I have sent the list of easy dances I have collected to he 23 people who requested such.
If you have not received it by Monday, email me.
Make sure to check your trash ans spam folders, in case it ended up there.
Michael Fuerst 802 N Broadway Urbana IL 61801 217-239-5844
I'd like the list of easy dances also. I somehow missed the earlier post.
On 8/26/2013 12:00 PM, callers-request(a)sharedweight.net wrote:
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> 1. Easy dance List (Michael Fuerst)
> 2. Re: Easy dance List (Rickey Holt)
> 3. Re: Easy dance List (Greg McKenzie)
> 4. Re: Easy dance List (Andrea Nettleton)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Sun, 25 Aug 2013 16:58:05 -0700 (PDT)
> From: Michael Fuerst <mjerryfuerst(a)yahoo.com>
> To: "callers(a)sharedweight.net" <callers(a)sharedweight.net>
> Subject: [Callers] Easy dance List
> Message-ID:
> <1377475085.77988.YahooMailNeo(a)web122201.mail.ne1.yahoo.com>
> Content-Type: text/plain; charset=iso-8859-1
>
> I have sent the list of easy dances I have collected to he 23 people who requested such.
> If you have not received it by Monday, email me.
> Make sure to check your trash ans spam folders, in case it ended up there.
> ?
> Michael Fuerst ? ? ?802 N Broadway ? ? ?Urbana IL 61801?????? 217-239-5844
>
> ------------------------------
>
> Message: 2
> Date: Sun, 25 Aug 2013 20:27:06 -0400
> From: "Rickey Holt" <holt.e(a)comcast.net>
> To: "'Michael Fuerst'" <mjerryfuerst(a)yahoo.com>, "'Caller's discussion
> list'" <callers(a)sharedweight.net>
> Subject: Re: [Callers] Easy dance List
> Message-ID: <001b01cea1f2$ff075030$fd15f090$(a)comcast.net>
> Content-Type: text/plain; charset="iso-8859-1"
>
> Can I still request a copy as well? That would be very helpful as I call to
> many who would enjoy them.
> Rickey Holt
>
> -----Original Message-----
> From: callers-bounces(a)sharedweight.net
> [mailto:callers-bounces@sharedweight.net] On Behalf Of Michael Fuerst
> Sent: Sunday, August 25, 2013 7:58 PM
> To: callers(a)sharedweight.net
> Subject: [Callers] Easy dance List
>
> I have sent the list of easy dances I have collected to he 23 people who
> requested such.
> If you have not received it by Monday, email me.
> Make sure to check your trash ans spam folders, in case it ended up there.
> ?
> Michael Fuerst ? ? ?802 N Broadway ? ? ?Urbana IL 61801?????? 217-239-5844
> _______________________________________________
> Callers mailing list
> Callers(a)sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>
>
>
> ------------------------------
>
> Message: 3
> Date: Mon, 26 Aug 2013 08:13:23 -0700
> From: Greg McKenzie <grekenzie(a)gmail.com>
> To: Michael Fuerst <mjerryfuerst(a)yahoo.com>, "Caller's discussion
> list" <callers(a)sharedweight.net>
> Subject: Re: [Callers] Easy dance List
> Message-ID:
> <CAFqkWLssXMMbuSZLoj_cNghHsj5_icmdTWMqWAfQeSZ3WuJdPA(a)mail.gmail.com>
> Content-Type: text/plain; charset=UTF-8
>
> On Sun, Aug 25, 2013 at 4:58 PM, Michael Fuerst <mjerryfuerst(a)yahoo.com>wrote:
>
>> I have sent the list of easy dances I have collected to he 23 people who
>> requested such.
>> If you have not received it by Monday, email me.
>> Make sure to check your trash ans spam folders, in case it ended up there.
