Contra Callers

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4363 discussions

by Gary Shapiro

The conversation here about those petronella into swing dances inspired me to look through my collection and I found this: A1 Neighbor balance & swing A2 All four balance, petronella twirl and an immediate allemande left 1/2, 1/2 hey B1 Partner balance & swing B2 All four balance, petronella twirl and an immediate allemande left 1/2, 1/2 hey Anyone have a title and author?

14 years, 3 months

Re: [Callers] Dance Name

by richgoss＠comcast.net

That's the name he gave me. I asked when I was out at the top of the line, and promptly forgot it. It indeed is a chain to the diagonal opposite. Also, as Leslie points out, the CT uses up the remaining 4 beats. As one dancing it, I made sure to do a modified CT and transitioned into only having right hands joined for a balance. Thanks so much for the info and input. ----- Original Message ----- From: "Jack Mitchell" <jamitch3(a)mindspring.com> To: "Caller's discussion list" <callers(a)sharedweight.net> Sent: Thursday, February 3, 2011 4:38:58 PM Subject: Re: [Callers] Dance Name I have it (also from nils) as follows. Nils mentioned at the time that it was a modification of the original (somewhat more complicated dance). Also notice that after the circle left it was a gents star rather than gents promenade -- for me that was a really cool moment in the dance...when the gents reach back for that Star and pop out of the circle. Possibly Nils has made more changes. At that point, it starts to really become a new dance, tho. *Ring Around the Daisy (modified)*-- Shawn Brenneman4 Face 4 NOTE:*Very* circular for the ladies -- probably not one to call. A1LL F&B 4 ladies chain to diagonal neighbor A2N B&S B1All 8 Circle L 1/2 Ladies keep walking, gents star left 1x Ladies continue walking in the same direction you were circling, Gents Reach back B2P B&S On 2/3/2011 6:54 PM, Linda Leslie wrote: > A couple of thoughts about the dance below: > 1. If no one on this list knows it, an email to Nils might be the next > step. I have found him quite happy to respond to requests! > 2. If I were to make an educated guess, I would say that it might be > an Al Olson dance. > 3. The ladies grand chain is actually to the diagonal opposite, rather > than the opposite neighbor across. Perhaps a small point, but an > important distinction when it comes to calling/teaching Four Face Four > (Mescolanza) formations. > 4. The problem with changing the half grand chain to a star is that > there will be time left over. A courtesy turn should take 4 counts of > the music; if a half star is done, which should take about 4 counts of > the music, the ladies will reach their diagonal opposites too soon, > and have to wait 4 counts before doing the Balance and Swing. While it > may not be the most flowing move to go from a courtesy turn into a > balance and swing, it certainly is readily done, and the dancers can > be playful with how they dance these moves. > > If no one knows the dance, then I will be happy to get in touch with > Nils! > warmly, Linda Leslie > > On Feb 3, 2011, at 1:28 AM, Dave Colestock wrote: > >> I might not know the name, but for proper flow the A1 should be >> ladies RH Star, not a grand chain, which is always followed by a >> courtesy turn. In this dance there should be no courtesy turn, as >> the next move is a balance and swing with the opposite. >> >> Dave Colestock >> Harrisburg, PA >> >> >> --- On Thu, 2/3/11, Rich Goss <richgoss(a)comcast.net> wrote: >> >> >> From: Rich Goss <richgoss(a)comcast.net> >> Subject: [Callers] Dance Name >> To: "Shared Weight" <callers(a)sharedweight.net> >> Date: Thursday, February 3, 2011, 1:11 AM >> >> >> Danced a 4-face-4 dance tonight that Nils Fredland called. I wrote >> down the >> moves but forgot the name and author. I do remember that the author >> is from >> Chicago. Here are the moves: >> >> A1: Lines of 4 Forward and Back >> Ladies Grand Chain (to Opposite) >> >> A2: Opposite Balance and Swing >> >> B1: 8 Circle left 1/2, Gents in center, walk single file CCW 1x, >> while Ladies walk CW 1/2 >> >> B2: Partner Balance and Swing >> >> >> Anyone recognize it. >> Thanks >> >> >> _______________________________________________ >> 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 > > _______________________________________________ > 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

