Contra Callers

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Re: [Callers] Foreshortened Hold for a Swing

by David.Millstone＠valley.net

I'm with John Sweeney. I love to swing in more-or-less the position that is depicted on the Zesty Contras cover. I'd encourage the women not to rest their hand where it's shown in that illustration, though; a better place in most situations is somewhere in the vicinity of my right shoulder blade, so that the woman's left hand and arm are supporting herself as much as my outstretched right ones. I keep my left thumb closer to my other fingers, too, to avoid a death grip squeezing on my partner's right arm. I love this swing for many reasons. With our joined arms, we can make a small circle and I like the rounded feeling. Also, as Larry Jennings pointed out, such a swing is much better for crowded halls; your outstretched arms won't smash into someone else (or be smashed into), you're taking up less space, and that circle of arms and bodies that you make is sort of a protected zone that you and your partner inhabit. David Millstone Lebanon, NH

13 years, 3 months

Foreshortened Hold for a Swing

by John Sweeney

When I learnt contra dancing (after 30 years of dancing other forms of traditional dancing) I was shown the swing hold from "Zesty Contras" - depicted on the cover and described on page 15 as "a modified ballroom position with the man's left hand near the woman's right elbow as shown in the "Zesty Contras" logo". I would describe it more as the man's left hand cupping the lady's right elbow, with the lady's arm lying on the man's arm, and her hand curving round his upper arm just above the elbow. I find it an excellent way to swing because: - it brings you closer together - it reduces the angle between your bodies and makes it easier to look at each other - it provides more support for the lady by holding her elbow - it takes up less room on a crowded dance-floor I just spent a weekend in America dancing with 350 people. I use this hold all the time in a standard swing, but when I initiated this hold most of the ladies didn't seem to know where to put their arm and hand. When I watched other dancers I didn't see anyone else doing it. Can anyone tell me why this wonderful hold, which appears to have been the standard 30 years ago, has virtually disappeared? Thanks, Happy dancing, John John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 & 07802 940 574 http://www.contrafusion.co.uk <http://www.contrafusion.co.uk/> for Dancing in Kent

13 years, 3 months

on being a beginner

by David.Millstone＠valley.net

The SharedWeight list grew out of a callers' class at Pinewoods. The impetus for setting up the list was to provide a way for callers to support each other. The list includes many who are relatively new to the caller's mic, plus others who've been calling for some time I recently found something relevant by Ira Glass, host of "This American Life" on public radio, and would like to bring it to the attention of new callers in particular. He's talking in particular about storytelling, making videos, but his comments apply to any creative endeavor, such as calling dances. David Millstone Lebanon, NH === quoted material follows: "Nobody tells this to people who are beginners, I wish someone told me. All of us who do creative work, we get into it because we have good taste. But there is this gap. For the first couple years you make stuff, it's just not that good. It's trying to be good, it has potential, but it's not. But your taste, the thing that got you into the game, is still killer. And your taste is why your work disappoints you. A lot of people never get past this phase, they quit. Most people I know who do interesting, creative work went through years of this. We know our work doesn't have this special thing that we want it to have. We all go through this. And if you are just starting out or you are still in this phase, you gotta know its normal and the most important thing you can do is do a lot of work. Put yourself on a deadline so that every week you will finish one story. It is only by going through a volume of work that you will close that gap, and your work will be as good as your ambitions. And I took longer to figure out how to do this than anyone I've ever met. It's gonna take awhile. It's normal to take awhile. You've just gotta fight your way through." --Ira Glass === Here's a video clip of him talking, from which these quotes were taken http://www.youtube.com/watch?v=BI23U7U2aUY If you want to see the words animated: http://vimeo.com/24715531

