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Publishers - Editors Ed & Pat Juaire

Volume 55

Number 5

Editorial Assistants Michelle Merchant Louise Harrop TI Enod

May 2000

Subscriptions Michelle Merchant

Staff Cartoonist Corben Geis

26 AJC Lines - Ed Foote

22 As I See It - Bob Osgood

14 ASD News 54 CALLERLAB Viewpoints

- Mike Seastom 12 Caller Profile

- Johnnie Wykoff 77 Calling in Cali, Columbia

- Otto & Pat Christensen 20 Club Leadership Notes

- Bernie Coulthurst 46 Contra Corners

- Don Ward 74 Convention News 76 Country Kitchen - Louise Harrop 68 Creative Choreography

- Lee & Steve Kopman 32 Cue Tips - Sandi Simmons 57 Dancing Contra - Don Ward 48 Easy Level - Bob Howell 6 From The Editors

- Ed & Pat Juaire

8 From The Mail Room 44 Honors Book

- Melton Luttrell 72 Multi-Cycle Program and More

- Wil Eades 34 Notes In A Nutshell

- Frank Lescrinier 52 On the Record - Rounds

- Ralph & Joan Collipi 40 On the Record - Squares

- Chris Pinkham 66 Point of Order - Otto Warteman 64 Remembering

- Don Armstrong 28 Round Dance Pulse Poll

- Bev & Bob Casteel 58 Sewing 101 - Donna !pock 38 So You Want To Be A Caller

- Larry Cole 62 The Caller Coach

- Don Williamson 6() The Country Line

- Jim & Jean Cholmondelev 70 The Koreo Korner - Steve Kopman 55 Three R's 80 What's Ahead

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American SquareDance, May 2000 5

En & PAT .TCFAILIE

Keep It Simple and Short

Once again, we hear of those callers and clubs who are usingthe Multi-Cycle program and having great success with it. Over the years, Pat and I, along with many other people, have professed that getting new dancers dancing is the most important part of our recre-ation and the Multi-Cycle program does just that.

50 years ago and less, you only had to learn about 15 movements at the maximum and most of those were learned by dancing on Satur-day night with the rest of the folks. No lessons or classes (ugh!) were really needed. The Multi-Cycle

program comes as close to that concept as anything else that has been tried.

Recruiting new dancers then telling them they will be learning to dance for the next nine months is a turn off to most. But, telling someone they can learn to square dance in ten weeks is a cake walk and very appealing. Supporting this program can mean the difference between a handful of new dancers and a floor full.

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We Enjoy The Magazine We wanted to let you know how

much we enjoy the magazine. We've been subscribers for quite a few years and have seen a lot of changes. The article mix and balance covers all aspects of the activity and keeps us up to date on what is going on. Great job.

Truly Yours Mike & Mary Ann Alexander

Mason, OH

Can You Swat The Flea I greatly enjoyed the article on old

time square dancing (Can You Swat The Flea?) in your March issue. However, I feel that two of their observations con-cerning traditional square dancing re-quire clarification: I. Down Time - "The biggest disad-vantage is that while the visiting

couple sequence is being called, the other two couples were just standing and watching."

This was definitely not true at dances I attended in New England and upstate New York (during the period 1939-1953) where the other two couples interacted simultaneously (no rest for the wicked!) 2. Live Music - "Use of live music was more common years ago. Most callers say there is difficulty of caller and band getting on the same wave length."

Before 1950, the musicians did not use amplification, only the caller did. Since traditional square dancing with live music is still prevalent in New En-gland, it probably requires more con-centration and training for modern western callers to adapt. Training is undoubtedly hampered by the fact that there are very few 45 RPM records of

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8

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traditional square dancing with the in-strumentation on one side and the caller on the reverse. Also, use of live music requires approximately 10 squares to be economically feasible (al-though old fashioned Gaelic square dances in North Scotia seldom have more than five squares - one of the three musicians does "double duty" as caller.)

Herb Chisholm Alexandria, VA

Are You Missing Magazines I have a LOT of old American

SquareDance magazines (1972 thru 1982), Sets In Order (1966 - 1980) and The New Square Dance Magazine (1969, 70, & 71). These are all extras and I thought someone might want to fill in or replace some they are missing.

If anyone is interested in these back issues, please contact me.

Thank you. Sandra K. Alford

22 Antelope Dr. Wheatland, WY 82201

307-322-4939 sqdanceenetcommander.com

Attitude Changes I DO NOT AGREE with Bill Welsh's

article in the March 2000 issue of ASD, "Attitude Changes." I dance all the way up to the A2 level, participate as a be-ginning class angle (Ha), attend by-monthly mainstream club dances, weekly plus dances and Al-A2 work-shops. Many of my friends also dance at most of these levels.

Yes, new dancers breakdown when they start to dance at the club level but their errors are easily fixed if they are in a square of experienced dancers. But this is not the real problem in our area.

Our problem is almost totally with the longtime, experienced dancers who cannot hear anymore or can't quickly understand what they heard. They are the ones who cause most of the squares to break down. It also seems the call-ers must have never instructed them, or convinced them, or they can't re-member, that they should get into lines after they break down. Therefore, re-ducing the number of calls isn't going to fix the problem. Hearing aids or hear-ing enhancements might help, but we

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have some dancers that can't hear or understand the calls quickly enough even with aids.

Do not shorten the list but also do not push new dancers to higher levels too fast. I learned in California and went all the way to the plus level without a break. I believe this is wrong. All danc-ers should have the adequate opportu-nity to dance at each level before pro-gressing to the next higher level. This will help us to have stronger dancers at all levels and may also help us re-tain the new dancers.

Dean B Haymann West Rieldamt, WA

Direction of Square Dancing For quite some time I have been

meaning to write and express my views regarding the direction of square dancing. Bill Walsh must have been reading my mind when he wrote the article published in the March 2000 issue entitled "Attitude Changes." I wholeheartedly agree with him, espe-cially where he recommends combin-ing lists and having fewer calls to teach. I feel the programs need to be shortened enough to allow for at least two classes per year.

In our area good halls are expen-sive and very hard to find. This creates a real problem for the clubs

because they cannot afford to have their classes on a different evening than the experienced club dancers. Both the class and club dancers must share one evening. For this reason we are not able to give our class members the full amount of time recommended for teaching without dragging lessons on for many more months than the dancers are willing to commit.

I also read Mike Seastrom's article entitled "Marketing - A Long Range Plan." It sounds like a good idea. However, the problem has not been getting people to try square dancing as much as it has been keeping them in the activity. If they have a good experience, they bring out their friends - who will bring out their friends - and the activity will grow. Certainly an aggressive advertising campaign wouldn't hurt, but let's not just spend a lot of money painting the car to get it running again. Let's get to the root of the problem first. The dancers will come and stay if we have a program they can enjoy and feel comfortable with.

Sincerely, Duane Woodmansee

Draper, UT

Send your letters to: ASD Mail Room, PO BOX 777,

N. Scituate, RI 02857

A weather forecaster is someone with whom the weather doesn't always agree.

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CALLExt ram-7LE

Johnnie Wykoff

On October 31 of last year, Johnnie celebrated his 50th year as a profes-sional square dance caller. He called his first dance on that very day in 1949. Back then, the square dancing was a little different in that each square (made up of 8 people) had its own caller, so each square would be doing different moves. At that time, the calling was done to live music with fiddle players, guitar players, possi-bly a snare drum and piano player, and the caller had to call out or chant his instructions to the dancers, hence the origin of the word "caller." Today, the caller uses records, microphone and sound system to do the calling, and although the music has been up-dated, the fun of the dance remains.

Johnnie fell in love with square dance calling and began his career af-ter that October date. He was work-ing at the Indianapolis Power and Light Company as an electrician and after he retired in 1974, he devoted full-time to the calling. Through the years, he traveled all over the coun-try, doing dances and state festivals and calling at 29 National Conven-tions. He and Star met through danc-ing and after 19 years of courting each other, married in 1986. The Wykoffs had just moved to Houston, from In-dianapolis, Indiana, choosing the Spring Branch area and began to ce-ment the teamwork to bring their dancing philosophy to the Houston community.

Since moving there, they have been fortunate to host several square dance cruises including one in which they taught square dancing to the ship's passengers. It was a challenge, as many of the passengers did not speak English, but through an interpreter and a quick ability to pick up the moves, soon all those who chose to participate were dancing all week and the new dancers participated in a tal-ent show at the end of the week.

Johnnie also is a record producer. He owns Blue Star Record Produc-tions, which consists of 6 square dance recording labels and one Schools la-bel - EZ. Many schools across the

12 American SquareDance, May 2000

.986wAdgraAew eueil.9galag" 70ael g9641.4.

August 18 - 20 Adirondack Round & Square Dance Festival Camp Echo Lake, Warrensburg, NY - Phases II-V Staff: Worlock, FL - Read, TX - Collipi, NH - Cibula, Canada

Phase Ill, IV, V Chesapeake Round-E-Vous Round Dance Weekend Held in Great Mills, Maryland at the Chancellors Run Activity Center August 25, 26 Staff: Dom & Joan Filardo - Maryland

Ralph & Joan Collipi - NH

Sept. 8 -13 East Hill Farm Weekend - Troy, NH and Mid Week with Ron Libby, ME & FL and Johny Preston, CA

Also Sept 29 - Oct 1 Tom Miller, PA and Ron Libby - Rounds: Collipi - NH

Look for our weh page: www.members.aol.com/Rvcollipifindex.htm Ralph & Joan Collipi, Round Dance Leaders

122 Millville St., Salem, NH 03079-2238 - 603-898-4604 - [email protected]

country carry his records which are sold worldwide. Johnnie takes popu-lar music, preferably a catchy tune, and adapts it to a square dance tune. Almost any song heard on the radio can be adapted to square dancing. Some of the titles he has recorded are "Give My Regards to Broadway," "Back in Your Own Back Yard," "Red Sails in the Sunset," "Summertime" and "Young at Heart." Johnnie and Star made the decision to produce songs that most people can relate to, from earlier times, especially the 30's and 40's, songs that are happy and uplift-ing, and fun to dance to.

Last June, they were honored to be Master of Ceremonies at the National Square Dance Convention in India-napolis. Johnnie produced a new ren-dition of "Back Home Again in Indi-

ana" for the thousands of dancers at the Saturday night ceremonies.

The Wykoffs are on the road throughout the Houston area about 4-5 nights a week, calling and teach-ing square dancing for various clubs and groups as well as traveling to other cities in Texas, and often to other states. They work as a team, as Star helps with teaching dance moves and line dancing. Johnnie and Star like to refer to what they do as a "mini-ministry" by making people happy through dance and music. It is called "Meditation in Motion for Mental and Physical Exercise" be-cause the dancers must listen to the caller in order to execute the moves. Everyone must leave their cares and worries at the door when they come to dance.

Do yo have a favorite caller? Send us your caller's profile and include a photo (B&W II possible) and we'll feature your caller in an upcoming issue.

The most valuable gift you can give another is a good example.


13

Dancers from North Carolina and Virginia enjoy a recent dance at the Olde West End Gym in the Sandhills area of the Tar Heel state. Recently renovated, this facility can accommodate as many as 25 squares.

AM) NEWS OLDE WEST END GYM

The Olde West End Gym in West End, NC, located near Pinehurst in the Sandhills section of the state, is becoming a popular dance venue for national callers. During the year 2000 eleven na-tional callers will perform on weekends at the gym under the auspices of the Sandhills Square Dance Asso- ciation, a group of four clubs - Yel-low Rockers of West End, Scottish Twirlers of Laurinburg, Swing-ing Brickers of Sanford, and Duffle Dancers of West End, a round dance club. Among these callers are Tim Marriner, Dee Dee Dougherty-Lottie, Mike Sikorsky, Jerry Story, Tony Oxendine, and Ken Bowers.

Tar Heel callers scheduled to perform at the gym this year are Jimmy Roberson, Bob Price; Jerry Biggerstaff; Tommy Wells, Vance McDaniel, and Greg Jones. At least one dance each month will be held at the gym, which has recently been renovated. Moore County is responsible for gym mainte-nance, with funds provided by the Sandhills Association, formed 15 years ago. The major fund-raising event each year is a Flea Market in May.

The cuer for most dances at West

End is Nora Hall of Hamlet, with Ed and Carolyn Raybuck of Advance cuing two dances there this year. According to Association president Jim Taverner of Southern Pines, callers have already been booked for dances at the gym

through 2003; many of these are national call-ers. Commit-ted to call in the next three years are Steve Kopman, Mike Hoose, Matt Worley, Mack McCall, and John Saunders.

The Sandhills Association became a member of the Folk, Round, and Square Dance Federation in 1999. Some members of the group's four clubs regularly attend quarterly dances spon-sored by the Federation. The associa-tion is one of several such regional groups in the state.

Al Stewart Greensboro, NC

SIOUX FALLS SPARES AND PAIRS KEEPING BUSY

Sioux Falls Spares and Pairs got off to a flying start last fall when they decided to give both Mainstream and Plus lessons on Sunday afternoons. There are several new students in both classes, and the generous and light-hearted attitude of the many angels in

14

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attendance has made it very enjoyable for all participants.

The Club held their annual "New-Dancers Dance" at Calvin Christian School the afternoon of February 6. The buildingwa.s bulgingat the seams with a dozen squares, along with many spectators. There were dancers and new students from Sioux Falls, as well as from the surrounding area of South Dakota, Iowa Nebraska, and south-west Minne-sota. Loren Lagge and Dwayne Anderson did most of the calling, with Ernie Hoefert cueing the rounds. There were also many other callers in attendance, who all took a turn at calling a tip or two. We're very fortunate to have not only a nice group of new dancers, but also some new callers in the area. Be sure to encourage both of these groups!

Nine squares of dancers attended the clubs annual Valentine's Dance to help inaugurate the clubs new Queen


and King for the coming year. The new reigning royalty are Deanna Weber and Gene Sandine.

Thirty-four Sioux Falls dancers attended the Spring State Festival in Winner on February 18 & 19. The weather was beautiful and the hospitality superb. The afterparties on Friday and Saturday evenings are an event in themselves, and some-

thing that everyone should expe-rience, at least once! ! With twenty-six squares of dancers on Saturday evening, the

hall was nearly to capacity. Con-gratulations Winner-Colome clubs for another excellent festival.

Plans are progressing well for the Fall 2000 State Festival, which the Spares and Pairs Club will be hosting in Sioux Falls. Lanny Wealdand will be calling the trail-in dance. Make plans to attend this festival in September!

Don & Judy Lorenzen Sioux Falls, SD

15

Three members of the Single Squares class in

Greensboro, N.C. and the person who recruited them

as dancers are shown above. They are, from left to

right, Jeannie Crutchfield, Marie Foster, Chester

Allison, and Vonnie Allison. Their instructor is club

caller Paul Kubler. Photo by Al Stewart

SINGLE SQUARES Recruiting family members into

square dancing is more easily said than done for most dancers. How-ever, for Vonnie Allison, it was as easy as "1,2,3."

Vonnie, a nurse at a Greensboro, N.C. hospital who graduated from the Single Squares class in May, 1999, promptly recruited three members of her family into an activity which is an integral part of her life. The three are her husband Chester, her mother Marie Foster, and younger sister Jeannie Crutchfield. All three began tak-ing weekly les-sons last Octo-ber from Paul Kubler, Single Squares caller, and will gradu-ate from the class in May. According to Kubler, "they have all shown a willingness to

learn mainstream calls and have made considerable progress since the class began." He adds; "They will certainly be an asset to our club and our members look forward to their joining our ranks."

The trio has attended two student dances - one hosted by the Single Squares in February and another hosted by the Carolinians - another Greensboro club in January.

Marie values square dancing as a source of entertainment, saying, "I al-ways have a good time on the dance floor." She has learned much from club mem-bers who func-tion as "angels" at the two-hour classes. Retired from full-time employment for the past decade,

she is careful to monitor her heart beat after each tip because "I had open

Corben Geis Looking forward to seeing

Everyone in Baltimore (June).

Stop by the ASD Booth and let me draw your caricature.

16

American SquareDance, May 2001)

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heart surgery several years ago." Fellowship with "a good bunch of

people" is what Chester likes most about dancing. He intends to join Single Squares following graduation and attend dances in the Triad area with his wife. The Allisons are parents of three children ages 18, 22 and 24. Chester is employed in a small cabinet shop which does custom work.

Jeannie likes being a part of a team (square) which executes moves suc-cessfully if not perfectly. For her the most difficult move to execute is

"Touch a quarter," which she expects to master before graduation. Like her mother, she has learned a great deal from angels. A nurse with the Guilford County Health Department, Jeannie is the mother of three children ages 10,12, and 16.

