DIE
FUR DAS
STUDIENJAHR 1892/93
AM 24. OCTOBER 1892.
WIEN.
ALFRED HOLDER
K. UND K. HOF- UNI) UNIVERSITATS-HVCHHANDLEk 1892.
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LIBRARY UNIVERSITY OF CALIFORNIA.
Received Cr^S- ,189^
Accession No. ,J~/ Al^ ^ . Class No.
j "^Oli. 3E,, asro- s.
■TVr.A.'Sr, 1897.
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pANCY Drills
....FOR....
EVENING AND OTHER
ENTERTAINMENTS.
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B_.JCU.'-^
fTANCY n^^ILLS FOR
prVENING and Other
PNTER TAINMENTS.
FANCY DRILLS
EVENING AND OTHER ENTERTAINMENTS.
TO THE civilian there is an undefinable charm about everything that savors of military life and, there are few people who will not stop to watch a company of soldiers on parade or when practising their manoeuvres. The manu- als used in the drilling of soldiers have been variously applied in the arrangement of the broom, fan, hoop and other drills which have lately been so popular as features of school exercises, church fairs and private entertainments.
A drill with school children is generally more pleasing than one in which older persons take part. The effect is much prettier when short costumes are worn, which would, of course, be impossible if the "soldiers" were misses or young women. Cliildren delight in any form of entertainment that requires '' dre.'jsing up," and they can therefore, be rehed upon to practise the drills as many times as the leader may demand. Then, too, children are not nearly so self-conscious before an audience as their grown-up sisters, and the average child is much more graceful than the average miss. In some drills, however, tall figures are much more effective than short ones, and for such occasions persons who have attained at least the average height should always be chosen. This is especially the case with the broom drill, the brooms being too long to be conveniently handled by little folks.
As the time for a school entertainment draws near, a drill suitable for children will be eagerly discussed. In such a case, much if not all will depend on the person upon whom the task of drilling the children devolves. They should be required to be exact in the performance of their movements, and the drilling should be very thorough. Careless, indifferent imitations of the motions should never be allowed. The costumes should be uniform in material, color and style of making, and particularly in the length of the skirts.
In deciding what costumes will be appropriate and pretty it is well to consult books of Iiistory, legend, tradition and nur.sery lore. In them will be found many pretty ideas for quaint and attractive costumes. A book which contains hundreds of illustrations of fancy costumes taken from the volumes named is published by us under the title of " Masquerade and Carnival," and costs 25 or 50 cents. In it are shown the costumes of all nations, floral costumes, and fancy dress costumes for both little and grown people, with full descriptions of suitable fabrics and appropriate colors.
Black stockings and black slippers or lov\- ties should be worn, as the average mother, in pre- paring a fancy costume for her child, will most heartily approve of any plan that leaves very little waste material on her hands.
Explicit directions will be given for each drill, but the size of the stage, the position of the entrances, etc., will sometimes prevent their being exactly followed; and it is in such cases that the cleverness and ingenuity of the director are called into play. Care should be taken that the com- pany is not too large for the stage, as it is almost impossible to execute certain figures correctly (as No. 7 in the tambourine drill) if the line of players is too deep for the stage. Each drill is preceded by a more or less complicated march, the company beiui.' finally evolved into two or more lines ready for the drill. The terms right side and left side of the stage mean the right and left side from the spectator's point of view, except when it is expressly stated that the right or left side of the maids is meant.
Tr/yt/
FANCY DRILLS FOR ENTERTAINMENTS.
THe TAAFiOaRING Dl^ILL.
THIS drill requires eight, twelve or sixteen girls of about the same size, the last number being the most effective if the stage is large enough to allow freedom of motion m the drill and march. The costume should consist of a very full skirt of bright-blue checked cloth finished with a six-inch hem, and a blouse-waist of thin white material having full elbow sleeves. The skirt should be of the same length in every instance, and the blouse should be short and should fall about two inches over the top of the skirt. Blue ribbon hows secured on the shoulders will add much to the effect of the costume. Black stockings and slippers may be worn, and the hair may be loose and wavy. The tambourines should be trimmed with eight-inch streamers of narrow blue-and-vvhite ribbon.
THE MARCH. — This is always accompanied by music, which should be well acct^nted on the first and third beats and should be played steadily and not too rapidly. For leaders in the march quick, intelhgent girls should be chosen, who can be depended on to retain their presence of mind.
1. — The girls enter from the right and left of the stage at the back, eight on each side, those entering from the right carrying their tambourines in their left hands at the side of the body, and those from the left carrying theirs in their right hands. The diagram on the next page will assist the reader in understanding the directions given for the march :
The line on the left enters the stage at A, and that on the right enter* at B. Keeping strict time, they march respectively to D and C, turn the corners at right angles and cross the stage to- wards the center, F. When the Hnes meet at F the two leaders turn toward the back ot the stage and, followed by their respective lines, march side by side to E, where the lines separate, that on the left turning to the left and that on the right to the right.
2. — Reaching A and B, the lines again march to C and D and then across the stage, passing each other at F ; they turn at the front corners, pass back on the sides, turn at A and B and meet at E, the center of the back.
3. — The tAvo leaders then form a pair, and each raises the hand carrying the tambourine, lifting the lower arm as far as the elbow, and holding the upper arm close to the body. The tambourines ar« bent slightly outward, touch each other at the top, and thus form a pointed arch. This couple march to the front of the stage at F, followed by the others in pairs, with their tambourines held in like manner.
4. — On reaching F, the first couple turn to the right, the second to the left, the third to the right, and soon. When D and C are reached, curves instead of angles are turned, and the couples pass to the back of the stage at A and B, turn, and meet at E.
5. — After meeting at E the couples unite to form fours, the tambourines are lowered, and the arms of each girl are crossed or folded, the left hand being placed outside the right upper arm, and the tambourine being held firmly against the left arm as high as possible. The fours then march to the front at F.
6. — Reaching F, the fours separate into pairs, which turn alternately to the right and left. The tambourine is now held in the riglit hand against the front of the chest, with the top touching the chm ; and the left arm hangs gracefully at the side. The couples march to D and C, thence back to A and B and then to E, the leading couples raising their tambourines as they meet.
7.— The leading couples halt as the}' meet, and each girl grasps her tambourine with both hands, raises ii upward and, tipping it forward, helps to form a pointed arch. As the second couple meet they pa?s under this arch and take their stand beside the first, with upraised and extended tambourines. The third pair do likewise, and so do all the others.
8. — The leading pair are now at the back of the line. They lower their tambourines, pass through all the arches iu single file toward the front of the stage, and are followed by the rest of the
FANCY DRILLS FOR ENTERTAINMENTS.
3
company. Reaching F, the first girl turns to the right, the second to the left, and so on, passing to D and C and then to the back of the stage, and meeting again at the center-back, E.
9. — At E they form couples and march to the center-front, F, where the first couple turns to the right, the second to the left, and so on, passing again to D and C, and down the sides to A and B, and meeting at E.
10. — The couples now unite to form fours, march to the front of the stage and take theic position for the drill, the tambourines being held at the right side.
This march is very eflective when well executed, but care should be taken that the lines do not march too close to the sides or back of the stage, and that when they pass each other there is no suspicion of crowding. The girls should not march too closely together. In the seventh figure of the march, when the first couple take their position to form an arch with their tambourines, they should be far enough from the back of the stage to permit the others to pass easily between thena» and the back.
THE DRILL. — The music for the drill should be a simple schottische or polka played with' moderate rapidity ; and each figure should occupy four measures or sixteen beats of the music. The leader in drilling should give the orders in a clear, distinct voice, uttering the words shortly and sharply to give the whole a truly military air. The position of the lines is of great importance in producing a good effect. The heel? should all be on the same hne, the feet turned out to form an angle of about sixty degrees, the elbows placed close to the body and the head held erect and square to the front, with the chin well back and the eyes straight ahead. If the captain appears on the stage, she should wear a costume similar to those of her company ; but if she stands below the stage in
front of the audience, a fancy costume is not absolutely necessary, though it would be verv attractive. The drill is particularly etfective when executed without commands, but this requires a weari- some amount of practise, and even then the success of the undertaking, especially when youno- children are the performers, is by no means certain. The children should be instructed to count for themselves all through the drill, but perfectly inaudibiy and without moving the lips.
1. Rest. — The tambourine is held in the right hand at the side, and the cymbals are slio-hly jingled while the music plays four measures. "^ "
2. Sahde. — Raise the tambourine in the right hand, touch the forehead with its upper edo-e lower it, and rest it on the left shoulder front. ° '
3. Rest. — Same as I.
4. Right Facp.—T!ske one step obliquely to the right, with the tambourine held in front of the forehead, and quite perpendicular to it. The body should be bent forward with the motion and the left foot gracefully raised until the toe touches the floor.
5. Rest. — Return to position by a backward step, and hold the tambourine by the ri<'-ht side jinghng it slightly. "^ '
6. Left i^ace.— Take one step with the right foot oliquelv to the left, holding the tambourine back of the right ear.
7. Rest.—^zme as 5.
8. Attention. — Raise the tambourine above the head, holding it with both hands.
4 FANCY DRILLS FOR ENTERTAINMENTS.
9. Charge. — Drop the clenched left hand, strike the tambourine against it, and stamp the right foot once simultaneously with the stroke of the tambourine,
10. Rest. — Same as 1.
IL Left Reverse. — Extend and jingle the tambourine while four beats of the music are counted, and place it under the left arm on the fifth count.
12. Rest. — Same as 1.
13. Rest on Arms. — Kneel upon the right knee, holding the tambourine in the right hand. Place the tambourme on the bended left knee perpendicular to it, rest the left elbow on the top of the instrument, and support the chin with the left hand.
14. Guard. — One of each pair rises, grasps her tambourine in her right hand, leans toward her partner, bends slightly over her and raises the tambourine in a semi-defiant posture, casting her eyes upward at an imaginary foe. The kneeling girl raises her eyes to her partner with an appreciative look. The girls who rise thus on <_'uard should be every other one from the extreme left of the stage in the first and third lines, and every other one from the right of the stage in the second and fourth lines. By this arrangement the entire figure is seen by the audience.
15. Rest. — Same as 1.
16. Lay Down Arms.— L?iy the tambourine at the feet and rise quickly, with the body erect and the hands on the hips.
17. Take Arms. — Take up the tambourine and rest it on the right hip, with the arms akimbo.
18. Rest. — Same as 1.
19. Trail Arms. — Touch the head, right shoulder, right hip and ground with the tambourine, making a distinct clash with each touch, and allowing four beats for each. The grasp on the tam- bourine should not be loosened while the instrument is on the floor.
20. Rest. — Same as 1.
21. Support Arms. — Hold the tambourine erect at arm's length over the head, and shake it continually.
22. Rest.— Same as 1.
23. Load. — Clench the left hand and raise it to the level of the eyes. Grasp the tambouiine with the right hand, and raise it to the heiglit of the head, well to the front. Allow two beats tor taking the position, and on each succeeding beat bring down the tambourine with a clash upon the left hand. This represents the loading very well, but the clashing should not be too loud, else the sound will too closely resemble that made in the next figure.
24. Fire. — Make one clash as loud as possible by striking the tambourine against the lower left arm, the arm being brought quickly backward from the position held in 23. This occupies but one beat of the music, and the position should be held while the remaining beats are counted,
25. Forward March. — The front couple on the left of F turn toward D and the couple on the right toward C, and the couples in the rear march toward the front in single file, turn a right angle at Fand leave the stage at A and B,
When it is impossible to have the two entrances required by the above arrangement of the drill, a single entrance at E may easily be made to answer. On entering the stage^ the first girl turns to the right, the second to the left, the third to the right, and so on ; they then pass to A and B and follow the directions as given. It is well to remember in preparing a drill of any kind that the various figures really form tableaux, and that the grouping shall be made as efiective as possible. This point should be especially regarded in arranging 13, 14 and 24 of this drill.
FANCY DRILLS FOR ENTERTAINMENTS.
THG Dai^VaaiD^' Df^ill.
quarters will be required, stores, but they look just i
FOR this exhibition eight, sixteen or twenty-four gii'ls may be eliosen, the largest number being most imposing if the stage IS roomy enough to permit of perfect freedom of movement. The costume should consist of a blouse-waif^t and a full, plain skirt, the waist being worn beneath the skirt, and a girdle that fits the figure snugly being arranged to conceal the belt of the skirt. The waist should be of white material, with a tucked or finely plaited yoke, and elbow sleeves finished with frills of lace. The skirt may be made of chambray, gingham or calico, and the goods may be either plain, colored or in a Dolly Var- den pattern, the latter producing the more showy skirt. A black velvet girdle will prove very effective. The feet should be clad in low shoes and black stockings, and the hat should be a broad-brimmed straw trimmed with ribbon arranged in a bow and long streamers at the back, the ribbon being chosen to match the skirt.
Each dairymaid carries a milking-stool consisting of three wooden legs and a circular wooden seat. The legs should be ten inches long and an inch and a-half in diameter, and the seat should be nine inches in diameter and about the same thick- ness as the legs. Stools for this purpose are sometimes quite elaborately decorated, the seats being upholstered and dainty ribbons tied about the legs. Whatever ornamentation is ap- plied to the stools, it should be uniform on all; and if ribbons are used, they should match those on the dairymaids' hats. A simple decoration for a milking-stool may be arranged in the following manner: Gild the entire stool with gold paint, and let it dry thoroughly. Then tie one end of a piece of ribbon in a compact bow on one of the legs ab'^nt six inches from the lower end. Do not cut the ribbon, but carry it grace- fully up to the leg at the left of the one already decorated, and tie it at the top in a bow having but one loop. The ribbon should be at least two inches wide, and fully a yard and three- Decorated milking-stools may be [)urchased at many large fancy-goods well when made by a carpenter and trimmed at home, and cost very little.
THE MARCH. — The use of music is optional, but a good, stirring, instrumental march cer- tainly leiids dash and spirit to the performance.
1. — The girls enter in couples at the right and left of the stage, six couples on each side. The milking-stool is carried at the right side, the top being held against the hip, and the leg which has a bow about its middle being grasped with the right hand. By consulting the diagram on the next page, the reader will more readily comprehend the various movements of march:
The two divisions enter the stage at A and B, pass each other at F, march up the sides to C and D, and cross the front, passing each other again at E; they then pass down the sides to the back of the stage and meet at F.
2. — As the couples meet at F they join, making one file of doubles, No. 1 of the first division joining No. 1 of the second. No. 2 of "the first joining No. 2 of the second, and so on. In this order they march to the front of the stage. At E the file on the left turns to the left of the stage and passes to C, while that on the right turns to the right and passes to D ; the files then march to A and B.
3. — From A and B the files march according to the dotted lines in the diagram. Care should be taken in turning the corners to descril)e perfect right angles. Round turnings are very unmili- tary and would detract much from the elFect of the march.
4. — Meeting at E, the files pass each other, march once more round the stage and meet at F.
5. — Here the files unite to form couples, and march to E, where the file, still in couples, turns to D and thence to B, A, C, D and B, to F.
6
FANCY DRILLS FOR ENTERTAINMENTS.
6. — From F the file marches toward? E, the first, third and fifth couples slackening their pace slightly, while the second, fourth and sixth move to the left diagonally into line, forming fours. This movement is technically called "Left front into line" and is not difficult for the amateur cap- tain to perfect. The first couple having shortened the length of their step (" slackened pace "), the second couple turn to the left and join the first in a straight line, making four abreast. In the same way the ihn-d couple slacken their pace and are joined by the fourth. Those couples that join the ones in front of them mcrease the length of their step, but keep perfect time with the music. To give this manoeuvre a truly military eflfect, the fours should march the length of a four apart.
7. — At this point the nature of the march depends upon the size of the stage. If the latter is large, the fours will pass from E to C, A, B, D, E and F. At F the couple on the right in the first four turns' to the right, while that on the left goes to the left; all the fours divide in the same way, and the resulting files march respectively to B and D and to A and C, pass each other at E, and march round the sl;age until they meet at F. If, however, the stage is not sufiiciently large, the line of march will be different. When the first four reaches E the couple on the right turns to the right, and that on the left turns to the left ; the other fours divide in the same way, and the files march respectively to D and B and to C and A, then cross the back of the stage and pass once entirely round the stage, meeting at F.
8. — The files here unite to form a single file of couples and march to E.
9. — At E the maids on the right turn to the right and those on the left to the left, and all march in single file until A and B are reached.
!A
?
%
5
10. — At A and B the files turn snarply and march diagonally across the stage, the file at A pass- ing to D, that at B passing to C, and each maid passing another at the center of the stage. G.
II. — From C and D the files cross the stage respectively to D and C, where a similar manoeuvre to the preceding is performed ; the file at D turning sharply and passing diagonally across the stage to A, and that at C passing to B. From A and B the files cross the stage and meet at F.
12.— At F the files again unite in couples and pass to C, where the first couple turns to the right, the second to the left, the third to the right, and so on. The two double files thus formed pass down the sides of the stage to the back and meet at F.
13. — litre the couples unite to form fours. The first four marches toward the front of the stage and halts two feet from the front edge ; the second four halts two feet behind the first, the third two feet behind the second, and so on.
14. — At a motion from the captain when all are in position, each maid grasps her stool with both hands and holds it in front of her body during eight counts of the music; she then places the stool on the floor in front of her (eight counts), steps to the right of the stool (eight counts), and seats herself.
THE DRILL The movements of the drill are executed with music, which must be suiBciently
subdued lo permit the voice of the captain to be heard, although at the same time it must be clearly played and the time well marked. Any ordinary ^ schottische music will answer. The orders should be given, and, as far as possible, obeyed in true military style. After all the numbers of the
UNIVERSITY FANCY DRILLS FOR ENTERTAlNME^^|fc^i^RH\K
drill have been given, the "manual without command" is performed. This consists of a repetition of all the movements without the commands of the captain. This is really the most effective part of the drill, but it should never be atiemped with an unrehable company. For this reason it is well to choose girls at least twelve years of age.
It vvill be remembed that the maids are seated on the stools at the close of the march. The number of beats which are allowed to elapse before the first drill command is given is. of course, optional with the captain, bnt the wait should not be too long, The number of beats required for each movement is given, and the wait between the commands may be either four or eights beats in length, as desired.
1. Attention. — Each maid rises gracefully from her stool and stands erect at its left, with arms akimbo and the hands placed on the hips. Four beats are allowed for the command and for rising from the stool, and one for stepping to the left ; and seven more are permitted to elapse before the second order is given, the whole thus taking up three bars of the music, or twelve beats.
2. Salute. — ("No. 1.) Raise the right arm smartly in the same direction as that taken by tlie right foot, the palm of the hand being held downward, with the thumb close to the forefinger, and the arm extended horizontally. (No. 2.) Bring the hand around until the thumb and side of the forefinger, touch the forehead, and at the same time turn the head a little to the left, looking toward the captain, who returns the salute. (No. 3.) Carry back the hand to the first position, casting the eyes to the front. (No. 4.) Drop the arm quickly by the side. Each number of this movement should occupy two beats of the music.
3. Carry Arms. — Raise the stool with the left hand (4 beats) ; with the help of the right hand place it under the right arm, with the top flat against the hip (4 beats), and drop the left hand to the side (4 beats).
4. Present Arras. — Place the left hand on one of the legs of the stool, then grasp it with both hands (4 beats), and raise the stool in front of the body above the waist-line, holding it at arm's length (4 beats).
5. Carry Arms. — Same as 3.
6. Right Shoulder A^-ms. — Place the left hand on one of the legs of the stool (4 beats), raise the stool with both hands to the right shoulder (4 beats), and drop the left hand to the side.
7. Left Shovlder Arms. — With l>oth hands bring the stool in front of the body (4 beats), raise it to the left shoulder (4 beats), and drop the right hand to the side.
8. Carry Arms. — The same as 3.
9. Right Carry. — With both hands place the stool under the right arm, and drop the left hand to the side (8 beats).
10. Left Carry. — With both hands place the stool under the left arm, and drop the right hand to the side (8 beats).
11. Carry Arms. — Same as 3.
12. Support Arms. — Grasp the stool with both hands (4 beats), and place its top on the head, with the legs pointing upward (8 beats). The stool should be held in position with the right hand, and the left should be dropped to the side.
13. Carry Arms. — Same as 3.
14. Guard Arins. — Take the stool in both hands (4 beats), and place it on the floor at the right side of the body (4 beats).
15. Rest.— Sit on stool (8 beats).
16. Attention. — Same as 1.
17. Without Command. — The fourteen manuals following t are now executed in succession without orders from the captain, four beats being allowed after each manual. After the last manual (15) has been performed the maids remain at "rest" until the captain again commands.
