The purpose of this blog.


This Blog is a gathering of material that has been found through personal research. I have put this blog together as a way to share my research with the Civilians of Crew 1872. When available I will provide links to the site it came from and credit. Please be patient with me as I go back through all posts to make sure the proper creidt was given.

Wednesday, April 20, 2011

You Might be a Civil War Reenactor If....


  • Getting up at 6am to the sound of cannon fire doesn't bother you but getting up at 7am to go to school does.
  • Shooting at people and falling down in a field wounded actually thrills you.
  • You smell a wood fire and it brings a smile to your face.
  • You do not shower for 3 days and it is ok with you.
  • It is impossible to watch a movie without correcting every little historical inaccuracy…OUT LOUD.
  • Your friends refuse to attend any historic movie dramas with you...
  • You go into a store and look for merchandise that would fit you Civil War persona.
  • You can take apart your carbine blindfolded.
  • You think it's funny when spectators jump at the cannon fire.
  • The worst four letter word is FARB.
  • You can't wait to see how many car alarms go off when you fire your cannons.
  • You have been mistaken for a ghost.
  • You are more careful about the care of your uniform than you are about any of your other clothes. The dirty uniform will get hung up before anything else.
  • You purchase a vehicle on how well it can navigate a cow pasture.
  • You've made a vehicle purchase decision based on how well it can accomodate your tent poles...
  • That $20,000 car sits out in the weather so your $200 tent can stay in the garage...
  • You would rather sleep on the ground than in your own bed.
  • You think the smell of black powder is better than any perfume.
  • You know how to fall down like you are dead without getting hurt.
  • You drive by some open land and think, "What a great place for a Battle!"...
  • Most of the clothes you own went out of style over 150 years ago...
  • You've ever uttered the phrase, "only 68 more days til our next event"...
  • Sleeping in a leaky tent in the rain and mud is your idea of a fun Saturday night...
  • You've ever worn wool when the temperature tops 100 repeatedly...
  • There are half-completed sewing projects decorating your furniture...
  • You've ever made a career decision based on its impact on your reenacting weekends...
  • You can spot 100% wool at 30 yards...
  • Your kids can correct their history teachers...
  • Your mailman is confused as to what rank you hold in the reserves...
  • You have been asked at a gas station if you're Amish...
  • Your birthday and Christmas list reads like a quartermaster's request for supplies...
  • You believe that your brogans are the most comfortable shoes that you own...
  • You set up camp in the middle of the night
You know you are a Civilian reenactor when....
  • You carry your hoop skirt into a hardware store looking for suitable boning material...
  • You won't sit down in chairs with arms because your hoops might fly up...
  • You believe your corset is the most comfortable undergarment you own...
  • You grow your hair long so you can get rid of your wig...
  • You feel more comfortable in a hoop skirt than in jeans...
  • You know the benefits of keeping pickle juice on hand...
  • Your favorite store is an antique store that sells gloves and hankies....
  • You save your hair off your hairbrush to make a rat...

     

Wilson’s Creek 150th Anniversary


11/28/2010
Planning for the Foundation's 150th Anniversary Commemoration and Reenactment of the Battle of Wilson's Creek is now well underway, with committees formed and working diligently on various aspects of the event. Sub-Committees in place so far include Fundraising, Concessions, Civilian Activities, Period Crafts, Preliminary Events, Old-Time Activities, Education, Marketing, Safety, Parking, Membership, Technology, Family Camping, Volunteer Coordination, Site Management, Concert, Legal, and Publications. We still need additional help with several of these activities, so please consider getting involved.
The Foundation has signed an agreement with the Blue-Gray Alliance, a national reenactor organization, to handle all military aspects of the reenactment, including helping with battle scenarios, organizing reenactors for battles, assigning camp sites, and assisting with registration and check-in. Individuals and groups wishing to participate can register at www.wilsonscreek150.com. The fee to register is $20 per person; 14 and under are free.
An excellent site adjacent to the battlefield has been selected for the reenactment and all other scheduled events, activities, and exhibits. Negotiations with the landowners are currently underway. The Foundation is also working with the Springfield Convention and Visitors Bureau and several other marketing partners to publicize the event, and anticipation is already growing for this full-scale Civil War anniversary commemoration. The last Foundation-sponsored reenactment of the Battle of Wilson's Creek, which took place in 1991, attracted over 2,000 reenactors and more than 30,000 spectators. We expect a much larger response for this sesquicentennial occasion. Tickets for the event will go on sale after January 1, 2011, through several local venues and online.
In addition to the reenactment, many other community groups are planning Civil War themed events during 2011, including The Springfield-Greene County Library, the History Museum, the Missouri Literary Festival, the Civil War Round Table of the Ozarks, and local universities and schools. Wilson's Creek Foundation will be partnering with several of these organizations to facilitate an emphasis on Civil War history for the sesquicentennial.
The Foundation will soon begin seeking corporate sponsors to underwrite costs for various aspects of the reenactment, as well as inviting supporters to become members of the Missouri Brigade at several different levels. This fundraising campaign will allow us to use proceeds from event admissions and reenactor fees to support projects benefiting the battlefield, including a Visitor Center addition to house the Civil War Museum, land preservation efforts, and educational programs, as well as other improvements and activities.
If you would like more information or you are interested in helping with the 150th Commemoration and Reenactment, please contact us here