Al Stewart Greensboro, NC

Send items of interest to ASD NEWS. Please include your name, address and phone number.

It's what you learn after you know it all that counts.


17

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F3 - AUGUST 27 - SEPTEMBER 1 (DBD PLUS) Tony Oxendine, Jerry Story, Marshall Hippo Rounds - Jerry & Barbara Pierce

F4 - SEPTEMBER 3 - SEPTEMBER 8 (PLUS) Randy Dougherty, Charles Quisenberry, Marshall Hippo Rounds - Theron & Christine Hix.son

F5 - SEPTEMBER 10 - SEPTEMBER 15 (PLUS) Frank Lane, Jerry Haag, Marshall Flippo Rounds - Larry & Adrienne Nelson

1,6 - SEPTEMBER 17 - SEPTEMBER 22 (PLUS) Jerry Haag, Ken Bower, Marshall Flippo Rounds - Jack & Darlene Chaffee

1,7 - SEPTEMBER 24 - SEPTEMBER 29 (PLUS) Ken Bower, Mellon Luttrell, Marshall Flippo Rounds - Rod & Susan Anderson


19

CLUB LEADERSHIP NOTES Bernie Coulthurst

•

S

We have received a couple inquiries concerning "What do you do when your club or organization has the wrong per-son as president or chairman?" You re-ally have three choices: (1) "tread wa-ter" until the next election assuming that the No. 1 position in the organiza-tion is elected and not appointed; (2) vote with your feet and leave the club; and (3) work towards positive change.

Most people select Choice 1 and do nothing while they wait out the term of the "ineffective" leader. Most organi-zations can survive a year or two of poor leadership but not anymore. A few people take Choice 2 and leave the club and go elsewhere for their dancing plea-sure. These two choices are not the best course of action but they are easy to make and implement. We will con-centrate on Choice 3 - work towards positive change.

What can you do without hurting someone's feelings and causing consid-erable ill will? The rust thingyou can do is speak up at the next meeting in a posi-tive way, keepingyour comments in a situ-ational mode instead of a personal mode.

For example, let's assume that your club's problem is not getting very many guests at your dances and you think the reason for the lack of guests is . The first thing you do is ask the current leader

20

to put your subject on the next meeting's agenda. The item could read something like this: "Lack of guests at our dances". Getting your topic on the written agenda almost guarantees you that the subject will get discussed at the next meeting. If it doesn't get put on the agenda, ask the chairman or presi-dent (in a polite way) at the meeting as to why it was not put on the agenda as you requested. You can use your imagi-nation as to what will happen - the top-ics usually get discussed. If the discus-sion goes nowhere, suggest to the chair-man that he or she appoint a task force to study the issue and report back at the next meeting or dance.

The key to getting positive change is to keep the discussion situational and not personal in the greatest positive way. Go for consensus!

Let's look at another example. Let's assume that the officers of the club are elected but everybody knows that the caller or whoever really runs the show. This example is a little tougher but the same rules apply - keep it situational. Ask for opinions and comments and let the minority be heard but have the ma-jority rule. In this scene, somethingwill have to give - the caller has to change his or her ways or the club leaders will have to make some tough decisions like having a club caller call at your dances

American SquareDance, May 20(1)

once a month instead of every dance. (This is a good idea anyway.) We sug-gest that clubs have a club caller for half of the club dances and guest callers for the remaining half. Your club members will be happier and you will get more guests attending your dances.

Let's look at a third example. The leader of your state or provincial square and round dance association is not doing his or her job according to the purpose of the organization. (What do you?) Follow the same suggestions mentioned above. If no changes result because of your efforts, lobby for the appointment of a task force to study the issue. Try to get on the task force -even volunteer publicly at the meeting. It is very rare that a task force recom-mends that an individual resign or that an officer be removed according the organization's bylaws. Most often the current leader will change his or her ways and do more compromising for the remaining time of his or her term. As a last resort and you don't want to be in-volved with the current leadership, you can "vote" with your feet and take what-ever action is necessary - even pub-licly resigning from the organization. Who knows? If your case is strong enough others may follow your leader-ship and resign or walk out too. Sounds like politics, doesn't it? Well, that is exactly what it is as people jockey for power, control and influence within the organization and the activity.

Let's look at a fourth example, the final one. Let's assume you dance regu-larly at a caller run club and things are changing in ways that you don't like. This is a tough one. You can suggest change but don't really expect much results. After all, it is her or his club American SquareDance, May 20(X)

HAWAII CALLING Honolulu needs visiting call-ers. Enjoy the sun, sand, and sea on vacation and call for local clubs in the evenings. Small (very small) stipend and great tax write-off.

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and he or she will run it the way they want to until it starts affecting their pocketbook. Putting it another way, if you are really unhappy with dances at a caller-run club, your best bet may be to vote with your feet.

In summary, follow the basics for positive change - be positive; keep it situational - NOT personal; encourage discussion and go for CONSENSUS! Positive and strong leadership is the only workable answer!

One last word: Cathie Burdick, former editor of American Square Dance magazine, always preached the importance of the Nominating Commit-tee and now you know why she is right. If your organization had the right nomi-nating committee, most of the above problems would have never happened.

Till next time, happy dancing; it is a pleasure that will not last forever.

Bernie Coulthurst is the Editor of Club Leadership Journal. For a complimentary copy of Club Leadership Journal, please call 715-824-3245. The mailing address is PO Box 766, Plover, WI 54467-0766. E-mail: [email protected].

21

In a square dance lifetime (which for me started back before World War II in the 1930's), I've occasionally been asked what were my most memorable experiences. How do I answer that? It was all exciting-every last bit of it from getting into my first square and dancing "Captain Jenks and the Horse Marines" to calling my first dance while still in college.

I suppose the first time we do anything tends to make it a lasting memory, and yet the things we do over-and-over only seem to get better as time goes on.

Take teaching a beginners group for instance. No two classes are the same. Getting everyone up and into a learning-circle for the first time is a preview of what the coming weeks will bring. Who will be the quick learners? Which ones may need extra encouragement over the weeks to come? What will make this class different from the last one?

I can't help but remember the surprise and thrill it was when starting one capacity class at the local high school back in 1947, and suddenly recognizing that there, in one of the squares, was one of my former basketball coaches. Here, in another square, was George Wright, my band leader. And, over here was Florence Morrow, my fourth grade teacher.

As a caller each new venture was exciting. For the first time stepping up to the mike in front of 100 squares at a festival in a neighboring state, conduct-

ing a callers school in Canada, calling while on a tour in New England in the 40's. I'd find it difficult to explain which of those experiences affected me the most. All were unforgettable - great!

Then there was the time back in one of Lloyd Shaw's early classes in Colorado Springs, when a couple came up and asked if I would be available to come to Aruba in the Dutch West Indies and teach a class for their dancers. Would I? You bet! The two weeks spent on their little island - our first venture overseas - was something else! Work-ing on alternate days with the management personnel of the Stan-dard Oil Company, and the native employees of the refinery, teaching rounds and squares at one time and working with a few caller-hopefuls on a daily basis was anything but dull.

During this time there was a magazine to edit, books to be written, classes to run, all different and all exciting. But no matter how exciting as one was, the next one, whatever it might have been, was always challenging.

A "biggie" came in the spring of 1957 - an invitation from the Air Force to spend eleven weeks in Europe visiting bases in France, Germany, England and North Africa, calling square dances, teaching members of the military to call and, in general, stimulating the square dance activity abroad.

I hadn't realized until I actually arrived in France and had started workingwhat an important role square

22


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dancing played in the lives of those stationed overseas. A common story went something like this: "I was assigned to a base near Frankfurt. It was our first assignment in Germany so our first off-duty weekends were spent taking in the local sites, enjoying the beauty of the area and playing the role of tourist. Before long, however, we found we had slid into the role of local residents. Our evenings were filled with the social amenities of the base and soon we were attending cocktail parties on a regular basis. Then somebody told us they were starting square dance lessons at the local rec center and we joined up. (That


was last September and our lives haven't been the same ever since.) I don't know what we would have done without square dancing."

The experience in Europe was an eye-opener for me. Back home in California, where square dancing was just one of so many choices of recreation folks could make, here in the military world couples stationed abroad found a friendly "touch of home" - they liked it - they needed it.

Not once, but many times, an enthusiast would make a point of asking us how their dancing would stack up with what folks were doing stateside and we answered that they

23

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would fit right in when they returned home. The follow-up question we would come to expect was, "Why not bring a bunch of your dancers over here to dance with us? We would be delighted to have them!" This, back 43 years ago, got us to thinking, "Why not, indeed?"

Now, traveling as a square dance caller was not a new idea. We had made a number of calling and teaching treks across North America, as well as Aruba in the late 40's and early 50's. But, back then group square dance travel was untried as far as we were concerned. Beginning in 1950 we produced annual week-long square dance vacations at a place called Asilomar in northern California and these quickly confirmed our feeling that dancers enjoyed doing things of this type together.

Our Rip 'n' Snort Square Dance Club, as a part of its regular program, had taken bus trips, some to dance with other clubs and others to visit the zoo or the desert and discovered that these extracurricular ventures had the effect of bringing the club members more closely together, and while planned for the club members, many involved no

dancing at all. One of the club's old timers

explained it this way: "You see," he would say, "square dancing is like a great brick wall. The bricks are the dancers and square dancing is the mortar that holds them together." And he would go on to explain that although it was square dancing that may have initially brought us all together, we had found by now we enjoyed being together even though we might not be dancing all the time.

And so it was, in the fall of 1956 that those of us on the club's steering committee thought up a new idea. The next club night we told the members that we were going to do something bolder than we had ever done before. In the fall of 1958 - just two years away -we would all be boarding the cruise ship Lurline, and for the next six days and nights we would sail to Hawaii.

The long and the short of it was that 53 out of the club's membership of 56 made the trip. The venture was a roaring success. The two-year plan-ning period had given the members an opportunity to save their money, arrange care for their children, and set

24


their vacation schedules. The sea voyage itself was aball and the

one week in and around Waikiki went off to perfection. Working with a proficient, professional travel agent we were able to get the use of the hotel ballroom for a dance and play host to the Hawaiian square dancers. This was our first experience in moving a sizable group of dancers and we were enthusiastic.

Now, back to the invitation made by the square dancers in Europe. If our club adventures and our latest trip to Hawaii had gone over so well - why not take a group of dancers to Europe? When we men-tioned it to others most everyone seemed interested. So - why not give it a try? Next time: An experiment in group travel.

The Dressing Game

They say that in square dancing dressing for the activity is a large part of the fun. Stretching the point a bit, we came up with our stunt for this month involving getting dressed.

You may know someone who is con-nected with a clothing store from whom you might borrow two win-dow mannequins - of the female variety. In all probability these dummies should be the type which literally "come apart at the seams". Generally you'll find them with the lower portion of the body in one piece; then there'll be a torso section including the head, two


separate aims, two hands and a wig. Accumulate two complete ward-

robes of clothing for these "ladies", everything from the skin out. (Stating the facts plainly this will include a girdle, hose, bra, slip, skirt, blouse and possibly a hat.) Taken a step farther, it might be fun to make the skirt and blouse a square dance outfit.

Now select four likely prospects from the men in your audience, one to hold each manne-quin and one each to do the dressing. Present each team of men with a dummy modestly covered with a robe

or coat. The clothing simply may be piled in a heap on the floor, placed in two suitcases or hungdecoratively on a temporary clothesline.

It's a contest to see who can dress their dummy first, so on the word "go" or on the downbeat of appropriate background music, they're off.

A word of caution for your contes-tants about the breakability of the dummies - particularly if you've borrowed them and must return them

in good condition. To say this stunt is

funny is an under- statement. It's uproari- ous, especially when the participants have been selected carefully as to their willingness to enter into the spirit of the contest.

To add to the fun in running a stunt like this - once the dressing gets started - we liked to put a record on the player and run it double speed. II

25

by til Foote

I

AO vmcED CHALLENGE

4'h IPAC CONVENTION The 4th International Plus, Ad-

vanced & Challenge Convention (iPAC), held in Barmstedt, Germany (near Hamburg) in July, 1999 was a resound-ing success. Almost 1000 dancers from 11 European countries plus Japan, Canada and the United States at-tended the 3 day event.

There were 7 halls of dancing: Plus, A-1, A-2, C-1, C-2, C-3A and C-3B. There was also a Plus Trail End Dance on Thursday prior to the convention, after-party line dancing on Friday and a Dixieland Jazz Band for a Saturday after-party. In addition there was a dance in the town square on Sunday morning with spectators participating.

The 9 Staff Callers were: Clark Baker, Ron Libby, Dave Lightly and Dave Wilson from the U.S.; Anne Uebelacker from Canada: Thorsten

Geppert, Kenny Reese and Thorsten Scheffer from Germany; and Paul Bristow from England. Seven other callers from Germany, Denmark, En-gland and Sweden also participated.

The iPAC,was founded by Stephen Mauring in 1993, and he continues to run the convention with the help of host club Tally Hos of Hamburg. Attendance has steadily increased with each convention. All calling is in English with introductions in both German and English.

Jerry & Veronica Davis, who attended the iPAC and live in Califor-nia, report: "We danced Plus the whole time and there were about 20-24 squares on the floor. There was no Round Dancing and the dancers were much younger than in the states. It appeared that the average age was

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about 35-40 and the enthusiasm was very high. Everybody was having a good time. The callers alternated hourly and time between tips was very short, only enough time to change records. This was different from the slower pace back home. It was all we could do to keep up. For anyone from the states, planning to dance overseas, be aware that it is not only fast but "all-position dancing." (Otherwise) the dancing itself was very much the same as here in the states. Most people did a proper "Do-Sa-Do," and just like here everyone was very friendly."

Clark Baker, one of the Staff Callers says: "I really enjoyed dancing with the dancers from the Czech


Republic. They were all young and enthusiastic. I danced with some in Plus and A-2 and some in C-1. They reminded me of the group I used to dance with back in college. They had a good square dance sense of humor and were always asking questions and wanting to learn more. In general, language was not a problem since English seems to be the common language among all the people."

The 5th iPAC Convention will be held in Barmstedt, Germany July 20-22, 2001, with Trail-End Dances on the previous 2 days. To be placed on the mailing list for a flyer write: Steffen Mauring, Hauptstrasse 16, 25469 Halstenbek, Germany. ••

27

ROVND DANCE PvizE ROLL

BEV & BOB CASTEEL

Dear Friends, Once in a while, our phone company decides to change the area codes in our

state. Please note that our new area code is 865. This time it is rather unique for Knoxville since the numbers stand for VOL. If you are a fan of the University of Tennessee sports program, then you know how symbolic this is. It has not changed for the whole state, just the Knoxville area. Our state now has about four area codes, so if your are trying to call friends in Nashville or Chattaooga, better check the area code. Keep those cards and letters coming in, we do appreciate your selections.

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Phase III Lovers' Dance {Dancing Like Lovers} (Hartung)

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Phase IV Since You've Gone Jive (Scott) "A Mess Of Blues" - Elvis Presley

ROM - APRIL 2000 Phase II Whipped Cream (Van Atta) A&M 8505 Herb Albert

Phase III Love Quickstep (Callen) SP 285

Chicagoland Round Dance Leaders' Society

Teach Of The Month March 2000

Phase II Easter Parade (Sheldon) MCA 65012 Guy Lombardo

Phase III Boy from New York City (Baldwin) Atlantic 13230 Manhattan Transfer

Round Of The Spring Quarter 2000

Phase U Sh-Boom (Parker) Mercury 872-812 & Coll 4234

Phase III Any Dream Foxtrot (Pinks) Star 115

Phase N Sexy Eyes (Drake) Capitol 4831 Singing In The Rain (G & J Martin) CH 1010


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P.O. BOX 216 BATH, OH 44210

Phase V Help Me Rhonda (McGee) Coll 6035 The Beach Boys Patricia Cha (Worlock) SP 333

Phase VI In The Mood (Goss) Unp/Lindy

Roper 167

Popular Danees/Teachers As Reported in The March 2000

DRDC Newsletter I. Sway 4 Me (Rumble) IV+2/Cha

SP 315 2. 2000 Blues (B/K Nelson) IV/Jive

Belco B337A 3. Change Partners (Rumble) VI/FT

Star 121 4. Salsa Café (Shibata) VI/Salsa

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SP 333 In The Mood (Goss) Unp Lindy

Roper 167 6. Without You (Slater) III +2/R

Hoc 612 Wrap Your Troubles In Dreams

(Rotscheid) IV+1+1/Cha/Star 107A House Of Blue Lights (Easterday)

III +/Jive/Epic 15-08461

Begin To Color Me (Read) VI/WZ SP 331

Whipped Cream (Van Atta) II A&M 8505 Herb Albert

7. It's Alright With Me (Rumble) V QS/Star 121

Kiddio (Springer) III/Jive/Coil 4219 Brook Benton

Crazy Bolero (Slater) V/SP 319 8. An Affair To Remember (Slater)

V/FT/SP 317 Tango In Portugal (Goss) VI/Star 124 Darling Lili (Hartung) V/WZ Flip

Arriba 9. It's Just Cha Cha (Broadwater)

IV/SP 330 Paper Moon II (Rumble) SP 323 First Snowfall (B/M Moore)VI/FT

Flip It's In His Cha Cha And I Love You So (Childers) V-2

Ft/Classic Perry Como Up The Lazy River (Scott) 111+1

1

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30

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NEXT QUESTION

Little Johnnie had to stand in the corner at school for putting mud in a little girl's mouth. His mother was horrified when she heard about it. "Why in the world," she wanted to know, "did you put mud in Margaret's mouth?" "Well." said Johnnie, shrugging his shoulders, "it was open."

