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Federal Reserve Bank of St. Louis
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Federal Reserve Bank of St. Louis
UNITED STATES DEPARTMENT OF LABOR
F ra n c es P er k in s , Secretary
CHILDREN’S BU REA U
- .
. Katharine F. Lenroot, Chief
+
HANDBOOK FOR
RECREATION LEADERS
ELLA GARDlIiR i B R A R Y > ^
agricultural & Mechanical College of Tern
> College Station, Texas. ^
Bureau Publication No. 231
UNITED STATES
GOVERNMENT PRINTING OFFICE
WASHINGTON : 1936
Washington, D. C.
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Federal Reserve Bank of St. Louis
' '
Price 15 cents
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Federal Reserve Bank of St. Louis
LETTER OF TRANSMITTAL
U N IT E D oTA TE S D E P A R T M E N T OF L A B O R ,
C hildren ’s B ureau ,
Washington, December 4, 1935 .
a .handb° ° t
recreation leaders
Speaahst ” recreation « ^ e staff o f the
Children’s B u r l
b l t r
in the home and with clnh
™
made as to the uses to which the
covered that many leaders will not ^
* ' experience w
gg m
.
d otIier recreation material
" SZhU ZZ
P . V ^ cause 11 has been dis'
material successfully when the p r o g r a m s ^ ] o l l o r T ^ T V l T i H
indexes at the end o f the bulletin have been prepared to
th l
mexpenenced in program building.
P
S1St those who
Respectfully submitted.
Hon. F rances P erkins .
K a th a r , ne F. L enroot, Chief.
Secretary of Labor.
m
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Federal Reserve Bank of St. Louis
CONTENTS
Letter of transmittal.................................
Introduction..........................................
Suggestions for the recreation leader
Plan for a community party. . . .
Plan for a small party or group .
Plan for a group of boys.............
Plan for a very short program .,
Special problems. ............................. ..
Planning picnics..................................
General suggestions.....................
The program................................
Small picnic groups.....................
M ixers............................................
Eye Color..................... ................
Date C ard..............................
Cooperative Spelling...................
Autographs..................................
Name Acrostics...........................
Proverb Trading..........................
Millionaire Couple......................
Paper Heads.................................
Matching Numbers....................
Famous Faces.............................
Name Chain.................................
Matching Songs...........................
Famous Facts...............................
Grocery List. ...............................
Single-circle games..............................
Singing games......................................
Oats, Peas, Beans........................
Rig'a'jig'jig...................................
Looby Loo..............................
Running games.......................
Come A long.................................
Slap Jack.......................................
Flying Dutchman........................
Have You Seen M y Sheep?. .
Cat and R a t.................................
Drop the Handkerchief...............
Numbers Change.........................
Poison Snake.................................
Beetle Goes Round.....................
Leapfrog Tw o D eep....................
Sardines.........................
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Double-circle games..................................
Singing games......................................
Tucker.............. ; ..........................
Popularity.....................................
Jump, Jim C row ..........................
Jolly Is the M iller.......................
Merry-go-round...........................
Captain Jinks...............................
Greeting....................
Firefly............................................
Grand Right and L eft.................
Yankee D oodle............................
Running games...................................
Three Deep...................................
Third M an ...................................
Squirrels in T rees........................
Face to Face.................................
One, Tw o, Three, Change........
Fire in the Mountain..................
Line games..................... ............................
Singing games......................................
Broom W alk.................................
10
I See Y ou......................................
10
N uts in M a y ....................................
10
For He’s a Jolly Good Fellow.
10
Hunting.......... ..............................
10
Grand M arch...............................
11
Virginia R eel................................
11
Running games...................................
H
Crows and Cranes......................
12
Lemonade (Trades)......................
12
Stealing Sticks......... .................
13
Spoke T a g .....................................
13
Snatch the Handkerchief............
13
Pom, Pom, Pull A w ay ................
13
Ride Him, Cowboy....................
14
Streets and A lleys.......................
14
Boston and New York................
14
Last Couple O u t.........................
14
Run, Sheep, R un .........................
14
Relay races..........................................
15
Put and T ake...............................
15
Peanut Pass...................................
15 I
Necktie Relay..............................
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Handbook for Recreation Leaders
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Line games— Continued.
IGames for small spaces.............................
50
Relay races— Continued.
Active games...................
50
31
Handful Relay.............................
Hunter, Fox, and G un................
50
31
Jumping-Rope Relay...................
Rochambeau.................................
50
31
Bundle Relay................................
Electric Shock...............................
51
31
Over and U nder..........................
Alphabet R ace.............................
51
31
Fetch and C arry..........................
Alphabet Scramble......................
52
32
Human-Obstacle Race (relay)..
Fan R ace.......................................
52
32
Around and Down.....................
Hot Handkerchief........................
52
32
Touch and G o .............................
Slide R igh t....................................
53
32
Follow Through..........................
53
Air, Water, Fire..........................
32
Kick the Stick..............................
Quiet
games........................................
53
32
Go and Go Back..........................
Thought Chain............................
53
33
Blackboard Relay.........................
Right and Left Spelling..............
53
34
Games with balls or other apparatus. ..
Ghosts........................................
54
34
Ball games............................................
34
Gossip............................................
54
Dodge Ball....................................
34
What Am I ? .................................
54
Kick-Over Ball.............................
35
Dumb Crambo.............................
54
Ball R ace.......................................
35
How, When, and Where?..........
55
End Ball........................................
36
Volley Ball...................................
Proverbs........................................
55
37
Schlag Ball....................................
Shopping.......................................
55
38
Newcomb...................................
Snip................................................
55
38
Call Ball......................................
Vanishing.....................................
55
38
Center-Catch Ball.....................
56
This Is M y N ose........................
39
Center Base................................
White Men and Indians............
56
39
Stride Ball................................. .
Rhymed Answers........................
56
39
Hand Ball....................................
Teakettle.......................................
56
40
Kick U p ......................................
M y Father’s a M erchant...........
57
40
Basketball Goal..........................
Imaginary I S p y ...........................
57
41
Bounce.........................................
The
Moon
Is
R
oun
d..................
57
41
Games of lawn-tennis type.............
T wo Little Blackbirds................
57
41
Paddle Tennis............................
Mystery
Games..................................
57
42
Deck Tennis...............................
Two-Part C ities...........................
58
42
Tether Tennis............................
Thumb
Choice.............................
58
43
Badminton..................................
Mind Reading.............................
58
44
Bean-Bag games.................................
Temple Reading...........................
58
44
Bean-Bag R ace...........................
Touch Reading............................
59
44
Bean-Bag Shuffle.........................
44
Magic W riting..........................
59
Bean-Bag Board..........................
44
Four Choice..................................
59
Duck on Rock............................
45
This and T h a t..............................
60
Games with other apparatus..........
45
Shuffleboard...............................
Number Choice...........................
60
46
Box Hockey...............................
N ope..............................................
60
47
Horseshoe Pitching.................
Legs and N o L egs........................
61
47
Barrel-Hoop Quoits.................
W atch T apping...........................
61
47
Piercing the H oop...................
Table games........................................
61
47
Barrel T o s s ..............................
Words and Things......................
62
47
Clock G olf................................
62
Stock Exchange............................
48
Obstacle G olf...........................
Advertisements............................
63
48
M iss the Bell........... ...............
W hirr............................................
63
48
Jar-Ring T o ss ...........................
Hearts..........................................
63
48
Croquet....................................
Spell O u t.......................................
63
49
Croquet-Ball Bowling.............
Humbug........................................
64
49
Marble Bowling......................
Ships.......................................
64
49
Button Snap.............................
Professions....................................
65
49
Match D arts............................
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Contents
Games for small spaces—Continued.
Dramatic numbers— Continued.
Table games— Continued.
p age
Shadow pictures— Continued.
Guggenheim.................................
66
Rockabye, Baby.........................
Dots and Lines.............................
67
The Old Oaken Bucket..............
P ye.................................................
67
M inuet.........................................
Ice...............
68
See-saw........................................
Word Buying...............................
68
Old King Cole.............................
Word Puttie.................................
69
Little Bo-peep..............................
69
Match Removal...........................
The Spanish Cavalier.................
M atch One, Tw o, Three...........
69
Tableaus and pantomimes.................
Challenges.................
70
Dramatized poems..............................
Tests of physical skill........................
70
Little Orphant Annie.................
B u tt................................................
70
Lochinvar......................................
Slap stick.......................................
70
The Singing Leaves............................
Hand Push. . . ...............................
71
Lady Clare....................................
71
Toe T ilt ........................................
Dramatized songs...............................
Rooster F ight...............................
71
Molly Malone........................... .
Chicken Figh t..............................
71
There Was an Old Woman. . . .
Bulldog Pull..................................
71
M u sic.........................................
Hand W restle..............................
71
Group singing.....................................
Leg W restle..........................
72
Songs
for group singing.....................
Finger Bend..................................
72
Motion songs......................................
Stick Pull.......................................
72
The Crocodile..............................
Tw ist Stick...................................
72
Along Came a Spider..................
Stick W restle...............................
72
The Smoke Went U p the Chim
Broomstick Balance.....................
72
n e y .......... ..................................
Jug Knotting................................
72
Old King C ole.............................
Tests of mental skill..........................
73
Today Is M onday.......................
Dictionary.....................................
73
Rounds.................................................
Memory Selections......................
73
Authors.........................................
73
Merrily, M errily.........................
Alphabet Speeches......................
73
Little Tom Tinker.......................
Chain Spelling..............................
73
Where Is John?............................
Musical Memories...........................
74
Early to Bed.................................
Rhyme Before T e n ......................
74
Oh, How Lovely.........................
Wrong Capitals...........................
74
Are You Sleeping?................ .
Mixed D ates................................
74 Developing appreciation of music..........
U Auto Know and other riddle
Suggestions for planning musical
74
contests............................... . . .
programs...........................................
Dramatic numbers.........................................
76
Compositions for musical programs.
Shadow pictures.....................................
76 List of references.......................................
Little M iss M uffet..........................
77 Appendix: Words of poems to drama
Wooden Soldiers’ Drill...................
77 tize .........................................
Indexes:
I. General index..........................................
II. Playground and picnic games...............
III. Games for home play..............................
IV . Games for small groups in small sp aces..
V . Games for boys...................................
V I. Games for fewer than 10 players.........
V II. Games for 10 to 30 players...................
V III. Games for 100 or more players..............
IX. Games for large groups in small spaces. .,
X. Games for parties........................................
XI. Games for children under 10 years of age
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VII
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Federal Reserve Bank of St. Louis
Handbook for Recreation Leaders
INTRODUCTION
he m aterial given in the following pages may seem simple and familiar to
those who have played many games, but several years’ testing in recrea'
tional programs in rural areas has shown it to be well suited to the needs it is
designed to meet and not at all familiar to the many leaders with whom it has
been tried.
The games are classified to assist in program building, and they are explained
very fully in an attempt to include the answers to questions which have arisen
in presenting them to untrained leaders. Games that are not difficult to teach
and singing games that are accompanied by such familiar tunes as Rig'a'jig'jig
and Yankee Doodle have been chosen so that their use will not be limited to
experienced leaders nor to places where a musician is available.
Paper and pencil games and those that require little space are included for use
by family groups as well as by clubs that meet in schoolrooms and other small
places. Such team games have been presented as can be participated in by a
small number of players whose ability may vary, because in many rural club
groups and schools there are too few of the older children to form regulation
teams. The games that are described are intended to be samples; books
describing others of the same types are listed in the section entitled “ List of
References.” (See p. 98.)
T
SU G G E ST IO N S F O R T H E R E C R E A T IO N L E A D E R
Although the types of games and arrangement of material are important in
successful recreation programs, by far the most vital factor is the leader. The
person who helps others to have a good time must approach a group with the
feeling that he, as well as they, is going to have an enjoyable experience and that
the program is something neither would miss willingly. He should radiate
enjoyment and enthusiasm. They are contagious. The players give back the
spirit set for them by the leader.
A few general rules help both the leader and his group. These may be sum'
mariz^d as follows:
A.
Understand thoroughly what you want done and make your du
rections brief and clear. Demonstrate the action when possible.
l
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Federal Reserve Bank of St. Louis
Handbook for Recreation Leaders
2
B. Stand where you can face everyone. Speak so that you can be
heard, but do not shout. Expect the players to listen. If the group is
large use a whistle, but use it sparingly.
C . Go into the first game without hesitating. Choose something
that is familiar, or that is easy to explain in a few words, and get the
group actively interested at the very start. M ore difficult material may
be presented after the players have gained confidence in themselves.
This is especially true of older children and adults who are not familiar
with games.
D. Play a game until it is almost at its best, then change to another.
It is better to stop while everyone wishes to go on than to let even a few
players feel bored by too much of one thing.
E. Play the game yourself. Do not stand by and passively watch
after you have started it. Stay in it, actually playing, or watch with
live interest.
Given an enthusiastic leader, the next requisite for a successful program of
gamps is a plan. Here, again, certain basic rules make the program easier for
the leader and more fun for the group:
1. Plan your program in detail. Do not try to fill even a short period
without setting down the order of games on a card or slip of paper, so that
you may progress quickly and without hesitation from one number to the
next.
2. In making your plan consider the following points:
a. Have groups of active games alternate with quiet games.
b. Make your formations follow through, a circle game after a
circle game, a line game after a line game.
c. Build up a climax just before refreshments; that is, play a
particularly good game just before the intermission.
d. Finish with a game, preferably musical, that you are sure
will make a hit. Stop it at its height, sing “ Good Night,
Ladies” , and end decisively.
3. Have an abundance of material. It is better to omit some numbers
than to run short.
The principles of effective program planning may be illustrated by their appli
cation in a program for a large community party, for a smaller party (consisting
of about 30 persons), for a group of boys in a place where comparatively rough
play is possible, and for a group expecting to play only a short time, as shown in
the following sections.
P L A N F O R A C O M M U N IT Y P A R T Y
The room used should be large enough for the guests to form a circle without
undue crowding. N o chairs are needed; it is easier to keep people on their feet
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Federal Reserve Bank of St. Louis
Handbook for Recreation Leaders
3
than to get them up if they are once seated. M usic of some sort is important.
A piano, a phonograph, or a couple of harmonicas will serve.
While the group are assembling, those who have arrived early may gather
around the piano and sing, or games of “ mixer” character may be played. (See
p. 8.) When the time for the regular program has arrived, it is well to start
with a grand march, beginning it by asking the boys and men—who frequently
congregate along one side of the room—to stand in line while the girls form a
line opposite them.
The card in the leader’s hand will look like this:
A . Grand March (finishing with ser C . Divide sides into teams of 10 or 12
pentine; see p. 25).
and have them choose names.
1. Come Along.
8. Peanut Pass (relay).
2. Jolly Is the Miller.
9. Put and Take (relay).
3. Fire in the Mountain.
10. Fetch and Carry (relay).
4. Jump, Jim Crow.
11. Virginia Reel.
B. Divide the group into two sides.
D. Refreshments.
5. U A uto Know.
12. Popularity.
6. Hunter, Fox, and Gun.
13. Captain Jinks.
7- For He’s a Jolly Good Fellow.
14. Good Night, Ladies.
The advantages of such an arrangement are, first, that it allows active gamps
(1 to 4 and 8 to 14) to alternate with rest games (5, 6, 7); second, the gamps
build to a climax through the relays to the Virginia Reel, which is always very
popular; third, the formations follow through. When the Grand March closes,
the players are in a single circle of partners, so that a group of couple gamps
should follow. Therefore Come Along, which does not disturb partners, is fol
lowed by couple games (2, 3, and 4). The next group of games is played by two
sides, which are divided later into teams, and these teams are used until the
time for refreshments. Then Popularity is played to get partners easily for the
next game, Captain Jinks. The last number is a rollicking singing one that
sends the guests home humming.
PLA N FO R A SM A LL P A R T Y O R G R O U P
If the party group is small, consisting of 30 persons or fewer, the following
program will be good:
A . Single-circle games:
1. Come Along.
2. Have You Seen M y Sheep?
3. Rig-a-jig-jig.
B. Couple games:
1. Face to Face.
2. Jump, Jim Crow.
3. Captain Jinks.
4. Merry-go-round.
C . R est games in single group:
1. M agic Writing.
2. Two-part Cities
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D. Team games:
1. Right and Left Spelling.
2. Hunter, Fox, and Gun.
3. Snatch the Handkerchief.
4. N uts in M ay.
E. Refreshments.
F. Virginia Reel.
G. Good Night, Ladies.
Handbook for Recreation Leaders
4
PLA N FO R A GRO UP OF BO YS
If the group consists of boys who are to play in a gymnasium, in a bam, or
out of doors, they will like a program of this sort:
A . Single-circle games:
1. Flying Dutchman.
2. Come Along.
3. C at and Rat.
4. Beetle Goes Round.
B. Rest games:
1. This and That.
2. The Moon Is Round.
C . Team games:
1. Crows and Cranes.
2. Snatch the Handkerchief.
D. Refreshments.
E. Line games:
1. Third Slap.
2. Spoke Tag.
PLA N FO R A V ER Y SH O R T PR O G R A M
If a very short time, as half an hour or less, has been assigned to games, it is
well to select two games that are played in the same simple formation. Tw o
single-circle games would be suitable, or two line games. The single circle is
the easiest and most natural way to start a group playing. The two-line for
mation is almost as simple.
The choosing of sides by leaders should be avoided, as it is a slow process and
in any case the last players chosen may feel embarrassed.
SPEC IA L PR O BLEM S
A t a large gathering, such as a community party or a picnic, a separate program
for the younger children under direction of a special leader is desirable. If
many children are likely to be present, several leaders will be needed because in
large groups the children over 10 or 11 years of age do not play well with the
younger ones. A s it is sometimes difficult to find a successful adult leader, the
suggestion that several leaders are needed is discouraging. Therefore the inclu
sion of a few older boys and girls on the committee is advisable. If the impor
tance of their contribution is pointed out, so that they take the task seriously,
they will arrange and direct very excellent programs for the younger children.
Tw o such young leaders should be assigned to each group of little children.
Various difficulties are encountered in groups unaccustomed to organized
play. For example, boys and girls may be unwilling to take each other’s hands.
It is a mistake to try to solve this problem by having separate teams o f boys and
o f girls.. Have both girls and boys on each team and encourage the development
of “ team spirit.” Begin with games in which the players on different teams
stand one behind the other in lines (relay games) so that there will be no occasion
for holding hands, then shift the double lines into double circles. By this time
self consciousness will be forgotten in enthusiasm, and winding up with the
single circle in which the boys and girls hold hands will be accepted as a matter
of course.
Shy persons are difficult also. One of the best cures is to put them in situa
tions in which they are sure to win. They should not be made conspicuous in
any way until they have had plenty of time to become comfortable in the games.
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Federal Reserve Bank of St. Louis
Handbook for Recreation Leaders
5
Because many people are uncertain of themselves as performers, team activities
and games in which everyone does everything, like “ Jump, Jim Crow ” , are
much better for them than games which display individual prowess such as
“ Have You Seen M y Sheep?” (See pp. 1 4 ,17-)
Domineering or dictatorial players are sometimes hard to handle. If they are
known beforehand and can be used as general committee members, or assigned
later to a committee on cloakroom, reception, or refreshments, they can be made
to feel responsible for the comfort and enjoyment of others. If their tendencies
are discovered after the program is begun, they can be used as bases for relays,
as judges, or as assistants to pass out materials. In other words, the problem
of the overassertive boy or girl is solved best by the assignment of plenty of
work.
A more difficult problem is presented by the adolescent who considers a
program of games beneath his interest. Again, special committee work offers
the solution. Individuals who because of their experience and good taste are
asked to decorate, design special equipment, or make place cards are likely to
put forth every effort to help the other guests appreciate a program so well
planned. It is important to discover any such inharmonious persons and have
them make contributions to the program before they have spoken against it. If
they are discovered after the program starts, tasks should be found for them
before they have much opportunity to express their opinions. Supervising the
younger children in a separate room can keep a girl or woman of this type busy,
and she may be told to select an assistant if she wishes. Acting as host or
hostess to visiting adults or helping to prepare and serve refreshments is an
excellent occupation for the girl or boy who feels too old for the activities
announced.1
P L A N N IN G PICN ICS
G E N E R A L S U G G E S T IO N S
The chief aim of a picnic is to get people acquainted and to give them a good
time together. The program committee that remembers this will plan an
abundance of music and games, because both these activities encourage friend'
liness. A brief educational or inspirational talk also may be included. A s the
object of the day is to send everyone home refreshed and happy, the p ro g ram
should not be long and strenuous, nor should the adults present be encouraged
to undertake unusual physical feats, to race, or to play arduous games. The
following items are important:
Use committees and make their duties definite.
Advertise thoroughly. Plan for weeks in advance and talk about it.
Have badges for all officials. Insignia make it easier for persons to
assert authority.
Make a plan for parking, and start operation of the plan when the
first car arrives.
1 For a discussion of the recreational interests of older boys and girls see Partners in Plav and
Theory of Play listed on pp. 98, 99.
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Federal Reserve Bank of St. Louis
6
Handbook for Recreation Leaders
Provide plenty of drinking water and paper cups; also arrange for
adequate toilet facilities.
Put up a sign for each activity.
Do not have a long program of speeches or music. One speaker is
usually enough.
Arrange to take care of outside guests and speakers.
Make it comfortable for the guests to listen. Put the seats and plat'
form in the shade. Have the crowd in front of the speaker, not all
around him.
Start on time and with music or sports that will draw the crowd
together.
Arrange to include everyone in the program of games, and choose the
events for fun, not for exercise.
Plan team games. People do not feel conspicuous in a group, and each
gains confidence from being one of a number doing the same thing.
Make the events interesting to watch. M any picnic crowds are too
large for all to play in one group, and there should be some consideration
for the spectators.
I f possible, arrange for the children a program that can be going on
at the same time as the other activities. I f this cannot be done, play
a group of games for them, then a group for adults. Using a group of
games rather than alternating single games avoids the need of frequently
urging people to come out of the crowd.
Equipment should be at hand for simple games and contests to entertain the
early arrivals while the other people are assembling. Quoit games, croquet'ball
bowling, and other games of this sort are useful. (See pp. 47-49.) Guessing
contests are popular, such as guessing the number o f seeds in a watermelon on
display, the weight of a cake or a home-made loaf of bread, or the number of
stitches in a seam. If baseball bats and balls are supplied, a game probably will
go on during most of the day, in addition to any special game that may be
arranged for the afternoon; if the space for baseball is limited, an indoor ball
(14'inch) or a playground ball (I2dnch) may be used instead of a regulation base'
ball. The smaller children may be taken at once to the sand box, swings, and
other apparatus specially arranged for them.
Avoid expensive prices. They are not necessary, and they often cause
trouble. It is far better to keep the prizes a part of the fun. Everyone who
participates in an event on the program may be given a number ticket, and an'
nouncement may be made that at the end of the program a grand drawing will
take place and the holder of the lucky ticket will get the prize. This encourages
people to take part in the program. Giving the winners of some events an
extra ticket does away with the need for additional prizes. Sometimes it is
possible to give everyone a prize, as an apple, a small bag of peanuts, or some
advertising novelty, so that the drawing is just a joke. It is also fun to give
little prizes at the end of each event—as a penny balloon, a whistle, or some
other inexpensive trifle.
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Handbook for Recreation Leaders
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Select for the children under 4 years of age a spot away from the other centers
of interest, and assign a competent committee to supervise and care for them
apart from the rest of the group. Both the mothers and the children will appre
ciate this arrangement. Some simple equipment— such as a see-saw, swings,
pasteboard boxes to pile or pull about, and a sand box with spoons, pans, and
blocks— will be useful. The committee should see that noise from this spot
does not disturb the program of music and speeches.
TH E PRO GRAM
The program for the day may be balanced in this fashion:
10:30
11:00
12:00
1:00
1:30
to
to
to
to
to
11:00:
12:00:
1:00:
1:30:
2:00:
Band music, community singing, announcements.
Contests, visiting, sports.
Picnic dinner.
Band music, singing.
Speech, dramatic numbers, special demonstrations for
adults, special program for the younger children.
2 :00 to 2 :30: Band music, singing.
2:30 to 3:30: Games, contests.
3:30 to 4:00: Drawing for prises, band music, singing.
A few humorous selections may be made during the picnic and announced for
special awards at the end of the day. The judges should be appointed at the
beginning of the program so that they may have plenty of time to make their
selections. Five or six of the following are enough for one picnic:
1.
2.
3.
4.
5.
6.
Largest family present.
Family with most red heads.
Family coming farthest.
Youngest boy present.
Youngest girl present.
Oldest man present.
7.
8.
9.
10.
11.
12.
Oldest woman present.
Tallest boy or man.
Couple married longest time.
Couple married shortest time.
Oldest automobile.
Lowest automobile license number.
S M A L L P IC N IC G R O U P S
In contrast to big community picnics, a small club group often gets together
for an outdoor dinner, or the family packs a basket and goes somewhere for the
afternoon or the day. Certain contests are especially good for such trips. For
instance, on the drive or hike to the picnic spot, divide the group into two
teams and assign to one team the right-hand side of the road, to the other the
left. The teams count cows, winning 1 point for every cow seen and 5 points
for an entirely white one. Whenever a member of one team sees on his oppo
nents’ side of the road a graveyard or any other rather special thing that may be
agreed upon, he may cancel all the opponents’ points and start them over. A
total of 100 or 150 points may be agreed on as game. When a side has won, the
contest may be repeated. In hiking through the woods this game may be made
more difficult by giving points for various trees or flowers and subtracting 5 or
10 for a fungus, bird, or other specified plant or animal. Collecting and identify'
ing a leaf of every kind of tree that is passed or searching for the largest and
smallest leaves or for certain kinds of leaves along the way may also be made
into a form of play. (For games for such groups see pp. 53, 73.)
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MIXERS
can be made or marred in the first 15 minutes while the party
group is assembling. I f the ice is allowed to form at the beginning,
valuable time and effort must be spent in thawing it. With a good committee to
introduce arrivals, to keep a group singing at the piano, playing easy games such
as those described on pages 45-99, and occupied in guessing contests and such
informal activities, nothing else is needed. However, committees o f such
caliber are not always available, and simple preliminary games and contests that
almost run themselves are then necessary as “ mixers.” A s soon as all the guests
have arrived, the winner should be announced and the regular program started.
The following sections describe useful mixer games and contests.
A
n evening
EYE CO LO R
A s each guest enters he is given four cards. These are headed “ Blue” ,
“ Gray” , “ Green” , and “ Brown.” On them are to be listed all the people
present according to the color of their eyes.
DATE CARD
A card with as many numbered spaces as there will be couple events during
the evening is given to each guest. The boys are told to get a different girls
name in each space and to have her enter his name in the corresponding space
on her card. When partners are needed, the number to be used is announced
and the guests are requested to find the persons whose names are written
opposite this number on their cards.
C O O P E R A T IV E S P E L L IN G
Each guest is given a large card bearing a letter of the alphabet, which is to
be fastened to his arm. He is given also a small card and a pencil. The letters
are to get together to spell words. Each word spelled by an assembled group is
to be written down on the cards; then the group separates and the players seek
new combinations. A prize may be given to the person having the longest list,
or to the members of the group that formed the longest word. This gamp is an
especially good mixer for a large group.
AUTO GRAPH S
Each guest is given a booklet with pencil attached and told to collect auto
graphs. I f this may be done before the program begins, the collecting is likely
to continue during refreshments. The booklets may be designed to suit the
occasion, the pages and cover being cut in the shape of the club symbol, a flower,
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M ixers
9
a heart, and so on. The cord to which the pencil is attached holds the booklet
together. Three or four pages are enough.
N A M E A C R O S T IC S
Pencils and cards are given out as the guests enter, and each is told to print
his full name in capitals vertically at the extreme left of his card. Then the
guests move about, each trying to find persons whose last names begin with the
letters on his card. For example, Ida Gray might find guests with these names
to complete her card:
I rwin
D owns
A nderson
G
R
A
Y
reen
obinson
lien
ardley
N o guest’s name may be used more than once, unless two or more guests
having the same name are encountered. A prize may be given for the completed
acrostic based on the longest name.
P R O V E R B T R A D IN G
Proverbs are written or typed on cards, then each card is cut into four or five
pieces. Each guest is given an envelope containing eight or nine pieces of
proverbs, and other pieces are laid around in conspicuous places. The guests
are told to get as many complete proverbs as possible by trading and collecting.
M IL L IO N A IR E C O U P L E
A girl and a boy are selected to be the millionaires, but they are told not to
walk together until the signal is given. Announcement is made that a millionaire
couple is in the group and a prize will be given to the person who catches themtx>
gether. The formula for finding them is “ We are M r.---------and M iss--------- .
What are your names?” . . . “ A re you the millionaire couple?” . When the
leader winks at the two persons who have been selected they come together.
The first couple who speaks to them may be given a dime as an appropriate
prize.
PA PER HEADS
A numbered slip, a card, a pencil, and a large paper sack are given to each
person as he enters. He pins the slip on his chest, then tears eyedioles in the
sack, slips it over his head, and goes forth to recognize as many of his friends as
possible, writing their numbers and names on his card. O f course each person,
while trying to discover the identity of others, endeavors to keep himself a
mysterious stranger.
M A T C H IN G N U M B E R S
Numbered slips are given to the guests, and they are told to match these for
partners. Only two or three slips are in duplicate, however, so that during
3 9 056°— 36-----2
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10
Handbook for Recreation Leaders
the entire program people will continue to try to find partners, unaware that
this is impossible.
FA M O U S FA CES
A s the guests arrive they are advised to learn the names of as many of their
fellow guests as possible because this knowledge will soon be useful. Each may
be given a slip on which to write his own name to wear for his own label. A
little later they are told to remove these labels. Papers and pencils are dis'
tributed, and the guests are directed to write down as many names as they can
in 5 minutes. The longest list wins. The shortest and longest lists should be
read aloud.
N A M E C H A IN
A n excellent way to learn names in a group of not more than 25 or so is for
the first person to turn to the second and say his own name. The second repeats
this and adds his own name. Then the third must repeat the first and second
names before adding his own name. Thus the list lengthens as the game goes on.
M A T C H IN G SO N G S
This mixer may be used to get partners. Pairs of cards are prepared by
writing on each two the name of a familiar song. These cards are given out,
one of each pair to a girl, one to a boy. The guests move about singing or hum'
ming the specified song until each has found the other person who has the
same song.
FA M O U S FA C TS
Each guest is told to learn the name of his neighbor on the right and to connect
with it an item he remembers about some specified famous character. A person
who is “ It” stands in the center and points at a player, who must give his
neighbor’s name and the remembered fact or incident before “ It” can count
10. For instance, if Abraham Lincoln is the character announced, the player
may say, “ M ary Smith— split rails,” or “ John Jones— freed slaves!” When
the group is accustomed to the game the left neighbor may be added, and “ It”
will ask for the right or left neighbor as he pleases, thus: “ Right 1, 2, 3,” and
so on. I f a player fails to answer before 10 is reached, he becomes “ It.”
G R O C E R Y L IS T
The boys (or half the group) stand inside a circle, and the girls (or the rest of
the group) stand outside, facing in. Each girl has a small pad of paper and a
pencil. Each boy starts to write on the pad of the girl opposite him all the
groceries and home equipment he can think of that start with the letter “ A .”
When the whistle blows (after about 30 seconds), he moves to the next girl on
his right and lists for her the objects starting with B. So the game goes on.
The girls may not help their partners. The girl with the longest list wins.
A fter the boys have moved five times they may be told to keep the pads on
which they were writing, and the girls are asked to move to the right. They
are to list on the boys’ pads all the farm tools beginning with “ F .” This they
continue for five moves before the boys are again sent on. There is no winner
when the game is played in this way.
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SINGLE-CIRCLE GAMES
games the players form a circle, joining hands or not in
accordance with the directions. In some games a designated player stands
inside or outside the circle to act as “ It.” If the number of players is very
large, two separate circles should be formed.
n single -circle
I
S IN G IN G G A M E S
The tunes for most of the games described in the following sections probably
are familiar to the majority of the average group, and phonograph records can
be obtained for most of them. Other well-known single-circle games not
described here, such as Farmer in the Dell, Here We Go Round the Mulberry
Bush, Round and Round the Village, and Did You Ever See a Lassie? can be
found in music books (such as Twice 55 Games with M usic listed on p. 100.)
O A T S, PEA S, B E A N S
For this game a player who acts as the farmer stands in the center of the circle
and makes motions that every one else imitates.
Oats, peas, beans, and barley grow;
Oats, peas, beans, and barley grow;
Do you or I or anyone know
How oats, peas, beans, and barley grow?