18. Attention. — Same as 1.
19. Salute.— ?>a.me as 2.
20. Carry Arms. — Same as 3.
21. Break Ranks, March. — The first line of maids takes one step forward, and the couple on the right turns to the right and that on the left to the left. All the other fours do the same, and the double files march to D and C and then to B and A.
22. — The files pass each other at F and march once round the stage, meeting at F. 23. — Here the files unite in one double file and pass to the front of the stage at E. 24. — The maids on the right turn to the right, and those on the left to the left, and the two smgle files pass respectively to D and C and then to B and A, where they leave the stage.
FANCY DRILLS FOR ENTERTAINMENTS.
THG gl^OOA Dl^ILL.
TWELVE or sixteen well grown girls, as nearly equal in height as possible, should be chosen for this pretty exercise; but if only eight of about equal size can be secured, it is wiser to present the drill with this small company than to select a larger number of girls who vary considerably in height.
The costume should consist of a blouse-waist of white cambric trimmed on the sleeves and collar with bands of Turkey-red; a round skirt of the red material faced at the bottom with a six-inch band of cambric; a belt of Turkey-red striped its entire width with length- wise rows of white cotton braid or tape placed their width apart; a small red cap with a visor; black stockings ; and low ties or slippers. Narrow strips of cambric may be used instead of braid for decorating the belt, but very careful work will be needed to apply them satisfac- torily. The skirt may be fashioned by pattern No. 3967, which is in nine sizes for ladies from twenty to thirty-six inches, waist measure, and costs Is. 6d. or 35 cents; the waist by pattern No. 3982, which is in thirteen sizes for ladies from twenty-eight to forty-six inches, bust measure, and costs Is. 3d. or 30 cents; and the cap by pattern No. 3637, which is in seven sizes from six to seven and a half, hat sizes, and costs 5d. or 10 cents.
During the march the broom should be carried nearly vertically at
the right side, with the stick resting against the shoulder. The right
arm should hang nearly its full length near the body, and the hand
should grasp the handle of the broom just above the sweep or brush,
the thumb and fore-finger being held "well to the front. The sweep
should rest flatly against the side of the skirt, as at 6gure No. 3, page 10.
The brooms must, of course, be exactly alike. In purchasing them
it is well to choose those that are slight and shapely and have short
sweeps, for heavy, clumsy brooms would greatly mar the effect of the exhibition. A variety
known as the "lady broom" will be found quite satisfactory for the purpose, as it has a slender
stick and a short, compact brush.
THE MARCH. — The music for this portion of the exercise should be a spirited march, strongly accented on the first and fourth beats; and it should be played with vigor, but not too rapidly. The diagram of the stage presented on the next page will materially aid the reader to comprehend the instructions, which are based on the supposition that sixteen girls are to take part in both the march and drill.
L— The girls enter the stage from the left and right (A. and B), eight on each side, carrying their brooms at the right side, as described above. (See " Carry Arms," figure No. 3, page 10.)
2. — The files march toward the center of the stage, pass each other at C, and continue to B and A, thence to F and D, and across the front of the stage to E.
3. — At E the files unite to form oouples and pass to the back of the stage at C, where the first couple turns to the right, the second to the left, the third to the right, and so on, the two double files passing to A and B.
4. — From A and B the files march to D and F, and cross the front of tlie stage to F and D, passing each other at E ; they then march to B and A, and meet again at C.
5. — At C the couples unite to form fours, and march down the center of the stage to E, where the first four turns to the right, the second to the left, and so on ; the two divisions then march to D and F, and to A and B, and meet once more at C.
G. — At C the divisions unite to form a double file, which marches to E, where it separates into two single files, the girl on the right in the first couple turning to the right, and the one on the left to the left; the files then pass to D and F, and to A and B.
7. — At A and B the leaders of the files turn obliquely and pass diagonally across the stage, followed by their soldiers; the file at B thus marches to D, and that at A to F, the two files passing each other at the center of the stage, G.
FANCY DRILLS FOR ENTERTAINMENTS. 9
8. — The file at F passe<; acro=s the front of the stage to D, and that at D passes to F; and the two files turn obliquely and march diagonally across the stage to B and A.
9. — From B and A the files pass across the back of the stage to C, where they unite to form couples, and pass to E. Here the first couple turns to the right, the second to the left, and so on ; and the two double files thus formed pass around the stage to C.
10. — Meeting at C, the couples unite to form fours, which pas«; to the front, E, where they turn alternately to the right and left. The two divisions of fours march to D and F, thence to A and B, and meet at C.
11. — At C the fours unite to form two ranks of eight each, which march forward and halt, the first about three feet from the front of the stage, and the second about the same distance back of the first. The company is then in position for the drill proper.
It is well for the instructor to remember that a truly military efTect can only be obtained by teaching her recruits to carry themselves with a soldierly bearing. The shoulders should be held erect and square, and botii on the same level ; and the chin should be drawn slightly in, without apparent constraint. The upper part of the body should be inclined slightly forward, with the eyes directed straight to the front.
THE DRILL. — This will be much more eGfective if accompanied by a pretty schottische, played rather slowly, although music is not a positive necessity. Unless otherwise stated in the directions, each manual is to be performed during eight beats of the music; and a similar interval should be allowed between the commands, which should be delivered in a clear voice, not too highly pitched. When an order is short, it should be given in time to allow only the eight beats of interval ; but in case of a long order, an extra four beats may be allowed, if the captain so desires. It is difficult always to give the exact in- terval required, so the in- strucior must regulate her time by the alertness and ac- tivity of her company.
1. Salute.— Rahe the left arm smartly in line with the left foot, with the palm of the hand downward and the thumb close to the fore- finger, bringing the arm level with the shoulder (two beats). Carry the hand around until the thumb and the side of the forefinger touch the lower edge of the cap (two beats). iJ ';E^ t* This position must be retain- FRONT.
ed until the salute is acknow- ledged, when the hand and arm are brought back to the first position. (See figure No. 1, page 10.)
2. Present Arms. — With the right hand carry the broom in front of the center of the body* grasp it with the left hand, and raise it until the forearm is horizontal and resting against the body> at the same time changing the position of the right hand by placing the thumb at the back of the broom and the fingers forward. (See figure No. 2.)
3. Carry Arms. — With the help of the left hand lower the broom to the side, placing the stick against the right shoulder, and grasping it with the right hand just above tde sweep, which should rest flatly against the skirt as in the march. (See figure No. 3.)
4. Support Arms. — G-.nry the broom in front of the center of the body, grasp it with the left hand, and raise it at the left side until the top of the sweep is at the waist-line. At the same time grasp the broom with the right hand, and pass the left forearm across the top of the sweep, parallel with the waist-line, supporting the broom with this arm, and dropping the right arm to the side. (See figure No. 4.)
5. Carry Arms. — Gra«p the broom with the right hand above the left arm supporting it, and carry it in front of the center of the body ; then place the handle against the right shoulder, as at figure No. 3, and drop the left hand to the side.
6. Order Arms.— G-ra^p the broom handle with the left hand, the forearm being horizontal; loosen the grasp of the right hand, lower the broom quickly with the left, grasp it again with the right, and lower it to witliin three or four inches of the floor, steadying it with the left hand. Then with the right hand lower the broom gently until the bottom of the brush rests on the floor, and
10
FANCY DRILLS FOR ENTERTAINMENTS.
drop the left hand to the side. The broom handle should now be standinjr vertically between the riorht arm and the body, and this arm should be hanging its full length and supporting the broom. (See 6gure No. 5.)
7. Parade Rest. — Raise the right hand along the broom handle until the forearm is nearly
horizontal at the waist-line, and at the
FiGUBE No. 1.
Salute.
FiGTTRT? No. 2.—
Present Arms.
Figure No. 3.— Carry Arms.
time carry the handle in front of the body to the left. Grasp the handle with the left hand above the right, carry the right foot three inches to the rear, and slightly bend the left knee. The brush thus remains upon the floor, and the handle, held at the top by both hands, one above the other, is in front of the center of the waist-line, as at figure No. 6.
8. Carry .4rms.— Raise the broom vertically with both hands, and resume the position shown at figure No. 3.
9. Trail Arms. — Lower the broom to the floor, steadying it with the left hand. Place the brush a little to the rear, inchne the handle to the front, and drop the left hand to the side. (See figure No. 7.)
10. Curry Arms. — Same as 8.
11. C/(ar^e. — Turn on the left heel, bringing the toe to the front, and carry the right foot three inches to the rear of the left heel. Drop
the handle of the broom into the left hand, placing the left elbow against the body, grasping the handle just above the sweep with the right hand, and holding the sweep firmly against the right hip. Incline the body slightly forward, as shown at figure No. 8.
12. Carry ^r?n«.— Same as 8.
13. Right Shoulder Arms. — Raise the broom vertically with the right hand, and carry it in front of the cen- ter of the body. Grasp it with the left hand, and raise it to the right shoul- der, allowing the sweep, clasped by the right hand, to rest against the shoul- der, and the handle to point slightly to the left, touching the back of the head. (See figure No. 9.)
14. Carry Arms. — Incline the sweep slightly to the left, lower the broom with tha right hand, grasp the handle with the left hand also, and place the broom at "Carry Arm*" (See figure No. 3.)
15. Arms Por^— Grasp the middle of the handle with the left hand, and place the broom diaoronally across the body, with the handle resting against the left shoulder and the brush against the right hip, as shown at figure No. 10.
16. Carry Arms.— Same as 8.
17. Secure .4rms.— \dvance the broom slightly with the rigiit hand, and grasp the handle with the left hand, holding the forearm horizontally; turn the handle toward the front, at the same time shifting the right hand above the left; drop the top of the handle to tlie front, so that it points downward and tlie top of the sweep rests under the right arm; and drop the left arm to
Figure No. 4 — Support Arms
Figure No. 5.- OituKR Armh.
Figure No. 6.— Parade Rest.
FANCY DRILLS FOR ENTERTAINMENTS.
11
Figure No. 7.— Tkail Arms.
FlGl-RE No. 8.
Charoe.
Figure No. 9.— Right Shoulder Arms.
the side. (See figure No. 11.) The soldiers are now ready for the next order, which is as follows:
18. Carry Arms. — Grasp the broom with the left hand, raise the handle, and resume the position shown at figure No, 3.
19. Reverse J.rms.— Raise the broom vertically with the right hand, advancing it slightly; grasp the handle with the left hand, holding the forearm horizontally; reverse the broom bv turning the handle downward, and place it under the right forearm against the body, with the right hand still in position at the top of the sweep, and raised to the height of the shoulder. As soon as the left hand is no longer required in the reversal, carry it behind the back, and grasp the handle, steadying the latter at an angle ot forty- five degrees. This manual may be quici\ly executed; and, if it is properly done, the sweep will come to the front about on a level with the head. (See figure No. 12.)
20. Carry Arms. — Re- move the left hand from the handle and place it below the right at the top of the sweep, at the same time low- ering the broom until the right forearm is horizontal and the handle is vertical, and changing the grasp of the right hand so the thumb points downward. Reverse the broom by passing the sweep between the breast
and the right forearm, and resume the position shown at figure No. 3. It is impossible to execute "Reverse Arms" and the "Carry Arms "that follow, if the broom handle is too long for the height of the soldier; and when this is the case the two manuals should be omitted.
21. Rest on Arms. — Advance the broom slightly with the right hand, and grasp it with the
left, holding the forearm hori- zontally. Reverse the broom with both hands by turning the handle to the left, and rest the end of the handle on the toe of the left foot. Carry the right foot three inches to the rear, and at the same time place the hands upon the sweept, and incline the chin toward the hands, as at figure No. 13.
22. Carry Arms. — Grasp the handle with the right hand, holding the back of the hand to the right; and carry the broom with this hand opposite the right shoul- der, holding the forearm hori- zontally and the handle verti- cally. Gra.*p the stick with the left hand, holding the back of the hand to the left, with the thumb pointing Reverse the broom with both hands, and
Figure No. 10.- Arms Port.
Figure No. 11.- Secuue Arms.
FiGITKE No. 12.- Revei{se Arms.
downward; and bring the right foot beside the left, resume the position seen at figure No. 3.
23. Squad ioad— Advance the left foot slightly, bending the knee a trifle,
Grasp the handle
12
FANCY DRILLS FOR ENTERTAINMENTS.
with the left hand, holding the lorearm horizontally; and turn the handle downward, with the sweep resting under the right arm. Sr.rike the sweep quickly with the palm of the right hand, and grasp the handle again. CSee figure No. 14.)
24. Carry Arms. — In returning to the position described at 8 face to the front.
25. Squad Ready.— Ssime as 23, except that the sweep is placed against the right hip and the end cf the handle on a line with the chin, as at figure No. 15.
26. J.zm.— Raise the broom with both hands, and support the sweep firmly against the right shoulder, placing the right hand at the top of the sweep and the left at the middle of the handle, holding the left^elbow down and the right as high as the shoulder, and inclining the body slightly
Figure ISo. 13. -Rest ON Arms.
Figure No. 14.— Squad Load.
Figure No. 15 —Squad Ready.
forward. Lean the head upon the sweep, and close the left eye. (See figure No. 16.) In aiming, each soldier in the rear rank carries the right foot about eight inches to the right, inclines the upper part of the body forward and bends the right knee slightly.
27. Fire. — All the girls cry " Bang " sharply in unison.
28. Squad Load. — Drop the broom handle downward, with the sweep under the right arm, and strike the sweep quickly with the palm of the right hand.
29. Carry Arms. — Same as 24.
30. Fire Kneeliyifj. Squad Ready. — Bring the left toe squarely to the front, and place the right foot so that the toe is twelve inches to the rear and twelve inches to the left of the left heel, the feet being at right angles with each other. Kneel on the right knee, bending the left. Drop the broom handle in the front, supporting it as at 26. and resting the left elbow on the left knee. (See figure No. 17.) The girls in the rear rank take a side-step to the right before kneeling; and on rising they take a side-step to the left.
31. i^'tVe.— Same as 27.
32. Squad Rise. — All rise, face to the front and " Carry Arms."
33. Salute with Arms. — Raise the left hand and arm horizontally to the front, with the palm of the hand downward; carry the hand around until the forefinger strikes the broom in the hollow of the shoulder; and retain the hand in this position until the salute is acknowledged by the captain.
34. Inspection Arms. — Grasp the broom firmly with the right hand, and toss it quickly to the front of the body, raising it at the same time, and catching it with the left hand six inches above the sweep. The left hand is raised to the height of the chin, and the right hand is at the side, the broom then being vertical and directly in front of the face, with the sweep flat against the body, as shown at figure No. 18.
FANCY DRILLS FOR ENTERTAINMENTS.
13
35. Carry Arms. — Lower the broom with the left hand, grasp it with the right above the sweep, and resume the position shown at figure No. 3.
36. By Column Fours, Right and Left. March. — At this command the first rank advances as far as possible to effect a turning; it then divides into two ranks of four each, which turn respect- ively to the left and right and pass to D and P. The second rank of eight advances, separates and turns in the same way, and the resulting two ranks follow the other two to the left and right.
37. — From D and F the fours pass to A and B, and thence to C, where the first four girls of one column unite with the first four of the other, forming a file of couples, which passes to E ; the remaining two fours unite in the same manner and follow.
Figure No. 17.— Fire Kneeling.
FiauBB No. 18— Inspection Arms.
38. — At E the couples divide, the girl on the right in the first couple turning to the right, and the one on the left turning to the left. The two files then pass to D and P, and thence to A and B, where they leave the stage.
14
FANCY DRILLS FOR ENTERTAINMENTS.
Thg hoop Di^ill.
FOR this drill select twelve girls of uniform heig-ht. Unlike some of the preceeding exercises, this one is so simple that children eight years of age will make a very effective company.
The uniform should consist of a white blouse-waist, a full, plain skirt of yellow cheese-cloth, a small turban matching the skirt, black stockings and low shoes. The hoops should be about twelve inches in diameter, orainary "grace hoops" answering the purpose nicely. They should be covered with the yellow cloth, and this may be securely accomplished in the following manner: Cut the cloth into strips four inches wide, and fold each strip in the middle lengthwise, making the width two inches. Wind each hoop with a folded strip, lapping the fold of the cloth over the rough edges, and sewing the ends firmly to the cloth at the starting point. Any added strip should be sewed securely to the cloth already on the hoop. An accident to the hoop during the drill would spoil the entire performance, for which reason the cloth should be carefully put on and strongly sewed. The hoops are sometimes further decorated with ribbons or paper roses. If ribbons are preferred, a bunchy bow with three flowmg ends may be sewed securely to each hoop, round which the ribbon should be tied. When flowers are used, the wires in the stem ends maj' be left long and wound firmly round the hoops.
THE MARCH. — The music for the march should be a spirited | movement, and that for the drill proper a simple schottische played rather slowly. To better understand the march, the diagrams of the stage on the next page should be consulted :
I. — The girls enter the stage at the sides, A and B. They carry their hoops at the side, those entering at A grasping them with the right hand and those at B with the left hand. If the stage has but one entrance and that is at the middle of the back, E, the girls should enter in single file, the first girl turning to the right, the second to the left, the third to the right, and so on, until all of them are on the stage.
2. — The girls march down the sides to the front of the stage, C and D, then cross, passing each other at F, and march round the stage until they meet at the center of the back, E.
3. — Here the files unite to form couples, and pass to the front of the stage at F, where the couples separate, the girl on the left in the first couple turning to the left, the one on the right turning to the right, and other couples separating in hke manner.
4. — The files thus formed pass to C and D, and thence to A and B, where they turn and march diagonally across the stage to the front corners, the files crossing each other at the center, Gr. In this movement the file at A marches directly across to D, and that at B to C.
5. — At the front corners the files turn and march toward each other, and, uniting in couples at F, march to the center of the back, E.
6. — Here the couples separate, turning to the right and left; and the resulting files pass to A and B, and then to C and D. When the leading girls reach C and D a halt is made, and the time of the music is kept with the feet. The members of the two files then face about looking toward the center of the stage preparatory to executing a wheel to the front of the stage. Tiie directions and outlines of this movement are illustrated in the diagram. The girls at C and D are what are known in military parlance as the "pivots," and they do not move, except to gradually face toward the audience as their lines wheel. It will sometimes be necessary, in order to keep the lines even, for each girl to place her free arm round the waist of the girl next her. The instructor should see that the girls at A and B take steps of ordinary length, and that those nearer the front shorten their steps more or less to accord with the shorter distances they have to marcli. This movement is the hardest in the march, but is not difficult to teach. Each girl should keep time with her feet even when she is not taking a step. The girls now form one straight line across the front of the stage, with the leaders at C and D. In this position they beat time for eight counts, and on the ninth beat of the music the girls whose leader is at D face to the right, while those whose leader is at C face to the left.
FANCY DRILLS FOR ENTERTAINMENTS.
15
7. — The files pass to B and A, thence across the back of the stage, passing each other at E, and down the sides to C and D, where they turn and march diagonally across the stage to B and A, the file at 0 marching to B, that at D to A, and the two files passing each other at G-. This movement is the reverse of 4.
8.— At A and B the files turn toward E, at which point they unite to form couples, and pass to the front of the stage at F.
9.— At F the leaders again halt, and the girls on the right in the various couples face to the right of the stage and those on the left to the left. Two lines are thus formed stanindg back to back. With the leaders at F as "pivots," these lines wheel to the front of the stage, the girls nearest E passing to C and D. This movement is the reverse of 6, but it brings the girls once more into a single line
across the frontof the stage. cA "jR B In this position they keep
time for four beats, and then
all take foursteps backward.
10. —On the ninth count
after forming the line (four
beats having been allowed at
the front and four to stepback-
ward) the leader on the right
of F turns toward D, she on the
left toward C, and both lead
their files to D and C and to B
and A respectively, and meet
at E. In this movement the
•C] V T\ files do not pass each other, but
^ ' ir turn as shown by the dotted
FRONT. lines in the following diagram:
11. — Meeting at E, the two leaders halt, raise their hoops, and touch them at the top, thus
forming an arch. Each girl should hold her hoop with both hands and should raise it high enough
to permit the tallest girl in the company to pass under. The second couple pass under this arch, halt
beside the first pair, and raise their hoops to form another arch. The third couple pass through both
arches, halt beside the second couple and form a third arch; and so the movement proceeds until six
arches are formed. The girls should all keep time with their feet, even when they are not moving.
12— The first or leading couple are now at the back of the stage. After the last arch is formed
four counts are allowed, and then the leading couple lower their hoops and pass through the five
remaining arches to F, where
the two girls turn toward C ;A JT TQ
and D respectively. The ^ ^ x
second couple lower their hoops, pass through the four remaining arches and follow their leaders toward C and D. The remaining couples follow in the same manner, the last pair simply lowering their hoops and marching after the girls before them. This movement cannot not be gracefully performed if the girls forming the arches stand too closely together.
