CALLERLAB ADVANCED 2 DEFINITIONS

March 29, 2023
Copyright 1982, 1986-1988, 1995, 2001-2023. Bill Davis, John Sybalsky, and 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 this entire document without royalty is hereby granted, provided this notice is included. Information contained herein shall not be changed nor revised in any derivation or publication.

## Read this First

This set of definitions is an attempt to capture the real meaning for each call on the Advanced list. It is intended to serve as the referee for disputes about exactly what a call means, and as a basis for teaching the calls properly. Whenever the technical definition of a call is too long or complicated to do a first teach from, we have provided a teaching definition or teaching hints. This way, the definitions can meet both sets of needs. Naturally, dancers should be introduced to the full definition of each call as soon as your judgment dictates.
Before you use these definitions, you should be familiar with the latest versions of the CALLERLAB Basic, Mainstream, and Plus Definitions, and the CALLERLAB Formation names. These documents can be downloaded from the CALLERLAB website at
https://www.callerlab.org/dance-programs/
Where possible, we have used calls and formations defined in those documents. This has let us make the definitions shorter and clearer.

### Regional Styling Differences

CALLERLAB recommends that calls such as Swing Thru and Spin the Top be danced using the hands-up position and the palm star handhold. Many areas of the square dance world continue to use forearm turns for all turning actions. In order to eliminate the controversy over the use of forearm turns, the CALLERLAB membership approved a 1992 resolution recognizing that regional differences in styling exists.

## General Rules

All of the general rules which apply to the Mainstream and Plus definitions also apply at Advanced.

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.

Facing Couples Rule: Some calls that normally start from an ocean wave can also be done from facing couples. In that case, the dancers first step into a momentary right-hand ocean wave and complete the call - unless the caller specifically directs a left-hand call (e.g., Left Swing Thru), in which case the dancers step into a momentary left-hand ocean wave and complete the call. This rule may also apply when calls that require parallel waves are called with the dancers in an eight chain thru formation.

The Facing Couples rule applies only to the Advanced calls Swing and Mix, Fractional Tops and Spin the Windmill.

Ocean Wave Rule: Some calls that normally start from Facing Couples can be done from a Wave. In that case, the dancers have already stepped forward toward each other and are ready to complete the remaining action of the call. This rule also applies when calls that start from a single Eight Chain Thru formation (for example, Pass and Roll) are called from a Right-Hand Box Circulate formation.

The Ocean Wave Rule applies only to these Advanced calls; the required handedness of the wave is shown for each call: Cross Trail Thru [R], Brace Thru [R], Pass and Roll [R], Pass and Roll Your Neighbor [R], Pass In [R], Pass Out [R], Pass the Sea [R], Split Square Thru [R], Split Square Chain Thru [R], Square Chain Thru [R], Left Square Chain Thru [L].

The Ocean Wave Rule applies only to these Advanced calls; the required handedness of the wave is shown for each call: Cross Trail Thru [W], Half Breed Thru [W], Pass and Roll [W], Pass and Roll Your Neighbor [W], Pass In [W], Pass Out [W], Pass the Sea [W], Split Square Thru [W], Split Square Chain Thru [W], Square Chain Thru [W], Left Square Chain Thru [LW].

Right-Shoulder Rule: Whenever two dancers are moving toward each other and would otherwise collide, they pass right shoulders instead. If two dancers facing opposite directions must occupy the same spot on the floor at the same time, they step to form a right-hand mini-wave instead. You may not have two dancers who are facing the same direction, or at right angles, try to occupy the same spot.

Split versus Box: There are two versions of many calls: Split Circulate and Box Circulate; Split Transfer and Box Transfer; Split Counter Rotate and Box Counter Rotate. The Split version of a call is used when an 8-dancer formation is to be split into groups of 4 to do the call. Box is used when:

- there is only a single box circulate formation which can do the call (e.g., the center 4 of parallel two-faced lines doing a Box Transfer), --or--
- when the center 4 dancers are to do the call (e.g., from parallel waves, Centers Box Transfer while the ends Zig Zag).

It is not good practice to simply call "Box Circulate" from columns or parallel waves. Instead, use it to distinguish between Centers Box Circulate (they stay in the center) and Centers Split Circulate (they stay in their own half of the square). Either way, you must tell the centers to do the call.

