|  |
| Alamo Style |
Starting formation: same as Allemande Left (#6)
Command examples:
Allemande Left In The Alamo Style
Allemande Left In Alamo Style and Balance
Allemande Left In The Alamo Style, Right To Partner And Balance Awhile
Dance action: Dancers start an Allemande Left but continue the Arm Turn until the men are looking
toward the center of the square and the women are looking out. Maintain the left handhold and join
right hands with the adjacent dancer to form an Alamo Ring.
Ending formation: Alamo Ring
Timing: 4
Styling: Bring both hands up at the same time, sliding smoothly out of the forearm grip of the Allemande
Left, to blend into the same styling as Step to a Wave.
| Allemande Left |
In its most general form, an Allemande Left is simply an Arm Turn by the left (plus a Step Thru as the
dancers head towards their next dancer interaction).
While Arm Turns are used for general arm turns, Allemande Left is mostly reserved for an Arm Turn with
your corner.
The large number of formations from which an Allemande Left is possible will be described in two cases. The Command Examples, Timing, Styling, and Comments sections apply to both cases.
Command examples:
Allemande Left
Left Allemande
Allemande Left Your Corner
With The Corner, Allemande Left
Allemande Left Your Corner; Dosado Your Partner; Allemande Left Your Corner
Allemande Left Your Corner; Allemande Right Your Partner
Allemande Left A Full Turn Around
6.a. Case 1
Starting formations: Eight Chain Thru, Left-Hand Ocean Waves, Right And Left Grand Circle, Thar,
Alamo Ring (men facing in), Trade By plus ends face each other
Dance action: Dancers holding left arms or facing dancers Arm Turn by the left at least 180 degrees until
the men are facing promenade direction and the women are facing wrong way promenade direction.
Step Thru.
Ending formation: Right and Left Grand Circle, men facing promenade direction, women facing wrong way
promenade direction. While the dance action of Allemande Left might not cause the dancers to end in
this formation, the next call should be given as if this were the ending formation. From an Eight Chain
Thru, it would not be proper to call Allemande Left; Trade By, as the dancers are logically in a Right
and Left Grand Circle, not a Trade By formation.
6.b. Case 2
Starting formations: Squared Set, Infacing Circle Of 8, Trade By, Left-Hand 3/4 Tag, Facing Lines, Lines
Back-To-Back, Inverted Lines with Ends Facing
Dance action: If necessary, dancers individually turn in place up to 90 degrees, so that the men are facing
wrong way promenade direction and the women are facing promenade direction. Continue with the
dance action in Case 1.
Timing: 1/2 arm turn: 4-6; 3/4 arm turn: 6-8; Full arm turn: 8
Styling: Forearm handhold
Comments: The variation in the timing numbers is due to the adjustments which may be required before
the Allemande Left (e.g., turning to face your corner, stepping to a left forearm).
Choreography like "Allemande Left Your Corner; Dosado Your Partner; Allemande Left Your Corner"
is acceptable. The command "Allemande Left Your Corner" can be a shorthand for "Face Your Corner;
Allemande Left".
Choreography like "Allemande Left Your Corner; Allemande Right Your Partner" is acceptable. It uses
the dancers' knowledge of Allemande as an arm turn and is danced as Face Your Corner; Left Arm Turn
until you can go to your partner; Right Arm Turn with Your Partner. The next call will determine
when to stop the final arm turn.
Square dancing has had a long history of occasionally requiring dancers to search out and locate their
corner (often by individually turning in place in flow direction, or continuing the last command a little
longer) before doing the Allemande Left. See "Part 4: Additional Detail: Commands: Gimmicks".
Allemande Lefts that require other than a 180-degree arm turn are less frequently used and are moving
towards the Gimmick category. Callers may assist on an Allemande Left that requires some or all of
the dancers to turn 360 degrees by calling, for example, "Allemande Left A Full Turn Around" or
"Allemande Left all the way around to your partner".
Allemande Lefts that require dancers to turn in place more than 90 degrees to find their corner are less
frequently used, and are in the Gimmick category.
From a Squared Set plus everyone Half Sashay, Allemande Left would have dancers face their original
partner and then do the Allemande Left (180 degrees). This would be very unusual calling.
While Allemande Left is intimately associated with Allemande Left Your Corner, the dance actions were
written without reference to Corner. The caller who says, "Allemande Left Your Corner" is both
helping the dancers, in case they are confused with whom to do the Allemande Left, and asserting to
the dancers, "Yes, this person is your corner".
A phrase like "Allemande Left Wrong Corner; Promenade, Keep Walking" or "Allemande Left This
Corner" is occasionally used as a way for the caller to clarify to the dancers that an Allemande Left is
desired, and that the caller understands that the dancers don't all have their original corners and
partners.
As a gimmick, some callers will call "Allemande Left; Right And Left Grand ... On The Third Hand,
Promenade". This causes the dancers to first believe the caller has made a mistake (wrong corner) and
then be surprised by the quick fix.
| Arm Turns |
Starting formations: Facing Dancers, Mini-Wave
Command examples:
Left Arm Turn 3/4
Walk Around Your Corner; Turn Partner By The Left; 4 Ladies Chain
Slip The Clutch; Turn By The Left 3/4, Check An Alamo Ring
All Arm Turn Half
Centers Arm Turn 3/4
Men Star Left 3/4; Turn Corner Right Arm Turn; Do Paso
Allemande Left, Turn partner by the right once around; Men star left 1/2, turn opposite by the right
3/4 to an alamo ring, ...
Turn A Right Hand Half
Alamo Ring: Swing Thru; Turn Your Partner By The Right; Allemande Left
Dance action: Dancers join indicated forearms and walk forward around each other. The amount of turn
can be specified as a fraction (e.g., Half (180 degrees), 3/4 (270 degrees), Full (360 degrees) or implicitly
by the next call (e.g., Turn Partner By the Left; 4 Ladies Chain).
Ending formation: Usually a Mini-wave, or no formation as the dancers prepare to let go of the arm turn
and step forward to do the next call.
Timing: 1/2: 4, 3/4: 4 to 6, Full: 6 to 8
Styling: Forearm hold
Comments: From a Mini-Wave the distance to turn may be specified by a fraction (e.g., Arm Turn 1/2).
From Facing Dancers the distance to turn must be specified by a relative position (e.g., To A Thar, or
To Your Corner) or the next call (e.g., Turn Corner By The Right; Do Paso). It is improper to specify
a fraction.
The Mini-Wave formation does not imply a specific handhold. The styling for Arm Turns and calls
defined with Arm Turns is a Forearm hold. See the section "Dance Action: Defining Calls with Arm
Turns".
| Around 1 or 2 and come into the middle |
13.b. Around 1 or 2 and come into the middle
Starting formation: after a Separate
Command examples:
Heads Pass Thru; Separate Around 1 and come into the middle with a Right and Left Thru
Heads Pass Thru; Separate Around 2 and come into the middle with a Right and Left Thru
Heads Pass Thru; Separate Around 2 and come down the middle with a Right and Left Thru
Dance action: Initially the same as #13.a, above.
When the active dancers pass their last inactive dancers, they will either squeeze in between and
through the inactive dancers (who move apart and back together to make room, as in the call Split 2)
to come into the center of the set and take the next call, or will continue forward in a semi-circle around
their last inactive dancers to end in the center of the set, ready to take the next call.
Once the actives enter the center of the set, they are ready to take the next call. The inactive dancers
finish on the outside of the set where they started and do not participate in the next call.
Ending formation:
- Separate Around 1 and Come Into The Middle: Double Pass Thru, Trade By, others possible
- Separate Around 2 and Come Down The Middle: Squared Set with one pair of couples active, others possible
Timing: Heads Pass Thru; Separate Around 1 and come into the middle with a: 8
Heads Pass Thru; Separate Around 2 and come down the middle with a: 12
Styling: Those not active must counter dance. For example, moving forward to provide room when the
actives are on the outside, sliding apart and together when being split, and moving back to place so as
to finish on the outside. Men's arms in natural dance position; woman's skirt work optional.
Comment: While "Around 1" and "Around 2" are the most common numbers, higher numbers are
acceptable. In all cases, the count is of inactive dancers passed by the active dancers.
| Around 1 or 2 to a Line |
13.a. Around 1 or 2 to a Line
Starting formation: after a Separate
Command examples:
Heads Pass Thru; Separate Around 1 To A Line
Heads Pass Thru; Separate Around 2 To A Line
Heads Separate Around 1 To A Line
Heads Square Thru; Split 2, Separate Around 1 To A Line
Heads Square Thru; Split 2, Around 1 To A Line
Heads Right And Left Thru; Veer Left; Tag The Line; Split The Sides, First Left, Next Right Around
1 to a Line
Dance action: After a Separate, the active dancers walk around the outside of the set passing the
designated number of inactive dancers. The inactives act as stationary objects (referred to as
goal-posts) and do not change their facing direction. However, they should counterdance as necessary
by stepping forward to allow the actives to walk comfortably around the outside, and then step slightly
backward as the actives pass.
The active dancers pass each other as necessary, using right shoulders (as in Pass Thru). The actives
only count inactive dancers in determining how far to go.
When the active dancers walk around their last inactive dancer, they either squeeze in between the
inactive dancers (who move apart to make room) to become the centers of a general line, or stand
outside the inactive dancers to become the ends of a general line. Which action will happen depends
on where the count ends the active dancers with respect to the location of the inactive dancers.
These actions are sometimes also called "Squeeze In -- Make Lines" or "Hook On To The End -- Make
Lines", respectively.
Ending formation: Usually Facing Lines. Occasionally Inverted Lines or 3&1 Lines.
Timing: Heads Pass Thru; Separate Around 1 To A Line: 8 Heads Pass Thru; Separate Around 2 To A
Line: 10
Styling: Those not active move into the center to get out of the way of the actives. Men's arms in natural
dance position; ladies' skirt work optional.
Comments: While "Around 1" and "Around 2" are the most common, higher numbers are acceptable. In
all cases, the count is of inactive dancers passed by the active dancers.
Some callers feel that the word "Separate" is required and the proper call is "Split 2, Separate Around
1 To A Line".
The sequence "Heads Pass Thru; Separate Around 2 And Stand Behind The Sides" is not proper
because each active dancer didn't go around the second inactive dancer at all.
