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THE COMPLETE BOOK OF
CAIMPFIRE PROGRAMS
THE COMPLETE BOOK OF
Campji
re Programs
By LaRUE A, THURSTON
Illustrated by Bay Harm
ASSOCIATION PRESS NEW YORK
THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
Copyright *95# by
National Board of Young Men's Christian Associations
Association Press, 291 Broadway, New York 7, N. Y.
All rights reserved, including the right of reproduction
in whole or in part in any form, under the International,
Pan- American, and Universal Copyright Conventions.
Second Printing, June, 1958
Library of Congress catalog card number: 58-6466
Printed in the United States of America
American Book Stratford Press, Inc., New York, N. Y.
PREFACE
1 HE leader who has responsibility for creating a good camp-
fire program uses every help that is available. First, his own
ideas, experience, imagination, and group work training. Then,
the help that reading and research and the experience of others
can give him. He is eager to try new ideas, techniques, program
suggestions, that will provide inspirational and memorable ex-
periences for campers as they gather around the fire.
In the chapters that follow, the inexperienced leader will find
help, the experienced leader will find new ideas to add to his
resources. The chapters include information on leadership, pro-
gram planning, physical arrangements of the campfire area,
ceremonies, honors and recognition, noisy fun, singing, story-
telling, games, stunts, dramatics, magic, and tricks. Several
examples of campfires are included, not as models to be
slavishly imitated, but as suggestions on which to build and
create a program that suits a particular camp and occasion.
All of the ideas are adaptable, and their success depends on
vii
Vlll PREFACE
the ingenuity and creative talents of the campfire program
leader and all the campers and camp staff. There is material
here for any type of camp girls' camp, boys' camp, coeduca-
tional camp, private camp, organization camp, children's camp,
teen-age camp, mixed-age camp, long-term camp, or overnight
carnp.
It is impossible to name the many people who have helped
and inspired me during the thirty-five years I have participated
in many kinds of campfire programs. Each type of campfire ex-
perience has influenced my concept of the campfire and its
possibilities.
Since the writing of this book took place while I was employed
by the Greater Cleveland Council, Boy Scouts of America, I
must recognize the sympathetic understanding of the now re-
tired Scout Executive, George E. Green, and the present Scout
Executive, Frank W. Braden. I was also encouraged by the
Director of Camping, Dane Westcott.
I am indebted to the advice of several camp leaders who read
the first manuscript. These were Edward Dibner, Tall Timbers
camp of Casco, Maine; Miss Polly Johnson, Assistant Scout
Executive of the Cleveland Council Girl Scouts; Ralston Fox
Smith, The Red Raider camps of Cleveland,- Dr. William A.
Vinal, Dean of Nature Counselors; and Arthur Griener.
I wish also to acknowledge the help of Mrs. Lida Harm and
William Stewart who wrote down tunes we could not find in
print.
In preparing the many drafts of the manuscript, Mrs. Molly
O'Connell, Mrs. L. A. Thurston, James R. McCallum, Jr., and
Mrs. Don Kerry were all willing helpers.
In the manuscript we have given credit for use of material
where we could find the source. If there is any place we un-
knowingly used any piece of material without proper permis-
sion, we humbly apologize.
CONTENTS
PREFACE vii
1. THE SPIRIT OF THE CAMPFIRE 15
What Makes a Successful Campfire
2. LEADERSHIP AND PROGRAM PLANNING 22
Leadership
Planning the Campfire Program
The All-Purpose Campfire Program
The Special-Purpose Campfire Program
Planning for the Camp-wide Campfire
Planning the Informal Campfire Program
People Who Can Help
3. THE GAMPFIRE CIRCLE 44
Physical Arrangements
Backgrounds, Decorations, Props, for the
Campfire Circle
The Fire Itself
ix
X CONTENTS
4. CEREMONIES AROUND THE CAMPFffiE 67
Before the Campfire Begins
Opening Ceremonies Lighting the Fire
Other Opening Ceremonies
Closing Ceremonies
Examples of Special Campfire Ceremonies
5. THE CAMPFIRE AS A COURT 106
A Court to Hear Petitions, Requests,
and Reports
A Court for Granting Honor and Recognition
A Court for Mock Trials
6. NOISY FUN AROUND THE CAMPFIRE 117
Ice Breakers
Yells
Applauses
Story Responses
Games and Warm-ups
Signals for Attention
7. SINGING AROUND THE CAMPFIRE 133
Pointers for the Song Leader
Songs to Fit the Purpose
8. STORY AND TALK AROUND THE CAMPFIRE 164
How to Tell a Story
Selecting Story Material
Telling the Story Differently
The Campfire as a Discussion Center
9. GAMES AND ACTIVITIES AROUND THE CAMPFIRE 196
Introductions
Challenges
Games
Charades and Dramatics
Quizzes and Riddles
CONTENTS XI
Campcraft Contests and Demonstrations
Observation and Sense Training Games
Nature Contests and Games
Dual Contests
Feats of Strength or Skill
10. STUNTS AROUND THE CAMPFIRE 224
Using Stunts in Camp
Themes for Stunt Night
Stunts for Groups
Stunts for Individuals
Miscellaneous Stunts
Pantomime
Shadow Plays
11. MAGIC AROUND THE CAMPFIRE 258
12. SAMPLE CAMPFIRE PROGRAMS 276
Get-Acquainted Campfire
Indian Theme Campfire
A Hidden Campfire
Down History's Trail
A Nature Trail Campfire Program
Minstrel Show Campfire
An Operetta Campfire
A Political Convention Campfire
A Multiple Campfire Plan
Stunt-Night Campfire
Campfires for Small Groups
INDEX 313
ILLUSTRATIONS
PLATE PAGE
A. Types of CampfLre Circles 48
B. Types of Campfire Seating 50
C. Entrance Gates 52
D. Ground Markings 54
E. Background Decorations for Council King 55
F. Cue Totem and Cue Easel 60
G. Making Proper Council Fires 62
EL Fire-Lighting Methods 74
I. Hypnotist 245
J. Detail of Magic Tricks 261
Xlll
CHAPTER ONE
THE SPIRIT OF THE CAMPFIRE
IHE good campfire program leader knows from experience
that successful campfire programs are those that capture and
interpret the spirit of the campfire and of camping.
His experience reveals that the program around the campfire
is more than a recreational activity. It is a re-creative experi-
ence, bringing to the participant an enriched and satisfying
means for expression. In addition, it is entertainment, drama,
creative activity, song, ceremony. Lastly, it is more than these,
for all of these together do not give the complete secret of the
spirit of the campfire.
This spirit lies hidden in the mystery, romance, fellowship,
humor, and magic of the firelight. In a successful campfire pro-
gram this spirit is felt in the heart and reflected in the face of
each participant, young or old.
l6 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
A campfire may belong to one or to many. The spirit of the
campfire is felt by the individual who sits alone at his small
fire and by the individual who is part of a larger group in a
more formal campfire setting.
The individual who builds and tends his own small fire
has a possessive feeling toward it. His unshared experience is
different from that of the person who sits in the company of
others sharing ideas and memories with them.
His OWN CAMPFIRE
Let a camper thrill to his own campfire.
Let him find his wood and tinder at the dusk of day.
Let him light his fire and nurture it tenderly,
Feeding it, controlling it, and keeping it personally small.
Let him forecast his needs so as to keep his fire bright.
Let him sit on his bed, at the open edge of his tent before his
dancing fire, watching the flames lick his small kettle and
set the water bubbling.
Let him thrill to being alone with his fire, his thoughts, his
fears, his dreams, and with the responsibility of keeping
that light alive.
Let him feel the warmth of the glowing coals, hear the noises
of the night, and peer into the shadows.
Let him fall asleep, safely, soundly, to awake to find the dead
gray ashes still hiding the hot coals that can be awakened
to service with ready tinder and waiting twigs.
Let him pack his gear, deaden his fire, clean his camp, and
shoulder his pack to return to his fellows, having experi-
enced his own campfire.
The camper who sits with friends or an audience around
a larger fire has another experience. He responds to the fellow-
ship within the circle of firelight, the dramatic approach of
the campers to the fire circle, the symbols, songs, cheers, and
activities that are a part of the formal campfire.
THE SPIRIT OF THE CAMPFIRE IJ
THE SPIRIT OF THE COUNCIL FIRE
Many things are part of the council fire.
The clear call to the fire,
The gathering at the symbol,
The silent Indian file following the torch
Through the arched pathway in the woods,
Then crossing through the symbolic entrance
To the grand canopied circle,
Where shadowed figures form circles
Around the mystic clearing.
With cadenced dignity dim figures call for fire,
That comes and brightens quickly,
To reveal the respectful and eager faces
Around the circle.
Then the colorful lighted clearing around the fire
Becomes an arena for action.
All glory in sharing the songs and yells,
Responding to the call,
Swelling the chorus,
Cheering the rivalry,
And honoring the victors.
Soon each will cross into that hallowed area,
To become the center, the leader, and the applauded.
There is order and spontaneity,
There are challenges and acceptances,
There is laughter and sober silence,
There is direction and purpose and accomplishment.
There is outpouring of enthusiasm
Guided and swelling to a climax.
There are Indians, explorers, pirates, heroes.
There is listening to the night sounds and wise words.
There is inner silent acceptance of personal resolutions.
As the fire dims and shadows return,
The softly singing lines weave out through the arches,
And the dim circle returns to silence and to darkness
And to emptiness.
While homeward-bound campers go to find their beds
And dream.
l8 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
WHAT MAKES A SUCCESSFUL CAMPFIRE
The fire itself, the circle of friendship about it, the program
activities, the contagious attitudes of the leader, as well as his
leadership techniques, all join to affect the mind and the
senses of the participant and to create the spirit of the camp-
fire.
The Fire
At the council ring, the fire is the center, the focus of each
camper's attention. Firelight is a magic that brings people to-
gether, wards off darkness and fear. Firelight is a magic that
produces emotional contagion and spiritual feeling.
The history of fire is also the history of man's progress. As
man learned to control and use fire, it became his servant. The
use of fire widened the breach between man and animal. Fire
cooked man's food, lighted his way, lengthened his day,
warmed his body, protected him against wild animals. Fire be-
came the center of fellowship and council. And fire became
man's altar as he groped for a religious presence.
For the camper, mankind's past is present at the campfire he
lights today. His fire brings the same warmth, light, cooked
food, fellowship, mystery, reverence.
Tie Circle of Friendship
The campfire circle or council ring is both a place and a
symbol. It is a place to gather for inspiration, for entertain-
ment, for participation, for council, and for fellowship. It is a
symbol of equality, for each participant sits in the circle at
equal distance from the fire. Each has equal chance to speak,
act, observe, and dream. A place for activity (drama, dance,
ceremony) may be designated, but each has access to it de-
pending on his offering and on himself. There is no head or
THE SPIRIT OF THE CAMPFIRE 19
foot to a circle. At the campfire all are in the same position as
King Arthur and his Knights at their Round Table.
The campfire circle is many things. One who plans campfire
activities is aware of its many functions and purposes. The
campfire area is:
A circle of friendship
A proof of leadership
A place for tradition, history, story
A stage for drama
An arena for fun, games, contests
A focus for dance, music, song
A court for recognition, ceremony, honor
A shrine for memories
A symbol of the soul of the camp
The Program
The fire and the campfire circle become the place for mem-
ories and dreams. It is the place to recall past camping experi-
ences and to recount exciting adventures. It is the place for
crystallizing high lights of the week so they become lifelong
memories.
In the intimate setting of a small campfire gathering the
camper contributes personal thoughts and feelings and listens
to those offered by others. In the larger, more formal gathering,
ceremony, story, or drama may take the place of personal ex-
change of ideas. In either situation the camper absorbs the
spirit of the campfire and relates it to himself.
It is possible to bring the realization of man's past history
at the campfire to the camper who sits around the fire today.
In imagination and through story and drama he can picture
Indians, nomads, pioneer men and women. He can sit with
the soldier, the hunter, and the cowboy and tend the same fire.
2O THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
The program around the campfire can transmit the past,
its history, tradition, and dreams, to the camper. Perhaps the
easiest way to achieve this transmission is through participa-
tion of campers in the program. Participation inspires and
instructs. Participation develops and encourages leadership,
confidence, and esprit de corps.
The Leadership
The opportunity to impress the growing and inquiring mind
within the magic light of the campfire is so great that the
leader is charged with a grave responsibility to choose wisely
and guide carefully every element of the program. The smallest
details can leave lasting impressions. The production of a
campfire program demands as much preparation as the pro-
duction of a masterpiece. Production of a campfire program
calls for skilled leadership.
The able leader needs the ability to evoke group expression
and response, but he does not dominate it. He plays his role
as a catalyst rather than as the generalissimo. Ideally, he
blends with the resultant group expression and the program is
not his, but the camp's program.
The leader needs a sense of discrimination. He must choose
material that is effective and see that it is used in an effective
way. Good material alone will not assure a good program. It
must be chosen with consideration of the total camp program,
the physical conditions and arrangements of the fire circle, the
mood of the campers.
The leader needs a sense of showmanship. This showman-
ship is revealed in the leader's previous planning, the staging
arrangements, the coaching he gives, the precautions he takes
against failure. The participants in the campfire program need
this sense of showmanship, too, but theirs is directed by the
leader.
THE SPIRIT OF THE CAMPFIRE 21
The leader needs to be aware of his own attitudes as well as
the attitudes of the group. He can influence these attitudes
and change them. His reverence for the magic of the canapfire
and his appreciation of the spirit of the campfire have a bear-
ing on the group, on their mental and emotional approach to
the campfire circle. His good taste in program content is an
example to the group.
The leader needs to be conscious of all the tradition and
symbolism associated with the camp. This is especially true
when planning a formal council fire. The light of the fire em-
phasizes the symbols and emblems. The call to the campfire
and the worn path to the fire arena heighten the experience.
The ceremony of a prescribed entrance, seating, and exit is a
part of the drama. The decoration and arrangement of the
campfire arena reflect the camp spirit and tradition. Silence at
certain points in the program may be a part of camp tradition.
The leader needs help in producing the program around the
campfire. He knows his campers and calls on their skills to help
prepare the setting and the dramatic program. He knows that
many helpers are needed to set the mood for a successful camp-
fire program. If a campfire experience is to be successful, the
newest camper must catch the spirit, the oldest camper must
display it.
CHAPTER TWO
LEADERSHIP
AND PROGRAM PLANNING
IHE way in which a campfire program is organized and pro-
duced and the content of the program have a bearing on the
impression the campfire makes on a camper. Thus leadership
and program planning are two important aspects of a success-
ful campfire. A consideration of a few techniques can make
these jobs easier and more rewarding for the director of the
campfire activities.
LEADERSHIP
Leadership in a campfire program is of two kinds. One form
of leadership is the over-all direction of campfire programs, which
may include the larger, camp-wide, formal programs and the
22
LEADERSHIP AND PROGRAM PLANNING 2 3
more intimate informal programs of units or groups. The second
form of leadership is the encouragement and directing of
campers so that they develop ideas, take leadership, and do
much of the planning.
The over-all planning of campfire programs can be done, in
part, before the camp opens. The leadership and planning in-
volving the campers cannot be tackled until the campers are
present. Since each group of campers through the season offers
different abilities, the leader must be able to adapt the pro-
gram to them and draw on any special abilities they have. The
best leader is the one who makes the best use of available
campers and staff members.
The leader must discover early in each camp session what
talent is available among the campers. He can ask unit leaders
and counselors to be alert to talent in their groups. Often-
times talent appears at the informal cabin campfire. Sometimes
a "talent tryout" is useful in bringing out hidden abilities or
shy amateurs.
Often the campfire program leader does not appear, but re-
mains behind the scenes, preparing, managing, smoothing out
the program. He knows what is needed to make a good pro-
gram; he knows how to encourage campers to contribute their
abilities; he knows when outside specialists are needed to en-
rich the program.
Variation in Program
The leader is responsible for seeing that the campfire ac-
tivities offer variation. This is necessary in all campfire pro-
grams, but especially where the same campers are present for
several weeks. Longer camp periods mean more songs, more
stunts, more ceremonies, more stories, more theme ideas for
the campfire program.
While providing variety in the program, the leader should
24 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
not do away with the familiar activities that campers enjoy.
The old songs are always fun. Certain ceremonies are repeated
because they represent the spirit and principles of the camp.
Traditions and symbols become more impressive if they are
used repeatedly in the program.
In the long camp session there is plenty of time for variety
and great need for it. The leader has opportunity to present
many types of program that could not be scheduled for a short
camp session. In the one or two week session there is time for
a get-acquainted campfire, a recognition ceremony campfire,
an entertainment or stunt campfire. A leader generally has so
much material at his finger tips that he does not have to worry
about variety of programs for the short-term campers. The
counselors and unit leaders may see a lack of variety, for they
work through several sessions. To the campers all will be new
and fun. However, in a camp situation where old campers re-
turn for several years, variety becomes important. They will
expect something new even while they want to recapture all
the remembered activities of past seasons.
Preparation of Campers
The leader of the campfire program is responsible for prepara-
tion, which involves not only selection and practicing of pro-
gram material, but the preparation of the campfire audience.
The audience should be a receptive, responsive group. They
are not there only to be entertained. They are there to partici-
pate, to join in the songs, to play their part in the drama around
the fire, to share in the ownership of the program. Even if
their part is only to make a ritual entrance, sit in an assigned
area, and sing one song, preparation is required. The campfire
program leader in a large camp cannot do it all, but he can
enlist counselors and experienced campers to help prepare the
campers.
LEADERSHIP AND PROGRAM! PLANNING 25
Movement in Program
Good leadership is needed if the campfire program is to be
fast-moving and interesting to the campers. A leader needs to
be sensitive to spots where the program drags, to activities that
are too similar, to points which ought to be emphasized. It is
his responsibility to see that the opening of the campfire pro-
gram is arresting, that a mood is evoked, that the closing is in-
spiring and leaves the camper with food for thought.
There are several techniques for keeping a campfire program
moving. The leader will find that a program is smooth and well
paced if:
Each activity or scene is a part of the whole one leading
into another.
Songs are used between activities to give time for the next
group to be ready and enter.
Complete information is given to him what the act is,
who is in charge, how long it takes, how it ends.
Every act is cued so that the camper or counselor in charge
of the act knows when to make ready and when to enter.
Leaders of every unit or group are present at briefing ses-
sions, so that each understands the total program and
where his group will fit into the program.
Selection of Additional Leadership
Even the best leader needs help. A fast-moving and smooth
campfire program uses a team of helpers who will take over
some of the leader's jobs and thus leave him free to act where
needed and to make adjustments in the program. This addi-
tional leadership can come from the counselors and the cam-
pers. The purpose of a good program is not only to entertain
the campers but to provide them with an opportunity to be
entertainers and to be leaders.
26 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
The master of ceremonies is sometimes played by the camp-
fire director, but more often this part is taken by another. A
leader or a counselor can take this role. An older, experienced
camper can do a good job as master of ceremonies. More than
one person should be briefed for the job in case of accident.
Whoever is selected must be able to control the program and
enforce decorum without chilling the natural enthusiasm of
the campers. Some of the following qualities are marks of a
good master of ceremonies:
He is a natural and enthusiastic leader.
He can control a group with fairness and firmness.
He studies the plan for the program and follows the plan;
yet he is able to improvise if necessary.
He makes sure that all equipment is ready and that some
one is in charge of the equipment for the program.
He is not a prima donna; he uses other leaders and campers
who have talents.
He has the courage to stop violation of campfire discipline
and to check any impropriety or vulgarity that may slip
into an act.
He has a good sense of humor and can take a joke or trick
played on himself, without losing his poise or his con-
trol of the audience.
He is objective about giving and receiving criticism relating
to the program.
He never tries to compete with noise; he uses a recogniz-
able hand signal and waits for silence,
He is helpful with the shy or forgetful actor.
He is conscious of the time element because a campfire
program must not be too long.
He never panics, but is equal to any emergency.
LEADERSHIP AND PROGRAM PLANNING 2J
The fire maker and fire tender should be capable assistants.
Several people may be needed for these jobs, especially if the
fire-lighting ceremony is an elaborate one. The campfire leader
can then delegate to them the job of building a successful fire,
guarding against spread of the fire, feeding additional fuel to
brighten the firelight when the program calls for this, and
making certain that the fire is completely out at the close of
the program.
A yell leader who can direct the crowd in yells and applause
is another assistant the leader will need. He keeps the pep and
enthusiasm high, fills in gaps in the program, provides a change
of pace in the program. He should be able to direct the campers
with little explanation or demonstration especially if the
campers know the yells. He should be able to teach yells and
chants quickly to new campers.
A song leader is always in demand. Even when the master of
ceremonies leads the songs, he can use additional song leaders
to lend variety to the program and to lead singing from dif-
ferent parts of the campfire arena. Good song leaders keep the
campers in voice and full of enthusiasm. Campers who can
lead in singing are valuable aides.
A ceremonial leader is needed in certain campfire cere-
monies, in addition to the person who is in charge of the com-
plete ceremony. An Indian theme ceremony might call for an
Indian chief or princess to open and close the ceremony. A
pioneer ceremony might require a Daniel Boone. Usually the
role of ceremonial leader is taken by one of the campers.
Other helpers are often needed to handle props, to act as
torchbearers to guide the campers to the fire circle, to direct
the seating, to help distribute honors at a recognition cere-
mony. The leader of the campfire program will find willing
assistants among the campers.
28 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
Good Taste in the Program
The leader of the campfire program sets the level or stand-
ard of the program. He must exercise good taste and sensitivity
in his attitude and in his selection of program material. He also
sets the standard for the camp. By his own respect and dignity
he ensures the respect and dignity of the campers at the camp-
fire. He never compromises with the high standard of program
content he has set for the camp.
He is conscious of and sensitive to any action, scene, or
words that might offend the age level of the campers or their
sex. He watches for implications or words in the stunts that
might offend any person in the area of religion, nationality,
economic and social conditions, education, parental back-
ground and parental jobs, physical differences and handicaps.
It is easy for young people to make fun of one another or to
make derogatory remarks about wealth, bald heads, deformity,
certain jobs. What is done or said in fun by one person may
be very offensive to another. Derogatory references are often re-
peated at home, and the reputation of the camp suffers.
Courtesy and consideration for the feelings of others are
marks of a good camp and reflect the attitude of the good
leader. When campers show signs of criticism, intolerance, or
prejudice in any of the activities around the campfire, the leader
can quickly change the mood by introducing songs, yells, a
stunt applause, or an audience-response stunt.
Consideration of Physical Factors
One of the leader's responsibilities is the consideration of
physical factors that can contribute to or detract from the
success of a campfire program. The leader must consider in
advance the kind of fire to use, how it burns, how much light
it gives and how long the light lasts, what dangers there may
LEADERSHIP AND PROGRAM PLANNING 29
be to the participants, how long it takes for the fire to start
burning well, whether it is a fire that lights after a rain or
burns well in a high wind, how high the flames go, whether it
obstructs the view, whether it produces silhouettes instead of
clear objects, whether smoke obscures some activities.
The leader must also consider whether physical arrangements
are comfortable enough to keep campers attentive. Are they
to stand or sit? On logs or benches or on the ground? Does
the area need to be sprayed for insects? What precautions need
to be taken where the nights are cold? What if seats are wet
from a recent rain will campers bring ponchos to put over
wet seats? Are the seats raised enough so that all can see? Are
seats so low that campers are cramped and become squirmers?
Are the seats firmly placed, or will they rattle when campers
move?
The leader has to consider the possibility of rain, which is
more of a problem in some camps than in others. Is there an
assembly hall to which the campfire program can be trans-
ferred in case of rain? Can the program be put off to another
night? A wise leader always has an alternative plan ready for
rainy nights.
Darkness is a factor he must consider. A campfire ceremony
is more impressive when it is dark, for the fire-lighting ritual
then weaves a spell. But complete darkness is not possible.
There is usually need for light on the trails approaching the
fire circle, at gathering points, in areas where performers keep
their props or costumes. Often there is need for additional
light within the campfire circle so that all campers can see the
program.
Physical arrangements are important, too, in establishing the
length of the program. In an uncomfortable setting, the pro-
gram should be brief. The age of the campers also has a bear-
ing on the length of the program.
20 THE COMPLETE BOOK O'F CAMPFIRE PROGRAMS
Atmosphere is a part of the physical arrangements for the
campfire. As he approaches the fire, the camper should be im-
pressed by the beauty, the dignity, and the awesomeness of the
area. The march to the area, the entrance, the first sight of
the campfire, can be made more impressive by dressing up the
area with camp symbols and nature symbols. In some camps
the place for the campfire is unchanging. Perhaps the camp's
traditions center about the council ring. In other camps the
leader in charge of the campfire program tries to vary the set-
ting and surprise the campers. The following ideas have been
enjoyed in many camps:
A campfire built on a raft anchored just off shore. The raft
might be a small platform fastened on three or four oil drums
and covered with dirt to protect the raft from the fire. The
fire is built while the raft is at shore. The raft is pulled out
on the water by a rope that runs from the raft to a ring on a
post in the water and back to shore. This makes movement
of the raft easy and quick. Seats for the campers are in a half
circle on the shore.
A campfire in a hidden valley. This fire is lighted in advance
and the single file of campers descends to it from above, so
that each is conscious of the secret hidden fire in the valley.
A campfire on a raft anchored in the lake. Groups of camp-
ers converge on it in canoes, coming out of the darkness. Canoes
can be lashed together in pairs for greater safety. When the
canoes are in a circle around the fire, a story and song program
can be conducted. Campers will not soon forget the music and
the fire on the black waters.
A campfire program on a river. Canoes and boats go up-
stream a mile. As darkness comes, they drift downstream, using
their oars or paddles only to stay together. The lead boat car-
ries a bright light; the others carry Japanese lanterns on lashed
LEADERSHIP AND PROGRAM PLANNING 31
poles. Campers float downstream. The program again is stories
and songs and music.
A campfire program in a cave. Some camps are located in
areas where large surface caves or underground caves are lo-
cated. If there is an explored and safe cave near camp, which
can be used with proper permission, an exciting and adventur-
ous campfire program can be planned.
Recognition of Camp Traditions
The campfire leader has a good opportunity to demonstrate
the traditions of the camp to new campers. When a campfire
program is held early in the camp period, it provides a proper
time and setting to present such traditions. Older campers can
do a good job of dramatizing these unwritten rules of the
camp in such a way that they will be indelibly impressed on
the campers. The first campfire ceremonial might use the
theme of "our traditions/ 7
Camps have traditions in behavior, in activities, in songs
and yells, in ceremonials, in dress, in established physical ar-
rangement of the campfire circle. Traditions may be expressed
in symbols, such as nature, religious, national, Indian, or fron-
tier. Traditions are passed on from camp session to camp ses-
sion and are at once familiar and revered.
Importance of Briefing Before the Campfire
The leader gives much time to preparing the campfire pro-
gram, but often the campers play their part without much re-
hearsal, except for special skits or stunts. This means that an-
other responsibility falls on the leader; he must see that camp-
ers know their parts in the campfire program without actually
practicing their parts.
The announcement of the campfire is sometimes made a
day or more ahead of time, -sometimes only an hour before
32 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
the program. In either case the announcement should be dra-
matic, so that all campers are agog with curiosity and interest.
The briefing of campers sometimes follows the announcement;
sometimes unit leaders and counselors are briefed earlier and
relay their briefing to the campers. If the camp meets together
to eat or for some other purpose, this is a good time for a short
briefing session. Briefing is absolutely necessary if campers are
all new and if the conduct of the campfire program is to be
an orderly and a worth-while experience. The leader should
consider these items in a briefing session, whether at the dining
hall or in a small meeting with responsible representatives of
each unit:
Call to the fire; how; what signal bugle, tom-tom, gong
Time and place for assembling; one or several assembly
points
Time and signal for line (lines) to move to campfire circle
Decorum of the campfire, how to act, traditions to follow
Seating assignment for each unit
Route for each line to follow to circle and seats
Procedure in case of rain or cold night
Arrangements for visitors
PLANNING THE CAMPFIRE PROGRAM
There are many factors that the campfire leader must con-
sider in developing the program and in selecting or adapting
program material. Age of campers, sex of campers, size of group
participating in the campfire, length of camp period, type of
camp in which he servesall have a bearing on the campfire
program.
Where young children, eight to ten years old, attend the
camp, nursery rhymes, fairy tales, the Far West, familiar radio
LEADERSHIP AND PROGRAM PLANNING 3 3
and television programs, easy-to-learn songs, and impromptu
drama can be a part of the program. Older boys and girls have
quite different interests. A boys' camp will not use the same
material as a girls' camp or will use the same material in an-
other way. In a boy-girl camp, both boys and girls will tolerate
program material they might scorn in their separate camps.
The leader of campfire programs at a girls 7 camp will find
that much use is made of dramatization and imagination. An
idea from the leader is enough to inspire girls; they will go on
to improvise props and plan successful skits and stunts. Books
and poetry provide resource material in girls' camps to a far
greater extent than in boys' camps. Their taste in songs and
knowledge of songs is not limited to camp or organization
songs; they are usually familiar with the popular music of the
day. Girls do not demand as much action as boys in a camp-
fire program; the leader of a campfire program in a boys' camp
is sometimes limited in choice of material by this desire for
action.
The size of the group is a problem for the campfire leader.
In a large camp there is an overflow audience and cast at
every campfire. Every campfire becomes a big production with
problems of timing of entrance and of skits, control of audi-
ence, difficulties of seeing or hearing from all parts of the
campfire area. An informal program around a group or unit
campfire presents fewer problems and needs less planning.
In short-term camps with a turnover of campers each week
or every two weeks, the leader can repeat program ideas. His
program will be simpler because the campers have no time to
prepare for elaborate campfires. In the camp where sessions
run for four, six, or eight weeks, the leader must stay clear
of repetition; however, the longer sessions allow production of
more involved programs.
If separate camps are under one central administration and
34 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
one or more camp-wide campfire programs are held, the leader
has no central gathering place where he can brief the campers
or where they can learn songs. His problem, then, is to make
sure that leaders from the several camps are well briefed on
the campfire program, the part their campers will play, the
songs everyone will sing.
Planning Programs for School Camps
The number of school camps is increasing and the length
of the camp period is growing. Directors or teachers at school
camps can make use of some of the same techniques for good
campfire programs as do campfire leaders in regular summer
camps.
Many school camps have an evening campfire gathering every
evening, at indoor or outdoor fireplaces. It is a time for fun,
relaxation, singing, exchange of the day's experiences. More and
more there is a tendency among school camp leaders to make
that evening period an inspirational and impressive end to
the day's activity. In other words, it is becoming a focal point
of school camp life, thus becoming similar to the campfire
programs used in many camps.
The teacher who leads the school's campfire program must
watch that the classroom atmosphere does not invade the fire-
light circle. This should not be an evening class, but an inte-
gration of all the interests of the campers. To differentiate this
period from a class period, the leader or teacher can make use
of these techniques from regular camps:
Use of campers to help plan program
Use of a formal opening and closing ceremony
Use of a ceremonial approach to the fire area so campers
are aware that this is a nonclass experience
LEADERSHIP AND PROGRAM PLANNING 2C
Use of program centered on a special theme from time to
time
Use of songs, games, stunts, for relaxation
Use of a quiet story period, which can recall the day's
activities without becoming preachy or pedantic
Use of nature (and reverence for nature), color, campfire
decorations and symbols, music, records, inspirational
poems
In the school camp as in the regular camp, the campfire pro-
gram is a special time, the dessert of the day's program. It
should end on an inspirational and quiet note, so the camp-
ers will be ready for bed.
THE ALL-PURPOSE CAMPFIRE PROGRAM
There are two approaches to planning a campfire program
that are generally used: (i) a general outline for the all-pur-
pose campfire program which contains the parts necessary for
a balanced program; (2) a special outline for a program based
on a particular theme, idea, purpose, or holiday.
The outline for an all-purpose campfire program will vary
because of the age and sex of campers and camp traditions, but
it will include these basic parts:
Approach and assembly, call to the fire
Opening ceremony, fire-lighting ceremony
Noisy fun, yells, rounds, boisterous songs
Activity time, mixture of stunts, songs, games, dramatics,
challenges
Quiet period, story, a talk, soft melody songs, announce-
ments or recognitions
Closing ceremony, exit of campers, fire out
36 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
In general, this outline "follows the flame/' After the open-
ing ceremony, it uses material that is noisy and boisterous
while the flames leap high. When the flames are steadier and
moderated, it uses active games, stunts, and songs. When the
flames are low, the quiet period takes place. And with the
glowing coals and last flickers of flame, the closing ceremony is
conducted.
THE SPECIAL-PURPOSE CAMPFIRE PROGRAM
The special-purpose campfire program has a theme, idea, or
purpose as its central core and all parts of the program relate
to this theme. The theme is the track on which the planning
runs. It encourages the use of imagination and invention. A
theme is important to campers because it fires their planning
and ideas, gives them a reason to create settings, props, cos-
tumes, songs, and stories.
The special-purpose campfire might have a holiday theme,
religious theme, nationality or cultural theme, national or
local historic theme, current events theme. It can be a stunt
night, a get-acquainted night, a song fest. It can be a recog-
nition campfire to honor a guest or campers for outstanding
service and accomplishment. Almost every camp has used
themes relating to the Indian, gypsy, minstrel, hobo, cowboy,
or to magic, radio, television, circus, carnival, fairy tale, ama-
teur or vaudeville show, patriotic subjects.
Some of the camp activities will suggest themes to the camp-
fire leadersurvival training, camping skills, social training,
aquatic sports, crafts, wilderness trips, cook-outs, glory of the
heavens, night sounds, religion in the camp, discussions and
debates. Each of these uses the elements of any campfire
(song, ceremony, story, game), but enhances the familiar ele-
ments by giving them a new twist and purpose.
LEADERSHIP AND PROGRAM PLANNING 37
Recognition Night is used in many camps as a time to honor
campers who have accomplished special tasks or reached desig-
nated stations in the camp program.
A Get-Acquainted Campfire is usually held early in the camp
period, often on the opening night, to provide information, in-
troduce staff, give campers a chance to do things together and
develop fellowship. The campfire leader usually keeps this
type of campfire light and swift-moving by using humorous
songs, noisy fun, and short skits.
Story Night can be a very special campfire program, but the
leader should be sure that there are good storytellers among
campers and on counselor staff. The story program should pro-
vide a balance of humor, adventure, suspense, inspiration.
Stunt Night is popular, especially in boys 7 camps. Such a
campfire program provides a maximum of participation and en-
tertainment. Every unit prepares a stunt, every camper be-
comes an actor. The leader should make sure that no stunt
will offend or hurt. The evening should be good-natured fun
and active participation.
The Indian Theme is used in every campfire program in
some camps and for occasional programs in other camps. It is
a theme that can be carried out easily and with great effect in
any camp. Indian songs, dances, stories, yells, ceremonies,
drums, and costumes intrigue both boys and girls.
Aladdin's Lamp is a theme that opens the door to imagina-
tion. Almost any available talent or any stunt or skit will fit
in this campfire program. The master of ceremonies simply
rubs his magic lamp and presto! a new act appears. No one can
object if acts are unrelated, because only the magic lamp is
responsible. Other settings which give opportunity for miscel-
laneous skits are a railroad ticket office, a storybook whose
pages offer different entertainment, a huge picture frame to
38 THE COMPLETE BOOK O'F CAMPFIRE PROGRAMS
frame different skits. The leader and campers will not lack
for ideas for this type of program.
Festivals and Holidays are always good themes and campers
enjoy planning programs around them. Festival, holiday, or
famous-birthday themes can be of historic or legendary impor-
tance. They suggest certain colors, decorations, symbols, that
can be used in the campfire area. They also suggest definite cos-
tumes, characters, and activities for the program.
June 14 is Flag Day; July 4 is Independence Day. Camps
in session usually celebrate them, but there are other dates that
suggest colorful themes: July 5 P. T. Barnum; July 10 Whis-
tler; July 12 Thoreau; August 7 -Friendship Day; August 9
Francis Scott Key and Isaac Walton; August 12 "America
the Beautiful"; August 15 Napoleon; August 17 Davy Crock-
ett. All of these fall within the camping season and what an
opportunity they provide for imaginative planning! Some camps
have a camp birthday night when all campers join in a birth-
day carnpfire.
PLANNING FOR THE CAMP-WIDE CAMPFIRE
In most camps planning for the camp-wide campfire or coun-
cil fire is done by the central staff of the camp or by a camp-
ers' council under the direction of an experienced leader. Some-
times the planning is done by a combination of representatives
from central staff and campers.
Whatever planning method is used, almost every campfire,
large and formal or small and informal, includes the same ele-
ments: ceremony, song, drama, story, game, contest, recogni-
tion and honor. A family group on a mountain pack trip or an
established camp of five hundred does much the same thing
around a campfire. The result is the same fun, participation,
inspiration, memories.
LEADERSHIP AND PROGRAM PLANNING 39
Planning by the Central Staff
All campfires should not be planned by the central staff, be-
cause one of the purposes of a campfire program is to give
campers an opportunity to plan, work co-operatively, and par-
ticipate in the activities of the campfire.
Some campfires, however, need to be planned by the staff,
either in part or in entirety. For example, if it is desirable or
traditional to have a fellowship and get-acquainted campfire the
first night in camp and if the campers are busy arranging their
own quarters, then the program must be planned and carried
out by the staff. The time element dictates this necessary plan-
ning, even in a camp where traditionally all campfires are
planned by campers. The need for a good first-night program
also dictates that the planning be done by staff. This first camp-
fire should set the tone of the camp, provide campers with
necessary information, and set a standard for future campfire
programs.
Certain other camp-wide council fires should be planned, at
least in part, by the staff. These include award and recognition
ceremonies, inspirational ceremonies, campfires where outside
specialists or guests are a part of the program. The over-all
campfire program should demonstrate the camp philosophy
and purpose. This can only be done if some of the important
camp-wide programs are planned and guided by the camp staff.
Planning by a Campers' Council
In many camps there is a council of campers who represent
the various groups or units. This council is a ready-made plan-
ning group, and often the planning of camp-wide campfires is
assigned to it. The council may decide on the theme or purpose
of the campfire and build up the whole program by assigning
responsibilities to each camp unit. Or the council may follow
40 THE COMPLETE BOOK O'F CAMPFIRE PROGRAMS
a theme already suggested by the staff and plan songs, games,
dramatic skits, that will relate to this theme.
When a camper council does the planning, an experienced
leader is needed to work with them. He can teach them the
basic format of any campfire program, the traditional elements
that their particular camp always includes, the purpose or
ideal that the campfire is trying to demonstrate. He is also
needed to encourage originality and creativity in choosing
themes and acts. Too often, a camper group decides to copy a
good campfire from a previous year or from another camp. The
leader can also encourage campers to use their initiative in
altering or adapting a familiar song or skit or ceremony to fit
the theme they have selected. When necessary, he can provide
source books for ideas, songs, games, stunts, in the rare cases
where the campers' council has no ideas.
When the camp council is planning the program, they will
choose a master of ceremonies, song leader, yell leader, fire
lighter, and any others needed to carry out the program around
the campfire. Usually the stunts and skits are contributed by
the camp units. The leader can help the council by showing
them how important it is that everything be written down to
ensure a smooth and successful program.
Campers are inspired when they put on a good program.
That is their reward for careful planning, and it encourages
them to work even harder on the next campfire program.
Campers can judge their program a success if it provides fun
and entertainment, is purposeful, is in keeping with the total
camp program, and displays the ideals and aspirations of their
camp.
LEADERSHIP AND PROGRAM PLANNING 4!
PLANNING THE INFORMAL
CAMPFIRE PROGRAM
Most camps use both camp-wide campfires and informal unit
campfires each week. The basic material for the smaller, in-
formal campfire is the same as that used in formal campfire
programs songs, games, yells, dramatics, ceremonies. The in-
formality of the unit or group campfire does not mean that
this is an unplanned activity. It is more likely to be planned in
entirety by the campers and to give opportunity for participa-
tion of all in the group or unit.
The informal campfire needs guidance and wise leadership,
just as the larger campfire does. If guided wisely, it provides
fun for all and gives the newest, youngest, most timid camper
a chance for self-expression. If it is not wisely guided, the ex-
perienced, more confident, and brasher campers will take over
the show and crowd out the less bold campers.
The informal campfire has its place in the total campfire
program. It is a place for exchange of ideas and experiences;
it is a tryout arena where the small unit practices a skit it will
later present in the camp-wide council fire; it is a place for new
campers to learn songs and traditions of the camp; above all
it is the time and place for the spirit and ideals of the camp to
be impressed upon campers. The leader, although in the back-
ground in planning, can provide source material, suggest a
basic outline for a unit campfire, and encourage campfire visits
and talks by the camp staff.
PEOPLE WHO CAti HELP
No campfire program leader has to act alone. There are al-
ways people in the area who can bring variety and interest to
the program. The long-term camp of six of eight weeks should
42 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
make use of outside help, to avoid repetition or monotony and
to whet the campers' curiosity. However, care must be taken
lest adults replace camper participation.
No outside guest or specialist should be invited just as an
added feature. The guest should have a place in the program
and add to the program. Sometimes the whole program can be
built around the guest. The leader must be sure that he knows
the abilities of the guest. Is he interesting and challenging?
Can he speak effectively in public? Does he know the purpose
or theme of this campfire, so that his remarks will be related to
it? Is he apt to become pedantic and make the campfire talk
sound like a classroom lecture?
The people who are available for campfire programs vary, de-
pending on the area where the camp is located. Some of the
following men and women can add much to a program:
Famous people who live near the camp
Neighborhood people of special talents or skills or experi-
ences
People who know local history of Indians, pioneers, set-
tlers
Geologist or ranger who can talk entertainingly of what
is in the camp area
People who first explored the camp area
Local and expert hunters and fishermen and woodsmen
Specialists in camp crafts and outdoor living
Indian dance group
Representatives of other countries, such as exchange stu-
dents
Entertainers, such as magicians, humorists
Animal trainers and wildlife observers
In a camp where campers are in the teen-age group, special-
ists in vocational fields are good resources for campfire pro-
LEADERSHIP AND PROGRAM PLANNING 43
grams. State forestry men, conservation experts, and park rang-
ers are always interesting to young people. Some camps center
a whole summer of camp-wide council fires on vocational
themes, inviting guests from professional and technical fields
who speak as a part of the campfire program and are available
for discussion and questions later.
Leadership makes the campfire program memorable. Even
in an impromptu evening beach party, someone usually calls
people and asks them to contribute food or drinks; someone
else starts the group in singing. Another person takes on the
duty of fire maker and fire tender. Perhaps one member of the
group scouts the area to find the best place for a fire. If this
leadership, preparation, and planning are necessary in an im-
promptu campfire, how much more necessary good leadership
is in the camp setting where as many as five hundred young-
sters may be present!
CHAPTER THREE
THE CAMPFIRE CIRCLE
IHE campfire and the programs centering on it are the core
of the camp. Here traditions are established, friendships are
formed and cemented, memories are evoked. It is significant
that a boy or girl recalls the campfire activities long after his
camp experience; this is what stands out and is remembered
with nostalgia.
Ceremony, music, song, dance, drama, instruction, fun,
stunts each has its place depending on the theme and purpose
of the campfire program. Another element that plays a part
in the successful and long-remembered program is the phys-
ical arrangement of the fire area and the campfire circle. At-
tention should be paid to the setting, the seating of the audi-
ence, the need for a stage area, the lighting of the area, and
44
THE CAMPFIRE CIRCLE At
anything that will add to the comfort of the audience and the
inspirational tone of the program.
PHYSICAL ARRANGEMENTS
The leader or camp director who is in charge of physical ar-
rangements for the campfire circle usually finds that his camp,
unless it is a very new one, is already provided with a camp-
fire area. Perhaps it is adequate and satisfactory. Perhaps it is
not, and he may be able to institute some changes. The sur-
roundings and arrangement of the circle are important in a
small intimate campfire group, but they are even more impor-
tant to the success of a large group.
As the campfire program leader looks at his campfire circle,
these are questions he should ask himself:
What seating capacity is needed to take care of campers
and visitors?
Is there a secluded spot with attractive natural surround-
ings, not too far from the camp units, where the camp-
fire circle can be located?
Where can equipment and props be stored? Nearby? Or
must everything be carried from central building?
Where can the participants in the program make ready for
their act, don costumes, keep their props?
How will the campers reach the campfire circle? Is there
a special trail? Should it be marked by symbols or lights?
Where should the main fire be located? How about any
additional small fires? Is any additional lighting needed
for parts of the program?
Will a stage or center for action and drama be required?
46 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
Location of the Campfire Circle
The campfire or council fire circle should be off the beaten
path of travel in the camp area, yet within easy reach of all the
camp units so that an inordinate amount of time is not re-
quired to reach it. It should not be in such an inaccessible place
that visitors are lost and cannot find their way back to the car
park in the dark.
The campfire circle should be reserved for campfire pro-
grams and used for no other activity. This marks it as a spe-
cial place where campers expect very special programs to take
place. The aura of reverence and anticipation is heightened
by the surroundings. In wooded areas, the campfire circle is
usually in a grove or dense woods with a natural circle of
trees. In some camps a hedge break of fast-growing trees can
be specially planted. Sometimes a stockade of saplings or bam-
boo can provide seclusion and a backdrop for the program. A
natural rock circle or an amphitheater formed by hills or a cliff
is an impressive location. Some camps use an area on a river
bank or a lake beach or ocean shore.
Varieties of Campfire Circles
Authorities in locating and setting up campfire circles recom-
mend that the inner circle be not more than 30 feet in di-
ameter, while some say it should not be over 24 feet. Thirty
feet will provide space for almost any activity suitable to a
campfire program. The number of seats is another matter, for
this will vary from a single row of seats in a circle to provision
for several hundred, either in circle rows or in semicircle forma-
tion. The circle formation is preferable, but not always possible.
In determining the size of the area, the program of the camp-
fire is the first consideration. A campfire program should create
THE CAMPFIRE CIRCLE 47
a feeling of intimacy and total camper participation. All spec-
tators in a circle are equidistant from the central action, all
have the same opportunity to see and hear the program. The
campfire area is not a stage, although it usually has one focal
point, nor are the campers professional actors. Too much em-
phasis on the staginess of the circle takes away the real pur-
pose of the program. Visitors' seats can be on one side of the
circle, behind the campers, without disturbing the circle. Here
are some of the popular types of campfire circles (see Plate
A for illustrations) :
The Big Formal Circle, where three hundred to five hundred
campers are seated with additional room for visitors, should
have only a 30-foot inner circle and be built so everybody is as
close as possible to the action. The inner seats should form a
complete circle, or at least a two-thirds circle. In the big cir-
cle, seats are usually in tiers to enable all to see (see illustra-
tions, pages 44 and 48).
The Small Formal Council Ring may have one or more com-
plete circles of seats. Some authorities say that there should be
only one entrance.
The Informal Circle might be a ring of logs or upended sec-
tions of logs, or even benches. A simple background at one side
completes the setting and makes a focal point.
A Curved Hillside may be selected for a special campfire
circle. A safe place to build a fire and space for seating on the
sloping ground makes this into a fine campfire area. A staff
may be stuck into the ground indicating where the leader sits.
A pole lashed between two trees with a colorful blanket over
it can be the focal point for the program.
An Indian Hogan is used in some camps for the campfire
program. This is just a ring of seats built in a tier, enclosed
with a wall and roofed over except for the very center. This
THE COMPLETE BOOK O'F CAMPFIRE PROGRAMS
THE CAMPFIRE CIRCLE 49
is a convenience in bad weather and is in keeping with the
Indian theme.
An Excavated Circle may be formed by digging three steps
in the dirt, with the circle itself at the lower level. Usually this
is done where there is already a depression. Drainage must be
provided.
Seating at the Campfire Circle
The average campfire program is about an hour in length,
sometimes a bit longer. The participants and visitors should be
comfortable. This means each must be able to see the pro-
gram; there must be leg room so audience will not be cramped;
seats should be raised and fixed so as not to rock and squeak.
Backs and arms are not necessary. In the very informal camp-
fire everyone usually sits on the ground on a square of blanket
or canvas.
There should be enough entrances and exits to handle the
crowd and get them to their seats quickly. With a single or
double circle of seats one entrance is best. With a larger seat-
ing area at least one additional entrance is needed. The size
and width of the entrance lanes depends on how the proces-
sional lines enter the circle. From fifty to a hundred campers
usually form one processional line.
Where there is need of more than two circles of seats, some
elevation is necessary if all are to see. The discipline of the
group depends in part on their reasonable comfort and their
ability to see and hear. Elevation may be provided by the
natural slope of ground. Usually this slope is only on one side
of the circle. The problem then is to fill in on the low side .so
the seats will be on the same level.
Here are several ways of building seats for the council ring
where three or more circles of seats are needed (see Plate B for
illustrations):
50 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
Seats on Posts. Whether there is a hillside or level ground,
several rows of seats can be built by simply increasing the
height of each additional row of posts at least 6 inches. Posts
should be either of creosoted wood or concrete.
Seats on Stringers. Stringers are laid at proper angle to give
the desired elevation. Seats are nailed to cleats on these string-
ers or the stringers are cut to form steps.
Stone Seats. Some camps build their campfire circle out of
rock, thus providing the needed elevation. Again a slope of
ground is needed.
PLATE a
Concrete Walls. Concrete can be poured to form circular
walls. Each concentric wall rises higher than the one in front.
Dirt is leveled between the concrete walls.
Bleacher Construction. Often on level ground the circle is
built entirely of lumber in the form of bleachers. The camp-
fire circle is completely enclosed with bleachers except for the
THE CAMPFIRE CIRCLE 51
entrance. Each seat level must be wide enough to take care
of seating one circle and allow space for the feet of the circle
behind.
Excavated Circle. Where no slope is available for the circle,
it is sometimes possible to cut down into the ground for two
rows of seats and build up two rows above the ground level,
thus making a shallow bowl or saucer for the council ring.
Proper drainage is necessary.
Gathering Place Markers
There is usually a need for one or more marked gathering
places where campers assemble at a designated time before ap-
proaching the campfire circle. These markers should be easily
seen. A brightly painted marker, at least a foot in diameter,
placed on a post about 6 feet high, makes a good gathering
place marker. The marker might be in the form of the camp
or organization emblem, an animal or bird, or other symbol
associated with the camp. The marker should indicate not only
the gathering place, but should also indicate that silence and
decorum is required of the campers as they approach the camp-
fire circle. Where more than one gathering place is needed,
they should be numbered or lettered so it is easy to send groups
to the right one. Each gathering place should be hidden from
the others.
Trail Markers
In many camps the campfire circle is quite removed from
the everyday arena of camp activities. Since it is usually ap-
proached or left in the darkness, there is a need for trail mark-
ers to keep the groups on the right path. Even where markers
are not needed for that purpose, they will add to the atmos-
phere. They will certainly help visitors to whom the terrain is
unfamiliar. If no emblem is available to mark the path, a row
5 2
THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
of whitewashed stones along the trail or even whitewashed
dabs on the trees will serve.
Entrance Gates
In many camps a symbolic gate or arch is built at each en-
trance to the campfire circle. These mark the point where the
campers cross into the solemn council fire area. They dignify
the entrance and add solemnity to the occasion. Such gates can
be real, perhaps made of logs; they can be a natural passage
between two trees or two huge rocks. The entire campfire area
may be enclosed in a log fencing with the necessary openings
for processional lines. Sometimes a camp symbol or emblem is
hung over or beside the entrances. A pair of totem poles or a
giant Paul Bunyan or Pecos Bill figure makes a good entrance
marker, (See Plate C for illustrations.)
