First, a note: Ralph Page's Heritage Dances of Early America contains
dances with publication dates from 1788 to 1817, relying heavily on the
Saltator manuscript of 1807. It was indeed published in 1976, by the Lloyd
Shaw Foundation.
As for teaching Colonial Dance to children, here are the main points:
1. Chip Hendrickson's book Colonial Social Dancing for Children (CSDfC)
spells out how Chip would have presented colonial dance in a school setting
over a course of six lessons.
2. CSDfC was expanded from Chip's earlier book, A Colonial Dancing
Experience (CDE), which is long out of print. While the additional
material in CSDfC is valuable, CDE explains how to teach colonial era
footwork a bit more concisely. The one-session colonial dance workshops
that my wife and I bring into schools are based heavily upon the program
outlined in CDE. (More information about them is available at
www.dancehistoryalive.com)
3. Neither CSDfC nor CDE suggests that it is possible to teach an authentic
triple minor progression contra to school children in a small number of
lessons. The adapted "colonial style" dances which are suggested for
children are mostly four-couple whole set longways dances, with the top
couple moving to the bottom of the set at the end of the dance. CSDfC also
has some three couple longways dances where the first couple dances a
figure with the second couple, goes down the center, return and cast off,
and then does the same figure with the third couple, and the new couple at
the top starts the dance the next time through. CSDfC has true duple minor
contras introduced in the fifth of the six lessons. I had a third grade
group last year that I was able to do a second session with, and I
successfully did a duple minor contra with them in the second session, but
it was a duple minor with a progression that was both understandable and
forgiving: towards the couple below forward and back, pass through and bow
to the new couple you meet.
4. Rich, Patricia Campbell has also taught colonial dance based on Chip's
program. If you're going to the get-together at her place tomorrow, ask
her about it. (I won't be able to make it this year.)
5. Every book of carefully researched colonial dances has to rely on the
only available printed sources about dance of the period, and those
sources, whether books written by dancing masters or notes taken by the
students of dancing masters about the dances they had learned, are talking
about dancing as taught by people who new what was the latest fashion to
people with the money to learn the most fashionable dances. This leaves
open the question of what kind of dancing was being done out in the country
by people who had never taken lessons. Dudley Laufman has written his
opinion on that subject on a web page on his site, at
http://old.laufman.org/Schools.htm Other authorities claim that the
common people would have danced cut-out reels, meaning that they would have
done a hey for four, stopping sometimes to do footing steps to one of the
other dancers, and with new people taking the place of one of the dancers
when they felt like getting into the dance.
My own colonial dance workshops consist of a brief explanation to the
students of why they would have wanted to learn to dance if they had lived
in colonila times, teaching set, balance, beaten step, rigadoon, and
chassee steps, getting the students into four couple longways sets and
teaching a whole-set longways dance that lets them practice the footwork,
and then teaching a colonial-era singing game.
I hope that's of use to you.
Jacob Bloom
Date: Wed, 26 Mar 2014 23:36:14 -0400
> From: Jacob Nancy Bloom <jandnbloom(a)gmail.com>
> To: callers(a)sharedweight.net
> Subject: Re: [Callers] Callers Digest, Vol 115, Issue 11
> Message-ID:
> <CAJPS8NjHDP=tJXqotMDojPJu=
> ra1kp0vE0bjLgFpMXGiOabFKw(a)mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> I have much experience teaching the Colonial Social Dances for Children
> program. I'll try to write something about it tomorrow.
>
> By the way, Rich, are you in the Old Sturbridge Village dancers? Art
> Martin asked me about 'Barrel of Sugar' the same day you posted your
> question about it here. We danced it that night at the Wayside Inn but I
> came down with a very nasty bug the next day and I'm still recovering from
> it.
