Perched on a series of hills in north central West Virginia, Morgantown is best known as the home of West Virginia University. Every other Saturday during the fall, winter and spring the following notice appears in the "Meeting Memos" section of the Morgantown Dominion Post:
ROUND AND SQUARE DANCE will be held from 8:30-11:30 pm at the Marilla Recreation Center with the Country Strings Band and Worley Gardner as caller.
Marilla Recreation Center is on the outskirts
of town and dances have been held there regularly for many years.
Worley Gardner took over as caller in the early 1970's. He was
born in 1919 in Blacksville, West Virginia about fifteen miles
northwest of Morgantown. His father and most of his eight brothers
played music and he began playing guitar and mandolin at square
dances as a boy. Gardner had been playing square dance music for
twenty years before he started dancing and eventually calling.
He learned many of his calls from the late "Buckwheat"
Lemley of Blacksville to whom he gives credit for his own well-timed,
highly-musical style.
The Country Strings Band has played regularly
at Marilla Center for a number of years. Warren Tennant of Blacksville
leads the band on amplified fiddle, accompanied by his two sons
on electric guitars and a cousin on electric bass. Tennant insists
on solid rhythm and strict tempos for square dance music, usually
between 120 and 130 beats per minute. He introduced Worley Gardner
to the idea of setting figures like "Dive for the oyster"
to tunes in 6/8 time.
The square dances at Marilla Center are all
performed in sets of four couples. Two squares are danced in succession
followed by three round dances, usually a waltz, a two-step and
a polka. However, most of the dancers come to the center to square
dance and relatively few participate in the round dances. There
is a wide range of ages among the dancers. At least one square
may be composed entirely of teenagers, and in recent years a number
of young people from the university community occasionally attend.
One aspect of the square dancing at Marilla
Center is rather confusing when encountered for the first time:
there is no fixed orientation of the set. Elsewhere it is customary
for the couple with its back to the band to be the lead or number
one couple. The other couples are then numbered two, three and
four in counterclockwise sequence from the lead couple. It is
then customary, after a promenade, for the four couples to return
to this original or "home" position before beginning
the next part of the figure. However, at Marilla Center each dance
begins with circle left, and throughout the rest of the dance
it is not necessary to return to original positions. When the
first round of the figure is called whichever of the four couples
knows the figure best, or chooses to move first, becomes the number
one couple and only then do the other couples know the sequence
in which they are numbered for that dance. Since there is no fixed
home position, after a promenade the dancers always continue promenading
until the next call and begin the next part of the dance from
wherever they happen to be at the time. When the same four couples
dance together all evening, as is frequently the case, they will
regularly rotate the role of number one couple counterclockwise
one place each dance.
Another local stylistic detail that should
be noted is the tendency of the men to twirl the women under their
arms when performing any type of hand turn. Likewise in the grand
right and left the men frequently twirl each woman in turn. This
practice is not universal, however, and many of the older dancers
prefer not to do the twirls at all.
Worley Gardner's calling style is devoid of
extraneous verbiage and always well fitted to the musical phrase.
He performs three types of calls: patter calls, singing calls
and what might be termed semi-singing calls. Patter calls (the
only style of calling used in the other dance traditions included
in this book) follow the general pitch and rhythm of the music
but are open to variation in timing and language. Technically
a patter call may be called to any music, but in fact many callers
prefer a certain type of tune for a certain figure. Patter calls
are usually chanted in key with the tune, but do not follow the
exact melody. Worley Gardner has a number of favorite tunes for
patter calls including "Soldier's Joy," "Old Joe
Clark," "Bill Cheatem" and "Wagoner."
He can call his patter figures to any of these tunes interchangeably
but the phrasing of his calls remains precisely consistent. For
example, he will always begin a call on the first or ninth beat
of each sixteen beat phrase and he will always allow the same
amount of time for a swing, circle or grand right and left.
Singing calls, which are more commonly found
in neighboring Pennsylvania, follow the exact melody and phrasing
of the song to which they are sung with little or no room for
variation in wording or timing. Examples of Worley Gardner's singing
calls include "Marching Through Georgia," "Cindy"
and "Rattler."
