Contra Callers

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6 participants
4371 discussions

by Claire Takemori via Callers

Thanks Alan! Sounds like a lot to learn. I'm really grateful that there are so many callers willing to mentor new callers and help with these things. When I called at camp last week, I was listening for the 3rd song and even my experienced caller helper was not sure on the transition....... but knew when to ask. Must be an amazing thing when really good callers like George Marshall can get out on the floor and dance for a bit, or Nils Fredland can join the band...... Thanks for all the help! claire Message: 3 Date: Fri, 10 Jul 2015 00:31:54 -0700 From: Alan Winston via Callers <callers(a)lists.sharedweight.net> To: <callers(a)lists.sharedweight.net> Subject: Re: [Callers] Thanks Message-ID: <559F74EA.4010603(a)slac.stanford.edu> Content-Type: text/plain; charset="windows-1252"; format=flowed On 7/9/15 11:58 PM, Claire Takemori via Callers wrote: > > I'm still looking for good instructions on when to cue the band for the ending? Is it simply when a couple is out at the top that you signal during B1 that there are 3 more times left? Basically, mostly. And you have to stay with them because sometimes they'll catch the 3, know it's happening, and then look to you for confirmation of the last one and if you're thinking about the next dance or glazing over and can't confirm it, confusion may ensue. So it doesn't hurt to be ready to show them 1 finger (not that one) before the last time. Usually a full 3-2-1 is more than they need and actually unhelpful because your coming over with the "2" makes them think this is new information and they need to process it. Complications: Some dances have a couple out at the top in B1 who are going to be brought back in B2, so you have to know the end effects of the dance. Talk to the band. Rarely (in the Bay Area, anyway) you get an old-timey band that's just going to pound one tune all the way through, and they just want to know when to go out. I've mostly been used to bands that are playing three-tune medleys. They're going to play like 6-6-7 or 6-6-5. The last tune is probably climactic so you don't want to cut it short. You ideally will keep track of which tune they're on (which can be surprisingly hard to do from the stage with your attention on the floor and no monitors pointing at you and the tune sounding different every time they play it because of variations and dynamics - you might not realize they've changed) and know when they're in the third tune and give them the 3-more at B1 of tune 2 or 4. If you give 'em 3 when they're about to change tunes they might wave you off and play 5. But the band might want to play a two-tune medley, and then they want to know when you're (about) halfway through the dance so they know when to switch, and for that you have to decide how many times you want to run the dance, keep count of how many times it's been run by the time you said it was halfway, and count down to your "3", remembering to do it when there's a couple out at the top, if that's possible. "If that's possible" because sometimes you're trying to manage all this and some couple drops out of one set or tries and fails to trade or some other damn thing and the sets get out of synch. (For some reason that's happened to me most often calling Lake City.) Then it's not possible to finish after a couple has come in at the top in all sets. People who care about that care about that, most won't notice, and a lot of dancers will just say "huh" and move on if they do notice it. > > > What I was mostly curious is if someone had written out ways to teach the various steps. I guess this is one of those things that is still passed down the old-fashioned way. I have to find a great caller, listen to them call and write down what they say..... I was hoping I would not have to miss out on dancing to learn this. You can set up a voice recorder and transcribe later. (Polite to ask if it's okay first.) If you're friends with the sound man you might the caller mic feed ... -- Alan

9 years, 11 months

Thanks

by Claire Takemori via Callers

Thank you for all the great advice! I do plan to call a simple contra that is still interesting to the experienced dancers. I have no ideas of calling hard figures until I've got experience and am ready. I'm still looking for good instructions on when to cue the band for the ending? Is it simply when a couple is out at the top that you signal during B1 that there are 3 more times left? What I was mostly curious is if someone had written out ways to teach the various steps. I guess this is one of those things that is still passed down the old-fashioned way. I have to find a great caller, listen to them call and write down what they say..... I was hoping I would not have to miss out on dancing to learn this. Thanks for the help. claire takemori

9 years, 11 months

Ferry Boat Contra Ideas

by Lindsey Dono via Callers

Hi Callers, In a couple of weeks, I'll be calling the annual Ferry Boat Contra for the second time. Last year I put a good deal of effort into coming up with nautical themes/jokes, so this year I'll really need to go "overboard." I'd love to hear your ideas regarding entertaining (but not distracting) maritime moves/terminology/jokes/trivia to add into my program. The majority of folks in my area have at least been on a boat other than a ferry, and a number sail regularly, but I'd rather keep the references from becoming too obscure. Looking forward to your suggestions! Lindsey(Tacoma, WA)

9 years, 11 months

How to teach various steps to beginners?

by Claire Takemori via Callers

Hi. I just called my first contra dance at camp last week. I didn't die, so I'm thinking of working with our son's nature class to do some family dances. In the meantime, I will try to call a contra when I can as a guest at our local dances. Do you know of a source/s (would you share yours) that has good clear wording for how to teach things like Hey, Pull-by, California Twirl, Petronella, Rory O'more, etc? I will ask good callers if I can record their teachings when I'm at dances with lots of beginners..... Where else can I learn good, simple wording? I sure don't want to reinvent it myself...... Thanks! claire takemori