### How We Name Dancers

For purposes of the definitions, we often had to identify specific dancers--say, the ends of a wave. There are a lot of ways to name people, and we tried to use the ones that are common at Advanced. For reference, we've listed them here:

#1, #2, #3, #4: The dancers in a column are sometimes identified by number. The very lead dancer is called #1; the one behind him is #2, and so on. For example, here's how the dancers below would be named:

Points and Centers: In diamonds and hourglasses, there are points and centers. The points in the diagrams below are marked "P" and the centers are marked "C":

Box, Wave, and Diamond Dancers: In parallel diamonds, hourglasses, and galaxies, you can identify dancers by what part of the formation they're in. In parallel diamonds there is a wave inside a box of dancers; in an hourglass there is a diamond inside a box; in a galaxy there is a box inside a diamond.

In the diagrams below, Wave Dancers are marked "W", Diamond Dancers are marked "D", and Box Dancers are marked "B":

Centers and Ends: All line-type and column-type formations have ends and centers. The dancers who are nearest the center of the formation are centers, and the others are ends--regardless of their facing direction. In the diagram below, the centers are marked "C" and the ends are marked "E".

Adjacent: Two dancers are said to be adjacent if they are close to each other, with no intervening space or other dancers. This is true regardless of the dancers' facing directions. In the diamond and hourglass diagrams below, the dancers marked A are all adjacent to each other; the others aren't adjacent to anyone. In the box diagram, dancers "B" and "C" are both adjacent to dancer "A", but not to each other.

Leads (or Leaders) and Trailers: In any 1x2 formation (e.g., facing dancers, a tandem, dancers back-to-back), those facing out of the 1x2 formation are called leaders, and those facing into the 1x2 formation are called trailers. A dancer who has one shoulder directly toward the center of the 1x2 formation is neither. In the pictures below, the dancers marked "L" are leaders, and the dancers marked "T" are trailers. Those not marked are neither.

Centers and Outsides: Those dancers who are close to the center of the formation are centers; the others are outsides. In lines and columns, end and outside are the same; in the other formations below, the centers are marked with "C" and the outsides with "O".

Very Centers: The two dancers closest to the flagpole center of the set are called the very centers or the very center two. This term is only used when exactly two people are closest to the center. They are marked with V's in the pictures below:

Starting Formations

Each call's definition includes a list of possible starting formations for that call. Since there's no way to list every formation a call can start from, we don't mean to restrict you to those formations. However, this isn't a license to shoehorn a definition into an oddball formation. Following the guidelines below will lead you to other legitimate starting formations; anything else should be avoided.

- The formations listed are usually the smallest from which the call can be done. Larger formations may be made of these smaller units. For example, Switch to a Diamond is defined to start from a single ocean wave, so it can also be done from parallel waves [ending in parallel diamonds], or from a tidal wave [ending in point-to-point diamonds].
- Where they apply, you can use the general rules (Facing Couples, Ocean Wave) to find other starting formations. For instance, Pass and Roll can start from a right-hand box circulate formation even though that formation doesn't appear in the definition's list: The Ocean Wave rule applies.
- If the word "only" appears in the list, then only the formations listed may be used. You may not apply the Facing Couples or Ocean Wave rules. One call like this is Recycle--the facing-couples definition is not applicable from an ocean wave.
- If the way you plan to use a call requires that two conflicting rules apply, your usage is improper. For example, using the call Cast a Shadow from lines back to back causes a conflict for the ends -- they are both leads, and each must meet the other with his inside hand. At the same time, the right-shoulder rule applies. Because of this conflict, that use of Cast a Shadow is improper.
- If the formation you call the call from, can be broken into two different starting formations for the call, you have to specify which you mean. For example, the call Dixie Style to a Wave can start either from facing couples or from facing tandems. If it is called when the dancers are in a double pass thru formation, they don't know which formation to start the call from--it could be done either way. In cases like this, you must tell the dancers which one you want: either "Centers Dixie Style to a Wave", or "On the double track, Dixie Style to a Wave".

