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William B. Ackerman

Marty Ambrose

David Ameeti

Judy Anderson

Leith Anderson

Paul Asente
  • Sound Effects  www.dosado.com
    Sound effects for square dance calls.

Clark Baker
  • Alternative Patter Music  www.tiac.net
    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.
  • Barstool Dancing  www.tiac.net
    Barstool Dancing is an after party or hallway gimmick that I have been using to entertain square dancers for many years. I don't remember who invented it. It's really just the Anchor Concept from C4 called to a mini-square with the same dancer anchored for every call.
  • Beat Math  www.tiac.net  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?
  • Caller Judgment  www.tiac.net  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.
  • Challenge Square Dancing: Myths and Responses  www.lynette.org
    Dissolving myths proposed by Nasser Shukayr.
  • Gimmicks  www.tiac.net
    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.
  • Helping in a square  www.tiac.net
    The issue of unsolicited helping while square dancing is very complex. The net gain from helping a square (the gains from getting more material minus the loss due to ill will and bad feelings) may not be as large as you think.
  • Hexagon Squares  www.tiac.net
    Square dancing is usually danced by 4 couples who start each sequence in a square formation. This paper describes how 6 couples can start each sequence in a hexagon formation, and dance the same choreography with the same timing as the usual square. Certain dancers will enjoy this twist on square dancing.
  • Mainstream Teaching Order Design  www.tiac.net
    In April 2004 I was asked to join a sub-committee of the Mainstream committee tasked with creating a new teaching order for the Mainstream dance program. Here are my thoughts on the subject.
  • Musings on Definitions  www.tiac.net
    Recently the definitions committee has been faced with updating the definition of Shakedown. Looking at some of the issues and decisions faced while changing Shakedown will give you some insight into the definitions business in general. In writing definitions we generally want to document how the call works today without allowing applications which violate the "sense" or "essence" of the call.
  • On The Rights of Call Authors  www.tiac.net
    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.
  • Phrase Craze  www.tiac.net  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.
  • Square Dance Programs...What's the Difference?  www.dosado.com
  • Square Games  www.tiac.net
    Assume that you know how to square dance. Not only that, but that you are good at it. Perhaps you have already learned some Advanced and Challenge dancing. Perhaps you are even a little bored at the current dance, weekend, festival, or convention. Or perhaps you just want a slight change to make things interesting. What you need is a square game -- something you or your square can do while the caller is calling to the rest of the folks.
  • Teaching Order Design Principles  www.callerlab.org  reprinted from Callerlab Dance Program Documents
  • Teaching Square Dancing to Grade 7  www.tiac.net
    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.
  • The Challenge Dancing Handbook  fortytwo.ws
    Clark Baker's definitive work on Challenge Dancing written in 1978. Including discussions on Naming Conventions, Setups and Formations, Descriptive Terminology, Concepts, Extensions and Variations, Calls and more.
  • The Twisted Concept  www.tiac.net
    A concept that can be used with any call whose active's initial dance action contains a pass thru, pull by, touch, or single circling action.
  • Western Style Square Dancing is in trouble  www.tiac.net
  • Will Square Dancing Survive?  www.tiac.net
    Many have been worried about the decline of square dancing since the mid-1980's. Over time people have proposed many solutions, some of which actually work. Clark Baker recommends studying to understand how society has changed, how we can recruit in this new era, and how we may wish to change our product.

Don Beck

Lynette Bellini

Bill Blankenship
  • Square dancing isn't for squares  cjonline.com
    In order to read this article, you must first register to CJ Online. Clicking on the link will take you to the registration page, if you are not already a registered member of CJ Online.

Debi Bliss

Suzanne Boynton

Dave Brant

John Brant

J. Eric Brosius
  • Multiple Formations Working Everywhichway  www.lynette.org
    These concepts generalize the existing concept Triple Boxes Working Together and also expand and clarify the Grand and Triple Lines concepts.
  • The Rewind Concept  www.lynette.org
    You may have seen diagrams that explain calls using little pictures of dancers with arrows showing the paths one takes when dancing the calls. What if the arrows went in the opposite direction?
  • The Single Concept  www.lynette.org
    A proposed definition of "Single".

Bob Brundage

Charleen Bunjiovianna
  • About Festivals  www.mixed-up.com
    You might want to try a weekend festival!