13.— From C and D the files march to A and B, and thence to E. Here each girl raises her hoop with both hands to make a frame for her face. The files unite to form couples, and pass to F, where the first couple turns to the right, the second to the left, the third to the right and so on. The columns thus formed pass respectively to C and D and to A and B and meet at E, the hoops still framing the faces.
14. — At E the couples unite to form fours, which march to the front of the stage and take position for the drill, standing sufficiently far apart to allow freedom of movement. Each girl low- ers her hoop to the riglit side and her left hand to the left side.
THE DRILL — Each manual of the drill requires eight beats of the music, and eight beats are allowed between the manuals unless otherwise stated.
JTbrX^
OP THK
TJNIVERSITY
16 FANCY DRILLS FOR ENTERTAINMENTS.
1. Salute. — Firmly grasping the hoop in the right hand, raise it, touch the forehead with iti and bow the head shghtly as the hoop is lowered.
2. Right Face. — Take one step obliquely to the right, at the same time raising the hoop before the face. Raise the left foot until only the toe touches the floor to maintain the balance.
3. Carry Arms — Return to position, with the hoop at the right side. Between 2 and 3 no interval is allowed, the command "Carry Arms" following immediately upon the eight counts of 2.
4. Left Face. — Take one step obliquely to the left, framing the face with the hoop.
5. Carry Arms. — Same as 3, no interval being allowed between 4 and the order of 5.
6. Right Shoulder Arms. — Raise the hoop to the right shoulder, and let it rest on the shoulder during eight counts of the music.
7. Carry Arras. — Return the hoop to position at the right side.
8. Left Shoulder Arms. — Grasp the hoop with the left hand, raise it to the left shoulder, and support it with the left hand, the right being at the side.
9. Carry Arms. — Lower the hoop with the left hand, grasp it with the right, and return it to position at the right side.
10. Present Arms. — Raise the hoop with the right hand, grasp it with the left, and place it with both hands, directly in front of the waist-line parallel with the floor or perpendicular to the body.
11. Carry Arms. — Same as 7.
12. Support Arms. — Raise the hoop to the top of the head, supporting it with the right hand.
13. Carry Arms. — Same as 7.
14. Trail Arms. — With the right hand place the hoop behind the body, and grasp it with the left hand also, holding the hands back of the waist-line.
15. Carry Arms. — Same as 7.
16. Arms Port. — Raise the hoop with the right hand, and grasp it with the left, holding it directly in front of and parallel with the body.
17. Carry Arms. — Same as 7.
18. Ground Arms. — Raise the hoop with the right hand, and with it touch the forehead, the right shoulder, the right hip and the floor in front, allowing two beats to each touch. The hoop should be held in the hand during the eight beats preceding the next command. The body should lean gracefully forward while the hoop is poised on the floor in front.
19. Lay Down Arms. — Lay the hoop on the floor, and stand erect, with arms akimbo.
20. Take Arms. — With both hands raise the hoop, and hold it against the breast. 21 Carry Arms. — Same as 7.
22. Inspection. — The two girls in each couple turn so as to nearly face each other, each holding her hoop raised in her right hand and looking approvingly at it.
23. Consultation. — Raise the hoop to the right side of the face, retaining the position of 22. Touch the partner on the left by placing the left hand upon her shoulder. The girls should lean well toward each other in a confiding attitude.
24. Carry Arms. — The girls face about and place their hoops at the right side.
25. Attention. — Raise the hoop with the right hand, grasp it with the left, and frame the face with it. Drop the right hand to the side, holding the hoop with the left.
26. Fire. — Raise the right hand, and with the finger tips throw an audible kiss to the audi- ence through the enframing hoop.
27. Carry Arms.— Same as 7.
28. Forward March.— The couple on the right of the front line turns to the right and that on left to the left, the two couples passing respectively toward D and C. The second line marches to the front, and the couple on the right turns to the right and that on the left to the left, following the first two couples. The third rank falls into line in hke manner, and the columns pass to D and C and to B and A respectively.
29. — The columns pass each other at E, and march once round the stage, meeting at E.
30. — Here the columns unite to form one double column, the girl on the right in the first couple of the right column joining the corresponding girl in the left column, the girl on the left of the first . couple in the right column joining the corresponding girl in the left column, and so on. The double column passes to the front of the stage at F.
31. — Here the couples separate, the girl on the left of the first couple turning toward 0, the one on the right turning toward D, and the other girls following in single file. The two single files pass to C and D and to A and B respectively, and then leave the stage.
FANCY DRILLS FOR ENTERTAINMENTS.
17
Thg Doll Di^ill.
4.— At for the drill
THIS drill is obviously for very little girls, and Is accordingly arranged with great simplicity. Twelve girls from six to seven years old will make a very pretty exhibition. Their dresses should imitate those now worn by nurse-maids, and should be made of gray or bla?;k paper cambric, cut suffi- ciently long to barely escape the floor; and each girl should wear a long white muslin apron having strings wide enough to form a bouffant bow at the back, a cap of white Swiss muslin, and black shoes or low ties. The dolls should be about eignteen inches long and should have white dresses reaching six inches below the feet.
THE MARCH. — The music for the march should be a spirited | movement. The girls chosen to lead should be those least likely to become frightened or confused.
The girls enter the stage from the right and left, six on each side, each holding the doll upon the left arm, and carrying the right arm at the side. The doll should be held well against the nurse's body, and the instructor must see that the position is a comfortable one and that the dresses hang gracefully.
An elaborate or complicated march cannot be expected of such little people. The diagram on the next page will assist the teacher to understand the directions:
1. — Having entered at A and B, the two files of six march across the stagre at the hack, passing each other at E, and make a complete circuit of the stage, meeting at E.
2.— At E the files unite and pass down the middle of the stage to F, where they separate, the girls on the left turning to the left side of the stage, and those on the right turning to the right side ; and the resulting files pass around the stage until they meet at E.
3. — At E they again unite to form couples, and pass to
F, where the first couple turns to the right, the second to the
left, the third to the right, and so on. The two columns
thus formed pass around the stage and meet at E.
E the couples unite to form fours, which pass to the front of the stage and take position
There will thus be three ranks of four girls each.
THE DRILL. — For this a bright schottische should be played, and eight beats of the music should be allow^ed for each movement.
1. Present. — Each girl clasps her doll by the waist and holds it in front of her with both hands her arms being bent at the elbows.
2. Salute.— '^tiW holding the dolls with both hands, the girls extend their arms as far as possi- ble (four beats), and then bring the dolls back and kiss them (four beats).
3. Devotion. — Raise the doll to the left shoulder, clasp it tightly and incline the head affection- ately against the doll's head.
4. i?es^.— Return the doll to the position on the left arm assumed during the march.
5. Play. — Place the doll in a sitting position on the left hand, clasp its waist with the right hand, and toss it gracefully up and down, the nurse smilingly plea.santly the while.
6. Rest. — Same as 4.
7. Rock-a-hye. — Lay the doll on its back on the left hand, clasp its waist -with the right hand, and sway it to and fro sideways.
8. Rest. — Same as 4.
2
18
FANCY DRILLS FOR ENTERTAINMENTS.
9. Reprimand.— Clasp the doll about the waist with the left hand, and hold it at arm's length in front (two beats). Incline the head slightly, and with a serious expression upon the face; raise the right hand, with the forefinger extended in a reproving way ; and keep time with the music by rais- ing and lowering the finger reproachfully.
10. Reconciliation. — Place the doll against the right shoulder, with its face looking over the shoulder toward the back, and lovingly clasp it with both hands.
11. Rest. — Same as 4.
12. Toss. — Place the doll on its back upon both hands, raise the hands as high as possible and bring them to a level with the body ; toss again, and agam bring to a level with the body ; and so continue until the eight counts are finished.
13. Rest. — Same as 4.
14. Inspection. — The girl on the left in each pair holds her doll with her left hand, and the one on the right holds hers vv^ith the right hand. Each girl extends the arm holding the doll, at which
she looks with admiration (eight counts). Each pair of nurses bring their dolls slowly toward each other until they are close together (eight beats). Each girl then looks at the doll held by her part- ner, and shakes her head to signify that her own doll is decidedly the finer (eight counts). The dolls are then separated, and each nurse looks once more at her little charge and clasps it with smiles of satisfaction to her left breast. This is a very pretty movement and may be made very effective,
15. Good-niqht. — Laying the doll upon both hands, the nurse bends over and kisses it affection- ately, raising it slightly. This is done three times, the nurse's eyes being kept on her doll all the time.
16. Drowsiness. — Lay the doll upon the left hand, and pat it lovingly with the right hand.
17. Roch. — Place the right hand again beneath the doll, and gently rock it back and forth.
18. Asleep. — Nestle the doll closely in the left arm, pressing it to the body. Ail pat their dolls gent'y with the right hand, and sing very softly the following song:
zh:.
^^^^^P
m^^
Bye - 0 - bye, ba - Vjy, Bye - o - byu, ba
Lui - la - bv, dear cue, Lul - la - by,
^b ^-^
^=^
-^^m
j^
s
^
SliSl
^
dar
ling, Lul - la by, O my ba - by dear, Bye - o
bye.
This little song is given by permission of Air. G. Schirmer. If it is impossible to teach it to the children, it may, of course, be omitted.
It should be sung through twice. The first time the girls are standing as described in 18, look- ing at their sleeping dolls. As the song is commenced the second time, the couple on the left in the first rank turns to the left, and that on the right to the right, in .'>ingle file. The second and third ranks divide in the same way and fellow the first, and all paps oil" the stage at A and B, singing as they march. The music should grow fainter and fainter to the audience until the last note is played.
FANCY DRILLS FOR ENTERTAINMENTS.
1&
Thg fan Df^ill.
SIXTEEN girls were here chosen for this drill, but the number should always be suited to the amount of space at command, since an over-crowded stage would spoil both the march and the drill proper. Twelve maids would make an effective company, but if this number were decided upon, some of the evolutions of the march could not be performed.
The costume consists of the Japanese kimono and obi (sash), which may be made up at very little cost. The pattern of a Ladies' kimono is No. 4237, which is in 4 sizes from 28 to 40 inches, bust measure, and costs Is. 8d. or 40 cents. The pattern of a Misses' kimono is No. 3536, which is in 6 sizes from 5 to 15 years of age, and costs Is. 6d. or 35 cents. If ordinary dress is decided on, a blouse-waist and a plain, full skirt may be worn. All the costumes may be of the same color, al- though a very pretty eflfect may be obtained by dressing half the girls in blue and half in pink, or by choosing a different color for each couple, as, for instance, white for the first, pale-blue for the second," red for the third, gray for the fourth, orange for the fifth., pale green for the sixth, terra- cotta" for the seventh and lavender for the eighth. The company would also present a very striking, appearance if all the waists were made of white India linen and all the skirts were of one color, with neck-scarfs and belts of the skirting fabric. If the costumes are to be of ditierent colors, it is well to select the shortest two maids for the first couple and grade the others upward according to size, having the tallest two for the eighth couple.
If a fancy Japanese costume is worn for this drill, the hair should be arranged on the top of the head and ornamented with tiny fans thrust through in all directions. These httle fans may be ob- tained at any Japanese shop and are about an inch long, with long black handles.
The fans carried by the company should be at least fifteen inches long. During the march they are closed and held with the left hand against the right shoulder, as at figure No. 1, on page 22.
THE MARCH. — The girls enter the stage at A and B on diagram I. (See next page.)
A lively march should be played as the files are entering the stage.
1. — The files cross the stage from A and B, passing each other at G, and march round the stage to H and thence to B and A.
2. — At these points both files turn and march diagonally to the opposite front corners. Thus, the file at A proceeds to E, and that at B to F, the two files passing each other at the center, C. At E and F the files turn toward the center of the front and pass each other at H; and on reaching F and E they again turn and pass diagonally across the stage, the line at F marching to B and that at E to A.
3.— From these points a triangle is formed as follows: The file at A turns as if to again cross diagonally to E, but No. 1 of this file stops at the center, C, and behind her are Nos. 2, 3, 4, 5 and 6, who stand close together, each keeping time to the music with her left foot. The remaining two maids of this file turn as if to cross the back of the stage, and halt beside No. 6. While this part of the triangle is being formed the file on the other side of tne stage performs a similar manoeuvre.
2C
FANCY DRILLS FOR ENTERTAINMENTS.
Kimono for Fan Drtll.
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7 |
8 |
8 |
7 |
6 |
5 |
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• |
• |
• |
• |
• |
• |
• |
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G |
5 . |
. 4 |
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^ s |
4 |
3 |
2 |
i |
i |
2 |
3 |
p
This file turns from B toward the center, C, and the leader halts diagonally back of No. 1 of the
left-hand file, on a line with No. 2 of the same file. The next four maids halt back of No. 1, and the remaining three turn toward Gr and halt in a line with Nos. 7 and 8 of the left hand file, thus completing the triangle. The position of the company at this point is shown by the following diagram:
After the figure is complete the girls mark time during eight counts.
4. — The leader of the left-hand file, now at the center, C, leads her line diagonally across to E, while the right-hand file crosses tl;e other at C and inarches to F. At E and F the files turn toward the center, pass each other at H, and continue to F and E and to A and B respectively.
No. 5. — From A and B the lines again proceed to form a triangle, as described in 3.
6. — In breaking the triangle a second time the files pass dia- gonally to E and F, as in 4, turn toward the center, pass each other at H, and march to F and E, and thence toward the back of the stage. The file on the left halts when it reaches A, and the
first four girls station themselves at equal distances apart from A nearly to F, while the second
four similarly cover the distance from F to H. In the same manner the file on the right halts when
No. 1 reaches B, four girls being distributed from
B nearly to E, and four from E to H. The
positions at this point are clearly indicated at
diagram III.
7.— After the files halt the girls mark time
during two measures (eight beats), and then all
face toward the center of the stage and mark
time for two measures inore. Four wheels are 4 . .3 W
now executed toward the center, C, with No*. ^ 3 . . 2 o
1 and 5 of each file for pivots. Each pivot
turns where she stands, while the other three in
her line wheel toward the center. Eight beats
are allowed for this movement. The positions
of the girls in the resulting cross are shown in
the following diagram :
Eight beats of the music are allowed after T t^ ^
the cross is formed. FRONT.
8. — Nos. 1, 2. 3 and 4 of the two files are Diauram n.
now facing practically toward each other, all
looking, as they do, toward G; while the maids numbered 5, 6, 7 and 8 stand facing the backs of those numbered 1, 2, 3 and 4. In order that all may face m the same direction preparatory to the next movement, all the girls in the right-hand file must turn about. The ranks forming the cross
then rotate around the central pomt, C. This movement needs careful practice, so that the girls nearest the center may know exactly the length of step required to keep them in line with iho^e at the ends of the ranks, who, of course, must lake much longer strides.
9. — When the ranks have marched once round, thus regaining the |)Ositions indicated in diagram IV, the members of the right-hand file face about to their original positions, and the ranks wheel back to form the straight lines shown in diagram III.
10. — The files now march across the back of the stage, passing each other at G, and pro- ceed once around the stage, meeting at G.
11. — At G the girls open their fans, those in the left-hand file holding the fans in their left hands and those in the light-hand file holding
FANCY DRILLS FOR ENTERTAINMENTS.
21
?
|
1 |
2 |
•2 |
1 |
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|
3 |
4 8 |
f |
4 8 |
3 |
||||
|
7 |
• |
• |
7 |
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6 |
• |
• |
6 |
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5 |
• |
• |
5 |
|||||
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• |
• |
FRONT. Diagram rv.
them in their right hauds. The two leaders unite to form a couple and place their fans parallel
between them, with their arms sufficiently raised to hold the fans comfortably. All the rest of the
girls unite in pairs in the same way. and the
i-esulting column passes to the front of the stage. 12. — At H the first couple turns to the left,
the second to the right, the third to the left, and
so on ; and the two columns pass down the sides
and meet at G.
13. — Here the couples unite to form fours,
which pass toward the front of the stage. The ^
first four halt aboui two feet from the front, « M
the second two feet back of the first, the third '-' 8 8 ^
iwo feet back of the second, and ihe fourth two
feet back of the third; and at a signal from the
instructor all fans are shut and lowered to the
right side. This brings the girls to the positions
shown at diagram V. The company is now in
readiness to execute what may be called ''The
Knights' Move." Eight beats are counted after
all are in place, and this move is performed as
follows:
14. — No. 1 (on diagram V), closely followed by Nos. 6, 9 and 14, turns to the right and marches
half-way round No. 5, half-way round No. 10 and half-way round No. 13; then back of No. 15,
half-way round No. 12, half-way round No. 7 and half-way round No. 4 ; and then back of No. 2 to her original position. As No. 14, fol- lowing No. 1, reaches the front, Nos. 3, 8, II and 16 fall in closely behind her, and all follow the leader in her winding course, each halting in her own place when she reaches it. It will be seen that Nos. 2, 4, 5, 7, 10, 12, ]3 and 15 do not leave their positions during this very pretty manoeuvre. After No. 16 reaches her place eight beats are counted, the movement is again executed, and eight more beats are counted, after which the company is ready for the drill.
THE DRILL For this a bright schottische
is played, and eight beats are allowed for each manual, except when otherwise stated.
1. Salute. — Raise the closed fan with the right hand, touch the hps with its end, bow the head slightly to the audience, and return the fan to position. (See figure No. 2, page 22.)
2. Rest. — Open the fan, and hold it by the top corners in front of the body with both hands, the arms being at full length and the top of the fan toward the feet. (See figure No. 3.)
3. Right Shovlder.— Grasp the fully opened fan with both hands, as in 2, and raise it to the right shoulder. (See figure No. 4.) The left hand is held at the side of the head for this manual, and the fan shades the side of the face the head being bent forward shghtly.
4. Re.'it. — Same as 2.
5. Left Shoulder.— UoUinc;: the top of the fan with both hands, place it on the left shoul- der, as at figure No. 5.
6. Rest.— Same as 2.
7. Flutter. — Grasp the handle of the fan with the right hand, and, raising the elbow un- til the fan is perpendicular to the face, give short, quick fanning movements during the eight beats. (Refer to figure No. 6.)
|
^ |
<t |
|
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. 1 |
1 . |
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|
. 2 |
2 . |
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|
s |
. 3 .4 |
4. |
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5 6 7 |
8.8 7 65 |
p
^
FRONT. Diagram III.
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9 |
^ |
<^ |
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. 16 |
.1.-. |
. M |
. 13 |
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^ s |
. 12 |
. 11 |
. 10 |
. 9 |
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.8 |
. 7 |
. 6 |
.5 |
||
|
.4 |
. 3 |
. 2 |
. 1 |
p
FRONT. Diagram V.
22
FANCY DRILLS FOR ENTERTAINMENTS.
8. Rest. — Same as 2.
9. Reverse. — Eahe the open fan to the back of the head, and grasp each of the upper corners with one hand. The handle should rest at the nape of the neck, the head being inclined forward. (See figure No. 7.) This is a very pretty position, as the fan forms a background for the face; and
Figure No. 1.
Figure No. 2.
Figure No. 3.
if each girl assumes an expression of coyness, the piquancy of the tableau will be greatly increased.
10. Rest. — Same as 2.
11. Gossip. — The right-hand girl in each couple holds her fan in her right hand, and the left- hand girl holds hers in her left. The two then place their heads together as if chatting, the girl on the right fluttering her fan. (This is illustrated at figure No. 8.)
Figure No. 4.
Figure No. 5.
Figure No. 7.
12. Anger. — The two girls face half about away from each other, holding their closed fans in their right hands, and remain standing in scornful attitudes during the eight counts. (See figure No. 9.)
13. Reconciliaiioii.— The partners lean toward each other, as in 11, and flutter their fans^ plainly showing that peace has returned. (See figure No. 10.) To be effective, this moverr.cnt
FANCY DRILLS FOR ENTERTAINMENTS.
23
should not be too suddenly executed. Reconciliation should be a trifle slow, hence sixteen beats are allowed for the manual.
14. Down. — Close the fan and carry it in the right hand to the right side, as shown at figure No. 11.
Figure No. 8.
Figure No. 9.
15. Charge. — Raise the closed fan (two beats); open it violently, making as loud a snapping noise as possible (two beats); and return it to the right side (four beats). (See figure No. 12.)
16. Wave. — Open the fan, and wave it slowly at arm's length above the head. (See figure No. 13.)
17. Play. — Lean toward the audience, and coquettishly flutter the fan at the right side of the face, as seen at figure No. 14.
Figure No. 10.
Figure No. 11.
Figure No. 12.
18. Invite. — Still leaning tovvard the audience, beckon or "invite" by moving the fan with long sweeps tovvard the body. (See figure No. 15.)
