IC 
 
 1 
 
 A BOOK OF GAMES FOK 
 LITTLE GHILDR.EM - BY 
 
 Irene E.Phillips MosbS 
 
 iii;iiii!ii..hJiimiwi.;;
 
 dSUlr- 
 
 THE LIBRARY 
 
 OF 
 
 THE UNIVERSITY 
 
 OF CALIFORNIA 
 
 LOS ANGELES
 
 
 </. 
 
 X
 
 RHYTHMIC ACTION 
 PLAYS AND DANCES 
 
 A BOOK OF ORIGINAL GAMES AND DANCES, ARRANGED PRO- 
 GRESSIVELY, TO MOTHER GOOSE AND OTHER ACTION 
 SONGS WITH A TEACHING INTRODUCTORY; FOR 
 THE KINDERGARTEN, PRIMARY SCHOOL, 
 PLAYGROUND AND GYMNASIUM 
 
 IRENE E. PHILLIPS MOSES, B. L. 
 
 ( University of California ) 
 Graduate ok The Savage School for Physical Education 
 
 MILTON BRADLEY COMPANY 
 
 SPRINGFIELD, MASS. 
 1918
 
 Copyright, 1915, by 
 
 MILTON BRADLEY COMPANY 
 
 Spbinqfield, Mass. 
 
 Stanbope ipress 
 
 H.GILSON COMPANY 
 BOSTON, USA
 
 
 THIS BOOK IS DEDICATED TO ALL THE LITTLE BOYS AND 
 GIRLS WHO LOVE TO DANCE AND SING, IN MEMORY OF THE 
 LITTLE SON, WHOSE RHYTHMIC CLASPING OF HIS MOTHER'S 
 FINGER INSPIRED HER TO DREAM OF GUIDING HIS FIRST 
 RHYTHMIC STEPS IN THE MANNER HEREIN SET DOWN .-. 
 
 Ill 
 
 674094
 
 FOREWORD 
 
 Physical Education in common with ail other branches of the curriculum has been 
 undergoing important changes with the adaptation of modern theories to the teaching of 
 young children. Games and Folk Dances have come to occupy a well merited place in 
 the child's education. Their successful use is largely the result of their strong universal 
 appeal to the child in contrast to the rather remote interest stimulated by formal gym- 
 nastics. Under these circumstances Games and Rhythmic Action Plays are found to give 
 a maximum of educational and recreative physical exercise. 
 
 In arranging these simple games and dances the author has first of all endeavored to 
 select such songs and actions as will give pleasure to the little children who play them. 
 Should this aim in some measure be accomplished, the chief mission of the book will have 
 been fulfilled. However, it has been hoped that the rhythms may bear some significance 
 from an educational point of view by fiirnishing a drill and training which in a pleas- 
 urable manner will prepare the small child for the more advanced Folk Dances. 
 While the more simple Folk Dances are easily within the ability of children of the Kinder- 
 garten age, their teaching involves a more or less irksome drill on the mechanism of the 
 steps and the evolutions of the dances. By means of a carefully arranged preliminary 
 training this rather tedious period of acquiring the necessary co-ordination can be made 
 one of great pleasure to the children and comparatively easy teaching for the teacher. 
 It is believed that the time spent on these simple games and rhythms will later prove very 
 profitable. 
 
 These little rhythmic Action Plays are presented to the public with the hope 
 
 1. That the small dancers, after having enjoyed these plays, will go on with spon- 
 taneous joy into the more advanced work, finding the transition to Folk and 
 Aesthetic Dancing a natural and easy progression. 
 
 2. That the plays may prove of value to the teacher who finds "starting the chil- 
 dren to dance " a difficult problem. 
 
 3. That they may help to fill the gap between the rhythmic work of the Kinder- 
 garten, which is frequently somewhat disconnected and lacking in progressive 
 arrangement, and the more formal rhythmic work of the Physical Education 
 Department 
 
 The author wishes to here make acknowledgment and expression of her gi-atitude 
 to Miss Kate M. Saunders and Mrs. Louise Bohachek Rouse who, by encouragement, 
 advice and assistance, have helped in the preparation of this book, and to Mrs. Mae 
 Rehberg Scheuerman, to whom much credit is due for her intelligent intei-pretation and 
 skillful adaptation of the music.
 
 TABLE OF CONTENTS 
 
 Part One. page 
 
 Chapter I 1 
 
 Chapter II 
 
 The Teaching of Rhythmic Action 4 
 
 Part Two. 
 
 Rhythmic Action Plays and Dances arranged progressively for teaching. (A 
 list) 15 
 
 Glossary 17 
 
 Key to the Description of the Action Plays 22 
 
 Chapter I 
 
 Walking, Marching and Running 23 
 
 Chapter II 
 
 Sliding 35 
 
 Chapter III 
 
 Knee, Hip and Ankle Action 51 
 
 Chapter IV 
 
 Hippity-hops, Skips and Jigs 67 
 
 Chapter V 
 
 Balance Step and Point Step 77 
 
 Chapter VI 
 
 The Step Hop 85 
 
 Chapter VII 
 
 The "Hop Waltz" 92 
 
 Chapter VIII 
 
 Sliding with alternate use of the feet 96 
 
 Chapter IX 
 
 Couple Dances and other Action Plays in which the Formation is Composed of 
 Several Small Groups 107 
 
 Chapter X 
 
 Miscellaneous Action Plays 135 
 
 Appendix 155 
 
 vii
 
 RHYTHMIC ACTION PLAYS 
 AND DANCES 
 
 PAKT ONE
 
 PART ONE 
 
 CHAPTER I 
 
 General Plan of the Games and Dances as a Course of Study. — The preparation of 
 these games and dances has been, from one point of view, a purely mechanical task; starting 
 out with a more or less definite program, the problem resolved itself into a search for suitable 
 rhymes and music to assist in the expression, explanation and teaching of this couree of 
 study. The elements which it seemed desirable to incorporate in the rhythms may be briefly 
 summed up as follows : 
 
 1. The elimination of names of steps, counts and all straining to secure proper form 
 by means of a conscious effort in that direction. 
 
 2. The substituting of dramatization and imitation to assist in acquiring the desired 
 form, using words instead of counts to accent the rhythm. 
 
 3. A training in simple foot movements other than those involved in walking and running. 
 
 4. The development of balance, accurate adjustment of the body weight and the 
 sense of direction. 
 
 5. The differentiation in the use of the right and left foot. 
 
 6. A stimulation to knee action. 
 
 7. A knowledge of the simple couple formations and floor evolutions. 
 
 8. An acquaintance with the various tempi. 
 
 9. The abihty to execute foot movements in series of 2's, 3's, 4's, 5's, 6's, 7's, 8's 
 and their various combinations. 
 
 Mother Goose. — Many of the Action Plays now in use in some measure fulfil these re- 
 quirements; however, there seems to be a demand for new games which shall prove attract- 
 ive, in theme and spirit, to the English-speaking child. The themes of the Old English 
 traditional games, with their kissing and love making, are in many cases such that they are 
 not appropriate in sentiment for small children; and while the foreign singing games are fas- 
 cinating in their distinctive rhythm, well developed and interesting action, yet the words often 
 lose their jingle in translation. In looking around for suitable material to adapt to the course 
 of study mapped out above. Mother Goose has seemed in many ways the most natural source 
 upon which to draw. The following quotation from a chapter on Mother Goose in Montrose 
 J. Moses's valuable little book "Children's Books and Reading" is an eloquent argument for 
 this adaptation and use of our old nursery rhymes. 
 
 " The melodies have a circuitous literary history. In round-about fashion, the 
 ditties have come out of the obscure past and have been fixed at various times by 
 editors of zealous nature. For the folk-lore student, such investigation has its 
 fascination; but the original rhymes are not all pure food for the nursery. In 
 the course of time, the juvenile volumes have lost the jingles with a tang of com- 
 mon wit. They come to us now, gay with colored print, rippling with merri- 
 ment, with a rhythm that must be kept time to by a tap of the foot upon the 
 floor or by some bodily motion. Claim for them, as you will, an educational 
 value; they are the child's first entrance into storyland; they train his ear, they 
 awaken his mind, they develop his sense of play. It is a joyous garden of incon- 
 gruity we are bequeathed in ' Mother Goose.' " 
 
 Although these jingles have come to us from many lands it can hardly be denied 
 that in their present form they are English Literature. Their appeal is universal, their
 
 2 RHYTHMIC ACTION PLAYS AND DANCES 
 
 charm defies analysis and we know before the telling that they will delight the small 
 listener. And may we not say, that for vivid action and Strong accent of rhythm, these 
 little classics are unparalleled? No argument is needed here for their introduction into 
 the school curriculum; educators and children's librarians throughout the country are 
 appreciating more and more the value of our old nursery rhymes. They are theu* own 
 excuse for being. To start the child's formal rhythmic work with Mother Goose seems, 
 in many ways, the most natural course. In most cases the child already knows these 
 ditties and delights in their repetition and thus they may be utilized as the connecting 
 link between the "known and unknown." These rhymes may be made to fui-nish the 
 excuse for many repetitions of the action, for what child ever tired of repeating Mother 
 Goose over and over. Their introduction as the theme of games and dances has many 
 arguments in its favor. They are all short and yet sufficiently descriptive for dramatic 
 action. The fact that the words are usually familiar obviates the necessity of teaching a 
 large number of new songs. And we already have evidence of their popularity as game 
 material in verses which have a traditional game element such as "London Bridge," "Mary 
 Sits A-weeping," etc. i 
 
 As in the cases of the "Man in the Moon" and "Bean Porridge Hot," "A, B, C," 
 and "Poor Dog Bright" it has seemed desirable to group two of the rhymes together 
 into one game. While the actions were more or less arbitrarily decided upon before the 
 games were arranged, wherever possible, a uniform effort has been made to make the 
 actions the natural expression of the theme of the rhymes. 
 
 Themes other than Mother Goose. — In order to make the course of study complete it 
 was found necessary, in some cases, to introduce songs other than the nursery rhymes. In 
 doing this an effort has been made to make the choice as catholic as possible. Mother Goose 
 is lacking in nature study topics and action of contemporary interest. Many of the songs 
 included in this collection are now in popular use in the schools. 
 
 The Relation of Singing to the Play of Small Children. — Aside from the importance of 
 the use of words to accent the rhythm of the dance there are other reasons why in nearly 
 every instance it has been considered fitting that words accompany the music of these Action 
 Plays. Children all have a tendency to talk to themselves while they play. The oft-repeated 
 phrases soon ari'ange themselves into a sort of chant to be droned over and over. As long as 
 play is individualistic this chant will change with the time, circumstance and mood of the 
 small players. But when a pantomime play is adopted by a group, some formality is 
 necessary and a certain order in the form of expression is evolved. In the visiting game, 
 "I came to see Miss Mehitable Jones, and how is she today?" we have a good example 
 of the half-way stage between the conversational form and the formal verses of such a 
 game as "Round and Round the Village." Very small children do not enjoy nor com- 
 prehend games with a strong competitive element which involve a contest between groups, 
 their play being mostly imitative. The words of the songs give opportunity for mimicry 
 and "make believe." 
 
 The Music. — The selection of appropriate music has been a very perplexing and ar- 
 duous task, as many conflicting elements enter into the situation. To be suitable for 
 the present use the choice has been narrowed to such music as should fulfil these conditions: 
 
 1. Well accented rhythm. 
 
 2. Bright and lively. 
 
 3. The appropriate time, tempo and melody to fit the words and actions. 
 
 4. Simple for childi-en to sing. 
 
 5. Easy to play. 
 
 6. Tunes with a jingle and a "catch" which shall recommend them to children.
 
 RHYTHMIC ACTION PLAYS AND DANCES 3 
 
 Much of the traditional music to Mother Goose is entirely unsuitable for this purpose. 
 Left to themselves to choose, the children usually prefer the rhythms which are rather 
 crude and monotonous as "Farmer in the Dell," etc. Frequently the reason for lack of 
 greater success in rhythmic work may be attributed to the choice of music. May it not be 
 that we adults make a mistake in our demands for the tuneful and harmonious, when 
 what we really should look for is a bright jingle easily sung and played, and with a 
 "catchy" rhythm that will make the kiddies' feet twitch to be a-skipping. We sometimes 
 forget that the development of many little tots is only that which corresponds to the 
 tom-tom period in the history of the race. We accuse some children of lack of rhythm, 
 yet what child does not appreciate the sing-song of "Fraid-cat"? Perhaps, if in these 
 cases we were to make the beginnings simple and slow enough, we could lead the.se little 
 children out of their barbaric period into an appreciation of unity and harmony that would 
 make them feel their kinship with the singing birds, dashing spray and swaying trees. 
 
 The Importance of Pleasure and Enjoyment in Rhythmic Work. — The pleasure the chil- 
 dren derive from their rhythmic work is quite the most important factor of its success. 
 To a great extent the teacher may gauge the successful results of her presentation in the 
 children's response; but to secure this enthusiastic reception from the class, something 
 more is necessary than that the teacher give them a vivacious and inspiring exhibition 
 of the dance. If the teacher would make progress in her teaching and hold the interest 
 and attention of her class from day to day, she can only hope to do so by a careful 
 study of the rhythms, the progi-essive steps in their teaching and the manner in which 
 she presents them to the children. First of all, the teacher must gain and hold the atten- 
 tion, and, while she should always have a firm control of the conduct of the class, in game 
 work particularly, she should keep her personality in the background. When children are 
 absorbed in what they are doing, the problem of discipline becomes negligible. The 
 interest of little children must be immediate; and, while with older classes attention to 
 the mechanism of the dance may be held by a remote interest in the completed dance, 
 this motive cannot be used with small children, hence the necessity of making the work 
 itself interesting. It is hoped that by the use of dramatic and descriptive songs the 
 attention of the children will be aroused and held until the whole class has caught the 
 idea and mastered the desired exercise. For it is always the case that the attention of 
 the precocious tends to wander after they have mastered the problem and that they are 
 bothersome while the members of the group who are slower in acquiring the desired skill 
 are still interested and unprepared to go on to the next step in the progression. 
 
 Children should never be hurried to a new problem before they have mastered that 
 which is intended to prepare for it. And right here is where the greatest mal-adjustments 
 are liable to occur. Be sure that no child will enjoy an exercise in the performance of which 
 he feels himself to fail. It is essential that a class should always feel success, if they are 
 to enjoy their activity. Although mere muscular action may in itself give pleasure, this 
 enjoyment may be overshadowed, however, if the action is under unpleasant circumstan- 
 ces. Experience has shown that the children enjoy repeating "Hickory Dickory Dock" 
 more times than they do the "Chimes of Dunkirk," for the three stamps and slides in 
 the latter have no immediate interest except the pleasure in the ryhthmic movement.
 
 CHAPTER II 
 THE TEACHING OF RHYTHMIC ACTION 
 
 Class Organization. — The organization of the class, for teaching small children, is 
 very properly and in fact necessarily more or less informal; nevertheless, it is essential 
 that the class be conducted with some degree of formality, both for the sake of a clear 
 and satisfactory presentation of the subject matter to be taught and from the point of 
 view of the children; for, contrary to popular belief, experience shows that children wel- 
 come and desire leadership, appreciate authority and dislike haphazard work, while dis- 
 order tires and confuses them. Work given in a poorly conducted class is almost sure to 
 be barren of good results. 
 
 The Circle is the simplest form of organization and is especially suitable for use in 
 classes of small children, — in fact children at play naturally and spontaneously assume 
 this formation. The circle formation is superior to the straight line in being easier to 
 maintain. It is also the natural grouping to assume when a demonstration is made, as 
 is evinced by the circular crowd which collects around a street accident or performance. 
 When the teacher stands in the centre of the circle and demonstrates an action, it is 
 possible for all the class to see her equally well; also if she stands in the circle with the 
 children when they are in action, it induces a sense of comradeship with the group. This 
 formation enables the teacher to look each child in the eye, which is always of great 
 assistance in studying the members of the class in an effort to comprehend their difficulties 
 and read their emotions, as well as in holding the attention and maintaining order. 
 
 When the teacher wishes to assemble a group into a circle she may readily do so by 
 using forms of expression something like the following: "Let's make a circle and take hold 
 of hands," at the same time reaching her arms out sideways to illustrate. Should the chil- 
 dren be slow to come together or stop to play with each other, she may add in a firm 
 and pleasant manner, "quickly, please," "all take hold of hands." Next, to gauge the 
 distance between the children and give room for freedom of movement, the class may be 
 asked to "spread out a little better," at the same time the teacher should step back and 
 raise her arms, thus taking "double distance." These instructions should be followed by 
 the command "let go of hands," for should the teacher fail to give proper consideration 
 to the busy little hands much mischief and disorder will inevitably result. The hands 
 should never be clasped in any grouping except when there is some definite reason for 
 their being so. In fact, niany teachers make it a rule to keep the hands upon the hips 
 whenever possible, thus removing the temptation for the child to squeeze and jerk his 
 neighbor's hands and otherwise distract the attention of the class. 
 
 The Straight Line. When teaching by imitation steps which require a differentiation 
 of the use of the right and left, the circle formation should be abandoned in favor of the 
 straight line; for should the teacher try to demonstrate, in the circle formation, such a 
 movement, those facing her would use the opposite foot to the one she is using, while 
 those beside and behind her would use the same. The evolving of a straight line from a 
 circle is a simple matter for it may be accomplished by choosing a leader, facing the 
 class in " line of direction " and having him lead those behind him out into a straight line. 
 Grouping in Couples. After the teacher becomes somewhat acquainted with her class 
 and the couple dances are introduced, it is recommended that she give each child a part- 
 ner and a permanent position in the circle. By this means it is possible to scatter, through-
 
 RHYTHMIC ACTION PLAYS AND DANCES 5 
 
 out the class, the precocious and older children in such a manner that the diffident and 
 backward may be assisted by those who are quicker to grasp and retain the new idea. 
 If the mischievous children are well separated they will generally give little trouble. This 
 deliberate arranging of the group also helps to maintain better the average of the class, 
 for it is an unfortunate fact that a class can only advance as fast as its slowest members. 
 In some schools the children are seated at their tables or desks in the desired order for 
 floor work, so that they may march out in well-ai'i'anged order to begin active work. 
 For teaching couple dances it is always well to have two pei'manent leadei-s as partners 
 who should be the brightest, most responsible and skillful in the class, for their example 
 and assistance will be invaluable to the re.st of the class. Of course, irregularity of at- 
 tendance, and increasing proficiency will necessitate a continual readjustment of partners; 
 however, a sufficient nucleus of oi'ganization will be constant to make the rearrangement 
 of partners a matter of a moment's consideration. This permanent ari-angement of the 
 group into partners will preclude the necessity of counting off and "opening order" which 
 little tots find difficult. When it is desired to teach the children the idea of "opening 
 order" they may be given the game of "The Little Pigs." 
 
 The question frequently arises in classes which are composed of both boys and girls 
 whether it is advisable and advantageous that the partners be so selected that a boy 
 and girl dance together. This arrangement looks very well in exhibitions and in some 
 dances is very appropriate. As a rule little regard should be paid to the sex of the 
 members of the class when teaching. Seldom is a class equally divided into girls and 
 boys, and, therefore, it is useless to give the time and attention to this grouping. The 
 physical skill and abihty of little boys and girls is almost identical, and a differentiation 
 which nature does not recognize or the children demand is hardly worth considering. 
 
 Teaching by Imitation and Dramatization in Place of Commands and Descriptions. — 
 
 When the first rhythmic work is given it is usually best to teach by imitation as much 
 as possible. By imitation is meant that the teacher first shows each exercise and then 
 dances with the class. Small children find it easier to imitate an action or act out 
 some play than respond to descriptions or commands. Up to the time children enter 
 school, their play has been imaginative and imitative without conscious effort at the 
 differentiation of the activity of the various parts of the body. When a child makes his 
 first efforts at directed activity, he is usually bewildei-ed when asked to raise a right arm 
 sideways or touch the left toe forward. Puzzling instructions and descriptions may be 
 largely avoided if the child is gradually taught to respond to commands and descrip- 
 tions. By the use of such Action Songs as this book includes, it has been found that 
 the use of the names of steps, commands and descriptions of actions is unnecessary. 
 When a child sees "Diddle, Diddle Dumpling" and hears the music he does not need 
 to be told to run in place, raising his knees forward waist high. 
 
 Arousing and Holding the Attention. — The interest aroused by the rhythm itself, if it 
 
 is properly presented, will usually be sufficient to hold the attention of the class. Much 
 depends upon the spirit the teacher puts into the demonstration, — that intangible some- 
 thing which makes the series of motions a dance, not merely inexpressive actions. If the 
 teacher enjoys the rhythm and shows she delights in executing it, there is little doubt 
 but that the class will be eager to copy her demonstration. No written description can 
 convey to ^ the teacher this spirit in which lies the charm of the dance, for it must come 
 from her "feeling the rhythm" and expressing it by the flash of eye, the smile, elasticity 
 of step and the emotion and thrill in the voice. If the teacher would succeed in teach- 
 ing rhythmic work to children she must, when she shows a dance, forget to be a "school 
 marm" by exerting herself to be as fascinating as lies in her power, and this she can 
 easily do without loss of dignity. 
 
 Care should be taken to watch carefully for any waning of the interest, and when
 
 6 RHYTHMIC ACTION PLAYS AND DANCES 
 
 the teacher sees signs of wavering attention, due to loss of interest, then is the time to 
 pass on to another game or dance. The mistake should not be made, however, of allow- 
 ing the children to acquire the habit of flitting from one thing to another, constantly 
 seeking for some new thing to amuse them and never concentrating long enough on one 
 thing to master and really enjoy it. The game "Peter Piper Says Please" has been 
 arranged with the idea of giving the class training in concentration and it may be used 
 when the class have become somewhat disorganized as after a game such as "The Fairy 
 Ship." 
 
 The Musical Accompaniment of Rhythmic Work. — Rhythmic action involves a regular 
 succession of motions in musical time with a periodical recurrence of accent. From 
 the above statement it will be seen what an important factor the musical accompani- 
 ment is in the proper presentation and interpretation of rhythmic work. The accom- 
 paniment should bring out the rhythm of the words by a strong and clear accent of 
 the time, and assist in interpreting the story of the dance by stimulating the emotions 
 and inspiring the children with a desire to express themselves in bodily action. 
 
 Teachers of Dancing will do well to give careful consideration to the subject of their 
 musical accompaniment. A good and helpful accompanist must do more than accurately 
 play the music. First she should carefully study the music, paying particular attention 
 to the marking which indicates the tempo, accent, etc. Next she should study the dance. 
 The parts of the music which accompany skips, hops and other light "bouncing" actions 
 should be light to stimulate the leap. All accented beats, when the foot strikes the floor, 
 the claps, stamps and other single actions should be exaggerated by the bass notes, em- 
 phasized at the expense of the melody, which is here of secondary importance. For sing- 
 ing, the melody is the important part of the accompaniment; for dancing, this is not so 
 largely the case, as it is the accented notes in the bass which give the dancers the time 
 and help them to express the regular recurrence of intervals. When a dance is being demon- 
 strated and taught, the musician should listen carefully and watch every movement to enable 
 her to assist the teacher in bringing out the essential characteristics of the rhythm. Observ- 
 ing the action will help her to pick out the exact notes or measures which correspond to the 
 part of the dance being taught; for in dances of more than one figure, it is as essential 
 that the music be split up into its integral parts, as that the dance be analyzed into its 
 simplest elements. The accompaniment for teaching dancing should no more be con- 
 sidered a musical performance to be played through tOj.the end than one would in teaching 
 singing. The musician should hold herself ready to respond to the command "halt" upon 
 any beat where the teacher may wish to stop and correct a mistake, or repeat a part. 
 Frequently the accompanist may be required to repeat over and over a single measure 
 until some desired point is mastered. 
 
 At first she should take her time from the teacher and the class, but after the desired 
 co-ordination has been acquired, or floor evolution learned, then she should cease to look 
 at the class and pay strict attention to the time and artistic playing of the music. It is 
 a very bad thing for a class to have the accompanist always adapt her time to them, for 
 this will eventually result in both spoiling the musician's time and leaving the training of 
 the class incomplete. The signal to the musician and the class].that they are to hold them- 
 selves in readiness to start at the same instant is the preparatory command "in time"; 
 the signal to start the music and the action is given as soon after the preparatory com- 
 mand as the teacher wishes, and is "begin." The teacher usually glances at the class to 
 see that all are ready after she has given the warning signal "in time" before she adds 
 "begin." The signal to the musician and the class to stop is "halt." 
 
 Words accompany the larger number of these Action Plays; yet they are in many cases 
 intended to be used for descriptive purposes rather than as an accompaniment to the 
 dance, sung by the class. It would be neither wise nor desirable that the children should 
 constantly sing throughout the rhythmic period. If the teacher and the musician sing the
 
 RHYTHMIC ACTION PLAYS AND DANCES 7 
 
 songs as the children dance, this will furnish them a guide to the action, which is more 
 effective and pleasant than counting or descriptive commands would be. Take as an 
 example "The Stork" dance; instead of the teacher's saying "Raise your left foot and 
 stand still on your right, 1-2-3-4-5-6, etc., now change, 1-2-3-4-5-6, etc., now let's fly, 
 etc."; better balance will be kept if the teacher holds the attention by singing the song, 
 and directs the action by illustrating the motions as she sings. 
 
 The Use of the Voice. — Next in importance to the musical accompaniment, the 
 demonstration of the action, and the class conduct, is the use of the voice. All that 
 the teacher wishes to exj)ress or emphasize should be conveyed to the class by the tones 
 of her voice. A careful study of the rhythms from the point of view of their interpre- 
 tation by vocal expression will be well rewarded. "Pussy-cat, pussy-cat, where have you 
 been?" should represent curiosity, interrogation and possibly reproof, and the teacher 
 should express these sentiments when she first repeats the words to the class. The 
 accented beats in the music should be supplemented by accenting the corresponding 
 words in the verse. The voice should also express the tempo of the movement. A slow 
 rhythm such as the motorman tapping his gong should be told in a slow, even way. While 
 the words of "Jack Be Nimble" should be repeated quickly and in a lively spirit. A 
 little thought and consideration given to the possibilities and scope of this subject will 
 readily show one its importance and value. 
 
 The manner in which the teacher expresses herself has much to do with the spirit 
 of the class, their courteous and respectful consideration for one another and their atti- 
 tude toward the teacher. The teacher should address the class in such a way that the 
 children always pay respectful and careful attention to what she has to say. The tones 
 of the voice may be such that they assist the teacher to maintain a firm control over the 
 class. This control of the class is at times rather difficult to keep, as precipitant action 
 often tends to excite the children and disorganize the group activity. Without some re- 
 straint there are liable to be some who will become excited, lose their self control and 
 run aimlessly about, oppressing and interfering with the weaker or more attentive. By 
 firm control is not meant strict discipline nor obnoxious display of authority, but rather 
 the dignified expression we would expect the ideal and loving mother to use when playing 
 with her little ones. 
 
 THE LESSON 
 
 The Beginning of the Rythmic Lesson. — When arranging a course in Gymnastics, or 
 preparing a series of "Day's Orders," it is easier to plan ahead and definitely arrange 
 what the progression is to be from lesson to lesson. The arranging of the lessons in 
 rhythmic work cannot be so definitely planned in advance, owing to the many uncertain 
 elements which may enter into the situation from day to day and disarrange the whole 
 program. The spirit of the class, the spontaneous joy which comes with rhythmic action, 
 the length of time it requires to learn a new movement, and the number of repetitions 
 required to perfect the form are all variable quantities. Therefore it has been deemed 
 unadvisable to arrange a series of rhythmic lessons, but instead briefly to give a few 
 suggestions for the general plan of the lesson. 
 
 The preparation of a program for teaching games and dances to older classes, of 
 necessity, is largely based upon the consideration of precipitant action. For the idea is 
 that a lesson should begin with the least violent action, the middle of the lesson should 
 be the hardest and most active, while at the end of the lesson the heart beat should 
 be slowed down and the strength of the movements gradually tapered off. Children, 
 however, run and jump so easily and with comparatively so little effort that we need
 
 8 RHYTHMIC ACTION PLAYS AND DANCES 
 
 not give to this subject the importance we should if the class were a few years older. 
 We should, however, keep this general scheme in mind when planning our lesson. 
 
 Let us assume for purposes of discussion that we have at our disposal for the rhythmic 
 period fifteen to twenty minutes. The question arises, "How can we utilize this time to 
 give the maximum of motor education, rhythmic training, recreation and fun for the 
 children?" The lesson may well begin with a review, preferably a game or series of actions 
 which are in the direct progression to lead up to the new element which it is proposed to 
 introduce in the lesson. This review will bridge the transition between the previous quiet 
 work and the more strenuous physical activity. Also it is of the utmost importance that 
 the child enjoy the first activity in the lesson in order that we may gain his attention and 
 putihim into a frame of mind where he will enter into new activities with eager anticipa- 
 tion. Children almost without exception enjoy any physical action which they feel they 
 execute with skill and success. 
 
 If the first activity in the period is not a preparation in direct progression for the 
 new element, then it is evident that such a review should next be given to introduce the 
 new element. In every lesson something new should be taught, if nothing more than the 
 correct way to stamp or clap. In this way the children will easily and without any strain- 
 ing gradually acquire motor control and rhythmic sense. This new element should, how- 
 ever, never in any way interfere with the mastery of each stage of the progression, for 
 it is vital to success that the class be given something new only after the preparation has 
 been entirely satisfactorily accomplished. Small children progress much more slowly than 
 adults, because they have less motor control. If the "new element" in the lesson is not 
 a movement which demands that large muscle masses be brought into action, then it is well 
 to give next a few minutes to some skipping or running game; for it is recommended that 
 the class be given sufficiently violent exercise each day to get them out of breath. This 
 should not, however, be carried to an extreme. The aim of the teacher should be to 
 send the child on to the next activity in such a condition that his body is in an im- 
 proved state, such as better circulation and improved nerve control. 
 
 The Ending of the Lesson. — It is a mistake to end the lesson with a disagreeable or 
 difficult task, because iti is greatly to be desired that the child remember his rhythmic 
 period with pleasure. He should be able to recall that he enjoyed the work and that he 
 successfully mastered something new and possibly difficult, for this pleasant memory will 
 insure his bringing enthusiasm and interest to the next game period. The teacher should 
 see to it that her class always goes from the active to the quiet work in a condition of 
 self control. It should never be necessary to resort to discipline to quiet a class after a 
 strenuous physical activity. The probabilities are that the excitement and restlessness 
 are due to quickened heart action such as results from running, hopping, etc. Slow leg 
 movements which draw the blood into the large muscles of the leg are helpful to relieve 
 this condition, such as marching, "Goosey, Goosey Gander," the knee bending and 
 stretching in "Cock-a-doodle-doo" (without the run), "Bobby Shafto," "See-saw No. I," 
 and the "Motorman." Quiet games are also of value, as "Humpty Dumpty," "Little 
 Miss Muffet," "Sing a Song of Sixpence," "The Kewpies," "Come, My Dolly," "The 
 Fairies' Moonlight Dance," " Hush-a-bye Baby," "The Pancake Man" and "The Stork." 
 
 Breathing Exercises. — Breathing exercises are also valuable, and may advantageously 
 be placed at the end of the lesson. "Playing Train" is a good breathing exercise when 
 the breath is held for two measures. Children greatly enjoy imitating animals. To fur- 
 nish an interest and a motive in the breathing exercises, the following animal imitations 
 may be given at a suitable time to correspond with the previous activity in the lesson: 
 mewing of the "Three Little Kittens"; the panting of the dog the master lost; the 
 bleating of the "Black Sheep"; "Cock-a-doodle-doo"; the buzzing of the fly in the 
 spider's parlor, etc. Or they may take long breaths by pretending to smell the "Bios-
 
 RHYTHMIC ACTION PLAYS AND DANCES 9 
 
 soming Flowers '; the violets mentioned in the "Fairies' Moonlight Dance"; the baking 
 pancakes in "The Pancake Man"; the cake in "Pat-a-cake." The class may try to see 
 how many times they can say "tinkle" on one breath to imitate the leading of "Peter 
 Pan" by "Tinker Bell." For sustaining exhalation the children may pretend to blow 
 various things, as example, blowing of such seeds as the dandelion by the wind in 
 "Blossoming Flowers." The rooster in "Cock-a-doodle-doo," "The Stork" or the birds in 
 "Blossoming Flowers" may be supposed to drop feathers which the children blow. Many 
 appropriate themes will doubtless suggest themselves to the teacher. 
 
