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       The dance styles which developed in Europe and North America now form an immense reservoir of material which we call international folk dances ("dances of the people"). Since folklore is constantly being transmitted and changed, added to and deleted, we can expect to find new dances emerging from time to time and old ones being modified. Folk and square dancing provide a chance for people to come together in a spirit of joy and relaxation. The constant interweaving of dancers creates splendid opportunities for mixing and meeting. Since each person is included as part of a longways, circle or square set, there are the added satisfactions of "belonging" and camaraderie. In an atmosphere which is filled with laughter, music and the rhythm of dancing feet, the tendency to worry about awkwardness is minimized.

- From Action and Interaction: Connecting People Through Play by Lanie Melamed.

       Because there are so many favorite folk dances at ECRS, we asked the contributor to choose 10 of her most favorite dances, taking into account their usefulness in program planning.
       This list represents dances we have repeatedly used and loved at ECRS over the years. With good leadership, they can be enjoyed by everyone. Included are a variety of formations, national backgrounds, styles, and activity levels. Beautiful music and a selection of moods and movements help create positive interactions and good feelings among participants. I suspect that if we asked a number of ECRS members to list their ten folk dance choices we would get many duplications, as well as a variety of other entries which would make for some marvelous discussions.
       Directions are not included for most of these dances; however, names of records and sources for obtaining records are included. Directions have been added for three dances; these directions are not available with the record, or come in a number of versions.

• Carabamboli - Israel. Longways set, often referred to as the "Israeli Virginia Reel." Best done with 8 couples to a set. It can be a slower paced dance with 5-6 couples, or faster moving with 9-10 couples. The lilting tune is universal, having Danish and American counterparts as well as French roots. This happy dance is quickly learned and is "sure-fire" with any group. ("Folk Dances and Festive Dances" BAN 14105 LP)

• Cotton-Eyed Joe - USA. Lines of 2-7 people. Energetic, fun dance which quickly creates a group feeling within the lines and often leads to improvised change of directions. (KIK-R 202 and others)

• Doudlebska Polka - Czechoslovakia. Partner mixer in circle and free dance formation. Often used as a high-spirited ending dance, which gives opportunity to polka with many partners. In warmed-up groups, there is often singing and a chorus shouting "More!" when it is over. (MH 3016 - Oslo Waltz)

• Hole In The Wall - England. Longways for any number of couples. This mellow 17th century dance takes a little more instruction but can lay the groundwork for other English Country and Contra dances. It leaves dancers with very satisfied feelings of elegance and accomplishment. (CDS I and others)

• Jiffy Mixer - USA Round Dance. This partner mixer is extremely popular with all ages and levels of experience. The catchy tune and invitation to add one's own styling creates an upbeat mood. (Windsor 4684)

• Le Bal de Jugon - Brittany, France. A partner dance in two parts, quickly mastered, done to melodious, relaxing music. (Vogue EPL 7.711 - Bannielou Lambaol and others)

• Misirlou - Greece/USA. This circle no partner dance was created in the USA, derived from the Kritikos Syrtos. Its flowing movement to the Greek vocal has become popular fare at weddings and other celebrations. (FK 1060; RCA Victor 4129 - Milanova, Fado Blanquita, Gae Gordons)

• Nigun Atik (Ancient Melody) - Israel. Circle no partner dance done to a lovely Hebrew melody. The off-beat clapping, connecting handhold and the movements based on Hassidic dance, create an aesthetic, pleasing whole. ("Folk Dance In Israel Today" CG 638 LP)

• Sa Vila Se Bela Loza (A grapevine entwined itself) - Serbia. Lines of not more than 8 to 12 people. A quick starting fun dance of two parts which readily builds up to vigorous enthusiasm (FK 1496 - Sarajevka)

• Troika - Russia. Dance for 3's. The 3 people represent the horses of a troika (Russian horse-drawn carriage). Known for its fun and high energy level. ("Russian Folk Dances" Kismet LP - other popular dances; FK 1170)

       The leader can do much to counteract inhibition about dancing. Warm-ups to dancing can go a long way toward establishing more confidence and enthusiasm for what is to follow. If a session starts with a dance that requires only walking, and is done to music that is familiar and supportive (for example, "Greensleeves" or "Chimes of Dunkirk"), people will quickly discover that they can dance after all. Here are some points to remember when leading dances:

