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the Americanized version. The term comes from French dos a dos, meaning “back to back.” We can
thank the quadrilles for this contribution on Modern Western Square Dance (MWSD), but before CallerLab
came along to sort things out and give MWSD some regularity, dosado took many forms. Some were
simple, but others got more complex. Dosado, as we dance it, evolved from the simpler moves. Do Paso
developed from the more complex moves.
Rather than a tidy narrative, this will be a presentation of four early descriptions. The order is
approximately chronological to allow you to follow the threads.:
THE COUNTRY DANCE BOOK (1918) [This is the description of a basic move in the Kentucky Running
Set.]
DO-SI-DO-AND-PROMENADE-HOME
Two couples face. Men turn their partners half-way round with left hands, pass each other by
the right (moving sideways, right shoulders forward, and back-to-back), turn their
contraries half-way round with right hands and return to places, passing each other by
the left (back-to-back, left shoulders forward). This movement, which is known as the
Do-si-do, or the Do-si, is then repeated.
At the conclusion of the repetition, men turn their partners once round with left hands, cross
hands with them and dance round a small circle, counter-clockwise, each couple
breaking off and proceeding to its original station.
The half-turns in the Do-si-do must be executed at great speed and with bent arms, each
performer describing as small a circle as possible. In crossing over between the turns
the men should arch their backs and pass as closely to each other as they can.
http://www.oldtimeherald.org/archive/back_issues/volume-7/7-8/dance_beat.html
The Do-Si-Do
The back-to-back New England style "Dos-a-dos," which is commonly known today as "Do-si-
do," does not appear on any of these southern recordings. Many southern dance
callers however called a different "Do-si-do" figure that can be heard on many of the
recordings from Kentucky, Virginia, West Virginia, and Georgia. It was once commonly
used as a sub-chorus in visiting couple squares, danced by two couples after
executing the main figure, and sometimes used by itself as a main figure. It is rarely
danced nowadays except in a few isolated communities. I’ve seen versions of it in
recent years at dances in Virginia, West Virginia, eastern Kentucky, and western North
Carolina.
There are two main variations of this Southern Appalachian "Do-si-do." One is the same "Do-
si-do" that Cecil Sharp described seeing in eastern Kentucky in 1917. It consists of a
series of hand turns: Turn partner with a left hand, Turn corner with a right hand, Turn
partner with a left hand, Turn corner with a right hand. This version of the "Do-si-do,"
later renamed the "Do Paso," is a common figure in Modern Square Dancing. It is
basically a "Georgia Rang-Tang" that starts with partners instead of corners. The
words "Georgia Rang-Tang," by the way, do not appear on any of the recordings from
the 1920s, even the ones from Georgia. I suspect that the "Georgia
Rang-Tang" evolved from the old "Do-si-do."
The other Southern Appalachian "Do-si-do," sometimes called a "Kentucky
Do-si-do," goes as follows: The lady walks in a counter-clockwise
direction in front of and around the gent without dropping hands. As
she passes behind the gent’s back, he ducks under his right arm.
They let go hands and then swing opposites, and then swing their
partners.
On some recordings, the call for the "Do-si-do" is simply, "Do-si the
lady," but on others the caller lets loose with a non-stop stream
of patter calls that fills in time while the dancers execute the
figure. Typical is something like, "Do-si-do and gents you
know, once-and-a-half and let her go," (KY) or even:
j. Here you go with a do-si-do. One for the money, two for the,
show, three to make ready, then on you go.
The four dancers. drop hands. The two ladies advance to each other,
brush left shoulders and pass back to back. (Fig. 16a) Turning
to the left, each lady joins left hands with her partner and walks
around him, passing to his left and coming back on his right.
(Fig. 16b) As the lady goes around her partner they drop
hands. The ladies now pass left shoulders, each placing her
right hand in the right hand of her opposite gent. (Fig. 16c) She
circles around him, passing him to the right and coming back
on his left. (Fig. 16d) Each lady once again joins left hands with
her partner and he places his right arm around her waist. (Fig.
16e) Bill and Bess back into place' while Andy and Amy go on to dance with Cal and
Cora.
And you will find it is timed so perfectly to the figure that as he says on you go, you have finished it all and are
presenting yourself and your partner to the next couple for the next figure in the dance.
In some parts of the Western country I find what I consider to be a corruption or simplification of the docey-doe.
It consists simply of the women doing a pair of figure eights around the men. It would follow the simple
call :
Swing your opposite with your right,
Now your partner with your left,
Noiv your opposite with your right,
Now your partner with your left.
With no passing between and no turning left at the start it is easier for beginners to do. And I am convinced that
that is how it happened—the original form was too difficult and was lost. And it is natural that these
simpler variants should appear. The only difficulty is that each group thinks his variant is right. They will
ask you quite innocently, "Do you do it the right way or the wrong way?" meaning "Do you do it my way
or your way?" They seldom know anything of the history of the figure; they only feel that the way they
first learned it, even if it were only last week, is the "old way" and any variation they learn this week,
regardless of how ancient or authentic it may be is, of course, to them the "new way." It is truly inspiring
to see the autonomous pride with which each group feels certain that it alone is authentic and the rest of
the world is out of step.