13 years, 3 months

Re: [Callers] reporting in from Maberly

by tavi merrill

Glad to hear the dance went well! And also glad the input was helpful. Your report brings up a few things i think are really valuable to remember (which i sometimes forget!) so i figured i'd toss them out to the list for further thought: - if a dance is likely to be challenging for the crowd, i've heard it said it's worth asking the band to play something very clearly phrased. Inversely, if the dance is clearly phrased, the band might be able to go a little farther afield without affecting the dancers' ability to follow the music. Obviously not an invariable rule, because some "chunky" dances wouldn't work so well with long-phrased tunes... -* spaghetti arms* are one of those things that, as a newb, are so easy to forget in the overwhelmingness of it all. I think it bears "training" experienced dancers to gently remind newbies how to share weight. For those of us who've been dancing for a while it's second nature,but for beginners i think it really goes beyond introducing the concept of "shared weight" to really giving them the HOW of it. A dancer recently relayed to me the idea of having folks do an allemande once around in 8 counts; then have them do an allemande 1.5 in 8 counts and stress how pulling in and giving weight helps them get around in time. So, as you put it, a reminder during the evening is a good thing - especially if you can point out other places - like circles - where sharing weight is equally satisfying. -* heys *can be a surprisingly easy move. I recently had a conversation with another caller who shares the opinion that heys are actually easier for newbs to properly execute than are ladies chains. The biggest problem i've noticed with heys is that many experienced dancers seem to think of them as somehow challenging, and when a caller says they'll be teaching a hey, experienced dancers will often give some body language or comment that raises the newbies' affective filter. Our trick as callers is figuring out how to keep that affective filter down, and deliver the instructions for a hey as simply as possible. - sometimes two walk throughs is just nice, because the 2nd walk through really solidifies things in dancers' minds, and then you don't have to back up to start! Teaching a dance in one walk-through can be appropriate but it really depends on the dance and the crowd; it's not really a measure of a caller's skill. Of course, the above is personal opinion. I'm interested to hear others' takes on those subjects.... Congratulations on your first full night, Emily, and here's hoping you have many more such experiences! > Message: 1 > Date: Tue, 14 Feb 2012 20:56:57 -0500 > From: "Emily Addison" <eaddison(a)trentu.ca> > To: callers(a)sharedweight.net > Cc: eaddison(a)trentu.ca > Subject: [Callers] reporting in from Maberly > Message-ID: <1329271017.7e5d3d5ceaddison(a)trentu.ca> > Content-Type: text/plain; charset="UTF-8" > > Hi Folks, > Made it through Maberly? Wooohoooo! Thanks so much for all the advice. > All of it was helpful from the ideas on programming (David, Tavi, > Chrissy), to names of dances (Richard), to the corrections on a dance > (Linda). A few others provided advice too? thank you as it made a big > difference. :) > > Here's a wee bit of a recap: > -Welcome lesson went really well. I had modelled much of my lesson off of > Bev Bernbaum & George Marshall as well as a few other notes I had made here > and there. Yeaaa Bev and George ? it set up the rest of the evening in a > great way. > -I made a number of changes to the program prior to the dance based upon > the feedback I received. I ended up doing 10 of the 12 programmed dances > and while I had other backup dances I didn't go to them. The careful > planning of building each dance on what had previously been covered paid > off. > Program as it played out: Family Contra, Swallowtail's First, The Baby > Rose, Mad Scatter, Contraindicated, BREAK, Heart Beat Contra, New Fall > Reel, Rock the Cradle Joe, Who's in the Middle, and Monday Night in Ballard. > -All dances went really well except two. The bumpy dances were Rock the > Cradle Joe (wavy lines threw the beginners) and Who's in the Middle (music > was really challenging for dancers to follow + beginners were uncertain > about the changing middles). I had to totally bail on Who's in the Middle > after we tried it twice. That's ok though. :) > -Teaching points went really well and I took a fair bit of a community > tone. After the dance I heard from a few of the experienced dancers that > there were a lot of spaghetti arms in the crowd. I had talked a fair bit > about giving weight/connection during the welcome lesson but I might try a > reminder or two in the evening in the future. > -I felt that two walk throughs were needed for every dance except the last > one. I would like to get down to one in the future but it was a chatty > crowd with lots of beginners so that was ok. :) > -After the end of the dance, I quizzed a lot of the experienced dancers. > They didn't miss the down the hall nor the heys and felt that there was > lots of variety in the program. They also didn't notice that all of the > progressions were at the end of B2 which was good? that seemed to help the > large beginner population. > -In the New Fall Reel, Bal before swing in B2 was too much for the crowd > so dropped the balance after the first few times through the dance. Seemed > to help with the flow a lot. > -Dealt with a few interesting bumps. :) > -----A woman came into the hall in a wheelchair prior to the beginning > lesson. It was the first time I had seen someone at a contra in a > wheelchair and while I know there are strategies to incorporate, I knew it > was over my capabilities my first night. I went over and checked in with > her? she was wanting to just watch. (Helpful for me as I was a wee > stressed out with things about to start.) > -----A woman fell the third time through the first dance in the middle of > a balance the ring. We stopped the dance. I was worried but kept really > calm. Turns out she hurt her wrist but was otherwise fine. (Makes me want > to find out even quicker how to get callers insurance in Canada) > -----Soundsystem had lots of challenges including, my mic having clicking > notes, the band dropping out here and there. > > Anyway, I had better sign off. What a great learning opportunity though? > my brain is blown. :) > > Emily > > > >

13 years, 3 months

Callers Workshop with Scott Higgs - March 10th

by Jack Mitchell

Scott Higgs is going to be in the Triangle calling for the 3/9 TCD contra dance and for a special 3/10 English Country Dance workshop (in the mid afternoon) and evening dance. He has also agreed to do a callers workshop for us while he's in town. The workshop will be Saturday morning 3/10, and will include a potluck brunch. Scott has many years of experience calling and teaching calling to others, and we are really fortunate to have him in the area. Possible topics for the workshop include: How to prepare for a dance event. How to devise a great dance program, with flexibility to adapt as needed. How to teach clearly & effectively. How to prompt/call clearly & effectively. How to integrate newcomers and less-skilled dancers. How to communicate and collaborate with musicians. How to set a welcoming, friendly tone, and build a sense of community. How to build a repertoire, and what should be in it. How to learn a new dance, and to anticipate challenges in presenting it. How to communicate more than just the geography of a dance. How to "listen" to the dancers. How to adapt on the fly: when you encounter: circumstances like 30 beginners enter en masse at 8:45 the floor is too slippery to dance the weather is too hot to dance the hall is too crowded the band can't play up to speed How to practice teaching/calling. How to "shape" an evening. Techniques for developing advanced leading skills What comes after the rudiments ? What do individuals want to improve in their leading ? How can we help each other to develop ? I also hope to have a discussion during the brunch portion of our time together on calling related topics. So far, we've only had two people sign up for the workshop. To help with our planning, if you are interested in attending, please fill out the registration form here: http://www.tcdancers.org/workshop/ See you on the dance floor! Jack