### Glossary of Descriptive Terms Used in the Definitions

All the terms from Appendix B: Descriptive Terminology of the Basic and Mainstream Definitions apply to these definitions. We have also used some terms which haven't been formally defined before but are commonly used within the Advanced program:

Face In: Means "Turn ¼ in place, turning toward the center of the set."

Face Out: Means "Turn ¼ in place, turning away from the center of the set."

Line: Unless otherwise specified, the term line means any kind of 4-dancer line -- one-faced, two-faced, three-and-one, inverted, etc.

Touch: This is the same as saying step to an ocean wave: The dancers step forward to join right hands, making a right-hand mini-wave.

Touch ½, ¾: Fractions other than ¼ are allowed with Touch. For example, the call "Touch ½" is the same as "Touch and Trade." In the same way, "Touch ¾" is "Touch and Cast Off ¾:"

Cast Off ¼, ½: Fractions other than ¾ are allowed with Cast Off. The rule is the same as for Cast Off ¾, but the dancers move ¼ or ½ instead of going the full ¾.

Left: The modifier "Left" applies to calls and interchanges right with left and, if also applicable, belle with beau (and also clockwise and counterclockwise). Left should only be used to modify calls where a right hand turn or shoulder pass is clearly part of the definition. The Left modifier is usually used with calls that start with one of the following:
a) Right Pull By (e.g. Left Square Chain Thru, Left Split Square Thru)
b) Pass Thru or passing action (e.g. Left Dosado, Left Pass and Roll, Left Track II, Left Wheel and Deal from a One-Faced Line)
c) Tag The Line (e.g. Left 3/4 Tag, Left Turn and Deal)
d) Right Arm Turn (e.g. Left Swing Thru, Left Turn Thru)
e) Turn [a fraction] by the Right (e.g. Left 1/4 Thru, Left Remake)
f) Touch (e.g. Left Touch 1/4, Left Spin the Windmill)
g) Turn to the right (e.g. Left Wheel Thru, Left Roll to a Wave, Left Chase)

To apply the Facing Couples Rule to a "Left" call, dancers first Step To A Left-Hand Wave (e.g., Left Swing Thru, Left Relay the Deucey, Left 3/4 Top).

If a different modifier can perform the same function as the Left modifier (e.g., Wrong Way Promenade, Reverse Flutterwheel), then Left should not be used. Also see "Reverse", below.

The Left modifier does not affect other directions that are explicitly given. E.g., in Left Spin the Windmill Right, the outsides go right. (The Left only applies to the centers; this use of Left is only necessary for Facing Couples.)

At Advanced, the left versions of the calls are part of the program even when they are not explicitly listed.

Reverse: The modifier "Reverse" applies to certain calls and interchanges Beau and Belle and the directions of clockwise and counterclockwise (and also right and left). At Advanced, dancers are expected to apply Reverse to the calls listed below, and other applications of Reverse should be workshopped or avoided.
a) Rollaway
b) Half Sashay
c) Wheel Around
d) Courtesy Turn
e) Flutterwheel
f) Dixie Style to an Ocean Wave
g) Circle to a Line
h) Single Circle to a Wave
i) Swap Around
j) Recycle (from Facing Couples)

### When the Formation Isn't There

Sometimes the definitions call for a dancer to do "his part of" some call--even when the formation he's working in exists only in the mind's eye. For example, in the call Switch to a Diamond, the ends of the wave Diamond Circulate even though there's no diamond. Similarly, in Flip the Hourglass, the points Run as though they were in parallel lines. The cases we used are shown below; in each diagram, the corresponding positions in the corresponding formations are labeled alike. Unlabeled dancers have no corresponding places.

The ends of parallel lines or waves may act like the points of an hourglass. Similarly, the points of an hourglass may act as though they were the ends of parallel lines:

The points of a diamond may act like the ends of a line, or vice versa. The centers of a diamond may act like the centers of a line, or vice versa:

The very center two in any formation may act like the centers of an hourglass, and vice versa. Any outsides who are on a center line may act as the other centers of an hourglass, and vice versa:

A wave between vertical mini-waves may be treated as a thar:

Doing your part: At Advanced, the caller can have dancers do their part of a call—even when the complete starting formation isn't there. The caller doesn't have to say "do your part"—it can be implied.