>
> Jacob
>
>
> On Wed, Mar 19, 2014 at 12:00 PM, <callers-request(a)sharedweight.net>
> wrote:
>
> > Message: 1
> > Date: Tue, 18 Mar 2014 13:15:11 -0700
> > From: James Saxe <jim.saxe(a)gmail.com>
> > To: rich sbardella <richsbardella(a)snet.net>, Caller's discussion list
> > <callers(a)sharedweight.net>
> > Subject:
>
> Re: [Callers] 1820s-1830s Dances
> > Message-ID: <FCD608B4-FC13-4615-823F-D5D05E048DEB(a)gmail.com>
> > Content-Type: text/plain; charset=WINDOWS-1252; format=flowed;
> > delsp=yes
> >
> > Rich,
> >
> > Two books come to mind that might have material somewhat relevant
> > to your request, though not exactly on target: _Heritage Dances of
> > Early America_ by Ralph Page (abbreviated HDoEA below) and _Colonial
> > Social Dancing for Children: Social Dancing of Washington?s Time
> > arranged for Today?s Young People_ by Charles Cyril ("Chip")
> > Hendrickson [CSDfC below]. Here's a little more information about
> > them, with the caveat that I don't have my copy of either book at
> > hand and my memory may be faulty on some of the details.
> >
> > * * * * * * * * * *
> >
> > HDoEA was published in or about 1976 by the Lloyd Shaw Foundation.
> > It appears to be out of print. It's indexed in Michael Dyck's
> > contra dance index, and many of the dances in it (or versions of
> > them) appear in other sources. You can find them by going to
> >
> > http://www.ibiblio.org/contradance/index/by_title.html
> >
> > and searching for the string "HDoEA". (The page
> >
> > http://www.ibiblio.org/contradance/index/sources.html
> >
> > is a key to the source abbreviations.)
> >
> > IIRC, the dances in HDoEA are from sources dating from the 1790s
> > through the first decade or two of the 1800's, so a little earlier
> > the period you asked about, though some may have remained popular
> > for some time after. All or almost all are longways triple minors,
> > though some might be of the sort that are readily adapted to duple
> > minor form. For each dance, Page give both the description as it
> > appeared in the original source and an interpretation in modern
> > terminology.
> >
> > The part about being "easy enough for children" could be
> > problematical to say the least, for reasons that will be evident
> > to anyone who has tried teaching relatively "easy" contras to
> > groups (whether children or adults) where almost all are unfamiliar
> > with how progression works, dancing to the phrase, etc. Even
> > experienced contemporary contra dancers could have difficulties
> > with things like triple-minor progression, right-and-left four
> > from proper position (in communities where older dances like
> > "Petronella" and "Hull's Victory" have disappeared from repertoire),
> > crossover heys for three, or choreography that asks you to turn a
> > four-person star just halfway around in eight beats.
> >
> > * * * * * * * * * *
> >
> > CSDfC and a companion CD appear to be currently available from the
> > Colonial Music Institute
> >
> > http://www.colonialmusic.org/CSD-bkcd.htm
> >
> > As the title implies, the book is specifically oriented to
> > presenting the material to children. But (without having the
> > book at hand to refresh my memory) I'm pretty sure it's mainly
> > about situations where the material can be presented over multiple
> > sessions and not just a single afternoon or evening.
> >
> > I have essentially no experience teaching/leading dance for
> > children (except for occasions when a small number of children
> > show up among a mostly-adult group), and no experience using the
> > material in CSDfC with dancers of any age. And, while I'm a
> > dabbler in dance history, I don't know enough about the early
> > American era to have a clear idea of the similarities and
> > differences in the dancing of the era covered CSDfC vs. that of
> > small town New England in 1820-1840.
> >
> > I'd be interested in hearing from anyone who does have experience
> > using CDSfC, or from anyone who can offer knowledgeable comments
> > about how either the choreography or the general teaching methods
> > it offers would transfer to 1820-1840 era.
> >
> > --Jim
> >
> > On Mar 17, 2014, at 8:11 PM, rich sbardella wrote:
> >
> > > I am looking for some period dances that might have been danced in
> > > small New England towns in 1820-1830. Should be easy enough for
> > > children.
> > > Any suggestions?
> > >
> > > Also, does any know the steps to "Barrel of Sugar"? Recommended
> > > music?