THE CAMPFIRE CIRCLE 5 3
Inner Circle Marking
The inner circle should be reserved for the program. Camp-
ers do not cross and recross as they please. It is a sort of stage,
and in most campfire circles this is indicated by some marking
that sets the inner circle apart. This can be a limed line, a row
of whitewashed stones, a circle of low rounded posts, a low
split-log railing. Where bleacher-type seats are used, a log rail-
ing acts as a good guardrail.
Ground Decoration
Some attention should be paid to the ground surface of the
campfire inner circle. In some camps it is a grassy area or a
tamped dirt area with a stone fire ring. Camps where there is
much rain which keeps the ground moist find it advisable to
cover the dirt with gravel, sand, or flagstones.
Some camps, especially those carrying out an Indian theme,
use ground markings in the way the Indians used sand paint-
ings. If sand painting or other ground decoration is used, it
should be done boldly and with bright contrasting colors so it
will be visible to all. The area that is to be used for the pro-
gram action should not be covered, since the design will be
destroyed by tramping feet. Colored sands, flour, com meal,
lime, or lime mixed with dry sand are good marking materials.
Organization camps might use their own emblems or sym-
bols for ground decorations either in sand or lime. Sometimes
ground markings are used not only for decoration but to indi-
cate where certain performers will stand and where action will
take place. Such marking can be done by white tapes or white-
wash lines. Ground markings are sometimes put down as part
of an opening ceremony, with each line symbolizing a point of
the traditions or law of the camp or organization. (See Plate
D for illustration of samples of ground markings.)
54
THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
PLATED
BACKGROUNDS, DECORATIONS, PROPS,
FOR THE CAMPFIRE CIRCLE
The focus of attention in the campfire circle is the fire
itself, but there is usually a second focus which is the area
where action or program goes on and where the master of cere-
monies presides. One side of the fire ring is usually considered
a program center. There might be a bench or rock or throne
here for the master of ceremonies. Behind this spot a back-
drop or screen can serve to hide props and waiting participants.
In the circle which has a complete ring of seats, the honor
rock is a part of the circle. In a circle that is not , oqmpletely
ringed with seats, one side may have an opening against which
all action takes place. The background is sometimes the nat-
ural forest, sometimes a special planting of evergreens. It
might be a canvas screen with symbolic painting on it or an
Indian blanket hung over a pole or a stepped arrangement of
rocks. This backdrop need not be elaborate, but it makes a
focus point for the program and it may serve to screen exits
and entrances of performers. (See Plate E for council ring
decorations.)
THE CAMPFIRE CIRCLE
56 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
The backdrop and many of the props used in the campfire
circle are used from year to year. Some are permanent fix-
tures; some are movable, used only for a campfire program cen-
tered on a special theme and stored nearby when not in use.
A camp usually has one or more of the following permanent
or movable props:
Master of Ceremonies 7 Seat or Honor Rock
A seat of honor for the leader of the campfire program is
a usual tradition. Sometimes this is only a designated spot in
the first row of seats around the circle, not elevated or marked
in any way. Sometimes it is a special seat, often elevated, so
that the master of ceremonies can see all of the audience and
performers, and the audience can see the leader as he conducts
the program. Such a seat of honor helps to center campers' in-
terest and makes it easier for them to follow directions for audi-
ence participation in songs or action yells.
Tepee Background
A tepee can serve both as a backdrop and as a part of the
action of the program. It can be a storage place for other props
and for dry kindling and tinder for fires. Trick fire-lighting can
be done from within the tepee. The tepee can serve for entrance
and exit of actors if needed. A brilliantly decorated tepee
makes an ideal backdrop. To paint the tepee, the canvas should
be laid on the ground and the surface should be wet; then out-
door housepaint can be applied in designs that symbolize the
camp ideals.
Camp Emblems, Symbols, and Themes
Every camp can use its own symbols and emblems as part
of its permanent or movable campfire props. These can be
THE CAMPFIRE CIRCLE 57
painted in large size or mounted in relief and used on posts
around the fire circle or at the entrance to the circle.
Tradition Plaques. Some camps have symbols that represent
traditions in behavior, ideals, and activities. These can be a
part of the decoration of the campfire area. They can be wooden
plaques, vivid paintings on canvas mounted on log frames,
three-dimensional representations or cutout symbols. In a
camp with an Indian theme through all the sessions, these
traditional symbols might be painted on ceremonial drums or
tom-toms and mounted just above head height at the outer
edge of the circle. Drums can be made of large round cheese-
boxes covered with heavy paper, with the sides painted to re-
semble drums. They can also be covered with muslin. The
symbolic design is painted on the drum surface. A flashlight
placed inside will make the design stand out sharply in the
semidark campfire area.
Emblem or Theme Frames. Some camps use permanent
frames at the campfire circle. The picture or symbol in the
frame is changed to illustrate the theme of the evening pro-
gram. A cloth cover is prepared for each emblem. These are
slipped over the large frame, which may stand 6 to 8 feet high.
Many ideas can be used on such a frame. Among them are:
Masks of tragedy and comedy for dramatic or stunt night
Organization emblems for a program when camp awards
and honors are to be given
Indian symbol for Indian theme thunderbird, eagle
feathers, picture language
Folklore symbols for a program devoted to stories of Paul
Bunyan, Pecos Bill, or other miracle men
Star Frame. Most camps emphasize star study as a part of
nature activities. The interest in stars can be carried over into
58 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
the campfire circle by using star frames. The frames should be
about 4 feet square. They are covered with black cloth with
holes pricked in or with oilcloth which is painted black except
for the stars of the constellation. A light behind the frame will
show the constellation. The constellation can be changed fre-
quently to acquaint campers with the predominant groupings
of stars.
Stained Glass. When a different campfire theme is used each
evening, a changeable background can be made by building
large shallow boxes with glass fronts. The theme or emblem for
the campfire is painted on the glass in water colors; black lines
outline the designs to give the appearance of leading as in
stained glass windows. A light behind the frame will create an
effective and colorful design.
Stained glass designs can be created easily by campers. A
simple design can be drawn on squared paper. Then a large
piece of paper the size of the glass is squared off and the design
transferred to it in enlarged form. This paper is fastened be-
hind the glass, and campers paint the front of the glass as if
they were painting over the paper pattern. The entire glass is
covered with paint so the light showing through will be com-
pletely covered. White paint can fill in wherever color is not
needed.
Symbolic Backgrounds. Plywood can be used to create enor-
mous background figures to use behind the master of cere-
monies' seat or as screens for entrances and exits. Favorite
symbols are a thuiiderbird 10 feet high, a huge Paul Bunyan
figure, an oversize compass, an enormous organization symbol,
a giant fire painted on plywood, a giant ax in a giant log, a sail-
boat or canoe in more than life size.
THE CAMPFIRE CIRCLE 59
Permanent Shadow Box
Since so many camps use shadow plays as a part of stunt
night or for dramatic skits, it is a good idea to have a well-
made shadow box to use from year to year. A lightweight frame
can be made of bamboo, with a wide border. A sheet stretched
over a frame can make a shadow box about 6 feet high. A cir-
cular frame representing a giant tom-tom and decorated with
Indian symbols around the rim makes a good frame for shadow
plays. The needed light behind the shadow box can come
from a gasoline lantern or an electric torch; the light needs to
be quite brilliant to make sharp silhouettes on the sheet.
Dance Stage or Tom-Tom Stage
If the surface of the inner circle of the campfire is not suita-
ble for exhibition dancing, a movable dance platform can be
built of plywood and used from year to year. A good size is
12 feet in diameter; it can be built in two halves to make easy
moving and storage. If it is 12 to 18 inches high, the dancers
will be elevated and visible to all. The platform can be used
for Indian dances, folk dances, square dance demonstrations,
solo performances, or as a stage for dramatics and stunts. This
stage can be painted with an Indian design to represent a great
tom-tom. The sides can be painted to represent stretched skin
and lacing.
Cue Signals
In a campfire program that is to have many acts or partici-
pating groups, some method of signaling each group's entrance
is needed. Campfire program leaders use signaling devices for
a program which should not be interrupted by formal an-
nouncements of the next act Cue signals add to the smooth-
60 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
ness of a program. (See illustrations of cue signal devices on
Plate F.)
The Cue Easel is a large easel upon which numbered cards
or sheets of paper are placed so the performers can see them.
If the cards are on rings, they can be flipped over. Each group
or individual who is to perform is assigned his number, and
he watches for his cue on the easel. The easel should be well
lighted, but need not be visible to the audience.
The Cue Totem is a more elaborate way of signaling en-
trances. The totem can be a permanent prop for the campfire
circle as well as a signal to performers. The audience will ad-
mire the dispatch with which the program proceeds because
PLATE F
they are not in on the secret of the signal lights. The tall
hollow totem at one side of the fire circle can represent many
camp symbols or it can represent a symbolic figure, animal or
human.
The cue totem is a hollow totem pole built so the head
encloses lights and battery. The secret is the four lights hidden
in the totem in nose, eyes, mouth. The first four groups in the
program might be cued thus: group one, white light in left
THE CAMPFIRE CIRCLE 6l
eye; group two, add light in right eye; group three, add light
in nose; group four, add light in mouth. The next four groups
can use the same signals, but with different colored lights. The
simplest way to change colors is to slip a colored plastic bag
over the totem's head. Thus, three colored bags, plus the white
lights, give sixteen cues for sixteen groups. The campfire pro-
gram leader can brief group leaders or individuals on this so
they will know their special light cue signal.
Ceremonial Signals
At most camps some signal is used to call campers to the
fire circle or to announce the opening of the campfire program.
A large drum or tom-tom is good. This can be made by the
campers from an old bass drum, from a large hollow log, from
a 5o-gallon oil drum. Suitable material is stretched to form the
drumhead. The tone of a drum depends on the weather and
how tight the head is. A lighted gasoline lantern placed inside
the drum a half hour before it is to be used will tighten the
head.
Whatever signal is used, it should be loud enough to be
heard around the camp. A drum, a huge dinner gong, a ranch-
house dinner bell, a bunch of cow bells, a metal triangle and
stick, an imitation 6-foot alpine horn anything of this type
can be used.
THE FIRE ITSELF
The focal point of the campfire circle is the fire itself. The
fire-lighting ceremony centers on it, and the program is carried
on around it. The success of the program can depend on the
success of the fire. Many a fine program has been spoiled be-
cause the fire was a failure. There are only three requirements
for a fire: it must light quickly; it must burn brightly and soon;
it must last long enough. Those responsible for the fires and
62
THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
torches used in the campfire program must observe all neces-
sary safety precautions.
The Central Fire
The central fire or council fire will meet the three require-
ments if the fire makers and program leader see that the proper
materials are gathered beforehand and are on the spot:
Tinder fine material that will light instantly with a
match or from a small spark
Kindligg -split wood, small twigs that will catch imme-
diately, soft quick-burning wood
Fuel dead, dry, but sound wood of proper lengths and
from 2 to 6 inches in diameter
With such materials it is easy to set up a fire to serve any
purpose. No aids, such as kerosene, paper, or artificial powders,
will be necessary.
There are three commonly used kinds of council fire lay
(see Plate G). For each fire proper and sufficient kindling and
tinder is necessary.
I T*- 1 *-if 'M" y |y^7 r "~t
fesrsE
Experienced campfire leaders consider that the fire lighted
near the top is the best, for it will burn longer and with a con-
sistently bright flame. Such a fire will not measure more than
3 feet square if proper woods are used. The bottom layer is
THE CAMPFIRE CIRCLE 63
made of 6-inch thick logs, 3 feet long. The second layer is
laid crosswise and the logs are a little shorter and thinner. Six
layers are laid thus, with an inch space between each log so
the coals can drop. This forms a solid log platform less than
2 feet high.
On this platform the fire-lighting materials are laid. Two
4-inch logs about 2 feet long are placed at the outside edge of
the platform. Two more logs are laid across the ends. Between
these logs tinder and kindling are placed, leaving space below
where the fire can be lighted by any method desired. Three
more layers of kindling held between side logs are built up.
The whole fire lay is capped with a layer of 2-inch logs.
The fire is lighted just above the six bottom layers. It will
catch quickly. As the top burns, the coals drop through the
platform, which begins to burn. By the time the top is burned
out, the bottom platform is burning brightly as the fire works
downward. A well-laid fire of this type will burn brightly more
than an hour without added fuel.
A second type of fire lay is the conventional log cabin coun-
cil fire. The fire lay rests on two large logs, which allows light-
ing at the bottom. The space between the logs, as the lay is
built up, must be filled with wood. Too little filler means that
the fire will burn out quickly and leave the circle dark.
The third fire lay is the tepee fire. The wood is stacked on
end, with logs resting together at the top like a tepee. The
fire is lighted at the bottom.
Any of these fires is easier to build if the camp equipment
includes certain helps. A metal wheel mounted on a pipe will
hold tinder and kindling in place for lighting. A metal grill with
legs will serve the same purpose. A piece of hardware cloth
bent in tunnel shape will hold fire-lighting materials in place.
Most failures are due to carelessness in the selection of
materials, in the laying of the fire, and in planning for emer-
64 THE COMPLETE BOOK O'F CAMPFIRE PROGRAMS
gencies. Some campers and leaders take the fire for granted.
Theirs is the fire that burns out quickly. The good fire maker
provides a lot of fast-burning firewood so the fire will give
light. That is its main purpose during the program. He also
provides slow-burning woods to make the fire last longer. He
avoids bonfires. The most frequent mistakes made are: using
rotten wood; using wet or green wood; building too large a fire
pile; using too little tinder and kindling; skimping on the wood
inside and between the outer logs; forgetting to provide a sur-
plus wood supply for feeding the fire as the evening goes on.
Supplementary Fires
Often a ceremony will call for several separate small fires
(to represent four compass points or the main points in a
camp creed). These are in addition to the central fire and are
only needed temporarily. They must then be removed quickly
and safely from the campfire circle. They can be built upon
sheets of tin to which a rope is tied to facilitate dragging the
fire off when it is not needed. Or handles can be attached to
the tin sheets so they can be picked up easily and carried out
of the campfire circle.
Supplementary fires might also be needed for lighting pur-
poses if the area is a large one. If placed correctly, they will
highlight the stage or action area. Reflectors behind these fires
will concentrate greater light on the areas requiring illumina-
tion and also add decoration to the campfire circle. Aluminum
foil makes a good reflector.
Torches and Lights
Torches can be used in many ways in the campfire program
-*as trail lights, as additional lighting in the campfire circle, as
ceremonial equipment. Any use of torches must be surrounded
JTHE CAMPFJRE CIRCLE 65
with fire precautions and warnings. The best torches are those
where the flame is partly enclosed by metal.
Probably the quickest way to make a torch is to wrap the
end of a stick with burlap, bandage, or bender twine, soak it
in kerosene, drain it slightly, and light it. The wrappings must
be wired on the stick in order that no one will be burned by
falling, blazing rags. This kind of torch gives off smoke and
smell. It needs careful handling and should never be used by
younger campers.
Dry cattails soaked in kerosene make adequate torches.
Paraffin-soaked bandage material or cheesecloth wrapped on
the end of a stick will burn brightly and with little smoke.
Sand can be put in tin cans and a wick inserted. Coal oil is
added to the sand and allowed to soak into the sand. When
the wick is lighted, it will burn for a good while. Paper sacks
can be partly filled with sand and a candle inserted in each.
These candle sacks make good stage lights or lights to outline
the inner circle.
"Buddy burners" make good torches. These are made by
forming a tight roll of corrugated cardboard of the size to fill
a tin can; melted paraffin is poured into the can over the rolled
cardboard, and a wick is inserted into each can for lighting
purposes. If the end of the wick is frayed and lighter fluid is
squirted on it, the "buddy burner" will light easily and quickly.
Every camp has its traditional setup for the campfire or
council fire circle. The suggestions for physical arrangements,
decorations, and props given in this chapter are not all essen-
tial to the presentation of a good program, but they help in
presenting a smooth and impressive program. They form the
background to the ceremony, song, story, dance, games, stunts,
noisy fun, and dramatic activities that take place at the fire
circle.
66 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
BIBLIOGRAPHY
Beard, Dan, Camp Lore and Woodcraft. New York: Garden City
Publishing Co., 1920.
Hunt, Ben, Indian Craft and Indian Lore. New York: Simon and
Schuster, 1954.
Jaeger, Ellsworth, Council Fires. New York: The Macmillan Co.,
1949.
Macfarlan, Allan A., Camp Fire and Council Ring Programs. New
York: Association Press, 1951.
Mason, Bernard S., Woodcraft. New York: A. S. Barnes & Co.,
1939.
, Dances and Stories of the American Indian. New York:
A. S. Barnes & Co., 1944.
Seton, Ernest T., Birch Bark Roll of Woodcraft. New York: A. S.
Barnes & Co., 1931.
CHAPTER FOUR
CEREMONIES
AROUND THE CAMPFIRE
IHE campfire is the soul and spirit of the camp, and a good
part of camp entertainment and activity centers about it.
For early man, the fire circle was the center of family life,
the place of judgment, the setting for peace treaties and war
preparations, the place for entertainment and talk, and the
altar for worship. Fire meant light, heat, cooked food, protec-
tion from animals, safety for the night. It is no wonder that
early man worshiped fire and held his ceremonies around it.
Campers today still use the campfire as a center for inspira-
tion and meditation. In almost every camp there is some pre-
scribed formality, some traditional procedure, some camp
etiquette for campfire programs, unless they are picnics or
67
68 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
wiener roasts. Almost every camp has its special opening and
closing ceremonies for the formal campfire.
BEFORE THE CAMPFIRE BEGINS
In most camps some indication is given by the campfire
leader of the decorum expected at the campfire program. Tra-
ditional behavior patterns are important and emphasize the
impressiveness of the occasion. Traditional behavior patterns
reflect the spirit of the camp and are of help to the campfire
program leader. This decorum varies from camp to camp. For
some camps it might include directions such as these:
Enter the circle at the proper signal.
Approach seats quietly.
Remain standing until signal for sitting.
Do not interrupt program.
Do not enter the fire circle unless participating in an ac-
tivity or skit.
Do not boo or call "greenhorn."
These are merely examples. Some campfire program leaders
ban the use of flashlights during the program. Some camps
have a traditional trail that campers follow to the fire area.
Others prescribe a certain ceremonial dress or costume. In
many camps there is a special signal to call campers to the fire.
The Call to the Fire
This usually comes early enough to warn all campers that it
is time to start to the fire area. The signal used depends on
the type of camp, the size of the camp grounds, the distance
of units from the fire area, and the organization association
(since many organizations have traditional signals for the call
to the fire). Some signals used are:
CEREMONIES AROUND THE CAMPFIRE 69
bugle call aerial bomb
vocal call chime
gong fox horn
bell tom-tom
cow horn Indian war whoop
traditional song
Some camps have a town crier or messenger who goes from
unit to unit gathering a parade and leading it to the fire area.
An effective method is to have several marching, singing lines
converge on the fire area at a prearranged time. Equally effec-
tive is the silent approach to the fire areathe campers assem-
ble at a distance from the ring, have time to calm down, and
then approach the fire in a single, silent line.
The Gathering Place
In a large camp and for a camp-wide campfire several gath-
ering points are usually designated. The campers go to their
assigned assembly place and wait for the starting signal or the
call to the fire. The gathering places ought to be about 100
yards from the fire area, with no more than a hundred campers
at each place. If there are too many campers for each assembly
place, there is confusion in forming a line and the waiting at
the council ring may cause impatience. The gathering points
should be hidden from each other and be numbered or lettered
for identification, or marked with traditional camp symbols.
All this adds a special significance and mystery to the camp-
fire evening.
The Campfire Trail
The approach to the campfire area is important, for it sets
the tone of the evening. Many camps have traditional trails
that are followed, often a path through the woods or a walk
yO THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
along the shore. Such a trail should be clearly marked so that
it can be easily followed, because it will be used at night. It
should be wide enough to allow passage after a rain without
risk of wetting campers. It can be marked by camp symbols or
organization emblems, tin-can lights, torches carried by camp-
ers or torches stationed at points along the trail.
One way to outline a trail for night use is by using white-
washed stones. Each week campers going to the campfire can
add a few more stones. The first stones should be spaced a
distance apart, and on subsequent evenings campers can fill
in spaces with additional stones.
In some camps, campers may be asked to meditate on the
theme for the evening campfire as they walk the trail. In these
cases it is best to start campers from the assembly point several
feet apart, so each will be alone with his thoughts. A tom-tom
might be used to set a slow march cadence.
The Sfarfing Signal
If campers assemble at gathering points before starting to
the fire area, they will need about five minutes to make ready.
Then, at a given signal or call to the campfire, the separate
groups start toward the fire. The distance each line travels
should be about the same then the campfire circle will fill
up in short time. If some groups delay their entrance, campers
already at the fire area grow impatient. There are times when
a staggered entrance must be used, but it must be so well
planned that the interest of the audience is held. If all groups
are to approach the campfire singing, then entrances can be
staggered so those who have already reached the campfire hear
the groups that are approaching.
A well-timed approach to the campfire area is important.
Many an inexperienced campfire program leader has been dis-
mayed to find the campers there before starting time. This is
CEREMONIES AROUND THE CAMPFIRE yi
a handicap and hinders the building up of the mood of awe
and mystery that surrounds a successful campfire program.
Part of the dignity and setting of the campfire circle is created
by the waiting leaders, who stand quietly as the campers enter.
OPENING CEREMONIES LIGHTING THE FIRE
While the campers are assembling, it is customary for the
campers already at the campfire area to stand silently. This
heightens the expectancy of the group and helps to create a
suitable dignity. When all are assembled, the opening cere-
mony begins. This ceremony may or may not be traditional
with the camp, but it should always be carefully planned to
suit the occasion and to fit the theme of the campfire. Usually
the opening begins with or includes the fire-lighting. The fire-
lighting itself may be enough of an opening ceremony.
In fire-lighting ceremonies care must be taken to complete
the fire-lighting in a short time and successfully. The whole
effect is spoiled by the failure of the fire to light. A foresighted
campfire leader usually has several tried methods to use. He
never lets the fire lighters try a new method at the fire circle
until they have tried it out several times and perfected the
method. Each type of fire requires different kinds and amounts
of tinder, kindling, and wood, and each may be laid differently.
Proper preparation and proper fire precautions ensure effective
fire-lighting and fire effects. There are many methods of start-
ing the fire. The following are always effective if properly done:
Fire by Friction
This is an old and popular method of producing fire. A spin-
dle is fitted into a notched fire board and friction is produced
by drawing a bow across the spindle so that sparks fall on the
tinder. Even the experienced fire maker may have a fire board
J2 THE COMPLETE BOOK O'F CAMPFIRE PROGRAMS
split. He should always have a second fire board ready with a
fire hole prepared so he can proceed without delay. It is best
to use two or four fire lighters for this method. They can be
placed at four points around the fire. As soon as one has a
flame, he inserts it under the tinder at his side of the fire.
Even if only one fire maker is successful, the others can add
their tinder to the fire.
Many camps use this fire-friction lighting of their campfire
with a solemn speech by the Chief, who would tell the campers
that now they would light the council fire like the Indians, and
like Wakonda himself would light it, by rubbing together two
trees in the wind. Thus fire would come as from the wood it-
self. When the fire is lighted the Chief would go on to say
that Wakonda had smiled on this camp by sending his blessed
fire and that this was a symbol of his presence throughout the
camp.
Group Fire-Lighting
In some camps the fire-lighting ceremony is carried out by
campers who have reached certain ranks. The Wood Gatherers
bring the firewood, the Fire Makers lay the fire, the Torch-
bearers light the fire. Sometimes, as this ceremony goes on, the
campers repeat an Ode to the Fire:
Oh Fire!
Long years ago when our fathers fought with great animals,
you were the protection.
From the cruel cold of winter you saved them.
When they needed food, you changed the flesh of beast into
savory meat for them.
During all the ages your mysterious flame has been a symbol to
them for spirit.
So tonight, we light our fire in remembrance of the Great Spirit
who gave you to us.
AUTHOR UNKNOWN
CEREMONIES AROUND THE CAMPFIRE 73
Fire by Flint and Steel
Fire is easily and dependably made by using flint and steel.
Again, it is always safer to use more than one fire lighter. The
fire lighters can be in costumes appropriate to the occasion-
perhaps as pioneers with their tools for fire-making in deco-
rated buckskin bags.
As the fire makers strike their flint and steel, the master of
ceremonies might say something like this: "Fire meant life it-
self to our fathers. Fire cooked their food, kept them safe from
animals, warmed them in the cold, lighted their trails and their
homes. The pioneer carried with him always the spark for his
fire, for without it he might die. With his knife and his flint
and his tinder he could make fire as we now do. Catching a
single spark, he blows it into a flame which grows until it
lights our circle of friendship."
The campfire leader could also use here the story of the
Great Raven who stole fire from a volcano. In his long journey,
the Raven was finally forced to drop the fire, which scattered
in every direction, causing many rocks to have fire in them.
Thus the fire makers can get sparks from the rocks in which it
is locked by striking them with steel. As the leader tells the
story, the fire lighters can be busy with their flint and steel.
(Note: Fire-by-friction sets and flint-and-steel sets can be
bought at the local Boy Scout outfitter.)
Fire from Heaven
A spectacular way of lighting a fire can be a high point of
the evening ceremony. Fire from heaven (see Figure i, Plate
H) can be spectacular, but this method calls for many precau-
tions. The master of ceremonies calls for fire from heaven or
from the four points of the compass. At the last call, out of
74
THE COMPLETE BOOK OF CAMPFERE PROGRAMS
ANCHOK CUP m BOARD
Br HOLC oa WAV
CEREMONIES AROUND THE CAMPFIRE 75
the darkness comes a ball of fire flashing to the fire lay, which
lights immediately.
The secret lies in a ball of waste, lightly but firmly wired to-
gether and wired to a metal washer or a wooden spool. This
spool is held in readiness at the upper end of a wire that leads
from a tree branch to the center of the fire lay. At the signal
from the master of ceremonies, a camper in the tree ignites
and. releases the fireball, and it sails through the darkness to
the campfire.
This method of fire-lighting should be practiced several
times to make sure of success. The speed and weight of the
ball should be considered. The length and incline of the wire
is important. To mystify the campers, the starting point of the
fireball should be hidden. The camper waiting in the tree to
light the ball should be as comfortable as possible and should
know how he is to descend from his perch. A trial run of this
method of fire-lighting is important. The wire has to be pro-
tected as the campers enter the area so that no one accidentally
bumps it or trips, and it should be removed before the campers
leave the area, to prevent accident. This method is most im-
pressive when the route of the fireball is long enough and high
enough to afford everyone a good view.
Fire with Torches
Torches are easily handled and do not require as much
skill for fire-lighting or for laying the fire. Many camps use
this method of fire-lighting and much variety can be devised.
Some camps use torch-carrying guides to lead each camp
unit to the fire area. This might be an Indian, a pioneer, a
uniformed representative of the organization, or a clown on
stunt night. As each unit reaches the campfire area, the camp-
ers stand behind their torchbearers until the master of cere-
monies calls for the fire-lighting. The master of ceremonies
76 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
might ask that the friendship fire now be lighted by the friend-
ship torch each group has brought. The fire is lighted by all
torches at once.
Runners are often used when torches are to light the fire.
The master of ceremonies can call for runners from the four
cardinal compass points and indicate what each torch signi-
fies. For example:
The North wind that brings the cold that builds endur-
ance
The South wind that brings the warmth of friendship
The East wind that brings the light of day
The West wind from the direction where the sun sinks,
bringing night and the stars
Organization camps might bring torches representing the
cardinal points of their code or law or creed. Thus, the Boy
Scouts and Girl Scouts might use three torches representing
the three parts of their promise or oath. The 4-H campers
might bring four torches, reminding their fellow campers that
the fire brings Health, Head, Heart, and Hand together.
The torchbearing xunners might represent camp traditions.
As each enters the campfire circle and adds his torch to the
fire, he can indicate which tradition he represents. The use of
a costumed runner coming from outside the circle creates in-
terest and emotion and holds the campers' attention.
Fire by Magic
Campers are always intrigued by the fire that seems to light
magically. Magic is effective at any campfire program, even
more effective when a magician accompanies the fire-lighting
with his patter and mysterious gestures. Magic fire-lighting
methods are best used at campfire programs where the theme
is not too serious or inspirational. There are many ways in
CEREMONIES AROUND THE CAMPFIRE 77
which the fire can be lighted for the magician or the master
of ceremonies. Any magic fire-lighting methods should be prac-
ticed before use at the ceremony.
The Buried Pipe. To facilitate many secret or magic light-
ing tricks, a metal pipe is buried to provide a hidden way to
use strings or wire or fuses. This pipe should have one end in
a metal box (provided with a metal cover) just back of the
fire lay and just below ground level. The other end should be
in a tepee or behind a screen outside the circle. Thus, strings
or wires for tripping chemicals or for pulling objects and elec-
trical wires from a battery to the fire can always be ready for
use. After the fire-lighting is over, the cover is pushed over
the metal box and there is nothing to be seen within the
circle.
The Candle Method (see Figure 2, Plate H). A lighted
candle is placed firmly on a block of wood or flat candle holder
with a black string tied to the block, so that the candle and
block can be pulled out from under a tin-can shield that keeps
the audience from seeing it. The candle is lighted just before
the campers arrive, is covered with its shield (the tin can is
open on one side to allow the block to be pulled out), and the
fire is laid over the shield. At the proper time, an unseen helper
pulls the candle carefully from its shield so that it touches the
tinder and fire lay and ignites the fire. The tin-can shield can
be salvaged and used again if a wire has been tied to it and
the can is pulled out of the fire lay.
The Battery and Match Trick (see Figure 3, Plate H). For
this trick a battery and wires are needed. The wires are con-
nected from the battery to a block of wood where a high resist-
ance wire is coiled. Match heads are placed firmly against this
wire. The fire lay with tinder and kindling is placed to hide the
block of wood, the matches, the battery, and all wires. At the
78 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
signal from the master of ceremonies, a helper closes the circuit
and the fire starts if the fire lay is well arranged.
The Friction and Match Method (see Figure 4, Plate H).
A block of hardwood is prepared with tiny holes just large
enough to hold matches. There need to be twenty or thirty of
these holes and all of the same depth. Matches are placed in
the holes so that the heads are all even. Resting on this is an-
other piece of wood covered with sandpaper, to which a black
string is tied securely. While the lower block is held in place,
the string is pulled and the friction causes the matches to light
and ignite the tinder placed close to them. Obviously the
weight of the upper block must be sufficient so that there will
be friction enough to cause the matches to light. This trick
should be practiced before use at the ceremony.
The Magician's Own Fire Lighter. Magic fire can be pro-
duced in a fire bowl or pipe by using a commercial fire maker.
To the audience it seems that the magician just waves his
hands and the fire leaps forth. Trick fire-making equipment
can be purchased from a dealer in magic supplies.
The Chemical Method (see Figure 5, Plate H). If chemicals
are used, the program leader should make sure that only adults
handle the chemicals. The trick should be practiced before be-
ing used at the campfire and precautions should be taken to
guard against accidental tripping of the chemical before the
signal from the fire lighter.
Materials used are 2 tablespoons of potassium chloride crys-
tals mixed with 2 tablespoons of granulated sugar and a i l /2-
ounce bottle of concentrated sulfuric acid. At the proper time
the acid must be poured into the dry mixture, and the fire will
be ignited.
There are several ways of accomplishing this. A hidden string
can be used to upset a glass or neckless bottle into the dish
containing the sugar and potassium chloride. In this method
CEREMONIES AROUND THE CAMPFIRE 79
the acid container can be too easily tipped accidentally. Many
leaders suspend the acid container over the dish on a wire or
metal axle so that when the string is pulled it tips the acid
container over above the dish. This can happen only if the
string is pulled, so there is less chance that the fire will start
by accident. If an acid bottle which has a shoulder is used, it
is difficult to tip the bottle far enough to release all the acid.
A third way is to put the acid in a china dish and have the
dry materials above it in a paper cup with bottom removed. A
V-shaped cardboard trough is inserted in a V-shaped cut in the
paper cup. When the trough is in place, the dry materials are
put into it. A string pulls the trough out of the cup and the
dry materials fall into the acid below.
The Flaming Arrow (see Figure 6, Plate H). Camps often
use a flaming arrow to light the fire perhaps the first fire of
each camp period. At one camp, the master of ceremonies asks
the Great Spirit for a sign that indicates he will honor the
camp with his spirit. From across the river, an expert archer
shoots a flaming arrow (sparkler or ball of light waste on tip
of arrow) into the fire lay. At the end of the season, if the
campers have kept alive the spirit of their camp, the flaming
arrow is returned to the Great Spirit by shooting it into the
river.
This method of using the flaming arrow is dangerous. A safer
method is to stretch a wire from a tree just outside the fire
circle to a stout stake just beyond the center of the fire. The
arrow is attached to two spools on the wire. The archer lights
the arrow tip, and when the master of ceremonies gives the
signal, he shoots the arrow into the fire lay. The archer should
practice this trick so as not to shoot the arrow too hard. Care
must be taken that no camper is near the wire which makes
the path for the arrow.
Combination Fire-Lighting. A fire-lighting ceremony can in-
8o THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
elude several methods of fire-lighting, each representing a pe-
riod in the history of fire. An Indian can make fire by friction,
a pioneer can use flint and steel, a magician might use a magic
powder, and modern man can use a cigarette lighter.
Fuse Fire-Lighting. A camp that has a pipe laid underground
from a hidden spot outside the circle to the fire lay can use a
long fuse to light the fire mysteriously. In this method, the
fire lighter and master of ceremonies must time the fuse care-
fully, to determine the exact moment when the spark will
reach the fire lay.
Indian Dance Magic. When a ceremonial or council fire is
opened by a group of Indian dancers around the fire lay, this
is an opportunity to use magic fire-lighting methods. The
dancer or dancers use their rattles to chase evil spirits away
and to plead for fire as a sign of the presence of the camp
spirit. As the dancers move around the fire lay, the tinder and
kindling is ignited by magic from within the fire lay.
OTHER OPENING CEREMONIES
Usually the fire-lighting is the signal for the start of the
campfire program for the evening. However, some camps have
a traditional ceremony that is used immediately after the fire
is lighted. Sometimes this is a chant in unison, a song, a sym-
bolic skit. The following are examples:
Burial of Old Man Grouch
At opening night campfires, the burial of Old Man Grouch
is a popular way of emphasizing certain camp traditions. A box
representing the coffin of Old Man Grouch is buried after
each camper has dramatically thrown into it unwelcome traits
that are not wanted in camp grouchiness, chip-on-shoulder
attitudes, untruthfulness, lack of self-control, non-co-operation.
CEREMONIES AROUND THE CAMPFIRE 8l
Burning an Effigy
This is another version of the traditional casting out of un-
wanted traits. Each camper or unit can make a symbolic rep-
resentation of some trait it wants to eliminate. These are
burned at the opening of the campfire program and campers
pledge to conquer or eliminate these bad traits.
Fire-Lighting Chant
Sometimes a traditional chant or poem or response is used
as the fire is lighted. This is one such response which can be
said by campers in unison or by the master of ceremonies:
Watch the flames leap upward like our hopes, our aims,
reaching toward the stars.
If our fire is bright, it will warm our circle as good ideals will
warm the world.
Soon the red logs will glow like our sympathy for our fellow
man.
And when the gray ashes fade and become dead, let us leave
with them the errors of the day.
Opening Words
Organization camps often have an established procedure for
opening chants or songs or lines to be used by the master of
ceremonies as he opens the council fire after the fire is lighted.
Many other camps also use a set opening speech, such as this:
Here we are in our council circle,
Each having his place from which he is equal to all others.
He can see and hear what happens here.
He can join in the action.
He can share in the light and warmth of the fire.
There is no one set above him except the one who performs
at the moment, and is thus rightfully in the center or at
the head, as you will be in your turn.
I declare our council open.
82 THE COMPLETE BOOK O'F CAMPFIRE PROGRAMS
CLOSING CEREMONIES
Any campfire program, to be impressive, must end on the
right note one of inspiration, reverie, challenge. It should end
quietly and smoothly. At the end of a campfire program the
leader has to use some technique to send the campers quietly
to their cabins or tents. If the program is carefully planned,
the campers will be in this quiet mood. However, it takes only
one giggle or prank to disrupt this spirit. That is the reason
why most leaders have a traditional method of closing the
program and sending the campers to their units. Campers rec-
ognize this as the end of the campfire and as a signal for quiet
and decorum. The closing might use music, a song, an organi-
zation pledge, a symbolic friendship circle, a benediction.
Here are a few examples:
Taps
Many camps use taps as a campfire closing ceremony. It is a
reverent and impressive way to signal the end of the evening.
Leaders can experiment with some of the many ways in which
taps can be used:
Bugle call, campers stand with heads bowed or at atten-
tion.
Bugle call, with distant bugle echo.
Campers hum taps; one camper repeats the camp or or-
ganization pledge.
Campers sing taps while the master of ceremonies does
symbolic gestures, for example:
Day is done (stands motionless)
Gone the sun (points skyward)
From the lake (extends both arms toward earth)
From the hills (moves both arms, fully extended, toward
the hills)
CEREMONIES AROUND THE CAMPFIRE 83
From the sky (moves both arms toward the sky)
Safely rest (lowers arms slowly)
God is nigh (bows head)
American Flag
Flag ceremonies are effective in closing the campfire > but
plans must be made to light the flag at night. A flare can be
lighted outside the circle where the flag flies on its pole.
Campers stand to sing "God Bless America" or "America" or
other patriotic song. Or the first stanza may be hummed by
all campers, as one representative pledges allegiance to the
flag. When he finishes, campers sing the rest of the song.
Benediction or Prayer
A simple prayer by the master of ceremonies or a camper
is a suitable campfire closing. The prayer should be brief and
should contain some reference to the purpose of the campfire
and the ideals of the camp. Organization camps often have a
traditional closing prayer or benediction, which is said while
the campers stand in a circle with their arms resting on the
shoulders of their neighbors or in a circle handclasp. The
handclasp is done by crossing arms so each can grasp his neigh-
bor's hand.
Indian Sign Language Benediction
This is a simple but effective closing ceremony. The Chief
steps forward and says: 'The Indians have many dialects and
languages, but all Indians can understand one another through
a universal sign language. If an Indian wants to indicate things
past, he points behind himself like this. (The Chief does so.)
If he wishes to point to the future, he motions to the front
like this. (The Chief does so.) He puts his hands far apart
to show 'much* or 'great/ 'Jof is shown by moving the hands
84 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
together in a hopping motion like this. (The Chief does so.)
Now everyone stand and accompany me with the motions as I
say the words of the Indian benediction/'
The campers then do the Indian signs with the Chief as he
says: "May the Great Spirit, who has been with you in the
past and who will be with you in the future, bring you great
joy." He leads them through this slowly so that all can use the
sign language. Then he tells the campers that they will do the
benediction in Indian style without any words. They will think
of the words as they do the motions. The Chief then leads
the campers through the benediction silently.
The Friendship Circle
If the camper group is not too large, a friendship circle can
be formed at the close of the campfire. The leader can explain
that for centuries men have greeted one another with a grip or
handshake to indicate friendship and respect. The leader then
starts the friendship handshake around the circle by gripping
the hand of the camper to his right. Each camper passes the
grip on. When it has returned to the leader, he can say, "May
we all be friends forever. Good night/'
Indian Runners
If Indian runners are used in the opening ceremony to bring
torches or to conduct camper groups to the fire, then they
might well be used in the closing ceremony. Each runner can
be dispatched with the promise of the campers that all tradi-
tions and pledges will be observed.
Pageantry
Most camps prefer a quiet ending; however, if the group at
the campfire is very large, a pageant might provide an effective
close. This pageant may be historical, legendary, or biographi-
CEREMONIES AROUND THE CAMPFIRE 85
cal. Five minutes is a good length of time for it. The com-
mentary must be brief and colorful, the action visible to all.
This will hold the attention of campers who may be restive.
Pageants require good leadership and planning and much
camper participation.
Organization Pledge
An organization camp has a ready-rnade ending its own
pledge or promise. This is ideal for opening or closing use. It
can be said by the campers or by a leader; it can be said with
or without actions and gestures; it provides a brief dramatic
scene at the end of the evening.
Symbolic Ashes
At the final campfire of the season some camps make a cere-
mony of taking some of the fire ashes, putting them in an urn,
and storing them to be used as the foundation of the following
year's first campfire. If the camper who sets aside these ashes
returns to camp the next year, he might represent the old
campers, bring the urn to the first fire-making ceremony and
signify that these ashes are the continuation of the spirit and
tradition of past campfires.
Silence
A moment of silent meditation is an effective ending.
Campers should be advised of this part of the program before
the campfire, unless it is a traditional, often-repeated closing
signal. The last speaker in the program should leave some
challenge, some inspiration which will provide a reason for this
silent meditation.
A Last Song
Music belongs at the campfire, and many program leaders
feel it is the final flourish to the campfire. Often campers leave
86 THE COMPLETE BOOK O'F CAMPFIRE PROGRAMS
while singing. If the group is very large and there is a problem
in leaving the fire circle, small units may leave at intervals,
singing or humming a quiet song. They might leave at pre-
arranged signals or agree on cues within the song to indicate
order of departure. For this purpose a fairly long song should
be selected.
If the entire group is singing a closing song at the campfire
before departure, it is best to use one of the familiar camp
songs, an organization song that all campers know, or an old
song that most campers would know, such as "Now the Day
Is Over/ 7
The following song is a very effective one designed to be
used in a closing ceremony to get the campers out of the fire
circle. All sing the first verse. Each unit learns one other verse
which it sings in turn. As each unit finishes its verse and leaves
the fire circle, the remaining units join in the refrain, until all
groups have left. This is sung to the tune of "Down in the
Valley/' In the third refrain, the fire tenders can add green
grass to the fire to make smoke.
VERSE: Let us all stand nowtime we must go.
Silently leaving thoughts let us know.
REFRAIN: Thoughts let us know now, thoughts let us know
Silently leaving thoughts let us know.
VERSE: Watch the fire flicker the last of the flame.
But as we do leave you your friendship we claim.
REFRAIN: Your friendship we claim, yes, your friendship we
claim.
But as we do leave you your friendship we claim.
VERSE: Watch the smoke curling up to the sky.
As our hopes rise too we bid you good-by.
REFRAIN: We bid you good-by, yes, we bid you good-by.
As our hopes rise too we bid you good-by.
CEREMONIES AROUND THE CAMPFIRE 87
VERSE: Watch the red embers a memory of light.
We carry it with us to show us the right.
REFRAIN: To show us the right, yes, to show us the right.
We carry it with us to show us the right.
VERSE: Watch the coals glowing memories are there.
Friendships and joys are beyond all compare.
REFRAIN: Beyond all compare, yes, beyond all compare*
Friendships and joys are beyond all compare.
VERSE: Watch the hot ashes once it was wood.
Has changed through service a blessing that's good.
REFRAIN: A blessing that's good, yes, a blessing that's good.
Has changed through service a blessing that's good.
VERSE: Watch the fire dying but when it is dead,
Always the memory will lead us ahead.
REFRAIN: Will lead us ahead, yes, will lead us ahead.
Always the memory will lead us ahead.
EXAMPLES OF SPECIAL CAMPFIRE
CEREMONIES
Some ceremonies are very special and are used only for a
certain purpose on a certain evening at camp. Others are
adaptable; they can be used by all ages, at any type of camp,
and for a camp group of ten or a thousand.
Universal Ceremony
Here is a ceremony that can be used as a campfire opening
or as a part of a formal fire-lighting ceremony:
The campers gather in the fire circle. They approach in
darkness and stand silently. Each camper holds a small candle,
but none are lighted until the leader indicates this action.
The leader speaks: "All around us is darkness. I light this
little candle (he does so) and it is no longer dark. Although
88 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
this is a tiny light and it lights only a small area, we all can see
it. Each of us knows it is here and could find the way to it.
Though tiny, it is a beacon to every one of us.
"But this tiny light can grow, can be multiplied, if someone
would come to join it. (Several of the leaders move to the
candle and light their candles from it.) Now the light is
brighter, lights a bigger area, and we can see more than before.
"But this is only a beginning; for once there is light and
people who are willing to share it, it will grow; and though
it is shared, it will become bigger, greater, until all who want
can have the light. (The leaders fan out and each lights the
candle of another, and everybody lights his neighbor's candle.)
"See how fast the light can spread. Notice how well we can
now see. This light makes it possible for us to see our friends,
see their smiles and their actions. And others can see our light.
As this light brightens this council ring, our light can brighten
our lives and the lives of others.
"The smallest light held by the least of us is important to
the whole world. (Four leaders come to center with their
candles and light the council fire.) Now we will light our
council fire with this same light that has grown from such a
tiny flame. Watch this council fire take up the flame, growing
if we feed it. Let us sing as the light brightens our circle."
Ceremony Emphasizing Camp Ideals
Sometimes campers like to take a look at themselves, per-
haps ask themselves, "Have I done my best?" This can be used
as a good theme for a closing campfire at the end of the camp
session. It might even be used twice in a session as a check on
growth of ideals. The purpose of the ceremony is to show the
camper his responsibility toward the ideals of the camp or of
the organization sponsoring the camp.
Perhaps an ideal the camp emphasizes is freedom from prej-
CEREMONIES AROUND THE CAMPFIRE 89
udice. Before the campfire evening each camper has been
asked to bring a certain number of pebbles, which he will keep
in his pocket or in a handkerchief during the program. The
program for the evening will be based on freedom from prej-
udice, illustrated perhaps by a story, short pageant, dramatic
skit, discussion, or informal talk.
At the close of the campfire, the campers are asked to medi-
tate on their prejudices and compare them with the ideals the
camp holds. The leader tells them that as they leave, they will
find containers along the campfire trail and a sign indicating
freedom from prejudice on certain levels religious, national,
racial, social, economic. The leader will have to explain these
ideals in terms of the age group attending the campfire. If a
camper feels that he is doing his best to conquer any one of
the prejudices, he may drop a pebble in the proper container.
This is a personal decision each camper must make. Campers
are touched, one at a time, and each leaves quietly to walk the
campfire trail and drop his pebbles. The leaving should be
spaced so that each camper is alone on the trail as he reaches
each station representing a prejudice. No one sees where he
puts his pebbles. If the group is very large, several trails with
containers can be laid, and this ceremony will not take too
long. At the end of the trail is a larger container into which
he places the pebbles he has left. The bigger the pile at the
end of the trail, the harder campers must work to overcome
prejudices.
To help light the stations at which pebbles are dropped,
campers can make lights from large cans, with holes punched
in them, and a lighted candle to shine through the holes. This
will give enough light, yet protect the surrounding shrubs or grass
from the flame. Often the holes spell out in light the name of
the prejudice or point of emphasis each represents.
Since every camp has ideals it strives to instill in its campers,
go THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
this ceremony can be varied and suited to any purpose. Organi-
zation camps might use their law or creed as the stations
along the campfire trail. If a camper feels he measures up to
the points of the law, he can drop his pebbles at the proper
stations. In some camps the pebbles placed in this ceremony
are allowed to accumulate on the spot until they become per-
manent markers or monuments to camp ideals.
Ceremony Based on Campers' Tools
The campers' tools make good ceremonial props and can
serve as ideas for ceremonies. There is romance connected with
the woodsman's ax, the compass that guides all travelers, the
knife, and the rope. Respect for these tools can also be taught
in a campfire ceremony where each is highlighted. As an ex-
ample, the camper who carries the compass might say: "I have
in this chest a treasure of great value. It helped Columbus dis-
cover America. It has led the explorer, the trapper, the camper,
safely in the wilderness. Here it isthe compass. (He takes it
from its chest.) Keep this friend with you always when you
travel in the woods. Learn to understand how to use it to point
the right way to go. It can save your life, ease your journey,
and mark you as a pathfinder. While this compass can orient
you in your travels in the woods, you must have another com-
pass to guide you in the right way in your daily journey
through life/'
Religious Ceremony
In religious camps the campfire program and ceremony fre-
quently centers on religious themes and ideals. Since these
cainps are usually attended by youngsters of one faith or de-
nomination, the leader is free to plan impressive religious
programs.
In all other camps the leader must be aware of the various
CEREMONIES AROUND THE CAMPFIRE 9!
faiths or denominations that are represented among the camp-
ers. No religious theme, idea, or symbol should be used that
might offend one segment of campers. It is best to concentrate
on general ideals that are common to all faiths rather than on
religious ideals in planning any campfire program.
Friendship Ceremony
The friendship ceremony is usually saved for the final camp-
fire of the camp season. It is a time when a camper publicly
presents a new friend with a token of his friendship. It is not
an exchange of gifts, for the recipient does not know he is to
be honored. The token given is a very small thing perhaps a
flower or some gadget made at camp or a polished stone. It
is the gesture of friendship and not the token that counts. At
such a campfire, the master of ceremonies gives the camper
permission to speak; he enters the circle and calls his new
friend forward to receive the gift. A camper does not recog-
nize his old friends in this ceremony, for he may have been at
camp with them for several seasons. Its purpose is to cement
new ties.
Awards Ceremony
Almost every camp has some type of award for accom-
plishment in the several areas of camp life or in the several
parts of the organization's program. The award ceremony is
often a part of a regular campfire program, but the awards
should be made with some special gesture that heightens this
part of the program. In an awards ceremony it is essential that:
The camper's name and his accomplishment be high-
lighted
The camper be called to a spot where all can see and hear
the action
Q2 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
The person who makes the award be respected and
admired
The presentation be brief, but not rushed
The award be of little monetary value, but of great sym-
bolic value
The title or citation, if any, that goes with the award be
clearly indicated
The recognition be made impressive by a fanfare, honor
guard, honor seat, or some such symbol of prestige
Often leaders or counselors in a camp are given awards for
service. They can be honored at the same ceremony as campers,
or a special ceremony can be held for them. The director of
the camp or perhaps a visiting dignitary can present the leader
awards. Campers might arrange some demonstration to honor
the recipients during the awards ceremony perhaps a camp
yell or salute or song.
Individual Awards Presentation
In addition to the awards given for the entire camping sea-
son for accomplishment in the sponsoring organization's pro-
gram, most camps give symbolic awards or recognition to in-
dividuals who have reached a certain goal in a particular camp
activity during the week. The following ceremony can be
adapted for such purposes:
CAMP DIRECTOR OR CAMPFIRE LEADER:
We have had a good week. Many of you haive learned
much and deserve to be honored. I am going to ask the
Director of Aquatics to honor those who won the
Aquatic Award this week. Here is , the Direc-
tor of Aquatics.
CEREMONIES AROUND THE CAMPFIRE 93
AQUATIC DIRECTOR:
Our aim this week has been to have fun at the water
front and to have fun safely. We hope that through
your water-front activities you are learning to help others
who might be in distress. Some of you have given proof
that you are using all your training. You have the right
to wear the Aquatic Award. Will you stand. Congratu-
lations, swimmers, and good swimming. Let's give them
a hand.
CAMP DIRECTOR:
Now, I will call on , the Woodcraft Director.
WOODCRAFT DIRECTOR:
We hope this week has given every camper greater hori-
zons through the study of nature. Here at camp we have
a wonderful opportunity to be near birds, plants, an-
imals, stars. These are reminders of the greatness of God.
Those campers who have done well in seeing the won-
ders of nature and who have noted and observed many
things have won the Woodcraft Award. Let us see who
you are. Stand up so all may see you. May your trails
be happier because you have made friends with nature.
