Thanks Diane! I've got some sicilian circles, which is (in my opinion)
another way into progression contras. I hadn't thought of sicilian beckets
(bent or unbent).
On Sun, Sep 8, 2024 at 6:40 PM Diane Silver <dsilver.asheville(a)gmail.com>
wrote:
> In the South, we have the "old time mountain dance", with groups of 4 in a
> circle, 1 cpl facing in and 1 cpl facing out.
> It's a general formula of:
> A1) Cir. L (8), Cir. R (8)
> A2) Do something from a menu of choices with your Ns. The fun is mixing up
> which one of these you call each time through the dance. Options I often
> use are:
> N. DSD (*8), P DSD (8)
> Star R, Star L
> Duck for the oyster, dive for the clam (look it up)
> Basket swing
> B1) "you swing mine and I'll swing yours" (i.e., N. swing (could be B&S,
> since it's 16 counts)),
> B2) swing your own (P swing (or B&S)).
> Both cpls slide left (which is CW for the cpl facing in and CCW for the
> cpl facing out) to new Ns.
>
> This type of circle dance is essentially a Becket dance with the line bent
> into a circle, so you're never out on the end. So I figure you could
> "unbend" the circle into a line and turn the dance above into a Becket
> contra.
>
> - Diane
>
> ~~~~~~~~~~~~~~~~~~~~~
> Diane Silver
> dsilver.asheville(a)gmail.com
> Asheville, NC
>
> On Sun, Sep 8, 2024 at 12:50 PM Luke Donforth via Contra Callers <
> contracallers(a)lists.sharedweight.net> wrote:
>
>> Hello all,
>>
>> Oftentimes at One Night Gigs, I'll do a mix of circle and longways set
>> dances. With scatter mixers and specialty dances, I can fill an evening.
>> But sometimes I get a group that "wants contras" or is looking to grow
>> their familiarity with the dance form.
>>
>> I think Becket dances without lark/robin distinctions and no neighbor
>> swing are AN easy option into "hands-four" contras. There are other ways
>> in, but I'm looking for more Beckets that match that description. For a
>> while I've had "Pluck It" in my box as a friendly option:
>>
>> Pluck It
>> Contra/Becket-CW
>>
>> A1 -----------
>> (8) Circle Left
>> (8) Circle Right
>> A2 -----------
>> (8) Left hand Star
>> (8) Right hand Star
>> B1 -----------
>> (8) Partner Do-si-do
>> (8) Partner swing
>> B2 -----------
>> (8) Neighbor Do-si-do across set
>> (8) Long lines, yearn left
>>
>> This is, in my opinion, pretty close to the traditional mixer Scatter
>> Shot but done as a keeper in Becket. (It does have a DSD across the set,
>> which in a recent thread was listed as a no-no for some callers. While I
>> wouldn't use that move at a dance weekend, for One Night gigs I think it's
>> accessible and acceptable). You don't have to teach ballroom swing, and if
>> folks want to elbow swing and swap roles with their partner it doesn't
>> really impact the dance (this is a small advantage of Becket over improper
>> for this type of dance; different position on the side is less disorienting
>> than different side of the set).
>>
>> What other Becket dances do folks have that don't rely on roles? No larks
>> allemande or robins chain, etc.
>>
>> On the drive home from my gig last night I came up with this one (which
>> may already exist), written for Naomi who organizes the community dance I
>> was at:
>>
>> A Pillar of Weathersfield
>> Contra/Becket-CW
>>
>> A1 -----------
>> (8) Balance the ring and spin to the right (petronella)
>> (8) Balance the ring and spin to the right (petronella)
>> A2 -----------
>> (16) Partner balance and swing, end facing down the hall
>> B1 -----------
>> (8) Down the hall, four in line (turn as couples)
>> (8) Return and face across
>> B2 -----------
>> (8) Long lines, forward and back
>> (8) Promenade across the Set, turn as a couple and progress
>> (Go between the ones you danced with, passing by left shoulder, and the
>> new couple on your right, turn to take hands with new couple)
>>
>> I'd be curious what else folks have that they use for entry-level contras
>> when you don't have a critical mass of experience for improper dances with
>> neighbor swings.