Around 1 or 2 To A Line is not always preceded by Separate. For example, Heads Pass Thru, Both
Turn Right, Girl Around 1, Boy Around 2, To A Line.
| Backtrack |
12.b. Backtrack
Starting formations: Promenade, Star Promenade, Single File Promenade, Wrong Way Promenade
Command examples:
Promenade Single File; Ladies Backtrack
Ladies Step Out And Take A Backtrack
Gents Step Out And Take A Backtrack
Ladies Roll Out And Backtrack
Put the ladies in the lead, go single file; Ladies backtrack once around; Turn partner right a full turn
Star Promenade; Ladies Backtrack, Left Allemande
Promenade Wrong Way; Boys step out to the left and Backtrack twice around
Dance action: The designated dancers walk in a small 180 degree arc towards the outside of the set.
Ending formation: Various, depending on starting formation and who was designated.
Four dancers designated: Four dancers that did not do the backtrack continue starring or promenading
single file in the center of the set and four dancers that did the backtrack will promenade single file in
the opposite direction around the outside of the set.
Everyone designated: Single File Promenade
Timing: 2
Styling: If necessary, release the handhold. Continue with arms in natural dance position.
Comments: Backtrack requires a forward motion before the Backtrack and a forward motion (in the other
direction) after the Backtrack.
The couples version of Backtrack (e.g., Promenade, Head Couples Backtrack) is no longer in use.
| Bend the Line |
20.a. Case 1: One-Faced Line, Two-Faced Line (4 dancers)
Starting formations: One-Faced Line, Two-Faced Line
Command examples:
Bend The Line
Each Side, Bend The Line (from a Tidal Line or Tidal Two-Faced Line)
Dance action: Each half of the line, working as a unit, turns 90 degrees to face the center of the formation.
Ending formation: Facing Couples
Timing: 4
Styling: As ends move forward, the centers back up, equally. Use a couple handhold. In the event a new
line is formed, immediately join hands in the new line.
Comments: From a Tidal formation it is helpful, but not necessary, to say "Each Side".
A couple on the outside of the set (e.g., after a Couples Circulate 1 1/2) can be asked to Bend The Line.
In this case, they assume the other half of their line is towards the center of the set and, working as a
unit, turn 90 degrees to face the center of the set.
20.b. Case 2: Tidal Line (8 dancers)
Starting formation: Tidal Line
Command examples:
Line of 8, Bend The Line
Bend The Big Line
Work 4 By 4 and Bend The Line
Dance action: Same as 23.a
Ending formation: Facing Lines
Timing: 6
Styling: Retain handholds in each half of the line. As the very ends move forward, the very centers back
up, equally. Adjust to Facing Lines at the end.
Comments: From a line of 6, the call "Lines of 6, Bend The Line" is also acceptable.
Attempts to get dancers to bend lines of 2 dancers (e.g., Bend The Little Bitty Line) are considered very
unusual and should not be used.
| Box the Gnat |
Starting formation - facing dancers (man and lady). Dancers step forward, join and then raise their right
hands. The lady steps forward and does a left-face U-Turn Back under the raised joined hands, as the man
walks forward and around the lady while doing a right-face U-Turn Back. Dancers end facing each other,
each in the other's starting position.
STYLING: Start with a handshake position. The joined fingers must be held so that the man's fingers
may turn over the lady's fingers easily while still providing some degree of security or stabilization. At the
completion of the movement, the hands should be in handshake position. TIMING: 4 steps from point
of contact.
| California Twirl |
Starting formation: Normal Couple only
Command example:
California Twirl
With your partner, California Twirl
Lead couples, California Twirl
Center couples, California Twirl
Dance action: Dancers raise joined hands to form an arch and exchange places with each other by having
the woman walk forward and under the arch along a tight left-turning semi-circle. The man walks a
slightly wider right-turning semi-circle. Dancers have exchanged places, passing right shoulders, and
are both facing in the opposite direction from which they started.
Ending formation: Couple
Timing: 4
Styling: Man and woman use a loose hand grip. Outside hands are in natural dance position. For
smoothness, the joined hands should move backward slightly while being raised to form the arch; this
will give the dancers an initial turning motion toward each other.
The woman knows where her head and hands are, so she should lift her own hand far enough to avoid
her head. If she is not comfortable raising her arm, or if the man's arms are not long enough, the
dancers should slide out of the handhold, and gesture with fingertips at an imaginary arch.
It is important that the man does not "wind" or "crank" the woman. The man's hand should be used to
aid the woman's stability as she provides her own momentum.
Hands should be adjusted to couple handholds after completion of the call.
| Circle Left / Circle Right |
1.a. Case 1: 8 dancers
Starting formations: Squared Set, Infacing Circle Of 8
Command examples:
Circle Left
Circle to the Left
Join Hands, Circle Left
Circle Right, The Other Way Back
(while circling left) Reverse, and Circle Right the other way back
Circle
Dance action: Dancers join hands with adjacent dancers to form a circle and move the circle in the
indicated direction, or to the left if no direction was given. The amount to circle may be a specified
distance (e.g., Circle Left 1/2 Way) or until the next command is given (e.g., Circle Left ... Circle Right).
Ending formation: Infacing Circle Of 8. On the command "Stop At Home", the ending formation is a
Squared Set.
Timing: 1/4: 4, 1/2: 8, 3/4: 12, Full: 16
Styling: As dancers join hands (couple handhold) to form a circle, they face slightly left or right as directed.
All dancers walk forward with joined hands, elbows bent comfortably so that hands are above the elbow.
Couple handhold in circles: In circles with alternating men and women, men's palms are up and
women's palms are down. In other circles (e.g., BBGG), everyone has the right-hand palm up and the
left-hand palm down.
Some regions dance 8-dancer circles with a walking step with no turning motion of the body. Other
regions dance 8-dancer circles with a grapevine step, with the body and arms turning left and right, in
synchrony with this step, allowing the dancers to make eye contact with their Corners and Partners
successively.
Comments: The command "Circle", without a direction, is a shorthand for Circle Left. It is mainly used
in Singing Calls when required by the timing of the lyrics.
When circling, "Reverse" or "Go The Other Way" can be used to tell the dancers to stop and circle in the
other direction. It is usually followed with a "Circle Right (or Left)".
1.b. Case 2: 4 dancers
Starting formation: Facing Couples
Command examples:
Circle Left 1/2 Way
Circle Four, 1/2 Way Around
Circle Right 3/4
In Groups of 4, Circle Left 3/4 of the Way Around
Dance action: Same as above. When dancing in a circle of 4, the dancers end as the same facing couples
rotated by the appropriate amount.
Ending formation: Facing Couples
Timing: 1/2: 4, 3/4: 6, Full: 8
Styling: Same as above. The grapevine step is not recommended in 4-dancer circles.
1.c. Case 3: 2 dancers
Starting formation: Facing Dancers
Command examples:
Join 2 Hands And Circle Left Halfway
Make Circles of 2 and Circle Left Halfway
With the person in front of you circle 1/4, 1/2, 3/4, or full around
Allemande Left; Dosado; with your Partner Circle 1/2 and Star Thru
Head Ladies Step Into The Center and Circle 1/2 With Each Other
With the one you face, join both hands and circle 1/2, 3/4 or full around
Dance action: Same as above.
Ending formation: Facing Dancers
Timing: 1/2: 4, 3/4: 5
Styling: In a mixed sex circle, the men dance palms up and the women dance palms down. In a Same Sex
circle, dancers use right hand palm up, left hand palm down. Some regions always use the latter
styling.
Comments: While the concept of circling with 2 or more dancers is part of the Mainstream program, there
is no well established terminology. Callers wanting circles of 2 dancers must use terminology familiar
to their dancers.
Some callers use the phrase "Single Circle" for circles of 2 dancers (e.g., Single Circle 3/4 to A Star
Thru). The phrase "Single Circle" is not explicitly listed and taught at Mainstream so this usage may
cause communication problems. In addition, the phrase "Single Circle" is very similar to the call "Single
Circle To A Wave" which is part of another dance program. Some callers feel that the use of the term
"Single Circle" at Mainstream is improper.
| Circle to a Line |
Starting formation - facing couples. Couples circle left one half (180°). The lead dancer in the couple who
started on the inside (man's position) releases the left handhold, but retains the handhold of the dancer
on his right to become the left end dancer of the line. The released dancer moves forward under the raised
arm arch formed by that dancer and the adjacent dancer to become the right end dancer in the line.
STYLING: The circle portion is the same styling as in circle eight. As the man breaks with his left hand
to form a line, he should lead the line several steps before turning. After the end lady has released her
right hand, and while retaining the right hand of the man beside her, together they will raise their joined
hands and make an arch. Then as the line begins to straighten out, she will move forward under this arch,
turning left face gradually under her own left arm so that instead of backing up she is moving forward to
the end of the line. TIMING: 8 steps.
| Circulate Family |
Starting formation - waves, columns, lines and two-faced lines. GENERAL RULE: Directed (active)
dancers move forward along the circulate path to the next position. The circulate paths for various
formations are indicated by the dotted lines in the diagrams.
(a) (NAMED DANCERS): Directed dancers (e.g., boys, girls, centers, ends) circulate using the general rule.
(b) ALL 8 CIRCULATE: Starting formation - any 2x4 arrangement of dancers including lines, waves, and
columns. Dancers in a column move forward one position on the column circulate path. Dancers in a wave
or line move forward one position on the wave or line circulate path.
(c) COUPLES CIRCULATE: Starting formation - lines or two-faced lines. Each couple, working as a unit,
moves forward along the circulate path to the next position, using the general rule.
(d) SINGLE FILE CIRCULATE: Starting formation - columns. Each dancer moves forward along the
circulate path to the next position, using the general rule.
(e) SPLIT CIRCULATE: Starting formation - lines, waves or columns. The formations divide into two
separate boxes and dancers circulate within their own foursome, using the general rule. BOX
CIRCULATE: Starting formation - box circulate. Each dancer moves forward along the circulate path to
the next position, using the general rule.
STYLING: All dancers use couple handhold when doing a couples circulate. Couples traveling the shorter
distance should adjust with shorter steps to coincide with those traveling the longer distance. Those
traveling the longer distance should avoid rushing. Arms should be held in natural dance position and
ready to assume appropriate position for the next call. TIMING: From ocean waves (OW), centers, 4
steps; ends, 4 steps; all, 4 steps; couples, 4 steps.
(Editor's Note: In the following six circulate "paths", the facing directions of all of the dancers in any of
the examples could be reversed so that 12 different "paths" will result.)
There has been occasional confusion on the proper use of all of the circulates.
- From right- or left-hand columns, the following calls are equivalent and ask the dancers to move forward one position on the column circulate path: SINGLE FILE CIRCULATE, COLUMN CIRCULATE, ALL 8 CIRCULATE, EVERYONE CIRCULATE, or simply CIRCULATE.