CAMP DIRECTOR:
The Campcraft Director, , will now recognize
the Campcraft Award winners.
CAMPCRAFT DIRECTOR:
The things campers have done this week to earn the
Campcraft Award have been fun. We have learned how
to use and, if necessary, how to create the tools used by
the hiker and the camper. May the skills you have
learned here keep you safe over many happy camping
trails. Let the Campcraft Award winners stand. We
salute you.
94 THE COMPLETE BOOK O'F CAMPFIRE PROGRAMS
The terms used for the awards differ in every camp. Some
camps do not speak of awards at all, preferring to impress on
the camper that learning and enjoying activity are the best
rewards. In other camps the award system becomes cumber-
some and detailed, and too much emphasis is placed on this
facet of the camp program.
Tenure Recognition Ceremony
Some camps recognize campers who have returned for two,
three, four years. The tenure recognition ceremony can be
held with another awards ceremony, usually at a camp-wide
campfire program. Generally an emblem and perhaps a name
is given to each class of camper. A camp that uses Indian terms
might call first year campers "papooses," second year campers
"braves," third year campers "warriors/ 7 and fourth year camp-
ers "chiefs." Perhaps each class of camper has an emblem or
piece of costume that is traditional. The awarding of this em-
blem or donning of this costume can be a high point of the
ceremony.
A Poetic Ceremony
In some camps poetry and free verse are used frequently in
conducting an impressive ceremony. Girl campers especially
enjoy using poetry. The following opening words are effective
when read or recited by the fire lighter, who kneels for the open-
ing verses and rises for the last lines:
I KNEEL
I kneel when I light a fire, (kneels)
1 kneel reverently and thankfully
For now will light and warmth
Come to me through sacrifice.
CEREMONIES AROUND THE CAMPFIRE 95
This wood holds good things
And gives them all
For you and me.
This wood grew for many years
Fed by water and by sun
Protecting as it grew.
Giving as it now dies.
It will give light through flames.
It will give warmth through red coals.
It will leave behind only gray ashes.
But this sacrifice will not be in vain
For we shall take with us
The memory of this moment
The fellowship and fun
The song and challenge
The story and ritual
All to be ours forever.
So as our tiny spark grows
To a dancing, lively flame
Our council ring will become
A court for honors
A ritual for inspiration
A stage for dramatics
An arena for contest
And a story time for remembrance.
I kneel when I light a fire
When fire comes, I arise, (arises)
Thankfully accepting its sacrifice
For its flame calls for worthy action.
Small Ceremonial Fires to Build fie Central Fire
For this ceremony a small fire is built at the edge of the fire
ring at each of the four compass points North, South, East,
West. In the center of the fire ring the master of ceremonies
stands at the large fire. Each small fire represents some law or
pledge of the organization which is brought to the large fire.
Four campers take part in this ceremony.
C)6 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
MASTER OF CEREMONIES:
What do you bring us from the South?
FIRST CAMPER:
I bring our organization's law. (He then leads the group
in their law.}
MASTER OF CEREMONIES:
What do you bring us from the West?
SECOND CAMPER:
I bring our organization's promise. (He leads the group
in their promise.)
MASTER OF CEREMONIES:
What do you bring us from the North?
THIRD CAMPER:
I bring the pledge to our Flag. (He leads the group in
the Pledge of Allegiance. The Flag should be near the
fire circle, visible to all.)
MASTER OF CEREMONIES:
What do you bring us from the East?
FOURTH CAMPER:
I bring the spirit of our organization. (This camper tells
in a few words what the organization or camp spirit is.)
As each camper speaks, he lights a torch from his small
fire and waits till all have spoken,
MASTER OF CEREMONIES:
Will each of you bring a light from your fire represent-
ing these high ideals. (Four campers bring their torches
to center.) Let us start our larger campfire with these
symbolic torches so it is the embodiment of all our
ideals. (Torches are placed on fire, the campers retire,
and the program proceeds.)
CEREMONIES AROUND THE CAMPFIRE 97
Sand Painting as Setting for Ceremony
Ernest Thompson Seton and Daniel Carter Beard used sand
painting in their ceremonies. Sand painting can be done ahead
of time as preparation for the ceremony or it can be a part of
the activity of the ceremony. It adds a colorful decoration to
the fire circle. White sand, salt, flour, sand mixed with lime,
and corn meal can be used.
In Seton's Woodcraft ceremony the sand formed a white
diagram in this manner: First a circle of sand is drawn around
the central fire. Then four lines about 2 feet long are drawn
at each major compass point N-W-S-E. A perpendicular bar
is drawn at the end of each line. From each bar three more
short lines are drawn perpendicular to the bar. At the end of
each of these twelve lines a small fire is lighted as part of the
ceremony. As each is lighted, an Indian virtue is called out or
a part of the ceremony is recited. Four people alternately light
the small fires, rotating the task until all are lighted.
At Culver Woodcraft School, in Dan Beard's time, a similar
sand-painting ceremony was used. In this ceremony the par-
ticipants recite the points of the Law and Promise as they lay
the sand diagram, but no small fires are lighted. A triangle is
drawn around the central fire. Upon each point a bar is drawn
in sand, each bar representing a part of the Scout oath. Upon
each bar four perpendicular lines are drawn. The whole sand:
painting thus represents the twelve points of the Scout Law.
The white sand diagrams are striking and dramatic and re-
main after the ceremony as a reminder of the points empha-
sized in the ceremony. Such sand paintings must not be so
large that they encroach on the activity space which is needed
for the rest of the campfire program.
n8 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
Color War
Many private camps conduct a "color war/ 7 the start of which
is declared in a campfire ceremony. The camp is divided into
two groups and each takes one of the camp or organization
colors as its emblem. The war may concern prowess in ath-
letics, advancement in campcraft, efforts aimed at camp clean-
liness and neatness anything can be the reason for a color
war. The war may last a day or a week or the whole camp sea-
son. In a later campfire ceremony the winner of the war is de-
clared and peace is made between the two parties. Sometimes
the beginning of a color war is signaled by a tomahawk or
hatchet ceremony. At the opening ceremony, the hatchet is
planted in a log as an indication that the fight is on; at the clos-
ing ceremony, the end of hostilities is indicated by burying the
hatchet. This type of activity must be conducted in fun and not
allowed to become out-of-hand competition.
Hatchet Ceremony
The hatchet or tomahawk has long represented war, and
many camps that use Indian activities and symbols as a part
of their program base a campfire ceremony on the hatchet
theme.
If a camp is divided into two groups, as in a color war or
in a camp where units have Indian names, the hatchet can be
uncovered in the opening ceremony. Perhaps the Navaho and
Comanche units are at war.
NAVAHO CHIEF:
Long has the hatchet been buried and our tribes at
peace. But we, the Navaho, know the Comanche are
weak and deserve to be slaves. Therefore we uncover our
tomahawk and drive it into this log as a sign of our de-
fiance. Be warned that our braves will fight. We are
CEREMONIES AROUND THE CAMPFIRE 99
strong and will win! (The Chief of the Navahos drives
the hatchet into his side of the log.)
COMANCHE CHIEF:
We, too, have unburied the hatchet and have put down
the peace pipe. We are great in number and strong.
From now on we call the Navaho enemy. Our cunning
will defeat you. Thus I speak, Chief of the Comanche.
(Comanche Chief drives his ax into the other end of the
log.)
CHIEF OF THE COUNCIL RING:
This log will remain at our council ring to warn all
that the peace is broken. I declare that war has started
and each must defend himself and his tribe until the
peace pipe is smoked again and the hatchet buried. Go
each his own way and bring honor on his tribe in battle.
Be fair, be brave, be strong.
When the war is over, a peace ceremony is held.
CHIEF OF THE COUNCIL RING:
Long have the braves battled, each to honor his tribe.
But the have been defeated and have asked
for peace.
DEFEATED CHIEF:
We bring the peace pipe and ask that you smoke with
us. Though our warriors have fought well, we are not
as strong as our enemy. (He puts the peace pipe to his
mouth pointing it heavenward, and then turning it
around with the stem pointing heavenward, he offers it
to the rival chief. The rival chief takes it and follows the
action of the defeated chief.)
RIVAL CHIEF:
We, too, are tired of war. My braves have been strong
and cunning and we have won. We know your braves
100 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
were an honorable foe. We, too, will bury the hatchet.
(Each chief takes his hatchet from the log and gives it
to an assistant w/io carries it from the council ring.)
CHIEF OF THE COUNCIL RING:
I declare the war ended. May you all be friends and live
in peace. All have been good warriors. Now be good
friends. How!
Ceremony to Bring the Camp Spirit
Many camps have a traditional first-night ceremony. One
such is the parade to the Camp Spirit's hideaway. The campers
form a parade, single file, each carrying a lighted candle. The
line of campers goes to an old building or tree or rock cleft
where the Camp Spirit has been hiding since the previous
summer. They petition the Camp Spirit to return with them to
their council ring, to stay with them for the season, to assure
them of good camping and good fellowship. The campers, in
turn, promise to follow the traditions of the camp and display
camp spirit. The campers then return to the council ring, in-
stall the Camp Spirit as their guide for the season, and light
the first fire of the camping season.
An Indian Fire-Lighting Ceremony
If the seating arrangements at the council ring allow, effec-
tive use can be made of a large shadow box, behind which
tableaux are arranged. A strong light is needed to make effec-
tive shadows, and campers taking part in the tableaux must
work quickly and in darkness to arrange each scene so that the
pauses between scenes will not be too long.
An Indian stands motionless throughout the earlier scenes.
A torch is planted beside him. A reader, one who reads slowly
and distinctly, is to one side. He reads the script, pausing long
enough to give actors time to rearrange tableaux.
CEREMONIES AROUND THE CAMPFIRE
The Indian was here
Where Leif Ericson came
To touch our shores and leave again.
He was watching in 1492.
When Columbus landed to claim
for Spain
A new continent which he thought
Was China and the Spice Islands.
He watched as an Indian Princess
Saved her John Smith
And became his wife,
As often has been told.
101
(tableau of Norsemen
at the prow of a boat]
(tableau of Columbus
planting a flag)
(tableau of maiden
standing between the
tomahawk and John
Smith, warding off
the blow)
When the Puritans gave thanks
For the harvest and for this land
They were joined by the Indian
And his gifts.
When the white man became greedy (tableau
And pushed the Indian westward braves
He took up his tomahawk, hawk)
Danced the war dance.
And fought for his hunting grounds
Bravely but hopelessly.
Now he lights our fire
As did his fathers before him.
He lights our fire
Where once was his council place.
We honor him by our actions here
For we sit in council as he did,
We dance his dance and sing our songs.
We give our coups to honor good deeds.
We hear great tales and meet worthy challenges
In the spirit of the Red man,
Who was here before the white man came.
(tableau of a Puritan
receiving a gift from
an Indian)
of dancing
with toma-
(tableau of an Indian
making fire by fric-
* tion and lighting the
lire)
1O2 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
As our fire brightens we shall not forget
The ways of the Indian.
Let us be worthy to sit in this place
As was he who counciled here before us.
Indian Songs in Camp/ire Ceremonies
Camps that use Indian themes have their own collection
of Indian songs, yells, and chants. The song reproduced here,
"The Omaha Tribal Prayer/' may be used as an opening song,
or during the ceremony, or as a benediction. As a benediction,
the Indian words may be sung by all campers, then echoed by
a distant voice. The campers bow their heads and the leader
slowly and reverently gives the translation.
THE OMAHA TRIBAL PRAYER
WA- KOM - DA OHE - PHU WA - PA-PHtN A"^*TON- HE
f ATHEft A weeoy owe iTvn>5 eewe
5N65AMHe/*
Wish-Boaf Ceremony
A most effective ceremony for a girls 7 camp is the wish-boat
ceremony, usually conducted on the closing night. For this,
each camp unit prepares its wish boata board cut in boat
shape. This is decorated with flowers, colored paper, and greens.
Sometimes each girl in the unit puts one flower on the boat to
CEREMONIES AROUND THE CAMPFIRE 103
represent her special wish. Usually the wish carried by the
boat is one that concerns the entire camp. A candle is placed
securely in the center of the board.
On the evening of the ceremony, the campfire program is
held by the camp lake or stream or pool. Each unit sits to-
gether; each unit has a song to sing during the cainpfire. One
by one the units are called to make their wish. A representa-
tive from each unit carries the boat to the water's edge, lights
the candle, and launches it. As she launches it, she tells the
wish her friends have made. Some examples:
"We wish that we will all remain friends forever/'
"We wish that all our friends might come to this camp
and enjoy it with us/'
"We wish there would be more cook-outs next year/ 7
"We wish that the same water-front counselor will return
next year/'
Ideas for Closing Campfire Ceremony
The final campfire is often the most memorable, impressive
and inspirational. The camper takes it with him in his mind
as he leaves the council ring for the last time. The last camp-
fire may have the same theme as the opening campfire -that
the program of the camp may be rounded and complete. It
might be a ceremony that looks to the future. It might em-
phasize the traditions and ideals of the camp once more, so
that campers will carry these with them as they leave.
Camps use various closing ceremonies. Some of the follow-
ing can be adapted to any type of camp:
A flaming arrow can be returned to the lake from which
it came in the opening campfire, as an indication that
the campers have kept faith with camp ideals.
104 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
Organization camps can reaffirm their pledges or laws
in a final moment before the fire.
Signs lighted by candles or torches can be placed on the
trail from the fire ring. Each sign is related to some
camp ideal or tradition or aspiration. As each camper
passes these signs, he personally and silently pledges to
follow these ideals when he leaves camp.
The Camp Spirit may be returned to its resting place in
a traditional locale, to await next year's opening cere-
mony. This can be done by a candlelight procession
from the last campfire to the Spirit's resting place.
A gift might be presented to the camp. This could be
something made at the camp or purchased for the camp.
It could be the final result of a work project that de-
veloped a new wood trail or built a new campcraft
fireplace.
Each camper as he leaves the final campfire might place
a stone along the trail that leads from the fire ring. Thus
the trail becomes better marked each year.
A guard of honor can be selected to watch the last coals
die. The exact time the fire dies can be recorded and
placed on a plaque each year.
Dead ashes from the last campfire can be put in an urn
and saved for the next year. The new council fire can be
built on a base of these ashes, to indicate that the good
spirit of one year's camp is carried over to the next year.
A friendship ceremony can be used in the last campfire.
Perhaps token gifts can be exchanged or addresses ex-
changed in some part of the campfire ceremony, so
campers will not lose touch.
In a camp whose campers represent several states, the
final program might be centered on the areas to which
CEREMONIES AROUND THE CAMPFIRE 105
campers will return. This calls for dramatic skits or a
pageant.
The formal campfire is a place for ceremony, although the
program may also include fun, noise, entertainment, games,
and stories. The ceremony and the traditions embodied in it
give dignity to the memories campers take with them to their
homes. When ceremonies are used frequently in a camp, they
become symbols of that camp in the minds of campers some-
times symbols that last through life.
CHAPTER FIVE
THE CAMPFIRE AS A COURT
most camps sponsored by organizations and at many non-
organization camps the campfire becomes a court at certain
times during the camp season. There may be a formal council
fire once a week or every two weeks which is planned as a court
for one of three purposes: (i) a court to hear petitions, re-
quests, or reports from campers; (2) a court for granting honor
or recognition to campers and sometimes to counselors; (3) a
court for mock trials of campers and staff who have committed
misdemeanors (usually a humorous treatment).
The very name "council fire" indicates a court. To all primi-
tive peoples the fire circle was the place for deliberation, de-
cision, and judgment. It was also the place to honor those who
excelled in skills or strength or bravery. Among primitive peo-
ples only men took part in the council fire. Today, it is used in
106
THE CAMPFIRE AS A COURT IOJ
boys' and girls' camps and in mixed camps, and is one of the
high lights of the camp period. Many campftres are experienced
by the campers (sometimes one every night), but only one or
two council fires are used in each period. It is a big event, a
formal event, and the climax of the period. In some camps the
council fire area is distinct from the regularly used campfire
area. There is an aura of dignity, awe, and inspiration about it,
and campers meet in solemn conclave. It is used for formal
ceremonies, award and recognition ceremonies, and as a court
of judgment.
A COURT TO HEAR PETITIONS,
REQUESTS, AND REPORTS
This type of campfire court is a "hearing 7 ' court where a
camper may speak for himself or as a representative of his
group. A leader, a chairman, an Indian chief, or whoever is ap-
pointed to conduct the court, recognizes campers who wish to
speak. A list of speakers can be drawn up before the court
meets, if desired, so the leader knows who wishes to speak.
The matters brought to the court differ from camp to camp.
One camper might have a grievance or complaint he wishes to
air, and he seeks the help of the court in correcting it. A rep-
resentative of a cabin unit might report a dangerous condition
along the lake-shore path and present suggestions for correct-
ing it. A small group might appoint one of their members to
report on some unusual nature discovery or unusual experi-
ence in which the whole camp will be interested. Another group
might make a report on changes they feel should be made in
the procedure for entering the dining hall.
This type of court is not a place for stunts or fun. It should
be kept on a serious level and the requests or reports presented
should be legitimate. Any decisions called for should not be
108 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
made by the judge alone. A camp council representing all units
should hear the request; there should be an opportunity for
discussion by other campers and by the council. Finally a vote
may be taken and the judge may give a final decision based on
all the facts presented to the court. In cases of camp rules or
organization regulations, the final decision may have to be
given by a staff member or it may be given further considera-
tion at a meeting of staff and camp council. The whole pro-
cedure should be democratic.
A COURT FOR GRANTING HONOR
AND RECOGNITION
An important aspect of the use of the council fire as a court
is the recognition of special deeds or services and the awarding
of honors for achievement. A special council fire can be de-
voted to this recognition or it may be part of a formal campfire
ceremony.
There is a wide difference of opinion on the use of awards,
honors, and recognition. Some leaders feel that a tangible award
is a prize and therefore becomes a bribe for accomplishing
certain activities or reaching certain standards. Other leaders
recommend the giving of awards and consider the procedure as
proper recognition and incentive to accomplishments. Other
leaders prefer simple recognition by oral praise as a substitute
for tangible awards or honors. The attitude of the camp staff
toward this subject is usually based on its sponsoring organiza-
tion's attitude.
If tangible awards and honors are given in the camp, the
leader or leaders who make the award decisions should keep
these points in mind:
Awards should be recognitions of achievement, not prizes
for achievement.
THE CAMPFIRE AS A COURT 109
Awards should have little monetary value; it is the in-
tangible honor and not the tangible plaque or medal or
bead that is important.
Awards to camp units or groups or teams should be used
more frequently than awards to individuals; this helps
to develop co-operation and team spirit.
Awards should be in keeping with the surroundings; in
camp a birch-bark scroll is more appropriate than a sil-
ver cup.
Awards should be kept to a minimum; too many awards
in a camp period lessen their value and importance.
Types of Recognition
There are many ways to honor a person or a group at camp.
Intangible awards, while they may be preferred, are not always
satisfactory to the camper or even to some adults. The leader
or staff members who are in charge of recognition must con-
sider both kinds of recognition intangible and tangible. In
many camps a combination of the two types is used.
Personal Praise. The highest form of honor and recognition
in some camps is the word of praise given publicly by the camp
director or campfire program leader at a formal court of honor,
perhaps in front of guests as well as campers. For some campers
this is the climax of camp life. It might be only a handshake or
a touch on the shoulder, accompanied by a few words of thanks
or praise. The setting itself adds to the recognition the leap-
ing firelight, the ring of darkness outside the circle of light,
the glowing faces of fellow campers, the pride in the face of
the leader because one of the campers has done a good job.
Group Action. In some camps a leader explains why an in-
dividual or a group of campers is being recognized. Then the
entire camp group gives an accolade to show its praise. This
110 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
may be a special camp song used only for such recognition cere-
monies. It might be a special applause rhythm or chant or yell.
Whatever the group does, it is an indication of their agreement
with the recognition given to the camper or group.
Organization Honors. Some organization camps have their
established system and gradation of honors. These form the
highest awards given to campers. They are usually of small
monetary value but of great personal significance. They are
often items that can be worn on the camp costume or the
official organization costume. These top awards for accomplish-
ment in organization activities may be awarded at camp or at
any time during the year. In addition there are usually extra
honors to be earned only at camp for example, honors for
campcraft skills, for participating in a week-end canoe trip, for
advancement in swimming skill.
Special Camp Honors. Camps that are not organization-
sponsored usually have a system of recognition. They may use
the camp symbol or seal on plaques or certificates or cloth
tabs. An animal or bird symbol, Indian symbol, beads, shells,
feathers, stencil decorations almost any simple item can be-
come an award if it is used for that purpose only and becomes
an established symbol of honor and recognition.
Recognition of Adults. In some camps, staff members, unit
or group counselors, craft and activity counselors, are recog-
nized for special accomplishment or for completing tasks that
elevate them to a higher rank or status in the organization. In
some camps each small group is accompanied by an adult for
the camp period; this might be a parent or a year-round leader
of the group. Usually this adult is recognized in some way for
the service he performs for these campers.
Specialists who have contributed to the camp program or
guest speakers or men and women with unusual abilities are
sometimes honored at a court of honor and recognition. These
THE CAMPFIRE AS A COURT 111
awards can be simple- a piece of leather with a stenciled sym-
bol, a lapel pin made by campers, a bead or a shell given each
year to the adult who sponsors a group year after year. Organi-
zations that have a special ring or pin or other item to identify
their members can give this as a recognition and thank-you to
adults.
Group and Individual Awards
Most camps use two types of awards: the award or recogni-
tion given to a team or a group or a cabin unit; and the award
given to an individual. The group award should be something
useful to the group or something they can display in their tent
or cabin or at their small group campfire. Many of the ideas
suggested here can be adapted for group or individual award
use:
Plaque. A piece of fine-grained wood, shaped like a plaque
and highly polished, makes a fine award. The camp symbol and
lettering can be burned on with a hot iron or done with ink
or paint or picked with a nail. A metal plate cut from a tin can
and attached to the wood plaque might bear the message of
honor.
Lantern. A square tin can may be punched with holes to out-
line the camp symbol. A nail driven through the bottom makes
a sharp holder for a candle. Such a lantern award can be used
at the tent or cabin of the group winning it.
Natural Objects, Many camps use only natural objects in
creating awards. Attractive rustic awards can be made from a
cross section of a log with the bark ring left on and the ap-
propriate camp symbol painted or burned on the wood. A
bracket fungus, marked with ink or paint or by burning, is a
suitable award. Book-end awards for a cabin group can be made
from wood and lettered with a message.
112 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
Pictures. The art and handcraft groups at camp sometimes
make the awards to be presented. A silhouette picture of some
natural object leaf, flower, bird can be painted or inked on
clear glass and framed with a branch, split to a half round. Na-
ture pictures are suitable, too, such as a few insects and weeds
mounted behind glass to form a picture.
Scroll or Framed Certificate. A favorite award is a piece of
flexible leather stretched on a frame of small branches, with
the recipient's name and honor inked or burned on it. A birch-
bark scroll can be used, tied with camp colors.
Plaster of Paris Shapes. Plaster of Paris can be cast in many
shapes. It can be colored throughout or painted after harden-
ing. The message can be scratched into it or painted on it. An-
imal tracks, leaf prints, acorn clusters, and other nature items
can be pressed into the plaster before it hardens. Camp sym-
bols can be stamped in or fastened with wax to the plaster
object. Bowls, trays, book ends, paper weights, trophies, can be
made of plaster and used as awards.
Banners, Flags, and Streamers. In some camps a group award
means something that can be displayed before everyone. A
flag answers this purpose. Flags might be in colors that are
identified with certain camp activities or they might have a
painted or appliqued symbol of some activity. Sometimes a flag
is awarded for a week and then is retired until another group
earns it. Sometimes it is awarded for the entire period and the
group can fly it on its unit flagpole.
Coup Stick. In camps with an Indian theme the coup stick
is a suitable award. Each unit has its own coup stick and a
feather is added for unit accomplishments. The feathers are
awarded at the court of honor.
Honor Pole. This is a pole 2 inches in diameter, about 6 or
7 feet high. One is given to each unit at the opening of the
camp period, usually at the opening campfire program. It stands
THE CAMPFIRE AS A COURT 1 1 5
before the unit tent or cabin, As a unit accomplishes certain
camp activities, a band of color symbolizing that activity is
painted on the pole. Sometimes a copper crown is given as a
supreme honor. The painting of the poles can be done cere-
monially at council fire time.
Patches, Stencils, Cutouts. Camps often use embroidered or
stenciled patches with appropriate symbols on them as recog-
nition of attendance, rank, or progress in accomplishments.
Sometimes bars or chevrons are added to the original patch.
These honors are usually worn on pocket or sleeve or on a spe-
cial band or scarf. Felt cutouts can be used in this same way,
either awarded to each member of a group or awarded to the
group as a unit and sewed to the group flag or banner. A banner
or plaque might be given to each unit at the opening of the
camp period. On it are stenciled the symbols for various camp
activities. As the unit completes an activity, it is allowed to
paint the stenciled symbol,
Leather Tabs. A small leather tab can be presented to each
member of a group that qualifies in a program area, such as
aquatics, nature lore, campcraft. To earn the tab, the group
must reach certain standards of accomplishment. The tabs are
marked with the appropriate emblem or symbol.
Medals. Some private camps award gold, silver, and bronze
medals for three classes of accomplishment. The medal is won
by the group as a whole or by individuals. Sometimes it is
awarded permanently, sometimes it is returned to the camp
award committee at the end of the season and awarded again
the next year.
Intangible Awards. Recognition can be given in many ways
without giving any material or tangible object. The camper
may be given the honor seat at the next council fire. An hon-
orary office can be conferred on the individual "officer of the
day," "color guard/' "Big Chief." An honorary name can be
1 14 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
given, perhaps an Indian name or some name that is related
to the camp theme. Outstanding campers can be honored by
representing the camp as hosts on visitors' day or on a visit
to another camp, or as guides for a guest speaker. Outstanding
campers can also be honored by appointment to the camp
council. An exemplary group or unit can be the guard of honor
for a ceremony or flag retreat, or have a special table in the din-
ing hall, or take part in a special hike or picnic.
Treats. All campers enjoy treats, and in camps where the
younger ages predominate, a treat is a favorite award. This
award should be enjoyed at the small group campfire. A marsh-
mallow roast, a round of hot chocolate, a big cake, a water-
melon, will be appreciated.
Special Article of Dress. In some camps a special item of at-
tire is presented as an award a T-shirt with the camp emblem,
a buckskin shirt, an Indian headband, a head scarf, a camp tie,
neckerchief slide, belt.
Novelty Awards. Peculiar items take on great significance in
camps and may be passed on from group to group and from
season to season with elaborate ceremony in the court of honor.
Some such awards are a gilded tin can, a carved wooden an-
imal, an odd-shaped stone, a blackened cooking pot, a stuffed
mascot, a tin star,
Indian Headdress. A camper is awarded an Indian headband,
and for each additional honor he wins, a feather is added to the
band. The color of the feather indicates what accomplishment
it represents. These headdresses are worn only on special oc-
casions.
Small Nature Items. In some camps teeth or claws of animals
are given for accomplishment and are worn on a ceremonial
necklace. Pierced shells can be used in the same way. Osage
orange or maple chips can be made from thin polished cross
sections of a iJ/2-inch branch. A leather thong is run through
THE CAMPFIRE AS A COURT 1 1 r
a hole in the chip so the recipient may wear it on his belt or
around his neck.
Beads. Some organization camps give small wooden beads as
symbols of achievement. The beads are sewed to the costume
or worn on a leather thong. Metal disks, shells, pierced nuts,
can also serve as awards.
Personal Award. A certificate suitable for framing can be
designed at camp and traced on heavy paper or bark or skin.
The picture on the certificate can resemble a coat of arms in
outline form and can include symbols for many camp activities.
As the camper accomplishes an activity, he colors in the proper
symbol. At the close of the camp period he has a personal coat
of arms that is a record of his camp experiences and learning.
A COURT FOR MOCK TRIALS
No camp staff should allow campers to conduct a kangaroo
court or any kind of court that tries campers and metes out
actual punishment. However, some camps have great fun with
traditional mock trials that are repeated every season. They put
on trial such characters as Old Man Gloom, or Alibi Pete, or
Mr. Bad Manners. The figurehead for the trial can be a stuffed
dummy or scarecrow and the trial can be conducted with great
ceremony and seriousness. Sometimes such an activity can illus-
trate a camp tradition or help to demonstrate a camp problem
that needs curing.
A popular staff member sometimes volunteers to commit an
imaginary and ridiculous misdeed, stands trial, and is dramat-
ically vindicated. A camp mascot can be put on trial. A dan-
gerous turn in a path, an overhanging branch, a rotten tree-
almost anything can be tried and convicted of being a crim-
inal condition that must be removed.
When campers or staff members are on trial, a whole pro-
Il6 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
gram can be made up of skits or stunts put on by various
groups to show the prisoner's misdeeds. His punishment can be
a command to sing before the group (if he is a good singer)
or to allow everyone to stay up a half hour longer (if he is a
staff member) or to put more icing on the cake (if he is the
camp cook) or to come to the table early for five meals (if he
is a camper tried for being late for meals too often ) .
The atmosphere of such a mock trial must always be one of
humor and fun. All the statements of the defense or prosecu-
tion should be exaggerated. Any exhibits shown to the court
should be ridiculous and sometimes completely unconnected
with the crime. Witnesses should be ludicrous characters. No
one takes anything seriously, although the court has all the ap-
pearance of a serious meeting to consider a heinous crime.
The whole idea of a council fire as a court needs careful con-
sideration by the camp staff. Each of the three uses (a court
to hear petitions, a court to give honor, a court for mock trials)
has its opponents and proponents. All three uses are suitable
only in camps where campers are old enough to understand and
appreciate the council fire as a court. Such a program is not
suitable for young campers.
CHAPTER SIX
NOISY FUN AROUND THE CAMPFIRE
^ALMOST any type of campfire program should have some pro-
vision for noisy fun and audience response. Even the most seri-
ous and dignified ritual needs relief and action. Noisy fun is
provided by ice breakers, yells, responses, applauses, story re-
sponses, games. Noisy fun serves many purposes:
It organizes and unifies the crowd, whether large or small,
into a responsive group that has the desire to do things
together and that finds it fun to co-operate.
It breaks the ice for new or timid campers.
It builds enthusiasm.
It identifies the leaders who are carrying out the campfire
program by focusing attention on them.
It provides for the participation of all present and thus
makes the program truly theirs.
117
1 18 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
It matches the highest point of the fire with action and
noise.
It recognizes persons or groups by varied types of novelty
applause rather than by the tiresome hand applause.
It adds novelty and pep to the program.
Noisy fun has an important part in the campfire program,
but it should not be misused. If the leader does not handle this
part of the program carefully, he may find himself with a wild,
boisterous, un-co-operative group who will take the noise right
out of his hands. The good leader tries to guide the campers
into a friendly, joyous, responsive, co-operative group. He makes
sure that campers do not strain their throats by striving for
volume.
ICE BREAKERS
The opening campfire program can be a time of shyness and
loneliness for some campers. This is a good occasion on which
to use some noisy ice breakers that will create a general feeling
of friendship. Ice breakers should be used after the opening
ceremony around the fire. The following are favorites:
Question and Answer. This is a good opener to encourage
camper participation. The leader explains that it is customary
for campers to answer "Yea Bo!" for yes (or 'Tea Man"), cut-
ting the "Bo" short so that it echoes. The leader can prepare
questions that are certain to receive an affirmative answer.
There may be a rather timid "Yea Bo!" in answer to the first
question. The leader asks the campers if they mean "Yea Bo!"
and lets his voice set an example of loudness. Once he has
the volume where he wants it, he goes on to questions such as,
"Are you happy?" "Do you like to eat?" "Do you like to swim?"
"Is your gang the best?" As he asks the question, the leader can
NOISY FUN AROUND THE CAMPFIRE 1 1 9
cup his hand behind his ear to hear the echo. This will make
the campers respond with even more gusto.
Roll Call of Groups or Units. Sometimes the leader may
want to call the roll of each camp unit. Some camps use a name
to designate each unit, or the units may be known by Indian
tribal names, or there may be a special name for each age
group. The leader can ask, "Is the Seneca Tribe here?" 'Tea
Bo!" (or another phrase) is the answer. When the roll of all
the units has been called, the leader can ask, "Is your gang the
best?" This brings a loud, sustained 'Tea Bo!" from the whole
camper body. Such a roll call can be followed by other noisy
responses and songs.
Cadenced Routine. With a one-two tom-tom beat to set a
cadence, the leader can work up a good noisemaker or ice
breaker. As he gives two-word phrases in rhythm with the tom-
tom, the campers repeat them. Examples: Yea Bo, Hel-lo, Big
Camp, Good Eats, Play Ball, Swim Fun, Big Woods, See
Deer, Bright Fire. If the leader does not mind jokes on himself,
he can make some of these phrases more personal by pointing
to himself and using phrases such as: Bald Head, Me Fat, Big
Shot, Big Grin.
Noise Machine. Most campers like noise, and a noise ma-
chine gives them opportunity to yell. The leader divides the
campers into two parts. One side yells "hot water bottle," say-
ing it rapidly. The other side yells "rhubarb." The groups prac-
tice, then yell together under the leader's orders. His arms act
as batons, each arm directing a different group. Low hand in*
dicates soft yell, high hand signals loud yell. The leader can
vary his hand signals so the two groups yell loudly and softly
both separately and together. If there is a big camp group, it
can be divided into three parts, and this third part can yell
"soda pop, soda pop," as an undertone or bass for the other
yells.
120 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
Sound Effects. Young people like improvisation and imagina-
tion. They can have fun with any activity that requires them
to imitate sounds. These sounds can be used all through the
camp season in stunts and skits:
Running on a bridge beat chest with fist
Running on ground slap hands on thighs
Running through grass rub palms against each other
quickly and vigorously
Rain clap hands very fast, starting softly, increasing in
loudness, and fading away at a signal
Animal calls crow, duck, chicken, pig, wolf, dog, etc.
Emotions laughing, crying, sighing, groaning, etc.
The leader could have large signs printed with big letters,
to indicate the action wanted at any time in the story or game.
When the card is held up, everyone makes the proper noise.
When it goes down, the noise stops. Such sound effects can
be used in a skit where the campers pretend to be a television or
radio audience responding to signals from the sound-effects
man.
The Giant Sneeze. The leader divides the campers into three
sections. Each section practices one of these yells: (i) Hishe!
(2) Hashe! (3) Hoshe! First each section sneezes separately,
then all sneeze together to make a giant sneeze.
Introductions. When the leader or director introduces him-
self, he can say that he would like to know each person's name
now that campers know his name. He asks each camper to
yell his own name at a signal. The noise is deafening, but the
laughter makes everyone friends.
Rub and Pat. The leader directs everyone to pat his own
head with his right hand. At the same time everyone is to rub
his stomach with a circular motion with the other hand. At a
signal the campers change hands and repeat the stunt. This
NOISY FUN AROUND THE CAMPFIRE 121
seems easy when done slowly, but as the leader increases the
tempo, the campers become completely confused.
Ear and Nose. This ice breaker will have everyone in hys-
terics in a minute. The leader directs each camper to put his
left hand to his right ear, his right hand on his nose. At a sig-
nal campers will change hands, right hand to left ear and left
hand to nose. This stunt should be started at a slow tempo,
then increased in tempo until hands are flying in all direc-
tions.
YELLS
Camps usually have an official camp yell to use at campfire
programs, during daytime camp activities, or along the campfire
trail. Additional yells are often created by campers.
Camp Name Yell. Any camp name can be made into a good
yell. The trick is to divide the name into syllables, say each
syllable distinctly, repeat the name three times, louder each
time. "Beau-mont, Beau-mont, Beau-mont." Here the emphasis
is on the last syllable, making it loud and short.
Indian Yell. The leader divides the campers into one large
group and two smaller groups. The large group chants "um-
pah" in a tom-tom cadence. The small groups give the war
cry. One yells "Hi-Yi"; one yells "Ee-iy, Ee-iy" and taps mouths
with cupped hands. Each group practices separately; then the
"um-pah" starts as a background, and the war cries come in
separately and then together at the leader's signal
Special Yells, (i) Cowboy yell: "Eee-yip-ee! Eee-yip-ee!"
(2) Carnival yell: "Hey Rube! Hey Rube! Hey Rube!" The
"Hey" is long, the "Rube" short and sharp. (3) Danish yell:
"Bravo! Bravo!" The first syllable is long, the second is loud
and short.
Hey Straw. This is a simple but effective noisemaker and at-
tention-getter. The leader yells "Hey." The camp responds with
122 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
"Straw." This can be introduced at any time without warning,
just to catch the campers off guard.
'Yells Every Camper Should Know. The name of a camp or
any unit of the camp is to be inserted in blank spaces.
1. Run 'em down the alley,
Chase 'em up the street,
The
Can't be beat.
2. When you're up you're up,
When you're down you're down,
When you're up against f
You're upside down.
3. One two three four
Who do we yell for?
That's who we yell for.
4. Osky wow wow
Skinny wow wow
wow wow.
5. Zi - s - s - s!
Boo - o - o-m!
A - a - a - a-ah!
(whistle)
6. Stand them on their heads,
Stand them on their feet.
Can't be beat.
7. Boom a lacka, boom a lacka
Bow wow wow.
Chick a lacka, chick a lacka
Chow chow chow.
NOISY FUN AROUND THE CAMPFIRE 123
Boom a lacka, chick a lacka
Who are we?
We're the
Can't you see?
APPLAUSES
Campfire programs can be pepped up by using many types
of applause after introductions or to mark different parts of the
program. Applause noisemakers are especially good at a stunt-
night program. To be prepared, campers often practice special
applauses around their unit campfire. In a camp where applauses
are used frequently, the campfire leader may need to appoint a
camper or counselor as applause leader to give the signals at the
right time. The following are applauses that appeal to various
age groups and to boys', girls', or mixed camps:
How! How/ This is the Indian expression meaning "Good!
Good!" It can be a spontaneous accolade from the audience
when they have enjoyed a part of the program, or it can be
called for on signal by the applause leader. A variation is "How!
How! Ugh!" The "Ugh" is kept short.
The Hitchhiker. This is a good motion applause for the leader
to teach new campers. The thumb is used as a hitchhiker might
use it, but with variations. The leader's thumb motion is up,
then down, then to right and to left. The campers respond with
an up-rising whistle, a down-going whistle, and a going-away
whistle to right and to left. Campers move their heads to follow
the motion as they whistle. This is fun if done slowly at first,
then faster and faster.
The Bomber. Four sounds are needed. The leader can prac-
tice with the group, giving a different signal for each sound:
(i) airplane flying; (2) dive bomber heading down; (3) the high-
124 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
to-low shrill whistle of the falling bomb; (4) the loud bang of
the explosion. The group follows the leader's signals and goes
through the series of sounds as an applause.
Do as I Do. The leader instructs the participants to clap when
he does and refrain from clapping when he refrains. Leader
claps slowly at first, then changes tempo, then stops, sometimes
misses a clap and lets his hands slip by one another. Campers
try to imitate him in their applause.
Barber Shop. Method i: Campers imitate the leader, who
acts as a barber. He claps his right hand against his left hand,
alternating front and back, as a barber might hone his razor. He
tries the razor out on a hair and says "twang." He shakes his
head as if not satisfied with the sharpness. Then he repeats the
honing action, tries the razor on another hair, and says "twing."
Method 2: This time the applause leader pretends he is giv-
ing a massage. Starting from his fingers in his left hand, he runs
his right hand up his left arm, slapping it smartly and rapidly
to the shoulder. This makes a gradation of noise as all campers
imitate the leader.
Class A Recognition. This is a cadenced applause. Leader
claps to set the cadence and campers join. Everyone keeps in
cadence: one-two-three-four, one-two, one-two, one-two-three-
four, one-two, one-two, one-two-three-four, one-two-three-four,
one. The last clap is loud and all must do it together to make
it effective.
Skyrocket. This is familiar to all campers. The leader directs
the "Shee-ee-washshshee (pause) Bang'' which imitates a sky-
rocket.
Locomotive. The leader instructs campers in imitating the
"hoo-oo hoo-oo" of a locomotive, to be given when he pulls an
imaginary lever. Then the leader starts to clap in a one-two-
three-four cadence, emphasizing the first clap each time. He
starts slowly and gradually increases tempo until the noise sounds
NOISY FUN AROUND THE CAMPFIRE 125
like a train. The leader can clap alone or have the entire camp
clap. When the train is going at a good pace, he pulls the lever
for the siren call from the campers.
Hip Hip Hooray! This yell is always good applause for wel-
coming a guest or a speaker. The "Hip! Hip!" should he fast
and snappy. The "Hooray!" is held a bit. The applause is most
effective if done twice.
Clam, This is a novelty applausea silent one. The campers
hold up their right hands, fingers facing down and thumb under.
Fingers and thumb open and shut like a clam opening and
closing. This should be done in silence, slowly, and with syn-
chronized motion.
Cootie Clap. If the applause leader wants another fairly silent
applause, he can use the cootie clap. In this, all campers raise
their right hand, put thumbnail against middle fingernail, and
make a clicking noise. All do this together.
Yankee Doodle Clap. Every camper knows the tune of
"Yankee Doodle." The applause leader directs them in clapping
in time to the end of the song.
Handkerchief Clap. The leader throws a handkerchief into
the air. He can throw it high, low, fast, or slow. The campers
clap each time, until the leader grabs the handkerchief in air or
until it touches the ground. This same action with the hand-
kerchief can be accompanied by laughing rather than clapping.
Chop Chop. The applause leader can teach the gestures and
then lead the campers by signals so they sound like lumbermen:
(i) Campers make a chopping motion with the edge of one
hand on the other hand, accompanied by the yell "Chop! Chop!
Chop! Chop!" (2) Campers look up, shade eyes with hands
and call "There she goes!" (3) Campers call out a warning
"Timber!" (4) Finally campers yell "Crash!"
Grand Salute. Here is a special applause to use in introducing
important guests at the campfire. The leader directs all campers
126 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
to do this together; stamp feet three times, clap knees three
times, clap hands three times, stand together, salute or wave,
yell the guest's name.
Old MacDondd Applause. Each unit in the campfire circle
chooses an animal call. At a given signal each group gives its
cluck-cluck or oink-oink or bow-wow. The signal might be a
word such as "barnyard" or "wild forest." The leader can insert
this signal any place in the program, to see if campers are alert.
Some will be.
Marching Army Clap. The applause leader can rehearse the
campers in a hand clap done in a march cadence {one-two-
three-four) emphasizing the first clap. The army is heard in the
distance approaching slowly (soft clapping), then marching be-
fore the campers (loud clapping), then fading away (soft clap-
ping).
Dismissal Clap. Leader directs campers to poise hands ready
to clap and to lift right foot ready to stamp. As the leader yells
"DIS-," the campers clap, stamp, and yell "-MISSED," all in
concert.
STORY RESPONSES
Campers can have fun adding sound effects to a story told by
the leader. The leader illustrates the sounds needed for charac-
ters or actions or emotions. As these appear in his story, camp-
ers make the proper noises. The leader can make up any kind
of story, suiting it to the age and interests of the campers. Two
examples are given here in shortened form:
The King -with the Terrible Temper. The leader rehearses the
campers in the proper sound effects: king a growl; fat daugh-
tera grunt; thin daughter a groan; beautiful daughter wolf
whistle; prince "ah-h-h " The script can be changed as the
NOISY FUN AROUND THE CAMPFIRE 127
leader wishes, but here is a sample. Each time one of the char-
acters is mentioned, the campers give the proper sound.
"In a faraway land there once lived a king with a terrible tem-
per. This king with a terrible temper had three daughters, one
of exceeding stoutness, one of exceeding thinness, and one of
exceeding beauty. One day a handsome young prince came to
the king with a terrible temper to court one of his daughters-
net the daughter of exceeding thinness, not the one of exceed-
ing stoutness, but the daughter of exceeding beauty. This made
the king with the terrible temper very mad at the charming
prince. But the handsome young prince did not marry the
daughter of exceeding stoutness, nor the daughter of exceeding
thinness, but the daughter of exceeding beauty. The king with
a terrible temper forgave his beautiful daughter and the hand-
some young prince, and they lived happily ever after/'
The Head-Hunter. In this story the campers use some of the
sound effects described on page 120. In addition, when the na-
tive head-hunters are supposed to talk, one half of the camp
will yell "soda pop, soda pop*' rapidly, while the other half yells
"rhubarb."
"Once upon a time there was an explorer on safari on a little-
known, unexplored South Sea island. He heard the head-hunters
talking (sound effects.} He knew they wanted his beautiful bald
head. He started to run (sound), and they came after him. He
ran faster (sound) , down a hill, across a bridge (sound) , through
tall grass (sound), and yet they came closer. He started up a
mountain and grew tired (slow down the sound effect). He al-
most gave out when he reached the top. It began to rain (sound).
He climbed a tree (motions), peered back (hand over eyes), and
saw and heard the head-hunters coming (sound). He fell down
the tree (thump), ran down the mountain fast (sound), across
the valley with tall grass (sound), across a bridge (sound),
128 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
through more tall grass (sound), with the head-hunters getting
closer and closer (sound), until they caught him (everybody
yells)!'
GAMES AND WARM-UPS
The experienced leader always has a bag of tricks a mental
bag for use in emergency, when there is a need for diversion,
when a group needs to be welded into a unit, when a warm-up
activity is needed. Here are a few action and noise tricks that
are useful in any size campfire group:
Dutch Band. The leader divides the campers into as many in-
strument groups as he desires. Each group has a short practice
session, using a melody that is familiar to all. Each group goes
through the motion of playing its instrument and imitating the
sound of the instrument. The concert might be played in or-
chestra fashion, German-band fashion, or as hot jazz. When
each group has had its rehearsal and all in the group have agreed
on how to play the instrument, the leader can put all the instru-
ments together in the manner of a conductor. By his hand sig-
nals he can silence one section, make another play loudly, indi-
cate a rising crescendo, call for solo instruments.
Laughing Band. The leader divides the groups into two sec-
tions and instructs each side to laugh on signal from his right or
left hand. The higher the hand is lifted, the heartier the laugh.
The leader can control the volume of noise from either group
just as an orchestra conductor can control music.
Hal Hal This is especially good with a small group. All stand
in a circle. The leader chooses one person to begin and asks him
to say "Ha!" His neighbors on either side of him say, "Ha! Ha!"
Their neighbors say "Ha! Ha! Ha!" Each person adds a "Ha!"
until the two segments of the circle meet. Anyone who gives too
many or too few "Ha's" can be requested to pay a forfeit.
NOISY FUN AROUND THE CAMPFIRE
Hot or Cold. The leader divides the group into two sections.
Each group chooses a song to sing and practices first singing it
alone and then singing it at the same time as the other group
sings their song. Songs should be familiar so that singers can
keep to their song in competition with the other song. Each
group chooses a player to send out of the circle. In their ab-
sence two objects, some distance apart, are selected as the treas-
ure. Each section of singers is to help its player find its object
by singing loudly when he approaches the object and singing
softly as he moves away. The two players are called back to the
circle and told to find the objects by the sound of the singing.
The poor players must listen carefully because two groups are
singing at one time and singing different songs. When a player
touches his object, his group stops singing and he and his group
are declared the winners.
Landing a Plane in the Dark. A pilot is chosen and blind-
folded. The campers choose a landing field. The leader tells the
pilot that visibility and ceiling at the landing field are zero. He
must land blind on instruments. The radar beam will be the
clapping or the singing of the group. When the pilot is on
the beam, the noise is loud, becomes louder as he stays on the
beam, fades away as he loses the beam and wanders off route.
Eventually, with a lot of good fun, the pilot reaches his landing
field.
For a variation on this game, the campers can divide into two
groups; each group chooses a pilot, each group sings a different
song as its radar beam. The pilots are blindfolded and started
out in opposite directions, each trying to follow his own beam
and avoid the other pilot's beam. It is best to select two songs
that are different in type so that pilots will not spend all night
trying to follow tie beam. In this game, guards must be posted
near the fire, to prevent the blindfolded pilot or pilots from
stumbling into danger.
1 30 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
Land Mine. Campers choose a spot in the fire circle that can
be the land mine. This should be a place frequently touched by
the leaders. Everyone except one or two leaders or counselors or
the campfire director knows the land mine and avoids it. The
unsuspecting leaders will eventually touch the land mine. As
they do, the campers give a bloodcurdling yell which they have
practiced for the occasion. Leaders may touch the land mine
several times before they catch on to the reason for the yells.
Jenkins Says (or Murphy Says) . This old-timer goes over well
every time. It is best used in a group of less than fifty campers.
The leader tells the campers that when he orders them to do
something, they must not comply unless the order is prefaced
by "Jenkins says/' Everyone stands to begin the game. The
leader tosses orders quickly, some prefaced by "J en &ns says/'
some not. Any camper who does what Jenkins does not order
must sit down. The person who stands the longest is the
winner. Sometimes the leader has to resort to tricks to get the
last few players down. When only a few are left standing, he
can invite them to come into the center of the circle so all can
watch them. Most of them will obey, but since the leader did
not use "J en &ns says," they are out of the game.
SIGNALS FOR ATTENTION
What does the leader do when the noise keeps on too long
or when he wants to break in to announce another part of the
program? Camps have their own signals for silence or for at-
tention. The following methods are useful:
Signals for Silence. After an opening ceremony and a camp
ice breaker or yell, the leader may introduce an attention sig-
nal. All campers should recognize this at the opening campfire;
NOISY FUN AROUND THE CAMPFIRE 131
it can then be used throughout the season. The best signal is a
silent, visual one perhaps the Indian chief raises his hand
slowly, palm toward the audience, and holds it aloft until
everyone is still. The campfire leader might raise both hands
over his head and wait for silence. If it is an organization camp,
the hand sign of the organization can be used by the leader
and repeated by the campers.
Cleared Throat. Some campfire leaders use the simple tech-
nique of clearing their throat when silence is requested. The
campers also clear their throats noisily; everyone gets the noise
out of his system. The leader must be able to cut off this noise
when he wishes, so that everyone is silent and ready for the
next part of the program.
Fanfare. Sometimes there is need of a fanfare to indicate
attention or silence before an important announcement. This
can be done without a bugle, but with a bugle cadence, (i)
'Ta-Ta"; the first note is short, the second is held. (2) "Ta-a-a
ta ta ta-a-a ta da-a-a di"; this is the old "shave and a hair cut,
two bits" cadence and it should sound like a bugle call.
Minute of Silence. A leader can quiet a group by calling for
a minute of silence. The campers might stand silently. When
each thinks a minute has elapsed, he sits. In a short time all
campers will be seated and there will be a period of decorum
for the introduction of the next activity or for announcements.
These yells, applauses, responses, may sound noisy and even
boisterous to the new campfire program leader who is reading
them for the first time. They are meant to be noisy, to give
everyone a chance to blow off steam, to give everyone a sense
of participation. No good leader is afraid of noise, because he
knows how to control it or to cut it off when necessary. Some
of the ideas suggested here are especially popular with boys;
1 32 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
some are favorites at girls' camps. Many of them are simple to
learn and can be used even with the youngest campers. Camp-
ers of any age like novelty, and this part of the program
around the campfire can provide that novelty.
CHAPTER SEVEN
SINGING AROUND THE CAMPFIRE
RINGING around the campfire is a spontaneous activity. Any
small well-acquainted group shifts easily from banter into song
while the clams bake, while the hot dogs sizzle on their sticks,
after the last cool swim is over, or before packing the baskets to
go home. People sing under various circumstances in sorrow,
in joy, in war, in peace. People sing whether they are young or
old, primitive or civilized, uneducated or cultured. Above all,
people sing around the campfire.
