Hi Dorcas! Yes, Susan once told me when she called in Dallas that was why
she named Trip to Phan (or however it's been handed around) what she did: a
pun involving the amino acid prevalent in turkey (which makes us sleepy) as
a nod to all the "Trip to" dances.
Ruth
Hanny, could. It be devil's dervish by Linda Leslie?
All best,
Kim
On Dec 26, 2011 12:00 PM, <callers-request(a)sharedweight.net> wrote:
> Send Callers mailing list submissions to
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> Today's Topics:
>
> 1. Re: Shadow Dances? (Greg McKenzie)
> 2. Report Back: Hello and a few questions... (Don Veino)
> 3. Re: Report Back: Hello and a few questions... (Colin Hume)
> 4. Groundhog day (Walter)
> 5. Re: Groundhog day (Luke Donforth)
> 6. Re: Shadow Dances? (Luke Donforth)
> 7. Double contra - whodunnit? (Hanny Budnick)
> 8. Easy and Fun (holt.e(a)comcast.net)
> 9. Re: Double contra - whodunnit? (Chris Page)
> 10. Re: Double contra - whodunnit? (Bree Kalb)
> 11. Re: Easy and Fun (Donald Primrose)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Sun, 25 Dec 2011 20:30:36 -0800
> From: Greg McKenzie <grekenzie(a)gmail.com>
> To: "Caller's discussion list" <callers(a)sharedweight.net>
> Subject: Re: [Callers] Shadow Dances?
> Message-ID:
> <CAFqkWLtxghWVYAcCVL-0WXDXmhL2Q_-R2f+g+EeqeCqsXhurYA(a)mail.gmail.com
> >
> Content-Type: text/plain; charset=ISO-8859-1
>
> Colin wrote:
>
> > Surely the objection to mixers (in The States) is that you don't get to
> > swing your original partner every time through the dance. In most mixers
> > you wouldn't swing the same shadow every time - if you did I'd change the
> > starting format so that the person you swing is actually the one you
> asked
> > to dance.
> >
>
> I suspect that the real objection to unannounced mixers is that they remove
> control of the partnering process from the dancers. With a shadow dance
> every dancer is assigned a second "partner" in the form of a shadow,
> someone they might not want to partner with. That's why some dislike
> shadow swings.
>
> I like mixers, in general. But I also think it is very important to
> empower the dancers to partner with whomever they wish. This is key to
> integrating first-timers as well. When you give control of the partnering
> process to the regulars you also give responsibility to the regulars for
> integrating newcomers. It is important to maintain the caller-dancer trust
> relationship.
>
> - Greg McKenzie
>
>
> ------------------------------
>
> Message: 2
> Date: Mon, 26 Dec 2011 02:33:16 -0500
> From: Don Veino <sharedweight_net(a)veino.com>
> To: "Caller's discussion list" <callers(a)sharedweight.net>
> Subject: [Callers] Report Back: Hello and a few questions...
> Message-ID:
> <CAAJTtiLYnZCmpotK82LwJyQh1XNq_M83e4Grc5ZwhiAgjdcNZQ(a)mail.gmail.com
> >
> Content-Type: text/plain; charset=ISO-8859-1
>
> Hi, I realize I owed a report back on my first gig experience.
>
> In the simplest summary, it went great. I had planned a program of more
> basic, very connected dances based upon the crowd I was expecting. It
> turned out that we had zero newbies and kept most of the crowd from the
> start right through to the end, which made me want to stretch the material
> in the second half. I ended up pulling up a few cards I'd prepped for
> another venue, and modified a bit for better connection/orientation (eg: in
> *A Rare Bird* making the pass bys into pull bys, gypsy to allemande, etc.)
> and all went well.