Two of Worley Gardner's dances, The Farmer's
Daughter and The Girl I Left Behind, share some of
the characteristics of both patter and singing calls. In both
cases I encountered these figures as patter calls across the border
in Pennsylvania. However, Worley Gardner has wedded each of these
figures so skillfully to a specific tune that they achieve the
quality of singing calls without following the exact phrasing
of the tune and so will be termed semi-singing calls.
Of the fourteen dances presented in this chapter eight are patter calls and share a common introduction, break and ending. In the descriptions of these figures dashes (— — — —) between the calls will indicate the number of beats of music that have elapsed. The consistency of Worley Gardner's timing, which is highly unusual among traditional callers, makes such indications possible.
"— — — — — —
— — — — — — — — — — sixteen
hands circle around, you've got moonshine in the town — —
— — — — reverse that line, ladies in the front,
gents behind — — — — — — — — now
go home and corner swing, swing the corner round and round —
— — — — — — — now go home and swing
your own — — — — turn the corner with your left
hand, you walk right into a right and left grand, the left foot
up the right foot down, left foot, right foot all the way around
— — — — — — — — — — —
— — — — — everybody promenade — —
— — — — — —"
All the square dances begin with circle left and the dancers begin to circle as soon as the music starts without waiting for the call. On circling back to the right ("reverse that line") there is an interesting local variation. As they circle right all eight dancers move slightly toward the center of the set and, without dropping the right hand of the dancer behind, raise their left hands over their own heads and lower them to their right shoulders. All then release hands, swing corners, swing partners, turn corners by the left hand and do the grand right and left all the way around, passing by their partners the first time. All promenade partners. Most dancers use the arms-around-waists promenade as at New Creek and Glenville, but some use the over-the-shoulder hold as at Dunmore.
"You dance around the corner gal and
now around your partners all, you turn that corner your left hand
and you walk right into a right and left grand — — —
— — — — — — — — — — —
— — everybody promenade — — — — —
— — —"
All do-si-do corners passing by the left shoulder
and then partners passing by the right shoulder. This is followed
by a left hand turn with corners and the grand right and left
all the way around, passing partners the first time and promenading
them the second time. Note that Worley Gardner never uses the
terms "do-si-do" or "allemande." The singing
calls use the same break but the wording is different to fit the
cadence of the tune. These variations will be noted in the descriptions
of the figures. Except in a few of the singing calls, Worley Gardner
always adds a short ending after the final break.
"Swing your corner just for fun —
— — — now go home and swing your own and we will call
it done — — — — — — — —"
For convenience of description the figures in Worley Gardner's repertoire may be said to fall into the following categories: 1) visiting couple figures where each couple in turn dances with the other couples in the set; 2) cumulative figures where the leading couple dances the figure with one, two and finally all three of the other couples simultaneously; 3) single visitor figures in which the man or woman of a couple goes out alone to dance with each of the other couples; and 4) miscellaneous figures. Each figure when combined with the introduction, breaks and endings constitutes an entire square dance.
The visiting couple figures are all patter calls and as a group have a relatively complex structure. Following the introduction the first couple dances a figure with the second couple after which the two couples circle left. At the call "leave'em there and on you go" the two couples circle around until the second couple has its back to couple three. Couple two makes an arch and sends couple one through and on to couple three. In the meantime the second man twirls his partner to her left under their arch while he passes behind her and in this fashion the second couple ends in original position facing center. This is known in modern club square dancing as "California twirl." Couples one and three repeat all of the above with couple three sending couple one on to couple four. At the call "all four couples on you go" couple two moves out to dance with couple three while couple one moves on to couple four. Both sets of couples dance the figure and end up circling to the left. When "four and four around the floor" is called the two sets of couples, while circling left, revolve once around each other in a counterclockwise revolution.
After a complete revolution the caller directs
"four and four, take 'em home and everybody swing your own."
The dancers swing partners, dance the break and couple two begins
its round of the whole pattern. Here is a summary of the entire
structure:
In the following descriptions the call will be given for the first couple only.