First the farmer sows his seed,
Then he stands and takes his ease;
He stamps his foot and claps his hand,
A nd turns around to view the land.
I’m waiting for a partner,
I’m waiting for a partner;
Break the ring ana choose one in,
While all the others dance and sing.
T ra
T ra
T ra
T ra
la
la
la
la
la
la
la
la
la
la
la
la
la
la
la
la
la
la
la
la
la,
la,
la,
la la.
During the first verse the farmer pantomimes “ you or I or anyone” by ex
tending both hands, touching his own chest, then extending his hands again.
In the second he throws out the seed with his right hand, folds his arms to stand
at ease, then stamps his foot, claps his hands, shades his eyes, and turns around
“ to view the land.” During the third he walks around the circle looking for
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Handbook for Recreation Leaders
12
a partner until the words “ choose one in” are sung. Then he bows to the
player he has selected and crosses hand with her. They skip inside the circle
during the whole of the last verse.
Both become farmers for the next game, and each selects a new partner. These
players also remain in the circle, so that the number of farmers doubles at each
playing. The game continues until everyone is skipping.
R IG -A -JIG -JIG
One boy stands in the center of the circle; or, if the circle is very large, several
boys may enter it.
A s I was walking down the street,
Heigh-ho, heigh-ho, heigh-ho,
A pretty girl I chanced to meet,
Heigh-ho, heigh-ho, heigh-ho!
C horus
Rig-a-jig-jig, and away we go,
A w ay we go, away we go!
Rig-a-jig-jig and away we go,
Heigh-ho, heigh-ho, heigh-ho!
While the song is being sung, the boy in the center walks around looking at
the girls until the words, “ A pretty girl I chanced to meet,” are reached. Then
he bows to a girl and they join hands and skip around the circle. Both these
players remain in the circle for the next time, and each selects a new partner.
So the game goes on. If the next game is to be a couple game, Rig-a-jig-jig
should be continued until everyone has a partner.
LO O BY LO O
For this game the first verse is repeated as chorus after the second and each
following verse.
Here we go, Looby Loo,
Here we go, Looby Light;
Here we go, Looby Loo,
A ll on a Saturday night!
I put my right hand in,
I put my right hand out;
I give my right hand a shake, shake, shake,
Amd turn myself about, oh.
I put my left hand in,
I put my left hand out;
I give my left hand a shake, shake, shake,
And turn myself about, oh.
I put my two hands in,
I put my two hands out;
I give my two hands a shake, shake, shake,
A nd turn myself about, oh.
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Single-Circle Games
13
I put my right foot in, etc.
I put my left foot in, etc.
I put my head ’way in, etc.
I put my whole self in, etc.
During the chorus all the players join hands and walk eight steps toward the
center of the circle and eight steps back to place. During the verses they panto
mime the words. On the first verse each player extends his right hand into the
circle, stretches it behind his back, shakes it, and turns around in place. This
action is varied as the remaining verses require.
R U N N IN G G AM ES
COM E A LO N G
The players learn the names of their neighbors, then extend their left hands
into the circle. “ I t ” steps inside the circle, walks around, and takes the
hand of someone. That person catches the hand of someone else, and so a line
continues to grow until the whistle blows. Then everyone must hurry back
to his own place and greet his neighbors by name. The last player home is
“ I t ” for the next time. If the circle is large, several lines may be started from
different points.
If the players seem likely to start “ cracking the whip” , the leader should
blow the whistle at once.
SL A P JA C K
A ll the players except one stand in the circle, clasping hands. One player
runs around the outside of the circle and tags another player as he runs. The
one tagged immediately leaves his place and runs in the opposite direction.
The object of each runner is to get back first to the vacant place. Whoever
succeeds remains in that place, the one left out becoming runner the next time.
This is sometimes varied by having the players bow, shake hands as they meet,
and say, ‘‘ Good morning, Good morning, Good morning!”
F L Y IN G D U T C H M A N
A ll the players except two join hands in a circle. The two who remain out
side join hands, walk around the outside of the circle, and tag the joined hands
of any two players. These players immediately chase the taggers around the
circle, trying to catch them before they get into the space once occupied by the
couple who were tagged. Persons tagged must keep their hands clasped while
running. This game is like Slap Jack except that tw o players instead of one
are tagged. There are no partners, because a player may have to run with
either of his neighbors.
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Handbook for Recreation Leaders
14
H A V E Y O U SE E N M Y SH EEP?
One player, who is the shepherd, stands outside the circle. He taps on some'
one’s back and says “ Good morning!” The tapped player, who is “ house'
keeper,” replies, “ Good morning.” The shepherd says, “ Have you seen my
sheep?” The housekeeper asks, “ How is it dressed?” The shepherd then
describes a player, preferably one who is standing near the housekeeper. A s
soon as the sheep recognizes itself or the housekeeper knows who is being
described, both begin to run outside the circle, the housekeeper trying to catch
the sheep before it gets back to its place in the circle. If this happens the sheep
must go into the center, which is called “ in the soup” , where he remains until
the end of the game. Whether or not the sheep is caught, the housekeeper
becomes shepherd for the next time. The shepherd does not chase. When he
has described his sheep he steps into the housekeeper’s place. There is no
escape from the “ soup.” Players who are caught must remain in the center
until the end of the game.
CAT AND RA T
A ll the players except two join hands in the circle. One player is chosen to
be the rat and stands inside the circle. Another is the cat and takes his place
outside. The cat tries to catch the rat. The players favor the rat and allow
him to run in and out o f the circle, but they try to prevent the cat from following
him by raising and lowering their arms. When the rat is caught, the cat and
the rat join the circle after choosing two other players to become rat and cat.
A second cat may be sent to help a cat who is slow, or the circle may slowly
count 25 and then demand that the players select a new cat and rat.
D R O P T H E H A N D K E R C H IE F
A ll the players except one stand in a circle. The odd player, who is “ It” ,
runs around outside the circle carrying a handkerchief, which he quietly drops
behind one of the players. A s soon as this player discovers that the handker'
chief has been dropped behind him he must pick it up and run around the circle
in the same direction in which “ I t ” is going, trying to catch him before he
reaches the place left vacant in the circle. If he fails, so that “ It ” takes his
place in the circle, he must be “ It ” for the next game.
NUM BERS CHANGE
A ll the players take consecutive numbers. One player takes his place in the
center of the circle. He calls two numbers, and the persons whose numbers
are called must change places. While they do so the center player tries to
secure one of their places. The person who is left without a place becomes the
center player. This may be played indoors with the players seated or out of
doors with the players standing in an extended circle.
P O IS O N S N A K E
Three objects (or more if there are more than 20 players) are set up in the
center of the circle. These objects may be Indian clubs, tin cans, or large
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Single-Circle Games
15
sticks set against one another. A group of circles chalked on the ground will
answer the purpose also.
The players in the circle join hands and try to pull or push one another over
these objects, which represent the poison snake. I f a player knocks the snake
over or steps on it, he is poisoned and must drop out of the circle. If two
players let go of hands, both must drop out. It is well to have an extra set of
clubs, cans, or sticks with which the “ poisoned” may start a new game.
B E ETLE GO ES R O U N D
A ll the players except one stand in the circle with their hands behind them.
The player who is “ It” goes around outside carrying the beetle, which may
be a roll o f newspaper, a towel, or a stocking filled with cotton. He puts the
beetle in someone’s hand and steps into that person’s place. The one who
receives the beetle immediately begins to strike his right-hand neighbor with it.
The neighbor runs around the circle and home again trying to avoid the beating.
The beater then gives the beetle to someone else, and so the gam<> goes on.
LEA PFR O G TW O D EEP
A ll the players except two stand in leapfrog position in the circle, facing the
center. One of the tw o players is runner; the other is the chaser, who tries
to catch the runner. The runner may leap over any player, but when he stops
in front of him that player must then run. Whenever the chaser tags the
runner, they exchange positions. Frequently the runners have a tendency
to keep going too long before stopping in front of anyone. Therefore it is well
when explaining the game to state that skillful players leap several people and
then suddenly stop.
S A R D IN E S
One player hides while the rest count to 100. When the counting is finished,
they set out to hunt. Whenever anyone finds the hider, he watches for a chance
to join him, hiding away from the rest. A s each new finder crowds into the
hiding place, players soon are “ packed in like sardines.” When the last hunter
discovers the spot, the game starts over, the first finder becoming the hider.
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DOUBLE-CIRCLE GAMES
doublecircle games the players form two circles, one inside the other,
during at least part o f the time. I f the number o f players is very large, they
may play in tw o or more groups, the partners in each group taking their places
in accordance with the directions for the game.
I
N
SIN G IN G G AM ES
The tunes and words for most of the games described in the following section
probably are familiar to the majority in the average group. For some of them
any fast march music that can be hummed easily is suitable. Phonograph
records can be obtained for a number o f them, and they can be found in music
books such as those listed on page 98.
TUCKER
If there are more boys than girls, they form the inner circle while the girls
make a circle around them. If there are more girls, they form the inner circle.
Fast march music is played, and immediately the girls walk in one direction
while the boys go the opposite way. When the whistle blows, every boy
tries to get a partner, and the ones who fail go into the center. The leader
then calls various commands, such as, “ Skip!” “ Hop on the right foot!”
“ Skate!” “ Slide in, slide out!” The couples obey these commands until the
whistle blows again. Then the boys bow and turn away, and all the players
walk in the direction in which they had started until another signal is given by
the whistle.
A s this game leaves the group with partners, it is a good one to use at the
close of a group of single'drcle games if partner games are to follow.
P O P U L A R IT Y
Popularity is much like Tucker and should not be used on the same program.
The players in the circles walk in opposite directions until the whistle blows,
as in Tucker. Then the girls keep on, but the boys turn the other way to
march in the same direction as the girls, each trying to get a partner. Those
who are left over go to the center. When the whistle blows again the boys
again turn, marching the way they started, and the extra players step into the
circle. The girls always march in the same direction, but the boys change their
direction each time the whistle sounds, as in Tucker.
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Double-Circle Games
17
JU M P , JIM C R O W
For this game the boys stand in the outside circle facing in, while the girls
face them.
Jump, jump, and jump, Jim Crow!
Take a little twirl, and around you go;
Slide, slide, and point your toe,
Then bow to your partner and jump, Jim Crow!
The partners join hands and take two slow and three quick jumps in place,
then join right hands and turn in a small circle with eight running steps. While
the boys stand still, each girl moves to the right to meet her next partner, taking
two slides and pointing toe. The new partners bow to each other, join hands,
take three jumps, and repeat the game from the beginning.
JO L L Y IS T H E M IL L E R
The circles face in the same direction, and the couples march around the circle
hand in hand, the girls on the inside.
Jolly is the miller who lives by the mill,
The wheel goes round with a right good will;
One hand in the hopper and the other in the sack,
The right steps forward, and the left steps back.
The circles face in the same direction, and the couples march around the circle
hand in hand, the girls on the inside. A t the last line of the song the players
on the right step forward and those on the left step back to meet new partners.
A n extra player, the miller, who stands in the center, tries to get a partner
during the change. The player who fails to get a partner becomes the next
miller.
M E R R Y -G O -R O U N D
The players in the outer circle place their hands on the shoulders of the play
ers in front of them, while those in the inner circle clasp hands all around.
The inner players are the horses and the outer ones are the riders.
Little children, sweet and gay,
Merry-go-round is running;
It will run till evening,
Little ones a nickel, big ones a dime.
Hurry up, get a mate,
Or you’ll surely be too late.
C horus
Ha, ha, ha, happy are we, Peterson, and Henderson, and Anderson, and me!
Ha, ha, ha, happy are we, Peterson, and Henderson, and Anderson, and me!
The players slide step around the circle, and the “ merry-go-round” thus
moves slowly to the left. It gains speed until the chorus is reached, when it
goes as rapidly as possible. If the inner circle breaks, the leader calls “ W hoa!”
The outer players should be warned to hold on tightly and to keep step with
their horses. A t the end of a ride the players exchange places, horses becoming
riders and riders become horses. During alternate games the circle moves to the
right.
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Handbook for Recreation Leaders
C A P T A IN JIN K S
The partners stand side by side in two circles, facing counter clockwise and
clasping inside hands.
I’m Captain Jinks of the Horse Marines,
I feed my horse good com and beans;
I dance with the ladies in their teens,
For that’s the style in the army!
I teach the ladies how to skip,
How to skip, how to skip,
I teach the ladies how to skip,
For that’s the style in the army!
Salute your partner, turn to the right,
A nd swing your neighbor with all your might;
Then promenade on the ladies’ right,
For that’s the style in the army!
A ll walk briskly around the circle during the first stanza of the song, the boys
being on the girls’ right. With the second they all skip around the circle.
On the word “ army” the partners face each other ready to salute. The boy
and girl salute with right hands, then both point diagonally to the right, each
thus facing a new partner. That is, each girl takes the boy from the couple
behind her for her next partner, while each boy takes the girl from the couple
ahead. The new partners swing with four skip-steps, then begin marching
around the circle.
G R E E T IN G
For this game the players form a circle with girls and boys alternating. Each
of the two following verses is sung twice.
Clap, clap, partner! Clap, clap, neighbor!
Stamp, stamp, turn yourself around!
Playing so merrilly, so merrily together,
Playing so merrily, so merrily, heigh-ho!
During the first four counts everyone claps twice, turns to partner and bows,
then claps twice, turns to neighbor and bows. During the second line all face
center, stamp twice, and turn in place. This is repeated. Then partners join
hands and skip together for 28 counts. On the last four counts each girl ad
vances to the boy ahead of her, and the players face the center o f the circle and
repeat from the beginning.
F IR E F L Y
The girls form the inner circle facing their partners, who are in the outer circle.
A ny march music is played for this game. The partners swing by their right
arms for eight counts, then by the left arms for eight counts. N ext they join
hands and slide right during eight counts, then left eight counts. A grand
right and left follows during eight counts, and the eighth player encountered
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Double'Circle Games
19
is the new partner for the repetition of the game. Until the players have
learned the game thoroughly the leader should call the figures, as follows:
A.
B.
C.
D.
E.
Partners swing by the right arm.
Partners swing by the left arm.
Partners join hands and slide right.
Partners slide left.
Grand right and left.
G R A N D R IG H T A N D L E F T
For the Grand Right and Left (also called Grand Chain) the players form a
circle with boys and girls alternating. They join hands and slide until the
whistle sounds. Then each girl turns to the right and each boy to the left,
and all begin to walk. The girls go in the direction of the clock, the boys in
the opposite direction. Each girl gives her right hand to the first boy at her
left, then her left hand to the next she meets, and so on until the whistle
sounds again. Then all stop, and each girl accepts as partner the player to
whom she has ju st given her hand or is just about to give it. The Grand Right
and Left is used mainly as a step in some game or to change partners at the end
of a long gamp; in which the players do not progress. Extra boys or girls may
stand in the center of the circle or just outside, waiting for an opportunity to
break in and get partners when partners are changed.
Y A N K E E D O O D LE
While the song is being sung or whistled the partners walk around, the girls
being in the outside circle.
Father and I went down to camp,
Along with Captain Goodwin,
And there we saw the men and boys,
A s thick as hasty pudding.
C horus
Yankee Doodle, keep it up,
Yankee Doodle, dandy;
M ind the music and the step,
And with the girls be handy.
During “ Yankee Doodle, keep it up” the partners join hands and slide four
steps in the direction they have been marching. They slide back during^ Yanr
kee Doodle, dandy.” Each couple swings around with six steps during M ind
the music and the step.” Then each boy moves to the girl on his left and
bows during “ With the girls be handy.” The game is repeated with these new
partners.
R U N N IN G G A M ES
T H R E E D EEP
Each player in the outer circle stands directly behind a player in the inner
circle, and all face toward the center. T w o extra players, one of whom is
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Handbook for Recreation Leaders
runner and the other chaser, start outside the circle, generally on opposite
sides. The object of the game is for the chaser to tag the runner. The runner
may save himself by entering the circle and stopping in front o f any couple.
Thereupon, that file having been made three deep, the outer player or “ third
man" can be tagged, so that he becomes runner. In the same way he may save
himself from the chaser by stopping in front o f a couple. I f the chaser tags
the runner, they exchange places, the runner becoming chaser and the chaser
becoming runner. Although both runner and chaser may dash through the
circle, they may not pause within it except as the runner stops in front o f a
couple. If they confuse the play by hesitating while running through, the
privilege o f running through may be withdrawn, all chasing being confined to
the outside of the circle.
T H IR D M A N
The game Third Ivlan is another form of Three Deep. A fter getting into cir*
cular formation the players may scatter irregularly about in couples. The
players forming each couple stand facing each other and clasping hands, with the
distance of a long step between them. T o make a success of the gamp the couples
should be a considerable distance apart.
O f the two odd players, one is runner and the other chaser, as in Three Deep.
The runner may take refuge between any tw o players who are standing as a
couple. The moment that he does so, the one toward whom his back is turned
becomes third man and must try to avoid being tagged by the chaser.
S Q U IR R E L S IN T R E E S
The game Squirrels in Trees is played by groups of four. Three players join
hands and form a small circle. This is the tree. The fourth player stands in
the center as the squirrel. T w o extra players are a squirrel and a hound. The
hound chases the squirrel, who for safety darts into a tree. The squirrel already
in the tree must get out, and he may dart into any other tree. I f the hound
catches any squirrel outside a tree, that squirrel must become the hound, and
the hound becomes a squirrel.
FA CE TO FA CE
The partners stand facing each other in one large circle. One odd player
stands in the center and calls “ Face to face,” “ Back to back,” “ Face to face,”
“ Back to back,” the players taking their positions accordingly. When he calls
A ll change, the players must take new partners. The center player tries
to get one, too. If he succeeds, the person left without a partner must go into
the center and give the commands. This game should not be used in a group
of more than 50 players.
O N E, TW O, T H R E E , C H A N G E
The partners stand back to back with elbows hooked together. A n odd
player who is “ It,” stands in the center and calls “ One, two, three, change!”
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He gets a partner, and so does everyone else except one, who becomes “ It”
for the next time. N o pair is safe until both elbows are locked.
This game is not good for a mixed group of children but is excellent for all
boys or all girls. It is very much like “ Face to Face” , and should not be used
in the same program with it.
F I R E IN T H E M O U N T A IN
A ll the players except one form a double circle facing inward, each in the
outer circle standing directly behind his partner. The extra player, who is
“ It,” stands in the center. When he calls “ Fire in the mountain! Run, men,
run!” the players in the outside circle begin immediately to jog around while
“ It” and the players of the inside circle clap their hands. When “ It” stops
clapping, he and the inside players hold their hands over their heads as a signal
that the outside players are each to try to get in front of an inside player.
“ It” tries to do the same, and the player left out becomes It for the next time.
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LINE GAMES
LINE GAM ES the players begin by taking their places in parallel lines. Usually
those who have been partners or who will become partners are opposite
and they face each other unless the directions specify otherwise.
I
n
SIN G IN G G A M ES
The tunes for most of the games described in this section probably are familiar
to the majority of the average group; phonograph records can be obtained for a
number o f them, and they can be found in various music books. (See p. 98.)
BRO O M W ALK
The boys form one line, the girls another, the two lines being about 10 feet
apart. A n odd player has a broom and sweeps back and forth between thè linesIf there are four or five extra boys or girls, there can be several sweepers.
One, two, three, four, five, six, seven/
Where’s my partner? Nine, ten, ìeven/
Tode'do, O'hi'O,
That is where you’ll have to go/
While the first four words are sung the players in the lines walk four steps
toward each other and four steps back to place. When “ Toledo, Ohio” , is sung,
everyone dashes for a partner, the sweeper dropping his broom and trying to get
one too. The person failing to get a partner must carry the broom during the
repetition o f the song, through which each couple skips around and goes back
to place in the lines.
I SEE Y O U
This game follows very well after relay races in which four or more teams have
stood parallel on the floor. The first two teams combine for partners, the
players in the first team placing their hands on the shoulders of those in the
second. Both lines face the third and fourth team, which combine in the satin»
way. Thus the game is played by two double lines of partners, the players in
the rear lines having their hands on the shoulders of those in front of them. The
boys should be in the front line of one side and in the rear line o f the other.
22
I see you, I see you,
Tra la la la la 1^ la,
I see you, I see you,
Tra la la la la.
I see you and you see me,
Then I take you and you take me;
You see me and I see you.
Then you take me and I take you.
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During the first two lines of the song each player in the rear line peeps over the
shoulder of his partner at his neighbor, twice slowly and four times quickly.
This is repeated. During the rest of the song the players in the rear line skip
forward to meet their neighbors. They give right hands and turn with four
skips, then skip back to turn their own partners with the left hand. The verse
finishes with partners changing places, so that the line which was in front is
behind for the next time.
N U T S IN M A Y
The players stand in two lines, facing, about 10 feet apart, with hands joined
along the lines.
Here we come gathering nuts in M ay,
N uts in M ay, nuts in M ay;
Here we come gathering nuts in M ay,
On a cold and frosty morning.
Whom will you have for nuts in M ay? etc.
We’ll have fMary]} for nuts in M ay, etc.
Whom will you send to fetch her away? etc.
We’ll send fAlice]} to fetch her away, etc.
One line sings the first stanza, advancing and retreating; the other line does
the same with the second. With the third the first line names a player in the
other line, and in the fifth the same line names one of its own players. The lines
then stand still while the two players who were named advance to the center
and have a tug o f war. The loser goes to the winner’s side with him. The
game is continued with the sides alternating in starting the song. A t the end
of the game the side wins which has the larger number of players.
F O R H E ’S A J O L L Y G O O D F E L L O W
The players stand in two lines about 6 feet apart, partners facing each other
They sing the first stanza twice, then the second stanza once, then the first
one again.
For he’s a jolly
For he’s a jolly
For he’s a jolly
Which nobody
good fellow,
good fellow;
good fellow,
can deny/
Which nobody can deny,
Which nobody can deny/
During the first and second lines of the song the players clasp hands along the
lines, and each line advances three steps bringing their feet together on count
four and taking three steps backward to place.
During the third and fourth lines of the song the players on the leader’s left
drop hands. The players in the line on the right raise hands to allow the left
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Handbook for Recreation Leaders
line to pass under. Both lines advance seven counts and pass, each player
keeping to the right of his partner in the opposite line. On the eighth count
they turn and face the other way. This reverses the position of the lines.
The first four lines of the song are repeated, and the action for them is repeated
except that this time the line on the leader’s left form bridges and the players in
the right line pass under. When all turn to face partners now, the two lines of
players are in their original positions.
During the fifth and sixth lines of the song the players cross right foot over left
and tap three times with toe. A t the same time they lean toward the left and
clap three times. They pause one count and repeat, crossing left foot over
right and clapping as before.
Finally the first four lines o f the song are again repeated. During the first
three the partners take hands and walk or swing about for 12 counts. During
the fourth line all the players return to place, ready to start the gamp again.
H U N T IN G
Groups or sets of about six couples stand in two lines, with partners facing
each other.
Oh, ahunting we will go,
Ahunting we will go;
We’ll catch a little fox and put him in a box,
A nd then we’ll let him go.
The players in each head couple join hands and slide four steps down the line
and four back. Then they separate, and each one runs down behind his own
line to stop at the foot of the lines. The second couple— now the new head
couple—join hands and slide, and so the game continues. The players clap,
sing, and move slowly toward the head of the line throughout the game.
GRAN D M ARCH
The boys and girls form separate lines on opposite sides of the room, facing the
leader. The boys stand at the leader’s left, the girls at his right. March
music is played, but if no instrumental music is available, any good marrhing
song may be sung.
A . The lines march forward, then toward each other, the boys passing behind
the leader and outside the line o f girls while the girls go in front o f the leader
and inside the line of boys. When the lines meet at the opposite end o f the
room or hall, the marchers come up the center in twos with arms locked.
B. The first couple goes to the right, the second to the left, the third to the
right, and so on, continuing around the room until the lines meet and the march'
ers come up in fours.
C . The leader divides the fours into couples and again sends the lines around
as in B. When they meet at the other end of the hall, each couple in the left
line joins hands and raises them to form a bridge. The right line passes under
the bridges. Both lines continue to march during this figure. When the lines
meet at the upper end o f the hall, the right line forms bridges and the left passes
under.
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D. When the lines meet at the lower end of the room, the first couple in the
left line makes a bridge, while the first couple from the right line goes under.
The second right couple makes a bridge under which the first couple from the
left passes. Thus the couples alternately make bridges or go under them. The
figure should be repeated at the other end of the hall. This is rather difficult
and should not be attempted until a group is accustomed to marching; it is pretty
and popular, however.
E. A t the end o f the bridge^making the marchers come up from the lower end
of the hall in fours with arms locked. The first four go to the right, the second
to the left. They return in eights. If the room is wide enough and the crowd
is larger than 50, the eights may go around again and return in sixteens.
F. A s the grand march is frequently first on the program, now is a good time
to introduce the players to one another, if introductions are needed. A song
such as the following, which may be sung to the tune of Auld Lang Syne, per'
forms the ceremony easily:
We’re always glad to meet new friends,
Our greetings are to you;
We can not all shake hands, you see,
So here’s our “ How d’ye do.” 2
During the last line each person shakes hands with himself high over his head.
A State, school, or organisation song will fit in here just as well.
G. Each player in the eight (or sixteen) takes the hand o f his neighbor on each
side. The player on the left end o f each line looks back o f him to the player at
the right end of the line behind— whose hand he presently will take. T o start
the figure the leader takes the hand o f the player at the right end o f the first
line and leads that line behind itself, in front o f the second line. When the
last player in the first line is about to pass the player at the right end o f the
second line, he takes this person’s hand and the rest of the second line fall in.
The leader marches on, going now behind the second line and in front o f the
third. The boy at the end of the moving line always takes the hand of the girl
on the right'hand end of the line behind him. This continues until the whole
group is in one long winding line, which then is led into a single circle. This
figure is called the serpentine. It leaves each player standing beside the partner
with whom he has marched; and these partners can be retained for succeeding
games.
V IR G IN IA REEL *
The players stand well apart in lines or sets of about six couples facing each
other. The boys’ line is at the left o f the girls when they turn to march. A ll
the couples go through the figures at the same time. While the music is being
played or sung the leader should call the figures, which are as follows:
Forward and bow: Each player advances three steps, bows to partner,
and returns to place.
2 These words are by George L. Farley, State 4-H club leader, Amherst, M ass., and are used
with bis permission.
8 Adapted from the folk game called Virginia Reel or Sir Roger de Coverley.
39056°— 36-----3
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Right'hand swing: Partners advance, join right hands, and turn each
other.
Left-hand swing: Partners join left hands and turn.
Both'hands swing: Partners join both hands and turn.
Do si do, right: Partners fold arms and walk around each other, pass'
ing on the right and walking backward to place.
Do si do, left: Partners fold arms and walk around, passing on the left
and walking backward to place.
Arm right: Partners hook right arms and swing around.
Arm left: Partners hook left arms and swing around.
Head couples lead your lines aw ay: The girl in the first couple turns to
the right, the boy to the left, and the other players follow. They march
down outside their respective lines, clapping hands in time to the music.
When the first couple meet at the foot of the lines, they join hands and
form a bridge. A s the following couples meet they march under the
bridge to their places, the second couple thus becoming the first.
The gam e is continued until each couple has acted as first couple.
R U N N IN G G A M ES
CROW S AN D CRANES
The two lines of players stand about 3 feet apart, facing each other. A base
line is marked about 30 feet behind each line of players. The base line should
vary in distance from the lire o f players according to the space, age of players,
and occasion. One team is designated “ Crows ” , the other “ Cranes.” If
the leader calls “ Cranes ” , the Cranes turn and run back toward their base line,
endeavoring to reach it without being caught by any of the Crows. Any
players who are caught go to the side of their catcher. If the leader calls
“ C ro w s” , these players run in the same manner. The team having the
larger number of players at the close of a given time wins. The game may be
made more interesting if the leader drawls the “ r ” in either Crows or Cranes,
so that the players are not at first certain which word he is going to say.
LEM ON ADE
Lemonade (also called Trades) is a dramatic game in which one line of players
pantomimes. This line first decides upon the trade, for instance, “ attending
the furnace.” They walk up'to the other line and the following conversation
takes place, the last answer ending with the initials of the trade chosen.
F irst side : Here we come.
S econd sid e : Where from?
F irst side : N ew York.
S econd sid e : What’s your trade?
F irst sid e : Lemonade.
S econd side : Give us some.
F irst side : If you can run . . .
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The first line then begins to pantomime putting on coal, adjusting drafts, and
doing other furnace work. A s soon as the members o f the second line guess the
trade, they shout it out and chase the other players back to their base line,
catching as many as possible. The ones who are caught join their captors. The
second side then chooses a trade, and the game is repeated.
S T E A L IN G S T IC K S
The field is divided into two parts by a well-defined line drawn or dug through
the middle. A t the center back of each side five or more sticks are placed in a
pile. A prison is marked off about 4 feet square in one comer. The players
are in two teams, each scattered over its own side. The object of the game is
to get the opponents sticks without being caught. A s soon as a player crosses
the center line he may be caught and put in prison. If he can dash to the pile
of sticks and secure one, he is safe and may bring it home to his own pile. A
player may be released from prison if one o f his team mates can touch his hand.
He may then come back to his own side without being tagged. The team that
gets all the opponents’ sticks and has all its members safely out of prison wins
the game.
SPO K E T A G
A ll the players except one stand in single files facing a common center, the
lines radiating like the spokes in a wheel. A small group may form in three or
more-lines with four players in a line. A large group will adapt the length and
number o f its lines to the available space. The extra player, who is “ It” , goes
around the rim o f the wheel and tags the last player in a line. This player tags
the one in front o f him, and the tag is passed along until the whole line knows it
is to move. A s soon as a player sees that his line has been touched, he tags the
person in front of him, whether he has yet been tagged or not. Then he sets
off after It and tries to get back as fast as possible to his line, so as not to
be the last one back. The last player to return to his line is “ It ” for the next
time. The fun in this game is in keeping watch to make a quick start and also
in trying to pass those in front on the way around the circle.
S N A T C H T H E H A N D K E R C H IE F
The players stand facing each other in two lines 10 to 15 feet apart. Each
player takes a number, one line beginning to number from one end, the other
line from the other end. Thus, if there are 10 persons in each line, player no. 1
will be opposite no. 10. A handkerchief is placed on the ground between the
lines. When the leader calls a number, for example, no. 7, each o f the two
players numbered 7 runs out and tries to snatch the handkerchief and get back
home (to his own place in the line) without being tagged by the other one.
The game is scored thus: I f a player gets home with the handkerchief and
without being tagged, his side makes 2 points; if he is tagged before he gets
home with the handkerchief, the tagger’s team makes 1 point.
The players will find the game more exciting if they wait, pretend to snatch
the handkerchief, then quickly take it off home.
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PO M , PO M , PU LL A W A Y
This game is suitable for any open space which is large enough to permit two
lines to be drawn across with a space o f 30 to 50 feet between them. A ll the
players stand on one side behind one o f these goal lines, except one player who
is “ It” , who stands in the center between the two lines. He calls:
“ Pom, pom, pull away!
If you don’t come, I’ll pull you away!”
Thereupon all the players must run across the open space to the goal line on
the opposite side, the one who is It trying to tag as many as possible before
they reach that line. Anyone tagged joins in helping to tag other players as
they dash across the open space; but “ It” does the calling throughout the game.
When all not tagged have reached the line, “ It” gives the call again, and all the
uncaught players must run back to their original goal line. The players run
from one goal to the other in this way until all have been caught. Then the
game starts again, the first player tagged in one game becoming “ It” for the
next game.
R ID E H IM , C O W B O Y
A ll the players except one form in short lines (four or five persons), each player
clasping the one in front of him around the waist. These lines are called
bronchos. The odd player, who is called the cowboy, tries to “ ride” by clasp,
ing the waist of the last player in some broncho. If he can do this in spite of
the broncho’s swerving about, the first player of that line must become a cowboy, because the broncho needs a better head. For six or more bronchos there
should be two or three cowboys.
STRE E TS A N D ALLE YS
A ll the players except two stand in several parallel lines making ranks and files
with four or more players in each. These lines should be far enough apart so
that the children in one can just clasp hands with their neighbors in the next
one either way. The two extra players act as thief and policeman. The players
join hands across the ranks, forming streets. Then the thief runs and the policeman tries to catch him. When the leader says, “ R ight face! the players
face right and join hands along the file, forming alleys at right angles to the
“ streets.” T o make the game lively, the command to change from street to
alley should be given often. The thief and the policeman must keep to the
streets and alleys. They are not permitted to break through the joined hands
nor to go under them. When the policeman catches the thief, tw o other
players take their places and the former thief and policeman step into the
places left vacant.
