1 00:00:01,320 --> 00:00:04,280 Speaker 1: Welcome to Stuff You Missed in History Class, a production 2 00:00:04,400 --> 00:00:14,040 Speaker 1: of iHeartRadio. Hello, and welcome to the podcast. 3 00:00:14,080 --> 00:00:14,880 Speaker 2: I'm Tracy V. 4 00:00:15,000 --> 00:00:16,800 Speaker 1: Wilson and I'm Holly Frye. 5 00:00:17,360 --> 00:00:21,919 Speaker 2: In our episode on Scott Joplin, we briefly discussed the 6 00:00:22,040 --> 00:00:25,520 Speaker 2: cake walk and its origins is sort of a competitive 7 00:00:25,800 --> 00:00:29,280 Speaker 2: entertainment during the era of chattel slavery in the US, 8 00:00:30,240 --> 00:00:34,599 Speaker 2: and in that discussion I briefly mentioned that square dancing 9 00:00:34,840 --> 00:00:39,040 Speaker 2: also has some thorny backstory, and we immediately got a 10 00:00:39,080 --> 00:00:41,839 Speaker 2: lot of email asking for an episode. So here it 11 00:00:41,920 --> 00:00:46,440 Speaker 2: is to be clear upfront, square dancing is still a thing. 12 00:00:46,640 --> 00:00:49,839 Speaker 2: There are active square dancing clubs all over the US, 13 00:00:49,960 --> 00:00:53,519 Speaker 2: as well as some in Canada. There are regional and 14 00:00:53,680 --> 00:00:58,480 Speaker 2: national square dancing conventions every year. There are also square 15 00:00:58,560 --> 00:01:02,640 Speaker 2: dance organizations outside North America, although it does seem like 16 00:01:02,800 --> 00:01:05,720 Speaker 2: some of those have disbanded over the last few years. 17 00:01:06,160 --> 00:01:09,640 Speaker 2: At least one of them, like specifically mentioned the effects 18 00:01:09,640 --> 00:01:12,840 Speaker 2: of the COVID nineteen pandemic is their reason for disbanding. 19 00:01:13,600 --> 00:01:18,360 Speaker 2: So while square dancing is not as popular today as 20 00:01:18,400 --> 00:01:21,240 Speaker 2: it was at its peak, we're not talking about a 21 00:01:21,240 --> 00:01:24,720 Speaker 2: pastime that's totally gone. 22 00:01:23,600 --> 00:01:27,080 Speaker 1: For anybody that doesn't know. Square dancing is a social 23 00:01:27,200 --> 00:01:30,840 Speaker 1: dance in which four couples dance in a square. For 24 00:01:30,920 --> 00:01:33,600 Speaker 1: a long time, it was basically assumed that each couple 25 00:01:33,640 --> 00:01:36,039 Speaker 1: would be made up of one man and one woman, or, 26 00:01:36,360 --> 00:01:38,440 Speaker 1: in the case of gym class, which how a lot 27 00:01:38,480 --> 00:01:41,160 Speaker 1: of us got introduced to it, yet one boy and 28 00:01:41,200 --> 00:01:44,640 Speaker 1: one girl, unless maybe gym class was not evenly split 29 00:01:44,760 --> 00:01:48,520 Speaker 1: into boys and girls. Some square dancing guides written in 30 00:01:48,560 --> 00:01:51,400 Speaker 1: more recent years point out that the dancer's gender does 31 00:01:51,440 --> 00:01:54,720 Speaker 1: not really matter, and they switch over to using words 32 00:01:54,760 --> 00:01:58,400 Speaker 1: like left partner and right partner, or lead and follow. 33 00:01:58,960 --> 00:02:01,600 Speaker 1: But a lot of the time the calls, which are 34 00:02:02,960 --> 00:02:05,720 Speaker 1: sort of this part of square dancing, still use more 35 00:02:05,720 --> 00:02:09,079 Speaker 1: gendered language. It kind of varies a little bit. 36 00:02:09,280 --> 00:02:13,600 Speaker 2: Those calls, though, are one of the most recognizable hallmarks 37 00:02:13,639 --> 00:02:17,440 Speaker 2: of square dancing. The caller is a person who calls 38 00:02:17,520 --> 00:02:21,320 Speaker 2: out the instructions to the dancing couples, usually intertwined with 39 00:02:21,360 --> 00:02:24,720 Speaker 2: a sort of pattern. The moves that they are calling 40 00:02:24,760 --> 00:02:28,000 Speaker 2: out are known as figures, so for example, the dosy 41 00:02:28,080 --> 00:02:31,520 Speaker 2: dough also called the doc doe, or various other like 42 00:02:31,560 --> 00:02:36,960 Speaker 2: slight regional pronunciations that comes from the French for back 43 00:02:37,000 --> 00:02:39,960 Speaker 2: to back. It's one of several figures whose name does 44 00:02:40,040 --> 00:02:43,480 Speaker 2: come from French. So partners face each other, they pass 45 00:02:43,560 --> 00:02:45,960 Speaker 2: each other right shoulder to right shoulder, and then kind 46 00:02:45,960 --> 00:02:49,040 Speaker 2: of step sideways, so they pass back to back, and 47 00:02:49,120 --> 00:02:52,120 Speaker 2: then backwards so that they pass left shoulder to left shoulder, 48 00:02:52,160 --> 00:02:54,360 Speaker 2: so they kind of go around one another back to back. 49 00:02:55,240 --> 00:02:58,919 Speaker 2: There are dances that use a specific sequence of figures 50 00:02:58,960 --> 00:03:02,120 Speaker 2: in a specific order, which dancers can memorize, but a 51 00:03:02,120 --> 00:03:05,480 Speaker 2: lot of the time, especially in modern square dancing, the 52 00:03:05,600 --> 00:03:08,600 Speaker 2: caller is really the person who's leading the dance, and 53 00:03:08,639 --> 00:03:13,400 Speaker 2: the dancers are following the caller's direction. A common theme 54 00:03:13,520 --> 00:03:16,040 Speaker 2: in a lot of writing about square dancing is that 55 00:03:16,120 --> 00:03:20,160 Speaker 2: it has very old roots. S Foster Damon was a poet, 56 00:03:20,320 --> 00:03:23,640 Speaker 2: a William Blake scholar, and a square dancing enthusiast, and 57 00:03:23,720 --> 00:03:26,760 Speaker 2: in nineteen fifty seven he published a short book called 58 00:03:26,760 --> 00:03:30,320 Speaker 2: The History of Square Dancing, and that book begins quote 59 00:03:30,400 --> 00:03:34,080 Speaker 2: anthropologist report that the great apes have been observed dancing 60 00:03:34,080 --> 00:03:37,640 Speaker 2: in lines and circles. If this be so, folk dancing 61 00:03:37,800 --> 00:03:42,280 Speaker 2: is probably older than mankind. Most other writers don't go 62 00:03:42,360 --> 00:03:48,240 Speaker 2: back quite that far. I sort of love that idea, though. 63 00:03:48,200 --> 00:03:49,080 Speaker 3: Yeah, me too. 64 00:03:49,960 --> 00:03:52,600 Speaker 2: Even with not going back quite that farther, there's this 65 00:03:52,760 --> 00:03:55,920 Speaker 2: general sense that we're talking about something with very old roots, 66 00:03:56,480 --> 00:03:59,040 Speaker 2: and so a lot of writing about square dancing starts 67 00:03:59,080 --> 00:04:02,560 Speaker 2: the story with Morris dancing. That's an English folk dance 68 00:04:02,600 --> 00:04:05,920 Speaker 2: that probably dates back to sometime in the mid fifteenth century, 69 00:04:06,520 --> 00:04:10,040 Speaker 2: was well established by the mid sixteenth century. This was 70 00:04:10,080 --> 00:04:13,960 Speaker 2: traditionally performed by men, although that's not always true today. 71 00:04:14,480 --> 00:04:17,680 Speaker 2: Dancers formed two lines facing one another. A lot of 72 00:04:17,720 --> 00:04:20,440 Speaker 2: the time they would have bells tied to their lower legs. 73 00:04:20,720 --> 00:04:23,520 Speaker 2: This is a really energetic dance, involves a lot of 74 00:04:23,600 --> 00:04:24,479 Speaker 2: jumping and leaping. 75 00:04:24,720 --> 00:04:25,359 Speaker 3: A lot of times. 76 00:04:25,360 --> 00:04:28,440 Speaker 2: The dancers have wooden sticks or swords that they tap 77 00:04:28,560 --> 00:04:32,920 Speaker 2: together or strike against the ground. There are similar folk 78 00:04:33,000 --> 00:04:36,080 Speaker 2: dance traditions in other parts of the world, and Morris 79 00:04:36,200 --> 00:04:40,239 Speaker 2: dancing is also likely connected to other traditions like mummers plays. 80 00:04:41,279 --> 00:04:44,719 Speaker 2: Not everyone agrees with this connection to Morris dancing, though. 81 00:04:45,160 --> 00:04:47,240 Speaker 2: In a two thousand and one paper in the Yearbook 82 00:04:47,279 --> 00:04:51,200 Speaker 2: for Traditional Music, Colin Quigley describes the inclusion of Morris 83 00:04:51,279 --> 00:04:54,520 Speaker 2: dance in the family tree of modern Western square dance 84 00:04:54,600 --> 00:04:58,719 Speaker 2: as rather fanciful Quigly is a professor whose research work 85 00:04:58,760 --> 00:05:03,479 Speaker 2: focuses on folklore, ethnomusicology and dance ethnology, and he is 86 00:05:03,520 --> 00:05:07,200 Speaker 2: also a fiddler and a dancer himself. But there is 87 00:05:07,240 --> 00:05:12,039 Speaker 2: a clearer connection between square dancing and country dances that 88 00:05:12,120 --> 00:05:15,120 Speaker 2: were developing in parts of Britain in the sixteenth century. 