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The Original Community Page for Modern Western Square Dancing
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Note: The original manuscript was fifty-two typewritten pages. If you wish to print this out you may want to adjust the point size in you browser first. I set mine to 8 point type and it printed out at twenty-seven pages.
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SQUARE DANCE CALLERS INSTRUCTION COURSE
ED GILMORE - INSTRUCTOR
REDLANDS (CALIFORNIA) RECREATION DEPARTMENT - SPONSOR
1949
Howdy Cousin:
Welcome to our first session. Letâs take a little time to find out where we are going and why. You were selected for this course for several reasons, but the most important of these is your interest in square dancing and your apparent willingness to devote a good part of your time to the promotion of this form of recreation.
Letâs start off with a clear picture of what we intend to accomplish in the next six weeks and why that accomplishment is desirable. First let us state that we do not guarantee to make callers or even instructors of you in six weeks or six years. Only time and the greatest teacher of all, experience, can do that and only if you have what it takes.
Have you read Dr. Lloyd Shawâs list of qualifications for a good square dance caller? Let me review them for you:
1. He must have the voice. Deep and pleasant.
2. He must have had a sufficient training and experience in public speaking that he knows how to enunciate correctly and can be clearly understood.
3. He must have an ear for music in order to be able to do singing calls or to chant.
4. He must be thoroughly familiar with the dances.
5. He must have an infallible sense of rhythm. This should be instinctive.
6. He must have an unerring geometric sense.
7. He should be a natural teacher.
8. He must have the ability to overcome his own embarrassment.
9. He must be clear headed.
Let me add a few which I did not discover in Dr. Shawâs book and that I consider more important.
1. He must be a natural leader.
2. He must like people.
3. He must be completely sold on square dancing and its recreational values.
4. He must have a special kind of patience
5. He must be a student of human nature and be able to analyze character.
It can be boiled down to this:
He must know how to create good fellowship and this is a big undertaking in a world that has almost forgotten the meaning of the words. Secondly, he must know how to teach people to dance and then he must be an important part of the music and the program itself.
With most of you I imagine that this goes in one ear and out the other. Or, perhaps you are measuring me or other callers that you know by these standards. Or, perhaps you are too concerned with the mechanics of teaching and calling to be too interested in the philosophies involved. Frankly, we do not expect you to be too impressed with the importance of the origins of square dancing until you have worked with a group for a while and begin to see the personal reactions to the program. For that reason we hope that you will keep these notes from time to time, refer to them to refresh your memory on the discussion that will take place during this course. I was so busy the first year of my experience learning new calls and teaching people to put one foot in front of the other that I missed the true value of the program. It is my hope that I will be able to make you aware of these issues from the beginning and that you will discover them much soon for yourself and without any assistance.
It is my intention to give you in the next six weeks the information and opinions that I have acquired in the last two years. This information will do you no harm and it may help you a great deal if you absorb and use it with judgement. You may disagree with me on techniques and methods. Some of you may say as many have, âThat ainât the way I learned it.â My only answer is, âThis is the way I learned it.â Some of you may disagree with our purposes. We sincerely hope not. We firmly believe that this course in the promotion of square dancing is the right one and we will argue long and bitterly with anyone that disagrees.
Letâs get on with the course and you will understand what we are talking about.
WHAT IS SQUARE DANCING?
The History and its Development
The details of its history are for the most part lost and gone forever. Little bits of information have been gathered here and there and pieced together by such men as Dr. Shaw, Ed Durlacker, Herb Greggerson, and many others but they are the first to admit that a large part of their writings are based on supposition and practical reasoning. We can be certain of some things however and this is a brief outline of the developments.
The square of four couples was originally taken from the French and English Quadrille and the early American adaptations of these dances have been revived in the east and are being danced today. Also the courtesy movements such as Honor Partners and Honor Corners and the indispensable allemande left and grand right and left, right and left through, ladies chain and several other figures have been retained in almost all styles of dancing. The history of some of these figures go back more than three hundred years.
These dances were brought to the New England states and as the settlers ventured west they took their dances with them. The Scotch and Irish settlers in Kentucky and the southern states brought their folk dances, the running sets and longways dances, to the new country and as they pushed west they ran into the quadrille dancers and somewhere along the line the two forms of dancing blended into one and the American Square Dance was born.
As the people moved farther west into an untamed country they worked and fought harder for existence and it naturally follows that they played harder. The dancing became more vigorous, faster and more expressive of the good fellowship which was created by the necessity of self entertainment and common hardship. Men and women were either good or bad. Mostly they were good and hospitality stood at the top of the list of mans virtues. The square dances of that time were important social events and many times the only social activity existent. They were valuable because they offered complete release for a time from the problems of existence.
As the dances reached Texas, New Mexico, Arizona and California they came in contact with the Spanish and Mexican dances and especially in Southern California we find the result of this influence.
As near as we can determine the first square dances in the San Bernardino and Riverside areas arrived with the Mormon settlers through Cajon Pass. I have traced some of the early dances in the Redlands area and the information though meager indicates that the same complete and joyous relaxation and the good fellowship was ever present.
CAUSE OF DECLINE
You are probably wondering as I did why an activity that provides so much enjoyment as square dancing ever lost its popularity and disappeared from the American scene. I believe there were two main causes for this tragedy and I do consider it a tragedy.
Around the turn of the century of the civilization of the west began to shape up. With civilization, came eastern and European settlers and they had not been exposed to the same necessity for good fellowship and self entertainment. Many of them did not know the old dances and no one bothered to teach them. With civilization came churches and the church opposed dancing because it was considered worldly. Square dancing flourished anywhere that people got together even in the saloons and the church condemned anything that came in contact with evil. It is no credit to the thinking of the clergy of the day that their action in opposing the family square dance helped to bring about the commercialized ballroom and night clubs and all of the attendant social and moral problems.