- From two-faced lines, the following calls are equivalent and ask the dancer to move forward one position on the wave or line circulate path (which for two-faced lines is the same as the couples circulate path): ALL 8 CIRCULATE, COUPLES CIRCULATE, EVERYONE CIRCULATE, or simply CIRCULATE.
- From lines and waves, the following calls are equivalent and ask the dancer to move forward one position on the wave or line circulate path: ALL 8 CIRCULATE, EVERYONE CIRCULATE, or simply CIRCULATE.
- It is improper to call SINGLE FILE CIRCULATE from other than right- or left-hand columns.
- COUPLES CIRCULATE is only called from right- or left-hand two-face lines.
- It is improper to teach that ALL 8 CIRCULATE always means that ends stay ends and centers stay centers. This statement is true from lines and waves, but not from columns.
- It is improper to call ALL 8 CIRCULATE from columns and expect the center 4 dancers to work together and the outside 4 dancers to work together.
- If the desired action is to divide the waves or columns into two separate groups, and have each group perform a circulate-type action, SPLIT CIRCULATE is the correct term to use.
- If the desired action is to have the center 4 of waves, two-faced lines, or columns perform a circulate-type action within the center, BOX CIRCULATE is a correct term to use, but it may require naming those dancers. For example, Heads Touch 1/4; Heads BOX CIRCULATE, or Pass To The Center; Centers Touch 1/4 and BOX CIRCULATE).
- It is improper to simply call BOX CIRCULATE from waves, lines, or columns. You must specify who is to BOX CIRCULATE.
- From waves and two-faced lines, "CENTERS CIRCULATE", "CENTER 4, BOX CIRCULATE", and "CENTER BOX OF 4, CIRCULATE" are all acceptable.
- From columns, "CENTER 4, BOX CIRCULATE" and "CENTER BOX OF 4, CIRCULATE" are acceptable. "CENTERS CIRCULATE" is ambiguous and its usage should be avoided. It could mean centers do your part of column circulate, or it could mean for the center 4 to circulate in the center.
| Courtesy Turn |
Starting formation - couple, facing dancers. (Limited at Basic and Mainstream to couples with man on left,
woman on right.) The man (left hand dancer) takes the lady's (right hand dancer) left hand (palm down)
in his left (palm up) and places his right hand in the small of the lady's back. Working as a unit, the couple
turns around with the left hand dancer backing up and right hand dancer walking forward. Unless
otherwise specified, the couple faces the center of the set or the center of the formation in which it is
working.
STYLING: Men, the extended left hand serves as a direction indicator and the man uses his left hand to
lead, not pull. Place the right hand in the small of the lady's back. Ladies use the right hand to work the
skirt. The call courtesy turn is limited to turning a woman on the man's right. TIMING: 4 steps.
| Dive Thru |
Starting formation: Facing Couples (at least one of which is normal)
Command examples:
Dive Thru
Right and Left Thru; Heads Arch, Sides Dive Thru
Promenade, Keep Walking; Heads Wheel Around and make an Arch, Sides Dive Thru
Dive In To The Middle
Centers Arch, Dive Thru
Outsides Dive Thru
Centers Arch, Outsides Dive Thru
Dance action: One couple makes an arch by raising their joined hands, while the other couple ducks under
the arch. Both move forward. The couple making the arch does a California Twirl.
Unless otherwise specified, it is the couple whose back is to the center of square who makes the arch,
and the outside couple who ducks under. If neither couple has its back to the center of the set, then
the caller must specify who is to make the arch, or who is to Dive Thru the arch, or preferably both.
Ending formation: Tandem Couples
Timing: Couple diving under: 2, couple making the arch: 6
Styling: The couple making the arch uses a loose handhold. Stand far enough apart to allow another
couple to dive under. It is permissible for dancers making the arch to part hands momentarily if it is
uncomfortable to reach over diving dancers. The couple making the arch should keep the arch, and
blend smoothly into the California Twirl, rather than dropping their hands and then raising them
again.
Couple diving under uses couple handhold. Bend low enough and stay close enough to partner to move
comfortably underneath the arch.
Comments: While the smallest starting formation is listed, Dive Thru is almost always called from an Eight
Chain Thru formation, ending in a Double Pass Thru formation.
From a couple facing a single dancer, one could call, for example, Centers Arch, Head Lady Dive Thru.
The couple making the arch must be a normal couple in order to be able to do the California Twirl.
| Do Paso |
Starting formations: Right and Left Grand Circle, Thar, Squared Set, Infacing Circle Of 8, or a "turning
your partner left" formation (the dynamic formation obtained from a square plus all arm turn your
partner by the left an indefinite amount)
Command examples:
Do Paso
Walk Around Your Corner; Partner Left Do Paso
Circle Left; Do Paso, it's Partner Left, Corner Right, Partner Left
Circle Left; Break it on up with a Do Paso
Ladies Star by the Right 3/4, Do Paso
Four Ladies Chain, Star them home for a Do Paso
Square Thru, but on your 4th hand Do Paso (from half sashayed facing lines)
Do Paso, turn partner left and corner right, Left Dosado your own
Do Paso, partner left, corner right, Turn Partner Left and Men Star Right
Put the ladies center back-to-back, men promenade that outside track; Get back home, Do Paso
Dance action: Left Arm Turn with partner until facing corner and release armhold. Right Arm Turn with
corner until facing partner and release armhold. If there is no further instruction, Courtesy Turn
partner to end facing the center of the set. Otherwise, follow the next instruction, which will start with
a Left Arm Turn with Partner, or with a left-handed Facing Dancer call.
Ending formation: Facing center of set if ended with a Courtesy Turn; otherwise, either turning partner
by the left, or facing partner with a left hand available as necessary for the additional call.
Timing: 12
Styling: All dancers' hands in position for forearm turns, alternating left and right. When the Courtesy
Turn portion of the Do Paso is replaced by a different call, then the styling changes to styling of that
call.
Comments: In an Alamo Ring in which the men are facing out, the initial arm turn will be left 3/4 so that
everyone can head to their corner.
Do Paso is used primarily with a directional style of calling, in which many of the calls have vague or
flexible starting or ending formations, usually in circles, thars, and squares. Dancers are expected to
blend smoothly into the next call. The call defines a general pattern, but the specific parts of the call
are typically cued (e.g., "Do Paso; It's partner left, corner right, partner left and hang on tight, make
an Allemande Thar with the men in the middle ..."). Variations can be cued, but the caller should draw
attention to the fact that the typical pattern has been broken (e.g., "Do Paso, turn partner left, turn
corner by the right, Don't Stop Yet! Partner left and corner right, hang on tight, Boys swing in to a
Wrong Way Thar").
The combination Four Ladies Chain, Chain Them Back with a Do Paso is an example of blending. See
the section "Part 4: Additional Detail: Blending one call into another".
While primarily a circle-type figure, Do Paso may also be started from 8 Chain Thru (half sashayed)
and Left-Hand Ocean Waves (boys on end).
Do Paso may also be used from circles of 4 and 6 dancers. These applications have received insufficient
use in recent years and will probably require a quick walkthru.
| Dosado / Dosado to a Wave |
3.a. Dosado
Starting formation: Facing Dancers
Command examples:
Dosado
Dosado your corner
Dosado your partner
Head Men Dosado
Heads Go Forward And Back; Heads Dosado
Dance action: Walking a smooth circular path, dancers walk forward, passing right shoulders, slide
sideways to the right, walk backwards, passing left shoulders, and slide slightly to the left to return to
their starting position.
Ending formation: Facing Dancers
Timing: Designated dancers from a Squared Set, returning to a Squared Set: 8; otherwise 6
Styling: Men: arms in natural dance position, right shoulders forward as right shoulders pass, left
shoulders forward as left shoulders pass. Women: both hands on skirt, moving skirt forward and back
to avoid opposite dancer, right hand forward as right shoulders pass, left hand forward as left shoulders
pass.
Some new dancers dance Dosado with their arms crossed in front of them. While this indicates that
the dancer has been exposed to square dancing in the past, it is not the recommended styling today.
Comments: The command "Dosado Your Corner" is a shorthand for "Face Your Corner; Dosado". The same
for "Dosado Your Partner".
The Ocean Wave Rule applies to this call. The ending formation remains Facing Dancers.
From a Squared Set, Head Men Dosado is acceptable. They approach each other, Dosado, and return
to their original position.
A Dosado which starts by passing left shoulders is called Left Dosado.
Formerly the phrase See Saw was occasionally used to accomplish a Left Dosado. In 2003 the
Mainstream Committee voted to drop that application of See Saw and requests that callers use Left
Dosado.
3.b. Dosado to a Wave
Starting formation: Facing Dancers
Command examples:
Dosado To A Wave
Dosado and Make A Wave
Dance action: In one smooth motion, Dosado and Step To A Wave.
Ending formation: Right-Hand Mini-Wave
Timing: 6
Styling: Follow the styling for Dosado and Step To A Wave.
Comment: The Ocean Wave Rule applies to this call.
| Double Pass Thru |
Starting formation - double pass thru. Dancers move forward, passing right shoulders with two other
dancers to finish facing away from the center of the set in a completed double pass thru formation.
STYLING: Same as in pass thru. Dancer leads slightly with right shoulder and therefore the lady could
use her right hand to work her skirt by putting it in front of her as she passes. TIMING: 4 steps.
| Extend (from 1/4 Tag only) |
Starting formation - 1/4 tag formation only. Dancers in the wave release hands and step forward to the
couple they are facing and join hands in a right-hand wave. If the wave is left-handed, dancers extend to
a left-hand wave. Note: Centers in the wave remain centers in the new waves and ends in the wave end
as ends in the new waves.
STYLING: All dancers move forward smoothly during the extending action and use appropriate handholds
and styling for the formation achieved. TIMING: - 2 steps.
| Face In/Out |
Face In: Means "turn 1/4 in place, turning toward the center of the set".
Face Out: Means "turn 1/4 in place, turning away from the center of the set".
| Ferris Wheel |
Starting formation: Two-Faced Lines
Command examples:
Ferris Wheel
Ride A Ferris Wheel
Dance action: Each Couple Steps Forward. Out-facing couples do their part, Wheel And Deal. In-facing
Couples form a momentary Two-Faced Line in the center, and without stopping Wheel And Deal.
Ending formation: Double Pass Thru
Timing: 6
Styling: All dancers use couple handholds. The in-facing couples should walk forward enough that they
could form a Two-Faced Line in the center before starting their Wheel And Deal. The dance action
should be a forward and wheeling action, not a bending and sweeping action.
It is not necessary for the couples to touch adjacent hands in the momentary two-faced line, but some
popular styling variations do involve touching or slapping hands.
The timing works best if the out-facing couple adjusts their speed so that everyone finishes at the same
time.
