Drama-1972

 

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Drama Director’s Report–1972 Christine Foshag

“Almost everyone wishes at times that for a little while at least she might become some other person—or a bird, an imaginary creature, or some animal”, wrote Christine in her first paragraph of the report. “A play, skit, creative dramatics or a puppet show may give her the perfect opportunity to be someone else.”

She described the values attributed to participation in dramatics, which included thinking creatively and independently, the ability to observe and then act like some other person, grow in understanding people with differing viewpoints, controlling emotional release, experience thinking on one’s feet, expressing ideas clearly and just plain fun! Add to that poise and initiative that come from expressing and the impression it leaves once it has been enacted and appreciated as an art form.

The puppets allowed the campers to act together without the fear of facing an audience self-consciously. They learned to come in on cue, listen and develop their voices. The skits allowed the campers to “throw” themselves into the part, acting and reacting with exaggeration. The plays allowed the campers to become real people for short periods, despite the length, and they were able to react to a given situation.

She said, “The unique thing about creative drama is that it is always improvised. When a story is put in dramatic form, the play is planned by the group, and then played with spontaneous action and dialogue.” She explained that it was different at each playing, an immediate experience and talent was not necessary, but the more unlike the character the child plays, the less self-conscious she will be.

You Can Never Have Enough—-

fullsizerender-20Many campers could trace their present day love for all things arts and crafts to their days at Maqua, including Maggie Young, who felt so fortunate to have the exposure during the sixties and seventies. Carol Requadt (1945) could still remember the cedar smell of the craft hut where she loved working with her hands.

Mary Hewes (1946) and MaryJane Keschman (1944-54) loved the traditions at camp, including the arts and crafts. “I remember making Gimp bracelets with four strands of plastic woven together and a leather lanyard that I gave to my brother. We also sanded wooden bowls until they were smooth, “ said Mary. For MaryJane, it was the wooden plate with her mother’s initials and the same Gimp bracelets that were her favorites.

“In the arts and crafts hut, there were work benches and tables in picnic table style”, said Caryl Sue Abendroth, who loved that they could work on their leather keychains, basket weaving or lanyards in the fifties, even on rainy days.

Lanterns and tile ashtrays were the craft of choice for Helen Thompson in 1968. A paperweight with a four- leaf clover embedded inside, formed with a regular three leaf and a single one added, pleased Bev Lemanski’s father in 1945. For Beverly Schlatter, who loved the craft hut in the forties, it did not matter what she brought home to her parents, she just liked working with flowers, stones, glue and scissors.

The little yellow painted bowl, with I LOVE YOU inscribed on it, is still in the possession of Maureen Moore’s mother from the sixties, as well as Patsy Walsh’s little leather woven purse in the shape of a triangle from 1938!

Copper Enameling and Dippity Glass Flowers

EPSON003_1024 13“I remember arts and crafts, weaving the unfinished lanyards that we were making for our girl crushes, or sitting on the dock dipping the straw into the lake to wet the pieces down to make baskets that probably never got made,” said Cara Prieskorn (1966-71). There were also bracelets made from what appeared to be leather shoelaces that we tied in knots and wore on our wrists until they rotted off. But, I did make a copper enamel poodle pin for my Mom that was light blue with a dark eye and she still wears it. I just told her recently, OK Mom, you can stop wearing that pin now and she told me she likes to wear it!”

A kiln sat safely in a corner of the craft hut for copper enameling, but only staff were allowed to use it. Leslie Ciesielski and Kathy Allen were craft directors in 1970 and they handled about 12-15 students each hour. That year, along with copper enameling, beaded necklaces, Zodiac signs in plaster and Dippity glass flowers were popular.

“The Dippity Glass Flowers were simple, but not practical for a crafts class,” their activity report stated. “Many times, we had to dispose of half-full jars because they had thickened so rapidly.”

Arts and Crafts–

Article Arts and Crafts 1955In 1927 the craft hut and boathouse were built, under the watchful eye of Mr. Clark, who chaired the construction committee. “He was ably assisted by Mr. Perry, Mr. Fifield, Mr. Davidson and Mr. Clift,” noted the minutes from that year. In 1936, the minutes contained a mention that a screened porch was needed on the “arts and crafts hut”, but it took a few years before it became a reality.

Maryetta Simmons wrote about handicrafts in the “Loon” of 1949, which was run by Jackie Dawson and Vicki Smukal. “The campers may buy craft strip bracelets, plastic belts, scotch purses, earrings, wooden plates, pill boxes, flowers and leather articles,” she wrote of the crafts that were usually made for parents. She remarked the craft hut was a great place to go on rainy days, because “there is a bright fire in the fireplace and happy girls”.

The craft hut was also a great place to take photos for publicity. Many postcards, brochures and feature articles in the Bay City Times displayed the photos of the girls sitting on the long bootstrap benches around the linoleum covered tables, working on their projects.

Mary Obey found herself in two copies of the Bay City Times, dated 1957, seated at a craft table, concentrating on a project. She laughed, saying,”I might be in the craft hut in that photo, but that part didn’t carry over into my adult years!”

Load and Fire!

 

Riflery was held in a “covered car part building”, which contained seven mattresses and the target was a backboard fifty feet ahead of the lean-to. The building had been enlarged and moved in 1950, due to the proximity of the range to the cottages. (It is unclear where the shooting range was located during earlier years, but there were archival photos of riflery classes.)

According to Linda Lee Harp’s 1969 directors’ reports, there were only seven guns, so only seven could attend class at one time. The guns were in a riflery cabinet that was locked at all times. The camp charged seven cents a round, which bought a round of five cartridges, so the girls knew not to charge up too high, knowing it was going on their store bill.

The safety procedures in place included a red flag to let anyone in the area know that shooting was in progress. The horse trail ran past the range and firing had to cease when the riders went through.The correct way to hold a gun, how to site in, and the positions were taught, as well as the certificate process. Each student moved at their own rate according to their mastery of their guns and the director and her assistant kept good records for certification.

Bullets and Bows–

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“I loved the riflery and still have my NRA diplomas and archery certificates from camp, “ said Diane “Dodo” Dudley (1957-63). “I still shoot and use my pellet guns to shoot at balloons or targets. I am not much for the rifles anymore, since they make too much noise, but I have been back and forth across the country about four times camping, so Maqua did influence me.”

Many of the girls learned new skills that came with these sports, bearing bruises as badges. Kathleen Clements (1961-62) decided after the welt on her forearm from archery, it was not for her, but it did not deter Chris Lambert (1958), who later taught the skills to others at camp.

“I loved riflery and my grandfather had given me a 22 when I was fairly young. I loved learning to shoot standing up, sitting down and laying down. I liked archery, but in the beginning my arm would be all black and blue, so I took an archery class before I taught it, so I could hold it the right way.”

Kim Wynne-Parry (1963-68) felt archery and riflery broadened her horizons and was pleased at how proud her Dad was when she came home from camp with her awards. Rosemary Orgren (1956-58) had to be encouraged to try archery and riflery, but loved that she could hit a target. “My Dad was a hunter and I had learned to shoot tin cans off a log, but the archery always bruised my arm.”