CALLERLAB MAINSTREAM DEFINITIONS

February 22, 2020

8 1994, 2000-2020 by CALLERLAB Inc., The International Association of Square Dance Callers. Permission to reprint, republish, and create derivative works without royalty is hereby granted, provided this notice appears. Publication on the Internet of derivative works without royalty is hereby granted provided this notice appears. Permission to quote parts or all of this document without royalty is hereby granted, provided this notice is included. Information contained herein shall not be changed or revised in any derivation or publication.

General
Introduction
The CALLERLAB Mainstream Definitions describe in detail all the formations, terms, and calls (including styling and timing) used in the Mainstream dance program. In addition, various conventions on how to call, dance, and combine the calls are documented.

History
The Mainstream Dance Program is historically closely interrelated to the Basic Dance Program. The Basic Program was established in 1969 with 50 calls, as a result of codifying the Modern Western Square Dance movement following the work done by the Sets in Order American Square Dance Society in 1969. It was expanded in 1971 by publishing the Extended Basic Program with an additional 25 calls, which laid the ground work for what would become Mainstream.

Starting in the late 1970's, the Mainstream Definitions Committee undertook to define each of the calls in the Basic and Mainstream programs. Their work took several years and 13 drafts, and resulted in a set of definitions published by CALLERLAB that has received worldwide use and acceptance.

Two other committees, the Timing Committee and the Styling Committee, developed standards and guidelines for their aspects of Basic and Mainstream dancing. Once the definitions, styling, and timing were complete, the results were combined and published as the "CALLERLAB Basic & Mainstream Definitions". The Basic Dance Program list now includes the first 51 calls, and the Mainstream Dance Program list contains 17 calls that follow the Basic Program.

In 1994 these definitions were made available on the Internet, which further encouraged dissemination, standardization, and discussion. By 1995 it became clear that the current definitions were not of sufficient detail and precision to decide some of the finer points of modern calling. In some cases, the definitions were confusing, poorly worded, or ambiguous. Using the existing definitions as a starting point, and considering numerous comments, suggestions, and complaints, a complete rewrite was undertaken starting in 1999. The revision of definitions continued, and in 2016, in conjunction with the Definitions Committee, the Mainstream Committee began moving this process forward at an increased pace.

In addition, in 2016, the Mainstream Committee voted to divide the Basic and Mainstream lists and number them separately. This was followed by a vote in 2017 to publish the two lists separately. This document contains the definitions for the Mainstream Dance Program calls. Please refer to the Basic Dance Program Definitions for information on those calls.

From the earliest days of codifying square dance calls and lists, the Basic and Mainstream Programs have had a shared evolution and developmental history. Because of this shared history, and interrelationship, both programs are overseen by the Mainstream Committee.
Scope
These definitions describe what is called and danced when this document was first written (i.e., in 2003). They attempt to define what is clear, what is confusing, and what is considered marginal usage. Each call in the Mainstream dance program is described in a way that covers all the common and most of the less frequently used applications. Finally, these definitions do not attempt to document historical usages that today's dancers are not expected to be taught.

What the caller or knowledgeable dancer will gain from this document includes:

1. A precise description of each call
2. Examples of calling commands
3. Styling and timing
4. The ability to distinguish acceptable call applications from improper applications

These definitions are neither a new dancer manual nor a new caller manual, nor are they written to allow an isolated group who has never square danced to acquire this skill easily. The definition of a call may not be the best way to teach a call. By the same token, the words used to best teach a call, or quickly remember a call, are not necessarily a good, precise, or complete definition. Other publications that may better serve those needs can be found in Appendix C.

The timing and styling information is based on documents developed by the former Timing and Styling Committees. The reader who is interested in how the various calls are most often used is referred to the Mainstream Standard Application booklet developed by the Choreographic Applications Committee.

In an attempt to be precise and complete and to settle certain discussions and debates over the finer points of unusual and infrequent call applications, these definitions will occasionally delve into more detail and explanation. Most of this detail has been relegated to the comment section of each call's definition, and to the "Additional Detail" section.
Approach
While these definitions are written and published by an organization of square dance callers, the approach taken has been to straddle the area between dancer and caller. The definitions are neither dancer-centric nor caller-centric. Instead, they attempt to document the common "square dance language" that has developed between caller and dancer, and that can be instantly understood, processed, and executed with apparently little effort.

In addition to covering the calls and their definitions, this document also lists the actual words a caller might say and a dancer might hear for each call. While the words are all in English, the command phrases form a "square dance language" which is separate from the English language. These command phrases are an important part of the communication process.

The calls and words used in Modern Western Square Dance calling underwent a transformation from 1950 to 1970. Initially each dance was pre-choreographed (both movement and rhyming patter), given a title, and possibly paired with a tune. Before the music started, the caller would walk the dancers through the dance, reminding them of the calls and overall pattern. The words used in this walk through were a combination of descriptive English phrases and basic square dance calls.

As more calls were invented and the walk through disappeared, dancers were expected to respond to the calls without knowing what was coming next. As this "hash" calling style evolved, it became more important to have precise communication between caller and dancer.

As with any human language, there are quirks, exceptions, and plenty of idioms and idiosyncrasies. If one were to reinvent the language of square dancing today, one might be able to make some minor and a few major improvements, which would allow for simpler and more consistent definitions.

Standardization
One of the main reasons for standardizing dance programs and call definitions is to allow for caller and dancer mobility. No matter where and from whom one learned to dance or call, one should be able to visit and successfully dance or call with any other group that is dancing the same dance program.

Throughout the world the calls are given in English. Another dimension of standardization is seen across the various dance programs. The calls in one dance program include all the calls and definitions from the prior dance programs. Almost without exception, calls are defined once and for all, and the definitions are not changed by another dance program.

Styling has also been standardized. While great strides were made in the 1970’s and 1980’s certain areas and groups continued to use styling that did not match the approved styling (e.g., “hands up” vs. “hands down” in Ocean Waves). In 1992 our membership acknowledged its inability to have one styling used by all dancers with a motion which said, “CALLERLAB recognizes that regional differences in styling exist.”
Proper vs. Improper
The terms proper, acceptable, and allowable are used interchangeably to describe calls and methods of communication that CALLERLAB members (and others) would like to encourage. These callers try, to the best of their ability, to train new dancers and expose existing dancers to this style of calling.

The terms improper and not proper are used to describe applications of calls that are not in accordance with these definitions and whose use CALLERLAB discourages.

There are no choreography police. There are no laws against improper choreography or bad calling. In all their endeavors, callers must use good judgment to use this common language to aid in entertaining the dancers. The dancers have been taught the language and have spent many hours practicing the dance. The caller should be able to communicate with the dancers without resorting to a discussion of proper vs. improper.

Conventions and Rules
There are several areas of square dancing in which certain conventions have been established. If a convention is followed by enough dancers and callers, it may evolve into a rule.

There is a risk in deriving a convention from lots of dance examples and then writing it as a rule. Others will read the rule and create new choreography based on the rule. The direction in which the rule allows square dancing to evolve may conflict with the convention that spawned the rule. That is, square dancing may evolve in unintended directions that are at odds with long-time callers and dancers.

The following conventions and rules explain how and why square dancing is done in certain ways. The reader should exercise caution and good judgment in creating new choreography using these rules in ways heretofore not in current use.
Passing Rule
If the definition of a call has two dancers on the same path and requires them to walk past each other, they should pass right shoulders (unless otherwise specified) and continue. The mirror image version of a call has dancers pass left shoulders and continue (e.g., Left Double Pass Thru).

Same Position Rule
If two dancers are required to occupy the same position at the end of a call, and are facing in opposite directions from each other, they form a Right-Hand Mini-Wave. If an adjustment is necessary (since they are now two dancers side-by-side in a formation that expected one dancer), the adjustment is sideways, towards the outside of the group in which they were working.
Callers should not use a call that would result in two dancers who are facing the same direction, or at right angles, trying to occupy the same position.

Example:

Facing Couples Rule
A few specific calls that are defined to start from an Ocean Wave are also proper starting from Facing Couples. Examples include Swing Thru and Spin The Top. In these cases, the dancers first step into a momentary Right-Hand Ocean Wave and complete the call.

If the caller directs a left hand call (e.g., Left Swing Thru), the dancers first step into a momentary Left-Hand Ocean Wave.

If the Facing Couples rule is applicable, the call's definition in this document will have a comment to that effect. If there is no such comment, then the Facing Couples rule may not be used.

