Mainstream General

Introduction

The CALLERLAB Mainstreaam Dance Program Definitions describe in detail all the formations, terms, and calls (including styling and timing) used in the Mainstream Dance Program. In addition, various conventions on how to call, dance, and combine the calls are documented.

History

The Mainstream Dance Program is historically closely interrelated to the Basic Dance Program. The Basic Program was established in 1969 with 50 calls, as a result of codifying the Modern Western Square Dance movement following the work done by the Sets in Order American Square Dance Society in 1969. It was expanded in 1971 by publishing the Extended Basic Program with an additional 25 calls, which laid the ground work for what would become Mainstream.

Starting in the late 1970’s, the Mainstream Definitions Committee undertook to define each of the calls in the Basic and Mainstream programs. Their work took several years and 13 drafts, and resulted in a set of definitions published by CALLERLAB that has received worldwide use and acceptance.

Two other committees, the Timing Committee and the Styling Committee, developed standards and guidelines for their aspects of Basic and Mainstream dancing. Once the definitions, styling, and timing were complete, the results were combined and published as the “CALLERLAB Basic & Mainstream Definitions”. The Basic Dance Program list now includes the first 51 calls, and the Mainstream Dance Program list contain the 17 calls that follow the Basic Program.

In 1994 these definitions were made available on the Internet, which further encouraged dissemination, standardization, and discussion. By 1995 it became clear that the current definitions were not of sufficient detail and precision to decide some of the finer points of modern calling. In some cases, the definitions were confusing, poorly worded, or ambiguous. Using the existing definitions as a starting point, and considering numerous comments, suggestions, and complaints, a complete rewrite was undertaken starting in 1999, resulting in this document. The revision of definitions continued, and in 2016, in conjunction with the Definitions Committee, the Mainstream Committee began moving this process forward at an increased pace.

In addition, in 2016, the Mainstream Committee voted to divide the Basic and Mainstream lists and number them separately. This was followed by a vote in 2017 to publish the two lists separately. This document contains the definitions for the Mainstream Dance Program calls. Please refer to the Mainstream Dance Program Definitions for information on those calls.

From the earliest days of codifying square dance calls and lists, the Basic and Mainstream Programs have had a shared evolution and developmental history. Because of this shared history and interrelationship both programs are overseen by the Mainstream Committee.

Scope

These definitions describe what is called, and danced, when this document was first written (i.e. in 2003). They attempt to define what is clear, what is confusing, and what is considered marginal usage. Each call in the Mainstream dance program is described in a way that covers all the common and most of the less frequently used applications. Finally, these definitions do not attempt to document historical usages that today’s dancers are not expected to be taught.

What the caller or knowledgeable dancer will gain from this document includes:

1. A precise description of each call
2. Examples of calling commands
3. Styling and timing
4. The ability to distinguish acceptable call applications from improper applications

These definitions are neither a new dancer manual nor a new caller manual, nor are they written to allow an isolated group who has never square danced to acquire this skill easily. The definition of a call may not be the best way to teach a call. By the same token, the words used to best teach a call, or quickly remember a call, are not necessarily a good, precise, or complete definition. Other publications that may better serve those needs can be found in Appendix C.

The timing and styling information is based on documents developed by the former Timing and Styling Committees. The reader who is interested in how the various calls are most often used is referred to the Mainstream Standard Application booklet developed by the Choreographic Applications Committee.

In an attempt to be precise and complete and to settle certain discussions and debates over the finer points of unusual and infrequent call applications, these definitions will occasionally delve into more detail and explanation. Most of this detail has been relegated to the comment section of each call’s definition, and to the “Additional Detail” section.

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.

Conventions and Rules

There are several areas of square dancing in which certain conventions have been established. If a convention is followed by enough dancers and callers, it may evolve into a rule.

There is a risk in deriving a convention from lots of dance examples and then writing it as a rule. Others will read the rule and create new choreography based on the rule. The direction in which the rule allows square dancing to evolve may be in conflict with the convention that spawned the rule. That is, square dancing may evolve in unintended directions that are at odds with long-time callers and dancers.

The following conventions and rules explain how and why square dancing is done in certain ways. The reader should exercise caution and good judgment in creating new choreography using these rules in ways heretofore not in current use.

Passing Rule

If the definition of a call has two dancers on the same path and requires them to walk past each other, they should pass right shoulders (unless otherwise specified) and continue. The mirror image version of a call has dancers pass left shoulders and continue (e.g., Left Double Pass Thru).