       - Know the material well. Learn dances from other teachers and practice-teach at home with friends.
       - Prepare a program geared to the needs and ability of your group. Consider such things as number of patterns, complexity of steps, clarity and speed of music.
       - Start with warm-ups such as those described in this section. They will help both you and your group relax and be ready to tackle the dances.
       - Stand by to be a partner for someone who has none.
       - Play a bit of the music before teaching a dance: this will arouse interest and set the mood.
       - Get the group in formation and tell the name of the dance. If you know anything about the background of the dance, share it, but briefly.
       - Stand where you can be seen and heard by all. If dance is in a circle formation, teach from inside the circle and move around so that several segments of the circle can see your feet. When it feels safe to do so, join the circle.
       - Teach by describing and showing simultaneously. Hum the tune if you can.
       - Teach small units in proper sequence and let group dance each to the music as soon as it has been taught.
       - Dance the whole dance to music when you feel most can manage it fairly well. Polishing can come at another time.
       - Mistakes should not be pointed out; rather emphasize the "right" way.
       - Remember that the goal is fun and not perfection or performance. So encourage good dancing but don't drill.
       - Try to establish a warm and accepting climate where people feel free to try.
       - Stay in the dance, if possible, so you can contribute by acting as a model for others to follow.

Walk, Run, Stop:

Leader holds tambourine, drum or other percussion object and beats a steady, slow beat. Group walks anywhere in the room as individuals. When leader changes the beat to double the speed, the players follow the beat by running. At any time the leader can stop and the players must freeze. Alternate the sequence of walk, run, stop in unpredictable patterns.

Follow the Leader Marching:

Accompanied by a drum, a rhythm band, singing or recorded music (square tunes or marches), lead a march in single or double file. This can also be done with several leaders taking their lines in various directions but assuming responsibility to avoid collisions. When leader calls "change leaders," the next in line assumes leadership and the last leader goes to the back of the line. Other body motions may be added at will.

Spiral Walk:

(done to recorded music) Start in a large circle, hands joined except on your (the leader's) left. Lead the circle to the left and into a spiral. Before the spiral gets too tight, reverse your direction and unwind. End in the original circle.

"Square Dancing" in a Circle:

One large circle, hands joined, no partners needed. Any jig or reel for music. Join the circle if you can he heard as you call. This is an ad-libbed kind of step sequence and the leader can make up her own. The following are suggestions only:

"All join hands and circle left" (for 16 counts)
"Now circle to the right" (for 16 counts)
"Drop hands and turn in place" (for 8 counts)
"Now turn the other way" (for 8 counts)
"Repeat the first turn" (for 8 counts)
"Turn again the other way" (for 8 counts)
Repeat circling left and right.
"Now into the middle and back" (8 steps in and 8 steps out)
"Do it again" (8 steps in and 8 steps out)
"Now mark time in the circle while all those whose birthday is in January. February or March go into the middle and back" (8 steps in and 8 steps out)
"Do it again"
In like manner, do the other months.
Then repeat circling left and right.*
"Find a partner and swing" (skip around in place)
"Promenade around the ring" (side by side with partner all promenade counter-clockwise)

Dancers are now ready to do a partner dance, or square dance figures.

* Think of other calls such as "All those wearing blue, go to the center and back," or "...like strawberry ice cream," etc.

- Adapted from Play to Music by Shelley Gordon

At ECRS Winter Workshop 1981-82 at Watson Homestead in Painted Post, NY, the folk dance class met in groups of three and came up with the following list of things they all appreciated about folk dancing:

touching - physical contact music, and physical response to music love of music meeting people - social contact experiencing other cultures ethnic history feeling alive stirs up juices joy challenge of learning challenge to work with different abilities togetherness rhythm whole body dramatic element communicates exercise physical therapy conveys enthusiasm wakes up competence - confidence - completion sense of community

energy fun non-verbal communication friendly lack of inhibition relaxation non-threatening any number of people flexible ratio of sexes playful, sexual flirtation sensuality sexuality self-awareness body-space feelings eye contact mathematical - patterns detoxifying to forget - cathartic playing with stereotypes concentration accomplishment - Ruth Sherman

Measures:

1-4	As others clap in time to rhythm, head couple takes hands, and slides down to bottom of set in 8 counts.
5-8	Return the same way to place
9-12	Foot couple does same (slides up the set)
13-16	Return
17-24	All face front and head couple casts out (away from partner) while others in line follow as they form an arch at bottom of set. The rest of the lines duck under the arch as they meet their partner and take hands and are led by the original 2nd couple back to up of set. Head couple remains at foot of set.

