Figures and Steps
I believe calling American Squares is harder than calling Contras, Playford dances or English Traditional dances. Your timing needs to be better, and you need to think more about fitting your voice to the rhythm (and even the melody) of the music. That said, the only way to get good at it is to do it, so I'm pleased to share some information about how I call squares in the hope that it will encourage more callers to have a go. I love dancing squares! Click the photo on the right to hear Lisa Greenleaf enthusing about it!
I call two kinds of squares. The New England Squares, sometimes called Quadrilles, tend to be fitted to the music, with a 32-bar figure and a 32-bar break, though there are a number with a 48-bar or even 64-bar figure. Southern Squares tend to be unphrased, and Southern music tends to be rather tuneless and uninteresting to my prejudiced ear. I suggest you start with phrased squares, because most of the other dances that you're calling will be phrased to the music. And please bear in mind that I'm saying “tend to be” because I don't want to sound dogmatic — there are exceptions to all the rules I'm giving here! If you're looking for role models, Kathy Anderson almost always calls unphrased squares and Tony Parkes usually calls phrased squares.
A square is either a keeper — you keep your partner — or a mixer — you have a new partner each time through the figure. With a keeper you usually keep your position as well, though there are some where you and your partner move round one place each time through the figure. With a mixer it's usually the ladies who move round one place each time, either clockwise or anti-clockwise. There are a few squares where the ladies stay put and the men move round, and this causes great confusion because the men aren't used to changing positions and the ladies are so used to being passed from man to man that they don't always remember where their home position was so they're no help either! And there are a very few squares where the ladies move one way, then back, then the other way, then back, so you never get your original opposite for a partner. And yes, as a caller you do need to know that.
With a mixer it's usually the head couples leading the figure twice (the same head men but different head ladies) and then the side couples leading the figure twice. This means that if you walk through the figure for the heads and then want to walk it through for the sides you must get the ladies to move on another place, otherwise the same two ladies lead the figure both times and the other two don't get a look-in. After I've moved them on I usually say “So you're with your opposite now”, and if they still seem unsure, “Look straight across the set — is that your original partner?”. With a keeper, it may be that each couple in turn leads the figure. If a keeper involves the heads leading or the sides leading, I would call it as Heads, Sides, Heads, Sides.
Some callers walk the break through, and use the same break all three times. In my opinion this is wrong! Admittedly there are complicated breaks such as Teacup Chain which you certainly have to walk through very carefully, though even then I don't do it exactly the same all three times, as you can see by following the link. But that's the exception. To me, part of the fun of dancing a square is the break where the caller throws out figures and the dancers have to react quickly. Some callers walk through a simple break in full, and I don't see the point. Who are they doing it for — the dancers or themselves? And if you do that you're putting yourself in a straightjacket. I know a caller who writes rather complicated breaks with absolutely no spare time for any mistakes, and then he sounds frantic the whole time because he's desperately trying to fit it to the music. You don't need to do that! For inexperienced dancers I will teach an Allemande Left and a Grand Chain, and then say “That will probably appear in the breaks — but make no assumptions”. Then I add in simple moves — do-si-do partner and/or corner, stars, circles, in to the middle and back, and usually a promenade home and a swing at the end. If I've messed up the figure, or the dancers can't move fast enough, I just shorten the break so that it ends at the end of that turn of the tune. Of course this means you have to be able to follow the music and know where you are in it, but you can practise that at home to a recording. And if you're calling to live music you can stop the band when you wish. I usually say to the band, “It should be 7 by 32 bars, but when I put my thumb up it means stop at the end of this line of music, whether it's a B2 or not”.
A break is also sometimes called a chorus, but I don't use that word because it implies that it's the same all three times, like the chorus of a song, and I don't believe it should be. It's the figure which is the same each time.