### How Calls Are Extended at Advanced

Some calls at Mainstream and Plus have restrictions in their starting formations that do not apply at Advanced. The definitions of these calls can be found at Mainstream (Hinge, Recycle) or Plus (Coordinate, Explode and (Anything), Linear Cycle).
Hinge: At Mainstream and Plus, this call is proper only from a Mini-Wave. At Advanced, this call is proper as well from a Couple or a Mini-Wave. Also see the A-1 call Partner Hinge, below.
Recycle: At Mainstream and Plus, this call is proper only from a Wave. At Advanced, this call is also proper from Facing Couples. See see the A-2 call Recycle, below.
Coordinate: At Plus, this call is proper only from Columns. At Advanced, this call is proper from any formation that meets the definition.
Explode and (Anything): At Plus, this call is proper only from a Wave. At Advanced, this call is also proper from a general line with both Centers facing the same direction. See Explode and (Anything), below.
Linear Cycle: At Plus, this call is proper only from a Wave. At Advanced, this call is proper from a general line.

## A-2 Definitions

All 4 Couples / All 8 concepts Timing: various

From the general versions of static square, circle, and Thar: These concepts are applied to 4-dancer calls, and allow all eight dancers to do the call at once. Each group of 4 dancers work with themselves as though the other group wasn't there.

When the dancers would normally walk through the middle of the square (e.g. as part of a Pass Thru or Pull By), they walk around the perimeter instead. All the hand actions and shoulder passes are the same as for the basiccall. However, passing the other dancers (e.g., heads passing sides) alternates between right shoulders and left shoulders. An example of this shoulder passing can be found in All 4 Couples Right and Left Thru.

When two dancers would normally walk through the center of the square (e.g. as part of a centers Pull By or centers arm turn), they still go through the center--they adjust into a star as they go, to avoid collisions. Examples of this can be found in All 8 Swing Thru and All 8 Dixie Style To A Wave.

Some calls contain both traffic patterns. From a squared set, All 4 Couples Square Chain Thru would be danced as a pass your corner right shoulder, Right Pull By, pass the next left shoulder, step to left-hand wave with the next, all arm turn ½ by the left, center 4 star ½ by the right, all left turn thru and pass the next left shoulders. Ends in a squared set with everyone facing out. The dancers who started on the head spots are now on the side spots.

At the end of the call, you must adjust to the nearest static square footprints of the wall you are facing. For example, if you end facing the head walls, adjust (without turning) to the nearest head position. If you end on Thar spot, you don't adjust.

The initial traffic pattern determines the name of the concept. If the initial traffic pattern requires all dancers to walk around the perimeter, "All Four Couples" is used. Otherwise, "All Eight" is used.

All 4 Couples Chase Right Timing: 10

From a static square with everyone facing out, those at the head position Chase Right while those at the side position also Chase Right. All action is clockwise around the outside of the set. Ends on static square spots with dancers in right-hand mini-waves.

All 4 Couples Right and Left Thru Timing: 10

From a static square or circle: All pass corners right shoulders, Right Pull By with opposite, pass the next dancer left shoulders, and Courtesy Turn with partner, to end facing the center of the set.

All 4 Couples Star Thru, etc. Timing: 6

From a square or circle: All pass corner right shoulders, Star Thru, etc. For example, All Four Couples Touch ¼:

All 8 Dixie Style To A Wave Timing: 8

From a static square, the right hand dancers step forward and to the left to become the lead dancer in a tandem. Lead dancers join right hands in a star and Pull By. All Left Touch ¼. Ends in a Thar Star.

All 8 Mix Timing 10

From a Thar or Wrong Way Thar, the centers cross run, by turning their star ½ and sliding nose-to-nose with the outsides (Slide). The new centers trade, by turning their star ½. Ends in a Thar or Wrong Way Thar.

All 8 Swing Thru Timing: 8

From a Wrong Way Thar, all arm turn ½ by the right. Center 4 star ½ by the left. Ends in a Wrong Way Thar.

All 8 Walk and Dodge Timing: 6

From a static square with everyone in a mini-wave, those facing in walk forward across the set to take the place of the dancer who was directly in front of him. Those facing out step sideways into the position vacated by the "walker". Ends in a static square with everyone facing out. If all the "walkers" move at the same rate, there will be a momentary star ½ way through the call.