Wilson's Creek Reenactment Planned for 2011 
2/7/2010
The Wilson's Creek National Battlefield Foundation has begun planning a maximum-effort Civil War reenactment to commemorate the 150th anniversary of the Battle of Wilson's Creek. The reenactment will take place during the weekend of August 12-14, 2011.
Excitement is already building for the Civil War sesquicentennial, and as the second major battle of the war, Wilson's Creek compels a great deal of attention in the reenactment community. The Blue-Gray Alliance, a reenactor organization, will help design battle scenarios and handle all military aspects of the reenactment.
Due to the high level of interest, the Blue-Gray Alliance anticipates that this will be a well-attended event, with more than 3,000 reenactors and huge crowds of spectators. Although a location has not yet been selected, it will be held as close to Wilson's Creek National Battlefield as possible. Watch for more details and updates on the official 150th Anniversary web site www.wilsonscreek150.com.

 

Information gathered from Wilson's Creek National Battlefield Foundation and Official 150th Site

Victorian Hairstyle


The elegant and elaborate hairstyles fashionable in Victorian times are famous for their beauty, but few modern women have the time or assistance to recreate the fanciest styles of the era. However, modern women can still recreate the elegance of the era with its simpler styles.
Evening hairstyles during this period could be freer and more elaborate, utilizing hair pieces and flowers and such, but day styles were by and large very simple and controlled. If you have shorter hair, you may want to invest in a good hairpiece or fall, and if you have very short hair, a wig! Bad news for ladies with "fringe" (bangs): Civil War ladies didn't wear it! Although with one evening style you can use "fringe". So get out the gel or smoothing balm and try to make it blend into the rest of your hair, and let's get started

 

Some quick and simple 1860s hairstyle.
It seems to me that most of the reenacting events we attend start earlier in the day and we usually don't have time to do anything elaborate with our hair until we get ready for the dance. So I have found a couple simple day looks that are quick, but still look period correct. The hairstyles I have found are based on old photographs of the period. You can find period photographs all over the internet. I find these old photos great for studying hair and dress. I have tried to include period photographs with all the instructions I have found.

 

To do most of the day looks you will need a:
- Brush
- Comb
- Hair-bands (I use the clear hair bands so that they can not be seen in the finished style)
- Bobby-pins

 

If you tend to have fly-aways, then some gel may come in handy. And when we need this thing to stay still all day, hairspray.
After brushing thoroughly, part your hair in the center. This is the only way woman did it back then, I've never seen it any other way. To get my hair to lay nicely I start parting it in the center a day ahead of time, wetting it down periodically.

 

Let's start with one of the easiest first.
The Braid and Tuck
Here is a couple period examples for inspiration. This style could easily be worn with a hairnet, like the photo on the left.

 

 
This is a nice style for medium length hair, and works especially well if it's thick.

 

 

 

Start by parting the hair down the center, and then braid each side. I had to re-braid each side once because I'd started them to far forward, causing the braids to be too short.
You want to get the rubber band as close to the end and possible, or if the hair is long enough, you can make the ends into a little loop. Also, neutral colored rubber bands blend in nicely.



 

 

 

 


 
Next, take the end of one braid, and tuck it under and into the base of the other braid, secure with bobby-pins.

 

 

 

 

 

 

 

 

 

Do the same with the other braid, going underneath the first one. I put most the pins on the underside, using the rubber bands to get a hold of the ends.

 

 

 

 

 

 

 

 

 


 

 
Instead of blossoms, a large bow or hairnet also look great. Use your imaginations!