89 00:05:15,760 --> 00:05:18,960 Speaker 2: A lot of country dances also started with people in 90 00:05:19,120 --> 00:05:22,760 Speaker 2: rows facing one another, but while the morris dancers were 91 00:05:22,839 --> 00:05:26,440 Speaker 2: usually all male, in country dances these were couples, with 92 00:05:26,560 --> 00:05:29,360 Speaker 2: the men in one row and the women in the other. 93 00:05:30,080 --> 00:05:33,800 Speaker 2: Long Ways dances started with the couple at the head 94 00:05:33,839 --> 00:05:37,080 Speaker 2: of the line dancing together, and then the dance moved 95 00:05:37,200 --> 00:05:41,120 Speaker 2: down the line from there. Latecomers could join the end 96 00:05:41,200 --> 00:05:44,400 Speaker 2: of the lines without interrupting anything, and people who maybe 97 00:05:44,440 --> 00:05:47,520 Speaker 2: weren't really all that familiar with the dance could get 98 00:05:47,560 --> 00:05:49,640 Speaker 2: the gist of what they were supposed to do by 99 00:05:49,680 --> 00:05:50,919 Speaker 2: the time it was their turn. 100 00:05:51,720 --> 00:05:55,760 Speaker 1: There were also country dances in other formations, including squares 101 00:05:55,839 --> 00:05:59,680 Speaker 1: and rounds. In sixteen fifty one, John Playford published a 102 00:05:59,680 --> 00:06:03,320 Speaker 1: book called the English Dancing Master, or Plain and Easy 103 00:06:03,400 --> 00:06:06,440 Speaker 1: Rules for the Dancing of Country Dances, with the tune 104 00:06:06,520 --> 00:06:09,640 Speaker 1: to each dance it's usually noted as the first book 105 00:06:09,680 --> 00:06:14,039 Speaker 1: to document all these dances. Many editions followed through the 106 00:06:14,080 --> 00:06:17,240 Speaker 1: seventeenth and early eighteenth centuries, which included more and more 107 00:06:17,320 --> 00:06:21,680 Speaker 1: dances over time. Other dances that evolved during this era 108 00:06:21,800 --> 00:06:24,760 Speaker 1: that are sometimes included in the history of square dancing 109 00:06:24,839 --> 00:06:30,000 Speaker 1: include maypole dances, Scottish reels, and Irish jigs, and set dances. 110 00:06:30,480 --> 00:06:35,800 Speaker 2: These English country dances were, like their names suggests, associated 111 00:06:35,839 --> 00:06:38,880 Speaker 2: with the country. Upper class people did them in their 112 00:06:38,920 --> 00:06:42,599 Speaker 2: country homes, while working class people did basically the same 113 00:06:42,760 --> 00:06:47,120 Speaker 2: dances in fields or taverns or other gathering places. When 114 00:06:47,240 --> 00:06:51,640 Speaker 2: these dances were introduced to France in the early eighteenth century, 115 00:06:51,720 --> 00:06:56,359 Speaker 2: the name country dance morphed into contra dance contract meaning 116 00:06:56,680 --> 00:07:00,839 Speaker 2: against or opposing, referencing those two lines of dancers facing 117 00:07:00,839 --> 00:07:07,320 Speaker 2: one another. That then became contra dance, which still exists today. Meanwhile, 118 00:07:07,400 --> 00:07:10,720 Speaker 2: as English country dances were being held in fields and homes, 119 00:07:11,160 --> 00:07:14,040 Speaker 2: other styles of dance were being developed in the ballrooms 120 00:07:14,080 --> 00:07:17,640 Speaker 2: of France. A court dance called the branles involved a 121 00:07:17,720 --> 00:07:21,400 Speaker 2: chain of dancers in a line or a circle. The courtellon, 122 00:07:21,680 --> 00:07:23,640 Speaker 2: named for a French word that at the time meant 123 00:07:23,640 --> 00:07:27,040 Speaker 2: petticoat was a court dance in which four couples danced 124 00:07:27,040 --> 00:07:30,600 Speaker 2: in a square. When the courtillon was introduced into English 125 00:07:30,680 --> 00:07:34,040 Speaker 2: speaking areas that name morphed, it got an extra syllable 126 00:07:34,080 --> 00:07:35,920 Speaker 2: as cotillion. 127 00:07:36,920 --> 00:07:37,560 Speaker 3: Extra eye. 128 00:07:37,680 --> 00:07:39,760 Speaker 1: Sometimes it comes out as a syllable, depending on how 129 00:07:39,800 --> 00:07:43,560 Speaker 1: southern your accent is. In the eighteenth century, the courtillent 130 00:07:43,720 --> 00:07:47,240 Speaker 1: grew into the quadrille, which again had four couples dancing 131 00:07:47,680 --> 00:07:50,720 Speaker 1: in a square formation, but tended to be longer and 132 00:07:50,800 --> 00:07:55,760 Speaker 1: more complex and intricate than the Courtillan quadrilla was complicated 133 00:07:55,880 --> 00:07:59,760 Speaker 1: enough that things like playing cards and fans were printed 134 00:08:00,040 --> 00:08:01,600 Speaker 1: that included all the steps. 135 00:08:01,960 --> 00:08:02,200 Speaker 3: Yeah. 136 00:08:02,240 --> 00:08:05,080 Speaker 1: Of course, when these were introduced into English, it just 137 00:08:05,120 --> 00:08:08,520 Speaker 1: became quadrille or quadrille. 138 00:08:08,600 --> 00:08:08,880 Speaker 3: Yes. 139 00:08:09,080 --> 00:08:14,040 Speaker 1: I used to have a an acquaintance who I met 140 00:08:14,080 --> 00:08:17,200 Speaker 1: through the family who would say quadrille. Sure they got 141 00:08:17,200 --> 00:08:19,560 Speaker 1: a very short, clipped version of it, which is ye, yeah, 142 00:08:19,680 --> 00:08:20,239 Speaker 1: quite cute. 143 00:08:21,360 --> 00:08:25,320 Speaker 2: There were, also, of course, dances from other parts of Europe, 144 00:08:25,520 --> 00:08:28,480 Speaker 2: but the ones that are usually referenced in terms of 145 00:08:28,520 --> 00:08:33,080 Speaker 2: square dancing history were mostly from England and France, sometimes 146 00:08:33,160 --> 00:08:36,800 Speaker 2: also with the inclusion of Scotland and Ireland, and then 147 00:08:36,880 --> 00:08:39,560 Speaker 2: during the colonial era. In the early years in the 148 00:08:39,679 --> 00:08:43,360 Speaker 2: United States, a dance or other social event might include 149 00:08:43,360 --> 00:08:46,559 Speaker 2: a mix of these and other dances. For example, this 150 00:08:46,640 --> 00:08:50,120 Speaker 2: description of a seventeen eighty two ball was written by 151 00:08:50,160 --> 00:08:53,400 Speaker 2: a tutor at Yale quote. The ball was opened with 152 00:08:53,480 --> 00:08:57,240 Speaker 2: a menuet and a country dance was immediately called. They 153 00:08:57,280 --> 00:08:59,760 Speaker 2: succeeded each other till supper, which was a good one, 154 00:08:59,800 --> 00:09:03,280 Speaker 2: but plane A few cotillions were then danced with one 155 00:09:03,360 --> 00:09:06,160 Speaker 2: or two reels, and the whole closed with a set 156 00:09:06,160 --> 00:09:09,800 Speaker 2: of country dances. Broke up around three, and each retired 157 00:09:09,840 --> 00:09:13,400 Speaker 2: with his partner. Just a note here, since we talked 158 00:09:13,440 --> 00:09:17,400 Speaker 2: about calling earlier. When he says called here, that just 159 00:09:17,480 --> 00:09:20,040 Speaker 2: means that somebody called for a country dance to start 160 00:09:20,080 --> 00:09:22,600 Speaker 2: the calling out of the figures that is part of 161 00:09:22,640 --> 00:09:24,960 Speaker 2: square dancing. Like that was not a thing yet. 162 00:09:24,960 --> 00:09:27,640 Speaker 1: Yes, that was more like a let's have a minuet. 163 00:09:28,000 --> 00:09:29,360 Speaker 3: Yes. 164 00:09:29,960 --> 00:09:33,800 Speaker 1: In the early nineteenth century, French quadrias started to overtake 165 00:09:33,880 --> 00:09:37,520 Speaker 1: English country dances in popularity in the US, again as 166 00:09:37,559 --> 00:09:41,320 Speaker 1: a quadrille. Some of this probably stems from the aftermath 167 00:09:41,320 --> 00:09:44,480 Speaker 1: of both the Revolutionary War and the War of eighteen twelve. 168 00:09:45,200 --> 00:09:47,680 Speaker 1: While there were still pockets of people that felt a 169 00:09:47,760 --> 00:09:51,240 Speaker 1: kinship and even loyalty to Britain. There was also a 170 00:09:51,240 --> 00:09:55,360 Speaker 1: lot of anti British sentiment. Meanwhile, France had helped the 171 00:09:55,480 --> 00:09:58,840 Speaker 1: United States win the Revolutionary War, and in eighteen oh 172 00:09:58,920 --> 00:10:01,880 Speaker 1: three the Louisiana Purchase also meant that a lot of 173 00:10:01,960 --> 00:10:06,040 Speaker 1: land that had previously been claimed by France instead became 174 00:10:06,080 --> 00:10:07,440 Speaker 1: part of the United States. 