Same Position Rule

If two dancers are required to occupy the same position at the end of a call, and are facing in opposite directions from each other, they form a Right-Hand Mini-Wave. If an adjustment is necessary (since they are now two dancers side-by-side in a formation that expected one dancer), the adjustment is sideways, towards the outside of the group in which they were working.

Callers should not use a call that would result in two dancers who are facing the same direction, or at right angles, trying to occupy the same position.

Example:

Facing Couples Rule

A few specific calls that are defined to start from an Ocean Wave are also proper starting from Facing Couples. Examples include Swing Thru and Spin The Top. In these cases, the dancers first step into a momentary Right-Hand Ocean Wave and complete the call.

If the caller directs a left hand call (e.g., Left Swing Thru), the dancers first step into a momentary Left-Hand Ocean Wave.

If the Facing Couples rule is applicable, the call’s definition in this document will have a comment to that effect. If there is no such comment, then the Facing Couples rule may not be used.

While the rule is called the Facing Couples Rule, it is generalized to include Facing Dancers stepping to a Right-Hand Mini-Wave and Facing Lines step to a Right-Hand Tidal Wave, etc.

The following types of mixed Mini-Wave and Facing Dancer starting formations, while unusual, are also proper:

Timing: Application of the Facing Couple Rule does not change the timing of the call.

Ocean Wave Rule

Some calls that are defined to start from Facing Couples are also proper starting from a Right-Hand Ocean Wave. Examples include Right And Left Thru and Square Thru. In these cases, the dancers have already stepped forward toward the facing dancer and are ready to complete the remaining action of the directed call.

For the sake of dancer comprehension and teaching purposes, it may be necessary initially to have the dancers back up into facing couples, then step back into the wave and complete the call.
While the rule is called the Ocean Wave Rule, it is generalized to include Mini-Wave (Facing Dancers) and Tidal Wave (Facing Lines), etc. Examples include Pass Thru, Slide Thru, Box The Gnat, and Double Pass Thru (from a Right-Hand 1/4 Tag), and Pass To The Center (from Right-Hand Ocean Waves).

In order for the Ocean Wave Rule to apply, the initial dance action of the call must start with a Box The Gnat, Pass Thru, or Right Pull By. In addition, the call must not be defined to have a different dance action from an Ocean Wave. For example, the call Circulate is defined from Eight Chain Thru and from Ocean Waves. It would be improper to call Circulate from Ocean Waves and expect dancers to dance it as a Step Thru based on the Ocean Wave Rule because they would naturally apply the definition of Circulate from Ocean Waves.

The following mixed Mini-Wave and Facing Dancer starting formation, while unusual, is also proper:

The adjustment that is part of the Ocean Wave Rule does not change the effect of the call. It neither adds nor subtracts parts or changes the use of fractions. It is as if any dancer in a mini-wave had first stepped back into facing dancers and then all did the call. For example, from a Right-Hand Mini-Wave Dosado ends in Facing Dancers, not in a Right-Hand Mini-Wave.

The Ocean Wave Rule also applies to calls that normally start from Facing Couples when the dancers are in a Left Hand Ocean Wave. In these cases, the caller must direct a left hand call (e.g., Left Square Thru). See “Additional Detail: Commands: Extensions like Reverse Wheel Around”.

When half of the dancers are in a Mini-Wave, and the other half of the dancers are Facing Dancers, and the call is a 2-dancer call (e.g., Box The Gnat, Slide Thru, Pass Thru) the caller should make clear who is to do the call (e.g., Everyone or Those Facing).

Timing: Application of the Ocean Wave Rule does not change the timing of the call.

Squared Set Convention

Calls that are defined as starting from Facing Dancers or Facing Couples are also proper starting from a Squared Set. The caller must identify which pair of couples is active (e.g., Heads, Boys).
The active dancers move forward into the center of the set and execute the call. If they end facing the same walls as the inactive dancers, they will remain in the center (e.g., Heads Square Thru 4, Heads Star Thru, Heads Touch 1/4).

If the call ends with the active dancers not facing the same walls as the inactive dancers, then the active dancers end back on Squared Set spots unless there is clear reason to remain in the center. (E.g., Dancers should return to Squared Set spots for Head Ladies Chain, Heads Right and Left Thru, Heads Pass Thru, or Heads Square Thru 3.)

Because of the ending handhold, on the call Heads Box The Gnat, the Heads remain in the center and take the next call. Usually the exact ending position is obvious from the next call (e.g., Heads Right And Left Thru, Sides Right and Left Thru), or doesn’t matter because the next call continues the dance action (e.g., Heads Pass Thru, Separate, Around 1 To A Line).