>>
>> Michael Fuerst 802 N Broadway Urbana IL 61801 217-239-5844
>> _______________________________________________
>> Callers mailing list
>> Callers(a)sharedweight.net
>> http://www.sharedweight.net/mailman/listinfo/callers
>>
>
> ------------------------------
>
> Message: 4
> Date: Mon, 26 Aug 2013 11:32:09 -0400
> From: Andrea Nettleton <twirly-girl(a)bellsouth.net>
> To: Caller's discussion list <callers(a)sharedweight.net>
> Subject: Re: [Callers] Easy dance List
> Message-ID: <DB8BE1B4-7F59-40A4-B28D-03BF5B034331(a)bellsouth.net>
> Content-Type: text/plain; charset=us-ascii
>
> I missed the posts regarding this list of dances, therefore did not request it. I'd like the list if possible. Wondering why you chose to send it by request only instead of putting it on the list, where presumably only the interested parties old bother downloading it.
> Andrea
>
> Sent from my iPad
>
> On Aug 26, 2013, at 11:13 AM, Greg McKenzie <grekenzie(a)gmail.com> wrote:
>
>> On Sun, Aug 25, 2013 at 4:58 PM, Michael Fuerst <mjerryfuerst(a)yahoo.com>wrote:
>>
>>> I have sent the list of easy dances I have collected to he 23 people who
>>> requested such.
>>> If you have not received it by Monday, email me.
>>> Make sure to check your trash ans spam folders, in case it ended up there.
>>>
>>> Michael Fuerst 802 N Broadway Urbana IL 61801 217-239-5844
>>> _______________________________________________
>>> Callers mailing list
>>> Callers(a)sharedweight.net
>>> http://www.sharedweight.net/mailman/listinfo/callers
>>>
>> _______________________________________________
>> Callers mailing list
>> Callers(a)sharedweight.net
>> http://www.sharedweight.net/mailman/listinfo/callers
>
> ------------------------------
>
> _______________________________________________
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>
> End of Callers Digest, Vol 108, Issue 19
> ****************************************
Thanks everyone, particularly Chris and Jim! Very helpful.
So far almost everything in my original email has been positively
identified. Most of them were scribbled down on scraps of paper years ago,
and in some cases I introduced additional errors when I transferred them to
my notation system of the time. With the titles on hand and your help I've
been able to fix everything and now have a bunch more good and usable
dances.
All that remains are the last two (which I am about 80% certain I wrote)
and the dance with circles of three, which I nicknamed Hawaii Three-O a
long time ago. People are suggesting Christmas Hornpipe as the source, but
Don Armstrong's Raccoon Ramble (not Old Raccoon as previously stated) is a
much closer match than the Ralph Page or traditional versions. I don't
have a copy of the Ted Sannella/Tony Saletan variant to compare.
I have about four or five more dances which have popped up without titles
and/or authors; I'll get them typed up later tonight, and that should bring
me into compliance with all International Standards of Contra Dance
Choreographer Recognition.
Cheers, and many thanks to all!
Neal
Tucson, AZ
--
The third-rate mind is only happy when thinking with the majority. The
second-rate mind is only happy when thinking with the minority. The
first rate mind is only happy when thinking.
Hi everyone,I'm hoping that some of you will be able and willing to help me identify a few dances; I'm new on this list although I've been calling for a while.
My wife and I moved to Tucson for her job, and I've been getting more gigs here than I did in Colorado. I left all of my dance books up there, but went back and brought down all my old notes and have been typing them up and putting them in order. Unfortunately, I've got a bunch of contras that I have incomplete/incorrect information on and I'd like to know the proper titles, sequences, and authors. There are even a few which I may have written years ago myself, but it isn't indicated on the bits of scrap paper.
Any help that anyone can provide would be fantastic!
This first bunch all came from the 2000 Pinewoods American Dance Week and Caller's Course, and were all written by other people:
Unknown
(from my notes: Called by Larry Edelman at Pinewoods 2000)
A1: Dosado below to an ocean wave (8) and balance (4). Turn 1/2 right and 1/2 left (4)
A2: Balance (4), 1/2 hey (8), Balance again (4)
B1: 1/2 hey again (8), Partner Swing (8)
B2: Right and left thru and ladies chain (16)
***Timing seems strange in A2
Unknown Duple Improper
(called by Larry Edelman, Pinewoods 2000)
A1: Balance and swing below
A2: Circle once around; Ladies chain across
B1: Ladies dosado; Partner swing
B2: Circle 3/4, Pass thru and dosado
Unknown ???
