Contra Callers

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4363 discussions

Star Promenade - communicate the feeling of a good one?

by Alan Winston - SSRL Central Computing

Gang -- I think star promenade with a butterfly whirl has the potential to be a satisfying, connected figure, but in my experience it rarely is. What I want to have happen is that the inside people (usually men) retain their allemande hold including the satisfying allemande amount of weight on that arm, the women the men have an arm around are pulling away with enough weight to feel connected, you get round in time, and the inside people push off from the joined hand to launch a spin for the whirl. When that's happened for me as a dancer, I've really enjoyed it, but it's really rare. Even the last time I danced at the Scout House I got maybe two out of 15 possible on-time pushoffs, and in California I'm lucky if I get one in a whole dance. I presume this doesn't happen because pretty much all four people have to want to make it happen and know how. At the contra I called last night, calling Amy Cann's "Sweet Music" (*great* dance), I tried just hinting at the connected part: "Men allemande left once a half. Keeping that same feeling of connection, scoop up your partner and star promenade. Butterfly whirl and the women use their momentum to start a hey for four ..." Well, they got the sequence fine, but I was watching the floor and there was a fair amount of men not even keeping a hand-hold with each other, much less a connected one. And of course if you don't have that counterbalance on the other end of your arm you can't get around as fast. All that's a long build-up to: Anybody got hints for briefly and effectively teaching a *good* star promenade? (Not just the geography - that's easy enough - but the dynamics that make it satisfying.) Thanks, -- Alan -- =============================================================================== Alan Winston --- WINSTON(a)SSRL.SLAC.STANFORD.EDU Disclaimer: I speak only for myself, not SLAC or SSRL Phone: 650/926-3056 Paper mail to: SSRL -- SLAC BIN 99, 2575 Sand Hill Rd, Menlo Park CA 94025 ===============================================================================

13 years, 3 months

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

by David.Millstone＠VALLEY.NET

Bob wrote: "It is difficult to teach subtlety, especially from 'the pulpit." One of thethings that made Ted Sannella such a masterful dance leader-- not simply a caller-- was his understanding of this. It was not unusual to see him go out onto the floor during an evening to demonstrate the timing of a right and left through, the styling of moving from a swing into a ladies chain, the pattern of a vigorous "lady round two and the gent cut through," and much more. By giving dancers a visual picture, not simply a mental image, of how the dancing could look, he made it easier for others to move in that style. Yes, he taught dances but more importantly he was teaching how to dance and how to interact with the others on the floor. Such demos need not be long or tiresome; Ted's demonstrations were brief, delivered with a fine combination of serious intent and a light touch, and they were effective. David Millstone

13 years, 3 months

Star promenades

by Jim Hemphill

Alan, The biggest problem I see in star promenades is spacing. As the star spins thru the middle, 4 dancers abreast just don't fit comfortably unless you have room to space the sets out a little extra. Try stretching the lines as much as possible. I've noticed that guys tend to shift most all their focus on the lady in their right arm once they have scooped her up. If the added challenge of navigating a crowded center is added, the left hand is often completely forgotten. Jim Hemphill Jim Hemphill

13 years, 3 months

thanks for welcome :) + my first full evening program!

by Emily Addison

Hi folks :) (Don and Bill - thanks for the encouragement last week! I love the suggestion re recording myself… will do.) 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 ¾ // Partner swing B2: LLFB // CL ¾ and pass through up or down 7. ?????????????? Improper ??????? A1: neighbour balance & swing A2: long lines; ladies allemande left 1½ B1: partner balance and swing B2: gents do-si-do (1/2 about); circle left ¾; 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 ½ //// [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

Subject: Re: Star Promenade - [thread morphing into: flourish vs courtesy]

