Misplaced Pages

#90909

30-479: CALLERLAB is the international association of square dance callers , and is the largest square dance association in the United States . CALLERLAB provides guidance and education, certifying caller coaches, maintaining standardized lists of calls and definitions, and generally promoting the square dance activity. After some initial work started in 1971, it was officially established in 1974 by several members of

60-422: A circular fashion, with no partner change. The "B" sections, known as the "figures", are often, especially at the lower levels of dancing, identical, and produce a partner change. Usually this means that at the end of each "B" section each "lady" moves to the next "gent" to her right. At the end of the final B section, each "lady" has returned to her original partner. Variations are occasionally seen; for example,

90-564: A common and well-known sequence of calls, and then catching dancers off guard by suddenly changing an expected call. Occasionally callers make mistakes, or forget what they are doing momentarily, in which case, it is important for them to be able to keep the dancers moving and to bring the dancers back to their partners, and home again, smoothly, and hopefully without anybody noticing. There are two primary classifications of figure types in modern Western square dancing, patter and singing . Patter calls , also known as hash calls , are based on

120-406: A dance for. The role of a caller in modern western square dance is not only to provide the dance steps which all of the dancers on the floor should be able to follow, but also to provide entertainment through a combination of factors, including programming, showmanship, singing ability, and challenging choreography . Part of the entertainment factor can come from the caller's use of " patter " —

150-451: A person who performs this function is called a cuer . Their role is fundamentally the same as a caller, in that they tell dancers what to do in a given dance, though they differ on several smaller points. In northern New England contra dancing, the caller is also known as the prompter. Callers and cuers serve slightly different functions in different types of dance. Improvisation in modern Western square dance calling distinguishes it from

180-409: A quick and fluid succession of spoken (" pattered ") or sing-song delivered calls, often to the accompaniment of an instrumental piece of music that it is not necessarily recognizable as a song. Choreography may appear "on-the-fly" with calls randomly strung together, but it conforms to strict choreographic rules. Most patter calling is improvised by the caller as the dancers are moving; if the tempo of

210-507: A series of rapid strokes or pats, as of raindrops. Here, it is a form of onomatopoeia . In hypnotherapy , the hypnotist uses a 'patter' or script to deliver positive suggestions for change to the client. In London Labour and the London Poor (1851), Henry Mayhew divides the street-sellers of his time into two groups: the patterers , and everyone else. In certain forms of entertainment, peep shows and Russian rayok , patter

240-430: A set of rhyming words and rhythms that complement the names of the dance steps being called. Patter can not only be entertaining because it is innovative and surprising, but it can also fill in the space between lengthy dance patterns, helping boost up the energy during potentially dull moments. There is a large, common pool of patter which callers might use. Examples are: Allemande left with your left hand. / Back to

270-402: Is an important component of a show. The radio DJ patter, known as Mcing , is among the roots of rapping . The form can be traced back as early as the 1890s among the other popular music styles like 'story ballads' and 'parlor waltzes.' Patter also has operatic origins as well, the form of the patter song being featured in the operettas of Gilbert and Sullivan . So important is patter to

300-485: Is available, and Callerlab certifies instructors. Round dance cuers recite rehearsed, pre-choreographed sequences of figures. Unlike callers in Salsa Rueda or modern western square dance , who invoke an execution of figures in an unexpected order that varies from one run of the dance to another, a round dance cuer only "cues", i.e., hints each subsequent figure of a predefined sequence, possibly already known to

330-465: Is designed to produce a desired response from its audience. Examples of occupations with a patter include the auctioneer , salesperson , dance caller , magician , and comedian . The term may have been a colloquial shortening of " Pater Noster ", or the Lord's Prayer , and may have referred to the practice of mouthing or mumbling prayers quickly and mechanically. From this, it became a slang word for

SECTION 10

#1732798127091

360-453: Is followed by one singing call to make a tip, although this is not universal. There are a number of ways that a caller programs the evening's entertainment. The caller might feature a particular music theme (such as a Rock and Roll party, or a Halloween festival), or might include variations of a particular dance call throughout the night. Generally callers start the evening slowly to warm dancers up, and to give them chances to succeed during

390-420: Is important that cuers can teach the steps, as several dances are listed as "Phase 2 + 1", meaning that the majority of the steps are at phase two, but there is one step added in from another level. In Salsa Rueda , hand signs are used to complement voice calls; these are useful in noisy venues, where spoken calls might not be easily heard. Patter Patter is a prepared and practiced speech that

420-420: Is often tricky, as some dance steps can have very long names ("through-side-close to sidecar" for example), and there are times when a series of quick steps have been placed together, which requires quick speech, while maintaining good diction. Cuers are not expected (or even encouraged or suggested) to add patter. Rather, they speak more softly, and as quickly as possible to allow the dancers to enjoy as much of

450-475: The Gilbert and Sullivan operetta form that it forms one of the seven identified tenants of their style. Patter then became a signature in the style known as savoy opera . The musical identification of patter is intrinsically linked to the flow of words in time. It is thus also used of any rapid manner of talking, and of a patter-song , in which a very large number of words have to be sung at high speed to fit

