Contra Callers

contracallers@lists.sharedweight.net

6 participants
4389 discussions

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)

10 years, 1 month

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

10 years, 1 month

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

10 years, 1 month

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.

10 years, 1 month

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

10 years, 2 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

10 years, 2 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

10 years, 2 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

10 years, 2 months

Re: [Callers] Giving Weight

by John Sweeney via Callers

I really, really don't like the term "giving weight". It is a technical term that is too easily misunderstood. As soon as you mention giving weight some people will start to lean or pull. I don't believe that leaning or pulling have any place in contra dancing. All that leaning and pulling do is throw your partner off balance and tire them out. I do actually use a lean sometimes in teaching first-timers: "Make a circle, elbows down, hands up, now lean back very slightly. Can you feel a little tension in your arms? OK stand up straight and never, ever lean again! :) That little tension you felt was the kind of tension you need in your arms to feel connected to those on either side of you." I talk about connection rather than giving weight. I don't want your weight! Please don't give me any of your weigh! You are responsible for your own balance.. On the other hand I am very happy to connect to you and create a gentle counterbalance so that we can rotate without flying apart. I will happily use my muscles to counteract centrifugal force and control our combined mass. (No, I don't normally talk about mass on the dance-floor!) This applies to swings, allemandes, two hand turns and any other form of rotation. It is not wrestling it is dancing. Always start at zero tension and build up to the minimum that you need to do the move. Someone said you should press back against your partner's hand in a swing. Please don't - all you will do is tire me out! You connect to each other and make a gentle frame; as you speed up centrifugal force will try to pull you apart; you just apply your muscles to maintain the frame. It may now feel like you are pushing against the hand, but you are not - centrifugal force is doing all the pushing - adding to it is unnecessary. Some dancers also put their hand on your back and press to pull you towards them - again this is completely unnecessary and can be quite uncomfortable. If I want someone to feel the connection I do a fast, skipping, two hand turn with them, or a zesty Galway Swing, generating enough centrifugal force so that they connect ("give weight") automatically. Jonathan's description was good: "They need to move their center of gravity backwards a little. This can be done by bending the knees and waist a very little, as if you were going to sit down. That plus the rotation should provide enough force to provide the tension/counterweight. So we may want the dancers to move the core of their body back a little, but not by leaning." When you practice that sitting motion you should always do it individually so that you learn to keep your own balance. Happy dancing, John John Sweeney, Dancer, England <mailto:john@modernjive.com> john(a)modernjive.com 01233 625 362 & 07802 940 574 <http://www.modernjive.com> http://www.modernjive.com for Modern Jive Events & DVDs <http://www.contrafusion.co.uk> http://www.contrafusion.co.uk for Dancing in Kent

10 years, 2 months

How to explain the charms of square dances (was More on Programming)

by Jacob Nancy Bloom via Callers

Many thanks to Cary Ravitz for explaining why some dancers prefer contras to squares. (You can see that explanation below.) Tom Hinds said that, when dancers tell him they don't like squares, he tells them, "then stay home when I call". I wouldn't be comfortable giving that reply. While square dances might not offer dancers the " dancer, music, motion connection", without the voice of a caller intruding, that they might find in contra dances, the square dances offer other benefits. I would rather come up with a way of describing those benefits, in the hope that some of those dancers will find things to enjoy in the squares. How would those of you who enjoy both squares and contras describe what you get out of dancing square dances? Jacob On Thu, Jun 25, 2015 at 11:25 PM, Cary Ravitz via Callers < callers(a)lists.sharedweight.net> wrote: > > > On Thu, Jun 25, 2015 at 10:40 PM, Jacob Nancy Bloom via Callers >> <callers(a)lists.sharedweight.net> wrote: >> > Cary, some of your objections to squares seem a bit contradictory. Let >> me >> > re-state them, and see if I've understood you correctly. >> > >> > Some squares are unphrased, and those squares have less opportunity to >> > connect your movement to the music. >> > Yes. > > > Many squares are danced for a shorter time than contradances are usually >> > danced, and therefore take relatively longer to teach compared to the >> > dancing time. >> > No, in my experience as a dancer, squares take longer to teach and this is > compensated with shorter dance time. > > >> > Many squares are mixers, and therefore have less time dancing with your >> > original partner than in a contra. >> > Yes. > > >> > Some squares have visiting couple dances, in which the dancers can only >> make >> > movements in place during some of the music. >> > In my experience as a dancer, visiting couple square use the interaction > sequence 1-2, 1-3, 1-4 and 2-3, 2-3, 2-4, 2-1 and 3-4, ... so for 2/3 of > the dance half the dancers are not included. > > >> > In all square dances, the need to listen for the calls interferes with >> the >> > relationship you would like to have with the music. >> > Yes. > > >> > >> > Have I understood your points correctly? Or have I not quite >> understood >> > your meaning? >> > *For me*, this all comes down to > > dancer, music, motion connection. It can be wonderful in a contra. I've > never found it in a square. > >

10 years, 2 months

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