Stan Burdick

Calvin Campbell

Chris & Terri Cantrell

Vic Ceder
  • Alternative Music  reprinted from Presented to Callerlab.
    Suggestions on using Alternative Music with examples.
  • Asymmetric Primer for Callers
    This paper presents asymmetric (or non-symmetric) choreography: what it is, how to get into it, how to resolve from it and how, when and why to use it. It gives lots of examples and hints on how to keep it simple. This paper was originally written for Advanced and Challenge callers, and contains some references to calls on these programs. Presented at Callerlab 2010 and 2011.
  • Dancing and Studying Hints  reprinted from The Ceder Chest of A1 and A2, C1 and C2, and C3A and C3B Square Dance Definitions books.
    A list of dancing and studying hints made available through Vic & Debbie's published definition book series, the Ceder Chest of Square Dance Definitions. This material is copyrighted.
  • Extended Applications (for Callers)  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.
  • The Crossfire Controversy
    Crossfire from Out-Facing Lines.
  • Two Couple Primer
    There are times when we want to use Two Couple Calling as a programming or showmanship tool. There are other times when we may have less than two full squares and we want to get as many dancing as we can. This paper provides insight on how to effectively utilize this type of calling and includes some of the pitfalls as well.

F. William Chickering

Jesse Chisholm

Barry Clasper
  • Dancing By Definition  docs.google.com  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.
  • How Good Is Good  www.lynette.org  reprinted from The Zipcoder
    What makes a good dancer. (originally printed in Zip Coder Magazine)
  • How May I Help  www.lynette.org  reprinted from The Zipcoder
    To help or not to help? That is the question. (originally printed in Zip Coder Magazine)
  • The Ultimate Call  www3.sympatico.ca  reprinted from The Zipcoder, Sept. 1989
    Go Over There and Turn Around!

Bernie Coulthurst

Donald Cronkite

Sue Curtis
  • C3X Definitions - Part 1 of 5  www.dosado.com
  • C3X Definitions - Part 2 of 5  www.dosado.com
  • C3X Definitions - Part 3 of 5  www.dosado.com
  • C3X Definitions - Part 4 of 5  www.dosado.com
  • C3X Definitions - Part 5 of 5  www.dosado.com
  • Dancing the Matrix Concept  www.lynette.org
    This paper describes a method of thinking about the Matrix concept.
  • Four Calls from Unusual Setups  www.trailblazers-socal.org  reprinted from Trailblazer Workshop 2008
    This workshop focuses on doing certain calls from unusual setups. The calls I use are Acey Deucey, Horseshoe Turn, Load the Boat, and Pass and Roll. The first three of these calls are interesting because they have di fferent parts for the centers and ends. Often, both the centers' and ends' parts can be done from several di fferent setups. This gives us quite a variety of overall starting setups for the call.
  • The 3 by 1 Concept  www.lynette.org
    This definition accurately describes previously-used calls such as Checkmate (and even Transfer!) and allows the 3 by 1 concept to be applied to many other calls.
  • The 3 By 3 Concept  www.lynette.org
    The 3 by 3 concept clarifies the 12 Matrix concept since it provides a well-defined method of converting 8-person calls to 12-person calls.
  • The Fractional Twosome Concept  www.lynette.org
    The Fractional Twosome Concept is a new method of working jointly with another dancer.

Jimmy Davis
  • Rotates by Jim Davis
    This book on Rotates is a comprehensive study including directions, teaching hints, diagrams, and choreography by the author of the call/concept himself.

Herb Egender

Brian Elmer

Bill Eyler
  • Hexagon Dancing  www.billeyler.com
    Hexagons are a method of having six couples dance from a six-sided "at home" formation. Clark Baker independently found that it was possible to have a Hexagon dancing in the back of the hall while the caller was calling to standard squares. There are several key differences in Clark's method versus my method. Because of that, I've started calling his version "East Coast" and this method "West Coast."

Rusty Fennell

Heiner Fischle
  • History of Square Dance  www.heinerfischle.de
    Modern Square Dance grew mainly from two roots: the English Country Dances and the Appalachian Big Circle Dance.

John Fogg
  • Choices
    Would Square Dancing be your first choice?

Alix M. Freedman

Chris Froggatt

Jeff Garbutt

Sara Garza

Ed Gilmore
  • Square Dance Callers Instruction Course  www.dosado.com  reprinted from Dosado.com
    Ed Gilmore's 1949 Square Dance Callers Instruction Course, sponsored by the Redlands (California) Recreation Department. Originally 52 type-written pages, this course includes chapters on:

    WHAT IS SQUARE DANCING?
    STYLE
    WHY SQUARE DANCE
    WHAT PART DOES THE CALLER PLAY
    CLASS NOTES - NUMBER I
    CLASS NOTES - NUMBER II
    CALLS AND INSTRUCTIONS FOR BASIC FIGURES
    CLASS NOTES - NUMBER 3
    CLASS NOTES - NUMBER IV
    CLASS NOTES - NUMBER V
    CLASS NOTES - NUMBER VI

    Specific basic movements, dance routines, and music are discussed, as well as round dances and styling. Ed also teaches callers to focus on the entire dance experience for the participant, and cautions that this course will not make you a caller...for that you need time and experience.