480-496: The Square Dance Hall of Fame. Callerlab makes it so people can dance anywhere in the world with uniform dance calls. Callers from all over the world, including Saudi Arabia, Japan, Germany, and England, are members of the organization, which hosts and annual convention. The average age of Callerlab members is 65. Some calls that Callerlab uses for their dances are as follows; Caller (dance) In round dance

510-422: The caller must develop their educational skills, as well as the educational materials used in class. People skills are very important. As a dance caller, the caller must prepare choreographic material, and must be able to deliver it, whether by memory, or by using written sequences, or by using sight calling. The choreographic material must conform to a strict, basic set of choreographic rules: Caller training

540-399: The calling in many other types of dance. Callers in many dance types are expected to sing and to be entertaining, but round dance cuers do not sing and are expected to be as unobtrusive as possible. Standardized dances such as round dance , modern western square dance , and Salsa Rueda consist of a number of defined difficulty levels. Callers and cuers are responsible for knowing all of

570-401: The calling is done at a fast pace allowing the dancers to flow from one move to another without pauses, it may be called hot hash . The primary purpose of patter calls is to give dancers a challenge by surprising them with unexpected choreography. Many callers are very well known for their ability to put calls together to create a unique, smooth-flowing dance. Some callers are also known for

600-410: The calls or cues (respectively), also known as figures, for the defined difficulty level at which their dancers are dancing, as well as all figures belonging to lower or easier levels. Callers for other types of dance may be required only to know the particular dance they are calling. Contra dance callers typically take on a role as the host of a contra dance event, stepping aside only briefly to let

630-439: The dancers. The cuer, rather than being expected to call out original, on-the-fly choreography, is expected to know many (sometimes lengthy) dances and lead the floor through each one by appropriately and clearly stating the name of each successive step in the dance just in time to hear it before the last step has finished. Often cuing is from cards which list the steps in abbreviated notation. Cuing each step with proper timing

SECTION 20

#1732798127091

660-410: The desire to call believe that it is enough to stand up on a platform, and sing the provided text to a square dance song, or call a pre-written sequence of patter. Difficult as even that can be for some, with some natural talent, a good ear for rhythm and timing, an engaging stage presence, and perhaps a robust singing voice, even a beginner can sound good. A caller has two main roles: As a teacher ,

690-449: The first tip. Then tempo and difficulty increases and peaks for most of the evenings. At the end of the evening there is usually a slower dance number at the end to relax the dancers, and to let them wind down. Calling a modern Western square dance requires a number of different skills and some natural talent; becoming a caller requires training— both educational training and "in front of the microphone" practice. Sometimes people who get

720-482: The ladies may move left instead of right, or the last "A" section may be omitted. Singing calls, like patter calls, vary in dance difficulty, and are rarely improvised in full. They are uncommon above the Advanced program, although there are famous singing calls at the highest challenge levels. A modern Western square dance tip is composed of a combination of patter calls and singing calls. Usually one patter call

750-459: The organizers of the dance (who hired them and arranged logistics) make announcements (typically before the break). They are responsible for helping attendees find partners and organize themselves into contra lines, for teaching them the moves of the dance during a walkthrough, and for calling the moves during the dance until the dancers have it memorized. They also coordinate with the band to help them figure out which tunes to play and how long to play

780-660: The partner for a right and left grand . or Ace of diamonds, Jack of spades / Meet your partner and all promenade . The square dance calls are underlined; all the rest is patter. Many callers spend time inventing their own unique patter or variants on common patter. Entertainment also comes from callers challenging the dancers on the floor. There are many techniques to accomplish this. This can be done choreographically, for example, by mixing dance calls in unexpected or unusual ways, by varying expected dance patterns, or by calling figures from unusual and unexpected formations. Callers might also use gimmicks such as calling

810-408: The secret and equally incomprehensible mutterings of a cant language used by beggars, thieves, fences, etc., and then the fluent plausible talk that a cheap-jack employs to pass off his goods. Many illusionists , e.g., card magicians , use patter both to enhance the show and to distract the attention of the spectators. In some circumstances, the talk becomes a different sense of "patter": to make

840-408: The song and the caller's performance. Some callers are very well known for their voices, and for how well they can perform singing calls. There is often a very specific format for singing calls. Most singing calls are structured in an A-B-B-A-B-B-A format, with each section consisting of 64 beats . The "A" sections (the beginning, middle and end "break" sections) often involve simple moves done in

870-516: The song as possible. Cuers do not sing, either, except in rare occasions. Being more calm than most folk and country dances , round dance cuers are not expected to entertain; the act of dancing is the primary entertainment. Cuers are expected to also know the steps they are cuing well enough to teach them. At most round dances, there are a few pieces that most people know, but it is a cuer's job to also introduce new dances and teach them. Especially in both very early levels and very advanced levels, it

900-409: The unusual and interesting formations they move the dancers through. Singing calls are based on a sung delivery of calls, most often to a recognizable melody, and square dance calls are mixed in with the song's original lyrics. Many widely recognized songs have been turned into singing calls. The primary purpose of singing calls is to help the dancers relax, dance well together as a group, and enjoy

#90909