UNIVERSITY OF CALIFORNIA AT LOS ANGELES DRAMATIC GAMES AND DANCES FOR LITTLE CHILDREN BY CAROLINE CRAWFORD Author of " Folk Dances and Games " and "Rhythms of Childhood " THE MUSIC BY Elizabeth Rose Fogg ILLUSTRATIONS BY Katherine Kellogg »• .'• New Vukk 16 4 1 1 A. S. HARNI-S AM) COMPANY I92_' 9941H Copyright, 1914, BY THE A. «. IIAIIMES COMPANY ■•-Jorary 303! THE EVOLUTION OF THE DRAMATIC GAME AS AN ART FORM In the introduction of games as educational material, there has been, until quite recently, no serious study of the different kinds of games so far as meaning, form of ex- pression, and use are concerned. In all the grades above the kindergarten, most of the games have been introduced through the gymnasium, as new modes of exercise. For- tunately, the go-called dramatic game does not offer either the kind or amount of activity to make it generally attractive to the teachers who must give "so much exercise in fifteen minutes." The result has been that the games of skill have gone into the gymnasium as appropriate material, while the dramatic games have been discarded. Almost the only exception to this has been in the case of the folk-dances, and the unfortunate thing in their gymnastic introduction, is the tendency to take the more common and vulgar forms, because the standard of judgment is not for the thought expressed but for the "motor activity." As long as the dance was a decadent art, it could not be expected that it would at first be given serious attention as an art-form. Ilducation is, however, beginning to follow the trend of the creative thought of the present, and the interest in the three united arts, — the dance, music, and literature ^\ ill cause them to develop, educationally, through their proper channels and in their related forms. The earlier classifications of the dramatic games have been: — the form or manner of playing, the subject of the game, and the kinds of exercise for the bodj'. Just to imagine studying dramatic literature under such an a.ssortment of topics reveals the situation in which we find ourselves, educationally, in attempting to reinstate these earlier arts. Under the third heading — exercise of the body, the prize would surely go to "comic" opera because there is so much "motor activity" in that form. In attemi)ting to present this small collection of dramatic games and dances built on another classification and for another purpose, there are several important points to be noted before the art-forms of the little child will have much significance for us. So long as we judged the child's art-product by adult standards, we were iqcliiied to say that the little child was "artless." Not until we hunted out the beginnings of highly evolved activities did we realize that the child is an artist at an early jXTiod of life. His constructive tendencies lead him to build in forms which differ from the most nimplex arts, in degree only. AMien we study what actions he jiuts together to build his plots; how this plot is "whole and comi)lcte" out of his experience; how yesterday's j^lot may not satisfy him toda}', because a new fact must be added to the older group, even though all the relations have to be changed to do it, we find that he is not far away from what we call a technical study of i)lot making. But the signs and symbols which represent these actions that he relates in the plot V. VI. an- soiiu'vvhat diffcri-iit from our dcvclopnl forms. A little child's language for artistic const nu-t ion is a conipo-site. It is made up of actions, tones, words. Sometimes the three foi-ms are ver>' clear and definite, but usually they are fragments put together as Ix'st they serve the puri>o.se. The imi)ortant thing is that children begin relating, organ- izing, composing their experiences into wholes long before the complex symbols we adults u.M'. are mastered. The first plots are told with the actions that accom]>anied the experi- ence; .soon, however, the child u.ses only the emphatic or vivid parts of such acts; and he accompanies this gesture or pantomimic action with all the tones and words he can get; and uses objects such as tally-sticks to help him keei» the incidents in mind. Hut how tloes he relate these experiences into wholes? Is he, as sonic writers on play contend, (|uite free in his work! of relationships, or does he experiment to find ways — laws that are those of all art-form? When we study the princiiiles of artistic comjiosition, we find that children are constantly experimenting in the search for and the arrangement of jnincipal and suliordi- nate parts. A child who is working intensely on some plot, will force his arrangement on even unwilling subjects, so great is his desire to play the story. If one questions whether children really recognize the principal i)art it is only necessary to watch the members of a grouj) struggle for the essential character. Later on, after repeated trials, that same groui) will choose the best child for the story without hesitation. These are factors of artistic structure and judgment as definite as those of a more developed period of literary construction. Even as the arrangement of the forces is found to follow the principles of construc- tion, so also in the movement of the forces in a plot, we find that children build toward very definite climaxes, that they u.se the factors of repetition and contrast to fit the feeling they have of the way things ought to go. Sometimes we undoubtedly judge the repetition of a child's play as jierfunctory, when out of his experience, it is truly cumulative in char- acter. It is true that sometimes the situation is too much for him, and he loses the thread of the storj', but even grown-ups do that and become monotonous repeaters. In his use of contrasting elements, he plays his opposites with the keenest delight, and many times with a vivid con.sciou.sness of humor. The arrangement of parts, and the movement toward climax in the plot arc more or Ies.s cmde, more or less definite in form but are ever evolving toward more definite and more complex types. The use of so much of this experience and so much of that, this degree of intensity of expres.sion and that amount of time given to it, make up the rhythms of comjiosition. Sometimes the child's compositions are worthy artistic productions, sometimes they have no value artisticallj', but are, of course, invaluable psychologically. Many of the games given in this collection are taken directly from children's plots and stories. Some have been brought into more definite form, and some remain, with- out the music, in the fonn that the child-artist left them. 