Good Stuff

I Left Out

Of Super Sized Silly

by David Kaye

made with
Table of Contents

1. Introduction

2. Chapter One - Ideas You Can Use

3. Chapter Two - Routines

4. Chapter Three - Theory

Introduction

Welcome to the bonus ebook for buyers of Super Sized Silly by David Kaye.
This ebook is available exclusively for people who buy Super Sized Silly from
David Kaye and sillymgic.com.

Super Sized Silly is a compilation of my columns from my years at Magic

magazine. During my eight years at Magic I received hundreds of routines
contributed by kid show magicians from all over the world.

When it came time for me to end my column I decided I would end at

exactly 100 columns. (Much as Stan Allen decided to end the run of Magic
magazine at 300 issues.) That meant that there were good ideas and
routines that had been sent in but didn’t make it into the column. I have
compiled some of the best ideas that did not get into the column and
published them here.

Some of the stuff in here is great and some of the stuff in here is strange.
But I like all of it. I’m glad I now have a chance to share this information
with you.

David Kaye (Silly Billy)

sillymagic.com
Chapter One - Ideas You
Can Use

"Sponge Ball to Sponge Bunny" by Glenn Hamilton

Glenn Hamilton from Melbourne, Australia shares two ideas.

After a perpetual ball sequence, from your mouth or hands, you attempt to
make a sponge ball disappear. You fail several times only to obviously stuff
the ball in your mouth to show both hands empty and thus that the ball has
disappeared. When the kids finally convince you to take the ball out of your
mouth, it has changed into a sponge bunny. Obviously the last ball you
place in your mouth is a Sponge Ball To (something), like a sponge ball to
sponge bunny, sponge square, or jumbo sponge ball.
"Banana Chicken Poo Pops" by Glenn Hamilton

Do a multiplying banana routine, placing the foam bananas into a paper

bag (except the last two, as is traditional). Announce that the bananas have
changed into a chicken. Remove a rubber chicken from the bag. Tell the
kids that it left "poo" in the bag. Then remove from the bag a small Winnie
the Pooh plush toy. You can show the bag empty at this point proving the
bananas have disappeared.

"Magic That Matures" by Dave Arch

Dave Arch shares an interesting idea for a magic show.

You offer a family show to an elementary school in which the students and
parents get to purchase every magic trick in the show. Dave calls the show
Magic That Matures.

He explains, “It has the excitement of what we magicians know as a

‘dealers show’ for laymen. The audience receives a copy of a catalog when
they arrive in the theater. Each magic trick is categorized not only by age-
appropriateness but also for the developmental skill it can help cultivate in
the child.” It is not purely a sales pitch. During the show Dave explains how
performing each trick can help a child gain social and other skills.

Products are displayed on tables in the back of the room and sold at
intermission and at the end of the show.

Dave has a hilarious routine in Super Sized Silly for Key-R-Rect that is one of
my favorites in the book. Read it on page 225.
Chapter Two - Routines

"How To Recognize A Bully" by Jim Kleefeld.

Jim Kleefeld is an excellent kid show magician and product creator, as well
as a mentalist. This is an easy trick that is very versatile, using Drawer
Boxes. Do this one!

In Jim’s words he describes it like this. “This is a routine I developed

especially for a school assembly program on anti-bullying. It is one of nine
routines that each has a single specific learning objective, and together
comprise a show that helps students and teachers learn how to curtail
bullying in their school.”

While Jim’s presentation is used to teach a lesson, you can also use this
routine as a fun game with prizes. See my notes at the end.

Preparation
You will need five drawer boxes, each a different color. Jim uses red, yellow,
blue, green and black boxes. If you look you may find five drawer boxes in
different colors packaged together and sold as a set. If not buy the same
color and put different colored tape on each or put a large visible number
on the front using paint or adhesive house numerals.

You also need six silks of the same color. Jim uses purple. A 24” diagonal
silk displays large, but still loads into the boxes. You will need a clean way
to vanish the silk - the less “gimmicky” the better. A thumb tip vanish works
well here. You will also need ten slips of paper.