13 years, 3 months

Dances for 3s

by Rickey Holt

Hi all, I am looking for an easy dance that uses groups of 3 dancers - either 3 facing 3, or 3 all facing the same direction. I especially would like one where the dancers in each group of 3 have a chance to play with which one of them is in the middle. No country corners please. I already have 3 Meet, from the old Community Dancing Manuals. Any other suggestions? Dances that do not require a specific tune but fit within a standard 32 bar contra tune would be best. Thanks. Rickey Holt Fremont, NH

13 years, 3 months

reporting in from Maberly

by Emily Addison

Hi Folks, Made it through Maberly… Wooohoooo! Thanks so much for all the advice. All of it was helpful from the ideas on programming (David, Tavi, Chrissy), to names of dances (Richard), to the corrections on a dance (Linda). A few others provided advice too… thank you as it made a big difference. :) Here's a wee bit of a recap: -Welcome lesson went really well. I had modelled much of my lesson off of Bev Bernbaum & George Marshall as well as a few other notes I had made here and there. Yeaaa Bev and George – it set up the rest of the evening in a great way. -I made a number of changes to the program prior to the dance based upon the feedback I received. I ended up doing 10 of the 12 programmed dances and while I had other backup dances I didn't go to them. The careful planning of building each dance on what had previously been covered paid off. Program as it played out: Family Contra, Swallowtail's First, The Baby Rose, Mad Scatter, Contraindicated, BREAK, Heart Beat Contra, New Fall Reel, Rock the Cradle Joe, Who's in the Middle, and Monday Night in Ballard. -All dances went really well except two. The bumpy dances were Rock the Cradle Joe (wavy lines threw the beginners) and Who's in the Middle (music was really challenging for dancers to follow + beginners were uncertain about the changing middles). I had to totally bail on Who's in the Middle after we tried it twice. That's ok though. :) -Teaching points went really well and I took a fair bit of a community tone. After the dance I heard from a few of the experienced dancers that there were a lot of spaghetti arms in the crowd. I had talked a fair bit about giving weight/connection during the welcome lesson but I might try a reminder or two in the evening in the future. -I felt that two walk throughs were needed for every dance except the last one. I would like to get down to one in the future but it was a chatty crowd with lots of beginners so that was ok. :) -After the end of the dance, I quizzed a lot of the experienced dancers. They didn't miss the down the hall nor the heys and felt that there was lots of variety in the program. They also didn't notice that all of the progressions were at the end of B2 which was good… that seemed to help the large beginner population. -In the New Fall Reel, Bal before swing in B2 was too much for the crowd so dropped the balance after the first few times through the dance. Seemed to help with the flow a lot. -Dealt with a few interesting bumps. :) -----A woman came into the hall in a wheelchair prior to the beginning lesson. It was the first time I had seen someone at a contra in a wheelchair and while I know there are strategies to incorporate, I knew it was over my capabilities my first night. I went over and checked in with her… she was wanting to just watch. (Helpful for me as I was a wee stressed out with things about to start.) -----A woman fell the third time through the first dance in the middle of a balance the ring. We stopped the dance. I was worried but kept really calm. Turns out she hurt her wrist but was otherwise fine. (Makes me want to find out even quicker how to get callers insurance in Canada) -----Soundsystem had lots of challenges including, my mic having clicking notes, the band dropping out here and there. Anyway, I had better sign off. What a great learning opportunity though… my brain is blown. :) Emily

13 years, 3 months

Re: [Callers] My First Full Evening (Donna Calhoun)