> > >
> > > Rich Sbardella
> > > Stafford, CT
> > >
> > >
> > > ________________________________
> > > _______________________________________________
> > > Callers mailing list
> > > Callers(a)sharedweight.net
> > > http://www.sharedweight.net/mailman/listinfo/callers
> >
> >
> >
> > ------------------------------
> >
> > Message: 2
> > Date: Tue, 18 Mar 2014 21:17:53 -0700
> > From: joda_rogers <joda_rogers(a)altrionet.com>
> > To: callers(a)sharedweight.net
> > Subject: [Callers] 1820s-1830s Dances (rich sbardella)
> > Message-ID: <9A31B033-970F-4F9B-AF96-482689D35B62(a)altrionet.com>
> > Content-Type: text/plain; charset=us-ascii
> >
> > There is also An Elegant Collection of Contras and Squares by Ralph Page.
> >
>
I have much experience teaching the Colonial Social Dances for Children
program. I'll try to write something about it tomorrow.
By the way, Rich, are you in the Old Sturbridge Village dancers? Art
Martin asked me about 'Barrel of Sugar' the same day you posted your
question about it here. We danced it that night at the Wayside Inn but I
came down with a very nasty bug the next day and I'm still recovering from
it.
Jacob
On Wed, Mar 19, 2014 at 12:00 PM, <callers-request(a)sharedweight.net> wrote:
> Send Callers mailing list submissions to
> callers(a)sharedweight.net
>
> To subscribe or unsubscribe via the World Wide Web, visit
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> or, via email, send a message with subject or body 'help' to
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>
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of Callers digest..."
>
>
> Today's Topics:
>
> 1. Re: 1820s-1830s Dances (James Saxe)
> 2. 1820s-1830s Dances (rich sbardella) (joda_rogers)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Tue, 18 Mar 2014 13:15:11 -0700
> From: James Saxe <jim.saxe(a)gmail.com>
> To: rich sbardella <richsbardella(a)snet.net>, Caller's discussion list
> <callers(a)sharedweight.net>
> Subject: Re: [Callers] 1820s-1830s Dances
> Message-ID: <FCD608B4-FC13-4615-823F-D5D05E048DEB(a)gmail.com>
> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed;
> delsp=yes
>
> Rich,
>
> Two books come to mind that might have material somewhat relevant
> to your request, though not exactly on target: _Heritage Dances of
> Early America_ by Ralph Page (abbreviated HDoEA below) and _Colonial
> Social Dancing for Children: Social Dancing of Washington?s Time
> arranged for Today?s Young People_ by Charles Cyril ("Chip")
> Hendrickson [CSDfC below]. Here's a little more information about
> them, with the caveat that I don't have my copy of either book at
> hand and my memory may be faulty on some of the details.
>
> * * * * * * * * * *
>
> HDoEA was published in or about 1976 by the Lloyd Shaw Foundation.
> It appears to be out of print. It's indexed in Michael Dyck's
> contra dance index, and many of the dances in it (or versions of
> them) appear in other sources. You can find them by going to
>
> http://www.ibiblio.org/contradance/index/by_title.html
>
> and searching for the string "HDoEA". (The page
>
> http://www.ibiblio.org/contradance/index/sources.html
>
> is a key to the source abbreviations.)
>
> IIRC, the dances in HDoEA are from sources dating from the 1790s
> through the first decade or two of the 1800's, so a little earlier
> the period you asked about, though some may have remained popular
> for some time after. All or almost all are longways triple minors,
> though some might be of the sort that are readily adapted to duple
> minor form. For each dance, Page give both the description as it
> appeared in the original source and an interpretation in modern
> terminology.
>
> The part about being "easy enough for children" could be
> problematical to say the least, for reasons that will be evident
> to anyone who has tried teaching relatively "easy" contras to
> groups (whether children or adults) where almost all are unfamiliar
> with how progression works, dancing to the phrase, etc. Even
> experienced contemporary contra dancers could have difficulties
> with things like triple-minor progression, right-and-left four
> from proper position (in communities where older dances like
> "Petronella" and "Hull's Victory" have disappeared from repertoire),
> crossover heys for three, or choreography that asks you to turn a
> four-person star just halfway around in eight beats.
>
> * * * * * * * * * *
>
> CSDfC and a companion CD appear to be currently available from the
> Colonial Music Institute
>
> http://www.colonialmusic.org/CSD-bkcd.htm
>
> As the title implies, the book is specifically oriented to
> presenting the material to children. But (without having the
> book at hand to refresh my memory) I'm pretty sure it's mainly
> about situations where the material can be presented over multiple
> sessions and not just a single afternoon or evening.