Comments: As originally defined, there were other starting formations for Ferris Wheel (Facing Lines, 1/4
Line), but those variations have never been part of the CALLERLAB program.
From the formation Two-Faced Lines plus the couple looking in Bend The Line, the call Ferris Wheel
is proper. This application is uncommon. Each Couple does their part.
The phrase "Ferris Wheel And Deal" is improper.
| First Couple Go Left/Right, Next Couple Go Left/Right |
Starting formation: Completed Double Pass Thru
Command examples:
Double Pass Thru; First Couple Go Left, Next Couple Go Right
Double Pass Thru; First Couple Go Right, Next Couple Go Left
Double Pass Thru; First Couple Go Left, Next Couple Go Left; Promenade, Keep Walking
Double Pass Thru; First Couple Left, Next Right
Dance action: Dancers, with each couple working as a unit, walk forward in an arc in the indicated
direction. The center couple walks forward before taking the second direction given.
If the couples are asked to go in opposite directions (e.g., First Couple Go Left, Next Couple Go Right),
they should move in a tight circle in their specified direction for half a circle. At this point they will be
facing another couple and the ending formation will be Facing Lines. The other couple in their line will
be the couple that started facing the same way immediately ahead of or behind them.
If both couples are asked to go in the same direction (e.g., First Couple Go Left, Next Couple Go Left)
the ending formation is a Promenade or Wrong Way Promenade, and the next call is usually
Promenade.
Ending formations: Facing Lines, Promenade
Timing: 6
Styling: Use couple handholds. Dancers in each couple who are making the tighter turn serve as the pivot
point and should exert slight pressure to assist as in any wheel around movement. If the next call is
Promenade, adjust to a promenade handhold.
Comment: The following sequence is occasionally used (women must be centers): Tag The Line (or Double
Pass Thru); Lady Go Left, Gent Go Right, Allemande Left. The "Go" gets the dancers turning in the
specified direction, and the immediate Allemande Left successfully completes the sequence. These
definitions are not going to further define "Go" and recommend that callers should not expand on this
usage.
| Flutterwheel / Reverse Flutterwheel |
Starting formation - facing couples.
(a) FLUTTERWHEEL: The right hand dancers go in to the center
and turn by the right forearm. As they move adjacent to the opposite dancer,
they reach out with the free (left) hand and, taking the right hand of the
opposite dancer, each continues on around to the original right
hand dancer's starting position, releasing arms in the center and turning as a couple
to face the center.
(b) REVERSE FLUTTERWHEEL: Generally the same as flutterwheel except that the
two left-hand dancers start with a left forearm turn and pick up the opposite
dancers to return to their (the left hand dancer's) starting position.
STYLING: Dancers turning in the center should remember the principle of the forearm turn
(see Basics #7c and b). The dancer being picked up can enhance the movement by anticipating
the approach of the opposite dancer and step beside that person, taking normal couple handhold.
If girls are on the outside, skirt work with the free hand is desirable.
TIMING: From a static square (SS), head or side ladies, 8 steps. All four ladies, 12 steps.
| Forward And Back |
Starting formations: Squared Set, Infacing Circle Of 8, Facing Lines
Command examples:
Up To The Middle And Back
All Go Forward And Back
Join Hands, All Go Forward And Back
Into The Middle With A Great Big Yell (from Squared Set or Infacing Circle Of 8)
Heads Go Forward And Back (from a Squared Set)
Lines Of 4, Up And Back (from Facing Lines)
Lines Up to the middle and Back (from Facing Lines)
Rock Forward And Back (from Facing Lines)
Dance action: Dancers join hands with those next to them, walk forward 3 steps,
pause, walk backwards 3 steps, and pause.
Ending formation: Same as starting formation
Timing: Lines close together: 4; All others: 8
Styling: Each dancer steps forward three steps and pauses while bringing
the free foot forward and touching it to the floor without transferring weight.
Each dancer steps back three steps beginning with the free foot and pauses while
touching the free foot beside the weight-bearing foot.
From Facing Lines or similar situations in which eight counts are not appropriate,
each dancer steps forward and pauses while bringing the other foot forward and touching
it to the floor without transferring weight. Each dancer then steps back on the free
foot and pauses while touching the other foot beside it.
As couples or lines meet in the center, the end dancers may touch or clap their
outside hands palm to palm (palms flat, fingers pointed upwards).
Comments: The timing of a Forward And Back from Facing Lines depends on
several factors. In Traditional Squares and Contras with phrased calling, it is
definitely 8 steps. In Mainstream, it can be 8 steps if the caller assures that
the lines are not too close together at the start and delivers the call
in a way that encourages the dancers to take the full 8 steps
(e.g., Lines Go Forward ... And You Come Back Out).
The choreographic style and delivery of Modern Western patter calling have
evolved in such a way that Forward And Back is most often danced in 4 steps.
Some callers clue the dancers to take 4 steps with phrases like "Balance Up And Back"
or "Rock Forward And Back", and otherwise expect 8 steps. Other callers believe that
the distance between the lines determines the timing, not what the caller says.
Some callers only allow 4 steps.
Forward And Back is also used as a signal from the caller to any square that has
broken down that it can get started again by making normal Facing Lines and joining
the sequence in progress.
| Grand Square |
Starting formation - square. A call that has the sides doing one part while at the same time the heads are
doing another. Heads move forward into the square (4 steps), turning one quarter (90°) on the fourth step
to face partners and back away to the sides of the square (4 steps). Turn one quarter (90°) to face the
original opposites. Back away to the corners of the square (4 steps) and turn one quarter (90°) to face
original partners and walk forward to home (4 steps). Do not turn. (Total to here: 16 steps.) From this
point the action is reversed. Heads back away from their partners (4 steps), turning one quarter (90°) on
the fourth step and walk forward to the opposites (4 steps). Turn one quarter and walk forward into the
center toward partners (4 steps). Turn one quarter (90°) to face opposites and back up to home (total:
32 steps). While the head couples are doing the first 16 steps, the sides start by facing their partners to
back away and do the second 16 steps. Completing this, the sides do the first 16 steps, while the heads are
doing the last 16. The principle of walking three steps and then turning (or reversing) on the fourth step
is followed throughout. This call may be broken into fractional parts by the caller directing the number
of steps required. The call may also start with the heads, or other designated dancers, directed to face.
STYLING: Mens' arms in natural dance position; ladies work skirt with natural swinging action. When
moving forward and backward as a couple, normal couple handhold is desired. TIMING: 32 counts.
| Half Sashay |
11.a. Half Sashay
Starting formation: Couple
Command examples:
Heads Half Sashay
Right and Left Thru; Half Sashay
Sides Pass Thru, Half Sashay, and Separate Around One To A Line
All 4 Ladies Chain; Half Sashay; Circle Left
Dance action: Dancers exchange places without changing facing directions. Dancer on the right side steps
to the left while the dancer on the left steps back, side steps to the right, then steps forward, ending as
a couple.
Ending formation: Couple
Timing: 4
Styling: Dancers use a normal couple handhold, pulling slightly toward each other as they initiate the
sashay movement. As the dancers complete the call, they catch hands to end in a couple handhold
(unless that is inconvenient for the next call).
Comments: While the command is properly given as "Half Sashay", it is occasionally shortened to "Sashay".
This shortened form can be confusing and should not be used.
The terms "Full Sashay" or "Sashay All The Way Around" are not part of any dance program. This is
improper language and should not be used.
The command "Half Sashay Once and a Half" is proper and has been seeing increased usage. It ends
in a Tandem. See the section "Part 4: Additional Detail: Fractions".
| Ladies Chain Family |
(a) TWO LADIES CHAIN: Starting formation - facing couples (man on left, lady on right). The ladies step
forward, extend right hands to each other and pull by. Each man steps forward and to the right, turning
left to face the same direction as the lady beside him. The lady extends a left hand to the man for a
courtesy turn. Couples end facing each other.
(b) FOUR LADIES CHAIN: Starting formation - square or circle of 8 dancers. Similar to two ladies chain
except that all four ladies step to the center and form a right hand star. They turn the star halfway around
to their opposite men. All courtesy turn to face the center of the set. NOTE: TWO (or FOUR) LADIES
CHAIN THREE QUARTERS: Starting formation - facing couples, a square or circle of 8 dancers. The
directed ladies step to the center, form a right hand star and turn the star three quarters. All courtesy
turn to face the center of the set.
(c) CHAIN DOWN THE LINE: From a right hand line or left hand ocean wave, centers trade while ends
adjust as necessary. Then the ends courtesy turn the centers. Ending formation is facing couples.
STYLING: Men release partner then turn right shoulder slightly toward the center of the square to begin
the courtesy turn portion of the call, step back with the left foot. Ladies use handshake pull by for two
ladies chain. No skirt work except as part of the courtesy turn. Three quarter and four ladies chain, ladies
use the hands up palm star, touching right hands in the star pattern. It is important that the man clears
a path for receiving the lady after the chain by moving slightly to the right and starting the courtesy turn
motion before the lady arrives. TIMING: SS, two ladies across set, 8 steps; three quarters, 10; four ladies
across set, 8; three quarters, 10; down the line, 8.
| Ladies In, Men Sashay |
Starting formation: Infacing Circle Of 8 of alternating men and women
Command examples:
Circle Left; Ladies In, Men Sashay; Circle Left
Circle Left; Ladies Center, Men Sashay
Circle Right; Ladies In, Men Sashay
Circle Right; Men Center, Ladies Sashay
Circle Left; Men Center, Ladies Sashay
Dance action: From a Circle Left, the ladies step forward and pause while the men continue to move to the
left, behind, and past one lady. The ladies now step back and rejoin hands in a circle with the men.
From a Circle Right, the men move to the right.
Ending formation: Infacing Circle Of 8
Timing: 4
Styling: Men's hands in slightly up position ready to rejoin the women in the circle. Commonly women
have both hands on skirt when moving to the center and either momentarily bunch skirts or flip the
skirt front up slightly before returning to the circle.
Comment: Used for occasional variety, any dancers can be asked to go "In" while the others "Sashay" (e.g.,
"Men In, Ladies Sashay")
| Lead Right |
Starting formation: Couple
Command examples:
Heads Lead Right
Sides Lead Out To The Right
Couple #1 Lead Out To The Right
Wheel And Deal and Lead Right (from Right-Hand Tidal Two-Faced Line)
Dance action: Directed couple(s), working as a unit, move forward along a 90 degree arc to face the couple
(or wall) to their right.
Ending formation: Couple
Timing: 4
Styling: A couple handhold is maintained throughout the call. Outside hands in normal dance position.
Comments: This call is almost always done from a Squared Set, ending in an Eight Chain Thru.