19. Down. — Same as 14.
20. Fence. — Partners turn half toward each other, raise their closed fans, cross them, and strike them together several times until eight beats are counted. The fans are then lowered (four beats),
24
FANCY DRILLS FOR ENTERTAINMENTS.
the movement is repeated (eight beats), and the fans are retnrned to the right side. (Refer to figure No. 16.)
2L Protect. — The left-hand girl in each couple kneels upon her right knee, and her partner, placing her left hand upon her shoulder, looks down upon her in a protecting manner, gently fanning
Figure No. 13.
FlGUEE No. 14.
Figure No. 15.
her meanwhile (eight beats). Tiie kneeling maid raises her eyes gratefully to her partner's face. (Refer to figure No. 17.)
22. Rest. — The kneeling girl then rises, and both the girls place their fans in position, as in 2.
23. Forward March. — The maids in the front rank take one step forward, and the couple on the left turns to the left, while that on the right turns to the right. The other ranks divide in the same way, and the two columns march round the stage until they meet each other at G.
Figure No. 16.
Figure No. IT
24.— Here No. 1 of the left-hand file joins No. 1 of the right-hand file, and all the others do likewise, thus forming a file of couples, which march to the front of the stage, H. The couples then divide, the maids on the left turning to the left, and those on the right to the right. The resulting single files pass to F and E, and thence to A and B. where they leave the stage.
FANCY DRILLS FOR ENTERTAINMENT!
TQ-NlVERSIT-^j
THE EAPII^E Dl^ILL.
SEVENTEEN young ladies are chosen for this drill, sixteen formino: the company, and one acting as captain ; but a greater number would be even more effective it the stage is large enough.
Poetic Empire gowns are worn. Four of the maids are clad in pink, four in blue, four in lavender and four in corn-color, while the captain's dress is white. The costumes are made of cheese-cloth, and each maid wears a ribbon belt matching her gown, the long ends of the belt being tied in front. The pink and blue gowns are fashioned by pattern No. 4^»71. price Is. 8d. or 40 cents; and the lavender and corn-color gowns by pattern No. 4944, price Is. 8d. or 40 cents. The captam's attire is, somewhat contrary to the usual custom, distinguished by great simplicity, and is made by pattern No. 4912, price Is. 6d. or 35 cents. Wholly practical substitutes for the ordinary long-waisted corsets, which cannot be worn with Empire gowns, are the Empire short stays, that are shaped according to pattern No. 4936. which costs lOd. or 20 cents. All (if these patterns are in thirteen sizes for ladies, from twenty-eight to forty-six inches bust, measure, except No. 4944, which is in eleven sizes for ladies from twenty-eight to forty-two inches, bust measure.
Shepherd's crooks four feet long are carried, and each is decorated with a ribbon bow match- ing the owner's belt. The hats are large shapes in straw, trimmed with a huge bow of cheese-cloth.
THE MARCH. — The music for the march should be a spirited |- movement, but for the drill a bright schottische should be played, the change of music being very effective.
For a better understanding of the directions for the various evolutions of the march, the dia- gram of the stage, seen on the following page-;, should be consulted.
Three bars of the music should be played before the young ladies enter the stage, and the time should be well marked by them, right, left, right, left, that they may present a truly soldierly appear- ance when the entry is made. At the close of the three Oars the captain appears alone upon the stage and marches to the center of the back, E. and thence to F. where she faces about to greet the company. She carries her crook under her right arm, with its top well to the front, the right hand
26
FANCY DRILLS FOR ENTERTAINMENTS.
4936
grasping the stick as high as the shoulder, and the crook held comfortably against the body. When in
position at F, she rests the end of the stick on the floor, with the hand stiU grasping it well toward
the lop.
The girls should stand very erect while marching, without, however, appear- ing stiff, and with the eyes straight ahead in genuine military fashion. Unless other- wise directed the crooks are carried as described for the captain. It is well to remember that everything depends on the 6rst impression made upon the audience in this class of entertainments, which are almost wholly spectacular. Care should be taken, therefore, that the first appearance of the maids is effective.
1. — The girls enter in single file at A and B, eight at each side. Each file is made up of two girls in blue, two in yellow, two in lavender and two in pink. The files march toward each other across the back of the stage, that from A passing to B and then to D and F, and that from B passing to A and then to C and F. Meeting at F, the file's pass once more around the stage and meet at the center of the back, E. 2. — At E the files unite to form couples, which pass to F. Here the couples separate to form
files, which turn to the right and left, passing to C and D and thence around the stage until they
meet at E.
3. — The files again come together in couples and pass to the front of the stage, where they again
separate and march respectively to the
corners, C and D. At these points the
files halt, turn, and cross the stage dia- gonally, the one at D passing to A, and
that at C passing to B and crossing the
other line at G.
4. — From A and B the files march to- ward each other, again unite at E and
pass to F. When the first couple reaches
F the column halts, and all mark time.
Then, with the girls of the first couple as
pivots, the two files composing the column
wheel to the front of the stage. This is
not a difficult ev'olulion ; the girl at the
left of E passes directly to C, the one at
the right of E passes to D, and the other
girls regulate the length of their steps to
keep them in line with the ends of the
ranks. This brings the sixteen girls into
one line across the front of the stage.
5. — After the line is formed, one bar
of the music (four beats) is played, and
then the girls on the right side of the
stage turn to the right toward D, while
those on the left side tnrn toward C; and
the files pass to A and B. When the files
reach A and B a second halt of four beats
is made, and all face toward the center of
the stage. With the girls at C and D as
pivots, the ranks wheel to' the front, the
girls at A and B passing to F. Then the
company is once more formed into a
single rank across the stage. 4944
FANCY DRILLS FOR ENTERTAINMENTS.
27
6. — The two girls at F now turn about toward B, and all the others face toward F preparatory
to following. On reaching E, the couples separate and pass to the left and right, and the files march
around the stage, passing
each other at F, and continu- ing to D, B and E and to 0,
A and E.
7.— The leaders of the
two columns halt about three
feet from each other and
from the back of the stage,
and raise their crooks until
they touch and form a point
at the top. When the next
couple meet they pass be- tween the first under the
archway of crooks and take
their position.s beside the
other two girls, raising their
erooks in the same way.
The other couples follow
until a row of eight arches is
completed, all the pirls mark- ing time throughout the en- tire evolution. In order to
perform this movement with
grace, the couples should not
stand too closely together.'
After the eight couples have
formed their arch, two bars
of the music are played, all continuing to mark time. 8. — The first couple now lower their crooks to the origins
position and pass under the seven arches toward F; and
the other couples follow. Reaching F, the couples separate,
and the files pass to C and D and thence to A and B, and
meet at E, where they unite to form couples and pass to F.
9. — At F the files separate and pass to C and D and thence to A and B. The steps should be
so regulated for this evolution (the forming of a hollow square), that there will be but four girls
from A to C and four from B to D, while the remainintr eight will forma line across the front.
The positions are shown by diagram II. Having completed this movement, the maids mark time
during two bars of the music, all facing to- ward G. They then form a Greek cross in the following manner ;
10. — With Nos. 1 and 5 on each side as pivots, four wheels are made to the center, G, Nos. 4 and 8 of each file passing to G, and Nos. 5 and 1 of each file remaining re- spectively at A and C, and at B and D. When the cross is forined the girls are placed as in diagram III, page 28.
Two bars of the music are now played, and then the same four wheels back to the positions indicated in diagram II.
11. — The files pass to E, and march once
again around the stage until they reach A
and B respectively. The two leaders then
march about three feet along the back of the
toward each other, turn a right angle, march to the front, cross the front about three
gain turn a right angle, march to the back, cross the back about three feet, and again pass
to the front, thus following a serpentine course.
12.— On reaching F the couples do not unite, but each maid of the left-hand file follows her
partner. Thus, No. 1 follows No. 1, No. 2 follows No. 2, and so on. This forms the company into
one continuous line, and they march twice entirely around the stage in a large circle. Then every
Diagram I.
Stage feet, ;
28
FANCY DRILLS FOR ENTERTAINMENTS.
other girl takes three steps sideways toward the center without turning. In this way all the mem- bers of one file are formed into a second circle inside the first.
13. — The two circles now march twice around the stage, and then the inner circle reverses, and the two march twice around the stage in opposite directions. Again the inner circle reverses, and both march once around.
14. — The outer circle then halts slightly, the girls of the inner circle Call into their places in the outer one, and once more the sixteen girls circle around the stage. Then every aUernate girl joins the one in front of her, thus forming the original couples, which pass to E.
Diagram II.
15. — The couples advance to G, where they separate, turning to the right and left and forming two circles, one on each .*ide of the sta^e, as represented at diagram IV, which shows the positions of the girls after havmg marched once around.
After passrag around twice, the maids unite at G- to form couples, and pass to F.
16. — Here the first couple turns to the left, the second to the right, and so on; and the two columns pass around the stage to E, where the couples unite to form fours, which march toward the front of the stage. The company is now divided into four rows of four girls each, with the captain facinj; them, ready to "five the orders for the drill.
THE DRILL — As the company takes position for the drill, each girl lowers her crook until one end rests upon the floor about eighteen inches to the right and in front of the right toe, with the right hand grasping the stick near the top. The girls should not stand too closely together, as the effect will be most pleasing if there is ample room for handling the crooks. Two feet and a half will
^
|
1 2 3 4 |
€, |
1 2 3 4 |
|
8 7 6 5 |
8 7 G 5 |
F
Diagram III,
s
be none too much space to allow between one girl and another. Unless otherwise stated, each man- ual of the drill requires eight counts, and the same number of counts is allowed between each and its successor.
1. Present Arms. — Raise the crook, touch the forehead with it, and then gently bow the head as the crook is lowered to place.
2. Shonlder Arms. — The same position as during the march.
3. Ahoid Foce.— The girls are now standing as in diagram V.
FANCY DRILLS FOR ENTERTAINMENTS.
29
Nos. 15 and 16 unite and stand together half-way between E and B; Nos. 11 and 12 unite and stand two feet out from H; Nos. 7 and 8 take positions near G, facing H; Nos. 3 and 4 face Nos. 15 and 16 half-way between F and D; Nos. 13 and 14 stand half-way between A and E; Nos. 5 and 6 unite at L half-way between A and C; Nos. 9 and 10 place themselves opposite to and facing Nos. 5 and 6; and Nos. 1 and 2 face Nos. 13 and 14 at the front of the stage. The positions of the couples are displayed at diagram VI.
4. Rest Arms. — Each girl rests her crook upon the floor as described,
5. Left Shoulder Arras. — The crook is placed under the left arm, the reverse of the position in
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Diagram IV.
which it was held in the march. The right hand and arm are thus left free for the prettiest part of the drill. No time is allowed between the following movements, the captain giving the order for each at the close of the preceding one. Eight bars of music are allowed for each movement unless otherwise directed.
6. Salutation. — Each maid bows, first to herpartnerand then to the nearest girl on the rightor left.
7. All Forward. — The eight maids of each square take four steps forward (toward each other) and then four steps backward. Four bars are allowed for this movement.
8. Forivard and Face. — All march four steps forward, as in 7, and the right-hand maid in each couple turns to face her partner, salutes her, and remains in the center of the square. The backs of four girls in each square are thus together (four bars).
9. Circle Around. — The four remaining maids march to the left around those in the center
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Diagram V. |
until they reach their positions, when they give their right hands to their partners and return them to their places (eisiht bars).
10. Forward in Lines.— l^o<i. 5, 6, 7, 8, 9, 10, 11 and 12 separate from their partners and join the maids nearest them on the right or left. This places the sixteen girls in four lines as shown in diagram VII. The lines thereupon take four steps forward and four backward.
11. Take Partners. — Each girl gives her partner her right hand, and they march round each other to place (four bars).
12. Right- Hand Maids Forward and Join Hands.— The right-hand maid in each couple walks to the center of the square and joins right hands with the opposite maid, the two pairs of hands io
■60
FANCY DRILLS FOR ENTERTAINMENTS.
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15. 16
11. 12
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3. 4
each square crossing each other. This is not a comphcated movement. Nos. 2 and 13 and Nos. 5 and 9 of the left-hand square join right hands, one pair over the other; and Nos. 4 and 15 and Nos. 7 and 11 of the right-hand square do the same. The four girls thus united in each square walk or circle round to the left, until each reaches the place of the opposite girl. Hands are then unclasped,
and each girl gives her right hand to
the maid standing at this side, who
approaches to meet her with her right
hand extended. The two thus joined
walk round each other, and then the
first maid gives her right hand to the
one with whom she described the half-
W circle; the four walk once more half
o round, each girl joins right hands with
^ her partner, and the two walk round
each other to places. Eight bars are
required for this manual.
13. Left-Hand Maids Forivard and Join Hands. — The left-hand maids now perform the manual just describ- ed, Nos. 14 and 1 joining hands across Diagram VI. Nos. 6 and 10, and Nos. 16 and 3
across Nos. 12 and 8.
14. First Couples Face Outward. — Nos. 1, 2, 3 and 4 turn about to face the captam, and the other couples fall in, the positions being as follows:
13. 14
9 10 Left-Hand Square. p" ^ Right-Hand Square.
1.' 2 Four bars of the music are required to execute this movement.
15. March Across. — The maids on the left of each column march four steps to the right and back, and those on the right march four steps to the left and back. This is performed twice (eight bars).
16. Forward and March. — The maids on the left side of each column turn to the left and those on the right to the right, and the two files march to the back of the stage, and then to the front, and face each other (eight bars).
A pleasing addition can be made to these two movements by drawing a handkerchief or fan from the reticule dependent from the arm and carrying it as illustrated.
17. Forward and Unite. — Each maid walks four steps toward her partner, and they join hands and walk round each other to places (four bars.)
18. Again Face About. — Repeat 14.
19. March Across. — Same as 15.
20. Forward and March. — The girls on the left of each column turn to the left and thosp on the right turn to the right, as in 16. The two pairs of files meet respectively mid- way between A and E and between E and B, and they pass to the middle of 0 F and of F D. The columns then turn toward C and
D, march to A and B and meet at E. No time can be given for this movement. The girls simply keep time with tlie music until the fin- ish. When the first couple on each side reaches
E, the captain gives the following order:
21. Forward and Salute.— At E the two double columns unite to form one, each couple
dividing, and its members uniting with the corresponding girls of the other column. The new column then marches toward the captain at F, where the couples divide, marching to the right and left. Just before reaching F each maid salutes the captain by raising her right hand to her forehead. The two single files march respectively to 0 and D, and then to A and B. where they leave the stage. When the last couple has saluted the captain, slie marches from F to E, where she halts and faces to the front; and as soon as all the maids have left the stage, she salutes the audience in her most gracious Empire manner, and also makes her exit.
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DlBGRAM Vn.
FANCY DRILLS FOR ENTERTAINMENTS.
31
NeW (OLQAgiAN Dl^ILL.
SIXTEEN prirls of uniform height are needed for this pretty drill. They should be from twelve to fourteen years of age, as smaller girls are apt to be unreliable. The costume consists of a white waist, a red skirt and a blue zouave jacket. The waist is shaped according to pattern No. 4596, which is in nine sizes for misses from eight to sixteen years of age, and costs Is. or 25 cents; and a coarse quahty of India linen may be chosen for its con- struction. The skirt may be cut from red cheese- cloth or from Turkey-red. It reaches nearly to the shoe-tops, and the lower edge is finished with a deep hem. The top is gathered to a band, and over it is worn a two-inch Empire belt formed of overlapping folds of red, white and blue material sewed to a stiff foundation. The zouave jacket is fashioned by pattern No. 4988, which costs 7d. or 15 cents, and is in thirteen sizes for girls and misses from four to sixteen years of age ; and blue paper cambric made up with the dull side outward would be suitable for it. A jaunty cap or 1 urban made by twisting the three materials together is worn, and the hair is allowed to hang loosely down the back. Black stockings and low shoes or slippers complete a very becoming uniform.
If preferred, a costume made to represent the American flag could be adopted, the bodice being blue studded with stars, and the skirt red and white in stripes.
Each maid carries in her right hand a United States flag about two feet and a half lonp, which should be made of some soft, yielding texture that will hang gracefully. A very satis- factory flag may be inexpensively made at. home of soft red, white and blue cloih. The bottom of the flag should be gathered up loosely in the hand holding the staff, and the arm should be allowed to hang easily at the side.
The music should be a march, preferably a national air. Diagram I, page 32, represents the stage and is referred to in the followinof directions. It must be remembered that the terms right side and left side mean the right and left sides of the stage as viewed by the spectators, not the right and left sides of the maids. Thus, A D is the left side of the stage, and B C the right.
1. — The girls enter in single file at A and B and march
toward E, where the. two files turn at right angles, unite to form
couples and pass to the center of the front, F. At F the
couples separate, the file on the left turning toward D and thai on the right toward C. The
files then march respectively to A and B and meet at E.
2. — Here the files again* unite to form couples, and pass to F, where the first couple turns toward D, the second toward C, the third tow-ard D, and so on. In this way two columns of cou- ples are formed, which pass respectively to D and A and to C and B, and meet at E.
3. — The girls in the left-hand column raise their flags to form an archway, through which the right-hand column passes; and both columns march once more about the stage, meeting at E.
4. — Here the couples unite to form fours, which march to the front of the stage, where the first four turns to the left, the second to the right, the third to the left and the fourth to the right. The fours march to the back of the stage and meet at E.
32
FANCY DRILLS FOR ENTERTAINMENTS.
T]
5. — On reaching E the fours unite to form couples, which march to F. Here the maids of the first couple turn respectively to the right and left, and each leads the file behind her to describe a
spiral. This -movement, which may at first seem quite complicated, is in reality very simple. The left-hand maid in the first cou- ple leads her file toward the left side of the stage, and the right-hand maid leads her file to the right. The two files describe large circles, the centers of which are at G- and H, diagram I. Th s forms the outside thread of each spiral, and each succeeding thread or line follows a smaller curve until the central point is reached, where the first maid reverses and leads her company out in curves parallel to those made in forming the coil. When the files reach F on the return they pass each other, march respectively to D and A and to p" V^ C and B, and meet at E. Diagram II shows
. the manner in which the files execute this
apparently quite complicated yet simple movement, the heavy lines denoting the winding, and the dotted lines the unwinding, of the spiral. 6. — At E the maids in the right-hand file transfer the flags to their left hands, and form couples with the maids in the left-hand file, each giving her right hand to her partner. The couples pass to F, where the first couple turns to the left, the second to the right, the third to the left, and so on, thus forming two columns of couples. The head couples pass to the centers of the sides (M and N, diagram III), turn a right angle and lead their columns toward K, the center of the stage. Meet- ing at K, the columns pass each other by what is known as the "over-and-under" movement. To make this evolution perfectly clear, we will designate the column approaching from the left as No. 1, and that from the right as No. 2, and will follow the first couple of No. 1 through the moveraenl; this will indicate the action of trie other cou- ples. The first couple of No. 1 pass under the raised hands of the first couple of No. 2, then raise their hand<! and allow the second couple of No. 2 to pass under, then pass un- der the raised hands of the thitd couple, and lastly raise their hands for the fourth couple to pa=s under. The movement is always over and under, the action of the head couples re- gulating that of ail the others. It is obvious that, if this evolution is to be executed grace- fully, the girls must not stand too closely to- gether in the couples, and therQ must be suffi- cient space between the couples. The couples should not be so far apart, however, as to cause a break in the "over and under"; and the hands must always be liehl high enough to allow the girls to pass under gracefully. The stage must be sufficiently wide to permit the girls to complete the movement before turning at M and N.
7. — From M and N the columns pass re- spectively to A and B, and meet at E. The maids in the left-hand column unclasp their hands and raise the flags to form an archway, and the right-hand column passes under. Wlien the last couple has passed, the flags are lowered, partners clasp hands, and the cohimns pass respectively to M and N, where they turn a right angle and march toward K. The "over and under" is again executed, and the columns pass to N and M, and thence to B and A, and meet at B.
8. — At E the columns unite to form a Diaijuam III.
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FANCY DRILLS FOR ENTERTAINMENTS.
33
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Diagram VI.
single column of couples, clasp hands and March to F. • Here the girls of the first couple halt, sepa- rate and face each other, and all the other couples do the same. This brings the company into two lines, each girl facing her partner. The lines should be at least four feet apart. To follow the ensuing movement, refer to diagram IV, where the couples are numbered as they stand in the two hues. The flag must always be held in the left hand when it is necessary to use the right in joining hands with another maid.
