18 g )F HE 0A$j6',,ffY0Fmlcjd ISO* 183@6 THE CIRCUS COMES TO SCHOOL The King of the Jungle Quarters, and to many the King of the Ring The King of the Jungle Quarters, and to many the King of the Ring COMES TO SCHOOL A PLAN WHEREBY THE CIRCUS BECOMES RECREATIONAL AND EDUCATIONAL By.Averil Tibbels NEW YORK A. S. BARNES & COMPANY 1937 COPYRIGHT, I937 A. S. BARNES AND COMPANY INCORPORATED This Book is fully protected by copyright and nothing that appears in it may be reprinted or reproduced in any manner, either wholly or in part, for any use whatever, without special written permission of the copyright owner. PRINTED IN THE UNITED STATES OF AMERICA DEDICATED TO MY MOTHER I ACKNOWLEDGMENTS I wish to acknowledge my indebtedness to Raymond S. Deck and William S. Goeltz, whose expert photography has supported many circus statements herein, and to the Hutchinson School Art Department for poster and handbill designs. I am exceedingly grateful for the valuable suggestions of interested parties and the untiring coiperation of pupils, teachers, and parents of Hutchinson School, Pelham, N. Y. II-jP a- m a - CONTENTS I. Why Have a School Circus? II. Two Kinds of School Circuses I8 III. What Brings About a Successful Circus? 42 IV. The Circus Depends Upon Its Stunts and Their Many Related Factors 72 V. Stunts and Suggestions for Circuses and Side Shows I34 The Directory of Sources 232 Index 241 I aa~aaBOS O ILLUSTRATIONS The King of the Jungle Quarters, and to many the King of the Ring Frontispiece Circus practice is recreation 9 The circus is an outgrowth of pupil interest I From the very beginning pupils feel that the circus belongs to them 20 Indian elephants enjoy their stunts 39 A small design for circus programs 63 "Clowns are pegs to hang the circus on," P. T. Barnum 69 Pyramids imply magnitude 77 All ready for the Big Parade 8i The timid make good actors when hidden from the gaze of the audience 83 Costumes help to transform the participants into something far removed from themselves 89 A Harmonica Orchestra can do much to prevent the audience from missing a band I05 Making posters which attract the public is one of the first tasks of the art groups I09 Novel names attached to posts along the roadside will attract motorists II9 Pictures have served efficiently to convey meaning since the days of primitive man 121 xi xii Illustrations Dummies representing "sure to attract" circus freaks and animals are always commanding 123 Sandwich boys carrying circus data will attract pedestrians 125 A handbill I33 Towering Tommy, Sammy Short and two ringmasters 142 The Weird Wompy Wumpuses 162 Simple pyramids 163 The Pilfering Pirates descend upon us 169 The Magic Rose unfolds 176 The Magic Rose in full bloom 177 The Tipsy Tricky Tumblers courageously await their hazardous stunts 80 The Hill Billies, fresh from the hills I83 The Pinwheel girls, ready to enter the ring 198 The Patriotic Pinwheel 201 Side shows should never obstruct the passageway to the circus tent 216 THE CIRCUS COMES TO SCHOOL ~l~~rlll,~~~rll,~,~r CHAPTER I WHY HAVE A SCHOOL CIRCUS? THERE is not a wide-awake school in existence, to say nothing of camps and recreation centers, which is not confronted at least once every year with entertainment problems. The motives which prompt school entertainments are almost as varied as the types of programs themselves. And like the programs, some are justifiable, some without reason, and some only partially satisfying to all concerned. A program may be promoted to open new avenues of learning. It may be promoted to demonstrate skills which pupils have developed. It may be promoted to reenforce a depleted school budget. It may be a scheme to bring parents to school to see the entire "set up." Last but not least it may be promoted to satisfy a local philosophy which has "show me" characteristics. A subject may have every right in the world to exist, it may be rich in vital experiences, highly profitable to the learner; yet the taxpayers of certain communities may demand that the school demonstrate in some way or another the value of that subject. In other words, it is not enough for some taxpayers that a subject be satisfying to the learner; it must likewise be satisfying to them. Whatever the propelling motive for an entertainment 2 The Circus Comes to School may be, each year about the time the boys start playing marbles, many physical educators feel that the time is ripe for a physical education entertainment. There is, however, that ever-perplexing problem, "What kind of a program shall we give?" There is seemingly no end to entertainment possibilities. There are pageants, health plays and exhibitions, many of which have their value but the majority of which do not quite satisfy the needs of your school. To be sure, the wise educator will be interested in a program which will appeal to his prospective audience, but he will be far more interested in one which will create a strong purpose in the hearts of the participants. How well he knows that "purpose stands first in the fundamentals of learning." School programs, therefore, should be selected with care and forethought. Before arriving at any decision, the true educator will make an effort to ascertain the interests of both the pupils and their parents. A circus is in town! Few miss it; all are enthusiastic about it. It does not take an alert physical education teacher long to sense the type of entertainment which makes the strongest appeal to both sexes and all ages. He hastens to interview his superintendent. "Why not have a school circus?" he suggests. The superintendent, in his astonishment, changes the question somewhat by asking, "Why have a school circus?" There are many obvious reasons, sound and satisfying. A circus has a universal appeal to participants and spectators alike; it will always have an appreciative audience; it presents a never ending group of activities; unlike teacher-planned exhibitions, it I Why Have a School Circus? 3 is an outgrowth of pupil interest; it provides an opportunity to utilize physical education activities; it automatically becomes a school activity; and it brings compensation of many kinds. THE CIRCUS HAS A UNIVERSAL APPEAL The world is spiced with heterogeneous personalities whose interests are shaped largely by their instincts and their environment. Out of their varied interests have sprung a host of likes and dislikes, which, perhaps, account for the many different forms of entertainment patronized in the world to-day. Amusement of every description has its own class of followers. The opera appeals to those who have a musical background; the dance, to the spirited and to those who have a rhythmic sense; the drama, to those who have an understanding and appreciation of it; fashion shows to fastidious women; follies and musical comedies to tired business men; and so on and on. Each form of entertainment is more or less limited by age, education, sex and geographical boundaries. Not so with the circus, however; it has no limitations. It appeals to the old and the young alike. Children, mothers, fathers, aunts, uncles, and grandparents thrill to the same freaks, animals and stunts. Grandfathers use their grandsons as an excuse to go to the circus, but children of all classes and color need no excuse. They get there some way or another. Whether they pay the entrance fee and walk through the gate, carry water for the elephant or sneak in "just around the turn of the tent," they are equally 4 The Circus Comes to School thrilled with what they see there. The aged saying, "The circus appeals to children from 8 to 8o," is just as true to-day as it was the day it was uttered. The circus is never cast aside with childish fancies; we find it in colleges, in society and even in the most respected and dignified men's clubs. Way back in I906 the University of Illinois had its first circus. It proved to be so successful that it became an annual affair, growing bigger and better with every performance. To-day not only the college students but the surrounding inhabitants eagerly await the return of this annual college circus. The crowds which throng it prove its popularity. Society ladies often stimulate interest in their otherwise dull parties by means of the circus. Only recently a leading New York paper devoted several pages to directions for a Circus Party. The table centerpiece represented a miniature circus; animals paraded about cakes and eggs were converted into clowns. The proposed entertainment for the evening consisted of mirth provoking stunts. Dignified society ladies who were looking for something different to amuse their friends seized upon this idea with eagerness; for once they were assured that their guests would not be bored. The circus as a form of club amusement, however, is not confined to women. Many men's clubs revert to it as a means of entertaining their wives on "ladies' night" and incidentally have more fun than their wives. Not many years ago the fun-loving Shriners held a convention in New York City. A Shrine Circus became the chief form of amusement. Why Have a School Circus? 5 One has only to look about him each spring at the Madison Square Garden opening of the Ringling Brothers and Barnum and Bailey Combined Circus to realize that the circus is exceedingly democratic. Foreigners and Americans enjoy the same performance. Day laborers dressed in their shabby "best" rub shoulders with the "elite" in their immaculate dress suits. Garlic mingles freely with perfume of the finest grade. The uneducated and the scholar laugh at the same jokes. The deaf relax beside those with acute hearing and applaud as loudly as their neighbors. A strange mixture of personalities, to be sure, but all have a common interest-the circus. The circus has no geographical boundaries. It crosses the ocean and tours the European countries. People of many lands are excited by the same wonders, and applaud the same show. A teacher who is interested in finding a type of entertainment which will appeal to all ages and all classes and the participants and spectators alike will find it in the circus. It has a universal appeal. THE CIRCUS WILL ALWAYS HAVE AN APPRECIATIVE AUDIENCE Time has wrought great changes in civilization and people have tuned their actions and their interest accordingly. Music, vaudeville, sports, the dance, the movies and, in fact, the great majority of amusements and entertainments have felt keenly the influence of our changing civilization. Time was when people thrilled to the silent movies. To-day they laugh and even hoot at them. "In 6 The Circus Comes to School to-day and out to-morrow" is the showman's cry. Strange as it may seem, modern trends have left but faint imprint upon the circus and the interest the people demonstrate in it. In its infancy, way back in the wagon days when the circus animals, personnel, and equipment were moved over the worst roads possible by spans of horses, people used to gather at the old farm gate by the roadside and wait all night to see the circus wagons go by. The circus has become motorized. Trucks and trains have eliminated the spans of horses and rumbling wagons, but they have not eliminated the interested people who stand for hours in order to get one fleeting glimpse of the long circus trains as they whiz by or to see circus trucks silhouetted in clouds of dust as they roll over the country roads. Interest runs so high that these people ignore the romance of the movies and forsake the modern deviced theaters for the circus tent. For more than a century the circus has gripped the nation. Its curious people, its witty clowns, its bespangled ladies and its miraculous stunts ever appeal to certain inherent traits in man. It goes without saying that the circus has grown much larger and its stunts far more spectacular than when it made its first bow in I785. Although the ways and means of doing things have been influenced by a number of modern gadgets, the very core of the circus has remained the same and interest in it has never wavered. Should the graves open to-day and yield our ancestors for generations back they would be able to sit beside us at Why Have a School Circus? 7 the Greatest Show on Earth and enjoy every minute of it without rushing to the libraries, before the circus began, to fill in the gap of years. Even though many of the stunts have grown more stupendous and dazzling and many strange animals and a few modern gadgets have made it more wondrous, they would have no trouble in understanding and appreciating the circus. "Fads in entertainments may come and go but the circus remains forever." THE CIRCUS PRESENTS A NEVER-ENDING GROUP OF ACTIVITIES, UNLIKE TEACHER PLANNED EXHIBITIONS The circus presents a never-ending group of activities which satisfy the needs of the entire student body, no matter how heterogeneous the personalities may be. The fat, the petite, the awkward, the graceful, the serious, the witty, the timid and the courageous may find themselves stars in the circus. So varied are its stunts that one of them will be within the reach of every pupil. Each individual will fit into a place and will have something to contribute. No under-privileged boys and girls will be outside looking in upon their gifted classmates as they make brilliant appearances in intricate stunts. There will be a sharing of activities as well as a sharing of satisfaction. It is futile to expect every one to harbor the same interests. Too often physical education programs either demonstrate the talents of a gifted few or drive pupils like cattle into mass stunts without due consideration of personalities and with no chance, whatsoever, to exhibit character and originality. Not so with the circus. Its never 8 The Circus Comes to School ending chain of activities gives every one an opportunity to match personality with stunt. And as pupils select for themselves the parts in which they feel confident they can star, the circus is well on the road to success; for confidence is always an important factor in success. The tremendous interest which the circus awakens and the never-ending chain of activities which it offers do much toward making it more than a mere exhibition. Pupils are not thrown into stilted, unnatural situations. They are not given ready-made stunts in which they have no interest and drilled until they are mechanically perfect. Neither do they become indifferent, antagonistic and rebellious. In reality they are thrown into interesting situations wherein they create stunts easily and naturally. They are interested in the doing because the various numbers are full of color and romance which fire their imagination. The moment an amateur circus is mentioned, pupils are eager to get started and even more eager to contribute their share to its success. Interest waxes warmer with every step of development. There is no teacher drive; they enjoy the stunts and are anxious that they become polished and finished for the final performance. Individuals are heard to chuckle to themselves as the execution of the stunts approach what they, as creators, judge to be excellent numbers. In short, practice becomes recreation and the final performance is anticipated with impatient eagerness. I, 4, " ", 'I- '. 7?. -,.4-*. r. ULM-k., N "WV. mpmwm..*-* - t* t-+. * - '4 "S -Wi Circus practice is recreation IO The Circus Comes to School THE CIRCUS IS AN OUTGROWTH OF PUPIL INTEREST You have only to look about you at the many backyard circuses which spring up overnight to realize the tremendous interest which boys and girls have in the circus. More often than not a circus is in the making either in the barn, the backyard or a vacant lot of every neighborhood. There is scarcely a pupil who has not at one time or another been a snarling animal, a painted clown, a beautiful lady, a freak or a part of some captivating stunt in his own circus. Circus history tells us that Ringling Brothers started their circus career in their own backyard. Reveling in the attention which they received from their fellow playmates, they set their goal toward bigger and better circuses. At first pins were the medium of exchange for their fine performances. No small number of sewing baskets were left pinless as the interest in this neighborhood circus waxed warmer. In time the circus began to grow. Its popularity increased until baskets could not yield the proper admission; real money became necessary. Because of their many new and thrilling acts, the young brothers dared charge a penny a performance. It was then that the venture really began to look like a circus. Eight dollars and thirty-seven cents of the proceeds were invested in sheeting. This was converted into a tent, the company's first. It was a great day for the neighborhood when that tent was completed. It attracted no small amount of attention and brought forth more praise for the boys. .:-"""I` ` '' I-" "-"- "" '' ~,-~- ~ ~~- ~ -`'=z. L, `.~e.. ~ ~.su P '9~,,.gg, uT' ~*~ cBra r~, no:a~.4~5"~.~ ~ic`..:''p, ~3u ~~a~a, ~ 4, `b \~b Zr " Q U-. C P.* * UL ,~~ ,.u'`*` ~4.J o.~-~" n``~~,-s~-..~ -Y.a":9 - ;c' a s~.,~)~,T.;'pN;'" _pr, $ ~n~~ Bpa~..,'Sl "" . ~v3%%:re - ~~,c; -csfrna / f I11 \ '), I . W f. 4 10 T;"BIC R*l k a* n,.FSabR: iZ '4'.* " jL " I.' i A '"'.. "`~ 1 ~"-` r r) 7:.e *UC,ra' ' "~ ..inaarp,, ` h*:6k~~' I ~~~ The circus is an outgrowth of pupil interest 12 The Circus Comes to School Admission was advanced to five cents. Again the energetic young managers invested the capital for the benefit of the audience. Animals were purchased, among which was a straggly, bony, Mexican pony which made the adults laugh and the neighborhood gang proud. It is said that Ringling Brothers were never prouder of their thoroughbreds than they were of this-their first horse which brought with it a circus-like atmosphere. Of course, with their newly acquired valuables, a parade was forthcoming. It was a strange mixture. If the notations of others are correct, the parade consisted of the pony just mentioned; a red band wagon; a band composed of a jew's-harp, a mouth organ, an army trumpet and a drum; band boys dressed in red suits and topped with queer hats from which homemade blue plumes waved; two clowns, one leading a goat and the other performing circus antics; and the King of The Sandwich Isles wrapped in splendor-a discarded crazy quilt. This was Ringling Brothers' first parade. We may laugh, but this backyard circus was destined to have a meaning to children and parents of many lands. Any activity which can start itself wherever there is a group of boys and girls is certain to be an outgrowth of challenging interests which spring naturally from the hearts of the participants. The compelling force which causes children to engage in their own circus without adult direction at a time when it is not necessary is genuine interest. Moreover, it is this type of interest which opens numerous avenues of learning and at the same time stimulates action. It goes without saying, then, that the learning Why Have a School Circus? 13 possibilities of an amateur circus are rich, for it is naturally an outgrowth of pupil interest. Such interest should command the attention of educators. THE CIRCUS PROVIDES AN OPPORTUNITY TO UTILIZE PHYSICAL EDUCATION ACTIVITIES Schools that are fortunate enough to have a varied physical education program will have a circus in the making long before real circus plans are under way. With the exception of clowns, animals and freaks, the varied physical education program is a circus in itself. Look about you at the Greatest Show on Earth and compare the activities with those of your own classes. Tumbling, pyramid building, dancing, wrestling, boxing, juggling, marching, apparatus, drills and balancing stunts form an important part of the Big Top circus. They likewise form an important part of the varied physical education program. Such being the case, the amateur circus provides a splendid opportunity to utilize physical education activities. Physical skills and physical fitness are the goals in both instances. The very first circuses consisted mainly of clown antics, tumbling, and acrobatic stunts. Animals, freaks, and many of the dazzling numbers which form an alluring part of the majority of the large circuses of to-day were acquired as circuses grew. The same will happen to your school circus. As it unfolds, animals, clowns, freaks, and many dazzling stunts which are not a true part of the daily physical education program will be added. Regular physical I4 The Circus Comes to School education activities, however, will form the nucleus of the circus. THE CIRCUS AUTOMATICALLY BECOMES A SCHOOL ACTIVITY The school circus, although generally born in the physical education department, is not confined to that department alone. It automatically becomes a school activity. Every normal student and every school department immediately becomes interested in its outcome. If it is to be a high school performance, all departments become joint adventurers in bringing about a successful circus. The art department makes the posters, paints the animals and has charge of all art activities. The clothing department assists in designing and making the costumes. The industrial arts department sponsors the construction. The English department writes the speaking parts, and assists with the coaching, advertising and reports. Since the circus demonstrates skills in so many school subjects, it soon resolves itself into a school activity. THE CIRCUS BRINGS COMPENSATION OF MANY KINDS EDUCATIONAL. The educational value of a real circus is not to be slighted. There is much beneath the glamor and fun for those who have had enough previous training to know how and where to look for it. In the true sense of the word, the circus becomes an educational observatory, not for Why Have a School Circus? 15 observing heavenly bodies but for observing people and animals from all parts of the earth, gathered together under one tent. The animals challenge boys and girls to find out more about them; how and where they were captured; how they are trained; the kind and amount of care which they require. The pageant of nations presented in the Big Parade awakens an interest in geography and people of various nations. Such knowledge increases the enjoyment as well as the appreciation of the circus. Generally speaking real knowledge deepens appreciation. If an amateur circus is properly planned, the educational values are exceedingly great. It creates a broad learning situation, offering many opportunities and experiences as it reaches out into related fields. It awakens interest in circus labor-saving devices, circus transportation, circus business, sales methods and advertising. It offers rich experiences in sewing, costuming construction, art, dramatics, English, finance, business and various social relationships. These experiences in turn offer opportunities in leadership, creativeness and development of skills. The learning which an amateur circus stimulates is farreaching. It is not confined to a certain privileged group. On the contrary it is inclusive and democratic, giving the entire school a chance to share in it. Since the circus is an all American amusement, it challenges the attention of educators whose purpose it is to stimulate learning. I6 The Circus Comes to School SOCIAL. From the very beginning the amateur circus is social. Discussing plans and exchanging ideas among the art, costume, construction, creative, dramatic and advertising groups foster valuable social contacts and relationships among the pupils. Various business activities also provide for many community contacts. The department stores must be visited; police departments, lumber yards, printing offices and hosts of other business places must be contacted in order to further circus plans. On the whole the circus is a wholesome, informal and social enterprise which is demonstrated not only in the final performance but in every step of the preparation as well. PHYSICAL. The physical compensation which results from an amateur circus is obvious. Stunts, sewing, construction, and many of the other related activities require a great deal of satisfying physical skills varied in nature. Physical skills will be discussed at length, however, in a later chapter. FINANCIAL. There is, perhaps, no other form of entertainment which coins the money as does the amateur circus. The wide appeal which it makes to pupils and parents alike brings many people when other programs fail. The circus, of course, is the main attraction and is responsible for the greater portion of the money, but at the same time, when circus crowds catch the circus spirit, they Why Have a School Circus? 17 are sure to drink pink lemonade, crunch peanuts, and see everything that is offered, much as they are wont to do at a real Big Top show. Such being the case, side shows, menageries, and eating stands, as well as peanuts and lemonade sold during intermission, contribute their share to the gross receipts. 0- 0 0 a 0 0 0 0 0 ~ CHAPTER II TWO KINDS OF SCHOOL CIRCUSES THERE are two kinds of school circuses, the activity or the project circus and the entertainment and fund-raising circus. Briefly speaking, the activity circus arises as a learning situation, its purpose being to stimulate learning. Attention is focused upon the learning involved in producing a successful performance. The problems which arise in the attempt to create the circus open new experiences which contribute to rich learning. On the other hand, the entertainment and fund-raising circus has as its purpose entertaining the spectators and raising funds for school needs. It generally has its birth in the physical education department, with attention focused largely upon circus skills and their outcomes. However, learning is stimulated in much the same manner as it is in the activity circus-mainly as the participants attempt to solve related circus problems; hence, both the entertainment and fund-raising circus automatically become a school activity. Two Kinds of School Circuses I9 THE ACTIVITY CIRCUS If we follow the principles and the criteria set up by the California Curriculum Commission, the amateur circus becomes one of the richest activities in an activity program. The knowledge gained therein not only equips the pupil with a better understanding of the circuses which he has an opportunity to see, but likewise develops many other interests through related fields. What is an activity and what is an activity program? The following definitions, also by the California Curriculum Commission, may bring about a better understanding of the place which the circus has in the activity program. An "activity" is any large learning situation brought about by the strong purpose of a child or group of children to achieve a worthy end desirable to themselves, which, like those situations in life through which we are most truly educated, draws upon many fields of knowledge.* By the term "activity program" is meant a school curriculum which provides a series of well-selected activities for different levels of growth; which offers opportunities to children to engage in worth while, satisfying experiences while carrying out their most worthy and most challenging purposes. It provides an environment in which children continually propose and act in situations of meaning to them-; in which they live fully, richly and happily, now, and so have the best possible preparation for successful living after they leave school.t * Teachers' Guide to Child Development.-Developed under the direction of California Curriculum Commission, California State Printing Office, Sacramento, California, p. 17, I930. t Teachers' Guide to Child Development.-Developed under the direction of the California Curriculum Commission, California State Printing Office, Sacramento, California, p. I8, I930. 20 The Circus Comes to School With these definitions in mind and again using the criteria of the California Curriculum Commission as a measuring stick, let us see what makes the amateur circus one of the richest activities in an activity program. Perhaps its value could be made more convincing if the following questions were answered satisfactorily. From the very beginning pupils feel that the circus belongs to them IS THE CIRCUS CLOSELY RELATED TO THE CHILD'S LIFE? The circus is so closely related to the life of every child that wherever a group of boys and girls are gathered together, the circus is likely to be the result of their play. Moreover, it will reach a high degree of success without adult guidance. From its very beginning pupils feel that the circus belongs to them. With this feeling of possession Two Kinds of School Circuses 21 it grows in importance and interest waxes warmer with each step of development. Children make their own plans and as suggestions are made they attempt to carry them out. The imagination, interest, and enthusiasm which the circus creates produce a strong desire to carry it through to the end, thus insuring success. IS THE CIRCUS WITHIN THE GRASP OF EVERY PUPIL? The circus, elastic in its scope, falls within the range of every pupil's understanding. This alone insures a certain degree of success. What children understand they feel certain they can do. Understanding, then, brings confidence and eventually success. The circus has few failures, for interest-killing obstacles are conquered by confidence, satisfying past experiences, and real enthusiasm. Stimulated by their successful accomplishments, pupils strive to conquer more difficult problems which in turn open new fields of learning. Thus circus learning becomes satisfying and enjoyable. DOES THE CIRCUS OFFER OPPORTUNITIES WHICH BRING ABOUT ALL-AROUND DEVELOPMENT? The intellectual, constructional, esthetic and physical experiences which the circus offers bring about all-around development. Intellectual: Intellectual experiences come from development of interest in worthy subject matter; geography, social science, history, arithmetic, etc. 22 The Circus Comes to School Constructional: Constructional experiences are derived from drawing plans, building the skeletons of animals, cages, tents, circus rings, etc. Physical: Physical experiences of various types are gained as skills are developed in tumbling, pyramid building, dancing, sewing and construction. Esthetic: The esthetic is apparent in the many appreciations which are developed. Some of them are as follows: Appreciation of the amount of training a troupe must have to perform successfully circus stunts. Appreciation of the lighting and coloring necessary to create a circus atmosphere. Appreciation of circus animals and the care and effort required in training and keeping them alive. Appreciation of the proper arrangement of circus stunts. Appreciation of attractive and interesting posters, handbills and programs. Appreciation of circus costumes, their materials and colors. DOES THE CIRCUS PROVIDE A VARIETY OF ENDEAVORS WHICH REQUIRE A DIFFERENT PROCEDURE IN WORKING THEM OUT? The amateur circus opens many fields of experience, requiring different procedures. Some of them are as follows: Going to the circus at Madison Square Garden or the Big Top. Planning and organizing the circus. Managing the circus business. Advertising. Two Kinds of School Circuses 23 Going to the printing office to discuss tickets and advertising. Interviewing real circus people. Writing letters for information. Writing jingles for the clowns. Writing speeches for the ringmaster. Writing circus advertisements. Writing circus reports. Drawing circus animals. Composing circus music. Making circus posters. Making circus handbills. Taking circus pictures and developing the films. Building animals and making costumes. Imitating circus clowns and other circus characters. Solving circus problems such as: What wood and materials are best for building the animals? What materials are best suited for circus costumes? What are the best stunts for an amateur circus? How should circus animals act? How shall the street parade be organized? DOES THE CIRCUS BUILD DESIRABLE HABITS AND SKILLS? A great many of the habits formed in planning an amateur circus make for good citizenship. Perhaps one of the most worthy habits which the circus builds is that of sharing ideas, work, materials and responsibilities. Since modern civilization will not permit its people to live alone, there must be a continual sharing, and that brought about - 24 The Circus Comes to School by this project is of utmost importance in developing fine citizens. The following are only a few of the habits and skills developed by the circus, the majority of which will carry over in some way into other walks of life. Habits of: Thoughtful planning of animals, costumes, stunts, programs, handbills, posters and the circus in general. Finding and using authentic information. Proving that circus information is authentic. Carefully executing all circus duties. Making suggestions and asking questions. Selecting and rejecting circus materials. Coiperating and taking responsibilities. Sharing ideas, work, materials and responsibilities. Skills in: Reading for information. Reading maps, steamship folders, in order to figure out the routes of circus ships. Drawing plans and executing them. Measuring accurately for making costumes, animals, property, etc. Spelling correctly so that they might be understood in their advertising, reports, letters, programs, etc. Computing costs accurately. Expressing themselves in poems for clowns, speeches for the ringmaster, programs, reports, advertising and letters in a manner that will be attractive, clear and concise. Two Kinds of School Circuses 25 DOES THE CIRCUS PROVIDE AN OPPORTUNITY FOR SOCIAL CONTACTS? The social contacts which the circus provides are numerous and worth while. They are of two kinds; student group contacts and community contacts. Student contacts are brought about as follows: Discussing plans. Exchanging ideas among the various groups. Helping one another with skills. Community contacts are brought about as follows: A visit to the movies to discuss screen advertising. A visit to the traffic officers to plan for a street parade. A visit to the lumber yard to select lumber for animals. A visit to the department stores to select materials for costumes. A visit to the newspaper to discuss advertising the circus. Contact with parents who offer to help children with circus work. Community and student contacts bring: A sharing of ideas. Respect and tolerance for the efforts of others. Tact in giving criticism. Good judgment. 