The active couples have an expectation of facing other dancers at the end of the call. Applications of
Lead Right that leave the dancers facing no one may be considered unusual.
When done from Facing Couples, the ending formation is Back-to-Back Couples.
| Ocean Wave Family |
Ocean wave is a formation of three or more dancers holding adjacent hands and with each dancer facing
in an opposite direction to that of the adjoining dancer(s). MINI WAVE is an ocean wave consisting of two
dancers. RIGHT HAND WAVE: An ocean wave with an even number of dancers is a right-hand wave if
the end dancers and the dancers adjacent to them have right hands joined. LEFT HAND WAVE: An
ocean wave with an even number of dancers is a left-hand wave if the end dancers and the dancers adjacent
to them have left hands joined. ALAMO STYLE WAVE: Alamo style is a formation of an even number
of dancers in a circle holding adjacent hands and with each dancer facing in an opposite direction to that
of the adjoining dancers.
(a) STEP TO A WAVE: Starting formation - facing dancers. Dancers 1/2 Pass Thru (i.e. walk forward a
small step and make a mini-wave). Ending formation is a right-hand mini-wave. Usually STEP TO A
WAVE is called from facing couples, ending in a right-hand ocean wave.
(b) WAVE BALANCE: Starting formation - mini-wave, ocean wave. Each dancer steps forward and pauses
while bringing the other foot forward and touching it to the floor without transferring weight. Each steps
back on the free foot and pauses while touching the other foot beside it.
STYLING: Dancers should use hands-up position. Forward distance between dancers should be
determined by the arm position of the dancer which is extended forward and bent slightly at the elbow.
Care should be taken not to pull down on the partner's arm. In the Ocean Wave Balance, hands should
never come behind the shoulders. Step forward touch, step back touch. Or, as a pleasing variation, use
a two-step (step, close, step, hold) forward and a two-step (step, close, step, hold) back. Hands may be used
to resist forward motion to prevent stepping through too far. TIMING: One balance forward and back,
4 steps.
| Pass the Ocean |
Starting formation: Restricted at Basic and Mainstream to Facing Couples only
Command example: Pass The Ocean
Dance action: Pass Thru; Face your Partner; Step To A Wave
Ending formation: Right-Hand Ocean Wave
Timing: 4
Styling: The 3-part definition is smoothed out. The left-side dancers walk in a forward arc to the right to
their ending position. The right-side dancers walk forward to join left hands (hands up styling) and
turn 1/4 with each other.
Comments: The application of the Ocean Wave Rule to this call is not used at Basic and Mainstream. It
may be applied in the other programs.
Even though the styling encourages a smoothed out dance action, the definition of Pass The Ocean has
three distinct parts and callers may take advantage of this in their choreography.
This call should not be fractionalized at Basic and Mainstream.
| Pass Thru |
Starting formation: Facing Dancers
Command examples:
Pass Thru
Dance action: Dancers move forward, passing right shoulders with each other and end back-to-back.
Ending formation: Back-To-Back Dancers
Timing: 2
Styling: Man's right shoulder slightly forward as right shoulders pass. Arms in natural dance position.
Woman works skirt with hands, right hand leading as right shoulders pass.
Comments: Pass Thru is proper from a Right-Hand Mini-Wave because of the Ocean Wave Rule. It is the
same as Step Thru.
Pass Thru is improper from a Left-Hand Mini-Wave because of the left shoulder pass. Use Step Thru
instead.
Pass Thru from a Left-Hand Ocean Wave, making use of an implicit "those who can", and expecting
only the centers to be active is rarely used and goes against dancer expectation. Use "Centers Pass
Thru" or "Centers Step Thru" instead.
From a Squared Set, Heads Pass Thru is proper. It ends with the Heads back on Squared Set spots.
See Squared Set Convention.
Pass Thru is improper from dancers who are further apart than directly facing, or on a diagonal with
respect to each other. Using a phrase like "Boys On A Diagonal, Pass Thru", the caller can accomplish
the desired dance action.
Pass Thru is proper from a Couple facing an individual Dancer. In this case, the Dancer splits the
couple, having the effect of passing one dancer right shoulders and the other dancer left shoulders.
| Promenade Family |
A promenade is a walk around the set by some or all dancers. The active dancers may go as individuals
or as couples. They may go in promenade direction (counterclockwise when viewed from above) or
wrong way promenade direction. They may travel all the way around the set or a shorter distance.
When not all dancers are active, there is a further choice of traveling around the inside or outside of
the set. All of these alternatives are determined by the call.
5.a. Couples (Full, 1/2, 3/4)
Starting formations: Promenade, Squared Set, Right and Left Grand Circle (men facing counterclockwise,
women facing clockwise)
Command examples:
Promenade, Keep Walking
Promenade, Don't stop, don't slow down
Promenade Home
Heads Promenade 1/2
Heads Promenade Half Way
Sides Promenade 3/4
All Promenade to the ladies home position
Dance action: If necessary, adjust to a Promenade formation as follows:
- From a Squared Set, as a couple, turn to face promenade direction.
- From a Right and Left Grand Circle, those facing promenade direction step forward and to the inside while the others turn around in a comfortable direction.
Each couple, as a unit, walks forward around the circle the designated amount or as otherwise directed. On the command "Promenade Home" the couples promenade to the man's home position.
If certain couples are named, they promenade around the outside of the set, unless instructed
otherwise.
At the end of the promenade each couple turns, as a unit, to face the center of the set.
Ending formations: Promenade (e.g., Promenade, Keep Walking), Squared Set (e.g., Promenade Home),
or couples facing in on the outside of the set (e.g., Sides Promenade 3/4; Heads Square Thru 3).
Timing: 1/4: 4, 1/2: 8, 3/4: 12, Full: 16
Styling: When all promenade, the man's distance from the center of the set is slightly greater than that
of a Star Promenade. He should be moving forward around the circle, not pivoting in place. However,
if the formation becomes too spread out, the women will have to travel too far and too fast to meet
proper timing.
There are several alternative handhold positions used while promenading. While CALLERLAB
recommends the Skater's position (described below), new dancers should be taught the handhold
position in popular use in their region and at their club.
Experienced dancers may choose among the various promenade handholds based on club and regional
standards, the previous call, the caller's timing, and their partner's preferences.
In addition to the handhold positions mentioned below, on a designated dancers Promenade a specified
distance from a Squared Set (e.g., Heads Promenade 1/2), the couple handhold is also acceptable.
While Promenade is not a sex-dependent call, the following descriptions are given assuming a normal
couple:
Skater's position: Right hand in right hand, left hand in left hand. The man's hands are palm up, right
forearm over the woman's left arm. Her hands are palm down in man's hand. Joined hands should be
positioned equally between partners. Some dancers move their hands in time to the music as they
promenade. Others hold them rigidly.
Skirt Skater's position: Left hands joined in front of the man. Right hands joined at right side of
woman's waist.
A variation of Skirt Skater's has the woman's right hand holding and working her skirt (see "Skirt
Work" in "Part 4: Additional Detail: Styling: Other styling terms and issues"). The man's right hand
is in the middle of her lower back.
Varsouvienne position: Left hands joined in front. Woman's right arm bent, palm up near shoulder.
Man's right arm behind woman's shoulder, his right hand face down in her right palm.
Ending the promenade (no twirl): As the dancers reach their final destination, they turn as a couple,
to face in and change their handhold, if necessary, to that of a couple handhold.
Ending the promenade (twirl): See "Twirls" in "Part 4: Additional Detail: Styling: Other styling terms
and issues". A few steps before the end of the Promenade the man must lead the twirl so that it finishes
as the couple arrives home.
From a Skater's position, the man leads the twirl by letting go with his left hand and raising their
joined right hands, gently guiding the woman through a clockwise twirl underneath. At the end, the
woman lets go with her right hand, and offers the man her left hand to end with a normal couple
handhold, facing across the set.
Alternatively, the man leads the twirl by letting go with his right hand and raising their joined left
hands, gently guiding the woman through a clockwise twirl underneath. As she completes the twirl,
he changes hands so that he finishes guiding her with his right hand. They end with a normal couple
handhold, facing across the set.
From Skirt skater's or Varsouvienne positions, the man leads the twirl by raising the joined left hands,
gently guiding the women through a clockwise twirl underneath. As she completes the twirl, he
changes hands so that he finishes guiding her with his right hand. They end with a normal couple
handhold, facing across the set.
After the twirl, it is common in some areas for dancers to balance away and then clap outside hands
with each other (flat palms, fingers pointed upward), ending as a couple facing into the square.
Same sex Promenade: Dancers use Couple Handhold or Skater's position. If the call is Promenade
Home, the caller must further specify what is to be done since promenading to the man's home doesn't
make sense.
Inactive dancers should take a step toward the center of the set to assist the active dancers in their trip
around the outside. After all active dancers have passed by, the inactives can step backward to return
to place.
Comments: All promenades should be more than a quarter of the way around the set. If a promenade
would go less, then the dancers should add a full promenade.
The Promenade that goes in a clockwise direction is called "Wrong Way Promenade" or "Promenade,
Wrong Way". It was dropped from the Mainstream program in 1989 and its use at Mainstream would
require teaching or careful delivery by the caller. See "Part 4: Additional Detail: Commands:
Extensions like Reverse Wheel Around".
In the unusual case of a Wrong Way Grand followed by a Promenade, the man steps to the inside and
turns around, the woman steps to the outside, and both Promenade.
5.b. Single File Promenade
Starting formations: Infacing Circle Of 8, Squared Set, Columns
Command examples:
Women Promenade Inside, Go Single File
4 Ladies Promenade Inside; Get back home and Swing your guy
4 Ladies Promenade Inside The Ring, Come Back And Give Your Man A Swing
All Promenade Single File; Ladies Backtrack
Promenade Single File; Men turn in and Star by the Right
Promenade; Put the Lady in the Lead, Go Single File
Promenade Go Single File, Ladies Lead And Strut A While
Circle Right; Drop hands; Single File Promenade
Circle Left; Drop hands; Single File Promenade
Circle Left; Same direction, Single File Promenade
Circle Left; Reverse back single file
Couple 1, turn your backs on your partner and Promenade around the outside of the set
Left Touch 1/4; Single File Promenade Home
Dance action: Initial turn: If the dancers have a facing direction around the set (e.g., Columns, Promenade
and put the lady in front), no initial turn is necessary. If the dancers are circling they will turn to face
the circling direction. If 4 dancers are designated from a Squared Set (e.g., Ladies Single File
Promenade), they will step into the center and face promenade direction.
Actives move forward around the set (on the inside, or outside if so directed), in single file (one behind
another). The next call determines when the dancers stop and what they do next.
