The Evolution of Modern Western Square Dance Calling Calvin Campbell _________________________________________________________________________________ I have been going through some documentation of some of callers schools. My impression is that becoming a MWSD caller today is much more work than when I started calling. “Fun”, to me has always been the only objective of calling square dances. People dancing together with other people as a team effort. Enjoying the music, and the comradeship. Putting the wind in their faces as you moved the dancers smoothly and quickly through the dance routine. As a new caller, my only job was only to see that people had “fun”. That meant delivering the calls so that dancers didn’t have to stop and wait while I figured out what I wanted them to do next. It wasn’t a contest between my knowledge and their knowledge. It was a cooperative effort where we worked together to create something beautiful and always “fun”. I started square dancing in the 1940s. Every dance routine was memorized by the caller and often by the dancers. Each dance routine, then, had a long history. Most of them had been danced close to the same way for 40-50 years. Depending on the area of country, these dances might be done with precision and elaborate styling or maybe with abandon and wild swings and kicks. Either way, the dances were “fun”. When I started calling in 1955, as a student in a college square dance club, the dances were the same dances. The young college dancers often added fancy twirls and stying, but the timing was same. To become a caller, you picked out a “named” square dance routine, such as “The Texas Star” and you learned the words to that dance routine. You could change the wording to fit your way of “calling”, but you did not change the choreography. This was because the dancers enjoyed the choreography the way it had always been danced. Soon after I started calling, new “named” dance routines started to be published. Sets-in-Order magazine was often the source and some local caller’s associations started publishing new material. As a caller, you learned new dance routines as you needed them. However, you were careful to usually call dance routines that the dancers already knew or were willing to learn. Why, because the objective of the square dance was to have “fun”, not to try and learn some caller’s new figure he had just invented. Being a popular caller consisted largely of staying with dance material the dancers knew. Being more popular consisted of knowing how to deliver the calls with precision timing and clarity. Being most popular consisted of having a good voice that dancers could hear. Having a good singing voice was not necessary as long as you could carry a tune. In the world of “traditional” square dance calling, this is still largely true. The change to Modern Western Square dancing in Colorado, started in the late 1950s. It became popular to take a chunk from one dance routine and add it to another chunk from another dance routine. These were really “modules” that usually started and ended in a Zero Square. A Zero Square is different than a Static Square because the set is resolved, but you might not be at home position. In 1957 the Chicken Plucker was “published”. That was followed, by ocean waves and the complexity of calling and square dancing was off to the races. Traveling callers, in particular, were fond of inventing so called “basics” by the dozen. Becoming a new caller was still pretty easy. Stick with the tried and true dance routines and you could still please the dancers. There was lots of material available in numerous publications, books, newsletters and records made by the famous and not- so-famous. All the callers had to do was to read and listen and pick and choose what he/she wanted to learn and call. Each caller had a “little loose leaf black book” with pages filled with the current “modules” he was using. This situation lasted all through the 1960s. About 1970 the acceptance of Box 1-4/Zero Boxes/Corner Boxes and 1P2P Lines/ Partner Lines had been passed around most of the nation. A book named “Instant Hash” was published by Rickey Holden and Lloyd Litman in 1961. Few callers understood many of the concepts in that book, but Box 1-4 and 1P2P lines became common check points/stations for most callers. At about the same time, some callers were experimenting with other ways to call square dances such as “sight calling” and “image calling”. Les Gotcher published a book about calling in 1961. The Keys to Calling was also published in 1961. Several books on calling were published by Jay King. By 1975 the concept of Zero Boxes (Box 1-4) and Zero Lines (1P2P) had become accepted. There were many many “modules” published using these stations. I published a book in 1975 with about 400 modules organized around these checkpoints and it was very widely accepted by the square dance callers of the world. “Sight calling” and “image calling” were gaining ground, but they weren’t being used as much as “memory calling” and “modules”. The majority of newer callers still had a reasonability easy path to become popular square dance callers. Just research good dance material, memorize it, and call a dance. This meant that a lot of the same dance material was being used by multiple callers. The dancers didn’t care. They were having fun. The caller’s had a very wide range of choices of dance routines/modules to use. The choreography was usually well tested and the dancers