Question: How do men dress when they play squach?
About the article "Squash (sport)", section "Playing equipment".

Candidate passages:
The play is focused around two old men who randomly meet on a park bench.
Although it is usually played that the two men do not know of each other, (the stage directions are ambiguious—they could meet, or they could be old friends) they awkwardly begin to talk to each other.
As they fumble for topics to speak upon, somehow they always end up reverting to the ducks swimming around in the lake.
Although their conversations seem misguided, as they talk about the ducks, many wise conversations are actually discussed.
They talk about the leader of the ducks, and how every other duck follows that leader.
When the leader duck dies, then a new leader must be chosen.
They also talk about how everything the ducks do has a purpose.
Within the dialog of the men, they talk about why things occur naturally, friendship, and death, not only in reference to the ducks, but also in human nature. 
William and the outlaws see Home Guard men, one of which being a local blacksmith, doing their job practising "shooting through holes" and so forth, and wish they could do something similar.
The outlaws build a fortress, made of sandbags and boxes, even equipped with 'little holes' to shoot their toy weapons through.
One night, a man in a "woman's dress" whom they think is a parachutist walks along the road they blockaded.
The outlaws shoot at him and accidentally knock him out when the barricade falls over.
They find a pass to Marleigh Aerodrome on him, so get some oneto run to the police.
When the policeman is there, the "parachutist" explains he is dressed as a woman because he is in a play that night, he forgives William and lets him see the play at Marleigh Aerodrome.
William and the outlaws have the happiest day they have had in their lives so far. 
Practical applications.
The principal guiding point of tzniut in regard to dress is that a Jew should not dress in a way that attracts attention.
This does not mean dressing poorly, but that neither men nor women should dress in a way that overly emphasizes their physical appearance or attracts undue attention.
Orthodox Judaism requires both men and women to substantially cover their bodies.
This involves covering the elbows and knees.
In Haredi communities, men generally wear long trousers and often long-sleeve shirts, and women wear blouses with sleeves below the elbow and skirts that cover the knees.
Some women try not to follow fashion, while others wear fashionable but modest clothing.
In Modern Orthodox practice for women it is generally accepted for sleeves to cover the elbows and shirts to cover the collarbone, skirts to cover the knees with or without tights, and trousers not to be worn in the presence of men.
Some Modern Orthodox women will wear sleeves up to a fist's length (tefach) above their elbows or even short sleeves, and some do not cover their collarbones.
Haredi women avoid skirts with slits, preferring instead kick-pleats.
They also avoid overly eye-catching colors, especially bright red.
Some insist on closed-toe shoes and always wear stockings, the thickness of which varies by community.
In some Haredi communities women wear loose vests over shirts.
Men must wear shirts with sleeves.
Some Modern Orthodox men will wear shorts, but Haredi men will not, and many will not wear short sleeves at all.
Sandals without socks, while generally not worn in a synagogue, are usually accepted in Modern Orthodox and Religious Zionist Communities in Israel for daily dress.
Haredi Ashkenazi practice discourages sandals without socks both in and out of the synagogue.
Haredi Sefardic communities tend to accept sandals at least outside of synagogue and sometimes in synagogue as well.
Dress in a synagogue and, according to many, in public should be comparable to that worn by the community when meeting royalty or government.
Conservative Judaism formally requires modest dress, although this requirement is often not observed on a day-to-day basis, but is somewhat more observed when attending synagogue.
While day-to-day dress often simply reflects the general society, many Conservative synagogues expect somewhat more modest dress (although not necessarily as stringent as in Orthodox Judaism) for synagogue attendance, and may have specific dress requirements to receive synagogue honors (such as being called for a Torah reading).
Reform Judaism has no religious dress requirements.
Style of dress involves cultural considerations distinct from religious requirements.
There are many Conservative and Reform synagogues in which suits and ties are socially expected, while in many Orthodox synagogues (especially in Israel) dress, while meeting religious modesty requirements, is quite casual.