While the rule is called the Facing Couples Rule, it is generalized to include Facing Dancers stepping to a Right-Hand Mini-Wave and Facing Lines step to a Right-Hand Tidal Wave, etc. The following types of mixed Mini-Wave and Facing Dancer starting formations, while unusual, are also proper:

Timing: Application of the Facing Couple Rule does not change the timing of the call.

Ocean Wave Rule
Some calls that are defined to start from Facing Couples are also proper starting from a Right-Hand Ocean Wave. Examples include Right And Left Thru and Square Thru. In these cases, the dancers have already stepped forward toward the facing dancer and are ready to complete the remaining action of the directed
call.

For the sake of dancer comprehension and teaching purposes, it may be necessary initially to have the dancers back up into facing couples, then step back into the wave and complete the call.

While the rule is called the Ocean Wave Rule, it is generalized to include Mini-Wave (Facing Dancers) and Tidal Wave (Facing Lines), etc. Examples include Pass Thru, Slide Thru, Box The Gnat, and Double Pass Thru (from a Right-Hand 1/4 Tag), and Pass To The Center (from Right-Hand Ocean Waves).

In order for the Ocean Wave Rule to apply, the initial dance action of the call must start with a Box The Gnat, Pass Thru, or Right Pull By. In addition, the call must not be defined to have a different dance action from an Ocean Wave. For example, the call Circulate is defined from Eight Chain Thru and from Ocean Waves. It would be improper to call Circulate from Ocean Waves and expect dancers to dance it as a Step Thru based on the Ocean Wave Rule because they would naturally apply the definition of Circulate from Ocean Waves.

The following mixed Mini-Wave and Facing Dancer starting formation, while unusual, is also proper:

The adjustment that is part of the Ocean Wave Rule does not change the effect of the call. It neither adds nor subtracts parts or changes the use of fractions. It is as if any dancer in a mini-wave had first stepped back into facing dancers and then all did the call. For example, from a Right-Hand Mini-Wave Dosado ends in Facing Dancers, not in a Right-Hand Mini-Wave.

The Ocean Wave Rule also applies to calls that normally start from Facing Couples when the dancers are in a Left Hand Ocean Wave. In these cases, the caller must direct a left hand call (e.g., Left Square Thru). See "Part 4: Additional Detail: Commands: Extensions like Reverse Wheel Around".

When half of the dancers are in a Mini-Wave, and the other half of the dancers are Facing Dancers, and the call is a 2-dancer call (e.g., Box The Gnat, Slide Thru, Pass Thru) the caller should make clear who is to do the call (e.g., Everyone or Those Facing).

Timing: Application of the Ocean Wave Rule does not change the timing of the call.

Squared Set Convention
Calls that are defined as starting from Facing Dancers or Facing Couples are also proper starting from a Squared Set. The caller must identify which pair of couples is active (e.g., Heads, Boys).

The active dancers move forward into the center of the set and execute the call. If they end facing the same walls as the inactive dancers, they will remain in the center (e.g., Heads Square Thru 4, Heads Star Thru, Heads Touch 1/4).

If the call ends with the active dancers not facing the same walls as the inactive dancers, then the active dancers end back on Squared Set spots unless there is clear reason to remain in the center. (e.g., Dancers should return to Squared Set spots for Head Ladies Chain, Heads Right and Left Thru, Heads Pass Thru, or Heads Square Thru 3.)

Because of the ending handhold, on the call Heads Box The Gnat, the Heads remain in the center and take the next call. Usually the exact ending position is obvious from the next call (e.g., Heads Right And Left Thru, Sides Right and Left Thru), or doesn't matter because the next call continues the dance action (e.g., Heads Pass Thru, Separate, Around 1 To A Line).

Some callers who want the active dancers to remain in the center precede the call with a "Heads Move In", "Heads Move Forward", or "Heads Move Into The Center". For example, "Heads Move In and Square Thru 3" would have the Heads remain in the center instead of returning to Squared Set spots.

Timing: Moving into the center adds 2 beats to the timing for the move.

Note that the time needed to move out of the middle will often be blended into the final portion of the call (as in Right and Left Thru, during the Courtesy Turn) or be overlapped with the start of the following call (as in Heads Right and Left Thru, Sides Right and Left Thru).

Circle Rule
From an Infacing Circle Of 8, if the caller names two adjacent dancers and their opposites and gives a call that starts from Facing Couples, the dancers dance the call as if the circle has been changed into a Squared Set, and follow the Squared Set Convention. Examples:

From a Squared Set: Join Hands, Circle Left; Heads Up To The Middle And Back; Heads Square Thru 4.

From a Squared Set: Heads Half Sashay; All Circle Left; 4 Boys Spin The Top.

Ways Of Naming Dancers
There are several ways to identify dancers in a square. See "Additional Detail: Dance Action: What does naming a dancer mean?".

Partner / Corner

Command examples:
Face Your Partner; Dosado
Face Your Corner; Allemande Left
Circle Left; Swing Your Partner
4 Ladies Promenade Inside; Swing Your Partner

Description: From a Squared Set of Normal Couples, each dancer's Partner is the adjacent dancer, and each dancer's Corner is the next dancer "around the nearest corner of the square" from them.

From a Couple, or Mini-Wave, each dancer is the other's Partner.

From an Infacing Circle Of 8 of alternating men and women, the man's Partner is the next dancer counterclockwise around the circle from him and the corner is clockwise around the circle. For the women, the Partner is clockwise around the circle and the Corner is counterclockwise.

Partners and Corners may change throughout the dance, especially during the singing call. Each Allemande Left, Swing, or Promenade establishes a new Current Partner. Your Original Partner remains the dancer with whom you initially joined the square.

Comments: In "4 Ladies Promenade Inside; Swing Your Partner", Partner refers to the dancer who was your partner just prior to the call.

From a Squared Set with Men at The Heads and Woman at the Sides, after "Circle Left" the term Partner, by itself, is undefined. However, "Circle Left, Swing Your Partner" is proper because every woman is adjacent to one man, as required by the call Swing.
For the purposes of resolving the square (i.e., getting dancers back to their original partners and corners) it may be useful for callers to consider the man's corner as the next woman clockwise around the square (after adjusting Ocean Waves back to Facing Couples, having everyone face the center of the set, and blending into an Infacing Circle Of 8). This will make the man's partner (the person the man would promenade after an Allemande Left) be the next woman counterclockwise from him, after adjustments.

Heads / Sides

Command examples:
Heads Right and Left Thru
Head Ladies Chain
Sides Wheel Around
Sides Trade
Original Heads
Those In The Head Position

Description: From a Squared Set, at the start of the tip, the Heads are the two opposing couples who are facing toward or away from the caller. The Sides are the two opposing couples who are standing perpendicular to the caller.

C = Caller H = Heads S = Sides

Dancers retain their Head or Side identity established when they first squared up. That is, "Heads" means "Original Heads". Examples include Heads Run, Heads Trade, Sides Pass Thru, Sides Fold.

In a squared set, when the original Sides are standing in the Heads position, the caller must explicitly designate "Original Heads" or "Those In The Head Position" because simply saying "Heads" could mean either of these. Similarly for "Sides".

In a squared set, when a mixture of Heads and Sides occupies the Heads position, the caller should explicitly designate "Head Man And The Girl With You" or "Those In The Head Position" because simply saying "Heads" could mean either of these. Similarly for "Sides".

When a Head Man is promenading with a Side Woman, the term "Heads" means "Head Boy And The Girl With You" (e.g., Heads Wheel Around). Similarly for "Sides".

The figure portion of singing calls almost always causes each woman to progress to a new man. Once this has happened, she temporarily takes on the Head/Side identity and home position of that man.

Some areas "rotate" or "stir the bucket" (i.e., rotate the square 90 degrees to the right so everyone has a new home position) before the singing call. This can be done by the caller as part of his last patter sequence, or by the dancers before the singing calls starts. Either way, the dancers reestablish new Heads and Sides for the singing call.

Couple #1, #2, #3, #4
Command examples:
Couples 1 and 3 make a Right Hand Star
1 and 3 Lead Out To The Right
Couple 1 Split Couple 3, Round one to a line

Description: From a Squared Set, at the start of the tip, the couple whose back is to the caller is Couple #1. The couple to their right is Couple #2, and so on.

Dancers retain their couple number as established when they first squared up.

The figure portion of singing calls almost always causes each woman to progress to a new man. Once this has happened, she temporarily takes on the couple number and home position of that man.