9. — Maids X 1 and 0 8 advance toward each other between the lines, with the flags held in their right hand«; on meeting they bring the tops of the flags together, bow slightly and return to place. Maids X 8 and O 1 do the same thing. Maids X 1 and 0 8 again advance, join left hands, march round each other in a circle between the Imes and re- turn to place. Maids X 8 and 0 1 do the same thing. X 1 then joins left hands with her partner, and they walk round each other at the head of the line; then maids X 1 and 0 2 join left hands and describe a circle. While X 1 and 0 2 are turning, O 1 joins left hands with X 2 and describes a circle with her. Then X 1 and 0 1 describe another circle and pass to the third couple. It is obvious that two circles cannot be executed wholly between the lines, hence each must be performed half inside and half outside the lines. When the first couple reach the third, X 1 joins hands with O 3 and 0 1 with X 3 ; the two couples turn, and then X 1 and O 1 turn in the center. Thus the first couple continue to turn opposites and each other in alternation until the end of the hne is reached. After the last couple have been turned, the first couple meet at E, bow slightly to each other, join hands and pass to F between the hues, the other maids having
meantime formed an archway with their A ^ "D flags. At F the leaders turn and march to
' -L-' E out.side the lines, X 1 turning to the left
and 0 1 to the right; and the two lines follow their respective leaders. Meeting at E, part- ners join hands and pass forward, the leaders halting at F. Partners then separate and face one another, and all raise their flags to form an archway, and remain at rest, mark- ing time with their feet while eight counts or two bars of the music are being played. Then the first couple lower their flags, join hands, and march to the rear of the stage, passing under the archway of flags; and all the other couples do the same in their turn.
10. — On reaching E all the maids turn toward B, the couples at the same time separating to form a single file. Thus X 1 follows O 1, X 2 follows 0 2, and so on. The leader passes to the front of the stage, and then the file describes one large spiral, with the middle of the stage for a center, as indicted in diagram V. After winding and unwinding the spiral, the leader passes from F to C and then to B and E, and every other girl shortens her steps to allow the girl be- hind her to step forward and form a couple with her. The couples then pass toward F. 11. — At F the first couple turns to the left, the second to the right, the third to the left, and so on; and tiie two columns march respectively to D and A and to C and B, and meet at E. Here the columns DiAGKAM V. unite to form fours, and march toward the
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34
FANCY DRILLS FOR ENTERTAINMENTS.
froat of the stage, where the first four halt, with the others in position behind. All mark time daring eight counts, and then the first and third lines right about face— that is, face toward the
back of the stage. Each maid transfers her
A flag to her left hand and is ready for the next
p" rf "^ movement. The positions are as indicated
by diagram VI, lines 0 and M facing respec- tively lines N and L.
12. — The company being now arranged in four imaginary groups of lour, each maid joins right hands with the maid who is dia- gonally opposite her in the same group ; in this way four crosses of clasped hands are formed. Thus Nos. 2 and 5 join hands across or under Nos. I and 6 ; Nos. 3 and 8 across or under Nos. 7 and 4; Nos. 9 and 14 across or under Nos. 13 and 10; and Nos. 11 and 16 across or under Nos. 12 and 15. The hands must be held moderately high, with finger tips daintily touching. Each group then marches round to the left in a circle, the flags being waved with the left hands. When one revolution has been made, right hands are quickly unclasped, each maid transfers her flag to her right hand, left hands are joined across, and each group marches round to the right, the flags being waved as before. When the maids reach their original positions, partners join hands. No. 1 with No. 2, No. 3 with No. 4, and so on ; the couples in lines M and 0 raise their hands, and the couples in lines L and N pass under. This leaves line N facing the back of the stage and hne M facing the front, as in diagram VII. The lines that face each other (0 and L) now execute the same movement, the two groups crossing right hands and marching round to the left and then changmg hands and marching back. For this movement Nos. 13 and 2 join hands over or under Nos. 1 and 14, and Nos. 15 and 4 over or under Nos. 16 and 3. During this evolution lines M and N are at rest, partners standing with their
A
I)
flagstaffs touching at the top, and with their heads slightly inclined toward each other. The resulting tableau is very attractive. After finishing the movement, partners in line O raise their clasped hands, and the couples in line L pass under. At the same time lines M and N face about ready to repeat the evolution, at the end of which the company is located as shown by diagram VIII.
13. — All face to the rear of the stage; and, waving their flags, the first couple (1 and 2) turn toward A, the second couple (3 and 4) turn toward B, 5 and 6 follow 1 and 2, 7 and 8 follow 3 and 4, and so on; and the two columns of couples pass to C and D re- spectively and meet at F.
14. — Here the columns execute the " over-and-under " movement described in 6, and pass resopectively to B, and meet at E.
15.— Here the couples separate to form a single column of couples, which passes to F, where the couples divide, the maids on the left turning to the left, and those on the right turnmg to the right. Waving their flags, the two files march respectively to A and B, where they leave the stage.
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Diagram VIIl.
D and A and to C and
FANCY DRILLS FOR ENTERTAINMENTS.
85
THe FLOWeP( Dl^ILL.
THIS unique thill will require sixteen girls, who should be at least fourteen years of age, the movements being rather too in- tricate to be performed with accuracy by young children.
The dress, which may be made of cheap white tarlatan, has a very full skirt, and a shirred waist with graceful, voluminous sleeves. Artificial flowers are sewed to the shoulder seaujs, and also to the skirt, at least five clusters being used. Single large blossoms may be chosen instead of the clusters, which may be formed of roses, forget-me-nots, daisies or bluebells. On the head is worn a thick wreath of natural flowers made on a founda- tion of wire, which is wound with dark-green paper and th€,_ heavily twined with myrtle or simlax. The flowers are added as the myrtle is put on, each spray of green and each flower being firmly secured to the foundation with fine wire. A rope or garland of flowers is passed once about the waist and knotted, the ends being long enough to reach well down upon the dress front. This garland is made on a soft cotton rope twisted wnth green paper, and the flowers and myrtle are added the same as for the wreath. If firm, strong natural flowers cannot be obtained, artificial ones will be found more serviceable, as the garland is used in one of the movements and there must be no chance of its coming to grief during the performance. Black _. stockings, and slippers or low shoes are worn. During the drill, ~ unless otherwise directed, the hands should hang easily beside the body. The terms riijht side and left side of the stage mean the right and left side from the spectator's point of view, ex- cept when it is expressly stated, as before explained, that the rght or left side of the maids is meant. 1. — The girls enter the stage at both sides in two equal companies, keeping time to a spirited march or gallop. Meeting at the center of the back, the two files pass each other and march once about the stage, meeiing again at the middle of the back, where they jom hands to form couples. The joining should be daintily and gracefully performed, the hands being held above the line of the shoulder. The maids forming each couple should not march too closely together.
2. — On reaching the front of the stage the first couple turns to the left, the second to the right, the third to the left, and so on. Two columns of couples are thus formed, and they pass to the front corners of the stage and thence to the back, meeting at the center.
3 — The girls in the column advancing from the left of the stage (No. 1) unclasp hands, and the members of each couple separate enough to allow the column from the right side (No. 2) to pass through. The girls of No. 1 join hands as soon as No. 2 has passed, and both columns march down the sides of the stage, meeting at the center of the front, where the maids of No. 2 unclasp hands and allow No. 1 to pass through. The columns then march up the sides and meet at the center of the back.
4. — Here the couples unite to form fours, which pass to the front of the stage, the girls in each rank joining hands. At the center of the front the first four turns to the left, the second to the right, the third to the left and the fourth to the rigtit ; and the two columns pass up the sides and across the back to the center, where the fours unite to form two ranks of eight each. These ranks advance toward the front and halt four feet apart, the maids being then located as shown by dia- gram I.
5. — The ranks remain stationary durinjr four bars of the music, the maids of each rank joining hands. At the end of the sixteen counts Nos. 3, 6, 11 and 14 unclasp the hands of the middle four girls (Nos. 4, 5, 12 and 13), and each line then executes the following evolution : Nos. 4, 5, 12 and 13 form two arches, Nos. 4 and 5 joining hands for the purpose, and Nos. 12 and 13 doing the same. No.s. 8 and 1 now become leaders in the forward line and lead their files toward each other through the arch formed by Nos. 4 and 5, between the lines and back to their original positions in the front line. When Nos. 3 and G have passed through, Nos. 4 and 5 pass under their own arch without
36
FANCY DRILLS FOR ENTERTAINMENTS.
unclasping their hands. They then face toward the back of the stage, with crossed arms. While the first rank is performing this movement the second rank is doing the same. Nos. 9 and 16 be- come leaders, and they carry their files toward each other, through the arch made by Nos. 12 and 13 and back to their original positions. When Nos. 11 and 14 have passed through, Nos.
12 and 13 pass under their own arch, >j-, ..pj which faces them toward the back of the
yK y p stage with arms crossed. At the comple-
tion of this entire evolution the maids occupy the same positions in the two ranks as at the start, but the two center couples face backward, while the other girls lace toward the front.
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Diagram I.
6. — Nos. 3 and 6 now unite to form an arch, taking position back to back with Nos. 4 and 5. Nos. 8 and 1 witli their followers again pass toward each other, then under the two arches made in their rank and take their places in line as before. Nos. 3 and 6 lastly pass through their own arch and thus face the back of the stage in line with and back of Nos. 4 and 5. In the second rank Nos. 14 and 1] unite to form an archway with their backs to Nos. 12 and 13. Nos. 9 and 16 lead their flies through both arches in their rank and back to place,' and Nos. 14 and 11 pass through their own arch' and face the back of the stage with arms crossed. The positions of the girls are now as indicated by diagram II, the dotted lines showing the course taken by the sides in passing through the arches.
7. Nos. 2 and 7 unite to form an arch back fo back with Nos. 3 and 6. Nos. 1 and 8
pass through the three arches and back to place, and Nos. 2 and 7 pass through their own arch, thus facing about with crossed arms. Nos. 15 and 10 form an arch back to back with Nos. 14 and 11 and Nos. 9 and 16 pass through this and the first two arches made in their rank, and back to place. Lastly Nos. 15 and 10 pass through their arch and face the back of the stage behind Nos. 14 and 11. Nos. 9 and 16 then form an arch behind Nos. 15 and 10, facing the front, and pass through it, thus turning to the back with crossed arms; and at the same time Nos. 1 and 8 form an arch back to back with Nos. 2 and 7 and pass through it position as shown by diagram III, all facing toward F.
In beginning this movement the ranks, arranged as in diagram I, togetner or the couples will be crowded when the final arches are made, with crossed arms, forming a pretty chain ;
The maids are now in
must not be too close The couples now stand
A
f
and after four beats are counted, hands unclasped and dropped beside the body, and the company again marches.
8. — At F the first couple turns to the left, the second I0 the right, the third to the left, and so on ; and the two columns pass around the stage until they meet at the center of the front. Here the girls in the column from the left join and raise their hands, makini,' an aichway; and then the column from the right passes through in couples, the hands forming the arch being unclasped as soon as the column has passed through. The columns march to C and D, and at G- and H they turn right angles and advance toward each other to the center of the stage.
9. — Meeting at the center, the maids facing each other unite to form couples
and turn right angles, one column marching to the front of the stage and the other indicated by diagram IV.
10. — Reaching F, file No. 1 turns toward A and No. 2 toward B, and at the
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Diagram II.
to the back, as
Nos. 3 and 4, having reached E, pass toward D and C respectively.
ame time files The company then march until
FANCY DRILLS FOR ENTERTAINMENTS.
A
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Diagram IV.
there are four girls on each side and at the back and front of the stage. Thus, the first two girls of tile No. 1 occupy the space A H (see diagram IV), while the otiier two halt on A F; the first two maids of file No. 2 pass to B G-, while tlie last two halt on F B; and so on. The company is now stationed as in diagram V, all the girls facing the center of the stage. The couples are numbered in this diagram for use in the next move- ment, and this numbermg has no connec- tion with that in diagram IV.
II. — The maids on each side of the parallelogram unite to form couples, and the members of each couple join hands. Each couple turns to face the couple on the nearest side of the hollow figure. Thus, Nos. I and 8 face each other, atid so do Nos. 7 and 6, Nos. 5 and 4 and Nos. 2 and 3. The couples in each group ad- vance toward each other and retreat four steps. Each maid then unclasps her part- ner's hand, and gives her right hand to the maid diagonally opposite her. This pro- duces a cross of four right hands in each group. In this position all walk to th'j left, making a complete circle; they then unclasp right hands, join left hands in' the same way, and circle half round to the right. This causes all the couples to change places. No. 8 is now in No. I's former position, No. 2 in°No. 3's former position, and so on ; and No. 1 faces No. 6, No. 8 faces No. 3 and so on. Each pair of facing couples now advance toward each other and retire four steps, advance again, and join right hands across as before; they make a complete circle to the left, unclasp right hands, join left hands across and make a half-circle to the right. This brings each couple into a different position; and the movement is repeated until all the couples have made a complete circuit of the stage and regained their original positions, as in diagram V.
12.— The couples on the left of the stage now face respectively toward 1), A and F, the couple nearest F being the leader of that column. In the same way the maids on the right face respectively toward C, B and F, the couple nearest F being the leader of the right-hand column. These two columns pass each other at F and march wholly about the stage, meeting at F. The maids in the first couple of the left-hand column unite with the corresponding maids in the right-hand column to form two couples; and all the other maids do the same, thus forming one column of couples, which passes toward the front. The column halts when the first couple reaches E, and the two files face each other standing three or four feet apart. The first maid in the left-hand row gives her left hand
to the maid diagonally opposite (No. 2 of the right-hand row); the latter gives her left hand to No. 1 and her right hand to the maid diagonally opposite (No. 3 of the left-hand row); No. 3 gives her right to No. 2 and her left to No. 4; and so on down the line, eight of the sjirls being joined as shown by diagram VI.
The hands should be raised quite high. The remaining maids, marked X on the diagram, now join hands under the hands of the others, and, with X 1 leading, they pass zigzag through the line. X 1 passing outside to the back of the stage and enter- ing the line at the back. Thus X 8 has to piis-! zigzag through the entire line to reach the front. When these maids reach their original places, they join hands over those of the O maids, and the latter,
led by 0 1, file zigzag through the line in the manner just described. When the maids reach their
places, all unclasp hands, and the rows face each other.
13.— The first two couples join hands in a circle and, with hands well raised, pass round to the left, making one entire circle and a quarter of another. The two maids of the left-hand column, 0 1
'A
?
|
\v |
12 |
|
14. |
II |
|
15- |
10 |
|
16. |
9 |
|
4- |
5 |
|
3- |
6 |
|
2. 1. |
7 |
'^
p
Diagram III.
38
FANCY DRILLS FOR ENTERTAINMENTS.
andX go to the
2, pass under the raised hands of the two maids of the ri<rht-hand column, X 1 and 0 2, and the ri^ht side of the stagp, where they face about; and X 1 and 0 2 pass to the left side of
the staofe and turn to face 0 1 and X 2. the same way, and the two maids of tht
The next two couples join hands and circle to the left in left-hand column pass under the raised hands of the two belonging to the right-hand column. They pass to the right side of the stage and take their places on each side of the cou- ple already there, while the maids of the right-hand column go to the left of the stage and place themselves one on each side of the couple there. This is continu- ed until the company is formed in two ranks at the sides of the stage; and all the maids then face forward and march to E, where the files pass each other and march about the stage until they meet at F.
14. — When the two leaders meet at F they halt, take the wreaths from their heads and form a pointed arch with them, standing well apart. When the second maids meet they pass together Diagram V. under the arch, take places in front of
the first couple and form a similar arch with their wreaths. The otner maids do the same until eight arches are formed. The effect of this floral bower is very pretty. When the last couple have passed througli and taken position, four counts are allowed, and tlien the first couple, lowering their wreaths and retaming them in their hands, join hands and pass through the seven remaining arches, followed in order by the second, third, fourth, fifth, sixih and seventh. On reaching E the maids separate, those on the left of the couples turning to the left, and those on the right to the right. The files pass to F, and the arches are again made; but on passing through the second time each maid adjusts her wreath upon her head. Reaching E, the files again separate and pass about the stage, meeting at F. Here they unite to form couples, and repeat movements 2 and 3.
15. — The two double columns unite to form one column of couples, the first two maids of one column uniting with the first two maids of the other, and so on. The first two couples march to E, tlie second two turn a right angle at the center of the stage and march to H (see diagram Vll), the third two turn a right angle at the center and march to G, and the fourth two halt when the first couple has nearly reached the center. As soon as the couples reach the positions indicated in dia- gram VII, all right about to face the center of the stage.
16. — When the last couples are in place, fours bars of music are played ; then X 2 and X 7 advance and join right hands, and X 4 and X 6 do the same across the joined hands of the first pair. At the same time each gives her left hand to her partner, thus forming a star. In this position the eight maids march once about tlie stage to the left, the X maids taking short steps to allow for the larger circle described by the 0 maids. While the inside maids are preparing to perform this evolution, each outside maid unfastens the garland from about her waist. X 1 holds one end of her garland and passes the other end to 0 5; and 0 1 joins similarly with X 1, X 3 with O 1, 0 3 with X'3, X 8 with O 3, 0 8 with X 8, X 5 with 0 8, and 0 5 with X 5. A rope of flowers is thus made about the
revolving star of maids. This is a very beautiful movement. It is obvious that the garlands must be quickly adjusted, although the effect should not be marred by hurry. The garlands should be licld rather high. If there is likely to be trouble in unfastening them from about the waist (the difficulty will be developed, if at all, during practice), it will be wise to give up the waist adjustment
A
f
:B
|
.J |
X X X % A. 0 0 o |
O 0 .0 X X "x |
|
:P |
t |
G
C
DiAORAM VI.
FANCY DRILLS FOR ENTERTAINMENTS.
39
and simply twine the garlands once about the neck. This movement is not hard to explain, as it will be seen that each maid retains one end of her garland and gives the other end to the maid on her right. After one complete revolution, the maids forming the star reverse, giving their left hands across and right hands to partners, and revolving once around to the right. Next comes the finale.
^
Diagram VII.
?
|
X 0 (8) |
|||
|
(3) (4) |
X 0 (7) |
(6) |
(5) |
|
- 0 0 |
X |
X - |
|
|
X X |
(.) 0 X (i) 0 X |
0 |
0 |
17. — X 2 and 0 6 join hands and pass under the garland held by X 1 and O 5, goiuf toward C; and X 1 and O 5 fall in line behind this pair, X 1 quickly throwing her garland about her neck and joining hands with 0 5. X 4 and 0 2 joins hands and pass under the garland held by X 3 and 0 1, going toward D; and X 3 quickly throws her garland about her neck and follows with O L The other maids pa«s out in the same way, the positions at the end of the movement being as .shown at diagram VIII. It will be seen that the garlands between 0 1 and X 1, and 0 3 and X 3, 0 5 and X 5, and 0 8 and X 8 are not used in the final movement. As soon as this commences, the maids to whom these garlands belong quickly hang them about their necks,' the maids on their right assisting.
The couples X 4 and 0 2, X 3 and 0 1 and 0 4 and X 7 turn to their right, and the remaining couples turn to their left, each 0 maid falling in line behind her partner. This produces two files, X 7 leading one and X 6 the other. The files meet at F, where the two leaders clasp hands, step backward two steps and face the front of the stage, while their files pass on toward A and B respectively. While the two leaders are stationary at F, the files pass about the stage until they again meet at F. The maids belonging to X 7 entwine her with their garlands as they pass, throw-
^
3
tf-
-v^
>^
v^^
sO
v^^
v^^
3:
■Gi
■D
t
C
Diagram VIII.
ing them gracefully across her outstretched arms or about her nock. The maids belonging to X 6 decorate her in the same way. Both files turn at F and march to E, whore they turn to their right and left respectively, and pass off at A and B ; and X 6 and X 7, bearing their burden of blossoms, follow after their companies, each droping a graceful courtesy as she reaches the place of exit.
OF THK
"CTNIVERSITY
40
FANCY DRILLS FOR ENTERTAINMENTS.
THe laWn TgnniS Drill.
SIXTEEN girls were chosen for this drill. The costume consists of a red-and-white striped skirt and a white box-plaited blouse. The skirt was cut by pattern No. 6113, which costs Is. 3d. or 30 cents, and the blouse was shaped according to pattern No. 6347, price Is. or 25 cents. On the head is a cap of the skirt material fashioned by pattern No. 3166, which costs 5d. or 10 cents. The blouse and skirt patterns are each in seven sizes for njisses from ten to sixteen years of age. The cap pattern is in six sizes from G^ to 7+ cap sizes. Tennis shoes or low russet tics are worn. A white canvas belt and a red four-in-hand scarf are worn.
Each maid carries a tennis racket, the handle of which is decorated with a red ribbon bow. The ribbon, which is two yards long, is tied about the handle in an ordinary knot, and the long ends are then tied together and bowed, thus forming a loop, through which the arm is passed when the hand holding the racket is needed in the drill. During the march the racket is placed under the right arm, the strung end resting against the hip, and the right hand grasping the handle in front of the body.
