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SQUARE DANCES GONE ?
Why on FOLKRAFT records, of course! Here are a dozen traditional favorites that you can relax with:
1240 CAPTAIN JINKS*
1278 DARLING NELLIE GRAY
1270 DIP AND DIVE
1279 FORWARD SIX AND BACK
1254 GRAPEVINE TWIST
1025 HOT TIME IN THE OLD TOWN*
1134 LADY AROUND THE LADY*
1251 LIFE ON THE OCEAN WAVE
1135 MARCHING THROUGH GEORGIA*
1252 SISTERS FORM A RING
1253 TAKE A PEEK
1256 TEXAS STAR
*These records have another called square on the reverse side: all others are called on one side with the instrumental on the reverse. All records are 79 RPM., unbreakable plastic and come complete with instructions.
romfirr raconD coMPAIR 1159 Broad Street, Newark 2, New Jersey THE MAGAZINE OF AMERICAN FOLK DANCING News Correspondents Volume 15 Number 1 September, 1959 YOU
Cover Design THIS MONTH Rod LaFarge Contributing Editors Special Articles Fred Bailey Ray Bauer Texas Star Dud Briggs H. H. "De" Harris By Joseph Bray Yvonne Doumergue Ten Years Ago 9 Harold Harton Lib Hubbard The Polka 12 Bob Merkley Arvid Olson By Rod LaFarge Olcutt Sanders Charlotte Underwood Regular Features Associate Editors H. A. Thurston Editorial 4 Roving Editor Record Reviews 14 Rickey Holden European Editor Here and There 16 Margo Baughman Grab Bag 17 Dance Editor Olga Kulbitsky Letters from Readers 18
Managing Editor Classified Ads 21 Rod LaFarge Publisher Coming Events 26 Frank Kaltman
American Squares is published monthly by Frank date of issue. Subscriptions $2.50 per year; single Kaltman, 1159 Broad Street, Newark 2, New Jersey. copies 25c each. The cover and entire contents arc Second-class mail privileges authorized at Newark, copyright 1959 by Frank Kaltman. All rights reserved. New Jersey. Forms close 10th of month preceding
4(Ei1/4.7,24, IR 1
No, we are not writing a squib for the latest "Beef, Iron and Plutonium for tired old blood" . . . we are just letting our faithful readers know of a change in publishers and editors for AMERICAN SQUARES.
The oldest magazine in the field, American Squares was originally pub- lished and edited by Charley Thomas, of Woodbury, N. J. until the publication was taken over by Rickey Holden in April 1952; with offices in San Antonio, Texas.
In July 1956 Frank Kaltman became the publisher in Newark, N. J. with yours truly as editor.
Effective with the October issue, the publisher will be Arvid Olson, of Moline, Illinois, who will also serve as editor. Mr. Olson holds a M.A. in Recreation and has long been interested in square dancing. He is well-known to the readers of AMERICAN SQUARES as one of our most popular con- tributing editors, and is co-author with his father (Ray) of "Musical Mixer Fun" and "Fifty Musical Mixers" He is also the editor of SQUARE YOUR SETS, which publication is currently issued as a quarterly.
Arvid is one of the few in the country to make a full-time career of square dancing and we are sure this new blood will carry the pioneer American square dance publication to unprecedented heights.