C = Caller

Comments: The phrases "Couples 1 And 3" and "1 And 3" mean the same thing as "Heads".

Modern choreography has moved away from using couple numbers to identify dancers. See Heads / Sides (above).

Boys / Girls
Command examples:
Boys Run
Girls Trade
Men Circulate; Ladies Trade
Cloverleaf; Ladies Lead Dixie Style to a Wave
All 4 Ladies Chain

Description: The Boys are those dancers who initially squared up as the left-side dancers of each couple. The Girls are those dancers who initially squared up as the right-side dancers of each couple. The terms Men, Gents, Gentlemen, and Guys are synonymous with Boys. The terms Women, Ladies, and Gals are synonymous with Girls.

Comments: No matter the actual genders of the dancers, those who initially squared up on the left-side of each couple will play the role of Boys; right-side dancers will play the role of Girls.

Some callers emphasize that in square dancing the commands are all given to the Boys. They say that the Girls have to pay attention and do the opposite action. In modern teaching, choreography, and patter that statement is misleading and generally not true. Most of the calls are defined without reference to gender. Most of the commands are given to all the active dancers. Callers should teach and call in a way that doesn't perpetuate this myth.

Centers / Ends
Command examples:
Each Side, Centers Trade
On Your Own Side, Centers Trade
Centers Of Each Side, Pass Thru
Center 4, Walk And Dodge
Ends Fold

Description: Dancers near the center of the square (or formation) are called centers. Dancers on the outside of the square (or formation) are called Ends. The identification of Centers or Ends is independent of facing direction. Centers ("C") and Ends ("E") of some common formations:

1x4 Formation: "Centers" or "Ends"

With 8 dancers, there are several possibilities, depending on the formation:

2x4 Formation: "Centers" or "Ends". | General Thar "Centers" or "Ends"

The caller should use "Each Side, Centers" or "Center 4" in order to avoid the ambiguity present with the term "Centers" from a 1x8 Formation.

The following are encountered less frequently, or are referred to in the definitions:

1x8 Formation: "Each Side, Centers" or "Each Side, Ends" | 1x8 Formation: "Center 4"
General Tag: "Center 4" or "Centers" | General Tag: "Outside 4"
1x8 Formation: "Outside 4" | General Tag: "Outside 6"
1x8 Formation: "Very Centers" | 1x8 Formation: "Very Ends"

Leaders / Trailers

An understanding of Leaders and Trailers is important, as they are used to define calls (e.g., Cloverleaf) and teach calls (e.g., Zoom). Also, these terms are used by some callers during a dance (e.g., Leaders Trade).
Command examples:
Double Pass Thru; Leaders trade
Lines Forward And Back ; Pass Thru; Tag The Line; Leaders U-Turn Back

Description: In any box-type formation (e.g., box circulate, tandem couples), those facing out of the box are Leaders and those facing into the box are Trailers.

In other 2-dancer formations (e.g., a tandem, facing dancers, back-to-back dancers), those facing directly away from the center of the 2-dancer formation are Leaders, and those facing toward the center of the formation are Trailers. those facing directly toward the center of the formation are Trailers. Anyone else is neither a Leader nor a Trailer.

In the diagram below, the dancers marked "L" are Leaders and the dancers marked "T" are Trailers.

Comments: At Mainstream, the use of Leaders and Trailers is usually restricted to tandem couples or tandem dancers.

Often there is more than one option for designating active dancers. Even though "Leaders/Trailers" may be correct, the more commonly used "Boys/Girls", "Centers/Ends", "First/Next" might be a better choice for dancer success.
Mainstream Program

Each call definition contains eight parts.

1. Name of the call. This is how the call is listed on the dance program. Usually this is also how the call is called.

2. Starting formation. Except when impractical, all of the common starting formations are listed. In rare cases, the word "only" appears indicating that only the listed starting formations and no others are to be used. All the formations used in these definitions are defined in the "Formations" appendix. Further commentary on starting formations can be found in "Part 4: Additional Detail: Starting Formations ".

3. Command examples. Many of the common phrases used to "call" this call are listed. The simplest or most common is listed first. Some of the command examples include patter and/or helping words. See "Part 4: Additional Detail: Commands: Extra words".

4. Dance action. A description of how to do the call either in English words, other calls, or a combination of both. Complex calls are described sequentially, part by part. The descriptions are written to work from all of the starting formations listed. They try to capture in words the essence of the call. See "Appendix B: Descriptive Terminology" and "Additional Detail: Dance Action: Definitional Precision".

5. Ending formation. The ending formations are given so that the reader can double check his understanding of the call. All the formations used in these definitions are defined in the "Formations" appendix.

6. Timing. While executing each call, the dancers should take one step for each beat of music. The number of steps (or beats) as determined by the Timing committee is given for each of the calls. See "Additional Detail: Timing".

7. Styling. The recommended styling, including arm position, handholds, and skirt work, is given. See "Part 4: Additional Detail: Styling" for more detail and definitions of the terms used.

8. Comments. Important information, clarification, exceptions, and usages are contained in this section.

1. Cloverleaf
The general action of a Cloverleaf has the active dancers walking in a 3/4 circle, staying in their own quadrant of the set. A cloverleaf ramp at a highway intersection or the edge of one leaf of a four-leaf clover gives a good visual picture of the dance path.

1.a. Cloverleaf (Everyone Active)
Starting formation: Completed Double Pass Thru

Command examples:
Cloverleaf
Everyone Cloverleaf

Dance action: The lead dancers separate and move away from each other in a three quarter (270 degrees) circle.

When each lead dancer approaches another lead dancer from the other side of the square, they both reach with outside hands, blending into a couple handhold as they continue into the center of the square to become a couple facing in.

Each trailing dancer follows the dancer in front, and ends directly behind that same dancer.

Ending formation: Double Pass Thru

Timing: 8

Styling: Arms are held in natural dance position, skirt work optional. It is important to move slightly forward before turning away. Trailing dancers should follow footsteps of the lead dancers and not cut the corners. As dancers meet each other, they use couples handholds.

As a pleasing variation, some dancers use a sweeping gesture during the call, letting go of the starting handhold and offering the same hand for the final handhold, without dropping the arm in between.

1.b. Cloverleaf (Two Couples Only Active)
Starting formation: Anywhere two couples are facing out of the set (e.g., Trade By)

Command examples:
Boys are a couple looking out of the set: Boys Cloverleaf
Squared set: Heads Turn Thru and Cloverleaf
Squared set: Heads Square Thru; Pass Thru; Cloverleaf while the centers Square Thru
Squared set: Sides Pass Thru and Cloverleaf; Heads Square Thru 2 and Cloverleaf; New centers Right and Left Thru;
Double Pass Thru; Ends Cloverleaf; others Partner Trade; You're Home

Dance action: The designated dancers must be facing out of the set. If they are in the center of the set, they first step forward. Next they separate and move away from each other in a three quarter (270 degrees) circle. When they meet another dancer from the other side of the square, they become a couple facing in. If no one else is in front of them, they can finish in the center, just as the leads normally would for Everyone Cloverleaf.

When the inactive dancers are a couple facing in, they will move into the center.

Ending formation: Various. The active dancers will be Couples facing in.

Timing: Active dancers: 6 (or, if they move into the middle, 8); Inactive dancers: 0 (if they start as centers) or 2 (if they start as ends).

Styling: Arms are held in natural dance position, skirt work optional. As dancers meet each other, they use a couple handhold.

Comment: The next call is often directed to the inactive dancers and can commence while the active dancers are still dancing their Cloverleaf.

2. Turn Thru
Starting formation: Facing Dancers

Command examples:
Turn Thru
Swing Thru; Turn Thru
Girls Turn Thru
Squared set: Heads Turn Thru; Separate, Around 1 To A Line
Heads Square Thru 4; Spin The Top; Turn Thru; Courtesy Turn

Dance action: In one smooth motion, dancers Step To A Wave (but use forearm styling), Right Arm Turn 1/2, and Step Thru.

Ending formation: Back-To-Back Dancers

Timing: 4

Styling: Similar to Allemande Left. Use normal forearm position. Men's free hand in natural dance position. Woman's skirt work desirable for free hand.

Comments: The Ocean Wave Rule applies to this call. Turn Thru is always a 180 degree turn. From an Alamo Ring, if the desired action is to get everyone to their corners, the proper call would be an Arm Turn, not a Turn Thru.