>
> To the best of my recollection, my program was:
>
> Alamo Intro - Circle - Al Green
> Get Me Going - DI - Lisa Greenleaf
> Broken Transcription - DI - Don Veino (yet another variant on Broken
> Sixpence)
> Polymorphous' Reel - DI - Christine Hale (dance written in honor of the
> prior incarnation of the band, request by organizer)
> You're Among Friends - DI - Bob Isaacs
> Butter - Becket - Gene Hubert (my video of this night's walk-through and
> dance at http://youtu.be/pqSoOvu2wI0 )
> ---
> Nail That Catfish To The Tree - DI - Walter Davies [+Bob Dalsemer]
> (unfortunately, tune was not in the band's portfolio)
> Special Delivery - Becket - Nell Wright
> Redbeard Reel - Becket - Bob Isaacs (written for dancers that were present)
> A Rare Bird - DI - Bob Isaacs, var: Lisa Greenleaf, plus mods on the fly by
> me
> The Big Easy - DI - Becky Hill
>
> I had two points of trickiness in my teaching. In Special Delivery, my prep
> notes were unclear about whether the B2 L Chain was across or on diagonal
> so I taught it straight across then figured it out in the walkthrough it
> was diagonal. In Rare Bird, I had not refined my language enough in prep to
> clearly describe the current N pull by coming out of the LH Star at the
> bottom of the B2, resulting in me having to talk more than I planned and
> run through a second time to get it across. I now have better card notes
> for both.
>
> Thanks for the tips and info from this list! I put a bunch of it to good
> use and hope to apply more soon. I got good feedback from several dancers,
> had fun with the band, and the organizer was very happy (and has invited me
> back).
>
> -Don
>
>
> ------------------------------
>
> Message: 3
> Date: Mon, 26 Dec 2011 07:40:43 +0000
> From: Colin Hume <colin(a)colinhume.com>
> To: "Caller's discussion list" <callers(a)sharedweight.net>
> Subject: Re: [Callers] Report Back: Hello and a few questions...
> Message-ID: <4EF824FB.4030404(a)colinhume.com>
> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>
> Don -
>
> Sounds as if you did a great job - congratulations!
>
> On 26/12/2011 07:33, Don Veino wrote:
> > I now have better card notes for both.
>
> That's so important - there are callers who always cause confusion at
> some point in some dance but never change their card!
>
> Colin Hume
>
> E-mail: colin(a)colinhume.com Website: http://www.colinhume.com
>
>
> -----
> No virus found in this message.
> Checked by AVG - www.avg.com
> Version: 2012.0.1901 / Virus Database: 2109/4702 - Release Date: 12/25/11
>
>
>
> ------------------------------
>
> Message: 4
> Date: Mon, 26 Dec 2011 08:13:20 -0500
> From: Walter <walterdaves(a)windstream.net>
> To: callers(a)sharedweight.net
> Subject: [Callers] Groundhog day
> Message-ID: <4EF872F0.9050405(a)windstream.net>
> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>
> The applicability of shadow dances notwithstanding, I have also used
> tunnel dances and dances with a dip and dive progression in honor of the
> other piece of the tradition, namely, coming out of the hole to greet
> the whatever.
> Walter
>
>
>
> ------------------------------
>
> Message: 5
> Date: Mon, 26 Dec 2011 09:24:30 -0500
> From: Luke Donforth <luke.donev(a)gmail.com>
> To: "Caller's discussion list" <callers(a)sharedweight.net>
> Subject: Re: [Callers] Groundhog day
> Message-ID:
> <CAFrKOZa-pqugrQsgdoA8KwYCW2AaGu8=+22EK6ObhT20SF-Vng(a)mail.gmail.com
> >
> Content-Type: text/plain; charset=ISO-8859-1
>
> The applicability of shadow dances notwithstanding, I have also used tunnel
> > dances and dances with a dip and dive progression in honor of the other
> > piece of the tradition, namely, coming out of the hole to greet the
> > whatever.
> > Walter
> >
>
> A nice additional twist, Walter. Do you have favorites for that? I wonder
> if there are any dip & dives that also have shadows...? And now I'm
> contemplating a double-length (128 bar) dance where you meet your shadow
> only every other time... such ways lie madness and sleepless night
> choreographing dances that never get called...
>
> Thanks though, I like the dip and dive idea.
>
>
> --
> Luke Donforth
> Luke.Donforth(a)gmail.com <Luke.Donev(a)gmail.com>
> www.lukedonev.com
>
>
> ------------------------------
>
> Message: 6
> Date: Mon, 26 Dec 2011 09:26:14 -0500
> From: Luke Donforth <luke.donev(a)gmail.com>
> To: "Caller's discussion list" <callers(a)sharedweight.net>
> Subject: Re: [Callers] Shadow Dances?