by David Notman

Sorry these comments were posted too late, but they may help another caller who is putting together a program for beginners: Donna, New Fall Reel - Don't think there's a balance in A1. In B1 be sure you tell the dancers which hand for the Allemandes. Lexington's Loss - the circle is 3/4 The following dance is very similar to "Get Me Going" by Lisa Greenleaf: 12. ?? Improper ???? > A1: neighbour balance and wswing > A2: forwards and back // L 1.5 gyspy > B2: Partner balance and swing > B1: ladies half chain // Star L to next couple > The following dance is a minor variation of "Monday Night in Ballard" by Mike Richardson: 7. ?????????????? Improper ??????? > A1: neighbour balance & swing > A2: long lines; ladies allemande left 1? > B1: partner balance and swing > B2: gents do-si-do (1/2 about); circle left ?; pass through (to new > neighbour) Notes: The gents do-si-do in B2 is once around and back to place, and then the circle left is 3/4. In A2, the ladies allemande 1.5 Note the strong similarity between "Get Me Going" and "Monday Night in Ballard". You might want to replace one of these with a different dance. Dance vaguely similar to Lexington's Loss: You might try "Carpet Vectors" by Robert Cromardie A1 (16) NEIGHBOR BALANCE & SWING A2 (8) CIRCLE LEFT 1X (8) LADIES CHAIN ACROSS B1 (8) CIRCLE RIGHT 1X (8) LADIES CHAIN B2 (8) LONG LINES FORWARD & BACK (8) ONES SWING On 02/11/2012 12:00 PM, callers-request(a)sharedweight.net wrote: >> I have my first dance this Saturday so I thought I would post my draft >> program to see what some of you think. [Apologies for the VERY long email!] >> >> -If you have any suggestions on teaching tips, that would be lovely. I'm >> working on those today (along with figuring out how I want to teach my first >> beginners lesson ? yikes!!!). >> -I love it when callers provide neat little facts (e.g., where the name of >> the dance came from; when it was written; etc.). If you have ideas here, >> please let me know! I also have four dances without authors and two dances >> without names. >> -And, of course, feel free to critique dance selection and order! >> >> A bit about the dance community ------------------- >> -The dance is in Maberly Ontario, out in the countryside 1.5hrs from Ottawa. >> The dance has been happening four times a year (Maberly Quarterly!) for >> two years. >> -Sheesham and Lotus always play the dance and Martha Cooper is usually the >> caller. As context, S&L have lots of experience playing contras (both were >> in Flapjack and one was in the Groovemongers). They play oldtime with >> fiddle and banjo for the whole evening so it's driven' music with not as >> much variety in sound as you would get with some bands. >> -The local dance community is novice and while some Ottawa dancers come out, >> dances need to be kept relatively simple. >> -The hall is quite small and can get quite full. >> -There is always a beginners lesson before the dance begins >> -Timing of the dance 730 lesson, 8pm dance, break around 915/930, finishes >> at 11pm >> -Martha has traditionally called a mix of contras and squares with (I >> think), more contras in the mix. >> >> A bit about my draft program--------------------- >> -I'm aiming for fun, variety, and discovery/learning. >> -I'm aiming for one walk through but will do two if needed ? I want to see >> if I can help tweak the ear of local dancers to be picking up information on >> the first time around as well as keeping that feeling of momentum. >> -I haven't put any 'down the hall in a line of 4' within the programming. I >> would try them another time in Maberly but it seems to be a challenging move >> for that community. One reason is that the hall isn't very big so it's hard >> to get a good feeling in that move. The other is that there are so many >> beginners that it seems from previous dances that leaving their circle and >> space could maybe cause confusion. I'm going to test whether keeping them >> more within their home space on the dance floor will keep the beginners a >> bit more grounded. >> -I have also left out heys. I do like them but I have a lot of variety >> coming in from other aspects of the program and I want to focus on other >> aspects of dancing this evening. >> -I'm trying to cater to both a large number of beginners locally as well as >> those experienced dancers coming from Ottawa. The experienced folks from >> Ottawa aren't the super aerobic dancers who want huge challenges so I think >> they'll be ok as long as variety is there and there are fun surprises here >> and there. >> -Working with the driven' 4/4 old time sounds and thinking about what dances >> would fit with that. >> -I would have loved to have tried a square or chesnut but with it being my >> first full dance, I want to focus on an overall successful evening. :) >> -I'm aiming for 7 dances in the first half, 4-5 in the second + I have some >> back up dances if needed. >> >> Draft program with comments ----------------- >> 1. Swallowtail's First (DI) - ???unknown author to me >> -Put first because of the neighbour swing so folks can practice swinging >> with various people. No partner swing in this dance, the only one of the >> evening without PSw. >> -Getting dancers solid (hopefully) on LChain, Stars, and Circling >> -staying within circle >> >> 2. Baby Rose (DI) - David Kaynor >> -Introducing the balance (twice!) >> -similar progression as previous ? nice for the very start >> -staying within circle >> >> 3. New Fall Reel (Becket) - Susan Kevra >> -Introduce a different formation >> -beginners second chance to head towards a solid balance and swing >> -long lines appear! Wooohooo! Good timing here (hopefully) + feel the >> room/community >> -Sequences of alemands gets a few quicker 'thinking' moments on people's >> radar >> -different progression, easy enough and feels great/different >> -staying within circle >> >> 4. Mad Scatter (scatter mixer) - Rick Mohr >> -I want to get the dancers mixing through dance and this is such a fun >> mixer. Want the feeling of a bit of chaos but fun/controlled. >> -Put this dance forth as I wanted to have the moves solidified above first >> -First promenade of the night (just realized!)