4 AMERICAN SQUARES X V-4 TEXAS STAR And Its Variations By W. Joseph Bray, Falls Church, Va.
The Texas Star is still one of the (10) Now the other way back, circle to most delightful figures in all of the right Square Dancing. Dancers get great (11) Home you go and everybody pleasure out of it, and it is also pretty swing to watch. As an exhibition figure it is (Repeat figure three more times and standard. I will not debate with any- one whether or not the dance describ- all have original partner back.) ed below is the original figure. It is The "action" lines are numbered not even the first one we learned as above so that we can show later on the "Texas Star." However, it is basic where the variations come in. Unum- to all other versions and variations. bered lines are merely fill-in patter When we first started Square Danc- for necessary timing. I have noticed a ing, a Star Promenade — the Texas few callers rush the Texas Star. It's Star, that is—was reversed with only best to allow four beats too few. At a half turn. These days, when over least, whatever the timing on the first complication is the order of the day, figure, keep the same for the three re- Square Dancers don't seem to be able peats. If the version is used where at to, or even want to, do anything the action line (8) the ladies turn out and easy way. When the Star Promenade all eight swing, enough time should is reversed now, it is almost always be allowed for the dancers to reach with a full turn, or "turn and a half" the gent's home position, so that the as some call it. Swing will be at home position. Otherwise the dancers not being in TEXAS STAR their customary position, sometimes (traditional) get pretty confused. (1) Ladies to the center, back to the The first variation that comes to bar mind uses identically the same figure (2) Gents to the center with a right as above, execpt that at line (6) where hand star the Star Promenade is reversed, the Walk right along but not too far gents back out and the ladies go in with a full turn or turn and a half, Come back by the left, with a left (3) instead of just the half turn. Action hand star line (6) thus becomes this: (4) Pass your partner right on by (6) Gents back out, the ladies go in (5) Take the next girl on the fly Turn once-and-a-half and the Star promenade and I'll tell you why ladies star in (7) You form your Texas Star again (6) Gents back out, ladies go in (7) Form that Tex.as Star 4gain There are several books and at least one recording of the Texas Star where *(8) Ladies turn out and all eight swing on the first and third changes at line or ( (6) a half turn is done, and on the * 5) Ladies turn out and all join hands second and fourth a turn and a half (9) All join hands and circle left is used.
XV-5 AMERICAN SQUARES 5 The way we originally learned the Rollaway Half Sashay Texas Star (and as it was originally variation published in the Washington Area Standards), the above two versions (8) Ladies rollaway with a half sashay were combined, one after the other. (9) Gents star right in the usual way This version uses the basic figure (10) Ladies turn back one man down to action line (8) where the gents back out and the ladies turn in (11) Allemande left with your left with just a half a turn. The Star Prom- hand enade is reversed three more times, (12) Dance right into a right and left once with just another half turn and grand the next two times with a full turn There are two maneuvers we can or turn and a half. This way, of do with the above versions. At (8) of course, makes a rather long dance of the original version we can have the it, but in areas where dancers do not ladies back out, the gents go in, again object to a dance lasting ten minutes, reversing the Star Promenade. Then this wouldn't be objectionable. Here's have the ladies Turnback on the out- the version, starting from action line side track to meet the same gent with (8): an Allemande Right. Or, using the Rollaway variation, at action line (8) The girls back out the gents go in (10), after the Rollaway, the gents (half a turn only) 11, back out and the ladies turn in, re- (9) Form that Texas Star again versing the Star Promenade again. This time, the gents being on the out- (10) Now the gents back out the girls side, Turnback, and meet the same go in lady with an Allemande Right or A turn and a half and the ladies some other maneuver which will leave star in this lady as their new partner. With these maneuvers, here's what we get: (11) Form your Texas Star again with the original version: (12) The ladies back out the gents go in (8) Ladies back out the gents go in A full turn around and the gents A turn and a half and the ladies star in star in (9) Form that Texas star again (13) Form that Texas Star again (10) Ladies turn back on the outside (14) Gents back out and everybody track swing (11) Meet that same gent right (a half turn only, at home position) allemande (12) Then allemande left with your left Some American Square readers will hand a contend, I know, that one or the other *(If you have scruples against ladies of these is the true original Texas backing around, don't use this va- Star, or even some other version. Take riation) your choice. with the Rollaway variation: With the development of the Roll- (10) Gents back out the ladies go in away Half Sashay, it became a natural A turn and a half and the ladies movement to add to the Texas Star. star in This has probably become one of the most popular variations. From action (11) Form your Texas Star again line (8) of the basic version, the Roll- (12) Gents turn back on the outside away variation is as follows: track