B O ST O N A N D N EW Y O R K
The players are divided into two groups, one called Boston, the other called
New York. They stand on goal lines about 50 feet apart and extend their
hands, palms up, with arms bent so that the elbows touch the sides. A player
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from New York ventures out and attempts to slap one or both hands of some
player in the Boston group. The Boston player may bend his hands downward,
upward, or sidewise at the wrist, but he must not withdraw his arms nor
change the position of his elbows. A ny player who receives a third slap must
immediately chase the slapper back to New York. I f he catches him before
he has reached home, the slapper must join the Boston group. The chaser then
becomes the next slapper and approaches the New York group.
L A ST COUPLE O U T
A ll the players except one form a line of couples facing in the same direction.
The extra player, who is the catcher, stands about 10 feet in front of the first
couple with his back to them.
The catcher calls, “ Last couple o u t!” Then the last couple in the line
separate and run toward the front, one on the right side o f the double line, the
other on the left side. They try to join hands in front o f the catcher before
he can tag either o f them. The catcher must not chase them before they are
in line with him, and he must not turn his head to see when or whence they are
coming. The couple should vary the method of approach, both sometimes
circling far out on each side, or one o f them doing this and the other running
close to the lines.
If the catcher succeeds in tagging one o f the couple before he can clasp hands
with his partner, the player tagged becomes the catcher. Then the former
catcher and the other player form a couple and take their places at the head
of the line, which should move back to make room for them. If neither is caught,
they take their places at the head o f the line, and the catcher calls again, “ Last
couple o u t!”
If more than 15 couples are playing, they should be divided into two or more
groups.
R U N , SH E EP, R U N !
The players form tw o lines or groups, and each selects a captain. While one
group waits at a chosen goal the other goes out to hide. Each group acts as a
unit; there is no individual hiding, nor is any scouting done. When the first
group has found a hiding place its captain returns to the goal. He may or may
not draw a map to indicate his group’s first location. Then he joins the other
group as it goes out to search. He calls directions to his own group through a
code o f signals previously agreed upon; as Pine, meaning move to the right;
Oak, meaning move to the left; Marigold, stand still; Bluebird, lie low; Golden'
rod, advance toward the goal. If any member o f the searching party sees one
or more o f the hidden group he notifies his captain, who at once shouts, “ Run,
sheep, r u n !” A ll the players then run immediately to the goal. I f at any time
during the searching the captain o f the hidden group has maneuvered his
group into a position in which they are nearer than the searching party to the
goal, or if the searchers have moved to a greater distance from it, he shouts,
“ Run, sheep, ru n !” and all the players must run to the goal. The group
arriving first may go out to hide next.
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Handbook for Recreation Leaders
R ELA Y RACES
The following relay races are suitable for teams of 5 to 15 persons. Usually
the players stand in single file, the first in each team toeing the starting line.
There may be several parallel lines of equal numbers of players, each first
player toeing the line. For relay races suitable for play in small spaces see pages
51 5 2
PUT AN D TAKE
The players stand in relay formation. In line with each team three circles are
drawn; the first should be about 10 feet from the starting mark, the second 5
feet from the first, and the third 5 feet from the second. T en feet from the
last circle a base line is marked off. A block (or stone, stick, or other object)
is placed in each circle. The leader of each team is given a similar block. On
the word “ Go” he runs to the first circle and lays his block in it, removing the
block which was there and taking that to the second circle. Picking up the
block already in the second circle, he takes it to the third circle. Only the
right hand may be used. The player then runs to the base line and touches
it with his foot, at the same time changing from his right hand to his left hand
the block which he has taken from the third circle. On the return trip he re'
places the blocks with the left hand, gives the extra block to the next player in
line, and goes to the end of the line. The game continues in this way until one
tram finishes, this team being the winner.
PE AN U T PA SS
The teams stand in two lines (or in sets of two lines) facing each other. Chairs
are placed at both ends o f the lines, with 12 peanuts on the chair at the head of
each line. Each player weaves his fingers into the fingers of his neighbors. They
must not unclasp hands throughout the game. A t a signal the leader picks up
the peanuts, one at a time, and passes them down the lines as rapidly as possible,
the last player putting them on the chair beside him. If a peanut is dropped it
must be picked up without any unclasping of hands. The team which first
passes all its peanuts down and back wins the relay.
Unless this is to be the last game before refreshments, it may be found wise
to collect the peanuts and put them away with the promise that the winners
may share them later.
The game may be played with clothespins, small stones, or sticks. It may be
made more difficult by having the players cross their arms before weaving their
fingers together.
N E C K T IE R E L A Y
The players stand in single file with the same number of players in each line.
The first player in each of the lines is given a necktie or a large cotton handken
chief. When the whistle is blown, he turns and ties the necktie or handken
chief around the neck of the player behind. A s soon as the bow is tied, the
second player unties it, turns, and ties it on the third player. The line that
first passes the necktie or handkerchief down to the last player in this manner
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Line Games
31
wins the game. A coat may be put on, buttoned, unbuttoned, and passed on
in the same way.
H AN DFUL R E L A Y
Fifteen clothespins, peanuts, or sticks are given to the first player in each
team. A t the starting signal he puts all of them on the floor in front o f the next
person behind him. This player must pick them up and lay them before the
next person in the line. Each player must have all the clothespins or other
objects in his hands when he passes them. The team that finishes first wins the
relay.
J U M P I N G -R O P E R E L A Y
A jumping rope or a smooth stick about 4 feet long is given to the first player
in each team. When the whistle blows, he hands one end to the player directly
behind him. Together they draw the rope or stick back under the feet o f all the
players, keeping it close to the ground, until the last player has jumped over.
The first player stays at the end of the line while the second one takes the rope
back to the front as quickly as he can. He gives one end to the player who was
third in line, and these two draw it along the ground to be jumped over as
before. So the game continues until the last player in one of the two trams has
handed the rope back to the first player.
BUNDLE R E L A Y
The first player in each line is given a ball of cord or tape. When the signal
is given, he passes it to his neighbor but holds the end. The ball is passed from
player to player, unrolling as it goes. When it arrives at the lower end it is
passed up the line behind the backs of the players until it reaches the first player
again. The team that first wraps itself into a bundle is the winner. The sequel
to the race consists in untying the bundle by passing the ball back and winding
it as it goes.
O VER AN D UNDER
The first player in each team is given a bean bag, ball, potato, or other object.
When the whistle blows he passes this object over his head to the second
player, who passes it between his knees to the third, who hands it over his head
to the fourth. Thus the object goes alternately overhead and between knees
to the last player, who runs to the head of the line and starts it back over his
head. The game proceeds until a line has regained its original order, with the
first player at the head again. The line finishing first wins the race.
FETCH A N D C A R R Y
The first and second players in each team join hands. When the whistle
blows they run to the goal line. The first remains there while the second
hurries back and joins hands with the third player. These two run to the goal
line, and the second player remains while the third returns for the fourth. The
team that first transfers all its members to the goal line wins the race.
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Handbook for Recreation Leaders
H U M A N -O B S T A C L E R A C E
Five players take their places as “ human obstacles” in line with each team
o f runners. The first “ obstacle” stands erect, the second stoops in leapfrog
position, the third stands astraddle, and the fourth and fifth join hands to make
a bridge. Each runner in turn must go around the first obstacle, leap over the
second, crawl under the third, and go between, then around, the fourth and
fifth. Then he must hurry back to touch off the next runner. A s soon as a
player has tagged his team-mate’s hand, he goes to the end of his line. The
team that finishes first wins the race.
ARO U N D AN D DOWN
The players form in two or more teams, and each team sits down in a compact
group, the players having their backs together and their legs extended. When
the whistle blows, each first player rises, runs around his own team, and sits
down. A s soon as he is seated the second player must be up and running, and
so on. The race is won by the team whose members have run around and sat
down while players of other teams still axe running.
TOUCH AN D GO
The players form in lines of five or six, and each line acts as a unit. The leader
names something in sight; this may be indefinite, as wood, iron, or water; or it
may be a specific object, as the garage door, a certain tree, or a player (who tries
to run away from the rest). The leader may give directions, as Hop back on
the right foot.” Each line sets out to touch the object and return to place.
The line first regaining its original position wins the race.
FOLLOW T H R O U G H
The players in each line stand with legs apart. A t the signal the last player
begins to crawl through the “ tunnel” to the head of the line. A s soon as
he has started the next player follows. The first line whose members all have
crawled through wins the race.
K IC K T H E ST IC K
The players stand in relay formation along the starting line. Each team has
in front of it a crooked stick about 12 inches long. When the whistle blows,
the first player kicks the stick to the goal and back, leaving it in front of the next
player, who does the same. The sticks are to be pushed along the ground, not
kicked up into the air. The line finishing first is the winner. This game is
based on an American Indian race.
GO AN D GO B AC K
This relay race is especially good for picnic programs because it is fun to watch.
Each team need have only tw o or three members. The players stand at the
base line. When the whistle is blown each first player runs toward the goal
line until it is blown again. Then he must turn, if he had not reached the goal,
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♦
33
and run back toward the base line. Each time the whistle sounds the runners
change their direction. The race may finish at the goal line or at the base line.
If it ends at the goal, the player must dash back to touch off the next player in
his line.
BLACKBOARD RELAY
The teams line up in front of a blackboard, and the first player in each line is
given a piece of chalk. When the whistle is blown, each first player walks to
the board, writes a word, returns to his line, and gives the chalk to the second
player. This is repeated until the end o f the line is reached, each player adding
a word to the sentence the first player started. The team that first finishes a
complete and intelligible sentence in which each player has written a word wins
the game.
- L I B R A R Y Agricultural & Mechanical College of Texas
- v College Station, Texas.
«
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GAMES WITH BALLS OR OTHER SPECIAL
APPARATUS
described in this section are grouped according to the equip'
ment required. Those needing nothing more than a ball and a place to
play are given first. These are followed by games of lawn-tennis type, a few
games played with bean bags instead of balls, and lastly a group of games played
with various apparatus.
he games
T
B A L L G AM ES
The first seven o f the following games (Dodge Ball, Kick-Over Ball, Ball Race,
End Ball, Volley Ball, Schlag Ball, and Newcomb) are especially good for school
leagues and interclass play days as well as for informal use. The field may vary
according to the space available and the age of the players. In some of the
games, as Schlag Ball, a stocking stuffed with rags can be used for a ball. Official
rules and equipment can be obtained for several of these games.
DODGE B ALL
The players are divided into two equal groups. One group stands around
outside a clearly marked circle 30 feet in diameter. The other group scatter
about within this circle. The players outside the circle try to hit those in the
center with a basket ball or volley ball, while the center players dodge to avoid
the ball. They may jump, stoop, or resort to any means of dodging except leav
ing the ring. Players hit above the hips are not out, but any player hit below
the hips must leave the circle. N o outside player may step inside the circle to
throw the ball. If the ball stops in the circle a player may step in for it, if it
should not roll within reach. When two center players are hit by one throw
o f the ball, only the first one hit leaves the circle. A t the end of a minute the
groups change places for the next half-inning, the center players becoming out
side players and the outside ones going to the center. The score is the number
o f players left in the center at the end of the inning. The team with the higher
score at the end o f five innings wins the game.
K IC K -O V E R B A L L
The players are divided into two teams, which are seated on the floor with
the feet of one team almost touching those of their opponents. The players
support themselves by placing their hands on the floor behind them. A basket
ball or other large ball is thrown down the line of feet, and each team tries to
kick it over the heads of the opponents. When a team succeeds, it scores one
point. The ball may not be touched with hands, but it may be blocked with
the shoulders. Nothing is scored if the ball goes between the players or out
34
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35
at the ends; it must go over the heads. If the players in a team kick the ball
over their own heads their opponents score a point.
BALL RACE
The players stand in a circle and are numbered 1, 2, 1, 2, and so on. The
players numbered 1 are a team and have a ball of their own; those numbered 2
are the opposing team and also have a ball. The balls are to be passed to team
members only. This means that each player tries to throw the ball past the
person standing next to him and into the hands of his own team mate immedi'
ately beyond. A t the signal the balls are started off in opposite directions. If
the circle is large, once around and back to the starting players is enough for a
race. The team whose ball returns first wins the race. I f there are fewer than
40 players, the balls should make three complete trips around to finish one race,
and it is generally well to declare the winner o f two out o f three races the
champion. The balls change directions after each race, so that the team of
players passing its ball three times around to the right for the first race would
pass it three times around to the left for the second race, and around to the
right again for the last. The game may be varied by throwing both balls in the
same direction.
END B A L L
X
X
X
X
X
X
X
X
X
X
X
X
X
o o o
o o o o
o o o
The game of End Ball is played with a basket ball on a ground 30 feet square,
which is divided first by a line across the middle and then by a line at each end
parallel to this and 4 feet from the outside
.3 0 boundary. The spaces 4 feet wide are the
goal strips. The middle line divides the two
X
o
teams. A ny number of players may take part,
X
o
provided the two teams have equal numbers.
Five or fewer players o f each team stand within
o
X
the goal strip to act as basemen. The other
players are guards. One guard must be as'
o
X o
O
signed to each baseman, and the others may
o
scatter irregularly over the field. The general
o
X
°o°
positions of the players are shown in the a o
companying illustration, the circles indicating
the members of one team and the crosses indicating the members o f the other.
The guards on one side try to throw the ball over the heads of the guards on
the opposite side to their own basemen, at the end of the opposite field. Each
ball so caught on the fly by a baseman scores 2 points for the side catching it.
The baseman should at once return the ball to a guard on his own team.
A referee and three linesmen are needed. One o f the linesmen acts also as
scorekeeper.
T o start the game the referee puts the ball in play in the center of the field.
He does this by tossing it up between two opposing guards, each one stepping
over into the other’s territory and facing his own side. These guards should be
X
X
X
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Handbook for Recreation Leaders
as nearly a match for each other in height and reach as is possible, and should
act as centers throughout the game. A s the ball is tossed up, the opposing
guards jump and try to bat it. They must not play it again until they are back
in their own territory and it has touched the floor or been played by another
player. This does not rule out tapping the ball a second time. T w o points
are scored for a team whenever the ball is caught on the fly by a baseman from
a throw from his own guards. The ball continues in play when a point is
A free throw caught on the fly counts 1 point. The ball must go b a c k to the
center after a free throw caught by a baseman. If it is not caught, the ball
continues in play.
,.
.
The game is played in two halves of 15 minutes each, with a rest of 5 minutes
between halves. A t the beginning o f the second half the players change goals.
That team wins which has the highest score at the end o f the second half.
The players must not step over boundary or division lines. A ball so caught
by a baseman does not count. For penalty the ball is given to the nearest
opponent at the point where the rule w as violated. In case the player stepped
over a boundary line the opponent stands outside to deliver the ball, and he
may not play it again until it has been played by another player. But if m
guarding the baseman who is trying to catch the ball a guard steps across the
base line, this is a foul. Carrying the ball— that is, taking more than one step
with it— is also a foul. The penalty for a foul is a free throw for the opposite
side. T o make a free throw a guard stands unguarded, toeing the center line.
During a free throw there must be one guard less than the number of basemen.
A free throw caught by a baseman scores 1 point.
VOLLEY BALL
The official volley-ball court is 40 by 80 feet in size, It is divided across the
middle between the end lines by a net, the top of which is 8 feet above the
ground at the center. However, a much smaller court may be used. The
boundaries of the court should be clearly marked with lime or other material.
The ball should not weigh more than 10 ounces; a lighter ball may be used.
The game is played by tw o opposing teams that may vary from 6 to 12 or
more persons on a side. A s few as 2 persons on a team to as many as 15 can
play successfully.
The players are numbered and serve the ball in rotation. The server stands
on the back line and bats the ball over the net with his open hand. If his oppo
nents fail to return it, a point is scored for the serving side. Only the serving
side may score.
.
In trying to return the ball, three different players may touch it if necessary,
but the same player may not touch it twice in one service.
If the server fails to bat the ball over the net, or the serving side fails to return
it when it is batted back, the service goes to the other team. A t a change in
service all players change their positions on the court, rotating clockwise to
bring the new server to the upper right-hand comer of the court.
Fifteen points constitute a game.
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37
SCH LAG B ALL
For this game the batter’s box is in one corner of the field, the goal post in the
comer diagonally opposite, as is shown in the diagram. The catchers’ boundary
is a line parallel to the slanting side o f the batter’s box, 6 feet away from it. The
batters stand in order inside their box; the catchers scatter over the field.
A ny sort o f ball can be used, but for match games the regulation volley ball
is needed. The number o f players may be as large as 40. They are divided
into two equal teams with a captain for each. A referee and a scorer are required.
Five innings constitute a game. The captains toss a coin for choice o f innings.
A team remains at bat until three players have been put out, thpn the other
team goes to bat. When both sides have batted until three players are out, an
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next inning.
The batter stands at the inside comer o f the narrow end o f the box. He must
toss the ball at least a foot into the air and strike it with his open hand, then
run around the goal post and back to base, trying to make the trip without
being hit by the ball.
The ball is good if it bounces anywhere in the field except inside the batter’s
box.
A batter is out if he remains in the field longer than 2 minutes or if he retraces
his course while dodging behind the goal post. He is out if he is touched by
the ball while he is running or if his ball is caught before it bounces.
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Handbook for Recreation Leaders
A batter is out if he bats a foul ball; that is, a ball that bounces inside the
batter's box or goes outside the boundary of the field.
The catchers should cover the field in such a way as to be able to toss the ball
to one another easily and rapidly. They may go anywhere except inside the
6-foot strip along the batter’s box set off by the catchers’ boundary. For a
catcher to step within 6 feet of the batter’s box while a player is batting is a foul.
A ball that has gone out of bounds may be thrown back in any direction, but
it must be put in play by being tossed from the boundary line at the point where
it crossed the line. It must be tossed to a catcher, not aimed at the batter.
A foul is called if a catcher runs with the ball or holds it longer than 3 seconds.
A foul is called if two catchers corner a batter, or if one catcher bounces the
ball to another instead of tossing it.
The scoring is as follows: Tw o points are scored whenever a batter makes a
safe run. One point is scored as penalty for a catcher’s foul.
NEWCOMB
Newcomb may be played on a volley-ball court with any large ball, by teams
varying from 2 to 20 persons on a side.
The object of the game is to throw the ball over the net (the top of which
should be 7 feet from the ground at the center) in such a way as to prevent the
opposing team from catching it. The ball is put in play at the net by being
tossed between two members of the opposing teams. Each of them jumps to
reach the ball, trying to tap it toward his own team. The side that gets the
ball then throws it across the net. It must be thrown with one hand. If an
opponent succeeds in catching it, he returns it, throwing it with one hand, and
so the game continues until one side fails to catch the ball. This failure gives a
point to the opponents and also sends the ball to their side to be put in play.
The ball may be caught with both hands and passed with two hands to another
player on the same team, but it must always be thrown across the net with
one hand.
Twenty-one points constitute a game.
CALL BALL
A ll the players except one form a circle and take numbers. The odd player
stands in the center and tosses the ball high up within the circle, at the same
time calling the number of some player. The one called must quickly run to
catch the ball on the fly— or on the first bounce if the players are unaccustomed
to handling a ball. If he catches the ball he tosses it up and calls the number
of some other player. If the ball is not caught, the center player gets it and
again tosses it up.
C E N T E R -C A T C H B A L L
A ll the players except one stand in a circle. The odd player stands in the
center and tries to catch the ball, which is tossed rapidly from one player to
another. If he succeeds in catching it, he changes places with the person who
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Games with Balls or Other Special Apparatus
39
last touched it. If he touches the ball while another player holds it or while
it is in the air, the player responsible must change places with him and go into
the center.
CEN TER BASE
A ll the players stand in a circle a little space apart, except one who stands in
the center with the ball. He throws it to a player, who immediately puts it in
the center of the circle and runs after the center player, who dodges out of the
circle and back trying to touch the ball. A s soon as he succeeds in touching
it he is safe and may take his place in the circle while the chaser goes into the
center. I f he is caught before he can touch the ball, he must return to the center
and throw the ball again.
ST R ID E B A L L
The players stand in a circle with their feet apart, each foot touching a
neighbor’s foot. The ball is rolled swiftly about inside the circle, each player
trying to make it pass between another player’s feet. When anyone succeeds,
the player who let the ball escape must drop out. The space between the feet
may be protected by using the hands but not by closing the knees or stooping.
The game ends when only three players are left in the circle.
H AN DBALL
A space 10 feet wide and 8 feet high is outlined on the side o f a garage or
other building. A n area in front of this, of the same width and extending back
20 feet, is marked for the court, the side lines being extended a little farther.
A line parallel to the Wall is marked about 12 feet distant from it. This is
called the long line, as distinguished from the two short lines that divide the
remaining space to form the service zone, as is shown in the illustration. (The
regulation dimensions are 12 by 20 feet for the wall or board, with ground space
of 16 feet to the long line, 9 feet from this to the short lines, and 9 feet from these
to the service line, but the smaller space does very well.) A guard o f wire
netting extended above the court will obviate the nuisance and possible danger
involved in retrieving balls.
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Handbook for Recreation Leaders
Tw o or four persons play the game by batting the official handball, a tennis
ball, or other similar ball by hand against the wall. Handball is not only interest'
ing in itself but also promotes expertness in the use of both hands, as either one
may be used (but not both at once). The method o f play is indicated by the
following summary of the main points in the official rules:
The player having first service stands anywhere within the service zone and
drops the ball. When it bounces, he tries to strike it with his cupped hand so
as to drive it against the wall, within the lines, at such angle that it will rebound
into the court between the long line and the short lines. He has three trials.
If he misses the ball entirely, he is out. He is out also if he sends a short ball
followed by a long ball or sends tw o successive short or long balls. (A ball is
short if the service fails to make it bounce back over the long line. It is long if
it rebounds from the wall to land in the service zone.)
The receiver stays behind the service line until the served ball has passed the
short lines. Then he enters the court and may receive the ball on the fly or on
first bounce, attempting to make it strike the wall before it strikes the ground.
He must not offer to receive a short ball nor a long ball.
The ball continues in play until either the server or the receiver fails to make
a good return. Then the next server takes his turn at serving.
If a player gets in the way of the ball so that it touches him on rebound from
the wall, or if he sends it against his own partner, against the netting or other
obstruction, or out of bounds, a point is charged against him; otherwise, if a
ball touches a player or some obstruction before it hits the wall or ground it is
“ dead,” and the point is played over.
When four persons play, the turns in serving are taken as in tennis games.
The server and his partner are the serving side, the others are the receiving side.
Twenty-one points (scored by the serving side only) constitute a game.
K IC K U P
The players lie in a circle on the floor with their feet toward the center. A
light ball (or a balloon) is tossed on their toes. It must be kept in the air by using
the feet only, a point in the score being lost each time the balloon touches the
floor. This game should not be played more than about 3 minutes at a time.
It may be used as a relay race by dividing the players into teams o f four or five
persons and furnishing a ball to each team.
BASKE T BALL GO AL
A regulation basketball goal and backboard may be purchased, but it is quite
as satisfactory to nail a barrel hoop or metal ring on the garage wall or on a
home-made backboard 6 by 4 feet in siz;e. The rim of the hoop should be set
10 feet from the ground (and 1 foot from the bottom of the backboard, if a
backboard is used). Boys and girls not only will practice shooting baskets but
also will develop many games around a single goal.
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41
BOUNCE
A wastebasket is set on a chair some distance from the wall. A line is
drawn on the floor or ground about 6 feet from the chair. The players stand on
the line and take turns bouncing a tennis ball against the floor so that it will go
into the basket. Each player should have three trials in each turn. He scores
a point for every time the ball goes into the basket.
G A M E S O F L A W N -T E N N IS T Y P E
A number o f games o f the general type of Lawn Tennis not only are satis'
factory in themselves but also are excellent preparation for playing regulation
tennis. M ost of those given in the following sections give practice in the use
of a racket and develop various skills. M uch o f the equipment is less expensive
than that for Lawn Tennis and much of it can be made at home.
P A D D L E T E N N IS
T his game, which is played by two or four players, requires only a fourth o f the
space necessary for Lawn Tennis. The court is marked like a tennis court with
¡4---- 9'---- H<----loV----- * ---------- 19'<*>"--------- >1
all the dimensions halved, as is indicated in the diagram. A still smaller court
may be used, but the proportions should be kept. The top o f the net should
be 2 feet 2 inches above the ground at the middle o f the court.
Balls, net, paddles, and posts for the
game may be purchased; or lawn'
tennis balls and net may be used and
paddles made at home. The paddles
should be made of 3'ply material 8
inches wide and 17 inches long, o f the
shape shown in the illustration. Jump
ing standards will serve as temporary
posts to hold the net. Permanent posts should be set 3 feet deep in the ground,
1 foot outside the outer lines o f the court.
The rules and scoring are the same as in Lawn Tennis.
39056°— 36---- 4
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42
D E C K T E N N IS
In this game tw o or four players toss a rope ring back and forth over the net,
which should be 4 feet 9 inches above the ground at the middle o f the court. A
court 18 by 40 feet in size should be laid out as is indicated in the diagram.
Rope rings (also called “ grommets” ) may be purchased, or three may be made
from a 4-foot piece of manila rope, as follows: Separate the three strands of the
rope, cross one at its middle to make a 5-inch loop, and wind the rest o f it back
on itself, continuing each left-over part in the direction in which it starts when
crossed for the loop. ^\^ind firmly, and fasten with adhesive tape or twine
when the ends finally meet. If the original tw ists are followed, the strands
will pass without crossing when they meet, so that a ring looking like the
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original rope will be formed. The finished rings may be varnished or shellacked, or they may be painted different colors so that each player’s ring can be
identified.
The game is played in accordance with lawn-tennis rules, except that the
ring must be tossed with an underhand throw, the receiver must catch the ring
before it touches the floor, and neither of the players is allowed to enter the
neutral area.
T E T H E R T E N N IS
A 13-foot pole should be set 3 feet deep in the ground, or a straight tree may
be utilised and a line painted around it 6 feet above the ground. A staple or
heavy screw eye is set at the top of the pole, and a heavy linen cord or fishing'
rod cord 8 feet long is tied to it. This may be a chained or double-twisted cord.
A cover large enough for a tennis ball should be knotted or crocheted from
linen cord, and the bottom drawn together with a lacing, so that when the
ball is worn out it can be replaced. The ball is to be fastened to the cord so
that it will hang 7% feet from the top of the pole.
On the ground around the pole a circle is drawn 6 feet in diameter, bisected
by a straight line about 20 feet long (10 feet on each side of the pole). On an
imaginary hne crossing this one a serving spot should be marked on each side,
6 feet away from the pole. The game is played with lawn-tennis rackets or
with wooden paddles of about the same size as a tennis racket.
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43
Tw o persons play this game. Each in turn starts from his serving spot,
trying to strike the ball in such a way as to wind its cord around the pole above
the 6-foot mark before his opponent is able to prevent this and to make it wind
in the opposite direction.
B A D M IN T O N
For this game a court 18 by 19 feet in size should be laid out as indicated
in the diagram. Jumping standards may be used as temporary posts to hold the
~r
9*
---------------- 1
------4 *------- 6 - —
-------------- 11” ------------ K -2 -íj
net. A regulation tennis net may be used, or a clothesline or twine may be
wound tightly back and forth between the posts.
Long-handled rackets are used, and a feathered shuttlecock or “ bird.” A
sponge or a ball of yam or rubber makes a satisfactory substitute for the shuttle
cock. The sponge should be trimmed down with scissors until it is about 3
inches in diameter and fairly round. The yam ball should be about 2 inches
in diameter, wound tightly enough to be
5"5"firm but not hard. The rubber ball
s
should not be more than 1% inches in
A
diameter (a jacks ball is excellent) and c
should be tied in the middle of an 8-inch L_
/
\
square of muslin. Substitutes for the
X
regulation racket may be made of 3-ply
material with a round head 6 inches in diameter and a 10-inch handle, of
the shape shown in the illustration.
The game may be played by two or four players. The first service and each
beginning service thereafter starts in the right half o f the court and alternates
to left and right as long as the serving side continues to score. The server stands
in his half court and strikes the “ bird” with an underhand stroke, trying to
place it in the opposite half court. It is volleyed back and forth as in Lawn
Tennis until it lands on the court, goes out of bounds, or strikes the net.
Only the serving players may score. Fifteen or twenty-one points or aces
constitute a game, and three games make a rubber.
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Handbook for Recreation Leaders
B E A N -B A G GAM ES
Bean bags are easily made from canvas or other strong cloth. They may be
square, oblong, or round and may vary in si2£. Six inches square is a convenient
dimension. The bag should be filled slightly more than half full of beans.
B E A N -B A G R A C E
Bean'bag race is played like ball race except that two bean bags are used
instead o f two balls. For directions see Ball Race, page 35.
B E A N -B A G SH U F F L E
For this game a few shot may be put with the beans to add weight to the bags.
The players slide the bean bags along the floor with the motion used in bowling.
The floor chart and the method of scoring are the same as described for Shuffle'
board, page 45.
B E A N -B A G B O A R D
A board about 2 feet wide and 2 }4 or 3 feet long should have holes cut in it
to represent eyes, nose, and mouth, as is shown in the illustration. The eyes
should be about 7 inches long and 5 inches wide, the mouth
about 4 inches long and 10 inches wide, and the base of the
triangle for the nose about 8 inches long. The board can
be placed against a wall or fence or supported by a hinged
prop. The players stand at a line 10 to 15 feet from the
board. Each player has five bean bags, or five may be used
by the entire group playing in turn.
A bag thrown into the mouth counts 5 points; one into
the nose, 10 points; one into an eye, 20 points. The player
who first scores 100 wins the game; or the player having
the highest score after all have finished four turns may be considered the winner.
For a large number of players it is desirable to have more than one board, so
that the players may be divided into several groups and the game be made
fa cf-pr
D U C K ON R O C K
Each player is provided with a bean bag, which is called his duck. A large
rock or a post is chosen as the duck rock, and 25 feet from it a line is drawn. A
guard is selected by having all the players throw their ducks from this line, the
one whose duck falls nearest the rock to become the first guard. He lays his
duck on this rock and stands by it. The other players then stand behind the
line and take turns in throwing their ducks at the duck on the rock, trying to
knock it off. A fter each throw a player must recover his own duck and run
home (back of the line). If he is tagged by the guard while trying to do this,
he must change places with the guard. The guard may tag him whenever he
is in front of the line, unless he stands with his foot on his own duck where it
fell. He may stand thus as long as he wishes, awaiting opportunity to run
home; but the moment he lifts his duck from the ground or takes his foot
from it, he may be tagged. Furthermore, he is not allowed to lay his duck on
the ground again after he has once lifted it to run with it.
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The guard must not tag any player unless his own duck is on the rock. If
it has been knocked off, he must pick it up and replace it before he may chase
anyone. This replacing gives the thrower who knocked it off some time to
recover his own duck and run home. A s long as the guard’s duck stays on the
rock, several throwers may have to wait before they can try to recover their
ducks.
A player tagged by the guard must put his own duck on the rock and become
guard. The one who is no longer guard must get his duck from the rock and run
for the line as quickly as possible, because he can now be tagged as soon as the
new duck is on the rock.
If a duck falls very near the rock without displacing the guard’s duck, the
guard may challenge its thrower by calling, “ Span!” This gives him time
to measure with his hand the distance between the rock and that duck. I f the
distance is shown to be less than a span (the distance from the end of the thumb
to the end o f the little finger), the thrower must change places with the guard
as if he had been tagged.
G A M ES W ITH O T H E R A P P A R A T U S
SH U FFLE B O AR D
Shuffleboard is played by two teams o f two players each. It can be either a
floor game or a table game. For the floor game the diagram may be drawn on a
porch floor or attic floor as is shown in the illustration. Each team has three
wooden disks 3 inches in diameter and 1 inch thick. The shovels may be made
by attaching old broom handles to pieces o f wood cut out to fit the disks.
For the table game the lines may be drawn on a piece of composition board
or a table, with the dimensions reduced to about oneffourth o f the sise for the
floor game. The shovel should be about 12 inches long, and checkers or buttons
can be used for the disks.
One player from each team stands back of the “ lO off” space at each end.
The first player shoves one of his disks toward the opposite end, trying to make
it stop on a high number on his opponent’s side. I f the head of his shovel
passes the back line of the diagram, the play does not count. A member of the
other team takes the next turn, and this continues until each player has played
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Handbook for Recreation Leaders
three times. Each one tries to dislodge his opponent’s disks as well as to place
his own. If a disk touches the line, it does not count.
