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Why book a Square Dance Caller? Nothing is more fun at a good old-fashioned hoedown than square dancing. Calls for each dance move are voiced as the four couples in the set promenade around the floor. Skill and talent are needed for this challenging and beautiful dance. The Bash can link you with professional square dance callers.

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Pat Cannon's Foot & Fiddle Dance Co.




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Square Dance Caller from Sloatsburg, NY (30 miles from New York City, NY)

Pat Cannon's Foot & Fiddle's dancers and musicians can make a good party into a great one! Getting people dancing and having fun is what we do! Square Dance and Country Line dance instruction is given with a minimum o...

Starting at
$200 per event


Richard Stillman




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Square Dance Caller from Montclair, NJ (13 miles from New York City, NY)

I call square dances & line dances. As part of the evenings entertainment I also sing and play banjo, do cowboy rope tricks & hat tricks and at the end of the party we have a grand march to the bagpipes. I have a playful...

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$200 per event


Jim Emory



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Square Dance Caller from Westbury, NY (20 miles from New York City, NY)

Jim is a professional western style square dance caller. Jim is available to call for your party dances (church socials, girl scouts, father/daughter dances, PTA, corporate events). He is a member of Callerlab (The In...

Starting at
$225 per event


I Luv A Party Hawaiian, Hula & Fire Dancers



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Hawaiian Dancer from Stamford, CT (29 miles from New York City, NY)

Our professional authentic Hawaiian and Polynesian Hula dancers bring to you the beauty of visual expression of the Art of Hawaiian and Polynesian dance. Share the Aloha spirit that expresses the charm, warmth and sin...

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Lawrence Johnstone: Square Dance Parties

Are you looking for an activity that's just a little bit different, to spice up a birthday party, club event, fundraiser, or other social gathering? Try square dancing!

A square dance party is perfect for bringing people together, because all eight of the people in each square interact with each other and work together to complete the dance figure. No square dancing experience is needed for such a party — everything that we do will be taught as we go, and the movements used are simple enough that not much teaching time is required.

Some people (especially square dance callers) refer to these parties as "one-nighters." Why? In part because people aren't expected to continue learning square dancing after the party — it's just for one night. Also, it dates back at least to the days of the Big Bands, where a band would come into a town, play a dance or concert, and then leave the next day for another town; these stopovers were referred to as "one-night stands."

Music Licensing

Many people don't realize that the organizers of a dance event, or the location where the event is held, must have a license from BMI and ASCAP for performance of any music used for the dancing. Failure to get a license can result in some very steep fines, if they happen to catch you. As a member of CALLERLAB, the international square dance callers' association, I hold a BMI/ASCAP license which is valid for any square dance activity except for state and national conventions. So, if you hire me for your party, you're automatically covered and don't have to worry!

What We'll Do

Generally, we'll start by getting all of the couples into a big circle around the room, and teach 5-6 very basic square dance movements. Then we'll break the big circle up into squares (4 couples in each square) and play with the same movements in the smaller set. That takes about 15 minutes, after which we'll have a short rest break.

For the rest of the party, we'll have the people form squares for 15-minute sets with 5-minute breaks between. In each set, we'll play with the calls that were already taught, and possibly work in 1 or 2 more.

I'll use a variety of musical styles in the course of the party, ranging from country to rock, jazz, and even classical, and ranging from old standards to fairly current titles. If you have a preference to fit in with a party theme, please let me know ahead of time so that I can accommodate it.

What Do I (the organizer) Need To Provide?

The biggest thing you'll need to provide is people to dance! Without people, we can't do anything!

Other than that, you'll need a flat, reasonably smooth area where 8 people can dance together, around 9 feet square. For more than 8 people (1 square), you'll need more space — about 9x9 for each square. Uneven ground outside doesn't work well and could lead to injuries, so take care in your selection of a location.

You'll also need to provide a table where I can set up my equipment. It should be within 25 feet or so of an electrical outlet — yes, my equipment does require electricity!

How Much Will It Cost Me?

Please contact me for rates and fees — my email address and phone number are at the top of my Calling page. Generally, I set my fee according to the distance I have to travel, and I expect to provide up to a 3 hour party for the fee quoted. However, I am always open to negotiation, and will try to accommodate groups on a limited budget — especially church and school groups.

Also, if it turns out that I'm already booked for the date you're planning, I have a number of other callers who I can highly recommend for your party. So, please don't hesitate to contact me!

