Indian Conjuring
Indian Conjuring
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d extracts them in the same mysterious manner. Similarly he shows two balls, one under each of two cups, and by a drone on the "bean" or musical instrument, one ball flies magically from the one cup to join its mate under the other. Various combinations and permutations of this sleight complete the experiment which is accompanied by a running patter of "Go Bombay" "Go London."
In my opinion this trick is the only one in which the Indian conjuror shows any aptitude at sleight-of-hand, and the average Jadoo-wallah is very good at it. It is a trick that at first needs a little practice, but it is easy to learn and can be made into a first-class stage or drawing room entertainment. One of our greatest exponents in London performs the trick with three breakfast cups inverted, three lumps of sugar, some walnuts, and tangerine oranges to a most amusing patter about Cuthbert, Clarence, and Algernon, who are represented by the three lumps of sugar and undergo all sorts of misadventures in the night clubs in the
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Very little is known about Major Lionel Hugh Branson (1879 - 1946) except that he wrote three known books on stage magic, the first two written under his pen name, Elbiquet.
It is assumed from his writings that he was known in the magic community as a hobbyist more than a performer.
There is some debate when Indian Conjuring was first written and I have seen 1909 and 1922 given as conflicting dates.
In this short work, Branson examines and explains how some of the more popular street magic from the late 19th to early 20th century is performed by Indian fakirs. However, his overpowering condescending and smug, superior air toward them negatively colors his work.
For those interested in some simple tricks or in the history of magic as performance art, the book does make a small contribution.
It is assumed from his writings that he was known in the magic community as a hobbyist more than a performer.
There is some debate when Indian Conjuring was first written and I have seen 1909 and 1922 given as conflicting dates.
In this short work, Branson examines and explains how some of the more popular street magic from the late 19th to early 20th century is performed by Indian fakirs. However, his overpowering condescending and smug, superior air toward them negatively colors his work.
For those interested in some simple tricks or in the history of magic as performance art, the book does make a small contribution.
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