Many Haredi and Hassidic communities have special customs and styles of dress which serve to identify members of their communities but regard these special dress features as customs of their communities rather than as general religious requirements expected of all observant Jews. 
The academic dress prescribed by the University of Bristol is a mixture of that prescribed by Cambridge and Oxford.
Bristol has chosen, for graduates, to mainly specify Oxford-style gowns and Cambridge-style hoods.
Unlike many British universities, the hood itself is to be "University red", lined with a specified colour.
University red is defined to be Pantone 187.
Bristol also specifies that undergraduates are to wear gowns "of the approved pattern" in certain circumstances, although the pattern itself is not specified.
This is not too important since, in practice, undergraduates are never required to be gowned except when graduating.
As at most universities, when graduating, graduands wear the dress appropriate to the degree to which they are to be admitted.
This appears to be a "de facto" rather than legislated practice since there is no specific provision in Statute, Ordinance or Regulation for how graduands should dress.
Regulations prescribing academic dress refer specifically to "graduate members of the University" and thus exclude those who are in the process of graduating but have not yet graduated.
This is a pedantic point, but in at least two British universities (Cambridge and Oxford), the rules are the other way around for this very reason (i.e.
graduands wear their "current" degree, or undergraduate dress if they are not a graduate, with the hood of the new degree).
Bristol specifies four main types of dress: bachelor's, master's, doctor's undress and doctor's full dress.
Within these groups, the dress is identical save for a few specific exceptions.
Although academic caps are specified, by tradition they are never worn by graduands, except for honorary graduands.
Bristol graduates taking part in Bristol graduation ceremonies as staff can and do wear the prescribed headgear. 
Ball Pagès.THE DANCESThe roles of men and women are clearly differentiated in our dances.
The woman, indifferent, holds her arms close to her body, walking with short and rapid steps, circling around a central point.
The man, however, does not have previously determined steps.
He tries to show his force and manliness by taking great leaps, in order to win the favour of the woman.
The dances and the popular culture are part of rural, or country, society.
The people who lived in and from the countryside did not have many opportunities for socialising or parties.
The songs have a decidedly Oriental sound.
The words have to be guessed, with syllables cut off so they fit into the monotonous and unvarying melody.
Christian influence is perhaps the strongest.
In 1235, Catalan men during the reign of Jaime I took the island from the Arabs.
Its influence is seen in the jewels, the men’s dress and the language we speak.
In spite of the Christianisation of the dances and the inclusion of music in the liturgy, the profane nature of the same can be easily recognised.
LA CURTAThis is a short dance.
The steps and the rhythm are suitable for the elderly.
Generally, the elderly, the well owner with the heir to the house, or the in-laws of the couple marrying – depending on the occasion – started and finished the party with this dance, granting permission to the rest to continue.LA LLARGAYoung people display their energy with this much faster dance.
In almost all the dances, the dancer selects his partner with a bang on the castanets.
This gesture, a quite rude way to issue an invitation to a woman, is forgiven at the end of the dance when the man kneels before her.
The woman reciprocates with a small curtsy.SA FILERAA man dances with three women in a line.
It seems like a wedding dance where the recently married bride is accompanied by two friends or ladies.
The rhythm is the same as the Llarga.SES NOU RODADESThis may be the prettiest and most important dance in our repertoire.
Parties culminate with this dance and it is a nuptial ceremony.
The newly married couple dance in a series of circles, separating and then meeting again in the centre, where they link elbows.
After the sixth turn, the wife flashes her rings (twenty-four in total) that her husband has presented her.
THE INSTRUMENTSThe basic rhythm of our music is percussion and wind.
It may seem surprising that such a Mediterranean island does not include string instruments in their music.
The drum, the flute, the espasí (a metal sword-shaped piece) and the castanets always accompany our dances and fiestas.THE DRUMA hollowed pine trunk.
The outsides are adorned with carvings or paint, with red and green colours predominating here.
The motifs are vegetal or geometric.
The skin is made from rabbit.THE FLUTEAn oleander branch hollowed out with fire.
With only three holes, it is also adorned with vegetable and geometric shapes.