6 AMERICAN SQUARES XV-6 1 (13)** Meet that lady, box the gnat (11) Her by the left with the arm (14) Grand right and left right after around that or (12) Roll promenade go 'round the (13)** Meet that lady for a wrong town way thar Dopaso III variation: I got this one Gents back up in a backward star from Rickey Holden a long time ago. (14) Shoot that star to a left This one is similar to Ed Bossing's, allemande, etc. except that the Star Promenade is re- versed one more time. Starting from (**unnecessary complications for ben- action line (8) in the basic figure, do efit of hi levellers) it this way: In any of the above variations (8) Girls back out and the gents where you do an Allemande Left, it star in can be followed either by a Grand Right and Left, or Promenade, such as A full turn around and you're "Allemande Left that Corner Maid, gone again (once-and-a-half) Take your new girl and Promenade." (9) Form that Texas Star again There are three Dopaso variations Now walk right along on the heel (Texas Docido). The first we list and toe here is Ed Bossing's variation. This (10) Bust it up with a dopaso requires changing hands during the (Rickey calls it a Dosido) figure, which some may find awkward On your heel and on your toe at first. From line (8) of the basic version, do it this way: Can't get to heaven if you carry on so Dopaso I One more change and home you go variation: (11) And everybody swing— Break that star with a dopaso (8) When the "Frontier Whirl" or Little bit of heel, little bit of toe "California Twirl" came into popular Back to your own and promeno use it added a new wrinkle to the Promenade boys go 'round the Texas Star, for variation. This, inci- land dentally, makes an exceptionally pretty exhibition figure. You can work this Down thru Texas to the Rio variation two ways, one similar to Grande Dopaso I variation, and the other Dopaso II similar to Dopaso III variation. variation: This is a variation we fre- California Twirl quently see in this area. variation I Gents turn back on the outside (6) Spread that star don't you blunder track (7) California twirl, the girls duck Twice around that ring you go under Twice around and don't be slow Reverse that star and you go like Meet that girl with a dopaso thunder (new girl) (8) You form that Texas Star again It's her by the left, left hand Form that star with the ladies in around From here you can finish the figure Corner by the right, right hand off with either the Rollaway variation, around or any of the Dopaso variations.
XV-7 AMERICAN SQUARES 7 We generally reverse the tradition- Hoedown figure, and here's his won- al Texas Star version twice using a derful dance: full turn around, and then reverse it YUCAIPA TWISTER a third time with the California Twirl variation. If the dancers are to finish By Ed Gilmore off with the Rollaway in the variation Allemande left with the old left wing I, then sufficient time should be al- lowed for the dancers to resume the Right hand turn your own sweet thing Star Promenade position with the Gents star left in the center of the set gent's arm around the lady's waist, Left hand star you're not done yet otherwise the Rollaway is awkward. Come back by the right with a right hand star California Twirl variation II. On this variation start from (8) of‘ the Pick up your maid, your own pretty basic version (having reversed the maid Star Promenade once already). This Walk right.around in a star promenade puts the gents on the outside, and al- Gents back out the ladies turn in though it feels a little more awkward Turn once-and-a-half and the ladies than the above variation, it really star in isn't. Reverse that star and you're gone (8) Spread that star don't you blunder again (9) California Twirl the girls duck Gents turn back on the outside track under Meet that lady with a right hand 'round (10) Reverse that star with the Corner by the left when you come gentlemen in down You roll your Texas Star again Back to your partner with a right hand (11) Ladies turn back on the outside 'round track Corner by the left when you come (12) Meet that same gent right hand down around Back to your partner with a right hand (13) Then allemande left with your 'round left hand Go all the way around, once and a half (14) Here we go with a right and left Right hand lady with a left hand 'round grand •Back to your own with a right hand (Without starting any arguments 'round with anybody, as I have observed the