Ending formation: determined by the next call
Timing: Four dancers promenade inside to home: 8
Styling: In Single File Promenade man's arms are held in natural dance position; woman's hands on skirt,
working with the natural swinging motion.
When there are active dancers promenading around the outside of the set, the inactive dancers should
take a step toward the center of the set to assist the active dancers in their trip around the outside.
After all active dancers have passed by, the inactives step backward to return to place.
In some areas, while 4 active dancers promenade inside, the inactive dancers clap in time to the music.
Comment: In the past Single File Promenade has not been used with fractions. Recently some callers are
extending the fractional Promenade dance action to Single File Promenade. Dancers do not face in
after they have promenaded the requested amount.
5.c. *Wrong Way Promenade
Like promenade, except the couples promenade clockwise.
5.d. Star Promenade
Starting formation: 4-dancer star in the center of the set and 4 dancers around the outside of the set
Command examples:
Men Center With A Left-Hand Star, Go Once Around; Pick Up Your Partner With An Arm Around;
Star Promenade
4 Men Make A Left-Hand Star; Pick Up Your Partner With An Arm Around; Star Promenade
4 Ladies Make A Right-Hand Star; Pick Up Your Partner With An Arm Around; Star Promenade
Heads Make A Right-Hand Star; Pick Up Your Corner With An Arm Around; Star Promenade
Heads Make A Left-Hand Star; Pass Your Corner And Pick Up The Same Sex; Star Promenade
Dance action: Directed dancers (e.g., men) form (or are already in) a star and turn it. When they encounter
the next directed dancer (e.g., partner) they become a couple, and promenade while retaining the center
star.
Ending formation: Promenade or Wrong Way Promenade with centers forming a star; the dancers will be
closer together than usual because of the star and arm around the waist.
Timing: 1/2: 6, 3/4: 9, Full: 12, Full plus a back out at home: 16
Styling: The center star uses the same styling as Right- or Left-Hand Stars. Couples in the star have their
adjacent arms around each other's waists in a modified couple's hold. Any women on the outside use
their outside hand for skirt work. Any men on the outside have their outside hand on their waists or
at their sides.
Comments: Here are some calls used while Star Promenading:
(women on the outside) Girls Backtrack
Centers Back Out With A Full Turn Around And A Little Bit More; Join 16 and Circle Left
Boys Raise Your Left Hands; Girls Duck Thru To The Partner; Right And Left Grand
Back Out At Home
Here is an example of 2-dancer stars being used with Star Promenade:
Head Men Make A Left Hand Star; Pick Up Your Partner With An Arm Around And Star
Promenade; She Picks Up Her Corner With An Arm Around And Keep On Moving; Now He Picks
Up His Partner; All Bend The Big Line.
| Right and Left Grand |
8.a. Right and Left Grand
Starting formations: Right and Left Grand Circle, Eight Chain Thru, Trade By plus the ends Face In
Any of the above in which some or all dancers have stepped to a mini-wave, or any formation in which
dancers may conveniently turn up to 90 degrees so the men face promenade direction, women face
wrong way promenade direction, and the formation is now one of the above.
Command examples:
Right and Left Grand
Grand Right and Left
Dance action: If necessary, men turn up to 90 degrees to face promenade direction and women turn up to
90 degrees to face reverse promenade direction. Dancers blend into a circular formation as they Right
Pull By, Left Pull By, Right Pull By, Left Pull By.
Ending formation: Right and Left Grand Circle
Timing: 10
Styling: Hands are involved with alternating pull-by movements, no twirls. Arms should be held in
natural dance position and the handhold position should be released as dancers pass each other. Men
particularly should stand tall and resist the temptation to lean over and stretch out their hand to the
next person. Just a comfortable extension of the arm and hand is all that is necessary.
| Right and Left Thru |
Starting formation: Facing Couples
Command examples:
Right and Left Thru
Head Couples, Right and Left Thru
Dance action: Right Pull By; Courtesy Turn
Ending formation: Facing Couples
Timing: 6
Styling: Dancers extend right hands to each other, and perform a Pass Thru action, releasing handholds
as they pass each other. A literal "pull" is neither required nor desired. For courtesy turn styling, refer
to entry #15.
Comments: The Ocean Wave Rule applies to this call.
At Basic and Mainstream, Courtesy Turn is restricted to a man turning a woman.
At Basic and Mainstream, from Facing Lines in which the centers form a Normal Couple, the caller
should not use "Right and Left Thru" in the expectation that only the centers will do the call (because
they are the only ones who can due to the above restriction). The proper call would be "Centers Right
and Left Thru".
On the call "Right and Left Thru, Full Turn", the Courtesy Turn will be for a full 360 degrees, and the
ending formation will be Couples Back-To-Back. See "Part 4: Additional Detail: Commands: Fractions".
On the call "Right and Left Thru and 1/4 More", the Courtesy Turn will be for 270 degrees, and the
ending formation will be a Right-Hand Two-Faced Line. See "Part 4: Additional Detail: Commands:
Fractions".
| Rollaway |
11.b. Rollaway
Starting formations: Couple, Infacing Circle Of 8
Command examples:
Rollaway
4 Ladies Rollaway
Heads Rollaway
Circle Left; Rollaway; Circle Left
Veer Right; Ferris Wheel; Centers Rollaway
Roll The Girl Away
Boys Roll That Girl Away
Heads Lead Right; Veer Left; Bend The Line; Roll The Boys Away (uncommon)
Sides Promenade 1/2; Heads Chain Those Ladies Across, Turn That Gal; Roll Her Away
Dance action: From a couple, the dancer on the right (or the directed dancer) "rolls" across in front of the
other dancer, turning a full 360 degrees to end on the other side, as the other dancer steps back and
then forward, adjusting sideways as necessary, to move smoothly into the vacated position. At the
completion of the call, the dancers have exchanged positions.
From an Infacing Circle Of 8 of alternating men and women, unless otherwise directed, the women roll
left across and in front of the men.
Ending formations: Couple, Infacing Circle Of 8
Timing: 4
Styling: For the purposes of this styling, assume a normal couple and that the woman is being rolled away.
Hands held in normal couple handhold maintaining good arm tension and connection throughout.
From a couple, the man steps back on slight right diagonal as the woman folds to face him. Continuing
the momentum they change hands. He steps forward to his right and she finishes her dance action.
When the preceding dance action is a Courtesy Turn, the hand connection is slightly different. Dancers
already have left hands joined in front. This connection is maintained throughout most of the Rollaway.
Near the end, the lady lets go with her left hand and joins her right hand with the man's left hand.
From a circle in motion, the man interrupts the circling action by stepping back and then forward,
while the woman uses the momentum of the circle to accomplish the roll-across action.
Dancers who are doing the vine step footwork while circling should perform the Rollaway as they are
starting to turn toward each other. Callers should deliver the call to accomplish this timing.
Comments: In the past, "Rollaway" has also been called "Rollaway With A Half Sashay". This is improper
language and should not be used.
The command "Rollaway Once and a Half" is proper and sees occasional use. It ends in Facing Dancers.
See the section "Part 4: Additional Detail: Fractions".
| Run / Cross Run |
Starting formation - any two-dancer formation in which the directed dancer has a shoulder directly
adjacent to the other dancer. GENERAL RULE: The directed (active) dancer moves forward in a semicircle
(180°) around an adjacent (inactive) dancer to end in the adjacent dancer's starting position.
Meanwhile, the inactive dancer, who may be facing in any direction, adjusts by stepping (without changing
facing direction) into the vacated starting position of the active dancer. The active dancer doing the run
has reversed his original facing direction. If the direction to Run is not specified (right or left) and if the
active dancer has an inactive dancer on each side, then centers Run around ends and ends Run around
centers. Runs from an alamo circle are to the right unless otherwise directed. (a) BOYS RUN, (b) GIRLS
RUN, (c) ENDS RUN, (d) CENTERS RUN: The directed (active) dancers Run around the inactive dancers
using the general rule. (e) CROSS RUN: Starting formation - line, two-faced line, or wave. Each of the
two directed (active) dancers, who must both be either centers or ends, Run into the spot vacated by the
farthest inactive dancer. If the inactive dancers are centers, they sidestep to become ends; if they are ends,
they sidestep to become centers. When the active dancers are both facing the same direction, they move
forward in a semi-circle, pass each other and then Run into the vacated spot on the far side.
STYLING: Hands should blend into handhold required for following formation (i.e. wave or line).
TIMING: From ocean waves, centers, 4 steps; cross run, 6; ends, 4; ends cross run, 6.
| See Saw |
Starting formation - square or circle. Each dancer walks forward and around the partner keeping left
shoulders adjacent, then steps forward to face the corner. (NOTE: This call is to be used ONLY in
conjunction with WALK AROUND THE CORNER)
STYLING: Same as in WALK AROUND THE CORNER except that left shoulders are kept adjacent and
left hand and shoulder should be kept forward. TIMING: 8 steps.
| Separate |
The most general case of Separate is described first. The two most common applications
are described in greater detail next.
Starting formation: Couple. The couple must be active or designated.
Command examples:
Heads Separate and Star Thru
Heads Pass Thru; Separate and behind the Sides Touch 1/4
Heads Pass Thru; Separate and come back home and Swing
Heads Star Thru; Double Pass Thru; Heads Separate and Star Thru
Heads Pass Thru; Separate go Around Two; Meet Your Partner and Dosado
Couple #1 Separate around the ring ... pass her once ... and pass her again;
Allemande the corner
Heads Pass The Ocean and Swing Thru, Others Separate and Everybody Right and Left Thru
Dance action:
Case 1: The active or designated couple is on Squared Set spots
The dancers turn back-to-back and start walking forward in opposite directions around
the outside of the square away from each other until they meet another dancer.
The call ends here unless further instructions are given (e.g., "and come back home").
Case 2: The active or designated couple is in the center facing out of the square
(e.g., after Heads Slide Thru, Square Thru 2)
The couple steps forward and then performs the Separate action described above.
Ending formation: Facing dancers on the outside of the set or determined by the next command
Timing: 2, or determined by the distance traveled around the outside
Styling: Those not active move into the center to get out of the way of the actives.
Men's arms in natural dance position; woman's skirt work optional.
Comments: While Separate is usually followed with instructions for walking
around some number of inactive dancers, the active dancers can also be directed to perform
some other action (e.g., Separate, walk around the outside passing 2 dancers and Star Thru
with the third).