FIGURE I. "The first couple go to the
right, two side gents the elbow swing, opposite lady turkey wing
— — — — two side gents the elbow swing, your own
with the left and circle four — — — — — —
— — leave 'em there and on you go, two side gents
the elbow swing, opposite lady turkey wing — — — —
two side gents the elbow swing, your own with the left and circle
four — — — — — — — — all four
couples on you go, two side gents the elbow swing, opposite lady
turkey wing — — — —two side gents the elbow swing,
your own with the left and circle four — — — —
— — — — four and four around the floor — —
— — — — — — four and four and take 'em
home and everybody swing your own — — — —"
The "side gents" referred to in the call are the men of whichever two couples are dancing together. The two men turn each other with a right elbow swing (some grip forearms) once and a half around. They turn each other's partners with a left elbow swing ("turkey wing") once around. The two men again turn each other by the right elbow once and a half and their own partners by the left elbow once around. Both men then pass their partners behind their backs while taking their partners' left hands in their right hands for a smooth transition into the circle left. Couple two makes an arch and sends couple one through the arch and on to couple three.
FIGURE II. "The first couple go to
the right, circle four and hold 'em tight — — —
— — — — — I'll swing yours and you swing mine
— — — — now your own any old time — —
— — circle four when you get straight, you lead 'em
on the right, back on the left, reel to reel both right and left
— — — — — — — — — — —
— circle four when you get straight — — — —
leave 'em there and on you go, circle four — —
— — I'll swing yours and you swing mine — — —
— now your own any old time — — — — circle
four when you get straight, lead 'em on the right, back
on the left, reel to reel both right and left — — —
— — — — — — — — circle four when
you get straight — — — — leave 'em there
and on you go, all four couples circle four — — —
— I'll swing yours and you swing mine — — — —
now your own any old time — — — — circle four
when you get straight, you lead 'em on the right, back
on the left, reel to reel both right and left — — —
— four and four around the floor — — — — —
— — — four and four and take 'em home and everybody
swing your own — — — —"
The first part of the figure simply involves swinging opposites and then partners. The swings are quite short, just once and a half around. The two couples then circle left and perform the "reel to reel," as Worley Gardner calls it, which is yet another variation of the figure "left hand lady with the right hand around" as found at New Creek (Figure XI) and Glenville (Figure I). Gardner claims that the "correct" call for this is "your left hand lady by the right hand around, your right hand lady by the left hand around, your left hand lady by the right once more, your own by the left and circle up four." Finding this to be too much to say quickly, he adopted his present patter "lead 'em on the right, back on the left, reel to reel both right and left." I have encountered the same figure in western Pennsylvania called "run the reel." It is performed as follows: the two men turn their opposites by the right hand a bit less than three quarters around. In concluding the turn the men pass each other left shoulder to left shoulder and back to back, both reaching across to turn their partners with a left hand turn. At the end of the left hand turn with partners the men pass right shoulder to right shoulder and back to back meeting opposites again by the right. The turns with opposites and partners are repeated. As the men turn their partners by the left a second time they pass them behind their backs, taking partners' left hands in their right hands to move directly into the circle left. The Marilla Center version of this figure is in fact even more complicated since the men almost always twirl the women under their arms in the turns.
FIGURE III. "First couple go to the
right, round that couple take a peek, back to the center, swing
your sweet — — — — — — — — around
that couple peek once more, back to the center and swing all four
— — — — circle four 'til you get straight
— — — — — — — — lead 'em
on the right, back on the left, reel to reel both right and left
— — — — — — — — circle four 'til
you get straight — — — — leave 'em there
and on you go, round that couple and take a peek, back to the
center and swing your sweet — — — — around that
couple and peek once more, back to the center and swing all four
— — — — circle four 'til you get straight
— — — — lead 'em on the right, back on
the left, reel to reel both right and left — — — —
— — — — circle four 'til you get straight
— — — — all four couples on you go, round that
couple and take a peek, back to the center and swing your sweet
— — — — around that couple and peek once more,
back to the center and swing all four — — — —
circle four 'til you get straight — — — —
lead 'em on the right, back by the left, reel to reel both
right and left — — — — four and four around the
floor — — — — — — — — four and
four and take 'em home and everybody swing your own —
— — —"
This version is similar to the Glenville
"Take a little peek" (Figure I) except that it omits
the extra swings with opposite and partner. "Lead 'em
on the right, back on the left----" is performed just as
in the preceding figure.