> Message-ID:
> <CAFrKOZb=bt+jusuQd-Ma_TYqj4xnTXtg1ybVzaMkSDOmH8CPWw(a)mail.gmail.com
> >
> Content-Type: text/plain; charset=ISO-8859-1
>
> > Perhaps with that in mind Luke, if you are going to have a number of
> > shadow dances, let the interaction with the shadow be different in each
> > dance: one a swing, the next allemandes, the next a gypsy, a do si do,
> what
> > have you. Sounds fun. Wish I could be there. :)
> > Andrea
> >
> >
> A good idea Andrea. I hadn't planned on putting in more than two shadow
> dances in an evening anyway, but even at two I think varying the shadow
> interaction is the way to do it.
>
> --
> Luke Donforth
> Luke.Donforth(a)gmail.com <Luke.Donev(a)gmail.com>
> www.lukedonev.com
>
>
> ------------------------------
>
> Message: 7
> Date: Mon, 26 Dec 2011 11:01:53 -0500
> From: Hanny Budnick <kyrmyt(a)cavtel.net>
> To: Callers(a)sharedweight.net
> Subject: [Callers] Double contra - whodunnit?
> Message-ID: <4EF89A71.7020407(a)cavtel.net>
> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>
> I failed to note it down immediately after dancing it... Maybe one of you
> can
> fill in the considerable gaps, please:
> 1) The choreography stems from 'someone in California'.
> 2) Formation: two improper contra lines, close together for a double dance
> across the whole set
> 3) there's a hey for all eight in it
> Your turn....
> Thanks, Hanny
>
>
> ------------------------------
>
> Message: 8
> Date: Mon, 26 Dec 2011 11:03:07 -0500
> From: "holt.e(a)comcast.net" <holt.e(a)comcast.net>
> To: Callers(a)sharedweight.net
> Subject: [Callers] Easy and Fun
> Message-ID: <380-22011121261637881(a)M2W108.mail2web.com>
> Content-Type: text/plain; charset=iso-8859-1
>
> Hi all,
> I am about to call a dance the character of which has changed from what I
> expected and I need some easy dances. I had harder material planned and
> while I do have some material that is probably easy enough, I am not sure
> that it is. The dance is at a college. It is for college students only,
> pssibly only students from that college, and we are now hoping for a large
> contingent of beginers; perhaps mostly beginners. Have you any expereince
> with a similar situation? I am thinking along the lines of ONS dances,
> although if we made a few into regulars for the regular dance there that
> would be great. So: "no-partner" dances, mixers (I have January Mixer - a
> great one), Set dances ("Once and to the bottoms") .......
> We intend to have a blast!
> Rickey Holt, Fremont, NH
>
> --------------------------------------------------------------------
> mail2web - Check your email from the web at
> http://link.mail2web.com/mail2web
>
>
>
>
> ------------------------------
>
> Message: 9
> Date: Mon, 26 Dec 2011 11:14:33 -0500
> From: Chris Page <chriscpage(a)gmail.com>
> To: "Caller's discussion list" <callers(a)sharedweight.net>
> Subject: Re: [Callers] Double contra - whodunnit?
> Message-ID:
> <CAObbV+NTLi-=tZ0YyZ+YKeENoue-Zjwh-g9VO9PagvTtn-tQ0w(a)mail.gmail.com
> >
> Content-Type: text/plain; charset=ISO-8859-1
>
> On Mon, Dec 26, 2011 at 11:01 AM, Hanny Budnick <kyrmyt(a)cavtel.net> wrote:
> > I failed to note it down immediately after dancing it... Maybe one of you
> > can fill in the considerable gaps, please:
> > 1) The choreography stems from 'someone in California'.
> > 2) Formation: two improper contra lines, close together for a double
> dance
> > ? across the whole set
> > 3) there's a hey for all eight in it
> > Your turn....
> > Thanks, Hanny
>
>
> "Major Hey" by Erik Hoffman? It also has Rory o' More slides in it,
> and is 40 bars. Though I think it's a Becket 4-face-4.
