\chapter{Calling Four-Person Calls on Each Side}
\label{chap:four-person-side}

It's time to let the sides dance.

The first thing we notice is that, whenever we dance a group of four
people around using an even number of \x\ calls and return to the same
setup with the designee standing on the original spot, we have
produced a zero.  If you get nothing else out of this book, this is an
excellent result.  It means that you can make up zeroes on the fly.

These zeroes are equally valid if you're only calling to a center
group of four, or if you're calling four-person calls to each side of
the square.  This gives us an easy way to start calling to all eight
dancers: Call a sequence such that the heads are fancing the sides in
an 8-chain formation, and then call a zero.  At this point you can
continue calling to the heads in the center to finish the resolution.

Let's look at an easy example.  After the \call{square thru 4}, the
designee is here in an 8-chain:

\displaytwo
{ \bdancer e & \gdancer w & \bdancer e & \gdancer w \\
  \gdancer e & \dbdancer w & \gdancer e & \bdancer w }
{ \ctablebox{\allemandebO \\ {Male designee}}}
{ \bdancer e & \gdancer w & \bdancer e & \gdancer w \\
  \gdancer e & \bdancer w & \dgdancer e & \bdancer w }
{ \ctablebox{\allemandecO \\ {Female designee}}}

On each side, we have facing couples.  We can dance him around in the
group on our left (or our right if using a female designee) until we
get back to facing couples on each side, that is, another 8-chain.  If
the designee is back where he started (on his allemande spot), and an
even number of \x\ calls were used, all four dancers on that side are
correct.  The dancers on the other side are of course also correct by
symmetry.

Let's try it:

\begin{sequence}
heads square thru four \\
swing thru (\x) \\
boys run (\x) \\
bend the line (\x) \\
right and left thru \\
pass the ocean \\
recycle (\x) \\
allemande left
\end{sequence}

Now let's look at a slightly more complicated example.  We'll start
our sequence with:

\begin{sequence}
heads pass the ocean \\
recycle (\x) \\
pass thru \\
\end{sequence}

At this point we know we can't call \call{allemande left} because we
haven't used an even number of \x\ calls.  To resolve this sequence we
could call:

\begin{sequence}
centers trade \\
swing thru (\x) \\
turn thru \\
allemande left
\end{sequence}

However, between these two sections we notice that we have a
sex-symmetric box of four on each side of the square.  We could
interrupt our sequence at this point and call a zero, and then
continue with our resolve.  Let's add a zero:

\begin{sequence}
star thru \\
box the gnat \\
fan the top (\x) \\
boys run (\x) \\
wheel and deal \\
pass the ocean \\
explode and right and left thru
\end{sequence}

If we add this ``interruption'' into the middle of our sequence
calling only to the heads in the center, we can produce a full,
resolved sequence which allows the sides to dance some of the time:

\begin{sequence}
heads pass the ocean \\
recycle (\x) \\
pass thru \\
{\rm (start interruption)} \\
star thru \\
box the gnat \\
fan the top (\x) \\
boys run (\x) \\
wheel and deal \\
pass the ocean \\
explode and right and left thru \\
{\rm (finish interruption)} \\
centers trade {\rm (or \call{centers go a full turn around} for flow)} \\
centers swing thru (\x) \\
turn thru \\
allemande left
\end{sequence}

This is a kind of contrived example, but it does show that with what
you've already learned you can call danceable material that allows all
eight dancers to become involved.  Used in this manner, it's very
similar to isolated sight calling, except of course that you don't
actually have to memorize two (or four) dancers.

\section{Going from Calling to the Centers to Calling to Everyone}
\label{sec:extend}

Until now, we have used a very strict rule for turning our attention
from the centers to each side.  We can't start calling to each side
until each side has a sex-symmetric four-person setup.  This means that,
when we start a sequence with the heads, we must put them in this
setup:

\displayone{
\gdancer w & \bdancer e \\
\bdancer w & \gdancer e
}{}

\noindent before we can work on each side.  While this is not a
serious burden (openings like \call{lead right}, \call{wheel thru},
and \call{square thru 2} or \call{4} are very common) there are a few
shortcuts we can take.

