Chrissy,
Seth Tepfer has (at least) two that might fit your needs:
Perforated Corners<http://www.dancerhapsody.com/Calling/Dances.html#Corners>-
contra corners with waves
http://www.dancerhapsody.com/Calling/Dances.html#Corners
Black Beards of
Vernals<http://www.dancerhapsody.com/Calling/Dances.html#BlackBeards>-
contra corners & rory o'more twirls
http://www.dancerhapsody.com/Calling/Dances.html#BlackBeards
--Jerome
On Sun, Feb 13, 2011 at 11:00 AM, <callers-request(a)sharedweight.net> wrote:
> Send Callers mailing list submissions to
> callers(a)sharedweight.net
>
> To subscribe or unsubscribe via the World Wide Web, visit
> http://www.sharedweight.net/mailman/listinfo/callers
> or, via email, send a message with subject or body 'help' to
> callers-request(a)sharedweight.net
>
> You can reach the person managing the list at
> callers-owner(a)sharedweight.net
>
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of Callers digest..."
>
>
> Today's Topics:
>
> 1. Rory O'More wave bals AND contra corners? (Chrissy Fowler)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Sun, 13 Feb 2011 11:57:04 -0500
> From: Chrissy Fowler <ktaadn_me(a)hotmail.com>
> To: shared weight <callers(a)sharedweight.net>
> Subject: [Callers] Rory O'More wave bals AND contra corners?
> Message-ID: <COL113-W34B49E909FCDD7E294E1998DD10(a)phx.gbl>
> Content-Type: text/plain; charset="iso-8859-1"
>
>
> Hello callers,
>
> Curious if anyone knows any contra dance that contains both Rory O'More
> type wave(s) *and* contra corners. (Besides the dance Rory O'More itself!)
> My online and book searching thus far has netted nil.
>
> Thanks!
> Chrissy Fowler
> Belfast Maine
>
>
> ------------------------------
>
> _______________________________________________
> Callers mailing list
> Callers(a)sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>
>
> End of Callers Digest, Vol 78, Issue 14
> ***************************************
>
--
Jerome Grisanti
660-528-0858
http://www.jeromegrisanti.com
For the good are always the merry,
Save by an evil chance,
And the merry love the fiddle
And the merry love to dance. ~ William Butler Yeats
We danced "Life, The Universe and Everything" by Carol Ormand somewhere
recently (Berea at Christmas?). It had contra corners and diagonal
waves. But I can't remember whether there was a Rory O'More in the
wave. I believe that it is in the book "The Lizard Research Institute &
Other Dances".
Happy dancing,
John
John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 &
07802 940 574
http://www.contrafusion.co.uk for Contra Dancing in Kent
-----Original Message-----
From: callers-bounces(a)sharedweight.net
[mailto:callers-bounces@sharedweight.net] On Behalf Of
callers-request(a)sharedweight.net
Sent: 13 February 2011 17:00
To: callers(a)sharedweight.net
Subject: Callers Digest, Vol 78, Issue 14
Today's Topics:
1. Rory O'More wave bals AND contra corners? (Chrissy Fowler)
----------------------------------------------------------------------
Message: 1
Date: Sun, 13 Feb 2011 11:57:04 -0500
From: Chrissy Fowler <ktaadn_me(a)hotmail.com>
To: shared weight <callers(a)sharedweight.net>
Subject: [Callers] Rory O'More wave bals AND contra corners?
Message-ID: <COL113-W34B49E909FCDD7E294E1998DD10(a)phx.gbl>
Content-Type: text/plain; charset="iso-8859-1"
Hello callers,
Curious if anyone knows any contra dance that contains both Rory O'More
type wave(s) *and* contra corners. (Besides the dance Rory O'More
itself!) My online and book searching thus far has netted nil.
Thanks!
Chrissy Fowler
Belfast Maine
------------------------------
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers
End of Callers Digest, Vol 78, Issue 14
***************************************
Have any of you ever called this dance by Mike Boerschig? It's been in my box for years, and I've never called it because I haven't been sure about who should go to which star. It was published one way in Midwest Folklore (see below), but the two YouTube videos I've seen of it have a shorter partner allemande, ending with the first woman and second man (i.e., second corners) starring above, while the second woman and the first man (first corners) star below.
If you've called this and have an opinion about how it's best danced, or if you've found it challenging to teach, I'd love to hear what you have to say about it!
--Katy Heine
HAPPY AS A WARM PIG IN COLD MUD
by Mike Boerschig
dpl imp
A1
Neighbor balance and swing
A2
Men allemande left once and a half
allemande right partner once and three quarters
so men are facing in, women out
B1
Star left
away from partner, 1st corners star up, 2nd down; reaching across to shadow in star
swing partner
B2
Circle left three quarters
balance in that circle, California twirl partner to face next couple
Andrea,
My sentiments exactly. I like your batter analogy, and each dance is
different - and even changes during the dance, as you point out, if a
raft of beginners from the bottom suddenly hit the top at the same time.