>>
>> Thanks!
>> Luke Donforth
>> Burlington, VT
>> _______________________________________________
>> Contra Callers mailing list -- contracallers(a)lists.sharedweight.net
>> To unsubscribe send an email to
>> contracallers-leave(a)lists.sharedweight.net
>>
>
--
Luke Donforth
Luke.Donforth(a)gmail.com <Luke.Donev(a)gmail.com>
Hi All,
I collected this dance from Gordy Euler in Berkeley in 2012. I'm finally thinking of calling it, but I didn't collect the name or choreographer. Can any one help?
The dance:
Double Contra or "Mescalesa" (wherever that name came from)
A1 Up & Down in Lines of 4: Give & Take (Men pull); "Opposite" Sw
A2 Lines of 4 Forward & Back; Men Al L 1½ to
Take Partners Right Hand in Long Waves
B1 Box Circulate (right) X 2
B2 Pt Balance & Swing
Thanks,
Erik Hoffman, Oakland, CA
Does anyone have a sample contract you can send me that you use for one night stands?
Preferably one that talks about a deposit.
Thanks!
Alex
NYC
Sent from my iPhone
I am accumulating a list of figures, or figure sequence that significant
dance writers (not necessarily a majority) consider Choreographic No-Nos
My list so far:
1. do-si-do across
2. right chain after a swing
3 short swings on an odd phrase
4. Shadow swings
Does anyone have further suggestions?
I’m seeing only one actual contra dance move being suggested as a No-No
[shadow swing, separate controversy], and the rest are transitions.
Love it! I’m all about transitions!
Penn Fix used to do a dance camp workshop called “Gagged by a Contra”,
which included transitions that an experienced dancer might find, at first
glance, to be awkward. But inexperienced dancers had no problem feeling the
flow. The point of enlightenment being, of course, that expectation could
be the problem.
Examples:
- swing into a RH chain: smooth it out by adjusting the timing & direction
of the ejection from the swing to “aim” toward the chaIn across
- RH chain into swing: evolve the courtesy turn into a swing [can be lots
of fun if it’s your partner]
- RH hey into swing: another “melt-down”
There are many examples that experienced dancers just do automatically, and
lead their partners smoothly from one move into the next. And demonstrate
why “Lead” and “Follow” are not role names in contra dancing, but instead a
relationship between dancers of different experience, attitude, and intent
(but that’s another topic and another discussion)
But some transitions would never ever be even remotely approaching the
possibility of being suggested as perhaps maybe being considered by the
Olympic Committee.
I guess I’m suggesting that we reject “illegal” dance move transitions as
have been suggested, and only consider “uncomfortable” transitions.
Maybe rule as "illegal" moves where the hand is already busy, like "RH star
this couple, then RH star the next".
Yet there are popular dances that include just that kind of feature: moving
a RH star with one 4-some to a RH star with another pair, moving as a pair
from one star to another. GAACK!
"Comfortable" transitions would be those the dance flow and the music
suggest. That leads into a future post about contra dancing degenerating
into the MUC
[sorry, MUC == Modern Urban Contra]
On Tue, Aug 6, 2024 at 6:09 PM <contracallers-request(a)lists.sharedweight.net>
wrote:
> Send Contra Callers mailing list submissions to
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>
> To subscribe or unsubscribe via email, send a message with subject or
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> than "Re: Contents of Contra Callers digest..."