Dance starts again with new head couple, and "old" head couple participates by being the new foot couple.

The record goes through only 4 times, and thus needs to be put on again for 8 couples, or a double length tape can be made.

       Once Eddie was leading a complicated square dance up at Frost Valley, and in the middle of it all, a little two-year-old, bottle of milk held up to his mouth, toddled into the middle of a group of dancers. Eddie went on with the dance, and we all had fun as we danced around the little fellow, to his delight. Eddie knew how to create a warm, accepting, loving atmosphere where learning comes more easily and which includes everyone!
       Love, caring and humor were Eddie's trademarks and enriched his leadership.

Measures:

1-4	Pump, pump, 1.2.3. Right foot pushes down 2 times as if stepping on the brake pedal; then step R side, behind, side. Repeat with opposite footwork.
5-8	Repeat above
9-16	All do 2-steps (step-close-step) around the room: Right forward, L. close, R. forward Left forward, R. close, L. forward Continue 2-steps until the part 1 - 8 music starts again, or 8 measures.

This is a high-spirited fun dance, enjoyed especially by young (in spirit) people. When feet pump forward in first part, bodies lean back.

In the second part (two-step), lines often have fun by "near-collisions" with other groups, or by someone at the end(s) of the lines suddenly backing up or moving forward in a circular fashion rather than going straight ahead. Let your groups experiment!

Formation:

Double circle, all facing partners. Men's back to center, women's back to wall, using opposite footwork.

Measures:

1-4	Men's L., women's R.: Heel out, foot replace: repeat. Side step to same side, close other foot. Repeat.
5-8	Repeat above with opposite footwork.
9-12	All chug away from partners with 4 chugs (a low movement with both feet moving together) in this manner: chug, pause/clap, (4x), claps coming on each pause, thus on off-beat.
13-16	All move to the left in four easy steps, coming to a new partner who is meeting you half-way, also doing 4 easy steps.

Begin dance all over again. Often in a larger group people request to do dance again, and it is fun to do so until people meet or pass their original partner, thus having the chance to dance with at least half the persons in the room.

Record: RCA 4141

Formation:

Partners, side by side, in a double circle, facing counter-clockwise. Inside hands are held. The dance is done by groups of two couples. Couple No. 1 is in the front position and couple No. 2 is behind couple No. 1.

Part 1:

All walk forward 16 steps.

Part 2:

Couple No. 1. drop hands, turn to face couple No. 2. All four do a "right-hand star." (Join hands with the person across and walk 8 steps clockwise.) Turn to the right until left hands can form a "left-hand star." (Walk eight steps counter-clockwise.)

Part 3:

In original positions: Couple No. 2 make an arch and walk forward four steps as couple No. 1 back under the arch. Repeat with couple No. 1 making the arch as No. 2 back under. Repeat both.

Repeat the dance from the beginning.

• Alunelul (Little Hazelnut) - Rumania. Circle, no partner dance with good melody and strong rhythms. (FK 1549)

• Biserka - Serbia. Circle, no partner dance, excellent for beginning programs. (FK 1567)

• Chiotikos - Greece, Isle of Chios. Circle, no partner dance with some basic Greek movements. ("Greek Dance Party," LP T131 - other useful Greek dances)

• Hora Aggadati - Israel. Circle, no partner. Vigorous dance combining stamping feet of Rumanians, debka jump of Arabs, and a known history going back to 1924. ("Israeli Folk Dances" LP - other dances; FK1111)

• La Bastringue - French Canadian. Partner mixer to stomping music included in folk and contra/square dancing. (French Canadian Fiddle Songs" LEG 120 LP: MH 1506)

• Lerikos - Greece/USA. Circle, no partner dance which has become extremely popular since the '70's and is a great "group builder." (Nina 2500: FK 10027).