 Often if the children are given some mental image upon which to concentrate their 
 attention, while the circulation is adjusting, their excitement will pass away. Also when 
 restlessness ensues from concentration or an endeavor to acquire some difficult co-ordina- 
 tion it will rest the mind if their attention is held to some quieting thought. This con- 
 centration upon a mental image may best be done with eyes closed. 
 
 The teacher may present the image in some such form as this: 
 
 "How many of you ever saw an apple tree with flowers on it?" 
 "What color were the flowers?" 
 
 "What happened to the petals when the wind blew?" 
 
 "Suppose we close our eyes and try to think just how they looked flutter- 
 ing down in a cloud of pink." 
 
 This may be given preceding the dance "Come, My Dolly." 
 
 Or the teacher may use this means of suggesting the image to the class: 
 
 "Let's close our eyes and try to remember what a snowstorm looks like. 
 After you have thought about it for a while I am going to ask you to tell me 
 about it. What street did you play you were on? And how large were the 
 snowflakes, and how fast did they fall?" 
 
 Other suggestions correlated with these Action Plays are: 
 Listening to the 
 
 Black Sheep bleat, 
 
 Santa Claus' sleigh bells, 
 
 The tick of the clock which the mouse ran up in "Hickory Dickory Dock." 
 
 Imagining they are watching 
 
 The man in the moon. 
 
 Twinkling little stars. 
 
 Fireflies flickering and flashing, 
 
 Christmas tree and noticing how it is trimmed and what presents are on the 
 tree. 
 
 The autumn wind scattering the leaves, 
 
 The Kewpies flying down from the sky. 
 
 The three ships sailing. Fairy Ship and the ship in which Bobby Shafto sailed 
 to sea. 
 
 Closing the eyes is restful in itself. Softly singing "Hush-a-bye Baby" or "Bye Baby 
 Bunting" with the eyes closed will also have a quieting effect. Another suggestion might 
 be to ask the children to show how quiet and ^till the Brownies and Fairies keep during 
 the day. Much of the success of such suggestions depends upon the quieting and sooth- 
 ing influence of the teacher's voice and manner when she presents them to the class.
 
 10 RHYTHMIC ACTION PLAYS AND DANCES 
 
 THE PROGRESSIVE ORDER OF ARRANGING THE ACTION PLAYS 
 
 The History of Rhythmic Action. — The rapid and unprecedented spread of the Folk 
 Dance movement throughout this country has not been the result of chance but rather 
 because these dances are of such incalculable value from a recreational and educational 
 pomt of view. Aesthetic Dancing is the culmination in our age of a long process of 
 evolution in the art of bodily expression, and as such is a sister to Music and Drawing, 
 and like them it has its well-developed technique. Many of the peasant dances, in 
 reality, represent some of the earlier stages of this evolution. They are less technical, 
 being a popular form of amusement among the crude peasants and have a strong element 
 of imitation, their themes being frequently drawn from everyday life, as instanced by 
 such titles as "The Trip to Stockholm" and "The Shoemaker." It will readily be seen 
 that these dances, characterized by a large amount of energetic action, playful panto- 
 mime and irresistably catchy and vivacious musical accompaniment must strongly and 
 universally appeal to children, whose very instinct prompts them to express themselves 
 in joyous and intense physical activity. However, the Folk Dances are dances of adults 
 and, as such, presuppose the motor skill of the adult peasant and therefore are generally 
 unsuitable for children under the age of eight or nine years. The Folk Dances represent 
 an advance over the more primitive forms in that they are more formal; the exact 
 actions are well defined, while their complicated figures, couple evolutions, and difficult 
 steps are a distinct advance over the individualistic actions of the pantomime dances. 
 
 The earliest form of the dance included only the familiar steps of walking, running 
 and leaping. Each dancer went through his actions alone without the assistance of others, 
 — that is, there was more or less freedom of choice of the form and manner of expression. 
 The circle formation was one of the most common groupings, as the dancing usually took 
 place around a fire, or some object such as the totem pole. To the savage the dance was 
 the highest form of expression for his strongest emotions. The mimicry of the Folk Dance 
 is inherited from the earliest forms. 
 
 The Progressions. — It is neither practical nor necessary that the small child in 
 learning to dance, should progress through the exact stages which mark the evolution of 
 the dance. This would involve the teaching of much that is uncouth and in every way 
 undesirable and unnecessary. Nevertheless, a study of the history of dancing yields 
 many valuable suggestions for the arrangement of a course for the rhythmic motor 
 education of the child. As the first attempts of the savage at a rhythmic movement of 
 his feet made use only of those movements he already knew, just so we ought to start 
 the children to dance by first making rhythmic those actions which the child has previ- 
 ously acquired, namely walking, running and skipping. The first thing for us to do is to 
 decide what we wish to teach and then link these advanced steps with what the child 
 knows by a carefully graded order of arrangement. After we have decided what our goal 
 is to be, we must next analyze and make a careful study of all the essential charac- 
 teristics and basic elements of these advanced dances. All dances are capable of being 
 broken up into more simple forms which, in the last analysis, are evolutions of walks, 
 runs, sUdes and skips. Too much importance cannot be placed upon making rhythmic 
 work simple and easy for the child by linking the unknown complicated steps with 
 what he already knows. It is possible to arrange these basic elements of steps in several 
 different orders of progression, each of which has much to recommend it; however, any 
 successful progression must be so arranged that each new element added is so natural a 
 sequence of the preceding that it is almost a spontaneous evolution. The preparatory 
 teaching should be such that when it is desired to teach a new dance, the teacher has 
 only to show how previously acquired actions may be united in a new way with as small 
 an element as possible of the unacquired. It is not claimed nor expected that the follow- 
 ing progressively arranged Action Plays fulfil this ideal nor that they will supersede all
 
 RHYTHMIC ACTION PLAYS AND DANCES 11 
 
 other rhythmic work now in successful use. They are merely presented as representing 
 one possible set of progressions. It is recommended, if the teacher wishes to use this pro- 
 gressive order, that she analyze those games, which she has in the past found suitable 
 for her classes, and either substitute them in the proper place for those included here, or 
 use them as desirable and profitable additions to the course. On the other hand, if the 
 teacher wishes to use some other series of progression; then the grading here may be en- 
 tirely disregarded, as many of the rhythms require about an equal amount of skill and may 
 be given simultaneously. If no progression is used, then the dances cannot be expected 
 to lead up as efficiently to more advanced work. This would tend to make each rhythm 
 an end in itself. While due regard has been paid to making the rhythms pleasurable to 
 the children and attractive and pleasing to the spectator, the ideal in mind has been to 
 educate and develop the child and unfold his powers. Although each represents a com- 
 plete unit, they are not ends in themselves but represent a series of stages leading up to 
 higher things. None of these Action Plays, — with the possible exception of "Bean Por- 
 ridge Hot," — is accompanied by traditional action, although traditional singing games 
 and dances have been freely borrowed from for ideas. This has been considered both 
 excusable and inevitable, considering that the course is supposed to be preparatory to 
 more advanced work. After its completion it is anticipated that the children will be 
 familiar with many of the couple evolutions, rhythmic steps and actions which are a part 
 of our most popular Folk Dances. Some of the rhythms are almost absurdly short and 
 simple, as "To Market," but it must be remembered that little children always start 
 memorizing with short words and phrases. In teaching dancing to adults the progression 
 need neither be as slow nor elaborate. Often in a single lesson all the steps of a simple 
 dance may be taught and assembled. This method is not generally satisfactory for small 
 children. It is better to teach each action as a separate rhythm thus giving the children 
 an immediate interest. For example, "See-saw No. Ill" is prepared for by a whole series 
 of progressions and when, after the child has learned all its integral parts and the dance 
 as a whole is given him, the sequence of figures and final synthesis and assembling of 
 parts will be a revelation and a joy to him. 
 
 The Teaching of the Action Plays. — Learning to dance is a matter of physical 
 growth and mental development and this should be thoroughly recognized by the teacher. 
 When this is properly understood the importance of progressing slowly will be appreci- 
 ated, and the futility of hurrying the class to cover a course will be evident. Disregard 
 of this important point will certainly endanger the success of all future work and give the 
 child a large amount to unlearn. What a child learns he should learn correctly, and this 
 he cannot do if he is hurried on to something new before he is properly prepared. One 
 of the most difficult tasks in motor-education is to correct a fixed undesirable habit of 
 motor-reaction. The time to correct a spelling lesson is said to be before it is written. 
 Just so with dancing, the time to teach good form is when an action is first presented, 
 as example, the child should from the first be encouraged to dance lightly and with good 
 knee action to obviate jars. To teach intelligently any form of Physical Training it is 
 necessary that the teacher constantly keep in mind something of the mental and physical 
 processes involved in acquiring a new co-ordination, for in this way only, can she nicely 
 judge when the class is prepared to pass on to a new stage in the progression. Briefly, 
 this is the way a new movement is acquired: 
 
 1. The teacher helps the child to construct a mental image of the desired action. 
 
 (a) Through the eye (by demonstration of the movement). 
 
 (b) Through the ear (by oral description). 
 
 (c) By stimulating his imagination. 
 
 The mental image must be constructed by a new association of what he already knows.
 
 12 RHYTHMIC ACTION PLAYS AND DANCES 
 
 2. The child's brain sends out an impulse through the nerves to reproduce the image 
 in physical activity. 
 
 3. This impulse stimulates certain muscles, which respond with an effort to produce 
 the desired action. 
 
 4. The stimulated muscles may not at first hit upon the correct reaction to corre- 
 spond to the mental image, in which case an experimental stage will follow the 
 sending out of the impulse by the brain. This experimental stage is called the 
 period of "trial and error." After some experimenting and practicing, the stimu- 
 lated muscles will learn to do team work and the desired action will result. 
 
 5. The movement must be repeated a sufficient number of times for the impulse 
 which stimulates the action to make a nerve pathway and thus fix the proper habit 
 of reaction. 
 
 6. After the habit of reaction has been fixed, the movement becomes reflex and may 
 be stimulated without the direction of the brain, the control passing to the spinal 
 cord. 
 
 From the above rapid and superficial survey may be deduced that the teacher should 
 first of all take great care in building up the mental image of the action which she wishes 
 reproduced; for if the image of the desired action is not properly constructed, she cannot 
 expect the reaction to be satisfactoiy. Without making the presentation tedious or con- 
 fusing she should help the child to construct as accurate an image as possible of what 
 she desires to teach. It is believed that little descriptive and dramatic Action Plays are 
 a valuable aid to such a presentation. Mistakes and probable misunderstanding should 
 be guarded against by looking ahead for possible errors and then incorporating in the 
 rhythm or the manner of its presentation some element which will make clear the point 
 which is liable to be misinterpreted. That is, instead of caution against a mistake, let her 
 tell the child to do something which will in itself induce the correct form. In "Diddle, 
 Diddle Dumphng" we have a rhythm which is bound to introduce the desired knee action 
 into the stamp, as the knees are certain to be raised waist-high, because of the previous 
 knee action of the quick run in place. 
 
 If the child is very much interested and anticipates with delight trying to make any 
 desired motion, then the impulse sent out to the muscles will be correspondingly strong 
 and successful. 
 
 Great patience is required in teaching any form of Physical Training because of the 
 period of "trial and error," when the class may perhaps be indifferently accomphshing 
 what is expected of them. The teacher should not at this time fret herself with useless 
 endeavors to correct mistakes, nor should she distract the attention of the class by ad- 
 monitory commands and descriptions. Give the class time to do so and they will prob- 
 ably prove that the apparent mistakes were only made because the muscles were learning 
 how to respond to the stimulus of the impulse, by trying out how best to make the move- 
 ment. Always let the teacher remember that, if she can be reasonably sure that the 
 children have a correct mental image of the desired action, if this action is within the 
 abiUty of the class, and if the desire to reproduce it is sufficiently strong, then the proper 
 co-ordination is almost sure to be acquired, if the class is allowed sufficient time for ex- 
 perimenting and practicing. 
 
 The time when the action becomes reflex is also liable to bring discouragement, for 
 after the class has been correctly executing the movement for some little time, the teacher 
 may look around and discover that a part or all of the children seem to have lost their 
 recently acquired skill. This is the truth, for when the control of the action passed from 
 the brain to the spinal cord some link in the chain of stimulus, impulse and reaction was 
 lost. This break in the association happens quite frequently, especially when the rhythm
 
 RHYTHMIC ACTION PLAYS AND DANCES 13 
 
 requires such co-ordination as the taps in "The Motorman." This loss of abiHty to per- 
 form the movement is really not as serious as it appears to be. The teacher has only to 
 go back to the beginning and briefly review her previous presentation of the action, which 
 will serve to bring the direction of the movement back to the brain and thus re-establish 
 the proper reaction. It may be necessary, if the co-ordination is difficult to acquire, to 
 repeat such a review a number of times. 
 
 When teaching a new movement, all confusing and complicating elements should be 
 eliminated in order that the presentation may be as simple as possible. It is therefore, 
 in most cases, best to teach the words of the Action Play before the movement is shown. 
 The teaching of the words may be taken care of in the singing circle or song period. 
 The use of Mother Goose rhymes minimizes the number of songs to be taught, as many 
 are already familiar to the children. It should not be expected that the children .should 
 constantly sing when they are learning a difficult action. When the children seem to pre- 
 fer to do the action without singing the words aloud, the teacher may sing and thus fur- 
 nish a guide to the action, much as a mother sings "Pat-a-cake, pat-a-cake, baker's man" 
 when she is teaching her baby to "pat-a-cake." When the movement is difficult the 
 musical accompaniment often is distracting. During the period of "trial and error" it is 
 frequently easiest for each child to take his own time when experimenting how to accom- 
 plish the movement; therefore, the uniformity of time set by the music acts as a hindrance 
 instead of giving assistance. A step which involves a leap or a jump demands that the 
 attention be divided between the learning of the mechanism of the step and acquiring 
 the difficult task of properly adjusting the body weight. For this reason the mechanism 
 should be taught by walking the step and adding the leap after the proper form has been 
 mastered. 
 
 The plan of presenting a Song Play may follow this order: 
 
 1. Teach the song. 
 
 2. Review previously acquired actions upon which new movement is based. 
 
 3. Present the new action in such a way that the child will construct the 
 proper mental image. 
 
 4. Let the children walk the new step or movement without leaps, the teacher 
 singing the words of the Song Play. 
 
 5. Let the children walk the step with the music slowly accompanying the 
 action. The tempo should follow the action of the class. 
 
 6. Let the children dance the step with the music following the action of the 
 class. 
 
 7. Let the children dance the step while singing the words, following the time 
 set by the piano.
 
 RHYTHMIC ACTION PLAYS 
 AND DANCES 
 
 PAET TWO
 
 PART TWO 
 
 CONTENTS 
 
 Rhythmic Action Plays and Dances arranged progressively for teaching. 
 
 PAGE 
 
 Chapter I. Walking, Marching and 
 
 Running 23 
 
 The Kewpies '23 
 
 The Crooked Man 24 
 
 Little Miss Muffet 26 
 
 Wee Willie Winkie 27 
 
 Lucy Locket 28 
 
 Sing a Song of Sixpence ..*.... 29 
 
 The Pancake Man 81 
 
 The Tin Soldiers 33 
 
 Chapter II. Sliding 35 
 
 Playing Train 36 
 
 Here We Go on a Merry-go-round 38 
 
 Santa Claus and the Christmas Tree . 40 
 Oh Where, Oh Where Has My Little 
 
 Dog Gone? 42 
 
 Yankee Doodle 86 
 
 To Market 43 
 
 Hickory, Dickory, Dock 44 
 
 Peter Pan 45 
 
 Pussy Cat, Pussy Cat 47 
 
 Three Funny Old Men 49 
 
 Chapter III. Knee, Hip and Ankle 
 
 Action 51 
 
 The Stork 51 
 
 See-saw, No. I 53 
 
 Goosey, Goosey, Gander 54 
 
 Diddle, Diddle Dumpling 55 
 
 Walking on Stilts 57 
 
 The Motorman 57 
 
 Cock-a-doodle-doo 61 
 
 The Man in the Moon 63 
 
 Bobby Shafto 66 
 
 PAGE 
 
 Chapter IV. Hippity Hops, Skips and 
 
 Jigs 67 
 
 Hush-a-bye Baby 68 
 
 See-saw, No. II 69 
 
 Here We Go on a Merry-go-round 38 
 
 Old King Cole 71 
 
 Dame, Get Up and Bake Your Pies. 73 
 
 Ride A Cock Horse 74 
 
 Hippity Hop to the Barber Shop . . 75 
 
 Chapter V. Balance Step and Point 
 
 Step 77 
 
 Leg over Leg. (Music) 90 
 
 Twinkle, Twinkle, Little Star, No. I . 78 
 
 Come, My Dolly 79 
 
 The Fireflies' Dance 82 
 
 The Fairies' Moonlight Dance ... 84 
 
 Chapter VI. The Step Hop 85 
 
 Leg over Leg. (Music) 90 
 
 Yankee Doodle 86 
 
 Jack Be Nimble 89 
 
 Leg over Leg. (Game) 90 
 
 Jack and Jill, No. I 91 
 
 Chapter VII. The " Hop Waltz " . 
 
 See-saw, No. Ill 
 
 Chapter VIH. Sliding 
 Use of the Feet . 
 
 with Alternate 
 
 92 
 92 
 
 96 
 
 Children Sliding 97 
 
 The Fairies' Moonlight Dance (Music) 84 
 
 The Christmas Ships 98 
 
 Brownies and Fairies 100 
 
 Jack and Jill, No. II 103 
 
 The Little Nut Tree 105 
 
 15
 
 16 
 
 CONTENTS 
 
 PAGE 
 
 Chapter IX. Couple Dances and other 
 Action Plays in which the Forma- 
 tion is Composed of Several Small 
 
 Groups 107 
 
 Bow-wow-wow 109 
 
 Two Little Blackbirds HO 
 
 The Little Pigs 112 
 
 Pat-a-cake 114 
 
 Three Little Kittens \ . 116 
 
 Ba, Ba, Black Sheep 120 
 
 The Old Man in Leather 123 
 
 Hippity Hop to the Barber Shop. 
 
 (With change of partners) ... 75 
 
 Twinkle, Twinkle, Little Star, No. II 126 
 
 Girls and Boys, Come Out to Play . 129 
 
 PAGE 
 
 Puss, Puss, Grey Cat 132 
 
 Chapter X. Miscellaneous Action Plays 135 
 
 The Fairy Ship 136 
 
 Little Boy Blue 138 
 
 The Spider and the Fly 138 
 
 Mistress Mary 139 
 
 The Elephants' Dance 140 
 
 Simple Simon 140 
 
 Humpty Dumpty 143 
 
 Peter Piper Says Please 144 
 
 Hey Diddle Diddle 144 
 
 Poor Dog Bright 145 
 
 Bye Baby Bunting 147 
 
 Blossoming Flowers 149
 
 GLOSSARY 
 
 CLAP. Raise the left hand forward about waist high, 
 palm facing upward; slap the palm of the left hand with 
 the fingers of the right. This way is less liable to sting 
 and will make a louder noise than when the palms are struck 
 together. The position is a very convenient one from which 
 to pass to other movements, a.s it does not involve rotat- 
 ing the forearm as is necessary when the fingers are pointed 
 upward. 
 
 CURTSY. Step backward on the right foot; bend the 
 right knee, straighten left leg and incline the body slightly 
 forward. At the same time the skirts may be grasped at 
 either side and spread sideways. 
 
 KNEELING. To kneel in a dance, bend the left knee and place the right knee on 
 the floor, from which position it is very easy to arise and continue the dance. 
 
 FINGER SHAKE. Raise the left arm forward waist 
 high, forearm parallel to the floor, palm facing downward. 
 Rest the right elbow lightly on the back of the left hand 
 and raise the right forearm perpendicular to the left hand. 
 Point the right forefinger upward. In shaking the finger 
 the movement is not so much a flexion of the elbow as a 
 rotation of the forearm which turns the finger about one 
 third of a circle from right to left, thus turning the point 
 of the finger toward partner. The finger shake may be ex- 
 pressive of accusation, inquisition, derision, playful demon- 
 stration of vivacity or mischievous display of tender senti- 
 ment. 
 
 17
 
 18 
 
 GLOSSARY 
 
 ARM HOOK. As partners stand facing and slightly to the side, they hook their 
 nearest arms together by linking them at the elbow. 
 
 STAMP. Raise the knee and incline body slightly toward knee; then slap the floor 
 with the foot by forcibly straightening the knee, at the same time raise body to an erect 
 posture. 
 
 JUMPING (e.g. as in "Old King Cole"). Bend the knees; stretch the knees and leap' 
 in the air; land on the floor with the knees separated, the heels raised and the knees bent. 
 The smallest child should be taught to land properly with the knees bent to obviate jar. 
 The teaching should be by demonstration and suggestion. The teacher may suggest that 
 the class listen to see who can come down without making any noise. She may also illus- 
 trate the jar which comes from landing stiff legged and the easy and quiet landing which 
 results from proper form. 
 
 HIGH KNEE BENDING. Raise the knee until the thigh is parallel to the floor. 
 Make a right angle at the knee and point the toe toward the floor. 
 
 HOP WALTZ. This step is a modified form for 
 small children of a common step in Folk Dancing, the 
 "Step Hop Waltz." A careful description of the mechan- 
 ism is given in Chapter VII. 
 
 BALANCE STEP. Step sideways and point the toe of opposite foot forward, then 
 raise and lower the heel of the supporting foot. 
 
 POINT STEP. 
 
 Count 1. Raise the right foot and point the right toe forward, turning the 
 
 right heel to the left and forward. 
 
 Count 2. Raise the toe from the floor by raising the leg as a whole. 
 
 Count 3. Step forward on the right foot. 
 
 Repeat with the left foot and continue alternating right and left foot. 
 
 WRING THE DISH RAG. Two children stand facing with their hands clasped. 
 
 They turn around in place by turning away from each other, back to back and toward 
 
 each other again; this they do without letting go of hands. First the clasped hands are 
 
 raised in the direction they are to turn and the children turn away from each other under 
 
 the arch thus formed by the raised arms. The clasped hands are then passed over the 
 
 head and down at the other side as they turn back to back. As the children complpte 
 
 the turn and face each other the other clasped hands are raised and passed over the head 
 
 following the same direction and path as those first to be raised. j 
 
 ■1 
 IN PLACE. An action executed in place means that the dancer performs the action 
 
 on the spot where he is standing and does not move away in any direction from the 
 
 position he is occupying on the floor.
 
 GLOSSARY 19 
 
 ^-' ^^ IN LINE OF DIRECTION is a term which means direc- 
 
 / ^ tion of movement ai'ound the circle, the progression being coun- 
 
 / V ter clockwise. When a dancer is facing the centre of a circle 
 
 r \ the movement is to his right. 
 
 ' I The use of this command does away with much unneces- 
 
 \ ' sary and often involved explanation. The children should be 
 
 N / accustomed to the use of the term as soon as possible by the 
 
 ^sv ^ teacher naming the action whenever opportunity offers. 
 
 NEIGHBOR is the term used to designate the one who stands next to the dancer in 
 the formation but who is not his partner. 
 
 
 I } V ' 
 
 iD <i,p 
 
 N Neighbors. 
 
 P Partners. 
 
 OUTSIDE PARTNER is the partner who is farthest away from the centre of the 
 circle. 
 
 INSIDE PARTNER is the partner nearest the centre of the circle. 
 
 OUTSIDE HANDS AND FEET are the left hands and feet of the inside partners 
 and the right hands and feet of the outside partners when in circle formation, facing in 
 line of direction. 
 
 O Outside Feet- 
 
 I Inside Feet. 
 
 c^ 
 
 cr:3> 
 
 INSIDE HANDS AND FEET are the right hands and feet of inside partners and left 
 hands and feet of outside partners when in circle formation, facing in line of direction.
 
 20 GLOSSARY 
 
 SINGLE CIRCLE FACING INWARD is the formation in which the dancers stand 
 side by side around a circle facing the centre. 
 
 
 SINGLE CIRCLE, PARTNERS FACING is the formation in which every other one 
 in the circle faces in the opposite direction; that is, partners stand facing each other with 
 their sides to the centre of the circle. 
 
 A S 
 
 DOUBLE CIRCLE is the formation of two concentric circles, facing inward or facing 
 outward as desired. 
 
 o ^^ o
 
 GLOSSARY 21 
 
 DOUBLE CIRCLE, FACING IN LINE OF DIRECTION is the formation in which 
 partners stand side by side in couples. 

 
 22 
 
 KEY TO THE DESCRIPTIONS OF THE ACTION PLAYS 
 
 FORMATION appears immediately after the music and indicates the organization 
 or arrangement of the group when the game begins. 
 
 THE ITALICIZED COLUMN TO THE LEFT of the page gives the words of the 
 Action Play, when the column is read from top to bottom. 
 
 THE COLUMN TO THE RIGHT of the page gives the actions of the song, when 
 the column is read from top to bottom. 
 
 TO STUDY OUT AN ACTION PLAY read the page crosswise. The words of the 
 song appear in the same spacing directly opposite the description of their drama- 
 tization. 
 
 THE PICTURES are in juxtaposition to the part of the text which they illustrate. 
 
 THE SPACINGS between the descriptions of the action serve to show just how 
 much of the game or dance is done to the opposite words. 
 
 This plan has been followed throughout the descriptions wherever it seemed 
 practical or necessary, in order to preclude any misunderstanding of just what 
 action is intended for each part of the song. This arrangement of the descriptions 
 also enables the teacher to easily refer to any point in the description without 
 rereading the whole. 
 
 Most games and dances are intended to be continuously repeated as many 
 times as is desired. 
 
 Unless otherwise stated, concentric circles are composed of the same number 
 of children.
 
 PART TWO 
 
 CHAPTER I 
 
 Walking, Marching and Running. — This group includes Action Plays which have a 
 strong element of pantomime, and yet require little skill beyond that which the children 
 already possess. Marching is essentially rhythmic walking and "The Tin Soldier," with which 
 the group ends, is intended to start the children in formal marching. The aim of the 
 group as a whole is to organize the class into the most simple of all formations, the circle, 
 and introduce to the child the idea of rhythmic action. The running is of the most in- 
 formal kind and little attention is paid to keeping in time with the music. 
 
 Progression for Teaching 
 
 The Kewpies. 
 The Crooked Man. 
 Little Miss Muffet. 
 Wee Willie Winkie. 
 
 Lucy Locket. 
 Sing a Song of Sixpence. 
 The Pancake Man. 
 The Tin Soldiers. 
 
 THE KEWPIES* 
 
 Irene E. Phillips Moses 
 
 S 
 
 — I- 
 
 German 
 
 ^ 
 
 e1 
 
 The Kew - pies, the Kew - pies, all round us they spread ; They 
 
 — b h- 
 
 S 
 
 Jl 
 
 X 
 
 — b- 
 
 f -^ 
 
 ^=^1 
 
 s 
 
 «=*: 
 
 t^^ 
 
 1\ 
 
 -A- 
 
 :i 
 
 :&: 
 
 dance and they whirl 
 
 till they turn (Ma - ry's) head. 
 
 FE 
 
 il 
 
 I 
 
 ^ 
 
 ^- 
 
 * The word Kewpie is here used with the kind permission of the Woman's Home Companion, where the 
 Kewpies may be seen from month to month. 
 
 23
 
 24 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 The children join hands in a circle and walk around in line of direction swinging 
 their arms and singing the words of the song. On the words "turn (Mary's) head" some 
 child in the circle previously chosen is named in the song and turns around with her back 
 to the centre of the circle and again joins hands with her neighbors. The words are 
 repeatedjover and over, and at each repetition the child to the right of the last one to 
 turn is named in the song and turns around. This continues until all have tiu-ned with 
 their backs to the centre of the circle, when the children in the same rotation turn round 
 one by one and face the centre again. 
 
 Note: This is a simple game but very popular with small children. It has the same 
 action as the old English game "Green Gravel" but with a less sentimental theme. The 
 teacher may tell the class about Rose O'Neill's Kewpies and their pranks which turn peo- 
 ples' heads, showing them the pictiu-es of these delightful little people. 
 
 Mother Goose 
 
 THE CROOKED MAN 
 
 Mae Rehberg Scheuerman 
 
 Allegretto 
 
 ^ — s — N — V 
 
 |SEJi||ftii8 
 
 m 
 
 \ — N — 1^' — N- 
 — •— bS — *-r 
 
 -V— ^- 
 
 ^-ir \-^ —\~ PS 1^ IN 1 1 H- 
 
 
 There was a crooked man,he walked a crooked mile, He found a crooked sixpence a ■ 
 
 ■^ * ♦ it _ 
 
 •F — , i^ 
 
 H- 
 
 tr- 
 
 5 
 
 f 

 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 25 
 
 
 -#^r 
 
 ^ 
 
 E 
 
 gainst a crook - ed stile; 
 
 .^ 
 
 He bought a crook - ed cat, which 
 
 X 
 
 -^ 
 
 m 
 
 ^= 
 
 imi 
 
 ^tA: 
 
 d 1 
 
 -^# — • — •■ 
 
 :e^= 
 
 ^ 
 
 ^ 
 
 3^ 
 
 -N — I \ — I- 
 
 m 
 
 caught a crooked mouse,And they all lived to-geth-er in a lit- tie crooked house. 
 
 
 I 
 
 ;^=F: 
 
 — i — 
 
 jfc. 
 
 MA 
 
 Formation. — A single circle facing in line of direction. 
 
 March forward in line of direction. 
 
 There was a crooked man, he walked a crooked mile, 
 He found a crooked sixpence against a crooked stile; 
 He bought a crooked cat, which caught a crooked mouse, 
 
 And 
 
 Halt and face centre of circle. 
 
 they all lived together 
 in a little crooked house. 
 
 All kneel on right knee.
 
 26 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 LITTLE MISS MUFFET 
 
 Mother Goose 
 
 AUegretto 
 
 ^ — N— 
 
 Traditional Tune 
 
 E3=i 
 
 -4s- 
 
 :1^ 
 
 -N- 
 
 -•zztzi-jt-t 
 
 :& 
 
 :•=#: 
 
 ±±i 
 
 s— 
 
 Lit - tie Miss Muf-fet, she sat on a tuf-fet Eat-ing curds and whey; There 
 
 accel. 
 
 :s3^ 
 
 ^A- 
 
 -•— ^ 
 
 ^=i 
 
 ^-^- 
 
 -->, — V- 
 
 came a black spi-der and sat down beside her And frightened Miss Muf-fet a - way. 
 
 ^ 
 
 ^ — d — * 
 
 :i 
 
 ■«-*? 
 
 II 
 
 Formation. — All the children kneel a good distance apart, on the right knee, facing 
 the centre of the circle and holding an imaginary bowl in the left arm, except an odd 
 one, the spider, who is on the outside of the circle. 
 
 Little Miss Muffet, 
 she sat on a tuffet 
 Eating curds and whey; 
 
 There came a black spider 
 and sat down beside her, 
 
 And Jrightened Miss Muffet away. 
 
 The children go through 
 the movements of pretend- 
 ing to eat from the im- 
 aginary bowl while the 
 spider steals around on 
 the outside of the circle. 
 
 The spider sits down on 
 the right side of some one 
 whom he wishes to scare 
 away. 
 