Civilization also brought with it the development of spectator types of entertainment and square dancing was gradually crowded out of the cities and larger towns.
It is important that we understand the significance of one fact in the decline of square dancing.
Wherever there developed sufficient population concentration to permit the profitable operation of commercialized entertainment square dancing was lost. In the more isolated areas square dancing went on and on.
It is my conviction that commercialism will destroy the real values of any form of recreation and especially square dancing. The commercial operation is concerned only with profits. Square dancing is not a profitable enterprise due to the limited number of people that can be accommodated on the floor.
BUILDING FOR THE FUTURE
Square dancing is coming back into its own and it is our job to keep it in the right channels and develop the program on a community sponsored basis. Commercial operators are aware of this revival of square dancing and are making plans to take advantage of the tremendous growth and popularity of the program. They will not contribute to the training program that is necessary but will wait until thousands are dancing and then try to enter the picture by employing the most capable callers and musicians and providing a facility. Square dancing is not and never should be a commodity to be sold to the public for the top price it will bring.
A certain amount of commercialism cannot be avoided but we can keep the major part of the program on a community sponsored basis by encouraging self propelled groups and associations such as our own âCow Counties Hoedown Association.â
This is the consensus of opinion of all the callers with which I have been in contact. Most of the more experienced callers have tried commercial programs and have been convinced by experience that failure is the ultimate result.
STYLE
The revival of square dancing has followed the original development in so far as style is concerned. Each area has revived the square dancing that was popular in that particular area before the decline of the activity. In the New England states the old dances are being revived just as enthusiastically as they are in the west, but the dances are as different as they were in their conception.
The tempo varies with the style and the area. In the east they dance about 112 steps per minute which would be creeping to us. In the middle west the Texas style holds sway and the Texas influence, spread by such men as Carl Journell, Jimmy Clossin and Herb Greggerson, extends into most of the west even to San Diego and Oceanside in Southern California. The Texas style is most easily identified by the two step to which the entire dance is executed and the time is set at 128 to 132 steps per minute. In Colorado, California and many other parts of the west the Western Cowboy Style is predominant and the tempo steps up to 140 to 150 steps per minute.
In my own investigations I have found that in the period from 1880 to 1920 all three of these styles of dancing held forth in different parts of Southern California. I imagine that this was due to the arrival in California of callers and musicians from all parts of the country and each one brought with him the dances of his area and soon found willing dancers. I find no trace of the Kentucky running sets however. These were the speed demons, dancing at 160 or more steps per minute.
To bring the story up to date we find that the greatest development in Southern California has taken place in the suburban communities of Los Angeles. A great part of the credit for this growth goes to Ray Shaw who has been enthusiastically promoting the activity in that area. Since Ray is a brother to Dr. Lloyd Shaw it is only natural that the Colorado influence would be felt. Dr. Shaw has done a tremendous amount of research on the dances of the old west and the authenticity of his teachings have been proven. It is worthy to note in passing that the development of the program in the Los Angeles area has taken place in the suburban and rural communities with the major portion of the city still unaware of its value.
It is ironical I think that these country dances have developed to so much greater degree in the city than they have in our farming communities. We can boast however, that square dancing never ceased completely in our communities and that they have better opportunity for development and survival here. We should catch up with them in a short time and we may set a pattern for planning the development and preservation of the program for others to follow.
STANDARDIZATION OF STYLE
I believe that all of the people of natural geographic and population centers or areas should be able to go from one community to another and be able to step into a set and dance without too much confusion. For this reason it is important that all of the callers and instructors of Southern California cooperate in the development of a limited standardization of the styling. This is the hope of most of the callers of our area and I am serving on a committee of callers to recommend such a standardization of the basic steps. The result of this effort should be completed before the final meeting of this series and the information will be furnished to you. This may necessitate changing some of the techniques that we will learn during this course but as it will serve to promote better dancing in our area it will be more than worth the inconvenience.
WHY SQUARE DANCE
As I have said before I called and taught dancing for a year before realizing the importance of the program. I think that many of the top callers are not aware of the real values of the program as an aid to the community and it citizens. I have yet to find one person who has participated in the program for any length of time who will not say âItâs more fun than anything I have ever done.â I have asked the question âWhy do you enjoy it so much?â to hundreds and the answers are many. The most common is âI donât know!â I feel that folk dancing is a necessary part of a balanced life. All of the older nations in the world have their national folk dance. It is as much a part of the culture of each nation as its art, literature, music or religion.
The United States has not discovered its folk dance or possibly itâs just beginning to. There has been a void in our lives for the past 40 years. We have been a nation of spectators. Every sport or recreational activity has been on a basis of competition or exhibition with the development of star athletes or entertainers and the elimination of the mediocre or average participants. No other form of recreation presents an opportunity for participation to so large a number of our people as square dancing. There is no spirit of competition or exhibitionism in square dancing. Eight people get together and each one is striving for perfect cooperation with the other seven to complete a pattern in time with the instinctive rhythm of the music. No one is out to win anything or out do the other fellow.
Having worked with a group of acquaintances in my beginning effort it dawned on me after so long a time that square dancing had a tendency to promote real good fellowship and teaching patience, consideration, kindness, cooperation, tolerance, unselfishness, all of the qualities so important to an ideal personality. By analyzing a little more I discovered that all of these qualities of personality were necessary if a person was to become a good square dancer. I had discovered the spirit of square dancing. The spirit of square dancing is its reason and its purpose. To create good fellowship through promotion of square dancing as a community sponsored activity where the people of the community discover the fun to be had through cooperation as opposed to competition or exhibition.