26 The Circus Comes to School IS THERE A WEALTH OF RICH SUBJECT MATTER IN THE CIRCUS? There is without doubt a wealth of rich subject matter in the circus, the greater part of which is exceedingly satisfying to the learner and will bring about a better understanding and appreciation of the real circus. Reading and Literature: Reading facts about the animals that appear in the circus. Reading circus stories. Reading facts about trapping and hunting circus animals. Searching for circus stories. Reading circus poems. Reading about people who live in the circus. There is a great deal of interesting, human and entertaining circus literature. Among the authors who have contributed to authentic circus literature are Betty Boyd Bell, Edwin P. Norwood, Gil Robinson, "Lord" George Sanger, Earl Chapin May and Paul Eipper. Their works are well worth reading, as are the magazine articles, such as those found in the National Geographic, and the ten cent magazines or programs which one buys at the circus. Many libraries have made a very interesting collection of old circus programs which offer a world of inside information about circuses. This is especially true of the New York City public library. Two Kinds of School Circuses 27 Oral and Written Expressions: Exchanging ideas in the discussion and planning groups. Telling circus stories and circus experiences. Writing letters for circus information. Writing advertisements, making programs, handbills, etc. Writing speeches for circus principals. Writing jingles for circus clowns. Writing circus stories. Writing circus poems. Writing circus reports. Recording circus decisions. Giving stunts, freaks and animals magic names. Geography: Studying and locating countries from which circus animals, freaks and actors have come. Studying the best routes for transporting circus animals and circus people from their original homes. Comparing the climatic conditions of the old and new homes of these animals and people. Noting the adjustment which they might have to make as they travel with the circus. Can you find as much geography crowded into so small a space anywhere else in the world? In fact, the circus is a whole world of geography in itself. Few animals or troupers assembled together under the Big Top have the same geographical background. The geography is not only 28 The Circus Comes to School apparent; it arouses a curiosity which must be satisfied as soon as the performance has come to an end. What person, large or small, who observes the pygmy elephants for the first time at the circus does not find a map at his first opportunity and locate the Congo region? History: Comparing the old Roman circuses with those of America. Is our present day circus deserving of the name? What were the feats of the old Roman circus? How do they compare with those of our circuses? Studying the development of the circus. When and where was the first circus? Who might have attended this circus and in what manner? What were the conditions of the country at this time? Why did the first circus have no elephant? What were the principal forms of amusement at that time? Comparing the development of the circus with that of the country. Who were the well-known historical characters who might have seen the circus at different stages of its development? What other form of amusement might these men have had? Almost as old as the United States itself, the circus offers a splendid study in history. It has many important dates Two Kinds of School Circuses 29 which are sure to create historical curiosity. They arouse an interest in the condition of the country at that time, in the people who lived then, their ways of living and their modes of transportation. The following are a few of the historical circus dates with a meaning. The circus had its beginning in this country in 1785. Washington attended Ricketts Circus in Philadelphia in I793. The first elephant landed in Salem in 1796. Circuses were first presented under canvas in 1826. The combination of wild animal menagerie and circus stunts became a part of the circus in 1851. In 1856 Spaulding and Rogers were the first to ship their circus by rail in their own cars and switch them off at the place where the performance was to take place. In 1872 W. C. Coup ordered special railroad cars to transport the old Barnum show. When Ringling Brothers put out their first big circus at Baraboo, Wisconsin, in 1884, they had ii wagons, 20 horses and a wild animal menagerie consisting of one hyena. These and many more are historical facts which challenge in the study of history. Science: Studying the labor-saving devices of the circus. Studying the various inventions made in the circus. Studying the early and modern methods of transporting the circus. Science is not to be slighted in studying the circus, for inventions within the circus have been many. It harbors many inventive geniuses. Jack Snellen, of the Ringling and 30 The Circus Comes to School Barnum Show, known among the circus people as "Thomas Edison," produces an invention of prominence almost every year. Among many, a few are the grandstand, a mechanical stake driver, eaves for the circus tent which avert rain, a system of guying which tightens the ropes with one twist, cable guys for heavy poles, and fireproof canvas. He is only one of the many circus inventors. Spool wagons on which whole grandstands are erected by pulling only a few chains, and devices which hold wagon tongues firmly and release them instantly are other circus inventions which will interest your pupils. Social Science: Studying the family life of the circus. Studying their social life. Comparing their present mode of living with that of the troupers' original homes. The character and personality of the circus people, the contrast of their circus life with that of their original homes make an interesting social study unit. The art, dress, food and homes of these people in their own countries will open a great many fields of learning. Home Economics: Planning, cutting and making circus costumes. Selecting suitable materials for costumes. Preparing food to be sold at the circus; popcorn, candy, lemonade, etc. Two Kinds of School Circuses 31 Arithmetic: Figuring the amount and cost of material for animals and costumes. Measuring the materials used for the costumes and the animals. Figuring costs as economically as possible. Computing the number of miles the circus animals are from their original homes. Figuring the amount of material necessary for constructing an amateur circus tent. If you wish to solve more difficult problems than the amateur circus offers, then turn again to the true circus. Figuring the sum of money which is necessary to buy feed for 600 horses, 36 elephants, 4 herds of camels, hippopotamuses and many other large animals is no small problem. Neither does feeding a show personnel which consumes daily 250 pounds of butter, 200 gallons of milk, I,500 loaves of bread, 200 dozen eggs, one half ton of vegetables, a barrel of sugar, etc., take less figuring. This is true of the Ringling and Barnum circus. However, if you are looking for less difficult real circus problems, then figure the amount of food necessary for the smaller animals and the midgets, the yardage for specific sets of costumes, or the canvas for the smaller tents. 32 The Circus Comes to School Hygiene and Health Education: Studying the kinds of food circus troupers eat. Studying their quarters and living conditions from a hygienic standpoint. Studying the training rules which the acrobats observe. What personal and civic hygiene do the circus people observe? How much of their training would be necessary for an amateur circus trainer? Circus performers stand for physical excellence. Health is paramount in their training. Most boys and girls will be interested in knowing what the performers eat and how they live to achieve this physical excellence. Industrial Arts: Measuring and building the skeletons for circus animals. Measuring and building cages for animals. Constructing rings for stunts. Building circus tents. Fine Arts: Appreciating beautiful colors that harmonize. Studying circus art. Drawing pictures of various circus costumes. Painting the faces of circus animals. Making and painting masks for various animals and freaks. Decorating costumes. Studying circus lithographs and their artists. Two Kinds of School Circuses 33 Practically all of the subject matter which the circus presents is exceptionally interesting and close to the hearts of the pupils. DOES THE CIRCUS OPEN MANY CHANNELS OF INTEREST? It goes without saying that the circus does challenge many interests worthy of pursuit. Among them are: An interest in past and present modes of travel prompted by interest in transporting the circus. An interest in primitive people prompted by an interest in pygmies, etc. An interest in circus stories. An interest in Africa, India, South America and other countries from whence the animals came. An interest in specific sections of these countries. An interest in traffic rules and safety education, prompted by the street parade. An interest in poems, prompted by writing jingles for the clowns. An interest in reading about circus animals in their native haunts. An interest in the method of trapping circus animals. An interest in maps and steamship routes, prompted by searching for the best way of bringing circus animals to this country. An interest in yard materials and their manufacturing, prompted by circus costumes. An interest in collecting circus posters, programs and lithographs. 34 The Circus Comes to School An interest in collecting stamps from the original homes of circus animals and the circus personnel. The above circus activity plan is only a suggestion for elementary supervisors who wish to stimulate learning in many fields by means of the circus. It is certain that all supervisors will be able to create plans far more suitable for their particular groups of pupils than the one offered here by the author. THE ENTERTAINMENT AND FUND-RAISING CIRCUS By this time you no doubt have realized that the activity circus and the fund-raising circus differ mainly in purpose and procedure. The principles of learning remain the same; learning is stimulated in both circuses as the participants attempt to solve the many problems which arise. However, since the former focuses its attention upon the learning involved, it has its birth in the classroom; since the latter focuses its attention upon the skills and their outcomes, it becomes a product of the physical education department. The author fully realizes the value of the activity circus, but since the entertainment and fund-raising circus has its birth in the physical education department, the remainder of this book will be devoted to the latter. All suggestions made within the covers of this book, however, may be intelligently adapted to either type of circus. Two Kinds of School Circuses 35 CHALLENGING CIRCUS FACTS Did you know That the first circus in the United States was in 1785? That Washington attended Ricketts Circus in Philadelphia in 1793? That the first elephant landed in Salem in I796? That he was purchased in Bengal by Captain Crowninshield and shipped to this country on the America? That circuses were first presented under canvas in I826 and that until that time they were presented on the village green? That the combination of wild animal menagerie and circus stunts did not occur until 185I? That the first circuses included only tumbling, riding and ancient clown antics? That in 1856 Spaulding and Rogers were the first to ship their circus by rail in their own cars and switch them off at the place where the performance was to take place? That in 1872 W. C. Coup ordered special railroad cars to transport the old Barnum show? That when Ringling Brothers put out their first big circus at Baraboo, Wisconsin, in I884, they had I wagons, 20 horses and a wild animal menagerie consisting of one hyena? That Ringling Brothers purchased the Barnum & Bailey Circus in I9I8 and merged the two in I919? That since 1927 the Ringling Brothers and Barnum & Bailey Combined Circus winters at Sarasota, Florida, on a 7oo-acre tract of land? 36 The Circus Comes to School That Will Rogers was the "Cherokee Kid" with Wirth's Circus in I904? That our great minstrel king, Al. G. Fields, started his career as a Shakespearean clown? That Billie Burke, who is a modern well-known stage actress, bears the name of her father, a famous clown? That David Belasco spent a great part of his youth riding bareback in a somewhat inconspicuous circus? That Phineas T. Barnum was the founder of Barnum & Bailey Circus and that he was the first to present a menagerie, hippodrome, three rings and other features in one gigantic show? That Jenny Lind rode in Barnum's carriage to her first American triumph at Battery Park? That P. T. Barnum got his first taste of the circus in 1836 when he became secretary, treasurer and ticket seller of the Turner's Traveling Circus at $30 a month plus 20 per cent of the net receipts? That Charles Dickens and his father edited the memoirs of Joseph Grimaldi, a far-famed circus clown, which sold faster in first edition than "Oliver Twist"? That Joseph Grimaldi was a famous English clown who gave all other clowns the nickname of "Joey"? That Fred Stone received some of his best experience in the circus? That Jack Snellen was called the "Thomas Edison" of the circus? That he was a member of the circus family and invented the first mechanical stake driver for the circus? Many other important circus inventions followed. That William Curtis, another circus genius, later in Two Kinds of School Circuses 37 vented a triple stake driver that will drive 312 stakes in 54 minutes? That Queen Victoria and Prince Albert took their children to see the circus regularly? That midgets differ from dwarfs in that they are perfectly formed? That the midget who played in the motion pictures with the late Lon Chaney was one of eight children of a German family? That four out of the eight were midgets? That the smallest man is Major Mite, who is 30 inches tall and weighs 25 pounds? That he has a brother 6 feet tall and normal parents? That elephants almost without exception come from India? That those from Africa are much larger and almost impossible to train? That the famous Jumbo was an African, stubborn and difficult to manage but a favorite wherever he went? That he met his death by trying to resist a freight train? That the original Jumbo is now stuffed and in the Museum of Natural History at Tuft's College? That Jumbo was the largest elephant on record? That he weighed somewhere between 6/2 and 8 tons, was from IO to 12 feet high and had a trunk 7 feet 4 inches in length? That Indian elephants are real actors and enjoy their stunts? That elephants like to have their nails manicured because they perspire a great deal between the toes? That pigmy elephants are found in the depths of the Belgian Congo? 38 The Circus Comes to School That elephants travel in herds and are hunted with tamed elephants who are especially trained as decoys? That they are led into a great corral staked for that purpose? That a herd of elephants never lie down to sleep all at one time? That the average elephant will live about as long as a man? That the term "white elephant," meaning something very expensive that cannot be disposed of, originated with Barnum? The story goes like this: One time Barnum, wishing to give his circus fans a real treat, imported a sacred white elephant from Siam with considerable expenditure of time, money and patience. It was more cream than pure white in color, but was a real, sacred Siamese albino. Adam Forepaugh, one of Barnum's competitors who sought to rival him even in white elephants, but not wishing to pay the price, painted one of his gray pachyderms white. The animal was much whiter than the Siamese elephant. But one day a downpour of rain in Philadelphia washed all the paint off, leaving a bedraggled gray elephant. From then on the public refused to believe in Barnum's white elephant. When he was asked the following season what he was billing as his chief attraction he said, "A white elephant." That giraffes are born in Africa and are caught with a lasso? That they have no vocal cords and cannot make a sound? ?ri~ k' ~:.~~ 'L-~ : "~ (i:~t j 4~ kk-~.::::I ~~.; ,b 'Ix '~ i' C k olx:I: i':- y~ fA;B9`j/ d~~ C j t,.. -1 I F ak__ Indian elephants enjoy their stunts 40 The Circus Comes to School That they have tongues 2 feet long? That they grow to a height of i8 feet? That all of a giraffe's legs are exactly the same length? That Ringling Brothers have trapping expeditions which have four African cities and three points in South America as their center? That a new method of capturing lions and tigers is achieved by shooting them with gas bullets which put them to sleep without pain? That these bullets will down an animal at a distance of 200 feet? That hippopotamuses may sink or rise in the water at will and that they may walk about on the bottom of a stream raising their heads at intervals for air? That they are most successfully captured by pitfalls prepared for them near the rivers? That their skins are so strong and thick that, when dried, they are said to be bullet proof? That the real camel has two humps and the dromedary but one, and that the former is larger and stronger than the latter and can carry much heavier burdens? That the dromedary is found in South Africa, Egypt, Persia, South Tartary and Northern India? That the camel is found only in Turkey and some portions of the Levant? That a camel can carry from ooo0 to 1200 pounds and that he is sometimes said to serve as his own scales, as he refuses to stand when he is overloaded? That the Ringling Brothers and Barnum & Bailey Combined Circus is a city within itself? That it is composed of Two Kinds of School Circuses 41 600o people? That these 600o people are served three meals a day? That the Kaiser copied circus methods of feeding and loading for his army? That the larger circuses have their own postoffices, which would be a stamp collector's delight? That letters are received there daily from all parts of the world? That to-day the circus has agencies in Berlin, Hamburg, Paris, London, Melbourne, Constantinople, Johannesburg and other places of importance? * *These facts have been found in The National Geographic Magazine, Oct., I93I, "The Land of Sawdust and Spangles" by Francis Beverly Kelley, and various old and new circus programs. CHAPTER III WHAT BRINGS ABOUT A SUCCESSFUL CIRCUS? ONE of the first questions that every amateur circus producer asks is, What brings about a successful circus? Careful planning, cooperation, stunts that appeal to participants and spectators, many related circus factors, time and place, alert and interested circus groups, reports, bulletins, responsible last minute assistants, an interested and enthusiastic audience, and the director all contribute in various degrees to the success of an amateur circus. CAREFUL PLANNING Although there is no stereotyped method of producing a successful circus, careful planning is without doubt the keynote of its success. Planning must begin early and continue steadily as the circus unfolds, ending only with the circus itself. Last minute planning results in chaos, with no one doing anything especially and every one trusting blindly to luck. It is extremely important that all plans be explicit but elastic enough to meet emergencies. Let it be understood that planning is essential to organization. A well-planned circus is in every case a well-organized circus. 42 What Brings About a Circus? 43 If the organization seems weak, it is because there is a flaw in the planning. Since one usually reaps as he plans, it is of utmost importance that the pilot or the pilots of the amateur circus be keen thinkers, good organizers, alert and willing workers. COOPERATION Efficient planning will include the various school departments, art, music, clothing, etc., as well as every pupil and teacher and many parents. No director, however capable, can produce a successful circus without the untiring cooperation of all of these. The many related factors of the circus stunts require knowledge and skills which no one person is fully equipped to render. Therefore, from the moment the circus is mentioned there should be co6perative planning of all concerned, a sharing of ideas, responsibilities, and skills. The knowledge and help of others can be gained only through close cooperation. STUNTS THAT APPEAL TO BOTH THE PARTICIPANTS AND THE SPECTATORS The tone of the stunts will be the making of the circus. In brief, stunts which appeal to both the participants and the spectators are manifestations of skills which are daring, dazzling, beautiful, and colorful. Their appeal is heightened when they are executed with "snap," smoothness, and finish. Since stunts, their planning and importance will be discussed in detail later, it is necessary here 44 The Circus Comes to School merely to mention their extreme importance to a successful circus. MANY RELATED STUNT FACTORS Stunts are undisputedly the core of the circus. With a healthy core, many related stunt factors form the pulp. It is more than evident to all those who have had anything at all to do with amateur circuses that it is impossible for circus stunts to reach the highest state of appeal without the aid of such factors as art, music, construction, etc. For instance, the stunts and the circus in general are colored by music which often changes the spirit of the entire show. Furthermore, it is generally conceded that costumes add much to all circus stunts. Befitting accessories will render them dazzling, ludicrous, or humorous as the case may be. It goes without saying, then, that the success of each stunt depends not only upon itself but also upon its many related factors. THE TIME AND THE PLACE ARE IMPORTANT TO THE SUCCESS OF THE CIRCUS. It would seem on first thought that the time and place could have nothing whatsoever to do with the success or failure of a circus. When one realizes, however, that the enthusiasm of the audience reacts potently upon both the participants and the gate receipts, one knows at once that the public must be pleased even at an amateur circus. The convenience and the comfort of audiences must be given due consideration if they are to capture the spirit of the circus. What Brings About a Circus? 45 The Date: Professional showmen are always flirting with the elements. Experienced as they may be, they never have the weather under control. At times their idea of good circus weather seems almost as changeable as the weather itself. What is good circus weather in one community may not be so in another. For instance, rain in a farming community brings to a performance farmers who cannot work in the fields. In a purely residential district, however, rain keeps people at home. Although it is impossible to control the weather, it is generally possible for amateur circus managers to set the date of their show for a time when they can reasonably expect the weather to be settled. Like marbles, the circus is one of the first signs of spring, especially in New York, where Ringling Brothers and Barnum and Bailey's give their first performance of the year during the month of April. It is generally conceded, however, that any time between April and October is the circus season. The amateur circus enthusiast will find late spring or early summer a logical time for his venture, especially if it is to be a school performance. The heavy spring rains have come to an end, the weather is more settled and much less of a gamble. Furthermore, annual school programs generally culminate about this time of year. Since Lent and Easter often come in April, it is wise to avoid the solemn activities which occur during this period by scheduling your circus a week or so after their close. Also avoid, if you can, putting your show at a time when other amusements of extraordinary importance are going on in your community. All of these things will influence 46 The Circus Comes to School your attendance. Generally speaking, however, late April or early May will find every one agreeable, even the weather. Hour: There should, of course, be at least two circus performances: the matinee and the evening show. The matinee usually takes care of the children whose parents prefer that they stay in at nights. Then, too, it leaves the evening performance for adults. The matinee draws a large group of enthusiastic children, at the same time serving efficiently as the dress rehearsal. Therefore, only a nominal sum should be charged for the afternoon show, not more than ten or fifteen cents. You will find that a matinee given a day or so before the final show will give the director an opportunity to change any undesirable features of the circus; parts of it that do not quite come up to expectations. The author has found it both profitable and desirable to schedule the matinee, say Wednesday afternoon at 2:30, and the night performance the following Friday evening. This will not only enable directors to make desirable changes, but will, also, allow time for enthusiastic chatter to reach parents and neighbors. The time set for the evening performance depends largely upon the working hours of your prospective audience, the number of side-show attractions, and the age of the participants. If you are in a farming community and the day happens to be fair and workable, the farmers will generally work late, eat their evening meal after their work is finished, and seek amusement after that. In this case, the circus must begin late, not earlier than 8 or 8:30, What Brings About a Circus? 47 or there must be two main performances, the second a repetition of the first. The first show will accommodate the "townsfolks," while the second will take care of the "country folks." Giving the performance twice in one evening is an excellent way of managing large crowds, as well as accommodating various occupational groups of the community. Moreover, two evening shows are especially profitable when there are interesting and worthy sideshows and concessions. Side-show and circus crowds may alternate so that every one has a chance to see everything that is going on. One performance may begin at 7:30 and a second at 9 or 9:30, depending upon the needs of the audience and the length of the program. Two performances or late ones are not advisable, however, for elementary participants. They become very tired as the hour grows late. If their enthusiasm and alertness wanes, the circus results in failure. Their physical stamina will never permit two shows in one evening. Nor is it any easy matter to keep children's costumes fresh for a second performance. Place: One thinks of a circus as belonging to a big tent, but the Ringling and Barnum circus has proven to the American public that a circus does not lose its interest even when put under a roof. New Yorkers feel that it is still the Greatest Show on Earth when it appears each April at Madison Square Garden. If you will glance backward into old Roman days you will find that the word circus actually meant a long, narrow, roofless building where races of all kinds, athletic exercises and gladiatorial 48 The Circus Comes to School combats were staged to amuse the crowds. Due to the convenience in lighting, seating and shelter, the gymnasium or some large community hall is the best place for the amateur circus. If your performance is given outside where there is a natural bowl formed by Mother Nature, a beautiful setting of rocks and trees, and if you by chance have the weather with you, you are the luckiest person on earth, for the out-of-doors is truly an ideal place for a circus, everything else being equal. In camps where life itself is spent outside every effort should be made to have the circus there. Should you prefer putting your circus under a tent, choose a level spot within easy reach of the town's population. As a rule, a tent can be borrowed from some organization of the town or some neighboring city. Remember that the gate should face toward the true business section of the town. The tent should be erected and seats arranged a day or so before the performance is to take place. High school football bleachers can often be used for circus seats. Should you desire a circus ring, it can easily be made by driving stakes only a foot or so apart in a circle formation or ring. About one foot of the stake should be exposed above the ground. Around these projections some inexpensive cloth material can be draped to give the effect of a circus ring. Glazed cambric or bunting is always suitable. An opening of approximately three feet should be left as an entrance for the participants. In case the circus is in the gymnasium, stakes of the same height, draped with bunting, may be fastened to heavy blocks of wood or cemented in concrete blocks and arranged in a circle. What Brings About a Circus? 49 Most boys feel that tents are "heaps of fun" to erect. And so they are. A group of husky high school boys, handy with tools, will be able to manage all of this type of construction with little guidance, but boys of elementary schools should be guided and helped in every step by their elders. Interested parents are often eager to devote their time in the evenings to helping their children build the circus tent. Do not forget that a great deal of wiring will be necessary for lighting a tent. This will be a task for electricians; the would-be-electricians of your'school will enjoy it. It goes without saying, then, that the gymnasium or a large hall is the most dependable and convenient place for an amateur circus, since there one needs not combat the weather. More often than not, if your venture is outside, your audience will become drenched, to say nothing of bedraggled elephants and sorry looking costumes. ALERT AND INTERESTED CIRCUS GROUPS Divide your class or classes into many circus groups whose duty it will be to work together for the success of the final performance: discussion, creative, music, dramatic, make-up, property, finance, and advertising groups. They will be composed of students who are talented in the activities in which they will participate and who have an interest in them sufficient for energetic research and study. Sometimes these groups will be made up of special school departments with the teacher as the guide. For example, the music department will function efficiently in 50 The Circus Comes to School preparing circus music, the art department the art, the clothing department the costumes, and so on. At other times they might be composed of different home rooms or classrooms with the classroom teacher in charge. At still other times the members of the various groups will be selected at random from the entire student body. All members will at some time or other have demonstrated their ability or at least declared their interest in the activities in which they will become engaged. In every case some special teacher, parent or talented adult will be responsible for specific activities. As soon as the groups become adjusted, officers should be elected. A chairman, a treasurer, and a secretary will increase the efficiency of each group. Unless officers are elected, you will often find every one waiting for someone else to perform the duties of the various offices. Consequently no one will be really working and chaos will prevail. The members of each group will have a broader function than mere committee members. Their duties will be to stimulate thinking, to encourage and guide the participants in their problems and to assist in every way possible with the activities of the group. It is not intended that they should do all or even the greater part of the work, but they must be so well versed in their subject that they can stimulate others to action. Any one interested should feel free to go to them for assistance. Each group will have a regular time to work. The noon hour, after school, or a special school period may be set aside for meeting and working together. What Brings About a Circus? 51 Since all else is planned around the circus stunts, the activities of the related groups must be delayed temporarily until the stunts are planned. The discussion groups will be largely responsible for stimulating ideas for the stunts and seeing that they are authentic, while the stunt creative group, as the name indicates, will be responsible for creating the various circus numbers. Let us, then, pause for a moment and see how the discussion and creative groups work. DISCUSSION GROUPS. Organize each physical education class into groups, whose aim it will be to learn all that they can about circuses in general; by writing for information, by attending a circus, or by reading. Much may also be learned about animals and their characteristics from the Zoo and the Museum of Natural History. In this manner many ideas and authentic circus information will be forthcoming. At regular intervals the groups will pool their findings and their ideas; the unsuitable will be rejected by the groups themselves, while the best will be retained and presented to the classes. Discussions will then follow which will start the entire class on the hunt for better circus material. After due time is given for research and for fertile brains to function, conclusions will be drawn as to the types of circus stunts the school should have for its performance and the procedure of selecting and arranging them. The stunt creative group now comes into prominence. It is to be understood, however, that the discussion groups continue to function throughout circus planning. 52 The Circus Comes to School Their duties may shift to the related factors but they go right on functioning in much the same manner. CREATIVE GROUPS. There are numerous creative groups which are closely related to the circus, each functioning in a different capacity. Whether they be costume, art or speech groups, however, they are indispensable to a successful performance. Every wideawake director will in his planning offer an opportunity for an unlimited amount of creating. He will realize that if students are given the creative reins, they will produce stunts and stunt accessories far more suitable for their particular school than those selected from books created by pupils of a different environment. Since the need for stunt accessories arises only after the stunts are selected, the stunt creative group must function early in the planning. It is indeed interesting to watch any of the creative groups at work, but since the stunts are generally created first, we will turn our attention here toward this particular group. The creative stunt group meets at the noon hour, on rainy days, after school, or at certain other assigned periods. At every meeting there is real action. At present the members of this group are creating circus dances. There is humor, buffoonery and daring in the air. Enthusiasm waxes warm as pupils volunteer suggestions for new steps or discuss ways in which the suggestions of others might be improved. There is a great deal of chatter and wholesome fun but work is being accomplished as never before in formal classes. What Brings About a Circus? 53 As dance steps are suggested, either they are tried to suitable music or music is improvised to fit the step. After a great deal of improvising and practice, steps which do not fit are eliminated and only those which are related and interesting are retained. Eventually an intriguing dance unfolds. The group is, then, ready to present it to the physical education class for its approval. It may be accepted or rejected, or it may be accepted only with revisions. In the case of the latter, the creative group takes the dance with the revising suggestions back to the laboratory to work over. When it is finally revised, it is again presented to the class. It may or may not be accepted. More often than not a dance which has possibilities is returned to the laboratories as many as three times. But when it is finally accepted, the creative group is bursting with pride at what they term "a finished product." Not all of the work of the creative group will be accepted, to be sure, but in any case the creators will feel the same keen satisfaction of creating something. The creative spirit often reaches into the homes; now and then talented parents, who have watched the various stages of dance development, send worthwhile suggestions. On the night of the final performance, they are often rewarded for their efforts when they find their ideas woven into dance patterns, costumes, jingles or daring stunts of various descriptions. All other stunts are created in much the same manner as the dances, each stunt passing the critical eye of the creative groups and the class before it goes further. In the case of the daring, suggestions for safety must accompany 54 The Circus Comes to School the stunts. If they are found to be too dangerous and difficult for the ability of the pupils, they will be rejected, even though they have possibilities of making exceptionally interesting numbers. As soon as the various groups have finished creating the stunts and it is known that they have been definitely accepted, the caption groups will begin to function. CAPTION GROUPS. You often may have heard it said that there is nothing in a name. This is not true in the case of a circus. On the contrary every stunt must have a name with a meaning; it should attract or fire the imagination of those who see and hear it. A great deal hinges upon the names. They are felt in the jingles, the ringmaster's speeches, the costumes and numerous other of the related circus factors. The stunts must, therefore, be christened very soon after they are born. The caption group begins to function soon after the stunt group and continues to function, as we shall later see, until the programs have been completed. Captions will be discussed in detail in a later chapter; hence, it is necessary only to mention them here as one of the first steps of planning. As soon as circus stunts have been chosen and christened, the entire school will actually hum with the related activities. Spontaneously the various groups start action. Jingles, costumes, speeches and tantalizing remarks for each circus number are created. Construction, advertising, and regular circus business begins. Art, music, dramatic, lighting and make-up groups start planning around the What Brings About a Circus? 55 stunts and continue to do so until their tasks have been completed. Gradually the work of each group is finished; each has had a definite part in bringing about a circus which parallels that of the Big Top. REPORTS If you would challenge thought, stimulate interest and bring about a feeling that all are working toward the same goal, be sure to encourage reports. It will be the duty of the secretary of each group to report periodically the findings and the progress of his group. If it is convenient, it will be wise to have the reports mimeographed; thus each member of every group will receive a copy which he can absorb during his leisure moments. Although such reports are exceedingly helpful in keeping the director informed of the progress of the various groups, this is not the initial purpose of reports. Their real purpose is to keep all pupils informed of the work and progress of each and every co-worker, for by so doing healthful criticism and valuable suggestions are forthcoming and interest is stimulated. BULLETINS Bulletins from the director are extremely important to efficient circus planning. They should be issued to each functioning group at various stages of circus development. They serve to bring about a better understanding of the 56 The Circus Comes to School nature of the planning. They give a clear and concise picture of the plans as they unfold. They carry tips of many kinds, help the groups to avoid repetition and confusion and give definite instruction when such is necessary. Bulletins should always be planned with the circus. Do not forget that the final bulletin is of vast importance. Since it may be responsible for the "smooth running" of the final performance, it is worth its weight in gold. It should carry specific and detailed instruction for the participants and those who will be in charge on the eve of the circus. It should leave doubt in the mind of no one as to the procedure which is intended. No one should be left to guess what is to be done at the final production. Too many people "lose their heads" and wander about aimlessly when excitement is in the air. Little but confusion can be expected when costumes are donned and make-up transforms participants into queer human beings, unless definite instructions have been distributed at least among the leaders. The final bulletin should be issued just far enough ahead of the circus to enable the groups to read and digest it while every one is still normal, calm and well balanced. The following final bulletin is offered as a suggestion: THE FINAL CIRCUS BULLETIN. The teachers assigned to the following stunt groups and dressing rooms will decide among themselves who shall be on duty at the matinee and who the night performance, or whether they shall work together both times. What Brings Miss G and Miss Miss D and Miss Miss M and Miss Miss R and Miss Miss L and Miss About a Circus? 