Squares from Northern Junket
By Volume:
Alphabetically:
Ralph Page published 165 issues of the magazine “Northern Junket” for 35 years, from 1949 to 1984.
You can see links to scans of these at scholars.
There is also an index to all issues of Northern Junket at scholars.unh.edu/cgi/
The magazine is wide-ranging, including recipes, traditional customs, reminiscences, Ralph's opinions, Folk songs, Contra, Square and International dances — you'll even find Playford's “Geud Man of Ballangigh” in Volume 4 Number 11.
In the final issue, Ralph explains:
Northern Junket began like this. It was late winter of 1949 when, at one of the Tuesday night Y.M. square dances, Joe Blundon and Gil Daniels, students at Harvard Law School and M.I.T. respectively, came running up to me saying “Ralph, you've GOT to start a square dance magazine. We'll help!”It sounded like a good idea and aftier thinking it over a few days decided that they were right.
How naive can one be? I had never cut a stencil in my life — never seen one in fact! Had never ran a mimeograph. But fools rush in you know.
At first there was the idea that it could be a monthly. It didn't take long to get over that hope because I was working four or five nights a week, frequently not getting home until 5:30 a.m. That doesn't leave much time for writing.
From the very first issue I was determined that it would be done as a hobby and the issues printed as often as my dance schedule permitted. It still is a hobby. Because of that I can say what I like in its pages, especially in “TAKE IT OR LEAVE IT” without fear of losing the account of a big advertiser. If dancing is indeed a hobby then why aren't there more dance magazines operated as a hobby?
I've extracted the squares and published them here. I'm giving the original wording followed in some cases by my comments and the way I would write it out. No doubt I've made some mistakes, so please Contact me if you disagree with anything here — I haven't called most of these squares! I'm also giving music links for most of the dances which have a specified non-copyright tune — just click the treble clef icon next to the dance title. These are traditional tunes so I'm not guaranteeing that they're exactly the versions that Ralph Page used (except for those where he actually gave the musical notation), but they're here and they're chorded — you can see them, hear them and print them out.
While working on Volume 2 I discovered that all the issues have also been stored on the Internet Archive, including a scanned text version. This greatly reduced my typing, though the scanning software made lots of mistakes, including such interesting instructions as “chain your lady to the loft”, “forward and hack”, etc. See: archive.org/search.
Read more about Ralph Page on my “What is a Dancing Master?” page. And for more about traditional squares, see squaredancehistory.org. In fact this has an index at squaredancehistory.
You can also read the book “History of Square Dancing” by Samuel Foster Damon, published in 1957 and now available on the Internet Archive — well worth a read.
Chris Page has a page showing his appreciation of Northern Junket, somewhat from the viewpoint of contra dancing, with links at chrispagecontra.awardspace.
It's interesting to realise that most callers seem to be using recorded music in those days: there are frequent references to particular recordings. In fact in Volume 10 Number 4 there's a long article which starts,
To a young or new square dance caller finding himself face to face with a live band for the first time, is a traumatic experience. Here are a few hints, suggestions, etc. that may help to make it an enjoyable experience to be remembered with joy instead of a disaster you'd like to forget.
On the other hand, for “Avalon” Ralph gives the recording and adds “(slowed down a bit)”, so their gear wasn't as primitive as you might think. I've also learnt that the way I call squares is known as “Quadrille style” whereas the way they are presented in these magazines, with solid calling and lots of meaningless (or at least unnecessary) verbiage is “Square dance style”. I learnt this from one of the tapes uploaded to the Internet Archive by Tony Parkes at +1989/
When I announced the creation of this page on the Traditional Dance Callers' List, Tony Parkes said:
Sounds like a monumental task, Colin. More power to you — we need all the easily accessible sources of good squares that we can put in place.
and Amy Cann said:
How neat! I have a few early copies I picked up as spares at Ralph Page weekend and they make for fascinating reading.Also, I had to explain to a twenty-something the other day why they were “purple”, which was fun.
They totally didn't believe me about sniffing fresh mimeographs.
So here are well over 200 squares as Ralph published them, some of which I've also written out in my own words, and a few of which I can't make sense of. They vary from the very simple to the very complicated, and in style from the earlier quadrilles to traditional American and sometimes to Modern Western Square Dance (MWSD). There's still a lot of life in these squares, and I encourage callers to try some of them out.
Buffalo Gals 
From Northern Junket Vol. 1, No. 1, April 1949. Original wording on page 17 Internet ArchiveSuggested music: Buffalo Gals
Use any introduction you wish, then -
Head lady lead up to the right
Turn that gent by the right hand around
Back to your partner and left hand around
Lady in the center and seven hands around
Lady comes out with a corner swing
Do the same all round the ring
Leave her alone and swing your own
First gent out to the lady on the right
Turn that lady by the right hand around
Back to your own and the left hand around
Swing her in the center and six hands around
Break that ring and shake 'er down
Do si do with your corners all
Do the same with your own little doll
Allemande left with your corners all
And swing your partners around the hall
Next lady and gent do the same changes, then
Every gentleman lead to the right
Swing that lady with all your might
Now that lady across from you, you swing her and she'll swing you
Now swing that lady on your left, swing her round and round to the west
Now swing your own that you swing best
All promenade around the ring
Next two couples do the same changes in turn then repeat the chorus figure for an ending
The calls would seem to explain themselves, but there may be some question about the “shake 'er down” business. It takes but six bars of music to go six hands around the couple swinging in the center; the call is given on the seventh and eighth bars of the strain, as the dancers are straightening themselves out from the six hands around. Everybody faces partner, and on the last measure all do clog steps in place.
Three Hand Star
From Northern Junket Vol. 1, No. 2, May 1949. Original wording on page 17 Internet ArchiveRalph PageEvery caller will relate to that last paragraph! When Ralph refers to the head couple he means the first couple. I haven't tried this version, but it seems awkward for the first gent to go from a right-hand star with the fours to a right-hand star with the threes, so here's the version I learnt from Bernard Chalk.
Suggested music: Wi' a Hundred Pipers an' a', an a'
Any introduction you wish, then
Head couple swing inside the ring,
Head lady goes right, head gent goes left,
And make two three hand stars with side couples
(1st lady & 2nd couple join right hands and circle once around; 1st gent & 4th couple join left hands and circle once around)
The other hand back the way you are,
Meet in the center and go on to the next
And make a four hand right hand cross
Then allemande left your corners all
Grand right and left a half way round
Promenade her when you meet, you promenade her home.
Other couples do same figures in turn.
Before starting the call, it helps to have every one take a good look at their corners, for the allemande left is done with your original corners. There are always a few lost souls who can gaze at their corners till doomsday and not recognise them when the time comes to allemande left. But don't get discouraged. 'Twas ever thus.
| A1: | Ones lead across, split the ring, separate, round the outside back home. |
| A2: | Ones cross over: right-hand star with the opposite side couple. Cross back: left-hand star with the other side couple. |
| B1: | Ones right-hand star with the threes. All allemande left corner. |
| B2: | Do-si-do partner. Swing. |
If you want to make it more challenging, you can do:
Break, Figure for Ones, Twos, Break, Figure for Threes, Fours, Break, Figure for Heads, Figure for Sides, Break.
Tony Parkes said:
I just looked at your transcription and Ralph's original notes on Three Hand Star. I think Ralph may have been sleep-deprived when he typed that one out. I've danced it and called it in several versions, and both of the three-hand stars at the beginning were always with right hands, then back with the left.
The Crooked Stovepipe (1)
From Northern Junket Vol. 1, No. 3, June 1949. Original wording on page 18 Internet ArchiveAny introduction you want provided you use the tune once through; thirty-two measures. Then:
The head two ladies forward and back
Forward again and the two girls swing
Six hands around them in a great big ring
Break that ring and swing your own, everybody swing
Allemande left your corners
A right hand round your own
You do si do your corners
And do si do your own
You've got time to swing your own alone
Swing her once or twice
Do the same changes for the two side girls also the two head men, and the two side men
This is how I would fit it into 32 bars.
| A1: | Head ladies forward and back. Head ladies swing in the middle and immediately the other six start to circle left around them. |
| A2: | Finish the circle left. All swing partner. |
| B1: | Allemande left corner, allemande right partner, do-si-do corner. |
| B2: | Do-si-do partner. Swing. |
Crooked Stovepipe is in my new book, with two call charts and a few miscellaneous comments.
Read about Tony's new book: Square Dance Calling: An Old Art for a New Century which is now available.
Since I wrote this, David Millstone has sent me a link to Duke Miller calling this: configular.com/duke/tunes/
Girl I Left Behind Me (1)
From Northern Junket Vol. 1, No. 4, July 1949. Original wording on page 16 Internet ArchiveAdirondack versionFor those more familiar with a skaters' hold, New England promenade position is where the man's right hand is on the woman's right hand on her waist, as in a courtesy turn at the end of a ladies chain.Contributed by “Duke” Miller, Gloversville, N.Y.
Although description is long, the dance is fast, taking about six minutes to do the whole dance.
Introduction Allow music to run 4 bars 4 Bow to your partners one and all 2 And to your corner la-a-a-ady. 2 The Break Allemande left the left hand girl Touch right hands with your partner Allemande left that right hand girl 8 Come back and promenade your own (promenade takes 8 more bars) 8 The Figure First old couple lead to the right 2 And balance there so kindly 2 Walk right through and balance again 2 And swing the one behind you 2 Long swing 8 Take that new girl to the next And balance etc. etc. 8 Long swing 8 Note — at this point each man should be home with a new girl. Now insert the complete break including the promenade. Second couple now does the figure and the break and as the promenade starts, immediately call: Spin her back and walk the next She walks with the man behind her Spin her back and walk the next She walks with the man behind her 16 Spin her back and walk the next or She walks with the man behind her 24 Spin her back you have your own if not So promenade that lady home home in position Third couple same as the first, Fourth couple same as the second.
The call “spin her back” etc. should be done from New England promenade position as follows:
Raise left hands high, as left feet hit the floor the man exerts a sharp pull with his right hand on girl's waist. This causes the girl to spin once in place. At the same time the man keeps moving ahead and the next girl ahead of him should drop onto his right arm in promenade position.
“Walk through and balance again” - girls go thru on inside, and this balance is back to back with that couple. Thus, when they balance, the first man and second lady are back to back; likewise first lady and second gent are back to back.
21st century contra dancers will want to take hands with someone and balance forward and back, but that's not what they did in 1949. In fact in the May 1955 issue of Northern Junket, Dr. Ralph A. Piper wrote an article entitled “50 variations of the balance”, and his first variation is: Step on the right foot, point the toe of the left foot in front of right; repeat to the left“ which is a setting step as you might find in English or Scottish dances. He points out that: ”The term balance superseded the term “setting” to partners or corners. So the first time you're setting to your opposite, then pass through right shoulder, and the second setting is to nobody: Miller makes that very clear.
Wait For The Wagon
From Northern Junket Vol. 1, No. 5, August 1949. Original wording on page 10 Internet ArchiveA singing call
Repeat first 8 measures of music. Do NOT repeat the second eight measures. This is a 24 measure call.
Introduction
Honor to your partner, the one you love the best
Honor to your corner, the one who's from the West.
Swing your partners one and all, the handsomest girl in the hall.
Promenade your partner, keep a smile upon your face,
While you wait for the wagon, walk around to place.
The Dance:
The head two step inside the ring (1st couple)
Balance there and swing.
The lady steps out to the right
The gent goes to the left.
Go between the two side couples,
Join hands and forward six,
Six fall back on the same old track,
And the head two in again.
They balance in the middle,
Then swing around once more,
Swing her if you love
Up off the old pine floor.
Then balance to the opposite two,
Be careful what you do,
You right and left right over
And you right and left right home.
When you're in your places,
You balance all and swing,
Take the ladies with you, and promenade the ring.
Promenade with your partners, never more to roam,
While you wait for the wagon
You can promenade her home.
[Virtually the same wording for the 2nd couple which I'm not going to type out again.]
(Other two couples do the same changes in turn The third couple going between the two side couples, and the fourth couple going between the head two couples. Use any ending you wish.)
Swing Two Ladies
From Northern Junket Vol. 1, No. 6, October1949. Original wording on page 14 Internet ArchiveTony Parkes said:
Ralph Page
Music: Any Irish jig. I like to use “The Low Backed Car”
Use any introduction you wish, then:
Join your hands and forward all
Forward again for the good of the hall
The head two men take two girls home.
(Their corners as well as their partners. Thus the two head men have their partner at their right and their corner girl beside them at their left. The two side men stand in place alone.)
Head gents turn partner with right hand around
Their corner lady with the left hand around
They put their arms round both girls' waists
And swing them both around in place.
Open it up in a circle of three
And three hands around you go
Pop the corner lady under
Everybody swing and don't you blunder
And all promenade around the ring.
The figure is repeated for the side gents. It may also be done for but one man at a time. It all depends on how the caller is feeling or how much time he has for the figure.
In the swing two ladies figure, it is a lot safer if the two girls join their free hands. The figure should be done clockwise, and for goodness' sake men, hold on tight.
Swing Two Ladies is also in my new book. I hadn't looked at Ralph's notes in a long time; I had forgotten that he envisioned the key move as a line of three going round, with or without the ladies' hands joined. Ted Sannella and I always taught it as a basket of three.
You can hear Ralph Page calling the dance at squaredancehistory.
Battle Hymn of the Republic
From Northern Junket Vol. 1, No. 7, November 1949. Original wording on page 16 Internet ArchiveSinging Call contributed by “Duke” Miller, Gloversville, NY.
Verse:
Bow to your partners one and all
And to your corners all
Join your hands and circle eight
Go eight hands around
The other way back, you're going wrong
Back to places all
Yes, back to places all.
Chorus:
Do-si-do with your corners do-si-do
Do-si-do with your partners do-si-do
Allemande left with your corners
Come back and you swing your own.
Figure:
Verse:
The head couple promenade the outside of the ring,
All the rest will follow round and listen while I sing.
Come up through the center and stand four in line
Salute your partners all.
Verse:
Head couple do-si-do your partner do-si-do
Next couple elbow swing, your partner elbow swing,
Third couple do-si-do your partner do-si-do
And the last ones elbow swing.
Chorus:
Now everybody forward and everybody back
Once again and pass 'em through and meet 'em coming back
You swing her when you meet her
You swing her round and round
You swing to places all.
Repeat figure with 2nd, 3rd, & 4th couples leading in turn.
Conclusion:
Verse:
Allemande your corner and grand right and left
Your own with the right, the next with the left
When you meet your partner - there you reverse
Hurry back the other way cause you are getting worse.
Chorus:
Swing your own when you get home
You swing her round and round
And after you have swung her, you promenade to town
Thank your partner kindly, that is all.
Note: When couple #2 or 4 leads up through the center the lines go cross-wise of the hall.
“Duke” Miller is Athletic Director of the high school in Gloversville, Hew York. This is one of many square dance calls he has collected from that vicinity and northern York state. He tells us that he never heard but one elderly man use this call as given here. Duke was kind enough to take us out to dinner one night last summer and over our second cup of coffee sang this dance for its.
Duke is doing a grand job with his own high school group, and various PTA meetings around his section of the state. Sometime we hope to needle him into contributing an article about his work out there in New York state.
Old Joe Clark
From Northern Junket Vol. 1, No. 8, December 1949. Original wording on page 12 (actually page 58 in the PDF) Internet ArchiveThe DanceThat was a lot to type — for Ralph and now for me! It's interesting that towards the end he says “grand right and left” which is the American term, and follows it immediately with “grand chain” which is the term used in the quadrilles and still the term we use in England and Scotland today (2021).
Introduction
Join your hands and all around,
Eight hands once around,
Guess you've got the rhrumatiz,
Don't believe you'll ever get round.
Break and swing your partners all,
Exactly as I say,
Swing your ladies everyone
Before they run away.
Figure
The first couple promenade
The outside of the ring,
Take your steps in double time,
You haven't time to sing.
Balance corners round the hall,
You balance one and all,
Swing your partners round and round,
Swing her to the wall,
Right arm to your partner, boys,
And grand allemande,
Reel your own girl once around,
And pass on to the next.
Meet that girl with a left arm whirl,
Then pass on to the next,
Give that girl your good right arm,
And reel just once around.
Now the next one by the left,
By the left arm reel,
Here's your own ahead of you,
Reel her by the right,
Pass right by, say good-bye,
See you tomorrow night.
Reel the ladies all around,
But don't you hug 'em tight,
First the right and then the left,
You allemande right on,
What'll we do for pork and beans
When Joe Clark's dead and gone?
Reel, reel, everybody reel,
Until you all get home.
When you're home, stand in place
With a big smile on your face.
*
Next two promenade around
The outside of the set,
You haven't time to say good-bye,
But do not sigh or fret.
Promenade everyone, promenade the hall,
Walk around with Old Joe Clark,
He ain't been here since fall.
All join hands and circle eight
Around Old Joe Clark's gate,
If you stop to spark the girls
You won't get home 'til late.
Swing your partners all around,
Swing 'em night and day,
Swing hard with Old Joe Clark,
He ain't got long to stay.
*
Third couple promenade around the outside,
Don't know why she married you,
She's such a handsome bride.
Balance once to your corners all,
Balance all around, swing your partners everyone,
Swing 'em up and down,
All promenade with Old Joe Clark,
Promenade I say.
Don't marry a man with whiskers on
They're always in the way.
Promenade the other way, the other way around,
Walk along with Old Joe Clark
The other way down town.
*
Last couple take a promenade
Around the outside,
hurry right along to place,
With your lady by your side.
All join hands and circle eight,
Until you all get straight.
When you're home you swing all out,
Swing your partner inside out.
Swing your honey and swing your beau,
Swing 'em fast, swing 'em slow.
Then step right back and make a bow
To your partners all.
*
Ending
Right hand to your partners now,
And grand right and left,
Grand chain half the way,
And promenade back home.
Promenade Old Joe Clark, promenade I say,
Promenade with Old Joe Clark,
As you've done many a day.
Promenade around the hall
With your lady right beside yer,
Thank the fiddlers one and all,
And I'll take a glass of cider.
There it is friends, exactly the way we used to call it a few years ago. Word for word. The calls explain themselves. The grand allemande is known in some sections of the country as the “once and a half”. Call it what you've a mind to. But keep reeling once around with everyone you meet completely round the set.
Honest John Part One
From Northern Junket Vol. 1, No. 9, January 1950. Original wording on page 14 Internet ArchiveThe first couple out to the right
And balance with the two,
Join your hands and circle to the left
And then here's what you do.
You chassez by, address your opposite
Chassez back, address your own
Then right and left the way you are-
Ar-r-re, ar-r-re.
Right and left back to place
And the ladies grand chain.
All promenade your partners.
Other couples do the same changes in turn.
The Dance
First couple walk to their right, stopping in front of the second couple. Both couples balance with each other, by taking two short steps toward each other and two short steps back. They then join hands and go four hands around once. Release hands. The first couple should be about in the middle of the set, with their backs to fourth couple. Couples 1 & 2 chassez by partners with four short walking steps, gents to their right, ladies to their left, ladies passing in front of partners. The two men now bow to the opposite ladies (man 1 bows to 2nd lady, man 2 bows to 1st lady) who curtsey to them. Repeat the figure in opposite direction, bow and curtsey to own partners. Couples 1 & 2 do regular right and left figure, over and back. Then all four ladies do grand chain: 1st & 3rd ladies join right hands, 2nd and 4th ladies do the same. This makes a star. In this position ladies walk to their own left half around the set to opposite man. Ladies release their right hand star, give left hand to that opposite man who takes the lady's left in his left and turns her once around, counter clockwise as in regular ladies chain; ladies now step to center of the set, join right hands once more in a star and circle to own left half way round the set to own partner, release right hand star, give left hand to partner who turns them once around as in regular ladies chain. All promenade partners once around the set. The other couples do same figure in their turn.
This is the short way of doing the dance. Originally, each couple visited every other couple in the set doing the same figure with all of them in turn. This made a very long dance out of the first part of Honest John, and it was gradually shortened; first by omitting the promenade around the set, and then by having each couple do the figure with the couple on their right. We saw this dance done this short way at the Vermont Country Dance Festival, Plainfield, eight or nine years ago, The tune and calls are exactly as the group from West Newbury danced them. The caller was Charles DuBois, now of Amherst, Mass. Later, we obtained the same version from Mr. Brummer, Swiftwater, N.H.
Mr Brunner wrote that Honest John was always danced in his town, for the first dance after intermission. And that all the dancers on the floor joined the caller in singing the figure “chassez by, address your opposite, chassez back, address your own. Right and left the way you ar-re, ar-r-re, right and left back to place and all four ladies chain”. Try it this way, you will get a big kick out of it and the dance will mean a lot more to you.
Honest John was originated by the Van Orman family who once lived in Newbury, Vermont. It is known to be at least 75 years old and is probably nearer 100. The Van Ormans were a large and very musical family, who came to eastern Vermont from New York State. Many of the family are yet living in Vermont, and they are a musical family to this very date.
A beautifully clear and detailed description of the dance — would that John Playford had done the same! This time the balance is specified as forward and back, so that may have been the way it was done in “Girl I Left Behind Me” — but again, no taking hands. Notice that it's an open ladies chain, not a courtesy turn with an arm round the waist. The dance is clearly descended from the 19th century quadrille — Mr Brummer dates it to probably around 1850. If you don't know about quadrilles and think this sort of square is a purely American invention, you need to learn more about its background! See for instance my page on Connections.
In earlier times the chassez would have been a sideways slip-step rather than a walk, known by the French title of chassé-croisé and used for instance in “La Russe”.
I've given the melody as Ralph Page notated it, except for one bar where I think he put three notes too low (a mistake I've made many times) and I've added chords. It's strongly related to “Brighton Camp / The Girl I Left Behind Me” but with an extra section in the middle.
Tony Parkes says:
I agree with you about the three wrong notes in Ralph's score. In addition, I think the quaver just before the last D7 chord should be a G, not an F#.It does look as if an open left-hand turn is being described in the ladies' grand chain. However, it says “as in regular ladies chain”; we'd have to know how that was done in that community to be sure. I wonder how the right and left was done; there's no description.
I danced this to Dudley Laufman's calling in 1965 or 1966. Dud called it just as it's given here except that he said “Everybody swing” instead of the ladies' grand chain. Yes, he called for a 16-count swing.
I've now changed the note that Tony queried. The tune is 40 bars with no repeats, and the words fit the tune, the second line with its slow notes for “You chassez by — — address your opposite. Chassez back — — address your own”.
| A: | First couple out to the right to face second couple (4 steps); both couples balance forward and back. Circle left. |
| B: | Walk past partner, ladies in front; bow/curtsey to opposite. Walk past partner, again ladies in front; bow/curtsey to partner. |
| C: | Right and left through, and back, first couple finishing home. |
| D: | All four ladies chain across and back (with an open left-hand turn). |
| E: | Promenade. |
You can see the dance called by Adam Boyce in 2010 at squaredancehistory.They then join hands
but it seems natural to me (from a 21st century perspective) to join hands in a ring before the balance. You can also read a collection of newspaper cuttings from the 1950's at squaredancehistory.
Honest John Part Two
From Northern Junket Vol. 1, No. 10, February 1950. Original wording on page 17 Internet ArchiveThe first two give right hands aroundThis is also clearly derived from the Quadrille. It's a mixture of figures 3 and 1 of The Plain Quadrille, with a swing and an ending added to make it American. No connection with the previous dance except that I assume it was traditionally danced as a set with Part One. I've set it as Ralph wrote it except that I'm sure he meant B rather than C in bar 24. Tony Parkes says:
Keep your steps in time
Left hand back the other way
And balance four in line.
SWING (usually, but not always, spoken)
The head two ladies chain.
Head two couples half promenade
And half right and left to place.
The next two give right hands around
Keep your steps in time
Left hand back the other way
And balance four in line.
SWING (usually, but not always, spoken)
The side two ladies chain.
Side two couples half promenade
And half right and left to place.
Repeat same changes for other couples
an ending
Allemande left your corner girl
A right hand round your own
You do si do your corner lady
And promenade your own.
The Dance
The first lady and third gent step to the center of set, join right hands and walk once around; releasing right hands they join their left hands and walk back the other way. They keep hold of left hands, join right hands with partner and balance that way four in line. This balance step is a short step forward and one short step back. All swing partners. Couples 1 & 3 do a regular ladies chain. Same two couples promenade across the set, turning around in the opposites couples place and do a right and left home to place.
Then the second lady and fourth gent give right hands once around, etc. Side two couples ladies chain, half promenade and half right and left to place. Other couples do similar figures in turn.
The names of the tunes are not given, but in a narrative account of a kitchen junket in another issue of NJ, Ralph identified the first tune as “I Can't Untie the Knot” (granted the “A” strain sounds a lot like “Boil Dem Cabbage Down”). The second tune is, of course, Old Zip Coon or Turkey in the Straw. No repeats of any of the strains.Here's Ralph calling part 2. The ending uses just the two strains of Can't Untie.
That's so useful! Now you can see exactly how the call fits the music, and the points where there's no call — how would you have known that from reading the magazine? The tempo is123 beats per minute.
| Figure: | |
| A: | First lady and third gent right-hand turn. Back with a left-hand turn, keep hold and give right to partner forming a wave up and down. |
| B: | Balance forward and back once; swing partner for 6 bars, finishing back in the square. |
| C: | Head ladies chain across and back. |
| D: | Heads half promenade (inside the set). Right and left through to place. |
| Ending: | |
| A: | Allemande left corner, allemande right partner, do-si-do corner. |
| B: | Promenade partner. |
Reel of Woodview Dell
From Northern Junket Vol. 1, No. 11, March 1950. Original wording on page 17 Internet ArchiveJulia Dwyer
Music: The Kerry Dance
Right elbow swing with your partner,
Gents move one place to the left and bow to that lady,
Ladies move one place to the left.
All do si do where you are,
All balance there and pass by
To the next and swing that lady and promenade home (original corners ½ round to gent's place)
All left elbow swing new partner,
Ladies move one place to the left and honor,
Then all do si do that lady,
All balance the same and pass by,
Swing next lady and promenade home.
Repeat from beginning until all the ladies are back home.
Vive la Compaigne
From Northern Junket Vol. 1, No. 12, April 1950. Original wording on page 15 Internet Archivefrom Paul HuntI wouldn't have guessed that the promenade was clockwise — in my experience it's always the man on the inside. Presumably that's why it's in capitals.Intro:
Allemande left, as you come down you
Swing your partners all around.
Allemande left with the corner again
And a grand right and left.
Hand over hand around the track,
Keep on going 'til you get back.
All the way boys and girls all the way.
Figure:
First lady go right and the gent to the left
Around the outside you go.
You do si do with the gal of your dreams
You do the do si do.
Take her in your arms and swing
Promenade back home again
Hurry hurry hurry hurry swing your corner girl.
Oh you swing that girl then leave her alone
Go right back and swing your own
Swing that girl till she's out of breath
Now we do the allemande left.
Left hand around your corners all
Promenade your partners all
(Repeat for other three couples in turn. then two head couples at same time, then side two couples, then all four couples.)
The call is self explanatory. But when you promenade after the do si do and swing it is in the direction THE GENT WAS GOING.
Paul Hunt is one of the finest callers in the country. This call is from his forthcoming album on the Michael Herman Folk Dance Series soon to be released. The album is a MUST.
Bachelor's Shack
From Northern Junket Vol. 2, No. 1, June 1950. Original wording on page 17 Internet Archive… Al Brundage of Stepney, Conn. was the next guest caller. Al called “Just Because,” “Marching through Georgia” the version where everyone marches around, and for his third call Al used “Bachelor's Shack” which was something that the dancers were not used to around this section. After lining the ladies up with the side gents the call went like this:
Forward up six and back
Forward up six and the ladies stand there
The gents go back to the bachelor's shack
(Four ladies are standing in the center)
The first gent does:
Right hand round with your right hand lady
(with the # 1 lady)
Left hand round with your left hand lady
(with the # 4 lady)
Right hand round with your right hand lady
(with the # 2 lady)
Left hand round with your left hand lady
(with the # 3 lady)
This brings 1st gent to 3rd gent's place.
Elbow round with your left hand lady
(this leaves # 1 gent in position to--)
Left hand round with your left hand lady
(lady # 2)
Right hand round with your right hand lady
(lady # 3)
Left hand round with your left hand lady
(lady # 1)
Right hand round with your right hand lady
(lady # 4)
Allemande left with your left hand,
dance right into a right and left grand, etc.
Then repeat for other men.
I'm not surprised they were confused! Referring to your partner as “your right hand lady” is surely asking for trouble, especially when the next time it really does mean your right hand lady — and then there are two meanings for “your left hand lady” — first corner, then opposite. I'm wondering if “Elbow round with your left hand lady” should really be “Right elbow round with your opposite man” (which would indeed leave the gent in position for “Left hand round with your left hand lady”), and that's because I know a dance called “The Bachelor Mill” which was published in the book “Advanced Square Dance Figures of the West and Southwest” by Lee Owens, Palo Alto, California: Pacific Books, 1950. That dance is clearly derived from “Bachelor's Shack” though it has both head men leading the figure instead of just one. You can see a facsimile of the book and below is how I call it. I learnt the dance from Bill Litchman who had changed the order in which the men visit the women to make it easier to memorise, but after trying his version a few times I decided I preferred the original. However I like Bill's addition of all four men doing the figure at once — that's great fun (for the caller)!
I can't find Bill's version on the Lloyd Shaw website any more, but it's held on the Internet Archive. In fact you can see Bill calling it in 2011 at squaredancehistory.
Tony Parkes says:
I agree 100 percent that “Elbow round with your left hand lady” is a typo. (There are countless typos in Ralph's dance transcriptions.) Every version of this dance I've seen in print or danced to live calling has the head two gents right elbow swing at this point.I never had any trouble getting people to turn the ladies in the correct order. Once the side gents are out of the way, the ladies are standing in a little square. The active gent simply turns the one on the right, the one on the left, the next one on the right, and the next one on the left.
I learned this figure by dancing it to the calling of Dick Kraus at Columbia University in the 1960s. Dick let me practice calling to his group, one figure a week, for several years. In his book Recreation Leader's Handbook (1955), he says it “has been credited to Ivan Mardis, of Tucson, Arizona.” (Other writers credit it to various other callers.) In the book, Dick ends it with “Four little sisters form a ring, Go once around and then you swing” and “promenade.” At Columbia his ending was a bit more elaborate: Four little sisters form a ring (i.e. ladies circle in the center), do-si-do partner, four gents star right once and a bit to the corner, allemande left, grand right and left halfway, and promenade home.
You can borrow a copy of “Recreation Leader's Handbook” at archive.org/details/
The Bachelor Mill
Dance and call arranged by Jimmy Clossin of El Paso, Texas, from an original dance by George Waudby of Tucson, Arizona.| Heads lead to the right, circle left, head gents go home. | |
| Lines of three forward and back; lone men forward and back. | |
| Lines forward; those men fall back. [All overlapped] | |
| Head men turn partner R, corner L, Right-hand lady R, opposite lady L. Each other R elbow once. | |
| Now reverse it: opposite lady L, right-hand lady R, corner L, partner R. | |
| All balance to partner, allemande left corner, ladies star right. | |
| Men wheel your partner out of the star and promenade one place around the set, wheel around and promenade back again, wheel around and promenade all the way round in the usual direction. | |
| Bill Litchman's addition: After head men and side men have led the figure, all four men lead it — they do a right-hand star rather than a right-elbow turn. |
I tell the head men to point at — and recognise — their partner, their corner, their right-hand lady and their opposite lady, and explain that they'll be turning them in that order and the ladies will be right where they are now. People think I'm being unnecessarily pedantic, but then when I start the walkthrough there's general confusion and someone will say, “Colin, can you go through the order again please?”. Bill Litchman modified the order to make it easier to memorise, but after trying it his way a couple of times I decided I prefer the original version given here.
Hot Time in the Old Town Tonight
From Northern Junket Vol. 2, No. 2, July 1950. Original wording on page 16 Internet ArchiveAs called by Priscilla Darling
Any introduction you wish, then---
First couple balance, and first couple swing
First couple promenade the outside of the ring
When you're home I'll tell you what to do
There'll be a hot time in the old town tonight.
Go down the center two, and four go back (1st & 3)
Down the center four, head two cast off six
When you meet, swing at the head and foot (1 & 3)
There'll be a hot time in the old town tonight.
Go down the center as before, and four go back
Down once more and cast off four,
When you meet, swing at the head and foot
There'll be a hot time in the old town tonight.
Go down the center as before, and four go back
Down the center, and cast off two,
When you meet, it's everybody swing
There'll be a hot time in the old town tonight.
Allemande left, and grand right and left
Half way round, and promenade back home,
Promenade, promenade your own,
Then you bow to your partners one and all.
Other couples do the same in turn
Use any ending you wish
After their opening solo the ones lead across to meet the threes, pull them back till the ones are home, push them till the threes are home, then the ones split the threes, separate, go round the outside back home, and both head couples swing. Lead, pull and push as before, and this time the ones separate and go through the gaps between the threes and a side couple, go around that side couple and both head couples swing at home. Lead, pull and push as before, and this time the ones separate and go through the nearer side couple, go around one person, and everybody swing at home.
Tony Parkes adds:
Granted, this makes for a bit of a snooze fest for the other couples. I've seen a few attempts at livening things up, including a right and left across for the sides after Couple 1's first and second trips through the middle.
This has no connection with the better known singing square (still current in England in the 21st century) which you can see at barndances.
Tony Parkes says:
In the late 1940s and early 1950s there was much less standardization — in general, and specifically in the matter of what figure belonged with what tune in a singing call. Dick Kraus used to call two different figures to Hot Time (depending on the crowd, not together as a medley): the one you link to, with “pick up two” and the allemandes, and also a version of “ladies to the center back to back, gents run around the outside track.” The book “One Hundred and One Singing Calls” (Frank Lyman Jr, 1951) has six transcriptions of figures to this tune, although some are merely slight variations of the others.
Just Because (1)
From Northern Junket Vol. 2, No.3, September 1950. Original wording on page 22 Internet Archiveas called by Duke Miller of Gloversville, N.Y
Introduction
Just everybody bow to your partner
And now to your corner as well
You allemande left and you grand right and left
Half way around to your pal
You re-verse her when you meet your partner
Then right and left back the other way
And when you are home
You will all swing your own
Because, Just Because.
Figure
The head two girls chain over
And chain those ladies home once more
The side two janes will ladies chain
Chain them across the floor
You do si do with your corner
And swing your lady just once around
Then take the corner maid
And all promenade and
You sing Because, Just Because.
Break (following each figure)
You do si do with your corner
Come back and do si do your own
Allemande left with the one on your left
And allemande right with your own
Allemande left - grand right and left
Half way around to your maid
Then you take that maid
And all promenade - sing
Because, Just Because.
Conclusion
The last time through each should have own partner, so for last three lines substitute:
Now you have your own
You promenade her home.
And thank her, that is all.
We think this is one of the best of the so called 'modern numbers '. It is a catchy polka tune and the dancers love to help out the caller on the last line.
Many callers in the country arc associated with a certain tune and dance. Whether they are the originators of that figure or tune is beside the point. The fact remains that they are connected with it. So it is with Duke Miller. After this past summer he will always be thought of in connection with this dance and tune 'Just Because'. It will make him famous. And he will come to hate it, which is one of the prices of fame. He was not the first to call it and he would be the first to tell you so. But he does a beautiful job of calling it, as you will agree once you've danced with him.
I don't know whether the music is still in copyright, so I'm not giving it here.
Go halfway round
From Northern Junket Vol. 2, No.4, October 1950. Original wording on page 16 Internet ArchiveAs called by “Pop” Smith who uses the tune 'MacNamara's Band' for the figure.
Any introduction you wish:
The two head couples separate half way round the ring
The two side couples half right and left to the other side
All swing your partners, swing 'em round and round
Do si do your corners all, your corners do si do
Do si do your partners, your partners do si do
Swing your opposite ladies, swing 'em up & down
Take your corners where you are and promenade the town (to gent's place)
Repeat once more for the head couples.
Repeat twice more for the side couples
or four times in all.
use any ending you wish.
Here's my understanding of the call. A year later Ralph Page published his version which is very similar.
| A1: | Heads separate and go half-way round the outside. Sides right and left through. |
| A2: | All swing partner. Do-si-do corner. |
| B1: | Do-si-do partner. Gents cross over (I suggest like a right-hand star half-way but without hands) and quick swing with opposite lady. [Gents are now home.] |
| B2: | Promenade current corner all the way round, to the gent's home place. |
| Ladies have moved right. Repeat for the heads and then twice for the sides. |
Birdie in the Cage
From Northern Junket Vol. 2, No.5, December 1950. Original wording on page 16 Internet Archive(Northern New England version)
Suggested music: “Reel des Moissionaires”
Here's exactly the way we call it.
Head two couples bow and swing
Right there at the head of the ring
Lead to the right and circle four
Once around and then no more
Lady in the cage, and act your age
Circle three hands once around
Girl steps out, gent steps in
Three hands round you go agin
Gent comes out, gives lady a swing
Up to the next and the same old thing
One with four, three with two
Four hands round that's what you do
Birdie in the cage, circle three
Bird flies out, crow hops in
Three hands round and gone agin
Crow comes out, gives birdie a swing
Home you go, every one swing oh
Swing your partner round in place
With a big smile on your face
Allemande left like sawin' pine
Right hand to partner, walk down the line
When you meet her, promenade eight
Promenade with sister Kate.
Then swing your partners, swing 'em all
Slim ones, fat ones, short or tall.
Side two couples bow and swing
Right there on both sides of the ring
Watch out there! You'll break a toe
Lead to the right and round you go
Birdie in the cage three rails high
You be a preacher and so will I
Hen comes out, rooster hops in
Flap your wings and round agin
Rooster comes out, gives old hen a swing
On to the next and same old thing
Four with three, two with one
Circle four you're not quite done
Gent stays out, lady steps in
Don't forget to go round agin
Birdie comes out, old hawk's in
Join your hands and gone agin
Hawk comes out, gives birdie a swing
Home you go and swing your own
Ain't you lucky the bird ain't flown?
You swing yours, I'll swing mine
Rather swing my girl any old time
Allemande left like swingin' a birch
Grand right and left like catchin' perch
When you meet her, pass right by
Wink at the next as you go by
Kiss the last one on the sly
And swing your partner by and by
Swing ' em men, swing ' em all
They ain't done that since way last fall
Promenade all around the hall
Kiss her quick or not at all.
Tony Parkes says:
The tune Ralph had in mind for Birdie in the Cage was undoubtedly Reel des Moissonneurs (Harvesters' Reel). It appeared under that name on a French-Canadian 78, one of several such discs that were welcomed by New England callers in the 1950s when it was hard to find decent danceable recordings that weren't too fast. It's better known as “Irish-American Reel”. Here's Dudley Laufman's old orchestra playing it: youtube.com/watch?v=Q7gpvyxRVVs
The version I'm giving comes from tunearch.org/wiki/
“Bird in the cage” is a traditional Southern figure from what we in England call Running Set — see round.soc.srcf.net/dances/
Solomon Levi (1)
From Northern Junket Vol. 2, No.6, January 1951. Original wording on page 16 Internet Archiveas called by Dick Best
Music: Solomon Levi
Verse:
The first lady and opposite gent
Lead out to the right
Circle three hands round you go
And hold her good and tight
Break those rings and then you form
Two lines upon the side
The two upon the head around
The outside now will slide.
Chorus:
Half way round and up the center
You meet her there and swing
The other six join hands around
And make a great big ring
A prettier girl, a nicer girl
A sweeter girl is she
Mow break that ring and swing your own
You swing your sweet Marie.
Verse:
The same head lady and opposite gent
Go forward to and fro (forward & back)
Forward again and pass right through
To the opposite side you go
The two ladies chassez the center (across)
The gents promenade (gents promenade across)
The two gents chassez the center (to place)
The ladies promenade (to place)
Chorus:
The same four holding the floor
Swing your partners in place
You've got no money, you've got your honey
So give her a good embrace
Right and left with your right hand couple
And right and left right back
Now right hand to your partners all
A grand chain round the track (grand r & l)
Repeat changes for each couple in turn.
Dick Best is one of the many good young callers working out of Greater Boston. He calls regularly every Thursday night at the YWCA in Cambridge. He is an excellent singer of folk songs too and has delighted New England Folk Festival audiences for many years.This is a singing call which explains itself. We think it is one of [his] finest calls.
I'm afraid doesn't explain itself to me! First off, I have great difficulty setting the words to my version of the tune — maybe there's a very different version of the tune but I haven't found one, and surely in all versions the chorus will start “Oh, Solomon Levi” (or a similar phrase) which doesn't scan with “Half way round and up the center” or “The same four holding the floor”. See for instance the MudCat discussion at mudcat.org/
“First lady and opposite gent” comes from the quadrille (and you see this in “Honest John Part Two”), but normally they would dance a figure with each other, whereas here they're working independently. Here's my understanding of the dance. I've added lines forward and back because I can't see how else to pad out the music — if you have any other ideas please Contact me. The second verse starts like the second figure of The Plain Quadrille: first lady and opposite gent forward and back, and cross over. But the quadrille continues with them crossing back to home place, whereas this has chassées and promenades. That strikes me as similar to a move in “La Russe” where the first couple promenade through the third couple while the third couple cross the set outside them and then the reverse. However in this dance it's the gents promenading through the ladies while the ladies cross the set outside them and then reversing it with the ladies promenading and the men crossing outside them. And then the second half adds “(to place)” which doesn't make sense. It never occurred to me that I would have the same problems interpreting dances from these books that I've met in my Interpretations of dances from the 17th and 18th centuries! I'm going to ignore “to place” and tell the actives to get back to their partners for the swing (which lasts 8 bars, so it's not a rush). Perhaps the line “Swing your partners in place” means that the actives have first to get back to place, and Ralph added the erroneous “(to place)”. Then a right and left through (and back) with the right-hand couple takes 8 bars — but there's no music left for the grand chain! Maybe this is where the chorus of the song at last appears, and people would sing it as they danced. Dick uses the older term “grand chain” and Ralph explains that this means “grand right and left”. All the way round in 8 bars is very busy, but maybe it was understood that the chain is half-way followed by a promenade, so that's what I'm giving here.
| A1: | First lady and third gent move to their own right and circle with that side couple, breaking into lines with the actives on the end near their home position. |
| A2: | Lines of three forward and back. Lone dancers (first gent and third lady) go round the outside (clockwise?) half-way. |
| A3: | Same two meet in the middle and swing while the other six circle left once around them. |
| A4: | Finish the circle and all swing partner at home. |
| A5: | First lady and third gent forward and back. Cross over. |
| A6: | Head gents lead across the set and then turn away from each other while head ladies cross the set outside their partners (but inside the set, not outside the side couples) and turn in. Ladies then lead through the gents and turn out while gents cross the set outside their partners and turn in. |
| A7: | First lady and third gent cross back to their partners, and head couples swing. |
| A8: | Head couples right and left through with the side couple on their right, and back again. |
| B: | (first 8 bars only): Grand chain half-way. Promenade partner home. |
| Repeat with second lady and opposite man, then third, then fourth. |
Tony Parkes says:
First, I agree that the call doesn't explain itself, and I sympathize with your attempts to interpret mid-20th-century dances. I can often discern the author's intention where a less experienced reader couldn't, but this one gives me pause.As to the arrangement of the tune, I feel certain that Dick Best intended it to be played AABA, AABA, AA. (Around 1950, when live music was still the norm everywhere, many callers prescribed peculiar sequences of verse and chorus music for some of their singing calls.) The grand chain is prompted, to be danced (all the way round) to the extra “AA” music. I realize that the words in the first half of each “chorus” don't scan well to the “Oh, Solomon Levi” music, but I have many, many singing-call records from that era on which the caller sings the melody as best he can while the note values of the lyrics differ widely from the original song. I could do this one easily.
But I'm having as much trouble as you did in interpreting the figure. I agree that either Dick or Ralph (or both) appears to have forgotten that two people are across from home in the middle of the second verse. I wish I had another source for this call — often there will be clarifying text in a different book — but I've never seen it anywhere else.
Wearin' o' the green
From Northern Junket Vol. 2, No.7, March 1951. Original wording on page 22 Internet Archivecalled by Corky Calkins of Northampton, Mass.
A singing call to same music
Oh Paddy dear, do you hear?
You lead up to the right,
Balance to that lady there
And swing her nice and light.
Then it's up to the next you go.
And do a three hand swing.
Return now to your partner
And salute the dear old thing,
Allemande left with your corners all
And a right hand to your own,
A grand right and left you go,
Until you meet your own.
You swing her when you meet her,
You swing her nice and light,
Or there'll be trouble brewin' sure
When Pat gets home tonight.
(You are now across the set from original position. Stay there and continue with --)
Now Maggie dear, do you hear?
You lead up to the right,
Swing the mick who's standing there
And hug him nice and tight.
Then it's up to the next you go,
And do a three hand swing,
Return now to your partner,
And salute the dear old thing.
Allemande left your corners all,
And a right hand to your own.
A grand right and left you go.
Until you meet your own.
You swing her when you meet her,
Swing around in place,
Swing your Irish colleen
With a smile upon your lace.
(Repeat calls for second couple, THEN)
Now all four ladies join left hands
And circle half way round,
Right hand to your opposite
And balance four in line.
Swing your opposite all around,
Is the order of the day,
But now that you have swung him
You go back the other way.
All four ladies join right hands
And circle half way home.
Left hand to your partner
And balance four in line,
Swing your partners, swing your own,
By the waning of the moon,
The next gent must be ready to dance
When I begin the tune.
(Go back to beginning for 3rd & 4th couples)
The whole of this issue is “Irish” — for instance the contra is “St. Patrick's Day in the morning”. St. Patrick's Day is March 17th and there's a picture of a leprechaun holding a card with this date at the end of the dance instructions. It's much celebrated in the States (though hardly at all in England).
The tune is in the classic collection “O'Neill's Music of Ireland” (1905).
Here's my understanding of the call.
| Figure: | |
| A1: | First gent out to your right-hand lady (4 steps); balance to her. Swing. |
| A2: | First gent move on to the next couple (the threes), circle left once around, then go home and bow to your partner. |
| B: | (16 bars): All allemande left corner and grand chain half-way round. |
| Swing partner (all opposite home place). | |
| For the next time through the tune the first lady goes out to her right-hand man and does exactly the same, all ending home. | |
| Repeat figure for the second couple. | |
| Break: | |
| A1: | Four ladies form a left-hand star (4 steps); star half-way, keep hold and give right hand to opposite man's right to form two interlocking waves of four. Balance right and left twice. |
| A2: | Swing opposite. |
| B: | Four ladies form a right-hand star; star half-way, give right hand to partner. Balance right and left twice. |
| Swing partner. | |
| Repeat figure for third and fourth couples, and finish with the break. |
The timing is probably not as precise as that! In some singing squares the call comes as the dancers are supposed to move, rather than prompting them ahead of time, so unless they already knew this dance there would be a pause before the ladies were ready to do their stars.
I'm assuming “And do a three hand swing” means circle left, because the very next dance contains “And swing four hands so dandy (circle four)”.
Tony Parkes says:
Lawrence Loy recorded a very similar version of this dance for RCA Victor in 1945: youtube.com/watch?v=F2XwrefqdWg Where Calkins says “three-hand swing,” Loy says “three-hand ring,” so you're correct in thinking a circle is called for here.
I see that Ralph wrote “Calky Calkins” in longhand, but the caller's actual nickname was “Corky.”
I'm not impressed by Lawrence Loy, who doesn't sing at all — he just says the words to the rhythm of the music — but at least you can hear how the call fits the tune. He calls it with both head gents leading the figure simultaneously and so on, which makes for more action all round. He has the gents doing the stars (right, then left) rather than the ladies.
You can see a film of Corky Calkins calling at youtube.
Yankee Doodle
From Northern Junket Vol. 2, No.8, April 1951. Original wording on page 18 Internet ArchiveYANKEE DOODLE---A Singing Quadrille
as called by Edgar Robillard, N. Adams, Mass.
Music - The Same
Introduction:
Salute your corners, partners the same
And circle eight hands so dandy
Circle left around the hall
With your Yankee Doodle Dandy
The other way back
On the same old track
The other way back so dandy
Mind the music and the step
And with the girls be handy.
The Dance:
The first head couple lead to the right
And swing four hands so dandy (circle four)
You balance too, and pass right through
And swing your opposite dandy.
Pass right back in the same old track
Pass right back so dandy
Pass right back in the same old track
And swing your partner dandy.
Then it's up to the next you go
And swing four hands so dandy
You pass right through with a how-de-do
And swing your opposite dandy.
Pass right back in the same old track
Pass right back so dandy
Pass right through and spin her too
You swing your partner dandy.
And It's up to the last you go
And swing four hands so dandy
You balance too, and pass right through
And swing your opposite dandy.
Pass right back in the same old track
Pass right back so dandy
Pass right back in the same old track
And swing your partner dandy.
Chorus:
Now do si do your corners all
The same unto your dandy
Allemande left your corners all
Give right hands to your dandy.
Go right and left around the hall
Right and left so dandy
Go all the way, go all the way
Go all the way so dandy.
You pass your honey with a nice little smile
You'll meet her bye and bye
Turn her around when you meet her there
Then promenade your dandy.
Promenade round, you promenade round
You promenade so dandy
Go all the way, go all the way
Go all the way so dandy.
Repeat the figure and chorus for each of the other three couples.