 The one on whose right the spider sits, jumps 
 up and runs away and becomes the new 
 spider. The spider then moves into the va- 
 cant place and the game continues as before.
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 1 WEE WILLIE WINKIE 
 
 27 
 
 Mother Goose 
 
 Mae Rehberg Scheuerman 
 
 
 =!=" 
 
 =^ 
 
 diziil: 
 
 m 
 
 d — •- 
 
 ^- 
 
 Wee Wil-lie Winkie runs thro' the town, Up stairs and down stairs in his night-gown ; 
 
 ^^ 
 
 r 
 
 =^=1 
 
 :^: 
 
 ~P- 
 
 -P 
 
 
 k 
 
 * 
 
 ^F==^: 
 
 1 
 
 
 ^^^l^^-0- 
 
 :t^=f=F: 
 
 '^=I\2 
 
 -+ 
 ^ 
 
 m 
 
 Rapping on the window, crying thro' the look, Are the children in their beds now 'tis eight o'clock ? 
 
 i 
 
 :4 
 
 i?:i=^: 
 
 ^ 
 
 X 
 
 -I — 
 
 5^ 
 
 '^ 
 
 -4- 
 
 3 i- 
 
 Formation. — A single circle facing inward with an odd one (Wee Willie Winkie) on 
 the outside of the circle. 
 
 Wee Willie Winkie runs through the town, "Wee Willie" runs around on outside of 
 
 Upstairs and downstairs in his nightgown; circle. 
 
 Rapping on the window, 
 
 "Wee Willie" stops and claps his hands twice, which is the 
 signal for the children to go to sleep. This they do by clos- 
 ing their eyes and placing their cheek on the back of their 
 hand. 
 
 crying through the lock, 
 
 'Wee Willie" places his hand to his mouth as if calling. 
 
 Are the children in their beds, 
 now 'tis eight o'clock? 
 
 "Wee Willie" steals into the circle and looks around to see 
 if all are asleep, then he quickly rans out and taps someone 
 on the back, who chases "Wee Willie" endeavoring to catch 
 him before he is back to the vacant place in the circle. 
 Should he succeed, the game begins again with the same 
 "Wee Willie," otherwise the chaser is the new "Wee Willie" 
 for the repetition of the game.
 
 28 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 LUCY LOCKET 
 
 Mother Goose 
 Moderato 
 
 Traditional 
 
 accel. 
 
 -P — P — g=p=:^ ^- I — ^ ^ ^ — h P— — * — j^- 
 
 Lu - cy Lock - et lost her pock - et, Kit - ty Fish - er found it; But 
 ^ -^9- -(2- ' ip: -(9- -(2- 
 
 a 
 
 I 
 
 ^ 
 
 t 
 
 =^ 
 
 i 
 
 fc^==^ 
 
 ra 
 
 ne'er a pen - ny was there in't Ex - cept the bind - ing round it. 
 
 S # -^ ♦ ^ ♦ ♦ 
 
 Formation. — A single circle standing facing inward, with a Lucy Locket on the outside of 
 circle chosen to drop the handkerchief. 
 
 iMcy Locket lost her pocket, 
 
 Kitty Fisher found it ; 
 
 Lucy Locket runs around on outside of circle and drops 
 her handkerchief behind someone in the circle, 
 
 the one behind whom the handkerchief is dropped picks it up 
 
 But ne'er a penny was there in't and pursues Lucy Locket around the circle in an effort to 
 Except the binding round it. catch Lucy Locket before she gains the vacant place. 
 
 Should she succeed in catching her, the game begins again 
 with the same Lucy Locket, otherwise Kitty Fisher be- 
 comes the new Lucy Locket.
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 SING A SONG OF SIXPENCE 
 
 20 
 
 Mother Goose 
 
 Mae Rehberg Scheuerman 
 
 :^- 
 
 -V- 
 
 jdijcizpc 
 
 :F:^=^- 
 
 1 
 
 -I — 
 
 Sing a song of six - pence, a pock-et full of rye, 
 * it - - -^ 
 
 
 =P=i: 
 
 t^ 
 
 ;& 
 
 Four and twen-ty 
 
 -P 
 
 't 
 
 -h- — I- 
 
 ^ 
 
 :^: 
 
 -V- 
 
 black - birds, baked 
 
 m^m 
 
 ^^^ 
 
 in a pie. When the pie was o 
 
 £^ 
 
 =^ 
 
 f= 
 
 pened the 
 
 L #- 
 
 ^i^EJ 
 
 |^=f^G^=a 
 
 -S— N-(=— f> 
 
 — N ^- 
 
 -^ it 
 
 -h— ^- 
 
 The king was in his count-ing house count - ing out his mon - ey. The 
 
 §1|4 
 
 ^- 
 
 J^ 
 
 
 J-r 
 
 S= 
 
 J •* 1 — 
 
 d-T-^- 
 
 ? 
 
 ;^— I 
 
 in the par - lor eat - ing bread and hon - ey. The maid was in the 
 
 I — I — 
 
 #- 
 
 /r\ 
 
 ^^^ 
 
 ^ 
 
 m 
 
 gar - den hang-ing out her clothes, A - long came a black-bird and nipped off her nose. 
 
 ifei 
 
 
 t: 
 
 X- 
 
 ■^ 
 
 ■^-r- 
 
 i 
 
 
 II
 
 30 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 Formation. — The players stand in a single circle facing in line of direction, with their 
 hands placed upon the shoulders of the one in front. A single blackbird stands in the 
 centre. 
 
 Sing a song of sixpence, a pocket full of rye, 
 Four and twenty blackbirds baked in a pie. 
 
 When the pie 
 
 ivas opened the birds began to sing, 
 
 Wasn't that a dainty dish 
 
 to set before a king? 
 
 The king was in his counting 
 house counting out his money. 
 
 The queen was in the parlor 
 eating bread and honey. 
 
 The maid was in the garden 
 hanging out her clothes, 
 
 Along came a blackbird 
 and nipped off her nose. 
 
 The players march around in a circle. 
 
 Face centre of circle. 
 
 March backward to represent opening of pie. 
 
 Raise hands forward upward as if showing pie. 
 
 Lower arms and bow forward as if setting 
 dish before a king. 
 
 Go through motions to represent counting 
 out money. Hold up left hand and with the 
 right index finger touch each of the fingers of 
 the left hand, beginning with the little finger. 
 
 Spread an imaginary slice of bread 
 by running the forefinger (knife) 
 over left palm (bread), then hold 
 right hand to mouth as if eating. 
 
 Raise arms forward upward toward 
 an imaginary line and raise on toes. 
 
 Run right forefinger down nose. 
 
 Show nose by placing the thumb 
 between first and second finger. 
 
 The showing of the nose is done quickly and is the signal for all to kneel. The black- 
 bird in the centre then rushes forward and tries to tag someone before he can kneel. 
 Should he succeed, the one tagged takes his place in the centre, otherwise the game begins 
 again with the same blackbird and is played as before.
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 THE PANt AKP: max 
 
 31 
 
 Irene E. Phillips Moses 
 
 ^lavcli time 
 
 
 
 
 
 Mae Rehberg Scheuerman 
 
 ' y \ 1 s. 
 
 r. K. \ '-^ 
 
 
 m P \ m 
 
 
 _y«L^4 ^ 
 
 r V 
 
 —J — 
 
 F 
 
 P 
 
 — F— 
 
 _ f L L /? 
 
 -.(S 
 
 'W-H-^— 
 
 J ^ ^ '- 
 
 :=^ 
 
 -^ 
 
 =i^- 
 
 — y !.< K b^ 
 
 
 |i 
 
 When moth - er takes us down - town, We 
 
 — > N PS 
 
 es us down - town, We al - ways it we can, 
 
 Pass the lunch-room win - dow, With its white-capped pancake man. Oh! see him 
 Christina Rossetti Eleanor Smith 
 
 H 
 
 ::1^ 
 
 
 1: 
 
 ■j:t 
 
 *mix a pan - cake, Stir a pan - cake, Drop it 
 
 m 
 
 the 
 
 pan; 
 
 Try the pan - cake, toss the pan - cake. Catch it if you can. 
 
 * From " A Primer of Vocal Music " by Eleanor Smith, printed by permission of Silver, 
 
 BURDETT AND COMPA^n[■. 
 
 Formation. — A single circle facing in line of direction. 
 
 When mother takes us down-town, 
 
 We alwatjs if we can, 
 
 Pass the lunch-room window. 
 
 With its white-capped pancake man. 
 
 Oh! see him 
 
 mix a pancake. 
 
 March forward around circle in 
 line of direction. 
 
 Halt and face centre of circle. 
 
 Roll right hand forward and 
 down over left, circling away 
 from body (twice). 
 
 stir a pancake, 
 
 Roll left hand over right and up- 
 ward toward body (twice).
 
 32 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 Drop it 
 
 in the 
 
 Clap thighs in front. 
 
 Clap hands waist high. 
 
 pan; 
 
 Try the pancake, 
 
 Clap thighs in front. 
 
 Place palms of hands together and raise hands 
 on level with mouth, the back of right hand 
 facing upward. The right hand represents 
 the pancake, the left hand the pan. Slowly 
 raise the wrist of the right hand, keeping the 
 tips of fingers together, then peep under hand 
 to see if underside of pancake is done. 
 
 toss the pancake. 
 
 Separate hands, turn palms upward and make 
 movement as if tossing a pancake high above 
 the head. 
 
 catch it 
 
 if you can. 
 
 Clap hands. 
 
 Drop hands at sides.
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 THE TIN SOLDIERS* 
 
 W. H. Neidlinger 
 
 33 
 
 ■4^ 
 
 -4- 
 
 :^: 
 
 ^3^E=fe 
 
 See my sol - diers all so fine; Ta 
 
 y^iiz 
 
 ^ 
 
 P 
 
 • ml 
 
 :i=t: 
 
 :^=^: 
 
 5 
 
 
 
 :i=t 
 
 cres. 
 
 P- 
 
 4^-#- 
 
 it: 
 
 keep in time; For- ward, march; f or - ward all! Ta-ra, ta-ra, ta 
 
 =J^=A- 
 
 --r 
 
 =t 
 
 «i*=ii^ 
 
 :^; 
 
 :^=: 
 
 
 -**- 
 
 ■M ^ ^ 
 
 ^E^ 
 
 =1: 
 
 i 
 
 1©'- 
 
 ^f= 
 
 3^i^^=4: 
 
 -^— ^ — *- 
 
 * Printed by permission of G. Schirmer, 3 East 43d St., New York City. 
 
 ■i9-
 
 34 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 i^ — ^- 
 
 -N— 
 
 ra, 
 
 i 
 
 -G>- 
 
 ta - ra, ta - ra, 
 
 -si- 
 
 Now we're on pa - rade; 
 
 i 
 
 Ta - 
 
 m 
 
 -&- 
 
 J. ' rJ 
 
 9i 
 
 # 
 
 ^ 
 
 
 
 a 
 
 -K 
 
 -> — 
 
 -&- 
 
 -^ 
 
 -»- 
 
 ra, ta - ra, ta - ra, ta - ra, ta - ra! Now we're on pa - rade! 
 
 X 
 
 -^ — ^ 
 
 -(5>- 
 
 S 
 
 
 I 
 
 
 is: 
 
 I 
 
 :s: 
 
 r 
 
 This music has been included because it is an excellent march with an appropriate 
 theme. The first marching may be either in single file or in couples as the teacher may- 
 desire. No attempt has been made here to write out the many simple marching evolu- 
 tions in common use in little children's classes, for each teacher has her favorite fancy 
 marches which are best adapted to the size and shape of her floor. 
 
 Measures 1-8 may be used for marking time. Measures 9-18 for marching in any 
 desired direction.
 
 CHAPTER II 
 
 Sliding. — This series of progressions in many ways furnishes the most valuable training of 
 any group in the book, for sliding is one of the most basic elements of dancing. It is hardly 
 possible to lay too much stress upon its importance as a preparation for future work and its 
 relation to the rhythmic motor education of the child. Children show great individual differ- 
 ences in skill in this movement, some can slide gracefully, lightly and naturally, and others 
 exhibit almost a total inability to slide without special instruction. Classes are often disap- 
 pointingly slow in learning to slide; but let the teacher feel assured that her patience will be 
 well rewarded when the ability is at last acquired, for when a class has learned to slide with 
 good knee action to the various tempi and use the feet alternately in series of slides, a mile- 
 stone in their rhythmic education has been passed and because of the good foundation which 
 has thus been laid all future progress will be correspondingly rapid. 
 
 The sliding in this group does not involve the alternate use of the feet when sliding 
 in any given direction. The sliding in the.se Action Plays is in the three directions, side- 
 ways, forward and backward, with the same foot leading throughout the slide in any 
 direction. Chapter VIII deals with the subject of sliding in the different directions when 
 the feet are alternated. However, it will be seen that the first rhythm in this group 
 ("Playing Train") involves the alternate use of the feet. This movement can hardly be 
 styled as the alternate use of the feet while sliding, for the movement is rather a scuff of 
 the feet while walking, and is here inserted to serve as a transition from the marching in 
 the preceding group. The skating rhythm in the second Action Play ("Santa Claus and 
 the Christmas Tree") is also one single movement of the feet and does not necessitate 
 the alternate use of the feet in series of two or more slides as is meant by the use of the 
 word "shding" in Chapter VIII. The .shding in this group is "walked" in "Peter Pan" 
 (as the "follow step"). In this instance it is really easier for children to "dance" the 
 step before they "walk" it and therefore the series is started with sliding. The order here 
 for teaching should be, first sliding sideways, then forward and finally backward. It will 
 be seen that the first games have quite a number of slides in one direction; this is because 
 when a new movement is being acquired it is easier to repeat it overjand over without 
 stopping. After the children have learned to slide in the three directions, they maj'' be 
 taught to circle in place as in "Pussy Cat, Pussy Cat." When it is said "the children 
 should have good knee action in sliding" it is not intended that the knee should be bent 
 without reference to the action of the step. Nothing in dancing is more artificial than 
 knee action which is not well co-ordinated with the movement. This incorrect use of 
 the knees may often be observed in people who are inclined to be stiff and who adopt a 
 springy, mincing walk to overcome the tendency. And yet when leaching the children to 
 slide, the teacher may be excused if she exaggerates the knee action in her effort to stimu- 
 late the children to bend the knee of the active foot just preceding the slide of the foot. 
 This example is particularly needed by those children who look like animated clothes pins 
 when they slide. 
 
 Progression for Teaching 
 
 Playing Train. To Market. 
 
 Here We Go on a Merry-go-round. Hickory Dickory Dock. 
 
 Santa Claus and the Christmas Tree. Peter Pan. 
 
 Oh Where, Oh Where Has My Little Dog Pussy Cat, Pussy Cat. 
 
 Gone. Three Funny Old Men. 
 Yankee Doodle (last half of song, see page 86.) 
 
 35
 
 36 RHYTHMIC ACTION PLAYS AND DANCES 
 
 PLAYING TRAIN 
 
 Irene E. Phillips Moses Mae Rehberg Scheuerman 
 
 3 
 
 i 
 
 :^: 
 
 :^: 
 
 :^: 
 
 :3F=i^ 
 
 -!*- -^- -i9- -^>- 
 
 Choo-oo, choo-oo, choo-oo, choo-oo. Chuff - a - chuff, chuff 
 
 -&- 
 
 -^- 
 
 &- 
 
 f: 
 
 chuff. 
 
 :|= 
 
 i 
 
 chuff 
 
 
 -tS*- 
 
 — ^- 
 
 -tS- 
 
 ■•■ -^- -^- -^- •^^ 
 
 chuff, chuff - a - chuff! Choo-oo, choo-oo, choo-oo, choo-oo. 
 
 :t: 
 
 :t: 
 
 irfeT^"^— T^ — d— 
 
 =t^ N 
 
 f-r^ — ^— 1- 
 
 L _i II _l 
 
 fe^^5=^i=-i= 
 
 -M^ — ; — j— 
 
 =^f=|j^5= 
 
 -^^ ^' i 
 
 Chuff - a - chuff, 
 
 9^^-^ — ^ — ^- 
 
 4 ~ S 
 chuff - a - chuff. 
 
 chuff - a - chuff, 
 
 [--iff — ^f — i!f— 
 
 
 chuff - a - chuff! 
 
 — ^ — if^ — ^^ , 
 
 BJ 
 
 _jj p, 1 H 
 
 :^ 
 
 :1?^ 
 
 :s: 
 
 -s»- 
 
 -51- 
 
 Choo-oo, choo-oo, choo-oo, choo-oo. Chuff - a - chuff, chuff - a - chuff, 
 
 -¥- 
 
 -(i2- 
 
 t: 
 
 -(i2- 
 
 -i?f 
 
 -^-f^ — > — P- 
 
 i_i 'i 
 
 -{?'■
 
 f^ 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 37 
 
 —I H ^\ -A 
 
 i 
 
 i 
 
 ^ 
 
 95 
 
 ;;^ 
 
 ^ 
 
 chuff - a - chuff, chuff - a - chuff! Choo-oo, choo-oo, choo-oo, choo- 
 
 _f- tl^ f: f-__i!^ ♦ 
 
 00. 
 
 ^^=^=F? 
 
 I 
 
 ^-i 
 
 :^-=N=^: 
 
 £^;^s^^^e3:i^=i^j^tE^^ 
 
 ■ &>, r J 
 
 -■^7 
 
 
 =B 
 
 Chuff-a-chuff,chuff-a-chuff,chuff-a-chuff,chuff-a-chuff! Choc- oo - oo - oo - oo. 
 
 i 
 
 Formation. — A single Hne or circle facing in line of direction with the hands upon 
 the hips. 
 
 Chuff-a-chuff, etc. 
 
 >■■ '>:aA. LaiU ->->..::.... '/? 
 
 Choo-oo, etc. 
 
 Slightly bend the knees, scuff the right foot 
 forward, keeping heel near the floor and re- 
 peat same with left foot. 
 
 Pout lips, keep teeth closed, while a long, 
 slow breath is exhaled through the teeth. 
 
 Continue alternating to end of music, eight scuffs followed by four long breaths, 
 which is supposed to represent a yard engine which starts to move, then stops and lets 
 off steam. For variety the engine may back at times. This is a good breathing exercise 
 and furnishes a good training for four and eight part repeated action. It also gives valu- 
 able training in acquiring skill in the alternate use of the feet in sliding.
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 HERE WE GO ON A MERRY-GO-ROUND 
 
 Irene E. Phillips Moses 
 Lively 
 
 American 
 
 
 =3^ 
 
 -A— r-N- 
 
 Here we go on a mer - ry - go - round, mer - ry - go -round, 
 
 -#■ ••■ -m- ■»■ —m- 
 
 . — p 1 p — If 1 p_ 
 
 --X 
 
 'm 
 
 tr- 
 
 3=^1 
 
 I 
 
 :± 
 
 :tz--=U: 
 
 =J^J ^ 
 
 mer - ry - go-round. Here we go on a mer - ry - go-round, on a 
 
 §i 
 
 ^=N: 
 
 -^ d- 
 
 ■:^- 
 
 ::^=*= 
 
 ^ 
 
 S= 
 
 li - on or 
 
 po 
 
 ny. This is the way we start to move, 
 
 :g d- 
 
 u 
 
 -»— l»-r 
 
 £ 
 
 -d—^ - 
 
 i; 
 
 i 
 
 start to move. 
 
 start to move. 
 
 This is the way we 
 
 i! 
 
 M- 
 
 V- 
 
 -•- 
 -I — 
 
 ^H 
 
 :*: 
 
 start to move, on a 
 
 %^^^ 
 
 on 
 
 or 
 
 a po - 
 
 ^ 
 
 -y- 
 
 ny. 
 
 ■•-• 
 
 s
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 39 
 
 Formation. — A single circle facing inward and clasping hands. 
 
 1. Here we go on a merry-go-round, 
 merry-go-round, merry-go-round. 
 Here we go on a merry-go-round 
 on a lion or a pony. 
 
 2. This is the way we start 
 
 to move, start to move, start to move. 
 
 This is the way we start 
 
 to move on a lion or a 
 
 pony. 
 
 \i» 
 
 3. This is the way we hurry up, 
 hurry up, hurry up. 
 This is the way we hurry up 
 on a lion or a pony. 
 
 4- This is the way we snatch a ring, 
 snatch a ring, snatch a ring. 
 This is the way we snatch a ring on 
 a lion or a pony. 
 
 All slide sideways right, around 
 circle. 
 
 Place right foot forward, alter- 
 nately sway the weight to right 
 and left foot, pointing the toe 
 of the opposite foot. Hold 
 arms bent as if holding reins. 
 
 Maintaining the same position 
 of the feet, leap forward on the 
 right foot, raising the left leg 
 backward; leap backward on 
 the left foot and raise right 
 foot forward. Continue alter- 
 nately leaping forward and 
 backward. The music should 
 be played a little faster for 
 this verse. 
 
 Reach diagonally upward with 
 right hand and in time to the 
 music, snatch an imaginary 
 ring with the index finger 
 crooked.
 
 40 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 SANTA CLAUS AND THE CHRISTMAS TREE 
 
 I 
 
 1 
 
 Irene E. Phillips Moses 
 
 ^ 
 
 >-fc/-V - 
 
 Mae Rehbbrg Scheuerman 
 
 -N — ^ — \— N— 
 
 -p—p-»~ 
 
 d — -H 
 
 -r — H- 
 
 -^— •— ^ 
 
 4 
 
 fcit 
 
 -+>— ^ 
 
 ¥^- 
 
 Tinkle,tinkle,sleigh bells,Santa Claus I hear; Hip,hip,hip,hurrah,hail him with a cheer, 
 
 «-i » ^ » — t P 1 — »- -PL 
 
 El 
 
 T= 
 
 ? 
 
 :t 
 
 1=1^ 
 
 =^J 
 
 
 II 
 
 I 
 
 -N — N- 
 
 i= 
 
 ±— ^ 
 
 -d^-^ 
 
 ^=^ 
 
 
 9ii: 
 
 As down the chimney he quick-ly shdes,And out of the fireplace he jumps and cries, Oh ! 
 
 J 
 
 1= 
 
 =^= 
 
 ^^ 
 
 -^ 
 
 t'- 
 
 -l-^-^ 
 
 ^t£ 
 
 S 
 
 ~\ — \- 
 
 — ly — is- 
 
 -^ 
 
 see the shin - ing Christmas tree and all the nice chil-dren a - wait - ing me. 
 
 m 
 
 ^ 
 
 ^=% 
 
 -H- 
 
 k 
 
 =f== 
 
 ? 
 
 4: 
 
 :3^ 
 
 t: 
 
 ^— ^ 
 
 S=^ 
 
 ^^ 
 
 ^ 
 
 £ 
 
 Then off the tree he takes a toy to give to some lit- tie girl or boy, But 
 
 t: 
 
 1=?^ 
 
 t: 
 
 =^ 
 
 J 
 
 t- 
 
 J 
 
 =F 
 
 SEi£ 
 
 /?— ^- 
 
 -K— K 
 
 -;'—?'- 
 
 first you must guess what it can be that San-ta has tak-en from off the tree. 
 
 ± 
 
 ? 
 
 ^^
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 41 
 
 Formation. — A single circle facing centre, hands clasped in circle. Some object in the 
 centre of the circle to represent a Christmas tree. One of the children in the circle is 
 chosen to represent Santa Claus. 
 
 Tinkle, tinkle, sleigh bells, 
 Santa Claus I hear; 
 Hip, hip, hip, hurrah, 
 hail him with a cheer, 
 
 As down the chimney he quickly slides. 
 
 And out of the fireplace he jumps and 
 cries, 
 
 Oh! see the shining Christmas tree and 
 all the nice children awaiting me. 
 
 Then off the tree he takes a toy to 
 give to some little girl or boy. 
 
 All slide to right around circle. 
 
 Santa Claus steps back out of the circle and 
 slides around circle to the left. 
 
 Santa Claus enters the circle with a jump and 
 runs to the centre. 
 
 Santa Claus points to the tree and then to 
 the children. 
 
 Santa Claus thinks of some toy, then he goes 
 up to tree and pretends to take off a toy. 
 
 Santa Claus pretends he has a toy in his hands 
 which he holds behind him. He goes up to 
 some child in the circle who must guess what 
 toy Santa pretends he has behind him. Should 
 the child he approaches guess incorrectly, he 
 goes to other children until he finds one who 
 guesses correctly. 
 
 The children all act out the toy which Santa 
 selected, inserting in the verse the name of 
 the child who guessed correctly and the toy 
 guessed. 
 
 The game may be repeated as many times as desired, the one who successfully guesses 
 the selected toy becomes Santa Claus for the next repetition of the game. 
 
 Suggestions for toys: a doll to rock, a piano to play, a horn to blow, a wheel to ride, a cradle 
 to rock, blocks to build, some roller skates, some nice ice skates. 
 
 Also see suggestions for "The Christmas Ships," page 98. 
 
 But first you mxisl guess what it can 
 be that Santa has taken from off the tree. 
 
 Oh! (Harry) has a sleigh to pull, etc.
 
 42 RHYTHMIC ACTION PLAYS AND DANCES 
 
 OH WHERE, OH WHERE IS MY LITTLE DOG GONE? 
 
 Nursery Rhyme Old Tune 
 
 1 
 
 ^^ 
 
 TE=F= 
 
 -(S>- 
 
 i 
 
 f-*- J 
 
 p 
 
 •— ^ 
 
 Oh where, oh where is my ht-tle dog gone,Oh where,oh where can he be? 
 
 g^ 
 
 ft 
 
 f-tt 
 
 f-f 
 
 P 
 
 :t=t 
 
 ^/t*^ ^*^^ -m^t^ ■#^*^ 
 
 :t 
 
 t# 
 
 .With his 
 
 -<5>- 
 
 -(Z- 
 
 y^ 
 
 P 
 
 ■si 
 
 ears cutshort.andhis tail cut long, Oh where, oh where is he? 
 
 M^^ 
 
 f^ 
 
 4 f 
 
 t=f: 
 
 
 ■•*#^ 
 
 r^ 
 
 X=t- 
 
 -(2- 
 
 ;i 
 
 A single circle is formed facing inward with the hands clasped. 
 One of the players, the master, is in the centre of the circle. The 
 circle moves around in line of direction, that is, the players slide 
 sideways right. The master skips around the circle in the opposite 
 direction, holding his hand to his forehead and looking from side to 
 side as if to find his dog. At the end of the verse the circle halts 
 on the last "be" and raises the clasped hands high. The master 
 also halts at the same moment and the one before whom he stops is 
 the little dog. The little dog immediately turns and runs away 
 around the circle, or in and out under the clasped hands. Wher- 
 ever the dog goes, the master must follow the same path in his 
 efforts to catch him. After he has caught the dog the master may 
 join the circle and the dog becomes the master, when the game begins anew. Should the 
 master fail to catch the dog, after a reasonable chase, the dog may resume his former place 
 in the circle and the game may begin again as before with the same master. 
 
 This game helps to encourage the children to slide quickly and lightly and not drag, 
 as they are liable to do at first, for all the children desire to hurry past the master so 
 that he will not stop in front of them.
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 TO MARKET 
 
 43 
 
 Mother Goose 
 Moderato 
 
 Irish Jig 
 
 -^^ 
 
 — ^- 
 
 #=f=:^i 
 
 -«?— 
 
 To 
 
 mar - ket, 
 
 to 
 
 mar - ket, to buy 
 
 fat 
 
 m 
 
 pig, 
 
 -^- 
 
 3=£ 
 
 V 
 
 p^= 
 
 -A— d- 
 
 -N- 
 
 Home a-gain,home a - gain, jig- gi - ty jig. To mar- ket, to mar -ket, to 
 
 ^i: 
 
 9il 
 
 
 — I — 
 — »- 
 
 I 
 
 —7— 
 
 I 
 
 Ie£ 
 
 ^^^^ 
 
 ^=f 
 
 buy a fat hog, 
 a ^— 
 
 Home a - gain, home a - gain, jog - gi - ty jog 
 
 ■a N 
 
 "C — t 
 
 
 ^F= 
 
 ppl 
 
 Formation. — A single circle facing centre and all clasp hands in circle. 
 
 1 . To market, to market, 
 to buy a fat pig, 
 
 2. Home again, home again, 
 jiggity jig. 
 
 3. To market, to market, 
 to buy a fat hog, 
 
 4. Home again, home again, 
 joggity jog. 
 
 1. All slide in four slides toward centre, right 
 foot leading forward. 
 
 2. Four slides out, left foot leading backward. 
 
 3. Same as 1. 
 
 4. Same as 2.
 
 44 RHYTHMIC ACTION PLAYS AND DANCES 
 
 HICKORY, DICKORY, DOCK 
 
 Mother Goose Mae Rehberg Scheuerman 
 
 mi 
 
 ^ — ^ — N- 
 
 fr — N N N- 
 
 ES3_3 
 
 -m — 0- 
 -m 
 
 -^~f~ 
 
 V 1 
 
 ^ifefi 
 
 Hick-o - ry, Dick - o - ry, Dock, . The mouse ran up the clock; The 
 
 ■»■'■*■+- *■' ■«■ 
 1 \- m- 
 
 ffi 
 
 r- 
 
 -d—^ 
 
 -b^- 
 
 ^^= 
 
 
 -N— HS N- 
 
 ^1 
 
 -» •- 
 
 
 -li * 
 
 :^z=i^ 
 
 :i^^zi^_ 
 
 clock struck one and down he run, Hick - o - ry, Dick - o - ry. Dock. 
 
 m 
 
 ^ 
 
 p — •- 
 
 -0 — ^ 
 
 -I e 
 
 --f^-^ 
 
 \- 1- 
 
 V k 
 
 « — F- 
 
 •-— ^- 
 
 Formation. — In a single circle facing inward. 
 
 Hickory, Dickory, Dock, 
 The motise ran up the dock; 
 
 The clock struck 
 
 one 
 
 and down he run. 
 
 Hickory, Dickory, Dock. 
 
 Stamp three times (left, right, left). 
 
 Slide in toward centre of circle, right foot 
 leading. 
 
 Slowly raise hands forward chin high. 
 
 Clap once. 
 
 Slide backward, left foot leading. 
 
 Stamp three times (right, left, right).
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 45 
 
 PETER PAN 
 
 Irene E. Phillips Moses 
 Moderato ^ 
 
 J. PlERPONT 
 
 accel. 
 
 ^W^V— ^-H P^--^ — I — r-P' — ^"^ — R. S-l—r-r-'- — ^^ — ^"^ — ^-^'^— ^H^— ^-^n 
 
 1. Pe-terPan! Pe-ter Pan ISewed his shadow on, Oh ! then he was so ver - y glad to 
 
 2. Tin- ker Bell! Tinker Bell! Tin-kle all the day, Oh! what fun it is to have a . 
 
 have it fol-low him. Pe-ter Pan! Pe-ter Pan! Sewed his shad- ow on, 
 fai-ry lead the way. Tin -ker Bell! Tin- ker Bell! Tin-kle all the day, 
 
 Oh! then he 
 Oh! what fun 
 
 was so ver - y glad to have it fol - low him. 
 it is to have a . . fai - ry lead the way. 
 
 ^ 4L ^ 
 
 :N=ti= 
 
 :St=fe=:te 
 
 M- 
 
 ill 
 
 -r-^ 
 
 Formation. — Double circle facing inward, inside circle clasping hands, outside circle 
 with hands upon the shoulders of the one in front.
 
 46 RHYTHMIC ACTION PLAYS AND DANCES 
 
 Figure I. 
 
 Peter Pan ! Peter Pan ! Follow step sideways right. That is, step 
 
 Sewed his shadow on, sideways right, bring the left heel up to the 
 
 right and repeat, moving to right around circle. 
 
 Oh ! then he was so very glad Quickly slide sideways around circle moving 
 
 to have it follow him. to the right. 
 
 Repeat, figure moving to the left. 
 
 Figure II. 
 
 Tinker Bell! Tinker Bell! Face in line of direction, form a single circle 
 
 Tinkle all the day, and march forward. 
 
 Oh! what fun it is to have Run forward around circle in line of direction. 
 
 a fairy lead the way. 
 