57 C Miscellaneous stunts, 6th grade boys, Teacher's Room. P Pyramid group, Miss G's room. V Weird Wompy Wumpuses, Music Room. S Handy Hollywood Maidens, Miss R's Room. B The Magic Roses, Corrective Room. T Tumblers, Miss T's Room. A Harmonious Harmonica Orchestra, Gymnasium. J Singers, on the stage in the Gymnasium. W Tickets, at the doors at 7 P.M. Miss Miss F and Miss G and Miss Miss I and Miss Miss K and Miss On the eve of the circus there should be a copy of the program posted inside the dressing room; the name of the stunt group which will dress there should be posted in a conspicuous place outside the door. This will enable the pages to locate their groups quickly. This copy of the final bulletin should be accessible to each of those in charge. On the night of the circus all pupils who have to dress in their costumes after they come back to school return at 7 P.M. and go directly to their assigned rooms. They should dress quickly and be ready to line up when the signal is given. The chorus, the band and those who dress at home are not to return to school until 7: I 5 P.M. They will go directly to the gymnasium and report to the teacher in 58 The Circus Comes to School charge. They are to be ready to sing and play for the Big Parade. Each group will arrange itself in the hall off the Corrective Room at 7:35 P.M. according to the way it will appear on the program. The Big Parade will start promptly at 7:45 P.M.; those not ready will be left behind. We have no intentions of holding up the parade or the program for any one. After the parade, all those in Part I will assemble on the floor or in the ring in their assigned places. All others will return to their respective rooms by the way of the large gymnasium door at the right. They will wait there until they are paged for their stunts. As each stunt in Part I is finished, its members will leave the ring and go directly to their dressing rooms. Those who participate in Parts II and III will leave the gymnasium by the way of the stage door. Every one is to return to his assigned room and wait there until the program is over or go home. He should not return to the gymnasium. The best actors in the best circuses are never seen by the audience after their stunts have been completed. The night performance is for the parents. At the night performance a few minutes before the members of each group are to perform (except those in Part I who remained on the floor after the Parade), they will be paged in their respective rooms by a messenger boy dressed in blue, which means that they must assemble at once, quietly, on the steps of the gymnasium. When they are paged a second time by a boy dressed in red, they are What Brings About a Circus? 59 to assemble on the floor for their act. In every case wait for the messenger boy. Will each teacher accompany her group to the gymnasium door and receive the group at the other door as it leaves the ring? All teachers who have duties for the evening performance are to return not later than 7 P.M. Every person who participates in the circus will see the entire performance, free, at the matinee. All others will pay I5. At the matinee, as soon as the participants finish the Big Parade, they will be seated in the gymnasium with the teacher in charge. When it is time for the act preceding their own, they will assemble on the steps near the gymnasium entrance, where they will wait until they are paged for their number. This is for the matinee only. The above directions are final. Do not attempt to change them before first consulting the director; confusion will result if you do. This bulletin is for elementary pupils. High school boys and girls will assume more of the responsibilities. RESPONSIBLE LAST MINUTE ASSISTANTS As one attempts to make final plans for putting the circus together, he fully realizes that planning ends only with the circus. He is also convinced that if planning has 60 The Circus Comes to School been wise, putting the circus together will be one of the simplest phases of the circus activity. Let us pause here long enough to consider a few last-minute plans which will help to make the circus "run smoothly." It is now only a day or so before the big event is to take place. Teachers or responsible parents have consented to take charge of the dressing rooms. One group of performers is assigned to each room. It is the duty of the adults to see that every one is ready for his stunt on time and that the equipment needed for that particular group is at hand. In order that there be no mix-up in the order of events, programs should be posted in each dressing room. Furthermore, it should be understood that the members of each performing group will be paged when it is time for them to appear on the program. Two pages will stand very near the director, who will be conveniently stationed so that he can watch, unobserved, the unfolding of the circus. One page will be dressed in a blue page suit, while the other will wear a red one. As the time nears for various groups to appear, the blue page informs them that they must assemble at once near the entrance, where they remain until the red page tells them to enter the ring. On the eve of the performance pages are extremely important, for they not only inform waiting groups when it is time for their stunts, but also carry necessary messages to the leaders or principals anywhere in the ring. They are really one of the salient spokes in the circus wheel, and they are invaluable to the director, who realizes the importance of being felt but not seen. What Brings About a Circus? 61 Of course, as the programs are planned the order of the circus events are arranged. This will be discussed, however, in detail later, as will many other important phases related to putting the circus together. Let us not forget that a day or so before the circus takes place the director and assistants must check to see that all is in readiness. If they find that the duties of every group have been efficiently executed, they can attend freely to the details of the unfolding circus. AN INTERESTED AND ENTHUSIASTIC AUDIENCE Once the crowd is inside the circus tent, the duties of the various related circus groups have ceased. Responsibilities have shifted to the participants, the crew, and those in charge behind the scenes. So far we have concerned ourselves with the fundamentals of planning; now the product of that planning is about to manifest itself. If the planning has been wise, the work of the various groups-discussion, creative, art, costume, stunt, construction, and others-will merge for the good of the "Biggest Show on Earth"; there will be a variety of stunts with appeal, and the order of events will be logical, running smoothly with "snap" and vigor. Every one will appear on time, dressed in his or her costume. The properties will be in their place, and everything and every one will be in readiness. There will be no "hitches" to detract from interest. Interest at this stage of circus development, then, depends upon previous planning, programs, logical order of 62 The Circus Comes to School events, participants, and the crew. Much of this has been or will be discussed at length elsewhere in this book. Therefore we will consider here only points not yet touched upon. PROGRAMS. No doubt the first thing to attract members of the audience as they enter the gate is the programs which are thrust into their hands. Just how far these will go toward arousing curiosity and holding interest depends, of course, upon what is found in them. How many entertainments have you attended where you have indifferently discarded your program and waited listlessly for the stunts to begin? If you would hold the interest of your audience until the stunts themselves appear, you must remember that good circus programs are more than a few hurried words, stating boldly what event comes next. They must make an appeal to the imagination. Imaginations are not created by a few stilted facts, neither are they created by prosaic explanations of the stunts that are about to take place. Detailed explanations defeat the purpose for which they are intended. They kill rather than stimulate interest. Interesting circus programs depend, not only upon extraordinary phraseology, but largely upon the element of suspense which they create. Novel names followed by short, tantalizing, generally humorous remarks bring a smile and a thrill of mystery and suspense. If you have made free use of novel names in your previous program What Brings About a Circus? 63 planning and have spiced them with teasing remarks that suggest rather than explain, you will have your audience sitting on the edges of seats, impatiently waiting for the circus to begin and make clear to them the meaning of the A small design for circus programs tantalizing programs which they hold in their hands. Circus programs should, of course, always be in keeping with the glamor of the stunts which they represent. Let us take for example a few of the stunts which we have heretofore used in various amateur circuses. 64 The Circus Comes to School The Weird Wompy Wumpuses a cross between the pygmies of Africa and Jack the Giant Killer. Jazzy Jumbo an inspiration to fat ladies who wish to reduce. Artichoke the only living dinosaur who smiles like Franklin D. Roosevelt. Baffling Belles of Boxville perfectly alluring and perfectly square. These novel names add mystery to the program, while the remarks which follow suggest in an alluring fashion something of the stunts which are soon to appear. In the true sense of the word they arouse curiosity but do not satisfy it, because they do not reveal the stunts in their entirety. Many young circus managers destroy what they have thus far gained by printing the names of the participants upon the programs. If the circus is to retain its mystery to the end, the true names of the participants must not appear. When Jazzy Jumbo is "programmed" as Johnny Jones and Billy Brown, he ceases to be an elephant caught under difficulties in the Jungles of Africa, and becomes nothing more than two squirmy boys. Moreover, it should not be forgotten that if the timid boys, who have con What Brings About a Circus? 65 sented to be the giraffe because they will be under cover, discover that their names are being read by all the people in the audience, their antics will terminate in knocking knees. Not even the carcass of the giraffe can, in their estimation, hide them from the burning gaze of the people. There are many who love to see their names in print, to be sure, but they should be willing to sacrifice such publicity for the good of the show. The true names of the principals should not even appear upon the programs. Their fictitious names followed by a few words depicting their character will be amusing and will attract attention, and at the same time be in keeping with the rest of the program. Take for example the following: The Ringmaster................... BARKING BARNEY Has dignity, poise and ingenuity. The Animal Trainer.......... BOUNCING BILLY Daring, quick and clever. The Clowns......................... JOLLY JINKS Full of wit, wisdom and jingles. and FLIPPERY FLOP This is only one suggestion of the manner in which the principals' names may appear upon the circus program. The names of the participants should be left off amateur circus programs not only from a mystifying point of view, but also from the standpoint of neatness. More often than not circus participants number up into hundreds, and un 66 The Circus Comes to School less the programs are unusually large the names could never be arranged artistically upon them. Art is always an important factor in attracting attention. The art group, if given an opportunity, will with little research coupled with artistic ability give you a program which will command the attention of the audience. As a rule the group will suggest omitting the names of all participants. Thus far we have flirted with the imagination of the audience. The programs have helped notably. With their novel names and teasing remarks they have done their best to suggest that which is to follow. It is now up to the stunts to satisfy the curiosity which has been aroused. If they fall short of the expectations of the waiting crowd, then all previous planning has failed. LOGICAL ORDER OF EVENTS. Interest always waxes warmer if there is a logical order of events. Many times splendid numbers have been ruined because they have followed too closely upon the heels of another of the same nature. The ludicrous, the stupendous, the daring and the dazzling should alternate. Mix them and your chances for holding the attention of your audience have increased. Often, however, the comfort of the participants must be considered in the arrangement of amateur circus events. For instance, those who are inside the animals are likely to become very warm and tired if kept waiting for their number too long. Since it is also difficult for them to move about, it is always wise for them to perform early. What Brings About a Circus? 67 PARTICIPANTS. The vigor and "snap" with which the final performance moves depends upon the previous planning, as well as the skill, alertness and wisdom of the participants. They, of course, assume the majority of the responsibilities after the circus begins. They should be so well prepared that they have perfect faith in their own ability. Should mistakes occur, they should be quick to grasp the situation and make all rescues necessary. They should never forget for one moment that when a performance lags so does the interest of the audience. If the participants, then, make the most of their opportunities, boredom will not prevail and their show will smack of the Big Top. Ringmaster: The master of ceremonies is the brains of the evening. He is, in the true sense of the word, the pilot who keeps the ship from rocking. He is without doubt the most important person on the floor in the average amateur circus. Therefore, it is extremely important that he be selected with care, long before the circus takes place. The ringmaster should have dignity, poise and ingenuity. He must be alert, quick to sense awkward situations, and as quick to cover them up. He should have a well-modulated voice, one which can easily be heard and understood. Circus-like, his speeches should be punctured with wit and studded with elaborate words, the longest and most convincing that the dictionary can yield. In one sense of the word, the master of ceremonies is the prompter of the programs. As he reveals their most captivating qualities, he makes the stunts seem even more 68 The Circus Comes to School glamorous than the programs have dared to do. If the right type of a person has been selected for the ringmaster, he becomes a salient factor in holding the interest of the audience. Therefore it is generally advisable to have several try-outs for this position before the ringmaster is chosen. Clowns: The importance of the ringmaster is closely rivaled by circus clowns. It goes without saying that clowns who have caught the spirit of the circus are indispensable to a successful performance. Interest is keyed high as they perform their many antics and pantomime their jokes. It is soon lost, however, when these same clowns begin to think they are funny and lengthen their acts into boredom. "Brevity is the soul of wit" even in clowndom. Amateur circus clowns must remember this if they would be a real asset to the show. There is not a shadow of a doubt concerning the characteristics of a clown. He must be clever, witty and original, alert to every situation, quick to improvise and as quick to act. He must not offend. His humor must be felt and ripple through the entire performance. Circus-like clowns will act as a buffer to any sharp edges which might develop. They will flavor the entire show with their wit and will lose no opportunity to add their share to the success of the circus. They must always remember that there is a certain technique which must be mastered before one can become a funny man. Barnum was right when he said, "Clowns are pegs to hang the circus on." No one can estimate their value better than Barnum has in those few words. %.cj.. F,44 '"..,' X. ', ':'.. ~,. "Clowns are pegs to hang the circus on" P. T. Barnum. 70 The Circus Comes to School The crew: Let us not forget the crew and those who work off stage. Although a great many people in the audience never give them a thought, they always contribute their share to the interest of the circus, for it is they who are instrumental in helping to keep things "on the move." Within the ring, members of the crew labor continually in an attempt to get the equipment which is being used by the participants in and out of the ring in the shortest possible time. The part they play in stimulating interest is quickly recognized by those who have had experience in producing amateur circuses. They represent the spoke which helps to keep the big circus wheel turning at the proper rate of speed. Clowns can often help to fill in the time necessary for removing apparatus by clever clowning. Off the stage faithful workers are helping the show to run smoothly and with spirit by assisting this one and the other get into costumes, put on make-up, keep track of properties and many other things too numerous to mention. THE DIRECTOR The director and his responsible adult assistants are often called the Power Behind the Circus. Since their duties are all executed before the performance and behind the scenes on the night of the final event, this is a very appropriate name for them. Few realize, however, the full significance of this title. For there are many adults who do nothing on the eve of the great show but flit about where they can be seen by the audience. Directors have even been known to act as the master of ceremonies and many What Brings About a Circus? 71 feel called upon to make speeches either at the opening or the close of the performance-sometimes both. The minute an adult makes his appearance, the circus, in the minds of the audience and the participants, belongs to him instead of the students. The importance of the director cannot be overestimated. He should be alert, an organizer, a promoter and a willing worker. His influence is felt in every fiber of the circus, but the effect of this power weakens the minute he appears before the audience. If adults would only learn to stay behind the circus fewer programs would be spoiled and all would be far more interesting. The duties of the director and his assistants are weighty ones. They function as pilots in circus activities. They make suggestions and collect material for circus ideas. They guide in selecting and rejecting circus materials. They encourage the efforts of the participants. They help pupils to achieve the highest degree of skill. 0 0 0.4~~~~~~~ CHAPTER IV THE CIRCUS DEPENDS UPON ITS STUNTS AND THEIR MANY RELATED FACTORS THUS far we have learned that the stunts are the nucleus or the core of the circus, that all else must develop around them, that every circus consists of varied types of stunts which are made glamorous by numerous auxiliaries, and that discussion, creative and many other related groups function freely in contributing to these stunts and auxiliaries. However, the principal element which influences the selection of circus stunts, the fundamental characteristics of stunts which make the widest appeal, the manner in which they should be executed to add to this appeal, and the many related factors which cause them to blossom into something really spectacular have not yet been discussed in detail. Therefore the following pages will be devoted to a detailed discussion of stunts and their related factors. STUNTS BUILD YOUR STUNTS UPON THE INTEREST OF YOUR PUBLIC. The success and "drawing power" of a circus depends, largely, upon the interests of the public; the public, in this case, including the participants and the prospective audi72 Circus Depends Upon Its Stunts 73 ence. No matter how well stunts have been executed, unless the interests of the public have been given due consideration in the planning, the final performance becomes just an ordinary circus, termed by some a failure. Stunts which have a universal appeal must be selected early in the planning. Since interest is the principal element which influences success, your first problem is to determine the interests of your public. What do they read? They may be interested at present in reading about Franklin D. Roosevelt and the New Deal, the famous Quintuplets, Shirley Temple or other movie stars; in their more frivolous moments they may follow the activities of Mutt and Jeff, Popeye the Sailor, Maggie and Jiggs, Tillie the Toiler, and numerous other comic characters of the "Funnies"; at still other times as they while away idle moments on the subway or trolley they may become engrossed in advertisements, which demonstrate the shining characteristics of the Gold Dust Twins or the cool freshness of the funny little green clad men who carry Wrigley's chewing gum. Whether their reading interests lean toward politicians, comic characters or advertisements, bring them all to the circus. The effect will be uproarious. What do they dial on the radio? There are always radio characters, series, broadcasters or advertising which amuse the American people and automatically become a part of their daily conversation. At present Walter Winchell, Eddie Cantor and Amos and Andy may be at the peak of their popularity. They too are capable of creating circus 74 The Circus Comes to School merriment beyond control. By all means, include them among your circus characters. What types of stunts make the widest appeal? Observe your public at the Big Top Circus, Coney Island or its equivalent, the theater, and various other amusement places. What is the character of the numbers which they seem to enjoy most? As you watch the reaction of your public toward the various stunts which make up their amusements, use your notebook frequently. Jot down those which seem to meet with the strongest approval. Keen observation coupled with a psychological understanding of human beings will be a great aid in bringing to the public stunts in which they are interested. As you have observed them during their leisure moments you have, no doubt, found that there are a variety of interests common to many people. Among them are the ludicrous, the humorous, the stupendous, the daring, the dexterous, the beautiful and spectacular. All of these can be woven successfully into the pattern of the circus. Build your circus stunts upon the interests of the participants and the prospective audience, and "cash in" on those interests. THE FUNDAMENTAL CHARACTERISTIC OF APPEALING CIRCUS STUNTS. For the moment let us consider the fundamental characteristics of stunts which make the widest appeal. We have already learned that among them are the ludicrous, the humorous, the stupendous, the daring, the dexterous, Circus Depends Upon Its Stunts 75 the spectacular and the beautiful. In some cases there is a decided overlapping; the ludicrous is also humorous, the spectacular is beautiful, and so on. The humorous and the ludicrous: The humorous and the ludicrous are so closely related that they seem to be one as far as the circus is concerned. Both create mirth. Both may be comical. Both may be incongruous and both are indispensable to a successful circus. Humor is a valuable element in every circus. A ripple of humor running throughout the performance serves adequately to keep both the participants and the audience in a circus mood. Clowns caper about making friends and laughter rings out merrily at their antics. The ludicrous, being also humorous, never fails to bring forth a laugh even from the most sedate and serious members of an audience. Furthermore, students delight in being a part of these numbers. I have heard men, women, and children go into gales of laughter over such stunts as the Weird Wompy Wumpuses and Boxing Bonny and Brawny Ben. When voted upon for popularity, the ludicrous stunts appear at the top of the list. Burlesque stunts are also ludicrous. The Jungle Hunters who catch huge animals by sprinkling salt on their tails and the famous Quintuplets who prove to be large boys dressed in baby clothes are incongruous beyond a doubt, but they, too, add to the success of the circus. Amateur circus animals also fall into the ludicrous class. Such animals are nothing more than boys costumed to represent animals from all parts of the world. They cause 76 The Circus Comes to School no small amount of merriment as they move about in a fashion true to their particular species. They are always intelligent animals; one finds among them those who can dance, tell their ages, do simple arithmetic problems, jump through hoops, select celebrities from the audience, and so on. Since fun runs riot when circus animals appear, every amateur circus should have a number of animal stunts. Often amateur circus managers become so enthusiastic over the humorous events that they neglect all others. They should never forget that although humor is a valuable element in every circus it should not be overdone. Too much humor soon provokes boredom. In fact, the circus should only be spiced with humor and flanked with many more serious skills. Daring: The amateur circus could never hope to be successful without various daring and breath-taking stunts. Tumbling, apparatus, tight rope walking, trapeze and flying rings fall logically into this class. When well done they are indeed breath-taking. This type of exercise requires muscular coordination and alertness. If your school has a varied physical education program, a group of acrobats will be trained, to a certain degree, before circus activities begin. Since some part of tumbling is within the reach of pupils of all ages, it generally occupies a conspicuous place in every amateur circus. Elementary children who are unable to achieve the more difficult tumbling stunts may use the forward roll as a foundation and develop what would appear on the surface to be daring stunts. Among those which Circus Depends Upon Its Stunts 77 are deceiving in appearance are the Grand Canon Jump and the dive through the drum head. Even though they appear hazardous, the smallest of your willing acrobats will be capable of mastering them. All stunts that are daring should be carefully supervised. Although it will not be necessary to conduct such classes formally, "fooling" should never be tolerated. Pupils should advance according to their ability. Rapid advancePyramids imply magnitude ment without first thoroughly mastering the exercise spells failure and often causes injuries to some member of the class. Every precaution should be taken against accidents. Mats and safety apparatus should be used where danger is incurred. It is not the intention of the writer, however, to instruct in the teaching of these stunts, for there are many books on the market which are devoted entirely to techniques. Some very helpful teaching books are listed in the directory of this book. 78 The Circus Comes to School The Dexterous: Dexterous stunts are always a valuable asset to every circus. They bring about a sense of completeness and satisfaction which only skill can bring. Dancing, rope-spinning, balancing stunts, drills and juggling might be called dexterous. Technically speaking, so should the daring stunts just mentioned, for there is none that really requires more skill, but because of their daring qualities they have been placed in a separate group. Again the directory will aid you in finding books which deal with the teaching of the dexterous stunts. The Beautiful and the Spectacular: Every circus should have at least one extremely beautiful or spectacular stunt, either of the soft and impressive type, or the dazzling. The beautiful may be accomplished by means of mass drill, appropriate music and a few lovely costumes. The Magic Roses of the Hutchinson and Pelham Combined Circus produces a soft type of beauty which will long be remembered. The spectacular, also beautiful, is, as has already been pointed out, the glamorous and astonishing type of beauty. Many dazzling and even stupendous pageants have been the result of circus imaginations. In the early fifties Robinson and Eldrid surprised the world with "Cinderella"; the same year Welsh & Delavan rivaled it with "St. George and the Golden Dragon." Then came many others; "Jack the Giant Killer" and "Custer's Last Charge" were among them. Perhaps the most astonishing of recent circus pageants is "The Circus Wedding" in Billy Rose's Jumbo. Since the quality of a circus is always heightened by every Circus Depends Upon Its Stunts 79 touch of color, each circus should include something especially outstanding for its beauty. Stupendous: Stupendous stunts are awe-inspiring and serve notably in keeping the circus interesting. They imply magnitude, and excite wonder, often brought about by pyramids, mass drills and especially the Grand March or Big Parade. The processional grandeur of the Big Parade which precedes the final performance is instrumental in helping the audience to catch the circus spirit; it whets their imagination for that which is to follow, it introduces them to the entire troupe and it is often the solution of a successful circus. If there is anything in the old saying, "A good beginning makes a good ending," a director may find it well worth his while to spend considerable time and forethought on his plans for the Big Parade. All who are to take part in the circus should march in the Big Parade. They should be costumed as they will appear in their stunts. Since the Grand March serves as a means of getting every participant before the audience at the same time, it must be impressive and should meet every expectation of the waiting crowd. Each costume should be a suggestion of some one of the stunts that is to appear in the parade. One can by no means set down a fixed prescription for getting the troupe before the audience in parade. It may be suggested here, however, that the entire procession form in the hall, or on the grounds outside in case of a tent. As the band begins to play the parade will proceed, marching around the ring once. When the leaders again 80 The Circus Comes to School reach the entrance they will mark time until all others are well spaced behind them, also marking time. After the audience has had a fair chance to see every one, the ringmaster signals and the procession moves off the floor. The writer finds it desirable to have all those who are to perform in Part I assemble on the floor as the others move off. The order in which the procession will march will depend largely upon the stunts which make up the circus. There should not be monotony in the parade any more than in the final performance. Therefore, participants should be arranged in such a manner that interest will increase with the entrance of each new costume. Interest must be maintained to the end. Generally speaking, the band leads the procession, with the master of ceremonies next in line. It is sometimes advisable to have the remainder of the procession appear as they are expected to appear on the program. A band with enthusiasm, playing music which is circuslike, will add much to the spirit of the crowd. If there is no band, as is often the case in elementary schools, a Harmonica Orchestra or a group of singers carrying balloons or waving banners will add zest to the procession. The song "The Circus" listed in the directory is especially lively and its vigorous tempo will mean success to any Grand March. WHERE TO FIND CIRCUS STUNTS. After the character of the stunts which are likely to appeal to the participants and the prospective audience Circus Depends Upon Its Stunts 8I have been discovered, the question which generally follows is "Where shall we find the stunts?" There are two sources. They must be ready made, taken from books, or they must be created by various groups or individuals. If you find it advisable to use ready-made stunts, the directory of this book will be helpful to you in your selection. If on the other hand you are particularly interested in the learning stimulated by your circus venture, then by all All ready for the Big Parade means guide your pupils in creating their own stunts. They may grow easily and naturally out of the regular physical education classes or creative groups; from suggestions brought to the attention of the class or the groups, members of the physical education classes, parents, or teachers; from suggestions fostered by pictures, books, magazines, spectacular programs; or from suggestions prompted by clever entertainments, dance programs, and 82 The Circus Comes to School Coney Island or its equivalent. Often one may pattern the entire circus after stunts which make up the Ringling Brothers and Barnum & Bailey Circus. Of course they will be on a much smaller scale, but amateurs will surprise you with their talents. Students Will Reach a Higher Degree of Skill in Stunts Which They Choose for Themselves: When students are allowed to choose the stunts in which they wish to participate, they generally match the stunt of their choice with their personality and talent. This gives confidence and insures a certain degree of interest and success. Sometimes, in the elementary grades, especially, there will be a few who will overestimate their ability. Often, however, even when ability has been overestimated, the participant is so interested in doing the stunt "of his dreams" that he accomplishes unexpected wonders. Recently a physical education teacher stepped into the gymnasium, empty except for two boys who were standing just inside. They were speechless but were gazing longingly at the ceiling. Interested to know just what attracted them, she asked: "Is the gymnasium so inspiring that you boys want to stand around in it even though it is empty?" "Oh Gee, Miss," said one of them, "all my life I have wanted to do stunts on those flying rings. Why, I even dream about them at night." "I'd give all the marbles in my pocket if we could do some kind of stunts on those flying rings for the circus," said the other. Circus Depends Upon Its Stunts 83 Since the circus was only about two weeks off, she suggested that if they were willing to give up their baseball at the noon hour and devote that time to practice she would be only too glad to help them. They not only practiced at noon but begged to be allowed to practice in the morning before school, as well. Needless to say the stunts were a big success. The boys had only average ability, but their purpose was strong. The timid make good actors when hidden from the gaze of the audience Talent, practice, and drill may be important in bringing about a successful performance, but they are not to be compared with the power that genuine interest and enthusiasm will have upon the same stunt. The never-ending chain of activities which the circus presents furnishes ample opportunity for every one to participate in stunts which he has always longed to do. Whether he be fat, awkward, petite, graceful, timid, or courageous he can find his place in the circus. And when 84 The Circus Comes to School allowed to make his own decision as to stunts, he will invariably reach a satisfactory degree of skill. More often than not the very timid make splendid actors when under cover and hidden from the critical gaze of the audience. They will function splendidly as animals. The less timid will lose themselves, naturally, in mass stunts. The daring will glory in the tumbling and the flying rings. The dramatically inclined will always find a place as one of the principals, while the musical will enjoy being a part of the band, and so on until every stunt has been chosen, and every one has a place. SKILLS MUST BE ACQUIRED AS FAR AS POSSIBLE. Stunts which are supposed to be finished, and there are many of them in a circus, must be executed with a high degree of skill. The circus in itself stands for physical efficiency. Hence, the value of skill in an amateur circus is undisputed. It brings about a sense of completeness and satisfaction which smacks of the Big Top. Goals toward which every teacher and student should work should be set early in