A course for secondary square dancers
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A COURSE FOR SECONDARY SQUARE DANCERS
A P ro ject P resented th e F a c u lty of the
to
School o f E d u catio n
Phe U n i v e r s i t y o f S o u t h e r n
C alifo rn ia
In P a r tia l F u lfillm e n t o f th e R eq u irem en ts f o r t h e Degree M aster o f Science i n E d u c a tio n
D o ro th y 2 u v a r Hayes F e b r u a r y 1950
UMI Number: EP45864
All rights rese rv ed INFORMATION TO ALL U S E R S T he quality of this reproduction is d e p e n d e n t upon th e quality of th e copy subm itted. In th e unlikely e v e n t th a t th e a u th o r did not s e n d a co m plete m anuscript and th e re a re m issing p a g e s, th e s e will be noted. Also, if m aterial had to be rem oved, a n o te will indicate th e deletion.
UMI D issertation Publishing
UMI E P 45864 P ublished by P ro Q u e st LLC (2014). Copyright in th e D issertation held by th e Author. Microform Edition © P ro Q u e st LLC. All rights rese rv ed . This w ork is protected a g a in st unauthorized copying u n d er Title 17, United S ta te s C ode
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Date.........
Adviser
Dean
ii TABIB OF COHTBBTS CHAPTER 1.
PAGE
ACQUIRIHG SH IXI:
HOW TO BBCQMS A COOP SQUARE
DABCIR. A.
.............................................................................
THE SET OR SQUARE:
HOW TO TAKE YOUR P O S I T I OH
AHD DESIGBATE ATX MEMBERS.................................................... B.
THE OAXIS:
.........................................................
IHTRODUCTIOBS ABD BREAK-UPS:
SQUARE PAH C I S ;
3.
GOOD MUSIC:
4
HOW TO START
ABD STOP WITH F I J B E S S E .............................................................. E.
1
HOW TO FOXIOW THE DIRECTIOHS
GIVEH BY THE CAXXER . C.
1
HOW TO PUT ALU THE PARTS TOGETHER
5 17
HOW TO CHOOSE GOOD SQUARE DAHCB
R E C O R D S ..................................................................................................................37 4.
THE DABOS HAUL:
HOW TO CHOOSE AHD KEEP THE BEST
PIACB TO DABCE............................................................. 5*
APPROPRIATE DRESS:
HOW TO SELECT SQUARE DAHCE
COSTUMES. . - .................................... 6.
ETIQUETTE:
43
50
HOW TO KEEP BEHAVIOR OH A HIGH PXAHB
AT A SQUARE D A H C E ........................................................................................ 57 7.
OBTAIIIHO OFFICIAX STAHDIHG:
HOW TO ORGANIZE A
SQUARE DAHCE C L U B ........................................................................................ 63
iii PHEFACB T h is p r o t e s t h a s been arran g ed
f o r "beginning s q u a r e
d a n c e r s o f j u n i o r and s e n i o r h i g h s c h o o l a g e .
S ince th e
p r o b l e m s f a c i n g t h e m f a c e a l l b e g i n n e r s , t h e b o o k may b e used by a d u l t s . The s p o n s o r o f t h e
s q u a r e d a n ce c lu b v e r y o f t e n must be
t h e c a l l e r and i n s t r u c t o r .
For th a t
reason,
be used a s a handbook f o r th e s p o n s o r , g lo s s a ry o f te rm s used
in square dancing;
of fiv e p o pular dances, w ith d e ta ile d dance them ;
it
it it
giv es th e o a ll s
look f o r in
e v e n t e l l s how t o
g i v i n g c a t a l o g num ber, t i t l e ,
in clu d es a
i n s t r u c t i o n on how t o
i n c l u d e s d e t a i l s on w h a t t o
s e l e c t i n g good r e c o r d s and reeords,
for
t h i s book can
order c e rta in
and p r o d u c e r .
S ince g e t t i n g p e rm is s io n t o have a r e g u l a r m ee tin g p la c e very o fte n t i e s
i n w i t h c o n d u c t a t t h e d a n c e s and w h e t h e r a
r e g u l a r clu b w ants t o d an ce,
c h a p te r s have been in c lu d e d
as
g u i d e p o s t s t o h e l p b o t h p u p i l s and s p o n s o r . Bo b o o k on S q u a r e d a n c i n g w o u l d b e c o m p l e t e w i t h o u t a c h a p t e r on t h e th e
costu m es w hich a r e a p e c u l i a r r e q u ir e m e n t t o
com plete p i c t u r e ,
so t h a t
i s th e concern o f c h a p te r f i v e .
Far t h o s e g r o u p s who w i s h t o f o r m a c l u b , on c lu b o r g a n i z a t i o n a r e i n t h e f i n a l c h a p t e r .
in stru ctio n s
1 CHAPTER 1 .
ACQUIRING SKII X
HOW TO BE COI® A GOOD SQUARE DANCER A.
MOTIVATION:
R e w a r d s t o 'be g a i n e d lay k n o w i n g how t o
s q u a re flanoe. 1.
APPROBATION: to
Y our p a r e n t s and f r i e n d s w i l l b e g l a d
s e a you p u t f o r t h t h e
d iffic u lt a rt. going to 2.
nj i t t e r
hug” a l l th e tim e .
SBXE-SATISFACTION;
You w i l l f e e l a g l o w o f p r i d e an o th er s k i l l .
ENLARGED ACQUAINTANCESHIP: as a u n it
to m aster t h i s
They w i l l a l s o he g l a d you a r e n o t
t h a t you have a c q u ir e d 3.
ex tra e ff o r t
S in c e more p e o p l e e n g a g e
in square d ancing, your c i r c l e
of frien d s
w ill broaden. 4.
TRAVEL:
You w i l l go a r o u n d t o
t io n m eetin g s, 5.
DATES:
some a t c o n s i d e r a b l e d i s t a n c e .
Y o u r c h a n c e s f o r d a t e s w i l l i n c r e a s e when
y o u become a d e p t a t B.
DIRECTIONS;
square dance fe d e ra
How t o
sw inging your p a r t n e r .
i d e n t i f y a l l members o f y o u r s e t and
fo llo w th e c a l l s . 1.
THE S I T : co u p les
A ll sq u a re dances b egin w ith a s e t o f f o u r in a h o llo w box fo rm a tio n ,
each sqde o f t h e
s e t or squ are.
o n e c o u p l e on
a.
h.
The o o u p l e s f a o e i n t h e c e n t e r , w i t h l a d y on t h e rig h t
of her p a rtn e r.
If
is n ecessary fo r a g i r l to ao t th e p a rt of
it
a gentlem an,
she should w ear so m eth in g to i n d i c a t e
she i s t a k i n g a m a n 's p a r t .
She c o u l d w e a r a
b r i g h t ban d an a around h e r n e c k . c.
The c o u p l e w i t h b a c k s t o t h e m u s i c a n d c a l l e r i s known v a r i o u s l y a s c o u p l e n u m b e r o n e ,
lead co u p le,
or head c o u p le . d.
T he c o u p l e t o t h e r i g h t o f c o u p l e n u m b e r o n e i s c o u p le number t w o .
e.
The c o u p l e o p p o s i t e c o u p l e n u m b e r o n e i s n u m b e r t h r e e an d i s a l s o ,
occasio n ally ,
co up le a head
co u p le. f.
The c o u p l e t o
th e
l e f t o f c o u p le number one i s
c o u p le number f o u r . io n i s g.
You w i l l n o t e t h e progress-**
co u n terclo ck w ise.
S ince c a l l s
are d ire c te d to th e
s p e c if ic a lly noted,
g entlem en, u n l e s s
"your p a r t n e r " w i l l h e r e i n
a f t e r mean " t h e m a n ' s p a r t n e r " .
Your p a r t n e r
sta n d s to your r i g h t . h.
Your r i g h t hand l a d y i s n o t y o u r p a r t n e r ,
but th e
l a d y n e x t on t h e r i g h t . i.
Your o p p o s i t e l a d y i s t h e is across the
lad y fa c in g you.
s e t from y o u .
She
The c a l l s w i l l b e e x p l a i n e d b e f o r e y o n a r e t o tr y to dance.
I f th e o a lle r
c a l l he w i l l l e t
i n t r o d u c e s a new
you " w a lk t h r o u g h " t h e c a l l and
l e t you p r a c t i c e u n t i l he i s
su re you have l e a r n
ed t h e new s t e p . The c a l l e r
s t a r t s t h e m u sic and g i v e s t h e c a l l s .
The c a l l e r u s u a l l y f i l l s
i n w i t h h i s own p a r t i c u
l a r p a t t e r t o h e lp keep tim e w h ile you e x e c u te th e fo rm atio n . X isten to th e
c alle rs'
p a tters,
T h is is
th in g th a t g ets vario u s c a lle r s t h e i r
one
rep u ta tio n
a s "good c a l l e r s " . Most c a l l e r s w i l l u s e a m ic ro p h o n e t o p r o j e c t t h e i r voice to t h e f a r t h e s t s a t . hear, fin d
r a is e hands.
I f you cannot
When h& s t o p s t h e d a n c e t o
out th e tr o u b le ,
let
one d a n c e r i n your s e t -
e x p la in t h a t you cannot h e a r ,
o r p e rh a p s even
t h a t y o u do n o t know how t o e x e c u t e t h e In th e dance i t s e l f , c a lls to
p art,
the o a lle r w ill d ire c t h is
one s e t o n l y .
do n o t t r y t o
I f your se t
do e v e r y t h i n g ,
but
and do w h a t t h e c a l l e r i s
now.
g e ts b eh in d ,
leave
out a
c a llin g rig h t
' .
Do n o t g e t t o o f a r b e h i n d t h e c a l l e r , th an fo u r b e a ts ,
c a ll.
in f a c t .
n e v e r more
j .
The l a d y t o y o u r l e f t
i s your l e f t han d , or
oorner lad y . k.
The l a d y ’ s o o r n e r w o u l d h e t h e man t o h e r r i g h t . When o a l l s a r e g i v e n t o h o n o r c o r n e r s o r s w i n g corners,
th e
l a d y m ust rem em ber t o t u r n t o h e r
rig h t or corner. 1,
Y o u r home p o s i t i o n i s y o u r s t a r t i n g p o s i t i o n ,
m.
A f t e r e v e ry f i g u r e o r prom enade a l l
s t o p a t home
p o sitio n . n.
I f p artn ers
c h a n g e , a s t h e y do i n some d a n c e s ,
t h e g e n t l e m a n t a k e s h i s new p a r t n e r t o h i s home p o sitio n . o. 2•
The s e t i s a b o u t e i g h t f e e t a c r o s s .
THB CALLS:
How t o
fo llo w th e d i r e c ti o n s given by
the o a lle r . a.
The c a l l e r may b e a man o r a woman who s t a n d s n e a r th e so u rc e o f m usic.
He g i v e s t h e d i r e c t i o n s
w hich you must f o l lo w . b.
The e a l l e r W itho u t h i s
i s to p a u th o rity a t a square dance. o a l l s you can n o t d an o e,
so be q u i e t
t o h e a r what he s a y s . o.
In b e g in n in g square dance c lu b s th e c a l l e r also th e se ts.
in stru cto r.
is
He s t a n d s s o h e c a n s e e a l l
I f a s e t g e ts i n t o t r o u b l e he s to p s t h e
m u sic and t h e d a n c e and c o r r e c t s t h e t r o u b l e THE IITROBUCTIOUS ABD BREAK-UPS:
How t o s t a r t a n d
sto p w ith f in e s s e . a.
T he e a s i e s t
i n t r o d u c t i o n c o n s i s t s o f bow ing to
your p a rtn e r,
th en to your c o rn e r.
The l a d y
m u s t r e m e m b e r t o t u r n t o bow t o h e r c o r n e r . c a l l w i l l be e i t h e r
T he
" h o n o r y o u r p a r t n e r ” o r "bow
to your p a rtn e r ” . b.
A l l j o i n h a n d s and c i r c l e
c.
The s t e p u s e d i n s q u a r e d a n c i n g i s a s m o o t h w a l k , alm ost a s h u f f l e . ping aro u n d .
le ft.
Bo n o t w e a r y o u r s e l f o u t h o p
Keep y o u r f e e t
not sk ip or bounce.
on t h e f l o o r a n d do
J u s t f l o a t a l o n g and a lw a y s
keep i n tim e w ith t h e m u s ic . d.
B eg in n in g sq u a re d a n c e rs c i r c l e
l e f t u n t i l they
r e a c h t h e i r home p o s i t i o n w h e r e t h e y t a k e t h e i r p o s i t i o n a nd a w a i t t h e n e x t c a l l . e.
M o re a d v a n c e d
square d an cers c i r c l e
way a r o u n d , b r e a k t h e r e ,
le ft h a lf
sw ing t h e r e ,
t h e n prom
e n a d e t o home p o s i t i o n . (1)
"B re a k ” means t o d ro p h a n d s ,
stand
still.
