Contra Callers

contracallers@lists.sharedweight.net

43 participants
4388 discussions

by Judy Greenhill via Callers

Hi everyone, Thank you for all your suggestions and helpful tips. Just to emphasize-I am BOTH a square dancer AND a contra dancer, but so far only a contra caller. I love both! For different reasons. I've undertaken to call some contras for a local group. Our caller, who has been calling for over 50 years-he started when he was 9 years old-has never called contras and I have challenged him to start. He's accepted that challenge but says he's never called a program he hasn't danced. Since contra dance around here-southern Ontario-pretty much shuts down for the summer I'm filling a gap until the fall. I don't expect to make contra dancers of them, although if some of them get bitten by the bug. Judy --- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus

8 years, 1 month

Does This Sequence Exist?

by Jerome Grisanti via Callers

> > >> I wonder if this sequence has already been written (and titled): Trip to Kentucky Improper contra Jerome Grisanti (unless prior claim exists) A1: Long lines go forward, roll away as you go back (women moving from left to right in front of their neighbors). Men allemande left 1.5. A2: Partner B & S. B1: Right & Left Thru, Ladies chain. B2: Circle RIGHT 1x, Neighbors swing. Thanks, Jerome -- Jerome Grisanti 660-528-0858 http://www.jeromegrisanti.com "Whatever you do, or dream you can, begin it. Boldness has genius and power and magic in it." --Johann Wolfgang von Goethe

8 years, 1 month

has this dance been written?

by Jean Gibson-Gorrindo via Callers

Hi All! I am working on a dance to call for a special occasion. It needs to be “play friendly” - that is, a dance where the figures facilitate partner swapping. Figures I was given to work with are allemandes in the center (either gender role), heys, shadows, petronellas and LLFB next to your partner (not necessarily including all of those figures, of course). I am wondering if this dance has already been written by someone else? Also, those of you who like to play, would this dance work well? Is it too weird to have the full hey cross the phrase? Is it awkward to get into Long Lines from the Hey? I am not sure I love the B1 part. Thanks for your feedback in advance! Jean Gorrindo (as yet untitled) - Becket A1 (8) Ladies allemande R 1 1/2 (8) Neighbor swing A2 (8) Left diagonal chain to Shadow (8) Begin a full hey, Ladies passing R B1 (8) Finish the hey (8) LLFB - on the way back Gent’s role Shadow away with a half-sashay to face Partner B2 (16) Partner B&S - slide left to new Neighbors

8 years, 1 month

Prior? Trip to Santa Fe

by Don Veino via Callers

I came up with this one for a particular gig. Given the simplicity it was probably already written - if so I'd like to give proper credit. Please let me know. Thanks, Don Shortly before calling the Santa Fe NM dance last month I was informed that a group of 20+ international students who’d never done contra were planning on attending (turned out to be ~60% of the attendees at the start). In planning my program I realized the existing mixers in my deck were either too risky for those folks or too simple for the regulars. I wanted something that would build on the sequence of moves introduced in my teaching plan (which factored in language challenge) so I came up with the following. It worked out well with that group. Trip to Santa Fe – Circle Mixer – Don Veino 20170622 *A1* Into the Center and Back Circle Left *A2* Circle Right Partner Dosido (and turn away from P) [so Gents look CW, Ladies CCW] *B1* Neighbor Balance and Swing *B2* (new) Partner Promenade http://veino.com/blog/?p=1722

8 years, 1 month

Positional Calling

by Jeremy Child via Callers

Hi Everyone In the past there has been a lot of discussion on this group about gender free calling, and in particular about the terms used for the two roles. This got me thinking as to whether it would be possible to eliminate the use of role names and call using just positional references. Some significant thought later, I came up with a system that I believe could, in theory, work. This is largely an intellectual exercise rather than a serious suggestion, but I would appreciate any comments / feedback / thoughts / ideas you have. The details are at: http://barndancecaller.net/PositionalCalling.html (There is a link to another document I have written about gender free calling - this is primarily aimed at English Barn Dance / Ceilidh calling.) Jeremy