An ideally executed square dance is a perfect demonstration of democracy. Social, financial or intellectual standing and even sex is of little importance. Good fellowship and complete relaxation and release from the pressures of every day life are of all importance. Here is one golden opportunity for a man or woman to let down their hair, to whoop and holler, let off steam and at the same time to be graceful and poetic through movement and rhythm, the latter being an instructive desire of man since the beginning of his history.
Neil Jacobsen, director of the Recreation Department of the City of Redlands was quick to realize the importance of square dancing as a social recreational activity.
He arranged a square dance for the surrey Days Celebration during the summer of 1948. He planned the affair as a stunt. It was just another part of his conscientious effort to make the celebration a success. He asked and received the cooperation of the Yucaipa Square Dance Club. During the afternoon as four sets of our dancers danced through the soles of their shoes in the hot sun, on asphalt pavement, several hundred people sat in the shade of the trees in Sylvan Park and watched. They wouldnât dance because they didnât know how. They wouldnât go home because they were fascinated. Neil watched their faces, and realized that here was an activity in which they could all participate. He started talking about a Recreation Department sponsored program and didnât stop in spite of opposition until the program was a reality. In the past few months this program has become of major importance in the Recreation Department and the City as a whole has benefited by its development.
Here then is an activity which contains all of the elements of perfect recreation; wholesome, healthful, relaxing, character building, soul satisfying. However, if the average newcomer to the program was aware of these objectives he would shy away from it, so for their benefit I state the purpose in one simple word. To have âfunâ. Letâs not lose sight of this objective It is all important.
The amount of âfunâ enjoyed by the people you serve will be your measure of success.
WHAT PART DOES THE CALLER PLAY
Now for the $64.00 question - - - Where does the caller fit in this picture.
Neil Jacobsen gave me a quotation that describes the callers position perfectly. It was the subject of a lecture that he attended in connection with Recreation work. You have to think about it for a minute to grasp its full significance.
âThere go my followers. I must follow them. I am their leader.â
You must be their leader but your job is to get behind and push. You must guide them in the development of their square dance program but they should execute the development.
Those of you who are experienced callers and are at present calling and teaching groups may have some difficult problems. Many groups have started recently and have been spontaneous developments. They have started on the wrong foot and right or wrong they will resist change. It is human nature to resist change. A new pair of shoes, new methods or new philosophies, are uncomfortable until broken in. A new pair of shoes are easily sold because of necessity. New methods or philosophies are a little more difficult to sell because the desirability is not tangible.
If you have problems of reorganization or realignment in your groups and you do not find a solution in the material we will cover, please feel free to ask for help. If we do not have the answer we will surely find someone who has met the same problems and solved it successfully.
Those of you who have not started calling will ask, âWho are my followers?â There is certainly no shortage of raw material. Almost every person you meet is a potential square dancer. Every community agency or organization with or without a facility is a potential sponsor. Your approach then should be to the sponsor. The sponsor should do the promotional work with your guidance. The first question the sponsor is apt to ask is how much profit can our organization or agency expect to make on the activity. Community agencies and organizations have for the most part planned all of their recreational activities on a commercial basis. They immediately see an opportunity to make money from the square dance program and divert it to other organizational use. Their motives are good but the threat to the square dance program is almost as deadly as the commercial operators attitude.
If the square dance program is to develop in the proper channels all community leaders such as recreation directors, school officials, organization leaders, public officials and community minded citizens must be made aware of its values. The best way to accomplish this is to get them in the program. If you select an organization that you would like to have as a sponsor for your program, pick out the leader that you think can exert the most pressure and get them to a square dance. They will soon realize the value of the program and you will have an active promoter on your side. Then you must assist them in setting up a program that will avoid the pitfalls of most organization sponsored social activities.
Most difficult to avoid is the selfish clique. The cliques will be your big problem all through your program but if you start your program with an exclusive group you will have two strikes against you before you start. For this reason we recommend the development of square dance groups open to enrollment to all who wish to attend. We further recommend that you try to adjust the floor space to the membership rather than limit the membership to one certain facility. Facilities continue to be the major limitation of the program as a whole but the pressure of thousands of square dancers will eventually force the development of adequate facilities.
You must assist the sponsor in setting up a self-propelled program with the dancers directing their own activities. This means that you must also assist in the development of leadership. The program will not return a profit to its sponsors but it should be self supporting. If you are successful in teaching the dances and imparting to the dancers the wholesome fun and good fellowship on which we place so much emphasis, the attendance at your programs will soon take care of its cost and provide a small treasury reserve which we believe should be used for the further promotion of the square dance program.
By now you must surely begin to realize the importance of your undertaking. We have made no mention so far of that part of your job that puts you up on the stage with the amplifier bellowing out your voice with commands to the dances. If you have enrolled in this course because you want to be the âbig shotâ then you must either change your motives or waste your time and money. If you want to be a big shot you are many years too late. The so-called big shots in square dance calling have been building their reputations by doing research, writing books, conducting classes and working to restore this part of our culture for many years. They are the real authorities and while they must surely be please with the public acclaim they have received, I canât help but feel that their real reward has been the same as mine. My greatest satisfaction has come from watching people come into the program with the kind of personality that has made it difficult for them to get along with their fellows, simply because they have forgotten or never realized the importance of good fellowship. As they learn to dance they have had to learn to be patient, unselfish, considerate and cooperative and I begin to notice the change in their daily life. Many have realized what has happened to them and they have told me and thanked me. My head began to swell, and I began to believe that I was âquite a guy.â Then all of a sudden I realized that it was not Ed Gilmore that had accomplished these small miracles. It was the activity itself. It was the spirit of square dancing.
