Contra Callers

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Re: [Callers] Callers Digest, Vol 68, Issue 12- new dance

by Ruth Pershing

Rich ~ I don't know the answer to your question about whether the dance has been written, but could you explain the B2 zig-zag figure? Does it mean that as a couple, you pass by the next couple to the left (women pass), then next couple by the right (men pass) and the next by the left (women pass), then get ready to do-si-do a new neighbor for the next time through? I might try it this weekend. Thanks, ~Ruth, Chapel Hill NC On Apr 14, 2010, at 11:57 AM, callers-request(a)sharedweight.net wrote: > From: Rich Goss <richgoss(a)comcast.net> > Date: April 14, 2010 10:15:21 AM EDT > To: Shared Weight <callers(a)sharedweight.net> > Subject: [Callers] New Dance > Reply-To: Caller's discussion list <callers(a)sharedweight.net> > > > Wrote this dance recently in honor of one of our dancers who > recently passed > away, Betty Stewart. Has this one already been written? > > Betty¹s Night Out Rich Goss > Improper, Double Prog > > A1: Neighbor Dosido and Swing (end facing down hall) > A2: Down hall 4-in-line, turn as couples; Return, face across > B1: 1/2 Hey, Gents Ricochet Back (Ladies cross rt sh) > Partner swing > B2: Circle Left 3/4 > As Couples, zig left, zag right, zig left > > > Rich, Portland Or > > > >

15 years, 1 month

Re: [Callers] Callers Digest, Vol 68, Issue 12- new dance

by richgoss＠comcast.net

The ladies perform the 1/2 hey, crossing the set. The gents start the 1/2 hey, but meet in the center, touch hands, and bounce back (or Richochet) to their same side. ----- Original Message ----- From: "Ron Nelson" <callerman(a)hotmail.com> To: callers(a)sharedweight.net Sent: Thursday, April 15, 2010 11:45:31 AM GMT -08:00 US/Canada Pacific Subject: Re: [Callers] Callers Digest, Vol 68, Issue 12- new dance I would refer to the action by saying "as couples, weave past two couples, finish facing 3rd couple". Of course, I come from a square dance background where we "weave the ring". This would merely be a derivation of that call. What I'm not clear on is the richochet. I've heard the term, but am not sure of the execution. Care to elaborate? Thanks, Ron Nelson Chula Vista, CA > Date: Thu, 15 Apr 2010 07:15:55 -0700 > From: richgoss(a)comcast.net > To: callers(a)sharedweight.net > Subject: Re: [Callers] Callers Digest, Vol 68, Issue 12- new dance > > Right. Another way to describe it would be: > As couples zig-zag past 2 N couples, moving left around #1 (current), right > around #2, face the #3 (to A1: dosido). > > Let me know how it goes if you call it. > > Rich > > > On 4/15/10 6:46 AM, "Ruth Pershing" <rpershing(a)mindspring.com> wrote: > > > Rich ~ > > > > I don't know the answer to your question about whether the dance has > > been written, but could you explain the B2 zig-zag figure? Does it > > mean that as a couple, you pass by the next couple to the left (women > > pass), then next couple by the right (men pass) and the next by the > > left (women pass), then get ready to do-si-do a new neighbor for the > > next time through? > > > > I might try it this weekend. Thanks, > > > > ~Ruth, Chapel Hill NC > > > > > > On Apr 14, 2010, at 11:57 AM, callers-request(a)sharedweight.net wrote: > > > >> From: Rich Goss <richgoss(a)comcast.net> > >> Date: April 14, 2010 10:15:21 AM EDT > >> To: Shared Weight <callers(a)sharedweight.net> > >> Subject: [Callers] New Dance > >> Reply-To: Caller's discussion list <callers(a)sharedweight.net> > >> > >> > >> Wrote this dance recently in honor of one of our dancers who > >> recently passed > >> away, Betty Stewart. Has this one already been written? > >> > >> Betty¹s Night Out Rich Goss > >> Improper, Double Prog > >> > >> A1: Neighbor Dosido and Swing (end facing down hall) > >> A2: Down hall 4-in-line, turn as couples; Return, face across > >> B1: 1/2 Hey, Gents Ricochet Back (Ladies cross rt sh) > >> Partner swing > >> B2: Circle Left 3/4 > >> As Couples, zig left, zag right, zig left > >> > >> > >> Rich, Portland Or > >> > >> > >> > >> > > > > _______________________________________________ > > 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 _________________________________________________________________ The New Busy is not the old busy. Search, chat and e-mail from your inbox. http://www.windowslive.com/campaign/thenewbusy?ocid=PID28326::T:WLMTAGL:ON:… _______________________________________________ Callers mailing list Callers(a)sharedweight.net http://www.sharedweight.net/mailman/listinfo/callers

15 years, 1 month

Re: [Callers] New Dance

by richgoss＠comcast.net

I don't think there would be enough time for a hand cast. 1/2 hey is 8 and that leaves 8 for the partner swing. I haven't done a living room walk-thru on this one, so you might be right. Seems like if there is any awkwardness there, it would be for the #1 lady, #2 gent. Thanks for the feedback Jack. Rich ----- Original Message ----- From: "Jack Mitchell" <jamitch3(a)mindspring.com> To: "Caller's discussion list" <callers(a)sharedweight.net> Sent: Thursday, April 15, 2010 7:22:03 AM GMT -08:00 US/Canada Pacific Subject: Re: [Callers] New Dance Don't know if it's been written or not either. One thing I do notice is that the momentum is going to be wierd for the #2 lady and the #1 gent to get into the hey. They'll both have to change directions from the bend the line to start the hey. Perhaps rather than bending the line, doing a hand cast (lady goes forward, gent backs up) from the line to the hey would work? Jack On 4/14/2010 10:15 AM, Rich Goss wrote: > Wrote this dance recently in honor of one of our dancers who recently passed > away, Betty Stewart. Has this one already been written? > > Betty¹s Night Out Rich Goss > Improper, Double Prog > > A1: Neighbor Dosido and Swing (end facing down hall) > A2: Down hall 4-in-line, turn as couples; Return, face across > B1: 1/2 Hey, Gents Ricochet Back (Ladies cross rt sh) > Partner swing > B2: Circle Left 3/4 > As Couples, zig left, zag right, zig left > > > Rich, Portland Or > > > _______________________________________________ > 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

15 years, 1 month

Re: [Callers] New dances

by richgoss＠comcast.net

Hi Jeff, Given the sensitivity that William expressed to protect the wishes of dance authors who would prefer to sell their works, would you please consider removing " contra _dances_caller.doc" from your website ? This list of dance cards was never meant to be public, and contains many dances that are published elsewhere, by authors who would rather this list was not publicly available. Thanks, Rich

