floor (as in 1st count) for the 3d count. Advance the foot a little and place on floor chang¬ ing weight to it, and rear heel raised so that only the toe is on floor. (4th count.) Same beginning outside foot. (5th to 8th count.) The rings are placed one in front of the other so that each child grasps two rings. All take this step together forming by twos on reaching the lines L and R the same as the leaders. FANCY DRILLS AND MARCHES. 124 On reaching the black line in front they should sep¬ arate again, turning in opposite directions, placing in¬ side hand on hip. Continue same fancy step. (Fig. 2.) When leaders reach the points indicated in Fig. C, the whole class should be on these lines, with their respective distances between. The command or sig¬ nal is now given for a halt—all facing in direction that lines indicate, and arms down at side, palms in. s- I. Arms upward bend as in Fig. 3, signal. Inside arm straight beside head (1st count). Upward bend (2nd count). Straight beside head (3d count.) Upward bend (4th count). Repeat this with the outside arm (5th to 8th count), IT. Inside arm straight up beside the head (1st count). A DRILL WITH RINGS. 12.5 # Inside arm upward bend and outside arm straight beside head (2nd count). Outside arm upward bend and inside arm beside head (3d count). Inside arm upward bend (4th count.) REAR Repeat this, beginning with outside arm (5th to 8tt count). III. Inside arm straight forward shoulder high to the front, palms in (1st count). Upward bend (2nd count). Straight forward (3d count). 136 FANCY DRILLS AND MARCHES. Upward bend (4th count.) Outside arm the same (5th to 8th count). IV. Inside arm straightforward shoulder high (1st count), BEAR Outside arm upward bend and outside arm straight forward (2nd count). Inside arm upward bend and inside arm straight forward (3d count). Repeat, beginning outside arm (5th to 8th count.) V. Inside arm straight out to the side, shoulder high, palm to front (1st count.) A DRILL WITH RINGS. i '*1 Upward bend (2nd count). Out at side, shoulder high (3d count). Upward bend (4th count). Repeat with outside arm (5th to 8th caunt). VI. Inside arm, shoulder high at the side 1st count). E&IT Upward bend and outside arm straight at side, shoulder high (2nd count). Outside arm upward bend and inside arm, shoulder h'gh at side (3d count). inside arm upward bend (4th count). Repeat, beginning outside (5th to 8th count). 128 FANG/ DRILLS AND MARCHES. VII. Arms straight forward, shoulder high, palms in (1st count). Upward bend (2nd count). Repeat (3d to 4th count). Arms straight beside head, palms in (5th count). Arms upward bend (6th count). Arms straight beside head (7th count). Swing arms straight forward and down at side (8th count). VIII. Charge diagonally forward with inside foot, inside arm diagonally forward, looking up through ring as in Fig. 4. Outside hand on hip (1st count). Heels together and arms straight down at side (2nd count). Fall diagonally back with the outside foot, outside arm curved over head and inside arm on hip, as shown in Fig. 5 (3d count). Heels together and arms down at side (4th count). Charge diagonally forward with the outside foot same as with the inside. Repeat this (5th to 8th count). IX. Charge straight to the side with the inside foot, in¬ side arm curved over head—outside hand on hip, out¬ side knee straight (1st count). Heels together and arms down at side (2nd count). Charge straight to side—outside foot—outside arm curved overhead and inside hand on hip (3d count). Heels together and arms down at side (4th count.) Repeat beginning with outside foot (5th to 8th count) bringing arms down at side on 8th count. The march is now resumed, marching to the black- line in front, as indicated by dotted lines in Fig. C. Cross in front of each other alternatingly. The march is changed to the skip step when the last couple reach the front black line. Continue the skipping und meet in the rear and exit by twos. CHRISTMAS STARS. U* Christmas Stars. -05 Fancy Drill, Songs and Recitations for a Christ* mas Festival. By Lettie Sterling. Ten girls carry lighted candles in small silver-colored candlesticks. Hair combed high in graceful coiffure ; silver combs, to which are fastened silver or gilt stars made of pasteboard and covered on both sides with fancy paper. White Mother Hubbard dresses, trimmed with narrow strips of silver or gilt paper arranged in festoons, and rosettes of ribbon on left shoulder, from which hang long ends with silver or gilt stars attached. Large silver or gilt star on each breast. White stockings and slippers with silver or gilt stars fastened on toes of slippers. Large, five-pointed star marked on