>
> Today's Topics:
>
> 1. Re: [External] Re: Choreographic No-Nos (Neal Schlein)
> 2. Re: [External] Re: Choreographic No-Nos (Angela DeCarlis)
> 3. Re: [External] Re: Choreographic No-Nos (Julian Blechner)
> 4. Re: [External] Re: Choreographic No-Nos (Elizabeth Bloom Albert)
> 5. Re: [External] Re: Choreographic No-Nos (Elizabeth Bloom Albert)
> 6. Re: [External] Re: Choreographic No-Nos (Tepfer, Seth)
> 7. Re: [External] Re: Choreographic No-Nos (Alexandra Deis-Lauby)
> 8. Re: [External] Re: Choreographic No-Nos (Elizabeth Bloom Albert)
> 9. Re: [External] Re: Choreographic No-Nos (Maia McCormick)
> 10. Re: [External] Re: Choreographic No-Nos (Julian Blechner)
> 11. Re: [External] Re: Choreographic No-Nos (Mac Mckeever)
> 12. Re: [External] Re: Choreographic No-Nos (Robert Livingston)
> 13. Re: [External] Re: Choreographic No-Nos (Claire Baffaut)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Tue, 6 Aug 2024 01:14:28 -0600
> From: Neal Schlein <nschlein(a)gmail.com>
> Subject: [Callers] Re: [External] Re: Choreographic No-Nos
> To: sjapartments(a)gmail.com
> Cc: New Contra Callers List <contracallers(a)lists.sharedweight.net>
> Message-ID:
> <
> CAL124sJrtCvbSZLeStuC0Hm7wsM2E3qsJgTf_i6_so6oWGaDFQ(a)mail.gmail.com>
> Content-Type: multipart/related;
> boundary="0000000000000bab2e061efe8c28"
>
> I agree with Jonathan about your existing list, and think that almost any
> sequence CAN be used if done with knowledgeable intent.
>
> However, for the general list of things to avoid I would nominate what I
> like to call “fudge down the line,” which is any adjustment that a) happens
> solely because the sequence doesn’t fully progress the couples and b) does
> not flow naturally from the existing movement. (This most often happens in
> Beckett dances or those substantially in Beckett formation; examples
> include a 2 count sideways slide along the line or a slightly angled right
> and left thru.)
>
> Notably, the 4 beat slide in “With Thanks to the Dean” and similar dances
> would not count because they are full and discrete actions that are
> specifically
> accounted for in the flow and timing.
>
> Neal Schlein
> Librarian, MSLIS
>
>
> On Mon, Aug 5, 2024 at 10:28 PM Michael Fuerst via Contra Callers <
> contracallers(a)lists.sharedweight.net> wrote:
>
> > Depending on the flow of the dance, balance and box the gnat can often
> > replace dsd and shoulder rounds 1 1/2
> >
> > On Mon, Aug 5, 2024 at 11:17 PM Maia McCormick via Contra Callers <
> > contracallers(a)lists.sharedweight.net> wrote:
> >
> >> I don't have Bob's list handy, but I cribbed heavily from it to make
> this
> >> (much less extensive) list of figures + timings
> >> <https://contra.maiamccormick.com/assets/pdfs/esc-choreo-figures.pdf>,
> >> in case it's useful to anyone!
> >>
> >> (This reminds me of some more things I don't like, ha. Circle L and pass
> >> through to swing -- IME the swing always gets truncated. Dosido 1.5x and
> >> right shoulder round 1.5x don't quiiite fit in 8 counts of music and are
> >> often frustrating. And I don't call couples' dosidos anymore, they're a
> >> pain to execute correctly unless everyone in the hall is EXTREMELY on
> top
> >> of it.)
> >> --
> >> Maia McCormick (she/her)
> >> 917.279.8194
> >>
> >>
> >> On Tue, Aug 6, 2024 at 12:02 AM Joe Harrington <
> contradancerjoe(a)gmail.com>
> >> wrote:
> >>
> >>> Is Bob Isaacs in the house? He has a giant spreadsheet with every
> >>> possible move transition and a count of the number of times it occurs
> in a
> >>> set of dances that now numbers in the hundreds or maybe a lot more.
> It’s
> >>> interesting which unlikely combinations do occur and which rarely do.
> I
> >>> hope this someday sees the light of day.
> >>>
> >>> —jh—
> >>>
> >>>
> >>> On Mon, Aug 5, 2024 at 11:29 PM Maia McCormick via Contra Callers <
> >>> contracallers(a)lists.sharedweight.net> wrote:
> >>>
> >>>> Jeff, impressively bad, well done!
> >>>>
> >>>> My biggest pet peeve is a RH chain (or promenade, or other move with a
> >>>> CCW courtesy turn) into a circle L—though this is a very of-the-moment
> >>>> style preference, as I know plenty of the classic dances have this
> combo.