This instrument requires greater skill, even though composers do not have a conventional knowledge of musical theory or other disciplines and play accompanied by the drum.THE ESPASÍA piece of metal in the shape of a sword.
The stridency of the metal backs up the music.THE CASTANETSThis may possibly be the strangest instrument, due to both its size and its sound.
Created from juniper wood, they are carved with vegetable or geometric shapes using knives.
While castanets are widely used throughout the Mediterranean, we use the largest ones available.
The sound resembles a trotting horse.THE XEREMIAAnother wind instrument, which was used principally by shepherds.
It is created with two young bamboo shoots, with a vibrating reed.
You can see an instrument identical to the xeremia at the British Museum in London, which is the Egyptian maid.
Besides accompanying our dances, some of these instruments can be heard at religious celebrations and other solemn occasions.
Ses Caramelles is the song played on Christmas Eve.
Sa Pujadeta and Sa Calera are songs that are already classics and enjoy great popularity amongst the Ibizans.THE DRESSThe originality and authenticity of some of the native dress styles offer some samples that are over three hundred years old.
In the different villages of the island, similar to how the exact dance style varies, there are also small variations in dress.
We can distinguish between three different types of dress, both for men and women, in accordance with their function and age.THE BLACK GONELLAThis is the oldest dress for women, probably dating from the 18th century.
It is a tunic of knitted wool, consisting of an underskirt, a serge jerkin with embroidered satin sleeves, silver buttons and coloured ribbons.
This is topped with an apron, a yellow silk shawl and a cambuix, a lace scarf tied under the neck.
It is usually worn with a black, felt, wide-brimmed hat.
Jewels on the dress are silver and red coral.
Gold, which was traditionally used, became scarce during this time.
The jewels are affixed to the body with coloured, embroidered ribbons.
THE WHITE GONELLA OR WHITE DRESS A luminous white colour, consisting of the same garments as the gonella (underskirts, jerkin, apron, shawl and scarf), but with some particularities.
A hat is never worn.
The bride layered on underskirts until their width no longer allowed her to pass through the door of her bedroom.
The jewels are made from gold.
This was generally the dowry that her family contributed to the wedding.
The cross, la joia, hung with eighteen spans of golden braid (6 or 7 times over the chest) and two or three necklaces.
The sleeves were adorned with gold buttons.
The rings could be in different shapes - the family seal, the heart and key to the house, etc.
These were gifts from her fiancee, with a total of twenty-four rings.COLOURED GONELLA OR COLOURED DRESSOld women that still wear this dress on a daily basis can be seen in isolated villages.
On the day of the town festival, they wear their best dresses adorned with jewellery and then go to the church, following a long tradition.
They have essentially the same clothing items, but the apron is normally long, short if undergarments are worn.
It can be accompanied with a wide-brimmed hat made from pita fibres (capell de floc), with a yellow scarf, but never together with the undergarments.
There are also three types of dress for the men.
Recognised as the oldest, it seems to have come from a military uniform, and we can place it next to the gonella.
Black holds prominence over white.
A large rosary with silver and ebony beads is worn at the neck.
The following is possibly the most popular.
Worn for summer festivals, it is made with luminous white cloth and a highly embroidered shirt.
The sash has bright colours and the waistcoat has silver button work: 14 or 24 buttons, depending on the man’s wealth.
Lastly, the most modern outfit that disappeared only quite recently, was worn by the elderly.
All signs of ostentation have been suppressed here: there is no button work or adornments.
It consists of a loose-fitting shirt closed only at the neck that goes over the inside shirt.
Dark-coloured, and worn with a silk scarf, generally yellow.
Topped by a black felt hat.
All these dresses were worn with handmade pita-fibre espadrilles.
The most common colours for men were red and white.
Women put much more imagination into the colouring of their clothing.
The jewels merit special mention.
S"emprendada, a set of gold, silver and coral jewels, has an artistic and historical value much greater than their economic value.
And we could not finish without mentioning the importance that dance, music and dress play within our culture and as an extremely relevant part of our entity.