And finally, for comparison, this is how CallerLab currently defines the do-calls that have
been refined down from the earlier forms:
3. Dosado / Dosado to a Wave
3.a. Dosado
Starting formation: Facing Dancers
Command examples:
Dosado
Dosado your corner
Dosado your partner
Head Men Dosado
Heads Go Forward And Back; Heads Dosado
Dance action: Walking a smooth circular path,
dancers walk forward, passing right
shoulders, slide sideways to the right, walk
backwards, passing left shoulders, and Dosado
slide slightly to the left to return to their with
starting position. Highland
Ending formation: Facing Dancers Fling
Timing: Designated dancers from a Squared Set,
returning to a Squared Set: 8; otherwise 6
Styling: Men: arms in natural dance position, right shoulders forward as right shoulders pass, left
shoulders forward as left shoulders pass. Women: both hands on skirt, moving skirt forward and back to avoid
opposite dancer, right hand forward as right shoulders pass, left hand forward as left shoulders pass.
Some new dancers dance Dosado with their arms crossed in front of them. While this indicates that the dancer
has been exposed to square dancing in the past, it is not the recommended styling today.
Comments: The command "Dosado Your Corner" is a shorthand for "Face Your Corner; Dosado". The same for
"Dosado Your Partner".
The Ocean Wave Rule applies to this call. The ending formation remains Facing Dancers.
From a Squared Set, Head Men Dosado is acceptable. They approach each other, Dosado, and return to their
original position.
A Dosado which starts by passing left shoulders is called Left Dosado.
Formerly the phrase See Saw was occasionally used to accomplish a Left Dosado. In 2003 the Mainstream
Committee voted to drop that application of See Saw and requests that callers use Left Dosado.
3.b. Dosado to a Wave
Starting formation: Facing Dancers
Command examples:
Dosado To A Wave
Dosado and Make A Wave
Dance action: In one smooth motion, Dosado and Step To A Wave.
Ending formation: Right-Hand Mini-Wave
Timing: 6
Styling: Follow the styling for Dosado and Step To A Wave.
Comment: The Ocean Wave Rule applies to this call.
17. Do Paso
Starting formations: Right and Left Grand Circle, Thar, Squared Set, Infacing Circle Of 8, or a "turning your
partner left" formation (the dynamic formation
obtained from a square plus all arm turn your
partner by the left an indefinite amount)
Command examples:
Do Paso
Walk Around Your Corner; Partner Left Do Paso
Circle Left; Do Paso, it's Partner Left, Corner Right,
Partner Left
Circle Left; Break it on up with a Do Paso
Ladies Star by the Right 3/4, Do Paso
Four Ladies Chain, Star them home for a Do Paso
Square Thru, but on your 4th hand Do Paso (from
half sashayed facing lines)
Do Paso, turn partner left and corner right, Left
Dosado your own
Do Paso, partner left, corner right, Turn Partner Left
and Men Star Right
Put the ladies center back-to-back, men promenade that outside track; Get back home, Do Paso
Dance action: Left Arm Turn with partner until facing corner and release armhold. Right Arm Turn with corner
until facing partner and release armhold. If there is no further instruction, Courtesy Turn partner to end
facing the center of the set. Otherwise, follow the next instruction, which will start with a Left Arm Turn
with Partner, or with a left-handed Facing Dancer call.
Ending formation: Facing center of set if ended with a Courtesy Turn; otherwise, either turning partner by the
left, or facing partner with a left hand available as necessary for the additional call.
Timing: 12
Styling: All dancers' hands in position for forearm turns, alternating left and right. When the Courtesy Turn
portion of the Do Paso is replaced by a different call, then the styling changes to styling of that call.
Comments: In an Alamo Ring in which the men are facing out, the initial arm turn will be left 3/4 so that
everyone can head to their corner.
Do Paso is used primarily with a directional style of calling, in which many of the calls have vague or flexible
starting or ending formations, usually in circles, thars, and squares. Dancers are expected to blend
smoothly into the next call. The call defines a general pattern, but the specific parts of the call are
typically cued (e.g., "Do Paso; It's partner left, corner right, partner left and hang on tight, make an
Allemande Thar with the men in the middle ..."). Variations can be cued, but the caller should draw
attention to the fact that the typical pattern has been broken (e.g., "Do Paso, turn partner left, turn
corner by the right, Don't Stop Yet! Partner left and corner right, hang on tight, Boys swing in to a Wrong
Way Thar").
The combination Four Ladies Chain, Chain Them Back with a Do Paso is an example of blending. See the
section "Part 4: Additional Detail: Blending one call into another".
While primarily a circle-type figure, Do Paso may also be started from 8 Chain Thru (half sashayed) and Left-
Hand Ocean Waves (boys on end).
Do Paso may also be used from circles of 4 and 6 dancers. These applications have received insufficient use in
recent years and will probably require a quick walkthru.
Wow! Who would have thought that such a simple, basic dance call could get so complex?
Nonetheless, dosado is the foundation upon which square dancing is built. Just as gay square dancing
has added the Highland Fling to the dosado, every other group has sought a way to make this ubiquitous
call their own.
Daryl Daniels
May 5, 2010
A square
performs a
Do-sa-do
without a
Highland
Fling