This person had come to a square dance seeking something different or perhaps because his wife drug him there. My part had been in getting them on the floor and insisting that they let their hair down and whoop and holler and have fun. He had stumbled through the dances and was amazed that anything that looked so silly and simple could be so confusing. It presented a challenge and besides it was different and kind of fun. He determined to have another try and see if he couldnât master the durn steps. He continued to come and the challenge was always there. There was always new dances and new steps to be mastered. As he learned the dances he was forced to learn the philosophy. He was forced to cooperate with seven other people. He had to be patient with their errors and they with his. The he discovered that the more cooperative he became the greater pleasure he derived and the better he danced. He had discovered the spirit of square dancing. If he realized the effect it had on his personality, he thanked me but he and square dancing had done the job, not me.
My satisfaction came from the realization that I taught well. That I had helped him with a little encouragement at the right time. A little compliment for an usual show of patience. A little joking ridicule at an unusual show of patience.
If my efforts in the promotion and teaching of square dancing have harmed anyone I am not aware of it. I have yet to have a participant come to me with a complaint against its moral or physical effect. My conscience is clear and my enthusiasm for my work is unlimited. What greatest compensation can a man expect from his profession.
Now some of you may say that all that has gone before is a bunch of idealistic baloney, I can assure you that you are wrong. If you need further assurance you will do well to talk to many callers who have discovered these values in the program long before I did. If they had told me these things two years ago I would have save one year of stumbling around in the dark before discovering my real objectives. Those of you who have learned to dance will agree with me I am sure.
Now we know the âwhatâ and the âwhyâ of square dancing and the part the caller takes in the programs and we come to the âhow.â This is the part where we are apt to disagree. I have chosen to set this course up to show you how I proceed with the development of a new group. We will conduct a first night class and when we have finished we will invite your criticism so as questions arise in your mind during the session make a mental note of them and bring it on the floor for discussion after we are through. Your notes will serve as your reminder on all methods. If you think you have improvements on the methods I use, do not hesitate to try them. Most of them will probably work.
CLASS NOTES
NUMBER I
Your first dance with a new group is perhaps the most important. Their first impression of the square dance activity must be favorable or they will probably stay home next week or go to a show.
The first thing we must do is get them all on the floor and mix them well.
I like the âBrown Jug Two Stepâ for this because it taught them to two step, it trains them to listen to the beat of the music, to listen to the caller, to do left and right hand turns and to change partners, dancing the position rather than the person. Make them understand that they are there for one reason only. To have fun! Tell them that you know that they think they are making a darn fool of themselves, and put them at ease by making them realize that everyone on the floor is in the same position. Impress them with the importance of listening and being patient with the other fellow.
Now you must demonstrate the dance for them, calling it as you do it.
The next step is to walk them through the two step part of the dance, repeating it until you are satisfied they can do it. If a few here and there donât seem to get it donât worry about them as they will probably âcatch onâ as they start changing partners. If they all seem to be having trouble have them change partners several times, the gents moving ahead one lady and practicing a little with each lady.
Now walk them through the turns several times, then put the two parts together and when they seem reasonably certain of it start the music. You will find that the music usually helps them.
POSITION -- PROMENADE POSITION:
Ladies on outside. Ladies right hand in gents right. Left hands joined under right. Hands held at a level with ladies shoulders with the gent leading the lady.
The Steps -- Starting with the weight on the right foot and stepping first with the left. Close right to left and step left. This completes one two step measure. Now repeat, leading with right foot. Step right. Close left to right. Step right. Repeat for a total of eight two steps alternating left and right and face partner on the last two step.
Join right hands and two step around partners until gent is facing the lady that was behind him. Release partner and join left hand with this lady and two step around her until gents face partners again. Join right hand with partner and two step by her to join left hand with the lady ahead. Turn this lady and the gent does an extra face to place him beside the lady and join right hand above left in promenade position ready to repeat entire figure.
The Calls As I Call Them:
Left close step. Right close step. Left close step. Right close step.
Left close step. Right close step. Left close step and ready now.
Turn your partner with the right hand around.
The lady behind you with the left hand around.
Your right to your pard and pass her by.
Turn the lady ahead and away you fly.
Repeat until they smooth it out and then start substituting âCorner Girlâ for the âlady behind youâ and âRight Hand Ladyâ for the âlady aheadâ. It will familiarize them with the calls and they will automatically begin to associate the calls with the position.
Now we have them dancing. They have mastered a few steps and are beginning to relax. They have been introduced to the social mixer valve of square dancing. Tell them to find their original partner and form their squares.
Donât let anyone sit down. Have them form a ring with three other couples. Remember you are giving directions to couples now. When you have them all divided up into sets you must get their attention and explain the importance of listening to the calls. You will have to remind them every few minutes of the importance of listening.
Now while you have their attention tell them that they must always remember that the only purpose of square dancing is to have fun. Emphasize the importance of having fun. Warn them against being critical of the other fellow. Never lose your temper and never under any circumstances walk off the floor. There is the unpardonable sin of square dancing.
Now explain the fact that most of the calls are directed to the gents but the ladies must hear them and know her part in the execution of the calls.
Now explain the square. Four couples forming the four sides. Couple number one with their backs to the caller and the counter clockwise numbering of couples two, three and four. Also that couples one and three are referred to as âheadâ couples or âheadâ and âfootâ couples, and couples two and four as the âsideâ couples.
