choreo-wise - glenn wilson's square dance site · choreo-wise volume 1, issue 1 february, 1998...

Choreo-WiseVolume 1, Issue 1February, 1998

Hi There!

Welcome to 1998 and welcome to‘Choreo-Wise’. If you’re reading this I canonly assume that you have read the‘Introductory Notes’ and the ‘SampleIssue’ and have decided to become asubscriber to the note-service. I hope thatyou get as much out of ‘Choreo-Wise’ as Ido. Putting together a note-service likethis is a great way to learn more aboutchoreography and the language of SquareDance calling.

The notation outlined in the ‘IntroductoryNotes’ to describe a square’s currentFASR allows callers to talk to each otherabout choreography and to have analmost total understanding of what theother person is talking about. Any timethat is spent on learning the meanings ofthe notation and symbols helps toincrease you choreographic knowledge.

The start of a new year is a time for all ofus to think about our plans for thecoming year - promotions, classes, etc.One of the main areas of interest in theN.S.W. Callers’ Association is that ofpromoting Square Dancing. We believethat we have a great product to sell.Already the N.S.W. Callers’ Associationhas commissioned a preliminary planfrom a PR company to work out new waysto bring Square Dancing to the attentionof the general public. I wish Les Heatonmuch success in this area and will let youknow of the promotional ideas as theyare developed.

Any subscribers who have ideas theywould like to share through the pages of‘Choreo-Wise’ are invited to send theirideas to me - I would love to hear fromyou.

Thanks to those who received samplecopies and got back to me withcomments and suggestions. Specialthanks to Allen Kerr for his reading of thechoreography and making suggestions.

Gremlins Department

There are two versions of the‘Introductory Notes’ and ‘Sample Issue’.

The changes have been as follows:

Rohan Clark should have been mentionedin conjunction with Allen Kerr as adeveloper of the abbreviation systemused.

All reference to F.R.A.P. has disappeared.F.A.S.R. is THE acronym for thedescription of the choreographicarrangement of a square.

Abbreviations are as follows:Star Thru ST-Flutter Wheel FLUTTERLinear Cycle LINEAR_CSingle Circle to an Ocean Wave

SCTAWRight Roll to a Wave RRTAWSpin the Windmill SPIN_WIND_+?

In the A-1 Singing Calls the third routinewas missing a Ladies Trade after the Passthe Ocean.

In the Hoedowning section all referencesto F.R.A.P. were replaced with F.A.S.R.

Choreo-Wise: Square Dance Callers Note-service © David Cox Vol. 1 No. 1

Grand Square VariationsEveryone knows how to do a GrandSquare (or a Grand Slide). There are manyvariations on the Grand Square whichdancers will enjoy. Because dancersalready know the general traffic pattern itmakes it fairly easy to teach the followingfigures but they will feel quite different asthe dancers go through the dance.

Chinese Grand SquareBurleson’s Square Dance Encyclopedia(Definition #1544):“A variation to a grand square in which youwalk forward when you normally back up andback up when you normally walk forward.Note: In a normal grand square you alwaysface your opposite while moving forward orbacking up. In the Chinese version you willhave your back to the opposite.”The cue is Sides Back to Back, Heads U-Turn Back, Chinese Grand Square. In anormal grand square dancers turn to facethe centre of the square. In the Chineseversion dancers turn to face out of thesquare.

Men/Ladies Face Your PartnerThe men OR the ladies face their partnerwhile their partner remains facing thecentre of the square.If the men face their partner, when thegrand square begins the ladies will moveto the centre of the square while the menback up to the corner of the square. Alldancers turn and the men then walkforward to their corner’s original positionwhile the ladies back up to their corner’soriginal position. Every one turns, themen walk forward to the centre of thesquare while the ladies back up to thecorner of the square. All dancers turn, themen back up to home while the ladieswalk forward to home. Men are facing thecentre while the ladies are now facingtheir partner. The action is reversed.