• New York, New York - USA Novelty. Line solo dance which appears on all ECRS request lists because it seems to make people feel great. We do one version of New York, New York - others exist. (MCA 60194 Roger Williams)

• Oslo Waltz - England. Traditional partner mixer whose mellow music and lovely waltz rhythm often lends itself to closing a program. (MH 3016 - Doudlebska)

• Salty Dog Rag - USA. Partners. One of the earliest novelty dances adopted in folk dance circles, enjoyed for several decades. Intermediate level. (MCA 60090)

• Sirtaki - Greece. Circle no partner dance which captures the Greek spirit by combining the fast, intermediate and slow Hasapikos patterns in a variety of combinations. (WT10008 "Song of Night/Song of Joy! and other Sirtaki records)

• Teton Mt. Stomp - USA. Partner mixer with peppy rhythm and melody which is a good example of American round dancing. (Windsor 4615)

• Trugnala Rumjana - Bulgaria. Circle no partner dance which takes little instruction and creates a mellow mood. (XOPO 329)

• Tzadik Katamar (Righteousness) - Israel. Circle no partner dance set to a singable and danceable tune which has become a folk dance "classic" since the '70's. (WT 10015 - Boi Tama)

• Ve David - Israel. Partner Mixer, easily learned, done to up-beat music which moves one to clap and swing. (MH 1155 - David Melach; FK 14

• Yedid Nefesh (A True Friend) - Israel. An intermediate level circle dance which can be taught quickly and later refined. This mellow no partner waltz dance with its beautiful music has become one of ECRS's all-time favorites. ("Back from Israel" Hadrim 8LP)

• Yugo - Israel. Circle no partner dance done in front-basket hold to an old Hebrew melody traditionally used for "Rumanian Hora." The story of its origin as a Jewish Yugoslavian liberation dance, as well as the "together" spirit it creates, makes it a very special dance. (FK 010)

Record information: Abbrev: FK=Folkraft; MH Michael Herman Folkdancer; WT Worldtone: Dance names inside parentheses are on the same record.

Two record sources:

Dance Record Distributors/Folkraft Records, P.O. Box 404, Florham Park, N.J. 07932 (201) 377-1885. Most folk dances, play parties, singing games, square, contra, mixers and popular line dances.

Worldtone Music, Inc., 230 Seventh Ave, New York, NY 10011. Also carries dance shoes and books.

In Canada:

Can-Ed Media 185 Spadina Avenue Toronto, Ontario M5T 2C6

Bouthilier Musique 6505 St. Hubert Montreal, Quebec

Music: "Chimes of Dunkirk," record # EPA 4141

Formation:

Double circle of partners facing. The women are in the outside circle, the men have their backs to the center.

Measures:

1-8

All clap own hands three times. All stamp three times: left, right, left. Partners join hands and turn once around each other.

9-16

Partners join right hands and balance forward and back (step toward each other on the left foot, bring the right foot up beside the left). Step back to place on the right and bring left foot back beside right. Repeat. Partners join both hands and turn once around with each other. The women remain in this position while the men in the inside circle move left to face a new partner and repeat the dance.

       The music starts and Ed is off. Holding the hand of the person behind him, he leans forward, taking big strides, hurrying earnestly on. Eagerly, people grab hands and follow: the straggly line forms into a circle. Now we take partners, and the couples number off "one, two." The "ones" are called active: that is, they progress at the end of each figure to a new "number two" couple.
       "Circle 4."
       "Birdie in the cage." "the number one lady twirls in the center while the other three take hands and circle around her.
       "Bird hop out and crow hop in," "her partner twirls in the center, calling "caw, caw, caw," and the other three circle around.
       After a "swing your opposite" and "swing your own" the number one couple moves on to a new couple, and another figure begins.
       This is Southern Mountain Circle dancing, a leisurely, sociable dance that uses figures also common in square dance. The progression around the circle gives dancers a chance to meet and greet others, and the caller can vary the figures to the ability of the group. Here are general directions and some of the figures that are commonly used.

Music: Cotton-eyed Joe, Old Joe Clark, or any lively hoe-down.

Formation:

Circle of couples. A promenade, or a single line walking to music can be used to get into formation. Two couples face each other in the circle, and the couples moving counterclockwise are called number one, or active, couples.

Big Circle Figures:

"All join hands and balance all."
(Balance in.)
"If you like that do it again."
(Everybody into the center four steps and back. Repeat.)
"Ladies in."
(Right hand person (RHP) into the center four steps and back.)
"Gents in."
(Left hand person (LHP) do the same.)
"Swing your partner."
(Swing partner in a buzz step swing.)
"Swing your corner "
(Turn away from your partner and swing person you're facing.)
"Circle right."
(All take hands in circle and move right.)
"Circle left."
(Circle moves left.)