Explain that the gentlemen always place their partner at their right side and the meaning of âhome.â
Explain corner, opposite and right hand lady and the fact that we dance the position and not the lady. Explain the importance of being able to decide immediately which is the right and left hand, foot or lady.
Now we are ready to walk them through the allemande left. Tell them to face their corner. Give corner left hand and walk around her until they face their partner again then release the corner.
Impress them that this completes the allemande left and have them walk through it several times until they are sure of it. Now have them follow the allemande left with a grand right and left. Tell them to just shake hands with each lady and walk by her or they will probably try to turn each one. Have them stop when they meet their partner and teach them how to turn their partner under their arm and promenade. Stress the shuffle step promenade. One step for each beat of the music and sliding the feet. Weight forward and on the toes. You will do well to demonstrate this and show how little effort is used to cover ground.
Teach them to finish the promenade with a whirl and balance and face the center of the set.
Now they are ready to try the âbuzz step swingâ. This must be demonstrated and they must be encouraged to practice it. Stress smoothness and timing and releasing the lady gently.
Now we are ready to do their first square dance. Walk them through. Down the center and divide the ring. Walk each couple through and then dance it.
When you start the music you hit them with their first surprise call.
Honor your partner. (Bow to you partner)
Honor your corner. (Bow to your corner)
All join and circle left.
Break and swing. (Swing your partner)
And promenade and promenade home.
They will probably make a mess of it but it will be a good object lesson on the important of listening.
Now call the dance as described below:
First couple balance-swing.
Down the center and divide the ring.
Lady go right. Gent go left.
Right back home and swing.
Down the center and cut away four.
Do the same as you did before
Everybody swing ---
Down the center and cut away two.
Do the same as you always do
You swing her, sheâll swing you.
Allemande left. Grand right and left, etc.
Now they have completed their first dance and they probably think they are exhausted. Let them rest for awhile then call them up and teach them the Varsovienne.
You will find that the methods used in teaching the âBrown Jug Two Stepâ will be effective in teaching all couples dances. Analyze each part of the dance and teach them separately until you are certain that they know them, then put the parts together and walk them through a few times then start the music.
The calls for the âVarsovienneâ varies greatly with different callers but I like to describe the first steps as sweep step close, sweep step close, cross right left point. When they are fairly sure of the steps I change to, put the left foot out, put the left foot out, left right, left point. (Pause 2 beats) Left right, left point. (Pause 2 beats) Right left, right point, and repeat last two lines to complete chain.
POSITION; Lady at gents right side with lady slightly ahead of gent. Gents right arm behind lady holding her right hand in his right over her shoulder. Ladies left hand in gents left on a level with the right and directly in front of gents shoulder. Caution gents not to rest arm on ladies shoulder.
We are now ready to teach them another square. We will limit our notes now to the calls and description of the dances and the techniques that we have found helpful in certain dances. We will follow the same general procedure in teaching each new dance. I find that after the first dance or two the addition of the âtalk thruâ before the âwalk thruâ help. Most the dancers will get a mental picture of the dance and when they start walking thru, the picture becomes fixed in their mind.
The talk thru will be of little use to you, the first dance, however, because they have not started listening yet.
Letâs give them the âTexas Starâ next and impress them with the practice of changing partners.
TEXAS STAR:
(1) Introduction
(2) Figure
a. Ladies to the center.
b. And back to the bar.
c. Gents to the center and form a star (right hand)
d. With a right hand cross and a howdy-do.
e. And a left hand back and how are you.
f. Pass your own and take the next.
g. Gents swing out and the ladies swing in.
h. Go full around and gone again.
i. Break and swing when you get straight.
j. Everybody swing your mate.
Repeat: 4 times until gents have their original partners.
(3) Repeat figure with gents to the center and back to the bar (a & b)
Ladies to the center and form a star ĂŠ
NOTE:
(a & b) Ladies back to back in center of the set and right back to place.
(c & d) Gents form right hand star and circle left.
(e) Reverse direction and form a left hand star
(f) As gents circle right pass your partner and take the next girl in a waist promenade.
(g & h) Gents swing out of the set backwards, go once and a half around and ladies form a star all circling left.
(i) Break and swing your new partner at the gents home positions. After the chorus, when the ladies are working, promenade back to the ladies home position (i)
NOTE: Caution the ladies to go to the center and return to place quickly. Tell gents to note who is right hand lady each time he returns home to swing. This is the lady he will take for the next star promenade.
Do not teach wrist hold star to beginners at the first two or three dances. Do not have ladies take gents back to their home position while learning the dance. Wait until they are familiar with the dance before teaching the confusing little trimmings.
One dance at a time is about all they can stand this first night and this would be a good time to give them an intermission and let them get a little better acquainted.
After intermission get them all on the floor and form one or more big rings and teach the âOh Johnnyâ.
This should be very easy to teach as they are already familiar with all of the figures used. You will probably do well to review the dos-a-dos more thoroughly than the other figures as they have not used this figure in the squares.
Here are the calls ---
Music -------- âOh Johnnyâ --------- Records ----------- Billy Mooney, Album
You all join hands and you circle the ring. (Circle right)
You stop where you are and you give her a swing. (Swing partner)
And now you swing that girl behind you.
Go back home and swing your own right where you find her.
Allemande left with the girl on your left.
Dos-a-dos your own.
And now you all promenade.
With that sweet corner maid.
Singing Oh Johnny! Oh Johnny! Oh!
When you get your squares all set and have their attention remind them to listen. Explain that they are not to anticipate the calls and do a figure before it is called but rather to follow the calls, always two to four counts behind the caller.
