I recently collected a dance from Mary Wesley, who collected it from Susan
Petrick. Susan wrote it down from memory, filling in the gaps for the
parts she didn't remember, and decided to call it "Missing You."
Do recognize the choreography? Susan and I are curious who might have
wrote this under what title. She's pretty sure she remembered B2 right,
but she might have inadvertently changed parts of the rest of the dance
when remembering it.
A1 Neighbor balance and swing (16)
A2 Gents left hand allemande 1.5 (8); Partner swing (8)
B1 Long lines forward and back (8); Ladies chain across to neighbor (8)
B2 Balance the ring (4); Gents roll partner away with a half sashay
(4); Balance the ring (4); Gents roll neighbor away with a half sashay (4)
Thanks, hive mind!
Dugan Murphy
Portland, Maine
www.PortlandIntownContraDance.comwww.NufSed.consulting
Yes, Dean Snipes.
Sent off-list.
Happy dancing,
John
John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362
http://www.contrafusion.co.uk for Dancing in Kent
Hey all,
Does this dance exist already? If no, please give it a whirl and let me
know what you think.
Twilight Deliverance DI
A-1 N - S
L L F & B
A-2 Star L 3/4 (to Ladies side)
P - S (Men turn back to S P)
B-1 1/2 Hey (Men lead, L in ctr)
Men's Chain (pull by L, offer R to N)
B-2 Ring Bal, & Pet Spin to R (2X)
On 2nd, spin a little extra into arms of new N.
Dedicated to all the people who dance, play, call, live, love, & laugh in
Montague.
Hi! I have found Ruth Ungar's Wizard Walk on the WWW, but can't find Wizard's Way... and I feel bad but can't remember who wrote it...I keep thinking Cis or Linda Leslie. Can someone help me by sending the dance and the name of its illustrious choreographer? Thanks!
Sent from my iPhone
Hello all,
When I get an inquiry about calling for a gig that I can't do, I often
refer them to the same handful of local callers that I know. But it's not
always the most useful if the inquiry came from far away.
I've been thinking about trying to create a caller database; with
geographic home-base of caller and contact information.
I know there are lists of callers out there, such as Charlie's excellent
contra dance links and Dance Gypsy. I was thinking it would be useful to
have it in database format where it could be sorted and filtered.
I'd also like for folks to be able to submit themselves, as opposed to
having to compile them.
I've taken a first pass at creating a google form that allows people to
submit information; with a linked spreadsheet that would allow people to
filter based on what they're looking for (both geographically and dance
style). My hope is to eventually develop a front end to help filter that
information, but for now I'm just sharing it in a database.
As a caller, would you fill it out? As an organizer, would you use it? Is
there any information I've missed that you'd want, or something I've
included you'd rather not have?
The survey is at:
https://goo.gl/forms/62beEKCKsyysepGk1
The spreadsheet of (currently sparse) results:
https://docs.google.com/spreadsheets/d/1ZIWfYyFwMHHm6MpyMCD_N8ssQcOD5s6yndu…
I'd appreciate feedback on the survey; as well as a folks filling it out to
see how useful filtering the database is (and eventually test the front
end).
Thanks!
--
Luke Donforth
calling.luke(a)gmail.com
Hi all
I haven't yet called Beneficial Tradition, but think it might be a good
fit for an upcoming dance. Does it get weird at the ends or does it
flow reasonably well? I danced it years ago and don't remember. If you
pull by RH to go out on the right diagonal, do you cross solo to the
other side to make space for the next person to come out on the right
diagonal?
Kalia
David said, " I would rather have a lump star moving promptly than a
beautiful wrist star three steps late".
Absolutely!
Which is why I always teach the dancers to move their feet first and worry
about their hands once they are moving.
Happy dancing,
John
John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362
http://www.contrafusion.co.uk for Dancing in Kent
Thanks to all those who contributed. Here is a summary of the key points
that were made. It is clear that the wrist lock star is indeed the standard
across the USA, with only a few areas using hands across.
