Contra Callers

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4369 discussions

Raeden's Curls (was Re: New Dance? Choreography Input...)

by Don Veino

I called this at last night's Monday Contras series here at the Concord, MA Scout House with The Free Raisins. I asked them to start out slower until folks got the feel (I believe we started with a march) and then they amped it up at the tune change. It was received very well and worked for a crowd including several newer dancers when placed 2nd after the break. I demoed the A2 through B1. The one suggestion I received from several gents was to change the allemande right 1/2 to a pull by, but I'm concerned that could lead to over-travel by the gents - time will tell. As one trusted dancer rated it a "definite 9+", it appears nameworthy - so here it is. Raeden (rhymes with maiden) is our 2 1/2 year old daughter, who loves to twirl with her blonde curls flying. :) I called it last night beginning from the A2 but believe the sequence below would be easier, avoiding the need to place the 2s below the 1s after lining up. Should you try it, I'd love to hear about your experiences! -Don ---- Raeden's Curls - Duple Improper - Don Veino 1/5/14 A1 4,12 Neighbor Balance, Swing A2 4,4 Long Lines Fwd, Gents Roll Away Ladies (Rt. to Lt.) w/Half Sashay on way back 8 Mad Robin (counter clockwise), Gents start into middle first B1 2,2 Mad Robin continued 1/4 more*, all Slide through to new Ns* (progression) 4,8 G Allem. Rt. 1/2 *OR* Pull By Rt., Partner Swing B2 8 Ladies Chain 1/2 to your Neighbor 8 Half Hey (Ladies start by Rt., Partner Lt., Gent Rt. ...) and with THIS Neighbor... * After the 1st 2 beats of B1 there is a transitory line of 4 facing across the hall - two Gents are face to face in the center, Lady is facing her N's back. From there, all slide direction of progression parallel to Partner (Gents Left, Ladies Right) so at beat 4 there is a similar line with new Ns. Teaching notes: After the A1 Swing, recommend telling the Gents their objective after the next series of moves (A2 through Mad Robin and Slide) is to meet up with the Gent currently on their left diagonal [for an Allemande Rt. 1/2 *OR* Pull By]. Ladies' goal is to keep eyes locked on and to travel parallel to their Partner through the Mad Robin and up to the Swing. Stress giving good weight through the Roll Away and into the Mad Robin for most enjoyment. The timing in the B1 is "squishy" but generous and the Partner Swing brings all back into phrase alignment. At ends, wait out improper and facing your Partner to slide in for Gent's Allemande Rt./Pull By and Partner Swing.

11 years, 5 months

Calling to the tune Sheepskin and Beeswax

by Delia Clark

Hi all, I call regularly with the same band and I have noticed that there are a couple of sets that they play in which I consistently mess up. In the middle of an evening of everything going well, I suddenly find that I am lost and have a hard time finding my way back, even with extreme focus. This, needless to say, is not good! I've been trying to identify these tunes so that I can be prepared to pay really close attention before they start. I have also begun to wonder, though, whether some jigs/reels are just not as good for dancing as others. I have been discussing this with the band, raising the idea that maybe they could save these tunes that challenge me for some of their non-dance gigs (fairs, bandstand, background music, etc). Some of them are receptive, others not. I wonder whether any of you have noticed tunes that are particularly difficult to call to, and how you have handled it. The one I have noticed most recently is Sheepskin and Beeswax. Here's what one of the band members wrote to me about it: "Rhythmically, it's a challenging tune for the band. There's a lot of syncopation going on between instruments and because it's French Canadian to play it properly means lots of upbeat emphasis. It's a challenging tune to play well. Even if we played it very well and fast enough (and that's been a problem for dancers and caller) I think it would still be challenging to call to and dance to because of how the rhythm and notes don't go well together." Thanks, Delia Clark <>:<>:<>:<>:<>:<>:<>:<>:<> Delia Clark PO Box 45 Taftsville, VT 05073 802-457-2075 deliaclark8(a)gmail.com