Grand Square Like a Daisy Chain

Burleson’s Square Dance Encyclopedia(Definition #456)“From a squared set: Sides Face. 1, 2, 3, turn- 1, 2, 3, reverse - 1, 2, 3, reverse - 1, 2, 3,turn - 1, 2, 3, reverse - 1, 2, 3, turn - 1, 2, 3,reverse - 1, 2, 3, left allemande.”It takes 32 beats like a normal grandsquare.

Unusual Starting PointsSometimes it will give the dancers asurprise to get a Grand Square in the‘middle’ of a sequence.

SS S:_SQT-SPLIT_HSEP@1_L4EVERYONE_FCENTRES_BACK_AWAYGRAND SQUARE

SS H:_ST-DPT-FACE_INPT-BENDPT-BENDCNTR:_BTGEVERYONE:_RLT-ENDS:_BTGCENTR:_PT-CNTR:_STEP_AHEADH:_UTBGRAND SQUARE

This next one is tricky because the headsaren’t home at the start. It is easy to cue,however, everyone is backing away orgoing forward at the same time as eachother.

SS H:SQT-RLT-ENDS_1/2_SASHP_CNTRSIDES_FACEGRAND_SQUARESWING


Varying Numbers of Steps

A grand square requires dancers to walkforward/backwards for three beats ofmusic and then to turn a quarter to facethe centre on the 4 beat of music. Somedancers tend to rush and get home wellahead of the music. The followingroutines will make them work hard tokeep the beat.

SS SIDES_FACE:GRAND_SQUARE(5_steps_only)RLT- L2c

ST- B1c

L_A

SS SIDES_FACE:GRAND_SQUARE(9_steps_only)RLT- L2c

ST- B1c

L_A

SS SIDES_FACE:GRAND_SQUAREHeads_go_3_stepsSides_go_9_stepsDPT-FACE_IN L2c

RLT- L1c

ST- B2o

DIVE-SQT-3 B1c

L_A

SS COUPLES_#1&2_RLT-OTHERS_2W_CHCOUPLES_New_#1&3_RLT-OTHERS_2W_CHCOUPLES_New_#1&4_RLT-OTHERS_2W_CHSIDES_FACE:GRAND_SQUARE(8_steps_only)L_A

In the ‘Sample Issue’ Chain Down the Linewas featured in the Basic pages. Thefollowing routine was sent to me byLorenz Kuhlee, the German Square DanceCaller who has written the WinHashcomputer choreography program,available from Supreme-Audio in theUnited States.

Printed by WinHash 2.0 (c) 1997

H Square Thru 4Swing ThruCntrs TradeCntrs RunTag The LineCloverleafTouch 1/4Cntrs CirculateChain Down The LineSlide ThruPass ThruAllemande LeftPromenade Home

Based on the same idea:

L1p PT-W&DDPT-FACE_INPT-W&DW_TCH_QW_BOX_C8CH_LINE L4p

PT-W&DPT- B1c

L_A

A Simple Idea Surprise TheDancers!

There are a lot of singing calls where youSquare Thru Three-quarters beforeSwinging your Corner and Promenading.If you call Left Square Thru Three-


quarters instead, it has the samechoreographic effect, but will get somedancers by surprise.


Have you ever sat down with a paper andpencil and made a list of all of the figuresthat you can call from a particularformation or that you can call before orafter another figure? Dixie Style to anOcean Wave is a figure which is a littledifficult to use, particularly at MainstreamLevel because we are not in the habit ofdoing much from Left-handed OceanWaves.

The following is a list of the figures thatwe can use to follow Dixie Style to aWave. Some discretion should be used asgood body flow requires, as a generalrule, that the centres work together,rather than with the near end.

