The following information is published with ROUNDALAB's permission from the ROUNDALAB Reference Manual compiled by Richard & Jo Ann Lawson, 1987.

Put Your Best Foot Forward

Bob Van Antwerp
Long Beach, California

Each day or evening during a teaching situation, at a workshop or club dance, the caller/teacher/instructor is expected to put his best foot forward. Just what does this mean in his relationship to the dancers or students? Let's take a look at the "IT" factor of successful leaders and callers to determine how directing that best foot forward on a continuing basis has placed them in the category of being a successful caller and teacher.

Every new prospective caller just entering the field must be able to develop within himself such elements as a pleasing personality, good judgment, enthusiasm, excitement, confidence, poise, stage presence, patience, salesmanship and tact. In addition, he must pay particular attention to both his personal appearance and to his attitude.

It is of the greatest importance that each caller must realize that he is an individual in his own right and that only he can direct his personality in such a way that will permit him to be his own best self. By wisely molding the development of this personality he will be able to face the leadership responsibilities expected of him by dancers, students, leaders and callers alike. So, here's some good advice. Be yourself. Don't pattern yourself after another caller so closely that it will detract from your individual personality. Attempting to be like someone else can result in an unsurmountable obstacle to the success you hope to attain. And, above all, don't vie with others for popularity. Let it come naturally.

A very important feature to consider while appearing before any portion of the square dance public is to remember that a smile is the most becoming part of the square dance costume. And there are other factors to consider. How does the caller sound to the dancers, depressed or cheerful, cold or warm? Is he aloof or friendly? Does he talk too fast, too loud, too much? Does he ramble, sound "bossy", sound scared? The voice is so important! How should the caller feel, top of the world (everything's coming up roses, oh, what a beautiful morning, zoom, rise and shine, zip, up and at 'em), or just so-so (can't get around much anymore, etc.)? Just how should a caller act? Actually there is so much to consider. Confidence inspires trust and competence breeds respect; above all, be consistent.

How do others see the caller? What are the reactions of the caller's wife (or husband) and family toward him and the job he is doing? Do they play a part in his success? Is the caller's wife (or husband) involved to any extent and should she be? By all means! It is so important that the partner be a meaningful part of the entire success. That presence of the partner at all dance activities completes the circle of unity of the successful square dance caller team in the eyes of all dancer-participants. How do his students see him? His dancers? What kind of an impression does he make?

One good way of determining how others see us is to tape the program at a dance. Don't ape your calling. Instead, each time you pick up the microphone after an intermission, turn on the tape recorder to pick up what you say to the dancers before the music starts and before you find yourself on familiar ground with your calling. Then, as your calling commences, turn off the recorder. When your patter call is completed turn the recorder on again so that you may "capture" what you say and how you say it. Then turn the tape recorder off when you start your next call. As soon as you draw the singing call portion to a close, turn the tape recorder on and let it run as long as you are on the microphone. At the end of the evening you may have anywhere from ten minutes to one hour of "talking tape". This may give you a shock but it will let you know what impression you have made on others. It will tell you how you ask dancers to do something, how explicit you are with instructions and directions, how well you make announcements, etc.

The word-sounds you project over your microphone and through your public address system will all be there on the tape for you to review. Check it. Is the audience receiving clear, crisp speech response or dull, bossy, uninteresting response. Through this method of taping and personal analysis a correlation can be made in your delivery and in the settings on your equipment. You shouldn't count on the dancers to have an understanding of speaker placement, neither should you count them for helpful advice on microphone usage, amplifier settings or other equipment adjustments. Use this method a few times for your benefit as well as for the eventual benefit of your dancers.

As a leader the dancers need to know where you stand so that, in turn will know where they stand. Remember the old Quaker saying, "All the world is strange save thee and me — and sometimes I think thee is a little strange." Let's face it. Aren't we all? Accept the difference without comment. Create an atmosphere that is warm. Show personal interest and concern for all. Be generous with smiles, words and time. But above all, be sincere in what you do and how you do it.

As each caller gives more of himself in his climb toward the pinnacle of success, he may find that things become a little more difficult as he nears the summit. The sharing of his success with his wife and friends must be revealed, not as a dubious, pointless struggle, but as a magnificent privilege. Let no one think that being a successful caller is easy. Putting one's best foot forward takes a tremendous amount of humility. A caller or teacher too engrossed in his own personal whims and his own opinions will not be able to recognize unexpressed needs and emotions, dissatisfactions, frustrations, interests and weaknesses of his dancers and pupils. A good caller should be interested in himself — for many reasons. He should want to know why he feels as he does, about everything. He should understand the reasons behind his thoughts, emotions and actions. He must express interest in those around him. Continual allusion to the worth and dignity of every human being and an understanding of their interests and needs spells success to the caller and helps to determine how long his success will last.

How Do You Appear to Others?

Let's look at the caller's personal appearance. It's an accepted fact that good grooming alone will not guarantee that a caller will be a good caller or a successful leader. But good grooming will help him to set an example for his students and dancers. Don't let the dancers be placed in the position of having to make a judgment on the neatness, the cleanliness or the appearance of you, their leader. A caller should be a professional all the way and that means in his personal appearance as well as in his mannerisms and techniques.

