Yesterday I called Haste to the Wedding [1] after an influx of new
dancers and as a recovery from a dance that was a little too hard for
the group. I expected it to go well, but I was surprised by how well,
actually. With the clapping in time with the music in the B parts and
the extra time for the pass through, a lot of people who'd been
confused by progression and how this whole thing worked seemed to get
it in a way that helped for following dances as well.
Does anyone have suggestions for other dances that work similarly,
teaching progression?
Jeff
[1] Something like:
A1 * (8) Circle L
* (8) Circle R
A2 * (8) Star R
* (8) Star L
B1 * (8) P dosido
* (2) Clap, Clap
* (6) P swing
B2 * (8) N dosido
* (2) Clap, Clap
* (6) Pass Through
Hello all,
I was lying awake in bed last night, running through dances in my mind, and
put together the following. It's a fairly straightforward dance, so I'm
curious if it already exists in the collected oeuvre
Improper
A1
Neighbor Balance and Swing
A2
Gents Left allemande 1.5x
Pass partner by R for 1/2 hey
B1
Partner Balance and Swing
B2
Ladies Chain across the set
Left Hand Star 1x
Those balance and swings could easily be replaced with gypsy meltdowns, as
the right shoulder is available in both cases. That's not really enough to
make it a different dance in my opinion, so there are a couple of
permutations this may already exist in. Thoughts?
On a different note, I have vague memories of dancing a dance with a figure
similar to contra corners, but instead of coming back to partners by the
right in the middle, the active couple slide past each other and interact
with both lines of dancers. I'll try describing it as a sequence of
interactions below
In a triplet, with couples (A 1), (B 2), (C 3) where letters are gents and
numbers ladies
A 1
2 B
C 3
2 & B pull by R
2 & 1 allemande L while B & C allemande L
2 & A allemande R while B & 3 allemande R
2 & B slide past each other
2 & 3 allemande L while B & A allemande L
2 & C allemande R while B & 1 allemande R
It possibly ended with B & 2 doing a balance and swing in the middle, or
maybe everyone doing a balance and swing (although C and 1 will be facing
away from their partners).
I feel like it's a lot of motion, and might even require a non-square tune?
Something like Fleur de Mandragore that adds just a tiny bit extra to a
phrase (in Fleur's case, a measure of 3/2 in the A2)
Is that ringing any bells for folks? I may have to try to write this as a
dance to excise the sequence from my head. I put a lot more dance
choreography stuff up on facebook, so feel free to drop me a line off-list
if you'd like even more of these random thoughts.
Thanks all! You'll know if my account is ever hacked, my e-mails will become
a lot more concise :-)
--
Luke Donev
http://www.lukedonev.com
Luke.Donev(a)gmail.com
Kathy Anderson's best advice, "When you are out, go where you are needed."
Charley Harvey
www.charleyharvey.com
________________________________
From: "callers-request(a)sharedweight.net" <callers-request(a)sharedweight.net>
To: callers(a)sharedweight.net
Sent: Tue, September 7, 2010 12:00:03 PM
Subject: Callers Digest, Vol 73, Issue 3
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Today's Topics:
1. Dances with tricky end effects (Dan Pearl)
2. Re: Dances with tricky end effects (Dorcas Hand)
3. Re: Dances with tricky end effects (Mark Widmer)
4. Re: Dances with tricky end effects (Jack Mitchell)
5. Re: Dances with tricky end effects (Andrea Nettleton)
6. Re: Dances with tricky end effects (Robert Golder)
----------------------------------------------------------------------
Message: 1
Date: Mon, 6 Sep 2010 10:05:45 -0700 (PDT)
From: Dan Pearl <daniel_pearl(a)yahoo.com>
To: callers(a)sharedweight.net
Subject: [Callers] Dances with tricky end effects
Message-ID: <841676.85973.qm(a)web65711.mail.ac4.yahoo.com>
Content-Type: text/plain; charset=us-ascii
There are actually two possible cases to think about. First: what couples do
when they have progressed out of the set (and the answer is USUALLY "cross over
and wait"). Second: what pairs (not partners) do when they move out of the minor
set at some point during the sequence, like in "Cal and Irene".