'Mack and Jill" are just our- selves, for we have all fallen down on our way to school. "Hey! Diddle! Diddle!" is a child's bacchanal — everybody is wild for a moment, and "The Old Woman Wlio VII. Lived in a Shoe" represents an incident that sometimes happens both at home and at school. We find the plots becoming more complex in form and in characterization in "The Little So^tti^" "This is the Way My Dolly Walks," and "The Little Leaves." The two oLd^ames "Nuts in j\Iay," and "Three Little Ships" are given to illustrate the development of the principle of contrast as it divides the circle into lines placed over against each other in the one and the antiphonal chorus with question and answer in the other. "Follow ]\Iy Leader" is one of the simplest forms of constructing by cumulative repetition. "Plajing Horses" is another simple form, but it has a more definite idea as the principal part for representation. Such games are soon exhausted by the plot- maker and then more difficult things to do are devised as in "Away We All Go," and "The Thread." Such games often lose the elements of representation Tind become games of skill. In "The Little Ducks," "Lm Very, Very Tall," "Hide and Seek," "Look Out!" "The Horses are Coming," the element of contrast is the chief means of relating experi- ences. Children begin putting together experiences which relate up and down, here and away, coming and going, etc., very early. "Peek-a-boo" is a child's way of saying — "now Lm here, and now Dm away." The games that are given to illustrate the plots of "^Mother Goose" are not to be taken too literally. If jMother Goo.'-c is interesting to children it is because the char- acters are all types that represent their own possible experiences. The plays and dances that are related to literature in use in the schools are sugges- tions of the kinds of dance and plaj' that have artistic value. Some of the dances suggest mood only; like the "Firefly Dance" and "Leaves at Pla3^" Others give the epic as well as the lyric elements of the story. " The Lobster Quadrille" is such a burlesque as children often construct if they have the chance. The following is the full list of the plays and dances directly connected with the literature used in the majority of schools. Mother Goose — Jack and Jill. The Old Woman. The Pussy Cat. Little Miss Muffett. Hey! Diddle! Diddle! Hiawatha— Firefly Dance. Lullaby. Uncle Remus — The Little Rabbits. Old Folk and Fairy Tales — The Sleeping Roauty. The Shoemaker. The Advent uics of a Brownie — The Hrownie and the Cherry-tree. Alice in Wonderland — The Lobster Quadrille. Pinnochio — The Marionettes Dance. VIIL Poems — I Have a Little Shadow — Shadow Dance. Leaves at Play — The Dancing Leaves. Acknowlcdpniont i.s due Elizabeth Ro.se I'opp for her charming and artistic music. Such work mcaii.s hours given in the laboratory of child-life. For the two games, "The Gingerbread Man" and "The Thread" I am mdebted to teachers in my own classes It is hoped that this little oook may .je suggestive to the teacher and that it may helj) to give the child-arti.st a better chance in modern education. Caroline Crawford. New York, ^L\v, 1914. CONTENTS. GRADE PAGE Away We All Go Kindergarten, First, Second 4 Brownie and the Cherry Tree, The Second, Third 75 Dance of the Marionettes, A Second, Third 58 Firefly Dance First, Second 50 Follow My Leader Kindergarten 2 Gingerbread Man, The Kindergarten, First, Second 42 Hide and Seek Kindergarten 20 Horses Are Coming, The Kindergarten 12 Hey! Diddle! Diddle Kindergarten 30 I'm Very, Very Tall Kindergarten 18 Jack and Jill Kindergarten 26 Lambkins Gambol on the Green Grass, The Second, Third 56 Leaves Are Green, The Kindergarten 44 Leaves at Play Second, Third 48 Little Birds, The Kindergarten 16 -— tiTTLE Ducks, The Kindergarten 14 _^_Little Leaves, The Kindergarten, First 46 Little Miss Muffett Kindergarten 32 '^ Little Rabbits, The Second, Third 61 Little Soldier, The Kindergarten, First 8 Lobster Quadrille, The Second, Third 65 Look Out! Kindergarten, First 22 • Lullaby, From "Hiawatha" Kindergarten, First 52 ^Kuts In May First, Second 36 Old Woman Who Lived in a Shoe, The Kindergarten, First 34 ~""^laying Horse Kindergarten 11 Playing Soldier KindiTfrarten 10 Pussy Cat and the Little Mouse, The Kindergarten 28 Shadow Dance, A . . First, Second 54 Shoemaker and the Elves, The First, Second 69 Sleeping Bkautv, The Kindergarten, First 40 This is the Way Mv Dolly Walks Kindergarten, First 24 Thread Follows the Needle, The Kindergarten, First 6 f Three Little Ships First, Second, Third 38 IX DRAMATIC GAMES AND DANCES HIS is one of the simplest forms of playing the game. During the first four measures, the children walk, gradually accelerating in speed up to the fifth measure, when they run. At the ninth measure, they turn around and face in the opposite direction and the game begins anew, jiroforably with another leader. "Follow ]\Iy Leader" requires a frequent change of leader to be an interesting game. Each succeeding leader should add something new to the game until a climax is reached. But when it is reached the play should stop at once. We often see this game "peter out" because the teacher fails to realize that when repetition loses its cumulative character the interest flags and the game is overdone — an anti-climax has developed. FOLLOW MY LEADER. ^1 Marcia. > 4-^ -*--— ^ m Harmonized by Elizabeth Rose Fogg. mmmm^ accelerate. -«s^ -^ — --J- ^^ r r di j=^=j I I J ,^ EE^ Run. N^ ^ ^T 1 -..-•. hm^ 1-^=.! p r r (gi fe^^ 3 :J: 2).C. ;n -■¥ — -¥- • * - 1 3^ - — M ^ w lU s^ r — 1^^— -I I s -1^ — ^ — ^ -m •- ■^=^ -^ *- CopjTlght, 1914, by The A. S. Babnbs Compahv. PLAYING HORSE. 11 The children are in a circle. They start off galloping and go faster and faster during eleven measures, then they rein in with great prancing on the twelfth measure. The game is a fine example, in its elemental form, of cumulative repetition to a chma.x. It can be played in several ways. The horses go somewhere and arrive in great style. Fire horses go like this- -perhaps that's one reason why children so love to follow them until they stop short from high speed. Several children can play horse and take jx'ople out to ride. Several really good forms ought to develop from this very simple one. Galop. Harmonized by Elizabeth Rose Foog. ^ ~:\ ^ r f ^^^r f=r i :£ --=\z ^=^=S -^- -i — 3^q^ it=«=t«=i=l^=#^ t** — h m^^-^ ^m—m — ^ f---rr^ i^SI t=tr i 10 ,Jz=ai__»i=z:ai: 11 ^__^,__ ■ ^ ^ i -• — p- M -■t -*-?- PAr.sE. 12 3^^ -- r /TS I 1- ^ liitard 10-^ i J1__L I I Copyright, 1911, by The A. S. Barnes Compahy. 12 THE HORSES ARE COMING. If the game is played in a circle, no description is necessary with the very well-marked music. But it is much more interesting after the children have played such games as this, to divide the class into groups, and let them go in these several ways. The first group goes trotting by, the next ambling, the third group canters, and the fourth gallops along, and then off out of sight. The music can roiieat from the fourteenth measure and all the groups go galloping past and away. ^ AUeqro '-.1 ;?: a^jt % Elizabeth Rose Fogg. A A m n^ s 4^. 5 Smoothly. Modern to. P ±: ±: ± ± ± ±. ^- ^ * 5= /^^•*'' 1 '^ r L* U« Vo*'-^ {^ 1 J -m — m~ Xi ±w*i: f^~*m,_^m.z it It — *- Copyright, 1914, by The A. S. Barnes Compaht. 13 #% 10 AUejure. Then they all stop and turning about, hop back into the circle again. The game repeats with now jilayors in the center. In this game the greatest freedom of action ought to be allowed. EuzABETH Rose Fogg. Presto. VeriiUnhtJij all t/irour/h. g»^3=» -I 1 , ^ PP 111 Copyright, I'JH, by The A. S. Bar?jes Company. 17 * 6 -. ^f^^^ tr. r>^5 M r J ■ L. ' ti— ^+t ^- :i -^ fay- ^ y ■ > i 1* 1 1 1 i 1 1 r 1* r 1 (^^-=tT=±=b=d 1 ! 1 1 — 1 *. If 8va .12:! 