> >>>> (Likewise for dances where just the 1s do a figure while the 2s stand
> >>>> around, doubly so if the dance doesn’t alternate active couples.)
> >>>>
> >>>> Long lines followed by a chain is quite idiomatic—and probably in part
> >>>> because of the strength that idiom, a chain (or other courtesy turn
> figure)
> >>>> followed by long lines drives me up a wall.
> >>>>
> >>>> I don’t love long lines into a circle—I’ll tolerate it if the rest of
> >>>> the dance is really exceptional, ehhhh.
> >>>>
> >>>> --
> >>>> Maia McCormick (she/her)
> >>>> 917.279.8194
> >>>>
> >>>>
> >>>> On Mon, Aug 5, 2024 at 10:31 PM Jeff Kaufman via Contra Callers <
> >>>> contracallers(a)lists.sharedweight.net> wrote:
> >>>>
> >>>>> Balance neighbor (4), swing partner (12)
> >>>>>
> >>>>> Ones dosido below while twos seesaw above (8).
> >>>>>
> >>>>> Long lines forward (4), swing on the side (8), long lines back (4).
> >>>>>
> >>>>> Circle left 1x (6) pass through (2)
> >>>>>
> >>>>> Jeff
> >>>>>
> >>>>> On Mon, Aug 5, 2024 at 9:51 PM Tepfer, Seth via Contra Callers <
> >>>>> contracallers(a)lists.sharedweight.net> wrote:
> >>>>>
> >>>>>>
> >>>>>> - A right chain INTO a swing
> >>>>>> - A swing into a circle right
> >>>>>> - Standard right shoulder hey into a swing
> >>>>>>
> >>>>>>
> >>>>>> Plenty other bad flow examples
> >>>>>>
> >>>>>>
> >>>>>> Seth Tepfer, MBA, CSM, PMP (he, him, his)
> >>>>>> Senior IT Manager, Emory Primate Center
> >>>>>>
> >>>>>> <
> https://outlook.office.com/bookwithme/user/fcd3f5d71da848759228584d1a49babd…>
> Book
> >>>>>> time to meet with me
> >>>>>> <
> https://outlook.office365.com/owa/calendar/SethTepfer@mscloud.emory.net/boo…
> >
> >>>>>> ------------------------------
> >>>>>> *From:* Jonathan Sivier via Contra Callers <
> >>>>>> contracallers(a)lists.sharedweight.net>
> >>>>>> *Sent:* Monday, August 5, 2024 9:48 PM
> >>>>>> *To:* New Contra Callers List <contracallers(a)lists.sharedweight.net
> >
> >>>>>> *Subject:* [External] [Callers] Re: Choreographic No-Nos
> >>>>>>
> >>>>>> I don't agree with your list. Yes, swings on the first half of a
> >>>>>> phrase are challenging and I might try to avoid them. There are
> dances
> >>>>>> with this that generally work fine, especially if the caller is
> aware of
> >>>>>> the potential issue and teaches and calls accordingly. The
> do-si-do across
> >>>>>> can be a bit awkward in a crowded line, but only if everyone is
> doing the
> >>>>>> do-si-do. If only the 1's or 2's are doing it then there is no
> problem.
> >>>>>> Shadow swings seem to be a personal preference or dislike and not
> really a
> >>>>>> choreographic issue. I actually think that a right chain after a
> swing can
> >>>>>> work very well. If you end the swing with the pointy hands
> pointing across
> >>>>>> then the right hands of the right hand dancers are right there
> ready to
> >>>>>> pull by. I suppose you might say there is a momentum change, but
> that can
> >>>>>> be very welcome in a dance where everything seems to be traveling
> the same
> >>>>>> way. Not every dance has to have continuous motion in the same
> direction
> >>>>>> all the time. I danced a dance with that set of figures just last
> Friday
> >>>>>> and I was thinking to myself how well it seemed to work.
> >>>>>>
> >>>>>> So I see #1 and #3 as more of a challenge than a problem. #4 is a
> >>>>>> personal preference and #2 seems like a perfectly fine transition
> between
> >>>>>> figures.