>
>
> -Chris Page
> San Diego
>
>
> ------------------------------
>
> Message: 10
> Date: Mon, 26 Dec 2011 11:17:05 -0500
> From: "Bree Kalb" <bree(a)mindspring.com>
> To: "Caller's discussion list" <callers(a)sharedweight.net>
> Subject: Re: [Callers] Double contra - whodunnit?
> Message-ID: <ECD7604DAEE1417395377A682DA8CDD2@BreeHomeLaptop>
> Content-Type: text/plain; format=flowed; charset="iso-8859-1";
> reply-type=response
>
> Might be Major Hey by Erik Hoffman. Here's a link to a previous discussion
> and description on this list.
>
> http://www.sharedweight.net/pipermail/callers/2007-December/001112.html
>
> Bree Kalb
>
> -----Original Message-----
> From: Hanny Budnick
> Sent: Monday, December 26, 2011 11:01 AM
> To: Callers(a)sharedweight.net
> Subject: [Callers] Double contra - whodunnit?
>
> I failed to note it down immediately after dancing it... Maybe one of you
> can
> fill in the considerable gaps, please:
> 1) The choreography stems from 'someone in California'.
> 2) Formation: two improper contra lines, close together for a double dance
> across the whole set
> 3) there's a hey for all eight in it
> Your turn....
> Thanks, Hanny
> _______________________________________________
> Callers mailing list
> Callers(a)sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>
>
>
> ------------------------------
>
> Message: 11
> Date: Mon, 26 Dec 2011 11:59:51 -0500
> From: Donald Primrose <limerickfarm(a)gmail.com>
> To: holt.e(a)comcast.net, "Caller's discussion list"
> <callers(a)sharedweight.net>
> Subject: Re: [Callers] Easy and Fun
> Message-ID:
> <CAD4tQvbCdVuNcm6MOgGECg79kYQDwtm_WK_P5bhqrr77YB8QgQ(a)mail.gmail.com
> >
> Content-Type: text/plain; charset=ISO-8859-1
>
> Something to check on.. depends on the day of the week, and is there a
> potential that students have been drinking. Changes the dance.
>
>
> & go with the normal stuff.. no need to dumb it down, after all they
> asked you to call a contra.. I assume,
>
> -don
>
> On 12/26/11, holt.e(a)comcast.net <holt.e(a)comcast.net> wrote:
> > Hi all,
> > I am about to call a dance the character of which has changed from what I
> > expected and I need some easy dances. I had harder material planned and
> > while I do have some material that is probably easy enough, I am not sure
> > that it is. The dance is at a college. It is for college students only,
> > pssibly only students from that college, and we are now hoping for a
> large
> > contingent of beginers; perhaps mostly beginners. Have you any
> expereince
> > with a similar situation? I am thinking along the lines of ONS dances,
> > although if we made a few into regulars for the regular dance there that
> > would be great. So: "no-partner" dances, mixers (I have January Mixer -
> a
> > great one), Set dances ("Once and to the bottoms") .......
> > We intend to have a blast!
> > Rickey Holt, Fremont, NH
> >
> > --------------------------------------------------------------------
> > mail2web - Check your email from the web at
> > http://link.mail2web.com/mail2web
> >
> >
> > _______________________________________________
> > 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 88, Issue 28
> ***************************************
>
Sue Rosen's "Handsome Young Maids" and Rick Mohr's "Connectrix" both have a
"cloverleaf" figure, in both cases tied to a down-the-hall. Does anyone
know of dances where the cloverleaf occurs without a down-the-hall?
tavi
I'm compiling a list of uncommon and obscure contra dance moves for a
choreography book that I'll publish in the spring. The list contains
about 100 right now. The interesting thing is that many on the list
are different calls for the same move (like Jersey twirl and Nevada
twirl). I appreciate the precision of MWSD but also enjoy the
looseness of the contra scene.
I'd like to know how callers use the calls slide and shift. Are
there situations where you're more inclined to use slide? How about
shift?
I think I see a pattern but it's not 100%:
Slide- seems to be used by a number of callers usually in
conjunction with a circle left to progress.