FIGURE IV. "The
first couple lead to the right, mow the wheat and mow the clover,
turn 'em around and do it all over — — — —
swing and circle four — — — — lead 'em
on the right, back on the left, reel to reel both right and left
— — — — — — — — circle four 'til
you get straight — — — — leave 'em there
and on you go, you mow the wheat and mow the clover, turn 'em
around and do it all over — — — — swing and circle
four — — — — lead 'em on the right, back
on the left, reel to reel both right and left — — —
— — — — — circle four when you get straight
— — — — all four couples on you go, you mow the
wheat and mow the clover, turn 'em around and do it all
over — — — — swing and circle four — —
— — lead 'em on the right, back on the left, reel
to reel both right and left — — — — — —
— —four and four around the floor — — — —
— — — — — — — — four and four
and take 'em home and everybody swing your own — —
— —" (Audio
excerpt: MP3)
The first man takes his partner's left hand
in his right and, making an arch, the first couple passes over
the heads of the second couple while moving toward the outside
of the set. The first couple turns as a couple by doing a California
twirl as described earlier. Keeping
their arch, the first couple passes back over the second couple
to the center of the set and twirls around again to face them.
While the first couple "mows the wheat" the second couple
technically stands still but in practice they may do as follows:
with arms around each other's waists in the local promenade position
the second couple moves forward a few steps as the first couple
passes overhead. They then wheel around as a couple with the woman
backing up and the man moving forward and return to place as the
first couple passes back overhead. They wheel around a second
time into original place. Both couples swing once around and circle
left, although the swing is so short that many couples omit it.
"Lead 'em on the right, back on the left " is
performed as described previously.
Note that this "Mow the wheat" differs from the Dunmore figure that uses the same call (Dunmore Figure X).
The cumulative figures have a simpler structure
than the previous group. Usually two couples dance the figure,
then three couples simultaneously, then all four together. The
overall structure is like this:
FIGURE V. "The first couple lead to
the right, round that gent and don't be late, round that lady
with a figure eight — — — — — — —
— — — — — — — — — circle four
when you get straight, reel to reel on the four — — —
— — — — — — — — — — —
— — circle four when you get straight — — —
— lead right on around that gent and don't be late, round
that lady with a figure eight — — — — — —
— — — — — — circle six when you get straight
— — — — reel to reel on the six — — —
— — — — — — — — — — —
— — circle six when you get straight — — —
— — — — — — — — — round that
gent and don't be late, round that lady with a figure eight —
— — — — — — — — — — —
circle eight when you get straight — — — — reel
to reel on the eight — — — — — — —
— — — — — — — — — circle eight
when you get straight, everybody circle eight — — —
—"
The first man takes his partner's left hand in his right and leads her between the members of the second couple. He turns to his right, leads her around the second man, back to the center, between the second couple again and around the second woman, back to the center. He then leads his partner in a loop ("figure eight") as if circling left in the center of the set. The first and second couples then circle left and perform the "reel to reel" described in the previous figures as "lead 'em on the right, back on the left" The two couples again circle left and the first man leads all four between the third couple, around the third man, back to the center, around the third woman and back to the center for the clockwise loop. All three couples circle left and perform the "reel to reel." The first man then leads all three couples between the fourth couple, around the fourth man, back to the center, around the fourth woman and back to the center with the loop to the left. All four couples circle left and do the "reel to reel." With three and four couples the "reel to reel" begins by turning corners by the right, partners by the left and so forth. As usual the men twirl the women under their arms in the turns.
FIGURE VI. "The first couple go to
the right, circle four and hold up tight — — — —
— — — — open up and take two more, it's six hands
now around the floor — — — — — — —
— — — — — chase 'em back, Indian style
— — — — turn and swing your corner awhile —
— — — chase 'em back, Indian style — —
— — turn and swing your corner awhile — — —
— chase 'em back, Indian style — — — —
turn and swing your partner awhile — — — — circle
six when you get straight, open up and take in eight — —
— — — — — — chase 'em back, Indian
style — — — — turn and swing your corner awhile
— — — — chase 'em back, Indian style —
— — — turn and swing your corner awhile — —
— — chase 'em back, Indian style — — —
— turn and swing your partner awhile — — — —
circle eight when you get straight — — — — everybody
circle eight — — — —"
The first and second couples circle once around
to the left. The first man picks up the third couple on his left
side and the three couples circle left. At the call "chase'em back, Indian style" the three couples release
hands and promenade single file back to the right. Next, the three
men turn around and swing the women behind them ("turn and
swing your corner awhile"). The three men place the women
they have just swung in front of them and all six resume promenading
single file. The men again turn around and swing the next woman
behind, place her in front and promenade single file once more.
