Figure 1.--This photo shows a Ford endowed school Eglish dance team in 1958. I'm not sure precisely what that meant. This was a team of English school children. I think it meant that they did English dances.

Western square dancing is the only indegenous dance form which developed in America during the 19th Century. Square dancing has been the "official national folk dance" of America since President Reagan signed an act of Congress in 1982. Most Americans, however, would likely never be caught dead square dancing--too embarrassing, they might say. Such is generally true of folk customs--they are not popular. Thus it remains a dance that few have really tried after leaving erlementary school. Few adults ever square dance. But dedicated square dancers just ignore the negative quips and enthusiastically continue with their Do-si-do's, Spain Chain the Gears, and Ferris Wheels.

History

Origins

The origins of western square dancing are vague, anonymous, and mostly rural. One scholar believes that had these Western dances been the dances of scholars, every variant would have been recorded and fully noted. The origins of square dancing are complex and extensive. One expert writes that:

The square dance is uniquely American. ... The format, many of the folk dances movements, and the terminology incorporated into the square dance were brought by early emigrants from other countries to the United States. Borrowed bits from foreign dances such as French quadrilles, Irish jigs, English reels, and Spanish fandangos have blended with American folkways and customs into the square dance." [Casey]

The western square dance has two basic origins:
Formal European: European socail standards governened the American colonies in the colonial era. New England settlers in the colonial era perpetuated precise measured European court quadrilles danced in a square formation, and contras, or country dances, done from facing lines and following set patterns called out by a prompter. These formal dances were memorized, and required considerable training by a dancing master, which was unavailable on the western frontier. Dances in Ameica througout the 19th Century were based primarily on European courtly dance forms.
Appalachian sets: The other major influence on western square dancing was running set which emerged in the Appalachian mountain region. This was a lively English folk dance formed by one large circle of couples who follow figures freely chosen by a caller

Development

Settlers in western territories eventually fused the New Englandv formal, square formation of the quadrille and figures from contras with the lively Appalachian freedom of movement in the running set. This cross polonization produced the modern western square dance. These groups dances developed primarily in rural areas, often accompanying country festivals such as a barn raising or corn busking bees.

Scholars have tried to pin point the origin of square dancing--when and where these two dance forms merged. One author suggess a midwestern origin but was ncertain. More recently, however, othervscholars have fixed the origin of square dancing in the mining camps of the California gold rush. There, Hank Green explains, developed a dance form which blended elements of the New England and Appalachian styles. Known then as the cotillion, it was performed in a square formation. Actually, this was probably an improvised variation of the already popular cotillion of 18th century French origin. Instead of memorized movements, however, the California cotillion was called. Greene adds, "These directions were not preplanned but were made up on the spot; they were the forerunner of today's prompt calls. The Cotillions were danced to traditional music, which included lively jigs and reels from Scotland and Ireland, or to the newer compositions of composers such as Stephen Foster." [Greene]

Calling and fiddling

The calling of these dances spread rapidly throughout the country, and at balls or community dances, the fiddler would call out these prompt calls, telling the dancers what to do next. The ingenious and alert caller would add to the prompt calls by devising humorous fill-in lines, called in time to the music. These fill-ins became the patter calls of today. Later, the call instructions were given in time and in tune with the music, and so the singing call developed. The calling of square dances took the initiative and influence away from the dancing masters, who had stressed formal techniques and memorized sequences; and as new people took over the chore of calling, new steps and step patterns were invented, and square dancing became a more vital and flexible dance form."

Declining interest

Early in 20th Century, as America steadily urbanized, square dancing nearly died out. The dance got left behind and was almost forgotten. That only set the stage, however, for it's refinement and increased sophistication in the years ahead. There are several important highlights as its revival extended over several decades. There were always adherents who promoted square dancing.

Henry Ford

The American automobile industrialist Henry Ford played an important role in reviving square dancing in America. Ford in 1925 hired dance expert Benjamin Lovett to come to Greenfield Village in Dearborn, Michigan--the Ford company town. Lovett's assignment was to establish a square dance program for Ford community. Lovett began by collecting music and dances and then taught these almost forgotten dances to Ford's friends and associates. The Fords next built a luxurious dance hall with a teakwood floor and crystal chandeliers. Lovett served as the teacher and dance master at the new hall for years. The Fords in 1926 began publishing books promoting the virtues of square dancing. Here Ford had two motives. One was reviving a traditional American dance form. His interest was not entirely benevolent. His other motive was to reduce the influence of jazz music and assoiated dances likes the Charleston which Ford saw as whicked and suggestive. Jazz was desparaged at the time as black music. Ford was also a vicious anti-semite. His hate filled books were actually published by the NAZIs. What ever his motives, the promition of square dancing did prove quite successful. The front cover of the first Ford dance book read, " Good Morning, after a sleep of twenty-five years, old fashioned dancing is being revived by Mr. & Mrs. Ford." The Ford program did not just deal with square dancing. Also included were many of the older traditional dances which led to square dancing, dances like: quadrilles, Lancers, singing squares, circle mixers, contras, rounds, and a gavotte. Ford worked tirelessly to promote square dancing. Ford's good friend Thomas Edison began to produce 78 RPM square dance records under his Edison label. Soon one scholar ponts out, "Old fashioned square dancing became the rage." [Taylor, pp. 33-35.] Ford also encouraged schools to adopt square dance programs and helped fund competitions. Apparently there were even competitions in other countries. I do not know if the Ford program was ever extended to other folk dance styles.