> >>>>>>
> >>>>>> Jonathan
> >>>>>>
> >>>>>> On 8/5/2024 7:37 PM, Michael Fuerst via Contra Callers wrote:
> >>>>>> > I am accumulating a list of figures, or figure sequence that
> >>>>>> significant dance writers (not necessarily a majority) consider
> >>>>>> Choreographic No-Nos
> >>>>>> > My list so far:
> >>>>>> > 1. do-si-do across
> >>>>>> > 2. right chain after a swing
> >>>>>> > 3 short swings on an odd phrase
> >>>>>> > 4. Shadow swings
> >>>>>> > Does anyone have further suggestions?
> >>>>>>
> >>>>>> _______________________________________________
> >>>>>> Contra Callers mailing list -- contracallers(a)lists.sharedweight.net
> >>>>>> To unsubscribe send an email to
> >>>>>> contracallers-leave(a)lists.sharedweight.net
> >>>>>> _______________________________________________
> >>>>>> Contra Callers mailing list -- contracallers(a)lists.sharedweight.net
> >>>>>> To unsubscribe send an email to
> >>>>>> contracallers-leave(a)lists.sharedweight.net
> >>>>>>
> >>>>> _______________________________________________
> >>>>> Contra Callers mailing list -- contracallers(a)lists.sharedweight.net
> >>>>> To unsubscribe send an email to
> >>>>> contracallers-leave(a)lists.sharedweight.net
> >>>>>
> >>>> _______________________________________________
> >>>> Contra Callers mailing list -- contracallers(a)lists.sharedweight.net
> >>>> To unsubscribe send an email to
> >>>> contracallers-leave(a)lists.sharedweight.net
> >>>>
> >>> _______________________________________________
> >> Contra Callers mailing list -- contracallers(a)lists.sharedweight.net
> >> To unsubscribe send an email to
> >> contracallers-leave(a)lists.sharedweight.net
> >>
> > _______________________________________________
> > Contra Callers mailing list -- contracallers(a)lists.sharedweight.net
> > To unsubscribe send an email to
> contracallers-leave(a)lists.sharedweight.net
> >
>
well, that's some thinking-outside-the-box stuff, right there!
thank you Alex!
On Tue, Aug 6, 2024 at 2:35 PM Alexandra Deis-Lauby <
alex(a)villagewestdesign.com> wrote:
> The last time I danced one of these, I learned that if you promenade with
> the Robins passing right shoulder, this flows very well. So if one MUST
> call it, you might change the promenade direction.
>
> Alex
>
>
> On Aug 6, 2024, at 3:32 PM, Elizabeth Bloom Albert via Contra Callers <
> contracallers(a)lists.sharedweight.net> wrote:
>
> Please, pretty please, with sugar on top!
> Please don’t call (or write) any more dances where a Half-Promenade
> (across the set) is followed by a Circle to the Left! With the possible
> exception of interlocking long wavy lines-- another big ugh! in my book,
> there is nothing more jarring than the 1/2 Prom to a Circle Left combo
> I once attended an (out-of-town) dance where three dances were called that
> had that combo (three!) and in spite of all the (other) pretty good dances
> and excellent dance partners, this is what I remember about that experience
> to this day!
>
> On Tue, Aug 6, 2024 at 8:29 AM Julian Blechner via Contra Callers <
> contracallers(a)lists.sharedweight.net> wrote:
>
>> My biggest nono is "too much clockwise". If moves are awkward or with meh
>> flow, that's not a health or safety thing. Whereas getting dizzy is.
>>
>> In dance,
>> Julian Blechner
>> He/him
>> Western Mass
>>
>> On Tue, Aug 6, 2024, 8:40 AM Angela DeCarlis via Contra Callers <
>> contracallers(a)lists.sharedweight.net> wrote:
>>
>>> Surprised no one's mentioned interlocking long wavy lines, yet — I think
>>> it's relatively well-known that Lisa Greenleaf hates this move! Can't say
>>> I'm a huge fan, either, but it has its moments.