(g)
"Sw ing” m eans t o s w in g y o u r p a r t n e r onoe around i n t h i s f a s h i o n : Face p a rtn e r s .
G entlem an t a k e s p a r t n e r ' s
r i g h t hand in
h is
left
hand and p u t s h i s
r i g h t a rm a r o u n d h i s p a r t n e r ’ s w a i s t .
The
l a d y p u t s h e r l e f t h a n d on h i s r i g h t a rm , w here h i s m u sc le sh o u ld h e . stan d s to are
l e f t of th e lady,
s i d e by s i d e ,
G entlem an { rig h t sho ulders
so t h a t t h e y a r e f a c i n g
o p p o s i t e d i r e c t i o n s ) and b o t h w a lk fo rw a rd in a sm all c i r c l e , o th er.
p i v o t i n g around eaeh
Push w ith your l e f t
fo o t a s i f you
a r e on a s c o o t e r . (3)
" T w i r l " i s t h e sa m e a s s w i n g and i s u s e d i n o a lls to
(4)
rhyme w i t h
"g irl”.
" P r o m e n a d e ” ( p r o n o u n c e d t o rhyme w i t h lem o n ade)
is
done i n t h i s m an n er:
Gross hands w ith your p a r t n e r a s in s k a t i n g , th at
is,
l e f t hand hand.
l a d y ’ s l e f t hand i n g e n tle m a n 's ana h e r r i g h t
hand i n h i s r i g h t
G e n tle m a n 's r i g h t hand i s
on t o p .
How w a l k c o u n t e r c l o c k w i s e a r o u n d t h e room .
Be
The w h o l e c a l l
sure t h a t th e
l a d y i s on t h e r i g h t ,
w i l l go:
"Honor y o u r p a r t n e r " C o r n e r t h e sa m e " A l l j o i n h a n d s and c i r c l e " B r e a k and sw in g
set or
left
“And p r o m e n a d e a r o u n d t h e r i n g ” . BREAK-UPS:
How t o p u t a f l o u r i s h i n t o
in tro d u c tio n s
and i n t e r l u d e s . a.
T h is p a r t i s
s o m e t i m e s known a s t h e c h o r u s ,
h.
G en era lly included A llem ande" and i t
is is
"A llem an de I< a ft" o r "Ikeft done i n t h i s
fash io n :
(1)
Turn b a c k s to y o u r p a r t n e r ,
face your c o rn e r.
(2)
E x te n d and g r a s p l e f t h a n d s .
(3)
W alk a r o u n d y o u r c o r n e r p a s s i n g l e f t
H old o n . should
e r s and r e t u r n t o y o u r o r i g i n a l p o s i t i o n . c.
The G r a n d B i g h t a n d l e f t d u c t i o n s and c h o r u s e s , of p rac tic e.
i s used in b oth i n t r o
a n d r e q u i r e s a good d e a l
I t u su ally
s t a r t s w ith th e l e f t
A llem ande, b u t not a lw a y s,
s o 1 I S T M TG THE
CAEEBR1 How t o do t h e
G ra n d R i g h t a n d l e f t :
(1)
Be s u r e t h e l a d y i s
on t h e r i g h t .
(2)
F a c e p a r t n e r an d t a k e p a r t n e r ' s r i g h t h a n d .
(3)
W alk b y p a r t n e r ,
(4)
R e l e a s e h a n d s and t a k e n e x t p e r s o n ' s l e f t
p assin g rig h t
sh o u ld ers.
hand. (5)
Pass l e f t
(fi)
Take n e x t p e r s o n ' s r i g h t hand and p a s s r i g h t sh o u ld ers.
s h o u l d e r s and r e l e a s e h a n d s .
(7)
Take n e x t p e r s o n ' s l e f t hand and p a s s l e f t sh o u ld ers.
(8)
You s h o u l d m e e t y o u r p a r t n e r n e x t w i t h r i g h t hand,
o r go on a r o u n d t h e o i r e l e u n t i l y o u
hear the c a ll {9}
At t h e ade",
"prom enade” .
o a l l "Meet y o u r p a r t n e r and prom en o r "Prom enade" t a k e t h e prom enade
p o s i t i o n and r e t u r n t o
the
g e n t l e m a n ' s home
p o sitio n . (10)
As y o u i m p r o v e i n g r a o e y o u w i l l s l i p
in to
t h e promenade p o s i t i o n hy h a v in g t h e g i r l t u r n u n d e r t h e g e n tl e m a n 's r i g h t arm , w hieh he h o ld s h ig h .
T h is w i l l p u t h i s r i g h t hand
on t o p , w hioh i s c o r r e c t
f o r t h e prom enade.
A nother b r e a k -u p i s danoed t o t h i s
o a ll:
" A l l jump u p "And w h e n y o u eome down "Sw ing y o u r p a r t n e r
'r o u n d and
'ro u n d
"And p r o m e n a d e " . It
i s danoed i n t h i s m anner:
(1)
G e n tle m e n jump h i g h w i t h a s h o u t .
(2)
L a d ie s t u r n onoe around i n p l a o e .
(3)
Sw ing p a r t n e r s .
(4)
Prom enade around t h e
set.
e.
There a r e o th e r i n t r o d u c t i o n s or c h o ru s e s used by d i f f e r e n t c a l l e r s .
T r y t o do j u s t w h a t t h e
o a l l s a y s t o do h y w a t o h i n g o t h e r s i n y o u r s e t and l i s t e n i n g c a r e f u l l y .
I f the o a lle r
in tro
d u c e s s o m e t h i n g new t o t h e m a j o r i t y h e w i l l e x p l a i n i t , w a lk you t h r o u g h i t , and l e t y ou w o rk on i t
u n t i l h e t h i n k s yo u can do i t .
THE FIG-UK1:
How t o e x e c u t e m o r e i n t r i o a t e o a l l s .
a.
The w h o l e d a n c e c o n s i s t s o f t h r e e p a r t s .
b.
The f i r s t
c.
The second p a r t i s t h e f i g u r e .
d.
The
th ird
e.
The
c h o r u s may b e d o n e a f t e r e a c h f i g u r e ,
part
is th e
in tro d u ctio n .
p a rt i s th e chorus. or
not
u n t i l t h e v e r y e nd o f t h e d a n c e . f.
T he
dance g e ts i t s
from t h e o a l l s
name f r o m t h e m u s i c p l a y e d o r
given in th e
s e c o n d p a r t known a s
th e f i g u r e . g.
H e re a r e t h e c a l l s m ost f r e q u e n t l y h e a rd and t h e d irec tio n s (1)
on how t o do t h e m .
"B alan ce".
T h is can be used
in stead
of
"Honor y o u r p a r t n e r " and i s do n e b y t a k i n g tw o s t e p s b a c k away fro m y o u r p a r t n e r ,
bow
i n g q u i c k l y , a n d r e t u r n i n g t o p l a c e w i t h two step s.
T h is o a l l g e n e r a l l y goes on t o
"Sw ing" l i k e t h i s :
10
{£)
"F irst
c o u p l e "balance
"F irst
c o u p le sw ing".
"Sw ing on t h e
corner".
T his.m eans to t n r n
y o u r b a c k on yo u r p a r t n e r , your corner* on h i s
left;
and sw in g w i t h
The g e n t l e m a n s w i n g s t h e th e
lady
la d y sw ings w i t h t h e g e n t l e
man o n h e r r i g h t . T h is o a l l u s u a l l y c o n tin u e s : "S w in g on t h e c o r n e r l i k e
sw in g in g on a g a te
"How y o u r own, i f y o u ’ r e n o t t o o l a t e " . (3)
"D o-Sa-D o",
You a r e a l w a y s t o l d w i t h whom
you a r e t o D o-Sa-Do. rig h t
sh o u ld ers.
Face th a t p e rs o n .
Pass
S tep sidew ard t o th e r i g h t
( b a c k t o b a c k ) , and w i t h o u t t u r n i n g a r o u n d , w a lk backward t o p l a c e , p a s s i n g l e f t ers.
sh ould
The g e n tle m e n u s u a l l y p u t t h e i r h a n d s
b eh in d them , w h ile t h e l a d i e s p in c h t h e i r s k i r t s as i f to (4)
"D o-S i-D o",
lift
them s l i g h t l y .
som etim es s p e l l e d
"D ocey-D oe"
u s u a l l y f o l l o w s a c i r c l e f o u r , w h e r e tw o c o u p l e s j o i n h a n d s an d c i r c l e D o-Si-D o sh o u ld and i s
le ft.
The
go s m o o t h l y f r o m t h e c i r c l e
one o f t h e h a r d e s t p a r t s o f t h e d a n ce
to do. g in n ers.
It
i s alm o st alw ay s o m itte d
fo r be
11 (a)
Throughout t h e f i g u r e , fao e each o th e r . le ft or rig h t,
th e g entlem en
Move a l i t t l e
to th e
h u t do n o t t u r n a r o u n d
u n t i l t h e v e r y end o f t h e f i g u r e . (h)
The two o o u p l e s f a o e e a o h o t h e r , h a n d s down.
(0)
The l a d i e s w a l k t o w a r d e a o h o t h e r , left
pass
s h o u l d e r s a n d i m m e d i a t e l y m ake a
o ne-half tu rn
le f t to
f a o e t h e i r own
p artn ers. Id)
P a rtn e rs tak e
l e f t h a n d s and l a d i e s
w a l k a r o u n d y o u r own g e n t l e m e n . (e)
B e l e a s e h a n d s w he n h a l f w a y a r o u n d ,
(f)
C o n t i n u e a r o u n d own p a r t n e r a n d w a l k tow ard o p p o s ite g e n tlem a n ,
(g)
G entlem en t a k e o p p o s i t e
la d y 's rig h t
h a n d and l a d i e s w a l k a r o u n d o p p o s i t e gentlem an.
;
(h)
B elease r i g h t h an d s.
(1)
Come o n h a c k t o p a r t n e r and t a k e l e f t hands again w ith p a r tn e r .
(j)
E a o h g e n t l e m a n now p u t y o u r r i g h t a rm a ro u n d y o u r p a r t n e r ' s w a i s t and p i v o t h e r around to th e is
le ft,
to p lao e.
T his
th e o n ly tim e t h e g entlem an t u r n s
12 around in t h i s f i g u r e . (k)
I f t h e l a d y w i l l p u t h e r r i g h t han d on her h ip in th is p iv o t,
t h e g entlem an
oan p u t h i s han d on t o p o f h e r s ,
and i t
w i l l he e a s i e r t o g u id e h e r t o p l a c e . When f i r s t stand
try in g th is ,
still,
g entlem en sho u ld
sim p ly r e a c h in g f o r p a r t n e r
w i t h l e f t h a n d , and o p p o s i t e
lad y w ith
rig h t hand.
la d ie s to
It
i s up to th e
know w h e r e t o g o . (5)
" L a d ie s C hain” . (a)
Two o o u p l e s f a c e e a c h o t h e r .
(b)
T he g e n t l e m e n r e m a i n i n p l a c e ,
(c)
L a d ie s w alk fo rw a rd , to
(d)
give r ig h t hands
each o th e r.
C ontinue w a lk in g , p a s s i n g r i g h t s h o u ld ers.
(e)
B elease r i g h t hands.
(f)
G ive l e f t hand t o o p p o s i t e g e n tl e m a n .
(g)
At t h e
same t i m e , t h e
r i g h t h a n d on h e r h i p ,
lad y p u ts h e r th e
g entlem an
p u t s h i s r i g h t a rm a r o u n d h e r w a i s t a n d h i s r i g h t h a n d on h e r r i g h t h a n d a n d p i v o t s h e r around t o t h e s te p s to faoe th e
left
in four
o th e r co u p le.
13 (h)
Repeat a l l ,
l a d i e s going back to t h e i r
own p a r t n e r s who p i v o t t h e m i n t o p l a c e . (i)
The c a l l e r
som etim es s a y s " c h a in r i g h t
hack" fo r th e
(6)
fig u re,
hut th e
e n t i r e f i g u r e i s done i f t h e
o a ll is
sim ply " l a d i e s c h a in " .
"R ig h t ana l e f t (a)
la st h a lf of th is
Through".
Two c o u p l e s f a c e e a c h o t h e r , h a n d s a t sid es.
(b)
Both o o u p le s w a lk fo rw a rd f o u r s t e p s p a ssin g th e o p p o site person w ith th e rig h t shoulder.
(o)
lad ies
go b e t w e e n t h e o t h e r c o u p l e ,
gentlem en k e e p in g to t h e o u t s i d e . (d)
O o u p l e s now h a v e t h e i r b a c k s t o e a c h o th er.
(e)
C ouples g ra s p l e f t h a n d s , t h e la d y p u t s h e r r i g h t hand on h e r r i g h t h i p .