Letâs train the ladies to take the initiative now and teach them âBirdie In The Cage and Seven Hands âRoundâ.
BIRDIE IN THE CAGE, SEVEN HANDS âROUND
(1) Introduction
(2) Figure
a. First couple balance-swing
First little lady to the right of the ring.
b. Turn the right hand gent with the right hand âround.
c. Back to your pard with the left hand âround.
d. The opposite gent with the right hand âround.
e. Partner left as you come down.
f. Left hand gent with the right hand âround.
g. Partner left youâre homeward bound.
h. Birdie in the cage and seven hands âround.
i. Birdie hop out, the crow hop in, seven hands up and gone again.
j. Crow hop out, with a left allemande, your right to your own and a right and left grand.
k. Meet your own and promenade home.
(Repeat for each lady.)
Explanation:
(a to g) Self explanatory. Active lady turns each gent and partner alternately using forearm turns and gents must cooperate by meeting her as the calls are fast.
(h) As active lady rounds partner, she goes to the center of the set and the other dancers join hands and circle left.
(i) Lady exchanges places with her partner and dancers again circle.
(j) all four gents to a left allemande with their corners and go right into a right and left grand.
NOTE: Have the ladies whirl counter clockwise in the center but keep an eye on their partner to make a quick change. Encourage gents to whirl or clown in center but locate their corner girl for the left allemande. Impress gents that the call âCrow Hopâ out with a left allemande, means all four gents turn corners with a left allemande. Finish this one with âBreak that ring with a partner swing.â
Hold them on the floor and teach them âLady Go Halfway âRound Againâ.
LADY GO HALFWAY âROUND AGAIN
(1) Introduction
(2) Figure
a. First couple balance-swing
b. Promenade the outside ring, go all the way âround with the dear little thing while the roosters crow and the birdies sing.
c. Lady go half way âround again and three in line you stand.
d. Forward three and three fall back.
e. Forward three and three stand pat. Gent do-cee around those three, go all the way around those three.
f. Turn the left hand lady by the left hand âround.
g. The right hand lady with the right hand âround.
h. The opposite lady with two hand âround.
i. And now your own with your arm around.
j. Now swing her home and everybody swing.
(3) Chorus Call
Repeat for each couple
EXPLANATION
(a & b) Self explanatory.
(c) Lady continues around set again and stands on the left side of the opposite gent.
(d) The line of three walk forward and back.
(e) The line of three walk forward almost to the center of the set and the side couples step back to permit number one gent to do a right shoulder dos-a-dos around the line of three. Going to the left he passes right shoulder with the opposite lady and passing behind the line of three he returns to the center of the set between his partner and the second lady.
(f) First gent turns his corner with the left forearm turn.
(g) This first gent crosses the set and turns the right hand (2nd lady) with a right forearm turn.
(h) He now turns the opposite lady (3rd lady) with a two hand swing.
(i) He then takes his partner and swings her across the set to home position using the regular swing position, and as they do all four couples swing and are ready for chorus call.
NOTE: No special tricks on this. I hope you can find some method to teach the gents how to tell their left from their right. I often see experienced dancers turning the wrong lady first or using the wrong hand.
Now they will be tickled pink to get back to their own partner so give them brief rest and teach them âCotton Eyed Joeâ.
A description of the steps and the calls I follow are:
COTTON EYED JOE
Couples face each other in ballroom position and starting with gents left and ladies right.
Heel toe, step close, step ---
Turning to opposite direction using gents right and ladies left.
Heel toe, stop close, step ---
Releasing partner they turn away from each other the gent turning to the left and lady to the right until they face again.
Step close step. Step close step, step close step, stamp. Stamp, stamp, stamp.
Now they do four push steps to the gents left, the ladies right.
Step close, step close, step close, step ---
They reverse direction and do four push steps to the gents right, ladies left.
Step close, step close, step close, step ---
Gent now takes partner in ballroom position and they do four two step around the hall.
Step close step, step close step, step close step, ready now
Heel toe, etc. Repeat
Now form your squares again and teach them âForward Six and Backâ. This dance is a good trainer for all of the âForward six and Backâ series.
FORWARD SIX AND BACK
(1) Introduction
(2) Figure
a. First couples out to the couple on the right and circle four.
b. Leave that lady where she be go to the next and circle three
c. Steal that lady like honey from a bee and on to the last and circle four.
d. Leave that lady and gent goes home alone
e. Forward six and back you go
f. The two gents loop with a dos-a-dos
g. The right hand up and the left lady under
h. Whirl them across and go like thunder
(Repeat e, f, g, and h three more times)
i. Allemande left, etc.
Repeat for each couple)
(3) EXPLANATION
Calls are self explanatory except (c & g). In (c) caution the gent to change hands as he takes the opposite lady from her partner and goes to the left hand couple. This is necessary in order to place the lady on his right. In (g) the gent forms an arch with the lady on his right as she passes in front of him to the gent on his left. The lady on his left ducks under the arch as she passes to the gent on his right. Make the ladies understand that they pass to a new gent and form a line of three each time (g & h) are called. Do not confuse them with the whirls when they are learning the dance.
Now you are ready to introduce them to hash. Call the last dance using a different change for each couple as listed below or in any order you prefer.
1st couple: âDown the Center and Divide the Ringâ
2nd couple: âLady Go Half Way âRound Againâ
3rd couple: âBirdie In the Cage and Seven Hands âRoundâ
4th couple: âForward Six and Backâ
If you have good luck and have some time left, go ahead with anew dance from the next weeks suggestions. The changes are that the program above will be about all they can handle the first night. You may not complete this much.