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JUST A LITTLE BIT OF MAMBO Corinne & Ed Renauld, 8 Pearl Brook Rd, W. Townsend, MA 01474

RECORD: Mambo # 5 (Artist: Lou Bega) PHASE: 111+1 FOOTWORK: Opposite except as noted RHYTHM: Two Step/Mambo SEQUENCE: Intro-A-B-C-D-B(1-8)-Int-C-D(1-8)-E-C-A-D (Scallop)

INTRO 1-8 CP WALL W 2 MEAS;; STROLL VIN;;;; BBALL TRN TO SCP;;

PART A 1-4 2 FWD 2 STPS CP WALL;; 2 TRNG 2 SIPS CP LOD;; 5-8 PROG SCIS BJO;; FSHTL; WK, FC BFLY;

PART B 1-4 TRAV DR TWICE OP LOD;;;; 5-8 VIN APT 3, KICK; VIN TOG 3; DBL HTCH BFLY WALL;;

9-16 REPEAT MEAS 1-8 CP WALL

PART C 1-6 L TRNG BOX W/HOPS;;;; BK HTCH; SCIS THRU BFLY; 7-8 LIMP; SD, DRAW, CL CP WALL;

9-16 REPEAT MEAS 1-8

PART D 1-4 SCALLOP TWICE CP WALL;;;; 5-8 BASIC BFLY WALL;; NEW YORKER; CUCARACHA CP WALL;

9-14 SCALLOP TWICE CP WALL;;;; FWD & BK BASICS;; 15-16 SLOW APT; TOG BFLY; (2nd Time-CP/WALL—Last-PT:)

INTER 1-4 SD 2 STP L & R, W/ CLAPS;; 2 QK SD, CLS; SD, DRAW CL CP WALL;

PART E 1-8 STROLL VIN;;;; BBALL TRN CP WALL;; SLOW TWST VIN 4 BJO;;

9-14 WHTL;; DBL HTCH;; SLOW APT; TOG CP WALL; 1111


CALLERS NOTES Norm Wilcox

In this month's Adding Creativity To Your Choreography' article, Norm re-sumes his theme of using Modules for a calling method. A Module is a short, memorized sequence that gets you from one known FASR to another. There are several types of modules, and this month he looks at the Line Get-In Module. An interesting exercise is to try and create the 6 possible arrangements for a fac-ing line. You can then apply this knowl-edge to any of the other formations at the program you call.

In the Basics and Mainstream pro-grams, the following calls and se-quences are featured: Grand Square (including many variations); Circle 1/2 and Veer; Cross Fold, with choreo in-cluding Fold and Cross Fold. For the Plus Program, Dean Fisher takes an interesting look at dancing Relay the Deucey from non-standard formations. Instead of both end and the adjacent center dancers turning the desig- nated dancers start by turning '2 and then all finish the Relay the Deucey. Wayne Hall workshops the call Cringe (author unknown). For those callingAd-vanced, Al Calhoun presents workshop material for Horseshoe Turn. Calls also included are Explode the Line and (Anything) and Spread applied to Ad-vanced calls. Norm's e-mail address is: [email protected]

JOHN'S NOTES John Saunders

John includes a record review and things of interest section. There are several singing call figures included that are used in the new songs.

In the DANCING CONTRA section, by Don Ward, Don chose his contras not only because he likes the music, but also because the dancers like the music. That is pretty important criteria in planning your program. Anyone interested in re-ceiving more information on contras can contact Don at: [email protected]

In the Workshop ideas section this month, John looks at some choreogra-phy endingwith a Right and Left Grand, Weave the Ring, or You're Home choreo. There are some surprise At Home end-ings, but like everything else, if over-done it can lose its effectiveness.

The Basic Program call featured is Veer, either Right or Left. Just be aware that the sequence flows well. Pass to the Center is the highlighted call at the Main-stream Program. This call, written by Jack Murtha (who recently passed away), was to add more variety to to the call Dive Thru. This month for the Plus Program John explores the call Flip the Diamond.

The Advanced and Challenge Supplement includes: Transfer the Col-umn; Trade Circulate (from Waves); and the T-Bone formation.

John's e-mail address is: [email protected]

34 American SquareDance. May 2000

New on Silver Sounds Silver Sounds

SSR-211 ALWAYS - Larry Shipman Records

SSR-212 LAZY HAZY DAYS OF SUMMER - Ed Kremers

SSR-213 MY MELODY OF LOVE • Bruce Williamson

SSR-214 JUANITA JONES - Larry Shipman

SSR-217 MR. PIANO MAN - Ed Kremers

New on Sounds 2000 Sounds 2000 S2K-2004 INDEPENDENCE DAY • Bruce Williamson

S2K-2005 CELEBRATION - Jack O'Leary

Join Sliver Sounds callers for a Luncheon Cruise, food, fun and dancing

at the Baltimore National Convention, Friday June 23, 2000.

Silver Sounds Records, PO. Box 912, Brookfield, CT 06804 (203) 778-8943

Distributed Exclusively by Supreme Audio / Astec Record Distributors.

CALLING Jirka Soobak and JIrl Slaby

This is the second issue of CALL-ING, a quarterly note service from the Czech Republic. There is a lot of infor-mation included in the 29 pages of this issue. The e-mail address for more in-formation is: [email protected]

The first articles talk about using calls according to their definitions. One is how NOT to call the same Grand Square all the time. Several examples are given, including Boys/Girls Face and Grand Square. This will determine whether the dancers really understand the call. Trade By is another call that can be called from formations other than the Trade By formation.

Jiri and Jirka shared some very nice, in-depth interviews with two spe-cial people in the activity, Jerry Story -caller from the U.S., and Noriko Takahashi - web page designer and dancer from Japan.

For those callers that do call the same Static Square or Opening figures, you will find many variations to add to

your repertoire, shared by many call-ers from throughout the world.

If you are looking for some `Work-shop' material, you will find a full page of ideas using the call 'Trade'.

A new feature this issue is called the `Window. This allows numerous callers from around the world to share their ideas. The following callers made con-tributions: Paul Bristow (Gimmicks); Al Stevens (Programming); Lorenz Kuhlee (Sight Calling Singing Call figures); Jerry Story (Dancing DBD Basics); Steve Kopman (Choreo Sequences); Steve Turner (Thinking about Definitions in practice); Mac O'Jima (Hoedown Music); Nassar (you-have-to-read-it-to-under-stand-it) Shukayr (Kitchen).

In the Choreo Pages section, Tomas Machalik shares some inter-esting variations on how to get danc-ers from a Static Square to a facing line of four. As callers, we can some-times get trapped into predictable set routines. There are over two full pages of choreo with examples from Basics through A-1. Give it a try...

American SquareDance. May 2000 35

e • e IT J Az„... (5) as

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MIKESIDE MANAGEMENT Stan & Cathie Burdick

Stan and Cathie have joined the electronic revolution and can now be reached by e-mail

at:

[email protected] Stan has gone through the

CALLERLAB tapes from previous con-ventions and given us excerpts from sessions that were lead by Randy Dougherty and Jerry Jestin. The sub-ject was using Choreography thru Cho-reography. Also on the subject of Show-manship, another CALLERLAB tape from a session presented by Jim Mayo, Deborah Parnell and Tom Miller is mentioned. In particular, Deborah dis-cusses how she presents the material with 'pizzazz'.

Whether you want to admit it or not, showmanship comes into play in more ways than we may think. These can in-clude how you dress, your vocal presen-tation, humor, the material presented, in-teraction with the dancers, dance themes, after party material, working with another caller, or anything that might make your presentation unique. Above all, be true to yourself, and be yourself and not a copycat.

Another CALLERLAB convention tape from a session presented by Jack Berg and Pat Carnathan, discusses how to work with Music, with Rhythm, Har-mony and Melody — the RHM factor.

Using the Basic Program, the late Jack Murtha gave us some good ideas

of using variety in calling Grand Square. John Charman shares quite a few Plus singing call figures.

CHOREO-WISE David Cox

In this month's issue David shares some of the routines and concepts us-ing Promenade material.

The Mainstream section discusses the use of directional calling and using formations within formations, and even making use of formations outside of the standard formations that are used most of the time. Make sure that you under-stand the material before goingout and calling it!

Working with Facing Diamonds is the key focus in the Plus program sec-tion. The material in the Advanced pro-gram includes choreography utilizing 'Roll'. The Featured Concept section talks about the "If You Want To" con-cept. This is where the dancers get to decide if they want to do a particular call or not.

Both Steve Turner and Brian Hotchkies share their record reviews of the recently released records. Steve's e-mail is: [email protected]

Do you publish a note service? Would like it mentioned here?

Please send it to: 1720 W. Arrow Highway #83, Upland, CA 91786. Thanks, Frank.

36


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American SquareDance, May 20(H)

77

LARRY' COLE

Larry Cole, has been calling for 25 years. He calls Basic through C-1 and records for Rawhide-Buckskin Records. An active member of CALLERLAB ho is currently the Chairman. Larry's smooth easy style of caller training is appreciated by the many callers attending his schools.

Larry may be contacted at 765-384-7089 or E-mail [email protected] 'Questions are Welcome"

So Yow WANT To BE A CALLER

Last month we started looking at timing. Timing is broken into three parts and we learned that command time is the first of these three. Com-mand time, as we learned, is the amount of time or beats of music that is required for a caller to give or say the name of the call to be danced next.

The second part is lead time. Lead time is the amount of time that you give the call or command before the danc-ers take the first step of the call. Two beats is the normal lead time given for a call. There are times when more lead time is necessary as in Grand Square. The command Sides Face Grand Square is given on beats 5, 6, 7 and 8 of the musical phrase. This allows the dancers to begin their action on the first beat of the next musical phrase. The dancers experience a smooth and en-joyable Grand Square when the com-mand is given properly. Occasionally more than the normal two beats must be used to accommodate the fact that a nonstandard formation or arrangement may be involved. Extra time is then needed to assure dancer success -dancer success is the name of the game.

The third part of timing is execution time. Execution time is the number of steps to the music that are required to dance the given call. The steps are mea-

sured in beats of music. When a caller clips time he gives the next command before the dancers are ready (based on the number of beats/steps necessary to compete the call). Thus making the danc-ers feel as though they must run to keep up. When this occurs the caller may feel that he is behind and call more quickly.

Then the dancers run faster and the caller calls faster and the dancers run faster and the -well as you can see this is not a good situation. A caller may allow too much time to execute a call and the dancers must stop and wait for the next call. This is known as stop and go danc-ing. It is fatiguing for the dancer and not much fun. Good timing for a caller takes a lot of hard work however the rewards for you and the dancers are gigantic.

Wedding licence: A certificate that gives a woman the legal right to drive a man.


*414 Lloyd Shaw Foundation's kV 23r" Annual

VA

ROCKY MOUNTAIN DANCE ROUNDUP July 2-8, 2000

University Of Wyoming, Laramie, WY

Modern/Traditional SQUARES, Modern/Traditional ROUNDS, CONTRA, International FOLK, ENGLISH, SCOTTISH,

BALLROOM, SWING and other sessions of interest.

The dances and music of America embody the fundamental values of our culture and our nation. There is no better way to share time together than in dance and music.

Experience the Diversity of Dance, Music and Fun -----z,--v-z,--2, at this year's special week! s"--s--.4------

Dance leaders: Linda Bradford (CO), Bernard Chalk (England), Enid Cocke (KS),

Chris Conboy (CO), Chris Kermiet (CO), Diane Ortner (MO;. Bob & Allynn Riggs (co), Stan Williams (CA), Rusty Wright (NM),

DeWayne Young (ID), and others.

Live music: Dale Sullivan (MO), Joe Fairfield (NE), Olive Donaldson (CA),

Eric Levine (CO), Rodney Sauer (CO) and others.

Registration & Information: Contact Bob & Allynn Riggs, 7683 E. Costilla Blvd., Englewood CO 80112-1211; (303) 741-6375 Bob.Riggs CO LloydShaworg or visit us on the web at www.LloydShaw.orq for additional information or to register.

Tuition, room and board $375.w (double) and $400.w (single). LSF Members will receive a discount of $25.4 For further information i.e., camping, off campus rates, youth rates, day rates and guest day/night fees contact us.


39

ON WE= REconr)

IISCAVA ES CHRIS PINKHAM

PO Box 1419, Hillsboro NH 03244 (603) 464-5821 [email protected] www.chrispinkham.com

TITLE - Label

ARTIST

Changes In Lsttitiude - SG-1003 Tom Manning / Dean Dederman

I've always have been a Jimmy Buffett fan and am now building a small collection of Buffett tunes for square dancing. Pretty much a relaxer with that island feel to the music. Strong on percussion with a background melody. Hds(Sds) Square Thru 4, Do Sa Do, Swing Thru, Bays Run, 1/2 Tag, Walk & Dodge, Partner Trade, Pass The Ocean, Recycle, Swing Corner & Promenade!

Long Tall Texan - ESP-1045 Elmer Sheffield Most readers know how I feel about background vocals cut in on the instrumental sides. Most of the time I don't want to share the vocal spotlight with someone else. On occasion you find one for whatever reason works. This is only the second record I've ever kept with vocals cut in. With a Johnnie Cash kind of melody and percussive beat, this one's fun and the dancers got a kick out of the background voices. Check it out! Hds(Sds) Square Thru 4, Do Sa Do, Swing Thru, Spin The Top, Slide Thru, Touch 1/4, Walk & Dodge, Partner Trade, Bays Walk Across & Swing, All Promenade!

Don't Sweetheart Me - 1111-5240 Tom Miller A rolling country theme and signature music by High Hat. Good energy to bring your dancers up to that peak in your dance. Guitar, slide, and fiddle change leads throughout. Hds(Sds) Square Thru 4, Do Sa Do, Swing Thru, Boys Run, Bend The Line, R&L Thru, Pass The Ocean, Recycle, Corner Swing and Promenade!

Tonight The Heartaches On Me - AR-108 Carrie Masters Definitely a honky tonk blues number right down to the tinkling piano. A nice relaxer for any time you want to use it-you can almost feel the fiddle crying in the background. Watch the key change in the closer! Uses Standard Ferris Wheel Figure. Uses a Grand Square to close.

Lovin' Little / Westward Ho - DR-9012 Hoedown Boomchucka beats and trading leads on a variety of instruments create a pair of happy, energetic hoedowns to please your dancers. For those PMDO fans here's a likeable, two sided hoedown.


Carbinat iL)

14x010Hakre 1). Jetty Routh Mloe Huddelson MatY -78:be 417.659-8487 417-282-6340 316-524-0997 Castleberry

HOT CARDINAL RELEASES

417-782.0158

CAR-46 RIBBON OF HIGHWAY - Harold CAR-45 I'LL TAKE TEXAS - Mary CAR-44 BLOWING IN THE WIND - Jerry CAR-43 LONESOME HOEDOWN - Hoedown

Cardinal Records, Box 7-11, Macks Creek, MO 65786 573-363-5432 e-mail: [email protected]

Happy Times - MGR-2480 Bill Peterson Quaint & jaunty! Reminded me of "period" music when our beloved activity was at its peak. Good instrumental mix and no electronic feel here. Hds(Sds) Slide Thru, Square Thru 3/4, Do Sa Do, Swing Thru, Boys Run, Bend The Line, R&L 77tru, Pass The Ocean, Recycle, Corner Swing and Promenade!

Some Broken Hearts - GMP-405 Jon Jones Since the Rhythm Records version may no longer be available to collectors, here's a great way to replace your worn copy with some fresh, energetic GMP music. Good stuff for those who can start off in low range and shift to those upper ranges for the tags. Hds(Sds) Square 77tru 4, Touch 1/4, Scoot Back, Check your Wave, Centers Trade, Swing Thru, Boys Run Right, Pass The Ocean., All 8 Circulate 2X, Swing Corner & Promenade!