A t the end of the round each player counts up the total of the numbers on
which his disks rest, and the players at the opposite end begin to play.
BOX H OCKEY
This very active game, which may be played indoors or out, requires a space
about 15 feet square. A frame or box 3 feet wide and 8 feet long should be
made, with a center board set securely across the middle. Lumber about 1 inch
thir.k and about 9 inches wide should be used. The comers of the box should be
reinforced by blocks to which the boards can be screwed. A n opening about
4 inches wide and 3 inches high should be cut in the middle o f each end, and two
such openings in the middle board, as is shown in the illustration. In the top
of the center board a notch is cut about 2 inches wide and 1 inch deep.
Hockey or shinny sticks are used, and a puck. For the puck a wooden disk
1 ^ inches in diameter or an old baseball or small croquet ball may be used.
T w o players take part, one standing at each side of the box. The ball is set
in position in the notch and the players “ knock off” as in hockey; that is, they
touch their sticks to the floor or ground, then strike them together three times
above the ball. Immediately both strike at the ball, each player trying to push
it into his opponent’s section o f the box, then outside the box through the hole
in the end o f that section, which is his goal. The player in whose section the
ball lands must get it into his opponent’s section through one of the openings
in the middle board before he can try for the goal. If a ball is knocked outside
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Games with Balls or Other Special Apparatus
47
the box it is brought back to the place from which it started and put into play
from there.
Five points constitute a game. A point is scored each time the ball goes
through a goal. It is considered through if it has gone far enough to clear the
inside edge of the box.
H O R S E S H O E P I T C H IN G
The game of Horseshoe Pitching is widely known and very generally enjoyed.
The stakes over which the horseshoes are to be pitched should be 8 inches above
the ground. The regulation distance apart is 40 feet, but for young players
this may be reduced to 30 feet or even less. T w o or four players may take part.
If there are four, they play in tw o teams, with team mates standing at opposite
stakes. Each player (or each team) has two horseshoes, and they take turns
pitching them.
The game consists of 50 points. If a player rings the stake with one of his
horseshoes, he scores 3 points. If both o f his horseshoes ring it, he scores 6
points. Points are awarded also for putting horseshoes near the stake, the
nearest one scoring 1 point. I f both the nearest ones belong to one player, he
scores 2 points. A combination o f one “ ringer” and the nearest horseshoe
scores 4 points. Only one player scores in a turn; if both make “ ringers” , each
cancels the other. I f the horseshoes o f opponents are equidistant from the stake,
no points are awarded for either o f them. First play in the next turn is given to
the member o f the winning team at the opposite stake.
Horseshoes and stakes made especially for the game may be purchased. A
copy of the official rules is usually packed with each pair of such horseshoes.
B A R R E L -H O O P Q U O I T S
A quoit game similar to that in which horseshoes are used may be played
with barrel hoops. The stakes over which the hoops are to be tossed should be
about 2 feet above the ground and 15 feet apart. One point is awarded each
time the hoop rings the stake.
P IE R C IN G T H E H O O P
A barrel hoop is suspended from the branch of a tree. The players stand on a
line about 20 feet away and try to throw a fishing pole or light 10-foot rod
through this hoop. Each contestant has five trials, and a point is scored each
time the rod goes through the hoop. The throwing line may be put farther back
when the players are expert.
B A R R E L T O SS
The players stand about 20 feet away from a barrel and try to throw stones or
wooden blocks into it. Each may have five throws, and a point may be awarded
for each stone or block that goes in. The throwing line may be put farther
back when the players are expert.
C LO CK GOLF
The game of Clock Golf is played in a circle 15 to 40 feet in diameter, num
bered around its circumference like a clock face. A putting hole 4 inches in
diameter and 4 inches deep is placed anywhere within this circle. Instead of
golf sticks, tree branches that have knots at suitable angles may be used. The
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Handbook for Recreation Leaders
players one after the other putt from each of the figures on the circle. The
object is to “ hole out” in the smallest number of strokes.
O BST AC LE GOLF
Obstacle-golf courses can be made by the use o f tin cans, bent-tin tunnels,
mounds, and small trenches. The advantage of this game is that it can be played
in a small space.
If a large lawn is available, many other kinds of competitive games with golf
balls and clubs can be worked out. A series of tin cans about 4 inches in diameter
can be sunk to form the putting green. Sand greens which the wind and rain
cannot easily carry away can be made by mixing the sand for a thin top layer
with oil drained from the crank case of an automobile.
M ISS T H E B E LL
A bell is suspended in a hoop about 8 inches in diameter, and a small ball is
given to the players. They take turns tossing the ball, trying to send it through
the hoop without causing the bell to ring. One point is scored each time the
ball goes through, and three points are scored if the bell does not ring.
JA R -R IN G T O SS
A board about 28 inches square is prepared by driving 23 nails 3 inches
long partly into it at an angle, or by screwing into it little right-angle hooks
like those used to hold curtain
rods. Each hook is given a
value, as is shown in the ac
j
J
J
J
J
companying illustration. Fig
5
5
5
5
5
ures can be cut from a calendar
J
and pasted on. The board
J
J
J
10
20
10
20
may be hung against the wall
or set on a table. Its center
J
J
J
J
J
a>%
should be about shoulder high^
S
zo
20
25
5
The players stand 10 feet
J
J)
from the board. Each is given
J
J
10
20
20
10
12 rubber jar rings, which he
tries to toss so that they will
J
J
J
J)
hang on the 'nails or hooks
5
5
o
■” 5
5
having the highest numbers.
The players throw three times
28*
in a play and rotate four times.
It is well to mark the rings with crayon or paint so that each person may identify
his own in counting the final score.
CROQUET
The regulation croquet court is 30 by 60 feet, but the game can be adapted to
the available space. Either a grass or a dirt court may be used. The game is
played by two to eight players. Croquet sets may be secured at reasonable
prices in toy and sport shops; a set of rules comes with the equipment. M allets
may be improvised from old stair rails or other lumber, wickets from heavy
wire; and old baseballs or other hard balls may be used.
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C R O Q U E T - B A L L B O W L IN G
Blocks o f wood or tin cans may be set up for tenpins, and croquet balls may
be used for bowling. A smooth floor or smooth level piece of ground is needed.
One point is scored for every tenpin that falls, and 15 points are scored if all
fall at one shot.
M A R B L E B O W L IN G
Ten nails about an inch long are arranged like tenpins, a full inch apart, on a
table at least 4 feet long. Three marbles are given to each player. In bowling
with these the players must have their knuckles on a line 3 feet away from the
nearest row of nails. The distance may be made greater or less according to
the skill o f the players. One point is scored for every nail knocked over, and
15 points are scored if all fall at one shot.
BU TTO N SN AP
Lanes about a foot wide are marked along the floor, and each player is supplied
with tw o buttons. One he places on the starting line. With the other he
snaps the first one down his lane to the goal as soon as the signal is given. Snapping consists in pressing the edge o f one button with the other in such a way
that the under one flies ahead. I f a button leaves its lane it must be put back
at the line and start again. Obstacles over which the buttons must go add
interest to the game. The player who first drives his button to the goal wins
the game.
M ATCH D ARTS
Three darts are made by cutting the heads from matches, slitting one end so
that a piece of folded paper
about 2% inches square can
be slipped in, and forcing into
the other end the head o f a
large sewing needle. A tar'
get whose outside circle is
not more than 15 inches in
diameter is drawn on a wall
board or piece o f heavy card
board and hung shoulder high
on the wall. The players stand
about 8 feet away from the target,
and each tries to throw the three darts
so as to pierce the target as near the bullseye as he can. For each dart that sticks
firmly in a space the player receives the
number of points marked in that space.
Nothing is counted for darts touching^ a
line.
The accompanying illustrations show
how the darts and the target should be
made.
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GAMES FOR SMALL SPACES
and for meetings in small assembly rooms it is essential to
have games that do not require much moving around and that can be played
satisfactorily in limited space. In the following sections active games of this
type are described first, then quiet games, and mystery and table games.
F
or home play
A C T IV E G A M ES
Both line and group games are given in the following sections. The line games
usually require less space than those of other type. A number of relay races
are adaptable to small spaces, such as Bundle Relay, Blackboard Relay, Handful
Relay, Necktie Relay, and Peanut Pass. (See p. 30)
H U N T E R , FO X, A N D GU N
Tw o lines of players stand on opposite sides of the room facing each other.
The head player of each line decides whether the line shall represent hunters,
foxes, or guns. Then each runs down his line, whispering to the players what
they are to be. They remain at the foot of the lines so that each line may have
a new head for the next game. When the leader counts 1, 2, 3, each line walks
forward three steps, falls into position, and makes the noise of the object it is repre
senting. For example, if a line is hunters, upon the signal each player stands
with hands on hips and says “ O h!” If the line represents guns, the players
stand as though shooting a gun and say “ Bang! If the players are foxes they
put their thumbs in their ears, wave their fingers at the other line, and cry Yip,
yip» yip!” Points are scored on the following basis: Foxes defeat hunters,
hunters defeat guns, guns defeat foxes. For example, if one team has chosen to
represent foxes and the opposing team hunters, a point is awarded to the foxes.
But if one team represents foxes and the opposing team represents guns, the
foxes lose the point. If both teams represent the same thing, neither one
scores. Ten points constitute a game, or five points may be enough if there are
many ties.
ROCH AM BEAU
Rochambeau is much like the game of Hunter, Fox, and Gun— too much like it
to be used in the same program. T w o lines of players stand facing each other.
A captain stands in front of each with his back to his own line. W ith his hand
behind him he signals the object his line is to represent, choosing rock, scissors,
or paper. The symbol for rock is a closed fist. For scissors the forefinger and
middle finger are separated and brought together as though cutting. For paper
the open hand is extended.
50
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When the signals have been given the leader says, “ Ready? Ro'cham-beau!”
Upon “ Ready” everyone holds his closed fist high in the air. A t “ R o'” he
brings it a fourth of the way down, at “ <ham '” halfway down, and at “ •'beau”
he makes the sign his team has chosen.
The score is awarded on this basis: Paper wraps rock; rock breaks scissors;
scissors cut paper. In this game the captains do not change.
E L E C T R IC S H O C K
The players in each team stand side by side with hanas joined, one team facing
another. When the whistle blows, the first player presses the hand of the
second, the second then presses that of the third, and so on down the line. A s
soon as the last player in a team has been reached, he holds his hand over his
head. This also may be played by passing a light pat on the shoulder down the
line.
ALPH ABET RACE
The players are divided into two teams, or more teams if more than 52
persons are to play. Each player is given a large card bearing a letter of the
alphabet. When the leader announces a word the players holding the letters
in that word hurry to the base line that has been marked about 10 feet away,
those o f each team trying to arrange themselves in proper order before their
opponents can do so. A double letter is expressed by shaking the card from
side to side. The leader should have ready a fist of words that do not use the
same letter more than once except when it is doubled. The sets of cards must
of course be in duplicate.
The following words, containing the letters A , B, C , D, E, F, are suitable for
use with teams containing six players each:
Cab
Bed
A dd
Fade
Ace
Dab
Beef
Abed
Bee
Cad
Bead
Face
Ebb
Bad
Cafe
Feed
Fee
Deaf
Faced
Abe
For teams of nine players the following words are suitable, with sets of cards
bearing the letters A , B, C , D, E, F, G, H, I :
Fig
Die
Beg
Dig
Cage
Gibe
Dice
Hide
Head
Deaf
Each
Aged
Chief
Abide
Beach
Faced
Chafed
Fagged
Caddie
Chide
For teams of 12 players these words may be used, with cards bearing the
letters A to L
Acid
Hike
Clad
Cake
Baked
Filed
Black
Child
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Glide
Fleck
Blade
Lack
Bleach
Jacked
Fickle
Jailed
Failed
Jiggle
Gabble
Fiddle
52
Handbook for Recreation Leaders
For teams of 15 players the following words may be used, with sets of cards
bearing the letters A to O :
Holding
Jammed
Nailed
Cabin
Bold
Lambkin
Flinch
Nimble
Dance
M ail
Loading
Killed
Moaned
Clock
Bean
Gladden
Docile
Famine
Blame
Gone
For the following words the sets of cards must include all the letters of the
alphabet:
Education
Children
Family
Horizon
Foxy
Quavering
Doxology
Urgent
Quickly
Zebra
Shocked
Lockstep
Social
Womanly
Juicy
Paintbrush
Scrapped
Weaver
Nervous
Pu2zle
A L P H A B E T SC R AM B L E
The players stand in relay formation. A complete set of alphabet cards is laid
on a rhair about 10 feet away from each team. A base line is drawn about the
same distance back of the row of chairs. When the leader announces a word
the first few players in each team— as many as there are letters in the word
hurry forward to the chairs, select the needed letters, carry them on to the
base line, and stand there holding them up, arranging themselves in the proper
order as rapidly as possible. The team finishing its word first is the winner.
Then these players go back promptly to their own lines, taking their places at
the rear so that the next players may take the next word announced.
FAN RACE
A base line is drawn about 30 feet from two goal posts which can be tw o
books or other objects laid on the floor 2 or 3 feet apart. The players stand back
of this base line. A piece o f tissue paper 4 inches square and a fan are handed
to the first person in each team or group. When the whistle blows, each first
player lays his paper on the base line and fans it along the floor, trying to drive
it between the goal posts and then back to the base line. He may fan an
opponent’s paper out of the way. A s soon as he has driven his paper between
the posts and back, he hands the fan to the next player of his group or team,
who then takes his turn. So the game continues, and the side whose last
player first drives his tissue paper between the goal posts and back is the
winner. N ot more than four players should be on a team, if this is played as a
team game or a relay race. Frequently it is more successful as an individual
race, as the period of waiting is shortest in this way.
H O T H A N D K E R C H IE F
A ll the players except one sit in a circle with chairs close together. A n open
handkerchief is passed from player to player. The odd player stands in the
center and tries to get possession of the handkerchief. If he gets hold of it or
touches it, the seated player responsible for this must go to the center as It.
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S L ID E R I G H T
A ll the players except one are seated in a close circle which contains one extra
chair. The extra player, who is “ It” , takes his place in the center, then he
tries to seat himself in the vacant chair that is continually being taken by the
person next to it. He calls “ Slide right” or “ Slide left” and thus controls the
direction of the group’s motion. When he calls “ Slide right” , the person who
finds that the chair on his right is vacant must slide into it. A s soon as “ Slide
left” is called, each player is responsible for the chair on his left. When “ It”
gets a chair, the person who should have taken this chair must go into the
center as “ It.”
A I R , W A T E R , F IR E
A ll the players except one sit in a circle. The extra player stands inside the
circle and throws a small ball or knotted handkerchief at some one and at the
same time calls “ A ir” , “ Water” , or “ Fire” , then quickly counts to 10. The
player at whom this was thrown must mention an animal living in the element
named; or, if “ Fire” is called, he must remain silent. If he fails to answer cor'
rectly before 10 is counted, or if he mentions an animal that another player has
already named, he must change places with the thrower.
Q U IE T G AM ES
Quiet games help to fill in the empty minutes at picnics, meetings, and other
gatherings when a small group is standing about. They are especially useful in
camp during the middle o f the day. Often also the family will enjoy playing
them in the evening. (Other games for quiet play will be found in such books as
Indoor and Community Games and Games and Game Leadership listed on
pp. 98, 99.)
T H O U G H T C H A IN
The leader or a player says a word, such as “ cavern.” Each player in the
group writes this down and then writes the words it suggests to him until the
signal is given to stop. Each reads aloud his own list.
R I G H T A N D L E F T S P E L L IN G
The players stand in line as for a spelling match, or they may be seated and
spell around the circle. Those who miss drop out. The leader announces that
the letters A and T must not be said aloud but that A is to be indicated by
raising the right hand and T by raising the left. For example, the word “ cat”
would be spelled thus: C pronounced, right hand raised, left hand raised. In
giving out the words for spelling the leader selects those containing as many
A ’s and T ’s as possible (as “ art, fat, tat, that, tart, battle, trait, attic, matter,
state, plantation, Tampa, A tlanta” ). With a group of players who have
become expert a more complicated system may be used, as follows: A , raise
right hand; E, raise left hand; I, touch the eye; U , point to leader; R , whistle;
S, shake the head.
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Handbook for Recreation Leaders
G H O ST S
The object of the game of Ghosts is to add a letter to the word that is being
spelled but to avoid .finishing the word. Anyone who finishes a word becomes
a third of a ghost, and when he is three-thirds he must drop out. The first
player says any letter o f the alphabet. The second adds another letter that can
be used in spelling some word but that will not finish a word. Thus if the first
player said B and the second— thinking o f “ best” — adds E, he becomes a third
of a ghost because “ be” is a word of itself. When a word is finished the next
player starts another. A t any time a player may challenge another concerning
the word he is spelling. If the player who is challenged is not spelling a word
that he has actually in mind, he becomes a third of a ghost. I f he can cite a
word, the player who challenged him becomes a third o f a ghost.
#
G O SSIP
The players sit in a circle, and the leader whispers a brief sentence to his
neighbor on the right, who passes it on to the right-hand neighbor until it has
gone around the circle to the leader again. The leader then says it aloud and
gives the original sentence.
This game also may be used as a relay race for a large group. The sentence
is whispered to the leader of each team, and each leader whispers it to the next
person in line, who passes it to the next. So it goes on to the last players,
who run to their leaders and tell what they heard. The team finishing first
wins, but the final messages are usually more entertaining than the competition
among the teams.
W H A T A M I?
A player leaves the room, and the group decides what animal he shall repre
sent. The player is recalled and tries to discover what he represents by asking
questions about himself that may be answered by “ Yes” or “ N o.” For instance,
he may ask, “ Do I pull wagons?” “ Do I eat grass?” “ Do I have long, floppy
ears?” When he has identified himself, the person whose answer helped him
make the discovery leaves the group next.
DUMB CRAM BO
The players divide into two groups. One group goes out of the room, and
the other chooses some verb. The outside group is told a word that rhymes
with the chosen verb. These players consult together and decide on the verb
they think was chosen. Then they return to the room and, without speaking,
act the word. If they have guessed right, the players o f the inside group clap
hands, but if the action is wrong they merely shake their heads. The acting
group goes out of the room again and decides on another word that rhymes
with the one given. This group continues to return and act verbs until it has
guessed the right one. For example, the verb “ eat” may be chosen, and the
outside group is told that the word rhymes with “ heat.” Deciding that perhaps
the chosen word is “ beat” , the group pantomimes this. A s it is found to be
incorrect, “ meet” is tried, but again without success. A t last “ eat” is tried
and this is rewarded with handclapping. For repetition of the game the groups
change places.
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H OW , WHEN, A N D WHERE?
t
A player leaves the room while the group select a noun; for example, “ trip.”
The player returns and asks each person the three questions, “ How do you like
it?” “ When do you like it?” and “ Where do you like it?” The answers might
be, “ Long drawn out” , to the first; “ In the fall” , to the second; “ In the hills” ,
to the third. The player whose answer reveals the chosen word is the next to
leave the room.
If the members of the group are old enough to enjoy it, words having the Ramp
sound but different meanings (as “ bear” , “ bare” ) may be used.
PRO VERBS
A player leaves the room while the group select a proverb. When he returns
he asks any questions he pleases. In their replies the players must use at least
one word o f the proverb. The player who asks the questions tries to select
the significant word in each answer until he can guess the proverb chosen. The
person who gave the first clue to the proverb is the next to leave the room.
SH O P P IN G
A player who is the shopper walks around, stops before one o f the group,
and says, “ I’m going to Denver. What can I buy?” He then counts to 10.
Before he finishes counting, the player before whom he is standing must namp
three objects that begin with “ D ” (as “ dishes” , “ dogs” , “ doughnuts” ). I f he
fails, he must take the place of the shopper. A ny city may be named. The
things to be bought must always begin with that city’s initial.
SN IP
A player points at one of the group, then pronounces and spells a word, as
“ Dog, D O G .” Then he immediately counts to 12 and says “ Snip!” Before he
reaches 12 the person to whom he points must name three objects, the first
beginning with D, the second with O , and the third with G. If he does not
finish in time, he must become “ It.”
Words of more than three letters can be used after a little practice in the game.
V A N IS H IN G
For each letter in a proverb the leader makes a cross on the blackboard or on
the ground. “ A stitch in time saves nine” would look like this: X XXXXXX
X X XX X X XXXXX XXXX. Each player draws in front of
himself a little outline figure o f a man like the accompanying
illustration. The first player then says any letter of the
alphabet. If he has chosen I, the leader writes this letter
under the third X in the second word o f the example given,
under the first X in the third word, and under the second in
the fourth and sixth words. T hat player is safe for this round.
The second player then announces a letter. If he happens to
choose one that does not appear in the proverb, the leader tells
him to erase the head o f his man. I f when his turn comes again he is so union
tunate as to select another letter that cannot be used, he must erase the body.
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The third and fourth losses remove the man s legs, the fifth and sixth remove
his arms. The player who first guesses what the proverb is wins 5 points and
also the privilege o f selecting and writing the next proverb. The game con'
tinnpis and the outline figures diminish until one is completely erased. Ten
points are then charged against the loser, and each player draws a new man
for the next proverb. This game should not be played by a group of more than
five or six persons.
T H IS IS M Y N O S E
The leader or the person who is “ It” stands before a player, points to some
part of his body, and calls it by the name of some other part. The player
addressed must point to the part o f his own body mentioned by the leader, but
he must call it the part to which the leader pointed. For instance, the leader
may say, pointing to his foot, This is my head.
He then counts 10. I f the
player to whom he is speaking does not point to his head and say, This is my
foot,” before 10 is counted, he becomes “ It.”
W H IT E M E N A N D IN D IA N S
Six objects, each three of which are alike, as three small sticks and three
pebbles, are placed in a row on one side o f a line. The sticks are called Indians,
the stones white men. The object o f the game is to transfer these six to the
opposite side o f the line, which represents a river. A n y tw o may go across at
a time, but one must come back to bring the canoe to the others, and there must
never be more Indians than white men left together. The solution is as follows:
T w o Indians go over; one comes back. Then one white man and one Indian go
over and one Indian comes back. T w o white men go over; one Indian comes
back. T w o Indians go over; one Indian comes back. T w o Indians go over.
R H YM ED AN SW E R S
Pencils and papers are given to the players. Each player writes a question of
any kind at the top o f his paper and folds it over, then passes the paper to his
neighbor on the right. This player w rites any word below the fold and passes
the paper to his neighbor on the right. A ll the players then open the papers,
and each must write a brief poem answering the question and using the word
he finds on the paper he holds.
TEAKETTLE
A player leaves the room. The remaining group decides on some homonym;
that is, a word that sounds like some other word or words but differs in meaning,
such as rain (reign, rein). When the player who w as out comes in, each person
in the group uses “ teakettle” in a sentence in place o f the selected word. One
may say “ I grabbed the teakettle” freinj; another “ Did you go through the
teakettle?” frain j; another, “ His was a very short teakettle” freignj. The
player whose sentence reveals any one of these words so that it is guessed must
leave the room for the next game. Other examples o f such words are raise,
rays, raze; pole, poll; tail, tale, tael; bare, bear; rose, rows.
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M Y F A T H E R ’S A M E R C H A N T
In this game the players try to guess what it is that makes the statements true
or false. The leader begins by turning to his right-hand neighbor and saying,
“ M y father’s a merchant.” The neighbor inquires, “ What does he sell?” The
leader may reply, “ Woolen goods.” He must be careful to be touching some
thing woolen as he speaks. The person addressed then repeats these statements
to his next neighbor. I f he has noticed the leader’s procedure he also will
touch whatever he says his father sells. I f he has failed to observe it— and
probably he will— the leader may laughingly say, “ Oh, no, he doesn’t,” or
“ That isn’t true.”
A s the players in turn make their statements, the leader remarks whether they
are right or not until the group have guessed what the trick is.
IM A G IN A R Y I S P Y
A player thinks of an object in some special location; for instance, the ball on
the school flagpole. The others in the group try to find it by asking questions
that may be answered by “ Yes” or “ N o.”
Sometimes it is better to have two children agree on the same object and
answer the questions together.
T H E M O O N IS R O U N D
The players sit in a circle. The leader stoops and with his left hand outlines
a face on the ground, saying, “ The moon is round, it has tw o eyes, a nose, and
a mouth.” The others must stoop and do likewise. I f they do not use their
left hands they have failed to do it properly because their imitation o f the leader
was not exact. Clearing the throat before starting, putting one hand on the
hip, standing with a knee bent, and outlining one’s own face with the left hand
are variations the leader may use.
T W O L IT T L E B L A C K B IR D S
The leader fastens a tiny piece of gummed paper on the nail o f each of his
middle fingers. He extends these fingers on his knee and recites the following,
accompanying the words with the gestures indicated:
T w o little blackbirds sitting on a hill,
One named Jack |lifting right fingerJ,
One named Jill f lifting left fingerJ.
Fly away, Jack [quickly throw right hand to shoulder, bringing it down
with the index instead of middle finger extended],
Fly away, Jill fdoes same with left hand];
Come back, Jack frepeats with right hand but extends middle instead of
index finger],
Come back, Jill f same with left hand].
M Y S T E R Y GAM ES
M ystery games usually depend upon two players, the leader and a partner
who knows the secret. I f the game is explained after it has been played for a
3 9 056°— 36-----5
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while, it is of no more use in that group. If, on the other hand, a player is
tested when he thinks he understands the secret and is pledged to secrecy if
he has discovered it, these games may be used over and over again.
T W O - P A R T C IT IE S
T w o players agree that the second city named after a city with a two-part
name, such as Los Angeles or Baton Rouge, will be the city chosen by the
group. One of these players leaves the room and the group selects a city;
for example, “ Baltimore.” Then the player returns. His partner says, “ Is it
Boston?” The answer is “ N o.” “ Is it Sioux City?” “ N o.” “ Is it Phila
delphia?” “ N o.” “ Is it Baltimore?” “ Yes,” for that was named second after
Sioux City, the two-part city.
T H U M B C H O IC E
A player goes out o f the room and the group selects one o f three objects that
were placed on the floor. When he returns he may pretend to make the right
choice among these objects by studying them profoundly, making passes over
them, or otherwise distracting the players’ attention. In reality he has been
observing his partner, who has indicated the position of the object chosen by
crossing his right thumb over his left thumb to indicate the first one, crossing
his left thumb over the right one to indicate the third, and placing his thumbs
side by side to indicate the center object.
M IN D R E A D IN G
Pencils and slips of paper are distributed. The player who proposes to be
mind reader asks that each member of the group write a word and fold the
paper in some definite way so that all are alike. A partner who is not known
to the group collects them, taking care to pass in his own paper at the bottom
of the pile. The mind reader presses the top paper to his forehead and says a
word as though he has read it mentally. The partner promptly claims it as his
own. The mind reader then unfolds the top paper as though for verification
but really to discover the word to give next. Picking up the second paper he
presses it to his forehead, says the word that was written on the first paper,
and looks about for its claimant. Thus the reading proceeds until all the papers
have been read.
T E M PL E R E A D IN G
A player leaves the room while the group selects a number. When he returns
he lays his hands over the temples of each o f the players, stopping at each as
if to meditate. When he does this with his partner, the partner secretly tells
him the number selected by closing his teeth and relaxing, thus making the
muscles in his temples move a certain number of times. He must be careful
not to move his mouth and cheeks, because his method of conveying the
information might then be observed.
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T O U C H R E A D IN G
A player announces that if the group will follow a certain procedure he can
read names, with addresses and telephone numbers, by touching the outside of
the telephone directory. He requests that some member o f the group write
down any number o f two to four digits, add two zeros to it, subtract the original
number, and state the result. N ext he asks that the telephone directory be
brought. He lays his hand on it a moment and pretends to meditate. Then he
recites slowly a name, address, and telephone number, saying these will be
found on the page indicated by that total. If the total is 18, he directs, “ Look
in the eighth line of the first column.” If the total is 27, he says, “ Look on
page 27, second column, seventh line.” If the total is 36 he says, “ Look on
page 36, third column, sixth line.”
The game is based on the fact that when any number is subtracted from itself
multiplied by 100 the remainder will be a figure whose digits total to 9 or a
multiple of 9. Therefore the player needs to memorize beforehand only three
names with addresses and numbers— one on page 18 o f the directory, one on
page 27, and one on page 36, in the lines and columns indicated by the digits of
these three numbers.
M A G IC W R IT IN G
The player who claims to be a magician leaves the room, and the group chooses
any word. The magician is called in, and his partner goes through the pretense
of writing on the floor with a cane or stick. The scratches and flourishes he
makes are of no interest to the magician, who in fact is listening to the taps his
partner makes in connection with his “ writing.” By these the partner is
spelling the chosen word. One tap means A , tw o taps mean E, three mean I,
four mean O , and five mean U . He indicates the consonants by using them in
their proper order for the initial words of short sentences. For example, he
may spell the word C A T in this way: He says, “ Can you read this?” while he
moves the stick around; next he gives one tap for the letter A ; then he says,
“ This isn’t easy,” to indicate the letter T .
F O U R C H O IC E
A player offers to guess which of four objects placed in a row has been chosen
by the group. He leaves the room or hides his eyes while the group selects one
of the objects. Then his partner asks him questions which are so worded as
to indicate the right answer. The number o f letters in the first word of the
question tells the position of the chosen object, a word o f four letters meaning
the fourth object, one of three meaning the third, and so on. For example, the
partner may indicate the first object by.saying, “ I now ask you to make a choice.”
T o indicate the second he says, “ Is it this one?” For the third he says, “ How
about that?” For the fourth he says, “ Will you choose this?” I f the partner is
pointing at an object not indicated by his question, the player will say that is
not the one chosen. O f course the questions should not be stereotyped but
should be varied continually.
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T H IS A N D T H A T
A player and his partner select four objects, two situated above the others,
or they place four objects at the comers of a square. Secretly they agree to
name these objects as follows:
This.
This one.
That.
T hat one.
The player then leaves the room or hides his eyes, stating that he will guess
which one of the objects the group has chosen. When the choice has been made
the partner begins to ask questions. He indicates the right object by using its
right name when he points to it. For example, he may point to the upper left
object and say, “ Is it that?” The player immediately answers, “ N o,” because
the right name is “ This.” His partner next asks, “ Is it this one?” pointing to
the upper right object. The player replies, “ Yes,” because his partner named the
object by its right name as he pointed to it.
This game may be made more baffling if the player and his partner agree that
after a certain number of questions or repetitions o f the game the names o f the
objects shall be reversed. Still later the chosen object can be indicated by use
of a wrong name instead of its right one.
N U M B E R C H O IC E
About 10 books or other objects in a row are used. A player and his partner
number them from left to right, in their minds only. The player goes away
while the group selects one of the objects. When he returns he must notice
carefully how many questions his partner asks. When the number o f questions
asked corresponds to the place in line o f the object to which he points, he is
indicating the one chosen. For example, if he immediately points to any except
the first and asks whether it is the right one, the answer should be “ N o.” If
he points to the fifth one next and inquires whether that is the right one, the
answer again should be “ N o.” If the third question concerns the third
object, however, the player knows it is the one selected. This game requires
considerable concentration on the part of the player and his partner, as they
must keep in mind both the number of questions asked and the position of the
books or other objects.
N OPE
Several objects are placed in a row, and a player goes away while the group
selects one of them. When he returns his partner points to one that was not
selected, asking “ Is it this?” The player replies, “ Nope.” His partner con
tinues to point to the wrong objects until the reply is “ N o” instead o f “ Nope.”
This is a signal that the right object should now be pointed out. Accordingly the
partner points to it, asking some question as before, and the player declares it
to be the right one. In repetition of this game a variation may be made by
reversing the use of “ Nope” and “ N o” so as to baffle any players who may
think they have guessed the system.
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LEGS A N D N O LEGS
A player leaves the room and the group selects any object whatever. When
he returns his partner asks questions naming various objects until finally he
names the one the group has chosen. He indicates which one this is by the type
of object he names. I f the object selected by the group has legs, the partner
will mention in his first question an object that has legs, then none that has legs
until he names the object chosen. If the group decided on something that has
no legs the partner will mention first something that has no legs, then only
objects that have legs until he names the object the group has chosen.
W A T C H T A P P IN G
A player states that by referring to a watch or clock he can calculate any
number not higher than 12 which the group may select. The face o f a watch
may be used for this game, or a clock face may be drawn on the ground or on a
blackboard. The player leaves the room or hides his eyes while the group chooses
the number. Then he tells the group to count his taps, starting with the next
number after the one selected, and to stop him at 20 as he will then be pointing
at the number which was their selection. He begins tapping slowly on the
watch or clock face, apparently testing various numbers but really tapping at
random until he has tapped seven times. For the eighth count he points to
12 and goes slowly back around the clock. When he is stopped at the count of
20, he o f course will be pointing at the number the group chose.