>
> I have essentially no experience teaching/leading dance for
> children (except for occasions when a small number of children
> show up among a mostly-adult group), and no experience using the
> material in CSDfC with dancers of any age. And, while I'm a
> dabbler in dance history, I don't know enough about the early
> American era to have a clear idea of the similarities and
> differences in the dancing of the era covered CSDfC vs. that of
> small town New England in 1820-1840.
>
> I'd be interested in hearing from anyone who does have experience
> using CDSfC, or from anyone who can offer knowledgeable comments
> about how either the choreography or the general teaching methods
> it offers would transfer to 1820-1840 era.
>
> --Jim
>
> On Mar 17, 2014, at 8:11 PM, rich sbardella wrote:
>
> > I am looking for some period dances that might have been danced in
> > small New England towns in 1820-1830. Should be easy enough for
> > children.
> > Any suggestions?
> >
> > Also, does any know the steps to "Barrel of Sugar"? Recommended
> > music?
> >
> > Rich Sbardella
> > Stafford, CT
> >
> >
> > ________________________________
> > _______________________________________________
> > Callers mailing list
> > Callers(a)sharedweight.net
> > http://www.sharedweight.net/mailman/listinfo/callers
>
>
>
> ------------------------------
>
> Message: 2
> Date: Tue, 18 Mar 2014 21:17:53 -0700
> From: joda_rogers <joda_rogers(a)altrionet.com>
> To: callers(a)sharedweight.net
> Subject: [Callers] 1820s-1830s Dances (rich sbardella)
> Message-ID: <9A31B033-970F-4F9B-AF96-482689D35B62(a)altrionet.com>
> Content-Type: text/plain; charset=us-ascii
>
> There is also An Elegant Collection of Contras and Squares by Ralph Page.
>
> >
>
>
>
>
>
> ------------------------------
>
> _______________________________________________
> Callers mailing list
> Callers(a)sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>
>
> End of Callers Digest, Vol 115, Issue 11
> ****************************************
>
Time and again, I find myself wondering what makes a dance a good one
for ending an evening. Looking at lists like Seth Tepfer's "Groovin'
Dances to End an Evening"
(http://www.dancerhapsody.com/handouts/DanceEndEvening3.pdf), it's hard
to see what the dances he singles out have in common with each other.
Some are balancey, some oozy, some have lots of swings, some only one,
levels of complexity vary widely, some end with a partner swing and some
don't... Is it just a total crapshoot, a conjunction of a good tune and
happy dancers, or something actually inherent in the dance pattern?
Speak, o hive mind, upon this subject.
Kalia
On 3/18/2014 2:06 PM, Alan Prince Winston wrote:
> Rich —
>
> What do you need these for? Class residency? Birthday party? How
> old are the kids? Do they want to be there? How long do you have with
> them? How important is it that the dances be historically accurate,
> and now hat dimensions?
>
> The “Colonial Social Dancing for Children” book is aimed at classroom
> teachers and is constructed assuming that you have the kids multiple
> times, and has some emphasis on footwork and etiquette. (Period
> footwork resembles modern Scottish footwork.) The Heritage Dances of
> Early America book isn’t aimed at children and doesn’t help very much
> with how things phrase to the tunes. The Cracking Chestnuts book is
> really looking at old-favorite contra dances; jn the 1820s and 1830s
> the contra dances mostly didn’t look like contra dances as we do them
> today. (Footwork, ball of the foot vs. flat feet, no ballroom
> swinging, handshake stars not wrist-grip stars,e tc.)
>
> Country dances in America and England aren’t very different at this
> point. (Kate van Winkle Keller, with various collaborators, has
> reconstructed and published dance collections from American sources
> 1770s-1790s. Even the “New Country Dances From Topsham Maine” book is
> mostly dances published in Englsh sources.).
>
> Quadrilles have come in. Cotillions haven’t gone yet. The Spanish
> Dance formation seems to come in (in England) in the late 1820s;
> that's more or less Sicilian Circle, and can be fairly accessible.
>
>
> I've had good luck with easy cotillions (Marlbrouk, George
> Washington's Favorite) for kids over 10. For this period you might
> also want reels for three, four, and six. Lancers Quadrille comes in
> (published c. 1815).