In a camp situation songs are a part of almost every activity,
even a part of camp meals. Any camp director or counselor
knows that a good song can bring order out of confusion, be a
method of discipline, carry a group over an emergency, weld
a bunch of individualists into a co-operative group.
Singing around a campfire is spontaneous when the group
1 34 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
is small and intimate. No leader is needed, for all that is neces-
sary is someone to hum a measure of a familiar song. The
entire group joins, softly or loudly as their mood may indicate.
This is the kind of singing the campers enjoy at their cabin or
unit campfire where they sing without a song leader. At a
campfire attended by a large group and where a more formal
program is presented, a song leader is important.
POINTERS FOR THE SONG LEADER
The song leader is usually one of the counselors or unit
leaders who has a good basic knowledge of music. He may or
may not be a good singer himself, nor does he need to play
any instrument. But he must be a leader who has a collection
of songs in his head, who can select songs appropriate to the
occasion, who can teach old songs to new campers, who can
start the group together in singing, and who can mold the
group into a congenial, happy unit through singing. Since most
young people enjoy singing, the song leader usually finds it
easy to capture their attention and keep them interested.
Selecting Songs
There are occasions when a leader asks the campers what
song they would like to sing; then he is taken aback by the
shouts from the answering audience. Experienced song leaders
usually refrain from this tactic because of the indecision it
creates.
Often a leader must make the selection of songs because he
has to be sure that they are appropriate to the theme of a spe-
cial campfire program or that they are within the abilities of
the group. The song leader also finds it easier to lead and
teach the group if he selects songs whose melody, words, and
any necessary gestures or motions are familiar to him.
SINGING AROUND THE CAMPFIRE 155
The first song of the evening is the most important one. It
sets the mood for the campfire, as well as establishing the lead-
er's position as director of singing. A lively song, one that all
know, is the best choice. Response songs, competitive part
songs, stunt songs, rounds, and motion songs are good for
openers. They give young people a chance to relax and react
enthusiastically. They give everyone an opportunity to partici-
pate.
Getting and Keeping Attention
The song leader's control of the program and the campers
depends on getting their attention. As each new camp session
starts, he can indicate to the new campers how he will get their
attention perhaps by raising his hand, by clapping hands, by
clearing his throat loudly. The leader will catch and hold at-
tention more easily if he is in a good light and all can see him.
This does not mean standing in front of the fire so that his
figure is silhouetted. If the campfire is as bright as it should be,
the leader can see the singers and judge how effective his lead-
ership is. He can use his hands to give encouragement or to
suppress uncalled-for noises. Sometimes with a large group
the leader will find it helpful to wear white gloves or use a
baton that glows in the dark. This keeps attention focused in
his direction.
keeping Time
The song leader must be able to set the timing of the song
and hold the singers to this beat. If singers cannot keep to-
gether, the musical part of the campfire program becomes a
general melee. In a small group, a strong voice is often suffi-
cient to keep the singers together. In larger groups, the leader
can use his hands to lead the group. This can be a simple up
and down beat in time with the music, a waving motion with
1 36 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
emphasis on key rhythm words in the song, or a modified
choral leader's beat in three-quarter time or four-four time or
whatever the rhythm of the song.
Setting the Pitch
The song leader must set the pitch for the song. This is
important in good song leadership, for the singers will drop
out or lose all sense of pitch if the leader begins on too low
or too high a note. Pitch is especially important when young-
sters of a wide agesrange attend the campfire. Many leaders
hum a note or two as a tryout for pitch and then ask the audi-
ence to hum the same notes. Sometimes the leader and the
singers sing the scale as a warm-up. This may indicate that the
leader should set the pitch higher or lower to accommodate
the voices of boys or girls in a mixed group.
Leading the Song
A successful song leader maintains a form of discipline. Not
strict discipline, for a song fest is for fun and relaxation, but
a discipline that helps a group of individuals to sing as a
unit. The leader can build up this discipline during informal
singing at small unit campfires or in dining hall singing. Then,
when songs are used at a formal campfire program, the habit
of disciplined singing is second nature to the campers and they
respond to signals from the leader.
Agreement on signals is necessary if more than one song
leader or counselor teaches songs in group campfires that are
to be used at an all-camp council fire. Best results are obtained
when a leader does not lecture about how to sing, but starts
the group quickly on a song they know. He sets the pitch and
the beat, and signals the start. The first time through is a try-
out, so he can see how much the group knows about singing
and how responsive they are.
SINGING AROUND THE CAMPFIRE 15-7
Then he can teach his signals for louder, softly, hold, cut it
off sharply. This can be a game, for young people love to sing
and enjoy hearing themselves sing well. Young and old alike
are always astonished by the harmonious music that a good
leader can evoke from an untrained singing group. By using
simple, well-understood signals the leader can achieve the
same effect as an orchestra conductor. Some signals that are
effective are:
Hands held low sing softly
Hands moved upward sing louder
Hands held high, quivering hold the note as long as in-
dicated
Hands held with palms toward singers wait, stop
Hands brought down sharply- cut it off on that note
Finger on lips very softly
Campers soon become used to the leader's signals and are
eager to respond to them. The singing can be varied if the
group hums a chorus, or if one section hums while the other
section sings the words, or if boys take on the loud parts of a
song while girls do the softer, melodious parts.
Teaching New Songs
The formal campfire circle itself is not the best place for
teaching new songs. Learning new words and new melodies
takes too much time from the program and disturbs the mood
or interrupts the theme of the program. It is best to try new
songs at another time and place. If campers eat together in a
central dining hall, this is a good opportunity to learn words
for new songs. Small unit or cabin campfires are good places
for tryouts. Sometimes words to new songs are mimeographed
and passed out to campers or unit counselors so they may be-
come familiar with them before actually singing them. Song-
1 38 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
books and songsheets are useful, but campers should not
depend on them, for at a big campfire they will sing in semi-
darkness and will not have songsheets handy.
There are some songs that can be learned the first time they
are sung. Response songs, rounds, and motion songs are easily
learned, since they require little memorizing. Songs that have
a catchy chorus and many verses can be used without practice,
for the campers repeat the chorus over and over, while the
verses are sung as solos. Songs that are more complicated can
be taught one line at a time. The leader might sing the entire
new song or have a quartet of campers sing it to create interest
in it.
There are many opportunities to practice songs and use
songs before they are made a part of a formal campfire pro-
gram. Some tent or cabin units sing every night before going
to bed. Singing hikes around the camp are good practice ses-
sions. One group starts the parade, picks up additional groups
as they parade around, until all groups in camp are in the
singing line. Then each group drops out in turn as its cabin or
tent is reached. A song fest on the water in canoes is effective,
if all necessary safety precautions are met.
Having Fun with Singing
The campers have fun if the leader has fun. If he takes sing-
ing too seriously, strains his voice to get attention, is pedantic
in his discipline, then the camper reaction will not be favor-
able. The leader should make the cadence and rhythm of the
song work for him. The campers will catch on in a hurry.
When a group seems unrelaxed, the leader can break the ice
in various ways. He might have each part of the group practice
an orchestra tune-up on a different note, and at a signal blend
all the notes together. If one section of a group does not seem
SINGING AROUND THE CAMPFIRE 1 39
to sing well or is reluctant to sing, the leader can look at them
closely and act as if he is beating time just for them. They
will soon catch the rhythm. Best ice breakers and warm-ups
are motion songs and tongue twisters, either familiar ones or
new ones.
It is not necessary for a song leader to use elaborate mo-
tions in leading a group, but he should use big motions so all
can see. His motions interpret his own feelings about a song;
he may even jig or dance to the beat. He may build up response
to a song by using broader and broader motions as the verses
race on. He can suddenly turn off the volume and indicate that
one small group is to sing a solo verse. He can insert unex-
pected motions or noises into a song and indicate that the
group is to imitate him. In short, the leader has to have fun if
the singers are to have fun.
SONGS TO FIT THE PURPOSE
Much of the success of a campfire program depends on the
singing, and singing depends both on the song leader and on
the choice of songs. Every song used, especially in a formal,
prepared program, should be chosen with care, in advance of
the program and for a particular purpose. Of course, in a
spontaneous song fest that takes place without preparation,
such precautions need not be followed. Campers usually indi-
cate the songs they want to sing and usually select very familiar
or popular ones.
Many leaders like to use a "follow the flame 7 ' pkn in
choosing songs. After the opening ceremony, the fire is bright
and the songs are loud and active. Gradually, as the fire dims,
the songs become softer and the coals glow.
In the following categories of songs the leader will find many
140 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
that are familiar to him. Some are mentioned by title only;
for some the words are provided; for a few the music is given.
Several of these songs are used in the examples of campfire
programs included in this book. Most of the songs listed by
title only can be found in Camp Songs 'n Things.
Response Songs
Response songs are easily learned because the response is
repeated with small variations by the campers, while the leader
does the solo part and indicates each change. The response
song is good to use at informal campfires or early in the pro-
gram at a more formal campfire. It builds up esprit de corps
and enthusiasm and puts the audience in a good mood. The
first example, "Alouette," is probably familiar to all campers.
The other three are in the same vein.
ALOUETTE
1. ALL: Alouette, gentille Alouette,
Alouette, je te plumerai.
LEADER: Je te plumerai la tete.
ALL: Je te plumerai la tte.
LEADER: Et la tete.
ALL: Et la tete. Oh (drawn out)
2. ALL: Alouette, gentille Alouette,
Alouette, je te plumerai.
LEADER: Je te plumerai le bee.
ALL: Je te plumerai le bee.
LEADER: Etlebec.
ALL: Etlebec.
LEADER: Et la tete.
ALL: Et la tSte. Oh (drawn out)
3. Je te plumerai le nez.
Et le nez.
SINGING AROUND THE CAMPFERE 14 1
4. Je te plumerai le dos.
Et le dos.
5. Je te plumerai les pattes.
Et les pattes.
6. Je te plumerai le cou.
Et le cou.
The third, fourth, fifth, and sixth verses use one new refrain
in each, and then leader and singers repeat all the previous re-
frains. The sixth verse, thus, begins with le cou, then goes back-
ward through les pattes, le dos, le nez, le bee, la tete.
ALL I ETA
This is sung to the same tune as "Alouette" and is especially
popular in boys' camps.
ALL: All I eta, think of all I eta,
All I eta, think of all I et
LEADER: Think of all the pie I et
ALL: Think of all the pie I et.
LEADER: All the pie.
ALL: All the pie.
LEADER: All I et.
ALL: All I et. Oh (drawn out]
The "Oh" of the final line is drawn out and singers panto-
mime holding their stomachs. As many verses as desired can
be made for this song, using any food cake, meat, spuds, nuts,
fish.
HERE WE ARE
This is sung to the tune "Ain't a Gonna Grieve My Lord."
LEADER: Oh here we are.
ALL: Oh here we are.
142 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
LEADER: About our fire.
ALL: About our fire,
LEADER: And here we'll stay.
ALL: And here we'll stay.
LEADER: Until we tire.
ALL: Until we tire.
EVERYBODY: Oh here we are about our fire.
And here we'll stay until we tire.
CHORUS: Oh we ain't a gonna leave our friends no more.
We ain't a gonna leave our friends no more.
We ain't a gonna leave our friends no more.
Oh we ain't a gonna leave (hold this) our friends no
more.
The other verses are sung in a like manner with all repeti-
tions by leader and group and with chorus. Here are the
refrains:
2. The bugler wakes up
So early in the morn.
He takes a breath
And toots his horn.
3. We could sing all night.
We could sing all day.
But we don't want
To drive you away.
MY HARLAN GOAT
In this song the leader sings each line and the group echoes
it. All sing the last line. No practice is needed for a song such
as this because the leader gives each key line and campers
repeat it.
SINGING AROUND THE CAMPFIRE
THE GOAT
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5^ZZZn3=-^i* * ,^ip'jMi -^^--v=--^sz=-a..^=z* v^jj^
MV HAft-lKN GOAT**" C&S FEEL-ING- flNE* ^TE THREE
THE WH/S-TLE 8UW
OILt TOOK A STICK
HE <?AY THREE, 6ROANS
TIED HtH TO r 'THE RAKrRQAD TRACK
COUGHED (IP THE SWRtt JM> FUW3& 7HF 7WUW
t-
mAM&uiegi*<' Voice - ;
VrrwivaisiTY s^cienriMc
Motion Songs
Motion songs give an opportunity for movement and are
useful if a program is long or if some break is needed when
campers become restless and lose interest in the program. The
leader must know the song and motions well; then he will
not become confused even if the singers do. Motion songs are
useful as ice breakers in the early part of the program or at a
get-acquainted campfire.
JOHN BROWN'S BODY
Sung to the tune of "Battle Hymn of the Republic/' this is
familiar to many old campers and is fun for new campers.
John Brown's body lies a-mouldering in the grave,
John Brown's body lies a-mouldering in the grave,
John Brown's body lies a-mouldering in the grave,
As we go marching on.
The leader indicates that this refrain and the additional
verses are repeated over and over; each time a word is dropped
144 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
and a motion substituted for the word; at the end the song is
sung without words and the motions follow the leader's heat;
the final phrase, "As we go marching on/' is sung by all as a
contrast to the part-motion, part-voice verses.
EVERYBODY CLAP HANDS
Everyone knows the tune "Happy Birthday to You 77 and
it can be used for this song.
1. Everybody clap hands, everybody clap hands,
Now join in the party, everybody clap hands.
2. Everybody shake hands, everybody shake hands,
Now join in the party, everybody shake hands.
3. Everybody stand up, everybody stand up,
Now join in the party, everybody sit down.
The action, such as "clap hands/' takes place immediately
after each phrase is sung and before the next phrase is started.
DID You 'EAR ABOUT HARRY
This song is done to the tune of "Yankee Doodle 7 ' and is
sung first without action.
O Chester, did you 'ear about Harry?
He chest got back from the army.
1 7 ear he knows how to wear a rose,
Hip! Hip! Hooray! for the army!
After the first singing, the song is repeated four times; each
time an additional line is acted as well as sung; finally the
whole song is accompanied by the following actions. The
tempo can be speeded until the motions are wild:
First line: Hit chest, touch ears, touch head.
Second line: Strike chest, back, and fold arms.
SINGING AROUND THE CAMPFHUS 1J.C
Third line: Point to self, touch ear, touch head, and hold
fist over lapel.
Fourth line: Put hands on hips twice, throw hands up,
and fold hands.
DOWN BY THE OLD MILL STREAM
The leader may have to teach the words for this song before
he teaches the motions, but young people enjoy it and the
effort is worth while.
Down (point downward) by the old (stroke beard] mill
(hands like paddle wheel) stream (a zig-zag motion) ,
Where I (point to eye) first (finger raised) met (hand-
clasp) you (point).
With your eyes (point to eye) so blue (point to sky),
Dressed in gingham (point to dress) too (two fingers).
It was there (point) I (point) knew (forehead)
That you (point) loved (hug self) me (point) true (right
hand up with palm out) .
You (point) were sixteen (count on fingers),
My (point) village queen (crowning motion over head),
Down by the old mill stream (as first line).
If the group is older and can carry on a two-part song, this
variation of the song is fun. One group sings the regular verses
of the song, with or without motions, and holds the words
printed in italics. The second group sings the words in paren-
theses as the first group holds the italicized words.
Down by the old (not the new but the old)
Mill stream (not the river but the stream)
Where I first (not the second but the first)
Met you (not me but you)
146 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
With your eyes (not your nose but your eyes)
So blue (not green but blue)
Dressed in gingham (not silk but gingham)
Too (not three but two)
It was there (not here but there)
I fenew (not guessed but knew)
That you loved (not hated but loved)
Me true (not false but true)
You were sixteen (not six but sixteen)
My village queen (not king but queen)
Down by the old (not the new but the old)
Mill stream (not the river but the stream).
Other suitable motion songs are: "Little Tommy Tinker";
"Puffer Billies"; "One Finger, One Thumb"; "Under the
Spreading Chestnut Tree"; "MacNamara's Band." These will
be found in Camp Songs 'n Things, as well as in other song-
books.
Build-up Songs
A rousing song fest can be centered on build-up songs. These
are songs where a word or a phrase is added each time a verse
is sung, thus building up to a fast-moving, enthusiastic song.
They can be taught at the campfire program and are best used
in the early or middle part of the program. The leader indi-
cates a faster and faster tempo until singers are almost breath-
less as they try to cover all the added phrases.
THERE fr A HOLE IN THE BOTTOM OF THE SEA
y-y
TH6RES A MOLE M* THE BOTTOM OF THE SEA THEWS A HOLE fN THE GOTJDtl Or THE
SEA THERESA HOLE TH$AHOLE mKt'MK0ieiMm6CTWrt<JFTH SEA
SINGING AROUND THE CAMPFIRE 147
THERE'S A HOLE IN THE BOTTOM OF THE SEA
1. There's a hole in the bottom of the sea,
There's a hole in the bottom of the sea,
There's a hole, there's a hole, there's a hole in the bottom
of the sea.
2. There's a log in the hole in the bottom of the sea,
There's a log in the hole in the bottom of the sea,
There's a log, there's a log, there's a log in the hole in the
bottom of the sea.
3. Add: knot on the log.
4. Add: frog on the knot
5. Add: head on the frog.
6. Add: eye in the head.
7. Add: stye in the eye.
8. Add: hair in the stye.
9. Add: kink in the hair.
10. Add: germ on the kink.
The final fast round would be "There's a germ on the kink,
in the hair, in the stye, in the eye, in the head, on the frog, on
the knot, on the log, in the hole, in the bottom of the sea."
TODAY Is MONDAY
This can be built up in chant form, with a new day and a
new specialty for that day added in each verse, plus a repetition
of all preceding specialties. The refrains can be sting in parts
by different groups, each group standing as it sings and all join-
ing in the last line.
i. Today is Monday, today is Monday
Monday roast beef, to all American campers*
I wish the same to you.
148 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
2. Today is Tuesday, today is Tuesday
Tuesday string beans, Monday roast beef,
To all American campers, I wish the same to you.
3. Today is Wednesday soup, etc.
4. Today is Thursday roast corn, etc.
5. Today is Friday fish, etc.
6. Today is Saturday pay day, etc.
7. Today is Sunday (sung slowly) church, etc.
The final refrain includes all the days and their specialties
in a fast tempo,
THE BRAINBOXER SONG
This song is to be done with motions, and again the singers
build up to a fast climax by adding a word and motion with
each refrain and repeating preceding refrains, until there are
seven items in the last part of the song.
BfiAIN BOXER
. vi.: r ".!_:
bd
^=1
N^
VAT HAVE X HERE OAT IS W
m HANDS OH MV-
*
&OX-CR rrr MA-MA DEAR &MIN
WP-PY PfP*PY 000. OAT6 VAT I tCARN IN PAT SCHOOL
i. My hands on myself, vat have I here (pointing to head)
Dat is my brainboxer, my Mama dear.
Brainboxer, brainboxer, dippy dippy dippy doo,
Dats vat I learn in dat school.
SINGING AROUND THE CAMPFIRE
2. My hands on myself, vat have I here (pointing to eye)
Dat is my eye vinker, my Mama dear.
Eye vinker, brainboxer, dippy dippy dippy doo,
Dats vat I leain in dat school.
3. My hands on myself, vat have I here (pointing to nose)
Dat is my nose dropper, my Mama dear.
Nose dropper, eye vinker, brainboxer, dippy dippy dippy doo,
Dats vat I learn in dat school.
4. Meal pusher.
5. Chin chopper.
6. Chest pertecker.
7. Bread basket.
The leader can make up motions to accompany the refrains.
The last refrain, "breadbasket/ 7 is sung with low, deep voice.
"Alouette" is also a good build-up song. In any of these
songs the leader should teach the words and motions slowly.
Then, as the campers become familiar with the repetition of
phrases, he can speed up the pace by using his hands to beat a
fast tempo.
Divided Group Songs
In a large group it is sometimes fun to divide the group into
several sections to sing in competition with one another. "Old
MacDonald Had a Farm" is a good one for a starter, since
most youngsters know it.
OLD MAcDoNAiD HAD A FARM
Everyone sings together at first, as a warm-up to see that
everyone knows the song. Then the group is divided into five
sections. All sing the refrain "Old MacDonald had a farm,
E-I-E-I-O"; and each section sings its own part. Each group
might stand as it sings its part. The song is built up until the
ICQ THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
fifth verse includes all parts in this order: Ford, pig, turkey,
ducks, chicks, closing with a drawn out "E-I-E-I-O."
1. Old MacDonald had a farm, E-I-E-I-O.
And on this farm he had some chicks, E-I-E-I-O:
With a chick chick here, and a chick chick there, and here a
chick, there a chick, everywhere a chick chick,
Old MacDonald had a farm, E-I-E-I-O,
2. Old MacDonald had a farm, E-I-E-I-O.
And on this farm he had some ducks, E-I-E-I-O.
With a quack quack here, and a quack quack there, and
here a quack, there a quack, everywhere a quack quack.
With a chick chick here, and a chick chick there, and here
a chick, there a chick, everywhere a chick chick.
Old MacDonald had a farm, E-I-E-I-O.
3. Turkey gobble gobble
4. Pig oink oink
5. Ford rattle ratfle
OLD KING COLE
Boys like this take-off on an old nursery song because of its
military additions. The group should be divided into four sec-
tions. Each section learns its special part and then learns the
parts that are sung in unison. It is effective if each group stands
as it sings its special line. The song is done four times, and the
fourth time around all four groups sing their parts in turn.
i. AIX: Old King Cole was a merry old soul
And a merry old soul was he,
He called for his pipe and he called for his bowl,
And he called for his fiddlers three,
FIRST GROUP: Root tooty toot tooty toot said the bugler.
ALL: Happy men are we; there's none so fair as can com-
pare with the American infantry.
SINGING AROUND THE CAMPFIRE 1 51
2. ALL: Old King Cole was a merry old soul
And a merry old soul was he,
He called for his pipe and he called for his bowl.
And he called for his fiddlers three.
SECOND GROUP: Mulligan again today said the sergeant.
FIRST GROUP: Root tooty toot tooty toot said the bugler.
ALL: Happy men are we; there's none so fair as can com-
pare with the American infantry.
3. THIRD GROUP: Hold my horse by the head, said the captain.
4. FOURTH GROUP: The army's gone to the dogs, said the gen-
eral.
To make an effective harmony finale, the last words of the
last line can be held by all.
Other good divided group songs that call for special parts
repeated from verse to verse are: "The Animal Fair/ 7 "Hello,"
"Three Jolly Fishermen." These and others will be found in
Camp Songs y n Things and in other songbooks.
Hounds
Rounds can be loud and lively, but they can also be sung
with good harmony. They are popular, easily learned, and offer
an element of competition. For rounds the group is divided
into two or more sections; each section sings the round through
two or three times; each section begins a line or two behind
the preceding section. Thus the beginning of the round is sup-
ported by only one section, the middle is supported by all sec-
tions, and at the end the last section sings alone.
ARE You SLEEPING?
This is the delightful French round in its English version.
It is usually sung by two groups, but can be done by four if
1 p THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
each group is able to sustain its lines in the face of competition
from three other groups.
Are you sleeping? Are you sleeping?
Brother John, Brother John,
Morning bells are ringing, morning bells are ringing,
Ding ding dong ding ding dong.
PERFECT POSTURE ROUND
Most groups know the tune for "Are You Sleeping?" Other
rounds can be made up using the same tune. Here is one:
Perfect posture, perfect posture,
Do not slump, do not slump.
You must grow up handsome, you must grow up hand-
some.
Hide that hump, hide that hump.
SCOHAND'S BURNING
Here is a rousing round with a climax in the last line. Camp-
ers might shout this line dramatically or rise and sit three
times rapidly as they shout "Fire! Fire! Fire!"
Scotland's burning, Scotland's burning,
Pour on water, pour on water,
Fire! Fire! Fire!
Other rounds that are fun are: "Little Tommy Tinker,"
"Row, Row/Row Your Boat," "Puffer Billies/' "Sweetly Sings
the Donkey," all in Camp Songs 'n Things.
Marching Songs
These are often used along the camp trails, but they have a
part in campfire programs too. Perhaps each group or cabin
unit can march to the fire ring singing its own marching song.
SINGING AROUND THE CAMPFIRE
Or all can sing the same song as they walk to the fire ring. The
music swells as the several groups reach the fire. Marching
songs can be found in all camp song collections.
Songs with Chorus and Many Verses
When a camper group is new and not familiar with many
songs, it is good to start with a warm-up song that has only a
chorus for them to learn. The leader sings the verses, or a
group of campers who learned the song last year might sing
the verses. Usually the verses for such songs are nonsensical,
often made up by the imaginative leader as he directs the
chorus and sings his solo verses. Here are two examples ridic-
ulous but fun:
DIDN'T HE RAMBLE?
CHORUS: Oh didn't he ramble, he ramble, he rambled all around,
In and out of town,
Oh didn't he ramble, he ramble, he rambled till they
had to cut him down.
Billy the goat, Bang!
1. He rambled in the butcher shop, he rambled for some meat.
The butcher man got after him and rambled him in the seat.
(Chorus)
2. He rambled on the ferry boat among the fiery glare.
The powder magazine blew up and rambled him in the air.
(Chorus)
3. He rambled in the bakery shop, he rambled for some pie.
The bakery man got after him and rambled him in the eye.
(Chorus)
4. He rambled in the carpenter shop, he rambled for a saw.
The carpenter man got after him and rambled him in the
jaw. (Chorus)
THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
5. He rambled in the poultry shop, he rambled for some eggs.
The poultry man got after him and rambled him in the legs.
(Chorus)
6. He rambled in the hosiery shop, he rambled for some hose.
The hosiery man got after him and rambled him in the nose.
(Chorus)
THE DUMMY LINE
AMERICAN FOLK TUNE
SOME-TWINS MOVE S M A
A-CROSS THE PRAIlHE OH A STREAK OF
t
CLOUD OF DUST PULLCD (N-TO THE 6TA-TION WITH A
/ _ ; ^^MjggfBBi
1 UUUCF7P Akin A\A/UlT)F 'TlilAC TMF TMPPF O'rinCK ITIY-rD />M TM
DUM-MY LINE ON THE DVW-MY UNE OH THC DUM-MY LINE
RAIN OR SHINE I'LL PAY MY FINE RAIN OR 6MINE I'LL
M-DING ON THE OUM-MY
THE DUMMY LINE
Again, the leader need only teach the chorus to the campers.
He can solo on the rest of the song.
CHORUS: On the dummy line, on the dummy line,
Rain or shine III pay my fine,
Rain or shine Til pay my fine,
Riding, riding, riding on the dummy line.
SINGING AROUND THE CAMPFIRE 155
1. Across the prairie on a streak of rust
Something moved in a cloud of dust,
Pulled into the station with a wheeze and a whine
Twas the three o'clock flyer on the dummy line. (Chorus)
2. The train stopped at a little town
In came three maidens all dressed in brown
There aren't any seats, says one with a frown
Mr. got up and they all sat down. (Chorus)
3. There was an old doctor by the name of Beck
Fell into a well and broke his neck
Serves him right for he ought to have known
To tend to the sick and leave the well alone. (Chorus)
4. I got on the dummy, didn't have any fare
The conductor said what you doing here
He took me by the collar and he threw me out the door
Said he didn't want to see me on the dummy any more.
(Chorus)
5. I said to the conductor can't you speed up a bit
He said you can get off if you don't like it
Said I, old man I'd take your dare
But the folks don't expect me till the train gets there.
(Chorus)
Two additional songs of this type are "Polly Wolly Doodle
All the Day" and "Here We Are."
Applause Songs
Many camps have their own applause or recognition songs
which they use to greet visitors or special guests at a campfire.
"For He's a Jolly Good Fellow/' "Hello," and "Bravo" are
good applause songs. They are in Camp Songs 'n Things. Here
is another one:
156 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
OH HERE'S. TO MR.
This is sung to the tune of "Ach du Lieber Augustine/' and
with great gusto. The person honored can be addressed as Mis-
ter or Brother, or by name as Mr, or Mrs
Oh! Here's to Brother (Mr.)
He's with us tonight.
He's with us, God bless him;
God bless him, he needs it,
Oh! Here's to Brother
He's with us tonight.
Pantomime Songs
Ballads and songs that tell a story can be used in pantomime
singing. The leader can indicate the motions or actions he
wishes campers to use, taking care to use these same motions
whenever the song is used.
CLEMENTINE
This is a perennial favorite and runs the gamut of emotions.
The last five verses are effective when sung in a minor key and
more slowly than the first verses.
In a cavern, in a canyon,
Excavating for a mine,
Dwelt a miner, forty-niner,
And his daughter, Clementine.
CHORUS: Oh, my darling, oh, my darling,
oh, my darling Clementine,
You are lost and gone forever,
dreadful sorry, Clementine.
Light she was and like a fairy,
And her shoes were number nine;
SINGING AROUND THE CAMPFIRE 1 57
Herring boxes, without topses,
Sandals were for Clementine. (Chorus)
Drove she ducklings to the water,
Ev'ry morning just at nine;
Hit her foot against a splinter,
Fell into the foaming brine. (Chorus)
Saw her lips above the water,
Blowing bubbles, mighty fine;
But alas! I was no swimmer,
So I lost my Clementine. (Chorus)
In a corner of the churchyard,
Where the myrtle boughs entwine,
Grew the roses in their posies,
Fertilized by Clementine. (Chorus)
Then the miner, forty-niner,
Soon began to peak and pine;
Thought he "oughter jine" his daughter,
Now he's with his Clementine. (Chorus)
In my dreams she still doth haunt me,
Robed in garments soaked in brine;
Though in life I used to hug her,
Now she's dead 111 draw the line. (Chorus)
How I missed her, how I missed her,
How I missed my Clementine!
But I kissed her little sister,
And forgot my Clementine. (Chorus)
Now you campers should learn the moral
Of this little tale of mine;
Artificial respiration
Would have saved my Clementine. (Chorus)
1 58 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
THE DYING HOBO
Here is another song that can be pantomimed. A small group
of campers might build a pantomime skit on it, while a quartet
sings the words.
By a western water tower, on a cold November day,
In an empty box car a dying hobo lay.
His pardner knelt beside him with bowed and drooping
head,
To listen to the last words this dying hobo said.
I'm going, said the hobo, to a land that's fair and bright,
Where hand-outs grow on bushes and you sleep out every
night.
Where the box cars are all empty and you never change
your socks.
And little drops of cocoa come trickling over the rocks.
His head fell back, his eyes fell in as he sang his last
refrain,
His pardner stole his shoes and socks and caught the west-
bound train.
Two other songs that lend themselves to pantomime drama
are "Clancy Lowered the Boom" and "Ivan Skivitzsky Skivar ."
This last is in Camp Songs y n Things.
Tongue Twisters
Boys and girls of any age like tongue twisters. It takes time
for the leader to teach them and for the youngsters to learn
them. Most leaders prefer to teach tongue twisters in small
groups rather than at the large campfire.
SINGING AROUND THE CAMPFIRE 1 59
NICKETY NACKETY
This is part of an old folk song. The leader needs no music
for it; he can teach it as a chant.
I married my wife in the month of June
Nickety nackety now now now
I courted her home by the light of the moon
Nickety nackety hay don daffety, willity, wollety,
russaco quality,
Nickety nackety now now now.
The refrain or tongue twister in lines 2, 4, and 5 is used
over and over. Lines i and 3 can be changed to refer to camp
activities, camp personalities, any humorous happenings of the
day.
KILLE KICXE
This is a good two-part song with an imitation of a tom-tom
and of Indian language. One group sings "Umpah, umpah,"
imitating a tom-tom. The other group sings the words.
Kille kille kille kille,
Watch watch watch watch,
Kay-you-kin-cum-ka-wah,
Kille kille kille kille,
Watch watch watch watch,
Kay-you-kin-cum-ka-wah.
Hay-a-a-chalma
Hay chalma-olly-wahama
Hay-a-chalma
Hay-chalma-polly-wah.
i6o
THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
Qur QUA QUONNIE
Here is a doggerel Latin tongue twister that campers like to
sing. The ridiculous chant, "My umpah is better than your
Papah," is used at the end of the tongue twister.
GUI OUA
QUI QUAQUON-NIE MON-NIE DON-NIEMOH-NIE' DAS-NIC QUI QUA
QUO QUA QUI OH NJOC-O-DEAM-O OH CHAR-LEY OL-LY UM-PAH OH
mas
NJCK-O-DEAM-O OH CHAJUY ObLY Ufl-RAH UM-PAH UM-R\H PAHH//
a
(CHANT): JIYUfl-mH IS BETTER THAN YOUR PA'
Medley Songs
Even though some medley songs are old and dated, they are
still loved by each generation of campers. Perhaps this one is
the favorite and the best known. It gives a chance for harmony
and for both loud and soft singing.
FVE BEEN WORKING ON THE RAILROAD
Fve been working on the railroad all the livelong day.
I've been working on the railroad just to pass the time
away.
Can't you hear the whistle blowing? Rise up so early in the
morn.
Can't you hear the captain shouting, Dinah blow your
horn.
SINGING AROUND THE CAMPFIRE
Dinah, won't you blow, Dinah won't you blow, Dinah
won't you blow your ho-o-orn?
Dinah, won't you blow, Dinah won't you blow, Dinah
won't you blow your horn?
Someone's in the kitchen with Dinah, someone's in the
kitchen I kno-o-o-ow.
Someone's in the kitchen with Dinah,
Playing on the old banjo!
Fee fi fid-lee-i-o-oo, fee fi fid-Iee-i-o-oo, fee fi fid-lee-i-oo,
Playing on the old banjo!
These are always popular, but especially suited to the closing
program around the campfire. The soft harmony song fits the
mood of the dying fire and is a good note on which to start
the campers to their cabins or tents.
VESPER SONG
The tune "Maryland, My Maryland' 7 can be used with these
words,
Softly falls the light of day
As our campfire fades away
Silently each boy (girl) should ask,
Have I done my daily task?
Have I kept my honor bright?
Can I guiltless sleep tonight?
Oh have I done and have I dared r
Everything to be prepared?
Other beautiful and well-known harmony songs are: "Old
Kentucky Home," "Carry Me Back to Old Virgmny/' "Down
by the Old Mill Stream,' 7 "Springtime in the Rockies." The
162 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
book Camp Songs 'n Things has the words for these harmony
songs, some of which are familiar to most campers: "Tell Me
Why/' "Witchcraft," "Let Me Call You Sweetheart," "Down
in the Valley," "Hello," "Taps."
Ofier Songs
Western songs are fine for campfire programs and many of
them are true harmony songs* Some good ones are: "Home on
the Range," "Cowboy Sweet Bye and Bye," "Git Along Little
Dogie," "Last Night as I Lay on the Prairie," "Red River Val-
ley." All these are found in Camp Songs 'n Things.
Sometimes a leader cannot resist the temptation to use dated
songs that he remembers with fondness. Some of them are
still popular, but some are so dated and so related to past
events that the youth of today does not know them. The leader
will waste too much time teaching them.
There are plenty of songs to replace these. Young people
usually know the popular radio and television songs and songs
from films and musical comedies.
The following two camp songs might be useful to the song
leader. One is a humorous description of a camper and the
other a melodious praise of camping.
THE CAMPER SONG
Oh, I'm a hayseed, my hair is seaweed,
And my ears are made of leather,
And they flop in rainy weather.
Gosh oh hemlock, tough as pine knots.
For I'm a camper can't you see.
CAMPING WE Go
This is sung to the tune of "Down in Mobile," rather softly,
and with some harmony.
SINGING AROUND THE CAMPFIRE 1 63
Camping we go, camping we go,
Sunlight trails and lands where waters flow,
By the campfire's friendly flaming glow,
Camping we go, camping we go.
All the material in this chapter should be considered as re-
minders and suggestions only. One good song, such as "Alou-
ette," will recall a dozen others to the song leader. One ex-
ample of a tongue twister song or a rousing round can start a
creative song leader on the way to writing catchy or ridiculous
words for almost any well-known tune. A song committee of
campers and the song leader might compose its own camp
songs to be introduced to the entire camp at a campfire song
fest Singing is a method of communication in every camp and
has a spontaneous or formal place in almost every area of camp
activities and program.
BIBLIOGRAPHY
Cheley, Frank H., and Pagans, Philip D. Camping Out and Wood-
craft. New York: Halcyon House, 1937.
Dykema, Peter William, Twice 55 Community Songs. Boston:
C. C. Birchard & Co., 1919.
, Twice 55 Community Songs, No. 2, The Green Book.
Boston: C. C. Birchard & Co., 1923.
Fletcher, Alice, Indian Story and Song from North America. Bos-
ton: Small, Maynard & Co., 1900.
Nichols, Alfred C., Jr., Songs Scouts Sing. New York: Boy Scouts
of America, 1948.
, Boy Scout Song Book New York: Boy Scouts of America,
1956.
Zander, Carl E., and Klusmann, Wes H., Camp Songs *n Things.
Published by authors, Addiston St., Berkeley 4, Calif., 1950.
CHAPTER EIGHT
STORY AND TALK
AROUND THE CAMPFIRE
STORYTELLING is associated with the campfire in the minds of
most people. Sometimes this is formal, planned storytelling,
sometimes spur-of-the-moment storytelling, and sometimes cas-
ual conversation in the intimacy of the firelight, with stories as
a part of the conversation. The love of stories is universal; all
ages, both sexes, fall under the spell of a good storyteller.
The smaller and more intimate the campfire group, the more
frequently stories and songs form most of the program* This
does not mean that stories are out of place in a large group or
at a camp-wide program. In the smaller group the story is most
often used as entertainment. In a larger group it is often used
for instruction and inspiration as well as for entertainment.
164
STORY AND TALK AROUND THE CAMPFIRE 165
A campfire makes a favorable setting for storytelling. The
semidarkness lighted only by firelight or torches, the stillness of
the natural world around the fire ring, the attention of the
campers focused on the program all this creates a receptive
atmosphere. The campfire leader has a responsibility in using
this setting for storytelling, in choosing story material, and in
preparing and telling the stories selected.
HOW TO TELL A STORY
The leader must know the story well in order to tell it well.
A new story should be read and reread several times and its
main points outlined in order. If the leader tells the story sev-
eral times when alone, his telling at the campfire will be more
effective. He will have his outline well in mind and can give
his attention to telling the story. Only when he has told a tale
a dozen times does a storyteller know his story well. The leader
who pays attention to the following story techniques will be a
better storyteller,
Setting the Stage. If campers are not in the mood for a story,
there is no point in telling one. Before any storytelling session,
the campfire leader should make sure that campers understand
that story time is a quiet time and that they should listen
quietly unless it is their turn to tell the story. The storyteller
should not have to compete with discourtesy on the part of the
listeners. The comfort of the audience is important in provid-
ing this quiet and courteous atmosphere. All youngsters will
wiggle and whisper if not comfortable.
Audience Reaction. The storyteller can sense and measure
the acceptance and mood of the audience. He should create
the mood for the story so the campers are drawn into it and
continue in it. When their attention wavers, he knows that the
l66 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
mood is lost. Perhaps he can regain it by speeding up his story,
omitting a part of it, changing the action in it. Their attention
may waver, too, if the storyteller tells everything and leaves
nothing to the campers' imagination.
Speed. A good storyteller knows how to get under way with
speed. He knows the camper is interested in action, and he
eliminates all long descriptive passages. He concentrates on ac-
tion, continuity, surprise.
Sincerity. This is an important asset to the storyteller. Lis-
teners will accept his ideas if they believe in him. Since almost
any story he chooses will have a point, a purpose, or a moral,
it is important that he present this moral not by pointing to
the lesson the story illustrates, but by telling the story so well
that it demonstrates its lesson. Moralizing seldom goes over
with campers or any young people.
Telling the Story. The storyteller should use language suited
to his listeners. Language suited to a teen-age group is not al-
ways suited to the very young campers. Simple words and a
loud clear voice can improve any good story. The storyteller
should show that he is enjoying his own story. This increases
the enjoyment of the listeners. All campers appreciate humor,
and storytelling gives an opportunity for humor. Younger chil-
dren like a happy ending, and most young people like a story
where the hero wins. Sometimes the storyteller may change a
story to cater to those tastes.
Stories can help the activity program of the camp. A fishing
yarn told at the campfire one night can lead to an interest in
a fishing expedition the next day. The story of an unusual nat-
ural phenomenon in the camp area can lead to a nature hike or
exploring trip. Someone might tell a story about a good source
of Indian arrowheads nearby, or a special place in the woods
where a moss carpet and tiny ground flowers can be seen, or
an island that can be the goal of a canoe trip. Campers are
STORY AND TALK AROUND THE CAMPFIRE 167
there to enjoy the camp; sometimes a good storyteller can whet
their appetite and increase their enjoyment.
Reading a Story
Reading at the campfire is usually difficult because of the
semidarkness or the flickering light. Reading a story is difficult,
too, because the attention of the campers has opportunity to
wander. The leader who reads does not have as much of the
person-to-person contact as the leader who tells his story. The
storyteller can keep his eyes on his audience; he senses when
to linger over details and when to hurry on; he can act or
emote when the story requires it; he uses his face and eyes and
hands as well as his voice. His audience watches him closely.
The reader must choose his story material even more care-
fully than the storyteller. He is apt to follow the printed word
closely, whereas the storyteller improvises and changes the
story each time he tells it. The reader must choose dramatic
material, whereas the teller can add drama by his own activities
and emotions. The reader must be a good reader; most people
do not read aloud with any competence. His voice should carry
for a distance; he should not mumble or read with his lips and
face directed down to the book; he should practice reading the
story to avoid stumbling over pronunciation.
Story reading is best used in the small intimate campfire
rather than in the camp-wide program. If the campers are very
young, they will want to see the illustrations in the book.
These can only be shown if the group is small. In the school-
room children enjoy hearing the teacher read, but in the camp
setting they enjoy the telling of a story more than the reading.
Using Poetry
Certainly poetry has a high place at the campfire. There is
something about the firelight, the encircling soft night, the
l68 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
trees and the noises of the dark, that puts even a tough, unsen-
timental youngster into a poetic mood. Many formal campfire
rituals are conducted in free or blank verse and dressed up
with appropriate poetry. Song is a form of poetry. Choral reci-
tation is a form of poetry. Many camps have a good selection
of poetry in the camp library, and it is always surprising to see
how often these books are consulted by campers when plan-
ning a campfire program.
The campfire program leader should consider the age and
sex of the campers when choosing poems to use. What appeals
to a group of twelve-year-old boys will not appeal to a group of
twelve-year-old girls, whose tastes in poetry and music are usu-
ally more advanced. Humorous verse usually appeals to all ages
and both sexes; dramatic story poems are enjoyed by all. Some
of these might be used as the basis for impromptu dramatics
or for pantomime. Ballads are good for camp use because of
the repetition of refrains or verses. Sometimes poetry with in-
spirational, patriotic, or historic themes is suitable for the pro-
gram. The bibliography gives some suggestions for books of
poetry that would be useful in a camp library.
Audiovisual Aids to Storytelling
A good storyteller needs no help from sound effects or visual
objects. The story is in him his voice, his eyes, his gestures, his
pose. There are times, however, when even a good storyteller
or good reader wants to surprise his audience and give them
the unexpected. Then he turns to visual aids, such as those
suggested here:
Background Decorations. The fire ring can be decorated to
carry out the theme of the story. For example, on the night
Paul Bunyan stories are used, a camp art group might draw
huge Bunyan pictures or cartoons to prop against trees or rocks
STORY AND TALK AROUND THE CAMPFIRE 169
in the campfire circle. These must be visible to the audience or
their point is lost. If Indian tales are the program for the eve-
ning, Indian symbols and articles might provide a background.
The storyteller might stand before a tepee, wear a feather
headdress. If fairy tales or nursery tales are used with young
children, suitable decorations and props and costuming can be
invented without too much effort, since the children's imagina-
tion will add what is not there.
Background Sounds. Sound effects can add to some stories.
Queer noises, calls of strange animals, laughter, sobs, shouts,
the whistle of a bird, the sound of thunder or rain, hoofbeats,
tom-tom, war whoop all make the story come alive. Some-
times the melody of a song or chant is mentioned in the story
and the storyteller can hum or sing this music. Often the story
calls for a few notes of an instrument which some camper may
have brought to campa guitar, recorder, mouth organ, or
accordion.
Recordings. Musical recordings are excellent background for
ceremony or storytelling. Sometimes a delicate waltz theme or
a soft melody from a musical comedy can set the mood for a
romantic story. Martial music and cowboy music can add to a
he-man adventure story. Indian music on records is used fre-
quently in camps where the Indian theme is predominant.
A campfire leader who is building up a camp record library
might consider some of the recordings of stories, plays, poetry,
musical comedies, folk songs. There are also records that record
only background noises for use in storytelling sound of train,
noise of thunder or rain, screams, sobs, wind in the trees, foot-
steps approaching, creaking stairs, squeaking doors. Any of
these can add to story hours. If the campfire site is in the deep
woods, the use of a record player may not be feasible unless
the camp owns a hand-wind machine.
Another way of adding interest to a campfire program is
THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
through tape recordings of past programs that have been highly
successful. Such recordings might be a dramatic point in a
storytelling hour especially if they are brief enough and clear
enough to hold the attention of the campers.
Lantern Slides. Some stories can be well illustrated with
slides and filmstrips thrown on a screen. A good example is
the story of an exciting primitive camp-out the previous year
accompanied by color slides taken on the spot. Nature stories
can be illustrated by slides of star formations, leaf prints, ani-
mal tracks, birds. These slides can be prepared at camp or they
can be commercial kodachrome slides.
Chdk Talk. If the storyteller or another campfire leader is a
good freehand cartoonist or sketcher, he can illustrate stories
by fast outline drawings or stick figures. Campers love this and
the storyteller is sure to have their attention to the end. Draw-
ing can be done on a large blackboard or on large sheets of
newsprint. This activity can only be used in a small campfire
group; it is ineffective with a large group where the drawings
will not be visible to all.
Crystal Bdl. The storyteller may decide on some signal or
device that means story time is about to begin. A crystal ball
is a good device. The storyteller gazes into it with a rapt stare
while the audience becomes quiet and attentive. Then, as if
he had seen the story in his crystal ball, he turns to the au-
dience and begins his tale. A tom-tom beat or a drum roll or
a gong might be the signal used to indicate story time is at
hand.
Story Objects. Some storytellers always use an object as a
starting point for their tale a carved walking stick, a sloughed-
off snake skin, a strangely marked stone, a piece of pioneer or
cowboy equipment. This technique is good because the listener
wonders what connection the object has with the story and
he waits for the explanation; however, it is usually not effective
STORY AND TALK AROUND THE CAMPFIRE
with a large group or in semidarkness, because all campers will
not be able to see the object.
The audience can fill in sound effects for some stories. For
this the leader must brief them beforehand so they will come
in at the right time. He might use hand signals or flash cards
to indicate that the campers are to imitate hoofbeats, scream,
croak like frogs, whistle a bird song, tick-tock like clocks, crow
like roosters, or play musical instruments. These sound effects
give an opportunity for audience response. They help to tell
the story.
The use of audio-visual aids can be overdone. The good story-
teller is judicious in his choice of effects, so that he does not
give more emphasis to the effects than to the story itself.
SELECTING STORY MATERIAL
The quiet period and story hour are impressive to the camper
and are likely to remain in his memory for a long time. The
method of telling a story is important, the moment of telling
a story is important, but the choice of a story is probably the
most important factor in holding a group's attention and in
carrying out the purpose or theme of a campfire program. Some
stories are suitable for small, intimate groups; some go over
well at a camp-wide program.
Tall Stories and Folklore
Telling tall stories or "whoppers" has always been a favorite
sport around the campfire. These include stories from liars'
clubs, yarns about fictional heroes such as Paul Bunyan, Pecos
Bill, and John Henry, tales of remarkable weather, prodigious
crops, unbelievable deeds.
Tall tales can be the program for an evening of fun. In a
THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
small group a contest could be staged to give each camper a
chance to tell the "biggest whopper." At a large gathering each
staff member could tell his favorite tall story. The evening pro-
gram might be centered about one character a Paul Bunyan
night with campers dressed in impromptu lumberjack cos-
tumes, and with skits and settings based on the Bunyan folk-
lore. The costume can be red paper cap, black beard, and plaid
shirt.
Pecos Bill is another frontier folk hero whose deeds are told
in many tall stories. A Pecos Bill night gives everyone a chance
to dress as a cowboy. All that is needed is a neckerchief and
a rope. Demonstrations of whip cracking and rope spinning
can accompany the Pecos Bill skits or stories* Annie Oakley,
Wild Bill, Mike Finn, Old Stormalong, and Finn McCool are
other characters that provide tall tale materials. Some are real
characters who have almost become folk characters because of
the stories growing up around them.
Liars' contests between -staff and campers or between camp
units are fun. These might start with sample stories from folk
literature and develop into stories created by the campers.
Liars' tales are not silly tales. They are just plausible enough
so that they demand belief, and when told with a straight face
they are sometimes believed.
Folklore offers a wealth of material from all countries. It is
colorful, dramatic, partly historic, exaggerated, emotional. A
campfire leader should see that a few good folklore books are
in the camp library. He will find these useful not only as story
resources but as resources for dramatic skits for campers to use
in preparing evening programs.
Adventure Stories
Adventure and action stories are perhaps most popular at
camps. These differ from the tall tale and folklore stories in
STORY AND TALK AROUND THE CAMPFIRE
that they are about real people, actual events. Every daily news-
paper contains adventure stories. Adventure stories that have
an element of suspense are popular with youngsters. Land and
sea tales, stories of great explorations, aviation exploits, wood-
craft and camping stories, Indian adventure stories, episodes
from the lives of men and women who displayed daring and
courage any of these can be used if the storyteller is looking
for adventure stories. An adventure story may be inspirational,
it may be mysterious, it may be packed with practical everyday
activities. The main requirement is that it concern an adven-
ture that is unfamiliar to the listener, so that he learns some-
thing new about the world and how to meet the vicissitudes
of the world.
Science Fiction
Science fiction has become a special category of the adven-
ture story. The interest of young people in this type of litera-
ture reflects the astonishing knowledge that they have of the
science field. Such adventure stories have always appealed to
child or adult because while they are fiction, they are based on
fact and are a projection of facts into the future. The adven-
tures in a science-fiction tale are always possible even if their
possibility lies ten or a thousand years in the future.
For younger campers it is important to select science fiction
that does not emphasize the horror that scientific discoveries
may bring and that does not dwell upon invasions of strange
peoples. This does not make good bedtime story material. The
leader can create his own science fiction based on the astound-
ing reports appearing daily in the newspapers. At a small in-
formal campfire a group of older campers might have a rousing
discussion about possibilities for new discoveries in science.
They can explore the unknown by using their imagination as to
THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
what the future world will be like, what man will be like, how
our way of life may change.
Ghost Stories
Stories with emphasis on the supernatural, mystery, ghosts,
suspense, are always enjoyed by campers. This is a story cate-
gory in which the campfire leader or storyteller must exercise
extreme caution in making a selection. The age of the audience
should be considered, for ghost stories are not for the very
young and impressionable child. Stories that have a morbid
element, as distinct from a supernatural element, are not good
choices. Parents and camp leaders often frown upon ghost
stories because they scare some campers, when one of the pur-
poses of camping is to help children to be at ease in the dark-
ness and in the world of nature.
For older campers a judicious selection of stories that have
mystery and suspense tinged with the supernatural is permis-
sible if they are not gruesome.