15 years, 1 month

Re: [Callers] Caller's responsibility

by Martha Wild

Excellent points, all! Thanks, Greg. Martha On Apr 14, 2010, at 11:32 PM, 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. Re: sometimes not the caller's fault! (Michael Barraclough) > 2. Callers' responsibility (J L Korr) > 3. Re: Putting out fires (Martha Wild) > > > ---------------------------------------------------------------------- > > Message: 1 > Date: Wed, 14 Apr 2010 12:03:54 -0400 > From: "Michael Barraclough" <michael(a)michaelbarraclough.com> > To: "'Caller's discussion list'" <callers(a)sharedweight.net> > Subject: Re: [Callers] sometimes not the caller's fault! > Message-ID: <01ad01cadbec$165deee0$4319cca0$@com> > Content-Type: text/plain; charset="us-ascii" > > Wonderful! Thank you Greg. I wanted to say much the same thing > but this > says it much more eloquently than I would have. > > Michael Barraclough > www.michaelbarraclough.com > > > -----Original Message----- > From: callers-bounces(a)sharedweight.net > [mailto:callers-bounces@sharedweight.net] On Behalf Of Greg McKenzie > Sent: Wednesday, April 14, 2010 11:57 AM > To: Caller's discussion list > Subject: Re: [Callers] sometimes not the caller's fault! > > > Thanks to all who spoke up, for bringing this > issue into more clarity. "It's always the > caller's fault," is a clever line that is often > misunderstood. Too many callers see it as a > throw-away gesture that has a laudable sentiment, but no real > substance. > > It might be more accurate, and more useful to > say: "The caller always takes full responsibility > for anything that happens in the hall." > > This posture is one with a history that grows out > of the caller's role as the master of > ceremonies. MCs have always understood the need > for taking responsibility as part of their task > of holding the attention of the hall. This is > how they maintain their position of > leadership. It was with the development of > amplified public address systems that this > responsibility became much more salient and much > more necessary. When speaking with a microphone > the emcee has the awesome power of projecting > their thoughts into the minds of all present, > with little effort. This ability comes with a > great responsibility of leadership, and > professional emcees have learned that their role > is to always speak on behalf of the interests of > everyone in the hall. That means taking full > responsibility for anything that goes wrong. > > How can the caller take responsibility for > everything that happens? If the toilet in the > ladies bathroom backs up, is it the caller's fault? > > Actually, it is. More to the point, it is the > caller's responsibility, as a leader, to deal > with the situation. Here is one possible example: > > "Ladies and gentlemen: Please accept my sincere > apologies. I have been informed that there is a > serious problem with the plumbing in the ladies > bathroom. I am sorry about this inconvenience > and ask for your gracious cooperation. The > ladies bathroom will be closed for the rest of > this evening. Julie, our wonderful dance > manager, has made a sign with both a "Men's" and > a "Ladies" side which will be hung on the working > bathroom. Julie will take responsibility for > switching the sign during each dance. We ask > that you use this bathroom only when it is > labeled for your gender. Once again, I am sorry > about this inconvenience. We all appreciate your > cooperation and consideration in dealing with > this problem. Now, please take hands in groups > of four from the top of the hall." > > This announcement could, of course, be made by > the dance manager or some other responsible > party. The caller, however, should apologize, in > any case, for the disruption of the dance > program. In the absence of anyone else stepping > forward it is the caller's responsibility to > address the problem. The point is to put the > dancers at ease so that they can do their job of > enjoying a wonderful evening of social dance with live music. > > Someone brought up the issue of dancers who fail > to integrate into the community and form clumps > of newcomers. Is this the caller's fault? Yes > it is. The tradition of contra dance includes > learning at a regular dance rather than in > separate lessons. Consequently, integrating > newcomers into the community is the caller's > responsibility and is one of the most essential > core skills that define an excellent contra dance > caller. Clumps of newcomers in the hall are a > clear symptom of poor calling. Sorry. It's one > of your primary responsibilities. (Note that if > we relinquish this responsibility it eliminates > any discussion of how the caller can integrate > newcomers, something that really should be addressed.) > > There have been some good points made in this > thread. In the final analysis, however, the idea > of the caller taking total responsibility is an > inescapable position. While it may be true that > the caller is not omnipotent I would submit the > following points about the caller's responsibility for the hall:: > > * This is not a statement of fact. It is a > statement of policy which defines the professional role of a caller. > > * Any alternative policy offers no possible > action that the caller can take to "put out > fires" or improve the situation. Other positions > offer only excuses for the caller to relinquish leadership. > > * By accepting this policy the caller can > provide both leadership and a positive example > for others. If the caller makes excuses others will follow that > example. > > If there is any core principle to calling > effectively and with professionalism, this is > it. If the caller is not willing to take > responsibility for everything that happens in the > hall they are simply not doing their job. If > there is a problem with the evening-whether it be > disruptive dancers, a band that plays > inappropriate tunes, or "incompetent dancers,"-an > excellent caller will always ask: "What could I > do differently next time to better address this > problem?" Without taking full responsibility the > caller will not have the motivation to > improve. There are always excuses to employ. A > professional caller does not make excuses. Most > importantly, this action sets an example for everyone. > > Calling is a role of leadership. If the > caller-who has a PA system-is not willing to take > responsibility, why should anyone else? > > Greg McKenzie > > _______________________________________________ > Callers mailing list > Callers(a)sharedweight.net > http://www.sharedweight.net/mailman/listinfo/callers > > > > > > ------------------------------ > > Message: 2 > Date: Wed, 14 Apr 2010 14:54:47 -0400 > From: J L Korr <jeremykorr(a)hotmail.com> > To: <callers(a)sharedweight.net> > Subject: [Callers] Callers' responsibility > Message-ID: <SNT101-W6ABC83A5937C496B6CB6FC7100(a)phx.gbl> > Content-Type: text/plain; charset="iso-8859-1" > > > > Really thoughtful comments from everyone. I appreciate Greg > reframing this point to clarify that while the caller may not > always be at fault, the caller always must take responsibility. > Hear hear. Two further points: > > > > 1) Context does matter. Most gigs have few enough dancers that > callers can intervene vocally or physically when problems occur on > the dance floor. And careful advance planning can pre-empt many > problems. But if a minor breakdown occurs in a hall of 500 dancers, > as in my earlier example, I'd argue that not only should the caller > consider not intervening, but that this minor breakdown is a sign > of success, not failure. > > > > Why success? For one thing, having only minor breakdowns in a hall > with that many dancers indicates that overall, the caller has > exercised effective programming, set management, and calling > techniques; otherwise, major rather than minor breakdowns would > have ensued. Second, the caller has the maturity and confidence NOT > to intervene upon seeing every individual breakdown on the floor, > which at best would be distracting to the majority of the dancers > and at worst would be impossible. Evaluating when intervention is > merited is itself a caller skill. > > > > 2) Lewis used the metaphor of conducting an orchestra to show how > the caller is responsible for meshing everything together from the > helm. This metaphor is accurate in the sense that callers, like > conductors, do "conduct" all parties at the dance into a coherent > whole. But it's also important to recognize the limitations of the > metaphor: unlike conductors, callers exercise limited control over > who is in their "orchestra." > > > > Generally, anyone in the orchestra has reached a certain level of > mastery and has been individually selected to be there. In > contrast, as Dan Pearl's post illustrated, callers are at the mercy > of whoever shows up to dance, and sometimes those dancers present > challenges beyond the callers' ability to efficiently remediate. > Even the most talented conductors would be severely challenged if > forced to conduct an orchestra formed moments earlier and made up > of people who have never before touched an instrument. > > > > Jeremy > > _________________________________________________________________ > The New Busy think 9 to 5 is a cute idea. Combine multiple > calendars with Hotmail. > http://www.windowslive.com/campaign/thenewbusy? > tile=multicalendar&ocid=PID28326::T:WLMTAGL:ON:WL:en-US:WM_HMP: > 042010_5 > > ------------------------------ > > Message: 3 > Date: Wed, 14 Apr 2010 23:32:36 -0700 > From: Martha Wild <mawild(a)sbcglobal.net> > To: callers(a)sharedweight.net > Subject: Re: [Callers] Putting out fires > Message-ID: <B0F44A8F-20A7-400D-BBAC-E86DA41BAA57(a)sbcglobal.net> > Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed > > To return to that responsibility issue - I didn't say the caller was > to blame, you know. Taking responsibility is subtly different from > being to blame. > > It is also the caller's responsibility to determine how much "chaos" > can be tolerated in the dance. Sometimes you decide that even if the > walkthrough isn't perfectly solid, the music will straighten things > out and even if the first one or two times might be rocky, it will > even out and will be worth getting the hall dancing. With experience > it gets easier to decide when to make that call. In the situation > with a huge hall and hundreds of dancers, even with good teaching and > calling, a breakdown in a line where there is a sudden confluence of > confused people may almost be certain to happen sometime in a night - > the question then becomes whether consistent clear calling will allow > the neighboring dancers to clear out the situation - and often it > does. And occasionally in a huge hall, the decision has to be made > that stopping the dance that is going gangbusters for 90% of the > people, with great energy and great music, and has ground to a halt > for 10%, is no longer a good idea. With luck, in a huge hall, some > of the "defunct" dancers can run to the end of a working line and get > going again. > > Now drunken dancers - that's actually more the managers' > responsibility, though a caller may want to alert the managers if > they are unawares. As a manager once I did have to ask a drunken > dancer to "please sit out for a while until you're feeling better", > whereupon he left, which was fine with everyone. That rarely happens > here, thankfully. > > I did do a gig from hell where I was hired to call a contra for an > American Airlines sales convention. It was in a large outdoor tent > where they had various "fun" activities for the attendees, including > a rock wall to climb, some county fair arcade type games, loads of > alcohol, and, because one of their associates had suggested it, > contra-dancing. Or at least that's what it was supposed to be. They > put down a small parquet floor about 9 by 9 foot wide - I begged the > people putting it up to add some extra panels, so it ended up 12 by > 12. Aside from that the surface was just hard-packed dirt or grass. > Had a nice old-timey band of my friends playing. People enjoyed the > music and that brought them over to the "dance floor". But they kept > getting drunker as the night went on. I would teach some simple > dance, often a square (which fit best on the floor) and start it > going, and suddenly a few more inebriated people would wander into it > and start dancing, grabbing the other people and swinging them > around, and I'd just have to make stuff up to try to accommodate > everyone on the fly. It was sort of like the never-ending running > set. Or maybe the never-ending stumbling set. Gave new meaning to the > term "reel". In retrospect they all seemed to be having a good time, > but I was just trying to keep people from hurling each other off the > floor (or onto it) or smashing into other dancers in their drunken > exuberance. The bartenders nearby came over at the end and told us > how much they enjoyed the music, which was nice of them. It was a > funny gig - I had gotten a call from a woman who said they wanted to > hire a caller and some musicians for this event, but they couldn't > pay more than $700, take it or leave it. So we took it, and I > certainly earned my keep on that one. Can't say that I felt I was to > blame for any of it - but I did continue to be responsible for trying > to call some semblance of a dance. > > Martha > > On Apr 14, 2010, at 8:57 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. Re: Putting Out Fires (Dan Pearl) >> 2. Re: Putting Out Fires (Leda Shapiro) >> 3. Re: Not always the caller's fault! (J L Korr) >> 4. Re: Not always the caller's fault! (Chris Weiler (home)) >> 5. New Dance (Rich Goss) >> 6. sometimes not the caller's fault! (Lewis Land) >> 7. Re: sometimes not the caller's fault! (Greg McKenzie) >> >> >> --------------------------------------------------------------------- >> - >> >> Message: 1 >> Date: Tue, 13 Apr 2010 20:04:18 -0700 (PDT) >> From: Dan Pearl <daniel_pearl(a)yahoo.com> >> To: callers(a)sharedweight.net >> Subject: Re: [Callers] Putting Out Fires >> Message-ID: <975135.90434.qm(a)web65706.mail.ac4.yahoo.com> >> Content-Type: text/plain; charset=us-ascii >> >> Until very recently, I thought "it is always the caller's fault". >> The problem with absolutes like "always" is that a counterexample >> jumps up and hits you in the face. >> >> I like (and use) the tactics for putting out fires that others >> recommended: Beef up the calling (earlier, more directional, more >> complete), NOT calling to the late group, etc. Not mentioned here >> yet is the old "manual intervention". I use a wireless mic, and >> that allows me to move around, hopefully addressing issues before >> they erupt in flames, but also providing an in-your-face hard-to- >> ignore knowledgeable guide post. >> >> If you ever read Asimov's Foundation Trilogy, you'll remember that >> the science of psychohistory which allowed practitioners to >> essentially predict the future of civilizations was compromised by >> a random mutation ("The Mule"). I was thinking of that a few >> Saturdays ago when I was calling for a challenging dance. I don't >> mean challenging to the dancers: I mean challenging to me to call! >> It was a regular dance series, and the "regulars" weren't there, >> and there were lots of new dancers. That's OK with me; I do that >> all the time. I found myself presenting pretty easy stuff, and >> astonishingly, I needed to make it easier as the evening went on. I >> was running out of easier-than-dead-easy material. That's also OK >> -- I know how to write dances on the fly. What I was not prepared >> for was a concentration of dancers that needed special handling. >> >> One dancer, an older fellow who had been dancing for some time, was >> literally moving in slow motion, and in a time delay so that the >> people around him were sucked into his rift in the time-space >> continuum. Another dancer, a newcomer who seemed to "get it" >> initially, began careening in random directions at high speed, with >> a great big smile on her face. Another new gentleman, also after >> seemingly "getting it", started to regress to periods of non- >> movement. I moved right next to him and said "right hand star", >> putting my own hand out to model the action. He just stood there >> and repeated "right hand star". >> >> This made me think about, and question, the assumption that the >> caller is always at fault. Perhaps that is a fine mental state to >> be in (that is, not blaming the dancers), but you know, the conduct >> of the evening is not, and cannot be entirely one person's >> responsibility. A dance is like a machine with many moving parts, >> and they need to be functioning in expected ways for a smooth >> experience. Mistakes? They are part of what the machine does. I >> have more trouble when communication that has worked before begins >> to fail, when lessons learned are forgotten, and when other >> unexpected behaviors arise. >> >> So this was one of the least fun, least rewarding gigs in my 30 >> years of calling. I chalk it up to an unfortunate confluence of >> factors likely not to be repeated for another 30 years. >> >> >> ------------------------------ >> >> Message: 2 >> Date: Tue, 13 Apr 2010 20:36:55 -0700 >> From: "Leda Shapiro" <ledas(a)pacbell.net> >> To: "'Caller's discussion list'" <callers(a)sharedweight.net> >> Subject: Re: [Callers] Putting Out Fires >> Message-ID: <F067F11434C849D4A789A63A630B55EA@LEDAXP> >> Content-Type: text/plain; charset="us-ascii" >> >> >> Thank you for reminding us that we, after all, are human...and >> sometimes >> those there does seem to be a random mutation in one evening...and >> yes, >> have read Asimov's Trilogy -in fact I read all three more than once. >> >> Thankfully there are all those other nights to remember! >> >> One every 30 years ain't bad.. >> Leda >> >> >> -----Original Message----- >> From: callers-bounces(a)sharedweight.net >> [mailto:callers-bounces@sharedweight.net] On Behalf Of Dan Pearl >> Sent: Tuesday, April 13, 2010 8:04 PM >> To: callers(a)sharedweight.net >> Subject: Re: [Callers] Putting Out Fires >> >> If you ever read Asimov's Foundation Trilogy, you'll remember that >> the >> science of psychohistory which allowed practitioners to essentially >> predict >> the future of civilizations was compromised by a random mutation >> ("The >> Mule"). I was thinking of that a few Saturdays ago when I was >> calling for a >> challenging dance. I don't mean challenging to the dancers: I mean >> challenging to me to call! It was a regular dance series, and the >> "regulars" weren't there, and there were lots of new dancers. >> That's OK >> with me; I do that all the time. I found myself presenting pretty >> easy >> stuff, and astonishingly, I needed to make it easier as the evening >> went on. >> I was running out of easier-than-dead-easy material. That's also >> OK -- I >> know how to write dances on the fly. What I was not prepared for >> was a >> concentration of dancers that needed special handling. >> >> One dancer, an older fellow who had been dancing for some time, was >> literally moving in slow motion, and in a time delay so that the >> people >> around him were sucked into his rift in the time-space continuum. >> Another >> dancer, a newcomer who seemed to "get it" initially, began >> careening in >> random directions at high speed, with a great big smile on her face. >> Another new gentleman, also