THE MARCH.— The music for the march should be a
spirited | movement, played with vigor and marked emphasis.
1. — The girls enter the stage at A and B (diagram I), eisht
at each point. The two Gles pass each other at E and march about the stage, meeting at the
center of the front, F.
2. — At F the files unite to form couples and march to the back at E, where they separate, turn- ing to the right and left and marching respectively to C and D.
3. — At these points the files turn acute angles toward the center of the stage, L, as shown in diagram II, page 41. The files meet at L, unite to form couples, pass to E, again separate and march respectively to B and A, where they turn acute angles toward L.
4. — Meeting at L, the files unite and pass to F, where they separate and march respectively to C and D. There they again turn acute angles and march to L, where they pass each other, the line from C continuing to B and that from D pass- ing to A. At these points they turn toward E.
5. — Meeting at E, the files unite to form couples and pass to F, where the first coaple turns to (he right, the second to the left, the third to the right, and so on ; and the result- ing columns pass about the stage and meet at the center of the back, E.
6. — There the maids forming the coup- les in the column from the left, separate sufficiently to allow the column from the right to pass through, and the two columns march about the stage and meet again at F. There the maids in the couples of the column from the left separate, and the column trom the right passes through. The columns then march about the stage until they meet at E.
7. — At E the columns unite to form fours, which march toward the front and halt when the first four nearly reaches the front of the stage, the other fours stopping at intervals behind. Eight beats are then allowed, and the first two ranks face about. The company will (hen be located as shown at diagram III, page 41, lines a and b facing the back of the stage, and c and d the front.
FANCY DRILLS FOR ENTERTAINMENTS.
41
8. — After the two forward lines face about four counts are allowed, and then the following moveaaent is executed: Nos. 12 and 5 turn, march toward G- and halt; and Nos. 13 and 4 follow them, marchinnj toward each other and tdking ihe places vacated by Nos. 12 and .5. Nos. 9 and 8 turn toward H and halt, and Nos. 16 and 1 follow, taking the places previously occupied by Nos. 9 and 8. Nos. 10 and 15 and Nos. 11 and 14 march toward F and halt near the front of the stage.
and at the same time Nos. 7 and 2 and Nos. 6 and 3 march toward E and halt near the back of the stage. The maids will then be stationed in the form of a cross, as shown by diagram IV, all standing with their backs to the center of the stage. Eight counts are required to execute this movement, and a halt of four counts is made before commencing the next.
9. — The maids form couples as they stand, and then march forward and turn right angles to their right on reaching the center of the front, side or back, as the case may be. Thus Nos. 10 and 11 turn a right angle at F toward C, Nos. 15 and 14 following them; Nos. 5 and 12, followed by Nos. 4 and 13, turn at G toward D; and so on. The couples march until opposite the points at which they turned, and then the maids forming the couples separate and fall in line one behind another, thus forming a single file about the stage. When Nos. 10 and 11, for example, reach E, opposite their turning point. No. 11 falls behind No. 10 and No. 15 behind No. 14. No. 10 may now be considered the leader, and she leads the line to F.
10. — From F she leads the way to her right round and round, making each successive round inside the one before it. The company thus describes a spiral to the center of the stage, at which point the leader turns sharp round ro her left and retraces her steps between the coils, thus unwind- mg the spiral. (See diagram V in the Columbian Drill on page 33.)
11. — On reaching F the file passes about the stage, and at E every other girl steps back and joins the maid behind her. The double column marches from E to F, and here the first couple turns
|
^ |
^ |
||||
|
./.— |
1 6. |
15- |
14. |
13- |
|
|
^-_ |
9- |
lo. |
II. |
12. |
|
|
H |
- |
||||
|
/'.— |
8. |
7- |
6. |
5- |
|
|
(7. |
I. |
3- |
4- |
p
-<\
V
Diagram III.
to the left, the second to the right, the third to the left, and so on. The resulting columns pass respectively to D and B and to C and A.
12. — Meeting at E, the couples unite to form fours, which pass to the front of the stage, where the first four turns to the right, the second to the left, the third to the right, and the fourth to the left. The fours meet at E and there unite to form eights, which march toward the front and take
42
FANCY DRILLS FOR ENTERTAINMENTS.
positions for the drill The maids should not stand too closely in the ranks, and the ranks should be three or four feet apart if the size of the stage will permit.
THE DRILL.— For this the music should change to a spirited schottische, to provide the needed rhjlhm for the exercises. Every movement requires eight counts, except where otherwise stated.
^A
IH-
f
|
7- |
6. |
||||||
|
2. |
3- |
||||||
|
9- ■ 8. |
i6. I. |
15- lO. |
14. II. |
13. 4. |
12. 5- |
^ |
|
|
i J |
F |
S |
|||||
|
Diagram IV. |
1. Present. — Grasp the handle of the racket with the left hand, turn the racket upside down in front of the body, with the strung end level with the face, and at the same time change the position of the right hand on the handle.
2. Salute. — Raise the racket with the right hand until the large end touches the visor of the cap, and at the same tmie gracefully bend the body forward.
3. Right Face. — Take one step obliquely to the right with the right foot, and raise the left foot gracefully on the toe without changing its location. The racket is held before the face, the maid looking through the strung end.
4. Return. — Step back to position, and place the hand holding the racket against the waist- line, thus bringing the handle across the right hip.
5. Left Face. — Raise the racket with the right hand, quickly change it to the left and take one step obliquely to the left, poising the right foot on the toe without changing its location. The racket should be raised before the face so the maid can look through the strung end.
G. Return. — Same as 4.
7. High Prime. — Raise the racket with the riirht hand, gra<p tlie end of the strung end with the left, and at the same time slide the right hand along the handle nearly to the end. Hold the
V
|
•A |
% |
||||||
|
16. |
15. |
14. |
13. 12. |
II. |
10. |
9- |
|
|
if^ |
- |
||||||
|
^ |
2. |
3- |
4. 5. |
6. |
" |
8. |
<i
s
racket about two inches in front of the forehead, and bend the body slightly forward, looking under the racket, which should be hold with the wide part parallel with the floor.
8. Carry. — Place the racket flatly against the right shoulder, with the top about an inch above the shoulder, grasping the handle comfortably at the end with the right hand. The left hand should assist by placing the top of the racket against (he shoulder, and should then be dropped at the side.
FANCY DRILLS FOR ENTERTAINMENTS. 43
9. Rear Rest. — Grasp the top of the racket with the fingers of the left hand, and then, holding tae end of the handle with the right hand, raise the racket over the head and rest the handle across the back of the neck, holding the flat surface parallel with the back of the head.
10. Carry. — Same as 8.
11. Kneel. — Carry the right foot about twenty inches to the rear, and kneel on the right knee, with the front of the knee on a line with the back of the left heel. In taking this position place the larger end of the racket on the floor and flatly against the left leg, grasping the handle at the top with both hands.
12. Carry. — Same as 8.
13. Front Rank About Face. — The maids of the front rank face about to the left without change of location, and at the same time the maids of the rear rank step back as far as possible. The ranks now face each other.
14. Transfer and Unite. — Each maid passes her right arm through the ribbon loop on the han- dle of her racket, which is thus suspended from the arm; and all join hands in line.
15. Forward and Back. — The hands being still joined, the two ranks advance and retreat four steps. The hands should be held rather high, and the motions should be gracefully made.
16. Forward and Join.— Fia.c\\ maid takes four steps forward, unclasps hands with the maid at each side, joins hands with the opposite maid, passes through the other rank, takes four steps more, and faces about. This movement reverses the positions of the ranks. Opposite maids join hands only for a moment in passing.
17. Return. — The maids in each rank join hands, forv/ard four steps, unclasp hand?, join hands with opposites, pass through, forward four steps more, and face about. The maids are now in their original positions, as shown by diagram V.
18. First of Column March.— ^os. 9 and 8 are considered the heads of the files. No. 8 gives her right hand to No. 9, and the couple march between the files toward H, the fi:es at the same time moving toward G. Eeaching H, the couples separate and take the positions of Nos. 16 and 1. As soon as Nos. 8 and 9 pass the second couple below them (Nos. 11 and 6) the second couple (Nos. 10 and 7) join hands, follow the first couple down the center, and take their places beside Nos. 9 and 8. In this manner the two t^les make a continuous round, those on the outside moving toward G, and those at the center marching toward H. When 9 and 8 arrive at their original positions the movement is repeated, and at its termination a halt of four counts is made.
19. Circle Right. — The eight maids on each side of the center of the stage join hands and circle about to the right. The right-hand circle will include Nos. 5, 6, 7, 8, 9, 10, 11 and 12, w'hile the left-hand circle will be composed of Nos. 1, 2, l\ 4, 13, 14, 15 and 16.
20. Circle Left. — The same maids, still clasping hands, circle about to the left until they reach their original places. A halt of four beats is allowed before the next movement.
21. Hands All. — Every other maid in each eight faces to the right, and the others face to the left. Each maid then passes forward as she faces, giving her right hand to the first maid she meets, her left to the second, her right to the third, and so on. When all have reached their original posi- iions, the two circles form two ranks as before, and halt during four beats. For this movement, as .;or some others, it is impossible to state exactly how many bars of iimsic are required. The captain must see that her company is not hurried, as haste is certain to mar the efl"ect.
22. Carry. Forward March. — The maids are now placed as in diagram V, and all face toward G, place their rackets as in 8 and march forward. At G No. 8, followed by her file, turns toward D, while No. 9 leads her file toward B. The files march about the stage and meet at II.
23. — Here the files unite to form couples, which pass to the center of the stage and there turn a right angle toward F. At F the members of each couple separate, and the resulting files pass about the stage and meet at E.
24. — At E the leading maids halt, raise their rackets and form an arch. The second maids in the lines meet at E, turn toward the front, pass through the arch and staiid in front of the first couple, also forming an arch with their rackets. The remaining maids unite, pass through and form arches in the same way, the last arch being at the front of the stage. A halt of eight counts is made after the last arch is formed, and then the two maids at E lower their rackets to the former position and pass through the seven arches to F, where one turns to the right and the other to the left. The other maids follow in turn, and the two files pass about the stage and meet at E. To perform this movement with ease, the maids forming t.he arches should stand well apart, to allow ample space for two maids to pass through abreast.
25. — As each maid reaches E she turns toward F, raising her racket to (he position described in 7. At F all change to the position described in 9, and the two files pass respectively to C and D, and then to A and B, where they pass off.
dJ:
FANCY DRILLS FOR ENTERTAINMENTS.
THE Da^g-gELL Di^ill.
TWELVE young ladies of uniform size are sufficient for this drill. The costume is especially adapted for all forms of recreation, as perfect freedom, is allowed. The pattern is No. 6506, which is in thirteen sizes for ladies from twenty-eight to forty-six inches bust measure, and costs Is. 8d. or 40 cents; and white cheese-cloth is used for the skirt and blouse, and blue cheese-cloth for the jacket. The blouse is arranged with pretty fulness at the front and back, the full sleeves are gathered to cuffs, and tap)es confine it at the waist-line. The skirt flares toward the bottom, and is trimmed with one row of wide and three rows of narrow blue cotton braid. The jacket has a ripple collar of while cheese-cloth. The belt of the skirt is formed of wide blue ribbon, and a large rosette of similar ribbon is arranged at the center of the back. The hair is arranged in a coil at the back of the head. The feet are clad in black Lisle-thread stockings and black shoes or low ties.
Each maid carries two one-pound dumb-bells, one in each hand, the arms being allowed to hang easily at the sides during the march.
THE MARCH. — For the march a spirited f movement should be played. The following diagram represents a plan of the stage, and is referred to in the directions:
L — The maids enter the stage in single file at A, the middle of the back. The first maid turns to the left, the second to the right, the third to the left, the fourth to the right, and so on. The company is thus formed into two files, which march about the stage, pass each other at F, the center of the front, and continue until they meet at A. As has been stated in previous drills, the terms right and left signify the right and left sides of the audience, not of the maids.
2. — At A the maids unite to form couples, which march down the center toward F. Reaching F the file on the light of the double column turns an acute angle toward C, and that on the left of the column turns a similar angle toward B. (See dotted lines, diagram I.)
3. — Reaching B and C respectively, the files turn toward A, pass each other at that point, and then march about the stage until they meet at F.
4. — Here the maids unite to form couples, which inarch toward A. Reaching A, the maids on the right of the column turn an acuie angle toward D, while those on the left turn toward E.
5. — P'rom E and D the files march toward each other, pass at F, and march about the stage to A.
6. — At A the files again unite to form couples, each maid entwining one arm about her partner; and the resulting column inarches to F, where the first couple turns toward E, the second toward D, the third toward E, and so on. The resulting two columns march about the stage and meet at the cen- ter of the back.
7. — At A the maids in one column unite with the corresponding maids in the other
column to form a single column of couples which marches toward F, where the maids on the left side of the column turn toward E, and those on the right toward D. When the leaders reach B and C, the two files halt, and the maids are then located as indicated by diagram IL
8. — Here each column, with No. G as a pivot, wheels to the front of the stage according
FANCY DRILLS FOR ENTERTAINMENTS.
45
Diagram III.
tc the dotted lines in diagram II. The positions of the maids are now as in diagram III.
9. — Four beats are allowed after the last movement. The two maids numbered 6 are now the leaders of their respective files, which march to C and B, and then to A.
10. — When the leaders reach A the files halt and mark time during four beats of the music. (See diagram IV".)
11. — With No. 1 as a pivot, each file "g iA
wheels toward ihe front according to the 't *
dotted Unes in diagram IV. All then face the center of the stage, and after counting four, the two files lace respectively toward C and B, and march to A, No. 1 being the leader in each file.
12. — At A the files unite to form a double column and march to F, where the first cou- ple turns to the left, the second to the righr, the third to the letl and so on ; and the two double columns pass about the stage until they meet at A.
13. — Here the couples unite to form fours, which march toward F and halt when the first four reaches the front of the stage. The left-hand couples in the first two ranks move
two paces to the left, and the right-hand couples move two paces to the right. The com- pany is now located as shown by diagram Y. Spaces are thus left in the first two ranks, and these are filled by the maids of the rear rank moving forward, the two maids at the center of this rank filling the space in the first rank, and the two end maids falling in behind them in the second rank. The company is now arranged in two ranks of six, as shown by diagram VI, and is ready for the drill.
THE DRILL. — In a drill of this kind the effect depends largely on the music. This should be frequently changed and should be played slowly, with the left hand generally staccato, to mark the time more strongly and keep the music and movements exactly together. During the drill the accompanist should follow with her eye every movement of the maids, and should vary the music during the different exercises. Each exercise should commence on the first note of the music, unless otherwise stated ; and between the exercises two measures should be played. The drill is made up of different exercises and the instructor should call out '' One," " Two," " Three," etc., while the company is practising, but not, of course, during the exhibition of the drill.
First Exercise — Arms. — The music should be a |^ movement, and two beats should be allowed to each movement. The maids should remain motionless during the first four heats, with
their arms hanging easily at the sides. Tj 1. — Raise the dumb-bells until the arms
are at full length above the head, the hands being the width of the shoulders apart.
2. — Force the arms down until the el- bows are close to the sides and the dumb-bells rest in the hollows in front of the shoulders. 3. — Extend the arms straight out in front, with the bells level with the shoulders and the hands the width of tne chest apart.
4. — Place the bells in a line with the chest, resting against the upper arms, with the elbows close to the sides.
Repeat the exercise, and then place the bells at the sides, as in the march, and rest during eight counts before the next exercise. Second Exercise — Shcidder. 1. — Place both bells on the shoulders, with the elbows forced back and well raised (one beat). 2. — Straighten the right arm by moving it only from the elbow, thus extending the dumb-bell the full length of the arm (one beat).
3. — Replace the right-hand bell upon the shoulder, and at the same time straighten the left arm from the elbow (one beat).
?
^
|
/ |
||
|
?.. "-^ |
,•'" |
. ,c |
|
3... ^ . \ |
/ |
.% 5 |
|
4. ^% ^ \ |
: '' '' |
..4 |
|
5. '\ \ '\ \ |
t ! •' |
5 |
|
\ t « \ » |
• |
|
|
^^ \\\ \ \ |
.'. \ \ • |
; |
F
Diagram II.
46
FANCY DRILLS FOR ENTERTAINMENTS.
4. — Replace the bell on the left shoulder (one beat). Then proceed as directed below: 5. — Straighten both arms together from the elbows, holding the bells out from the body the length of the arms (two beats).
6. — Replace the bells on the shoulders (two beats).
Repeat the exercise, and then rest with the bells at the sides during eight beats.
Third Exercise — Bending. — This exercise requires a change of music to a waltz tempo. Allow three beats to each movement, unless otherwise ordered.
1. — Extend the arms above the head (three beats), and strike the bells together once (three beats).
2. — Cwing the arms and body down- ward, laying the bells on the floor.
3. — Raise the body to an erect position, placing the arms akimbo.
4. — Bend forward and take the bells from the floor.
5. — Same as I.
6. — Place the arms at the sides, as in the march.
Diagram IV 7.— Raise the right bell high above the
head, allowing the left to hang at the side, and at the same time bend the body to the right, with the left side well curved (six beats). 8. — Arms at the sides again (six beats).
9. — Raise the left bell high above the head, allowing the rigl.t to hang at the side, and at the same time bend the body to the left, with the right side curved (six beats). 10. — Arms at the sides (six beats).
Repeat the exercise. The music should then change to a f tempo, and four bars should be played before the next exercise.
Fourth Exercise — Independent Movements. — Allow two beats for each movement, save when otherwise directed.
1. — Raise the bells until they rest in the hollows of the shoulders.
2.— Extend the left bell directly to the left and the right to the front, thus bringing the arms to a right angle. 3. — Same as 1.
4. — Extf.nd the right bell directly to the right and tl.e left to the front, once more forming a right angle.
5.— Same as L B <)\ jj
6.— Extend the left bell directly to the left and the right above the head, again forming a right angle. 7. — Same as \.
8. — Extend the right bell directly to the right and the left bell above the head. 9. — Same as 1.
10. — Place the bells at the sides, with the arms at full length (four beats).
During this exercise the body must not be allowed to twist about with the arm move- ments, but must be kept perfectly erect and steady; and the eyes must be continually directed to the front.
Fifth Exercise — Rotation. — Allow four beats to each movement, unless otherwise directed. 1. — Hold the bells just far enough outward to clear the dress, and rotate them four times, turn- ing them first outward and then inward as far possible and allowing one turn or rotation for each boat of the music.
■^
|
9 |
lO. |
II. |
12. |
||
|
■ 5- |
6. |
7- |
8. |
||
|
I. |
2. |
3- |
4- |
Diagram V.
FANCY DRILLS FOR ENTERTAINMENTS.
47
2. — Bend the arms at the elbows until the forearms are extended siraight forward; then rotate the bells four times, as described at 1.
3. — Extend the arms at full length in front of the body, and rotate the bells four times.
4. — Same as 2.
5. — Extend the arms at full length cut from the shoulders, aud rotate the bells four times
the head, and rotate them four times.
F
Diagram VI.
6. — Same as 2.
7. — Extend the bells aboA
8. — Same as 2.
9. — Place the bells at the sides as in the march (eight beats).
Sixth Exercise. — Allow two beats to each movement, unless otherwise directed.
1. — Place the left bell in the hollow of the right shoulder and the right bell in the hollow of the left shoulder, thus crossing the arms on the chest.
2. — Place the elbows against the body at the waist-hne, with the forearms extended in front of the body.
3. — Extend the bells in front of the body the full length of the arms.
4. — Same as 1.
5. — Extend the bells above the head, the arms at full length.
6. — Strike the bells together twice above the head, making one stroke for each beat of the music.
7. — Place the bells in the hollows in front of the shoulders (four beats).
8. — Place the bells at the sides as in the march (eight beats), and then repeat the exercise.
Seventh Exercise. — Allow four beats for each movement. The music must be a slow, steady march.
1. — Place the bells in the hollows of the shoulders.
2. — Drop the right arm to its full length at the side, as in the march, raise the bell to the hollow of the shoulder, and repeat the movement, thus filling the four beats.
3. — Drop and raise the left bell as just directed for the right.
4. — Drop and raise the right bell once, then repeat with the left bell.
5. — Perform 2 and 3 simultaneously.
6. — Extend the right arm straight out at full length level with the shoulder, return the bell to the shoulder, and repeat.
7. — Perform a corresponding movement with the left bell.
8. — Extend and return the right bell once, then repeat with the left bell.
9. — Execute 6 and 7 together.