3. Eight Chain Thru / Eight Chain 1, 2, 3, etc.

Starting formation: Eight Chain Thru

Command example:
Eight Chain Thru
Eight Chain 3
Eight Chain 4
Eight Chain 1, Allemande Left

Dance action: Complete as many of these actions as appropriate:

• All Right Pull By (Eight Chain 1 has been completed)
• Centers Left Pull By while the ends Courtesy Turn (Eight Chain 2 has been completed)
• All Right Pull By (Eight Chain 3 has been completed)
• Centers Left Pull By while the ends Courtesy Turn (Eight Chain 4 has been completed)
• All Right Pull By (Eight Chain 5 has been completed)
• Centers Left Pull By while the ends Courtesy Turn (Eight Chain 6 has been completed)
• All Right Pull By (Eight Chain 7 has been completed)
• Centers Left Pull By while the ends Courtesy Turn (Eight Chain Thru has been completed)

Ending formation: Eight Chain Thru ends in Eight Chain Thru
Eight Chain 1, 3, 5, etc. ends in Trade By
Eight Chain 2, 4, 6, etc. ends in Eight Chain Thru

Timing: Eight Chain Thru: 20

Eight Chain 1, 2, 3, etc.: each odd-numbered part: 2; each even-numbered part: 3 (e.g., Eight Chain 3: 2+3+2 = 7)

Styling:

Same as Right And Left Thru. Dancers doing the Left Pull By in the center move slowly so their action takes the same time as the Courtesy Turn on the outside.

Each part of this call ends in an Eight Chain Thru or Trade By formation. Dancers should not drift into a circular formation as in Wrong Way Grand.

Comments: The Ocean Wave Rule applies to this call.

At Basic and Mainstream, Courtesy Turn is restricted to a man turning a woman. Therefore, at Mainstream, Eight Chain Thru is improper after Heads Square Thru 4, Sides Half Sashay. However, Eight Chain 3 would be proper.

4. Pass to the Center
Starting formation: Eight Chain Thru

Command example: Pass To The Center

Dance action:

Pass Thru. Those looking out of the square Partner Trade.

Ending formation:

Double Pass Thru

Timing:

Dancers who finish in the center: 2. Dancers who finish on the ends: 6.

Styling:

Same styling as Pass Thru and Partner Trade.

Comments:

The Ocean Wave Rule applies to this call.

On the Pass Thru, some dancers should be coming into the center and other dancers should be heading towards the outside. This call is not proper from Facing Lines.

This call is not proper from Left-Hand Ocean Waves. See Basic Definitons call #10. Pass Thru.

5. Thar Family
In the Thar Family, Thars and Wrong Way Thars are formations in motion. Center dancers hold a Pack-saddle Star (see "Additional Detail: Styling: Arms and hands") and walk backward, and each center dancer maintains a forearm grip with the adjacent outside dancer, who walks forward.

The calls in the Thar Family are some of the oldest. They are traditionally delivered in a more verbose fashion, blurring the division between the actual command words and the helping words. As always, it is the caller’s responsibility to deliver these calls so the dancers understand what is desired.

Timing numbers in the Thar Family do not count turning the Thar.

5.a. Allemande Thar
"Allemande Thar" is a formation. It also appears on the Basic list of calls, not as a call by itself, but rather as a collection of commands that result in a Thar. The commands function as suffixes, making a Left Arm Turn end in a Thar. Descriptive words are often part of these commands.

Starting formation: Blended from a Left Arm Turn

Command examples:
Walk Around The Corner; Turn Partner Left And Make An Allemande Thar
Walk Around Your Corner; Turn Partner Left For An Allemande Thar, Men In The Middle Of A Backup Star
Walk Around The Corner; Turn Partner Left A Full Turn, Girls In The Middle Of An Allemande Thar
Do Paso, Turn Partner Left, Corner Right, Partner Left, Boys Swing In To A Thar
Boys Make A Right Hand Star, Turn It Once Around, Find Your Corner, Turn Corner Left To An Allemande Thar Star With The Girls In The Center
Right And Left Grand, But On Your Fourth Hand Make An Allemande Thar, Men Back In

Dance action: Dancers continue to Left Arm Turn 1/2. The centers form a right-hand star and back up. Outside dancers hold the left forearm of a center dancer and walk forward.

Ending formation: Thar in motion

Timing: 2 (for the Left Arm Turn 1/2)

Styling: The dancers in the center, backing up, will form a Pack-saddle Star. These center dancers must remember to allow those on the outside, who travel farther, to set the pace.
Women, if on the outside, may use skirt work.

Comments: Callers often specify who ends in the center. This is particularly helpful in non-standard applications.

In most cases, dancers Left Arm Turn 1/2. That is, if the dancers take forearm holds when shoulder-to-shoulder, the dancer who begins on the outside will end in the center. Callers may specify a different amount of turning. For example: Circle Left, Turn Your Corner Left All The Way Around To An Allemande Thar, Men In The Center.

Allemande Thar is part of circle choreography. It is improper from Left Hand Waves to call Turn Partner Left to An Allemande Thar.

"Allemande Left to an Allemande Thar" has a specific meaning described below (#32.b). It does not mean to Left Arm Turn with corner and continue to a Thar. For that action "Allemande Left, Hang On To Corner, Women Wheel In To An Allemande Thar" could be used.

5.b. Allemande Left to an Allemande Thar
Starting formation: Same as Allemande Left (#6)

Command examples:
Allemande Left To An Allemande Thar, Go Right And Left And Form A Star
Allemande Left To An Allemande Thar, Go Forward Two, Men Swing In To A Backup Star
Allemande Left To An Allemande Thar, Go Right And Left And Make An Allemande Thar

Dance action: Allemande Left; Right Pull By; Left Arm Turn to make a Thar with the men in the center. 14

Ending formation: Thar in motion

Timing: 12

Styling: Same as 5.a. Allemande Thar

Comments: To avoid dancer confusion with 5.a. Allemande Thar the caller must always include some instructions about "going forward". Simply calling "Allemande Left To An Allemande Thar" is improper. Furthermore, although going forward two is most common, it must be specified.

The caller can direct the dancers to Go Forward any number of hands. Each hand is a Pull By, except the last hand, which is normally the start of an Arm Turn into a Thar or Wrong Way Thar.

5.c. Wrong Way Thar
"Wrong Way Thar" is a formation. It also appears on the Basic list of calls, not as a call by itself, but rather as a collection of commands that result in a Wrong Way Thar. The commands function as suffixes, making a Right Arm Turn end in a Wrong Way Thar. Descriptive words are often part of these commands.

Starting formation: Blended from a Right Arm Turn

Command examples:
Allemande Left; Turn Partner Right, Girls Swing In Make A Wrong Way Thar
Allemande Left; Turn Partner Right A Full Turn, Boys Swing In Make A Wrong Way Thar
Turn Partner Left; Turn Corner Right To A Wrong Way Thar (men will be in the middle)
Do Paso; (at the end of the Do Paso) Go To The Corner Turn Her By The Right, Make A Wrong Way Thar
Allemande Left In The Alamo Style; Swing Thru; Turn By The Right 3/4 To A Wrong Way Thar

Dance action: Dancers continue to Right Arm Turn 1/2. The centers form a left-hand star and back up. Outside dancers hold the right forearm of a center dancer and walk forward.

Ending formation: Wrong Way Thar in motion

Timing: 2 (for the Right Arm Turn 1/2)

Styling: Same as 5.a. Allemande Thar

Comment: See 5.a. Allemande Thar

6. Slip the Clutch
Starting formations: Thar in motion, Wrong Way Thar in motion

Command examples:
Slip The Clutch, Allemande Left
Slip The Clutch, Skip One, Left Allemande
Slip The Clutch, Skip One, Skip Another, Skip Another, Turn Partner Left, Four Ladies Chain
(From a Wrong Way Thar) Slip The Clutch, Pass Two, Right And Left Grand

Dance action: Any backward motion is stopped as outside dancers release armholds with the adjacent centers. All dancers move forward around the center of the set to the next dancer.
On the command to Skip (or Pass) one or more dancers, everyone walks forward within their circle, passing the indicated number of dancers.

Ending formation: Thar, Wrong Way Thar

Timing: 2

Styling: Despite the change of moving direction, center dancers can make the switch flowing and comfortable if the armhold is released effortlessly and that same hand is held ready for the next call. The handhold after a Slip The Clutch depends on the next call.

Center dancers generally maintain their star.