(Pinewoods, 2000)
A1:Partner balance and box the gnat, right and left thru** (Not with neighbor)(????)
A2: Courtesy turn to long waves and balance, allemande right
B1: Opposite Swing, circle 3/4
B2: Ladies chain; long lines forward and back
(***This is how the dance is written in my notes. However, as far as I can tell, it doesn't work in Beckett or Duple improper. Looking at it, I think it must be right and left thru with new neighbor and allemande right outside of the minor set with prior neighbor, but then the dance doesn't progress without at least one more change. Making B2 a partner swing and ladies chain does work.)
Unknown Beckett
(Pinewoods, 2000)
A1: Circle 3/4 and allemande right once and a half below
A2: 1/2 hey by left (gents lead), opposite swing (end facing across)
B1: Long lines up and back, men dosado once and a half
B2: Find partner and swing; look to the left and circle 3/4
Unknown Duple Improper
(Pinewoods 2000, called by Beverly Smith)
A1: Balance and swing the person behind you
A2: Lines forward and back, actives swing and face down.
B1: Star left with original neighbor and circle left
B2: Weave the line (veer left, right, right, left) and dosado the next (perhaps as a couple?)
Unknown Becket
(Pinewoods 2000)
A1: Circle 3/4 and neighbor swing
A2: CIrcle 3/4 and pass thru, trail buddy Allemande left
B1: with partner, allemande right 3/4; ladies pass left for full hey
B2: (should be finishing hey); Partner Balance and swing (???)
****Seems to have no progression.
Unknown Beckett
(Pinewoods 2000, called by Beverly Smith)
A1: Ladies turn right 1/2, turn opposite left 1 1/2, men turn right 1/2
A2: Partner balance and swing
B1: Slant left and right and left thru with a roll away; men dosado
B2: Ladies pull by right, left shoulder seesaw partner to place. Long lines go forward and back
The next two I picked up in Hawai'i years ago at a dance I happened to stop at:
Unknown Duple Improper
A1: 1's balance and circle with #2 lady
A2: 1's balance and circle with #2 man
B1: Down the hall four in line, U-turn and come back
B2: Bend the line and forward and back, #2s swing in the center
***This is similar to Old Raccoon with the 3-preson circles, but the B part is entirely different.
Unknown Duple Improper
A1: Circle 3/4 and pass thru; partner dosado on the side
A2: Partner gypsy to a swing
B1: Ladies lead hey for 4
B2: Partner allemande left and ladies chain across
The next two I think I may have written a long time ago because they're a bit unusual musically and seem like something I would have come up with when I first started calling; if someone recognizes them I'd appreciate the correction!
Unknown Beckett
(Possibly by Neal Schlein?)
A1: Star Left full, ladies turn back and partner swing
A2: Ladies allemande right 1 1/2 and opposite swing
B1: Men lead left hey
B2: Men allemande left 1 and 1/2, partner promenade 1/2 across and up/down to the next
Unknown Beckett
(Possibly by Neal Schlein?)
A1: on Right diagonal, right and left thru; straight across circle 3/4
A2: Allemande right neighbor full (x1 or x2) to short waves; balance right and left and spin right
B1: Balance left and right and spin left to neighbor swing
B2: Men allemande left 1 and 1/2 to partner swing
Again, many thanks in advance!
Neal Schlein
Calling has sometimes been compared with conducting an orchestra. The
metaphor certainly does have resonance. This link is to a 23 minute TED
talk by conductor Itay Talgam about the leadership of some of the greatest
conductors. It's the best talk I've seen on leadership.
I recommend streaming this from the YouTube link below (rather than the TED
website) to get the best synch for watching the conductor clips he shows.