8 years, 1 month

Traditional Dance and Music Retirement Community in NC

by Bree Kalb via Callers

Hello Everyone, A group of dancers/callers/musicians in the Triangle area of North Carolina are in the midst of exciting plans to create a continuing care retirement community centered around music and dance. We have been meeting with groups of interested people, conducted a market study (with an excellent outcome), started working with a group of consultants who design innovative retirement communities, and have begun fundraising to pay for the design process. So far, we have focused on reaching out to local folks; now we are spreading the word more widely. If you are curious, please visit our website. http://dancingintoretirementnc.org/ Right now, the website is the way we communicate with people out of town, but I'll soon create a Facebook page and then an electronic newsletter. If you are close enough to Durham, NC to attend a 1/2 day informational session, let me know if you would like to be invited. We offer one every few months--the next is August 26. You can write to me directly or leave a message at the website if you want more information or have comments/reactions. Bree Kalb Carrboro, NC

8 years, 1 month

Second call Re: Seeking *lists* of tunes for patter squares

by jim saxe via Callers

Folks, This is a reminder about the query I sent out in May asking for people's lists of recommended tunes for patter squares. If you were thinking of sending me such a list, please do. While I've gotten some responses, the number so far has been disappointingly low. (If anyone knows of some other online forum where it would be appropriate to post this query, perhaps with hope of a higher response rate, please let me know.) At the bottom of this message, I'm including a copy of my original, rather detailed, request. Perhaps that request was so wordy as to put some of you off reading and responding. To summarize the essential points: * Please send (if you feel qualified and inclined to do so) a list of tunes that you would play or recommend for traditional-style western and/or southern square dancing ("patter squares" for short, as distinguished from New- England-style prompted squares or singing squares of any sort). * Please send responses directly to me, <jim.saxe(a)gmail.com>, not to the entire mailing list on which you're receiving this, so that anyone else's responses won't be influenced by yours. I'll eventually send out a summary of the responses. * I'm hoping particularly to hear from people who can come up with a list of ten or more (perhaps many more) tunes without scraping the bottom of their personal barrel. (At risk of belaboring the obvious, I mean ten or more tunes per responder, not as a grand total.) * Please don't send lists (or references to lists) where tunes suitable for patter squares are mixed in with other stuff. * You don't have to educate me about how "it's not just the tune; it's the way it's played." Thanks in advance for any responses. --Jim On May 12, 2017, at 6:24 PM, James Saxe <jim.saxe(a)gmail.com> wrote: > > [I'm sending this query to the trad-dance-callers list, to the > SharedWeight callers' and musicians' forums, and to a number of > individuals. Please send responses directly to me *off-list* > (see Note 1 below). I plan to collect responses for about the > next two months and will summarize results to the lists and to > individual respondents some time in July. Thanks. --Jim] > > Folks, > > As some of you may know, I've worked on and off in fits and starts > for some time at gathering lists of recommended tunes [see Note 2 > below] for (traditional-style) patter squares. [In case you're > wondering what I mean by "(traditional-style) patter squares", see > Note 6 below.] My idea is to compile lists from a wide variety of > sources and to look for tunes mentioned independently by many > different recommenders. So far, I've compiled tune lists from a > few dozen books and albums, and I'm currently adding lists from > a bunch more books, articles, record catalogs, etc. I'm sending > this message because I'd like to supplement all these sources with > lists from current informants, possibly including you. So ... > > * If you are a musician who has substantial experience > playing for (traditional-stye) patter squares and if > you have a list of recommended tunes that you're > willing to share--either an existing set list or a > list you come up with by sitting down and scratching > your head for a while--please send it to me *off-list* > [see Note 1] at > > jim dot saxe at-sign gmail dot com > > * If you are a musician who mostly plays for other things > than patter squares (e.g., contras or New-England-style > squares or concert performances) or even if you're not > a musician, but if you nonethelessAå have accumulated a > list of tunes you particularly like *for patter squares*, > I'd also be interested in hearing from you. > > * I'd also be interested if anyone can supply lists of > tunes played *for patter squares* by players skilled > in the genre who are no longer living (e.g., Ralph > Blizard, Lyman Enloe, Benton Flippen, Bob Holt, Pete > McMahan, Lee Stripling, Joe Thompson, or Melvin Wine, > to name a few). However, see Note 5. > > * If you know other people who might be willing and able > to contribute lists of recommended tunes, please feel > free to pass this request along. (But please try not > to put up my email address in places where spammers > are likely to harvest it. Also, see Note 1. Thanks.) > > Below are some notes clarifying what kind of responses I am > and am not interested in. ***Please read at least Notes 1-3 > before responding.