Each of the following five Bully Statements is written on a separate slip of

paper, and there are five duplicate slips.

A Bully may push or hit you.

A Bully may call you names.
A Bully may tease you.
A Bully may exclude you.
A Bully may get you in trouble.

Open one drawer box and place one Bully Statement slip and one purple
silk inside in the load chamber. Close the drawer, release the catch, and re-
open the box to the “empty” side. Place the duplicate slip flat on the
bottom or up against the front edge. Make sure the paper slip is small
enough that it will fit in the box without catching or becoming wrinkled
when the inner drawer is moved in and out.

Close the drawer and latch it, hiding the duplicate slip under the load
chamber. You now have a colored drawer box with a purple silk inside, and
matching paper messages both inside and outside of the load chamber.
You can open the inner compartment (load chamber) and reveal a silk and
a message, or you can open the drawer while retaining the load chamber
and reveal the same message, but with no silk.
Repeat this procedure with each of the remaining four boxes, loading a
different message, but identical silk inside each one. For the performance,
have the five boxes set to open to the “empty” side, keep the sixth purple
silk handy, and prepare a way to vanish that silk.

Routine

Begin by displaying the five different colored boxes and the silk. You may
want to line them up, standing on end for better visibility. Lay the purple
silk across the table in front of them.

Say, “Boys and girls, sometimes students like yourselves or your classmates
don’t always recognize that they are being bullied, or even that they may
be bullying others. But some researchers have identified five common
characteristics of bullies. That is, grown-ups know five things that make up
Bully Behaviors. Some people think there is one most common or most
serious one. What do you think it is?” Solicit a few responses from the
audience.

Continue, “Some of you already know how to recognize some kinds of

bullying. Let me share with you what the experts say. I brought these five
boxes here, and inside of each one is a slip of paper that tells one kind of
Bully Behavior. These are things that students do that are considered
bullying. Let me choose one of you to help find the most serious one.”

Select a volunteer from the audience. Say, “Inside each of these boxes is a
slip of paper that tells one Bully Behavior. We’re going to read them all so
we can find out what kinds of things make up bullying. But only one of them
is the most common and most serious kind of bullying. Which color box do
you think that one is in?”

Let her choose any color. Say, “You think it might be in the red box? Let’s
use this purple scarf to mark the one you want. But instead of setting it on
the box or tying it around the box, Jennifer, I’m going to let you ‘magish’ it
into the box you want.”
Pick up and display the purple silk. Say to your volunteer, “Keep your eye on
the purple silk. I’m going to push it all inside my fist like this. Keep watching
very closely, because you have to be the eyes for all the audience here. No
one can see this as closely as you can.” Push the silk into your fist and
extract it with the thumb tip.

Continue to say to her, “There. Did you see me push it all the way inside my
fist? Is it completely enclosed now, or is there still some part of it sticking
out somewhere?” Let her examine your closed fist and verify that no part of
the purple silk is visible. “Now, Jennifer, I want you to magically send this
scarf over to the box that you think has the most common or most serious
Bully Behavior in it. Which color box did you think that was? Red? You can
change your mind or stick with your first choice.” Pause and give her a
chance to change her mind. They often do. Keep your hand out and your
arm still.

Continue, “Okay. It’s time to make your final decision. Which color box do
you think has the most serious or the most common Bully Behavior? Still
red? All right, then, say the magic words to send this purple scarf into the
red box.” She says the magic words. Open your hand and reveal that the
silk has vanished. Say, “She did it. The scarf is gone. Now let’s check the
boxes.”

Here you will open each of the four non-selected boxes to the “empty” side
and pull out the slip of paper. Hand each piece of paper to the volunteer to
read aloud. After each one, offer a brief explanation, clarification, or
reinforcement of the statement.