If you start losing your crowd, cut your dance and send them home a little early. Whenever possible send your group home before the crowd and their enthusiasm has dwindled. You want them to be sorry that the dance is over instead of being tickled to death to get off of their feet.
Play a goodnight waltz for them but make sure that it is a typical ballroom tempo. If you continue this practice each week they will soon feel the contrast between this pointless meandering and the interesting and graceful couple dances we will use in our program.
The first thing you should do after the dance is to write down a list of the things you have taught during the evening with a provision for keep a record of how many times you will teach it in the next few weeks. You should keep careful records of your groups progress as it will help you improve your methods.
At the first opportunity you should analyze your groups reaction and the progress they made in their first session.
1. Did they have fun.
2. Are they learning the squares.
3. Are they learning the couple dances.
4. Who are your personality problems.
5. How is your facility.
a. Acoustics or public address.
b. Floor condition.
c. Ventilation or temperature.
d. Size.
Consider all of these things and remember that they are your responsibility. Strive to improve everything about your program constantly and above all do not let your ego run away with you because people thank YOU with praise for the values they are receiving from THEIR participation in the program.
Always remember, this program is âgrass roots recreationâ and you didnât invent it. It was created by participants and it can be restored only by participants. It was created by the necessity for good fellowship and the same necessity is restoring it now.
CLASS NOTES
NUMBER II
Howdy Cousins:
All to your places
Straighten up your faces
Loosen up your belly bands
Tighten up your traces
All get set for another long hard pull.
One of the first problems that you will face in your calling and teaching experience will be âimpatience.â
About the second or third dance with a new group, several of your dancers still approach you with a bow in their neck and start giving you some expert advice on how to teach, how to call, and how to handle the group, etc. This is a critical point in your relationship with your group. If you show any resentment to their criticism or treat it too lightly you will make an enemy of your best prospects.
It is human nature to try to put the shoe on the other foot. If they are a little confused on some of the steps they are apt to take the attitude that the fault lies in your methods. They immediately decide that if you would use a different method everyone would grasp the idea quickly.
This is especially true of the more successful people in your group. They have more nerve and are more aggressive and they will be the first to pounce on you and tell you how to do your job. Listen to them and if they have a suggestion that seems practical make a mental note of it and analyze it carefully before you try it. Donât argue with them privately but the next time that you have the attention of the entire group explain the importance of patience. Tell them that they must be patient with you just as you are patient with them. Tell them they must be patient with themselves and with each other. Explain that the methods you use are the results of experience and that thousands of people have learned to dance by these methods and that they too will soon learn.
Impress them with the importance of not being in a hurry. Improvement and advancement is desirable but first, last and always letâs have âfunâ!
Your critics will not resent this little lecture because it is not directed at them personally. Since they are the type of people who think they will see your position in a different light and since they also say what they think, they will become active promoters of the use of patience. As a result what you at first considered a discouraging development will turn into a benefit to the group and your program.
Now to get back to the job of teaching.
You will find it necessary to repeat all of your dances and instructions of the previous dance with the addition of one or two new dances. This repetition of instructions will discourage you more than any other part of your job. It is necessary that you develop the patience to do this and will probably help if you will think back how many times you had to walk thru a new figure before you were sure of it. You cannot teach others to be patient if you are impatient with them.
In their first lesson, you taught them to do the following basic figures:
1. Allemande left
2. Grand right and left.
3. Promenade
4. Swing
5. Dos-a-dos
There are only four more figures that they will have to learn in order to be able to do most of the square dances. They are:
6. Docey-doe
7. Do paso
8. Right and left thru
9. The ladies chain
It will be six to eight weeks before you will be able to teach all of these figures and 10 to 20 weeks before they will be able to execute them on call and with ease.
I recommend that you use only the first five with the addition of the See Saw, for the first three dances and then plunge into the docey-doe, which I consider the most difficult of all of the basic figures. In this weeks notes we are including the calls and instructions for several more dances that use only these first five basic steps. These should supply you with enough material for your first four dances.
To each the See Saw use âAll Around the Left Hand Ladyâ for an ending instead of the âGrand Right and Leftâ or âBreak the Ring with a Corner Swing.â
THE CALLS ---
All around the left hand lady (a dos-a-dos with corner lady)
See Saw your pretty little taw. (A left shoulder dos-a-dos with partner)
Swing your corner like swinging on a gate.
Form a ring and circle eight.
(Last two lines self explanatory except a caution to place corner girl on their right before joining hands to circle eight)
Repeat three times and when they swing with original partner, call,
Promenade eight til you get straight.
NOTE: Do not attempt to teach the ladies to go into the center and back until they have been dancing for several weeks. They need the practice on the dos-a-dos now.
FOUR IN LINE YOU TRAVEL
1. Introduction
2. Figure
a. First couple lead to the couple on the right and four in line you travel.
b. Now Iâll swing your girl you swing mine
c. You swing that one while Iâm gone and Iâll take yours and travel on.
d. Four in line you travel.
e. Now Iâll swing your girl you swing mine.
f. You swing that one while Iâm gone and Iâll take yours and travel on.
g. Four in line you travel
h. Iâll swing your girl you swing mine
i. You swing that one while Iâm gone and Iâll take yours and travel on.
Everybody swing.
3. Chorus Call
Repeat three times until they have their own partners back then call an ending.
EXPLANATION:
(a) First couple leads to the right side of couple #2 and standing in a line of four the two ladies hook right elbows and both couples walk forward or clockwise turning as a line of four until #1 gent returns to the center of the set.
(b) Gents release the ladies and turn to face their opposite as the ladies continue to turn until lady #2 is in the center of the set and the first gent swings the second lady as the second gent swings the first lady.