the planning. Pupils should practice regularly and every teacher should be ready and willing to help them attain the desired skills. The difficulty of the stunts may be increased or decreased to meet the age and ability of the group, but the participants should not lose sight of their goal. Skills should not be taken so seriously, however, that those who fail to reach the goal should be eliminated. Encourage and help every student to give his best in practice; if he has done so and still has not acquired the skill which his more talented brother Circus Depends Upon Its Stunts 85 has attained, do not bar him from the final performance unless he requests it. A short time ago a certain boy who had done his best to increase his ability as a tumbler and who had never missed a practice failed miserably to meet the standards of the rest of the group. On the day before the circus he informed his teacher that he had decided not to take part in the final performance. She told him she was sorry, for she was certain that his parents would be anxious to have him appear on the program. That was all. Imagine her surprise on the eve of the show to find this lad among the group of tumblers, dressed in a clown suit of pale pink muslin, trimmed in even a paler blue. He missed every stunt that required skill, but the audience believed him to be clowning the act and howled with amusement at his mistakes. He soon caught the spirit of the crowd and by the time the act was over was satisfied with himself for contributing something to the fun of the audience. Not even his parents had guessed the truth. That is often the case. The awkward doing their best, which is far inferior to the rest of the team, "take the show." Therefore as long as they do not feel self-conscious, let them remain with the team, for they get the satisfaction of contributing something with their group. Do not misinterpret this point, however. Haphazard performances should never be encouraged, nor should they result from lack of practice. Practice is necessary for even the "slap-stick" comedies, but you cannot expect every one in a group to achieve the same skill. Perfection is not the goal. 86 The Circus Comes to School A CIRCUS SHOULD LIVE UP TO ITS NAME. Amateur circuses should include stunts which parallel, in as large a way as possible, those of the "Big Top." The circus is so broad in its scope that one needs never feel cramped for want of variety. The producer who is guided in his planning by the fundamental circus characteristics and the interest of the public will find his own circus seasoned with variety. The ludicrous, the dexterous, the spectacular, the daring, the humorous, the stupendous and the beautiful align with dancing, tumbling, apparatus, trapeze, flying rings, clown antics, animals either on parade or acting intelligently, and stunts which border on pageantry. The majority of such stunts may be the product of a varied physical education program. We have learned that the modern circus has become more spectacular; it has added animals and freaks from all parts of the world; modern gadgets have crept in; tents have expanded; the importance of the ringmaster has diminished, especially in the larger circuses; and the role of the clowns has changed somewhat, but the purpose, general character, and routine of the show has remained the same throughout many generations. So whether you pattern your circuses after those of the early days or those of to-day is a matter of choice depending largely upon the size of your hall or tent and the purpose of your entertainment. Since the ringmaster and the clowns are destined to be principals in your circus, let us pause here to discuss the changes which have taken place in their role. Time was Circus Depends Upon Its Stunts 87 when the ringmaster was master of ceremonies indeed. He was the most important person in the circus. In a dynamic and pompous fashion, using the largest and the most potent words in the dictionary, he announced the oncoming events. Time was when the ringmaster wore a black mustache, a long black cutaway coat, a tall silk hat, a stiff starched white bosomed shirt studded with diamonds, jewelry of every description, white trousers and high topped boots. He was without doubt the king of the ring. To-day at the larger circuses, such as Ringling Brothers and Barnum & Bailey Combined Circus, loud speakers carry his brief messages and he is seldom seen. If by chance you do see him, he will be wearing a neat black dress suit and looking more like a society man at a formal ball than a circus manager. In ancient and medieval times professional jesters were employed to amuse the kings and the nobility. They used their wit and wisdom in ridiculing the short-sightedness and vices of their contemporaries. Their antics and their wise remarks served to delight the hearts of those who watched, while their odd costumes of vivid colors bedecked with ornaments of unusual character added much to their gayety. It is said that in the early days when circuses were staged on the green and the people brought along their own lanterns, clowns spiced their antics with witty remarks much the same as did the historical court fools. Often these remarks were phrased in rime which provoked mirth and shouts from the gathered crowds. As the 88 The Circus Comes to School circus was seized with growing pains, however, and tents expanded and elongated to accommodate the crowds that stormed them, circus clowns began to relate their one-act plays and jokes in pantomime. Even so, circus clowns of to-day are modified court fools. The pallor of their skin and their simple looking faces remain the same; their costumes are still queer and gay, often trimmed with clinking ornaments; their purpose to-day as of court days is to spice the performance with fun. But they have not spoken for so long, it would seem that they had lost the art. Something of the originality and the true meaning of clowns as they were in historic days has been lost with the words of those veteran sages. If the space is not too large, amateur circus managers will find that it will add much to the enjoyment of their audience if they revert to the old type clowns and allow them to speak. Their wit and humor put in rime creates mirth. In the opinion of the author, talking ringmasters and talking clowns will add zest to a performance which is otherwise all action. It must be remembered, however, that both the ringmaster's announcements and the clown's remarks should be short, to the point, and studded with real humor and that the tent should be conducive to speaking; otherwise, nothing is gained. COSTUMES There is nothing which enhances stunts, especially circus stunts, so much as appropriate and alluring costumes. Circus Depends Upon Its Stunts 89 When donned, they intensify the meaning of a number and at the same time help to transform the participants into something far removed from themselves. In the true sense of the word, costumes help to distinguish one act from another. The dance of the Weird Wompy Wumpuses, for example, would be nothing more than just another dance were it not for exaggerated heads and feet which Costumes help to transform the participants into something far removed from themselves do their best to coordinate with dwarf-like bodies. The costumes provoke laughter even before the dance begins and as costume and stunt combine laughter becomes uncontrollable. This is only one case in which the costume is the making of the stunt. The soft hues of the costumes worn in the Magic Rose stunt of the Hutchinson and Pelham Combined Circus add that touch of loveliness which impresses the audience. In the case of the circus animals, their painted faces and realistic forms make one 90 The Circus Comes to School forget that boys are inside and that it is human intelligence rather than animal intelligence which directs the stunts. Since costumes give a real circus touch to the amateur circus, creators and managers must make use of every opportunity to acquaint themselves with the stunts before they make definite their costume plans. It is only by becoming acquainted with the stunts themselves that the most harmonious costumes can be created. Often the costume and the stunt will grow together, the act depending for its effect upon the costume. WHO SHALL PLAN THE COSTUMES? As soon as the circus stunts are selected, the costume group should begin to function. In a high school the clothing department is often anxious and willing to be either responsible for the costumes directly or advisers for various costume groups. In schools where there is no such department, a teacher or parent will often work with the costume group and assume all responsibilities. WHERE TO FIND IDEAS FOR CIRCUS COSTUMES. As soon as the stunts are selected the costume group or groups begin to search for costume ideas. Those who are alert will find them in various places. They may be found at the circus, in the National Geographic Magazines, animal books, the masquerade section of pattern books, Dennison's craft books, Hacker's How to Put on an Amateur Circus, pictures, and from clever pupils, teachers and Circus Depends Upon Its Stunts 91 parents. The costume directory of this book may also be helpful. The bird and animal costumes, perhaps, call forth more ingenuity and real art than any of the others, for there are no set patterns. The persons who make them must be clever with the needle, the scissors and the paint brush. Costumes which belong to the bird family are not nearly so difficult as they might appear at first glance, however. A sleeveless blouse and a pair of shorts may be cleverly disguised with Dennison crepe paper, cut and curled. A visor or sunshade will serve efficiently as a beak. If you follow the directions for the bird costume as given by Dennison in How to Make Gay and Colorful Costumes, number 42, page 27, the shorts and sleeveless blouse will soon feather into a beautiful bird. Moreover, you can have a bird of any species by changing only the head and tail and the color of the paper used. A great many of the circus animals, too, may be made without framework. A one-piece pajama suit or a cat costume pattern will suffice for the animal foundation, especially in the case of the smaller animals. Here again heads, tails, and color must change with the species. Heads and even bodies of these animals may be made of Oak Tag board and painted in a realistic fashion. If construction is impossible for the larger animals, why not try the one-piece pajama suit and the Oak Tag heads for them also? You will find them effective. It is generally much easier to buy costumes at a regular costume shop, providing it has what you want, but then 92 The Circus Comes to School the creative value and the fun of making them are lost. A tour through department stores often brings to light appropriate materials for costumes. They should be inexpensive but should correspond adequately to the stunts for which they are intended. Glazed cambric, sometimes called paper muslin, is inexpensive and can be used for a great many circus costumes, especially those belonging to the mass drills. Tarlatan, cheese-cloth and cellophane are splendid for the glamorous stunts, while outing flannel, burlap, sheeting, blankets, old coats and quilts often serve efficiently as skins for animals. WHO SHALL PAY FOR THE COSTUMES? In the majority of cases the participants should pay for their own costumes, as the knowledge gained and the pleasure derived from participating in a circus should be worth the price of a costume. In cases where pupils are financially unable to buy their own, they should never be deprived of the privilege of taking part; their costumes should be purchased from the circus receipts. MAKE-UP The impression is somehow current among amateur circus managers that make-up is of little or no concern to the success of circuses. Perhaps such impressions arise from the fact that it had been poorly applied or seemed superficial because the show was given in the daytime and outside. If you will take time to study the effects of good make-up, however, you will soon find that it is more than Circus Depends Upon Its Stunts 93 a few dabs of paint. In fact, it is an art and has many possibilities even in circusdom. Under strong light you will find that your own naturally vivid coloring becomes livid and your eyes lose their sparkle. Make-up can remedy this, if properly applied. Moreover, good make-up is the basis of transformation. It aids the costumes in transforming one into the character which he wishes to represent. It not only makes the part seem realistic to the participant but also whets the imagination of the audience. If it is important that each character look his part and likewise have a feeling for it, then good make-up is indispensable. Even in cases where there are no peculiar characters to portray, make-up has its value, for it covers blemishes, defines features and brings out coloring made pallid by bright lights. Furthermore it creates many illusions which make for a successful circus. WHO SHALL BE MADE UP? You, perhaps, are by this time doing a little mental arithmetic to find out just how long it will take to make up the hundreds who are to participate in your amateur circus. Since the principals and those who need their character and peculiarities accentuated are all that will require detailed make-up, the problem is not so difficult as it would seem. Besides the ringmaster and the clowns who are generally termed principals, such characters as Towering Tommy, Sammy Short and Humpty Dumpty will require detailed and expert make-up attention. It goes without saying that Towering Tommy must have his face elongated, while 94 The Circus Comes to School Sammy Short and Humpty Dumpty must have theirs broadened to make them look shorter and wider, respectively. Boxing Bonny should be made up to look exceedingly effeminate and sweet, while her boxing opponent Brawny Ben should be square-jawed and vicious-looking. Make-up can and will create these effects if properly applied. The make-up hints at the close of this chapter may be of help to you. Since the master of ceremonies and the clowns are important characters in every circus, let us pause here to give a few suggestions concerning their make-up. Master of Ceremonies: Each person has a different idea of how a ringmaster should look, probably formed by past experiences, but all will agree that he must look pompous, poised and dignified. Your idea is as good as any if you have made a real study of ringmasters. The following is offered merely as a suggestion: The face of the ringmaster should be florid in appearance. To acquire this effect, mix Nos. 7 and 27 grease paints with two-thirds of the former and one-third of the latter. Use this as a base and then apply a little Max Factor or Stein's dark rouge on each cheek. Blend into the rest of the make-up, leaving the brightest spots on the cheek bones. When this is done, powder the face with Mennen's or Colgate's cream-colored talcum powder. The master of ceremonies is generally more commanding if he has black or very dark hair. Part it in the middle and apply brilliantine to give that well-groomed effect. Apply black crepe hair for sideburns and a small black mustache to match. The hair can be easily applied with Circus Depends Upon Its Stunts 95 spirit gum. Care must be taken to remove all grease paint and make-up before the spirit gum is applied to the skin. The Conventional Circus Clown: "The expression can be varied merely by rearranging the features and figures drawn on the face. The type and shape of the eyebrows may alter the expression decidedly. "A simple-looking expression is obtained by concealing the eyebrows completely. The mouth is next in importance in creating the desired expression-the corners can be curved upward to give the clown the expression of constant good humor, and curved downward to give a serious effect. "The face may be decorated with little figures shaped into crescents, stars, etc. Do not let the decoration become too detailed; rather depend upon one or two simple designs, but use vivid colors. "The foundation Clown White, is spread over the face in the same manner as grease paint, covering every visible part of the face, neck and ears. If the eyebrows are to be concealed, it must be done before the Clown White is applied. For instructions on concealing the eyebrows, see booklet No. 3 under Nose Putty. Study suggestions for drawing various figures on the face. "In making up the mouth, remove the Clown White from area of the mouth according to the desired shape, then with bright red lip rouge draw the clown mouth, carefully accentuating the shape with a soft tinting brush. Powder the entire make-up very profusely until dry, and with a soft face powder brush remove all surplus powder. 96 The Circus Comes to School The figures and the mouth can be retouched. The hair is completely concealed with a skull cap fitting over his ears by means of slits. "No. 5 Blue or No. 9 red lining color may be used for drawing the figures on the face, No. i Moist Rouge for emphasizing the mouth." * Those in mass performances and the majority of the others will need no more make-up than is necessary to heighten their color and define their features. Although this is important and should not be done in a haphazard manner, it takes very little time. The slightest amount of make-up will delight children, and you will find it an incentive to them in executing their stunts. Hence, even if it were not necessary, make-up should never be withheld when it creates so much enjoyment. High school boys and girls also enjoy it and are wont to repeat the following jingle as they are being made up: "Just a little powder, And just a little paint, Helps to make my sister's face Look like what it ain't." Queer how they still believe in it. WHO SHALL BE RESPONSIBLE FOR THE MAKE-UP? Make-up is truly an art. Those who are responsible for it should know something of colors and character. As a * Max Factor's Hints on the Art of Make-up, Booklet 5, p. 3. Max Factor's Make-up Studios, Highland at Hollywood Blvd., Hollywood, California. Circus Depends Upon Its Stunts 97 rule, the English groups which include dramatics, and the art groups will be equally interested in working together on circus make-up. Their interests are so closely related that the two will merge to the advantage of both. The character knowledge which the English group has will be worth exchanging with the color blending knowledge of the art group. These groups should never let their work speak ignorance. They should make a careful study of the fundamentals as well as the details of make-up. They should learn to understand character, the manipulation of make-up materials and blending of colors to create characters of circus varieties. They should understand the details of lining the face to make characters seem real. For instance, if an old Indian chief is to be portrayed, they should know how to build the contour of the face and add the wrinkles and shadows to assist in forming his true expression. Alert make-up students will achieve this art. They will observe actual characters and make mental note of differences. They will seek authentic sources; books and pictures and the Big Top circus will come to their aid. They will not forget that keen observation is often the best source of information. They will study the persons to be made up and the stunts in which they are to appear and will attempt to make adjustments which will bring about desired changes, thus defining peculiarities which distinguish one character from another. They will frequent make-up houses, when convenient, and study the various types of make-up, asking questions and receiving all sorts of in 98 The Circus Comes to School formation. If they do not happen to be near such houses, they will write for the desired information. The majority of the better make-up houses are fully equipped to answer all questions which may arise. This brings us to make-up materials. Always use the best recognized qualities. It pays in the long run. Real art is often lost in poor make-up and sensitive skins often suffer from its effects. There are many reliable make-up companies in existence. Perhaps the best known are the Max Factor and Stein houses. Furthermore, both houses have worthwhile make-up booklets which are the results of long years of experience. The Max Factor Studios, Hollywood, California, issue nine booklets, all of which are invaluable to amateur circus artists. You should have at least booklets I, 2,3 and 4. They are yours for the asking. Stein's Cosmetic Co., 430 Broome street, New York City, also publish a twenty-four page booklet, Modern Make-up, which you may purchase for 25~. It is helpful and worthy of note. MAKE-UP HINTS FROM MAX FACTOR. Grease Paint: Before make-up is applied remove all street make-up, either with soap and water or cleansing cream. If by cleansing cream, remove every particle of cream with tissue. The creamy foundation of the better grease paints needs no cold cream foundation. Squeeze about one-fourth of an inch of grease paint in one hand. Apply it to the face in spots. Remove paint from the hands and dip them in water. Now, with the finger tips spread the grease paint evenly and thinly over the face. Finish by patting the face carefully with moist hands. Circus Depends Upon Its Stunts 99 To remove grease paint massage the face well with cold cream until all make-up is dissolved. Remove the cold cream, then wash the face with warm water and soap. Rinse with cold water. Eyes: When eye shadow is used to accentuate their depth, apply it with finger tips, using a light outward motion. Be sure to blend it carefully towards the eyebrows and the outer arches, leaving no definite line. To make the eyes larger, draw a line on the lower lid close to the lash line, beginning at the inside corner and extending it out slightly beyond the outer corner. The upper lid requires no line unless the lashes are very short and thin. When penciling the eyebrows, draw little hair lines in the same direction the hair grows naturally. Eyebrows should be shaped the way they are the most becoming, when beauty is the goal. Many striking types of character may be affected by the arrangement of the eyebrows. Eyebrows may be entirely concealed with the use of Nose Putty and a smooth base provided for special character eyebrows. Rouge: If you have a round face and wish to affect an oval contour, blend the rouge toward the lower eyelids and back along the cheek-bone downward. To shorten a long face, blend the color horizontally on the cheek-bones under the lower eyelids and out toward the temples. Do not place any color where the cheek begins to taper sharply into the chin. The above rouge is called wet or under rouge. After I00 The Circus Comes to School the face is well powdered apply dry rouge over the same area. Powder: Apply the powder with gentle patting motions in order to absorb the moisture and to prevent streaking. Brush off all excess powder so that the skin will look smooth and dry. Be sure that all oily make-up is properly blended before powder and dry rouge is applied. Mouth: When applying lip rouge, be sure to blend it on the inside as well as out, so that when the mouth is open, while talking or laughing, there will be no line apparent. Lip rouge should harmonize with face rouge. Be careful not to make the lips of men look effeminate. A jovial expression may be gained by tilting the ends of the mouth upward. A worried, haggard, painful expression may be gained by drooping the ends of the mouth. Teeth: Black tooth enamel is used to block out teeth for grotesque characters such as old age, witches, etc. The author has found Black Jack chewing gum an aid in blocking teeth in cases where it has been impossible to get enamel. Nose Putty: By treating the nose, chin and cheek-bones with Nose Putty the contour of the face may be transformed to represent a variety of comedy, grotesque and racial types. Cover the putty with grease paint after it is applied. To make Nose Putty pliable, knead it. Often grease paint will tend to make it more pliable. If you wish to counteract the effects of perspiration, add Circus Depends Upon Its Stunts 10o a little spirit gum to the mixture. This will also insure its sticking, if you should have trouble. Nose Putty can be easily removed from eyebrows by massaging with cold cream until it is pliable and then wiping it off. Crepe Hair: Mustaches and beards are made with crepe hair. Wool crepe hair must be straightened before it is used. When it is unbraided, wet it thoroughly, and then stretch it taut by tying the opposite ends to something rigid. When it is dry, comb out the quantity to be used. The area of the beard or mustache is then designated, penciled and painted with a light coat of spirit gum. The parts painted with spirit gum must be clean shaven and free from all make-up. Apply only a small amount of hair at one time. If beards are to be trimmed, trim them on the bias, after they have been applied. Apply the hair first at the point of the chin. From there apply it all around the jaw-bone; then follow with layers of hair down below the chin. After the beard is built up, trim it in any style desired. Press the hair to the face with a towel and comb out all loose hairs. Crepe hair is easily removed. After the hair is taken off, dissolve the spirit gum with alcohol or acetone.* * Booklet No. 3 published by Max Factor's Make-up Studios, Highland at Hollywood Blvd., Hollywood, California, gives a great deal more worth-while information on the subject of crepe hair. 102 The Circus Comes to School CONSTRUCTION Boys who love working with tools and lumber will enjoy fashioning boards and wires into circus animals. It is a particular task but it is not a difficult one. Those who join the construction group must be able to measure accurately and must have a knowledge of the type of lumber, wire, bolts, nails, etc., which they shall use. Furthermore, they should be able to construct the animals so they will look sturdy. Circus animals, even though a farce, should never look undernourished or as though palsy had seized them. The industrial art department, guided by the teacher, will be able to construct almost any animal from its picture, figuring the dimensions and in fact creating the animals. In case there is no manual arts department, boys particularly interested in construction, guided by parents, will usually turn out comparatively healthy animals. The wise teacher will act as a guide but he will let his boys make their own decisions through actual experience. They will visit the Zoo, if one is accessible, take their pencils and pads, and figure the approximate dimensions of their artificial animals in comparison to the real ones. In case there are no real animals near, pictures from magazines and programs will suffice. How to Put on an Amateur Circus gives the exact dimensions and the method of constructing a number of animals. Among them are an elephant, a gook, a giraffe, a pony, an ostrich, a hootus and a cat. When pupils are not old enough to figure their own animals accurately, this book will serve adequately as a guide. Circus Depends Upon Its Stunts I03 To the construction group, then, belong the duties of selecting materials suitable for circus purposes, constructing the animals, assisting in the construction needed in the side shows, performing odd carpenter jobs and building circus rings where rings are used. In the majority of amateur circuses the construction groups also manage all circus properties that come in the construction class. A circus which is ringless and takes place inside needs very little in the way of that type of property. LIGHTING If your venture is in the gymnasium the lighting problems will be simple ones. Lighting effects can be worked out especially well by boys who are interested in electricity. The task will be even easier if the school possesses a lantern. If not, pupils will find it interesting to devise spot lights and flood lights from dishpans and electric lights. They will serve quite as well as ready-made equipment. The general run of house lights and a spot light to throw upon the ringmaster and other principals will fulfill the needs of the majority of amateur circuses. If your circus is outside, the lighting will be a problem for real electricians to solve. Music Music adds unmistakable spice and vigor to every circus performance. Perhaps you cannot recall definitely the repertoire of musical selections at the last circus which you attended, perhaps you cannot even recall that there I04 The Circus Comes to School was music, but nine chances out of ten it was the music which first put you in a real circus mood. It quickened your pulse and sent your spirits soaring high. Music is like that. It is the warp and woof of the circus. It is woven into its very pattern, exercising its power over every stunt in such a manner that the success of the circus has come to depend upon it. Stunts can be made more ferocious or more thrilling by the strong tempo of music, or more beautiful and impressive by its softness. In lieu of this fact, music should always be characteristic of the stunts which it accompanies. It will be varied, running the entire musical scale, from the most difficult classical overtures to the latest jazz. It will measure the lumbering tread of the elephant, the antics of the clowns, the lithe movements of the acrobats, the hazardous feats of the airial performers and the grace of the beautiful ladies. It will change from a gallop to a waltz, or a gavotte to jazz at only a moment's warning. Needless to say, such changes require a real knowledge of music and a great deal of practice before the circus begins. There are many sources from which an amateur circus can draw its music. The band, of course, is the most circuslike of all possibilities. A high school or college band is generally capable of many fine selections. As a rule, even before the circus planning begins, their supply of appropriate pieces is already inexhaustive. Each band member must acquire the circus spirit and must have periodic practice in order to be able to transmit that spirit to the audience and the participants. Circus Depends Upon Its Stunts I05 The band is not the only source of circus music, however. In case there is no band, a skillful pianist and a Harmonica Orchestra can do much to prevent the audience from missing it. A clever pianist will be able to render the classical numbers which the Harmonica Orchestra is not capable of producing. A Harmonica Orchestra can do much to prevent the audience from missing a band A Glee Club can also be of service in a circus, especially in the Grand March. It has become traditional with us to have the school glee club sing that buoyant, yet simple song "The Circus" during the Big Parade. To make this, the first number, more carnival-like, the singers wave colored pennants, wands with gay streamers attached to them, and brilliant balloons. Although comic bands bring forth fun and no music, it is a popular form of a circus band, fun being all that is expected from it. A good comic band will manipulate a conglomeration of manufactured instruments all of which are a farce and many of which produce sound but no music. io6 The Circus Comes to School Perhaps the kitchen band, in which boys wield every conceivable kitchen utensil, is the most famous of the comic bands. Kettles, drums, saws, skillets, egg beaters, spoons and many other kitchen utensils fraudulently do the work of musical instruments. The famous "Zobo Band" whose harmony is unique is another of the fun-provoking bands. With little practice the members of this band will be able to produce tunes, but they could never be classed as real music. The comb band, in which the musicians blow through tissue paper stretched over combs, is also a band of the Zobo type. The Dummy Band is one in which the would-be musicians only pretend to be playing instruments. There are no instruments but there are flourishing movements as though the members were playing drums, trombones, etc. They play vigorously, getting red in the face and making all sorts of grimaces, but never a sound do they make. Sometimes it adds fun to have an unseen pianist imitate each instrument on the piano. Often boys dressed as warriors come to the aid of the comic band, with their gruesome, but supposedly musical, war implements. The war band is, of course, far-fetched, but it adds variety. These are only a few suggestions for comic bands; your pupils can, no doubt, think of many more just as interesting and even more fun. Whether the music group consists of the school band, a group selected from the music department, or a group chosen at random for their musical ability, they should have a capable leader, who will be responsible for the out Circus Depends Upon Its Stunts 107 come. It is important that the musicians make a study of real circus music as they practice for the coming circus. They not only should be willing to meet periodically for practice but should be interested in acquainting themselves with the circus numbers and planning music which will be suitable for each stunt. Each stunt should be set to the best music possible. An unlimited amount of classical music can be actually appreciated by participants of all ages. SPEAKING PARTS If you have decided to let your ringmaster and clowns talk, do not expect them to improvise all of their announcements or witty remarks as the circus unfolds. Lines should be improvised, of course, as the opportunity affords, but the majority of the speeches and jingles should be given considerable time and forethought, and plans should begin while the stunts are still in an embryonic stage. It should be remembered that all speeches and jingles should be short, to the point, and punctured with wit. Speaking in Barnum's language, the ringmasters and the clowns are the props and the pegs of the amateur circus. There is always a group in every school or camp which will be eager to assist in creating speeches for circus principals. They will find making jingles for clowns great fun, and will enjoy juggling ponderous words for the speeches of the ringmaster. In high school the English and dramatic departments generally make a bid for this task, as well as that of coaching the principals. Io8 The Circus Comes to School No matter from whence these groups, which we shall call the English groups, come, they should be talented and interested in their duties and willing to pilot those in need of help. One of the first duties of these groups is to familiarize themselves with the stunts which will appear in their particular amateur circus. They shall then acquaint themselves with the principal actors, for it is only by knowing both that they can do justice in creating speeches. After they become familiar with the stunts and the participants, the members of the group should begin to study the circus from a speech standpoint. This may require some research in libraries, as well as first-hand experience. Old circus programs, circulars, magazines and books may yield just the ideas you want. The 42nd Street public library in New York City has an invaluable collection of circus programs and magazines. The ready wit and wisdom of Shakespearean clowns may be an inspiration to those who are attempting to write the verse for the clowns. This does not mean, necessarily, that they will imitate the clowns of the Middle Ages, but ideas are often gleaned where they are least expected. Court fools appear in both "As You Like It" and "King Lear." After the speeches and jingles have been created, either members of the English group or its sponsors should begin to coach the principals for whom they are intended. It is always wise to have more than one try-out for the principal parts. One's judgment is not always reliable when he selects at random; furthermore, if several are allowed Cls i *'.^.