This may be made more difficult for repeated trials by varying the number
combinations.
T A B L E G AM ES
Games that are played at a table make a suitable program for a party, and they
also will be found popular with small groups in the home.
For a party the paper and pencils, matches, and other equipment needed should
be placed on each table beforehand, together with a copy o f the direction card
and a copy of the answer card turned face down and labeled, “ Solution! Do not
turn me!” 2
A s the guests arrive, each is given a tally card bearing a letter and a number.
These should have been prepared in sets o f four, the first set having two
marked A - l and tw o marked A -2 , the next set having tw o marked B - l and
two marked B-2, and so on. When the majority o f the guests have arrived
they are asked to find their partners and go to the tables indicated by the letters
on their tally cards. Each table should have a card on it showing its letter.
Four players should play at a table.
The hostess should have a whistle or small bell. When all the guests are
seated she explains that when the bell rings everyone is to play the game that is on
his table. One or two assistants who thoroughly understand the games should
be at hand, ready to help in case there are questions. The game is to be played
until the bell rings the second time, when scores are to be counted and entered
on the tally cards. A t the next signal the couples who have even numbers
2 Directions for preparing and using table games that require boards, counters, and other special
equipment will be found in such books as Handy II and Home-made Games listed on p. 99.
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move to the tables with the next lower letter— from table A to table B, for
instance, except that the couple at the lowest table goes to table A . The couples
with odd numbers move to the next higher table, except that the players at
table A go to the table with the lowest number. Thus each couple plays with
every other, and everyone has a chance at every game.
The hostess should allow about 7 minutes for a game and about 2 minutes for
counting the score; eight tables thus require about an hour and a half to play.
W O R D S A N D T H IN G S
A ny word of about six letters is announced or chosen, and each player makes
ktmgp-lf a chart by printing the letters of this word in a column down the left
side of a sheet of paper, then up the right side in reverse order. For a party
program the charts should be prepared in advance.
I f the word “ parted” is used, for example, the chart will look like this:
D
E
T
R
A
P
p
A
R
T
E
D
The object of the game is to fill the space in the lines between these letters.
The first line requires a word that starts with P and ends with D, as “ procrasti
nated” , or “ precipitated.” The second line requires a word that starts with A and
ends with E, as “ acquaintance” or “ accelerative” , and so on. The players should
use the longest words they can think of, because the length affects the score.
The person who has been able to fill in the greatest number o f letters forming
words with the proper beginning and ending is the winner. One point is
scored for every letter of the words added.
ST O C K EXCH AN GE
Each player is told to draw himself a chart like that illustrated. For use in a
party program the charts should be prepared in advance. The players take
turns choosing a letter of the alphabet. A s each calls his selection, everyone
writes that letter in any one o f the squares in
his chart. The game continues until 25 letters
have been selected. A player may choose a
letter that has been given before if he wishes
to do so. The object of the game is to put the
letters into the places in such way that they
will spell words in both vertical and horizontal
rows. A letter may not be changed to an
other place when it has once been written
down. Consequently it will seldom happen
that all the letter combinations will form
words.
A 5-letter word scores 5 points; a 4-letter word, 3 points; a 3-letter word, 1
point. Proper names and words of less than three letters are not counted, nor
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words made by extracting several letters from a longer word (as “ ear” and “ ears”
from “ hears” ). Words may be counted in both horizontal and vertical rows.
A D V E R T IS E M E N T S
Trade marks cut from advertisements are pasted on cards of convenient
size. The cards should be numbered and 15 cards put in each set. The play
ers are given paper and pencils and told to write down the number o f each
card and the name of the article advertised by the trade mark on it. One
point is scored for every correct answer and 10 points extra if all are correct.
W H IR R
The players are given paper and pencils and are directed to write all the words
they can think of that begin with the letter W and end with the letter R . One
point is scored for every two words listed.
H EARTS
Six cubes are prepared by marking on their sides the letters H, E, A , R , T , S.
Small blocks such as are sold in toy stores may be used, the letters being painted
or carved on the sides. The players take turns in rolling all the cubes at one
throw. Each player counts his own throw only and is awarded a point for
each word that can be made from the letters that come up. N o letter may be
used more than once but it is not necessary to use all the letters each time. For
example, if H, A , A , S, E, T , come up, 2 points can be scored because the words
“ as” and “ tea” can be made from them. Ten points are scored if “ hearts” can
be spelled.
The following method of scoring is also satisfactory: H scores 1 point, HE,
2 points; H EA , 3 points; H EA R , 4 points; H E A R T S, 10 points.
SPE LL O U T
Four cubes are prepared by putting the first six letters of the alphabet on
one, the next six on another, the next six on the third, and the remaining
letters (crowding in X and Z) on the fourth. The players are told to prepare
charts for themselves by printing a certain long word at the top o f the paper
c
A
L
I
F
O
R
N
I
A
in capital letters far apart, drawing a line across under it, and separating the
letters by vertical lines, as in the illustration. For a party the charts should be
prepared in advance and placed with the cubes on each table. A ny long word
may be chosen, but all the players use the same word at the same time.
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The first player rolls the cubes with one throw and writes in the proper spaces
on his chart the letters turned up which are in that word. Then the second
player takes his turn, and so on. Each player fills in his chart on his own
throws only.
The first person who is able to fill all the spaces in his chart wins 25 points.
The others score a point for each space filled. New charts may be made with
new words and the game repeated. “ Congratulations,” “ Independence” , and
“ Constantinople” are good words if there is plenty of time; if the time is
limited a shorter word should be used.
HUM BUG
The letters B, H, E, F, L, T are put on the sides of a cube, and a figure like
that in the illustration is shown to the players. Each player has a paper on
which to draw his own “ Humbug” in accordance with the
letters that come up. A s soon as B comes up he draws the
body; for H he adds the head, for E an eye, for F a feeler, for L
a leg, and for T the tail. The drawing cannot be started
until the letter B has come up. Thereafter the parts may be
added in any order except that neither E nor F can be used
until there is a head. The players take turns rolling the cube,
and each may continue to roll five times if letters turn up that
he can use.
Ten points are scored for each complete figure consisting of
head, body, two eyes, two feelers, six legs, and a tail. Nothing is scored for
unfinished drawings.
S H IP S
This game is played by two persons. Each draws on a large sheet of paper a
chart for the enemy port, a chart for his home port, and a score chart. Numbers
are put at the side and letters at the top as indicated in the diagrams. Each
player then draws in his home port a 2-ton, a 3-ton, a 4-ton, a 5-ton, and a
6-ton ship, indicating the weight of each o f the 5 by including in it the proper
number o f squares, horizontally or vertically. (In the illustration these ships
are indicated as a player might place them.) Neither player is allowed to see
the location of his opponent’s ships.
The object of the game is to sink the enemy’s fleet. Each player in turn fires
three successive “ bombs” at the squares he thinks a ship may cover. A shot
is fired by naming the letter and number that identify a square. For example,
the first player may say, “ A -3 .” Then both players write 1 (for first shot) in
the third square o f the first column at the left, the attacker putting it in his
enemy chart, the other putting it in his home-port chart. The one whose ship
has been hit does not give any hint of it, as this would furnish a clue to the
location o f one o f his ships. The first player’s next shot may be “ A -6 ,” which
fails to strike a ship. His third may be “ J-9 ,” which lands a bomb successfully.
When these three shots have been recorded on both charts, the first player asks,
“ Did I hit any ships?” The other admits, “ You hit my 2-ton ship and my 6-ton
ship.” The first player writes 1 in his score chart in the first block opposite 2
and in the first block opposite 6; although his opponent has not told in which
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Games for Small Spaces
65
square the bombs struck, a hint as to the ships’ location has been gained, so
that when the first player’s turn comes again he can try to place his next series
of shots in such a way as to strike those ships once more. Now the other player
A B C D E F 6 H I J
A B C D E F G H I d
Û
Tons
\
2
A
i
A
\
)
1
V
V
E rvem
17
3
4
5
6
S co re.
Home
fires his three bombs, which are recorded by the figure 1 under the samp pro
cedure. The next trio o f shots by each player is recorded by the figure 2, the
next by the figure 3, and so on.
The game is won by the player who first succeeds in sinking all his opponent’s
ships, a ship being considered sunk when each square it covers has been struck
by a bomb.
P R O F E SSIO N S
The players are given pencils and cards containing a list of professions and
names, the names being opposite the wrong professions, as in the following
example:
1. V iolinist..............
1. Auguste Rodin.
2. A ctress................
2. Benjamin Franklin.
3. Explorer..............
3. Eugene Ysaye.
4. P oet.....................
4. John S. Sargent.
5. Inventor..............
5. Robert E. Peary.
6. Scientist..............
6. Charles W . Eliot.
7. A rtist...........
7. Joseph Pulitzer.
8. A m bassador.. . .
8. Enrico Caruso.
9. Sculptor..............
9. Edward MacDowell.
10. Singer..................
10. Ellen Terry.
11. Novelist. . . . . . .
11. William Cullen Bryant.
12. College president
12. Thomas A . Edison.
13. Composer............
13. Nathaniel Hawthorne.
14. Journalist............
14. Louis Pasteur.
The players are to renumber the names to correspond with the professions.
Other professions may be placed on the card, and other names may be used in
accordance with the age and the probable knowledge of the players. The
answers will be as follows for the card shown:
1 .................. ............... 3
8 ......................... .......... 2
2 .................. ............... 10
9 ......................... ........ 1
3 .................. ............... 5
10......................... .......... 8
4 .................. ............... 11
11......................... ........ 13
5 ..................
12......................... ........ 6
6 .................. ............... 14
13......................... ........ 9
7 .................. ............... 4
1 4 ......................... ........ 7
Score 1 point for each correct answer and 10 points extra if all are correct.
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Handbook for Recreation Leaders
66
M any other games of this kind can be arranged. For example, characters in
literature, history, or fable may be chosen; or couples may be matched, as N a
poleon and Josephine, Lancelot and Elaine. Geographical nouns and the names
of places may be used, as in the following list:
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
Panama.
Potomac.
Puget.
Chesapeake.
Huron.
Pikes Peak.
Pierre.
Salton.
Cod.
Florida.
6 ..................
7 ..................
8 ..................
9 ..................
10..................
............... 3
............... 8
............... 10
............... 7
............... 9
B ay...........................
Lake.........................
R iver.......................
M ountain................
Isthmus..................
Sound.......................
Sea...........................
Peninsula................
State C apital.........
C ap e.....................
The solution is as follows:
1
2
3
4
5
4
5
2
6
1
G U G G E N H E IM
Each player draws a chart like that illustrated, or the charts may be prepared
in advance. A ny name may be used across the top, and a series of four or more
nouns is put in the space at the left. The purpose of the game is to fill in the
spaces with words that begin with the letter at the top of the column and are
in the class of nouns indicated at the left. For example, if M A R Y is used as
in the illustration, the first fine might be filled in with the words “ Mushroom,
artichoke, radish, yam,” the second with the words “ M ississippi, A m o, Red,
Yangtse.”
M
A
R
Y
Vegetables.................. ................................
R ivers...........................................................
Automobiles................................................
Boys’ names.................................................
Four points are scored for each entry selected by no one else, and one point
for each entry used by other players.
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67
D O T S A N D LENES
A square consisting of lines of dots as shown in the illustration is made on
one sheet of paper for each tw o players. For a party program these should be
prepared in advance. The players take turns drawing ........................ t
lines horizontally or vertically to connect any two dots. • • • • • • • •
The object o f the game is to complete a square and to • • • • • • • •
prevent one’s opponent from completing any square.
Each time a player succeeds in drawing the fourth line of • • • • • • • •
a square he may put his initials in it.
• • • • • • • •
The person who has finished the most squares wins the
game. In a progressive party a player scores 1 point for each completed square
and 5 points extra if he is the winner.
When the players are evenly matched, the game is faster if the person who has
finished a square is required to draw another line.
PYE
In a group of numbered sentences given to the players each sentence has a
word obviously wrong. The game consists of rearranging the letters o f this
word to form another that will fit the meaning of the rest o f the sentence. For
example, in “ The shore pulls heavy loads,” the word “ shore” should be changed
to “ horse.”
One point is scored for each correct word written opposite the sentence
number, and 10 extra points are awarded if all the words are correct. The fob
lowing sentences may be used, and others are easily added:
1.
2.
3.
4.
5.
6.
The sun sires each morning.
Honest men will not least.
A glass save is often lovely.
The odor of snub is delightful.
The children blew the shorn all morning.
They rolled down the poles of the hill.
7- The homeless is a damon among men.
8. The melon has an oily yellow skin.
9. The pools rolled far away.
10. The words flashed in the sun.
The solution for these 10 sentences is as follows:
1.
2.
3.
4.
5.
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Rises.
Steal.
Vase.
Buns.
Homs.
6. Slope.
7. Nomad.
8. Lemon.
9. Spool.
10. Sword.
Handbook for Recreation Leaders
68
IC E
For each of the following words there is a word of the same meaning ending
in “ ice.” The players are to find these words and write them beside the proper
numbers.
1.
2.
3.
4.
5.
Public protection.
Spite.
Fine.
Value.
Cut.
6.
7.
8.
9.
10.
Cereal.
Interweave.
Instant.
Countinghouse.
Guidance.
11.
12.
13.
14.
15.
Three times.
Lure.
T w o times.
Sap.
Tooth paste.
Rice.
Splice.
Trice.
Office.
Advice.
11.
12.
13.
14.
15.
Thrice.
Entice.
Twice.
Juice.
Dentifrice.
The solution is as follows:
1.
2.
3.
4.
5.
Police.
Malice.
Nice.
Price.
Slice.
6.
7.
8.
9.
10.
Score 1 point for each answer and 10 points if all are correct.
W O R D B U Y IN G
Each player makes himself a chart like that illustrated. The letters may be
selected by any system; a simple one is to take any printed page and combine
the first letter in the first line with the first in the
C ost
W ords
second, then the third, and fourth, the fifth and
...IT ..
sixth, and so on. For a party program the charts
. ..O F..
should be prepared in advance.
..AC..
The object of the game is to add as few letters as
...SB..
possible before or after each pair to make a word.
...ID ..
Thus S IT in the first line and O FF in the second
. . .PA. .
would “ cost” 1 point each, whereas H U SBA N D
. . .C L ..
in the fourth line would “ cost” five points for the
..wu.
five letters added to SB.
.. ,IR ..
If no word can be thought of to build on the
...AD..
letters of any line, the penalty or “ cost” for that
Total..
line is 15 points. N o proper names or abbrevia'
tions may be used, nor may any letters be inserted between the two that are
given on the chart.
The player with the lowest total “ cost” wins the game.
W O R D PU ZZLE
The players are given three short words and told to rearrange them so as to
spell one long word. A ll the letters must be used and none must be left over.
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For example, the solution for the words “ lace” , “ pony” , and “ dice” is “ encyclo
p ed ia” The solution for “ got” , “ wish” , and “ Ann” is “ Washington.” The
solution for tie , spear , and “ don” is “ desperation.”
Score 10 points for the correct answer.
The reverse of this game is to give the long word from which as many short
ones as possible must be made by using all the letters.
MATCH REM OVAL
Twelve matches are placed in three groups, one group containing five matches
in a row, the second containing four, the third containing three. Tw o players
alternate in moving the matches from these groups. A ll the matches or any
number of them may be removed from a group, but matches may not be taken
from more than one group at a turn. The purpose o f the game is to force one’s
opponent to take the last match. A point is scored for each game won.
M A T C H ONE, T W O , TH REE
Sixteen matches are placed in a row. The players may pick up one, two, or
three matches at a time, but not more, the purpose being— as in the preceding
game of match removal— to force the opponent to take the last match. One
point is scored for every game won.
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CHALLENGES
fill in spare minutes at picnics, meetings, and other gatherings,
and fit in well in the recreation periods of club meetings. They also are
an interesting part of a camp-fire program.
A challenge may be issued by an individual or by a team. It may be general,
or it may be directed toward some particular group. For example, a member
of the Grays may challenge any wearer o f the Green. When a challenge is
accepted, the challenger may put the first test.
If the challenges are part of a series of meetings or camp-fire program, a scorekeeper should accumulate the various scores for the teams. Sometimes a
champion or two may be discovered, but for the most part an effort should be
made to bring in as many different challengers and accepters as possible, rather
than to develop champions.
Challenges o f tw o types— physical and mental— are described in the follow
ing sections. Physical tests are given very generally and are extremely popular.
Fewer tests o f mental skill have been found in use, but where they have been
introduced they have been well received. Boys and girls who are unwilling to
display their lesser physical strength have come forward gladly to do their
share mentally for the honor of their group.1
hallenges
C
T E S T S O F PH Y SIC A L SK IL L
BUZZ
Three players stand side by side with their feet well apart, the inside foot
o f each end player touching a foot of the player in the middle. The end players
put the backs of their outside hands over their ears nearest the middle player.
The middle player wears a hat, and he tries to protect it by ducking and dodg
ing without moving his feet. He imitates the b u sin g o f an insect as he makes
false passes at the end players, then slaps one of them on the out-tumed palm
with which he protects his ear. The one who is slapped immediately tries to
brush off the middle player’s hat. If he succeeds, he becomes the middle man.
The challenger agrees that he will stand up through three slaps or that he and a
team mate will take three slaps and give three slaps.
SL A P ST IC K
Tw o players face each other. A stick about the size of a pencil is placed on
the hand of one player. The other tries to lift it and tap his opponent’s palm
1 Additional tests of physical and mental skill will be found in Games and Game Leadership and
in Health by Stunts, listed on p. 99.
70
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Challenges
71
before the hand can be withdrawn. He has three trials and may score a point
for each tap he succeeds in giving. Then the other player tries.
H A N D PU SH
Tw o contestants stand facing each other with their toes touching. They
have their palms also touching on a level with their chests. In this position
each pushes the other’s hands until one is forced to step back. The player
who forces his opponent backward is the winner.
T O E T IL T
Tw o players sit on the floor or ground facing each other with their knees
bent, their feet flat on the ground, and their arms clasped around their legs.
Under the knees and over the arms o f each is thrust a wand or broomstick. A t
the signal each player tries to lift with his toes the feet of his opponent. The
one who succeeds, thus compelling his opponent to lose his balance and roll
over on his back, wins the contest.
R O O S T E R F IG H T
Tw o players stand in a circle drawn about 6 feet in diameter. Each puts
his right hand behind his back, clasps his left foot with it, and then grips his
right arm with his left hand behind his back. In this position they hop at each
other when a signal is given, and each tries to force the other out of the circle
or out of position. A s soon as a player lets go of foot or arm or leaves the
circle he loses the game.
Instead of holding his left foot each player may fold his arms over his chest,
grasp his own elbows, and hop after his opponent. Releasing the elbows,
lowering the foot, and leaving the circle are counted against the contestants.
C H IC K E N F IG H T
T w o players stand in a circle drawn about 8 feet in diameter. They stoop
and grasp their own ankles. A t the signal each tries to push the other from
the circle or out of balance. A player loses when he leaves the circle, releases
either hand, or touches the ground with any part of his body except his feet.
BULLDO G PU LL
T w o players get on their hands and knees, and a strap is placed around their
heads. A line is drawn between them. A t the signal each tries to pull the
other over the line or to force him to lower his head so that the strap will slip
off.
H A N D W R EST LE
T w o players face each other, grasp right hands, and place the outer edges of
their right feet together. They brace themselves by putting their left feet back.
A t the signal each player tries to throw the other out of balance. A s soon as
either foot is moved, a fall is counted.
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Handbook for Recreation Leaders
LEG W R EST LE
Tw o players lie side by side on their backs with their heads in opposite direct
tions. They hook right elbows. When the referee counts “ one” they raise
their right legs and touch them together. A t the count “ two” this is repeated.
A t “ three” they hook their right knees and each tries to turn the other over.
They player who does a back somersault is the loser.
F IN G E R B E N D
Tw o players stand facing each other. They extend their arms over their
heads and clasp each other’s hands, interweaving the fingers. A t the signal
they back apart and bring their hands down. The stronger player will force
the other to kneel. The one who has to kneel is the loser.
ST IC K P U L L
T w o players sit on the ground, each having the soles o f his feet pressed against
those o f his opponent. They grasp a stick and hold it crosswise above their
toes. A t the signal each tries to pull the other to a standing position. The
player who is pulled up or over or who releases the stick is the loser.
T W IS T S T IC K
T w o players face each other, extend their arms overhead, and grasp a stick.
A t the signal they step backward and pull the stick down between them, each
trying to retain his own grip and make the stick slip in his opponent’s hands.
The one who loses control o f the stick loses the contest.
S T IC K W R E ST LE
Tw o players grasp a stick with both hands. A t the signal each tries to get
the stick away from his opponent by any twisting or pulling method. The
contest is not ended until one player has gained complete possession of the stick.
B R O O M S T IC K B A L A N C E
A bridge is made by laying a broomstick on the seats of tw o chairs a slight
distance apart. With the aid of a cane the contestant seats himself on the broom'
stick and crosses his legs. When he is nicely balanced he endeavors to remove
with his cane two handkerchiefs that have been hung on the back o f the r.hair
behind him. Three falls are allowed before he is declared a loser.
JU G K N O T T IN G
Each contestant sits on a large jug turned sidewise. He must extend his legs,
hold the knees straight, and put the heel of one foot on the upturned toes o f the
other. In this position he must tie a knot in a handkerchief. I f he does not keep
his knees straight until the knot is finished, he loses the contest.
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Challenges
73
T E S T S O F M E N T A L S K IL L
D IC T IO N A R Y
A player challenges another to say in one minute all the words he can think of
that start with a given letter of the alphabet. When time is called, the score is
given. The accepter may then select the initial letter his challenger is to use.
This may be made more difficult by giving the letters with which the words
are to start and also to end, as in the game o f Whirr. (See p. 63.) The chab
lenger and accepter may be allowed to say the words at the same time, in which
case tw o judges and a time keeper are needed.
M E M O R Y S E L E C T IO N S
The challenger gives a quotation from some specified field, such as the Bible,
poetry, or famous speeches, or he may declare before starting that he will use
any and all sources. The accepter must give the source and then recite the
quotation which is his own challenge. The original challenger states the source,
and so the game goes on until one player fails to identify the selection o f the
other.
In an easier form of the game the accepter gives the next line of the challenger’s
quotation. Thus if the challenger says, “ I wandered lonely as a cloud” , the
accepter must continue, “ That floats on high o’er dale and hill.”
AUTHORS
A book or poem may be named by the challenger and the author given by the
accepter, or the author’s name may be given and one of his works required.
A L P H A B E T SPEEC H ES
A challenge to an alphabet speech means that the accepter must try to make
a more impressive'sounding speech than the challenger, reciting the letters of the
alphabet instead of words and saying them with great feeling.
C H A IN S P E L L IN G
A team of four or more may challenge another team to spell words that start
with the last letter in words to be specified. Each word must be started before
the player preceding the speller can count 10. The challengers may select
cities, girls’ names, or any class o f words agreed upon. The game might go
like this if cities were chosen:
First player of challenging team: D E T R O IT , D E T R O I T , 1,
2, 3, etc.
First player of accepting team: T O R O N T O , T O R O N T O , 1,
2, 3, etc.
Second player of challenging team: O R LA N D O , O R L A N D O ,
1, 2, 3, etc.
When a player fails to think of a word before 10 is counted he drops out, and
the last speller selects another city to give to the next member of the opposing
3 9 056°— 36 ----- 6
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Handbook for Recreation Leaders
team. The game may be played until one player is left; if the teams are large
it may be played once through, the team with most members standing at the
close being declared the winner.
M U S IC A L M E M O R IE S
The challenger may hum a line or two of a song for the accepter to guess; or
he may clap the time o f a song. It is well to limit the field to old songs, popular
songs, or well-known hymns.
RH YM E BEFO RE TEN
The challenger gives a line to which the accepter must add a rhyming line
before the challenger counts to 10. For example, if the challenger should say,
“ There’s pudding for dinner” , the accepter might reply, “ That chef is a sinner!”
A t first it is well to count very slowly and not to be too critical in judging this
game. A s the players become skilled the score may be refused unless true
rhyme and fairly good rhythm are offered.
W R O N G C A P IT A L S
The challenger names a State capital, placing it in the wrong State. The
accepter must place it correctly before he takes his turn. For example, the
challenger may say, “ Montpelier is the capital of Kentucky.” The accepter
replies, “ Wrong! Montpelier is the capital of Vermont. Sacramento is the
capital o f Illinois.” The challenger must then locate Sacramento correctly,
and so the game goes on. One of the players may occasionally trip the other
by placing the capital in the right State, in which case he scores a point if his
opponent starts to correct his statement.
M IX E D D A T E S
The first player mentions a well-known event but gives with it the date of
some other event. The accepter must correct the date before he offers his own
challenge. For example, the first player may say, “ Columbus discovered Amer
ica in 1066.” The accepter says, “ Wrong! Columbus discovered America in
1492. Shakespeare died in 1812.” Neither player may name an event for which
he cannot himself give the date. One may trip the other occasionally by giving
the right date instead of a wrong one for the event he names.
“ U A U T O K N O W ” A N D O T H E R R ID D L E C O N T E S T S
Riddles make good challenge material. There should be no one challenger or
accepter, but any player who gives a riddle that is not guessed may score a
point for his side or team, and the player who guesses a riddle scores a point.
Individual players or the whole group may offer solutions.
A popular class of riddles may be announced as “ U A uto Know” , this title
furnishing the hint for the answers, all of which are names of automobiles. The
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Challenges
75
phrases in the following list suggest various automobiles, some being suitable
for repeated challenges because they describe more than one kind of automobile:
A crossing.
A city near San Francisco.
Poor Richard.
A musician’s name, misspelled.
Across the country.
A n explorer (three automobiles).
A county in England.
A city in Michigan (two automobiles).
A rock in N ew England.
A verb meaning to penetrate plus a
A verb meaning to grind, misspelled.
weapon.
A verb meaning to avoid.
A president of the United States (two
A river in N ew York State.
automobiles).
Another popular guessing game consists in giving advertising slogans. The
challenger recites the phrase or question that has become familiar through
widespread use in advertising, and the accepter or the opposing team or group
names the article meant. Examples are, “ The skin you love to touch , I se in
town, honey!” , “ Eventually, why not now?”
In still another type of riddle the name of a famous character may be the
answer required. The challenger mentions something that will bring to mind
a noted person or familiar mythological character. For example, “ Give me
liberty or give me death!” would be answered 4 Patrick Henry.
A glass
slipper” would be answered “ Cinderella.”
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DRAMATIC NUMBERS
should be the aim in dramatic productions ju st as in songs
or in any other activity. This is frequently overlooked when a program
is being planned. Sometimes recourse is had to a cheap type o f show because
it will be laughed at, regardless of the fact that it is an unsuitable thing upon
which to put time and effort. Good judgment and taste are necessary when a
group is at work on a dramatic project, for frequently as it develops it becomes
surprisingly out of balance.
Several types of very simple dramatic numbers are described in the following
pages. M any others can be developed if the time is taken to think out lines,
business, and effects.1
SH A D O W P IC T U R E S
H
igh quality
Shadow pictures can be very artistic or very crude. A brief rehearsal makes
a great difference in the effects obtained. T o make a screen for such pictures a
sheet may be hung in a double doorway or between the curtains on a stage. If
it is slightly damp, it will give better results. The lamp or electric bulb should
be about 5 feet behind the sheet and so placed that its distance from the floor
can be varied. For some numbers it will need to be almost on the floor; in
others it may be best if elevated 3 feet or more. The light is put out at the
end of each picture. A piece o f folded pasteboard can be used as a safety
screen for a kerosene lamp. Costumes and equipment are easily made from
newspapers, as is indicated in the illustration showing some players producing
a picture and others waiting for their turn. The action should take place as
close as possible to the sheet.
V ery soft music should be played during the pictures, but for some subjects
the accompanying verses fit better when they are recited with long pauses rather
than sung. There should be no intervals between the numbers in a group of
shadow pictures. A fter a group of four or five has been presented a break is
advisable, with perhaps a solo or a reading. Then another group of pictures
may follow.
Familiar musical numbers, advertisements, and nursery rhymes offer good sub
jects for shadow pictures, and whole plays may be acted in silhouette. Among
suitable nursery rhymes not included in the following sections are those of
Jack Be Nimble, Simple Simon and the Pieman, and Peter Pumpkin Eater— who
can be shown dragging his wife across the stage, thrusting her into the pumpkin
house, and banging its door shut.
1Suggestions may be found in various books dealing with entertainment o f dramatic character,
as Stunt Night Tonight, Producing Amateur Entertainments, Drama Clubs Step by Step, and
Play Production Made Easy. See pp. 98-100.
76
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Dramatic Numbers
77
Further suggestions as to method of production and effective subjects may
be found in such books as St. Nicholas Book of Plays and Operettas (p. 99).
L I T T L E M IS S M U F F E T
A girl in costume, with cap and puffed skirt, enters carrying spoon and bowl.
A very large paper spider on a string is let down close to her. She shows great
alarm and scampers off. A good accompaniment is the last part of Percy
Grainger’s Shepherd’s Hey.
W O O D EN S O L D IE R S ’ D R IL L
T w o or three persons are costumed like toy soldiers. They may have tri
angular hats, and pieces of paper may be so pinned to their clothing as to simulate
uniforms. They raise their arms shoulder-high, bend their elbows stiffly so that
their hands parallel the sides o f their hats, extend their arms diagonally over
head so that they cross their neighbors’ arms, lower to the second position, and
so continue with stiff, brisk motions. Some rehearsal is needed, but if a leader
stands behind the light, so that he will not be seen, he can give directions from
there which the soldiers can follow without difficulty. This should be accom
panied by lively march music, such as Victor Herbert’s M arch o f the Toys.
R O C K -A -B Y E , B A B Y
A girl sits rocking a baby, which can be a coat rolled up. She pats it and cradles
it in her arms while the song, Rock-a-bye, Baby, is sung or played. She may be
in costume to give an old-fashioned effect to the silhouette.
T H E O LD O A K EN B U C K E T
A boy and a girl stand on opposite sides of a well. The boy lets down a
,bucket, draws it up, and either pours a cupful for the girl or leans over and
allows her to drink from the bucket. The well usually is a piece of paper or a
scarf pinned to the clothes o f the actors, and the bucket is a book or a box on a
rope. The girl may have braids of hair wired to stand out from her head. The
music of The Old Oaken Bucket should be sung or played as accompaniment.
M IN U E T
A girl in colonial costume and a boy in knickers come in slowly from opposite
sides and bow. The boy presents a formal bouquet o f flowers. They bow
again. They walk backward to the edges o f the screen, then forward again and
bow. They join hands and rise high on their toes, lower their heels, and bow.
They separate, come together again, and finish with an especially deep bow.
M ozart’s M inuet from Don Juan may accompany this.
SE E -SA W
A boy and a girl hold a rope or scarf as though they were sitting on it. They
alternately stoop and rise as though riding on a see-saw. The rope must be
held very taut to look like the edge of a board. The music of See-saw, Margery
Daw may be played.
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O LD K IN G C O LE
Old King Cole walks in wearing crown and flowing cape and keeping step
with the recitation. He laughs, sits down, and claps his hands. A page brings
a pipe, hands it to him, and backs out bowing. Soon he claps his hands again,
and the page brings him a bowl, backing out as before. When he claps a third
time, three fiddlers in single file caper in. They fiddle and caper while the
last verse is read. A n effective accompaniment is For He’s a Jolly Good Fellow.
The illustration showing the three fiddlers and Old King Cole at the right indicates how fiddles and other equipment for this picture can be made of newspapers.
L I T T L E B O -P E E P
Little Bo-peep enters, looks all around, then weeps. A s she holds her hands
at her eyes she manages to drop the good-sized paper tears she has had concealed
in her hand. During the shower o f tears two sheep come in on all fours, w ag'
ging their tails. (How a sheep’s head can be made of newspapers is shown in
the illustration facing this page in which Little Bo-peep is waiting at the side
with one of the sheep, ready to go on when the time comes.) Bo-peep claps
her hands in delight and pats the head of the first sheep that reaches her. The
nursery tune Little Bo-peep may be played as an accompaniment.
This picture is especially good for the end of a shadow program because it is
sure to leave the audience laughing. If it is encored, as it usually is, Bo-peep
may stoop, gather up the paper tears from the floor, and conspicuously weep
them again.