Go all the way around to the corner -California Twirl" here, it is so oftep lady done in two counts (strictly "rat-rate Allemande left with your left hand style"). The "Frontier Whit'l" was Walk right in to a right and left grand originally done in four counts. In Hand over hand around you go using "California Twirl" above, we Meet your partner with a dos-a-dos of the Texas Star comes fiom Rod That's back to back and around you go mean the four count Frontib- Whirl It's all around your left hand lady kind. Seesaw your pretty little taw The above variations are all sort of All run away with the corner girl maneuvering the Texas Star. Ed Gil- Take a little walk around the world more in his earlier days, arranged a (c .ffit fined next month) variation of the Texas Star, which he called the Yucaipa Twister. What Ed 4 Ssq‘N \ did was to combine the Texas Star (in N. 4 reverse direction) with the Missouri
8 AMERICAN SQUARES XV-8 Tea 'Years Ago is ,A1L2,41t3C3FLI iaatew r As we start Volume 15 of American they came to dance, not to dress up. Squares, we are taking note of that A person in western costume does not background of nostalgic murmers that look out of place, but 85% of the always seem to be insisting that "The regular members come in street old days were the best days." We clothes. don't think ten years ago was such an Now, it just sticks in my craw a ancient era, but to many of today's little to be told that I have to apear in American square dancers Volume 5 of square dance costume. Of course, it is represents a pre-historic pe- Squares scarcely my business how the private riod. Newcomers may judge how clubs in Houston want to run their much and how little change there has own dances. That's their business. And been from these extracts from Volume what is "square dance costume"? Once 5 . . . "Old-timers" may refresh their in a while one will see a girl in slacks memories and tune up their sigh,.. at an eastern dance—usually an exu- berant teen-ager who has been misled What They Grumbled About by the term "barn dance"—I under- FESTIVALS stand that they are taboo at western dances. Charley Thomas Friend Charles: It's interesting to watch the notices SINGING CALLS? on jamboree's and festivals. The ones I got a letter from out West the I have attended have not impressed other day: "Why do these callers who me, except as beautifully executed can't sing, think they can do singing drills by well trained dancers. calls?" Ralph W. Smith, Norwood, R.I. Some callers I have heard, I swear, Each region is still dancing its own should not be allowed back of a mike style, its own repertoire of dances. In for any call. Their voices were as spite of this, the more alert and for- pleasing as a macaw's. But they too ward looking leaders are reaching out had their following of dancers who and incorporating the delightful swore by them. Should we deny the dances and stylings of other regions. dancers their fun because the callers The square dancer of today comes can't sing? from all walks of life. His intelligence of a rather high order. He will not be Charley Thomas satisfied with a dance program of nar- row scope. Have you noticed that your square Guy R. Merrill, Palm Springs, Calif. dance club has a tendency to be clan- nish? Quite often, and for no reason SQUARE DANCE COSTUME? whatsoever, various groups sort of I learned square dancing with "hang together" and you see this, Denim and Calico and there everyone that or the other group dancing in dressed. When I started the dance at the same corner of the hall dance after the Camden Y, I naturally wore my dance. Right away you branded them costume. The dancers who came to as "stuck up' 'and too good to dance dance, however, clearly indicated that with the rest of the folks. XV-9 AMERICAN SQUARES 9 Well now — what have you been standard patter lines may not have doing all this time—in fact—haven't much reference to modern times, but you been doing the same thing over they are tried and true, and cannot, in another corner? The trouble is that and should not, be overthrown in one no one, including you, has attempted fell swoop. One might as well ask to break the ice. Why not take the that we stop singing old songs because lead—take your gang over and sug- they have no reference to modern gest that you exchange partners once times. or twice during the evening. You Eric Loeb, Haverford College, Pa. might meet some pretty nice folks and possibly some pretty good dancers! What They Danced You might be prone to say—"Who wants to get stuck with a bum part- SASHAY DOWN THE CENTER ner?" So what! Who dragged you By Joe Rantz, Seattle, Wash. around when you weren't so hot? Re- member this—the entire dance group First couple balance and swing is really no better than its worst Sashay down the center of the ring Sashay down the center of the street dancer and maybe that's you! Invite a slow couple to dance in your square And swing your opposite when you occasionally and maybe they'll get meet going too! Why not give it a try any- The gent goes left and