In "Cal...", the end effects are pretty manageable and observe END EFFECT
DEFAULT RULE #1: Just face into the set (e.g., face up at the bottom) with the W
on the right, M on the left. It is very close to the way you shift out of the
set. In this dance, the default rule works for both cases mentioned in the
first paragraph.
The DIAGONAL DANCE END EFFECT RULE: Dances that work out of the minor set with
some sort of diagonal action require that an idle pair station themselves on the
correct side of the set.
Some special cases worth mentioning: "Fiddleheads" by Ted Sannella is a great
dance and features an automatic crossover when you progress out at the ends.
Other dances require that an idle pair at the foot be on the 'wrong' side
because the progression happens everyone is on their non-home side. (I think
"Be Here Now" is one of those dances.)
Here's another one
Becket Formation
A1. Cir L 3/4, Sw N
A2. W Chain, 1/2 promenade
B1. Petronella bal & twirl, **** swing new N
B2. M almd L 1+1/2, Sw Partner
At the ****, the idle couple needs to be on the 'unusual' side for an idle
couple. This sort of thing is worth mentioning in the walk-through.
------------------------------
Message: 2
Date: Mon, 6 Sep 2010 12:54:44 -0500
From: "Dorcas Hand" <handd51(a)tekkmail.com>
To: "Caller's discussion list" <callers(a)sharedweight.net>
Subject: Re: [Callers] Dances with tricky end effects
Message-ID:
<20A4CF7C075ED84D940EB5775C34D26E05634D(a)mercury.Exchange.1-service.com>
Content-Type: text/plain; charset="iso-8859-1"
Hey, Parker
I seem to have lost your direct email - but I thought I would say hello. I'm
wishing for your cooler weather! Dorcas
-----Original Message-----
From: callers-bounces(a)sharedweight.net [mailto:callers-bounces@sharedweight.net]
On Behalf Of PARKER MANN
Sent: Monday, September 06, 2010 1:22 AM
To: callers(a)sharedweight.net
Subject: [Callers] Dances with tricky end effects
I 'm planning on calling a couple of dances this weekend where there is
interaction with couples outside the usual minor sets.? One of them is Dan
pearl's composition "Cal and Irene."? My concern is what happens at the top and
bottom of the lines.
What recommendations do you have to prepare dancers for end effects when they
are not used to anything more than "cross over and wait?"
Thanks.
Parker
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Message: 3
Date: Mon, 6 Sep 2010 11:19:37 -0700 (PDT)
From: Mark Widmer <widmermt(a)yahoo.com>
To: callers(a)sharedweight.net
Subject: Re: [Callers] Dances with tricky end effects
Message-ID: <793155.27721.qm(a)web62107.mail.re1.yahoo.com>
Content-Type: text/plain; charset=us-ascii
Sometimes it's enough to say, "when you're waiting out at the end, be ready to
allemande (or form long waves, or star left, or whatever) with people"
Depending on the dance, you might have to tell people *not* to cross over right
away, or to be in position to chain on the right (or left) diagonal
Mark Widmer
PARKER MANN <M_P_Mann(a)shaw.ca> wrote:
What recommendations do you have to prepare dancers for end effects when they
are not used to anything more than "cross over and wait?"
------------------------------
Message: 4
Date: Mon, 06 Sep 2010 14:28:21 -0400
From: Jack Mitchell <jamitch3(a)mindspring.com>
To: Caller's discussion list <callers(a)sharedweight.net>
Subject: Re: [Callers] Dances with tricky end effects
Message-ID: <4C8532C5.7000601(a)mindspring.com>
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
You can tell people which side they need to be on (if it's just
waiting out on the end for something to happen), but frequently the best
advice is to just tell them that the people who are in the dance know
where you need to be better than you (who are standing out) do -- go
where you're needed.
Jack
On 9/6/2010 2:21 AM, PARKER MANN wrote:
> I 'm planning on calling a couple of dances this weekend where there is
>interaction with couples outside the usual minor sets. One of them is Dan
>pearl's composition "Cal and Irene." My concern is what happens at the top and
>bottom of the lines.
>
>
>
> What recommendations do you have to prepare dancers for end effects when they
>are not used to anything more than "cross over and wait?"
>
>
>
> Thanks.