11 years, 5 months

New Dance? Choreography Input...

by Don Veino

Hi, I've come up with what I believe to be a new dance today... or is it? A name awaits confirmation. I'm interested in opinion on the best starting point for the dance. I originally wrote the first version but it requires explaining the set-up and I prefer keeping words to a minimum while teaching. The rotated second version begins very straightforwardly but could mix up some dancers whom are used to heys at the end of many dances being the progression leading to a neighbor swing with/to a new neighbor. Thanks, Don DV#3 Alpha A DI, starts with 1s below 2s (swap places with opp. role N) A1 4,4 Long Lines Fwd, G Roll L w/HS on way back 8 Mad Robin, G start into middle first A2 2,2 Mad Robin continued 1/4 more*, all slide to new Ns* (progression) 4,8 G Allem. Rt. 1/2, P Swing B1 8 L Chain 8 Hey 1/2 (L start by Rt., P Lt., G Rt. ...) B2 4,12 N Bal. & Swing * After the 1st 2 beats of A2 there is a transitory line of 4 facing across the hall - two G are face to face in the center, L is facing her N's back. All slide dir. of progression w/P so at beat 4 there is a similar line with new Ns. The timing in the A2 is "squishy" but generous and the swing should bring it back into phrase alignment. At ends, wait out facing P to slide in for G allemande. ============= DV#3 Alpha B DI A1 4,12 N Bal. & Swing A2 4,4 Long Lines Fwd, G Roll L w/HS on way back 8 Mad Robin, G start into middle first B1 2,2 Mad Robin continued 1/4 more, all slide to new Ns (progression) 4,8 G Allem. Rt. 1/2, P Swing B2 8 L Chain 8 Hey 1/2 (L start by Rt., P Lt., G Rt. ...), and WITH THIS N...

11 years, 5 months

headset microphone

by JoLaine Jones-Pokorney

Hi Lindsey - Unless the same person is teaching your beginners workshop every time, I would hesitate on the headset microphone. Those of us that use them don't like to share. It's a bit too intimate - almost like sharing underwear! At least get a lot of the foam mouthpiece covers so each caller can have a fresh one! And I love my SHURE headset. I know quite a few callers and musicians with my same model. I never have any trouble with feedback or losing connection. -- JoLaine Jones-Pokorney "We are as gods and might as well get good at it!" - Stewart Brand

11 years, 5 months

Re: [Callers] Headset microphone recommendations

by Nathaniel Puffer

When teaching a beginners lesson is one time I do sometimes wish I had a headset mic. However, it is easily manageable to switch hands & make it work (mostly) - and one perversely positive result is that it forces us to come up with effective words to help describe movements (e.g. in particular ladies chain, R & L through) that we might otherwise just resort to demonstrating. This system is cheap enough that it may be worth a try to see if it works for you. http://www.fullcompass.com/product/420660.html Nate Puffer On Sun, Jan 5, 2014 at 10:00 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. Headset microphone recommendations? (Lindsay Morris) > 2. Re: Headset microphone recommendations? (Andrea Nettleton) > > > ---------------------------------------------------------------------- > > Message: 1 > Date: Sat, 4 Jan 2014 15:11:43 -0500 > From: Lindsay Morris <lindsay(a)tsmworks.com> > To: "Caller's discussion list" <callers(a)sharedweight.net> > Subject: [Callers] Headset microphone recommendations? > Message-ID: > <CAGNhc2JzpboF-i15PCJuZyD6Fnuw= > ECdTMB-C-rhGrGnvAo7mA(a)mail.gmail.com> > Content-Type: text/plain; charset=ISO-8859-1 > > We are looking at buying a headset mic to help people who are teaching the > beginner's lesson. > > Do any of you have recommendations on brands, style, etc? > or do you have any failure stories we should be aware of? > Thanks! > > -------------------- > Lindsay Morris > CEO, TSMworks > Tel. 1-859-539-9900 > lindsay(a)tsmworks.com > > > ------------------------------ > > Message: 2 > Date: Sat, 4 Jan 2014 16:48:36 -0500 > From: Andrea Nettleton <twirly-girl(a)bellsouth.net> > To: Caller's discussion list <callers(a)sharedweight.net> > Subject: Re: [Callers] Headset microphone recommendations? > Message-ID: <FC278311-18B6-4799-96D7-A995AC033C8C(a)bellsouth.net> > Content-Type: text/plain; charset=us-ascii > > If you google headset mic recommendations shared weight you can read all > the posts already made, many within the last two years, by callers on this > list. Quick and dirty. > Andrea > > Sent from my iOnlypretendtomultitask > > > On Jan 4, 2014, at 3:11 PM, Lindsay Morris <lindsay(a)tsmworks.com> wrote: > > > > We are looking at buying a headset mic to help people who are teaching > the > > beginner's lesson. > > > > Do any of you have recommendations on brands, style, etc? > > or do you have any failure stories we should be aware of? > > Thanks! > > > > -------------------- > > Lindsay Morris > > CEO, TSMworks > > Tel. 1-859-539-9900 > > lindsay(a)tsmworks.com > > _______________________________________________ > > 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 > > > End of Callers Digest, Vol 113, Issue 4 > *************************************** >