Teaching hints to tell the dancers:

1. Based on the call, identify the 4 dancers whom you will work with.

2. Do the call as if the other 4 dancers weren't there. Avoid colliding with them either by using a star when you go through the middle of passing them on the perimeter.

3. At the end of the call you must adjust (without turning) to the nearest static square footprints of the wall you are facing.

4. If you end on Thar spots, you don't adjust.

Checkmate the Column Timing: 10

From columns: Numbers 1 and 2 in each column Circulate 4 times and Face In, while numbers 3 and 4 Circulate twice, Face In to from a couple and then individually circulate. From columns, ends in parallel two-faced lines.

Diamond Chain Thru Timing: 10

From diamonds: All Diamond Circulate, the very centers Trade, and Cast Off ¾ with the adjacent ends of the wave. Ends in parallel waves or lines.

Hourglass Circulate Timing: 4

From an hourglass: Each dancer does a Circulate by moving forward one position in the hourglass, to take that dancer's place. Dancers move along the path shown:

Points become centers, and centers become points. Also, the diamond dancers move to the box, and the box dancers move to the diamond.

For Teaching: Tell each dancer to move up to the next person's spot in the hourglass, taking his footsteps. During this call, everyone keeps the same shoulder toward the center of the set. This is a good call for using a demonstration square.

Cut the Hourglass Timing: 6

From an Hourglass: The points slide together and Trade, while the others Hourglass Circulate. Ends in parallel lines or waves.

Flip the Hourglass Timing: 4

From an hourglass: The points Run to the nearest center (Flip in as for Flip the Diamond), while the others Hourglass Circulate.

In-Roll Circulate Timing: 4

From general lines, with the ends forming a tandem: In each line, the end facing in Circulates. Meanwhile, each of the other dancers (in a single, smooth motion) faces the vacated spot, steps forward, and turns another ¼ the same way he first turned. Ends back in parallel lines or waves.

The non-circulators' part is a single motion, rather than a 3-part move. This call can be fractionalized into halves, as shown below.

For Teaching: You can describe the non-circulators' part as a Run (or Flip) toward the vacated spot. This captures the idea of a single, flowing motion for them.

Out-Roll Circulate Timing: 6

From general lines, with the ends forming a tandem: In each line, the end facing out Circulates. Meanwhile, each of the other dancers, in a single, smooth motion, faces the vacated spot, takes a step forward, and turns another ¼ in the same direction he first turned. Ends back in parallel waves or lines.

The non-circulators' part is a single motion, rather than a 3-part move. This call can be fractionalized into halves, as shown below.

For Teaching: You can describe the non-circulators' part as a Run toward the vacated spot. This captures the idea of a single, flowing motion for them.

Mini-Busy Timing: 6

From parallel two-faced lines: The trailing As Couples Extend, have the center two Hinge, and Flip the Diamond. Meanwhile, the lead couples (working around the outside) Face In, step forward one spot, and Face In. Ends in a quarter-tag formation. This call has three parts, as illustrated below:

Motivate Timing: 16

From waves: All Circulate, the centers of each wave Cast Off ¾ while the ends Circulate ½, to create a star between two mini-waves. The star turns half, while those in the mini-waves Trade. Those who meet Cast Off ¾, while the others move up (as in Chain Reaction) to become the ends of parallel waves.

Pass and Roll Timing: 10

From single eight chain thru: All Pass Thru; the centers Turn Thru, while the outsides do a right-face U-Turn Back. All Pass Thru, and the centers Pass Thru as the outsides do a Right Roll to a Wave to meet the centers. Ends in parallel mini-waves.

Pass and Roll Your Neighbor Timing: 12

From Single Eight Chain Thru: All Pass Thru; the centers Turn Thru while the outsides do a right-face U-Turn Back. All begin a Pass Thru, blending smoothly into Follow Your Neighbor (equivalent to Pass Thru; Centers Touch 3/4 while outsides right-face U-Turn Back and Roll). Ends in a Left-Hand Wave.