... that should be ok though ? >> I'll cover it in the beginners lesson and revisit here. >> >> 5. Family Contra (DI) ? Sherry Nevins >> -I know this dance can be used for the first of the evening but I thought >> would save until a bit later. >> -Bal the ring& couple DSD for progression are neat features that will make >> this dance feel different from others at this point in the evening. >> >> 6. Lexington's Loss (DI) ? Carol Ormand >> -R&Ls make this dance feel different >> -This is my sacrificial dance of the first half (i.e., if I'm running low on >> time, I'll cut this one) >> >> 7. ???Unknown name ? HELP!!! (DI) ? Author??? >> -Wanted something simple and lively to end the first half. Also something >> that would connect the community before the break (long lines :)). >> -starts and finishes the same as Lexington's Loss. Not great in many ways >> but maybe ok as people tired heading into the break? >> >> QUICK WALTZ >> >> ----BREAK----- >> >> 8. Snowball waltz >> -What do folks think? This is very much a community contra dance and so I >> thought by having a short waltz to end the first half, we could have a >> second waltz at the start of the second half to bring the community back >> together. >> -Snowball waltz would accomplish a few things? (1) mix dancers up again in a >> fun way, (2) get inexperienced waltzers dancing with experienced folks >> (doesn't happen as often with waltzes), and (3) get everyone up on the >> floor to start the second half. >> -If you like the idea, do you think I should either (1) announce that it's a >> snowball and get a few people with birthdays in Feb to start (2) get the >> band to start playing and a couple of dancers to start dancing so the >> snowball is a surprise (3) other??? >> -I guess if it's announced, could even show what the waltz step is >> quickly??? ??? >> >> 10. Feet in Flight (DI) --- Author????? >> -many new moves: petronella, roll away (in pretty safe spot), gypsy, >> California twirl >> -I wanted a petronella dance and I really liked the look of this one even >> though it's challenging. Open to suggestions though!) >> >> 9. Trip to Lamberville (DI) ? Steve ZA >> -familiar moves except into the center to balance the wave. >> -bit of standing around so if folks are tired, space to relax? maybe should >> have thought of this aspect of programming for my first half. >> >> 11. Who's in the middle(DI) ? Al Olson >> -new move is balance the wave >> -have some fun with who ends up in the middle >> >> 12. ???unknown HELP!!! (DI) ? Unknown?? >> -simple, all familiar moves to finish off the dance >> >> Final Waltz >> >> >> The dances themselves ----------------- >> >> 1. Swallowtails?s First - ???? - Improper >> A1: (8) neighbor do si do; (8) neighbor swing >> A2: (16) ladies chain over and back >> B1: (8) circle left; (8) circle right >> B2: (8) right hand star; (8) left hand star >> >> 2. (The) Baby Rose - David Kaynor - Improper >> A1: Neighbor Balance& Swing (16) >> A2: Circle Left Three Places (8) // Partner Do-si-do (16) >> B1: Partner Balance& Swing (16) >> B2: Ladies Chain (8) // Left Hand Star (8) >> >> 3. New Fall Reel? - Susan Kevra - Beckett >> A1: circle left 3 places (1/2); neighbour balance and swing >> A2: long lines (1/2); ladies chain >> B1: ladies allemande (full); partner allemande 1.5; gents allemande (full) >> [keep talk flowing..watch as maybe bit space before gents allemande] >> B2: partner balance and swing (3/4); slide left (this kind of happens at the >> start of A1) >> >> 4. Mad Scatter Rick Mohr; March, 2010 ?. Mixer, Scattered circles of two or >> more couples >> Level: Easy/Intermediate >> A1: Circle left (8) //// Dosido neighbor (8) >> A2: Allemande right with partner 1 1/2 (8) //// Women star (or allemande) >> left while men orbit clockwise (8) >> B1: Balance and swing new partner (16) >> B2: Promenade anywhere with new partner (16) (Find another group to circle >> with) >> In this mixer dancers form scattered groups with any number of couples. That >> makes for fun chaos, less transition panic (compared with 2-couple scatter >> mixers), and more flavors to enjoy as circle sizes vary. >> The A2 allemande ends with women in the center facing counterclockwise and >> men on the outside facing clockwise. If there are two women they allemande >> left for 8 beats; if there are more than two they star left for 8 beats. >> Either way, the men orbit clockwise around the women. Then all balance and >> swing a new partner and promenade to a new group. >> I tell the dancers it's a zero-stress dance. "If a couple wants to join your >> circle, let them in!" And no problem if you happen to keep the same partner >> now and then. >> >> >> 5. Family Contra (Sherry Nevins) duple minor-- don't worry about gender, >> proper or improper >> A1 Balance ring 2x, circle left 1x ("Go IN... and OUT... and IN... and >> OUT) >> A2 Balance ring 2x, circle right 1x >> B1 DSD with neighbor, DSD with partner >> B2 Facing other couple and with inside hands joined with partner, DSD 1.5 >> as a couple to progress >> >> 6. Lexington?s Loss - Carol Ormand - Improper >> A1: Neighbour B&W >> A2: R&L over // R&L back >> B1: CL ? // Partner swing >> B2: LLFB // CL ? and pass through up or down >> >> 7. ?????????????? Improper ??????? >> A1: neighbour balance& swing >> A2: long lines; ladies allemande left 1? >> B1: partner balance and swing >> B2: gents do-si-do (1/2 about); circle left ?; pass through (to new >> neighbour) >> >> >> 8. Snowball waltz >> >> 9. Feet in Flight -???- Improper >> A1: Ring balance; women roll neigbor gent away with a half sashay /// >> Ladies chain >> A2: Women gypsy /// Swing P >> B1: Circle L x3/4 /// Ring balance, Petronella twirl >> B2: Ring balance, Petronella twirl /// Ring balance, California twirl >> ? ? Not original version but ok >> >> 10. Trip To Lamberville - Steve Zakon-Anderson >> A1: [8] Ladies into the center to a wave and balance /// [8] Gents into the >> center to a wave and balance >> A2: [8] Gents allemende left 3/4 to a wave across and balance //// [8] >> Neighbors swing >> B1: [8] Gents allemende left 1 ? //// [8] Partners swing >> B2: [8] Right and left through ///// [8] Ladies chain >> >> 11. Who?s in the Middle? - Al Olson - DI >> >> A1- Circle left /// Allemande right your neighbor until someone is in the >> center where they join left hands to form an ?ocean wave? >> A2- Balance the wave, those in the middle allemande left once around /// >> Swing neighbor >> B1- Promenade across; right and left back >> B2- Ladies chain, over and back >> Notes from Syracuse callers gathering: This is a beginner dance, and fun. >> It?s a game to play with the speed of your allemande. Eye contact can convey >> whose turn it is to be in the middle. It can be reassuring to a beginner >> that it doesn?t matter how fast one goes on the allemande right. The B-parts >> also introduce a bunch of basic figures (also helpful for newcomers). The >> caller should probably keep calling in the B-parts (especially for >> beginners) because you are crossing back and forth. We talked about >> replacing the chain with a hey-for-4, to move the B-parts a bit away from >> solid ?glossary? figures. Call it, ?Who?s in the Hey?? This brought to mind >> a dance by Gene Hubert, that has a hey and a similar game about taking turns >> with who starts it: >> >> 12. ?? Improper ???? >> A1: neighbour balance and wswing >> A2: forwards and back // L 1.5 gyspy >> B2: Partner balance and swing >> B1: ladies half chain // Star L to next couple >>

