Square Dance History and Types

Square Dance Origins (1700s)

• Square dance origins are in English country dances; which included rounds, longways, and "square for eight" formations
• Square dance is also linked to French Contredanses, including the Cotillion "underpetticoat" and the Quadrille
• English country dance is based on the Baroque Contredanses from the French Court of Louis XIV.
• In 1710, Feuillet's Recuil de Contredanse documented country dance footwork.
• English country dancing went to North America with colonists and was popular in New England through the early 1800s

Contredanse

• The Contredanse developed as an 18th-century French twist on English country dance, popular among French, German, and English aristocrats
• Early contredanses used country dance "longways" formations, where couples danced towards the head of a double line, with men on one side and women on the other

Quadrille

• Quadrille is a late 18th and 19th-century dance for four couples in a square formation
• English aristocrats imported the quadrille from Parisian ballrooms in 1815
• Consisted of four, or sometimes five, contredanses
• Each quadrille section had prescribed figure combinations, such as "tour de deux mains" (two-hand turn) or "chaîne des dames" (ladies' chain)
• Couple dancing gained popularity, featuring dances like the waltz, polka, mazurka, and redowa

Other Dances from this time

• Mazurka is a sultry couple dance found in much of western, central, and northern Europe, often danced in France with waltz steps
• Polka is a fast-traveling dance that is easy to learn but requires lots of energy and was originally a Czech peasant dance

French Lancers

• Lancers are elegant quadrille forms
• The Lancers is a sequence of 5 square dances, each with different tempos, and became popular in the mid-to-late 19th century
• The Lancers' Quadrille is known as "The Lancers" and was invented around 1820, becoming popular mid-century.
• Lancers can be performed by sets of four or eight couples

Regional Variations

• New England region had dancing masters were readily available for hire in the 19th century and the dance was enjoyed by everyone and they developed Singing Quadrilles, later known as New England-type dancing
• The South's dance form prevailed in Kentucky and the southern Appalachian Mountains, with geographical isolation preserving traditions and customs
• Southern dance were often in a round eight formation (running set) instead of a square and featured dance action around the square and used the basic step of clogging. The caller could be in or out of the set
• Western square dance resulted from westward and southward migration of settlers with a style of patter calling from Southern and country western hoedowns. Cueing/calls were independent of the dancers' positions
• Texas square dance came from the South with settlers after the Civil War with sparse settlements made social dance gatherings rare. It was an important ingredents of social life and often featured women and fiddlers. Fiddlers were honored due to their scarcity, women took pride in dancing all night, and cowboys would travel miles to "squire" a woman to dance

Early Leaders

• H.F. Greggerson Jr. from El Paso, Texas, traveled West Texas and New Mexico and was an author
• Lloyd Shaw & Dorothy were talented teachers and authors, founded the Cheyenne Mt. Dancers, and sparked interest in American dance

Post-World War II Era

• Rapid square dance growth occurred due to technical advances in sound equipment and population movements with exhibitions and workshops promoted square dance
• Communities hosted festivals and contests, considering them main social events and the annual national square dance conventions began in 1952
• September's 3rd week is designated as Square Dance Week

Standardization of Basic Movements

• Singing Calls are used in the eastern states with arrangements of sequences set to music
• Patter Calls are used in western states and are competitive and free flowing
• Standardized calls made it more popular
• Bob Osgood, a teacher and caller from Los Angeles, helped standardize calls and teaching procedures

Patter Calling & Singing Call Differences

• Patter calling involves the caller directing dancers through formations, eventually bringing them back to home positions, and contains an element of surprise
• Singing call usually has seven sung choruses, including an opening figure, main figure by head couples, a break, a main figure by side couples and an ending with when making up calls, think about eight moves at eight counts a piece for a total of 64 counts. This is the usual length of a chorus in the music

Square Dancing Moves into the 21st Century

• Number of dancers dedicated to mainstream square dance has declined
• Traditional square dance is promoted with contra dance for diversity
• Enthusiasts are interested in researching and preserving American Square Dance

Square Your Sets - Calling

• The caller is responsible for calling sequences that can be executed
• Traditional calling involves patter and singing calls
• Sight calling gives the caller freedom to ad-lib and move dancers with interesting combinations
• Calling is more intricate today due to many combinations and varied choreography

Keys to Good Calling

• Clarity is critical, with a clear voice and enunciation
• Rhythm involves calls on the beat of the music
• Command is projecting calls out that work
• Judgment involves dance progressions relate to ability of dancers
• Enthusiasm involves being friendly, humor and encourages skilled dancers to help others

Lesson Plan Protocol

• Warm-up and review previously learned basics
• Presentation of new basics and isolate each basic, then include a walk through and practice call
• Call and dance in its entirety and introduces other dances with same calls