Peel and Trail Timing: Tandem Couples - 4, Box Circulate or Z - 6

Starting formation: Tandem Couples, Box Circulate, or Tandem Dancers in a Z (e.g. frpm a wave after ends fold)

Lead dancers do their part of a Peel Off turning away from the center of the formation and walking in an approximate semicircle to become the ends of a four-dancer line or wave. Trailing dancers do their part of a Trail Off stepping forward if necessary and walking in a semicircle around the center point to become the centers of the forming line or wave. When the trailers are a Couple and must cross paths, the dancer on the right has the right-of-way so the Beau allows the Belle to cross in front (Half Sashay). When the trailers are facing opposite directions they step forward as necessary to the centerline and Trade with each other (using the same hand as the handedness of the formation).

As in Peel Off and Trail Off, always adjust to end in a four-dancer line or wave with each dancer having turned half (180 degrees). Peel and Trail, including all necessary adjustment, is danced as one continuous motion that cannot be fractionalized.

Peel and Trail from Tandem Couples will end in a One-Faced line. Peel and Trail from a Box Circulate or from a Right or Left Hand Z will end in an opposite-handed Wave.

Notes:
Everybody can Roll after a Peel and Trail.

For the four dancers, the center of the ending formation is the same as the center of the starting formation; however, square breathing adjustments may reposition the whole line or wave.

When the trailers start facing in the same direction, their dance action feels like a Left Shoulder Partner Trade

Notes:
Everyone can Roll after a Peel and Trail.

For the four dancers, the center of the ending formation is the same as the center of the starting formation; however, square breathing adjustments may reposition the whole line or wave.

When the trailers start facing in the same direction, their dance action feels like a Left Shoulder Partner Trade.

Recycle Timing: 6

From facing couples only: The beaus step forward until they are side-by side, while doing a U-Turn Back, turning toward each other. Meanwhile, the belles Veer Left and join right hands with the original beaus. Ends in a right-hand wave; the beaus finish as centers of the wave, and the belles finish as ends.

Remake Timing: Alamo 12, other 10

From a Right-hand mini-wave box, or a left-hand facing diamond: Those who can Turn 1/4 by the Right, those who can Turn 1/2 by the Left, and those who can Turn 3/4 by the Right.

For each part of the call, there must be a dancer performing this part and the immediately preceding or following one. For example, the call is not proper from an Inverted box.

The left-hand version of Remake is called "Left Remake".
The name of the formation, may be added at the end of the call (e.g. Remake The Wave) as a help to the dancers, but doing so is optional.

If there are two side-by-side formations each of which can do the call, dancers don t move from one to the other. From parallel columns, for example, each or the two box circulate formations does the call independently.

The exception to the Remake rules is "Remake The Thar", defined below

Grand Remake Timing: 10

From a Right-hand column (of 6 or 8): Those who can Turn 1/4 by the Right, those who can Turn 1/2 by the Left, and those who can Turn 3/4 by the Right.

For each part of the call, there must be a dancer performing this part and the immediately preceding or following one. For example, the call is not proper from Magic Columns.

The left-hand version of Remake is called "Left Remake".

Remake The Thar Timing: 10

From a Thar or Wrong-way Thar, end and adjacent center Arm Turn one-quarter (90 degrees) to form a momentary Alamo ring. In a continuously flowing movement, everyone releases holds with the dancer they just turned, and with the other hand, turn the next one-half (180 degrees) to form a momentary Alamo ring, Without stopping, they release holds at the completion of the half turn and, with the other arm, turn the next dancer three-quarters (270 degrees) to form another Thar or Wrong-Way Thar.

Scoot and Weave Timing: 10

From right-(left-)hand box circulate only: Scoot Back. Those facing in Left (Right) Touch ¼ with each other, while those facing out Quarter Right (Left). Ends in a wave.

From single quarter tag: Extend, Trade, and then Weave the same way you would from box circulate.

Scoot Chain Thru Timing: 12

From waves only: Those facing out do a Scoot Back, while those facing in Extend, Swing, Slip, Swing, and Extend. Ends in waves.

From quarter tag: All Extend, Swing, Slip, Swing, and Extend. Ends in three quarter tag.

For teaching: The centers' part can be thought of as a Swing Thru 1½--Extend or Left Swing Thru 1½--Extend, depending on what hand was held in the wave.

Single Wheel Timing: 4

From a couple or mini-wave only: With each dancer taking the part of an entire couple, do a Wheel and Deal. This call cannot be fractionalized.