BASICAllemande LeftPass ThruU-turn BackCourtesy TurnChain Down the LineDo PasoSee SawLeft Square ThruTo a TharSlip the ClutchExtendSwing ThruLeft Swing ThruRunTradeEnds ZoomCirculate

MAINSTREAMLeft Turn ThruPass to the CentreLeft Spin the TopCast Off Three-quartersWalk & DodgeFoldSpin Chain ThruScoot BackFan the TopHingeRecycle

SS H:_SQT-3COURT_TURNDXS_OWEXT (to a lefty wave)

M:_TRDM:_RUNBEND(Girls roll the Boys)

½_SASH L2p

DXS_OWW:_C8M:_TRD W1c[optional get-out:_L_A]

W:_RUNCPL:_C8FERRISPT-ST- L4p

DXS_OWM:_X-RUNRECYCLEVEER_LBEND L4p

PT-PART_TRD L3o

DXS_OWM:_UTBFERRISOUTSIDES:_1/2_SASHCNTR:_SWE_QCNTR:_DXS_OWM:_PT-M:_RUNCNTR:_VEER_RTCH_QSC_BKM_FOLDDXS_OW (on the double track)

W:_X-FOLD (or X-Run)

SWT-M:_RUNBENDRLT-DXS_OW


SP_TOP (it’s a lefty)

HINGE (it’s a lefty)

W:_RUN B1p

ST- L1p

Get-outs

L1p RLT-DXS_OWW:_C8M:_TRDL_A

B1c SLT-2W:_CHDXS_OWL_A

B1c RLT-DXS_OWFAN_TOPL_A

Set-ups

SS H:_RLT-DXS_OWEXT (to_a_lefty_wave)M:_TRDW:_RUNCPL:_C8BEND L1p

SS H:_RLT-DXS_OWM:_TRDEXT (to_a_lefty_wave)M:_X-RUNRECYCLE B1c

Singing Calls with:Dixie Style to a Wavewith Corner Progression

Heads Lead RightCircle to a LineForward & BackTwo Ladies Chain

Ladies Lead Dixie Style to an Ocean WaveBalanceLeft Spin Chain ThruTurn Corner LeftRoll Promenade

Heads Square ThruTouch a QuarterScoot BackMen FoldTwo Ladies ChainLadies Lead Dixie Style to a WaveSlip the ClutchAllemande LeftPromenade

Heads Touch a QuarterMen Run RightCentres InCast Off Three-quartersEnds RunRight & Left ThruDixie Style to a WaveMen Cross-FoldSwingPromenade

Heads Square ThruSwing ThruMen TradeMen RunBend the LineRight & Left ThruDixie Style to a WaveMen TradeMen RunGirls, Roll the Boys with a Half-SashayPromenade

Get-out from L1P

Recycle from a ½ Wave

L1p P_OWSWT-RECYCLERLG


Equivalent

Pass the Ocean + Spin the TopEquals

Swing Thru


Acey Deucey

When the Plus and A-level programs firstcame out in the late 70’s and early 80’s,Acey Deucey was in the A-1 program.Because of its simplicity it was very easyto dismiss it in the early days as aninsignificant sort of a figure.

There is a lot more to it than meets theeye.

The definition is:Starting Formation - parallel waves, two-facedlines or any formation where all the centrescan trade, and the ends can circulate withoutbecoming centres.Ends circulate while centres trade.

Apart from the obvious formations listedin the definition, Acey Deucey can alsobe called from a ¾ Tag formation,Diamonds, Inverted Lines and 3x1 Lines.

From Ocean WavesNormal & Left-Hand

B1c SWT-ACEY_DM:_RUNBEND L1p

RLT-DXS_OWACEY_D W1c

L_A

From Two-faced LinesB1c SWT-

M:_RUN F4p

ACEY_D F2p

BENDRLT- L1p

From #1 Ocean wavesB1c TCH_Q

ACEY_DM:_RUNREV_FLUTTER L1p

B1c TCH_QFOL_NAB_+SPRTRD_OWACEY_DRECYCLE(from lefty wave, Men are

centres)

SLT L1p

From a ¾ Tag formationMake sue that the ends know how tocirculate from their position. Make surethe centres who they are working with.