Highland Hoedown / Sawdust - P-1008 Hoedown Highland Hoedown has that strong traditional bluegrass feel-banjo leads and generally happy sounding music with a steady beat for good timing. Sawdust has that barndance bluegrass feel to it complete with fiddle, mandolin, etc. Both sides have fine music and double sided hoedowns are always a good value.

Diesel On My Tall - RYL-136 Jerry Story For all of you that drive those beer cans on four wheels and have been trailed by a semi in overdrive on a rainy highway, you'll identify with this tune. Geat Royal energy and a little tongue in cheek. Hds(Sds) Square Peru 4, R&L 77tru, Swing 77tru, Boys Run, Ferris Wheel, R&L Thru with a full turn, Make a Right Hand Star, Girls Turn Back, Corner Swing & Promenade!

`Til The Answer Comes - CRC-129 Texas Po' Boys For all of you planning to skip church on Sunday here's one for you. Spiritually based and great energetic music for duet, trios etc. Listen for the key change in the closer. Hds(Sds) Square Thru 4, Do Sa Do, Make Your Wave, Ladies Trade, Swing 77tru, Boys Run, Tag The Line all the way thru, Girls Zoom behind the Boys, Boys U-Turn Back, Swing Corner & Promenade!


:mane— ruis,•—

Jerry Junck Lanny Weakiend 602-983-3013 503-665-1967 602-641-8683 402-894-0791

"Brand New on Chinook" CK-135 I Am No Drifter (Jerry) CK-136 Forbidden Dance (Bill) CK-137 Cinderella Girl (Daryl) CK-138 The Longest Time (Daryl & Bill) CK-518 Flip Hoedowns, Dubber & Patches CK-1107 Maidens' Prayer, 2 Step (Ron Noble)

Anniversary Waltz (Gene Krueger)

"Brand New on Hoedowner"

HD-133 If That's The Way You Want It (Lanny) Distributed by

A&F Music Distributors Las Vegas, NV 1400-851-6203

MEWS

MIME'

MINN

II I

I 1 I

I I

Daryl Clendenln Bill Helms

1 = Run For The Roses - GMP-111 Doug Bennett Signature GMP music, medium on the energy, but still uses that percussion punch on resolution. The difference is the use of mixed and unusual figures for Heads & Sides-if you decide to use them, please walk your dancers through first. Figures are mixed and varied.

Small World - SSK-105 Terry Harrison A quiet/mellow remake of the Disney theme song with background La Las and vocals cut in. Hds(Sds) Square Thru 4, Do Sa Do, Swing Thru, Boys Run, Bend The Line, R&L Thru, Flutterwheel, Slide Thru, Corner Swing & Promenade!

Kentucky Waltz - ESP-1042 Mac Letson Kind of mellow and smooth to dance to. Patter possibilities lend themselves to this music. Banjo and percussion lead the way. Hds(Sds) Pass the Ocean, Extend, Swing Thru, Boys Run, Couples Circulate, Chain Down The Line, Pass the Ocean, Ladies Trade, Swing Thru, Corner Swing & Promenade! 42 American SquareDance, May 20(M)

Young Man's Job - RYL-522 Larry Letson With a honky tonk attitude, harmonica, fiddle and slide leads, this one has that boogie woogie feel. Keeps the dancers swingin' and cruisin'. Medium on the energy scale but big on rhythm. Hds(Sds) Prom. 1 1/2, Lead Right, Circle to a Line, Forward & Back, Pass Thru, Bend The Line, Pass Thru, Wheel & Deal, Centers Swing Thru, Turn 77int, Corner Swing & Promenade!

Ribbon of Highway - CAR-46 Harold Halley Guitar lead and a boomchucka percussion help create this song of pain and memories. Active music with appropriate pauses for effect. Grand Square to open, break and close for lots of singing. Uses Standard Ferris Wheel Figure.

North Carolina Cabbage / Little Liza's Hoedown - BMV-27 If you haven't checked out Black Mountain Valley Music before and you're a blugrass fan, it's time to do so. Tradtional sounding music with all the bells and whistles, or maybe all the banjos and fiddles. This is a 33 1 /3 RPM record for long play. Cabbage melody was unfamiliar, but Little Liza is very recognizable (Little Liza Jane) and fun. Two sided value for your money.

Then What - RMR-2002 Skip & Jennifer Cleland Master the lyrics to this quick mover and you may win a prize! With a Caribbean air-fun music here, this is a crowd pleaser. Have some fun with this one. Uses Standard Spin The Top Figure.

Old Fashioned Love - BM-205 Mac MeCullar Although a little quaint for my tastes, one thing I always enjoy BM music for one thing in particular; the instrumentals are always of good quality. No electronic feel, solid guitar work with other instruments plainly discerned in the music. This one makes for pretty good patter with its boomchucka beat and easy rolling air. Check it out. Hds(Sds) Prom. 1/2, Square Thru 4, R&L Thru, Veer to the Left, Couples Circulate, I /2 Tag, Scoot back, Corner Swing & Prom!

Small World - C-1005 Dee Dee Dougherty-Lottle If your copy of this Chapparal number has been worn to a frazzle, here's your chance to replace it with this bonafide rerelease. Whether you are a yodeler, or a singer, this is a crowd pleaser. Uses Standard Flutterwheel Figure.

Boogie Beat Hoedown - ESP-421 Steve Kopman My kind of hoedown! Lots of energy and percussive punch. Reminiscient of "Hot Rod Lincoln" with a cruisin' attitude. One of my keepers for the month.

It was great meeting the record producers in Las Vegas at the Callerlab Convention. Keep up the good, hard work and thanks for your comments, complements and advice. See you next month!

Recordings reviewed are supplied by Supreme Audio/Hanhurses Tape & Record Service 800-445-7398

American SquareDance, May 20(5)

43

CALLERLAB HONORS BOOK.

Melton Luttrell Milestone, 1986

The Luttrell's, Melton and his wife, Sue, started square dance lessons in the Fall of 1949 in Eastland, Texas. Before the classes ended, Melton announced that he wanted to become a caller. In 1950 he started guest calling at clubs in his area, and in the summer of that year, the Luttrells attended Herb Greggerson's school for callers in Ruidoso, New Mexico. Returning home, he started calling in earnest and within the next year, he had regular calling dates in four neighboring cities.

It soon became obvious that Melton enjoyed teaching as much as calling. Since his first classes, he has taught an estimated twelve thou-sand people to square dance. As a home-club caller he has created a spirit of friendliness and cooperation in his neighboring square dance activities. He has been club caller for all his clubs for more than twenty years, three of them for thirty-three years.

Melton designed and managed Swingtime Center, one of the nation's finest square dance facilities, and he currently serves as president of the corporation that owns and manages the center. As a recording artist (Square-L Records), he has produced a number of "hits". As a traveling caller he has covered a good part of North America as well as England,

44

New Zealand, and Australia. As a charter member of

CALLERLAB, Melton has served on its Board of Governors and been a member of the Executive Committee.

In October, 1977, Melton was inducted into the Square Dance Hall of Fame.

He has encouraged young callers coming into the field of square dancing, but he takes a realistic approach to the activity, believing that square dancing is not for everyone. He avoids pushing any dancer into club leadership or to a point beyond which he or she wishes to go. His theory is to let the dancer enjoy the activity. I.


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CoNem& CORNERS

Braving more than a foot of snow, 4000 contra dancers gathered in up state New York to enjoy this years (Contra) Dance Flurry. The final figures showed over 3500 paid admission to this 3 day weekend event, with an additional 300 plus volunteers. Half of the attendees came from New York state and the remainder from as far away as Alaska and the west coast.

The Dance Flurry organization aims to introduce people to as many forms of traditional dance as pos-sible. Attendance included teens, families, gays and seniors. It was a cross section of devoted traditional dance supporters who gather for this event each year.

The Dance Flurry runs 6 dance halls continuously with over 100 callers and leaders and 50 contra bands providing the dancers with an

Do.% Of' ikf?

abundance of levels and types of contra dancing and workshops. In addition to the 6 regular dance venues, there were 7 additional venues where callers and bands could showcase their talents and provide hands on workshops for each. One venue was devoted to sound equipment provided by professional sound and dance personal.

Sound equipment for the largest venues is rented from local profes-sional sound companies and in the smaller halls were from local dance organizations. All sound mixing in every dance venue was done by a paid trained sound technician. The largest dance venue with the most musicians was supported by a 24 channel sound board. Stage manag-ers controlled the timing and flow of the program in every hall.

INTERNATIONAL ASSOCIATION

L-I L-I L-I OF GAY SQUARE DANCE CLUBS

No dress code

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htlp://www.lagsdc.org

Texas. California, Washington, Michigan, Ontano. Arizona, Maryland, Illinois. Alberta. Ohio, Tennessee, District of Columbia, Wisconsin. New York, Pennsylania, New Jersey. Oregon, Florida, Alabama, Nevada, Minnesota, North Carolina, Colorado. Missouri, Tokyo Japan, British Columbia, New Mexico, Indiana

46


Square and Round Dance at Lolo, Montana - 2000 Summer Season Square Dance Center & Campground

Please join us for a fun summer schedule of National Callers & Cuers.

For a brochure with the full summer schedule contact:

AFTON GRANGER, 9955 Hwy 12, Lobo, Montana 59847 406-273-0141 - email: [email protected], Web site http://missoula.bigsky.net/sqrdance

Dance Center & Campground is I I Miles South of Missoula, MT - 21/2 Miles West of Lolo, MT Air-conditioned - Cushioned Maple Floor - Capacity 30 Squares - RV Park

Dump Station - Shower Rooms - 18-hole Whiffleball Golf Course Among the Pines on Lobo Creek on the Lewis & Clark Trail

Motels Nearby - Year Round Square and Round Dancing

AFTON'S SQUARE DANCE APPAREL SHOP ONE OF THE LARGEST SHOPS OF ITS TYPE IN THE WEST

Dresses - Skirts - Blouses Petticoats - Pettipants - Shoes

Other accessories and Men's Shirts, Pants, Shoes, Ties, Belts, etc. Mail and Phone Orders Welcome

The Dance Flurry is totally self supporting with the help of some corporate sponsors providing services such as cell phones, bottled water and other incidental support.

The goal of providing dancers with a thrill experience happening year after year happened again this year thanks to the dedication of local traditional dance organizers.

If this kind of professionally staged 3 day event can be put on by members of the contra dance commu-nity, then the square dance event organizers might want to see why this event is so successful.

Don Armstrong, a contra leader who did it right for decades, passed away February 27. His memorial service was in Missouri March 19. Don


was a leader and prompter of Contras world wide. Don's Contra Workbook, first published in 1956 and repub-lished by Sets In Order in 1973, has long been the Contra bible for many in the Square Dance community. In addition to his work as a dance leader Don was a guiding hand within the Lloyd Shaw Foundation. Don will be greatly missed.

For Contra Corners related articles, contributions by readers are encouraged and may be sent to Don Ward, 9989 Maude Ave., Sunland, CA 91040 or by e-mail at [email protected] or American SquareDance at [email protected].

47

With Memorial Day being celebrated this month, from the CD called; Folk Dance Now, here is yet another use for the tune - - -

YANKEE DOODLE

Formation: A triple circle, composed of lines of 3 dancers side by side, facing counterclockwise, middle dancer a boy (Yankee Doodle) if possible, outer 2 girls, inside hands of each trio joined.

Music: Yankee Doodle. Band #3 March, skipping turn (or walking turn). STARTING POSITION:

Routine: Music Measure

4 Introduction 1-4 MARCH, MARCH; 3, 4; 5, 6; 7, 8;

Start right foot, all trios march around circle counterclockwise. (Words: "Yankee Doodle went to town, riding on a pony).

5-8 MARCH, ON; 11, 12; 13, 14; 15, 16; All continue to march counterclockwise. (Words: Stuck a feather in his cap, and called it macaroni).

9-12 A RIGHT, HAND TURN; 3, 4; 5, 6; AND, NOD; Middle dancer takes person on right by right hand and they skip (or walk) once around each other clockwise, 6 steps, then nod to each other quickly. Left-hand person stands in place tapping foot and clapping with music. (Words: Yankee Doodle keep it up, Yankee Doodle dandy)

13-16 A LEFT, HAND TURN; 3, 4; 5, 6; AND, FORWARD. Middle dancer takes person on left by left hand and they skip (or walk) once around each other counterclockwise, 6 steps, then they wave good-bye to each other as middle dancer progresses forward counterclock-wise to next trio ahead. Right-hand person stands in place tapping foot and clapping with music. New trios join hands to repeat dance. (Words: 'Mind the music and the step, and with the girls be handy).

Perform entire dance 6 times.

48 American SquareDance, May 2(XX)

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Following is an old-timer that I use frequently to get a program going quiekh It is called - - -

LITTLE SISTERS

Formation: Square Music: Any rousing hoedown Routine: Use any standard simple intro.

First little sister round the inside ring. (Lady #1 promenades once inside the ring.)

Turn your partner with an elbow swing. (Turn partner right arm swing.)

Two little sisters form a ring. (Ladies #1 & 2, 2-hand swing once around in center of the square.)

Back to your partners with an elbow swing. (Ladies #1 & 2 right elbow swing partners.)

Three little sisters form a ring. (Ladies #1 2 & 3 circle once around in the center.)

Back to your partner with an elbow swing. (Ladies #1 2 & 3 return to partner and right elbow swing.)

Four little sisters form a ring. (All four ladies circle once in the center of the set.)

Back to your partners with an elbow swing. Allemande left.. Grand right and left...

Next to automation nothing beats a wastebasket for speeding up work.

American SquareDance, May 20(10

49

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July 17 - 20 Although Lake Erie is still ice covered while I'm writing this material, I

can dream of the many warm days that I hope to spend on the beach in Fairport Harbor. Last year one of the youngsters called me the "Sandman". Let's dance - - -

SANDMAN

Formation: Square Music: Mr. Sandman Big Mac BM 202

Routine: INTRO-MIDDLE BREAK-ENDING:

1-16 Circle left 17-32 Circle right 33-40 Allemande left 41-48 Partner do-sa-do 59-64 Same girl promenade.

BREAK: 1-16 Four ladies promenade inside the ring, turn partner by the right.

17-32 All four men promenade inside the ring, turn partner by the right. 33-40 Allemande left the corner. 41-48 Do-sa-do partner. 49-64 Take corner girl and promenade.

The trouble with being a good sport is you have to lose in order to prove it.

50

American SquareDance, May 2001)

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From Spring Valley, CA, Joe McMenamin shares the following contra with us this month. He put it together for his dancers at the Wesley Palms Retirement Home and states that "It flows so well that I use it with the non-retirement home dancers. He calls it - - -

CIRCLE THE PALMS

Formation: Improper (Alternate) Duple. 1,3,5, etc active and crossed over. Music: Any 32 bar tune.

Routine:

Intro With Couple Below, Circle Left 3/4

1-8 Men- - - - Reverse the Flutter

9-16 Ladies Lead Hey for Four

17-24

25-32 Ladies Chain

33-40 Half Promenade

41-48 Ladies Lead Flutter Wheel

49-56 R & L Thru

57-64

With Couple Below, Circle Left 3/4

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Take a lift at what is just released...

Not too many records this month but here goes.

Easy Rumba Phase II - 2 Step/Rumba - Roper 268 Stranger In Paradise - L & M Clark. Suggest you slow this to 42 rpm's or slower for comfort. This routine con-tains all 2 step figures, and has a circle chase, broken box, circle box to banjo and wheel.

U I Didn't Care - Dee. '99 Phase IV+1- Slow 2 Step - Coll. 90227 by the Ink Spots - L & M Clark. Again this record has to be slowed down to be danceable. Figures included are Basic, switches, triple traveler, left turn inside roll, standard slow 2 step figures no surprises

April In Portugal (Revisited) Phase IV+1 (Sweetheart) - Rumba & Tango - Col. 6143 or Cap. 6017 by Les Baxter - L & A Dunn. This music is great and the routine is nicely done. Dance starts in shadow position, into sweethearts. Rumba figures are basic, and Part B tango figures are standard easy tango figures.

You Need Love Phase VI - Waltz - Special Pressing - B Boss & J Bell. Nice music to this nicely written Phase VI waltz. Figures included are spin and double twist, rudolph ronde, 3 fallaways, open reverse. For the expe-rienced Phase VI dancer.

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52


King of the Road 2000 Phase III - 2 Step/Jive - Mercury CC-35016 by Roger Miller also Coll. 4255 -P & B Guenthner. A real good routine, music and choreography fit the music to a "T". Parts A & B have standard 2 step figures included. Part C has Phase III Jive figures. We recommend this one highly.