Biography and History
Lives of interesting people and dramatic episodes from his-
tory make excellent story material. These are the real stories
that provide the base for fictional adventure stories. Both boys'
and girls' camps provide an audience for real life stories of
bravery, heroism, adventure, daring inspiration, accomplish-
ment, sacrifice, consecration, dedicated love.
The storyteller or campfire leader might plan a group of
pantomimes or still-life scenes to illustrate the story he tells.
Campers might dress in character as they tell the story of a
great man or woman. Personalities or historic events associated
with the camp area provide good material. The storyteller
should avoid making this type of story too academic. It is
STORY AND TALK AROUND THE CAMPFIRE 175
better to skip minute details of history and point up the dra-
matic moments in a person's biography or in a historic event,
Every camp library ought to include a few good books on
famous characters in history, great deeds of bravery, and de-
cisive moments in world history. Stories based on biography
and history can come from any country of the world and can
give campers a glimpse of other countries, other times, other
customs.
Indian Stories
Many private camps and many national youth organization
camps lean heavily on the Indian theme. Not only do their
council fire and informal campfire programs use the Indian
theme, but Indian activities and symbols are used in daily camp
programs, such as campcraft, art and handcraft, music and
song and dance. There is a natural interest among children
and young people in the American Indian and his traditions.
A camp library should contain several resource books for
Indian material and especially for stories of the Indians. There
are many good collections of stories centering on particular
tribes, on Indian legends, and on tales of Indian heroes and
their great deeds. If the camp units or cabins have taken In-
dian names, campers will like to read or hear stories about the
tribe their unit represents. On an Indian storytelling evening
the campfire leader might ask each unit to present a story re-
lating to its Indian tradition. If the camp storyteller is ac-
quainted with the way the Indian is regarded in other coun-
tries, he might tell the campers or perhaps read from some
European novel or history book that depicts the American
Indian in a different light. Children in other countries have as
much interest in Indian life and tradition as do American
youngsters.
iy6 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
Animal and Nature Stones
Camp is the ideal place for animal and nature stories, fiction-
alized or true-life. Here the boy or girl is surrounded by the
elements that make up a nature story. Young campers enjoy
the type of animal story that gives an almost human personality
to the animal. They like animals that speak and think and
make noises. Older campers want true stories about animal
habits, prowess, bravery, and relationship to man.
The campfire is a good place for reports on observations in
the natural world. Many camps have a regular time at the in-
formal campfire when nature scouting reports or observation
reports are given. This gives the camper a chance to tell his
story and helps him to choose the details that will make it an
interesting story.
Religious Stories
All religious literature contains wonderful examples of ad-
venture, bravery, faith, inspired personalities, historic or quasi-
historic events. In many camps Bible stories from the Old or
New Testament are used for occasional storytelling hours or
to provide material for dramatic presentations and charades.
Any use of religious stories must be carefully considered in the
light of the faiths and denominations represented among the
campers* Nothing that is of doctrinal or controversial nature
has a place in the camp, unless it is a camp sponsored by a
particular religious group with all campers being members of
that group. The storyteller must not trespass on anyone's be-
liefs. The campers themselves often will see no difficulty in
using religious material in the camp program. It is the parents
who hear about it through their children who will resent the
use of unsuitable or doctrinal religious material.
STORY AND TALK AROIWD THE CAMPFEKE 177
TELLING THE STORY DIFFERENTLY
The storyteller need not always use the same technique.
Some stories are most impressive when told simply and clearly
by an adult standing "before or sitting amongst a group of
campers. Other stories can be dramatized, broken into parts,
serialized, turned over to campers for action and sound effects.
When campers become restless during a story hour, then the
material is boring or else they are tired of listening. The an-
swer is to involve them in the story, The leader who can ap-
proach a story differently is always in demand at the campfire.
Here are some ways of doing this:
Chain Stories
Many leaders encourage campers to invent and tell their own
story. The leader begins a story, perhaps a true adventure or
an episode centered on some imagined hero. He stops at a
high point when the hero or heroine is in a predicament. The
next storyteller rescues the hero and lands him in another
predicament A story like this can go on as long as the camp-
ers are interested. It is best used with a small group where
everyone can have a turn at inventing an episode.
In chain storytelling the leader will need some signal or de-
vice to indicate how long each camper will speak. He might
set a time limit of one minute or two minutes. Perhaps story-
tellers could change at the sound of a gong or whistle or bell.
In some camps each storyteller must keep on talking and in-
venting until he makes the group laugh. A good timing device
is a ball or stick on which different lengths of string are wound.
Each camper talks until he has unwound his piece of string;
then he passes the ball to the next storyteller. This device can
be used by knotting the string at intervals; then each camper
talks until he reaches a knot.
178 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
Participation Stories
Campers often have an interest in biography, which sur-
prises some storytellers. Sometime when a brief biography is
on the program for the evening campfire, the leader might tell
his biography in a different way. He can arrange his facts into
ten groups, the least familiar details being told first. As he
progresses through the ten groups of facts, the image of the
man or woman becomes clearer and clearer, until some camper
recognizes him and calls the correct name. Points are given to
the one who names the man correctly. The points progress
downward from ten to one, so it is a challenge to the campers
to name the character as early in the story as possible. A large
group could be divided into two sections, with the section
having the most points declared the winner.
To use this technique of storytelling, the leader has to mar-
shall all his facts before the story hour and then arrange his
material in ten paragraphs. He should have several stories
ready, because the first one is a tryout and only whets the in-
terest of the audience. As an example, here is how the story-
teller could arrange the facts about Christopher Columbus into
ten paragraphs:
"This is the story of a great man of whom you have all
heard. He was born of Genoese weavers in the country of Italy,
(10 points)
"He was born in 1446 or perhaps in 1451. The historians
do not know. He died in 1506 in Valladolid, Spain. (9 points)
"When he was only fourteen years old, he had already sailed
the seas and had studied the maps and books of his time.
Thus you see he was a boy of action and of learning. (8 points)
"His studies and his travels convinced him that the world
STORY AND TALK AROUND THE CAMPFIRE 179
was round and that if he would sail westward he would finally
reach China and the spice islands. (7 points)
"He tried to convince other people of this belief and to get
them to see what wealth could be found by such a voyagehe
even went to the king of Portugal asking for ships and men to
make this trip but they thought he was a dreamer. (6 points)
"He then went to Spain, and after five years of talking and
waiting the king and queen of Spain finally gave him the ships
he needed. It is said that it was Queen Isabella who first be-
lieved in his story. (5 points)
"He had to get his crew from riffraff and jailbirds because
other sailors were afraid or wanted to be paid too well. He
sailed with this dangerous group of men in three small ships
the Santa Maria, the Nina, and the Pinta. (4 points)
"His men were against him, for they did not believe that
the world was round. They feared that the ships would sail
off the edge of the ocean. As weeks and months went by, their
grumbling became louder until they openly rebelled. But our
hero would not give in. If he himself ever doubted, he told no
one. (3 points)
"Despite all these troubles, on October 12, 1492, he sighted
some islands which he named the West Indies. He thought he
had found a new route to China. He returned home a hero.
This hero's life did not last long. At times he was sick, poor,
or in jail. He made three more trips but died without knowing
he had discovered a new world. (2 points)
"Many people say that he discovered America/' (i point)
This is a simple telling of the Columbus story and most
campers would guess the hero early in the telling. The story-
teller can make his episodes as complicated and detailed as he
wishes, depending on the age of the audience. This technique
l8o THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
is not good when used with young children, for they lose the
thread of the story. Some types of stories that lend themselves
to audience participation are Bible stories, fairy tales or folk-
lore tales, biographies of great men and women, and historic
events. The leader will soon learn how to judge the capabilities
of his listeners, for if the story is too unfamiliar or if he does
not give enough facts, they will not earn even one point.
Storytelling Stunts
Here is another audience-participation idea which depends
on how readily campers associate words and their several mean-
ings. It should be used only with older boys and girls.
The Animds Went to Market. In this story the leader sets
the scene by telling the group that all the animals of farm and
forest are going to the market to buy. None of them have any
money, yet each is able to buy. Why? The leader has to give
some thought to the animals he will name, since each must
have a form of money associated with its name or personality.
For example:
LEADER: The frog can buy something. Why?
ANSWER: Because he has a "green back."
LEADER: What does the deer use for money?
ANSWER: A "buck" and "doe."
LEADER: A duck can buy what he wants. Why?
ANSWER: Because he has a "bill."
LEADER: The hog has money. How much?
ANSWER: Four "quarters."
LEADER: Why can't the skunk buy much?
ANSWER: He's only got a "scent."
The leader, of course, has to weave a story about the ani-
mals he chooses so that the story is not just a question and
STORY AND TALK AROUND THE CAMPFIRE 1 8l
answer period. Another version of this same audience-partici-
pation idea is the vocation story. Here the storyteller weaves
many vocations into his story; as he brings up each vocation
the campers respond with a countervocation, usually humorous.
For example:
LEADER: One man runs an elevator.
AUDIENCE: Another has his ups and downs.
LEADER: This man becomes a dentist.
AUDIENCE: Another pulls a lot of things.
LEADER: She is a stenographer.
AUDIENCE: Another couldn't spell either.
Audience flesponse in Storytelling
In small campfire groups there is much more chance for
audience participation. The storyteller might select a familiar
story to tell. Then he chooses several short proverbs or song
titles or slang expressions that would fit certain episodes of his
story. He informs the audience of the kind of phrases to be
used and tells them they will fit at certain pauses in his story.
As he tells the story, the audience tries to fit the proper phrase
in each pause.
For example, if the campers are to use proverbs, the story-
teller might begin thus: "Once upon a time there was a boy.
He had a small tear in his pants. He mended it at once be-
cause he knew that " The campers would
shout, "A stitch in time saves nine/' The storyteller has to
weave as many proverbs as possible into his story to make it
interesting.
This idea can be carried out in another way. The storyteller
can pass out numbered cards with a phrase or sentence on
each. As he pauses in his story, the camper with the proper
card will call out the phrase. The leader can cue the number
l82 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
on the cards by holding up the proper number of fingers or by
sketching a big number in the air or by writing the proper
number on a blackboard or large easel. If the phrases come
at dramatic points in the story, they can add much fun to the
telling.
Camp Newspaper Stories
Some campers enjoy writing. They might get out a camp
newspaper (just one copy) to be read at the campfire. It can
have headline stories, humorous anecdotes, jokes, nature stories,
camp news items, social chitchat, personality notes. This group
might read their paper as a town crier would, with bell or
bugle blast between each article. It might be read as if it were
the late news on a radio or television station.
THE CAMPFIRE AS A DISCUSSION CENTER
The campfire has always been a place for talk, a place to
tell stories, to exchange ideas, to relate personal adventure and
experience, even to brag of accomplishments. The small infor-
mal campfire on the canoe trip, the overnight hike, or the
mountain pack trip provides much opportunity for this spon-
taneous exchange of stories and ideas among older campers.
It may seem spontaneous and unplanned to the campers,
but the good leader has probably given much thought to this
part of the campfire program. He studies his campers and uses
various techniques for starting them on worth-while discussions
rather than idle gossip. He develops confidence in hesitant
campers, so that they are able to speak out in the group. He
has ways of subduing the ones who always talk and take over
the evening's discussion. He encourages all the campers to
share their inner thoughts and deeper feelings.
Campers will talk, and the wise leader knows how to turn
STORY AND TALK AROUND THE CAMPFIRE 183
some of the talk to useful channels. Without being pedantic,
he can include discussion, debate, or speechmaking in the
campfire program. There are many ways of doing this, but the
five discussed here are ones frequently used by campfire leaders:
raiting Things Over
The small campfire group discussion is one of the most im-
portant events in the camper's memory when he returns home.
Discussion might center on the day's activities, on moral issues,
on plans for the cook-out the next day, on some problem that
has come up during the day which needs airing. Since the
group may hesitate to bring up personal problems or person-
ality conflicts, the leader has to start the discussion in very
general terms. He should not express his opinions too posi-
tively, or there will be no reason for discussion. A tentative
approach is better, for then he leaves room for different opin-
ions and encourages others to disagree or ask for explanation
of his opinions. If the discussion centers about a strong per-
sonality conflict, he must be cautious in his approach in order
not to seem to take sides. In a moral question he may have to
take a definite stand.
Sometimes the campfire leader introduces a topic that seems
quite unrelated to the topic or problem he wants to discuss
with the group. This is his starting point the opener that puts
the group in a talkative and receptive mood. From there he can
direct their thoughts to the subject he wants them to consider.
He might ask campers for subjects they would like to discuss.
Campers might put unsigned suggestion cards in a box so that
the leader can see their preferences. Some discussion leaders
like to throw a challenge to the group, because a challenging
statement is always taken up and discussed. There are many
starting points for campfire discussion. The following have
proved successful:
184 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
A Social Error. Someone tells a humorous story of a social
mistake. Such errors often seem humorous to youngsters, and
the incident can give the discussion leader an opportunity to
introduce the topic of manners, courtesy, and social poise. Most
young people want to act correctly. Sometimes they do not
know what is correct; sometimes they are led astray by friends
who laugh at good manners.
Star Study. Perhaps the group has watched the heavens for
an hour before coming to the evening campfire. The leader
can continue to talk about the stars with the group, explain
the constellations and talk about the movements of the uni-
verse. The great distance from stars and planets to earth, the
time it takes light or heat to reach earth, the vast size of the
universe these are awesome subjects that an experienced dis-
cussion leader can put to use in talking about our place in the
order of things and our obedience to natural law.
Nature Observation. Someone in the group may want to tell
an unusual nature story based on his observation during a hike.
One story leads to another and everyone learns something new
about the natural world. The leader can add information. For
example, if the campers are talking about birds, he can give
them some information about migration of birds,, banding,
feeding habits, vanishing bird species.
Newspaper Clipping. News items are always good discussion
starters. The leader can bring a provocative clipping to the eve-
ning campfire, one that concerns a moral judgment, a trial
where right and wrong are important, a social question, an in-
ternational issue, an evidence of unfounded prejudice. This
kind of discussion is only for the older campers.
Success Story. The leader can tell a brief story of a famous
man or woman. The discussion starts on the question of why
this person became famous. The leader can steer the campers
to discussing how they can become successful, how they can
STORY AND TALK AROUND THE CAMPFIRE 1 85
choose a suitable vocation, why education is important, how
other people affect one's success.
Popular Person. A camper might say, "I think is
tops." The alert leader might seize this statement as the starter
for a discussion on popularity. What makes a boy or girl pop-
ular? What is personality? How do popular people act? How
do others react to them? Is intelligence, beauty, good speech,
politeness, or adaptability important in making a person pop-
ular?
Exchanging Experiences
The day's experiences often provide a starting point for dis-
cussion around the campfire. The leader can direct the conver-
sation to other related experiences. Most of the experiences
should come from the campers, although the leader can add
any unusual or important personal experiences that come out of
his own life. In this kind of campfire talk one experience leads
to another, serious or humorous. A camper might say, "Reach-
ing the top of the peak was the biggest thrill I've ever had/ 7
This is a starting point. What was the biggest thrill for other
campers? What makes any experience a thrilling one?
The leader can also start the experience exchange by asking
questions, such as: What was your greatest boner? Who has
been on an ocean voyage? What is the most important event
in your life? Perhaps only one camper wants to answer with his
experience, but his words will evoke memories of similar ex-
periences in other campers. It might be that one experience
will call forth others quite dissimilar, but still related to the
topic of conversation.
Assigning a Subject
If the leader wants his group to have some practice in public
speaking coupled with good fun, he might plan a discussion
l86 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
hour centered on assigned topics. He can assign the topics or
campers can choose their own. The leader should make sure
that they choose no topic offensive to others in the group.
Word descriptions of commonplace actions are topics that
create good-natured laughter. It is difficult for most people to
describe some simple action without using gestures. The topics
could be written on cards and each camper picks one, either
seen or unseen. The topics might be such simple ones as:
Describe how to fasten a button.
Tell us how to tie a shoestring.
How do you butter toast?
Give us a description of a somersault.
How does a beaver build a dam?
These sound simple enough as speech topics, but describing
these actions without using hands or body motions is a tough
job for youngsters. There is sure to be hilarious confusion as
words and gestures are mixed.
Using Sociodrama
In camps where teen-age boys or girls are among the camp-
ers, sociodrama can be a big hit. This is a chance for campers
to act out situations and problems and evolve some solution.
The favorite topic for such dramatization is usually boy-girl
relationships and the mores of social living. A talk on such a
topic by the leader often becomes a lecture. Teen-agers, though
they may want to discuss the topic, sometimes avoid it. But an
experienced leader (and sociodrama does call for experienced
leadership) might plan for an evening of discussion on boy-
girl relationships, using dramatization to stimulate discussion.
One method is to arrange for a panel of four to ten campers,
both boys and girls. If the camp is for boys or girls only, then
panel members, actors, and visitors of the opposite sex could
STORY AND TALK AROUND THE CAMPFIRE 1 87
be invited from a nearby camp. The leader can meet with this
panel before the discussion evening to sketch four or five very
brief dramatic skits, each one demonstrating some mistake in
manners or social relationships. At the discussion meeting,
the panel and any extra actors needed act out the skits. The
audience has time to discuss what should have been done, why
the actors made such a mistake, why it is important to know
the correct procedure. During the discussion the panel mem-
bers tell what they think would be the correct or polite action
in the situation. An adult counselor or the discussion leader
should sit with the panel to act as arbitrator in case of differ-
ing opinions. Some good situations for sociodrama are:
Boy asking girl for a date
Boy calling for a girl at her home
Girl using the telephone to call a boy
Behavior at a movie or dance
Introducing friends to the family
The dramatizations can be humorous, but the discussion
usually becomes quite serious. Boy-girl relationships need not
be discussed with both sexes present A boys' camp or a girls 7
camp can make effective use of sociodrama to discuss social
relationships, family attitudes, camp problems, and moral ques-
tions.
Mating Speeches
A campfire gathering is often the occasion for a speech
not the talk given by the director at the opening session or the
pep talks given by counselors, but a formal speech on a topic
related to the theme of the evening campfire or on an inspira-
tional topic. Five minutes is a good length of time for a formal
speech; ten minutes is almost too long.
The speech can be the starting point for discussion if the
l88 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
audience is small. If the event is an all-camp program, the
speech might provide discussion ideas for counselors with their
small units when they return to their tents or cabins. If a
guest speaker is invited, he or she should be introduced care-
fully so that campers will know why he has been invited and
what the topic of the speech is. Guest speakers should be ad-
vised of the age and sex of their audience in order that they
may select suitable material for a speech. The following exam-
ples of short, inspirational talks that have been given at camps
might suggest other topics to the campfire program director.
If a leader makes use of any of these at camp, he should change
them to relate to boys or girls or to mixed groups.
WHAT You CAN Do
(Note: In this talk the leader can change "man 77 to woman,
boy, or girl, as his audience requires.)
"I know you pretty well. You are an average young man.
You have an average brain, not too bright nor too dull.
'Tou have an average character, too. You wouldn't steal,
or be deliberately unkind. You are not very noble, but you do
recognize right from wrong and you hate to see someone else
get an unfair deal. Sometimes you display a special strength of
character.
"Your personality needs polish. You have friends, but you
would not win a popularity contest. Yet I know you to be
charming at times.
"Now and then you lose control. You sulk, lose your tem-
per, frown, and even act a little childish. At other times you
face facts, square your shoulders, and come through with fly-
ing colors.
"No, you are no miracle man but you have great possibilities.
"Inside of you are all the things you need in order to be a
STORY AND TALK AROUND THE CAMPFIRE 1 89
great man. If you use only part of the potential of that average
brain, budding personality, developing character, and directed
emotions, you can win greater success than you have ever
dreamed.
"You have in you the seed of growth.
"You have in you the will to do,
"You have in you the Spirit of God and love for your fellow
man*
"Man knows today all he needs to know to live a perfect
life. His experience has told him this. Science verifies it. Our
religious teachers have promised this. If you use only a part of
these resources within, you can climb as high as he who has
far greater talents. The greatest wealth is not in the hands of
the men with the greatest brains. The best athlete does not
have the strongest body.
"The goal you set is what counts. What you think is what
you will be or do. If you set a good and high goal and use
two helpers, you will win that goal. These twin helpers are
perseverance and concentration.
"Let me tell you a story. Many centuries ago there lived in
China a wise old philosopher and teacher. He was known
throughout the world as one so wise that his answers to ques-
tions were always right. But one day there came to this wise
man a smart youth who secretly planned to prove the old man
wrong. He had with him a small live bird. He thought he
would hold the bird hidden in his hand and ask the wise old
man if the bird were dead or alive. If the teacher would say
the bird was dead, he would release it and thus show it was
alive. If the philosopher would answer that the bird was alive,
the young man would squeeze it and then show that it was
dead.
"So he went before the old man and asked the question,
Is the bird I hold in my hand dead or alive?' The old wise
THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
man looked at him searchingly, then answered, 'As you will,
as you will/
"You have your success in your hands. You can do what you
want, as you will/'
THE GOOD CAMPER
(Note: This talk is better suited to a boys' camp, but the
idea in it could be changed to apply to girl campers.)
"Once when I planned a camping trip, I looked for a com-
panion to take along. I wanted a lad who would do his best
and could be depended upon, come what may. What I sought
was a good camper.
"I saw one boy who looked like the kind of fellow one would
camp with twice, I asked him if he cared to go and what he
could do.
"His answer startled me. He said, 1 can sleep on a stormy
night/ This didn't seem to be the kind of camper I was look-
ing for, so I continued my search.
"On another day I saw this same boy again, and again I
asked him what kind of a camper he was. Once more he told
me, 1 can sleep on a stormy night/
"I was busy up to the last day before I was to go. I hadn't
yet found my camper when I saw this lad again. Knowing I
had so little time to find anyone else, I quizzed him anew and
he answered just this, 1 can sleep on a stormy night/
"This answer intrigued me. Since time was short and I could
do no better, I took this lad.
"Everything went smoothly for quite some time. Then one
night a storm came up. The rain poured and the wind blew
hard. The tent shook. I yelled at tie boy. He didn't move. I
shook him, but still he slept. I ran outside in my shorts and
checked the ropes and stakes. The ropes were slack and the
STORY AND TALK AROUND THE CAMPFIRE
stakes were firm. The tent walls were pinned down into a
ready ditch. The cooking gear was safe within the tent and
the morning's firewood and tinder was dry under a tarp. The
ax was in the chopping block.
"Inside I found a dry floor. The duffel was raised off the
ground away from any possible damp. The electric torch was
ready near the door.
"I sat down on my bunk a little ashamed, for every thing
was secure and safe. I knew at last what the boy had meant.
He was the kind of lad and the kind of a camper who could
sleep on a stormy night."
YOUR RIGHTS AND DUTIES
(Note: This speech is suitable for teen-age boys or girls,
with a few changes in pronouns from masculine to feminine
form. When used at a girls' campfire program, the paragraph
on military service can be omitted.)
"Any man or boy who enjoys the rights and privileges of
his citizenship without performing his duties adequately de-
serves to lose those rights. He is like a thief, for he steals a
sacred heritage which has been won by blood and kept by
vigilance.
"Each of us is a citizen of his community or his school or
club. We must never take without giving. If we use the rights
of membership, we must pay the price of the duties.
"What are your duties?
"What is your duty to your school? Do you support the
school activities by your attendance, your money, and your
participation? Do not always be a spectator, but try to be a
player.
"What is your duty to your church? Do you share your
money or just carry money from your parents? Do you attend
THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
regularly? Do you serve in some way? You can and should
serve your church.
"What is your duty to your gang, your friends, and your
family? Don't be a hitchhiker, but pay your own way with your
service.
"There is much more fun in participation in an activity than
in watching. Be in on the planning and the leadership. There
is always a place for the one who wants to help or to lead.
"Soon you may be called to serve your country for a while.
This should be considered as one of your duties but also as a
privilege. When you return to civilian life, you will be a citi-
zen. You will have the priceless rights men have died for.
These privileges and rights are matched by duties. All are given
to you as a trust. You can fail this trust simply by letting some-
one else do the planning, serving, working, and voting. Or you
can be an alert citizen doing your duty gladly and effectively
so that your community and your nation will be strong, whole-
some, and right. Do you ask: What is a citizen?
1. He is a man of good character with a personality that
will help him work smoothly and happily with others.
2. He is skilled at the art of communication.
3. He listens analytically, he thinks objectively, he speaks
out fearlessly and well.
4. He is self-reliant and not a burden to his community.
5. He is considerate of the less fortunate and helps them
willingly.
6. He is respectful of the opinions, religion, rights, prop-
erty, and privacy of others and defends their right to
disagree.
7. He is friendly.
8. He shares in his community welfare, recreational, charita-
ble, educational, and religious needs by giving generously,
STORY AND TALK AROUND THE CAMPFIRE 193
serving readily, and leading wisely as the occasion re-
quires.
9. He keeps his credit good.
10. He votes at every opportunity after considering the facts.
11. He realizes that the appearance of himself, his house,
and his family is his responsibility both to himself and
to his community.
12. He supports his church by attendance, leadership, and
money.
13. Altogether he does his share and a little bit more.
"This is a citizen. Some of the responsibilities and duties
mentioned are not yet yours because you are too young to
shoulder them. But in your daily life and in your experiences
at camp you are preparing to accept them."
BIBLIOGRAPHY
Bangs, J. K., Water Ghosts and Others. New York: Harper &
Brothers, 1894.
Bayes, Alice, Worship Programs and Stones. Nashville: Cokesbuiy
Press, 1938.
Botkin, B. A., Treasury of American Folklore. New York: Crown
Publishers, 1944.
Carnegie, Dale, Little Known Facts About Well Known People.
New York: Greenberg, 1934.
Cheley, Frank Hobart, After All Its All Up to You. Boston: W. A,
Wilde Co., 1935.
, Boys' Book of Camp-fires* Boston: W. A. Wilde Co., 1925.
, Camp-fire Yarns. Boston: W. A. Wilde Co., 1922.
, Little Campftres. Boston: W. A. Wilde Co., 1938.
, Told by the Camp-fire. New York: Association Press, 1914.
Cheley, Frank H., and Pagans, Philip D., Camping Out and Wood-
craft. New York: Halcyon House, 1937.
Cheley, J. A., Stories for Talks with Boys and Girls. New York:
Association Press, 1958.
194 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
Cooper, Alice C., and Palmer, Charles A., Twenty Modern Amer-
icans. New York: Harcourt, Brace & Co., 1942.
Cotter, Joseph, and Jaffe, Haym, Heroes of Science. Boston: Little,
Brown & Co., 1931.
Eastman, Charles A., Indian Scout Talks. Boston: Little, Brown &
Co., 1914.
Eastman, C. A., and Eastman, Eloise Goodale, Wigwam Evening.
Boston: Little, Brown & Co., 1909.
Fletcher, Alice C., Indian Story and Song from North America.
Boston: Small, Maynard & Co., 1900.
Goodman, Jack, Fireside Book of Dog Stories. New York: Simon
and Schuster, 1943.
Griffith, Adden Ellis, American Boy Sea Stories. Garden City, N. Y.:
Sun Dial Press, 1928.
Grinnell, George Bird, Blackfeet Indian Stones. New York: Charles
Scribner's Sons, 1913.
, By Cheyenne Camp-fires. New Haven: Yale University
Press, 1926.
, Pawnee Hero Tales. New York: Charles Scribner's Sons,
1912.
Haynes and Harrison, Camp-fire Verse. New York: Duffield & Co.,
1917.
Hurley, Richard James, Campfire Tonight. Ann Arbor: Peaks Press,
1940.
Keys to Happiness (Collection). Pleasantville, N. Y.: Reader's Digest
Association, 1955.
Kipling, Rudyard, Land and Sea Tales. New York: Doubleday,
Doran & Co., 1923.
Lanier, Charles, Boofe of Bravery. New York: Charles Scribner's Sons,
1918.
Linderman, Frank B., Indian Why Stories. New York: Charles Scrib-
ner's Sons, 1915.
Mason, Bernard S., Dances and Stones of the American Indian.
New York: A. S. Barnes & Co., 1944.
Matthews, F. K., Boy Scout Boofe of Campfire Stories. New York:
D. Appleton & Co., 1921.
Morris, Joseph, and Adams, St. Claire, Facing Forward (Poems of
Courage). New York: George Sully & Co., 1925.
STORY AND TALK AROUND THE CAMPFIRE 195
, It Can Be Done (Poems of Inspiration) . New York: George
Sully & Co., 1922.
Muller r Olive, Heroes, Outlaws, and Funny Fellows. New York:
Doubleday, Doran & Co. r 1939.
Nisensen, Samuel, and Parker, Alfred, Minute Biographies. New
York: Grosset & Dunlap, 1931,
Peale, Norman V., Faith Made Them Champions. Pawling, N. Y.:
Guideposts Associates, 1954.
, Guideposts Anthology. Pawling, N. Y.: Guideposts Asso-
ciates, 1955.
Porter, D. R., Poems of Action. New York: Association Press, 1911.
Ressler, Theodore W., Treasury of American Indian Tales. New
York: Association Press, 1957.
Seton, Ernest Thompson, Book of Woodcraft and Indian Lore. New
York: Doubleday, Doran & Co., 1918,
Shedlock, Marie L., Art of the Story Teller. New York: D. Appleton
&Co., 1915*
Skrenda, Alfred, and Juergens, Isabel, Minute Stories from the Bible.
New York: Grosset & Dunlap, 1932.
Sloan, Gertrude, Fun with Folk Tales. New York: E. P. Dutton &
Co., 1942.
Sly, W. J., World Stories Retold. Philadelphia: George W. Jacobs &
Co., 1914.
Thomas, Lowell, Tall Stories. New York: Blue Ribbon Books, 1931.
CHAPTER NINE
GAMES AND ACTIVITIES
AROUND THE CAMPFIRE
-CTL campfire program needs noise and action as well as quiet
times and ceremonies. In an earlier chapter some suggestions
were given for quick ice breakers and noisy fun at the camp-
fire. These were very brief activities that a leader could insert
at convenient spots in the program. The campfire is a place for
fun, and there are times when fun and games compose the
entire evening program. This is especially true in a small group,
for games and activities give every camper a chance to partici-
pate in the program. In a larger group the program is usually
more formal, with camper participation channeled into songs
and observance of camp traditions.
The following sections on games and activities for the camp-
196
GAMES AMD ACTIVITIES AROUND THE CAMPFERE 197
fire program will provide material for a games night and also
material for the leader who has to arrange an impromptu pro-
gram on a rainy day. Many of these activities can be carried
on indoors or outdoors. Every activity must be considered in
the light of age and sex of the campers. Some are suitable for
any group; some will appeal more to girls or to boys or to
children or to teen-agers.
INTRODUCTIONS
Early in the camp period, possibly at the opening campfire,
an introduction game is fun. If the campers are all new, this
will help them to become acquainted and overcome any shy-
ness. Introduction games are best used with a small group so
a few names, at least, will be remembered.
Sack Shake. Each camper is given a paper bag which is tied
over his right hand. He is told to shake hands with as many
other campers as possible. Each camper gives his name as he
shakes hands. The winner is the one who can shake hands with
the most people and keep his sack in the best condition.
Who Am I? This introduction game may not teach names
but it will induce conversation. The name of a tree written on
a card is pinned on each camper's back. The camper tries to
discover what tree he is by asking leading questions of the
other campers. He is allowed only three guesses, so he must try
to save these guesses until he is sure what tree he is. When he
identifies the tree, he may pin the name on his shirt front.
Scrambled Songs. Each camper is given a slip of paper with
a line of a camp song written on it. The game is to find and
bring together the campers who have all the lines of the song
and sing it as a group. The first group to do this is the winner.
Confession. Each camper is told that when asked he must
198 THE COMPLETE BOOK O'F CAMPFIRE PROGRAMS
confess the truth about four things: who he is, what he is
doing, where he is, and who is his companion. Three campers
who are in the secret give a slip of paper to each player. On
one is written an activity, on one a location, on one a name.
Each camper then introduces himself by his own name and
adds the information on the three slips given him. Funny
combinations of facts cause much hilarity. For example, one
camper might confess: "I am Sally Brown, and I am in the
swimming pool roasting hot dogs at midnight with Irma Price."
Zip. This is a good way to learn names in a small group.
The leader points to a camper and says, "One, two, three, four,
five, zip! 77 Before he finishes, the camper must name the per-
son on his left. If he fails, he changes places with the leader
and the game goes on.
Shoe Scramble. This will not teach any names, but it will
make campers feel at home. Each camper takes off one shoe.
All shoes are piled in the center of the circle. At a signal, each
tries to be the first to find his shoe, put it on, and return to his
seat.
Animal Imitation. Each camper is given a slip of paper with
the name of an animal or bird on it. In turn each stands and
imitates the sound or call made by his animal; other campers
must guess the animal.
Shake Hands. The leader asks campers to shake hands with
neighbors in several styles: like a pump handle, like a limp fish,
like a high-brow. As campers shake hands, they exchange
names.
Cheek Pinch. This game is for a small group and the leader
must be alert to see that the pinching is gentle. One player
rises from the circle and gently pinches the left cheek of the
camper on his right and says, "Hello." He moves around the
cirde doing this to each player. Meanwhile, the persons who
are pinched fall in behind the first player and do as he does.
GAMES AND ACTIVITIES AROUND THE CAMPFIRE 1Q9
When the first player reaches his place he sits, as does each
player in his turn.
CHALLENGES
In camps that are divided into units or tribes or cabin
groups, occasional challenges can be great fun around a camp-
fire, and an evening of challenges can make a good campfire
program. A leader or older camper or Indian chief can act as
the judge. When the judge declares the challenge list is open,
a spokesman from each unit rises. The judge recognizes one
and lets him give his unif s challenge. The other units accept
the challenge and send a representative into the circle to vie
with the challenger. A challenge must not be beyond the age
or abilities of the campers. Here are some simple ones:
Talk Fest. This is to determine which camper can talk the
most and fastest in one minute.
Laugh Fest. This is to determine who can laugh loudest or
longest or with most variety of laughs.
Bdloon Stamp. Each contestant has an inflated balloon
tied to his left ankle with a foot of string between ankle and
balloon. The challenger tries to stamp on the opponent's bal-
loon, while saving his own. This can be hard on ankles and
toes, so the judge might have to make some rules about pro-
cedure.
Hog Tie. This is vigorous and is suitable only for boys'
camps. Each contestant is provided with a lo-foot length of
rope with which he tries to tie the feet of his rival.
Harmonica flaying. Who is best, fastest, or loudest?
Sing a Note. Who can hold a note longest, or sing highest
note or lowest note?
Facial Expressions. Who can best illustrate fear, anger, sor-
row, cunning, love, joy?
2OO THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
Challenges call for much consultation among each unit, for
the idea is to send forth the best person to accept that particu-
lar challenge. In some camps when a winner of a challenge is
declared, he takes on others who think they can better his
record. In some camps a grand champion is determined, and
also a grand loser. Selection of a champion loser gives less ex-
perienced or younger campers a chance to enter the challenge
field. Almost any camp activity can be a challengefeats of
skill, campcraft activities, songs, sports. The judge and the
campfire program leader will have to decide how many chal-
lenges to allow. Most dual contests and feats of strength or
skill are good challenge activities.
GAMES
The best games for use around the campfire are those that
allow all to participate or those that campers enjoy watching
while a few participate. Some games have already been de-
scribed in previous chapters. Here are a few more for the leader
to consider, again taking into consideration the age and sex of
the campers:
Jack's Alive. A piece of punkwood that is glowing is passed
from one to another, each person blowing on it to see if it still
glows. If it does, he says, "J ac ^ s alive/' and passes it along-
Whoever has the punk when it no longer is alive (glowing)
must pay a forfeit. Forfeits can be on slips of paper in a grab
bag.
Pass It Crossed. A couple of sticks are passed from player
to player. Whenever they are passed, the passer says, "I passed
the sticks crossed" or "I passed the sticks uncrossed/' The re-
ceiver says he received them "crossed" or "uncrossed." The
leader agrees or disagrees with each statement depending on
GAMES AND ACTIVITIES AROUND THE CAMPFERE 2O1
the key. The uninitiated try to discover this key. Of course the
secret is that the position of the legs, not of the sticks, tells
the story. (Legs of passer are crossed or uncrossed.)
Gun, Rabbit, and Hunter. The circle is divided into two
groups and a leader appointed for each. The leader explains
the game briefly. Hands on hips represents "hunters." Hands
held as if shooting six-guns means "guns/' Hands held above
ears represents "rabbits." Hunter is better than gun, gun is
better than rabbit, and rabbit is better than hunter. Each side
has a quick conference and decides whether to be hunters,
guns, or rabbits. At a signal from the leader, each side makes
the sign for one of the threehunter, gun, or rabbit If both
sides give the same sign, there is no score. Otherwise one side
will win a point according to which has the highest sign. The
sides must be able to choose quickly which sign they will give.
This keeps the game moving fast.
Butt Ball. This is a boys' team game that is fun to watch.
Two teams are selected with five or six players each. A goal is
marked on the ground by white tape or lime, some 5 feet long.
A goal is located at either side of the council ring. Each team
appoints a goalkeeper, center, forwards, and guards. Everybody
plays on his hands and knees. A large rubber ball, white if
possible, about the size of a volleyball, is used. Players can use
their heads only to butt the ball from place to place. The game
is started by the referee rolling the ball between the two cen-
ters. The object is to butt the ball around the carnpfire area
across the goal line. The game can be played in two short
halves.
Egg Tftrow. Teams of two are selected and an uncooked egg
given to each couple. They stand only 6 feet apart as the egg
throw begins, but they move back one step each time they
throw the egg. The winner is the couple that moves the farthest
202 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
apart without breaking their egg. The leader should arrange
the game area so the audience is not in the line of fire.
Follow the Leader. Someone is selected to be "it" While he
is out of sight and sound, a leader is appointed. The leader
starts such motions as stamp feet, clap hands, nod head, wink
eyes, clap knees, rub stomach. Everybody follows the leader but
tries not to look too much at the leader, so as not to give him
away. The leader starts a new motion when not observed. The
person who is "it" tries to guess who the leader is. If he guesses,
the leader becomes "it" and leaves the circle.
Find the Ring. Some small object is passed around the circle
from hand to hand, while "it" tries to touch the hand that
holds it. If he catches someone with the object, he changes
places with that person. Everyone's hands should move at all
times so that it is hard to tell who has the object.
Who Nose Most? The cover of a small box of safety matches
is passed from nose to nose without using hands. The one
who is "it" tries to make someone drop the box by confusing
him with talking, yelling, waving arms. "It" cannot touch any-
one. The person who drops the box becomes "it."
Shoe Race. (This is for small groups and can be played only
if most campers wear shoes with laces.) Everybody removes his
shoes, removes shoelaces, puts them inside the shoes, and
throws his shoes into one mixed-up pile. At a signal everybody
races for his shoes. When he finds them, he puts the laces in,
and puts the shoes on. When they are fully laced and tied, he
is finished. First done wins.
Boofs Without Shoes. The leader says, "I want you to say
boots without shoes." He pauses after saying boots. All say
"boots without shoes" with many expressions. Finally someone
catches on and says simply "boots." He is the winner.
Swat. (This is for small groups and is best suited to boys.)
One boy is chosen as "it" He bends over a chair or log and
GAMES AND ACnVITIES AROUND THE CAMPFIHE 203
closes his eyes. The others gather around, with one holding a
soft slipper or folded paper. One of the players swats the vic-
tim, who when he feels the slipper, opens his eyes and jumps
up. If he sees the slipper or guesses who hit him (one guess),
that person takes his place; otherwise he is still "it."
Buzz. The player starts counting, but whenever 7 or a mul-
tiple of 7 comes up the player must say "buz^" instead of
a number. If he misses, he falls out. When he gets to 70 he
says "buzz-one, buzz-two/' This game can be played in turn
all around the campfire circle. Those who reach 70 without
falling out might try to determine the grand champion.
Passing Relays. This type of relay can be used at the camp-
fire. If the group is large, the relay can be conducted by teams
as they are seated. The teams can pass small objects, such as a
grape, stone, small fish, piece of ice. As the^object reaches the
end of the team, the last recipient rises, takes a seat at the
head of the team, and all the team shifts one seat as the object
is passed again. Where the group is small and only two or
three teams are organized, more action can be used in the
relay: pass a ball over and under; drop a looped rope or a
hoop over the head and down to the feet, then pass it on to
the next man; pass a hat from head to head; tie and untie a
knot; open and close an umbrella; carry a potato on a spoon;
carry a glass of water without spilling it; walk with a book on
the head, then pass it on.
Murder. The parlor game of "murder" makes a very interest-
ing game for an informal type of campfire. A District Attorney
is selected. Everybody else is a witness. The game is started by
one player telling of finding the murdered man. The victim
should be known to all campers. The District Attorney asks
questions of all present. Whatever is said by a player must be
accepted as truth and becomes a matter of record. Each player
tries to explain away the evidence against himself and tries to
204 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
implicate someone else. A player must be careful not to deny
the statement of another but rather give a logical explanation.
The District Attorney can gradually build the information into
a case that convicts one player.
Bear Hunt The bear hunt is a popular activity in some
camps. Paper bear tracks are laid down for each cabin or unit
group. The campers make bows and arrows out of sticks and
take up the hunt. They follow the bear tracks to the campfire
area, where there is a make-believe bear. The group that ar-
rives first is the winner. More experienced groups may follow
a trail of tracking signs rather than paper bear tracks. This is
a good technique for leading groups to a campfire program
area or for leading groups on a nature hike.
CHARADES AND DRAMATICS
Perhaps this type of activity is more popular at a girls 7 camp
than at a boys* camp, but it can be fun for everyone and for
all ages. Even the youngest campers love to dramatize situa-
tions. Charades can be done by one person or by a team, with
the audience trying to guess the meaning. Charades are im-
promptu. Sometimes a team decides together what to portray;
sometimes their subject might be drawn from a hatful of ideas.
Campers can act out: occupations; characters (camp staff or
campers); words using an action for each syllable; proverbs;
fairy tales; a part of the day's program; a song; a humorous
situation.
QUIZZES AND RIDDLES
Quizzes and riddles are good activities for a quiet time
around the campfire. Most people like to tell and guess riddles
and word games. In an informal campfire each camper could
GAMES AND ACTIVITIES AROUND THE CAMPFIRE 2OJ
tell his favorite riddle and let the others guess the answer. The
camp library should contain some good riddle and quiz books
suitable for various age groups.
The campfire leader and a group of campers might pre-
pare a quiz show for an evening program. Every camper has
heard or seen such shows on radio and television and all will
enjoy the program. The master of ceremonies for the quiz
show can make a big show of selecting contestants from the
audience, informing them of categories on which questions will
be based, and then shooting the questions. Silly prizes, such as
stones, leaves, twigs, can take the place of money.
CAMPCRAFT CONTESTS AND
DEMONSTRATIONS
Campcraft activities play a big part in camp life and are of
equal interest to boys and girls. Contests and demonstrations
based on campcraft provide good material for campfire pro-
grams. Sometimes the campers can show their skills; some-
times it is instructive to have an expert in campcraft as a guest
on the program to demonstrate his skills. He must really be an
expert, however, else campers may beat him in his own field*
Campcraft demonstrations are especially helpful at the begin-
ning of a camp period with inexperienced campers. Camp-
craft contests should come further on in the session after
campers have developed some skill. Any campcraft activity
used on a program should be brief so that the audience does
not become restless.
String Burning Contest. Two strings are tied at different
heights parallel to the ground. The lower string indicates the
height of the pile of wood for the fire. The upper string is the
one that must be burned by the fire. Those who compete must
206 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
have their wood or kindling ready and each is allowed a certain
number of matches. At the leader's signal the contestants lay
their small fires under the strings, light them, and see whose
fire burns through the higher string first. If a player runs out
of matches before his fire lights, he is disqualified.
Fire-by-Friction Contest. The object is to see who can make
fire first by this method. Contestants must supply their own
fire materials. Another contest of the same type is to see who
can make fire first by using flint and steel.
Fuzz Stick Contest. Each contestant has a knife and a piece
of wood of a certain size to make into a fuzz stick. Judges
will limit the contest to a brief time and decide who has made
the best fuzz stick in that time, basing their judgment on the
number and length of the shavings still attached.
Water Boiling Contest. Contestants are asked to provide
their own materials for a fire, all fires to be of similar size and
started with a limited number of matches. Each contestant is
given a can of water to be boiled. Cans must be same size
(No. 2 l /2 is best) and contain equal amounts of water. The
winner is the one whose water boils first. To make the boiling
more visible to the audience, a little soup can be added to each
can so the water will boil over rather than just bubble in the
can.
Tent Peg and Sliver. Each contestant has an ax, a piece of
dead stick 2 inches thick and 15 inches long, and a chopping
block. The contest is to determine who can use half of his
stick to make the best tent peg and then split the other half
into the thinnest possible slivers. There can be two winners
for the best tent peg and for the thinnest sliver.
Tent Pitching. This is a team contest to see which team can
pitch its tent most swiftly and securely. The small, two-man
tents should be used.
Compass Change. In a group of older campers, especially
GAMES AND ACTIVITIES AROUND THE CAMPFHCE 2Oy
boys, there is often interest in compass study. Here is a game
based on knowledge of the sixteen compass points. A camper
stands at each of the sixteen compass points; a seventeenth
person is "it." He calls two compass points and then calls,
"Change!" At the call, the two points named must exchange
places. "It" tries to grab one of the places. If he is successful,
the camper left without a place becomes "it."
Campcraft Baseball, This is a game played without a ball
and without a baseball diamond. Two teams of nine men each
are chosen. Each man takes a baseball position batter, pitcher,
first baseman, and so forth. The players can use space within
the campfire circle. The batter stands at home plate and an-
swers campcraft questions tossed by the pitcher. If no one
successfully challenges his answer in its complete correctness,
he goes to first base. If the catcher or first baseman can add
anything to his answer, he is out. He may steal second while
another batter is up. If he does, the second baseman can ask
him a campcraft question. If his answer is correct, he can stay
on second; if he is wrong, he is out. The game proceeds thus
until three outs are made and the teams change sides.
One-Hand Tie. Two players represent each unit or group.
They are asked to use only one hand and to tie a series of
knots indicated by the leader. The team that completes the
knots first is the winner. Units should select their "best knot
men for this game.
One-Hand Packing. Teams of two, using only their left
hands, work together to pack an overnight pack and carry it
to the goal. Each team has a pile of camp equipment from
which to make a pack: blankets, ground cloth, ax, knife, cook
kit, canteen, food, clothing, anything else desired. Teams are
judged both on time required to pack and on correctness of
their packing.
208 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
OBSERVATION AND SENSE TRAINING GAMES
Small groups always enjoy the type of game that tests obser-
vation and memory. The object of the game seems so simple
that each is confident he can win. The game usually proves to
be more difficult than the camper thought. Some of the ob-
servation games described below require paper and pencil, and
most of them require adequate lighting. Some of these games
are best used with small groups; most of them can be used
with almost any age group.
Kim's Game. This is a test of observation and memory. A
group of ten to twenty-five objects are placed on a blanket or
table. Campers come forward in small groups to look at the
objects for thirty seconds. They return to their places and
write the names of the objects they can remember. The group
or the individual that has the longest list is the winner.
Admiral Poof. Campers are warned that the leader will do
this act only once; then he will ask a representative of each
group to do and say exactly what he did. This is the act. The
leader sits at a table with a cup. He shifts his chair once, clears
his throat once, picks up his cup with one finger of his left
hand, takes one sip, puts the cup down once, wipes his mus-
tache once with one finger, and says, "Let's drink a toast to
Admiral Poof/'
Then he repeats the performance doing everything twice, in-
cluding using two fingers and saying, "Let's Let's drink drink
a a toast toast to to Admiral Admiral Poof Poof." He uses
only his left hand.
He does it the third time, does everything three times, uses
three fingers of his left hand. The game is to see who can re-
peat his performance.
Lost Person. Someone who has been in everyone's view
GAMES AND ACTIVITIES AROUND THE CAMPFIRE 2OQ
leaves the campfire. The leader then asks each small group to
describe the person as completely as possible. Points are
awarded for each correct bit of description and the winning
group is the one with the highest total of points.
Chair Move. Two objects, such as two chairs, are placed in
a special position. The leader moves the objects without call-
ing too much attention to his act. Volunteers are asked to re-
place the objects exactly as they were. The one who places the
objects closest to their original position is the winner.
What's Wrong Here? The leader sets up a tableau with one
mistake in it. The campers must try to spot what is wrong.
The campers might divide into groups, with each group set-
ting up such a tableau. All campers have a limited time to go
from tableau to tableau to find mistakes.
Sense Training Game. The leader asks everyone to be still
and listen and watch. He does not tell them what to listen for
or watch for. After two to five minutes (depending on the age
of the group) he asks each group to pick a representative to
come forward and tell what his group heard or saw. If the
group is small, each camper might write what he saw or heard.
A sense training game can be limited to one sense taste, smell,
hearing, sight, touch or it can combine two or more senses.
The winner is the group or the individual that observes the
most.
Scouting Reports. Observation powers and sense perception
can be increased by calling for reports from campers. Their
senses become more alert as they realize how little they see or
hear of all there is to see or hear. Campers might volunteer to
describe: what was seen or heard on the way to the campfire;
what was seen or heard at a given spot on a trail; what was
seen or heard while standing motionless at a designated spot;
what motions make up a certain activity; what happened at a
recent camp meeting.
210 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
Other Sense Training Games, (i) A small object can be
passed around the circle. Each person then gives a report on
the object, to show how much detail he observed. (2) Each
camper is blindfolded, asked to taste several items, and write
their identification. Leader must make sure that other campers
do not get a glimpse of the objects before their turn to be
blindfolded. (3) The same game can be used to test blind-
folded campers on odors of several items.
Judging. Campers will realize how good or poor their judg-
ment and observation is if they guess: How long is a minute?
How far away is that tree? How many leaves are on this twig?
How tall is that flagpole? How much does he weigh? How old
is he?
The Moon Is Round and Big. The leader says, "The moon
is round and big. It has two eyes, a nose, and a mouth." As
he talks, he draws the moon on a blackboard or large sheet of
paper and puts in eyes, nose, mouth. He uses his left hand.
Then he invites campers to copy his action. Most will fail be-
cause they use their right hand rather than their left. They
will realize their powers of observation need sharpening.
NATURE CONTESTS AND GAMES
Nature activities equal campcraft activities in most camps.
For some campers it is their first introduction to the out-of-
doors and the world of nature. They are eager to see all they
can and to learn as much as they can so eager that some-
times counselors become pedantic and try to pass on as much
information as they can in the short camp session. The experi-
enced leaders make a game of nature study and find a dozen
ways of using nature contests and games around the campfire.
The nature games below include activities suitable to the
youngest camper and the oldest. The selection is up to the
GAMES AND ACTIVITIES AROUND THE CAMPFIRE 211
leader. All are suitable for boys or girls or mixed groups. Al-
though these are suggested for use in the program around the
campfire, many of them can be used in the dining hall, on
hikes, and in nature study periods. Some are best suited for
small group campfires; others can be used in a camp-wide
campfire program with nature as its theme. Some games re-
quire paper and pencil.
Nature Scout Reports. The campfire program is a time when
unusual or strange things in the natural world can be shared
with other campers. At some camps a period is set aside at
one or two campfire programs each week to allow campers to
tell their discoveries. Nature scout reports can include anything
of interest to the whole group the sycamore tree that will
hold twenty campers in its hollow trunk, the deer seen by
hikers yesterday, the number and kinds of birds seen on the
pre-breakfast bird walk, the thrill of catching a fish on a bark
fishline and thorn hook.