The men then turn and swing original partners and all six circle
left. The first man then picks up the fourth couple on his left
and the same sequence of promenading single file and swinging
corners is repeated four times.
Note that in this figure and the one to follow couples one and two merely circle left and immediately pick up the third couple without performing the distinctive part of the figure. This may be partly because the figure is relatively uninteresting with only two couples and partly to shorten the dance. The latter is undoubtedly true for the following figure which has a long special ending.
FIGURE VII. "The first couple go to the right, circle four and hold up tight — — — — — — open up and take two more and six hands now around the floor — — — — — — dive for the oyster — — — — — — and now for the clam — — — — — — now for the oyster, take a whole can — — — — — — — — — — — — circle six when you get straight, open up and take in eight — — — — — — — — dive for the oyster — — — — — —and now for the clam — — — — — — and now for the oyster, take a whole can — — — — — — — — — — — —circle eight when you get straight, everybody circle eight — — — —"
This dance is customarily performed to the
tune "Haste to the Wedding" in brisk 6/8 time. The first
couple circles left with the second couple once around, then the
first man picks up the third couple on his left and the three
couples circle left. At the calls "dive for the oyster"
and "now for the clam" it is usual for the three couples
merely to move into the center, give a shout and back out. At
the call "and now for the oyster, take a whole can"
the first couple leads through any arch made by two other dancers
approximately opposite them. Once through this arch the first
couple makes an arch of their own, the first man raising his right
arm, the first woman her left arm. The first man turns to his
left, the first woman to her right and they back through their
own arch and begin walking forward over the other dancers as they
pull them through the arch. The last pair of dancers to come through
the arch turn under their own raised, joined hands to leave everyone
facing back into the center of the set. All three couples circle
left again, the first man picks up the fourth couple on his left
and the sequence is repeated with four couples.
Worley Gardner uses a special ending for this dance which is both long and spectacular:
"— — — — open up and
circle the hall — — — — — — — —
— — — — — — — — — — —
— — — — — — — — — — —
— — dance around the corner gal and now around your partners
all, you turn the corner your left hand and you walk right into
a right and left grand — — — — — — —
— — — — — — — — — — —
— — — — — — — — — — —
— — — — — — — — — — —
— — — — — — — — — — —
— — — — — — — — — — —
— — — — — — — — — — —
— — — — — — — — — — —
— — — — — — — everybody promenade
— — — — — — — — — — —
— — — — — — — — — — —
— — — — — circle the hall one more time —
— — — — — — — — — — —
dive for the oyster — — — — — — —
— — — — — and now for the clam — —
— — — — — — and now for the oyster take
a whole can — — — — — — — — —
— — — — — — — — — — —
— — — — — — — — — — —
— — — — — — — — — — —
— — — — — — — — — — —
— — — — — — — — — — —
— — dance around the corner gal and now around your partners
all, you turn that corner your left hand, you walk right into
a right and left grand, the left foot up the right foot down,
left foot, right foot all the way around — — — —
— — — — — — — — — — —
— — — — — — — — — — —
— — — — — — — — — — —
— — — — — — — — — — —
— — — — — — — — — — —
— — — — — — — — — — —
— — — — — — — — — — —
— — — — — — — — — — everybody
promenade — — — — — I need a head couple —
— — — — — — — — — — —
down the center two by two — — — — — —
— — — — — — — — — — —
— two to the right and two to the left — — — —
— — — — — — — — — — —
— — — — — — — — — — —
— — — — — — — down the center four
by four — — — — — — — — —
— — — — — — — — — — —
four to the right and four to the left — — — —
— — — — — — — — — — —
— — — — — — — — — — —
— — — — — — — — — down the
center eight by eight — — — — — — —
— — — — — eight to the right and eight to
the left — — — — — — — — —
— — — — — — — — — — —
circle eight when you get straight, everybody circle eight —
— — — — — — — you dance around the
corner gal and now around your partners all, you turn that corner
your left hand, you walk right into a right and left grand, the
left foot up, the right foot down, left foot, right foot all the
way around — — — — — — — — everybody
promenade — — — — — — — — —
— — —swing your corner just for fun, you swing your
corner round and round — — — — — — —
— now go home and swing your own and we will call it done
— — — — — — — —"
After the fourth couple completes the regular figure one of the men in each square drops his corner's hand and leads his set to join the others in one big circle around the hall ("open up and circle the hall"). The regular break is danced in the big circle including the grand right and left, ending with a promenade. Everyone again joins hands in a big circle and dances "dive for the oyster and now for the clam" as above concluding with a couple appointed by the caller taking the lead in "take a whole can." After returning to the big circle the break is danced again ending with a promenade. The caller then calls for a "head couple" by which he means any promenading couple that is in front of or leading the other three couples in their original square. He picks one of the "head" couples to lead all the rest of the promenading couples up the center of the hall from the far end to begin a grand march. When the chosen "head" couple reaches the end of the hall where the caller is, the promenading couples cast off alternately right and left. When the first two couples in the resulting lines meet at the far end of the hall they join hands and come up the center four in line followed by the rest of the couples in similar lines of four. This time the lines of four cast alternately right and left, meet at the far end and come up the center in lines of eight. The lines of eight cast alternately right and left. The caller then directs the lines of eight to form into circles of eight — and lo and behold! Everyone is back in the original square sets. The regular break and ending are then danced.