 

 

 

 

 

 

 

 

 
The Bun

 
Again start by parting the hair down the center

 

Along the part, starting 3-4 inches back from the hairline of your forehead, section off the front portion of the hair. Straight down to just behind the ear. Do this on both sides and put the rest into a low pony, which will end up being the bun.

 

 

 

 

 

 

 

 

 


 
Take one front section at a time, and pull them to the back, I usually use a brush to smooth it out, and sometimes a little bit of gel. Twist it a little and then go underneath the ponytail, and wrap it around, twisting as you go. Secure into place with a couple bobby-pins.


 

 
Then we split the pony into two braids (or more if the hair is really thick), and coil them into a bun, securing with a few bobby pins. And if it's necessary, a layer of hairspray.

 

 

 

 


 

 
All done! This style can also be dressed up with a bow, bun cover, or by braiding the hair on the side before pulling it to the back.

 

 

 


 
A variation of the Victorian Bun

Start with your hair down, and parted down the middle.

 

 
Section the front of your hair into two pieces, and pin up to keep them out of the way. You won't be using this hair right now.

 

 

 

 


 

 

 
Section your remaining hair into two, a back section and a middle section. Twist the back section into a bun and pin into place.

 

 

 


 

 

 

 

 
French braid the two middle sections of hair, braiding under-over, rather than over-under. This is so that your hair gets the appearance of having two long braids just draped over your head, instead of the common appearance of french braids. Practice and experiment with this if you're not sure what I mean; it's difficult to explain here, but once you get it, you'll slap your forehead and go, "Oh! It's just a backwards french braid!" Once the two braids are done, put a bobby pin or small rubberband on the ends to hold them. No big bands; you don't want anything modern showing once the style is finished!

 

 

 


 

 
Now, you get to unpin the front sections! Take them down and then bring them to the back, loosely, so that they cover your ears and sweep smoothly over your head. This is when bangs can be annoying; hairspray, gel, whatever works, get those suckers to lay smoothly with the rest of your hair, hidden! Pin the sections in place, hiding the pins in the bun. If your hair is very long, you can wrap them around the bun and then pin in place.


 

 

 

 

 


 

 

 
Finally, take the braids and sweep them to the back as well, once again pinning them into place over the bun, trying to hide the pins as much as possible. You're finished!

 

 

 

 

 

 

 

 

There is another option for those ladies who don't want to take the trouble to braid and coil their hair, or have short hair and don't care to spend the money for a hair piece: the day cap! Most women during this period over the age of twenty-one or so covered their hair during the day in some kind of cap, which can be very convenient if you're all thumbs in the hair department;)

 

 


 


 


 

 
Victorian 3-Braid
The Victorian 3-braid is one of my favorites: easy to recreate, it is a lovely updo, perfect for weddings or proms, but can be dressed down for everyday use as well.
This style looks best with fairly long, thick, straight hair. I have found a similar style that works well for shorter hair that is in the next section.
Instructions
If you already know how to do a flip-through, skip to step 4. Otherwise, continue reading. Experienced hair dressers will be able to create this style on themselves, others may need to practice on a friend first.
Put your subject's hair up into a basic pony tail.
Loosen the ponytail slightly and use your fingers to part the hair just above and below the band.
Carefully reach through the part and grab the pony tail. Pull it gently up through the part to create a flip-through.
Divide the ponytail into three sections. Get your friend to hold two of them.
Divide the remaining section into three and braid it. Repeat with the other two.
Loop the braids and tuck the ends into the flip-through. Secure with pins.

 

You can also experiment with variations, including single braid and 5-braid versions.

 

For a similar style that works well for shorter hair try the "Gibson Tuck."

 
Gibson Tuck Instructions
If you have shorter, curlier hair, don't despair. There is a similar style popularly called the "Gibson Tuck" that you can try instead.
Put your subject's hair up into a basic ponytail.
Loosen the ponytail slightly and use your fingers to create a part just above the band.
Flip the band down into the "pocket" this creates, and push the ponytail in after it, as evenly as possible. Unlike the Victorian 3-braid, do NOT pull the hair through. Secure with pins.
This is a pretty yet practical updo that is very fast to make. The sample in the photo to the right took me under a minute from start to finish, though it would benefit from a neater part.

 

For a dressier look, you can secure the tuck with decorative hairsticks or combs, incorporate flowers or ribbons, curl any stray strands, or similar techniques.

 


 

Victorian Evening Style

The high Victorian period was all about excess: bustles were big, ruffles were everywhere, patterns warred on walls and couches and dresses. There was definitely a belief that more was better; if you've ever seen photographs of high Victorian interiors, they are crammed with ornate furniture, chotchkes, and everything that would stand still is decorated.