13 years, 3 months

Re: [Callers] My First Full Evening

by Donna Calhoun

Sorry to chip in so late, but I do have a couple of suggestions. Your first 2 dances progress from a left hand star to a new neighbor. For experienced dancers, this is no big deal. For novices it can be problematic. The issue arises because as the star makes a full rotation, the men are facing away from the direction of progression and their new neighbor is actually behind them. I usually make a comment to the men "If you don't know where your new neighbor is, just look behind you" That usually is enough to get them through it. The other potential problem is in the dance Trip to Lambertville (one of my favorites). During the walk through, point out to the men that the Allemande in the B1 is with the same Gent from the A2 Allemande. The first time I called the dance, I negleted to point that out, and the dancers really struggled. Best of luck to you! > I have my first dance this Saturday so I thought I would post my draft > program to see what some of you think. [Apologies for the VERY long email!] > > -If you have any suggestions on teaching tips, that would be lovely. I'm > working on those today (along with figuring out how I want to teach my first > beginners lesson ? yikes!!!). > -I love it when callers provide neat little facts (e.g., where the name of > the dance came from; when it was written; etc.). If you have ideas here, > please let me know! I also have four dances without authors and two dances > without names. > -And, of course, feel free to critique dance selection and order! > > A bit about the dance community ------------------- > -The dance is in Maberly Ontario, out in the countryside 1.5hrs from Ottawa. > The dance has been happening four times a year (Maberly Quarterly!) for > two years. > -Sheesham and Lotus always play the dance and Martha Cooper is usually the > caller. As context, S&L have lots of experience playing contras (both were > in Flapjack and one was in the Groovemongers). They play oldtime with > fiddle and banjo for the whole evening so it's driven' music with not as > much variety in sound as you would get with some bands. > -The local dance community is novice and while some Ottawa dancers come out, > dances need to be kept relatively simple. > -The hall is quite small and can get quite full. > -There is always a beginners lesson before the dance begins > -Timing of the dance 730 lesson, 8pm dance, break around 915/930, finishes > at 11pm > -Martha has traditionally called a mix of contras and squares with (I > think), more contras in the mix. > > A bit about my draft program--------------------- > -I'm aiming for fun, variety, and discovery/learning. > -I'm aiming for one walk through but will do two if needed ? I want to see > if I can help tweak the ear of local dancers to be picking up information on > the first time around as well as keeping that feeling of momentum. > -I haven't put any 'down the hall in a line of 4' within the programming. I > would try them another time in Maberly but it seems to be a challenging move > for that community. One reason is that the hall isn't very big so it's hard > to get a good feeling in that move. The other is that there are so many > beginners that it seems from previous dances that leaving their circle and > space could maybe cause confusion. I'm going to test whether keeping them > more within their home space on the dance floor will keep the beginners a > bit more grounded. > -I have also left out heys. I do like them but I have a lot of variety > coming in from other aspects of the program and I want to focus on other > aspects of dancing this evening. > -I'm trying to cater to both a large number of beginners locally as well as > those experienced dancers coming from Ottawa. The experienced folks from > Ottawa aren't the super aerobic dancers who want huge challenges so I think > they'll be ok as long as variety is there and there are fun surprises here > and there. > -Working with the driven' 4/4 old time sounds and thinking about what dances > would fit with that. > -I would have loved to have tried a square or chesnut but with it being my > first full dance, I want to focus on an overall successful evening. :) > -I'm aiming for 7 dances in the first half, 4-5 in the second + I have some > back up dances if needed. > > Draft program with comments ----------------- > 1. Swallowtail's First (DI) - ???unknown author to me > -Put first because of the neighbour swing so folks can practice swinging > with various people. No partner swing in this dance, the only one of the > evening without PSw. > -Getting dancers solid (hopefully) on LChain, Stars, and Circling > -staying within circle > > 2. Baby Rose (DI) - David Kaynor > -Introducing the balance (twice!) > -similar progression as previous ? nice for the very start > -staying within circle > > 3. New Fall Reel (Becket) - Susan Kevra > -Introduce a different formation > -beginners second chance to head towards a solid balance and swing > -long lines appear! Wooohooo! Good timing here (hopefully) + feel the > room/community > -Sequences of alemands gets a few quicker 'thinking' moments on people's > radar > -different progression, easy enough and feels great/different > -staying within circle > > 4. Mad Scatter (scatter mixer) - Rick Mohr > -I want to get the dancers mixing through dance and this is such a fun > mixer. Want the feeling of a bit of chaos but fun/controlled. > -Put this dance forth as I wanted to have the moves solidified above first > -First promenade of the night (just realized!)