Four Falls Phase IV+ 1 (Double Rev. Spin) -Waltz - Coll. 4709 or RCA 47-6874 Four Walls by Jim Reeves - P & T Young. Nice to see this music utilized at Phase IV. Routine has several Phase IV Waltz figures and music blend to make a nice dance.

White Rose of Athens Phase V+2 (Spin & Twist, & 3 Fallaways) -Foxtrot - Roper 173 - B & J Scott. We enjoyed dancing this routine, it fits the music to a "T". We especially liked the 6 quick twinkles with 2 for-ward locks in Part C. An enjoyable foxtrot routine.

Beauty On the TV Screen Phase V +1 (Rolling off the arm) - Con-tinuous Spanish Arms, Dbl. Whip throwaway) - Jive -RCA 07863-65851-7 - Lou Bega Flip of Mambo #50 A & F Woodruff. A very busy Phase V rou-tine. Definitely choreographed for the experienced dancer. We would phase it at Phase VI.

Bimbo Phase 11+2 (Fishtail & Travelling Door)- 2 Step -CCTB 4707 Bimbo by Jim Reeves - D& S Whyman. Catchy music encompasses this very useable routine. This is a goody for your record box and the dancers will sing along on this one.

Arizona Waltz Phase III +2 (Spin Turn & Diamond Turns) - Waltz - TNT 231 - L & B Auria. Nice to see a Phase III waltz written to this music. It has standard Phase II/III waltz figures, and can be danced on cues for those schooled in Phase III waltz figures.

When the Moon Comes Over the Mountain Phase II - Waltz - HH 884 - D Sand-ers. This is a vue and cue, pure va-nilla, no surprises.

Don't Tell A Lie Phase III - 2 Step/Foxtrot - URC 1110, Epic 5-9039- It's A Sin To Tell a Lie by Somethin' Smith & the Redheads - S Schmidt. Music brings you back to the 50's on this record. Interesting choreog-raphy. Includes dancing in vars. position.

A Little Bit Of Mambo Phase V+2 (Open Box & Alt. Hockey Sticks) - Mambo - Mambo #5 by Lou Bega RCA 07863-65851-7 - A & F Woo-druff. This record is 3.45, a long rou-tine. Good music some new and chal-lenging Phase V figures are included in this choreography.

Recordings reviewed are supplied by Palomino Records, Inc. 800-328-3800

The honeymoon is over when he stops helping with the dishes, and does them himself.


53

cALLEELLAinkijamatimi By Mike Seastrom

LET'S WELCOME OUR. NEW DANCERS

This is a great time of year. The weather is getting warmer, the days are getting longer, the flowers are blooming and we've got brand-new enthusiastic dancers entering our activity.

These new dancers are facing a difficult transition time, but it can also be the most wondrous time in their dancing career, because everything is so new. Think back to when you were a new dancer and remember some of the emotions you felt and remember those experienced dancers who helped you make the transition. Every one of us was a new dancer at one time, and hopefully each of us were blessed with someone who led us down a comfort-able path when we were first starting out. We all have an obligation to help these new dancers and make a positive impact on them.

There are some real good ways to welcome these dancers. Clubs that sponsor classes should assign one or two couples in the club to act as guides/ mentors to every new dancer or couple. Just the idea of having a friendly face around to talk to, confide in, and square up with, can make all the difference in the world. It's a good idea for these mentors to call the new dancers and offer them a ride to a dance or club function. Not only does this insure that the new dancers will

attend, but it also lets them know that they're not alone. If new dancers miss an activity, these mentor couples should call their new dancers and let them know that they were missed. Be sure to invite them to the next event and keep them informed and "in the loop". Making sure new dancers get introduced to others is a great way to break the ice, integrate them into the activity, and make them feel more comfortable. Invite the new dancers out after the dance for a bite to eat. Ask them what they enjoyed most about the evening, encourage them, and most importantly, assure them that every-one was in the same boat when they were a new dancer.

Make sure to include new dancers in your square. Occasionally, new dancers will apologize for being new when everyone is in the process of squaring up. Graciously let them know that you'll pass on their apology and that you remember being a new dancer yourself. Encourage them in your dancing and set an example by having fun, being smooth, and if you do breakdown, being able to laugh at


yourself. Avoid over-directing or pushing if occasional misdirections occur. Just being where you should be in the square is the most important thing you can do to assist a new dancer. If a new dancer, or any dancer you share a square with, is slightly rough, smile, look them in the eye and let them know, in the nicest way possible, to ease up. Nervousness and enthusiasm can sometimes result in a less than smooth approach to danc-ing, but this will all even out as they become more experienced. It's pos-sible to be direct, tactful and still remain friendly at the same time.

In conversations with new danc-ers be sure to listen. No matter how long we may have been in the activity, very few of us know it all. Sometimes we can learn interesting things from those who are new and see things in a completely different way. Talk about our history and about the activity as a whole in a positive, upbeat way. If there are weekends, state conven-tions, and national events that the new dancers could attend, be sure to share that information. Remember, this is all new to them — flyers, announcements, sign-up sheets, etc., all need to be brought to their attention. Before long they'll be right in the thick of things. On the other side of the coin, it's important not to overwhelm the new dancer.

There are a few things that are important to avoid doing to new dancers. In my opinion, moving new dancers into club offices and other responsible jobs should be avoided in their first year after graduation. Give them a chance to experience the joy of dancing without any strings attached.


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If they're good officer material now, they still will be in a year or so. Including new dancers in group projects, like decorations and refresh-ments, is fine, if done sparingly.

The social part of this activity has often been called the "glue" that holds it all together. Allowing new dancers to just dance and have fun is one way of cementing their involvement for many years to come. Encourage them to keep

55

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square dancing in perspective and avoid being over committed. Many new dancers want to learn the next program or even attend a round dance class. All of this is well and good, but there will always be time to do more once they become comfortable with the program they currently dance. In my opinion, adding round dance skills to their newly developed square dance

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skills is far better than learning more calls. It allows new dancers to enjoy more of each dance eveningwithout the necessity of attending additional dances to become comfortable with an entirely new program.

We have an opportunity each time we see a new dancer, to make a positive impact on them. Don't miss the chance to make a difference—you could be the very reason a new dancer becomes a dedicated square dancer who passes on their positive experience to another new dancer — and so on — and so on —and so on.


tketancla coisrritA

WITH DON WARD

This month a delightful contra gleaned from the "trad-sd" email site. Sorry we don't have a name but seems to go unclaimed, at this time. It alternate formation and adaptable to Contra or Square Dance Contra groups.

Al: NEIGHBORS BAL AND SWING (16) From alternate facing lines, men face left, ladies right and with one you face (neighbor/corner).

A2: MEN ALLEMANDE LEFT 1.5 (8) PARTNER SWING (8) End the swing facing across the set to opposite line.

B1: LADIES CHAIN ACROSS (8) End the courtesy making a circle of 4 with opposite couple

CIRCLE BALANCE RIGHT & LEFT, ROLL TO RIGHT (8) This move comes from the dance Petronella. Dancers balance to the right together and then left then make a right face roll 360 degrees while at same time moving one place to the right around the circle. Remake the circle

B2: BALANCE CIRCLE, ROLL TO RIGHT (8) SAME 4 LEFT HAND STAR (8) The last roll makes an easy transition to a

left hand star to turn almost once around to face next couple to repeat the dance. A slight variation for Square Contra dancers is to substitute a Flutterwheel in

place of the ladies chain in B1. The ending of the flutterwheel makes a smooth transition to the circle to balance to right.

Suggested music for this dance comes from two traditional CD's. Tune Dogs Unleashed is available from Vintage Music, 800-326-9188, The selection "Texas Quickstep/Elzic's Farewell" is a spirited tune for the dance. For a more relaxed and smooth dance use "Cedarwood Reel" from the CD "Mandolins & Friends" from Cumberland Records distributed on the net at [email protected].

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S7

SEWING 101,

WITH DONNA IPOCK

With all this warm weather time for outside work and mowing, this leaves little time for sewing. Just read on and let's get going.

Ok, so much for my try at poetry. This month we celebrate Mother's Day and I would like to pass on a quick gift that I think is great. Not much sewing to this, but you get to use up some left over fabric and even some trims, and all sewers have a stash of left overs....somewhere. You can make sev-eral at a time, they are inexpensive to make, look like a speciality store item, and will really bring that special per-son some joy and great memories.

An inexpensive picture frame can be made to look like you shopped the bou-tiques, but only you need to know that you made it yourself. You use bits and pieces of fabric, special fabric such as lace or any sheer type is best, but de-pending on the picture you use, you can

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determine what type of fabric and trims to use. For a more casual look use what ever you have at hand just mix and match. Cut the fabric with pinking sheers into different shapes and sizes, then glue to the frame with tacky glue. You can do some nice things with old earrings, pearls, and small stones glued onto the fabric. I made one for my MOM using some eyelet trim and pearls. I knew she would put this in her bed-room which is painted a very light green. Here's is how it was made.

I took the frame apart, took off the back and lifted out the glass. Then I cut (with pinking sheers) the eyelet trim so it would wrap around and around the frame until it was com-pletely covered. In some places it had to be glued down because it just didn't lay right. You might have to work with it a little especially around the corners. Once the glue dried. I used some light green fabric paint and made some small flower outlines and then glued a pearl in the center of each flower. The picture that went in the frame is a school picture of me (I'm an only child) taken back when you dressed up for school pictures. It is a black and white photo (no color pictures back then) and I have on my Sunday Best. A plaid dress with a stand up lace collar. I had a strand of pearls on. This home made frame cost me only $2.99 at the store

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American SquareDance, May MX)

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but by the time it was finished...it looked like the ones that sell for $15 to $20. And the best thing is that when I told MOM that I made the gift for her because she's special, she felt special.

Now time for sewing and the mail: Louise Pelich from FL wants to

know "I'm wondering where you get patterns for the outfits (Square Dance Outfits)? Well, Louise there are several Square Dance Shops that do sell pat-terns, check with your local shop. You can order a catalog for $2.00 from

Aron's, 8974 E. Huntington Drive, San Gabriel, CA 91775. Patterns are getting harder and harder to find so many sewers use a favorite circle skirt pat-tern and a 8 gore skirt pattern and in-terchange these with a bodice from "REGULAR" patterns. You can make a skirt and blouse or even a dress using some ingenuity and patience. All it takes is finding that special fabric and then sew, sew, sew.

SEW HAPPY! Donna

olhat/5,„.c:6(ity American SquareDance, May 2001) 59

THE COUNTRY LINE JIM & JEAN CaOLIGIONDELET

S pring has arrived and the flowers are in full bloom. Also in full bloom are the CW dancers. Many attended classes early this year and are hitting the dance floor in droves. They are looking for new and exciting dances to music they al-ready know. This is good since they get a sense of ease hearing familiar music and only having to concentrate on new steps.

For the beginner this dance can serve as practice in turning in a grapevine and other elements of CW dance, particularly the kick/ball/change-counts 28-29. Enjoy "Spring Fever".

SPRING FEVER Choreographer: June Wilson

32 Count, 4 Wall Line Dance, Intermediate Music: Love Walks by Highway 101 (Slow/Medium),

Romeo by Dolly Parton (Medium), Killing Time by Clint Black (Medium),

I Feel Lucky by Mary Chapin Carpenter (Medium)

GRAPEVINE RIGHT, KICK REAR, GRAPEVINE LEFT,

STOMP 1 Step right with right foot 2 Left foot cross behind right 3 Step right with right foot 4 Kick left foot up behind right

(slap with left hand) 5 Step left with left foot 6 Right foot cross behind left 7 Step left with left foot 8 Stomp right" ("Clap optional)

SPLIT HEELS, 1/4 TURN LEFT, HITCH-KICK,

STOMP, VINE 9 Heels out

10 Heels together 11 Touch right foot forward 12 Pivot 1/4 turn to left on ball of

both feet 13 Hitch-kick right foot forward 14 Stomp right" ("Clap optional) 15 Step right with right foot 16 Left foot cross behind right

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GRAPEVINE RIGHT, KICK REAR, GRAPEVINE LEFT,

STOMP, HEEL SPLITS 17 Step right with right foot 18 Kick left foot up behind right

(slap with left hand) 19 Step left with left foot 20 Right foot cross behind left 21 Step left with left foot 22 Stomp right' ("Clap optional) 23 Heels out 24 Heels together

KICKS, KICK/HALL/ CHANGE, KICK STOMPS

25 Kick right foot forward 26 Kick right foot forward 27 Kick right foot forward & Step quickly on ball of right foot

28 Step on left foot 29 Kick right foot forward 30 Stomp right" (**Clap optional) 31 Stomp right" ("Clap optional)

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THE CALLER COACH

DON MSON

The appropriate selection and delivery of singing calls can be the highlight of most dance programs. Singing calls are easy for many callers, however others have to work at it to be effective. To get the most out of singing calls, we all need to spend time in preparation.

Perhaps the key factor in pro-gramming with singing calls is selecting the proper songs to fit the age group and musical tastes of dancers attending. Still another major point is the talent and ability of the caller to successfully deliver it.

Callers who spend the extra time to learn to make the singing calls special usually are rewarded with many compliments. Their home danc-ers will request the songs again and again. This is good, however don't run it into the ground and spoil a

good thing. Do the special song or songs on special occasions and otherwise just periodically. This is an important judgement.

I have touched on the key points of using singing calls, however it might be good to list the many other ways that singing calls can enhance square dance programming.

1. Singing calls can be used to recognize birthdays and anniversaries.

2. Many singing calls can be used as patter records to add variety.

3. Singing calls can be used to set the mood for a dance or special moment.

4. Singing calls can be used to reveal special talents of the caller such as yodeling, extreme range, an extra good singing voice or callers that are able to deliver effective special effects or comedy.

5. Writing or rewriting singing calls is an excellent way to begin learning

62

American SquareDance, May 200(1

Dick Duckham

Ellen Brunner

Jerry Sleeman

SusanElane Packer

Steve Brown

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New Releases on Golden Eagle GE-0033 - Ebony Eyes by Ellen Brunner GE-0035 - Gospel Medley by Dick Duckham GE-0036 - Somewhere My Love by Dick Duckham GE-0037 - Same Old Song And Dance by Ken Bower GE-0038 - Believe by Ken Bower GE-0001 - Abilene by Gary Shoemake

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basic image calling and timing. 6. Rewriting choreography for

use at calling the various levels is an excellent way to improve knowledge of choreography. It enables callers to essentially be able to use any singing call at any level dance including classes.

Callers soon accumulate a large inventory of records from which to choose. Most of us have hundreds of them around. No matter how many we have there is always room for a good new creative singing call. In addition to the ASD's On 77u, Record - Squares, the tape services are excellent to keep us abreast of the 20 or more records that come out most every month. All callers should belong to a tape service. You can hear all the new releases while driving to and from a dance and order by phone or fax.

Once a new hit record becomes old,


put it back for awhile. It will be exciting to bring it back out in a year or so and the dancers will enjoy it again. It is good programing to use both new and classic singing calls at a dance as well as your own special production numbers.

Never overlook the importance of music variety in your programming. It can be just as effective as creative choreography which is also important. Put the two together and you've got a winner.

Don Williamson is a Caller Coach, Accredited by CALLERLAB, and producer of Red Boot Productions and Platinum Records. Don invites other Caller Coaches to participate. Send your letters to Red Boot Productions, Inc., 52 Crest Drive, Greeneville, 7W 37745

63

Remembering Don Armstrong

December 6, 1919 - February 27, 2000

Contra dancers the world over have lost a valued and experienced dance leader who provided direction and leadership to the Contra dance activity for many years. In paying tribute to him, it will be necessary for me to recount some of my relationship to him. I hope you do not mind.

I first became acquainted with his name in 1965 at the Dallas National Convention. Bob Osgood suggested I send a dollar to Don and request his mimeographed "Don Armstrong's Contra Workbook." I still have it. My activities to find contras in my area were not fruitful, so when I heard that Don was to be on the staff of Bob Osgood's Asilomar Summer Dance Week in 1972, I immediately asked for a last minute registration. That was the first of many dance weeks we attended with Don on the staff. At those weeks, Don graciously allowed me to look over his shoulder as he prepared each day's program. He answered my questions, but much of my knowledge was learned

by osmosis - watching the master. Don was patient, never once

criticizing or telling me to "get lost." He taught by example. In 1973 we had Don to this area and, because of him, began attending the Shaw dance weeks. Our association with Don and the Lloyd Shaw Foundation has been continuous since then.