floor of stage, with one point toward audience. At the end of each march, girls pause on star as in Star Number One, holding the lighted candles in plain sight. Tallest girls stand on points. Smallest girls stand at corners. The directions are given to guide, but it is not necessary to follow them exactly, as they may be varied to suit circumstances. The recitations may be given to different numbers from those mentioned, if desirable. Let the girl who is to recite change places with girl on first star point by both passing each other at centre of star. They change back again, in the same manner, at close of recitation. I. 1. Enter with candlesticks containing lighted candles in right hand. 2. March around stage three times. 3. Pause at back. Beat time with feet while waiting. 4. March in serpentine course across the stage FANCY DRILLS AND MARCHES. 130 and back again until front is reached. March around to back and repeat. 5. The girls stand in this order: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10. Tallest girls nearest centre, smallest at each end. Girls 5 and 6 lead down middle of &tage to front, 4, 3, 2, 1 fall in behind 5. 7, 8, 9, IO fall In behind 6. March in couples to front, separate and march across front, down sides and back to place, Repeat twice. 6. March as in 5, but instead of meeting at back, pass each other and go all the way around the stage. Repeat twice and then stand in order 1,2, 3, 4, 5, 6, 7, 8, 9, 10. 7. Beat time a moment. Then 3, 4, 5, 6, 7 take four steps ahead, walking abreast. 1, 2, 8,9, 10 fall in behind them, forming two rows, five abreast. 8. While 3, 4, 5, 6, 7 beat time, 1, 2, 8, 9, 10 follow 1 as she leads to corners of star as in Star Number Two. 9. After 1, 2, 8, 9. 10 are in place, 3, 4* 5, 6, 7 CHRISTMAS STARS. x 3 * follow 7 as she leads to points of star as In Star Number Three. io. In the completed star the positions are as in Star Number Four. This is the position for song “Christmas Bells,’" to be followed by recitation (No. 7 ’s part), “ Inso much.” II. 1. No. 7 leads a march, in which their footsteps trac) Touch palm of hand with thumb, bring it back quickly. c y d, r,/.) Repeat b with ist, 2d, 3d and 4th finger. g) Double the hand up. h) Place the doubled-up hand on the back of the other. i) Lift thumb and hold it up. (j) Lift ist finger. ( k) Lift 2d finger. (/) Lift 3d finger, (tn) Lift ath finger. (») Hold hands in a listless way with tips of fingers pointing toward (ioor for f ro first lines, and let the fingers gently swing. Near the close of the verse make tile fingers still and rigid, and hold them close together. (rge store of material. The contributions are from the pens of the most gifted writers in this field of literature, and the topics are 30 varied and comprehensive that they are readily adapted to the needs of Schools, Academies, and Literary Societies. They arej especially suited for Social Gatherings and Home Amusement, a*., 'the staging required is simple and easily obtained. Model Dialogues By William M. Clark The dialogues comprising this collection have been contributed by over thirty of America’s best writers in this field of literature. They represent every variety of sentiment and emotion, from the extremely humorous to the pathetic. Every dialogue is full of life and action; the subjects are well chosen, and are so varied as to suit jaII grades of performers. The book is especially adapted for School Exhibitions, Literary Societies, and Sunday-school and Social Gatherings. Standard Dialogues By Rev. Alexander Clark, A. M. The author’s name is a guaranty of the excellence of this book. His long experience as a lecturer before Teachers’ Institutes, and his close study of the teachers’ needs, his lofty ideals of education and of life, his refinement of taste, diversity of attainment, and versatility of expression, all combine to qualify him in an eminent degree for the preparation of such a volume. For both teacher and entertaiher this book has special points of merit, as the dia¬ logues are interesting as well as instructive. THE PENN PUBLISHING COMPANY 925.27 FILBERT STREET PHILADELPHIA Entertainment Books for Toting People » Schoolday Dialogues By Rev. Alexander Clark, A. M« TWs book of dialogues, prepared for use in Sohool Enter¬ tainments, furnishes great diversity of sentiment and diction. Although for the most part composed of serious or pathetic subject*- matter, there will be found many humorous dialogues and much good material for the little folks, os well as for the older ones. ; The staging and costuming are of the simplest character, and are bo fully described as to make the task of preparation quite easy, even for the novice. Popular Dialogues By Phinea.