-
>
>
>
>
>
>
>
>
>
> On Mar 17, 2014, at 8:11 PM, rich sbardella <richsbardella(a)snet.net>
> wrote:
>
>> I am looking for some period dances that might have been danced in
>> small New England towns in 1820-1830. Should be easy enough for
>> children.
>> Any suggestions?
>>
>> Also, does any know the steps to "Barrel of Sugar"? Recommended music?
>>
>> Rich Sbardella
>> Stafford, CT
>>
>>
>> ________________________________
>> _______________________________________________
>> Callers mailing list
>> Callers(a)sharedweight.net
>> http://www.sharedweight.net/mailman/listinfo/callers
>
I have a couple of things I look for.
One is that the dance should not involve any new figures. A no-walk-through dance is ideal but not required. Maybe some small part of it needs some instruction. But the dancers are mentally tired and this is not the time to teach anything.
Another is that it should have both partner and neighbor interaction.
A third is that - depending on the band - the Band is likely to want to play their hottest set for the last dance. And for me that means 2 things:
A) I generally do NOT call a medley for the last dance, because I want to let the music roll (see Alan's note below), and
B) Anticipating that the music might be faster than usual, I try to avoid figures that are problematic when the music is fast. That includes full heys and things like DSD once and a half.
On Mar 15, 2014, at 9:00 AM, callers-request(a)sharedweight.net wrote:
> Send Callers mailing list submissions to
> callers(a)sharedweight.net
>
> To subscribe or unsubscribe via the World Wide Web, visit
> http://www.sharedweight.net/mailman/listinfo/callers
> or, via email, send a message with subject or body 'help' to
> callers-request(a)sharedweight.net
>
> You can reach the person managing the list at
> callers-owner(a)sharedweight.net
>
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of Callers digest..."
>
>
> Today's Topics:
>
> 1. Good ending dances (Kalia Kliban)
> 2. Re: Good ending dances (barb kirchner)
> 3. Re: Good ending dances (Linda Mrosko)
> 4. Re: Good ending dances (Alan Winston)
> 5. Re: Good ending dances (Jeff Kaufman)
> 6. Re: Good ending dances (Bree Kalb)
> 7. Re: Good ending dances (Rich Goss)
> 8. Re: Good ending dances (barbara153(a)aol.com)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Fri, 14 Mar 2014 17:30:07 -0700
> From: Kalia Kliban <kalia(a)sbcglobal.net>
> To: Caller's discussion list <callers(a)sharedweight.net>
> Subject: [Callers] Good ending dances
> Message-ID: <53239F0F.3060105(a)sbcglobal.net>
> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>
> Time and again, I find myself wondering what makes a dance a good one
> for ending an evening. Looking at lists like Seth Tepfer's "Groovin'
> Dances to End an Evening"
> (http://www.dancerhapsody.com/handouts/DanceEndEvening3.pdf), it's hard
> to see what the dances he singles out have in common with each other.
> Some are balancey, some oozy, some have lots of swings, some only one,
> levels of complexity vary widely, some end with a partner swing and some
> don't... Is it just a total crapshoot, a conjunction of a good tune and
> happy dancers, or something actually inherent in the dance pattern?
>
> Speak, o hive mind, upon this subject.
>
> Kalia
>
>
> ------------------------------
>
> Message: 2
> Date: Sat, 15 Mar 2014 00:33:59 +0000
> From: barb kirchner <barbkirchner(a)hotmail.com>
> To: Caller's discussion list <callers(a)sharedweight.net>
> Subject: Re: [Callers] Good ending dances
> Message-ID: <BLU177-W23D600263B921DF68B3706DE730(a)phx.gbl>
> Content-Type: text/plain; charset="iso-8859-1"
>
> the perfect last dance is the one where dancers go away happy.
>
> i tell the band to save their very best piece for last, and i call a really easy dance.
>
> that goes double for the end of the first half - EASY dance means beginners go away feeling good, HOT music makes the regulars happy.