by tavi merrill

Despite my youth, i may be a codger already... IMO, courtesy is(/should be!) basic to the dance; style and flourish have their place, and i enjoy them as well, but not at the expense of courtesy. I think it's possible (/our responsibility?) as callers to emphasize this point without making flourish unwelcome - particularly because lack of courtesy is the surest way for flourish to become unwelcome among dancers, leading to those problematic set dynamics. Recently i had an experience in a particularly venerable venue where i took the time to teach the mechanics of a gents chain, and the militantly flourishistic dancers paid little heed, thus i watched their line struggle the whole way through. When it comes to petronella claps, i'm intrigued by that particular flourish's ability to enhance or detract from courtesy and community depending on how it's interpreted by the dancers. I personally find it useful to suggest that dancers clap "to" their foursome (/new neighbor/partner) as a means of both orienting them and focusing even the flourish on the idea of dancing "together". > Message: 5 > Date: Tue, 7 Feb 2012 15:41:32 -0500 > From: George Mercer <geopmercer(a)gmail.com> > To: "Caller's discussion list" <callers(a)sharedweight.net> > Subject: Re: [Callers] Star Promenade - communicate the feeling of a > good one? > Message-ID: > <CACRi76u8MSF6TG2dX+0sq2EinjEWN8fKG4G_nn8DkP+kBawLrA(a)mail.gmail.com > > > Content-Type: text/plain; charset=windows-1252 > > Charles: I tend to agree and I may be becoming too much of a codger. I > don't want to discourage flourishes. When I was younger I was quite up to > putting on the style--it was almost a calling card. But I learned almost > from the beginning that I could do just about anything as long as I ended > up where I was supposed to be--on time. I agree that fun is central to the > dance, but I also insist that courtesy is also essential. I have the same > issue with the nearly ubiquitous "Petronella clap." I don't usually do it > but don't care if others do. It does, however, remain a flourish. > Inevitably it is the first thing about a petronella twirl that newcomers > pick up and almost as inevitably it contributes to unnecessary confusion > for them. Clap away, twirl away, jump and shout, get down and get funky, > but help the newcomers/inexperienced dancers learn to become experienced > dancers. > > On Tue, Feb 7, 2012 at 3:18 PM, Charles Hannum <root(a)ihack.net> wrote: > > > There are different reasons that people contra dance. I'm pretty sure > > that for some, it really is about the flourishes, and the flirtiness > > thereof, and therefore it's more important to them than being on time. > > Unless they are actually causing the set to fall apart, I'm not sure > > this is per se a problem, nor if so what the solution would be without > > discouraging some people from coming to the dance. > > > > It seems to me that being too strict about the dancing leads to > > situations like we had several years ago locally, where a bunch of > > dancers who had been dancing at a particular location for many years > > were offended by all the wacky stuff the ?young people? were doing. > > This is part of why, to this day, there is still a strong separation > > of who dances in which lines. > > > > The challenge for organizers and callers is really to make the dance > > welcoming to a variety of people, even though those people may want > > somewhat different things from the dance. > > > > > > On Tue, Feb 7, 2012 at 15:08, George Mercer <geopmercer(a)gmail.com> > wrote: > > > I love a good star promenade and butterfly whirl, but there are > inherent > > > issues that crop up at almost every dance. First and foremost is the > > > experienced dancers who are too busy doing their "flourishes" to > actually > > > do the appropriate move (and are thereby teaching inexperienced dancers > > > that the flourish is more important and more fun than the actual move) > or > > > to do it at the appropriate time and who just flat out don't understand > > how > > > important it is to help the other dancers. Callers are also part of > the > > > problem. They almost never teach dancers that there is very little > > > waiting/standing in a contra or square dance, even if someone else is > > doing > > > the move [Think of baseball fielders beginning to move as the pitcher > is > > > making the release...even though they have no diea wher the ball is > going > > > to be hit]. As to the star promenade/butterfly whirl, the > non-allemander > > > (now there's a word) should be moving before the person he/she is going > > to > > > promenade with gets there. This happens on other moves as well--think > of > > > all the 20 beat heys you've encountered. We should also consider > > > counseling new/inexperienced dancers that the music will help them to > > know > > > when to terminate a move and begin the next, and that stopping early is > > > almost always better than stopping late. I mentioned this at a dance > > > recently where I was calling and some of the dancers applauded. Callers > > can > > > also help by making the call before the move, which we all know we > should > > > be doing anyway (though we all sometimes fail to do). It also very > rare > > > that I hear a caller/instructor remind dancers that if they are late > for > > or > > > actually miss a move not to worry, but if at all possible to get on to > > the > > > next move in time. > > >

13 years, 3 months

Callers' Workshop with Scott Higgs

by Jack Mitchell

"Scott Higgs began dancing in college, and started teaching soon thereafter (when the knowledgeable dancers graduated !). For 25 years he has traveled the country (25 states and 6 foreign countries) calling for contras and English country dances. Dancers characterize Scott's contras as "high-energy" and "swingy." His English dance programs span the spectrum from exuberant to elegant." Scott will be in the Triangle to call for the TCD Friday Night Dance and for the Sun Assembly English Country Dance the weekend of March 9th, and TCD and the Callers Collctive are glad to be able to host a callers workshop with him while he is here. The workshop will be held from 10:30 - 1:30 on March 10th near Hillsborough, NC. If you are interested in attending the workshop, please fill out the form (link below). If you have any questions, please email Jack Mitchell (jamitch3(a)mindspring.com). https://docs.google.com/spreadsheet/viewform?formkey=dE1lNnlTajEtcGNPUHVWMV… If you have trouble with the long link, try this one: http://tinyurl.com/TCDScottHiggsWorkshop This event is funded in part by the Outreach Fund of the Country Dance and Song Society. More information about CDSS at www.cdss.org.