One of the most difficult hurdles to conquer on the road to becoming a prominent caller in today's square dance picture is the ability to cope with and to accept gracefully the publicity, the praise and the over-reaction some dancers give to the new caller experiencing rapid success. Each individual flattered by this popularity must realize that this instant acclaim can quickly diminish if it is not accepted properly. The plaudits need to be redirected so that they will not foster a situation of accepting the theory that "They can't do without me." They (the dancers) can and will do an about-face when they find that the initial, well developed leadership has gone astray, a victim of "self importance." Consider genuine popularity at its face value — not the "bubble up" variety with a superficial flavor that lacks sincerity.

Consider, if you will, the impression the caller/leader makes each time he stands in front of his dancers with the microphone in his hand. It's difficult to please everyone. However, it shouldn't be said that as a caller you would not accept the responsibility of leadership that must be maintained for the successful continuance of your share in the square dance program. There is no place in this square dance activity for a caller/leader or instructor to be half-hearted, to lack enthusiasm or to be lazy. The values and objectives toward which a good leader strives may habitually change and vary from day to day, from class to class, and from club to club. The willingness to give freely and serve sincerely is just one way each caller/leader/instructor has of "putting that best foot forward."

A conscientious caller must possess an ability to exercise good judgment coupled with a keen insight in dealing with situations that will occur on a regular basis. The method in which certain situation should be handled often makes the difference in the number of requests for repeat performances the caller receives. Judgment requires such consideration as:

1. When to change pre-planned programming in the middle of a performance. Knowing the difference between under-programming and over-programming.
2. What types and what quantity of material should be presented to a particular club, workshop, class or festival audience on any given evening.
3. The daily association with club members before, during and after dance engagements.
4. The correct amount of leadership direction to be given to club officers and members.
5. What amount of personal publicity and promotion should be presented.
6. What salesmanship tactics should be used in obtaining dance engagements.
7. An awareness of dance deficiencies of a group on any given night.
8. Constant evaluation of the dance during evening performances.

All of these can contribute to the direct success or failure of the program due to the ability of the caller to render good judgment. Many mistakes in judgment will be made by the new caller, not intentionally, but usually because of his lack of experience in a new field or because not enough thought has been given to the judgment factor before a step is taken.

Be aware, be concerned, be on top of the situation. Seek out dancer opinions. Have meaningful discussion with experienced leaders or callers without hesitation. Don't jeopardize portions of the dance activity and don't rely on past experiences to be the answer to every new situation.

The caller/leader will naturally be expected to take a stand for or against such things as proper execution of dance movements, dress, the caller's code of ethics, standardization of dance descriptions, local caller and dancer organization decisions and commercialism of the activity. The end result might well be due to the stand taken by the individual caller/leader and the judgment exercised by him in making his decision. The caller/leader has to put his best foot forward when his judgment is so heavily counted on by his dancers, caller associates and the entire square dance activity. Be prepared to exercise a well thought out judgment due to the trust place in you as a leader.

What is Expected of the Caller?

Essentially what is expected of you, the caller/leader, in putting your best foot forward? Dancers may expect many things that the caller cannot justifiably be able to provide. But, generally speaking, these same dancers are not difficult to please, particularly if their caller's leadership is in the right direction. There is one quality that all great leaders possess. They are capable of persuading others to work together under their direction as a team to accomplish certain designated objectives. As long as the leader has this gift, he retains his position. Once he loses it, his reputation vanishes. Once that fleeting quality of leadership is lost, it is extremely difficult to recapture.

Any individual caller/leader putting his best foot forward has to realize that it is necessary to gain insight into the thinking of other people. He must evince a great degree of sensitivity. To fail to see the other person's viewpoint is to fail in the task of leadership. He must not be convinced alone by his own reasoning. He must have a humble awareness of the complexity of human nature. Like an actor on a stage, the caller must identify himself with the role he plays and yet, at the same time, to a degree remain aloof and critical. A successful caller/leader is essentially the result of a complicated interplay of all the virtues and principles mentioned in this chapter and every caller/leader must play the game within the rules, within his own particular environment and according to his own personal qualities and ideals. With this in mind, his best foot will indeed be forward.

About the author: For well over twelve years Bob Van Antwerp has conducted caller's courses, both in his home of Long Beach, California, where his graduates number in the hundreds, and in many areas across the country where he has served on staff at various institutes. Later this month Bob, along with Vaughn Parrish and Jerry Helt, will be conducting the free, three-day caller's seminar and clinic at the 22nd National Square Dance Convention in Salt Lake City, Utah. The Ban Atwerps are long time residents of Long Beach, where Bob manages to sandwich his calling engagements and frequent weekend junkets across the country with his full-time responsibilities as Director of Recreation for the City of Long Beach. In 1971 he started his own square dance recording company, Lucky Records. Bob is a member of The Sets in Order American Square Dance Society's Hall of Fame.

Square Dancing, June, 1973