I've given the tune without repeats, so that once through the tune fits the Introduction. I'm being pedantic about the timing of the Introduction but you certainly wouldn't want to teach it that way. In fact it's better if you don't walk through the Introduction at all — just start the singing and it will all flow naturally. I've already quoted Tony Parkes as saying that walkthroughs were much more common than they would become a decade later, but maybe you would leave out walking through the Introduction and just walk through the figure. The timing of the figure may not be exact either, but it's certainly busy, so don't let anyone swing for more than a couple of seconds!
| Introduction: | |
| A: | Honour corner and partner (4 bars). Circle left (half-way). |
| B: | Circle left a quarter more, then circle right home. |
| The Dance: | |
| A: | First couple out to the couple on your right and circle left with them. Balance; pass through and turn back. |
| B: | Quick swing with opposite (just once around, to face partner); pass through and turn back. Quick swing with partner. |
| First couple repeat this with the threes, then with the fours, finishing home. | |
| Chorus: | |
| A: | All do-si-do corner. Do-si-do partner. |
| B: | Allemande left corner; start a grand chain all the way round. |
| A: | Continue the grand chain until home, then give right hands and gent twirl the lady into New England promenade position. |
| B: | Promenade all the way. |
| Repeat the figure and chorus for each of the other three couples. |
Go Half-way Round
From Northern Junket Vol. 2, No.9, May 1951. Original wording on page 17 Internet ArchiveMusic - Anything you like, though we prefer to use Buffalo Gal.
Any introduction, then:
Head two couples separate
Go halfway round outside the ring
Side two couples half right and left
All stay on the opposite side
Allemande left with the corners there
Do si do your own right there
The four men go across the ring
Give the opposite girl a swing
Take your corner from where you are
And promenade round the ring.
Head two couples separate
Go half way round outside the ring
Side two couples half right and left
And you're all on the opposite side
Allemande left with the corners there
Do si do your own right there
The four men go across the ring
To give the opposite girl a swing
Take the corner lady there
And promenade round the ring
Repeat twice for side couples. Or if you like a longer dance have head couples start the figure four times. Then a brief chorus figure; then four times with side couples starting. This is a nice “breakdown” figure; everyone dances most all the time. It's sort of a screwy way to get to promenade your corner but nevertheless it's a lot of fun to dance.
This is much the same as “Pop” Smith's version above
The Ladies Switcheroo
From Northern Junket Vol. 2, No.10, September 1951. Original wording on page 19 Internet Archive(An original call by Ted Sannella)
Music - McEachern' s Breakdown
The Dance
The head two couples forward and back
The side two couples forward and back
The head two ladies chain to the right just half way round
Now ladies grand chain through the center of town (half way)
The head two couples right and left two by two (half way)
The side two couples right and left too (half way)
Do-si-do your corners all
Come back and swing your own little doll.
The new head ladies chain to the right, now chain them just halfway
Now grand chain them through the center, don't you take all day
The head two couples half right and left, just like you did before
The side two couples do the same, keep moving 'cross the floor
Allemande left your corners
Allemande right your own
Swing your corner lady, promenade her home.
(repeat entire dance 3 more times)
The tune, Cec McEachern's Breakdown, was published in 1950 in a Canadian book called “Don Messer's Favorite Melodies”. And this time I'm confident I've understood the call.
According to Wikipedia, “A switcheroo is a sudden unexpected variation or reversal, often for a humorous purpose. It is colloquially used in reference to an act of intentionally or unintentionally swapping two objects.” In this case the ladies are switching position all the time, while the men just move across to the other side and back again.
| A1: | Heads forward and back. Sides forward and back. |
| A2: | Heads to the right: ladies chain. All four ladies chain across. |
| B1: | Heads right and left through. Sides right and left through. |
| B2: | All do-si-do corner. Swing partner. |
| A3: | Heads to the right: ladies chain. All four ladies chain across (to original partner). |
| A4: | Heads right and left through. Sides right and left through (all home). |
| B3: | All allemande left corner, allemande right partner, swing corner. |
| B4: | Promenade new partner to the man's place. |
| Ladies have moved right. Repeat for the heads, then twice for the sides, and I'm sure Ted would have put in a break at the beginning, middle and end, making it11 times through the tune . |
Corners of the Hall Updated 21-Jan-24
From Northern Junket Vol. 2, No.11, October 1951. Original wording on page 22 Internet ArchiveAs called by Dick Castner.
Music - Any tune you like. Dick likes The White Cockade. We prefer The Low Backed Car.
First couple promenade around the outside of the ring
And right and left through with the couple you meet (2nd couple)
Right and left through on the corners complete (3rd with 4th)
Everyone right and left back on the same old track
Ladies chain on the corners of the hall (1 with 2; 3 with 4)
Half promenade on the corners of the hall
Half right and left back home
Circle four on the sides of the floor (1 with 2; 3 with 4)
Break that circle out into line, forward all and back
Forward again and ladies chain the grand square
When you're home you swing your own.
Each couple leads out in turn.
This is a combination of at least two popular quadrille numbers, and is a great favorite among our French-Canadian dancers. Sometimes it is called “Corners of the World.” No matter what you call, it remains a fine New England style quadrille.
Again the word “quadrille” to remind us of its origins. The first half comes from the first figure of The Plain Quadrille but with couples working in pairs rather than two couples dancing the figure while the other two wait for their turn. I don't know where the second half comes from, but that may be down to my lack of knowledge of quadrilles.
| A1: | First couple promenade outside, all the way. |
| A2: | Heads face the couple on your right: right and left through, and back. |
| B1: | Same four, ladies chain over and back. |
| B2: | Same four half promenade. Right and left through back again. |
| A3: | Same four circle left once around, opening up into side lines with heads on the left-hand end (nearest home position). Lines forward and back. |
| A4: | Ladies chain across the set, and wheel round to face up and down. Ladies chain up and down, and wheel round to face across. |
| B3: | All that again. |
| B4: | Swing partner at home. |
| Repeat for each couple in turn. |
Birdie Fly Away
From Northern Junket Vol. 2, No.12, November 1951. Original wording on page 21 Internet ArchiveMusic - Any tune that you like to call to.
The first couple lead out to the right
And circle four and hold on tight
Lady in the middle and you circle three
Lady steps out, gent steps in
Join hands and circle again
Gent comes out and gives lady a swing
And you both lead on in a bigger ring
Circle six with the next
Birdie in the middle and you circle five
No mistakes now, look alive
Birdie hops out, old crow in
Join hands go round again
Crow comes out, gives birdie a swing
Then you all lead on in a great big ring
Circle eight hands around
Birdie in the middle and you circle seven
That's one way to go to heaven
Keep circlin' left, but raise your hands
Let the birdie in the middle fly away
You won't see her again today
Everybody swing and promenade home
Repeat three more times for the other ''birdies''
It's equally as much fun to let the “old crows” fly away instead of the “birdies”.
The dance as given here is a combination of a figure we saw at Stockton Folk Dance Camp and one that Al Smith, Winchester, Mass, used to call.
Another version of “Birdie in the Cage”, this time cumulative, so after swinging his partner the leading gent picks up the next couple with his left hand to form a bigger circle. You can see that Ralph is no purist: he combined figures from two places to create this dance.
When the bloom is on the sage
From Northern Junket Vol. 3, No.1, December 1951. Original wording on page 14 Internet ArchiveAs called by Dick Best
First couple separate around the outside ring (all the way)
Same couple allemande left and swing in the center
Gent to the left, lady to the right
Each one:
allemande left with the lady
allemande right with the gent
allemande left with the lady again
and they swing in the center
Now the lady to the left, gent to the right
Each one:
allemande left with the lady
allemande right with the gent
allemande left with the lady again
and swing in the center
Do si do your corners all
Swing your partners one and all
Second, third, and fourth couples do the same changes in turn.
Use any introduction and any ending that you wish.
Old Fall River Line
From Northern Junket Vol. 3, No.2, February 1952. Original wording on page 17 Internet ArchiveThe archived copies are incomplete, with the pages in a strange order, and the dance isn't there, but Ralph reprinted it in Volume 8 Number 7.
Contra Square
From Northern Junket Vol. 3, No.3, March 1952. Original wording on page 22 Internet ArchiveAn original call by Ted Sannella
Any music - though Ted prefers Reel of Stumpey
Head couples balance and do-si-do
Allemande left with your corners, oh
Hold on by the left, give right to your own and balance four in line (Only heads give right hand to partner thereby forming two lines at the head positions)
Now forward all and back.
Swing at the head and swing at the foot (First and third couples only swing)
Now go through the center with your own (First couple go down the hall while the third couple goes up the hall, passing each other in center of set as in right and left)
Turn right around, come the same way home. (The two couples turn individually and return back through the center to home position)
Cast off with your corners and the ladies chain across, and back (Cast off into contra formation with two lines facing each other from the side positions in the square. Opposite ladies chain)
Join your hands and forward all and back
The center four go forward again and circle left (The original head two couples from positions in the center of each line step forward and join hands circling to the left until back nearest home positions - original home)
Turn your opposite lady with right hand around and now your own with left hand around. (Head couples only do this)
Everybody turn your corner with a right hand around
All go home and swing with your own
Promenade around the square
Take a little walk with your lady fair.
Repeat entire dance for side couples. Remember that this time the contra formation is formed by two lines in the head positions.
Ted first called this figure at one of the evening parties at New Hampshire Folk Dance Camp. It was a sensation there.
Here's how I would phrase it to the music:
| A1: | Head couples balance forward and back, do-si-do partner, allemande left corner, keep hold, heads give right to partner forming two waves across the hall. |
| A2: | Balance forward and back; heads swing (6 bars). |
| B1: | Heads pass through and turn alone. Pass through back again, their corners face the same way as the heads and with a hand hold or arm round the waist wheel the heads round into side lines with the heads in the middle. |
| B2: | In fours, ladies chain over and back. |
| A3: | Lines forward and back. Middles (heads) circle left ¾ and fall back to home place. |
| A4: | Heads with your opposite, right-hand turn. With partner left-hand turn. |
| B3: | All with corner, right-hand turn. Swing partner. |
| B4: | Promenade all the way round the square. |
Red River Valley
From Northern Junket Vol. 3, No.4, May1952. Original wording on page 17 Internet Archiveas recalled by Roger Knox from the calling of Floyd Woodhull.
First couple through the second and you balance. (1st gent is now standing back to back with 2nd lady; 1st lady is standing back to back with 2nd gent)
Go round to the center and you swing (1st couple pass right shoulders, gent coming into the center behind the 2nd gent; 1st lady goes behind and around 2nd lady)
Right and left four down the valley
Right and left four back to place.
Now you go through the next and you balance.
Go round to the center and you swing
Now you right and left four down the valley
Right and left four back to place.
Now you go through the last and you balance.
Go round to the center and you swing
Right and left four down the valley
Then you right and left back to place.
A singing call to a rather monotonous 16-bar tune.
| A1: | First couple lead out to the right and pass the opposite person right shoulder to finish facing out with their backs to the twos (a mere 4 steps); balance facing out. Cross right shoulder and go around one to finish back in the centre; quick swing (probably just half-way to get the gent back on the left). |
| B1: | Right and left through with the twos, and back, to finish facing the threes. |
| A2/B2: | Same with threes. |
| A3/B3: | Same with fours. |
| Repeat for each couple in turn. |
The A part is mighty quick! And as in Girl I Left Behind Me the balance is to nobody, facing out.
Around Just One
From Northern Junket Vol. 3, No.5, June1952. Original wording on page 18 Internet Archiveas called by Dick Castner
Music - whatever you like
The Figure
First couple down the center and split the ring, around just one (thus facing the caller, Man 1, Lady 3, Man 3, Lady 1)
Forward four and four fall back
Forward again to the head of the set
Divide in the center and around just one by couples (thus, first man and third lady as a couple - she on his left - go around the fourth lady and stand between her and her partner - fourth gent - so, on the caller's left will be a line - L4, M1, L3, M4, and on caller's right a line - M2, L1, M3, L2)
Forward all and all fall back
Canter four forward four, pass right through, separate and around just one to place.
From here, you may do as you wish. The head couples are coming at each other, and are in an ideal position for a do si do; or an allemande left around partners, allemande right around corners; you may have them allemande left with partners and do si do corners. Or you may have a long version by having break end with a promenade corners. With good dancers, you may have the head two couples start using a “pass right through, and around just one”, and forward immediately at the sides.
A good clear explanation, though it's interesting that having got people home again (not that the sides have gone anywhere much) he leaves the end of the figure as an “exercise for the student”. But what does he mean by “break end with a promenade corners”? My understanding of a break is that it ends where it started, with the same partner. And this is a figure which each couple in turn leads, so you couldn't change partners part-way through the sequence.
Here's how I'd phrase it to the music, with my chosen ending:
| A1: | First couple lead across the set, split the third couple, separate, go around just one to a line of four facing the caller. Lead forward four steps and fall back. |
| A2: | Forward again until you're past the side couples, then middles let go and as (improper) couples wheel around just one side person (rapidly), to finish between that couple in facing lines of four. Lines forward and back. |
| B1: | Middle four (heads) pass through, separate, go around just one to meet partner in home place. Heads do-si-do partner. |
| B2: | All allemande left corner and swing partner. |
And here's my version for “good dancers”. He hasn't pointed out that with both head couples leading the figure you don't get to the same lines of four. Maybe that's another “exercise for the student”. And if the heads lead the figure and then the sides that's only twice through, so I'll go for the long version with the “promenade corners” option.
| A1: | Head couples pass through, separate, around just one to facing lines of four. Lines forward and back. |
| A2: | Heads right and left through. Pass through, go around just one to home place. |
| B1: | Heads do-si-do partner. Swing corner. |
| B2: | Promenade to the man's place. |
| Repeat figure for the heads, then twice for the sides, with breaks at the beginning, middle and end. |
So you tell me: Have I just filled in a missing blank, or have I just written a new dance?
Loomis Lancers, figures 1-3
From Northern Junket Vol. 3, No.6, June 1952. Original wording on page 20 Internet ArchiveAs danced by the OLD TIMERS CLUB of Swansea, Massachusetts.
Copies of the music - which is fully covered by copyright and therefore omitted here - and full directions for the dance may be obtained from the secretary of the Old Colony Callers & Teachers Association. Price $1.00 per set. Order from Ruth V. Metcalf, 53 Chestnut St. Sharon, Mas
The Dance as taught by Jack KenyonFigure 1
Play music 4 times
1. Honor partners. honor corners (Called once)
2. First four forward and back
3. Cross over taking side ladies
4. Forward and back six
5. Turn your partners
6. Chassez by corners
7. Turn corners
Repeat with the sides; then repeat all.Explanation
l. Bow to partners
2. Active couples (1 & 3) move forward to center and backward to places
3. Same two couples move forward again and, each keeping to right of center, cross square, turning to back into opposite couple's vacated position. As couples back into place, each active gent takes right hand of his original right hand lady in his left hand and takes her also along with him to opposite position. This will leave side gents in position, alone .
4. Active gents, each with two ladies, move forward to center and backward to place
5. All turn original partners with right hand turn, (or swing partners, waist swing)
6. All chassez, or walk past corners and back to position 4 steps or slides each way. Do not turn. If you use the walk, walk forward past corner and walk backward to place. If you use
the chassez step, there is a short pause before sliding in reverse direction to own place. Gent passes in back of ladies.
7. All turn corners with a left hand turn (or swing corners, waist swing).Figure 2
Play music 4 times
A. 1. Join hands, forward and back
2. Turn the ladies to the center (back to back)
3. Turn the gents to the center (back to back)
4. Ladies give right hands across
5. Promenade with your partner
6. Turn your corners
B. 1. Join hands, forward and back
2. Turn the gents to the center
3. Turn the ladies to the center
4. Gentlemen give left hands across
5. Promenade with your partner
6. Turn your partners
Repeat A and B once more eachExplanation
A. 1. All join hands and walk into the center and back
2. Gentlemen join inside hands with partners and turn ladies to the center, facing the gentlemen. Retain hand clasp, and each bow to partner. Still holding hands, gents turn partners to position in set.
3. With the same hand clasp and in exactly the same manner, the ladies turn the gentlemen to the center back to back, and return them to position in set.
4. All four ladies join hands in a right hand star, link opposite arms with partners --- (Lady's left and gent's right.)
5. All promenade clockwise in star formation once around
6. All turn corners as in Figure 1
B.l. As A.l
2. Same as A. 2, except where word “gentlemen” is used, substitute “ladies” and where “ladies” is used, substitute “gentlemen”.
3. Same as A. 3, making same substitutions of words as above
4. All 4 gents join hands in left hand star, link opposite arms with partners (Gents R, ladies L)
5. All promenade counterclockwise in star formation once around
6. All turn partners as in Figure 1Figure 3
Play music 4 times
Wait for music
1. Join hands, forward and back
2. Three steps to the right - salute
3. Four ladies chain
4. Join hands, forward and back
5. Three steps to the right - salute
6. Four gentlemen chain
Repeat all of above callsExplanation
1. All join hands, into center and back. Keep hands joined and make as nearly true circle as possible when again in place
2. Still holding hands, starting on right foot, each walks to right three steps (right, left right), ladies turn to face partners and curtsey. At same time gentlemen bow to partners. Do not loose hand holds. Without further call, after salute, entire circle returns to position in readiness for next call
3. Four ladies grand chain across the square and return to partner
4. Same as 1
5. Same as 2
6. Four gentlemen join hands in right hand star, go to opposite lady, break from star and link left elbows with opposite lady, who turns counterclockwise with him. Gents leave opposite
lady and right hand star back to own partners, turning partners with left elbow to position.
Figure 4 (final figure) will be given next month.
Jack Kenyon, 36 Etta St, Hoxsie, Rhode Island has recorded the music for the LOOMIS LANCERS, and you may obtain the set for $4.50 by sending that amount to him at above address. Please signify whether you want them with calls or without calls. They'll be a worthwhile addition to your folk dance library.
I can't find the tune of this dance anywhere but I found an interesting quote (which I don't agree with at all) in History of Square Dancing pages 31-32:
The Lancers was the nineteenth-century equivalent of the minuet. It was all bows and courtesies, airs and graces, an elegant exhibition of deportment. There was nothing in it which could put the most delicate lady in the slightest glow. Originally it had been an English dance, which went unvalued until the French toned it down and polished it up. It set a style; there were many imitations, some of them quite successful; but the original Lancers outlived them all, except the “Loomis Lancers,” invented by the New Haven dancing-master, which is still done in Rhode Island and southern Massachusetts.
My understanding of the instructions:
First of all, each of the figures is given as 6 moves (ignoring the honours before the first figure). How does this relate to a 32-bar tune, which I would expect to have 4 or 8 moves? In fact some of the tunes aren't 32 bars — see later.
In Figure 1 it doesn't say whether to take hands for the forward and back, but I assume so (and it seems obvious when we come to move 4). The next move is a half promenade — though if I use this word people immediately want to take a promenade hold — wheeling as a couple at the end so that the men can take a side lady with their left hands. In move 6 I imagine Ralph would prefer the chassez, as was done in the older quadrilles, but recognises that by the 1950's people expected to walk everything. In move 7 he's underlined hand, presumably because Modern Western Square had switched to a forearm turn for an allemande left. And it seems odd to finish the figure with your corner rather than your partner, but that's what he says.
This leaves the head couples in opposite places. I assume you don't repeat the honours but continue with the sides leading forward and back, so that everyone is in opposite place. Repeat all this to get everyone home.
In Figure 2 the timing is by no means obvious. But on archive.org I found a copy of the book “Dance a while” which explains the timing fully. It also goes into much more detail on the styling. This copy is the fourth edition of 1994, but the first edition was published in 1950 which is two years before Ralph's publication, though I don't know whether this dance appeared in the first edition. You can read this book at archive.org/details/
Style: “The dancing of a lancer is an exercise in courtesy.”
- Address, honor, salute (your corner, your partner): These are all “bows.” Variations are in the timing depending on the exact number of counts of music allowed. “Address” usually takes 8 counts; “salute” may be momentary. These bows may be done holding hands in a circle or with no hand holds.
- Bow (man's part); Slight bow: facing lady, man bends from waist, both feet together, offering right hand, palm up. Left hand placed, palm up, at about the back left hip pocket, fingers extended; deep bow: facing lady, man steps back on left foot, bending left knee slightly, and extends right leg forward, pointing toe down; he offers his right hand, palm up.
- Curtsey (lady's part); slight bow: facing man, lady steps back on her right foot, bending right knee slightly, and extends left leg with toe pointed to floor. She places fingers of her left hand lightly in man's upturned palm. Her right arm is gracefully extended to side about waist high, palm down and fingers softly straight. Keep head erect and smile; deep bow: facing man, lady crosses her right foot behind left, keeping torso erect, lowers her body deeply or sits on her foot. Her left foot is extended in a point towards gentleman to match his. Or lady may cross right foot behind left and, bending both knees, lower self to semikneeling position, sitting on right heel. Free arm extended as above.
- Minuet position: Man extends right arm forward about waist high or to accommodate lady, bending elbow slightly and with palm down, fingers straight. Lady places her left hand, palm down, lightly upon his, keeping her forearm close to his, with her right arm at side as in curtsey. Arms are horizontal, partners side by side. Hand hold may be reversed as in some parts of grand square; lady's right and man's left are joined.
- Pigeon-wing hand hold: Man and lady, facing each other, place their forearms, held vertically, close together, the palms held together, open and upright, elbows almost touching.
- Hands in general: Never let the hands be stiff. Ladies, let the fingers hang softly, not like semaphores. Let the wrists lead and the fingers follow. Men, let the hand lie lightly on the hip pocket. And let the hands be as long as possible.
These style notes come from the Lloyd Shaw Foundation, and I don't know whether Ralph would have agreed with them.
Figure 3 starts “Wait for music” which goes back to the old quadrilles: in the first figure you honoured partner and corner; in the other figures you just waited. This time I don't have any trouble fitting the figure into 32 bars. Notice that the men's chain is done with the right hand, rather than the left as is normal in the 21st century. The version in “Dance a while” starts Introduction: Do-sa-do corners by the right shoulder (8 counts). Do-sa-do partners by the left shoulder (8 counts).
(done only once) and has no courtesy turns in the all four ladies/men chain — they just arrive, a quick nod and continue, so it's really just a star once around, although 16 counts are allocated to it so there certainly would be time for a courtesy turn. I'm sticking with Ralph Page's version: his was written at the time, and no doubt he had a copy of the record with the dance as called by a man who knew it inside-out.
| Figure 1 (jig) | |
| 4 bars introduction — do nothing. | |
| A1: | Heads lead forward and back. Keeping inside hands joined, half promenade across, and as you wheel into the opposite couple's place head men pick up the side lady on your left. |
| A2: | Lines of three forward and back. All right-hand turn partner or swing. |
| B: | Either face centre and do four chassez steps to change places with (current) corner and back again (gents behind ladies) or walk forward passing corner right shoulder and fall back. Left-hand turn corner or swing corner. |
| Repeat the figure (without the initial honours) with side couples leading, so everyone finishes in opposite place. Repeat with head couples and then side couples to end with everyone home. | |
| Figure 2 (reel) | |
| 2 bars introduction — do nothing. | |
| A1: | All join hands: 4 steps forward, 4 steps back. Men keep inside hand with partner and wheel her in so the ladies are back to back in the centre, do a quick bow or curtsey on the 4th beat; men wheel partners backwards to place. |
| A2: | Ladies wheel men in, bow or curtsey; wheel them out. Keep hold of partner: ladies move forward to form a right-hand star and start a star promenade, spreading out as far as possible. |
| B: | Continue the star promenade to place. Left-hand turn corner. |
| The second time the men are wheeled in first, they lead a left-hand star promenade, and it finishes with right-hand turn partner. Repeat the whole thing. | |
| Figure 3 (jig) | |
| 8 bars introduction — do nothing. | |
| A1: | All join hands: 4 steps in to the middle and back. Circle right for three steps (R, L, R) and bow or curtsey to partner (retaining hands); circle left three steps. [“Dance a while” says there is a held note on the bow.] |
| A2: | All four ladies chain across, with (I'm guessing) an open left-hand turn rather than a courtesy turn. Chain back. |
| B1: | Same as A1. |
| B2: | All four gents chain across: right-hand star half-way and left elbow turn opposite lady. Chain back. |
| The instructions in “Dance a while” say you now repeat all this (except for the introduction). | |
Loomis Lancers, final figure
From Northern Junket Vol. 3, No.7, September 1952. Original wording on page 31 Internet Archive
As danced by the OLD TIMERS CLUB of Swansea, Massachusetts.
Copies of the music - which is fully covered by copyright and therefore omitted here - and full directions for the dance may be obtained from the secretary of the Old Colony Callers & Teachers Association. Price $1.00 per set. Order from Ruth V. Metcalf, 35 Chestnut St, Sharon, Mass.
The Dance as taught by Jack Kenyon continued from Vol 3, No. 6.Figure 4
Before music starts, call ''Grand Square, Address partners'' . (Orchestra gives D7th chord.)
A. 1. Heads forward, sides separate
2. First couple promenade inside 2c face out
3. Side couples fall in line (or fill in)
4. Chassez
5. Cross corners
6. Join hands, forward and back
7. Forward and turn partner in place
B. 1. Sides forward, heads separate
2. Second couple promenade Inside & face out
3. Head couples fall in
4. Chassez
5. Cross comers
6. Join hands, forward and back
7. Forward and turn partner in place
C. Same as A, but in call 2, third couple will promenade inside and face out.
All other calls the same.
D. Same as B, but in call 2, fourth couple will promenade inside and face out.
All other calls the same.Explanation
Call “Grand Square” is given only once, at beginning of figure.
A. 1. When trying this for the first time, practice first with the head couples, then with the sides, and then together.
a. Head couples (1 and 3) walk forward four steps to center of set while side couples (2 & 4) face partners and walk backward four steps to corner of set.
b. Head couples face partners and walk backward four steps (away from partner) to sides of set while side couples face opposite corner & walk to head of set.
c. Head couples face opposites and walk backward four steps to corner of set while the side couples face own partner and walk forward to center of set.
d. Head couples face partners and walk forward four steps to home position as side couples face opposite and walk backward to home position.
Without further calls, immediately reverse the above four sections – heads following directions given for sides, and sides following directions given for heads – until everyone is back in home position ready for next call.
Note. The “Grand Square” is a figure in which each person in the set individually walk a square within the set, from his home position, then immediately retraces his route back to home position again; all this according to call for his or her position in set.
2. First couple walk around inside of the set, counterclockwise, and face out.
3. Couple 2 fall in behind 1, 4 behind 2, 3 behind 4 (Third couple merely hold position.)
This forms a line of couples. Ladies step one step ahead of partners, staying to partners right.
4, Using slide step, ladies slide three steps to their left, gents slide three steps to own right. Without further call, chassez back to position, ladies now coming into position beside partners, on partner's right. (Gents go behind ladies on slide out and back.) Without call, all turn to face partners, stopping two steps away from each other.
5. Gents 1 and 2 join inside hands; at same time gents 3 and 4 join inside hands. Ladies 1 and 2 take skater's position (crossed hands) as do ladies 3 and 4. Each two with joined hands now turn to face opposite comer. Gents 1 and 2 together facing ladies 3 and 4; gents 3 and 4 facing ladies 1 and 2. (Dancers do this without calls.) Ladies 3 and 4 and gents 1 and 2 advance to opposite corner of set, ladies going under raised, joined hands of gents. Each two turn toward each other, ready to recross set in same manner as they crossed. When gents 1 and 2 and ladies 3 and 4 reach opposite corner and begin turn for recross, gents 3 and 4 & ladies 1 and 2 cross set as other couples did.
Gents 1 and 2 and ladies 3 and 4 recross set back to place; immediately afterward, gents 3 and 4 and ladies 1 and 2 recross to place.
6. Immediately after all couples have completed cross-over, reform lines, gents on one side, ladies on other side facing partners, about four steps apart. Gents join hands; and ladies join hands in their own lines. Two lines advance toward each other and go back to position.
7. All now resume proper position in set & all turn partners, using either two hand turn or waist swing. (A long swing is called for by the phrasing of the music.)
B. 1. Same as A. 1. except substitute “sides” for “heads”; “heads” for “sides”.
2. Same as A. 2. except substitute “second couple” for “first couple”.
3. Couple 1 fall in behind 2; couple 3 behind 1, couple 4 hold position.
4,5,5,7, same as in A.
C. 1. Same as A. 1.
2. Same as A. 2. except substitute “third couple” for “first couple”.
3. Couple 4 fall in behind 3, couple 2 behind 4, couple 1 hold position.
4,5,5,7, Same as in A.
D. 1. Same as B.l.
2. Same as B.2 explanation, except substitute “fourth couple” for “second couple”.
3. Couple 3 fall in behind couple 4, couple 1 behind 3, couple 2 hold position.
4,5,5,7. Same as in A.
And there you have the famous “Loomis Lancers”. You may obtain records of the music either with or without calls by writing to Jack Kenyon,36 Etta St, Hoxsie, Rhode Island, and enclose $4,50 for the set. Be sure you tell him whether you want the records with calls or without.
Apparently the “Loomis Lancers” was one of the last of the Lancers, for it incorporates a waist swing which earlier figures of the Lancers omit. I have seen the group dance it using a right hand swing occasionally. The dance deserves far wider recognition and we are glad to publish it (with permission) in the NORTHERN JUNKET, with that in mind.
Jack Kenyon has led a group demonstrating it at several of the New England Folk Festivals, and it always is a pronounced hit. Jack tells us that it is the first dance after intermission at all meetings of the Old Timers Club, in Swansea, Mass., which is one of the oldest dance clubs in the East, perhaps the country, for they have been organised over 50 years.
Here's my understanding of the fourth figure.
This time there are 7 moves rather than 8, but again “Dance a while” comes to the rescue — there's “Left allemande corner, right allemande partner” at the end.
Ralph gives a beautifully clear description of a Grand Square and reverse, and I assume him saying that the call is given only once means that the caller doesn't break the figure down or even say “reverse”. It's a 16-bar figure, and possibly not well-known in those days since Ralph gives advice on how to teach it. This is move 1, starting Heads forward, sides separate.
After the chassez, we finish in a square on the diagonal, two gents together, two ladies together. Now comes a move reminiscent of the doubled-up arching figure in La Russe which is now a traditional English dance but was originally a quadrille. The doubled-up arching also occurs in Goathland Square Eight. In Loomis Lancers it's always the gents arching and the ladies going under; perhaps the ladies are told to use a skaters' hold because it keeps them closer together.
| Figure 4 (reel) | |
| A1: | Sides face: Grand Square. |
| A2: | Reverse. |
| B1: | Ones wheel around to face out; twos and threes wheel into a column, always ones and twos together, threes and fours together. All four chassées to change places with partner, gents behind ladies; four back again and instantly face partner and with neighbour wheel 45° (middles going backwards) to a diamond formation. The top two gents are facing diagonally across to the bottom two ladies and vice-versa. |
| B2: | Men make single-handed arches and ladies take cross-hand hold: top men arch and cross with bottom ladies (then men change hands as ladies turn in); bottom men and top ladies the same. Repeat to place and face partner. |
| C1: | Lines of four go forward and back. All swing partner to original place in the square. |
| C2: | Allemande left corner (full 8 steps). Allemande right partner. |
Second time through it's “Heads face, grand square”. According to both Ralph Page and “Dance a while” The ones fall in above the threes to form the column, which seems inconsistent to me. The top of the set is now on the caller's right, so it will again be first and second gent arching first. And maybe that's why the order is inconsistent — if all four times through you start the diagonal move with “First and second gent arch, third and fourth ladies under” you'll have a much better chance of finishing this rather fast figure with the music! The dancers just need to remember that when they form the column it's always the ones and twos together, the threes and fours together.
Circle Three & Balance Four
From Northern Junket Vol. 3, No.8, October 1952. Original wording on page 24 Internet Archive
An original square by Abe Kanegson
Head gents to the right and circle three
Head ladies do si do
Once and a half on the sides of the floor
* Into the middle and balance four
Now balance four, four in line
Heads allemande left your own
A right hand round your corner
And you balance to your own
Then swing, your partners everyone
You swing your partners all
Now take the lady that you swung
And promenade the hall.
Repeat for the side gents
* Head gents pass through to the center of the set and join right hands with each other and left hands with partner. Balance that way four in line.
You can read all about Abe Kanegson at alphabettenthletter.
Here's my understanding of the figure. The circle 1½ leaves the sides improper so I've added a roll away to get them back.
| A1: | Head gents to the right and circle left 1½ with the side couple, opening out into side lines of three with the head gents in the middle while head ladies wait 8 beats and then do-si-do. As they fall back, head gents move forward, join right hands with each other and left hands with partner to make a wave up and down the set. |
| A2: | Balance the wave, heads allemande left partner while sides roll away (gent rolls lady from left to right), all allemande right corner. |
| B1: | All balance and swing partner. |
| B2: | Promenade. |
Whirligig and Cheat
From Northern Junket Vol. 3, No.9, December 1952. Original wording on page 24 Internet Archive
Ralph Page
Music - Whatever you like; maybe “Devils Dream”
The Dance
First lady out to the right and turn that man by the right hand around
Back to your partner by the left hand around
Turn the opposite gent by the right hand around
Back to your partner by the left hand around
The gent on the left by the right hand around
Back to your partner by the left hand around
And that lady cheat or swing - anywhere in the hall or the ring
Now two ladies out to the right etc.
Then three ladies out to the right etc.
And all four ladies out to the right etc.
Then all four men to the right of the ring etc.
Everybody balance your corners and everybody cheat or swing
Use any ending you wish to, though it is not necessary to have any.
After every cheat or swing call “go back home and swing your own; don't get caught cheating your own”.
Golden Slippers Updated 7-Oct-23
From Northern Junket Vol. 3, No.10, February 1953. Original wording on page 21 Internet ArchiveSuggested music: “Golden Slippers”Use any introduction you can think of.
The Dance
The head two couples forward and back
Go forward again and pass right through
To the opposite side, but don't turn around
The girls go right and the men go left
Around the outside of the ring
Then by your corner you will stand
And you'll be four in line.
Now it's forward eight and back as you are
Side two couples make a right hand star
Go once around in the middle of the set
To allemande left your corners all
Then the two head couples a right hand star
Go once around the way you are
And with your corner swing.Break
Swing your corner once or twice
Then a right hand to your own pretty wife
For a grand right and left the ring
Go hand over hand until you meet.
Then one and three turn back
Turn back and don't be slow
Do a right and left the other way you know
Now two and four you turn back
But keep on doing a right and left grand
All four couples turn back
Go right and left with the pretty little maids
When you meet your own you'll promenade
Until you all get home.
Repeat figure for side couples.
Ralph doesn't give the dance a title, just suggested music, and I don't believe it's a singing call. You won't have much difficulty understanding the moves, but you may have trouble with Ralph's patter in which the figure has two lots of seven lines where the music obviously needs eight. And there are other questions. Does he mean that once the gent has swung his corner she becomes his new partner, referred to as his “own pretty wife” in the break? And does Ralph do the break every time? If not, the set will be on the skew after all swinging corners, so that's what I assume, giving a 64-bar figure — twice through the tune. I thought I understood the timing, but having called it once I realise I didn't! Ralph has seven lines ending with And you'll be four in line
but my dancers did all that in 8 bars — I couldn't wait till the second half of A2 for the lines forward and back so I brought everything forward, and they actually finished the figure at the end of 64 bars. I also thought it was awkward for the sides to have to stop chaining and just wait while the heads did a right-hand turn half-way, so I've added a balance forward and back which I'll use if I ever call the dance again.
| A1: | Heads go forward and back. Pass through, separate and go round the outside past two people, to join hands with your corner on the end of side lines. |
| A2: | Lines forward and back. Middles (sides) right-hand star. |
| B1: | Allemande left corner 1½. New middles (heads) right-hand star. |
| B2: | Swing corner. (It's basically unphrased from here): Right hand to this new partner: grand chain half-way. |
| A3: | Heads (which means the head men and whoever is with them) meet and right-hand turn half-way to chain back in the opposite direction while the sides give right hand and balance forward and back. Grand chain half-way. |
| A4: | Sides meet and right-hand turn half-way to chain back, heads balance. Grand chain half-way. |
| B3: | All right-hand turn half-way. Chain in original direction. |
| B4: | Meet partner and promenade to the man's place. |
Chain 'em Left and Right
From Northern Junket Vol. 3, No.11, March 1953. Original wording on page 20 Internet Archive(An original square by Ted Sannella)
Suggested music: - whatever you like
The first couple balance, and then you swing
Go down the center and split the ring
Separate, go round to home
Do si do when you meet your own
Right and left four with the opposite two
And you right and left home
That's what you do.
First gent chain your lady to the left (first and fourth ladies chain halfway)
Take that new lady, chain her to the right (after a full turn around, 1st gent sends new partner into a ladies chain with 2nd lady)
Allemande left your corners all
Everybody swing the one you just left
Promenade around the square
Take a walk with that lady fair
Repeat for second, third, and fourth couples in turn and everybody should get their original partner back.
After the first turn the side ladies have changed places. After the second turn the head ladies have also changed places. The third and fourth turns get them home.
Wreck of the Number Nine
From Northern Junket Vol. 3, No.12, April 1953. Original wording on page 19 Internet ArchiveMusic - Wreck of the Number Nine
First couple lead to the right
Circle four hands around
Chassez by your partner
Salute your opposite lady
Chassez back, salute your own
Chassez by and swing your opposite lady
Chassez back and swing your own
Circle four hands half way round
Right and left six with the sides
Lead to the next, etc. except: Swing your own and lead to the next
Repeat figure with last couple, doing right and left six, etc.
Repeat for other couples in turn
Second and fourth couples of course doing right and left six with head couples.
I don't believe this one is phrased to the music. The chassées come from the nineteenth century quadrilles and were originally done with a slip step. In “Honest John” Ralph specifies four walk steps; in “Loomis Lancers” he gives both options. Here's how I would call it.
First couple lead to the right to face the twos (with their backs to the centre). Ones and twos circle left.
Chassez by your partner - four slip-steps or walk steps to change places, gents behind ladies. Bow or curtsey to opposite.
Chassez back (again gents behind). Bow or curtsey to partner.
Chassez by. Swing opposite. Chassez back. Swing partner.
Circle left half-way, so ones, twos and fours are in a column across the set.
“Right and Left Six”: Three couples in line move simultaneously, pass through always right shoulder (courtesy turn on ends) till ends are back home and ones are back in the middle. I got this description from the book “Old Square Dances of America” by Neva Boyd and Tressie Dunlavy, 1925, but there the figure goes only half-way. See “Right and Left Six” for more information.
Ones finish in the middle facing the threes. They repeat the figure but after swinging partner the ones finish facing the fours.
They repeat the figure, and at the end the ones fall back into their home place.
Repeat the figure with the other couples leading it.
Whirligig and Cheat
From Northern Junket Vol. 4, No.1, June 1953. Original wording on page 21 Internet ArchiveThe same as the version in Vol. 3, No.9 except that the men lead the figure first.
Flower Girl Waltz Quadrille
From Northern Junket Vol. 4, No.2, August 1953. Original wording on page 24 Internet Archiveas called by Earl Gully at Maine Camp 1953
Music - Flower Girl Waltz
Gentlemen turn with the right hand around
Now turn your corner as you're homeward bound
Honor your partner, Rock to and fro
Honor your corner. Bowing so low
Waltz your corner. Waltz promenade
My pretty maid, waltz promenade
Waltz time. Waltz promenade
My pretty maid - back home
Repeat three more times til get original partner back again
About as simple as you can get. It seems the music is actually several tunes arranged for a quadrille (which would have four or five figures). I've found some conflicting versions on the web, and decided not to pursue my research any further!
Doodar
From Northern Junket Vol. 4, No.3, October 1953. Original wording on page 35 Internet ArchiveAn Old Time Singing Quadrille from Vermont
Music - CAMIPTOWN RACES played one and one
Use any introduction and ending you wishThe Dance
The first lady turns the right hand gent
By the right hand round, the right hand round
Her partner by the left hand round
Lady in the center and seven hands around
Wait while music plays 8 measures of second phrase
Right and left on the corners all
Doodar - Doodar
Right and left back home again
Oh Doodar day
All balance corners, listen to what I say
Swing your partners all around before she runs away
Right and left on the left hand corner
Doodar - Doodar
Dance exactly as I say
Oh Doodar day
All balance corners, listen while I say
Swing your partners all around
Doodar - Doodar day
Other couples do same changes in turn.
The instruction “played one and one” means no repeats in the music: one A and one B. Here's what I make of it.
| A: | First lady right-hand turn right-hand gent, left-hand turn partner and go into the centre. |
| B: | The others circle left once around her. |
| A: | Head couples to the right: right and left through, and back. |
| B: | All balance twice to corner. Swing partner. |
| A: | Head couples to the left: right and left through, and back. |
| B: | All balance twice to corner. Swing partner. |
Doodah
From Northern Junket Vol. 4, No.4, November 1953. Original wording on page 21 Internet ArchiveHere is a much older version of “DOODAR” than the one given last month. Our thanks to Les Hunt, Windsor, CT for this traditional version. Les says it is exactly as he has called it for many years.
Music - - Camptown Races - l6 bars verse - 16 bars chorus
Intro.
Allemande left your corners all
Doodah! Doodah!
Right to your honey and grand chain all
Go all the way around.
Meet your partner, pass her by
Doodah! Doodah!
Remember as you march around
You'll meet her bye and bye.
Chorus
When you get back home
Just give her a little swing
Now put your arm around her waist
And promenade the ring.
Promenade the hall
Promenade the hall
The first young lady get ready to dance
When I begin the call.
Verse
The first head lady give the right hand to -
The right hand gent with a right hand 'round
Now back to your honey with a left hand 'round
Oh! Doodah Day.
The lady in the center and seven hands 'round
Doodah! Doodah!
The lady swings out and the gent swings in
'Round the old man again.
Chorus
Gwine to run all night
Gwine to run all day
I'll bet my money on de bob-tail nag
Somebody bet on the bay
Promenade the ring
Oh! Promenade the ring
Promenade just once around
And listen while I sing.
Verse
Right and left with the corners all
Doodah! Doodah!
Right and left right back again
Doodah! Doodah Day!
The ladies chain the other way
Doodah! Doodah!
Chain those ladies back again
Doodah! Doodah Day!
Chorus
All balance comers
And now the other way
Swing your honey 'round and 'round
Oh! Doodah Day!
Promenade the hall
Promenade the hall
The next young lady get ready to dance
When I begin the call.
Repeat with each lady leading out.
Ending
Use the introduction, changing the last two lines
Promenade the hall
Promenade the hall
Thank your lady everyone
That's the end of the call.
This version by contrast uses two A's and two B's.
| Introduction | |
| A1/2: | Allemande left corner, grand chain all the way round. |
| B1: | Swing partner. |
| B2: | Promenade. |
| Figure | |
| A3: | First lady right-hand turn right-hand gent, left-hand turn partner and go into the centre. |
| A4: | The others circle left once around her. |
| B1: | Lady change places with partner and the others circle left around him. |
| B2: | All promenade. |
| A3: | Head couples to the left: right and left through, and back. |
| A4: | Head couples to the right: ladies chain, and back. |
| B3: | All balance once to corner; once to partner. Swing partner. |
| B4: | Promenade. |
| Repeat for each lady in turn, then Ending same as Introduction. | |
Jingle Bells (1)
From Northern Junket Vol. 4, No.5, December 1953. Original wording on page 24 Internet ArchiveIntro:
Address your partners
Honor your corners
The ladies grand chain
Chain 'em home and swing your own
And everybody swing
You swing yours, I'll swing mine
I'd rather swing mine any old time
I'll take mine and promenade
And all the rest the same.
You promenade, oh, promenade,
To your places all
The head two must be ready to go
When they hear the call.
Dance:
The head two join the sides
Forward six you go
Six fall back and don't be slow
The head two do si do
You go right back to place
Then forward six again
The odd two swing in the middle of the ring
While the rest go six hands around
Six hands round - a six hand ring
Round them you will go
When you all are home again
Here is what you do
You allemande with your left hand
And do si do your own
The second couple ready to dance
When you hear the call.
Other couples do the same in turn, with 2nd & 4th couples joining heads; #;3 joining sides.
Ending:
Now do si do your corner
And do si do your partner
Then swing your own. Everybody swing your own
Swing your partners all alone
Now promenade - you promenade
Around the hall - all around the hall
Around you go and don't be slow
All around let's go
Now that is all there is to this
Thank your partners men - that's all
******
That is exactly the way we called it 7 years ago on a Disc recording, # 5036. It is an old-time singing call with most of the calls being self explanatory. Just for the record, here is how it was intended to be danced:
Couple 1 separates with the lady going to couple 2 and the man going to couple 4. In other words stand beside your corner. Couple 3 stands in place while the 2 side sets of 3 join hands, walk toward each other and back to place. Couple 1 do si do. Then the 2 sets of 3 forward and back again.
Couple 3 now swings in the center of the set while the others join hands around them and walk around to left as the “Odd Couple” swings in the center.
You should have no trouble with the rest of the dance.
Plain Quadrille New Brunswick style
From Northern Junket Vol. 4, No.5, December 1953. Original wording on page 15 Internet ArchiveWith the hope that some of our Canadian friends will send in an understandable explanation we're including this “Large Square” quadrille from the Province of New Brunswick, Canada. Ira Flagg, a Worcester Mass. barber gave it to us several years ago with the casual explanation that it was always the “first square of the evening” and the additional phrase: “men always bow to the ladies whenever possible.” Mr Flagg seemed more than a little disappointed that we were not able to teach it to the group. “Any number of couples on a side,” says he. “Each couple must he facing another couple across the hall.” Maybe we are really dumb, but since that group was a beginners group it didn't seem like the right one on which to try out an experiment. Here it is. You figure it out.
First Figure
Balance partner. Forward and back.
Cross over and back to place, keeping the ladies inside.
Swing your partner, ladies change and swing.
Ladies change back and swing partner.
Promenade over and back.
Second Figure
Right hand to your partner forward and back
Forward again and pass through.
Coming back the opposite couple passes through.
Back in your places and swing your partner.
Repeat second figure.
Third Figure
Right hand gent and left hand lady swing in the center.
Pass right hand to your partner taking them to the opposite side of the room.
Promenade back to place
Left hand gent and right hand lady swing in the center.
Pass right hand lady to your partner taking them to the opposite side of the room, and promenade back to place.
Fourth Figure
Opposite ladies change and swing, change back and swing your partner.
Right hand side lead forward and back.
Forward again opposite gent taking both ladies.
While he leads up twice.
Then first gent takes both girls, and leads up, meeting you in center, taking his girl to your side and you go to his side and promenade back to place.
Repeat Fourth Figure
Fifth Figure
All join hands forward and back
Promenade over and back with partner
Ladies change over and swing with opposite gents
Ladies back to partners, all join hands again.
Repeat and then all promenade the hall.
This is almost the same dance as given in Lois S. Fahs book “Swing Your Partner” a collection of “Old Time Dances of Nova Scotia and New Brunswick”. The dance that she notes is from Sackville, N.B. with Medley Wry, “Narrator.” Her explanation: “Large Square. Any number of couples on a side. Each couple must be facing another couple. Couples facing the music, and couples with backs to music begin the figures. (Couples 1 and 3). Music - Any fast square dance music. The relationship between the steps and the music is quite casual. The time required for each figure depends upon the vigor of the dancers. The swing is usually taken for an indefinite length of time, each couple swinging as long as they care to. Those who get dizzy sooner sit down and wait for the more hardy souls.”
Not all of the squares in New Brunswick and Nova Scotia are of this type; there are many “Small Quadrilles”, and many of those from Nova Scotia have five figures to them with the admonition “no pause between figures.” It is a fascinating book with some grand figures given in it. If you can't buy a copy - and you probably can't - then try to steal one somewhere!
I can see similarities with The Plain Quadrille, particularly the first and fourth figures, and I realise that “ladies change” is what I would call “ladies chain”, but since Ralph is obviously baffled by the instructions I don't think I'll go any further in my researches! In fact there's an American version of the Plain Quadrille in Vol. 5, No. 1 which also has similarities to the first figure of the earlier version.
Heads and Sides
From Northern Junket Vol. 4, No.6, February 1954. Original wording on page 25 Internet ArchiveSuggested music - The Barren Rocks of Aden
The head two gents, side two ladies
Forward to the center and back
Go forward again and circle four
And back with a left hand star
To allemande right your partners all
Allemande left your corners too
Do si do your partners all
Take your corner and promenade all.
Repeat twice more for heads
Repeat three times for side gents & head ladies
Then -
All the ladies cross the ring
Give your partner there a swing
When you've swung listen to the call
Take your own and promenade home.
This is almost the same as Ralph Page's “Gents and Corners” which Don Armstrong then used for the singing call “Trail of the Lonesome Pine”. It's interesting that he calls the figure three times for the head gents and three times for the side gents, rather than the usual two for each, so the ladies have progressed all the way round the square and then half-way more — hence the final move.
Waltz Chassez
From Northern Junket Vol. 4, No.7, March 1954. Original wording on page 25 Internet ArchiveCanadian
Suggested music - Rig-a-jig-jig
First lady out to the right (joins hands with 2nd)
Gent fall back and join in threes (joins hands with 4)
Go three by three in a waltz chassez
A waltz chassez and three by three
Oh, three by three all over the floor
-------- And on to the next
(“threes” circle clockwise and circle each other keeping to the right. Lady moves on and gent follows and this is repeated twice)
Now three by three in a Waltz chassez
A waltz chassez in couples three
Around and round you go - and on to the next
Join your hands and around you go
Away you go and away you go
Rig-a-jig-jig and away you go
Hi-ho-hi-ho, hi -ho - and on to the next
Oh four by four all over the floor (first & fourth couples join hands, second and third do the same and in groups of four repeat former figure)
You dance some more, go round some more
Now chassez four around and round and back to your places all
Go allemande left with your corners all
Grand chain all over the hall
Swing your partners when you get home
Then ready to dance some more
Repeat dance for other three couples In turn
No it's not a waltz, it's a jig. Listen to the suggested tune and see how closely the phrase “Rig-a-jig-jig and away you go” matches it.