>>>
>>> For my two-cents, butterfly whirls are on thin ice! I'll program dances
>>> that include this figure with a partner on rare occasion, and symmetrical
>>> dances with both a partner and neighbor whirl could be novel enough to be
>>> okay (???) on a cold day, but I think I would essentially never call a
>>> dance with only a neighbor butterfly whirl.
>>>
>>> There are too many excellent dances to ever bother with the mediocre
>>> ones, honestly.
>>>
>>> On Tue, Aug 6, 2024, 3:14 AM Neal Schlein via Contra Callers <
>>> contracallers(a)lists.sharedweight.net> wrote:
>>>
>>>> I agree with Jonathan about your existing list, and think that almost
>>>> any sequence CAN be used if done with knowledgeable intent.
>>>>
>>>> However, for the general list of things to avoid I would nominate what
>>>> I like to call “fudge down the line,” which is any adjustment that a)
>>>> happens solely because the sequence doesn’t fully progress the couples and
>>>> b) does not flow naturally from the existing movement. (This most often
>>>> happens in Beckett dances or those substantially in Beckett formation;
>>>> examples include a 2 count sideways slide along the line or a slightly
>>>> angled right and left thru.)
>>>>
>>>> Notably, the 4 beat slide in “With Thanks to the Dean” and similar
>>>> dances would not count because they are full and discrete actions that
>>>> are specifically accounted for in the flow and timing.
>>>>
>>>> Neal Schlein
>>>> Librarian, MSLIS
>>>>
>>>>
>>>> On Mon, Aug 5, 2024 at 10:28 PM Michael Fuerst via Contra Callers <
>>>> contracallers(a)lists.sharedweight.net> wrote:
>>>>
>>>>> Depending on the flow of the dance, balance and box the gnat can
>>>>> often replace dsd and shoulder rounds 1 1/2
>>>>>
>>>>> On Mon, Aug 5, 2024 at 11:17 PM Maia McCormick via Contra Callers <
>>>>> contracallers(a)lists.sharedweight.net> wrote:
>>>>>
>>>>>> I don't have Bob's list handy, but I cribbed heavily from it to make this
>>>>>> (much less extensive) list of figures + timings
>>>>>> <https://contra.maiamccormick.com/assets/pdfs/esc-choreo-figures.pdf>,
>>>>>> in case it's useful to anyone!
>>>>>>
>>>>>> (This reminds me of some more things I don't like, ha. Circle L and
>>>>>> pass through to swing -- IME the swing always gets truncated. Dosido 1.5x
>>>>>> and right shoulder round 1.5x don't quiiite fit in 8 counts of music and
>>>>>> are often frustrating. And I don't call couples' dosidos anymore, they're a
>>>>>> pain to execute correctly unless everyone in the hall is EXTREMELY on top
>>>>>> of it.)
>>>>>> --
>>>>>> Maia McCormick (she/her)
>>>>>> 917.279.8194
>>>>>>
>>>>>>
>>>>>> On Tue, Aug 6, 2024 at 12:02 AM Joe Harrington <
>>>>>> contradancerjoe(a)gmail.com> wrote:
>>>>>>
>>>>>>> Is Bob Isaacs in the house? He has a giant spreadsheet with every
>>>>>>> possible move transition and a count of the number of times it occurs in a
>>>>>>> set of dances that now numbers in the hundreds or maybe a lot more. It’s
>>>>>>> interesting which unlikely combinations do occur and which rarely do. I
>>>>>>> hope this someday sees the light of day.
>>>>>>>
>>>>>>> —jh—
>>>>>>>
>>>>>>>
>>>>>>> On Mon, Aug 5, 2024 at 11:29 PM Maia McCormick via Contra Callers <
>>>>>>> contracallers(a)lists.sharedweight.net> wrote:
>>>>>>>
>>>>>>>> Jeff, impressively bad, well done!
>>>>>>>>
>>>>>>>> My biggest pet peeve is a RH chain (or promenade, or other move
>>>>>>>> with a CCW courtesy turn) into a circle L—though this is a very
>>>>>>>> of-the-moment style preference, as I know plenty of the classic dances have
>>>>>>>> this combo. (Likewise for dances where just the 1s do a figure while the 2s
>>>>>>>> stand around, doubly so if the dance doesn’t alternate active couples.)