Kathy Godfrey

Dave Goldman

Roy Gotta
  • Square Gridlock
    Expresses an opinion by some that "pat squares" are causing a problem at events.

Tom Gray

Ervin E. Gross

Peter Höfelmeyer
  • Smooth Dancing  gero-teufert.de
    Why should smooth dancing be one of our highest goals?

Fred Hapgood

Jens Harms

Art Harvey
  • How Contras Fit In Square Dances  www.newnorth.net
    Contra dancing and Square dancing both originated from the same basic roots. It is only natural that they can be accommodated within the same evening dance program.

Penny Hastings

Fred Haury
  • The ABC'S of Round Dance (A Glossary of Round Dance Terms)  round_dance_abcs.home.att.net
    Round Dancing is couples ballroom dancing. The name Round Dancing is derived from the circle formed by dancing couples. Rhythms & patterns are the same as International Ballroom, Exhibition & Studio dance. This book is written for Round Dancing. Terms & descriptions of other dance forms are included.

Brian Hazle

Hartmut Heiber

Bill Heimann

Lee Helsel

Orlo Hoadley
  • Handholds - Why and How  www.dosado.com
  • Who's Your Partner?  www.dosado.com
    Partner identification (historical)
  • Zeros and Equivalents
    A zero is a call or sequence of calls that ends with the same setup it started from; in other words, an equivalent to no call at all, formation-wise. Equivalents are two calls or sequences of calls that start with the same setup and end with the same setup. Orlo gives us some examples in this article.

Allan Hurst
  • A Guide To IAGSDC Convention  www.danceinfo.org
    Many new dancers are reluctant to attend the annual IAGSDC Convention because they don't know what to expect. This article was written just for them. (Or for any dancer who hasn't attended an IAGSDC Convention before.) This version of the Guide adds photos. Enjoy!
  • Don't cry over broken squares...fix them!  www.danceinfo.org
    Ever danced in a square that suddenly broke down? Ever wish there was a way to fix things and keep on dancing with the rest of the hall? Take heart - this article illustrates several different ways to keep on dancing!
  • Moving Up To Advanced or Challenge  www.squareinfo.org
    When should you learn a new dance level? More specifically, when should you move up to Advanced or Challenge? This article talks about what you can reasonably expect if you decide to move up to Advanced or Challenge dancing.
  • My First CALLERLAB  www.danceinfo.org
    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.
  • Origins of Square Dance Sounds Effects  www.danceinfo.org
    Have you ever heard a new sound effect for a call, and wondered where it came from? More importantly, have you ever wondered HOW a new sound effect is created? This article traces a sound effect as it evolved from its first use into its now-popular usage all over the world.
  • The Joy of Angelling  www.danceinfo.org
    Being a club angel: what's in it for you? Some of the answers in this article may surprise you. (Keep in mind that even students with only a couple of months under their belts, can benefit from angelling a new Basic class.) There have been excellent articles on how to angel, and on appropriate behavior for both angels and students in a square dance class. Rather than discuss how to angel, let’s examine why it’s important for dancers to angel.
  • TrashDance (What A Feeling!)  www.danceinfo.org
    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.

Marianne C. Jackson

Barry Johnson
  • Controlling Choreography With Relationships
    For decades, many callers have focused on Formation, Arrangement and Sequence while tracking dancers as they move through a sequence. But it turns out that the Relationships of the dancers can actually be easier for many callers to understand and see while a square is in motion, and the principles of using relationships while calling can be learned in just a few minutes. Once relationships are recognizable, the state of the square is easily identified in almost any FASR at all.

Jerry Junck
  • A Love & Passion  www.wesquaredance.com
    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.
  • Attitude Is Everything  www.wesquaredance.com
    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.

Pearl Kardos

Tom Kardos

Bob Knowles

Stewart Kramer

Arnie Kronenberger

Lorenz Kuhlee

Marilyn LaRocque

Mark Leeper

Mike Liston

Charles Lloyd
  • 2006 Plan To Rejuvenate Square Dancing  www.thewranglers.org
    There is a desperate need to increase the number of square dancers, particularly younger dancers. Though this proposal was formulated with the San Diego County area in mind, the suggestions in this article would be appropriate elsewhere.

C. Lowe

Jim Maczko

Jim Mayo

Sherry McBride

Veronica McClure

Marilyn McMahon
  • Do the do-si-do  reprinted from Santa Barbara News-Press
    An article showcasing the Fairs 'n' Squares (Santa Barbara, CA) one of Santa Barbara's oldest clubs back in 1987.

Dave Moller

Bruce Morgan

Bob Morrison

Lorrie Morrison

Scott Morton

Isabelle Mudd

Dan Neumann
  • Supercalls: A new class of concepts  www.lynette.org
    Calls can become concepts!
  • The Scatter Concept  www.lynette.org
    SCATTER is a motion-based concept where the leaders in a wave (or line) who would normally flip over into their partner's space, dance to the spot that the other lead would normally flip into and adopt the identity of that dancer.
  • The Straight Concept  www.lynette.org
    An extension of the call "Straight Fire".