Say, “Let’s start with the green box. It’s empty except for this slip of paper.
Jennifer, would you take out that paper and read it very loudly into the
microphone for everyone to hear?” She takes the paper and reads, “A Bully
may get you in trouble.” Say, “That’s right. One common behavior of bullies
is to do bad things and blame it on others. They think it’s fun to tattle and
get someone else in trouble.”

Take the paper back and return it to the inside of the box. Set that box
aside and continue with the other unselected boxes. Finally, when only the
selected box is left, reveal it more dramatically. Say, “Jennifer, each of those
boxes gave us an example of one Bully Behavior. But you said the most
common or most serious Bully Behavior was in the red box. And you chose
to ‘magish’ that purple scarf into the red box. Let’s see if it worked.”

Open the selected box to the inner load chamber, holding it so the audience
can see the purple silk. Take out the silk and hold it high. Let the volunteer
take out the remaining slip of paper. Announce, “Jennifer did it! Here’s the
purple scarf, right inside the red box, just like she thought. Jennifer, tell
everyone what it says on that paper.” She reads the slip. You clarify this

Bully Behavior statement and embellish it to verify that the selected one is
either the “most common” or “most serious” behavior.

Say, “Yes, researchers have found that ‘excluding others’ (or whatever it is)
is the problem most often cited by middle-school students as having
affected their happiness. It is a fact, though, that other Bully Behaviors -
hitting, name-calling, teasing, and false blame are all very real problems for
many students.” In fact, all of these behaviors have been identified as
common and serious concerns, and any one of them could be construed as
actually more common/more serious, or perceived by students as more
common/more serious.

At this point don’t make a big deal out of that single selected statement,
but add it to the others as a cumulative set of statements that define
bullying. Say, “Remember that if anyone is regularly or repeatedly doing
these things to you - hitting, name-calling, teasing, excluding, or getting you
in trouble - and you think it is serious, then someone is being a bully.

End with, “Let’s all thank Jennifer for vanishing the scarf and for making it
reappear in exactly the right box. How about a big round of applause?” As
you send the volunteer back to her seat, return the silk and paper to the
box and you are re-set for the next show.

Reflections
This is a very adaptable routine, since you could have any message you
want printed on the slips. It is a great way to present five important lessons
about any topic, and at the same time, include a magic effect. A school
reading show could use five statements such as “Good readers use context
clues” and ”Good readers check definitions.” For a Blue and Gold banquet,
you might use phrases like, “A scout is trustworthy,” and “A scout is
honest.”

Alternatively, for a straightforward magic trick without a lesson, each box

could have two prediction statements such as, “You will not pick red” and “I
knew you would choose yellow.”

I have a set of five different colored Drawer Boxes. I love performing with
these. I usually do a Bank Night routine using these boxes. Have five people
each choose one box and see who can choose the box with the gift inside.
Use five pieces of candy, five one-dollar bills, or any other gift that fits
inside. Four kids choose the “empty” boxes, by you holding back the load
chamber. And of course the birthday child chooses the box with the gift.
You do this by releasing the load chamber only on his choice. Or use four
big kids and one adorable, little, four-year old kid and let the little kid win.

Jim explains some of the subtle details of the patter. “When you use this
routine as a teaching routine select five statements and verbally highlight
whichever one the volunteer chooses.

Re-read the patter above and notice the slow, subtle changes in the
behavior descriptions. You begin by stating that one behavior is the ‘most
common AND most serious.’ Later you reiterate that the behavior is the
‘most common OR most serious.’ You conclude by saying that the behavior
selected is ‘most often cited.’ This gradual change in language is a neuro-
linguistic programming tactic that will alter the audience’s recalled
perception. The students will remember both features of the routine - that
the silk vanished and appeared in a selected box - and that all of the
behaviors were serious.”

Jim suggests making up several sets of paper strips, since some students
crumple them during the routine. As a performance safety check, you might
want to print the slips on colored paper or use colored markers to put a
strip of color on each paper slip that matches it’s box. That way you will
always be sure in your reset that you have matching slips in each
compartment.

