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

Building Round Dancing Through Square Dancing

Bob and Sally Nolen, Instructors in Austin area
Texas Round Dance Teachers Newsletter, July 1984

When we were asked to write an editorial, we, like everyone else agonized over what to write that would be of interest to all of our round dance leaders. It did not take long for us to choose the topic that we personally had been concerned over, the growth of round dancing not only in Austin, but also in Texas and nationally. We are both committed to the idea of round and square dancing growing hand-in-hand. We are very fortunate in Austin to work often with a caller, Clay Hoge, who feels that same commitment - as we think most of the Austin-area callers do. We may seem to be straying in our ideas, so let us "Backtrack" in history.

"It was the custom at the old-time dances to form the sets for a square and while the sets were on the floor to dance through two complete dances or tips. Then a round dance would be played. And it in turn would be followed by the two tips of another square."¹ As we are now introducing square dancing as our national dance, let us try to keep it in historical perspective. The symbol is not accidental. It was intentionally designed as a symbol of the "interlocking friendship" between round and square dancing.

We must look even further to the majority of round dancers - aren't most of them square dancers? Whether we like to admit it or not, the major drawing group for round dancing is the square dancers - not the ballroom dancers. Presently we are not a large enough group to attract many dancers just for the sake of round dancing. Having decided this, how then do we begin to draw more dancers?

The obvious answer to this question is to become more involved with the square dance movement. We realize this is a very difficult goal to accomplish for many of us since there is a night for beginners, a night for intermediates, a night for advanced, etc. We must try to make "a night" for square dancing. After all, let us not be martyrs about the project - square dancing is fun! If you look at a group of square dancers, almost all of them have big smiles on their faces (more so than round dancers!). Where else can you go for $4 - $6 a night for two people and be entertained an entire evening and often served refreshments, too. Additionally, think of the aerobic exercise you will be benefiting from (now if we could only leave off the cookies, etc.). If you look at square and round dancers who are 70 and up compare them to non-dancers of the same age, who is younger.

We have often heard square dance callers say they love calling to round dancers because their smoothness and rhythm is so good. The round dancers have been trained to move to the music. We can tell you from personal experience that we prefer teaching beginner round dancing to someone who square dances than to a non-dancer. Your square dancers are usually accustomed to subconsciously moving to the beat of the music. They have also been trained to listen to commands and then to execute them. As we progress in years, it is so easy to forget that we must listen - square dancers have been retrained in this area.

The Capitol Area Callers Association recently voted to have a three month program of rounds introduced to them. We, Joe Castro and Marguerite Harrell, and Carl and Patsy Dammeir alternated teaching the callers to dance. Some of these callers have taken portions of this information back to their clubs. Others have made themselves visible round dancing at the square dances. After all, we as round dance leaders usually square dance - let's hope that the square dance callers will afford us the same courtesy.

Many square dancers initially balk when rounds are being included in a "square" dance club. If only these dancers would realize the time of a break is usually less - even when two rounds are played - than when there are none. When a cuer and caller work as a team, each is "cued" by the ending of the other's music to "stop visiting and return to his or her business".

Let's also stop thinking of dancers as round or square dancers. Let them simply be dancers. Everyone, at some time, gets bored with the same routine. When a person is involved in both the square dance movement and round dance movement, there is less likelihood of becoming bored and dropping out of the routine. The interest will usually be restimulated at a later time — but he or she is still dancing.

Let's all get out and promote our square and round dance program. It is a good activity and one to be enjoyed by all. Let's try and stop any rivalry that might be felt between the two activities. Remember our symbol . If each of us strives to fulfill that symbol, we'll have a better activity for everyone included.

¹Cowboy Dances, Lloyd Shaw, The Saxton Printers, Ltd. Caldwell, Idaho, 2950, p.70.

Roundalab Journal, April, 1985