>
>
>
> Parker
>
>
> _______________________________________________
> Callers mailing list
> Callers(a)sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>
------------------------------
Message: 5
Date: Mon, 6 Sep 2010 15:55:42 -0400
From: Andrea Nettleton <twirly-girl(a)bellsouth.net>
To: Caller's discussion list <callers(a)sharedweight.net>
Subject: Re: [Callers] Dances with tricky end effects
Message-ID: <A0D6A315-108B-463D-B159-643E3E8AFEA8(a)bellsouth.net>
Content-Type: text/plain; charset=us-ascii; format=flowed; delsp=yes
I had a dance I was calling where you were in and out three different
ways. After a near meltdown, I wrote a stacked call that included the
waitouts in my notes, but concluded that most dances that don't allow
the dancers to take over and the caller to drop out are probably not
worth it.
Sent from my iPhone
On Sep 6, 2010, at 8:32 AM, Jeanette Mill <jeanette_mill(a)yahoo.com.au>
wrote:
> Great question. I look forward to reading the responses. It's always
> tricky
> because the dancers don't get to practice the end effects until they
> need to use
> them once in anger, and then it's over in seconds. And it's hard to
> get them in
> your head when you're practicing the dance at home as a caller.
>
> Jeanette
>
> "When we eat from the industrial-food system, we are eating oil and
> spewing
> greenhouse gases."
> - Michael Pollan
>
>
>
> ----- Original Message ----
> From: PARKER MANN <M_P_Mann(a)shaw.ca>
> To: callers(a)sharedweight.net
> Sent: Mon, 6 September, 2010 4:21:45 PM
> Subject: [Callers] Dances with tricky end effects
>
> I 'm planning on calling a couple of dances this weekend where there
> is
> interaction with couples outside the usual minor sets. One of them
> is Dan
> pearl's composition "Cal and Irene." My concern is what happens at
> the top and
> bottom of the lines.
>
>
>
> What recommendations do you have to prepare dancers for end effects
> when they
> are not used to anything more than "cross over and wait?"
>
>
>
> Thanks.
>
>
>
> Parker
>
>
> _______________________________________________
> 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
------------------------------
Message: 6
Date: Mon, 6 Sep 2010 22:53:46 -0400
From: Robert Golder <robertgolder(a)comcast.net>
To: Caller's discussion list <callers(a)sharedweight.net>
Subject: Re: [Callers] Dances with tricky end effects
Message-ID: <214AD410-1340-45C9-A21F-A028BEE945A2(a)comcast.net>
Content-Type: text/plain; charset=us-ascii
> What recommendations do you have to prepare dancers for end effects when they
>are not used to anything more than "cross over and wait?"
Make sure they hear and respond positively to special instructions. As an
example, the improper duple minor dance "Round the Horn" by Walter Lenk requires
dancers waiting out at the ends to refrain from trading places until they have
interacted with a shadow dancer, at which point they must trade places before
the cycle of the dance begins again. After I have taught the dance I will say
something like this: "In all the dances we have done tonight, you have been so
good at quickly trading places with your partner at the ends. But 'Round the
Horn' is not a dance that rewards efficiency in trading places..." and then I
tell them what to do while waiting out. Having just received a compliment for
the style in which they have danced the previous dances, the crowd is listening
closely when I tell them that "Round the Horn" is a special case - and so there
will be no mix-ups at the ends of the sets.
------------------------------
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End of Callers Digest, Vol 73, Issue 3
**************************************
I 'm planning on calling a couple of dances this weekend where there is interaction with couples outside the usual minor sets. One of them is Dan pearl's composition "Cal and Irene." My concern is what happens at the top and bottom of the lines.
What recommendations do you have to prepare dancers for end effects when they are not used to anything more than "cross over and wait?"
Thanks.
Parker
Sometimes it's enough to say, "when you're waiting out at the end, be ready to allemande (or form long waves, or star left, or whatever) with people"
Depending on the dance, you might have to tell people *not* to cross over right away, or to be in position to chain on the right (or left) diagonal
Mark Widmer
PARKER MANN <M_P_Mann(a)shaw.ca> wrote:
What recommendations do you have to prepare dancers for end effects when they are not used to anything more than "cross over and wait?"
There are actually two possible cases to think about. First: what couples do when they have progressed out of the set (and the answer is USUALLY "cross over and wait"). Second: what pairs (not partners) do when they move out of the minor set at some point during the sequence, like in "Cal and Irene".