^ 1 S... * ~k i.. E.. -,. X11c * 6 Making posters which attract the public is one of the first tasks of the art groups IIO The Circus Comes to School to try, interest increases and experiences are opened for many who otherwise might never get to try their talents. Unless special creative groups have been selected to create novel names and captions, the English group will also be able to take care of them admirably. ART Art has a distinctive place in even an amateur circus. A circus without art is more or less like a Christmas tree without its trimmings. Its glamor is lost, and to many its meaning. Hence, an art group should be selected early in the planning. Its members should have real artistic ability and art knowledge equal to the unlimited possibilities which the circus offers. Whether the group is made up of special art classes or casually selected from the school makes little difference if the members have artistic ability. There should also be interest and a capable leader, unafraid of work and interested in the outcome of the circus. The duties of the artists are numerous and varied. They begin with the first bit of advertising and end only when the last person has been made-up for the final performance. Posters which attract the public and put the first thoughts of the circus into their heads may be the beginning of the work of the art groups. Whether this important part of the art work arouses lasting interest or offends depends largely upon them. Since this phase of art is discussed fully in advertising, let us hasten on to some of the other duties of the artists. Circus Depends Upon Its Stunts III If your artists aspire to paint character in faces, then they will find a very interesting and particular task awaiting them in the faces of the animals. Amateur circusdom offers a variety of animals which have little or no character until they have been painted. The brush coupled with the knowledge and talent of the artist makes them individual and classifies them into species. If you are a keen observer you will find some with eternal scowls, some with pathetic and patient faces and some "saucy" and pert in appearance. Each differs from the other in a facial expression which must be noted and painted by the artist. The work of the art group, then, not only reflects the mood and disposition of the animals but at the same time feeds the imagination of the audience. The artists must, of course, acquaint themselves with the animals both in real and amateur circuses. If there is a circus in town, they are lucky, for there they can get a wealth of ideas for circus art; if not, the Zoo is a splendid place to study animals. In case there is no Zoo at hand, animal pictures, magazines and books will be valuable. The artists must also acquaint themselves with the circus names of the animals. Many of them are given novel names which may be reflected in their faces in some manner or other. The members of the art group have further duties equally as important as those just mentioned. They make suggestions and demonstrate various color combinations effective for costumes; they arrange attractive programs; they assist in planning appropriate settings for side shows. Whether the setting be Mexican, Hawaiian, or Oriental 112 The Circus Comes to School in nature, the artists should have at hand books, pictures and magazines which they can loan to those who are interested. They should be ready and willing to assist in every way possible. Moreover, the artists with the dramatic group will be responsible for selecting the make-up and applying it before the performance. THE CIRCUS STUDIO. The business of artists can always be carried on more efficiently if a place is designated for their tasks. Every circus should have a studio, a place where those interested may go to work at odd moments without interruption and where their unfinished products can be left without fear of destruction. Even though the circus studio is not limited to the art group alone, its members should feel responsible for what goes on there. All those seeking artistic help should feel free to go to the studio whenever they wish. There, they should rightfully expect to find a varied group of circus pictures. Moreover, the art group should be so well versed in circus art that circus learning and circus doing will be stimulated in the studio. There posters will be made, animals painted, programs arranged and ideas born and pooled. It has often been said that the circus studio looks very much like the busiest of Santa Claus shops during the Christmas rush, but real work and real learning generally take place and results are evident. Circus Depends Upon Its Stunts II3 CIRCUS BUSINESS AND FINANCE Ordinarily the circus is an excellent source of income. Its wide appeal to a heterogeneous public brings many people and many dollars that other performances will fail to bring. Furthermore, it offers other money-making schemes, of the nickel and dime variety, that help to swell the circus fund. Side shows, pink lemonade, peanuts, popcorn and circus knickknacks sold during intermission are only a few of the added money-raising possibilities which the circus presents. It is apparent that a business and finance group incorporated is of utmost importance to a Fund-Raising Circus. Even the Activity Circus, in which funds are not considered, needs a business management. Those who make up this group must be dependable, alert, quick in figuring and accurate in checking. With an energetic adult as manager, high school boys and girls will be able to function successfully in this capacity. Elementary children will need to be guided by parents and teachers in all major financial steps. Often the P.T.A. is glad to assume the responsibilities which the business and finance incur. This lifts a big burden from the shoulders of the teachers and directors, for one can generally depend upon the P.T.A. to do well what they undertake. Regardless of who becomes responsible for the duties of this group, it is always wise to proceed with a careful system of bookkeeping and to expect "auditors" to check periodically. Such thoroughness will do away with a great deal of financial uncertainty and confusion on the eve of the circus. II4 The Circus Comes to School The duties of the members of this group will be many and heavy. All money eventually comes into their hands and all expenses are finally paid by them; advertising, tickets and all the big and little costs. It is generally less confusing to file the bills as they are recorded in the books and pay them after the circus is over. This method does away with dribbling the money out for small purposes during the circus procedure and likewise lessens the bookkeeping. The distribution of tickets and the manner of disposing of them is, perhaps, one of the biggest tasks of the business group. It deserves thoughtful and careful planning. Study commercial methods of inducing people to buy. Resort to those which you believe will fit your particular needs. The following methods of stimulating sales are offered as a suggestion. A most popular girl contest, in which one vote is given with every five cents, often proves interesting. For instance, a ticket which costs twenty-five cents will carry with it five votes for the most popular girl. This manner of computing votes will carry over into sales of side-show tickets and popcorn, lemonade and peanut purchases. Often a prize granted to the person or the couple who sell the most tickets will create a demand for them. At still other times a flag or Circus Trophy Cup given to the class or the organization that sells the most tickets will stimulate sales. Students will suggest many other ways of quickening the interest in ticket buying. The duties of the business and finance group do not end with stimulating the sale of the tickets; neither do they Circus Depends Upon Its Stunts I, begin there. Briefly speaking they arrange for the tickets to be printed, distribute them among the students for sale, stimulate and manage sales and pay all expenses such as advertising, tickets, etc. Moreover, all gifts are solicited and received through this department. If costumes, wire and lumber for construction can be donated, expenses will not be so heavy. Many people have called the circus the "Fun-Fund Program." Whether it actually merits this name depends to a certain extent upon the efficiency with which the business is executed. ADVERTISING One needs only to pick up a few popular magazines to grasp the significance of potent advertising. Business men everywhere have long realized that it spells buying. Circus managers work the year around on advertising projects which are sure to influence the gate receipts of their spring and summer shows. How well they know that it means profit. Since long experience has taught them the best ways and means of advertising, it is well for young circus managers to pattern after the real circus in these matters. The manner in which the coming attractions are kept before the public may mean a full tent even for an amateur circus. Therefore, advertising is worthy of real study. Much concerning the psychology of advertising may be learned through popular magazines, by watching the reaction of the public toward what they find there. Make a habit of talking with people concerning the advertisements which have made the widest appeal. What makes ii6 The Circus Comes to School them want the articles which they see? The publicity managers should, of course, realize that they must not expect the same thing to attract every one. They must learn to discriminate. Like a great many of the other circus activities, plans for advertising and plans for the circus should develop simultaneously. From two to three weeks before the performance, results of those plans should begin to manifest themselves in the form of posters, telegrams, etc. Since the responsibility of drawing the crowd to the final show rests upon the members of the advertising group, they should keenly realize the importance of their tasks and be ever alert in all situations which arise. Those who plan will find it helpful if they remember that potent advertising: Attracts the attention of the public and excites curiosity. Increases in interest in a magnetic manner equal to bringing people to the circus. Includes all the important details, leaving no doubt in the minds of those who read as to the admission, date, time and place of the coming attraction. Contains commanding headlines, illustrations and words. They should be carefully chosen and should compel the attention of even the most casual observer. Circus advertising is never prosaic, on the contrary it is fantastic, grotesque, extraordinary, often bold, but always commanding. Circus Depends Upon Its Stunts II7 The first, and an important task, of the advertisers is to attract the attention of the public. Remember that first impressions are often lasting. Therefore, the first advertising should be out of the ordinary, almost startling in its effect. The following are some of the ways of securing such attention. MAGIC NAMES. Long before amateur circuses made their debut, shrewd circus men learned that novel names appearing in conspicuous places did more to attract the attention of the public than long or even short descriptions of stunts or freaks. Manufacturers and merchants, too, have learned to recognize the power that lies in a name. They know only too well that the first sales of their products may depend upon the names with which they have christened them. Show men, particularly circus and movie men, are ever alert as they scour the country for names which are captivating. Movie men have been known to pay thousands of dollars for interesting names or startling titles around which clever stories might be woven. The value of magic or captivating names in advertising cannot be overestimated. Circus stunts, animals and freaks attract attention that is sure to bring the desired results if they are given extraordinary or comic names. Without knowing anything at all about the freaks and stunts, try the effect of these names upon yourself; Baffling Belles of Boxville, Towering Tommy and Sammy Short, Boxing Bonny and Brawny Ben. Nine chances out of ten you will make further efforts to satisfy the spark of curiosity which ii8 The Circus Comes to School those names have aroused. If they are startling enough and different enough to attract, they will, no doubt, kindle within you a desire to investigate; if this desire is fed by more detailed advertising, you will end by going to the circus, "to find out for yourself what those silly names are all about." Sometimes the magnetism of names depends upon the meaning they convey; at other times it depends upon the sound; at still other times meaning and sound are combined. As long as they are forceful and easily remembered it matters not which type you choose. In fact, a variety is generally best, since it relieves the monotony. There are many ways of attracting the public with novel or magic names. Perhaps one of the most effective is placing them on a succession of telephone poles along the roadside, one name to a pole. If the characters should happen to appear in pairs in the circus, then their names should be combined in the advertising. Each name should be printed neatly, in type large enough for passing motorists to read without effort. The last card should be information as to where these queer animals, people and stunts can eventually be found. The advertisement will run something like the picture. To be sure, magic names will appear in practically all other forms of advertising, but the above is one method in which they may be advertised singly, and at the same time become more outstanding. Novel names attached to posts along the roadside will attract motorists 120 The Circus Comes to School POSTERS. Ever since the days of primitive man pictures have served efficiently to convey meaning. Among schools where the art department functions, posters have long been a popular as well as an effective means of advertising. Pictures with color and character can portray well different circus features, while neat lettering tells briefly what the picture has left unsaid. Generally the name of the circus, the date, time, place and admission is all that is necessary in the lettering. Sometimes if there is space and it will not make the poster look too crowded, the novel names of some of the stunts should appear. No two posters should be alike as far as the pictures go, but each should bear the necessary information in letters. All posters which are used for advertising purposes should be well done, not perfect, of course, but always neat and conveying a real meaning. Haphazard work which appears in the way of advertising is likely to lead the public to believe that the circus will terminate in the same manner. Be sure your posters attract, but never let them offend. They should serve as a stop sign, colors should blend and harmonize, and letters should be neat and conform in every way with the picture. Elephants, clowns, monkeys, racing horses, jugglers, midgets, and many of the animals and personnel which one finds at the Big Top circus often stimulate thought for posters. Many ideas for poster designs may also be found on billboards, in circus magazines, programs, circulars, and books. A poster contest never fails to bring .rrr ~~` ':: I;:," ',r 'Ir, sIa. E.;. I l e v, I Pictures have served efficiently to convey meaning since the days of primitive man 122 The Circus Comes to School forth excellent work and original ideas; therefore, as soon as a circus is suggested, even before the date has been set, a poster contest may be well on the way. The letters may be added later, when the final date is set. It is always well to notify the artists of the possible number of "date" letters which will appear upon the posters, so that they will allow space accordingly. Each poster should be set in a conspicuous place. The windows of the post office, the most frequented stores, tea rooms, sweet shops, various halls of different schools, club rooms and many other places where people habitually gather should house at least one poster. DUMMIES. Dummies representing Towering Tommy, Sammy Short, one of the Weird Wompy Wumpuses or any one of the "sure to attract" circus freaks or animals may be cut from Oak Tag board and painted by the art group to resemble the characters whose names they bear. If artistically done, this type of advertising will be extremely commanding. The base of the cardboard statue or dummy may be lettered something like this: I AM SAMMY SHORT MEET ME AT THE HUTCHINSON GYMNASIUM APRIL 24, I936 7:45 P.M. Dummies, like the posters, should be stood in conspicuous places, on the street corners or close to stop signals, providing you can get the approval of the traffic police. 4p:~ I I I J *I I iuSl w - # w s \ \ * - I ~:- rrr~l ~"?,~h 1. 4 r,;: 3s- : I J.~ ",T: b t 91rr':... ~~ '~.~ x i ~:U.v 4p-.*; a.:gP '' * ~ ~~;. ~ 9~ Pr UI d, ~~ '.~::. J~/f? ,I%"~ c; " i "-'~:""ri~,,. ~r:%~ ~3\~rr0..I~:( x "r~ 6SrF?6, Dummies representing "sure to attract" circus freaks and animals are always commanding 124 The Circus Comes to School Whatever you do, be sure not to isolate them from the crowds. BANNERS. Two weeks prior to the circus a large cloth banner, upon which appear the high spots of the program, may be stretched several feet above Main Street from telephone pole to telephone pole or from the second story of one building across the street to another. The letters on this banner should be exceptionally large, since its purpose is to attract motorists. They should carry the following information: the name of the circus, the date, the time, the place it is to occur, the admission and the names of some of the stunts, freaks and animals. Small, colorful, triangular banners strung up above the streets will also be effective and serve to attract motorists. TELEGRAMS. How many people does a telegram fail to stop? Secure a number of blank telegraph sheets from your operator. Fill them in with circus news, giving something of the various features which will take place on the night of the performance. Sign the name of some phantom person or some well-known national personage. See that they are pasted in the windows of banks, shops, and stores and then stand by and count the people who read them. Perhaps it might be easier to count those who do not read them. Few will pass by a telegram without first learning its contents. Each telegram should be different, giving something of the various stunts. ^.. Izp'' v~13(*I!~~/~~::i~~:::~ aik ~~~I.~~:,. - wl-t - r Sandwich boys carrying circus data will attract pedestrians 126 The Circus Comes to School SCREEN ADS. Movie houses are always willing to run a type-written slide or one that is artistically printed. WVhen pains have been taken to make it attractive, using captions that cannot easily escape a theater-going people, advertising at the moving picture houses becomes effective. A slide flashed before people at the theater is something that they cannot evade. Those who claim to be too busy to give "such things" their attention at other times consider them favorably during their leisure moments. More often than not they will plan to attend your circus as they read about it at the movies. SANDWICH BOYS. Boys and girls dressed as clowns or as some other circus character, and sandwiched between two boards, which feature circus numbers and give a certain amount of data, may walk about on Main Street through the thickest pedestrian traffic. This will serve to attract even more attention if the sandwich boys hand out neatly printed circus handbills or circus cards as they walk along. Nine chances out of ten they will have a great following of children as well as adults. SIDEWALK NOTICES. Brief but clever sidewalk notices printed with calcimine a few days before the performances are sure to attract pedestrians. The above are only a few of the many ways of attracting the attention and arousing the interest of the public. Circus Depends Upon Its Stunts I27 The next step in advertising is to increase and hold the interest of the public. They should want to know more about the circus. The fact that the people have stopped to read your first advertising does not mean that they will come to your show. Unless they find something promising which will lead them into new channels of interest, your circus will soon drop out of their thoughts. Hence, the minute there is a spark of interest it must be fanned. It is now high time to give the public more than startling headlines, posters, dummies, magic names, etc. At this point advertising should become so magnetic that it draws the public closer every day to the circus. It should be gradual yet mysterious. Its potency will be measured by the number of people who come to the circus to satisfy the curiosity which it has aroused. The following are some of the ways of increasing and holding the interest of the public: ADVANCED TALKS AND SKITS. Advanced talks at local clubs, the Chamber of Commerce, classrooms, assemblies of various schools and public gatherings are always effective in keeping interest alive. The speakers must be clever, giving reports of the circus in a glowing and humorous fashion. This will be splendid speaking practice for them. Skits from boys and girls dressed as all sorts of characters and in all sorts of circus costumes are always tantalizing, providing they have been well planned and rehearsed beforehand. No matter what is expected of 128 The Circus Comes to School them, never let your speakers appear in public unprepared. That is very poor advertising. THE STREET PARADE. The street parade is one of the most potent, last-minute methods of advertising. If it is made as glamorous as all other forms of advertising, it is sure to draw crowds to the final performance. The tallest men, the fattest women, the funniest clowns, the most elaborate costumes, the best groomed animals, the most spectacular skits and the band playing the best of its tunes should appear in the parade, as they make a real attempt at professional grandeur. The street parade should meet all expectations of the waiting throngs. The previous advertising should not have led the public to expect more than it will get. Care should also be taken that the parade does not overshadow the circus itself. The parade should be a gay and spectacular suggestion of what is to follow at the circus. Gay banners giving all necessary circus information and bright balloons will add color to the procession. Occasionally the parade will stop and varied circus skits will be rendered; animals jig, the band or orchestra play, clowns frolic and acrobats do a few of their daring stunts. It is not necessary that these bits be a real part of the circus, but they should be similar and only long enough in every case to be tantalizing. The point that each skit should be exceptionally well done cannot be overemphasized, for if those who throng the sidewalks like the parade they are certain to appear at the circus. The usual hour for a circus street parade is ten o'clock Circus Depends Upon Its Stunts I29 on the morning of the circus, but many amateur circus managers claim that most people, especially women, have more leisure in the afternoon. For that reason it is suggested that the parade be set for 2:30 on the day before the circus. No matter what hour is arranged for the parade, it should always start on time. Tired, restless crowds cannot be blamed for deciding not to attend a circus that cannot begin its parade on time. To be sure, any parade might be delayed by an Act of God, but never by the act of the management. Weather cannot be controlled, but there is no excuse for managers to let trivial things delay circus procedures. Every circus parade needs a great deal of real methodical planning. Without it all will be chaos. A well-planned parade will kindle a new interest which posters and other means of advertising have failed to do. In fact, it may even be directly responsible for your packed circus tent. Those who have charge of the street parade should cooperate from the beginning with the traffic policemen, for streets must be closed and traffic stopped during the parade; moreover, motorists and pedestrians should be notified of such intentions several days before the parade takes place. Close cooperation with the police insures safety. ENTHUSIASTIC PARTICIPANTS. Unconsciously enthusiastic circus participants generate interest in coming attractions. Since the numbers who participate in a circus are unlimited, practically every home will be represented in some manner or other. And just that many homes will receive daily reports of the progress 130 The Circus Comes to School of the performance. Continuous circus chatter seldom fails to convert fathers, mothers, grandfathers, grandmothers, aunts, uncles and neighbors. They are generally anxious to see their children perform in the things which are the "talk of the home." Real enthusiasm must, then, be kept alive in the breasts of the participants, if the desired carryover effect is gained. Circus talks, pep rallies and potent advertising will do much to keep the circus spirit alive among the participants. BROADCASTING. To-day broadcasting is a form of advertising that has its merits. If you can persuade the manager of your broadcasting station to give you a few moments each evening, you will be able to feed the interest of the public in their homes, at a time when the entire family will have time to engage in circus conversation, thus stimulating interest. Humorous dialogues between circus characters or circus fans, soliloquies or talks are always entertaining. Whatever means of broadcasting is decided upon, it should be well planned beforehand. Furthermore it should be brief, witty and to the point. Radio time is always valuable. It is hardly likely that you will be allowed more than two or three minutes. Make the most of that time. Be sure that with each broadcasting you give the name of the circus, the date, the hour, the place and admission. NEWSPAPER PUBLICITY. All publicity agents know the value of newspapers when it comes to advertising. The school circus should take ad Circus Depends Upon Its Stunts I3I vantage of both the school and the local papers. Since the school paper belongs to the student body, there will probably be no limit to the amount of space which the staff will allow you. However, use no more than you need. Say what you want to say in regular circus style and then stop. There is never anything gained by rambling. The same holds true with the local newspaper, where your space will be more or less limited. Newspaper publicity should begin about three weeks before the performance is to take place. It should begin with a few captions scattered throughout the paper. Significant statements should follow within a few days, then readings, giving more glowing details of the coming events. Amusing stories of the freaks, clowns, animals and stunts, when short and to the point, always bring forth comments and start boys, girls and their elders to talking. Newspaper letters signed with outlandish names such as Grinny Granny Grandma or fictitious names like Captain Blood can be made the talk of the town, especially when the contents of the letters are clever and amusing. The above are only a few of the many ways to advertise through the papers. Pupils will be able to give many original and fine ideas, which they will be capable of carrying out successfully. PICTURES. Every one likes pictures. They tell a story that words fail to tell. Snapshots of various circus features are splendid last minute stimulants. Pictures like circus readings should have action. Stilted poses are meaningless. Your A 132 The Circus Comes to School pictures should be planned to convey a thought. Remember that local as well as school papers are always glad to give space to good pictures. WHO SHALL HAVE CHARGE OF THE ADVERTISING? The business and finance group will be glad to take charge of the advertising, providing their duties are not already too heavy. Then special groups selected for their art, business ability and cleverness will prove splendid substitutes. They may be sponsored or guided by parents or teachers. Often members of the P.T.A. will volunteer to manage this phase of the circus. HANDBILLS. Handbills left on the doorsteps, thrust into the hands of pedestrians, or placed in parked cars often serve as last minute reminders to those who are in the habit of forgetting even the things that they wish to remember. A handbill THE HUTCHINSON AND PELHAM COMBINED CIRCUS Weird Wompy Wumpuses, Snarling Wild Animals, Handy Hollywood Maidens, Hill Billies, Pilfering Pirates, Sammy Short, and Many Other Wondrous Attractions Given by the Pupils of Hutchinson School Hutchinson School Gymnasium Children 15 cents Friday, May 3, I935, 7:45 P.M. Adults 35 cents ,O --- ~ CHAPTER V STUNTS AND SUGGESTIONS FOR CIRCUSES AND SIDE SHOWS THE object of this chapter is to present circus and sideshow stunts which have been developed according to the philosophy maintained in the preceding chapters. The Hutchinson and Pelham Combined Circus has been produced both by high school and elementary pupils and has met with success in each level. To be sure the older boys and girls reached a higher degree of skill in their stunts but that seemed not to detract from the amount of pleasure which the audience derived from the performance. The efforts of children are always appreciated. They are so spontaneous and spirited that the spectators are always ready to forget any or all of their mistakes. Moreover, very young participants are never expected to achieve the skills which older ones are capable of achieving. Delving into the past the author has rejuvenated the old-time ringmaster and the old-time clowns. They are allowed to talk. In fact the master of ceremonies "waxes eloquent" and the clowns jig and perform antics to verse. This particular circus becomes more interesting as these principals weave their remarks about the numerous stunts. At the same time, new links are added to the already long 134 - Stunts and Suggestions I35 chain of activities which such an entertainment presents. It might be interesting to know that Dan Rice, who was a famous singing clown and who reached the height of his popularity in the 60's, was one source of inspiration for many of the clown jingles in the Hutchinson and Pelham Combined Circus. Dan Rice played for many seasons with the John Robinson Circus. He was so quick-witted that he often sensed the interests of his audiences and on the spur of the moment improvised verse and song to capitalize those interests. In the early days of the circus there were no radios to help consolidate interests, and clowns often had to scout about before the circus began in order to learn the current events of the town. It would seem that which appealed to the small-town folks and the city folks were in no way tangible, the old maid being one exception. A joke at her expense appealed to the young and old of all ages. Hence, Dan Rice was wont to give every audience one or two jokes about spinsters. And he always received the expected applause. After that, however, he would resort to his own intuition and his previous scouting. To-day the old maid is passe, but the radio, newspapers and transportation have united interests which makes it far easier for present-day clowns to select subjects which appeal to the masses. The clowns of the following circus have based their verse upon the stunts which were planned to attract the public. They were created long before the final performance and rehearsed as often as the circus stunts. Needless to say it would be useless to expect your clowns to become another Dan Rice. In the first place they 136 The Circus Comes to School do not have his heritage and in the second place they have not served years as apprentices to famous clowns. However, with practice, even the elementary pupils of the Hutchinson and Pelham Combined Circus soon caught the spirit of clowning and added fun to the performance. To be sure they were clowns on an amateur scale, but they were no less enjoyed. It is hoped that the stunts given herein, will be a source of inspiration and that they may suggest ideas which will lead to a bigger and better circus created and planned by your own pupils. THE CIRCUS AS IT TAKES PLACE PART I THE BIG PARADE. Every one who is in the circus appears in the Big Parade or the Grand March. They march two abreast around the ring. When the leaders have covered the circumference of the ring, they mark time until all have assembled. All mark time sixteen counts. Then those participating in Parts I and II assemble in the ring at their given station and await their turn to perform. All others leave the ring and go directly to their various stations outside where they remain until they are paged. As soon as the parade is ended and the remaining groups assemble in their given places upon the floor, Barking Barney steps forward to announce the first number. Stunts and Suggestions I37 THE PROGRAM THE HUTCHINSON AND PELHAM COMBINED CIRCUS * Principals BARKING BARNEY................... The Ringmaster Has dignity, poise and ingenuity BOUNCING BILLY.............. The animal trainer Daring, clever and original JOLLY JINKS and FLIPPERY FLOP................ The clowns Full of wit, knowledge, and jingles PART I PART I The Big Parade The Harmonious Harmonica Orchestra The Mighty Militia full of surprises. Professor -'s pride and joy. well trained and here to protect you. 138 The Circus Comes to School Towering Tommy and Sammy Short The Siamese Twins Humpty Dumpty Boxing Bonny and Brawny Ben the giant and his tiny companion, the midget. Siama and Siniaho, who have never been separated. gets a queer fall, he falls from his skates, instead of a wall. who prove to you that brains are mightier than brawn. PART II Daisy and Danny Jazzy Jumbo take a bow. dances fairy. like a Gertie, the Giraffe Mickey and Minnie and all the rest. tells her age. frolic until the Koo-Koo Kats appear. The Cock of the Circus can do nothing but crow. Stunts and Suggestions I39 PART III The Weird Wompy Wumpuses The Perfect Paramount Pyramid Builders The Handy Hollywood Maidens The Pilfering Pirates The Magic Roses The Tricky Tipsy Tumblers The Hill Billies a cross between the pygmies of Africa and Jack the Giant Killer. erect pyramids more gigantic than the ancient Egyptians. beautiful beyond description. have come to find the treasure that is buried in the Sawdust Trail. will bring tears to your eyes and poetry to your lips. nothing is too daring for them. fresh from the hills. 140 The Circus Comes to School He is interrupted, however, by Jolly Jinks, who jumps out ahead of him. Jolly Jinks takes off his hat which is fastened to his head with elastic and bows profusely to the audience. As soon as he lets go of his hat it flies back on his head with a bang. JOLLY JINKS: "Perhaps you wonder at this strange array of freaks and animals. But wonder on, kind friends, until their stunts make all things plain to you." His speech ended Jolly Jinks winks at the ringmaster and turns a series of cartwheels until he lands in a heap close to his original place on the floor. This is Barking Barney's cue to go on with his speech. Introduction. BARKING BARNEY: "Ladies and gentlemen: it is with increasing pleasure and bursting pride that we bring to you America's greatest and most overwhelming circusthe Hutchinson and Pelham Combined Circus. Every country in the world bows to this gigantic show. Every corner of the earth resounds with its praise. And every nation shares in its glory, for every nation has contributed some talent to this, the Greatest Show on Earth. In all history there has never been a circus or any other form of amusement which can begin to compare with the Hutchinson and Pelham Combined Circus. Every man, woman and child that you see performing here to-night was born into the ring with the gift of the circus upon him. As you watch their brilliant and thrilling performances, you can easily — M Stunts and Suggestions I4I understand why the Hutchinson and Pelham Combined Circus is the Greatest Show on Earth." * The Harmonious Harmonica Orchestra. BARKING BARNEY: "And now, my friends, the farfamed Harmonious Harmonica Orchestra will render one of its sweetest selections, 'The Turkey in the Straw.' They have trained for months for this occasion under the able direction of Professor." The name of some prominent music teacher of the town may be inserted here. During this selection the assembled animals are snarling and pawing the ring. As soon as the music ceases all is again quiet among the animals. The Mighty Militia. BARKING BARNEY: "Kind friends, be not afraid of these ferocious animals. Even though they in their wildest rage do roar, you are well protected. Should these jungle animals start on a rampage, the Mighty Militia which you see stationed about the ring will immediately come to your aid. They are well trained and their aim is sure. Their costumes are unique. No expense has been spared or shared in providing them." Any good figure marching will make this a splendid number. Classroom marching, facing, opening order, files right and left and other such tactics may be added. This number may also be burlesqued. In this case make it as funny as you can and as awkward. * 142 The Circus Comes to School Towering Tommy and Sammy Short. BARKING BARNEY: "We are exceedingly happy to introduce to you Towering Tommy and his lovable little II S,?. 1.. ~ I I. - I..... I.. -.