Comment: The Facing Couples Rule does not apply to this call.

7. Shoot the Star / Shoot the Star Full Around
Starting formations: Thar in motion, Wrong Way Thar in motion

Command examples: (The first five command examples start from a Thar with men as the centers)
Shoot The Star; Right And Left Grand
Shoot The Star To Another Thar, Go Forward 2, Men Swing In To A Backup Star
Shoot The Star Go All The Way Around, Give Corner Right, Men Swing In To A Wrong Way Thar
Shoot The Star A Full Turn, Go Backwards 3, Right, Left, Right, Boys Wheel In To A Wrong Way Thar
Shoot The Star A Full Turn, This Way Go Forward 3, Right, Left, Right; Allemande Left
(From a Wrong Way Thar) Shoot The Star, Go Forward 2, With A Left And Right, To Another Wrong Way Thar

Dance action: Centers dancers drop the inside handholds forming the star as each center dancer and the adjacent outside dancer Arm Turn 1/2 and Step Thru. If Full Around is directed, the Arm Turn is a full turn (360 degrees).

Ending formation: Right and Left Grand Circle

Timing: 4; full around: 6

Styling: A forearm hold is used for the Arm Turn. Other hands are in natural dance position and available for the next call. Women can continue to use skirt work during the Arm Turn.

Comments: The Facing Couples Rule Error! Reference source not found.does not apply to this call.

After Shoot the Star, the caller sometimes indicates that dancers are to Pull By one or more times and Arm Turn into another Thar. For instance, in the second command example above, following the Step Thru the dancers Right Pull By and, stepping up to a left forearm hold, Left Arm Turn 1/2.

The caller can direct the dancers to Go Forward any number of hands. Each hand is a Pull By, except the last hand, which is normally the start of an Arm Turn into a Thar or Wrong Way Thar.

Some callers use "Forward" to mean "in normal Right and Left Grand direction" and use "Backward" (or "Back" or "Backwards") to mean the opposite direction. Other callers use "Forward" to mean "the direction you are facing" and never use the words "Back" or "Backward". Either is acceptable, but callers must be careful not to confuse dancers. See the fourth and fifth command examples above.

Some callers adapt Shoot the Star as a way to Cast Off 3/4 and get an Alamo Ring, e.g., "Shoot The Star 3/4 To An Alamo Ring" or simply "Shoot The Star To An Alamo Ring". Shoot the Star can also blend into the next call, e.g., "Shoot The Star, 4 Ladies Chain."

8. Single Hinge / Couples Hinge

Hinge is a half Trade of adjacent dancers. Below are the two Mainstream versions of Hinge.

8.a. Single Hinge
Starting formations: Mini-Wave only

Command examples:
Single Hinge
Hinge
Couples Circulate; Centers Hinge
Heads Pass The Ocean; Extend; Split Circulate; Girls Cast Off 3/4; Boys Hinge

Dance action: 1/2 Trade

Ending formation: Mini-Wave

Timing: 2

Styling: Dancers maintain their handhold

Comments: "Hinge 1/4" is improper, because Hinge is not used with fractions, as opposed to Touch 1/4.

Partner Hinge (starting formation: Couple only) was removed from the Mainstream program in 1988. The command "Hinge" can be used for either Single Hinge or Partner Hinge, but the latter is improper at Mainstream.

8.b. Couples Hinge

Starting formations: One-Faced Line and Two-Faced Line only

Command example: Couples Hinge

Dance action: 1/2 Couples Trade

Ending formation: Two-Faced Line Timing: 3

Styling: Each couple maintains their handholds

Comment: From a Grand One-Faced Line, Couples Hinge ends in Right-Hand Two-Faced Lines (i.e., lined up with each other and not offset).

9. Centers In
Starting formations:

Completed Double Pass Thru, Eight Chain Thru. More generally, a Couple with their backs to the center of the set, each center dancer directly looking at an outside dancer.

Command examples:

Centers In
Put Centers In

Dance action:

Without changing facing direction, the outside dancers step away from each other to make room for the center dancers, who step forward to end between them.
Ending formations: Various. From Completed Double Pass Thru, Lines Facing Out. From Eight Chain Thru, Inverted Lines with Ends Facing.

Timing:

2

Styling:

As center dancers step between the outside dancers they take hands with them, as appropriate (couple handhold if facing the same direction or Ocean Wave styling if facing opposite directions).

Comment:

While Centers In appears to create extra space in the center, either the next call or square breathing (see "Additional Detail: Dance Action: Square Breathing") will reduce or eliminate that space.

10. Cast Off 3/4
Starting formations:

Mini-Wave, General Line

Command examples:

Cast Off 3/4
Pass The Ocean; Cast Off 3/4
Couples Circulate; Tag The Line; Put Centers In; Cast Off 3/4 -- Boys Push
Center 4, Wheel And Deal; Outsides Cast Off 3/4 (from a Tidal Line)
Veer Left; Centers Trade; Cast Off 3/4

Dance action:

From a Mini-Wave, Turn 3/4.

From a General Line, each half of the line works together: those in a Mini-Wave Turn 3/4 while those in a Couple turn, as a unit, away from the center of the line for 3/4 of a circle (270 degrees).

Ending formations:

From a Mini-Wave, a Mini-Wave. From a One-Faced Line or a Two-Faced Line, Facing Couples. From a General Line, a General Box (centered on the same point).

Timing:

6

Styling:

Dancers who are partners maintain current handholds throughout the call.

From Completed Double Pass Thru, the combination Centers In, Cast Off 3/4 has often been danced with linked elbows. This styling is discouraged because Centers In is not always followed by Cast Off 3/4.

Comments:

A couple on the outside of the set (e.g., after Couples Circulate 1 1/2) can be asked to Cast Off 3/4. In this case, they assume the other half of their line is towards the center of the set and do the call.

It is improper to Sweep a Quarter after Cast Off 3/4.

In the dance action from a Couple, there has been controversy about the location of the "pivot point", the center of the turning. Traditionally the end dancer was the pivot, around which the center dancer walked 3/4 of a circle, much like "pushing" open a garden gate. This was problematic in certain cases (e.g., from a Two-Faced Line), because it didn't explain why the call ended with couples facing directly. The current definition deemphasizes the pivot point; as long as dancers turn in the correct direction and end in the correct formation, they are dancing the call properly.

From a Tidal Line or Tidal Two-Faced Line, the proper dance action of Cast Off 3/4 is to work on each side, ending in an Eight Chain Thru formation. From a Tidal Line only, if the caller wants each side to work as a unit, ending in Facing Lines, "Line of 8, Cast Off 3/4" may be used, similar to "Line of 8, Bend The Line" (#20.b); this variation (or the one from a line of 6) is seldom used.

For variations of Cast Off with fractions other than 3/4, see "Additional Detail: Commands: Extensions like Reverse Wheel Around".

11. Spin the Top
Starting formation:

Ocean Wave

Command examples:

Spin The Top
Spin The Top; Spin It Again (i.e., go twice)
Spin Your Top
Spin Your Top, Do A Right and Left Thru

Dance action:

End and adjacent center Turn 1/2. Centers Turn 3/4 while the ends move forward in a quarter circle around the formation to become ends of the final Ocean Wave.

Ending formation:

Ocean Wave perpendicular to starting formation

Timing:

8

Styling:

Use same styling as in Swing Thru.

Comments:

The Facing Couples Rule applies to this call.

The combination "Spin The Top, Right and Left Thru" must be delivered so that dancers adjust their hands as necessary for the Right and Left Thru instead of first finishing the Spin The Top in a hands-up Ocean Wave.

When Spin The Top is used from an Ocean Wave of 3 dancers, the caller must specify who starts (e.g., Right Spin The Top, Starting With The Right Spin The Top, Boys Start Spin The Top). The designated dancers Turn 1/2. The non-designated dancer and the new center dancer Turn 3/4 while the other dancer moves up around the outside of the formation to end in a new Ocean Wave of 3 dancers. This usage is uncommon.

From a Left-Hand Ocean Wave, the phrase "Left Spin The Top" is acceptable. "Left" is a helping word (see "Additional Detail: Commands: Extra words").
From a Right-Hand Ocean Wave, the phrases "Left Spin The Top" and "Centers Start, Spin The Top" are improper.

12. Walk And Dodge

Starting formation:

Box Circulate, Facing Couples

Command example:

Walk And Dodge
Right and Left Thru, Girls Walk, Boys Dodge (from a normal couple)

Dance action:

Some dancers move forward ("walk") to take the position of the dancer in front of them, and other dancers, without changing facing direction, move sideways ("dodge") into the adjacent spot.