Technical zero

B1c SWT-M:_RUN3Q_TAGACEY_DEXTHINGERECYCLEPT-TRD_BY B1c

SS H:_P_OWPP_C8SWT-SC_BKACEY_DEXTACEY_DSWT-


RECYCLEPT-TRD_BY B1c


From DiamondsIf you have people who have done someA-level dancing this might cause sometrouble as they tend to want to do a ‘6x2Acey Deucey’.

ZB SWT-M:_RUNW:_HINGEDIA_C8ACEY_DCUT_DIAFERRIS_+SPRST-CNTR:_PT-ST- L2p

RLT L1p

From #2 Diamond

SS H:_TCH_Q_+SPRCNTR:_P_OWDIA_C8ACEY_DFLIP_DIAWK_+DGBEND

From Inverted Lines

SS H:_ST-_+SPRTCH_QSF_C8TRD_+ROLLM:_PT-ACEY_DW:_RUNW:_PT-ACEY_DM:_RUNPT-TAG_RBEND L1p

From 3x1 Lines

SS H:_TCH_Q_+SPRCNTR:_PT-ACEY_DEND_M:_RUN

PT-½_TAGM:_RUN L1p

Body flow is an important consideration,especially at A-level. Notice the body-flowin some of the following modules.

Set-up Modules

to a Zero Box

SS H:_FLUTTERWHT- B1c

SS H:_SWAP@CLOVER_+SWAP@ B1c

SS H:_SQT-_(on_#3)SWT-HIN_+-X B1c

SS H:_P_OWW:_TRDW:_RUNT&DPT- B1c

to a Zero Line

SS H:_P_OWW:_TRDRECYCLESWAP@SQ_CHT-BEND L1p

SS H:_RLT-L_WHT- L1p


SS H:_WHT-SQ_CHT-PART_TRD L1p

Wheel & Deal from a One-faced line is awell-known figure that has been dancedfor many years. Dancers know it and areusually fairly confident with it. There areseveral figures which are variations on aWheel & Deal. It doesn’t take long toteach them - I have even seen them calledand explained, successfully, at a weekendfestival, without even being taught. Thecaller explained to the dancers what theyhad to do in the middle of a hoe-down.

Wheel & DealThe right-hand couple wheels in-front ofthe left-hand couple which deals behind.

Deal & WheelThe left-hand couple wheels in-front ofthe right-hand couple which dealsbehind.I have also seen this called as a ReverseWheel & Deal.

Wheel, Don’t DealThe right-hand couple, only, Casts In Halfand remains on their own end of theirline.

Deal, Don’t WheelThe left-hand couple, only, Casts In Halfand remains on their own end of theirline.

L1p PT-W&DDPT-1st_CPL_L2nd_CPL_R L1p

L1p PT-DEAL_&_WHEEL

DPT-1st_CPL_L2nd_CPL_RRLT- L1p

L1p PT-WHEEL_DON’T_DEALCPL_C8BENDRLT L1p

L1p PT-DEAL_DON’T_WHEELCPL_C8BENDRLT- L1p

SS H:_PT-SEP@1_L4PT-WHEEL_DON’T DEALCPL:_C8FERRISPT-ST-BENDPT-W&DPT- B1p

B1c ST- L1c

PT-DEAL_&_WHEELPT-SWT-M_RUNFERRIS_+SPRPT-WHEEL_DON’T_DEALCPL:_C8½_TAGHINGECNTR:_TRDCNTR:_RUNBENDPT-


DEAL_DON’T WHEELCPL:_C8FERRISW:_SWT-W:_TURN-SLT-W:_ZOOMPROM

Sight Resolution - Part One

There are a whole pile of different ways tocall a hoe-down.