Do you have to improvise breaks? No you don't. Bernie Chalk was one of the top American callers when I started dancing and calling, and he didn't improvise breaks at all. They sounded improvised, but after I'd danced to him for some time I knew exactly what breaks he would do and what words he would use.
|A1:||- — — -. Honour your partner, and your corner.|
|A2:||Circle left. Circle right.|
|B1:||Allemande left your corner. Grand chain (half-way).|
|A1:||Circle left. Circle right.|
|A2:||Do-si-do partner. Do-si-do corner.|
|B1:||Allemande left corner. Grand chain.|
|A1:||Circle right. Circle left.|
|A2:||Allemande left corner, allemande right partner, allemande left corner.|
|B1:||Grand chain all the way around.|
I'm going to analyse this in detail, because if you're new to calling squares there's a lot to take in.
There are no complicated figures like “Men left-hand star ¾” or “All four ladies chain ¾” — only things they will already know, plus allemande left and grand chain which I've just taught them.
Each break ends with a swing, which soaks up the music, and if they're really late you can leave it out.
It starts with 4 bars doing nothing (though you may have to hold back people who immediately leap into the figure), so you and the dancers can judge the speed of the music and be ready for action. I almost always start with honours, and the break proper often starts with A2.
All three breaks have the same elements, but they're different enough that no-one can go onto auto-pilot. In the Middle Break people are usually with their opposite, so you might need to remind them to know who their partner is, otherwise insecure people will grab their original partner after two changes of the grand chain and refuse to budge!
The final break, after they're reunited with their partner, is designed to fool them. I've been starting the final break with “Circle right” for over 30 years, and it still fools them! On the last four beats of the previous musical phrase I say, “All join hands and circle right”. I'm playing fair — I've said the final word before they have to move, and I've emphasised it — but people always move ahead of the music. Again, doing an allemande right with their partner and then going back to their corner for an allemande left will fool some people who assume that an allemande left is always followed by a grand chain. But the point is, none of these is a disaster if people do it wrong; they will laugh and recover. You don't want the dance to fall apart in the final break — you just want to keep people on their toes.
If you're looking for another way to fool them, try: “And everybody swing… your corner”. If they all cope with that you can say “Now put her on your right and circle left” and improvise from there, whereas if there's general chaos the safe option is, “Now run back home and swing your own”.
I've written out the break as it appears on my cards, but now let me tell you the words I use, and the rhythm. Let me emphasise yet again that I'm not saying this is the right or the only way to do it, but it works for me. I'm putting in vertical lines every two bars — a bar is two beats or two walking steps, so each section of the following text is four beats and each line is eight bars of music. I'm even underlining the stressed syllables for you.
I really struggled to write that out, and I certainly couldn't call from it, but that's how I would phrase the call. Notice that there's a little gap after “Grand chain” — the “Four” isn't on the beat. That might sound a very minor detail to you, but some people will hear “Grand Chain Four” as a new and terrifying figure! They don't need to know whether they're going four hands or eight hands around until long after they've started the move. MWSD callers are taught (I assume) that they must keep talking the whole time, but I don't feel the need to do that. Traditional callers will throw in nonsense phrases like “Chicken in a bread pan picking out dough” but that's not my style, though I have been known to use the rhyming couplet: “Allemande left around your corner; right to your honey and don't step on her”.
Say it out loud to a recording. Make sure you're talking in time with the music, on the beat. Now work out what words you would use for the second and third breaks, and practise them out loud too.
If it's an unphrased figure the break can be unphrased too, though I find I do automatically fit it into 8-bar phrases. And I really like to finish the final break at the end of the tune, so if necessary I'll add things like “in to the middle and back”, and again if necessary. And if you find you have four bars left you can always add the classic: “Now honour your partners, corners too, 'cos there you stand, that's it, you're through”.
If you're improvising breaks, it's a good idea to remember who the first man is, so that you can judge how far he has to promenade home and modify your call accordingly. I still go wrong on occasions, and realise that they can't possibly promenade home in the few bars left — but do I panic? Not visibly! I give them time to get home and then start the figure 4 bars late — and I stay 4 bars behind, resisting the temptation to speed up the calls to get them back on the phrase. If you call it confidently no-one will mind, in fact most of them won't even notice. If the figure ends with a swing, that's the move I will cut short — I might say “Just a quick swing” — and then very positively call the start of the next turn of the figure. If I can't do that, I'll stay 4 bars behind for the entire next turn of the figure, and then sort things out in the final break. As I said before, this requires you knowing where you are in the music — but who said calling was easy?!