I learnt this as “Bouquet Waltz”, and you can click the image on the right to see the version I know called by Nils Fredland at the Ralph Page Dance Legacy Weekend in 2013 — he's using reels. In this version the first gent waits while his partner circles with the twos, then she moves on to the threes, he moves on to the twos, and these circles of three “waltz” round each other. Then she moves on to the fours, he moves on to the threes to do the same. Finally the gent joins his partner with the fours, the twos and threes join up, and two circles of four do the bouquet waltz. Nils finishes with swing and promenade whereas Ralph finishes with allemande left, grand chain all the way round and swing, but I'd say you can put in whatever you like at that point! The figure also turns up in “Set Salle St. Andre” in Vol. 6, No. 4.
Canadian Square Updated 17-Aug-24
From Northern Junket Vol. 4, No.8, May 1954. Original wording on page 34 Internet ArchiveThe tune, which Ralph prints but doesn't name, is the traditional French-Canadian “Set de la Baie-St-Paul”.
Any introduction you wish
First couple out to the right of the ring
And circle four hands round
On the corner of the set you dip and dive six - couples 1, 2 and three.
Dip right through to number three and circle four
On the other corner you dip and dive six - couples 1, 3 and 4.
Dip right through to the last and circle four again
Dip and dive six across the set - couples 1,4 and 2.
Allemande left with the corners all
Right hand to partner and Grand Chain all
All swing out when you come home
Swing your little girl all alone
Second couple to the right of the ring
And circle four hands round
You right and left six with couples three and four
Then circle four with couple four
Right and left six, you are not done
Right and left with four and one
You circle four with your head couple
Right and left six up and down the hall - couples 2, 1 & 3
Allemande left with your corners all
Allemande right your own
Balance to your corners all
Swing your own around the hall
Third couple out to the right of the ring
And circle four hands round
Three ladies chain on the corners - couples 3,4 & 1
On to the next and circle four exactly as before
On the other corner three ladies chain - 3, 1 & 2
Circle four with couple two, three ladies chain across the set - 3, 2 & 4
When you're home, you swing your own, swing her all alone - Then promenade your partner home
Last couple out to the right of the ring
And circle four right there
Dip and dive six on the corners of the set - 4, 1 & 2
Then circle four with couple two
On the other corner you right and left six - 4, 2 & 3
Circle four with your last, three ladies chain up and down the set - 4, 3 & 1
An ending:
Allemande left with your corners all
Right hand to your partner and Grand Chain all
Honor your lady and pass her by
Wink at the next girl on the sly
Kiss the next as you go by
And swing your own when you get home.
Promenade all right off the floor
Thank your partner, for that is all.
Let's see if I can fit this to the music.
| Any 32-bar Intro. | |
| A1/2: | Ones lead out to twos and circle left about three-quarters so that the ones are on the outside of a diagonal column of three couples: ones, twos and threes. Twos arch: dip and dive, possibly with a California twirl as you reach each end — all the way and one extra change so the twos are home and the ones are facing the threes. This is reminiscent of the dance “Redwing”. |
| B1/2: | Ones and threes circle left about three-quarters so that the ones are on the outside of a diagonal column of three couples: ones, threes and fours. Threes arch: dip and dive — all the way and one extra change so the threes are home and the ones are facing the fours. |
| A3/4: | Ones and fours circle left about three-quarters so that the ones are on the outside of a column of three couples across the hall: ones, fours and twos. Fours arch: dip and dive — all the way and one extra change so the ones can back out in their home place. |
| B3/4: | Allemande left corner, grand chain all the way round, swing partner. |
Repeat with second couple leading, but instead of dip and dive it's “right and left six”. Three couples in line move simultaneously, pass through always right shoulder (courtesy turn on ends) till ends are back home and ones are back in the middle. The first two are on the diagonal; the final one is up and down. See “Right and Left Six” for more information. And there's a different move following the allemande left:
| B3/4: | Allemande left corner, allemande right partner, balance to corner but swing partner. |
I don't know why you'd want to balance to your corner and then swing your partner, but that's what it says.
When the third couple leads, instead of dip and dive, it's “three ladies chain”. Don't confuse this with the “All three ladies chain” you might do in a circle of three couples, such as in Pat Shaw's dances “The Pride of Newcastle” or “The American Husband”. This is again done in the column of three couples. In fact there's a later dance actually called Three Ladies Chain. Ones and twos do a ladies chain but the second man wheels only half-way with the first lady and then chains her to the third man, receiving the third lady whom he then chains to the first man and so on, till all are back with partners, then threes and their facing couple keep the courtesy turn hold and promenade (left shoulder) past each other, the threes to move on to the next while the other couple wheel round into place.
And then the fourth couple lead all three figures — I got this wrong originally so if you picked this dance up before 17-Aug-24 please check your instructions. Dip and dive, then right and left six, then three ladies chain. and the final break which I'm interpreting as a grand chain half-way, swing, then promenade home.
I planned to walk it through once for each leading couple and explain that they're working their way round a triangle, so the figure is on this diagonal, then the other diagonal, then straight across or up and down. But at my House Party weekend in 2024 (with almost all experienced dancers) they weren't happy with this, so I had to do the circle ¾ each time and show them where the column would be. For the fours I walked through the whole thing.
I found that some sets couldn't fit the three ladies chain to the music, though Alan Chetwood said it wasn't a problem so long as people moved with confidence, so I took longer and cut down the break.
Aroostook Special
From Northern Junket Vol. 4, No.9, July 1954. Original wording on page 22 Internet Archiveas called by Rod Linnell
Music: “American Patrol” played by Cliffie Stone on a Capitol Record
Any introduction you wish.
The two head couples out to the right
And balance with those two
Now join your hands and circle left
It's half way round you go.
Half ladies chain now with those two
And you right and left right through
Half right and left and take that lady
Right back home with you.
Chorus:
Now allemande left your corner
And right hand round your own
Go back and take your corner girl
And promenade her home.
Repeat for sides - then heads - then sides.
I struggled with this until I realised that “Half right and left” is just amplifying the previous line — pointing out that it's half-way and not all the way — rather than being a separate move. After all, if it was back he'd just have said “Right and left back” rather than putting in that confusing “Half”. And later I decided that “take that lady right back home with you” means that the head men fall back to their original place with their current partner — the side men are already there.
| A1: | Heads lead to the right to face this side couple; balance the ring. Circle left half-way (for which there seems to be too much music) so the heads are now on the outside. |
| A2: | Same two ladies chain across. Same four right and left through, and head men fall back to place with current partner. |
| B1: | Allemande left corner. Right-hand turn partner. |
| B2: | Promenade corner to the man's place. The sides are back with their partner; the heads have their opposite. |
The bit called “Chorus” involves a change partner — that's not what choruses are supposed to do! I assume it means that this part of the dance is called to the chorus of the tune.
So the side ladies haven't progressed, which is unorthodox. If you repeated the figure for the heads they would all be back home. That's why Rod specifies Heads, Sides, Heads, Sides. After the sides have led the figure you're all with your opposite. Twice more and all the ladies are back home.
It appears in the book “Square Dances from a Yankee Caller's Clipboard” (Rod Linnell and Louise Winston, 1974) with substantially the same wording and no amplifying notes, so you'll just have to accept my version! But the book does add the crucial phrase “(8 measures silent)” after “promenade her home” which makes it up to the 32 bars that the music requires.
Aroostook is a county in the state of Maine.
Nine-Pin
From Northern Junket Vol. 4, No.10, December 1954. Original wording on page 40 Internet Archiveas called by Dick Anderson, Hyannis, Mass.
Suggested music: “Girl I left Behind Me” Folkcraft record # F1213-A
Intro.
Now all join hands and circle left
Circle left, now mind you,
Circle left all the way 'round,
So we'll know where to find you.
Now all join hands, go forward and back,
Into the center all four,
Forward again with a great big yell
Then stay there on the floor.
Figure.
The two head couples forward and back
Forward again, circle four around the ninepin
Circle left, all the way 'round.
And when you're home you swing,
Swing that gal, that pretty little gal,
The Gel You Left Behind You.
The first gent lead to the right and swing,
And elbow swing in the center of the ring,
Then lead on to the next and swing,
And circle three in the center of the ring,
Then lead on to the next and swing
And circle four in the center of the ring,
And keep on going with the dear old thing.
Keep on going, right around the town,
Keep on going, don't slow down,
Keep on going, I didn't say stop *
(*) At this point the music stops and everyone must find a partner and swing. Someone will be left out and that person becomes the nine-pin. The music starts again for the swing and dancers will promenade back to gent's original position. The smart caller will vary the length of time for the circle of five, sometimes cutting it short.Explanation
The first gent leads to the right and swing the second lady. The second gent joins the nine-pin in the center for an elbow swing. After the swing, the second lady remains in position, the active gent going on to the next lady, etc. so that after all ladies have been swung the active gent goes into the center so that we have five persons in the center and four ladies on the outside. After the music break the dance continues with the two side couples forward and back and the second gent becomes active.
The dance involves the usual nine-pin formation. The nine-pin being either male or female. It is strictly a fun dance with much of the success of the dance depending on the timing of the caller.
I picked up the original figure from Dick Chase at Richmond. Of course I dropped much of his wild sashays and changed the sequence and added a little patter.
D.A.
I must say I prefer the “wild sashays” (or “gallops” as we say in England) — you can see the English version at barndances.org.
Jingle Bells Square
From Northern Junket Vol. 4, No.11, January 1955. Original wording on page 17 Internet ArchiveSome years ago we choreographed this Jingle Bells square to RONDO - 140 and some of us like to dance it just this way each year. If you do not have, or cannot find this recording, no doubt you can adapt this routine to one that you have.
Intro:
Honor your partner, honor corner
With your partner swing
You swing your own around and around
Then promenade and si—ing
Jingle bells, jingle bells
Jingle all the way
Oh what fun it is to ride
In a one horse open sleigh!
1.
HEAD two couples up and back
Side two couples swing
Head two couples dos-a-dos
And back into the ring
SIDE two couples up and back
Head two couples swing
Side two couples dos-a-dos
And back into the ring
Chorus:
Circle left, circle left
On around the ring
Keep on going round and round
Then promenade and si—ing
Jingle bells, jingle bells
Jingle all the way
Oh what fun it is to ride
In a one horse open sleigh
Break;- 16 counts: Grand Square (single, without calls heads advance, sides retire, etc.)
2.
HEAD two couples right hand star
Side two couples swing
Head two couples left hand star
And back into the ring
SIDE two couples right hand star
Head two couples swing
Side two couples left hand star
And back into the ringChorus
Break - 8 counts: Chassez out, then back (all still facing center, p'trs separate as M chassez 4 to L, then back to place - W rpt.)
3.
FOUR lil sisters step inside
Single file around
When you meet your partner, stop
And turn the one you found
FOUR big brothers step outside
Single file around
When you meet your partner, stop
And turn the one you foundChorus
Break - 8 counts: Chassez out, then back, honor partner. Alternate: HEAD two couples split to side (Partners separate - M to L- W to R, 4 in line)
Up and back with grace (up 1, arch)
Up again and partners turn (back: 1, arch)
You turn them back to place (2 hand)
SIDE two couples split to head
Up and back with grace
Up again and partners turn
You turn them back to place
Chorus - All hands joined, in to the center and back -Honor partners.
Follow the Leader
From Northern Junket Vol. 4, No.11, January 1955. Original wording on page 27 Internet ArchiveAs called by TED SANNELLA
Suggested music - any good breakdown you like
The head two couples, go forward and back
Forward again and half right and left
Do si do your corner there
Then do the same with your lady fair
All join hands and circle to the left
First gent turn outside and reverse back in single file
Follow the leader a good long mile (Active gent breaks the circle and turns to his left - others follow after in single file)
Now join your hands and circle to the right
Swing the lady on your right (new partner)
Promenade the same once around the square.
Repeat for heads; then twice for the sides, with gents 2, 3 and 4 breaking the ring to reverse back.
That's a 48-bar figure. I believe Ted later changed the first part to:
| A1: | Heads right and left through; sides right and left through; heads right and left back. |
and took out the final promenade to cut it down to 32 bars.
The Skimmelton
From Northern Junket Vol. 4, No.12, February 1955. Original wording on page 22 Internet ArchiveBY NORMAN CAZDEN
Music - Buffalo GalsThe Skimmelton is a traditional aftermath of weddings in the Catskill Mountain area of New York State. Similar practices are known in many other places by different names.
After the bride and groom have gone home, their relatives, friends and neighbors gather about their house, arriving silently in little groups. As the evening grows later, occasional noises are made to disturb the happy couple, all in friendly spirit. Loud conversations spring up, tin pots are banged on rocks, serenades of song and shouting and laughter come suddenly under windows, and other imaginative sounds suggest that the place is haunted.
By midnight the situation is sure to have grown intolerable. The expected remedy is for the distracted bride and groom to come out and welcome the gathering. They bring out baskets of fruit and other food as well as some “mountain dew” applejack, and join in the impromptu celebration. Dancing and singing are interspersed with well-wishing, and then the guests depart so the couple can be alone.
The Skimmelton dance, performed at the Fourteenth Annual Folk Festival of the Catskill Mountains at Phoenicia last August, is a variant of Buffalo Gal, and the calls are sung to that tune. The music should he moderate in speed, and the steps call for precise timing. At * the ladies keep hold of each other's hands, gents duck under to left of their partners then take hands and lift them over the ladies' shoulders. At ** the gents keep hold of hands, ladies drop hands, take hands again inside the circle and lift them over the gents' shoulders.
First gents.
Turn the right hand lady with the left hand around
Then your partner with the left hand around
On to your opposite with the right hand around
Then your own with the left hand around
Now turn your corner with the right hand around
Then your partner with the left hand around
Swing your partners all around
And promenade the hall.
Repeat with second, third, then fourth gents
Refrain:
All ladies to the center and circle four
Gents to the right, find your own once more
* Under and over with a basket weave
And circle left before you leave
** Now turn that basket inside out
And swing like thunder the other way about
Drop that basket and hug your fruit
And promenade the hall.
Head gents - turn the right hand lady with the right hand, etc.
Repeat with side gents; then all gents - not too fast!
Refrain: All ladies to the center and circle four etc.
I'm sure it should start with turning the right-hand lady by the right, not the left, and indeed when he talks about both head gents starting the figure that's what he says.
This figure is also known as the “shoo-fly swing” which can be done in a square or a circle. Read more at squaredancehistory.
Plain Quadrille
From Northern Junket Vol. 5, No. 1, March 1955. Original wording on page 30 Internet ArchivePlain Quadrille
As called by Ralph Sweet, Windsor Locks, Conn.
Suggested music - “St Lawrence Jig” MH 1507Head couples forward and back
Circle four with right hand couple
Head couples forward and back again
Circle four with left-hand couple
Sashay four with right hand couple - social dance position: slide past other couple 8 slides, men back to back; slide back 8 slides, ladies back to back
Sashay four with left hand couple - same as above
Ladies chain with right hand couple
Ladies chain with left hand couple
Half promenade, half right & left with right hand couple
Half promenade, half right & left with left hand couple
All join hands, forward and back
Swing partners and all promenade
Repeat for side couples
Ralph Sweet taught this old time square at the New Hampshire Year End Camp, 1953. He got it from Harold Gates, Cromwell, Conn. who used to say “the other way” instead of “with the left hand couple” - this was O.K. if they knew the dance. He also referred to the “Sashay Four” as “Balancez”. I have heard other callers since, call it “Sashay Four” so l adopted it as less confusing. This figure is derived from the “Promenade Four” and is called “Balance” or “Balance Four” in many old call books. - Ralph Sweet, 1/10/54
No difficulties of interpretation here. Instead of “sashay” I would say “Take ballroom hold and gallop past the other couple, men passing back to back, then back again with women passing back to back” - but then I'm English. Of course the ladies chain is over and back. Twice through the tune fits all but the last two lines, so you need another 8 bars for the forward and back and swing, and another 8 bars for the promenade.
Somebody Goofed
From Northern Junket Vol. 5, No. 2, August 1955. Original wording on page 31 Internet Archive
An original dance by Ruth Stillion, Coos Bay, Oregon. Windsor Record #7140
Note to dancers: The following calls won't mean a thing to you when you get into the dance. A detailed explanation of each figure would only spoil your fun. We suggest that you pay up your insurance, lay back your ears…and hope for the best. You are supposed to end up with your original partner, but it won't be the end of western civilization if you don't.
The head two, a right and left through, sides you do the same
The head two, a right and left back, sides do it again
All four couples right and left…grand around the ring
You meet your corner maid and promenade, and everybody sing.
Somebody goofed, somebody goofed
We don't know who it was…but somebody goofed.
Allemande left, the ladies star, the gentlemen promenade
Allemande left, the gentlemen star, the ladies promenade
Allemande left the corner girl, do si do your own
Find your right hand lady, boys, and promenade her home.
Somebody goofed, etc.
Swing the one across the hall, wink at the corner gal
Star right back and turn your own, a left hand round your pal
Do si do your corners all, balance to your own
Find the one who winked at you, and promenade the hall
Chorus:…
The four gents lead to the right, balance to that gal
Pass the one behind you, a left to the corner…pal
Star right across the set, a left hand round her there
Find the one you balanced to, and promenade the square
Chorus:…
Swing the corner lady, swing her round and round
Swing the next one down the line, bounce her up & down
Go back home and swing your own, now listen to the call
Find the one you. haven't swung, and promenade the hall
Chorus:…
Allemande left the corners, then do an allemande thar
Go right and left and then the gentlemen, form a right hand star
Shoot the star, go all the way, do si corners all
Find the one you had in the star, and promenade the hall.
Chorus:…
Bow low to your partner, swing the corner high
Allemande left in the usual way, and pass your partner by
Do-si -do the next one, she ought to be your own
Find the one who passed you by, and promenade her home.
Chorus:…
Sing the chorus during the promenade, if you want to. otherwise, just listen to the music and fight your own confusion.
The tune is still in copyright (Al Hoffman died in 1960 but Dick Manning lived on until 1991) so I'm not reproducing it here, but you can hear the song at youtube.
Maybe the dancers wouldn't understand the call, but I'd like to try and explain it to the callers among you! There are 16 bars for each section followed by an 8-bar promenade.
| A: | Heads right and left through; sides the same. Heads the same; sides the same. |
| B: | Grand chain, but only three places: meet your corner with a left and… |
| C: | Promenade to the man's place — remember you now have a new corner. |
| A: | Allemande left corner, ladies star right, men promenade anti-clockwise. Same corner allemande left, men star right, ladies promenade. |
| B: | Allemande left corner, do-si-do (current) partner, then walk past to original partner. |
| C: | Promenade. |
| A: | Men cross over, swing opposite (just once around) and wink at current corner (original right-hand lady) |
| B: | Men star right half-way; left-hand turn partner ¾ to meet right-hand lady (the one you winked at). |
| C: | Promenade to the man's place. |
| A: | Men move to right-hand lady; balance once. Men move back past partner, allemande left corner. |
| B: | Men star right half-way; left-hand turn opposite all the way and a bit more to face current corner (original right-hand lady). |
| C: | Promenade to the man's place — all now with opposite. |
| A: | Swing corner. Swing new corner (original partner). |
| B: | Men cross the set to swing current partner, then men move to right-hand lady. |
| C: | Promenade to the man's place — now with original corner. |
| A: | Allemande left corner to an “allemande thar”: pull by right partner, give left forearm to the next and turn till the men can make a right-hand star — men move backwards, ladies forwards (but not for long). |
| B: | “Shoot the star”: left-arm turn all the way to face corner. Do-si-do, then back to current partner. |
| C: | Promenade to the man's place — now with right-hand lady. |
| A: | Bow to partner, swing corner (original partner). Allemande left new corner, walk past partner. |
| B: | Do-si-do the next (right-hand lady), then men roll back to original partner. |
| C: | Promenade. |
To my surprise the instructions worked out for me first time! The call “All four couples right and left…grand” is designed to fool the dancers: we've had heads and sides alternately doing a right and left through, so the dancers assume that somehow all four couples must do a right and left through, and there are a couple of seconds panic, then laughter, and the grand chain will start late so that you just meet your corner in time to promenade. Callers, you need to emphasise the word “corner” — everyone expects the chain to finish with the person they started with. But for heaven's sake, don't walk the whole thing through! That's not what it's all about. Choose a group of dancers who are quick on the uptake and can move quickly, and just go for it!
Canadian Lancers
From Northern Junket Vol. 5, No. 3, October 1955. Original wording on page 31 Internet ArchiveObtained from Norman Lindsay, London, Ontario, who says this is a real old timer, close to 100 years old.
Suggested music - Any good marching tune
The Dance
Head couple bow and swing
Promenade a half way 'round
And back up center (between # 3)
The side two couples fall in behind
Four steps forward, four steps backward
Ladies round the gents (single file, following #1 lady)
Gents go 'round the ladies (single file same as ladies)
Head couple down the center (others follow after)
Ladies left, gents go right
Make new lines of four
Face your own - go forward and back
Forward again and swing partners into place
Square your sets
Repeat for other couples in turn. Using any chorus figure you wish. Also any ending, after all have done the figure.
We learned this figure at Dixie Folk & Square Dance Institute 1954, and danced it again to Norman's calling this past summer. It's a wonderful dance for a Gay Ninety Evening - or any other kind of a square dance night. It would seem in better taste to use comparable music, rather than the latest razzamatazz, but you are the one to call so let your conscience be your guide.
No problem understanding this once you realise that “Head couple” means “First couple”. I believe “bow and swing” means take inside hands, balance away from partner and a quick swing (probably just once around, walked), so I would phrase the dance like this as a 48-bar figure:
| A1: | Ones bow and swing. Promenade outside the set half-way. |
| A2: | Ones split the threes and lead up to home place; twos and threes wheel in as they pass to face up in a column of four couples. All lead up (three steps and together); fall back. |
| B1: | Ladies single file up and round the men to finish where they started this move. |
| B2: | Men the same round the ladies. |
| C1: | Ones lead down the middle, the others move up the outside and follow them down, then separate (men right, ladies left) and cast up the outside to form side lines of four facing partner. |
| C2: | Lines forward and back. All swing to place. |
Repeat for the other couples in turn.
The Lancers was a very popular 19th century quadrille; you'll see it mentioned on my Connections page, and Susan de Guardiola says at kickery.com/2008/11/the-
At one point in the figure the dancers have formed a column of couples (the distinguishing feature of the various Lancers sets)…
I'm guessing that when the sides wheel in the twos are above the threes, but it doesn't really matter so long as people move with conviction! For the final swing, the two people on the wrong side of the set (the second woman and third man) need to cross rapidly to meet their partner. I agree with Ralph that a traditional dance needs a traditional tune, but I don't agree that you need to add a chorus figure and an ending — to me the dance stands on its own as 4 x 48-bar reels or jigs. But click the image to see Tony Parkes calling what is described as “an adaptation of the 5th figure of the Lancers”. It's identical to this except that he has everyone slip right and left rather than across and back — and yes, he does add breaks!
Climbing up de Golden Stairs
From Northern Junket Vol. 5, No. 4, December 1955. Original wording on page 23 Internet ArchiveRecorded on FOLK DANCER MH1517 by Don Armstrong's Quadrille Orchestra - Don Armstrong calling on MH1515It's left hand round your corner
Right elbow swing your partner - SING
Climbing up de golden stairs
Then left hand round your corner
Two hand swing your partner - SING
Climbing up de golden stairs
Now right hand round your corner
Left elbow swing your partner - SING
Climbing up de golden stairs
And do si do your corner
And do si do your partner - SING
Climbing up de golden stairs
Swing your comer lady round - sung slowly
Then promenade your square “ ”
Let's sing that crazy song again “ ”
Climbing up de golden stairs
Repeat entire dance three more times, 4 times in all
“CLIMBING UP DE GOLDEN STAIRS” is an old-time minstrel song and we've heard many an “end man” and chorus sing it in old-time minstrel shows - a bit of musical Americana that we'd like to see revived once in a while. Don Armstrong has done a superlative job of calling on the record, and we'll go out on a limb and state that it is going to be around for a long, long time. If you use the record do not try to use an introduction or an ending; if you use live music, either or both are optional.
A very simple singing square — you can see a video at youtube.
Duck to the Center
From Northern Junket Vol. 5, No. 5, February 1956. Original wording on page 29 Internet ArchiveAs called by Norman Epstein - 55-56 Year End Camp
Suggested music - Big John McNeil MH 5011.
Use any introduction, chorus figures and ending
Head two gents lead out to the right
And circle three hands round
Duck to the center, swing your original opposite lady
And the side two couples half right and left over
Same active men lead on to the right
And circle three hands around
Now duck to the center and swing your own
While the side two couples right and left homechorus figure
Side two men lead out to the right
And circle three hands round
Duck to the center, swing your original opposite lady
And the head two couples half right and left over
Same active men lead on to the right
And circle three hands round
How duck to the center and swing your own
While the head two couples right and left homechorus figure
Repeat entire dance for the two head ladies; then once more for the two side ladies, using any chorus figures you like. End with any usual figure.
Only a 16-bar figure but very busy! The sides have 8 bars to circle left half-way, arch to let the head men through, California twirl, right and left through and immediately be ready for the next circle.
For many years I've been using a version which has been through the Folk Process, though library.unh.edu/special/
| A1: | Head men to the right, circle left with this couple just over half-way, pop through arch and swing the opposite lady. |
| A2: | Side men the same. |
| B1: | All circle left half-way. Swing new corner. |
| B2: | Promenade to the man's place. |
| Ladies have moved Left. |
I must say I prefer this version!
It's a Long Way to Tipperary
From Northern Junket Vol. 5, No. 6, March 1956. Original wording on page 21 Internet ArchiveBelieved to be by Ralph Page.
Verse:
All four ladies walk right round
The inside of the ring,
When you get back home again
You balance and you swing;
Swing your colleen everyone
Then leave her standing there
A left hand round the right hand girl
And all four gentlemen star
By the right hand, in the center of the ring
Then go back the other way by the left
A right hand round the comer girl
And do si do your own
Go back and swing your corner lady
Yes you swing her, then promenade her home (SING)
It's A Long Way To Tipperary
It's A Long Way To Go.
Repeat three more times, til all have original partners
Repeat four more times for “all four men walk around”. In this sequence, men move one place to their left each time as ladies promenade their corner man home. Her home position, not his!
You can hear Jack Judge, who wrote the song, singing it at youtube.
Lady round the Lady
From Northern Junket Vol. 5, No. 7, October 1956. Original wording on page 38 Internet ArchiveAny introduction you like that uses 16 measures of music:
Couple 1 - Out to the right and ----
Lady round the lady, the gent walk round the gent
The Gent go round the lady, lady round the gent
Half right & left six, go right across the set
Leading couple to the middle and lead on to the next;
Where it's lady round the lady, gent go round the gent
Gent go round the lady and the lady round the gent
Half lady's chain then swing the one you've got
Swing her in the center and you take her to the last
And it's lady round the lady, gent around the gent
Gent go round the lady, lady round the gent
Half right and left six, til you all get home again
Swing your partner once or twice and listen to the call!
Use a break figure for 16 measures of music
Then repeat figure for other couples in turn - then:
The two head couples to the right and ----
The ladies round the lady; gents go round the gent
The gents around the lady; the ladies round the gent
All right and left eight across the set and back
When you're all back home again you swing your partners all.
Take your lady with you and promenade the hall.
Repeat for two side couples
Use any ending figure you wish and end dance ----
All join hands and circle left, circle once around
You all are going wrong so back the other way
Bow to your partners one and all
And that's the end of the call.
This is a really interesting one. A recognisable version of this tune
and some of the figure are used for the dance “Swannee” (which to my surprise I can't find anywhere on the web). I imagine someone has taken Ralph's advice to use their own break figure and then decided that we need a break from the tune as well, so you get a chunk of “Way down upon the Swannee River” by Stephen Foster (which is officially called “Old Folks at Home” and it also seems that it's “Suwanee” or “Suwannee” rather than “Swannee”). (To add to the confusion, Vol.14, No. 7 has a square called “Swanee” to the tune “Swannee (How I love ya)” which has no connection with any of this.) But while adding a break (and a circle four after the figure eight) they've also lost part of the figure, so let's write it out as Ralph Page intended. I've added an obvious 16-bar break. “Right and left six” is a figure used in a dance actually called “Right and Left Six” which was old in 1925: a right and left through for three couples, no taking hands, courtesy turn at the end. In the first figure it's just half-way, so the twos and fours have changed places and the ones are back in the middle. The same book also contains Lady Round Lady but that's a somewhat different figure!| A+B: | Allemande left corner, grand chain half-way, promenade home, quick swing. |
| A: | Ones out to the right: full figure eight through the twos. |
| B: | Half right and left six (see above). |
| A: | Ones figure eight through the threes. |
| B: | Same two couples ladies chain across. Swing this new partner. [My choice would be to chain back to original partner.] |
| A: | Ones (first man and third lady if you've done it as Ralph says) on to the last position — actually it's the twos again — and figure eight through them. |
| B: | Half right and left six so the sides are home, and all a quick swing. |
| A+B: | Break as before (or be more inventive). |
| Repeat the figure and break with the twos leading it, at the end of which all the ladies will be with their opposite man. Then with the threes and fours leading it, and I doubt if the man who wrote the dance realised that the original third and fourth ladies never get a chance to lead the figure! I thought of changing the order to ones, threes, twos, fours, but that means the first lady leads the figure twice and then the second lady twice! In my experience, in a square where each couple in turn leads the figure you're always with your original partner at the start of the figure, but Ralph says “swing the one you've got” to make it clear that the head men have a new partner. I've suggested you change it to a ladies chain there and back. | |
| A: | Both head couples lead out to the right and do a figure eight through this side couple, so the head couples finish standing back to back with each other facing this side couple. |
| B+A: | “Right and left eight” — the same principle as a right and left six, but this time you're passing more people and it's all the way instead of half-way so it takes 16 bars with time for a quick swing into home position at the end. |
| B: | Promenade. |
| Repeat this with the side couples leading. | |
| Ralph says “Use any ending figure you wish and end dance” but then he gives his own ending which I don't think much of — the choice is yours! In fact I think it ends perfectly well with the promenade. |
Old-Time Square from Conn.
From Northern Junket Vol. 5, No. 8, December 1956. Original wording on page 27 Internet ArchiveHead, couples forward & back & circle four with right hand couple
Repeat with left hand couple
Heads right & left four with right hand couples
Repeat with left hand couples
Heads sashay four with right hand couple (Social dance position; slide past other couples 8 slide steps, men back to back; Slide back women back to back)
Repeat for left hand couples
Ladies chain with the right hand couple
Repeat with the left hand couple
Half promenade with the right hand couple
Half right and left with the same, to place
Repeat with the left hand couple
All join hands, forward and back
All swing partners and promenade
This figure is from Ralph Sweet, Windsor Locks, Conn. who in turn obtained it from the former Harold Gates of Cromwell, Conn. Since it is a real old timer we have set it to the given music which is part of a quadrille “Nights of Gladness”, the first figure, in fact.
Writing about the dance Ralph Sweet says: “In giving the directions, Harold Gates used to say 'The other way' instead of 'with the left hand couple' - this was O.K. if they knew the dance. He also referred to the 'Sashay Four' as 'Balancez',” pronounced 'Balansay'. I have heard other callers call it 'Sashay Four' so I adopted it as less confusing. This figure is derived from “Promenade Four”, and is called “Balance” or “Balance Four”, in many old call books.
The music “Nights of Gladness”, is in traditional old- time quadrille style; the style made famous by a great many music publishing houses, such as Elias Howe, J.P.Pepper, Oliver Ditern, E.P.Root, Carl Fisher, etc. We found it in volume 3 of “Collection of Irish Airs, Marches & Dance Tunes” compiled in Ireland by F. Roche. A copy of which was recently sent us from England by Dr. Hugh Thurston, of Bristol, England.
Far be it from us to try to inaugurate a “trend” in anything, least of all dance music, but it would sure be wonderful to once more hear some tunes more in keeping with square dancing than some we've heard recently. Perhaps, after we've gotten rid of a lot of the hanky-panky afflicting modern square dancing, we shall see a return to more tuneful and less raucous type of music.
No difficulties of interpretation here. Quadrille music isn't in the AABB format we're used to from English and American country dances. It's in Rondo form which means you play ABAC repeatedly and do your best to end on an A-music!
When the Work's All Done This Fall
From Northern Junket Vol. 5, No. 9, February 1957. Original wording on page 41 Internet Archive
Any introduction and ending you wish
First head couple to the right and circle once around,
Leave your lady, go to the next and circle three around
Take that lady with you and circle four with the next
Kiss her goodbye, leave her there, and go back home alone
The two side gents, turn the right hand lady
With the right hand right around
And the left hand lady the left hand right around
They right and left with the right hand lady
With that couple over there, and right and left right home
With the left hand lady they both sashay with the two across the way
Sashay right back home, you ain't got long to stay
The two lone gents go do si do on your heel and toe
Take your corner lady and all promenade home, go once around the ring.
Repeat for other couples in turn, til all have original partners back again.
Here's how I would phrase this to the music, which is a 16-bar reel.
| A: | First couple out to the right and circle left with the twos. First gent leave your partner in a line with the twos, move on to the threes and circle left with them. |
| B: | First gent take the third lady, roll her across to your right, and circle left with the fours. First gent go home alone, so the side gents have a lady on each side of them and the head gents are on their own. |
| A: | Side gents right-hand turn your right-hand lady — take the full 8 counts. Left-hand turn your left-hand lady. |
| B: | Side gents and right-hand lady face the head couple on your right: Right and left through, and back. |
| A: | Side gents take left-hand lady in ballroom hold: gallop across 8 steps (gents passing back to back, and you can go a lot further than just to the other couple's place). Gallop back with the ladies passing back to back. |
| B: | Head gents do-si-do. All promenade corner to the gent's place. |
But this gives only 8 counts for the promenade, which can't be done. You could add in a swing before or after the promenade, but then the figure would end on an A-music, and I don't see how I can speed things up (or slow them down) to fit a number of full times through the tune. I could speed up the side gents turning their right-hand lady and left-hand lady — but surely the right and left through needs to start at the start of a phrase, not half-way through, and the same with the gallops and the do-si-do. And as with Lady round the Lady the fact that it's a change partner dance means that the ladies don't get an equal share of the action. In fact the ladies do the same thing all four times, albeit from different positions — it's always the original first lady who is led out to the couple on the right, etc. Maybe I'm just being fussy — maybe Ralph didn't care that it was across the music and none of the ladies was willing to speak up!
There's a totally different singing call to this tune at squaredancehistory.
There's a cut down version of the call on scholars.unh.edu/cgi/
Cock of the North
From Northern Junket Vol. 5, No. 10, April 1957. Original wording on page 34 Internet ArchiveAny introduction and ending you wish
First couple balance the right hand two
Do si do with the same ones too,
Reel the same with the left elbow
Now your own with the right elbow
First couple duck under those they face (couple 2)
Promenade round to the next in place (couple 3)
Raise your hands while they pass under to right and left with the ones you left (3 with 2)
You lead to the last and circle four
Then dive right under to your place
All swing partners and promenade
Repeat for the other couples in turn
I'm not giving Ralph's version of this traditional tune as I already have my own. And I'm guessing at the meaning of some of the instructions, so if you know better please contact me and I'll correct this.
| A1: | Ones lead out to the right and form a ring with the twos; balance the ring. Do-si-do opposite. |
| A2: | Left-elbow swing opposite (twice around). Right-elbow swing partner (twice around). |
| B1: | Twos arch, ones promenade under the arch, round to the right and into the middle to face the threes, then ones arch, threes duck under. |
| B2: | Twos and threes do a right and left through, and back, while the ones do a California twirl and move in to face the fours. |
| A3: | Ones and fours circle left half-way; fours arch, ones move under the arch to home place. All swing partner. |
| B3: | All promenade. |
That makes it a 48-bar figure, so twice through the figure will get you back in step with the music — that's good enough for me!
Darling Nellie Gray
From Northern Junket Vol. 5, No. 11, June 1957. Original wording on page 26 Internet Archiveas called by Rod Linnell, Peru, MaineFolk Dancer MH509
Now the first couple right
And you balance with those two
And you circle to the left just once around
Right half around the opposite
Then balance four in line
And you walk right through and swing your Nellie Gray
Then on to the next and you balance where you are
And you circle to the left just once around
Right hand half around your opposite
Then balance four in line
And you walk right through and swing your Nellie Gray
Then it's up to the last and you balance with the two
And you circle to the left just once around
Right hand half around your opposite
Then you balance four in line
And then everybody swing your Nellie Gray
chorus:
Allemande left with the lady on your left
Then right hand to your partner for a grand right and left
When you meet your partner
You promenade her home
Promenade with your Darling Nellie Gray
The same for the other couples in turn
Any ending you wish that will fit the music
This time I feel confident that I understand the figure, and it fits twice through the tune, i.e. 64 bars. John Sweeney points out that CDM 1 (1949) has a completely different call to the same tune.
| A: | Ones lead out to the right and make a ring with the twos; balance the ring. Circle left. |
| B: | Right-hand turn opposite ¾ and the men give left hands to make a wave; balance the wave. Step forward and both couples swing, twos finishing at home, ones finishing in the middle facing the threes. |
| C+D: | Same with the threes. |
| A+B: | Same with the fours, and all swing at home. |
| C+D: | Allemande left corner, grand chain half-way. Promenade home with partner (and there should be time for a quick swing, though that isn't specified). |
Hot Time in the Old Town Tonight (circle)
From Northern Junket Vol. 5, No. 11, June 1957. Original wording on page 29 Internet ArchiveMusic - the same - suggested record: Windsor 7115
Position: Couples in circle facing center. Lady at mans right.
Call:
It's allemande left with the lady on your left
Allemande right with the lady on your right (Pass by partner, allemande right with the next lady)
Allemande left with the lady on your left (Pass by partner, allemande left with original corner lady)
Swing your pretty partner round and round
Let's all join hands and circle to the left
Break that ring, swing your corner once around
Promenade home with the girl that you just swung
(Sing) “There'll be a Hot Time in the Old Town Tonight”.
Continue as long as desired.
I'm including this because there's a well-known singing square (still current in England in the 21st century) which you can see at barndances.
Nancy's Fancy
From Northern Junket Vol. 5, No. 12, October 1957. Original wording on page 31 Internet ArchivePretty much the way Don Armstrong called it at Maine Camp
Music - Any reel
Intro, chorus figures & ending ad lib
Head two couples forward and back
Side two couples forward and back
All four ladies grand chain
Half way over and swing
Head two ladies chain to the right
And swing the one you've found
Head two couples pass through
Separate around just two
Stand there four in line
Forward eight and back like that
Girls cross over for a left allemande
Allemande left and a right and left grand
Every other lady by every other hand
Meet your partner walk right by
Swing the next one by and by
Then promenade that lady home
Action - twice for heads - twice for sides
| A1: | Heads forward and back; sides forward and back. All four ladies chain (across the music) |
| A2: | Finish the chain. Swing this one. |
| B1: | Head ladies chain to the right. Swing this one. |
| B2: | Heads pass through, separate, around two people to the end of side lines (close to where you started this move). |
| A3: | Lines forward and back. Ladies cross over to meet original corner with a left allemande — all end facing partner in home place. |
| A4: | Grand chain half-way, and one more change to pass partner by. |
| B3: | Swing the next (original right-hand lady). |
| B4: | Promenade to the gent's place. |
I think that's how I would phrase it to the music, so twice through a 32-bar tune is once through the figure, but you can always cut down the length of the swing in B3 or add another swing at the end of B4 if it's not going to fit — just call it with conviction and the dancers will follow your lead.
Three French-Canadian figures
From Northern Junket Vol. 6, No. 1, December 1957. Original wording on page 9 Internet Archiveby TOM LENTHALL
On visiting a new city I usually try to find out what there is available in the line of square dancing. The public transportation consulting company for which I work sent me recently to Cleveland, Ohio, where I met an interesting old-timer, H, Ben Goedicke.
Mr Goedicke is a Canadian gentleman who has the rather odd idea (odd in Cleveland at least) that square dance music is to he danced to and that Honolulu Baby and similar concoctions are not to be danced to. Ben, as I gathered, learned to call early in his youth while living in Canada, and many of his calls have been handed down to him by other Canadian callers.
I copied down, and had him explain to me, three French-Canadian figures (Grand Moulinet, Dosse Ballinet, and Tirior) and two contras…
These figures are as Ben and I reconstructed from his manuscripts :-GRAND MOULINET
In this figure all the dancers move.
Ladies to the center with a left hand star halfway - 4 bars.
At the same time the gents move to their left halfway.
Gents join right hands with their partners and balance twice - 2 bars.
Ladies turn out and the gents turn in - 2 bars.
Gents go back to place with a right hand star while the ladies walk home - 4 bars.
Join Hands, do a two hand turn to place - 4 bars.TIRIOR
Sashay - 4 bars - between the opposite couple.
Turn separately and promenade back to place.
At the same time the other couple promenade over and sashay back.DOSSE BALLINET - l6 bars
Head four lead to the right - 4 bars
Dosse ballinet - 4 bars - pass through other couple - 2 bars, gent face in, lady face out, two gents balance - 2 bars - turn right hand lady around so that both are facing in (face other couple) right and left to place - 4 bars.
I don't think the first two need to be explained. The second should be spelt “Tiroir” which is French for “Drawer” -you'll see this spelling in Swiss Lanciers from Vol. 8, No. 12 — and is similar to the move in A3 of La Russe.
What do we make of dosse ballinet? There's no argument with the timing — he says the figure is 16 bars and then breaks it down to 4, 4, 2, 2 and 4 — but it's still not clear to me. You can't take 4 bars for the heads to lead right, so I believe they lead right and either balance or circle half-way. Then it seems we have 8 bars for the dosse ballinet and a final 4 bars for a right and left through. I think a dosse ballinet is another form of do-si-do, of which there were several, but I haven't been able to confirm this. I believe you form what would now be called an Alamo ring: all take hands, men facing in, men facing out. He says “two gents balance” but maybe that's because they're facing in so they can balance forward and back towards each other; I'd expect the ladies to balance facing out. The gent's right-hand lady is his opposite, but the instructions say “face other couple” so surely the men must turn their partners by the left half-way before the right and left through. You may think I'm just making all this up, but often there are moves implied but not mentioned in the instructions because “everybody knows that”!
There again, if you go to scholars.
Note — If the dancers will exercise a little care, the ballinet figure can become a very interesting straight line of eight, at about a 45° angle across the set, all balancing back and forth.
When I got to Three Ladies Chain in Volume 6 I found a clear description of the Do si Ballonet (yet another spelling) which has every appearance of being a 16-bar move, but as I say there it talks about two people crossing the set while their partners are stationary and then vice-versa, whereas the above wording says “turn” implying that everyone moves both times. I was thinking this would affect where people end up, but it doesn't: either way you finish diagonally opposite where you started.
And there's more conflicting information available! Click the image on the right to see dancers in 2011 doing the figure to the call of Rhodri Davies who is using Bill Litchman's notes. The typed notes are perfectly clear:
Into the dosi balonet:
Drop hands, men step forward, ladies turn 1/4 to left, to join hands in circles of four (women face in, men face out, RH to partner).
Balance forward and back. (4)
1/2 left hand turn (men face in, women face out). (4)
Balance forward and back. (4)
1/2 left hand turn (women face in, men face out). (4)
Balance forward and back. (4)
1/2 left hand turn (men face in, women face out). (4)
Balance forward and back. (4)
End in a promenade hold (To get into this, men step forward from the last turn, women turn to their left to meet their partner).
Promenade once around this couple, then the heads leading, wheel into a full promenade to places.
And yet… I'm sceptical. Why is it a left-hand turn all three times, rather than the second being a right-hand turn? I suspect it's been passed on wrongly somewhere along the way.
You want more definitions?! Here are two from The Handbook of Modern Square Dancing by Jay King published in 1976.
ceder.net/oldcalls/
Dosi BallonetAn earlier term for what was later called the Alamo Style balance. In an alamo circle or wave, all balance forward and back. Dosi Ballonet was also the name give to a version of Dosido Northern Style in which each time all four couples had hands joined a forward and back balance was executed.
So notice it can be in a circle (as we have here) or a wave (as in the dance “Inside Out”) mentioned above.
ceder.net/oldcalls/
Dosido Northern Style (Dosido Cowboy Style)Performed by two couples with hands joined in a circle of four. Men let go of partner's hand, ladies pass left shoulders and immediately give left hands to partner's left hand. (If doing a Dosi Ballonet, this is one of the two places to balance forward and back). Walk around partner and give a right to opposite man (balance here again on a Dosi Ballonet). Walk around him and return to partner. Give a left hand to him and be courtesy turned to place. The men do not turn until they do the courtesy turn at the end.
That's what I thought from the start — it's one kind of a do-si-do. But it seems the men stay in one place the whole time — different again!
And from heinerfischle.
Alamo StyleWhen I was asked some years ago, what the name Alamo Style meant, I answered that the diagram of the Alamo Style resembled the groundplan of a four-cornered fortress, and the Alamo looked like that. But when I attended the National SD Convention in San Antonio, and saw the irregular shape of the area defended in 1835, it was clear that my explanation could not be true. So I wrote to Rickey Holden asking what he had in mind when he created this call. Some months later, he phoned that he was changing trains in Hannover, and had three hours to spare. On this occasion he told me, that he was dance leader for the recreation parks in San Antonio, when the Texas Doceydoe was renamed as Do Paso. Now since El Paso City had a square dance call of its own, San Antonio needed one too! So he remodeled Doci Ballonet, and gave it the name Alamo Style.
My thanks to Hugh Stewart for drawing my attention to these three examples.
So here's what I've now come up with. You may say it doesn't tie up with the wording given, and I'll agree with you, but at least I can see that it fits the music and gets everybody where they want to be!
| A: | Heads lead out to the right; balance to that side couple. Right-hand turn your opposite half-way to form a ring with gents facing in, ladies facing out; all balance forward and back. |
| B: | Left-hand turn partner half-way to a ring with the gents facing out; all balance forward and back. Gents about turn to your left to face opposite, and do a right and left through. |
This leaves the sides in home place and the heads in the middle so that (presumably) they just fall back to place.
All American Hash
From Northern Junket Vol. 6, No. 1, December 1957. Original wording on page 28 Internet ArchiveAs called by “Duke” Miller
Music: Any reel or breakdown you wish. Introduction, break and ending - ad lib.
Head couples out to the right
And circle just half way round
Duck through - pass through - right and left through
Duck through - pass through - right and left through
Duck through - two ladies chain in the center of the floor
Turn and chain the outside four
Chain back, chain in the center
Put your own on your right
And circle four in the center of the floor
Four hands round and round you go
Break it up with a do pas o
Partner left, opposite right
Partner left and sides cut in
With a right hand around
Partner left and catch your corner
Promenade her and don't step on 'er.
Once more for heads - then twice for the sides
I'm not going to try and fit this into 8-bar A's and B's; it really is called unphrased. Just a few points.
“Duck through” is what we now call “Dive through” — the insides arch, all move forwards, the outsides dive through and those making the arch — in this case the sides — do a California twirl to face back into the set with the gent still on the left. Same again to get the heads back to the side where they started. The heads dive through a third time and do a ladies chain in the middle with a power turn to face the nearer side couple. With the outside two chain over and back, heads finishing the chain back with a power turn to face the other head couple. Head ladies chain to their own partner, and I don't see the need for “Put your own on your right” — she should already be there, so maybe it's just confirmation that the heads are indeed back with their partner. After circling left the heads do a Do Paso — left-hand turn partner and the gents cross to right-hand turn the other lady, then cross back to left-hand turn partner enough to face the nearer side couple, with the gent on the left. But this means the first couple are facing the second couple — so the first lady is facing her corner but the first gent isn't.
Once again Tony Parkes clarified things for me.
I can't blame you for assuming that “sides cut in” after the do paso refers to the side couple that the head couple was just working with. But with my knowledge (some of it firsthand) of Duke, Ralph, and similar dances of the 1950s, I'm virtually certain that Duke meant the call to be interpreted in a different way.I believe that in order for the dance to work out as Duke intended, the heads need to start the do paso when their backs are to their own home position, which would mean circling once and a quarter (or twice and a quarter, etc.). Then “sides cut in” would mean that each side person turns his or her original corner by the right hand as the corner comes out of the last “partner left” of the do paso. This will yield a normal corner progression.
Granted, the circle once and a quarter is not specified. But there were a lot of non-directive calls in those days, and walkthroughs were much more common, even in “western style,” than they would become a decade later.
So here's my understanding:
| Heads lead to the right and circle left half-way. | |
| “Dive through”: Insides (sides) arch, outsides dive through and the archers do a California twirl to face in with the gent on the left. | |
| Middles (heads) pass through and do a right and left through with the other outside couple. | |
| Again dive through, pass through, right and left through. | |
| Dive through, so heads are facing the other head couple and you're all with your partner. | |
| Ladies chain over, with a power turn to face the outside two. | |
| Ladies chain with the outside two. Chain back, and the middles (heads) do a power turn to face the other head couple. | |
| Ladies chain — now you're all back with your partner (where you were the last time you were together). | |
| Middles circle left 1¼ — all home. | |
| Middles do paso: partner left, men cross right, opposite right, men cross left, partner right, so middles have your back to your partner, facing your corner. | |
| Right-hand turn corner, left-hand turn partner. Promenade corner to man's place. | |
| Repeat the figure for the heads, then twice for the sides. |
Do si do and face the sides
From Northern Junket Vol. 6, No. 2, February 1958. Original wording on page 32 Internet Archive
Any good fiddle time
As called by Rod Linnell
The two head couples go forward and back
Then with the opposite do si do
Men turn left, ladies right,
Face the sides and circle left
You circle once around
Then pass through and around just one
You're standing four in line
Forward all and back like that
The middle four make a right hand star
Just once around you go
Now turn your corner by the left hand
Turn once and a half around
Then you stay there in your corner's place
Corners to the center with a right hand star
Just once around you go
Then balance corners all around
And swing your corner round and round
Promenade that corner once around the ring
Repeat once more for new head couples;
Then twice for side couples
Introduction - breaks - ending - ad lib.