Some callers who want the active dancers to remain in the center precede the call with a “Heads Move In”, “Heads Move Forward”, or “Heads Move Into The Center”. For example, “Heads Move In and Square Thru 3” would have the Heads remain in the center instead of returning to Squared Set spots.

Timing: Moving into the center adds 2 beats to the timing for the move.

Note that the time needed to move out of the middle will often be blended into the final portion of the call (as in Right and Left Thru, during the Courtesy Turn) or be overlapped with the start of the following call (as in Heads Right and Left Thru, Sides Right and Left Thru).

Circle Rule

From an Infacing Circle Of 8, if the caller names two adjacent dancers and their opposites and gives a call that starts from Facing Couples, the dancers dance the call as if the circle has been changed into a Squared Set, and follow the Squared Set Convention. Examples:

From a Squared Set: Join Hands, Circle Left; Heads Up To The Middle And Back; Heads Square Thru 4.

From a Squared Set: Heads Half Sashay; All Circle Left; 4 Boys Spin The Top.

Ways Of Naming Dancers

There are several ways to identify dancers in a square. See “Additional Detail: Dance Action: What does naming a dancer mean?”.

Partner / Corner

Command examples:
Face Your Partner; Dosado
Face Your Corner; Allemande Left
Circle Left; Swing Your Partner
4 Ladies Promenade Inside; Swing Your Partner

Description: From a Squared Set of Normal Couples, each dancer’s Partner is the adjacent dancer, and each dancer’s Corner is the next dancer “around the nearest corner of the square” from them.

From a Couple, or Mini-Wave, each dancer is the other’s Partner.

From an Infacing Circle Of 8 of alternating men and women, the man’s Partner is the next dancer counterclockwise around the circle from him and the corner is clockwise around the circle. For the women, the Partner is clockwise around the circle and the Corner is counterclockwise.

Partners and Corners may change throughout the dance, especially during the singing call. Each Allemande Left, Swing, or Promenade establishes a new Current Partner. Your Original Partner remains the dancer with whom you initially joined the square.

Comments: In “4 Ladies Promenade Inside; Swing Your Partner”, Partner refers to the dancer who was your partner just prior to the call.

For the purposes of resolving the square (i.e., getting dancers back to their original partners and corners) it may be useful for callers to consider the man’s corner as the next woman clockwise around the square (after adjusting Ocean Waves back to Facing Couples, having everyone face the center of the set, and blending into an Infacing Circle Of 8). This will make the man’s partner (the person the man would promenade after an Allemande Left) be the next woman counterclockwise from him, after adjustments.

Heads / Sides

Command examples:
Heads Right and Left Thru
Head Ladies Chain
Sides Wheel Around
Sides Trade
Original Heads
Those In The Head Position

Description: From a Squared Set, at the start of the tip, the Heads are the two opposing couples who are facing toward or away from the caller. The Sides are the two opposing couples who are standing perpendicular to the caller.

Dancers retain their Head or Side identity established when they first squared up. That is, “Heads” means “Original Heads”. Examples include Heads Run, Heads Trade, Sides Pass Thru, Sides Fold.

In a squared set, when the original Sides are standing in the Heads position, the caller must explicitly designate “Original Heads” or “Those In The Head Position” because simply saying “Heads” could mean either of these. Similarly for “Sides”.

In a squared set, when a mixture of Heads and Sides occupies the Heads position, the caller should explicitly designate “Head Man And The Girl With You” or “Those In The Head Position” because simply saying “Heads” could mean either of these. Similarly for “Sides”.

When a Head Man is promenading with a Side Woman, the term “Heads” means “Head Boy And The Girl With You” (e.g., Heads Wheel Around). Similarly for “Sides”.

The figure portion of singing calls almost always causes each woman to progress to a new man. Once this has happened, she temporarily takes on the Head/Side identity and home position of that man.

Some areas “rotate” or “stir the bucket” (i.e., rotate the square 90 degrees to the right so everyone has a new home position) before the singing call. This can be done by the caller as part of his last patter sequence, or by the dancers before the singing calls starts. Either way, the dancers reestablish new Heads and Sides for the singing call.

Couple #1, #2, #3, #4

Command examples:
Couples 1 and 3 make a Right Hand Star
1 and 3 Lead Out To The Right
Couple 1 Split Couple 3, Round one to a line

Description: From a Squared Set, at the start of the tip, the couple whose back is to the caller is Couple #1. The couple to their right is Couple #2, and so on.

Dancers retain their couple number as established when they first squared up.

The figure portion of singing calls almost always causes each woman to progress to a new man. Once this has happened, she temporarily takes on the couple number and home position of that man.