>
> barb :-)
>
>
>> Date: Fri, 14 Mar 2014 17:30:07 -0700
>> From: kalia(a)sbcglobal.net
>> To: callers(a)sharedweight.net
>> Subject: [Callers] Good ending dances
>>
>> Time and again, I find myself wondering what makes a dance a good one
>> for ending an evening. Looking at lists like Seth Tepfer's "Groovin'
>> Dances to End an Evening"
>> (http://www.dancerhapsody.com/handouts/DanceEndEvening3.pdf), it's hard
>> to see what the dances he singles out have in common with each other.
>> Some are balancey, some oozy, some have lots of swings, some only one,
>> levels of complexity vary widely, some end with a partner swing and some
>> don't... Is it just a total crapshoot, a conjunction of a good tune and
>> happy dancers, or something actually inherent in the dance pattern?
>>
>> Speak, o hive mind, upon this subject.
>>
>> Kalia
>> _______________________________________________
>> Callers mailing list
>> Callers(a)sharedweight.net
>> http://www.sharedweight.net/mailman/listinfo/callers
>
>
> ------------------------------
>
> Message: 3
> Date: Fri, 14 Mar 2014 20:26:47 -0500
> From: Linda Mrosko <elmerosko(a)gmail.com>
> To: "Caller's discussion list" <callers(a)sharedweight.net>
> Subject: Re: [Callers] Good ending dances
> Message-ID:
> <CAHC5BqerWNSMtw2U7t32F=j1PmXyDwCMpTFoLRiT6JEoDLrztQ(a)mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> I like good partner interaction for the end of the evening, usually a dance
> that ends with a partner swing
>
>
> On Fri, Mar 14, 2014 at 7:30 PM, Kalia Kliban <kalia(a)sbcglobal.net> wrote:
>
>> Time and again, I find myself wondering what makes a dance a good one for
>> ending an evening. Looking at lists like Seth Tepfer's "Groovin' Dances to
>> End an Evening" (http://www.dancerhapsody.com/
>> handouts/DanceEndEvening3.pdf), it's hard to see what the dances he
>> singles out have in common with each other. Some are balancey, some oozy,
>> some have lots of swings, some only one, levels of complexity vary widely,
>> some end with a partner swing and some don't... Is it just a total
>> crapshoot, a conjunction of a good tune and happy dancers, or something
>> actually inherent in the dance pattern?
>>
>> Speak, o hive mind, upon this subject.
>>
>> Kalia
>> _______________________________________________
>> Callers mailing list
>> Callers(a)sharedweight.net
>> http://www.sharedweight.net/mailman/listinfo/callers
>>
>
>
>
> --
>
>
>
>
>
>
> *Looking forward,Linda S. Mrosko7302 CR 2829Mabank, Texas 75156(903)
> 451-5535 (H)*
>
> *(903) 292-3713 (Cell)*
> *(903) 603-9955 (Skype)*
>
>
> ------------------------------
>
> Message: 4
> Date: Fri, 14 Mar 2014 18:44:00 -0700
> From: Alan Winston <winston(a)slac.stanford.edu>
> To: callers(a)sharedweight.net
> Subject: Re: [Callers] Good ending dances
> Message-ID: <5323B060.2080002(a)slac.stanford.edu>
> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>
> On 3/14/2014 6:26 PM, Linda Mrosko wrote:
>> I like good partner interaction for the end of the evening, usually a dance
>> that ends with a partner swing
>>
>
> And it's good to make it a dance where the caller can shut up early.
> Many bands want to play one of their hottest sets so that's what people
> will go home with, and the more you can stay out of the way of that, the
> better.
>
> (This suggests a dance which ends naturally with a partner swing rather
> than one where you come in at the end and change the figure. Also, for
> everyone to have room to swing their partner comfortably, Becket
> formation is handy.)
>
> -- Alan
>
>
>
>
>
>
> ------------------------------
>
> Message: 5
> Date: Sat, 15 Mar 2014 10:06:12 -0400
> From: Jeff Kaufman <jeff(a)alum.swarthmore.edu>
> To: "Caller's discussion list" <callers(a)sharedweight.net>
> Subject: Re: [Callers] Good ending dances
> Message-ID:
> <CAK36jCN7DfjNEKJUY=uPBj=xPWpnQLonCEqWyV-uQppxzPir8w(a)mail.gmail.com>
> Content-Type: text/plain; charset=UTF-8
>
> One difference with the last dance of each half is that you don't need
> to worry as much about tiring out the dancers.