* Garrett The author’s large experience in the Entertainment and Amuse* ment field has qualified him for the preparation of book of unusual merit. No work of this kind more fully meets the popu¬ lar demand for interesting and refined entertainment. In this collection will be found dialogues to suit every occasion, either for public entertainment or for a social evening at home. Humor and pathos are pleasantly blended, and provision is made for th4 wants of the young and the old, the grave and the gay, thee'{£P rienced and the inexperienced. Excelsior Dialogues By Phine&.3 Garrett This book is composed of original dialogues and colloquie* designed for students in Schools and Academies, and prepared expressly for this work by a corps of professional teachers and writers. Comedy and tragedy are provided in due proportion, and the moral tone of the work is of the highest order. Teachers will here find just the material for which they have been starch¬ ing, something with plot enough to hold the attention and that will command the best efforts of the older pupils. THE PENN PUBLISHING COMPANY 925-S7 FILBERT STREET PHILADELPHIA Entertainment Books for Young People Fancy Drills and Marches* By Alice M. Kellogg Children enjoy drills, and this is the most successful drill book ever published. It has more than fifty new ideas—drills, marches, motion songs and action pieces. Among them are a Sifter Drill, 'Ribbon March with Grouping and Posing, Pink Rose Drill, Christ¬ mas Tree Drill, Delsarte Children, Zouave Drill, Wreath Drill and March, Glove Drill, Tambourine Drill, March of the Red, White and Blue. Teachers will be especially pleased with the eare given to the exercises for the smaller children. AU ©f the drills are fully illustrated. Ide&.l Drills By Marguerite W. Morton This book contains a collection of entirely new and original drills, into which are introduced many unique and effective features. The fullest descriptions are given for the successful pro¬ duction of the drills, and to this end nearly 100 diagrams have been inserted showing the different movements. Everything i a made so clear that anyone can use the drills without the slightest difficulty. Among the more popular and pleasing drills are: Th» Brownie, Taper, Maypole, Rainbow, Dumb-bell, Butterfly, Swords Flower, Ring, Scarf, Flag, and Swing Song and Drill. Eureka Entertainments The title of this volume expresses in a nutshell the character of Its contents. The weary searcher after material for any kind ol entertainment will, upon examination of this book, at once exclaim, “I have found it.” Here is just what is wanted for use in jay-school, Sunday-Bchool, at church socials, teas, and othel festivals, for parlor or fireside amusement, in fact, for all kinds of school or home, public or private entertainments. The work is characterized by freshness and originality throughout. THE PENN PUBLISHING COMPANY 925-27 FILBERT STREET PHILADELPHIA ’ A Entertainment Books tor Young PeopH Special Day Exerciser By Amos M. Kellogg t Almost every week in the school year has its birthday of a national hero or a great writer. Washington, Michael Angelo, Shakespeare, Longfellow, Holmes, Browning and Emerson are among those the children learn to know from this book. The holi¬ days, Easter, Christmas, Thanksgiving, Memorial Day are not for* gotten ; and in between are many happy suggestions for tree plantr ting, for bird and flower lessons, and debates. Christmas Selections By Rosamond Livingstone McN&.ught For Readings and Recitations Sunday schools, day schools, the home circle, all demand ma¬ terial for Christmas entertainments, and all want something new and appropriate. This book contains just what is wanted. Every piece is absolutely new, not a single one having previously been published in any book. It contains recitations, in prose and poetry, for every conceivable kind of public or private entertain¬ ment at Christmas time. • Holiday Selections By Sara Sigourney Rice For Readings and Recitations T^ie selections in this volume are adapted to ofl the different holidays of the year and are classified accordingly. Fully half of the pieces are for Christmas, but ample provision is also made for New Year’s, St. Valentine’s Day, Washington’s Birthday, Easter, Arbor Day, Decoration Day, Fourth of July, and Thanksgiving. The pieces are unusually bright, and the variety under each holi« day will afford the fullest opportunity for a satisfactory choice; the older students and the little ones alike will find something suited to their different degrees of ability. THE PENN PUBLISHING COMPANY 925-27 FILBERT STREET PHILADELPHIA \