Don's "other" profession was as an experimental test pilot during

and immediately after the WW II days. lie recently was inducted into the Society of Experimental Test Pilots. His book "I Flew Them First" recounts his aviation career and tells how he attended and called dances as a means of stress relief. He also operated an aviation business in the Grand Cayman Islands before returning to the USA. Many were unaware of his aviation activities

until the book was published. But, it was as a dance leader that Don became well known to those in the dance activity.

Don was unmistakably the pre-eminent dance leader in the field of contra dance. For many years he called square, round, folk and contra dances in Florida and was a founder of both dancers and callers associations

64 American SquareDance, May 200(1

in Florida. At that time he had his own dance band (he played the drums) and released several records. He was the first president of The Lloyd Shaw Foundation and was the long-time chair of their Recordings Division, responsible for obtaining good dance music and making it available in both instrumental and called versions. He originated many contra dances and recorded on the Shaw label. His policy was that dances were meant to be shared and he was quick to give credit and recognize others in the activity. He was director of the Shaw Foundation dance camps and summer college courses until turning the responsibility over to others. He started the Don Armstrong Contra Holiday Weekend which is held over the Thanksgiving weekend.

The 25th year of that weekend will be this fall. He was a founder of CALLERLAB and was their first contra chairperson. He was a staff caller at Asilomar summer dance weeks for nearly ten years, and was on the staff of the San Diego Contra Weekend for six years. He was the author of The Caller/ Teacher Manual for Contras, published in 1973 by The Sets in Order American Square Dance Society, which is still a definitive text. He was a member of CONTRALAB, The International Association of Contra Callers. He was elected to the Square Dance Hall of

Fame and his portrait and bio are displayed there. He received the Silver Boot award from the Lloyd Shaw Foundation and other honors and recognitions from other groups. He has called dances and callers workshops on all continents except Antarctica, in many locations in foreign countries and in nearly every state in the USA. His last engagement was at the 13th Ralph Page Legacy Weekend (now called the New England Dance Legacy Weekend) on January 14-16, 2000.

At one of the Shaw Foundation summer dance weeks in an informal group session, Don quoted a family pastor as follows: "What we need is not more people who do extraordinary things, but more people who do ordinary things extra-ordinarily well." Neither Don's aviation career nor his dance career can be called "ordinary," but he performed both extra-ordinarily well. He was a master of whatever he undertook.

Many in the contra dance activity are saddened by the loss of Don, and will miss his friendship, leadership and willingness to recognize and assist others. His dances and his choices of music will live beyond him and he will forever be known as a vital force in the contra dance activity. Simply put, he will be missed, but he will also be remembered!

Glen Nickerson Kent, WA

Send Memorial Gifts to The CALLERLAB Foundation

C/O CALLERLAB 467 Forrest Ave, STE 118, Cocoa, FL 32922

Please include names and addresses of both the donor and the recipient.

American SquareDance, May 200Q

65

POINT OF ORDER My Views on Square Dancing

by Otto Warteman, Houston, Texas

Recently, the Minister of Youth for a local Baptist church gave a few points on the benefits of square dancing prior to our evening of entertainment at their teen retreat. His remarks helped in forming the mood, cohesion and enthusiasm for the evening and caused this caller to reflect on our activity and it's past.

We are all struggling to increase our numbers while our members are dying or becoming too old to continue. For more than twenty five years my wife and I lead exhibition groups from the Houston area, to national, state and local conventions. We truly believed that we were performing a service for square dancing and without these exhibitions square dancing and smooth dancing would suffer. What we did during that quarter century, had little or no effect on the quality of

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dancing in this country and has not been missed by the dancers. We stopped doing exhibitions in the fall of 1998, and we don't miss it. I only point this out because I think that callers during the 1960s and 70's felt that by writing the thousands of moves which came out, they too were doing a service for square dancing.

They truly did change square dancing but was it for the better? Did the moves work with the phrase of the music, were they flowing and were they easily taught? Some were, but most were not.

The square dance I knew more than thirty years ago gave me a steady flow of music, mingled with easy commands with time to enjoy taking one step per beat. It was not so complex that we didn't have time to smile and enjoy our fellow dancer's company. There were mixers, lines, contras, easy rounds and squares.

We have taken square dancing and given the control of the program to the diehard dancers (people without any other social activity in life) and stolen the recreation from the social dancer. I make this statement because square dancing is alive and well but not in the form that we profess as mainstream.

We had a group of youngsters, ages twelve through eighteen, on the dance floor that night. The message:

66


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"You are going to do something tonight that will breakdown barri-ers, split up cliques, help you meet new people, do dances you never thought you could or would enjoy and help your fellow dancer." I don't know how many teens are in square dancing but I do know how many show up at a National. When my wife and I have twenty-five squares on the floor, it's a small group. We have been blessed. We never dreamed that churches from all over Texas, would hire us to help in their quest to breakdown barriers and bring out the personality of the shy and relay the message of Christ, that together

we travel this road of life and working together, the road can be smoother and straighter.

That's the same message in square dancing. Life is too short to spend all our waking hours in only one recreational activity. If we gear our activity for the "diehard," our recre-ation called square dancing, will die.

My wife and I are booked for more than fifty dances annually geared for the non-dancer with attendance at these events from 25 to 100 squares. If you need help selling a youth director on the virtues of square dancing, please email me [email protected]. We would love to help.

American SquareDance, May 201)0 67

CREATIVE CHOREOGRAPHY

LEE & STEVE KOPMAN

This month let's look at Dixie Style from positions you might not have considered.

1) HEADS lead right right and left thru dixie style to a wave boys run wheel and deal sweep 1/4 right and left grand

2) HEADS square thru 4 right and left thru dixie style to a wave trade the wave recycle square thru on the 4'h hand..

left allemande

3) SIDES lead right right and left thru dixie style to a wave EACH WAVE, BOYS cross run recycle pass the ocean All fold right and left grand

4) HEADS square thru 2 right and left thru dixie style to a wave boys trade explode the wave trade by pass to the center CENTERS square thru 3 left allemande

5) SIDES square thru 2 right and left thru dixie style to a wave EACH WAVE, BOYS cross run explode the wave trade by touch 1/4 girls run square thru 2 right and left grand

6) SIDES square thru 4 right and left thru dixie style to a wave EACH WAVE, boys cross run linear cycle pass to the center CENTERS square thru 3 left allemande

7) HEADS star thru double pass thru leads trade right and left thru dixie style to a wave {SQUEEZE YOUR LEFT HAND} GRAND LEFT swing thru {LEFT} cast off 3/4 boys run single circle to a wave LEFT swing thru right and left grand

IS .1merican SquareDance, May 2000

8) HEADS star thru double pass thru leads trade right and left thru dixie style to a wave explode & swing thru boys run bend the line load the boat left allemande

9) HEADS pass thru separate around 1 to a line pass thru wheel and deal CENTERS pass thru right and left thru dixie style to a wave girls run 4 x 4 GRAND bend the line pass thru wheel and deal zoom CENTERS pass thru left allemande

10) HEADS square thru 2 right and left thru dixie style to a wave trade the wave linear cycle square thru 2 wheel and deal CENTERS square thru 3 left allemande

11) SIDES square thru 2 square thru on the 3° hand

right and left thru dixie style to a wave boys trade cast LEFT 3/4 girls run pass thru trade by left allemande

12) HEADS star thru double pass thru leads trade right and left thru dixie style to a wave CENTERS explode the wave ENDS JUST explode swing thru girls run square thru 4 right and left grand

13) SIDES star thru double pass thru track 2 explode LEFT touch 1/4 circulate girls run dixie style to a wave fan the top circulate 1-1/2 left allemande

14) HEADS lead right slide thru LEFT touch 1/4 circulate girls run dixie style to a wave { each side } boys cross run fan the top spin chain thru right and left grand

(3/8 promenade)

15) SIDES pass thru separate around 2 to a line LEFT touch 1/4 girls run dixie style to a wave { left } cast off 3/4 coordinate circulate wheel and deal square thru on the 3rd hand

right and left grand


WHE KGREo MORN

STEVE KOPMAN

Let's stay with the dixie style idea for this months article. Hopefully, you haven't used this as part of your choreography.

HEADS right and left thru & dixie style to a wave extend THEN:

1) trade the wave LEFT swing thru right and left grand

2) LEFT swing thru explode & slide thru left allemande

4) acey deucey left allemande

3) LEFT swing thru explode & touch 1/4 boys run square thru 3 left allemande

5) acey deucey boys run bend the line square thru 4 right and left grand

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11

erican SquareDance, May 2000

MULTI-CYCLE PROGRAM AND MORE

Wil Eades, Vista, California

I just wanted to let you know of a tremendous success with the multi-cycle class Buddy Weaver and I are working on together. The local club, Whirlaways, that we are teaching class for, is now in its 4th 17 week session. The success is phenomenal! The class is two, one and one-half hour sessions an evening. The first starting at 6:30 going til 8:00 and the second from 8:00 to 9:30. We call the first session Phase One and the second Phase Two. We find that the Phase Two dancers come early and dance with the Phase One group for the extra practice before their class time actually begins. This gives them needed warm up time and we can just move on into lessons without wasting time for the warmups. As you can figure out, all the dancers become well-acquainted with each other and develop early friendships. By being able to start lessons 3 times a year, I'm sure we are getting people who would nor-mally find something else to do instead of waiting until "next year." At the last class we were dancing 11 squares and had 56 new students!!

The dancers attend 17 weeks in each session and are usually asked to repeat Phase Two a second time. Most dancers cannot grasp the basics, mainstream and Plus in 34 weeks total. Most people are relieved to hear that they should repeat the second phase.

The biggest surprise is the amount

of people who are still dancing with the classes. They have a "security blanket" by being able to come back to class. By now they have established friendships which keep them coming back to dance with those new friends. These new dancers are slowly ventur-ing out to outside dances and gain the needed exposure, but still have a home to come back to.

Another surprising thing is the number of other class members coming from other clubs that are joining our lessons for the extra floor time and they usually find that either session is good for them. These people are very loyal to their original club and will remain that club's dancers. People don't change their allegiance the way a lot of people think they do.

We started with a club that was willing to try but a little apprehensive about the idea. Mind you the club has terrific, positive, leadership. It was decided to start on a Monday night (right in the middle of Monday night football season) and the first class had approximately 3 squares of new dancers.

Another club that I am also working the Phase I & II with is the Sundown Squares in La Mesa, CA. We have gone from a club that was struggling to get 2 squares of dancers at their dance to more than 12 at their last dance. This club was having their dances every Sunday evening with a class preceding the dance. They decided (with a little urging) to turn their Sundays into a

72

American SquareDance, May 20(ffl

Send your name, address, phone number and number of copies needed

at least 45 days prior to date needed.

American SquareDance Magazine PO Box 777, N Scituate, RI 02857-0777

or [email protected]

Free Complimentary Magazines

Introduce all your square and round dance friends to

American SquareDance Magazine

class night with the exception of once a month, which would be a party night. That way they could have a dance once a month during the second half of the evening instead of a class, the dance level being held back to where that class was dancing so they could join us. The hall we dance in is a long rectangular hall with a sound proof partition that can split the hall, so a square dance class and a round dance class are being held at the same time. The round dance class that also teaches two sessions an eveningwith a whopping 30 couples. Judy Ballard & Bill Hale are instructors. This club has become one of the most successful in the San Diego area in only one year! Now, another story;

Back, last summer, I decided to try something different to advertise Square Dancing. Judy Ballard and I had some

American SquareDance. May 2000

silk screens made for using on T shirts that said on the front "Add Quality To Your Life"and on the back "Learn to Square Dance." The shirts cost me $6.00 each and we decided to sell them for $7.00, the extra $1.00 going to the CALLERLAB Foundation. So far, I have sent them about $300! The T shirts are a great way to put the words Square Dance in front of people so at least they know we are out there.

Along with that, the Sundown Squares are contributing $.50 of every admission to their dance which I'm sure is over $500 by now. We are probably the two biggest single contributors they have. With a little effort all clubs could start contributing at least 25 cents per admission to the CALLERLAB Foundation to further enhance our positive image. Wouldn't that be great!! lb

73

conbv 34ir TioN' mimeo=

rESTIVAT City of Lights

International Square Dance Festival Perth, Western Australia

September 8-10, 2000

Come to Perth the "City of Lights" a sight experienced by John Glen on both his trips in 1969 & 1999 in space. The Square Dance Society of WA (Inc.) invites you to join them at their International Square Dance Festival which is to be held in Perth, Western Australia on September 8-10, 2000 with a Trail In Dance on Spetember 7 and a Trail Out Dance on the 11. This is a one off festival with callers, cuers and leaders coming from around the world Join all our friendly square dancers and dance to Jerry Story, Tony Oxendine and Jet Roberts USA, Paul Bristow - UK, Jack Borgstrom - Sweden, Tac Ozaki Japan and Australia's home grown callers Mike Davey, Brian Hotchkies, Kevin Kelly, Paul Long, James Reid and Steve Turner. Jerry & Diane Broadwater - USA will be cueing Round dancing and Jeff Driggs - USA will lead off the Clogging.

Western Australia has a wealth of rich experiences. Vast distances, huge rugged landscapes, scenes of breath-taking beauty you'll find nowhere else in the world You'll sense the excite-ment from the moment you set foot in this ancient land.

See WA's famous wild flowers in full bloom and visit some of our winning wineries. See our wonderful wildlife and surf on golden beaches. Enjoy cruising on the Swan River or go whale watching. Visit our unique Kam & Jarrah Forests and experi-ence the Tree Top walk amidst the tall timbers. Visit Kalgoorlie and the Goldfields, Monkey Mia and the dolphins, the haunting Pinnacles Desert or Wave Rock. Enjoy a trip to the cosmopolitan Port of Fremantle, home of the America's Cup from 1983 to 1987. Visit Underwater World and the Perth Zoo which is foremost in successful breeding of some of the almost extinct wildlife.

Every type of accommodation is available including billeting with some of WA's square dancers. Experience the hospitality and unique blend of cultures that makes Perth the wonder-ful city it is today.

After sampling the delights of our great state why not carryon to the "2000" Sydney Olympics, commencing Septem-ber 15 and experience the wonderful excitement and atmosphere that only the Olympic Games can provide.

See you all in September 2000.

74 American Square Dance, May 2000

49th National Square Dance Convention

Baltimore, Maryland June 21-24, 2000

Beacons Of Enlightenment Sew Far So Good

The Education Committee theme for the 49th NSDC in Baltimore, MD June 21-24, is Beacons of Enlightenment. Here are a few of the programs its beams will lead you to.

Stand by on the quarterdeck. It's where you'll find a full Sew and Save Program, with daily demonstrations of new ideas and a unique Apparel Stroll-ing Show and Tell. While you are check-ing out these activities, send your mates to relax in the Partners Lounge

R-R-I-I-I-P-P! If you hear this, head for the Repair Room, where Educa-tion Committee members will be on hand with advice and equipment to help you repair ripped seams, dan-gling buttons, unraveling hems and other apparel emergencies.

Other activities we want to guide you to are the dance Clinics, infor-mative Panels and Seminars, the Or-ganizations Round Table, the Show-case of Ideas and the Publications Display. On Friday attend the Bid Session, where square dancers will present proposals for hosting up-coming conventions.

Dance Clinics - Just What The Doctor Ordered

These clinics, although under the ae-gis of the Education Program, are par-ticipatory dance events, designed to help you improve your existing level of exper-tise and perhaps introduce you to new or advanced programs. Fbr example -

Have you been wondering if you could learn to clog? Try the introduc-tory clinic. Want to improve? Then the intermediate clinic is for you.

The intricacies of advanced and challenge dancing will seem less in-timidating once you participate in an introductory clinic.

Wish you and your partner were smoother round dancers? Maybe a clinic or two will get you on the road to a more polished style.

The dance clinics are listed in the education portion of the daily con-vention schedule. Most are just one hour long and all are conducted by experts. Give them a try when you come to Baltimore.

Fbr additional info contact us at 49th NSDC, PO Box 300 Greenbelt, MD 20770-0300 or on the web at members.aol.comlbalt2000/balt2000/ balt2000.html.

Do you have Convention or Festival News. Send it to: ASD, PO Box 777, N Scituate, RI 02857; Fax 401-647-3227.

American SquarrDance, May 20(W)

75

Country Ifitchen By Louise Haffop

Here is a chicken breast meat stir fried with orange juice and zest, soy sauce, garlic and brown sugar, topped with bean sprouts and served over crispy chow mein noodles. A healthy, zesty stir fry treat to prepare on dance night.