 About face and repeat figure, moving in the opposite direction.
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 PUSSY CAT, PUSSY CAT 
 
 Mother Goose 
 Allegro 
 
 J. W. ElXIOTT 
 
 :^fr 
 
 
 Pus - sy cat, pus - sy cat,where have you been? I've been to Lon-don to 
 
 s 
 
 H 1 s 1 1 a 1 i a 1 1 
 
 3=?^ 
 
 -«- «- 
 
 :d=i 
 
 
 9si 
 
 -^ — ^ 
 
 -7 — *?- 
 
 -^-- 
 
 -*? — ^- 
 
 5 
 
 -*?—*?- 
 
 :^ 
 
 -^ —^—*?— ^ — '?—?-— 
 
 -:t- 
 
 i 
 
 A — ^- 
 
 ^ P 
 
 -Ps — ^ — N- 
 
 H 1 1- 
 
 > N- 
 
 -^- ^ 
 
 -S *- 
 
 -^ * 
 
 ^^ 
 
 -0 ^- 
 
 H H 
 
 -y — 
 
 vis - it the Queen. Pus - sy cat, pus-sy cat, what did you there? I 
 
 /T\ 
 
 ^^^ 
 
 -m m- 
 
 -m — «- 
 
 
 :^=i^: 
 
 ■«• ■•■ -» ♦ a- 
 
 ii 
 
 ^ 
 
 j f »* "J *f 
 
 -4- 
 
 :^=! 
 
 -4- 
 
 * =2=5=^=5=2: 
 
 -*? — ^— i 
 
 -4- 
 
 Quicker 
 
 :t 
 
 ores. 
 
 t? 
 
 -H^ ^- 
 
 :t-: 
 
 H^-'f— *?• 
 
 1 
 
 fright - en'd a lit - tie mouse un - der her chair. 
 
 ^=eH 
 
 :?= 
 
 :t 
 
 :=4 
 
 /? 
 
 cre». 
 
 t' 
 
 ^^^^^ 
 
 -t^ 
 
 -4- 
 
 ^— I ii Zr- 
 
 ;b
 
 48 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 Formation. — A double circle, partners facing, No. I's in inside circle. No. II's in outside 
 
 circle. 
 
 No. I. 
 Pussy cat, 
 
 Tpussy cat, 
 
 Stamp right foot, stamp left foot and clap. 
 Repeat. 
 
 Where have you been? 
 
 Place the right elbow on the back of the 
 left hand and shake right forefinger 
 four times by rotating the wrist. 
 
 No. II. 
 I've been to London to 
 visit the Queen. 
 
 Curtsy. 
 
 
 
 miiMi 
 
 No. I. 
 
 
 
 Pussy cat. 
 
 
 Same as above. 
 
 pussy cat, 
 
 
 Same as above. 
 
 What did you there? 
 
 
 Shake finger same as above, 
 
 No. I and II. 
 
 
 
 / frightened a little mouse 
 under her chair. 
 
 No's. I and II clasp hands and slide around in 
 place, circling to the right. 
 
 The whole is repeated with No. II asking the question and No. I curtsying.
 
 mp 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 THREE FUNNY OLD MEN* 
 
 W. H. Neidlinger 
 cre». 
 
 49 
 
 -A- 
 
 — N- 
 
 
 ^^^ 
 
 • — p 
 
 I 
 
 ^ — m- 
 
 Three fun - ny old men from our town Went out for a walk one 
 
 + 
 
 ^ 
 
 —I ^ • "1- 
 
 iK 
 
 -•-. — •— 
 
 E^^^^^= 
 
 PS 
 
 f 
 
 ii^=?^ 
 
 -iS'- 
 
 4: 
 
 r — r 
 
 ^c=f^=te 
 
 :^ 
 
 f; 
 
 dim. 
 
 i 
 
 :i 
 
 it 
 
 -fS"- 
 
 -f== 
 
 tr- 
 
 -\ 1- 
 
 -V ^ — 
 
 day, The wind blew so strong that they turn - ed 
 
 --I 4^=1 
 
 a - bout, And 
 
 j^i.- 
 
 r 
 
 -• — •- 
 
 ■^ 
 
 dim. 
 
 T 
 
 gt^ 
 
 -&- 
 
 '^- 
 
 I 
 
 =t 
 
 IB 
 
 *-"-^^ 
 
 walked the oth - er way, . . And walked the oth - er way. 
 
 X 
 
 ?r-* 
 
 -^-i- 
 
 
 -»- 
 
 i 
 
 wmm 
 
 :J— J: 
 
 ^c=pt: 
 
 • — ^ 
 
 
 i=J 
 
 i^ 
 
 -&- 
 
 T 
 
 .(2_ 
 
 I I 
 
 r- 
 
 r 
 
 -^ 
 
 Printed by permission of G. Schirmer, 3 East 43d St., New York City.
 
 50 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 Formation. — In groups of three facing in line of direction. The two on the outside 
 clasp their inside hands with the one in the middle. 
 
 Three funny old men from our town 
 Went out for a walk one day, 
 
 Walk forward. 
 
 The wind blew so strong that they 
 turned about, 
 
 Clasp hands in circles of three and slide 
 around in place once and a half to the right. 
 
 And walked the other way. 
 And walked the other way. 
 
 Drop outside hands and walk in opposite di- 
 rection.
 
 CHAPTER III 
 
 Knee, Hip and Ankle Action. — Graceful dancing requires that proper use be made of the 
 
 knee joint supplemented by well co-ordinated ankle and hip action. Special attention should 
 be directed early toward stimulating good knee action. In dancing, the knees have the same 
 relative function as the springs of a carriage; that is, they should absorb all jar. Much of 
 the fatigue attendant upon precipitant action is due to the shock of the blow, when the foot 
 strikes the floor, being communicated to the spine and head through a stiff leg. In stamping, 
 which is one of the simplest and most natural ways of accenting rhythm, the knee action is 
 particularly important. Stamping is not only an ungraceful action, but positively injurious 
 unless it is done properly. In fact, stamping in dancing is little more than a slap of the floor 
 with the foot which makes a loud noise. If the knee is first bent and raised high, a loud 
 stamp may easily be made without interfering with the good carriage or disturbing the 
 equilibrium and poise. 
 
 The progressions in this group are so simple and the grading so obvious that a dis- 
 cussion of their teaching is unnecessary. When they are taught, the Action Plays will 
 be found to lead into each other quite naturally. 
 
 Progression For Teaching. 
 The Stork. The Motorman. 
 
 See-saw No. I. Cock-a-doodle-doo. 
 
 Goosey, Goosey Gander. The Man in the Moon. 
 
 Diddle, Diddle Dumpling. Bobby Shafto. 
 
 Walking on Stilts. 
 
 THE STORK 
 
 Irene E. Phillips Moses 
 Quickly 
 
 Wl 
 
 4 
 
 :?: 
 
 Mae Rehberg Scheuerman 
 
 Sifeai-iE 
 
 -y V- 
 
 'Xr 
 
 The stork he is 
 
 ^ 
 
 fn=± 
 
 N— b^. - 
 
 -n^ 
 
 fun - ny bird ; I've of - ten heard it said,When 
 at 2i # * 
 
 ^ 
 
 "^L^ • 
 
 f^- 
 
 1 
 
 hW—z — I — ^ 
 
 -g — ^—z—^ — z- 
 
 ~? — f — z — z — r^ 
 
 — r— 
 
 \y / ^ / 
 
 he gets tired 
 
 n- 1 1 > 
 
 -^ ^ — V — V— 
 
 he does not go and 
 
 ••• 
 w 1 
 
 put him- self to bed, 
 
 -rT — -- rr -f— 
 
 But 
 
 ^-^>-r 
 
 p: 
 
 4 if *- 
 
 
 
 1^1/1 1 
 
 — ^ 4- 1 
 
 51
 
 52 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 N \- 
 
 —J K^ ■/ / / ^ 5 • •- 
 
 -^— -^ — 5—^ — 1»- 
 
 '^s. 
 
 J:= 
 
 i:: 
 
 :t: 
 
 :t: 
 
 stands up - on the oth - er foot and holds his toes up so, Un 
 
 * ♦ "S^ "^ ^ ■ _♦ 
 
 --^^-^w^'^ 
 
 t^=J'-=^-=i=S 
 
 '"^^E 
 
 — »: — N — ^ — y- 
 
 •— ^ 
 
 -^ — • 
 
 -t^ 
 
 SB 
 
 ±12 
 
 til he wants to stretch his wings.then far a 
 
 ^a^ 
 
 -i?f 
 
 
 ?: 
 
 way he'll go. 
 
 U^ 
 
 fe^feU 
 
 I 
 
 -• — •- 
 
 ife^ESEE 
 
 #— ?- 
 
 ■• — •- 
 
 Flying 
 
 e=FJ^- 
 
 
 =«^i 
 
 -A A !._ 
 
 n-P^m-» 
 
 #-# 
 
 .t=: 
 
 
 9S|fe^ 
 
 
 
 ■X 
 
 f=p= 
 
 
 - P P h 
 
 
 -•— •- 
 
 -• •- 
 
 :^=:^tt=t: 
 
 
 -SI- 
 
 ;i^ 
 
 a^m^ 
 
 =?;S:^: 
 
 
 1 
 
 -»- 
 
 - — p_ 
 
 "f== 
 
 ;b 
 
 Formation. — A single circle standing facing the centre with the hands clasped. 
 
 The stork he is a funny bird; 
 I've often heard it said, 
 When he gets tired he does not go 
 and put himself to bed, 
 
 But stands upon the other foot 
 and holds his toes up so. 
 
 Stand on one foot and flex the 
 other knee, drawing foot up well 
 toward thigh. 
 
 Change and stand on other foot.
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 53 
 
 Until he wants to stretch his wings 
 then far away he'll go. 
 
 Flying music. 
 
 Still standing on one foot let go of hands and slowly 
 stretch arms sideways as if stretching wings. 
 
 Face in line of direction, run around the circle moving 
 arms up and down with the music to imitate flying. 
 
 This may be given as one of the first rhythms, but in that case the teacher may sing 
 the song as the children act it out. Also, no particular attention should be paid to the 
 children's running in time to the music, as running to music is always hard, for at least 
 a part of the class, and drill in acquiring the ability to run with a particular rhythm 
 may well be left until farther along in the course. 
 
 THE SEE-SAW, No. I 
 
 For miisic, see page 92, Part I 
 
 Formation. — A single circle, partners standing facing with sides to centre of circle and 
 clasping each other's hands. 
 
 See- 
 
 Partner facing in line of direction 
 bend knees and squat down to 
 imitate low end of see-saw. 
 
 saw, 
 
 Partner facing clockwise bends 
 knees and partner facing in line 
 of direction at the same time 
 straightens knees and stands up. 
 
 Continue alternating as abov^e described to the end of music.
 
 54 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 GOOSEY, GOOSEY, GANDER 
 
 Mother Goose 
 
 Swedish 
 
 a 
 
 gi: 
 
 H-5 P- 
 
 i 
 
 ■^- 
 
 i 
 
 --^- 
 
 Goo - sey, Goo - sey, Gan 
 
 der, 
 
 ifeS 
 
 ^i^J^^EE^^^ 
 
 whith - er shall I 
 
 wan 
 
 der, 
 
 -t 
 
 ^^ 
 
 -I — 
 
 3 
 
 &^=!^ 
 
 m 
 
 li 
 
 Up the stairs or down the stairs, or 
 
 in 
 
 the la - dy's cham - ber ? 
 
 :t=:t: 
 
 -1 — 
 
 3»»=a«? 
 
 £^ 
 
 B 
 ^1 
 
 i=i=i=^ 
 
 ^f 
 
 — I- 
 
 t---t==E==t=t 
 
 :1=1=^=P3 
 
 H h- 
 
 H 1- 
 
 ■L ^ — ^ ^ 
 
 -^ 
 
 —\ — 
 
 — •- 
 
 The children form in a straight line, facing in line of direction. They all stand still 
 while they sing "Goosey, Goosey Gander, whither shall I wander? Up the stairs, or down 
 the stairs, or in the lady's chamber?" except the one at the foot of the line who runs 
 forward and takes his place at the head of the line as leader. He answers their question 
 by choosing one of the three. Should he say "upstairs" the line moves forward, raising 
 the knees waist high at each step. Should he say "downstairs" the children all squat 
 down and walk forward with bent knees. Should he say "in the lady's chamber" they 
 walk forward on tip toes very quietly, so as not to wake the lady who is supposed to be 
 asleep. 
 
 Each child is leader for only one exercise. 
 
 This game strengthens the legs and forces exaggerated knee action. Because it is a 
 strong leg movement its effects will be to slow down the heart beat and draw the blood 
 into the large muscles of the legs, which makes the game of value in quieting the cla.ss 
 after violent exercise. The walking quietly on tip toes should encourage the children to 
 step lightly, which many children find hard to do.
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 DIDDLE. DIDDLE DUMPLING* 
 
 i 
 
 Mother Goose 
 
 N 
 
 GEt^ 
 
 =t=p:l=;: 
 
 -w — [ 
 
 u- 
 
 id #- 
 
 -4 
 
 Ethel Crowninshield 
 
 1^ 
 
 • — •- 
 
 ::1^^ 
 
 • — ^- 
 
 Diddle, diddle dumpling.my son John Went to bed with his stockings on ; 
 
 4 --^ r— . 
 
 :eE?E? 
 
 :t 
 
 -tZZBI 
 
 -• 0- 
 
 ■0 — ^- 
 
 Mbi 
 
 -m-w- 
 
 P=^^ 
 
 f-^^ 
 
 ^izN- 
 
 f-tir N ^-B 
 
 ii 
 
 One shoe off and one shoe on, Did-dle, did-dle dump-ling, my son John. 
 
 '^=:t 
 
 It: 
 
 ^■^- 
 
 :1 — 1 — 1- 
 
 •— ^ 
 
 :i 
 
 -^ — • 
 
 gi=E=E_= 
 
 * 
 
 il 
 
 ;f= 
 
 -• 0- 
 
 Formation. — A single circle facing inward. 
 
 Diddle, diddle dumpling. 
 
 Run in place raising knees forward 
 waist high. 
 
 * From " Mother Goose Songs" by Ethel Crowninshield, printed by permission of Milton Bradley CoNfPA>fY, 
 Springfield, Mass.
 
 56 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 my son John Three stamps (right, left, right). 
 
 Went to bed with his 
 
 Run in place. 
 
 stockings on; 
 One shoe off 
 
 Three stamps. 
 
 Raise right knee high, as if showing right shoe. 
 
 and 
 
 one shoe on, 
 
 Raise left knee high, as if showing left shoe. 
 
 Diddle, diddle dumpling, 
 
 Run in place. 
 
 my son John. 
 
 Three stamps. 
 
 This rhythm furnishes valuable drill in knee action, and is designed to stimulate the 
 use of the knee in stamping. The preparatory run "Diddle, diddle dumpling" before 
 the stamps "my son John" makes this use of the knee almost inevitable without conscious 
 effort in that direction on the part of the child. The change in time for showing "One 
 shoe off and one shoe on" is also an excellent drill in rhythm.
 
 Slowhi 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 WALKING ON STILTS 
 
 Mae Rehberg Scheuerman 
 
 57 
 
 S 
 
 -t-t-' •*■ -^ •*• -^ ^ 
 
 
 B 
 
 ^ — 
 
 :^M 
 
 S^3^ 
 
 ^ 
 
 II 
 
 ^-^-^ 
 
 ±z=^ 
 
 -tr^- 
 
 i 
 
 g 
 
 :a=:^ 
 
 ^ 
 
 -±± 
 
 t 
 
 1 
 
 # ♦ 
 
 te^^S^^f 
 
 
 3S 
 
 ^?=F 
 
 i,^; 
 
 s 
 
 The children may pretend they are walking on stilts by walking around the room stiff 
 legged, swinging the leg as a whole from the hip. This is a splendid exercise for the 
 back, as well as stimulating good hip action. The teacher may secure the proper form by 
 suggesting that they will fall off the stilts if they bend the knees. This exercise is a good 
 preparation for the "The Motorman," and the stiff legged runs in "Cock-a-doodle-doo" 
 and "The Man in the Moon." The music should be played very slowly, with a decided 
 accent on each step. 
 
 THE MOTORMAN 
 
 Irene E. Phillips Moses 
 
 r It. m \ 
 
 
 
 
 Mae Rehberg Scheuerman 
 
 ) \\* A. 1 
 
 N 
 
 ^ _x . _ 
 
 
 iL ff 4 • "f J J 
 
 •< 
 
 ]■> 
 
 y Hi' 
 
 ^ 
 
 rvi'^'Bi ' ^ • ' 
 
 
 * m ^ 
 
 
 L^_4^| 
 
 
 • 
 
 
 • • N i 
 
 d 
 
 Oh! 
 
 Let's play 
 
 that we're the mo - tor man. Who 
 
 I 
 
 :^?=^ 
 
 ^ 
 
 =1*^ 
 
 it 
 
 5 
 
 -(9- 
 
 taps his foot like this, who taps his foot like this: 
 
 1. 
 
 \'^\^7A r — ^n — ^~r — p~\ — v~\ — \~a — P'n — ^~n 
 
 rp'^'^4 1 g — ^^- -^— — ^1 — f— ^— *-^- "M — * — 
 
 Tip tap, tip tap, tip tap, tip tap, tip tap, tip tap, tip tap, tip tap.
 
 58 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 iS^ 
 
 -(^- 
 
 -&- 
 
 fe^=^tlf^^- 
 
 -(2- 
 
 -&- 
 
 X-- 
 
 -f—s—'- 
 
 t 
 
 tip tap, tip tap, tip tap, tip tap, tip tap, tip tap, tip tap, tip tap. 
 
 i 
 
 -# f2- 
 
 -G>- 
 
 X^ 
 
 # &- 
 
 -<©- 
 
 -&' 
 
 V- 
 
 i= 
 
 =F= 
 
 tip tap, tip tap, tip tap, tip tap, tip tap, tip tap, tip tap, tip tap. 
 
 SEEtEJ^^^^ 
 
 ^^=t 
 
 V- 
 
 V- 
 
 fes^S 
 
 V- 
 
 Tip tap, tip tap, tip tap, tip tap, tip tap, tip tap, 
 
 I 
 
 Se 
 
 -• P- 
 
 y-=i^=F=P=4==p==>=^ 
 
 t 
 
 tip tap, tip tap, tip tap, tip tap, tip tap, tip tap, 
 
 :irn— f: 
 
 j=EF=^.z:za^ 
 
 • P- 
 
 i1 
 
 =^- 
 
 tip tap, tip tap, tip tap, tip tap, tip tap, tip tap. 
 
 |fe^=^ 
 
 tEF=EEl=:f=-&l 
 
 ■K=X 
 
 -Xr- 
 
 ^ 
 
 tip tap, tip tap, tip tap, tip tap, Tip tap, tip tap. 
 
 
 P 
 
 -• m- 
 
 t— P ^: 
 
 1=^ 
 
 -« — «- 
 
 i=^ 
 
 Tip tap, tip tap, tip tap, tip tap, tip tap, tip tap, tip tap, tip tap. 
 
 
 
 -y— I hr- 
 
 :i=P= 
 
 =^ 
 
 tip tap, tip tap, tip tap, tip tap, tip tap, tip tap, tip tap, tip tap. 
 
 ■^ 1 h tr^ b-^ ^^ \j — ^^\ 1 
 
 tip tap, tip tap, tip tap, tip tap, tip tap, tip tap, tip tap, tip.
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 59 
 
 Formation. — The children may stand in single files so that they can all face the 
 teacher and see her feet. 
 
 Oh! let's play that we're the 
 motorman, 
 
 Raise leg as a whole from the floor 
 by raising hip. The knee should 
 be held stiff, same as in "Walking 
 on stilts." 
 
 Who taps his foot like this, 
 
 Still holding the heel from the floor, 
 extend the ankle and tap the floor 
 with the ball of the foot. 
 
 who taps his foot like this: 
 
 Tip tap. 
 
 Raise toe and tap floor again. 
 
 Tap floor twice in succession.
 
 go RHYTHMIC ACTION PLAYS AND DANCES 
 
 The "tap steps" are among the most valuable exercises for young children. They 
 are excellent to train the child in the regular recurrence of rhythmic sequence, they fur- 
 nish a splendid drill for acquiring control of the legs; and, in fact, do wonders for young 
 children who are nervous and lacking in self control. Care should be taken not to let 
 the tapping degenerate :nto a "shuffle" by permitting knee action. There are several 
 tempi which may be used with these steps. Three follow, which have proven successful 
 in teaching beginners. 
 
 1. Ringing the gong when the car starts. 
 
 This is the rhythm with which to start the teaching, as the half note on the 
 second tap gives the child an interval for the brain to send an impulse to repeat 
 the tip tap. The music should be played very slowly at first and gradually 
 increased. 
 
 2. Ringing the gong when something is on the track. 
 
 This rhythm is a little more difficult than the preceding, as after the second tap, 
 the foot is immediately raised instead of being held on the floor by the half note 
 of the first rhythm. The rest at the end of the measure gives an interval for 
 the impulse to stimulate the repetition. 
 
 3. The jingling of the gong as the motorman rushes along over crossings with a clear 
 track and no stops. 
 
 This rhythm is used after the movement becomes reflex and the taps can follow 
 each other in quick succession. 
 
 In all three of the preceding descriptions, it is intended that after the right foot has 
 acquired the co-ordination, the left foot be used before passing on to the next rhythm. 
 
 After these three rhythms have been mastered with the right and left foot, the chil- 
 dren may abandon the analogy of the motorman and do straight tapping, that is, alternate 
 the use of the feet by tapping twice right, then twice left. The same music should be 
 used, beginning with the first rhythm and passing on to the others as ability to do so is 
 evinced. The half note in the first rhythm will be as valuable to furnish an interval for 
 the impulse to be sent to change feet, as it was to repeat the two taps with the same foot.
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 COCK-A-DOODLE-DOO 
 
 GI 
 
 Mother Goose 
 Moderalo 
 
 Traditional Tune 
 
 accel. 
 
 O-^ 
 
 _^_i^ 
 
 — I- 
 
 ;^=^3^ 
 
 •^=^- 
 
 -^~^- 
 
 
 Cock - a - doo - die - doo! . My dame has lost her shoe, My 
 
 i=4=?=F?1=? 
 
 -w *f- 
 
 -» # H»; 
 
 — t*'- 
 
 -- V- 
 
 t=^ 
 
 :«=^ 
 
 =^ 
 
 :i 
 
 — F^ !>r — I — I \ m 
 
 mas - ter's lost his fid - die stick And don't know what to do. 
 
 gifcg 
 
 
 V-- 
 
 J=l=? 
 
 ---X 
 
 ?=£ 
 
 ^^%^ 
 
 Formation.— A single circle facing in line of direction, dancers with hands on hips. 
 
 THE ROOSTER STRIDE 
 
 Cock- 
 
 Bend right knee upward 
 waist high.
 
 62 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 a-doodle- 
 
 Straighten knee straight for 
 ward slowly. 
 
 dool Place right foot forward on floor and raise left 
 
 heel. 
 
 My Bend left knee. 
 
 dame has lost Straighten left knee. 
 
 her shoe, Place left foot forward on floor and raise right 
 
 heel. 
 
 THE ROOSTER RUN 
 
 My master's lost his fiddle stick 
 And don't know what to do. 
 
 Run forward on toes, beginning with right foot, 
 keeping the knees stiff and raising the foot 
 high, taking long steps. The arms may be 
 bent and elbows moved up and down to imi- 
 tate the movement of wings. 
 
 To vary the monotony of the words of the single verse, the following verses may be used, 
 if desired, as the dance is repeated. 
 
 Cock-a-doodle-doo! 
 What is my dame to do? 
 Till master finds his fiddle stick 
 She'll dance without her shoe. 
 
 Cock-a-doodle-doo! 
 My dame will dance with you, 
 While master fiddles his fiddling stick 
 For dame and doodle-doo. 
 
 Cock-a-doodle-doo! 
 
 My dame has lost her shoe 
 
 And master's found his fiddle stick, 
 
 Sing doodle-doodle-doo. 
 
 Cock-a-doodle-doo! 
 Dame has lost her shoe, 
 Gone to be bed, cap on head, 
 And can't tell what to do. 
 
 The game is designed to give control of the legs and combine the previous drill in 
 knee action with a second element, the run, which makes this a two-part dance and there- 
 fore a progression on the preceding rhythms.
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 THE MAN IN THE MOON. 
 
 63 
 
 Mother Goose 
 Moderato 
 
 Mae Rehberg Scheuerman 
 
 
 -+-0- 
 
 The Man in the Moon Came down too soon And asked his way to Nor-wich.He 
 
 m 
 
 n 
 
 ± 
 
 i 
 
 :i=^^ 
 
 -V ^ ^ 
 
 g=r=t^- 
 
 -I h 
 
 ite 
 
 m 
 
 went by the south And burned his mouth 
 
 Eat - ing cold bean por - ridge. 
 
 9ii 
 
 :-T 
 
 i 
 
 S 
 
 ^Ir 
 
 #r 
 
 i^l^ 
 
 CHORUS 
 Nursery Rhyme 
 JModerato 
 
 Traditional 
 
 • • — • — • 
 
 •— P r# 
 
 
 f— g-g-H"— ^ 
 
 b^— b^— !-. — ?- 
 
 t^ ^—V^^- 
 
 -^— g*-^- 
 
 -^^ W — V — V- 
 
 Bean por-ridge hot, Bean por-ridge cold, Bean por-ridge in the pot. Nine days old. 
 
 i 
 
 ^=«'=^ 
 
 -• — •- 
 
 t— -k— w— t 
 
 e=jEjEpf=£=pg: 
 
 -• — p — *?- 
 
 1 
 
 _j^_ji__^ 
 
 h W — ^ - -^— l y 
 
 V — V—/ — ^ 
 
 :^=t: 
 
 Some like it hot, Some hke it cold, Some like it in the pot, Nine days old.
 
 64 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 Formation. — A single circle arranged in partners and all facing in line of direction. 
 Arms folded high on chest. 
 
 The man in the moon 
 Came down too soon 
 And asked his way to 
 
 All run forward in line of direction 
 taking long stiff legged strides. 
 
 Norwich. 
 
 He went by the south 
 And burned his mouth 
 eating cold 
 
 bean porridge. 
 
 All about face with two jumps. 
 
 Run forward in opposite direction. 
 
 Partners face each other by every other one 
 in the circle facing in line of direction. 
 
 CHORUS 
 Partners, facing each other, do "Bean porridge hot." 
 Bean Clap thighs. 
 
 porridge Clap their own hands. 
 
 hot. Clap partner's hands, face high. 
 
 Bean Clap thighs. 
 
 porridge Clap own hands. 
 
 cold. Clap partner's hands. 
 
 Bean Clap thighs. 
 
 porridge Clap own hands. 
 
 in the Clap partner's hands. 
 
 pot, Clap own hands.
 
 RHYTHMIC ACTION PLAYS AND DANCES 65 
 
 jVme Clap partner's right hand. 
 
 days Clap own hands. 
 
 old. Clap partner's left hand. 
 
 Some Clap thighs. 
 
 like it Clap own hands. 
 
 hot, Clap partner's hands. 
 
 Some Clap thighs. 
 
 like it Clap own hands. 
 
 cold. Clap partner's hands. 
 
 Some Clap thighs. 
 
 like it Clap own hands. 
 
 in the Clap partner's hands. 
 
 pot, Clap own hands. 
 
 Nine Clap partner's right hand, 
 
 days Clap own hands. 
 
 old. Clap partner's left hand.
 
 66 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 BOBBY SHAFTO 
 
 Mother Goose 
 March time 
 
 Old Tune 
 
 ^ 
 
 ^E 
 
 --X 
 
 --X 
 
 ij: 
 
 -(S?- 
 
 -Si- 
 
 Bob - by Shaf - to's gone to sea, Pret - ty Bob - by Shaf - to, 
 
 
 -f2- 
 
 ■i9- 
 
 ^ 
 
 s 
 
 \ 
 
 1^ 
 
 X 
 
 :=d: 
 
 -G>- 
 
 V- 
 
 X-- 
 
 ---t 
 
 ~G>- 
 
 ^il 
 
 Sil - ver buck - les 
 & 
 
 on his knees, Pret - ty Bob - by Shaf - to. 
 
 'P a lt^5 r-!©- 
 
 -^ 
 
 X-- 
 
 %-\--- 
 
 X'- 
 
 V- 
 
 Formation. — A single file marching forward in line of direction 
 Bohhy Skafto's gone to sea, 
 
 Pretty Bobby Shaflo, ' March forward, hands at sides 
 
 March forward, clap hands above head four 
 times. 
 
 Silver 
 
 buckles 
 
 
 
 iBtms&wmmB^ 
 
 ■35 
 
 Vv. 
 
 :£?£^5^ 
 
 
 m 
 
 
 " 
 
 ^ ..^ 
 
 Raise right knee and clap hands 
 over knee. 
 
 Raise left knee and clap hands 
 over knee. 
 
 on his 
 knees, 
 Pretty Bobby Shafto. 
 
 Clap over right knee. 
 
 Clap over left knee. 
 
 March forward, hands at sides. 
 
 As soon as possible the children should stop singing and do the actions without the 
 words. This will progress them to acting out rhythms without words.
 
 CHAPTER IV 
 
 Hippity Hops, Skips and Jigs. — Frequently it is rather puzzling to detect the exact 
 differences in form between the various hops, skips and jig steps. In truth, many of 
 these simple steps differ only in their tempo and the interval in the hop when the body 
 weight is adjusted, the mechanism of the steps being practically the same. The dancer 
 steps forward on one foot and then as he hops on it he raises the other foot from the 
 floor by bending the knee; that is, the dancer may first step on the right foot, then as he 
 hops on the right foot he bends the left knee, raising the left foot from the floor. In 
 the jig steps this hop is very quick and low, hardly more than a shoving of the foot 
 along the floor. As the hop is done very quickly there is little time given for raising 
 the opposite foot from the floor and hence very little hip action is used to raise the 
 foot. The tempo of the hippity hop is slower and therefore the hop is higher, the hip 
 and knee action more vigorous, which results in raising higher both the knee and foot. 
 The term skip is used rather loosely but generally it is a more even rhythm than the 
 jig or hippity hop and its tempo is about half way between them. Because it is the 
 most even rhythm it is the most simple and therefore should be taught flrst. Most 
 children naturally know how to skip, but some find it a difficult action to acquire. 
 Such children should be treated with great patience. First, the teacher should satisfy 
 herself that the children have no foot trouble. "Weak foot" precludes all spring from 
 the step and may often be detected in children who run flat footed. Walking and 
 running on tip-toes help to prepare for the skips by strengthening the muscles of the feet. 
 Sometimes the slow members of the class may be taught to skip by running on their toes, 
 taking as long steps as possible. The whole series of rhythms in the preceding chapters 
 will be found helpful as a preparatory drill for the hippity hops, skips and jigs. Not 
 infrequently children experience difficulty with the time rather than the mechanism of 
 the step. In which event they may be able to do the step once or twice but will show 
 difficulty in keeping up the rhythmic sequence of recurrent action. More simple rhythmic 
 actions should be given as an introductory, such as clappings, stamps, etc. If the follow- 
 ing progression is slowly and carefully taught it is not likely that much trouble will be 
 experienced by the class with either the tempo or mechanism of the step. In Part One 
 the advisability of first "walking a step" was expressed, that is, to give the mechanism of 
 the step without any jump or raising of the body from the floor. It will be seen in the 
 following progression that this plan has been adhered to. Begin with the swaying move- 
 ment in "Hush-a-bye Baby." Next give "See-saw, No. 11" in which the swaying from 
 side to side in part I is done by alternately raising the feet sideways. This movement 
 merges into part II where a hop is added. Swaying forward and backward is harder than 
 swaying sideways and may next be introduced in "2" of the "Here We Go on a Merry- 
 go-round." This in turn may merge into the leap forward and backward of "3" of the 
 same Action Play. After having mastered the foregoing stages, the mechanism of the step 
 will have been acquired and the class should be prepared to take up in the indicated 
 succession the remaining games of the group which will give practice in the different 
 tempi. 
 
