Mal Hayden - Seacoast Demonstration, 1960
This is Mal Hayden, a New Hampshire caller who straddled the space between traditional and early modern square dance calling. Information about him can be found at the Related Item.
Drawing on various announcements and ads in 1960 issues of The New England Caller, researcher Peter Yarensky has determined that this was recorded at the Cumberland County Recreation Council Eighth Annual Square & Folk Dance Festival, Saturday May 7, 1960, Exposition Building, Portland, ME, 7:30-11:45 PM, adults 75¢ . (Interested readers can download a PDF-- 17 MB-- of this issue of the magazine here: The New England Caller.)
There are four distinct segments in this 7:30 recording, with about five seconds in between each. Toward the end of the final dance, the music changes to Jingle Bells, which may have been odd given the May performance!
The dances are all stately quadrille style, with elaborate musical arrangements. Each dance has between two and four different tunes, as shown in the detailed analysis that Yarensky created. (See the Related Items for a link to this document.)
Subjects: Northern / New England
Item Relations
| This Item | is related to | Item: Rita and Mal Hayden |
| This Item | is related to | Item: Mal Hayden - Seacoast Demonstration - analysis of dances and tunes |
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Drawing on various announcements and ads in 1960 issues of The New England Caller, researcher Peter Yarensky has determined that this was recorded at the Cumberland County Recreation Council Eighth Annual Square & Folk Dance Festival, Saturday May 7, 1960, Exposition Building, Portland, ME, 7:30-11:45 PM, adults 75¢ . (Interested readers can download a PDF-- 17 MB-- of this issue of the magazine here: The New England Caller.)
There are four distinct segments in this 7:30 recording, with about five seconds in between each. Toward the end of the final dance, the music changes to Jingle Bells, which may have been odd given the May performance!
The dances are all stately quadrille style, with elaborate musical arrangements. Each dance has between two and four different tunes, as shown in the detailed analysis that Yarensky created. (See the Related Items for a link to this document.)