175 00:10:07,840 --> 00:10:08,920 Speaker 3: Yeah, that just met. 176 00:10:08,720 --> 00:10:12,440 Speaker 2: More people with more potentially French ancestry and knowledge of 177 00:10:12,720 --> 00:10:17,680 Speaker 2: French culture. These dances, of course, also continued to evolve 178 00:10:17,760 --> 00:10:20,560 Speaker 2: after being introduced to North America, and we will talk 179 00:10:20,559 --> 00:10:33,520 Speaker 2: about that after a sponsor break. English country dances and 180 00:10:33,679 --> 00:10:37,960 Speaker 2: French dances like the quadriy continued to evolve after being 181 00:10:38,000 --> 00:10:43,120 Speaker 2: introduced to North America, including through influences from outside of 182 00:10:43,160 --> 00:10:47,640 Speaker 2: the European colonists who brought them. For example, colonists took 183 00:10:47,720 --> 00:10:51,760 Speaker 2: inspiration from indigenous people's round dances, in which a chain 184 00:10:51,800 --> 00:10:55,760 Speaker 2: of dancers forms a circle, and ones in which indigenous 185 00:10:55,840 --> 00:10:58,680 Speaker 2: dancers formed a line that coiled into the center and 186 00:10:58,720 --> 00:11:02,640 Speaker 2: then back out again. There are also letters and journals 187 00:11:02,720 --> 00:11:06,320 Speaker 2: from the eighteenth to nineteenth centuries written by Europeans that 188 00:11:06,400 --> 00:11:11,240 Speaker 2: describe Indigenous people learning European style dances, or Indigenous women 189 00:11:11,320 --> 00:11:14,559 Speaker 2: as dancing partners at places like army forts during the 190 00:11:14,679 --> 00:11:19,720 Speaker 2: United States westward expansion. Some of these accounts, especially earlier ones, 191 00:11:19,760 --> 00:11:24,160 Speaker 2: seem to suggest a cultural exchange between Europeans and Indigenous people, 192 00:11:24,520 --> 00:11:28,600 Speaker 2: including descriptions of indigenous communities choosing to do both European 193 00:11:28,679 --> 00:11:32,200 Speaker 2: dances and ones from their own cultures and traditions during 194 00:11:32,240 --> 00:11:36,440 Speaker 2: their celebrations, But other accounts of this describe it more 195 00:11:36,480 --> 00:11:40,880 Speaker 2: as a form of cultural imperialism. For example, Francois de 196 00:11:41,000 --> 00:11:44,840 Speaker 2: Chateaubrian's accounts of his travels through North America in seventeen 197 00:11:44,920 --> 00:11:49,240 Speaker 2: ninety one include a description of a French dancing master 198 00:11:49,440 --> 00:11:54,920 Speaker 2: named Monsieur Violets teaching among the Hedenashone. Taubran's descriptions of 199 00:11:54,960 --> 00:11:58,600 Speaker 2: the indigenous dancers are racist and insulting, and he frames 200 00:11:58,800 --> 00:12:03,559 Speaker 2: violets teaching efforts as bringing civilization quote even unto the 201 00:12:03,559 --> 00:12:07,880 Speaker 2: air and hordes of the New World. Another big influence 202 00:12:07,920 --> 00:12:10,640 Speaker 2: on the social dancing of colonial North America and the 203 00:12:10,679 --> 00:12:15,600 Speaker 2: early United States came from enslaved Africans. This included ring 204 00:12:15,720 --> 00:12:20,040 Speaker 2: dances and ring shouts that originated in Western and Central Africa, 205 00:12:20,080 --> 00:12:22,520 Speaker 2: which people continued to do after being brought to the 206 00:12:22,559 --> 00:12:26,840 Speaker 2: Americas by force. But the biggest African influences on square 207 00:12:26,920 --> 00:12:29,680 Speaker 2: dancing were in the music and the practice of calling. 208 00:12:30,559 --> 00:12:34,520 Speaker 2: In that earlier Scott Joplin episode, we talked about entertainment 209 00:12:34,640 --> 00:12:37,520 Speaker 2: being one of the few careers during his lifetime that 210 00:12:37,679 --> 00:12:41,760 Speaker 2: was open to black people and didn't involve domestic work 211 00:12:41,880 --> 00:12:45,960 Speaker 2: or manual labor. Joplin was born after the US Civil War, 212 00:12:46,080 --> 00:12:49,920 Speaker 2: but prior to the Civil War it was also extremely 213 00:12:50,080 --> 00:12:54,280 Speaker 2: common for enslaved people to work as musicians in the 214 00:12:54,320 --> 00:12:57,880 Speaker 2: homes and gathering places of white people, and based on 215 00:12:58,120 --> 00:13:01,360 Speaker 2: all the documentation we have, of the first people to 216 00:13:01,480 --> 00:13:03,280 Speaker 2: call square dances were black. 217 00:13:04,200 --> 00:13:07,000 Speaker 1: This probably had some roots in the call in response 218 00:13:07,000 --> 00:13:10,240 Speaker 1: that was part of both African and African American traditions, 219 00:13:10,320 --> 00:13:14,080 Speaker 1: but it also had a really practical use. Black musicians 220 00:13:14,160 --> 00:13:16,560 Speaker 1: learned music to play at the homes of white people 221 00:13:16,640 --> 00:13:19,480 Speaker 1: who already knew how to do the dances. They had 222 00:13:19,480 --> 00:13:22,760 Speaker 1: been taught by a dancing instructor or possibly a family 223 00:13:22,800 --> 00:13:25,920 Speaker 1: member or a friend. But when the musicians played these 224 00:13:25,960 --> 00:13:29,360 Speaker 1: same songs for their own communities, people did not already 225 00:13:29,400 --> 00:13:32,080 Speaker 1: know the steps, so the person playing the fiddle or 226 00:13:32,120 --> 00:13:35,240 Speaker 1: the banjo or some other instrument also called out the 227 00:13:35,240 --> 00:13:37,480 Speaker 1: figures so that the dancers would know what to do. 228 00:13:38,640 --> 00:13:41,920 Speaker 2: As a note, it is possible that this calling really 229 00:13:41,920 --> 00:13:45,240 Speaker 2: got its start among enslaved people in the Caribbean, and 230 00:13:45,280 --> 00:13:49,040 Speaker 2: that enslaved people then introduced it to North America from there, 231 00:13:49,720 --> 00:13:53,760 Speaker 2: and European dances were introduced of course to the Caribbean 232 00:13:53,840 --> 00:13:58,880 Speaker 2: as well. For example, there are a lot of variations 233 00:13:58,920 --> 00:14:01,520 Speaker 2: on the quadrille and the Caribbean, with a lot of 234 00:14:01,559 --> 00:14:04,800 Speaker 2: different styles, a lot of slightly different names. They vary 235 00:14:04,840 --> 00:14:07,360 Speaker 2: a lot from island to island, in country to country, 236 00:14:07,400 --> 00:14:09,520 Speaker 2: but like this dance has become a big part of 237 00:14:09,840 --> 00:14:10,600 Speaker 2: those cultures. 238 00:14:11,640 --> 00:14:15,160 Speaker 1: S Foster Damon described calling this way, although he credits 239 00:14:15,160 --> 00:14:19,200 Speaker 1: it to some smart American, which, given the context he 240 00:14:19,280 --> 00:14:21,760 Speaker 1: was writing in, suggests that he thought that this person 241 00:14:21,880 --> 00:14:22,280 Speaker 1: was white. 242 00:14:22,920 --> 00:14:23,479 Speaker 3: Quote. 243 00:14:23,760 --> 00:14:27,080 Speaker 1: Like all great inventions, it was simple. The fiddler or 244 00:14:27,120 --> 00:14:29,960 Speaker 1: the leader of the orchestra merely kept telling the dancers 245 00:14:30,000 --> 00:14:33,000 Speaker 1: what to do next. Nobody who knew the six or 246 00:14:33,040 --> 00:14:36,960 Speaker 1: eight fundamental calls could go very far wrong. The fiddler 247 00:14:37,040 --> 00:14:40,000 Speaker 1: thus ceased to be an accompanist. He became the creator 248 00:14:40,040 --> 00:14:43,000 Speaker 1: of the dance. He could vary the figures at any 249 00:14:43,040 --> 00:14:45,840 Speaker 1: moment just to keep the dancers on their toes. He 250 00:14:45,920 --> 00:14:48,920 Speaker 1: could invent new dances. He could even call at random 251 00:14:49,000 --> 00:14:53,200 Speaker 1: anything that happened to pop into his head. These fancy figures, 252 00:14:53,240 --> 00:14:56,440 Speaker 1: when nobody knew what was coming next, became popular as 253 00:14:56,480 --> 00:14:59,720 Speaker 1: the last dance in a set. The prompter could in 254 00:14:59,760 --> 00:15:03,240 Speaker 1: a actually did sing the calls, weaving rude rhymes and 255 00:15:03,280 --> 00:15:06,320 Speaker 1: filling out the calls with comments on the individuals present. 256 00:15:07,160 --> 00:15:10,560 Speaker 1: Thus the ancient trio of melody, verse and dance was 257 00:15:10,600 --> 00:15:14,200 Speaker 1: identified once more, and the collar was the modern equivalent 258 00:15:14,240 --> 00:15:18,040 Speaker 1: of the antique corugus. But most important of all, he 259 00:15:18,200 --> 00:15:22,480 Speaker 1: kept square dancing alive, fluid growing at the very time 260 00:15:22,560 --> 00:15:25,520 Speaker 1: it was becoming formalized in Europe. 