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5 Years of Square Dancng

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5 Years of Square Dancng €1111 0 YEA S of SQUARE DANCING iiiiiiiiiii Nommom ar a caection of calls EMI PRIEM taken from the MIIMMEMEN national square i11111=•=111. dance magazine MENNEN ENE 1111E • I FIVE YEARS OF SETS IN ORDER 1 f Copyright 1954, by SETS IN ORDER Printed in the U.S.A. 1 rtv: YEARS OF SETS IN on:En THE CALL: AND man =PILE FROM so ISSUES or SUS IN :um IN NOVEMBER 1:4: Edited by BOB OSGOOD with help by Jay Orem, Arnie Kronenberger and the Whole Staff of Sets in Order intrd Square Dance Publishers 462 N. Robertson Blvd. Los Angeles 48, Calif. 9)edicatioft TO THE MEMORY OF THESE THREE MEN WHOSE TIRELESS ENTHUSIASM AND PIONEERING SPIRIT BROUGHT SQUARE DANCING TO THE PEOPLE OF CALIFORNIA AND ENCOURAGED ITS DEVELOPMENT AROUND THE WORLD, THIS BOOK IS RESPECTFULLY DEDICATED: JACK HOHEISAL CARL MYLES RAY SHAW 5 7evreetiold • Vy Chuck Jones Hollywood, California SETS IN ORDER! What a challenge that call implies: Come meet new friends and dance with them. Come meet new friends from Storm Lake, Iowa and Boise and Tampa and Birmingham, Alabama. Meet the people from Chicago, from Fort Collins, Colorado and Taos. Shake hands with dancers from Lander, Wyoming, and Austin, Texas. Put your arm around the trim waist of a girl from Tucson and spin with a pretty miss from Seattle. SETS IN ORDER! This is the forming of the squares, the gathering of the clan; the recurring reunion of that large and wonderfully diverse, family of American square dancers. These are people drawn together in common interest, or perhaps in exalted interest for square dancing to square dancers is a happy, lifting recreation. SETS IN ORDER! "How are we doing? We need three more couples in the middle of the floor! Three couples! Two couples! Got 'em? All set!" SETS IN ORDER! There is a special buoyancy when these words come from Bob Osgood. They v• become a song and a praise and a statement of faith because Bob believes in square dancing as a true evidence of American folk culture, as a social factor' unequalled in harmonizing our society and above all because it generates love and confidence among the many divergent peoples of our vast country. SETS IN ORDER! It doesn't seem like there could ever have been any other name for the maga- zine. The term is an introduction to other square dancers, to new dances, to all the news of the square dance world. Wherever the call is heard the magazine is seen: in Yokohama and the Persian Gulf this small periodical finds its amazing way with doings of old friends, with new calls and old calls, with round dances, 7 schottisches, quadrilles, contras and all the new recordings: Jonesy, Gilmore and Maxhimer. Lewis, Holden, Brundage and Page. Arnie Kronenberger and the great, the beloved, Pappy Shaw. Familiar names to square dancers the world over. Neighborly names, these voices have sounded in Nissen huts, in churches and schools, in homes and patios and stadii and basements and on Highway 40 in Steamboat Springs, Colorado. SETS IN ORDER! "Honor your partner. Honor your corner, Now, it's all around your left hand lady, OH BOY, what a baby . " This is Bob Osgood calling and "what a baby" she becomes, this left hand lady of six or seventy-six, this plump and beaming mother or shining sixteen-year old. Because Bob's voice and heart combine to tell you that this is a proud and delightful thing and that those who engage in it are decent and worthy people and that there is grace and beauty in square dancing, but that above all it is fun. Square dancing is fun. This is Bob Osgood's credo and within this simple statement dwells the whole truth, the often obscured truth of square dancing. Square dancing is not a stomp or a bounce or a hard-cider fest. It is not a tug of war or a cotillion or a meeting of the cliques. Above all, it is not a competition. Square dancing is fun. We owe Bob Osgood a great debt in constantly reminding us through his happy magazine and through his happy heart that this is so. My object in living is to unite My avocation and my vocation As my two eyes make one in sight. Only where love and need are one, And the work is play for mortal stakes, Is the deed ever really done For heaven and the future's sakes.