... that should be ok though ? > I'll cover it in the beginners lesson and revisit here. > > 5. Family Contra (DI) ? Sherry Nevins > -I know this dance can be used for the first of the evening but I thought > would save until a bit later. > -Bal the ring & couple DSD for progression are neat features that will make > this dance feel different from others at this point in the evening. > > 6. Lexington's Loss (DI) ? Carol Ormand > -R&Ls make this dance feel different > -This is my sacrificial dance of the first half (i.e., if I'm running low on > time, I'll cut this one) > > 7. ???Unknown name ? HELP!!! (DI) ? Author??? > -Wanted something simple and lively to end the first half. Also something > that would connect the community before the break (long lines :)). > -starts and finishes the same as Lexington's Loss. Not great in many ways > but maybe ok as people tired heading into the break? > > QUICK WALTZ > > ----BREAK----- > > 8. Snowball waltz > -What do folks think? This is very much a community contra dance and so I > thought by having a short waltz to end the first half, we could have a > second waltz at the start of the second half to bring the community back > together. > -Snowball waltz would accomplish a few things? (1) mix dancers up again in a > fun way, (2) get inexperienced waltzers dancing with experienced folks > (doesn't happen as often with waltzes), and (3) get everyone up on the > floor to start the second half. > -If you like the idea, do you think I should either (1) announce that it's a > snowball and get a few people with birthdays in Feb to start (2) get the > band to start playing and a couple of dancers to start dancing so the > snowball is a surprise (3) other??? > -I guess if it's announced, could even show what the waltz step is > quickly??? ??? > > 10. Feet in Flight (DI) --- Author????? > -many new moves: petronella, roll away (in pretty safe spot), gypsy, > California twirl > -I wanted a petronella dance and I really liked the look of this one even > though it's challenging. Open to suggestions though!) > > 9. Trip to Lamberville (DI) ? Steve ZA > -familiar moves except into the center to balance the wave. > -bit of standing around so if folks are tired, space to relax? maybe should > have thought of this aspect of programming for my first half. > > 11. Who's in the middle(DI) ? Al Olson > -new move is balance the wave > -have some fun with who ends up in the middle > > 12. ???unknown HELP!!! (DI) ? Unknown?? > -simple, all familiar moves to finish off the dance > > Final Waltz > > > The dances themselves ----------------- > > 1. Swallowtails?s First - ???? - Improper > A1: (8) neighbor do si do; (8) neighbor swing > A2: (16) ladies chain over and back > B1: (8) circle left; (8) circle right > B2: (8) right hand star; (8) left hand star > > 2. (The) Baby Rose - David Kaynor - Improper > A1: Neighbor Balance & Swing (16) > A2: Circle Left Three Places (8) // Partner Do-si-do (16) > B1: Partner Balance & Swing (16) > B2: Ladies Chain (8) // Left Hand Star (8) > > 3. New Fall Reel? - Susan Kevra - Beckett > A1: circle left 3 places (1/2); neighbour balance and swing > A2: long lines (1/2); ladies chain > B1: ladies allemande (full); partner allemande 1.5; gents allemande (full) > [keep talk flowing..watch as maybe bit space before gents allemande] > B2: partner balance and swing (3/4); slide left (this kind of happens at the > start of A1) > > 4. Mad Scatter Rick Mohr; March, 2010 ?. Mixer, Scattered circles of two or > more couples > Level: Easy/Intermediate > A1: Circle left (8) //// Dosido neighbor (8) > A2: Allemande right with partner 1 1/2 (8) //// Women star (or allemande) > left while men orbit clockwise (8) > B1: Balance and swing new partner (16) > B2: Promenade anywhere with new partner (16) (Find another group to circle > with) > In this mixer dancers form scattered groups with any number of couples. That > makes for fun chaos, less transition panic (compared with 2-couple scatter > mixers), and more flavors to enjoy as circle sizes vary. > The A2 allemande ends with women in the center facing counterclockwise and > men on the outside facing clockwise. If there are two women they allemande > left for 8 beats; if there are more than two they star left for 8 beats. > Either way, the men orbit clockwise around the women. Then all balance and > swing a new partner and promenade to a new group. > I tell the dancers it's a zero-stress dance. "If a couple wants to join your > circle, let them in!" And no problem if you happen to keep the same partner > now and then. > > > 5. Family Contra (Sherry Nevins) duple minor-- don't worry about gender, > proper or improper > A1 Balance ring 2x, circle left 1x ("Go IN... and OUT... and IN... and > OUT) > A2 Balance ring 2x, circle right 1x > B1 DSD with neighbor, DSD with partner > B2 Facing other couple and with inside hands joined with partner, DSD 1.5 > as a couple to progress > > 6. Lexington?s Loss - Carol Ormand - Improper > A1: Neighbour B&W > A2: R&L over // R&L back > B1: CL ? // Partner swing > B2: LLFB // CL ? and pass through up or down > > 7. ?????????????? Improper ??????? > A1: neighbour balance & swing > A2: long lines; ladies allemande left 1? > B1: partner balance and swing > B2: gents do-si-do (1/2 about); circle left ?; pass through (to new > neighbour) > > > 8. Snowball waltz > > 9. Feet in Flight -???- Improper > A1: Ring balance; women roll neigbor gent away with a half sashay /// > Ladies chain > A2: Women gypsy /// Swing P > B1: Circle L x3/4 /// Ring balance, Petronella twirl > B2: Ring balance, Petronella twirl /// Ring balance, California twirl > ? ? Not original version but ok > > 10. Trip To Lamberville - Steve Zakon-Anderson > A1: [8] Ladies into the center to a wave and balance /// [8] Gents into the > center to a wave and balance > A2: [8] Gents allemende left 3/4 to a wave across and balance //// [8] > Neighbors swing > B1: [8] Gents allemende left 1 ? //// [8] Partners swing > B2: [8] Right and left through ///// [8] Ladies chain > > 11. Who?s in the Middle? - Al Olson - DI > > A1- Circle left /// Allemande right your neighbor until someone is in the > center where they join left hands to form an ?ocean wave? > A2- Balance the wave, those in the middle allemande left once around /// > Swing neighbor > B1- Promenade across; right and left back > B2- Ladies chain, over and back > Notes from Syracuse callers gathering: This is a beginner dance, and fun. > It?s a game to play with the speed of your allemande. Eye contact can convey > whose turn it is to be in the middle. It can be reassuring to a beginner > that it doesn?t matter how fast one goes on the allemande right. The B-parts > also introduce a bunch of basic figures (also helpful for newcomers). The > caller should probably keep calling in the B-parts (especially for > beginners) because you are crossing back and forth. We talked about > replacing the chain with a hey-for-4, to move the B-parts a bit away from > solid ?glossary? figures. Call it, ?Who?s in the Hey?? This brought to mind > a dance by Gene Hubert, that has a hey and a similar game about taking turns > with who starts it: > > 12. ?? Improper ???? > A1: neighbour balance and wswing > A2: forwards and back // L 1.5 gyspy > B2: Partner balance and swing > B1: ladies half chain // Star L to next couple > -- Donna Calhoun Knoxville Country Dancers Knoxville, Tennessee