FIGURES FOR TWO COUPLES

Ladies Chain
"Four hands up and away you go"
(Circle left, four people in a circle.)
"Head right back in the way you know"
(Circle right.)
"Ladies chain across the set."
(RHPs give right hands across to each other, passing right shoulders, opposite LHP meets her with left hand and turns her into place.)
(Repeat above call and action, chaining back to partners.)
"Circle four in the middle of the floor"
(All four circle.)
"Swing the opposite"
(Swing the opposite partner.)
"Swing your own"
(Swing your own partner.)
"On to the next."
(Number one couples move to the next.)

Right Hand Star
"All join hands and circle left"
(Two couples join hands and circle left)
"Right hand star and how are you"
(All four persons put right hands into the center and continue moving in same direction.)
"Left hand back"
(Put left hands into center and reverse direction.)
"Corners swing."
(Swing your opposite.)
"Now swing your own."
(Swing your partner.)
"On to the next."
(Move to next couple.)

Right and left through
"A right and left through"
(Two couples cross over to each others' place with the RHPs passing left shoulders and the LHPs keeping to the outside. LHP takes partner's left hand and backs her around in place with right hand on her right hand at the hip.)
"And a right and left back."
(Repeat figure to get back to place.)
"Now circle left in a little ring."
(All four circle.)
"Break that ring with a corner swing."
(Swing the corner.)
"Swing your own and move on."
(Swing your partner and move to the next couple.)

Take a Little Peek
"Around that couple and take a little peek"
(Couple #1 peeks around couple #2.)
"Back to the center and swing your sweet."
(Return to place and swing.)
"Around that couple and peek once more."
(Couple #1 peeks around #2.)
"Back to the center and swing all four."
(Both couples swing and move to next couple.)

Bird In The Cage
"Circle four in the middle of the floor"
(All four circle left.)
"Bird in the cage and three hands round"
(Number one RHP in the center: other three circle around.)
"Bird hop out and crow hop in. Caw, caw."
(LHP steps into the circle, RHP out, and three circle around.)
"Crow hop out, goin' again."
(LHP steps out, joins partner in circle)
"Swing your opposite"
(Swing the corner.)
"Swing your own."
(Swing your partner, on to next couple.)

Any of these figures can be repeated, as the caller wishes. End dance with one or more of Big Circle calls.

To the Leader:
       When ready to form squares, here is what you need to know. A set consists of four couples facing the center of a square. They should he close enough to touch without stretching, about eight feet across. Beginners may have to he reminded several times of the square formation and the approximate size of the square if they spread out too far.
       When the square has been formed, the woman will be on the right of her partner. Most of the calls are directed to the man and he will find that the most important person in the set is his partner, who is on his right, and he will also have to know the corner, who is the woman on his left. Each couple has a definite position in the set and they must return to that place to complete each figure. The names of the positions are:

First Couple - stand with their backs to the caller
Second Couple - stand to the right of the First Couple
Third Couple - stand opposite the First Couple
Fourth Couple - (or last couple) - stand to the left of the First Couple and opposite the Second Couple
Head Couples - Couples one and three
Side Couples - Couples two and four

Swing:

Join both hands with another person and skip or walk around in place. May also be done with right elbows hooked, in ballroom position, or with a buzz step.

Right Hand Star:

Walk clockwise with right hands joined in the middle.

Left Hand Star:

Walk counter-clockwise with left hands joined in the middle.

Circle Left:

Join hands and walk to the left.

Circle Right:

Same as above, to the right.

Allemande Left:

Two people join left hands and walk around each other.

Allemande Right:

Same as above, but with right hands joined.

Balance:

Step on the left foot and rise on it while right too swings across in front. Now step on right foot and rise or it while left foot swings across in front.

Honor:

Bow or curtsy to the person you are facing.

Do Si Do:

Two people face each other, walk forward (passing right shoulders), side step to the right (back to back) and back up to original place (passing left shoulders).

Promenade:

Partners walk counter-clockwise around the square (or circle) side by side. Man is on the left, woman on the right. Hands are held in the skaters' position (right to right over left to left).