Jim has a routine for Stratospheres in Super Sized Silly that is also one of
my favorites. You can find it on page 57.
_____________________________________________________________________

"The Magic Of Simple Things" by Jack Skrip

Jack Skrip, is a creative magician from Saskatchewan, Canada. Here Jack

shares a premise he calls, “The Magic Of Simple Things.” I mentioned this
briefly in the book, but I thought I would share the complete explanation
that Jack contributed. It is an interesting idea. As you read this, consider
that if you come up with a theme for a show, you can go through the same
process that Jack did, in order to create an original magic show concept.

The Premise

The idea is to display a child’s toy box. All the tricks for your show come out
of the toy box. But they can’t be magic-y looking props. They should all look
like innocent toys. For example Rope, Rubik’s Cube, and Bounce/No Bounce
Balls.

In his toy box Jack placed a small slinky, a PEZ dispenser, a wind-up metal
robot, an alien monster action figure, the Rubik's Die Box (a Die Box that
uses a Rubik’s Cube instead of a die.), and the Enchanted Cube, which is a
Rubik’s Cube that solves itself, in the Rubik's Cube shell.

Jack describes it from here.

Some magicians have a "bag of tricks." Others have a "book of spells." I

have a box. The contents of the box are mostly recognizable as ordinary
things, simple things. A children’s toy, a candy dispenser, some rope,
nothing overtly magical. But the most important thing in the box is
something that can’t actually be seen or touched - its possibilities. “The
Magic of Simple Things” is not so much a set sequence of specific tricks as
it is a context in which a variety of different tricks may be presented.

The whole thing began as my answer to the question, "What the heck am I
supposed to do with a Sucker Die Box?” I had a basic routine in mind and

could have used it with the Rubik's Die Box, but I wanted something that
leveraged, rather than glossed over, the fact that it used a Rubik's Cube
instead of a die.

Despite its complex inner workings, the Rubik's Cube is basically a very
simple toy. It’s pretty low-tech in comparison to many toys kids have today,
like computers and computer game systems. From that contrast between
the high-tech and low-tech, the complex and simple, "The Magic of Simple
Things" emerged.

In order to do the standard Die Box routine, a container of some sort is

required in which to place the die. A top hat seemed inappropriate for a
Rubik's Cube. Why not just a simple box? And what else might be in the
box? Since the Rubik's Cube is a toy, why not other toys? Toys drawn from
my childhood, which I could introduce in the context of discussing the kinds
of toys kids have access to today. A box of simple toys, or simple things,
from which magic could then be made.

I use a large box that looks like a toy box. It is covered in suede with leather
trimming and brass handles, with a separate lid that lifts off. As I take
things out of the box, I pile them in the inverted lid, which forms a sort of
"staging area" for items. Plus the raised rim of the inverted lid prevents toys
from rolling off my working surface.

Routine

In performance I point to the birthday presents waiting to be opened and

ask the birthday child if he is excited about them. I ask him to name some
favorite birthday presents he has received in the past and eventually got all
the kids involved. It isn’t difficult to maneuver the discussion toward the
difference between their toys and mine.
I mention that the toys I had when I was a kid were a lot simpler and that I
had actually found a box of some of my favorites and brought them with
me. I bring out the box and start taking items out of it, commenting briefly
on each one. When I pull out the die box, I leave it as a bit of a mystery,
saying, "I'll tell you about this a bit later."

I gesture to the pile of toys and ask the kids which one they think is my
favorite. I pick them up one by one, before placing it back in the box with a,
“Nope." The last items I leave out are the Enchanted Cube (in the shell) and
the Die Box.

I then explain that my favorite toy was actually the Rubik's Cube. I tell them
that I liked my cube so much that I made it's own special box. I put sliding
doors in it, "like a garage," and made it big enough for two cubes, though I
never did get another one. During this patter, I put the cube back in the toy
box and pick up the die box to show it to the kids. When I explain that it is
just big enough to hold a cube in each side, I reach into the box and remove
the shell instead of the cube.