In "Cal...", the end effects are pretty manageable and observe END EFFECT DEFAULT RULE #1: Just face into the set (e.g., face up at the bottom) with the W on the right, M on the left. It is very close to the way you shift out of the set. In this dance, the default rule works for both cases mentioned in the first paragraph.
The DIAGONAL DANCE END EFFECT RULE: Dances that work out of the minor set with some sort of diagonal action require that an idle pair station themselves on the correct side of the set.
Some special cases worth mentioning: "Fiddleheads" by Ted Sannella is a great dance and features an automatic crossover when you progress out at the ends. Other dances require that an idle pair at the foot be on the 'wrong' side because the progression happens everyone is on their non-home side. (I think "Be Here Now" is one of those dances.)
Here's another one
Becket Formation
A1. Cir L 3/4, Sw N
A2. W Chain, 1/2 promenade
B1. Petronella bal & twirl, **** swing new N
B2. M almd L 1+1/2, Sw Partner
At the ****, the idle couple needs to be on the 'unusual' side for an idle couple. This sort of thing is worth mentioning in the walk-through.
Hi,
I am just arranging our dance schedule for 2011 and wondered
whether anyone knows of any US contra dance callers or contra dance
bands who will be touring the UK in 2011 and might be interested in
performing for a small but enthusiastic group of dancers in the
south-east of England.
Please let me know if you know of anyone.
Thanks.
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
This dance was called at Sugar Hill, but the caller didn't know the name or
the author of the dance.
It's a fun dance. Does anyone recognize it?
Becket contra
A1: Circle balance; Petronella turn; [no time for clapping] Nieghbor Swing.
A2: Circle balance; Petronella turn; [no time for clapping] Partner Swing.
B1: Right Diagonal Ladies pass right shoulders to start 1/2 Hey. Gents
follow partner in Hey;
Across with new neighbors, Ladies pass right shoulders to start 1/2
Hey Gents follow partner in Hey.
B2: Partner Balance+Swing.
Notes:
Single CCW progression, but you're always in at the top.
With an odd number of couples, the extra couple at the bottom waits becket on
the side that lets them join the right diagonal hey. That's where they end
up when they become the "out" couple, so they should NOT cross.
Dale
I call square dances for the Mission Hill School in downtown Boston. Ayla Gavins is the principal, the one who hired me, and dances with the second and third graders. Because of that, I received the following e-mail which I am passing along to you. Please contact Karen directly...
Hi Mr. Baker,
My name is Betsy Caruso. I'm the music program coordinator at Mission Hill School. I also work as an urban gardening volunteer, through the Boston Natural Areas Network (BNAN). Ayla Gavins suggested I contact you regarding getting the word out to acoustic musicians who might be interested in playing at the cider pressing festival upcoming in Boston. McLaughlin Park is at Parker Hill Avenue & Fisher Avenue in Jamaica Plain. The message from BNAN's Karen Chaffee appears below. If you have any suggestions for a musician or musicians who would like to play that afternoon, would you be so kind as to be in touch with Karen? (You should also feel free to contact me, although we will be out of town from September 2 - 7).
Thank you so much for reading this, and for any help you may be able to provide. Giving families and especially urban children an opportunity to both enjoy live music and to learn a little about where our food comes from are wonderful gifts.
Best wishes,
--
Betsy Caruso
Tutor/Music Program Coordinator
Mission Hill School
From: Karen Chaffee <karen(a)bostonnatural.org>
Date: Thu, Aug 26, 2010 at 12:58 PM
Subject: Musician for Cider Pressing Event Needed
Hi folks,
On Sunday, September 19th the Urban Wilds Council and the Friends of the Urban Orchard at McLaughlin Playground will be hosting a cider pressing festival from 3:00 - 5:00pm. In the past the event has included a musician. I am hoping that through all of our connections we will be able to come up with someone who can play great acoustic tunes. I think either the folk or Appalachian music genres would work well for the occasion but of course anything would work. We might have some room to pay small compensation but if anyone is willing to do it pro-bono that would be best.
Thanks!
Karen
--
Karen Chaffee
Stewardship Manager
Boston Natural Areas Network
karen(a)bostonnatural.org
(617)542-7696
--
Clark Baker, Belmont, MA
cmbaker(a)tiac.net