261 00:15:25,560 --> 00:15:29,640 Speaker 2: It's not clear exactly when white musicians or white dancing 262 00:15:29,680 --> 00:15:33,800 Speaker 2: instructors started to call dances. The first known reference to 263 00:15:33,880 --> 00:15:37,000 Speaker 2: a white collar is from Chicago in eighteen thirty six, 264 00:15:37,560 --> 00:15:41,520 Speaker 2: but that was almost two decades after the first descriptions 265 00:15:41,520 --> 00:15:46,040 Speaker 2: of black callers at dances. An eighteen forty one book 266 00:15:46,200 --> 00:15:50,480 Speaker 2: called The Ballroom Instructor, containing a complete description of cotillions 267 00:15:50,520 --> 00:15:54,960 Speaker 2: and other popular dances, mentions Squadrill's being called, so by 268 00:15:55,040 --> 00:15:59,000 Speaker 2: that point the practice seems to have become pretty well established, 269 00:15:59,240 --> 00:16:02,120 Speaker 2: regardless of who was playing at the dance or doing 270 00:16:02,160 --> 00:16:02,680 Speaker 2: the calls. 271 00:16:03,480 --> 00:16:06,960 Speaker 1: Although Damon described this as a great invention, a lot 272 00:16:06,960 --> 00:16:08,640 Speaker 1: of the people who wrote about it in the mid 273 00:16:08,680 --> 00:16:12,520 Speaker 1: eighteenth through early nineteenth centuries were really critical of the 274 00:16:12,520 --> 00:16:16,280 Speaker 1: practice of calling. For example, in eighteen fifty six, dancing 275 00:16:16,360 --> 00:16:21,080 Speaker 1: master Charles Durang described called dances as annoying and described 276 00:16:21,120 --> 00:16:25,040 Speaker 1: calling itself as quote a vile custom marring the melody 277 00:16:25,080 --> 00:16:28,280 Speaker 1: of the heirs. This was in his book The Fashionable 278 00:16:28,400 --> 00:16:32,360 Speaker 1: Dancer's Casket or the Ballroom Instructor, a new and splendid 279 00:16:32,360 --> 00:16:36,440 Speaker 1: work on dancing, etiquette, deportment, and the toilet. In eighteen 280 00:16:36,520 --> 00:16:39,480 Speaker 1: ninety three, Gallop, which was a publication of the American 281 00:16:39,600 --> 00:16:43,160 Speaker 1: National Association of Masters of Dancing, ran an article that 282 00:16:43,240 --> 00:16:46,920 Speaker 1: described the typical caller as quote a very poor musician 283 00:16:47,040 --> 00:16:49,920 Speaker 1: with a big voice, who has got all his knowledge 284 00:16:49,920 --> 00:16:55,760 Speaker 1: from cheap handbooks. That said dancing was an extremely important 285 00:16:55,760 --> 00:16:59,240 Speaker 1: social activity in the nineteenth century when it came to 286 00:16:59,320 --> 00:17:01,880 Speaker 1: community gap gatherings, and a lot of the us the 287 00:17:01,920 --> 00:17:04,760 Speaker 1: only thing that was more important than a dance was church. 288 00:17:05,560 --> 00:17:09,320 Speaker 1: Over time, regional styles of square dancing started to develop, 289 00:17:09,520 --> 00:17:13,600 Speaker 1: with different dances and practices in New England, the Southern 290 00:17:13,640 --> 00:17:17,399 Speaker 1: Appalachian Mountains, and the western United States. But around the 291 00:17:17,440 --> 00:17:21,560 Speaker 1: eighteen nineties, even as the magazine Gallop was complaining about callers, 292 00:17:22,000 --> 00:17:24,959 Speaker 1: this type of dancing was starting to wane as a pastime. 293 00:17:25,680 --> 00:17:28,560 Speaker 1: People still hosted social dances, but they were more likely 294 00:17:28,600 --> 00:17:31,960 Speaker 1: to be dominated by waltzes and two steps. This was 295 00:17:32,080 --> 00:17:35,040 Speaker 1: especially true in cities where trends had shifted to other 296 00:17:35,080 --> 00:17:38,719 Speaker 1: types of dances, and dancing schools started focusing on those 297 00:17:38,920 --> 00:17:42,800 Speaker 1: rather than things like the quadrille. Square dancing and other 298 00:17:42,920 --> 00:17:47,280 Speaker 1: similar dances held on in more rural areas, though. From 299 00:17:47,359 --> 00:17:51,720 Speaker 1: nineteen sixteen to nineteen eighteen, Cecil Sharp and Maud Carpels 300 00:17:51,960 --> 00:17:56,159 Speaker 1: traveled through the Southern Appalachian Mountains as song catchers. They 301 00:17:56,160 --> 00:17:59,760 Speaker 1: were collecting and documenting folk songs. This was during the 302 00:17:59,760 --> 00:18:03,360 Speaker 1: First English Folk Revival, which stretched from the late nineteenth 303 00:18:03,359 --> 00:18:06,119 Speaker 1: through the early twentieth centuries and was an effort to 304 00:18:06,240 --> 00:18:10,200 Speaker 1: collect and preserve folk music before it could fade from memory. 305 00:18:10,920 --> 00:18:14,560 Speaker 1: Both of these folks were British. Sharp was co founder 306 00:18:14,600 --> 00:18:18,359 Speaker 1: of the English folk dance society. In the US, Sharp 307 00:18:18,400 --> 00:18:21,680 Speaker 1: and Carpels found areas where folk dances and folk music 308 00:18:21,720 --> 00:18:25,080 Speaker 1: were still really popular, and Sharp came to the conclusion 309 00:18:25,119 --> 00:18:29,240 Speaker 1: that what he was witnessing was quintessentially American. He also 310 00:18:29,320 --> 00:18:32,240 Speaker 1: thought the ballads he heard being performed in Appalachia were 311 00:18:32,240 --> 00:18:36,679 Speaker 1: British folk songs essentially unchanged, which were simply no longer 312 00:18:36,680 --> 00:18:41,040 Speaker 1: being performed in Britain at all, So there's an irony here. 313 00:18:41,680 --> 00:18:46,679 Speaker 1: You could argue that square dancing was quint essentially American 314 00:18:47,080 --> 00:18:52,160 Speaker 1: because it incorporated influences from Europeans, Africans, and Indigenous peoples, 315 00:18:52,280 --> 00:18:57,240 Speaker 1: becoming its own unique style of social dance. But Sharp 316 00:18:57,440 --> 00:19:02,520 Speaker 1: really framed this more as an untarnessed preservation of Anglo 317 00:19:02,600 --> 00:19:07,520 Speaker 1: Saxon heritage. He ignored the spirituals and hymns written by 318 00:19:07,680 --> 00:19:12,600 Speaker 1: Black people that are also part of Appalachian music, disregarded 319 00:19:12,640 --> 00:19:17,480 Speaker 1: any potential influence from indigenous people. S Foster Damon pointed 320 00:19:17,520 --> 00:19:21,600 Speaker 1: out that he also disregarded the much more obvious influence 321 00:19:21,640 --> 00:19:25,359 Speaker 1: of music and dance from Ireland and France. Sharp and 322 00:19:25,400 --> 00:19:30,600 Speaker 1: Carpels did influential and really important work by documenting hundreds 323 00:19:30,640 --> 00:19:34,000 Speaker 1: of Appalachian folks songs that might have gone unrecorded if 324 00:19:34,040 --> 00:19:39,959 Speaker 1: they hadn't. But this was really skewed, and that skewed 325 00:19:40,080 --> 00:19:43,800 Speaker 1: perception fit right into an attempt to revive square dancing 326 00:19:43,840 --> 00:19:49,720 Speaker 1: as something quintessentially American, meaning white like in American Country 327 00:19:49,800 --> 00:19:53,000 Speaker 1: Dances twenty eight Contra Dances largely from the New England 328 00:19:53,040 --> 00:19:58,199 Speaker 1: States by Elizabeth Burschenel, published in nineteen eighteen. The author writes, quote, 329 00:19:58,200 --> 00:20:01,560 Speaker 1: this is one of the old, most truly American sections 330 00:20:01,560 --> 00:20:04,840 Speaker 1: of our country, where many generations of the same stock 331 00:20:04,920 --> 00:20:09,000 Speaker 1: have grown up undisturbed by foreign influences, and where sufficient 332 00:20:09,080 --> 00:20:11,800 Speaker 1: time has elapsed since the days of the early settlers 333 00:20:12,119 --> 00:20:15,639 Speaker 1: for the building up of certain traditions and customs. The 334 00:20:15,760 --> 00:20:19,320 Speaker 1: social group dances which have originated or evolved through common 335 00:20:19,440 --> 00:20:23,199 Speaker 1: usage under such conditions in this country are as truly 336 00:20:23,359 --> 00:20:26,560 Speaker 1: folk dances as those found in the older countries, and 337 00:20:26,640 --> 00:20:30,520 Speaker 1: have elements which are almost universally characteristic of folk dances. 