For the same reason I recommend watching it during off-peak hours on your
broadband network.
http://www.youtube.com/watch?v=R9g3Q-qvtss
Comments?
Greg McKenzie
West Coast, USA
In the discussion about lessons for beginners, a few people correctly said
that it is often the case that a bus load of beginners will arrive, not a
half hour before the dance begins, but instead an hour after the dance has
started.
It has been my impression that most of the best callers can handle this
situation well. They bring the new dancers into the dance, and everyone
still has fun doing it. Although the skills of the caller are important,
the dance community must also help.
How do you, as a caller, handle this, and what does the dance community
(the experienced dancers) need to do to make it work?
Kalia,
My apologies. The ideas I am trying to put into words are rather
unconventional among callers. The models we commonly use to frame our
experience as callers sometimes do not fit. I am looking for a different
paradigm. These are all good questions and they inspire me to do better.
Thank you for your comments. This helps.
I am addressing the calling situation at a regular, open public contra
dance series where typically there is a significant portion of the hall
made up of regular attendees as well as a significant segment of dancers
attending for the first time who have no exposure to the tradition of
contra dance. One night stands, camps, most festivals, and other events
not designed for or promoted to the general public are a different
situation and I see the caller's job as significantly different in those
circumstances.
Kalia asked:
> Greg, if there are two experienced dancers who just happen to want to
> dance together, do you go up to them and make them dance with someone else?
>
No. I have never done that. For me that would be too heavy-handed. One
"rule" I use to keep myself focused is: "Never indicate by word, deed, or
implication that anyone in the hall might be behaving poorly or that anyone
in the hall is not capable of dancing well." To intervene in the
partnering process would be an expression of my lack of confidence in the
partnering decisions of some individuals on the floor. My approach is to
foster and lead rather than to direct and correct.
As the caller I see it as my job to make sure that dancing with
first-timers is fun, easy, and exciting. Through my actions, and
non-actions, I work to send clear signals that all of the regulars have the
option of being part of the excitement and fun of sharing their passion for
contras with first-timers. If I ever did address dancers individually on
the floor it would be with an apologetic tone and, of course, off mike.
The majority will pick up on the situation and my signals, but there will
always be some who have other priorities. There are typically plenty of
well-qualified regulars who can partner with first-timers and we don't need
the full-time support of all of the regulars in every dance slot. There is
plenty of room for other agendas.
>From the stage, how can you tell that all of the new dancers are
> "correctly" paired off.
>
I can get a pretty good idea of how well the first-timers are integrated
into the hall by how the walk-through goes, but the regulars know exactly
who needs a more experienced partner. My job is to make it clear that this
will be an enjoyable role and that the I will make sure that everyone will
succeed. My experience is that folks look forward to leading newcomers--if
they are given all the information they need, exactly when they need it.
What about the new folks who get scooped up by the not-so-experienced
> experienced dancer, over and over?
>
Anyone who has danced one night is qualified to partner with first-timers.
That's the beauty of contras. After the last note of a dance slot I always
ask folks to find a *new *partner. Yes. When it's fun, some regulars will
dance almost exclusively with newcomers. This will be obvious to some of
the other regulars and they have the option of intervening quickly and
effectively--by asking a first-timer to dance.
In a "wonderful dance community" the responsible regulars will want to step
up and make sure the first-timers have a more balanced experience. My
efforts are to project my confidence, as the caller, in the dancers--not
only in their ability to dance well, but also in their ability to lead
newcomers through the moves and to make those folks feel welcomed and
confident. I let the dancers know that I believe in their ability to do
that.
How about when the experienced dancers are outnumbered by new dancers?
>
Since anyone with one night of experience can partner with a first-timer
then the above situation is unlikely at an open, public contra dance. If
the "busload of chattering first-timers" arrives an hour late I would
adjust my program and treat it more like a one night stand. This has not
yet happened to me.