From there, I go into a Die Box sequence based on the idea that the cube
doesn't like to be stuck in the box by itself and actually prefers to be with
my other toys. After the sliding by-play and proving the Die Box empty, I
reach into the toy box and pull out the Enchanted Cube.

I comment that I never was actually able to solve the cube. I spent years
twisting and twisting but never came any closer to getting the colors back

the way they started. This patter is accompanied by the solving sequence
for the Enchanted Cube. Then I became a magician and realized that all I
had to do was toss the cube up in the air and let it solve itself. After
catching the cube and displaying its solved state, I end on the phrase,
"Pretty simple, isn't it?"

Other Trick Ideas For The Show

I also use the trick Collard, a prediction trick, in the Magic of Simple Things
show. I started thinking about things connected with dogs as pets, like
name tags, collars, leashes, chew toys, etc. While navigating through my
own dogs' chew toys,

I realized that one of their rope toys looked surprisingly like the initial set-up
for Three-to-One Ropes - a short length of thick twisted strands of rope tied
together with a large knot near each end.

I also thought about replacing the ring in a ring & rope routine with a stiff
leather dog collar. I decided to put these dog-related tricks into the Simple
Things show.

The collar comes out first, commenting that it was the collar worn by my
very first dog. Later, I pull out the ropes. I point out that this particular chew
toy is special. It's almost like a Transformer. It's a chew toy and a leash!

As I patter, I untie the knots. "It's made of three pieces of rope. And to
make it into a leash, you just tie the ends together!" The words accompany
the tying moves as per the traditional routine for Three-to-One Ropes in
which the knots jump off the rope when it is pulled taught.

"Of course, this isn't a very good leash because the knots might come
undone. So we have to get rid of the knots, which you do by just blowing on
the knot like this." I blow on the tight knot and pull, causing the loose knot
to pop off.

After the usual look, don't see by-play, I see the unattached knot, then blow
on the spot where it was tied in order to make the other knot pop off.
Display the rope as a single, solid piece.

I then explain that there are actually still holes in the rope where the knots
were. You have to "know magic" to be able to see them, though. "My old
dog used to watch me practice. He learned some of my tricks and he could
always find the holes in the rope.”

I pick up the dog collar and go into a ring & rope routine, with patter about
how he could slip off the rope when I wasn't looking, and run around all
over town, then come back and slip himself back on the rope!
I close that portion of the routine by talking about how much I miss him,
and how I decided to get another dog to take with me when I traveled
around doing magic shows. I tell the kids I brought him with me but that I'll
bring him out later. This sets me up for Collard.

Reflections

Jack says, "The Magic of Simple Things is a concept that is full of

possibilities. The box can contain anything you can fit into it. Remember,
the items that go into the box should look ordinary and ‘un-magical.’ a.
Otherwise, you are no longer dealing with ‘simple things’ but are instead
venturing into ‘proppy things’ territory."

He continues, "The effectiveness of ‘The Magic of Simple Things’ lies in the

difference between revealing the magic within things which appear to be
normal, everyday objects and doing magic with props that clearly have no
other purpose than magic.

Jack concludes with, “After all, every kid knows that everything in your toy
box was magical once. ‘The Magic of Simple Things’ is an opportunity to
recapture that magic not just for your audience, but for you, as a performer,
as well.”

The Simple Things theme and the dog-related theme are two themes from
Jack. And as I mentioned earlier I hope this will give you ideas for how to
create your own themed show. You might be surprised to know that when
you have limitations on your show, or if you need to stick to a theme, it is
much easier to choose the tricks you should be performing.

For example if I told you to come up with a list of tricks you would put in a
show about cowboys you could probably think of several right now. Try this
exercise now and you will see how easy it can be to put a show together
once you have a theme.