This was later published in Ted Sannella's book “Balance and Swing”. It's a 48-bar figure, so if you're happy improvising a 48-bar introduction, break and ending you'll need 7 x 48-bar reels or jigs. If not, or the band aren't happy playing 48 bars, I suggest 9 x 32-bar reels or jigs, with a 32-bar introduction, break and ending, and don't worry that the second and fourth times through the figure will start on the B-music. In fact David Millstone later sent me a link to squaredancehistory.
Special Maritimes issue
Vol. 6, No. 3
This “Dances of the Maritimes” issue of the Junket is a trial at something different. Certainly no one can truthfully say that there are not enough dances in this particular issue.
It is not intended to be a complete treatise of the subject . Far from it. If we'd had that intention in mind we surely would have included some of the older Scottish dances, remnants and variants of which can still be found in many parts of the provinces.
We have tried to give a fair picture of the dances you might meet up with should you have the good fortune of dancing with a Maritime group anywhere in that area of Canada. I suppose that you might call them ' survival dances '.
A “polka quadrille” is danced in some form or another everywhere you go and to a slightly lesser degree, a “waltz quadrille”; many times the figures of the two are interchangeable, merely the tempo being different.
The region is blessed with having many outstanding fiddlers and orchestras, the best known probably being Don Messer & His Islanders.
My heartfelt thanks to the people who helped with this issue, especially to Rod Linnell, Norman MacBurnie, & Maurice Hennigar.
I hope to do something similar next month with the “Dances of Quebec”.
Sincerely
Ralph
Note: Canada's four maritime provinces are New Brunswick, Nova Scotia, Prince Edward Island and Newfoundland.
Waltz Quadrille
From Northern Junket Vol. 6, No. 3, March 1958. Original wording on page 11 Internet ArchiveLantz, N.S.
Any basic waltz tune is used, a different tune for each figure. 4 examples given. 4 couples per square - may be done with any even number of couples.Figure 1.
Half right and left on the heads (weave)*
Heads waltz across and back
Half right and left back to place
Everyone waltz once around the set (“Everyone waltz everyone dance”).
Repeat with side couples
* This is like a “cross trail through” except that there is a weaving pattern as the couples cross over, ladies precede the gents slightly and pass right shoulders, the gents cut between the opposite couple and pass left shoulders. Each ends up on his correct side and no turn as a couple is necessary.Figure 2.
1st lady and opposite gent forward and circle two (The expression “four hands around” is used here).
All waltz once around the set
Repeat for 2nd, 3rd & 4th lady and opposite gents
Note: 2nd lady is opposite 1st gent; 3rd is on right of 1st couple; 4th is on left of 1st couple.Figure 3.
All join and pass partner to gent on the right (The expression “all huddle” is used here).
All waltz once around the set
Repeat three more times
Note: When doing this figure in a large square cut it off with a grand chain and promenadeFigure 4.
Right hand to corner. Left hand to partner (allemande R & L)
All waltz once around the set
Repeat three more times
Finish with a grand chain and waltz to place
Formerly five figures were included in this dance
Figure 4 was -
Grand chain half way, meet partner and waltz
1st couple waltz inside the set
All waltz once around the set
Repeat all for 2nd, 3rd & 4th couples inside
I've transcribed “The Dawn Waltz” from the recording by Don Messer and his Islanders and I've added the other three tunes from Ralph Page's notation. I got so tired of just tonic and dominant that I added a few more interesting chords to “Waltz Denise”, but I don't suppose they would have used them!
Atlantic Polka Quadrille
From Northern Junket Vol. 6, No. 3, March 1958. Original wording on page 19 Internet Archive
Arranged by Rod Linnell from information gathered in the Maritimes, principally from New Brunswick.
Steps - Heel & Toe Polka
Gents begin on left foot; lady begins on right foot.Steps in Heel & Toe Polka
Directions for men, ladies opposite
counts Place left heel on floor out to side 1 Place left toe on floor across in front of right foot 2 Step sideward left 1 Bring right foot to left and take weight 2 Step sideward left 1 Hold 2
1st Figure: Music: Atlantic Polka Quadrille, 1st change
Intro: Honor Partners (4) Honor Corners (4)
All polka once around the set (8)
Figure.
Heads right and left four (8)
Heel & Toe partners (4) holding left hands (turn once around to right)
Heads polka inside the set (8)
Heel & Toe corners once around (4) hold L hands
All polka with partners once around the set (8)
Repeat for sides - heads - sides.
2nd Change: Music “Atlantic Polka Quadrille” 2nd change
“Waltz In Figure”.
Intro: Honor partners (4) Honor Corners (4)
All heel & toe to centre and back twice (8)
All polka once around the set (3)
Figure:
Gent #1 change partners (8) Gent 1 dances with his lady to gent 2, leaves his lady there and takes #2 lady to gent 3, leaves her, takes #3 lady to gent 4, leaves her and takes #4 lady back to his original place. Gents 2, 3, and 4, in turn, make a small circle CCW inside the set to get out of gent 1's way as he comes to each of their partners. This sounds much more
complicated than it really is.
A.. Ladies right hand star half way (4)
B-. All heel & toe to centre and back twice (8)
Repeat A & B
Repeat for gents # 2, # 3, & #4.
3rd Change - Music “Little Brown Jug”
Social dance position “Half Moon Figure”
All heel & toe partner once around (8)
(facing centre of set, man shifts partner to his left side on 1st h & t step; back to right on 2nd)
Heads heel & toe to centre and back twice (8)
Heads polka once around the inside of the set (8)
Repeat for sides-heads-sides
4th Change - Music: “Jenny Lind's Favorite Polka”
“Show Off Partner”
Ladies right hand star. Gents link onto ladies' L elbows. All go once around CW (8)
All heel & toe to centre and back twice (8)
Gent # 1 show off partner (8)
1st couple polka inside the set (8)
All polka once around the set (8)
Repeat for gents # 2, # 3, # 4
5th Change Music: “Jingle Bells”
Intro: A- Promenade halfway round to the left, then back to the right, ladies inside (8)
B. Gents turn corners once around with right elbow linked (polka steps) next once around with left elbows linked, and so on until they meet their own partner half way round the set.
C. All polka home, both figures takes l6 meas.
D.1 - Ladies right hand star, gents link on (8)
Repeat B & C
D.2 - Gents left hand star, ladies link on (8)
Repeat B - C - D,l (24)
Repeat B - C - D,2 (24) .
Elbow turns complete circle, start corner right (32)
All polka (8) Note: 4 polka steps on each elbow turn
This strikes me as much more like an Irish Set Dance (which derives from the 19th century quadrilles) than an American square. I may try and explain it later! I don't feet inclined to se all the tunes, particularly “Heel and Toe Polka” which has many versions on the web.
Big Square From Prince Edward Island
From Northern Junket Vol. 6, No. 3, March 1958. Original wording on page 26 Internet ArchiveAs done in P.E.I, and called by Rae Simmons who is MC for Don Messer and His Islanders.
Courtesy of Rod Linnell.
Formation: Large square. Any number of couples on a side. Each couple must be facing another couple. The larger number of couples, if necessary, is on the heads; smaller number on the sides.
Music: Any fast square dance music. The relationship between the steps and the music is quite casual. The time required for each figure depends upon the vigor of the dancers.
1st Figure: Calls underlined
Head couples go forward and back. (Sometimes it's a long way forward but they drop back to dancing position as in our squares).
Forward again and swing four hands. (Swing the opposite lady).
First couple up centre on the outside returning. (This is our “right & left four” done in the following manner - all move forward, couples #1 going under arch made by couples #3 - turn as a couple - and on return #1's make the arch over #3's and both couples continue forward to place in big set, and turn there as a couple.)
Salute your partner.
Swing your corner (leave her on the left).
Same for sides - heads - sides: then
Grand change (rt & lft) meet partner, promenade home & swing.
2nd Figure:
Ladies on the inside. (This call means form a basket & circle left).
Now up and over. (Gents drop back and form a ring on the outside).
Gents to the right and ladies to the left. (Circle)
Meet your partner and promenade.
Repeat entire sequence but move everything to the left - that would be after the 'up and over', gents to the left and ladies to the right.
Grand change.
Meet partner and promenade home.
Swing (Partner)
3rd Figure:
All hands in. (Sometimes called “all join” and sometimes “all huddle”).
Swing the lady on your left.
Promenade that same girl. (Repeat above action at will, sometimes varying call by “Swing the girl behind you - promenade her - Grand change - meet partner and promenade home - swing partner.”)
Repeat entire sequence as many times as caller desires. Usually about five or six times.
4th Figure:
Grand change
Promenade Indian style
Swing the girl behind you
Grand change (halfway round)
Swing partners
Promenade partners
In small square of less than 20 couples this figure can be repeated. Note: I have seen it done with over 50 couples !
Method of doing “Grand change” in P.E.I.
Right hand to partner and grand right and left. Ladies are the only ones who progress around the circle. Men stand in place and execute step dance. Lady gives man right hand and step dances a couple of measures in place and then turns under his arm CCW, on her own initiative. Man never twirls her. She continues to the next with left hand and after proper exchange of steps with him, turns under his arm CW and continues in this manner until she returns to her original partner.
Note: After the first figure, the Big Square is done in a circle formation, and extra couples join in at will. I have seen this dance done many times on P.E.I, in different places, but always the same. A different tune is used for each figure. The entire dance takes 20 to 30 minutes to do, depending on the size of the square.
Polka Quadrille
From Northern Junket Vol. 6, No. 3, March 1958. Original wording on page 32 Internet ArchiveFormation : “Big Set”, any number of couples standing in an enlarged square.
Music: Any polka rhythm
1st Figure:
Half right and left on the heads
Swing partner
Half right and left back
Heads polka ( once around the inside of the square holding relative positions throughout)
Everybody polka (all polka in a circle to places)
Repeat all with side couples
2nd Figure:
First lady & opposite gent forward and back
Forward and swing 4 (really 2) hands around (Circle with crossed hands).
Heads polka
Everybody polka
Repeat with second lady & opposite gent, etc.
3rd Figure:
All huddle and pass the lady on (All join hands and swing joined hands forward and back releasing partner' s hand and taking corner).
All polka
Repeat until all are back to places, or if a large set do a grand change after a few changes until original partners meet, then polka home.
4th Figure:
Grand change half way
Polka to places
First couple(s) polka inside (the square)
Everybody polka
Repeat with 2nd, 3rd, & 4th couples inside.
5th Figure:
Grand change all the way
Everybody polka (once around).
Repeat three more times
Note: The same figures are also done in waltz tempo.
Glossary of French Canadian Calls & Figures
From Northern Junket Vol. 6, No. 4, May 1958. Original wording on page 15 Internet ArchiveTrue to his word, Ralph has included a lot of information about dances and songs (and other stuff) from Quebec. He also included the following glossary.
GLOSSAIRE DE CALLS ET FIGURES
Ce GLOSSAISE est forcement incomplet. Mais nous croyons q'il est essentiel.Translated from QUES'KIA # 9-10
BALANCER (Balance. Set to partner.)
Inactive couples take steps together from right to left in place, in order not to lose the rhythm of the dance and to show interest toward those who are dancing (actives) during this time. With the call “Tout le monde balance et…” face partner, extend right hand to her and take some fanciful steps, or step on right foot, swing left over right, step on left foot, swing right over left. These steps are by way of bowing and introducing ones partner.
CHAINE DES DAMES (square dance)
The lady dancer gives her right hand to the opposite lady and places her left hand in the left hand of the man who places his right hand around the waist of the lady dancer, has her turn around him in order to have her return to the inside of the set. The lady dancers return to their partners in the same manner.
CHAINE DES DAMES (a 4 personnes) (for 4 persons)
Same as American “Ladies grand chain”.
CHAINE DES DAMES (dans le quadrille)
The designated ladies pass through the dance (group) using steps together. They make a turn of the opposite gentleman, bow to him (often by balancing) and recross through the dance in order to return to their places.
CHANGER DE COTE (Changing direction)
When the couples proceed “SCH” (CCW) around the dance at the call “changer de cote”, they pivot inwardly - toward the inside of the couple - so that the gentleman is still on the inside of the circle and the lady on the outside.
CROCHET (AU GAUCHE OU DROIT) Reel by the left or right. Reel partner or lady or gentleman designated once around by the right or left elbow.
DEMI TOUR (FAIRE UN) (Make a half turn)
Change direction so as to retrace one's steps.
ETOILE (MOULINET, CROIX) Star
Same as American “star” figure.
FEMMES AU MILIEU, HOMMES AUTOUR (Ladies in the middle men outside.)
The lady dancers stand with their backs to the center and the men turn around them CCW using marching steps in unison.
GRANDE CHAINE Large chain (American style, sometimes Canadien).
Partners face each other, give their right hand to each other, pass to the next giving the left hand and to the following dancer, giving right hand etc. NOTE. The “large chain” is always made in the same direction, that is to say, the men move CCW and the ladies move CW, unless the opposite is explicitly asked for by a call.
GRANDE CHAINE (Americain, quelquefois Canadien)
Left hand to your corner, turn with her and continue the large chain until you meet your partner. In square dances when having returned to the station opposite you meet your partner again, you take her back to your home position in Varsouvienne position.
(Canadien) When you meet your partner, you bow and continue the chain until back to your home position.
MAIN GAUCHE AU COIN (left hand to the corner)
Give your left hand to your corner, walk around this corner lady in order to return to your partner and give her your right hand, for this call is usually followed by “Right hand to partner”.
A LA MAIN GAUCHE - A LA MAIN DROIT
Simply give the hand designated to the person with whom one is to dance.
ET DES DEUX MAINS (and with both hands)
Give both hands to the designated person and walk around each other CW and once again CCW.
PASSEZ DESSOUS (Pass beneath)
The person or the couple designated pass beneath the arch formed by the raised hands of one or several couples.
PASSE DES DAMES (ou des hommes) (ladies pass, or men)
This is done as the “chain” from which it comes. The ladies change places without touching each other's hands. One usually executes this figure again in order to return to original position. Same thing for the men.
PASSER ENTRE (Pass between)
The two couples come face to face. Partners let go each other's hands and pass through between the opposite couple, in such a way that the ladies pass on the inside, and the gentlemen on the outside.
PASSEZ TOUT DROIT (Pass straight ahead)
Call that is given when one desires to have a figure continue when normally it should end.
PIVOTER (Pivot, wheel, change direction)
The working couple has taken station on the opposite side. The gentleman gives his hand to his partner and turns half way around by turning to his left. The lady follows so as to be stationed to the right of the man. (Same as an American “courtesy turn”.)
PRESENTER (Present)
The couples in question advance toward the center quickly, bow and move back to their stations more quickly.
PROMENEZ-VOUS - Like American “Promenade home”.
REFOULANT (EN)
All take hold of hands and advance to the center, bow and return to place. This figure is done in 8 steps. In Canadian dances, this is the only figure which is done with marching steps.
QUEUE DE LOUP (The Wolf's Tail)
All join hands facing the center. The gentleman of the number 1 couple detaches himself from the number 4 couple, lifts his right arm in order to form an arch with his partner, passes beneath this arch. He returns toward the inside of the dance, passes beneath the arch formed between his partner and the gentleman of the number 2 couple, returns toward the inside… until the end.
LA ROUE (The wheel)
The couple stands face to face, lady and gentleman hold hands. The gentleman extends his arms horizontally; raise the left arm and lower the right arm so that they are parallel, the body bent toward the left. The gentleman makes a complete turn with his arms, his body swings (pivots) and the couple returns face to face. The figure is done again in the opposite direction.
SALUER (Bow, salute)
The gentleman turns toward his partner, nods his head while bending his body very slightly. The lady, upon looking at her partner, slightly bends one leg backward.
TRAVERSEZ DE L'AUTRE COTE (Cross from the other side)
Go to the position occupied by the opposite couple, either by passing between this couple, or by passing to the side of one or the other.
Set de St. Adele
From Northern Junket Vol. 6, No. 4, May 1958. Original wording on page 23 Internet ArchivePart 1 - The Presentation
First man walks across the set to third lady, salute, turn around, comes back to his place, balance and swings his lady
Men 2, 3, & 4 do the same figure.
Part 2 - The Visit
Couples 1 and 3 present and exchange places.
Same couples present again and return to places. Each time they bow as they pass by.
Couples 2 & 4 do the same figure.
Part 3 - The Cheat
First man balances lady 2 but swings partner, then balances lady 3, but swings lady 2; then balances lady 4 but swings lady 3; then balances lady 1, but swings lady 4.
Men 2, 3, & 4 do the same figure.
Part 4 -The Breakdown
Swing your own, put your lady in the center and gents walk around outside the ring to the right. Swing the lady next to yours and put her in the center. Repeat until you swing your original partner.
Michel says: “This dance was taught to me by M. Page of St. Adele, P.Q. who learned it from his father. You will have to use an LP record unless you have a violinist in your group. I suggest MH Glisa a Sherbrooke”.
There's a Glossary of French Canadian Calls & Figures just above, which explains that “present” means “advance towards the center quickly, bow and move back to their stations more quickly”.
La Gigeuse
From Northern Junket Vol. 6, No. 4, May 1958. Original wording on page 24 Internet ArchiveEverybody swing partners.
Gents turn your lady around you with your right hand holding her left hand, over your head, and direct her to the center of the set.
Gents walk around the set in 16 steps.
Bow to your partner and stand in front of the next one.
Men dance 8 jig steps.
Ladies now respond with 8 jig steps.
Ladies chain: Gents turn the lady facing you by your right hand over your head and direct her to the center to form a right hand star and chain to opposite man (ladies grand chain) and come home again with another right hand star. Gents turn the lady around you with right hand again.
Repeat until you come back home again.
Then all swing partner once more.
Note: La Gigeuse is a “Coquette” or “Breakdown”. This kind of a dance, which comes after two sets always finishes “une danse caree”. So there are no calls, and the music is a fast tempo.
“une danse carrée” just means “a square dance”, and I don't see how a “Coquette” (which means a flirtatious woman) can also mean “Breakdown”. I don't know what “Gigeuse” means either!
Set des Jaloux
From Northern Junket Vol. 6, No. 4, May 1958. Original wording on page 24 Internet ArchiveSaguenay, P.Q.
Couple 1 present and swing.
Man 1 balances his partner and swings the next and brings her back to his place and stands her beside his partner. He does the same with the other ladies, so that all four are standing in a line in his place.
They join hands and circle five hands around to the left and back to place.
Man 1 balances his lady then promenades lady 2 back to her place. The same for the others.
Men 2, 3, & 4 do the same figure.
All promenade once around and swing partner in place
La Gigue a 8
From Northern Junket Vol. 6, No. 4, May 1958. Original wording on page 25 Internet ArchiveOld cotillion of 1860 danced at Val Morin, P.Q.
1st & 3rd couples present
2nd & 4th couples present
Ladies right hand star once around
Left hand star back to place
All couples chassez one place to the right
Everybody swing (small one)
Men right hand star once around
Left hand star back to place
All chassez one place to the right
Everybody swing (small one)
Repeat dance three more times.
Set Rustic
From Northern Junket Vol. 6, No. 4, May 1958. Original wording on page 25 Internet ArchiveMontreal
1st version:
All couples march around the hall
All swing partners
All promenade the other way
All in to the center
Ladies present; men present and swing the other (lady on your left. Sometimes, swing the girl in front of you.)
2nd version:
Ladies join hands and circle left and to the right. At the same time the men join hands and circle right and to the left.
3rd version:
Men join hands and lift them in an arch.
The ladies walk under the arch. All swing. Then ladies make an arch and the men walk under the arch to partners. All swing partners.
4th version:
When promenading the lead couple go under a bridge formed by the other dancers, others follow in turn. Separate the two lines, men in one, ladies in the other. All forward, and turn partner once around by the left hand, then once around by the right hand; left elbow reel partners; right elbow reel partners; all back to back (dos a dos); all swing partners and all promenade.
La Cardeuse
From Northern Junket Vol. 6, No. 4, May 1958. Original wording on page 20 Internet Archive(from Sagueny Region, P.Q.)
This dance seems to be best known in the region of Lake St. John. As given here it is just as described by Mr Begin of Jonquiere.
Music recommended: “Brampton Breakdown”.
Le Cardage (carding, i.e. as of wool) This figure is a double galop. The couples face each other while holding both hands.
The uneven couples (head couples) 4 chassez steps to the center.
4 chassez steps back to place.
8 chassez steps across the set to opposite place, men passing back to back.
4 chassez steps to the center
4 chassez steps back to place
8 chassez steps across to your own place.
The even couples (side couples) do the same
Here is the dance.
1. Le cardage
2. Men right hand star, circle with 8 marching steps then left hand star back to place with 8 steps.
3. Le cardage
4. Ladies right hand star, circle with 8 marching steps then left hand star back to place with 8 steps.
5. Le cardage
6. The men join hands and circle four hands round to the left 8 marching steps, then back to the right. This figure is sometimes called “the four black hands”.
7. Le cardage
8. The ladies join hands and circle four hands around to the left with 8 marching steps then back to the right. This figure is sometimes called “the -four white hands”.
9. All swing partners. The gentlemen swings each lady twice in turn.
Repeat entire dance if desired.
This must surely come from a 19th century Cotillion where you have a Figure (in this case “Le cardage”) and a number of Changes which you do after each occurrence of the Figure. The suggested tune “Brampton Breakdown” was recorded by Bob Scott and the Canadian Pioneers, but I don't have a copy.
La Favorite de Montreal
From Northern Junket Vol. 6, No. 4, May 1958. Original wording on page 35 Internet ArchiveSquare by Rod LaFarge
First couple forward and back
Couples one and two right and left over and back
Same ladies chain and swing
Chain back and swing your own
On to the next, right and left over and back
Same ladies chain and swing
Chain back and swing your own
Compagnie - right and left over and back (couple 1 with 4, couple 2 with 3)
Same ladies chain and swing
Promenade all around the hall (not with your partner)
Ladies chain back, swing your own
After chorus figure, repeat figure for other couples.
Set Salle St. Denis
From Northern Junket Vol. 6, No. 4, May 1958. Original wording on page 36 Internet ArchiveSquare by Rod LaFarge
First couple forward and back
Forward again and cut off six (1st couple go between 3rd and separate, man to right, lady to left, around the outside back to place)
Pass the lady around (1st couple face 2nd couple. Lady 1 gives right hand to man 2 who places his left hand on small of her back and turns her once around CW as in a ladies chain, passing her back to man 1 who joining left hands with her turns her around in the same manner CCW. Lady 2 remains idle. First couple now repeat this with other two couples in turn.)
Swing in the center, six hands around
All swing corners
All promenade home (with new partner)
Forward up and cut away four (man to the right, lady to the left)
Pass the lady around
Swing in the center, six hands around
All swing corners
All promenade home (with new partner)
Forward up and cut away two
Pass the lady around
Swing in the center, six hands around
All swing corners
All promenade home
All swing your own
After chorus figure repeat figure for other couples.
Set Salle St. Andre
From Northern Junket Vol. 6, No. 4, May 1958. Original wording on page 37 Internet ArchiveSquare by Rod LaFarge
First couple forward and back
Forward up and cut away six (as in previous dance)
Three by three (called three times) (Man 1 joins hands with couple 4 to form a circle of three; lady 1 forms a similar circle with the 2nd couple. These 2 units circle left at the same time revolving about each other CCW in such a manner as to progress around the inside of the set. This ''circling of threes'' is now repeated twice as follows: once by man 1 with couple 2 and lady 1 with couple 3, then once by man 1 with couple 3 and lady 1 with couple 4.)
Four by four (lady 1 stays with couple 4 while man 1 joins this trio - on his partner's left - to form a circle of four. Couples 3 and 2 join hands to form similar circle. These two circles now turn and rotate about each other just as the circles of 3 did.)
Right and left over and back (couple 1 with 4, couple 2 with 3)
Same ladies chain and swing
All promenade (with girl you were swinging)
Chain back and swing your own.
After chorus figure repeat figure for other couples.
I know the “Three by three” and “Four by four” figure as the “Bouquet Waltz”, but traditional figures can have many names.
Strawberries and Raspberries
From Northern Junket Vol. 6, No. 5, July 1958. Original wording on page 27 Internet ArchiveA medley as called by Mal Hayden, Rochester, N.H.
Fig.1. - Adapted from Ed Gilmore's “Lady Be Good”
Two head couples right hand star
Go once around the ring
Allemande left your corner
And the two head couples swing
Two side couples right hand star
Go once around the ring
Allemande left your corner
And a right hand round your own
Oh you swing the corner girl, swing your corners all
And after you have swung her
Promenade her round the hall
(Sing) Oh! Les fraises et les framboises,
La la la la la la la etc.
Fig. 2. - Abe Kanegson's original
Two head couples circle 4, once around'll do
A quarter more and balance, and pass right through
With the couple you meet you right and left four
Then right and left back home
Right and left right back to place
And honor to your own
Now your comer dosido, and dosido your own
And take your comer lady
Promenade that lady home
(Sing) Oh! Les fraises et les framboises, etc.
Repeat all of Figures 1 & 2 for the side couples.
The Crooked Stovepipe (2)
Volume 6 Number 6 was again a special edition — this time of dances from Ontario, Canada, including a number of squares.From Northern Junket Vol. 6, No. 6, October 1958. Original wording on page 10 Internet Archive
Music - The Crooked Stovepipe. See v1,n3 Northern Junket for music and a similar version dance
Introduction - Your choice
Figure:
The head two ladies forward and back
Forward again, two ladies swing
Six hands round in a great big ring
Break that ring and swing your own
Roll her a little, roll her a lot
It's allemande left with the corners all
Allemande right with your own
Do si do with the corners all
Do the same with your own
Allemande left with the corners all
And swing your own as you come around
Repeat for side two ladies
Repeat for head two gents
Repeat for side two gents
This is indeed virtually the same as the version given in Vol. 1, No. 3.
The Haystack
From Northern Junket Vol. 6, No. 6, October 1958. Original wording on page 11 Internet Archiveas called by Wes McVicar
Suggested music: Fiddlers Three
Part 1.
Head two couples lead to the right
With a right hand star
Go back with the left
And there you are
* Now a right to the lady behind your back
And a left to your own and take her home
Allemande left with your corners all
Grand right and left around the hall
When you get home now what do you do?
You swing her and she'll swing you.
Repeat with side couples
Part 2.
Ladies to the center back to back
Gents go round the old haystack
Ladies step out (back to place)
The gents cut in and balance to the next
All swing the same
Repeat until back with own partner
* Gents turn left about and do an allemande right with the opposite. Give left hand back to partner and lead to place
When gents walk around the ladies it is with 16 two-steps.
Here's my understanding of the two figures.
| Part 1: | |
| A1: | Heads lead out to the right to face that side couple (head couples back to back in the middle): Right-hand star. Left-hand star, and the heads face away from the star to the other head couple. |
| A2: | Heads right-hand turn opposite. Give left hand to partner and the gent lead your lady back to place in the square. |
| B1+2: | Allemande left corner, grand chain all the way round the square, quick swing at home. |
| Sides repeat the figure. | |
| Part 2: | |
| A1: | Ladies to the centre, acknowledge, then about turn to face out. Men go single file to the right round the ladies (acknowledging each as you pass). |
| A2: | Men continue the single file to home place. As ladies step out to home place, men go past your partner to meet the next. |
| B1: | Balance and swing this new partner. |
| B2: | (added): Promenade once around, to the lady's place. |
| Repeat three more times to get the men home. | |
The men's single file is danced with a two-step, which I consider to be a Pas de bas (or with a push on the up-beat, a Skip-change step).
You could do the balance at the end of A2 and then have an 8-bar swing as B1. As I see it, the figure is only 24 bars, so I've added a promenade. Admittedly if you did the figure four times you would finish at the end of three times through the tune, but that would be so across the music that I would feel uncomfortable dancing it that way.
Little Brown Jug
From Northern Junket Vol. 6, No. 6, October 1958. Original wording on page 13 Internet ArchiveAs called by Paddy Geddes - Fergus
Music - Little Brown Jug
Intro:- Your choice
Figure:
First couple and balance there
Chassee by - address your opposite
Chassee back - address your own
Turn. your opposite half around
Then the one you call your own
Now turn your opposite once again
And promenade your own
To the next and balance there
Chassee by etc. etc.
Repeat with each couple. Use any break desired
Note: On the “chassee by” the gents pass behind their partners, stepping to the right behind their partners, while the ladies slip in front, to the left. On the “address your opposite” they bow to each other.
I think there's a word missing: it should be “First couple right and balance there”. And the original song didn't have any B-music: youtube.
| A: | First couple lead out to the right to face the second couple; both couples balance. Chassée to change places with partner (man behind lady) quick bow to opposite; chassée back (again man behind lady); quick bow to partner. |
| B: | Two-hand turn opposite half-way; two-hand turn partner half-way. Turn opposite half-way which leaves you all in your partner's place, and I'm guessing that there's another turn partner half-way to get you back to where you were for the balance, ready for the first couple to lead on to the third couple and repeat the figure, then to the fourth couple.. |
Go Through and Chain
From Northern Junket Vol. 6, No. 6, October 1958. Original wording on page 13 Internet ArchiveAs called by Paddy Geddes
Suggested music: My love is but a lassie yet
Intro:
Honour your corner
Your partners address
Then all join hands
Away to the west
Now stop right there
And give her a swing
Then promenade home around the ring
Figure:
Head two couples go forward and back
Go forward again - take your opposite
And right and left through on the sides
And right and left back
Chain again with the outside lady
And chain right back
Now the head two a half promenade
Then circle four in the centre of the floor
And take your lady home
It's allemande left your corner girl
And allemande right your own
And promenade your corner girl
And swing when you. get home.
Repeat once more for the head couples
Repeat twice more for the side couples
| Intro: | |
| A: | Honour corner; honour partner. Circle left half-way. |
| B: | Swing partner. Promenade home. |
| Figure: | |
| A1: | Heads lead forward and back. Forward again and swing opposite (swing added) — finish facing the nearer side couple. |
| A2: | Right and left through. And back. |
| B1: | Ladies chain. And back. |
| B2: | Heads wheel around and half promenade to finish in each other's place. Circle left half-way and fall back to place. |
| A3: | Allemande left corner, allemande right partner, promenade corner. |
| B3: | Finish the promenade to the man's place. Swing new partner. |
| Repeat for heads, then twice for sides. | |
Three Ladies Chain
From Northern Junket Vol. 6, No. 6, October 1958. Original wording on page 15 Internet ArchiveAs called by Wes McVicar
Intro: Your choice
Figure:
First couple lead to the right
Circle half with all your might
Go right and left four, right and left six
Three couples travel, don't get mixed
Cross right over, cross right back
Three couples on the same old track
Balance to the couple you meet (couple 1 facing couple 4 for the second time)
Three ladies chain, three ladies chain
All three ladies down the lane
Meet your own and lead to the next
Join your hands and circle a half
And the ladies Do si Ballonet
Gents in the river, don't get wet
Complete the Do si Ballonet
Break with the left, turn with the right
Take your own and lead right on
Explanation:
When they meet the fourth couple substitute a 4 couple swing for the Do si Ballonet
The Do si Ballonet: Two couples are active. Join 4 hands, circle a half. Gents take the opposite lady's right hand in right. The two ladies cross the circle and rejoin hands in a circle of four. Ladies are now facing out, the gents in. All balance forward and back. Gents break with the right hand, cross the circle and rejoin hands. At the same time ladies turn in. Gents now face out. Balance again. Gents break with the left. Two couples do a right and left chain turning partners as in the ladies chain. On the balance, a “tap step” is frequently used.
Here's what I make of all this:
| A1: | Ones lead to the right; circle with the twos half-way, so the ones, twos and fours are in a column across the hall. Start a “right and left six”: the ones and twos do (half) a right and left through, but instead of the ones doing a courtesy turn they move on to do a right and left through with the fours… |
| A2: | … and this continues until the twos and fours are home and the ones are facing the fours — and I'm guessing (without having tried it with real people) that at the end of the musical phrase the ones and fours join hands in a ring and balance. |
| B1: | “Three ladies chain”: Ones and fours do a ladies chain but the first gent doesn't complete the courtesy turn with the fourth lady, instead he chains her to the second man, receives the second lady and chains her to the fourth gent… |
| B2: | … and this continues until everyone has their partners back — six (half) chains in total. |
| A3: | “Do si ballonet”: Ones lead on to the threes and form a ring; circle left half-way. Give right hand to your opposite, and gents hand the ladies across to the other lady's place to form a ring with gents facing in, ladies facing out; all balance forward and back. |
| B3: | Ladies hand partner across to the other gent's place; all balance forward and back. Gents about turn to your left to face opposite, and do a right and left through. This leaves the ones on the outside, so I'm guessing these two couples do a quick promenade round each other so that the threes are home and the ones are moving toward the fours as the start of the figure. Or I could have got it all wrong, or so could Wes or Ralph! |
| Repeat all this, but at the end of the “Three ladies chain” the ones lead home and all swing. |
Note: I also have my own dance called Three Ladies Chain which is based on the traditional figure but written long before I started researching Northern Junket!
There's a video at squaredancehistory.
Bunkhouse Reel
From Northern Junket Vol. 6, No. 6, October 1958. Original wording on page 16 Internet ArchiveHamilton Area - 1837
Introduced at the Hamilton Festival
Intro: Your choice
Figure:
First couple turn back to back
Go half way round the outside track
Opposite swing when you get there
And line up four with the corner pair
Forward eight and back like that
Four ladies grand chain across the track
Opposites left and star right back
Turn once and a half
Then the gents star right
Opposites left, you're doing fine
Star right back to the same old line
Head couple reel, a right hand reel
Back to the sides, a left hand reel
Reel in the centre when you get back
A once and a half, go across the track
For a left hand reel
And don't look back
Into the centre again with a once and a half
Everybody allemande left with your left hand
Right to your partner, right and left grand
Repeat for each couple in turn.
The tune “Bunkhouse Reel” (which is actually a jig!) appears in Northern Junket Volume 5 Number 5 on page 30.
As you may have seen in the earlier dances, “reel” means an elbow turn, once around if not specified. But I couldn't see how the first couple got back to their corners for an allemande left. A search on the web found a Sets in Order Yearbook which explains that the ones are doing a strip the willow to the other end of the set. This version says “The headers reel” rather than “Head couple reel” which makes it clearer, but I should have noticed that Ralph says “Head couple” rather than “Head couples” so it's just the first couple leading the figure. The Hamilton version has more action — the ladies star across and back, then the gents, whereas the Sets in Order version has one star for each so the ones end back at the top of the set near their home position. Either will work; it just means that the Sets in Order version needs a grand chain half-way whereas the Hamilton version needs it all the way. So sticking with Hamilton, try this for size:
| A1: | Ones separate, go half-way round the outside. Quick swing with the threes and fall back with that person to side lines, man on the left. |
| A2: | Lines of four forward and back. All four ladies chain across. |
| B1: | Ladies return with a right-hand star but instead of a courtesy turn you meet with an open left-hand turn 1½ to put the men in. |
| B2: | Men right-hand star half-way and left-hand turn the opposite lady. Men star right back again, and left-hand turn that lady to finish back in the original side lines. |
| A3+4: | Ones strip the willow back to your end of what is now a longways set: right-elbow turn partner, back to the side person with a left-elbow turn, right to partner 1½, left to the next, partner right 1½ (so you're always going to the opposite sex) and as the ones approach the last person, all allemande left corner. |
| B3: | Grand chain all the way round. I would then probably add something like “In to the middle and back and all swing” to make it up to twice through the tune, but this isn't mentioned in either of the sources. |
Presque Isle Eighth
From Northern Junket Vol. 6, No. 7, December 1958. Original wording on page 34 Internet ArchiveRod Linnell
Music - Crooked Stovepipe
Any introduction, break, and ending you prefer
All four gents to the right and swing
Four ladles star across the hall
Go halfway round and balance all
Balance and do si do
Swing a little bit on heel and toe
Put her on your right and here we go
Allemande left the corner one
Do si do the one you swung
Go back to the corner maid
Take her with you and promenade
- repeat three more times
You can see dancers in 1999, at the Ralph Page Dance Legacy Weekend, dancing to a recording of Rod's calling at youtube.com/
Hofbrau Square
From Northern Junket Vol. 6, No. 8, February 1959. Original wording on page 24 Internet ArchiveJerry Helt
Suggested music: Whatever you like, though Jerry used a recording of the German dance “The Tampet”. As given here it is slightly different from the original, to fit our New England style of dancing.Circle left halfway round
Head couples half right and left
Circle left halfway round
Side couples half right and left
Ladies half grand chain
Heads outside, half promenade
Ladies half grand chain
Sides inside, half promenade
All balance right, balance left, sashay to the right
All balance left, balance right, sashay to the left
Allemande left with your corner
Allemande right with your own
All four men left hand star
Swing your corners all
Take your corner and promenade all.
Repeat entire dance three more times
Use any ending you wish.
Here's how I would fit the figure to the music:
| A1: | All circle left half-way. Heads right and left through. |
| A2: | All circle left half-way. Sides right and left through. All now opposite home position. |
| B1: | All four ladies chain across. Heads promenade round the outside half-way — sides move in to give them room. |
| B2: | All four ladies chain across. Sides promenade round the inside half-way — heads move back to give them room. All now home. |
| A3: | All face partner: kick-balance to the right and to the left; four slips to the right. Balance left and right; four slips to the left. |
| A4: | Allemande left corner (a full 8 steps). Allemande right partner. |
| B3: | Men left-hand star ¾. Swing corner. |
| B4: | Promenade to the man's home place. |
That means once through the figure is twice through a 32-bar tune.
Hofbräu is a German term meaning “royal brewer”. It may refer to a kind of German beer or an informal, German-style restaurant or tavern.
Bring Home Your Corner
From Northern Junket Vol. 6, No. 9, March 1959. Original wording on page 29 Internet ArchiveMal Hayden
Music - any square dance tune you like
Into,- breaks & ending, ad lib
Two head couples forward and back
Forward again, bring your corner home with you
And stand there four in line
Now forward eight and back
Forward again, pass through and turn alone
(the lady now on gent's right is his new partner)
Forward eight and back once more
Half right and left to place
And turn your new girl into place
Do si do your corners all
Do si do your own little doll
Swing your partner round in place
And promenade her once around
Repeat for the head couples
Repeat twice for the side couples
Montreal Breakthrough
From Northern Junket Vol. 6, No. 10, October 1959. Original wording on page 31 Internet ArchiveUse any introduction, breaks and ending you like
To be truly French-Canadian, each couple should do the figure in turn. This makes it a long dance and a shortened version is given here. Either way is a good dance
The head two couples promenade the center (men passing left shoulders)
Go round that couple on your right
Right back home to place
Then right and left four with the couple you meet (original left hand couple)
Same two ladies half chain
Men, swing the girl coming to you
Same two men, brand new girls
Promenade the center (ladies passing right shoulders)
Go round that couple on your left
Right back home to place
Right and left four with the couple you meet (original right hand couple)
Same two ladies half chain
Men, swing the girl coming to you
Same two men, brand new girls
Promenade the center and pass through the opposite two
Ladies go right, men go left
Around the outside back to place
Head two couples half right and left
Side two couples half right and left
Right and left back at the head
Right and left back at the side
All four ladies grand chain half way
All swing partners.
Repeat for the side two couples
If you would like to give this a real French-Canadian ending try this:
Allemande left your comer
Allemande right your partner
Allemande left your corner again
Grand right and left half around
Allemande right your partner when you meet
Allemande left your corner
Allemande right your partner
Grand right and left to place
And if you end it with a 32 measure swing it will be the real McCoy!
Kitty Corner
From Northern Junket Vol. 6, No. 11, December 1959. Original wording on page 28 Internet ArchiveRalph Page
Any intro. breaks or ending you wish
Head two couples out to the right and circle four
Head men leave their ladies, go back home alone
Side men, turn the right hand lady by right hand round
Turn left hand lady by left hand around
With the right hand lady, right and left four
With left hand lady sashay four
Swing corners all, promenade the same
Repeat twice more for heads; three times for sides
Then: Swing your opposite lady, she's your own
All promenade your partners home.
As with Heads and Sides earlier, he calls the figure three times for the head gents and three times for the side gents, rather than the usual two for each, so the ladies have progressed all the way round the square and then half-way more — hence the final move.
This looks to me like a 48-bar figure, though it's quite possible that Ralph just called it across the music, especially given that final move.
| A1: | Heads lead out to the right and circle left with this side couple, but head men go home alone leaving side men with two ladies each. |
| A2: | Side men turn your right-hand lady (partner) by the right — a full 8 steps. Left-hand lady (corner) by the left. |
| B1: | Side men and right-hand lady, with the other side man and his right-hand lady, right and left through, and back. |
| B2: | Side men take left-hand lady in a ballroom hold: Gallop across to change places with the other pair, and back again. |
| C1: | All long swing with corner. |
| C2: | Promenade this new partner to the man's place. |
“Kitty Corner” means “on the diagonal”, which applies to the right and left through and to the gallop.
Star and Chain
From Northern Junket Vol. 6, No. 12, February 1960. Original wording on page 32 Internet ArchiveTed Sannella
Suggested music “Year of Jubilo”
Any intro. breaks & endings you wish.
The two head couples promenade all the way around the ring
Same two couples into the center and make a left hand star
All the way round til home's in sight
Same two ladies chain to the right (half chain)
Turn 'em around and face the middle
Ladies grand chain in time to the fiddle (half way)
Turn that lady with an arm around
Take your corner and promenade round
Repeat for side couples as above.
Then repeat for heads and sides each once more.
This one doesn't seem to be published anywhere else, so I'd better give my understanding of it.
| A1: | Heads promenade all the way round the outside. |
| A2: | Heads left-hand star once around, then face the couple on your right (with the lady in the lead). Ladies chain across. |
| B1: | All four ladies chain across. Men roll to your left to promenade your corner… |
| B2: | Finish the promenade, and I'd say there's time for a swing. |
But this means the heads are back with their partners while the sides are with their opposites. That's presumably why instead of the heads leading the figure again (which would get all the ladies home) we instead have the sides leading the figure. You dance with your partner and opposite, and not with the other two. Maybe Ted decided he really wasn't happy with it and that's why he didn't publish it in either of his books. But let's be revolutionary — since this is my website — here's the Colin Hume version!
| A1: | Heads promenade all the way round the outside. |
| A2: | Heads left-hand star once around, then face the couple on your right (with the lady in the lead). Ladies chain across. |
| B1: | Those same ladies chain back! All four ladies chain across. |
| B2: | Men roll to your left to promenade your corner. |
Now all the ladies have moved one place to the left, and we can do heads, heads, sides, sides as usual.
Rod's Reel
From Northern Junket Vol. 7, No. 1, May 1960. Original wording on page 29 Internet ArchiveAn original square by Rod Linnell, Peru, Maine, who suggests the use of Victor record #210420Honor your corner, and balance all around
Do si do that honey, the sweetest you found
Swing that darling little girl, you swing up and down
And take that lady with you, while you promenade around
Come on now, show some pep - show her the latest step
(4 measures silent)
Gents to the center and now you step back, and all the
Ladies to the center and stand back to back
You balance with your honey and swing toe and heel
And that's the way we do Rod's; Reel
Repeat 3 more times and get original partner
last chorus - 40 measures ad lib.
“Rod's Reel” has become a traditional ending for all of Rod's dances in northern Maine, New Brunswick and Nova Scotia.
I don't know the Victor record, but from the wording and the description of the last chorus I would guess it to be a 40-bar reel. It seems odd to me that the men immediately abandon their partner and dance with their corner — “that honey”, “the sweetest you found”, “that darling little girl”! Here's my take on it.
| A1: | Honour corner (new partner); balance. Do-si-do. |
| A2: | Swing. |
| B1: | Promenade to the gent's place. |
| B2: | Gents move in to the centre and face out to current partner; move back to place. Ladies move in to the centre and face out to current partner — there seems to be too much music here. |
| C: | Balance and swing, finishing in square formation. |
Around Some one
From Northern Junket Vol. 7, No. 2, November 1960. Original wording on page 29 Internet ArchiveMusic: Any tune that you like
Couple one down the center and split the ring
Around just one, stand four in line with couple 3
Four of you go forward, stand in the middle
Side four right and left along that line of four
Four in line step back to place
The middle two make an arch, outside two duck under
Separate, go around just two
And stand between the sides
Forward six and back like that
Couple three come down the center, separate,
Around just one, stand four in line
Forward eight and back like that
Side two couples half right and left
Turn the girls as you always do
Same two pass through, there's your corner
Allemande left, grand right and left
Meet your partner, promenade home.
Repeat entire dance three more times for other three couples in turn.
I know this dance as The Lazy “H” by Ed Gilmore and I've called it about 70 times — you can even hear Ed calling it at squaredancehistory.
The Lazy “H”
Formation: Square Author: Ed Gilmore, 1950'sMusic: 4 x 64 bar reels
Observe your corner before you start!| A1: | Ones bow and swing. Down the middle, split the ring, go round one to a line of four. |
| A2: | Line of four forward and back. Forward again, fall back slightly, to the middle of the set. |
| B1: | Sides right and left through (around the line of four, with a courtesy turn). And back. |
| B2: | Line of four drop back, arch in the middle and the ends duck through. Separate, go around two, to the middle of side line of three. |
| C1: | Lines of three forward and back. Spare couple lead across, separate, go round one to a line of four. |
| C2: | Lines of four forward and back. Middle four right and left through. |
| D1: | Same four pass through, look for your corner, allemande left and face your partner. |
| D2: | Grand chain. Promenade. |
La Russe
From Northern Junket Vol. 7, No. 2, November 1960. Original wording on page 33 Internet Archive(as danced in Forfar)
Learned from Jeannie Carmichael
Four couples formed in a squareRepeat from beginning with second, third and fourth couples leading in succession.
Bars 1-8 Women cross in front of partners (2 pas de basque steps) and set to man on left (2 steps) and turn him finishing on his right 9-l6 All set to and turn partners, finishing in original places 17‑24 First couple with right hands joined promenade round inside set — moving to right first and taking 2 steps to each couple 25-32 First couple repeat promenade, pousetting with both hands joined (pas de basque) 33-36 First and third couples, cross over to opposites places — first couple leading with right hands joined, while third couple divide 37-40 First and third couples return to original places — third couple leading through first couple 41-44 Repeat bars 33-36 45-48 Repeat bars 37-40 49-56 All hands round and back again 57-64 Still holding partner's hands, women give right hands across to opposite woman and all dance around, once, to places.
This comes immediately after the above, but instead of calling it a “Square Dance” Ralph calls it a “Folk Dance” (which in American means an International dance), presumably because it's not what you would call an “American” square. And instead of the usual patter he gives bars (rather than the American “measures”) which is how a Scottish dance would be written out by the RSCDS. In fact all the wording is Scottish, and it's almost identical to what you find at scottish-
Ladies Stay Home
From Northern Junket Vol. 7, No. 3, January 1961. Original wording on page 41 Internet ArchiveSuggested music - Any reel or breakdown you like
Any intro, breaks and ending that you prefer
Head lady and the opposite gent go forward and back
Forward again and do-si-do
Go back home and swing your own while the
Side two couples ladies chain (over and back)
Second lady and the opposite gent the same
Head two couples ladies chain
Third lady and the opposite gent the same
Side two couples ladies chain
Fourth lady and the opposite gent the same
The head two ladies chain
Right hand to your partner, gents stay home
The ladies grand right and left around the ring
Meet your partner, turn half way round and
Ladies grand right and left the other way home
All swing partners and promenade her home
Head gent and the opposite lady forward and back
Forward again, right elbow reel
Go home, left elbow reel your partner
Second gent and the opposite lady the same
Third gent and the opposite lady the same
Fourth gent and the opposite lady the same
All reel partners
Right hand to partners, ladies stay home
The gents grand right and left around the ring
Meet your partner, turn half way round and
Gents grand right and left the other way home
All swing partners and promenade her home
Abe's Donegal
From Northern Junket Vol. 7, No. 4, April 1961. Original wording on page 32 Internet ArchiveMusic: Back to Donegal. Original Square by Abe Kanegson
Any intro, chorus and ending you like.
All four gents turn out to the right
(Gents turn out from set, go to stand beside right hand lady, passing behind partner)
And on the right remain
The ladies all turn out to the left
The ladies grand chain (half way)
You chain 'em over and turn 'em around
And swing the colleens all
Swing round and round with the girl you found
In Dear Old Donegal
Then allemande left your corner girl
Pass by the one you swung
With the next you meet you do si do
And promenade her home
You promenade that lady, promenade them all
Then forward all and back to place
(One step balance forward and back toward center)
In Dear Old Donegal
This is a singing call — play the tune and you'll see how well the words fit it. There's a later singing call to the same tune: East Hill Reel in Vol. 12, No.1. Here's my understanding of the figure. It's unusual to do a ladies chain followed by a swing, but certainly not impossible, though modern dancers might prefer to omit the courtesy turn and just have the ladies right-hand star half-way into a longer swing. And yet as I've been building up this page I've come upon ladies chain followed by swing again and again, so obviously it was a perfectly acceptable move. One other point: I don't see why the forward and back should be just a balance step — I think there's time for a regular forward and back.
| A1: | Gents cast out over left shoulder to finish in the place of the next gent to the right. Ladies cast out over right shoulder to finish in the place of the next lady to the left. (All now with opposite) |
| A2: | All four ladies chain across (to partner). Swing. |
| B1: | Allemande left corner, pass by partner. Do-si-do the next (original right-hand lady). |
| B2: | Promenade to the man's place. All go forward and back. |
| Ladies have moved left. |
Quadrille Joyeux
From Northern Junket Vol. 7, No. 5, July 1961. Original wording on page 24 Internet ArchiveAs called by Ted Sannella
Music: Columbia (French-Canadian) same title
Any introduction, break and/or ending you wish
The head two ladies chain (half way)
The side two ladies chain (half way)
The head two ladies chain back home
The side two couples right and left through
Head couples to the right and circle four
Out in line at the sides
Eight go forward and eight go back
Gents go forward and do si do the opposite gent
Back in line, go forward eight and back again
Same gents forward, turn by the left
Go once and a half around
Balance and swing the opposite lady
Then promenade the same
Repeat, beginning with side ladies chain
Repeat entire dance.