'if= — r . ■ " f— -- -^H^^ -ft-a f - // ^« M ^=g- 5ra,, ,^13j^ ^ U^ Jir) is^^^^^^ ^ //// PP no ritard. -«f ^ »»- ■*- ^u « tJ.]g 7-^ ■> ip'n i 18 I M'VERY* VEKY' lALL 'M VERY, very tall, Or I 'm very, very small, Sometimes tall, sometimes small, Guess which I am now! The children are in a circle with one child in the center who covers her eyes. Some one in the circle is chosen to tell them which they are to be — tall or small — at the end of the game. As they sing, "I'm very, very tall," they all stretch up as high as ever they can. "VNTien singing, "I'm very, very small," they make themselves as tiny as possible. They stretch up again as they sing slowly — "sometimes tall" • and down with — " sometimes small." After a verj^ short pause while the one named at the beginning of the game gives the signal for them all to be either tall or small, they sing quickly, "Guess which I am now t" For very little children it is better to change those having the principal parts each time the game is played. 19 * I'M VERY, VERY TALL. EuzABETH Rose Fogg. Marcalo. I'm ve .4 *~*^ ^-^^E^^^^^=M ve - ry, re - ly lull, P PP I in ve - ry, ve - ry suiall ; Jr- f 5 ■:s^ $ I: Id: d: 1^ —3L — M- — ^-^'^ Some - times t;ill, ^4= -=!: =1: some - times small, fiuess wliieli I am Aieel - er - an now : do 9 Copyright, 1914, by Tiik A. S. Uaunes Company 20 HIDE AND SEEK. Hide and seek! Hide and seek! Oh, you dare not, dare not peek. Look and see when you are bid AMio it is that wo have hid! The children form in a double circle, with one of their number in the center who covers her eyes. While they are walking around and singing, another child chooses some couple to hide behind. As they finish singing, all face center and the child on the outside hides behind some two who cover her with their skirts. The one in the center must guess where the missing child is, and then who she is. At the first of the school year, it usuallj' causes enough suspense in the game to find the child. Later, the fun is to guess who is hidden. 21 HIDE AND SEEK. Moderatn. Elizabeth Rose Fogg. m_ :* i^^^=^^ r Hide and seek! Hide and seek! Oh, yon dare not, dare not peek. S^^ :p £ =3= 1 :p=aC i: J- s s it: >N ,1111^ ^E3 ipl « — :^— ' — I *• Look luid se(! when yon an- liid, Wlio it is that we have hid. ^^ 5^ ^^^=r=^p^ CopyrlKlit, I'.iM, by Thk A. S. Uarnks Comi-any. 22 LOOK OUT! The children are in a circle with one in the center who covers her eyes. During the first three measures thej'' all walk slowly and cautiously toward her, watching to see what she is going to do. Suddenly she takes her hands away from her face and they run away as fast as they can. (Measures four and five). But they look back and the child in the center is just laughing because she frightened them. Thej^ turn and go toward her again (measures six, seven, eight). This time they are much bolder and the}' go faster. On the last note of the eighth measure, the center child starts toward them. They run again (measure nine). But she laughs at them once more and they all turn (measure ten) and go boldly toward her laughing. In the center, they jump up and down as they clap their hands with glee. I Moderalo. ^-- LOOK OUT! 23 Elizabeth Rose Fogg * --- nn Mi/slerioui* ■f- i=^i= & 1 <& — ^— -1 — ^» (S BoXdhj. .10 I I .? » » 11 I 12 'T <^:^< ^^ accelerale. > ^ d ^ -»L- i^:* Pffslo. I J— »-^L— J: g 1 Copyright, 1914, by The A. S. IIabses Compaxv. 24 Ills is the way my dolly walks, This is the way she walks, you see. This is the way my dolly runs, This is the way she runs, you see. This is the way my dolly hops, This is the way she hops, you see. This is the way my dolly talks. This is the way she talks, you see. The children are in a circle. They make themselves very stiff in the joints and move like dolls as they go around singing the first stanza. During the second stanza they run, and during the third, they hop. At the fourth stanza, they push the spring in their chests with great vigor, and many times the words sung are the ones their own dolls speak, instead of the ones written above. It is needless to say that the laughing climax comes spontaneously at the end of the game. THIS IS THE WAY MY DOLLY WALKS. Moderato. Staccato. • • • • • » • 1 • • • • / /«^ 4 1 1 , III 1 I / '* 1 m III 1 1 1^ « ^ — ' 1 ■ - • ^ • 1 \:\) 4 • J ^ 1 m, ^\ , ^ «l 1 This is the way my ilol - ly 1 walks, And this is tlie way she 1 (^:»k , _* . '! ^"F I ^*^T ^- r * —J ^ — 1— — H — \— —J — \j \ — 1 W s .1 s ! -< Copyright, 1914, by Tue A. S. Baenbs Company. %-= ^^^^^ ^ Muns. Allegro. 25 m walks, you see. *I=Jt This is the way mv dol T *-.T^ ^ runs, and lEt ^ this is tlie way she runs, you see. :t: Hops. AUe ^ * --=r- '^^ dol § ? ly hops, and this is the way she hops, you see. ? Talks. Lifihtly. A -•-e A This is the way my dol - ly tiilks, and this is the way she t^ilks, you see. t7^ i s * II Copyright, lUU, by Tuk A. S. IIaunes Compajjv. 2a JACK AND JILL. The children start off in a double circle skipping joyously. They begin quite mod- erately but increase in speed until, at the beginning of the tenth measure, they are skipping pretty fast and with a very high step. On the fourteenth measure, they all fall down. And the "boo hoo" follows in the si.xteenth, etc., measures. "Jack and Gill" is typical of an experience common to us all. We remember start- ing off to .school on a fine morning with very clean clothes, with lunch basket filled, and with such hajjpy hearts that we couldn 't help skipping along. But we stubbed our toe — it was all over. AUeijro. ^tfe^ Eliz.\i5eth Rose Fogg. //// ^i^ ^^^4 1^=^ ::3: -J"=^ ^k -^—f^ =f^ m. f • J^.f-- T#»"5 — ^=«=:^«_^- -^— ^- 1^=?= :^=^ Copyright, 1914, by The A. S. Babnes Company. 27 .ji-l^ — >r - -' ^=^- ^^ ^= // 3==^ ^^i^^ -¥«^ ^ ^- ^ ^• i+TT-?- iSS ^=::it: 0«- i ih '^-^ ?— *: ^ /> Lento. '^=^^^ A A :^^?=^:4 -^—m=-m- n 28 THE PUSSY CAT AND THE LITTLE MOUSE. The {•liildrcn arc in a circle. One is chosen for the cat and another one, on the opposite side of the circle, for the mouse. The cat during the first four measures, comes creeping softly and slyly around to the mouse. At the last note in the fourth measure, the mouse sees the cat coming and runs away around the circle. The cat chases it, and at the eleventh measure, the mouse reaches its place and gets home again, safe at last. In characterization wo need to remember tlio very important cat that only frightens a little mouse. The length of the music is planned for a medium sized circle. If it is necessary some measures can be repeated to give the time necessary to run around the circle. THE PUSSY CAT AND THE LITTLE MOUSE. 29 Myaterioitaly. A^-^-m- 1- EuzAiticTu Rose Ffx;G. ^tJ'L :i*. ^ -^ g, — St^EEli: /^ :? 1 ^. > «?- 8va^ ^M -^ -I H -F— *-fti Alleyro. -tr^ ¥ ^ ;it <9t;rt_ ^ ^ ^ *■ ^ . ^•^^■■^ ^ ^-^ s gl^^E^^ i ►==:*: 2^ — »? ^ «»- f^ c^ — *- 1^ -« ;: S >-:-ll CopyrlKht, I'.'ll, liy Thk A. S. Haksks iHxipasv. 30 %iHEY! DIDDLE! DIDDLE!^# UKIXG tlic first two measures, the children get ready in the circle for the play. Sometimes the}' run, sometimes clap their hands and sometimes they jump up and clap their hands. It depends on how excited they are at the beginning of the dance. At the third measure, they begin skipping around the room. They skip higher and faster with increasing speed and greater variation of step until the tenth measure. Then they drop to the floor with a sigh of relief. ' This game can never be played in cold blood. It is an expression of certain moods that we all know in children. When they are so excited that they cannot stand still, or when everybody is beginning to go wild, are familiar enough instances of the times when such moods are seeking expression. The teacher can, if she is alive to such situations, insert such controlled expression as comes to a climax in place of the wild time that often ends in tears. 