blockquote, div.yahoo_quoted { margin-left: 0 !important; border-left:1px #715FFA solid !important; padding-left:1ex !important; background-color:white !important; } I find the simple square is fun and accessible to any group. Done it for kids, teens, older adults, festivals. It's the old singing square Solomon Levi that's not singing. Couple back to back, around the outside track, pass by right, pass by right again, K almd l, r to p r/l grand, meet partner prom home. All home all swing.  Then after I do all couples I do odd couples, then even couples then ALL COUPLES. They have a blast. All ages, all stages. Agree with Meg, watch one or maybe two squares call to them. Don't fall into the call to the to be fixed. In squares often times there are one or two that just don't make it. But they have their own fun, if you set it up that way. Just tell them to keep moving... And again, I often find I'm just ready to wait for the top of the phrase and - well when I do find myself doing that I swing or into middle or .. I try to remember to say ahead of time not everyone will be together and if you are home and the call isn't there - swing that thing. Also agreeing with Meg that 1st Quadrille is your good friend. I keep Solomon Levi and 1st quadrille close to my heart at EVERY dance. Anothers in your pocket are birdie in the Cage even without the cage and Two sisters.  Also bow to Jonathan's sharing. You'll find a lot of similarities.  My best experience was calling a dance with an elderly church group - 50 got up to dance - surprise. And they said at the end that they never knew how much fun it could be to get something wrong..... I remember that when I had my first dance to an old time caller back in the day when it was in someon'e yard I laughed so much on how I couldn't do anything right more than when I got it right.  Laurie Sent from Yahoo Mail for iPad On Monday, February 6, 2017, 10:01 AM, Meg Dedolph via Callers <callers(a)lists.sharedweight.net> wrote: Tips I found that helped me, presented in random order: Pick one or two squares to watch, preferably with more experienced dancers, and call to them. It will help with the timing.  When I started calling squares, a friend helpfully pointed out that I was waiting for the tops of the musical phrases to roll around again before starting the next figure, and that meant people were sometimes standing around during a square and that was Not Fun, so I had to learn to let go of the idea that figures had to begin with the musical phrase, like they do in contras. That turned out to be hard for me to do, fyi. Your mileage may vary. Other advice I've gotten is to start with New England squares, which are assembled in 8 and 16 count phrases like contras.  If you're unsure about how the timing works, it can be very educational to call a square while you're dancing it. I've had to do that a few times, where there are only seven dancers, and it really taught me a lot about when to start calling various figures. Make a pot of chili and invite seven friends over?  Finally, I find that the First Night Quadrille, by Bob Dalsemer, is a great square to have in your box if you don't already. Easy to teach to beginners, call without a walkthrough for more advanced dancers and have fun. Oh! So a common break is allemande left your corner, face your partner, grand right and left. I have better luck teaching that to beginners if I teach the grand right and left first and *then* add the allemande left, rather than teach it in the sequence it's presented in the dance. I have no more advice. Good luck! You'll have a great time!Meg On Sat, Feb 4, 2017 at 12:08 PM Jonathan Sivier via Callers <callers(a)lists.sharedweight.net> wrote:     Here is my experience in calling squares for the first time, for what it is worth.     I had been calling contras for several years and thought I would like to expand my repertoire to include some squares.  I chose what I thought was a fairly straightforward square that had been done by the local group, called by other callers, several times in the past.  While the dance itself (Texas Star with the Alamo Ring break) wasn't especially hard, what I hadn't taken into account was that there would be a lot of other things for me to be dealing with in calling a square which don't generally occur in contras.  So my first attempt at calling a square didn't go very well.     Here are some of the things I found I needed to deal with in squares that I hadn't encountered in contras.     If there are multiple squares they won't all keep in sync the way contra sets typically do.  So one square will have finished promenading home, while another will still be working on getting there.  So you may need to tell the one group to do something like swing at home until the others catch up.  The more squares there are the more this will be the case.     The chances are good you will get off from the music.  In contras the dances and music go together very well, but some squares don't fit the music as well and even when they do the fact that some squares may lag behind means you will often end up being off from the music.  At first I worried about this a lot and trying to keep track of that and keep things with the music was one more thing overloading my mental resources when I was trying to call squares.  