 Progression for Teaching 
 Hush-a-bye Baby. Dame, Get Up and Bake Your Pies. 
 
 See-saw, No. II. Ride a Cock Horse. 
 
 Here We Go on a Merry-go-round. Hippity Hop to the Barber Shop. 
 
 Old King Cole.
 
 68 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 HUSH-A-BYE BABY 
 
 Old Nursery Rhymes 
 
 Traditional 
 
 I 
 
 t=^^ 
 
 ^ 
 
 — ^- 
 
 ^-='«^ 
 
 lis: 
 
 m 
 
 Hush - a - bye 
 
 ba 
 
 by, on the tree top; 
 
 And when the wind 
 
 :t--t:: 
 
 :t=t:: 
 
 p=q=^ 
 
 t=t=^i 
 
 :^=^ 
 
 :i 
 
 i?F= 
 
 =F=f 
 
 -iS(- 
 
 I^^ 
 
 :t 
 
 t^E^: 
 
 E 
 
 blows 
 
 the era - die will rock, 
 
 And when the bough breaks the 
 
 ■tf#M— tf#p — I —^ 00—^00 - 
 
 :^-t:: 
 
 =F= 
 
 n 
 
 quicker 
 
 I- 
 
 -\^ 
 
 :p: 
 
 -h 
 
 ilF=^-=^il^ 
 
 :2^ 
 
 ;ei 
 
 And down will come rock - a - bye ba - by and all. 
 
 ^^=f 
 
 :^: 
 
 :^: 
 
 1=F 
 
 III 
 
 -?s^. 
 
 Formation.— A single circle facing inward, and holding the arms as if carrying a doll. 
 A child, chosen to be "it," stands in the centre. 
 
 Hush-a-bye baby, on the tree top; Standing with the feet well separated, sway the 
 
 And when the wind blows the weight alternately to the right and left foot, point- 
 
 cradle will rock, ing the opposite toe, and at the same time swing 
 
 And when the bough the arms up sideways as if swinging a doll.
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 69 
 
 breaks 
 
 the cradle will fall, and 
 
 down 
 
 will come rock-a-bye baby and all. 
 
 Clap hands above head to 
 imitate the crack of the bough. 
 
 Lower arms forward as if showing the direc- 
 tion of the fall of the cradle. 
 
 This word is the signal for the children to all 
 fall down in place. 
 
 The last child to fall down is "it" and ex- 
 changes places with the one in the centre. 
 The game is then repeated as before. 
 
 SEE-SAW, No. II 
 
 For music see page 92. 
 Formation. — A single circle facing centre, hands on hips. 
 Part I. 
 
 See- 
 
 f >,." '■ ' 
 
 
 ^ 
 
 * 
 
 
 .<>UI? 
 
 
 
 m 
 
 '^>»*.'::' 
 
 
 ^ 
 
 :^^mS^SSi 
 
 
 wi'- 
 
 ^^IRh 
 
 M 
 
 
 ^I^^^^^Bi ' 
 
 
 
 B 
 
 
 Kp 
 
 Step on right foot and raise 
 left leg sideward left.
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 saw, 
 
 Step on left foot and raise 
 right leg sidewards right. 
 
 This represents the action of the one who stands upon the see-saw and "pumps." Con- 
 tinue same action to end of Part I of music. 
 
 Part II. 
 
 Step sideways on right foot and hop, raising left leg sideward. 
 Step sideways on left foot and hop, raising right leg sideward. 
 Continue same action to end of Part II of music. 
 
 Part III. 
 
 All clasp hands in circle. Run forward eight steps toward centre of circle, beginning 
 with right foot. Stamp twice (right, left) on "what fun." 
 
 Run backward eight steps and stamp twice on "what fun."
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 OLD KING COLE 
 
 71 
 
 Nursery Rhyme 
 Briqldhj 
 
 Adapted by 
 Mae Rehberg Scheuerman 
 
 .js \ — ^ — t — c — \t — ^ — s — •*► 
 
 m 
 
 Old King Cole was a mer -ry old soul, And a mer-ry old soul was he; 
 
 He 
 
 '^m 
 
 :t==q 
 
 7-l(. 
 
 s 
 
 =irH 
 
 •^^-# 
 
 ;fc=^ 
 
 1^1^^^ 
 
 ^ 
 
 -^ — 5^- 
 
 -1^^-^- 
 
 called for his pipe And he called for his bowl, And he called for his fid -dlers 
 
 Tfc-t 
 
 '^^ 
 
 =E^ 
 
 ^ 
 
 i 
 
 S2 
 
 rit. 
 
 rit. 
 
 F=-^ 
 
 5=^^ 
 
 ^=^ 
 
 £ES 
 
 -A % 
 
 #=J^ 
 
 ^ 
 
 -(& 
 
 And he called for his fiddlers three. And he called for his fiddlers three. 
 
 E^zi 
 
 .^ f^^^t 
 
 =£2 
 
 =S 
 
 =^ 
 
 -&,- 
 
 :fe^^^5^^2jE^ 
 
 ^ 
 
 ^— ^- 
 
 Jz-t 
 
 -A— N- 
 
 H 1- 
 
 -O— •- 
 
 5 
 
 ^ 
 
 Ev-ery fid-dlerhad a ver-y fine fid-die, A ver-y fine fid-die had he. And 
 
 Sfef 
 
 ^tE^ 
 
 J? 
 
 =f^ 
 
 ^ 
 
 ^ 
 
 X-- 
 
 i 
 
 SI 
 
 « l i 4 
 
 -&- 
 
 ^ 
 
 we'll all fid -die for Old King Cole And be as mer-ry as he. 
 
 X-- 
 
 -g- 
 
 r- 
 
 m\
 
 72 RHYTHMIC ACTION PLAYS AND DANCES 
 
 Formation. — A single circle facing in line of direction, with one chosen for Old King 
 
 Cole. 
 
 Old King Cole was a merry old soul, 
 And a merry old soul was he; 
 He called for his pipe 
 And he called for his bowl 
 
 Move forward around the circle in line of 
 direction with jig steps. 
 
 And 
 
 Halt and face centre of circle. 
 
 he called for his fiddlers three, 
 And he called for his fiddlers three, 
 And he called for his fiddlers three. 
 Every fiddler had a very fine fiddle, 
 A very fine fiddle had he. 
 And we'll all fiddle for Old King Cole 
 And be as merry as he. 
 
 This is a game in which King Cole may call 
 for whatever action he desires, and each time 
 the chosen action is named in the song the 
 children go through the motion chosen. 
 
 Suggestions for actions which may be called for: Jumpers, drummers, clappers, point- 
 ers, hoppers, leapers, runners (in place), bowers, nodders, stretchers, shakers.
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 DAME, GET UP AND BAKE YOUR PIES 
 
 Old Nursery Rhyme Traditional 
 
 73 
 
 #=F 
 
 ^- 
 
 ^ 
 
 ^ 
 
 =i= 
 
 Dame, get up 
 
 giig 
 
 t 
 
 jL 
 
 and bake your pies, Bake your pies, bake your pies, 
 ■ft -0^ -t^- 
 
 X 
 
 -»-*- 
 
 S3 
 
 ? 
 
 -y- 
 
 I 
 
 h 
 
 I 
 
 3^^ 
 
 it 
 
 -•— »— f-' 
 
 t 
 
 # 
 
 Hi 
 
 Dame, get up and bake your pies, On Christmas day in the morn 
 
 f=^ 
 
 k 
 
 ing. 
 
 eB 
 
 Z- 
 
 ^- 
 
 -y- 
 
 Formation. — A single circle facing in line of direction with the dame kneeling in the 
 centre, pretending to be asleep by closing her eyes and leaning her cheek on her hands. 
 
 The children all skip around circle in line of direction as they sing the song. After 
 singing the whole of the song, the children halt and face inward, at the same time the 
 dame wakes up and points her finger over her shoulder at some child behind her in the 
 circle, of whom she asks, " What kind of pies shall I bake? Pumpkin, mince or cranberry?" 
 The child to whom she points must answer one of the three kinds of pie. The dame tries 
 to guess from the aaswer who has spoken. Should she succeed she may take the place 
 in the circle of the child whose name she guessed correctly and this child becomes the 
 new dame. Should the dame fail to recognize the voice, she must continue to act as the 
 dame and the game proceeds as before.
 
 74 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 KIDE A COCK HORSE 
 
 Mother Goose 
 Lively 
 
 Old Tune— Adapted 
 
 i-k 
 
 
 -N- 
 
 -t-^- 
 
 §*§ 
 
 Ride a cock horse to Ban-bu-ry Cross,To see a^fine la-dy up-on a white horse.With 
 
 t 
 
 t--- 
 
 :t: 
 
 t- 
 
 P- 
 
 K\ 
 
 -#— •— H- 
 
 =S=S=paF 
 
 H 1- 
 
 al — * 
 
 i^-^H 
 
 rings on her fin-gers and bells on her toes,She shall have mu-sic wher-ever she goes 
 
 ft f.^ g ^—^-^ ^ . ^. 
 
 V- 
 
 :t 
 
 =£ 
 
 B 
 
 ~" -I — 
 
 Formation. — A single circle facing in line of direction. 
 
 Ride a cock horse to Banbury Jig forward moving around circle in line of 
 
 Cross, To see a fine lady upon direction. 
 c white horse. 
 
 With 
 rings on 
 
 her fingers 
 
 Halt and face inward. 
 
 Raise right hand sideward opposite right ear 
 and shake right hand. 
 
 Shake left hand opposite left ear. 
 
 and bells on 
 
 her toes, 
 
 Raise right foot sideward and 
 shake it twice. 
 
 Shake left foot twice. 
 
 She shall have rmisic wherever 
 she goes. 
 
 Turn to the left in place with jig steps.
 
 2=E 
 
 i^E 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 HIPPITY HOP TO THE BARBER SHOP 
 
 Arranged by 
 Mae Rehberg Scheuerman 
 
 2: 
 
 ^r 
 
 t^ 
 
 ;^=r 
 
 Hip - pi - ty hop to the bar - ber shop To buy a stick of can - dy, 
 
 
 :?2= 
 
 :t: 
 
 4 
 
 :t: 
 
 1^ 
 
 ?^ 
 
 /T\ 
 
 -P--- 
 
 rTN 
 
 :^ 
 
 -t 
 
 
 One for you and one for me, And one for sis - ter An - nie. 
 
 
 H— 
 
 ^ 
 
 i 
 
 :[i 
 
 1 
 
 Formation. — Double circle, partners clasping hands and facing in line of direction. 
 
 Hippity hop to the barber shop 
 To buy a stick of candy, 
 Hippy hop to the barber shop 
 To buy a stick of candy, 
 
 Hippity hop forward beginning with right 
 foot and swinging clasped hands backward 
 and forward with each step. 
 Repeat. 
 
 One for you 
 
 Face partner. 
 
 Clap hands and stretch arms toward 
 partner waist high with palms fac- 
 ing upward.
 
 76 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 and one for me 
 
 Clap hands and place tips of fin- 
 gers on own chest. 
 
 and one for sister Annie. 
 
 Clasp right hands and hippity hop in circle 
 around to left, and on to the next partner to 
 the right. 
 
 The changing of partners is too difficult for childi-en at this stage of the course and 
 should be given at some later date. Instead the partners may circle in place without the 
 change.
 
 CHAPTER V 
 
 Balance Step and Point Step. — The balance step defined in the glossary may be 
 taught by the following progression. Review the swaying movement in "Hush-a-bye 
 Baby"; this will teach the sideward movement; next review the leg raising sideward in 
 "See-saw, No. II." Then with the "Leg over Leg" music on page 90, step alternately 
 sideward as in the "See-saw" but instead of raising the leg sideways swing it forward and 
 across the body, keeping the knee stiff. After the class has learned to swing the legs 
 alternately forward and across the body, the toe may be lowered and touch the floor 
 on each swing so that the children do alternate toe touch forward. When this move- 
 ment has been acquired they may be given "Twinkle, Twinkle, Little Star, No. I" to 
 learn heel raising. The toe touch forward, combined with heel raising of the supporting 
 foot in the balance step of "Come, My Dolly," will be found to be a natural sequence. 
 
 The point step is an alternate toe touch forward or backward followed by a step in 
 the same direction. Practice in this step is given in "The Fireflies' Dance," where three 
 running steps precede the point, and in "The Fairies' Moonlight Dance." 
 
 Progression for Teaching 
 
 Leg over Leg. (Music.) 
 
 Twinkle, Twinkle, Little Star, No. I. 
 
 Come, My Dolly. 
 
 The Fireflies' Dance. 
 
 The Fairies' Moonlight Dance. 
 
 77
 
 78 RHYTHMIC ACTION PLAYS AND DANCES 
 
 TWINKLE, TWINKLE. LITTLE STAR, No. I 
 
 For music see page 126 
 
 Formation. — A single circle, partners standing facing each other, with their hands 
 clasped and sides to the centre of the circle. 
 
 1. Twinkle, twinkle, 
 
 Raise on toes and raise hand^ high 
 above head. Then lower heels and 
 hands — and repeat. 
 
 2. little star, 
 
 Partners change places by circling in place 
 with two slides, beginning with the right foot. 
 
 3. How I wonder 
 
 4. what you are, 
 
 5. Up above 
 
 6. the world so high, 
 
 7. Like a diamond 
 
 8. in the sky. 
 
 Same as 1. 
 Same as 2. 
 Same as 1. 
 Same as 2. 
 Same as 1. 
 Same as 2.
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 COME, JMY DOLLV* 
 
 79 
 
 Lydu Avery Coonley 
 Alleqretto (frazioso 
 
 Eleanor Smith 
 
 ^— ^= 
 
 ^EE^^±==A 
 
 -.^^1 
 
 -G- 
 
 *: 
 
 £=i 
 
 t-- 
 
 t=1t 
 
 ^.- 
 
 Come, my dol - ly, come with me, Dance be - neath the ap - pie tree. 
 
 # 
 
 '- t=^-=^i=t 
 
 -^ — i- 
 
 1^ 
 
 -©- 
 
 -tS>.- 
 
 • ■•■ "^ ■0- 
 
 S>.- 
 
 ^^^^m 
 
 I 
 
 "h*^=^-^^^ N ^^; 
 
 •— ^ 
 
 • — ^ 
 
 ^I 
 
 See the blos-soms fly - ing down. 
 
 :.<t^I*IZit 
 
 ::t=t- 
 
 H 1- 
 
 -4=^- 
 
 :=^=^4f^ 
 
 Wings of pink and i-o - sy crown. 
 
 ^-^•-^ 
 
 ^1=1=^: 
 
 H 1- 
 
 -^^^l 
 
 P 
 
 -&-^ 
 
 r 
 
 cres. 
 
 '^^^^-- 
 
 ■I 
 
 •~4- 
 
 u 
 
 IP- 
 
 «f 
 
 ^^ 
 
 -<s^ 
 
 =l==l 
 
 i§^ 
 
 f^ — N 
 
 N-4^ 
 
 -A-^ — P> — ^ 
 
 -(S*- 
 
 Catch them, dolly, in your gown, 
 
 -X 
 
 
 d — ■(--iS-^ 
 
 -^— ^ 
 
 •-^-^ 
 
 J^I^-lA 
 
 A— f»^Hy 
 
 : g_>_ J _J : 
 
 •— 1^ 
 
 S 
 
 -|^^-^ 
 
 Catch them,dolly, in your gown. While the sun sees 
 
 9= 
 
 -N-»?- 
 
 :|=i^ 
 
 pif*r 
 
 -^=^ 
 
 iS-^n^- 
 
 ^^ 
 
 
 • — p 
 
 :t 
 
 :t= 
 
 •From "Singing Verses for Children" (Macmillan & Co.) by the kind permission of the author.
 
 80 
 
 ^^ 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 m 
 
 £=i^^ 
 
 I 
 
 I 
 
 :f:: 
 
 -.^st:^ 
 
 i 
 
 :?^ 
 
 you and me Dancing 'neath the ap - pie tree, Dancing 'neath the ap-ple tree. 
 
 ■ah 
 
 ^= 
 
 '?^i=t- 
 
 i=i 
 
 •^ t 
 
 m^ 
 
 :1=q: 
 
 -M= 
 
 ^ 
 
 f 
 
 :^: 
 
 --^-. 
 
 J^ 
 
 iB 
 
 II 
 
 Formation. — A single circle facing in line of direction. 
 
 1 . Come, my dolly, come with me, 
 Dance beneath the apple tree. 
 
 " Balance step " forward alternately 
 right and left. The hands may be 
 reached forward as if holding a 
 dolly's hands. The arms should 
 swing from side to side with the 
 step. 
 
 2. See the blossoms 
 
 flying down. 
 
 Raise arms forward upward. 
 
 Lower arms forward downward 
 fluttering hands to imitate falling 
 petals.
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 S. Wings of pink 
 
 and rosy crown. 
 
 Raise arms sideways upward. 
 
 Lower arms sideways downward flut- 
 tering liands. 
 
 Jt. Catch them, dolly. 
 
 %n your gown. 
 
 Raise the skirt slightly, holding the 
 hem with both hands, at the same 
 time look upward and raise on toes. 
 
 Lower heels. 
 
 5. Catch them, dolly, in your gown. 
 
 6. While the sun sees you and me 
 Dancing 'neath the apple tree. 
 
 Repeat 4. 
 Repeat 1. 
 
 7. Dancing 'neath the apple tree. 
 
 Curtsy.
 
 82 RHYTHMIC ACTION PLAYS AND DANCES 
 
 THE FIREFLIES DANCE 
 
 Irene E. Phillips Moses 
 
 Mae Rehberg Scheuerman 
 
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 Flick-er, flick-er, fire-flies,flash and dart, Tiny lit-tle fireflies dancing in the dark. 
 
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 danc-ing in the dark. 
 
 Ti - ny lit - tie specks of light, flash and dart.
 
 RHYTHMIC ACTION PLAYS AND DANCES 83 
 
 Formation.-A single circle facing inward, partners I and II standing side by side. 
 
 1. Flicker, flicker, fireflies, 
 
 2. flash and dart, 
 
 S. Tiny little fireflies 
 1^. dancing in the dark. 
 
 5. Won't you tell your secret, 
 
 6. where it is you go? 
 
 7. I have often wondered 
 
 8. and I want so much to know. 
 
 9. When you flicker, flicker, flicker, 
 
 10. flash and dart, 
 
 11. I never see you afterward, 
 
 12. where is it you depart? 
 
 13. Oh! flicker, flicker, fireflies, 
 lit. dancing in the dark. 
 
 15. Tiny little specks of light, 
 
 16. flash and dart. 
 
 Beginning with the right foot, run three 
 steps inward toward centre of the circle and 
 point left toe forward. 
 
 Beginning with the left foot, run three steps 
 backward and point right toe forward. 
 
 Same action as 1. 
 
 Same action as 2. 
 
 All face in line of direction. Both beginning 
 with the right foot, No. I's run three steps in 
 place and point left toe forward. No. II's 
 run forward three steps and stop at left of 
 partner, pointing left toe forward. 
 
 Partners clasp inside hands. Beginning with 
 the left foot, all run forward three steps and 
 point right toe. 
 
 Beginning with the right foot, all run forward 
 in line of direction three steps and point left toe. 
 
 Same action as 6. 
 
 Partners let go of hands and turn facing part- 
 ner, beginning with the right foot, run forward 
 passing partner on the right and point left toe 
 forward. 
 
 Beginning with the left foot, run three steps 
 backward, passing to the right of partner, and 
 point right toe forward. 
 
 Same action as 9. 
 
 Same as action 10. 
 
 Same action as 5. 
 
 Same action as 6. 
 
 Same action as 7. 
 
 Same action as 6.
 
 84 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 THE FAIRIES' MOONLIGHT DANCE 
 
 #-»-#-#-^#-r^ — r^ — I- 
 
 
 
 Mae Rehberg Schbuerman 
 
 
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 The "point step" is one of tiie simplest in dancing, but 
 also one which little children perform the most clumsily. To 
 make the point a dainty motion rather than a dig into the 
 floor with the toe, a setting such as the following may be used. 
 
 First tell the children some fairy story to impress upon 
 them what delicate, shy and light little creatures the fairies are 
 and how quietly they move. After the story the teacher may 
 suggest that the childi-en pretend they are fairies and have a 
 moonlight dance. The dance may be supposed to take place 
 under a spider web for a tent which is situated in a field, wood 
 or park. The ground may be covered with daisies and violets. 
 As it is night the fairies will not want to awaken the flowers, 
 so they will carefully push them aside, with the toe, before 
 they step. That is, before each step they may push a flower 
 aside. The teacher may accompany and direct the action by a 
 sing song such as "push a daisy, step; push a violet." The 
 very slowly at first. 
 
 music should be played
 
 CHAPTER VI 
 
 The Step Hop.— In teaching steps which require the leg to be raised and swung 
 forward or backward without bending the knee, such as in the "Aesthetic Schottisch 
 Step," the "Step Hop," etc., some difficulty is frequently encountered in getting the 
 children to raise the leg as a whole. The natural impulse seems to be, when the leg is 
 ' raised, to lift the foot perpendicular to the floor by bending the knee, as in the jigs and 
 skips. For this reason jigs and skips should be taught before the step hop. The mechan- 
 ism of this step is to step forward or backward and hop, at the same time raising the 
 leg either forward or backward with the knee stiff. Swinging the leg across forward in 
 the preceding chapter has directly prepared for the progression in this group. To teach 
 this step, let the children do the stepping from side to side with the "Leg over Leg" 
 music and swinging the leg forward as before, except they may give a little hop each 
 time the word "jump" appears in the song. After the children have caught the idea of 
 the step followed by the jump, they may hop after each jump. "Yankee Doodle" may 
 now be given in which the first action is the step hop raising the opposite leg backward, 
 which is very like the jig steps. "Jack Be Nimble" may easily follow, in which the leg 
 is raised forward. 
 
 Progression for Teaching 
 
 Leg over Leg. (Music.) 
 
 Yankee Doodle. 
 
 Jack Be Nimble. 
 
 Leg over Leg. (Game.) 
 
 Jack and Jill, No. I. 
 
 86
 
 86 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 YANKEE DOODLE 
 
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 Yan - kee Doo- die went to town A - rid - ing on a po - ny, He 
 
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 stuck a fea-ther in his cap, And called him Ma - ca - ro 
 
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 Yan- kee Doo -die, Ha, Ha, Ha, Yan-kee Doo -die Dan - dy. 
 
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 Yan - kee Doo - die, Ha, Ha, Ha, Buy the girls some can 
 
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 ii
 
 RHYTHMIC ACTION PLAYS AND DANCES 87 
 
 Formation.— A single circle facing in line of direction with the hands on the hips. 
 
 Eight pacing steps forward in line 
 of direction, that is, step forward 
 on right foot, knee slightly bent, 
 incline body diagonally forward 
 right. At the same time raise the 
 left leg backward, and hop on right 
 foot. Same left and repeat alter- 
 nating right and left. 
 
 Yankee Doodle went to town 
 a-riding on a pojiy, 
 
 He 
 
 stuck 
 
 a feather 
 
 Halt and face centre of circle. 
 
 Raise right hand and point right 
 forefinger toward head. 
 
 Point forefinger upward to repre- 
 sent feather. 
 
 in his cap 
 
 Point forefinger toward head.
 
 88 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 And called him 
 
 Bow and place tips of fingers on 
 chest. 
 
 Macaroni. 
 
 Step back on right foot and curtsy, 
 bowing well forward and extend- 
 ing arms sideways shoulder high. 
 
 Yankee Doodle, Ha, Ha, Ha, 
 Yankee Doodle 
 
 Dandy. 
 
 Yankee Doodle, Ha, Ha, Ha, 
 Buy the girls some 
 
 candy. 
 
 Clasp hands in circle and slide around circle 
 to the right. 
 
 Stamp (right, left). 
 
 Slide around circle to right. 
 
 Clap twice. 
 
 This dance must be done vivaciously. If the children are stimulated to execute it 
 with spirit, it is a very popular dance. When included in a program of foreign Folk 
 Dances to give a touch of American spirit it has been greeted with very enthusiastic 
 applause.
 
 Mother Goose 
 Lively 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 JACK BE NIMBLE 
 
 Mae Rehberg Scheuekman 
 
 89 
 
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 Jack be nim - ble, Jack be quick. Jack jump o - ver the can-die-stick. 
 
 
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 Jack be nim - ble, Jack be quick, Jack jump o - ver the can -die- stick. 
 
 
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 Formation. — A single circle facing in line of direction. 
 
 Some child, or the teacher, holds a blackboard pointer, or similar stick, a suitable 
 distance from the floor and the children move in line of direction with the step hop, rais- 
 ing the active foot well forward. As each child comes to the stick he jumps over it. The 
 height at which the stick is held may be gradually increased as the class acquires skill 
 in jumping.
 
 90 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 LEG OVER LEG 
 
 Mother Goose 
 
 Swedish 
 
 came 
 
 to 
 
 a stile and jump he went 
 
 ver. 
 
 Formation. — A single circle, facing inward. Two children stand in the centre of the 
 circle swinging a jumping rope (the stile). 
 
 Leg over leg as the dog went to 
 
 Dover, 
 
 He came to a stile 
 
 and jump he went over. 
 
 All step hop in place or stand still except 
 one child. At each repetition of this part of 
 verse, the children in turn step hop forward 
 from the circle to the jumping rope. 
 
 The child then jumps the rope and as the first 
 of the verse is being repeated, he returns to 
 his place in the circle.
 
 RHYTHMIC ACTION PLAYS AND DANCES 91 
 
 JACK AND JILL. No. I 
 
 For music see page 103 
 Formation.— Double circle, partners standing side by side, facing in line of direction. 
 
 Jack and Jill 
 
 Went up the hill 
 
 To fetch a pail of water. 
 
 Four step hops forward in line 
 of direction. 
 
 Jack fell down 
 And broke his crown 
 
 And Jill came tumbling after. 
 
 Jack kneels in place. Jill 
 stands still. 
 
 Jill kneels beside Jack.
 
 CHAPTER VII 
 
 The Hop Waltz.— The "Hop Waltz," or more properly the "Step Hop Waltz," is 
 a Folk Dance step of considerable difficulty and is too advanced for small children. A 
 modified form often used is given here, as children greatly enjoy "hop waltzing." It is 
 danced in couples with constant turning as in the round dances. Partners stand facing 
 each other, their clasped hands being held out at the sides about shoulder high. They 
 both step in line of direction with outside feet and hop once, then step on the opposite 
 feet and hop. This stepping and hopping on alternate feet they continue as they move 
 in line of direction around the room, turning slightly on each step. In teaching this 
 step, it is taken sideward, but when the couples get to turning they may step in any 
 desired direction, e.g., one of the partners may step backward and the other follow his 
 movement by stepping forward. To teach the step, review the "See-saw, No. 11" which 
 teaches the mechanism of the step in place, but not in couples. In part 1 of "See-saw, 
 No. Ill" the step is "walked in place" in couples. Little difficulty will be experienced 
 in acquiring the "Hop Waltz" in part 2, if before trying to move in line of direction, 
 the turn be done in place until the ability to turn is mastered. 
 
 Progression for Teaching 
 See-saw, No. Ill 
 
 SEE-SAW, No. Ill 
 
 Part I 
 
 Andante 
 
 Alfred G. Crowe 
 Adapted 
 
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 see - saw. Now we're off to Lon-don Town. See - saw, see - saw. Boys and 
 
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 92
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
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 girls.come out to play, See - saw, see - saw,On this our hoi - i - day. 
 
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 see -saw a - gain; But Bob - by and Sal - ly al-read-y are there, And 
 
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 swing-ing the see- saw up high in the air. Ha, ha, ha, ha, ha, ha, ha, ha. 
 
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 94 
 
 RHYTHiMIC ACTION PLAYS AND DANCES 
 
 Formation. — A double circle, partners facing and clasping hands. The inside circle, 
 A's, facing outward, outside circle, B's, facing centre of circle. 
 
 Part I. 
 
 1. Represents action of see-saw. 
 
 See- 
 
 "A" bend knees and squat 
 down. 
 
 sow. 
 
 " B " Bend knees and squat 
 down. "A" straighten knees 
 and stand up. This alternate 
 squatting down and straight- 
 ening up of "A" and "B" 
 is the action for "see-saw" 
 throughout Part I. 
 
 2. Represents the action of the one who stands on centre of board to balance it. 
 
 Now we're up or down "A" steps sideways left. 
 
 "B" steps sideways right, then 
 "A" steps sideways right. 
 "B" steps sideways left, then 
 "A" steps sideways left. 
 "B" steps sideways right, then 
 bring heels together. 
 
 Now ive're off for 
 London town. 
 
 Same action as above.
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 Part II. 
 
 Boys and girls come 
 out to play, 
 
 On this our holiday. 
 
 Same action as above. 
 
 Same action as above. 
 
 Part III. 
 
 1. Ha, ha, etc. 
 
 2. what fun, 
 
 3. Ha, ha, etc. 
 Jf. what fun. 
 
 Hop waltz with partner, progressing in line of direction 
 around circle. 
 
 Bend forward and run with partner in line 
 of direction, holding inside hands. On last 
 "ha" lean backward and place inside heels 
 forward, toe pointing upward. 
 
 Raise hands, looking at partner. "A" claps 
 hands twice at left side of face. "B" claps 
 hands twice at right side of face. 
 
 Same as 1, except point outside heels forward. 
 
 Same as 2.
 
 CHAPTER VIII 
 
 Sliding with Alternate use of the Feet. — One reason why many find it diflBcult to 
 
 teach the waltz and two step to children is because these steps require more than one 
 single movement to be made with the feet. In all such actions as walking, running 
 and climbing the feet are used alternately for a single action. Therefore this group has 
 been placed after those which are supposed to prepare for it by teaching series of move- 
 ments repeated alternately in rhythmic sequence. These games are neither expected or 
 intended to teach the two step and waltz, which have been left for later instruction, but it 
 does aim to give the child a good preliminary training which will aid in the teaching of 
 these more difficult steps. The "face to face and back to back" figure which is found 
 in many Folk Dances appears here in a modified form suitable for little children. There 
 are no "cuts," "heel raising" or turning on balls of the feet. These points should not 
 be emphasized with beginners. 
 
 This progression should be preceded by a review of "Playing Train" and "Pussy 
 Cat, Pussy Cat." In this chapter is the first use of counts and it has been thought wise 
 here to make the transition to the more formal teaching of dancing. The child has learned 
 the mechanism of sliding in Chapter II. In the succeeding chapters he has learned to 
 execute actions in various series, as in "Bobby Shafto" (series of four movements). Now 
 that he can follow the music and do these movements let him count the slides instead of 
 saying the words of the song. Let the class count the scuffs in "Playing Train," the claps 
 in "Bobby Shafto" and the step hops in the "Step Hop Waltz." The class may then be 
 formed into a straight line (with the "Children Sliding" music) slide forward around the 
 room, sliding four slides alternately right and left. If the teacher desires she may vary 
 this sliding and alternate the slides with four claps or four stamps in place. After the 
 class has acquired the ability to slide four times, then it may in the same manner do three 
 shdes with alternate feet with "The Fairies' Moonlight Dance" music. From this they 
 can easily progress to the two slides using "The Christmas Ships" music. In this group 
 in particular it is well to keep in mind the mental and physical processes involved in ac- 
 quiring new co-ordinations, for progress is often slow and much repeating may be necessary. 
 
 The "face to face and back to back" movements of "Brownies and Fairies" and 
 "Jack and Jill," No. II, will be easily mastered after the preceding exercises. 
 
 Progression for Teaching 
 
 Review: 
 
 Playing Train. Brownies and Fairies. 
 
 Bobby Shafto. Jack and Jill, No. II. 
 
 Pussy Cat, Pussy Cat. The Little Nut Tree. 
 
 Children sUding. 
 
 The Fairies' Moonlight Dance. (Music.) 
 
 The Christmas Ships. 
 