Ralph calls it “Quadrille Joyeaux” but everyone else misses out that second “a”. I don't know what he means by “Music: Columbia (French-Canadian) same title” I assume Columbia is the record label, but I can't find any music called “Quadrille Joyeux”. However, according to the Traditional Tune Archive the title has an alternative “Joy of the Dance” and I can find the musical notation for that, so that's what I'm giving — it's a jig. The figure is 48 bars, so the band might want to play AABBAB. On the other hand there's a recording of Ted calling it to 32-bar reels at squaredancehistory.
Format: Square
Author: Ted Sannella
Music: 7 x 48 bar reels/jigs
| A1: | Heads forward and back; sides forward and back; Head ladies chain; side ladies chain. |
| A2: | Head ladies chain back; sides right and left through. Heads lead right and circle to a line. |
| B1: | Lines forward and back. Men do-si-do opposite man. |
| B2: | Lines forward and back. Same men allemande left 1½. |
| C1: | Balance and swing opposite. |
| C2: | Promenade to the man's place. Ladies have moved right. |
| Repeat the dance for the Heads, then twice for the Sides. If you do it Heads-Sides-Heads-Sides as Ralph suggests, the same ladies lead the figure every time. |
Avalon
From Northern Junket Vol. 7, No. 6, November 1961. Original wording on page 39 Internet ArchiveOld-Time Singing Quadrille - “Old Smoothie” Type
Record - Rock Candy “Avalon” 708B (Slowed down a bit)
The head two couples promenade half way round
Go to the right - right and left through that couple there (don't return)
Then all four ladies chain- half way across
Find your corner, do si do, your corners all
Join hands, circle left around that ring
Then swing your left hand lady round and round
Promenade that girl that you just found
Back home to Avalon.
Repeat once more for head couplesBreak
The head two couple right and left through, don't return
Side two couples right and left through the same (don't return)
All four ladies chain half way across
Go to the corner, do si do, your corners all
All four men left hand star half way round
Then swing your partners all when you meet
Promenade your own, promenade her home,
Back home to Avalon.
Repeat once more for side couples
Repeat “break” for ending.
The first figure is progressive — the ladies move on one place so you're with your opposite for the break. But the second figure is non-progressive, so I don't see how you get your partner back! Maybe I'll look into this later.
Roger's Square
From Northern Junket Vol. 7, No. 7, February 1962. Original wording on page 28 Internet ArchiveAn original square by Roger Whynot, Milton, Nova Scotia
Music. “Le Breakdown de Pontneuf”
All promenade once around the ring
Heads turn back, half right and left the couple you meet
Same two ladies half chain - don't return
Pass through the same two, circle four the couple you meet
Go once around and the opposite swing
Allemande left your corner
Promenade the one you swing
Heads twice; sides twice.
Ralph writes out the tune, which I assume is French-Canadian; I've added chords. I remember Roger Whynot from his visits to England — his voice (and his health) was ruined by too much smoking, but that didn't stop him calling. He incorporated Modern Western Square Dance figures like “flutter-wheel” and “star through” into some of his dances — squares, contras and Sicilian Circles. Here's how I would write it out.
| A1: | All promenade once around — at the end heads turn as a couple to face the side couple following you. |
| A2: | Right and left through. Same two ladies chain. |
| B1: | Pass through (and bend the line) to meet the next couple, and circle left once around with them. Swing your opposite — the man needs to pull her to him so that the men and women stay in sequence — and finish in a square. |
| B2: | Allemande left new corner. Promenade the one you swung, to the man's place. |
But is that really right? The men are virtually home after the swing, and it would be busy to do an allemande left and promenade all the way in 8 bars. It would also be repetitious to start the second turn of the dance with another full promenade. And finally, everyone is with their opposite, so twice through the figure would get you back with your partner. That's possible — I've done it in one of my squares — but don't you think it would have been mentioned?
Empire State Chain
From Northern Junket Vol. 7, No. 8, May 1962. Original wording on page 23 Internet ArchiveAs called by “Duke” Miller
Suggested music “Raggedy Ann”
Use any introduction, breaks, and ending you wish
Head two couples forward and back
Make your feet go whickety whack
Forward again and take the opposite
To the sides and circle four once around
Go once around, then split your corners
Make a line of four
Forward up and back with you
The end two ladies half chain (kitty corner)
All four ladies half chain
The new end ladies half chain
All four ladies half chain
Promenade the one you have.
The suggested tune may be the same as “Ragtime Annie” which you can find here on my site — it's a 48-bar reel. “Kitty corner” means a diagonal move — indeed there's a dance with that title earlier on this page. But there are problems! After the circle four the heads are in the middle, with their opposite, facing the sides — indeed facing your corners. The usual move from this position is for the heads to lead your opposite through the sides, separate and go around one person to the ends of side lines of four. But this leaves all the couples improper. If the end ladies chain on the diagonal we end up with the ladies in the middle of side lines, and the “all four ladies chain” really doesn't work. Wouldn't there have been a note about this odd set-up? And the figure leaves the ladies out of sequence, so after the heads have led the figure twice you'd all be back with your partner. And I can't fit it into either 32 or 48 bars, though that may not have worried the callers.
So maybe there's no “around one to the end of a line”; maybe the heads just split the sides and then turn around in the middle of the line. That would give proper couples and the ladies are in sequence; your corner would become your partner for the next turn of the dance. But I still don't see how to fit it to the music. You really can't circle four once around and then the middles split the sides and turn round, in just 8 steps. So I'm giving up on this one; if you have any brilliant ideas or additional knowledge please let me know.
Antigonish Square
From Northern Junket Vol. 7, No. 9, November 1962. Original wording on page 29 Internet ArchiveOriginal dance by Rod Linnell
Suggested music: Whatever you like. Use any intro, break and ending you wish.
The head two ladies chain to the right (halfway)
And turn the girls around
Same two ladies chain across the square (halfway)
Allemande left your corners
Come back and do si do
Then all four men star by the right
Three-quarters round the ring
When you meet your partner (original)
Stop and give her a swing
Then take that lady with you and promenade
One full circle around the ring
Antigonish is a town in Antigonish County, Nova Scotia, Canada. No difficulty understanding this one, except that if the men star right three-quarters they meet their opposite, not their original partner. Coming out of a do-si-do, a left-hand star would be better than a right-hand star, and would also flow more smoothly into a swing, so I'm making that one small change. I'm also assuming that “one full circle” means you promenade once around to this new place, rather than telling them they need to promenade 1¼ instead of just ¼.
Since I wrote this, Hugh Stewart sent me a copy of “Antigonish Problem” from the book “Square Dances from a Yankee Caller's Clipboard” which was produced by Louise Winston in 1974 after Rod's death. The dance instructions are identical except (I'm pleased to say) that it is a left-hand star, and the notes say,
The gents' left hand star, turning three quarters of the way around the set, always brings them to their original partner, but each time they find her in a new place. They swing, then promenade once completely around the set to that new place.
And if you're wondering what the “Problem” is in the title, Louise explains that too.
We mentioned the way Rod often worked out new figures with dancers at camps. He did the same with callers' classes. At a class in Antigonish, Nova Scotia, Rod presented the callers with a dance opening — “Two head ladies chain to the right and you keep those ladies there” — from which each was to develop a dance. The following dance, produced by the cooperative effort of the group, was later smoothed out, set to a lively Canadian tune and popularized by Rod.
The tune is “Honey Harbour Two-Step” by Graham Townsend which is still in copyright so I'm not reproducing it here.
It's interesting that Rod has to say “halfway”. In modern squares and contras it's taken for granted that a ladies chain or right and left through is one way only, but these figures both derive from the 19th century quadrille where they meant “and back again” (as they still do in Scottish).
| A1: | Head ladies chain to the right. Same ladies chain across. |
| A2: | Allemande left current corner. Do-si-do current partner. |
| B1: | Men star left ¾. Swing original partner. |
| B2: | Promenade all the way, which means all couples are one place to the left of where they started. |
| Repeating the figure for the (new) heads and twice for the sides gets everybody home. |
Dream Quadrille
From Northern Junket Vol. 7, No. 10, March 1963. Original wording on page 36 Internet ArchiveTed Sannella
Suggested music: ASHUELOT HORNPIPE
Head couples promenade, go halfway round
Side two couples half right and left
Head two ladies chain to the right (don't return)
Side two couples promenade halfway round
Head two couples half right and left
Ladies grand chain (halfway).
Do si do your corners
Swing your partners
Promenade your corner.
Side two couples promenade halfway round
Head two couples half right and left
Side two ladies chain to the right (don't return)
Head two couples promenade halfway round
Side two couples half right and left
Ladies grand chain (halfway).
Do si do your corners
Swing your partners
Promenade your corner.
At this point every gent will be home with his original partner standing across the set from him. There are several ways to get partners home from this position, one of which is to repeat entire dance above. Ted likes to get partners home this way:
All four gents right hand star
Turn the opposite by the left
Gents star again, back to partners with
A left hand round
Gents star once more, go 3/4 round
Turn the right hand lady with a left hand around
Right hand to the next (original partner) for a
Grand right and left
Meet your partner at home and swing.
Ralph gives the musical notation; I've added the chords.
| A1: | Heads promenade outside half-way while sides right and left through. Heads to the right: Ladies chain. |
| A2: | Sides promenade half-way while heads right and left through. All four ladies chain. |
| B1: | Do-si-do new corner. Swing current partner. |
| B2: | Promenade corner (new partner) to the man's home place. |
| Repeat figure for sides. | |
| Closer | |
| A1: | Gents star right half-way; turn opposite (original partner) by the left hand (or elbow). |
| A2: | Gents star right half-way; turn current partner by the left. |
| B1: | Gents star right ¾; turn right-hand lady by the left to face original partner |
| B2: | Grand chain half-way (home). Swing. |
The ladies are out of sequence after once through the figure, but after the second time through they're back in sequence with their opposite gent. In the Closer, Ralph (or Ted) specifies hand turns but I think (admittedly without having called it) this might be a bit rushed so I'd suggest a forearm turn.
Happy Dance
From Northern Junket Vol. 7, No. 11, May 1963. Original wording on page 30 Internet ArchiveRod Linnell
Music: YEAR-END TW0 STEP (Ralph Page)
All four men a left hand star, once around the ring,
Hold that star, right to your own, balance four in line
Then grand right and left around until you meet your own
Do si do when you meet and stay right over there
The men star right, go once around the ring
Pass your partner by, give the next a great big swing
After you have swung her you will promenade the ring
Promenade to the gentleman's home, with the one you swing
Repeat three more times
Use any intro and ending you wish
Reel Salle St. Andre
From Northern Junket Vol. 7, No. 12, October 1963. Original wording on page 32 Internet ArchiveRalph Page
Folk Dancer record MH 15 10
The head two couples promenade half way round the ring
Go to the right, right and left through
With the couple you find there
Then all four ladies grand chain
Half-way cross the ring
And all join hands and circle left
You circle eight hands round
16 measure chorus - anything you like
Repeat once more for the head two couples, then chorus
Repeat twice more for side two couples, plus chorus
Any ending you like
I found a recording of the tune on archive.org/details/
The figure as given is only 16 bars, and it's another of those squares where you end up with your opposite, so twice through means you're back with your partner. Maybe I'm just being too fussy.
Jimmy's Jig
From Northern Junket Vol. 8, No. 1,February 1964. Original wording on page 30 Internet ArchiveRod Linnell
Suggested music: “Jimmy's Favorite Jig”
Any intro. filler, and ending you wish
The two head couples right, circle four hands around
Leave the lady standing there, gents to opposite side
Forward six and back you go
The two lone gents turn about
The six pass through, left lady under
Circle left the sunny side out
Swing the left hand lady (partner)
or
Swing the right hand lady (for progression)
Promenade the one you swing
Once around the ring.
Ralph gives the musical notation and I've added the chords. I thought I understood the figure, except for “The six pass through”. If the two lines of three pass through they will finish facing out, but then “left lady under” suggested to me the traditional figure where the man makes an arch with the right-hand lady and both ladies move forward, the left-hand lady going under the arch, to turn the line inside out — and the lines are then facing in again. But “Circle left the sunny side out” surely means a back-ring. So maybe instead of just a pass through, the side men make an arch with their right-hand lady (their partner) and the left-hand lady goes under the arch approaching from the other side. That could all make sense. But then we get “Swing the left hand lady (partner)”. The side men's partners have been on their right the whole time, whether the circle is facing in or out! Editorial decisions had to be made. Obviously Rod sometimes called it as a keeper and sometimes (with more experienced dancers) as a change partner figure, and I imagine he's confused the two. I was also worried about “gents to opposite side” after the initial circles. Normally if the heads lead right and circle to a line the head gents finish on the left end, near their home position; similarly if the gents leave the line they normally “go home alone” whereas “opposite side” suggests that they cross over to finish in each other's place. But then they're nowhere near their partner.
The other question is how far the back-ring goes. If it's half-way (8 steps) and then an 8-count swing, the men are opposite their home position and won't take the full final 8 bars to promenade home. If it's all the way (16 steps — the whole of B1) followed by an 8 count swing, there would only be 8 steps left to promenade all the way! And yet the wording describes the promenade as “once around the ring”. So please let me know if you think you can improve on this:
| A1: | Heads lead out to the couple on your right, circle left, head gents go home alone. |
| A2: | Side lines of three go forward and back. Side men raise your right hand to make an arch with partner and six pass through, left-hand ladies going under the approaching arch while Head men turn around so that everyone is facing out. |
| B1: | Make a back-ring and circle left half-way. Swing your corner. |
| B2: | Promenade new partner to the man's home place. But I think there's too much music for that, so I would add “In to the middle and back”. |
The Lancers
From Northern Junket Vol. 8, No. 1, February 1964. Original wording on page 34 Internet ArchiveThere's description of The Lancers in Volume 7 No 12, Volume 8 No. 1, Volume 8 No. 2 and other places which I'm not covering here.
I'm not going to reproduce the articles here, but Ralph devotes 10 pages to descriptions of various versions of The Lancers — one of the few quadrilles still danced in his day — and it makes excellent reading if you're interested in the old squares from which American squares evolved.
Marching to Pretoria
From Northern Junket Vol. 8, No. 2,May 1964. Original wording on page 25 Internet ArchiveRalph Page
Intro: Bow to partner, then to partner.
All join hands circle left
Circle once around
Circle back the other way
Grand right and left
Allemande left the corner
Come back, swing partner
Head two couples right and left through, turn the girls around.
Side two couples right and left through
Then you promenade one-quarter round
Four ladies chain, grand chain, across the ring
The girls chain back and your partner swing
To Pretoria hooray!
Repeat once more
Break: Grand square. Grand right and left all the way
Repeat dance twice more
Ending: Same as introduction
If you look at the facsimile you can see that Ralph has squeezed the introduction into the page — he's drawn what I think is a pencil line to show the end of the introduction, so the figure starts “Allemande left”. I think I've laid it out as he intended. And yes, he really does say “Bow to partner, then to partner”.
| Intro: | |
| A1: | Nothing for four bars. Honour partner; honour corner. |
| A2: | Circle left. Circle right. |
| B1: | Grand chain all the way round. |
| B2: | Finish the grand chain, and there will be time for a swing. |
| Figure: | |
| A1: | Allemande left corner. Swing partner. |
| A2: | Heads right and left through; sides right and left through; all promenade one quarter to new position. |
| B1: | All four ladies chain across and back. |
| B2: | Swing partner. |
| Repeat figure for new heads. | |
| Break: | |
| A1: | Sides face: Grand Square. |
| A2: | Reverse. |
| B1: | Grand chain all the way round. |
| B2: | Finish the grand chain, and there will be time for a swing. |
| Figure twice led by sides. | |
| Ending: | Same as intro. But would you really want to start with four bars doing nothing?! |
Jingle Bells (2)
From Northern Junket Vol. 8, No. 3,December 1964. Original wording on page 30 Internet ArchiveSuggested music - “Jingle Bells” MH 1111
As called by Rod Linnell
Opening - middle break - ending ad lib
Head two couples ladies chain
The sides you do the same
Chain them back at the head
The sides chain home again
The head two chain once more
Go half way round and swing
Swing your partner everyone
And listen while I sing
Allemande left your corner
And balance to your own
You balance, then you do si do
Then promenade her home
(then silent 8 measures, or everybody sing)
Do the figure 4 times in all, alternating heads & sides
You shouldn't have much problem fitting the words to the tune, but it's not nearly as interesting as the earlier Jingle Bells Square
Le Quadrille Francais
From Northern Junket Vol. 8, No. 3, December 1964. Original wording on page 45 Internet ArchiveBefore this Ralph describes “Die Allgemaine Francaise” as taught at Maine Folk Dance Camp 1964. This is fascinating for those of us interested in quadrilles. The layout is Becket formation but in fact you're only dancing with the opposite couple, as is true of a lot of quadrille figures. And the figures themselves appear to be much the same as in Paine's First Set of Quadrilles, with the same names: “Pantalon”, “Ete”, “Poule”, “Pastourelle” (which he subtitles “The coach”) and “Finale”.
After this he says:
In Part 1 of this series we mentioned that the same dance with but very minor changes is to be found in Wm. B. DeGarmo's “The Dance of Society”. Anyone can make statements so let's turn now to the book in question and note any differences.
As danced in Paris - Music, any Plain Quadrille
In France the Quadrille Francais differs materially from the American and English forms. There it is danced in lines, extending the length of the room; the figures are “single”, as in England. The Balance is omitted. The forward two of the 2d and 5th Nos, takes 20 measures - a bow and a courtesy completing the 24 measures.
In France, the leading gentlemen with their ladies face the music; but in this country, as a natural sequence to our manner of numbering the couples in the square set, the leading gentlemen with their ladies should face the left of the room, the same as third couples in a square set. I therefore designate the couples respectively as leading and opposite couples. The following are the figures of the QUADRILLE FRANCAIS, in lines.
No. 1. LE PANTALON
Right and left (without giving hands) (8 measures)
Salute partners (4 measures) vis-a-vis (4 measures)
Ladies chain (8 measures)
Half promenade (4 measures)
Half right and left (4 measures)
No. 2. L'ETE
Forward two *
Forward, obliquely to the right and back (4 meas.)
Repeat (4 measures)
Cross over (the same two pass each other to their own left, turning half round as they pass, and facing each other as they turn, then bowing slightly, walk backward four steps to opposite side) (4 meas.)
Forward, the same two, obliquely to the right and back (4 measures).
Recross to places, passing to the left, etc, as before (4 measures)
Salute partners (4 measures)
* This figure is performed the first time by the leading gentlemen and opposite lady; second time by the other two.
No. 3. LA POULE
Forward (obliquely to the right) and back * (4 measures)
Give left hand to vis-a-vis and right hand to partner (4 measures)
Balance in line (sur place) (4 measures)
Exchange places with opposite couple (4 measures)
Forward Two ** obliquely to the right and back twice (8 measures)
Forward and back (four) (4 measures)
Half right and left to places (4 measures)
* This figure is performed the first time by the leading gentleman and opposite lady; second time by the other two.
** Same two who commenced the figure.
No. 4. LA PASTOURELLE
Same as No, 4 in “QUADRILLE FRANCAIS” (p, 26), with the exception of the order in which the gentlemen leave their ladies opposite. The leading gentleman nearest the head of the room leaves his lady opposite; the next gentleman on the same side, at the same time, takes the opposite lady; the next leaves his lady, and so on down the line. The second time the figure is performed, the order is reversed.
(Well now, this is all very well so, remembering all this, let us turn back to “p 26” of the book. Here we find “QUADRILLE FRANCAIS, DOUBLE”, as danced in New York, and the notes to the effect “Known also as 'Plain Quadrille', or 1st set”. And further, “In the year 1850 the ”double figures“ were introduced in the Quadrille and Lancers. Previous to that time they were 'single', and almost identical with those still danced in London”. The directions for La Pastourelle follow).
Forward four, 1st & 2d couples forward and back (4m.)
Forward again, and leave first lady with opposite gentleman, who returns with the two ladies to place of second couple (the gentleman first bows and retires alone to his place) (4 measures)
Forward three - (forward and back) (4 measures)
Forward again, and leave both ladies with opposite gentleman, who advances to receive them, and with them retires to place of first couple (the second gentleman bows and retires to his place .) (4 measures)
Forward three (forward and back) (4 measures)
Forward again and form circle of four - the second gentleman meeting them in the centre (4 measures).
Hands four half round. Move to the left and exchange places with opposite couple (4 measures).
Half right and left to place (4 measures)
No. 5. FINALE
Same as No. 2, preceded each time by “All forward and back twice, in two lines”. (They all join hands on each side, and forward and back twice, taking 8 measures of music.) After the “Forward two” has been performed twice, finish with “All forward and back” twice, in two lines.
- to be continued -
Circle to the Middle Quadrille
From Northern Junket Vol. 8, No. 4, March 1965. Original wording on page 27 Internet ArchiveTed Sannella
Introduced at NEFFA Workshop, November 15, 1964
Music: Ace of Clubs #7731 “Scottish Country Dances”, Side B, band 1 has enough music for entire dance, including 32 bar introduction, and promenade after each repeat of figure.
First couple separate, halfway round you go
When you meet across the way, both head couples do si do
(As first couple approaches partner behind couple #3, the third couple turns to face partner, then both these couples do si do own partner).
Same four circle left, circle to the middle you do,
Go exactly once around, then pass thru
(Move to the middle of the set while circling, then pass thru in the center with #1 man & lady #3 approaching couple #2; #3 man & #1 lady approaching couple #4)
Between the outside two, separate, around just one and form a line of four.
Forward eight and come right back(2 lines of k on sides)
Forward again and pass right thru, turn alone
The opposite ladies chain (over and back)
Circle left in a great big ring, go half way round
Break that ring with a corner swing
(All will have original partners at home)
Repeat, starting with #2 (sides do si do, etc)
Repeat, starting with # 3 (as above)
Repeat, starting with #4 (sides do si do, etc.)
Have funnnnnn!!!
This has now been published in Ted's book “Balance and Swing” so I don't need to say any more about it.
Polka on a Banjo
From Northern Junket Vol. 8, No. 5, May 1965. Original wording on page 27 Internet ArchiveRalph Page
Music: “Polka On A Banjo” on Bogan BO1182
Intro, break, ending
Allemande left your corner
Right hand to your partner, grand right and left around you go
You swing her when you meet her
Swing your partners all
Then allemande left from where you are
Grand right and left, around the ring you go
All the way around til you get home
Then promenade your partner
She'll be your polka dancin' lady
When you polka to the old banjo.
Figure
Head two couples promenade halfway round the ring
And down the middle you right and left right through
Side two ladies chain, chain across the ring
Turn 'em round and chain them back again
Allemande left your corner, walk right by your partner
And swing your right hand lady round and round
Then promenade THAT lady, she'll he your polka dancin' baby
When you polka to the old banjo.
Sequence: Intro. Figure twice; break, figure twice, ending. This is NOT the dance that comes with the record! Don't be a copycat. Make up your own dance sequences.
You can hear Flatt and Scruggs perform the song at youtube.
Open up your Heart
From Northern Junket Vol. 8, No. 6, October 1965. Original wording on page 30 Internet ArchiveAs called by Don Armstrong - Longhorn 104
“Dances Of The Fifties” are all the rage right now. This is one of the best of them.
A. Join hands and circle left, it's eight hands around
Stop! Swing your partner now, swing her round and round
Then promenade your pretty little lady
Take her home and serenade her
“OPEN UP YOUR HEARTS AND LET'S BE FRIENDS.”
B. Head two couples star right, lead your lady through the sides
Go round the girl, form your star again, go once around
Go back through the same two, around the boy and then
Join the sides and circle four hands round and round
Now open up those fours, circle eight hands round
Stop! Swing your corner lady, swing her round and round
Then promenade that brand new lady, take her home and serenade her
“OPEN UP YOUR HEARTS AND LET'S BE FRIENDS.”
C. It's left hand round your corner, right hand round your own
Four gents left hand star, go once around your square, then
Right hand round your partner, allemande left with your corners all
Come back, swing your partner now don't you let her fall
Then join hands - repeat “A” to finish break and ending.
Sequence: A. B. Twice for heads, C. B. Twice for sides.
| Introduction: | |
| A1: | Circle left. Swing partner. |
| B1: | Promenade. |
| Figure: | |
| A1: | Heads right-hand star ¾ until you face your right-hand side couple. Man in the lead, go through that couple, turn left, go around the lady. |
| A2: | Heads meet again for a right-hand star once around. Man in the lead, go through the same couple, turn right, go around the man and finish in the centre facing that couple. |
| B1: | Circle left about half-way, then head men break with your left hand and open up into a circle of eight, circle left, then swing your corner. |
| B2: | Promenade to the man's home place. |
| Repeat figure led by the heads. | |
| Break: | |
| A1: | Allemande left your corner, allemande right your partner, four gents left-hand star… (across the music) |
| A2: | Allemande right your partner, allemande left your corner, swing your partner. |
| B1: | Circle left. Swing partner. |
| B2: | Promenade. |
| Figure twice led by the sides. | |
| Ending: | |
| A1: | Circle left. Swing partner. |
| B1: | Promenade. |
Later on Walter Lenk's website configular.com I found a recording at configular.com/fortunesbarn/
Old Fall River Line (1)
From Northern Junket Vol. 8, No. 7, January 1966. Original wording on page 31 Internet Archiveas called by Paul Hunt and recorded by Folk Dancer on MH 1041
A singing quadrille for your “Dance of the 50's” party
Any introduction you wish
The two head couples promenade half around the outside ring
Up the center and right and left through
Til you get back home again
Then you circle four with the couple on your right
Then you break and make two lines
Forward eight, and eight fall back On the Old Fall River Line
Then you chain your ladies 'cross, the set (don't return)
Chain the ladies down the side - -
Then you chain the girls across the set
Turn around and watch 'em go!
Then you chain 'em home, yes right back home
And hand them to their beaux.
Now you allemande left with your corner
And you allemande right with your own
You swing that corner lady there
You swing her all alone
Then you promenade with the one you swung
Hurry up, you're doing fine
Promenade like a big parade On the Old Fall River Line.
Repeat figure once more for head couples
Repeat figure twice more for side couples.
Any ending you wish.
Tony Parkes notes:
It's in Chip Hendrickson's “little black book,” which Walter Lenk has kindly made available online (page 10): configular.com/SingingSquares/Chip_ Hendricksons_CallBook.pdf I have the original 78 disc of author Paul Hunt calling it. His wording on the record is consistent with his book “Eight Yards of Calico” and with the two transcriptions above. Note that there is an 8-count pause in the call at the end of the introduction, and two 4-count pauses in the middle of the figure. Chip's transcription preserves these. There is also an 8-count tag on the record at the end of each figure, to finish the promenade. This tag is noted in Hunt's book but not in Ralph's or Chip's transcription.
The tune is of a popular song with music by Harry Von Tilzer — you can hear it sung at youtube.
Mountain Music Madness
From Northern Junket Vol. 8, No. 8, May 1966. Original wording on page 30 Internet ArchiveMusic: I Love Mountain Music
As called by Rod Linnell
Opening and Ending -
Allemande left your corner
Back to your own and honor
And swing your partners, everybody swing
Allemande left your corner
Right hand to your partner
A grand old right and left around that ring
It's all the way around and all the way back home
When you're home, it's right hand round with your own
Then allemande left your corner
Back to your own and honor
Then swing your partner - everybody swing
Figure:
Head two couples ladies chain
Side two couples do the same
And promenade one-quarter round that ring
The heads half right and left through
The sides half right and left too
And promenade one-quarter round again
The ladies grand chain, go halfway round and swing
Left elbow swing, promenade your corner, the dear little thing
Promenade your corner, your pretty little corner
You promenade that lady right back home.
Twice for heads; twice for sides; th
Here is another singing quadrille for your “Dances Of the Fifties”.
Here's my understanding of the call — I imagine the timing at the end of both these sections is fairly loose. And no, I don't know what Ralph meant by that hanging “th” near the end; maybe he was going to add another sentence and then changed his mind.
| Opening and Ending: | |
| A1: | Allemande left corner, bow to partner. Swing partner. |
| A2: | Allemande left corner, grand chain… |
| B1: | … continue all the way round. |
| B2: | Allemande left corner, bow to partner. Swing partner. |
| Figure: | |
| A1: | Head ladies chain across, side ladies chain across, all promenade one place round. |
| A2: | Heads right and left through, sides right and left through, all promenade one place round. The men are home, the ladies opposite their home place. |
| B1: | All four ladies chain across — but instead of a courtesy turn it's a left-elbow turn to send the lady to her corner. |
| B2: | Promenade corner to the man's place. |
You can hear Rod calling this dance at squaredancehistory.
The dance as given above (with the left-elbow swing) appears in the book “Square Dances from a Yankee Caller's Clipboard”.
Bill Bailey (1)
From Northern Junket Vol. 8, No. 9, December 1966. Original wording on page 36 Internet ArchiveA Dance of the 50's
Intro, break & ending
Sashay by your corners, gents left hand star
And swing with your opposite lady
Sashay by your corners there, gents left hand star
And swing your own little baby
Four ladies right hand star, walk around the hall
Do si do your partners all
Promenade the ring with that pretty little thing
Bill Bailey won't you please come home.
Figure
Head ladies chain across, don't you return
Head couples half promenade
Side ladies chain across, don't you return
Side couples half promenade
Head couples right and left through
Side couples swing
Side couples right and left through
And head couple swing
Four ladies promenade the inside of the ring
Bill Bailey swing that girl so fair
(Gents are home with opposite lady as partner)
Side ladies chain across don't you return
Side couples half promenade
Head ladies chain across, don't you return
Head couples half promenade
Side couples right and left through
Head couples swing
Head couples right and left through
And side couples swing
Four ladies promenade the inside of the square
Bill Bailey swing your own so fair.
repeat figure once more if desired
The dance is of course intended to go to the tune “Bill Bailey, won't you please come home”. I assume “Sashay by your corners” means you change places with your corner passing right shoulder — I don't know whether Ralph would have advocated a slip-step as in the quadrilles from which this move came. No more interpretation needed!
Wedding Bells
From Northern Junket Vol. 8, No. 10, February 1967. Original wording on page 32 Internet ArchiveTHOSE WEDDING BELLS ARE BREAKING UP THAT OLD GANG OF MINE
“A Singing Quadrille of the Fifties”
Any into, break & ending you wish
Well the heads you promenade half way
Sides a right and left through
Heads to the right with a ladies chain
Turn all the way around with you
Heads chain on to the left this time
And turn those girls around
Your corner do si do, then turn
Your own with a left hand round
Now the heads go forward, circle -
Just three-quarters way around
You step on back, pass through
Swing the gal you found
Then take that girl and promenade
Bring her home in time
Those Wedding Bells Are Breaking Up
That Old Gang Of Mine
Repeat figure once more - then everyone should have opposite. Break. Repeat the figure two more times, then everyone should have partners back again. Ending.
I don't have the tune. No difficulties of interpretation, though as with some earlier singing squares I'm surprised there isn't a set break to go with the tune.
Wheels Quadrille
From Northern Junket Vol. 8, No. 11, May 1967. Original wording on page 28 Internet ArchiveMusic: “Wheels Q” Top 25075
Introduction, Break and First Ending
The head two couples right and left through
Side two couples right and left through
All join hands, circle left, circle round to place
Allemande left your corner, right to your partner
Grand right and left all the way around
Figure:
All four ladies grand chain
Chain back
Around your comer do si do
The men star right once around the ring
To your comer, there you swing.
Take that corner lady and promenade the ring
Repeat figure once more.
Then the break.
Then figure twice more
Last Ending:
Grand Square
All four ladies grand chain
Chain back
All promenade partners
This isn't quite the way that Dick Leger calls it on the recording, but who wants to be a copycat? It is one of several fine tunes that this company is bringing out. The tune is danceable, and has a definite beat. An excellent combination of instruments doesn't hurt either. If your caller can't call to this recording, fire him! You deserve a better man.
The Lancers in St. Lawrence County
From Northern Junket Vol. 8, No. 11, May 1967. Original wording on page 36 Internet Archive
by HOWARD M. SMITH
During my research of the dances in St. Lawrence County, New York, I frequently asked old-timers what dances they danced when they were young. Invariably the answer was: the Lancers, Letter S, Money Musk and a few others.
The Lancers came to St. Lawrence County about 1857 being brought in by travelling dancing masters from New England, who would spend some time in each community teaching dances to the young people and anyone else who cared to attend their classes. As a result, many formal and military balls were held with all their glitter and pomp of military uniforms and formal attire. The dances were performed in a manner comparing favorably with those danced in European courts.
The dancing masters were very particular to stress the fact that they taught the dances exactly as they were danced in the courts of Europe as you will note from the following certification: “The Lancer Quadrille composed for the piano with precise and perfect description of the new figures as executed at the principal courts of Europe and at the 'Elite' of fashionable parties and balls and as taught by Monsieur Martin of the Imperial Academy of Paris and Professors at Philadelphia.” Copyright 1857.
Note: “To admit no doubt in the minds of amateurs respecting the rectitude of the above described figures I do hereby certify, without fear of contradiction, that they were taught to the fashionable world of Paris, Dieppe, etc. in the years 1855 & 56 by the great Professor Celarius, precisely as indicated above and in no other manner. Jules Martin, of the Imperial Academy of Paris and Professor of Philadelphia.” The sheet music containing this certificate formerly belonged to Eva Finnimore of Morley, N.Y.
In St. Lawrence County, when the Lancers were performed, the dancers had to know the dance as it was not prompted. However, such was not the case in the Saratoga Lancers. In this dance the first gentleman in each set prompted the set. The Saratoga Lancers arrived in St. Lawrence County in the late 1880s and had considerably more action than the regular Lancers.
On a recent trip to Alaska, I talked with an elderly gentleman who, in his younger days had attended a military school in England. He informed me that as a part of their course they had to learn the Lancers and get them letter perfect. If they didn't, the day following a military ball, they heard from the sergeant, good and plenty.
Here are the figures for three sets of Lancers that were actually danced in St. Lawrence County: “The Centennial Lancers” , “The Saratoga Lancers” and a very interesting one from across the river, a Lancers from the Province of Quebec. Only the St. Lawrence River separates Canada from the United States and there always has been a great deal of swapping dances back and forth across it. I am indebted to M. Guy Thomas, of Montreal for the following:
Lancier from Quebec
From Northern Junket Vol. 8, No. 11, May 1967. Original wording on page 38 Internet Archive
Note: Formation: Eight couples with two couples on each side of the square. Couples hold right hands about the height of the stomach when couples are inactive. Balance steps are begun by the right foot. Free hands are always loose and never on hips. The dance is performed with a two-step, except for special parts which are noted. When one meets his partner, he swings the comer first and then his partner, unless one meets a new partner, then he swings the new partner first and then the corner. The numbers in parenthesis are actual counts, and not bars of music.
Figure #1. La Rencontre Des Dames
(8) Couples #1 and #3 advance to the center and present (bow).
(8) Back up to their original places
(l6) Ladies of couples #1 and #3 cross the square to the opposite man. The men go forward to welcome the lady on the (8) and pivot so as to keep her on his right, goes back to his place and they pivot as a couple, keeping the lady on his right without joining hands.
(4) Couples #1 and #3 right hand in right hand balance in place, once to the right and once to left.
(12) Couples #1 and #3 only swing
(4) Everybody balances to their corners
(12) Everybody swings their corners
(l6) Couples #1 and #3, men cross the square to meet partners (ladies doing balance steps in place and let men come to them).
Salute partner
(4) Everybody balance to the corner
(12) Everybody swing corner
(4) Couples #1 and #3 balance their partner
(12) Couples. #1 and #3 swing their partners
(16) Couples #1 and #3 by couples, right hand in right hand, cross the set to their original places 1st couple passing in the middle of the 3rd couple
(4) Everybody balance to the corner
(12) Everybody swing comer
(4) Couples #1 and #3 balance partner
(12) Couples #1 and #3 swing partner
(16) Everybody swing partner
Couples #2 and #4 do the same dance from the beginning except the last (l6).
Figure #2. Promenade Simple
(16) Couples #1 and #3, right hand in right hand with two-step, cross the square to the opposite place. 1st couple passing to the left of the third couple
(16) In the same way return to their original places
(4) Couples #1 and #3 balance to their partners
(12) Couples #1 and #3 swing their partners
(8) Everybody joining hands to make a circle go to the center with 4 walking steps and back to their places with 4 walking steps
(4) Everybody balance their partners
(12) Everybody swing their partner
Couples #2 and #4 repeat the dance.
Then everybody does the dance again. Everybody does the dance twice through. The last time everybody swing (l6) more.
Figure #3. The Grand Salut
Everybody in a big circle. joining hands
(4) Go to the center with walking steps
(4) Back up to place
(4) Go to the center again and bow (there is a special stop in the music).
(4) Back up to place
(32) Everybody by couples walk around the circle to their places. (By the right hand, Man places his arm horizontal and lady places her left forearm on his right forearm)
Repeat again, but this time the walk is done to the left.
Repeat to end the figure
The Centennial Lancers
From Northern Junket Vol. 8, No. 11, May 1967. Original wording on page 40 Internet ArchiveOriginally known, I believe, as “Royal Lancers”, but later the name was changed to “The Centennial Lancers”. This is an 8-couple dance, two couples on each side of the square. Numbers in parenthesis (8) denote actual number of bars of music required to dance the figure.
Figure #1.
Address partners and then corners (8).
Head couples forward and back (4); turn the opposite (4); head couples chasse, opposite couples outside (4); reverse back (4); turn partner (4); side couples forward and back (4); side couples chasse, opposite outside (4); reverse back (4); all balance partners (4); turn partners (4); repeat with head couples and then with side couples.
Figure #2
Wait (8) measures.
Head couples forward and back (4); ladies cross over (4); chasse (4); cross back (4); all join hands, forward and back (4); turn partners (4); side couples forward and back (4); ladies cross over (4); chasse (4); cross back (4); all join hands, forward and back (4); turn partners (4); head couples forward and back (4) gents cross over (4); chasse (4); cross back (4); all forward and back (4); turn partners (4); side couples forward and back (4); gents cross over (4); chasse (4); cross back (4); all forward and back (4) all turn partners (4).
Figure #3.
Wait (8) measures
Head couples forward and back (4); forward and address (4); head ladies chain (8); side couples forward and back (4); forward and address (4); side ladies chain (8); all join hands, forward, leave the ladies in the center facing partners and address (8); gents circle eight hands around the ladies (8); all join hands, forward again, leave the gents in the center facing partners and address (8); ladies all hands around (8);
Figure #4.
Wait (8) measures.
Head couples lead to the right and address (4); lead to the opposite couples and address (4); address partners in place (4); heads right and left (8); side couples lead to the right and address (4); lead to the opposite couples and address (4); address partners in place (4); sides right and left (8); repeat with heads leading to the left, etc. and then the sides leading to the left, etc.
Figure #5.
Address partners (chord).
All hands around (16); head couples face out, the other couples face in line (8); chasse (8); march (8); all forward (4); turn partners (4); all hands around (16); next two coupler face out (8); chasse (8); march (8); all forward (4); turn partners (4); all hands around (l6); next two couples face out (8); chasse (8); march (8); all forward (4); turn, partners (4); all hands around (16); last couples face out (8); chasse (8); march (8); all forward (4); turn partners (4); all join hands forward and back (4); forward and address (4); all promenade around the hall.
The Saratoga Lancers
From Northern Junket Vol. 8, No. 11, May 1967. Original wording on page 42 Internet ArchiveNote: In the late 1880s or early 1890s another variation of the Lancers appeared in St. Lawrence County - “The Saratoga Lancers”. It is said to have been originated by Professor Allan Dodsworth, of New York City. It proved to be very popular with us in northern New York State because all of the couples were in motion almost all of the time. This factor certainly added life to the dance and undoubtedly added many years to its popularity.
Figure #1.
Address comers and center of the set (8)
Address corners and center of the set (8).
Heads forward with side couples on their right and turn that opposite (8); heads chasse through the sides and return on the outside (8); all forward and back with corners and turn (8); sides forward with head couples on their right and turn that opposite (8); sides chasse through the heads and return on the outside (8); all forward with corners and turn (8); repeat with heads (24); repeat with sides (24).
Figure #2.
Wait (8) measures
Heads forward and back with sides to their right, forward and leave ladies in center facing partners (8); all chasse (4); cross to places (4); all join hands, forward and back (4); turn partners (4); sides forward and back with heads to their right, forward and leave ladies in center facing partners (8); all chasse (4); cross to places (4); all join hands, forward and back (4); turn partners (4); repeat with heads (24); and with sides (24).
Figure #3.
Wait (8) measures
Heads forward and back with ladies to right (4); forward again and address (4); same ladies chain (8); sides forward and back with ladies to right (4); forward again and address (4); same ladies chain (8); repeat with the heads (l6); repeat with the sides (16).
Figure #4.
Wait (8) measures
Heads lead to sides and address (4); exchange partners, lead to left and address (4); exchange partners, lead to heads and places (4); heads right and left with sides to the right (8); sides lead to the right and address (4); exchange partners; lead to the left and address (4); exchange partners and take your own partner to place (4); sides right and left with heads to right (8); repeat with heads (20); repeat with sides (20).
Figure #5.
Address partners (chord).
Grand right and left half around (8); extend right hand to partner, swing half around and grand right and left to place (8); first couple face up the hall, other couples fall in the rear (8); all chasse (8); march down the center and up the outside, forward in two lines and turn to places (8); repeat with grand right and left, etc. second couple facing out, etc. third couple, fourth couple.
Note: This is not the original Saratoga Lancers, but it is the way it has been danced on our county for many years.
to be continued next issue - Some European Lancers
The Saratoga Lancers also found its way to Cape Breton Island, Nova Scotia in Canada between 1890 and 1900, along with the Quadrilles, the Lancers and the Caledonians, documented on page 274 of the Fletts' “Traditional Dancing in Scotland”.
The Lancers in Europe
From Northern Junket Vol. 8, No. 12, July 1967. Original wording on page 14 Internet ArchiveContinuing research into the subject of the Lancers convinces me that no one knows exactly who was the originator of this particular dance form. One edition of the Encyclopedia Britannica makes the startling statement that they were “invented by Laborde in Paris in 183 6. They were brought to England in 1850, and were made fashionable by Madame Sacre at her classes in Hanover Square Rooms.” The author offers no corroborative evidence. This same edition too, says that the Quadrille was brought to England by William the Conqueror. How interesting - if true!! Many hours spent in the library of Cecil Sharp House in London, England, last October and November were most rewarding. Here are a few of the most interesting items pertaining to the Lancers.
“Social Dance, A Short History,” by A.H. Franks says: “One particular form of Quadrille which gained fantastic popularity in the middle of the century, a popularity which did not wane for about fifty years, was the Lancers. Although this form of square dance came into being shortly after the arrival of the Quadrilles into England, it does not appear to have found much favour until about halfway through the century. Philip Richardson carried out a great deal of research into the question, discovering an advertisement which appeared in the Dublin Evening Post of May, 1817 which contains a reference to the Lancers. He also found two possible claimants for the credit of originating the dance.”
Philip J.S. Richardson, mentioned above, is a highly respected man in English dance circles. I believe that he is still living, though well over ninety years of age if he is still with us. A professional dancing master for many, many years, he might best be described as the 'doyen' of ballroom dancing. His book “The Social Dances of the 19th Century.” is an excellent reference work on the subject. He writes about the Lancers as follows, beginning on page 70 of his book. “Although that well-known variation of the Quadrille, known as the 'Quadrilles des Lanciers' or more popularly 'Lancers' was invented very shortly after the introduction in 1815 of the Quadrille in England and was evidently danced occasionally, it does not appear to have come into favour until considerably later in the century. I have found it impossible to discover with certainty who was the inventor of this dance. There are two claimants, and one cannot say whether one of these 'borrowed' the idea from the other or if they both drew from a common unknown source.”
The oft-mentioned advertisement in the Dublin Evening Post is given by Richardson on page 71 of his book:
NEW QUADRILLES- This Day is published by I. Willis, No. 7 Westmoreland Street, price 3 /3d.
“La Dorset”, “Lodoiska,” “La Native”, “The Lancers”, with the figures in French and English as danced at the Countess of Farnham's Ball on Wednesday 9th of April 1817 at the Nobility's Assemblies and at the Rotunda.
The music by Yaniewicz and Spagnoletti. The figures by Mr. Duval.
To which is added a new Waltz by Spagnoletti, the much admired Stop-Waltz and the National Waltz respectively dedicated by permission to the Right Honourable the Countess of Farnham - arranged for the Pianoforte, Harp or Violin.
Richardson goes on to say: “I have in my possession a copy of a later edition of this piece of music which bears the title 'The Lancers Quadrilles or Duval of Dublin's Second Set.' The title page also contains a reference to the Lancers being danced at Almack's, and from the imprint this particular edition seems to have been published by the London office of the same firm of Willis.”
Duval's figures were:
1. La Dorset (Music by Spagnoletti)
2. Lodoiska (Music by Kreutzer)
3. La Native (Music from The Beggar's Opera)
4. Les Graces (Music anonymous, with the alternative of music from The Haunted Tower, “Pretty Maiden” , by C.E. Horn).
5. Les Lanciers (Music by Yaniewicz).
As regards the occasion on which these were danced the Freeman's Journal of Dublin, April 11th, 1817, says: “FASHIONABLE INTELLIGENCE -The Countess of Farnham held a Grand Ball and Supper on Wednesday April 9th 1817, attended by nearly 300 fashionables.”
Richards on goes on to note that “The second claimant was one Joseph Hart, who published his 'Les Lanciers, a second set of Quadrilles' in 1820, by Whitaker and Co. of London. This title page sets forth 'Les Lanciers, a second set of Quadrilles for the Pianoforte with entirely new figures, as danced by the nobility and gentry at Tenby in the summer of 1819. Composed and most respectively dedicated to Lady and the Misses Beechy by Joseph Hart, London, for the Author Whitaker & Co. 75 St. Paul's Churchyard.”
Hart's figures and music were:
1. La Rose (Music by Spagnoletti)
2. Lodoiska (Music by Kreutzer)
3. La Dorset (Music from The Beggar's Opera)
4. Les Lanciers (Music by Yaniewicz)
5. L'Etoile (Music by Storace, “Pretty Maiden” from The Haunted Tower).
Again from the same book: “Further research has revealed the fact that the music for all figures was either by an English composer or arranged by a foreigner whilst in England. When selected from that of a foreign composer, that composer was in England about the time of the introduction of the dance. This leads me to suspect that the dance was of English origin.”
“Spagnoletti was a violinist who led the orchestra at that time in the King's Theatre, London. The figure 'Lodoiska' undoubtedly takes its title from the musical romance of that name partly composed by Storace and partly adapted by him from Kreutzer and Cherubini, produced in 1794. Kreutzer is credited with the music for this figure”.
During the first half of the century Quadrilles were so popular that variants of them had short shrift. It does seem though, a long time for the Lancers to wait until about 1850 to become really popular. Once adopted by society they made up for all lost time growing in popularity and enjoying a long and happy life for over sixty years.
Mr. Richardson gives a description of Duval's Lancers on page 141 of his book. He notes too, that his description is confirmed in a “Guide to the Ballroom” by R. Hill and published in Lincoln in 1822. The figures for Hart's Lancers are found on page 142 with this statement that they are “taken from 'La Terpsichore Moderne', a Ballroom Guide by J.S. Pollock. It appears to have been published about 1830.”
Desrat in his Dictionnaire, clearly states that the Lancers were of English origin, adding that they were introduced into France in 1848.
All of which brings us down to the aforementioned Madame Sacré. Mrs. Lily Grove in her Dancing (Badminton series) says that she was a fashionable dancing-mistress of that time (1840-50). She trained four young debutantes and their partners in the intricacies of Hart's Set, and when it had been thoroughly mastered they performed the dance at some of the big balls of the high season. It soon became most popular.
For some time after the revival of the Lancers it seems to have been customary to use the original music, but gradually other tunes were substituted. In fact it became customary to use music based on popular musical comedies, operettas and even operas of the day.
French Lancers
From Northern Junket Vol. 8, No. 12, July 1967. Original wording on page 19 Internet ArchiveIn Part 4 of the series on the Lancers, we promised to give you some European Lancers in Part 5. So here is one from France. It was taught by Germain and Louise Hebert at our May Folk Dance weekend exactly as they saw it danced at a folk dance camp at Pont-Chretien, France, in 1964. The record used was: “Les Quadrille des Lanciers”, Uni-Disc Ex-45-190M. The music on this recording with the exception of one tune is identical to the “Original London Lancers”.
Figure 1. Les Tiroirs or La Dorset
Intro: Bow to partners, to opposite, to comers
First two forward and back (M 1 and W 3)
Forward again. Turn opposite with both hands once around CW and return to places.