(c) The first gent takes the second lady on to couple #3 and they repeat (a & b).
(f) First gent takes third lady on to couple #4 and they repeat (a & B)
(i) First gent takes fourth lady back to his home position and all four couples swing.
TWO LITTLE LADIES FORM A RING
1. Introduction.
2. Figure.
a. First little lady to the right of the ring with a two hand swing.
b. Sashay out and sashay in.
c. Form a two hand ring and home and swing and three little ladies form a ring.
d. Now sashay out and sashay in and form that three hand ring aginâ.
e. Back to your pard and give him a swing and four little ladies form a ring.
f. Now sashay out and sashay in and form that four hand ring aginâ.
g. Back to your pad and all eight swing.
3. Chorus Call.
Repeat with each lady leading.
EXPLANATION:
(a) The first lady leads to the second lady and they join hands and
(b) Both ladies do a dos-a-dos around their own partner.
(c) They return to the center and join hands again swing once and return to partners and swing once then the first, second and third ladies join hands and swing around once.
(d) All three ladies do a dos-a-dos with their partners and return to center and join hands and swing around once.
(e) All three ladies return to their partners and swing once them all four ladies form a ring and swing around once.
(f) All four ladies dos-a-dos partners and return to center to form four hand ring again and swing around once.
(g) All return to their partners and swing twice.
MARCHING THROUGH GEORGIA
1. Introduction
2. Figure
a. First little lady march around the inside of the ring.
b. Right back up to your oleâ man and give him a great big swing.
c. Now all you dancers form a line and march around the ring.
d. Here we go marching through Georgia
e. Hurrah ! Hurrah ! youâre going the wrong (right) way
f. Hurrah ! Hurrah ! youâre going the wrong (right) way
g. When you reach your places all, everybody swing
h. Swing âem boys, swing âem, youâre in Georgia
Repeat: with 2nd, 3rd, and 4th couples.
Note: When dancers form a line, march right around the set with hand on shoulder of person ahead.
INSIDE ARCH OUTSIDE UNDER
1. Introduction
2. Figure
a. First couple out to the couple on the right, circle four hands half way âround
b. Inside arch and the outside under (repeat 3 more times)
c. On to the next and circle half and donât you blunder.
d. Inside arch and outside under
3. On to the next (Repeat thru d)
f. Balance home and everybody swing.
3. Chorus Call
2nd, 3rd, and 4th couples repeat figure.
EXPLANATION:
(b) Couple #2 forms an arch with their joined hands, at same time releasing hands of couple #1. Couple #1 ducks under to center of set and forms arch for couple #4 to duck under as couple #2 turns into their own place. Couple #4 ducks under #1 and forms arch for #2 while #1 turns to face center in 4th couples home position. Continue to arch and under til couples #2 and #4 are in their home positions and #1 is in the center of the set.
NOTE:
Teach the California Whirl, to be used when a couple reverse directions. Have all couples face out with ladies at gents right. Inside hands joined. Explain that this is the position they will be in when they form the arch in the center and walk to the outside. Have them face their partners. Have gents raise their right hand and bring the lady under his arm as they exchange places and face the center of the set. Have them practice this a few times before you start teaching the dance.
Caution them to remember that when they are on the inside of the set they form an arch. When they are on the outside they duck under.
THE FOUR GENTS STAR (As called by Ralph Maxheimer)
1. Introduction
2. Figure
a. The four gents star in the center of the square.
b. Turn the opposite lady and leave her there.
c. The four gents star in the center of the set.
d. Now turn your own youâre not through yet.
e. The four gents star in the center of town.
f. Turn the right hand lady with the left hand âround.
g. The four gents star in the center once more.
h. Turn the left hand lady or sheâll get sore.
i. Star right back and the gents you know.
j. Turn your own with a do paso.
k. Itâs partner now with the left hand âround.
l. Corner lady with the right hand âround.
m. Back to your own with the left hand âround.
n. And promenade the corner as she comes down.
(Repeat three more times)
NOTE:
All calls are self explanatory. Caution gents to dance the position and not the lady. You will have to teach the do paso and make them understand it is completed when the gents turn their partner the second time with left hand.
ARKANSAS TRAVELER
1. Introduction.
2. Figure.
a. First and third forward and back.
b. Forward again on the same old track.
c. Turn the opposite lady with the right hand around.
d. Partner left as she comes down.
e. Corners âallâ with the right hand around.
f. Back to your partners with the left hand âround.
g. And promenade the corners as they come down.
(Repeat with head couples. Repeat twice with side couples)
NOTE:
Calls are self explanatory. Caution all four gents to be ready for call (e).
TEXAS WAGON WHEEL
1. Introduction
2. Figure
a. First couple lead to the couple on the right and circle four.
b. Leave that lady where she be and the gent go on and circle three.
c. Steal that lady like honey from a bee.
d. Take her to the last and circle four. Leave her there get off the floor.
e. Forward six and back
f. Forward two and back.
g. Forward six with a wagon wheel around as you cross over.
h. The gents change over.
i. The right hand up and the left lady under. Whirl them cross and go like thunder.
(Repeat (3) through (i) three times then call an allemande left and grand right and left.)
Repeat entire figure with each couple leading.
NOTE:
If you have taught âForward Six and Backâ you will have little trouble with this dance.
Here is the difference:
(g) The gents take the ladies on their elbows and go forward and join hands as in a two hand swing. The ladies join outside hands and all swing half around and fall back to the opposite side. The two lines of three have simply exchanged places.
(g) The two lane gents exchange place. Now we find th