From a Box Circulate, trailers "walk" and leaders "dodge".

From Facing Couples, callers must designate which dancers "walk" and which dancers "dodge".

Ending formation:

Back-To-Back Couples, Box Circulate

Timing:

4

Styling: Arms in natural dance position, with dancers forming a couple or mini-wave handhold at the end of the call.

Comment:

Walk and Dodge is a four-dancer call. From Columns, dancers work in two groups of four, one on each side, ending in a Trade By formation.

As a gimmick, callers may designate some dancers to back up rather than "walking". For example, Heads Square Thru, Touch 1/4, Walk and Dodge, Girls Back Up and Boys Dodge. From Lines Facing Out, the command Centers Walk, Ends Dodge is also a gimmick, as are other applications where dancers leave their group of four. See “Additional Detail: Commands: Gimmicks”.

There are extended applications in which six or eight dancers work together. For example, after Sides Pass the Ocean, Sides Swing thru, All Boys Run, it is possible to either have the Center 6 Walk and Dodge or the Outside 6 Walk and Dodge. In both cases, four dancers "walk" and two dancers "dodge". It is also possible to have six dancers "walk" and two dancers "dodge". For example, Heads Touch 1/4, Side Girls Dodge and Others Walk.

From Facing Couples or Back-to-Back Couples, the command "Walk and Dodge" by itself is improper unless dancers are expected to do their part (see Additional Detail: Commands: Do Your Part).

13. Slide Thru
Starting formation:

Facing Dancers

Command example:

Slide Thru

Dance action:

In a single smooth motion, Pass Thru and Men Face Right, Women Face Left.

Ending formation:

If two men, Right-Hand Mini-Wave; if two women, Left-Hand Mini-Wave; otherwise, a Couple.

Timing:

4

Styling:

Arms in natural dance position with skirt work optional for the women. Hands should be rejoined in the appropriate position (Couple or Hands Up handhold) for the next call. The turn can be blended with the Pass Thru to finish with a sliding or dodging motion.

Comment:

The Ocean Wave Rule applies to this call.

14. Fold / Cross Fold
Starting formations: Couple, Mini-Wave

Command examples:
Boys Fold
Ends Fold (from a General Line)
Ladies Fold
Leaders Fold (from Ocean Waves)

Dance action: The designated dancer steps forward and walks in a semi-circle toward the adjacent dancer to end facing that position. The non-designated dancer is inactive and does not move.

Ending formations: Facing Dancers, Tandem

Timing: 2

Styling: None

Comments: Fold can create formations that are very unusual at Mainstream. In such situations, callers generally use implicit adjustments to normalize the formation. For example, Heads Square Thru 4, Touch 1/4, Girls Fold, Double Pass Thru:

1. The Girls Fold creates a formation with Tandems that are not directly facing.
2. Double Pass Thru implicitly tells dancers that they should be in the starting formation for that call (facing Tandems).
3. The Double Pass Thru is danced as if the tandems were facing, ending normally. This type of implicit adjustment is generally accepted at Mainstream, particularly following Fold or Cross Fold, but may be controversial at other dance programs.

From a 1x8, callers must be careful when identifying Centers and Ends, such as by saying "Each Side, Centers Fold" or "In Each Wave Of 4, Ends Fold" or "Girls Fold". See "General: Ways Of Naming Dancers: Centers / Ends".

The facing direction of the non-designated dancer does not affect this call. For example, from properly arranged Facing Lines: Centers Star Thru, Ends Pass Thru and Fold, You're Home.

Everyone Fold (or Everybody Fold To Face) is a gimmick (see Additional Detail: Commands: Gimmicks), since those who Fold are not working with inactive dancers. Callers who use this expect it to end in facing dancers (even though the Dance Action requires dancers to be facing the position to which they were originally adjacent, and therefore not be facing). This gimmick may not be used from a Couple.

case 2: Cross Fold

Starting formation: General Line

Command examples:
Girls Cross Fold
Ends Cross Fold
Each Side, Ends Cross Fold (from a Tidal Wave)

Dance action: Designated dancers step forward and walk in a semicircle, passing both the center of the line and one dancer position, to end facing the position of the next dancer. Non-designated dancers are inactive and do not move.

Ending formations: See Comments.

Timing: 4

Styling: None

Comments: For Ends Cross Fold when the ends are facing the same way, they pass right shoulders with each other. For Centers Cross Fold when the centers are facing the same way, they Half Sashay, blending into a Fold to face the original far end position.

The ending formation of Cross Fold depends on which dancers Cross Fold and their original facing directions. For example:

The ending formation can be unusual and callers generally normalize the formation with the next call or two, such as in the following example

Callers may also normalize the formation by using implicit adjustments (see the first comment of Fold) or by using calls like Right and Left Grand, Swing and Promenade, or Allemande Left.

From a 1x8, the caller must make it clear to the dancers that they must work either in their line of four on each side (e.g., Each Side, Ends Cross Fold) or in the center line of four (e.g., Center Four, Centers Cross Fold).

As with Fold, the facing directions of the non-designated dancers do not affect this call.

Similar to Everyone Fold (see its comment above), Everyone Cross Fold is a gimmick, but one that is even less frequently used.

15. Dixie Style to an Ocean Wave
Starting formations: Facing Couples, Facing Tandems

Command examples:
Dixie Style to a Wave
Dixie Style to an Ocean Wave
Put the Ladies in the Lead, Dixie Style to a Wave (from normal Facing Couples)
Ladies Lead, Dixie Style to an Ocean Wave (from normal Facing Couples)
On a Double Track, Dixie Style (from a Double Pass Thru)
Boys Lead, Dixie Style to a Wave (from sashayed Facing Couples)

Dance action: From Facing Couples: do half of a Half Sashay (i.e., dancers slide inward until they form a Tandem, with the original right-hand dancer in front) and Centers Right Pull By; all Left Touch 1/4. From Facing Tandems: Centers Right Pull By; all Left Touch 1/4.

Ending formation: Left-Hand Ocean Wave

Timing: 6

Styling: From Facing Couples, the left-hand dancers take a full step back and to the right. This prepares for the Left Touch 1/4 while giving the right-hand dancers room to Right Pull By. From Facing Tandems, the trailers step slightly to the right to prepare for the Left Touch 1/4.

Comments: The Ocean Wave Rule applies to this call (from a Single 1/4 Tag).

From a Double Pass Thru, it is confusing to simply call Dixie Style to an Ocean Wave because of the following ambiguity: The center 4 could do the call starting from Facing Couples, or each Tandem could do the call with the Tandem they are facing. The caller should clarify by using extra words like:

• Center 4, Dixie Style to a Wave, or

• On a Double Track (or "Single File" or "Each Column of 4"), Dixie Style to a Wave.

"Double Track" is used to describe two side-by-side Facing Tandems; some callers avoid this terminology when the Facing Tandems are end-to-end (i.e., a 1x8 formation with Facing Tandems on each side). Also see "Part 4: Additional Detail: Starting Formations".

From a normal Squared Set, "All 4 Ladies Lead, Dixie Style to a Wave" is an extended application (and is likely to come after Four Ladies Chain). The Right Pull By is replaced by Right-Hand Star 1/2, similar to Four Ladies Chain. After the Left Touch 1/4, dancers end in a Thar with men in the center. Callers should expect to workshop this application.

16. Spin Chain Thru
Starting formation: Parallel waves.

Command examples:
Spin Chain Thru

Dancer action: Each end and adjacent center dancer turn 1/2. New centers Turn 3/4 to form a center Ocean Wave. Very Centers Turn 1/2. In the center Ocean Wave, each end and adjacent center Turn 3/4.

Ending formation: Parallel Waves

Timing: resulting Ends, 3; resulting Centers, 16

Styling: Use same styling as in Swing Thru. The resulting ends stand still as the centers finish the call.

Comments: The Facing Couples Rule applies to this call.

While the new centers are finishing the call, the resulting ends may be given another call (e.g., Spin Chain Thru, Ends Circulate Twice).

Spin Chain Thru can be danced as "All Turn 1/2. Those who meet Turn 3/4. Those who meet Turn 1/2. Those who meet Turn 3/4". With this in mind, some callers use Spin Chain Thru from an Alamo Ring as a gimmick (see "Additional Detail: Commands: Gimmicks"). When using this gimmick, callers must indicate which pairs of dancers begin the call, e.g., "Start with the Right and Spin Chain Thru."

