Approach

While these definitions are written and published by an organization of square dance callers, the approach taken has been to straddle the area between dancer and caller. The definitions are neither dancer-centric nor caller-centric. Instead, they attempt to document the common “square dance language” that has developed between caller and dancer, and that can be instantly understood, processed, and executed with apparently little effort.

In addition to covering the calls and their definitions, this document also lists the actual words a caller might say and a dancer might hear for each call. While the words are all in English, the command phrases form a “square dance language” which is separate from the English language. These command phrases are an important part of the communication process.

The calls and words used in Modern Western Square Dance calling underwent a transformation from 1950 to 1970. Initially each dance was pre-choreographed (both movement and rhyming patter), given a title, and possibly paired with a tune. Before the music started, the caller would walk the dancers through the dance, reminding them of the calls and overall pattern. The words used in this walk through were a combination of descriptive English phrases and basic square dance calls.

As more calls were invented and the walk through disappeared, dancers were expected to respond to the calls without knowing what was coming next. As this “hash” calling style evolved, it became more important to have precise communication between caller and dancer.

As with any human language, there are quirks, exceptions, and plenty of idioms and idiosyncrasies. If one were to reinvent the language of square dancing today, one might be able to make some minor and a few major improvements, which would allow for simpler and more consistent definitions.

Standardization

One of the main reasons for standardizing dance programs and call definitions is to allow for caller and dancer mobility. No matter where and from whom one learned to dance or call, one should be able to visit and successfully dance or call with any other group that is dancing the same dance program.

Throughout the world the calls are given in English. Another dimension of standardization is seen across the various dance programs. The calls in one dance program include all the calls and definitions from the prior dance programs. Almost without exception, calls are defined once and for all, and the definitions are not changed by another dance program.

Styling has also been standardized. While great strides were made in the 1970’s and 1980’s certain areas and groups continued to use styling that did not match the approved styling (e.g., “hands up” vs. “hands down” in Ocean Waves). In 1992 our membership acknowledged its inability to have one styling used by all dancers with a motion which said, “CALLERLAB recognizes that regional differences in styling exist.”

Proper vs. Improper

The terms proper, acceptable, and allowable are used interchangeably to describe calls and methods of communication that CALLERLAB members (and others) would like to encourage. These callers try, to the best of their ability, to train new dancers and expose existing dancers to this style of calling.

The terms improper and not proper are used to describe applications of calls that are not in accordance with these definitions and whose use CALLERLAB discourages.

There are no choreography police. There are no laws against improper choreography or bad calling. In all their endeavors, callers must use good judgment to use this common language to aid in entertaining the dancers. The dancers have been taught the language and have spent many hours practicing the dance. The caller should be able to communicate with the dancers without resorting to a discussion of proper vs. improper.