Shift - seems to be used, for example, after a partner swing in order
to progress.
Tom
In any dance formation, a shadow is always located on the same side of
the set as your partner. This is true at all times during the course of
the dance: beginning, middle, and end. Improper, proper, Becket,
indecent -- they all follow this rule.
This is useful to figure out where the shadow is after a diagonal chain,
for example. Next to you or across from you? Look at where a dancer's
partner is, and you'll have the answer.
Mark Widmer
> -----Original Message-----
> From: Richard Mckeever<macmck(a)ymail.com>
> To: Caller's discussion list<callers(a)sharedweight.net>
> Sent: Wed, Jan 18, 2012 10:49 am
> Subject: Re: [Callers] Groundhog Day dance by Jim Hemphill
>
>
> I am not familiar with this dance - but if you are on the same side of the set
> s your partner - a shadow cannot be located on the other side - so they will be
> n the same side somewhere to your right or left.
> Mac
>
>
> ------------------------------
>
> Date: Wed, 18 Jan 2012 16:23:45 -0500
> From: Tom Hinds<twhinds(a)earthlink.net>
> To: callers(a)sharedweight.net
> Subject: [Callers] shadow
>
> We shouldn't confuse new callers by failing to point out that there
> are other contras that use a different shadow. The shadow Brian
> speaks of is similar to the corner in a square. The other shadow
> could be compared to a right-hand lady (left-hand gent) in a square.
>
> Just by looking at the positioning and timing in the B2 it would make
> sense for the shadow to be of the 'corner' variety.
> If it was a r-h lady (left-hand gent) shadow the instructions would
> probably say allemande left partner once around. In this dance using
> a 'corner' shadow would ensure a longer partner swing.
> When you're not sure, it's always a good idea to diagram the
> choreography.
>
> Great dance!
>
> T
>
>
Thanks, Tom - good point re: the variability of "shadow" positions. Even
experienced callers sometimes identify the wrong shadow in a walk-through,
and when dancers get the wrong idea chaos ensues.
On a separate but related note: This raises for me an interesting question:
clarifying the terminology differences among "corner", "shadow", and "trail
buddy".
It strikes me that the use of "corner" in squares focuses dancers on the
spatial position (lh lady, rh gent), and thus allows for the fact that
(depending on whether the square is progressive or keeper) the corner may
be the same person or may be a different person each iteration of the
dance. The use of "shadow" in longways dances implies that it's the same
person every time, regardless of their spatial relation to you within the
major set.
The difference between those two seems clear to me - which leaves "trail
buddy", a term i'm always fuzzy on. When is an interaction a "trail buddy"
rather than a "shadow"? (Four-face-four dances seem an obvious example.)
Does the somewhat interchangeable use of the two terms in standard longways
dances create undue confusion for the dancers?
Feel free to direct me to archived SW threads if this is a discussion
that's already been had!
~ tavi
> Message: 3
> Date: Wed, 18 Jan 2012 16:23:45 -0500
> From: Tom Hinds <twhinds(a)earthlink.net>
> To: callers(a)sharedweight.net
> Subject: [Callers] shadow
> Message-ID: <ACAB9D2C-67F7-4055-BC0F-183E5F4FB664(a)earthlink.net>
> Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed
>
> We shouldn't confuse new callers by failing to point out that there
> are other contras that use a different shadow. The shadow Brian
> speaks of is similar to the corner in a square. The other shadow
> could be compared to a right-hand lady (left-hand gent) in a square.
>
> Just by looking at the positioning and timing in the B2 it would make
> sense for the shadow to be of the 'corner' variety.
> If it was a r-h lady (left-hand gent) shadow the instructions would
> probably say allemande left partner once around. In this dance using
> a 'corner' shadow would ensure a longer partner swing.
> When you're not sure, it's always a good idea to diagram the
> choreography.
>
> Great dance!
>
> T
>
>
>
Just to be clear, the "cloverleaf" moves in these two dances are
entirely different animals. Sue Rosen's is "cloverleaf turn single",
adapted from English country dancing, and Rick Mohr's is a connected
cloverleaf group turn (which comes out of a cozy line), adapted from
Fred Feild's "Symmetrical Force".