17. Tag the Line Family

17.a. Tag the Line (In/Out/Left/Right)
Starting formation: General Line

Command examples:

Tag the Line
Tag the Line All The Way
Tag the Line, Face Right
Tag the Line, Left
Tag the Line, Face In

Dance action:

Each dancer turns 90 degrees, in place, to face the center of the line (i.e., turning toward the far end of the line) and then walks forward, passing right shoulders with all dancers in the other half of the line, until the last dancers in each half have passed each other. If a facing direction is given, each dancer then turns 90 degrees, in place, toward the specified direction.

Ending formations:

Tag the Line ends in back-to-back Tandems.
If a direction is given, the ending formation depends on that direction (e.g., "Tag the Line, Face Right" ends in a Right-Hand Two-Faced Line).

Timing: 6

Styling: Arms in natural dance position, hands ready to assume appropriate position for the next call. If the centers start holding right hands, a flowing type of movement can be achieved by taking a slight step forward while turning toward the center of the line.

Comments: Tag the Line is a 4-dancer call. From a General Line of 8, the phrase "Each Side" (or "Each Four") is helpful but not required.

After Tag the Line, the direction In (or Out) means to turn toward (or away from) the center of the set. From General Lines, Tag the Line, Face In (or Out) ends in Facing Lines (or Lines Back-to-Back).

The direction given does not have to be the same for all dancers, e.g., Tag the Line, Boys Face Left, Girls Face Right.

An extended application of Tag the Line begins from a General Line containing six or eight dancers. The caller must explicitly identify the line, e.g., "Line of Eight, Tag the Line". The application from a line of two dancers is improper at Mainstream; it has a separate name and is in another program.

17.b (1/4; 1/2; 3/4) Tag
Starting formation: General Line

Command examples:
Half Tag
3/4 Tag the Line
Tag the Line 3/4
1/4 Tag

Dance action: Each dancer turns 90 degrees, in place, to face the center of the line (i.e., turning toward the far end of the line) and starts walking forward, as necessary passing right shoulders with dancers from the other half of the line. For 1/4, 1/2, and 3/4, dancers stop at a Right-Hand Single 1/4 Tag, Right-Hand Box Circulate, and Right-Hand Single 3/4 Tag formation, respectively.

Ending formations:
1/4 Tag: Right-Hand Single 1/4 Tag
1/2 Tag: Right-Hand Box Circulate
3/4 Tag: Right-Hand Single 3/4 Tag

Timing: 1/4 Tag: 3, 1/2 Tag: 4, 3/4 Tag: 5

Styling: If the centers start holding right hands, a flowing type of movement can be achieved by taking a slight step forward while turning toward the center of the line.

Comments: These are 4-dancer calls. From a General Line of 8, the phrase "Each Side" (or "Each Four") is helpful but not required.

From General Lines, 3/4 (or 1/4) Tag ends in a Right-Hand 3/4 (or 1/4) Tag formation because outside dancers move together to become a couple. See "Additional Detail: Dance Action: Square Breathing".

The fraction is often given first because dancers may begin moving before the caller has said the entire call. "Tag the Line One-Quarter" is strongly discouraged because the call takes only three beats.

Callers often abbreviate the fraction, using "Half" (or "Quarter") for "One-Half" (or "One-Quarter"). For emphasis, the full fraction can be used or "the Line" can be added, such as "One-Quarter Tag the Line".

18. Scoot Back
Starting formations: Box Circulate, 1/4 Tag, Single 1/4 Tag

Command example:
Scoot Back

Dance actions:

From a Box Circulate: Trailers Extend, Arm Turn 1/2, Extend while leaders Box Circulate

From a 1/4 Tag or Single 1/4 Tag: Extend, Arm Turn 1/2, Extend

Ending formations: Box Circulate, 3/4 Tag, Single 3/4 Tag

Timing: 6

Styling: Those who Arm Turn 1/2 use a forearm handhold.

Dancers must keep the same hand available, because it is used in the starting formation, the Arm Turn, and the ending formation (for trailers in a Box Circulate and centers of a Single 1/4 Tag).

Comments: From a left-handed formation, the Arm Turn is left-handed and the ending formation is left-handed. Callers sometimes add helping words, e.g., "Scoot Back, use the left".

Some callers add helping words to indicate which dancers will Arm Turn, e.g., after Heads Square Thru, Touch 1/4, "Scoot Back, Boys Go". In this situation, it would be improper to call "Boys Scoot Back", because the command only applies to the boys. It would be proper to call this from Ocean Waves with the boys in the center.

Scoot Back is a four-dancer call. When done from Columns, dancers work in two Box Circulate formations, one on each side.

Another way to describe the dance action for the Trailers in a Box Circulate is: walk directly forward until adjacent with each other, Arm Turn 1/2, and walk directly forward, ending in a position vacated by a Leader.

19. *Recycle (from a wave only)
Starting formation - ocean wave only. The ends of the wave cross fold as the centers of the wave fold in behind the ends and follow them around, then face in to end as two facing couples.

STYLING: All dancers, arms in natural dance position, hands ready to adjust for next call as quickly as possible. TIMING: 4 steps.

Additional Detail
This section is still undergoing review and approval.

Starting Formations
Starting formations are listed for each of the defined calls. The smallest basic formation has been listed. Multiples of this formation may be possible. For example, the minimum number of dancers required to dosado is two. It is possible, however, to have four dancers in a line facing four dancers in an opposite line ready for a dosado. In this case, there are four multiples of the basic formation.

Commands
Extra words
Plain English
Extensions like Reverse Wheel Around
Fractions
Gimmicks
Bending vs. breaking the definition
Do Your Part
Centers Zoom
Extend and Tag The Line

Dance Action
Defining Calls with Arm Turns
Definitional Precision
Blending one call into another
Who is active
What does naming a dancer mean?
Square Breathing

Timing
The timing committee determined how many beats of music each call should take. Since the dancers should be taking one step for each beat of music, one can think of these numbers as representing steps or beats of music interchangeably.

A piece of music is more than a series of unconnected beats strung together. Rather it is composed of sections which themselves are naturally split into subsections. In most dance music, 64-beat phrases are made up of two 32-beat phrases, which are made up of two 16-beat phrases, which in turn are made up of two 8-beat phrases.

In traditional square and contra dancing, the choreography is usually created so that the sequences of calls match these levels of phrasing. Generally, the dancers start each call on beat one of a phrase and dance the call so that it takes 8 beats. Each dance contains a sequence of calls that is repeated as a couple progresses to the next couple. By knowing the sequence beforehand, and having it repeat, the dancers are able to adjust their execution of the calls and the transitions between the calls to match the phrase of the music. This means that the calls Dosado, Right and Left Thru, Two Ladies Chain, and Up To The Middle And Back are all danced in 8 steps, starting with beat 1 of the phrase. There are only a few calls that do not take 8 beats, e.g., the 4-beat calls Pass Thru and Balance, or a 12-beat Swing. These are paired with another call to evenly fill one or more 8-beat phrases.

Modern Western Square Dancing has added a much larger repertoire of calls, many of which do not take 8 beats to dance. The style of dancing is a continuous gliding step, one step for each beat of music, in which the transition from one call to the next is seamless, even though the sequence of calls is not known to the dancers beforehand. Some calls that have traditionally taken 8 beats of music (e.g., Right and Left Thru) are usually danced in 6 beats in this style of dancing.

The timing for each call is the ideal number of steps or beats of music to execute the call. Mainly timing is listed to assist callers in giving dancers the proper amount of beats to dance each call. Timing can also be used to construct 64-beat singing call figures. Callers should be aware that this involves more than finding a sequence of calls that add up to 64 beats -- because of call-to-call transitions, square breathing, etc. While timing numbers are a good starting point for singing call construction, only dancing a sequence with the music determines if the timing works. Callers should be aware of other factors which may cause an adjustment to the timing numbers, such as age or physical ability of the dancers, condition of the floor, etc.

Attention to timing heightens dancers' experience because their dancing works in harmony with the music. Most dancers respond well to being explicitly taught timing, especially on calls like Grand Square (32 steps) and 4 Ladies Chain (8 steps).

The timing of calls from a Squared Set is lengthened. See "Part 1: Conventions and Rules: Squared Set Convention".