>>>>>>>>
>>>>>>>> Long lines followed by a chain is quite idiomatic—and probably in
>>>>>>>> part because of the strength that idiom, a chain (or other courtesy turn
>>>>>>>> figure) followed by long lines drives me up a wall.
>>>>>>>>
>>>>>>>> I don’t love long lines into a circle—I’ll tolerate it if the rest
>>>>>>>> of the dance is really exceptional, ehhhh.
>>>>>>>>
>>>>>>>> --
>>>>>>>> Maia McCormick (she/her)
>>>>>>>> 917.279.8194
>>>>>>>>
>>>>>>>>
>>>>>>>> On Mon, Aug 5, 2024 at 10:31 PM Jeff Kaufman via Contra Callers <
>>>>>>>> contracallers(a)lists.sharedweight.net> wrote:
>>>>>>>>
>>>>>>>>> Balance neighbor (4), swing partner (12)
>>>>>>>>>
>>>>>>>>> Ones dosido below while twos seesaw above (8).
>>>>>>>>>
>>>>>>>>> Long lines forward (4), swing on the side (8), long lines back (4).
>>>>>>>>>
>>>>>>>>> Circle left 1x (6) pass through (2)
>>>>>>>>>
>>>>>>>>> Jeff
>>>>>>>>>
>>>>>>>>> On Mon, Aug 5, 2024 at 9:51 PM Tepfer, Seth via Contra Callers <
>>>>>>>>> contracallers(a)lists.sharedweight.net> wrote:
>>>>>>>>>
>>>>>>>>>>
>>>>>>>>>> - A right chain INTO a swing
>>>>>>>>>> - A swing into a circle right
>>>>>>>>>> - Standard right shoulder hey into a swing
>>>>>>>>>>
>>>>>>>>>>
>>>>>>>>>> Plenty other bad flow examples
>>>>>>>>>>
>>>>>>>>>>
>>>>>>>>>> Seth Tepfer, MBA, CSM, PMP (he, him, his)
>>>>>>>>>> Senior IT Manager, Emory Primate Center
>>>>>>>>>> <Outlook-b31euhoh.png>
>>>>>>>>>> <https://outlook.office.com/bookwithme/user/fcd3f5d71da848759228584d1a49babd…> Book
>>>>>>>>>> time to meet with me
>>>>>>>>>> <https://outlook.office365.com/owa/calendar/SethTepfer@mscloud.emory.net/boo…>
>>>>>>>>>> ------------------------------
>>>>>>>>>> *From:* Jonathan Sivier via Contra Callers <
>>>>>>>>>> contracallers(a)lists.sharedweight.net>
>>>>>>>>>> *Sent:* Monday, August 5, 2024 9:48 PM
>>>>>>>>>> *To:* New Contra Callers List <
>>>>>>>>>> contracallers(a)lists.sharedweight.net>
>>>>>>>>>> *Subject:* [External] [Callers] Re: Choreographic No-Nos
>>>>>>>>>>
>>>>>>>>>> I don't agree with your list. Yes, swings on the first half of a
>>>>>>>>>> phrase are challenging and I might try to avoid them. There are dances
>>>>>>>>>> with this that generally work fine, especially if the caller is aware of
>>>>>>>>>> the potential issue and teaches and calls accordingly. The do-si-do across
>>>>>>>>>> can be a bit awkward in a crowded line, but only if everyone is doing the
>>>>>>>>>> do-si-do. If only the 1's or 2's are doing it then there is no problem.
>>>>>>>>>> Shadow swings seem to be a personal preference or dislike and not really a
>>>>>>>>>> choreographic issue. I actually think that a right chain after a swing can
>>>>>>>>>> work very well. If you end the swing with the pointy hands pointing across
>>>>>>>>>> then the right hands of the right hand dancers are right there ready to
>>>>>>>>>> pull by. I suppose you might say there is a momentum change, but that can
>>>>>>>>>> be very welcome in a dance where everything seems to be traveling the same
>>>>>>>>>> way. Not every dance has to have continuous motion in the same direction
>>>>>>>>>> all the time. I danced a dance with that set of figures just last Friday
>>>>>>>>>> and I was thinking to myself how well it seemed to work.