*** > > Note 1: If you got this query via a mailing list, please send > tune lists directly to me and *not* to the entire mailing list. > As stated above, I'm trying to see which tunes get mentioned > *independently* by many recommenders, so I don't want the lists > anyone sends me to be influenced one way or another by whatever > suggestions other people have already sent. If you pass my > request along to some of your friends, I'd prefer that you each > send tune lists just to me rather than discussing tunes among > yourselves first and then sending me a combined list (unless > you and your friends are in the same regular band and such > discussions are how you normally create your set lists). Please > look carefully at the "To:" (and "Cc:") line of any reply and > make sure that that it doesn't include the address of any mailing > list. That would include addresses of the form > > James Saxe via ... <...> > > where <...> is a list address. > > I plan to gather recommendations for the next couple months and > to post a summary some time in July. > > Note 2: Please *don't* explain to me that the suitability of > a tune for a particular kind of dance can depend very strongly > on how it's played. I'm already quite well aware of that. > However, I also think it would be widely agreed that some tunes > lend themselves to being played well for dancing more than > others. (If you strenuously disagree, I will look forward to > your forthcoming album of rip-roaring square dance arrangements > of tunes from the Child ballads and _The Sacred Harp_. Meanwhile, > please don't respond to my query by attempting to un-ask it.) > > After I've settled on a list of frequently-recommended tunes, > a possible follow-on project would be to try to identify one > or more renditions--online and/or on commercial recordings--of > each tune played in a danceable style worthy of study by > musicians learning to play for patter squares. For such a > project, style of playing would of course be a prime concern. > But that's not what I'm working on or asking about right now. > > Note 3: Please *don't* give me lists (or references to lists, > albums, tune books, syllabi, etc) where tunes well suited for > patter squares are mixed with other sorts of tunes without > specific indication of which tunes are which. > > Note 4: I'm not all that interested in recommendations for just > one or a few tunes. If you have substantial experience playing > for patter squares, I'd expect that you can come up with at least > ten tunes that you think are quite suitable, and perhaps you > can come up with many more than that without feeling that you're > starting to scrape the bottom of the barrel. (If you send a long > list, you might want to distinguish which are your favorites and > which are the second-tier or third-tier choices.) > > Note 5: If you send me a list of tunes from the repertoire of > some deceased musician, please tell me something about how you > compiled that list. I'm not merely looking for a list of tunes > played or recorded by, say, late great fiddler Bestus Bowslinger, > but for a list of tunes that Bestus actually played *for patter > squares*. And if you happen to have some tapes of Bestus playing > at actual dances, and if they include 30 different patter-square > tunes, and if you send me the names of the 20 tunes you happen > to recognize, then I'd like to be informed that the your sampling > of Bestus's repertoire has been filtered by the limitations of > what tunes you recognize. > > Note 6: When I say "(traditional-style) patter squares," I mean > to exclude singing squares and squares that are prompted to the > phrase of the music in the New England style (or in the style of > 19th-century quadrilles) and I mean to include the kinds of > squares generally thought of as traditional to the western and/or > southern U.S. I specifically would include visiting couple dances > in this genre, even when the progression is around a big circle > or by a scatter promenade, rather than around a square of four > couples. I'd also include most "transitional" (50's era) western > squares (other than singing calls) as well as more recent > compositions in similar style. I do *not* mean to say that the > dances in question must be called in a style that includes a bunch > of rhyming doggerel ("do-si high, do-si low, chicken in the bread > pan scratchin' out dough") or other extra verbiage. > > Much of the "hoedown"/"patter" music produced in recent decades > for the MWSD market is, IMO, very non-traditional in character > and thus not of interest for purposes of my current inquiry. > (Hint: If a tune isn't found in any tune books, played at any > jam sessions, or recorded on any non-MWSD label, it's not what > I'm after.) > > I'm happy to get recommendations for recently-composed tunes in > traditional style, as well as for genuinely traditional (old) > tunes. I'm also happy to get recommendations for tunes from > "northern" sources that nonetheless have the right feel to work > well for traditional southern/western dances. > > Of course I realize there aren't precisely defined and widely > agreed boundaries between different kinds of square dances or > different styles of calling (prompted vs. patter vs. singing; > phrased vs. unphrased; New-England vs. southern vs. traditional > western vs. ...). Ditto regarding precise definitions of musical > genres. I also realize that a particular choreographic pattern > might be danced to different styles of music and calling, etc. > That said, I still hope that the preceding paragraphs will suffice > to provide an adequate idea of what I'm looking for. > > Thanks in advance to any of you who have tune lists to share. > > Regards, > --Jim >