31 Lento. HEY! DIDDLE I DIDDLE! Elizabeth Rose Fogg. Pretto. LvjJitli/. i* -^ S- -y y *i f -^ — ar— - • ^ -.^ ^r^ r ^^^^^ EiJ S i=t=^t=^t T^b ^ !:• ■-'!• ' ^ > ^ r * ^ r ^ ' ^^T — 5? p 1 \ i^-\ — K" ^ ^^ fef — ^-g^ — ^ '^^ F £z=e — H, 1 ^ \ sr ;f3?^i=^ -I i- I * * ^- ^ m- cres. % * tep^^ f s // crc5. Accelerate. il Is ^ ii tez=t: ;=Ki ^ CopyrlRht, I'.iM, by Tiik A. S. Barnes Compahv. 32 LITTLE MISS MUFFET. During the first four measures all the players sit in a circle or a group, rocking them- selves and eating very complacently. At the beginning of the fifth measure, they jump up and run away in great excitement. Two moods are related in this game, — the first, the self-complacent attitude that is' apt to appear, even in adults, when everj-thing is going smoothly, and the second, the ex- citement of the unexpected catastrophe that appears when one is so very comfortable. Dreamily. ^i=B P i ¥^ 33 LITTLE MISS MUFFET. Elizabeth Rose Fogg. ^y?=^^ -<^ — tl^?»=^ <^' ^^ A'Hfcto accelera/o. is^- > :?ic ^rii- iJF= A cres. h:- K^ <■■ — r — <•■■ =lJ»t // */ ej^ M ^ u Copyn«lit, I'JH, by TiiK A. S. IIaunks Comi-asv. 34 The fliil(lrt>n are in a circle with one in the center to represent the old woman. During the first four measures they run excitedly about as if in some game and not paying any attention to the one in tlie center. At the fifth measure the center player pretends to beat tln-ni all .soundly. They gradually become quieter until the ninth measure when all are still, and they are lying down peacefully sleeping, at the tenth measure. To represent the confusion of the first four measures, it is necessary to have a very definite plan of action. Some of the players must go in a certain path following a leader and others in another. Until the teacher realizes that the more confused and complex the action, the greater the need of definite organization, it is better not to attempt this type of dramatization. On the other hand, it is one of the most vivid ways of training the expression of changed moods. THERE WAS AN OLD WOMAN. KUZABETH KOSE FoGG. „ 1 Allegro. Excited. 2 35 l*=?^> ^^^W^ =jMH^ ^-ff= ^ ¥=^-- -T — r 1 t=3 :*=s< -M*-l: tf#- g^i^^E^^^ Heavihj. ^E ^fS- JS « ^ 1^ 1^ -I- 5^^ l^^^^i^ill 10 3 Ji. /^ I A i^-^: -^ ^- ^P^E^^ 3 II II Copyright, I'JU. by The A. S- Uaknks Compasv. .>^ NUTS IN MAY. 1. Ili-re we conic gathering nuts in May, Nuts in May, nuts in May. Here we come gathering nuts in May So early in the morning. 2. Whom will you have for nuts in May, Nuts in May, nuts in May? Whom will you have for nuts in May, So early in the morning? 3. We will have (Mary) for nuts in May, Nuts in May, nuts in May. We will have (Mary) for nuts in May So early in the morning. 4. Whom will you have to pull her away. Pull her away, pull her away, Whom will you have to pull her away. So early in the morning? 6. W'e will have (Jane) to pull her away Pull her away, pull her away. We will have (Jane) to pull her away So early in the morning. The children form in two lines about six or seven feet apart. The first line walks toward the second during the first four measures, singing: "Here we come gathering nuts in May Nuts in May, nuts in May." They walk backward to their starting place during the next four measures singing: "Here we come gathering nuts in May, So early in the morning." The second line then walks toward the first line on the first four measures, singing: "Whom will you have for nuts in May, Nuts in May, nuts in May?" They walk backward on the next four measures as they sing: "Whom will you have for nuts in jVIay So early in the morning?" The first line continues with the third, and then the fifth stanza and the second with the fourth. 37 At the end of the fifth stanza, the two players (Mary and Jane) chosen come out between the Unes. They join right hands and place one foot against a chalk mark on the floor to see which can pull the other across the line. (The teacher needs to control this by signal; i.e., counting one, two, three). The one who succeeds takes the other child to join her line as an added player. The game now repeats with the second line beginning, and singing stanzas one, three and five. This, of course, gives the second line the choice at the end of the game. The game continues in this alternating manner until one side has added a certain number of extra players. Dramatically, the game is over as soon as one side is thought to be stronger than the other. Old English. NUTS IN MAY. tkku ^m Marcia. Harmonized by Elizabeth Rose Fogg. r m ^ 'p 3 ^^^ T= ^ ^ J Pi :tac ih P^ ^ r Vf- (c-m ^s^m^ ^ * * * i -^ ^.=3? il Copyright, inu, by The A. S. Bakskk Comi'any. n n 1 1 (i 3tt THREE LITTLE SHIPS. 1. Three little ships came sailing by, Sailing by, sailing by. Three little ships came sailing by, On Christmas Day in the morning. 2. And what was in those ships all three Ships all three, ships all three? And what was in those ships all three, On Chri.stmas Day in the morning? 3. Our Savior Christ and his Ladye, His Ladye, His Ladye, Our Savior Christ and his Ladye, On Christmas Day in the morning. 4. And whither .sailed those ships aw'ay, Ships away, ships away? And whither sailed those ships away. On Christmas Day in the morning? 5. Oh, they sailed into Bethlehem, Bethlehem, Bethlehem. Oh, they sailed into Betlilchem On Christmas Day in the morning. 6. And all the bells on earth shall ring. Earth shall ring, earth shall ring. And all the bolls on earth shall ring, On Clu-istmas Day in the morning. Old English. The players form in two lines a few feet apart. The first line walks forward toward j the second, singing: 1 " Three little ships came sailing bj', Sailing by, sailing by," ' The line then walks backward to place singing: "Three little ships came .sailing by. On Christmas Day in the morning." 39 The second line now walks forward toward the first sin}jjing: "And what was in those ships all three, Ships all three, ships all three?" This line walks backward to place singing: "And what was in those ships all three, On Christmas Day in the morning?" The first line continues with the third stanza and also the fifth in the same manner, while the second line carries the fourth stanza. At the sixth stanza the children all join hands as they skip around in a large circle and sing in imisan. Marcato. ?M^ :^d=zr THREE LITTLE SHIPS. Hariiionizeil by Elizabeth Rose Fogg. s =1^ _l 1 1- I i^i^^f r ^ I :i^=^ -^— •- (•• r I i=g: ■a- 3 :ij: ■*-r S JiJt II Copyright, Uil4, byTiiK AS. IUiinks Company. 40 THE SLEEPING BEAUTY. Characters: The Princess The Prince The Fairy The Courtiers The People The childrpii arc in two circles. The princess stands in the center; the courtiers are in a small circle around her and the people in the larger circle outside. The prince and the fair>' are outside the large circle. 1. The circles move around in opposite directions. The princess is so beautiful, beautiful, beautiful, The princess is so beautiful, so beautiful. 