(I find I have a very hard time getting everyone to get the mirror
symmetry intended in the turn in Handsome Young Maids, and of course
contra dancers would rather spin the turn than walk a true four-step
"turn single". These are aesthetic points, more than functional ones
and undoubtedly annoy me, watching from the stage, more than the
dancers on the floor. ;-) Struggles in getting the cloverleaf in
Symmetrical Force are inevitable, but they're mostly just amusing --
not painful, hopefully! --, and people sometimes get a sense of
achievement when they finally figure it out.)
You might be wanting to minimize the "down-the-hall" components of
your overall program, but I'd think you'd be safe doing both; I agree
that if you are going for a third cloverleaf (for a St. Pat's
program), a dance with no "down-the-hall" would be nice to have.
~ Becky Nankivell
Tucson, Ariz. & Long Beach, Calif.
------------------
Date: Wed, 18 Jan 2012 22:43:21 -0500
From: tavi merrill <melodiouswoodchuck(a)gmail.com>
To: callers(a)sharedweight.net
Subject: Re: [Callers] Dances for St. Paddy's day
Message-ID:
<CA+hGDsU42zOPjg4eiDXCc7A0W-M6bToBuPJiKcgQktfBPGvjSQ(a)mail.gmail.com>
Content-Type: text/plain; charset=ISO-8859-1
Sue Rosen's "Handsome Young Maids" and Rick Mohr's "Connectrix" both have a
"cloverleaf" figure, in both cases tied to a down-the-hall. Does anyone
know of dances where the cloverleaf occurs without a down-the-hall?
tavi
Jim, your dance strikes me as a rather unique combination of moves, and
I would be surprised if it had already been written. It looks like it
has nice flow, have you called it to live dancers yet?
Mark Widmer
p.s. I notice it could also start at B1 (as a duple improper dance that
progresses in the expected place), or at A2 (as a Becket dance that ends
with a partner swing).
On 12/28/2011 12:00 PM, callers-request(a)sharedweight.net wrote:
> Date: Wed, 28 Dec 2011 07:31:08 -0600
> From: Jim Hemphill<arcadian35(a)gmail.com>
> To: callers(a)sharedweight.net
> Subject: Re: [Callers] Groundhog Day
> Message-ID:
> <CAL3h0BT9o_BurA+LZyqXwepPagkAuVv5q386cwcMTW0Va7rrTA(a)mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> I'm fairly new to Calling and fascinated with Contra dance choreography.
> Below is my attempt at a Groundhog day dance. The groundhog starts his
> day by looking for his shadow and so does this dance.
>
> Groundhog Daze Becket
> A1 Gypsy your shadow
> Partner swing
> A2 Circle left 3 places
> Balance the circle, 1's make an arch, 2's dive thru
> B1 Next neighbor balance and swing
> B2 Long lines forward and back
> Ladies allemande right 1/2, partner allemande left 3/4
>
> I know there are thousands of dances out there so if this is not an
> original, please let me know the true name.
>
> Thanks, Jim Hemphill
>
>
We shouldn't confuse new callers by failing to point out that there
are other contras that use a different shadow. The shadow Brian
speaks of is similar to the corner in a square. The other shadow
could be compared to a right-hand lady (left-hand gent) in a square.
Just by looking at the positioning and timing in the B2 it would make
sense for the shadow to be of the 'corner' variety.
If it was a r-h lady (left-hand gent) shadow the instructions would
probably say allemande left partner once around. In this dance using
a 'corner' shadow would ensure a longer partner swing.
When you're not sure, it's always a good idea to diagram the
choreography.
Great dance!
T
I have called it twice thus far; both times the dancers enjoyed the dance -
and the joke implicit in its choreography.
Both times i used it in mixed-level situations, without problems, calling
it as written. IMO it's a really good dance for introducing the "shadow"
concept to inexperienced dancers because it's grounded in partner
interaction - you simply turn your back on your partner and there s/he is!
Also having a simple, straightforward progression mid-dance is to my mind a
strength, because it adds variety to a program without introducing the
higher complexity typical of mid-dance progressions.
