Recently on Facebook, I saw a discussion on square dancing. This is something I used to believe was totally Southwestern American. In fact, it's a blend of national dances from Western Europe and the United Kingdom.
When
I was growing up in Lubbock, Texas, dancing in school was not allowed. We
could, however, learn “folk games” in physical education class. I loved them
and looked forward to that six weeks each year. After high school graduation, I
became a student at Texas Tech. First semester there, a guy asked me to the
western dance held each Friday, and I accepted. I didn’t think I knew how to
dance western style, but I had this great skirt that would be perfect. (Yes, I
was pretty shallow, but I was 17, so give me a break.) Imagine my surprise when
the dances were the folk games I’d learned in school.
The Traveling Hoedowners
Whirl and Twirl in Orlando,
Florida. Paul Place, caller
According
to the Mid Atlantic Challenge Association, the square dance is an American
institution. It began in New England when the first settlers to New England (not
counting the Puritans) and the immigrant groups that followed brought with them
their various national dances: the schottische, the quadrille, the jigs and
reels, and the minuet. I’m including one of my favorite videos below, in which
Queen Elizabeth II is show dancing a round dance that greatly resembles a
square dance. That’s Prince Charles dancing with his grandmother, the Queen
Mother. Thanks to Loretta Chase and Susan Holloway Scott for including the
video on their blog, “Two Nerdy History Girls.”
Queen Elizabeth Dancing at Balmoral Castle, Scotland
Lacking
the organized recreation of today, hardworking New England pioneers felt a need
for activity that provided recreation as well as social contact with neighbors.
Settlers gathered in the community center, a barn, or wherever there was room
on Saturday evening and enjoyed dancing their old-world favorites. Communities
grew and people of different backgrounds intermingled, and so did their dances.
As the repertoire increased, it became increasingly difficult for the average
person to remember the various movements.
In
almost any group, however, there would be at least one extrovert, the
hail-fellow-well-met, the life-of-the-party type, with a knack for remembering
the dance figures. With typical Yankee ingenuity, the settlers let this person
cue or prompt them in case they happened to forget what came next. In due
course, the prompter (or figure caller, as he became known) acquired a
repertoire of various colorful sayings or patter that he could intersperse with
the cues. This is the manner in which square dancing and its director (or
caller) developed. Initially, each square consisting of four couples had its
own caller. With the introduction of microphones, only one caller was needed.
In
the early 1930's, Henry Ford became interested in the revival of square dancing
as a part of his early New England restoration project. Mr. Ford used to
vacation at the Wayside Inn in Sudbury, Massachusetts. There he became
interested in the dance program conducted by a dancing master named Benjamin
Lovett. (I can’t help but wonder if he was an ancestor of Lyle Lovett.) The
program included the gavotte, mazurkas, the schottische, the minuet, the
Virginia reel, and other squares and rounds. Mr. Ford tried to hire Mr. Lovett,
who declined, pointing out that he had a firm contract with the Inn. This posed
no problem for multi-millionaire Ford, who simply bought the Inn and Mr.
Lovett's contract and took Mr. Lovett back to Detroit with him. Isn’t money
grand?
In
the Detroit area, Mr. Ford established a broad program for teaching squares and
rounds, including radio broadcasts and programs for schools. He built a
beautiful dance hall in Greenfield Village and named it Lovett Hall. It is
still in use. His efforts captured the interest of other individuals who then
modernized the activity so that it would appeal to contemporary America while
retaining its basic flavor. Square dancing groups began to form hither and yon.
By 1948, square dancing had reached the level of a fad and there was some
concern that interest would be short-lived.
Folk
dancing also received a major boost in the 1920's when the New York City public
schools, the first major school system to do so, made folk dancing a required
activity. But Lloyd "Pappy" Shaw should received primary credit for
square dancing's modern revival. Shaw was superintendent of the Cheyenne
Mountain High School in Colorado during the 1930's. Shaw shared his enthusiasm
with his students and offered summer classes for dancers, callers, and national
folk dance leaders. Returning to their respective homes and communities, the
square dance revival began. Shaw's enthusiasm could not be contained in
Colorado. In 1938, he organized a student demonstration team that performed
exhibition dances in Los Angeles, Boston, New York and New Orleans.
Saint George's Day Dancers in Sheffield, England
The English ancestor of our modern square dance was the great Morris dance. There are several variations of this dance, but the one shown above matches the one my husband and I saw when visiting England. Originally, it
was an exhibition dance done by trained teams of Morris dancers - six men
(women did not participate) in two rows of three. Later on, in the 17th
century, country dances became all the rage in England. Many were longways or
line dances, and some believe that the contra got its name either from a
mispronunciation of "country" or from the fact that the dances were
done in two, opposing lines. At the same time, people did "rounds for as
many as will", some of which resembled the choral dances often danced in
the naves of English churches.
Michael Martin Murphy and the
Schottishe at the Cowboy's
Christmas Ball, Anson, Texas
The
French adopted and modified the English country dance and called in the
Contredanse Anglais. They also produced the form of dance known as the
Quadrille (a term which originally referred to a card game). It is the
Quadrille that most people point to as the grand-daddy of our modern square
dance. However, history shows that "Dull Sir John" and "Faine I
Would" were square dances popular in England over 300 years ago. The
French also developed the Contredanse Francais or Cotilion (later changed to
Cotillion), a dance done in a square formation with eight dancers.
The Quadrille as it would
have been danced in 1815
The
vital link to this past was the dancing masters that came to this country with
our forefathers and brought with them the dances of their homeland. One of the
earliest records (and there are not many) of these dances is contained in the
works of John Playford, a musician and dancing master. His book, "The
English Dancing Master - Plaine and Easy Rules for the Dancing of Country
Dances, with Tunes to Each Dance" was published in seventeen editions
between 1650 and 1728 and contained 918 dances. Meanwhile, couple dancing was keeping
pace. The French had a round dance called the branle, and there was the gavotte
and the minuet. It was that most daring of all dances, the waltz, that created
quite a stir when it was introduced, for it permitted the gentleman to hold his
partner in close embrace as they moved about the floor. That position, which we
now call closed dance position, was known for many years as the waltz position.
President
Ronald Reagan made square dancing the National Folk Dance 1982-1983.
Wherever
you live, nearby square dance lessons are offered. They're a fun way to get exercise. Do you ever go square
dancing?