~~~ S Towering Tommy, Sammy Short and two ringmasters companion, Sammy Short. As you can see Towering Tommy comes from a very high-class family. He is eight and one-half years old and is eight and one-half feet tall and is growing taller every minute. Sammy Short is a tiny fellow. He is twenty-two years old and is only twenty-two Stunts and Suggestions I43 inches tall. Sammy Short keeps Towering Tommy informed of what is going on here on earth and Towering Tommy keeps Sammy Short informed of the current events of the air. They communicate by radio." Towering Tommy and Sammy Short walk forward together and make a bow. Sammy speaks to Tommy by radio. Great care should be taken to keep Towering Tommy from meeting with an accident. He should not be allowed to attempt stunts which might hamper his safety. * The Siamese Twins. BARKING BARNEY: "These smiling twins, Siama and Siniaho, have never been separated. Siama, the one on the left, has a terrific temper and often becomes vicious. Siniaho, the one on the right, has threatened many times to leave him, only to find that he cannot live without him." As they are introduced Siama turns to the left and bows as Siniaho turns to the right and bows. Humpty Dumpty. BARKING BARNEY: "Here comes Humpty Dumpty. His talents are numerous and his wants are few. He got tired of sitting on the wall and took to his skates. He will now demonstrate many fancy figures on wheels. This stunt is unexcelled and has commanded the attention of the universe." I44 The Circus Comes to School Humpty Dumpty does a number of fancy skating figures to music. But he finally gets a big fall and it takes the Mighty Militia to put him in his place again. The trumpet is sounded and the Militia marches forth and with much ado and ceremony picks up Humpty Dumpty and carries him away. Flippery Flop, who is interested in what is to become of the roller skate champion, stands in the middle of the ring watching them carefully lift Humpty Dumpty. As they leave him standing there alone, he repeats the following in a high-pitched voice, shaking his head mournfully. Humpty Dumpty got a queer fall. He fell from his skates instead of a wall. All the circus horses and all of its men, Will never get Humpty Dumpty on skates again. * Boxing Bonny and Brawny Ben. BARKING BARNEY: "Boxing Bonny and Brawny Ben need no introduction. They are heroes, champions and powerful fighters of the ring. Boxing Bonny is a world famous light-weight champion. She has been known to take on as many as fifteen challengers a day. She wins by brains. On the other hand her opponent, Brawny Ben, wins by brawn. Both are undefeated. To-night's fight will determine which is the mightier, brains or brawn and also which remains the champion, Boxing Bonny or Brawny Ben." The Time Keeper sounds the gong. Both fighters jump Stunts and Suggestions I45 to their feet. Bonny puts her fingers in her mouth and hangs her head, not so much as looking at Brawny Ben. Brawny glares at her, expands his chest, bends his arms and knots his muscles fairly snorting. His manager holds him as if trying to keep him from tearing Bonny to pieces. The gong sounds again. Bonny giggles nervously. She is so frightened that her knees knock together. Some one in the group clicks castanets for knocking knees. Bonny's manager pats her on the shoulder, encouraging her to go ahead. Brawny Ben prances about impatiently. Again the gong sounds. This time they both jump into the ring. The fight is on. With a powerful strike Brawny Ben knocks Boxing Bonny out. The Time Keeper starts counting. On three Boxing Bonny gets up slowly, adjusts her sash and her ribbons underneath her chin and starts after her opponent in dead earnest. But there is not much time left. The gong sounds and the first round has ended. Each fighter returns to his respective corner and bench. Their managers proceed to rub them down. The gong sounds for the second round. Bonny's manager has to hold her to keep her from running into the ring. She has her fighting blood up. The second round is tough for both of them, but the gong sounds for the end without a victory. Again each fighter retires to his bench for a rubdown. The gong sounds for the third round. Bonny leaps into the circle, while Ben crawls in, watching her cautiously. As Bonny wields him a heavy right he grabs hold of her long flowing hair, falls to the floor, and at the same time 146 The Circus Comes to School takes her wig and hood with him, leaving Bonny standing hoodless and hairless. Brawny Ben now goes into a dead faint and to the surprise of the audience fails to recover before the Time Keeper counts ten. When Ben comes to and realizes he is defeated he throws himself upon the mat and weeps and kicks like a spoiled child. As he kicks one of his shoes comes off. Six clowns come forward, roll him up in the mat, and carry him away. Boxing Bonny smiles, bows and shakes both of her own hands as though congratulating herself, turns on her high heels, and walks away. As they carry Brawny Ben away, Jolly Jinks follows for a few steps, and shades his eyes with his hands as though trying to see where they are taking him. He takes out his binoculars, follows a few steps farther, throws a kiss at him and says: Where are you going, Brawny Ben? You failed to rally at the stroke of ten. It's hard for Bonny to realize, She's beaten the champion and won the prize. She smiles quite broadly at your purple nose, As she walks away on her tiny toes. You'd follow her, but you hardly dare, There's something forbidding in her open stare. Another left and another right, Would put you under for another night. Boxing Bonny, you are the champion, You've beaten your rival, Brawny Ben. Stunts and Suggestions 147 This stunt can be hilarious and highly entertaining if two boys with real initiative and originality are given the parts. They may make love to Bonny, first one and then the other trying to gain her favor. The rounds should not be too long for fear of drawing them out into boredom. In fact, they should be very short and "snappy." Participants in Part I will now retire from the ring. PART II An intelligent group of assorted jungle animals BARKING BARNEY: "Ladies and gentlemen; I now take great pleasure in introducing to you Bouncing Billy, the fearless animal trainer, who has conquered this jungle nightmare. He has every beast under his hypnotic control and will check every ill move which they attempt. "It is always one of my proudest moments when I introduce Bouncing Billy, for he is the world's most daring animal trainer. He will now put these wild assorted animals through many amazing and intelligent stunts. Control your terror and you will enjoy this next act." BOUNCING BILLY: "Friends, these snarling beasts which you see before you, have not always been tame." Tigers and lions roar ferociously. "But with kindness and skill I have trained them." Goes over to each animal and strokes them, as he does so they cease roaring. 148 The Circus Comes to School "But I plead with you, kind friends, sit quietly in your seats so as not to frighten them. Any unfamiliar noise might start them stampeding in which case only the Mighty Militia can save you." Bouncing Billy points his whip toward two small elephants standing on either side of Jumbo. "Daisy and Danny, standing here before you, were captured in India. They are well trained but timid. Daisy and Danny, come up and take a bow." Daisy and Danny step forward and bow together several times, first to the audience and then to each other. They then retire to their respective places on the floor. As soon as they reach their stations, Jazzy Jumbo lumbers toward Billy. BOUNCING BILLY: "But mystery upon mystery is this huge lumbering elephant which you see coming toward you. He was captured in the jungles of Africa. He is by far the largest elephant in captivity. As is usually the case he is much larger than his cousins from India and is much harder to train. But with patience and bruises, I have succeeded in teaching him a few very difficult tricks. He walks over me but never on me." Bouncing Billy lies down on the floor and Jazzy Jumbo, the elephant, steps over him without once touching him Billy jumps up, smiles, bows, and holds out his hands tc show the audience that he is unharmed. BOUNCING BILLY: "And now, my friends, we have a real surprise in store for you. Jazzy Jumbo can dance like Stunts and Suggestions I49 a fairy. He is the only African elephant in the world that can dance even one step. He does many complicated ones. Come here, Jumbo, give us a dance." THE ELEPHANT DANCE Music: "Dutch Couple Dance," p. I76, Physical Education for Elementary Schools, N. P. Neilson and Winifred Van Hagen, A. S. Barnes and Company, New York, I931. Accent the first note of each measure. I The elephant takes a bow I. Front knees bend forward, back straight. i meas. 2. Position. i meas. 3. Back knees bend, front straight. i meas. 4. Position. i meas. 5. Front knees bend. i meas. 6. As front knees straighten, back knees bend. i meas. 7. As back knees straighten, front knees bend. i meas. 8. Position. i meas. 9. Repeat, 5, 6, 7, 8 with back knees starting the bending. 4 meas. io. Both back and front knees now bend together, making a perfect bow. i meas. i. Position. I meas. 12. Repeat Io and II. 2 meas. 150 The Circus Comes to School II I. The Dutch Clog step. i meas. Stamp L. foot L. sideward, ct. i. Brush R. heel diagonally in front of L. foot, ct. 2. Hop on L., ct. 3. 2. Repeat R. i meas. 3. Repeat i and 2, twice. 4 meas. 4. Break. 2 meas. Jump with feet together, ct. I, 2. Jump with feet apart, ct. 3. Jump with feet together, ct. I, 2, 3. 5. Repeat all. 8 meas. 'II I. Step L., place the heel of R. foot on floor R. I meas. 2. Repeat R. i meas. 3. Repeat i and 2, twice. 4 meas. 4. Break. 2 meas. 5. Repeat all. 8 meas. IV i. Repeat II, III and finish with I. The bowing in I may be burlesqued. When the front and back knees appear to be able to get together there is a riot. They must finally get their stride, however, and make one perfect bow. Stunts and Suggestions 15I As Jazzy Jumbo returns slowly to his place in the ring, Flippery Flop almost falls into his tracks. He follows Jumbo for a short distance, imitating his walk. He then returns and with some amount of scorn drawls out the following: The King of the Jungle quarters, So monstrous to see, Came clear across the waters. To do that dance for me. Here Flippery Flop pretends to be displeased. He practiced on the ocean, He practiced on the land, He practiced in the sunshine, He practiced with the band. He never ceased to practice, So it's hard to understand, Why the King of the Jungle quarters Should dance like a moving van. Every time Flippery Flop says the word practiced he imitates one of Jazzy Jumbo's dance steps. As Bouncing Billy cracks his whip, Flippery Flop leaves the ring attempting the Dutch Clog and whistling, "Oh, Where has my little Dog Gone." * BOUNCING BILLY: "We are pleased to have with us tonight, Gertie the Giraffe, the only brown giraffe in cap 152 The Circus Comes to School tivity. She has a very severe sore throat so Dr. Zebree has made us promise not to overwork her. She isomuch smarter than she looks. She can and will tell you her age. That is more than a great many people want to do." "Gertie, how old are you?" Gertie stamps her foot twenty times. "She is much older than I thought. Come here, Gertie." Gertie walks to Bouncing Billy, stoops and perks up her ears. Billy whispers to Gertie in a stage whisper. "If there is an honest man in the audience find him." Gertie searches, stretches her neck to the balcony, lowers it, stops in front of first one and then another, shakes her head in disappointment and goes on. Finally she finds an honest man. She stops in front of him, nods her head vigorously as though well pleased. BOUNCING BILLY: "Oh, so Mr. is honest, is he?" If a prominent man of the town is chosen it will create a great deal of fun. Gertie goes back to her place on the floor, seemingly well satisfied with her performance, but quite exhausted. THE MICKEY AND MINNIE MICE BOUNCING BILLY: "You ladies whose gentle hearts do fear the smallest monstrous mouse that creeps upon the floor, hold your skirts and mount your chairs. Mickey and Minnie and their little Mickeys and Minnies are about to make their appearance. Once you get hold of your skirts and your fears, however, you will enjoy the grace and Stunts and Suggestions I53 beauty of these tiny animals. They are the smallest creatures that have ever been well dressed. Their nimble and elastic movements are jolly and alluring." THE MICKEY AND MINNIE DANCE Music: "Amaryllis," Louis XIII, by H. Chys. Columbia Record #A-3I2 7. Formation: This number requires 16 mice dressed in Mickey and Minnie costumes. They enter in 4 groups, 4 in each group and from 4 opposite corners. X X X X X X X X X X X X X X X X Mice squeak twice: I. 4 short mouse-like steps, arms bent, palms forward. I meas. 2. Bend forward, look R. and L. I meas. 3. Step hop, step hop. I meas. 4. 4 running steps in a small circle, R., backward, chasing own tail. I meas. 5. 4 short running steps forward. I meas. 6. Hands on hips, bow to mice coming from the opposite corners, bend the bodies forward at the hips as the bow is made. I meas. 7. Step hop, step hop. I meas. 8. 4 short running steps to center of floor to meet those coming from opposite corners. I meas. 154 The Circus Comes to School II I. Step R. ft. to side, step. L. in rear and courtesy to new arrivals, placing R. elbow in palm of L. hand and fingers of the R. hand under the chin. i meas. 2. Repeat L. i meas. 3. Place hands on hips and bend trunk R. sideward. Bend trunk L. sideward. i meas. 4. Bend trunk sideward R., L., R., and to position. i meas. 5. Clap own hands 3 times, bend arms close to sides with palms forward. i meas 6. With hands still in this position, cock head R. sideward, cock head L. sideward. i meas. 7. Clap knees 4 times, knees bent and turned outward. i meas. 8. With knees still bent and outward, walk around in own little circle R. i meas. III The mice now shift into one large circle, arranged so that a Mickey is directly behind a Minnie. Each Mickey stoops and picks up the tail of the one in front of him. The Minnies pick up the Mickeys' tails at the same time. I. 4 short running steps in circle clockwise, still holding tails. I meas. 2. Each mouse gives the tail he is holding i long jerk and 2 short ones, at the same time they Stunts and Suggestions I55 give one long eeeek and two short eeks, imitating the squeaking of mice. i meas. 3. 4 short running steps. i meas. 4. All pull tails 4 short jerks, and at the same time give 4 short squeaks. i meas. 5. Repeat all. All drop tails quickly. 4 meas. IV All Minnies turn sharply and face the Mickeys behind them. I. Minnie shakes her finger 4 times accusingly at Mickey. i meas. 2. Minnie lunges forward, straightens her arm and points her finger at Mickey. He backs off. i meas. 3. Minnie shakes her fists at him 4 times, R., L., R., L. i meas. 4. She lunges forward as though striking him with her R. fist. Again Mickey backs off. i meas. 5. Repeat all with Mickey making the advancement and Minnie backing away. 4 meas. v I. Step hop, step hop, Mickey moving forward and Minnie backward. i meas. 2. Mickey takes one long step, grabs for Minnie but misses her; she dodges. i meas. 3. Mickey advances 4 short running steps, at the same time Minnie "stalks" away angrily. i meas. 156 The Circus Comes to School 4. This time Mickey grabs Minnie before she has a chance to dodge. He shakes her, she squeals all the while and finally gets away. i meas. 5. Repeat all. In the last measure, when Mickey grabs Minnie, she fails to get away but turns her back on him. 4 meas. VI All mice now assume a more playful attitude. i. Mickey puts his hands on Minnie's shoulders, bends slightly forward and peeps around her R. shoulder; at the same time she turns her head L. to avoid him. i meas. 2. Repeat L. i meas. 3. Mickey peeps around R. shoulder, around L. shoulder. At the same time Minnie turns her head L. and then R. Confusedly they both turn their heads L., R., L., R. i meas. 4. Mickey stands on his toes and peeps around into Minnie's face. She hangs her head as though pouting. He turns her around facing him. i meas. 5. They shake hands 4 times as though making up. i meas. 6. Partners clap one another's hands once, each clap own hands 2 times. i meas. 7. Minnie turns and runs away 8 steps all the while watching Mickey over her shoulder. He follows. 2 meas. Stunts and Suggestions 157 Ten black Koo-Koo Kats and one little kitten with murderous intentions enter and all of the Mickeys and Minnies scamper in every direction. The Koo-Koo Kats wear cat costumes made of black glazed cambric, and large red bows tied under their chins. Jolly Jinks and Flippery Flop come forth, face one another, bend their knees and together chant the following: There once were some mice who were bitten And chased by ten cats and a kitten. They cried, "It is clear We must move out of here, Or die like a spy of Great Britain." There once were some cats who were Koo Koo, They said, "We can dance much as you do, You think you are nice, But you're nothing but mice, So run for your lives and be sure to." The clowns will make things more interesting if they clap their hands, their knees, and go through all sorts of antics as they recite the above verses. THE COCK OF THE CIRCUS. BOUNCING BILLY: "This circus would never be complete without a cock. Every show, however wonderful, needs some one to crow for it occasionally. The cock of 158 The Circus Comes to School the Hutchinson and Pelham Combined Circus is a bit cocky over his yellow feathers, his ancestors, and the Greatest Show on Earth in which he is an actor. But he has a right to be. His great, great, great, great, great, great, M.," Bouncing Billy now gulps and makes signs with his hands as though unable to go on with the greats, "M grandfather came from Noah's Ark. He used to awaken that happy throng every morning with his tremendous crowing." The Cock of the Circus struts around proudly, showing off his fine feathers, and then begins to crow. He keeps this up until the animals become nervous. They imitate him in their own way until a riot is in evidence. The Mighty Militia cock their guns. Suddenly Bouncing Billy cracks his whip, the noise ceases, the cock returns to his place on the floor, and all is calm once again. Bouncing Billy bows to his audience, returns to his animals, arranges them properly and leads them out of the ring. This leaves the ring clear for the mass stunts. PART III THE WEIRD WOMPY WUMPUSES. BARKING BARNEY: "The Weird Wompy Wumpuses were found on a lonely island off the coast of Africa. Since that time the island has been lost. The origin of the Wumpuses is unknown but it is believed that they are a cross between the pygmies of Africa and Jack the Giant Stunts and Suggestions I59 Killer. They have many esthetic accomplishments. In spite of their immense feet they will dance for you one of their exquisite and extremely esthetic dances." THE WEIRD WOMPY WUMPUS DANCE Music: Quadrille-"Chillicothe" and "Virginny Shore," American Country Dances, by Elizabeth Burchenal, G. Schirmer, New York. Victor Record #20638-A. Count I, 2. Formation: Two rows. Partners facing one another. X X X X X X X X X X X X I I. Balance forward on R. foot, raising L. foot in rear with knee turned out, ankle extended and close to ankle of R. foot. Balance back on L. foot, raising R. foot in front. i meas. 2. Repeat. i meas. 3. Step hop, step swing, forward. 2 meas. 4. Repeat all beginning L. 4 meas. 5. Repeat all moving backward on step close, step swing. 8 meas. 6. Repeat I, 2, 3, and 4. 8 meas. I6o The Circus Comes to School II I. Jump with feet together 2 times. i meas. 2. Break. Jump to stride stand. Jump with feet together. i meas. 3. Swing both legs sideward, R., L., R., L., as a pendulum. 2 meas. 4. Repeat 3 times. 12 meas. III I. Jump to a stride stand. Jump crossing feet, R. in front. i meas. 2. Jump to a stride stand. Jump crossing R. in rear. i meas. 3. Hop 4 times on L. foot, turning around backward and facing forward on the 4th hop. R. leg is extended backward. 2 meas. 4. Repeat all 3 times. 12 meas. IV I. Zigzag step. Step R. across over L., wide step, knees bent and turned out. Step L. across over R. As the Zigzag step is taken R., bend slightly to R. Bend L. when taken L. I meas. 2. Zigzag step. i meas. 3. Repeat all, backward. 2 meas Stunts and Suggestions I6I V i. Repeat III. i6 meas. i. Repeat IV. 4 meas. VII i. Repeat I, 2, 3, 4, and 5 of I. 8 meas. VIII i. Repeat i, 2, and 3 of II. 3 meas. 2. Make a deep bow to partner, bending at the waist only. i meas. As the Wumpuses leave the ring Flippery Flop tiptoes out, holds up his forefinger, places it on his lips as though he has a secret, and then shaking with glee he "spills" the gossip. Shhhh Shush, Shhhh Shush, The Wumpuses have left us. They are quite a clever lot as you can see. The pygmies are their mothers, And the giants are their fathers, I refuse to tell you more without a fee. Flippery Flop walks slowly away, all the while looking behind him to see if his audience is really anxious to hear the rest of his gossip. He does not go very far, however, until he steals back and in a stage whisper tells the rest of it. I62 The Circus Comes to School Shhhh, Shush, Shhhh Shush, If you're going to make a fuss Every one shall know the truth before I close. They live on bones and mustard, Pickled ants and lizard custard, And the custard that they eat all goes to toes.* The Weird Wompy Wumpuses THE PERFECT PARAMOUNT PYRAMID BUILDERS. BARKING BARNEY: "You will no doubt be surprised to learn that the Perfect Paramount Pyramid Builders can construct pyramids greater and far more human than those built by the ancient Egyptians. Their constructions are * It is difficult to know just where this stunt truly originated. Most people have done it ever since they can remember, but the dance, the large bare feet, the name and the clown's gossip originated with the Hutchinson and Pelham Combined Circus. Stunts and Suggestions i63 remarkable, gigantic and awe inspiring. They are envied by every country and their secrets are sought by every nation." Since there are numerous splendid pyramid books on the market which give specific directions for constructing and teaching pyramids an explanation of those done in this circus will be omitted. Instead look in the directory Simple pyramids for books which will help you in your teaching of pyramids. This stunt may be pantomimed by the clowns after the pyramid boys have finished. They will create a great deal of fun by building up and falling down frequently. They may make the stunt even more ludicrous if they will balance pans, kettle lids, etc., upon their heads as they attempt to build the pyramids. Needless to say, they will all crash many times. * I64 The Circus Comes to School THE HANDY HOLLYWOOD MAIDENS. BARKING BARNEY: "The bevy of beauties which are about to make their appearance, are a group of Hollywood's fairest and sweetest maidens, who have only been loaned to the Hutchinson and Pelham Combined Circus for this particular occasion. They are youthful, lovely, feminine and captivating. Their natural charm has won for them a place in the hearts of the people from coast to coast." THE DRILL OF THE HANDY HOLLYWOOD MAIDENS Music: "The Stein Song," Victor Record t2232I-A or any good march number. Formation: 16 girls or more. 8 girls wearing red bonnets and red gloves in front line. 8 wearing blue bonnets and blue gloves in the rear line, directly behind first girls. X X X X X X X X X X X X X x X X I I. Raise both arms sideward R., shoulder high. L. arm is bent, forearm across the breast, palm toward the body. Position. I meas. 2. Repeat L. I meas. Stunts and Suggestions I65 3. Repeat i with front girls starting R. and back L. i meas. 4. Repeat i starting L. i meas..5. Repeat all. 4 meas. II I. Raise both arms forward upward, palms facing. Position. i meas. 2. Repeat. i meas. 3. Repeat all. 2 meas. 4. Stretch arms downward backward. Position. i meas. 5. Repeat. i meas. 6. Repeat 4 and 5. 2 meas. III I. Bend arms forward, palms forward, fingers spread apart in an exaggerated manner to show off the gloves. Position. i meas. 2. Repeat. Be sure to keep the elbows a short distance from the body as the arms bend. i meas. 3. Front girls bend R. arms. Back girls L. Position. i meas. 4. Repeat, reversing order. i meas. 5. Repeat all. 4 meas. i66 The Circus Comes to School IV I. Swing arms forward downward, crossing them in front of the body. Arms extended. Position. i meas. 2. Swing arms sideward upward crossing them above the head. Position. i meas. 3. Front girls repeat i while back girls repeat 2. i meas. 4. Repeat 3, reversing the order. i meas. 5. Repeat all. 4 meas. v I. Front girls extend R. arms diagonally sideward upward and at the same time extend the L. diagonally sideward downward. Back girls at the same time reverse the order. Position. i meas. 2. Front girls extend L. arms diagonally sideward upward L. and at the same time extend the R. diagonally sideward downward R. Back girls reverse the order. Position. i meas. 3. Repeat all 3 times. 6 meas. VI i. Continuous Windmill. The same as V except there is no definite return to position. Instead the arms move on to the next position, 2 counts to each movement. 8 meas. Stunts and Suggestions i67 VII i. Continuous Windmill with girls turning on the ball of the R. foot and pushing with the L. 8 meas. VIII I. Place hands on hips and bend trunk sideward R. Position. i meas. 2. Bend trunk L. Position. i meas. 3. Front girls bend trunks R. Back girls bend L. Position. i meas. 4. Repeat 3 with order reversed. i meas. 5. Repeat all, hands to side on last count of the last measure. 4 meas. IX I. Place hands on hips. Place hands at the back of the neck, palms always forward. i meas. 2. Place hands on hips. Position. i meas. 3. Repeat all. 2 meas. 4. Front girls place hands on hips. Back girls place hands at the back of the neck. Position. i meas. 5. Repeat 4, reversing the order. i meas. 6. Repeat 4 and 5. 2 meas. I68 The Circus Comes to School x I. Lunge sideward R. and raise arms sideward R., shoulder high. meas. 2. Position. i meas. 3. Pepeat L. 2 meas. 4. Front girls lunge R. and swing arms sideward R. Back girls lunge L. and swing arms sideward L. i meas. 5. Position. i meas. 6. Repeat 4 and 5, reversing the order. 2 meas. This drill is designed particularly to exhibit the colored gauntlets and if done in rhythm is very spectacular. Flippery Flop, standing on first one foot and then another and scratching his head as though thinking seriously: Riddle kum, diddle kum dee. Pray who can those maidens be? They can't be Boy Blue, nor Red Riding Hood, For they came all the way from gay Hollywood. Riddle kum, diddle kum dee. Riddle kum, diddle kum dee. They were loaned to you and me. So coax as we may, They never will stay. Riddle kum, diddle kum dee. * Stunts and Suggestions I69 THE PILFERING PIRATES. BARKING BARNEY: "And now, my brave friends, the Pilfering Pirates from Treasure Island are about to descend upon us. I trust that you will summon all of your poise and courage and cause no panicky disturbance during their presence. A treasure chest which they have learned by radio is buried in the Sawdust Trail, has brought them The Pilfering Pirates descend upon us here. If they look to your disaster." find it you are safe. If they do not, then hats and the exit or you may meet with THE DANCE OF THE PIRATES Music: "March" by A. Holleander. Columbia Record #A-3128. 170 The Circus Comes to School Formation: X X X X X X X X X X X X X X X X X X X x Any number may participate in this dance. One group enters from one side of the room and another from the opposite side. The captains are in the lead. Each pirate carries a dagger between his teeth and creeps in stealthily. Their bodies are bent forward slightly as they attempt to enter without being noticed. Both groups of pirates execute the same movements except when otherwise designated. I. One long step, R. crossed over L. 2 short quick steps. i meas. 2. Repeat L. i meas. 3. Startled, turn heads R. and listen. Repeat L. 2 meas. I. Hearing nothing all walk boldly forward 3 steps and stop. i meas. Stunts and Suggestions 17I 2. Rise on toes, shade eyes with R. hand and look into the distance. i meas. 3. Seeing approaching pirates they drop back 3 steps. i meas. 4. Repeat 2. i meas. III I. 2 long slow steps forward, R. and L. i meas. 2. Recognizing the approaching group as comrades they beckon to them to advance. i meas. 3. 8 bold marching steps toward each other. 2 meas. IV I. As the groups meet the two captains salute. Pirates salute. i meas. 2. All take daggers from teeth and wave them above the head. i meas. 3. All step R. foot backward, lean backward and thrust daggers in belts. i meas. 4. Captains consult map; at the same time the group on the L. face R. and those on the R. face L. This will bring every one facing in the same direction. i meas. v I. All file R., forming one circle, by marching 8 steps clockwise. Captains are in the lead. 2 meas. 2. All stop. Captains look at map and point to place where treasure is supposedly buried. I meas. I72 The Circus Comes to School 3. All bend forward excitedly and look at ground. I meas. VI i. All fall on knees and examine soil. i meas. 2. Jump to feet and dig vigorously with R. heel. Throw the soil over R. shoulder after it is supposedly heaped on the shovel. 3 meas. VII I. With a whoop there is a scramble to pick up the gold. i meas. 2. Fill bags with gold. 2 meas. 3. Stand, take daggers from belts and place them between the teeth again. i meas. VIII I. Pirates throw bags of gold over R. shoulders. i meas. 2. With bodies bent under the weight of their load they steal away. 3 meas. Dogs begin to bark in the distance. Flippery Flop rushes forward and very much frightened says: Hark! Hark! the dogs do bark, The pirates are leaving town. They'll hide their gold in Pirate Park, And guard it with a frown. * Stunts and Suggestions I73 THE MAGIC ROSES THAT BLOOM IN THE SAWDUST TRAIL. BARKING BARNEY: "Among freaks, fears and fancies lovely colorful flowers dare to bloom. They grow as if by magic. Their beautiful hues are impressive beyond description. They bring tears to the eyes and poetry to the lips." THE MAGIC ROSES Music: Any slow lovely waltz. This number requires 34 girls; 17 representing the yellow rose and 17 representing the pink one. 16 of each group are petal girls and one, the center girl, represents the flower stamen. Step: the same slow step is used throughout the drill. Step R., step L. over R., turning only slightly at the hips, so that only one side of the costume is visible at one time. I l Yellow I 2 z I Pink The 17 girls who represent the yellow rose enter at the upper R. of the ring led by the center girl. The 17 girls who represent the pink rose enter at the lower R. of the ring also led by a center girl. 174 The Circus Comes to School II Pass down sides of ring, turn L. at opposite corner, pass to center and turn L. and pass to original corner. Yellow I 7,z - I A XI Pink / III Turn R. and pass across to 2. Yellow I --- —- -- --— 2 2 — - -----— I Pink IV Turn R. at 2 and pass diagonally across to opposite corners, yellow passing in front of pink. Face R. again and return to original starting place. Yellow I / " A / / I // 2/' 72 -7 V,- ' I I Pink Stunts and Suggestions 175 V Repeat from here with pink passing in front of yellow. Each group face R. and pass across to 2. Yellows and pinks have now changed places. Yellow I> 2 I % I 7z <I Pink VI Face R. at 2 and return to original starting places. Pink T A V 2r_ _ _ I Yellow VII Face R. and pass across to 2. File R. and then L., weaving forward and backward spiral-like, until each group is in its circle ready for the rose. Yellow I - - ->-2 I, o ~-'O Qi —>I L C_- n —' - C - - - -- - Pink.... -I-_- _I Pink 176 The Circus Comes to School VIII When the circle is formed the girl representing the stamen steps to the center of her group. The petal girls grasp hands, arms bent close to the body. They close about their center girl. All sit on the floor, knees bent and bodies forward so that only the green and a very small portion of the yellow and pink show. This represents the green folds about the bud. The Magic Rose unfolds Gradually the bud unfolds; the petal girls straighten their knees, slowly and steadily. 6 counts. Straighten bodies slowly. 6 counts. Extend trunks until each petal girl is lying flat on her back, hands still grasped, shoulder high but relaxed on the floor. 12 counts. Now the rose is in full bloom and only the yellow and pink of the petal costumes and the center girl should be visible. Stunts and Suggestions I77 The rose should remain open at least 9 counts. It may be opened and closed any number of times. It is closed slowly. The petal girls fold up as though drawn by the center girl. It is closed when the girls are once more in a sitting position with heads and bodies bent forward toward the center girl. The knees are not bent in the closing. The Magic Rose in full bloom All movements should be sustained and smooth to give the lovely effect of an opening rose. IX When the rose is completed the petal girls step slowly back into their circle. The center girl steps in front and leads them off in the same spiral manner as VII until they have reached their original places. This is one of the finer things of the circus and should be practiced many times in order to gain the desired effect. 178 The Circus Comes to School The blooming of the magic roses puts Jolly Jinks and Flippery Flop in a pensive mood. As the roses softly disappear they are seated on the floor with their feet crossed, their chins in their hands, gazing into space. Finally Flippery Flop waxes poetic, and repeats the following to his companion: Surprises lurk in the sawdust; It is magic without a doubt, For the golden yellow fragments Bring colorful roses out. They grow as if by magic Planted by unseen hands. They set folk's hearts a-singing Warm tunes of many lands. Their hues are soft and wondrous, And their velvet comforts you. As you sit and gaze upon them, Your shattered dreams come true. As Flippery Flop recites, Jolly Jinks weeps crocodile tears. His companion makes flourishing attempts to console him, all the while reciting the above poem. When Flippery Flop finishes they both weep crocodile tears as they sit with their arms wrapped about one another. Stunts and Suggestions 179 THE DOUBLE ROSE. With a few more girls and a great deal more skill the single rose may be converted into a double one. The girls form 3 circles, one inside the other. Circle No. i is the outer circle of petals. Circle No. 2 forms directly in front and inside of circle No. i. Circle No. 3 directly in front and inside of circle No. 2, and 3 girls, who represent the stamens, stand inside of circle No. 3. The girls in circle No. i form the outside petals in the same manner as the single rose just described. The girls in No. 2 kneel and do a back bend across those in No. I, who are now lying flat on the floor. Girls in No. 3 now bend their knees slightly and do a back bend across those in No. 2. The 3 girls who represent the stamen should be much shorter than the others for they will stand in the center of circle 3. They link arms and bend slightly backward at the waist. The same costumes will be worn in this stunt as are worn in the single rose.* * THE TIPSY TRICKY TUMBLERS. BARKING BARNEY: "We are indeed lucky to have with us to-night the Tipsy Tricky Tumblers. They look like * The unfolding of the rose is not purely original with us. In fact it was suggested to us by a similar stage production, as were many of our other stunts. The costumes, however, were created by us, and one needs only to try them to realize how surprisingly lovely the stunt becomes. Somehow the girls are transformed to a blooming rose, shaping itself to the rhythm of soft music. i8o The Circus Comes to School nothing more than gaudy, grinning clowns, unbalanced and awkward. However, they are a group of fearless daredevils. Their miraculous stunts will astound you. Nothing is too hazardous for them. Every well known and ambitious circus in the world has offered them more than a million dollars to join them, but they prefer to remain with the Hutchinson and Pelham Combined Circus even though they must remain poor." The Tipsy Tricky Tumblers courageously await their hazardous stunts The forward roll can be used as a foundation for many tumbling stunts which on the surface appear difficult. The following are a few examples: The Tumble Weeds: Boys, who do forward rolls as fast as it is possible for them to move the full length of the mats, will resemble tumble weeds and the audience will never suspect it to be an easy stunt. The Obstacle Jump: Mats are rolled as high as you like Stunts and Suggestions I8I or three or four persons may get down on their hands and knees with shoulders touching to form the obstacle. The boys take off with a good spring and land on the other side of the obstacle in a forward roll. The Grand Canon Jump: Two gymnasium mats are placed on the floor end to end. To make the canon pull them two or more feet apart, depending upon the distance the boys are capable of jumping. The space between the two mats is the grand canon. The boys take off on the edge of the canon nearest them and land in a forward roll on the opposite side. The Drumhead Dive: This is an old stunt and an easy one, when practiced carefully. Cover bicycle tires or hoops with tissue paper and paint a design on them. Boys dive through them, breaking the paper with their bodies as they go. They land on the other side in a forward roll. There are a few points to remember in doing this number: The take off should be the proper distance from the hoop. The boys should roll themselves into a ball as they go through the hoop. If they persist in keeping their knees straight and feet in the air they will take the hoops with them. The hoop should be held at least as high as the knees. Each person will be able to set his own standard. There are many books on tumbling which will help you to find daring tumbling stunts; furthermore, they contain helpful teaching suggestions. i82 The Circus Comes to School Both Jolly Jinks and Flippery Flop watch the tumblers all through the act. Occasionally they let forth a yell as though they are afraid some one has been hurt. After the tumblers disappear they take one of the small mats and try the stunts. They end by sitting on the floor holding their heads and rubbing their thighs. Each has something to say about it. JOLLY JINKS: Poor Tipsy Tumblers! They must be bruised. They roll like tumble weeds on the prairie. Nothing can stop them, not even a fairy. Faster and faster until they fly, They make you dizzy as they go by. They miss no bumps, and leave you standing, Smarting and burning as you watch their landing. Poor Tipsy Tumblers! They must be bruised. FLIPPERY FLOP: Poor Tricky Tumblers! They must be dead. They dove right through that big drum head. They'll be happy, I know, when they get to bed. They cleared it so-with a bang and a crash, And they broke it clean and quick as a flash. But they gave their backs a terrible whack, As they hit the mat beyond that crack. Poor Tricky Tumblers! They must be dead. * Stunts and Suggestions I83 THE HILL BILLIES. A page delivers a note to the ringmaster. He reads it, looks distressed, then makes the following explanation: BARKING BARNEY: "Ladies and Gentlemen, it is most disturbing for us to learn that the Hill Billies are outside demanding that we give them a chance, here in this ring to-night, to dance one of their most hilarious square The Hill Billies, fresh from the hills dances. We assure you that this is not a planned part of the Hutchinson and Pelham Combined Circus. "To make this performance less painful the Harmonious Harmonica Orchestra has consented to accompany them." With the accompaniment of the Harmonious Harmonica Orchestra, the Hill Billies do the Star Change, a country dance which was secured by the author as danced by the people of Pleasant Hill, a rural district north of Mound City, Missouri. I84 The Circus Comes to School THE STAR CHANGE Music: "Turkey in the Straw." Victor Record #22I3I-B. Formation: V Lady. T Gentleman. Couple 4 A T Couple i Couple 2 < I vCouple 3 Call: Honor your partner, Lady on the left. Join hands and circle to the left. Half around and circle back. All balance and swing. Allemande left. Grand right and left. Meet your partner and promenade home. Ladies to the center and back to the bar. Gents to the center and form a star. Half around. Left hand back. Pass your partner and take the next. Gents swing out and ladies in. Break and swing and promenade home. Stunts and Suggestions i85 I. Honor our partner. Bow to your partner. 