Martha Wild
I think you don't need to consider all the assumptions below, because
I doubt that there is any hard and fast rule. What I find easiest in
terms of dropping out is to wean the dancers off the cueing fairly
rapidly. The first time through, if there are lots of beginners, I
use a lot more words - e.g. face across and right and left through,
or long lines forward and back. The next time I might say "right and
left" or "long lines", and then the next time just "lines"). For most
dances you can pretty quickly stop bothering to say "swing" - people
tend to remember that they are supposed to do that. If there is a
really good sequence that makes sense, I may call just the first call
into it and leave the rest out pretty early. In the first few dances
of the evening, you may have to call more times before you are able
to drop out completely because the beginners are less experienced and
are all dancing. Then they tire out and by dance three or four you
can often drop calls out very quickly. But it also depends on the
dances you are calling and the time of night and the heat of the
hall. Heat and lateness will tax the brains of the dancers, and
towards the end of the evening, especially in the summer in our non-
air-conditioned hall here in San Diego, I often find that I have to
start prompting much more again. And some dances, particularly those
with two swings, may require almost continual prompting specifically
after each swing, especially late in the evening, when the entire set
may suddenly, in an amazing display of solidarity, all launch into
lines forward and back, which was supposed to come after the second
swing, not the first. It's a great chain reaction to watch, one
person puts their hands out and the whole line telegraphs the motion
and chaos ensues. Another thing I watch out for is beginners who are
becoming #1 couples, especially if the ones and twos do different
things and their 2s aren't able to help them much. Even if I haven't
been calling at all for a while, I might pop in briefly with a cue
for the clueless at a critical moment the first time they do it. And
of course there are the occasional brain teaser dances that require
more cueing than others. We have had a couple of callers come through
here that were of the opinion they should call the dance through
twice and then ignore the dancers, even if the dance was not going
smoothly, and the dancers were not happy about it. I've heard the
dancers yell out "Keep calling!" I do like to have people dancing to
the music, not to me, so I try to call dances with good flow that can
dance themselves, so to speak. I also like people to have a good
experience dancing, a confidence-building experience. Weaning the
dancers seems to be a good compromise for me to the "sink or swim"
sudden cessation of prompting.
Martha
On Feb 11, 2011, at 9:00 AM, callers-request(a)sharedweight.net wrote:
> Send Callers mailing list submissions to
> callers(a)sharedweight.net
>
> To subscribe or unsubscribe via the World Wide Web, visit
> http://www.sharedweight.net/mailman/listinfo/callers
> or, via email, send a message with subject or body 'help' to
> callers-request(a)sharedweight.net
>
> You can reach the person managing the list at
> callers-owner(a)sharedweight.net
>
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of Callers digest..."
>
>
> Today's Topics:
>
> 1. How much is too much? How little is too little? (Martha Edwards)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Fri, 11 Feb 2011 10:58:28 -0600
> From: Martha Edwards <meedwards(a)westendweb.com>
> To: "Caller's discussion list" <callers(a)sharedweight.net>
> Subject: [Callers] How much is too much? How little is too little?
> Message-ID:
> <AANLkTimGd63hMVFo73i4yrBQ+k=Na7bz2A1Dtg+PKU=s(a)mail.gmail.com>
> Content-Type: text/plain; charset=UTF-8
>
> We had a discussion the other night - not about how many
> walkthroughs, but
> about how many times the caller should call before dropping out.
>
> Obviously, it depends.
>
> So, for the purpose of this discussion, let's assume a new-dancer to
> intermediate dancer to experienced dancer ratio of 1:2:1. If
> everyone were
> evenly scattered by dance level, each group of four would have two
> intermediate dancers, one beginner and one very experienced
> dancer. Let's
> not assume that the dancers are evenly scattered, but are slightly
> clumped,
> so that beginners do encounter each other occasionally, sometimes
> with only
> a couple of intermediate dancers to help them.
>
> Let's further assume that the dance is in the part of the country
> where two
> walkthroughs is considered appropriate - where, even if the first
> walkthrough goes just fine, the second one cements the learning and
> leaves
> you in a position to "dance it from here." Let's further assume
> that the
> dance lasts about nine minutes (17 times through).
>
> Here's the question: If you have taught an easy dance clearly, *and
> the
> dance appears to be going well*, how many times through the dance
> should you
> call? Once or twice with full calls ("join hands and circle to the
> left"),
> once or twice with shortened calls ("circle left") and then
> nothing? Or five
> times through with full calls, three times with shortened calls, then
> nothing?
>
> How much is too much? How little is too little?
>
> M
> E
> --
> For the good are always the merry,
> Save by an evil chance,
> And the merry love the fiddle
> And the merry love to dance. ~ William Butler Yeats
>
>
> ------------------------------
>
> _______________________________________________
> Callers mailing list
> Callers(a)sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>
>
> End of Callers Digest, Vol 78, Issue 9
> **************************************
Hello all,
I think I've written a new dance, but I like to check. Anyone
recognize this as pre-existing?
Rory's Chewing Star
by Luke Donev
A1
Right Hand Star 1x
Neighbor Do-si-do to a short wavy line
A2
Balance Right and Left, slide Right
Balance Left and Right, slide Left
B1
Neighbor Allemande R 1/2x
Men Allemande L 1/2x
Partner swing
B2
Men Allemande L 1 1/2x
Women join in for a hands across Left hand star 1x
Other comments also welcome. The name is from my niece's nickname.
She's almost 1, and likes to chew on things.
--
Luke Donev
http://www.lukedonev.com
Luke.Donev(a)gmail.com
This is indeed a modified version of Shawn Brenneman's "Ring Around the Daisy," named by a dancer named Daisy who won the right to name it at a fundraising auction. I called the original version of the dance at a weekend in September 2009 that Nils was at, so it's possible he picked it up then and later modified it. Shawn's version was as follows:
A1: Lines of 4 forward and back
Ladies grand chain to diagonal opposite. [After the courtesy turn, turn away from that diagonal opposite to face corner.]
A2: Corner gypsy x1, come back to diagonal opposite
Swing diagonal opposite
B1: All eight circle left 1/2
Four gents star L x1 while ladies walk CW 1/2
B2: Partner balance & swing
--Jeremy
> > 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
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?
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
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