Comments: The phrases “Couples 1 And 3” and “1 And 3” mean the same thing as “Heads”.

Modern choreography has moved away from using couple numbers to identify dancers. See Heads / Sides (above).

Boys / Girls

Command examples:
Boys Run
Girls Trade
Men Circulate; Ladies Trade
Cloverleaf; Ladies Lead Dixie Style to a Wave
All 4 Ladies Chain

Description: The Boys are those dancers who initially squared up as the left-side dancers of each couple. The Girls are those dancers who initially squared up as the right-side dancers of each couple. The terms Men, Gents, Gentlemen, and Guys are synonymous with Boys. The terms Women, Ladies, and Gals are synonymous with Girls.

Comments: No matter the actual genders of the dancers, those who initially squared up on the left-side of each couple will play the role of Boys; right-side dancers will play the role of Girls.

Some callers emphasize that in square dancing the commands are all given to the Boys. They say that the Girls have to pay attention and do the opposite action. In modern teaching, choreography, and patter that statement is misleading and generally not true. Most of the calls are defined without reference to gender. Most of the commands are given to all the active dancers. Callers should teach and call in a way that doesn’t perpetuate this myth.

Centers / Ends

Command examples:
Each Side, Centers Trade
On Your Own Side, Centers Trade
Centers Of Each Side, Pass Thru
Center 4, Walk And Dodge
Ends Fold

Description: Dancers near the center of the square (or formation) are called centers. Dancers on the outside of the square (or formation) are called Ends. The identification of Centers or Ends is independent of facing direction.

Centers (“C”) and Ends (“E”) of some common formations:

With 8 dancers, there are several possibilities, depending on the formation:

The caller should use “Each Side, Centers” or “Center 4” in order to avoid the ambiguity present with the term “Centers” from a 1×8 Formation.

The following are encountered less frequently, or are referred to in the definitions:

Leaders / Trailers

An understanding of Leaders and Trailers is important, as they are used to define calls (e.g., Cloverleaf) and teach calls (e.g., Zoom). Also, these terms are used by some callers during a dance (e.g., Leaders Trade).

Command Examples:
Double Pass Thru; Leaders Trade
Lines Forward And Back; Pass Thru; Tag The Line; Leaders U-Turn Back

Description: In any box-type formation (e.g., box circulate, tandem couples), those facing out of the box are Leaders and those facing into the box are Trailers.

In other 2-dancer formations (e.g., a tandem, facing dancers, back-to-back dancers), those facing directly away from the center of the 2-dancer formation are Leaders, and those facing directly toward the center of the formation are Trailers. Anyone else is neither a Leader nor a Trailer.

In the diagrams below, the dancers marked “L” are Leaders and the dancers marked “T” are Trailers.

Comments: At Mainstream, the use of Leaders and Trailers is usually restricted to tandem couples or tandem dancers.

Often there is more than one option for designating active dancers. Even though “Leaders/Trailers” may be correct, the more commonly used “Boys/Girls”, “Centers/Ends”, “First/Next” might be a better choice for dancer success.

Mainstream Program

Each call definition contains eight parts.

1. Name of the call. This is how the call is listed on the dance program. Usually this is also how the call is called.

2. Starting formation. Except when impractical, all of the common starting formations are listed. In rare cases, the word “only” appears indicating that only the listed starting formations and no others are to be used. All the formations used in these definitions are defined in the “Formations” appendix. Further commentary on starting formations can be found in “Additional Detail: Starting Formations”.

3. Command examples. Many of the common phrases used to “call” this call are listed. The simplest or most common is listed first. Some of the command examples include patter and/or helping words. See “Additional Detail: Commands: Extra words”.

4. Dance action. A description of how to do the call either in English words, other calls, or a combination of both. Complex calls are described sequentially, part by part. The descriptions are written to work from all of the starting formations listed. They try to capture in words the essence of the call. See “Appendix B: Descriptive Terminology” and “Additional Detail: Dance action: Definitional Precision”.

5. Ending formation. The ending formations are given so that the reader can double check his understanding of the call. All the formations used in these definitions are defined in the “Formations” appendix.

6. Timing. While executing each call, the dancers should take one step for each beat of music. The number of steps (or beats) as determined by the Timing committee is given for each of the calls. See “Additional Detail: Timing”.

7. Styling. The recommended styling, including arm position, handholds, and skirt work, is given. See “Additional Detail: Styling” for more detail and definitions of the terms used.

8. Comments. Important information, clarification, exceptions, and usages are contained in this section.