Same two couples (l & 3) change places with walking steps, cpl 1 passing between cpl 3. Both cpls turn in toward partner to face opposite once more. Repeat with cpl 3 passing between cpl 1.
All bow to comer (quite slowly)
All turn comers CW once around. Return to places.
Repeat figure for M 2 & W 4; M 3 & W 1; M 4 & W 2.
Figure 2. Les Lignes or La Lodoiska or La Victoria.
Intro. Same as in Figure 1.
First couple forward and back (4 steps)
Forward again to center. Leave lady in center facing partner.
Same couple chasse 4-steps to own right, then chasse 4-steps to own left to places in center of the set.
Same couple turn CW once around to finish in original head position.
Side couples separate, join the heads in lines of four. (While cpl 1 is turning into place - cpls 2 & 4 release partners hands and join hands with head couples)
Both lines forward and back (4 walking steps)
All turn partners CW once around
Couples 2, 3 and 4 repeat figures in turn.
Figure 3. Les Moulinets or La Native
Intro: As in Figure 1.
First two forward and back (M 1, & W 3)
Forward, bow and curtsey as music slows
The same two return to original places
All four ladies grand chain
Repeat for other couples in turn.
Figure 4. Les Visites or L'Ecossaise or Les Graces
Intro: As in Figure 1.
All Join right hands with partner
Head two couples (l & 3) lead to the right. Bow and curtsey to couples 2 & 4 respectively. Then head two couples move around inside the set to couples 4 & 2 to who they bow and curtsey in turn.
Couples 1 & 4, 3 & 2 make a right hand star and turn once around CW
Men join both hands with partner and turning CW all move back to original places.
First two couples right and left four (Do not take hands in doing this).
Repeat entire figure for side two couples. Then repeat whole figure for both heads and sides once more.
Figure 5. Les Lanciers
Intro. As in Figure 1.
All grand right and left once around to places
With right hands joined, couple 1 promenade around the inside of the set, greeting couples 2, 3 and 4, to finish in own place facing out of the square, while the other couples line up behind couple 1. (As couple 1 moves past couple 2, they fall in behind couple 1 to stand directly behind them in the line; couple 4 falls into line behind couple 2; couple 3 remains in place).
All chasse 4 steps, M to R, W to L. M pass behind their partners . All balance forward and back.
All rechasse to place. All balance forward & back.
All promenade (M to L, W to R), single file. As they meet partners halfway round the set, they promenade by couples into original line of four.
All forward and back - 4 steps
Forward again and turn partners CW into original place in the square.
Repeat figure with other couples leading in turn.
Finale: All polka around the room.
Swiss Lanciers
From Northern Junket Vol. 8, No. 12, July 1967. Original wording on page 21 Internet ArchiveKarl Wegmann, formerly of Zurich, Switzerland, now of Aspen, Colorado, sends this version of the Lancers. Danced to the same record and music as the version just given. In fact, it is almost the same dance. The directions however, are much more explicit. Since we are trying to make this series as complete as possible we are including it. Karl writes that the original text is by: M. Pierre Bordier, Versoix / VD. Translated by Richard Crum and Karl Wegmann.
Introduction: Each of the five figures is preceded by the following “Honoring Figure”:
Meas
1-2 Partners face and each takes 1 sidestep R with R ft, closing left without weight; then. M bows, W curtseys
3-4 Still facing, each sidesteps L with L ft, closing R ft without weight, then repeat bow and curtsey.
5-8 Join R hands and walk one full turn in 8 steps, all end up facing ctr as at the beginning.
Figure 1. Les tiroirs (The Drawers)
Meas .
1-2 M 1 & W 3 meet in ctr with 4 steps beg. R ft. (i.e. 3 steps fwd, close on 4th, taking weight)
3-4 M 1 & W 3 retire to place with 4 more steps beg. R ft.
5-8 M 1 & W 3 advance again, join R hands and turn almost one full turn in the middle. They release hands as soon as they are facing their own ptr & advance twd their ptr offering L hand and making one L-hand turn with own ptr back to place.
9-12 1st & 3rd cpls change places, cpl 3 dividing and allowing cpl 1 to pass through. Both turn as cpls to face ctr once they reach opposite position.
13-16 1st & 3rd cpls return home, this time cpl 1 dividing, etc.
17-20 All face corner and do 4 balances (a balance is a sidestep with one ft and slight point with the other foot). All begin with R ft.
21-24 Give R hands to corner, turn once around and return to place, all in 8 steps.
Repeat whole Figure, M 2 & W 4 active
Repeat whole Figure, M 3 & W 1 active
Repeat whole Figure, M 4 & W 2 active
Figure 2. Les lignes (The Lines)
Intro. As in Figure 1
Meas.
1-4 1st cpl 4 steps fwd and 4 steps back
5-6 In 4 steps M 1 leads his ptr into the ctr into a position in which her back is twd the space between cpl 3 & 4; he himself is facing her (his back twd space between cpl 2 and his own original position).
7-8 M 1 & W 1 each chasses in 4 gallop steps straight to own R (their line of movement will be on a diagonal through the square, i.e. on a line SW by NE, if one thinks of 1st cpls original position as South). Don't leave the square. Then keeping eyes on ptr M 1 & W 1 balance fwd & back in new position, beginning R ft.
13-14 M 1 & W 1 chasses L in 4 gallop steps to meet again in ctr.
15-16 Ml & W 1 join R hands and turn with 4 very quick steps, separating at the end, whereby M 1 & W 1 each end up beside own corner (facing in). Meanwhile, during these same meas. (l5-l6) cpl 3 join R hands, turn once in 4 steps, separate and end up beside comers.
At this point there are now 2 lines of 4 dancers each, facing each other in the position of 2nd & 4th cpls.
17-20 The lines advance in 4 steps & retire in 4 steps
21-24 Ptrs give R hands and turn into place with 8 steps
Repeat whole figure with cpl 2 active (lines in 1st & 3rd cpls positions)
Repeat whole Figure with cpl 3 active (in 2nd & 4th pos.)
Repeat whole Figure with cpl 4 active (in 1st & 3rd pos.)
Figure 3. Les moulinets (The Mills)
Intro. As in Figure 1
Meas.
1-2 W 3 takes 4 steps fwd
3-4 W 3 takes 4 steps back, at the same time M 1 takes 4 steps fwd
5 W 3 takes 2 steps fwd, at the same time M 1 takes 2 steps backwards
6 W 3 & M 1 sidestep-close with bow & curtsey
7-8 W3 & M1 retire to place in 4 steps
9-l4 In 12 steps all 4 ladies join R hands in a star and move CW once around
15-16 Give L hand to own ptr and turn into place
Repeat whole Figure with W 4 & M 2 active in meas 1-8
Repeat whole Figure with W 1 & M 3 active in meas 1-8
Repeat whole Figure with W 2 & M 4 active in meas 1-8
Figure 4. Les visites (The Visits)
Meas.
1-8 Intro. As in Figure 1
1-4 1st cpl goes to 2nd cpl in 4 steps beginning R ft then, sidestep-close with bow and curtsey
5-8 In 8 steps 1st cpl turns as a couple CCW, and goes to 4th cpl and face them
9-10 Individual dancers in cpls 1 & 4 chasse sideways, W to the L, M to the R, M passing behind ptr.
11-12 Each dancer balances fwd and back In new position
13-14 All chasse back
15-16 1st cpl backs into original place
17-24 Cpls 1 & 3 right and left through (giving hands) and back again.
Repeat whole Figure 3 more times with cpls 2, 3 & 4 respectively active.
Figure 5. Les lanciers (The Lancers)
Meas.
1-8 Intro, As in Figure 1
1-16 Grand rights and lefts with 2-steps; when ptrs meet halfway around, greet each other with a nod of the head.
17-20 1st cpl in 8 steps move around inside the square and back to place facing out.
21-24 Cpls 2, 4 step into a column between cpls 1 & 3 (Cpl 3 remains in place). Cpls are now in a column all facing the same direction in the following order: 1, 2, 4, 3.
25-26 Individual dancers chasse sideways with 4 gallop steps, W L in front of their ptr, M to R.
27-28 Each dancer balances fwd and back in new position (W L ft, M R)
29-32 All rechasse to previous position and balance fwd and back (W begin balance R ft, M L)
33-36 Cast off: M 1 leads other men around to L; W 1 leads other Women around to R.
37-40 As partners meet at bottom of the set they join hands aid move up the set again into the original column, release hands, face ptrs, joining hands in 2 opposite lines (l M's line; 1 W's line).
41-44 The 2 lines advance and retire (4 steps fwd and 4 steps back),
45-48 Lines advance again, ptrs join R hands and turn into home position.
Repeat whole Figure with cpl 2 leading out
Repeat whole Figure with cpl 3 leading out
Repeat whole Figure with cpl 4 leading out
- to be continued -
This is the most detailed description of The Lancers, and maybe eventually I'll write it out in my format.
Ted's Atlantic Polka Quadrille
From Northern Junket Vol. 8, No. 12, July 1967. Original wording on page 27 Internet ArchiveAn original square by Ted Sannella, Lexington, Mass. It is danced to Don Messer's recording of the Atlantic polka Quadrille, 2nd change, and the music is published in Messer's “Downeast Fiddle Tunes”.
The Dance
The head two couples separate, go halfway round the outside ring
The side two couples pass right through and everybody swing
Allemande left your corner, do-si-do your own
Allemande left your comer again and a right hand round your own
Grand right and left around
Meet your partner, pass her by and do-si-do the next
Swing this lady (a full 16 ct swing)
Promenade her home (to gent's home)
Ladies grand chain over and back.
It's not obvious (to me at any rate) how to fit this to the music. At first I assumed it was a 64-bar figure, so twice through the 32-bar tune. But then I found the original Don Messer recording at youtube.
Working backwards from the end, Ladies grand chain over and back must be A4, Promenade (almost all the way) must be A3, Swing must be B2. So I think it's a short swing with partner near the start, since the instructions specify a long swing with new partner, and I think rather than “right hand round your own” he means “give right hand to your own to start the chain”. And in fact as I went through the editions I found that he published it again in Vol. 9 No. 4 and made that very change!
So that gives:
| A1: | Head couples separate, go half-way round the outside, sides pass through. All short swing with partner. |
| A2: | Allemande left corner, do-si-do partner, allemande left corner again. |
| B1: | Grand chain half-way, pass your partner by. Do-si-do the next. |
| B2: | Long swing (new partner). |
| A3: | Promenade to the gent's place. |
| A4: | All four ladies chain over and back. |
If you want to call this to the original Don Messer recording, there are several free programs which allow you to download a YouTube video — I use Any Video Converter — I didn't change any of the defaults, just entered the YouTube URL, and in a couple of minutes I had an MP4 file in my Videos folder. (I tried specifying output format as MP3 but it made no difference!) I'm sure you can think up something for the 16-bar tag.
And if anybody knows better, please contact me.
Open up your Heart
From Northern Junket Vol. 9, No. 1, November 1967. Original wording on page 31 Internet ArchiveThis is identical to the version in Vol. 8, No. 6. Ralph adds the following comment:
Remember when this was the “hit” of the square dance season? It wasn't so long ago, yet a whole generation of square dancers has grown up and have never danced it. Maybe you can sweet talk your caller into calling it for you and your group.
Buffalo Quadrille
From Northern Junket Vol. 9, No. 2, February 1968. Original wording on page 28 Internet ArchiveRecord: Lloyd Shaw X-54. Capitol DAS 4048
Carson Robison made a terrific recording “Right Foot Up Left Foot Down” but it has long been out of print.
Bow to your partner. Bow to your corner.
All join hands, circle right (8 beats)
Circle left back to place (8 beats)
All balance left (4 beats) balance right (4 beats)
Turn your partner to face out (4 beats)
Balance left (4 beats) balance right (4 beats)
Turn around as you did before (4 beats)
All four ladies grand chain (16 beats)
Men turn left and promenade your corner maid (16 beats)
Repeat all of above until girls have returned to original partners.An Ending
Head couples right and left four (16 beats)
Side couples right and left four (16 beats)
Allemande left and grand right and left (32 beats)
Bow to your partner. Bow to your corner.
This has been around a long time and is just as good a dance today as when it was first introduced. I know the directions say to “balance right, balance left” instead of the way it is given here. It makes for a smoother dance if you dance it as given here. Rod Linnell used to be quite insistent about that. It is the difference between being on the correct foot to start your pivot around to face out or in and being on the wrong foot.
This dance is also known as the “Knightsbridge Quadrille”
I think what Ralph is getting at here is that “Balance right” can have two meanings. I imagine this was a step-swing balance: step on one foot and kick your other leg across in front of it, then repeat reversing feet. I understand “Balance right” as starting “Step on your right foot and kick your left leg across” (and I would do such a balance that way) but some people think it means kick your right foot across.
There's a recording of Duke Miller calling the dance at configular.com/duke/tunes/
It's You I Love
From Northern Junket Vol. 9, No. 3, April 1968. Original wording on page 26 Internet Archiveas called by Jerry Helt record MacGregor #931
Introduction & Break
Four little ladies chain straight across the ring
Chain 'em home, turn your own a left hand swing
Do si do your corner, do si do your own
Gents star right go once around the ring
Allemande left your corners, weave the ring you know
In and out around until you meet your beau
Promenade your partner, walk her right back home
Come here. Swing me. It's you I love.
Figure:
Head couples promenade half way round the square
Go to the right, right and left thru that couple there
All join hands, circle eight, watch 'em smile
Reverse now in single file
Four little ladies backtrack, go round the set
Pass 'em once, pass twice, promenade the next
Promenade this girl when you feel blue
Come here. Swing me. IT'S YOU I LOVE.
Dance sequence:
Introduction. Figure for the heads then the sides. Break. Figure for the sides then heads.
This is another dance where when the ladies chain back to your partner it's not a courtesy turn but an open left-hand turn to send everyone towards your corner.
Ted's Atlantic Polka Quadrille
From Northern Junket Vol. 9, No. 4, June 1968. Original wording on page 23 Internet ArchiveThis is almost identical to the version in Vol. 8, No. 12, which was published not that long ago. The vital change is “a right hand to your own” rather than “a right hand round your own”, which was the assumption I made when studying the earlier version.
Old fashioned girl
From Northern Junket Vol. 9, No. 5, August 1968. Original wording on page 30 Internet ArchiveSinging quadrille, arranged for Windsor record # 7105
Intro:
Do si do your corner girl
Go back home, swing and whirl
You swing your partner round
Allemande left with your left hand
Right to your partner, right and left grand
Around the ring you go
When you meet her you will do si do
Take her in your arms and promenade her home
Then swing your pretty girl
She's just like the girl
That married dear old dad.
Figure:
Head two gents take your maid
Around the ring you'll promenade
Just halfway round the ring
Right and left home through the middle
Take your steps in time with the fiddle
Your left hand ladies chain
All four ladies chain across the hall
Chain them home again, don't let 'em fall
Promenade your new girl, she's just like the girl
That married dear old dad.
Repeat figure for side couples.
Then, any break you wish.
Repeat figure for head two couples
Repeat figure for side two couples
Then use any ending you wish.
I have actually called this a few times, but not recently — it was certainly in the singing call repertoire in England when I started dancing in the 1970's. The song, with words by William Dillon, music by Harry von Tilzer, was published in 1911 and was immensely popular. Title “I want a girl just like the girl that married dear old dad”, usually abbreviated to “I want a girl”. If you don't believe my chords, see a version of the score at levysheetmusic.
Nelly Bly
From Northern Junket Vol. 9, No. 6, October 1968. Original wording on page 24 Internet ArchiveA Singing Quadrille
Use any introduction, break and ending you wish.
The head two ladies chain to the right
You keep that lady fair,
Heads to the right and circle four
You circle left right there
The head men break and form a line
Go forward up and back,
The opposite ladies chain across
You keep the girl you get.
Right and left through across the set
And turn your girls around
The same two pass through
Then promenade the ring. Sing
Ho, Nelly, Hi, Nelly, Listen love to me;
I'll sing for you, play for you, a dulcem melody.
Repeat entire dance once more for the heads
Then use any break you wish and
Repeat twice more for the sides, then any ending you wish.
An excellent recording is “TOP” #25172
Dancing to Pretoria
From Northern Junket Vol. 9, No. 7, December 1968. Original wording on page 22 Internet ArchiveMusic: “Dancing To Pretoria”, Top 25?66
Any introduction, breaks, and ending you wish
Allemande left you corner
Come back, swing your partner
The head two couples right and left through
Turn your girls around
The side couples do the same old thing
All promenade one quarter way around the ring (to r)
Four ladies chain, chain across the ring
Then the girls star back and your partner swing
To Pretoria, hurrah
Repeat sequence once more
Suggested break:
Join hands, circle left
Circle once around
You're going wrong, circle back the other way around
Right hand to your partner, grand right and left (all the way)
All sing:
We'll go dancing to Pretoria
Pretoria. Pretoria.
We'll go dancing to Pretoria
Pretoria, hurrah!
A repeat of Marching to Pretoria, though with some slight differences. This time the tune is given as “Dancing to Pretoria” but it must again be “Marching to Pretoria”.
Old Fall River Line (2)
From Northern Junket Vol. 9, No. 8, February 1969. Original wording on page 26 Internet ArchiveA repeat of the same dance from Vol. 8, No. 7 with minor changes in the wording and an introduction added:
Introduction:
All join hands and circle left,
You circle once around.
Break and swing your partners now
You swing 'em round and round.
Join .your hands and circle right, back to places all,
When, you're home, settle down, and listen to my call.
Milton Quadrille
From Northern Junket Vol. 9, No. 9, April 1969. Original wording on page 28 Internet ArchiveAs called by Rod Linnell
Suggested music: Whatever you like, but it would be nice to use some Canadian tune since that was the type that Rod used for it, but, let your conscience be your guide!
Any introduction, break and ending you prefer.
Head two ladies chain to the right
Chain them just half way
Then all four ladies chain across and stay right over there
The new head ladies chain to the right the way you did before
All four ladies grand chain, and everybody's home
All four gents star by the left
Three-quarters round you go - to your corner
Swing that corner lady boys, swing her round and round
Take that corner lady and promenade the ring.
Sequences Heads twice - break - sides twice - ending
Rod called this dance for the first time at a dance in Milton, Nova Scotia for Roger Whynot's group. That accounts for the name “Milton Quadrille”. It was introduced at one of the Nova Scotia dance camps held at Crystal Cliffs, summer of 1962.
This is in Rod's Book “Square Dances from a Yankee Caller's Clipboard”. Here's how I learnt it.
| A1: | Head ladies chain to right. All four ladies chain across. |
| A2: | New head ladies chain right. All four ladies chain across. |
| B1: | Men star left ¾. Swing new partner. |
| B2: | Promenade to the lady's place. [Men have moved Left.] |
| Break: | |
| A1/2: | Grand Square and Reverse. |
| B1: | Circle left. |
| B2: | Allemande left corner. Swing partner. |
Left Hand Lady Under
From Northern Junket Vol. 9, No. 10, June 1969. Original wording on page 23 Internet Archive(traditional)
The music here is “Mollys Breakdown”. It has other names.
Any intro, breaks and ending you wish
Head two couples out to the right, circle four around
Head men leave your ladies there and you go home alone
Then forward six and back - two lone men do-si-do
Left hand lady under, right hand lady over
Change the ladies both right over (to head two men)
repeat three more times then - All swing partners and
Promenade once around the ring.
Repeat for side two couples
Then, just for the fun of it have the
Two head men by your corner lady stand
Forward six and back - two lone ladies do-si-do
Left man under, right man over change the men right over
etc. etc. Repeat for side men, etc.
I had this one in my repertoire as “Forward Up Six”, but I've now changed the title and added the second part where the men get swapped around!
End Ladies Chain
From Northern Junket Vol. 9, No. 11, October 1969. Original wording on page 28 Internet ArchiveAs called by “Duke” Miller
Any 2/4 tune you prefer. Any intro, breaks and ending.
Head two couples forward and back
Take your opposite to the side
Split the corners to lines of four
Forward eight and back with you
The end two ladies chain (don't return)
All four ladies grand chain
The new end ladies chain
All four ladies grand chain
Promenade the one you have (not partner)
Repeat for heads - then break
Repeat figure twice for the side couples, then break
Any ending you wish.
Note: On “chains” do not chain back
I'm not sure about this one! Forming the lines is busy, but provided you don't fall too far back it's possible. The complication is that you're now with your new partner (original corner) but all improper. So the end ladies are on the left-hand end of the line, and they start the diagonal chain from the left of their current partner. Equally in the “all four ladies chain” the other ladies need to be clear about which man they're chaining to, though the original end ladies know they're chaining back to the man they left so things should work out. Provided that finishes in side lines rather than drifting back into a square, all the ladies are now end ladies, so I wouldn't use the phrase “new end ladies” but “the other two ladies”. But after the second “all four ladies chain” there are only 4 bars (8 steps) for the men to promeade this new partner all the way round the square, and that can't be done. And I feel the second “all four ladies chain” isn't needed. You have your new partner at the end of A1. Each lady chains twice on the diagonal, so you're back with your new partner at the start of B2, ready for a full promenade in 8 bars. If Ralph had only said “(original corner)” or “(original right-hand lady)” rather than “(not partner)” it would have been clearer.
The dance appears in the book “On the beat with Ralph Sweet” (which you can buy from CDSS or Folk Sales or AADS) and David Millstone has kindly sent me a copy of the instructions from that, which has several additions to Ralph Page's version — no wonder I was having trouble trying to fit it into 32 bars!
Figure
Head couples go forward and back
Heads go forward again, swing your opposite and face the nearest side couple
Heads split the sides, separate around one to lines of four at the sides
Lines of four go forward and back
Everyone dos-a-dos the one opposite
End ladies chain
All four ladies chain
New end ladies chain
All four ladies chain to your new partner
Dos-a-dos your new corner
Swing your new partner
Promenade to the gent's home place
Teaching Tips
During the ladies chains in this dance, the receiving gents need to adjust to ensure that the courtesy turns feel smooth. The most important thing is to make sure that everyone knows who they should end up with after each chain. Teach carefully!
I would leave out the do-si-do opposite so that the ladies chains fit the music better, to produce a 48-bar version:
| A1: | Heads forward and back. Forward again, swing opposite and finish facing your nearer side couple. |
| A2: | Lead through this couple, separate, go round one to the ends of a line of four. Lines forward and back. |
| B1: | End ladies (head ladies) chain on the diagonal (from the left side of the man). All four ladies chain. |
| B2: | The other two ladies (side ladies) chain on the diagonal. All four ladies chain. |
| C1: | Do-si-do new corner. Swing new partner (original right-hand lady). |
| C2: | Promenade to the man's place (just over once around). Ladies have moved Left. |
George's Special
From Northern Junket Vol. 9, No. 12, December 1969. Original wording on page 23 Internet ArchivePresented by George Hodgson at November 1969 Square Dance Weekend
Music: Any good square dance tune you like
Intro:- As you like it
Figure:
Heads pass through, separate, behind the sides you stand
Double pass through, first couple turn left, next couple turn right
Meet a couple, sides arch, heads duck under.
Dip and dive around the square, all the way around
Meet the same couple, star left
Head gents lead out of star into a single line of eight (in a circle)
Gents turn and swing the girl behind you
Promenade the same, don't slow down,
Sides wheel around, right and left with the couple behind you
Allemande left, grand right and left
Meet your partner, promenade home.
Repeat for heads
Repeat twice for sides, with heads making the arch and side gents leading out and head couples wheeling round.
I decided I couldn't phrase this to the music, but I'm writing it out here with a little amplification and confirmation:
| Heads pass through, separate, stand behind the sides. Double pass through — you all need to pass two people right shoulder — then take nearer hand with current partner. | |
| First couple wheel left, next couple wheel right (which means the next man is moving forward, whatever he may think), to face across the hall to another couple. | |
| Sides arch, heads duck under: dip and dive all the way round the square. | |
| Meet the same couple, left-hand star just over once around, so the Head gents can lead out of the star (to the right) into a single-file circle of eight. [Gents, you're following your original partner.] | |
| Gents turn and swing the lady behind you. | |
| Promenade, don't slow down (because you're out of sequence). Sides (that's the side gent and whoever you're with) wheel around to face the couple following you. Right and left through (to get back in sequence) and square the set. | |
| Allemande left new corner (original partner), right to new partner: grand right and left half-way round. Promenade to the gent's place. | |
| Ladies have moved Left. |
Little Arrows
From Northern Junket Vol.10, No. 1, February 1970. Original wording on page 25 Internet ArchiveAny intro. break and ending you wish
Head two couples right and left through, turn the girls and pass through
Separate around just one, pass on through in the middle you do
Split those two, around just one, now make a right hand star
Turn it once around, then allemande left the corner girl
Do si do around your own; now swing that corner girl
Allemande left new corner, come back and promenade
Little Arrows that will hit you once, and hit you once again
Little Arrows that hit everybody, every now and then.
This dance, as called by Ralph Sweet, Hazardville, Conn, has been recorded by Top # 25186. It is one of the good new dances
No difficulties of interpretation. The tune is a 32-bar reel and I think B2 will be quite busy — I would have left out “Allemande left new corner” but I haven't actually called it.
| A1: | Heads right and left through. Pass through, separate, go around one person (and don't take hands in lines). |
| A2: | Pass through, split the outside two, separate, go around one person (home). Right-hand star. |
| B1: | Allemande left corner, do-si-do partner, quick swing with corner (new partner). |
| B2: | Allemande left new corner, come back and promenade new partner. |
This is the cut down music from a pop song which I remember well, and I'm sure it's still in copyright so I'm not reproducing it here — see the facsimile if you want to play it. It was a hit for Leapy Lee in 1968.
Jenny's Star
From Northern Junket Vol.10, No. 2, April 1970. Original wording on page 29 Internet Archivean original square by Roger Whynot
Suggested music: “Darling Nellie Gray”
Any introduction, break and ending you wish
All four ladies promenade the outside ring
All the way, once around you go,
The ladies to the center, make a right hand star
Turn the star, one time round you go
Hold the star, left hand to partner's left and
Balance as you are there in a star
Turn by the left half way round
And balance once again
Then step through and with your corner swing
Take your corner with you and promenade the ring
Repeat three more time.
Again no difficulty understanding the instructions.
Girl I Left Behind Me (2)
From Northern Junket Vol.10, No. 3, June 1970. Original wording on page 21 Internet ArchiveDear Ralph; -
Maybe it is the mood I am in, but the last issue of the Junket seemed to be one of the best ever. It makes me realize that square dancing I saw as a small kid was all done at junkets. Until I was almost of college age, I never saw one in a dance hall.
Not too long ago, I did a one-nighter in the fire house of a small town where I had never called before. My orders from the chairman were, “Give 'em simple old-time calls”. Most of them did not know “right and left through” as such, but did it to “pass through and turn your lady”. They did know “ladies chain”. We had a ball! Two things struck me at once: they promenaded left hand to left, man's right arm around lady's waist (N.H. style), and they could swing long, fast, and smoothly.
During intermission the enclosed dance came back to my mind. You may recall that it is one of the first I ever called, and may have written out for you over 20-years ago. It has been at least 10-years since I've even thought of it, although Johnny, Russm and Gober could really play it with variations, especially when Junior was still with us. It is still one of the best “swinging” dances. When I called it for the group they really went wild about it. They hit the balance on time, and several could swing French-Canadian style. For one of the few times in my life I had to repeat a dance later in the evening!
Here's the dance in case anyone wants it
GIRL I LEET BEHIND
Salute partner - on 4-beat pick-up by band (or record).
Intro:-
Allemande left the left hand girl
And walk right by your partner
Allemande right the right hand girl
And promenade your partner.
The girls roll back and walk with the next
Walk with the man behind you
Roll back again and walk with the next
Promenade with the man behind you
Roll back again and walk the third
The handsome gent behind you
Roll back again, you've got your own
Promenade once more, go full around
With the one you left behind you.
Figure:
The first couple lead out to the right
And balance there so kindly
Then walk right through and balance too
And swing the one behind you - - - - - - -
Take that lady on to the next
And balance there so kindly
Walk right through and balance too
And swing with the one behind you
Take this new girl on to the last
And balance there so kindly
Walk right through and balance too
Then swing the one behind you.
Note: At this point, all the men should be home but each now has a new partner.
Repeat figure for couple #2
Insert middle break - same as introduction
Repeat figure for couples 3 and 4
Ending: Have men roll back instead of girls
If you want even more action try - -
Head two couples lead to the right etc.
Head two couples meet in the center etc.
Head two couples lead to the left etc.
Insert the break: Have the Heads, Sides, Heads, Sides do the figure in that order. By the time dance is over no one will be complaining about not enough swinging!
Hints on style:- When girls roll back, all hand holds are released, men continue to promenade, with small steps, girls roll out (right face), extend left hand and will naturally turn into right arm of man behind them. When man drops back, he drops hands, rolls in (left face), extends left hand etc. This can be very smooth with no one losing even one step or beat.
All balances are 4-beat ones, the first facing the next couple, the second, back to back with same couple. No hands required on second balance.
All swings are a full 16 beats.
As you know, there are many versions and variations of this old dance, but this one seems to give the dancers a lift in addition to being quite a workout. It does not have the same appeal for modern square dancers simply because they stop swinging on beat 6 or 8 and just stand still for rest of the musical phrase. Well, there's no accounting for taste!
Best wishes
“Duke” Miller
This is very similar to the version in Volume 1 Number 4 but it's so interesting to hear Duke's story about how well the dance went down.
Oblah-Di Oblah-Da
From Northern Junket Vol.10, No. 3, June 1970. Original wording on page 29 Internet ArchiveAs called by Dick Leger on TOP 25198Intro. Break, Ending.
Allemande left with an allemande that
Go forward two my friend
Go right and left and the men hang on
Make a back up star and then
Shoot that star a full turn around
With the corners box the gnat
Same little lady, do si do, then weave the ring like that - sing
Obla dee, obla dah, life goes on - hey
Do si do, and promenade her home
Obla dee, oblah dah, life goes on - hey
Take that lady home and don't you roam.
Figure:
Heads square through four hands, in de market place
When you meet your corner lady swing
Join your hands and circle, all around de place
Then you allemande left new corner, weave the ring
Obla dee, obla dah, life goes on - hey
Do si do, and promenade her home
Obla dee, obla dah, life goes on - hey
Take that lady home and don't you roam
Sequence of dance:
Intro. Heads square thru, repeat
Break
Sides square thru, repeat
Ending
In the first line, “allemande that” is a misprint for “Allemande thar” — it's the next key on the keyboard and I just made the same mistake myself! This is a move from Modern Western Square Dance, though it was invented by Lloyd Shaw as part of the “Allemande alphabet” (or there's more information here) when it was called “Allemande R”. The call prepares the dancers for what's coming, and then breaks it down into its component parts. I would say that “square through” and “weave the ring” are also MWSD terms, and it's interesting that Dick Leger has a long article criticising the current dance scene (and particularly the callers) on page 2 of the same issue, where he makes comments such as:
We must get back to utilizing our standard basics in more ways, and only teach a set number of things in a more realistic period of time, so as to allow the maximum amount of enjoyment while learning.
| Intro., Break, Ending: | |
| A1: | Allemande left corner, pull by right partner, left-hand turn the next (MWSD uses a forearm turn for this, as for the allemande), keep hold and the men move in to make a right-hand star. |
| B1: | Turn the star, men going backwards, ladies forwards. |
| A2: | “Shoot the star”: let go of the star and do a left-hand/arm turn. Normally it's a turn just over half-way to face round the ring to the next person in grand chain direction, but this time the call specifies “a full turn around” so you keep turning to face your partner (confusingly called “corners” by Dick). Box the gnat with partner. |
| B2: | Do-si-do partner. (but how can this use up a full 8 bars?) |
| C1: | Weave the ring (grand chain without hands) half-way. Do-si-do partner. |
| B2: | Promenade home. |
| Figure: | |
| A1: | Heads square four hands and swing corner (new partner). |
| A2: | All circle left about half-way. Allemande left new corner. |
| B1: | Weave the ring (half-way). Do-si-do. |
| B2: | Promenade to the man's place. |
The tune is from a Beatles song. The copyright won't expire until at least 2093 — Ralph didn't have the nerve to publish the music and nor do I! In fact I wrote my own singing square to the same tune long before I discovered this version.
I'm really not sure about the timing of the break, though I can see that the figure fits the music. Note that the break is 48 bars (2 verses of the song and a chorus) while the figure is a more standard 32 bars (1 verse and chorus).
Deer Park Lancers
From Northern Junket Vol.10, No. 4, August 1970. Original wording on page 21 Internet ArchiveThese next three squares are part of an article by Ed Moody attacking the growth of MWSD with its greatly expanded list of figures which dancers had to learn. There are many such articles in the various issues of Northern Junket, written by Ralph Page and others, so I think it's time to give you the flavour of this great controversy which is still going strong in the 21st century.
TRADITIONAL DANCING KEEPS PACE by ED MOODYIt is said that man's mind starts to jell at the age of fifty, then becomes more and more set as the years pass by. I have that many years plus a score and a few more, thus I should be pretty well set by now.
So — when this Square Dance Program went haywire and expanded itself from 20 sensible basics to 20 times as many screwball commands, most of which are badly named and completely non-directional, I revolted. There is enough material in the 20 sensible basics to last a man a life time. This is certainly not true of the synthetic potpourri shoved at him in 40 to 50 lessons. He may be enthusiastic for a short while, but the wild pace will wear him out too fast. I am not against change; I am against revolution! Perhaps a half-dozen of the 500 “new basics” will survive and become an integral part of our traditional dancing in the years ahead. The remaining mish-mash is just so much fol-de-rol and a waste of time to try to master.
However, I did find a pasture with plenty of green fodder available, by attending dances all over New England. Then by process of elimination picking up a Gem or two here and there of fine all-moving, smooth-flowing figures . These Gems certainly prove that today's so-called Traditional Dances have, regardless of all the hokus-pokus to the contrary, progressed with just the proper momentum to captivate progressive people and keep them as permanent dancers, which is something the. Way-outs can't say.
I have selected several of the very best that I have accumulated over the years from such master callers as Ralph Page, the late Rod Linnell, “Duke” Miller, Mal Hayden, Dick Leger, Charlie Baldwin, Walter Meier, and Paul Becker. I have put them into this article to illustrate the fact that smooth rhythmic dancing will keep Square Dancing alive.
The dollar Mad-caps can short sightedly continue to drive dancer after dancer to his or her own fire-place, but Progressive Traditional Dancing will survive.
Let's start right off with a very interesting figure which Ralph Page plucked out of the Deer Park Lancers. Several callers have toyed around with it since its revival and turned it into a modern full-of-action square. It would seem to be dated about 1886 as President Grover Cleveland was married then and spent his honeymoon at Deer Park Manor. Perhaps this Lancers was created then and named to celebrate that honeymoon. Yet the figure itself may far pre-date 1886.
Now most good callers use an ad-lib starter or introduction, called on the fly to fit the music being used, so let's plunge right into discussion of a most interesting figure:
The head couples promenade all the way around till #1 faces #2 and #3 faces #4. #'s 2 & 4 have turned a slight angle to meet them face to face when they arrive.
Now a figure is performed such as a full ladies chain — a full right and left through — a star right, then left, or any other that the caller may choose at the moment.
After this figure is completed the Sides or #2 & 4 couples arch and the heads (1 & 3) duck under, thus starting an all moving Dip and Dive to home positions.
Now the head couples promenade the wrong way round till #1 faces #4, and #3 faces #2 for a repetition of figure and the Dip and Dive.
Then, after the customary break in the middle of the dance, the action begins again by having sides promenade all the way around set to meet the heads, where the entire pattern is repeated, followed by a closing figure, again ad-libbed by the caller.
Although this is a very old figure some callers have found that it fits Sets In Order record “Cocoanuts” SIO #15OB recorded by Tommy Cavanaugh of England. This is a dandy 32-measure dance which can be enjoyed by all levels of dancers.
You can see this being danced to the calling of Tony Parkes (who says it's one of his all-time favourite squares) at squaredancehistory.
| A1: | Heads promenade all the way round the outside. |
| A2: | Face the couple on your right and do a non-progressive figure: Ladies chain over and back, right and left through over and back, right-hand star and left-hand star, etc. |
| B1: | Sides arch: dip and dive all the way round the set to meet that same opposite couple in home place. |
| B2: | Do-si-do opposite. Swing partner. |
| Repeat the whole figure with the working couple promenading to their left (“the wrong way”) and facing the couple on their left in A2. |
Charlie's Double Quadrille
From Northern Junket Vol.10, No. 4, August 1970. Original wording on page 22 Internet ArchiveThis next dance was taught by Charlie Baldwin at Ralph Page YEAR END CAMP in 1968. It is interesting but the “Sage of Cheshire County” advises that it should only be used as a demonstration piece and not fed out to your usual dancers. Who am I to disagree? But I do!The diagram shows an inner square with an outer square of couples one standing behind each of the inner couples.
Use any Lancers - or March record at about 115 p.m.
Grand Square - all 8 couples
Four ladies chain in the inside square
Then a full turn to face the outside couples
Square through four hands
Move on to the next couple
Square through five hands
Move on to the next couple
Pass through - face your own - then with new partner, right and left through
Outside couple dive through (new outside couples Frontier Whirl to face center of set)
Inside square - repeat dance - four ladies chain, etc, including the Dive through.
Now, everybody will be with original partner half-way round the set from original position.
Inside couples make an arch - outside couples dive in - and now our outside square is on the inside, and original inside square is on the outside.
Repeat figure twice from the ladies chain to the Dive through - then
Inside couples arch - outsides dive in. All are now with original partner in original positions. Repeat the Grand Square.
This sounds complicated, but it really flows and contains only traditional movements. “Square through” is the original way of doing a right and left, and “Frontier Whirl” has been done for two or three dance generations without having a name put to it.
I think his prejudice is stretching things here. The original right and left came from the quadrille and isn't the same as a square through 4 because the men would turn in at the end of each half and you would finish it facing the same direction as you started whereas in a square through there are no courtesy turns and you don't turn in after the final pull by so you end with your back to your partner rather than side by side. “Frontier whirl” is more commonly known as “California twirl” these days. But what do we make of the instructions? He doesn't explain “Grand Square — all 8 couples” so we assume the outside people are just following the person in front. The inner heads lead in, meet their opposite and fall back to side positions while the outer heads lead in, meet their opposite a couple of beats later than the inner heads did, and also fall back with them to side positions. But by the time they're about to hit the people they were following, the inner heads have separated from their opposite and are falling back up and down the set to finish level with their home positions. They then meet their partners in head position as the followers are falling back up and down, and then the followers move in to meet their partners in home places. Meanwhile the sides fall back from their partners (possibly with the outer sides waiting for a couple of beats). The inner sides move in to meet their opposite in inner head positions, the outer sides following them. The inner sides lead in with their opposite, the outer sides following them a couple of steps behind. But now we have a problem. The inner sides meet their partner and fall back to home place, but when the outer sides want to do the same they find the inner sides are in their way. I think the best solution is to have the outer sides as leaders and the inner sides as followers, so it's the inner sides who need to wait a couple of beats before starting to divide.
There's a video at squaredancehistory.
I assume the four ladies chain is there and back, and the full turn is added on to the end of this so now the insides are facing the outsides.
“Square through four hands” leaves you with your back to your partner, facing a new pair. But maybe “Move on to the next couple” means “pass through” so you do nothing with this pair. “Square through five hands” has the same effect as a pass through, so again you're facing a new pair, and again “Move on to the next couple” could mean you do nothing with them, just pass through — and yes you are now facing your original partner around the set and you do have a new partner — the lady on the man's right or the man on the lady's left. You can certainly do a right and left through (and presumably back), but you're facing around the set — there isn't an inside or outside couple so I can't make sense of the next instruction and at this point I decide to give up. If someone knows how this dance is supposed to work, please let me know!
Real Yankee
From Northern Junket Vol.10, No. 4, August 1970. Original wording on page 24 Internet ArchiveThe late Rod Linnell, who had few equals as an arranger of traditional figures, put this one together and he called it at a square dance camp some seven years ago. Everybody is moving all the time with little or no confusion. It surely proves that the progressive Traditional Callers were well ahead of the time and busy burying visiting couple dances back at least ten years ago. The dance has no particular name. It can be done to any properly recorded fiddle tune. As usual you supply your own introduction:
Head couples star right and break that up with an allemande left on the corners as you come around to them in the star - then a Grand R & L. all the way around to home place.
Side couples forward and back, then do si do their opposites and walk right into a Grand R & L.
Then the heads cut in to make it a Grand R & L in eights. Do si do partners when you meet - then continue the Grand R & L to home position. Now a swing (New England style) and a full promenade all the way around.
Use any break you like
Then reverse the pattern
Any closer that you wish.
If I remember correctly Rod introduced this dance by saying that though any Go-Go dancer would think he was doing the latest figure, they would actually be doing some fine old movements, properly entwined to give the impression that it was Western style, even though it actually was Real Yankee.
But what does he mean by “walk right into a Grand R & L”? It's obviously just for the side couples, because after this “the heads cut in to make it a Grand R & L in eights”. Does he mean “square through four hands” but refuses to use this new term? After do-si-do opposite, a square through would surely start with right hand to opposite, and that's what you'd do in a quadrille with “right and left”. But that means the final pull-by with partner leaves men facing men, women facing women. All right, we can do that, though I think the caller needs to warn people or some of them would assume they'd gone wrong. So how about:
| A1: | Heads right-hand star. Allemande left corner into… |
| A2: | Grand chain all the way round — you have to move it, and start slightly before the music. |
| B1: | Sides forward and back, Do-si-do opposite. |
| B2: | Square through four hands, taking four steps per hand (which would never happen in MWSD) so after the final pull-by you're facing someone of the same sex. |
| A3: | Grand chain half-way round, sides going the other way from usual. Do-si-do partner. |
| A2: | Continue the grand chain home. Swing partner (which gets the sides proper at last). |
| B3: | Promenade once around. |
That leaves 8 bars missing from the second time through the tune, so I would probably add “Allemande left your corner, swing your partner one more time” but maybe Rod Linnell (or Ed Moody, possibly writing the dance out from memory) wasn't bothered by this.
Duke & Ralph's Dance
From Northern Junket Vol.10, No. 4, August 1970. Original wording on page 25 Internet Archive“Duke” Miller presented this one at the New Hampshire Fall Camp in 1967. I believe that both Miller and Page collaborated in putting it together. Timing in this one on the part of the caller is paramount, and if he is right on the button, any level of dancer can get a boot out of it. As usual your caller will make up his own introduction, then flow into the fluid-like pattern:The head two couples go forward and back The side two couples go down the center and then cross trail — separate and go around the outside to their home places
WHILE SIMULTANEOUSLY
#1 & #3 do a double Susie Q (Opposites right hand round; partners left hand around) twice. Now all go to their own corners for a right hand round — then to Own partners for a left hand round — twice around. All four ladies do a grand chain over and back
Your caller now puts in any break he sees fit. Then pattern is reversed with sides forward and back, etc. etc. Then caller closes dance with whatever he sees fit.
Continued and well arranged action in perfect step with the music gives one a true satisfaction of being a good dancer when the above is completed. It is neither Traditional nor Western. It is merely good dancing to be well relished by all your dancers.
- to be continued —
I had thought “Susie Q” was a MWSD figure, but it was around before then. Here it is at squaredancehistory.
| A1/2: | Heads forward and back; sides cross trail through. Heads Susie Q (opposite right-hand turn, partner left-hand turn and repeat), sides separate, round the outside (lady left, gent right) and pass partner by to face corner. |
| B1: | All right-hand turn corner then left-hand turn partner twice around. |
| B2: | All four ladies chain over and back. |
Texas Star Variation
From Northern Junket Vol.10, No. 5, November 1970. Original wording on page 5 Internet ArchiveTrue to his word, Ed Moody continues his ranting…
AGE AND BEAUTY
by ED MOODY
As one gets older one starts to become more and more choosy. From the olio of thisa and thata which one has accumulated over five or six or more decades of dancing, there seems to rise a desire to become more familiar with the finer ones and to mentally discard the dross which must, during the manufacture of anything, become an unwanted by-product.
Furthermore, though that dross continues to be made today, we eventually discover that its percentage to the fine finished product has risen to fantastic heights. Worse yet, in many cases the so-called finished products have lost much of their superfine quality.
One fast glance through the pages of many square dance magazines which are devoted to publicizing new dances, and to crediting their authors with a by-line, will verify the foregoing paragraph.
Thus, many of us who claimed to be callers in the not too distant past, have discarded scores of our past repertoires and, when we do rarely call, use only those outstanding figures which have, by their own merit, lived through the past score or more of years, with some even extending back over ten such scores.
But once in a while we do bump into a beautifully arranged dance which someone with possibly the same philosophy as ours has put together. Perhaps he does it by properly modernizing some old danceable figure, or even possibly assembling it by sewing numerous true basics into a fine unit. He does it is such a manner that they flow smoothly into each other and can be performed enjoyably after a 30 to 4-5 second walk-through, AND he calls it in dictionary English! These dances we put on paper and add to our loose-leaf file, generally taking out a couple of “not-so-hots” before putting in the dandy we just stumbled upon. As the years go by, the file, which was began some 15-20 years ago, becomes slimmer and slimmer, but contains more valuable material.
My only hope is, that when I shuffle off this mortal coil, that file, which now contains over 250 contra dances and 40-50 superfine squares, all cataloged and listed, will fall into the hands of someone who will appreciate its contents and be able to use some of the figures it contains to his own advantage.
Now as I thumb through its square and lancer numbers, I find some of the following have called dances which I have copied down and preserved. They may or may not have been original with them, but they did know enough to use them. Some are truly original - Bob Osgood, with a circle contra that he offered on July 1st, 1963 - Walter Meier with variations of the Grand Square in 1964 - The Deer Park Lancers and Windmill Lancers presented by Ralph Page at various dance camps and each easily turned into a good square figure. “Strawberries and Raspberries” (a traditional French-Canadian tune) by Mal Hayden about 16 years ago; a marvelous combination of figures based on the Texas Star and put together so they flow smoothly into one and another. The figures seen at dances called by Ralph Goodner - Mal Hayden - Decko Deck, then put together with no trouble at all into a real fast-moving smoothie. A reel in a square by Joe Perkins, in September, 1958, A square with a triple chain in it by the late Rod Linnell on December 30 1963. A Cross Trail quadrille with collaboration by Page and “Duke” Miller, and given its premier workout at a Fall Dance Camp in Troy, N.H. in 1967. Then Roger Whynot sprung one June 14, 1970, which I named “Whynot's Wonderful” which is smooth as silk and can be learned by primary dancers in 30 seconds, but active enough to interest the most rabid Western fan.
Let us summarize this collection of paragraphs, not with a statement, but with a question. How many more old-time callers with enormous repertoires accumulated over the years, have bothered to learn and properly present more than five dances new to them? I'd like to correspond with them. As to contras, well, any good caller who can*t, with a ten minute warning at any festival, call any one of 90% in my little hand book, though he has never used that one before, is a mighty poor workman. The other 10% might take from 15 to 20 minutes preparation.
Like cream rising to the top of the bottle or milk pan, the better dances and figures are so rising, and the dedicated callers who have semi-retired are preserving them for posterity.
All of which is a good lead-in for the continuation of Ed's article which began in the last issue of Northern Junket. R.P.
TRADITIONAL DANCING KEEPS PACE
by ED MOODY
Mal Hayden of Rochester, New Hampshire, used the following figure as part of a dance about ten-twelve years ago and since then he has varied it quite interestingly, but here we will simply give its base and any good caller can do tricks with it. As usual do any introduction that you desire:
The Figure
Ladies to the center and back to the bar
Gents go in with a left hand star
Back with the right but not too far
To your partner left like an Allemande Thar
(Now comes the fun!)
Ladies in and gents swing out as you
Turn that Allemande Thar about
(Girls are now backing up and men forward)
Now all drop hands as this call comes -
Right hand to the one you face
Grand right and left all over the place
(The girl you gave your right hand to becomes your new partner)
All get back to man's original place
Repeat figure four times to get Mother back
Break: This can come half-way through the four movements and be as the caller desires
Closer: Also as caller desires
You will note that this is an all-moving pattern with nothing in it that is very new, but the movements have been very skilfully put together to create a real smoothie. Other variations of the Texas Star can be blended into this dance to make it still more desirable.
This strikes me as an unphrased square, and again I wish the contributors gave the A's and B's rather than the patter, but I think the timing is something like this:
| A1: | Ladies to the centre and back. Men left-hand star once around. |
| A2: | Back with a right-hand star. “Allemande Thar”: left-hand turn partner ¾ to face the next in grand chain direction, pull by right, left-arm turn the next into a double star with the men in the middle. |
| B1: | Turn the star: men slowly backwards, ladies forwards. Left-arm turn half-way while the star keeps turning — now the ladies are in the centre going backwards. |
| B2: | Drop hands and give right to the one you're facing (original corner — new partner). Grand chain half-way. Promenade to the man's place. |
I wouldn't guarantee that all the sets will finish the promenade at the end of B2, but since there's no mention of heads or sides you can start the figure wherever the dancers happen to be, so I'm probably being too fussy. No doubt at the end of the middle and final break you'd make sure that the men got home.
Put Your Arms Around Me, Honey
From Northern Junket Vol.10, No. 5, November 1970. Original wording on page 6 Internet ArchiveWalter Meier of Des Plaines, Illinois, who is recognized Senior Dean of the Chicago Area Callers sent in this next one and it is so fine that here it is just as he typed it out for us: “Ed, this dance is a favorite with the B.B.Bs. (his neighborhood private club). We call it 'The Butcher Dance' because at the start of the introduction, middle break and ending the dancers sing: 'Butch Your Arms Around Me, Honey'. There's nothing new in it, but it is very comfortable dancing”. W.M.