 96 
 
 \
 
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 -fe 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 CHILDREN SLIDING 
 
 Mae Rehberg Scheuerman 
 
 97 
 
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 98 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 THE CHRISTMAS SHIPS 
 
 Old Nursery Rhyme 
 
 &--J1 
 
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 X--- 
 
 -X 
 
 I saw three ships come sail - ing by, 
 What do you think was in them then, 
 
 Sail - ing by. 
 In them then, 
 
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 sail -ing by, I 
 in them then,What 
 
 m 
 
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 saw three ships come sail - ing by. On Christmas day in the morn - ing. 
 do you think was in them then. On Christmas day in the morn - ing? 
 
 Formation. — Standing in groups of three side by side facing in line of direction 
 inside hands clasped. 
 
 > 
 > 
 > 
 
 AAA 
 
 VW 
 
 < 
 < 
 < 
 
 Two step forward around circle in line of direction through first two verses. Some 
 child is then allowed to choose a toy which they all act out. Suggestions for such actions 
 follow: 
 
 A hright red sleigh to draw you on, 
 draw you on, draw you on, 
 a bright red sleigh to draw you on, 
 on Christmas day in the morning. 
 
 Some roller skates to skate with you, etc. 
 
 A jack-in-the-box to jump at you, etc. 
 
 All run around the circle in line of direction 
 holding their hands behind them as if pulling 
 a sleigh. 
 
 Skate around circle in line of direction. 
 
 Jump up in place each time the word jump 
 appears in the verse.
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 99 
 
 A drum to heat with a rub-a-dub-dub, etc. 
 
 A box of soldiers that stand up 
 straight, etc. 
 
 A hook and ladder to run to a fire, etc. 
 
 A top that will spin a long, long time, 
 etc. 
 
 A rocking horse that rocks this way, 
 etc. 
 
 A grasshopper that jumps and hops, etc. 
 
 Shake hands as if beating a roll on the drum. 
 
 Stand up very stiff and straight to imitate 
 tin soldiers. 
 
 Gallop around circle in line of direction. 
 
 Turn quickly in place and spin around the 
 circle. 
 
 To rock: Place right foot forward and sway 
 weight to right foot slightly raising left leg 
 backward. Sway weight to left foot and 
 slightly raise right foot forward. 
 
 On each word "jump" or "hop," jump for- 
 ward with a short jump with both feet, trying 
 to land on toes with knees bent. 
 
 This game may be continued as long as desired. After each toy is chosen, the two 
 step forward is repeated. The children take turns choosing the toys.
 
 100 RHYTHMIC ACTION PLAYS AND DANCES 
 
 BROWNIES AND FAIRIES 
 
 Irene E. Phillips Moses Arranged by Emily Perkins Wells 
 
 i 
 
 Five 
 
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 lit - tie fair - ies 
 ♦ PP 
 
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 P — -d— — -^ d N N -N N-*? — SH 
 
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 un-der a toad stool, All sleep-ing sound-ly while 
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 chil - dren are at school ; Now the moon is shin - ing, watch them creep out, 
 
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 1-2-3-4- 5 danc- ing a - bout. Five lit- tie brownies hidden in a tree, 
 
 
 
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 se- cret and safe as ev - er could be, Now watch them come stealing 
 
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 To dance with lit - tie fair - ies on a grass - y knoll. 
 
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 Dance 
 Old English (adapted) 
 
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 By the moon we sport and play. With the night be - gins our day ; 
 
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 RHYTHMIC ACTION PLAYS AND DANCES 
 
 101 
 
 As we frisk the dew doth fall, 
 
 Trip it, lit - tie 
 
 ^ 
 
 ur - chins all, 
 
 
 Formation; 
 
 >V 
 
 B 
 
 B 
 
 03 
 
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 03 
 
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 8 
 
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 ^ -, The fairies (girls) kneel in groups of five 
 
 close together with their heads on their knees, 
 
 ^ pretending to be asleep under a toadstool. 
 
 The brownies (boys) stand close together in 
 
 circles of five with their hands clasped to form 
 
 ~ hollow trees. If the class cannot be arranged 
 
 > well in groups of five, any other convenient 
 
 ^ number may be used. It is not necessary that 
 
 J the brownies and fairies be boys and girls; in 
 
 fact, it is frequently both wise and desirable 
 
 ^ to avoid such a separation of the class. 
 
 Five little fairies under 
 a toadstool, all sleeping 
 soundly while children 
 are at school; 
 
 All keep still.
 
 102 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 Now the moon is shining, watch them 
 
 creep out, 
 
 1-2-3-4-5 dancing about. 
 
 The fairies stand up and raise their clasped 
 hands high. One of the fairies, previously 
 chosen, lets go of the hand of her neighbor to 
 the left and walks under the clasped hands of 
 two fairies to her left, at the same time pull- 
 ing the string out after her so that all of the 
 fairies pass out under the arch and form a 
 straight line. The last fairy in the line should 
 turn under her own arm. The various groups 
 of fairies then clasp hands in one big circle 
 in the centre of the room and slide around 
 the circle during the second verse. 
 
 Five little brownies 
 hidden in a tree. 
 As secret and as safe 
 as ever could be, 
 
 Now watch them come 
 stealing out of a hole 
 To dance with little fairies 
 on a grassy knoll. 
 
 •*^ Brownies stand still. 
 
 The brownies creep out 
 the same as the fairies. 
 After the brownies have 
 pulled their lines out 
 straight, they let go of 
 hands and run forward, 
 each taking a fairy by the 
 hand.
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 108 
 
 DANCE. 
 
 Partners face each other clasping inside hands, brownies facing inward and fairies with 
 backs to the center of the circle. 
 
 By the moon we sport and play, 
 With the night begins our day; 
 
 ■ As we frisk the deiv doth fall, .,^^^^ ^^ ^^^^ ^^^ ^^^^ ^^ ^^^^„ 
 
 Trip It, httle urchms all, . ^^^. j^^^^,.^ ^^^^^^ ^j^^,^ .^ 
 
 Two by two so hght and free, ,j^^ ^^ direction; i.e., all slide four 
 
 All about, about go toe. ^^.^^^ sideward in line of direction, 
 
 partners facing and holding clasped 
 hands high and peeking at each 
 other in front of arms. Then swing 
 arms downward and up and turn 
 back toward partner and slide four 
 slides sidewards in line of direction, 
 peeking at partner behind arms. 
 Continue alternating four slides fac- 
 ing then four slides back to back 
 until end of music. If it is desired 
 to make the dance longer, the sec- 
 ond half of music may be repeated 
 at the discretion of the teacher. 
 
 Mother Goose 
 Lively 
 
 JACK AXD JILL. No. II 
 
 Mae Rehberg Scheuerman 
 
 ^EM=4=g^ 
 
 :^=i 
 
 K-i 
 
 :!= 
 
 it 
 
 -1-- 
 
 Jack and Jill went up the hill To get 
 
 f:_»t_i?_ 
 
 
 a pail 
 
 of 
 
 wa - ter. 
 
 -«■ -^ 
 
 ■•■ ■#- 
 
 w — m- 
 
 ^F=^^ 
 
 -w- 
 
 g 
 
 iLzztTt 
 
 3?r 
 
 -^^ 
 
 Jack fell down and broke his crown,And Jill came tumb- ling af 
 * -ft -^ # 
 
 ft 
 
 mi\ 
 
 ter. 
 
 I^ 
 
 
 m^^^^
 
 104 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 Formation. — A double circle in couples, partners facing, inside hands clasped and held 
 
 high. 
 
 Jack and Jill 
 
 went up ike kill 
 
 To fetch a pail of water. 
 
 "Face to face and back to back"; i.e., 
 partners take two slides sideways in line of 
 direction with outside feet, then swing arms 
 down between and up again, turning back to 
 back and sliding two slides in line of direction 
 with inside feet, and repeat. 
 For pictures, see page 103. 
 
 Jack fell down 
 
 Jack kneels on right knee. 
 
 and broke his crown, 
 And Jill came 
 
 Jill two steps or jigs around Jack, passing in 
 front of him. 
 
 tumbling after. 
 
 Jill kneels beside Jack.
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 THE LITTLE NUT TREE 
 
 Old Nursery Rhyme Old English 
 
 105 
 
 :^ 
 
 Si^^Ei 
 
 t- 
 
 -0 — • — h- 
 
 W — \fi — 1>^- 
 
 -^- 
 
 I 
 
 I had a lit - tie nut tree, noth - ing would it bear, 
 
 -^ X * * ^ -m. ^ 
 
 » -^ Wt* 1 • — ■f-—rr 1 r I r#- 
 
 I 
 
 ^— • -^—m—P 
 
 ■^-■^-^ 
 
 P=^=^^ 
 
 H-^H^ 
 
 ^IS 
 
 But a sil -ver nut - meg, and a golden pear; The King of Spain's daughter 
 
 -• — h 
 
 %=S 
 
 £ 
 
 -»-r#- 
 
 1 
 
 t±t: 
 
 # — •- 
 
 i%^ 
 
 -^^ 
 
 S 
 
 ^ 
 
 ^^-p 
 
 '— U-H?" 
 
 came to vis-it me, 
 
 -^-f- 
 
 :£ 
 
 2Ei 
 
 -tzt 
 
 And all for the sake of my lit - tie nut tree. 
 
 H«^ -ft -^ 
 
 'h— ^— I — r#— p~ •— I — r-f— I — • \ \ ~ — • — i— Pt • f— Ti — » ri 
 
 Formation. — Two concentric circles facing each other, a ^ v of the King of 
 
 Spain being designated in the outer circle. 
 
 I had a little nut tree, 
 nothing would it bear, 
 But a silver nutmeg, 
 and a golden pear; 
 
 Each circle clasps hands and slides to right; 
 that is, circles move in opposite direction.
 
 106 RHYTHMIC ACTION PLAYS AND DANCES 
 
 The King of Spain's -j ^^^^^^'^^ } The circles halt, the King of Spain's | ^^^^^^^^ \ 
 
 _^ previously chosen in the outside circle "two 
 
 ^^ ^^ ^^ steps" forward and clasps hands with someone 
 
 M^ ^^^ opposite in the inner circle. 
 
 < 
 
 c > 
 
 
 came to visit me, These two circle in place once. 
 
 And all for the sake of my little They slide to the outer circle and take their 
 
 nut tree. place there. 
 
 The game then begins again with the one just chosen as the new | ^"^ ^^ I . This 
 
 choosing continues until there is no one left in the inner circle, when the original inner 
 and outer circles change place and game continues.
 
 CHAPTER IX 
 
 Couple Dances and other Action Plays in which the Formation is Composed of 
 Several Small Groups.— In Part I, under the general title of Class Conduct, will be 
 found a discussion of the significance of the circle formation when used in the first 
 organization of the group; and of the many benefits which accrue when it is used for 
 the teaching of classes of small children. Among the many points which recommend its 
 use is that it enables each member of the class to act independently and to execute indi- 
 vidualistic movements without regard to the others. It also enables the teacher to cen- 
 tralize the attention of the class. As a progression upon this activity of the group as 
 a whole, we may segregate the class into smaller groups of two, three, four, etc. For 
 other things being equal, those dances and games in which the class is split up into a 
 number of groups are more difficult than those which consist only of individualistic ac- 
 tivity of one large group. This rule requires some explanation. It must be understood 
 that some couple dances are in reality easier than the more difficult individualistic 
 rhythms because of the difficulty of the action itself. When a class is thus broken up 
 into small groups it is harder for the teacher to attract and hold the attention than when 
 the children are acting in one single circle. The teacher may easily be the centralizing 
 and directing force when the grouping is a single unit, but when the group is broken up 
 into smaller parts, each part must learn to work together and be more or less self direct- 
 ing. The teacher frequently experiences some difficulty when she attempts to unify and 
 hold the control of these separate groups. Therefore as a rule, the organization of a 
 group should at first be one single unit, then successive progressions may be made 
 through groups of two, three, four, etc. That is, as far as the organization is concerned, 
 couple dances and similar small groups are an advance over individualistic action or ac- 
 tivity of the circle as a whole. And yet, we find, in such a dance as the "Brownies and 
 Fairies" which has small circles of five, that children can dance it more readily than such 
 a couple dance as "Girls and Boys Come out to Play," because the action itself is easier 
 and the figures less difficult. However, on the other hand, "Pussy Cat, Pussy Cat" is 
 easier than "Puss, Puss, Grey Cat." It will be seen then, that any rule as to relative 
 advancement of different groupings must be greatly modified by the actions which are 
 performed in the dances, and that while couple dances are simpler from the point of view 
 of their formation, the fact of whether they are, in the last analysis, easier than dances 
 in which the groups are larger, depends upon other elements. 
 
 Couple formations markedly differ from each other in simplicity, from a teaching point 
 of view. The most simple being the one in which the partners stand side by side, facing 
 in line of direction. This arrangement best enables the whole of the class to see the teacher 
 The next easiest is the single circle, partners facing each other, with their sides to the 
 centre of the circle. This formation permits of the teacher seeing all of the children and 
 does not admit of any such confusion as to which is partner and which is neighbor as is 
 liable to occur when partners stand side by side, facing the centre of the circle. Another 
 simple couple grouping is when both partners face the centre of the circle, one standing 
 behind the other. The most difficult couple formation is the double circle, partners facing. 
 In this the partner who stands with his back to the centre is neither able to see the 
 teacher nor the rest of the class and, therefore, is thrown upon his own responsibility for 
 the execution of his part of the dance. Nor can the teacher see the action of the class 
 sufficiently to be of assistance. 
 
 107
 
 108 RHYTHMIC ACTION PLAYS AND DANCES 
 
 With the possible exception of progressing forward, facing in lineiof direction, all ac- 
 tion in couple formation is easiest done in place. Such games as "Pussy Cat, Pussy Cat" 
 and "Bow-wow-wow" have been arranged with this thought in view and should be taught 
 before such Action Plays as "Ba, Ba, Black Sheep" and "Hippity Hop to the Barber 
 Shop" (when danced with a change of partners). It is possible to make the teaching of a 
 change of partners very easy. First teach the actions of the change before teaching the 
 change itself. "Pussy Cat, Pussy Cat" teaches the turn of the partner in place. "Bow- 
 wow-wow" teaches the change of partners, but in place. "Two Little Black Birds" 
 illustrate the separation of partners without the actual change and confusion of both mov- 
 ing away from each other at the same time. The first dance to be taught with a change 
 of partners is "Pat-a-cake." The change is very simple, being simply moving sideward 
 to the next partner. "I Had a Little Nut Tree" in the preceding chapter has already 
 taught the children this moving sideways in opposite directions of two concentric circles. 
 "Ba, Ba, Black Sheep" has the same change but partners move forward instead of side- 
 ways. "The Old Man in Leather" is a little harder than "Ba, Ba, Black Sheep" because 
 the circle moves once around in opposite direction before the change is made. The change 
 of partners in "Hippity Hop to the Barber Shop" is the next advance, as circling in place 
 precedes the change of partners and after the circling the children are usually confused at 
 first to know which way to go. In this dance the circling is only half way around. 
 
 Progression for Teaching 
 
 Bow-wow-wow. 
 
 Two Little Black Birds. 
 
 The Little Pigs. 
 
 Pat-a-cake. 
 
 Three Little Kittens. 
 
 Ba, Ba, Black Sheep. 
 
 The Old Man in Leather. 
 
 Hippity Hop to the Barber Shop. (With change of partners.) 
 
 Twinkle, Twinkle, Little Star, No. II. 
 
 Girls and Boys, Come Out to Play. 
 
 Puss, Puss, Grey Cat.
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 Bo^v-^vo^^-^v()^v 
 
 lU'J 
 
 Mother Goose 
 QiiicMij 
 
 Traditional Tune 
 
 S3 
 
 -^ — • • # 
 
 i^t 
 
 H h- 
 
 -• 0- 
 
 V y _>: 
 
 :l^=5= 
 
 :q_^: 
 
 •-—ah 
 
 1^] 
 
 Bow- wow- wow ! Whose dog art thou? Lit-tle Tommy Tucker's dog. Bow- wow- wow! 
 
 ^t=EJ^iEfz[^^;j^zp^z=j 
 
 y^^^F 
 
 F- 
 
 t 
 
 I-^U- 
 
 :?: 
 
 11 
 
 Formation. — Single circle, partners facing. 
 
 Bow-wow-wow! 
 Whose 
 
 Stamp three times (right, left, right). 
 Strike right hand sharply against left. 
 
 dog art thou? 
 
 With a jerk point right fore- 
 finger upward, raising it about 
 nose high. 
 
 Little Tommy Tucker's dog. 
 
 Bow-wow-wow! 
 
 Partners clasp hands and quickly circle in 
 place. 
 
 Stamp three times turning away from part- 
 ner and facing neighbor. 
 
 Repeat same with neighbor, turning back to partner on final bow-wow-wow. The 
 dance may continue as long as desired, alternately dancing with partner and neighbor.
 
 no 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 TWO LITTLE BLACKBIRDS 
 
 Mother Goose 
 Allegretlo 
 
 f-A^ — ^— • — * — ^ -Fj ^-J^*- 
 
 =15^:^5 
 
 -N- 
 
 ^-J^ 
 
 Mae Rehberg Scheuerman 
 
 N 
 
 ^— ^ 
 
 =S— N 
 
 ■^=i^= 
 
 :^=zMl 
 
 ^n — ««- 
 
 Two lit-tle blackbirds sitting on a hill, One named Jack and tiieoth-er named Jill. 
 
 iii^ 
 
 ^=:g=g=q 
 
 t 
 
 V— j- 
 
 ^— • 
 
 4^«f- 
 
 — 1 
 -•- 
 
 -^ 
 
 Ei 
 
 II 
 
 Fly a - way Jack, and fly a-way, Jill. Come back,Jack,and come back,Jill. 
 
 t- 
 
 S^^% 
 
 •— *?- 
 
 
 :£ 
 
 ^ 
 
 Formation. — All kneeling in a single circle, partners facing each other. The one 
 named "Jack" facing in line of direction, "Jill" facing in the opposite direction. 
 
 Two little blackbirds 
 sitting on a kill, 
 
 One named 
 
 Jack 
 
 the other named 
 
 Jill. 
 
 ^'mE::jiMsSm»^iSi;^ 
 
 Both sit still. 
 
 Jack stands. 
 
 Jack claps his hands once. 
 
 Jill stands. 
 
 Jill claps hands once.
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 Fly away, Jack slides two slides to his right. 
 
 Jack, Jack claps his hands once. 
 
 fly away, Jill slides two slides to her right. 
 
 Ill 
 
 Jill. 
 
 Come back, 
 Jack, 
 come back, 
 Jill. 
 
 Jill claps her hands once. 
 
 Jack slides two slides to his left. 
 Jack claps his hands once. 
 Jill slides two slides to her left. 
 Jill claps her hands once. 
 
 This action play teaches the somewhat difficult action of sliding away from and back 
 toward a partner. This rhythm makes this separation easy, as the action is illustrated 
 without partners moving at the same time, which is the point in the evolution that children 
 find confusing. 
 
 The single circle with partners facing is not the only formation which may be used. 
 This action play may be given as a preliminary drill to any dance where the partners are 
 changed, in which case the partners should face and slide in the direction used in the dance 
 to be prepared for.
 
 112 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 THE LITTLE PIGS 
 
 Mother Goose 
 Adapted 
 
 ^I|5 
 
 ^— ^— ^ 
 
 —I — h 
 
 -• — •- 
 
 ^Em 
 
 ::f-=:^ 
 
 — ,=j — H, » — •- 
 
 ^p 
 
 This Ht- tie pig-gie went to mar - ket, This ht-tle pig-gie stayed at home ; 
 
 
 d=? 
 
 _^_ 
 
 ::4: 
 
 I 
 
 I 
 
 -(S- 
 
 ^ 
 
 ■-s*- 
 
 ittiz 
 
 
 :a=1^ 
 
 :t: 
 
 -i5>- 
 
 
 This lit - tie pig- gie had some roast beef,And this lit- tie pig-gie had none. 
 
 i!S 
 
 gfc 
 
 
 
 -^- 
 
 j- 
 
 :i 
 
 
 II 
 
 -4' 
 
 -4- 
 
 iOl- 
 
 t- 
 
 #- 
 
 
 i?=t=- 
 
 :ti: 
 
 -Ja- 
 
 :U: 
 
 :^ 
 
 E 
 
 ^-Ee* 
 
 These lit - tie pig - gies cried out pee - wee - wee, pee - wee- wee, 
 
 ^ 
 
 --^z 
 
 ♦ # ?: 
 
 / Ki' ^- 
 
 ♦ # ?: 
 
 *^ » • — • ^ j—\— ^ * J ^ '^ ^ — M 
 
 And these lit - tie pig - gies ran off home. Pee - wee - wee. 
 
 # ♦ 
 
 -h h 
 
 =^= 
 
 -h b P- 
 
 
 ii 
 
 Formation. — A single circle facing inward. Some child is selected to start the dance. 
 
 This little piggie went to market, 
 
 The child selected to start the dance runs 
 forward four very short steps and stamps 
 twice (right, left) on "market."
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 This little piggie stayed at home; 
 
 118 
 
 
 \ 
 
 /^ 
 
 \/ 
 
 ^t 
 
 \/ 
 
 The one next to the left in the circle runs 
 backward four very short steps and stamps 
 twice (right, left). 
 
 This little piggie had some roast beef, 
 
 And this little piggie had none. 
 
 The next to the left runs forward and stamps 
 twice, the same as the piggie who went to 
 market. 
 
 The one next to the left runs backward and 
 stamps twice, the same as the piggie who 
 stayed at home. 
 
 This rhythm is used to count off the class and arrange them in partners ready for the 
 couple dances. The above verse (the first eight measures) is repeated over and over until 
 the whole class has been counted off and an outer and inner circle has been formed. The 
 class then faces in line of direction. 
 
 These little piggies cried out 
 pee-wee-wee, pee-wee-wee, 
 
 And these little piggies ran off home. 
 Pee-wee-wee. 
 
 The outside circle takes a step forward while 
 the inside circle at the same time takes a step 
 outward, which groups the class into couples, 
 the piggies who went to market with the pig- 
 gies who stayed at home, and the piggies who 
 had roast beef with the piggies who had none. 
 
 Partners clasp hands and run forward around 
 circle in line of direction. 
 
 The run may be continued as long as desired by repeating the last four measures.
 
 114 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 PAT-A-CAKE 
 
 Mother Goose 
 Moderato 
 
 ^i?^i^ 
 
 t: 
 
 -P — ^ — «f- 
 
 # — r 
 
 :i^fc 
 
 Ly 
 
 EE 
 
 Adapted 
 
 A-^ 
 
 — r 
 
 Pat - a -cake.pat - a - cake.ba - ker'sman, Make me a cake as fast as you can ; 
 
 Presto 
 
 rS^ 
 
 N-^N- 
 
 -N— N-rH^- 
 
 d — •- 
 
 -H— ^ — !■ 
 
 izi:?=t 
 
 •~P 
 
 — N 
 
 f-E-te-&=:t=i: 
 
 ^-^^— ^- 
 
 H h^ 1 
 
 -^—^- 
 
 l^-hb — fc^— ^' 
 
 •—^—•—^ 
 
 Roll it and prick it and mark it with B, And toss in the o- ven for ba- by and me. 
 
 g^^ g=^ 
 
 =ti 
 
 "t- 
 
 -^-r — r^t — r^ — " 
 
 Formation. — A double circle, partners standing opposite each other. Outside circle 
 standing facing inward, and inside circle facing outward. 
 
 Pat-a-cake, 
 pat-a-cake, 
 baker's man, 
 
 Clap partner's hands three times. 
 
 Clap own hands three times. 
 
 Curtsy.
 
 RHYTHMIC ACTION PLAYS AND DANCES IIT) 
 
 Make me a cake Hold left arm in circle as if holding a bowl 
 
 and go through the action of stirring a cake, 
 circling right hand three times away from body 
 over the imaginary bowl. 
 
 as fast as you can; Stir cake in opposite direction; that is, toward 
 
 body. 
 
 lloll it Roll right hand twice over left away from 
 
 body. 
 
 avd prick it Point right forefinger into left palm. 
 
 and mark it Slap left fist with right palm. 
 
 yjith B, Touch together the tips of all the fingers and 
 
 a letter B will thus be made by the forefingers 
 and thumbs. 
 
 And toss in the oven Toss both arms up at the side to the right. 
 
 for baby and me. Swing arms down and leap sideways right, 
 
 thus changing partners. 
 
 Repeat as many times as desired or until the children are back to their original part- 
 
 ners.
 
 116 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 THREE LITTLE KITTENS 
 
 Old Nursei-y Rhyme 
 AUegrello 
 
 :^^iSzI^=::^: 
 
 =i 
 
 N- 
 
 -^ -^ 
 
 There were three lit - tie kit - tens Put on 
 
 their mit - tens To 
 
 ©M^ 
 
 Er^^=| 
 
 Slqt 
 
 -/ — 
 
 -iS>- 
 
 S^: 
 
 tE*^ 
 
 ■&- 
 
 H 
 
 eat some Christ - mas pie. 
 
 Mew, mew, mew, mew, mew,mew,mew. 
 
 
 ^ 
 
 :^- 
 
 Formation. — Standing in^a triangular formation, i.e., in groups of three facing centre 
 of group. 
 
 1. There were three little 
 kittens 
 Put on their mittens 
 
 To eat some Christmas pie. 
 Chorus. 
 
 Mew, mew, mew, mew, mew, 
 m£w, mew. 
 
 Hold right hand forward and 
 pull on an imaginary mitten 
 with the left hand. 
 
 Pull on the left mitten. 
 
 Turn around in place to right with six leaps, 
 bringing the heels together on last mew; i.e., 
 jump to right foot, then to left foot and con- 
 tinue alternating right and left until turned. 
 The same chorus is used after each verse, ex- 
 cept the music and leaps express the emotion 
 indicated in the preceding verse.
 
 RHYTHMIC ACTION PLAYS AND DANCES 117 
 
 2. These three little kittens, Look over right shoulder to find mittens. 
 
 They lost their mittens 
 
 Look over left shoulder to find mittens. 
 
 And they began to cry. 
 
 Put fists in eyes. 
 
 Chorus. 
 
 Mew, mew, mew, mew, mew, 
 mew, mew. 
 
 Sadly turn in place with six walking steps, 
 holding fists to eyes. 
 
 3. Go, go, naughty kittens. 
 
 Shake right forefinger toward 
 floor at right side. 
 
 And find your mittens 
 
 Shake left forefinger toward floor at left side. 
 
 Or you shan't have any pie. 
 
 Chorus. 
 
 Mew, mew, mew, mew, mew, 
 mew, mew. 
 
 Shake right forefinger toward floor at right 
 side. 
 
 Put fists in eyes and turn in place with six 
 melancholy skips.
 
 118 RHYTHMIC ACTION PLAYS AND DANCES 
 
 Jt. These three little kittens Hold up right hand to show mitten. 
 
 They found their mittens 
 
 Hold up left hand to show mitten. 
 
 And joyfully they did cry. 
 
 Shake hands with delight. 
 
 Chorus. 
 
 Mew, mew, mew, mew, mew, 
 mew, mew. 
 
 Turn in place with joyful leaps, shaking 
 mittens. 
 
 5. Oh! granny dear. 
 Our mittens are here, 
 Make haste and cut the pie. 
 
 Hold an imaginary pie in the left hand and 
 cut it with three slicing movements of the 
 right. 
 
 Chorus. 
 
 Purr-rr, purr-rr, piirr-rr-rr. 
 
 Turn in place with easy leaps, purring con- 
 tentedly. 
 
 6. These three little kittens. 
 
 Hold up right hand and look at it with aston- 
 ishment. 
 
 They soiled their ynittens. 
 
 Hold up left hand and look at it. 
 
 While eating Christmas pie. 
 
 Hide hands behind back. 
 
 Chorus. 
 
 Mew, mew, mew, mew, mew, 
 mew, mew. 
 
 Turn with six jerky steps, mewing with agi- 
 tation and distress. 
 
 7. These three little kittens, 
 Then washed their mittens, 
 
 Rub mittens on an imaginary wash board.
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 And hung them up to dry. 
 
 119 
 
 Pin mittens on line with two imaginary clothes 
 pins. 
 
 Chorus. 
 
 Mew, mew, mew, mew, mew, 
 mew, mew. 
 
 Turn with six quick leaps, mewing with a 
 busy expression. 
 
 8. These three little kittens, 
 Then ironed their mittens. 
 
 Hold out left hand, palm up, to represent 
 ironing board; and pass palm of right hand 
 over it, back and forth, to imitate motion of 
 ironing. 
 
 And all sat down close by. 
 
 Sit down and raise right arm and rub it over 
 face as if washing face, purring contentedly. 
 Same for chorus. 
 
 or 
 
 And smelted a mouse close by. 
 
 All turn and form single circle, facing in Une 
 of direction. 
 
 Chorus. 
 
 Mew, mew, mew, mew, mew, 
 mew, mew. 
 
 Hurry off, moving around circle after an 
 imaginary mouse, by long leaps.
 
 120 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 BA, BA. BLACK SHEEP 
 
 Mother Goose 
 Modern to 
 
 Mae Rehberg Scheuerman 
 
 )~, \} H' 
 
 m m 
 
 1 — s- ^ — V — f^ — ^; 
 
 ..rr -7 -^ 
 
 -^ 
 
 W^r 
 
 ~p=z|=t 
 
 -^ — • — J — • — f — 
 
 ^=^J_p_I 
 
 — M — 
 
 Ba, 
 
 R^-fj^ m— 
 
 Ba, Black Sheep, 
 
 have you a - ny wool? 
 
 Yes, sir, Yes, 
 
 F- f r- 
 
 sir, 
 
 -f 1 
 
 W^^J^ 
 
 — 1- -• 1 
 
 -4- i ^ 
 
 - A •— 
 
 — 1 
 
 -<5>- 
 
 :t?t 
 
 -A— P- 
 
 -^ 
 
 :^^=r3f^E 
 
 tt 
 
 three bags full; 
 
 One for the mas - ter, and one for the dame,And 
 
 S^iiE 
 
 =1= 
 
 t 
 
 :P=J: 
 
 c-eZ. 
 
 ---^^=W-- 
 
 vtfc 
 
 -^= 
 
 -A- 
 
 :;?= 
 
 ^ 
 
 :i 
 
 -(ff- 
 
 none for the lit - tie boy who cries in the lane. 
 -_ , ^ r-^ # g- 
 
 SS=Ef; 
 
 -^: 
 
 t: 
 
 -1-- 
 
 -^- 
 
 H 
 
 Formation. — A single circle, partners number I and II standing facing each other 
 with hands on hips. 
 
 Partner number I standing with right side to centre of circle. 
 Partner Number II standing with left side to centre of circle. 
 
 Partner I. 
 
 Ba, Ba, 
 
 Stamp twice (right, left). 
 
 Black Sheep, 
 
 have you any wool? 
 
 Clap twice. 
 
 Bow and hold hands forward, 
 palms up, as if to receive wool.
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 121 
 
 Partner II. 
 
 Yes, Sir, 
 Yes, Sir, 
 
 three bags full; 
 
 Stamp right twice. 
 Stamp twice left. 
 
 '"mm. 
 
 •^ 
 
 Hold up right hand and show 
 three fingers full. 
 
 One 
 
 for the 
 
 master, 
 
 Clap own hands. 
 
 Clap partner's left hand with 
 the right hand.
 
 122 RHYTHMIC ACTION PLAYS AND DANCES 
 and one Clap own hands. 
 
 for the 
 dame, Clap partner's hand with left. 
 
 And none for the little 
 
 Raise hands forward waist high, 
 palms upward, and then separate 
 the hands sideways, making a 
 gesture to denote having nothing. 
 
 Partners I and II. 
 
 who cries in the 
 lane. 
 
 With hands on hips, partners 
 skip past each other and on to 
 the next partner. 
 