The first one I used was to memorise acomplete routine. That’s right, when Iwas doing guest calls I would work outcomplete patterns for the whole records.That’s okay when you are just doing theodd guest call. Another method is towrite it all down and then just read it. Theproblem with this is two-fold - you can’treally watch the dancers while you’rereading and if you do watch the dancersyou might lose your place. The nextmethod I used was mental image callingwhere you visualise in your mind wherethe dancers are. It works but you arelimited by the extent of yourvisualisation. Module calling is alsopopular but again callers are limited, inthis case, by the extent of theirmemories.

I was talking with Barry Wonson inNovember last year and he was talkingabout the time that he changed fromusing cue-cards to using sight-resolution.He was in America and he had a pile ofcue-cards to use. However, he was callingto dancers who had not been taught inthe standardised order. This meant thathe couldn’t use his cards because to use

some of the higher level cards withfigures which the dancers had beentaught some of the cards would alsocontain lower level figures which theyhadn’t been taught. The solution was tothrow away the cards, and call by sight.

The easiest way to start to learn to sightcall is with 2-couple resolution methods.This means getting the square into aknown formation, such as a zero box(B1p). From this point you call onlyfigures that keep those four facingdancers together. As long as you cankeep them together, all you have toremember is where two of the four werewhen they were in a zero box (e.g. man#1 and lady #4). When you want to call anAllemande Left all you have to do is re-arrange those four dancers so that theyare back to the same position as at thestart (i.e. with your two key dancersfacing each other and with man #1 in thecentre and with lady #4 on the outside).

Another way to practice two-couple sightresolution is to call a mini-square (i.e. atwo-couple square instead of a four-couple square.

Sight resolution allows the caller greatflexibility in as much as you are free toconcentrate on what the dancers aredoing and to change your call at any timein response to what is happening on thefloor.

It does, also, require more work from thecaller and can be a little bit scary,especially at big functions.

The Sight-Caller needs to have a greaterunderstanding of body-flow. As the callerputs together spontaneouschoreographic combinations the callermust have a good knowledge of how thefigure works. By that, I don’t just meanknow its starting and finishing positionbut how the human body works. Dancingis moving to music. If you can puttogether sequences with good, naturalbody-flow, not only will it feel better forthe dancers but they will have a betterchance of being successful.

The Sight-Caller also needs to spend timeplanning an evenings program. Withoutproper attention to highlightingparticular figures, patterns, etc.


throughout the evening, it is very easy fora Sight-Caller to fall in the habit of callingthe same sort of thing in each bracket,and in the process depriving the dancersof much of the pleasure that comes fromvariety.

It can be scary using sight-resolution at abig dance - but it gives you a realflexibility which is worth the extra effort.


From #3 & #4 Lines

#3 & #4 lines are those where one coupleis normal while the other couple is half-sashayed. The effect of this is to haveeither the ladies in the middle and thegentlemen on the ends or visa versa.

This allows relatively simple andstraightforward combinations of calls tofeel quite different to the dancers. Watchfor the expressions on their faces thefirst few times that you call these.

Corner progression

Heads Square ThruRight & Left ThruVeer LeftLadies TradeCouples CirculateTag the LineFace InForward & BackSquare Thru Three-quartersSwingPromenade

Heads Square ThruSwing ThruMen RunLadies TradeCouples CirculateTag the LineFace InBend the LineSquare Thru Three-quartersSwingPromenade

Heads Square ThruRight & Left ThruVeer LeftLadies TradeCouples CirculateTag the LineFace InPass the OceanCentres TradeRecycleSwingPromenade

Heads Square ThruRight & Left ThruVeer LeftLadies TradeCouples CirculateTag the LineFace InPass the OceanCentres TradeSwing ThruSwingPromenade

Heads Touch a QuarterBoys RunTouch a QuarterScoot BackHingeLadies TradeSwing ThruBoys RunTag the LineFace InSquare Thru Three-quartersSwingPromenade