2. The children stand still and lift the forefinger warningly at the princess. Oh, little princess, have a care, have a care, have a care. Oh, little princess, have a care of a wicked fay! 3. The fairy breaks through the circle and goes to the prince. There came a wicked fairy there, fairj' there, fairy there, There came a wicked fairy there and said to her, 4. The princess falls down asleep and the courtiers follow her. The fairy sings: Princess! sleep for a hundred years, hundred years, hundred years, Princess! sleep for a hundred years and all of you. 5. The children in the outer circle now join hands and raise them high to form a hedge. And a great hedge stood up giant high, giant high, giant high, And a great hedge stood up giant high, to guard them all. 6. The prince breaks through the hedge and goes to the princess. Then came a prince unto this place, to this place, to this place, Then came a prince unto this place, and said to her. 7. The prince sings: Oh little princess, lovely maid, lovely maid, lovely maid! Oh little princess, lovely maid, awake and arise! 8. The prince lifts up the princess, the courtiers form in couples and those in the outer circle step backward. The little princess then awoke, then awoke, then awoke. The little princess then awoke, to be his queen. 41 9. The prince and princess walk around the circle followed by the courtiers. Then was held a wedding feast, wedding feast, wedding feast, Then was held a wedding feast, a wedding feast. 10. The prince and princess with the courtiers dance in the center and those in the large cirde skip about them. And all the people made merry then, merry then, merry then, And all the people made merry then, through all that land. Old Germ.\n. I Moderate. THE SLEEPING BEAUTY. Harmonized by Elizabeth Rose Fogg. :^f=F :t- S -5 ^ ^ )-:r2 m -I 1- ^= ^=r ^ *r=it dr: --I- teS? Copyright, WH, by Thk A. S. Baunks Company. -^ =S=faj: I — r .11 II 42 THE GINGERBREAD MAN. 1. I've run away from a little old woman, A little old kettle, and a little old man. I've run away from a little old woman. And a\5ay from you, I can, I can. 2. 1 ve run away from the men that thresh, And I 've run away from the men that mow. A little old woman, a little old man. And away from you, I can, I can. 5 FOX Tlie threshers (o) and the mowers (x) form a double circle with the little old woman (1), the gingerbread man (2), the little old man (3), and the fat rolling kettle (4), in the center. During the first part of the music (8 measures) all the characters are busily engaged in the .several occupations; the little old woman is kneeding the dough and the old man i.>< watching her, while the threshers and mowers are at their respective tasks. .\t the fifth mea.> ^^ T ^^- i A ^^ :ts=it H *-r_* S frost -y weath-er, Then they will all come > _ ■^ ^ ^ ^ down to - gftli - er. :^d3* r- T II Copyright. lUH, by Tub A. S. Uabsks Comi-anv. 4G THE LITTLE LEAVES. Round and round and away we go, Here and there and yonder! Round and round! Oh, see the snow! Round and round — and under. The children are in a circle. During the first three and one-half measures, they run forward lightly, turning around twice in each measure. During half of the fourth and the fifth measures, they leap and go forward with three high, light running steps. They stop suddenly on the sixth measure, holding themselves poised as if to dash on again. But the end has come, and during the seventh and eighth measures thej' whirl slowly into the center of the circle and all softlj' sink down to the floor. The words are given to suggest the necessity for definite thought in the actions. Children should not attempt to sing them while dancing, but they might say them softly to themselves until the thought is definitely portrayed through the action. This game follows "The Leaves are Green" in complexity of plot and development of the suggestion of the leaves that come, and go, before the winter and the snow. The teacher, as in others mentioned, can, however, attempt to pull too much out of it or teach it as mere gjTnnastics, barren of any thought. It is suggested that the middle course be tried. 47 THE LITTLE LEAVES. 1 Allegretto. Elizabeth Rose Fogg. 3 !^ ^ m -^ m m -tfi :*=:£ :f-r^^ "i £ s Accelerate. ft PP^ ^ 3»:i f" Presto. ^r / 'if ^=^ 8:2^ :f=:^. :i -*-r4 ^^s • Jf *»- II -^ — *f- H Copyright, 19U, by The AS. IIausks Comi-ant. 48 LEAVES AT PLAY. The simplest form in which this may be danced is in a large circle with all the children moving around in the same general direction. During the first measure, they run forward six, fast, httle steps, during the second they turn around twice. (The whirl is made by lifting the body high on the toes and running around with the arms lifted to balance). The third and fourth measures are the same but with a little greater speed and more emphasis. During the fifth measure, they run forward three steps and leap upward. This movement repeats during the sixth and seventh measures. At the eighth measure, they run forward three steps and whirl around once. During the ninth, tenth, eleventh and twelfth measures they continue whirling twice in each measure and moving forward with each turn, as the speed and range of movement increase. (The best dancers will vary in number and speed of whirls) . On the thirteenth and fourteenth measures the turning becomes slower and less regular, and on the fifteenth and sixteenth the children gradually change to swaying rather than turning about. During the seventeenth to twenty-first measures, the movement of the first four measures is repeated but with less emphasis and more softly, — the impulse has been partly lost. On the twentj'-first measure they run as in the fifth and attempt to leap, then during the last three measures they whirl slowly, sinking lower as they move until at the end they have all fallen quietly to the floor — the leaves are still. No two children will ever be exactly alike in mood, and consequently will vary in their expression. The important thing is that they show in face and body that they feel the lovely, light, floating mood of the dance. The danger is that certain "steps" will be taught in just this or that manner, — then the dance will become "Dead Leaves." After the dance has been learned in circle form, it will be interesting to let the children place themselves in groups and so get, with greater freedom, a little nearer the mood that they are trying to capture in their expression. This dance has been so well executed that the suggestion of the loveliness-that-passes was most beautifully realized. Allegretto. 1 m ^ LEAVES AT PLAY. 2 tr tr Elizabeth Rose Fogg. ^ tr tr P y0 ^<^ • •f' P I "^ -^ ir^ P .^r^ ^^ — m- ±=^EZz: Copyright, 1914, by The A. S. Barnes Company. 49 i=h= w-^- w — |V ■*?—'?- r ^S^ —I 1 ( ; (I ^;=:,i=:p -?