after seemingly "getting it", started >> to regress >> to periods of non-movement. I moved right next to him and said >> "right hand >> star", putting my own hand out to model the action. He just stood >> there and >> repeated "right hand star". >> >> This made me think about, and question, the assumption that the >> caller is >> always at fault. Perhaps that is a fine mental state to be in (that >> is, not >> blaming the dancers), but you know, the conduct of the evening is >> not, and >> cannot be entirely one person's responsibility. A dance is like a >> machine >> with many moving parts, and they need to be functioning in expected >> ways for >> a smooth experience. Mistakes? They are part of what the machine >> does. I >> have more trouble when communication that has worked before begins >> to fail, >> when lessons learned are forgotten, and when other unexpected >> behaviors >> arise. >> >> So this was one of the least fun, least rewarding gigs in my 30 >> years of >> calling. I chalk it up to an unfortunate confluence of factors >> likely not to >> be repeated for another 30 years. >> _______________________________________________ >> Callers mailing list >> Callers(a)sharedweight.net >> http://www.sharedweight.net/mailman/listinfo/callers >> >> >> >> ------------------------------ >> >> Message: 3 >> Date: Wed, 14 Apr 2010 01:46:14 -0400 >> From: J L Korr <jeremykorr(a)hotmail.com> >> To: <callers(a)sharedweight.net> >> Subject: Re: [Callers] Not always the caller's fault! >> Message-ID: <SNT101-W50819A68F3B751180E9C7BC7100(a)phx.gbl> >> Content-Type: text/plain; charset="iso-8859-1" >> >> >> Sorry, folks, but this conversation is pushing a personal button >> about not using words like "always" and "never" unless it's truly >> so. I completely agree with Greg, Martha, and others that in >> general, the caller does and should bear responsibility for >> problems on the dance floor. But I can't agree that this is always >> the case. Consider these two scenarios, among others: >> >> 1) In a large dance hall at a festival with 500 dancers, one of ten >> contra lines begins to break down when pairs of less experienced >> dancers happen to meet simultaneously in three different minor sets >> and become confused. The rest of the hall is fine. The caller can't >> intervene personally by, for example, running out on the floor. >> >> 2) During the 12:15 am - 2:00 am set at the Falcon Ridge Folk >> Festival, again with hundreds of dancers, the caller calls a >> relatively easy dance requiring little thought. Some dancers, who >> are in a range of mental states from alcohol, etc., have trouble >> staying oriented and coordinated, causing recurring problems in >> their sets. >> >> I'd argue that in these contexts, though the dance floor itself is >> experiencing a breakdown, the caller hasn't done anything wrong, >> nor does s/he have the responsibility of fixing the problem. In the >> first scenario, the caller must select dances for and call to the >> broadest possible swath of dancers among those present, recognizing >> that some minor problems are inevitable. In the second scenario, >> the inebriated dancers are entitled to participate in the dance at >> that venue, and there's little the caller can do to improve their >> mental coordination. >> >> So I'd say the caller almost always has responsibility for problems >> that occur in the hall, but in certain scenarios does not, or at >> least has limited responsibility relative to most situations. -- >> Jeremy >> >>> From: Martha Wild <mawild(a)sbcglobal.net> >> >>> Oh, yes, and it's always the caller's responsibility. >> >>>> From: Greg McKenzie <gregmck(a)earthlink.net> >> >>>> There are never fires in the hall--only in your own mind. If there >>>> is trouble anywhere in the hall it is because you have screwed >>>> up...somewhere. <snip> The caller should take full >>>> responsibility for >>>> the gaff. >> >> >> _________________________________________________________________ >> The New Busy is not the old busy. Search, chat and e-mail from your >> inbox. >> http://www.windowslive.com/campaign/thenewbusy? >> ocid=PID28326::T:WLMTAGL:ON:WL:en-US:WM_HMP:042010_3 >> >> ------------------------------ >> >> Message: 4 >> Date: Wed, 14 Apr 2010 06:31:29 -0400 >> From: "Chris Weiler (home)" <chris.weiler(a)weirdtable.org> >> To: Caller's discussion list <callers(a)sharedweight.net> >> Subject: Re: [Callers] Not always the caller's fault! >> Message-ID: <4BC59981.7070005(a)weirdtable.org> >> Content-Type: text/plain; charset=ISO-8859-1; format=flowed >> >> I think there needs to be a distinction between what is really >> happening >> in the hall and the stance that we take from the microphone. There >> are >> hundreds of variables that are all outside of our control at a >> dance. We >> pretend to have control, but all we can do is influence. It is our >> responsibility to use that influence to try and help everyone have >> a lot >> of fun. But you're not going to be able to stop some problems from >> happening. >> >> That said, there is a lot of power in taking responsibility from the >> microphone for problems, even when it's not your fault. Some have >> been >> listed here already. It puts people at ease. They can relax and enjoy >> the next dance without being overly focused on what went wrong. It >> reinforces your authority when lines falling apart are creating a >> feeling of chaos. And sometimes, it really is your fault. ;) >> >> I had this happen at a recent dance. I called a very simple dance, >> but >> it is constructed symmetrically, so sometimes it can be difficult to >> know if you're in the As or the Bs. The second time through the >> dance, I >> called "neighbor" instead of "partner" and half the hall believed >> me and >> the other half didn't. Everyone was in a different place very >> quickly. >> After seeing that I couldn't get everyone back to the same place to >> recover after a couple of attempts, I stopped the music and >> immediately >> announced "Sorry, folks, my fault completely. Let's try this >> again." The >> crowd erupted in applause! They lined up and we started again without >> any further trouble. People respond to humility and to people who >> take >> responsibility for their actions. It humanizes you in their eyes and >> they'll cut you a lot of slack for it. >> >> Chris Weiler >> Goffstown, NH >> >> >> J L Korr wrote: >>> Sorry, folks, but this conversation is pushing a personal button >>> about not using words like "always" and "never" unless it's truly >>> so. I completely agree with Greg, Martha, and others that in >>> general, the caller does and should bear responsibility for >>> problems on the dance floor. But I can't agree that this is always >>> the case. Consider these two scenarios, among others: >>> >>> 1) In a large dance hall at a festival with 500 dancers, one of >>> ten contra lines begins to break down when pairs of less >>> experienced dancers happen to meet simultaneously in three >>> different minor sets and become confused. The rest of the hall is >>> fine. The caller can't intervene personally by, for example, >>> running out on the floor. >>> >>> 2) During the 12:15 am - 2:00 am set at the Falcon Ridge Folk >>> Festival, again with hundreds of dancers, the caller calls a >>> relatively easy dance requiring little thought. Some dancers, who >>> are in a range of mental states from alcohol, etc., have trouble >>> staying oriented and coordinated, causing recurring problems in >>> their sets. >>> >>> I'd argue that in these contexts, though the dance floor itself is >>> experiencing a breakdown, the caller hasn't done anything wrong, >>> nor does s/he have the responsibility of fixing the problem. In >>> the first scenario, the caller must select dances for and call to >>> the broadest possible swath of dancers among those present, >>> recognizing that some minor problems are inevitable. In the second >>> scenario, the inebriated dancers are entitled to participate in >>> the dance at that venue, and there's little the caller can do to >>> improve their mental coordination. >>> >>> So I'd say the caller almost always has responsibility for >>> problems that occur in the hall, but in certain scenarios does >>> not, or at least has limited responsibility relative to most >>> situations. --Jeremy >>> >>> >>>> From: Martha Wild <mawild(a)sbcglobal.net> >>>> >>> >>> >>>> Oh, yes, and it's always the caller's responsibility. >>>> >>> >>> >>>>> From: Greg McKenzie <gregmck(a)earthlink.net> >>>>> >>> >>> >>>>> There are never fires in the hall--only in your own mind. If >>>>> there >>>>> is trouble anywhere in the hall it is because you have screwed >>>>> up...somewhere. <snip> The caller should take full >>>>> responsibility for >>>>> the gaff. >>>>> >>> >>> >>> _________________________________________________________________ >>> The New Busy is not the old busy. Search, chat and e-mail from >>> your inbox. >>> http://www.windowslive.com/campaign/thenewbusy? >>> ocid=PID28326::T:WLMTAGL:ON:WL:en-US:WM_HMP:042010_3 >>> _______________________________________________ >>> Callers mailing list >>> Callers(a)sharedweight.net >>> http://www.sharedweight.net/mailman/listinfo/callers >>> >> >> >> >> ------------------------------ >> >> Message: 5 >> Date: Wed, 14 Apr 2010 07:15:21 -0700 >> From: Rich Goss <richgoss(a)comcast.net> >> To: Shared Weight <callers(a)sharedweight.net> >> Subject: [Callers] New Dance >> Message-ID: <C7EB1C09.8C6E%richgoss(a)comcast.net> >> Content-Type: text/plain; charset="ISO-8859-1" >> >> Wrote this dance recently in honor of one of our dancers who >> recently passed >> away, Betty Stewart. Has this one already been written? >> >> Betty?s Night Out ? Rich Goss >> Improper, Double Prog >> >> A1: Neighbor Dosido and Swing (end facing down hall) >> A2: Down hall 4-in-line, turn as couples; Return, face across >> B1: 1/2 Hey, Gents Ricochet Back (Ladies cross rt sh) >> Partner swing >> B2: Circle Left 3/4 >> As Couples, zig left, zag right, zig left >> >> >> Rich, Portland Or >> >> >> >> >> ------------------------------ >> >> Message: 6 >> Date: Wed, 14 Apr 2010 08:15:03 -0600 >> From: Lewis Land <lewisland(a)windstream.net> >> To: Caller's discussion list <callers(a)sharedweight.net> >> Cc: J L Korr <jeremykorr(a)hotmail.com> >> Subject: [Callers] sometimes not the caller's fault! >> Message-ID: <4BC5CDE7.5010309(a)windstream.net> >> Content-Type: text/plain; charset=ISO-8859-1; format=flowed >> >> Regarding J L Korr's message observing that it's not always the >> caller's >> fault, he is completely correct. The point Greg and I were trying to >> make is that the caller is sort of like the conductor in an >> orchestra, >> the person who is ultimately responsible for making everything go >> smoothly and happen on time. >> >> Things don't always go smoothly, of course. Where I call we often >> have a >> group consisting of more than 50% newcomers, and when I tell them >> that >> any mistakes in the dance are always the caller's fault, it's my >> way of >> putting the newcomers at ease and making them feel welcome. Some >> people >> that show up have never done any kind of dancing before, in their >> entire >> lives (these are usually guys), and the prospect of community dancing >> can be quite intimidating. Based on my own experience when I first >> started contra dancing, I try to make it clear to the novices that >> we're >> a very non-judgmental group, so even the most catastrophic >> missteps on >> their part are ultimately my responsibility. >> >> That said, at almost every dance I've called I have found myself >> rolling >> my eyes at the sight of, for example, some dancer who has been >> showing >> up regularly for /years/, and still has no sense of timing (again, >> usually a guy), or the group of young, inexperienced dancers who >> insist >> on dancing exclusively with each other, disrupting the entire line >> because they seem to think contra is somewhat like break dancing. >> There >> are plenty of times when incompetent dancers screw things up, and >> during >> post-dance conversations with our other caller I will rant about them >> unmercifully. But at the dance the best thing I can do is try to >> project >> an air of confidence and let people know everything's going to be >> fine, >> and fun. It's very similar to the attitude I tried to project when >> I was >> raising teenage children. >> >> One final comment: I sometimes find myself dancing in a venue where >> the >> caller is very experienced and is obviously experimenting with new >> and >> challenging dances, at a level that is clearly incompatible with the >> experience level of most of the dancers in the hall. I think this is >> very self-indulgent. We all need to grow as callers, but the best >> callers can gauge the experience level of the group and call >> appropriately. Some of my best calling experiences have involved >> calling >> a dance that I've labeled "painfully easy", and afterward having a >> new >> dancer come up to thank me for my calling and tell me what a >> wonderful >> time they've had. That's really what it's all about. -Lewis Land >> >> >> ------------------------------ >> >> Message: 7 >> Date: Wed, 14 Apr 2010 08:57:15 -0700 >> From: Greg McKenzie <gregmck(a)earthlink.net> >> To: Caller's discussion list <callers(a)sharedweight.net> >> Subject: Re: [Callers] sometimes not the caller's fault! >> Message-ID: <E1O24y1-0007YT-4g(a)elasmtp-junco.atl.sa.earthlink.net> >> Content-Type: text/plain; charset="iso-8859-1"; format=flowed >> >> >> Thanks to all who spoke up, for bringing this >> issue into more clarity. ?It?s always the >> caller?s fault,? is a clever line that is often >> misunderstood. Too many callers see it as a >> throw-away gesture that has a laudable sentiment, but no real >> substance. >> >> It might be more accurate, and more useful to >> say: ?The caller always takes full responsibility >> for anything that happens in the hall.? >> >> This posture is one with a history that grows out >> of the caller?s role as the master of >> ceremonies. MCs have always understood the need >> for taking responsibility as part of their task >> of holding the attention of the hall. This is >> how they maintain their position of >> leadership. It was with the development of >> amplified public address systems that this >> responsibility became much more salient and much >> more necessary. When speaking with a microphone >> the emcee has the awesome power of projecting >> their thoughts into the minds of all present, >> with little effort. This ability comes with a >> great responsibility of leadership, and >> professional emcees have learned that their role >> is to always speak on behalf of the interests of >> everyone in the hall. That means taking full >> responsibility for anything that goes wrong. >> >> How can the caller take responsibility for >> everything that happens? If the toilet in the >> ladies bathroom backs up, is it the caller?s fault? >> >> Actually, it is. More to the point, it is the >> caller?s responsibility, as a leader, to deal >> with the situation. Here is one possible example: >> >> ?Ladies and gentlemen: Please accept my sincere >> apologies. I have been informed that there is a >> serious problem with the plumbing in the ladies >> bathroom. I am sorry about this inconvenience >> and ask for your gracious cooperation. The >> ladies bathroom will be closed for the rest of >> this evening. Julie, our wonderful dance >> manager, has made a sign with both a ?Men?s? and >> a ?Ladies? side which will be hung on the working >> bathroom. Julie will take responsibility for >> switching the sign during each dance. We ask >> that you use this bathroom only when it is >> labeled for your gender. Once again, I am sorry >> about this inconvenience. We all appreciate your >> cooperation and consideration in dealing with >> this problem. Now, please take hands in groups >> of four from the top of the hall.? >> >> This announcement could, of course, be made by >> the dance manager or some other responsible >> party. The caller, however, should apologize, in >> any case, for the disruption of the dance >> program. In the absence of anyone else stepping >> forward it is the caller?s responsibility to >> address the problem. The point is to put the >> dancers at ease so that they can do their job of >> enjoying a wonderful evening of social dance with live music. >> >> Someone brought up the issue of dancers who fail >> to integrate into the community and form clumps >> of newcomers. Is this the caller?s fault? Yes >> it is. The tradition of contra dance includes >> learning at a regular dance rather than in >> separate lessons. Consequently, integrating >> newcomers into the community is the caller?s >> responsibility and is one of the most essential >> core skills that define an excellent contra dance >> caller. Clumps of newcomers in the hall are a >> clear symptom of poor calling. Sorry. It?s one >> of your primary responsibilities. (Note that if >> we relinquish this responsibility it eliminates >> any discussion of how the caller can integrate >> newcomers, something that really should be addressed.) >> >> There have been some good points made in this >> thread. In the final analysis, however, the idea >> of the caller taking total responsibility is an >> inescapable position. While it may be true that >> the caller is not omnipotent I would submit the >> following points about the caller?s responsibility for the hall:: >> >> * This is not a statement of fact. It is a >> statement of policy which defines the professional role of a caller. >> >> * Any alternative policy offers no possible >> action that the caller can take to ?put out >> fires? or improve the situation. Other positions >> offer only excuses for the caller to relinquish leadership. >> >> * By accepting this policy the caller can >> provide both leadership and a positive example >> for others. If the caller makes excuses others will follow that >> example. >> >> If there is any core principle to calling >> effectively and with professionalism, this is >> it. If the caller is not willing to take >> responsibility for everything that happens in the >> hall they are simply not doing their job. If >> there is a problem with the evening?whether it be >> disruptive dancers, a band that plays >> inappropriate tunes, or ?incompetent dancers,??an >> excellent caller will always ask: ?What could I >> do differently next time to better address this >> problem?? Without taking full responsibility the >> caller will not have the motivation to >> improve. There are always excuses to employ. A >> professional caller does not make excuses. Most >> importantly, this action sets an example for everyone. >> >> Calling is a role of leadership. If the >> caller?who has a PA system?is not willing to take >> responsibility, why should anyone else? >> >> Greg McKenzie >> >> >> >> ------------------------------ >> >> _______________________________________________ >> Callers mailing list >> Callers(a)sharedweight.net >> http://www.sharedweight.net/mailman/listinfo/callers >> >> >> End of Callers Digest, Vol 68, Issue 12 >> *************************************** > > > > ------------------------------ > > _______________________________________________ > Callers mailing list > Callers(a)sharedweight.net > http://www.sharedweight.net/mailman/listinfo/callers > > > End of Callers Digest, Vol 68, Issue 13 > ***************************************