11 years, 5 months

Re: [Callers] wireless mic system

by Nathaniel Puffer

Thought I'd share this to encourage those of you who don't want to spend $500+ on a wireless system. My group in Taos has recently had great success with this, a handheld mic system for just over $100: Audio-Technica ATW-802 VHF Wireless Microphone System. http://www.fullcompass.com/product/420660.html It is available in 3 fixed frequencies (not switchable), so it won't work for everyone. I recommend buying from a local retailer if possible so you make sure it fits your needs and can easily return it & try another frequency model if one has interference. Because it is set to a fixed frequency, this system may not work well everywhere, especially in urban areas. The quality is good so far (4 successful months & counting, on same pair of batteries even), though user must be very careful not to switch the wireless system off while PA volume is up, as it makes a loud and horrible noise. We also prefer handheld to headset for variety of uses and sharing reasons, though headset would be handy at times. Nate

11 years, 5 months

off-stage and acoustics

by Tom Hinds

I find that an off-stage mic can give you a huge advantage over a wired mic when the acoustics of the hall are really bad. Here's a telling example: I and two other callers called a square dance at Swisher's hall, known perhaps for having the worst acoustics on the East coast. I called from the floor while the other two called from the stage. At the end of the event about 6 dancers came up to me and said they could understand me but not the other two. When you call from the floor you can hear what the dancers hear. You can change the way you call (more spaces between words, vary the loudness etc.etc.). Doing this doesn't negate the bad acoustics but it does help. For me it's clear: being able to be heard is far preferable to being seen. And I would argue that the dancers (new and experienced) are looking at their neighbors, partners etc. during and after the walk through. Add to this what others have said about helping dancers in distress and I think you can really see the advantages of going wireless. The last advantage is checking the sound (balance of the instruments, balance of the caller verses the band etc.) as Eric previously pointed out. I've been criticized by a few people over the years for doing this. They say the beginners freak out when they can't see the caller. I wish I had asked them how they knew this. I'm assuming they took a survey or more likely, they read minds. Be careful you don't create feedback. If you call off-stage, maybe have a talk with the sound person before the dance. Tom

11 years, 5 months

Re: [Callers] Thoughts on Off-Stage Microphones (Was: Headset microphone recommendations?)

by John W Gintell

> Date: Sun, 05 Jan 2014 18:07:39 -0800 > From: Erik Hoffman <erik(a)erikhoffman.com> > To: Caller's discussion list <callers(a)sharedweight.net> > Subject: Re: [Callers] Thoughts on Off-Stage Microphones (Was: Headset > microphone recommendations?) > Message-ID: <52CA0FEB.1010908(a)erikhoffman.com> > Content-Type: text/plain; charset=ISO-8859-1; format=flowed > > My opinion and experience on the use of wireless mics differs greatly > from Greg's. …. > Third: I have found it useful at times to assist a dancer through a move > (like pointing where to go in Contra Corners) while calling. I do this > from the floor, during a dance. At this time, dancers are not looking > to the stage, and finding a disembodied voice, they are looking at each > other. I've had many thanks for such assistance. > It think this is a very important point. Callers often go down on the floor to help out - particularly early after the teaching and when there are inexperienced dancers present. This can make a huge difference to the experience of the new dancers and other people in the line.