In this group of figures one member of the active couple dances with one or both members of each of the other couples in the set. These are the least complicated of all the figures and usually involve lots of swinging.
FIGURE VIII. Rattler
(singing call)
(Audio excerpt:MP3)
Tune:
"Old Rattler"
Introduction
"Everybody circle eight, circle eight around
Everybody circle eight, now all the way around
A left hand to the corner, it's left and right around
Left and right and grand chain all the way around — —
— — — — — — — — — — —
— — —
Everybody promenade — — — — — — —
— "
Figure
"The first gent to the right, now swing that gal around
Take her out, take her home, circle three around
Leave her there and on you go, you swing the opposite round
Take her out, take her home, circle four around
You leave 'em there and on you go, swing the corner round
Take her out, take her home, circle five around
Gent goes to the center while the girls all circle round
You take 'em out, you take 'em home and swing your own little
gal."
Break
"You dance around the corner gal, you dance around
her slow
You dance around your partner with a little bit more dough
A left hand to the corner, it's left and right around
Left and right and grand chain all the way around — —
— — — — — — — — — — —
— — —
Everybody promenade — — — — — — —
— "
The introduction, which is the same for all
the singing and semi-singing calls, consists of a full circle
to the left followed by a left hand turn with corners, a grand
right and left (grand chain) all the way around and promenade.
In the figure, the first man swings the second
woman, puts her on his right, leads her back to his partner and
the three of them circle left. He then swings the third woman,
brings her back to his place and the four of them circle left.
He does likewise with the fourth woman. After he and the four
women circle left he goes to the center of the ring while the
women circle around him. Then all return to their original places
and swing partners. The figure is repeated for each of the men
with the break between each repetition. It is then led by each
of the women in turn to the following call:
"The first lady to the right and swing
that gent around
Take him out, take him home, circle three around
Leave him there and on you go, swing the opposite round
Take him out, take him home, circle four around
Leave him there and on you go, swing your corner round
Take him out, take him home, circle five around
Lady to the center while the gents all circle round
Take 'em out, take 'em home and swing your own around"
Notice that the transposition of the wording does not take into account that a woman's corner is on her right. Thus the first woman swings her corner (the second man) first, then her opposite (the third man) and finally the left hand gent (the fourth man). The tune "Rattler" or "Old Rattler" is derived from the song popularized by Louis "Grandpa" Jones.
FIGURE IX. Bully of the Town (chorus
music only; singing call)
Introduction
"Everybody circle eight, circle eight around
Everybody circle eight, Bully of the Town
Left hand to the corner, left and right around
Looking for the Bully of the Town.
Left and right and grand chain, grand chain around
Left and right and grand chain, Bully of the Town
Meet your own and take her home and promenade around
Looking for that Bully of the Town."
Figure
"First gent out and swing that right hand lady round
Now you go home and swing your own around
Back to that lady with a left hand around
Everybody swing your own around
Same gent out and swing that opposite gal around
Now you go home and swing your own around
Back to your opposite with a left hand around
Everybody swing your own around
Same gent out and swing that corner gal around
Now you go home and swing your own around
Back to the corner with a left hand around
Everybody swing your own around"
Break
"Dance around your corner gal, dance around her slow
Dance around your partner with a little bit more dough
Left hand to the corner, it's left and right around
Looking for that Bully of the Town
Left and right and grand chain, grand chain around
Left and right and grand chain, Bully of the Town
Meet your own and take her home and promenade around
Looking for that Bully of the Town."