15 years, 1 month

Re: [Callers] Not always the caller's fault!

by J L Korr

Sorry, folks, but this conversation is pushing a personal button about not using words like "always" and "never" unless it's truly so. I completely agree with Greg, Martha, and others that in general, the caller does and should bear responsibility for problems on the dance floor. But I can't agree that this is always the case. Consider these two scenarios, among others: 1) In a large dance hall at a festival with 500 dancers, one of ten contra lines begins to break down when pairs of less experienced dancers happen to meet simultaneously in three different minor sets and become confused. The rest of the hall is fine. The caller can't intervene personally by, for example, running out on the floor. 2) During the 12:15 am - 2:00 am set at the Falcon Ridge Folk Festival, again with hundreds of dancers, the caller calls a relatively easy dance requiring little thought. Some dancers, who are in a range of mental states from alcohol, etc., have trouble staying oriented and coordinated, causing recurring problems in their sets. I'd argue that in these contexts, though the dance floor itself is experiencing a breakdown, the caller hasn't done anything wrong, nor does s/he have the responsibility of fixing the problem. In the first scenario, the caller must select dances for and call to the broadest possible swath of dancers among those present, recognizing that some minor problems are inevitable. In the second scenario, the inebriated dancers are entitled to participate in the dance at that venue, and there's little the caller can do to improve their mental coordination. So I'd say the caller almost always has responsibility for problems that occur in the hall, but in certain scenarios does not, or at least has limited responsibility relative to most situations. --Jeremy > From: Martha Wild <mawild(a)sbcglobal.net> > Oh, yes, and it's always the caller's responsibility. > > From: Greg McKenzie <gregmck(a)earthlink.net> > > There are never fires in the hall--only in your own mind. If there > > is trouble anywhere in the hall it is because you have screwed > > up...somewhere. <snip> The caller should take full responsibility for > > the gaff. _________________________________________________________________ The New Busy is not the old busy. Search, chat and e-mail from your inbox. http://www.windowslive.com/campaign/thenewbusy?ocid=PID28326::T:WLMTAGL:ON:…