Nature Charades. A camper representing himself or his team
imitates a bird, animal, tree, or insect, while all campers or the
opposite team try to guess its name. Another way of playing
nature charades is for the member of the team to be given the
name of a subject which is unknown to his team. The purpose
is to let his teammates know, through his action only, what the
object is. Teams can be timed to see who guesses in least time.
Ten Questions. This is played by opposing teams. A member
of one team represents some bird, plant, tree, or animal. The
other team has to guess its identity by asking no more than
ten questions. They score a point if they guess. The opposing
team then has its chance to represent an animal and answer
questions.
One to Ten. A team or a player makes up in advance a group
of ten statements on any nature object. Each statement must
help in identifying the object. The least known statement is
212 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
given first and the most revealing statement is used tenth. If a
camper or a team gets the right answer after the first statement,
he gets ten points. He gets one less point after each additional
statement. If the object is not guessed till the tenth statement,
only one point is made. All objects must be chosen and state-
ments prepared in advance. This is not a spur-of-the-moment
game.
Ten Stones. Each person carries ten small pebbles. The
leader holds up a tree leaf for identification. All who know it
raise their hands. These people give one stone each to those
who do not know. One of those who said they knew is asked
to give the answer. If he should be wrong, he is given ten more
stones. Several objects can be held up for identification. Each
time, those who know give stones to those who do not know.
When someone has given away all his stones, he is declared
the winner. Those who say they know can be tested every once
in a while for a possible ten-stone penalty.
True and False. The leader prepares a number of true and
false statements about nature. The circle is divided into two
teams and statements are given to them in turn. Each correct
answer of false or true gets one point for the team. It is best
to have at least one question for each player so that all can
participate.
Identification. Leaf prints, pictures of birds, mounted flow-
ers, and star constellations are held up so that all can see. The
campers take turns in identifying the object and score a point
for their side for proper identification. Star constellations can
be shown by having a light in a large can and placing over the
opening a card with holes punched to represent the desired
constellations. Since everyone must be able to see the objects
in an identification game, it is best played with small groups.
The Odor Test. This is a sense test using objects from na-
ture. The player is blindfolded and must identify the specimen
GAMES AND ACTIVITIES AROUND THE CAMPFIRE 21 3
by odor only. Some objects to use are: sassafras root, ragweed,
cedar wood, black birch twig, mint leaf, fresh pine, elderberry,
wild black cherry twig.
Name Me. This nature game may be played by each indi-
vidual working for himself or it can be used as a team game.
For the individual, each player in turn picks out a tree, bird,
plant, or animal and asks the others to name it. He says one
thing at a time about the selected subject. He tries to pick
things to say that are not generally known, but each must be a
true statement. He pauses after each statement to give the
others a chance to identify the subject. However, each false
guess adds a point to guesser's score and each different state-
ment made to help him identify the subject counts a point.
The lowest score wins, so it is important to identify the ob-
ject as soon as possible.
As a group game the players on one side take turns making
the statements while the opposing side lets any one of their
group speak for them in naming the subject. The low score
wins. For example, identifying statements about the sugar
maple might be these: (i) I grow straight. (2) I give a lot of
shade. (3) My trunk is straight. (4) My leaves are single. (5)
My leaves grow opposite. (6) My leaves are dark green on top.
(7) My leaves are lighter underneath. (8) My fruit ripens in
the fall. (9) My leaf has five points. (10) My wood is strong.
(11) My wood is hard. (12) My wood is close-grained. (13)
My bark is light gray, etc. The players should keep to the end
such easily identified facts as: (i) My sap yields sugar. (2) My
fruit is a two-winged "samara." A clever, informed player can
delay the give-away factors for quite a time.
Romance of the Trees. Campers sometimes like to make up
stories in which nature objects are hidden. As the story is read,
each camper jots down the objects he recognizes. The winner
is the camper who has the longest list. Committees or teams
214 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
might work on stories to be presented at the campfire. The
example given here is based on hidden trees. There are twenty-
eight varieties in the story and each is printed in italics to
give the reader the key to identification. This story can be read
by the leader as a sample which teams might follow at a later
program. In a few places a tree has been inserted in parenthe-
ses for the reader's information. Material in parentheses is not
read to the campers.
"In a beautiful country there were two camps, one on either
side of the lake. You could stand on the beach at the girls 7
camp and see across the lake where the boys camped. There
was a beautiful fringe of trees all around the lake.
"Every evening after dinner John would spruce up and then
take a canoe and paddle to a little beach near the girls' calmp.
John was as sturdy as an oak and had muscles like hickory.
Hazel would leave her girl friends Laurel and Holly and Mable
(maple) and Rose and meet John. Their meeting spot was so
quiet that animals would come to the lake to drink. Once a
deer came so close they could see the buck eye the surround-
ings and sniff the air. On the lake they could see Sue, Mac
(sumac) and Sally in a canoe, as canoeing was a popular (pop-
lar) sport at both camps.
"John was always bringing a package of gum or a bar of
candy or an apple for Hazel. He would hold his gift behind
him and make her guess which hand it was in. 'Which, Hazel?
Which hand do you want?' If she didn't guess right he gave it
to her anyhow, but laughing 'Haw Haw 9 at her. She would
put her arms around him saying, Tm glad our camps are not
fir apart as I pine for you when you are gone long. My pawpaw
says I'm still a baby/ Their two lips (tulips) would meet in a
good-night kiss and John would leave. They were truly a peach
of a ptir. As he paddled back to camp he could hear the night
GAMES AND ACTIVITIES AROUND THE CAMPFIRE 215
air plane over head, and the bass would leap in the air. John
would hop out of his canoe, put it in the rack, walk past the
dead ashes of the campfire, past the beach umbrellas, past
where Shep the watchdog was tied to an iron stake. The iron
would keep Shep from running to meet him but the dog would
bark as he approached/'
Bird Silhouettes* Either the outline of the bird is cut out of
black paper or the form of the bird is thrown on a cloth by a
light (as in a shadow play). The one identifying the greatest
number wins.
Bird Logomachy* Letters are printed on one side of pieces
of cardboard and placed face up on the table. When a player
can make a bird name from any of these letters, he takes the
letters and spells the word in front of him. The person spelling
ten words first wins. Number of letters needed will depend on
size of group. This game is suitable for two, three, or four
players.
Bird Rogues' Gallery* Slips of paper are passed out to
players on teams and they are given two minutes to draw a
picture of a bird for a Rogues' Gallery. The exhibit is then
set up and the judges walk by the exhibit. Recognizable birds
are given honorable mention (i point). Birds represented in
action may be given red ribbons or red pencil marks (2 points) .
The best sketches may be given blue ribbons or blue marks
(3 points). The team having the greatest score wins.
Jack-in-the-Box.* A branch or flower is held up quickly from
behind a box or screen. Players write down the identity. The
object is to see which player or team has the highest score.
Getting a Clew* A sheet of paper or cloth with a hole in
the middle is held before the players. Behind the hole a leaf
*Developed by Dr. William G. Vinal, nationally known nature coun-
selor, and used with permission of the American Humane Educational
Society, Boston.
21 6 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
is shown a little at a time. Whoever gives the name correctly
first is given the leaf. The one who has the largest collection
wins. Cutouts of birds may be shown in the same way, the
beak being shown first.
Tree Silhouettes* Silhouettes of trees are cut from black
paper and held up before the group. Each player writes the
name of the tree, and the player who has the most correct an-
swers wins. Trees especially suited to this game are: spruce,
pine, elm, cedar, weeping willow, palm, sugar maple, lombardy
poplar, white oak.
Nature Alphabet* The leader names a letter of the alphabet.
Each player in order names a bird, flower, or tree (decided
upon before starting) which begins with that letter. Anyone
who cannot do so in less than five seconds is out. No one is
to name an object which has already been named. The team
naming the greatest number of objects at the end of a certain
time is the winner, or the last player to name an object com-
mencing with that letter wins a point for his team.
Game of Touch* The players are blindfolded and a nature
object is placed in their hands. They have thirty seconds to
feel it; then they write the name on paper. Some objects par-
ticularly suited to this game are: various seeds, leaves, fruits,
evergreens, flowers, barks of trees, nuts, feathers, shells, vege-
tables, and soils.
Sign Language* This game is similar to pantomime. A
player does the whole thing by the sign language. He may
come out and point to himself. This means "I." He then flut-
ters his hand like a bird. This means, "I will fly like a bird."
He may then imitate the flight of a swallow, or it may be a
hawk. He shows that it is not a swallow by measuring. He holds
*Developed by Dr. William G. Vinal, nationally known nature coun-
selor, and used with permission of the American Humane Educational
Society, Boston.
GAMES AND ACTIVITIES AROUND THE CAMPFIRE 2 1 7
his hands apart the length of a swallow and shakes his head.
He then holds his hands apart the length of a hawk and points
into the air and with a sweeping motion of the hand indicates
the spiral soaring of a hawk. Perhaps he now imitates a frog.
He again comes back to the hawk and by gestures shows that
the hawk is looking for the frog and when he sees the victim
he pounces upon it and eats it. The hand held over the eyes
means "look." A pat on the abdomen and a smile means 'That
tasted good/' Or the food might have given a stomach-ache.
This game gives an unusual opportunity for ingenuity. The one
guessing the name of the bird gives the next pantomime.
Tree Pantomime* A camper appears with smoked glasses,
cotton batting in his ears, gloves on hands, cloth over lips,
clothespin on nose. Nothing in the natural world makes an
impression on him. Then a second pantomime actor enters the
scene. This is a woodsman. The unseeing camper meets him.
The woodsman teaches the greenhorn. His eyes are opened;
the cotton is removed from his ears. One by one his five senses
are freed so he can enjoy nature. He walks around recognizing
the trees by touch, taste, smell, sight.
Prove It.* Players sit in a circle. The one starting the game
says, "From where I am I can see a gray birch." The next one
says, "From where I stand I can see a gray birch and a black
cherry." The next player repeats all that the previous players
have said, in exactly the same order, and adds another tree or
bird. Statements must be true and objects must be seen from
where the speaker sits. If anyone doubts the statement, he may
challenge the speaker. Anyone caught drops out of the game.
Seed Dance.* The object is to keep a seed in the air without
using the hands. The one who keeps his seed aloft longest by
*Developed by Dr. William G. Vinal, nationally known nature coun-
selor, and used with permission of the American Humane Educational
Society, Boston.
2 1 8 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
his blowing is the winner. Milkweed seed and dandelion fluff
are good for this game,
Spelling Bee* Players are divided into groups. The leader
has a collection of flowers, insects, or leaves. He holds up a
flower. The first in line must name it and give an interesting
fact about it. If he fails, he drops out of line. The side having
the greatest number of players remaining at the end of the
spelling bee wins. Well-known and familiar objects should be
used first. Objects harder to identify can be saved for the final
spelldown.
DUAL CONTESTS
In boys' camps there is an opportunity for contests that re-
quire strength and vigorous action. The entire campfire pro-
gram on one evening might be given over to a tournament of
dual contests, where each unit or cabin picks a few champions
in advance as their representatives on the big night. These
champions battle for the honor of their group. Most of the
contests described here are not suitable for girls, since they are
quite strenuous. When any of these contests are used in camps,
adults should always be on hand to be sure safety precautions
are observed.
Rooster Fight. Position: hands on ankles. Action: make op-
ponent lose his balance or step out of a circle by pushing or
bumping with shoulder.
Indian Leg Wrestle. Position: lie side by side with feet in
opposite directions, and inside arms locked. Action: at a signal
raise inside legs and lock. Use leg leverage to make the oppo-
nent roll over.
Hand Push. Position: face each other, flat-footed, at arm's
^Developed by Dr. William G. Vinal, nationally known nature coun-
selor, and used with permission of the American Humane Educational
Society, Boston.
GAMES AND ACTIVITIES AROUND THE CAMPFIRE 2 19
length with palms out. Action: hit opponent's palms, feinting
and pushing until one loses balance.
Hand Wrestle. Position: stand facing opponent with right
foot forward and left foot well back; grasp opponent's right
hand with right hand, keeping the left hand out of the play.
Action: try to unbalance rival. If either player moves a foot,
he loses.
Horse and Rider. Position: rider rides pickaback on another
player. Teams of two take part. Action: the two teams feint
and push as each tries to unseat the rival rider.
Broomstick Pull. Position: each player sits on the floor with
his feet touching opponent's feet, knees up. Both grasp the
broomstick (held horizontally) with two hands. Action: try to
pull rival from his seat.
Broomstick Twist. Position: players stand facing each other
holding broom as in broomstick pull. Action: try to twist the
broomstick from the opponent's grip.
Arm Twist Position: players sit facing each other across a
table corner with right elbow on table and hands grasped. Ac-
tion: try to bend rival's hand back against the table.
First Up. Position: players lie flat on back away from each
other. Action: see who can get to his feet first without using
his hands.
Dog Fight Position: players face each other on hands and
knees. Two belts are fastened together and looped around their
necks. Action: see who can pull the other across a line by
backing up. Leader should watch carefully to avoid any danger.
Barrel Boxing. Position: players are standing in barrels just
within reach of each other with boxing gloves on. Action: first
one over loses.
Balance Bar. A smooth 8-inch pole, 12-14 feet long, rests
securely on stout tripods about 3 feet high. Position: the play-
220 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
ers straddle the pole, facing each other. Action: using pillows,
each man tries to unseat his rival.
Get Behind Him. Position: players face each other with arms
around rival, hands clasped behind his back. Action: at the
signal each man tries to get around behind the other while still
grasping his own hands.
Squat Pull. Position: players squat facing each other with
hands gripping rival's. Action: at signal each tries to unbalance
his rival.
Variation: Players squat at the ends of a short rope. At a
signal each tries to upset his rival by pulling on the rope.
Roman Gladiators. One man has a large sack or net or dou-
ble blanket, while his opponent has a 15 to 20 foot piece of
used sash cord. The contest is for either contestant to "tie up"
his rival.
Swat Him. Opponents are blindfolded, and each is given a
rolled newspaper or a pillow for a weapon. They lie down hold-
ing this weapon with left hand and trying to hit the other with
their weapon. Player with most hits wins.
Variation: A 1 5-foot rope is run through a ring fastened on
the ground. Both ends of the rope should be tied around the
players' waists in a bowline. Players can then move around on
their feet as they swat.
FEATS OF STRENGTH OR SKILL
Feats of strength and skill can be used in many ways as
dual contests, as challenges, or as demonstrations of abilities.
Some of these described here are suitable for both boys and
girls. Others are more strenuous and athletic and are better
suited to boys' camps. Some of these can be done by the en-
tire audience to add fun to the evening such as rub stomach
and pat head.
GAMES AND ACTIVITIES AROUND THE CAMPFIRE 221
Broom Lifting. A broom is held at its end at arm's length
in one hand. The problem is to work the broom up until the
hand reaches the straw. A twisting motion is used.
Ring Pick. Player balances upon a balance bar or a two-by-
four, with feet on bar. Using a 4-foot stick, he reaches behind
himself, picks a ring off a peg, and places it on a peg in front.
Stick Jump. Player grasps a stick with hands at least 2 feet
apart and jumps through his arms without losing grip on the
stick.
Variation: Stick is placed on the ground. Player places his
fingers over stick, with one hand on either side, and from that
position jumps the stick.
Under Stick. A 5-foot stout stick is needed. Player grasps
stick, one hand at one end with other hand a foot below. He
tries to put other end of the stick on the ground and crawl
under the stick without losing his grip or moving the stick
from the ground.
Newspaper Rumple. Each contestant is given a full sheet of
newspaper which he holds by one edge with his arm out-
stretched. The contest is to see who can first rumple the news-
paper until he has worked the whole sheet into his hand. The
other hand must be behind his back.
Chair Shift. The contestant lies down on three chairs one
under his feet, one under his head, and one under his back.
Now he takes the chair from under his back while supporting
himself on the other two chairs, brings it over and puts it
under his back from the other side.
Around Chair. The player starts from a sitting position in
chair. Without touching the floor, he works around behind the
chair back and into the chair again.
Tricks. Campers can make up a program of tricks and stunts,
such as handstand, walking on hands, somersaults, tumbling,
and juggling.
222 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
Kneel and Stand. Player stands with toes on a line. He tries
to kneel down and get up again without using his hands or
moving his feet.
Rub Stomach and Pat Head. The purpose is to see who can
pat his head while he rubs his stomach in a circular motion.
Circular Test. The player tries to move hands in a circle in
opposite directions and with one arm outstretched and the
other toward the body.
Get Up. From a reclining position (on back with arms at the
side) the player must rise to a sitting position and then stand
without using the hands. (Hands are kept flat against the
thigh.)
Arms Crossed. The player arises from a reclining position,
with arms crossed on chest, without using arms or elbows.
Get the Cork. A cork is placed about 5 feet from a line. The
player is on hands and knees. He puts one hand on his hip; he
tries to pick up cork in his teeth and get to his feet again using
only one hand.
Some of the games and activities in this chapter may seem
ridiculous or very easy when in print, but the easiest ones can
stump even expert campers and adults who think they have
highly developed powers of observation or special skills. Many
of them can be used in a dozen ways, not only by the camp-
fire program leader, but by the nature counselor, the camp-
craft counselor, or the dramatics counselor.
BIBLIOGRAPHY
Eisenberg, Helen and Larry, Omnibus of Fun. New York: Associa-
tion Press, 1956.
Elliott, Blanche, Games, Stunts, Socids and Parties. Dayton, Ohio:
Paine Publishing Co., 1929.
GAMES AND ACTIVITIES AROUND THE CAMPFIRE 22 J
Harbin, E. O., Fun Encyclopedia. New York-Nashville: Abingdon-
Cokesbury Press, 1940.
Hendman, Darwin A., Complete Book of Games and Stunts. Engle-
wood Cliffs, N. J.: Prentice-Hall, 1956.
Mason, Bernard S., Party Games for AIL New York: A. S. Barnes &
Co., 1946.
, and Mitchell, Elmer, Active Games and Contests. New
York: A. S. Barnes & Co., 1935.
Mulac, Margaret F., Game Book. New York: Harper & Brothers,
1946.
, Fun and Games. New York: Harper & Brothers, 1956.
Sewell, Stuart W., Self Education Quiz Book I and II. New York:
Garden City Publishing Co., 1944.
Smith, Charles F., Games and Game Leadership. New York: Dodd,
Mead & Co., 1932.
, Games and Recreational Methods. New York: Dodd, Mead
& Co., 1924.
Staley, Charles Seward, Games, Contests and Relays. New York:
A. S. Barnes & Co., 1924.
Vinal, William G., Nature Games. Ithaca, N. Y.: Comstock Publish-
ing Association, 1926.
CHAPTER TEN
STUNTS AROUND THE CAMPFIRE
AN many camps the big show of the week is stunt night; or it
may be used only once in each camp period. Campers look
forward to it with anticipation and enthusiasm, and those who
have been in camp previous seasons sometimes prepare a stunt
before coming to camp and bring their props with them.
A stunt is a dramatic act, bit, skit, or feat, in which one or
more players perform for or entertain an audience and present
an idea or a message. Stunts take a variety of forms, including
pantomime, singing, dancing, the spoken word. In presenting
stunts, costumes and props are used to one extreme or the
other. Either everything is completely impromptu and made
up on the spot (a mop used as a wig, a paper bag for a cos-
tume, a stick for a sword) or everything is very carefully pre-
pared beforehand (marionettes, puppets, special costumes, de-
tailed masks).
224
STUNTS AROUND THE CAMPFIRE 225
Stunts are fun for the spectator and for the participants.
Although their first purpose is fun, stunts serve other purposes
too; they build confidence in campers, develop showmanship
and poise, encourage initiative and creativity, and call for co-
operation. A stunt may be funny, but still be instructive, in-
formative, and even inspirational. Stunts can be presented by
an individual camper or counselor or by a group. Many stunts
require little preparation, costuming, or props. Their humor
lies partly in their impromptu quality.
Stunts can be a part of any campfire program and can be
worked into whatever theme is used for the evening. They can
also be the whole program for the evening campfire* The leader
has to exercise his judgment on the type of stunts used and
how they can be adapted to the program. The leader who has
a collection of stunts in his head or in the camp library finds
his collection useful on rainy days and for small unit or cabin
campfire gatherings, as well as for the big stunt-night program,
USING STUNTS IN CAMP
Stunts are fun and good entertainment, but they can get out
of hand and they can be inappropriate to the particular occa-
sion and group. The campfire leader who plans a stunt night
should be aware of some of the problems and special consid-
erations that face him. Usually he works with a committee of
campers or with a representative from each camper unit. If he
is aware of the problems, he is in a better position to make
suggestions to the campers and to help them prepare suitable
stunts.
Size of Camp Group
One consideration the leader should keep in mind is the
size of the entire camp group or of the group that will see the
226 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
stunts. A small group of fifteen and an all-camp gathering of
three hundred call for different stunts. Everything presented
to a large group has to be visible and audible to all. Stunts
that require small motions or tiny props can only be used with
small groups. In a small group the stunts can be more com-
plicated and take more time, since fewer will be presented.
Stunts used for a large group ought to be short, so there can
be more of them and so more campers can participate. Many
of the stunt suggestions in this chapter can be used for large
or small groups with some adaptation.
Age and Sex of Campers
Age and sex is an extremely important point for the leader
to keep in mind. Boys will enjoy or accept some stunts and
skits if girls are present, but in an all-boy program they might
object to these same stunts as being silly. In camps having a
wide age range the leader has to consider the interests of the
youngest as well as the oldest Stunt night is usually not too
effective in very young groups, since their sense of humor is not
completely developed. If older campers and younger campers
are present at stunt night, the older campers often enjoy a
stunt put on by the younger ones which they would ridicule if
presented by their own age group. Girls' camps do not always
enjoy some of the stunts used in boys 7 camps. It is up to the
leader to be alert to interests of the campers so that the stunt
program will appeal to as many as possible.
Precautions
No leader wants any part of a campfire program to offend
any camper, but sometimes this happens on stunt night. Some-
times a thoughtless gesture or phrase or an entire stunt or skit
can ruin the comradeship of the evening. There are some spe-
cial precautions to observe:
STUNTS AROUND THE CAMPFIRE 22J
Religion. The leader must see that no stunt or actor's lines
trespass on religious beliefs or customs. The various faiths and
their members must not be ridiculed by jokes or by inference.
The leader and the stunt-night committee need to be alert to
avoid any infringement of this type.
Race, Color, Nationality. The leader and stunt-night com-
mittee should preview each stunt to be sure it contains no
words or situations that offend in their reference to race or
color or nationality. Minority groups and racial groups and
national groups resent being tagged, nicknamed, belittled, or
made to look ridiculous. Camp is no place for such references.
Imitation. Sometimes in a stunt boys play the part of girls
or girls the part of boys. This can be great fun, but the leader
should watch such stunts to make sure gestures and references
are in good taste. Boys and girls often copy actions they see in
movies and on television, and the very grown-up gestures they
imitate will seem indecent because of their youth. One imita-
tion to avoid is the drunk.
Ad-Libbing. Some campers may be good at this, but it is not
wise to allow free use of ad-libbing. In the excitement of the
show things may be said which would be better left unsaid.
When a stunt is a success, there is a tendency to prolong it by
ad-libbing. Each stunt should be so planned that the actors
know the action and their lines, if any, and each stunt should
end as originally planned.
Sensitivity to Feelings. A stunt should be funny to all. It
should not make fun of any social or economic group or any
occupation, because some camper will be hurt. Country boys
resent being pictured as "hicks"; city boys do not care to be
known as "city slickers."
Indecency. Of course, suggestive or smutty stories or lines
have no place in a camp stunt night. Nor do indecent actions
228 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
or obscene gestures. Ad-libbing sometimes leads to this, and
that is one reason why the leader should discourage it.
Variety
A stunt-night program should offer a variety of stunts in order
to hold camper interest. The same stunt program can be used
in every camp period if the leader feels he has developed a
good variety that appeals to everyone. If campers stay an en-
tire season, a greater variety of stunts is necessary to avoid
repetition, although campers usually enjoy a repeat on a good
stunt. In a long-term camp there is opportunity for more bur-
lesque of camp situations and impersonations of camp per-
sonalities because campers are together for a long time and
know one another well.
Putting a Stunt Over
Any stunt can be a good one if some effort is put into the
presentation. Here are a few tips for the leader who wants to
build up his stunt night:
It is important that everyone in the audience be able to
see and hear.
Lighting is important. If the action is to take place in
firelight, the action should be behind the fire so the act
will not appear silhouetted against the flames. For some
stunts additional light is needed.
Short stunts are usually better than long ones; they do not
require as much preparation and will not bore the au-
dience.
A build-up before the stunt is always good. Ballyhoo whets
audience appetite.
If the stunt is a dramatic skit, it is effective if the char-
acters appear one at a time before the stunt begins.
Each might announce the part he will play.
STUNTS AROUND THE CAMPFIRE 2 2Q
Dramatic parts can always be overplayed in stunt skits;
this adds to the fun.
Occasional use of very slow dialogue or very fast dialogue
or slow motion and accelerated motion is good for a
comedy effect.
Stunt nights should move quickly. While one stunt group
is perf orming, the next group can be ready for entrance.
Using a song between stunts not only prevents an awk-
ward pause but gives variety and change of pace to the
program.
Rehearsals
Rehearsal of a complete stunt-night program is seldom nec-
essary and often impractical. Each group presenting a stunt
can practice separately and time its stunt. What is necessary
is that the stunt-night program leader know the program com-
pletely. If he cannot take time to preview the stunts, he must
have confidence in the counselors who do the previewing or
who practice with small groups. He must know what stunts are
being planned; then he can say "no" to unsuitable ones before
they are too far along in preparation. He must know the ap-
proximate time each stunt will take so that he can arrange the
total program.
The campfire leader can act as a resource for groups or in-
dividuals who need help in finding stunt material. He might
visit each group campfire to talk over their plans and give
suggestions. Or he might have a committee composed of a rep-
resentative from each camp unit meet with him to build the
program. If many of the campers have had no opportunity to
appear in programs around the campfire, the leader might
arrange for each group to practice their stunt at the fire circle
to familiarize themselves with the size, the acting space, and
any obstructions that might interfere with their stunt idea. At
230 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
this rehearsal the leader can review the items without calling
a general rehearsal.
Cosfurnes
Most stunts need no costumes. For those that do, the rule
is either to understate or overexaggerate. The best costumes are
those improvised on the spot. The costumes are a part of the
hilarity of stunt night and their imperfections add to the fun.
For example: a skirt can be indicated by a sweater tied around
the waist by its sleeves; a clean mop is a wig; a smear of soot
or some straw fastened on with cellophane tape makes a mus-
tache; cardboard can be cut for a crown, oversized sheriff's star,
sword or shield; a trailing blanket is a king's royal robe; a
feather in a headband is the symbol of an Indian; big patches
of paper pinned on the clothes make a hobo; newspaper can
be soldier hat, sunbonnet, Hawaiian shirt, apron, or complete
costume. If the campfire leader has a costume box, he might
include in it a wig or two, false noses, glassless glasses, Indian
costume, and a few other often used costume pieces. These
should be used only when necessary. Stunts are funnier if the
costumes are as original as the stunts.
THEMES FOR STUNT NIGHT
Instead of a program of heterogeneous stunts, a leader may
want to center stunts around a theme for the evening. Since
almost any stunt can be twisted to fit almost any theme, camp-
ers will have a chance to exercise their ingenuity. The theme
should be announced in plenty of time so that groups can
present their ideas to the campfire leader to be sure there are
no duplications. Here are some themes that are enjoyed by
campers, depending on the age of the participants and the au-
dience:
STUNTS AROUND THE CAMPFIRE 231
Circus or Carnival Theme. Since almost every camper has
seen a circus or carnival, this is a good theme to use, and it can
be done equally well by the youngest and oldest campers. The
campfire leader or master of ceremonies is the Ringmaster,
gives the spiel, calls out the acts, encourages the applause.
Imaginative campers can re-create almost any circus or side-
show act. Clowns can do stunts as they move about the camp-
fire circle.
Indian Theme. All stunts for one program can be related to
the Indian theme, and actors can wear improvised Indian cos-
tumes. The master of ceremonies is the Big Chief, and the
campers can present historical stunts, Indian dances and songs,
Indian games, challenges.
Television or Radio Theme. This is a favorite theme with
all ages and most stunts can be used on such a program. The
campfire leader acts as the announcer or master of ceremonies
and weaves all the stunts together with typical broadcasting
patter.
Amateur Night Theme. A talent scout or director takes
charge of the amateur acts, put on by individuals or groups.
These stunts can be song, music, dance, drama. They should
be exaggeratedly amateur. Audience reaction and voting by the
applause meter can determine the winners.
Silent Movie Theme. Even though campers may never have
seen a silent movie, they will enjoy acting in them. For this
program the pantomime stunts and skits are best, and there
should be some music to accompany the action or to bridge
the reels of the movie.
Men and Machines Theme. This is suitable for older camp-
ers, especially boys. Groups can invent a ridiculous yet useful
machine or gadget on the order of a "Rube Goldberg" in-
vention. These must be built of improvised materials and each
group should have a lecturer to describe the wonders this ma-
232 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
chine can perform. The campfire program leader might act as
the guide, as if the machines were displayed in a miiseum of
science and industry.
STUNTS FOR GROUPS
In the ideas for stunts that follow, the campfire program
leader will find many that are familiar to him, but they may
be presented with a new twist. Some of the ideas are sketched
briefly because the action and lines should be invented by the
campers. Others are given in more detail as examples of how a
simple joke or story can be built into a good stunt. In selecting
any stunt, the leader should consider the age and sex of the
campers, the size of the audience group, and the frequency of
stunt night.
Stunt Based on Joke
This is one of the easiest stunts and can be based on any
good joke that is going through the camp. There is always one
that campers think is hilarious. Perhaps it is the joke about
the three crazy fishermen. It could be done as a stunt in this
way:
Three men sit on a park bench. Two of the men make the
motions of fishing. They cast, reel in, and cast again. A police-
man appears and is puzzled. He asks the third man what they
are doing. He is told that the other two men think they are
fishing. When the policeman points out that there is no water,
the third man points to his head indicating the other two are
crazy. The officer suggests that he take the two fishermen home.
The third man calmly picks up an imaginary pair of oars and
goes through the motions of rowing the park bench away!
STUNTS AROUND THE CAMPFIRE 233
In this kind of stunt a narrator can set the scene or else
cardboard signs can be used to indicate park and bench. All
the actions are in pantomime.
Delayed Action SJcif
Some skits depend on a delayed action point, which comes
as a climax at the end usually a ridiculous climax. These skits
should not be dragged out too long. For example, "The Viper"
can be done in several ways:
There is a series of messages or telephone calls, telling that
the "Viper" is coming, which apparently is terrible news. Each
time the news brings greater apprehension until at last the
"Viper" is announced and a workman with pail and wiping
cloths comes in saying, "I am the viper. Have you any vindows
to vipe?"
This same skit can be put on with much elaboration and
a big cast. The leader should take care that this type of stunt
is not too long:
The scene is a king's court, with a prime minister who re-
ceives each runner who brings the dismal news of the Viper's
coming. He relays the news to his majesty the king with proper
formality. Each runner is welcomed by a fanfare of bugles, and
he collapses after giving his message. The Viper is represented
as coming in ten years, then five years, then one year, six
months, one month, a week, a day, and then now. At each
news bulletin the king orders out another national protection
resource, such as the Army, the Navy, the Coast Guard, the
Marines, the Girl Scouts, the Boy Scouts, and so forth. The
appearance of the Viper is the ridiculous anticlimax.
Another example of a delayed action or suspense skit is a
restaurant scene called "Spinach." In the restaurant a waiter
234 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
and a customer are the actors; several other waiters are unseen.
The waiter tries to persuade the customer to order spinach.
He describes the spinach in glowing terms. The customer orders
a different dish each time. The waiter calls his order out loudly
in restaurant jargon. Backstage at different distances, several
unseen waiters yell out the order until it reaches the distant
kitchen, where the answer is received, "No ," which
in turn is passed back to the waiter on stage and then to the
customer. Here are some sample dishes with the response for
each:
The order the customer The waiter calls
asks for it
"Eggs on toast" "Adam and Eve on a raft"
"Spaghetti" "Cut a mop"
"Pork and beans" "Alaskan strawberries"
"Steak well done" "Cow burned"
The cook responds
"No raft"
"No mop"
"No strawberries"
"No cow"
At last in desperation the hungry man gives in and orders
spinach, and in due time the call comes back, "No spinach."
The waiter is chased off the stage.
Siif Using a Prepared Script
If the camp has a couple of good writers, they might write a
script to use on stunt night For example, a mixed-up radio
skit is always a camp favorite. The campfire program leader
should advise the group that presents such a skit to select
readers with good voices for the parts.
In such a skit, which could be called "Dial Your Station/'
STUNTS AROUND THE CAMPFIRE 235
the scene might be a living room with a radio and easy chair
(all imaginary). The radio listener, dialing stations to find a
program he wants, gets the following: football game, western
story, homemaker program, children's story hour. The fifth sta-
tion is broadcasting a talk on the particular camp or organiza-
tion where the skit is being presented. Every mention of the
camp or organization should be loud and clear.
Five actors would be needed to read the parts, plus the
radio listener who twirls the dial to change the programs ac-
cording to the script. It is important that actors roll right along
on cue, without stopping for audience laughter. The most im-
portant parts of each speech are the first and last phrase.
Feats of Skill
Many of the games, contests, challenges, and demonstra-
tions appearing throughout this book can be used as stunts.
Emphasis on showmanship and drama take them out of the in-
struction category and put them in the stunt category, where
they should be either underplayed or overplayed to be funny.
Feats of skill might be physical feats. Some campers excel
in tumbling, contortion tricks, tricks with a broomstick. They
can create a stunt around these feats, perhaps burlesquing them
first and then doing a serious demonstration. Campcraft skills
can also become stunts. Fire by friction, first-aid rescues, fancy
knot tying, tent pitching, can be dramatized, pantomimed,
or burlesqued.
Stunts Based on "Rube Goldberg" Ideas
Many stunts depend upon bizarre props or arrangements
which are improvised from anything at hand, "Rube Goldberg''
machines are favorites at boys' camps, and building and
demonstrating such a ridiculous machine is a good stunt-night
project. Some examples are: a lie balloon, which swells when a
236 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
lie is told by any camper on the program; a photographer
whose camera explodes after he has spent a hectic few minutes
posing and arranging his subject; a noise machine; a growing
machine which makes small things become big (a baby doll is
put into the machine at one end and comes out at the other
end as a full-grown camper dressed in baby clothes).
A "Rube Goldberg" machine is constructed of anything at
hand: boxes, barrels, tubs, wash boilers, coffee pots, big balls,
colored globes, light bulbs. All the parts are put together with
a complicated arrangement of wires, string, and tubes. The
machine should look scientific and plausible. The parts can be
labeled transformer, intake, dynamo, starter, temperature con-
trol.
An example of such a machine stunt is the Rejuvenator
Machine, made large enough so a camper can hide inside with
noise-making equipment, bells, whistle, hammer and wood,
rattles. He might also have some way of flashing lights or
creating smoke. He is the works and the noise of the machine.
On either side of the Rejuvenator Machine a chair is connected
to the machine by wires.
A scientist or doctor in white coat ballyhoos the wonders of
this new invention. It will take away any injury or affliction of
old age, but the affliction will be passed on to another person.
A patient enters with a limp and is strapped into one chair.
Another camper is strapped to the other chair. The machine is
started and operates with noise, flashes, and jerks. When it is
stopped, the limp has been passed on to the healthy man.
Another patient is too fat. He wears an inflated balloon under
his shirt. The machine makes him thin, while a balloon hidden
on the second man is inflated so he becomes fat. The last pa-
tient in the stunt comes with some ridiculous ailment that
baffles the machine. The ailment is passed on, not only to the
second man but to the scientist, the doctor, the master of
STUNTS AROUND THE CAMPFIRE 2 37
ceremonies, anyone who is near. The machine goes haywire,
flashes, pops, rumbles, screams, shakes, and finally explodes in
a heap of tangled wires and boxes.
Musical Stunts
There is always some musical talent in camp, vocal or in-
strumental. The program leader for stunt night might plan
with campers for an entire program based on musical stunts.
In between stunts the audience might sing some humorous
action songs that fit with the stunt-night theme. Both boys'
and girls' camps and mixed camps enjoy this type of program.
Here are a few ideas:
Jubilee Singers. A group of singers is ballyhooed as being the
best in the country. They appear after the build-up. Their
singing is erratic. Each time the director hears a sour note, he
draws a gun and pretends to shoot the singer. This is repeated
until singers are lying everywhere and only one is left to carry
the tune. When the director aims his gun at the last singer,
the singer chases the director off the stage and the stunt is over.
Backward Quartet. The announcer makes a grand spiel about
this group who will sing backward. The quartet then sings a
song facing the audience; it turns around and sings the second
song with backs to the audience.
Pigtail Xylophone. Singers with pigtails made of stockings
or rags represent notes of the musical scale. When a pigtail is
pulled, a note is sounded. The player can play some familiar
tune by pulling pigtails in correct note sequence.
Chimes. The idea above can be applied to chimes or bell
ringing. Each member of a group represents a chime. The di-
rector taps heads gently with a padded mock hammer to get
the chimes needed for his music.
High Singer. A soloist sings a song with a wide note range.
238 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
At the low notes he bends to the ground; as he sings higher
notes he stretches upward; for the very high notes he climbs a
chair or stepladder.
Instrumental Music. Each person in a group plays a different
instrument, imitating the proper gesture and approximate
sound. The director can lead them in the styles of various pop-
ular bands. Perhaps, in the midst of a good selection, the band
goes berserk and every player goes off on a different tune. A
band might also use comb and tissue paper for instruments.
Burlesque of Grand Opera. The nursery rhyme, "Who Killed
Cock Robin?" is often used as burlesque opera. It appeals to
younger campers as well as to older ones who may be familiar
with operatic singing styles. The stunt calls for a good conduc-
tor who uses dramatic gestures, six soloists, and a chorus. The
conductor wears a clean mop as hair, and he constantly tosses
it back from his face. Soloists can improvise costumes to indi-
cate the roles they play. Everyone must take great liberty with
the arias so that the operatic style will be ridiculous. Dramatic
gestures by soloists add to the fun* High notes should be held
long, scales can be sung, words can be repeated as in opera.
The operatic group will need practice on this. Here are the
words for soloists and chorus. Each soloist steps forward and
emotes as he sings.
FIRST SOLOIST: "Who killed cock robin?"
SECOND SOLOIST: "I, said the sparrow, with my little bow and
arrow, I killed cock robin." (Chorus)
FIRST SOLOIST: "Who saw him die?"
THIRD SOLOIST: "I, said the fly, with my little eye, I saw him
die." (Chorus)
FIRST SOLOIST: "Who caught his blood?"
FOURTH SOLOIST: "I, said the fish, with my little dish, I
caught his blood." (Chorus)
STUNTS AROUND THE CAMPFIRE 239
FIRST SOLOIST: "Who dug his grave?"
FIFTH SOLOIST: "I, said the crow, with my little hoe, I dug
his grave." (Chorus)
FIRST SOLOIST: "Who preached his funeral?"
SIXTH SOLOIST: "I, said the rook, with my little book, I
preached his funeral." (Chorus)
After each solo part the following chorus is sung by the
whole company: "And the birds of the air were a-sighing and
a-sobbing when they heard of the death of poor cock robin,
when they heard of the death of poor cock robin! 77
Sucker Stunts
Sucker stunts are out of place on a camp-wide stunt-night
program. They can be used sometimes in a small group where
campers know one another well and know that they are going
to be made to look foolish. Most sucker stunts are intentionally
cruel and are akin to hazing. Too often there is one camper
who becomes the butt of sucker jokes and stunts. Sucker stunts
do not help in building good fellowship or good sportsmanship;
they take very little talent; in most camps they are taboo on
the campfire program.
Impersonations
Stunt night often includes impersonations. Every camp has
campers or staff members who are good subjects because they
stand out in some way. In presenting an impersonation of a
staff meeting, for example, the campers pick mannerisms, pet
phrases, gestures, recognizable oddities in dress, that will iden-
tify the staff members. Then these characteristics can be over-
emphasized to make the impersonation humorous. They might
even be pantomimed. The campfire program leader should
check on the plans for impersonations to be sure that no
240 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
camper or staff member will be offended by the portrayal
of himself and to be sure that actors do not emphasize a per-
sonal characteristic about which a person is extremely sensitive.
Impersonation stunts based on the career of one person are
always fun. For example, the camp song leader may be a vigor-
ous arm waver. This characteristic is emphasized in a five-
scene pantomime. The object is to have the campers guess who
is being impersonated. The five scenes might be done in pan-
tomime thus by girls or boys:
Scene I. A small camper, dressed as a baby, waves his arms
wildly and sings a ga-ga song in baby voice.
Scene II. A bigger camper, dressed as a little boy, engages in
various activities that require much arm waving.
Scene III. A young man is shown in a courting scene. He in-
terrupts a fond embrace by waving his arms as if leading a
song. He kneels to propose and goes off into song leading.
Scene IV. A mature camper portrays the song leader as a
business man. At a directors' meeting he waves his arms vio-
lently during the discussion.
Scene V. This can be a funeral scene. As his coffin is carried
across the stage, the song leader sits up, waves his arms, and
directs the funeral music.
Question for Audience: Who is the character portrayed in
these five scenes?
Circus 01 Carnival Stunts
A circus theme is good for an entire stunt-night program or
for occasional stunts to be used at any campfire program. They
should be presented with ballyhoo by the master of ceremonies
or side-show barker. Costumes can be improvised and should
be exaggerated. Props can be real or imaginary. Since circus
and carnival acts include male and female performers, there is
STUNTS AROUND THE CAMPFIRE 241
plenty of material in this theme for a boys' camp or girls' camp.
Circus stunts have even more impact if applause starters are
stationed here and there in the audience to lead applause at
critical times in each stunt.
The Crack Shot. This can be a crack male shot or an Annie
Oakley impersonation. The gunman is introduced as the world's
champion shot, who has performed before kings and presidents.
A fanfare of bugles announces his entrance, assistants carry his
guns, his dress is overemphasized and dandyish.
Several empty cans (No. 2^/2) are placed on a low bench in
the line of fire. Each has a hole punched in it, through which
a black thread is tied. In each can is a stone; when the thread
is jerked, the stone makes a noise as if the can had been hit
by the expert marksman. The ringleader or barker introduces
each imaginary shot separately and with much fanfare. The
black threads are pulled at the proper moment by a concealed
aide who synchronizes his string-pulling with the gunshots.
Many shots can be used, such as:
Plain shot first can is pulled so it jumps back and stone
in it sounds like a shot.
Shot from hip second can is pulled.
Bank shot third can is pulled as gunman shoots against
some other object and apparently ricochets bullet to can.
Mirror shot fourth can is pulled as gunman shoots by
looking in a mirror.
Around the world shot fifth can is pulled after a momen-
tary delay to indicate the gunman has shot around the
world. He shoots in the opposite direction, then turns
slowly as if following the path of the imaginary bullet.
The success of this stunt depends on the string-puller or
any assistant who makes the sound of the bullet meeting its
THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
object. The assistant might hold out a soda cracker as target
for each different shot. As the imaginary bullet hits he breaks
the cracker. He might hold a pie tin with a spoon hidden be-
hind it. The spoon is tapped smartly against the tin when a
shot is fired. Another good shot sound can be created by a
piece of paper and a pencil. The sheet of paper is held up with
a pencil held behind it. When a shot is fired, the sound is
made by gripping the paper and pencil firmly in one hand and
moving the thumb against the pencil. There is a sharp snap
as the pencil slides against the paper.
Hair Balance. This act is introduced with great ballyhoo,
calling attention to the delicate sense of balance developed
by the performer after years of practice. Now he has perfected
a trick of balancing a 4-foot hair. The audience is told how the
4-foot hair was found. An assistant brings out a large tray
with the imaginary hair on it. The professor carefully picks up
the hair, runs his finger along the entire length of it, stretching
in order to reach the other end. He feels the end and finds it
quite sharp. He works out some imaginary kinks, sights along
the hair to see if it is straight, then gives it another adjustment.
Now he is ready to perform with much fancy footwork and
delicate balancing:
1. He balances the hair on its end on center of his palm.
2. He balances it from the end of his finger.
3. He tosses the hair from one hand to the other and keeps
it upright. He misses once, to add reality to the trick.
4. Finale. He balances hair on the end of his nose.
Trained Flea. The master of ceremonies introduces the
"world's greatest flea trainer and his champion flea, Susie."
With great ceremony a couple of assistants bring forth an
ornate box on a silken cushion, from which the trainer gently
STUNTS AROUND THE CAMPFIRE 243
lifts the imaginary flea. The trainer must use showmanship in
coaxing the flea to perform. As the flea performs the imaginary
feats, the assistants, the trainer, and the announcer all follow
the movements of the flea with their heads so the audience
knows what the flea does. The trainer must edge the flea from
the center of his palm to the end of his finger for the first take-
off. Here are some acts for the flea:
1. She jumps from the trainer to the assistant 10 feet away.
2. She jumps back to the trainer across a much greater dis-
tance.
3. She does a single flip high in the air.
4. She does the great double flip.
5. She does the triple flip a trick that only Susie can do.
However, this last time Susie decides to stay up there on a
tree branch. After much coaxing she takes a wide sweep down-
ward and then is lost. The trainer is beside himself trying to
find Susie. He thinks he finds her in the camp director's hair,
but declares this is not Susie so puts it back. If one of the
staff is partly or entirely bald, perhaps he will enter into the
joke and let the trainer find Susie on his bald head.
Sword Shallower. The performer takes his imaginary sword
from his aide, feels of its edge, looks down the edge, swishes
it in air, and parries a few thrusts with it. Then he starts the
sword carefully down his throat. Once it is obstructed. He
presses on his chest to relieve the obstruction and slides the
sword further down. When it is fully down his throat, he walks
around carefully and stiffly. His head is held backward and his
face is upward all the time. He shows how the sword limits his
actions. Then he pulls the sword out carefully and slowly; he
smiles in relief when it is out and he can move his head freely.
Strong Man or Woman. This is a brief stunt of the side-
244 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
show type. The arms and legs of the strong man are padded to
imitate huge muscles. Bell bars and weights are carried in by
several aides, who strain to get them to the stage. The strong
man does several weight-lifting stunts, each one highly drama-
tized. When he has finished, a small camper runs on stage,
picks up all the weights and dumbbells, and carries them off.
Tightrope Walker. With much ballyhoo the tightrope artist
is announced. The performer comes in with an umbrella and
two assistants who carry a rope. They hold the rope up. The
actor has numerous adjustments to make in the tightness and
position of the rope. He wants it just right. He gradually re-
duces the height until the rope rests on the ground, where he
performs briefly, and then falls off the rope. He might carry
other props used by tightrope artists a chair, a bicycle, a
bamboo pole.
Snake Charmer. The stunt man can make an artificial snake
of a long stuffed stocking. A heavy black string is tied to its
head, drawn up over a branch, and the end is held by a hidden
assistant. The snake charmer plays a flute or reed pipe (real or
imaginary) and the assistant makes the snake rise and move
in air. The snake charmer can wear a turban and a flowing
sheet for a robe.
Hypnotist (see Plate I). The props for this stunt must be
brought in behind a screen so audience will not have a pre-
view of them. The hypnotist wears a top hat and sweeping cape
and has a false mustache. The subject is apparently lying on
a canvas cot covered by a sheet or blanket. His head on a
pillow and his feet with shoes are the only visible parts of his
body. The hypnotist with words and gestures hypnotizes the
subject, whose body apparently floats upward about 5 feet,
then is lowered to the cot.
The secret is that the cot has no canvas bottom. The camper
squats or kneels within the frame of the cot. He bears two
STUNTS AROUND THE CAMPFIRE
PUTS I
long sticks, which he rests on his shoulders. At one end his
shoes are fastened to the sticks. At the other end, a pillow is
fastened to the sticks and he holds his head back on the pillow
all the time. He can rise from his kneeling position to a stand-
ing position and his body appears to float in air. The blanket
or sheet must be big enough to drape the act all the time, so
the mechanics of the stunt are not seen. In a mixed camp, this
stunt is good when the hypnotist is played by a boy and the
subject by a girl.
Almost any circus idea can be adapted to stunt night-
wrestlers, boxers, tumblers, performing animals, lion tamers,
circus band, fat woman, thin man, tattooed man, skeleton
man, sleight-of-hand magician.
STUNTS FOR INDIVIDUALS
Stunts are not always performed by groups. Individuals may
perform stunts as forfeits in games, as representatives of their
cabin or unit, or as an acknowledgment of an introduction to
the group. In small campfire groups this last use of stunts is
a favorite one. Each person when he is introduced to the
group responds with a short stunt. Staff and counselors can
246 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
respond this way also. Anyone who is in a camp ought to have
a few stunt bits that he can do at a minute's notice. His spe-
cialty might be magic tricks, impersonations, singing, a musical
instrument, reading effectively some humorous story or verse,
feats of skill, athletic feats. Campers and staff with active ima-
ginations can often improvise a one-man skit similar to the
three that are given here. Any of these is suitable for a boy or
girl actor.
I Cannot Pay the Rent Props: a 6 by 5 inch piece of paper
folded in inch-wide pleats. The audience is told that this bit
of pleated paper represents a bow tie when placed under the
chin, thus making the wearer the hero. It becomes a mustache
worn by the villain when held under the nose; when worn in
the hair, it becomes a hair ribbon worn by the beautiful damsel
in distress.
One person plays all parts in the following play. He or she
moves the bit of paper to the right position for each character
when the lines are spoken. A falsetto voice indicates the girl;
a romantic voice, the hero; and a coarse deep voice, the villain.
Gestures can be exaggerated for each character.
VILLAIN: "You must pay the rent. You must pay the rent"
GIRL: "I can't pay the rent. I can't pay the rent."
VILLAIN: "You must pay the rent. You must pay the rent/'
GIRL: "I can't pay the rent. I can't pay the rent."
VILLAIN: "Then you must go. Then you must go."
GIRL: "Please let me stay. Please let me stay."
VILLAIN: "You can stay if you marry me. You can stay if you
marry me."
GIRL: "Never. Never."
HERO: "111 pay the rent. I'll pay the rent."
VILLAIN: "Foiled again. Foiled again."
HERO: "Be gone. Be gone."
STUNTS AROUND THE CAMPFIRE 247
Napoleon Says Good-by to His Grandmother. The success
of this one-man stunt depends on a dramatic introductory
statement made by the actor before he plays the scene. He
tells how hard it is to play farewell scenes, but they hold many
dramatic possibilities, and he has practiced long and hard to
perfect a farewell scene. He says he has selected a momentous
farewell from history itself to portray tonight. He will show
how Napoleon the Great said farewell to his grandmother.
He seats himself, gets into character, then waves a handker-
chief, and cries, "Bye-bye, Granny. 7 '
The Art Lover. The Art Lover wears an overcoat and is seen
only from the rear. When he looks at the first low row of pic-
tures he has his knees bent so as to appear short. The coat
almost touches the floor and hides his bent knees. When he
looks at the moderately high row of pictures he stands at nor-
mal height. In looking at the high row of pictures he raises his
hat and coat on a stick so he is very tall. The concentrated,
overcritical action of an Art Lover can be imitated by using a
monocle or eyeglasses, a ruler, a pencil to judge perspective, a
catalogue of the exhibit.