Here's a harder break. I've used this one six times, so it certainly works! You might need to explain what “like an allemande X” means, but dancers with some experience will pick it up from the context. In fact there used to be a whole allemande alphabet (though probably most of them were hardly ever used), and on that page I see that “Allemande X” is defined differently from what it means today! It's just a phrase to alert people to what's coming — it simply means “allemande left your corner, walk past your partner and swing the next”. And of course you could say exactly that — there may be less confusion, but you lose the rhyming couplet. Similarly “All join hands and…” is an indication that a circle is coming up next.
|A1:||Honour your partner, and your corner. Do-si-do your corner.|
|A2:||Men right-hand star. Allemande left your corner.|
|B1:||Grand chain. Do-si-do your partner.|
|A1:||Allemande left your corner, give right to your partner: box the gnat.|
|A2:||Wrong way grand chain. Do-si-do your partner.|
|B1:||Pass your partner by, allemande left your corner, promenade your partner.|
|B2:||--- Balance once. Swing.|
|A1:||Allemande left like an allemande X. Pass your partner, swing the next.|
|A2:||All join hands and circle left. All four ladies chain across.|
|B1:||Allemande left like an allemande X. Pass by one and swing the next (original partner).|
|B2:||Promenade all the way around, and honour your partner.|
Notice that in the middle break the promenade will overflow from the end of B1 to the start of B2. If you've remembered who the first man is, you'll know when he's approaching his home place and you can say “Balance once” at the right moment, or if necessary leave it out and just call the swing. And instead of just saying “Box the gnat” I say “Give right to your partner: box the gnat”. Most people will know it's a right hand, but they won't object to being told, and the less experienced dancers will do the move with confidence. And now the whole of A1 can be called to the rhythm of the music, rather than you barking out commands at random. Similarly instead of just “Circle left” I say “All join hands and circle left”. It gives them a clue what's coming without tempting them into getting ahead of the call, and again it fits the rhythm of the music.
|All four ladies chain across and back twice, while the men move one place round the outside each time, head men to their right, side men to their left, pulling by Right with each other and giving a courtesy turn to each lady in turn.|
They can do that in 16 bars, provided everybody moves positively — don't be afraid to challenge the dancers. Tell the ladies that they're just going over and back twice, hoping there will be a man available to courtesy turn them. Tell the men that as soon as they've handed the ladies into the chain they've got to move round, the original head men always anti-clockwise, the original side men always clockwise — four steps to pull by, four steps to courtesy turn the next lady. Don't let the hot-shots do a twirl instead of a courtesy turn, or there's no chance of fitting it to the music. And because it only takes 16 bars you can use it in the three different breaks at three different points — so you've taught them the move, but you keep them guessing about when or if it will turn up. For instance:
|A1:||- — — -. Honour your partner, and your corner.|
|A2/B1:||All eight chain.|
|B2:||Allemande left your corner. Swing your partner.|
|A1/2:||All eight chain.|
|B1:||Promenade all the way around.|
|B2:||Join hands, go in to the middle and back. Everybody swing.|
|A1:||Allemande left your corner, grand chain.|
|A2:||Do-si-do your partner. Promenade home.|
|B1/2:||All eight chain.|
I like finishing the final break with the signature move — it rounds things off nicely, and you can see whether they all stop as the music does!