From a squared set, calling "Heads Square Thru 2; Heads Separate, ..." would be
improper because the heads are initially facing the sides and when they start
in the center they must be facing out of the square rather than facing other dancers.
| Shoot the Star / Shoot the Star Full Around |
Starting formation - thar or wrong way thar. The handholds forming the center star are released as each
center dancer and the adjacent outside dancer arm turn one half (180°) or full (360°) as directed. If half
or full is not directed, the arm turn is one half.
STYLING: The forearm position is used for shooting the star. Outside hands free and in natural dance
position. The lady will continue to hold skirt until hand is needed for next command. TIMING: Regular,
4 steps; full around, 8.
| Slip the Clutch |
Starting formation - thar or wrong way thar. Dancers in the center of the thar stop and, while retaining
the star, release arm holds with the dancers beside them. Everyone then moves forward within the circle
in which he was traveling while in the thar.
STYLING: Despite the change of moving direction, you can make the switch flowing and comfortable if
the arm hold is released effortlessly and that same hand is held ready to turn the next person as directed.
TIMING: 2 steps.
| Split Two |
Starting formations: Eight Chain Thru; in general a Couple or Tandem facing a Couple or Mini-Wave
Command examples:
Centers Split 2, Around 1 To A Line
Centers Split The Outsides, Go Around 1 To A Line
Centers Split The Outside Couple and Separate Around 1 To A Line
Centers Split 2, Both Turn Left And Promenade Single File While The Others ...
Centers Split 2, Around 1 come into the middle and ...
Centers Split 2, Around 1 come down the middle and ...
Centers Split The Outside 2
Heads Square Thru 4; Split The Outside 2
Heads Square Thru 4; Split The Outside Couple
Heads Veer Left, Tag the Line, Split The Sides and ...
Couple #1 Split Couple #3, Separate and go around 3, meet partner at home and Swing
Dance action: The active or directed dancers move forward between the two inactive dancers (splitting
them). The inactive dancers move apart to let them through then move back together.
Ending formation (before the next command): Active dancers with their backs to the dancers they split. Inactive dancers end where they started.
Timing: 2 plus next call
Comment: See Separate Around 1 or 2 (#13.a) for more examples of "Around 1 To A Line" choreography.
| Square Thru (1,2,3,4) / Left Square Thru (1,2,3,4) |
Starting formation - facing couples. (a) SQUARE THRU: Facing dancers join right hands and pull by.
Turn in one quarter (90E), join left hands and pull by. (A half Square Thru has been completed.) Turn
in one quarter (90E) and join right hands with facing dancer and pull by. (A three quarter Square Thru
has been completed.) Turn in one quarter (90E), join left hands and pull by, but do not turn. (A full
Square Thru has been completed.) Variations of Square Thru may be specified by fractions or by the
number of hands, e.g. Square Thru 3/4 is the same as Square Thru three hands, etc. (b) LEFT SQUARE
THRU: Similar to Square Thru except that it is started with the left hand and hands are alternated
accordingly. When a left Square Thru is required, "left Square Thru" must be directed.
STYLING: Styling should be similar to that in Right and Left Grand. Corners should be rounded off
rather than pulling through and doing a square military turn. TIMING: SS, 4 people full, 10 steps; three
quarters, 8; one half, 6; one quarter, 4. Box, 4 people full, 8; three quarters, 6; one half, 4; one quarter,
2 steps.
| Star Thru |
Starting formation: Facing Dancers (man facing woman)
Command example: Star Thru
Dance action: Man places his right hand against woman's left hand, palm to palm with fingers up, to make
an arch. As the dancers move forward the woman does a one quarter (90 degrees) left face turn under
the arch, while the man does a one quarter (90 degrees) turn to the right moving past the woman.
Ending formation: Couple
Timing: 4
Styling: Hands are joined in raised position at approximately eye level, palm to palm, with fingers pointed
up to form an arch. The arch will be offset to the man's right and woman's left. The man's hand should
be used to stabilize as the woman provides her own momentum. As the call is completed, the hand grip
should be readjusted to couple handhold.
| Sweep a Quarter |
Starting formation - facing couples in a circling movement (right or left). Dancers continue the circling
movement one quarter (90°) in the direction of their body flow.
STYLING: All dancers use couple handholds. Couples working together should smoothly disengage
previous handhold and blend into the sweeping basic. TIMING: 2 couples, 2 steps; all 4 couples, 4 steps.
| Swing |
Starting formation: Facing Dancers (man and woman)
Command examples:
Swing Your Partner
Swing Your Corner; Promenade
... and Swing
Circle Left, Swing Your Corner, Circle Left
Swing your Corner, Allemande Left (new corner), Promenade
Dance action: Dancers step forward and slightly to their left, use a ballroom hold, and rotate clockwise as
a unit for four or more beats of music. As dancers end the swing, the woman continues turning to her
right (unrolling along the man's right arm) until she is facing the same direction as the man.
Ending formation: Normal Couple, usually facing into the set, or facing appropriately for the next call
(such as Promenade). Callers should not use choreography that relies on a precise ending position for
Swing.
Timing: Variable, at least 4.
Styling: The actual styling varies depending on which kind of step is used. For both the walking and buzz
step swing, the man's styling is the same: left arm bent at the elbow, palm slightly up, right hand flat
on her left shoulder blade.
The man should use a flat palm on the woman's back, being careful not to dig the fingertips of his right
hand into the soft part of the woman's back near her left kidney.
For the woman using a walking step, she places her left palm on the outside of the man's right upper
arm, being careful to keep her hand relatively flat so she doesn't grip his arm. She should lift up her
left elbow a bit so she is not clamping down on his elbow. This is also a good position if the man is
significantly taller than the woman. For the faster buzz step swing, her left hand is flat on the man's
right shoulder blade and she holds her left elbow slightly up, supporting herself without clamping down
on his elbow. In both swings, the right hand is palm down on the man's left hand.
The connection generated in the swing is created by centrifugal force. Each dancer is responsible for
holding himself up. The faster the swing, the more each dancer will feel a slight leaning back into the
partner's arms, although this lean should not be exaggerated; quite often, it will happen naturally
within the frame of a proper hold.
The force tending to pull the dancers apart will be counteracted by a supportive combination of the
man's right hand and arm and the woman's left hand and arm. The remaining arms are held only
lightly for balance -- too much tension here makes the swing less fluid, and getting out of it clumsy.
Differences in height may require modifications to the above styling. For example, when the man is
significantly taller than the woman, her left hand can be a flat palm on the outside of his right bicep.
Footwork for the Walking Swing: Short walking steps clockwise around the central pivot point between
the two dancers.
Footwork for the Buzz Step Swing: Right foot moves forward in small clockwise circle around the pivot
point between the two dancers while the left foot pushes, as in a scooter motion. Right foot is always
in front of left.
Ending the Swing: The man leads the end of the swing at the proper time, so that the couple faces in
the proper direction for the next call.
Ending the Swing without a twirl: The man signals the end of the swing when he is facing the correct
direction by stopping his motion while releasing his left hand. The woman continues her motion as she
rolls off the man's right arm to form a couple with the woman facing in the man's direction. Once the
woman is stable, the man adjusts his right hand to its next position: couple handhold or promenade
handhold.
Ending the Swing with a twirl: Swings may be ended with a twirl when the next dance action is a
Promenade or there is no immediate next dance action (therefore Swing, Twirl, Circle Left is
discouraged). The man raises his left hand over the woman's head, and with a cupped hold around her
right hand, he gently guides her into a clockwise twirl. She moves forward three steps, into a
promenade position as he transfers her right hand into his right hand and they join left hands on the
4th step. While the woman turns, the man moves forward down the line of dance to be in position for
the promenade. The twirl is at the woman's option. See "Part 4: Additional Detail: Styling: Twirls".
The twirl takes extra time, space, and control. Dancers who twirl must be aware of these factors.
Comments: The Ocean Wave Rule applies to this call.
Some dancers get dizzy when swinging. Be aware of your partner's needs.
When two dancers who are swinging are of disparate weights (e.g., an adult man swinging a child), it
is rude and dangerous to cause the lighter dancer to leave the ground.
There should be little to no vertical motion while swinging (i.e., no bouncing or hopping).
In a swing, dancers are neither side-by-side with right hip to right-hip, nor precisely facing. Instead
they are offset one step to the left from facing and at a slight angle with the woman's nose facing the
man's right shoulder.
Swings should be synchronized with the beat of the music. One step in the walking swing for each beat
of music. One step on the right foot for each beat of music in the buzz step swing. Some have described
this as a quick step or as two steps for each beat of music.
An experienced dancer will adjust to his partner's type of step (walking or buzz).
The command "Swing Your Partner" is a shorthand for "Face Your Partner; Swing". The same for
"Swing Your Corner".
If a couple is facing out of the square and asked to Swing, they should face each other and Swing.
Examples include Swing from a Trade By formation (the centers swing the dancer they are facing and
the ends swing the dancer beside them), and from Lines Facing, Square Thru 3 and Swing (swing the
dancer beside you).
From a Squared Set, the command "Heads (or Sides) Swing" has the designated dancers face and Swing.
That is, they Swing the dancer close to them, not the one they are facing across the square.
| Swing Thru / Left Swing Thru |
Starting formation - ocean wave or alamo.
(a) SWING THRU: Those who can, turn by the right one half (180°), then those who can, turn by the left
one half (180°). If "right" is not specified preceding the command to Swing Thru, it is a right Swing Thru.
The Facing Couples Rule applies to this call.
(b) ALAMO SWING THRU: Everyone turns half by the right, then everyone turns half by the left. When
left Swing Thru is directed from an alamo formation, everyone turns half by the left, then everyone turns
half by the right.
(c) LEFT SWING THRU: Those who can, turn by the left one half (180°), then those who can, turn by
the right one half (180°). If Left Swing Thru is required, it must be specifically directed "Left Swing Thru".
The Facing Couples Rule applies to this call.
STYLING: All hands are joined in hands-up position, elbows in close. Exert slight pressure to assist
opposite dancer in turning. Arcing turns should be utilized rather than pull by type of movements and
should flow effortlessly from one turn to the other so that you are in a sense, "weaving" along the line.
TIMING: 6 steps from point of contact.
| Thar Family |
(a) ALLEMANDE THAR: An allemande thar star is a formation and may be formed at the end of any left
arm turn by the center dancers (or those directed) forming a right hand box star and backing up. Each
outside dancer holds the left forearm of a center dancer and walks forward.
(b) ALLEMANDE LEFT TO AN ALLEMANDE THAR: Starting formation - anywhere an allemande left
is legal. All do an allemande left, blending into a right and left grand circle. All right pull by and left arm
turn 1/2 the next to an ALLEMANDE THAR (men will be the centers).