Page last updated: Wednesday 2014-09-10 12:30 MST

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American square dances of the 1850s-1870s: hda - LiveJournal

Compilation of posts from personal LiveJournal

1. About square dances in general

In general, quadrilles (dances of couplets for 4 pairs) at this time can be divided into three categories:
1 .First set and replacement figures
2. Quadrille.
3. Sets.
The division into 2 and 3 was suggested to me by Susan de Guardiola, for which many thanks to her.

Quadrilles are good big dances that someone smart composed and then taught to others. They are usually complex, beautiful and contain elements that are difficult to take right away without knowing in advance. Among these I include Lancier, the Caledonians, the Parisian Variations, the London Polka Quadrille, and the like. At some period of time in some locality, these quadrilles are usually the same from ball to ball.

Sets are sets of figures that someone composed, brought along with notes and the prompter announces them, and everyone dances at once, without knowing in advance.

The program of the ball may include a well-known dance, or simply "Quadrille", if you're lucky, indicating the genre of music (polka, waltz or something else).

If a specific dance is indicated, for example, Parisian variations, then those who wish to go out and dance them.

If "Quadrille" is specified, then those who wish to go out, but do not know what it will be, so they are waiting for the commands of the prompter.
At the same time, all or almost all participants know how to dance the First set and in what place what substitute figures can be in it.
First set is declared in a "shortened" format, that is, part of the movements is not declared, but implied. If in the first verse they announced first Right and Left, then Balance, then Ladies' chaine, and then Balance again, then this is a reason for the dancer to think: "Isn't this a Firs set?" Such a dancer, having heard in the second verse: "Forward two", will not be afraid and will go to do everything that is supposed to be done in the First set in this place.
As De Garmo wrote, if the First set were declared in full, like other sets, then in this place instead of one declaration: "Forward two" there would be four:
1. Forward four and back
2. Cross over
3. Chasse across
4. Recross to places
But since everyone knows the First set and expects it, Forward two is enough in this place.

It's funny: in all cases, except for Forward two from the second verse, the announcement, even if not complete, still contains a command that needs to be executed immediately, and everything implied is already after this command.

In addition to the First set, the dancers also know substitute figures. Therefore, for example, if in the 4th verse instead of "Top couples forward four" it sounds: "First couple balance to the right", an experienced dancer immediately understands that this is just a "Cheat" figure as the 4th verse and behaves accordingly , while expecting "All promenade" and then "Ladies balance to the right" at the beginning of the next verse, since Jig is usually paired with Cheat.
There are also various additional sets in the Hillgrove book that are explicitly based on the First set and replacement pieces, therefore containing the same commands with implied movements, designed for those who know the First set.

Abstract sets are a completely different matter (for example, there are a lot of them in Howe books). They cannot be known in advance and, as it seems to me, it is precisely the novelty that is their charm. Everything is declared in them, that is, the dancers do exactly what the manager announced. Usually such sets are composed very simple and not very choreographically beautiful. For example, for polka sets from the same Howe, a structure of the form is typical: Some figure of a quadrille, Polka of the first pair in a set, repeat for everyone. It is quite possible to dance such sets without prior learning, I just react to the steward.

A dancer at that time in America went to a ball knowing well the First set, the place and content of substitute figures and a certain number of square dances that were fashionable at that time.
If the program is just Quadrille, then the dancer listens to the steward, and if he announces something that is clearly the First set, then you need to dance the First set, suspecting substitute figures in the right places. If the manager announces something of his own, then you need to dance what they announce. If the steward isn't crazy and doesn't eat grass, then it'll be easy enough and, if you're lucky, with a waltz in the middle.

And yes, at any, absolutely any moment, a dancer can grab a lady, yell: "How powerful my legs are!!!" and beat a polka or a waltz in a quadrille. Or gallop through crawling. And everyone around him has every right to snort or envy him.

P.S. To make this post 20% cooler, you need to understand how "good" quadrilles were designated in the ball programs, for example, the London Polka Quadrille. That is, could people know in advance that they were going for this, or should they also guess from the music and the first announcements what they were dealing with and take a heel-and-toe step at the right time. On the one hand, Howe makes no difference at all for anything, and he has all the quadrilles in the book mixed up. On the other hand, Ferrero (if I'm not confused) describes the First set in terms of announcements and reactions to them, but Lansier describes it simply in text.