Orange Chicken Stir Fry 1 cup orange juice 1 tablespoon grated orange zest 1/4 cup soy sauce 1 teaspoon salt 3 cloves garlic, chopped 1 tablespoon brown sugar 3 tablespoons vegetable oil 4 skinless, boneless chicken breast

halves - cut into 1 inch squares 2 tablespoons all-purpose flour 1 cup bean sprouts, optional 1(12 oz) pkg crispy chow mein noodles

In a small bowl combine the orange juice, orange zest, soy sauce, salt, gar-lic and brown sugar. Mix well.

Heat oil in a large skillet or wok over medium high heat. When oil begins to bubble, add chicken. Saute until cooked through (no longer pink inside), about 7 to 10 minutes.

Add orange sauce mixture to chicken and cook until sauce begins to bubble. Add flour, a little bit at a time, until sauce has thickened to your liking. Add bean sprouts and cook for 1 minute; serve hot over chow mein noodles.

Spring Lime Tea Cookies 2 teaspoons lime juice 1/3 cup milk 1/2 cup butter or margarine, softened 3/4 cup white sugar 1 egg 2 teaspoons lime zest 1 3/4 cups all-purpose flour 1 teaspoon baking powder 1/4 teaspoon baking soda

Glaze: 2 to 3 tablespoons lime juice 1/4 cup white sugar

Preheat oven to 350°. Combine the lime juice with the milk and let stand for 5 minutes. In a large bowl, cream together the butter and sugar until light and fluffy. Add the egg, beating well, then stir in the lime zest and milk mixture. Combine the flour, baking powder and baking soda, add to the creamed mixture and mix well. Drop by rounded spoonfuls onto an ungreased cookie sheet. Bake for 8 to 10 minutes or until edges are light brown. Allow cookies to cool on the cookie sheet for about 5 minutes be-fore removing to a wire rack to cool completely.

For the glaze, combine the lime juice and sugar for the glaze. Brush onto cooled cookies.

76


CALLING IN CALI, COLOMBIA SOUTH AMERICA

By Otto and Patt Christensen St. Paul, Minnesota

Twenty some years ago, Stan Burdick did a square dance call-ers workshop at the Paul Bunyan Inn in St Paul, Minnesota. I remember the pleasure of his instruction and encouragement to those of us struggling newer callers. Long have I been a sub-scriber to 'American SquareDance" magazine, and his and Kathy's articles, particularly letting us in on their lives by writ-ing "Meanderings with Stan" and the little inserts that Kathy would slip in to keep Stan level headed.

I want to share with you an unusual experience I had in that drug dominated country, Colombia, South America. The enclosed article is one I wrote for our Minnesota square dance publica-tion "The Roundup." The flood of warm regards that engulfed us at the end of the two week session was almost overpowering, and more than compensated us for this gratis engagement.

Background Over forty years ago, a woman by

the name of Biliomine (Billie) Young and her husband, George, honey-mooned in Guatemala, Central America. After teaching there several years, they were invited to teach in Cali, Colombia. There, while George was a school administrator, Billie began teaching English to adults in this Spanish community in South America. She very quickly went from 2 and 3 students to ten and decided to rent some office space because their apartment was just too small. The first night of registration, 200 people who had read her newspaper advertise-ment signed up for English classes! From that simple simple beginning the Colombo was established, which now boasts some 2500 students enrolled in learning English. While they were in

Cali, Billie showed some of the students and faculty some simple square dances, what today we would call "traditional" square dances. They had a lot of fun doing them and the memory of those joy-filled times persisted until now. After several years in Cali, George was invited back to the United States and later became Superinten-dent of Schools in St. Paul, Minnesota.

In 1998, Billie Young was invited back for an anniversary celebration of the founding of the school. While there, she was reminded of the good times people had square dancing in those early years and was asked if she knew anyone that could supply some current information about square dancing. Patt and I happened to be in her St. Paul home when the subject came up and volunteered to send several audiotapes and square


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dance instruction books to the Colombo. Donald Conover, the Direc-tor General of the Colombo (equal to a college president in the United States), wanted an activity that would foster interaction between students, faculty and the community. He felt that square dancing would admirably fulfill these criteria. When he asked around Cali, however, no one seemed at all informed on how to follow the square dance instructions or use the audiotapes. Patt and I made an off-hand remark that we would be glad to stop in Cali and show them how, after touring Guatemala in early March 1999. Shazam! We were sent a warm invitation to come, teach square dancing and stay at the Conover Casa (home)!

The Program We offered two sections starting

March 9, one at 1:30pm in the afternoon and one at 7:30pm. Nine sessions for each section. We also conducted two Saturday night hoedowns, on the 13 and 20 of March. While I had originally hoped to get through the 50 basic square dance calls, we found it was slower going, with my lack of Spanish and some of the dancers non-under-

standing of English. Nevertheless, everyone showed patience with my limited Spanish plus we had very good interpreters in each session, so we were able to introduce calls through "Square thru, Swing Thru, Boys Trade and Boys Run". They learned very well what it meant to "Allemande Left, Do Sa Do, Grand Right & Left and Grand Square!" I learned to add "esquirda [left]" to "Circle to the Left and "derecha [right]" to "Circle to the Right" to assure everyone was moving in correct direction. We had great fun, and ended up with four squares plus on the final Saturday night hoedown, March 20.

In addition, eight square dance students (some were faculty teachers) indicated they would attempt to try calling when Patt and I left. I met with these potential callers for four addi-tional sessions for each section and gave them some suggestions from my calling experience, plus some written material I hoped would be valuable to them. We also left four mainstream video-teaching tapes, a collection of square dance music recordings plus cue sheets for singing calls. I warned them that the only way they could continue


square dancing is to learn all the mainstream square dance figures, for one or more of them to practice calling, and practice, practice, practice! Patt and I wore our 51'd National Square Dance Convention badges and we told them about the 51'd National Square Dance Convention coming to St. Paul in 2002. We said we hoped that some of them could come to St. Paul in that year and dance with us. We promised to make them feel most welcome!

Accommodations We stayed at the Conover residence

as their houseguests. We were chauf-feur driven every afternoon from the house to the college, and back when done around 4:00pm, took a short nap, had a delicious dinner and then Don and his wife, Nora, went back with us for every evening session, including the Saturday night hoedowns! In the mornings, Don arranged for a staff member to take us to a shopping mall on one day and to several very well organized museums with excellent displays on another day. He brought us out to one sports club to swim, sun and stroll, to another to go bowling. We visited with several of his very good friends. On the last Sunday, before we left, we drove to Buga, a small 16'h Century style town about 50 miles south of Cali, so we could see the fertile valley, planted with acres of sugar cane, growing ten feet tall. Huge tractor-trailers trundled down the highways carrying tons of cut cane to the sugar mills where it would be crushed for processed sugar.

We did notice armed guards on many street corners in Cali, there was an armed guard posted in the entrance of the Colombo, plus a metal detector everyone must pass through. The

Colombo has had 50 bomb threats and one bomb was actually exploded on the premises. All visitors are required to sign in at the front desk before going to class or coming in to the square dance instruction. When we drove to a local shopping mall, every car was checked in by a gate guard, the license number recorded and a permit was handed to the driver. Upon leaving the mall, the permit was yielded back to the guard. Thirty people were kidnapped by the rebel forces while we were in Colombia, and four rebel leaders were shot in their penthouse apartment by the Cali City Police about four blocks from the Colombo, so the threat of danger was quite close. However, we felt very safe because we were with someone who knew the situation and was very careful about protecting our well being.

Rewards We felt more than amply rewarded

for the investment of our time. On the last night, many of the women dressed in lovely long skirts, and matching blouses. The men remembered the admonition to wear long sleeved shirts and several dancers even had fancy cowboy boots! At the end of that final Saturday night hoedown when I said, "That's it, that's all, that's the end of this old call; thanks for dancing, one and all!" well-wishers mobbed us. We received many handshakes, cheeks were offered to be kissed (which I could hardly refuse), hugs were given and everyone wanted to have a "memory picture" with us. The goodbye business went on for an-other half an hour. Several dancers gave us presents and we went home with a glow that continued to suffuse us for several days after we returned to Minnesota. it


WHAT'S AHEAD Now your club anniversary dance can be listed

in What's Ahead! If you're celebrating a 5'h, 10'", 151k, etc. anniversary, send us your information.

Not for profit Association/Federation festivals or conventions or benefit dances may be listed free of charge in What's Ahead.

Included will be the event date, name, location, con-tact address, phone number, e-mail. The name of the not for profit Associa-tion/Federation must be printed on the flyer to receive the free listing.

NATIONAL CONVENTIONS U.S.A.

Jun 21-24, 00 Baltimore, MD (49th) Jun 27-30, 01 Anaheim, CA (50th) Jun 26-29, 02 St. Paul, MN (511

CANADA Jul 20-22, 00 Vancouver, British Columbia Jul 18-20, 02 Saint John, New Brunswick

AUSTRALIA Jun 7-11, 01 Tamwor1h, New South Wales

NEW ZEALAND Jun 2-4, 00 Wellington

Datet fipty.et

Main on Mail 14!

MAY 5-6 OHIO - Ohio Dance Convention, Columbus. Larry & Becky Roush; PO Box 15097, Columbus OH 43215; 740-986-2301

5-7 NEVADA - Silver State S&RD Festival, Reno. Info: 775-673-2557. Registration: Sherly Carrick, PO Box 7413, Reno NV 89510; 775-673-2547; [email protected]

5-7 NEW YORK - Dancing at the Shade - SD Weekend, Greenville NY. Gerry & Chuck Hardy calling, Maureen Wall cueing. MS & Plus program - two halls plus much, much more. Details -800-584-3453 or [email protected]

11-13 ONTARIO - Toronto and District International S&RD Convention, Brock University, St. Catharines University. Dorothy Budge, 2345 Kipling Ave #905, Etobicoke ON M9V 3A7 CANADA; www3.sympatico.catjerry.callen/t&d

12 NORTH CAROLINA - 40th Anniver-sary - The Skyland Twirlers S&RD Club, Asheville. Featured caller Tony Oxendine and 36 year club cuer Edna Anderson. Info: Peggy & Ken Maultsby, 828-683-9496

12-13 CALIFORNIA - Spring Jambo-ree, Lodi Grape Festival Grounds, Lodi. Joe & Sharon Boyajian; 209-887-2868; [email protected]

SO


18-20 VIRGINIA - VASARDA State Convention, Williamsburg. John & Shirley Shepherd, 4709 Little John Rd, Virginia Beach VA 23455; 757-499-0782

19-21 KENTUCKY - Kentuckiana SD Festival, Kentucky Fair & Expo Center, Louisville. Bob & Doris Stone, 902 E Maple St, Jeffersonville In 47130 812-283-6397

19-21 NEW MEXICO - NMSRDA State Festival, New Mexico State Fair Grounds, Albuquerque. Greg & Lynn Tillery, 4829 Doug MacArthur NE, Albuquerque, NM 87110; 505-883-8681; [email protected]

19-21 MICHIGAN - Northwest Michigan S&RD Council Annual Spring Festival, Grand Traverse Civic Center, Traverse City. Richard & Betty Mansfield, PO Box 514, Grayling MI 49738; 517-348-8562

26-28 FLORIDA - Florida State S&RD Convention, Lakeland. Charlie & Val Newsome, Registration Chairman, 12368 Brady Rd, Jacksonville FL 32223-2529

JUNE 2-3 ALABAMA - Chicagoland RID Leaders Society June Jubilee, Birming-ham. Kristine & Bruce Nelson, 630-527-1188; [email protected]

2-3 KANSAS - Kansas State SD Con-vention, Bicentennial Center, Kenwood Park, Salina. David & Sherry Hubbard, 2277 First Rd, Junction City KA 66441; 785-238-1367

2-4 NEW ZEALAND - National S&RD Convention, Wellington. Winton Page, Registrar, PO Box 10-711 The Terrace, Wellington, New Zealand; Phone 64-4-563-7004; fax 64-4-565-1972; [email protected]; www.squaredance2000.wellington.net.nz

9-10 COLORADO - Annual Colorado State SD Festival, Greeley. Tom & Sue Nelson, 526 37^ Avenue Ct, Greeley CO 80634; 970-352-6850; [email protected]

9-10 IDAHO - Idaho State S&RD Festival, West Minico Jr High School, Paul. Kinda Helms PO Box 303, Jerome ID 83338

9-11 MINNESOTA - Minnesota State S&RD Convention, Convention Center, St Cloud. Stan & Joyce Severance, I2'° St, Windom MN 56101; 507-831-4417

15-17 WISCONSIN - National Ad-vanced & Challenge Convention, Four Points Sheraton Hotel, Milwaukee. Ed & Marilyn Foote, 140 McCandless Dr, Wesford PA 15090

16-17 CALIFORNIA - Cup of Gold, Sonora Fairgrounds, Sonora. Adrienne & LeRoy Carter, PO Box 242, Groveland CA 95321; 209-962-4147

16-17 WASHINGTON - Washington State SD Festival, Port Townsand. Howard & Dora Krutolow, Festival 2000, PO Box 3715, Sequim WA 98382; Phone 360-683-2711; [email protected]; www.squaredance-wa.org/state.htm

21-24 MARYLAND - National SD Cony, Baltimore. Richard & Linda Peterson, 7226 Mandan Rd., Greenbelt MD 20770; 301-345-7450; fax: 301-345-9459, or Joe & Norva Pope, 15 Melville Rd, Pasadena MD 21122; 410-360-6829; fax: 410-255-0620

29-7/2 OREGON - Oregon 2000 Sum-mer Festival, Pentleton. Dave & Jodene Hughes, 503-472-9173; [email protected]


JULY AUGUST 2-8 WYOMING - Lloyd Shaw Foundation's Rocky Mountain Dance Roundup, University of Wyoming, Laramie. Squares, Rounds, Contra, Folk, plus English, Scotish, Ballroom, Swing. Bob & Allynn Riggs, 7683 E Costilla Blvd, Englewood CO 80112-1211; 303-741-6375; [email protected]

7-9 CALIFORNIA - Annual San Diego Contra Dance W/E, University of San Diego, San Diego. Contra, Quadrille, English country, folk & round dancing, plus special events and after parties. Paul & Mary, PO Box 897, Running Springs CA 92382; 909-867-5366

19-22 NORTH CAROLINA - Interna-tional Round Dance Convention, Win-ston Salem. Ralph & Joan Collipi, 122 Millville St, Salem NH 03079.

20-22 CANADA - Convention 2000 Canadian Square & Round Dance Cony., Vancouver, British Columbia. PO Box 2440, Vancouver BC, Canada V6B 3W7; [email protected] www.squaredance.bc.ca/conv2000.html

20-22 VIRGINIA - Handicapable Con-vention, Ramada Inn, 500 Merrimac Trail, Williamsburg. Jim & Sherry Bush, PO Box 240, Calvary GA 31729; 912-872-3155; fax 912-872-3198;[email protected]

21-23 WISCONSIN - Wisconsin S&RD Convention. Mike & Edie Tuesdale, REgistration, 222 W 14 Ave, Oshkosh WI 54901; wiconv2000 usxchange.net

28-30 ILLIONOIS - Illinois S&RD Convention, Peoria. Peoria Conventnion & Visitors Bureau, 403 NE Jefferson, Peoria IL 61603.

4-6 WEST VIRGINIA - Annual West Virginia Convention, Wesleyan Col-lege, Buckhannon. George & Pat Cumberledge, 204 Macks Dr, Elkview WV 25071; 304-965-5563

9-12 WYOMING - USAWest Square Dance Convention, Casper. Mel & Carol Ford, 93 Calypso, Casper WY 82604; 307-266-1421; [email protected]

11-12 PENNSYLVANIA - Pennsylvania S&RD Convetnion, State College, PA. Dave & Janet Baker, RR2 Box 587, Martinsburg PA 16622; 813-793-4443; [email protected]

17-19 TENNESSEE - Tennesssee S&RD Convention, Gatlinburg Con-vention Center, Gatlinburg. Dance Data, 110 Wilson Ave, Clinton TN 37716; [email protected]

18-19 MICHIGAN - Michigan S&RD Convention, Grand Rapids. Lori & Paul Way, 286 W Mount Hope Hwy, Grand Ledge MI 48837; 517-627-7667.

18-19 NORTH CAROLINA - North Carolina F,R&SD Federation State Convention, North Raleigh Hilton, 3415 Wake Forest Rd, Raleigh. Ralph & Ann Kornegay, 138 Mohican Trail, Wilmington NC 28409; 910-392-1789; [email protected]

24-26 GEORGIA - Jekyll Island Jam-boree, Comfort Inn, Jekyll Island. Bob & Viaian Bennett, 2111 Hillcrest Dr, Valdosta GA 31601; 912-242-7321

25-26 NEWFOUNDLAND - Annual Festival of the Newfoundland SD Callers Assoc, St. John's. Mel Gosse, 709-747-1964.