T H E S P A N IS H C A V A L IE R
A boy wearing a wide hat strums a paper guitar while a girl with a high comb
in her hair or a rose over her ear leans from her balcony. She can secure the
balcony effect by standing on a chair that does not show and putting only her
head and shoulders into the light. The music of The Spanish Cavalier should
be sung or played.
T A B L E A U S A N D P A N T O M IM E S
Tableaus and pantomimes are effective for both large gatherings and small
groups. Their production is comparatively easy, and they may be presented on
a stage with curtains that draw, or behind a pair of double doors or curtained
doorway in a private home. Appropriate music played or sung softly makes a
pleasing accompaniment.
For tableaus a player who may be costumed as a page stands before the closed
curtains or doors and announces each title. The curtains or doors are opened
just far enough to show the picture and close in about 15 seconds. T w o or
three measures of the music can be played during this time, but a clever accom
panist will play during the announcement as well, weaving the tableau numbers
together in this way.
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Tableau subjects are easily found. Familiar advertisements from current
magazines are especially adaptable. A few examples that will suggest still
others are the following:
Keep That School-Girl Complexion: A young man helping a girl in even
ing dress into her coat while The Beautiful Blue Danube or A unt Dinah’s
Quilting Party is played.
I’se in Town, Honey: A black mammy holding aloft a plate of
griddle cakes while Dixie is played.
Chases Dirt: A girl in Dutch costume posing with a stick, as if chas
ing something along the ground, while Ach Du Lieber Augustin is
played.
When It Rains It Pours: A girl carrying an open umbrella and a
round pasteboard box while School Days is played.
Time to Retire: A small boy in sleeping garment yawning while
Good Night, Ladies, is played.
Themes for pantomimes may be found in episodes from familiar books, histori
cal events, or matters of local interest. Lists of pantomimes and directions for
their production may be found in books on dramatic work. (See p. 98.)
Pantomimes based on Bible stories are very effective, especially at outdoor
vesper services. It is hardly necessary to say that such dramatic pictures should
be made as beautiful and stately as possible and that they should be undertaken
in a spirit o f reverence. The reader stands near the audience and reads slowly
and distinctly from the Bible, timing the reading to the action that takes place
on the stage. Very soft instrumental music or singing by a concealed group of
singers adds greatly to the effect. The players may be costumed in bright
dressing gowns and scarfs, sheets, cheesecloth, and burlap. They move smoothly
and without any feeling of bustle or haste. The following stories may be used
with a little adaptation, and many others can be added:
The
The
The
The
The
Good Samaritan; St. Luke x, 30-35.
Prodigal Son; St. Luke xv, 11-24.
Wise and Foolish Virgins; St. M atthews xxv, 1-13.
Infant M oses; Exodus ii, 1-10.
Story of Ruth: Ruth i, 8-19; ii, 2-12; iv, 10-11.
D R A M A T IZ E D PO EM S
Dramatized poems furnish excellent entertainment material. M any wellknown poems will be found effective in dramatization, and certain M other Goose
rhymes are also suitable. A poem that tells a story should be chosen. The
following sections give suggestions for dramatizing four familiar poems;
namely, Riley’s Little Orphant Annie, Scott’s Lochinvar, Lowell’s The Singing
Leaves, and Tennyson’s Lady Clare.2
2 For the words of these poems see the appendix, p. 101. For other suitable material for drama
tisation see St. Nicholas Book of Plays and Operettas— in which The Modern and Medieval Ballad
of M ary Jane may be especially mentioned— and Story-Telling Ballads listed on p. 99.
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Handbook for Recreation Leaders
L IT T L E O R P H A N T A N N IE
The poem Little Orphant Annie is easily dramatized because each of its four
stanzas describes a complete episode. A girl who is rather good at acting a
part should be selected for Annie, the chief character; the four or five children
taking the other parts should be smaller. A person stands outside the curtains
on the side on which Annie will sit and reads or recites the poem while it is
acted. During the reading of the first stanzia Annie moves about the stage,
dusting and straightening things. A t the line, “ We set around the kitchen
fire” , she sits down in a chair at one side of the stage near the front and begins
to pantomime her stories. The children gather around her, sit on the floor at
her feet, watch her closely, and occasionally crowd together in fear.
For the second stanza the little boy, his father and mother, and tw o goblins are
the necessary characters. N o stage property is needed, the boy merely pretend'
ing to turn down the covers of his bed; but if it is desired a divan or camp bed
may be used. This may be covered with a couch cover or an Indian blanket and
can pass for living-room furniture in the dramatization of the next verse, es
pecially if the mother straightens it as she searches. The goblins should be
draped in black if possible, but sheets may be used and the word “ white” sub
stituted for “ black” in the reading of the poem. The following action takes
place in the center o f the stage: The boy struts in bravely, starts to kneel, then
changes his mind and turns down the covers. The goblins enter and remove
him. His father and mother come on and search for him, find his trousers (which
have been left on the bed), and go out mournfully.
On the third stanza the little girl and her mother enter from one side as her
mother’s friends (two or three) come in from the other. While the mother
greets the callers the girl grimaces and makes fun, tugs at her mother’s dress,
then turns saucily to run away. The goblins appear and remove her. The
mother goes out weeping, while the friends depart with gestures to indicate
that they say, “ I told you so.”
The last stanzia gives opportunity for clever pantomime. It is rather difficult
to keep from overdoing, however, and if it seems too much it should be omitted.
A n excellent musical accompaniment is Cui’s Orientale.
L O C H IN V A R
During the reading of the first stanzia of the ballad of Lochinvar the members
of the bridal party enter and walk back and forth talking. During the first four
lines of the second stanzia the bride and groom and the father and mother enter.
The guests line up on both sides as these four walk up the center to the back of
the stage, turn, and face the audience. While the last tw o lines are given,
Lochinvar is seen riding swiftly in on a horse— which may be a broom, or a
stick.
A t the beginning of the third stanzia Lochinvar leaps off and hands his horse
to the hostler, who is standing down front at one side and who should be holding
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Dramatic Numbers
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as many horses as there are men among the guests. With the second line
Lochinvar strides up to the bridal party, bows, pushes the groom aside, and steps
into his place. Ju st after the fourth line the father steps forward, touches his
sword and scowls, then nods at Ellen and indicates by gesture his inquiry as to
Lochinvar’s intent.
A s the fourth stanza begins Lochinvar brings his arms up to show the swelling
tide, drops them for the ebbing, and looks long at Ellen. A t the words, “ T o
lead but one measure” , he takes her hand as though to dance, drops it, and faces
the father haughtily. A t the last line he touches his own chest.
With the fifth stanza a serving maid near Ellen hands her a goblet. Ellen
touches her lips to it and hands it to Lochinvar. He drinks from it and tosses it
away. Ellen looks down, then up at Lochinvar. He takes her hand and they
walk down stage in slow and stately measure.
A s the sixth stanza begins the bridal party follows. The mother and father
and the ousted bridegroom remain back stage— the mother crying, the father
gesturing angrily, and the bridegroom sheepishly dangling his plumed hat. The
bridal party remains in the center, but its members spread right and left and go
through the steps of a slow minuet.
A s the seventh stanza begins Lochinvar leads Ellen near the hostler, leans over,
and whispers to her. She nods. He takes his stick horse from the hostler, gets
on it, and puts his arm around Ellen as if helping her to mount behind him. Then
he gallops out with her. The bridal party stops and looks after them in amaze
ment, then the men hurry to the hostler and take horses from him. A s they
ride away the girls look after them and whisper excitedly, and the mother
wrings her hands while one or two girls fan her. During the last stanza all
walk slowly off the stage.
Schumann’s The Wild Horseman may be played softly to accompany parts of
this poem, and at the end of the sixth stanza a few measures of minuet music are
suitable.
T H E S IN G IN G L E A V E S
For dramatization o f Lowell’s ballad of The Singing Leaves five characters are
required— the king, his three daughters, and the page. The girls representing
the three daughters should be quite different in type. The one who takes the
part of Princess Anne, the “ least daughter” , should be smaller than the others
and should have golden or light hair.
While the first seven stanzas are being read the princesses pantomime their
requests in turn. A t the seventh the king mounts his horse and rides out,
accompanied by Walter, the page. His daughters wave good-bye and retire in
the opposite direction.
A s the second part of the poem is being read the king rides in with rich-looking
packages tied behind him and pantomimes further search. When Walter turns
to him he stops and listens. Walter indicates his offer and request. The king
considers, nods consent, accepts the package, an d rides off with the page at
his stirrup.
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Handbook for Recreation Leaders
A t the beginning of the third part of the poem Princess Anne runs in as the
king and the page enter. The king leaps from his horse, greets his daughter,
shakes his head sadly, and hands to her the packet that he received from Walter
A s she opens it and takes out the leaves one by one, very soft singing may be
heard from behind the stage. She holds each leaf against her cheek while she
listens. While the singing for the third leaf is heard she turns toward Walter.
He comes forward and kneels before her. The king gives his blessing. Then
Walter and Princess Anne join hands and walk off.
A suitable accompaniment is Kreisler’s Rondino. For the singing of the
leaves the Bohemian folk song “ Good Night, Beloved, may be sung softly or
played on the violin as counterpoint to the rondino.
LADY CLARE
Only three characters are needed for dramatisation of Tennyson’s ballad of
Lady Clare. These are Lady Clare, Lord Ronald, and Alice, the old nurse.
The players impersonating Lord Ronald and Lady Clare enter hand in hand as
the reading of the first stanzja is coming to an end. Lord Ronald bids Lady Clare
a slow and lingering farewell, then goes out. Lady Clare watches him and waves
good-bye. She turns about, stretches her arms back and looks up. She stands
there dreaming until Alice enters (on fourth stanza) and pantomimes her
question. Lady Clare’s gestures indicate a delighted answer. Alice smiles and
nods. Then she spreads her hands wide in gratitude and appears to make the
announcement given in the fifth stanza. Lady Clare shows her excitement, moves
over and touches Alice’s arm, then drops her head. The dialog continues. On
the ninth stanza Alice pats Lady Clare’s shoulder and nods consolingly. Lady
Clare takes off the bright-colored robe that she is wearing and removes her
jewelry while the nurse tries to restrain her. Lady Clare repulses this and pan
tomimes her determination to give up her rights. Finally when Alice asks her
for a kiss she moves over and kisses her. Alice bestows her blessing, and they
go out together.
The stage is empty when the fifteenth stanza is begun. Then Lady Clare
comes slowly in. Lord Ronald comes to meet her from the opposite side. He
questions her concerning her change of dress. She explains in pantomime. He
shakes his head and laughs. While the last few lines are being given he puts
his arm about her and leads her off the stage.
A suitable accompaniment for this poem is Schumann’s Traiimerei.
D R A M A T IZ E D SO N G S
M O LLY M A LO N E *
The questions and answers may be sung by two groups of players. For
example, the boys may sing the questions and the girls may sing the answers, or
8Words and music included by permission of M . Witmark 6? Sons, owners of the copyright.
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the whole group may sing while a boy and a girl on the stage pantomime the
action.
“ Is your mother in, M olly Malone?”
“ No, she’s out.”
“ Is your father in, M olly Malone?”
“ N o, he’s out.”
“ Then may I come in by the fireside,
“ A nd sit for a while with you?”
“ But she said, with a smile,
“ No, you can’t for a while,
“ For the fire’s out, too.”
cant for
a
while, For th e
fire 's out,
too.”
T H E R E W AS A N OLD W OM AN
fTune: All Praise to St. PatrickJ
The action for this song may be pantomimed by three characters. The old
woman should wear a skirt of tw o bright colors of crepe paper or cambric, the
lower part separate from the upper part and pinned on so that it can be detached
easily when the peddler goes through the motions of cutting it off. The dog may
be played by a small child in a tight brown or black bathing suit or sleeping suit.
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The old woman enters on the first line, lies down, and goes to sleep. On the
second stanza. the peddler enters, cuts the petticoat, and carries it off with him.
A t the third stanza the old woman shivers, sneezes, awakens, stretches, and looks
at herself with amazement. On the fourth she gets up and starts home, hobbling
back and forth across the stage and looking a t herself. On the fifth the dog sees
her, sits up to look at her, barks, and then chases her off the stage.
There was an old woman, as I’ve heard tell,
She went to the market, her eggs for to sell;
She went to the market, as I’ve heard say,
A nd fell asleep on the king’s highway.
There came by a peddler whose name was Stout,
He cut her petticoats all roundabout;
He cut her petticoats up to her knees,
Which made the old woman to shiver and sneeze.
When this little woman did first awake,
She began to shiver and she began to shake;
She began to wonder and she began to cry,
“ Oh deary me, this can never be I !
“ But if it be I, as I hope it may be,
I’ve a doggie at home, and he knows me;
A nd if it be I, he will wag his tail,
A nd if it’s not I, he will bark and wail.”
Home went the old woman, all in the dark,
Then up got her dog and began to bark;
He began to bark and she began to cry,
“ Deary me, dear! This is none of I !”
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MUSIC
M
usic is tne source of many types of enjoyment. There is a deep satisfac'
tion that comes from creating music by voice or instrument as well as
the pleasure that may be found in listening. Training and encouragement in'
crease the individual’s enjoyment in both these fields. Many adults protest
that they are not musical and can do little to assist children with music. It is
true that those who understand music can be of most value, but persons with'
out musical education can learn to sing for their own pleasure and to enjoy the
simple, beautiful songs and the stirring rhythms in the melodies of the great
composers. Simple melody and clearly defined rhythm make the strongest appeal
to children. As these are characteristic of folk music, this type also is valuable
as a means of introducing boys and girls to good music.
G R O U P S IN G IN G
Nothing more completely draws a group together than singing. It can mean
so much to the unity of a group, as well as to the enjoyment of the individuals
who compose it, that group singing deserves serious thought and planning.
Although relatively few children will use their training in music to sing pro'
fessionally, singing as a joyous experience, as an outlet for the emotions, and as
a creative activity is well worth deliberate cultivation.
In small informal groups the song leader will have to work out the method
that best serves his need. In a group of young children the song may be pre'
sented first as a poem or story to be discussed until it is thoroughly understood,
listened to until the tune is familiar, then hummed, sung softly, and finally s ung
with understanding and enjoyment. An older group may enjoy working on
parts, trying over many songs to discover favorites, studying the rhythmic
pattern of songs and developing ability to sing with the emphasis and feeling
that result from real appreciation of the words and melody.
Many excellent collections of tuneful, simple folk songs that boys and girls
enjoy have been published. Some of these collections are so planned that the
ingenious leader can use them with simple folk dances for festivals and other
celebrations.1
It is well to start the program with a song the group knows and enjoys singing.
The leader should arrange for variety in his selection and should end with a
song that leaves the group ready for the program which is to follow. He should
announce each song clearly and be sure that the starting pitch has been heard.
1 See A Book o f Songs with Piano Accompaniment for Unison and Part Singing, Ten Folk
Songs and Ballads for School, Home, and Camp, and Ten More Folk Songs and Ballads listed
on pp. 98, 100.
85
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Handbook for Recreation Leaders
The start must be made decisively so that everyone will know just when he is
expected to begin to sing. The ending must be definite also. If there is an
accompanist, the piano should be placed so that the accompanist can see the
leader comfortably. It is better to have no accompaniment than to have a poor
one.
For the best results in community singing with large groups, rather formal
leading is needed. The song leader sets the mood of the singers by his manner
of conducting. If he shouts and waves his arms violently, he can soon wear the
people out with loud singing and artificial enthusiasm. If he is merely sharing
with them the songs he himself obviously enjoys, they, too, will enjoy them in
very much the same spirit.
The ability to lead well depends to some extent on one’s assurance. Expert
ence in leading will help to create this, of course, but practice in the motions
by which songs are led will give valuable preparation in advance. The practice
ing should be done before a mirror until the motions have become so familiar
that they are easy and natural. The leader should be able to have his thoughts
on the song and on the group who are singing it, not on his hands. His enthusi'
asm and the extent to which he has caught the spirit of the song, not his vigor
of motion, will win the group’s best response.
To start any song the leader has his hand up in order that he may bring it
down to accent the first beat in a measure. The following examples and the
accompanying diagrams illustrate the most usual rhythms:
Dixie,
Billy Boy,
Yankee Doodle,
Oh! Susanna.
Songs in Three'Four Time
Come, Thou Almighty King,
Flow Gently, Sweet Afton,
Juanita,
Let Me Call You Sweetheart.
Songs in Four'Four Time
America, the Beautiful,
Old Folks at Home,
Annie Laurie,
All through the Night.
Songs in Six' Eight Time
Silent Night,
Sweet and Low,
Day Is Dying in the West,
Drink to Me Only with Thine Eyes.
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Not all songs start with an accented beat. The first note or two are some,
times the last of the final measure, carried over to the beginning to start the song.
Thus one would not accent, in America, the Beautiful, the first word in the first
line, rendering it
JL
2
3
4
1 2
3
4
“ O beau* th ful, for spa' cious skies,”
because this would put the emphasis on the unimportant words “ O” and “ for.”
Instead the accent should start with the second word, thus:
m4
1
2
3
4
I
2
3
O beau' ti' ful, for spa' cious skies.”
Another example may be seen in Dixie, which has two unaccented notes to
start:
2 and 1 and 2 and 1 and 2 and
“ Well, I wish I was in de land ob cot' ton.”
When a song starts in this fashion the leader raises his
arm, but instead of bringing it down on the unaccented
note or notes he describes a small arc or two, as shown in
the diagram.
When the leader wishes a note to be held beyond its
regular beat in the measure because it marks a rlimaT or
because a word or syllable is to be emphasized, he will extend his arm to in
dicate how long he wishes it held. He must be careful to finish the remaining
counts in the measure, so that the rest of the song will have the right accent.
For example, in Flow Gently, Sweet Afton, the second note of the third
measure from the last, to which the word you is sung, is usually held.
Having extended his arm to hold this note, the leader must not fail to bring
it up on the third beat of that measure, so that he can finish with the right
motions.
S O N G S F O R G R O U P S IN G IN G
The following songs, which are very generally familiar, will be found satis
factory for group singing. These and many other old favorites can be found
in almost any song book.2 A number of modem songs are familiar and appro'
priate also. The figures in parentheses following the titles indicate the rhythm
in which the song is written.
Abide With Me (%).
All Through the Night (%).
America, the Beautiful (%).
2 Among the books that will be found convenient may be mentioned Twice 55 Plus Com.
munity Songs, The Home and Community Song Book, and The New American Song Book. See
pp. 99, 100.
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88
Annie Laurie 00.
Aunt Dinah’s Quilting Party 00.
Believe Me, If All Those Endearing Young Charms 00.
Billy Boy 00.
Carry Me Back to Old Virginny (%).
Come, Thou Almighty King 00.
Day Is Dying in the West 00.
Dixie (%).
Dogie Song, The (cowboy song) 00.
Drink to Me Only with Thine Eyes (%).
Faith of Our Fathers 0 0 Flow Gently, Sweet Afton (%).
Good Night, Ladies 0 0 Holy, Holy, Holy 00.
Home on the Range 00.
Jingle Bells 00.
Juanita (%).
Let Me Call You Sweetheart 00- .
Levee Song 00.
Love’s Old Sweet Song 0 0 Merry Life, A (Funiculi, Funicula) (fast %, beaten as %).
My Heart’s in the Highlands 00.
My Old Kentucky Home 0 0 Nobody Knows the Trouble I See (Negro spiritual) 00.
O Sole Mio (My Sunshine) 00.
Oh Dear, What Can the Matter Be (%).
Old Dan Tucker 00.
Old Folks at Home (Swanee Ribber) 00.
Old Oaken Bucket, The 00.
Silent Night (%).
Sailing, Sailing (fast %, beaten as %).
Spanish Cavalier, The 00Stars of the Summer Night 00.
Sweet and Low (%).
M O T IO N SO N G S
Songs that can be interpreted by motions or gestures may increase the
interest o f a group and lend variety to the entertainment. They are especially
effective as breaks in a long program o f speeches or reports. The tunes for
songs for which the music is. not reproduced in this section can be found in
Twice 55 Games with M usic or other music book. (See p. 100.)
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Music
89
T HE CROCODI L E
Oh, she sailed away on. a sunny summer’s day J flutter hands}
On the back of a crocodile f ma\e crocodile mouth by flapping handsJ;
“ You see,” said she, “ he’s as tame as he can be }pat bac\ of hand}[
I’ll speed him down the Nile” f flutter fingersJ.
The croc winked his eye as she bade them all goodbye £point to win\, wave
goodbye}
Wearing a happy smile £outline smile}
A t the end of the ride f whirl hands|
The lady was inside £hands on stomach J,
And the smile was on the crocodile £outline smile and ma\e crocodile mouth}.
# 4À
*
7
/
T /~\
7
The Crocodile
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Oh,she sailed a-way on a sun-ny sum-mer’s day, On the
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“ You
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s< ie” said she “he’s as
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s—d d
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tame as he can be! I’ll, speed him down the Nile.”
The
r - ) % - .....- ----------^ *-------- T------— r --------- N _ h----------- k ----------------------%
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*
___ _____
mm ^
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____ L_
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/
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croc winhed his eye as she bade them all good - by,
r-.Wb.------------------rT------ ^----- ___ :___ ___ ■>.V7
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t .____ P____
.--- d -~
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Wear-in^ a hap- py smile. At the
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_________&_________________
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la-dy was in- .. And the smile was on the croc-o- dile.
J
side,
39056°— 36----- 7
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Federal Reserve Bank of St. Louis
Handbook for Recreation Leaders
90
A L O N G C A M E A SP ID E R
Along came a spider f ma\e first two fingers w al\J
A nd climbed up a spout f spiral upward with one handj
Down came the rain flower both hands, moving fingers}
A nd washed the spider out f draw hands apart}.
O ut came the sun [point u p f
A nd dried up the rain | draw hands apart};
A nd the little brown spider f ma\e fingers wal}(}
Climbed up the spout again fspirai upward}.
Alor\£ Cam© a Spider
©own came the rain and washed the spi der out.
tv&---- ---- V---- r,
1
___________ £__£—
he
sun
and
dried
up
the rain; and the
Out came t
LkZ—
—«1*■-«1----«M
---------lit tie brown spi der climbed up the spout a¿ainT H E S M O K E W E N T U P T H E C H IM N E Y
Oh, she pushed the damper in {[push hands forward},
And she pulled the damper out {draw hands buc^J,
A nd the smoke went up the chimney [spiral with both hands until they are
extended overhead}
Ju st the same [spiral with right hand} !
Ju st the same [spiral with left hand} !
A nd the smoke went up the chimney ju st the same [spiral with both bunds]}!
Oh, she pushed the damper in {[push hands forward},
A nd she pulled the damper out [draw hands bac\J,
A nd the smoke went up the chimney just the same [spiral with both hands until
they are extended overhead}.
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M usic
91
O LD K IN G C O LE
The players are divided into five sections. The entire group sings the first
four lines o f the song. The first section— representing the buglers— then rises
and sings the first line. The entire group sings the chorus.
The song is repeated, the second section o f players— representing the pri*
vates— rising and singing the second line. Immediately thereafter the first
section rises and sings the first line, and the entire group sings the chorus.
On the next repetition the third section sings the third line, the second
sings the second line, and the first sings the first line. Then the entire group
sings the chorus.
In the same way the fourth line is added by the fourth section when the song
is sung for the fourth time, and the fifth line is similarly added by the fifth
section.
Old King Cote
t
Old King Cole was a
j
r
,|
___£____si____
____N
----« ---- m ----®___ 1
m e r-ry
m er- ry
E5
' w
old soul, And a
N
fc-..
— ZJ— l
_
v —:— —
_----— fc-
old sou! was he*, He calledfor his pipe,and he
m--------------------------------------- -,
Û
S
mJ----- -- J
«J
f —
-----9
9
calledfor his bowl, And he c alle d fo r his fid-dlers three.
*
a.
“ *foot^ to o t, t i , toot, to o t,
MutH* gan a-gain. t o £We
wont leave fo r a
“ Hold
my^
horse by the
s. The a r rnys gone to the
toot’,’ said the buglers,
day”saidthe pri-vate.
year” said the captain.
head’,’said the ma-jo*?
dogd’said the gen1rah
Chorus
7^
v «
All good menare we, For there’s none so fair as
r * ---------------------------------
—
9»
a
----- 9
can com-pare with the C a - r ia r d i
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an
In - f a n - t r y *
Handbook for Recreation Leaders
92
T O D A Y IS M O N D A Y
The players are divided into seven groups— one for each day of the week.
Each group rises at every mention o f its day, sings its own particular line com
ceming the food or other item for that day, and sits down again. A t each
repetition of the song by all the players the name of the succeeding day is used.
A fter the special line for a day has been sung by the appointed group the lines
for the previous days are sung in reverse order by the groups that previously
sang them. The following stanzas with the accompanying directions show the
method, the items for the remaining stanzas being, for Thursday, roast beef; for
Friday, fish; for Saturday, pay day; and for Sunday, church:
Today is Monday ftall the players singf,
Today is M onday {all the players sing]},
Monday bread and butter {[first group rises and sings]}.
A ll you hungry children f all the players sing},
We wish the same to you {all the players sing|.
Today is Tuesday {all the players singf,
Today is Tuesday fall the players singf,
Tuesday string beans ftsecond group rises and singsf.
M onday bread and butter {[first group rises and singsf.
A ll you hungry children f all the players singf,
We wish the same to you {all the players singf.
Today is Wednesday fall the players sing] ,
Today is Wednesday {all the players singf,
Wednesday soup fthird group rises and singsf,
Tuesday string beans f second section rises and singsf,
Monday bread and butter {[first group rises and singsf.
A ll you hungry children {all the players singf,
We wish the same to you {all the players singf.
ROUNDS
A round is a song for which the singers are divided into three or more groups.
One group begins the song; the second begins it when the first group is begin
ning the second line; the third group begins it when the second group is begin
ning the second line; and so the song continues until each group has sung the
whole song through at least once— usually three times. The tunes for the
following rounds are in Twice 55 Games with M usic and other music books.
(See p. 98.)
M E R R IL Y , M E R R IL Y
Merrily, merrily, greet the mom,
Cheerily, cheerily, sound the horn;
Hark to the echoes, hear them play,
O ’er hill and dale, and far away.
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M usic
L IT T L E T O M T IN K E R
Little Tom Tinker was burnt by a clinker,
A nd he began to cry,
“ M a---------ma!”
Poor little innocent b’y!
W H E R E IS JO H N ?
Where is John? The old white hen has left her pen!
Oh, where is John? The cows are in the com again!
Oh, J --------- o---------h---------n !
EA R LY TO BED
Early to bed and early to rise
M akes a man healthy and wealthy and wise,
Wise, healthy, and wealthy.
OH, HOW LO V ELY
Oh, how lovely is the evening, is the evening,
When the bells are sweetly ringing, sweetly ringing
Ding, dong, ding! Ding, dong, ding!
A R E Y O U S L E E P IN G ?
A re you sleeping? A re you sleeping,
Brother John, Brother John?
Morning bells are ringing, morning bells are ringing
Ding, ding, dong! Ding, ding, dong!
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93
DEVELOPING APPRECIATION OF MUSIC
to music enriches the leisure of many persons, even o f those who cannot play any instrument and cannot read a musical note. M any others
would like to get pleasure from good music, but they do not know how, and they
do not realise that this capacity can be developed. Boys and girls who belong
to clubs or are in camps have an especially good opportunity to learn to enjoy
good music, for the social spirit that prevails in such gatherings often induces
them to listen appreciatively to compositions they might otherwise regard
as uninteresting.
tening
SU G G E ST IO N S F O R P L A N N IN G M U SIC A L P R O G R A M S
In planning “ listening” programs the main dependence will be on phonograph
records as a rule; it is well, however, for the leader to include in his programs
some performances by any members o f the group who can play or sing well and
also to take advantage of especially good radio programs. When planning the
program the leader should at first choose records of simple and melodious pieces
that are easy to listen to and thus furnish a good introduction for developing
appreciation of more difficult music. MacDowelTs T o a Wild Rose, Dvorak’s
Humoresque, and Saint-Saëns’ The Swan are good selections for beginners. A s
the group becomes familiar with these simpler pieces, more difficult ones may be
added. Do not play more than two or three records in succession, and do not
play any record so often that the group will become tired of it. V ary the
program by having discussion between records, or group singing, or solos, duets,
or other performances by members o f the group.
In selecting records for the enjoyment of the group it must be remembered that
recognition is the first step toward appreciation. Accordingly the program
should contain familiar pieces, with only a few unfamiliar ones added at a time.
Often it is a good idea to familiarize the group with a composition in some
indirect manner before expecting that it will be enjoyed as part o f a musical
program. One way to do this is to play the new composition in connection
with some other activity, without calling attention to it. The leader may find
among the compositions suitable for program use some pieces that can serve
occasionally for accompaniments. For example, Sousa’s The Stars and Stripes
Forever can accompany marching, and Kreisler’s Liebesfreud, Strauss’ The
Beautiful Blue Danube, or other waltzes can accompany dancing. The use of
various other compositions to accompany dramatized poems, dramatized
advertisements, and shadow pictures has already been suggested.
In addition to the advantage of preliminary use as an aid to recognition on
programs, some familiarity with the music that is being played will make the
young folks less likely to feel that instruction is being forced upon them.
94
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Developing Appreciation o f M usic
95
O f course a group can readily become familiar with music that is suitable for
group singing and chorus work. Boys and girls who have sung Verdi’s Anvil
Chorus, Handel’s Largo, or Schubert’s Who Is Sylvia? will enjoy these compose
tions the more when they hear them played on a record or over the radio.
For beginners a group of related numbers is usually more interesting than music
chosen without a program theme. Although it is not necessary to have a theme
on every occasion, such a plan will help children— and adults as well— to make
a pleasant first acquaintance with music of a permanent character. M any com'
binations will suggest themselves, such as national airs, story music from grand
opera, dances, work songs, and selections relating to outof'doors. The use of
illustrative material is an added attraction; for example, pictures o f period or
folk costumes may be displayed. If a program o f dance music is being given,
probably the listeners will enjoy deciding which number seems best suited to the
steps one could take in a colonial costume, which number reveals Irish tempera'
ment, which is of gypsy character, and so on. Such a program might include a
simple folk dance or two, in which four or five couples or all the group take part,
as the following:
M inuet in G
Spanish Dance
Green Sleeves
Dance from Hansel and Gretel
Irish Washerwoman
Virginia Reel
Work songs may vary from the chantey of the sailor and the song of the cowboy to the stirring march of soldiers and the cheerful hum of the spinning wheel.
Again the group should participate, as by singing some of the numbers. The
following selections would make a good program:
Sailing, Sailing
Song of the Volga Boatman
The Dogie Song
The Stars and Stripes Forever
Spinning Song
W e’re Bound for Rio
Nobody Knows the Trouble I See
Santa Lucia
A group of selections relating to outof'doors, including two or three the
group might sing, is shown in the following list:
The Swan
Flight of the Bumblebee
Come Follow
The Gypsy Trail
Under the Leaves
Papillon
M y Heart’s in the Highlands
Hark! Hark! The Lark
A fter a composition has been played in a musical program the group may
enjoy discussing i t .1 The leader may tell an anecdote about the music, such as
that Chopin is said to have composed the M inute W alt? after watching a little
dog chase its tail. That this wait? received its popular name from the fact that
it can be played in just one minute may also interest the listeners. Conversa'
tion about the composer’s life sometimes is pleasing to a group, but the mere
1 The following books will be found helpful in planning for discussion: The Common Sense of
Music, Music through the Ages, Music Appreciation Taught by Means of the Phonograph, and
Music and the Child. See pp. 98-100.
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96
Handbook for Recreation Leaders
recital of dates and other biographical facts should be avoided, as these can be
dull and may then lessen the interest in the composition rather than increase it.
A s the members o f the group become familiar with certain compositions they
probably will feel more free to talk about what they notice in the music, and in
addition they will notice more things about it. Gradually they will realize
more fully that pleasure maybe found not only in hearing the melody and rhythm
of a composition but also in observing the beauty of tone o f the voice or
instrument, in recognizing the skill of the composer in building his work, and
lastly in responding sympathetically to his mood. The music will seem not
merely charming in sound and interesting in construction but also expressive;
the listeners— realizing that the composer was trying to reveal some thought
or longing or emotion and to call forth an answer in his hearers’ minds— will
feel themselves responding, with resulting permanent enrichment of mind and
spirit.
The leader’s own attitude toward the music influences that of the group.
Some persons seem to regard music as of minor importance and chatter while it
is being played over the radio or on a phonograph at home, and they may start
to do the same thing during the club or camp program. The leader’s attitude
can make it plain that he considers the music worthy of everyone’s entire atten^
tion and that he expects all the members o f the group to listen with as undivided
attention as he himself is giving.