15 years, 1 month

Re: [Callers] Putting Out Fires

by Dan Pearl

Until very recently, I thought "it is always the caller's fault". The problem with absolutes like "always" is that a counterexample jumps up and hits you in the face. I like (and use) the tactics for putting out fires that others recommended: Beef up the calling (earlier, more directional, more complete), NOT calling to the late group, etc. Not mentioned here yet is the old "manual intervention". I use a wireless mic, and that allows me to move around, hopefully addressing issues before they erupt in flames, but also providing an in-your-face hard-to-ignore knowledgeable guide post. If you ever read Asimov's Foundation Trilogy, you'll remember that the science of psychohistory which allowed practitioners to essentially predict the future of civilizations was compromised by a random mutation ("The Mule"). I was thinking of that a few Saturdays ago when I was calling for a challenging dance. I don't mean challenging to the dancers: I mean challenging to me to call! It was a regular dance series, and the "regulars" weren't there, and there were lots of new dancers. That's OK with me; I do that all the time. I found myself presenting pretty easy stuff, and astonishingly, I needed to make it easier as the evening went on. I was running out of easier-than-dead-easy material. That's also OK -- I know how to write dances on the fly. What I was not prepared for was a concentration of dancers that needed special handling. One dancer, an older fellow who had been dancing for some time, was literally moving in slow motion, and in a time delay so that the people around him were sucked into his rift in the time-space continuum. Another dancer, a newcomer who seemed to "get it" initially, began careening in random directions at high speed, with a great big smile on her face. Another new gentleman, also after seemingly "getting it", started to regress to periods of non-movement. I moved right next to him and said "right hand star", putting my own hand out to model the action. He just stood there and repeated "right hand star". This made me think about, and question, the assumption that the caller is always at fault. Perhaps that is a fine mental state to be in (that is, not blaming the dancers), but you know, the conduct of the evening is not, and cannot be entirely one person's responsibility. A dance is like a machine with many moving parts, and they need to be functioning in expected ways for a smooth experience. Mistakes? They are part of what the machine does. I have more trouble when communication that has worked before begins to fail, when lessons learned are forgotten, and when other unexpected behaviors arise. So this was one of the least fun, least rewarding gigs in my 30 years of calling. I chalk it up to an unfortunate confluence of factors likely not to be repeated for another 30 years.

15 years, 1 month

Re: [Callers] Putting Out Fires

by Greg McKenzie

There are never fires in the hall--only in your own mind. If there is trouble anywhere in the hall it is because you have screwed up...somewhere. Whether it be programming, teaching, or calling the fault is your own. The caller should take full responsibility for the gaff. I point this out because the question assumes that there is trouble in one of the lines. This assumption will not help and will only lead to even more trouble. When I see confused dancers anywhere in the hall the best tactic I have ever used, or seen used, is to begin calling clearly, precisely, and with enthusiasm to the entire hall. Call in perfect time with the music, enunciate clearly, and use effective word order. I try to avoid even looking in the direction of the confused dancers. It is better to look at dancers who are dancing well and use your peripheral vision to monitor the rest of the hall. (If you are lucky the confused dancers will assume that others in the hall are also confused and this will help to put them at ease.) Never direct any instruction or call to a specific group or area. Any emphasis or punctuation should be directed to the entire hall. This will avoid confusion and make you look more professional. If more than a few dancers are confused it is sometimes possible to hold the entire hall at the starting position and start them dancing again when the music comes around. If this does not work, end the dance and apologize. This will give the impression that you know what went wrong and encourage confidence. Don't use too many words. (Please don't explain!) You might also compliment all of the dancers for adapting well in spite of your gaff. Give clear instructions, (such as whether to keep the same partner, to form new sets, or to go back to your starting position.) This is the way I prefer callers behave when they screw up. Just a thought, Greg McKenzie ************ Jo wrote: >I'd love to hear from some of you, about how (and when?) to fix contra >lines that have broken down. What are your favorite strategies? > >If one line has broken down, it's easy to stop the music, do one more >walk through, and start up again. Even with two lines this can work >pretty well. And you don't even have to stop the music - I've seen >callers get everyone organized and improper again (or whatever >formation), while the music is still going. > >What if there are three or more lines and one doesn't work? > >Do you ever go to a different dance? Do you keep trying with the >current one? > >Thanks very much. > >Jo Mortland >Chicago > > > >_______________________________________________ >Callers mailing list >Callers(a)sharedweight.net >http://www.sharedweight.net/mailman/listinfo/callers