 Repeat the whole, changing partners with each i-epetition, until all are back to their 
 original partners.
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 THE OLD MAN IN LKATHKR 
 
 123 
 
 Nursery Rhyme 
 Moderato 
 
 
 ^ 
 
 ft:=^^-^t^^^'^^ 
 
 Mae Rehberg Scheuerman 
 
 rH ^- 
 
 d: 
 
 S-^ 
 
 If: 
 
 9^ 
 
 One mist - y,moist - y morn 
 
 -F 
 
 ing When cloud- y was the weath - er, I 
 
 
 :t: 
 
 =t= 
 
 ■I — 
 
 ^^=?= 
 
 ::1= 
 
 t: 
 
 :t 
 
 ?= 
 
 V 1 
 
 chanced to meet an old 
 
 3^^ 
 
 * * 
 
 IS 
 
 man Cloth - ed all 
 
 P 
 
 ._, 1 1^ — i^-*. 
 
 tr- 
 
 in leath - er. 
 
 And 
 
 :t^=, 
 
 jfL^e 
 
 :t: 
 
 t* 
 
 ( 
 1 
 
 :p: 
 
 £ 
 
 -•/- 
 
 — H 
 
 he be - gan to com - pli -ment, And I 
 
 — ^ *i "F ■' r • f- 1 — 
 
 be - gan to grin. 
 
 t: 
 
 Oh, 
 
 r- 
 
 r^=P= 
 
 N — V ii 
 
 -f 
 
 9^ 
 
 how do you do! Oh, how do you do! Oh, how do you do a - gain! 
 
 -F- 
 
 :^z^ 
 
 »— •- 
 
 :?^- 
 
 atzzjt 
 I 
 
 -b^ 
 
 =i= 
 
 P= 
 
 -f= 
 
 
 shook his hand at part 
 
 ' ^— F Is' \ toe- 
 
 ing, Though cloud-y was the weath 
 
 er. 
 
 4>- 
 
 t- 
 
 Jt 't 
 
 =^=^ 
 
 
 Oh,
 
 124 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 l&- 
 
 :?=F 
 
 -V- 
 
 
 — "— e 
 
 :^i=^: 
 
 -« — ± 
 —I •- 
 
 m\ 
 
 fare thee well! Oh, fare thee well! Oh, fare thee well a - gain! 
 
 
 9^3= 
 
 '^^ 
 
 
 x:i 
 
 -V— hs^^ 
 
 ;b 
 
 Formation. — Two concentric circles, the outside circle facing in line of direction, 
 inside circle facing in opposite direction. 
 
 One misty, moisty morning 
 When cloudy was the weather, 
 I chanced to meet an old man 
 Clothed all in leather. 
 
 Both circles march forward around the circle 
 in the direction they are facing. 
 
 And he began to compliment. 
 
 Partner in the inside circle elaborately bows 
 by placing hands on chest and bending body 
 well forward at waist. 
 
 And I began to grin. 
 
 Partner in the outside circle makes the same 
 elaborate bow. 
 
 Oh, how do you do! 
 
 Partner on inside bows head quickly. 
 
 Oh, how do you do! 
 
 Partner on outside bows head quickly. 
 
 Oh, how do you do again! 
 
 Partner on inside bows quickly again.
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 125 
 
 I shook his hand at parting. 
 
 Partner on the inside shakes with his right 
 hand the left hand of partner on the outside. 
 
 Thmigh cloudy was the weather. 
 
 Partner on the inside shakes with his left hand 
 right hand of partner on the outside. 
 
 Oh, fare thee well! 
 Oh, fare thee well' 
 
 Partners shake right hands and hold the 
 grasp. 
 
 Partners shake left hands, clasping them over 
 their right hands and hold the grasp. 
 
 Oh, fare thee well again! 
 
 in! 
 
 Partners shake both hands as 
 they are held clasped across 
 each other. 
 
 Turn as before for marching. March around and stop in front of a new partner who is 
 next to his previous partner. The game is repeated over and over until all are back 
 to their original partners.
 
 126 RHYTHMIC ACTION PLAYS AND DANCES 
 
 TWINKLE, TWINKLE, LITTLE STAR, No. II 
 
 \ 
 
 Nursery Rhyme 
 Lento 
 
 14 
 
 J. W. Elliott 
 
 ::i— -1 
 
 :4 
 
 ::]: 
 
 Twin - kie, twin - kle, lit - tie star, How I won - der what you 
 
 lllf 
 
 t=1- 
 
 dim. 
 
 :4: 
 
 ^ 
 
 ^=i 
 
 -fS>- -0- •0- -0- kZ- ■»■ • 
 
 If 
 
 
 :ri^: 
 
 ±eeE^ 
 
 -t 
 
 ^= 
 
 ^iS"- 
 
 i 
 
 :t=^d 
 
 1 
 
 1^=: 
 
 :^= 
 
 :^=4: 
 
 t- 
 
 ::i 
 
 -(51- 
 
 are, Up a - bove the world so high, Like a dia-mond in the sky. 
 
 k^^- 
 
 I 
 
 I 
 
 P 
 
 i 
 
 r 
 
 iS: 
 
 ^-=^t- 
 
 -4- 
 
 :t=t- 
 
 -(©- 
 
 H 
 
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 -&- 
 
 t- 
 
 
 /2 
 
 F= 
 
 -^- 
 
 
 [I 
 
 Formation. — A single circle, partners standing facing each other and clasping both 
 hands. 
 
 1. Twinkle, twinkle, 
 
 Raise the clasped hands high 
 above head and raise on the 
 toes, then lower the hands 
 and heels. Repeat same once. 
 This raising and lowering may 
 be called "twinkling."
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 127 
 
 2. little star, 
 
 Raise outside hands and "wring 
 the dish rag," turning outward. 
 
 8. How I wonder 
 
 "Twinkle" twice; that is, repeat 1. 
 
 Jf. what you are, 
 
 "Wring the dish rag," turning inward; that is, 
 same as 2, except turn under inside clasped 
 hands. 
 
 5. Up above 
 
 6. the world so high. 
 
 "Twinkle" twice. 
 
 "Wring the dish rag" turning outward, but 
 also change places with partner by taking one 
 step outward. Face outward, step sideways 
 away from partner, then turn toward partner 
 one step sideways toward centre of the circle. 
 This will bring all facing in the opposite di- 
 rection from what they were before. 
 
 7. Like a diamond 
 
 "Twinkle" twice. 
 
 8. in the sky. 
 
 Start to "wring the dish rag" by turning under 
 inside hands and then turning back to back. 
 Then drop hands and face a new partner, 
 that is, "wring the dish rag" half way and 
 stop.
 
 12S 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 Repeat the whole with the new partners and continue the dance, changing partners 
 around the circle, until the dancers are back to their original partners. 
 
 When teaching this dance, first teach "wringing the dish rag" without the music; 
 when, after trying it a few days and the trick is acquired, the "twinkle" may be easily 
 added and the whole gradually taught with the music.
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 GIRLS AND BOYS, COME OUT TO PLAY 
 
 129 
 
 Mother Goose 
 
 „ Allegretto 
 
 -± 
 
 i 
 
 :fa 
 
 3*1 
 
 Girls and boys, come out to play, The moon does shine as 
 
 — 1 — 
 
 ^=f: 
 
 ?: 
 
 .i-=* 
 
 Sf 
 
 9ii 
 
 bright as 
 
 I 
 
 I- 
 
 -G>- 
 
 ^ 
 
 --^: 
 
 i 
 
 day; Leave your 
 
 sup - per and leave your sleep, 
 
 -fS- 
 
 * 
 
 ^ 
 
 IT — ii=S- 
 
 
 -->- 
 
 ::?^ 
 
 Come to your play - fel - lows in the street. Come with a whoop and 
 
 gLSp 
 
 * 
 
 
 ^i# -ft 
 
 ^ ^ 1 
 
 1 
 
 
 ^"^~ 
 
 \- 
 
 — r 
 
 
 i±^- 
 
 N N 
 
 — • • 
 
 — fs— 
 Come 
 
 — 1 
 
 &> &> f^ ^ ^ 
 
 4 
 
 — 1 - 
 
 ^ 
 
 
 
 come 
 
 with a call, 
 
 with a good will or 
 
 ^ — -^ 
 
 not 
 
 ■0- 
 
 r» — 
 
 at 
 
 all. 
 
 
 
 :^ 
 
 ^t^^EE^^ 
 
 =i= 
 
 -4- 
 
 —I 1 1^ V— , 1- H 1 „ 
 
 • * * — -—Vd — ^^-^— H 
 
 Up the lad-der and down the wall, A pen - ny loaf will serve us all. 
 
 t- 
 
 — I — 
 
 I 
 
 
 -&- 
 
 1
 
 130 RHYTHMIC ACTION PLAYS AND DANCES 
 
 Formation. — A double circle, partners facing and holding inside hands clasped high. 
 
 Girls and boys, come out to 
 
 play, 
 
 The moon does shine as bright 
 
 as day; 
 
 Leave your supper and leave 
 
 your sleep, 
 
 Come to your playfellows in 
 
 the street. 
 
 "Face to face and back to 
 back"; i.e., starting with the 
 outside feet, slide two slides in 
 line of direction, facing partner, 
 then swing the arms down be- 
 tween and up again, at the 
 same time turn back toward 
 partner and slide two slides 
 sideways in line of direction 
 with back toward partner. 
 Continue alternating "face to 
 face and back to back." 
 
 Come with a whoop and come with a call, 
 
 Right arm hook with partner, circling in place 
 with step hop.
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 131 
 
 Come with a good will or not at all. 
 Up the ladder and 
 
 Left arm hook with partner, circling in place 
 with step hop. 
 
 Standing sHghtly to the left of partner, clasp 
 neighbor's right hand, all raise clasped hands 
 high and leap slightly forward on to right foot. 
 
 down the wall, 
 
 Step back on left foot. 
 
 A penny loaf will serve us all. 
 
 Let go of neighbors' hands. Part- 
 ner on the inside step hops under 
 arm of the partner on the outside 
 and moves on in line of direction, 
 changing partners to the next 
 ahead. Finish with the new part- 
 ners facing, ready to clasp hands 
 and repeat whole.
 
 132 RHYTHMIC ACTION PLAYS AND DANCES 
 
 PUSS, PUSS, GREY CAT 
 j: Allegretto 
 
 'M 
 
 A-^r 
 
 Fie, 
 
 Fo, 
 
 ^ 
 
 ^ 
 
 ^- 
 
 --r 
 
 T 
 
 Fum! Our cat he played on the drum, While 
 
 SEJzra^ ^ 
 
 ^S 
 
 -<5^ 
 
 -G- 
 
 -Sh- 
 
 % 
 
 ^ 
 
 :^: 
 
 -(©- 
 
 -?- 
 
 ^— t^-d- 
 
 -N- — K-H- 
 
 :i=tzf_ 
 
 ■»-» — »- 
 
 -»-»- 
 
 ^^F^ 
 
 J^ 
 
 a^^^ 
 
 .^^ 
 
 four pus-sy cats they danced a-round And made a noise like thun-der, Whi2e_ 
 
 v-=^- 
 
 ifeP: 
 
 ---X 
 
 -&- 
 
 =1= 
 
 -^ — 
 
 — ^ — ^— ^— ^ '"T ^ •" 
 
 four pus-sy cats they danced a-round And made a noise like thun-der. 
 
 
 •— (©-r- 
 
 a 
 
 * 
 
 Allegro 
 
 WEii 
 
 ^-* 
 
 Puss, Puss, 
 
 Lerjijiero ^ 
 
 p F H p-^ — t- 
 
 b: 
 
 Grey 
 
 
 Ai 
 
 r- 
 
 Cat, Where were you the oth - er night? 
 
 ZIZ=|I== 
 
 '^- 
 
 t:- 
 
 fe 
 
 d 
 
 ^— ^— ^- 
 
 =N-=N 
 
 -• — • — •- 
 
 — I- 
 
 i 
 
 ^=:t 
 
 '^— fe~:N- 
 
 -^ 
 
 -K— N 
 
 itritzjdz. 
 
 I sat be-hind the gar - den door, Where I have nev - er been be - fore. 
 
 1 
 
 g 
 
 :t: 
 
 4 
 
 ^
 
 RHYTHMIC ACTION PLAYS AND DANCES 133 
 
 Formation. — 
 
 1 
 
 A. 
 
 - W 
 
 I A double circle. Inside circle numbered 
 
 ^ 3's and 4's, and outside circle numbered I's 
 
 V ^ and 2's, numbers 1 and 3 being partners, and 
 
 ^ *■ numbers 2 and 4 being partners. 
 
 O - 
 
 N 
 
 • St 
 
 
 3 A 
 I ^ 
 
 Figure I. 
 
 Face in circles of four; i.e., numbers 1-2-3-4 in a group. Number I's facing number 
 4's, number 3's facing number 2's. 
 
 Fu, Fo, Fum! Our cat he Clap hands to music and reach them well 
 
 played on the drum, forward as if beating on either side of a drum. 
 
 While four pussy cats they danced around Clasp hands in circles of four and slide side- 
 
 And made a noise like ways right. 
 
 thunder. Stamp twice (left, right). 
 
 While four pussy cats they danced Slide sideways left. 
 around And made a noise like 
 
 thunder. Stamp twice (right, left). 
 
 Figure II. 
 
 Partners face each other. Outside circle are the questioners (I's and 2's), inside 
 circle the "Puss, Puss, Grey Cats" (3's and 4's). 
 
 Puss, Puss, Questioners stamp twice (right, left). 
 
 Grey Cat, Questioners clap twice.
 
 134 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 Where were you the 
 other night? 
 
 Questioners place right elbow 
 on back of left hand and 
 shake right forefinger at 
 partner in time to the music. 
 
 I sat behind the garden 
 door, Where I have never 
 been before. 
 
 Figure III. 
 
 Repeat Figure I. 
 
 "Puss, Puss, Grey Cat" 
 kneels on right knee while 
 questioner jigs forward and 
 around his partner. 
 
 Figure IV. 
 
 Repeat Figure II with inside circle taking the part of the questioner and outside circle 
 taking the part of "Puss, Puss, Grey Cat."
 
 CHAPTER. X 
 
 Miscellaneous Action Plays. — A number of games have been collected, to form this 
 group, which have no direct relation to the progressions developed in the preceding 
 chapters. They may be given to the children at any time the teacher may desire or 
 when she considers that the class has acquired the ability to appreciate and execute 
 them. 
 
 The Fairy Ship. 
 
 Little Boy Blue. 
 
 The Spider and the Fly. 
 
 Mistress Mary. 
 
 The Elephants' Dance. 
 
 Simple Simon. 
 
 Humpty Dumpty. 
 
 Peter Piper Says Please. 
 
 Hey Diddle Diddle. 
 
 Poor Dog Bright. 
 
 Bye Baby Bunting. 
 
 Blossoming Flowers. 
 
 135
 
 136 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 THE FAIRY SHIP 
 
 (A GAME) 
 
 Old Nursery Rhyme 
 
 a k P Moderato 
 
 Traditional 
 
 it=i: 
 
 t 
 
 -p- — • — I*- 
 
 3S 
 
 i*?-- 
 
 3=^5^=^ 
 
 1. I saw a ship a sail - ing, A sail - ing on the sea, And 
 
 2. The four-and- twen - ty sail - ors That stood between the decks, Were 
 
 M 
 
 r — ir 
 
 V^ 
 
 rSE? 
 
 ^k-'- 
 
 i=ti 
 
 :y 
 
 :J= 
 
 £e± 
 
 t=^- 
 
 
 oh! it was a - lad - en With pret - ty things for me. There were 
 four - and-twen - ty white mice With rings a - bout their necks. The 
 
 ,^- 
 
 f- 
 
 s 
 
 -»-»- 
 
 s 
 
 % 
 
 *- 
 
 ^ 
 
 :i|i 
 
 -A-#- 
 
 i 
 
 E 
 
 -N- 
 
 com - fits in the cab - in, And ap - pies in the hold; . . The 
 cap - tain was a duck, a duck,With a jack - et on his back, . . And 
 
 i^feEEC^ 
 
 :t 
 
 * 
 
 ? 
 
 fe» 
 
 S 
 
 -A-^ 
 
 »--i- 
 
 -•— •- 
 
 sails were made of sat - in, And the mast was made of gold, 
 when the fai - ry ship set sail. The cap - tain he said "Quack." 
 
 i5# 
 
 
 i=^^ 
 
 :^=:::]: 
 
 4-^- 
 
 ^
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 137 
 
 This game may be played either in a Kindergarten with the chairs arranged in a 
 circle or in a school room with desks. 
 
 In the Kindergarten the children march around serpentining in and out among the 
 chairs with an odd one in the centre as Captain Duck. At the end of the third verse the 
 Captain cries "quack" and rushes to get a seat; the odd one left without a seat then 
 becomes the Captain. In order to make the time indefinite, the Captain may wait a 
 brief time after the singing has ceased before saying "quack," during which interval the 
 children must continue to march. 
 
 In a school room the children serpentine up and down the aisles.
 
 138 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 LITTLE HOY BLUE 
 
 One of the players, who is chosen to be "Little Boy Blue," goes to one side and lies 
 down pretending to be asleep under a haystack. The rest of the players, who are the 
 cows and the sheep, run up and call "Little Boy Blue, come blow your horn, the sheep 
 are in the meadow, the cows in the corn." This awakens "Little Boy Blue" and he 
 jumps up and chases'the cows and sheep until he tags someone. "Little Boy Blue" takes 
 the one he has tagged back to the haystack and then "Little Boy Blue" joins the other 
 players and becomes a cow or sheep. The game begins again as before with the one who 
 has just been caught acting as "Little Boy Blue." 
 
 THE SPIDER AND THE FLY 
 
 A spider web is made by the players who stand in a circle with their clasped hands 
 held high. One of the players, a spider, is inside the circle and another player, the fly, 
 is outside the circle. The game begins by the spider prancing around coaxing the fly to 
 enter his web by calling, — "Will you walk into my parlor, pretty fly, pretty t\y, will you, 
 will you, walk in?" The fly is allowed to enter the circle, but as soon as he enters the 
 spider darts out of the circle and the players immediately lower their arms to prevent 
 the fly from escaping. The spider then prances around on the outside of the circle tanta- 
 lizing the fly with "Will you walk out, pretty fly, pretty fly, will you walk out?" The 
 fly tries to escape by breaking through the web (clasped hands) or by crawling out under 
 or over. When the ffy escapes she must catch the spider, who then becomes the fly, the 
 former fly taking her place in the circle. A new spider is chosen and the game proceeds 
 as before. Should the fiy not break out of the web or catch the spider, as occasionally 
 happens, a new spider may be chosen and the previous spider becomes the fiy.
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 139 
 
 MISTRESS MAllY 
 
 Mother Goose 
 
 mp 
 
 J. W. Elliott 
 
 ml 
 
 s 
 
 ->f- 
 
 5: 
 
 — >- 
 
 =i^ 
 
 il 
 
 ^ 
 
 :± 
 
 -V ^ ' ^^-^ • ^ # — #^^^ _ 
 
 cock - le-shells and sil - ver bells And pretty maids all in a row. 
 
 A group of little girls chooses one of their number to be "Mistress Mary." "Mistress 
 Mary" then selects some spot for her garden where she kneels down. The rest of the 
 players dance up to her and call, "Mistress Mary, quite contrary, how does your garden 
 grow?" "Mistress Mary" answers, "With cockle-shells and silver bells and pretty maids 
 all in a row," at the same time "Mistress Mary" jumps up and chases the rest of the 
 players. When she catches one she takes her back to the garden and they both kneel 
 down and, after the verse is sung a second time, the two start out after the other players. 
 Those they catch take their place in "Mary's" garden. This goes on over and over until 
 all the players are in the garden and there are no more to be caught.
 
 140 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 THE ELEPHANT'S DANCE 
 
 Although music and dancing ai-e so closely related that it is difficult to disassociate 
 the two, however, paradoxical as it may seem, rhythmic accent can often best be recog- 
 nized when the sound of the foot tapping on the floor, or the clap of the hands is the 
 only accompaniment. Music helps the child to learn to march, but as a progression the 
 assistance of the music should be withdrawn. Marching without music forces the child 
 to keep in time by depending upon his own rhythmic sense and that of the class, communi- 
 cated to him by the sound of the foot falls. To call the child's attention to the sound of 
 the tramping, the teacher may tell the story of " Toomai of The Elephants" from Kip- 
 ling's "First Jungle Book." The children may be asked to imagine they are these big, 
 soft-footed animals with no hard hoofs to stamp. Stress should be laid on the fact that 
 the elephants had no music but kept in time by the steady sound of the tramp, tramp, of 
 many, many feet. What the elephants really did was to make their ball room by marking 
 time altogether for an interval, then marching forward a little way and marking time 
 again. This story will give the child an immediate interest in the rather uninteresting 
 action of marking time and marching without music, and the element of play which it 
 introduces will focus the attention upon the points which it is desired to impress upon the 
 class 
 
 Mother Goose 
 n Not too fast 
 
 m 
 
 SIMPLE SIMON 
 
 Mae Rehberg Scheuerman 
 
 A— — r-riV N— ^ —^ \- 
 
 4^-^ 
 
 S 
 
 -y- 
 
 ^ 
 
 -^- 
 
 =^=i= 
 
 Sim - pie Si - mon went a - fish - ing for to catch a whale. 
 
 gi 
 
 But 
 
 » 
 
 s^^^ 
 
 ig^^w=t- 
 
 ^ 
 
 ■£^ 
 
 ^= 
 
 -S- N — \ — N — s- 
 
 all the wa-ter he could find was in his mother's pail. Sim-pie Si-mon met a pieman 
 
 % 
 
 £^=C^=B:=^ 
 
 :t:: 
 
 ^=' 
 
 -0—0- 
 -0-\ — h-l-#— ^: 
 
 t—s-\ — 
 
 ^aff 
 
 ^=£^^-(3= 
 
 tr:
 
 i 
 
 « 
 
 * 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 141 
 
 -J N 
 
 i^ 
 
 -{- — i- 
 
 - ^^ ^^^: ^^ ^^m 
 
 iipf 
 
 go-ing to the fair, Said Simple Simon to the pieman," Let me taste your wares?" 
 
 t-r 
 
 -g^fi — * 
 
 -+— I— •-)- 
 
 -I 1 — • — I — w — I— 
 
 :i=P= 
 
 -• — -— • — • -1 
 
 I 
 
 I 
 
 ffit — • — • — •- 
 
 =^ 
 
 -\ — \ — \- 
 
 itzz^— ^ 
 
 -1^ d s 
 
 ^ — ^- 
 
 :r-i:J^:^=i: 
 
 i 
 
 -d--^. 
 
 ^^-[ 
 
 -^—0- 
 
 <f/- — \gh 
 
 Said the pie - man to Sim-pie Si - mon,"Show me first your mon-ey." 
 
 Said 
 
 3;^ 
 
 -• — I 1 • h 
 
 t-^-^ 
 
 3=P 
 
 E^ 
 
 ■#=r 
 
 P=r^ 
 
 -< — F 
 
 -^— ^ 
 
 S^ 
 
 i P \- 
 
 g^i^EEf^^i^l] 
 
 Sim - pie Si - mon to the pie - man, "Deed I have not a - ny." 
 
 w 
 
 :t=t: 
 
 -h- 
 
 :fg--t; 
 
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 r- 
 
 is 
 
 u 
 
 Formation. — A single circle facing inward. One of the players chosen to be Simple 
 Simon is on the outside of the circle. 
 
 Simple Simon went a-fishing 
 for to catch a whale, 
 But all the water he could find 
 was in his mother's 
 
 Simple Simon runs around the circle on the 
 outside. 
 
 pail. 
 
 Simple Simon taps someone on the back who 
 becomes the pieman. 
 
 Simple Simon met a pieman 
 going to the fair, 
 
 Simple Simon continues to run around the 
 circle in the same direction, but the one he 
 has tagged runs around the circle in the op- 
 posite direction until he meets Simple Simon.
 
 142 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 Said Simple Simon to the pieman, 
 "Let me taste your wares'!" 
 
 Simple Simon holds his right 
 hand out toward the pieman. 
 
 Said the pieman to Simple Simon, 
 "Show me first your money." 
 
 The pieman holds his right 
 hand out toward Simple Simon. 
 
 Said Simple Simon to the pieman, 
 "Deed I have not any." 
 
 Simple Simon and the pieman 
 shake their outstretched right 
 hands and quickly drop them 
 and, passing each other, run 
 on around the circle in an en- 
 deavor to reach first the place 
 in the circle left vacant by the 
 pieman. The one who gets 
 there last becomes Simple 
 Simon and the game begins 
 again as before.
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 HIJMPTY DUMPTY* 
 
 143 
 
 Mother Goose 
 
 h-X 
 
 Original tune harmonized by 
 Alfred Moffat 
 
 ^-S 
 
 fc^! 
 
 r ' r 
 
 1 ♦ 
 
 ♦ 1 
 
 
 Hump - ty Duiup-ty sat ou a wall, Hump-ty Dumpty had a great fall ; 
 
 a^fi^ 
 
 t: 
 
 ^— N-^- 
 
 1—^ — ^ — *— r* — — 9 — d ^ — ^^ -•-• •-* ^ 5 1 — Tl 
 
 H 1 • W J- 
 
 « a = B K_ 
 
 I r I 
 
 All the King's horses and all the King's men Couldn't put Humpty Dumpty together a - gain. 
 
 ^ 
 
 ;E 
 
 ^ii 
 
 7-» 
 
 -^+1: 
 
 f— ^- 
 
 =^ 
 
 Printed by permission of G. Schirmek, 3 East 43rd St., New York City. 
 
 The children sit in a circle in their chairs, or at their desks, an odd one (Humpty 
 Dumpty) stands in the centre of the circle, or at the front of the class room. While the 
 verse is being sung the children all keep time to the music by alternately placing both 
 feet on the floor, leaning forward and clapping the hands once; then raising the feet from 
 the floor, leaning back in the chair and separating the arms sideways. After the verse 
 has been sung, "Humpty Dumpty" goes up to some child and asks, "What color is my 
 Easter egg, red, white or blue?" If the child he asks can guess the color "Humpty 
 Dumpty" has chosen, then he may exchange places with "Humpty Dumpty." If the color 
 is not guessed correctly, then "Humpty Dumpty" chooses another color and goes to an- 
 other child and repeats his question. This continues until someone guesses correctly. It 
 is sometimes advisable that "Humpty Dumpty" confide to the teacher the color he has 
 chosen, before he asks the question.
 
 144 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 PETER PIPER SAYS PLEASE 
 
 This game is valuable in training the attention, inducing a quick motor reaction and 
 in furnishing a drill in the names of exercises and steps which the children have previ- 
 ously learned. The teacher says slowly, "Peter Piper says please" and quickly follows 
 this phrase with a sharp command. The teacher endeavors to fool the children by omit- 
 ting to say "please" or "Peter Piper" or by just giving a command. When any word is 
 omitted the children are not supposed to respond to her command. After each command 
 all look around to see who got fooled and when any one makes a mistake all laugh good 
 naturedly. The children consider it very funny and never tire of playing this game. 
 
 Suggestions for commands and actions: 
 
 Single actions — "Stamp," "clap," "jump," "bow," "curtsy," "stretch," "stride," 
 "point," (sideways, forward, backward), "hop," "stoop and stand"; a single action or 
 "two," "three" or "four" "jumps." 
 
 Series of actions — Runs, slides, skips. 
 
 A continuous movement such as the above should be followed by "Peter Piper says 
 please halt." 
 
 Mother Goose 
 IX Brightly 
 
 HEY DIDDLE DIDDLE 
 
 Mae Rehberg Scheuerman 
 
 -p — • — ^— T-- ^ — \ — i.-i — \ ^ — ^ — n- 
 
 ff3ES 
 
 H • — I ^ ^ ■/- 
 
 -b — I- 
 
 >=& 
 
 Hey diddle did-dle, the cat and the fiddle. The cow jumped o- ver the moon. The 
 
 
 f^ 
 
 H* ■#. 
 
 5 
 
 -f^ 
 
 i 
 
 ^ 
 
 f- 
 
 t^=F^ 
 
 V— 
 
 -A — N — ^- 
 
 ;f3; 
 
 B 
 
 t: 
 
 lit - tie dog laughed to see such sport. And the dish ran a-way with the spoon. 
 
 m^ 
 
 4^^- 
 
 ^ 
 
 :t: 
 
 -^-- 
 
 V- 
 
 i^^fas
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 145 
 
 Formation. — An even number in a single circle facing in line of direction, with an 
 odd one in the centre. 
 
 Hey diddle diddle, the cat and 
 the fiddle, 
 
 The cow jumped over the moon, 
 The little dog laughed to see 
 such sport, 
 
 All step hop forward around circle in line 
 of direction. 
 
 And the dish 
 
 All turn inward and run toward the centre of 
 circle. 
 
 ran away with the spoon. 
 
 All try to get a partner. Those who secure 
 partners return to the circle, while the odd 
 one remains in the centre and the game begins 
 again as before. 
 
 Mother Goose 
 Moderato 
 
 POOR DOG BRIGHT 
 
 Traditional Tune 
 
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 t=r-^ 
 
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 A, B, C, tumble-down D, The cat is in the cupboard and can't see me. 
 
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 1. Poor Dog Bright ran off with all his might Because the cat was after him,Poor Dog Bright. 
 
 2. Poor Cat Fright ran off with all her might Because the dog was after her, Poor Cat Fright. 
 
 
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 146 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 Formation. — A single circle facing inward clasping hands, with two of the players 
 chosen to be "Cat Fright" and "Dog Bright." "Cat Fright" is in the centre of the circle, 
 the cupboard; "Dog Bright" is on the outside of the circle. 
 
 A, B, C, tumble-down D, 
 The cat is in the cupboard 
 and can't see me. 
 
 "Dog Bright" dances around behind the 
 players in the circle and calls these words to 
 "Cat Fright." 
 
 Poor Dog Bright ran off with all 
 his might 
 
 Because the cat was after him, 
 Poor Dog Bright. 
 
 The players in the circle raise their clasped 
 hands and "Cat Fright" rushes out after 
 "Dog Bright." The players sing the rhythm 
 over and over until "Dog Bright" is caught. 
 
 Poor Cat Fright ran off with all 
 her might 
 
 Because the dog ivas after her, 
 Poor Cat Fright. 
 
 "Dog Bright" now turns and chases "Cat 
 Fright" who tries to get back to the cup- 
 board before the dog can catch her. Should 
 she succeed, she goes and stands with her back 
 to some one in the circle, who backs out and 
 becomes "Dog Bright" and the previous "Dog 
 Bright" becomes the cat for the next game. 
 Should the cat be caught she must act again 
 as "Cat Fright," while the dog chooses a suc- 
 cessor in the same manner as "Cat Fright" 
 would have done.
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 liVE BABY BIINTINC; 
 
 14i 
 
 Nursery Rhyme 
 n Andante 
 
 Arranged by 
 Mae Rehberg Scheuerman 
 
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 -^-^- 
 
 
 Bye Ba - by Bunt 
 
 ing, 
 
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 Dad - dy's gone a hunt 
 
 mg, 
 
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 Formation. 
 
 
 In gi-oups of three arranged around a circle, 
 two of the gi-oup stand facing and clasp 
 both hands to form a cradle. One of the 
 two stands with his back to the centre of 
 the circle. The third member of the group 
 (Baby Bunting) stands facing in line of 
 direction, with his right foot placed forward 
 and his hands against the arms nearest 
 him. 
 
 f \ 
 
 /\ 
 
 \/
 
 148 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 Bye Baby Bunting, 
 Daddy's gone a hunting, 
 Gone to get a rabbit's skin 
 
 "Baby Buntings" rock the 
 cradle, in time to the music, 
 by transferring the weight 
 to the forward foot as the 
 cradle is pushed away with 
 the hands; then transferring 
 the weight to the backward 
 foot and pulling the elbows 
 backward. The two, who 
 represent the cradle, should 
 raise their arms in line of 
 direction to imitate the rock- 
 ing. 
 
 To wrap the Baby Bunting in. 
 