 
It should be no surprise then that Victorian women of this period felt the same way about their hair, especially when affecting formal, evening styles. This is the period where a woman might have three of four different hair pieces woven into her real hair (which was often more than 24" long itself). Pins, sticks, and flowers were added into loops and braids and curls, until a lady could conceivably have severalpounds of hairstyle on her head.
This is not an easy style; this is pretty advanced. Be warned up front!

 

Yep; this is one of those styles you'll need a fall for. Unless you have ridiculously thick, long hair, you just can't get the look we're going for without at least a 3/4 wig. This is a wig that has two combs, at the center front and center back, to secure the piece in place but still reveal your own hair in the front. Mine is fairly long and has loose curls, which are invaluable when doing this period style. Remember that you can't curl a straight synthetic wig very easily if at all (keep that curling iron away unless you like the smell of burning plastic!), so start with a curly one, and you should be fine;)

 


 

 
As for your own hair, as you can see, I set mine on small to medium rollers overnight to make it pretty curly. It isn't really necessary for you to do anything to the back of your hair; you're only going to see the front. However, since I had to wear my own hair to work yesterday, I wisely decided to curl my whole head;) The curls should be fairly tight and rather small; if you have bangs, ladies, this is the time to flaunt them! Fringe, as the Victorians called it, was definitely in, with waves or tight curls in front being very popular. You almost never saw a lady without some kind of wave or curl in her hair, especially for evening.

 
Here comes the advanced part of today's tutorial.
To get the high curls and loops seen so often in period photographs, you will need:
-at least 10 large bobby pins
-at least 10 small (or regular) bobby pins
-some time
-a lot of patience
A wig does not behave like your own hair. You must be gentle and take your time; never brush it forcefully or pull it too tightly. Remember that the tighter you try to pull a wig against it's natural grain (ie: up instead of down), the more it will fight you and show bald spots and stitching lines. Slow and steady wins the race here.

 
Start by taking some of the longest hair on one side of the wig and make a medium-sized braid, wrapping the braid around the front edge of the wig to hide the seam where it will join to your hair. Pin the braid in place and hide the bobby pins as best you can, securing them into the lace cap of the wig for the best stability wherever possible. Then, go to work on the rest. Working methodically and starting in the center front (which is best for acheiving a symmetrical style), take sections of hair and loop them into large curls, pinning them into place. You may have to unpin and redo sections when trying to find balance; that's okay! Remember, I said you needed patience for this one! Keep looping and pinning until you have secured most of the hair, concentrating the most height and volume at the top, and tapering it down. I have left several long trailing curls in the back, which is appropriate for a younger woman, but more mature ladies might want to pin all the hair up into a more controlled style.

 


 
Now, prepare your own hair for the wig. As the wig is now pretty top/front heavy, I have pinned a braid in place at the top of my head to provide it with a place to secure the comb into. The rest is pinned back; you can twist it into a french twist or a high, tight bun. Leave a few curls out in front; this is when to showcase your fringe, if you have it!

 

 

 


 

 
Finally, you're ready to put the wig on! Take your looped
and pinned monster off the styrofoam head and carefully place it on yours, sliding the comb securely into the braid in front, and pulling the bottom comb into place as close to the nape of your neck as you can get it. The wig may need some adjusting at this point; it will always look slightly different sitting on your head than it does on the mannequin (I don't know too many people with heads shaped just like those styrofoam dummies). Adjust, fluff, and spray everything into place, et voila! You're done! If you have jeweled combs or hair sticks, place them in your hair now, and break out that bustled ball gown; you're ready for the biggest event of the Season!

 

 


 
Parts of this post are taken fron Seamstress of Avalon

Research

All the of information on this Blog has been gathered from various websites. Where I could I have documented the website it came from. As I am able and any new information I post will be documented. I am sorry if I have offended anyone, as stated this site is just a gathering of information I have found. If I have included something from your website I meant it as a complement that I think that your information is very informative. If you see some of your information on here please let me know what it is so that I may document it. I have lost some of the links to where I obtained the information.

Introduction to the two styles of Living History


Costumed historical interpretation falls into two main categories; "Third Person" and "First Person" interpretation. When we describe the past as the past, we are using third person interpretation.With third person interpretation, you are an educator or lecturer expounding on people, events, places or things and answering questions from the perspective of the present. Sometimes in attire of the period you are talking about, sometimes not, you are a guide or a facilitator for discussion of some past event. Third person interpretation uses phrases such as "they did", "they would have", and "they used".