Intro:
Put your arms around your honey
Swing her up and down
All four ladies chain across
You turn the girls around
Join your hands and circle left
You circle left the ring
All the way you go around
And listen while I sing
All four ladies chain right back
And ladies don't be late
Do si do your corners
Come back and promenade (all sing)
Oh, Oh, I never knew a Girl (Boy) like you
Figure:
Two head couples square through
It's full around you do
Right hand star with outside two
You turn that star around
Heads to the center with a left hand star
You turn that star around
Corner right with the right hand round
Your partners left hand round
Swing your corner lady
You swing her round and round
Allemande left just one
Come back and promenade (all sing)
Oh, Oh, I never knew such a Girl (Boy) like you
Sequence - Introduction - figure twice for head couples - break - figure twice for the side couples - then ending. MacGregor 693-B fits it perfectly.
Canadian Balance Quadrille
From Northern Junket Vol.10, No. 5, November 1970. Original wording on page 7 Internet ArchiveHere is a dandy just as it was presented by Dick Leger, on Sunday, November 22, 1967, to the New England Folk Festival Ass'n Winter Party at Joy St. in Boston. I don't recollect the exact introduction that Dick used but the figure as follows is nice because of its splendid timing:
Figure
1s go down center and pass through #3s then they separate and go round into a line of four.
That line goes forward 4 full steps and does a pigeon-wing or a jitter-bug step while
#2 and #4 do a ½ right and left through behind them;
The line of four now backs up four steps to place and again dance a pigeon-wing or jitter-bug step while
#2 and #4 do a ½ right and left through to place
Now, #1 and #3 circle left and the #1s pop through, dive through or pass through to their home place
A short swing by all is now possible.
This movement is repeated for each of the other three couples with the usual break after #2 acts, and again a closer at the end to be ad-libbed by the caller.
This dance will fit any well recorded fiddle tune and even the most rabid Go-Goers will relish it. Dick Leger has dozens of such fine all-active patterns up his sleeve that he has personally choreographed, to offer anyone interested in attending one of his dances.
And again I'm not convinced. I don't think of myself as a “rabid Go-Goer” but it seems pretty tame to me! And he says it has splendid timing, but he doesn't explain the timing, though I imagine This dance will fit any well recorded fiddle tune
means the figure is 32 bars. 8 steps for the ones to lead down and cast onto the end of a line. 4 rather big steps to lead up clear of the sides — but I don't believe the sides can be expected to do a right and left through in just 4 beats. So the pigeon-wing (which I thought was some kind of arm turn) must go on for 12 steps, overflowing from A1 into A2 while the sides do a right and left through at the start of A2. Then the line falls back and again has 12 steps for the pigeon-wing while the sides do a right and left back at the start of B1. Then the circle left overflows from the second half of B1 to the first half of B2, then 4 steps for the ones to dive through as the threes lead back to place and then just 4 beats for a swing? I know he says “A short swing by all is now possible” but a modern contra dancer would consider a 2-bar swing an insult. So unless I've totally misjudged the timing I certainly won't be adding this one to my repertoire. If you're looking for one which starts with a similar move, I much prefer The Lazy “H” above.
I picked up the title for this dance from the index. Is a pigeon-wing the same as a Canadian Balance? I wouldn't know.
Wait Till The Sun Shines Nellie
From Northern Junket Vol.10, No. 5, November 1970. Original wording on page 27 Internet ArchiveAny intro; break, and ending you prefer
All four ladies single file the outside of the ring
All the way around you go 'til you get back home again
Turn your partner right hand round
Your corner by the left
All four men star by the right
And turn that star around
Walk right by your partner
To swing your corner lady
Take her and promenade the ring (Sing)
Wait, til the sun shines Nellie, by and by
Top #25135 fits this call perfectly.
Roger's Dance #2
From Northern Junket Vol.10, No. 6, January 1971. Original wording on page 26 Internet ArchiveAn original square by Roger Whynot, Hardwick, Mass.
Caller's choice of tune, breaks and ending. End the introduction with a promenade partners and from this promenade -
Heads wheel around and do si do the one you face
All swing the same
All face the center
Center four circle four once around
Same two, pass through
Split the outside two and separate go round one
Four in line go forward and back
All circle left (eight hands around)
All swing corner, promenade the same
etc. etc.
| A1: | Heads wheel around to face the couple behind, and do-si-do this person, Swing, finish facing the centre of the set in a double column. |
| A2: | Centre four circle left once around. Pass through, split the outside two, separate, go round one to the ends of a line of four (probably on the diagonal). |
| B1: | Lines forward and back. Circle 8 half-way. |
| B2: | Swing corner [see note]. Promenade to the gent's home place. |
If you forgot to end the break with a promenade you can start the figure with “Heads face the couple on your left”.
This is an interesting one. It's unusual to swing your opposite and finish in a double column — what MWSD calls “double pass through formation”. And when you split the outside two and go round one to a line of four, it's almost always either with the sides on the end or with the heads on the end; this time it's a mixture.
Note: There's a problem with this figure: it seems to me that when you swing your corner you finish with your opposite as partner, so twice through the figure gets you back to your original partner and there are two other potential partners you never meet. Also the final promenade seems a bit tight to me. So I suggest starting B2 with “Swing current partner” rather than “Swing corner”. There's a slightly shorter distance to promenade, and the ladies will have moved right one place, so four times through the figure means you dance with all four partners.
Stand Right There
From Northern Junket Vol.10, No. 8, May 1971. Original wording on page 26 Internet ArchiveAn interesting traditional-type dance created by Josh Tolford, Rockport, Mass.
Suggested music: Any good “hoedown” that has a pronounced beat. I like something like “Rakes of Mallow”.
Intro: chorus; breaks, ad lib.
First couple stand right there
The second couple swing
Third lady chain to the right of the ring (don't return)
Then chain to the right again
Second couple stand right there
The third couple swing
Fourth lady chain to the right
And chain to the right again
Third couple stand right there
The fourth couple swing
First lady chain to the right
And chain to the right again
The fourth couple stand right there
The first couple swing
Second lady chain to the right
And chain to the right again
Allemande left your corners all
Now do-si-do your own
You've got your partner back again
So promenade her home.
Now, after all this and just for the hell of it call it again in reverse: Fourth couple stand right there, third couple swing, second lady chain to the left, and chain to the left again, etc. etc. You will find this dance in “Recreation Leader's Handbook” by Richard Kraus.
Forward Six and the Gents Pass Under
From Northern Junket Vol.10, No. 9, July 1971. Original wording on page 26 Internet ArchiveIntro; breaks, ending ad lib4. The men step back, forming lines of three as before. They pass in front of the side girls, with the left men ducking under, right man passing over. Men join up immediately with the head girls in lines of three, having moved one position around the square.
- Head two couples forward and back
Forward again and right and left through
Ladies go gee, gents go haw
When you get home swing your maw- Now send those gents to the left of the ring
And three in line you stand- Now forward six and six go back
Gents go forward, make an arch (with opposite man)
Head two girls beneath you march (cross over to opposite place)- Gents step back and form those threes
Pass the right man high, left man under
Grab them girls, and go like thunder
Continue action 3 & 4 three more times, with the side girls crossing under the arch, then the head and side girls again. All may then swing partners and promenade them home. Use a break, then repeat entire dance with side couples beginning at 1.
We believe that this is a Bob Osgood original. We heard him call it at Stockton, California Dance Camp many a long year ago. It's an interesting variation of The Left Hand Under, Right Hand over. Definitely worth keeping.
Let's see if I can fit this to the music.
| A1: | Heads forward and back. Right and left through. |
| A2: | Separate, go round the outside back to place. Swing partner. |
| B1: | Head gents move left to the end of side lines — side lady in the middle, side gent on the other end. [There appear to be 8 beats for this.] Lines go forward and back. |
| B2: | All the gents move forward to make a two-hand arch with the opposite gent; head ladies cross over (under both arches) to opposite places. Gents fall back to the lines of three; side ladies raise your right hands to make an arch with your right-hand man, pass both men across, the left-hand man going under the arch, and the head ladies grab the men coming towards them to make new lines of three. |
But now I've lost the timing, because the figure is repeated with head lines going forward and back but this time it's at the start of an 8-bar phrase instead of half-way through. That's OK — I can certainly call it like that — but it would be nice if I could fit the repeating figure into 16 bars. Then again with side lines, then head lines, all swing and promenade. Maybe if I ever call this I'll get a better idea of the timing.
Just Because (2)
From Northern Junket Vol.10, No. 10 , October 1971. Original wording on page 29 Internet ArchiveAs called by the late Lawrence Loy
Music: “Just Because”. Best record, Folk Dancer MH 1089
Introduction:
Honor to your partner and to your corner, too,
Do si do your corner and with your own sweet Sue,
Allemande left your corner and allemande right your own
Allemande left your corner again and a right and left grand
When you meet your honey, do si do her,
Take her in your arms, swing, boys, swing,
Promenade the dear old thing,
Throw your head right back and sing
Because - Just Because.
(1) First little lady, do si do your corner
Now walk around the outside of the ring,
And now you step into the center
Swing any old man you want to swing.
Chorus:
Now everybody swing with your own girl
Swing her around and around.
Then your promenade the ring, oh, you promenade and Sing -
Because, Just Because
Repeat chorus
(2) The second lady allemande left your corner
Now walk around the outside of the ring
And now you step into the center
Swing any old man you want to swing
Repeat chorus.
(3) Break
The head two ladies chain over,
Chain the ladies back across the ring,
The side two ladies chain right on over,
Chain those ladies home again.
You all do si do with your corner
Go back and swing your little Suzy Q,
Promenade the ring you do, promenade
Go two by two. Because, Just Because.
(4) The third little lady balance to your corner
Turn around and walk around the set,
Now you step into the center,
Swing the man you ain't swung yet.
Repeat chorus:
(5) The fourth little gal wave to the gent across
The way, Now walk around the outside of the ring,
Now you go into the center,
Swing any man you want to swing.
Repeat chorus, as an ending.
A very simple square, and the figure has no connection with the earlier one with this title; they just happen to use the same tune.
Year End Two-Step
From Northern Junket Vol.10, No. 11, December 1971. Original wording on page 27 Internet ArchiveOriginal dance by Rod Linnell; original music by R. Page
The two head ladies chain to the right
You keep that lady fair.
Two head couples out to the right
And circle left right there.
You circle left, go once around, with your left hand lady swing
Swing that lady, put her on your right
And circle left once more.
Head gents break and form a line
And the opposite ladies chain
Chain the ladies over but DON'T chain back again
Now forward all, the opposite swing
Because she is your own
You swing that lovely lady boys, swing her right back home
Repeat for sides, Ad lib intro. breaks & ending.
Tipperary
From Northern Junket Vol.10, No. 12, February 1972. Original wording on page 25 Internet ArchiveOne of Ed Gilmore's dances, as called Geo. Hodgson, Jr.
The head two couples promenade
Just halfway round the ring
Chain those girls across the set
And turn them, don't be slow
Lead to the right and circle four
And make a line for me
Go forward up and back then
1 and 3 diagonally right and left through
Turn, pass through, hook the sides and
Turn that line all the way round
Bend the line and chain the ladies
Forward up and back you go
Star through, your corner swing now
Promenade around that ring - sing
It's a long, long way to Tipperary
But my heart's right there.
Repeat for the heads
Repeat twice for the sides.
As with “Just Because”, there was an earlier unrelated dance set to the same tune.
ceder.net/recorddb/
Head two couples promenade, half-way around the square
Chain those girls across the set and turn the lady there
Go to the right, you circle four and make a line for me
Go forward 8 and back. 1 and 3 diagonally,
Right and left thru. You turn and pass thru
Hook the sides and turn that line, all the way
Bend the line and chain the ladies
Same two, go forward up and back with you
Now you star thru, your corner swing now
Swing and promenade the ring
It's a long, long way to Tipperary
But my heart's right there
At squaredancehistory.
| A: | Heads promenade outside the set half-way. Same ladies chain back. |
| B: | Heads lead to the right and circle left; head gents break to form side lines. Lines go forward and back. |
| C: | Heads (on the diagonal) right and left through. Pass through — don't turn round, take your partner's hand and men take an elbow hold with the man next to you to make a two-faced line. |
| D: | Turn the line all the way around. Bend the line — turn as a couple, men moving backwards, to face the couple who were in your line; ladies chain across; go forward and back. The timing here is fairly fluid, and Earl Johnson leaves out the “forward and back” the first time through, presumably because there was no walkthrough and the dancers weren't expecting to turn the two-faced line. |
| E: | Star through; swing your corner who is in front of you. |
| F: | Promenade to the gent's place. Ladies have moved Right. |
Between Those Ladies
From Northern Junket Vol.11, No. 1, June 1972. Original wording on page 24 Internet ArchiveAn Ed Gilmore dance, as called by “Duke” Miller
Use any Intro, Middle Break, & Ending desired
Heads forward up and back that way
And whirl away with a half sashay (Ladies turn L-face crossing to partner's L side)
Take her to the right and circle four
And ladies break to form a line (Circle ½ & ladies release each other & head ladies lead to a line of 4; 2 gents together in center of the line)
Forward eight; and back you go
Now right lady high & left lady low (Same as with 1 man in center. This sends ladies to head positions & leaves 2 men at each side)
The 4 gents go forward & back
Then pass through, separate, walk around one and
Between those ladies stand (line of 4s at the heads)
Forward 8 and back you go
Right hand high and left lady low
The 4 gents go forward & back, pass through,
Separate, walk around one, go to the center
With a right hand star, go once around from there
Turn partner left in a do-pas-o
That's partner left, corner right
Partner left hand around
Promenade your corner when she comes down
Promenade this brand new girl, all the way home.
Repeat figure for the heads, then twice for the sides.
Suggested music: “Up Jumped the Devil, Reilley's Own, St. Anne's Reel, or St. Lawrence Jig”
According to scholars.
| A1: | Heads lead forward; roll away as you fall back. Lead out to the couple on your right, circle left half-way and ladies break to side lines of four. |
| A2: | Lines forward and back. Right-hand man arch and men send the ladies across in front of them to change places, left-hand lady going under the arch, then release them so they fall back to head place. Note: The men don't turn around, they stay in place. |
| B1: | Men forward and back. Pass through, separate, walk around one lady and stand between those ladies in a line of four. |
| B2: | Lines forward and back. Right-hand man arch and men send the ladies across to finish in side place. |
| A3: | Men forward and back. Pass through, separate, walk around one lady and in to the middle. |
| A4: | Men right-hand star. Meet partner to start a do-paso: left-hand turn partner all the way, to face corner… |
| B3: | Corner right-hand turn. Partner left-hand turn. Promenade corner to man's place (half-way). Ladies have moved right. |
| B4: | (added to make the figure 64 bars, if you're bothered about such things): All four ladies chain over and back. |
When I called this I found I had to tell the men not to go anywhere in the arching figure — they wanted to do all sorts of strange things — and some ladies were determined to hang on to a man and make the ends of lines rather than standing in a square with another lady as partner! I also made the figure non-progressive as they seemed to be struggling. and I didn't do the second figure with the women leading it (see later).
You can hear a full recording of this starting at 8:47 on the last item (RPDLW 1989 Tape 2 Side B called by Chip Hendrickson) of archive.org/details/
The dance appears in Al Brundage's Little Black Book from the 1950's (without a progression). It also appears a few months later in the magazine “Sets in Order”, November 1952 page 8, again mentioning Asilomar — the Summer Institute at Asilomar was a regular event from 1957 to 1990. The only differences are that the roll away comes before the forward and back and after the left-hand turn partner you promenade that same partner — no progression. At the end it says:
Note: The whole call may be reversed with the men breaking to form the line and the ladies going through and around just one. Be sure, however, to lead to the right of the ring in order to bring everyone home in correct promenade order. Another variation is to have the gents star around to their corners for an allemande left.
The easy way to reverse roles is for the sides to do the roll away as the heads go forward and back. The left-hand turn in A4 won't be as far, but again it's “turn till you see your corner”. And naturally the promenade is to the lady's place!
| A1: | Heads forward and back; sides roll away. Heads lead out to the couple on your right, circle left half-way and men break to side lines of four. |
| A2: | Lines forward and back. Right-hand lady arch and ladies send the men across to finish in head place. |
| B1: | Ladies forward and back. Pass through, separate, walk around one man and stand between those men in a line of four. |
| B2: | Lines forward and back. Right-hand lady arch and ladies send the men across to finish in side place. |
| A3: | Ladies forward and back. Pass through, separate, walk around one man and in to the middle. |
| A4: | Ladies right-hand star. Meet partner to start a do-paso: left-hand turn partner enough to face corner… |
| B3: | Corner right-hand turn. Partner left-hand turn. Promenade corner to lady's place (half-way). Men have moved right. |
| B4: | All four men left hands in: chain over and back. |
Southern Quadrille
From Northern Junket Vol.11, No. 2, October 1972. Original wording on page 24 Internet ArchiveNote to callers: The calls for this prompted quadrille occur during the last 4 counts of each 8-count phrase, and prompt the dance action for the following 8-counts of music. The 4-straight lines preceding each command below represent 4-counts of music at the start of each 8-count phrase of music.
Music: “Farmers Jamboree” Windsor 7l62. Don Armstrong.
Intro:
- - - - All join hands and circle half
- - - - All four ladies chain across
- - - - Turn and chain them back again
- - - - Promenade around back home
- - - - Allemande left your comers
- - - - Grand right and left, full around
- - - - Pass your own, go full around
- - - - Do si do your partners all
Fig. 1
- - - - Heads go right, right and left thru
- - - - Face those two and do si do
- - - - Same two ladies chain (don't return)
- - - - Right and left thru home again
Repeat with Heads leading to left. Repeat with Sides leading to the LEFT, repeat with Sides leading to the RIGHT - Now repeat Intro. for middle break
Fig. 2
- - - - Head ladies right with a ladies chain
- - - - Face those two and do si do
- - - - Same four right and left thru
- - - - Same ladies chain back home
Repeat with Head ladies chaining to the LEFT, repeat with Side ladies chaining to the LEFT, repeat with Side ladies chaining to the RIGHT.
Repeat Intro. for closer.
This is what I've been asking for — showing how the figure fits the music rather than all the extraneous patter — but it was obviously sufficiently uncommon then that Ralph had to explain how to understand it! It's also unusual in that “quadrille” is very much a Northern term meaning a square phrased to the music whereas this is called “Southern Quadrille” and Southern squares are generally unphrased. I assume that the dance is by Don Armstrong whose name appears after the record identifier.
Solomon Levi (2)
From Northern Junket Vol.11, No. 2, October 1972. Original wording on page 28 Internet ArchiveThe first couple separate, go round the outside track (No. 1 gent goes to his left around the outside of the ser, No. 1 lady goes to her right around the outside)
Keep on going around the set and pass a-comin' back (No. 1 couple continue around set to home position)
Pass right by your partner, salute your corners all (No, 1 couple pass each at home, then all the gents turn and bow to their corner ladies)
Turn around and swing your own, and promenade the ring (The dancers sing the chorus while promenading)
No. 2, No. 3 and No. 4 couples take their turn leading the figure.
Head two couples then execute the figure together, followed by the side two couples leading the figure
The dance is ended by all four couples executing the figure at the same time. The ladies going to the right around the set and the gents to the left.
This is a real old-timer and you might like to try it with your group occasionally. All square dancers like to sing the chorus figure on these easy old-timers and you should encourage it. We do not know who first originated Solomon Levi, nor are we particular interested. It has been around for 40-50 years, and that is long enough for me to accept it as a traditional dance.
This is quite different from the version in Vol. 2, No.6 — they are just two dances that happen to use the same tune. The version we know in England — very popular with children — is to a different tune: I want to be near you.
Chain the Ladies Thru the Sides
From Northern Junket Vol.11, No. 3, January 1973. Original wording on page 26 Internet ArchiveAs called by Dick Best
Suggested music: “Reel Salle St. Andre” MH 1510
Any intro: break, ending that you prefer.
Head two ladies chain to the center
Turn 3/4 and chain through the sides (Their partners have moved to the left behind the side couples to receive the opposite lady as she comes through that side couple)
Ladies chain through the sides
Turn 3/4 and chain to the head (men again move to their left one place)
Head two ladies chain to the center
Turn 3/4 and chain through the sides
Same two ladies chain to the center
Turn 3/4 and chain back home (All are now in original position).
Break - then side two ladies do the figure
This is how I understand the dance:
| A1: | Head ladies chain ¾ so that they are heading for their corner, but instead they go through this couple and are chained out by their opposite man who has moved to his left to stand behind that side couple. |
| A2: | A similar move, finishing with the head couples in opposite place. |
| B1+2: | All that again, finishing home. |
Rockingham Star
From Northern Junket Vol.11, No. 4, March 1973. Original wording on page 26 Internet ArchiveAs called by Rod Linnell at Nova Scotia Folk Dance Camp Kedgemekoogie, 1961.
Use any moderate-speed tune you like.
Ad lib opening, breaks and closing.
Head two couples go forward and back
Forward again and pass right through
Keep on going and pass by two
And form a line that's what you do
Forward eight and back to the bar
Ends turn in for a left-hand star (once around)
Heads to the center with a right-hand star
Turn it once around the hall
Allemande your corners all
Right hand round your partners all
Now take your pretty little corner
Promenade - and don't step on her.
Break. Then again for the heads; break, repeat for the side couples, break, repeat once more for sides. Ending.
I don't think I would have got this on the call — when he'd said “keep on going and pass by two” there would have been widespread confusion. I think he means:
| A1: | Heads forward and back. Forward again and pass through. |
| A2: | Separate, go around one person, pass your opposite coming towards you, and fall into the middle of side lines. |
| B1: | Lines forward and back. At each end, left-hand star. |
| B2: | Heads in the middle, right-hand star. Allemande left corner, allemande right partner. |
| B3: | Promenade corner to the man's place. |
As you can see, I make it 40 bars, but maybe that doesn't matter. I can also see a potential problem: the heads are in the middle with their corners outside them so on “allemande left your corner” the head ladies need only turn a quarter and then not find their partner who has to turn three-quarters. But I haven't yet called it.
Stepney Chain
From Northern Junket Vol.11, No. 5, May 1973. Original wording on page 28 Internet ArchiveAs called by Al Brundage
Any intro. Breaks & Ending you wish.
Suggested music: Your favorite hoedown.
Head two couples go forward and back
Forward again and right and left through
And chain those ladies back, you do (don't chain back)
Now turn and chain with couple on your right (don't retn)
Side two couples go forward and back
Forward again and right and left through
And chain those ladies back, you do (don't return)
Now turn and chain with the couple on your right (as above)
All join hands and circle eight
Spread out wide and don't be late
Allemande left and look out Joe
With your partner do si do.
Now pass her by, go on to the right
Turn right hand lady by the right hand round
Back to your partner with the left hand round
Go all the way round
To your corner lady with the right hand round
Then promenade that corner round.
Repeat three more times until all have original partners
Again it's interesting that callers have to spell out the fact that the ladies chain is one way only, even when they end up with the odd phraseology of And chain those ladies back, you do (don't chain back)
— I had assumed that by 1973 callers and dancers would have adjusted to the fact that a ladies chain was one way only, but looking through these dances I see that for the most part a right and left through was also assumed to be over and back. (And both of these are still true in Scottish.)
The timing from the allemande left just flows from one move to the next, so forget the phrasing and just call to the dancers. I've found when I called it that there's definitely time for a swing at the end.
| A1: | Heads forward and back. Right and left through. |
| A2: | Head ladies chain across. Heads to the right: ladies chain. |
| B1/2: | Sides the same. [All now with partner on opposite side of the set.] |
| A3: | All circle left half-way [Home]. Allemande left corner. |
| A4: | Do-si-do partner. Walk past your partner, right-hand turn the next, |
| B3: | Back to your partner, left-hand turn 1½, right-hand turn corner (till the men are on the inside). |
| B4: | Promenade this new partner to the man's place. [Swing.] |
Farmer's Quadrille
From Northern Junket Vol.11, No. 6, July 1973. Original wording on page 24 Internet ArchiveAs called by Don Armstrong on Windsor #7153
Intro: Sides face, grand square
First couple promenade, go all the way around
They do si do the couple on the right
Then right and left through across the set
Then do si do the couple on the right
Right and left through, go back home
All four ladies grand chain (over and back)
Second couple repeats the figure
Middle break:
Allemande left your comers
Grand right and left
Do si do your partner and
Promenade her home
Third and fourth couples do the figure
Ending: Sides face, grand square.
I was confused by the fact that it's a 32-bar figure and yet the break are only 16 bars. But Don's recording at youtube.
Four in Line You Travel
From Northern Junket Vol.11, No. 7, October 1973. Original wording on page 24 Internet ArchiveSuggested music: Any breakdown you like
Any intro. breaks and ending you like
First couple balance and then you swing
Then lead right out to the right of the ring
Where the two girls make an elbow hook
And four in line you travel.
The men drop off, and the ladies whirl (elbow reel)
And the men will swing the other man's girl.
I'll swing yours and you swing mine
You swing mine while I 'm gone
I'll take yours and travel on - to the next.
The ladies make an elbow hook
And four in line you travel.
The men drop off and the ladies whirl
And the two men swing the other man's girl.
I'll swing yours and you swing mine
You swing mine while I'm gone.
I'll take yours and travel on - to the next.
The ladies make an elbow hook
And four in line you travel.
The men drop off, and the ladies whirl
The two men swing the other man's girl.
I'll swing yours and you swing mine
Now you swing mine while I'm gone.
I'll take yours and travel home
And everybody swing your own new girl.
Repeat entire dance for other three couples.
This one is uncredited, so I thought it might be by Ralph Page, but Square Dance History Project shows that it was recorded by Lee Bedford, Jr. so maybe he created the dance. There's a link to a one minute clip of the recording, and the whole thing goes much faster than I expected. Only 8 beats for the balance and swing — contra dancers would be horrified. He leaves out the ladies' elbow turn. The swings are obviously walked, just once around, and I hope the record listed the instructions — I certainly couldn't dance it if you'd just put the record on. He gets through the entire figure in about 32 bars, and I'm wondering whether he had any dancers in the recording studio — quite possibly not.
| First couple balance and swing. Lead to the right and the ladies hook right elbows to make a two-faced line which turns (I assume) half-way round. The ladies elbow turn half-way to swing the opposite man. Then swing partner. Then swing opposite and the first man takes this lady on to the next couple. Repeat the process with them, and with the last couple, so that at the end the first man goes home with the fourth lady — all the ladies have moved one place to their right. This means that when the second man leads the figure he's actually doing so with the first lady so she starts every time, but I don't suppose that matters! |
Figure Eight Around Sides
From Northern Junket Vol.11, No. 8, January 1974. Original wording on page 25 Internet ArchiveSuggested music: Your favorite breakdown
Intro: breaks & ending, your choice.
First couple promenade half way round the outside ring
With number three come up the center four in line
Come all the way up to the head
With a lady in the lead (#3) dance a figure eight around both side couples (single file behind #4 couple; up the center and around couple #2 to line up four in line at #3 position).
Same four forward four in line again
Clear up to the head
With a gent in the lead (#1) dance a figure eight around the two side couples (single file around #2 couple; up the center and around couple #4 to line up four in line across #3 position).
Home you go and everybody swing partners
All promenade once round the ring.
Repeat same figure for other couples in turn.
I understand the figure — you just have to realise that after their half promenade the ones stand between the threes to make the line of four — but I've no idea how it fits to the music, and as usual it probably doesn't matter anyway!
Johnny Oh Polka Square
From Northern Junket Vol.11, No. 9, April 1974. Original wording on page 35 Internet ArchiveFrom Dick Leger - Top #25214
Note: from head position, couples do two polka steps forward to center of square, From side position couples always go directly to their right; couples remain together through entire sequence. All couples move simultaneously from every position.
Figure (heads forward, sides to the right)
Polka, polka, walk 2,3,4 (new hds forward)
Polka, polka, walk, 2,3,4 (New hds forward)
Polka, polka, walk, 2,3,4 (New hds forward)
Polka, polka, walk, 2,3,4 (Four ladies chain)
Oh, Johnny, Oh, Johnny, you turn and chain them home
Oh, Johnny, Oh, Johnny, your corner promenade
You're not handsome, it's true, but when I look at you
I just Oh, Johnny, Oh, Johnny, Oh! (hds forward, sides to the right).
Middle break:
(Sides face, grand square)
Oh, Johnny, Oh, Johnny, how you can love
Oh, Johnny, Oh, Johnny, heavens above (reverse)
You make my sad heart jump with joy
And when you're near the ladies have to chain across the ring
Oh, Johnny, Oh, Johnny, please chain them back
What makes me love you so? (Promenade)
You're not handsome, it's true, but when I look at you
I just, Oh, Johnny, Oh, Johnny, Oh! (heads forward sides to the right)
Sequence
Fig. Fig. Middle break, Fig. Fig.
Note: In middle break, the same footwork is used.
Polka, polka, walk, 2,3,4, etc.
For teaching figure
From head positions couples do two polka steps forward to center of square. In four walking steps they will turn and back out to the side position on right. From side position, couples do two polka steps directly to their right. In four walking steps they will walk to nearest head position to face center.
You can hear the Andrews Sisters singing the song at youtube.
Gonna Have A Ball
From Northern Junket Vol.11, No. 9, April 1974. Original wording on page 39 Internet ArchiveIntro. Middle Break, & Closer
Allemande left with the corner. Go right - and left -
- Turn back three people - you count to three you bet
(go) One, two, three, turn back one to an allemande thar
Hang on tight, the men back up
You've got a back up star
Shoot that star, a grand ol' right and left you go
- Hey, when ya meet that lady, promenade back home
Ya know, if you'll do the dancin' I'll do the call
We're gonna have a ball.
Figure
One & three (2 & 4) promenade, halfway round I say
Same two go forward up, cone back to place & whirlaway
Pass thru, separate, go 'round just one and then
- Make a right hand star & turn it - one time my friend
Allemande left your corner, do-sa-do your own
Swing the corner lady then (you) promenade home
This gal's the happiest one in the hall
(the skinniest one of 'em all)
(has something that makes the boys call)
(I like to dance with this gal most of all)
We 're gonna have a ball.
Standard sequence: Intro, Fig. twice (heads) break, Fig. twice (sides), closer.
Choreography & called version by: Bruce Johnson, Santa Barbara, Calif.
I haven't found the tune anywhere, so you're on your own for that!
East Hill Breakdown
From Northern Junket Vol.11, No. 11, September 1974. Original wording on page 44 Internet Archiveas called by Rod Linnell
Music: the same, Apex AL I623
Any intro, break, and ending you wish
The two head couples right and left through
Turn around and face to the right;
Half right and left that couple on the right,
All four ladies half grand chain,
The ladies star back and swing your own.
Allemande left your corner and pass your partner by
To the right hand lady with the right hand around
And promenade your partner once around.
Repeat entire dance once more for head couples, then twice for the sides.
Note that the promenade is once completely around from where you start. There is no change of partners in the dance but there is a change of home positions as dance continues.
No difficulties of interpretation, though you may need to stress that the ladies star back — it's not a ladies chain back: it goes straight into a swing.
The tune appears in the “Ralph Page Book of Contras” which you can borrow from archive.org/details/
Rod's Right And Left
From Northern Junket Vol.11, No. 12, December 1974. Original wording on page 25 Internet ArchiveMusic: Silver Lake Breakdown or other 32 measure tune
Opening: 32 measures ad lib
MeasuresRepeat figure for head couples, then chorus as above, but this time keep silent for whole 8 measures of the promenade. Ad lib 32 measures for a middle break. Then repeat figure twice for the sides. Ad lib 32 measures for an ending.
4 A Two head ladies chain to the right Now take that lady and turn to the left 4 B Half right and left with the couple on the left Now turn around and stand in place 4 C The new head ladies chain to the right Take that lady and turn to the left 4 D Half right and left the couple on the left Now turn around and you stand in place Chorus: 8 You allemande left on the corners all And do si do with your partners all Back and take that corner girl And promenade, go around the world. 8 (7 measures silent. On eighth count say “and now on the heads”)
This dance is from SQUARE DANCES FROM A YANKEE CALLERS CLIPBOARD, by Rod Linnell & Louise Winston. It was one of Rod's favorites. Composed merely of ladies chain & right and left through it reads deceptively easy but do not be fooled - it can throw veteran dancers if it is done without a walk-through . It gives over-confident modern square dancers a new respect for New England style dancing.
I would actually put in a swing with corner before the promenade. The layout is quite different from Ralph's usual — it's copied straight from the book. You can hear George Hodgson walking the dance through and calling it at the Ralph Page Dance Legacy Weekend in 1989: archive.org/details/
Interestingly Ralph has adapted the wording from the book to put in a dig at modern (Western) square dancers. What Louise says in the book is:
This next dance, composed simply of ladies chain and right and left through, sounds deceptively easy but can throw seasoned dancers the first time they try it, especially if it is done without a walk-through. It can bring over-confident dancers down a peg and fill them with respect for the possibilities inherent in New England dancing.
I've found four tunes called “Silver Lake” but none called “Silver Lake Breakdown” so I'm not giving a music link. The tune is also specified in the book. I think the instructions above are confusing because they mention “Chorus” for what is actually the progressive part of the figure, so here's how I would lay it out:
| A1: | Heads face right: ladies chain. Heads face left: right and left through. |
| A2: | New heads face right: ladies chain. Heads face left: right and left through. [Home] |
| B1: | Allemande left corner, do-si-do partner, swing corner. |
| B2: | Promenade to the man's place. Ladies have moved right. |
In A1/2 ladies go all the way round, men go one place and back.
East Hill Reel
From Northern Junket Vol.12, No. 1, February 1975. Original wording on page 24 Internet ArchiveA Rod Linnell original
From “Square Dances From a Yankee Caller's Clipboard”.
Music: Back to Donegal. A singing call.
Opening and ending ad lib
A. The two head ladies chain to the right
And keep that lady there
B. The new head ladies chain across
Go straight across the square.
C. Allemande left your corners all
Grand right and left you roam
D. Grand right and left and when you meet
Heads right and left back home
E. The side two couples promenade
Half round the outside ring
F. Then promenade your comers all
You promenade the ring
G. Promenade those ladies, you promenade them all
Then bow to the lady that you found in
Dear old Donegal.
Repeat for head couples, thon twice for sides. Then the side ladies chain to the right in A, it is the new side ladies who chain across in B, the sides who right and left home in D, and the head couples who promenade in E. The ladies chains and right and lefts in this dance are all half figures.
You don't need me to interpret these instructions.
Ladies Round One
From Northern Junket Vol.12, No. 2, May 1975. Original wording on page 25 Internet ArchiveRoger Whynot
(Hds, Sides, Hds, Sides)
All circle left, half way
Head ladies chain 3/4
Side men turn them, whirlaway, half sashay
Forward 6 and back
6 Pass thru, gents turn back, ladies round 1
Forward 6 and back
6 pass thru, gents turn back, ladies around 1
Forward 6 and back
Right hand high, left hand low
Swing new partner
Promenade.
This is what I think he means:
| A1: | All circle left half-way. Head ladies chain ¾ to your corner who chains you out and then rolls you away to finish in side lines of three with the man in the middle. |
| A2: | Forward six and back. Pass through, men turn back to face in, ladies separate and go round one head man (passing another lady going in the other direction) to head lines of three. |
| B1: | Forward six and back. Pass through, men turn back, ladies separate and go round one side man to side lines of three. |
| B2: | Forward six and back. Right hand high, left hand low so the men swap the ladies over, the left-hand lady going under an arch made by the right-hand lady. |
| C1: | Swing new partner. |
| C2: | Promenade to the man's place: all the way around. |
Does he really mean an 8-bar swing? Head ladies have moved left, side ladies have moved right, so if the heads led the figure the second time all the ladies would be home, which is why he specifies Heads, Sides, Heads, Sides. But that means the same ladies do the chain every time. I would have written it differently: leave our the “right hand high, left hand low”, swing new corner rather than partner, and fit it into 32 bars with all the ladies moving one place left each time. But that's me, not Roger Whynot!
Swing on the Outside Updated 8-Sep-23
From Northern Junket Vol.12, No. 2, May 1975. Original wording on page 25 Internet ArchiveRoger Whynot
(I use Red River Valley)
Head ladies chain, don't return
Head couples right and circle half
Pass thru, do sa do in the valley
Then, step by, swing the outside pair
Allemande left your corner
Grand right and left, go halfway round
And when you meet, promenade her
Promenade your new Red River girl.
Here are two interesting squares as called and put together by Roger Whynot, one of the best of New England style callers. They are fun to dance and quite typical of what we mean by traditional-style New England square dances.
Counting out the steps I thought the swing would be at the start of B1, but now I've called it I realise it's at the end of A2, so if you picked up my previous version please amend it. It means there's a bit of slack at the end of the figure, but that's much better than having to slow down each pass through to 4 steps — the whole thing needs to flow, not be stop-start. You could always add a quick swing at the end of the figure if necessary.
| A1: | Head ladies chain across. Heads lead to the right and circle half-way with this side couple to finish facing across the hall towards them. |
| A2: | Pass through, centres (heads) do-si-do opposite while outsides California twirl to face back into the set, centres pass through to meet the other side couple and swing the one you meet (corner — new partner). |
| B1: | Allemande left new corner. Grand chain half-way. |
| B2: | Promenade to man's place — a bit more than half-way — and there's a little slack in the timing here. [Ladies have moved Right]. |
| He doesn't mention the California twirl but it's obviously needed. These days callers would tend to use “dive through” (which includes an automatic California twirl) rather than “pass through”. But in fact there is a MWSD move “Pass To The Center” which is a “pass through” and then the outsides “partner trade” (a “California twirl” without hands). | |
| Click to use his suggsted tune, “Red River Valley” but it's only a 16-bar tune so I'd get the band to choose something else! | |
Rod's Donegal
From Northern Junket Vol.12, No. 3, August 1975. Original wording on page 26 Internet ArchiveMusic: Back to Donegal
Opening, breaks, ending, ad lib but ending with promenade
The head two couples lead to the right
And circle to a line;
The head two ladies chain across,
The sides go any old time.
The head two ladies chain on back,
The sides go home in time;
Then down the line you turn and chain your ladies
one more time.
Straight across go right and left through,
turn as you always do,
Down the line you pass through, swing that right hand
girl.
Promenade this lady, promenade them all,
Take this lovely lady home to dear old Donegal.
Repeat the figure for the side couples, then for heads and sides again.
Head ladies chain diagonally across the set; side ladies from the ends of the two lines do the same
The two couples in each line face each other and the 2 ladies do a half chain; each man turning the lady he receives far enough to reform the original lines of four.
The couples do a right and left through straight across the set.
The two couples in line again face each other. They pass through, then each gent swings the lady beside him who is his new partner.
You will find this dance in Louise Winston's “Square Dances From a Yankee Caller's Clipboard.”
This is the third dance to use the tune “Back to Donegal” so it must have been popular with callers and dancers. It's interesting that this time Ralph feels obliged to explain the call — and indeed “the sides go any old time” would probably bring the floor to a standstill!
Lady Be Good To Me
From Northern Junket Vol.12, No. 4, December 1975. Original wording on page 25 Internet ArchiveAs called by the late Ed GilmoreThere are two good recordings; Balance #203, Grenn #12043
Intro. Break & Ending
Allemande left the comer, weave the ring around
Oh Lady, be good to me.
Meet your partner, turn back, weave the wrong way round
Oh Lady, come swing with me.
Swing your partner round and round,
Allemande left your comers all
Come on back, promenade round that big old hall
Prom - en - ade home, and swing with your gal
Oh Lady, be good to me.
The Dance:
Head couples star by the right, go once around the ring
Allemande left your corner, just the HEAD two couples swing
Side couples right hand star, go once around that ring
Allemande left your corner, then do si do your own
Back to the corner, swing her round and round
Allemande left new corner, go back and promenade
Prom - en - ade home, you've got a new gal
Oh Lady, be good to me.
Sequence: Intro. Figure twice for heads, break, figure twice for sides, ending.
This is a traditional-style singing call. The best callers encourage singing on the “Lady be good to me” bit.
The tune is by George Gershwin. UK law says that the song is still in copyright because the words were by Ira Gershwin who lived a lot longer than his brother, so I'm not giving it here.
McQuillen's Breakdown
From Northern Junket Vol.12, No. 5, March 1976. Original wording on page 29 Internet Archive(Ralph Page)
Suggested music: “McQuillen's Squeezebox” on “Southerners Plus Two Play Ralph Page”. LP
Any intro, break and ending you wish
All promenade partner once around
Heads turn back
Right and left thru that couple you find
Same two ladies half chain (don't return)
Same two couples pass thru
On to the next and circle four hands once around
Swing your left hand lady
Allemande left, promenade the one you swung
Promenade that lady once around etc.
Repeat dance for heads. Then twice for sides.
Again the tune is still in copyright.
Ladies Chain Down the Center and Through the Sides
From Northern Junket Vol.12, No. 6, 1975. Original wording on page 30 Internet ArchiveAn original square called by Dick Best in Boston many years ago. Use any breakdown tune you like.
Head two ladies chain in the center
Turn three-quarters and chain through the sides
(At same time their partners move to the left behind the side couples to receive opposite lady as she comes through that side couple).
Ladies chain through the sides
Turn three-quarters and chain to the head position.
(men again moves to the left to head positions to receive the lady).
Repeat action twice more and all will be home.
Then a chorus break
Repeat the entire figure for the side two couples.
This dance has already appeared as “Chain the Ladies Thru the Sides” in Volume 11 No. 3.
Long Pond Chain
From Northern Junket Vol.12, No. 7, August 1976. Original wording on page 26 Internet ArchiveA traditional-style New England square created in l96l, by the great Rod Linnell. It is one of the dances in “Square Dances from a Yankee Caller's Clipboard”, a collection of Rod's dances gathered together and published by Louise Winston.
Music: “Snowflake Breakdown” played by The Fireside String Band, on F & W Records.The Dance
Couples one, two and three circle six hands round
Same three ladies triple grand chain while the Odd couple promenade
Four ladies grand chain
All swing partners (optional and not a long swing)
With no chorus break, repeat the figure immediately for couples two, three, and four; three, four, and one; four, one, and two.Explanation
Couples one, two and three circle six hands around being sure to end the circle when couple one is on home position.
The same three ladies star right, passing partner and the next man and each going to the man who was her corner in the three-couple circle. He turns her as in ladies chain and sends her back into the star. Each lady then stars to the other man who is not her partner. He turns her as in ladies chain and sends her back into the star, which now turns until the ladies are back to their original partners who turn them home.
Meanwhile, as the other three couples are doing the triple grand chain, the extra couple promenades counter-clockwise completely around them. This call should be given after the others start chaining, so that the odd couple will have just time enough to complete their promenade when the others complete their chaining, thus moving all four ladies into the next figure without pause.
When the four ladies grand chain over and back, instead of the usual turn at the end of the grand chain, the ladies walk right into a swing with their partners.
At the end of the explanation, Louise adds: “This dance times so smoothly that dancers, having learned it, enjoy dancing it without calls. The odd couple can then time their promenade to end at exactly the right moment to send the lady into the four ladies grand chain without a pause. This timing challenge to the odd couple is part of the fun of the dance, and it encourages dancers to pay attention to the music. Thus, although the figure is not difficult, it is a favorite with expert dancers because of its challenge to their ability to phrase their dancing so that the ladies move continuously - in a flowing, unhurried pattern.”
It was danced first at the Country Dance Society's weekend at Long Pond, Massachusetts, in 1961.
Long Pond is better known as Pinewoods Camp.
The dance appears in the syllabus of the Ralph Page Legacy Dance Weekend, 1999 at library.unh.edu/special/
| A1: | Couples one, two and three circle left. |
| A2: | Those three ladies chain (pass one, miss one, grab one) to their “corner” in the circle while the fourth couple start to promenade completely around them. Chain again. |
| B1: | Chan a third time, to partners, as the fourth couple promenade home. All four ladies chain across. |
| B2: | Ladies right-hand star back to partner, but instead of a courtesy turn step right into a partner swing. |
Put Your Arms Around Me, Honey
From Northern Junket Vol.12, No. 8, 1975. Original wording on page 30 Internet ArchiveThis dance has already appeared in Vol.10, No. 5.
Dayton Square
From Northern Junket Vol.12, No. 9, January 1977. Original wording on page 26 Internet ArchiveMusic: Your favorite breakdown
Use any intro: break, and ending you wish
All promenade partner once around
Heads turn back and
Right and left thru with the couple you find (1 - 4 3 - 2)
Same ladies chain (don't return)
Same two couples pass thru
On to the next and circle four once around
Gents swing their left hand lady
Allemande left and
Promenade the one you swung
Repeat once more for the heads. Then twice for sides.
I call this the Dayton Square because I first called it in Dayton, Ohio, 1964.
I think I've worked this one out. The right and left through must be half-way, otherwise the pass through puts the gents out of sequence. But the ladies chain (which is definitely half-way) puts the ladies out of sequence. Gents swing their left hand lady
must mean that he draws her into his current partner's place, otherwise you'd end with couples on the outside facing in and couples on the inside facing out, which is no place to be for an allemande left and promenade. That puts the ladies back in sequence, but you're all now with your opposite, with the men close to home position. So twice through with the heads leading it gets the ladies home. And (as often seems to happen) I don't know how it fits to the music, but here's my guess as a 40-bar figure.
| A1: | All promenade — as you approach home place, heads wheel around to face the side couple following them. |
| A2: | Right and left through. Same ladies chain. |
| B1: | Pass through; meet the next couple. Circle left once around. |
| B2: | Men draw your opposite to you and swing her, then square the set. Allemande left new corner. |
| B3: | Promenade the one you swung (original opposite) all the way to the man's place. |
Send me the Pillow
From Northern Junket Vol.12, No. 10, March 1977. Original wording on page 27 Internet Archive(Ralph Page)
Music: “Send Me The Pillow” Grenn FTC 32016 A
Intro, Break, Ending
All join hands, circle eight, circle eight hands round
When you're home, wheel around and promenade the town
Left allemande you corner and you weave the ring around
Go in and out, and out and in
Til you're all home again.
You keep on weaving round the ring
Until you all get home
Then the head two couples you get ready to danceFigure
The two head couples separate go half way round the ring
While the side two couples right and left right thru
Left allemande where ere you are
Go back and do si do
Then all four men go cross the ring and swing
You swing the girl who's waiting for you 'cross the square
Then take your corner lady and you promenade with her
You've got a new girl, take her home because she is your own
The head two couples dance it one more time.
Sequence: Intro, Heads twice, Break, Sides twice, End.
This is a shortened version of a dance I used to call “Half Way Round”. The tune here is a modern country western, and so what? I'm a traditionalist - up to a certain point!
You can read the instructions for “Half way Round” at library.unh.edu/special/
| Break: | |
| A1: | All circle left once around. |
| A2: | Promenade once around. |
| B1/2: | Allemande left corner, weave the ring all the way round. |
| Figure: | |
| A1: | Heads separate from partner and go single file round the outside. Heads swing in opposite's place as the Sides right and left through. |
| A2: | Allemande left your corner (“wherever you are”) and do-si-do partner. |
| B1: | Four gents simultaneously cross the set (walk boldly across allowing the gent on your left to go just ahead of you) and swing the opposite. |
| B2: | Take your corner and promenade to the gent's home. |
Sides Star
From Northern Junket Vol.12, No. 11, June 1977. Original wording on page 27 Internet Archive(Ralph Page)
Suggested music: “Maple Sugar” or similar Canadian tune
Intro; Break; Ending - your choice
Head two couples forward and back
Forward again and right and left thru
Separate, lady goes right, man goes left
By your original corner stand
Lines of four go forward and back
Side couples right hand star in center of the set to
Turn corners by the left hand around - then
Head couples right hand star in the center of the set
Allemande left your corners
Grand right and left. Promenade your partner home.
Break: Then repeat dance with side couples starting.
| A1: | Heads forward and back. Right and left through. |
| A2: | Separate, go round the outside till nearly home, presumably pass your partner by and join on the end of side lines next to your corner. Lines forward and back. |
| B1: | Middles (sides) right-hand star. Allemande left corner presumably 1½. |
| B2: | Heads right-hand star. Allemande left corner to face partner. |
| C1: | Grand chain all the way. |
| C2: | Promenade partner all the way. |
Or maybe the grand chain and promenade are each only half-way, cutting it down to 40 bars, but I can't see how to cut it down to 32 bars!
I've transcribed “Maple Sugar” from Ward Allen's own recording at youtube.
Amazingly there's no square in Vol. 12 No. 12.
Cheat or Swing
From Northern Junket Vol.13, No. 1, February 1978. Original wording on page 33 Internet ArchiveA traditional square with descriptive calls
Suggested music: Any reel or breakdown you like
First gent bow to his sweet little thing
It's up to the lady to cheat or swing (1st gent bows to partner and then steps forward to swing her. She may either swing with him or cheat by turning away and twirling by herself).
After she chooses, the lady stops there
While the gent leads out to the right of the square
Join that couple in a three hand ring
It's up to the lady to cheat or swing
After she chooses the lady stops there
Two gents on around the square
Four hands circle round so neat
It's up to the lady to swing or cheat
After she chooses, the lady stays there
Three gents on around the square
Circle round in a five hand ring
It's up to the lady to cheat or swing
After she chooses, the lady stops there
Four gents on around the square (to lady 1)
Circle five, the lady's all alone
She won't cheat, she'll swing her own
Once around and they'll stay right there
Three gents on around the square (to lady 2)
Circle four the lady's all alone
She won't cheat, she'll swing her own
Once around and they'll stay there
Two gents on around the square
Circle three, the lady's all alone
She won't cheat, she'll swing her own
Once around and they'll stay there
Lone gent home to his lady fair.
Everyone swing around the square.