338 00:20:31,240 --> 00:20:33,439 Speaker 1: And yet it has often been said that our country 339 00:20:33,520 --> 00:20:36,639 Speaker 1: has no folk music or folk dancing of its own 340 00:20:36,840 --> 00:20:40,400 Speaker 1: other than that of the American Indian. We are today 341 00:20:40,600 --> 00:20:44,040 Speaker 1: a nation of immigrants, not of Indians, and the folk 342 00:20:44,080 --> 00:20:46,960 Speaker 1: traditions that are most essentially our own are those which 343 00:20:47,000 --> 00:20:50,200 Speaker 1: have developed from traditions brought to us by our early 344 00:20:50,280 --> 00:20:55,679 Speaker 1: immigrants into something peculiarly our own. Later on, she specifically 345 00:20:55,720 --> 00:21:00,600 Speaker 1: mentions those early immigrants as coming from England, Ireland and Scotland. 346 00:21:01,560 --> 00:21:07,080 Speaker 2: And also this attempt to revive square dancing sort of 347 00:21:07,119 --> 00:21:10,280 Speaker 2: the first revival and one that just continued to keep 348 00:21:10,320 --> 00:21:13,480 Speaker 2: being re revived. That was happening at the same time 349 00:21:13,640 --> 00:21:18,000 Speaker 2: as xenophobia and racism were really escalating in the United States, 350 00:21:18,400 --> 00:21:21,400 Speaker 2: and a lot of people really thought these dances were 351 00:21:21,440 --> 00:21:24,760 Speaker 2: a return to a forgotten art form that had been 352 00:21:24,800 --> 00:21:29,960 Speaker 2: developed by white people and was emblematic of white American culture. 353 00:21:30,880 --> 00:21:33,840 Speaker 2: That doesn't necessarily mean that the people who started trying 354 00:21:33,880 --> 00:21:38,080 Speaker 2: to introduce square dancing in schools and things like that 355 00:21:38,359 --> 00:21:41,760 Speaker 2: doesn't mean that they were explicitly intentionally doing it as 356 00:21:41,800 --> 00:21:46,000 Speaker 2: a way to reinforce white identity. But there was definitely 357 00:21:46,160 --> 00:21:50,600 Speaker 2: a sense of nostalgia for what people imagined as a 358 00:21:50,600 --> 00:21:54,240 Speaker 2: better time using a form of dance that was similarly 359 00:21:54,400 --> 00:21:59,520 Speaker 2: imagined as having been created by white European immigrants. We 360 00:21:59,560 --> 00:22:02,320 Speaker 2: are going to talk more about all of this after 361 00:22:02,359 --> 00:22:14,600 Speaker 2: we pause for a sponsor break. In the nineteen twenties 362 00:22:14,720 --> 00:22:18,439 Speaker 2: and nineteen thirties, more and more educators in the United 363 00:22:18,480 --> 00:22:23,360 Speaker 2: States started incorporating folk music and square dancing into their curricula. 364 00:22:23,800 --> 00:22:27,359 Speaker 2: One person who's often credited with spearheading this is Grace 365 00:22:27,480 --> 00:22:31,080 Speaker 2: Laura Ryan, who was a physical education and dance teacher 366 00:22:31,080 --> 00:22:35,720 Speaker 2: from Michigan and author of Dances of Our Pioneers, which 367 00:22:35,760 --> 00:22:39,800 Speaker 2: came out in nineteen thirty nine. Another big proponent is 368 00:22:40,080 --> 00:22:44,000 Speaker 2: Henry Ford. There's spent a lot of popular writing about 369 00:22:44,040 --> 00:22:46,800 Speaker 2: him and his advocacy of folk music and square dancing 370 00:22:46,880 --> 00:22:50,120 Speaker 2: over the past few years. A lot of this followed 371 00:22:50,119 --> 00:22:53,280 Speaker 2: a Twitter thread and a Courts article by Robin Panakia, 372 00:22:53,800 --> 00:22:57,040 Speaker 2: and it's included, among other things, a segment on Full 373 00:22:57,080 --> 00:23:00,080 Speaker 2: Frontal with Samantha Bee V. 374 00:23:00,160 --> 00:23:03,919 Speaker 1: Ford was vocally anti Semitic, and among other things, he 375 00:23:04,000 --> 00:23:07,200 Speaker 1: thought that Jewish people had taken over the entertainment industry 376 00:23:07,240 --> 00:23:11,360 Speaker 1: to the detriment of American culture. His newspaper, The Dearborn 377 00:23:11,440 --> 00:23:15,760 Speaker 1: Independent published a series of essays called The International Jew 378 00:23:16,160 --> 00:23:19,840 Speaker 1: that spoken deeply anti Semitic terms about jazz as Jewish 379 00:23:19,920 --> 00:23:23,119 Speaker 1: music and described the music itself in terms that evoked 380 00:23:23,200 --> 00:23:28,280 Speaker 1: racist stereotypes of black people. Attorney Aaron Sapiro later sued 381 00:23:28,359 --> 00:23:31,760 Speaker 1: Ford over material written about him elsewhere in this series, 382 00:23:32,200 --> 00:23:36,320 Speaker 1: leading forward to recant and apologize, but Ford also claimed 383 00:23:36,359 --> 00:23:38,720 Speaker 1: to have no knowledge of what had been published in 384 00:23:38,760 --> 00:23:43,320 Speaker 1: The International jew Henry Ford also did a lot to 385 00:23:43,359 --> 00:23:46,760 Speaker 1: promote folk dancing. He was born in eighteen sixty three, 386 00:23:46,880 --> 00:23:50,200 Speaker 1: so he was in his teens and early twenties, sort 387 00:23:50,200 --> 00:23:53,640 Speaker 1: of at the end of the peak popularity for these dances. 388 00:23:54,200 --> 00:23:58,240 Speaker 1: In his late teens, he had joined the Greenfield Dancing Club. 389 00:23:58,359 --> 00:24:01,800 Speaker 1: He even met his wife, Claire, at a dance. He 390 00:24:01,880 --> 00:24:05,480 Speaker 1: also started playing the violin at age ten, and eventually 391 00:24:05,520 --> 00:24:10,439 Speaker 1: bought stratavarius. So Henry Ford's promotion of folk music wasn't 392 00:24:10,600 --> 00:24:13,280 Speaker 1: just about jazz. It was about trying to bring back 393 00:24:13,320 --> 00:24:16,840 Speaker 1: the pastimes of his youth. In nineteen twenty three, when 394 00:24:16,840 --> 00:24:20,320 Speaker 1: he was sixty, Ford bought and restored the Wayside Inn 395 00:24:20,359 --> 00:24:24,320 Speaker 1: in Sudbury, Massachusetts. He wanted to host dances there, the 396 00:24:24,400 --> 00:24:27,480 Speaker 1: kind that he remembered from when he was young, but 397 00:24:27,560 --> 00:24:31,200 Speaker 1: he couldn't remember all the steps. He hired dance instructor 398 00:24:31,240 --> 00:24:34,920 Speaker 1: Benjamin Lovett, who went to older dancers and dance teachers 399 00:24:34,960 --> 00:24:37,320 Speaker 1: when he didn't know how to do specific dances that 400 00:24:37,359 --> 00:24:42,040 Speaker 1: Ford wanted. Eventually, Ford brought Lovett and his wife to Dearborn, 401 00:24:42,080 --> 00:24:47,080 Speaker 1: Michigan to teach old fashioned dances there. By late nineteen 402 00:24:47,160 --> 00:24:51,200 Speaker 1: twenty five, newspapers in Detroit were reporting on Ford's plan 403 00:24:51,359 --> 00:24:54,520 Speaker 1: for a national revival of folk dances. I think at 404 00:24:54,520 --> 00:24:58,160 Speaker 1: this point we're on revival number two. Of the many 405 00:24:58,200 --> 00:25:02,320 Speaker 1: revivals of folk dancing, the revival, of course, included square dancing. 406 00:25:03,119 --> 00:25:06,800 Speaker 1: He built ballrooms, including one named after love It. He 407 00:25:06,960 --> 00:25:12,280 Speaker 1: established dancing schools, sponsored folk dancing programs and training programs 408 00:25:12,320 --> 00:25:16,879 Speaker 1: for teachers. He donated money to impoverished schools in the South, 409 00:25:16,960 --> 00:25:19,200 Speaker 1: and some of that money went to folk dancing, music, 410 00:25:19,240 --> 00:25:23,679 Speaker 1: and instructional materials. Ford also bought the Boxford Inn outside 411 00:25:23,720 --> 00:25:26,680 Speaker 1: of Detroit and restored it and started trying to rehire 412 00:25:26,720 --> 00:25:30,440 Speaker 1: the musicians who had played there forty years before. Many 413 00:25:30,440 --> 00:25:33,840 Speaker 1: of those musicians had long since retired or died. He 414 00:25:33,960 --> 00:25:37,600 Speaker 1: launched a fiddling contest in nineteen twenty five, although this 415 00:25:37,720 --> 00:25:40,520 Speaker 1: quickly grew beyond his control and he wasn't really part 416 00:25:40,560 --> 00:25:43,520 Speaker 1: of the national contest that grew out of it. When 417 00:25:43,560 --> 00:25:46,480 Speaker 1: more people started having their own radios. At home, Ford 418 00:25:46,520 --> 00:25:51,359 Speaker 1: sponsored a radio program called Early American Dance Music. There 419 00:25:51,359 --> 00:25:53,800 Speaker 1: are aspects of this that just seemed kind of deranged 420 00:25:54,080 --> 00:25:59,480 Speaker 1: to me, Like, well, it's like it's an exemplar of 421 00:25:59,520 --> 00:26:02,760 Speaker 1: the danger sick can happen when like wealth and nostalgia 422 00:26:02,840 --> 00:26:08,199 Speaker 1: collide in in somebody that has a bias for action. Right, So, 423 00:26:08,320 --> 00:26:11,480 Speaker 1: in nineteen twenty six, Dearborn Publishing Company put out a 424 00:26:11,480 --> 00:26:15,040 Speaker 1: book titled Good Morning After a Sleep of twenty five years, 425 00:26:15,119 --> 00:26:18,720 Speaker 1: Old Fashioned Dancing is being revived by mister and missus 426 00:26:18,720 --> 00:26:23,920 Speaker 1: Henry Ford. In addition to including definitions for the most 427 00:26:24,040 --> 00:26:28,399 Speaker 1: common figures and music, and diagrams for square dances and 428 00:26:28,480 --> 00:26:32,680 Speaker 1: the Virginia reel and waltz's and others, this book also 429 00:26:32,800 --> 00:26:37,240 Speaker 1: includes Ford's thoughts on why old fashioned dancing is better. 