The first man swings the second woman, swings his own partner,
returns to the second woman and turns her by the left hand, then
swings his partner again while the other couples also swing. The
first man repeats this sequence with the third and fourth women,
then the break is danced. The figure and break are repeated for
the second, third and fourth men. The dance ends after the fourth
break without the usual ending. The figure is not led by the women.
"Bully of the Town" was a popular song of the 1890's
which has remained a favorite country fiddle tune.
FIGURE X. The Girl I Left Behind (semi-singing call)
Introduction
"Everybody circle eight now circle eight around
Everybody circle eight all the way around
A left hand to your corner gal, left and right around
Left and right and grand chain all the way around — —
— — — — — — — — — — —
— — —
Everybody promenade — — — — — — —
— "
Figure
"The first gent go to the right and swing that girl
all dressed in white — — — — — — —
— now the one that's dressed in blue — — — —
now the one that's next to you — — — — now go
home and swing your own — — — — — — —
—"
Break
"Dance around your corner gal and now around your
partners all, turn that corner your left hand and you walk right
into a right and left grand — — — — — —
— — — — — — — — — — everybody
promenade — — — — — — — — —
— — —"
Usual Ending
The "girl all dressed in white" is
the man's right hand woman, the "one that's dressed in blue"
is the opposite woman and "the one that's next to you"
is the man's corner. Each man in turn swings each of the other
women in the set, then all swing partners. The figure is then
called for each of the women:
The first lady go to the right and swing that gent all dressed in white — — — — — — — — now the one that's dressed in blue — — — — now the one that's next to you — — — — now go home and swing your own and everybody swing your own — — — — — — — —"
In spite of the wording of the call the women
swing their corners, "that gent all dressed in white,"
first, then their opposites, "the one that's dressed in blue,"
and finally the man of the next couple to the left who of course
is not really "next to you."
FIGURE XI. The Farmers' Daughter (semi-singing
call)
Tune: "Chinese Breakdown"
(first or "A" music only)
Introduction
"Everybody circle eight, circle eight around
Everybody circle eight all the way around
Left hand to your corner, left and right around
Left and right and grand chain all the way around — —
— — — — — — — — — — —
— — —
Everybody promenade — — — — — — —
—"
Figure
"The first gent go to the right, knock on the farmer's
door, go through the house, round the house, now swing the farmer's
daughter — — — — — — — — step
right back, watch her grin, bring her up, swing her again, step
right back, watch her smile, bring her up, swing her, now go home
and swing your own while the farmer swings his daughter. Leave
her there and on you go, knock on the farmer's door, go through
the house, round the house, now swing the farmer! — —
— — — — — — step right back, watch him
grin, bring him up, swing him again, step right back, watch him
smile, bring him up, swing him, now go home and swing your own
while the farmer swings his daughter. Leave her there and on you
go, knock on the farmer's door, go through the house, round the
house, now swing the farmer's daughter — — — —
— — — — step right back, watch her grin, bring
her up, swing her again, step right back, watch her smile, bring
her up, swing her, now go home and swing your own while the farmer
swings his daughter."
Break
"Dance around your corner gal, dance around her slow
Dance around your partner with a little bit more dough
Left hand round your corner gal, it's left and right around
Left and right and grand chain all the way around — —
— — — — — — — — — — —
— — —
Everybody promenade — — — — — — —
—"
Usual Ending
This is a novelty dance in which the caller can direct the visiting
man to swing either the woman ("the farmer's daughter")
or the man ("the farmer") of the couple visited. The
first man goes out to the second couple and "knocks"
on the second man's chest. He goes between the second couple and
around either the second man or second woman back to the center
("through that house, around that house"). Then the
caller will direct him to swing either "the farmer"
or "the farmer's daughter." The caller's decision is
frequently drawn out to tease the dancers: "now swing the
farmer's daughter!" If the two men must swing each other,
they usually do so in regular "waltz" position. "Step
right back, watch her (him) grin" is performed as at Dunmore or Glenville.
The visiting man then returns home to swing his partner while
the couple just visited also swings.