(f)
T h e g e n t l e m a n p u t s h i s r i g h t a rm a r o u n d h e r w a i s t and h i s
r i g h t h a n d on h e r
r i g h t hand and p i v o t s h e r one h a l f t u r n left
i n f o u r s t e p s and f a c e t h e o t h e r
co u p le. (g)
The e n t i r e p r o c e d u r e i s
repeated
o a l l "a n d a r i g h t and l e f t
i f the
back" i s
14 g i v e n , and o o u p le s r e t u r n t o p l a c e . "E lbow S w in g " . (a)
L e f t - E l b o w Sw ing i s d o n e b y h o o k i n g p a r tn e r ’s (or o o rn e r's )
left
elbow and
w a lk in g onoe around eaoh o t h e r , clo ck w ise, (b)
co u n ter
and b a o k . t o p l a c e .
P o " S i g h t - E l b o w S w i n g " 'b y h o o k i n g r i g h t e lb o w s w i t h p a r t n e r o r o o r n e r and w a lk i n g around back to
(8)
eaoh o t h e r ,
olookw ise,
ana
p lao e.
"S tar". (a)
L eft-H and
S ta r i s done by h a v in g fo u r
d an o ers stand left
in a sm all o ir o le w ith
sid es to th e
cen ter of th e
l e f t hands are ra is e d , to u ch in g ,
a ll
elbow s s t r a i g h t ,
o iro le ,
l e f t hands an d d a n o e r s
move c o u n t e r c l o c k w i s e . (b)
B ig h t-H a n d S t a r i s done by h a v i n g f o u r a a n o e rs stand in a sm all o ir o le w ith rig h t
sid es to
th e o e n te r o f th e o ir o le ,
rig h t hands are ra is e d , to u ch in g ,
a l l r ig h t hands
elbow s s t r a i g h t ,
and d a n o e r s
move o l o o k w i s e . G.
ASSIGNMENT
L ab o rato ry a c t i v i t i e s to
im prove y o u r s k i l l
in th e fundam ental s te p s o f sq u a re d an o in g
P e r f e c t y o u r s e l f "by p r a o t i e i n g r e p e a t e d l y a l l t h e in tro d u o tio n s, break-ups, sy llab u s.
and f i g u r e s g iv e n i n t h i s
16 D.
EVALUATION: 1.
How t o
BASIC STEPS:
check your p ro g ress in
square d a n cin g .
In each c ateg o ry check y o u r s e lf ,
be checked by y o u r I n s t r u c t o r ) , headed P o o r, P a i r ,
(or
u n d e r t h e colum ns
Good, o r E x o e l l e n t ,
t h e n draw y o u r
p ro file . D a n c i n g Form
Poor
a . B alance b . S w in g c . Honor p a r t n e r d . Honor o o rn e r e . Bow f . Prom enade g , A llem ande l e f t h . D o-Pas-0 i.
Do-Sa-Do
j . D o-Si-D o k . Grand R i g h t a nd L e f t I . l a d i e s C hain
-
m. R i g h t a n d L e f t Through n . L e f t -E lb o w Sw ing o . R i g h t - B l b o w S w in p . R ight-H and S t a r q . L eft-H and
S tar
y D
P air
Good
E x cellen t
17 CHAPTER 2 .
SHUARS DANCES
HOW TO PUT ADS THE PARTS TOGETHER A.
MOTIVATION: 1.
DATES:
A d v a n t a g e s o f b e i n g a good s q u a r e d a p p e r . You m a y g e t m o r e d a t e s i f y o u b e c o m e a good
square d an cer,
o r y o u may b e g i n t o
s o m e o n e y o u l i k e who a l s o 2.
i*U3J:
It
is
r e a l fun to
is
go s t e a d y w i t h
a go od s q u a r e d a n c e r .
s q u a r e d a n c e w h e n y o u c a n do
i t w ell. 3.
FAMILY APPROVAL: l e a r n i n g how t o
Your f o l k s w i l l b e g la d you a r e s q u a r e d a n c e and w i l l b e g l a d t o t a k e
y o u d a n c i n g w i t h th em when t h e y g o . 4.
EXHIBITIOHS OR COMPETITIONS:
I f y o u g e t v e r y good a t
s q u a r e d a n c i n g y o u may b e a s k e d t o h e l p make u p a n e x h ib itio n tim es i t
is
s e t to r e p r e s e n t y o u r clu b a b ro a d . co m p etitio n in s te a d
In t h i s a re a th e re
B.
DIRECTIONS;
o f j u s t an e x h i b i t i o n .
i s much r i v a l r y f o r t o p h o n o r s i n
in te r - c iu b dance e x h ib itio n s . th e se ,se ts.
Some
T his i s
Try t o
g e t i n t o one o f
t h e h i g h e s t m ark o f a p p r o v a l .
How t o w e a v e t h e b a s i c s t e p s i n t o t h e
com
p l e t e p a t t e r n w hich i s t h e d a n c e . 1.
LISTEN TO THE CALLS. a.
You do w h a t t h e o a l l behind
the c a l l.
s a y s t o do a b o u t f o u r b e a t s
b.
Do n o t a n t i c i p a t e t h e c a l l .
c.
I f y o u become c o n f u s e d o r g e t t o o o m i t some o f t h e d a n c e ,
f a r b eh in d ,
and c a t c h up t o t h e
o a lle r. EXECUTE THE FIGURE. a.
You l e a r n e d how t o do t h e b a s i c How, p u t t h e m a l l t o g e t h e r ,
steps f i r s t .
sm oothly,
i n tim e to
th e m usic. BE HEXffiFUl. a.
I f one c o u p le i s a l i t t l e
unsure o f the dance,
p u t them i n a s c o u p le f o u r .
T his w i l l
g iv e them
a chance to w atch th e o th e r o o u p les b e fo re th e y h a v e t o do t h e f i g u r e . can,
H e l p t h e m a s much a s y o u
b u t do n o t c o n f u s e t h e m .
PRACTICE. a.
P ra c tic e th e dances lis te d le tte r
h e r e u n t i l you a r e
p erfect.
The s t e p s u s e d
dance a r e b a s ic
ste p s described
in th e f i r s t in c h ap te r one.
They i n c l u d e : (1}
Sw ing.
(2)
A llem ande l e f t .
(3)
G r a n d E i g h t and l e f t .
(4)
O th ers p e r t in e n t to t h i s dance alo n e a re ex p lain ed
in th e d ire c tio n s .
The s t e p s u s e d i n t h e
second dance i n c lu d e t h e s e
steps: (1)
B alan o e.
(2)
Sw ing.
(3)
A llem ande l e f t
(4)
G r a n d B i g h t and l e f t .
(5)
Prom enade.
(6)
Gut a w a y , w h i c h i s new an d w i l l h e d e s o r i h e d f u l ly in th e d ir e c tio n s .
The s t e p s f o u n d i n t h e t h i r d
dance in c lu d e :
(1)
B ig h t A llem ande.
(2)
Sw ing on t h e C o r n e r .
(3)
Prom enade C o r n e r.
(4)
The f i g u r e w i l l h e e x p l a i n e d
in th e d ir e c t
ions w ith th e c a l l s . The f o u r t h d a n c e l i s t e d
in c lu d e s th e fo llo w in g
step s: (1)
Bow.
(2)
Sw ing.
(3)
C ircle fo u r.
(4)
D o-S i-D o.
The l a s t d a n c e l i s t e d th e p r e ttie s t fav o rite.
i s t h e h a r d e s t , h u t one o f
t o do a n d w a t c h .
The s t e p s i n c l u d e d
It are:
i s alw ay s a
•
(1)
Jm a p u p .
{2)
Sw ing.
(3)
Prom enade.
(4)
L adies to th e c e n te r.
(5)
R ight-H and
(6)
L eft-H and
(7)
A llem ande L e f t .
(8)
G r a n d R i g h t and L e f t .
Are y o u r e a d y ?
S tar. S tar,
T hen, form y o u r s e t s and d a n o e .
to
Dance Humber One TAKE A LIT T I E PBEE: The G a l l
(S inging or P a tte r )
The I n t r o d u c t i o n 1.
H onors t o your p a r t n e r s a l l
£.
H onors to yo u r c o r n e r s a ll-
34,
A ll jo in hands andc i r c l e Go a l l a r o u n d t h e h a l l
The
F ig u re
4.
F irst
co u p le r i g h t
And t a k e a p e e k 5.
Back t o
the c e n te r
And s w i n g y o u r s w e e t And s w i n g , a n d s w i n g And s w i n g , a n d s w i n g 6.
Around t h a t
co u p le
And p e e k o n c e m o r e 7.
Back t o
the c e n te r
And s w i n g a l l f o u r And s w i n g , a n d s w i n g 8.
And on t o t h e n e x t
9.
Around t h a t , c o u p l e And t a k e a p e e k Back t o
cen ter
left
22
And s w i n g y c m r s w e e t * e t c . The C h o r u s o r B r e a k 10*
How y o u ' r e home So s w i n g y o u r own E very gent w ill Sw ing h i s own.
11.
Your r i g h t hand To y o u r p a r t n e r now A G r a n d R i g h t a nd H e f t A r i g h t an d l e f t Around t h e h a l l Go a l l t h e w a y Around t h e h a l l Go a l l t h e way Go a l l t h e way Go a l l
E x p lan atio n :
t h e way a r o u n d . The n u m b e r s c o r r e s p o n d w i t h t h o s e t o
th e
left
1.
A l l how t o p a r t n e r s ,
2.
A l l how t o c o r n e r s ,
3.
of th e c a lls ,
E v eryb od y i n t h e s e t j o i n s h a n d s and w alks l e f t * a l l t h e w a y a r o u n d a n d b a c k t o home
4.
C o u p le H o. 1 j o i n h a n d s and w a l k and p e e k a ro u n d th e m .
p o sitio n .
t o Couple H o. 2
Ho. 1 l a d y p e e k s a t h e r
p a r t n e r around Bo. 2 g en tlem an , w h ile B o. 1 g en tlem an p e ek s a t h i s p a r t n e r around B o. E lad y . 5.
C ouple B o . E s ta n d i n p l a o e ,
Couple B o . 1 r e t u r n t o t h e c e n t e r o f t h e
sat
and sw in g . 6.
Couple B o. 1 p e e k a g a i n a ro u n d C o u p le l o .
2.
7.
C o u p le B o . 1 moves b a c k t o t h e c e n t e r and b o t h co u p les sw in g .
8.
C o u p le B o . 1 moves on t o
9.
Couple B o . 1 .
C ouple B o. 3 .
r e p e a t t h e f i g u r e w ith c o u p le Bo.
3 , and t h e n w i t h C ouple B o . 4 ,
a f t e r w hich th e y
r e t u r n t o t h e i r home p o s i t i o n . 10.
A l l c o u p le s sw ing i n p l a o e .
11.
A ll s to p sw in g in g , fa c e p a r t n e r s ,
tak e rig h t
h a n d s a n d do a C r a n d S i g h t a nd lie f t
a l l t h e way
a r o u n d t h e s e t and b a c k t o home p o s i t i o n . sure th e
Be
g e n t l e m e n go c o u n t e r c l o c k w i s e and t h e
la d ie s clo ck w ise. Bow go on w i t h C o u p l e B o . E d o i n g t h e f i g u r e , t h e n C o u p le B o . 3 , and f i n a l l y ,
C ouple Bo. 4 .
A f t e r e a c h c o u p l e i s home, r e p e a t t h e Beoords:
B e c o a Album A - 5 2 4 .
B ractice
chorus.
Side Bo. 1
75001-B. W orld o f F u n .
C ap tain J i n k s .
M 1 0 3 -B .
24 Dance Unrober Two CUT AWAY
6~4«2
The C a l l The I n t r o d u c t i o n 1.
A l l e i g h t h a la n o e and t h e n you sw ing
2.
A left
a l l e m a n d e a n d a G r a n d E i g h t and l e f t
Meet y o u r p a r t n e r And p r o m e n a d e h o m e . T he F i g u r e 3.
F irst
co u p le b a la n c e
And f i r s t 4.
Down t h e
c o u p le sw ing c e n t e r a nd d i v i d e t h e r i n g
l a d y go r i g h t a n d g e n t go l e f t 5.
S w i n g wh en y o u m e e t a s y o u d i d b e f o r e
6.
Down t h e c e n t e r a n d c u t a w a y f o u r l a d y go r i g h t and g e n t go l e f t
7.
Sw ing i n t h e
8.
Down t h e c e n t e r a n d c u t a w a y t w o
9.
l o w y o u ’ r e home a n d a l l e i g h t A left
c e n t e r ; j u s t y o u tw o
sw ing
a l l e m a n d e a nd a r i g h t a n d l e f t g r a n d
Meet y o u r p a r t n e r And p r o m e n a d e h o m e .
E x p lan atio n 1.