>
> As a dancer and a musician I like it when the last set is pretty
> energetic, with lots of balances, so when I'm calling that's what I'll
> request.
>
>
> ------------------------------
>
> Message: 6
> Date: Sat, 15 Mar 2014 10:13:24 -0400
> From: "Bree Kalb" <bree(a)mindspring.com>
> To: "Caller's discussion list" <callers(a)sharedweight.net>
> Subject: Re: [Callers] Good ending dances
> Message-ID: <4D81377021BC47FFB0BFE833A1C519D7@BreeHomeLaptop>
> Content-Type: text/plain; format=flowed; charset="iso-8859-1";
> reply-type=original
>
> I think it's thrilling for the dancers if the last dance of the evening is
> no-walk-thru. That's not always possible (i.e. a flock of brand new dancers
> arrived at 10:00 PM and we already have lots of newcomers) but when it is, I
> call something really easy (Nice Combination, Midwest Folklore, etc.) and
> let the band fly.
>
>
> -----Original Message-----
> From: Jeff Kaufman
> Sent: Saturday, March 15, 2014 10:06 AM
> To: Caller's discussion list
> Subject: Re: [Callers] Good ending dances
>
> One difference with the last dance of each half is that you don't need
> to worry as much about tiring out the dancers.
>
> As a dancer and a musician I like it when the last set is pretty
> energetic, with lots of balances, so when I'm calling that's what I'll
> request.
> _______________________________________________
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> Callers(a)sharedweight.net
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>
>
> ------------------------------
>
> Message: 7
> Date: Sat, 15 Mar 2014 07:36:39 -0700
> From: Rich Goss <richgoss(a)comcast.net>
> To: Caller's discussion list <callers(a)sharedweight.net>
> Subject: Re: [Callers] Good ending dances
> Message-ID: <E9196E31-E75F-4AF1-9306-5ACA6A405413(a)comcast.net>
> Content-Type: text/plain; charset=us-ascii
>
> I'll frequently call a two or three dance medley as the last dance, all easy, with the same caveats mentioned by Bree.
>
> I have this book called "F in Exams". It has totally wrong and hilarious answers to exam questions. I could imagine an answer to this question:
>
> "The best dance for a last dance is the one that comes at the end."
>
> Rich
>
> ------------------------------
>
> Message: 8
> Date: Sat, 15 Mar 2014 11:32:54 -0400 (EDT)
> From: barbara153(a)aol.com
> To: callers(a)sharedweight.net
> Subject: Re: [Callers] Good ending dances
> Message-ID: <8D10E7AF776D042-1A04-1A2EC(a)webmail-d209.sysops.aol.com>
> Content-Type: text/plain; charset="us-ascii"
>
>
> I agree. I like to call Camp Harlem Reel. It gives partners one last gypsy/swing while the band can fly.
> Barbara G
>
>
> -----Original Message-----
> From: Bree Kalb <bree(a)mindspring.com>
> To: Caller's discussion list <callers(a)sharedweight.net>
> Sent: Sat, Mar 15, 2014 10:13 am
> Subject: Re: [Callers] Good ending dances
>
>
> I think it's thrilling for the dancers if the last dance of the evening is
> no-walk-thru. That's not always possible (i.e. a flock of brand new dancers
> arrived at 10:00 PM and we already have lots of newcomers) but when it is, I
> call something really easy (Nice Combination, Midwest Folklore, etc.) and
> let the band fly.
>
>
> -----Original Message-----
> From: Jeff Kaufman
> Sent: Saturday, March 15, 2014 10:06 AM
> To: Caller's discussion list
> Subject: Re: [Callers] Good ending dances
>
> One difference with the last dance of each half is that you don't need
> to worry as much about tiring out the dancers.
>
> As a dancer and a musician I like it when the last set is pretty
> energetic, with lots of balances, so when I'm calling that's what I'll
> request.
> _______________________________________________
> Callers mailing list
> Callers(a)sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>
> _______________________________________________
> Callers mailing list
> Callers(a)sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>
>
>
>
> ------------------------------
>
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>
> End of Callers Digest, Vol 115, Issue 8
> ***************************************
>
There is a Fred Breunig dance called "Reel Mud" that was apparently named for mud season?
