I thought I'd saved a fairly recent discussion on 'transgressive contras'...there was one posting that had a link to a video of 2 contra lines where the 1's bounced back and forth from line to line in subsequent verses. Could some kind soul who did save that please email me the link and any relevant discussion they saved at catherineaura(a)yahoo.com. Sadly I do not know how to access any archives...tried googling 'transgressive contra shared weight' and just brought up a long discussion from 2006
Many thanks!
At the Ralph Page Dance Legacy Weekend (RPDLW) in January, Carol Ormand
called a fun & silly little dance that I liked: Monkey in the Middle. I
think there were 4 couples plus 1 extra person ("the monkey"). I don't
think that the 2015 RPDLW syllabus is available yet online. Would anyone
have instructions they're willing to share? Val Medve, Essex, Vermont (
val.medve(a)gmail.com)
--
My new email address is val.medve(a)gmail.com
Hi Ron,
I don't know of any dances with a Rory O'More figure and a box circulate in
the same dance, but if you're looking for a Petronella figure and a Rory
O'More figure in the same dance, check "Wave-Particle Duality" by Ryan
Smith: http://www.twirlyshirts.com/dances/by-ryan/wave-particle-duality/.
Dugan Murphy
dugan(a)duganmurphy.com
> Date: Mon, 30 Mar 2015 13:44:18 -0400
> From: Ron Blechner via Callers <callers(a)lists.sharedweight.net>
> To: callers(a)lists.sharedweight.net
> Subject: [Callers] Rory slides and Box circulates
> Message-ID:
> <
> CALf+g+5B02YzKizDh1E-YMoJx-n1V9sgjsR4rqxDjuwOy3JecA(a)mail.gmail.com>
> Content-Type: text/plain; charset="utf-8"
>
> Long wave Rory O'Moore balance and slides/spins and box circulates ... in
> the same dance, adjacent to one another?
>
> I've not yet seen or danced any. Anyone have?
>
> I have a few dances; trying one or two this week.
>
> In dance,
> Ron Blechner
>
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Hive mind,
I've been calling this dance but don't know its name or author. Do
you? The link is to the YouTube video where I found it.
Improper contra
A1 Ring of 4 balance, gents roll away
Ladies chain
A2 Ladies gypsy once
Partner swing
B1 Circle left 3/4
Balance, Petronella
B2 Balance, Petronella
Balance, California twirl
https://m.youtube.com/watch?v=MiY4bThBhnE
-Amy
Dear Contra friends,
With the help of a number of contributors I believe I finally have a good accounting of the origins of the now rapidly spreading “Contra Dance Birthday Round”. You can read all I’ve put together here on the Downtown Amherst Contra Dance website, with more details, links to recordings and sheet music:
http://www.amherstcontra.org/Amherst_Contradance/Birthday_Song.html
We’ve known for a long time that the song was composed in the 1950s or early 60s by Dorothy Dushkin, co-founder of the Kinhaven Music School & Camp in Weston, Vermont, but the origins of the tune have remained a mystery until recently. Some years ago, long-time contra dance caller Ralph Sweet came across an out-of-print Girl Scout songbook at a flea market, and in it he recognized a song that had the same melody as the birthday round. He bought the book, took it home and then, misplaced it for a time.
In today’s mail, I received from Ralph a photocopy from that book with the song “Whene’er You Make a Promise”, written in 1828 by English composer William Shield, who also composed the tune to “Auld Lang Syne” (to lyrics from Robert Burns). The original lyrics are lovely and may also be familiar to anyone who was in the Girl Scouts or Girl Guides, this apparently having been sung as a campfire song for generations.
When e're you make a promise,
Consider well its importance
And...when...made,
Engrave it upon your heart.
Enjoy!
Will Loving
Northampton, Massachusetts
USA
Hi.
I'm new to the list, not a caller yet, but wanting to learn more about Contra dance and maybe calling.
I've got a friend who is writing a 4x4 contra for me with a Chinese Fan in it. He needs to know how to call the Fan as he can't figure it out from the one video I've found on youtube that has it in it (Three Arches)
www.youtube.com/watch?v=Q8c6Xzn3AyE
Can you tell me how to call a Chinese Fan?
Thanks!
claire
On 5/4/2015 3:00 PM, Chris Page wrote:
> Some of my favourite triplets:
>
> Ted's Triplet #3
> Star Chase (Al Olson, one of the variants with a swing)
> Ted's Triplet #2
> Microchasmic Triplet (Ann Fallon)
> Triplet to Eugene (Mary Devlin)
> Housewarming (Jacob Bloom)
> Proofreader's Triplet (Al Olson)
> Beneficial Triplet (Al Olson)
> TLC Triplet (Me)
> Right and Left Triplet (Me)
> Cinnamon Cruller (Bob Issacs)
> David's Triplet #4 (David Smukler)
>
> Cheers,
> -Chris
Hooray! Sounds like I'll be ready for my next triplet-intensive
evening, and then some.
Thanks, Chris!
Kalia
Clarification: by "transgressive," I mean contras that progress between lines (pass through to a new line) as well as along them.
(Based on a YouTube video, Colin Hume's Kim's Game looks like a 4x4, but contains this "pass through to a new line" concept...)
On Apr 30, 2015, at 8:48 PM, Lindsey Dono via Callers <callers(a)lists.sharedweight.net> wrote:
Hi all,
I'd like to start exploring transgressive contras; care to share dances you've tried and the hall's reaction(s)?
Happy dancing!Lindsey Dono_______________________________________________
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I collected a dance recommended by someone and do not quite understand
part of it. I need a description of what the gents are doing in B2
when they "loop over their left shoulder." Can you 'splain me?
Catch a Falling Star, by Melanie Axel-Lute
A1 Nbr B&S
A2 Cir L 3/4
Ptr sw
B1 LLF&B
Star R (hands across)
B2 Bal star, ladies pull by to trade places while gents loop over
their left shoulder
Star L (hands across)
Thanks!
-Amy
I am hoping someone can help me find a dance I danced in the Late 1990's in San Francisco, (maybe Charlie Fenton was calling.)
It was a 4 facing 4 and I swear that each time through the dance,
my partner and I moved left to the right and back instead of progressing up and down the hall,
while there was a different couple next to us each time, and progressed along the set.
I think it was a double progression dance.
It was like there were half the dancers moving side to side, while the other half were weaving up and down the line.
Bob Fabinski
