Contra Callers

contracallers@lists.sharedweight.net

21 participants
4391 discussions

Re: [Callers] Before the First Walk-Through (Was:"Don't teach proper formation unless...")

by Greg McKenzie

Martha wrote: > This is probably a regional or specific community thing. In our village, St > Louis, Missouri, we just line up improper, and there's a bit of a confused > scuffle if a caller decides (rarely) to call a proper dance. Even though we > do that, our callers usually say, just for tradition's sake, "Line up for a > contra dance, ones cross over" or, if the caller has been calling for 20-30 > years, "actives change places", but it's usually irrelevant, since the > whole hall is already in that formation. > I do specify the number of lines, and I tell the dancers to "cross over," but it's not "...just for tradition's sake." After lines have formed the caller has lost influence over the partnering process. Consequently I try to intervene before lines have formed for three reasons: 1. It allows me to influence partnering decisions at this critical point when the integration of first-timers is so important. I get the attention of the hall and say: "If you are new to this kind of dancing please find a partner who has danced for at least one night. I will tell you everything you need to know and your more experienced partner will show you all of the moves. Please form ___ contra dance lines." This re-affirms what I told the first-timers in the orientation but, more important, it sends a clear signal to the regulars that they have a role to play in partnering with first-timers. It also lets everyone know that I have a plan for integrating newcomers into the hall. 2. It makes it clear that I will take responsibility for set formation, relieving the dancers of this responsibility. 3. I then allow time for socializing in the lines. This is important because it makes it easier for me to earn the attention of the hall when I begin the walk-through. The instructions: "Please take hands four from the top," and, moments later, "Ones cross over," are important signals to the regulars. They establish a routine that the regulars quickly recognize. This empowers the regulars because they know what is going to happen next and they can plan a dignified ending to the story they are telling their new friend. This routine "announces" that I am about to begin the walk through and sets an example of courtesy and consideration because the caller is not interrupting the socializing in the sets by "shouting down" people over the mike. (I often see the regulars "shushing" their partner and directing their partners attention to my voice when I begin the walk-through.) By informing the regulars the caller gives them power, authority, and a sense of investment in the tradition. I believe that on-time starts are critical to this process. If you see lines and sets forming for the first dance of the evening, without any instructions, it may be that your orientation session has run over time. The caller needs to maintain control over the process of line formation and if the lines are formed too late the partnering process is probably well under way. It is better to facilitate this process from the get go. Just a thought, Greg McKenzie

13 years, 4 months

Re: [Callers] Before the First Walk-Through (Was:"Don't teach proper formation unless...")

by David.Millstone＠valley.net

--- Greg wrote: "I get the attention of the hall and say: "If you are new to this kind of dancing please find a partner who has danced for at least one night..." I certainly agree with Greg that having experienced dancers partner with newcomers can be really helpful. I'd suggest that the instructions be changed, however, so that the experienced dancers are encouraged to seek out a newcomer. Newbies have no way of knowing if someone is experienced or not, whereas the regulars at a given series will probably be able to spot new faces. Similarly, in some situations I'll ask experienced dancers to raise their hands and to wait, and will request newer dancers to ask one of those people as a partner for the next dance. The old hands (old feet?) are more being the center of attention that would be the case if I asked all the newcomers to raise their hands. Just another thought, David Millstone

13 years, 4 months

New England Contra Dance History - Old Timers Talk

by Michael Barraclough

There was a wonderful session at this year's NEFFA hosted by David Millstone. It featured a panel consisting of Bob McQuillan, Ralph Sweet, Dudley Laufman, Bill Spence and Andy Spence with David Millstone in the chair. Fortunately, it was captured in 6 videos which are available on You Tube. I have provided links to them in the Contra Resources section of my web site. I hope that this will make it easier to find them and let you watch them in the correct sequence. The links can be found at http://www.michaelbarraclough.com/web-links/contra-dance. Michael Barraclough www.michaelbarraclough.com