This is not the standard Triple Allemande, which has the ladies making the star first, because if you're not careful they've already gone past that point and are facing their partner expecting a grand chain, so I've swapped things around. However, each of the three breaks does have three allemandes in it, so you can't prosecute me under the Trade Descriptions Act!
|A1:||Honour your partner, and corner. Allemande left your corner.|
|A2:||Men right-hand star. Allemande left same corner, ladies right-hand star.|
|B1:||Allemande left same corner, grand chain.|
|A1:||Allemande left your corner, walk past your partner, allemande right the next.|
|A2:||Men left-hand star. Back with the right.|
|B1:||Walk past your partner, allemande left your corner, grand chain.|
|A1:||Allemande left your corner, allemande right your partner, allemande left your corner.|
|A2:||Grand chain. Do-si-do partner.|
|B1:||All four ladies chain. And back.|
|B2:||Promenade partner. Swing.|
I tried the Opener at Cambridge Contra with the ladies going single file while the men did their star, but most of the ladies decided to go in the same direction as the men which meant they had little chance of meeting their corner again, so I've scrapped that! You may find that some of the men start to move (in the correct direction) while the ladies do their star, but that's OK.
|A1:||Join hands, in to the middle and back. Ladies stand still, gents cross over, swing your opposite lady.|
|A2:||Circle left half-way. Swing your corner.|
|B1:||In to middle and back. Gents cross over, swing your opposite.|
|B2:||Circle left half-way. Swing your corner.|
|C1:||In to middle and back. Gents cross over, swing your opposite.|
|C2:||Promenade your partner.|
|You swing opposite, right-hand lady, corner, opposite, partner.|
Here's a 48-bar break, just in case you need one. Though of course you can always add an extra 16 bars onto an existing break. For instance, particularly if the existing break ends with a promenade rather than a swing, you could add:
|C1:||All four ladies chain across. Turn them around and chain them back.|
|C2:||All join hands, go in to the middle and back. Everybody swing,|
|Circle left. Circle right, then go single file.|
|Ladies cast out, men keep going. Meet again on other side: ladies fall in behind your partner and continue single file.|
|Men cast out, ladies keep going. Meet again on the other side: men fall in behind your partner and continue single file.|
|Your choice from here!|
|Just make sure they've all got home before you launch into the figure. If some sets are slower than others, you can add a filler such as “In to the middle and back, and swing your partner one more time” while the laggards are finishing their promenade. On the other hand, if some sets know what's coming and get ahead of the call I may deliberately change it, just to slow them down — it's harder work for the caller if all the sets are doing things at different times, and anyway it serves them right for not listening to me!|
|If you're improvising breaks, you need to be aware of sequence. Provided all four men are doing the same thing at the same time, ladies ditto (as in all but one of the breaks above) there's no danger of getting people out of sequence. But as soon as you mention “Head” or “Side” you have to be careful. If you call “Heads right and left through”, everyone is out of sequence — they couldn't promenade to the man's place because the heads would stop half-way round while the sides still needed to keep going. Follow it by “Sides right and left through” and they're back in sequence. Similarly “Head ladies chain across” or “Head ladies chain to the right” puts the ladies out of sequence — but combine these two and they're back in sequence. Watch an experienced caller's breaks and see how seldom “Heads” or “Sides” are mentioned, except one straight after the other.|
|And the exception above? In “All Eight Chain” when the head men move right and the side men move left, the men are out of sequence — but the next change puts them back in sequence again.|
|Toyn Parkes ran a session on calling squares at the Ralph Page Dance Legacy Weekend in 2005 and starting on page 60 of www.library.unh.edu/special/forms/rpdlw/syllabus2005.pdf you can see lots of his breaks, classified as Introductions, Breaks and Endings.|
|Enough about breaks — let's look at some of the figures that occur in a traditional-style square.|
Here's my explanation:
Your partner is on one side of you and your corner is on the other side — the lady on your left, the man on your right — so called because you're standing on the same corner of the square. Give your left hand to your corner — make sure that it's left — and turn your corner until you're facing your partner. That's called an “Allemande Left”. Now give right hand to your partner. You're not going to turn; you're going to do a Grand Chain, so pull past your partner and keep going round the square in that direction, giving left to the next, right to the next, left to the next, and pull by to meet your partner half-way round the square. Swing your partner, and promenade home. That's an Allemande Left and a Grand Chain, and they often come together in the Break. There may not be a swing and promenade after it — you just have to keep listening.