11 years, 5 months

Thoughts on Off-Stage Microphones (Was: Headset microphone recommendations?)

by Greg McKenzie

Lindsay wrote: > We are looking at buying a headset mic to help people who are teaching the > beginner's lesson. > > Do any of you have recommendations... > I would recommend you consider the option of *not *buying a headset mic. I'm not sure if I've posted my reservations about headset mics here before, but I think it is worth bringing it up again. As a caller, a talent booking coordinator, and as a dance manager at open public contra dances, I have worked for years on strategies and techniques for making the dance hall a place where everyone can feel safe and comfortable. I believe this sense of a "safe space" is essential for putting first-timers as well as regulars at ease in order to facilitate a comfortable, fun social event where there is little stress or tension. This is a subtle point but one that I have learned is critical for integrating newcomers and for making the event an exciting, fun, and relaxed social occasion. The primary issue for me is not wireless mics, but *off-stage* mics--of any kind. Michael Jackson--and many other performers--have used wireless mics professionally *on-stage* with great success. This technology is particularly useful when dancing or demonstrating. Note, however, that even when used on-stage, wireless mics are usually used in conjunction with a follow spot. The purpose of the follow spot is to help the audience follow the action in the absence of a mic stand that acts as an anchor. At contra dances, where stages are typically small, a headset mic used *on stage* will seldom confuse the dancers. (A caller using a headset mic to play bodhran while calling, for example.) An *off-stage* mike, however, can create unease in the dancers when they look for the caller--who may have moved during a demo, for example. That moment of confusion--as the dancer looks right and left--is likely to make many dancers feel a bit silly or clueless. These are feelings I work to avoid during a social dance. I want both the regulars and the first-timers to feel confident at all times. A live mic on the dance floor can be unnerving. (Callers who call from the dance floor using a headset mike often come across as confused about their own role at the event.) There are techniques to keep the dancers/audience oriented while using an off-stage mike, without a follow spot. Taking care to only change location after you have earned the attention of all of the dancers is one such technique. (That way dancers who look to the last place they saw the caller will always find them there.) Talking *off-mike* to make your position clear before switching on the wireless is another. These techniques, however, require experience and practice. I personally would not use an off-stage mike without a follow spot or a prepared plan. I find it interesting that the off-stage mike is often used in stagecraft to deliberately create tension in the room. A darkened room with a dis-embodied voice will always create drama. In my view the less drama at open public contra dances the better. There can be other issues such as mic clarity, volume, and feedback. It would seem to be a good idea to have a sound engineer at the mixer board whenever an off-stage mike is being used. Feedback is always a sure way to create stress in an otherwise relaxed social event. I know that I personally get a little uneasy whenever I see a caller or teacher lead an optional newcomer's orientation while wearing a headset mic. Yes, wireless mics can be useful, when in the hands of an experienced professional. But these devices are often used inappropriately. I would be cautious about purchasing one to make it available for general use, without some kind of practice or training. Just a thought, Greg McKenzie

11 years, 5 months

Headset microphone recommendations?

by Lindsay Morris

We are looking at buying a headset mic to help people who are teaching the beginner's lesson. Do any of you have recommendations on brands, style, etc? or do you have any failure stories we should be aware of? Thanks! -------------------- Lindsay Morris CEO, TSMworks Tel. 1-859-539-9900 lindsay(a)tsmworks.com

11 years, 5 months

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