CO M PO SITIO N S F O R M U SIC A L P R O G R A M S
So much beautiful music is available on phonograph records as well as over the
radio that the leader planning programs for development o f music appreciation
will find a wealth of material at hand. The following short list of compositions
is given to afford help in planning the first few programs:
Anvil Chorus from II Trovatore, by Giuseppe Verdi.
Beautiful Blue Danube, The, by Johann Strauss.
Come Follow (old English round).
Dogie Song, The (cowboy song).
Flight of the Bumblebee, The, by Nikolay Rimsky'Korsakov.
Green Sleeves (old English country dance).
Gypsy Trail, The, by T od Galloway.
Hark I Hark! The Lark, by Franz Schubert.
Humoresque, by Anton Dvorak.
Irish Washerwoman (old Irish dance).
Largo from Xerxes, by Georg Friedrich Handel.
Liebesfreud, by Fritz Kreisler.
M arch o f the T oys from Babes in Toyland, by Victor Herbert.
M inuet from Don Juan, by Wolfgang Mozart.
M inuet in G , by Ludwig von Beethoven.
M inute Waltz, by Frederic Chopin.
Narcissus, by Ethelbert Nevin.
Orientale (No. 9 o f Kaleidoscope) by Cesar Cui.
Overture from Hansel and Gretel, by Engelbert Humperdinck.
Papillon (Butterfly), by Edvard Grieg.
Pomp and Circumstance (March No. 1), by Edward Elgar.
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Developing Appreciation of M usic
Quartet from Rigoletto, by Giuseppe Verdi.
Rondino (based on theme from Beethoven), by Fritz Kreisler.
Santa Lucia (Neapolitan folk song).
Sextette from Lucia, by Gaetano Donizetti.
Shepherd’s Hey, by Percy Grainger.
Song of the Volga Boatmen (Russian folk song).
Spanish Dance N o. 1, by Moritz Moszkowski.
Spinning Song, by Felix Mendelssohn.
Stars and Stripes Forever, The, by John Philip Sousa.
Souvenir, by Franz Drdla.
Swan, The, by Camille Saint'Saëns.
T o a Wild Rose, by Edward MacDowell.
T o the Evening Star from Tannhäuser, by Richard Wagner.
Traumerei, by Robert Schumann.
Under the Leaves, by François Thomé.
W e’re Bound for Rio (sailor’s chantey).
Who Is Sylvia? by Franz Schubert.
Wild Horseman, The, by Robert Schumann.
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97
LIST OF REFERENCES
B a n c r o ft, Je ss ie H . : Games for the Playground, Home, School, and Gym-*
nasium. Macmillan Co., New York, 1918. 463 pp.
A collection of games classified for use with groups of various ages, indoors and out.
B a u e r , M a r io n , a n d E t h e l R . P e y s e r : M usic through the A ges; a
narrative for student and layman. G. P. Putnam’s Sons, N ew York, 1932.
572 pp.
Information about the development of music from early times through the twentieth century.
B o w e r s , E t h e l: Recreation for Girls and Women. A . S. Barnes 6? Co.,
New York, 1934. 425 pp.
Deals with physical, creative, social, mental, and service activities for various ages and with
methods of organization and administration.
B r e e n , M a r y J . : Partners in Play; recreation for young men and women
together. National Recreation Association, 315 Fourth Avenue, N ew York,
1934. 130 pp.
Activities for older boys and girls, and a brief discussion of their psychology.
C o n d u c t o f P la y g r o u n d s , T h e . National Recreation Association, 315
Fourth Avenue, New York. (No date.) 56 pp.
A brief manual for instructors, covering programs, activities, and supplies.
D a v is o n , A r c h ib a ld T . , T h o m a s W . S u r e t t e , a n d A u g u s t u s D .
Z a n z ig (e d ito r s): A Book o f Songs with Piano Accompaniment for
Unison and Part Singing. E. C . Schirmer M usic Co., Boston, 1924. 314 pp.
Part songs and folk songs suitable for children 10 years of age and older.
E d u c a tio n , O ffice o f. U . S . D e p a r tm e n t o f th e I n t e r io r : The A p
preciation o f M usic. Reading Course N o. 31. Washington, 1927. 6 pp.
A brief discussion of listening to music, with a bibliography.
F e r r is , H e le n J . : Producing Amateur Entertainments; varied stunts and
other numbers, with program plans and directions. E. P. Dutton Co., New
York, 1921. 266 pp.
Suggestions for skits and stunts and their production for fun and for money.
H e d g es, S id n e y G . : Indoor and Community Games. J . B. Lippincott Co.,
Philadelphia, 1933. 160 pp.
A collection of less familiar games by an English recreation worker.
H e r r in g , E liz a b e th B . (compiler): A Program Book for Young Women in
Small Communities. Womans Press, New York, 1933. 29 pp.
A n outline of suggestions for social and study groups.
H o b b s, M a b e l F . : Play Production M ade Easy. National Recreation A sso
ciation, 315 Fourth Avenue, New York, 1933. 71 pp.
Discussion of production, improvised stage equipment, and organization; lists of plays; and a
few short skits and pantomimes.
Ja c k s , L . P . : Education o f the Whole M an. Harper 6? Bros., N ew York,
1931. 155 pp.
A philosophy of broad living—“ coeducation of mind and body” — that includes consideration
of education for leisure.
98
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List of References
99
L a w s o n , A r t h u r H . : Homemade Games; how to make and play indoor and
outdoor games. J . B. Lippincott Co., Philadelphia, 1934. 266 pp.
Directions for making the equipment for a number of games, with brief outline of the rules for
playing them.
L e e , Jo se p h : Play in Education. Macmillan Co., New York, 1915. 500 pp.
A discussion o f the nature and importance of play in the development of the child.
M a so n , D a n ie l G . : From Song to Symphony. Oliver Ditson Co.. Boston,
1924. 243 pp.
A discussion of types of music, their appeal, their aims, and their construction.
M ille r , C a t h e r in e A . : Stunt Night Tonight! Doubleday, Doran 6? Co
New York, 1928. 200 pp.
Descriptions of stunts of many kinds with suggestions for their production.
M itc h e ll, E lm e r D ., a n d B e r n a r d S . M a so n : Theory of Play. A . S.
Barnes 6? Co., New York, 1934. 547 pp.
Deals with the historical background of play, the theory and need of play, and the administra.
tion of public recreation programs of various types.
M u sic a n d t h e C h ild . Child Study Association of America, 221 West Fifty'
seventh Street, N ew York, 1930. 87 pp.
A discussion of singing, listening to music, and studying music. Contains full lists of useful
books, songs, and phonograph records.
O b e r n d o r fe r , M a r x a n d A n n e (compilers): The New American Song
Book; a century of progress in American song. Hall 6? M cCreary Co., Chi'
cago, 1933. 159 pp.
Well'known and less familiar songs indexed by nationality and by period. The words, airs,
and accompaniments are given.
O lc o tt, F r a n c e s J . : Story'Telling Ballads. Houghton Mifflin Co., Boston,
1920. 394 pp.
A collection of ballads that can be dramatized or presented in puppet shows.
P e a r l, N . H ., a n d H . E . B r o w n : Health
N ew York, 1924. 216 pp.
by
Stunts. Macmillan
Co.,
A description of physical stunts for both individuals and groups.
R o h r b o u g h , L y n n ( e d ito r ): Handy II; the recreation manual for young
people. (Third edition.) Church Recreation Service, Delaware, Ohio, 1931.
300 pp.
A varied collection of musical, active, and quiet games, suggestions for programs, and directions
for making equipment for floor and table games.
S t. N ic h o la s B o o k o f P la y s a n d O p e r e tta s.
1900. 231pp.
Century Co., New York,
A collection of plays, ballads, and operettas and suggestions for shadow pictures.
S ch o le s, P e r c y A . : The Listener s Guide to M usic; with a concert'goer’s
glossary. Introduction by Sir W. Henry Hadow. Eighth edition. Oxford
University Press, London, 1933. 110 pp.
A brief explanation of musical terms, design in music, and instruments, with brief biographies
of composers.
S m ith , C h a r le s F . : Games and Game Leadership, with a chapter by Elbert
K. Fretwell. Dodd, M ead 6? Co., New York, 1932. 658 pp.
A full collection of games of all types, with discussion of program building and game leading.
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Handbook for Recreation Leaders
100
S p a e th , S ig m u n d G . : The Common Sense o f M usic. Boni 6s? Liveright,
N ew York, 1924. 375 pp.
A comprehensive discussion of the fundamentals of music appreciation.
S te in e r , Je ss e F . : Americans at Play; recent trends in recreation and
leisure-time activities. McGraw-Hill Book Co., N ew York, 1933. 201 pp.
A n outline (based on findings of The President’s Committee on Recent Social Trends) of the
historical background and present administration of public recreation. A short d’% -ision of
parks, camping, and rural recreation is included.
S to n e , K a t h r y n E .: M usic Appreciation Taught by M eans of the
Phonograph. Scott, Foresman 6s? Co., Chicago, 1922. 175 pp.
A systematic list of musical records suitable for children in the first to eighth grades of school,
with a list of correlated story books, descriptions of instruments of the orchestra, and very brief
biographical sketches of composers.
S u r e t t e , T h o m a s W ., a n d A r c h ib a ld T . D a v is o n (compilers): The
Home and Community Song Book. E. C . Schirmer M usic Co., Boston, 1931.
In tw o editions— one with accompaniments, one without. 200 and 172 pp.
Old songs, ballads, chorals, folk songs, and choruses.
T e n F o lk S o n g s a n d B a lla d s f o r S ch o o l, H o m e , a n d C am p . E. C .
Schirmer M usic Co., Boston, 1931. 16 pp.
Songs for use in festivals and camp programs.
T e n M o r e F o lk S o n g s a n d B a lla d s. E. C . Schirmer M usic Co., Boston,
1932. 11pp.
T w ic e 55 P lu s C o m m u n ity S o n g s; th e n e w b r o w n b o o k . C . C.
Birchard 6s? Co., Boston. (N o date.) In two editions— one with accom
paniments, one without. (No pagination.)
A wide variety o f songs for home and community use.
T w i c e 55 G a m e s w i t h M u sic ; th e r e d b o o k .
Boston, 1924. (N o pagination.)
C . C . Birchard 6s? Co.,
Easy singing games, some for use with small children, others for adult parties and social
gatherings.
W ells, C h a r le s F . : Drama Clubs Step by Step. Walter H. Baker Co.,
Boston, 1933. 151 pp.
Methods of organising a dramatic club and maintaining interest in it; a few short skits and
pantomimes, lists of plays, and suggestions for their production.
Rule books for lawn and field sports and games may be obtained from local
sporting-goods stores and from such firms as American Sports Publishing Co.,
105 N assau Street, N ew York, and A . J. Reach, Wright 6s? Ditson, 115 Fulton
Street, New York.
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Appendix: WORDS OF POEMS TO DRAMATIZE
L IT T L E O R PH A N T A N N IE 1
B y J ames W hitcomb R iley
Little Orphant Annie’s come to our house to stay,
A n ’ wash the cups an’ saucers up, an’ brush the crumbs away,
A n ’ shoo the chickens off the porch, an’ dust the hearth, an’ sweep,
A n ’ make the fire, an’ bake the bread, an’ earn her board an’ keep;
A n ’ all us other children, when the supper things is done,
We set around the kitchen fire an’ has the mostest fun
A-list’nin’ to the witch tales ’at Annie tells about,
A n ’ the gobble-uns ’at gits you ef you don’t watch out!
Onc’t they was a little boy wouldn’t say his pray’rs—
A n when he went to bed at night, away upstairs,
His mammy heerd him holler, an’ his daddy heerd him bawl,
A n ’ when they turn’d the kiw ers down, he wasn’t there at all!
A n ’ they seeked him in the rafter-room, an’ cubby hole, an’ press,
A n ’ seeked him up the chimbley flue, an’ ever’wheres, I guess;
But all they ever found was thist his pants an’ roundabout!
A n ’ the gobble-uns ’ll git you ef you don’t watch out!
A n’ one time a little girl ’ud alius laugh an’ grin,
A n ’ make fun of ever one an’ all her blood an’ kin;
A n ’ onc’t when they was “ company” , an’ ole folks was there,
Sire mocked em an’ shocked ’em an’ said she didn’t care!
A n ’ thist as she kicked her heels, an’ turn’d to run an’ hide,
They was tw o great big Black Things a-standin’ by her side,
An^ they snatched her through the ceilin’ ’fore she knowed what she’s about!
A n ’ the gobble-uns ’ll git you ef you don’t watch out!
A n ’ little Orphant Annie says, when the blaze is blue,
A n ’ the lamp wick sputters, an’ the wind goes woo-oo!
A n ’ you hear the crickets quit, an’ the moon is gray,
A n ’ the lightnin’ bugs in dew is all squenched away—
You better mind your parents, an’ yer teachers fond an’ dear,
A n ’ churish them ’at loves you, an’ dry the orphant’s tear,
A n ’ he’p the pore an’ needy ones ’at cluster all about,
Er the gobble-uns ’ll git you ef you don’t watch out!
L O C H IN V A R
By W alter Scott
Oh young Lochinvar is come out o f the West;
Through all the wide border his steed was the best;
A nd save his good broadsword he weapons had none,
He rode all unarmed, and he rode all alone.
So faithful in love, and so dauntless in war,
There never was knight like the young Lochinvar.
1Permission to include has been given by the Bobbs-Merrill Co., owners of the copyright.
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He staid not for brake, and he stopped not for stone,
He swam the Eske River where ford there was none;
But ere he alighted at Netherby gate,
The bride had consented, the gallant came late;
For a laggard in love, and a dastard in war,
Was to wed the fair Ellen o f brave Lochinvar.
So boldly he entered the Netherby Hall,
Among bridesman, and kinsmen, and brothers, and all,
Then spoke the bride’s father, his hand on his sword—
For the poor craven bridegroom said never a word—
“ Oh! come ye in peace here, or come ye in war,
Or to dance at our bridal, young Lord Lochinvar?”
“ I long wooed your daughter, my suit you denied;
Love swells like the Solway, but ebbs like its tide;
A nd now am I come with this lost love o f mine,
T o lead but one measure, drink one cup of wine,
There are maidens in Scotland more lovely by far,
That would gladly be bride to the young Lochinvar.”
The bride kissed the goblet; the knight took it up,
He quaffed off the wine, and he threw down the cup.
She looked down to blush, and she looked up to sigh,
With a smile on her lips, and a tear in her eye.
He took her soft hand, ere her mother could bar,
“ N ow tread we a measure,” said young Lochinvar.
So stately his form, and so lovely her face,
That never a hall such a galliard did grace;
While her mother did fret, and her father did fume,
And the bridegroom stood dangling his bonnet and plume;
A nd the bride-maidens whispered, “ ’T were better by far,
T o have matched our fair cousin with young Lochinvar.”
One touch to her hand, and one word in her ear,
When they reached the hall door, and the charger stood near;
So light to the croupe the fair lady he swung,
So light to the saddle before her he sprung!
“ She is won! we are gone, over bank, bush, and scaur;
They’ll have fleet steeds that follow,” quoth young Lochinvar.
There was mounting ’mong Graemes of the Netherby clan;
Forsters, Fenwicks, and M usgraves, they rode and they ran,
There was racing and chasing on Cannobie Lea,
But the lost bride of Netherby ne’er did they see.
So daring in love, and so dauntless in war,
Have ye e’er heard of gallant like young Lochinvar?
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T H E S IN G IN G L E A V E S
By J ames R ussell L owell
I
“ What fairings will ye that I bring?”
Said the King to his daughters three;
“ For I to Vanity Fair am boun’,
N ow say what shall they be?”
Then up and spake the eldest daughter,
That lady tall and grand;
“ Oh, bring me pearls and diamonds great,
A nd gold rings for my hand.”
Thereafter spake the second daughter,
That was both white and red;
“ For me bring silks that will stand alone,
A nd a gold comb for my head.”
Then came the turn o f the least daughter,
That was whiter than thistledown,
A nd among the gold of her blithesome hair
Dim shone the golden crown.
“ There came a bird this morning,
A nd sang ’neath my bower eaves,
T ill I dreamed, as his music made me,
‘A sk thou for the Singing Leaves.’ ”
Then the brow of the King swelled crimson
With a flush o f angry scorn:
“ Well have ye spoken, my two eldest,
A nd chosen as ye were bom ;
“ But she, like a thing o f peasant race,
That is happy binding the sheaves;”
Then he saw her dead mother in her face,
A nd said, “ Thou shalt have thy leaves.”
II
He mounted and rode three days and nights
Till he came to Vanity Fair,
A nd ’twas easy to buy the gems and the silk,
But no Singing Leaves were there.
Then deep in the greenwood rode he,
A nd asked o f every tree:
“ Oh, if you have ever a Singing Leaf,
I pray you give it me!”
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But the trees all kept their counsel,
A nd never a word said they,
Only there sighed from the pine^tops
A music of seas far away.
Only the pattering aspen
M ade a sound of growing rain,
That fell ever faster and faster,
Then faltered to silence again.
“ Oh, where shall I find a little foot'page
That would win both hose and shoon,
A nd will bring to me the Singing Leaves
I f they grow under the moon?”
Then lightly turned him Walter the page,
By the stirrup as he ran;
“ N ow pledge you me the truesome word
O f a King and gentleman.
“ That you will give me the first, first thing
You meet at your castle gate,
A nd the Princess shall get the Singing Leaves,
Or mine be a traitor’s fate.”
The King’s head dropt upon his breast
A moment, as it might be;
’T will be my dog, he thought, and said,
“ M y faith I plight to thee.”
Then Walter took from next his heart
A packet small and thin,
“ N ow give you this to the Princess Anne,
The Singing Leaves are therein.”
Ill
A s the King rode in at his castle gate,
A maiden to meet him ran,
A nd “ Welcome, Father!” she laughed and cried
Together, the Princess Anne.
“ Lo, here the Singing Leaves,” quoth he,
“ And woe, but they cost me dear!”
She took the packet, and the smile
Deepened down beneath the tear.
It deepened down till it reached her heart,
A nd then gushed up again,
A nd lighted her tears as the sudden sun
Transfigures the summer rain.
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A nd the first Leaf, when it was opened,
Sang: “ I am Walter the page,
A nd the songs I sing ’neath thy window
A re my only heritage.”
A nd the second Leaf sang, “ But in the land
That is neither on earth nor sea,
M y lute and I are lords of more
Than thrice this kingdom’s fee.”
A nd the third Leaf sang, “ Be mine! Be mine!”
A nd ever it sang, “ Be mine!”
Then sweeter it sang and ever sweeter,
A nd said, “ I am thine, thine, thine!”
A t the first Leaf she grew pale enough,
A t the second she turned aside,
A t the third, ’t was as if a lily flushed
With a rose’s red heart’s tide.
“ Good counsel gave the bird,” said she,
“ I have my hope thrice o’er,
For they sing to my very heart,” she said,
“ A nd it sings to them evermore.”
She brought to him her beauty and truth,
But and broad earldoms three,
A nd he made her queen of the broader lands
He held of his lute in fee.
LAD Y C LA R E
By A lfred T ennyson
It was the time when lilies blow,
A nd clouds are highest up in air,
Lord Ronald brought a lily-white doe
T o give his cousin, Lady Clare.
I trow they did not part in scorn;
Lovers long-betrothed were they;
They two will wed the morrow mom—
God’s blessing on the day!
“ He does not love me for my birth,
Nor for my lands so broad and fair;
He loves me for my own true worth,
A nd that is well,” said Lady Clare.
In there came old Alice the nurse,
Said, “ Who was this that went from thee?”
“ It was my cousin,” said Lady Clare;
“ Tomorrow he weds with me.”
39056° — 3(
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“ O God be thanked!” said Alice the nurse,
“ That all comes around so ju st and fair!
Lord Ronald is heir o f all your lands,
A nd you are not the Lady Clare.”
“ Are ye out of your mind, my nurse,”
Said Lady Clare, “ that ye speak so wild?”
“ A s God’s above,” said Alice the nurse,
“ I speak the truth; you are my child.
“ The old Earl’s daughter died at my breast;
I speak the truth, as I live by bread!
I buried her like my own sweet child,
A nd put my child in her stead.”
“ Falsely, falsely have ye done,
O M other,” she said, “ if this be true,
T o keep the best man under the sun
So many years from his due.”
“ N ay now, my child,” said Alice the nurse,
“ But keep the secret for your life,
A nd all you have will be Lord Ronald’s
When you are man and wife.”
“ I f I’m a beggar bom ,” she said,
“ I will speak out, for I dare not He.
Pull off, pull off, the brooch o f gold,
A nd fling the diamond necklace by.”
“ N ay now, my child,” said Alice the nurse,
“ But keep the secret all you can.”
She said, “ N ot so; but I will know
I f there be any faith in man.”
“ N ay now, what faith?” said Alice the nurse
“ The man will cleave unto his right.”
“ A nd he shall have it” , the lady replied,
“ Tho’ I should die tonight.”
“ Yet give one kiss to your mother dear!
A las, my child, I sinned for thee!”
“ O Mother, Mother, M other,” she said,
“ So strange it seems to me.
“ Yet here’s a kiss for my mother dear,
M y mother dear, if this be so,
A nd lay your hand upon my head,
A nd bless me, Mother, ere I go.”
She clad herself in a russet gown,
She was no longer Lady Clare;
She went by dale, and she went by down,
With a single rose in her hair.
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The lily-white doe Lord Ronald had brought
Leaped up from where she lay,
Dropped her head in the maiden’s hand,
A nd followed her all the w ay.2
Down stept Lord Ronald from his tower;
“ O Lady Clare, you shame your worth!
Why come you drest like a village maid,
That are the flower of the earth?”
“ If I come drest like a village maid,
I am but as my fortunes are;
I am a beggar bom ,” she said,
“ A nd not the Lady Clare.”
“ Play me no tricks,” said Lord Ronald,
“ For I am yours in word and in deed.
“ Play me no tricks” , said Lord Ronald,
“ Your riddle is hard to read.”
O, and proudly stood she up!
Her heart within her did not fail;
She looked into Lord Ronald’s eyes,
A nd told him all her nurse’s tale.
He laughed a laugh of merry scorn;
He turned, and kissed her where she stood;
“ If you are not the heiress bom,
A nd I,” said he, “ the next in blood—
“ If you are not the heiress bom,
A nd I,” said he, “ the lawful heir,
We two will wed to-morrow morn,
A nd you shall still be Lady Clare.”
2This stanza may be omitted from the reading that accompanies the dramatization.
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INDEXES
I. G E N E R A L I N D E X
Active games for small spaces, 50.
Advertisements, 63 (game), 79 (tableaus).
Air, Water, Fire, 53.
Along Came a Spider (motion song), 90.
Alphabet Race, 51.
Alphabet Scramble, 52
Alphabet Speeches, 73.
Appreciation of music, developing, 94.
A re You Sleeping? (round), 93.
Around and Down (relay), 32.
Authors, 73Autographs, 8.
Badminton, 43.
Ball games, 34.
Ball Race, 35.
Barrel Toss, 47Barrel-Hoop Quoits, 47.
Basket-Ball Goal, 40.
Bean-bag games, 44.
Beetle Goes Round, 15.
Bible pantomimes, 79.
Blackboard Relay, 33.
Boston and New York, 28.
Bounce, 41.
Bowling (Croquet-Ball, Marble), 49.
Box Hockey, 46.
Broom Walk, 22.
Broomstick Balance, 72.
Bulldog Pull, 71.
Bundle Relay, 31.
Button Snap, 49.
Buzz, 70.
Call Ball, 38.
Captain Jinks, 18.
C at and Rat, 14.
Center Base, 39.
Center-Catch Ball, 38.
Chain Spelling, 73.
Challenges, 73 (mental skill), 70 (physical
skill).
Chicken Fight, 71.
Clock Golf, 47Come Along, 13.
Community party, plan for, 2.
Compositions for musical programs, 96.
Contests, 7 (humorous), 74 (riddle). See also
Challenges.
Cooperative Spelling, 8.
Crocodile, The (motion song), 89.
Croquet, 48.
Croquet-Ball Bowling, 49.
Crows and Cranes, 26.
Date Card, 8.
Deck Tennis, 42.
Developing appreciation of music, 94.
Dictionary, 73.
Dodge Ball, 34.
Dots and Lines, 67.
Double-circle games, 19 (running), 16 (singing).
Dramatic numbers, 76.
Dramatized advertisements, 79.
Dramatized poems, 79.
Dramatized songs, 82.
Drop the Handkerchief, 14.
Duck on Rock, 44.
Dumb Crambo, 54.
Early to Bed (round), 93.
Electric Shock, 51.
End Ball, 35.
Eye Color, 8.
Face to Face, 20.
Famous Faces, 10.
Famous Facts, 10.
Fan Race, 52.
Fetch and Carry (relay), 31.
Finger Bend, 72.
Fire in the Mountain, 21.
Firefly, 18.
Flying Dutchman, 13.
Follow Through (relay), 32.
For He’s a Jolly Good Fellow, 23.
Four Choice, 59.
Game books. See List o f references, 98.
Games:
Active, for small spaces, 50.
Ball, 34.
Bean-bag, 44.
Double-circle, running, 19.
Double-circle, singing, 16.
For special groups, lists of. See following
this index.
Golf, 47, 48.
Lawn-tennis type, 41.
Line, 26 (running), 22 (singing).
Mystery, 57Quiet, for small spaces, 53.
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Games— Continued.
Table, 61.
With balls, 34.
With bean-bags, 44.
With other apparatus, 45.
Ghosts, 54.
Go and Go Back (relay), 32.
Golf, 47 (Clock), 48 (Obstacle).
Gossip, 54.
Grand March, 24.
Grand Right and Left, 19.
Greeting, 18.
Grocery List, 10.
Group of boys, plan for, 4.
Group singing, 85.
Groups, picnic, plans for, 5, 7Guggenheim, 66.
Hand Ball, 39.
Hand Push, 71.
Hand Wrestle, 71.
Handful Relay, 31.
Handkerchief games, 14, 27, 52.
Have You Seen M y Sheep? 14.
Hearts, 63.
Horseshoe Pitching, 47Hot Handkerchief, 52.
How, When, and Where? 55.
Human-Obstacle Race (relay), 32.
Humbug, 64.
Humorous contests, 7Hunter, Fox, and Gun, 50.
Hunting, 24.
I See You, 22.
Ice, 68.
Imaginary I Spy, 57.
Jar-Ring Toss, 48.
Jolly Is the Miller, 17.
Jug Knotting, 72.
Jump, Jim Crow, 17.
Jumping-Rope Relay, 31.
Kick the Stick (relay), 32.
Kick U p, 40.
Kick-Over Ball, 34.
Lady Clare, 82 (dramatization), 105 (words).
Last Couple Out, 29.
Leader, suggestions for the, 1.
Leapfrog T w o Deep, 15.
Leg Wrestle, 72.
Legs and N o Legs, 61.
Lemonade (Trades), 26.
Line games, 26 (running), 22 (singing).
List of references, 98.
Little Bo-peep (shadow picture), 78.
Little M iss Muffet (shadow picture), 77Little Orphant Annie, 80 (dramatization), 101
(words).
Little Tom Tinker (round), 93.
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Looby Loo, 12.
Lochinvar, 80 (dramatization), 101 (words).
Magic Writing, 59.
Marble Bowling, 49.
March, Grand, 24.
Match Darts, 49.
Match One, Tw o, Three, 69.
Match Removal, 69.
Matching Numbers, 9.
Matching Songs, 10.
Memory Selections, 73.
Mental skill, tests of, as challenges, 73.
Merrily, Merrily (round), 92.
Merry-go-round, 17.
Millionaire Couple, 9.
Mind Reading, 58.
Minuet (shadow picture), 77.
M iss the Bell, 48.
Mixed Dates, 74.
Mixers, 8.
Moon Is Round, The, 57.
Molly Malone (dramatized song), 82.
Motion songs, 88.
Music, 85.
Music appreciation, developing, 94.
Musical Memories, 74.
Musical programs, 94 (planning), 96 (composi
tions for).
M y Father’s a Merchant, 57.
Mystery games, 57.
Name Acrostics, 9.
Name Chain, 10.
Necktie Relay, 30.
Newcomb, 38.
Nope, 60.
Number Choice, 60.
Numbers Change, 14.
N uts in M ay, 23.
Oats, Peas, Beans, 11.
Obstacle Golf, 48.
Oh, How Lovely (round), 93.
Old King Cole, 91 (motion song), 78 (shadow
picture).
Old Oaken Bucket, The (shadow picture), 77.
One, Tw o, Three, Change, 20.
Over and Under (relay), 31.
Paddle Tennis, 41.
Pantomimes, 78.
Paper Heads, 9.
Peanut Pass (relay), 30.
Physical skill, tests of, as challenges, 70.
Picnics, 5 ,7 .
Piercing the Hoop, 47Pitching Horseshoes, 47Planning programs, 2, 94.
Poems, dramatized, 79.
Indexes— I. General
Poison Snake, 14.
Pom, Pom, Pull Away, 28.
Popularity, 16.
Prises, 6 .
Problems, special, 4.
Professions, 65.
Programs. See Planning.
Proverb Trading, 9.
Proverbs, 55.
Put and Take (relay), 30.
Pye, 67.
Quiet games for small spaces, 53.
Quoits, Barrel-Hoop, Horseshoe, 47»
Race, 51 (Alphabet), 34 (Ball), 44 (Bean-Bag),
52 (Fan), 30 (Relay).
Recreation leader, suggestions for the, 1.
References, list of, 98.
Relay races, 30.
Rhyme before Ten, 74.
Rhymed Answers, 56.
Riddle contests, 74.
Ride Him, Cowboy, 28.
Rig-a-jig-jig, 12.
Right and Left Spelling, 53.
Rochambeau, 50.
Rock-a-bye, Baby (shadow picture), 77Rooster Fight, 71Rounds, 92.
Run, Sheep, Run, 29.
Running games, 19 (double-circle), 26 (line)
13 (single-circle).
Sardines, 15.
Schlag Ball, 37.
See-saw (shadow picture), 77Shadow pictures, 76.
Ships, 64.
Shopping, 55.
Shuffleboard, 45.
Singing games, 16 (double-circle), 22 (line),
11 (single-circle).
Singing, group, 85.
Singing Leaves, The, 81 (dramatization), 103
(words).
Single-circle games, 13 (running), 11 (singing).
Slap Jack, 13.
Slap Stick, 70.
Slide Right, 53.
Smoke Went U p the Chimney, The (motion
song), 90.
Snatch the Handkerchief, 27.
Snip, 55.
Song books. See List of references, 98.
Songs, 82 (dramatized), 87 (for group singing),
86 (leading). See also Singing games.
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Spanish Cavalier, The (shadow picture), 78.
Special problems, 4.
Spell Out, 63.
Spoke Tag, 27.
Squirrels in Trees, 20.
Stealing Sticks, 27.
Stick Pull, 72.
Stick Wrestle, 72.
Stock Exchange, 62.
Streets and Alleys, 28.
Stride Ball, 39.
Suggestions, 1 (for the recreation leader), 2
(for planning programs), 94 (for musical
programs).
Table games, 61.
Tableaus and pantomimes, 78.
Teakettle, 56.
Temple Reading, 58.
Tennis games, 41.
Tests, 73 (of mental skill), 70 (of physical skill).
Tether Tennis, 42.
There Was an Old Woman (dramatized song),
83.
Third Man, 20.
This and That, 60.
This Is M y Nose, 56.
Thought Chain, 53.
Three Deep, 19.
Thumb Choice, 58.
Today Is Monday (motion song), 92.
Toe Tilt, 71.
Touch and Go (relay), 32.
Touch Reading, 59.
Trades (Lemonade), 26.
Tucker, 16.
Tw ist Stick, 72.
Tw o Little Blackbirds, 57.
Two-Part Cities, 58.
U Auto Know and other riddle contests, 74.
Vanishing, 55.
Virginia Reel, 25.
Volley Ball, 36.
Watch Tapping, 61.
What Am I? 54.
Where Is John? (round), 93.
Whirr, 63.
White Men and Indians, 56.
Wooden Soldiers’ Drill (shadow picture), 77Word Buying, 68.
Word Puzzle, 69.
Words and Things, 62.
Words of poems to dramatize, 101.
Wrong Capitals, 74.
Yankee Doodle, 19.
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H. P L A Y G R O U N D A N D P IC N IC G A M E S
Air, Water, Fire, 53.
Alphabet Race, 51.