Information Courtesy of:Turner Record & Tape Service42 Downey DriveManningWestern Australia 6152

Best Selling Records for December

1. Somewhere Over The RainbowQuadrille 920

2. She Works Hard For The MoneyHi Hat 5209

3. This Ain’t No Thinking TimeESP 1022

4. Theme Time (Hoe-down)Car 36

5. C’est La VieGolden Eagle 0034

Best Selling Records for November

1. What A Day For A DaydreamAussie Tempos 1004

2. Alabama JubileeRhythm 238

3. Ghost Riders In The SkyHi Hat 5206

4. Waiting For The Robert E. LeeBlue Star 2439

5. BlueHi Hat 5207

New Releases - January ‘98

· Singing In The Rain - Chicago Country 51(Jody Serlick)I reviewed this release with dancersand comments were good. A slowerpace record with rain and thundersound effects, it’s certainly worthtrying.HDS SQUARE THRU - RT HAND STAR - STAR LT IN THE CENTRE - SLIDE THRU - PASS THE OCEAN - BOYS TRADE - GIRLS TRADE - SWING - PROMENADE

· Senorita - Desert Records 81(Frank Sanders)

· They Call The Wind Mariah - Eagle 3404(Susan Packer)

· Rolling With The Flow - Global 919(Jerry Junck & Daryl Clendenin)Global usual good standard with some good harmony on the vocal side.HDS SQUARE THRU - DOSADO - MAKE A WAVE - GIRLS TRADE - RECYCLE - STAR THRU - R&L - SQUARE THRU 3 - SWING - PROM

· Let’s Twist Again - Hi Hat 5210(Tom Miller)I’m pleased to see this re-released as itbecame non-available on the eurekalabel. You can have some fun with thedancers with this tune, “com’ oneverybody, lets twist awhile”.HDS PROM ¾ - SIDES PROM ½ (follow the sides) - DPT - LEADS PARTNER TRADE - R&L - SWING THRU - TURNTHRU - TAKE THE CORNER - PROMENADE

· Mighty Quinn - Sting 318(Paul Bristow)


A tune that everyone knows from the60’s and both Sting and Paul have done agood job.HDS PROM ½ - SQUARE THRU - SWING THRU - BOYS RUN - COUPLES CIRCULATE - WHEEL & DEAL - STAR RIGHT ½ - GIRLS TURN BACK - SWING - PROM


January 1998 record review . . . .By Brian Hotchkies

8 Kato CloseKanwal, NSW, 2259

ROCKABYE YOUR BABY

Chinook 131 / Daryl Clendenin / Mainstream

The tune is one that Al Jolson made popular somany years ago. It’s a song that most peoplewill know and be able to sing-along with. Inmany cases when a popular tune is recorded inSquare Dance time, the original feel of therhythm which helped to make the song popularis destroyed, or at least badly bent, but this isnot the case with Chinook 131, the originalmood is preserved, and the instrumentation isvery well arranged and recorded, all of whichshould help to ensure good sales for this record.Vocal/Music balance is good, and there is alittle vocal harmony on the instrumental side.

Intro., Break & Closer choreography is straightforward, featuring a Grand Square, and FourLadies Chain.

Figure: Heads Square Thru, Right Hand Star,Heads Star Left, Touch ¼ (with corner),Scootback (twice), Swing, Prom.

LET’S TWIST AGAIN

Hi Hat 5210 / Tom Miller / Mainstream

Yes, this is the song by Chubby Checker whichstarted the “Twisting” craze in the 60’s. Musicis very up-tempo, with key modulations for thebreak and closer and a good driving rhythm thatwill (if called well) get the Dancers really turnedon. This record was originally released in Nov.1988 on the Eureka label, but has beenunavailable for many years, so many callers willwelcome it’s re-issue.