-i — H -^-r5=b^^=^ -^-^ ^ *y ?r- | ;i^ ^P^^e^eeS^ 1 *^^_j_^:^_j^-p^ accel. iip \ ft^ ^^_*f 13 14 --'i^^-- Agitato. i^ iS34^^-- *t r "^"^ : f i -^ ip liitard. w, -"£^ — g- ! I i 18 19 20 a -s--^' 1^^ ^ rrj_f_:^ -\= ^==3=3 t: a tempo. mo A- ^— 1 -^—- ^^ia^=F= ^^^li ^Eki ± 21 00 23 ^_Eg=r=gEJ^g^^ - 24r f/... j^: i .11 50 FIREFLY DANCE. "Saw the fire-fly, Wah-wah-taysee, Flitting through the dusk of evening, "With the twinkle of its candle Lighting up the brakes and bushes, And he sang the song of children, Sang the song Xokomis taught him: Wah-wah-taysee, little fire-flj'. Little, flitting, white-fire insect. Little dancing, white-fire creature, Light me with your httle candle, Ere upon my bed I lay me. Ere in sleep I close my eyelids!" The children may be in a circle, but it would seem better to try such a dance as thig by letting a little group move freely about, then let other children try it in small groups, until all are on the floor and plajing in groups that are related in the action and in the movement. Irrecjular regularity is the kej-note of such concerted movement. During the measures one and two, the children take four walking steps. These are light, high on toes, and fairj^-like. During the third measure they leap, then turn from side to side, looking about with quick little darting glances; repeat on the fourth measure. On measures five and six they whirl as they run forward, then stop suddenly as they look around. This movement repeats on the sixth and seventh measures. During measures eight to twelve, they all run two very short steps and stop. This movement should be irregular, however, and yet light in character. It ought also to cover a good deal of space as it is the climax of the dance. During measures twelve and thirteen they step, then pause, step again and pause, and during fourteen and fifteen whirl in a little circle and then pause. Measures sixteen and seventeen repeat twelve and thirteen. All run away on the last three bars of the music. This description is only a suggestion of the thing we are after— the darting, fairy- like quahty of the twinkling ^re/y. It comes and goes before us and the child may catch a suggestion that probably should not be brought to any more definite form until much later. When, however, the child glimpses the significance of such a personification, the crime of all crimes in education, is that we teachers are blinder than those we attempt to guide. And what is this suggestion, and what does it lead into? If anything worth while, some day it ought to carry us over in thought and feeling to those fireflies of the imagina- tion, those fairies that go, — 51 "Over hill, over dale Tlirough bush, through briar. Over park, over pale, Through flood, through fire, I do wander everywhere Swifter than the moon's sphere; And I serve the fairy queen. To dew her orbs upon the green." SlIAKKSPKAUE. To force such a suggestion of which this is only a germ, upon tiie little child, or to teach the dance in the formal gymnastic fashion, would reveal the teacher blind to the thoughts, feelings and actions of little children. FIREFLY DANCE. I Allegro. ElIZARETII Uf)SE FOOG. liidiiiii. P !!-»-*- fi> ^ !--«- ii>- M. (-52^^-^^ ■ « -^ !>■ "■ -^-^-^- -if-V->- *i *r — f-= ^--H — - K ^ 1 =?-t^-^ ( S- ^ —^-^- a 14 ^15 Ifi 17 18 1!> po p llilnril - on - do. PP Y '- — T Y^^^^- ^ Copyright, 19H, by Toe A. 8. Barnk!) ConrAsr. 52 LULLABY FROM" HIAWATHA." Ewa-yea! my little owlet! Ewa-yea! my little one! Who is this that lights the wigwam? "With his great eyes lights the wigwam? Ewa-yea! Ewa-yea! my little one! The lullaby is given in two keys; as the lower key seemed better fitted to express the Indian quality. The melody has been written in a higher key in case the first is thought too low for children 's voices. 53 LULLABY. Elizabeth Rose Fogg. Iiiiliaii. i Su-i7if} in q rh yth m . 4,^ ^: — '1 — ■!- , s- g i^ |S- ^^ P=^ Andante. Accent firm 1 1/ bat never hard. E - wa - yen I my lit - tie ow - let 1 ~~-^>^ XT -> 1- -^^^■^"^ ^- E wa - vea ; niv lit - tie one I AN'lio is tills tliat i . /CS — 1^ :g. -^ *- lights tiie wig - wain? Willi Iiis great eyes lights tlie wig - wain'.' J{Utirdando. /CN ^^ -S==5 ^:=i ~r~ pj^ "J"' i E - wa - yea ! E - wa - yi-a I my lit - tie CopyrlKht, 1914, by Thk A. S. Haunks ConrAHT. Olie I 54 The children are in a hne all facing in one direction and they play that their shadows are either to the right or the left of them. During the first measure, they walk slowly four steps forward watching to see the shadows move. On the second measure, thej' dash forward with little short running steps till the last note, then they turij and look for the shadows again. On the third measure the movement repeats. During the fourth and fifth measures, they all turn to face the shadows and try to step on them — four very emphatic steps. During the sixth measure, they turn as at first, stretch to make themselves very tall and run forward very fast. At the seventh measure they make themselves as small as possible and run again. During the eighth and ninth measures, they turn and trj^ to jump through their shadows with four long jumps. Beginning with the tenth measure they all turn around, back to shadows and walk proudly awaj', without one look behind. This little dance goes with much humor, for all children have tried these things over and over, and their enjoyment in teUing the story is full of the mischief that anticipates the end of it all. A SHADOW DANCE. 55 AUegro. Staccato. EiJZABETn Hose Fogg. '^ 3. . . • • • • ^ ~&=1Ef^ Lifjhthj. 1r— ji'-tf- Vi/ ^«^l i** A A A A ^A wm^^ 8va ,.m.V^ ^ ^ A :pcp J J road. J^h ff =*-F Sfc ^=^ -F i Lii/Jitli/. L. H. ^;y; y/ecicy // ^ /fZ. fe^ -^t- • — I — ^ — I — — • — -^- 1 ^^ lOj "# .»• * = ^ = i&EE^ .11. fer// dignified. SFr=f=r -H: ^ » -- liilordandii. m -*- t ^tt J- «-f 3 I Jl Copyright, UUI, by Thk A. S. Hausks Compasit. 56 THE LAMBKINS GAMBOL ON THE GREEN GRASS. The children ma}- be in a circle or they may be in several groups or small circles. Any one who has seen little lambs skipping about with their stiff, wobbly legs knows how children enjoy the humor that the dance expresses. If children have never seen lambs playing, have them play "stiff in the joints" and the dance will come of itself. During the first measure all take two running steps and leap up from the floor, landing with very straight legs. Repeat to fifth measure. During the fifth, sixth, seventh and eighth measures, all take three short running steps, then one little leap, one step running and a big high leap, and down again stiff and wobbly. During the ninth to fourteenth measures, all run — run — run and leap high in air. Repeat during thirteenth to eighteenth measures. During measures seventeenth and eighteenth, all leap up and turn either right or left as they come down. Repeat on eigtheenth and nineteenth measures. During measures twenty to twenty-four, all jump directly upward three times in succession coming down with stiff legs as before. The humorous quality of this little dance will be greatly enhanced by placing the groups rather irregularly about on the floor. THE LAMBKINS GAMBOL ON THE GREEN GRASS. Count 1 in a measure. Elizabeth Rose Fogg. Alleqro. Well accented. 1 ''A 5 ^ -^ A . " .. ^ A 4 A **: ;^ r: *- ^^t^ Copyright, 1914, by The A. S. Barnes Company- 57 5^^ «&_TMsr «^_ -^ > V - 1^^^T^=^ ^ "" @Et >- i A 12 ♦ 13a :2: X- >- -^— ^- -^ «f- u^ g 15. 16 17-- 18 2: =F *f ^ ■^ r -■&■ @ 1^=1^ -^? ^- S J lit-— 2=^ 20 21. 99 23 ^, 24 ^^ 5 I ^ :;=Pa(^ =tl _•?_ _> '^ Em. ^=^-.