Thanks for the advice and suggestions so far.  Many of the suggestions that you 
all make are fairly generically about good practices when calling squares in a 
traditional setting, and I almost entirely agree.  I appreciate the specificity 
and thoughtfulness especially of Mac's and Woody's comments about style and 
approach.  

Just for context:  I have been calling contra- and square-dances for over 
twenty years, at community dances in Tallahassee, Gainesville, Jacksonville, 
and occasionally elsewhere.  This last year I organized and called four special 
Sunday-afternoon dances locally that were all-squares (which I used as license 
to do some other non-contra set dances as well….).  I usually call one or two 
squares at each community contra-dance that I call.  I have been working on 
getting better at several different styles of squares, including western and 
southern squares as well as New England squares, and recently have added a few 
singing squares to my repertory.

So, if I may modify my question a bit:  Do you have specific squares or figures 
that have worked well for you in this context?  I realize there are hundreds, 
if not thousands, to pick from.   Which ones do you reach for most often when 
you want to call a square in an evening of mostly contras?

Richard


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Personally, I like to dance and call squares as much as contra dances, but in 
many locales there is a strong preference for contras. If you were going to 
program a square or two in an evening otherwise devoted to contra dances, which 
ones would you pick?  Or what would be the characteristics of squares that you 
think would make the contra devotees say "That wasn't so bad after all"?  (This 
is assuming you have asked and the organizers haven't told you they expect all 
contras). 

I am programming this Friday's Tallahassee dance right now, so this is not just 
an academic question.  

Richard Hopkins
[email protected]
850-894-9212
850-544-7614 cell
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Richard Hopkins

850-894-9212 (home)
850-544-7614 (cell)
[email protected]


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