2. About figure announcements, from books published in New York

These are notes on figure announcements in American square dance sets. What is meant here is the "full" announcement, when exactly what the dancers are supposed to do is announced, and not this First set of yours.

The terminology in different places was actually different, I write in the style of authors from New York, the same Howe (or his literary araps) used the terms slightly differently.

In the declaration of a figure, it is usually indicated first who is to perform, then what is to be performed.
Artist designations:
ALL - All.
TOP COUPLES - Leading pairs, pairs numbered 1 and 2.
SIDE COUPLES - Side pairs, pairs numbered 3 and 4.
1-ST COUPLE (2-ND, 3-RD, 4-TH) - First pair ( second, third, fourth)
1-ST TWO (2-ND, 3-RD, 4-TH) - The first (second, third, fourth) "two", that is, the first lady and the gentleman opposite her. The number is counted by the lady.
1-ST GENTLEMAN (1-ST LADY) - First Cavalier (First Lady).


A figure performed by someone (for example, the first couple) in quadrille sets is usually repeated by the rest. For each of these repetitions, the figure is called separately with an indication of who is currently performing it.

If several figures are performed in a row by the same people, then the performer is not named, but the figures are simply named in a row.

Sometimes performers are not named at the beginning in case everyone has to do something. For example RIGHT AND LEFT ALL ROUND, HANDS ALL ROUND or POLKA ALL ROUND.

It is important to distinguish between BALANCE and BALANCE TO declarations.

The first is usually performed in pairs and contains progress through the set and back (exception - the 3rd figure of the First set). The second is four steps to the one to whom you need to balance, then four back and turn with this person for two hands. He usually responds by moving in and out as well.

Common ads:

FORWARD AND BACK - 4 steps forward, 4 steps back.

RIGHT AND LEFT - Walk right shoulder past the counter-partner, then turn with your left hand. Go back the same way.

LADIES' CHAIN ​​- The ladies change places for the right hands and turn with the gentlemen for the left, then return back in the same way.

RIGHT HAND ACROSS - Give the opponent the right hand and change places with him. Often accompanied by the LEFT HANDS BACK command - Go back behind the left hands.

Not to be confused with

CROSS RIGHT HANDS - Bring your right hands to the center and walk in a circle. Usually accompanied by the LEFT HANDS BACK command - left hands inward back.

BALANCE - Grasp partner with both hands crosswise, advance in canter steps through the set (to the right of the opposite pair), then return back along the same trajectory.

BALANCE TO - take 4 steps to the person to whom you balance, 4 steps back and make a turn with this person with two hands.

RIGHT AND LEFT ALL ROUND - Everyone changes with their right hand, with the next left and so on until they reach their places. The gentlemen go to the right, and the ladies go to the left.

Part of the figures can be done in half, this is declared either at the beginning (for example, HALF RIGHT AND LEFT), or, if the figure is in a circle, then it is indicated that it is half a circle (RIGHT AND LEFT ALL HALF ROUND or PROMENADE ALL HALF ROUND)

If some figure ended in a different place, then the figure that returns the dancers to their places is often accompanied by the comment "TO PLACE".

For example:
HALF RIGHT AND LEFT - ends at the opposite places
WALTZ TO PLACE - return to their places

3. About quadrilles on pair dance techniques using the music of various popular pair dances. There are quadrilles on the polka, on the waltz, on the shotty, on the redow and the polka-redow. For modern dancers, when trying to perform these quadrilles, the question arises of how to adapt paired rotations to square dance figures. It seems to me that the answer is quite simple and common to all such quadrilles. I will now focus on the American square dance tradition of the 1850s and 60s without going beyond it.

The main thing to consider when doing American square dances of this period is what those who danced them at that time knew and thought about square dances.
Fact 1 - the quadrille danced to the announcer's announcement.
Fact 2 - There was a set of figures/couplets/quadrilles that were very familiar. The idea of ​​declaring "Forward two" in the second verse of the First Set and expecting the dancers to perform a sequence of four simple figures without colliding or blunting is clear evidence that the First Set was widely known and at least within the same locality in for some time was the same at all balls. Also, judging by everything, couplets like "Menuet" were widely known, which makes such a figure "Sides Four", couplets like "Star", "Basket" and others.
Fact 3 - In addition to the well-known square dances, there were also sets of verses that existed only as a sequence to announce them, "once" sets. They do not contain figures that are unique to themselves, but only refer to already known ones and often do not even have their own names, only numbers. Most likely, no one knew these sets in advance, except for the host.