the lady goes way? right And three hands round with all your Officers of clubs can do something might about it too! Why not try two or three Three hands round, and when you're program dances during the evening? done Pass out programs to both the gents You raise your arms and pop 'em home and the ladies. Have them already Facing partner, both hands joined marked: Couple Number One, Set Gent 1 & Lady 3, Gent 3 & Lady 1 Number Three, etc. Tell them where directly to side couples, circle 3 1 11/2 each set will be formed and let them times around to put single visitor on find their places. When the sets are outside. Side couples arch, and pop all filled have each person introduce visitor. himself before the dance starts. You'll Repeat for the other 3 couples, with be surprised how the crowd will take your choice of trimmings. to it and nine to one they'll love it. You can "cook" up a lot of ways to THROUGH RING AND SWING mix e'm up and still have fun. Most By Walter Grothe, San Francisco, Cal. people like a variety and little catchy ideas go a long way in getting people Two head couples balance and swing acquainted. Let's give it a try and do And come right out to the right of your best to know everyone in your the ring club and I'll bet that you will find out And around that couple and take a that some of those "high brows" are swing pretty good folks after all. Inside four will form a ring And circle once around Cal Moore Pass right through just you two And around that couple and take a Dear Charley Thomas: swing I can't agree with your suggestion Inside four will form a ring that we "modernize" square dance And circle once around patter. You speak as if there was a Pass right through just you two large movement to develop new patter And around that couple and take a of the cowboy type, yet the two ex- swing amples you give are old. These old Inside four will form a ring
10 AMERICAN SQUARES XV-10 And circle once around third and fourth ladies chain. Pass right through and swing your own And chain right back and keep in time You are not through yet Four ladies chain across the floor Circle up four with the couple you met Now chain right back and we'll dance Four hands up and around you go some more Round and round with a dos y dos Now ladies to the center and back to the bar HAYLOFT POLKA SQUARE And the gents to the center with a (Heel and Toe) left hand star Now around to the one you call your By Gus Empie, Boise, Idaho own Patter call. Any square dance tune. With a full turn around and don't you Buffalo Gals recommended. roam Head two couples balance and swing Each gent picks up his own partner Now up to the center and back to the with his right arm around her waist ring and pivots one turn to his left. Head two couples step right out Now polka with that pretty gal home Partners of first and third couples It's a heel and toe and in you go separate and move to the corners of Regular dance position, gent's left the square — gents step left, ladies heel and toe and left, right, left to- right. ward the center of the set — ladies Side two couples face about counterpart. Partners of second and fourth turn Heel and toe and out you go backs on each other and face corners. Gents right heel and toe and right, Right sashay to the center of the set left right. Two lines of four each sashay to the Now polka boys and don't you roam center of the set and stand in one line Retain regular dance position and two of eight—ladies standing in front of step clockwise around the set to home the gents. position. Sashay back you're not thru yet And balance all when you get hom. Same two lines of four sashay back Repeat for sides leading, fill-in with away from each other. the Texan Whirl and repeat the Polka Now sashay eight to the center of the Square for heads and sides again, end- floor ing with the Texan Whirl. And stand right there and we'll dance some more FERRIS WHEEL Each gent reaches over the shoulders Original Call by J. B. Hurst of the lady directly in front of him and takes hold of her hands. First and third balance and swing Heel and toe and out you go Up to the center and back again With the left foot a heel and toe and Now right and left through and on you sashay: left, right, left. go Heel and toe and back you go. Right and left back and don't be slow. Heel and toe and one two three. (Out Two head ladies chain across to the left) Chain right back to the guy who's boss. Heel and toe and back you flee. (Back) Head gents hook left elbow Now sashay out you're doing fine (Make one complete turn) Now back to the two lines of four that Back by the right and around you go you had at the end of the fourth call. (Make two turns) Turn half around stand four in line While the birdies sing and the church All turn and face the center of the set. bells peal Now pass right thru across the set Let's give them a ride on the Ferris Right and left back you're not thru yet Wheel Now ladies chain within +he line Now take your girl for a turn and a First and second ladies chain while the (Continued on page 1-)