Hostname: page-component-586b7cd67f-rcrh6 Total loading time: 0 Render date: 2024-11-29T09:35:44.107Z Has data issue: false hasContentIssue false

Squaring Off: The Forgotten Caller in Cape Breton Square Dancing

Published online by Cambridge University Press:  18 January 2019

Extract

Square dancing forms a vibrant part of the traditional music scene in Cape Breton, Nova Scotia. In addition to the weekly West Mabou square dance, monthly dances and occasional square dances can be found across the island year-round. The number of square dances balloons during the summer months. But quite unlike most other square dance traditions in North America, Cape Breton square dancing rarely features a caller, a person who calls out the movements so that dancers do not have to remember them and can focus instead on performing them, listening to the music, and socializing with other dancers. While callers are generally absent from Cape Breton's square dances today, they were once essential.

Type
Articles
Copyright
Copyright © 2018 by the International Council for Traditional Music

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Footnotes

1.

I would like to thank Kate Alexander, Amanda Daly Berman, Kristin Harris Walsh, Sherry Johnson, Barbara LeBlanc, Chris McDonald, and Mats Melin for offering feedback and suggestions for improving earlier drafts of this paper. I would especially like to thank Sherry Johnson for suggesting that the decline of the Cape Breton caller may have been tied to the absence of similar calling traditions in other forms of vernacular Scottish dance, and also tied to the rejection of a cultural authority figure. I am also grateful for research funds provided by Cape Breton University and the Social Sciences and Humanities Research Council of Canada.

References

References Cited

Addison, Emily L. 2001. “The Perception and Value of Dance Halls in Inverness County, Cape Breton.” BA thesis, Trent University.Google Scholar
Alexander, Kathryn Rose. 2014. “Crafting Cultural Belonging: Normative Embodiment of Cape Breton's Scottish Traditional Music and Dance.” PhD diss., University of California Riverside.Google Scholar
Ballantyne, Patricia. 2016. “Regulation and Reaction: The Development of Scottish Traditional Dance with Particular Reference to Aberdeenshire, from 1805 to the Present Day.” PhD diss., University of Aberdeen.Google Scholar
Borggreen, J⊘rn. 2004. Right to the Helm: Cape Breton Square Dances. Jyllinge, Denmark: J⊘rn Borggreen.Google Scholar
Brucher, Katherine. 2016. “Assembly Lines and Contra Dance Lines: The Ford Motor Company Music Department and Leisure Reform.” Journal of the Society for American Music 10/4:470495.CrossRefGoogle Scholar
Connerton, Paul. 1989. How Societies Remember. Cambridge, UK & New York: Cambridge University Press.CrossRefGoogle Scholar
Connerton, Paul. 2008. “Seven Types of Forgetting.” Memory Studies 1/1:5971.CrossRefGoogle Scholar
Davey, William John, and MacKinnon, Richard P. 2016. Dictionary of Cape Breton English. Toronto: University of Toronto Press.CrossRefGoogle Scholar
Dick's Quadrille Call-Book, and Ballroom Prompter …To which is added a sensible guide to etiquette and proper deportment in the ball and assembly room, besides seventy pages of dance music for the piano. 1878. New York: Dick & Fitzgerald.Google Scholar
Doherty, Elizabeth A. 1996. “The Paradox of the Periphery: Evolution of the Cape Breton Fiddle Tradition, c. 1928-1995.” PhD diss., University of Limerick.Google Scholar
Dueck, Byron. 2006. “‘Suddenly a Sense of Being a Community’: Aboriginal Square Dancing and the Experience of Collectivity.” Musiké 1:4158.Google Scholar
Flett, J.F., and Flett, T.M. 1964. Traditional Dancing in Scotland. London: Routledge and Kegan Paul Ltd.Google Scholar
Flett, J.F. 1996. Traditional Step-Dancing in Scotland. Edinburgh: Scottish Cultural Press.Google Scholar
Gibson, John G. 2017. Gaelic Cape Breton Step-Dancing: An Historical and Ethngoraphic Perspective. Montreal and Kingston: McGill-Queen's University Press.Google Scholar
Gifford, Paul M. 2010. “Henry Ford's Dance Revival and Fiddle Contests: Myth and Reality.” Journal of the Society for American Music 4/3:307338.CrossRefGoogle Scholar
Graham, Glenn. 2004. “Cape Breton Fiddle Music: The Making and Maintenance of a Tradition.” MA thesis, Saint Mary's University.Google Scholar
Herdman, Jessica. 2008. “The Cape Breton Fiddle Narrative: Innovation, Preservation, Dancing.” MA thesis, University of British Columbia.Google Scholar
Jamison, Philip A. 2003. “Square Dance Calling: The African-American Connection.” Journal of Appalachian Studies 9/2:387398.Google Scholar
Jamison, Philip A. 2015. Hoedowns, Reels, and Frolics: Roots and Branches of Southern Appalachian Dance. Urbana, Chicago and Springfield, IL: University of Illinois Press.Google Scholar
Kennedy, Michael. 2001. Gaelic Nova Scotia: An Economic, Cultural and Social Impact Study. Report. Halifax: Nova Scotia Museum. Available online: https://gaelic.novascotia.ca/sites/default/files/files/Gaelic-Report.pdf.Google Scholar
La Chapelle, Peter. 2011. “‘Dances Partake of the Racial Characteristics of the People Who Dance Them’: Nordicism, Antisemitism, and Henry Ford's Old-Time Music and Dance Revival.” In The Song is Not the Same: Jews and American Popular Music, ed. Zuckerman, B., Kun, J. and Ansell, L., 2970. West Lafayette, IN: Purdue University Press.Google Scholar
LeBlanc, Barbara. 1986. “To Dance or not to Dance: The Case of Church and Group Social Control in Cheticamp, Cape Breton Island, Nova Scotia.” MA thesis, Laval University.Google Scholar
MacInnes, Sheldon. 1994. “Cape Breton Step-Dance: An Irish or Scottish Tradition?http://www.siliconglen.com/celtfaq/3_2.html (accessed 24 June 2009).Google Scholar
McDonald, Chris. 2017. “From Stride to Regional Pride? Cape Breton Piano Accompaniment as Musical and Cultural Process.” Ethnomusicology Forum 26/2:193214.CrossRefGoogle Scholar
Melin, Mats. 2005. “'Putting the Dirt Back In’: An Investigation of Step Dancing in Scotland.” MA thesis, University of Limerick.Google Scholar
Melin, Mats. 2015. One with the Music: Cape Breton Step Dancing Tradition & Transmission. Sydney, NS: Cape Breton University Press.Google Scholar
Mishler, Craig. 1993. The Crooked Stovepipe: Athapaskan Fiddle Music and Square Dancing in Northeast Alaska and Northwest Canada. Urbana: University of Illinois Press.Google Scholar
Morrison, Cecily. 2003. Culture at the Core: Invented Traditions & Imagined Communities Part I: Identity Formation. International Review of Scottish Studies 28:321.Google Scholar
Perlman, Ken. 2015. Couldn't Have a Wedding without the Fiddler: The Story of Traditional Fiddling on Prince Edward Island. Knoxville, TN: University of Tennessee Press.Google Scholar
Quigley, Colin. 2001. “Reflections on the Hearing to ‘Designate the Square Dance as the American Folk Dance of the United States’: Cultural Politics and an American Vernacular Dance Form.” Yearbook for Traditional Music 33:145157.CrossRefGoogle Scholar
Spalding, Susan Eike. 2014. Appalachian Dance Creativity and Continuity in Six Communities. Urbana, IL: University of Illinois Press.CrossRefGoogle Scholar
Sparling, Heather. 2011. “Cape Breton Island: Living in the Past? Gaelic Language, Song, and Competition.” In Island Songs: A Global Repertoire, ed. Baldacchino, G., 4963. Lanham & Toronto: Scarecrow Press.Google Scholar
Sparling, Heather. 2015. “History of the Scotch Four: A Social Step Dance in Cape Breton.” In “Percussive Dance in Canada,” ed. Heather Sparling, Sherry Johnson and Kristin Harris Walsh, special issue, Canadian Folk Music 49/2-3, 11-18.Google Scholar
Sparling, Heather. Forthcoming. “Taking the Piss Out: Presentational & Participatory Elements in the Changing Cape Breton Milling Frolic.” In Traditional Musics in Canada: Contemporary Expressions and Cultural Resonances, ed. A. Hoefnagels, S. Johnson and J. Klassen.Google Scholar
Taylor, Diana. 2003. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham: Duke University Press.Google Scholar
Thompson, Marie. 2006. “The Myth of the Vanishing Cape Breton Fiddler: The Role of a CBC Film in the Cape Breton Fiddle Revival.” Acadiensis 35/2:526.Google Scholar
Todorov, Tzvetan. 2000 [1976]. “The Origin of Genres.” In Modern Genre Theory, ed. Duff, D., 193209. Harlow, UK: Longman.Google Scholar
Toelken, Barre. 1979. The Dynamics of Folklore. Boston: Houghton.Google Scholar
Voyer, Simonne. 1986. La Danse Traditionnelle dans l'Est du Canada: Quadrilles et Cotillons. Quebec, QC: Presses Université Laval.Google Scholar
Voyer, Simonne. 2008. La Contredanse au Québec. 1. Les Contredanses en Forme de Colonne. Quebec, QC: Simonne Voyer et Les Editions Varia.Google Scholar