weren’t really interested in always having something new. In terms of numbers, Modern Western Square Dancing was at or close to the greatest popularity it had ever experienced. The decline of the popularity of Modern Western Square Dancing really started about 1980. It was gradual ,at first, and then the pace quickened. There have been many reasons named for the decline in the popularity of Modern Western Square Dancing. However, the change in how square dances were called, and that type of square dancers that were attracted to these callers has to be considered in analyzing why the decline in popularity happened. “Sight calling” was viewed by many newer callers as a release from the drudgery of memorizing dozens, maybe hundreds of square dance routines and modules. Some callers became very good at “sight calling”. Most newer callers just learned to just move people around. The dancers who liked this new style of calling stayed in the recreation. The dancers who didn’t like the new format either left square dancing or stayed away from the “sight callers” who were not up to the task of calling fun dance routines. The process of learning to “call” became much more difficult for new callers. The callers that had an in-depth background in memory and modules, had a much easier time of doing some “sight calling”. They used a mixture of memory/modules and sight calling and kept most of the dancers happy. This slowed the decline in popularity of modern western square dancing for many years. So, now let’s move up to the present. Most of the callers who learned to call before 1980 are retiring or have retired. The majority of new callers now aspire to be “sight callers”. Acquiring the skill to “sight call” well, is a multi year process. It takes extensive practice. It also requires more in depth understanding of square dance choreography than prior calling systems. While callers acquire the necessary skills to “sight call” well, the dancers are subjected to many years of substandard performances by these callers. Many of these callers will never master the necessary skills, but square dance clubs hire them because they need callers of any caliber. The dancers have to be dancers that like having to respond instantly to changes in the sequence calls are presented. There are not many dancers who can do this or are willing to try. There are still new memory and modular callers. However their numbers are small and the opportunities to increase their skills are few. The callers who teach caller’s school tend to teach “sight calling” first and then to also include some sessions on module calling and image calling. Calling memorized routines or reading dance material from cards has been frowned upon for many years now. The real losers in all this has been the dancers. Sight callers often either call really boring dances or get so involved in the complexity of what they can cal, using sight calling techniques, that the dancers have to either become very expert dancers or quit square dancing. If you look at images of square dancers over the years on places like YouTube, there has been an obvious decline in the quality of “dancing” that you see in the images. They are not smooth dancers. The dance routines are not very will executed by the average dancer. To the viewer, square dancing does not appear to be fun or that the people dancing are having fun. For the older callers, it has become a nightmare. If you are an “old caller”, like me, there is little to encourage me to continue “calling” square dances. Most of the square dance material I used to use cannot be called because the dancers don’t know enough to successfully dance the dance routines. If I attempt to call with proper timing, many dancers will not be able to keep up the pace. The smiling faces I used to see are gone. These have been replaced with frowning dancers, wandering from point to point. In all this evolution, the dancers have had very little say. They either did what the caller’s called or didn’t come back to the next dance. That is not unusual. In most recreations, the participants like or dislike what the leadership offers or they vote with their feet. Up until the 1980s there were enough dancers that liked what callers were offering that modern western square dancing that the halls were filled with enough dancers that the bills could be paid. Then, the product that was being offered started to become something that did not please enough people. A lot has been said about the reasons why this occurred. The bottom line is that Modern Western Square Dancing evolved into a product that is only acceptable to a very small percentage of the population. Callers have also evolved and are continuing to evolve. Most of us are not presently in tune with the public we would like to serve. This means it’s up to us to change what we are doing to better meet the expectations of the general public or quit moaning and groaning about the decline in the number of modern western square dancers. We caused the problem. We have to fix it. Social Square Dancing is the current attempt to change what has happened. Whether it is successful or not will depend on the callers. If it succeeds, we will see growth in the population of dancers. Some of these dancers, over time, will move to the other programs. The majority will be happy with Social Square Dancing. There needs to be a serious conversation about Social Square Dancing should be. We can’t afford to repeat the old mistakes that happened.