So far, it seems that the square dances on paired techniques available in the books of American authors are more likely to be just one-time sets. There are many of them, they often do not have their own names and are made up of already known figures. Unique for such quadrilles are only figures like "Waltz all round" or "Waltz to places". They explicitly state that the dancers must rotate, most likely in pairs (I have not seen announcements of these figures not for couples). It seems to me that this is also what the announcements from field quadrilles mean, where instead of the word "Waltz" there is "Polka".

Back in Hillgrove's 1857 book, I found the following commentary on square dance practices: rotation is explicitly specified: "Waltz" or "Polka". And this is understandable, if the dancers do not study the square dance, for example, in the polka-reddove from the dance master, but simply go out and do what the leader announced, then they will not be able to rotate in concert, and it will also be difficult for them to deftly and in time take a position in a closed couple. And people who rotate in square dance figures that do not indicate this do so solely on their own initiative.

The following conclusion follows from the above:

Performing a quadrille at a ball to the music of a pair dance, you can safely walk all the figures on foot, except for those where rotation in a pair is clearly indicated. In doing so, you will be right, and this is what others should expect from you, and you from the rest. At the same time, at any time you can light up and misbehave, simply by grabbing the lady and cutting off the rotation. This is hooliganism and a demonstration of one's yo-ho-ho, and when reconstructing quadrilles, this should be treated that way. In doing so, you can displease your set and your lady, since she also does not have to wait for you to grab her, pull her to you and spin her around.

It seems to me that this kind of performance of these square dances is most consistent with the spirit and style of America in the 1850s and 60s:

1. No one learns a square dance in advance, everyone catches the commands of the steward.
2. In all figures, except where expressly indicated, everyone advances in simple steps to the music.
3. A gentleman who wants to make a riot can grab a lady and turn around where this is not supposed to be according to the announcements of the steward. At the same time, this gentleman will, perhaps, be alone in a set, no one is obliged to follow him.
4. A rotational brawl should not be arranged for every piece, so that it would be a sudden surprise, and it should be treated precisely as a violation of order.

20. Quadrille as a variety of dance forms of dance

Origin quadrille from salon french dance, which in turn rises to English country dances. french square dance, coming a long way through secular salts of many countries, including including Russia, began to spread and in the Russian people at the beginning. It is happened in XIX century through serf servants, servicemen people who showed in their villages new dance figures. among the people The square dance has been changing for decades, improved and acquired peculiar movements, drawings, manner performance, taking from the salon dance only some features of the construction and its name, often changed to Russian mode ("Quadrelle", "Quadrille").

Typical features of a quadrille.

  1. Dance paired.

  2. Participate even number of participants, couples

  3. Certain composition is a must for everyone.

  4. Figure-by-figure construction in the folk version from 3 or more.

  5. Every new drawing (figure) are sequentially performed by all pairs (alternately or simultaneously).

  6. Main move saved to all figures.

  7. Whole quadrille sung to a single melody or each figure for its own.

  8. Manner, style and the nature of the performance of the quadrille in each locality and reflects the distinctive features of people's lives, "Whatever the city - it’s a habit, that no village is a custom.

B Yaroslavl rural quadrille is felt influence of the city, it finds expression and in the lines of the costume and in some affectation performance manners (urban merchant manner). Kalinin region was famous textile manufacturing processes cultivation and processing have given rise to a number typical movements that went into dancing, including in a square dance, here heels hit hard, there are a lot fractions, movements are sharp, the manner is small, cocky.

  1. Found in quadrille circling in pairs going on clockwise, but in a general circle counterclock-wise.

  2. Quadrille begins from an announcement leading with an invitation partners, ends with a shrug hands, a bow, a gift.

  3. in quadrille emphasizing caring for a woman many farewells, bows, deep respect for each other.

  4. Quadrille performed: a) at a moderate tempo lyrical;

b) at a fast pace lively, lively.

Musical quadrille escort

  1. Under dance songs that the members sing and the audience.

  2. Under escort instrument accordion, balalaika.

  3. With song and music tools at the same time.

  4. Appeared at the end XIX century ditty organically entered the square dance, may accompany the entire quadrille, but more often separate figures, which are called under a dime. Sing in turn or simultaneously.

Name quadrille

  1. From the name of the place of residence of the city or villages (urban, Shuiskaya, etc. ).

  2. The name defines construction of quadrilles, for example "Circular".

  3. From the number of figures for example gear.

  4. from content or image, for example, a Knot with an idea.

