A caller is rarely a permanent member of a band (unless they also happen to play an instrument), because most good bands will have plenty of opportunities to play for dancers who “know their stuff”, and then their regular caller may find him or herself at a loose end.  For this reason most of us work freelance, working usually with one or two bands but available to call with others if asked.  In American and English folk dance callers are commonplace.  In fact many bands wouldn’t dream of leaving home without one!  In Scotland until about the nineteen sixties social dancing was generally divided into three groups – the formal Scottish Country Dances, the “Reel Parties” (such as Highland and Caledonian Balls) and the Village Hall Dances.  People attending any of these functions had either been taught the dances at classes or school, or had simply grown up with them.  Either way, a dance caller wittering on would have been totally superfluous.  Scottish Country Dancers occasionally had (and still have) someone to do a “recap” at the beginning of a dance, but that’s not quite the same as calling with the music.  In the seventies many inexperienced dancers cottoned on to the fact that ceilidh dancing was more enjoyable than disco dancing (at least you were able to hold your partner!) but they had lost touch with the traditional dances.  One or two bands recognised the need for instruction, and for once copied the English and employed a caller.  This worked well, and now most dance bands accept that occasionally a caller can be of benefit to them.

So what exactly does a caller do?  In my opinion a caller is there to aid both the dancers and the band – not to order them about!  The caller should be able to explain and walk through a dance quickly and concisely, without making the dancers feel that they’re back in that gym hall.  If the dancers don’t understand the instructions, then the caller isn’t making a good job of explaining them.  Most callers will have two or three explanations of moves and figures, so that if one isn’t immediately clear they’ll try another.

The best callers have good microphone technique.  I was very lucky to have Freeland Barbour teach me the basics of speaking into a mic.  He explained the difference between uni- and omni- directional mics.  It’s a useful tip, even for comperes at functions – don’t hold the microphone underneath your mouth and speak across the top of it if it’s uni-directional (as most vocal mics are).  Your speech is much clearer if you hold the mic close to and facing your mouth.  I use a radio mic, which allows me to stay down on the dance floor rather than hogging the limelight in front of the band.  It means that I can talk and demonstrate a dance at the same time.  Dancers sometimes can’t quite grasp the concept of the radio mic.  I wish I had a fiver for every time that I’ve been cajoling folk onto the dance floor and some helpful soul has suggested that I take the mic into the bar/other hall/foyer because the people there can’t hear what I’m saying.  My usual reply is, “OK, I’ll take the microphone, you bring the speakers!”  Female callers (and comperes) should lower  the pitch of their voices when speaking into a mic.  What sounds perfectly pleasant when talking face to face can come out as a nagging squeal over a PA system!  It is also advisable to learn the difference between projecting one’s voice and shouting.

Once the dance has been walked through without the music, it’s time for the band to take over.  I usually keep the dancers right for once or twice through but then shut up.  It’s awful when a caller loves the sound of their own voice so much that he or she just keeps on going, even when everyone can clearly do the dance.  It’s easy to pick up the mic again if you see people struggling or falling out of time with the music – but let the dancers hear the band!  One essential thing that some callers have a problem with is the timing of the calling.  You must call the move before the beat; otherwise it’s too late for the dancers to obey your instructions.  Although many musicians claim to be able to call dances while they are playing, understandably this is their main failing and I’ve only ever seen a handful do it successfully.

I always consult with the musicians before announcing the next dance.  Some bands prefer the caller to make the decisions for the night’s programme, but others know when they feel like playing reels, jigs, marches or whatever.  Even if the band likes the caller to decide the next dance it’s only fair to discuss it with them.  I have known callers announce a dance while the dancers are still on the floor from the previous one and the band has to have a mad scramble to find the appropriate music.  I’ve also known a caller announce a Virginia Reel, followed by a Dashing White Sergeant, followed by a Circassian Circle – all different formations, but all reels.  We have such a wealth of tempos, let’s have some variety throughout the night.  I try not to be doing any more teaching of new dances after about a third of the way through the second half.  You want to end the night with dances that everyone knows, like The Military Two-step, Canadian Barn Dance or Strip the Willow.  By the end of the night people are too tired (or sometimes too drunk!) to pay much attention to your instructions.

I prefer to cue a band to play.  After deciding with them what dance we’re doing, I’ll make sure they’re ready to play and then and only then announce the dance.  If we’re going to do a walk through, or if it’s a set dance, then I would expect the band to come in immediately with a few bars of music.  Once the setting up and/or the walk through is complete then I will say something like, “OK here we go with the…” and as soon as the band hears the name of the dance they’re straight in with the music.  I’m very lucky because the bands that I most often work with are excellent, and never miss a cue.  I hate announcing a dance only to be met with total silence from the stage – it’s so unprofessional.

The caller is the liaison officer among the host, the band, and the guests.  At a wedding for instance it’s up to the caller to go and find out the bridal party’s names, and how they want the night to be run.  If they want to start with a Grand March or a Gay Gordons rather than a traditional first waltz, then that is their choice to make – he who pays the piper…

To sum up – a good caller should be seen and heard only when needed.