9 years, 11 months

Petronella and Rory O'More

by Michael Fuerst via Callers

I recently attended a dance weekend where the excellent callers, while teaching dances, used the phrases ".. as in Rory O'More" and ".. as in Petronella"Many of the dancers in attendance probably have never danced either Petronella or Rory O'MoreThe movements implied by these terms can be easily explainedI've heard callers ask dancers to "Petronella one place."But if the the world can xerox a document, or google for information, no deity would probably object if contra dancers occasionally "petronella." Michael Fuerst 802 N Broadway Urbana IL 61801 217 239 5844

9 years, 11 months

Announcing: Dare To Be Square Tennessee - Nashville Edition

by T Claw via Callers

Dare To Be Square Tennessee - Nashville Edition An old time music, dance, and square dance calling weekend October 1-4th, 2015 www.daretobesquare.org Bands: The Hogslop String Band, The Four Prophet String Band, Turnip the Beet and more Callers: Nancy Mamlin, Will Mentor, T-Claw and more Weekend Pass: $40 Early Bird price (Before August 31st) $60 Regular Price 15 & under free with chaperon *Saturday Evening Dance is off site with a separate cover Buy Tickets http://dtbstn.bpt.me/ <http://l.facebook.com/l.php?u=http%3A%2F%2Fdtbstn.bpt.me%2F&h=cAQE3RCKJ&enc…> RSVP and spread the word www.fb.com/events/1603874016546845/ <http://l.facebook.com/l.php?u=http%3A%2F%2Fwww.fb.com%2Fevents%2F1603874016…> VOLUNTEERS NEEDED: If you'd like to help out, email dtbstn(a)gmail.com CAMPING and FOOD available for an additional charge. Primitive camping at Bells Bend Outdoor Center (4.5 miles away from main venue) 4187 Old Hickory Blvd Nashville, TN 37218 Calling, dancing, and music workshops Friday, all day Saturday, and Sunday. More details to come. Evening Dances open to the PUBLIC: $5-$10 at the door A description of what to expect: All dances will be TAUGHT all weekend. No experience is necessary. No one is required to dance, call, or play. It is a SOCIAL event. The focus will be on simple and traditional southern Appalachian figures, partner dancing, and old music. No dress code or partner is needed needed. Anyone can dance with ANYONE regardless of gender. Questions: dtbstn(a)gmail.com or (615) 430-8230 Scholarship and work-trade applications will be available soon.

9 years, 11 months

Tidbits on "Social Dance"

by Rich Sbardella via Callers

I have been asked to share some short tidbits on "social dance" between dances. I will begin gathering some information soon, but I would also appreciate any facts or* short* input on what I can share. My emphasis will probably be how social dance , particularly country dance, came to America, and its impact or influence on American culture. Thanks, Rich Sbardella Stafford, CT

9 years, 11 months

Re: [Callers] Buzz Step Swing

by John Sweeney via Callers

Yes, of course I always tell dancers that they can walk instead of buzz, but the buzz-step is so much more fun that it seems crazy not to teach it when every dance is going to have a swing and usually two. <Digression:> Yes, I love swinging, and have been loving it for fifty years now, but why does every new dance have to have two swings? Oh no, not Neighbour Balance & Swing, Circle Left 3/4, Partner Swing again - that's half the dance gone with nothing new or interesting in it! (And changing the Circle Left 3/4 to Men/Ladies Allemande 1 & 1/2 does not make it more interesting!) I write lots of dances with one or zero swings - a zero-swing dance can have so much good stuff in it that the dancers don't even notice there is no swing; they are having too much fun. It always puzzles me when people take a great one-swing dance and re-choreograph it to add a second swing, losing part of what made it a great dance just for the sake of even more swinging. <End of digression.> I found it interesting that Ron said, "the buzz-step swing gets axed if I'm short on time". If I only had time to teach one thing then the only thing I would teach would be the buzz-step swing, and how to finish it so you end up in the right place. I can't think of anything else that newcomers can't learn during the walk-throughs. Question: If you were calling for a group with a dozen newcomers in the hall out of 100 people, and the organizers said you could have two minutes teaching before you started the first walk-through, what would you teach? For me the answer is obvious, every dance has a buzz-step swing; teach a buzz-step swing. Another reason for teaching swinging is that there are a significant number of "experienced" dancers who have bad swinging habits. I dance all over the USA and the UK and wherever I go there are always some people who: - grip, clamp, squeeze, hang, press - hold their partner in the wrong place so it is uncomfortable - use too much strength and try to do silly things like making their partners feet leave the floor - lean sideways or backwards - start twirls too late and when they are facing the wrong way so that they end up in the wrong place - etc. If just a couple of those dancers pick up on any of these points and improve their swinging then you have done good work! Yes, I hate it when callers talk too much and take time out of dancing time. But this can be really short: Sample teach: = = = = = = = = Hi, I'm John. We have some new people here today and they are going to spend half an hour swinging tonight, so please let's spend a minute or two on showing them how it's done. And all you great dancers out there why not see if you can't make your swing even better for you and your partners. This is called a buzz-step swing. First, let go of you partner completely. Put your left toe just behind your right foot like this. Now walk fast on the spot. Now push with your left foor as though you were on a skateboard and turn clockwise by yourself on the spot. Relax your knees so you don't bounce up and down. See how smoothly.you can turn with the minimum of effort. Now take your partner in a ballroom hold - the man's hand on the lady's shoulderblade - it is far more comfotable for the lady if you hold them up high. Now relax - make sure you are not pressing on any part of your partner. And swing - it should be a gentle embrace where, as a single counterbalanced unit, you glide smoothly and effortlessly around. Smile at your partner and you won't get dizzy. Now think of your joined hands as an arrowhead and finish pointing at the other couple. If you are having trouble with the buzz-step then you can always just walk. = = = = = = = = I just timed that and it took less than 90 seconds. Surely that is worth doing! Yes, some of them wont get it, but for those who do you have just greatly enhanced their enjoyment of the evening. Anyway, that's what I think. :-) Happy dancing, John John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 http://www.contrafusion.co.uk for Dancing in Kent