MISCELLANEOUS STUNTS
What Time Is It? One camper asks another what time it is.
The other camper sights the stars with a sextant. He then
checks a sundial. He makes a number of calculations and then
announces the time. When asked how he can tell the time so
accurately his answer is, "I looked at my watch."
Hunting Stunt. Several campers are placed at different spots
in the woods beyond the campfire. The performer is in the
circle. He takes aim with an imaginary gun and shoots into
the woods. He then calls out:
248 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
"Are you there, Bob?" Answer, "I'm over here! 77
"Are you there, Ruth?" Answer, "I'm right here!"
"Are you there, Jim?" Answer, "Here I am! 77
"Are you there, Sally?" Answer, "This is I!"
"Are you there, Mary? 7 ' Answer, "I'm over here!"
"Are you there, Jack?" Answer, "I'm all right!"
"Then I shot a deer!"
Rocking Chair Act. The performer rocks in a chair silently.
He moves the chair a little. He repeats this several times ad-
justing the chair this way and that, all without comment
Finally someone else comes up to him and asks him what he
is doing. He answers, "I want to find out if it's easier to rock
with or against the grain!"
Three Wits. Three performers do this act together. One tells
a lively story without any gestures or facial expression. The
second one makes the gestures without facial expression or
words. The third performer gives the facial expression suited
to the words but is silent and otherwise motionless. It is neces-
sary to announce the act carefully so the campers will realize
that it takes all three to tell this story.
The Great Pianist. The great piano player is introduced. He
comes in, bows formally, and accepts the applause gracefully.
He sits down at an imaginary piano on an imaginary stool. It is
too high. He spins the stool. Then it is too low. He adjusts it
several times but cannot get it right. He tries several books on
the stool. They are either too thick or too thin. Finally he tears
a leaf out of an imaginary book and puts it on the stool. Then
it is just right.
Once he has the stool adjusted to suit him, he begins to
play, exaggerating and overacting. The camper presenting this
skit may be able to imitate the mannerisms of a television or
concert pianist he has seen.
STUNTS AROUND THE CAMPFIRE 249
The Bouncing Ball Artist A performer comes out and tells
the audience that he is the world's best ball bouncer. As he
talks of the records he holds, the training he has had, and the
tricks he can do, he constantly bounces an imaginary ball. He
does tricks with it, follows the ball with his eyes, and uses his
hands at the right moment to catch and throw it. During all
the action he keeps up a constant stage talk. Here are some
suggested tricks:
Bouncing and catching from ground, from tree, sometimes
letting it bounce high and catching it on second bounce
or as it comes down from a high bounce. Jumping to
catch it sometimes.
Batting it against a tree with open hand.
Throwing it very hard against ground so it goes very high
and stings his hands as he catches it. Letting it bounce
several times before catching it.
Bouncing it from one hand to other.
Bouncing it and catching it behind him.
Bouncing it and then catching it on head, to bounce off
again. Catching it on nose and juggling it there.
Throwing it up by his feet and catching it.
Imaginary Actions. Favorite stunts are ones in which an in-
dividual pantomimes some action while the audience guesses
what he does. He might thread an imaginary needle with im-
aginary thread and carefully sew his fingers together. Campers
will have bright ideas for other imaginary actions, such as
wrestling or boxing with an invisible opponent, doing some
type of housework, playing a game, fishing, visiting a friend,
working at an occupation.
The Baseball Pitcher. A flashlight behind a sheet represents
the path of the baseball. The pitcher stands in view at one end
of the sheet, while the batter and catcher stand in view at the
250 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
other end. The boy handling the flashlight must be fast and
have a definite pattern for each type of pitch. Of course, the
batter strives mightily to hit, but without success. The pitches
are called for as follows:
1. Straight fast pitch
2. Slow pitch
3. A looper
4. A wide curve
5. A corkscrew
6. A drop takes a right-angle drop
7. A double flip
PANTOMIME
Pantomime can be used in the large formal campfire pro-
gram and in the smaller informal program. It appeals espe-
cially to campers who have a sense of the dramatic and who
have good imaginations. The pantomime can be a single emo-
tion or gesture or an entire dramatic skit. Dramatic stunts done
with pantomime alone take practice if they are to be good. If
the pantomime is synchronized with a song or a narrative, a
rehearsal is necessary to be sure actions and words parallel one
another. The use of pantomime is almost unlimited.
Showing Emotions. Campers can volunteer to show, by facial
gestures only, emotions such as anger, joy, love, fear, despair,
hate, disdain.
Pantomiming Gestures. Campers can combine facial expres-
sion and gestures to give information. Audience can guess what
this information is. For example: "I'm going fishing"; "I've
lost something"; "Someone is chasing me"; "Where is my little
boy?"
Imitating People or Animds. Campers choose well-known
STUNTS AROUNB THE CAMPFIRE 251
personalities to pantomime a television or film star, a staff
member, other campers. Animals can be pantomimed without
their characteristic animal noises. Audience tries to guess the
identity of person or animal.
Pantomiming Camp Activities. This can be very effective
because there are many situations in a day at camp that lend
themselves to pantomime. Individuals or groups might panto-
mime pitching a tent, building a fire in the rain, cooking bis-
cuits in a reflector oven, dressing in a pup tent. A completely
silent campfire program might be used as a novelty. Even the
songs are sung without voice only pantomime gestures are
allowed.
Pantomiming Songs. A group sings a song off stage or at the
side of the stage. Another group pantomimes the song. Ges-
tures should be overdramatized and costumes can be ridiculous
but recognizable. Ballads and action or story songs are best for
this stunt.
Pantomiming Stories. A narrator reads a story or a poem
while a group dramatizes it silently. Overplaying the parts is
necessary to enable the audience to recognize the actions and
associate them with the story.
Charades. These are pantomimes based on phrases, mottoes,
titles, names, words. They are best used in a small group, so
that everyone has a chance to guess. The theme of a charade
should be familiar; then the audience will not have to spend
too much time on guessing.
Pantomiming Medical Scenes. Campers, especially boys,
often choose a pantomime of an operation or of a bodily ail-
ment if left to their own devices. One that is fun is "Stifferitis."
A doctor's office is the scene.
A patient is brought in on a stretcher. The doctor examines
him. The patient cannot get up; when lifted up, he stands
very stiff. When pushed, he falls over, still straight and stiff.
2 $2 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
A stretcher bearer catches him as he falls over and eases him
down. He is lifted by placing hands under his neck and thus
pulling him upright. Doctor and attendants try to sit him
down, but he remains stiff and straight. The doctor diagnoses
the illness as "Stifferitis," which he claims is catching. One of
the stretcher bearers is seated but cannot get up. Others pick
him up, but he remains stiff in the sitting position. Another
person is seated on the ground with his legs at right angles to
his body, and he becomes stiff in that position. The scene ends
with all carried off stage.
Another favorite medical pantomime is an operation. The
program leader should watch that these pantomimes do not
become too realistic or indecent. The patient is usually carried
in on a cot covered with a sheet which hides all the props that
are to be removed during the operation. By the time the opera-
tion is over the poor patient has no insides left. Comedy is
provided by the use of ridiculous operating instruments: tin-
snips, saw, hammer, chisels, spray gun for drug injections. The
action can also take place behind a sheet and in front of a
strong light, so that it becomes a shadow pantomime.
The Old Ford. This is a pantomime that is old and often
used, but it is still entertaining to campers. The story of the
Ford calls for good pantomime, synchronized action, and sound
effects. The driver may be alone in his Ford or with his best
girl or with a group of friends.
Four campers kneel, each under a blanket, to represent the
wheels of the Ford. Each of these wheels has one or more
paper sacks blown up ready to be exploded when a tire blow-
out is needed. A fifth camper is placed under a blanket in posi-
tion to represent the engine. The driver cranks the engine,
which catches, then sputters and dies. The camper who is the
engine must be able to imitate all the engine sound effects.
STUNTS AROUND THE CAMPFIRE 253
He can have his noisemakers under the blanket, including a
tin can of pebbles to shake when the car runs. On the second
or third attempt the car starts and the driver gets in. He steps
high to get over the side, for this is a very old Ford. He shifts
and starts with a jerk and the whole car shakes. Almost at
once one of the tires blows out with a bang and slowly col-
lapses, letting out a hiss of air. The driver pumps the tire up.
It rises very slowly. The driver cranks the car again, the engine
starts, and he is off once more, but not for long. Another tire
blows out and is pumped up. The action is repeated when still
another tire blows out. As a finale all four of the tires go at
once.
The Lighthouse Keeper's Daughter. This is a pantomime
with a narration to be read while the actors pantomime the
action. It is a melodrama and every part must be overacted.
The lighthouse is indicated by a chair or a tree stump. The
players go round and round the chair to climb the circular
stairs of the lighthouse. Here is a sample script for the nar-
rator:
"The scene of this play is a lighthouse on the rockbound
coast of Maine. I want to first present the cast of our melo-
drama. The keeper of the lighthouse, Ken Wickburn; his
beautiful daughter, Winnie; Howard Trueheart, her bashful
suitor; and the villain, Peg Leg Desmond. (Each steps forward
-when presented and each is dressed for his part. For instance,
Desmond wears a black handlebar mustache.)
'The lighthouse keeper, Ken Wickburn, is trimming his
lamp wicks and does not see that the desperate villain, Peg
Leg Desmond, has entered the lighthouse and is climbing the
97 steps. (Peg goes round and round the lighthouse.) The old
man is deaf and cannot hear the approaching villain. He looks
out at a distant ship with his long telescope. Peg keeps climb-
254 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
ing the steps. He comes at last to the door behind the old man,
takes off his peg leg and hits the lighthouse keeper over the
head. (Ken Wickburn slowly fdls dead.)
"Peg Leg steals the lighthouse keeper's silver and starts down
the circular stairs. Meanwhile beautiful Winnie has come home
and is climbing the stairs. (All actors should remember how
many steps there are and how many times they go round the
lighthouse, and also how tired they get toward the top.)
Winnie and the villain meet near the top, Winnie screams,
turns around, and runs down the stairs with Peg Leg after her.
You can hear Peg's leg as he runs. The scream is heard by
Howard Trueheart, who is in his boat fishing. He rows like
mad to save his sweetheart in distress. He reaches the light-
house just as Winnie runs out of the lighthouse with the villain
close behind. Peg Leg sees the hero, shows fear, and tries to
escape up the lighthouse stairs. Halfway up the stairs True-
heart catches him and there is a struggle. Peg Leg breaks away
but upon reaching the top is caught at bay. Trueheart ties his
hands and takes him down the stairs, where Winnie throws
herself into the hero's arms."
The Evolution of Courting. This is a pantomime to be used
only in groups of older boys and girls. It gives an opportunity
for ingenuity in creating costumes and in making up appro-
priate action. It can have many pantomime scenes such as these
three examples:
Scene L Cave Man. Dressed in skins, carrying club, chewing
on bones. He chases and catches the cave woman, throws her
over his shoulder, carries her off.
Scene II. Victorian Lover. Dressed in fancy suit, tight
trousers. Girl dressed in frilly gown. Formal visit. Lovers sit on
settee, stiffly, far apart. Stern chaperon sits nearby to watch
STUNTS AROUND THE CAMPFIRE 255
them. Finally they dare to touch hands when the chaperon
turns away for a moment.
Scene III. Modern Lovers. Fast action. Girl on park bench,
throws handkerchief at feet of passing man. He grabs it, gives
it to girl, embraces her, and they go off to find a Justice of
the Peace.
SHADOW PLAYS
Shadow plays are pantomimes done behind a sheet or paper
screen. The actors perform behind the screen and in front of
a strong light that throws their shadows on the screen. Actors
can be real people or puppets. Sometimes the skit is entirely
in silent pantomime; sometimes a narrator reads a script.
Tips for Shadow Pantomimes
If the campfire program leader has a group of campers who
are new to shadow acting, he will have to give them a few tips
on this type of acting:
Actions should be simple and bold. Tiny, detailed actions
confuse the audience. Overacting is preferable.
Actors must stand near the screen, almost touching it, so
their figures will be life-size.
Profile view is the important view. Actors should be
warned not to turn to audience or look at their own
shadows. The time that actors are not in profile or not
at the prescribed distance from the screen is wasted on
the audience. When actors have to move away from the
screen, off stage, they should do so with a fast motion.
Shadows must be kept distinct and separate. When one
shadow approaches another, there is danger that they
will merge on the screen.
256 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
Any object or person can be increased or decreased in size
depending on its distance from the screen. A little card-
board cutout of a horse can become a life-size steed if
it is placed at the proper distance from the screen.
Almost anything that can be done as a pantomime can be
done as a shadow play imitations, charades, tableaux, dra-
matic stunts, songs, dances, feats of skill. Campers who are
skilled in cutting out cardboard figures might make jointed
puppets to manipulate on strings behind a screen as a narrator
reads a story. Burlesque is a good subject for a shadow play
because persons and objects can be increased in size at will and
all actions can be normal or huge. Props are easy to create be-
cause everything can be made out of cardboard. Even such
scenes as the dentist's office, the beauty parlor, the operating
room, or the old ranch need few real props.
Stunt night is a good way for campers to use up energy, and
it is a program which can be planned almost entirely by the
campers, with the program leader sitting as co-ordinator. It is
a good night to invite guests or families because the humor of
the stunts and the ridiculous costuming appeal to all in the
audience. Stunt night is also a good way for old campers to
entertain new campersan ice breaker or get-acquainted pro-
gram.
BIBLIOGRAPHY
Abney, Louise, Chord Speaking Arrangement for Upper Grades.
Magnolia, Mass.: Expression Co., 1937.
Cheley, Frank EL, and Pagans, Philip D., Camping Out and Wood-
craft. New York: Halcyon House, 1937.
Eisenberg, Helen and Larry, Omnibus of Fun. New York: Associa-
tion Press, 1956.
Harbin, A. O., Fun Encyclopedia. New York-Nashville: Abingdon-
Cokesbury Press, 1940.
STUNTS AROUND THE CAMPFIRE 257
Hunt, Ben, Indian Crafts and Indian Lore. New York: Simon and
Schuster, 1954.
Jaeger, Ellsworth, Council Fires. New York: The Macmillan Co.,
1949.
Mason, Bernard S., Dances and Stories of the American Indian.
New York: A. S. Barnes & Co., 1944.
Mills, Winifred, and Dunn, Louise, Marionettes Masks and Shadows.
New York: Doubleday, Doran & Co., 1930.
, Shadow Plays and How to Produce Them. New York:
Doubleday, Doran & Co., 1938.
Pashko, Stanley, Boy Showman. New York: Greenberg, 1946.
Soifer, Margaret K., Firelight Entertainment. New York: Association
Press, 1944.
CHAPTER ELEVEN
MAGIC AROUND THE CAMPFIRE
IHE campfire leader can add fun and challenge to the pro-
gram through the use of magic and tricks. These are enjoyed
by all ages and by both boys and girls. The leader might act as
the magician and perform the tricks himself. He might act as
master of ceremonies and introduce "the greatest magician in
the world who has come to entertain us tonight." This famous
magician could be a counselor or an older camper who is
skilled in sleight of hand. In some camps a small group of
campers is instructed in magic acts, in secret, so that their part
in the program is a big surprise to the audience. They either
perform the tricks themselves or act as assistants to the famous
magician.
258
MAGIC AROUND THE CAMPFIRE 2 59
The campfire program leader should consider the type of
tricks he wants to use and make a selection suitable to the
program. Some types of tricks are not suitable for performance
before a large audience, because their effect depends on small
motions and details which would not be seen. Such tricks can
be reserved for the smaller informal campfire. Selection of
tricks also depends on the number and kind of props that are
needed. An experienced leader prefers tricks that require few
props, and he makes sure that all props are at hand before he
begins any magic program. This is where a group of campers
trained in magic can be of great help in bringing on props and
helping acts to move smoothly.
Tricks and magic have no place at a formal campfire cere-
mony, unless a form of magic is used in the opening fire-
lighting ceremony. Tricks are for entertainment only. They are
best used on stunt night or amateur night or on a night when
administrative staff and counselors put on the program. Other-
wise they should be confined to the small group campfire.
The tricks presented here are simple; they require little
equipment or props; they can be done by a beginner in magic.
All tricks require practice so that they move smoothly and
mystify the audience. If the audience sees through a trick at
once, it is usually because they know the secret or because the
performer's actions are not deft. The hardest rule for amateurs
to follow is to keep up running patter or counteractions that
attract the mind and eye of the audience and draw attention
from the mechanics of the trick.
Magic Circles. Three 2-inch full-length strips are cut from
newspaper. Three loops are made. First strip, ends are pasted
together without a twist in the paper. Second strip, ends are
pasted together after the paper is twisted once. Third strip,
ends are pasted together after the strip is twisted twice, bring-
260 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
ing the front side of the strip entirely around to the front again.
The magician shows the crowd that the three strips are
pasted into three circles or loops and says he will cut the strips
lengthwise but each circle will turn out differently. He cuts the
strips lengthwise, being careful not to cut across the loop. He
does this with dramatic intensity and mystifies everyone. The
first strip becomes two circles of the same size. The second
strip becomes one loop twice the size of the original. The third
strip becomes two loops, but one will be looped through the
other like links of a chain. (See Figure i, Plate J.)
The Magic Ball A small ball is held in the fingers of the
hand. A cloth is thrown over the hand. Several people are in-
vited to feel under the cloth to make sure the ball is there.
Then the magician snatches the cloth away and the ball is
gone. He puts the cloth back over the hand and has several
people reach under the cloth to verify that the ball is not
there, but when the cloth is removed again, there it is. Secret:
The last person feeling under the cloth is a confederate who
removes the ball. Later the confederate replaces the ball, so it
seems to appear and disappear by magic.
The Disappearing Knot, A handkerchief is apparently tied
in a knot, but when the ends are pulled out the knot disap-
pears. The leader ties this magic knot by holding the handker-
chief by diagonally opposite corners. The right hand carries its
end over the left wrist (away from the body) . The right hand
then pushes its end through the loop from the outer side.
When the ends are pulled, the knot will disappear. The per-
former should practice this trick until he can do it easily. (See
Figure 2, Plate J.)
The Ball Tube. The performer has a cardboard mailing tube
just a little larger than his small ball. The tube should be
thick so that he cannot be accused of pressing the ball to keep
it from falling through. When the ball is dropped through the
MAGIC AROUND THE CAMPFIKE
26!
262 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
tube, it sometimes falls through and sometimes stops halfway
through. The tube should be held so that people can see the
ball in the tube.
To prepare the tube, a black thread is run through the tube
about halfway from the ends. One end of the thread is knotted,
while the other end is tied to a small bead. A strip of colored
paper is pasted around the center of the tube to hide the knot;
the performer's thumb will hide the bead. The thread will
need to be twice as long as the diameter of the tube. The
performer uses his thumb to tighten and slacken the thread at
the bead end. When he wants to stop the ball midway in the
tube, he tightens the thread and the ball is held as if by magic.
The Floating Bdl. A light ball such as a ping-pong ball is
needed for this trick. The performer holds the ball in one
hand, then releases it, and it slides down and across to the
other hand. Secret: The performer has a loop of black thread
around the forefingers of each hand, thus forming a kind of
track for the ball. He holds the thread taut, with one hand a
little higher than the other. When the ball is released from
one hand, it will slide down the track of black thread to the
other hand. The audience cannpt see the thread.
The Mdgic Tumbler. A tumbler full of water is covered with
a sheet of paper and inverted, but the water does not run out.
Then the paper is pulled off, but still the water does not spill.
When the glass is held over a bowl, the water suddenly falls
out. The trick requires a tumbler with a flat even edge and a
piece of heavy transparent plastic large enough to cover the
glass. A moistened piece of paper covers the plastic, so no one
sees anything but the paper. When the paper comes off, the
plastic holds the water in but cannot be seen. When the water
is to be released, a flip of the finger against the plastic will
cause the water to drop. Another method is to have a small
MAGIC AROUND THE CAMPFIRE 263
hole in the glass which is covered by a finger until the water
is to be released,
Changing Ink to Water. A glass apparently partly filled with
ink is shown. A handkerchief is put over the glass and when
removed shows the glass filled with water. The trick is pre-
pared by placing a cylinder of black silk in the glass of water;
this will appear to be black liquid. A black thread with a button
on the end runs from the silk cylinder over the glass edge so
that the magician can remove the silk when he removes the
handkerchief. To increase the mystery, a double-faced playing
card can be blackened halfway on one side. The performer
dips it into the glass while the black ink is there; as he pulls it
out., he turns it around so it appears to come out half black.
Turn Water to Ink. An ink tablet is dropped into a glass of
water when a handkerchief is placed over the glass.
Step Through a Letter. The magician says he can step
through a letter. He shows a piece of paper about 5 by 9 inches.
He proceeds to cut the paper and then steps through the loop
thus made. It is possible to do this even with cigarette paper
if the cutting is done carefully.
The cutting is simple. First, the paper is folded in half, so
it is 5 by 4^2 inches. With scissors the paper is cut from the
folded edge to within 4 inch from the unfolded edge. Cuts
are made every l /2 inch. Care must be taken that no cut goes
to the edge. Then, the paper is turned and cuts are made be-
tween the first cuts, starting from the unfolded edge to within
4 inch of the folded edge. When this is done, a cut is made
across the cuts near the folded edge, excepting the first and
last strip which must not be cut. The paper will fall into a
large strip in the form of a circle. The magician steps through
this. (See Figure 3, Plate J.)
The Disappearing Candle. A lighted candle is extinguished
and wrapped in a sheet of paper. Then the paper is torn in
264 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
half, and a handkerchief is found inside. The candle is made
by wrapping a tip and end of a candle in a sheet of glazed
paper. The handkerchief is put into the hollow middle. Thus
when the wrapped candle is torn in half, the handkerchief can
be pulled out.
Five Odd Figures. The magician asks the audience to put
five odd figures into a column and add them up to twenty.
When they give up, he puts down 5, 13, i, and i. These total
twenty and are five odd figures. They are only four odd num-
bers.
Magic Numbers. The performer asks a camper to put down
tie year he started to school, the year he was born, his age,
the year he first went to camp, the years he has gone to school,
and the number of years he has been in camp. The camper
adds these. From a sealed envelope the performer takes the
proper total. Secret: The total will always be 3 times the num-
ber of the present year. Performer should be sure all figures
are as they would be at end of the year. Only continuous years
are used.
Which Figure? The performer writes the figures i, 2, 3, 4, 5,
6, 7, 8, 9. Then he writes on a piece of paper the figure 5. He
puts the paper aside. He asks someone to pick out a number.
If it should be 5, he shows them the 5 he has already selected.
If it is another number, he states that one figure is eliminated.
This leaves two groups of four figures. He asks the player to
choose one group. If he chooses the one with 5 in it, the per-
former crosses out the other four. If he chooses the other group,
the performer eliminates them. Now there are two groups of
two. Again the player chooses. The magician crosses out the
two which do not contain 5, either because the player chooses
those two or because he does not. Then there are just two
figures left. If the player chooses 5, the performer crosses out
the other, leaving the figure he has listed. If the player chooses
MAGIC AROUND THE CAMPFIRE 265
the other, he crosses it out, still leaving the 5 which he shows
to the player.
Nine Squares. The performer folds a paper into nine equal
squares, writes a name in one of them (center square), tears
the squares apart, and puts them into a hat. Then he reaches
into the hat, picks out the square with the name on it while
blindfolded. Secret: Only the center square has a torn edge on
every side which can be felt.
Spirit Slates. The magician shows both sides of three slates.
He has the audience select one of the slates, which he dis-
cards by putting it under his arm. He numbers the other two
slates one and two, and turns them toward each other so that
the numbers are on the outside. When the slates are taken
apart a message appears on the inner surface of one of them.
He allows the audience to inspect the slates.
A black flap of cardboard is used that fits perfectly inside
the slate frame. Under this flap the message is already written.
When the audience chooses a slate, the magician puts that
slate under his arm if it is not the prepared one. If they choose
the prepared slate, he says he will use that one and another.
When the two slates are placed together, the flap is tipped over
onto the unprepared slate. When the slates are looked at, the
message is in view. The flap is transferred to the third slate,
thus allowing both of the used slates to be completely in-
spected.
The Magic 'Bells. The magician is seated in a chair with his
arms crossed. Ropes are tied around his wrists and the ends
fastened to the rungs of the chair. A screen is put in front of
him and almost immediately the bells beside him ring and
articles are thrown over the screen. The screen is removed. He
is still tied and must be untied to get up from the chair.
The magician never is free of his ties. By sliding down in the
chair he can raise one arm over his head and slip under the
266 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
other arm. This provides him with freedom enough to use his
hands to ring bells and throw objects. He then resumes his
earlier position. It appears to the audience that he has never
been untied.
Sealed Envelope. Someone writes his or anyone's name on a
piece of paper, which is placed written side down (so the magi-
cian cannot see the names) in an envelope which is then sealed.
The mind reader holds the envelope against his forehead and
instantly calls out the name. Secret: There is a flap cut in the
envelope which is not seen as the envelope lies face down. As
he raises the envelope to his forehead, the mind reader lifts
the flap with his thumb and reads the name.
Another Seded Envelope Trick. Enough envelopes are glued
together to make a pad thick enough to hide a thin tobacco
tin. A pocket is cut in the stack of envelopes to hide this tin.
In the tin is a sponge saturated with alcohol. Questions are
placed in envelopes face downward on top of the stack of fake
envelopes and on top of the sponge in the tin. The magician
takes the envelope which is next to the sponge and can read
the question, since the alcohol will render the paper trans-
parent. Thus, one by one the envelopes are made transparent
and readable. Each envelope is put on a table near a lamp as
it is read. It will dry quickly and will become opaque again.
Disappearing Watch. A watch is placed in the center of a
handkerchief; the ends of the handkerchief are drawn through
a metal ring and the corners are held by several people. A cloth
is thrown over the handkerchief and the watch is drawn out.
Secret: The performer pulls the edge of the handkerchief down
enough to draw out the watch. He replaces it with a large coin.
Breaking a Pencil with a Dollar Bill One camper holds a
full-length pencil at arm's length, grasps it firmly with a hand
at each end. The magician has a new dollar bill which has been
folded and creased lengthwise to four thicknesses. He brings
MAGIC AROUND THE CAMPFIRE 267
this down, with a full arm sweep, smartly across the center of
the pencil and breaks the pencil in half. Secret: Just before the
pencil is hit, the magician slips his forefinger into the fold of
the dollar bill. A little practice with a small stick will enable
him to do this successfully.
Bdance. One dry pop bottle is balanced upon another dry
pop bottle with mouths together and a crisp new dollar bill
between. The performer takes the dollar bill from the bottles
without touching or upsetting the bottles. Secret: While hold-
ing the bill tightly with one hand he strikes the bill quickly,
with good sweep of the forefinger of the other hand, exactly
halfway between the bottles and the other hand. The bill
comes out without the bottles falling.
Math Genius. The performer asks different people to write
on blackboard or on a large paper a number with five or six
figures. After the person writes a number, the performer writes
one under it. Another person writes a number and the per-
former writes his number under it. The last number written
by others is not followed by the performer's number. In a mat-
ter of seconds the performer adds up the long column of num-
bers. Secret: When the performer writes his number, he makes
the two digits add up to 9, thus:
Someone writes 2 47 2 4
Performer writes 75 2 75
This totals 99999 ( lst set )
Someone else writes 21831
Performer writes 78168
This adds to 99999 (2nd set)
Another writes 46899
Performer writes 5 3 1 oo
This adds to 99999 (3rd set)
Another writes 2 97&?
Performer writes 70210
This adds to 99999 (4*h set)
268 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
Someone writes 984 3 1 (this last number becomes
key number)
Performer subtracts 4 (which is the number of
sets)
The result is 98427. He takes the 4 and puts it in front of 98427
thus giving the correct total of 498427, the key number minus
the number of sets of numbers. With the same figure (the
number of sets) subtracted and put in front, the answer is al-
ways correct. The trick can be varied by using a confederate to
write the second number of each set.
Telepathic Power. While the performer turns his back, he
tells the volunteer to raise one hand and cross one leg over
the other. He must use rightt arm and leg or left arm and leg.
Then the performer tells him to put his hand and his leg down.
The performer immediately tells him which leg he raised,
Secret: Performer looks at the volunteer's hands. One will be
paler from holding it in air. The pale hand is on the side of
the raised leg.
Can You Read Me? This is a mind reading trick. The per-
former proclaims the great power of his partner. He seats his
partner so he cannot see anyone, or else he blindfolds him.
Then he asks in a loud voice, "Can you read me?" If the part-
ner answers that he can, the performer starts by pointing at
people, calling in a loud voice, "I point to the back, I point to
the left, I point to the right, I point to the front. 1 point to
the North. To whom do I point?" At the question the mind
reader calls out the name. Secret: He remembers the last voice
he heard before the performer asked, "Can you read me?'* If
the partner is ready, he says "I can read you." If not, the per-
former stalls a little longer and asks the same question again.
When he says, "I can read you/' then the performer knows he
has identified the person who spoke and will call that name
when asked.
MAGIC AROUND THE CAMPFIRE 269
Hidden Number. With great showmanship, the magician
writes a number on a piece of paper, puts it into an envelope
and seals it. He then asks different people to call out numbers
between i and 10, which he writes on the envelope. After five
to seven numbers, he draws a line under the last number and
asks someone to add them. Then he asks this person to open
the envelope and there is the same total. Secret: The magician
chooses a number between 35 and 45. As the numbers are
called out he writes them down and adds them mentally.
When the total comes close to the hidden number, he draws
the line under the last figure. He quickly fills in a number (in
a space he skipped over) which will bring the total to the same
as the hidden number. He then asks someone to add the col-
umn and look into the sealed envelope for the correct answer*
Vanishing Knot. The magician shows a circle of rope with
two knots in it. He cuts out one of the knots and thus leaves
a rope with one knot. He blows on this knot and wipes the
knot off and the rope is in one piece. Secret: The second knot
is just a loose fake knot tied around the rope. When the magi-
cian blows on the fake knot, the one hand picks off the fake
knot. He disposes of the false knot while apparently holding
the knot in the other hand. Then he shows the rope which
now has no knot and which is in one piece.
Rope Escape. The magician starts with his wrists tied loosely
with a handkerchief. A 6-foot piece of rope is passed between
his wrists and through the handkerchief. A camper holds the
ends of this rope. In a flash the magician frees himself. Secret:
The handkerchief must be loosely tied. The magician pulls a
loop of the rope up between his wrists and inside the circle
formed by the handkerchief, slips his right hand through the
rope loop, and the rope is free.
Finger Mind Reading. The audience selects a number from
i to 10. The mind reader stands behind his confederate, puts
270 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
his fingers on the confederate's temple, and soon calls out
the number. Secret: The confederate tightens his jaw muscles
which causes his temple muscles to move. He signals as many
times as the number is.
Watch Magic. A stem-winding watch is placed on a table,
It is set at any time (quarter hours). The announcer places
the watch face down and calls in the mind reader who tells
what the time is to the quarter hour. Secret: The table is used
as a face of a clock, the top being 12:00 and the bottom is
6:00. The announcer points the watch stem at the hour
numeral on the table as agreed upon. This gives the hour. The
quarter hour is indicated by the position of the winding stem:
the ring turned down is quarter after; ring straight is half hour;
ring up is three quarter hour; ring bent back is full hour.
The Ruler Trick. A small change purse is opened and a
foot-long ruler is pulled out. Secret: The performer opens the
seam at the bottom of the little purse so a ruler can be inserted.
When the purse is in his hand, the ruler goes up his sleeve.
His wrist is turned to hide the ruler between the sleeve and
the purse. He opens the purse and pulls the ruler out. He keeps
his wrist between the ruler and the audience.
Hat Trick. A package of marshmallows is taken from a hat
and given to the campers for roasting. Secret: The performer
cuts an old hat lining and inserts it in the hat over the package
of marshmallows. When he shows the hat, the audience can
see only that it is empty. After a little patter, he pushes aside
the false lining and gives them the marshmallows. The per-
former can load the hat again with more marshmallows by
sleight-of-hand motions. This must be practiced, so that he
can slip the load into the hat while the audience's attention is
elsewhere.
Shirt Trick. The magician's partner unbuttons his cuffs, un-
ties his tie, and unbuttons the top shirt button. The magician
MAGIC AROUND THE CAMPFIRE 271
quickly grasps the shirt by the collar and jerks it off. Secret:
Only the cuffs and top button are buttoned, and the partner's
arms are not in shirt at all.
Bouncing Handkerchief. The performer takes a handkerchief
from his pocket, wipes his brow, and then throws the hand-
kerchief on the ground, catching it when it bounces back into
his hands. Secret: A rubber ball is sewn into the handkerchief.
Coin and Hat. The magician turns his back while a number
of coins are put into a hat. One coin is picked out by someone
in the campfire circle and passed around so that all can see it.
Each one holds it tightly for a moment to concentrate on it.
Then it is put back into the hat among the other coins. The
magician goes to the hat and picks out the right coin. Secret:
The coin is warm, since it has been in so many hands.
Fake Ventriloquist. The performer takes the usual position
of a ventriloquist with dummy on his knee. The dummy may
be a doll. A curtain or blanket is behind him. He converses
with the dummy, being careful to look at the dummy when
the dummy is to talk. At the end, the performer takes a drink
of water while the dummy apparently speaks. Secret: An assist-
ant talks from behind the curtain and from the same height
as the dummy's head. Success depends mostly on directing the
attention of the circle to the dummy when he is speaking.
Magic Truth Bottle. A white milk bottle is placed on a table
or stand. Different campers are called forth to answer questions
which can be answered truthfully or falsely. Each time a lie is
told, the bottle moves and makes a noise. At the end a big lie
is told by someone and the bottle breaks. Secret: The bottle
is painted white on the inside. A black thread is tied to a
heavy bolt which is in the bottle. The thread goes over a
branch or under the blanket which hangs behind the stand
and bottle. An assistant rattles the bolt when a lie is told by
pulling on the invisible black thread. When the big lie is told
272 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
the assistant hits the bottle with a hammer from behind the
blanket. This must be carefully practiced and timed.
A Live Match Box. The performer has an empty safety
match box. He orders it to stand on edge and to lie down. This
is done as it lies on the back of one hand. Secret: A little skin
from the back of the hand is put between the match box cover
and box. Bending the wrist makes the box stand on edge. The
performer shows the campers that there are no threads at-
tached by waving the other hand around the box.
Double Rope Loop. Using about 4 feet of small rope or
heavy cord, the performer forms a double loop, puts it over his
head, and places the loops between his teeth. Then, presto, he
jerks it right through his neck. Secret: The loop is not really
a double loop, but only appears so. The two doubled ends are
hidden in performer's hand while he puts the loops over his
head and then puts the looped ends into his mouth. When he
pulls on the ropes, he lets the rope slip out of his mouth. Thus
it appears to be pulled through his neck. Immediately he
forms a double loop from the single loop and shows it to the
nearest campers.
Table Tilting. The performer invites two campers from the
circle to assist him. These two campers, the performer and
his assistant sit (or stand) at the small table. Performer and as-
sistant sit on opposite sides. All put their hands on top of the
table. The table then starts to move, tilt, and even rise off the
floor. Secret: Each of the confederates has a 9 or 10 inch piece
of wood tied or strapped to both arms and extending to the
edge of their hands. When their hands rest on top of the
table the boards slip under the table edge and make it possible
to move the table at will. The boards are hidden by the coat
sleeves.
Burned Money. A bill is borrowed from someone and placed
in an envelope. The envelope apparently is rolled and burned.
MAGIC AROUND THE CAMPFIRE 273
Before burning, the magician reads off a serial number. Then,
from someone's pocket he pulls the bill with the correct serial
number. Secret: The magician writes the number of a bill on
his thumbnail, or memorizes it. He puts the borrowed bill
(same denomination as the bill which he has hidden before-
hand) into the first envelope which has its flap turned inside.
He pulls out the second envelope from behind the first, seals
its flap and burns it. He then finds the original bill in some-
one's pocket and shows that it has the right number on it.
The Disappearing Picture. The magician draws a picture of
someone in the campfire circle. When he tears off the sheet
and gives it to the person, it has no drawing on it. Secret: The
drawing board is a double one. There are two boards about an
inch apart with the space at the top open. Several sheets of
paper are on the drawing board. When the magician reaches
to tear off the picture, he grasps the second sheet of paper,
tears it off, and gives it to the camper. The top sheet is longer
and goes up over the drawing board and into the space be-
tween the two drawing boards. This top sheet is weighted.
As the magician tears the second sheet up and o/f, he eases
the weighted sheet up, and the weight drops the paper into
the space between the two boards. It may take some magic
to draw the picture. Someone else might sketch the picture
lightly in blue. Then the magician can use dark colored crayon
over the light blue. (See Figure 4, Plate J.)
Omelette. An empty frying pan is passed around the circle.
It is placed on the fire. (Some coals from the campfire are
pulled out to make a cooking fire,) A wand is waved around
the pan and soon the omelette is cooked and eaten. Secret: A
hollow metal wand is open at one end. Prepared egg (with
water to thin it) is hidden there. The open end is plugged
with hard butter. The heat melts the butter and the egg runs
into the pan and is cooked.
274 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
Tearing a Telephone Directory. The performer tears a thick
directory in half. Secret: The directory is dried out in an oven
so that there is no moisture in it. Then the pages are bent.
Later they can be torn across the beveled edges.
Hypnotic Act. A subject volunteers. He leaves the circle and
while he is out of hearing, the audience decides what they
want the subject to do. Then the subject is called back, seated,
and blindfolded. The magician strokes his forehead. The sub-
ject does what was suggested by the crowd. Secret: The magi-
cian signals the subject by code. Each stroke is counted and
represents a letter. One stroke indicates A> two indicates B,
and so on through the alphabet.
Banana Trick. The magician lets the campers inspect a
banana. He then asks them to decide on a number between i
and 4. If they choose 2, he peels the banana and shows two
cuts. If they choose 3, he shows them three pieces of the
banana. Secret: The banana is prepared in advance by stick-
ing a needle through a dark spot and carefully moving the
needle so as to completely cut the banana in two without cut-
ting the skin. This is done twice so there are three pieces and
two cuts.
Vanishing Coin. The magician asks a camper to put a coin
on the handkerchief he holds over his head. Instantly the
coin disappears. When the magician shakes the handkerchief,
no coin is seen. Secret: A rubber band is stretched around his
fingers under the handkerchief. When the coin drops on the
handkerchief, he releases the rubber band; the rubber band
holds the coin even when he shakes the handkerchief.
Any of the magic or tricks described here can be put over
on the audience if the magician and his assistants do a good
cover-up job. The magician should be a glib talker who can
improvise if a trick does not come off as expected. He should
MAGIC AROUND THE CAMPFIRE 275
also be a person who can encourage volunteers from the audi-
ence. It is the camper participation in some of these activities,
especially in mind reading, that makes them good program
material for the informal campfire group.
BIBLIOGRAPHY
Kettelkamp, Larry, Magic Made Easy. New York: William Morrow &
Co., 1954.
Leeming, Joseph, Real Book About Magic. New York: Garden City
Books, 1951.
, Tricks Any Boy Can Do. New York: Appleton-Century-
Crofts, Inc., 1938.
Ripley, G. S., Magic for Boys. New York: Association Press, 1954.
Todd, Joseph P., Tricks Every Boy Can Do. New York: Hart Pub-
lishing Co., 1948.
CHAPTER TWELVE
SAMPLE CAMPFIRE PROGRAMS
-TTL good campfire program depends on the correlation of
many details and the dovetailing of many activities. To the
audience the whole program should seem smooth in its con-
tinuity and balance of program events. Much of the program's
success depends on the campfire program leader, who puts in
many hours of behind-the-scenes planning. The rest of the
success depends on the campers who volunteer to work behind
the scenes or to take part in the program. This may include the
total camper group, if it is a big audience-participation camp-
fire program. It may include only a token representative or an
act or stunt from each small camp unit.
This chapter has two purposes. One is to provide, in con-
densed form, a variety of successful campfire program ideas,
useful to both the new leader and the experienced leader.
276
SAMPLE CAMPFIRE PROGRAMS 277
Eleven program ideas are presented. All have been successful
in boys' or girls' or coeducational camps and in organization
and private camps.
The second purpose is even more important. It is to show
the fine detail that must be considered in developing and
staging successful campfires. Although all the elements of a
good program are at hand and competent leaders are in charge,
still the actual program may be only mediocre because of some
overlooked detail of preparation, arrangement, or precaution.
The first of the eleven program ideas is given in detail in order
that the leader may judge the work which is necessary. It re-
flects the experience gained from many campfire programs.
None of these program ideas should be slavishly followed
or imitated. The exact details that suit one camp may not
appeal to a neighboring camp. These are merely suggestions to
spark new ideas in the leader's mind. The leader must consider
the age of the campers, the sex, and the special emphases of
the camp before he presents any campfire program ideas to the
staff, to the camper council, or to the camper program com-
mittee.
GET-ACQUAINTED CAMPFIRE
Some camps have a get-acquainted campfire on the first
night at camp. This gives a camper the chance to see the rest
of the campers with whom he will be spending the next days
or weeks. The staff members are introduced so that campers
will know the responsibilities and special abilities of each, im-
portant camp traditions are presented, and camp rules that
must be observed are brought to the attention of the whole
camp. It is important, too, that the campers have fun so they
will anticipate an enjoyable period in camp.
When a camp-wide campfire is held on opening night, the
campers cannot give much assistance in the program. The plan-
THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
ning and presentation falls almost entirely upon the staff. If
there are any old campers in the group, they can usually be
counted on as volunteers to help the program run smoothly. Al-
though the staff may have the program planned, the first time any
of the campers will be briefed is after their first evening meal.
The campfire director and a camper representative from each
group will have to meet immediately after this meal at the
campfire area. There the camper representatives are briefed
as to the route to the campfire, seating arrangements, decorum
expected during the evening. Each receives an outline of this
information. They then pass this information on to their own
groups, so that by the time the call to the campfire is heaid
each group is ready to approach the fire circle.
Needless to say, this briefing must be carefully done. If any
of the units are not represented, special care must be taken
to meet with that unit somewhere so the members will not be
out of place and will not disturb the perfection of the program.
If this plan is followed, the weekly opening campfire goes off
without a visual hitch and takes just one hour. To the spec-
tators it seems that there must have been a rehearsal. This is
partly due to the briefing outline that is given to each group
leader. Experience has proven that this method works if each
detail is followed. Here is a sample of the outline for this
briefing session:
UNIT
ASSEMBLY POINT ,
ORDER IN LINE_
BRIEFING OUTLINE
SUNDAY NIGHT "GET ACQUAINTED"
The "get acquainted" campfire can and should help your unit's
discipline and morale. To do this, campers must know, before they
get there, the traditions of the Campfire.
SAMPLE CAMPFIRE PROGRAMS 279
(check each point walk through)
1. Assembly point order of units Time 9:25
2. Starting signal is tom-tom beat Time 9:30
(Do not stand or walk on seats.)
3. Route of entrance procession SILENCE!
4. Seating plan remain standing SILENCE!
(Fill into seats to front if vacant.)
5. Sit when Chief motions.
6. Visitors. Be courteous to your visitors. Seat them in proper place
in advance of 9:25 so they can be in place to see you march in.
7. Exit. How and when to leave Campfire Area.
8. Be sure your leaders and your campers know the following tradi-
tions of the Campfire:
a. No flashlights turned on in seating area.
6. Never boo or call "greenhorn." Be courteous to the per-
former.
c. Walk in silently. Remain standing and silent until ceremony
is over.
d. Go out silently or in song as directed.
(Keep off seats.)
e. Do not enter circle unless given permission.
LINE UP IN THIS ORDER
A B C D SPECIAL
6
5
4
3
2 ,
Personnel Needed. The persons needed to put on this pro-
gram must be assigned to their jobs a few days in advance of
the opening of the camp so that each may learn his part. Since
280 THE COMPLETE BOOK OF CAMPFIBJE PROGRAMS
this is a get-acquainted campfire, all members of the central
staff are expected to be on the program. However, special parts
are given out as follows:
Indian Chiefthe campfire director may do this part
Six Indian Braves selected from the young men of the
junior staff to present the traditions
Tom-tom Drummer
Costumes. Each of the braves wears a breach clout deco-
rated with the symbol of his tradition. He wears a two-feather
headdress and ankle bells, and is painted with grease paint on
body and face. The tom-tom drummer may be in blanket and
headdress. The Chief wears a full headdress and trousers,
jacket, and breach clout.
Tradition Drums. These are used in the opening ceremony.
The drums are made from large circular cheeseboxes which are
covered and painted white, with an Indian border and with
lines indicating rawhide thong lacing at the sides. In the center
of each drum is painted in red or black one of the six tradition
signs. These are as follows:
Campfire tradition a large oak leaf
Nature traditioncrossed logs with flame above
Cleanliness two open palms (hands)
Self-controllarge clenched fist
Leadership twin eagle feathers
Friendship crossed arrows pointed downward
The tradition signs must be boldly executed so they may be
easily seen. The drums are raised on poles high enough to be
above the heads of all and are located at the edge of the circle
to the back where everyone can see. A beater is carried by each
brave.
Tom-Tom. This should be large, and a thunderbird can be
SAMPLE CAMPFIRE PROGRAMS
painted on it. It must be located where easily seen but not
where it will be in the way of the braves' entrance.
Fire and Torches. The council fire is located in the center
of the area and is built to be lighted near the top so that it
will burn downward. A torch is needed for the Chief who
will use it in lighting the central fire. A torch can be made of
paraffin wrappings or be of the "buddy burner 77 type.
Tepee. A decorated tepee stands just behind the center of
the back side of the circle. This is used for the storage of
equipment, is used as the entrance and exit, and forms part
of the background.
Location of Personnel. The six braves are stationed some 50
yards from the campfire in six different directions. They must
keep their legs motionless so their bells will not jingle too
soon. The drummer is at his tom-tom. The Chief is behind a
screen at the rear with his torch. All other members of the
central staff are standing at their seats at the edge of the circle
to the rear. All people are in their places five minutes before
starting time.
The Opening Ceremony. At the agreed time the drummer
starts a one-two beat on the tom-tom. This beat must be loud
enough for the waiting lines of campers to hear (they are
about 100 yards away) and should be in a measured cadence
to set the step for the campers.
All lines of campers start moving at the drumbeat and walk
single file. Each group follows quietly the designated route to
their seats, where they stand silently until all are in place.
At this instant the tom-tom beat stops for a pause, then gives
a single loud beat. This is the signal for the Chiefs torch to
be lighted by an assistant, and the Chief moves from behind
the back screen to the spot just behind the campfire. He holds
his torch high and with measured, dignified voice says: "Indian
has law. White man has law. Camp has law. 7 ' He
282 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
places his torch in the fire to light it and speaks again, "I light
council fire with torch. Torch bring light, so all can learn camp
law." He motions them to be seated and says, "Campers . . ,
seats/ 7 The Chief steps back to the rear center as the drummer
starts a fast four-count beat on the tom-tom.
Traditions Ceremony. The tom-tom beat is the signal for
the start of the traditions ceremony. The purpose of this cere-
mony is to make camp rules understood and accepted as a
pattern of behavior rather than as a set of rules that must be
obeyed. It is a dramatic, visual presentation of traditions, using
the six tradition drums.
As the Chief retires to the background, from the distance
comes a sound of running feet and bells as the first brave ap-
pears, crosses the circle at a lope, strikes the Campfire tradi-
tion drum with his beater, turns to face front, raises his hand
in the peace sign, and says: "Ho, campers! I am the spirit of
past council fires! I have been sent by the great spirit Wokanda,
Chief of all tribes. I have returned to your council fire so you
might know the right behavior of braves at their solemn pow-
wow. For many moons and many seasons the Indian and now
the campers of today conduct themselves with dignity and
order, with respect and with purpose. An Indian dances in
prayer or in anger, in joy and in friendship, to fit the time and
the place. So be it with you. Respect the one who speaks.
Laugh and sing together when it is proper. But do not defile
your council place with flashlight, boos, or other discourtesy.
Campers, I have spoken!" The brave gives the peace sign to
the Chief, who returns the sign, and steps back to his drum
with arms folded.
The drumming starts again, and the second brave runs into
the circle, over to the Nature tradition drum, strikes the drum,
gives the peace sign, and says: "Ho, campers! I have come
as from out of the past bearing knowledge of these hunting
SAMPLE CAMPFIRE PROGRAMS 283
grounds. Here you will see many birds, snakes, game, plants,
and trees. They are yours while you are here. Guard them. You
can see the track of deer and fawn just as we did many seasons
ago. Do not scar a tree or destroy the beauty here, but save it
for those who follow, as we saved them for you. Campers, I
have spoken!" He gives the peace sign and retires as did the
first brave.
The tom-tom starts its beat again and the third brave arrives
from still another direction and lopes across the circle to the
Cleanliness tradition drum. He strikes the drum, turns to the
front, gives the peace sign, and says: "Ho, campers! I am the
spirit of cleanliness. I, White Elk, the medicine man of the
Togores, have paddled through western rapids and have slept
under many moons to be here with you tonight. I come to warn
you of sickness of the body that can come to unclean campers
or unclean camps. Keep your trails and grounds clean, your
kitchens clean, and your speech clean. Campers, I, White Elk,
have spoken!'' He follows the procedure of the others.
The drum starts again, the fourth runner arrives in like man-
ner, strikes the Self-Control tradition drum, and says: "Ho,
campers! I am the spirit of self-control. The brave has to hold
himself strongly. He must face danger in spite of fear, steel
himself against pain, and cany on without whining like a
coyote. Be you like the Indian brave. Keep silence before
reveille and after taps. Be master of your speech and of anger.
Remember only the papoose and the tenderfoot will let others
know he cannot sleep! Campers, I, the spirit of self-control,
have spoken!" He retires as did the others.
The tom-tom beat brings in another runner, who runs to the
Leadership tradition drum, strikes it, gives the peace sign, and
says: "Ho, campers! I am the spirit of leadership as represented
by the twin eagle feathers, given only to him who leads. Many
moons I have traveled from the North to be with you at this
284 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
powwow. I have come on this perilous journey from my tepee
on lone star mountain to say, 'Howl Howl' for you have had
good leadership to bring you here. But more is needed. The
wisdom of the woods, the safety of the water, the keeping of a
good camp, the conducting of council fire and games in all
these areas you can become leaders. Fulfill your duties well so
you, too, deserve to wear the twin eagle feathers of leadership.
Campers, I have spoken!"
As he withdraws, the tom-tom beat starts, calling the last
brave who comes from still another direction and runs to the
Friendship tradition drum, hits it, gives the peace sign, and
says: "Ho, campers! I am the spirit of friendship as represented
by the crossed arrows pointed downward. I, the medicine man
of the Seminoles, have traveled from the South over many
trails and faced many dangers to be at your council fire to-
night. I bring you the warm gift of friendship, the most im-
portant tradition of your camp. The mysterious spirit of the
fire brings men together. Make a friend of another camper each
day, so you will carry away something of others here (pointing
to heart] . Campers, I have spoken!"
To add to the solemnity of the ceremony, every brave gives
the peace sign to the Chief as he finishes, which is returned
by the Chief, and then steps back with folded arms to a place
beside his tradition drum.
Camp History. When all the braves have finished their part
in the ceremony, the tom-tom beats loudly and the six braves
file out. The Chief moves forward, the tom-tom is silent, and
the Chief speaks slowly, giving a history of the camp, such as
this example:
This camp good . . . Camp nine years . . .