14 years, 3 months

Re: [Callers] Back to Calling Medleys

by Mark Widmer

Rich, You've pretty much summed up my approach (and that of other callers I know) to calling medleys at a regular contra dance -- i.e., not at a festival. A medley is a fun surprise for the dancers, there is no need to "warn" them about it. Straightforward dances are used, so it is arguably less challenging to beginners than doing a dance with contra corners or having a shadow. That being said, I do occasionally encounter a hallful of dancers where I feel, on balance, a medley would not be a good idea. But that is the exception rather than the rule. Mark Widmer On Tue, 1 Feb 2011 19:27:31 +0000 (UTC),richgoss(a)comcast.net wrote: > Hi, > > My two cent regarding medleys. > > Most all medleys I've ever encountered were not extra length, usually lasting > at most six times through per unique dance.? Medleys by nature must be easy > dances with progressions that fit together nicely.? > > I frequently call a medley as the last dance of the evening.? None of the moves > are ones that have not been used somewhere else in the evening. > > Usually I will ask the band to play three tunes, 4-4-5, and I will?signal > the tune changes myself.? The dance changes when the > tune does, but you know that part well. > > I really don't see medleys as being any more challenging than any other contra > dance.? Every dance should be just fun, and the?switch is what makes it so. ? > Each dance in the medley should be totally accessible to all skill levels at > that point in the evening. ? If there is a bit of fumbling about at the switch, > I think that just adds to the fun.? I just make sure I make my calls a bit > earlier and very clearly, with a "Listen UP, Listen UP" thrown in at the dance switch. > > Perhaps we're talking about a different sort of medley. > > Hope all you northeasterners are braving the latest storm okay.? Looks > nasty.??Nice sunny day here in the Pacific NW. > > Rich

14 years, 3 months

Re: [Callers] Developing a Culture of Inclusiveness. Was: Calling medleys

by Greg McKenzie

Martha Asked: >So, Greg, since you are clearly a Good Guy, what was the meaning of your >original post, where you suggested the caller warn people that there was a >medley coming up so they could be sure they wouldn't have to dance the >medley with someone who wasn't skilled? That's what I'm reacting to - it >just sounded so...like a hotdogger. Which you otherwise don't seem to be. No. I am not a "Good Guy."...but I have the potential. Everyone does. I believe that calling contras can make you a better person, if you work at it. So maybe there is still hope. For the caller to gain the respect and support of the entire hall they need to be open with people and trust them with information. As a caller you want everyone invested in your success. If the dancers feel informed they are more likely to trust the caller. To "spring" an unusual formation on the dancers will erode that sense of trust. In a medley the dancer could possible be making a commitment the length of two regular contras. It only seems fair to warn the dancers of this increased commitment. Yes. There are some who will feel an increased sense of urgency in finding a particular partner, or kind of partner, for this extended commitment. This does not reflect poorly upon the dancer. It is a natural outcome of longer dance slots that dancers will feel what could be called an increased "partnering urgency." If you are going to put them in that position it is only fair that you warn them in advance. We use words like "hotdogger" to describe such people and it does have a derogatory sound to it. But, as in all other cases, it's always the caller's fault. If you want to encourage an increased culture of inclusiveness then shorter partnering slots is one strategy that really works. Even shortening the slots a small amount during the first third of the dance evening will create a sense that there will be many partnering opportunities and this will engender a more generous feeling in the partnering process. This, of course, speaks against the use of medleys. Because of their length, and because they are regarded as more challenging, medleys are more exclusive than a regular contra dance. So those are just two tips on generating a culture of inclusiveness: 1. Build a sense of trust with the dancers by giving them more information. 2. Keep the length of the partnering slots shorter, particularly early in the evening. - Greg

14 years, 3 months

Re: [Callers] Developing a Culture of Inclusiveness. Was: Calling medleys

by richgoss＠comcast.net

No to both. For a no walk through, I say "The first move is a Neighbor dosido. That's all you need to know. We'll do it with music." The medleys just happen, with no announcement. Again, none of these dances can be difficult in any way, and would contain moves that have been done already in the evening. ----- Original Message ----- From: "Greg McKenzie" <grekenzie(a)gmail.com> To: "Caller's discussion list" <callers(a)sharedweight.net> Sent: Tuesday, February 1, 2011 12:48:03 PM Subject: Re: [Callers] Developing a Culture of Inclusiveness. Was: Calling medleys Rich wrote: >Perhaps we're talking about a different sort of medley. That may be the case. I have never seen the "short" medley you speak of. Do you announce your medley's in advance? Do you warn the dancers that there will be "no walk through?"