* *ROBERT FROST "Two Tramps in Mud Time" from the Complete Poems of Robert Frost, 13y permission of Henry Holt and Company, Inc., 383 Madison Ave., New York, N.Y. 8 Page FOREWORD 7 FIRST TIP 11 A simplified glossary of terms used in the collection. SECOND TIP 13 A collection of 130 squares, breaks and bits of patter as featured in the regular issues of Sets in Order. THIRD TIP 110 Spotlight on callers across the country and a collection of 124 calls, breaks, and patter smatters. FOURTH TIP 153 A sampling of additional "breaks." FIFTH TIP 155 From the special "Workshop" Caller's Edition of Sets in Order come these 53 "proven" calls. SIXTH TIP 168 A glimpse of Rounds — old and new. SEVENTH TIP 169 The past, present, and future of Sets in Order. INDEX 171 FIRST TIP Zead Secteaa THE collection of calls and breaks that have appeared in Sets in Order during the last five years includes many figures called in our early pioneer times. There are just as many dances that have been written in the last year or so that have appealed with equal interest and been accepted with enthusiasm by dancers. Age of the dance is no longer a criterion upon which to base its success or acceptance. A flowing, comfortable dance will last forever, while the uncomfort- able, non-directional, confusing dance will fall along the roadside. Many of yes- terday's dances remain with us today and are as popular as ever. These are figures whose calls tell you what to do and when to do it. They are timed well for the steps the dancers are to take and they weave a pleasing pattern. They include fundamentals that will always be a part of square dancing, and for this reason they will remain ageless. On the other hand, great numbers of yesterday's dances, found in early col- lections, have long since been forgotten. They are the impossible, the uncomfortable and the unsightly figures. They are the dances whose calls tell you nothing, but dances for which the participants must first learn a routine and then on cue, fol- low a series of patterns regardless of the flow of meaningless patter coming from the lips of a caller. Today's calls fit into the same category. A new dance written only last month may have in it simplicity, a flowing figure that becomes enjoyable to all. The calls while either difficult or simple are easy to understand and tell the dancers exactly what is expected. This dance has every right to live. Other figures not so well thought out, may be with us for only a short period of time but they, like the uncomfortable dances of yesteryear, will disappear. Here, on the pages which follow, are hundreds of calls that have proved popular during the years. Many have only been introduced in the last year or two, ■ but they have become accepted. The calls in this volume are taken directly from the pages of the last five years of Sets in Order. Nothing has been changed. Even the original type is reproduced. For that reason, in many cases, the face of type varies. Attempts have been made to give credit wherever possible to those people who have originated the dances. In many cases, such information is not available, and in others, there may be slight differences of opinion. But the one desire of sharing their creative ideas with other square dancers for the pleasure of all, is the unselfish earmark of square dance callers everywhere. Different square dance breaks and bits of patter that have been included in past issues of Sets in Order are also presented on the pages that follow. 11 • 9eaddeprey The compilers of this collection must assume, as in the case of the monthly magazine, that the reader has already mastered the basic `fundamentals of square dancing. The figures in this book are built around such simple figures as: Allemande Left, Grand Right and Left, Allemande Thar, Right and Left Through and Ladies Chain, All Around Your Left Hand Lady, See Saw, Swings, Prom- enades, and the Do-Si-Do families. In order to help in some of the dances, here is an additional little glossary: PARTNER: The lady to the gentleman's immediate right is his partner (re- gardless of whether she is the original partner or not), or the person he is swinging with, doing a sashay with, etc. The person designated as partner may change constantly with the call. CORNER: The lady to the left of where the man is at any given call, unless "original" corner is specified. RIGHT HAND LADY: One lady ahead or counter clockwise from where the man is at any given time. OPPOSITE: The lady across the set from where the man is at the time the call is given or to get to the opposite, man moving clockwise past one lady (designated as corner) and meet the next ( opposite). SASHAY: Originally a series of short sliding steps. In many of today's fig- ures, refers (sashay partners half way round, whirl away with a half sashay, roll away with a half sashay, etc.) merely to exchanging places with your partner, the lady passing in front of the man.
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