10. — Raise the right bell aDove the head at arm's length, then return it to the shoulder, and repeat.
11. — Raise and lower the left bell in the same way.
12. — Raise and lower the right bell once, then the left bell once.
13. — Perform 10 and 11 together.
48 FANCY DRILLS FOR ENTERTAINR1ENTS.
14.— Carry the right bell forward at arm's length, then back to the hollow of the shoulder, and repeat.
15. — Perform the same movement with the left bell.
16. — Carry the right bell forward and back once, then the left bell once.
17. — Execute movements 14 and 15 simultaneously.
18. — Same as 1 (eight beats).
Eighth Exercine. — Allow two beats to each movement, unless otherwise directed.
1. — Extend the arms at full length in front of the body.
2. — Strike the ends of the bells together twice, with the backs of the hands upward.
3. — Strike the ends of the bells together twice, with the backs of the hands downward.
4 — Place the bells in front of theshoulders (four beats).
5. — Raise the bells above the head with the arms at full length.
6. — Strike the ends of the bells together twice, with the palms of the hands to the front.
7. — Strike the ends of the bells together twice, with the backs of the hands to the front.
8. — Same as 4.
Repeat the exercise, allowing eight beats for 8 the second time.
Ninth Exercise. — Allow two beats for each movement, except when otherwise directed.
1. — Place the arms at the sides, as in the march (four beats).
2. — Extend the arms in front of the body and strike the bells together twice.
Repeat movements 1 and 2, allowing the former only two beats in the repeat.
3. — Same as 1 (four beats).
4. — Place the bells back of the body, strike them together twice, and drop the arms at the sides (two beats) ; then repeat the movement.
o. — Same as 1. (It will be seen that in 3 and 5 the arms are at the sides six beats, two for the repeat and four for the start of the new movement).
G. — Extend the arms in front and strike the bells together once (one beat), place them at the sides (one beat), strike them together once behind (one beat), and drop them at the sides (one beat); then repeat these four movements.
7. — Place the bells in the hollows of the shoulders (four beats), and then drop them, as in the march (four beats), preparatory to leaving the stage.
8. — All the maids face toward the center of the stage (four beats), and then with Nos. 10 and 11 as leaders (see diagram VI), they form couples and march to F, the maids joining at the center as follows: No. 10 with No. 11, No." 2 with No. 3, No. 1 with No. 4, No. 9 with No. 12, No. 6 with No. 7, and No. 5 with No. 8.
9. — At P the first couple turns to the left, the second to the right, the third to the left, and so on; and the two columns march about the stage until they meet at A. Here the columns unite to form one column of couples, which marches to F, where the maids on the left of the column turn to the left and those on the right to the right. The two single files pass respectively to E and D and to B and C. and then to A, where they pass off as they entered, first No. 1 of the left-hand file, then No. 1 of the right-hand file, next No. 2 of the left-hand file, and so on.
This drill will provide an admirable exercise in gymnastics for school or home practice. If it i« not convenient to have dumb-bells, the movements may lie made without them, the hands being clapped where the dumb-bells are to be struck in the exhibition.
■^-
FANCY DRILLS FOR ENTERTAINMENTS.
49
THE SGAI^F DF^ILL.
THE iMxtique pose in a drill is an innovation. The word drill suggests something studied and regular, and the present adapta- tion is, therefore, somewhat paradoxical, since there is a charming abandon about the figure and a lightness and airiness in the move- ments that bring before the mental vision a picture of ''L'Allegro" and the lines,
" Come! and trip it as you go, On the hglit fantastic toe."
This swaying, tripping motion is, m fact, a distinct departure from the usual form of drill. The lithe and supple figures of the youthful company may assume any statuesque pose, and will, when clothed in classic, flowing draperies, be a perfect embodiment of poetic harmony expressed by the graceful movements and attitudes that give this drill to a certain extent tlie nature of a dance. Seven maidens of a uniform height take part in the drill, and the costume is a simple but
artistic G-reek gown that yields to every motion of the wearer, thus adding greatly to the beauty of
the various figures and individual postures. The style used in shaping the gown is knowH as the
"Hermione." a name significant
of harraon}' and, therefore,
singularly appropriate to the oc- casion. A soft, clinging textile
should, of course, be chosen for
its development, such as crepon,
nun's - vailing, wool bastiste,
cashmere or cheese-cloth ; and
it may be either cream-white
or of some dainty hue, green,
mauve, heliotrope, blue, yellow
and pink being well adapted
for display by either natural or
artificial light.
The gown consists of a loose
bodice and a flowing skirt. The
bodice has an upper portion that
opens in V-shape both back and
front, the fulness being caught
in gathers on the shoulders
under jeweled brooches; and an
eneirchng band embroidered in
a Greek design separates this
portion from the blouse -hke
lower-portion. The sleeves are
very full puffs that reach to the
elbows. The skirt hangs from
the bodice, and a scarf of Liberty
or China silk or of some diaphan- ous material, such as chiffon or
silk mull, accompanies the gown,
which is shaped by pattern No.
709, price Is. 6d. or 35 cents.
A rainbow effect may be produced by selecting gauzy scarfs in the primary hues, giving every
maid a different color; or, if preferred, the scarfs may match the costumes in tint.
Either sandals or slippers may be worn, and they, as well as the hose, should match the gown.
The hair is softly waved and is bound with a Greek fillet, which may be of gold, silver or shell.
Figure No. 1.
Figure Xo. 2.
50
FANCY DRILLS FOR ENTERTAINMENTS.
Each wrist is encircled by a ribbon bracelet, to wiaich a metal clapper, like those seen on a tam- bourine, is fastened on the underside of the arm.
A pretty tableau would make an effective prelude for the drill proper. The curtain should be raised to display it, and then, after a few moments, should be lowered to allow the stage to be cleared for the drill. A simple but pleasing tableau is arranged thus: A couch or divan is placed at the center of tlie stage near the back, as at A, diagram I; and over it
r^^~w^.
H)
FiGURK No. 3.
the attitude shown at figure No. 4 ; and further forward at the center the two remaining maids (F and G) half rechne upon rugs, which are chosen as being in conformity with the character of the tableau. Appropriate ideas for tableaux may be
o o o o o e 0
|
BC |
|
|
OO |
|
|
o |
A 1 |
|
1 0 f G 0 0 |
Diagram I.
is thrown a drapery of some delicately tinted fabric. One of the maids re- clines upon the couch in a graceful attitude, and behind it stand two maids (B and C, diagram I), who hold feather or punco fans as though about to wave them over their reclining com- panion. Near the ends of the couch in front are two maids (D and E) in
Diagram II.
FiGrKE No. 4.
gained from pictures of classical or oriental subjects, and nunuTous sutrgestioiis as to costumes and modes of arrangement are offered in "Tableaux, Charades and Oonuinh-ums," a pamphlet published by us at 6d. or 15 cents.
The accessories used in the tableau having been removed, the curtain should rise on a clear
FANCY DRILLS FOR ENTERTAINMENTS.
51
stage, and at the same time the music for the drill should begin, a slow, dreamy movement, such as " Love's Dream After the Ball," being required. After the first few bars have been played, the maids enter the stage at the center of the back (H, diagram II), advance in single file and with a
tripping or dancing step, and take the position as shown
in figure No. 1, the maids standing one behind another
at the center, as indicated by the vertical dotted line in diagram II. The scarf is passed about the hips and carelessly knotted in front near the top of the skirt.
|
0 ° ! |
0 0 |
|
0 0 |
0 0 |
|
° o I |
0 Q |
Diagram III.
The arms are raised and the wrists held close to the head, with the palms of the hands forward. The maids execute the skipping movement in perfect unison dur- ing several bars (the number will have been decided upon, of course, beforehand), and the column then turns to the left and then to the right until the maids reach the positions indicated by the circles in diagram II, all facing the audience. Figure No. 2 is a back view of the maid shown at figure No. 1.
A change of position is now made. Each maid lowers her hands, unties the scarf and holds it out al- most at arms' length behind the body, as pictured at figure No. 3. The maids dance side by side with a swinging, pendulous motion, and the line curves Id-
Figure No. 5.
|
K 0 |
||
|
L |
||
|
••(>•■ |
'«.... o |
|
|
lUAGRAM IV. |
ward, as denoted by the row of circles marked I in diagram III, and then outward, as indicated by the row marked J, the scarfs being still held at arms' length.
A charming tableau representing the Graces may now be formed, the maids who are constantly tripping to the measures of the music, grouping themselves as follows : One takes the positiou
52
FANCY DRILLS FOR ENTERTAINMENTS.
shown at figure No. 4, standing near the back of the stage at the center (K diagram IV). Three maids having knotted their scarfs about their hips, form a ring in front (L) ; all face the audience.
poise themselves upon their toes and join hands in a circle, the hands being held well backward, At M another group of three is formed, one maid being in the center and one at each side. The center maid places her right arm about the neck of the maid on her right; the latter's left hand clasps the right hand of the maid on the left, who leans her head upon the center maid's shoulder and places her left hand in that of the center maid ; and the maid at the right places her right hand on her right hip. In this group, also, each maid knots her scarf about her hips.
The curtain should be lowered for a few moments after this tableau, and should then rise to display the maids in the posture represented at figure No. 5 (which is a back view), all facing the audience. Each maid throws her scarf upward in bow fashion, the pose suggesting the picture of Ins, the goddess of the rainbow ; and the com- pany form a curved rank, as in diagram III, their bodies swaying slightly to the music. The artistic effect of this figure would be greatly enhanced if scarfs of chiflfon in the prismatic colors were used.
Diagram Y,
Diagram YI.
|
? 0 |
o,« |
|
|
o |
; |
|
|
P' |
||
|
() |
1 |
|
|
0 ; A/ O |
Diagram YII.
Diagram YIII.
Diagram IX.
Rainbow -tinted chiflFon may be purchased by the yard in many shops; but if it cannot be con- veniently obtained, the rainbow effect may be pro- duced with chiffon scarfs in the separate primary colors— red, orange, yellow, green, blue, indigo and violet.
The company now change the curved rank into a V-shaped one, as shown by diagram V, and then form a complete circle, as in diagram VI. The scarf is lowered, as at figure No. 6, the arms being held out at full length and the scarf gracefully sup- ported near each end.
The step being kept up without cessation, the maids form a line diagonally across the stage, as shown by the row of circles marked N, diagram VII, and then march in the winding course indi- cat(!d by the dotted line 0. They then range themselves once more in a curved rank ; and each maid, taking backward and forward steps, holds her scarf in her right hand and waves it to pro- duce the serpentine effect pictured at figure No. 7. All the maids face the audience, except the
one at each end. The maid at the right-hand end turns and waves her scarf toward her neighbor, curving her left arm gracefully. The next maid returns the compliment by waving her scarf toward
Diagram X.
FANCY DRILLS FOR ENTERTAINMENTS.
53
the end maid, her left hand being held out as her left hand on her hip, the fourth raises hers the fifth and sixth maids ailow their left arms to hang easily. The maid at the left- hand end turns her body to- wards her neighbor and her head over her right shoulder toward the audience, curving her left arm. The move- ments of the company give the scarfs the undulating mo- tion which is such a charm- ing feature of this figure.
The maids now trip al- ternately backward and for- ward, as indicated by the dotted lines in diagram VIII, Avaving the scarfs all the time ; and they then fall into the postures portrayed at figure No. 8. The center maid quickly adjusts the scarf about her hips, steps back- Avard to the point marked P, diagram IX, and then forward to Q, and falls upon her right knee, advancing the left foot. As she steps out of the group, she gathers ^
up the ends of the scarfs held g
by the other maids, who g
stand as shown by the two «
groups of circles marked R fei
and S, each holding the end of her scarf in benight hand, ^
and placing her left hand on her left hip. The kneehng maid, grasping three scarfs in each hand, holds them over her head, and the other maids dance gracefully, swinging the scarfs in unison with their motions.
The six maids now circle about the kneeling one, as indicated by diagram X, forming a sort of canopy over her with their scarfs. If preferred, they could stand and kneel alternately in a whole or half circle about her, or the two lines could curve outward and inward about the kneeling maid.
Lastly, the seven maids assume the attitudes shown at figure No. 9, which will form the concluding tableau. The center maid rises with the six scarfs still in her TipHfted hands; the two maids at each side kneel upon one
if to clasp her neighbor's left. The third maid rests to the embroidered band encircling the bodice, and
54:
FANCY DRILLS FOR ENTERTAINMENTS.
3^' S.
f OF THB
TJNIVERSITY
FANCY DRILLS FOR ENTERTAINMENTS^^^^^iSS^^^ 55
kaee, with their left hands resting hands raised to support the scarfs ing the scarfs in' their ex- tended right hands, and aUow- iag their left arms to fall gracefully. The curtain de- scends upon this charming tableau.
Considerable practice is necessary, not only to quick- ly assume the proper at- titudes, but also to merge one movement into the next without losing the time or breaking the continuity of the drill. The entire per- formance must be accurately executed, for the slightest move in the wrong direc- tion would create a most disastrous result. The drill is, however, of such an in- teresting and artistic nature that those who take part will gladly concentrate their at- tention upon the director's instructions and endeavor to exactly express the poetic ideas designed to be con- veyed by the various move- ments.
It is not necessary to adopt only the G-reek garb for this drill. The national costume of any country, especially if it be loose, flowing or pictur- esque, can be substituted for the one illustrated. Eibbons or garlands of flowers may take the place of the scarfs, although the latter gives the drill its name.
A May-day drill or dance, with flowers as decorations and forming the scarfs, would provide a pretty entertain- ment, which could be given on the stage of a theatre or public hall, or on a smoothly shaven lawn. An Oriental scarf drill could be arranged by costuming the girls in Turkish trowsers and jaunty jackets and decking them with strings of pearls, sequins, coins or other ornaments be- longing to the costume of the Orient.
At the back of this book many costumes are illustrated which would be appropriate in a scarf drill.
upon : and
the raised knees or at the side, and with their the maids at the ends stand facing each other,
right hold-
56 FANCV DRILLS FOR ENTERTAINMENTS.
THE "GOOD-NIGHT" DI^ILL.
TO happy children pretty airs and graces are as natural and spon- taneous as breathing or laughing, and for this reason drills and kindred performances in which little folks are the actors are easy to arrange, and are sure to be artistic if reasonable attention is given to practice and detail. No sculptured conception of the Graces can exceed in charm a group of daintily attired little maidens en- gaged in some simple but pleasing movement for the entertain- ment of an admiring audience. Sweetly unconscious of themselves and of the spectators, they enter with enthusiasm into every figure, their bright faces showing the real pleasure they feel, and so enliven- ing the pretty pictures that the most ordinary accessories will be sufficient to complete them satisfactorily.
The "Good-Night" Drill will be found admirably adapted to the ability of small children, and will provide a most delightful and appropriate closing feature for an evening entertainment Eight little girls are required for it, and they should be uni- formly clad in white night-gowns and caps, stockings of some pretty shade and black or tinted slippers. The gowns may be of French percale, which is a very soft cotton fabric, and the caps of mull. A very graceful night-gown pattern is No. 6352, price lOd. or 20 cents, which is in the pretty Mother-Hubbard style, with a little rolling collar and shirt sleeves; and the gowns may be trimmed with frills of narrow lace. A dainty and very generally becoming cap for this purpose was cut from mull by pattern Na 2989, price 5d. or 10 cents. It fits closely like the Puritan head-dress and has broad ties that are bowed under the chin, and the Httle wearer's curls escape from beneath it all round.
Each maiden must hold in her left arm a doll dressed just like herself, and in her right hand she must carry a candlestick containing a lighted candle, which will be suggestive o£ bed-time and of the poet's Avords : —
" How far that little candle throws its beam ! So shines a good deed in a naughty world."
The girls should be chosen with regard to their height, so that when they are in their proper places in line upon the stage, they will graduate smaller from the center toward the ends.
The music for the march should be an animated movement in | time, and it would be a good idea to select some familiar air that the children could easily keep time with. The accom- panying diagram will enable the instructor to readily understand, the directions for the march that are given below.
Left
Right
THE MARCH The stage
entrances are indicated by A
and B on the diagram. The
maidens march upon the stage,
four from each entrance, and ^ F ^
proceed across at the back, the
two files passing each other at
E. The files then make a complete circuit of the stage and meet again at E. The tallest girls
should enter first and the shortest last.
2. — At E the files unite to form couples and pass down the middle of the stage to F, where- they separate, the girls on the left turning to the left side of the stage, and those on the right turn- ing to the right side ; and the resulting files pass around the stage until they meet at E.
3. — At E the files again unite to form couples, and pass to F, where the first couple turns to the riprht, the second to the left, the third to the right, and the fourth to the left. The two columns thus formed pass around the stage and meet at E.
FANCY DRILLS FOR ENTERTAINMENTS.
57
4. — At E the two columns unite to form one column, the couples fallinf? in from both sides in alternation and marching toward F, where the girls separate into two single files. These files turn respectively to the right and left and pass to A aijd B, where they turn and march diagonally toward the front. When the first girl in each file reaches the front,
all halt facing the audience, k
each of the last three stand- ^-
ing a little to one side of the )
girl in front of her, a? illus- trated at figure No. 1. Tlie little company is then ready for the drill.
THE DRILL. — After the girls have taken the places indicated at figure No. 1, the march music is con- tinued, and all keep time with their feet during two measures; then the four girls at each side turn and march to the right or left, as the case may be, according to the dotted lines in diagram A. On reaching the positions in- dicated by the small circles in the diagram, the girls halt in a single rank across the stage, with their smihng faces ^
bending toward the audience, c
as illustrated at figure No. 2. S
The march music is now ^
discontinued at the end of a bar, and after a short pre- ^
hide the air of "Pussy Cat, Pussy Cat," given in Elliott's Mother Goose Melodies, is played, and to it the girls slowly sing the following lines:
Eight little cherubs with
candles briglit, Two become sleepy and say
" Good-night."
As the last words of the second line are sung, the two maidens at the center yawn sleopily, incline their heads to the audience and pass back of the others and off the stage, one at A and the other at B; and the remaing six close up their rank to fill the space thus left.
After the song is finish- ed, the march music is re- sumed, and the girls trip briskly round as indicated
z^
58
FANCY DRILLS FOR ENTERTAINMENTS.
by the dotted lines in diagram B, three to the right and three to the left, and finally form in
line according to the small circles.
They stand in rank for a few moments, keeping time to the music with their feet ; and then they march accord- ing to the dotted lines at diagram C, the girl at each end passing diagonally forward to the other side of the center, the next girl following and taking a position further front and to one side, and the third girl doing the same as the second. The result will be a V-shaped rank with the point of the V toward the back. When the rank is
.' b G o 0 O 6 6 o
?
Djagrasi a.
O O O O O Q
DiAGKAM B.
DiAGRAJI C.
formed, the graceful little performers courtesy to one another in a quaint, old-fashioned way, as represented at tigure No. 3, a pause being made in the music for the courtesy; and then the march music is stopped at the end of a bar, the melody is played after a prelude, and the girls sing these lines :
Six little darlin<i:s bowinp; low,
Two smile sweetly and away they go.
The girl at each end passes off at the end of the second line, as before described, and the remaining four close the rank and form straight across the stage.
FANCY DRILLS FOR ENTERTAINMENTS.
59
After the melody is finished, the march is resumed, and the two pairs of girls march round several times, and finally form a single rank across the stage, facing the audience, and nod their heads drowsily (see figure No. 4). Then, after the usual pre- lude, they sing the two follow- r- ing lines to the music of the '' melody :
Four little nodding ones hug- ging baby tight,
Two caper ofE with their candles alight.
To accord with the words, the two girls at the ends run light- ly off back of their companions, who are the smallest two of the eight.
The two little creatures then march about several times, the music being again taken up; and then they face about and greet each other by bow- ing, as illustrated at figure No. 5. The march music is now broken off at the end of a bar, and the melody resumed for these lines to be sung:
Two dainty tots with sleepy
eyes, 15
One leaves her mate, who §
deeply sighs. g
tZ The two little girls sing this 9
couplet very sleepily, and at .w
the end one leaves the stage, while the other looks after her and eighs.
The stage is now left to the last wee toddler, whose stanza, which is sung in a very sleepy voice, is as follows :
One liny maid with curh' head, Blows out her candle and toddles off to bed.
The tired little maiden gives evidence of her weariness by allowing dolly to slip from her arm during the progress of the song (.see figure No. 6) ; and she blows out her candle just as the song is ended, and " tod- dles " off the stage, the melody being continued until the cur- tain falls.
All the figures in this drill are simple, yet the moves are significant of the meaning they are intended to convey. Chil-
60
FANCY DRILLS FOR ENTERTAINMENTS.