Martha
On Mar 9, 2014, at 9:00 AM, callers-request(a)sharedweight.net wrote:
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> Today's Topics:
>
> 1. Mud Season? (Luke Donforth)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Sat, 8 Mar 2014 14:22:50 -0500
> From: Luke Donforth <luke.donev(a)gmail.com>
> To: "Caller's discussion list" <callers(a)sharedweight.net>
> Subject: [Callers] Mud Season?
> Message-ID:
> <CAFrKOZY1J+EODMVs5-cUERO7E25s3+dDJPCd9i-_HzsWk0GdYA(a)mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> Hello all,
>
> I vaguely remember the existence of a dance called "Mud Season", but no
> more than that. Anyone know it?
>
> My google-foo is failing me, as I'm getting to many spurious hits for mud
> season.
>
> --
> Luke Donforth
> Luke.Donforth(a)gmail.com <Luke.Donev(a)gmail.com>
> www.lukedonev.com
>
>
> ------------------------------
>
> _______________________________________________
> Callers mailing list
> Callers(a)sharedweight.net
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>
>
> End of Callers Digest, Vol 115, Issue 5
> ***************************************
Hello all,
I vaguely remember the existence of a dance called "Mud Season", but no
more than that. Anyone know it?
My google-foo is failing me, as I'm getting to many spurious hits for mud
season.
--
Luke Donforth
Luke.Donforth(a)gmail.com <Luke.Donev(a)gmail.com>
www.lukedonev.com
Hi Rich,
Ted's Triplet #3 has already been mentioned. Of Ted's Triplets, it's the
only one I know of that's suitable for a less-experienced group.
My dance The Luck of the Morris is in Zesty Contras, in Larry Jennings'
version. Here's my version:
Formation: From a three couple longways set, have ladies #1 and #3 change
places, and have lady #2 and gent #2 change places with each other, to get
a circle with each dancer's partner across from them. Dancers retain their
numbers throughout the dance. The dance is not square with the walls of
the room.
A1: Couple #1 lead a forward six and back [1]
All swing opposite. End couples end their swing facing the center
of the set, and the active couples end facing either of the other two
couples
A2: Active couple ladies chain with the couple you face
Chain back with an extra half turn to face the other couple
B1: Actives half R&L with the couple they face
Actives down center of set and cast off
B2: Circle 6 to the left
All go forward and back
Repeat with couple two leading the first Forward & Back, then couple three.
[1] The forward and back is oriented so that the active couple is going
forward and back to each other, and the other four dancers are going
forward and back towards someone who is not their partner.
For two-couple dances, both Billingsdale Pattern by Chip Hendrickson and
O'Donnell Anew by Tony Saletan are in Zesty Contras.
General Dummer's Reel (for five), my dance Shira's Seven (for seven), and
Cornish Six Hand Reel (for six) are three other dances I've found useful.
They are described in the archives, at:
http://www.sharedweight.net/pipermail/callers/2013-February/005742.html
Jacob Bloom
Date: Fri, 28 Feb 2014 08:01:29 -0800 (PST)
> From: rich sbardella <richsbardella(a)snet.net>
> To: "callers(a)sharedweight.net" <callers(a)sharedweight.net>
> Subject: [Callers]
>
> Three Couples or Less Dances
> Message-ID:
> <1393603289.48866.YahooMailNeo(a)web181503.mail.ne1.yahoo.com>
> Content-Type: text/plain; charset=iso-8859-1
>
> Friends,
> I have a small weekly dance session with seniors in CT and often lack
> dancers.? If anyone could share dances for 5 or 7 people, or two or three
> couples, I would?greatly appreciate it.? I often fall back on solo lines
> similar to the electric slide, or I dance them in squares with a phantom
> (not too successful).
> Thanks,
> Rich Sbardella
> Stafford, CT
>
Friends,
I have a small weekly dance session with seniors in CT and often lack dancers. If anyone could share dances for 5 or 7 people, or two or three couples, I would greatly appreciate it. I often fall back on solo lines similar to the electric slide, or I dance them in squares with a phantom (not too successful).
Thanks,
Rich Sbardella
Stafford, CT