If you think you could explain that in half the number of words, you probably haven't called to as many inexperienced dancers as I have! You'll find Modern Western dancers will do the Allemande with a forearm hold and you won't be able to combat years of conditioning, so go with it — it will still work.
You also get “All four ladies chain three-quarters” (which should logically be “one and a half”, given that they never talk about half a ladies' chain, but let's not worry about that). The ladies do a right-hand star three-quarters, to their corner who wheels them round with a courtesy turn, so they end up one place to the left from where they started. It all works fine until one lady decides she only wants to go half-way, so her corner ends up with no-one while her opposite man is trying to fight off two ladies! You really need to emphasise the “three quarters” to avoid this.
Let's say you're standing beside your partner facing another couple. You pass through, in other words pass your opposite right shoulder, but as you go the ladies take left hands which means they turn a quarter to their left, and the men turn a quarter to their right to take their partner's hand — right in right — forming a wave at 90º to the previous orientation. In squares, and particularly in contras, it's often followed by a balance right and left, though you wouldn't get that in MWSD.
You can play tricks such as “Heads face — Grand Square” or even (with confident dancers) “Men face — Grand Square”. Just point out that wherever they go they're supposed to finish where they started.
|A1:||Heads right and left through. Head ladies chain.|
|A2:||Heads circle ¾, pass through. Right and left through with the outside two.|
|B1:||Dive through, pass through, swing the next (original corner).|
|B2:||Promenade all the way.|
|Ladies have moved Right.|
One of mine to start you off, written for the Basic American module of the EFDSS Recognition System around 2004. I'd say this is a fairly typical square in that it's led by the heads while the sides do nothing for the first 12 bars, after which everyone is moving all the time. Notice “Heads” and “Head” in bold type — that's on the card to remind me that the third and fourth times through I need to change to “Sides”. If you're calling from my Dance Organiser program, you can press the space-bar and it changes automatically, giving you one less thing to worry about if you're calling a complicated square or just tired! I always note at the bottom of the card which way the ladies (or occasionally the gents) have progressed. You can then say after the first walkthrough, “Now the men are home and the ladies have moved one place to the right.” Wait to see whether there's any swapping of places — that tells you they didn't follow your instructions, or (if the whole room moves) you called it wrong! “Ladies, move another place to your right, so you're opposite your original partner. This is where you'll be after you've done the figure the second time. Now let's walk it through for the sides.”
|A1:||Heads forward and back. Do-si-do opposite.|
|A2:||Swing opposite, finish facing the sides. Circle four to the left.|
|B1:||Left-hand star. Men turn out (to your right), swing the lady behind you in your star (original corner).|
|B2:||Promenade to the man's place.|
|Ladies have moved Right.|
|A1:||Heads forward and back. Right-hand turn opposite.|
|A2:||Left-hand turn partner; all turn corner right, partner left, corner right, into:|
You can hear a recording of Marvin Shilling calling this in 1953 at squaredancehistory.org/items/show/1110 — the call starts at 2:41. He's using recorded music, it's totally unphrased and he's showing that there are plenty of ways to do a traditional square. At the start he says, “This is another old-timer — it's the Arkansas Traveller — we may put a little extra stuff with it, but basically it will be Arkansas Traveller”. He doesn't do the final right-hand turn into the promenade with corner. Instead he does a partner left-hand turn 1½, right-hand turn the right-hand lady, and back to your partner for all sorts of extra stuff. What I'm giving is the basic figure as I learnt it, but feel free to play around with it as he does — it just takes confidence and practice!
I've also seen it done where the sides cross trail through as the heads fall back in A1, go back home round the outside, pass your partner by, just in time to right-hand turn your corner.