2. Lady on the left. Bow to the lady on the left. 3. Join hands and circle to the left. All join hands and dance around to the left. 4. Half around and circle back. Move only half way around the circle and back to place, still holding hands. 5. All balance and swing. Partners face one another, take 4 steps backward and 4 to place and swing partner once around. 6. Allemande left. Gentleman advances 4 steps to meet his lady on the L., takes her L. hand in his, places his R. hand at her back, turns her once around in place and then falls back to meet his own partner whom he swings around once. 7. Grand right and left. All partners face, join R. hands, pass R. shoulders, on to the next, join L. hands and pass L. shoulders. Continue thus until each has reached his own partner. 8. Meet your partner and promenade home. When partners meet, they cross hands, R. hand uppermost and promenade around the room until they reach home. I86 The Circus Comes to School 9. Ladies to the center and back to the bar. Ladies take 4 steps forward to the center. They immediately take 4 steps back to place. o1. Gents to the center and form a star. Gentlemen take 4 steps to the center. First and second gentleman join R. hands. Third and fourth join R. hands across the joined hands of the first and second, thus forming a star. ii. Half around. In this position all move half way around the square. 12. Left hand back. Drop R. hand, turn and face in the opposite direction, join L. hands and retrace steps, until the gentlemen are back to their original partners. I3. Pass your partner and take the next. Gentlemen forming the star keep hands joined. They pass by their own partners and offer their arms to the next lady. They dance all the way around the star until they reach the lady's home. 14. Gents swing out and ladies in. Gentlemen drop hands, ladies still holding their arms. All turn half wheel R. This brings the ladies to the inside of the star wheel and the men outside. All dance around the star once. I5. Break and swing and promenade home. Gentlemen swing the partners which they now have and promenade home with them. Stunts and Suggestions I87 i6. Repeat from 9 until each man has gone around the star wheel with all 4 ladies and is back with his original partner. I7. Repeat from 9 with the ladies taking the part of the gentlemen. * COSTUMES FOR THE HUTCHINSON AND PELHAM COMBINED CIRCUS BARKING BARNEY. The ringmaster is dressed in a tall, black silk hat, a black swallow-tailed coat, white knee trousers, white vest, white stiff bosomed shirt on the dress suit order, a black bow tie and fine leather boots. He should be a quick-witted person, alert and able to sense situations. He should have a voluminous voice and above all poise, and dignity. BOUNCING BILLY. The animal trainer wears tight fitting red knickers, a blue shirt, red skull cap, kid gloves or gauntlets and high topped boots. He carries a long whip in his right hand. He should be a daring person, in appearance as well as reality. Should likewise be alert and able to grapple situations. JOLLY JINKS AND FLIPPERY FLOP. The clowns may be dressed alike or as their names suggest, as two entirely different personalities. As a rule the imagination of those taking the parts is better than any I88 The Circus Comes to School adult suggestion. Clown suits, of course, but there can be individuality even in clown suits. Jolly Jinks carries a snake-like whistle. The snake is made of paper and as he blows it, it extends its full length. He should make frequent use of this whistle at appropriate times during the circus. He may also wear a clown hat with an elastic attached to it. When he takes it off to bow to the audience it generally springs back to his head. MIGHTY MILITIA. Members of the militia may use their own originality in making or borrowing their own costumes, no two of which are alike. In that case they carry brooms, umbrellas, sticks or most anything for weapons. Or if they wish to make the drill effective from a real military standpoint, they may be dressed in true military style. Red or blue coats with white trousers are always effective in a military drill. TOWERING TOMMY. Towering Tommy should be a very tall boy and should dress in every way to accentuate his height. He walks on stilts as high as he can handle with convenience and safety. Shoes are fastened to the ends of the stilts. He wears long striped red and white trousers, and coat, a white shirt, a red necktie and a tall black hat. SAMMY SHORT. Sammy Short is dressed exactly like Towering Tommy except for stilts and shoes. Stunts and Suggestions I89 He should be one of the tiniest boys in school. The contrast between the two is important. It adds to the fun if the couple have small radios attached to them and attempt to communicate frequently. SIAMESE TWINS. In order to create as much fun as possible, the twins should be as opposite in appearance as night and day. Both wear red shirts and green ties, straw hats and large shoes. The trousers are sewed together so that there are only three legs, the large one being in the middle. Each twin has a leg in the large trouser leg, making it look as though they are joined together at the hips. HUMPTY DUMPTY. Humpty Dumpty is a short fat boy with round chubby cheeks. His lips and face are painted. He wears a skull cap which tapers to a point, resembling the end of an egg. His costume is likewise shaped like an egg and is well stuffed and brightly painted. The general glassy effect of an egg may be secured if the costume is covered with cellophane, either bright in color or design. BOXING BONNY. Boxing Bonny is a boy with a girlish figure and features. He wears a wig with long flowing hair, a crocheted hood with pink ribbons which tie in a bow under his chin, white pantalets, ruffled all the way down to the ankles, and a short green chiffon dress with a sash which ties in a huge bow in the back. Boxing gloves complete his costume. I90 The Circus Comes to School BRAWNY BEN. Brawny Ben is a fierce looking raw-boned boy, dressed like a regular fighter, also wearing boxing gloves. BOXING BONNY'S MANAGER. The Manager is a boy dressed like a girl. He wears an evening gown, high-heeled slippers and a hood resembling that worn by Boxing Bonny. He carries a sponge, a bucket of water and a towel over his arm. BRAWNY BEN S MANAGER. This Manager is a big boy dressed in a business suit but also carries a sponge, a bucket of water and a towel over his arm. THE TIME KEEPER. The Time Keeper is dressed in a cowboy suit and carries a gong which he strikes to start and stop the fight and to count time. ANIMALS. All animals, of course, are made to look as nearly as possible like the animals whose names they bear. THE COCK OF THE CIRCUS. The Cock wears a rooster costume made of yellow Dennison crepe paper made by Dennison directions. THE WEIRD WOMPY WUMPUSES. The large heads which distinguish the Weird Wompy Wumpuses from other members of the circus are made by Stunts and Suggestions I91 encircling the arms above the head and pulling a white pillowcase, which has a funny face painted upon it, well over the arms and upper body. It is then tied securely about the waist. A jacket or a man's coat is buttoned about the waist for the dress. Gloves stuffed to the finger tips are attached to the long dangling arms of the coat. Huge feet, toes and all, made of cloth and stuffed in the same manner as the gloves, complete the costume. A stiff collar made of paste-board and a tie may either be added or painted upon the pillowcase. THE PERFECT PARAMOUNT BUILDERS. These boys wear white shirts and dark trousers. THE PILFERING PIRATES. Pirate costumes need no description. Every pupil will be able to design his own. They are far more effective in a mass when they are all different. If you wish a pattern, however, the following are good and inexpensive. Simplicity Pattern. Pirate Costume: 7Io8. Kress's I5~. Du Barry Pattern. Pirate Costume # I30I B. Woolworth's, IO. Practically every good pattern book which features masquerade costumes will also feature the Pirate. THE MAGIC ROSES. The Magic Rose costumes are made of two colors of cambric skirt lining, the backs of which are leaf green 192 The Circus Comes to School and the fronts, yellow or pink. Here the yellow one will be described. The costume consists of a long sleeved two piece pajama suit, the back green and the front yellow. The sleeves should be long enough to cover the wrists and the trouser legs long enough to cover the ankles. Around the neck is worn a ruff or ruffle, which is pleated and stitched several times through the center to make it stand out. It is likewise green in the back and yellow in front. The hat is fashioned by making two rose petals of the material, one green and the other yellow. Each is lined with stiff paper and fastened together at the sides where it fits on the head, the top being left open. The stiffness used for lining keeps the hats standing straight and in place. The Center Girl: The roses may be any color but whatever color is selected the rose centers are always yellow. The center girl wears a costume made of deep yellow crepe paper. The skirt is short and full and attached to a tight paper bodice. A bodice foundation of cloth serves to make the dress more durable. The crepe paper hat is skullfitting with stamen-like projections from the top. THE HANDY HOLLYWOOD MAIDENS. These maidens wear white dresses, bonnets with a pleated frill around the face, and gauntlets. Half of the girls wear red bonnets and gloves and the other half wear blue ones. Stunts and Suggestions I93 THE TIPSY TRICKY TUMBLERS. These tumblers wear clown suits, but regular acrobatic suits make good costumes. THE HILL BILLIES. The boys of this stunt are dressed in overalls and straw hats and the girls in long full skirts. All are old-fashioned costumes. They may be easily designed by the pupils. A FEW EXTRA CIRCUS STUNTS THE QUINTUPLETS. BARKING BARNEY: "Ladies, we have a most gratifying surprise for you. The famous Quintuplets are here. After getting a glimpse at the check which we offered him Dr. Dafoe consented to let them appear here to-night. So far they have been on their good behavior. This is Marie, this is Annette, this is Cecile, this is Yvonne, and this is Emilie." As each is introduced she starts crying at the top of her lungs. When the last one is introduced they are all crying together. The ringmaster is finally yelling at the top of his voice. The nurses stick lollypops in their mouths and all is calm and quiet once more. BARKING BARNEY: "Since the girls' parents want them to become the champion basket ball players of the Western Hemisphere, the nurses are already training them to shoot baskets. Decide for yourself what the results will be." Each Quintuplet takes her turn shooting baskets, which I94 The Circus Comes to School finally ends in a riot. With considerable difficulty the nurses return them to their carriages and the lollypops to their mouths and wheel them away. If the Quintuplets are boys dressed in baby clothes they will cause no small amount of merriment. Each Quin has a nurse, a boy dressed in a nurse's uniform. They are wheeled into the ring in baby carriages. * ARTICHOKE, THE DINOSAUR. BOUNCING BILLY: "Ladies and Gentlemen, be not afraid of the ferocious animal which you see here beside me. He is Artichoke the only living dinosaur in the whole world. He is so large that it requires five brains to move him about. One is located in his head and the other four are the large bumps which you see along his spine, here." With the last statement, Bouncing Billy points to the heads of the boys who are inside the dinosaur. They stick up along the spine of the animal and serve adequately as the other four brains. "Artichoke was captured in the jungles of South America where he reigned supreme. So far Artichoke has only one great accomplishment. He can smile like Franklin D. Roosevelt. Come here, Artichoke, and smile like your president." Artichoke comes forward, turns to all sides and smiles his best. Artichoke may also create a great deal of fun if he shows the fat ladies how to reduce, by doing all sorts of exercises to music. * Stunts and Suggestions I95 LOONIE THROWS LOKO, THE SAVAGE BULL. BOUNCING BILLY: "And now, my friends, a great treat awaits you. While in Spain we found Loko, the savage bull that has never been thrown. There, too, we found Loonie, the smallest, yet the most violent bull fighter in the whole world. He has never met a bull that he has failed to throw. When Loko and Loonie meet, demon will meet demon and the mightiest will win. Blood will be shed, of course, but what can you expect in a bullfight?" The bull, until this time, has been penned up in a dark room adjoining the circus ring. He has been kicking and making a great deal of noise. The attendant opens the door of the pen and he charges at the Matador who shakes a red cape at him. Twice the Matador strikes at the mad bull with his sword. The third time is fatal; he thrusts his sword into the bull's neck, blood oozes out, the bull roars and falls dead upon the floor. He falls first on his front knees and then slowly stretches himself out in the ring. Catsup or red paint may be used for blood and can be easily manipulated by the boy in the front part of the animal. Flippery Flop who has been watching the entire fight with awe, rushes forth, holds up his hand as though to quiet the wild audience. FLIPPERY FLOP: "Faint not, dear ladies; the sword that Loonie used was not a sword but paper, and the blood which you see upon the poor dead bull is not blood but catsup. The bull which you see dead is not dead but alive." 196 The Circus Comes to School The bull gets up slowly and walks away. Jolly Jinks, who has found it difficult to keep still thus far, turns a cartwheel to the middle of the floor and smiling as though he too could throw a bull, expands his chest, puts his finger to his lips and smiles again. He then tells the audience what he knows about the animal. JOLLY JINKS: "When Loko fell He roared so well You couldn't tell That he was one bit human. Inside the brute, Dressed up so cute Are boys quite mute, But they're alive and human." THE BAFFLING BELLES OF BOXVILLE. BARKING BARNEY: "Ladies, it is now time to hold on to your husbands for the Baffling Belles of Boxville are about to make their appearance. Although they are perfectly square as you shall soon see, they are likewise baffling, beautiful and alluring. So I warn you, fair ladies, no matter how fair you are, hold on to your husbands. Should they attempt to escape, notify the Mighty Militia just outside; they will return any runaways to you in double quick time and stand guard until the Baffling Belles have vanished." The Baffling Belles are girls who wear close-fitting cardboard boxes on their heads. Faces, hair and decorations are painted upon them. Eyes, nose and mouth are cut in the face and ribbons are attached to both sides of the Stunts and Suggestions 197 boxes and tied in a bow under the chin. This helps to keep them on securely. Another larger and longer box covers the body to the knees. A hole is cut in the top for the neck to fit in and one on either side for the arms. The body boxes should either be painted some brilliant color or covered with crepe paper. Black buttons painted down the front make the costume more effective. If you can find shoe boxes which will fit the feet, fasten them on with straps, for it always adds to the fun when the feet are handicapped. However, if you cannot secure the boxes cut square pieces of cardboard and clip them around the ankles. Buttons may also be painted on the shoes. If these stiff looking belles perform a dance with a great deal of jumping in it the stunt will create considerable fun. PATRIOTIC PINWHEELS. RINGMASTER: "Friends, midst these freaks and wild animals there is more patriotism than among the freaks at the White House. The Patriotic Pinwheels will demonstrate circus patriotism in all of its pomp and splendor. They will bring patriotism to your hearts and the StarSpangled Banner to your lips." PATRIOTIC PINWHEELS Music: Any good march. Number: 34 or more. I98 The Circus Comes to School Costume: The girls are dressed in soldier suits; white trousers, red or blue jackets and tall white hats trimmed in either red or blue plumes. I7 girls will wear red jackets trimmed in white bands and white hats trimmed with red plumes, and the other 17 will wear the same type of suits and hats with blue trimmings. Pinwheel girls, ready to enter the ring The leaders are dressed like the others in the drill but they carry wands with tassels on the end, blue and red respectively. DRILL i. March down the center of floor in 4's. At the front of the room mark time 8 cts. File i of the group will be red, 2 blue, 3 red and 4 blue. Leaders march together and slightly ahead of the remainder of the group. When they reach the head of the room the leaders Stunts and Suggestions I99 step to the outer lines, red and blue respectively. They will then execute the same figures as the outer lines. 2. Open order R. through sideward marching. Mark time 8 cts. 3. Close order. Mark time 8 cts. 4. Repeat 2 and 3 L. 5. Open order R. through forward marching. Mark time 8 cts. 6. Close order. Mark time 8 cts. 7. Repeat 5 and 6 L. 8. File R. about. Mark time 8 cts. 9. Repeat 8 L. io. R. face and file R. about. Mark time 8 cts. i. Repeat Io L. 12. The 2 Files on the R. follow blue leader R. and form a circle at the lower end of the floor. At the same time, the 2 Files on the L. follow red leader L. and form a circle at the upper end of the floor. 200 The Circus Comes to School I3. When the circles are made each leader steps to the center. All others continue to march clockwise about the circle. All face R. about and march in the opposite direction. I4. Each group follows its leader to the center of the floor where both small circles merge into one large one. I5. Leaders march to the center of the large circle and face one another. 16. All mark time 8 cts. L. face toward center of circle and mark time 8 cts. again. 17. Blues march 4 steps toward the center of circle while reds R. about face. i8. Upon signal all except the two leaders sit upon the floor and lower themselves gradually until they are lying flat on their backs. Each girl then grasps the ankle of the girl at the R. and L. of her. Both leaders kneel facing one another, crossing wands. The effect is a pinwheel with the blue jackets to the outside and the red to the inside of the wheel. The spacing and the number of steps taken to the center to form the pinwheel depends upon the size of the wheel. There should never be less than I7 girls to one pinwheel. The drill itself is little more than regular marching tactics, but it is very easy and always spectacular if the costumes are appropriate. * r P- ~i ~,~ ~~&,, ~~ QOP x..- ii.:XT —~i~?:.. ~:;`:`~exzc.:I ~;&~~;;~e ;d, x) z a's ~.r: b V rp *o '73, ~~s. . ~~*r -!u ~sw ~x\~.:,~. j8dn^ Xg ~': Ifx": ' *.' Q"S~p6`3a;;;*t:' ~,,. r* ~:"r,.:p~a~i: ~,, "Ei. .b *:: jQ;c; ~~I .2.~ ~~, ~ ~~ c r~ ya J\ ~12"."=:..:.;~ The Patriotic Pinwheel 202 The Circus Comes to School OTHER SUGGESTIONS FOR CIRCUS STUNTS The following are only suggestions, offered in hopes that they will be of some value to you in working out stunts for your own circus. FOLK DANCES. Folk Dances or dances in which people of various countries are characterized in their native costumes are always interesting. They may be used effectively either for the circus or in side shows. If they are used in side shows, the setting should be appropriate to the nation which the participants are costumed to represent. There are many folk and character dance books on the market which will be an aid to those who use folk dances in their circus. THE NURSERY RIME FAMILY. Nursery Rime characters, dressed in costumes corresponding to the rime which they represent, dance and sing to the music which measures their particular verse. There will be Little Miss Muffet, Georgie Porgie, Little Boy Blue, Little Bo-Peep, Old King Cole, Humpty Dumpty and many others. This also makes an interesting number if every one appears at once, acting his or her part to the rhythm of the same music and at the same time. "The Story Book Ball," by Billie Montgomery and George Perry, will be a splendid piece of music for this number. Stunts and Suggestions 203 THE COWBOY ROPE WONDERS. Boys dressed as cowboys engage in rope spinning contests which will excite the wonder of the audience. This stunt should be really well done. There are several books on the market which deal with the technique of rope spinning, some of which are listed in the directory of this book. DARBY THE THREE-HEADED DRAGON. Darby is a queer-looking green animal with three heads all representing different species. In mythology this fabulous animal looked very much like a winged crocodile. Fashion him after mythology if you like. The following is only a suggestion. The person who represents the dragon will wear a costume made of green cambric, long enough and wide enough to cover him well. Seam the back of the costume to fit well over the boy's body; expand it a little on both sides in the form of a parachute. This gives more freedom. Seam the front of the material also. Then slit three holes in the upper portion of the material, a hole for each neck or head of the animal. In reality there will be one for the head and each hand of the boy who is to be Darby. The boy wears a mask of an animal on his head and one on each of his hands. The stunt is much funnier if each head is different; for instance, one may be a pig, another a donkey, and a third a wolf. If the animal masks are only face masks, the space at the back must be covered. Green cambric fringed will take the place of real hair if 204 The Circus Comes to School other hair is not convenient. Whatever is used, the openings must all be well concealed. A long tail of the same material is attached to the end of the animal and the entire body is marked with paint. The boy crawls into the costume, lies flat on his stomach, resting on his elbows. The two hands which represent animal heads should be on a line with the boy's head. Whether the stunt turns out to be a clever one depends upon the originality of the boy who represents Darby. The three heads may make faces at one another and finally fight. He may collapse at the end with all three heads resting on the floor. The boy should practice this stunt many times, for he will find it necessary to crawl around on his stomach. TRAMP, TRAMP, TRAMP, THE BOYS ARE MARCHING. Boys, dressed as tramps, come marching into the ring. The thumbs of their right hands are stuck in the armholes of their vests in an important manner. They are all out of step. They stop and start again but some one of the group always spoils it. They finally give up and start marching forward but cannot keep in line. One at a time loses his walking stick, hat, and parts of his clothing and has to pick them up. They never cease to mark time no matter what happens. They pick up the dropped articles, adjust their hats, pull up their socks, etc., but all the while they mark time; many of course, are out of step. This can be made riotously funny. The stunt must be Stunts and Suggestions 205 practiced over and over and pupils must offer original suggestions as it develops. The costume should be as ludicrous as the stunt itself. It will be funnier if each costume is different. The following is offered as a suggestion: The tramp is unshaven. His hair is unkempt and longer than the average. He wears a small hat on the back of his head, and his hair is sticking through the holes in it. A tiny parasol stuck in the band of the hat serves as a shade from the sun. His trousers and shirt are in tatters and patches, and his large vest is plaid. He wears a long coat much too large for him, also in tatters. Around his neck is a heavy chain resembling car chains; on the end of it is something very tiny, a watch perhaps. He carries a crooked stick with a pink bow tied on it. If the music "Tramp, Tramp, Tramp, the Boys Are Marching" is used to accompany this stunt, it can be made hilarious. BEAUTY ON PARADE. Boys dressed as girls parade in the latest Paris styles; high heels, interesting hats, gloves, etc. They should really do their best not to reveal their identity until the end of the stunt. Then they will remove their wigs and hats so that the audience will know that they are boys instead of girls dressed in the latest styles. Good make-up and actual practice while dressed in their costumes will do much to keep their sex a secret until the last. 2o6 The Circus Comes to School A beauty contest in which boys are dressed as girls and labeled with ribbons is often uproarious in its effects. Miss New York, Miss Arizona, Miss Texas, etc., may appear on the ribbons. A prize given to the most beautiful of the group adds much to the merriment. THE KILLING KITCHEN SYMPHONY. The kitchen symphony idea is, of course, an old one but it creates the same amount of fun every time it appears upon a program. The symphony orchestra may consist of either boys or girls. If boys, they should be dressed as chefs; if girls, as housewives in regular kitchen costume. They appear playing various kitchen utensils. A wooden chopping bowl or a dishpan may be used for a drum; longhandled spoons for the drum sticks; an oval dishpan or baby's bathtub attached to a broom for a bass viol; kettle lids for cymbals; a frying pan with strings attached from the handle to the lower edge of the pan for the banjo; an ironing board with curtain rods laid across it sideways for a xylophone and so on. A group of talented musicians may be stationed behind a screen to play the real instruments as those in front play the artificial ones. THE JIGGY JUGGLERS. Juggling acts are always good for either a side show or a circus number. The books on juggling listed in the directory of this book may be an aid to you. Stunts and Suggestions 207 THE THREE LITTLE PIGS. Even though "Who's Afraid of the Big Bad Wolf" has been done over and over again, it is still an interesting circus stunt when the Three Little Pigs and the Big Bad Wolf appear in costume. This stunt can be either a burlesque dance or a dramatized number. CARTWHEELS. Cartwheels done to music may be worked into effective patterns. Girls dressed in shorts and bright-colored sweaters may do cartwheels one at a time, in twos and then in threes. MONKEYS. Red coated monkeys chasing one another up the ropes, which are usually a part of the gymnasium equipment, or racing each other down the traveling rings always create a great deal of amusement. THE COCK FIGHT. Oxdansen, an old Swedish folk dance, may be converted into a rooster fight with only slight changes. This will cause a great deal of amusement. The costumes for this number may be fashioned after bird costumes, the directions for which are given in How to Make Gay Colorful Costumes, by Dennison Manufacturing Co., p. 27. To be sure, the head and tail and color of the paper must be changed to that of a cock. 208 The Circus Comes to School Oxdansen is found on page 26 of Folk and Singing Games, Elizabeth Burchenal, G. Schirmer, New York. INTELLIGENT DOGS. Boys or girls dressed in fuzzy white dog costumes may be perched on tiny stools awaiting their master's command. They jump through hoops, over one another, and ask for food. Many of the tumbling stunts, such as the forward roll through hoops, may be utilized here. The dog costume may be made out of white outing flannel, with white fringed material sewed on for the shagginess. A regular one piece pajama pattern will suffice for this costume if a dog head and tail are added. TRAINED SEALS. Trained Seals may walk up inclined boards and balance balls of various colors on their noses. EDUCATED PONIES. Ponies count to 59 by stamping their feet, select colors out of an array of colored blocks, dance, and participate in school antics. Boys dressed as ponies always create a great deal of fun in this act. On page 32 of How to Put on an Amateur Circus, Hacker gives specific directions for constructing a pony. PARADE OF THE LITTLE TIN SOLDIERS. Boys dressed as little tin soldiers do an effective drill to a spirited march or the "Parade of the Wooden Soldiers." Stunts and Suggestions 209 THE JUNGLE HUNTERS. Boys dressed in short, white shirts and African sun hats shoulder their guns and set out to hunt big game. As they walk along they whistle "Oh A-Hunting We Will Go," just to keep up their spirits. When they see the elephants and all the other Jungle animals in the ring they become so frightened that, even though they have their guns cocked, they tremble too much to shoot. Finally they remove huge salt shakers from their pockets and sprinkle salt on the tails of the animals, who are soon captured. DANCING DOLLS. Popular dolls such as Shirley Temple are dressed in their best known costumes and do dances to entertain the audience. This will be a particularly popular number among the children. THE CHAMPION ROLLER BOXERS. These boys will box while on roller skates. This number may be hilarious if two boys who have ingenuity and originality are given the parts. DANCING BEARS. The polar bear, the cinnamon bear and the black bear, although chained together, do a dance in which they beg for sugar. Music appropriate for this dance may be found in 2I1 The Circus Comes to School Rhythms and Dances for Elementary Schools, by Dorothy LaSalle, A. S. Barnes & Co., New York, p. I93. THE STRANGE ROPE JUMPERS. Boys and girls dressed as kangaroos do fancy rope jumping to music. THE COMIC PAGE BALL. This is just another idea of getting a number of ludicrous characters before the audience at one time. There will be Rosie and her Beau, Uncle Walt and Skeezix, Popeye and Olive Oyl, Maggie and Jiggs, Tillie the Toiler and Mac, Buster Brown, Little Orphan Annie, Mickey Mouse and Minnie Mouse and many others. They may dance comic dances which pupils will enjoy creating. They should pair themselves off as they appear on the "funny" pages. BALLOON RHYTHMS. Balloon rhythms are always spectacular. A group of girls dressed in costumes of soft hues, bouncing colorful balloons to the rhythm of appropriate music, never fails to create one of those beautiful scenes which every circus needs. LIVING STATUARY. Boys representing various familiar statues always make an interesting circus number. Gold, silver, cream or bronze grease paints applied to the body will give the correct statue coloring. Stunts and Suggestions 211 Living Statuary, by L. W. Olds, will be very helpful to those who plan to have living statues as a circus number. THE TIGHT ROPE WALKERS. Girls dressed in colored tights with close fitting bodices and short fluffy skirts over them and carrying ruffled parasols run into the ring, take hold of hands, and bow to the audience. They dip their stockinged feet into boxes of waiting sand, dry their hands upon large handkerchiefs and then mop their brows with them. At last they spring on to the tight rope, which is nothing more than a white line drawn on the floor. To the amazement of the audience they prove their agility by doing many thrilling stunts. They sway, balance on their toes, kneel, sit on a chair, and even juggle a few balls with one hand. The parasols are held in one hand and help them to balance. This, of course, is burlesqued, but the participants must always be serious. Strong black elastic stretched from two poles may be used for the wire instead of the line. This generally creates a great deal of excitement when the performer falls off and the elastic snaps up. THE GIRAFFE. The giraffe is capable of many intelligent stunts. He can add and subtract with blocks, or by stamping his foot indicate the answer. Moreover, he is fond of taking neck stretching exercises to make his neck firm and long. He can also Cake-walk. In fact, his talents are unlimited. 212 The Circus Comes to School THE WHEELBARROW RACE. Any even number may participate in this race. Two clowns form a wheelbarrow in this manner: clown number i gets down on his hands, and number 2 takes hold of his feet. i is the wheelbarrow and 2 pushes him. In this position they race as soon as the signal is given. Number i is walking or running on his hands. PUSS IN THE BOOTS. Girls dressed as Puss in the Boots do appropriate dances. If your group cannot create such a number, you will find a Puss in the Boots dance in Tap, Caper and Clog, by Helen Frost. THE REHEARSAL. A rehearsal in which various types of exercises are going on at the same time is a very fine way to bring a number of stunts before the audience at once. Stunts on the flying rings, ropes, traveling rings, tumbling and cartwheels may be going on at the same time in various parts of the ring. This gives the appearance of a three- or four-ringed circus. THE PARADE OF THE SCARECROWS. The scarecrows have come forth to protect the crops. They enter carrying shocks of corn stalks. The audience sees only the moving shocks until the scarecrows come to their designated places on the floor. They then place the shocks on the floor and step from behind them. Whether Stunts and Suggestions 213 these queer-looking people of the fields do a drill or a dance, the movements should be floppy and the participants should appear loose jointed. Pupils should be able to create something really amusing from this idea. THE CHARIOT RACE. The chariot race is an old circus stunt and whether burlesqued or real will create fun. If it is burlesqued, boys may ride in improvised chariots, pulled by horses constructed by the construction group, or they may ride kiddie cars or scooters with flying streamers attached to the bars. The boys who ride in this race may pattern their costumes after the true classic charioteer's costume or they may burlesque one of their own. Whatever they wear, there must be many flying ribbons and flowing garments to give the idea of speed. Charioteers salute the audience when they are all lined up ready for the start. A pistol is fired and they are off. The winner is the man who is first to bring his chariot across the finish line. HEAR-NO-EVIL, SEE-NO-EVIL AND SPEAK-NO-EVIL. These are three little monkeys dressed in red jackets and regular round monkey hats, also red. The animal trainer introduces them to the audience. They sit close to one another with their feet crossed one over the other. Hear-no-evil covers his ears with his hands, See-no-evil his eyes, and Speak-no-evil his mouth. They look very much the same as the well-known plaster model. 