Contra Callers

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12 participants
4406 discussions

by Richard Green via Callers

Hello fellow callers! I am preparing a very short program of advanced or challenging contras which I will be leading at the Down East Festival next week. This will be one of many festival offerings during the weekend of March 24-25. I have done a challenging session at several past festivals and have a small collection of dances that I think are both moderately challenging and fun to dance. (I also have a few that I will never call again!) I have not added to my list for quite a while and would appreciate any suggestions that any of you would be kind enough to share. I will not be doing any other formations than duple or becket dances, although I understand that there are many other fun formations. If you could include the complete choreography and any teaching or other tips that would be very helpful. I always credit the dance authors, so please include that information as well. Thanks so much! This list is a great resource to have. Richard Green Wayne, Maine

8 years, 7 months

Modern Western Square Dance for Contra Dancers

by Andy Shore via Callers

I realize this post qualifies as both shameless self-promotion, as well as possible improper use of this list for (somewhat) commercial purposes, but I do think this topic may be of particular interest to contra and trad callers and choreographers. Scold me if you must. I'll be teaching a special weeklong workshop at CDSS American Dance and Music Week at Pinewoods (Plymouth, MA) August 8-15, 2017 titled "Modern Western Square Dance for Contra Dancers". This course is an intensive “blitz” exposure to Modern Western Square Dancing (MWSD) for experienced contra dancers, traditional square dancers, and contra or trad callers. If you enjoy learning new choreography and the unexpected delights of no-walk-thru contra medleys, this is for you. Starting with the 25 or so contra calls that are shared with Modern Western squares, we will explore much of the CALLERLAB Basic, Mainstream, and Plus lists. New calls will be taught and workshopped, but you’ll get plenty of time to “just dance” and enjoy what you have already learned in both patter and singing call contexts. The pace of the course will be determined by the students’ ability to assimilate the material, but the goal will be that you can dance most Mainstream calls smoothly at speed. We will cover several of the more popular Plus calls as well. Expect to be challenged and have lots of fun! Modern Western uses recorded music of various genres; the patter music is designed to get you moving at a continuous flow and the singing call music allows for a change of pace. The class time will be divided into an all morning workshop session where we will learn new figures, then a late afternoon practice and review session. You will have the middle of the day to relax or enjoy other workshops at American Week. More details at the CDSS site: http://www.cdss.org/programs/dance-music-song-camps/camp-weeks/mwsd This class may be of particular interest to contra and trad callers and choreographers. Many MWSD moves have been "borrowed" into contra and several contra choreographers who have had experience with MWSD have written dances that have components inspired by MWSD moves. (Carol Ormand, Bob Isaacs, and Chris Page to name a few.) Some of the moves that come from MWSD are: box circulate, pass the ocean, square thru, star thru, California twirl, hinge... If you'd like to stir your creative juices, or just learn a bit more about some of the calls and their applications, this is a great way to do so. Learning about the added rigor of MWSD may improve your own teaching and presentation skills, as well as give you new insights into contra and trad choreography. Space in this class is limited. Registration is currently open. my site: http://site.andyshore.com/ I taught a similar weekend workshop in Durham NC in 2011 with many contra & trad callers in attendance. Here is my "trip report" (on facebook) from that weekend https://www.facebook.com/notes/andy-shore/trip-report-mwsd-for-contra-folks… Questions or comments - my best contact email is andyshore(a)gmail.com Thanks, /Andy Shore

8 years, 7 months

Another dance-check zig-zag R dance

by Ron Blechner via Callers

So, this is a cross between Jeff Spero's Kiss the Bride and Rick Mohr's Rockin' Robin: Duple Imp. A1. N DSD (6) NS (10) A2. R+L Thru (8) (across) Gents Alle L 1.5x (8) B1. P Meltdown Swing (16)* B2. Circle R 1.25x (10) Zig R, Zag L (6) (to next Ns) I was futzing with Kiss the Bride and this came out. I'd like to give credit if it's been written, or pick a name if not. In dance, Ron Blechner

8 years, 7 months

Rotation shifts (was: Another dance-check zig-zag R dance)