Chassez (sashay, slide):

Step sideways, one foot following the other. Can he done to the left or to the right.

- Adapted from Play to Music by Shelley Gordon.

• Solomon Levi: My all-time favorite singing call for a new group. It can be learned very quickly. It moves from one couple working at a time to two couples working together to the final satisfaction when everybody moves at the same time. Solomon Levi has many other factors in its favor: a very catchy melody, a simple chorus which people can sing along with, no change of partner, and very importantly, it is a dance where the men's and women's parts are identical. Whatever other dances might be selected, in my opinion this one is a must. (MacGregor 2003 and others)

• Duck for the Oyster, Dig for the Clam: I am not a particular enthusiast of visiting couple dances (too much standing around while one couple at a time is active) and I would not include more than one or two such dances in an evening. My favorite, and the one that I usually use as an opening dance, is this one. People like the visiting couple format as a first experience because they can follow most easily what is going on, and I feel that this dance is fun for everybody. (Any lively hoe-down)

• Texas Star: One of the best of the old traditional dances which has everybody moving together and also introduces the idea of a change of partner. People like the star promenade figure and particularly seem to enjoy reversing the star so that the outside persons swing in to make a new star. (Any lively hoe-down)

• Uptown, Downtown (done to the Golden Slippers melody): This dance has a distinctive and interesting pattern, lively recognizable upbeat square dance music, and another chance for a change partner dance, which I believe most people find more challenging and fun. However, I would use a change partner dance only after first doing a number of dances with no partner change. (Folkcraft 1283 and others; note that this dance can also be done to other music.)

• Virginia Reel: Everybody seems to have heard of the Virginia Reel and is happy to do it. It has an advantage that it does not require an even multiple of four couples to have everybody participate. The Virginia Reel can also be simplified when it seems appropriate by doing it "Family Style," that is without the traditional strip-the-willow figure. (Usually done to the tune of "Turkey in the Straw": Folkcraft 1342 and others)

Reference for instructions for above dances:
Ralph Sweet: "Let's Create 'Olde Tyme' Square Dancing" Powder Mill Barn, Hazardville, Connecticut

Basic Figure:

(Begin with head couple going to second couple.)
"Take that lady by the wrist
And around that lady with a grapevine twist.
Into the center with a circle C.
And around that lonely gent you see.
Circle up four. On to the next."

Repeat from beginning and as you collect couples in the line, the call becomes:

"Circle up six."
"Circle up eight 'til you get straight."

Break figures: see below.

Call resumes with second couple going to third;
Complete call.
Break
Third couple to fourth.
Break
Fourth couple to first. End with break figures.

At the beginning, between figures and at the end, do one or more "break" figures such as:

Circle left
Circle right
Do si do your corner
Do si do your partner
Walk single file Indian Style
Promenade (around square to home)
Into the center and back
(Call: "Into the center with a great big yell.
Do it again, you did it so well.")

       The first time I got up the courage to teach a dance was at a weekend, I had practice-taught the dance many times, in class, but never really taught it. There was a very small group there, so I thought, well, I'm safe. The dance I picked was Bizerka, to me a very easy dance, and I taught the dance all the ways we've been told to teach a dance. Eddie was there; I think he was coordinator for the weekend. The dance was over, and as we were leaving the barn at Hudson Guild, Eddie said. "Why did you stay in the center of the circle?" That was a wonderful question for me, because I thought about it, and I realized, I discovered, why I stayed in the center: ...because I loved the center, the center was wonderful! Why would anybody want to get out of the center? Then I remembered that once I saw the dancers had the dance, instead of joining the circle and blending in so everyone is dancing together, at that point I forgot totally about the group, and all I thought about was, "Look at me! I'm in the center!" And that's why I stayed in the center.
       The way Eddie asked that question, I discovered for myself what I had done. Nobody had to say, "Look what you did." I discovered it, so then it was acceptable, and I wasn't ashamed of it. This is what happened. And that to me was one of Eddie's beautiful qualities, the way of putting questions so that the students had the opportunity to discover the answers within themselves, even though he knew the answer. But he made it possible for me to do my own exploration and, my own discovery.

The Call:

1. All eight balance and all eight swing.
   A left allemande
   And a right hand grand.
   Meet your partner and
   Promenade eight
   Till you come straight.
   