214 The Circus Comes to School If these monkeys are persons, they should be the smallest in your midst. Their monkey costumes should be made out of brown outing flannel and their faces should be painted to look very much like those of real monkeys. GRUMPY GRANDPA AND GRINNY GRANDMA. Bring characters like these to your circus, even if they do nothing but march in the parade. Any one of the participants will be able to create his own costume. Grumpy Grandpa should, of course, be a decided contrast to Grinny Grandma, who is his companion. He enjoys nothing. His feet hurt and he is tired. He pays very little attention to anything except his own feelings. He wears a perpetual grouch. On the other hand, Grinny Grandma grins broadly at every one and everything. She converses with members of the audience and wears a perpetual grin. MARCHING FIGURES. Good marching figures of all descriptions always make fine amateur circus numbers. They furnish an opportunity for mass productions and when the participants are costumed such drills can be made really effective. They may or may not terminate in something really spectacular, like the Magic Roses or Patriotic Pinwheels. SPECTACULAR WEDDINGS. Weddings of various kinds may be made either spectacular or ludicrous. If any two of the animals or the clowns get married, the wedding should be made as funny Stunts and Suggestions 215 as possible; if it should be the king and the queen of the circus, then the. whole affair should become stupendous and spectacular. THE PIG TAIL DANCE. Negro girls or white girls made up as negroes perform eccentric negro clogs. They wear bright colored dresses and white patched pantalets. They carry tiny parasols of pastel shades and wear their hair in pigtails. The pigtails should be wired so that they stand out in all directions while the ends should be tied with bright colored ribbons. THE DRILL OF THE FIREFLIES. This drill, of course, must be done in the dark or the effect will be lost. All of the house lights except those marked "exit" should be turned out. Girls dressed in long black capes, black mannish hats, long black gloves and black shoes and stockings enter carrying flashlights. Drills in which interesting marching figures are executed will be extremely spectacular if the flashlights are kept turned on throughout the drill. At no time should they be turned so that the characters carrying them are revealed. SIDE SHOWS Side shows have come to belong to circusdom. Although separate from the circus proper, they are a distinct part of it. Without them the circus could never rightfully be w f I Side shows should never obstruct the passageway to the circus tent Stunts and Suggestions 217 called a miniature world. Freaks and normal human beings from all over the world can be seen within this realm. There are midgets from Germany, giants from Texas, Indians from Arizona, fire eaters from India and so on. Each individual and each group tell something about themselves or perform some unique stunt, which portrays their talents or customs. For instance, the fire eaters demonstrate the gruesome manner in which they eat fire and the midgets tell something of their heredity and environment while the Indians, dressed in true Indian fashion, dance weird steps which speak of their legends. The amateur side-show manager has a wide field from which to draw his stunts. They need not be confined to the grotesque alone. They may be comical, queer, ostentatious or beautiful. Whatever their character, however, they must be worthy of the circus. A great many of the sideshow stunts require no small amount of research, for in order to be worthy they must be authentic. Of course, where authenticity is concerned the side-show groups are confronted with problems which can be solved only by actual experience or research. Because many side-show stunts also make splendid circus stunts, care should be taken to avoid overlapping. It would be futile to attempt side shows if they were allowed to conflict with the circus, which, of course, is the grand performance. Hence, their content, time, and place should be so well planned that they will not interfere in any way with the main show. If there are two consecutive circus performances, the side shows will accommodate one group of people while the circus takes care of the other; 218 The Circus Comes to School crowds alternating as soon as the first circus performance has ended. If there is only one main performance, the side shows should take place either before or after the circus is over, or at both times. They should never occur while the circus is in session, for they are sure to subtract from the attendance of the grand show. Side shows should never be placed in the same room as the circus proper; neither should they obstruct the passageway to the circus tent or hall. The attention of the audience may be directed toward the side shows by means of clever advertising which will be discussed later. Where shall the side shows take place? As a rule small tents or beaver board rooms constructed in the corridors will suffice. Class rooms too may easily be converted into side-show space. Wherever you decide to have them, however, you must consider the convenience of your possible audience. Amateur side-show managers should always remember that whatever appears in the side shows should be brief, interesting and unique. For instance, if a group of Mexicans sing and dance, their performance should never exceed five minutes. Generally three are sufficient. It must further be remembered that a long-drawn-out performance detracts from the interests of not only the side shows but also the circus. Furthermore, the crowd is deprived of the privilege of attending other side shows when they are held at one over time. No time should be lost in shifting audiences. The rooms should be emptied as soon as one performance is finished and the waiting crowd should be ushered in quickly. Stunts and Suggestions 2I9 Side shows which are well planned may be a real financial asset to the fund-raising circus. In spite of the fact that only nickels and dimes are charged for these shows, a great deal of money will roll in on the side if the planning has been wise and the right method is used to attract the attention of the circus crowd. This brings us to the ways and means of attracting the attention of the people. Many of them are similar to those used in advertising. There are posters and glowing pictures of various side-show stunts, conspicuously arranged so that the crowds will be sure to see them as soon as they enter the tent; there are sandwich men who wander about through the crowds, arrows and dummies which point toward the side shows, costumed guides who escort the people to their choice show and clever barkers stationed outside the doors of the various rooms. Of course they must all be so captivating that those who see them are seized with a sudden desire to watch the real thing. The side shows of many amateur circuses appear to be only an after thought. Like the rest of the circus, they must be well planned and thoroughly practiced. Circus and side-show plans should develop simultaneously. As in the circus, there should be a sharing of plans from the start, for the many related groups should never forget for a moment that the side shows are a distinct part of the circus. A special group will be responsible for the side shows. They in turn may divide the work, giving each home room or class one or more shows to develop as its own project. Often home rooms will suggest their own stunts and carry 220 The Circus Comes to School them out without interfering in any way with other circus activities. It is always advisable, however, to have a special side-show group who act as overseers and managers; otherwise all will result in chaos. The duties of the side-show group are numerous. It will offer suggestions and assist in finding authentic material for stunts and settings; it will see that stunts do not repeat themselves and ascertain whether or not they are worthy of the circus; it will keep the circus and the side shows from becoming entangled; it will assign rooms or space to the various performers and will keep all participants planning to the best of their ability. Although the following are side-show suggestions, many of them may also be used as circus stunts. The same is true of circus stunt suggestions, many of them may be used adequately for side-show attractions. THE UPSIDE DOWN HOUSE. In this house all pictures, chairs, tables, etc., are upside down. People walk on their hands to save their soles and sleep on their heads to make room for their huge families. Spectators should not be allowed to remain here long at a time. The house should be cleared every few minutes in order to give those who are walking and standing on their heads a chance to regain their equilibrium. THE SKATERS. Fancy roller skaters, dressed in bright colored costumes, cut figures to music. The girls wear flare skirts, regular skaters' caps and high boots as worn by fancy skaters. Stunts and Suggestions 221 The boys wear knee pants of bright colors which blend with the costumes worn by the girls. With a group of 4 to 8 roller skating to music, this will be a very attractive number. "The Skaters' Waltz" by Emile Waldteufel will be interesting and appropriate music to accompany this number. WHO'S WHO IN THE JUNGLES. Large pictures of jungle animals with heads of prominent men or women upon their shoulders are arranged in a jungle gallery. Such faces as Eddie Cantor may appear upon the monkey, Elihu Root upon the bear, and Franklin D. Roosevelt upon the alligator. Students will be able to suggest many appropriate and fitting ones from among the movie stars. This stunt will prove a popular one among the men. THE ANIMAL TRACK MEET. The animals hold an important track meet. All officials who preside are animals. Cats, tigers, bears, mice and various other animals participate, dressed in their regular circus costumes. Each animal affects its own run or walk. The mouse wins the race. A quarrel ensues, with each animal chattering at the officials in his own language. HUNKEY DORA, THE FATTEST WOMAN IN THE WORLD. Her Majesty Hunkey Dora is so fat that even Lindbergh could not make a non-stop flight around her. Any one who completes this hazardous feat will without doubt be the greatest of aviation heroes. 222 The Circus Comes to School A frame to represent the skeleton of the fat lady is erected, 7 to io feet tall, depending upon the height of the ceiling, and 5 to 9 yards in circumference. The arms and hands are stuffed in proportion with the body. The skeleton is padded and dressed or draped. A platform almost as high as the framework is set inside, a chair is placed on it, and the girl who is to represent Hunkey Dora sits on the chair, poking her head out of the hole which has been left in the top of the skeleton. Hunkey Dora wears a sparkling crown and is heavily jeweled. For only five cents boys and girls will be allowed to attempt to fly toy airplanes around her. A prize is awarded to the one who succeeds. HAWAIIAN SCENES. Dark brown Hawaiian maidens dance the Hula. They are dressed in grass skirts, have beautiful leis about their necks and heads, and wear wristlets and anklets of flowers. The girls sing as they dance. They are accompanied by beach boys who strum ukuleles. The Hulas should always be authentic. Unauthentic, improvised Hulas have made them questionable for school' purposes. They should be beautiful, as they really are. Alekoki is, perhaps, one of the most interesting of the Hulas and once the technique is mastered it becomes extremely easy. Alekoki, and several other Hulas may be found in the I930 edition of Gymnastic and Folk Dancing, vol. I, by Mary Wood Hinman. There are many Hawaiian songs familiar on the Island. Among them are: Stunts and Suggestions 223 Aloha Oe Farewell to Thee Na Lei O Hawaii Song of the Island Kaleleonalani Queen Emma Liliu E The King Book of Hawaiian Melodies by Charles Edward King and the Ukulele and Guitar by Paul F. Summers will be of value to you if you are in search of authentic Hawaiian melodies. Paul Summer's book also contains two very popular numbers, "On the Beach at Waikiki" and "What Aloha Means to Me." Moreover, it contains the ukulele and guitar accompaniment as well as the words and music for all the songs therein. Dennison's How to Make Gay and Colorful Costumes, page 27, gives specific directions for making the costumes of Hawaiian maidens. A TRIP TO MEXICO. A Mexican patio. The setting is Mexican. Boys and girls are costumed in Mexican costumes. A group with steel guitars accompanies the singers and dancers. The Jarabe is one of the best and most colorful of Mexican dances. It can be found on page 3 of Legends and Dances of Old Mexico. THE MIDGET WEIGHT LIFTER. Monty, the Midget, lifts a weight marked 500 pounds. Jimmy, the Jiant, has failed to lift it. The weight may be made from cardboard and painted to resemble an iron weight or it may be a long rod with a balloon on each end, 224 The Circus Comes to School the balloons representing heavy iron balls. Monty, the Midget, lifts the weight far above his head and even does a few dumbbell exercises with it. THE CLOTHESLINE ROMANCE. A man's suit is hanging on the clothesline; a beautiful dress belonging to a beautiful girl hangs not far away. Other clothes are grouped at the far end of the line. Faces made of cardboard and painted to represent different characters are attached to the hooks of the hangers. Thin wires are fastened to the hangers. They will serve to move the characters and will be manipulated by boys and girls stationed behind a curtain.. A well meaning wind blows the handsome man and the beautiful girl, who are sweethearts, together. They make plans to elope. But the mother, who is hanging up on the far end of the line, objects. A false gust of wind brings her to them. She threatens but they pay no attention to her. She returns for aid and brings the father. He arrives looking angry and portentous. He wears a long black coat with the collar turned up around his neck. A quarrel ensues. From here on use your imagination in ending the story and bringing in the other characters that are hanging at the far end of the line. The story may be written and read as it is acted by the clothesline characters, or persons stationed behind a curtain may talk for each of them. THE SKATERS' BOXING MATCH. Two skaters box while on roller skates. Stunts and Suggestions 225 THE BEARDED LADY. This lady sweeps the floor each day with her long beard. If a tall person is chosen for this part it will excite more fun. Her beard may be made of raveled rope or crepe hair and fastened to her face and neck. BASEBALL. The World's Championship baseball game is being played between the Cardinals and the Cubs. The teams consist of boys dressed in regular baseball suits who use balloons instead of baseballs. A long string may be attached to the majority of the balloons in order to keep them from floating away. When one or two are allowed to float away, a great deal of fun is provoked as the players attempt to get them. They will strike at the balls lightly at first but they soon become so excited that each balloon is hit with so much force that it is broken. Once the boys get into the spirit of this stunt it will be a riot. A THRILLING BASKETBALL GAME. A basketball team dressed in girls' clothes and conspicuously decorated with jewelry makes a very amusing stunt. The boys should have ribbons on their hair, sashes about their waists and all of the rest of the feminine decorations if the game is to be really ludicrous. 226 The Circus Comes to School THE FAT MAN'S FOOTBALL GAME. If there are not enough naturally fat boys in school to represent the eleven, thin boys can be easily stuffed to the desired size. Sometimes fat parents are willing to take part in this number. THE POLO GAME. A polo game from constructed ponies or from kiddie cars is fun. SWIMMING BEAUTIES PAST AND PRESENT. Beautiful girls dressed in swimming suits from the very earliest swimming days to the present extreme and decollete styles are paraded by beautiful girls. AMOS AND ANDY. The open air taxi station of Amos and Andy needs no description for the majority of boys and girls. Skits from Amos and Andy, who are in reality schoolboys, will have a real drawing power. WILD ANIMAL CAGES. Animal cages containing the most ferocious of circus animals make an amusing exhibit. Bespangled ladies or trainers may dare to go into the cages to put them through various stunts. They growl and act very unfriendly. Guards find it necessary to come to the rescue of some of them. They apparently appear with their guns just in time to prevent an attack. Stunts and Suggestions 227 The animals in the cages, of course, are only boys in costume. The cages can easily be constructed by the industrial arts classes or the construction group. THE ARMLESS WONDER. The armless man picks up objects, writes and performs many other stunts with his toes as though they were his hands. With much practice some one in the school will be able to accomplish this seemingly hopeless task. It might be a means of motivating the corrective work for those who have foot defects. THE TATTOOED MAN. The tattooed man wears a backless bathing suit or just shorts. His bare body is covered with various designs. Small rubber tattooing stamps may be purchased at the ten cent store for this purpose. HALF MAN AND HALF BEAST. Two boys, one dressed as a brown shaggy bear and the other as a boy, wear the same pair of large baggy trousers. The boy is in both legs of the trousers but the bear has only the leg nearest the boy in a trouser leg. The two lock arms as though they were joined at the waist as well as the hips. PLANTATION DAYS. The setting is an old Southern Plantation, where negroes are singing as they work. After their work is ended 228 The Circus Comes to School they gather at their cabins and sing spirituals; they finally dance with almost wild abandon. The Negro Folk Songs Book by Natalie Curtis Burlin contains fine old negro melodies which are authentic. They come in three small inexpensive volumes, 75 cents each. They are as follows: "Negro Work Songs," book IV, "Negro Spirituals," book I-II, "Negro Social Songs," book III. The Clog Dance Book by Helen Frost contains a number of Negro clogs which will be splendid in demonstrating the social life of the plantation negroes. THE COWBOY'S PARADISE. A desert scene with cowboys playing guitars or harmonicas and singing cowboy ballads. Of course the boys must be dressed in cowboy fashion. DWARFS. Dwarfs are easy to create and they can do many interesting stunts. Two people, let us say Nos. I and 2, stand behind a curtained table. No. i stands directly behind the table and No. 2 stands concealed directly behind him. No. i has stockings on his hands and arms, and tiny shoes on his hands. They serve as the dwarf's feet. No. i also wears a short cape which should be only long enough to touch his wrists. No. 2 extends his own arms and hands under No. I's arms and out through the slits which are in his cape. They will represent the dwarf's hands. No. i's face is made up as that of a dwarf. He must wear the cape but the remainder of his costume may be as Stunts and Suggestions 229 you like it. No. i's hands, which are supposedly the dwarf's feet, do clogs and various kinds of dance steps on the table before him. At the same time No. 2 goes through all sorts of motions with his hands. PROFESSOR BRAINSTORM. "Step right inside, folks, there you will find Professor Brainstorm, who is capable of answering any question which puzzles you. He can help you win either a fortune or the girl you want." Professor Brainstorm is an old man bent with age. There are only three gray hairs left on the top of his bald head. His nose is overgrown and he wears his spectacles on the end of it. His wisdom is made more impressive by the long black robe which he wears. Professor Brainstorm should be clever, alert and quick to answer the questions which are asked. He always gazes into a large crystal before he answers any of the questions. THE SNAKE CHARMER. No side show is complete without a snake charmer. The snakes may be real, of the harmless variety, or they may be artificial and of the boa type. If the snakes are real, care should be taken that they do not get out into the audience. It must be remembered that many people are deathly afraid of them even though they are harmless. Old stockings colored green and sewed together lengthwise may be stuffed to represent the large snakes. If their bodies are marked snake-like with a little paint they can be made to approach the real in appearance. 230 The Circus Comes to School INDIANS. Indians are always interesting, especially if they are dressed in true Indian fashion and placed in their natural setting, doing things that are characteristic. All must be authentic. Boys are usually interested in learning Indian dances and making percussion instruments for this number. The Rhythm of the Redman, by Julia M. Buttree, will be helpful in both cases. SIDE SHOW SELLS The champion bat a baseball bat. A master lock a lock of hair. The swimming match A universal crown A chicken dinner A monkey a match floating in a pan of water. the crown of the head. chicken feed scattered on a table. your image reflected in a mirror. The smallest cap in the world Bermuda diamonds An untilled cornfield The famous academy that has only two pupils the knee cap. onions. the feet. the eyes. Stunts and Suggestions Camels Driveless nails A crook that has never been jailed The latest style in hose A thrilling "talkie" Home ties Sunset on the sea The world's greatest cats The dumbbell A young rattler The Big Bad Wolf 231 camel cigarettes. the finger nails. the crook of the elbow. garden hose. a group talking excitedly. ties of all description hanging on a tie rack. a boy sitting on a chair which is placed on a large painted C. two old maids. a beautiful girl. a baby shaking a rattle. a father angry with his daughter. ,O THE DIRECTORY OF SOURCES The purpose of this directory is to classify books so that they will be of greatest value in circus planning. The majority of the books listed below contain both detailed instructions and teaching techniques. In the true sense of the word this directory is a selected bibliography. Therefore another is hardly necessary. BOOKS WHICH SUGGEST AUTHENTIC AND INTERESTING COSTUMES Barton, Lucy: Historic Costumes for the Stage, Boston, Walter H. Baker Company, I935. Brooks, A.: Stage Costuming, New York, The Macmillan Company, I927. Dennison Manufacturing Company: How to Make Gay and Colorful Costumes, Framingham, Mass., Dennison Manufacturing Company. Downs, Dorothy Hoover: Paper Dolls Around the World, New York, The Saalfield Publishing Company. May be purchased at the Ten Cent Stores. Haire, Frances: The Folk Costume Book, New York, A. S. Barnes and Company, 1926. Hill, Frances: Authentic Costumes for Folk Dances, Ann Arbor, Mich., Journal of Health and Physical Educa232 The Directory of Sources 233 tion, Vol. I, January, pp. 17-19, 47-48; February, pp. 22-24, 44-45; March, pp. 20-22; May, pp. 20-21, 43, I930. Mackay, Constance D'Arcy: Costumes and Scenery for Amateurs, New York, H. Holt and Company, I9I5. Nesfield-Cookson, Mary: The Costume Book, New York, R. M. McBride and Company, I935. DANCE BOOKS HELPFUL TO CIRCUS AND SIDE-SHOW MANAGERS Burchenal, Elizabeth: Folk Dances and Singing Games, New York, G. Schirmer, I909. Buttree, Julia M.: The Rhythm of the Red Man, New York, A. S. Barnes and Company, I930. Duggan, Anne Schley: Tap Dances for School and Recreation, New York, A. S. Barnes and Company, I935. Emanuel, Maurice: Antique Greek Dance, New York, John Lane Co., 1916. Emerson, Nathaniel Bright: Unwritten Literature of Hawaii, Washington, D. C., The Government Printing Office, 1909. Fletcher, Alice Cunningham: Indian Games and Dances, Boston, C. C. Burchard and Company, I9I5. Frost, Helen: Oriental and Character Dances, New York, A. S. Barnes and Company, I927. Frost, Helen: Tap, Caper and Clog, New York, A. S. Barnes and Company, 1931. Hague, Eleanor: Five Mexican Dances, Lancaster, American Folk-lore Journal, Vol. 28, pp. 279-381, I916. 234 The Circus Comes to School Hillas, Marjorie, and Knighton, Marion: Athletic Dance and Simple Clogs, New York, A. S. Barnes and Company, I926. Hinman, Mary Wood: Gymnastic and Folk Dancing, Vol. I, New York, A. S. Barnes and Company, I930. Hinman, Mary Wood: Gymnastic and Folk Dancing, Vol. V, New York, A. S. Barnes and Company, I930. Kozman, Hilda Clute: Character Dances for School Programs, New York, A. S. Barnes and Company, I935. La Salle, Dorothy: Rhythms and Dances for Elementary Schools, New York, A. S. Barnes and Company, 1926. Levin, Mrs. Ida: Kentucky Square Dances, Louisville, Kentucky, Recreation Council, I928. Ryan, Grace L.: Dances of our Pioneers, New York, A. S. Barnes and Company, I926. Schwendener, Norma, and Tibbels, Averil: Legends and Dances of Old Mexico, New York, A. S. Barnes and Company,. I933. Whitlock, V. B.: Come and Caper, New York, G. Schirmer, I932. TUMBLING INSTRUCTION OF VALUE Cotteral, Bonnie and Donnie: The Romping Rompers, Ann Arbor, Mich., The Journal of Health and Physical Education, May, I930. Cotteral, Bonnie and Donnie: The Teaching of Stunts and Tumbling, New York, A. S. Barnes and Company, 1936. Gwathmey, J. T.: Tumbling for Amateurs, New York, American Sports Publishing Company, 1926. McClow, L. L.: Clown Tumbling Stunts, Ann Arbor, The Directory of Sources 235 Mich., The Journal of Health and Physical Education, January, February, I93i. McClow, L. L.: Tumbling Illustrated, New York, A. S. Barnes and Company, 1932. McCurdy, J. H.: Mat Exercises and Tumbling, Springfield, Mass., American Physical Education Review, November, I925. Pearl, N. H., and Brown, H. E.: Health Stunts, New York, The Macmillan Company, I922. Riskey, Earl: Progression in Tumbling Stunts and Acts, Ann Arbor, Mich., The Pentathlon, October, November, December, I928. Rogers, Martin: A Handbook of Stunts, New York, The Macmillan Company, I928. PYRAMID BUILDING Cromie, William: Pyramid Building, New York, American Sports Publishing Company, Number 52 R, I926. Langton, C. V., and Manthe, C. C.: Some Pyramids for Your Exhibition, Ann Arbor, Mich., The Journal of Health and Physical Education, January, March, I930. Mackerey, Mathias, and Richards, John: Pyramids Illustrated, New York, A. S. Barnes and Company, 1932. McCulloch, J. H.: Gymnastics, Tumbling, Pyramids, Philadelphia, W. B. Saunders Company, I934. INSTRUCTIONS FOR THE AMATEUR JUGGLER Coe, Charles: Juggling a Rope, Pendleton, Oregon, Hamley and Company, I927. 236 The Circus Comes to School Ingalese, Rupert: Juggling, London, Gaskarth Press, I92I. Miller, Harry: Indian Club Swinging and Juggling, Cincinnati, Ohio, Saalfield Publishing Company, 1900. How TO DEVELOP SKILL WITH A ROPE Byers, Chester: Rope Spinning, New York, Putnam's Sons, 1928. Mason, Bernard S.: Fun with a Lariat, New York, The American Boy, July, August, September, I928. Mason, Bernard S.: How to Spin a Rope, Columbus, Bratton Letter and Printing Company, 1928. Mason, Bernard S.: Rope Spinning, Boy Scouts of America, 1930. Thompson, D. W.: Some Pennsylvania Rope Jumping Rhymes, Journal of American Folk-lore, Vol. 47, pp. 279-381, October, I934. APPARATUS INSTRUCTION AND TECHNIQUE WHICH MAY BE UTILIZED IN THE SCHOOL CIRCUS Cromie, W. J.: Flying Rings, New York, Spalding Athletic Library. Cromie, W. J.: Horizontal Bars, New York, Spalding Athletic Library. McCullock, J. H.: Natural Activities on Apparatus, Ann Arbor, Mich., The Pentathlon, December, I928, February, March, April, May, October, November, December, I929. Mullock, J. H.: Natural Activities on Apparatus, Ann The Directory of Sources 237 Arbor, Mich., Journal of Health and Physical Education, January, February, March, April, May, I930. Reuter, H. C., and Wittich, W. J.: Exercises on Apparatus, New York, A. S. Barnes and Company, 1926. Zwarg, L. W.: Apparatus Work for Boys and Girls, Philadelphia, John Joseph McVey Company, 1923. ANIMAL CONSTRUCTION MADE EASY Cramlet, Theodore, and Hinote, Russell: Physical Education Activities, New York, Dodd, Mead and Company, I932. Hacker, Fred, and Eames, Prescott: How to Put on an Amateur Circus, Chicago, Denison and Company, 1923. HINTS AND HELPS FOR CIRCUS STUNTS Boy Scouts of America: Troop Stunts, New York, Boy Scouts of America, I931. Bridge, Margaret, and Hahn, Margaret: Sorepaw and Fells Indoor Circus, Franklin, Ohio, Eldridge Entertainment House, I931. Bugbee, W. N.: Hi Jink's Great American Circus, Syracuse, New York, W. N. Bugbee, I920. Canopy, Willard: High School Stunt Show and Carnival, Chicago, T. Denison and Company, 1929. Carrington, Henry: Side Show and Animal Tricks, Kansas City, Missouri, A. M. Wilson, I9I3. Durham, Helen: A Circus, New York, The Woman's Press, 1924. 238 The Circus Comes to School Jackson, C. 0.: The School Circus, Ann Arbor, Mich., The Journal of Health and Physical Education, Vol. V, No. 3, March, I934. National Recreation Association: Suggestions for an Amateur Circus (Mimeograph), New York, National Recreation Association. Partridge, William 0.: Slim Bill's One Ring Overland Circus, Boston, W. H. Baker Company, I927. Tarbell, Harlan: Crazy Stunts, Chicago, T. Denison and Company, I920. VALUABLE CIRCUS INFORMATION AND INTERESTING CIRCUS READING Barnum, P. T.: Barnum's Own Story, Los Angeles, Sierra Press, I927. Bell, Betty Boyd: Circus, New York, Brewer, Warren and Putnam, Inc., I931. For Children. Bernard, Charles: Bernard's Half Century Circus Reviews and Red Wagon Stories, Savannah, Commercial Litho. and Ptg. Company, I930. Conklin, George: The Ways of the Circus, London, Harper and Brothers, 192. Cooper, Courtney Ryley: Circus Day, New York, Farrar and Rinehart, Inc., 1931. Coupe, W. C.: Sawdust and Spangles, Chicago, H. S. Stone and Company, I901. Davis, Charles Belmont: Varnishing Day at the Circus, New York, Metropolitan Magazine, Vol. 32, pp. 333 -343, I9Io. The Directory of Sources 239 Davis, Hartley: The Business Side of the Circus, New York, Everybody's Magazine, Vol. 23, pp. I I8-I28, I9IO. Disher, M. Willson: The Circus Dickens Knew, New York, Quarterly Review, Vol. 249, July, pp. 168-I84, 1927. Eipper, Paul: Circus, New York, The Viking Press, 193I. Frost, Thomas: Circus Life and Circus Celebrities, London, Finsley Brothers, 875. Kahl, Leona: Circus, New York, Parnassus Press, 1928. For very small children. Lloyd, James: My Circus Life, London, N. Douglas, 1925. Marcosson, Isaac F.: Sawdust and Gold Dust, New York, Bookman, Vol. 31, pp. 402-4I0, I9I0. May, Earl Chapin: The Circus from Rome to Ringling, New York, Duffield and Green, 1932. Norwood, Edwin P.: The Other Side of the Circus, Garden City, New York, Doubleday, Page and Company, 1926. Robinson, Gil: Old Wagon Show Days, Cincinnati, Brockwell Company, I925. Seago, Edward: Sons of Sawdust, London, Putnam, I934. Sherwood, Robert Edmund: Hold Yer Hosses! The Elephants are Coming, New York, The Macmillan Company, 1932. Tully, Jim: The Circus Parade, New York, A. and C. Boni, I927. For Children. CIRCUS EQUIPMENT FOR ADVANCED TROUPERS Van Wyck, Edward: Circus Equipment (a catalog). No charge. 2643 Colerain Avenue, Cincinnati, Ohio. 240 The Circus Comes to School MUSIC SUGGESTIONS FOR THE CIRCUS AND SIDE SHOWS Armitage, Teresa M.: Folk Songs and Art Songs, Boston, C. C. Birchard and Company, 1925; The Circus (song), p. 104. Teacher's Edition. Burlin, Natalie Curtis: Negro Folk Songs, Books I, II, III, IV, New York, G. Schirmer, Inc., I9I9; I and II Spirituals, III and IV Work and Social Songs. Summers, Paul F.: Hawaiian Instructor, Ukulele and Guitar, Honolulu, Hawaii. Published by the Hawaiian School of Music, 1925. Treasure Chest Publications: Treasure Chest Cowboy Songs, New York, Treasure Chest Publications, Inc., I935. May be purchased at the Ten Cent Stores. Treasure Chest Publications: Treasure Chest of World Wide Songs, New York, Treasure Chest Publications, Inc., I935. May be purchased at the Ten Cent Stores. CIRCUS RECORDS (VICTOR) Kinscella, Hazel: 120I54, Circus Parade March. For Children.2 2I 945, Kaleidoscope (Goossens Op. 19, #3). For Children. Played by Ringling Brothers and Barnum and Bailey Combined Bands: #22438-A, Circus Echoes, and #22438-B, Entry of the Gladiators, #22464-A, Pageantry March, and #22464-B, Colossus of Columbia March,:2267I-A, Old Glory Triumphal March, and $2267I-B, Gentry's Triumphal March. B~OOSSO ` S GENERAL INDEX Activities, 7-8, 13, 83 Activity Activity Circus, 19-34 Activity Program, 19 definition of, 19 Advertising, III, 115-133 ways and means of, I22-133 Animals, 76, III camels, 40; cats, 102; dromedary, 40; elephants, 29, 35, 37, 38, I02, 148-151; giraffes, 38, 40, 65, I02, 151-152, 211; goat, 12; gook, 102; hippopotamus, 40, hootus, 102; horse, 120; hyena, 35; monkey, 120; ostrich, 102; pony, 12, 102, 208 Art, 32, 66, II0-113 Assistants, 59, 70 Bands, 104-107 Barnum, Phineas T., 36, 38 Bulletins, 55-59 Business and Finance, 113-115 California Curriculum Commission, 19 Challenging Circus Facts, 35-41 Circus compensation, 15 i6 kinds of Activity, 19-34 Fund-raising, 19, 34 interest in, 3-17 place, 44, 47 time, 44, 45, 46-47 Circus groups advertising, 116, 132 art, 66, 97, iiI business and finance, 113-115, 132 caption, 54-55 creative, 51-53, I10 construction, I02-I03 discussion, 51 English, 97, I1n make-up, 96-98 music, 103-107 Circus stunts, 5I, 72-73, 8o fundamental characteristics of, 72, 74-80, 86 suggestions for, 202-217 Balloon Rhythms, 210 Beauty on Parade, 205 Cartwheels, 207 Champion Roller Boxers, 209 Chariot Race, 212 Cock Fight, 207 Comic Page Ball, 210 Cowboy Rope Wonders, 203 Dancing Bears, 209 Dancing Dolls, 209 Darby, the Three Headed Dragon, 203 -204 Drill of the Fire Flies, 215 Educated Ponies, 208 Folk Dances, 202 Giraffes, 2 1 Grumpy Grandpa and Grinny Grandma, 214 Hear-No-Evil, See-No-Evil and SpeakNo-Evil, 213 Intelligent Dogs, 208 Jiggy Jugglers, 206 Jungle Hunters, 209 Killing Kitchen Symphony, 206 Living Statuary, 210 Marching Figures, 214 Monkeys, 207 Nursery Rime Family, 202 Parade of the Little Tin Soldiers, 208 Parade of the Scarecrows, 212 Pig Tail Dance, 215 Puss in the Boots, 212 Rehearsal, 212 Spectacular Weddings, 214-215 Strange Rope Jumpers, 2IO Three Little Pigs, 207 Tight Rope Walkers, 211 Trained Seals, 208 Tramp, Tramp, Tramp the Boys are Marching, 204-205 Wheelbarrow Race, 212 Clowns, 13, 35, 68, 86-88, 107-108, 120, 134-136 Commercial Circuses Barnum and Bailey, 35, 36 John Robinson, 135 Ricketts, 29, 35 Ringling Brothers, io, 29, 35, 40 Ringling Brothers and Barnum and Bailey Combined, 29, 40, 45, 47, 87 Spaulding and Rogers, 29, 35 Turner's Traveling, 36 Wirth's, 36 Construction of animals, 102 ring, 48, 103 tents, 48, 49 Contacts, 25 Costumes, 88-92 animals, 9o birds, 91 for Hutchinson and Pelham Combined Circus, 187-193, 194, I98 Dances, 52 Dance of the Pirates, 169-172 Elephant Dance, 149-150 Mickey and Minnie Dance, 153-156 241 242 Dances-(cont'd) Pilfering Pirates, 169-I72 Star Change, 184-187 Weird Wompy Wumpus Dance, 159-161 Director, 60, 70-71 Directory of Sources, 232-240 Drills Handy Hollywood Maidens, 164-168 Magic Roses, 173-175 Patriotic Pinwheels, 198-201 Hutchinson and Pelham Combined Circus, 76, 88, 134-136 stunts of, 136-201 Artichoke, 194 Baffling Belles of Boxville, 196-197 Boxing Bonny and Brawny Ben, 144-147 Cock of the Circus, I58 Gertie the Giraffe, 151-152 Handy Hollywood Maidens, 164-168 Harmonious Harmonica Orchestra, 141 Hill Billies, 183-187 Humpty Dumpty, 143-144 Jazzy Jumbo, 148-151 Loonie and Loko, 195-196 Magic Roses, 173-175 Mickey and Minnie Mice, 152-157 Mighty Militia, 141 Patriotic Pinwheels, 197-200 Perfect Paramount Pyramid Builders, 162-163 Pilfering Pirates, 169-I72 Quintuplets, 193-194 Siamese Twins, 143 Tipsy Tricky Tumblers, 179-182 Towering Tommy and Sammy Short, 142-143 Weird Wompy Wompuses, 158-162 Jingles, 53, 54, 135 creating, o08- 10 of Hutchinson and Pelham Combined Circus, 144, 146, 15i, 157, i6i162, i68, 172, 178, i82, 196 Lighting, 49, 103 Madison Square Garden, 5, 47 Magic names. See novel names. Make-up, 92-101 clown, 93, 95-96 ringmaster, 93-94 Master of ceremonies. See ringmaster. Matinee, 46, 56, 59 MacFactor, 96, 98, ioI Music, 103-107 National Geographic, 26, 90 Novel names, 54-55, 62, 65, 66, 117-118 Officers, 50 Old Roman Circuses, 28, 47 Index Order of events, 66 Organization. See planning. Pageants, mention of, 2, 78 Pages, 58, 60 Parades Big Parade, 58, 59, 79-80, 105, 136 Ringling Brothers, 12 Street, 128-129 Participants, 67 Planning, 42-67, 11I Posters, 120-122 Programs, 81, III circus, 62-65, i08 Hutchinson and Pelham Combined Circus, I37-139 P.T.A., 113, 132 Related stunt factors, 44-55 Reports, 55 Rice Dan, 135-136 Ringmaster, 65, 67-68, 86-87, 88, 107, 134, 187 Side Shows, 217-231 stunts for, 220-231 Amos and Andy, 226 Animal Track Meet, 221 Armless Wonder, 227 Baseball, 225 Bearded Lady, 225 Clothesline Romance, 224 Cowboy's Paradise, 228 Dwarfs, 228-229 Fat Man's Football Game, 226 Half Man and Half Beast, 227 Hawaiian Scenes, 222-223 Hunkey Dora, 221-222 Indians, 230 Midget Weight Lifter, 223 Plantation Days, 227-228 Polo Game, 226 Professor Brainstorm, 229 Sells, 230-231 Skaters, 220 Snake Charmer, 229 Swimming Beauties, Past and Present, 226 Tattooed Man, 227 Thrilling Basket Ball Game, 225 Trip to Mexico, 223 Upside Down House, 220 Who's Who in the Jungles, 221 Wild Animal Cages, 226 Skill, 24, 82-85 Speaking parts, 107-110 Stein's Cosmetic Company, 98 Tents, 48, 86, 88, 115 Tumbling, 35, 76-77, 179-182 Zoo, 5I, 102, III I 0 w hey * ai A d* hc 1"v * L; ' V J; > U, > e* v *.'", THE UNIVERSITY OF MICHIGAN GRADUATE LIBRARY DATE DUE APRFn g W. 3 Form 9584 UNIVERSTY OF MICHIGAN IA 9015 00224 1118 - I I w 10 - I 41 I p r 4..4, - *At,,, "we -------