by Ron Blechner via Callers

As long as you're opening this line of thought, here's some more thoughts: Should we thus also say that every circle L / star R to circle R / star L transition has equally no place in contra? Because that's even more of a pronounced shift in rotational direction. (To be clear: with same neighbors, not as a transition.) I can imagine a counter-point would be noting that the swing is unique because it's a tighter rotation, and so it's not the same as stars/circles. But then how do we explain the frequency of dances with swing to ladies allemande right / ladies pass right to start a hey? It's absolutely ladies going from clockwise swing rotation to moving the opposite direction. Or how about some other frequently used transitions (from most frequent)?: Chain / R+L Thru to circle left. (Common, and a change in vector for both roles) Chain/star promenade to Face Next neighbor, DSD/"Gypsy"/Allemandes R with that new neighbor. (Less common, but I dance one of these every few weeks, on average.) Contra Corners dances where ladies role has to make both a hand and direction change (like... Chorus Jig) And maybe the answer someone might give is "these are all bad flow". Yet people seem to like many dances with them in it. I would be interested to find out why. In dance, Ron On Mar 14, 2017 11:41 PM, "Bob Isaacs" <isaacsbob(a)hotmail.com> wrote: Ron and All: I respectfully disagree. As long as we swing in a clockwise direction, the swing/circle R transition will flow poorly for both roles, and should have no place in any contra dance - Bob ------------------------------ *From:* Ron Blechner <contraron(a)gmail.com> *Sent:* Tuesday, March 14, 2017 11:19 PM *To:* Bob Isaacs *Cc:* Caller's discussion list *Subject:* Re: [Callers] Another dance-check zig-zag R dance I dance the ladies role enough where I feel I can confidently assert that swing -> circle R is as difficult for gents as swing -> circle L is for ladies. Either way, one person is unfolding from the swing opposite from the rotation of the subsequent circle. The bigger objection to flow is simply that it's a circle right that is from a standstill, and people don't dance many circle rights. (But we dance plenty circle lefts from a standstill.) In this case, I'm interested in the circle R as something to fill a second-half-of-evening slot where I often have need for dances that are fairly easy but not the same old circle lefts, swings, stars, chains, and allemandes. Best, Ron On Mar 14, 2017 11:05 PM, "Bob Isaacs via Callers" < callers(a)lists.sharedweight.net> wrote: > Hi Ron: > > > Two transitions in this dance I find troubling. The R and L through/gents > allemande is awkward for the gents, whose L hand is occupied in the > courtesy turn of the R and L through. This can be avoided by 1/2 hey (GL, > PR, LL, NR), gents allemande L 1 1/2 (or allemande/hey if you prefer that > order). > > > But swing/circle R? > > > Bob > > > ------------------------------ > *From:* Callers <callers-bounces(a)lists.sharedweight.net> on behalf of Ron > Blechner via Callers <callers(a)lists.sharedweight.net> > *Sent:* Tuesday, March 14, 2017 9:49:10 PM > *To:* callers > *Subject:* [Callers] Another dance-check zig-zag R dance > > So, this is a cross between Jeff Spero's Kiss the Bride and Rick Mohr's > Rockin' Robin: > > Duple Imp. > A1. N DSD (6) > NS (10) > A2. R+L Thru (8) (across) > Gents Alle L 1.5x (8) > B1. P Meltdown Swing (16)* > B2. Circle R 1.25x (10) > Zig R, Zag L (6) (to next Ns) > > I was futzing with Kiss the Bride and this came out. I'd like to give > credit if it's been written, or pick a name if not. > > In dance, > Ron Blechner > > _______________________________________________ > Callers mailing list > Callers(a)lists.sharedweight.net > http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net > >

8 years, 7 months

Name and author for circle mixer?

by Richard Hopkins via Callers

Dear colleagues, I have had this circle mixer in my box since before 1990, and have long ago lost its name or origin. Could any of you help? It has served me well many many times. Formation: Circle of couples A1 Forward and Back Forward again, just the gents come back (ladies turn to face out) A2 All turn right, promenade single file (ladies clockwise, gents CCW) Return B1 Partner (the last one you swung) dosido Corner Allemande left, pass partner by the right B2 New Partner B and S Richard `````````````````````````````````````````````````````````` Richard Hopkins Tallahassee, FL 850-544-7614 hopkinsrs(a)comcast.net

8 years, 7 months

Re: [Callers] Difficult dancers - Decision to ask not to return

by Mark Hillegonds via Callers

Lots of thoughtful discussion and ideas about how to incorporate difficult dancers. Splitting this into another variant of this discussion... So...what happens if all of the attempts to shepherd and coach and "angel" the difficult dancer do not work and their skills and abilities continue to be a significant negative impact when they're dancing. Would you ever (or have you ever) asked someone not to return based on their inability to dance? I realize "inability" is a broad term and I intended it to be so for this question. There are lots of reasons why someone may not be able to know what to do and/or to be able to keep up when dancing and may not even be able to improve. Is there some point at which you as organizers would consider and ultimately such a decision? On Mar 6, 2017 6:46 PM, "Alexandra Deis-Lauby via Callers" < callers(a)lists.sharedweight.net> wrote: Inspired by Marie's other thread, I wonder what tools callers use when they encounter a dance floor with such a dancer, especially if there is only one who is having so much difficulty but who leaves confused dancers in their wake. Do you call to that dancer? Do you call earlier? Do you adjust your program accordingly? Something else? Thanks, Alex Sent from my iPhone _______________________________________________ Callers mailing list Callers(a)lists.sharedweight.net http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net

8 years, 7 months

Difficult dancers as a caller

by Alexandra Deis-Lauby via Callers

Inspired by Marie's other thread, I wonder what tools callers use when they encounter a dance floor with such a dancer, especially if there is only one who is having so much difficulty but who leaves confused dancers in their wake. Do you call to that dancer? Do you call earlier? Do you adjust your program accordingly? Something else? Thanks, Alex Sent from my iPhone

8 years, 8 months

Re: [Callers] Difficult dancers as a caller

by April Blum via Callers

Two more suggestions. At some dances I have called, I found that saying "end the swing and face across" a bit early solved the late-for-the-next move issues. And sometimes repeatedly cuing at B1, where the music is often audibly different AND where there is often some noticeable move starting, can also help. On Mar 7, 2017 9:40 AM, Martha Wild via Callers <callers(a)lists.sharedweight.net> wrote: > > As one other caller mentioned - what I do as a caller is avoid looking at that dancer AT ALL. That confuses me, and I will miscall if I get to caught up in what is happening there. What I do is look ASAP for the dancers who are doing the moves smoothly and well, and I call to them, making sure I call clearly at the start of the four beats before each move will start, and not at the two beats before that I might often use, to give a little extra time for the person to react. If there is a four in line down the hall, I will call for the turn also on beat five of the phrase before (just as above, just saying it differently) ensuring that they turn around and head back in time to cast off or do whatever needs to be done in time for the next move. If I call carefully and steadily and clearly at the appropriate time for a few times through the dance to the experienced dancers, I generally find that once I look at the problem area, it has resolved. Also - I don’t vary or shorten my calls, as I might otherwise, and I might say Neighbor balance and swing, or With the next couple star left - telling them who to do it with and what, or face across, right and left through - which way to face etc. especially on any figure that might be confusing. > > >> On Mar 6, 2017, at 3:45 PM, Alexandra Deis-Lauby via Callers <callers(a)lists.sharedweight.net> wrote: >> > Inspired by Marie's other thread, I wonder what tools callers use when they encounter a dance floor with such a dancer, especially if there is only one who is having so much difficulty but who leaves confused dancers in their wake. Do you call to that dancer? Do you call earlier? Do you adjust your program accordingly? Something else? > > Thanks, > Alex > > > Sent from my iPhone > _______________________________________________ > Callers mailing list > Callers(a)lists.sharedweight.net > http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net >

8 years, 8 months

Do you recognize this dance?

by Yoyo Zhou via Callers

Hi callers, I improvised this dance inspired by James Hutson's Treasure of the Sierra Madre last night, but it seems like it could have been written before. Does anyone have a title and author for it? NB. The B2->A1 transition has slightly awkward hands for the gents, but it seemed to go fine. A1: N balance, box the gnat; gents allemande left 1+1/2 A2: full hey, pass P right B1: P balance, swing B2: circle left 3/4; balance ring, P CA twirl Thanks, Yoyo Zhou

8 years, 8 months

Re: [Callers] What to do with a really bad new dancer?

by April Blum via Callers

You want to avoid letting him pair up with a new dancer, so you might indeed want to have a confidential chat with the regular ladies who are also good leads, and see if they are willing to take turns dancing with him. Some techniques for his partners: Walk the swing and stop early to face in. Turn 1.5 allemandes into half allemandes or pull bys. Turn free moves into "with hands" moves where possible. Ask your caller to suggest that everyone try a hey with hands if the timing is tight. Or turn a hey for four into a hey for three, with you and he acting as a unit. That works for half heys as well. Just cross the set together, dodging the other two dancers. If he's hopelessly behind each time through, consider skipping B2 and set up for the next repetition. Maybe concentrate on getting him comfortable with the first part of the sequence. Is he aware of his "rock in the stream of the dance" status? The answer to this might affect how much adaptation he will accept. Do keep in mind that it takes a certain amount of courage to try something new and challenging, particularly as an individual rather than a couple. And one or more of the organizers should chat with him at the break. It would be useful to find out if he has a physical challenge. On Mar 6, 2017 3:13 PM, Marie-Michèle Fournier via Callers <callers(a)lists.sharedweight.net> wrote: > > Hi everyone, > Lately a new dancer has started coming to our dance and he is bad enough that he will often make the set break if the dance is moderately challenging. He seems to have some kind of impairment and walks very stiffly which means he will often not be on time for a figure and also often does not remember what is coming next. > We want to be inclusive but at the same time his presence negatively impacts other dancers in his set and while some of the experienced dancers will take one for the team and dance with him, it is an unpleasant experience to be his partner. Unfortunately, we always have many new dancers and having one couple not be where they should be can really throw them off in some dances so I feel like I have to push and pull him around to be on time, despite the fact that it's a little rude. > A recent caller to our dance called him a "speed bump" which was quite accurate. I'm sure other dances have had experience with similar troubles, does anyone have advice on how to deal with this so that other dancers still have a good time yet we are nice to this problematic dancer? > Thank you > Marie > ContraMontreal

8 years, 8 months

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