American schools

Folk dancing received another major boost in the 1920's when the New York City public schools, the first major school system to do so, made folk dancing a required activity. I can remember as a boy in the 1940s and 50s being taught square dancing in Washington, DC and Virginia. I'm not sure when schools began doing this or how common it was around the country. A HBC reader reports, "I used to square dance growing up in the 50s and early 60s. Not only did we have to learn how to do it since grade 2 in school, but there was a weekly, Friday night square dance one year to which a bunch of us went. (I think we were in the 5th grade then). When I moved to California just before the start of 7th grade (1963), I still had to do in for a week for P.E. in both the 7th and 8th grades. I think this practice continued until the late 80s or early 90s and Jr Hi kids still may do it a s part of PE today. Square dancing plays a very funny role in the charming little film "Lloyd (aka The Ugly Kid)" (1998) near where I live. It gives a pretty good idea what kids think of square dancing today. Ford helped promote school competitions.

British schools

Apparently even schools in other countries were involved (figure 1). We note that the British Park Secondary School in Dagenham had a dance program. It was apparently promoted by Ford. There is a big ford factory in Dagenham. Apparently the Fords Endowed Junior School would have been set up with some sort of funding from ford motor company but would still be state controlled. As these photos appear on the Park site I assume this was a feeder school. I suspect that the English dance team means they performed only English dances and not square dances. Just what English dances consisted of I am not quite sure. There was in fact a Polish dance team from the same school. This seems to suggest that Ford was ptomoting folk dancing in general and not just Western square dancing. Unfortunately we have few details at this time.

Revival

Americans of a widening social strata began to show an interest in western square dancing. Square dancing expanded rapidly after 1939. Large crowds of dancers attended the 1939 San Francisco Golden Gate Exposition and the 1940 New York World's Fair. The dance especially expanded in the decade following World War II. Many American G.I.'s had been introduced to square dancing at USO cantinas. After the war ended, large numbers of them turned to square dancing in pursuit of wholesome recreational activity. With "Pappy" Shaw in Colorado, and the impact of the returning G.I.'s particularly focusing on California, these two states lead the development and evolution of modern square dancing. By 1950 the square dance boom was in full stride. In every corner of the country square dance clubs and associations were formed, spawning hundreds of new callers. Although their popularity was widespread, the greatest concentration of dancers was in Southern California. In July, 1950, Santa Monica [California] celebrated its 75th anniversary with what was probably the world's largest square dance: an unprecedented attendance of 15,200 dancers. Wilshire Boulevard was closed to traffic to accommodate the people who danced through the night to the calls of thirty-five callers.

Current status

Today there are thousands of square dance clubs located in nearly every community of America. Dancers keep in touch and learn of current happenings through a multitude of flyers, newsletters and directories. They have had many years' experience at perfecting their organizational skills and are effective at getting the word out about upcoming events. Local clubs usually form into regional associations, which then form into state associations. Aside from weekly club dances there are also special weekend festivals. On a three-day weekend, one can dance almost continuously from Friday evening to Monday afternoon! In California one might locate a weekend festival (or two or three!) almost every weekend of the year. Many dancers arrive in their recreation vehicles. Altogether, attendance at such weekend festivals might be two or three thousands individuals. It is a busy, lively, and colorful affair. Held at county fairgrounds or convention centers, a festival usually occupies several halls, with dances conducted simultaneously at three or four different skill levels.

Chracteristics

The western square dance differs from all other folk dances. It is the only one which is directed by a caller who often extemporaneously chooses patterns from known basic movements and terminology and mixes them in imaginative patterns. Square dancing, as one scholoar points out, is much like knitting or crocheting. There are a fixed number of different stitches that might be used. When combined together in various patterns by a multitude of talented craftspersons, an infinite variety of items result. Similarly in the western square dance there's an infinite variety of patterns. Nothing ever happens the same way twice. Even the combination and arrangement of persons in one's square changes with each tip danced. [Casy]

Costuming

Boys and men costumin is identical. Details can vary, but usually includes a cowboy Sterson hat, a bandana, white, blue checkered shirt, blue jeans, and cowboy boots. Some foreign groups did not always follow the American costuming conventions.

Cultural Factors

Industrialist Henry Ford took a special interest in squaredancing. He insisted that Ford executives learn and participate in square dancing. He also promoted the teaching of square dancing in the public schools. This in fact became widespread. I can remember as late as the 1950s learning square dancing during gym class. Square dancing was promoted as a wholesome activity for children. Ford was concerned about the growing popularity of jazz and he considered "wholesome" square dancing as a substiture for what he viewed as the pernicious impact of jazz music and dancing.

Sources

Casey, Betty. The Complete Book of Square Dancing (and Round Dancing) (Doubleday, 1976).

Greene, Hank. Square and Folk Dancing: A Complete Guide for Students, Teachers and Callers (New York: Harper & Row, 1984).

Taylor, Dave. "Henry Ford and Benjamin Lovett: The Story of Lovett Hall," American Square Dance, January 1993.

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Created: May 30, 1999
Last updated: February 2, 2003