We can open with \call{heads pass the ocean, extend}.  The
\call{extend} is equivalent to \call{centers step thru} (creating a
nice 8-chain setup) followed by \call{step to a wave} with the
outsides, so we can use it directly.  Similarly, we can open with
\call{heads fan the top, extend}.

\note{Example from page 37}

We can also \call{extend} from a left-handed wave in the center, as in
\call{heads dixie style to a wave, extend} or \call{heads pass the
sea, extend}.  In fact, the opening calls we can use before an
\call{extend} include:

\begin{sequence}
dixie style to a wave (\x) \\
pass the ocean \\
pass the sea \\
(left) fan the top (\x) \\
(reverse) swap the top \\
(left) star to a wave (?)
\end{sequence}

What would happen if we tried to start with \call{heads spin the top,
extend}?  Between the implicit centers step thru and the implicit step
to a wave, we would have this:

\displayone{
\bdancer e & \bdancer w & \gdancer e & \gdancer w \\
\gdancer e & \gdancer w & \bdancer e & \bdancer w
}{}

This is not sex-symmetric on each side!  It won't work.  However, we
could save the day by calling:

\begin{sequence}
heads spin the top while the sides roll away with a half sashay \\
extend
\end{sequence}

You are responsible for arrangement management.  If you want to
\call{extend} from a wave in the center, and you see that the centers
will be sashayed when they step out of their wave while the outsides
are normal, or vice versa, fix it.  A quick \call{outsides roll away}
can often save the day.

\section{Exercises}

\begin{enumerate}
\item Make up some sequences using the above openers combined with
calling zeroes to each side of the square.
\end{enumerate}

\section{Calling Without Using Zeroes}

We will now extend the system to an enormous variety of situations,
allowing dancers to move freely between one side of the set and the
other.  In order to make this work, we need to define the allemande
spot motions in a special way.  The rule is that when we are calling
to each side of the set and we give an \x\ call, we don't just change
the nature of the spot (\o\ to \x\ or \x\ to \o), but also move it.
If it changes from \o\ to \x, we move the spot one position away from
the side that the designee is on.  If it changes from \x\ to \o, we
move the spot back toward the designee's side.

For the simple sequence we have just made up, it doesn't matter, since
there are an even number of \x\ calls, so the spot moves each way the
same number of times, and ends up in the same place.  For complex
sequences, this special motion becomes crucial.

Let's look at that sequence again:

\note{Draw nice pictures}

Here is the official rule for calling four-person sex-symmetric calls:

\begin{itemize}
\item Whether the call is an \x\ or an \o, move the designee thru the call
in the natural way.

\item If the call is an \o, do not change or move the spot.

\item If the call is an \x, change the spot from \x\ to \o\ or \o\ to \x,
and do the following:

\begin{itemize}
\item If calling just to the four in the center, just change the spot; do
not move it.

\item If calling to each side, and changing from an \o\ to an \x, push
the spot away from the designee.  If changing an \x\ to an \o, pull
the spot toward the designee.
\end{itemize}
\end{itemize}

The spot motions ``wrap around.''  If the designee is on the left and
the spot is \o4: \allemandedO, when we push the spot to the right it
wraps around to \x1: \allemandeaX.  If we call another \x\ call on the
left side and pull the spot to the left, it wraps around again to \o4:
\allemandedO.

Spot motion to the right: \note{picture}

Spot motion to the left: \note{picture}

The way to remember the spot motions is this: The designee hates \x\
spots and loves \o\ spots.  When the designee creates an \x\ spot
(that is, turns an \o\ into an \x), he pushes it away.  When he
destroys an \x\ and creates an \o, he draws it toward himself.  This
action is the same for male or female designees.  The spot motion only
applies when calling to each side, so that the designee is on one side
or the other.  When calling only to the four in the center, as we did in
Chapter~\ref{chap:centers}, the spot doesn't move.