Summary
Names: Wrist Star, Box Star, Wrist-Grip Star, Wrist-Lock Star, Pack-saddle
Star, Wagon-Wheel (Star), Basket Handhold
Also, but these can mean Hands Across: Millstone Star, Mill, Windmill,
Moulinet, Old Mill
Alternative Star Holds:
Hands Across (that term goes back to at least 1650!)
Palm Star (MWSD only)
Lump (Bunch of Bananas, Limp Lettuce) - to be avoided at all costs
Etymology of Mill references:
Alan Winston: Go back far enough (1700s) and you get "moulinet" in French
sources, "mill" in some English sources, for what I'm pretty sure are
hands-across stars.
Colin Hume: In the Netherlands it's called "molen" which means "windmill".
John Sweeney: The early 19th century Quadrilles and dances like The Lancers
used the term Moulinet for Star. As far as we know it was always a Hands
Across Star. Moulinet means turnstile, crank or propeller. Whether it
independently became known as a Windmill/Mill or whether it was badly
translated as Moulin = Windmill is unclear.
Wagon-Wheel: in the Appalachians it was a shoulder star - see 2 minutes in
at https://www.youtube.com/watch?v=Ht9kjeKcOsg.
There is a general view that the term Wrist-Grip should be avoided, and that
it should be emphasised that you don't grip (keep your thumb up top with
your fingers!).
I like the term "Wrist Lock" since it makes it clear that we are using
wrists, and since the shape you make looks like the Lock that sword and
rapper dancers make when they interlink them all and raise them high. I
also love that wrist-locks work perfectly for three or five dancers in a
star (I call lots of different styles). But I am sure that although the
move may become even more ubiquitous, the terminology will retains its local
flavour.
Any ideas on when it started?
Dan Pearl: Sylvia Miskoe, in rec.folk-dancing on March 4, 1999 said: "Wrist
grip stars became popular after the appearance at New England Folk Festival
(NEFFA) of the Lithuanian Dance Group doing their dances and they all used
wrist grips. The square dancers thought it was a neat idea and adopted it."
Any idea when that festival was?
1964 in Northern Vermont shows wrist-lock stars:
https://www.youtube.com/watch?v=pZubTju7g_s
1981 Ted Sanella's "Balance & Swing" defines a star in New England as "grasp
the wrist of the dancer ahead".
1983 Larry Jennings' "Zesty Contras" refers you to Ted's book.
Exceptions:
When choreography dictates, e.g. "men drop out, ladies chain" works
better with hands across
One night stands
Dave Casserley:
https://www.swarthmore.edu/sites/default/files/assets/documents/linguistics/
2007_kaufman_jeff.pdf
This shows that ten years ago wrist-stars were common everywhere in the US
except in some parts of the South.
Amy Wimmer (Seattle):
The wrist lock is the common star formation in the Northwest, with a hands
across being the exception.
Tim Klein (TN):
I call for dances in Knoxville, TN and occasionally in the surrounding area
(Jonesboro, Chattanooga). I've been dancing here for 30 years. I recall
hands across stars in Knoxville, Atlanta, Brasstown, Asheville and points
between, but wrist grip stars in Lexington, Louisville and Nashville.
Chet Gray (KY):
I tend to consider my home dance, Louisville, KY, and nearby Lexington, as
two of the last bastions of hands-across-by-default. Wrist-grip seems to be
the default even in relatively nearby cities: Indianapolis, Bloomington, IN,
Nashville, Cincinnati. Not sure about Berea and Somerset, KY, also nearby.
Jerome Grisanti (Midwest):
I agree with Chet that Louisville's default star is hands-across, although
weekend festivals in nearby cities tend toward the millstone star. The
Midwest where I dance/call now is pretty solidly wrist-star territory (St.
Louis, Columbia MO, Kansas City, Lawrence).
BUT...
Susan McElroy-Marcus:
Just a bit of Louisville dance community history on this subject-when my
husband started dancing there in the late '70s and I came in 1982, the
Monday night dance was a mix of English and contra. The default contra
dance star grip was the "wrist lock" not hands across as in English. We
called it a basket handhold or wrist grip. Our influence came from New
England because our friend, Norb Spencer, who started the group along with
Marie and Frank (Cassidy?) and who called much of the time-learned in New
England. We then taught it that way when we moved to Cincinnati and started
that group. Louisville only became a "bastion of hands-across-by-default"
sometime in the late 1990s or early 2000s during my calling hiatus. When I
re-entered the calling scene 6-7 years ago, I was surprised and bemused upon
calling in Louisville to learn of the high regard held for their
'traditional' hands-across star style.
Andrea Nettleton:
Somewhere south of Asheville and leading west possibly into the lower
Midwest, is the land of hands across stars. They are standard in Atlanta,
the heart of hands-across-land.
George Mercer:
The wrist lock dominates everywhere I've danced over the years
Meg Dedolph (Chicago):
Checking in from Chicago, where wrist-grip stars are the norm and
hands-across stars need to be specified. When I started dancing, 14 or 15
years ago, in Michigan, many dancers reached for a hands-across star first,
though I don't see that so much anymore.
Jane Thickstun (Michigan)
When I was dancing in Michigan, I found it to be a mess, with maybe half
doing wrist grip and half hands-across, and everyone just throwing their
hands in the middle without doing either. I wish callers would specify for
each dance which kind of star they recommend, to avoid this kind of thing.
Angela DeCarlis (Florida):
Where I've called recently, in the Northeast and in New England, wrist-grip
is definitely the default, and I wasn't aware that parts of the south
default to hands-across. Neat!
Here to comment that Florida, where I'm from originally, holds true to its
role as the Exception to the Rule: despite being in the South, they
definitely default to wrist-grip there, as well.
Jacob Bloom:
When I attended the Berea Christmas Dance School forty years ago, and put my
hand on the wrist in front of me during a walk through, someone complained,
saying, "He said a star, not a mill!"
Don Veino:
"lay it on the wrist of the person in front of you, like a pack saddle on a
horse" [Thanks! I could never work out why it was called a pack saddle! JS]
And yes, very much the default star form from my experience.
Louise Siddons (Stillwater, OK):
Here in Oklahoma I call it a wagon-wheel grip, but I think I picked up that
term in either Michigan or California when I was starting to dance contra
circa 2008. Wagon-wheel stars are the default in OK/TX/KS/MO local dances,
and also seem standard in the SF Bay Area.
Neal Schlein:
Whatever you call it, today a wrist star is the US standard for most of the
country.
Joy Greenwolfe (Durham, NC):
Central North Carolina here. In this region, wrist-grip or wagon-wheel stars
are the default. Some dances specify hands-across if the choreography asks
for it.
John Sweeney (itinerant):
I have danced in Florida, San Diego, San Francisco, Los Angeles, Asheville,
Phoenix and festivals such as Berea Christmas Dance School, LEAF, Flurry and
don't remember ever seeing anyone do Hands Across in a regular contra dance.
Chet questioned the relevance of dance weekends, but my point was that when
people from different area get together, in my experience, they tend to use
wrist-lock stars, which, to me, does seem to be an indicator that it is
accepted as the default. Of course, as Chet says, some of those dancers may
well use their regional style at their home dances.
Rich Sbardella referenced MWSD: In MWSD, hands are often just put into the
center, sometimes raised as in a contra allemande, sometimes just straight
forward from the shoulder.
>From CallerLab: "Palm Star: Place all hands together with fingers pointing
up and thumbs closed gently over the back of the adjacent dancer's hand to
provide a degree of stabilization. Arms should be bent slightly so that the
height of the handgrip will be at an average eye level.. Men's outside arms
in natural dance position, women's outside hands work skirt. Some areas
dance any stars containing men with a Box Star/Pack-saddle Star: Four men
with palms down take the wrist of the man ahead and link up to form a box."
Neal Schlein:
The Palm Star was the standard style around Colorado in the 1930s when Lloyd
Shaw got started, and for many years after. Pretty much, you'll only find
it among square dancers, people who danced with Calico and Boots in Boulder,
Colorado, or folks with an exaggerated respect for history. Guess I qualify
as all three.
John Sweeney:
I have heard that ladies don't join in wrist-stars in MWSD because of the
hairy, sweaty men's wrists in the south!
Happy dancing,
John
John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362
http://www.contrafusion.co.uk for Dancing in Kent
Dear Shared Weight Callers List,
This message is for those of you who are CANADIANS and who not only call
but who are involved in ORGANIZING dances. (Apologies to those for whom
this doesn't apply. I'm putting this out on the organizers list as well
but I know that many of you are organizers and this list is so much more
active!)
*IN BRIEF:*
The Country Dance and Song Society (CDSS) **wants to hear from you** as we
look at *how to best support *local organizers* of traditional dance music
and song throughout Canada*. We see local organizers like you as key to
creating the vibrant and thriving traditional dance, music and song scenes
we all care about!
We are running a *survey of local organizers until November 17th*. The goal
of the survey is to learn: What are you organizing? What successes are you
having? What challenges do you face? What immediate needs do you have? What
ideas have you thought of for growing your community/activities? What
supports would help you in the work that you do?
*WHY PARTICIPATE?*
Whether you are involved in PEI fiddling, NFLD traditional song, Metis step
dancing, or other (as there are so many!) each tradition is culturally
significant. They reflect the shared values and heritage of that community
and help to define a sense of identity and belonging for individuals.
Yet despite the diversity, there is much commonality in the organizational
requirements across traditions. For instance, organizers of a Cape Breton
traditional square dance, contra dance in British Columbia, and les danses
folkloique Québécoises often do similar work, share similar challenges and
could benefit from similar supports. By sharing with each other, we create
more vibrant and resilient communities for all.
By participating in the survey, you are not only informing CDSS on what we
can do to support organizers throughout the country, but also other
umbrella arts organizations and the Canada Council for the Arts with whom
we will be sharing the findings. We will work to take action on common
interests that arise from the survey, some in partnership with other
umbrella organizations and many of which would be free or at little cost.
We will also look at ways to address various particular interests where we
can. (As a participant, you will be emailed a copy of the findings.)
*HOW TO PARTICIPATE:*
Complete the online survey by Thursday, November 17th. It will take 15-20
minutes.
SURVEY LINK HERE: https://www.surveymonkey.com/r/CDSSCanadianOrganizers-EN
We hope that multiple organizers from the same group will participate.
Also - please share with other local organizers in your area. As you know,
connections within our traditions are often by word-of-mouth!
More information about the survey and larger project is available below.
We look forward to hearing from you,
*Emily Addison (pourparler list member) and also Sarah PilzerThe CDSS
Canadian Initiative*
===================================
*MORE INFORMATION ON THE SURVEY*
*Who is an organizer ... for the purpose of this survey?*
For the purpose of this survey, an organizer is anyone involved in making a
traditional dance, music, or song event, activity, or community happen. The
activities vary widely from house concerts to dances, folk clubs, song
circles, group lessons, jam sessions, festivals, etc. Organizers can be
volunteers OR paid, single individuals OR committees, part of a non-profit
OR commercial business, new OR experienced, run one-off-events OR ongoing
series - you name it!
*What traditions are included ... for the purpose of this survey?*
CDSS' core focus has been on traditions that have evolved in N America
and/or those with English roots. For example, traditional square dancing
from places like Cape Breton and Quebec fit well having evolved in N
America. Think everything from morris teams, traditional song circles,
old-time music jam sessions, step-dancing traditions from all over, folk
clubs that present traditional music concerts, etc. AND - we are still very
much interested in hearing and supporting the wider trad scene. Thus, if
organizers involved in trad activities such as Irish set dancing,
scandinavian jam sessions, or international folk want to participate,
please do!
*Who is CDSS?*
CDSS has been a leader and partner of traditional dance, music, and song
across North America for over a century. We provide services to members as
well as the wider traditional dance, music and song community in Canada.
If you're interested in knowing more, visit cdss.org