430 00:26:38,160 --> 00:26:40,400 Speaker 1: The writing of this book is actually, I think credited 431 00:26:40,400 --> 00:26:42,280 Speaker 1: to Love It, but it's clear that this is like 432 00:26:42,359 --> 00:26:47,640 Speaker 1: reflecting Ford's opinions. He wrote quote, unless a dance be sociable, 433 00:26:47,680 --> 00:26:51,040 Speaker 1: it cannot live long. Unless it promote the spirit of play, 434 00:26:51,200 --> 00:26:54,760 Speaker 1: it will soon weary its devotees. And it is just 435 00:26:54,880 --> 00:26:58,480 Speaker 1: here that dances requiring eight or twelve or sixteen persons 436 00:26:58,480 --> 00:27:01,720 Speaker 1: as the unit for their performance, make their appeal more 437 00:27:01,840 --> 00:27:06,320 Speaker 1: persons thrown together, the spirit of grown up play is irresistible. 438 00:27:06,560 --> 00:27:09,560 Speaker 1: And besides, there is a wider scope and a stronger 439 00:27:09,600 --> 00:27:13,600 Speaker 1: demand for skill and style. The bane of the modern 440 00:27:13,760 --> 00:27:19,840 Speaker 1: dance was its almost utter lack of grace, style, and skill. Oh, 441 00:27:19,880 --> 00:27:23,080 Speaker 1: I have so many thoughts. Regardless of how much of 442 00:27:23,080 --> 00:27:26,240 Speaker 1: this was specifically about jazz and how much was more 443 00:27:26,280 --> 00:27:30,520 Speaker 1: about Ford's own intense nostalgia, these attempts to revive folk 444 00:27:30,600 --> 00:27:34,000 Speaker 1: dancing were absolutely connected to his opinion that the United 445 00:27:34,040 --> 00:27:37,760 Speaker 1: States was moving in the wrong direction. He was pushing 446 00:27:37,800 --> 00:27:40,879 Speaker 1: back against changing social norms and trying to return the 447 00:27:40,920 --> 00:27:44,040 Speaker 1: country to what he remembered from his youth, which he 448 00:27:44,160 --> 00:27:47,919 Speaker 1: imagined was a better time. Another irony here is that 449 00:27:47,960 --> 00:27:50,640 Speaker 1: one big part of all the social and economic changes 450 00:27:50,680 --> 00:27:55,000 Speaker 1: that were rippling through the country was the automobile. Yeah, 451 00:27:55,000 --> 00:27:58,800 Speaker 1: he did not seem all that critical of his own businesses. Wrong. Oh, No, 452 00:27:58,960 --> 00:28:03,960 Speaker 1: transportation evolved, but nothing else so uh. 453 00:28:04,080 --> 00:28:08,040 Speaker 2: Interest in square dancing dipped again and then revived again, 454 00:28:08,440 --> 00:28:12,119 Speaker 2: this time starting more in the Western United States. A 455 00:28:12,200 --> 00:28:15,320 Speaker 2: major figure in this next revival was actually a Chinese 456 00:28:15,359 --> 00:28:19,760 Speaker 2: American man named Song Chong, who learned some folk dances 457 00:28:19,840 --> 00:28:22,600 Speaker 2: on a ship en route to Europe and then started 458 00:28:22,640 --> 00:28:25,400 Speaker 2: a folk dance club in San Francisco after he returned 459 00:28:25,480 --> 00:28:29,600 Speaker 2: in nineteen thirty seven. He spearheaded the creation of the 460 00:28:29,600 --> 00:28:33,160 Speaker 2: Folk Dance Federation of California, which was formed in nineteen 461 00:28:33,240 --> 00:28:37,240 Speaker 2: forty two with Henry buzz Glass as its president. Another 462 00:28:37,359 --> 00:28:40,680 Speaker 2: key figure in this revival was Lloyd Shaw, also known 463 00:28:40,760 --> 00:28:45,800 Speaker 2: as Pappy. Shaw worked at Cheyenne Mountain Schools in Colorado Springs, Colorado, 464 00:28:46,120 --> 00:28:49,720 Speaker 2: and had started encouraging dance as a safer pastime than football. 465 00:28:50,360 --> 00:28:52,400 Speaker 2: He also wanted the schools to get away from an 466 00:28:52,440 --> 00:28:56,000 Speaker 2: identity that was tightly connected to whether they were winning games. 467 00:28:56,640 --> 00:29:00,920 Speaker 2: Shaw started promoting square dances, publishing Cowboys Dances in July 468 00:29:01,040 --> 00:29:04,280 Speaker 2: of nineteen thirty nine and establishing a school for square 469 00:29:04,360 --> 00:29:08,400 Speaker 2: dance teachers in nineteen forty one. Shaw also established a 470 00:29:08,440 --> 00:29:12,720 Speaker 2: summer school for callers in nineteen forty nine. Tracy found 471 00:29:12,760 --> 00:29:15,800 Speaker 2: one source saying that Ford, who died in nineteen forty seven, 472 00:29:16,000 --> 00:29:19,200 Speaker 2: funded some of Shaw's work, but that is not something 473 00:29:19,280 --> 00:29:21,640 Speaker 2: that she was able to confirm. Yeah, I just found 474 00:29:21,720 --> 00:29:26,120 Speaker 2: one mention of it in one source. Square dancing's popularity 475 00:29:26,200 --> 00:29:29,520 Speaker 2: continued to grow again during the nineteen forties and fifties. 476 00:29:29,880 --> 00:29:33,120 Speaker 2: In nineteen forty eight, Bob osgood established a square dancing 477 00:29:33,200 --> 00:29:38,000 Speaker 2: magazine called Sets in Order, later renamed Square Dancing, which 478 00:29:38,080 --> 00:29:41,200 Speaker 2: ran until nineteen eighty five. A lot of state and 479 00:29:41,320 --> 00:29:45,280 Speaker 2: regional square dance associations were established in the nineteen fifties, 480 00:29:45,720 --> 00:29:49,480 Speaker 2: and the first national square Dance conventions were held in 481 00:29:49,520 --> 00:29:53,800 Speaker 2: the nineteen fifties as well. S. Foster Damon's History of 482 00:29:53,800 --> 00:29:56,960 Speaker 2: square Dancing, which we've referenced a few times in this episode, 483 00:29:57,000 --> 00:30:00,240 Speaker 2: came out in nineteen fifty seven and it described as 484 00:30:00,360 --> 00:30:04,080 Speaker 2: that time as quote a great period of square dancing, 485 00:30:05,040 --> 00:30:07,160 Speaker 2: just putting it out there that this great period of 486 00:30:07,160 --> 00:30:11,120 Speaker 2: square dancing also included Brown versus Sport of Education in 487 00:30:11,200 --> 00:30:14,760 Speaker 2: nineteen fifty four and the Montgomery Bus Boycott in nineteen 488 00:30:14,800 --> 00:30:18,040 Speaker 2: fifty five, So the civil rights movement is also part 489 00:30:18,040 --> 00:30:20,920 Speaker 2: of the context for the popularity of a dance form. 490 00:30:21,280 --> 00:30:24,280 Speaker 2: It was mostly associated with white people, which was widely 491 00:30:24,320 --> 00:30:28,240 Speaker 2: imagined as a return to old fashioned Anglo Saxon heritage. 492 00:30:29,600 --> 00:30:33,400 Speaker 2: In nineteen seventy one, Bob Osgoode an eleven other callers 493 00:30:33,560 --> 00:30:37,360 Speaker 2: established Collar lab to train new square dancing scholars and 494 00:30:37,440 --> 00:30:41,720 Speaker 2: to standardize the calls. Collar labs still exist today. Its 495 00:30:41,760 --> 00:30:44,720 Speaker 2: twenty twenty three convention was held this past April, and 496 00:30:44,760 --> 00:30:47,600 Speaker 2: the twenty twenty four convention is planned for March of 497 00:30:47,600 --> 00:30:51,760 Speaker 2: that year in Grapevine, Texas. The International Association of Gay 498 00:30:51,800 --> 00:30:55,280 Speaker 2: Square Dance Clubs was established in nineteen eighty three that 499 00:30:55,480 --> 00:30:59,160 Speaker 2: also still exists and is hosting a convention in Ottawa 500 00:30:59,320 --> 00:31:02,360 Speaker 2: in July of this year and in Durham, North Carolina 501 00:31:02,480 --> 00:31:06,600 Speaker 2: next year. Both of these organizations were established during a 502 00:31:06,640 --> 00:31:10,160 Speaker 2: movement to name square dancing as the national folk dance 503 00:31:10,200 --> 00:31:13,760 Speaker 2: of the United States. A lot of the organizations spearheading 504 00:31:13,800 --> 00:31:17,120 Speaker 2: this movement were involved with modern Western square dancing, but 505 00:31:17,160 --> 00:31:20,160 Speaker 2: the nineteen fifties, most square dancing had started to fall 506 00:31:20,280 --> 00:31:24,760 Speaker 2: into two broad categories. One was traditional square dancing, often 507 00:31:24,800 --> 00:31:27,920 Speaker 2: accompanied by a live fiddler, with regional differences in how 508 00:31:28,000 --> 00:31:31,840 Speaker 2: dances were done, and the other was modern Western square dancing, 509 00:31:31,840 --> 00:31:35,120 Speaker 2: which had really started to coalesce starting in the nineteen fifties. 