13 years, 3 months

Dances for 3s

by Hanny Budnick

One of my absolute favorites, even with international folk dance groups, is this one which I *think* I got from Ralph Page. He commented that the tune is claimed by the Irish, the English, the Scots - and that therefore it most probably is French<g>. Mason's Apron three facing three in big circle, best with original tune A 1 1 - 8 all six circle left A 2 1 - 4 middle person with person on right: balance, allemande right 5 - 8 middle person with person on left: balance, allemande left B 1 1 - 4 teapots* right, once around 5 - 8 teapots left B 2 1 - 4 groups of three forward and back 5 - 8 pass through, meeting new group of three * teapots right: middle person + diagonal right person + own right person RH star teapots left: middle person + diagonal left person + own left person LH star Enjoy! Hanny

13 years, 3 months

Silly Threes

by Gail Hintze

A couple more fun things to do with Silly Threes: 1. While the innies are going through the arches, have them turn and go the other way back now and then. 2. Near the end, have the band slow the music way down, then speed up. Fun! Gail Hintze Children's Librarian Chillicothe Public Library 430 N Bradley Ave Chillicothe IL 61523 309-274-2719

13 years, 3 months

Hello from a new caller and memories from RPDLW!

by Emily Addison

Big hello shared weight colleagues. :) I've been lurking for months while I read all the back records of shared weight. Time to break out and join the conversation though… such fruitful ones they seem to be! I was the scholarship caller for the RPDLW two weeks ago - what a most incredible experience!!! I've been to a number of dance events in the NE but as folks have said before, RPDLW is such a special event. I felt so welcome, was clearly surrounded by contra history (and legends - wow!!!), and came away with such a good feel about our dance community. As a new caller, I would totally recommend the scholarship opportunity to any other new caller. It was one of the best learning opportunities I could imagine for someone who is starting out. A few highlights for me included: a) Calling one dance. That's all I needed because it was the rich feedback from David Millstone and Chrissy Fowler that opened my eyes to many aspects of my calling I hadn't realized before. b) Participating in Amy Cann's callers' workshop. It was AMAZINGGGGGGG!!!! Boy... what fascinating ways of looking at calling. She brings in whole new perspectives I haven't heard other callers talk about. Wow - thanks Amy. :) c) Getting to quiz David Millstone and David Kaynor over lunch. (Prepping what aspects of calling I wanted to learn about was important for my getting lots out of the weekend. I learned lots of other things to be sure but the weekend was a great chance to engage big contra brains in the little details of calling.) d) And… I had to add one dancing moment … … Mary D andNor'easter leading Moneymusk. AWESOME!!! There were so many other great highlights but I stop there. I've spent the last week going through the past syllabi from the RPDLW (http://www.library.unh.edu/special/index.php/ralph-page-dance-legacy-weekend). I've ignored the dances themselves and have been focusing on the conversations, discussions, etc. There are some fantastic insights... I hope to post a few in the next little while. In the meantime, I called my first half dance last Saturday in Ottawa (Ontario) and have my first full dance in Maberly in just over a week. I am scared sXXXless so will probably be posting a few questions for help! I look forward to engaging with you in the future. This group seems like such a great resource and I'm super excited to be entering this community. :) Much thanks, Emily from Ottawa

13 years, 3 months

Dances for 3s

by Hilton Baxter

In response to Rickey Holt's message: > 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 I wrote this dance several years ago when the local dance conflicted with the Dance Flurry and I had to stay home to call. The 1st star can be wrist grip (snowflake star), or whatever is easy for folks. The 2nd star should NOT be wrist grip - I point out that whoever is on top of the pile will have something special to do in the next part of the dance (lead the 2 people on his/her right to another line of 3). Any bouncy, silly tune will work. Find You at the Flurry Hilton Baxter Type: Scatter Mixer Formation: 3 facing 3 to start A1 ----------- opposite dosido opposite allem L A2 ----------- opposite allem R (or swing) all six circle L B1 ----------- star L (6 hand “snowflake”) star R (hands piled on top of each other) B2 ----------- person on top lead 3-some to new 3-some (other 3 stay) lines of 3 forward & back (if time) B2 can be led by bottom person, tallest, shortest, most hair, least hair, person showing most leg, most facial hair, most jewelry, etc. Hilton Baxter www.binghamtondance.org/hiltonbaxter/

13 years, 3 months

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