Jack Skrip contributed two great routines on page 252 in Super Sized Silly
that you can use for your Christmas shows.
______________________________________________________________________

"The Phoenix" Producing A Dove From A Change Bag by Spidey.

Spidey, from Montreal, is currently a successful mentalist. However, he sent

this routine to me when he was just 18 years old. This is an easy way to use
to produce a dove from a Change Bag.

This routine is mentioned briefly in the book but I am including it here in its
complete form so you can learn the full routine.The routine is about the
phoenix. In past years the phoenix was not a thing children knew about. But
it is now, thanks to the X-Men films and the Harry Potter films.

Routine

You need any type of change bag. In the hidden compartment of the bag is
your dove. In your right pocket is a plastic or foam egg and a ball of flash
paper and in your left pocket is a lighter.

First show the inside of the change bag empty. The way to do this without
hurting the dove is to grab the dove from the bottom of the bag and push
him through backwards. Then bring him back in tail first. This means you
have to turn your wrist in just a bit.

Say, “I have someone very special I would like to introduce to you. I would
like you to meet (name of bird). My bird is no ordinary bird. He is the only
son of the phoenix who was born in an egg. Do you know what a phoenix
is? The phoenix is a legendary bird. When most birds have babies, they are
born in an egg. But the phoenix does not. The phoenix is born from fire.”

Reach into your pockets. Pull out the lighter in your LH and the flash paper
and egg in your RH. Egg is palmed. Continue, “My phoenix is different
because he was not born from flames. His mommy was a phoenix as red as
can be. When it was time for her to give birth she burst into flames as
usual.”

As you say this light the flash paper and bring the egg to your fingertips.
Say, “But instead of a baby bird, an egg rose from the ashes. From that egg,
a bird was born, but it looked nothing like the phoenix. Unlike the phoenix
who was red, this bird had beautiful white feathers. The only traces of red
were his burning red eyes.” (Doves have red eyes.)

Drop the egg into the bag and bring out the bird.
Chapter Three - Theory

"Using Storytelling To Control Older Children" by Spidey

We all know that older kids yell out the methods they think are being used
in a trick. Spidey theorizes that to prevent this your patter should be in the
form of a story.

He writes, “I came to the realization that to end the calling out, the key is
context. So I tested this theory. I went up to a ten-year old kid and told him,
‘I’m going to show you a trick. I’m going to make this handkerchief
disappear.’ So I did it. And knowing it was a trick the kid was looking for it
in my pockets, etc. Later, I went up to another kid from the same class and
told him a wonderful story about my blue handkerchief that used to be
used by priests in ancient Egypt and that the handkerchief has powers of its
own for which I am not responsible. It worked! He did not care how it was
done. As far as he was concerned it was real.”

Try this test and see how what happens. Maybe you can use this technique
to conquer those troublesome older kids.

_____________________________________________________________________

Fascinating Views On Performing Magic For Children by three magicians

from Holland.

At FISM 2003 in Holland there was a kids show magic lecture. Held at the
unfortunate time slot of 9:00 am, this “mini congress” was standing room
only by 8:30 am, and was repeated the next day with the same results.
Everyone was buzzing about this amazing experience.
As sleepy FISM kid show magicians ambled into the lecture room they were
awakened to see it decorated like a child’s birthday party. There were
streamers across the ceiling, confetti across the floor and tables, candy,
balloons, and posters on the wall. (It doesn’t matter what country you are
from, all kids parties look the same!) And of course everyone received a
party favor.

Here are thoughts and theories on performing magic for children from the
three successful children’s magicians who produced this event. You will see
that these magicians from Holland have a unique view of kid shows.

“The Show Is One Big Game With The Audience As The Big Hero” by
Magician Carlijn.

Children nowadays do not differ much from former generations in terms of

thoughts and experiences. However, the surroundings in which they are
growing up have changed. Children of today are growing up much more
passively in relation to play.

In times gone by you could pretend that a basin was a boat. Today
computers, computer games, and television shows deliver tailor-made
fantasy to children. Therefore children hardly need to be creative anymore.

