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Informative

What is Square Dancing?

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Promotional

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History

History

Stories

Stories

Dancing Outside the U.S.

Dancing Outside the U.S.

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Editorials

Caller Resources

Articles

  • A Love & Passion  www.wesquaredance.com  by Jerry Junck
    Square dancing needs a resumption of caller leadership to teach new dancers and provide a choreographically easy enough dance environment for those new dancers to succeed. From our leadership, we must have a love and passion for square dancing. In addition, we need to restore a mutual respect for each other, as well. We need to be able to motivate dancers as to the importance of recruiting, and the necessity of being patient and understanding with the new dancers we do teach.
    ID: 399   edit   delete
  • Alternative Music  by Vic Ceder  reprinted from Presented to Callerlab.
    Suggestions on using Alternative Music with examples.
    ID: 441   edit   delete
  • Alternative Patter Music  www.tiac.net  by Clark Baker
    Patter music can be less structured than singing call music, giving a much larger range of music from which to choose. Often our patter music is more drab and boring than our singing call music. Sometimes this is necessary so that the dancers won't get distracted by the music. However, sometimes it is nice to let accomplished dancers dance to a good piece of music. Music from outside the normal square dance arena is another way of providing variety, getting away from boom-chuck, certain instrumentation, and other constraints we impose upon ourselves.
    ID: 414   edit   delete
  • Attitude Is Everything  www.wesquaredance.com  by Jerry Junck
    Today's square dance activity is suffering form a great many more negative opinions than positive attitudes. Jerry asks callers, dancers, and even organizations to do some hard thinking about their current attitudes and what positive changes we all can make for the good of square dancing.
    ID: 400   edit   delete
  • Beat Math  www.tiac.net  by Clark Baker  reprinted from Clark Baker (A Workshop presented at Callerlab 2009)
    This workshop will start with a brief review of timing. Next we will discuss a methodology for measuring how many beats a call takes and use this methodology on a few calls to see if it gets the same answer as our existing timing charts. Finally we will see if "beat math" really works. Can we simply stick calls together, adding up their beats, and expect the sequence to dance in that many beats? If not, how are we supposed to use our timing numbers?
    ID: 459   edit   delete
  • Caller Judgment  www.tiac.net  by Clark Baker  reprinted from A Talk given at Callerlab 2012
    A square dance caller makes many decisions while performing his job. Some of these decisions are easy and obvious, especially to experienced callers. Others are not so easy, and different callers may make different decisions when presented with identical situations. Usually the results of a decision are minor, or can be easily fixed. Occasionally the decision has far reaching consequences.
    ID: 450   edit   delete
  • Creating A Teaching Order That Will Help Students Succeed  www.tiac.net  by Don Beck
    ID: 420   edit   delete
  • Dancing By Definition  docs.google.com  by Barry Clasper  reprinted from Callerlab 2013 presentation
    How the brain's memory and recall mechanisms work and how we can apply that to the way a dancer learns.
    ID: 457   edit   delete
  • Do It Again and Again (part 1)  www.ecta.de  by Al Stevens
    Repetition all over again.
    ID: 323   edit   delete
  • Do It Again and Again (part 2)  www.ecta.de  by Al Stevens
    Repetition all over again.
    ID: 324   edit   delete
  • Extended Applications (for Callers)  by Vic Ceder  reprinted from Presented to Callerlab
    Standard applications are those combinations of calls and formations that are most frequently called, and which give a high dancer success rate. When a caller goes beyond this basic 'norm', dancers tend to break down because they are given unfamiliar positions from which to do the call. This article focuses on those Extended Applications, how and when to use them while keeping them fun and attainable.
    ID: 442   edit   delete
  • Frequency Counts - Good or Bad?  www.ecta.de  by Al Stevens
    ID: 325   edit   delete
  • Gimmicks  www.tiac.net  by Clark Baker
    I have always felt that there are more than a few types of gimmicks. However I have never taken the time to collect and analyze the various types. Making a presentation on this subject at the 2005 Callerlab meeting has forced me to collect my thoughts and write this paper.
    ID: 407   edit   delete
  • Helpful Hints for Callers  www.ecta.de  by Al Stevens
    Suggestions that have been made over the years at Al Steven's callers schools.
    ID: 322   edit   delete
  • How I Get Square Dance Records  www.all8.com  by Rich Reel
    One way to obtain square dance records.
    ID: 260   edit   delete
  • My First CALLERLAB  www.danceinfo.org  by Allan Hurst
    There's a myth that attending CALLERLAB is only for professional callers. In reality, it's a wonderful opportunity to meet other callers, and to get to know the square dance community at large.
    ID: 422   edit   delete
  • On The Rights of Call Authors  www.tiac.net  by Clark Baker
    Following some discussion on the square dance caller's e-mail list regarding what rights the author of a square dance call may or may not have, Clark Baker's writes his opinion.
    ID: 398   edit   delete
  • Phrase Craze  www.tiac.net  by Clark Baker  reprinted from Clark Baker (a workshop presented at the 2010 CALLERLAB Convention)
    This workshop will explore the relationship of patter and singing calling to the musical phrase. We start with a brief definition of terms, and move into some dancing. Does a style of delivery in which the caller gives the dancers the first beat in a phrase better? How often can a skilled caller "hit the phrase"? How can you acquire this skill? What are some examples of strongly phrased music. This will be a laboratory in which we are counting on you, as dancers, to help determine which variables really matter.
    ID: 458   edit   delete
  • Points for Better Calling  www.all8.com  by Rich Reel
    Fundamental aspects of optimal square dance calling.
    ID: 247   edit   delete
  • Sight Calling  www.nwcustomwebs.com  by Rob Scribner  reprinted from The Oregon Square Dancer Magazine
    A sight-calling primer.
    ID: 230   edit   delete
  • Sight Resolution  www.penrod-sq-dancing.com
    Several callers have submitted their methods for sight resolution.
    ID: 241   edit   delete
  • Smooth Dancing  gero-teufert.de  by Peter Höfelmeyer
    Why should smooth dancing be one of our highest goals?
    ID: 291   edit   delete
  • Some Square Dance Choreography Terms  jeff.garbutt.com  by Jeff Garbutt
    ID: 272   edit   delete
  • Some Thoughts about Body Flow  gero-teufert.de  by Jens Harms
    ID: 292   edit   delete
  • Teaching Order Design Principles  www.callerlab.org  by Dottie Welch and Clark Baker  reprinted from Callerlab Dance Program Documents
    ID: 429   edit   delete
  • Teaching Principles That Will Help Students Succeed  www.tiac.net  by Don Beck
    ID: 419   edit   delete
  • Teaching Square Dancing to Grade 7  www.tiac.net  by Clark Baker
    This talk will focus on my experiences in working with 7th graders, teaching a progressive series of classes, leading to a school-wide performance. Areas covered include crowd control, choreography, teaching techniques, handling reluctant dancers, dealing with attitude, a core vocabulary of calls and skills, teaching words, and learning speed. We end with a quick walkthru of calls that look good in exhibition (Stars, Allemande Thar, Grand Square, Dip And Dive, Heel & Toe, Star Promenade & Butterfly Whirl) which you could use in any ONS. Finally we dance the routine to phrased calling.
    ID: 432   edit   delete
  • Teaching Techniques  www.tiac.net  by Jerry Reed
    Teaching is one of the most important jobs of any caller. We should be prepared to undertake this task each time we pick up our microphone. Teaching can be as formal as a regular class or workshop situation or as informal as a discussion of a particular move or concept over coffee after a dance. Teaching people to dance is not only one of our most important skills, it is also one of the most difficult.
    ID: 439   edit   delete
  • TrashDance (What A Feeling!)  www.danceinfo.org  by Allan Hurst
    As a caller ... what do you do when only 6 dancers show up? Get trashy! This article, on how to choreograph and call for 6 dancers plus two wheeled garbage cans, first appeared in the GCA "Call Sheet" Newsletter.
    ID: 423   edit   delete
  • Unwinding Therapy  jeff.garbutt.com  by Jeff Garbutt
    Are your dancers getting too wound up and need to be "unwound"?
    ID: 271   edit   delete
  • Various Ideas  jeff.garbutt.com  by Jeff Garbutt
    One doesn't have to look very far to find challenging material.
    ID: 270   edit   delete
  • What Makes Square Dancing Hard? -- Cognitive Psychology and Square Dancing (1982)  fortytwo.ws  by John Sybalsky  reprinted from Square Dance Practice Vol. 1, No. 4
    There are limits to what the human mind can do. Studying those limits---and how people cope with them---can tell us much about what makes square dancing easy or hard: The closer a call or sequence comes to pushing those limits. the harder it is to perform. Looking at how people cope with their limits can tell us much about how people learn square dancing. and thus provide guidance for setting up teaching orders and plateau progressions.
    ID: 438   edit   delete
  • Working with Other Callers - Duets  www.ecta.de  by Al Stevens
    Duets are a great tool to be used by callers, if two callers are compatible with each other, however a danger exists when two callers are non - compatible. Nothing sounds worse than to listen to two callers trying to work with each other - and can't.
    ID: 321   edit   delete
  • Zeros  gero-teufert.de  by Gero Teufert
    ID: 293   edit   delete