Name shapes

Bright characterize each figure:

  1. From the nature of the movement ("Zadornaya", "Kruteya", "Prokhodochka", "fraction").

  2. From a dance pattern ("Gate", "Asterisks", "Corners").

  3. From attitude dancing among themselves ("Get acquainted", "Squint", "Girls to grab", from 2, from 3).

  4. From song titles under which the figures are performed. ("Seni", "Podgorka", "Mistress").

  5. Figures do not have certain name, but only numbering.

  6. In the figures with the name. ("Kiss", "Farewell", "Kozenka") the participants kissed, the harmonica player stops playing and after cry leading gentleman kisses the lady, kiss follows. "A goat for an accordion player" the girls kissed the harmonist.

  7. Into some figures quadrille included elements of a single dance and a dance in which the participants show their skills reflected in the names of the figures, for example "Stomp with a dance"

  8. From general content the image of the whole quadrille, for example: "Goat", figures - legs, tail, hoof.

Separation figures in a quadrille

  1. Before the beginning next pause, stop, as in music, as well as in dancing.

  2. Announcement to host, the name or serial number of the figure.

  3. Presenter shows the beginning of each figure with a wave of a handkerchief, flood, fractional key or cotton.

  4. All participants clap their hands.

  5. Bayanist gives front each figure a chord or loses introduction.

  6. In the quadrille where accompanies figures of various designs one continuous melody goes the same way demarcations. They have names or numbers shout out at the moment of transition from one figure to another. If a square dance well rehearsed, then do without ads.

  7. Often ending each figure is emphasized with claps, stomps, bows of all performers simultaneously.

  8. In quadrilles can meet during a walk, rest. They stop dancing, the game becomes quieter, couples are walking, talking. At the end, one of the participants or the host announces it.

Shape build: There are quadrilles square, linear, circular

Square (corner) quadrille

Square Quadrille is called variously, often "corner", sometimes - "on four walls" or "in the corners".

Any the name itself defines the construction quadrille. This group of quadrilles, as a rule, performed by four couples standing opposite each other at the corners or sides of the square. Couples settle down in this order: first to the left of the viewer a pair, opposite it diagonally third, to the left of the first pair, the second, opposite her fourth pair. Movement and transitions couples in this group of quadrilles occur diagonally or crosswise.

Therefore the number of couples participating in the dance, should be no more and no less than four, because with such a movement it is different number of couples to take part in a quadrille can not.

Square or corner quadrilles dance all over Russia, but most often they are found in its central regions (Moscow, Tver, Tula, Ryazan). On average Volga (in Nizhny Novgorod, Saratov, Ulyanovsk and Samara regions). BUT also in the Penza and Tambov regions.

B there are many square quadrilles various constructions and transitions of pairs, for example:

a) all pairs converge to the center at the same time and then return to their places;

b) two opposing couples go towards each other to each other and change places; two others couples either stand still or circle;

c) two opposing couples go towards each other to each other and form a circle; after rotation in a circle for a certain number of bars dancing couples disperse back to their places or change places;

d) two opposite pairs converge in center, and the guy of one pair passes to another guy his girlfriend, and himself, left alone, he dances before them.

How these and other rearrangements and transitions often found in square quadrilles performed in various areas. But despite the similarity figure, they differ sharply in performance, as they are always danced in in a manner that is unique to that area, in which this quadrille occurs.

B Tver region most quadrilles fast, with numerous small fractional movements, showing his craftsmanship - performance techniques. Also in the Tver region, like in no other, kissing is common in quadrilles. figures with a kiss in Tver square dances are called "Kazenka", "Farewell", "Strand".

Angle quadrilles of the Tula region are more sedate, than Tver quadrilles, although at the core their also lies the sliding step.

B a number of figures of the Saratov quadrille and Flappers are found in Samara regions, performed by boys and girls or only girls. But crackers like as a rule, there are not in all figures quadrille, but only in some or even in one of the figures.

Square Quadrilles are also found in the Urals. Guys during the dance are very courteous with girls and take care of them. In some quadrille couples do not hold hands, but the ends of scarves or for the little fingers.