^&^ 3^5" 58 DANCE OF THE MARIONETTES. One is in the center with tlie others grouped around him. During measiu-es one and two all in the circle dance forward, hopping twice on each foot, with the arms bent stiffly, and with the free foot raised forward like a wooden leg. During measures three and four all dance backward, either in the same manner, as above, or hopping on both feet. During measures five and six, they all dance to the center again and this time the leader in the circle takes the one in the center and dances him back with them all, during measures seven and eight. Then all form in couples with arms very stiffly joined at elbows (this is done b\' crossing the forearms). And all dance around the circle with the same step as at first during measures eight to eighteen. During measures seventeenth to twenty-two, all face partners, join right arms and dance around each other with a step and hop on one foot while the free foot is swinging forward stiffly. On the twenty-first measure change arms and dance left around partner. At the last measure, all face center and jump high as possible. 59 A DANCE OF THE MARIONETTES. AUerjro. Staccato. Well marlced. Count two in a 7neasure. Elizabeth Rose Fogg. '^^ SE^i > 7 w S^^£ :fci^=:i^ ^^t ^•iTi': -« -t7— tr- -i<* — ** 1^=^ -I tH >— r^ Zl Jt 1^=3: =^=F= i=:ft=i^:?=P^ • ^=^ ^^ S : ^ .r J L ^ * - ^=^=5: -^ ,f • • :^ >-i ^ ^ :^3E^EE=±:E:£E V U ^ 5. rp. It: Js? 5iv/ r-i — ^ ^££ It K=^ ^-i*u — -.L-f-?- 1^ ^ -«- Copyright, I'.iU, by 'I'll K A. .S. Baknes (.'ompany. 60 8va^ 6. *f 1- 11 :«i4 :?E53 ■^ — ^ fe^s^*a • • m. > > # ! 1- > < ! — ^ 1"=^ -:^ j^^k i -« — (ft- -J- -« — «;- ^ 14- 15 :z:. . IG £S=^ -+-7- ^?=^ \A t;z^= ^=>=^ ^^ :^-=^ -t^- ::^i«-s: -VS^ — •-r jl:^ ^^^^^^^^^ m rj ^— jy— "-jy -l*- 1 ' M — • — m — ' — \'^ — . 20 . agE££^ ^^ ^ :pS— *— *f-,^- ^. » « ^^ '^ » 1^ ^ >« t^=?=^ 3=*^--^ -*^— ?- ^ sr ^ ^==t^: 23 24 ^> : ^=^^^- U-^^^~' :^-5=Pe: . accelerate. £=E ^ -y » i." ^=^£ A E^iB ^/ 61 THE LITTLE RABBITvS. Characters: The Fox The Little Rabbits The fox is sitting watching the rabbits who are huddled together on one side of the circle. During the measures one and two, the fox stands and sends the rabbits to do his bidding. o°o° RABBITS During measures two and four, the rabbits \n>[) across to get sugar cane. During measures five and six, they are attempting to break it with great effort. During measure seven they all stop and listen. During measures eight and nine, played the first time, they gnaw with great gusto, and hop back home on the repetition of the music. There is a pause — the fox is thinking what next to do and the rabbits are watching him. During measures ten and eleven, the fox sends them out again. The rabbits hop away during measures twelve and thirteen. During fourteen they lift the sieves high, and repeat during fifteen. They all stop and listen to the bird singing during the sixteenth measure. Thov lift the sieves high again during the seventeenth, and all hoj) back lidine during the eighteenth and nineteenth measures, carrj'ing the water carefully in their sieves. There is another pause like the first. The fox then angrily sends them out again during the twentieth and twenty-first measures. During the twenty-second and third measures, the rabbits hop out again. During the twenty-fourth, fifth and sixth, they pull and haul in all directions, then stop and listen for the little bird to sing. During the twenty-seventh, eighth and ninth, they all push the log home together, turn and look at tlie fox who, as he watches them coming, gets ready to go, and during the thirteenth measure he sneaks out. Then during tlic last five measures they hoj) about the circle with great glee. This dance can well begin with the log-rolling epi-sode when it is too difficult for the cliildnMi to carry so many incidents in mind. In that ca.-^e the nuisic begins at measure twenty. The dance should never be attenijited before the children know the story. 62 Part I. Very heavi/. Sloirli/. 1 THE LITTLE RABBITS. Elizabeth Rose Fogg. Lightly. Entrance of liahhits. ^^^Wai^^^^^ / PP ^ :i=4=|: n-- ^ ^= ^ \ — S Si — m OBz^il: 3^=*=^_^t=*=:5t=*=^:y ^-"^ -ir -* — s- Lightly. Bird singing. Heavy. Atlemjit to break. TfT^^a*^* "^^ '4^ ~~~ •^' 'm ^li :m ^inc ^ i»/^. gl^l^^^^^^-gg^ : ^^,^ ^ ==iE==:'i Tart II. JIappy. Light. Gnaiving and exit of Itahhits. Heavy. Sloic. :fegg 10 X- ^^ •^ i S- HEtjEES^ -9- — m =«s C7- ^^ l£ 6* ^ p ^^.P^^*^^=^^ -^--*- 1^=:^: =if^= ""-4r~|". -a- '^ P 12 ^«^ oflialbits. 13 -^ ? 3 =g — ^^EiE=;| Ig ti« *=!5i=^=iS :C=:p: fcn ^- Copyright, inn, by The A. S. Barnes Company. 63 -fT i W- \ \ I -X rw fe^g 15 -^- i^^ g4^^ SSjf: *^^ ^ 4-^-- i?/r(Z. 'sr 18 ^ tt. sJ-*^ t ;i! ^t!^ =£3= iS f'SS^'fH £- ^ Jleavij. f Kj' -[= ^j;a|iz:;i^== Pai;t III. Xot so /leavi/. AUegro. 20 ^^^^^^! it gs ^UT-^-^ -« — *- a t/ :f^=jg^=g ^ :?:/' «* b* il s : '' X « - •«— »- il^^^*^ ,28'-— :;«; + Jhavih/. f •^-^—-P_ C:-;5 J^ -• 1?*- ^ ]»-2 9 ZZZZ^ ^ 30 Lento. 2d time. /'/' /'/' mi ^ m -j^=ni -K -^—j_ — ^ C-, Presto. *) 1 ^i*-lj^- 32 -«r>- &E?^E«i? s^-i— / _Oi (P '■fe^— *- :p ti: ^ 33 34. 35 ,># STi ^. ■^S*--S- -S S // :->-Ji-V: :ll 65 THE LOBSTER QUADRILLE. Part I. The children form in two hncs. During measures one and two, the two lines walk to the center; and walk backward to place during measures three and four. During measures five and six they cross to the opposite side, passing right as they meet and turning to face the center at the end of the sixth measure. During measure seven they walk to the center, pass each other in the lines and on the eighth measure turn toward center and make a mock courtesy. During measures nine and ten they join right elbows with the one in the line opposite and skip about each other; then change arms at measure eleven and skip about to the end of the twelfth measure. PART II. Both lines now turn and face in Ihe same direction as illustrated; 2 X X X X X X X 1 i During measures thirteen to seventeen, line number two pursues with a fast walk line number one and all finish willi a big jump at the end of the sixteenth measure. During the seventeenth and eighteenth measures all turn about and walk slowly to jilace. During measures nineteen and twenty, they courtesy slowlj' and mockingly toward the opposite line, and during measuies twenty-one and twenty-two, turn slowly around away from the partners oi)i)osite, shaking their heads as they refuse to dance with them. PART III. During the twenty-third and fointh measures, line nunilx'r two walks across to line number one. During measures twenty-five and six, they all bow. During the next measures till the thirty-second they all face to go around in a circle and jiromenade, skipping grotesquely. During the thirty-second and tliirt y-tliinl measures, they face partners, join right elbows and skip around each other, and during the thirty-fourth and thirty-fifth measures they join left elbows and skip about in the opposite direction. The directions given are the simplest pos.sible. If the teacher will read the poem with the thought of (he humorous pantomime suggestid in it, she will see how to get the children playing the game with a very great amount of amusement and delight. Such a dance will develop spontaneously if the childnMi have done any constructive work in their dancing. 66 THE LOBSTER QUADRILLE. Part I. Moderato. 1 Elizabeth Rose Fogg. ii^^ J^^=5t r ^~S>' • J -^ jfc=^ v— •- ^3^ M ^ :^ ^— U- I fea^^ ^ •- -• • < ^^^ ijc ^?^ ^^E // W i p 5!E -tS>- 5C(1. ^ ^.^^ ^.^^ ■^-^■■^ ^^^^ ^S#s^ «-~^-^ \ e^ ;o L*i=r: i 1251 o- p" P 8 ritard. 9 P/-es/o. ^= S= fe .