Miscellaneous Figures
FIGURE XII. Cindy (singing
call)
Introduction
"Everybody circle eight, circle eight around
Everybody circle eight, all the way around
Left hand to your corner, left and right around
Left and right and grand chain, all the way around
Get along home, Cindy, get along home
Get along home, Cindy — — — —
Everybody promenade, now promenade around
Everybody promenade, all the way around"
Figure
"First couple up the center now you cut the hall in
two
Turn that little gal around and bring her right back through
Dance around the corner gal, now dance around your own
Promenade the corner gal, once around the room
Get along home, Cindy, get along home
Get along home, Cindy — — — —"
(Repeat figure three times for first man, then four times for
each of the other men; no additional break or ending)
The third couple faces each other and joins
both hands making an arch. The second and fourth couples move
forward, join both hands with opposites and also make arches.
Thus a tunnel is formed. At the same time, the first couple, with
arms around each other's waists in promenade position, passes
through the tunnel, wheels around, returns to place and wheels
around to face the center again. The others then move back to
original places and all dance the last part of the figure which
replaces the break. Each man leads the figure four times in succession
with each of the women in the set.
The music for the figure is played verse-verse-chorus.
In the introduction an extra verse must be added to make the music
fit the usual movements. Thus the band plays verse-verse-chorus-verse
for the introduction.
FIGURE XIII. Marching
Through Georgia (singing
call)
(Audio excerpt: MP3)
Introduction
"Everybody circle eight, now
circle eight around
Everybody circle eight, now all the way around
Left hand to the corner, oh it's left and right around
While we go marching through Georgia
Hurray, hurrah, it's left and right around
Hurray, hurrah, now all the way around
Meet your own and take her home and promenade around
While we go marching through Georgia."
Figure
"The first gent out, he promenades around
When he gets home, he swings the gal around
Takes her to the center while the six hands circle round
While we go marching through Georgia
Hurray, hurrah, now keep a-circling round
Hurray, hurrah, now go the other way round
Take her out and take her home and everybody swing
While we go marching through Georgia."
Break
"You dance around the corner gal, you dance around
her slow
You dance around your partner with a little bit more dough
Left hand to the corner, oh it's left and right around
While we go marching through Georgia
Hurray, hurrah, it's left and right around
Hurray, hurrah, now all the way around
Meet your own and take her home and promenade around
While we go marching through Georgia."
(No Extra Ending)
The first man promenades alone around the outside of the set,
returns to his partner and swings her in the center while the
other three couples circle left around them. The three couples
then circle back to the right, all swing partners and dance the
break. The figure and break are repeated for the second, third
and fourth men.
There is usually some clowning around in this dance. While the three couples circle they may try to crowd or squeeze the lone couple in the center. When the circle of three couples goes back to the right the center couple may reverse the direction of their swing as well.
FIGURE XIV. Texas Star (patter call)
"Gents to the center with a right hand across — —
— — now your left and don't get lost — — —
— skip your partner and pick up the next — — —
— — — — — gents swing out and the ladies swing
in — — — — gents go back to the center again —
— — — swing all out when you come down, swing that
lady round and round — — — — — — —
— dance around that corner gal — — — — now
your partner you dance round — — — — swing that
corner when you come down — — — — swing that new
lady round and round — — — —"
After the standard introduction the four men
make a right hand star (both wrist grip and shake-hands grip have
been observed), then a left hand star, picking up the next woman
past their partners with a right arm around her waist for the
star-promenade. The men drop their star and all four couples wheel
halfway around counterclockwise for the women to form a right
hand star-promenade still holding on to their new partners. The
women drop their star and the couples then wheel clockwise halfway
around for the men to return to their left hand star-promenade.
All swing new partners, "dance" around corners passing
left shoulders, "dance" around partners passing right
shoulders, swing corners and new partners. The figure is repeated
three more times until all have returned to original partners
and then the regular break is danced. The figure is repeated four
more times with the women leading ("ladies to the center
with a right hand across") after which the break and ending
are called.
These fourteen figures are the ones most regularly danced at Marilla Recreation Center. There are a few others which are called only occasionally. Worley Gardner is himself an avid dancer and continues to attend the dances of other callers in West Virginia and neighboring Pennsylvania and Ohio. He continues to be on the lookout for new figures which can be adapted to the style of his local dancers.