In "first person" interpretation, you educate and facilitate discussion from the perspective of the past. You are dressed in period attire. You assume the role of a person from the past and converse from the perspective of the past. You portray a person who does not yet know how things are going to turn out. First-person interpretation recreates the daily activities, thoughts, and behavior of a person who would have lived in the past. First-person interpreters use phrases such as "I do", "I will" and "I use" while educating the public. The interpreters behave in a fashion that evokes, as closely as possible, the behavior, folkways, customs, beliefs, activities, speech, religion, technology, dress, deportment and contemporary perspectives of the people they represent. First-person interpreters make conversation rather than speeches and monologues; dialogue is improvised based on historical sources.

Sometimes in a lecture format, a 1st person portrayal may be accomplished in "Chautauqua" style. Without getting into the history of Chautauqua in general, it has come to mean a 1st person portrayal where the first third of the presentation is done as the character from the past. It is essentially a lecture format with or without props. The second third of the presentation is still done as the character from the past, but it is done as a question and answer (Q&A) period with the audience. In the final part of the presentation, the character portrayal is dropped and presentation reverts to the present. This is a Q& A with the audience allowing the presenter to provide insight and context that the historic character would not have known.

At a public living history event you can play with combinations of the two forms, but generally it's better to just do one or the other at a single event. If you're going to an event with a mixture of the two, it's best for the "first person" interpreters to be identified in some way, so the audience understands that they are different. If you need to break character, one common technique is to remove a hat or perform some other physical gesture like taking a step sideways as you explain to your audience that you are now going to step into the present to answer their question. Once the explanation is completed, you should do the same physical gesture in reverse, explaining that you are now returning to the past.

Something that really detracts from an event is a mixture of "1st person" re-enactors dropping in and out of character without warning, while others maintain character throughout the event. If you're going to do a "1st person" portrayal, it's most effective to stay in character when you're in view of the public.

If you have been to Disneyland, you have seen this principle in action. The costumed characters never drop their character while in public view. If they need a break, they go "off stage". The illusion remains consistent. Disney is a corporate owned private park and can fire employees for breaking character. Living history events usually can not. Most reenactors are volunteers and since a majority of these events are open to the public, you can't control walk-ins. You can attempt to coach participants, but in the end you have to live with what you get. As a re-enactor, the only person you can control is yourself.

Though in general terms, no one method of interpretation is necessarily superior to another and the interpretation of a novice can be as valid as that of a twenty year veteran, the organizers of an event have a responsibility to clearly communicate expectations and set the stage for an event. Unless you are doing a solo performance, you shouldn't just go your own way. Your portrayal should complement the ensemble.
Taken from an Article written by John Salicco at www.therewasatime.net

Monday, November 15, 2010

Getting Started on Your First Person Impression

So why are YOU here?   Because your brother/son drags you halfway across the county so he can be a soldier and you want to show your support.. You like to dress up in fancy ball gowns. You love meeting people with a common interest and you love to “tell the story” of the female side of the Civil War. You just found a great way to spend time out of doors and you can pretend to be somebody you are not.  All good reasons why women get involved in the hobby of reenacting.  However, for a female reenactor, validation is the challenge.