Intro. Choreography differs from that suggestedfor the Break & Closer, but in both cases it isvery conventional.

Figure: Heads Prom. ¾ (Sides Twist), SidesRight & Left Thru, Pass Thru, Touch ¼, Walk& Dodge, Partner Trade, Slide Thru, Squarethru ¾, corner Swing, Prom.

GOODNIGHT SWEETHEART

Red Boot 3067 / Mac McCall / Plus

Not the “Goodnight Sweetheart” that Iexpected to hear when I put the record on, butnever the less an excellent tune recorded in 4/4time, which provides the Caller with a goodchange of pace option. Instrumentation is up tothe usual good standard that you expect fromRed boot. Mac has what one lady Cancerdescribed to me as a “come to bed” voice! Imust admit that it does not have that effect onme! But it is very pleasant to listen to.

Intro., Break & Closer choreography fits themusic very well, and there is nothing tricky orunusual.

Figure: Heads Square Thru, Right Hand Star,Heads Star Left (to corner), Single circle to anO/W, Boys Trade (twice), corner Swing, Prom.

IT’S WHAT I AM

Rockin’ M 1002 / James Reid / Plus

Good driving instrumental with a great vocalon the flip by James Reid from Adelaide, southAustralia. This is James second record (WayOut West was his first), and if you can call itlike him, you should ask your Club Committeefor more money. James is very good withchoreography, and the Plus figure supplied withthis dance is a good example of his handy work.Figure is interesting, and the body flow isexcellent - I’ve stolen it for my collection.

Intro., Break & Closer is very straight forwardBasic choreography.

Figure: Heads Square Thru, Touch ¼, FollowYour Neighbour, Left Swing Thru, Trade TheWave, Boys Run, ½ Tag, Split Circulate(twice), Corner Swing, Prom.


Printing Schedule ’98

1.1 February 6th

1.2 March 13th

1.3 April 17th

1.4 May 22nd

1.5 June 26th

1.6 July 31st

1.7 September 4th

1.8 October 9th

1.9 November 13th

1.10 December 18th

2.1 January 29th, ’99

ÌTo Abbreviate

or Not to Abbreviate!

The jury seems divided on this one. It isabout 50/50 at the moment. Some of youlike abbreviations and some of you don’t!

I guess the bottom line is, “Do they makeit easier to read?” I think so, but anyabbreviation system must have someparameters to ensure that it serves thepurpose rather than being an end in itself.

Abbreviations should be a bit like streetsigns. You should be able to glance atthem and not actually have to read them- just looking should be enough.

I’ve tried to keep abbreviations short,usually less than 5 characters. The use ofthe underscore between different parts ofthe abbreviation is to force the computerprogram I use for storing choreography tokeep each figure together. When it wantsto start a new line the breaks fall betweenfigures rather than between parts offigures.

I have tried to be as consistent as possible.For example, Single Circle was a real

problem in as much as the SCabbreviation had been used for “scoot”. Ididn’t like using it but thought thattacking TAW (to a wave) directly on theend would make it impossible to getmixed up.

One of my favourite abbreviations isO4_4 (Circle Four, to a Line of 4), butunless you know what it is standing for itlooks, at first glance, a little arbitrary.

The key to successfully using anabbreviation system is to use it frequentlyand to use it consistently. I’ve been busyentering choreography on a data baseover the last few months and then, as Iwent over it to remove inconsistencies, Iwas stunned by how many slightlydifferent abbreviations I had used for aparticular figure.

I sometimes use written notes, especiallyfor singing calls, and I find them mostuseful when the font is large and clear,and the abbreviation is short enough thatyou don’t have to read it.

Thanks to Brian Hotchkies & Steve Turnerfor their contribution to Choreo-Wise.Special Thanks to Allen Kerr for his adviceregarding choreography.


choreo-wise - glenn wilson's square dance site · choreo-wise volume 1, issue 1 february, 1998...

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