But I would still conduct myself as the leader of a team rather than as a
single teacher on stage. I would regard all of the regulars as leaders in
their own right and use that considerable experience to address the
situation, even if there are only a handful of them in the room.
At what point in the evening can folks just dance with whoever they want to
> dance with?
>
Folks are free at any time to dance with whomever they want to. I never
directly ask the regulars to partner with first-timers. Before the first
dance I urge the first-timers to "find someone who has danced at least one
night. I feel that--if I am doing a good job as caller--there will be
plenty of folks who want to partner with first-timers. Some will do it out
of a sense of "duty" but others realize that it will be more fun for them
and everyone else if they do so. (Dancing with your favorite partner in a
set that keeps breaking down is probably less fun than dancing in a working
set with a happy newcomer. Contras are structured to embody the idea that
"we are all in this together.")
When they arrive at the hall about half of the first-time contra dancers
are already dancing regularly at some other type of dance event. Others
may have previous dance training. The "first-time dancer of any kind" is
rare, so there is almost always considerable dance experience in the hall
to help the caller. (See "Dance Habits of Contra Dance
Attendees<http://santacruzdance.org/drupal/node/114>"
at: <http://santacruzdance.org/drupal/node/114>)
I suspect that after dancing the first two or three contras of an evening
at least half of the "first-timers" will have "gotten" enough of the lingo
and concepts to, potentially, partner with the remaining first-timers.
Most of them may not realize this but some of them probably will.
I appreciate your concept but it seems to be leaving the real world out of
> the equation.
Well, I have not invoked the "R-word" here. Almost all of what we post
here is personal opinion based upon our personal experience. That
experience varies for each of us depending on a lot of factors.
In short, the "reality" of what people do at our dances and what the
caller's role is at these events varies with what frame is active in the
brain of the person making the comment.
In my own "real world" a big part of the caller's job is to be a leader.
"Leadership" implies movement from one place, or state, to another (so that
others can "follow.") And leadership also implies that the caller's job
involves changing the "reality" of what is happening in the room. Great
callers take a room full of people--many who don't know each other, and
some who may not even *like *each other--and transform it into a magical,
joyful, and transformational event where extraordinary connections between
people are possible.
To do that we need a capable group of musicians, managers, and regular
attendees who are passionate about making this tradition work. It has
always been a team effort, in most forms of dance. And all dance
instructors use the experience of those in the room to help. It is a
collaborative learning experience.
I see open, public contra dances as particularly adaptable to collaborative
learning and I feel that this approach could be employed much more
effectively by many contra dance callers. Rather than talking about how
the "real world" limits what we can accomplish as a community I would
rather talk about how we, as a community, can alter that world. That is
what leaders have always done. That's why I started calling contras.
I'm not saying this is easy. I see the open, public contra dances as the
most challenging type of gig for a caller. What works for me is to be very
precise and clear in my calls and to structure the calls using the most
effective word order so that all of the dancers hear the instruction
precisely when they need the information. That builds the confidence of
all of the dancers and makes the regulars more comfortable with partnering
with first-timers. I am also very strategic in my programming and in all
of my behaviors at the mike so that my nonverbal behavior is consistent
with my words and goals.
I think what it comes down to is that the caller needs to let the dancers
know that she believes in them. That she believes not only in their
ability to dance well but also in their ability to lead others and to make
them feel welcomed. The caller does this, not only by modeling such
behavior at the mike, but also by creating a space in which the regulars
can "take the lead" and by giving the regulars all of the information that
they need to succeed.
The caller creates this "leadership space" to a great extent by what she
does NOT do. When the caller, for example, says "Please find someone who
has danced contras at least one night and form three contra dance lines,"
she does NOT tell the dancers how to line up. She does NOT tell them to
"join at the bottom of the set with the lady on the right facing the
stage." She assumes that the regulars are taking care of that
situation. Instead
of giving long explanations at the mike the caller simply says the *name *of
the figure and allows the regulars to lead.
This traditional collaborative approach is very fast, effective, and fun.