\section{Getouts from Trade By Formations}

\note{Is this where we want this section?}

The sequences we have considered so far have always had the designee
on his allemande spot while the overall formation is an 8-chain.  This is,
of course, a very natural setup for \call{allemande left}.

Now consider this sequence:

\begin{sequence}
heads fan the top (\x) \\
extend \\
recycle (\x)
\end{sequence}

The designee's allemande spot is one position in front of him.

\begin{sequence}
pass thru
\end{sequence}

We can call \call{allemande left} at this point.  The formation is a
trade by, and the ends need to look ``around the ring'' for their
corner.  You may consider this kind of getout less desirable than an
allemande left from an 8-chain.  If so, you should try to avoid
getting the allemande spot into one of these \o\ states:

\begin{center}
\allemandeaO  \allemandecO
\end{center}

Changing the ``parity'' \note{What's parity?} of the allemande spot
requires calling an \x\ call to the centers (or any of a large number
of 8-person calls that will be discussed in
Chapter~\ref{chap:something}).  With practice, you can develop a skill
at manipulating the allemande spot as required to create the kind of
getout that you want.

\section{\call{Right and Left Grand} Getouts}

Try this:

\begin{sequence}
heads lead right (\x) \\
touch 1/4 (\x) \\
walk and dodge\\
trade \& roll\footnote{Note that \call{roll} can be a difficult call
to categorize because it does different things after different calls.
However from a couple (not a miniwave), \call{trade and roll} is an \o.}
\end{sequence}

We are in a sashayed 8-chain.  We could have called \call{allemande
left} if we had had everyone \call{u-turn back}.  Hence, everyone is
between their corner and their partner.  Thus, given their facing
direction, we can call \call{right and left grand}.

What we learn from this is that {\em the allemande spot is also the right
and left grand spot.\/}
Whenever the designee is on his spot, the spot is an \o, and the
setup is an 8-chain or trade by, you can call \call{allemande left} or
\call{right and left grand}, whichever is appropriate.

As you develop the skill of formation management and spot management
while doing mental image calling, you will be able to control the kind
of getout you want.  You control the setup; the mental image system
provides the goal.  By calling \x\ calls in appropriate places, you
can move the goal where you want, and then drive the designee toward
that goal.

\section{Getouts from Lines Facing or Lines Back-to-Back}

Consider the sequence:

\begin{sequence}
heads square thru 4\\
right and left thru \\
star thru \\
pass thru
\end{sequence}

Everyone is in correct sequence.  If you consider \call{allemande
left} getouts acceptable from lines back-to-back, you could use it
here.  You can also call \call{allemande left} from facing lines when
the designee is on his spot, if you consider that to be an acceptable
getout.

Another thing that can be done from facing lines with the designee on
his spot is \call{circle left}.  However, the mental image system does
not always provide control over absolute orientation of the setup --
it is only guaranteed to make the resolve work.  Hence, you must look
at the square to see whether ``circle right'' or perhaps ``you're home''
might be a more suitable thing to say.

\begin{sequence}
heads lead right (\x) \\
swing thru (\x) \\
boys run (\x) \\
chain down the line \\
right and left thru \\
flutterwheel (\x) \\
circle left
\end{sequence}

\section{Getouts from Waves}

Whenever we have a right-hand wave with boys in the middle, we have a
potential \call{right and left grand} possibility.  If having everyone
rear back from the handhold would create a valid 8-chain \call{right
and left grand}, you could call a \call{right and left grand} in the
wave.  That is, you could do so if you and your dancers consider this
acceptable.  It seems to be more common at Challenge than at
Mainstream and Plus.  (You can, of course, call \call{turn thru,
allemande left} instead, if you wish.)