>>>>>>>>>>
>>>>>>>>>> So I see #1 and #3 as more of a challenge than a problem. #4 is
>>>>>>>>>> a personal preference and #2 seems like a perfectly fine transition between
>>>>>>>>>> figures.
>>>>>>>>>>
>>>>>>>>>> Jonathan
>>>>>>>>>>
>>>>>>>>>> On 8/5/2024 7:37 PM, Michael Fuerst via Contra Callers wrote:
>>>>>>>>>> > I am accumulating a list of figures, or figure sequence that
>>>>>>>>>> significant dance writers (not necessarily a majority) consider
>>>>>>>>>> Choreographic No-Nos
>>>>>>>>>> > My list so far:
>>>>>>>>>> > 1. do-si-do across
>>>>>>>>>> > 2. right chain after a swing
>>>>>>>>>> > 3 short swings on an odd phrase
>>>>>>>>>> > 4. Shadow swings
>>>>>>>>>> > Does anyone have further suggestions?
>>>>>>>>>>
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>>>>>>>>>>
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>>>>>>> _______________________________________________
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>>>>>>
>>>>> _______________________________________________
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>>>> _______________________________________________
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>>>>
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>> _______________________________________________
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>
>
> --
>
> * Elizabeth Bloom Albert *
> _______________________________________________
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>
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>
--
* Elizabeth Bloom Albert *
I’m trying to add more style points to my teaching. What are some of your favorite brief style or safety tips to deliver from the mic? Ones that are relevant to specific sequences, general tips, for beginners, or for experienced dancers, I’m interested in any and all of them!
Harris Lapiroff
Dance Caller and Organizer
Boston Intergenerational Dance Advocates Board (Cambridge MA)
Pinewoods Camp, Inc Board (Plymouth MA)
https://chromamine.com/contra/
Prompted by some recent conversations, I’m curious how folks here feel
about shadow swings!
1. As a caller, do you:
A) not have an issue with shadow swings, and program them freely
B) not tend to program them just bc they don’t come up in your repertoire,
but have no issue with them
C) not program shadow swings as a matter of principle
D) some secret fourth thing (feel free to elaborate!)?
2. How do you feel about shadow swings as a dancer?
Will weigh in with my thoughts later, both to avoid biasing the
conversation from the outset, and also because I’m currently in transit 😅
Thanks for participating in the data gathering!
Cheers,
Maia
--
Maia McCormick (she/her)
917.279.8194
He hasn’t been active for many years, but I just learned that John Bradford
passed away on July 27, 2024.
John learned to call as a young child in Oklahoma, even before attending
one of Lloyd Shaw’s earliest caller workshops in Colorado Springs with his
parents. At the time he was not yet able to waltz (a prerequisite for
atending), and was trying to squeak by with a two-step. According to John,
Shaw caught him at it immediately—and set his best students to rectifying
the issue post-haste.
John would go on to perform with the Cheyenne Mountain Dancers, was a
founding member and driving force behind the Lloyd Shaw Foundation (LSF),
and was the caller for their recordings of Shaw’s 5-part singing quadrille
and the Broadmoor Promenade. According one report, he was deemed to have
perfectly picked up Shaw’s cadence and could call entirely without
affectation.
John was instrumental in getting the LSF’s recordings created, packaged,
marketed, and distributed to schools across the country. A deep well of
knowledge, John was a true old-time caller and knew patter that I have
never heard anywhere else.
In addition to being a superb and versatile caller and dancer (with one of
the best swings of anyone around), John was a self taught guitarist,
singer, and pianist, a professional educator, and an all-around gentleman
and excellent human being. As an added bonus, kids and adults both just did
what he told them to do.
He has left behind a family full of musicians, dancers, and callers, as
well as a legacy of teaching and inspiring everyone who danced with him—not
to mention the teachers and children touched by his efforts to have quality
dance exposure incorporated into school curriculums.
Neal Schlein
Librarian, MSLIS