14 years, 3 months

Re: [Callers] Happy as a Warm Pig in Cold Mud

by Becky Nankivell

I have a "Cold Pig in Warm Mud", first heard it from Penn Fix in 1995, and it's published that way in Midwest Folklore. Maybe the slightly altered version is slightly renamed? I haven't used it much but have approached it as a "let loose and live with what happens" dance -- if the stars have more or fewer than four people, that's ok, you just have to come back to your partner. In the box next to Eric Zorn's "The Axiom of Choice". :-) ~ Becky Nankivell ------------------ Date: Tue, 01 Feb 2011 15:50:58 +1300 From: Liz and Bill <staf186(a)ext.canterbury.ac.nz> To: Caller's discussion list <callers(a)sharedweight.net> Subject: Re: [Callers] Happy as a Warm Pig in Cold Mud Message-ID: <4D477512.6050003(a)ext.canterbury.ac.nz> Content-Type: text/plain; charset=ISO-8859-1; format=flowed Interesting discussion, looks like a fun dance, but what temperature is the pig? I have a dance card with a cold pig and warm mud! The title on the you tube video title has a warm pig, but the title frame in the video has a cold pig. I suppose the pig would be happy either way. Cheers, Bill

14 years, 3 months

Re: [Callers] Back to Calling Medleys

by richgoss＠comcast.net

Hi, My two cent regarding medleys. Most all medleys I've ever encountered were not extra length, usually lasting at most six times through per unique dance. Medleys by nature must be easy dances with progressions that fit together nicely. I frequently call a medley as the last dance of the evening. None of the moves are ones that have not been used somewhere else in the evening. Usually I will ask the band to play three tunes, 4-4-5, and I will signal the tune changes myself. The dance changes when the tune does, but you know that part well. I really don't see medleys as being any more challenging than any other contra dance. Every dance should be just fun, and the switch is what makes it so. Each dance in the medley should be totally accessible to all skill levels at that point in the evening. If there is a bit of fumbling about at the switch, I think that just adds to the fun. I just make sure I make my calls a bit earlier and very clearly, with a "Listen UP, Listen UP" thrown in at the dance switch. Perhaps we're talking about a different sort of medley. Hope all you northeasterners are braving the latest storm okay. Looks nasty. Nice sunny day here in the Pacific NW. Rich ----- Original Message ----- From: "Richard Mckeever" <macmck(a)ymail.com> To: "Caller's discussion list" <callers(a)sharedweight.net> Sent: Tuesday, February 1, 2011 10:21:16 AM Subject: Re: [Callers] Developing a Culture of Inclusiveness. Was: Calling medleys This is all interesting - can someone explain where this leaves the less experienced dancer? A medley is the place where they need the most help from the more experienced. Unless we put them all in the same line and watch them scramble. Or should we just invite them not to dance? It really doesn't bother me to dance with a newer dancer for a couple extra minutes. Mac >From Greg: > In a medley the dancer could possible be making a commitment the length of > two regular contras... > > This, of course, speaks against the use of medleys. Because of their > length, and because they are regarded as more challenging, medleys are more > exclusive than a regular contra dance. >

14 years, 3 months

Another Cure for the Claps

by Bob Green

I am planning on calling *Another Cure fir the Claps *tonight. I did not have the author of the dance. does anyone have it? this version: *Another Cure for the Claps* A1 (8) Balance the ring and twirl to the right (Petronella) (8) Scoop up your Partner and swing on the side A2 (8) (8) Balance the ring and twirl to the right (Petronella) (8) Scoop up your Neighbor and swing on the side B1 (8) Down the hall, four in line (turn as couples) (8) Return and Bend the line B2 (8) Ladies Chain (8) Circle Right 3/4 Pass left up/down to face next couple (form ring) Thanks, Bob