^nzz^ fct ^«: I* * Eg :^ t= ^=f= '^ * b: te ferf— ^ * te ^1$: ^ ^ 5E eB Copyright, litu, by Thk A. S. Babxes Company. W Part II. Presto. 67 13 14 — — *- t7 H 5*1- •---^ :P?^ .^_-j_-^__j__^_^_^ F-^ ■^-^-^ ^ J.. J ^ -#-^3-1 =rj: _a- ^ ^^ 15 16 /r\ -H ^5**=— J =>■ •-#*—— tf--—---#w—w^g=tw_^-_. — ^-- i?"- rtC ce^ er ri :#£ i :d: -3J- \i/ $ 17 T'e/'y slofJi/. at 18 lit ^r^F=j :it;: ^S ^ «- — *- .^ 1 ^ — m— Melodramatically . m-- -■g-^ r i^ 21 .sV/7/ .s7oj/vy. feEE^ pEE^#J^Ep^ R list *T 3^^^^P^=I1 Ulliirtl to close. —J::-- lii/iiriliniJo @_=i :t:^: -1=; -■I ■ ■ ! 1 : J I M II 68 i Pakt hi Presto. 23 P=^: ^ — '^ " ^- ^-^^ 24 ^ s gi^^3^ ££ i ^^r^' J- r' 26 -^ ^ P^ ^^^^ F^ -(=2- s -*- 29 it <9ya. :^-- Sloioly. S3 i 30 31 to^f Presto. 32 1^ J _jL e^^-t :^=1r^ Accelerando. ^E -tS)- 33 .^ 34 E^£ /r\ =PC=^ F ^ » ^3^ ^s^ ^5 ^- iB ;o end. g -tS?- /r\ PreMiissimo. sf SI 69 Characters: The Shoemaker The Shoemaker 's Wife The Customers The Elves The shoemaker is busy over his shoes at the end of the day. He is very tired and discouraged. INIeasures one to five. At the beginning of the fifth measure, he puts by his work and slowly goes home. INIeasures five to nine. During measures nine to si.xteen he comes back to his work the following morning, still feeling verj' discouraged. Suddenly he sees shoes before him all made and placed ready to sell. Pleasures seventeen and eighteen. During the repeat of these two measures he starts off to get his wife to show her the strange thing that has hai)pened. During measures nineteen to twenty-three, he brings in the wife and they talk wildly over it all. But before they have time to look around they see two customers entering the store. jMeasures twentj'-three to twenty- seven. During measures twenty-seven to thirtj'-five, the customers are bargaining for shoes and finally buj'. They go out on measures thirtj'-five to thirty-nine. During measures thirty-nine and forty the shoemaker and his wife get more leather and leave it ready to use. Then thej'' hide to see what will happen. Measures forty-one, two, three and four. During the measures forty-five, si.x, seven and eight, the elves come running in, they scamper about and watch to see if anybodj^ is in sight. Then they see the leather all ready cut and run to it. During the measures forty-nine to fifty-three, they sit down in front of the leather, ])ick it up and wag their heads about it, then decide that they will make the shoes. During the measure fifty-three, they wind the threaii over right, on fifty-four over left, on fifty-five, they pull the thread, and on fifty-si.x, they pound the shoes three times. These movements are repeated twice. Pleasures forty-nine to fifty- three are played again as they put the shoes down, pat them here and there, then jump up and clap their hands. During measures fifty-seven to sixty-one, they dance, galloping around the circl(> antl (juite forget the danger. But suddenly they are on guard again and run away looking backward and hiding as fast as they can. The shoemaker and his wife now enter. Measures sixty-five, six, .seven, eigiit. They are much anuised at what they have decided to do. They get cloth and go to mak- ing clothes for the elves. ]\I(asunt=E=£ :i ^m ^m 72 Cuxloiiiers. Allegro. Tulky. 22 23 24 25 r^rril A— , [^ I I I ^ ^^ 26 27 A ^^^^^^^ ^^-Wh«- — •— Mt-**- 3^ -iS>- - A 34 35 36 37 A 38 -* #- -* tf w- -* — ^ f f ^ 39 40 41 42 43 44 m --^r-d- -*-i^-^-l fefel^ -I h- ■^— 1^- -^— *^ i S ):^3= H^=^^ -I-. — ^ — h- "«=P= 3-4 i? •!- ^>l -«?—*- :t==e=^ fl 45 JE?res Ent. Lifjhthj. 46 <.2=^ = 47 48 Be^3 f^'-rr^-^^ ^H^^S ^^1 s^^ ^ 49 Still mij!g^1 Tfe^Z marked — makinq ofsfioe.s — slo-wer. 53 54 55 56 P^ 3FS^ feE E ^ P/«y //u'n phrase ;5 ^'//les. ^ =!t r— 1 ^^ 57 Chde Dancers.^S 59 60 61 Elves run njf. 62 ;ii^^ -W=+^—\- A 1 H /' ^^ ^^^P^^^^^^^ F=^ r> r 4 ^ i .63 64 Slioeiiiaker and vife enter. 65 66 67 68 H^ 5C^ g— jL T- l:^: ^ 1 T/(e^ j/t(/Ae clothes. 69 70 71 P^S3 .'3 , lO 76 r g^ife^rr- -jT^^^^ma 1 *£^*- asvn-e. they stop and look at the brownie who stands laughing in their midst. He runs in front of them, dances around the center and they all follow in great glee during measures fourteen, fifteen, sixteen and seventeen. Then they stop vcMy suddenly- and are frightened for they hear the gardener coming. The brownie runs away and the gardener enters during measure nineteen. They all sit down very (luickly and hold tluir cherries up to him, look- ing very, very good. This dance depends upon th(> good acting of tlu> chilil who i)lays the brownie. Chil- dren play it all with great spontaneity for the situation represents a common experience. 76 THE BROWNIE AND THE CHERRY TREE. Elizabeth Rose Fogg. Slowli/ and sweetli/. En(. of children and f/ardc iifr. 1 2 ^"^^ ~^ 3 9 ::^i^fr:i 4 ^ — «?- t J^^^l^^^^ =!- 5F^3^ JF.ViV of gardener . '^^^m iLWz m 4 ATleqro. :*—14, by The A. S. Baknes Company. 77 11 ♦ u u 12 p=i}i ::1= ,fe-^?-^ -I H i 13 • ^^ ■*f PreMo. .^. „ ^:- -r-^-lf^- 111 1' *^ji^^. ^fejEP-** 16 E ■t=i3 pi^ =3H 4 ta I 1- — >-^-r"— S» — ft ^4J £S :p ^- 4::: 17 ^H ^l!^ 19 — ^;**-^_ -*" _• ^ ■•""*" '•"^«..«. — Heavihi. Gardener a Ent. -rr=»- :£ // ^^-^ "^ 22 5i'r7._^ 20 X X — y- r^ c^-^----*-Lx Pkino. •'.Q. 'iS U^ /^/^ ^=M^^^ -Y-d — I- -*— It ^ Folk Dance and Game Books For Schools, Gymnasiums and Playgrounds THE CLOG DANCE BOOK. lUustrated. By Helen Frost. THE TECHNIQUE OF PAGE.\NTRY. lUustrated. By Linwood Taft, Ph.D. THE CONFLICT. A Health Masque in Pantomime. Illustrated. By Gertrude Colby. THE SONG PLAY BOOK. Illustrated. By Mary A. Wollaston and C. Ward Crampton, M. D. THE PLAYGROUND BOOK. Illustrated. By Harry Sperling. Illustrated. THE SECOND FOLK DANCE BOOK. By C. Ward Crampton, M. D. MORE SONG GAMES. Bv Kate F. Bremner. Ulusti'ated. Quarto cloth. Octavo cloth. Octavo cloth. Quarto cloth. Quarto cloth. Quai'to cloth. Quai-to cloth. Illustrated. Illustrated. RHYTHMS OF CHILDHOOD. To the Little Children who Dance for Joy. By Caroline Crawfoi'd and Elizabeth Rose Fogg. Illustrated. Quarto cloth. DRAMATIC GAMES AND DANCES for little children. Illustrated. Quarto cloth. By Caroline Crawford. AESTHETIC DANCING. By Emil Rath. THE FESTIVAL BOOK. By Jennette Emeline Caipenter Lincoln. THE FOLK DANCE BOOK. By C. Ward Crampton, M. D. SWEDISH FOLK DANCES. By Nils W. Bergquist. FOLK DANCES AND GAMES. Bv Caroline Crawford. PLAYS AND GAMES FOR INDOORS AND OUT. Illustrated. By Belle Ragnar Parsons. GRADED GAMES AND RHl'THMIC EXERCISES. Illustrated. By Marion Bromley Newton and Ada Van Stone Hai-ris. DRAIIATIC DANCES FOR SMALL CHILDREN. By Mary Severance Shafter. Octavo cloth. Quarto cloth. Quarto cloth. Quarto cloth. Quarto cloth. Octavo cloth. Octavo cloth. Quarto cloth. GYMNASTIC AND FOLK DANCING. By Mary Wood Hinman. Quarto. Paper covers. Vol. I. Solo Dances ; 'rol. H. Couple Dances ; Vol. III. Ring Dances ; Vol. IV. Group Dances. Circular giving Table of Contents of Each Book Sent on Application \^ 4^ \< A. S. BARNES AND COMPANY NEW YORK CITY UNIVERSITY OF CALIFORNIA LIBRARY, LOS ANGELES EDUCATION AND PSYCHOLOGY LIBRARY This book is DUE on (he last dale stamped below. PHONE RENEWALS: 825-7622 JiiN 1 5 19i^9 RECEIVED ED/PSYCH LIB. PSD 2341 9/77 'E UNIVERSITY LIBRARY ho***" •.'■ UCLA-ED/PSYCH Library • LB 3031 C85 L 005 589 779 7 Education Library *LB 3031 C85 ^M virf- nNIVERSITY of CALIFOKM UBKABT