Thousand campers . . . worship great spirit here . . .
All friends . . . Camp spirit good . . .
Indian chief proud . . .
SAMPLE CAMPFIRE PROGRAMS 285
Much grounds ... up ... down river . . .
Both sides river ... 500 acres . . .
Many trails ... go follow trails . . .
By sun ... by moon . . .
See deer . . . maybe fawn . . . learn campcraft . . .
Watercraft . . . have fun , . .
Many snows ago . . . when big maple young . . . before
white man come . . .
This Indian camp! Grand river road for Indian . . .
Dugout canoes go to big water . . . down river . . .
When big maple young . . . Indian council fire here . . ,
braves dance here . . .
Chief's council here . . . You be proud . . . Good camp !
Pep Period. The Chiefs speech finishes the opening cere-
monies. At this point the camp director takes over. The camp
director gets everybody into the show by calling for some re-
sponse yells, using an answering "Yfcat! Bo!" This type of ac-
tivity is needed to develop esprit de corps. This is followed by
these songs: "Three Wooden Pigeons/' "Row, Row, Row Your
Boat" (round), and "Here We Are." For the round, a camper
in the front row of each section is quickly appointed as a song
leader of that section. This helps carry the song with this new
camper group.
If at any time in this first few minutes any of the camper
units are not attentive, the director must immediately stop the
program and correct the situation. The example of this first
campfire not only affects the rest of the campfires, but the
morale of the whole week in camp.
The Program. Following this pep period, the program fol-
lows the set pattern shown on the program sheet, a copy of
which is given to the key leaders. The purpose of the program
is to introduce the staff. The songs used during this part of
the program are led by the individuals listed without pause for
286 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
introduction, except when that person is being officially pre-
sented to the campers. Here is the program sheet:
PROGRAM SHEET FOR
GET-ACQUAINTED CAMPFIRE
1. Opening and fire-lighting ceremony with traditions cere-
mony
2. Yells: Yea! Bo! Roll call of units: 1 2 3 45 6
7 8 9 10
3. Songs: "Row, Row, Row Your Boat," "Three Wooden
Pigeons/' "Here We Are"
4. Camp director makes introductions:
Introduces
Applause Yell
Song
Song
Leadei
Commissary director
How! How!
"Susie"
Will
Pfdgram director
Locomotive
"Alouette"
Art
Aquatics director
Do as I Do
"Didn't He
Ramble?"
Pat
Campcraft director
Bomber
"I'm a Hayseed"
Art
Woodcraft director Giant Sneeze "Old MacDonald" Will
Catholic chaplain Class A "One Finger, One Pat
Thumb"
Protestant chaplain Skyrocket ''Gee I'm Glad I'm Art
a Camper"
Camp ranger Head-hunter "Hello" Pat
Camp nurse Hitchhiker Tve Been Working Will
on the Railroad"
The unit leaders Grand Salute "Camping We Go" Art
5. Story: "The Selecting of a Chief" (told by Pat)
6. Closing: All sing "Camping We Go." The units at the rear
go out quietly while singing this song the first time. The rest
SAMPLE CAMPFIRE PROGRAMS 287
of the units go out quietly while the song is sung the second
time.
Introductions. The introduction part of the program is not
a lecture period. As the various staff members are introduced,
each responds with some bit of entertainment. Those who are
song leaders lead the next listed song. The others may do a short
humorous monologue or in some other way say hello to the
campers. The purpose is to let the campers know the kind of
fellow each is, what his job is, and where to find him, but defi-
nitely not to talk about his job at this point. Each of the per-
sons introduced should also introduce any junior staff members
working with him. All the applause and yells following the in-
troductions are led by the applause leader.
Story as a Part of the Ceremony. An appropriate story serves
a first-night campfire need. It should demonstrate the tradi-
tions of the camp and set the mood for the camp period. In
the get-acquainted council fire the story "Selecting of a Chief
is used:
"Many years ago, in a western land, there lived a tribe of
Indians whose Chief was growing very old. It was time for the
choosing of a new Chief. The old Chief called to the solemn
council all the young braves and warriors. He told them of the
tribe's custom of choosing a new Chief.
"When the sun rose on the next day, all the eligible young
men were to be ready to take a journey. Each could take with
him no food, no bow and arrow, but only a knife. They all
were to go toward the west as far as they could and still return.
Each was to bring back something to show how far he had
gone. This was a test of strength, of judgment, and of stamina.
It was also a test of vision and of ability to live off the land.
These and other traits of character would be needed to lead
the tribe through the years ahead. Each brave must conserve
288 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
his strength. Each must use his knife to protect himself and
to kill his food. He must judge how far he could go and yet
return.
"So as the sun rose the young men disappeared to the west.
Who would go the farthest west? On the next day several
braves returned, each bringing a bit of cactus. By this the
Chief knew that these men had gone past the valley hunting
grounds, and into the desert beyond.
'The next day four more warriors straggled into the camp,
and in their hands they held some leaves of the broad-leaf trees
from the slopes beyond and above the desert, showing that
these men had gone through the desert and into the hardwoods
beyond. After another long wait three more braves came back
so exhausted that they fell as they reached the tepee of the old
Chief. In their hands they held some pine needles which told
the Chief that they had gone through the desert, through the
hardwoods, and up the mountainside to where the pines grew.
On the next day two more men returned. In their hands were
gnarled bits of twisted shrub trees, which was evidence that
they had crossed the desert, gone through the hardwoods and
the pine trees, and high up on the mountain where only the
shrub trees could grow. They had done well.
"Yet on the next day two more braves crawled into the
camp. They clenched in their hands small bits of black igneous
rock, showing that they had gone still higher on the mountain-
side to where nothing grew and where there was only the bare
black rock. It appeared that these men had gone the farthest
and had found strength to return. But still the old Chief
waited, for perhaps some among the men who had not yet
come back might still return.
"On the next day a single brave walked into camp. He did
not seem quite so exhausted as those before him. He held
SAMPLE CAMPFIRE PROGRAMS 289
nothing in his hands. When the Chief asked him what he
brought, he told his story.
"He had crossed the hot desert, had climbed up the far
mountain slopes through the hardwood trees, through the pine
trees, up past the shrub trees and bare rocks, until he reached
the top of the mountain. Then he saw a great sight. To the
west spread out before him was a grand view of many lands,
and almost out of sight was the blue of the ocean. This tale
was what he brought to the Chief.
"The Chief was pleased, for he knew that the brave spoke
from the heart. He knew that this brave had used his strength
wisely, had found ways of getting his food from the land, had
gone on farther than all the rest, and most important had
climbed to where he could have the vision of what was ahead.
This is what is needed in a Chief who is to lead his tribe.
So the old leader called the grand council and gave to the tribe
their new Head.
"So will it be with you. You are being tested, by other means,
but tested to see what leadership you are worthy of holding.
Will you deserve to wear the twin eagle feather of leadership?"
INDIAN THEME CAMPFIRE
The Indian theme for a campfire is always popular in both
boys' and girls' camps. Some camps center their entire camp
activity and program on this theme. In others the theme ap-
pears occasionally in an Indian song or dance or in the use of
Indian symbols for decoration. There are some camps that
concentrate all their Indian activities in one grand campfire
where all parts of the program are related to the Indian theme
the ceremony, dance, music, costuming, decorations, and
program skits. Here is an outline for an Indian campfire pro-
gram that can be done simply or with elaborate detail:
THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
Processional. A single file of campers approaches the council
ring to a one-two tom-tom beat. They walk silently and be-
hind a torchbearer. The campers are dressed in costume of
blankets and wear feathers in a headband. The council ring is
dark; the campers file in to their seats and remain standing
quietly. One camper might sing the "Zuni Call to Council."
Opening Song. When all are in the circle, they sing an In-
dian song, first using the Indian words and then translating
the words into English. Either the "Omaha Tribal Prayer" (see
page 102) or the "Zuni Sunrise Call" is suitable.
Fire-Lighting. Nothing suits the Indian theme as well as
lighting the fire by the friction method. The words of the
Indian ceremony given in an earlier chapter can be used (see
pages 100-2).
The Campers Are Seated. The applause master asks ques-
tions of each tribe, and they answer with enthusiastic "How!
How!" meaning "Good! Good!" Questions can be: "Are you
happy?" "Are we all friends?" and similar ones. Then the mas-
ter of ceremonies or the song leader leads songs and rounds.
Challenges. The fun part of the program comes in the chal-
lenges. The spokesman of one tribe challenges the others to
do some activity as well as his tribe does, such as singing a
harmony song or giving a tribal yell or putting on an Indian
dance. Other challenges can be between individuals in tests of
skill or strength.
Dance Program. An Indian dance act can be given by a
trained Indian dance group; perhaps one unit has practiced a
special dance.
Quiet Songs. One or two quiet songs set the mood for the
inspirational story.
Story. The master of ceremonies tells an Indian story of
bravery or fortitude.
Closing Ceremony. The closing ceremony may be the Indian
SAMPLE CAMPFIRE PROGRAMS
Benediction. The closing ceremony should be extended to in-
clude the recessional, so all are away from the council ring be-
fore they begin to talk.
When an Indian theme is used, Indian dances are usually
included. If the campfire program leader or counselors are not
familiar with types of Indian dancing, the following material
will be helpful. The leader does not need to be an expert to
teach these basic steps to campers. In two or three twenty-
minute periods he can teach them a simple, authentic Indian
dance step and then use variations on it for future dances.
Toe-Heel Step. The most fundamental and most frequently
used step is the toe-heel. With this step alone, and variations
on it, the dancers can provide a good show. The toe (toe al-
ways means the ball of the foot) is put down on the first count
and the heel comes down hard at the second count. Thus it
is toe-heel-toe-heel with alternate feet and in a one-two count.
The tom-tom beat is a soft-loud one-two beat. It is of great
importance that the campers catch this one-two rhythm.
Dancers take short forward steps at the beginning. The body
weight is kept above their steps; they come down hard on the
heel count; the step always uses the whole body; the knees are
kept slightly bent. The dancers' arms should keep the rhythm
too. As they learn the step, their arms will become an impor-
tant part of the dance.
When the campers catch the one-two beat and keep step
with the toe-heel steps, when their bodies are poised and bal-
anced, they are ready to learn some variations. These variations
are simply in the direction the steps are taken.
1. Dancers go forward and backward, always with the toe-
heel step and count
2. Dancers side-step with a drag. The first step is to one side
292 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
in a one-two toe-heel motion. Then the second foot is
dragged to the first and then down on the heel in the
same one-two count. This is done to the right or left.
3, Grape Vine. This is a simple forward or backward step in
which one foot is crossed over the other so there is a
weaving line either forward or backward.
Now the campers should be ready to dance before an audi-
ence. With the toe-heel step and the variations they can move
around in any direction. They can add war cries or Indian
chants and improvise, always keeping to the one-two count.
Indian dancing can suit any mood reverence, fear, anger,
peace, war, humor. A leader who wants additional help in
teaching Indian dances should consult some good books on
Indian dances and crafts.
A HIDDEN CAMPFIRE
Campers, young and old, like mystery, and a hidden camp-
fire can be the mystery of the evening. Campers are informed
that the campfire is lost and they are to walk by units in single
file until they find the campfire. With younger campers this
program can be started in the last evening glow so that they
will not stumble around in the dark. Each group should be
accompanied by an adult. A hint might be given to each unit
as it starts in its search a tree that will point the way, a com-
pass direction to follow, an arrow tacked to a tree.
A good method of leading groups to the hidden fire is by
the tom-tom beat. When a group reaches one tom-tom, another
can be heard in the distance luring them onward. As each
group finds the hidden fire, it waits until the final tom-tom
signals them to enter the campfire area. The fire should be
located in a spot that is out of the way but accessible, so that
campers will not run any risks in finding it.
SAMPLE CAMPFIRE PROGRAMS 293
Once the fire is reached, any type of campfire theme can be
used. One purpose might be to induct new campers into the
camp fellowship- or to welcome them into the organization.
Another theme might be survival training. The groups can
follow the trail from survival maps. They finally reach the
campfire, and the program is based on true experiences of sur-
vival in the North Woods or South Seas or Antarctic. Aids to
survival in the camp locality might be pointed out, such as
edible berries and twigs and roots.
The hidden campfire could also center on a variety of sur-
vival skills, with campers demonstrating how to make fish-
lines from Indian hemp, fishhooks from thorns, shelters from
tree branches, traps and snares for catching animals or birds,
potable drinks such as sumac or sassafras tea. For the quiet
period, adventure and survival stories could be told or read.
Whatever the theme or purpose carried out at the hidden
campfire, it will add to the adventure and mystery that campers
enjoy.
DOWN HISTORY'S TRAIL
History makes a good theme for a campfire program and can
be used with children of any age. The campfire program leader
and the camper planning committees can select historical mate-
rial that will be of interest to everyone. This might relate to
the history of a particular nation, to a great epoch in world
history, to the influence of one great figure in history, to a local
event that helped to make history.
A theme that is frequently used in camps is the history of
man from primitive cave man to today. This is usually pre-
sented through shadow play, pantomime, tableaux, or brief
dramatic skits. Five or six skits are enough. The skits can be
presented as part of the program at the campfire circle or they
can be spaced along a trail leading to the campfire area. If they
294 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
are along the trail, groups of campers can walk the trail, each
group separately, and visit the five or six stations. This means
that the tableaux or skits will be repeated for each group pass-
ing by; therefore, they should be brief. Unit leaders and volun-
teer campers can work with the cainpfire program leader in
setting up these stations. The props can be very simple, just
an indication of the period that is portrayed. Some favorite
scenes are given below:
Early Man, A camper is dressed in skins with a large club
and perhaps a stone ax. He has a fire and crude cooking equip-
ment. The primitive man tells the story of the first cooked
meat, the boiling of water in a hollow rock, and the use of
fires as protection against wild beasts and weather. When he
has finished his demonstration, he sends the group on to man's
future.
The Nomads. A desert Arabian-type tent is behind the
nomad who is dressed in desert robe. His fire is in front of his
tent. He tells of travels with his flocks in search of grass and
water, and how he carefully carries his fire from camp to camp.
He points out to the group the trail to the future.
The Indian. A Chief in full costume presides here. Fire by
friction is demonstrated. The fire near his tepee (or in the
tepee if it is large) is small. He tells how he discovered that he
could make fire by rubbing sticks just as the Big Wind rubs
trees together. Perhaps he demonstrates or teaches an Indian
dance before he sends the group on the trail to the future.
The Explorer or Early Settler, A camper is dressed in buck-
skin. He has a powder horn and a long rifle. He demonstrate?
fire by flint and steel, shows his fire kit, and lets the campers
try to make fire. He tells how he must always carry his flint
and steel to make the fire which dries him from the rain,
SAMPLE CAMPFIRE PROGRAMS 295
tempers his iron, and cooks his meat. Perhaps a small animal
could be roasting on a spit over the open fire.
The Fisherman. A camp is set up, with a coffee pot boiling
over the open fire. Beds are ready for the night; fish are frying
in the skillet. If possible this scene should be on the river or
lakeside. The fisherman might tell the tale of the big one that
got away. As he talks, he might demonstrate fly-tying.
The last station is the council fire at the regular campfire
ring. This is the place of fellowship and the place that com-
bines past history and the present. Campers sing a familiar
camp song together, go back to their own cabin sites, and sit
before their unit campfires until bedtime.
Another campfire program with a history theme might in-
clude many scenes or tableaux from early American history
woven into a pageant by the use of a well-written and well-read
script. The scenes might include: Indian encampment; covered
wagon scene; early explorers of American rivers or the Ameri-
can continent; pioneers in the West; settlers in New England;
forming of the nation; personages in early American history,
such as Thomas Paine, George Washington, Thomas Jefferson.
A NATURE TRAIL CAMPFIRE PROGRAM
Since nature study is an integral part of camp life, a nature
theme is often used for campfire programs. A nature trail with
several small campfires rather than one central campfire is a
different way of using a nature theme.
For this campfire program a trail is laid out with stops at
small campfires in the woods or fields and by the waterside.
Stations can be manned by counselors or campers who are
nature experts. Here are some examples of stations:
296 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
Station i. Here there is a bright fire in a wooded area. As
each unit visits this campfire, the campers are instructed in
tree identification and leaf identification. The leader also dem-
onstrates how different kinds of wood burn and tells for what
purposes certain trees are used.
Station 2. This is on a hilltop and there is a very small fire.
At this station the campers engage in star study. A telescope
and a pointer to indicate stars will be useful. A leader or
camper can also explain the order of the universe.
Station 3. This is a very small fire in an area where many
night sounds can be heard. As each group visits this campfire,
the leader asks them to be seated and to listen quietly for three
minutes to hear the night sounds. Then he identifies the sounds
heard.
Station 4. This campfire might be near the camp's museum.
Some of the movable exhibits can be brought outside and the
leader or camper expert can tell stories about them. Exhibits
might include casts of animal tracks, odd growths of branches,
special kinds of wood not usually seen around the camp, leaf
prints, mounted animals or birds, mounted fish.
If four or five stations with campfires are used along the
nature trail, the last station can be a get-together. As each
group arrives and sees the exhibit, campers can join in singing
until all groups have arrived for a final sing around the camp-
fire.
MINSTREL SHOW CAMPFIRE
A minstrel show is a tradition in many camps. This is not a
black-faced show, but a vaudeville-type show with a middle-
man and endmen to give the right emphasis to jokes and patter,
and to string the several parts of the program together. This
type of show can give every group in camp a chance to partici-
pate, whether there are forty or four hundred campers. It needs
SAMPLE CAMPFIRE PROGRAMS 297
no big rehearsal session; each group can practice by itself and
the group leaders can teach them their cues. The important
parts of middleman and endmen might be played by counselors
or by competent older campers.
If the camp is small, each unit can plan a part for the min-
strel show and have its own endinan who will work with the
middleman on cues and patter. In a large camp, three or four
units might work together to plan one stunt and their songs
and to choose an endman to represent them. An over-all co-
ordinator will be needed; this might be the middleman, the
campfire program director, the dramatics counselor, or other
staff member.
A minstrel show should not be put on too early in the camp
period. If the period is a two-week one, the show might come
midway, so that units have a chance to learn songs and make
up a stunt and jokes. The middleman and his endmen will
need time to find appropriate jokes and make up a patter that
goes smoothly and is humorous. These actors will work from
a script in order to cue in all the songs, applauses, yells, and
stunts.
For a good minstrel show each unit would have certain re-
sponsibilities, such as these:
Five songs to be sung by all campers
One or two songs to be sung by their unit only
One yell
A prescribed number of novelty applauses
One challenge
Stunt
The number of stunts will depend on how many units are to
perform. Stunts should be very brief and can be practiced at
the camp site of each unit. Musical act, humorous dialogue,
pantomime act, circus act almost anything can fit, for a min-
298 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
strel show is a conglomeration of many acts. The over-all co-
ordinator will have to check the choice of acts to avoid repeti-
tion. The middleman and endmen must also know the stunts
and songs to be used, so as to work them into their patter
naturally.
Costumes are a vital part of a minstrel show, the funnier
the better. An improvised costume is better than an elaborate
one. For example, campers coming to the show as Indians can
wear a bright crepe-paper headband and a single cardboard
feather for a headdress, and a blanket as an Indian robe. Their
chief can wear full Indian regalia. Hobos can wear ordinary
clothes with big paper patches glued on, carry a bandanna
bundle on a stick, darken their faces as if unshaved. The hobo
king can wear a battered opera hat, patched tailcoat, curled-up
stiff shirt front all made of paper. Cowboys can wear ten-
gallon hats made of cardboard and bright neckerchiefs. The
sheriff who leads them can wear a full cowboy suit with chaps,
boots, guns, giant sheriff's star. The middleman and endmen
should be overdressed to emphasize their roles. Thus there
would be four minstrel groups in this one minstrel campfire -
cowboy group, hobo group, Indians, and campers. Each min-
strel group has its section of the campfire circle, its part on the
program, its endman, and its costumes. The four minstrel
groups present their own songs and stunts, which have been
chosen to fit their group.
AN OPERETTA CAMPFIRE
In place of the usual song fest campfire an operatic approach
can be used to vary the entertainment, hold the attention of
the campers, and amuse the visitors. A script or story is needed,
perhaps written by one of the units. This script has cue lines
that call for various camp songs or popular songs. Each unit is
SAMPLE CAMPFIRE PROGRAMS 299
prepared to sing its songs on cue. Sometimes a unit sings alone,
sometimes all campers sing together, and sometimes one unit
sings a part and another unit responds.
The songs used in the script depend on the repertory of the
campers. The leader of each unit should have the cue lines in
mind so that his group can sing at the proper time. The script
can be read by the master of ceremonies or by the song leader
or by a camper. The spontaneity of the operetta depends on
prompt pickup on cues. Here is a sample script for an operetta.
The cue lines are indicated and the appropriate songs are sug-
gested in parentheses. All the songs used here are familiar camp
songs and most of them can be found in this book or in Camp
Songs 'n Things.
"A group of campers were out hiking when they came to a
river. They wanted to cross and luckily there were some row-
boats tied to the shore, so they got into the boats and rowed
across!' (One group starts the round "Row, Row, Row Your
Boat." All other units join in, one at a time, each group joining
at the proper time until all are singing. Groups have been cued
so each knows when to join the round and each unit sings it
through three times.) "When they reached the other side they
found that the river bank was high and steep but they found a
trail and they followed this trail upward." (One unit sings
"We're on the Upward Trail.") "When they reached the top
of the bank, they looked back and saw an old mill on the
stream. 79 (Another group sings "Down by the Old Mill
Stream.") "The hikers followed the trail away from the river
singing a hiking song." (A unit sings "Tramp-Tramp-Tramp.")
"After a while the group stopped to rest under a big tree where
it was shady and cool. It was a wonderful tree, beautiful and
green" (A soloist sings "Trees.") "Soon they were rested and
took up their packs. As they walked, they could hear a distant
300 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
train whistle" (One units starts the round "Puffer Billies/' and
others join as they did in "Row, Row, Row Your Boat.") "One
of the hikers thought he heard a distant shout so he yelled,
'Hello/ There was an echo that said -lo!" (One unit from one
side of the circle starts the "Little Sir Echo" song, which is
echoed by a group across the circle.) "They had been shouting
'Hello' and hearing the echo. Suddenly they heard a real
'Hello/ They shouted back again and again until their trail
met another trail and a unit from their camp which was hiking
too. They joined together, hiking toward camp." (Two groups
sing "Hail! Hail! The Gang's AH Here/') "Two other hiking
parties joined them all singing 'Hello 7 to each other! 7 (All sing
"Hello" song in four parts.) "The hikers were all hungry, so
they washed and lined up at the dining hall. Someone started
the old song "Here We Sit Like Birds in the Wilderness!" (All
sing this song.) "The doors opened and all trooped in to eat! 7
(One group sings "Grace" song.) "Soon all were eating, but
one counselor saw that some of the campers were eating while
hunched over their plates, so he had his table start the round
'Perfect Posture!" (All sing as in other rounds.) "This song
brought on another round started by another table" (They
sing "Meat and Taters in the Dining Hall.") "When the meal
was done, the campers went to their cabins and tents, tired and
happy. In the distance you could hear them singing melodious
songs in harmony." (Each group in turn sings a favorite har-
mony song as it leaves the campfire circle.)
A POLITICAL CONVENTION CAMPFIRE
When a camp is composed of older campers, boys or girls or
mixed groups, a political convention can be fun. Such a camp-
fire theme need not be related to an actual election or political
campaign. All that is needed are two parties, the Ins and the
SAMPLE CAMPFIRE PROGRAMS
Outs, or the Blues and the Whites, or the Forward Lookers
and the Backward Lookers.
The theme of a political campaign will inspire young people
to plan electioneering stunts, make up party yells, write cam-
paign songs, set up contests of skill and wit between party
candidates, give pompous and ridiculous speeches on the life
and great deeds of the candidate. The approach to the political
campfire area can be a mock political parade. After the parties
have put on their campaigns at the campfire program, a gen-
eral election can be held.
All this does not happen without planning, but sometimes
such a campfire theme is more hilarious if not more than one
day's warning and preparation is given to it. The campfire pro-
gram leader or a staff co-ordinator will have to work with rep-
resentatives of each political party to pkn the campfire pro-
gram so that each party will have equal time. A leader or a
camper representative can act as master of ceremonies and
arbitrator to prevent the candidates and parties from coming
to blows while boosting their own prestige
A MULTIPLE CAMPFIRE PLAN
A campfire program need not always be concentrated in one
circle around one fire. A multiple campfire program is fun and
perhaps something different for campers. In such a program
each unit has its own campfire, yet each unit participates in
the over-all program.
In one camp four units volunteered to put on brief dramatic
skits, each skit to illustrate one scene in a story and the four
skits to tell the whole story. Each unit chose an appropriate
spot in the camp setting for its scene. All the other units
roamed from one setting to another to see the four scenes of
the story. When all had seen the whole story, the various units
JO2 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
converged on a hillside where each group found an area as-
signed to it for its own fire, a picnic basket containing food for
the supper, and firewood. Each unit was alone at its campfire,
yet all were visible to one another.
At dusk, the campfires were lighted. A melodious whistle
signaled the beginning of the song fest. All the groups picked
up the song, singing quietly. Then each group sang a folk song
in turn. There were yells from one unit, responses from an-
other unit, echo songs from another. For an hour the singing
continued with folk songs, familiar camp songs, rounds, and
slumber songs. The singing grew softer as the fires lost their
brilliance. A Negro spiritual and a good-night song ended the
program. Each group extinguished its fire and left the camp-
fire area, singing softly until they reached the cabins.
Anyone who saw and heard this campfire evening would
think it happened without planning or preparation. It was
meant to seem spontaneous, yet each unit leader had a pro-
gram that the unit followed. Songs were selected and practiced;
the melodious whistle signal to cue each group for its song or
yell or response was agreed upon beforehand; the four scenes
from the story were prepared and practiced* Campers planned
the winding paths through the woods that led to each scene
of the play and finally to the campfire sites. Fire-making groups
laid all the fires in advance, and a food committee planned the
contents of the picnic baskets with the camp kitchen staff.
This is the kind of planning that makes a campfire proceed
smoothly. It means that a campfire program leader must over-
see the program and work with each unit leader to make sure
each unit knows its part in the program and its cue signals.
The multiple campfire described here can be used in a boys'
camp or girls' camp and with any age campers. The story that
is dramatized should be one that will appeal to the campers
and fit the theme of the campfire. It might be a wild West
SAMPLE CAMPFIRE PROGRAMS 303
story, an Indian legend, a folk tale, a biographical sketch based
on an interesting personality, a traditional camp story.
STUNT-NIGHT CAMPFIRE
Stunt night is one of the most popular forms of entertain-
ment in camps. In many camps it is a traditional program for
a midweek campfire, after campers have become acquainted
with the camp program and after they have lost any initial shy-
ness. Stunt night is popular because it can be used with camp-
ers of any age, and in boys' camps, girls' camps, or mixed
camps. It is especially useful in short-term' camps where the
campers are present for two weeks or even one week, because
stunts require little dramatic practice and few props or cos-
tumes. Stunt night is useful in private camps, where many
campers stay for the entire season and where there is time to
prepare and practice elaborate dramatic programs. It offers a
chance for everyone to get into the show.
The stunt-night program presented here in detail can be
adapted by the campfire program leader to suit almost any
camp, large or small. In the camp that uses this program the
camp period is only one week. The campers arrive on Sunday,
settle in, and then have a get-acquainted campfire on Sunday
evening. Stunt night is held on Wednesday, midway in the
camp period.
In this camp, the campers do not eat together as one group
nor do they carry on activities together. Each unit has its own
program. Since all units learn the same songs, it is necessary to
arrange practice sessions for the songs to be used in later camp-
fire programs. Two of the units invite all other units to come
to their camp sites for a song fest, one on Monday night and
another on Tuesday night. On these nights all songs to be
304 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
used on stunt night are learned. If applauses are to be used
in the program, these can be learned at this time.
In order to prepare for the other parts of the program, the
camper representatives, one from each unit, discuss the pro-
gram in their daily meeting held during the rest period. On
Tuesday the representatives are aslced about their stunt ideas.
If they have none, the program director assists them in finding
a suitable stunt. On his daily visit to each unit, the program
director talks to the unit leader about his unit's participation
in the stunt-night program. The result is that all units usually
take part. This means an average of ten stunts for the program.
Each stunt chosen is brief, none longer than five minutes* The
whole program takes about an hour and a quarter.
The various units are also allowed to use the council ring
for a half hour each to practice their stunt sometime on Wed-
nesday. A schedule is set up to enable the campfire program
leader to be present; he can help groups by giving suggestions
as to the announcement of stunts, the action, the staging, and
other needs. He may need to change stunts; he will replace
entirely any stunt that is "off color" or not suitable for this
camper group. During this half-hour rehearsal period, the di-
rector can check on the unit's participation in the balance of
the program, to prevent possible misunderstanding. In order
not to miss anything, the campfire director has a detailed check
list on which he checks off every item as he goes over them
with the unit's representative and the adult leader. He explains
to each unit about the cue number which will indicate that
the unit is about to go on, and he tells them that their cue
number will be shown shortly before their act goes on so they
will have time to get ready.
On the Wednesday meeting during rest period, the details
SAMPLE CAMPFIRE PROGRAMS 305
are checked to make sure that everyone knows the assembly
point and time, the approach, the line of march, the seats to
be occupied by each group of campers, where they will put
their props (before the time of entrance), what the call to the
campfire will be, and how the exit will be handled. At the re-
hearsal the unit representative will work out any doubtful parts.
He sits where he will sit that night; thus he knows he will be
able to see the cue easel and know when his group is to re-
spond. He will be the one to "cue in" his group. The check
list and cue sheet, as used for this particular program, looks like
this:
Cabin Units
STUNT NIGHT CHECK LIST 12345678910
Gathering place, time
9:25 (four spots) 0000000000
Starting signal, 9:30
Tom-tom beat 0000000000
Path to take O D O O D O O O O O
Seat assignments DDODOODOOO
Decorum of the council
ring ODDOOOOOOO
Remain standing for fire-
lighting OODOOOODOD
Stunt O.K. OODODODODD
Cue for yell OOOOODDOOO
Check yell OOOOODODDn
Cue for round OODOODDOOD
Cue for stunt OOOOODOOOn
stunt staging aooooooDon
Exit cues oooonooooa
Visitor seats ODOOOOOODD
Entrance for stunts ODODDOOOOn
Where put props DDDOOOOODO
Tell adult leader DDOOOOOOOa
306 THE COMPLETE BOOK O'F CAMPFIRE PROGRAMS
Each unit is asked to prepare a group yell. These are given
without announcement or introduction. As far as the spectators
know, they will be completely spontaneous. A cue easel is used
to tell each group yell leader when to give the yell. The groups
are given numbers from i to 10. Large numbered cards are
placed on an easel where all can see. No attention is called to
this easel, and many of the campers do not realize how the
yell leaders know when to lead their yell. In the briefing ses-
sion it is important that each representative know his number.
He should be ready before his turn; at the instant his number
comes to view he starts his group in their yell. Each yell is
different and each unit stands in place to give its yell.
The same cue system is used in the round "Little Tommy
Tinker/' There are ten parts to the round and each unit stands
when they sing "Maw! Maw!" Each group sings the round
through three times. There is no announcement of what is to
happen either for this round or for the yells. Units that can be
expected to respond well in their yell and round are used for
the first two or three yells, to create enthusiasm and break
down any reserve.
The stunts, too, are operated by the cue system. It is neces-
sary to rearrange the cards so that they are in proper sequence.
The campfire director has seen the various stunts at practice
and knows what stunt deserves the final spot (usually the best
stunt), the first spot (usually the second best). The stunts are
alternated so that the interest is kept high and so that stunts
which may be similar are separated by other parts of the pro-
gram.
When the time for the stunts comes, the announcement is
made: "Now is the time for the Big Show Let the fun begin!"
The first cue card is in view and that group is ready to come
SAMPLE CAMPFIRE PROGRAMS 307
on. Each unit makes the introduction for its own stunt. When
a stunt is completed, the applause master jumps to his feet,
runs forward, and leads the whole group in a different type of
applause.
As a yell is given, the song leader is ready to lead the next
song. At this same moment the next stunt cue card is in view
so that the next group will be ready and in position to go on.
There is no need for any waiting at any time if this practice
is followed carefully. Sometimes the song leader will need to
add an extra verse or even start another song, particularly if a
song is short. Care should be taken that the right length song
is used, as some stunts take more time than others to make
ready. In following this plan no more than two units will evei
be out of their seats at one time. Thus there is maximum at-
tention given to the song leader. Each of these details is im-
portant to a smoothly running program. The applause master
and two or more song leaders keep things going between each
stunt.
A copy of the evening program is given to camper represent-
atives, song leaders, applause leader. The following is a sample
program:
1. Line up. Four points for gathering. Time 9:25.
2. Call to the campfire (tom-tom beat walking cadence).
Time 9:30.
3. Opening ceremony and fire-lighting. Indian Chief presides.
4. Campers sit at Chief's signal after fire-lighting.
5. Song "Oh Here We Are" (Campfire Director).
6. Unit yells cabin units respond upon cues.
7. Mass yells led by applause master.
8. Song "Didn't He Ramble?" (Campfire Director).
9. Round "Little Tommy Tinker/' Units respond upon cues.
10. Song "Where Oh Where Is Sweet Little Susie?" (Will).
308
THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
11.
Stunt
Unit Applause
Song
Song
Leader
The Crack Shot 2 How How! "The Dummy Art
Line"
The Green Camper 7 Hitchhiker "Old Mac- Will
Donald"
The Lighthouse i Handkerchief "Hole in the Pat
Murder Clap Bottom of
the Sea*'
The Viper 3 Head-Hunter "Alouette" Art
The Echo 4 Bomber "I'm a Hay- Pat
The Ford
6 Class A
5 Skyrocket
"I'l
seed"
"Vive la Com- Art
pagnie"
"Hello" Pat
The Railroad
Crossings
The Mind Reader 9 Locomotive "Working on Art
the Railroad"
Hillbilly Band 8 Barber Shop "God Bless Will
America"
Staff Impersonation 10 Do as I Do "We're on the Pat
Upward Trail"
12. Song "Camping We Go" (Pat).
13. Campers leave during last song. Units in rear go quietly during
first verse; other units follow during second verse.
CAMPFIRES FOR SMALL GROUPS
Perhaps the most satisfying campfires are those held by small
groups. Most youth organizations have outdoor activity as a
part of their year-round program. Their groups enjoy camp-
fire programs in summer camps, but they also put on a camp-
fire at any time during the year. The size of such a group may
range from six to sixty. Youth groups associated with schools,
religious institutions, civic clubs, and athletic associations also
hold campfire meetings.
SAMPLE CAMPFIRE PROGRAMS 509
For members of these small groups the appeal of the camp-
fire may be even stronger than for the youngsters at a summer
camp. The campfire circle is small. The fire is nearer and
warmer. The darkness beyond the firelight seems more awe-
some. The relationship among campers is usually stronger be-
cause they have been meeting as a small group for many
months. The leader knows his group as individuals. The camp-
fire program requires participation from each member and
therefore is of greater value to each member.
Much of the material used in larger and more formal
campfire programs is adaptable to these small campfires
songs, stories, dramatics, stunts, games, challenges, inspira-
tional material. The leader of a small group has responsibility
for all the activities and program of his group, and the program
around the campfire is just one part of his work with them. On
the contrary, in a camp setting there is often one staff member
or counselor whose main responsibility is the campfire pro-
grams. The purpose of both leaders is the same when planning
a campfire program to inspire, to plan fun and fellowship, to
help build ideals, to develop character, to encourage co-opera-
tion and initiative, and to give youngsters an opportunity to
use their leadership and planning abilities.
Suggested Outline
Almost any small group leader will find this outline for a
campfire program useful. It has all the elements that young
people expect.
Before the program, a committee should build the fire lay,
arrange the seating and activity area, check on the program
with the campfire program leader, and be on hand to start the
group toward the campfire area.
1. Opening ceremony fire-lighting
2. Yells to let off steam and for audience participation
31O THE COMPLETE BOOK O'F CAMPFIRE PROGRAMS
3. Lively songs
4. Stunts, challenges, games, and songs interspersed
5. Stories and inspiration
6. Quiet harmony songs
7. Closing ceremony
8. Fire-extinguishing
This outline "follows the flame/' The louder and more ac-
tive parts of the program come while the flames are high and
bright. The more thoughtful and quieter parts are done as the
flames decrease and the fire dies to coals. The songs follow this
same mood.
Song Outline
A single song can provide an outline for the campfire pro-
gram. Here is one that a group will enjoy. It is sung to the tune
of "Down in the Valley."
Come to the campfire, when it is dark, (opening and fire*
lighting)
Stand in the circle, wait for the spark, (fire by flint and steel]
(Refrain: repeat last phrase twice, then third and last phrase
again.)
Feed with a fagot, till it is bright, (everybody participates)
Let your voice raise now, soar to the heights, (opening song)
Refrain
Take a deep breath now, let out a yell.
Of all your day's fun, won't you now tell, (the yells)
Refrain
Let's play a game, friends, let's have us some fun
Or challenge the others, with something that's done, (games
and challenge)
Refrain
SAMPLE CAMPFIRE PROGRAMS 3 H
Bring to the firelight, a song or a play,
So your gang shows us, you're happy today, (stunts]
Refrain
Now the fire's dimmer, shadows are near,
So we are waiting, the story to hear, (story)
Refrain
Watch the coals glowing, soon they will die
Telling us that we, must soon say good-by, (dosing and exit)
Refrain
Let us all stand, friends, time we must go,
Silently leaving, thoughts let us know.
Refrain
Food
In small groups food is usually a part of the campfire pro-
gram. Sometimes this is a treat provided by a group member
or the leader, sometimes it is food that all can have a hand in
preparing at the campfire. The food varies with the size of the
group and the occasion. Some well-liked foods are:
marshmallows sodas
roasting ears bean-hole beans
steaks doughnuts and cider
hot dogs chicken in foil
watermelon chicken emu
hamburgers cake and cookies
Whatever the food, the materials should be ready and con-
sideration given to the preparation and time needed for cooking
it. Bean-hole beans need almost twenty-four hours under the
fire lay. Chicken in the foil and corn can be put into the fire
during the program. Hot dogs, steaks, and hamburgers can be
312 THE COMPLETE BOOK OF CAMPFIRE PROGRAMS
prepared by all after the program. Some foods might be
brought from home or purchased on the way to the campfire.
Every campfire is an opportunity for fun and inspiration,
whether it be held during a "camporee" of five thousand, a
neighborhood picnic around someone's fireplace, a family pack
trip on a mountain trail, a canoe club outing, or a teen-age
beach party. On canoe and hiking trips the campfire is espe-
cially important. It becomes not only the evening entertain-
ment, but the forum for exchanging the day's experiences and
the place to relax from vigorous exertion.
No matter how small the group that is spending the evening
or the night in the woods, there is usually a campfire. Al-
though no "program" is planned, those who experience such
campfires find that the activities parallel those of any planned
campfire. There are stories, jokes, stunts, exchange of experi-
ences, songs, sometimes music on a harmonica or accordion.
And at some point during the evening, dreams are told. Even
a campfire tended by two people, a hunter and his son or a
man and wife on a twosome camping trip, has most of the
program elements of a planned campfire. There are certain ac-
tivities that belong to campfires everywhere.
INDEX
Adventure stories, 172
"All I Eta," 141
All-purpose program, 35-36
Alladin's lamp theme, 37
"Alouette," 140
Animal stories, 176
Applauses, 123126
Barber shop, 124
Bomber, 123
Chop Chop, 125
Clam, 125
Class A, 124
Cootie clap, 125
Dismissal clap, 126
Do as I do, 124
Grand salute, 125
Handkerchief clap, 125
Hip Hip Hooray! 125
Hitchhiker, 123
How! Howl 123
Laughing handkerchief, 125
Locomotive, 124
Marching army clap, 126
Old MacDonald applause, 126
Skyrocket, 124
Yankee Doodle clap, 125
"Are You Sleeping?" 151
Art lover ( stunt) , 247
Audience participation, sound ef-
fects, 126
Audience response, in storytelling,
181
Audio-visual aids to storytelling, 168
Awards ceremony, 91
Background decorations, 54-61
Backward quartet (stunt), 237
Baseball pitcher (stunt), 249
Battery and match fire-lighting, 77
Benediction, Indian sign language,
83
Biography stories, 174
Bouncing ball artist (stunt), 249
"Brainboxer Song," 148
Briefing of leaders, 31
Briefing outline, get-acquainted
campfire, 278
Building the central fire, 62
Burial of Old Man Grouch, 80
Buried pipe, 77
Burlesque of grand opera (stunt),
238
Burning an effigy, 81
3*3
3H
Call to the fire, 68
Camp activities (pantomime), 251
Camp history ceremony, 284
Camp ideals ceremony, 88
Camp newspaper, 182
Camp Spirit's hideaway, 100
Camp traditions, recognition of, 31
Carnpcraft contests, 205-207
"Camper Song," 162
Campers' tools ceremony, 90
Campfire as discussion center, 182-
193
Exchanging experiences, 185
Talking things over, 183
Campfire circle location, 46
Campfire circles, varieties of, 46
Campfire in hidden valley, 30
Campfire on a raft, 30
Campfire, successful, 18-21, 276
"Camping We Go/' 162
Camp-wide campfire, 38-40
Candle fire-lighting, 77
Ceremonial leader, 27
Ceremonial signals, 61
Ceremonies:
Awards, individual, 92
Burial of Old Man Grouch, 80
Carnp ideals, 88
Camp Spirit's hideaway, 100
Campers' tools, 90
Color war, 98
Friendship, 91
Hatchet burial, 98
"I Kneel/' 94
Ideas for closing campfire, 103
Indian fire-lighting, 100
"Omaha Tribal Prayer," 102
Opening, 71-81
Poetic, 94
Religious, 90
Sand painting, 97
Small ceremonial fires, 95
Tableaux, 100
Tenure recognition, 94
Universal, 87
Wish-boat, 102
Chain stories, 177
Challenges, 199-200
INDEX
Charades, 204
Chemical fire-lighting, 78
Chimes (stunt), 237
Circle of friendship, 18
Circus or carnival stunts, 240
"Clementine," 156
Closing ceremonies, 82-87
Closing song, 85
Flag, 83
Friendship circle, 84
Indian runners, 84
Indian sign language benediction,
83
Organization pledge, 85
Prayer, 83
Symbolic ashes, 85
Taps, 82
Color war, 98
Combination fire-lighting, 79
Council fire, 62
Council fire decorum, 68
Coup stick, 112
Court of honor, 108-115
Court to hear petitions, etc., 107-
108
Crack shot (stunt), 241
Cue easel, 60
Cue signals, 59
Cue system, 306
Cue totem, 60
Dance stage, 59
Decorations, 54-61
Decorum, 68
Delayed action skit (stunt), 233
"Did You 'ear About Harry?" 144
"Didn't He Ramble?" 153
"Down by the Old Mill Stream/'
Down history's trail, 293-295
Dual contests, 218-220
"Dummy Line," 154
"Dying Hobo," 158
Emblems, 56
Entrance gates, 52
"Everybody Clap Hands," 144
Evolution of courting (pantomime),
254
INDEX
Feats of strength or skill, 220-222,
2 35
Festivals and holidays, 38
Fire, the, 18
Fire building, 62
Fire by flint and steel, 73
Fire by friction, 71
Fire by magic, 76
Fire from heaven, 73
Fire-lighting, 71-80
Fire-lighting chant, 81
Fire maker, 27
Flag ceremony, 83
Flaming arrow, 79
Food at campfires, 311
Friction and match fire-lighting, 78
Friendship ceremony, 91
Friendship circle, 84
Games, 200-204
Gathering place, 69
Gathering place markers, 51
Get-acquainted campfire, 37, 277-
289
Ghost stories, 174
Giant sneeze, 120
Good camper, the (talk), 190
Good taste in program, 28
Great pianist (stunt), 248
Ground decoration, 53
Group awards, 111
Hair balance (stunt), 242
Hatchet burial ceremony, 98
Head-hunter (story), 127
"Here We Are/' 142
Hey Straw (yell), 121
Hidden campfire, 292
Hidden valley campfire, 30
High singer (stunt), 237
"His Own Campfire/' 16
Historic Indian tableaux, 100
Holidays, as themes, 38
Honor pole, 112
Honor rock, 56
How to tell a story, 165
Hunting (stunt), 247
Hypnotist (stunt), 244
3*5
I cannot pay the rent (stunt), 246
"I Kneel" (poetic ceremony), 94
Ice breakers, 118-121
Ideas for closing ceremonies, 103
Imaginary actions (stunt), 249
Indian dance magic fire-lighting, 80
Indian dance steps, 291
Indian runners, 84
Indian sign language benediction, 83
Indian songs, 102
Indian stories, 175
Indian theme, 37, 289292
Individual awards, 111
Informal programs, 41
Inner circle marking, 53
Introduction of camp staff, 287
Introduction games, 197-199
Instrumental music (stunt), 238
"I've Been Working on the Rail-
road/' 160
"John Brown's Body/' 143
Jubilee singers (stunt), 237
"Kille Kflle," 159
King with the terrible temper
(story), 126
Leadership, 20, 22-32
Leadership qualities, 26
Lighthouse keeper's daughter (pan-
tomime), 253
Lighting the fire, 71-80
Magic:
Balance, 267
Ball tube, 200
Banana trick, 274
Bouncing handkerchief, 271
Breaking pencil with dollar bill,
266
Burned money, 272
Can you read me? 268
Changing ink to water, 263
Coin and hat, 271
Disappearing candle, 263
Disappearing knot, 260
Disappearing picture, 273
Disappearing watch, 266
Magic continued
Double rope loop, 272
Fake ventriloquist, 271
Finger mind reading, 269
Five odd figures, 264
Floating ball, 262
Hat trick, 270
Hidden number, 269
Hypnotic act, 274
Live match box, 272
Magic ball, 260
Magic bells, 265
Magic circles, 259
Magic numbers, 264
Magic truth bottle, 271
Magic tumbler, 262
Math genius, 267
Nine squares, 265
Omelette, 273
Rope escape, 269
Ruler trick, 270
Sealed envelope, 266
Shirt trick, 270
Spirit slates, 265
Step through a letter, 263
Table tilting, 272
Tearing telephone directory, 274
Telepathic power, 268
Vanishing coin, 274
Vanishing knot, 269
Watch magic, 270
Which figure? 204
Magic fire-lighting, 76
Master of ceremonies, 26
Minstrel show campfire, 296-298
Mock trials, 115-116
Movement in program, 25
Multiple campfire plan, 301-303
Musical stunts, 237
"My Harlan Goat," 143
Napoleon says good-by (stunt), 247
Nature contests and games, 210-
218
Nature stories, 176
Nature trail campfire, 295-296
"Nickety Nackety," 159
Noisy games, 128-130
INDEX
Observation and sense training
games, 208-210
"Ode to the Fire," 72
Old Ford (pantomime), 252
"Old King Cole," 150
"Old MacDonald Had a Farm," 149
Opening ceremonies, 71-81
Opening words ceremony, 81
Operations (pantomime), 252
Operetta campfire, 298-300
Order of stunts, 306
Organization pledge, 85
Pantomime, 250-255
Participation stories, 178
People who can help, 41-43
"Perfect Posture Round," 152
Physical arrangements, 45-53
Pigtail xylophone (stunt), 237
Planning camp-wide campfire, 38-40
Planning informal program, 41
Planning program, 32-35
Poetic ceremony, 94
Poetry, 167
Political convention, 300-301
Prayer, 83
Preparation of campers, 24
Prepared script stunt, 234
"Qui Qua Quonnie," 160
Quizzes, 204-205
Reading a story, 167
Recognition, types of, and awards,
109-114
Adult leaders, no
Article of dress, 114
Coup stick, 112
Honor pole, 112
Indian headdress, 114
Intangible awards, 113
Natural objects, 111
Organization award, no
Personal praise, 109
Special camp honors, no
Treats, 114
Recognition night, 37
Rejuvenator machine (stunt), 236
INDEX
Religious ceremony, 90
Religious stories, 176
Riddles, 204-205
Rocking chair act (stunt), 248
Roll call, 119
Romance of the trees (story), 213
"Rube Goldberg" stunts, 235
Sand painting ceremony, 97
School camps, 34
''Scotland's Burning," 152
Seating, 49
Selecting of a chief (story), 287
Selecting stories, 171-182
Adventure stories, 172
Animal and nature stories, 176
Biography and history, 174
Ghost stories, 174
Indian stories, 175
Religious stories, 176
Science fiction stories, 173
Tall stories and folklore, 171
Shadow box, 59
Shadow plays, 255-256
Tips for shadow pantomimes, 255
Singing:
Getting attention, 135
Having fun with singing, 138
Keeping time, 135
Selecting songs, 1 34
Setting pitch, 136
Song leading pointers, 134-139
Teaching new songs, 137
Snake charmer (stunt), 244
Sociodrama, 186
Song leading pointers, 134-139
Song outline for campfire program,
510
Songs to suit the purpose, 139-163
Applause songs, 155
Build-up songs, 146
Divided group songs, 149
Harmony songs, 161
Marching songs, 152
Medley songs, 160
Miscellaneous songs, 162
Motion songs, 143
Pantomime songs, 156, 251
Response songs, 140
Rounds, 151
Songs with many verses, 153
Tongue twisters, 158
Sound effects, 120
Special-purpose program, 36-38
Speeches, 187-193
Spinach (stunt), 233
"Spirit of the Council Fire," 17
Stained glass, 58
Star frame, 57
Starting signals, 70
Stiffen tis (pantomime), 251
Story night, 37
Story responses, 126
Storytelling, 164
Storytelling stunts, 180
Strong man (stunt), 243
Stunt, definition, 224
Stunt night, 37, 303
Stunt night check: list, 305
Stunt night program sample, 307
Stunt night themes, 230-232
Stunts, circus or carnival, 240
Stunts for groups, 232-245
Based on joke, 232
Delayed action skits, 233
Feats of skill, 235
Musical stunts, 237
Stunts for individuals, 245-247
Stunts, impersonations, 239
Stunts, miscellaneous, 247-250
Stunts, using in camp, 225-230
Age and sex of campers, 220
Costumes, 230
Precautions, 226
Putting a stunt over, 228
Rehearsals, 229
Size of camp group, 225
Sucker stunts, 239
Sword swallower (stunt), 243
Symbolic ashes, 85
Symbols, 56
Tableaux, Indian, 100
Tall stories, 171
Taps ceremony, 82
Teaching new songs, 137
3 i8
Telling the story differently, 177-
182
Tenure recognition ceremony, 94
Tepee background, 56
Theme frames, 57
Themes, 56
"There's a Hole in the Bottom of
the Sea/' 146
Three wits (stunt), 248
Tightrope walker ( stunt) , 244
"Today Is Monday/' 147
Tom-tom stage, 59
Top-lighting campfire, 62
Torch fire-lighting, 75
Torches, 64
Totem, cue, 60
Tradition drums, 280
Traditions, recognition of camp, 31
INDEX
Traditions ceremony, 282
Trail, 69
Trail markers, 51
Trained flea (stunt) , 242
Universal ceremony, 87
Variation in programs, 23
"Vesper Song," 161
Viper (stunt), 233
What time is it? (stunt), 247
What you can do (talk), 188
Who killed cock robin? (stunt), 238
Wish-boat ceremony, 102
Wood for camp fires, 62
Yells, 121-123
Your rights and duties (talk), 191