It doesn't work as well at some other types of events. But when you have a
base of regulars in the room it seems like a shame not to use it. Others
do it very differently. And many other callers have different goals than I
do.
Thanks for reading.
- Greg McKenzie
West Coast, USA
Hello,
I'm a new caller and have been noticing recently at some dances that the crowd is quite chatty and noisy and it can take a long time to get them to settle down and listen to the walk through. And then even during the walk-through the noise level rises again so that some people in the hall can't hear the walk through. I'll be calling my first full evening next month at a venue that is known for the chattiness of the dancers. I want people to be able to socialize but I also want dancers to be able to hear the entire walkthrough. Can you give me some tips on how to balance socializing (i.e. how to judge when to start) and ways to regain their attention mid-walk through without sounding like a schoolmarm or raising my voice? Thanks much!
Jacqui
based on the list below it appears that the Knoxville Tn group does not have a workshop, but that is incorrect. We are a smaller group and do not always have newcomers at our dance. Correction: we usually have a few new dancers but frequently they show up later in the evening. If there are no new dancers there before the dance begins, we do not hold the workshop.
>
>
> Message: 2
> Date: Wed, 14 Aug 2013 13:11:13 -0400
> From: Jeff Kaufman <jeff(a)alum.swarthmore.edu>
> To: "Caller's discussion list" <callers(a)sharedweight.net>
> Subject: Re: [Callers] Glen Echo FND beginner lesson plan
> Message-ID:
> <CAK36jCN1aX=R7yCJVDnR0+b0jM_DSCe5a7_Z8z=XMODrjz4hVg(a)mail.gmail.com>
> Content-Type: text/plain; charset=UTF-8
>
> The regular evening dances we've played, with workshop status:
>
> Amherst MA: workshop
> Grey Eagle, Asheville NC: no workshop
> BIDA in Cambridge MA: workshop
> Baltimore MD: no workshop
> Belfast ME: workshop
> Brooklyn NY: workshop
> Charlestown MA: no workshop
> Charlotte NC: workshop
> Charlottesville VA: workshop
> Clemmons/Winston-Salem NC: workshop
> Concord MA: no workshop
> Concord NH: no workshop
> Cotuit MA: no workshop
> Deerfield NH: no workshop
> East Sandwich MA: no workshop
> Enfield CT: no workshop
> Glen Echo Friday: workshop
> Glen Echo Sunday: no workshop
> Greenfield MA: no workshop
> Ithaca NY: no workshop
> Jamaica Plain MA: no workshop
> Kingston NH: no workshop
> Knoxville TN: no workshop
> MIT, Cambridge MA: no workshop
> Medway MA, no workshop
> Montpelier VT: workshop
> Mystic CT: no workshop
> New Haven CT: workshop
> CDNY, NYC: workshop
> Northboro MA: no workshop
> Rochester NY: workshop
> Syracuse NY: no workshop
> Worcester MA: workshop
>
> I might be misremembering some, but I've tried to check with their
> website where I could. About 39% had workshops.
>
> On Wed, Aug 14, 2013 at 12:14 PM, Greg McKenzie <grekenzie(a)gmail.com> wrote:
>> Jeff wrote:
>>
>>> I think the fraction of dances with a beginners workshop is more like 30%.
>>>
>>> (With the Free Raisins I notice when there are workshops because while
>>> we're not generally asked to play for a workshop we do need to be
>>> quiet and stop soundchecking. We've played dances at about 45
>>> different dance series, and think about 15 had workshops.)
>>>
>>
>> Keep in mind that some venues have the option of holding a newcomer's
>> orientation in a separate room. You may not have been aware of it.
>> Nevertheless this does sound encouraging. I would love to see some harder
>> numbers regarding dance series with no orientation session for newcomers.
>> That would be helpful.
>>
>> In what geographical area do the "Free Raisins" play?
>>
>> - Greg McKenzie
>> West Coast, USA
>> _______________________________________________
>> Callers mailing list
>> Callers(a)sharedweight.net
>> http://www.sharedweight.net/mailman/listinfo/