Specific Calls

Technical Papers

Challenge

Introductory

Articles

  • A Look At Ourselves  www.lynette.org  by Bill Heimann
    Being a good dancer has nothing to do with level!
    ID: 171   edit   delete
  • Challenge Dancer Responsibilities  mysite.verizon.net  by Charles Young
    Because Challenge Square Dancing is more difficult and demanding it requires a high level of commitment to the art of Square Dancing and a high level of cooperation amongst the dancers in each square.
    ID: 392   edit   delete
  • How Good Is Good  www.lynette.org  by Barry Clasper  reprinted from The Zipcoder
    What makes a good dancer. (originally printed in Zip Coder Magazine)
    ID: 167   edit   delete
  • How May I Help  www.lynette.org  by Barry Clasper  reprinted from The Zipcoder
    To help or not to help? That is the question. (originally printed in Zip Coder Magazine)
    ID: 165   edit   delete
  • Learning Calls  www.lynette.org  by Bill Heimann
    Strategies for memorizing calls.
    ID: 172   edit   delete
  • Tips on Becoming a Better Dancer  www.lynette.org  by Janet Neumann
    Dancing, Teamwork, Definitions, Identification, Precision & Breathing, Study & Practice, Have Fun!
    ID: 170   edit   delete

Technical Papers

Round Dance

Round Dance

Humor

Nasser

Miscellaneous

Miscellaneous

Miscellaneous

Interviews

by Bob Brundage

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17-November-2019 12:22:16
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