8 years, 1 month

Re: [Callers] Looking for a particular sort of becket dance

by John Sweeney via Callers

Hi Kalia, I see you have loads of responses already! Here are a few easy ones from my files that I believe meet your criteria: Bases Loaded (by Jim Saxe, Lydee Scudder, and Tom Thoreau) Contra; Becket (CW) Start by turning the circle of four 1/8 AC so that you face another couple on the left diagonal A1: Forward with Partner (3), turn and take Neighbour(1), Back (2), back slowly with a zesty Roll-Away with a Half Sashay (2) Repeat A2: Repeat; Repeat B1: Same four: Ladies Chain x2 (dont worry about lines) B2: Partner Dosido; Partner Swing finish facing new couple on left diagonal There is no Way to Peace; Peace is the Way (by Erik Hoffman) Contra; Becket (CW) Men: Look on your Left Diagonal that is who you link with A1: Ladies Dosido; Partner Swing A2: Men Allemande Left 1 & ½; Neighbour Swing B1: Long Lines Forward & Back Ladies link Right elbows and turn 1 & ½ B2: Ladies pick up Partner in a Star Promenade ¾ Men who are approaching now link Left elbows to Star Promenade Partner ¾ Push off to Butterfly Whirl on own side Note: The second couple with whom you Star Promenade is the couple with whom the dance starts again This dance is easier than it sounds. It has proved good for mixed level dancers because beginners can get into it, and the flow and unique quality of the dance keeps experienced dancers interested. The consecutive star promenades need a bit of space. Fairport Harbour (by Paul Balliet) Contra; Becket CW A1: Men Allemande Left 1 & 1/2; Pick up Neighbour for Grand Promenade (around the whole set neutral couples join in) A2: Ladies Turn Back (Back Track/Cast) & Gypsy Meltdown with the Man behind finish facing back B1: Grand Promenade back until Partner is opposite (if you are with your partner then you are a neutral couple at the end) Ladies Chain to your partner B2: Pass Through across the set; Partner Swing Balance the Star #2 (by McLain Family) Sicilian Circle/Becket-CW Start holding hands across in Right-Hand Star A1: Balance In and Out x2; Star Right A2: Balance In and Out x2; Star Left B1: Ladies Dosido; Men Dosido B2: Circle Left; Slide Left to a New Couple (time for clogging!) Fruit Punch (by Diane Silver (?)) Contra; Becket A1: Yearn to New Neighbors on the Left Diagonal; Fall Back Ladies Allemande Right 1 & 1/2 A2: Neighbour Balance & Swing B1: Balance the Ring; Pass the Ocean Balance the Wave (R/L); Swing Through B2: Partner Balance & Swing Finding Your Balance (by John Sweeney) - intended for teaching purposes to get people around four changes of right and lefts with plenty of time Contra; Becket A1/A2: Four Changes with Balances - Start Right with Neighbour B1: Balance the Ring; Men Cross Balance the Ring; Ladies Cross B2: Half Promenade (OR R & L Through) Yearn on the Left Diagonal to New Neighbours Grapevine Jig (by John Sweeney, based on Don Armstrong & Mick Peat) Contra; Becket Hold hands in Long Lines A1: Grapevine: (R to side, L behind, R to side, L kick) x4 A2: Long Lines Go Forward & Back with a bow Ladies Chain B1: Circle Left; Star Right* Men Drop Out B2: Ladies Chain to Partner; Yearn on the Left Diagonal * Make it easier with a Circle Right I hope you find something useful there. Happy dancing, John John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 http://www.contrafusion.co.uk for Dancing in Kent