Styling
Square dancing is much more than moving the body from one place to another at the proper time. The interactions between a dancer and the other 7 dancers in the square have caused some to say that square dancing is dancing with hands. The following styling guidelines describe how most of the world square dances. There are some regional differences, some of which will be mentioned at the end of this section.

Posture
Dancers should stand erect and tall, shoulders back. Often tall people have a tendency to stoop, but should not.

Dance Step
Should be a smooth, effortless gliding step in which the ball of the foot touches and slides across the surface of the floor before the heel is gently dropped to floor. The length of stride should be fairly short with the movement coming mostly from knees down. Dance step must be coordinated with the beat of the music. In general terms, short gliding steps which utilize both ball and heel of the foot make a comfortable dance step.

Arms and hands
Couple Handhold: Inside hands joined. Men should always hold palms up, ladies palms down. In the event of a same sex couple, the left-hand dancer turns palm up, right-hand dancer turns palm down. Arms should be bent with hands held slightly higher than the elbow. Forearms are adjacent and can be held close together in locked-in position for wheel around type movement.

Forearm: The arms are held past the wrist but not past the elbow joint. Each dancer places the hand on the inside of the arm of the person with whom he is to work. The fingers and thumb are held in close. The center of the turn will be at the joined arms, so, while turning, each dancer is moving equally around the other.

Handshake Hold: Use a comfortable handshake with hands reached and touched at about average waist height. Thumb should overlap the back of the opposite dancer's hand. It is important in right and left grand to release hands when passing. Do NOT stretch or lean over to reach the next hand. Loose Handhold: Hands revolve around each other maintaining contact and a certain degree of security or stabilization. Slight pressure is all that is required.

Loose Handhold: Hands revolve around each other maintaining contact and a certain degree of security or stabilization. Slight pressure is all that is required.

Hands Up: Hands are joined in crossed palm position; i.e. opposing dancers place palms together with finger pointing up, then tilt hand out slightly which will result in a crossed palm position. Thumbs are gently closed on the back of the opposing dancer's hand. As the turning action starts, wrists are straightened.

Box Star/Packsaddle: Four men with palms down take the wrist of the man ahead and link up to form a box.

Palm Star: Place all hands together with fingers pointing up and thumbs closed gently over the back of the adjacent dancer's hand to provide a degree of stabilization. Arms should be bent slightly so that the height of the handgrip will be at an average eye level.

Inactive dancers

Other styling terms and issues
Pull By: The action brings two people toward each other. Hands should be dropped before bodies cross a common plane.

Skirt Work: Ladies hold skirt in free hand about waist high using very slight rhythmical flourish to move skirt in front and back, right hand moving with left foot, left hand moving with right foot.

Promenade Ending Twirl: Man raises his right hand holding the lady's right hand loosely as she twirls clockwise underneath, ending in a squared up couples position.

BOW (HONORS)
To Your Partner:
Men: Turn slightly to face your partner making eye contact. Place left hand behind back or at left hip, palm out. Place right foot in front of left foot. The right foot should be pointed toward the lady with the toe touching the floor. man's right hand holds lady's left hand. Both legs are straight, with weight on the back foot.

Ladies: Turn slightly to face your partner making eye contact. Left foot should be pointed forward with toe touching floor, right foot in back. Right hand holds skirt toward center of square, right arm bent at elbow. Place left hand in partner's right hand. Both legs are straight with weight on back foot. [An acceptable traditional variation of styling is that the men bow slightly from the waist as the ladies acknowledge with a curtsy.]

To Your Corner:
Men: Right hand holding partner's left hand, turn slightly to face corner, making eye contact. Place left hand behind back or at left hip, palm out. Place left foot in front of right foot. The left foot should be pointed toward corner with toe touching floor. Both legs are straight with weight on the back foot.

Ladies: Left hand in partner's right hand, turn slightly to face corner making eye contact. Place right foot in front of left foot with the right foot pointed toward corner and the toe touching floor. Both legs are straight with weight on back foot. An acceptable traditional variation of styling is that the men bow slightly from the waist as the ladies acknowledge with a curtsy.

Regional styling differences
CALLERLAB recognizes that regional differences in styling exist.

Teamwork

Embellishments
Appendix A: Formations
This appendix is still undergoing review and approval. The reader is referred to the Square Dance Formations document available in the Program Documents section of http://www.callerlab.org/

2-Dancer Formations
FACING DANCERS: Facing dancers, unless otherwise specified, may be any combination of men and women.
COUPLES: Couples, unless otherwise specified, may be any combination of men and women.

4-Dancer Formations

8-Dancer Formations

Appendix B: Descriptive Terminology
The following terms are used in defining calls and are useful in square dancing in general.

Adjacent
Two dancers are adjacent if they are side-by-side with no intervening space or other dancers, generally used for a Couple or a Mini-Wave.

Couples
• Normal Couple: A Couple with a Man on the left and a Woman on the right
• Sashayed Couple: A Couple with a Woman on the left and a Man on the right
• Same-Sex Couple: A Couple with two Women or two Men
Note: Couple is a formation defined in "Formation Pictograms", page 1.

Face Left / Right / In / Out
• Face Left: Each individual turns 90 degrees, in place, turning to the left.
• Face Right: Each individual turns 90 degrees, in place, turning to the right.
• Face In: Each individual turns 90 degrees, in place, turning toward the center of the set.
• Face Out: Each individual turns 90 degrees, in place, turning away from the center of the set.

Home
Home is where dancers stand when they initially square their set before starting to dance.

Left
When used as a prefix to a call, Left generally instructs dancers to interchange all lefts and rights throughout the call. See "Additional Details: Commands: Extensions like Reverse Wheel Around".

Opposite
1. When squared up at home, a dancer's Diagonal Opposite is the dancer across the square of the same gender. For example, the Side Women are Diagonal Opposites. In symmetric choreography (see "Choreographic Guidelines", page 25), Diagonal Opposites will always be across the square from each other.
2. From a man's perspective when squared up at home, the woman across the square can be called his Opposite Lady. Along with Partner, Corner, and Right-Hand Lady, these describe the four women as viewed from a man's perspective. (Historically, square dancing terms were directed more towards the men.)

Promenade Direction
• Promenade Direction: Counterclockwise

• Wrong Way Promenade Direction: Clockwise

Pull By
• Right Pull By: From Facing Dancers, dancers take right hands as if they were going to shake hands, exert a momentary, gentle pull to initiate forward motion, and perform a Pass Thru action. As the dancers pass each other, the handhold is released and the dancers continue the next dance action or adjust to end back-to-back. The handhold should be just firm enough to establish connection, allowing either dancer to disengage at will. The Ocean Wave Rule applies to this action.

• Left Pull By: Same as Right Pull By but starting with left hands and passing left shoulders.

• Pull By (e.g., "Box The Gnat; Pull By"): From Facing Dancers only with right (or left) hands already joined: Right (or Left) Pull By.

Rear Back
From dancers who have hands joined, usually in a Mini-Wave: dancers back up slightly or lean back slightly, ending in facing dancers with hands joined. Often used to help with the Ocean Wave Rule, e.g., "Heads Lead Right; Swing Thru; Rear Back; Right And Left Grand".

Reverse
A prefix to a call that generally instructs dancers to interchange the directions of clockwise and counterclockwise (and also right and left) throughout the call. See Additional Details: Commands: Extensions like Reverse Wheel Around.

Right-Hand Lady
From a man's perspective when squared up at home, the woman diagonally to his right (i.e., the one he would be facing after Lead Right) can be called his Right-Hand Lady. Along with Partner, Corner, and Opposite Lady, these describe the four women as viewed from a man's perspective. (Historically, square dancing terms were directed more towards the men.)

Set or Square
The group of eight people who are dancing together.

Step Thru
From a Mini-Wave, adjacent dancers step forward, and slightly sideways, to end back-to-back with each other.

Turn 1/4 / 1/2 / 3/4 / Full Turn By The Left / Right
From a Mini-Wave, dancers walk forward around each other the specified fraction of a circle. The handhold depends on the call and is generally specified in its styling section.

Those who can
A prefix to a call that refers to dancers who are in a proper position to perform the call; other dancers do nothing. Example: "Those who can, Pass Thru" means that only those dancers who are face-to-face (or in a Right-Hand Mini-Wave) will do the call.

Working as a unit
This phrase asks a group of dancers to act and move as if they were one dancer.

Appendix C: Other Publications
This appendix is still undergoing review and approval.

Publications for dancers

Publications for callers

Foreign language publications