510 00:31:35,960 --> 00:31:39,680 Speaker 2: Modern Western square dancing is more formalized and standardized in 511 00:31:39,760 --> 00:31:42,720 Speaker 2: terms of figures and calls, and it's often done to 512 00:31:42,760 --> 00:31:48,560 Speaker 2: pre recorded music. There are four main levels, Mainstream plus, Advanced, 513 00:31:48,640 --> 00:31:52,200 Speaker 2: and Challenge, and as their names suggest, each level is 514 00:31:52,240 --> 00:31:54,960 Speaker 2: a bit more complex than the one before, with more 515 00:31:55,000 --> 00:31:59,400 Speaker 2: figures for dancers to learn. Yeah that the musical styles 516 00:31:59,480 --> 00:32:02,880 Speaker 2: more often used with traditional folk dancing usually include things 517 00:32:02,960 --> 00:32:06,400 Speaker 2: like folk music, fiddle music, what you might describe as 518 00:32:06,400 --> 00:32:10,680 Speaker 2: a hoedown, that kind of thing. Modern Western square dancing, 519 00:32:10,920 --> 00:32:13,960 Speaker 2: though like uses music across a lot of different genres. 520 00:32:14,880 --> 00:32:19,760 Speaker 2: During this campaign, roughly twenty states made square dancing their 521 00:32:19,880 --> 00:32:23,560 Speaker 2: state dance, and a handful of others made square dancing 522 00:32:23,600 --> 00:32:27,520 Speaker 2: the state folk dance specifically, and the campaign to make 523 00:32:27,560 --> 00:32:31,960 Speaker 2: square dancing the national folk dance saw some limited success 524 00:32:32,000 --> 00:32:35,720 Speaker 2: in the early nineteen eighties. On June first, nineteen eighty two, 525 00:32:35,880 --> 00:32:40,240 Speaker 2: President Ronald Reagan signed a joint resolution naming square dance 526 00:32:40,320 --> 00:32:42,920 Speaker 2: as the National Folk dance of the United States for 527 00:32:42,960 --> 00:32:45,680 Speaker 2: the years nineteen eighty two and nineteen eighty three. 528 00:32:46,360 --> 00:32:49,680 Speaker 1: That resolution read quote Whereas square dancing has been a 529 00:32:49,720 --> 00:32:53,800 Speaker 1: popular tradition in America since early colonial days, Whereas square 530 00:32:53,880 --> 00:32:56,760 Speaker 1: dancing has attained a revered status as part of the 531 00:32:56,800 --> 00:33:00,560 Speaker 1: folklore of this country. Whereas square dancing is a joyful 532 00:33:00,600 --> 00:33:03,080 Speaker 1: expression of the vibrant spirit of the people of the 533 00:33:03,200 --> 00:33:06,920 Speaker 1: United States. Whereas the American people value the display of 534 00:33:06,960 --> 00:33:09,800 Speaker 1: etiquette among men and women, which is a major element 535 00:33:09,920 --> 00:33:13,640 Speaker 1: of square dancing. Whereas square dancing is a traditional form 536 00:33:13,720 --> 00:33:18,200 Speaker 1: of family recreation, which symbolizes a basic strength of this country, 537 00:33:18,400 --> 00:33:22,680 Speaker 1: namely the unity of the family. Whereas square dancing epitomizes 538 00:33:22,760 --> 00:33:27,520 Speaker 1: democracy because it dissolves arbitrary social distinctions. And whereas it 539 00:33:27,560 --> 00:33:29,600 Speaker 1: is fitting that the square dance be added to the 540 00:33:29,720 --> 00:33:33,600 Speaker 1: array of symbols of our national character and pride. Now, 541 00:33:33,680 --> 00:33:36,280 Speaker 1: therefore be it resolved by the Senate and House of 542 00:33:36,360 --> 00:33:40,040 Speaker 1: Representatives of the United States of America in Congress assembled 543 00:33:40,400 --> 00:33:43,520 Speaker 1: that the square dances designated the National Folk Dance of 544 00:33:43,520 --> 00:33:46,520 Speaker 1: the United States of America for nineteen eighty two. In 545 00:33:46,640 --> 00:33:53,360 Speaker 1: nineteen eighty three, this is just so, Ronald Reagan's yes. 546 00:33:54,720 --> 00:33:54,840 Speaker 3: So. 547 00:33:55,680 --> 00:33:59,800 Speaker 2: Other similar mills were introduced unsuccessfully in the years of 548 00:33:59,800 --> 00:34:02,240 Speaker 2: five trying to make this like a permanent thing, not 549 00:34:02,320 --> 00:34:04,440 Speaker 2: just nineteen eighty two and nineteen eighty three, and at 550 00:34:04,520 --> 00:34:09,160 Speaker 2: various points public hearings were held on the matter. Proponents 551 00:34:09,200 --> 00:34:12,440 Speaker 2: of making square dancing the national folk dance talked about 552 00:34:12,440 --> 00:34:17,080 Speaker 2: square dancing is something that was cooperative, collaborative, accessible, and 553 00:34:17,239 --> 00:34:21,880 Speaker 2: uniquely American. Leon Panetta, who at the time was serving 554 00:34:21,880 --> 00:34:24,520 Speaker 2: in the House of Representatives but would later hold a 555 00:34:24,600 --> 00:34:27,880 Speaker 2: number of other positions including White House Chief of Staff, 556 00:34:28,280 --> 00:34:31,920 Speaker 2: Director of the CIA, and Secretary of Defense, was a 557 00:34:31,920 --> 00:34:35,640 Speaker 2: big proponent of this. One of his statements quote, square 558 00:34:35,680 --> 00:34:39,000 Speaker 2: dancing is an activity that symbolizes, I think the country's 559 00:34:39,040 --> 00:34:42,040 Speaker 2: basic strengths, the unity of the family, and a spirit 560 00:34:42,080 --> 00:34:45,239 Speaker 2: of equality in which all people can equally enjoy this 561 00:34:45,360 --> 00:34:48,839 Speaker 2: form of dancing. It is truly, I feel, symbolic of 562 00:34:48,880 --> 00:34:53,880 Speaker 2: the vitality, diversity, history, and wholesomeness of this country. 563 00:34:55,800 --> 00:34:59,799 Speaker 1: I read that, I'm like how soon. But a lot 564 00:34:59,840 --> 00:35:03,960 Speaker 1: of people were opposed to this whole idea, including folklorists, 565 00:35:04,160 --> 00:35:09,400 Speaker 1: dance historians, and black, Hispanic and Indigenous dancers. One active 566 00:35:09,440 --> 00:35:13,080 Speaker 1: square dancer who spoke in opposition was Bob Dalcimer, who 567 00:35:13,160 --> 00:35:15,839 Speaker 1: was not part of the square dancing organizations that were 568 00:35:15,880 --> 00:35:21,440 Speaker 1: promoting the bills. Dalcimer objected to the inclusion of clogging, 569 00:35:21,520 --> 00:35:24,759 Speaker 1: the Virginia reel, and other dances under the umbrella of 570 00:35:24,840 --> 00:35:28,239 Speaker 1: square dance. He also pointed out that rural communities that 571 00:35:28,320 --> 00:35:32,440 Speaker 1: had been square dancing for generations aka doing traditional square 572 00:35:32,520 --> 00:35:36,600 Speaker 1: dance would probably not recognize modern Western square dance at all. 573 00:35:37,440 --> 00:35:40,880 Speaker 1: Some of the testimony against this bill circled back to 574 00:35:40,960 --> 00:35:44,839 Speaker 1: some ideas we've already discussed. Raina Green at the time, 575 00:35:44,920 --> 00:35:48,600 Speaker 1: president of the American Folklore Society, referenced attempts to force 576 00:35:48,719 --> 00:35:52,399 Speaker 1: Indigenous children to assimilate with white culture. We've talked about 577 00:35:52,400 --> 00:35:55,200 Speaker 1: a number of those attempts on the show before. Quote, 578 00:35:55,440 --> 00:35:57,959 Speaker 1: when my grandmother was a girl, and when my great 579 00:35:58,000 --> 00:36:01,239 Speaker 1: grandmother was a child, they were forbidden to speak their language, 580 00:36:01,520 --> 00:36:04,879 Speaker 1: forbidden to dance their dances by the American government and 581 00:36:04,960 --> 00:36:08,680 Speaker 1: by missionaries in this country. How ironic I think it 582 00:36:08,719 --> 00:36:11,560 Speaker 1: would be if my grandmother, who danced the square dance 583 00:36:11,640 --> 00:36:15,120 Speaker 1: in school, the only place she ever danced it, but 584 00:36:15,239 --> 00:36:18,360 Speaker 1: could not dance her own tribal dances, were now to 585 00:36:18,440 --> 00:36:21,719 Speaker 1: be dishonored, and all of our ancestors were to be dishonored, 586 00:36:21,719 --> 00:36:25,080 Speaker 1: in