8 years, 1 month

Having a hard time trying to respond

by Jim Williams via Callers

Hi, Let me try again ... Coal Country Contra by Ron Buchanan Women pull across by Rh, neighbor by L 1.5, men Alm R 1.5 Partner balance and swing R&L thru, partner rollaway out of courtesy turn (W rollsL), Men Dosado (and stand still back in place) Women Dosado and walk behind Ptr from his L side to his R side (progression), lines Fwd and back and adjust to next cpl across (CCW progression) Jim Williams Lawrence, KS Each Day Is a Gift, it's called the present

8 years, 1 month

2017 Pourparler Gathering

by J L Korr via Callers

On behalf of the Pourparler steering committee, I encourage Sharedweight's callers to consider attending the 20th annual Pourparler gathering. Pourparler is sponsored by the National Folk Organization (NFO) with additional support from the Country Dance & Song Society (CDSS) and New England Dancing Masters (NEDM). From the Pourparler website: The name Pourparler comes from the French word “to speak,” and connotes a get-together, a chat. Since its inception in 1997, Pourparler has taken place in Illinois, Utah, California, Massachusetts, Oregon, Texas, Washington State, Vermont, West Virginia, and Wisconsin, among other states; and counts many Sharedweighters among its veterans. It moves around the country every year. This year's edition will be September 14-17 in Galesville, Maryland, hosted by the fabulous Mid-Atlantic team of Ann Fallon, Busy Graham, DeLaura Padovan, Eric Maring, Janine Smith, and Kappy Laning. The event's program is coordinated by the national steering committee of Sanna Longden (IL), Margaret Bary (NY), Karlene Kjersten (UT), Mady Newfield (IL), and Jeremy Korr (CA). You'll find lots more information, including registration information, at Pourparler's website: http://www.nfo-usa.org/pourparler.htm. Here is a brief description pulled from the website: "If you want to meet and enjoy wonderful callers, teachers, and dance and music enthusiasts while singing, dancing, sharing teaching techniques, discussing important dance or music-related issues, and creating enduring friendships, you should register NOW for Pourparler. This is one of the best community dance experiences in the United States! It is warm, lively, and supportive, and you will dance and sing your way home with more new material that you thought one weekend could possibly produce! Pourparler is a yearly gathering of dance and music educators from North America who are dedicated to teaching folk/ethnic/world/traditional dance in schools and/or community events. The brainchild of Sanna Longden, internationally respected dance educator from Evanston, Illinois, this weekend is a unique blend of dance sharing, discussion and networking. Experts in the field, teachers and musicians known across the continent, join with relative newcomers to share their best dances and tips for successful school residencies, family dances and other events that build community through cross-cultural dancing. Pourparler is gathering of colleagues, where we are all leaders and participants, and there are no hired “experts.” The content each year is different, reflecting the needs and skills of the people who attend. In the past we have learned dances from many traditions including Balkan, Scandinavian, Israeli, French, square dancing, contra dancing, Maypoles, old-time couple dancing, singing games, and many others. We discuss teaching techniques, repertoire, costuming, music, school curricula and self-employment." Jeremy Korr jeremykorr(a)hotmail.com

8 years, 1 month

Jump to page:

2025

2024

2023

2022

2021

2020

2019

2018

2017

2016

2015

2014

2013

2012

2011

2010

2009

2008

2007

2006

2005

2004

Contra Callers