For that reason magic can mean a great deal to children. What the
magician does cannot be understood in a rational way. A magic show can
take children into a world full of wonder. A world in which everything is
possible, beyond the boundaries of the rational. A world of creative
thought. And that enhances the value of a magic show.

For example, in one of my shows the children have to slay the evil witch and
her dragon and this gives rise to emotions. The audience is angry and
vicious towards the witch. They are afraid of her dragon, full of wonder
during the magic, and in the end, proud if the two are finally slain. The
children learn magic spells and gestures, and they join in with the
performance.
Magic tricks embellish the story, from looking into a crystal ball to making
up a magic potion. By incorporating all the magic tricks into a story I ensure
that there are no dead moments during the show. One thing leads logically
into another until the story has been completed. A feeling of fellowship
grows between the children and the magician. Together we have to ensure
that the story has a happy ending.

During the show children allow themselves to be transported to a world full

of excitement, magic and fantasy. In fact it is one big game with the
audience as the hero.

I really enjoy allowing children just to be children again. That they can lose
themselves and play an active role in the show. It is a type of magic that I
like very much and in which I can express my own fantasy and creativity.

“Use Your Fantasy, Imagination, And Your Vision To Encourage Each Child
To Just Be A Child” by Aladdin.

My main goal is to inspire and assist people to discover and realize their
talents through mystical and magical awareness.

Every child is potentially the light of the world! If you combine fantasy and
their unconditional creativity it will cause an interesting phenomenon - the
magic takes place in their minds, in the fantasies of the children. I am
privileged to perform for children.

Believe it or not, we can learn a lot from their fantasies. We behave like
adults but sometimes we should take care of our inner child. Do not ignore
or neglect the child in you. Adults need to remember what it was like to be
a child. I do not only perform for children, but I also do shows for adults.
Yet, my character is almost the same for children as adults. Only the tricks
are different. In both kinds of shows I try to wake up the child in everyone.
My Character

I have chosen the character of Aladdin because of his charisma and his
behavior. I identify myself with Aladdin. He is very elegant, trustful and
mysterious. All these ingredients are a part of my real character. It is my
belief that every magician can learn how to create a character from their
own personalities. It takes time to do some investigation, but one day you
will be rewarded and glad that you have spent your time on research.

The most important thing is that you are not pretending to be somebody
else. Just be yourself. There comes a time when you will become capable of
inspiring others so much that they will experience the reality of higher
consciousness and pursue greater awareness of it. You may find that your
talents can be turned into art or more magical activities, which will uplift
and benefit others.

My Performance

Before I appear I use a recording of a storyteller who tells the story of 1001
Arabian Nights. The children listen with fascination. After his short
introduction you hear Arabian music and when the music stops I appear.
From that moment the audience is watching me and everyone is
astonished.

I introduce myself and I ask the children if they have seen Jasmine, my
girlfriend. She always assists me during the show, but I cannot find her. This
is the motivation for why I need to invite a volunteer from the audience to
assist me. I also use props like a Magic Book of Spells, the Wonder Lamp,
my Flying Carpet and all the Elements such as Water, Fire, Earth and Wind.
At the end of my performance I use the Wind to fill up the Magic Balloons.
This way of performance is only for those of us who love the joy of looking
for just the right props to make our routines memorable for our audiences.

Don’t let the Inner Child grow up too soon!

“Magic For Children Is Fantastic” by Hilbert Geerling.

During a magic show, children can watch, participate, shout or listen

silently. They come along into the magical world in which everything is
possible. A world full of stories, color, movement, fantasy and joy. Finding
this world is one of the nicest challenges of performing magic for children.

Doing this on your own is more difficult than with the help of other
magicians who also perform for children. Sharing experiences and thoughts
is the best way to find your way in the magical landscape.

(Hilbert was the producer of that year’s FISM. When you read this you can
tell his love of children’s magic and why he felt so strongly that it should be
represented at FISM.)

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