13 years, 4 months

Settlement Swing Balance Question

by Nancy Turner

Hi All, I have Settlement Swing by Penn Fix as this: A1 Neighbor dosido to long wavy line G face out, Ladies face in, rt hand to N Bal the wave, alle right 1x, re-form the wave A2 Balance wave, Neighbor swing B1 Ladies chain, over and back B2 One’s balance and swing I'm wondering what your instructions would be for the Balance at the start of A2? Balance right, then left again, Or for this second long wave, Balance left, then right? Thanks! Nancy Turner Waitsfield VT

13 years, 4 months

Don't teach proper formation unless you need it

by Jeff Kaufman

Contra dancing has almost entirely lost the 'proper' formation, with gents in one line and ladies in another. For most of contra dancing's history, however, that was the standard formation and many people, especially callers, still think of it that way. I was at a dance recently where the caller noticed that there were many new dancers and that it probably wouldn't work to just wait for people to get into position. They told all the couples to stand with the ladies in one line and the gents in another, to take hands for from the top, and that this was proper formation. Then they introduced 1s and 2s and had all the ones cross over. But they didn't call any proper or assymetric dances all night! Which is fine; I think they chose good dances for the crowd. But why introduce the terminology? Especially when there's so many other terms we want them to be absorbing? Jeff PS: I also posted this on my blog, and there are some comments there: http://www.jefftk.com/news/2012-05-04.html

13 years, 4 months

Re: [Callers] Settlement Swing Balance Question

by Nancy Turner

Thanks everyone. I'm going to give it a go this weekend and appreciate the correction Linda. Best, Nancy

13 years, 4 months

Re: [Callers] New Dance: The Raeden Reel

by tavi merrill

Rumor had it her first words were "hands four from the top"... Sue Rosen also called it at the LCFD spring camp last weekend : )

13 years, 4 months

NEFFA Dance ID

by Rich Hart

Can any of you help me identify a dance that we danced during the last NEFFA session on Sunday? The dance in question was called with the Festival Orchestra playing and it may have been called by Sue Rosen. The key figures were 2 "past through to an ocean wave" figures. In one case you end with your neighbor in your right hand, and the other time you end with your partner in the same place. The dance flowed very smoothly and i liked it a lot, so any help with the title, author, or the choreography would be greatly appreciated. Thanks, Rich Hart.

13 years, 4 months

Re: [Callers] dance suggestions for unique setting?

by Chip Hedler

With apologies to all who are having deja vu feelings based on my previous recommendations of this dance, how about yet another version of Ellen's Green Jig? Can be danced improper, or if you ignore how people choose to end the swing, without regard to gents/ladies roles. A1: Dosido neighbor; circle left to original positions. A2: Balance the ring; swing partners, end facing the other couple. B1: Right-hand star; circle right to home position, keep hands joined. B2: 2s arch, 1s take a peek ("duck for the oyster"); 1s arch, 2s peek; 2s carry an arch up over 1s, who duck under and through, take no more than 1 step and let the next no. 2 couple move up to meet them (to prevent the whole set from drifting away from the top of the set). Variations of this dance have worked for just about every kind of group I've encountered. You can probably craft a cool one of your own...Hope you have great music; that can make almost anything you do a terrific experience. Chip Hedler

13 years, 4 months

dance suggestions for unique setting?

by Louise Siddons

Hi all, I'm calling a dance this Friday on a dock (over a reservoir). I anticipate (fear?) the following problems: mostly new dancers (we're frequently 3/4 new or new-ish); dancers having difficulty hearing me (although I will have a mic); and a relatively rough dance surface (they hold Latin Dance Club events here frequently, so it isn't entirely undanceable). As a result, I've been looking for simple dances that allow dancers to help each other -- lots of contact, and balances/clapping/other "here's where we are in the dance"-type noises have been a focus of my planning. But I'm having a little trouble with putting together a set list with sufficient (to my mind) variety, so I'm turning to the list for suggestions. One additional note: our organizer told me that petronellas are on the challenging side for our group even though they love them; I think this particular dance surface would make them not-fun to dance, too. So I'd really love dances that include balancing a ring but don't include a petronella. Thanks! Louise.

13 years, 4 months

Jump to page:

2025

2024

2023

2022

2021

2020

2019

2018

2017

2016

2015

2014

2013

2012

2011

2010

2009

2008

2007

2006

2005

2004

Contra Callers