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

Cueing

Frank & Iris Gilbert
Largo, Florida
American Square Dance Feb. 1978

Cueing is done in many instances with step by step verbal instructions; in other instances, the cuer will use basic terms. We must first realize that dancing is done to the rhythm and feel of the music, therefore it is more desirable to use a minimum number of prompting or cueing commands in order that the dancer may be more aware of the music. This being the case, it should be more desirable to use a figure term instead of the step by step cues, after training has reached the point that the dancer is thoroughly familiar with the basic cue terms. As an example, it would be better to say TWO STEP rather than STEP, CLOSE, STEP, HOLD. The same would apply to scissors instead of side, close, man cross in front-woman in back, hold or scissors thru instead of side, close, both cross thru the center, hold.

A study of step by step cues versus figure cues will reveal many desirable cue terms. Also, it is almost impossible to define in step by step cues the desired principles of a basic figure. Let's use the term WHISK. If the step cues were used about all that could be said would be forward, side, hook behind, which does not indicate all of the principal actions that would normally be included or used by the dancers when reacting to the word whisk. It would be impossible to say step forward on left slight relaxing right knee, step to side and slightly forward on right starting a slight rise, cross left behind rising on the ball of foot (not a tight hook behind) (woman crossing right behind) turning approximately ⅛ turn right face to a tight semi-closed position. Both man and woman lower at the end of third step as next figure is started. It may be seen from this that the step cues cannot reflect in any way the same function as the basic cue term would provide. Again, training of the dancers to react and be thoroughly acquainted with the basic figure requirement is a first must. Many other comparisons can be made; however, they all represent the same point of consideration.

The manner in which the cue term is used is also of extreme importance and must include the standard understanding that cue terms are normally a command for the man and if the movement for the man is different from that of the woman, the man's term should be cued first, followed by the woman's term. As an example: "hitch-scissors" and "scissors-hitch". Also to allow the dancer adequate time to react and understand the full meaning of the cue, certain considerations must be provided. The cue term "vine-twirl" normally is changed to "twirl-vine" in which instance the woman is given time to adjust and get ready for the twirl prior to the actual action and ahead of the term for the man. Another example would be the cue "impetus turn to semi" as used in some instances rather than "open impetus to semi". The impetus turn to semi does not give the dancer adequate time to react to the finished position that may be desired as the term impetus turn can end in either semi-closed or closed dance positions, and the approach and development of the figure by the dancer will be different in each case. Therefore, by using the terms open impetus or closed impetus, the dancer adjusts his thinking and body movements according to the finished position. The open and closed telemarks need to have the same advanced understanding in order that the dancer may react properly. Comments have been made that the term open does not apply, should not be used. However, 99% of our round dance terms do not relate to the steps. Why do we call a two step a two-step when actually the figure is three steps? Therefore, the figure name is only a symbol to represent the steps involved. Once dancers understand and are trained properly, they will react with ease as long as the term always means the same thing. But, when one teacher says it represents one thing and another something else (which is now the case in many instances), confusion results.

We must next, look at the fundamental terms and descriptions that we receive from choreographers of various dances. Often, the cue line provided may use a basic figure that does not match the instructions for performing the measure or measures as outlined by the choreographers in small print. When this occurs, the cuer is plagued with the problem of whether to cue the measure using the cue term provided or use the step by step cue outlined in the small print or use the term that does match the steps and action outlined in the small print. When considering this cueing problem, it must be understood that the choreographer has fit the music or the feel of the dance to the steps outlined in the small print regardless of the cue term provided. For this reason, it is not logical to attempt to change the steps or body movements. In any case, it is only normal courtesy to advise the choreographer of the desired change. It is not reasonable to expect teachers, nor dancers who spend time to study and familiarize themselves with terms to have the term used to represent some other group of steps or actions.

If such a pattern were to be followed, the teaching of basics would be ignored, and dancers would be taught to walk around in sequences without any real understanding of the principles involved in dancing. Round dancing has been built around the principles of doing figures put together in an orderly fashion. They form a sequence, or an "amalgamation," which means a proper flow from one basic figure to another without fudging or manipulating steps or body movements to get into position for the next figure.

Choreographers, when writing new dances, often disregard a study of the dance figures to determine proper amalgamations and, while working the steps of their dances, tend to fudge or anticipate their next move, which often cannot be expressed in writing so that a teacher can anticipate the actions envisioned by the choreographer.

Therefore, the study of basic figures, in order that clear definitions may be established, is a very important factor for the choreographer, so that he may provide better teacher use and acceptance of the dance.

Roundalab Journal, February, 1984