A ll tak e p a rtn e r* s in sid e hand,
s t e p away f r o m
p a r t n e r tw o s t e p s a n d b a o k t o w a r d p a r t n e r t w o step s. B.
Then sw in g p a r t n e r .
A ll tu rn
o o rn e rs w ith l e f t hand, m eet p a r t n e r
w ith r ig h t hand,
and do a Grand E i g h t and l& eft,
h a lfw a y around t h e
sa t.
Meet p a r t n e r s and prom e
n a d e home. 3.
F irst
c o u p l e baLance a n d s w i n g a s i n i n t r o d u c t i o n .
4.
F irst
c o u p le , hands jo in e d , w alk s t r a i g h t a c ro s s
the
set,
b e tw e e n C o u p le B o . 3 and s e p a r a t e ;
l a d y g o es t o t h e r i g h t around t h e
th e
second c o u p le
a n d b a c k ' t o home p o s i t i o n an d t h e man g o e s home around C ouple Ho. 4 . 5.
F irst
c o u p le sw ing i n p l a o e .
6.
The same e o u p l e g o down t h e c e n t e r a g a i n ; t h i s t i m e t h e l a d y g o e s b e tw e e n C o u p l e s H o . 2 and H o. 3 and t h e
g e n tle m a n g o es betw een C o u p les H o. 3
and H o. 4 . 7.
F irst
c o u p le sw ing i n p la c e a g a i n ,
8.
The same c o u p l e go t o t h e c e n t e r o f t h e
s e t again;
t h i s t im e t h e l a d y g o e s b etw een C ouple H o. E and t h e g e n tlem a n g o e s b etw een C ouple Ho. 4 . 9.
A l l s w i n g , t h e n do a n a l l e m a n d e l e f t E i g h t and I»eft h a lf w a y aro u n d t h e
an d a Grand
se t.
M e et
26 p a r t n e r s and prom enade home. R e p e a t t h e f i g u r e and c h o r u s w ith th e R ecords:
(3-9) t h r e e m o r e t i m e s
s e c o n d , third, and f o u r t h D i s c . Album 6 3 1 .
L i t t l e Brown J u g .
C a p i t o l Album BD 4 4 . album .
cou p les le a d in g .
Any r e c o r d
5039B.
in th e
27 D ance Kumber T h r e e UPTOWH - DOWBTOWI T he C a l l 1.
F i r s t P a a n d Ma Go s t r a i g h t u p t o w n
2.
B ring t h a t
o p p o site
C o u p l e down B r i n g t h e m down 3.
Push them b a ck
4.
S eparate Go a r o u n d t h e t r a c k l a d y go g e e G e n t go haw
5.
S ig h t A llem ande J u s t P a a n d Ma
6.
A l l sw in g on t h e c o r n e r Id k e sw in g !n f On t h e g a t e
7.
Prom enade c o r n e r s And d o n ’ t
8.
Same P a ,
be l a t e new Ma
Go s t r a i g h t U p to w n E x p lan atio n 1.
F irst
c o u p le , hands g ra sp e d , w alk a c r o s s t h e
set to 2.
F irst
C o u p l e Wo, 3 . o o u p le w a lk backw ard t o
p la o e , w ith
C ouple Ho. 3 f o l l o w i n g , 3.
C o u p l e Wo, 3 w a l k b a c k w a r d t o p l a o e w i t h f i r s t oouple f o llo w in g .
4.
C o u p l e Wo. 3 s t e p a p a r t a n d l e t b etw een th em . th e f i r s t
T he f i r s t
oo u p le Ho, 1
l a d y g o e s r i g h t and
gentlem an goes t o t h e
l e f t around
t h e o u t s i d e o f t h e s e t a n d b a o k t o t h e i r home p o sitio n . 5.
When t h e f i r s t hands, tu rn
oouple m ee t, t h e y t a k e r i g h t
onoe a ro u n d .
T h is i s t h e r i g h t
allem an d e. 6.
A l l sw ing c o r n e r s .
7.
A l l prom enade e o r n e r s onoe a ro u n d t h e
s e t to
t h e g e n t l e m a n ' s home p o s i t i o n . 8.
The f i r s t
g e n t l e m a n w i t h h i s new p a r t n e r r e
p eats 1 - 7 .
He d o e s t h e f i g u r e
u n t i l a l l have t h e i r Repeat a l l ,
o a ll,
own p a r t n e r s .
w ith th e second, t h i r d ,
oouples le a d in g .
fo u r tim es
To s t a r t
and f o u r t h
eaoh o o u p le, u se th e
nWew P a a n d Ma” ,
R ecords:
I m p e r i a l Album F . D . 8 . Straw
1031-A.
Turkey in th e
£9 W orld o f F a n .
C aptain J i n k s .
11 1 0 3 - B .
50
Danoe lu m b e r F o u r 1ADY RGTJ1D THE ItADY The O a l l F irst
o o u p l e bow,
F irst
o o u p le sw ing
And l e a d r i g h t
out
To t h e r i g h t o f t h e r i n g 1.
l a d y round t h e l a d y , t h e g e n t a l s o
2.
l a d y round t h e
3.
F o r m a r i n g a n d m ake i t
4.
Break r i g h t
5.
And on t o t h e n e x t .
g e n t and t h e g e n t d o n ' t
go
go
i n t o a D o-Si-D o
E x p lan atio n 1.
The f i r s t
oouple w alk t o t h e
betw een th em , t h e f i r s t p artn er.
s e c o n d c o u p l e a nd
lad y in
front of her
She g o e s a r o u n d t h e s e c o n d
l a d y and
he fo llo w s h e r . 2.
The f i r s t
la d y a g a in w a lk s betw een t h e second
c o u p l e and aro u n d t h e first
C ircle
The
gentlem an does n o t f o llo w h e r t h i s tim e ,
but w aits in 3.
second g e n tle m a n .
fro n t o f th e second la d y .
fo u r hands round,
of her p artn er.
lad y is
on t h e r i g h t
31 4.
Do t h e D o - S i - D o .
5.
O o u p l e w o r k i n g move o n t o e a c h o o u p l e i n t u r n u n t i l t h e y r e a c h home p o s i t i o n .
F in is h each f ig u r e w ith a ohorus. R e p e a t a l l t h r e e more t i m e s , w i t h t h e s e c o n d , th ird ,
and f o u r t h c o u p l e s l e a d i n g .
R ecords:
E a r l y A m erican D a n c e s. B erdanf s F a v o r ite . C o l u m b i a A lb u m C / 4 7 . Simmon f r e e ,
$ u a d r i 1 1 e~ Cub
1 1 6B Possum i n t h e
C.O . 29751
32 Dance lumber Five THE STAR The C a l l In tro d u ctio n 1.
A l l jump u p Ana wh en y o u oome down
2.
Sw ing y o u r p a r t n e r Around and a ro u n d
3.
And p r o m e n a d e And p r o m e n a d e
The F i g u r e 4.
la d ie s to th e cen ter And h a c k t o t h e b a r
5.
G e n t s go i n W ith a R ight-H and R ight hands up D o n 't he so slow
6.
L eft hands hack You o u g h t t o know
7.
M eet y o u r p a r t n e r Ana p a s s r i g h t b y Take t h e n e x t w ith th e tw in k le I n h e r eye
S tar
33 8.
G e n ts sw ing o u t And l a d i e s s w i n g i n And f o r m T hat B ight-H and S t a r A gain
9.
Everybody B r e a k and Swing
10.
And p r o m e n a d a Around t h e r i n g
The C h o r u s 1 1 . How y o u ' r e home And e v e r y b o d y s w i n g 12, A llem ande l e f t W ith t h e l a d y on y o u r l e f t E ig h t to your p a r tn e r And a G r a n d B i g h t a n d haft Meet y o u r p a r t n e r And p r o m e n a d e h o m e . E x p lan atio n 1.
A l l g e n t l e m e n jump h i g h i n t o t h e a i r , w h i l e la d ie s tu rn in p la o e s.
2.
A l l sw ing p a r t n e r s .
3.
A l l prom enade onoe around t h e
set.
l a d i e s w alk fo u r s te p s to
cen ter,
t u r n and w a l k
f o u r s t e p s "back t o p l a c e s . A ll fo u r gentlem en w alk t o
center o f s e t,
r i g h t arm s, r i g h t hands to u c h in g , stra ig h t,
raise
elbow s
a n d t h e f o u r g e n t l e m e n move c l o c k w i s e ,
m aking a R ight-H and S t a r . G e n t l e m e n m ak e o n e h a l f t u r n r i g h t ,
plaoe l e f t
h a n d s t o g e t h e r and w a l k i n t h e o t h e r d i r e c t i o n , form ing a le ft-H a n d S till
S tar.
keeping l e f t hands to g e th e r ,
men p a s s t h e i r p a r t n e r s , lad y .
the g e n tle
and p i c k u p t h e n e x t
Ho. 1 gentlem an p i c k s u p Ho. £ l a d y ,
and so o n , by p u t t i n g h i s r i g h t arm a ro u n d h e r w aist. er,
She p l a c e s h e r l e f t h a n d on h i s s h o u l d
and a l l c o n t i n u e t h e I«eft-Hand S t a r .
G entlem en d r o p l e f t h a n d s , a l l tu rn l e f t w ith p a rtn e rs , d irec tio n ,
t u r n one h a l f
a n d go i n t h e o t h e r
a s la d ie s r a is e -rig h t hands to g e th e r,
fo rm in g a n o t h e r R ight-H and
S tar.
a r e now o n t h e o u t s i d e o f t h e
The g e n t l e m e n
star,
but s t i l l
h o ld in g onto t h e i r p a r t n e r s . l a d i e s d r o p r i g h t h a n d s and a l l
s w i n g t h e i r new
p artn ers. A l l p r o m e n a d e b a c k t o t h e g e n t l e m e n ’ s home p o s i tio n s.
B a c h g e n t l e m a n now h a s a new p a r t n e r .
35 Repeat th e
f i g u r e t h r e e more t i m e s ;
th e gen tlem en p ic k up th e n e x t l a d y .
each tim e When
each g entlem an h a s h i s o r i g i n a l p a r t n e r i n h i s home p o s i t i o n ,
dance th e
ohorus,
11.
A l l sw ing p a r t n e r s .
12.
A l l do a l e f t a l l e m a n d e w i t h c o r n e r s , t h e n a Grand R i g h t and L e f t h a l f a ro u n d t h e
se t.
M e e t p a r t n e r s a n d p r o m e n a d e t o home p o s i t i o n . R ecords:
I m p e r i a l A lbu m F . B . 8
B uffalo G a ls .
1033B. W orld o f R u n , 0.
ASSIGUMMTS; sk ill 1.
Oamptown R a c e s .
L ab o rato ry a c t i v i t i e s to
M 104-B
im prove y o u r
in square d a n c in g .
Perform a l l th e dances g iv en in t h i s a.
Take a L i t t l e
Peek.
b.
Out Away 6 - 4 - 2 .
c.
U ptow n - D o w n to w n .
d.
lad y
e.
T he S t a r
'R o u n d t h e L a d y .
sy llab u s.
36 D,
EVALUATION:
How t o
so o re y o u r s e l f (o r be sc o re d )
on
your square d a n cin g . 1.
SQUARE DANCING:
G r a d e y o u r s e l f on t h e f i v e d a n c e s
you have s t u d i e d . it,
2 if fair,
I f you p r e f e r , to ta l
G i v e y o u r s e l f 0 i f y o u c a n n o t do
5 if
g o o d , a n d 10 i f y o u a r e
h a v e someone e l s e r a t e y o u .
s o o r e oan he 50 .
a.
(
)
S o o r e o n " T ak e A l i t t l e
h.
(
)
S o o r e o n ' O u t Away 6 - 4 - 2 " .
o.
(
)
S o o r e o n ’U p t o w n - D o w n t o w n " .
d.
(
)
Soore o n " la d y
e.
(
)
S o o re on"The S t a r " .
)
TOT A ll SOORE
p e e k ' 1,
'R o u n d t h e l a d y " .
su p erio r. Your
37 CHAPTER 3 .
GOOD MUSIC
HOW TO CHOOSE GOOD SQUARE DANCE RECORDS A.
MOTIVATION:
R e w a r d s o f good s e l e c t i o n
1.
APPROPRIATENESS:
2.
ECONOMY:
3.
GAELS:
of reoords.
The m u s i c w i l l f i t
The r e o o r d s w i l l h e p u t t o
the dance. frequent u se ,
The c a l l s w i l l h e c l e a r , u n d e r s t a n d a b l e ,
and
e a s ily fo llo w ed . 4.
B.
TIMING:
The r e c o r d w i l l l a s t
c le a r through th e
a s perform ed
by a l l four co u p les,
way t h r o u g h ,
when i t
DIRECTIONS:
or w ill
dance
la s t h a lf
can he p la y e d th r o u g h a g a i n .
H elp fu l h in ts in
s e l e c t i n g go od s q u a r e
dance
reoords. 1.
APPROPRIATENESS:
How t o s e l e c t m u s i c t o
fit
th e
dance. a.
P lay th e record a d istin c t
h.
h eat,
I f you need a r e c o r d i n E /4 t i m e , he s u r e you get i t .
c.
t h r o u g h an d s e e i f t h e m u s i c h a s
Same f o r a l l r h y t h m s .
Some d a n c e s g e t t h e i r name f r o m t h e m u s i c t o w hich th e y a r e d anced,
$o s e l e c t t h e c o r r e c t
m usic. 2,
AVAILABILITY: a.
Find
How t o o b t a i n t h e r e c o r d .
o u t w hich tu n e i s used f o r th e d a n c e s you
w i l l he d a n c in g .
Then b u y t h a t r e c o r d .
b.
Some s t o r e s w i l l g i v e d i s c o u n t s t o
clu b s.
See
i f your olub r a t e s a d i s c o u n t . c.
P l a n a h ea d and o r d e r r e c o r d s w hioh w i l l be u se d la te r,
GOST:
a f t e r y o u h a v e become b e t t e r d a n c e r s .
How t o
s ta y w ith in your bud g et.
a.
Be s u r e t h e r e c o r d y o u b u y i s o n e y o u w i l l u s e .
b.
Buy g oo d r e o o r d s .
T h i s i s no p l a c e t o
p ractice
economy. c.
Get r e c o r d s w h ic h c an be u se d f o r
RESPONSE*: a.
How t o
choose re o o rd s t h a t a r e a t t r a c t i v e
H a v e t w o o r t h r e e on t h e c o m m i t t e e w h i c h s e l e c t s the reco rd s,
b.
s e v e ra l dances
so t h e r e w i l l be a g r e e m e n t t h e r e .
Ohoose r e o o r d s p ro d u c e d by b a n d s r e c o g n i z e d a s good.
c.
S e l e c t r e c o r d s w hich c a l l s c l e a r enough f o r a l l t o h e a r and f o l l o w ,
d.
Choose r e c o r d s e s p e c i a l l y d e s i g n e d to
s t a r t y o u r s e m e s t e r Ts w o r k .
marked TIME:
fo r b eg in n ers
The r e c o r d s a r e
"For B eg in n ers” .
How t o
choose re o o rd s t h a t w i l l p la y c le a r
through th e dance. a.
Bo n o t e x p e c t t h i s a t
first.
Any g o o d r e c o r d
w i l l do t o b e g i n l e a r n i n g b y , b e c a u s e t h e i n s t r u c t o r w i l l have to
stop th e record
o v e r and
o v e r a g a i n t o h e l p o u t and g i v e d i r e c t i o n s .
b.
When y o u a r e r e a d y t o d a n c e a d a n c e c l e a r t h r o u gh w i t h o u t
stopping fo r in s tr u c tio n ,
go t o
a
goo d m u s i c s t o r e and b u y t h e 1 2 - i n c h r e c o r d o f your tu n e,
T h a t i s why i t
h a v e a good s t o r e p la n ahead
in m ind,
i s a good i d e a t o an d w h y y o u s h o u l d
i n c a se you w i l l need to p la c e an
order. TOIOTE: a.
How t o
g e t an even so u n d .
H ear th e re c o rd p lay ed u n d e r norm al c o n d it i o n s b e f o r e you buy i t .
b.
You c a n n o t go w r o n g b y c h o o s i n g a r e c o r d p r o d u c e d b y a good c o m p a n y , f e a t u r i n g a go od b a n d or o rch estra.
MQGD:
How t o
choose m usic t h a t
fits
th e square
dan cin g c h a r a c t e r i s t i c s . a.
S e le c t re c o rd s t h a t a re planned f o r sq u are danc in g o n ly .
b.
S e l e c t r e c o r d s t h a t k e e p on t h e b e a t .
c.
S i n c e many d a n c e s f i t records th a t
GALLS: a.
How t o
c e r ta in m elo d ies,
select
b r i n g o u t t h e m elody.
s e le c t reo o rd s w ith c a l l s .
T h e r e a r e two k i n d s o f c a l l s ,
s i n g i n g c a l l s and
speaking c a l l s . (1)
S inging c a l l s a re
e a sie st for th e c a lle r,
but speaking c a l l s a re e a s i e s t fo r th e
40 dancers. (2)
So b e g i n n i n g s q u a r e d a n c e r s s h o u l d w i t h good* o l e a r
b.
start
spoken c a l l s ,
S e l e c t r e o o r d s i n w hich t h e
c a l l s a r e g iv e n ex
a c t l y a s t h e y would be g i v e n I f t h e c a l l e r w e re th e re in person. 9.
DIRECTIONS*.
How t o
choose re c o rd s t h a t
give c le a r
out d i r e c t i o n s . a.
P lay th e record
b.
Choose r e c o r d s t h a t
have c le a r c a l l s .
c.
S elect reco rd s th a t
h a v e a f a m i l i a r t u n e so
can l i s t e n
b e f o r e you buy i t .
to th e
c a ll in stead
you
o f m inding th e
m u sic, 10.
YOUR COLDSCTIOU:
How t o b e g i n y o u r c o l l e c t i o n
of
square dance re c o rd s . a.
Buy a c o u p l e r e o o r d s a n d l e a r n s e v e r a l d i f f e r e n t d a n c e s t o them .
b.
Buy m o r e r e c o r d s a s y o u b e c o m e m o r e s k i l l e d ,
e.
H ere i s a s m a l l , w orkable c o l l e c t i o n : (1)
S o ld ie r 's Joy,
C a p i t o l Album B D 44
(2)
S o ld ie r's Joy,
2 0 0 9 8 D i s c Album 631
(3)
S o ld ie r's Joy,
5 0 4 0 - A I m p e r i a l Album
! B 8
1 0 3 3 A. (4}
B u ffa lo G als,
I m p e r i a l Albu m F D 8 ,
1 0 3 3 B.
41 (5)
B lackberry Q u a d rille ,
Y i c t o r Album C / 3 6
364Q3A. (6)
C r i p p l e G r e e k , G a p i t o l Album B B 4 4
(7)
S h e ' l l Be C o rn in ' Bound t h e M o u n t a i n ,
20Q99
I m p e r i a l 1112-A SR -23. (8)
l a m p l i g h t e r ' s H o r n p i p e , D i s o Album 6 3 1 , 5040-B .
(9) (101
I r i s h Washerwoman, W orld o f Bun, M 103-A T u r k e y I n The S t r a w ,
I m p e r i a l A lb um , F D 8
1031-A. G. ASSIGUMBHTS; o o lleo tio n 1.
Go t o
la b o ra to ry a c t i v i t i e s to
im prove y o u r c l u b s '
o f square dance re o o r d s . a go od m u s i e s t o r e a n d s e l e c t r e c o r d s f o r t h e s e
dances. a.
Take A L i t t l e
Peek.
b.
S ix Hands
c.
G olden S l i p p e r s .
d.
G u t Away 6 - 4 - 2 .
e.
U p to w n - D o w n to w n .
f.
B ird ie
'R o u n d .
in th e
Gage.
4£ B.
BVAIBATIOK;
How t o m e a s u r e t h e r e o o r d s y o u u s e f o r
square d an cin g .
—
1.
I Ml ■ n il—
II
I
SHOOED SBXECTIQH: for f a ir , )
a.
Give 0 f o r c o m p l e t e f a i l u r e ,
1
£ f o r good, 3 f o r e x c e l l e n t . APPROPEIATEHBSS:
Boes t h e m usic f i t - t h e
call? )
b.
AVAIIABILITY:
I s t h e m usic r e a d i l y o b t a i n
ab le? )
c.
COST:
Is th e p ric e of th e record w ith in
your b udget? d.
)
BAH GSRS' EBSBOHSB:
Bo t h e d a n c e r s l i k e t h e
m usic? e.
)
MOOB:
Boes t h e m usic c r e a t e th e d e s i r e d
atm osphere? f.
j
TIMIHGr:
Boes t h e m usic l a s t t h e
correct
l e n g t h o f tim e? )
V033JMS:
I s t h e m usic lo u d o r s o f t enough
f o r th e occasion? la .
)
CALLS;
i.
)
BIKECTIOHS:
Are t h e c a l l s r e a d i l y u n d e r s t o o d ?
fo llo w ed ? (
)
TOTAL SCORE.
Can t h e d i r e c t i o n s b e e a s i l y
43 CHAPTER 4 .
THE D M OB RAM.
HOW TO CHOOSE AND KEEP THE BEST PLACE TO DANCE A.
MOTIVATION:
R e w a r d s t o b e g a i n e d b y h a v i n g a g o od p l a o e
to dance. 1.
ACCESSIBILITY:
You c a n a l l
get h a n d ily to a w e ll-
chosen p la c e w ith o u t n e e d in g s p e o i a l p a s s e s . S.
AIR CIRCULATION;
You w i l l he g r a t e f u l t h a t t h e r e
good c i r c u l a t i o n
of a ir
By good c i r c u l a t i o n
is
i n t h e room w h e re y o u d a n c e .
i s m eant a l s o a v o id a n c e o f
d rafts, 3.
APPROBATION: en ts,
You s e c u r e t h e a p p r o v a l o f y o u r p a r
teach ers,
a n d f r i e n d s when y o u h a v e a n a c c e p t
ab le p lace fo r your m eetin g s. 4.
FLOOR CONDITIONS:
You w i l l e n j o y d a n c i n g on a w e l l
kept flo o r. 5.
SPACE:
You w i l l g e t t h e r o o m y o u n e e d f o r d a n c i n g .
Square d a n c in g r e q u i r e s e ig h t sq u a re f e e t B.
DIRECTIONS:
for a se t,
How t o s e l e c t t h e b e s t p l a o e f o r s q u a r e
d a n o i n g and g e t p e r m i s s i o n t o u s e i t . 1.
H a v e a good m o t i v e f o r w a n t i n g t h e p l a c e .
2.
Be s u r e e n o u g h p e o p l e w i l l s h a r e i n t h e a c t i v i t y t o w arrant a ssig n in g i t
3.
Be s p e c i f i c a s t o Heap on s c h e d u l e .
to your s p e o ia l group.
d a t e s you want t o u s e t h e room ,
4.
P u t t h e d a t e s down on t h e c u s t o d i a n ' s c a l e n d a r s o he can he p r e p a r e d .
5.
Have i t
u n d e r s t o o d b e t w e e n y o u r g r o u p and t h e a d
m in istra tio n
j u s t w hat a r e y o u r r i g h t s and d u t i e s
i n r e g a r d t o u s e a nd o a r e o f t h e p l a o e . 6.
Be s u r e t h e a o t i v i t y i s o n e p e r m i t t e d
and a u t h o r i z e d
by t h e a d m i n i s t r a t i o n . 7.
Be s u r e y o u r g r o u p a o e s n o t i n f r i n g e
on t h e r i g h t s
o f o th e r groups a ls o u sin g th e p la o e . 8.
I f you w is h t o u s e a n y o f t h e gyms, t h e gym d e p a r t m e n t s t o
check f i r s t w ith
see i f t h e y have any o b j e c t
ions . 9.
I f th ere is be u s i n g ,
equipm ent in t h e
r oo m t h a t
you w i l l
not
a r r a n g e t o h a v e i t removed t o a n u n u s e d
p a r t o f t h e room , 10.
I f th ere
a r e c u p b o a r d s o r c l o s e t s i n t h e room a r r a n g e
t o h a v e t h e m l o o k e d f o r y o u r own p r o t e c t i o n a s w e l l as o th ers. 11.
Have a com m ittee a p p o in te d t o g o e s on i n h a l l s itse lf,
IE.
i f th at
s e e t h a t no e a t i n g
l e a d i n g t o t h e room , is a ru le
Have a c l e a n - u p c o m m ittee c l e a n when y o u l e a v e ,
o r i n t h e roo m
a t your school. to see t h a t th e p laoe
is
f h i s may m ea n y o u h a v e t o
c l e a n up somebody e l s e ' s m e s s , b u t i f w i l l be blamed f o r l e a v i n g a l l
of i t .
y o u do n o t y o u
45 13.
I f y o u do g e t p e r m i s s i o n t o u s e t h e gyms do n o t p o s e h y a s k i n g t h e gym d e p a r t m e n t t o reoords.
14.
im
fu rn ish th e
B uy y o u r own.
I f th e r e i s a piano going to u se i t ,
i n t h e room a n d y o u a r e n o t
have i t
looked t o p r e v e n t p o u n din g
or breakage. 15.
From t h e f i r s t
day you m eet t h e r e
e s ta b lis h the
r e p u t a t i o n o f b e i n g a good b u n o h t o to ,
let
o u t a room
a n d w o r k h a r d t o k e e p y o u r go od r e p u t a t i o n .
I h e n , when you w a n t a n o t h e r f a v o r you w i l l b e m ore apt t o get i t . 16.
U s e t a e t i n d e a l i n g w i t h t h e a d m i n i s t r a t i o n a n d gym d e p a r t m e n t s i n e x p l a i n i n g why y o u w a n t t o u s e a p a r t i c u l a r room .
17.
Some r o o m s a r e b e t t e r b e o a u s e t h e y a r e r e a e h e d m o r e easily ,
p e rh a p s th ro u g h an o u ts id e
en tran o e.
fake th a t
in g your plaoe to 18.
ground f l o o r
i n t o c o n s i d e r a t i o n when s e l e c t
dance. -
Some p l a c e s a r e h a r d e r t o g e t t o , to pass se rv ic e guards a t
beoause you have
s t a i r w a y s a nd d o o r s *
so
h a v e y o u r p a s s e s r e a d y and do n o t p u t u p a n a r g u m e n t , fhey have t h e i r
o r d e r s a s t o who m ay p a s s t h e i r
sta tio n . 19.
U se r e g u l a r e n t r a n c e s and e x i t s .
£0.
A ll o th er th in g s b ein g e q u al, has the b e tte r a ir
c h o o s e t h e r oo m t h a t
c o n d i t i o n i n g and l i g h t i n g
system . 21.
Choose a p l a c e t h a t h a s r e s t r o o m s h a n d y so t h e r e n e e d n o t b e a l o t o f u n n e c e s s a r y co m in g and g o i n g .
22. C.
I f p o ssib le ,
ASSIGMB1HPS:
o h o o s e a p l a c e t h a t h a s good a c o u s t i c s .
l a b o r a t o r y work t o
e n a b le you t o exam ine
r o o m s a n d m ake a c h o i c e f o r y o u r c l u b m e e t i n g p l a o e . 1.
S e l e c t a n d s e c u r e p e r m i s s i o n t o u s e o n e room a s t h e r e g u la r m ee tin g p la c e f o r your sq u a re dance c lu b .
47 D.
BVAXPATIQET:
A check l i s t
to
s e e w h e t h e r y o u know how t o
make a go od s e l e c t i o n o f a r o o m f o r p u r p o s e s o f t h e d a n c e and i f y o u can s e c u r e p e r m i s s i o n t o u s e i t . P u t a c h e c k i n t h e p r o p e r colum n i n a n s w e r t o t h e s e q u estio n s. Yes l o 1.
( )(
) I s t h e room l i g h t and a i r y ?
2.
( )(
) I s t h e room e a s i l y r e a c h e d b y a l l ?
3.
( )(
) I s the
4.
( )(
) I s y o u r r e a s o n f o r w a n t i n g t h e r o om a go od
flo o r
s u i t a b l e fo r dancing?
one? 5.
( )(
) W il l enough p e o p le b e n e f i t by y o u r g r o u p s T a c t i v i t y to w arrant
l e t t i n g you have use o f
t h e room? 6.
( )(
) W i l l y o u b e u s i n g t h e r o om r e g u l a r l y ?
7*
(
) Have you n o t i f i e d
)(
th e
cu sto d ian about th e
d a t e s y o u w i l l n e e d t h e room? 8.
( .)(
) Did y o u c o n s u l t t h e g r o u p i n m a i n c h a r g e o f t h e room b e f o r e p r e s e n t i n g y o u r r e q u e s t t o the a d m in is tra tio n ?
9.
( )(
) Do y o u know f o r
s u re what your r i g h t s
in the
room a r e ? 10.
( ){
) Do y o u u n d e r s t a n d w h a t y o u r d u t i e s i n t h e care
of th e
r o om a r e ?
48 11.
)
Is
IS.
)
Did y o u r u n a n o t h e r g r o u p o u t o f t h e i r m e e t
sq u a re dancing p e rm itte d
in your school?
in g p lac e to g et yours? )
13.
Do y o u k e e p h a n d s o f f e q u i p m e n t i n t h e r o om t h a t does not p e rta in
)
14.
t o your group?
Do y o u k e e p a w ay f r o m c u p b o a r d s a n d c l o s e t s th a t
a r e no c o n c e rn o f y o u r s ?
15.
)
Do y o u h a v e a c l e a n - u p c o m m i t t e e ?
16.
)
Do y o u f u r n i s h y o u r own r e c o r d s ?
17.
)
Do y o u u s e t h e p i a n o c a r e f u l l y ?
18.
)
Do y o u w o r k h a r d t o
ju s tif y th e fa ith
in
you th e a d m i n i s t r a t i o n m ust h a v e had t o
let
you u s e t h e room? )
19.
W ere y o u t a c t f u l w h e n d e a l i n g w i t h t h e a d m i n i s t r a t i o n t o s e c u r e a room?
SO.
)
Do y o u p r e s e n t y o u r a d m i s s i o n c a r d t o v ice
21
.
)
g u a r d s whe n t h e y a s k t o
ser
see i t ?
Do y o u e n t e r a n d l e a v e t h e r o o m b y t h e re g u la r doors?
2S ,
)
Is
23.
)
D i d y o u p l a y some r e c o r d s i n t h e r o o m t o
t h e p la c e you chose l i g h t
test fin al 24.
(
)
and a i r y ?
t h e a c o u s t i c s b e f o r e y o u made y o u r selectio n ?
Are r e s t r o o m s handy t o y o u r m e e tin g p l a c e ?
49 25.
(
)(
)
I s th e conduct o f a l l
y o u r m e m b e r s g oo d
enough t o w a r r a n t c o n tin u e d u s e o f t h e room?
50 CHAPTER 5 .
APPROPRIATE DRESS
HOW TO SELECT SQUARE DAI CE COSTUMES A.
MOTIVATION: 1.
R e w a r d s o f good c h o i c e o f d r e s s .
SOCIAL APPROVAX: you f i t t i n g l y
2.
Your a s s o c i a t e s w i l l
l i k e to
see
costum ed.
BCOIOMY: You c a n c h o o s e a s q u a r e d a n o e o u t f i t t h a t oan d o u b le a s s c h o o l a t t i r e *
3.
FIT IE SS; Your d an o e c l o t h e s w i l l
fit
th e type o f
d an cin g you a re about to do. 4.
B.
CHARM:
A p re tty p ictu re
fram e.
Your c l o t h e s a re your fram e .
DIEBOTIOIS:
H elpful h in ts
i s enhanced by t h e p ro p er
in c h o o sin g costum es f o r
square d a n cin g . 1.
F I T I B S S : How t o to the tim e, a.
choose costum es w hich a r e s u i t a b l e
p l a c e and
o ccasion.
At s c h o o l d a n c e s , w e a r a n o u t f i t w h i c h d o u b l e s as a school o u t f i t .
b.
At s c h o o l d a n c e s ,
do n o t b e c o n s p i c u o u s b y t h e
e x tre m ity o f y o u r costum e, 2.
CHARM: a.
How t o
select
charm ing a c c e s s o r i e s .
You g i r l s w i l l w a n t a s k i r t w h i c h s w i r l s g r a c e f u l l y around
you a s you d a n c e .
achieved
easier
g ath ered
sk irt.
T h i s oan be
in a f u l l gored s k i r t th a n in a
I f y o u w e ar a s k i r t and 'b lo u s e , you w i l l f i n d y o u r s e l f f i g h t i n g t h e b l o u s e w h i c h w i l l come o u t at
the w a ist,
beoause sq u are dancing i s
stren u
ous work. U n t i l you a r e s u r e you want t o i a l costum e f o r s q u a r e d a n c i n g , es w ill do.
in v est
in a spec
s k i r t s and b l o u s
Ih e b lo u se should have p l e n t y o f
r o o m i n t h e a rm h o l e . W hite b l o u s e s t h a t a r e n o t to o s h e e r a r e a h a p p y ch o ice,
b u t k e e p t h e m c l e a n and d a i n t y .
Choose c a r e f u l l y t h e s h o e s you w ear f o r s q u a r e dancing. (1)
l o u r shoes should
fit
your costum e.
(2)
Your s h o e s sh o u ld p r o t e c t y o u r f e e t .
(3)
Your s h o e s s h o u l d b e s t u r d y eno u g h t o
carry
you t h r o u g h a w hole e v e n in g o f d a n c i n g w i t h out t i r i n g you. (4)
You b o y s s h o u l d w e a r r e g u l a r s c h o o l s h o e s , leav e b o o ts, ta p s ,
(5)
Be s u r e y o u r s h o e s f i t
Hose a r e n o t a r e q u i r e d (1)
c le ats,
P r e t t y tanned
e tc .,
a t home.
your f e e t .
part
o f your costum e.
l e g s show w e l l i n s q u a r e
dancing. (2)
I f y o u go b a r e l e g g e d , som ething l i k e P e d s.
p r o te c t your f e e t w ith
52
(3)
Bobby s o a k s oan b e w o rn w i t h s c h o o l o l o t h . e s , b u t do n o t w e a r t h e m w i t h y o n r d r e s s - u p costum e.
g.
Boys, ohoose b r i g h t e r s h i r t s f o r s q u a re d a n c in g , (1)
E m broidered s h i r t s a r e a l l r i g h t ,
b u t very
ex p en siv e. h.
Gomb your hair to 3tay put.
i.
A pply y o u r m ake-up w ith a l i g h t h a n d .
Make i t
as
n a tu r a l lo o k in g as p o s s ib le . (l) «j.
S t a r t w i t h a s o a p and w a t e r c l e a n s k i n .
Be o l e a n
— sh in in g clean .
w ith l o t s
o f elbow g r e a s e .
(1)
A p p l y s o a p a nd w a t e r
B em em ber y o u w i l l b e c l o s e r t o p e o p l e when y o u d a n c e so be s u r e y o u r m o u th , h a i r , body have a c le an ,
(2)
and
fra g ra n t odor.
C l e a n s e y o u r m o u t h w i t h a g oo d t o o t h p a s t e , t o o t h p o w d e r, o r m outh w a s h .
(3)
Bo n o t make t h e m i s t a k e o f t h i n k i n g y o u c a n u s e p e rfu m e t o c o v e r up t h a t unwashed body odor.
k. C.
Make c l e a n l i n e s s a d a i l y h a b i t .
ASSIGRMMfS:
P r o j e c t s t o h e l p you p e r f e c t y o u r groom ing
tech n iq u es. 1.
GIRDS.
Go t o B u l l o c k s , May Company, o r some o t h e r
s t o r e w hich s p e c i a l i z e s a.
in square dance c lo th in g .
C h o o s e a d r e s s o r a b l o u s e and s k i r t w h i c h w i l l be becom ing t o y o u .
b.
Choose a c o stu m e w h ic h w i l l be s u i t a b l e t o t h e p l a c e s you w i l l w e a r i t .
o.
I f th e ready-m ade costum es a re too ( a s t h e y w i l l be i n m ost c a s e s ) get id ea s.
expensive
lo o k a t them t o
T h e n go t o a p a t t e r n d e p a r t m e n t a n d
d e c i d e u p o n a p a t t e r n f r o m w h i c h t o make y o u r costum e. (1)
Get y o u r c o r r e c t s i z e .
(2)
S e l e c t a p a t t e r n w hioh
you can u s e f o r d a y
tim e w ear ( s h o r t s k i r t )
or fo r night dances
( lo n g e r s k i r t ). (3)
F ro m y o u r p a t t e r n f i n d you n e e d and b u y i t
o u t how much g o o d s
in f l a t t e r i n g
c o lo rs
and s u i t a b l e m a t e r i a l . (4)
U sin g t h i s p a t t e r n ,
make y o u r own o u t f i t ,
h a v e i t m a d e , o r h e l p m ak e i t . BOYS, p i c k y o u r own s h i r t a.
and l e v i s .
I f you cannot a f f o r d t o buy a s h i r t ,
persuade
y o u r m o t h e r t o make o n e f o r y o u . GIRLS, go t o
a b e a u ty shop f o r a m ake-up d e m o n s tr a tio n
an d a h a i r s t y l i n g .
a.
B etter y e t,
h a v e t h e d e m o n s t r a t i o n i n y o n r home
econom ics c l a s s . P u t on a s t y l e
sh o w a s p a r t
of your sohool t a l e n t
show, a.
Have one c o u p le d r e s s e d a l l w ro n g f o r a s q u a r e dance.
h.
Have f o u r c o u p le s o o r r e c t l y
costum ed.
By h a v i n g
f o u r c o u p le s you can d e m o n s tra te d i f f e r e n t a p p ro p ria te
sty les.
Wind u p t h e t a l e n t c lo th es,
m ake-up,
show w i t h a t i p . and h a i r - d o
y o u do i n a s q u a r e d a n e e .
Show f i t n e s s o f
f o r t h e ty p e o f work
55 D.
SVAXUATIOH:
Ways i n w h i c h y o u m a y c h e c k y o u r good g r o o v
ing te c h n iq u e s . 1.
TRUE-FALSE.
F lace X in the
c o rre c t space f o r tr u e
or f a l s e . T a.
(
F }(
) Any d r e s s i s a c c e p t a b l e f o r s q u a r e d ancing.
b.
( )(
) I f you have t o w ear y ou r dance d r e s s a l l d ay , you should wear y o u r a n k l e - l e n g t h sk irt.
c.
( )(
} A s k i r t and b l o u s e i s a l w a y s b e t t e r t h a n a dress.
d.
( )(
) Tour blouse
s h o u ld be s h e e r so you oan
keep c o o l. e.
( )(
) T i g h t s l e e v e s an d a h i g h n e c k a r e n o t go od s q u a r e d a n c e w e a r .
f.
( )(
) You s h o u l d w e a r a o l e a n s h i r t
g.
( ) (•
) A gath ered stra ig h t
h.
( )(
) A fu ll
sk irt sk irt
is
for
gored s k i r t
or b lo u se.
b e t t e r than a square d an cin g . s w irls b e tte r than a
f u l l gath ered s k i r t . i.
(
)(
) A l l b o y s s h o u l d w e a r c o w bo y b o o t s w h i l e dan cin g .
j .
( M
) T h e a r m h o l e on e i t h e r s h i r t should
or b lo u se
give p l e n t y o f freed om .
56 k.
( }(
) Yon s h o u l d f i n i s h w e a r i n g o u t y o u r a r e s s shoes a t
1.
( ){
square danoea.
) You s h o u l d w e a r s h o e s w h i e h c o v e r y o u r to es.
m.
( )(
) You s h o u l d w e a r t a p s on y o u r s h o e s , cause t h e i r
n.
{ )(
) S ince i t
is
sound a d d s t o t h e
be
g aiety ,
su ch an a c t i v e danoe,
it
would be a l l r i g h t f o r you t o w e a r f i e i a b o o ts w ith heavy s o le s , o.
( )(
) S ilk hose a re re q u ire d to g iv e a f in is h e d lo o k t o any sq u a re danoe costum e,
p.
( }(
) fhere is
o n l y a tu b o f w a t e r and a b a r
o f s o a p b e tw een a d i r t y boy and a c le a n one. q.
( )(
) You s h o u l d k e e p y o u r m o u t h c l e a n - s m e l l i n g ,
r,
( )(
) A s q u a r e d a n c e i s a good p l a c e
fo r fancy
h a ir-d o s. s.
( )(
) A l l m ake-up sh o u ld be n a t u r a l l o o k i n g ,
t.
( )(
} B o y s do n o t h a v e t o b e a s c a r e f u l a b o u t cle an lin ess as g ir ls
do.
57 CHAPTER 6 .
ETIQUETTE
HOW TO H E P BEHAVIOR -OH A HIGH PXAJE AT A SQUARE LANCE A.
MOTIVATION: R e w a r d s o f go o d B e h a v i o r , 1.
SOCIAL APPROVAL:
Your p a r e n t s ,
t e a c h e r s a nd f r i e n d s
w i l l r e j o i c e a t y o u r good c o n d u c t , 2,
MORE FRIENDSHIPS:
You w i l l m e e t m o r e p e o p l e a n d m ake
new f r i e n d s , S.
SOCIAL ACCEPTA1C1:
You w i l l H a v e t h e p l e a s a n t f e e l
in g o f B elo n g in g to
an o rg a n iz e d
s o c i a l group t h a t
"behaves. 4,
DATES:
You c a n e n j o y t h e
company o f t h e
o p p osite
s e x and e n h a n c e y o u r c h a n c e s f o r d a t e s , B,
DIRECTIONS; H e l p f u l h i n t s
on how t o
conducty o u r s e l f a t
a square danoe. 1,
2.
GALLS:
How t o
find the
o u t w hat y o u a r e t o do n e x t ,
a.
L isten to
b.
L ea rn what each c a l l m eans,
c.
O bey t h e
d.
G ive y o u r b e s t a t t e n t i o n
c all
PARTICIPATION: a.
c a lls.
about fo u r co u n ts a f t e r
How t o
is
given.
to th e c a lle r .
p r a c t i c e what you hav e s t u d i e d ,
J o i n i n t h e d a n c i n g , f o r y o u c a n n o t l e a r n how t o d a n c e by s i t t i n g
b.
and r e s p e c t
it
^ n v i t e someone t o
alo n g th e
sid e lin es.
d a n c e w i t h you e v e r y d a n c e t o
p r a c tic e your m anners.
c.
Accept an i n v i t a t i o n t o dance i f a t a l l p o s s i b l e . E v e n t h o u g h y o u may b e a b e g i n n e r , in g n ess to
j o i n y o u may m ake i t
by y o u r w i l l
p o ssib le
for
seven o th e r p eo ple to danoe. GOOD HUMOR;' How t o a.
Sm ile i f
somebody e l s e m ak e s a m i s t a k e .
you m ust a l l b.
oover up m is ta k e s . Remember
learn .
G r in and a p o l o g i z e j u s t
o n c e i f y o u m ake t h e m i s
tak e. ASSISTANCE TO OTHERS:
How t o h e l p t h e o t h e r c a t c h on
faster. a.
H e l p t h e o n e s who know l e s s t h a n y o u d o , b u t do not c a l l d ir e c tio n s in c o m p etitio n w ith your in stru c to r or c a lle r.
b.
When a new s t e p i s b e i n g t a u g h t , w a i t u n t i l a l l the to ld
i n s t r u c t i o n s have been g iv e n . t o do s o ,
T h e n , when
c a r r y out t h e i n s t r u c t i o n s a s slow
1y a s t h e y a r e g i v e n . o.
Exchange p a r t n e r s w h ile l e a r n i n g a s t h i s w i l l e n a b l e y o u t o d a n c e w i t h o t h e r s when y o u r " o n e a n d o n l y " c a n n o t be t h e r e .
A n d , who k n o w s ?
You
m ig h t e v e n f i n d a more c o n g e n i a l p a r t n e r t h i s way COMMON COURTESIES; a.
Be q u i e t ,
How t o
so t h a t
ex h ib it s o c ia l p o ise.
you c an h e a r t h e
c a lls b e tte r,
and b e c a u s e y o u w ant t o be q u i e t anyhow ,
S ilen ae
is b.
golden.
Save y o u r g i g g l e s f o r y o u r slu m b e r p a r t i e s . o ften th e
g ig g les in d ic a te
Very
lack of sureness in
y o u rself. e.
Be m a n n e r l y a t a l l t i m e s .
These s c h o o l d a n c e s
a r e good p l a c e s t o p r a o t i c e
little
co u rtesies.
Even a j u n i o r h ig h s c h o o l g i r l l i k e s t o be t r e a t ed l i k e a l a d y .
I f you a c t
more a p t t o b e t r e a t e d gentlem en a r e d.
G irls,
And n o t a l l
give th e boys a chance to
boys a l i t t l e ASSIGIFMBNTS:
as one.
"sissies",
a n d do n o t l a u g h a t
G.
lik e a la d y t you a re
show good m a n n e r s
clum sy e f f o r t s .
w hile t o
P ro je c ts to a id
It
t a k e s some
c a t c h on and a c q u i r e p o l i s h . you m a s t e r t h e t e c h n i q u e s
of e tiq u e tte . 1.
INVITATIONS ( b o y s o n l y ) : a.
I n v i t e t h e m o s t p o p u l a r g i r l i n t h e c ro w d t o
be
your guest a t your next square dance. 8.
INVITATIONS ( g i r l s a.
o n ly );
A s k t h e b o y who i s m o s t s h y t o
be y o u r g u e s t a t
your next dance. 3.
ASSISTANCE TO FRIENDS: a.
Give a p a r t y .
Be a c o - h o s t o f y o u r own such as a t H a llo w e 'e n .
clu b f o r a s p e o i a l
W o rk w i t h y o u r
dance,
club i n
stag in g a p a rty .
61 D.
EVALUATION:
How t o
check y o u r s e lf to
s e e ho?/ y o u
m easure tip * 1.
YBUl-FALSE:
p lace X in th e o o rre o t space f o r tr u e
or f a l s e . T a.
I*
( }(
)
You 3 h o u l d k e e p t w o s t e p s a h e a d o f t h e c a lle r.
b.
( )(
)
You c a n l e a r n t o d a n o e b y o b s e r v a t i o n .
o.
{
)
I f y o u a r e a b e g i n n e r , an d a n e x p e r i e n c
)(
ed d a n c e r i n v i t e s yo u t o b e h i s
p artn er,
you s h o u ld r e f u s e b e c a u s e you would m ix up t h e o t h e r s i n t h e d.
(
)( }
set.
You s h o u l d g e e r w h e n s o m e o n e m a k e s a m ista k e .
e.
{
)(
)
You s h o u l d a p o l o g i z e r e p e a t e d l y whe n y o u m ak e a m i s t a k e .
f.
(
)( )
You s h o u l d h e l p o t h e r s l e s s e x p e r i e n c e d than y o u rs e lf.
g.
(
)( )
W hile t h e c a l l e r
i s e x p la in i n g som ething
y o u r s e t a l r e a d y knows, you sh o u ld u s e t h a t tim e to d e m o n s tra te a n o th e r form a tio n . h.
(
)(
)
A square dance i s
a poor place to
t i c e m anners b e ca u se th e stren u o u s.
dance i s
prac so
62 i .
(
)(
)
You s h o u l d
be q u i e t so you oan h e a r y o u r
p artn er h a tte r . j,
(
)(
)
W h ile you a r e l e a r n i n g i t change p a r t n e r s o f te n .
is b e tt e r to
63 CHAPTER 7 .
OBTAIIIHG OFF I C I AX STM3DIHG
HOW TO ORGANIZE A SQUARE DAHCE CUJB A.
MOTIVATIQH:
R e w a r d 8 t o 'be g a i n e d b y h a v i n g o f f i c i a l
san o tio n of your g ro u p . 1.
POWER:
An o r g a n i z a t i o n H a s m o r e f o r o e t h a n i n d i v i d
u als . S.
PRESTIGE:
Yon a c h i e v e s o c i a l i m p o r t a n c e b y f o r m i n g
a c l u b a n d p l a c i n g e v e n m i l d r e s t r i c t i o n s u p o n mem bers. 3.
IHFXUEHCE:
Some i m p o r t a n c e a t t a c h e s t o
a l l members
o f a g r o u p o r g a n i z e d a l o n g good p a r l i a m e n t a r y l i n e s and d i r e c t e d to w a r d i m p r o v i n g c i t i z e n s h i p . B.
DIRECTIONS:
G uide p o s t s i n t h e
form atio n of a s o c ia l
c lu b . 1.
PROYISIGHS: a.
How t o
R epresen tatio n :
cover e s s e n t ia l req u ire m e n ts. Use y o n r E n g l i s h c l a s s e s a s y o n r
s ta r tin g p o in t, b.
E lect
one r e p r e s e n t a t i v e fro m e a c h s e c t i o n .
c.
C all t h i s
rep resen tativ e
group th e e x e c u tiv e
board. d.
Have r e g u l a r m e e tin g s o f t h e e x e c u tiv e b oard w ith sponsors.
e.
E a rlv in each sem ester e le c t o f f i c e r s .
f.
Model f o r e l e c t i o n o f o f f i c e r s : (1)
Hava t h e
(2) . P r e p a r e
e x e c u tiv e h oard n om in ate o f f i c e r s . p rin ted
b a l l o t s w ith nom inees'
name
c le arly lis te d . (3)
D i s t r i b u te th e b a ll o t s a t a dance e a r ly in th e sem ester.
(4)
C o l l e c t m a r k e d b a l l o t s an d t a l l y
im m ed iate
ly . (5)
Present e le c tio n re s u lts to
v ice -p rin c ip a l
and s p o n s o r s f o r c h e c k i n g . (6)
Announce r e s u l t s a f t e r f a c u l t y a p p r o v a l h a s been s e c u r e d .
(7) g.
D e stro y unused b a l l o t s a s w e ll a s used
ones.
H a v e a s m an y o f f i c e r s a s a r e n e e d e d f o r e f f i c i e n t o rg an izatio n ,
b u t no e x t r a s .
h.
Have e ac h o f f i c e r a s s i g n e d d e f i n i t e d u t i e s .
i.
Be s u r e y o u r o f f i c e r s w i l l s e r v e ,
CIiUB IMPROVEMENTS:
if
ele cted .
How t o a c t on s u g g e s t i o n s f o r
c lu b im provem ents. a.
In E n g lish c la s s e s rec eiv e
s u g g e s tio n s from t h e
m em bers. b.
le t th e re p re se n ta tiv e rep o rt th e
su g g estio n s or
o r i t i o i s m s a t t h e board m e e tin g , o.
Have a l l
s u g g e s t i o n s d i s c u s s e d and a c t e d upon b y
th e board.
65 d. 3.
In v ite
MEMBERSHIP:
s u g g e s t i o n s from j o u r s p o n s o r s . How t o H a v e a l i v e , a c t i v e ,
co o p erativ e
m em bership. a.
S ta te c a re fu lly th e purposes o f th e c lu b .
b .'
Have d e f i n i t e u n d e r s t a n d i n g s a b o u t c o n d u c t a t m e e t i n g s and d a n c e s .
c.
Make r u l e s
c l e a r a nd
sim p le.
d.
R e s t r i c t t h e m em bership t o
a harm onious group,
as to age. e.
Deny m em bership t o an e l i g i b l e he h as re fu s e d r u l e s and t h e
to co o p erate
Have an a t t r a c t i v e p ro g ra m .
g.
Do n o t u s e e a s y e x c u s e s t o
h.
in g e n e ra l school
sp e c ific ru le s of the
f.
in g s.
p erso n only a f t e r
clu b .
om it any dance m ee t
K e e p o n s c h e d u l e a s much a s p o s s i b l e .
In v ite non-dancers to dancing i n s t r u c t i o n
jo in th e
clu b ,
then provide
fo r them .
i.
G h o o s e a n a t t r a c t i v e name f o r y o u r c l u b ,
j .
I s s u e m e m b e r s h i p c a r d s w i t h name o f member t h e r e o n an d s i g n e d b y t h e v i c e - p r i n c i p a l .
4.
STYIE: a.
How t o w r i t e a c o n s t i t u t i o n .
A ppoint a s m a ll ,
c a p a b le c o m m ittee t o draw up
the c o n s titu tio n . b.
Do b e s u r e w h a t y o u do w i l l m e a t s c h o o l r e g u l a t i o n s , w o rk on t h i s w i t h t h e v i c e - p r i n c i p a l .
66 c.
Have t h e
eon s t i t u t i o n r e a d t o t h e e x e c u t i v e
board f o r d i s c u s s i o n , a rticle d.
aooeptanoe, or r e j e c t i o n ,
by a r t i c l e ,
Present th e
;
fin a l d ra ft to
t h e m em bership a s a
w hole f o r d i s c u s s i o n ,
acceptance,
or re je c tio n .
e.
Have t h e c o n s t i t u t i o n
sim p ly w r i t t e n .
f.
Have t h e c o n s t i t u t i o n so w r i t t e n t h a t i t
can
s e r v e f o r some t i m e a n d a l l o w f o r a m e n d m e n t s . g.
H ere i s a c o n s t i t u t i o n w hich f i t s o f Harbonne H ig h S c h o o l.
It
req u irem en ts
i s used w ith p e r
m is s io n o f M iss E l i z a b e t h P a r k s , G irls *
V ice-
P r i n c i p a l , and w as w o rk ed o u t u n d e r h e r d i r e c t i o n .
C o n s t i t u t i o n o f "The S q u a r e s ” o f Harbonne H igh S c h o o l. A rticle I Hame T his o r g a n iz a tio n
s h a l l b e known a s " T h e S q u a r e s " . A rticle
II
O bject The o b j e c t o f t h i s frien d lin e ss;
to
o rg an izatio n
prom ote
e n c o u r a g e y o u n g p e o p l e who e n j o y
d a n c i n g t o d a n c e , a nd t o teach c o u rtesy .
s h a l l be t o
l e a r n t o d a n c e , and t o
A rticle
III
M em bership M em bership i n t h i s
o r g a n i z a t i o n s h a l l he g ra n te d to
a n y j u n i o r h i g h s c h o o l p u p i l who w i s h e s t o d a n c e o r to
learn to dance.
F a ilu re to p a r tic ip a te
co o p erate a u to m a tic a lly excludes th a t
or to
p e rs o n from
m em bership. A rticle
IV
O fficers S ectio n 1.
She o f f i c e r s
o f ”The S q u a r e s ” s h a l l b e
a m em ber o f t h e c l u b f o r a t a fte r th e f i r s t a p resid en t,
sem ester
l e a s t one s e m e s te r,
(1949).
a v ice -p resid e n t,
Ihere
s h a l l be
a treasu rer,
and a
rep o rter. S e c ti o n S.
A ll o f f ic e r s s h a ll
be n o m i n a t e d b y t h e
ex ecu tiv e b o ard. S ectio n 3 . a t the
A l l o f f i c e r s s h a l l be e l e c t e d b y b a l l o t
se c o n d d a n o e m e e t i n g , and s h a l l h o l d
o ffice
one s e m e s t e r . S ectio n 4 .
A m a j o r i t y o f a l l v o t e s o a s t s h a l l be
n e c e s s a ry f o r an e l e c t i o n . S ectio n 5.
V acancies in o f f i c e
s h a l l be f i l l e d
by
68
t h e e x e c u tiv e hoard u n t i l th e n e x t r e g u l a r e l e c t i o n . A rticle
V
E x e c u t i v e Board S e c tio n 1.
The e x e c u t i v e h o a r d
s h a l l he composed o f
t h e o f f i c e r s o f t h e c l u b and a r e p r e s e n t a t i v e each E n g lish c la s s .
Its
p o l i c i e s a nd m a n a g e t h e
d u t i e s s h a l l he t o business of th e
from
e stab lish
clu b .
A r t i c l e VI M eetings S ectio n 1.
R egular m ee tin g s of th e
s h a l l he h eld p erio d .
d u rin g th e ju n io r h igh sh o rt
H. B . J u n i o r s a n d
lunch p e r io d s , S ectio n 2. th ere
e x e c u tiv e hoard lu n ch
S eniors a l t e r n a t e
long
one week a t a t im e .
D uring th e
j u n io r h ig h lo n g lunch p e rio d ,
s h a l l he tw o d a n c e p r a o t i c e s a week u n t i l t h e r e
h a s been enough le a r n e d ha enough t o
th at
o ne p r a c t i c e a w e e k w i l l
c a r r y on i n s t r u c t i o n , w h i l e t h e s e c o n d
dance can he d a n c in g w ith o u t
in stru ctio n ,
except to
e x p l a i n w h a t m i g h t h e new i n t h e c a l l s . A r t i c l e VII A m e n d m e n ts T h e c o n s t i t u t i o n may h e a m e n d e d a t a n y r e g u l a r m e e t i n g b y a t w o - t h i r d s v o t e o f t h e members p r e s e n t .
By-law s A rticle I D u tie s of O ffic e rs S ectio n 1, p resid e at
I t s h a l l be
th e
duty o f th e p r e s id e n t
a l l m eetin g so f t h i s
o rg an izatio n ;
and
to to
presid e at a l l dances. S e c t i o n B. dent to
It
s h a l l be t h e d u t y o f t h e v i c e - p r e s i
preside
a t a l l m eetin gs of t h i s
in th e absence o f th e
p resid en t,
o rg an izatio n
and t o a c t a s p r o
gram c h a i r m a n . S e c t i o n 3*
I t s h a l l be
to
m i n u t e s o f t h e m e e t i n g s an d t o t a k e c a r e
keep t h e
th e d u ty o f th e se c re ta ry
of a l l correspondence. S ectio n 4 .
It
s h a l l be the d uty o f th e t r e a s u r e r to
take eare o f a l l
funds c o lle c te d
by t h e
o rg an izatio n
and d e p o s i t th em w i t h t h e s c h o o l b u s i n e s s m a n a g e r; to be in charge o f a l l t i c k e t S ectio n 5.
.It
s h a l l be t h e d u t y o f t h e r e p o r t e r t o
c a r e f o r a l l p u b l i c i t y and t o o f the S ectio n
sales.
serve as th e h is to r ia n
o rg an izatio n . 6.
It
s h a l l be t h e d u t y o f t h e r e p r e s e n t a
t iv e s under th e d ir e c tio n
o f the
sponsors in charge
t o a r r a n g e f o r t h e r e c o r d m a c h i n e a nd r e c o r d s ;
to
r e p o r t t o t h e m embers o f t h e i r E n g l i s h c l a s s e s a l l sp e c ia l ev en ts,
announcem ents, e t c . A rticle
II
C om m ittees The p r e s i d e n t s h a l l be empowered t o a p p o i n t a t
any
t i m e su c h c o m m itte e s a s s h a l l be n e c e s s a r y . A rticle I I I P arlia m en tary A u th o rity • 'R o b e rt's R u les o f O rd e r” s h a l l be t h e p a r l i a m e n ta r y a u t h o r i t y on a l l m a t t e r s n o t c o v e re d b y t h e c o n s t i t u t i o n and b y - la w s o f t h i s RATIPICATIOH:
How t o
o rg an izatio n .
seoure r a t i f i c a t i o n
from t h e
a d m i n i s t r a t i o n and s t u d e n t c o u n c i l . a.
Have s e v e r a l c o p i e s o f t h e c o n s t i t u t i o n t y p e d .
b.
P re s e n t a ty p ed copy o f th e c o n s t i t u t i o n t o th e head o f t h e
c.
P r e s e n t a copy t o t h e v o te,
d.
school for h is ap p ro v al,
if th at
R atifica tio n
stu d en t co u n cil fo r t h e i r
is req u ired
in your sch o o l.
o f t h e c o n s t i t u t i o n p u t s t h e stam p
o f a p p r o v a l a n d a c c e p t a n c e on y o u r g r o u p . a r e now a d u b
of o f f i c i a l
stan d in g .
You
71 G.
A S S IG rlM B E T S ;
L a b o r a t o r y t e c h n i q u e s t o a s s i s t you i n de~
v elo p in g your o rg a n iz in g a b i l i t y , 1.
D r a f t and
secure r a t i f i c a t i o n
of a c o n stitu tio n for
th e n i n t h g rad e s q u a re d an ce group o f w hich you a r e now m e m b e r s .
72 D,
BVAHJATIOH:
How t o
c h e c k y o u r s e l f on o r g a n i z a t i o n p r o
ceed in g s. Answer t h e f o l l o w i n g q u e s t i o n s b y p u t t i n g a c h e c k i n t h e p r o p e r co lu m n. Yes 1.
(
Bo
) ( )
Bid y o u w r i t e y o u r c o n s t i t u t i o n i n c l e a r language?
2.
( ) ( ) B id you choose s t a b l e
rep re se n ta tiv e s?
3.
( ) ( ) Bo y o u a t t e n d
4.
( ) ( ) B id you e l e c t your o f f i c e r s e a r l y i n t h e
a l l m eetin g s?
sem ester? {
) B id you l e t t h e p arts
(
c o n stitu tio n ?
) B id you p r e p a r e th e
(
of the
)
c lu b members d i s c u s s a l l
e a s i l y marked b a l l o t s f o r
ele ctio n ?
Bo y o u v /elcom e s u g g e s t i o n s f o r
im provem ent
o f your clu b? 8.
( ) { ) Bo y o u a o t u p o n s u g g e s t i o n s m ade f o r critic ism
9.
() (
o r im provem ent o f t h e c lu b ?
) Bo y o u i n v i t e y o u r s p o n s o r s t o
c o n trib u te
id eas? 10.
( ) f ) B id you e n u m e ra te i n t h e d u ties of th e
11•
c o n s titu tio n the
o ffio ers?
( ) ( ) B id you i s s u e m em bership c a r d s ?
73
D i d y o u d i s t r i b u t e t h e w o r k among s e v e r a l
IE .
com m ittees? D id you p r e p a r e
13.
sev eral leg ib le
c o p ies o f
th e c o n s titu tio n ? Did y o u e n c o u r a g e a l l
14.
e l i g i b l e p eo p le to
become m em bers? D i d y o u m ake a l l r u l e s c l e a r t o a l l mem
15.
bers? Do y o u t r u s t t o
16.
tiv e
c h a n c e t o hav e an a t t r a c
program ?
Do y o u i n v i t e n o n - d a n c e r s t o
17.
jo in your
club? Do y o u p r o v i d e d a n c i n g i n s t r u c t i o n f o r n o n -
18.
dancers? Do y o u r e q u i r e s t r i c t
19.
ob ed ien ce to
school
r u l e s o f conduct? 20.
Do y o u h u n t f o r e x c u s e s t o
om it a d a n c e
now a n d t h e n ? 21
.
Do y o u c o o p e r a t e i n t h e o a r e
of the
room
you u se f o r d a n o in g ? 22
.
D i d y o u c h o o s e a " c a t c h y " name f o r y o u r clu b ?
23.
(
)
D o e s t h e c l u b name i n d i c a t e t h e p u r p o s e of th e
clu b ?
74 24.
f
) f )
Did you d r a f t a f l e x i b l e
o o n stitu tio n ?
25.
(
) ( )
Did y o u r e c e i v e a d m i n i s t r a t i v e a p p r o v a l o f your club? University
of
S o u th e rn Californio LJkswjr