Linear (double row) quadrille

B linear (two-row) construction "street" four, six, eight can participate and more couples. The couples are located in order: first pair to the left of the viewer, in another line, opposite it, the second steam, etc.; so to the left of viewer all odd, on the right all even pair numbers. Each couple dances almost always only with the opposing pair. Pairs go at each other at the same time, or one pair goes to another, and this the main thing in the composition of a linear quadrille. Thanks to the freely changing quantity couples, this quadrille can be performed in small spaces and open spaces streets.

Version quadrille in two pairs is called "small quadrille" and is an independent a peculiar form of performance of Russian quadrille. But often during execution new couples tune in to the dancers, but necessarily in both lines.

Linear (double row) quadrille common in many regions of Russia, but most often she meets in Arkhangelsk, Vologda, Kostroma, Yaroslavl, Leningrad, Novgorod regions, in the Urals, Siberia and the Lower Volga, in Astrakhan region.

Linear square dances have their own different rebuilding and transitions of pairs, for example:

a) lines converge at the same time friend and again diverge on their own places, or one line stands still, and the other one comes up to her and goes to own place;

b) pairs of one and the other line through one go simultaneously to the pairs of the other line, left in place. Approaching opposite couples, participants form circles that move counterclockwise.

c) girls form a circle between two lines guys; the circle can also consist of guys.

d) two lines go towards each other; one line passes under the "Gate" another; reaching the opposite side both lines turn around and go to their places, but now under the "Gate" there is another line.

Often at the beginning of linear quadrilles on one guys line up on the other side, and on the other - girls. Then comes the invitation and couples line up one against another. This can happen without music, as well as accompanied by music, being the first quadrille figure. Such the beginning can be seen in "Zelenginskaya" (Astrakhan region), and "Volenskaya" (Yaroslavl region).

Yes quadrille, where both lines consist of the same girls. Such a structure occurs in quadrilles of the Novosibirsk region, Moscow region.

Manner performances of linear quadrilles are very varied. Yes, most quadrilles Yaroslavl and Ivanovo regions performed at a moderate tempo emphasized courtship of girls, many farewells, elegant bows. Girls dance modestly, gracefully. In these quadrille emphasizes deep mutual respect for each other.

B Chukhlomsky district of the Kostroma region dancing "Nozhkinskaya quadrille". dance without a single knock, without a single stomp. The main move is a shuffling step at high half toes.

Most quadrille of the Astrakhan region is performed lively, fervently, at a fast pace. A lot of stomp, stomp, swoops, jumps. Characteristic respect for girls. The main move with a variety hand movements and body position.

Lot various quadrilles exist in the Middle Ural: both fast and slow. In many quadrille meet clapping. Highly a large number of construction figures.

By the end of the quadrille is accepted to thank girls gifts.

Circular quadrille.

B circular quadrille is usually involved an even number of pairs, usually four or six, rarely eight. But there are also exceptions when dancing in a quadrille an odd number of pairs.

Pairs arranged in a circle, their countdown is in a clockwise direction. First the couple is always on the viewer's left.

Circular square dances in many areas Russia, but more often they are found in Moscow, Samara regions, in the Urals and in Siberia.

B circular quadrilles movements of couples and single transitions occur mainly in a circle, counter-clockwise arrows, sometimes clockwise arrows, as well as to the center of the circle and back:

a) the boys stand in their places, and the girls go around in a circle until they reach again to your partners. Or vice versa;

b) the boys and girls walk at the same time circle in opposite directions until they reach their partners;

c) girls or guys converge to the center circle, forming an "asterisk" or a circle; making a full turn, return to their places;

d) boys or girls form an internal circle, facing outward circle; Making rounds with their partner right or left shoulder forward.

Circular quadrilles can be performed simply, with shuffling and variable steps, depending on existing local features and traditions.

Peculiar according to the execution of circular quadrilles of the Samara areas. Guys dance in jackets. At girls a lot of transitions performed with various hand positions.

B Siberia, in the Tomsk region are found circular quadrille. They are performed under accordion, and always with accompaniment ditties. All ditties are sung in quite fast paced, lively, fun, with twinkle.

Figures do not have a specific name, but go under serial numbers.

Quadrille, as a rule, they dance in pairs - a guy and girl, but there are quadrilles that performed in pairs girls or young women. Partners - soulmates.

Stage square dance processing

  1. Reversal of the dance viewer.

  2. Selection of the best characteristic compositional patterns.

  3. Complicate the technical row (to complicate the execution technique).

  4. Mandatory transmission, performance.

  5. Limit Frames time.

    Learn more