(lien are by nature close imitators and require little teaching or practice to become perfect in a drill of this character ; and, besides, the little ones lend themselves so eagerly to such perform-
ances that they cannot but excel m them. The 'Good-Night" Drill could be executed at a church or school entertamment or at a private party, as the stage space required is not large,
FANCY DRILLS FOR ENTERTAINMENTS.
61
and the necessary training and rehearsals would give the children who participate pleasant occupa- tion for many hours previous to the evening of the exhibition, and more than repay their instructors for the slight expenditure of time and trouble necessary to a successful production of the drill.
It should be remembered that the more rlaintily clad the little ones are, the prettier will be the general effect of the drill and its tableaux. Mull or fine lawn are pretty materials for the costumes.
FiatTRE No. 6.
It is possible that an objection may be made to the lighted candles, especially if the children participating in the drill are quite young. In this event yellow tinsel paper could be attached to the wicks to imitate the flame of the candle. The suggestion, in view of the inflammable character of the gowns, of floating hair, and the general carelessness of little ones in handling household lights, is merely precautionary. The parents must decide the question which is certainly of gi-ave importance.
FANCY DRILLS FOR ENTERTAINMENTS.
FAN(V-Dl^e^^ Q^lLL.
THIS very prelty drill is more elaborate than any of those pre- viously given, as it necessitates an especial costume for each person taking part in it. To the mother whose means are limited and whose every moment is occupied, the making of a costume that is to be worn but once may seem to require effort and expense entirely out of proportion to the result to be attained ; and yet the exquisite joy that a child ex- periences in any sort of "dressing up "will more than com- pensate the loving mother for the labor involved. To appear for a time in a fictitious character is invariably an unmixed delight to the childish heart, and for that rea'^on the fancy- dress drill always finds particular favor with the little folks who take part in it.
A few words as to materials may be of assistance to those who have never made a fancy dress. It is always wise to avoid unnecessary expense in preparing costumes for this purpose. Paper cambric, which costs but a trifle a yard and may be obtained in a great variety of dainty colors, makes up very satisfactorily, and so do tarlatan and cheese-cloth, which are prettier and nearly as cheap. Pasteboard crowns covered with gilt paper make admirable head-coverings for imaginary royalties, and the tiny bells that are sold by the dozen at trifling cost may be effectively used for trimming the ends of sash ribbons and bows. Wings for fairies may be made of coarse white netting wired in shape and covered with tarlatan. Spangles and silver or gold paper will pro- vide the necessary glitter for the fairies' dresses, and the scepter carried by their queen may be a smooth, round stick covered with gilt paper. Raw cotton makes a realistic imita- tion of ermine for enriching the robes of a king.
A drill of this kind should never be given by daylight. The ciiaritable influence of artificial light is required to bring out the fnil brilliance of spangles and tinsel and to hide the cheapness of the materials used. Thus illuminated, the spec- tacle is certain to be a success if the costumes are only prettily colored and plenty of glitter is provided ; but the strong, searching liglit of day would dispel every illusion and plainly reveal the tawdry nature of the ornaments.
Sixteen children about fourteen years of age are needed for this drill, eight boys and eight girls; and each should be costumed to represent a certain character. A picturesque group may be formed of the following characters, most of which are taken from Mother Goose's merry band: Little Bo- Peep, Little Boy Blue, The Old Woman Who Lived in a Shoe, Little Jack Horner, Jack arid Jill, The Fool, Mother liuhhard, Tommy Tucker, Little Red Riding- Hood, The Queen of Hearts, Old King Cole, Mother Goose, llie King of Hearts, Tom the Pijjer's Son and Mistress Mary. Appropriate costumes for all these characters are fully described, and most of them are illustrated, in " Masquerade and Carnival," a pamphlet published by us at 2s. or 50 cents. Bo-Peep carries a shepherd's crook, Boy Blue a brass horn suspended from his neck, and each of the other children something that is appro- priate to the character assumed.
Bo-Peep.
THE MARCH — The girls enter the stage at A and the boys at B (diagram I), the order being as follows: (Jr\vh—Bo-/'eep, The Old Woman Who Lived in a Shoe, Jill, Mother Hubbard, Little Red Riding-Hood, The Queen of Hearts, Mother Ooose and Mistre<<s Mary; and boys — Boy Blue, JacV Horner, Jack, the Fool, Tommy Tucker, King Cole, The King of Hearts and Tom the Piper's Son.
The music should be a spirited J movement. The terms, right and left relate to the stage as viewed by the audience. Diagram I is referred to in the following directions.
FANCY DRILLS FOR ENTERTAINMENTS.
63
1. — From A and B the company march to the front of the stage, the file entering at A turning to^\ard D and that at B toward C. Beaching D and C, the files turn right angles, meet at F, pass each other and continue around the stage until they meet at E.
2. — Here the files unite to form couples and pass to the front of the stage at F, where they again separate, Bo-Peep's file turning toward C and Boy Blue's toward D. The files then pass respectively to B and A.
3 — At B and A acute angles are turned, Bo- Peep marching diagonally toward D, and Boy Blue marching toward C. The files meet at the center of the stage, unite to form couples, pass to F, again divide, and pass to C and D. These movements are indicated by the dotted fines in diagram II.
4. — Reaching D and C, the files once more turn acute angles, the file at C turning toward A and that at D toward B. They pass each other at the cen- ter of the stage and continue to A and B, where each file turns toward E.
5. — Meeting at E, the files unite to form cou- ples and pass to F, each girl being now at her partner's right side. At F the first couple turns toward D, the second toward C, the third toward D, the fourth toward C, and so on ; and the two
-A
•5
P
==- S
EoY Blue.
columns pass around the stage, meeting at E.
6. — Here the members of each couple in the column from the left separate to allow the column from the right to pass through; and the columns march once more about the stage until they meet at F. At this point the members of the left-hand column (which passed through before) separate and allow the right-hand column to march between the files thus formed. The columns pass about the stage and meet at E.
7. — Here the two columns unite to form one column, led by Bo-Peep and Boy Blue. This change is effected by each pair of cou- ples in Bo-Peep's column widening the space between them and allowing a couple from the other column to step in. Thus, immediately behind Bo-Peep and Boy Blue is the first couple of the other column, then the second couple of Bo-Peep's column, then the second couple of the other column, and so on. The column thus formed passes to F.
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A |
f. |
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_3 |
i ! |
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' " ' 1 |
F
Diagram II.
04
FANCY DRILLS FOR ENTERTAINMENTS.
9. — Here the files unite to form couples and pass to F, where the first couple turns to the left, the second to the right, the third to the left, and so on ; and the columns pass around the stage meeting at E.
8. — Here Bo-Peep turns to the left and, with her file behind her, winds and unwinds a spiral on the left side of the stage, and at the same time Boy Blue and his file exe- cute a similar movement on the right side. This figure is illustrated by diagram V of the drill on page 33. After the spirals have been unwound, the two files meet at F and pass respectively to C and D, where they turn acute angles as in 4. This brings Bo-Peep to A and Boy Blue to B. A chair is placed at A and another at B, and as iLe files pass them the members lay aside their accessories — Bo-Peep her crook, Boy Blue his horn, etc. The two files thep march toward each other, meeting at E.
10, — There the couples unite to form fours, which pass toward the front of the stage. The first four halt two feet from the front, the second three feet behind the first, the third three feet behind the second, and the fourth three feet behind the third. The company is now ready for the drill.
THE DRILL. — Tiie music should be changed for the
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9- |
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drill ; any |- movement played rather slowly at first will be satisfactory. Each maid drills with the partner upon whose right she stands. The members of the lines should stand well apart. Eight beats of the music should be allowed before the first figure of the drill.
1. Salute, — Partners gracefully join right hands, holding them very high, and then, turning toward each other, make a deep .'salutation (eight beats).
2. Change to Circle. — Partners still join- ing hands, the boys of the first and third lines lead their partners to gracefully describe a Iialf-circle, each couple in these lines thus lacing about, and partners changing places; and the eight couples arrange themselves to form a circle. Diagram III shows the posi- tions of the children before the two lines face about, diagram IV their positions after this change, and diagram V their positions after forming the circle. In these diagrams the odd numbers denote girls and the even numbers boys. It will be seen that the couples 2-1 and
5-6 forming a quarter of the circle, face each other; and so do the couples 13-14 and 10-9, and the other I wo pairs of couples. The instructor will have little difticiilty in teaching the children to quickly assume their positions in this figure. It must be remembered that the couples facing each other drill together.
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p
Diagram IV.
FANCY DRILLS FOR ENTERTAINMENTS.
65
^^^
Mother Goose.
Mistress Mary.
66
FANCY DRILLS FOR ENTERTAINMENTS
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Diagram V.
3. Forward and Back Twice. — Each boy gives bis right hand to his partner, and each couple
advances four steps toward the couple opposite, retreats four steps, and then repeats the movement,
4. — Cross Bight Hands. — The boys in each pair of couples join right hands, the girls join right
hands over those of their partners, and the P children walk to the left in a circle, keeping ' within their quarter of the stage, until each
couple regains its former position.
5. Cross Left Hands. — The boys and girls join left hands in the same way and circle to the right until original positions are reached. G. Forward and Back Twice. — Same as 3. 7. Forward and Under. — Opposing cou- ples take four steps toward each other and four steps back, and then couples 5-6, 13-14, 15-16 and 7-8 raise their joined hands high enough to allow the couples facing them to pass under. All the couples then forward four steps, and the four opposing couples pass under the raised arms of the other four cou- ples. Each couple is thus brought face to face with a different couple, the positions being as indicated by diagram VI. Thus, couple 2-1 faces couple 13-14, 10-9 faces 12-11, "15-16 faces 4-3, and 7-8 faces 5-6. The movements from 3 to 7 inclusive are now repeated without pause,
until each couple reaches its original position, ^ Xj -P
as shown by diagram V. In the second For- ward and Under the couples that raised their hands before now pass under; the third time they raise their hands again; and so on. Thus, each couple alternately passes over and under as this figure is repeated. When the couples have reached their original positions, a wait of four bars is allowed before the next movement.
8. Change to Square. — Couples 2-1 and 4-3, formingthe first line, take position across
the front, facing the back ; couples 5-6 and „ ^
7-8 place themselves respectively at the cen- x) i '^
ter of the sides, facing the center of the stage ; Diaokam VII.
couples 13-14 and 15-16 fall in line at the
back of the stage, facing the front ; and couples 10-9 and 12-11 stand near the center of the stage, back
to back. Each girl is on her partner's right, and the company is located as shown by diagram \ II.
9. Circle Around. — The boys and girls on the left half of the stage join hands in a circle, and those on the right half do the same; and the two rings circle gaily to the left un- til all are back in place.
10. Bight and Zf/?.— Partners half face each other, joining right hands; and then the boys pass to the right (the direction in which they face), and the girls pass to the left, all presenting their hands in alternation to thos<> they meet. For instance, in the ring formed on "the left side of the stage Nos. 2 and 1 join right hands, and No. 1 then walks to the left, giving her left hand to No. 6, her right to No. 14, her left to No. 10, and so on until she reaches her original position; while No.. 2, after relinquishing his partner's right hand, passes to the' right, giving his left hand to
No. 9, his right to No. 13, his left to No. 5, and so on until he also reaches his original position.
11 Forward and Salute.— The eight children on each side unite to form a circle, and each
child takes four steps toward the center of the circle, four steps back and four steps forward again,
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FANCY DRILLS FOR ENTERTAINMENTS.
and then makes a deep courtesy or bow. carried out.
This is a very graceful movement when it is carefully
12. Right About. — The sixteen children form four ranks, as indicated by diagram III, all facing to the front, and each girl being on her partner's right.
13. March.— Bo- Peep and Boij Blue are the leaders on the left side, being Nos. 1 and 2. They march as far forward as possible, turn to the right and then pass to C and thence to B, followed by 5-6, 9-10 and 1.3- U. At the same time Nos. 3 and 4, followed by 7-8, 11-12 and 15-16, march to the front of the stage and proceed to D and A, passing between the couples of the other column at F.
The King, Quke.v and Knave of IIkarts.
14. — Reaching A and B, the columns turn toward each other and meet at E. where the two columns unite to form a single column of couples, as in 7 of the march. The column marches to P, where the couples separate, the girls turning to the left and the boys to the right, and the two tiles passing to the back of the stage.
15. — At A and B the files pass the chairs on which the various accessories were placed, and the children select their respective belongings. The files pass each other at E and march to C and D where the leaders halt. Bo-Peep is now at C and her partner at D, and the company have so regulated their steps that four of the girls occupy the space from E to B and four that from B to C,
FANCY DRILLS FOR ENTERTAINMENTS.
while four boys are distributed between A and E and the other four from A to D, as seen in dia- gram VIII.
16. — With Nos. 1 and 5 at each side as pivots, the four hnes now wheel to form a cross, Nos. 8
and 4 at each side passing to the center of the stage, as shown in diagram IX. After the cross is formed a count of eight beats is allowed. If the stage is provided with a curtain, it is well to let this cross end the drill, to be followed by two or more tableaux. If, however, there is no curtain, this pretty finale will not be possible, and the exit must then be made as follows.
17. — No. 1 at each side turns toward F, followed by the children on that half of the stage, who march along the lines of the cross. At F the cliildren form couples, join- ing hands gracefully at a good height, and pass to E, where the two files separate, and leave the stage respectively at A and B.
If the drill is to close with tableaux, the
curtain should fall while the cross is formed, and the members of the company should remain in posi- tion. The lights should then be quickly lowered, and the curtains raised to show lio-Peep looking down with an anxious expression as though search- ing for her sheep, Boy Blue holding his trumpet to his mouth as if about to blow a long blast, and all the other children portraying by equally sugges- tive postures the characters they are dressed to represent. It greatly improves a fancy-dress tab- leau to burn colored hghts at the moment of ex- hibition. These lights are not at ail expensive and may be obtained at most drug shops.
Other tableaux will suggest themselves to the instructor. A second Mother Goose tableau may be easily arranged by bringing out the ideas of the characters by means of different postures and groupings. This could be made very efffctive by
adding** The Fiddlers Three" who played for AT/igr fo^e, a cupboard into which Mother Hubbard
is vainly looking, and other appropriate characters and accessories.
Our present series of drills ends with the one just given. While some of those presented are
rather elaborate, others are quite simple and may be learned with but little practice. This form of
Jack IloiiNEu.
^ U NIVERSITY j
FANCY DRILLS FOR ENTERTAINMENTS.
69
entertainment is always well received, and a pretty drill will often satisfactorily solve the problem of what to pive as an extra attraction at a fair or to lend variety to the school entertainment which, in many villages and small towns, invariably crowns the year of work. When any of these drills is to be given, except, perhaps, the Broom Drill, which is quite military, tlie company should be so thoroughly instructed that it will be unnecessary for the leader to call the orders, which are, generally speaking, given as mere aids to the beginner. In the drill just described, for instance, all the parts should be so well learned that not a word need be spoken from the time the children pnter the stage until they leave it. This silence, taken in conjunction with pretty co.^tumes, bright music and brilliant lights will render the exhibition wonderfully striking and artistic.
The Old 'Woman who Lived in a Shoe.
Fool.
Upon the following pages are given a number of illustrations of fancy-dross costumes which may be used by either young ladies or by misses, girls, boj^s and children in general. Among these illustrations will be seen costumes quite suitable for other than Fancy-Dress Drills, as they ma}' be adapted to other drills also given in this book. The Fan Drill could be given in fancy-dress, tiie Flower Drill in costumes representing flowers (see frontispiece), the Tambourine Drill in Spanish costume and so on through the list. The illustrations have been taken from our Alasquerade and Carnival pamphlet, in which there are also hundreds of other fancy co.^tuines, each with its descrip- tion of material and colors. This pamphlet would be of invaluable assistance in planning a Drill Entertainment, in case the managers preferred fancy-dress costumes to those herein described.
70
FANCY DRILLS FOR ENTERTAINMENTS.
'^%«i»:4|^
Sun-Flower and Lily op the \' alley.
OF THK
UNIVERSITY =a8f
FANCY DRILLS FOR ENTERTAINMENTS.
71
Tambourixe Girl.
Rosalind.
Fkexcu Cook.
73
FANCY DRILLS FOR ENTERTAINMENTS.
73
FANCY DRILLS FOR ENTERTAINMENTS.
FANCY DRILLS FOR ENTERTAINMENTS.
FiGHTixG Cock.
Watte A u Costume.
76
FANCY DRILLS FOR ENTERTAINMENTS.
i \MliOUUINF (!TRL
Moorish Dancing Gmu
FANCY DRILLS FOR ENTERTAINMENTS.
77
EliriRE COSTUILE.
Fairy.
Josephine Costume.
78
FANCY DRILLS FOR ENTERTAINMENTS.
Turkish Costumes.
FANCY DRILLS FOR ENTERTAINMENTS.
7a
Fancy Costumes.
80
FANCY DRILLS FOR ENTERTAINMENTS.
Tambdukixk Girl.
Polish Costume.
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TABLEAUX, CHARADES AND CONUNDRUMS is a Pamphlet upon this class of Enter- tainments and Amusements. Charades in all their different varieties, and Tableaux are Freely Describe'^ and Discussed. The Department devoted to Conundrums is Overflowing with Wit and Merriment. Price, 6d. ^*>p post, 7^d.) or 15 Cents.
FANCY DRILLS FOR EVENING ENTERTAINMENTS: A Pamphlet containing Di- rections and illustrations for the Arrangement and Prodnction of Twelve New Fancy Drills, suitable for School, Church, Club and Society Entertainments. Price, 6d. {by post, 7}^d.) or 15 Cents.
THE PERFECT ART OF MODERN DANCING : This Pamphlet contains Dlnstrated In- structions for those who wish tc Learn to Dance by the Methods Employed by the Best Dancing Masters of the Metropolis. Price, 6d. (by post, 7\^d.) or 15 Cents.
■\X7EDDINGS AND WEDDING ANNIVERSARIES: a Pamphlet which is invaluable to
Maids and Matrons, Bachelors and Benedicts, and the Bride and Groom Elect. It contains full information
concerning the Etiquette of Weddings, and describes all the Anniversaries. Price, fid. (by post, 7i4d.) or IS Cts.
A MANUAL OF LAWN TENNIS: This Pamphlet is adapted to the requirements of /mateur and
Professional Players of Tennis. It is fully Illustrated and contains a History of Tennis, the Rules, Details
Concerning the Development of Play, Descriptions of the Court, etc. Price, 6d. (by post, 7^d.) or 15 Cents.
TTSES OF CREPE AND TISSUE PAPER: This Pamphlet is Hlnstrated with Designs and Diagrams for Making Paper Flowers and various Fancy Articles. Christmas, Easter and General Gifts, Novelties for Fairs, etc. A child can follow the directions given. Price, 6d. (by post, 7^d.) or 15 Cents.
QHILD LIFE : This Pamphlet discusses Influences on Prenatal Life; Bathing and Clothing for Infants; Pood
for Infants ; Weaning and Feeding Children after the First Year; Diseases of Infants and Young Children;
Eruptive and Other Fevers; Care of Children's Eyes, Ears and Teeth. Price, 6d. (by post, 7%d.) or 15 Cents.
DOGS, CATS AND OTHER PETS: A Pamphlet alibut pet animals and combines both practical information about their habits, accom illshments and needs,'8nd the eeritiniertal and anecdotical side of the enbject. It tells all about the various breeds of dogs. Then these chapters on pet monkeys, squirrels , rabbits, rats, mice, pigeons, crows, frogs, chameleons, tortoises, etc. Price, 6d. (b>/ post, 7}4d.) or 15 Cents.
HEALTH: HOW TO BE WELL AND LIVE; LONG : The Special Mission of this Pamph- let is fully indicated by its sub-title. Rational Personal Care of One's Natural Physical Condition, without the Aid of Drugs and Medicines, except when the latter are absolutely necessary, ^e-two of the many strong points of the subject matter of the Pamphlet. Price, 6d. (by post 7^4..).V^ JS- Cents.
gURNT WORK : Pull instructions for the popular art of Burnt Work, together with fflnstratlons of Im- plements, Methods and Designs appear in this pamphlet, rendering it a most v2nabl» manual among the many oth'^Ts devoted to art. Ita details can ne applied to various Useful and Decorative purposes, from Portraits to Farniture, from Dainty Toflette Articles to Panels. No artist or lover of art, amateur or professional, should fail to send for a copy of the pamphlet. Price, Gd. (by post, 7%'^0 or 16 Cents.
PLEASE NOTE.— We will send any of the above Pamphlets to any Address on receipt of Price. TflE BUTTERICK PUBLISHING CO. (Limited).
171 to 175, Recrent Street, London, W.; or 7 to 17 West 13th Street, New York.
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General Library
University of CaJifornia
Berkeley
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