 The arms on the side next 
 "Baby Bunting" are raised 
 and he steps forward and 
 under them. The arms are 
 then lowered and "Baby 
 Bunting" stands between 
 the two who represent the 
 cradle. 
 
 The Run. The clasped hands in front of "Baby Bunting" are raised during the first 
 two measures of the music. During the last two measures all the "Baby Buntings" of 
 the various groups run forward in line of direction to the next group, ready to rock the 
 cradle with them. The game is repeated until the "Baby Buntings" have run around the 
 entire circle and are back again to the group where they started. If the class is not too 
 large, the whole game may be played three times in order that those who take the part 
 of the cradle may each have a turn as "Baby Bunting."
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 BLOSSOMING FLOWERS 
 
 The Autumn Wind Mae Rehberg Scheuerman 
 
 149 
 
 
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 150 RHYTHMIC ACTION PLAYS AND DANCES 
 
 The Snow 
 
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 The March Wind 
 
 
 
 
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 RHYTHMIC ACTION PLAYS AND DANCES 
 
 151 
 
 
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 The Sun 
 
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 152 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
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 The Flying Birds 
 
 
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 This little allegorical play is without words and is intended to concretely show the 
 sequence of the seasons and the nature cycle, which begins with the scattering of the seeds 
 in the fall and ends in the blossoming flowers in the summer. Five children are chosen 
 who are to impersonate 
 
 1. The autumn wind, 
 
 2. A snow cloud, 
 
 3. The March wind, 
 
 4. The sun, 
 
 5. A cloud of gentle spring rain. 
 
 These five children go off to one side, while the rest of the children (each named for 
 a flower) form a circle standing facing the centre.
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 153 
 
 The Autumn Wind Music. The autumn wind runs into the centre of the circle and 
 whirls around. This action is supposed to scatter the seeds. The children in the circle, 
 or the seeds, whirl around and progress in line of direction. After whirling about a bit, 
 the autumn wind runs out of the circle and whirls away, whereupon the little seeds ail 
 settle down in a circle, kneeling on the right knee, folding the arms on the chest and 
 resting the head on the left knee. 
 
 The Snow Music. The snow cloud now runs softly into the circle and whirls about 
 among the seeds shaking her fingers over the head of each child, by which action she is 
 supposed to cover the seeds with a blanket of snowflakes to keep them warm. After the 
 snow cloud has gone to each child she runs out of the circle and away. 
 
 The March Wind Music. The march wind next runs into the circle and leaps and 
 whirls about among the seeds and finally runs out of the circle and away. 
 
 The Sun Music. The sun daintily runs into the 
 circle and touches each little seed. This awakens the 
 seed, who slowly raises her head. The sun then runs 
 out of the circle and away.
 
 154 
 
 RHYTHMIC ACTION PLAYS AND DANCES 
 
 The Rain Music. The rain cloud next runs into 
 the circle and scatters raindrops over each child, in 
 the same manner that the snowflakes were shaken 
 down. The effect of the rain is to make the flowers 
 grow, which they pretend to do by standing up. 
 
 The Flying Bird Music. There is nothing left now but for the flowers to blossom, 
 which they do by unfolding their petals. This may be represented by slowly extending 
 the right arm sideways, then the left. The flowers should blossom in the order in which 
 the flowers actually bud. That is, snowdrops, crocuses and dandelions first; then peonies, 
 roses, goldenrod, etc. 
 
 If it is desired to bring a large group into action some of the children may be named 
 for birds and, while the flowers are blossoming, the birds (crows, robins, bluebirds, wood- 
 peckers, etc.) may come in and fly about, entering in the order in which they migrate.
 
 APPENDIX 
 
 I. ALPHAT3ETICAL IISTDEX OF TITLES, AUTHORS AND 
 
 COIMPOSERS 
 
 TITLE 
 
 Ba, Ba, Black Sheep . 
 Blossoming Flowers . 
 Bobby Shafto . . . 
 Bow-wow-wow . . . 
 Brownies and Fairies . 
 
 Bye Baby Bunting 
 
 Children Sliding . . 
 Christmas Ships, The 
 Cock-a-doodle-doo 
 Come, My Dolly . . 
 Crooked Man, The . 
 
 AUTHOR 
 
 Mother Goose 
 
 Dame, get up and Bake Your Pies 
 Diddle, Diddle Dumpling . . . 
 
 COMPOSER PAGE 
 
 . . Mae Rehberg Scheuerman 120 
 
 Mae Rehberg Scheuerman 149 
 
 Mother Goose Old Tune 66 
 
 Mother Goose Traditional Tune 109 
 
 Irene E. Phillips Moses .... Arranged by 
 
 Emily Perkins Wells 100 
 
 Nursery Rhymes Arranged by 
 
 Mae Rehberg Scheuerman 147 
 
 Mae Rehberg Scheuerman 97 
 
 Old Nursery Rhyme 98 
 
 Mother Goose . . . Mae Rehberg Scheuerman 61 
 
 Lydia Avery Coonley .... Eleanor Smith 79 
 
 Mother Goose . . . Mae Rehberg Scheuerman 24 
 
 Old Nursery Rhyme Traditional 73 
 
 Mother Goose Ethel Crowninshield 55 
 
 Elephant's Dance, The 140 
 
 Fairies' Moonlight Dance, The 
 
 Fairy Ship, The 
 
 Fireflies' Dance, The 
 
 Girls and Boys, Come out to Play 
 Goosey, Goosey, Gander . . . 
 
 Mae Rehberg Scheuerman 84 
 
 Old Nursery Rliyme Traditional 136 
 
 Irene E. Phillips Moses Mae Rehberg 'Scheuerman 82 
 
 Mother Goose 129 
 
 Mother Goose . . bv^edish and Mae Rehberg 
 
 Scheuerman 54 
 
 Here we go on a Merry-go-round . . Irene E. Phillips Moses American 38 
 
 Hey Diddle Diddle Mother Goose . . . Mae Rehberg Scheuerman 144 
 
 Hickory,Dickory,Dock Mother Goose . . . Mae Rehberg Scheuerman 44 
 
 Hippity Hop to the Barber Shop Arranged by Mae Rehberg 
 
 Scheuerman 75 
 
 Humpty Dumpty Mother Goose . . . Original tune harmonized 
 
 by Alfred Moffat 143 
 
 Hush-a-bye Baby Old Nursery Rhyme Traditional 68 
 
 Jack and Jill, No. I Mother Goose 
 
 Jack and Jill, No. II Mother Goose 
 
 Jack be Nimble ■. Mother Goose 
 
 Mae Rehberg Scheuerman 91 
 
 Mae Rehberg Scheuerman 103 
 
 Mae Rehberg Scheuerman 89 
 
 German 23 
 
 Kewpies, The Irene E. Phillips Moses .... 
 
 Leg over Leg Mother Goose Swedish 90 
 
 Little Boy Blue Mother Goose 138 
 
 Little Miss Muffet Mother Goose Traditional Tune 26 
 
 Little Nut Tree, The Old Nursery Rhyme Old. English 105 
 
 Little Pigs, The Mother Goose (adapted) 112 
 
 Lucy Locket Mother Goose Traditional 28 
 
 15.5
 
 156 INDEX 
 
 TITLE AUTHOR COMPOSER 
 
 PAGE 
 
 Man in the Moon, The Mother Goose and . . Mae Rehberg Scheuerman 
 
 Nursery Rhyme and Traditional 63 
 
 Mistress Mary Mother Goose J.W. Elliott 139 
 
 Motorman, The Irene E. PhilUps Moses Mae Rehberg Scheuerman 57 
 
 Oh Where, Oh Where has my Little 
 
 Dog gone? Nursery Rhyme Old Tune 42 
 
 Old King Cole Nursery Rhyme Adapted by 
 
 Mae Rehberg Scheuerman 71 
 
 Old Man in Leather, The .... Nursery Rhyme . . . Mae Rehberg Scheuerman 123 
 
 Pancake Man, The Irene E. Phillips Moses Mae Rehberg Scheuerman 31 
 
 Christina Rossetti Eleanor Smith 
 
 Pat-a-cake Mother Goose Adapted 114 
 
 Peter Pan Irene E. Phillips Moses .... J. Pierpont 4.5 
 
 Peter Piper says " Please" 144 
 
 Playing Train Irene E. Phillips Moses Mae Rehberg Scheuerman 36 
 
 Poor Dog Bright Mother Goose Traditional Tune 145 
 
 Puss, Puss, Grey Cat 132 
 
 Pussy Cat, Pussy Cat Mother Goose J.W. Elliott 47 
 
 Ride a Cock-horse Mother Goose Old Tune — adapted 74 
 
 Santa Claus and the Christmas Tree. Irene E. Phillips Moses Mae Rehberg Scheuerman 40 
 
 See-Saw, No. I ~ . . Alfred G. Crowe . . Alfred G. Crowe {adapted) 53 
 
 See-Saw, No. II Alfred G. Crowe . . Alfred G. Crowe (adapted) 69 
 
 See-Saw, No. Ill Alfred G. Crowe . . Alfred G. Crowe (adapted) 92 
 
 Simple Simon Mother Goose . . . Mae Rehberg Scheuerman 140 
 
 Sing a Song of Sixpence Mother Goose . . . Mae Rehberg Scheuerman 29 
 
 Spider and the Fly, The 138 
 
 Stork, The Irene E. Phillips Moses Mae Rehberg Scheuerman 51 
 
 Three Funny Old Men W. H. Neidlinger W. H. Neidlinger 49 
 
 Three Little Kittens Nursery Rhyme 116 
 
 Tin Soldiers, The W. H. Neidlinger W. H. Neidlinger 33 
 
 To Market Mother Goose Irish Jig 43 
 
 Two Little Blackbirds Mother Goose . . . Mae Rehberg Scheuerman 110 
 
 Twinkle, Twinkle, Little Star, No. I. Nursery Rhyme J.W. Elliott 78 
 
 Twinkle, Twinkle, Little Star, No. II Nursery Rhyme J.W. Elliott 126 
 
 Walking on Stilts Mae Rehberg Scheuerman 57 
 
 Wee Willie Winkie Mother Goose . . . Mae Rehberg Scheuerman 27 
 
 Yankee Doodle 86
 
 II. CHASIKG AND TAGGING GAMES 
 
 PAGE 
 
 Hush-a-bye Baby 68 
 
 Little Boy Blue 138 
 
 Little Miss Muffet 26 
 
 Lucy Locket 28 
 
 Mistress Mary 139 
 
 Oh Where, Oh Where has my Little Dog 
 gone? 42 
 
 PAGE 
 
 Poor Dog Bright 145 
 
 Simple Simon 140 
 
 Sing a Song of Sixpence 29 
 
 Spider and the Fly, The 149 
 
 Wee Willie Winkle 27 
 
 III. ACTION PLATS IN WHICH THE CHILDREN THEM- 
 SELVES MAT CHOOSE THE ACTION 
 
 PAGE 
 
 The Christmas Ships 98 Peter Piper says Please 
 
 Goosey, Goosey, Gander 54 Santa Glaus and the Christmas Tree . 
 
 Old King Cole 71 
 
 PAGE 
 , 144 
 
 , 40 
 
 IT. GAMES SUITABLE FOR THE SCHOOLROOM 
 
 WITH DESKS 
 
 By using some ingenuity all of the following Action Plays may be adapted for use in 
 the schoolroom with desks. Many of those which have the circle formation may be easily 
 used with straight lines. In some instances it may be necessary to omit the game ele- 
 ment, using only the rhythmic actions. Unless the aisles are very wide they will not 
 admit of the changing of partners. 
 
 PAGE 
 
 Bobby Shafto 66 
 
 Christmas Ships, The 98 
 
 Cock-a-doodle-doo 61 
 
 Come, My Dolly 79 
 
 Crooked Man, The 24 
 
 PAGE 
 
 Dame, get up and Bake your Pies ... 73 
 Diddle, Diddle Dumpling 55 
 
 Elephants' Dance, The 140 
 
 Fairies' Moonlight Dance, The .... 84 
 Fairy Ship, The 136 
 
 157
 
 158 
 
 INDEX 
 
 Goosey, Goosey, Gander 54 
 
 Here We go on a Merry-go-round ... 38 
 Hippity Hop to the Barber Shop ... 75 
 
 Humpty Dumpty 143 
 
 Hush-a-bye Baby 68 
 
 Jack, be Nimble 
 
 89 
 
 Kewpies, The 23 
 
 Leg over Leg 90 
 
 Little Boy Blue 138 
 
 Man in the Moon, The 63 
 
 Motorman, The 57 
 
 PAGE 
 
 Pancake Man, The 31 
 
 Pat-a-cake 114 
 
 Peter Piper says Please 144 
 
 Playing Train 36 
 
 Ride a Cock-horse 74 
 
 Santa Claus and the Christmas Tree . . 40 
 
 See-Saw, No. I 53 
 
 See-Saw, No. II 69 
 
 Stork, The 51 
 
 Three Little Kittens 116 
 
 Tin Soldiers, The 33 
 
 To Market 43 
 
 Two Little Blackbirds 110 
 
 Old King Cole 71 Walking on Stilts 57 
 
 Y, AOTIOI^ PLAYS SUITABLE FOR THE USE OF SMALL 
 GROUPS AND m THE HOME 
 
 In using these Action Plays with small numbers, it will be found necessary to disregard 
 such parts of the description as require the co-operation of a large group. 
 
 1. Action Plays suitable for a single child or a single child and its mother. 
 
 PAGE PAGE 
 
 Bobby Shafto 66 Motorman, The 57 
 
 Cock-a-doodle-doo 61 
 
 Come, My Dolly 79 
 
 Crooked Man, The 24 
 
 Diddle, Diddle Dumpling 55 
 
 Elephants' Dance, The 140 
 
 Fairies' Moonlight Dance, The .... 84 
 
 Goosey, Goosey, Gander 54 
 
 Here we go on a Merry-go-round ... 38 
 
 Hickory, Dickory, Dock 44 
 
 Hush-a-bye Baby 68 
 
 2. Action Plays suitable for two children. 
 
 PAGE 
 
 Ba, Ba, Black Sheep 120 
 
 Bobby Shafto 66 
 
 Bow-wow-wow 109 
 
 Cock-a-doodle-doo 61 
 
 Come, My Dolly 79 
 
 Crooked Man, The 24 
 
 Pancake Man, The 31 
 
 Peter Piper says Please 144 
 
 Playing Train 36 
 
 Ride a Cock-horse 74 
 
 See-Saw, No. II 69 
 
 Sing a Song of Sixpence 29 
 
 Stork, The 51 
 
 To Market 43 
 
 Walking on Stilts 57 
 
 Yankee Doodle 86 
 
 PAGE 
 
 Diddle, Diddle Dumpling 55 
 
 Elephant's Dance, The 140 
 
 Fairies' Moonlight Dance, The .... 84 
 Fireflies' Dance, The 82 
 
 Goosey, Goo.sey, Gander 54
 
 INDEX 
 
 159 
 
 PAGE 
 
 Here we go on a Merry-go-round ... 38 
 
 Hickory, Dickory, Dock .44 
 
 Hippity Hop to the Barber Shop ... 75 
 Hush-a-bye Baby 68 
 
 Jack and Jill, No. I 91 
 
 Jack and Jill, No. 11 103 
 
 Jack be Nimble 89 
 
 Man in the Moon, The 63 
 
 Motorman, The 57 
 
 Old King Cole 71 
 
 Pancake Man, The 31 
 
 Pat-a-cake 114 
 
 Peter Piper says Please 144 
 
 PAGE! 
 
 Playing Train 36 
 
 Pussy Cat, Pussy Cat 47 
 
 Ride a Cock-horse 74 
 
 See-Saw, No. I 53 
 
 See-Saw, No. II 69 
 
 Sing a Song of Sixpence 29 
 
 Stork, The 51 
 
 To Market 43 
 
 Twinkle, Twinkle, Little Star, No. I . . 78 
 
 Twinkle, Twinkle, Little Star, No. II . . 126 
 
 Two Little Blackbirds 110 
 
 Walking on Stilts 57 
 
 Yankee Doodle 86 
 
 3. Action Plays suitable for three children. 
 
 PAGE 
 
 Bobby Shafto 66 
 
 Bye Baby Bunting 147 
 
 Christmas Ships, The 98 
 
 Cock-a-doodle-doo 61 
 
 Come, My Dolly 79 
 
 Crooked Man, The 24 
 
 Diddle, Diddle Dumpling 55 
 
 Elephant's Dance, The 140 
 
 Fairies' Moonlight Dance, The .... 84 
 
 Goosey, Goosey, Gander 54 
 
 Here We go on a Merry-go-round ... 38 
 
 Hickory, Dickory, Dock 44 
 
 Hush-a-bye Baby 68 
 
 Kewpies, The 23 
 
 PAGE 
 
 Motorman, The 57 
 
 Pancake Man, The 31 
 
 Peter Piper says Please 144 
 
 Playing Train 36 
 
 Ride a Cock-horse 74 
 
 See-Saw, No. II 69 
 
 Sing a Song of Sixpence 29 
 
 Stork, The 51 
 
 Three Funny Old Men 49 
 
 Three Little Kittens 116 
 
 To Market 43 
 
 Walking on Stilts 57 
 
 Yankee Doodle 86 
 
 4. Action Plays suitable for four children. 
 
 PAGE 
 
 Ba, Ba, Black Sheep 120 
 
 Bobby Shafto 66 
 
 Bow-wow-wow 109 
 
 Cock-a-doodle-doo 61 
 
 Come, My Dolly 79 
 
 Crooked Man, The 24 
 
 Diddle, Diddle Dumpling 55 
 
 Elephant's Dance, The 140 
 
 PAGE 
 
 Fairies' Dance, The 84 
 
 Fireflies Dance, The 82 
 
 Goosey, Goosey, Gander 54 
 
 Here We go on a Merry-go-round ... 38 
 
 Hippity Hop to the Barber Shop ... 75 
 
 Hush-a-bye Baby 68 
 
 Jack and Jill, No. I 91 
 
 Jack and Jill, No. II 103 
 
 Jack be Nimble 89
 
 160 
 
 INDEX 
 
 PAGE 
 
 Little Pigs, The 112 
 
 Man in the Moon, The 63 
 
 Motorman, The 57 
 
 Old King Cole 71 
 
 Pancake Man, The 31 
 
 Pat-a-cake 114 
 
 Peter Piper says Please 144 
 
 Playing Train 36 
 
 Puss, Puss, Grey Cat 132 
 
 Pussy Cat, Pussy Cat 47 
 
 Ride a Cock Horse 74 
 
 PAGE 
 
 See-Saw, No. I 53 
 
 See-Saw, No, II 69 
 
 Sing a Song of Sixpence 29 
 
 Stork, The 51 
 
 To Market 43 
 
 Twinkle Twinkle, Little Star, No. I . . 78 
 
 Twinkle, Twinkle, Little Star, No. II . 126 
 
 Two Little Blackbirds 110 
 
 Walking on Stilts 57 
 
 Yankee Doodle 86 
 
 5. Action Plays suitable for five or more. 
 
 Practically all the rhythms and games in the book may be used with groups comprising 
 as small a number as five, with the possible exception of those Action Plays such as " I had 
 a Little Nut Tree," " The Old Man in Leather" and " Peter Pan," which require concentric 
 circles. 
 
 Yl. GAMES SUITABLE FOR OHILDREN"'S PARTIES 
 
 PAGE 
 
 Bye Baby Bunting 147 
 
 Dame, get up and Bake Your Pies . . 73 
 
 Fairy Ship, The 136 
 
 Humpty Dumpty 143 
 
 Kewpies, The 23 
 
 Leg over Leg (game) 90 
 
 Little Boy Blue 138 
 
 Little Miss Muffet 26 
 
 Little Nut Tree, The 105 
 
 Lucy Locket 28 
 
 PAGE 
 
 Mistress Mary 139 
 
 Oh Where, Oh Where has my Little Dog 
 
 gone? 42 
 
 Old Man in Leather, The 142 
 
 Peter Piper says Please 144 
 
 Poor Dog Bright 145 
 
 Santa Claus and the Christmas Tree . . 40 
 
 Simple Simon 140 
 
 Sing a Song of Sixpence 29 
 
 Spider and the Fly, The 138 
 
 Wee Willie Winkie 27 
 
 VII. ACTION PLAYS APPROPRIATE FOR CHRISTMAS 
 
 PAGE 
 
 Christmas Ships, The 
 
 Dame, get up and Bake Your Pies 
 Santa Claus and the Christmas Tree 
 
 98 Twinkle, Twinkle, Little Star, No. I . 
 Y3 Twinkle, Twinkle, Little Star, No. II 
 
 40 
 
 PAGE 
 
 78 
 126
 
 INDEX 161 
 
 VIII. ACTION PLAYS APPROPRIATE FOR EASTER 
 
 Humpty Dumpty 
 
 PAGE PAGE 
 
 . 143 Blossoming Flowers 149 
 
 IX. ACTION PLAYS APPROPRIATE FOR PATRIOTIC 
 
 OCCASIONS 
 
 Tin Soldiers, The 
 
 PAGE 
 
 . 33 Yankee Doodle 
 
 PAGE 
 
 86 
 
 X. TOPICAL INDEX 
 
 PAGE 
 
 Accompaniment, The Musical, of Rhyth- 
 mic Work 5 
 
 Animal Movements, Imitations of 
 
 Birds Flying 
 
 Blossoming Flowers 149 
 
 Sing a Song of Sixpence .... 29 
 
 Stork, The 51 
 
 Two Little Blackbirds 110 
 
 Cat Running and Jumping 
 
 Poor Dog Bright 145 
 
 Puss, Puss, Grey Cat 132 
 
 Pussy Cat, Pussy Cat 47 
 
 Three Little Kittens 116 
 
 Cat Washing Face 
 Three Little Kittens 116 
 
 Dog Running and Jumping 
 
 Bow-wow-wow 109 
 
 Leg over Leg 90 
 
 Oh Where, Oh Where has my 
 
 Little Dog gone? 42 
 
 Poor Dog Bright 145 
 
 Elephant Walking 
 Elephants' Dance, The .... 140 
 
 Fireflies Flying 
 
 Fireflies' Dance, The 82 
 
 Goose Walking 
 Goosey, Goosey, Gander .... 54 
 
 Horse Pacing 
 Yankee Doodle . : 86 
 
 Mouse Running 
 
 Hickory, Dickory, Dock .... 44 
 
 Pigs Running 
 
 Little Pigs, The 138 
 
 PAGE 
 
 Rooster Strutting and Running 
 
 Cock-a-doodle-doo 61 
 
 Spider Crawling 
 
 Little Miss Muffet 26 
 
 Spider and the Fly, The .... 149 
 
 Stork standing on one foot 
 
 Stork, The 51 
 
 Arm Hook, (definition) 18 
 
 Arousing and Holding the Attention . . 5 
 
 Means of 5 
 
 Attention, Arousing and Holding the . . 5 
 
 Balance Step and Point Step 77 
 
 Balance Step (definition) 18 
 
 Beginning of the Rhythmic Lesson, The . 7 
 
 How to plan a lesson 7 
 
 A review to precede each new step . 8 
 
 Boys and Girls as partners 5 
 
 Breathing Exercises 8 
 
 Suggestions for exercises correlated 
 
 with themes of the Action Plays . . 8 
 Suggestions for quieting a class by 
 
 mental suggestions and concentration 9 
 
 Circle, The 4 
 
 How to organize 4 
 
 Its uses and characteristics .... 4 
 
 Clap, (definition) 17 
 
 Class Organization 4 
 
 Boys and girls as partners .... 5 
 
 Circle, The 4 
 
 Grouping in Couples 4 
 
 Necessity of 4 
 
 Straight Lines, The 4 
 
 Commands and Descriptions, Teaching 
 by Imitation and Dramatization in 
 
 place of 5
 
 162 
 
 INDEX 
 
 PAGE 
 
 Correlation of Action Plays and Dances 
 with Arithmetic and counting 
 
 Ba, Ba, Black Sheep 120 
 
 Brownies and Fairies 100 
 
 Christmas Ships, The 98 
 
 Diddle, Diddle DumpHng ... 55 
 Hickory, Dickory, Dock .... 44 
 Hippity Hop to the Barber Shop . 75 
 
 Little Pigs, The 138 
 
 Playing Train 36 
 
 Puss, Puss, Grey Cat 132 
 
 Sing a Song of Sixpence .... 29 
 Three Funny Old Men .... 49 
 Three Little Kittens 116 
 
 Home Life and Occupation 
 Baking 
 
 Dame, get up and Bake your Pies . 73 
 
 Pancake Man, The 31 
 
 Pat-a-cake 114 
 
 Sing a Song of Sixpence .... 29 
 
 Eating 
 
 Little Miss Muffet 26 
 
 Man in the Moon, The .... 63 
 
 Sing a Song of Sixpence .... 29 
 
 Three Little Kittens 116 
 
 Going to bed and sleeping 
 
 Blossoming Flowers 149 
 
 Brownies and Fairies 100 
 
 Bye Baby Bunting 147 
 
 Dame, get up and Bake your Pies 73 
 Diddle, Diddle Dumphng ... 55 
 Goosey, Goosey, Gander .... 54 
 
 Hush-a-bye Baby 68 
 
 Little Boy Blue 138 
 
 Wee Willie Winkie 27 
 
 Washing and Ironing and Hanging 
 
 out Clothes 
 Sing a Song of Sixpence .... 29 
 Three Little Kittens 116 
 
 Industrial Life 
 
 Christmas Ships, The 98 
 
 Motorman, The 57 
 
 Pancake Man, The 31 
 
 Playing Train 36 
 
 To Market 43 
 
 Nature Study 
 Flowers 
 Blossoming Flowers 149 
 
 PAGE 
 
 Come, My Dolly 79 
 
 Fairies' Moonlight Dance, The . 84 
 
 Moon, The 
 
 Brownies and Fairies 100 
 
 Fairies' Moonlight Dance, The . . 84 
 Girls and Boys, come out to play . 129 
 
 Hey Diddle, Diddle 144 
 
 Man in the Moon, The .... 63 
 
 Rain 
 Blossoming Flowers 149 
 
 Snow 
 
 Blossoming Flowers 149 
 
 Santa Glaus and the Christmas 
 Tree 40 
 
 Stars, The 
 Twinkle, Twinkle, Little Star, 
 
 No. I 78 
 
 Twinkle, Twinkle, Little Star, 
 No. II 126 
 
 Sun, The 
 Blossoming Flowers 149 
 
 Trees, The 
 
 Brownies and Fairies 100 
 
 Come, My Dolly 79 
 
 Little Nut Tree, The 105 
 
 Santa Xlaus and the Christmas 
 Tree 40 
 
 Wind, The 
 
 Blossoming Flowers 149 
 
 Hush-a-bye Baby 68 
 
 Three Funny Old Men .... 49 
 
 Story Telling and Literature 
 
 Brownies and Fairies 100 
 
 Elephants' Dance, The .... 140 
 Fairies' Moonlight Dance, The . 84 
 
 Kewpies, The 23 
 
 Peter Pan 45 
 
 Santa Glaus and the Christmas 
 
 Tree 40 
 
 Couple Dances and other Action Plays in 
 which the Formation is composed of 
 
 several small groups 107 
 
 Course of Study,' General Plan of the 
 
 Games and Dances as a 1 
 
 Curtsy (definition) 17 
 
 Dances, Games and, as a Course of 
 Study, General Plan of 1
 
 INDEX 
 
 163 
 
 PAGE 
 
 Descriptions, Commands and, Teaching 
 by Imitation and Dramatization in 
 
 place of 5 
 
 Double Circle, (definition) 20 
 
 Double Circle, Facing in Line of Direction 21 
 Dramatization, Imitation and, Teaching 
 by in place of Commands and Descrip- 
 tions 5 
 
 Ending of the Lesson, The 8 
 
 End lesson with pleasant taste . . 8 
 How to quiet class at end of lesson . 8 
 Enjoyment, Pleasure and, The Import- 
 ance of in Rhythmic Work .... 3 
 
 Finger Shake, (definition) 17 
 
 General Plan of the Games and Dances 
 
 as a Course of Study 1 
 
 Elements desirable to incorporate in 1 
 
 Glossary 17 
 
 Grouping in Couples 4 
 
 Advantages and uses of 4 
 
 High Knee Bending, (definition) ... 18 
 
 Hippity Hops, Skips and Jigs .... 67 
 
 History of Rhythmic Action, The ... 10 
 
 Holding, Arousing and, the Attention . 5 
 
 Hop Waltz 92 
 
 Hop Waltz, (definition) 18 
 
 Imitation and Dramatization, Teaching 
 by, in place of commands and Descrip- 
 tions 5 
 
 Importance of Pleasure and Enjoyment 
 
 in Rhythmic Work, The 3 
 
 In Line of Direction, (definition ) ... 19 
 
 In Place, (definition) 18 
 
 Inside Hands and Feet, (definition) . . 19 
 
 Inside Partner, (definition) 19 
 
 Jumping, (definition) 18 
 
 Key to the Description of the Action 
 
 Plays 22 
 
 Knee, Hip and Ankle Action 51 
 
 Kneeling, (definition) 17 
 
 Lesson, The 7 
 
 Lesson, The beginning of the Rhythmic . 7 
 
 Lesson, The Ending of the 8 
 
 Miscellaneous Action Plays 135 
 
 Mother Goose, Themes other than ... 2 
 
 PAGE 
 
 Mother Goose 1 
 
 Why suitable as themes for Action 
 
 Plays 1 
 
 Music, The 2 
 
 Choice of for the Action Plays ... 2 
 
 Necessary characteristics of ... 2 
 Musical Accompaniment of Rhythmic 
 
 Work, The 6 
 
 Directions to accompanist .... 6 
 
 How to study the accompaniment . 6 
 
 Importance of 6 
 
 Words to, not to be always sung by 
 
 class 6 
 
 Neighbor, (definition) 19 
 
 Outside Hands and Feet, (definition) . . 19 
 
 Outside Partner, (definition) 19 
 
 Plan of presenting a Song Play, The . . 13 
 Pleasure and Enjoyment in Rhythmic 
 
 Work, The Importance of 3 
 
 Point Step, (definition) 18 
 
 Progressions, The 10 
 
 Basic elements of the dance ... 10 
 Plan of the Progressions of the 
 
 Book, The 11 
 
 Progressions used in book follow his- 
 torical evolution of dancing ... 10 
 Progressive order of arranging the Action 
 Plays 10 
 
 Relation of Singing to the Play of Small 
 
 Children, The 2 
 
 Rhythmic Action Plays and Dances ar- 
 ranged progressively for teaching . . 15 
 
 Rhythmic Lesson, The beginning of the . 5 
 
 Rhythmic Work, The Importance of 
 
 Pleasure and Enjoyment in ... . 3 
 
 Rhythmic Work, The Musical Accom- 
 paniment of 5 
 
 Singing, The Relation of, to the Play of 
 
 Small Children 2 
 
 Single Circle, Facing Inward, (definition) 20 
 
 Single Circle, Partners Facing, (definition) 20 
 
 Sliding 35 
 
 Sliding with alternate use of the feet . . 96 
 
 Song Play, The Plan of presenting a . . 13 
 
 Stamp, (definition) 18 
 
 Step Hop 85 
 
 Straight Line 4 
 
 How to evolve from circle .... 4 
 
 Its uses 4
 
 164 
 
 INDEX 
 
 PAGE 
 
 Teaching by Imitation and Dramati- 
 zation in place of Commands and De- 
 scriptions 5 
 
 Words of Action Play take place of 
 names of steps, commands and 
 
 descriptions 5 
 
 Teaching of the Action Plays .... 11 
 Stages in acquiring motor-skill . . 11 
 Teaching must be based on a knowl- 
 edge of physical and mental devel- 
 opment 11 
 
 Teaching of Rhythmic Work, The 
 Themes other than Mother Goose 
 
 Use of the Voice, The . . . . 
 Importance of proper use of 
 
 Voice, The Use of 
 
 Walking, Marching and Running 
 Wring the Dish Rag, (definition) 
 
 PAGE 
 
 4 
 2 
 
 7 
 7 
 
 23 
 
 18
 
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