13 years, 3 months

Re: [Callers] Star Promenade - communicate the feeling of a good one?

by Dhuntdancer＠aol.com

Just recently I was asked by a gentleman (my partner in the dance) to wait for him for the star promenade (being one of those ladies who started across the set). After several practice rounds, I had to agree that it was more "satisfying" to make the connection with him on my side of the set and travel with him through the promenade across and then the BF twirl. However, we had some room up and down the lines. There were times when I had to dodge the oncoming lady from the neighboring 4-some which made the Star promenade less fun for me. In the future if I'm dancing a contra dance I would probably decide to "wait or to go" depending on how crowded the hall was. BTW, if I'm dancing a Star Promenade in a square I wait to be scooped up by my partner since there are no opposing ladies to bump into. Donna Hunt In a message dated 2/8/2012 7:01:23 P.M. Eastern Standard Time, meedwards(a)westendweb.com writes: I have been reading these complaints about ladies who start across the set with great interest, having hitherto been one of those ladies. I'll certainly try not to be one in the future... BUT BUT the reason is that there is NO ROOM for the star promenade until you get past the lady coming at you from the opposite direction in the next set. Shall I give the gentleman a satisfying bit of whirling and get myself clocked by the oncoming lady's shoulder? Shall I hang back and make us late? Or shall I go forward and be there when the gentleman gets there? ALSO - many times the gentlemen are late in deciding what to do, or they've run into traffic, so they're often not there at the moment you should be starting that portion of the promenade. Beginning across the set before the gentleman gets there is usually simply another attempt to stay with the music. After listening to you all, I would be remiss in not attempting to hold back and wait for the gentleman to come pick me up. I shall do so henceforth, earnestly and in good faith, and I shall report my injuries, if any, to my shoulder or to my sense of timing, to you in the future. M E On Wed, Feb 8, 2012 at 5:28 PM, Marlin Whitaker <marlinw(a)gmail.com> wrote: > What Amy said. Hear, hear. > > It is very unpleasant to arrive at the spot where I am supposed to meet a > lady to start a star promenade but find her already part way across the > set, so I have to chase her to try to catch up with her. Usually that > happens in time for the butterfly whirl, but that's too late to have the > "satisfying, connected" star promenade that Alan is looking for. > > -- Marlin > > > On 02/08/2012 12:55 PM, Amy Cann wrote: > >> Hmmm. I agree with everything below except for: >> >> As to the star promenade/butterfly whirl, the non-allemander* should be >>> >> moving before the person he/she is going to promenade with gets there. * >> >> >> This may be true in some cases, but I think the caller needs to be careful >> here - I would choose >> >> "be ready to be swept up" instead. >> >> I have very clear memories of dancing the inside part of a star promenade >> and having a VERY unsatisfying time of it, just like in the original post. >> The main problem? The outsides kept "helping" me by starting to walk round >> the star before I got there and really latched on. >> >> It didn't feel like a mini, gentle, star-shaped game of crack-the-whip, it >> felt like a bunch of outsides promenading around a little track while the >> insides trotted to catch up, their inner hands hooked together in a tangle >> that had no functional purpose. >> Bleh. >> >> >> >> >> The ones that felt the best were the ones that waited until my arm was >> truly around their waist, and then *hung back a little* . >> >> When dancing the outside, it felt to me that "giving weight behind myself" >> made it work best. >> >> >> Just my two cents. >> Oh, and BTW: >> >> >> >> calling Amy Cann's "Sweet Music" (*great* dance), >>> >> Nope. :) >> >> I mean, yep, it is a great dance, but -- >> >> Amy Kahn, rhymes with "John", lives in western NY and wrote the dance >> "Sweet Music". >> Amy Cann, rhymes with "Dan", lives in Vermont and wrote the tune >> "Catharsis" and the dance "High Five." >> >> Cheers, >> Amy >> ______________________________**_________________ >> Callers mailing list >> Callers(a)sharedweight.net >> http://www.sharedweight.net/**mailman/listinfo/callers<http://www.sharedweight.net/mailman/listinfo/callers> >> > > ______________________________**_________________ > Callers mailing list > Callers(a)sharedweight.net > http://www.sharedweight.net/**mailman/listinfo/callers<http://www.sharedweight.net/mailman/listinfo/callers> > -- As you set out for Ithaka, pray that your journey be long, full of adventure, full of discovery... May there be many summer mornings when, with what pleasure, with what joy, you enter harbors you're seeing for the first time. ~Constantine Cavafy, "Ithaka" 1911 _______________________________________________ Callers mailing list Callers(a)sharedweight.net http://www.sharedweight.net/mailman/listinfo/callers

13 years, 3 months

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