14 years, 3 months

Re: [Callers] Developing a Culture of Inclusiveness. Was: Calling medleys

by Greg McKenzie

Martha wrote: >Greg - I think you misunderstood me a little bit. My view that, left to our >own devices, we act like high schoolers, is based on observation -- >anecdotal observation, to be sure, but what I have seen has been so >consistent, that I, at least, am convinced. I understand that you are convinced. This is the nature of framing. Once we adopt a frame we see the world in terms of that framing. The more we "activate" a frame, the easier it is to evoke it. I am not directing this critique at you, personally. This framing is very common among callers. You merely expressed it very clearly and succinctly. I am questioning the prevailing frame for contra dance. I want to assure you that I do not observe the world as you do through the "high schooler" frame. Employing a different frame I see that almost all contra dancers are enthusiastic about and enjoy dancing with newcomers. In fact, it is one of the most enjoyable parts of contra dance. How is this possible? Seen through my frame any uncivil behavior in the hall is direct evidence of poor calling. If there is anyone in the hall behaving poorly the proper response from the caller is to be apologetic. Martha also wrote: >This view does not in any way absolve anyone of responsibility. In fact, my >whole argument is that "the grownups" need to take charge and make sure that >the kindness/inclusiveness attitudes are predominant. Yes, we are all >capable of such behavior, and yes, in fact, it is our ability to behave that >way that led to the survival of our species. But our survival was also >dependent on keeping away from "others" who were not in the family, tribe or >village. It is that inherited sense of "us" and "they" that leads to >exclusiveness and shunning. And war and pestilence. My argument was that absolving the caller of responsibility was the only possible advantage I can see of this framing. By treating the dancers as high-schoolers we give up a host of strategies that could be used to gain their support and participation in building a sense of community. When a caller activates "the grownup" framing this projects an authoritarian position and puts the caller at odds with the interests of the dancers. This is not an advantage. The framing creates an adversarial relationship with the dancers. Martha also wrote: >What I said was, the group leadership needs to address these issues. The >caller is part of the leadership, so we have the right and the >responsibility (at least in our own towns) to speak up in meetings, at >after-dance get-togethers, online, etc. But when we're actually calling, I >agree that we should limit our etiquette remarks to small, cheerful >reminders, no harangues or lectures from the stage. Nor off-stage. The frame that sees people as inherently uncivil creates a sense that the seat of the problem is with undisciplined or uneducated dancers. My frame sees the seat of the problem as poor calling. Martha then asked: >What about this point of view "excuses" the caller from taking >responsibility? What about this point of view suggests that the caller >"blame" the behavior on the dancers and leave it at that? I'm just saying >that trying to change a culture by fiat is rarely sucessful, and a caller >who wants to change things should start, first, on the dance floor by being >the sort of person he/she wants others to emulate, second, off the dance >floor by passing on the larger "contradance culture", and lastly, from the >stage only in small bites, respectfully, and with good humor. Doing anything by fiat would be a destructive action by the caller, because it undermines the relationship of trust and goodwill with the dancers. The nature of the "contradance culture" is what we are discussing. That culture is currently dominated by the frame you have put forth so eloquently. If you wish to change that culture I can attest that you will have much more influence as a caller than as a dancer. Martha also wrote: >What I also said was that, in a contra group, we callers should lead by >"gentle precept" (words) and "strong example" (doing). Fewer words, more >doing. Here,one of our best dancers spends nearly 80% of her time with the >least experienced dancers, bless her angelic heart. Now THAT is a strong >example. "Fewer words, more doing" is an excellent prescription. If the caller assumes the support and civility of all of the dancers they can eliminate many words intended to "correct" what the "high schooler" frame implies that the dancers will be inclined to do. Assume the best and take responsibility for the rest. That is a recipe for few words. Please consider that your 80% "angelic heart" dancer may be doing what she most enjoys. She may be one of your most selfish dancers. Why not direct your programming and calling efforts towards making sure that regulars, who are partnered with newcomers, have a great time. Make sure that they have an opportunity to use their skills and knowledge to share something they are passionate about with a confident stranger who is ready to learn. You may find that there are many more "angelic hearts" than you had assumed by looking through the "high-schooler" frame. - Greg

14 years, 3 months

Re: [Callers] Calling Medleys for the first time

by John W Gintell

> > Message: 2 > Date: Sun, 30 Jan 2011 09:52:08 -0800 > From: Greg McKenzie <grekenzie(a)gmail.com> > To: Caller's discussion list <callers(a)sharedweight.net> > Subject: Re: [Callers] Calling medleys for the first time > Message-ID: <4d45a548.1f48960a.0b45.ffffd026(a)mx.google.com> > Content-Type: text/plain; charset="us-ascii"; format=flowed > > > Bob Green wrote: >> In some communities, a different approach is taken - to help avoid >> breakdowns while switching dances on the fly, trying to see that less >> experienced/skilled dancers have a partner the can give them a little help >> along on the way. I favor this approach as I believe it tends to make the >> overall dance experience better. > > I would be very interested in any techniques or strategies you, as > the caller, would use to achieve this behavior: "...trying to see > that less experienced/skilled dancers have a partner the can give > them a little help along on the way." I am particularly interested > in what callers do to encourage more generous partnering behaviors in > a medley. How do you achieve that "We're all in this together," > sentiment that Larry Jennings speaks of? > > - Greg I think it is a good idea for callers to add little bits of dance culture instruction during their teaching and remarks. Many people start coming to Contra Dances without knowing the culture and it isn't always easy to "get". New dancers are sometime shy and don't want to ask experienced dancers to be partners; of course some experienced dancers are snobs but I think most want to make the evening fun for everyone - reminders about changing/selecting partners can help. I like dancing with inexperienced dancers and I think it helps make me a better dancer because I have to be more aware of everyone and learn how to help in a constructive fashion with hand gestures instead of too many words that can't be heard. Here's an example of something that organizers can do: at the BIDA dance in Cambridge (http://bidadance.org/index.html) they have some very nice posters hung around the wall that talk about having fun, changing partners, etc. They have been working hard on being inclusive on getting new dancers - they have a beginners workshop before each dance. The I in BIDA stands for Intergenerational, the A for Advocates.

14 years, 3 months

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