Here are some suggestions if you want to be an accurate representation of the war period and do it with an acceptable reason. One thing that is very important - you have to be honest with yourself.  If you cannot be comfortable at events, than what is the sense in going?  If you are a quiet person, please don’t try to portray a Vivandier, it won’t work.  If you prefer being with ladies all day, then you really shouldn’t dress as a man and try to be a soldier, you’ll hate it.  If you have a very strong southern accent, you had better not try to portray a member of the northern Christian Commission.
Think, think and think some more about it.
Developing a first-person impression requires research. You will need an understanding of the world of the mid-1800s—what your persona would and would not know, what they would experience and understand, their beliefs and attitudes. You must develop a worldview,  an understanding of your persona’s past as well as his/her present. Look for photos of women who did what you want to do.  The library is a great place to start.  Your librarian can help you locate books about very specific subjects.  Go online and do a search for “Civil War Nurse” and it will bring up thousands of sites worth reading.  Make notes of women who were actually in the war.  When talking with spectators they love to hear names dropped.  Try to mention the common women, but also mention some not so familiar.  For example, everyone knows Clara Barton.  But how many history books speak of MaryAnn Bikerdyke?  Bring some new information to the public, don’t just re-hash what they already know.  If you have trouble remembering names, then pick one lady who struck your interest and focus on her alone.
When you develop a first-person impression, draw on your own personality and background. Consider your own ethnic identification, education, upbringing, values, and social standing. Modify your present day occupation and hobbies to fit the 19th century. Being in first person does not mean acting a part. Using yourself as a template for your impression will allow you to react naturally and spontaneously to situations, the public, and other participants while in first person at events. Once you have developed a biography, share it with others; especially if they should know you well (family, comrades, etc.).
Do not force the first person, as it will then come off as sounding very fake and contrived.  Try to be comfortable with your conversations.  We know that this is a new experience for many of you and do not feel bad or too scared about it.  Until you “get in the mood” or find a level of comfort in order to converse in first person, remember, “Silence is golden”!  There is nothing wrong with simply being a quiet person and responding to questions and such.  Hopefully, if you do the preparation and give it time, it will come to you naturally.  Everyone will have varying degrees of comfort with it so do not feel that you are alone if it takes you a while to do it.  The important thing to remember is not to ruin those around you and if someone is ruining your experience with modern talk and not respecting the work you have put into this event, take them quietly aside and let them know.

Sunday, November 14, 2010

Winter Camping Tips

·         Leave the tent flaps vented a bit, it cuts down on interior frost. With the tent pole going up right where the tent ties you will have gaps. Don’t worry, tie it up the best you can the gaps and cracks between the bottom of the tent and the ground will help with ventilation.
·         Hay is a great insulator to surround your tent, some events offer hay/straw for this purpose.
·         INSULATE UNDERNEATH YOU. The ground is cold and you will lose body heat if you are in contact with the ground. You should have 3 times more (in insulating value) under you than you have on top. Make sure you never come in direct contact with the ground. Get a closed cell foam pad to provide insulation between your sleeping bag and the ground. A foam pad cushions and insulates. The air pockets are excellent in providing good insulation properties. Use more than one insulating layer below you – it’s easy to slide off the first one. You can also use blankets or a piece of carpet to help insulate underneath you. Do not use a blow-up air mattress. Air mattresses only increase the amount of air that you need to heat up. In an emergency, cardboard makes a great insulator. Old newspapers are also good insulation. If using a cot, use the space under the cot for storage. It reduces the space that cold air can collect.
·         THE SLEEPING BAG DOESN’T HEAT YOU; YOU HEAT IT. So use this rule: "Thickness is warmth." If you’re cold, add some more insulation (blankets, clothes, more newspaper).
  • Use a sleeping bag that is appropriate for the conditions. If necessary, double-up two bags (putting one lightweight bag inside another). Two +20ºF sleeping bags, one inside the other will work to lower the rating (making it warmer) of both bags. Use a sleeping bag liner. There are silk and fleece liners that go inside the sleeping bag. They will lower your sleeping bag's rating by up to 10 degrees. Or buy an inexpensive fleece throw or blanket and wrap yourself in it inside the sleeping bag. Use a bivvy sack to wrap around your sleeping bag. You can make a cheap version of this by getting an inexpensive fleece sleeping bag. It isn't much more than a blanket with a zipper but it helps lower the rating by as much as 10 degrees.
  • MUMMY STYLE BAGS ARE GENERALLY WARMER THAN RECTANGULAR BAGS. This is because there is less “dead air” space to warm.
  • Put tomorrow's clothes in your bag with you. This is especially important if you’re small of stature. It can be pretty hard to warm up a big bag with a little body, the clothes cut down on that work. Since your dress would get wrinkled put your shawl, under clothing, socks, spare spectator clothing in the bottom to fill the gap.
  • Fill a Nalgene water bottles with warm water and sleep with it at your feet. Or use toe/hand warmers. Toss them into your sleeping bag before you get in. Some of the toe/hand warmers will last 8 hours.
  • Most cold weather bags are designed to trap heat. The proper way to do this is to pull the drawstrings until the sleeping bag is around your face, not around your neck. If the bag also has a draft harness make sure to use it above the shoulders and it snugs up to your neck to keep cold air from coming in and warm air from going out.
  • Don't burrow in - keep your mouth and nose outside the bag. Moisture from your breath collecting in your bag is a quick way to get real cold. Keep the inside of the bag dry.
  • Put a trash bag over the bottom half of your sleeping bag to help hold in the heat. A zipped up coat pulled over the foot of a sleeping bag makes an extra layer of insulation.