There are lots of very simple squares at: www.heinerfischle.de/pdf/basic1 though I would write them on my cards using A1, A2 etc. If he says “Beat count (by ESD): 64” (or thereabouts) that means it should fit into 32 bars, but don't be afraid to change anything you don't like.
|A1:||Heads right and left through. Head ladies chain across.|
|A2:||Sides right and left through. Side ladies chain across.|
|B1:||Heads pass through, separate, go round one, behind the sides who move in. Sides pass through, split two, separate, go round one and join hands in a circle.|
|B2:||All in to the middle and back. Circle left half-way.|
|C1:||Allemande left your corner, walk past your partner and swing the next.|
|C2:||Promenade to the man's place (just over once around).|
|Ladies have moved left.|
I don't remember where I picked this up from, but it was non-progressive (a keeper) and unphrased, so I modified it. This dance shares the action equally between the heads and sides. And it's a 48-bar figure — how do you deal with that? I usually just ask the band for 32-bar reels, I use a 32-bar break, and I accept that the second and fourth times through the figure it will start on the B-music. You could ask the band for a tune where the B-music isn't dramatically different from the A-music, but I wouldn't worry about it — just keep calling! If you're using recorded music you need 9 x 32-bar reels, which I'm sure you can find; if you can only find 8 x 32 just leave out the middle break. A few bands will offer to play 32 bars for the breaks and 48 bars for the figures, but then what happens if you get out of synch with them?! Or you could use a 48-bar break and go for 7 x 48-bar reels. Just keep calling!
|A1:||Ones balance and swing.|
|A2:||Ones go down the middle, split the ring, separate, go around one, stand behind the next (of the same sex). Push them together in the middle, they swing back to the vacant place (where the ones started).|
|B1:||Same man the same with a new partner.|
|B2:||Same man the same again with yet another new partner.|
|A3:||Allemande left your corner, grand chain.|
|A4:||Give right hand to your partner: balance forward and back; box the gnat, chain back again.|
|B3:||Do-si-do your partner. Swing.|
|B4:||Allemande left your corner, promenade your partner to your original place.|
A keeper, led by each couple in turn, and it's a 64-bar figure so I wouldn't add any breaks.
This is the Folk Process in action! The dance was passed from Carl McCurdy of Ashley, Ohio, to Judy Waldron of Somerville, Ohio, to Bob Dalsemer of Brasstown, North Carolina, to Madeleine Smith in England, and then to me. I added A1, A4 and B3. Barrie Bullimore also got it from Madeleine, renamed it “Backup and Push” (for the tune of the same name) and undoubtedly does it differently from me. I've also heard it called “Push Pa, Shove Ma”, and I've danced it where the lady leads the figure rather than the man. According to squaredancehistory.org/items/show/966 the title is “Push Your Pa and Shove Your Ma” and you can see various videos of it on the web. Bill Litchman calls it “Push Ol' Pa and Push Ol' Ma”. The way I'm phrasing the signature move is much quicker than people think (and much quicker than Bill does it — he's call it unphrased), so you have to call it very positively: “Same man, lead your new partner across. Same man! It's you again!” or some similar encouragement. After doing this move three times they are all one place to the right from where they started, and the rest of the figure is my way to get them home. By this time they'll have forgotten where their home place is, so in the walkthrough when you say “Promenade to your original place” they'll look at you without moving and say “Done”.
The second lady gets all three swings!
|A1:||Heads promenade all the way. Side ladies chain across, sides roll away.|
|A2:||Heads lead right and circle left, men break to form lines up and down (men on the ends). Lines forward and back.|
|B1:||Pass through, ladies arch, men dive through, ladies turn on the spot. Men pass through, swing the one you meet. [It's quick!]|
|B2:||Promenade to the man's place. (Almost all the way)|
|Ladies have moved Left.|
I don't remember where I got this one from either. It's a little different, because the roll away means that to make the lines the men need to let go of each other (which some of them find very hard to do). I've also suggested breaks involving a roll away, which I think is a nice touch. I wouldn't teach the breaks (as if!) but I would teach the one move they may not know — “Ladies in, men sashay”. I haven't put this in the list of figures above because it's not used very often — just teach it on the fly. It starts from a circle left: on the call the ladies move into the middle while the men continue circling, then fall back one place to the right. Point out that it's not fair on the men if the ladies continue their circular track while the men are trying to get round them; this will get a laugh and therefore people will remember it.