2. First couple balance and swing, out to the right.
   
3. Birdie in the cage and three hands round.
   
4. Birdie hops out and the crow hops in.
   
5. Crow hops out and.
   
6. Four hands round and round you go, the lady go "si" and the gent go "do".
   
7. On to the next.
   
8. Birdie in the cage and three hands round.
   
9. Birdie hops out and the crow hops in.
   
10. Crow hops out and.
    
11. Four hands round and round you go, the lady go "si" and the gent go "do".
    
12. On to the next,
    
13. Birdie in the cage and three hands round.
    
14. Birdie hops out and the crow hops in.
    
15. Crow hops out and,
    
16. Four hands round and round you go, the lady go "si" and the gent go "do".
    
17. Now you're home.
    All eight balance and all eight swing.
    A left allemande, and a right hand grand.
    Meet your partner and promenade eight
    Till you come straight.

    (Second couple repeats 2 to 17 inclusive.
    Third couple repeats 2 to 17 inclusive.
    Fourth couple repeats 2 to 17 inclusive.)

Description:

1 - All eight balance and all eight swing.
2 - Balance and swing.
3, 4, 5 - First couple walks to the second couple: first lady stands in the center while the other three join hands around her and circle to the left. The first lady and first gentleman exchange places while the circle continues moving to the left. The first gentleman then joins hands in the circle with his partner on his right (16 counts).
6 - First and second couples do a "do si do".
7, 8, 9, 10, 11 - First couple walks to the third couple and repeats 3, 4, 5, and 6.
12, 13, 14, 15, 16 - First couple walks to the fourth couple and repeats 3, 4, 5, and 6.
17 - Balance and swing.

(Second, third, and fourth couples repeat in turn 2 to 17 inclusive.)

The Call:

1. All eight balance and all eight swing.
   A left allemande
   And a right hand grand,
   Meet your partner and
   Promenade eight
   Till you come straight.
   
2. First couple balance and swing, out to the right.
   
3. Four hands round,
   
4. Leave that lady and on to the next.
   
5. And three hands round.
   
6. Take that lady and on to the next.
   
7. Four hands round.
   
8. Leave that lady and balance home.
   
9. Forward up six,
   
10. Fall back six.
    
11. Forward up six and right and left through.
    
12. Two lone gents across the hall.
    
13. Forward up six.
    
14. Fall back six,
    
15. Forward up six and right and left through.
    
16. Two lone gents across the hall.
    
17. Four on the corners here and there and do si do with the pretty little dear.
    
18. Now you're home,
    All eight balance and all eight swing.
    A left allemande
    And a right hand grand,
    Meet your partner and
    Promenade eight
    Till you come straight.

    (Second couple repeats 2 to 18 inclusive.
    Third couple repeats 2 to 18 inclusive.
    Fourth couple repeats 2 to 18 inclusive.)

Description:

1 - All eight balance and all eight swing.
2 - Balance and swing. First couple walks to second couple.
3 - First and second couples join hands in a circle and walk to the left (8 counts).
4 - First gentleman leaves his partner at the left of the second gentleman and walks to the third couple (4 counts).
5 - First gentleman joins hands in a circle with the third couple, and they walk to the left (8 counts).
6 - Taking the third lady's left hand in his right, the first gentleman walks to fourth couple (4 counts).
7 - These four join hands in a circle and walk to the left (8 counts).
8 - The first gentleman leaves the third lady at the left of the fourth gentleman and walks to his own place (4 counts).
9 - Second and fourth gentlemen take the ladies' hands, and both lines walk forward four steps.
10 - They walk directly backward four steps.
11 - The lines advance and, releasing hands, pass through, the two gentlemen keeping to the left in passing each other. All turn singly and stay on the opposite side of the set.
12 - The first and third gentlemen cross to each other's places, keeping to the left in passing (8 counts).
13 - Second and fourth gentlemen take the ladies' hands, and both lines walk forward four steps.
14 - They walk directly backward four steps.
15 - The two lines advance and pass through, the two gentlemen keeping to the left as before.
16 - The first and third gentlemen cross to each other's places, keeping to the left in passing.
17 - Each "lone gent" walks to the couple with whom his partner is dancing (4 counts), joins hands in circle and all do a "do si do," which brings all couples into their own places.
18 - All eight balance and swing.

(Second-fourth couples repeat in turn 2 to 18 inclusive.)