This section is still undergoing review and approval.
Starting Formations
Starting formations are listed for each of the defined calls. The smallest basic formation has been listed. Multiples of this formation may be possible. For example, the minimum number of dancers required to dosado is two. It is possible, however, to have four dancers in a line facing four dancers in an opposite line ready for a dosado. In this case, there are four multiples of the basic formation.
Commands
Extra words
Plain English
Extensions like Reverse Wheel Around
Fractions
Gimmicks
Bending vs. breaking the definition
Do Your Part
Centers Zoom
Extend and Tag The Line
Dance Action
Defining Calls with Arm Turns
Definitional Precision
Blending one call into another
Who is active
What does naming a dancer mean?
Square Breathing
Timing
The timing committee determined how many beats of music each call should take. Since the dancers should be taking one step for each beat of music, one can think of these numbers as representing steps or beats of music interchangeably.
A piece of music is more than a series of unconnected beats strung together. Rather it is composed of sections which themselves are naturally split into subsections. In most dance music, 64-beat phrases are made up of two 32-beat phrases, which are made up of two 16-beat phrases, which in turn are made up of two 8-beat phrases.
In traditional square and contra dancing, the choreography is usually created so that the sequences of calls match these levels of phrasing. Generally, the dancers start each call on beat one of a phrase and dance the call so that it takes 8 beats. Each dance contains a sequence of calls that is repeated as a couple progresses to the next couple. By knowing the sequence beforehand, and having it repeat, the dancers are able to adjust their execution of the calls and the transitions between the calls to match the phrase of the music. This means that the calls Dosado, Right and Left Thru, Two Ladies Chain, and Up To The Middle And Back are all danced in 8 steps, starting with beat 1 of the phrase. There are only a few calls that do not take 8 beats, e.g., the 4-beat calls Pass Thru and Balance, or a 12-beat Swing. These are paired with another call to evenly fill one or more 8-beat phrases.
Modern Western Square Dancing has added a much larger repertoire of calls, many of which do not take 8 beats to dance. The style of dancing is a continuous gliding step, one step for each beat of music, in which the transition from one call to the next is seamless, even though the sequence of calls is not known to the dancers beforehand. Some calls that have traditionally taken 8 beats of music (e.g., Right and Left Thru) are usually danced in 6 beats in this style of dancing.
The timing for each call is the ideal number of steps or beats of music to execute the call. Mainly timing is listed to assist callers in giving dancers the proper amount of beats to dance each call. Timing can also be used to construct 64-beat singing call figures. Callers should be aware that this involves more than finding a sequence of calls that add up to 64 beats — because of call-to-call transitions, square breathing, etc. While timing numbers are a good starting point for singing call construction, only dancing a sequence with the music determines if the timing works. Callers should be aware of other factors which may cause an adjustment to the timing numbers, such as age or physical ability of the dancers, condition of the floor, etc.
Attention to timing heightens dancers’ experience because their dancing works in harmony with the music. Most dancers respond well to being explicitly taught timing, especially on calls like Grand Square (32 steps) and 4 Ladies Chain (8 steps).
The timing of calls from a Squared Set is lengthened. See “General: Conventions and Rules: Squared Set Convention”.
Styling
Square dancing is much more than moving the body from one place to another at the proper time. The interactions between a dancer and the other 7 dancers in the square have caused some to say that square dancing is dancing with hands. The following styling guidelines describe how most of the world square dances.
Posture
Dancers should stand erect and tall, shoulders back. Often tall people have a tendency to stoop, but should not.
Dance Step
Should be a smooth, effortless gliding step in which the ball of the foot touches and slides across the surface of the floor before the heel is gently dropped to floor. The length of stride should be fairly short with the movement coming mostly from knees down. Dance step must be coordinated with the beat of the music. In general terms, short gliding steps which utilize both ball and heel of the foot make a comfortable dance step.
Arms and hands
Couple Handhold:
Inside hands joined. Men should always hold palms up, ladies palms down. In the event of a same-sex couple, the left-hand dancer turns palm up, right-hand dancer turns palm down. Arms should be bent with hands held slightly higher than the elbow. Forearms are adjacent and can be held close together in locked-in position for wheel around type movement.
Forearm:
The arms are held past the wrist but not past the elbow joint. Each dancer places the hand on the inside of the arm of the person with whom he is to work. The fingers and thumb are held in close. The center of the turn will be at the joined arms, so, while turning, each dancer is moving equally around the other.
Handshake Hold:
Use a comfortable handshake with hands reached and touched at about average waist height. Thumb should overlap the back of the opposite dancer’s hand. It is important in right and left grand to release hands when passing. Do NOT stretch or lean over to reach the next hand.
Loose Handhold:
Hands revolve around each other maintaining contact and a certain degree of security or stabilization. Slight pressure is all that is required.
Hands Up:
Hands are joined in crossed palm position; i.e. opposing dancers place palms together with finger pointing up, then tilt hand out slightly which will result in a crossed palm position. Thumbs are gently closed on the back of the opposing dancer’s hand. As the turning action starts, wrists are straightened.
Box Star/Pack-saddle Star:
Four men with palms down take the wrist of the man ahead and link up to form a box.
Palm Star: Place all hands together with fingers pointing up and thumbs closed gently over the back of the adjacent dancer’s hand to provide a degree of stabilization. Arms should be bent slightly so that the height of the handgrip will be at an average eye level.
Inactive dancers
Other styling terms and issues
Pull By:
The action brings two people toward each other. Hands should be dropped before bodies cross a common plane.
Skirt Work:
Ladies hold skirt in free hand about waist high using very slight rhythmical flourish to move skirt in front and back, right hand moving with left foot, left hand moving with right foot.
Promenade Ending Twirl:
Man raises his right hand holding the lady’s right hand loosely as she twirls clockwise underneath, ending in a squared up couples position.
BOW (HONORS)
To Your Partner:
Men: Turn slightly to face your partner making eye contact. Place left hand behind back or at left hip, palm out. Place right foot in front of left foot. The right foot should be pointed toward the lady with the toe touching the floor. man’s right hand holds lady’s left hand. Both legs are straight, with weight on the back foot.
Ladies: Turn slightly to face your partner making eye contact. Left foot should be pointed forward with toe touching floor, right foot in back. Right hand holds skirt toward center of square, right arm bent at elbow. Place left hand in partner’s right hand. Both legs are straight with weight on back foot. [An acceptable traditional variation of styling is that the men bow slightly from the waist as the ladies acknowledge with a curtsy.
To Your Corner:
Men: Right hand holding partner’s left hand, turn slightly to face corner, making eye contact. Place left hand behind back or at left hip, palm out. Place left foot in front of right foot. The left foot should be pointed toward corner with toe touching floor. Both legs are straight with weight on the back foot.
Ladies: Left hand in partner’s right hand, turn slightly to face corner making eye contact. Place right foot in front of left foot with the right foot pointed toward corner and the toe touching floor. Both legs are straight with weight on back foot. An acceptable traditional variation of styling is that the men bow slightly from the waist as the ladies acknowledge with a curtsy.