Opener and Closer
|A1:||Honours (Opener) or circle left all the way (Closer).|
|A2:||All four ladies chain, roll away, circle left.|
|B1:||Ladies in, men sashay. Allemande left your corner.|
|B2:||Grand chain. Promenade to the man's place.|
|A1:||Heads forward and back. Right and left through, then roll away.|
|A2:||Sides the same.|
|B1:||Circle left half-way. Allemande left your (current) corner.|
|B2:||Do-si-do your partner. Swing your corner and square the set — man on the left, lady on the right.|
|A1:||Men right-hand star ¾. Left-hand turn your right-hand lady, all the way and a little bit more (plenty of time).|
|A2:||Four ladies chain across the floor. Promenade new partner (original corner).|
|B1:||Original head men with current partners wheel around, lines forward and back, pass through, bend the line.|
|B2:||Circle four, all the way and a little bit more. Head gents break to one big ring, keep circling left.|
|C1:||Allemande left new corner, swing new partner.|
|C2:||Promenade to the man's place.|
|Ladies have moved right.|
|A1:||Allemande left your corner. Allemande right your partner, all the way and a little bit more.|
|A2:||Swing your right-hand lady. Allemande left new corner.|
|B1:||Do-si-do new partner. Swing your corner (who was your partner at the start of the break).|
|B2:||Promenade to the man's place.|
Yet again I don't know where I got this from, but I modified the figure, added the break and gave it a title, so it's mine now! This is more challenging, because it's a 48-bar figure and there's some unusual stuff in it. B1 is busy, so you won't have time to say “Original head men with current partners wheel around”. I say “Heads wheel around” and explain in the walkthrough that this means the head men and whoever they're with. Even so you will find some men hesitate, or all four couples wheel around — you'd be amazed at what some people make of a perfectly clear call! Point out that if the heads wheel around the sides have to stop, otherwise they'll walk into the heads! “Bend the line” just means that as a couple you turn a quarter to face in. That's fine for two of the men, but the other two men have to move forwards and some of them have been trained for years to believe that the man always has to go backwards. Be firm with them!
|A1:||Heads do-si-do your partner and swing.|
|A2:||Head ladies chain across. Heads promenade half-way.|
|B1:||Heads lead to the right (into a column, facing your corner). Right-hand star with the sides. Heads to middle with a left-hand star.|
|B2:||Pick up your corner, star promenade. Middles back out and the outsides in, wheel 1½.|
|C1:||The others, right hands in: star promenade. Open up and circle left.|
|C2:||Men swing the nearest lady (the one you were doing the star promenade with). Promenade to the man's place.|
|Ladies have moved Right.|
Adapted by Bob Dalsemer from a singing call. A1 by Madeleine Smith, modified. Title by Colin Hume.
Another 48-bar figure. Trevor Monson disputes my title because he says there are only four stars: he considers the left-hand star for four people to be the same as the star promenade for eight people.
It's a good idea to tell people to observe their corner at the start of each turn of the dance: that's who you need to face for the right-hand star, that's who you pick up for the star promenade and that's who you swing to become your new partner. When you walk it through, in B2 get the actives to lead out to their right and stop, so that they really are in a column and can see how the next moves work, although you then explain that of course in the dance they don't stop at that point, they flow straight into the star. When you call “Middles back out and the outsides in” you'll find that some men on the outside are determined to move backwards “because that's what men do”. You may also find that when they open out into a circle some men will immediately switch around because they think it's “wrong” to have two men together in the circle.
There are lots of squares on the Cambridge Contra website, including Christmas Eve Quadrille, Do Si Do and Face the Sides, Duck Through and Swing, Gents and Corners, Karin's Quadrille, The Nearest Lady and Pioneer Polka Quadrille.
If you want something different, have a look at Advanced Square Dance Figures Of The West And Southwest — I particularly like “The Bachelor Mill”.