CORY-OGRAPHY in the

CLASSROOM by eutbett Tow' ceb

ALL IT TAKES IS A SIMPLE LETTER AND A PLAN

COMING IN JUNE

SEPTEMBER 8-10 AUSTRALIA - International SD Festival Perth 2000, Challenge Stadium, Stephenson Avenue, Mount Claremont, Perth, AUSTRALIA. Info: Bob Tanner; 61-8-9458-6958; fax: 61-8-9458-6958; tambin @wongan.agn.net.au; [email protected]; www.webace.com.au/-sguareda

15-16 NEBRASKA - Nebraska State S&RD Convention, Adams County Fairgrounds, Hastings. Mary & Marilyn Heckman, 4630 Parklane Dr, Kearney NE 68847; 308-234-1344; [email protected]

NOVEMBER 12 NEW JERSEY - Northern New Jersey SD Assoc Annual Mini-Festival, Bridgewater-Raritan Middle School, Bridgewater. Sal & Mary Alessi 973-256-1647; Jim & Joyce Kelly 908-658-4271

17-18 TENNESSEE - Mid-South S&RD Festival, Memphis. Jim & Doorothy Bobo; 901-754-2409; [email protected]

17-18 FLORIDA - Annual NEFSARDA Fall Festival, Jacksonville. John Wall PO Box 50124, Jacksonville Beach, FL 32240; (904) 241-0384, [email protected]

19 MASSACHUSETTS - Springfield Area Callers and Westeren Massachu. setts S&RD Assoc 25^ Fall Festival, Bellamy School, 314 Pendleton St, Chicopee. Fran Vivier, 31 North St, Granby MA 01033; 413-467-3352; [email protected]


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NOTES FOR CALLERS

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PO Box 2678, Silver Bay, NY 12874 (5 l 8) 543-8824

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LEARN TO YODEL teach tape for $15 U.S. funds. Yodeling Singing Calls tape $10 U.S. funds. Add $3 U.S. for S/H. Joe Uebelacker, 560 Maple Tree Cres. RR1 Fraserville, Ontario, Canada KO1 IVO

AUDIO TEACH & DANCE TAPES BY ED FOOTE. MS & Plus taught all-position to dancers who already know the calls from standard posi-tion. A-I and A-2 taught with walk thru & practice of all calls. Teach tapes emphasize understanding of calls, are widely acclaimed as best on the market. Drill tapes, dance tapes & two-couple tape also available. Write for literature to: Ed Foote, 140 McCandless Place, Wexford, PA 15090.

BOOKS

MULTI-CYCLE DANCE PROGRAM If your club is suffering from lack of new danc-ers, this program might be the help it needs. Starting new dancers more than once-a-year can revitalize a failing club. The complete program is laid out in an easy-to-follow format. Each book is only $9.95+$3.00 S/H. Order from: Milt Floyd, 5 Wentworth Ct E, Minneapolis MN 55419.

BURLESON'S SQUARE DANCE ENCY-CLOPEDIA: 5090+ different calls and move-ments; $35.95 includes shipping. Available MAY 1, 2000

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STEP-CLOSE-STEP ROUND DANCE BA-SICS. 1998 New Revisd Edition, Round Dance Basics Book, $10 + postage. Now includes 10-week dancer-proven course, dance positions. complete approved terminology, mixers, teaching hints, plus introduction into foxtrot, tango, cha cha and ballroom. Coordinates with the Grenn record teaching series. Order from Palomino Records, 1404 Weaver Run Rd., West Point, KY 40177 or call Tom at 1-800-328-3800.

EASY LEVEL SOLO DANCES: The Bob Howell Collection. Here you'll find everything to get your toes tappin. and hips swinging-the music, concise directions for all levels, plus interesting history of each dance. Cost: $21.95 per book. S/H $3.50 U.S. - $5.50 Canada. Order from Siddal & Ray Publications for Dance, 1017 Williamsburg Drive, Charleston, IL 61920

PLUS, ADVANCED & CHALLENGE DIA-GRAM BOOKS FROM ED FOOTE. 5 books available: Plus, Al & A2 (both in I book), Cl. C2, C-3A. Each book diagrams all calls for the indicated program from a variety of positions, also includes helpful hints for dancing the calls. Books are 8 1/2 x II with spiral binding, laser printing provides clear sharp images. The most complete diagram books for Plus, Advanced & Challenge available today. Cost: $16.25 / hook includes shpg. ($17.25 for C-3A). (Canada add S .80). Order from Ed Foote, 140 McCandless Pl., Wexford, PA 15090.

SQUARE DANCING FOR "KIDS" OF ALL AGES - Complete teach book with complete wording and definitions for each call with lots of choreography. Great for teachers - you don't need to be a caller. Big printing for easy reading/ calling. Absolutely complete wording everything including how to get them started in a circle and squares. Book I (Pre school thru grade 4) $25; Book II (Grade 4 thru Senior Citizen) $25; Both Books $45 U.S. Funds (Canadian funds for Canadian orders) Add $5 for postage. Joe Uebelacker, 560 Maple 'Free Cres. RRI Fraserville, Ontario, Canada KOI IVO

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VIDEOS

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CALLER INSTRUCTIONAL VIDEOS by ED FOOTE, CALLERLAB accredited Caller Coach. Two videos available: Creative Chore-ography, Sight Calling. Each color video about 90 mins long. Presentations organized and complete. $39.95-one tape, $59.95-both tapes. Order from Dale Garlock, 2107 Shunk Avenue, Alliance, OH 44601

VIDEO POST-GRADUATE MULTI-POSI-TION TEACH TAPES by ED FOOTE. Calls are taught from multiple positions for dancers who already know the calls from standard position. Numerous walk thrus of the more difficult calls at each CALLERLAB program, along with brief samples of dancing, and hints for successful dancing. Understanding of calls is emphasized. 3 video tapes available: Main-stream. A-I, A-2, (no Plus tape), each tape about 90 minutes long. Cost (includes shipping): Mainstream $34.95, A-1 $24; A-2 $24; subtract $5 for 2 or more videos. Order from Dale Garlock, 2107 Shunk Ave, Alliance OH 44601.

NEW VIDEO RELEASES FROM THE KENTUCKY DANCE FOUNDATION. Bob Howell's "JOY OF DANCING" and Don Annstrong's 3-tape series "REEL TO REEL" and Stew Shacklette's "LINE DANCES FOR SENIORS" and "COUNTRY-WESTERN LINE DANCES FOR SQUARE DANCE CALLERS". All videos are $19.95 ea. + $3 S/H. Call (800) 446-1209 to order. MasterCard and Visa accepted.


MANAIVW

RESORTS/CAMPGROUNDS

PATTERNS

DANCE CENTER OF THE RIO GRANDE VALLEY. Built for dancers, floating floor desinged for Square Dancing. Many lessons, workshops and party dances weekly Novem-ber - April. LAKEWOOD R.Y. PARK, 4525 Graham Rd., Harlingen, TX 78552. (210) 423-1170. For reservations and information only (800) 459-4525.

WESTERN MONTANA, Square and Round Dance Vacation, June 2 - Sept 10.

II miles south of Missoula. National Callers most weekends. Special round dance weeks

and weekends. Camp among the pines on Lobo Creek. Write or call for brochure.

Afton Granger, 9955 Highway 12 Colo, MT 59847 Phone: 406-273-0141

CALLING EQUIPMENT

SUPREME AUDIO, Inc. "The Professional Source For Dance Audio" Largest selection of professional calling and cueing equipment, records and publications

available from one source! HILTON SOUND SYSTEMS

YAK STACKS PO Box 50, Marlborough, NH 03455-0050

Phone: 800-445-7398 or (603) 876.3636 Fax: 800-346-4867 or (603)876-4001 E-mail: [email protected]


SQUARE DANCE PATTERNS. Full line of SD patterns and western. Featuring snaps, elastic and many other items. Send your name and address along with $2 for a catalog. Aron's, 8974 E. Huntington Drive, San Gabriel, CA 91775

SQUARE DANCE/ROUND DANCE THEME COUNTED CROSS-STITCH PAT-TERNS. 3 square books, I round book, 5 pat-terns each. $5 ea.+$1.50 pstg. per order. State patterns available upon request at $1.50 ea. + $.50 pstg. per order. Dealers welcome. Ralph & Mary Ann Kornegay, 138 Mohican Trail, Wilmington, NC 28409.

EQUIPMENT FOR SALE

Hilton AC-300 Like new, with original box, used about 5 times. Also, EV631A, Yak-Stak and stand.

Hundreds of records and record cases. Entire package $1,300.

Tom Meyer 38 Charles Street, Putnam, CT 06260

860-928-2242; tmbmaineca.com

The Square Dance Authority for Dancers by Sets In Order - available from ASD!

Basic Mainstream Handbook

$1.50 ea. +S&H

Plus Movemen Handbook

$1.00 ea. +S&H

Indoctrination Handbook

$.75 ea. +S&H

See page 89 for ordering information. Quantity discounts available.


VISA

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AMERICAN Tr, SQUAREDANCE "The Internatinal Magazine of Square Dancing"

I am a Caller ❑ Cuer ❑ Dancer 111 Other

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Send to: ASD, PO BOX 777, N SCITUATE, RI 02857-0777 OR CALL (401) 647-9688 OR 800-333-6236

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88 American SquareDarwe, May 2000

American SquareDance Products ITEMS for DANCERS, CALLERS, CUERS, LEADERS & CLOGGERS

ACCOMPLISHING BETTER CALLING $4.99 ADVANCED WORKSHOP NOTEBOOK $10.99 ALLEMANDE LEFT (Mentally Handicapped).... $5.99 APPALACHIAN S/D FOR CLOGGERS $10.99 ASD BINDERS (2 pack) $10.50" ASD PLUS PROGRAM (Diagrams) $1.99 BURELSON'S S/D ENCYCLOPEDIA. Available 7/200a BURLESON'S UPDATE - 1996 & 1997 $10.00" BURLESON'S UPDATE - 1992 - 1997 $15.00" CALLER/CUER CONTRACTS (20 PK) $8.50" CALLER'S GUIDEBOOK (399 page text) $14.99 CHOREOGRAPHY GIMMICKS $6.99 CLIP ART (Sketches, paste-up) $6.99 CLIP ART 2 (All different) $7.99 CLIP ART 3 (All different) $7.99 CLIP ART Ion 3.5 HD disks 175 images $15.99 CLIP ART 2 on 3.5 HD disks 200 images $20.99 CLIP ART 3 on 3.5 HD disks 200 images $20.99

pc-compatible, images are pcx format, b&w and supplied in a self-extracting file for Windows.

CLOGGING (Basic book) $4.99 DIAGRAMED GUIDE TO BETTER S/D $7.99 EASY SING-A-LONG (Adaptations) $3.99 FUNNY WORLD OF S/D (cartoons) $4.99 GUIDEBOOK FOR SQUARE DANCERS $2.99 MODERN CONTRA DANCING $3.99 MUSIC & TIMING $10.99 PARTY LINE (After party ideas) $6.99 PROGRESSIVE WORKSHOP $4.99 SET-UP AND GET-OUT (Modules) $6.99 SETS IN ORDER

INDOCTRINATION HANDBOOK $.75 BASIC/MAINSTREAM HANDBOOK $1.50 PLUS MOVEMENTS $1.00

SHOW AND SELL S/D (Better promotion) $8.99 SOLO DANCES (Single, line routines) $7.99 STEP-CLOSE-STEP RD BASICS

by Frank Lehnert $10.00 SURPRISE GET-OUT by Wayne Morvent $15.00 TEACHING TOTS TO DANCE (Family) $3.99 WHEEL & DEALING (Handicapped) $5.99 WINDMILL SYSTEM (Image style) $5.99 WORTH OF A SALESMAN (Showmanship) .... $10.99

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ADvERTIsEk 'max 4-Bar-B Records 6 Gold Star Video 61 A & F Music 10 Grenn, Inc. 29 Adirondack Sq & Rd Dance Festival 71 Hawaii Calling 21 ASD Hi Hat/Blue Ribbon/DJ Dance Records 5

Complimentary Magazines 73 Hilton Audio Products 7 Sets In Order Handbooks 87 IAGSDC 46 Square Dance Products 89 John's Notes 52 Subscription Form 88 Kirkwood Lodge 18,19

Australia Square Dance Festival 45 Kopman's Alaska Cruise 23 Bethany Travel 62 Kopman's Caribbean Cruise 67 BLG Designs 24 Kopman's Choreography 70 Branson Tours 50 Meg Simkins 30 Caller/Cuer Lineup 27 National SD Directory 58 Caller School - Frank Lescrinier 56 New Line of Fashions 59 Caller School - Jim Mayo 66 Palomino Records IBC Caller School - Midwest, Don Taylor 52 Perry's Place 3,57 Caller School - Wayne Morvent 24 Quadrille Records 78 Caller School - Don Williamson 8 R & R Video 9 Calyco Crossing 26 Rawhide - Buckskin Records 31 Cardinal Records 41 Rockin' Gospel with Sonya 49 Chinook 42 Rocky Mountain Dance Roundup 39 Classifieds 84 Silver Sounds/Sounds 2000 35 Cole, Larry 56 Square Dance Center & Campground 47 Collipi, Ralph & Joan 13 Stahly's Stitchery 15 Cue Sheet 33 Supreme Audio IFC,BC Dot's Western Duds 38 Tarheel Records 51 Eagle Records 63 USA West 11 ESP/JOPAT Records 37 Yak Stack 17 Geis, Corben 16

American SquareDance (ISSN41001-3353: LISPS 513-240) is published monthly by N & P1 Enterprises. Inc.. 145 Stone Dam Rd., N Scituate. RI 02557. Subscription rates: $22.50: Canada 527.50: foreign $35.50. Payable in U.S. funds only. Periodicals Portage Paid at N Scituate, RI. POSTMASTER: Send address changes to ASD, PO Bun 777, N Scituate, RI 02%57. Printed in USA Copyright 200 by E & Pl Enterprises. Inc. All rights reserved.


PALOMINO RECORDS, INC 1404 Weavers Run Road

West Point, KY 40177 800-328-3800

YOUR "ONE STOP" SHOP!!! [email protected]

www.palominorecords.com

We're not just your Worlds Largest Supplier of Records, We're your #1 Video Store !!!

With over "50" Different Videos in "Stock"

Square Dance Instruction (Basic-A-2) Square Dance "All-Position" (Basic-A-2) Square Dance Singing Call (Mainstream-Plus) Square Dance Promotional Square Dance Seminars (Creative Choreography-Sight Calling) Square Dance (Community Dance) Square Dance (Party Dance-Contras-Mixers) *Caller/Instructors: Betsy Gotta, Ed Foote, Randy Dibble, Joe Kula,

Ron Bliven, Jerry Helt, Tony Oxendine, Jerry Junk Contra (Jigs-Reels-Lines-Circles) *Caller/Prompters: Don Armstrong, Jerry Helt Round Dance Instruction (Phase II-IV) Round Dance Instruction (Two-Step, Waltz, Foxtrot, Tango, Jive,

Cha, Rhumba, West Coast Swing, Paso Doble, Quickstep) Round Dance Instruction (Favorites-Phase IV-VI) Round Dance Instruction (Showcase us"West 97-98 II-VI) Round Dance Party (Easy Level Rounds) *Cuers/Instructors: George & Judie McFarlane, Virginia Callaghan,

Iry & Betty Easterday, Wayne & Barbara Blackford, Brent & Mickey Moore, Kristine Nelson

Line Dance Instruction (Beginners-Callers-Seniors) *Instructors: Dr. Grant Longley, Jo Bridges, Paul Merola,

Stew Shacklette, Jerry Helt Clogging Instruction: (Beginners-Intermediate-Competition) *Instructors: Scott McKee, Jeff Driggs

Voice Orders: USA & Canada - 800-328-3800 International - 502-922-0074

Fax Orders: USA & Canada - 800-227-5420 Others - 502-922-0270


The Professional Source for Callers & Cuers

THE

POCKET DICTIONARY OF

SQUARE DANCE CALLS Callerlab Programs Mainstream (Red)

Plus, Al, A2 (Green) Plus. AI & Al rest revised with

dozens of easy-In-follow diagrams,

"Official" Callerlab definitions ! fits in your pocket!

Quick authority for calls! Handiest reference available!

Quantity discounts!

I iss Dancer & Caller Should 'hoe (Mel

1-800-445-7398 Phone: 800-140,-739H or 604476406

Fax: X00-346-4867 or 603-876-4001 Foreign Ton Free: AT&T USA Direct = + Moo=

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