For teaching: You can think of this as a Hinge and Roll. However, this call has only one part--it cannot be fractionalized.

Slip Timing: 3

From a general line with the centers forming a mini-wave only: Centers Arm Turn ½ by the hand they have joined.

Slide Timing: 3

From a general line in which each end and the adjacent center form a mini-wave only: Each end and the adjacent center slide nose-to-nose to take each other's place.

Swing Timing: 3

From a general line with each end and the adjacent center in a mini-wave only: Each end and the adjacent center Arm Turn ½ by the hand they have joined.

Slither Timing: 3

From a general line with centers in a mini-wave only: The centers slide past each other nose-to-nose, to take each other's place.

Spin the Windmill Timing: 12

From anywhere with a center wave or center facing couples (e.g., ¾ Tag, Trade By): Centers Swing, Slip, and Cast Off ¾, while the outsides face as directed and Circulate two positions. If the centers start in facing couples, they first Touch, then finish the call.

Left Spin the Windmill is the same, except that:

- It may only be used with the centers in facing couples or a left-hand wave.
- If the centers are in facing couples, they Left Touch before doing the Swing, Slip, and Cast Off ¾.

For teaching: You can describe the centers' part as Swing Thru and Cast Off ¾, or as Left Swing Thru and Cast Off ¾, depending on the handedness of the wave.

Split Counter Rotate Timing: 1/4

[At Advanced these calls are proper only from Boxes or Diamonds as described below.]]

The Counter Rotate action involves dancers moving forward a specified amount around a center point. At Advanced, this action is restricted to a Diamond or a 2x2 Box (for example, Right-Hand Box, Left-Hand Box, Facing Couples, or Back-to-Back Couples). The first word(s) in the call must identify the 4-dancer formation(s) either explicitly such as “Center Box Counter Rotate” or “Center Diamond Counter Rotate”, or implicitly such as “Split Counter Rotate” or “Transfer and Box Counter Rotate”.

Each of these calls may have a fraction after it. The fraction indicates what portion of a full circle each dancer moves around the center point of the four-dancer formation. If no fraction is given, 1/4 is implied and the rotation is 90 degrees.

Split Counter Rotate can begin from any applicable formation that can be divided across its long axis into two side-by-side four-dancer formations with no dancers facing directly toward or away from the center of their group of four. At Advanced, this call is proper only from applicable 2x4 formations (for example, Parallel Waves or Columns), or from Twin or Point-to-Point Diamonds.

(Designated Box) Counter Rotate or (Designated Diamond) Counter Rotate can begin from any applicable formation that has a Box or a Diamond of four dancers.

Beginning in an appropriate Box or Diamond, each dancer moves forward in a smooth arc around the center while changing facing direction by the designated amount (90 degrees for 1/4, 180 degrees for 1/2, 270 degrees for 3/4). During this action, each dancer maintains the same distance from the center, except while applying the Passing Rule. Before moving, dancers should identify their relative position in the Box or Diamond, and plan to end in the same relative position (such as Leader or Trailer, Beau or Belle, Center or Point).

Every dancer can Roll at the end of these calls.

Styling:

When in a Right-Hand Box or Left-Hand Box, both Mini-Wave handholds are maintained while the four dancers simultaneously rotate the whole Box the designated fraction around the center point of the Box.

For more general 2x2 formations, dancers may need to drop hands and move independently of the other dancers in the formation (passing right shoulders if necessary), and reconnecting with new partners at the end of the call.

When in a Diamond, the centers of each Right-Hand or Left-Hand Diamond maintain their handhold and all four dancers simultaneously rotate the designated fraction around the center point of the Diamond. From a Facing Diamond, the centers of the Diamond maintain their handhold and stay in the center as dancers pass. For Split Counter Rotate, Twin Diamonds become Point-to-Point Diamonds and vice versa. Handedness is maintained. The diagrams below show the beginning and ending positions for the four possible roles a single dancer might play in a Box Counter Rotate 1/4. A Beau will turn 90 degrees to the right; a Belle will turn 90 degrees to the left.

The following diagrams show a starting Right-Hand Box and the ending positions after Box Counter Rotate with various fractions (such as Box Counter Rotate 1/2).