fact, with the designation of a dance that represented 587 00:36:25,160 --> 00:36:29,520 Speaker 1: the overturn and repression of our own dances and the 588 00:36:29,560 --> 00:36:33,680 Speaker 1: oppression of our people. Green also noted that if Congress 589 00:36:33,680 --> 00:36:37,800 Speaker 1: were instead to consider an indigenous dance as the National 590 00:36:37,880 --> 00:36:42,560 Speaker 1: folk dance, tribal peoples would have difficulty choosing which of 591 00:36:42,680 --> 00:36:46,000 Speaker 1: all the round dances it should be, because the round 592 00:36:46,080 --> 00:36:49,319 Speaker 1: dances are all different, and the communities involved respect and 593 00:36:49,440 --> 00:36:53,160 Speaker 1: honor those differences. And even if there had been more 594 00:36:53,239 --> 00:36:57,759 Speaker 1: acknowledgment that European, Indigenous and African influences all played a 595 00:36:57,800 --> 00:37:00,839 Speaker 1: part in the development of square dancing, that still left 596 00:37:00,880 --> 00:37:03,880 Speaker 1: out a lot of Americans. For example, in the words 597 00:37:03,920 --> 00:37:08,160 Speaker 1: of activist Juan Gutierrez during congressional earrings, quote, first of all, 598 00:37:08,239 --> 00:37:11,160 Speaker 1: our community doesn't have even the slightest idea of what 599 00:37:11,280 --> 00:37:14,520 Speaker 1: square dance is. I am director of a Puerto Rican 600 00:37:14,560 --> 00:37:18,200 Speaker 1: folk music group. I respect the traditional square dancing form 601 00:37:18,239 --> 00:37:21,600 Speaker 1: as well as others, but I believe in national diversity. 602 00:37:22,120 --> 00:37:24,680 Speaker 1: I don't think that square dancing will ever represent the 603 00:37:24,719 --> 00:37:28,719 Speaker 1: diversity of people in the United States. Efforts to make 604 00:37:28,760 --> 00:37:31,680 Speaker 1: square dancing the national folk dance seem to have fizzled 605 00:37:31,680 --> 00:37:35,160 Speaker 1: out in more recent years, and by the late nineteen eighties, 606 00:37:35,200 --> 00:37:38,240 Speaker 1: square dancing was also starting to fall out of favor 607 00:37:38,320 --> 00:37:42,359 Speaker 1: as part of school pe classes, which again it's where 608 00:37:42,440 --> 00:37:44,520 Speaker 1: Holly and I were exposed to it. I'm sure we'll 609 00:37:44,520 --> 00:37:47,680 Speaker 1: talk about that more on Friday. As we said earlier, 610 00:37:47,719 --> 00:37:52,320 Speaker 1: though there are still local, regional, national, and international square 611 00:37:52,360 --> 00:37:55,800 Speaker 1: dance clubs. A lot of the most active square dancers 612 00:37:55,800 --> 00:38:00,520 Speaker 1: and callers today are elders, and these organizations are predominant white, 613 00:38:00,600 --> 00:38:04,040 Speaker 1: but there are people who are trying to attract younger 614 00:38:04,120 --> 00:38:07,920 Speaker 1: and more diverse participants. There's an episode of Radio Lab 615 00:38:08,040 --> 00:38:11,120 Speaker 1: called Bertie in the Cage from October of twenty nineteen, 616 00:38:11,280 --> 00:38:14,920 Speaker 1: in which reporter Tracy Hunt went to the National Convention 617 00:38:15,520 --> 00:38:18,680 Speaker 1: and talked to some square dancers there about, among other things, 618 00:38:18,760 --> 00:38:23,960 Speaker 1: how this social dance is trying to evolve. Oh, I'm 619 00:38:24,040 --> 00:38:27,719 Speaker 1: very excited for behind the scenes this time around, me too. 620 00:38:28,360 --> 00:38:30,399 Speaker 1: Do you have some listener mail to take us out? 621 00:38:30,680 --> 00:38:33,200 Speaker 2: I do this Sister mail is from Vaughn and Von wrote, 622 00:38:33,239 --> 00:38:35,600 Speaker 2: Dear Holly and Tracy, I found your episode about knitting, 623 00:38:36,120 --> 00:38:38,200 Speaker 2: and I have now listened to all the episodes. You 624 00:38:38,239 --> 00:38:40,520 Speaker 2: keep me company as I hike drive to and from 625 00:38:40,600 --> 00:38:42,680 Speaker 2: work and while I'm doing things at home. Your sense 626 00:38:42,680 --> 00:38:45,719 Speaker 2: of humor, respectful approach to topics, and empathy to all 627 00:38:45,719 --> 00:38:48,759 Speaker 2: the topics is so appreciated. I learned so much from 628 00:38:48,760 --> 00:38:51,360 Speaker 2: your episodes, and most of the topics don't have relevance 629 00:38:51,400 --> 00:38:52,279 Speaker 2: to my working. 630 00:38:52,040 --> 00:38:54,480 Speaker 3: Day until Mother Goose. 631 00:38:55,160 --> 00:38:58,839 Speaker 2: I teach kindergarten in the San Francisco area. We use 632 00:38:58,880 --> 00:39:02,080 Speaker 2: the Mother Goose poems to teach rhyming. We act out 633 00:39:02,120 --> 00:39:05,759 Speaker 2: the poems and draw our own interpretations of them. I've 634 00:39:05,760 --> 00:39:08,320 Speaker 2: been meaning to write in when you've done the previous 635 00:39:08,360 --> 00:39:11,439 Speaker 2: Mother Goose Impossible episodes, and I'm finally doing it. I've 636 00:39:11,480 --> 00:39:14,160 Speaker 2: enclosed the art I use as a sample for Humpty 637 00:39:14,200 --> 00:39:18,080 Speaker 2: Dumpty and Jack be Nimble. Also included are the motions 638 00:39:18,160 --> 00:39:20,520 Speaker 2: in case you'd like to act out the poems. I 639 00:39:20,560 --> 00:39:23,120 Speaker 2: hope you will enjoy the kindergartener's artwork as much as 640 00:39:23,160 --> 00:39:26,320 Speaker 2: I do. This Jack be Nimble is from a current student. 641 00:39:26,640 --> 00:39:30,399 Speaker 2: I've also enclosed my nine year old pug Finn, who 642 00:39:30,400 --> 00:39:33,399 Speaker 2: puts up with me making him wear hats. This one 643 00:39:33,520 --> 00:39:36,719 Speaker 2: is an eggplant hat. Thank you again for introducing me 644 00:39:36,760 --> 00:39:39,120 Speaker 2: to many new topics and all your hard work. I 645 00:39:39,160 --> 00:39:43,080 Speaker 2: wish you continued success, Love Vaughn, So thank you so much, 646 00:39:43,160 --> 00:39:49,000 Speaker 2: Vond for these pictures. 647 00:39:49,040 --> 00:39:49,480 Speaker 3: Something. 648 00:39:49,560 --> 00:39:54,840 Speaker 2: There's one that's a drawing of Humpty Dumpty. Something about 649 00:39:54,880 --> 00:39:57,239 Speaker 2: this drawing of Humpty Dumpty. There is what looks like 650 00:39:57,320 --> 00:40:00,400 Speaker 2: a suggestion of legs in blue. But then what I 651 00:40:00,400 --> 00:40:04,480 Speaker 2: think is the body of Humpty Dumpty reminds me a 652 00:40:04,520 --> 00:40:09,279 Speaker 2: little bit of like like a whole chicken, like with 653 00:40:09,320 --> 00:40:11,960 Speaker 2: the two chicken legs sticking up. 654 00:40:12,040 --> 00:40:18,840 Speaker 3: It is adorable. And then the Jackbie Nimble one Check. 655 00:40:18,760 --> 00:40:22,640 Speaker 2: Has like a very green head and feet that look 656 00:40:22,719 --> 00:40:25,680 Speaker 2: like an anchor to me, so that is fun. And 657 00:40:25,719 --> 00:40:30,160 Speaker 2: then of course a pug and a hat with the 658 00:40:30,840 --> 00:40:37,400 Speaker 2: like pug tongue lall thing going. So anyway, thank you 659 00:40:37,440 --> 00:40:39,399 Speaker 2: so much for sending these adorable pictures. 660 00:40:40,080 --> 00:40:42,840 Speaker 1: That seems like a great way to teach kids about rhymes. 661 00:40:42,960 --> 00:40:45,760 Speaker 1: And there are lots of like sort of easy gesture 662 00:40:45,800 --> 00:40:48,360 Speaker 1: based dances that you could make to go along with 663 00:40:48,400 --> 00:40:51,160 Speaker 1: a lot of these things. So thank you Von for 664 00:40:51,360 --> 00:40:51,840 Speaker 1: this note. 665 00:40:51,840 --> 00:40:53,520 Speaker 2: If you would like to write to us about this 666 00:40:53,760 --> 00:40:57,279 Speaker 2: or any other podcast, we're at History Podcast at iHeartRadio 667 00:40:57,280 --> 00:41:00,719 Speaker 2: dot com. We're all over social media miss in History. 668 00:41:00,760 --> 00:41:03,839 Speaker 2: That's where you'll find our Facebook, Twitter, Pinterest, in Instagram, 669 00:41:03,880 --> 00:41:07,520 Speaker 2: and you can subscribe to our show on the iHeartRadio 670 00:41:07,560 --> 00:41:15,880 Speaker 2: app or wherever you like to get podcasts. Stuff you 671 00:41:15,880 --> 00:41:18,960 Speaker 2: Missed in History Class is a production of iHeartRadio. For 672 00:41:19,080 --> 00:41:23,520 Speaker 2: more podcasts from iHeartRadio, visit the iHeartRadio app, Apple podcasts, 673 00:41:23,640 --> 00:41:27,720 Speaker 2: or wherever you listen to your favorite shows.