Janet Neumann

Bill O'Rourke

Judy Obee

Martha Ogasawara

Bob Osgood
  • Gold Ribbon Committee Report  www.dosado.com  reprinted from Sets In Order, December 1968
    The first attempt to provide some standardization of square dance terminology was undertaken by the late Bob Osgood who was the editor of Square Dance magazine (known as Sets in Order). For more than a year in the late 1960's Bob assembled a group of leading callers from around North America and asked them to identify the calls that new dancers should be taught. This Gold Ribbon Committee finally agreed on a list that was published in the December 1968 issue of the magazine. It was a list of 50 terms that became widely known and accepted as the SIO 50 Basics.
  • The Development of Caller Leadership  www.dosado.com
    The history of CALLERLAB

Gail Peterson

Kim Peterson

Patience Andy Ploumacie

Eddie Powell

Jo Pringle

Mike Pringle

Dianne Reber

Jerry Reed
  • Teaching Techniques  www.tiac.net
    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.

Rich Reel

Kenny Reese

Keith Rippeto

Susie & Gert-Jan Rotscheid
  • Choosing Dances  www.rotscheid.nl
    How to choose which dance to buy, teach or showcase. (PDF document)
  • How to Write a Dance  www.rotscheid.nl
    More and more cuers and dancers are starting to write dances to their favorite piece of music. (PDF document)
  • "Your Friend, Your Mike"  www.rotscheid
    The mike is something we need to understand.

Keith Rubow

Deborah A. Sakamoto

Steve Sandeman

Lee Schmidt

Jirka Scobak

Rob Scribner

Mike Seastrom

Nasser Shukayr

David Sperl

Al Stevens

Kelly Sullivan

Ralph Sweet
  • Western Style Square Dancing is in trouble  www.tiac.net
    What follows is an excerpt from "let's create 'Olde Tyme' Square Dancing" by Ralph Sweet. It is Copyright 1966 by Ralph Sweet and posted with his permission. Please do not make further copies of it.

John Sybalsky
  • What Makes Square Dancing Hard? -- Cognitive Psychology and Square Dancing (1982)  fortytwo.ws  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.

BettyLee Talmadge

Pat Tardiff

Gero Teufert

Paul Tyler

Frank & Carol Valenta

Bob Van Antwerp

Vivian Williams

Bill van Melle

Patricia Wahle
  • Patricia Wahle's Dancer Survey  www.dosado.com
  • Solving the Age Gap  www.tiac.net
    The age gap in square dancers today presents one of the largest obstacles to keeping square dancing alive and growing. This article was written to help us think how we can bridge that gap.

Rick Walton
  • Noah's Square Dance  www.rickwalton.com
    As Noah calls, the animals on the ark perform a variety of square dance steps.

Don Ward

Dottie Welch

Phil Williams

Dave Wilson

Annette Woodruff

Charles Young
  • Challenge Dancer Responsibilities  mysite.verizon.net
    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.
  • Jay Concept  mysite.verizon.net
    An explanation of the Jay Concept.
  • Once Removed Dance Strategies  mysite.verizon.net
    A discussion of the definition of Once Removed, problems with the Once Removed concept, and strategies which may be used to dance this concept. Many diagrams are included.
  • Once Removed Notes and Diagrams  mysite.verizon.net
    The Once Removed concept is one of the hardest and least understood concepts in Challenge square dancing. This paper provides an explanation of this concept for most of us. This will be done by showing sample calls with some discussions of the nuances of the examples including discussion of the strategy to be used for the call.
  • Parallelograms and Offsets Notes and Diagrams  mysite.verizon.net
    There are some basic facts about parallelograms that must be understood if you are to become competent in the use of the concept.
  • Split Phantom Lines / Columns  mysite.verizon.net
    A list of the things you must know when you do Split Phantom concept calls.
  • Square Dancing Etiquette Revisited  coyoungjr.home.att.net
    When we were introduced to BASIC level square dancing, we were presented with a list of the "10 Basic Rules of Square Dancing Etiquette" which included items like "Always use a deodorant" and "Don't drink before attending a dance." After many years of dancing, we have additional items to add to the list, based on observations of behavior that is questionable.
  • Star Tips  mysite.verizon.net
    We see star tips listed on many dance, festival and weekend flyers. But what do we know about star tips?
  • Welcome to Challenge Dancing  mysite.verizon.net
    So you're thinking about taking Challenge lessons. You will find Challenge square dancing to be intellectually challenging and stimulating. It can be done and done well. And it is fun to dance at the Challenge levels.


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