Example: Split Counter Rotate 1/4:

Example: Split Counter Rotate from Diamonds:

Example: Center Box Counter Rotate and Roll:

Box Transfer Timing: 8

From box circulate formation, or any symmetric 2x2 formation with 2 leaders and 2 trailers: Leads Box Circulate Twice and Quarter In, while the trailers Extend, Arm Turn ¾, and Extend.

Split Transfer Timing: 8

From waves or columns: Divide the whole formation into two side-by-side box circulate formations. Each of them Box Transfer.

Swing and Mix Timing: 8

From an ocean wave or inverted line: ends and adjacent centers Turn 1/2; Centers Cross Run; resulting Centers Trade. The Facing Couples Rule applies to this call.

Note: There are two ways in which Swing and Mix is not simply the call Swing followed by the call Mix. First, reflecting historical usage, Swing and Mix is a single call with three parts while (Any Call) and Mix are two separate calls. Second, from facing couples, Swing and Mix is proper even though Swing is improper.

Switch the Wave Timing: 6

From a wave: Centers Run, while the ends Cross Run.

Switch to a Diamond Timing: 4

From a wave or line [At Advanced, this call may be used from waves only]: Centers Run, while the ends do their part of Diamond Circulate.

Switch to an Hourglass Timing: 4

From waves or lines [At Advanced, this call may be used from parallel waves only]: Centers Run, while the ends do their part of Hourglass Circulate.

Trade Circulate Timing: 6

From waves only: Leads Trade, while the trailing center Circulates to the nearest end of the other wave, and the trailing end Circulates to the nearest center of the other wave.

From two-faced lines only: The Leads Partner Trade, while the trailers Diagonal Pass Thru with each other.

Note: The right-shoulder passing rule applies to this call.

Trail Off Timing: 6

Starting formation: Tandem Couples, Box Circulate, or Tandem Dancers in a Z (e.g. from a wave after th Ends fold)

Lead dancers, turning toward the center of the formation, walk in an approximate wide semicircle to become the far ends of a four-dancer line. Trailing dancers stepping forward as necessary and walking in a small semicircle around the center point of the starting formation to become the centers of the forming line.t>

For Tandem Couples each couple must begin their semicircles by crossing paths. The dancer on the right has the right-of-way so the Beau allows the Belle to cross in front (Half Sashay).

For Box Circulate and Right or Left-Hand Z formations, the semicircular path of each leader goes around the other trailer. Each trailer moves forward as necessary to the centerline then Trades with the other trailer (using the same hand as the handedness of the formation).

The four dancers in each of the given starting formations always adjust to end in the same four-dancer line. Each dancer will have turned half (180 degrees) to end facing the opposite direction from which they started. Trail Off, including all necessary adjustment, is danced as one continuous motion that cannot be fractionalized.

Trail Off from Tandem Couples will end in a One-Faced line.

TrailTrail Off from Box Circulate or from a Right- or Left-Hand Z will end in a like-hande Two-Faced Line.

Notes:Everybody can Roll after a Trail Off.

For the four dancers, the center of the ending formation is the same as the center of the starting formation; however, square breathing adjustments may reposition the whole line or wave.

Trail Off may be thought of as a "Cross" Peel Off. This helps motivate the Belle in front of the Beau dance action.

When the trailers start facing in the same direction, their dance action feels like a Left Shoulder Partner Trade

Transfer and (Anything) Timing: 8 (any starts on 5)

From columns: The #1 and #2 dancers in each column Transfer The Column (to end as a couple on the outside, facing in), while the #3 and #4 dancers Circulate (forming a box circulate formation in the center) and do the Anything call. A Transfer The Column could be defined as a Transfer and Cast Off ¾ and all Extend.

Example: Transfer and Quarter Thru

Example: Transfer and Crossfire

Example: Transfer and Cut The Diamond

ExamplExample: Transfer and Peel and Trail

Zig and Zag Timing: 2

From anywhere there are leads and trailers: Zig means Face Right, and Zag means Face Left. When given in a pair, as in Tag the Line Zig Zag, the call applies to a group of two dancers; each leader does the first (Zig in this case), and each trailer does the second (Zag in this case).

If only one is given, it is directed to the leaders, and the trailers do nothing. In ¾ Tag the Line, Zig, only the outsides would Face Right: