Contra Callers

contracallers@lists.sharedweight.net

12 participants
4372 discussions

by Valerie Cohen via Callers

Hi, Claire, One triplet I have enjoyed is Rick Mohr's Triplet #2 (I've copied his notes below). once dancers get the feel, the momentum of the 1's leading into the circle at the beginning of A2 is very satisfying, as is the wave into the hey. I had it nearly fall apart one time when the group of people left were all beginners, but they were having a good time and laughed throughout - either caught up on the circle left or straightened out the set at the partner swing at the end, so it worked well enough. I used to coordinate an open band/open caller dance that got tons of musicians but was often short on dancers, so it was handy to have interesting dances that worked for very short sets. I also once improvised Rory O'more as a triplet, but the memory is hazy now. I think I just had the #1 couple swing to the bottom of the set at the end. -Valerie Cohen, Seattle Rick's Triplet #2 By Rick Mohr; January 28, 2002 Triplet, 1's Improper Level: Intermediate/Advanced A1: 1's cross *(passing right shoulders)*, go outside below 2's who move up (6) 1's cross *(passing right shoulders)*, turn right, go outside around two people *(ending proper)* (10) A2: Circle left 6 hands round (12) Allemande right with partner 3/4 (4) *(Join left hands with neighbor to form a wave of six)* B1: Balance the wave (4) Half hey for 6 *(neighbors pass left shoulders to start)* (12) B2: Balance and swing partner (16) The figures of this dance fit the music phrases exactly, so it can be quite satisfying if dancers are on the ball but somewhat unforgiving if they get confused. The active couple moves continuously in A1. First they cross around the 2's to the middle position, and then without stopping they cross again and both turn right—the man loops around the bottom couple while the woman loops around the top couple. As the active dancers return to the middle position (proper) all join hands and match their motion smoothly into a circle left. The circle left in A2 takes 12 steps, so be aware to call the allemande right in time for its four steps to end the phrase in time to balance the wave at the start of B1. Then 12 weaving hey steps invert the set in time for the partner balance and swing at the start of B2. In terms of the original numbering, once through the dance leaves the couples in a 3, 1, 2 sequence. > > Message: 1 > Date: Sat, 26 Mar 2016 11:22:05 -0400 > From: Bob Isaacs via Callers <callers(a)lists.sharedweight.net> > To: Claire Takemori <cht(a)mac.com>, Shared Weight > <callers(a)sharedweight.net> > Subject: Re: [Callers] Favorite Triplet ? > Message-ID: <SNT151-W13A3370BE1CAB812BBB30BAA840(a)phx.gbl> > Content-Type: text/plain; charset="windows-1252" > > > > > Hi Claire: > If you want a triplet with contra corners and a hey for 6 (and very much > for experienced dancers) then try: > Cinnamon CrullerTriplet, properBI / 10-23-05 > A1. 1s cast to bottom, 1s up the center and 1/2 figure 8 below (2s move > up)A2. 1s turn contra cornersB1. All partner allemande R 3/4, 1/2 hey for > 6B2. Partner balance, swing - face up progressed (3-1-2) > Bob > > > Date: Wed, 16 Mar 2016 22:51:38 -0700 > > To: callers(a)lists.sharedweight.net > > Subject: [Callers] Favorite Triplet ? > > From: callers(a)lists.sharedweight.net > > > > Hi everyone. I?m enjoying all the great information that is shared on > this list. Thank you! > > > > I?m wondering if you have a favorite Triplet that would work for a very > small but experienced contra dance with just 6 dancers left after the > break? Ideally

9 years, 2 months

Re: [Callers] Favorite Triplet?

by Claire Takemori via Callers

Thank you all for the great triplets! I did call Dave’s Triplet #5 with a hey for 6 that they loved, but I was guest calling and so we had 3 triplets during my slot, but after the break it was down to 6-8 dancers and we were looking for choreography for small groups. I appreciate your time and very helpful explanations of the choreography! Claire Takemori (Bay Area, CA) On Mar 30, 2016, at 1:01 PM, via Callers <callers(a)lists.sharedweight.net> wrote: Send Callers mailing list submissions to callers(a)lists.sharedweight.net To subscribe or unsubscribe via the World Wide Web, visit http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net or, via email, send a message with subject or body 'help' to callers-request(a)lists.sharedweight.net You can reach the person managing the list at callers-owner(a)lists.sharedweight.net When replying, please edit your Subject line so it is more specific than "Re: Contents of Callers digest..." Today's Topics: 1. Re: Favorite Triplet ? (Valerie Cohen via Callers) 2. Re: Favorite Triplet ? (Michael Barraclough via Callers) ---------------------------------------------------------------------- Message: 1 Date: Wed, 30 Mar 2016 10:50:31 -0700 From: Valerie Cohen via Callers <callers(a)lists.sharedweight.net> To: callers(a)lists.sharedweight.net, callers-request(a)lists.sharedweight.net Subject: Re: [Callers] Favorite Triplet ? Message-ID: <CADtea0CxofU+jPuC3zjer+W6uBf83nSr5G34njVybKhUOb04cA(a)mail.gmail.com> Content-Type: text/plain; charset="utf-8" Hi, Claire, One triplet I have enjoyed is Rick Mohr's Triplet #2 (I've copied his notes below). once dancers get the feel, the momentum of the 1's leading into the circle at the beginning of A2 is very satisfying, as is the wave into the hey. I had it nearly fall apart one time when the group of people left were all beginners, but they were having a good time and laughed throughout - either caught up on the circle left or straightened out the set at the partner swing at the end, so it worked well enough. I used to coordinate an open band/open caller dance that got tons of musicians but was often short on dancers, so it was handy to have interesting dances that worked for very short sets. I also once improvised Rory O'more as a triplet, but the memory is hazy now. I think I just had the #1 couple swing to the bottom of the set at the end. -Valerie Cohen, Seattle Rick's Triplet #2 By Rick Mohr; January 28, 2002 Triplet, 1's Improper Level: Intermediate/Advanced A1: 1's cross *(passing right shoulders)*, go outside below 2's who move up (6) 1's cross *(passing right shoulders)*, turn right, go outside around two people *(ending proper)* (10) A2: Circle left 6 hands round (12) Allemande right with partner 3/4 (4) *(Join left hands with neighbor to form a wave of six)* B1: Balance the wave (4) Half hey for 6 *(neighbors pass left shoulders to start)* (12) B2: Balance and swing partner (16) The figures of this dance fit the music phrases exactly, so it can be quite satisfying if dancers are on the ball but somewhat unforgiving if they get confused. The active couple moves continuously in A1. First they cross around the 2's to the middle position, and then without stopping they cross again and both turn right?the man loops around the bottom couple while the woman loops around the top couple. As the active dancers return to the middle position (proper) all join hands and match their motion smoothly into a circle left. The circle left in A2 takes 12 steps, so be aware to call the allemande right in time for its four steps to end the phrase in time to balance the wave at the start of B1. Then 12 weaving hey steps invert the set in time for the partner balance and swing at the start of B2. In terms of the original numbering, once through the dance leaves the couples in a 3, 1, 2 sequence. > > Message: 1 > Date: Sat, 26 Mar 2016 11:22:05 -0400 > From: Bob Isaacs via Callers <callers(a)lists.sharedweight.net> > To: Claire Takemori <cht(a)mac.com>, Shared Weight > <callers(a)sharedweight.net> > Subject: Re: [Callers] Favorite Triplet ? > Message-ID: <SNT151-W13A3370BE1CAB812BBB30BAA840(a)phx.gbl> > Content-Type: text/plain; charset="windows-1252" > > > > > Hi Claire: > If you want a triplet with contra corners and a hey for 6 (and very much > for experienced dancers) then try: > Cinnamon CrullerTriplet, properBI / 10-23-05 > A1. 1s cast to bottom, 1s up the center and 1/2 figure 8 below (2s move > up)A2. 1s turn contra cornersB1. All partner allemande R 3/4, 1/2 hey for > 6B2. Partner balance, swing - face up progressed (3-1-2) > Bob > >> Date: Wed, 16 Mar 2016 22:51:38 -0700 >> To: callers(a)lists.sharedweight.net >> Subject: [Callers] Favorite Triplet ? >> From: callers(a)lists.sharedweight.net >> >> Hi everyone. I?m enjoying all the great information that is shared on > this list. Thank you! >> >> I?m wondering if you have a favorite Triplet that would work for a very > small but experienced contra dance with just 6 dancers left after the > break? Ideally

9 years, 2 months

New Dance: For He's A Jolly Good Fellow

by Michael Barraclough via Callers

Thank you for the helpful comments when I shared this dance a few weeks ago. I called the dance as written on 3/18/2016 at the Memorial Dance for Charlie Fellows. It went ok but, as forecast, it was hard work to ensure that the B2/A1 transition went smoothly. I have therefore changed the dance slightly which I hope makes it a better dance. The original B1and B2 have been swapped and the two 'trades' have been changed for a 'turn single' and a 'California Twirl'. The final dance is as follows: FOR HE'S A JOLLY GOOD FELLOW Michael Barraclough (2016) Longways improper A1 Balance the ring, Petronella, Balance the ring, Turn Single A2 Give & take (men take, neighbor swing) B1 Give & take (men take, partner swing) B2 Balance the ring, Petronella, Balance the ring, California Twirl This keeps most of the symmetry/simplicity from the original but improves the B2/A1 transition. Dancers eemed to like the double Give & Take. The full dance is available at http://www.michaelbarraclough.com/24-dances-i-have-written/1090-for-he-s-a-… -- Michael Barraclough michael(a)michaelbarraclough.com www.michaelbarraclough.com

9 years, 2 months

New dance?

by Amy Wimmer via Callers

While preparing to teach the beginners' session for tonight's dance in Olympia, WA, I jotted down several figures I could teach that would be simple enough, flow reasonably well and get them dancing. I looked at my list and said, "Huh! This looks like an actual dance." I was missing one figure to complete it. Today, while waiting for our caucus to begin, I decided on the final figure. My caller/musician friend, Valerie Cohen, who was sitting next to us, said I should call it the Caucus Shuffle. I said I was planning to call it "Feelin' the Bern," to which she responded, "Then it should progress left." You're welcome. I think the dance works whether one starts at A1 or A2. Starting at A2 would end with a partner swing, which is always nice at the end of the evening. At any rate, here's the dance. My questions are, 1) does this already exist? and 2) do you see any major problems with it? Feelin' the Bern Becket, improper contra A1 Partner swing (16) A2 Long lines forward and back (8) Mad robin (ladies go in front) (8) B1 Circle right 3 places (~8) New neighbors star right (8) B2 Neighbor allemande right (8) Half hey (gents pass left), ladies ricochet (8) -Amy P.S. I'm going to call it tonight, but not for the beginner session. I'll start by having everyone shuffle, single-file, around the oval of the set, until they return to where they started.

9 years, 2 months

Young Adult Rose

by Kalia Kliban via Callers

I called Young Adult Rose last night and experienced a near-complete dancer revolt about the shadow allemande. The dance is written with a circle left 3/4, pass P by R along the line then allemande shadow R 1x, before coming back to P for a balance and swing. The dancers all _really_ wanted to do the allemande by the left. I tried calling it a few times with the R hand, then gave up and called it L and they were all much happier. Anyone else experienced this? Kalia

9 years, 2 months

Calling and timing

by Roger Hayes via Callers

Some thoughts on timing, in part inspired by the recent discussion of "Young Adult Rose" (btw, I hope we get a series of dances up to and including "Revered Elder Rose" -- alternatively "That Old Rascal Rose"). As the dancers get the dance into their body, I'll shift from calling early for direction to calling on the beat for timing. Of course it would be ideal to be able to do both; I think it's possible with artful word choice, but not always, not for me. Sometimes I get the control thing going and want to exert a strong influence over the timing -- "balance Now!". It's often more fun to shut up and let the dancers sort out the timing - it's great to see people adjust to make a dance flow. Sometimes I enjoy dancing a dance with imperfect timing or flow, just to see how the hall will adjust and make sense of it. A lot of the figures we dance are not so precise as we think they are; for example, many "allemande once" figures are really more like 1/2, to reverse direction. This is why I prefer to teach with "far enough so you can..." rather than "exactly N" -- I want the dancers to think about flow and connection, not about completing one figure before attending to the next. On the other hand, I'm a total curmudgeon about lazy not-quite-far-enough circles. And being late for your neighbor? Awful. Breaks down the trust that builds up when we're all there for each other, on time and in the right place. - Roger Hayes

9 years, 2 months

Thoughts on B2/A1 swings and having time to flourish

by tavi merrill via Callers

Hola all, So Amy's followup to her "Is this a new dance" query brought up something i've been thinking about for a while. (Amy & Tom - i'm collecting it with Tom's B2 modification and attributing it as Wimmer, variation Hinds.) A 16-count swing does go on forever. But it is also awesome - and i mean truly awesome - to have a full 12-count swing plus 4 counts to pull off one of the more time consuming flourishes (like the ripcord twirl, seen in the wild here https://www.youtube.com/watch?v=iVpR6SxWsM4&list=RDIVquC0jqCXs&t=2m2s and taught here https://www.youtube.com/watch?v=hbyoOPc0rHQ, one of my favorite swing ending flourishes but one that takes too much time to be executed in an 8-count swing window). I know attitudes on twirls vary, so i should state clearly my opinion: i think flourishes, while neither traditional nor intrinsic to our dance form, add a lot to contra when they are executed safely, consensually, and in a manner mindful of the foursome and set as a whole. That to me implies that when and how to use twirls well - and how to time them - can be a potential style point when dances allow for them, particularly where a 16-count swing may bore or tire dancers, yet allows plenty of time to flourish and arrive on time for the next move. We could, as choreographers, maybe even write more 16-count swings for use with the crowds that love to flourish. Less subtle: If you're calling a 16-count swing, why not point out to the dancers there's no excuse for arriving late after a flourish? The A1 placement of the partner swing in Amy's dance "Feelin' the Bern" also appeals to me for a quite specific reason. Some callers are of a mind that every dance should end with a swing, while others (this camp including myself) feel that getting back on the microphone to change the final B to accomplish that is bad form, but do appreciate the elegance of being with or at least aimed toward your partner at the end of a dance and try to facilitate that effect when possible, and others don't give a crap about where dancers are facing when the music stops. (NOTE: This is to acknowledge the various camps, not to launch a thread on which approach is better!!!) Flowing from this, i fully support A1 partner swings, because it's another way to accomplish the aimed-toward-partner-when-dance-ends thing that doesn't involve an A1 circle L or slide. ;-) On a slightly different but related note: As i work to assemble a DJ repertoire of contradanceable EDM, i've noticed that many remixes are perfectly contra-ready save for a "build to drop" element that occurs in the music where the B2 ends, in effect adding from 4 to 8 counts to the B2 but usually only once through. Rather than re-working the track to eliminate the build/drop element, which would create the feeling something substantial is missing, I'm toying with the notion of pairing such material with B2 swings so dancers get a slightly longer swing during that iteration of the dance. Thinking getting back on microphone to say "keep swinging" and then prompt the A1 with recorded music isn't such bad form. Open to feedback on that. I'd appreciate if folks keep responses to this message positive/constructive in tone (vis-a-vis argumentative or dismissive) as i've been super depressed lately and positivity helps. Hope you all are having a good holiday weekend whether you're celebrating Easter or recovering from a raucous Purim or burning off all those Newroz treats or still doing laundry after Holi (did i get them all?!) Tavi

9 years, 2 months

Re: [Callers] Thoughts on B2/A1 swings and having time to flourish

by tavi merrill via Callers

Precisely. What Jeff says here is to me much more than an aside as it helps define and clarify my thoughts around the main point i was trying to make. Dancers are accustomed to swinging for anywhere from 8 to 12 counts (as a balance and swing is 16, minus the 4 counts a balance takes), thus a swing longer than 12 counts feels too long. "Counting from the end" is nigh impossible, as we get wrapped up in the experience of the swing and it's mostly those who are well-developed musicians and/or who know contra tunes by heart that can pick up on where in the musical phrase they are without counting and thus judge how far from the end of the phrase they are and correctly time the initiation of a 4-count flourish. But in the event that a 16-count swing happens, the moment when it suddenly feels like too long a swing (that moment where we pass 12 counts MAY be perceptible to everyone, not just musicians, because we're conditioned to swinging for no more than 12 counts) could perhaps become the cue to initiate a 4-count flourish and magically arrive on time. It's just a hypothesis based on dancer behavior and my experience as a caller and musician, but it may bear testing out. I'd be curious to hear how an experiment goes if someone calls 16 count swings where dancers have been instructed to initiate 4-count ending flourishes the moment they feel they've swung for a normal amount of time. (Might just try running that experiment myself at a May 7 workshop i'm co-leading.) On Sun, Mar 27, 2016 at 6:36 PM, Jeff Kaufman <jeff.t.kaufman(a)gmail.com> wrote: > Hmm, I think I've seen people be late with it on twice count swings too? > My interpretation is more like, when dancers are starting to learn swing > ending flourishes the "counting from the end" to end things on time is > hard, and they tend to be late a lot. The longer the flourish they're > trying to lead, the longer in advance they need to start it and the less > likely they are to leave enough time? > > (This is all still an aside, though, and I'm interested in discussion of > the main point of your post.) > >

9 years, 2 months

Rates for private events (weddings etc)?

by Maia McCormick via Callers

Hey folks, I've just been asked to call a wedding, and I don't have a good idea for what the going rate for these things is. What do you all charge for a wedding (say, 30 mins-an hour of dancing)? (And how might you adjust this rate for NYC?) Thanks, Maia

9 years, 2 months

Young Adult Rose

by Michael Fuerst via Callers

May this be your biggest disappointment in life. :) (Allemande left works much better, because it gives dancers a better direction for starting the swing.When calling the dance on a Saturday I probably use left shoulder gypsy instead of the allemande.) Michael Fuerst 802 N Broadway Urbana IL 61801 217 239 5844

9 years, 2 months

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