You can hear a clip of Sandy Bradley calling this at squaredancehistory.
Kansas Squares
From Northern Junket Vol.13, No. 2, May 1978. Original wording on page 7 Internet ArchiveThere's a long and interesting article by Bill Litchman (or to give his academic title, Dr. William H. Litchman) on the traditional western squares in eastern Kansas, with particular reference to caller and dancer Charles Chaney. These were almost all “visiting couple” squares, and he gives several examples.
1. Down the Center and Cast Off Two
A. First couple balance and swing
B. Down the center and cast off two
C. Back home and swing
D. Down the center and cast off four
E. Swing when you meet both head and feet
F. Down the center and cast off six
G. When you meet, end gates swing and side boards too…
repeat for second, third, and fourth couples.
Explanation:
B. First couple moves forward and separates to walk around the corner person and come back home
C. Couple one swing
D. First couple moves forward again and separates to walk around the nearest side couple and come back home.
E. Couples one and three swing
F. First couple move forward and split opposite couple, separate and return home around the outside.
G. All couples swing.2. Run Away With Your Corner Girl
A. First couple balance and swing
B. Down the center and split the ring
0. The lady right and the gent go wrong
D, Back home and everybody swing
E. All run away with the corner
F. Same old gent with a different girl
G. Down the center and split the world
H. … repeat C through G until all ladies are back home… repeat A through H for second, third, and fourth couples.
Explanation:
B. Same as 1 F above
D. The lady goes to the right, gent left, and return home around the outside
E. All promenade the corner girl; she becomes the new partner
F. First gent (with new partner) repeats the figure.3. Carry the Swing
A. First couple out to the couple on the right
B. Circle four in the middle of the floor
C. Break and swing your opposite partner
D. Take that girl and on to the left and carry the swing.
E. Circle four in the middle of the floor
F. Break and swing your opposite partner
G. Take that girl and on to the left and carry the swing… continue the figure until the first man is home again, (at this point, all girls will have moved to the right one place). All swing at home.
… repeat for second, third, and fourth couples (all girls should then be home).
H. All eight swing like swinging on a gate.
Explanation:
C. The swing should be with the other man's partner, both couples swing.
D. As you swing you move on to the next couple.4. Bird In the Cage
A. First couple out to the couple on the right
B. Three hands round and bird in the cage
C. Bird hop out, crow hop in
D. Circle three
E. Crow hop out and circle four in the middle of the floor
F. Docey doe
G. Go on to the next couple …
… repeat B-C, until first couple is back home with partner… repeat A-G for second, third, and fourth couples.
Explanation:
B. First lady steps to the center of a circle made by the other three
D. The first lady trades places with the first gent.
E. The first gent steps out to his usual place in the circle
F. For an explanation of the docey doe, see Shaw “Cowboy Dances” on pp. 161-45. Catch Em On the Fly
A. First couple balance and swing
B. Down the center and split the ring
C. Lady go right, gent go wrong
D. Catch 'em on the fly as you come by
E. Everybody swing
F. Promenade
G. Same old gent with a different girl
H. Down the center and split the world
…repeat C-H until the ladies are back home
…repeat A-H for second, third, and fourth couples
Explanation:
D. As the first couple passes behind the corners, the corner turns around and
E. All swing their corner
F. Promenade the corner (becomes new partner)
It seems odd that Ralph has to explain all these calls and yet doesn't explain many which baffle me, but presumably he know what his readers would find familiar and what would need to be explained in more detail.
You can watch Bill Litchman talking about Traditional Western Squares at youtube.
Runouttanames
From Northern Junket Vol.13, No. 2, May 1978. Original wording on page 26 Internet ArchiveAn original patter call by the late Ed Gilmore
Music: Any medium fast breakdown you like
One and three bow and swing
Promenade the outside ring
Go all the way around two by two
Two and four do a right and left thru
One and three go to the right
Circle four you're doing fine
Spread right out and form two lines
Forward eight and back with you
Forward again and pass right thru
Turn to the left, go single file
Make a wheel (left hand star) and turn it awhile
Gents reach back with your right hand
Now pull them thru to a right and left grand
Go right and left and don't be late
Meet your honey with a catch all eight
With the right hand halfway round
Back with the left all the way around
Promenade the corner when she comes down
The only term you might not know is “Catch All Eight” but he then describes it: Right-hand turn your partner half-way, then left-hand turn your partner all the way to face your corner. MWSD would use forearm turns, as they do for allemande left and other moves, but the traditional way for all these was with a hand turn. In fact if you get up to Challenge level in MWSD they don't bother to do an allemande left with their corner at all; they just nod to their corner and then face their partner, presumably thinking it's a waste of time to turn someone all the way round.
I've found this dance in a few other publications and they all say that the right and left through overlaps with the heads promenade. “Bow and swing” I believe means take inside hands, balance away and then swing, so only a 4-bar move. I'll also point out that the grand chain is the opposite direction from normal — you start and finish it with your original partner so the right-hand turn half-way puts you back on the normal side and then the left-hand turn all the way sends you to your corner — the man needs to move inside slightly and roll to his left to pick up his corner in promenade position. But I'm not going to try and write out the instructions with A's and B's. Ed Gilmore later adapted this to a singing call, “Home in Indiana”.
Round Just One
From Northern Junket Vol.13, No. 3, October 1978. Original wording on page 29 Internet Archiveas called by Don Armstrong, Year End Camp, 1975
Intro & Break:
All four ladies go forward and back
All four men make a right hand star
Back by the left but not too far
Take your partner, star promenade
Figure:
First and third, go forward and back
Forward again and pass thru
Separate, go round one
Into the center, pass thru
Split the outside, round just one
Come down the center and pass thru
Separate, go round one
Down the center pass thru
There's your corner, allemande left
Partner right and right and left grand
Meet you partner, do si do
Once around and swing, then promenade home.
Sequence:
Intro and then figure once for the heads and once for the sides; repeat intro. break, then repeat figure once more for the heads and once more for the sides. Use any suitable ending that you like.
The Intro & Break seem very short, but that's what it says! You won't have any trouble understanding the figure.
Phil Merrill has his own variation on this in the book “Legacy” published by CDSS.
Trailin' Star
From Northern Junket Vol.13, No. 4, February 1979. Original wording on page 26 Internet ArchiveAs called by the late Jim York, one of the all-time great western callers.
Suggested music: Any good western-style breakdown.
First and third bow and swing
Promenade the outside ring
Go all the way around just you two
Two and four do a right and left thru
One and three out to your right
Circle four you're doing fine
Spread right out and form two lines
Go forward and back and step it light
Then cross trail thru, gents star right
Gals promenade 'til you hear me sing
Reverse the star, reverse the ring
Pass her twice and don't be late
Gals step in behind your date
It's a left hand star and star all wight
A left hand star and don't you blunder
Gents reach back with the right hand under
Box the gnat to a right hand star
Walk along now but not too far
Gals reach back with the old left hand
Allemande left and a right and left grand.
Repeat entire dance three more times.
You can see the instructions, with some amplification, on page 55 of Sets in Order Yearbook No. One. But there's no explanation of “Spread right out and form two lines” so I assume this is the standard “head gents break and pull the circles out to lines” in which case after the cross trail through two of the gents are heading out of the set and I don't see how they can be expected to make a right-hand star with the other two.
Cape Breton Square
From Northern Junket Vol.13, No. 5, May 1979. Original wording on page 25 Internet ArchiveSuggested music: “The Rae Simmons Polka” Banff Records
RBS 1083
Head two ladies chain to the right
You turn the girls around
Same two ladies chain from there
Go straight across the square
It's a left hand round your corner
Go back and do si do
Then all four men go to the center and
Make a right hand star
Turn the star one time around
Swing the girl you find at home
Take her and promenade once around the square
This dance is based on one of Rod Linnell's squares - The Antigonish Problem. If you use this recording there is not enough music for any introduction; go right into the figure of the dance. There is enough music for a 16 measure ending - your choice.
I can't find the suggested music anywhere, but I understand the instructions!
| A1: | Heads to the right: ladies chain. Those same ladies (now in side place) chain straight across — this is your new partner. |
| A2: | Allemande left new corner (original partner), do-si-do partner, men start a left-hand star. |
| B1: | Men finish the left-hand star at home. Swing new partner. |
| B2: | Promenade all the way round. |
I would have used a left-hand star — the men's left shoulders are towards the centre after the do-si-do and I think it flows more naturally into a swing — but who am I to argue with Rod Linnell and Ralph Page? However, Hugh Stewart read this comment and pointed out that the dance is identical to “Antigonish Problem” in the book “Square Dances from a Yankee Caller's Clipboard” (which itself is identical to Antigonish Square earlier) except that Rod has a left-hand star three quarters to original partner whereas Ralph has a star all the way to a new partner, so I've now made it left in the above instructions.
Floor Walker
From Northern Junket Vol.13, No. 6, October 1979. Original wording on page 29 Internet ArchiveOne and three right and left thru
Turn those gals and chain 'em too
Same gals and corner man
Forward up and back to the land
Pass thru, separate, around just one
Into the middle a right hand star
Walk along but not too far
Back by the left and hear me sing
Original partner right hand swing
Roll promenade that pretty little thing
Promenade but don't slow down
Two and four wheel around
Right and left thru the
Couple you've found
Circle four the same old four
A full turn and a little bit more
Head gents break, make lines of four
Forward eight and back to the land
Cross trail thru, left allemande.
This is another of the late Jim York's great squares. It's not a real old-timer (whatever that is!) It's what I call a middle-aged old-timer!
| A1: | Heads right and left through. Same ladies chain back. |
| A2: | Same ladies lead your corner forward and back. Pass through, separate, go around one person. |
| B1: | Same four right-hand star all the way round. Left-hand star (not so far). |
| B2: | Original partner right-hand turn (once or a half) into promenade position. Promenade but don't slow down, about half-way (out of sequence) so the heads are just past their home place and the sides are just past opposite theirs, then sides wheel around to face the couple behind you. |
| A3: | Right and left through. Same four circle left all the way and a little bit more: head gents break to lines of four. |
| A4: | Lines forward and back. All cross trail through, left allemande corner. |
| Jim York just finishes here, but obviously there must be more, so I've added: | |
| B3: | Promenade partner home. |
| B4: | All join hands: in to the middle and back. Swing partner. |
It's a 64-bar figure, so I don't think it needs breaks — I'd just do the figure for Heads, Sides, Heads, Sides — it's non-progressive. I've learnt that you really must say “don't slow down”, otherwise some couples will stop when they reach their home place, and I think it's a good idea to specify in the walkthrough that the promenade is about half-way. As you can see I've added an extra 16 bars — there's no swing in the figure so a swing at the end is an excellent idea! If people aren't sure about “cross trail through”, explain that you pass opposite right shoulder and then partner left shoulder to face your corner.
I tried calling this positionally (without warning the dancers) and just said “Chain back” in A1 which worked fine, but when I started A2 with “Same two”, everybody led their corner forward and back — presumably since they'd all just been moving at the end of the chain. Next time I'll try “those who chained” and see if that works.
Nameityourself
From Northern Junket Vol.13, No. 7, February 1980. Original wording on page 23 Internet Archiveby Van Wanderwalker
This is an interesting old-timer. Use any breakdown you like. “Choctaw” on Top label is excellent.
First couple bow and swing
Go down the center and split the ring
Walk around just one and by the sides you stand
Cple #2 now has #1 lady standing three in line with them.
Cple #4 has #1 man three in line with them.
Go forward six and back you go
The right hand high and the left hand low
Spin them across and let them go
#2 lady and #4 man act as the pivot for the right hand high, left hand low.
This will bring #1 cple home and cple #3 will be in a line of four with #2 man and #4 lady.
# man and #2 lady will be in their home position alone
Go forward four and back you go
The right hand high and the left hand low
Spin them across and let 'em go
#3 lady will act as the right hand and #3 man as the left hand.
This will put #2 and #4 men together in #4 position and #2 and #4 ladies together in #2 position
Repeat the whole figure starting with 3rd cple
All will end up at home with their partners ready for an allemande left and any ending you choose to call.
The suggested tune is by Paul Gitlitz and is still in copyright. The instructions certainly work, though without the explanatory note it wouldn't be obvious that the spare couple (in this case the threes) catch the two people being spun across to make a line of four. Presumably after the third couple have led the figure you'd have a break and then the figure led by the twos and then the fours, followed by a final break.
Happy Sounds Quadrille
From Northern Junket Vol.13, No. 8, June 1980. Original wording on page 26 Internet ArchiveMusic: “Summer Sounds” MacGregor 5504
Sides face, grand square
Listen to the happy sounds we love to hear
Shuffling feet and laughter ringing loud and clear
Reverse
The fun and fellowship of dancing here with you
Are all it takes to make my dreams come true
All four men star by the right and then
Turn the corner by the left, keep her, promenade
Here come those Happy Sounds
I love to dance with you.
This is a nice easy square to delightful music. Repeat the figure three more times which gives the ladies an opportunity to do the 'grand square' from four different starting positions. They'll like it, and if the ladies like a dance you have something good going for you.
The song is by Robert Goulet and you can hear it at youtube.
According to American Square Dance magazine, November 1977 page 53, the dance is by Ken Kernen and staff members of “Square Dancing” magazine.
Jingle Bells (3)
From Northern Junket Vol.13, No. 9, December 1980. Original wording on page 26 Internet Archive(Ralph Page)
It's that time of year again and here's a nice easy version of an old favorite. If you must use records probably Blue Star 1637 is most suitable.
Opener, break & endings
Circle to the left in a one horse open sleigh
O'er the hills we go, laughing all the way
Allemande left your corner, then do si do your own
Men star by the left it's once around you go
Do si do your partners all then promenade and sing
Jingle Bells, Jingle Bells, jingle all the way
Oh what fun it is to ride in a one horse open sleigh
The Dance:
Four ladies promenade, once inside the ring
Get back home to swing your own, you swing him round and round
Left allemande your corner turn partner by the right
Four men star by the left it's once around tonight
Do si do your partner then with your partner swing
Swing your corner lady, keep her, promenade the ring (sing)
Jingle Bells, Jingle Bells, jingle all the way
Oh what fun it is to ride in a one horse open sleigh
Repeat dance three more times
The fourth dance to this tune! But surely there's a line missing in the break — it should have 8 lines. I'd be tempted to change it to:
Do si do your partners all. Give that girl a swing
Swing your partner round and round, then promenade and sing
I also think line 5 of the figure should be
Do si do your partner then with your corner swing
Levi Jackson Rag
From Northern Junket Vol.13, No. 10, March 1981. Original wording on page 26 Internet ArchiveA “square” dance for 5 couples. Couple one standing in customary #1 spot of a square; Two couples standing side by side in normal #2 position, facing another line of two couples standing in normal #4 position of square.
Part I
Side couples do a right and left thru. As they courtesy turn partners, couple one promenades down center of set 4 steps then stops. Side couples right and left thru to original places. As they courtesy turn partners, couple one again walks 4 steps down center to courtesy turn partner to face center of set.
Part II
Side two couples circle four hands once around on each side of set while couple one separates and returns to original place. Everybody do si do ptnr
Part III
All five ladies chain. This is a Right hand star to second man beyond her partner, who picks her from the star with Left hand, courtesy turns her and sends her back into the star. Again the 5 ladies chain to second man - one man short of her original partner, who courtesy turns her. This man is her NEW partner.
Part IV
Couples with new partner promenades 4 steps CCW to next spot in the set. All face partner and do a 4 step balance (step on R. foot, swing left across, step on L foot, swing right across)
Repeat entire dance four more times.
How could he publish this dance and not say it's by Pat Shaw?! And he doesn't give the tune either. The instructions are wrong in three places, so I suggest you look on patshaw.info/dances/#levi instead.
Grand Old Flag
From Northern Junket Vol.13, No. 11, June 1981. Original wording on page 28 Internet ArchiveMusic: “Grand Old Flag” Hi-Hat 458
Use any conventional intro. middle breaks & ending.
Figure:
Head two couples lead right and circle the floor
Head gents breaks make a line, lines of four
Go up and back, two ladies across the track
Turn 'em (a quarter more) and chain 'em down the line
Turn (a little bit more) chain straight across the floor
Turn again, face the line, the ladies chain
Turn, then take your corner, promenade
Keep your eye on that grand old flag.
From Bob Howell's “Easy Level Page” American Square Dance, February, 1977. Bob writes: “This one is borrowed from Stan Burdick's 'Easy Sing-Along Calls'. Stan Burdick is owner-publisher of American Square Dance.”
“two ladies across the track” should be “two ladies chain across the track”, and to face the couple in your own line it's a quarter more or a quarter less depending on where you are in the line. So the ladies chain across, up and down, across, up and down until they're back with their partners.
After a lot of searching I found American Square Dance Vol. 32 No. 2 page 49 which does indeed add the word “chain” but still thinks it's a quarter more for everybody.
On the Bias
From Northern Junket Vol.13, No. 12, September 1981. Original wording on page 27 Internet ArchiveAn original square by Roger Whynot
Any intro, break and ending you like
Head men and corner girl forward and back
Same four pass thru, turn alone
Others swing your corners
Swinging pairs face each other and
Right and left thru (half way)
All circle left half way around
All swing new partner and
Promenade her home
Repeat once more for heads; then twice for sides
This is another square from Roger's book “Why not dance with me?”.
Labor Day Quadrille
From Northern Junket Vol.13, No. 12, September 1981. Original wording on page 27 Internet ArchiveAn original square by Roger Whynot
Any intro, break and ending you like
All do si do partners
Then turn partner by right hand round
Gents star left while ladies walk single file to left
Gents go twice around then
Turn partner by the hand hand once around
All swing corners
Take her and promenade home
Repeat entire dance three more times
He means “right hand” rather than “hand hand”.
Tony's Star Breakdown
From Northern Junket Vol.13, No. 12, September 1981. Original wording on page 29 Internet ArchiveAn original square by Tony ParkesMusic: Any good breakdown you like
Any intro, break and ending
All four ladies right hand star
Allemande left with partner, go once and a half around
Four men right hand star
Allemande left with partner once and a half around
Men balance and swing the right hand lady (in her place)
Promenade her once around back to her original place
Repeat entire dance three more times
Pretty Baby Quadrille
From Northern Junket Vol.13, No. 12, September 1981. Original wording on page 29 Internet ArchiveAn original square by Jerry Helt
Any intro, break and ending you like
Music: “Pretty Baby” E-Z #725.
Heads forward up to the middle and come on back
Heads right and left thru
Sides forward up to the middle and come on back
Sides right and left thru
All join hands and circle left
Your corner swing
Take her and promenade all the way around (all sing)
Everybody loves a baby, that's why I'm so in love with you - Pretty baby of mine
Repeat entire dance three more times
Northern Quadrille
From Northern Junket Vol.14, No. 1, December 1981. Original wording on page 28 Internet ArchiveAn original square by Keith Hunt, Camillus, N.Y.
Suggested music: Any breakdown you like
Head two couples forward and back. Heads do si do your opposite (persons)
Swing the same opposite
Join the sides and circle left (with same opposite merely face nearest side couple)
Left hand star back
Swing the lady behind you (original corner)
Promenade her home.
Twice for heads and then twice for sides gets everyone back home. Use any intro and ending. I usually avoid a break figure because of possible confusion of “which partner” to end up with for the next repeat.
You can see my layout of this figure on my Session 8 page which is all about calling American Squares. I must add that the next article in Northern Junket is by Ralph Sweet entitled “Dancing in England” in which I get a mention — I was calling at the Beckenham Folk Dance Club in South London and that was part of Ralph's tour!
On The Bias
From Northern Junket Vol.14, No. 2, 1982. Original wording on page 27 Internet ArchiveThis is identical to the version in Vol.13, No. 12.
Do Si Do and Face the Sides
From Northern Junket Vol.14, No. 2, 1982. Original wording on page 27 Internet ArchiveThis is the same as in Vol. 6, No. 2 with slightly different wording.
Butterfly Promenade
From Northern Junket Vol.14, No. 2, March 1982. Original wording on page 28 Internet ArchiveAn original square by Ed Butenhof, Rochester N.Y. and on his “Traditional Treasury” page, “Square Dancing”, February, 1982. Ed writes about the dance: “Traditional dances are usually bits and pieces of other dances put together differently. If the dancers like a particular combination, it lives, if not, it dies. Every caller who uses traditional figures experiments with new combinations. I imagine it satisfies some creative urge within us to do so. The dancers benefit because they get variety without the necessity of memory work”.
Routine: Any opener, middle break and closer you like.
Music: Any brisk reel
Figure:
Heads promenade full around the outside
To the right promenade left shoulders (With right hand couple, promenade around each other, men shoulder to shoulder and back to place)
To the left promenade right shoulders (Similar with left hand couples with ladies shoulder to shoulder. The two movements together form a figure eight pattern)
To the right dip and dive around (Heads right and dive, sides face left and arch, dip and dive around the set to place)
All butterfly turn (Couples have nearest arm around partner's waist, men back up, ladies go forward and wheel around for 8 counts)
Everybody go forward and back
Repeat for sides. Then everything once more from the beginning.
This assumes a New England promenade, using what we in England would call a courtesy turn hold, rather than the cross-hand hold we normally use.
Hope Quadrille
From Northern Junket Vol.14, No. 2, March 1982. Original wording on page 29 Internet ArchiveFrom Bob Howell's “Easy Level” pages in American square-dance, January, 1982.Music: “Prisoner of Hope” Big Mac 035
Routine: Opener - Middle break - Closer
Sides face, grand square
All four ladies grand chain
Take partner - promenade home
Figure:
Head gents and corner to center and back
Same four right hand star
Pick up partner and star promenade halfway
Centers back out, outsides in, star promenade the other way back
Take partner home and swing
Do si do corners all
Keep her and promenade home
Repeat for head gents and new corner. Middle break.
Repeat twice for side gents and their new corner ladies.
Here's my view of the timing.
Break
| A1: | Sides face: Grand Square. |
| A2: | Reverse. |
| B1: | All four ladies chain over and back. |
| B2: | Promenade. |
Figure
| A1: | Head gents lead corners forward and back. Same four right-hand star. |
| A2: | Pick up partner: star promenade about 6 steps, then centres back out and outsides swing in to star promenade back again. |
| B1: | Swing partner. Do-si-do corner. |
| B2: | Promenade corner (new partner) to the gent's home place. |
Note: You'll have trouble with some men who are on the outside of the star promenade but insist on going backwards when changing to the left-hand star promenade because they've been taught for years that when you wheel around the man always goes backwards!
Newfoundland Lancers
From Northern Junket Vol.14, No. 3, June 1982. Original wording on page 17 Internet ArchiveFrom Roger Whynot, Prides Crossing, Mass. Roger says they were sent to him by a young lady from Newfoundland following one of the Nova Scotia dance camps. Commenting about the dances Roger writes: “One of the tough things to figure out is how much music to use, as with many dances like these, people seem to move on to the next movement when they feel like it.” No matter, Roger, they are interesting traditional figures from an interesting part of Canada. Recorded music from Newfoundland is difficult to obtain down here in the States so why not try some of the music from Gape Breton or Quebec?
Figure 1
Head couples forward and back
Heads exchange places, #1 arches, #3 ducks under
Two hand turn in opposite place
All swing corner lady
Heads repeat this, #3 arching, #1 ducking under
Swing corner lady
Repeat all for sides, #2 arching first
All promenade
Figure 2
Heads forward and back
Forward again, exchange partners (join two hands with her, gents back up into place, lady rolls across to his right side)
Heads now take corners to center, bringing them to a line of 4 at head position
Ends of the line fold in, circle 4 to left twice around
Circle to the right twice around
Break out to the lines at heads as before
All forward and back
All swing own partner to place
Promenade
Repeat - sides - heads - sides
Figure 3
First couple promenade inside, face out
Sides fall in, all face partners = back away
All forward and back
All swing partners, put them back in line
Foot lady moves up to top (on outside) other ladies move down one place
Repeat 3 more times to get partner back
(When swing partner for second time, swing out to square the set)
Repeat for each couple in turn
Figure 4
All forward and back
Ladies forward, join hands
Men forward, form a basket
Circle left and right
Men star right then
Star left, hold the star, pick up partner and
all star promenade
Drop ladies in place (gently) men continue to star left, then star right, pick up ladies and all star promenade
Ladies now do the stars and star promenades
All swing in place
All promenade
Figure 5
All circle left full around
Left hand to partner, pull her across in front of you, right hand to next (new partner)
Grand right and left full around
Swing her in her home position
All promenade to this new place
Repeat 3 more times
Figure 6 (“Spin the Needle”)
All circle left
SPIN THE NEEDLE - 1st man drops his left hand and leads the square under arch formed by 1st lady and 2nd man, then under arch formed by 2nd man and his partner, and so on until all are home -
(as you can imagine, this can be chaos! Hands need to be held lightly so that turns can be made without wrenching arms or shoulders or whatever)
When back home, all swing partner
Circle left, then 2nd man leads, etc.
Right and Left Eight
From Northern Junket Vol.14, No. 3, June 1982. Original wording on page 27 Internet ArchiveOne of my “Original Traditionals” (I think!)
Music: Any tune you like
Intro, Breaks and Ending - whatever you think fits
The two head couples lead to the right
Circle four, just halfway round
Same four right and left thru and right and left back
Then right and left eight across the floor (The four couples right and left the width of the set, courtesy turn on outside and continue this right and left until all are near home position when the caller will say something like this) -
All join hands and circle eight once around
Swing your partner when you get home
Allemande left and grand right and left half way round
Meet your partner with an elbow reel (once around by right elbow)
Then elbow swing the rest of the ring.
Break - then repeat with sides leading.
N.B. You might find the right and left eight figure a bit easier if you do not take hands.
The “right and left eight” is called “Eight Chain thru” in MWSD. But in this case the ending is a bit vague! In MWSD an Eight Chain thru finishes where you started (though you can also do Eight Chain 3, Eight Chain 4, etc.). But in this dance I'm not sure what Ralph means by until all are near home position
— the final move would normally be the sides pulling by left in the middle to face the head couple they started with. Maybe as they approach, the head men draw their partners back to original place and the sides move out to their original place and wheel around to join the circle eight. I would have written it differently, or at least explained it differently! I also don't see how the initial moves fit the music, since I would expect the right and left through to be in the same 8-bar phrase as the right and left back, and then the right and left eight to start on the next phrase.
Mixed Quadrille
From Northern Junket Vol.14, No. 3, June 1982. Original wording on page 27 Internet ArchiveI got the idea for this square from Nancy West, a teacher at Putney School, Putney, Vt. I taught squares and contras for her Putney School group for several years. Over the years it has been handed down to us that all visiting couples are dull and dreary. Well, they CAN be but they don't HAVE to be! Any way, here it is exactly as I called it then; corny rhymes and all!
Any intro. you like
Music - any lively tune
First couple lead up to the right
Join your hands and circle four, go once around and then no more
Swing the opposite lady up and down, I'll swing yours, you swing mine, two for a nickle, three for a dime
Both men now will swing their own
Leave the other fellows gal alone then
Take her home and swing at home, everybody swing you own
Then swing your corners, don't be afraid
How'll you swap, how'll you trade, your new wife for my old maid
Everybody home and all promenade
Couple two lead up to the right
Four hands around and hold on tight
Lady in the center, three hands around - the old red hen, the old red hen
Hen comes out, the crow hops in
Don't forget to go round again
Crow comes out, gives birdie a swing, then circle four hands round again
Everybody home and swing your own - swing the one you call your own, then promenade til you all get home
Couple three lead up to the right
Four hands around, don't die of fright
Same two gents right elbow swing (reel)
Then the opposite lady left elbow swing
Gents in the center right elbow swing
Then your partners the same old thing
Same two ladies an elbow swing
Then reel the opposite if he starts to sing
Ladies in the center with an elbow swing
Then reel your husband, the dear old thing
All get. home and promenade all
The fourth couple down the center and cast off six
Lady goes right, gent goes wrong
Do si do when you meet your own, everybody promenade
All join hands, and forward all - do it again for the good of the hall - and thank your ladies for that is all.
This is a nice mix of four visiting couple figures — what we in England would call “Running set” figures. Instead of each couple leading their own figure with each of the other three couples in turn, each couple leads their figure once only, so you won't have time to find it dull and dreary!
Wearin' o' The Green
From Northern Junket Vol.14, No. 3, 1982. Original wording on page 29 Internet ArchiveThis is identical to the version from Vol. 2, No.7.
Hey in a Square
From Northern Junket Vol.14, No. 4, October 1982. Original wording on page 30 Internet ArchiveOriginal square by Roger Whynot, Prides Crossing, Mass.
Music: Any breakdown tune you like
Intro; break; ending, your choice
Head ladies chain over and back
Put those ladies back to back
Hey! (go all the way over and back)
All swing partners and promenade home
Repeat for side couples
Head ladies chain to the right (over and back)
Put those ladies back to back
Hey! (note that all four couples are moving)
Repeat with side ladies chaining to the right
All four ladies grand chain over and back
Put all four ladies back to back
All eight Hey! (as before - but when either sex goes into the center they star LEFT halfway then go out - etc)
Teaching hint - It is absolutely a MUST that dancers make a wide loop before coming back into the center!
Now this is an interesting one! Was Roger Whynot the first person to put a hey into an American Square? There have been English Squares with heys since “Dull Sir John” in Playford's first edition of 1651, but not American Squares. I wonder if Ron Buchanan knew of this dance when he wrote his wonderful “Hey-mania”. I know other dances where the heads do the hey, then the sides, then all four, for instance Keith Uttley's “K. T. Ramble” (also known as “Hey Square”) which he wrote for the Kentish Travellers Folk Dance Display Team, but none with the intermediate stage where the heads work with the couple on their right (and later their left) so that there are two parallel heys going on. You need to be aware that the interlocking heys take somewhat longer than the single heys. Roger is allowing 8 bars for the swing, but in this case it will probably be only about 4 bars. Roger's point about the wide loop is that it's a dance where being early is just as bad as being late; if people rush back into the hey too soon the whole dance will collapse. The important thing to know is that when you come back into the hey it's right shoulder with either your partner or your opposite. And if you'd like an even more extreme version of this, I recommend “Dorset Twelve-Hand Reel”.
Couple Around One
From Northern Junket Vol.14, No. 4, October 1982. Original wording on page 30 Internet ArchiveAN OLD-TIMER
This is a square Ed Gilmore used to call 30 years ago. I was reminded of it from Bob Howell's “EASY LEVEL PAGE” in American squaredance, for October, 1982. Bob says he
still calls it.
Any intro, break and ending you like
Music: Any breakdown tune you like
First couple balance and then you swing
Go down the center and split the ring
Four in line you stand
Forward four and back you go
Go down the center and have some fun
Break in the middle go round just one
And four in line you stand.
Forward eight and eight fall back
Center four pass right thru
You pass right thru and split the ring
You'll pass your own to a corner swing
Give her a swing then promenade
You promenade that pretty little maid
Repeat for couple 3 - then 2 - then 4.
Roger's Dance
From Northern Junket Vol.14, No. 4, October 1982. Original wording on page 30 Internet ArchiveAnother of Roger Whynot's squaresFrom a promenade
Heads wheel around and right and left thru
Same two ladies chain over and back
Same couples, pass thru, on to the next
Do si do the one you meet
Those four people circle left
Swing the opposite (from this circle). It is very important that men are exactly where they began the circle before swinging in order to stay in sequence
Allemande left new corner
Promenade the one you swung
Repeat for heads; then twice, for sides
This has similarities to Roger's Square in Vol. 7, No. 7 but it's different enough to be a separate dance. I can't fit it into 32 bars. Again it's in Roger's book “Whynot Dance with Me?”.
Virginia Reel Square
From Northern Junket Vol.14, No. 5, February 1983. Original wording on page 24 Internet ArchiveAs called by George Hodgson, Phillipston, Mass.
Music: “Old Number Nine” Folk Dancer MH 1036
Intro: Circle left all the way around
Allemande left
Grand right and left halfway
Promenade home
Figure:
First couple promenade outside
Couples two & three wheel around and follow
Fourth couple make an arch
Couples one, two & three go thru the arch (Go straight down, making two lines, gents in one line, ladies in the other)
Face your partner and all do si do partner
First couple reel (Hook right elbows with partner once and a half around, reel next by left elbow once around, then partner right, etc. until you get to the end of the line)
First couple make an arch and other couples go thru, turn left and promenade once around (Switch partners to right side going thru)
All swing partners when home
Repeat for second couple - third and fourth couples follow. First couple arches etc.
Repeat for 3rd couple - fourth and first couples follow, second couple arches, etc.
Repeat for fourth couple - first and second couples follow, third couple arches, etc.
I believe the suggested tune is “The wreck of number nine” (often called “The wreck of the old number nine”) by Carson Robison which you can hear at youtube.
Grand Square Variations
From Northern Junket Vol.14, No. 5, February 1983. Original wording on page 25 Internet ArchiveSource: Bob Osgood in “Square Dancing” May 5 1978Four ladies chain three quarters
Everybody roll a half sashay
Square your sets that way
Sides faces grand square - 16 steps
Left allemande………
Four ladies chain
Everybody roll a half sashay
Square your sets that way
Sides face, grand square - one, two, three, turn
One, two, go right and left grand………
Head ladies chain to the right
New side ladies chain across
Sides face, grand square - one, two, three, turn
One, two, left allemande………
Sides face grand square
One, two, three, turn; one, two, three, turn
One, two, three, turn; one, two, three, reverse
One, two, three reverse again
One, two go right and left grand………
One and two right and left thru
The other two ladies chain
New one and three right and left thru
The other two ladies chain
New one and four right and left thru
The other two ladies chain
Sides face, grand square………
Sides cross trail round two and line up four
Forward eight and back
Ends only box the gnat
Grand square………
Sides faces grand square
One, two, three, turn; one, two, three, turn
One, two, three, turn; one, two, four ladies chain
Heads face, grand square
One, two, three, turn; one, two, three, turn
One, two, three, turn; one, four ladies chain three quarters
Sides face, grand square
One, two, three, turn; one, two, three, turn
One, two, three, turn; one, two, three, reverse
One, two, three, turn; one, two, left allemande………
Head ladies chain to the right
New side ladies chain across
Heads right and left thru
Roll a half sashay
Up to the middle and back
Pass thru, separate around one
Into the middle pass thru - circle four
Ladies break, two lines of four
Go forward eight and back
Girls go forward, face one quarter in
Boys face, everybody grand square………
(On 'boys face' - all four boys face their partner and start the grand square by backing away, while the girls start the action by going forward four small steps toward the middle and all continue the grand square action. It's tricky but nice!)
I think of Bob Osgood as being “the opposition”, but we've already met a couple of his dances, and here he is again. He ran the “Sets in Order American Square Dance Society” and was the publisher of its monthly magazine “Square Dancing” which was very much MWSD rather than traditional square dancing. Many issues are archived at scholars.unh.
Perhaps leadership is beginning to recognize the importance of quality in dancing as opposed to placing the emphasis on quantity of new movements. It may be that dancers are beginning to realize a sense of pride in dancing smoothly, in moving to the beat, in avoiding rough turns and erratic movements that sometimes interrupt the natural, smooth flow of the dance.These are good signs. We hope they continue.
Later in the magazine there's talk of the forthcoming convention, with 15,000 expected to register in the next few weeks
(in addition to the 4,000 already registered), and you realise this is a different world altogether. Interestingly there are also a couple of contras, one of which (“Market Lass”, an early proper triple minor popularised by Ralph Page) is explained with much wording and 18 photographs.
In fact in the final issue of Northern Junket there's an article by Bob explaining how he got involved with square dancing.
Going back to the variations above, these are of course breaks to put in between figures, and they don't fit neatly into 32 bars. Some of them are quite challenging! I don't believe MWSD dancers would cope with the variation starting One and two right and left thru
— although MWSD callers say “one and three” or “two and four” you always have the two head couples doing the same thing and the two side couples doing the same thing: MWSD is always symmetrical. By the time they get to New one and three right and left thru
I think there would be chaos!
Nottingham Breakdown
From Northern Junket Vol.14, No. 6, June 1983. Original wording on page 27 Internet ArchiveOriginal square by Henry Garfath, Orpington, England
Music: Any well-phrased tune you like
Any intro, break, and ending you like
Al - Head couples right and left thru Side couples right and left thru, while head couples separate and go halfway round the set A2 - Head couples meet partner with a do si do and back out to a line of four. Lines go forward and back B1 - Just the center four pass thru and do a U-turn back All join hands and circle till the gents get home B2 - Allemande left and swing new partner
Repeat once for heads leading; then twice for sides
Lady Be Good To Me
From Northern Junket Vol.14, No. 6, 1982. Original wording on page 27 Internet ArchiveThis is identical to the version in Vol.12, No. 4
Benson's Fireplace
From Northern Junket Vol.14, No. 7, December 1983. Original wording on page 9 Internet Archive(Roger Whynot)
BENSON is a cat belonging to my wonderful hosts in Kent, Jack & Tricia Hamilton. We argue over the fireplace - late at night. He usually wins! Written on a cold night in April, 1983
Any intro, break, ending you like
Sides half right and left thru
Those two ladies half chain.
Heads promenade - sides wheel to follow them as soon as a couple passes
Heads lead down the centre - careful - the heads lead down from directly opposite their home position -
As soon as the head men meet a lady they will promenade her OUT to the side position
Sides will be following the heads and just pass thru to head position
Now all promenade left, three-quarters
When there, face corner, balance and swing her and change
Repeat as above. Break. Twice for heads. Ending.
The dance appears in Roger's book “Why Not Dance With Me?”. Here's how I would write it out, though it just flows from A2 to B1.
| A1: | Sides right and left through. Side ladies chain. |
| A2: | Heads promenade half-way, sides wheel in and follow as a couple passes. Heads lead in, lead out with opposite to side place, sides just pass through to head place (all facing out). |
| B1: | Promenade ¾ to the man's place. |
| B2: | Balance and swing corner, moving her across to the right. |
Sheehan's Reel
From Northern Junket Vol.14, No. 7, December 1983. Original wording on page 20 Internet ArchiveAn original square by Roger Whynot. From his book -Why Not Dance With Me?
Any Intro; break, ending you wish
Music: Any breakdown you like.
All 4 ladies go forward and back
Gents do the same
4 Ladies star right once around
Back by the left
Pass partner by - turn corner by the right
Partner by the left
Swing that corner round and round
Then promenade him hone (to man's home position)
Repeat once more. Then a break. Then repeat twice more
Swanee
From Northern Junket Vol.14, No. 7, December 1983. Original wording on page 23 Internet ArchiveAs called by Howie Davison
Any Intro: break, ending you wish
Music: “Swanee” Top 25014
Two head couples promenade half way round the outside
Side couples right and left thru
All do si do your corner
Same corner swing, swing that corner gal
Then all four ladies chain across to
Swanee, how I love ya, how I love ya
Chain the ladies right back home again
Then you promenade (same gal), you'll see me no more
When I get to that Swanee shore
Repeat for heads. Then twice for sides.
Read about the song at en.wikipedia.
My Little Girl
From Northern Junket Vol.14, No. 7, December 1983. Original wording on page 23 Internet Archive“My Little Girl” appeared on the square dance scene in the 1940's, and to say that it was a sensation is the understatement of the century. It swept the square dance world and was an immediate smash hit. Every caller who could carry a tune used it; the ones who couldn't sing at least chanted along with the tune. Windsor company brought out a beautiful recording of the tune in their “Just For Dancing” series. It has never been surpassed. Here is the way I liked to call the dance.
Music: “My Pretty Girl” Windsor 7112-A Sundowners Band.
Intro: break & ending:
Around your corner do si do your corner lady
And you do the same all around your own
Allemande left and a right hand to your own
Grand right and left around the ring you'll roam
You do si do her when you meet her
And then promenade her home
Then you swing your honey, the one who thinks you're funny
She's the girl that you adore.
Figure:
The two head couples promenade around the outside
Around the outside of the ring
Head ladies chain right down the center
And you chain them right back home again. To the right
Head ladies chain, the right hand lady and
You chain them right back home again, to the left
Head ladies chain the left hand lady and
You chain them back again.
Repeat everything once more for the head couples
Break
Repeat everything twice for the side couples
Ending
You can hear an excellent copy of the original recording at archive.org/
I don't think Ralph's words scan particularly well, so I'll try my own when I call it — which I expect I will, after all that research! Something like:
Break:
(spoken) Face your corner:
Do-si-do - - around your corner
And you see-saw round your own
Left allemande - - and then a grand chain
Right and left around you roam.
Now do-si-do - - around your partner
Then you promenade her home.
And when you're home - - you swing your partner
'cause she's the sweetest girl in town.
Figure:
Head couples promenade - around the outside
Around the outside of the ring
Head ladies chain - - right down the centre
And you chain them back again.
(spoken): To the right:
Head ladies chain - - the right hand lady
And you chain them back again.
(spoken): To the left:
Head ladies chain - - the left hand lady
And you chain them back again.
You can hear Duke Miller calling it at configular.com/duke/
Bill Bailey (2)
From Northern Junket Vol.14, No. 7, December 1983. Original wording on page 25 Internet ArchiveAs called by the late “Duke” Miller, Gloversville, N.Y.
Music: Bill Bailey. Windsor 7120A played by Sundowners.
Intro, break & ending:
Do si do your corner but men star right
Swing your opposite lady
Do si do new corners, men star right
Go home and swing your baby
Men star left all the way home
Swing your partners all
Promenade the ring and everybody sing
Bill Bailey won't you please come home.
Figure:
Head ladies chain across and
When you have chained
Swing that opposite lady
Side ladies chain across and
When you have chained
Swing this new baby
Heads right and left thru while side couples swing
Sides right and left thru while head two couples swing
Four ladies promenade inside that square (to new prtns)
Bill Bailey swing this girl so fair.
Repeat entire figure once more.
Break:
Repeat entire figure twice more.
Ending.
This is a simplified version of the dance in Vol. 8, No. 9, and I prefer the earlier one.
Just Because (3)
From Northern Junket Vol.14, No. 8, May 1984. Original wording on page 22 Internet ArchiveAs called by the late “Duke” Miller, Gloversville, N.Y. who liked to use Folk Dancer, NH 1089B “Just Because”, played by Al Brundage's orchestra “The Pioneers”.
Intro:
Every bow to your partner
Now to your comers as well
Allemande left, grand right and left
Halfway around to your gal
Reverse when you meet this lady
That's around your own the other way home
Promenade the ring and everybody sing
Because - Just Because.
Figure 1
Head ladies chain right on over
Chain them back once more
Side ladies chain right on over
Chain right back across the floor
Allemande left your comers
Allemande right around your own
With the corner maid all promenade
Because - Just Because
Break:
All do si around your corners
Right hand twice around your own
Allemande left the lady on the left
Do si do around your own
Allemande left, grand right and left
Halfway round to this maid
Pick her up and all promenade
Because - Just Because
Figure 2
Head two couples right and left right over and
Right and left back once more
Side couples right and left right over and
Right and left back across the floor
This is virtually the same as the version in Vol. 2, No.3 but it has a second figure where the ladies chain is replaced by right and left through (while the rest of the figure is unchanged). You can see Tod Whittemore calling it in 2011 at squaredancehistory.
Karin's Quadrille
From Northern Junket Vol.14, No. 8, May 1984. Original wording on page 24 Internet ArchiveAn original square by Roger Whynot, and in his book “Why Not Dance With Me?”
Music: Any New England-style tune you like.
Use any intro. break and ending you wish.
The Dance:
Head ladies chain
Chain back (this time no courtesy turn, just a left hand turn so that the two ladies meet in the center and join right hands, men keep partner by the left hand. You are now in a line of four across head of the set. The line of four raise joined hands to form arches)
Sides promenade right under outside arch to opposite position
Side ladies chain down center under center arch (don't return)
Side couples promenade under right hand arch
Side ladies chain under center arch again (This time all men turn partner by left hand and continue to corner).
All promenade corner once around to gents place
Repeat for heads. Then twice for sides.
Roger writes: “Karin is a lady from Connecticut who teaches German Dances. One afternoon I watched her teach a beautiful dance. In New England style, this is what I saw. Written August, 1982.”
Roger says You are now in a line of four across head of the set
but actually the wave is up and down the set. I find it helpful to get people to raise the end arches but not the centre one, and then to switch as required — it helps the moving couples know which arch to go through!
Finally…
Northern Junket Vol.14, No. 9, July 1984 doesn't contain any squares. It's a special issue commemorating 35 years of Northern Junket, with articles and recollections by many people — well worth a read.And here are four pivotal figures in the early days of the square dance revival, a photo probably taken in the 1950's — with thanks to David Millstone.
And the index published by Roger Knox in 1985, finishes:
RALPH PAGE, A SHORT BIOGRAPHY
Compiled by Roger KnoxA Ralph Page biography for this Index was suggested to me by one of Ralph's friends of many years. NORTHERN JUNKET was the source of much of the material for this biographical sketch and was augmented by items of a more personal nature by Ralph's wife, Ada, and their daughter, Laura Page Wilson.
Ralph George Page was born in Munsonville, New Hampshire on January 28, 1903, the son of George and Laura Dunn Page. He died in Keene, New Hampshire on February 21, 1985 and is buried in the family plot in the Munsonville Cemetery.
Ralph tells us in Vol.6, No. 12 of NORTHERN JUNKET, dated February 1960, that he called his first square dance on December 6, 1930 in Stoddard, New Hampshire. The story of this experience is amusing, and for him to remember the date with such certainty nearly thirty years later indicates that the experience was a turning point in his life. For the next 54 years he exercised with skill the talent he had discovered in himself that evening.
“Uncle Ralph,” as he was affectionately called by many, is best remembered for having spread the popularity of contra dancing. He was also recognized as an outstanding square dance caller and an excellent musician. (One of his old friends said that Ralph was able to play at least four instruments.) He wrote many fine tunes for square and contra dances and took great pride in having published much information about dances of the 18th and 19th centuries which his research had discovered. Many of these old dances, mostly contras, are again being done with enthusiasm in our contemporary world thanks to his careful interpretation of often rather obscure dance directions he found in old books and manuscripts.
Ralph began to be recognized as an excellent dance leader outside of his home area in and around Keene when, in 1943, he began leading a series of weekly square and contra dances at the YWCA in Boston, Massachusetts. He continued these dances for the next 25 years.
Earlier he had appeared with his orchestra at the New York World's Fair in 1939.
In these earlier years, during World War II, many service men and women stationed in and around Boston, but who came from all parts of the United States, attended his dances at the YWCA, fell in love with contra dancing and spread the news about this wonderful “new” kind of dance when they returned home.
In 1945 Ralph Page and Ada Novak were married. Their only child, Laura was born the following year.
Ralph was one of the founders of the New England Folk Festival Association (NEFFA) in 1945 and served as its president for several years. In April 1984 he was honored, along with Mary Gillette, as co-founders of NEFFA at its 40th Annual Festival. He was also instrumental in establishing the New Hampshire Folk Festival in 1945.
A few years after the end of the war things began to get very busy for Ralph. He issued his first album of square dances on the DISK label. A friendship that had started between Ralph and Michael Herman during the early days of the Boston YWCA dances now blossomed into a venture where Ralph furnished the music and calling for contra dance records and Michael produced the records on his FOLK DANCER label. (See the “Bibliography” [Page 125] for details about these recordings, also a listing and description of the 4 contra dance books he wrote.)
The year 1949 was a landmark year. Publication of NORTHERN JUNKET began in April 1949. It was also the year of the first Folk Dance Camp in Maine, The fifth Annual New England Folk Festival, and the fifth New Hampshire Folk Festival. Part of the continuing success of both festivals can be attributed to the interest and wisdom Ralph supplied to their planning.
The year was 1950 when Ralph started his annual travels to teach and call contra dances at camps in Georgia, California, Canada, and in other parts of New England. This was also the year when he and Ada established and operated the first of a continuing series of New Hampshire Folk Dance Camps.
In the spring of 1956, the U. S. State Department sponsored a 7-week trip to Japan for a group of leaders to teach American and European folk dances to the people of Japan. In addition to Ralph, other prominent teachers in the party were Michael and Mary Ann Herman, Nelda Drury, and Jane Farwell. Fascinating descriptions of the adventures of this group and observations of life in Japan are described by Ralph in the “Junket” Vol. 5, Nos. 8, 9, 10, 11, 12.
Ralph spent two months traveling throughout England in 1966 teaching and calling contra dances in a series of 37 calling dates, all but two with live music. (See NORTHERN JUNKET, Vol.8, Nos. 9 & 10.)
A by-product of this visit to England was the recording by the Southerners Orchestra of an album of “Music For The New England Contra Dance” containing 11 tunes composed by Ralph. The record is titled “Southerners Plus Two Play Ralph Page.” It, together with a companion book, “The Ralph Page Book of Contras,” were published by the English Folk Dance and Song Society. (See the “Bibliography” for further information about these works .)
Two significant events in the lives of Ralph and Ada occurred in 1970 and 1974 — the births of their two grandchildren, Seth and Erica.
Resplendent in top hat and cutaway coat, Ralph was the Grand Marshal of the Keene Bicentennial parade in July 1976.
A year later he was the recipient of the Granite State Award given to outstanding citizens of New Hampshire by Keene State College through the University System of New Hampshire. This award not only acknowledged his talents as a dance teacher, caller, and musician but also his contributions to the community political and cultural affairs including terms as selectman in Nelson from 1932 to 1938 and as president of the Cheshire County Historical Society for 15 years. Callerlab, a national square dance organization, honored Ralph with their Milestone Award in 1980 at a ceremony in Miami Beach, Florida.
An omnivorous reader and bibliophile, Ralph Page had two great loves, history and mystery stories. His love of history led him to spend time in libraries and historical societies seeking out primarily old dance books and manuscripts, and, for New England, all significant or interesting historical happenings of the region.
