Written by Merle Cramlet, May, 1984
The old fashioned Square Dance (barn dance) that was popular
in the early 1900’s was an orchestra controlled affair (they hired the
caller) and was most often held in the loft of a barn. Each caller had a repertoire
of 8 or 10 dances that were always called the same. Of course the orchestra
had an important part for they not only played the hoedown music, but the “Varsouvienna,”
the “Rye Waltz,” “Eva Three-Step” and other “old
time” dances. Because the orchestras were expensive and the calls were
never changed (and there was much drinking), Square and Round dancing almost
faded from the American scene.
In 1948, Lloyd Shaw of Colorado Springs was the recognized Square
Dance Leader. He felt that ballroom dancing and square dancing did not mix,
but some folk and old-time dances added variety to the program. He wrote what
is believed to be the first Round Dance book in which he listed basic Round
Dance figures and a few rounds such as “Black Hawk Waltz” and “Laces
and Graces.” In 1951, a couple of popular rounds were “Blue Pacific
Waltz” and “Beautiful Ohio” which were written by a Folk Dance
instructor. At that time, Folk Dancing played an important part in Round Dance
development.
At first callers taught and even wrote their own dances, using
their own brand of basics and their own written and oral cues. In 1952, there
was a great deal of confusion when Helen Horne and Ralph Maxhimer each wrote
dances to “Tennessee Waltz” music. Round Dancing was in a state
of confusion and disorganization and might have disappeared from the picture
had not Helen Horne asked all local callers to meet and try to solve the problem.
It was June, 1952, that Gerald and Iola Reeser, Merle and Joy Cramlet, Med McMasters
and Jack Hoeheisal met with Helen. They decided that although very few were
interested, something had to be done.
During the next two meetings, it was determined that an organization
was needed in order to standardize terms. In October, 1952, the RDTA of Southern
California was formed, and callers and teachers who joined during the first
year were considered Charter Members. Clarke Kugler, Ivan Louder and Merle Cramlet
were on the first Standardization Committee and wrote the first set of organization-approved
terms. Med McMasters was the first President and Joy Cramlet the first Secretary.
The original problem of two dances written to the same music has never been
solved.
Ray Shaw, brother of Lloyd, and some other callers objected
to a Round Dance organization because they thought that Round Dancing was a
definite part of Square Dancing and should not be separated in any way. This
problem might never have been solved had not a group of Ballroom teachers threatened
to make it mandatory for all R/D and S/D teachers to be licensed by the State.
In order to prevent this, they forgot their differences and raised money to
send Jim York, a popular caller and a lawyer, to the State Capitol in Sacramento.
The meetings for the first year or two were mainly business
with very little dancing. Fortunately, Martin Treib (one of the Charter Members)
had been a Dance Master in Europe and was a big help. Bob Osgood, publisher
of “Sets In Order” magazine gave his support. Gordon Moss (another
Charter Member) choreographed many challenging dances and also wrote much on
the philosophy of Round Dancing. Johnny Velotta, a very enthusiastic member,
was in the janitorial business and developed and sold “Speed Up”
and “Slow Down” for the floor -- a real boon for Round Dancing.
The greatest need was for records suitable for Round Dancing,
so specialized record companies were created. Bob Osgood met the challenge with
“Sets In Order” records produced by Merle Olds, who later went on
to form “Hi-Hat” records. Doc Alumbaugh formed the “Windsor
Records” label. Sunny Hills was the largest Square and Round dance barn
in Southern California and they started producing Round and Square Dance records
also.
At first Square and Round dance clubs were caller and cuer controlled
– but before long clubs were being formed by the dancers and Square and
Round dancing was growing by leaps and bounds. New callers were joining the
parade but they objected to the rounds — it meant more work for them —
besides, few were qualified. New dancers were not taught the basics so they
thought Rounds were not “fun” and took time away from their Square
Dancing.
This was a very trying time for Round Dancing — the clubs
were not enthusiastic about hiring a cuer just for the Rounds, and the ballroom
teachers who had joined RDTA felt that the square dancers were retarding its
growth. They succeeded in changing the rules so that just being a caller was
not enough to be a member of RDTA. Also, the oral test was made more difficult.
Fortunately, the membership was large and members still maintained the pioneer
spirit – so they doubled their efforts and promoted more R/D classes.
To make it easier for the callers, in 1953, RDTA decided to choose one round
to be taught each month. The first Round of the Month was “Side By Side,”
written by Julie Passarello, one of our members.
The ROM proved to be a boon, and in 1956 an Intermediate Level
ROM was added; the Advanced Level ROM was added in 1966. In order to bring all
Round dancers together, a “Fun Level” Round-Up was started in 1954.
The first Intermediate Round-Up was in 1966, and the Advanced, or “Rose
Ball” in 1971. Since 1974 there has been an “All Level Holiday Ball.”
We are proud of our organization, not only because it was the first and largest of its kind, but because other groups have followed in our footsteps. We have inspired and given direction not only to our members, but to R/D leaders the world over. Our efforts have been felt by all ages and all levels of society. We have brought single people together as a group and have given them many hours of dancing pleasure. We have given married couples a new lease on life – an activity that they can afford and share together, with or without their friends, and we have brought people together forming new lasting friendships.
Standardization Committee
By Merle Cramlet, 1984
The Standardization Committee was not only the first committee,
but the most important to our existence in those early days. Many of the terms
were taken from Square and Folk dancing, and most of the dances were “Old
Time Dances” and mixers. The cue sheets were very simple and left room
for many variations. In 1953, we had standardized only a few terms, and it was
Ginger Osgood, working with “Sets In Order” magazine who set the
standards by publishing the cues for “Side By Side,” the first ROM
(written by Julie Passerello, one of our members).
The first committee members remained unchanged for several years,
but in 1960 the authority and duties of the committee were well enough established
that they could be written, and thus preserve the continuity of the committee
as the members were replaced. From the beginning, it was understood that the
responsibilities of this committee were too important to be left in the hands
of one person. That is why Standardization has always been a “committee.”
Since 1979, the Committee has been “progressive” (the second member
replaces the Chairman, and a new member is appointed by the RDTA President).
The new member receives a notebook containing unfinished business from the preceding
year, sheets containing By-Laws and Rules & Procedures pertaining to Standardization,
and a sheet of instructions on things to consider when voting on new terminology.
Also, the Chairman receives a sheet of instructions and a form letter to be
sent to anyone wishing to present a dance that does not conform to our Syllabus,
asking them to help with the description of the new figure (remembering that
it should be adaptable to other routines). The new member also receives a copy
of the 1960 “Authority and Duties” and the latest edition of the
Syllabus. The new member, armed with all of this information and two years experience,
should make a good Chairman. One little problem — finding someone dedicated
enough to withstand the abuse and hard work for three years. (Can you imagine
telling a popular R/D teacher with a large following that they cannot show their
OWN dance because it does not conform to RDTA Standards?)
Each Chairman handles the job a little differently. Some have
monthly meetings, others communicate with the others by phone and mail [now
email, too! –Ed.]. If the members live a long distance apart they may
have a breakfast meeting before the RDTA meeting. At the meeting, the discussion
is mainly about new cue sheets, new terminology to be written up for vote, complaints,
how to handle clinics, and the problem of members not using standard terminology.
We, the members, can help by offering suggestions in writing to the Chairman,
and by allowing the committee time to evaluate the need and various ways a new
figure or term might be applied.
Why so strict? — With hundreds of teachers throughout the nation, teaching Round Dancing, it would be disastrous if we, the creators of Round Dancing as we know it today, would be lax in our efforts to keep Round Dancing the true art form in its own right. We must never use terminology from other dance media without first modifying it to fit our style and purpose.
[Note — In the late 1990’s, it was decided to adopt Roundalab’s Phase Standards in addition to our own Syllabus. The RDTA of Southern California Syllabus has numerous terms and figures which were NOT covered by Roundalab.]