This growing list highlights what I believe are the fundamental aspects of optimal square dance calling. I refer to these points from time to time to help improve my sight calling and/or evaluate written material.
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Choreographic Flow
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Timing
Timing is a powerful tool that professional callers use to great effect. Timing tricks can be so subtle that they go unnoticed to even those with many years of calling experience.
As natural as it is to want to start dancing on beat one, it is also natural for lyrics to start on beat one. This leaves the newer caller in a quandary. If you give your commands in place of the lyrics - typically beginning on beats one, the dancers will begin hearing the first syllable of your call on beat one, hear the last syllable on beat two or three, interpret those syllables as a call name, think about their place in the formation and their roll in that call, and then finally step off to begin their dance action, hopefully on beat 4, but possibly on 5 or 6 if they have to think, or re-think a wrong anticipation.
You can potentially offer a better dance experience by "prompting", that is, thinking of the dancers, and timing THEIR actions to the music rather than your words. You need to take into account how much you're going to say, and how much time they'll need to think. You probably already do this for Grand Square: 1 - 2 - 3 - 4 - Sides - Face - Grand - Square - 1 - 2 - 3 - 4 -... As you develop your calling skill, more and more of your calls can be issued in a similar way offering your dancers an ever improving dance experience.
Unless you can prepare or create call mini-sequences that total 8, 16, 32, or 64 beats in length, it is generally only the first call that can reasonably be expected to fall on beat one. After the first beat, it is usually satisfactory to keep your calling aligned to 2 beats: ONE two THREE four FIVE six SEVEN eight... Unfortunately a number of square dance calls take 3, 5, 10 or other non-even number of beats to complete so some fudging of the timing is required. (This is an advanced calling skill I wish I knew more about so I could share more with you!)
As you think about how exactly you want to time your calls, review the section above "Account for thinking time" and practice. Then watch as you deliver your calls as you had practiced to see how your dancers respond. Did they step off when you expected?
Difficulty
Judging the difficulty of a series of calls is crucial to your success. It can also be the most daunting. There are many factors that interplay to affect the overall difficulty.
Variety
Programming
As a dancer, I enjoy a dance with a distinguishable beginning, middle and end
Showmanship
Avoid...
Be aware of personal difficulties
It's a regular night, but dancers seem to be making more mistakes than usual, tempers are short, folks may simply not be as polite as you (or they!) are used to. What's wrong? Many things could be. Consider...
If you find yourself getting upset at someone - Stop and consider...
Some Closing Thoughts