So I decided to not worry about it and free up those resources to think about other things.  To do that I intentionally get off the music right at the start by doing an intro that takes less than 64 beats.  Something like "Circle left, circle right, into the center and back, do it again."  Then I can start the dance proper and not worry about being off the music.  Of course that leaves the problem of knowing where you are in the music for purposes of ending the dance and music at the same time.  This has taken some practice and I'm still not great at it, but most bands are good about ending on a given signal, if you let them know beforehand.     It was also a surprise, and challenge, to me that I had to keep calling the whole time.  I should have seen that coming.  As you know the longer you keep calling a dance the more likely you are to make a mistake.  So having to call squares all the way through meant I was making more errors.  I think that is where patter calling comes in.  If you have a nice little rhyming phrase for something you can recite it without really having to think about it and will, hopefully, make fewer mistakes.     So what I ended up doing was choosing an even easier dance, Sheehan's Reel by Roger Whynot, and a very straightforward break.  I deliberately got off the music at the start of the dance and came up with some little rhyming phrases that I could use for some of the calls.   I didn't do all of this right away, but my second attempt at calling a square, with a simpler dance, went much better.     I hope this is helpful. Jonathan ----- Jonathan Sivier Caller of Contra, Square, English and Early American Dances jsivier AT illinois DOT edu Dance Page: http://www.sivier.me/dance_leader.html ----- Q: How many angels can dance on the head of a pin? A: It depends on what dance you call! On 2/4/2017 11:26 AM, Amy Cann via Callers wrote: _______________________________________________ Callers mailing list Callers(a)lists.sharedweight.net http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net _______________________________________________ Callers mailing list Callers(a)lists.sharedweight.net http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net

Ha! I read that book, but I thought I came up with that trick on my own. Maybe I remembered it long after I read it and thought I'd invented it. :) Meg On Tue, Feb 7, 2017 at 3:58 AM John Sweeney via Callers < callers(a)lists.sharedweight.net&gt; wrote:

John--it sounds to me like successive R&L Grands with a full partner allemande stuck into the middle of each. Could also be a partner 2-hand turn, either interpretation works. As Woody said, with a couple of other notes here: *Music* Talk to your band. Arrange a cut signal to go out at the end of the current phrase. Also, arrange a signal in case you are musically lost and need to know where the end of the tune is--like, patting your head is a request for them say A1/2 or B1/2 at the top of the phrase. Still, that doesn't ultimately matter until the very end. At the end of the dance, if you're lost, have the dancers circle (I don't advise promenade or R&LG, because those both have end points that require attention) and ask the band to cue you when the top/bottom of the second A or B arrives. Embrace the music style. It's easier to call cross-phrase to southern style music, less traumatic to everyone if the band has to end suddenly, and also much easier to lose your place in the music. To me, New England squares are less satisfying to this kind of music. More highly structured, New-England derived music is less-suited to western or southern style squares, but harder to lose your place in and the calling is like contra: ahead of the phrase. It is also more difficult to make dancing cross-phrase satisfying, which then becomes "off phrase." Go with dances and 8 count figures that take advantage of the more pronounced measure. *Calling* Have your squares MEMORIZED. A rhymed script will help with memorization and delivery (caveat: don't be a slave to it!) Calling from a card isn't great for contras, but for squares it is a very bad idea. You need to be able to make choreography changes on the fly, adjust timing on the fly, and watch those dancers like a hawk. You also have to keep calling and not make mistakes. If you are reading from a card you can't do any of that, because part of not making mistakes is staying with the dancers if something goes wrong. Also, it will sound wrong if you are reading. Don't ask me how, but it does. Remember that in a square, an "error" is not a problem unless you make it one! There's no strict timing, no strict choreography, and part of the fun of squares is the unpredictability. If you teach it with an extra figure thrown in, that's fine--they'll never know so long as it doesn't affect the order of couples. If it does affect the order, just do it again and the problem should resolve. If you toss in a figure they aren't expecting, it's not an error but a way of checking who is listening. Most of all: Smile and have fun! Neal Neal Schlein Youth Services Librarian, Mahomet Public Library Currently reading: *The Different Girl* by Gordon Dahlquist Currently learning: How to set up an automated email system. On Tue, Feb 7, 2017 at 10:39 AM, John Sweeney via Callers < callers(a)lists.sharedweight.net&gt; wrote: