Browse Items: 323

At the 2008 National Square Dance Convention, Colorado dancer, caller and historian Calvin Campbell presented a program on twenty important years in the change from traditional to modern square dance. This video excerpt from a 75 minute presentation includes danced examples, with commentary, of these items: Sally Goodin Lloyd Shaw tip Dip and Dive…

This is an excerpt from the book Step by Step Through Modern Square Dance History by Jim Mayo. It describes the situation that had been created by a flood of new calls in the mid 1970’s. Related items illustrate a set of early attempts by Square Dance Systems to create an organized catalogue of calls.

The 2011 singing call is the same one that he used in 2006, City of New Orleans, Rhythm record #182. The record, as Wade Driver called it, used a CALLERLAB Mainstream Program routine. As we noted in the 2006 clip, Red used three different routines. Both Red and I (Jim Mayo) were surprised to learn that here, five years later, he used the same three…

The 2011 patter call is probably from a group in Florida where Red now lives in the winter. Two things are notable. One is that he is using a much smaller vocabulary of calls than he has in the tips from earlier years. The other is that the music is a singing call record. (I Shall Not Be Moved". Quadrille # 910) Many callers who are comfortable…

The 2006 singing call, City of New Orleans, was probably to the Rhythm record #182 originally by Wade Driver with a Mainstream Program figure. By using three different figures in the dance rather than just one repeated four times, Red’s calling again shows the change in singing call delivery that by then was very common for many callers.

The 2006 patter call shows Red’s usual programming using 11 of the PLUS Program calls in this one tip. The tempo had increased slightly to 123 bpm. His delivery style is conversational with somewhat less melodic variation than his early calling.

This short biography profiles Harold Luce (1918-2014), a well-known Yankee fiddler and dance caller closely associated with the Ed Larkin Dancers of north central Vermont. Luce started playing with the group in the 1930s and continued for eight decades, as well as calling and fiddling at his own square dances.He accompanied the dancers and called…

Website devoted to caller Dick Leger; the author also references the extensive discography on Vic and Debbie Ceder's website. There are numerous items in the SDHP collection related to Dick Leger.

This online exhibit on the history of social dance in America draws on documents in the collection of the American Antiquarian Society to offer a multi-faceted portrait of the changing nature of American social dance. Items in the exhibit include the cotillion, the quadrille, and other related square dance forms.

Minneapolis based artist, Amanda Lovelee believes finding, preserving and constructing a space for physical connection is an urgent issue. As a society that faces the collapse of communities how do we continue to form face-to-face connections? This is why she began The Call and Answer Project, a project that creates a fun, interactive space for…

These are four interviews conducted with Rickey Holden— dance caller, organizer, author, editor and publisher. He was co-author of The Contra Dance Book (1956) andInstant Hash (1962) as well as numerous articles and two books about international folk dance. He danced with Ralph Page in the Boston area in the 1940s, hitchhiked around the US…

Text of the CALLERLAB Milestone award presented to caller Masaru Wada of Japan, as well as the speech made by Mike Seastrom in presenting the award. Seastrom acknowledged, "While there are other fine leaders who have spread the joy of the square dance activity and helped it grow in Japan," Masaru Wada stands above the rest.

“Les Quatre Berceaux” (The Four Cradles) was presented by Dance Discovery at the Missouri History Museum in conjunction with an exhibit on Napoleon. The group reconstructed the dance from the printed French description published in Paris in 1801.Credits:Rebecca Taylor translated the archaic French into modern English.John Ramsay…

This is an interview conducted by Nathaniel Lucy as part of his research for his master's thesis, "Ozark Jubilee: The Impact of a Revional Identity at a Crossroads," written in 2014. The subject of the interview is Gary Ellison, who explains, "In 1959 and in 1960, the last two years, I was the square dance caller for the Wagon Wheelers, which was…

The Trad-Dance-Callers listserv in 2008 had a discussion that touched on the Santa Monica dance. Don Ward was a participant in that event and he shared a few memories with the group.

Caller Beth Molaro, of Asheville, NC, is a well-known caller who loves calling both contras and squares. In this clip, talking with Dennis Merritt, she explains some of her thinking that goes into deciding when to call a square at a contra dance, when in the program to put squares, what sorts of squares she uses, and how different kinds of music…

In 2009 the CALLERLAB Convention in Kansas City included a dance following the Banquet called by all the past chairmen of CALLERLAB who were in attendance that year. This recording is the final singing call at that dance and included each of the participating callers joined in calling to the Gold Star record #712, God Bless America.

It was…

Rickey Holden calling the Texan Whirl figure attributed to caller Bob Sumrall, an influential caller starting in the 1930s in Abilene and other West Texas communities. The distinctive part has the women circling left underneath the men's arms making a right hand star, and then each woman rolls back around the gent behind her to reform the circle.…

Caller Rickey Holden calls and dances the "Abilene lift," a style of movement created and popularized by west Texas caller Bob Sumrall. The 1-2-3 shuffle of feet gave the dancers a smooth movement; Holden has written that "at one time, at every dance, the entire floor could be heard to move, everyone, in unison, with an almost mystical, magical…

Caller Rickey Holden calls a sequence of easy figures at a workshop in Taastrup, Denmark, August 19, 2005. It's similar to a Goal Post" routine except that Rickey has the active dancers swing behind the inactives rather than go around them. The end of the dance incorporates a Birdie in the Cage routine.