Alphabet Scramble, 52.
Alphabet Speeches, 73.
Around and Down (relay), 32.
Authors, 73.
Badminton, 43.
Ball Race, 35.
Barrel-Hoop Quoits, 47Barrel Toss, 47Basket-Ball Goal, 40.
Bean-Bag games, 44.
Beetle Goes Round, 15.
Boston and New York, 28.
Bounce, 41.
Bowling, Croquet-Ball, 49.
Box Hockey, 46.
Broomstick Balance, 72.
Bulldog Pull, 71Bundle Relay, 31.
Buzz;, 70.
Call Ball, 38.
Captain Jinks, 18.
C at and Rat, 14.
Center Base, 39.
Center-Catch Ball, 38.
Chain Spelling, 73.
Chicken Fight, 71Come Along, 13.
Croquet, 48.
Croquet-Ball Bowling, 49.
Crows and Cranes, 26.
Deck Tennis, 42.
Dictionary, 73.
Dodge Ball, 34.
Drop the Handkerchief, 14.
Duck on Rock, 44.
Dumb Crambo, 54.
Electric Shock, 51.
End Ball, 35.
Face to Face, 20.
Fetch and Carry (relay), 31.
Finger Bend, 72.
Fire in the Mountain, 21.
Flying Dutchman, 13.
Follow Through (relay), 32.
For He’s a Jolly Good Fellow, 23.
Four Choice, 59.
Ghosts, 54.
Go and Go Back (relay), 32.
Gossip, 54.
Grand March, 24.
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Greeting, 18.
Hand Ball, 39.
Hand Push, 71.
Hand Wrestle, 71Handful Relay, 31.
Handkerchief, games, 14, 27.
Have You Seen M y Sheep? 14.
Horseshoe Pitching, 47How, When, and Where? 55.
Human-Obstacle Race (relay), 32.
Hunter, Fox, and Gun, 50.
Hunting, 24.
I See You, 22.
Imaginary I Spy, 57Jar-Ring Toss, 48.
Jolly Is the Miller, 17.
Jug Knotting, 72.
Jump, Jim Crow, 17.
Jumping-Rope Relay, 31.
Kick the Stick (relay), 32.
Kick U p, 40.
Kick-Over Ball, 34.
Last Couple Out, 29.
Leapfrog Tw o Deep 15.
Leg Wrestle, 72.
Legs and N o Legs, 61.
Lemonade (Trades), 26.
Looby Loo, 12.
Magic Writing, 59.
Memory Selections, 73.
Merry-go-round, 17M iss the Bell, 48.
Mixed Dates, 74.
Moon Is Round, The, 57Musical Memories, 74.
M y Father’s a Merchant, 57.
Newcomb, 38.
Nope, 60.
Number Choice, 60.
Numbers Change, 14.
N uts in M ay, 23.
Oats, Peas, Beans, 11.
One, Tw o, Three, Change, 20.
Over and Under (relay), 31.
Paddle Tennis, 41.
Peanut Pass (relay), 30.
Piercing the Hoop, 47.
Poison Snake, 14.
Pom, Pom, Pull Away, 28.
Proverbs, 55.
Put and Take (relay), 30.
Quoits, 47-
Indexes— II. Playground and Picnic Games
Race, 34 (Alphabet), 44 (Bean-bag).
Relay races, 30.
Rhyme before Ten, 74.
Riddle contests, 74.
Ride Him, Cowboy, 28.
Rig'a-jig'jig. 12.
Right and Left Spelling, 53.
Rochambeau, 50.
Rooster Fight, 71.
Run, Sheep, Rim, 29.
Sardines, 15.
Schlag Ball, 37.
Shopping, 55.
Shuffleboard, 45.
Slap Jack, 13.
Slap Stick, 70.
Snip, 55.
Snatch the Handkerchief, 27.
Spoke Tag, 27.
Squirrels in Trees, 20.
Stealing Sticks, 27.
Stick Pull, 72.
Stick Wrestle, 72.
Streets and Alleys, 28.
Stride Ball, 39.
Temple Reading, 58.
Tether Tennis, 42.
Third M an, 20.
This and That, 60.
This Is M y Nose, 56.
Three Deep, 19.
Thumb Choice, 58.
Toe Tilt, 71.
Touch and Go, 32.
Trades (Lemonade), 26.
Tw ist Stick, 72.
Two-Part Cities, 58.
U Auto Know and other riddle contests, 74.
Virginia Reel, 25.
Volley Ball, 36.
What Am I? 54.
Watch Tapping, 61.
Wrong Capitals, 74.
Yankee Doodle, 19.
m . GAM ES FO R HOM E PLA Y
Advertisements, 63.
Air, Water, Fire, 53.
Alphabet Race, 51.
Alphabet Scramble, 52.
Alphabet Speeches, 73.
Authors, 73.
Badminton, 43.
Barrel Toss, 47.
Barrel-Hoop Quoits, 47.
Basket-Ball Goal, 40.
Bean-Bag games, 44.
Bounce, 41.
Bowling (Croquet-ball, Marble), 49.
Box Hockey, 46.
Button Snap, 49.
Chain Spelling, 73.
Clock Golf, 47.
Croquet, 48.
Croquet-Ball Bowling, 49.
Deck Tennis, 42.
Dictionary, 73.
Dots and Lines, 67.
Dumb Crambo, 54.
Face to Face, 20.
Famous Facts, 10.
Fire in the Mountain, 21 .
Four Choice, 59.
Ghosts, 54.
Gossip, 54.
Guggenheim, 66.
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Federal Reserve Bank of St. Louis
113
Hand Push, 71.
Hearts, 63.
Horseshoe Pitching, 47.
How, When, and Where? 55.
Humbug, 64.
Hunter, Fox, and Gun, 50.
Ice, 68.
Imaginary I Spy, 57.
Jar-Ring Toss, 48.
Legs and N o Legs, 61.
Magic Writing, 59.
Marble Bowling, 49.
Match Darts, 49.
Match One, Tw o, Three, 69.
Match Removal, 69.
Memory Selections, 73.
M ind Reading, 58.
M iss the Bell, 48.
Mixed Dates, 74.
Moon Is Round, The, 57.
Musical Memories, 74.
M y Father’s a Merchant, 57.
Newcomb, 38.
Nope, 60.
Number Choice, 60.
Obstacle Golf, 48.
One, Tw o, Three, Change, 20.
Paddle Tennis, 41.
Professions, 65.
Proverb Trading, 9.
Handbook for Recreation Leaders
114
Proverbs, 55.
Pye, 67.
Race, Alphabet, 51.
Rhyme before Ten, 74.
Rhymed Answers, 56.
Riddle contests, 74.
Right and Left Spelling, 53.
Rochambeau, 50.
Ships, 64.
Shopping, 55.
Shuffleboard, 45.
Slap Stick, 70.
Snip, 55.
Spell Out, 63.
Stock Exchange, 62.
Table games, 61.
Teakettle, 56.
Temple Reading, 58.
IV .
G A M ES FO R SM A LL
Advertisements, 63.
Air, Water, Fire, 53.
Alphabet Race, 51.
Alphabet Scramble, 52.
Alphabet Speeches, 72.
Authors, 73*
Barrel Toss, 47Basket-Ball Goal, 40.
Bean-Bag Board, 44.
Blackboard Relay, 33.
Bounce, 41.
Bowling (Croquet-Ball, Marble), 49.
Broomstick Balance, 72.
Bulldog Pull, 71.
Bundle Relay, 31.
Button Snap, 49.
Buzz, 70.
Chain Spelling, 73.
Chicken Fight, 71.
Croquet, 48.
Croquet-Ball Bowling, 49.
Crows and Cranes, 26.
Dictionary, 73.
Dots and Lines, 67.
Dumb Crambo, 54.
Electric Shock, 51.
Face to Face, 20.
Famous Facts, 10.
Fan Race, 52.
Finger Bend, 72.
Fire in the Mountain, 21.
For He’s a Jolly Good Fellow, 23.
Four Choice, 59.
Ghosts, 54.
Gossip, 54.
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Federal Reserve Bank of St. Louis
Tether Tennis, 42.
This and That, 60.
This Is M y Nose, 56.
Thought Chain, 53.
Thumb Choice, 58.
Touch Reading, 59.
Tw o Little Blackbirds, 57.
Two-Part Cities, 58.
U Auto Know and other riddle contests, 74.
Vanishing, 55.
Watch Tapping, 61.
What Am I? 54.
Whirr, 63.
White Men and Indians, 56.
Word Buying, 68.
Word Puzzle, 69.
Words and Things, 62.
Wrong Capitals, 74.
L O U P S IN S M A L L S P A C E S
Guggenheim, 66.
Hand Push, 71.
Hand Wrestle, 71.
Handftil Relay, 31.
Handkerchief games, 14, 27, 52.
Hearts, 63.
Hot Handkerchief, 52.
How, When, and Where? 55.
Humbug, 64.
Hunter, Fox, and Gun, 50.
Hunting, 24.
Ice, 68.
Imaginary I Spy, 57.
I See You, 22.
Jar-Ring Toss, 48.
Ju g Knotting, 72.
Jump, Jim Crow, 17.
Kick U p, 40.
Leg Wrestle, 72.
Legs and N o Legs, 61.
Lemonade (Trades), 26.
Magic Writing, 59.
Marble Bowling, 49.
Match Darts, 49.
Match One, Tw o, Three, 69.
Match Removal, 69.
Memory Selections, 73.
Mind Reading, 58.
M iss the Bell, 48.
Mixed Dates, 74.
Moon Is Round, The, 57.
Musical Memories, 74.
M y Father’s a Merchant, 57.
Necktie Relay, 30.
Nope, 60.
Indexes— IV . Gaines for Small Groups in Small Spaces
Number Choice, 60.
N uts in May, 23.
One, Tw o, Three, Change, 20.
Over and Under (relay), 31.
Paper Heads, 9.
Peanut Pass (relay), 30.
Professions, 65.
Proverb Trading, 9.
Proverbs, 55.
Put and Take (relay), 30.
Stock Exchange, 62.
Streets and Alleys, 28.
Table games, 61.
Teakettle, 56.
Temple Reading, 58.
Tether Tennis, 42.
This and That, 60.
This Is M y Nose, 56.
Thought Chain, 53.
Thumb Choice, 58.
Toe Tilt, 71Touch and Go (relay), 32.
Touch Reading, 59.
Trades (Lemonade), 26.
Tw ist Stick, 72.
Tw o Little Blackbirds, 57.
Two-Part Cities, 58.
U Auto Know, and other riddle contests, 74.
Vanishing, 55.
Watch Tapping, 61.
What Am I? 54.
Whirr, 63.
White Men and Indians, 56.
Word Buying, 68.
Word Puzzle, 69.
Words and T hings, 62.
Wrong Capitals, 74.
Pye, 67.
Race, Alphabet, 51.
Rhyme before Ten, 74.
Rhymed Answers, 56.
Riddle contests, 74.
Right and Left Spelling, 53.
Rochambeau, 50.
Rooster Fight, 71.
Ships, 64.
Shopping, 55.
Slap Stick, 70.
Slide Right, 53.
Snatch the Handkerchief, 27.
Snip, 55.
Spell Out, 63.
Stick Pull, 72.
Stick Wrestle, 72.
V.
Advertisements, 63.
Air, Water, Fire, 53.
Alphabet Race, 51.
Alphabet Scramble, 52.
Alphabet Speeches, 73.
Around and Down (relay), 32.
Authors, 73.
Badminton, 43.
Ball games, 34.
Barrel-Hoop Quoits, 47.
Barrel Toss, 47Basketball Goal, 40.
Bean-bag games, 44.
Beetle Goes Round, 15.
Blackboard Relay, 33.
Boston and New York, 28.
Bounce, 41.
Bowling (Croquet-Ball, Marble), 49.
Box Hockey, 46.
Broomstick Balance, 72.
Bulldog Pull, 71.
Button Snap, 49.
Call Ball, 38.
Cat and Rat, 14.
Center Base, 39.
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Federal Reserve Bank of St. Louis
115
G A M E SF O R B O Y S
Center-Catch Ball, 38.
Chain Spelling, 73.
Chicken Fight, 71.
Clock Golf, 47.
Come Along, 13.
Croquet, 48.
Croquet-Ball Bowling, 49.
Crows and Cranes, 26.
Deck Tennis, 42.
Dictionary, 73.
Dodge Ball, 34.
Dots and Lines, 67.
Drop the Handkerchief, 14.
Duck on Rock, 44.
Dumb Crambo, 54.
Electric Shock, 51.
End Ball, 35.
Face to Face, 20.
Fan Race, 52.
Fetch and Carry (relay), 31.
Finger Bend, 72.
Fire in the Mountain, 21.
Flying Dutchman, 13.
Follow Through (relay), 32.
Four Choice, 59.
Ghosts, 54.
116
Handbook for Recreation Leaders
Go and Go Back (relay), 32.
Golf games, 47» 48.
Gossip, 54.
Guggenheim, 66.
Hand Ball, 39.
Hand Push, 71.
Hand Wrestle, 71Handful Relay, 31.
Handkerchief games, 14, 27, 52.
Have You Seen M y Sheep? 14.
Hearts, 63.
Horseshoe Pitching, 47Hot Handkerchief, 52.
How, When, and Where? 55.
Human-Obstacle Race (relay), 32.
Humbug, 64.
Hunter, Fox, and Gun, 50.
Ice, 68.
Imaginary I Spy, 57.
Jar'Ring Toss, 48.
Jug Knotting, 72.
Jumping'Rope Relay, 31.
Kick the Stick (relay), 32.
Kick Up, 40.
Kick-Over Ball, 34.
Last Couple Out, 29.
Leapfrog Tw o Deep, 15.
Leg Wrestle, 72.
Legs and N o Legs, 61.
Magic Writing, 59.
Marble Bowling, 49.
Match Darts, 49.
Match Removal, 69.
Memory Selections, 73.
Mind Reading, 58.
M iss the Bell, 48.
Mixed Dates, 74.
Moon is Round, The, 57.
Musical Memories, 74.
M y Father’s a Merchant, 57.
Newcomb, 38.
Nope, 60.
Number Choice, 60.
Numbers Change, 14.
N uts in M ay, 23.
Oats, Peas, Beans, 11.
Obstacle Golf, 48.
One, Tw o, Three, Change, 20.
Over and Under (relay), 31.
Paddle Tennis, 41.
Peanut Pass (relay), 30.
Piercing the Hoop, 47.
Poison Snake, 14.
Pom, Pom, Pull Away, 28.
Professions, 65.
Proverb Trading, 9.
Proverbs, 55.
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Federal Reserve Bank of St. Louis
Put and Take (relay), 30.
Pye, 67.
Quoits, 47Race, 51 (Alphabet), 44 (Bean'Bag).
Rhyme Before Ten, 74.
Rhymed Answers, 56.
Riddle contests, 74.
Ride Him, Cowboy, 28.
Right and Left Spelling, 53.
Rochambeau, 50.
Rooster Fight, 71.
Run, Sheep, Run, 29.
Sardines, 15.
Schlag Ball, 37.
Ships, 64.
Shopping, 55.
Shuffleboard, 45.
Slap Jack, 13.
Slap Stick, 70.
Slide Right, 53.
Snatch the Handkerchief, 27.
Snip, 55.
Spell Out, 63.
Spoke Tag, 27Squirrels in Trees, 20.
Stealing Sticks, 27.
Stick Pull, 72.
Stick Wrestle, 72.
Stock Exchange, 62.
Streets and Alleys, 28.
Stride Ball, 39.
Teakettle, 56.
Temple Reading, 58.
Tether Tennis, 42.
Third Man, 20.
This and That, 60.
This Is M y Nose, 56.
Thought Chain, 53.
Three Deep, 19.
Thumb Choice, 58.
Toe Tilt, 71.
Touch and Go (relay), 32.
Touch Reading, 59.
Tw ist Stick, 72.
Tw o Little Blackbirds, 57.
Two-Part Cities, 58.
U Auto Know and other riddle contests, 74.
Vanishing, 55.
Volley Ball, 36.
Watch Tapping, 61.
What Am I? 54.
Whirr, 63.
White Men and Indians, 56.
Word Buying, 68.
Word Puzzle, 69.
Words and Things, 62.
Wrong Capitals, 74.
Indexes— V I. Games for Fewer than 10 Players
VI.
G A M E S F O R FEW ER T H A N 10 P L A Y E R S
Hand Push, 71.
Hand Wrestle, 71.
Handkerchief games, 14,27,52.
Have You Seen M y Sheep? 14.
Hearts, 63.
Horseshoe Pitching, 47Hot Handkerchief, 52.
How, When, and Where? 55.
Humbug, 64.
Hunter, Fox, and Gun, 50.
Hunting, 24.
Ice, 68.
Imaginary I Spy, 57Jar-Ring Toss, 48.
Jug Knotting, 72.
Jumping-Rope Relay, 31.
Kick the Stick (relay) 32.
Kick Up, 40.
Kick-Over Ball, 34.
Last Couple Out, 29.
Leg Wrestle, 72.
Legs and N o Legs, 61.
Lemonade (Trades), 26.
Magic Writing, 59.
Marble Bowling, 49.
Match Darts, 49.
Match One, Tw o, Three, 69.
Match Removal, 69.
Memory Selections, 73.
Mind Reading, 58.
M iss the Bell, 48.
Mixed Dates, 74.
Moon Is Round, The, 57.
Musical Memories, 74.
M y Father’s a Merchant, 57.
Mystery games, 57.
Necktie Relay, 30.
Newcomb, 38.
Nope, 60.
Number Choice, 60.
N uts in M ay, 23.
Obstacle Golf, 48.
One, Tw o, Three, Change, 20.
Over and Under (relay), 31.
Paddle Tennis, 41.
Paper Heads, 9.
Peanut Pass (relay), 30.
Piercing the Hoop, 47Pom, Pom, Pull Away, 28.
Professions, 65.
Proverbs, 55.
Put and Take (relay), 30.
Pye, 67.
Handful Relay, 31.
Quoits, 47-
Advertisements, 63.
Air, Water, Fire, 53.
Alphabet Race, 51.
Alphabet Scramble, 52.
Alphabet Speeches, 73.
Authors, 73.
Badminton, 43.
Ball Race, 35.
Barrel-Hoop Quoits, 47.
Barrel Toss 47Basket-Ball Goal, 40.
Bean-Bag games, 44.
Beetle Goes Round, 15.
Blackboard Relay, 33.
Boston and New York, 28.
Bounce 41.
Bowling (Croquet-Ball, Marble), 49.
Box Hockey, 46.
Broomstick Balance, 72.
Bundle Relay, 31.
Button Snap, 49.
Buzz, 70.
Call Ball, 38.
Captain Jinks, 18.
Center Base, 39.
Center-Catch Ball, 38.
Chain Spelling, 73.
Chicken Fight, 71.
Croquet-Ball Bowling, 49.
Crows and Cranes, 26.
Deck Tennis, 42.
Dictionary, 73.
Dodge Ball, 34.
Dots and Lines, 67.
Duck on Rock, 44.
Dumb Crambo, 54.
End Ball, 35.
Face to Face, 20.
Famous Facts, 10.
Fan Race, 52.
Fetch and Carry (relay), 31.
Finger Bend, 72.
Fire in the Mountain, 21.
For He’s a Jolly Good Fellow, 23.
Four Choice, 59.
Ghosts, 54.
Go and Go Back (relay), 32.
Golf games, 47» 48.
Gossip, 54.
Guggenheim, 66.
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Federal Reserve Bank of St. Louis
117
Handbook for Recreation Leaders
118
Races, 51 (alphabet), 37 (ball), 44 (bean-bag),
52 (fen), 30 (relay).
Rhyme before Ten, 74.
Rhymed Answers, 56.
Riddle contests, 74.
Right and Left Spelling, 53.
Rochambeau, 50.
Rooster Fight, 71.
Run, Sheep, Run, 29.
Sardines, 15.
Schlag Ball, 37.
Ships, 64.
Shopping, 55.
Shuffleboard, 45.
Slap Stick, 70.
Slide Right, 53.
Snatch the Handkerchief, 27.
Snip, 55.
Spell Out, 63.
Squirrels in Trees, 20.
Stealing Sticks, 27.
Stick Pull, 72.
Stick Wrestle, 72.
Stock Exchange, 62.
Stride Ball, 39.
Table games, 61.
Teakettle, 56.
Temple Reading, 58.
Tether Tennis, 42.
This and That, 60.
This Is M y Nose, 56.
Thought Chain, 53.
Thumb Choice, 58.
Toe Tilt, 71.
Touch Reading, 59.
Trades (Lemonade), 26.
T w ist Stick, 72.
Tw o Little Blackbirds, 57.
Two-Part Cities, 58.
U Auto Know and other riddle contests, 74.
Vanishing, 55.
Virginia Reel, 25.
Volley Ball, 36.
Watch Tapping, 61.
What Am I? 54.
Whirr, 63.
White M en and Indians, 56.
Word Buying, 68.
Word Puzzle, 69.
Words and Things, 62.
Wrong Capitals, 74.
V H . G A M E S F O R 10 T O 30 P L A Y E R S
Air, Water, Fire, 53.
Alphabet Race, 51.
Alphabet Scramble, 52.
Around and Down (relay), 32.
Authors, 73.
Autographs, 8.
Ball Race, 35.
Bean-Bag Board, 44.
Bean-Bag Race, 44.
Beetle Goes Round, 15.
Blackboard Relay, 33.
Boston and New York, 28.
Bounce, 41.
Broom Walk, 22.
Bundle Relay, 31.
Buzz, 70.
Call Ball, 38.
Captain Jinks, 18.
C at and Rat, 14.
Center Base, 39.
Center-Catch Ball, 38.
Chain Spelling, 73.
Come Along, 13.
Crows and Cranes, 26.
Date Card, 8.
Dodge Ball, 34.
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Federal Reserve Bank of St. Louis
Drop the Handkerchief, 14.
Duck on Rock, 44.
Dumb Crambo, 54.
Electric Shock, 51.
End Ball, 35.
Face to Face, 20.
Famous Faces, 10.
Famous Facts, 10.
Fan Race, 52.
Fetch and Carry (relay), 31.
Fire in the Mountain, 21.
Firefly, 18.
Flying Dutchman, 13.
Follow Through (relay), 32.
fo r He’s a Jolly Good Fellow, 23.
Four Choice, 59.
Ghosts, 54.
Go and Go Back (relay), 32.
Gossip, 54.
Grand March, 24.
Grand Right and Left, 19.
Greeting, 18.
Guggenheim, 66.
Hand Ball, 39.
Hand Push, 71.
Handful Relay, 31.
Indexes— V II. Games for 10 to 30 Players
Handkerchief games, 14, 27, 52.
Have You Seen M y Sheep? 14.
Hot Handkerchief, 52.
How, When, and Where? 55.
Human-Obstacle Race (relay), 32.
Hunter, Fox, and Gun, 50.
Hunting, 24.
I See You, 22.
Imaginary I Spy, 57.
Jar'Ring Toss, 48.
Jolly Is The Miller, 17.
Jump, Jim Crow, 17.
Jumping'Rope Relay, 31.
Kick the Stick (relay), 32.
Kick Up, 40.
Kick-Over Ball, 34.
Last Couple Out, 29.
Leapfrog T w o Deep, 15.
Legs and N o Legs, 61.
Lemonade (Trades), 26.
Lobby Loo, 12.
Magic Writing, 59.
Marble Bowling, 49.
Match One, Tw o, Three, 69.
Match Removal, 69.
Matching Songs, 10.
Memory Selections, 73.
Merry-go-round, 17.
Millionaire Couple, 9.
Mind Reading, 58.
M iss the Bell, 48.
Mixed Dates, 74.
Moon Is Round, The, 57.
Mystery games, 57.
Name Acrostics, 9.
Name Chain, 10.
Necktie Relay, 30.
Newcomb, 38.
Nope, 60.
Number Choice, 60.
Numbers Change, 14.
N uts in M ay, 23.
One Tw o, Three, Change, 20.
Over and Under (relay), 31.
Paper Heads, 9.
Peanut Pass (relay), 30.
Poison Snake, 14.
Pom, Pom, Pull Away, 28.
Popularity, 16.
Proverb Trading, 9.
Proverbs, 55.
Put and Take (relay), 30.
Race, 51 (Alphabet), 34 (Ball), 44 (Bean-Bag)
52 (Fan), 30 (relay).
Rhymed Answers, 56.
Riddle contests, 74.
Ride Him, Cowboy, 28.
Rig-a-jig-jig, 12.
Right and Left Spelling, 53.
Rochambeau, 50.
Run, Sheep, Run, 29.
Schlag Ball,37.
Shopping, 55.
Slap Jack, 13.
Slap Stick, 70.
Slide Right, 53.
Snatch the Handkerchief, 27.
Snip, 55.
Spoke Tag, 27.
Squirrels in Trees, 20.
Stealing Sticks, 27.
Streets and Alleys, 28.
Stride Ball, 39.
Table games, 61.
Teakettle, 56.
Temple Reading, 58.
Third Man, 20.
This and That, 60.
This Is M y Nose, 56.
Thought Chain, 53.
Three Deep, 19.
Thumb Choice, 58.
Touch Reading, 59.
Trades (Lemonade), 26.
Tucker, 16.
Tw o Little Blackbirds, 57.
Two-Part Cities, 58.
U Auto Know and other riddle contests, 74.
Vanishing, 55.
Virginia Reel, 25.
Volley Ball, 36.
Watch Tapping, 61.
What Am I? 54.
White Men and Indians, 56.
Wrong Capitals, 74.
Yankee Doodle, 19.
V m . G A M E S F O R 100 O R M O R E P L A Y E R S
Around and Down (relay), 32.
Autographs, 8.
Broom Walk, 22.
Bundle Relay, 31.
Captain Jinks, 18.
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Federal Reserve Bank of St. Louis
119
Come Along, 13.
Cooperative Spelling, 8.
Crows and Cranes, 26.
Date Card, 8.
Electric Shock, 51.
Handbook for Recreation Leaders
120
Matching Songs, 10.
Memory Selections, 73.
Merry-go-round, 17.
Millionaire Couple, 9.
Name Acrostics, 9.
Name Chain, 10.
Necktie Relay, 30.
Over and Under (relay), 31.
Paper Heads, 9.
Peanut Pass (relay), 30.
Popularity, 16.
Proverb Trading, 9.
Put and Take (relay), 30.
Riddle contests, 74.
Rochambeau, 50.
Spoke Tag, 27.
Table games, 61.
Tucker, 16.
U Auto Know and other riddle contests, 74.
Virginia Reel, 25.
Yankee Doodle, 19.
Eye Color, 8.
Famous Faces, 10.
Famous Facts, 10.
Fetch and Carry (relay), 31.
Firefly, 18.
Follow Through (relay), 32.
For He’s a Jolly Good Fellow, 23.
Grand March, 24.
Grand Right and Left, 19.
Greeting, 18.
Grocery List, 10.
Handful Relay, 31.
Human-Obstacle Race (relay), 32.
Hunter, Fox, and Gun, 50.
Hunting, 24.
I See You, 22.
Jolly Is the Miller, 17.
Jump, Jim Crow, 17Jumping-Rope Relay, 31.
Looby Loo, 12.
Matching Numbers, 9.
IX .
GAM ES FOR LARGE
Memory Selections, 73.
Millionaire Couple, 9.
Mind Reading, 58.
Mixed Dates, 74.
M y Father’s a Merchant, 57.
Name Acrostics, 9.
Necktie Relay, 30.
Nope, 60.
Paper Heads, 9.
Peanut Pass (relay), 30.
Proverb Trading, 9.
Proverbs, 55.
Rochambeau, 50.
Shopping, 55.
Slap Stick, 70.
Snip, 55.
Table games, 61.
Teakettle, 56.
This and That, 60.
Two-Part Cities, 58.
U Auto Know and other riddle contests, 74.
What Am I? 54.
Word Buying, 68.
Words and Things, 62.
Authors, 73.
Autographs, 8.
Bundle Relay, 31.
Crows and Cranes, 26.
Dumb Crambo, 54.
Electric Shock, 51.
Eye Color, 8.
Famous Faces, 10.
Follow Through (relay), 32.
For He’s a Jolly Good Fellow, 23.
Grocery List, 10.
Guggenheim, 66.
Handful Relay, 31.
How, When, and Where? 55.
Hunter, Fox, and Gun, 50.
Hunting, 24.
I See You, 22.
Imaginary I Spy, 57Magic Writing, 59.
Match One, Tw o, Three, 69.
Match Removal, 69.
Matching Numbers, 9.
Matching Songs, 10.
X.
Advertisements, 63.
Air, Water, Fire, 53.
Alphabet Race, 51.
Alphabet Scramble, 52.
Authors, 73.
Autographs, 8.
Blackboard Relay, 33.
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Federal Reserve Bank of St. Louis
R O U P S IN S M A L L S P A C E S
GAM ES
)R P A R T IE S
Broom Walk, 22.
Bundle Relay, 31.
Captain Jinks, 18.
C at and R at, 14.
Come Along, 13.
Cooperative Spelling, 8.
Crows and Cranes, 26.
Indexes— X. Games for Parties _~
Date Card, 8.
Drop the Handkerchief, 14.
Dumb Crambo, 54.
Electric Shock, 51.
Eye Color, 8.
Face to Face, 20.
Famous Faces, 10.
Famous ^acts, 10.
Fetch and Carry (relay), 31.
Fire in the Mountain, 21.
Firefly, 18.
For He’s a Jolly Good Fellow, 23.
Ghosts, 54.
Gossip, 54.
Grand March, 24.
Grand Right and Left, 19.
Greeting, 18.
Grocery List, 10.
Handful Relay, 31.
Have You Seen M y Sheep? 14.
Hearts, 63.
Hot Handkerchief, 52.
How, When, and Where? 55.
Hunter, Fox, and Gun, 50.
Hunting, 24.
I See You, 22.
Imaginary I Spy, 57.
Jolly Is the Miller, 17.
Jump, Jim Crow, 17.
Looby Loo, 12.
Matching Numbers, 9.
Matching Songs, 10.
Memory Selections, 73.
X I.
Merry-go-round, 17.
Millionaire Couple, 9.
Mixed Dates, 74.
M y Father’s a Merchant, 57.
Name Acrostics, 9.
Name Chain, 10.
Necktie Relay, 30.
N uts in M ay, 23.
Oats, Peas, Beans, 11.
One, Tw o, Three, Change, 20.
Paper Heads, 9.
Peanut Pass (relay), 30.
Popularity, 16.
Proverb Trading, 9.
Proverbs, 55.
Put and Take (relay), 30.
Riddle contests, 74.'
Rig-a-jig-jig, 12.
Right and Left Spelling, 53.
Rochambeau, 50.
Shopping, 55.
Slap Jack, 13.
Slide Right, 53.
Snatch the Handkerchief, 27.
Snip, 55.
Squirrels in Trees, 20.
Table games, 61.
Teakettle, 56.
This Is M y Nose, 56.
Tucker, 16.
U Auto Know and other riddle contests, 74.
Virginia Reel, 25.
What Am I? 54.
Yankee Doodle, 19.
G A M E S F O R C H IL D R E N U N D E R 1 0 Y E A R S O F A G E
Air, Water, Fire, 53.
Boston and New York, 28.
Cat and Rat, 14.
Croquet, 48.
Crows and Cranes, 26.
Dots and Lines, 67.
Drop the Handkerchief, 14.
Dumb Crambo, 54.
Fire in the Mountain, 21.
Greeting, 18.
Handful Relay, 31.
Humbug, 64.
Hunting, 24.
I See You, 22.
Imaginary I Spy, 57.
Jolly Is the Miller, 17.
Leapfrog Tw o Deep, 15.
Lemonade (Trades), 26.
39066°—36---9
https://fraser.stlouisfed.org
Federal Reserve Bank of St. Louis
121
Looby Loo, 12.
Match One, Tw o, Three, 69.
Match Removal, 69.
Merry-go-round, 17M y Father's a Merchant, 57Nuts in M ay, 23.
Oats, Peas, Beans, 11.
Peanut Pass (relay), 30.
Pom, Pom, Pull Away, 28.
Shopping, 55.
Slap Jack, 13.
Snatch the Handkerchief, 27.
Snip, 55.
Tether Tennis, 42.
Third Man, 20.
Three Deep, 19.
Trades (Lemonade), 26.
Tw o Little Blackbirds, 57.
o
https://fraser.stlouisfed.org
Federal Reserve Bank of St. Louis
https://fraser.stlouisfed.org
Federal Reserve Bank of St. Louis
https://fraser.stlouisfed.org
Federal Reserve Bank of St. Louis
@FedFRASER