These are the \call{right and left grand} positions:

\newcaption{with a male designee, or}
\displaytwo
{ \gdancer e & \gdancer e \\
  \bdancer w & \bdancer w \\
  \bdancer e & \dbdancer e \\
  \gdancer w & \gdancer w }
{\allemandecO}
{ \gdancer e & \gdancer e \\
  \bdancer w & \bdancer w \\
  \dbdancer e & \bdancer e \\
  \gdancer w & \gdancer w }
{\allemandeaO}

\newcaption{with a female designee}
\displaytwo
{ \gdancer e & \gdancer e \\
  \bdancer w & \bdancer w \\
  \bdancer e & \bdancer e \\
  \gdancer w & \dgdancer w }
{\allemandedO}
{ \gdancer e & \gdancer e \\
  \bdancer w & \bdancer w \\
  \bdancer e & \bdancer e \\
  \dgdancer w & \gdancer w }
{\allemandebO}

With practice, you can prepare such a getout by setting the spot
correctly and then driving the designee toward the correct place.

Whenever we have a left-hand wave with boys in the middle, we have a
potential \call{allemande left} possibility.  These are the
\call{allemande left} positions:

\newcaption{with a male designee, or}
\displaytwo
{ \gdancer w & \gdancer w \\
  \bdancer e & \bdancer e \\
  \dbdancer w & \bdancer w \\
  \gdancer e & \gdancer e }
{\allemandebO}
{ \gdancer w & \gdancer w \\
  \bdancer e & \bdancer e \\
  \bdancer w & \dbdancer w \\
  \gdancer e & \gdancer e }
{\allemandedO}

\newcaption{with a female designee}
\displaytwo
{ \gdancer w & \gdancer w \\
  \bdancer e & \bdancer e \\
  \bdancer w & \bdancer w \\
  \dgdancer e & \gdancer e }
{\allemandeaO}
{ \gdancer w & \gdancer w \\
  \bdancer e & \bdancer e \\
  \bdancer w & \bdancer w \\
  \gdancer e & \dgdancer e }
{\allemandecO}

Example:

\begin{sequence}
heads square thru 4 \\
swing thru, twice \\
trade the wave \\
allemande left
\end{sequence}

If you and your dancers are not averse to \call{extend, right and left
grand} or \call{extend, allemande left}, you can use them when the
allemande spot is one position beyond the designee.  For example:

\displayone
{ \gdancer e & \gdancer e \\
  \bdancer w & \bdancer w \\
  \bdancer e & \dbdancer e \\
  \gdancer w & \gdancer w }
{\allemandedO}

If the spot were here: \allemandecO we could call \call{right and
left grand}.  As it is, we can call \call{extend, right and left
grand}.  To see that this is so, observe that the call \call{step
thru} would give us a trade by setup from which a \call{right and left
grand} could be called.  \call{extend} is just \call{step thru} and
the \call{centers touch}.

In the same way, we can call \call{extend, allemande left} (or
\call{slip the clutch, allemande left} if you prefer) from a setup
like this:

\displayone
{ \gdancer w & \gdancer w \\
  \bdancer e & \bdancer e \\
  \dbdancer w & \bdancer w \\
  \gdancer e & \gdancer e }
{\allemandeaO}

In fact, whenever we have right or left handed waves with the boys in
the middle, and the spot is an \o\, and the designee is on the side of his
or her wave closest to us, we are very close to a \call{right and left
grand} or an \call{allemande left}.  We can call it either directly,
after an \call{extend}, after an \call{all 8 circulate}, or after a
\call{circulate} and \call{extend}.  It just depends on how far away
the allemande spot is from the designee.  After we show how to handle
\call{all 8 circulate}, it will be clear how to do this.

If you find that you are using \call{extend} too much, you can use
\call{boys circulate} or \call{girls circulate} (either one) instead.