9 years, 11 months

Favorite Techno-Suitable Contras?

by Don Veino via Callers

Have my first gig for a Techno contra coming up next week. Spoke with the band about dances selection and am culling through my cards for suitable dances now. Do you have any favorite easy-to-remember (not necessarily easy to call) dances that are interesting yet support dropping out on calls quickly? Thanks, Don

9 years, 11 months

Dances with One Swing

by John Sweeney via Callers

Rich asked for dances with one or zero swings. These are some of mine, many aimed at beginners. Duck! (by John Sweeney) Contra; Improper; Double Progression A1: Neighbour Dosido Neighbour Two Hand Turn - open into a circle A2: Circle Left; Circle Right B1: Men Dosido Ladies Dosido B2: Balance the Ring; #2s Arch, #1s Duck Through to New Circle Balance the New Ring; #2s Arch, #1s Duck Through to face New Neighbours Do a quick California Twirl when you reach the end of the line Finding Your Balance (by John Sweeney) Contra; Becket (CW) A1/A2: Four Changes all with Balances - Start Right with Partner and alternate hands B1: Balance the Ring; Men Cross Balance the Ring; Ladies Cross B2: Half Promenade Yearn on the Left Diagonal to New Neighbours Life is But A Melancholy Flower (by John Sweeney) Contra; Improper A1: Neighbour Dosido Neighbour two hand Balance & Petronalla Turn for Two (Men now back to back in the middle) A2: Take Two Hands with Neighbour: All Gallop* Down; All Gallop Up B1: Start a Neighbour Gypsy; Men leave and Half Left Shoulder Gypsy with each other Partner Swing B2: Balance the Ring; Petronella Turn Balance the Ring; California Twirl * Americans often say "sashay" - but that word doesn't give the right feel - I mean gallop! Rotafl (by John Sweeney) Contra; Becket (CW) A1: Yearn on Left Diagonal to a New Couple Ladies' Chain A2:Long Lines Go F & B - Men Roll the Ladies from Right to Left Long Lines Go F & B - Ladies Roll the Men from Right to Left B1: Tapsalteerie Hey: Ladies Half Hey, Men Ricochet Ladies Ricochet, Men Half Hey B2: Flutterwheel and sweep the Men in to: Men Dosido Pestchye (by John Sweeney) Contra; Becket A1: Balance the Ring; Petronella Balance the Ring; Petronella A2: Hands Across: Star Left; Star Right - Men Drop Out B1: Ladies' Chain x 2 B2: Half Promenade Yearn to the Left Dixie Doo-Dah (by John Sweeney) Contra; Improper A1: Neighbour Dosido & Swing - finish facing Down A2: Down the Hall in Lines of Four; Dixie Twirl* Up the Hall in Lines of Four; Bend the Line B1: Balance the Ring; Men Cross Balance the Ring; Ladies Cross B2: Neighbour Two Hand Turn Long Lines Go Forward & Back * Dixie Twirl: No letting go: middle couple arch; end lady leads through the arch to the other end facing up; end man goes straight across to the other end facing up. The Mad Gypsy (by John Sweeney) Contra; Becket (CW) A1: Ladies' Chain Mad Robin - AC - Ladies through the Middle A2: Full Hey - Ladies start Right Shoulder B1: Ladies Gypsy Neighbour Two-Hand Turn (or Swing) B2: Balance the Ring; Ladies Cross Yearn on the Left Diagonal Someone mentioned that they didn't like the term "cross over". Whenever I use it I mean pass by the right shoulder and turn right to face each other. I also describe it as "half a gypsy to change places". I hope you find some of those useful. Please let me know if you use them or have any feedback. Thanks. Happy dancing, John John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 http://www.contrafusion.co.uk for Dancing in Kent

9 years, 11 months

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