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

Helpful Hints for Cueing Rounds

Ray & Ivy Hutchinson
From Toronto and District Square and Round Dance Association Notes

Timing—

Your timing of the cues is quite critical. A knowledge of the music is essential and you must develop the practice of giving the cue about one to two beats ahead of the start of the measure.

Projection—

The dancers will gain confidence in themselves if you are confident in your cueing. For this reason it is always best to be well practiced before cueing any new dance.

Voice control—

Your voice should be well modulated with enough variation of tone to keep your listeners enthused. A flat monotone is to be avoided at all costs. Don't raise your voice or lower it to a point that it is difficult for the dancers to hear.

Delivery—

Be clear, concise and avoid the use of unnecessary words that can cause possible confusion.

Watch the dancers—

You must watch some competent dancers to assure yourself that your cues are effective. Your sense of timing will be greatly enhanced as a result.

Give good direction—

Clarity is of paramount importance, especially to dancers who may be new to the dance that you are cueing. Many dancers may be encouraged to try a dance that is not fully familiar to them if good directional cues are provided. Such things as positions, hand holds and facing directions are the most important.

Imagine that you are the dancers—

Many different rhythms are used for rounds — two-step, waltz, foxtrot, quickstep, cha-cha and rhumba, to name a few. It may come as a surprise but lots of dancers don't know the difference at first. You must be able to relate your cueing to the music, whatever the rhythm.

Give cues in conventional terms—

Most cues are given in two measure groups. Try to conform to that format. Cues in larger groupings are hard to memorize and the dancers can lose the rhythm if their sense of timing is less than perfect.

Inspire confidence by example—

If the dancers sense that you are well versed in the routines and you convey a sense of enjoyment in your voice, the floor will reflect your example.

Cues for the woman when needed—

Most cues are understood to be for the man and accepted as such, however, don't forget that the woman may, on occasion, be required to take a different action and a timely direction is very helpful.

Give extra help but don't be distracted—

Sometimes you will be tempted to add a few helpful cue words to help dancers who may be in difficulties. By all means help if you can but not to the extent that you risk losing the entire floor by so doing.

Try "now" cues if the rhythm becomes lost—

On occasion newer dancers will lose their timing. When this happens it often helps if you add the word NOW just ahead of the time that the actual measure starts.

Use the cue sheet if you must—

Have the cue sheet handy. We don't all have photographic memories and we can and do lose our places sometimes. If you have the cue sheet handy you can at least take a quick glance to get back on track without losing the floor.

Tell beginners that you are cueing ahead—

You will find that beginners will try to keep right up with your cues. Make it clear that there is a lead time that gives them time to prepare for the next measures. Show a practical example on the floor if it helps.

Use terms that are in general use—

Make sure that the terms you use when cueing are ones that are generally recognized and accepted. This is most important at "open" dances where dancers may be hearing you for the first time.

Be yourself—

Whatever happens make quite sure that you behave in a natural fashion. You will come across to the dancers much more effectively. Never forget that you are nothing without them! If the floor breaks down, be cheerful and don't be afraid to take the blame. The dancers are there to enjoy themselves and you can be the one to ensure that they do. They will if you do a good job on the mike.

American Squaredance, August 1984