To avoid confusion with the call "ALLEMANDE THAR" or "MAKE A THAR", the caller almost always says
words like "ALLEMANDE LEFT TO AN ALLEMANDE THAR, GO FORWARD 2, MEN SWING IN WITH
A BACKUP STAR", or "ALLEMANDE LEFT, GO ALLEMANDE THAR, WITH A RIGHT AND LEFT
AND THE 4 MEN STAR".
After a SHOOT THE STAR, the caller can say "TO ANOTHER THAR". This is the same action as "TO AN
ALLEMANDE THAR" above. All right pull by and left arm turn 1/2 the next to an ALLEMANDE THAR.
The caller will almost always direct "GO FORWARD 2".
The caller can direct FORWARD (everyone progressing in normal Right And Left Grand direction) or
BACK or BACKWARD (everyone going the opposite direction from a normal Right And Left Grand) any
number of hands. For example, "SHOOT THE STAR FULL TURN, GO BACKWARD 3, RIGHT, LEFT,
RIGHT, MEN SWING IN MAKE A WRONG-WAY THAR".
Some callers use FORWARD to mean "the direction you are facing" and never use the words BACK or
BACKWARD. Either usage is acceptable.
(c) WRONG WAY THAR: A wrong way thar may be formed at the end of any right arm turn by the center
dancers (or those directed) forming a left hand box star and backing up. Outside dancers hold the right
forearm of a center dancer and walk forward.
STYLING: When the men are in the center backing up, their right hands will form a packsaddle/box star,
taking the wrist of the man in front of him. When the ladies star, they will simply touch hands in the
center. The dancers forming the star must remember to allow those on the outside to set the pace, since
they have to travel a much further distance. If the centers move too fast, the result is that those on the
outside will have to run to maintain the pace. As in any star, the ladies, while on the outside, may elect
to hold their skirts. TIMING: SS, from Allemande Left to point of backup star, 12 steps.
| Touch |
This is the same as saying step to an ocean wave: The dancers step forward to join right hands,
making a right-hand mini-wave.
Touch 1/2, 3/4: Fractions other
than 1/4 are allowed with Touch. For example, the call "Touch 1/2" is the same as "Touch and Trade."
In the same way, "Touch 3/4" is "Touch and Cast Off 3/4:"
| Touch 1/4 |
Starting formation - facing dancers. Dancers touch and without stopping turn one quarter (90°) by the
right.
STYLING: Use normal hands-up, palm-to-palm position, with hands about shoulder level. TIMING: 2
steps.
| Trade By |
Starting formation - trade by or any formation in which two couples are facing each other and the other
couples are facing out. The couples facing each other pass thru, the couples facing out do a partner trade
to face in.
STYLING: Same as pass thru and partner trade. TIMING: 4 steps.
| Trade Family |
Starting formation - any wave, line or column. GENERAL RULE: Any two directed dancers exchange
places by walking forward in a semi-circle ending in the other dancer's starting position. Each trading
dancer has reversed his original facing direction. If the trading dancers start while facing in the same
direction, they pass right shoulders when they meet per the right shoulder rule (see Passing Rule).
(a) BOYS TRADE, GIRLS TRADE, ENDS TRADE, CENTERS TRADE: Directed dancers (boys, girls,
ends or centers) exchange places, changing facing directions using the general rule.
(b) COUPLES TRADE: Starting formation - line or two-faced line. Working as a unit, each couple
exchanges places with the other couple in the same line. Couples, as a unit, follow the right shoulder
passing rule as defined for individual dancers.
(c) PARTNER TRADE: Starting formation - couple, mini wave. Two dancers exchange places with each
other.
STYLING: Any two adjacent opposite facing dancers use normal hands up position for turning as in swing
thru type movements. Girls trading (i.e. from end of line) will use normal skirt work. Couples trade use
normal couple handhold and styling similar to wheel and deal, Basic #43. When doing a partner trade,
use inside hands to exert slight pressure to assist each other in trading. TIMING: SS, partner, 4 steps;
OW, centers, 4; ends, 4; from two-faced lines, couples, 6 steps.
| U-Turn Back |
12.a. U-Turn Back
Starting formation: Individual dancer
Command examples:
U-Turn Back
Men U-Turn Back
Centers U-Turn Back
Promenade, Keep Walking; Everybody U-Turn Back; Promenade this way around
Wheel And Deal; Centers U-Turn Back; Double Pass Thru
Dance action: The dancer does an individual about-face turn (180 degrees) in place, turning toward partner
unless the body flow dictates otherwise. If alone (i.e., no partner), the dancer turns toward the center
of the set. If the solo dancer is facing directly toward or away from the center of the set, the turn may
be in either direction.
Ending formation: Individual dancer
Timing: 2
Styling: Isolated dancer: Arms in natural dance position. Adjacent dancers connected with a handhold:
Release the handhold, perform the dance action, and reconnect with the appropriate handhold (couple
or mini-wave). Couples promenading in Skater's position can U-Turn Back without releasing
handholds by turning towards each other.
| Veer Left / Veer Right |
(a) LEFT (b) RIGHT - Starting formation - facing dancers, facing couples, mini waves or two-faced lines.
Two facing couples working as a unit, or two facing dancers move to the left (or right, as directed) and
forward to end in a two-faced line or mini wave respectively. From a mini wave or a two-faced line, the
veering direction must be toward the center of the mini wave or line. Each dancer, or couple working as
a unit, moves forward and inward to end back to back with the other dancer or couple respectively.
STYLING: All dancers use couple handhold. Outside hands in normal dance position. TIMING: Box,
2 steps; SS, heads or sides, 4 steps.
| Walk Around The Corner |
Starting formations: Squared Set, Infacing Circle Of 8
Command examples:
Walk Around The Corner
Walk All Around Your Corner
4 Ladies Chain; Circle Left; Walk Around New Corner
All Around the Left Hand Lady
Walk All Around the Left Hand Lady; See Saw The Pretty Little Taw
Dance action: Dancers face their corners. Walking forward and around each other while keeping right
shoulders adjacent, dancers return to their original position, with their backs toward their corner.
Ending formation: Right and Left Grand Circle
Timing: 8
Styling: Men hold arms in natural dance position. Women use both hands on skirt, moving skirt forward
and back to avoid opposite dancer. Dancers should maintain eye contact over their shoulders until their
partners become visible.
Comment: Square dancing is evolving towards a preference for "Walk Around The Corner" instead of "All
Around The Left-Hand Lady", which requires the women to mentally translate the command to "All
Around The Right-Hand Man".
| Weave the Ring |
8.b. Weave the Ring
Starting formation: Right and Left Grand Circle
Command example:
Weave The Ring
Dance action: Dancers do a no-hands Right and Left Grand.
Ending formation: Right and Left Grand Circle
Timing: 10
Styling: Women work their skirt with both hands as they move around the square. Men hold hands in
natural dance position. Dancers lead with their right shoulder as they pass the dancer on the right,
then with the left shoulder as they pass the dancer on the left. Brief eye contact should be made as they
meet each dancer. Attention should be paid to keeping the circle a reasonable size (i.e., not too large).
Comments: Some groups have flourishes which extend the timing to 16 beats requiring a phrased delivery.
Weave The Ring is best danced to a well timed delivery, often preceded by an Allemande Left. Surprise
or variety in starting formations is not recommended. While the Ocean Wave Rule applies to this call,
its application is also not recommended.
| Wheel And Deal |
Starting formation - line(s) of four facing in the same direction or a two-faced line.
(a) WHEEL AND DEAL (from a line of four). The left hand couple only takes a step forward. The couples wheel (180°) toward the center of the line with the center dancer of each couple acting as the pivot point about which the couples turn. The couple that started on the right half of the line wheels in front of the other couple. Both couples end facing the same direction with the original left hand couple standing behind the original right hand couple.
(b) WHEEL AND DEAL (from a two-faced line): Each couple steps straight ahead one step. Each couple then wheels (180°) toward the center of the line with the center dancer of each couple acting as the pivot point about which the couples turn. Couples end facing each other.
STYLING: Use couple handholds. Inside dancers serve as the pivot point and should exert slight pressure
to assist as in any wheel around movement. TIMING: 4 steps.
| Wheel Around |
Starting formation - couple. The couple, working as a unit, turns around (180°). The left hand dancer
backs up while the right hand dancer moves forward. The pivot point is the handhold between the two
dancers.
STYLING: Same as in couples Promenade. TIMING: 4 steps.
| Wrong Way Grand |
8.c. Wrong Way Grand
Starting formation: Same as for Right and Left Grand, except with men facing wrong way promenade
direction, women facing promenade direction
Command examples:
Wrong Way Grand
Dance action: Same as for Right and Left Grand, except the men go in wrong way promenade direction and
women go in promenade direction
Ending formation: Right and Left Grand Circle
Timing: 10
Styling: Same as for Right and Left Grand
| Zoom |
In this definition, the term "center point" refers to the center of the 4-dancer formation on your side of the
set, or the center of the whole set, if you are not part of a 4-dancer formation.
Starting formations: A Tandem and a center point to work away from. Usually Tandem Couples or a Box
Circulate.
Command examples:
Zoom
Boys Zoom
Girls Zoom
Ends Zoom
Dance action: Lead dancer walks in a full circle, turning away from the center point, and ending up on the
spot of the trailing dancer. The trailing dancer walks forward to take the spot of the lead dancer.
Ending formation: Same as starting formation
Timing: 4
Styling: Lead dancers hold arms in natural dance position. For women, skirt work is optional. When the
trailing dancers form a Couple, they maintain a couple handhold.
It is important that the lead dancers initiate the roll out movement with a slight forward motion to
allow sufficient room for the trailing dancers to step forward comfortably.
Comments: Unlike Run or Fold, Zoom does not require naming or activating the leaders (except from a
Promenade - see below). While this may seem to be helpful, it often makes it unclear who should be
active. Suggested helping words are "Zoom, Leaders go back". See the sections "Additional Detail:
Centers Zoom" and "Additional Detail: Extra words".
It is acceptable to call Zoom to dancers on the outside of the square who form a Tandem (e.g., from
Ocean Waves or Two-Faced Lines, Ends Zoom).
As a gimmick, some callers use Zoom while promenading, mainly as a way to convert an out-of-sequence
promenade into an in-sequence promenade. In this case, the dancers in a couple must be named and
they act as leaders and work with the couple following them in the promenade (e.g., Promenade, Keep
Walking; Heads Zoom; Promenade Home). Some callers feel that this is not smooth and that there isn't
enough room to properly perform the move. Some callers feel that the proper command is "Heads are
leaders, All Zoom".
It is acceptable to call to call Zoom while Single File Promenading. For example, "Boys Are Leads, Boys
Zoom" or simply "Boys Zoom".