15 years, 1 month

Re: [Callers] Putting Out Fires

by Martha Wild

Kudos to Greg, that's exactly what I do. If I see a troubled line, I turn and look at the best group I can with the best timing and I call clearly, precisely, and in good time for the dancers to hear and prepare for what's next. If there's a down the hall I instruct the turn a trifle early so they get back in good time for any cast, etc., adding in small points such as "face your partner and...." Sometimes even the order of the instruction helps - for example "right-hand star" might be more helpful in some cases than "star right" if the hand is an issue for some reason, or vice versa if they are having trouble remembering that this is a star and not a right allemande in the same dance. Usually this irons out the problem before it gets too entrenched. Oh, yes, and it's always the caller's responsibility. I have seen other callers get irritated at the dancers for the dance falling apart, and the negative impact that had on the dancers and the dancing was noticeable. A good lesson in how not to call. And yes, sometimes, inside, you know that that show-off dancer who didn't pay attention in the walk-through didn't get back to where they should have been after swinging when it wasn't their turn and therefore confused the poor newcomers, who wandered off into outer space, etc. etc., but you just can't let that affect you or the dance if you want everyone to enjoy themselves. Deep breath and go on. Martha Wild San Diego On Apr 13, 2010, at 7:57 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. Re: Putting Out Fires (Mortland, Jo) > 2. Re: Putting Out Fires (Donald Primrose) > 3. Re: Putting Out Fires (Alan Winston - SSRL Central Computing) > 4. Re: Putting Out Fires (Greg McKenzie) > 5. Re: Putting Out Fires (Katy Heine) > 6. Re: Putting Out Fires (Lewis Land) > 7. Re: Putting Out Fires (Mortland, Jo) > > > ---------------------------------------------------------------------- > > Message: 1 > Date: Mon, 12 Apr 2010 14:35:54 -0500 > From: "Mortland, Jo" <j-mortland(a)neiu.edu> > To: "Caller's discussion list" <callers(a)sharedweight.net> > Subject: Re: [Callers] Putting Out Fires > Message-ID: > <9B0B0B8FF2328E48930D4B6273C1B261132CF666(a)EXNODE2.univ.neiu.edu> > Content-Type: text/plain; charset="us-ascii" > > > > I'd love to hear from some of you, about how (and when?) to fix contra > lines that have broken down. What are your favorite strategies? > > If one line has broken down, it's easy to stop the music, do one more > walk through, and start up again. Even with two lines this can work > pretty well. And you don't even have to stop the music - I've seen > callers get everyone organized and improper again (or whatever > formation), while the music is still going. > > What if there are three or more lines and one doesn't work? > > Do you ever go to a different dance? Do you keep trying with the > current one? > > Thanks very much. > > Jo Mortland > Chicago > > > > > > ------------------------------ > > Message: 2 > Date: Mon, 12 Apr 2010 16:04:45 -0400 > From: Donald Primrose <limerickfarm(a)gmail.com> > To: "Caller's discussion list" <callers(a)sharedweight.net> > Subject: Re: [Callers] Putting Out Fires > Message-ID: > <l2r1bf75db1004121304pe1c89700td067e913803c8990(a)mail.gmail.com> > Content-Type: text/plain; charset=ISO-8859-1 > > Hello Jo, > I announced one day that the next dance was new to all of us, hence > it being > written/inspired on the way to the dance. All four lines had no > clue during the walk through X3 try's (something I do not do). So > I took > the card and announced that it was not going to happen and tossed > the card > over my shoulder and proclaimed we would dance something everyone > knew and > without further ado started the music and proceeded without a walk- > thru. I > called the same dance that I discarded and it worked absolute. It > could be > the music or it could be psychological. > > When one or more lines break down during a dance, find a place they > can > locate.. lines or partner or neighbor swing on the side and keep > them there > until the call comes back around.. and now.. > > Never and I have seen it tried, run a line independently from the hall > trying to play catch-up with the hall. It further confuses everyone. > > Don Primrose > Nelson, NH > > On Mon, Apr 12, 2010 at 3:35 PM, Mortland, Jo <j-mortland(a)neiu.edu> > wrote: > >> >> >> I'd love to hear from some of you, about how (and when?) to fix >> contra >> lines that have broken down. What are your favorite strategies? >> >> If one line has broken down, it's easy to stop the music, do one more >> walk through, and start up again. Even with two lines this can work >> pretty well. And you don't even have to stop the music - I've seen >> callers get everyone organized and improper again (or whatever >> formation), while the music is still going. >> >> What if there are three or more lines and one doesn't work? >> >> Do you ever go to a different dance? Do you keep trying with the >> current one? >> >> Thanks very much. >> >> Jo Mortland >> Chicago >> >> >> >> _______________________________________________ >> Callers mailing list >> Callers(a)sharedweight.net >> http://www.sharedweight.net/mailman/listinfo/callers >> > > > ------------------------------ > > Message: 3 > Date: Mon, 12 Apr 2010 13:06:38 -0700 (PDT) > From: Alan Winston - SSRL Central Computing > <winston(a)slac.stanford.edu> > To: "Mortland, Jo" <j-mortland(a)neiu.edu> > Cc: Caller's discussion list <callers(a)sharedweight.net> > Subject: Re: [Callers] Putting Out Fires > Message-ID: <01NLV6U4LBS4A4ZO9O(a)SSRL.SLAC.STANFORD.EDU> > Content-Type: TEXT/PLAIN; CHARSET=us-ascii > > Jo wrote: > >> I'd love to hear from some of you, about how (and when?) to fix >> contra >> lines that have broken down. What are your favorite strategies? > >> If one line has broken down, it's easy to stop the music, do one more >> walk through, and start up again. Even with two lines this can work >> pretty well. And you don't even have to stop the music - I've seen >> callers get everyone organized and improper again (or whatever >> formation), while the music is still going. > >> What if there are three or more lines and one doesn't work? > >> Do you ever go to a different dance? Do you keep trying with the >> current one? > > > It depends. > > Has the dance run long enough that you can just call it done and > move on to the > next thing? If so, good, do that. Sometimes dancers zoning out > and screwing > up is a sign the dance has run long enough already. > > Why did it break down? Is it because two couples who didn't really > get it were > brought together by progression and are now scrambled (in which > case you just > need to get them moved on to the next couples who do get it - which > you > probably want to do from the floor rather than over the mic, > because it > confuses everybody else, and also because they may not be able to > process your > verbal input) or because the floor really doesn't have it? If it's > the whole > room, you need to assess what the problem is - is there some tricky > bit that > isn't happening; did you call the dance wrong? - then another > walkthrough may > do the trick. If you've gotten the wrong sequence into their > bones, then drop > it and move on. > > If you do do another walkthrough, it's a good time to emphasize the > simple > recovery procedure of progressing one place and waiting for the > music to come > around again (unless, of course, it's one of those action-outside- > the-set > dances, which may be more complicated). > > Sometimes the first time through is really rocky, but by the second > time > through the floor has it - you don't win anything by stopping and > doing another > whole walkthrough in those cases. > > > Alan Winston > SF Bay Area > > -- > ====================================================================== > ========= > 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 > ====================================================================== > ========= > > > > ------------------------------ > > Message: 4 > Date: Mon, 12 Apr 2010 18:18:19 -0700 > From: Greg McKenzie <gregmck(a)earthlink.net> > To: Caller's discussion list <callers(a)sharedweight.net> > Subject: Re: [Callers] Putting Out Fires > Message-ID: <E1O1Ulo-0001E5-FG(a)elasmtp-masked.atl.sa.earthlink.net> > Content-Type: text/plain; charset="us-ascii"; format=flowed > > > There are never fires in the hall--only in your own mind. If there > is trouble anywhere in the hall it is because you have screwed > up...somewhere. Whether it be programming, teaching, or calling the > fault is your own. The caller should take full responsibility for > the gaff. > > I point this out because the question assumes that there is trouble > in one of the lines. This assumption will not help and will only > lead to even more trouble. > > When I see confused dancers anywhere in the hall the best tactic I > have ever used, or seen used, is to begin calling clearly, precisely, > and with enthusiasm to the entire hall. Call in perfect time with > the music, enunciate clearly, and use effective word order. I try to > avoid even looking in the direction of the confused dancers. It is > better to look at dancers who are dancing well and use your > peripheral vision to monitor the rest of the hall. (If you are lucky > the confused dancers will assume that others in the hall are also > confused and this will help to put them at ease.) > > Never direct any instruction or call to a specific group or > area. Any emphasis or punctuation should be directed to the entire > hall. This will avoid confusion and make you look more > professional. If more than a few dancers are confused it is > sometimes possible to hold the entire hall at the starting position > and start them dancing again when the music comes around. > > If this does not work, end the dance and apologize. This will give > the impression that you know what went wrong and encourage > confidence. Don't use too many words. (Please don't explain!) You > might also compliment all of the dancers for adapting well in spite > of your gaff. Give clear instructions, (such as whether to keep the > same partner, to form new sets, or to go back to your starting > position.) > > This is the way I prefer callers behave when they screw up. > > Just a thought, > Greg McKenzie > > ************ > > Jo wrote: >> I'd love to hear from some of you, about how (and when?) to fix >> contra >> lines that have broken down. What are your favorite strategies? >> >> If one line has broken down, it's easy to stop the music, do one more >> walk through, and start up again. Even with two lines this can work >> pretty well. And you don't even have to stop the music - I've seen >> callers get everyone organized and improper again (or whatever >> formation), while the music is still going. >> >> What if there are three or more lines and one doesn't work? >> >> Do you ever go to a different dance? Do you keep trying with the >> current one? >> >> Thanks very much. >> >> Jo Mortland >> Chicago >> >> >> >> _______________________________________________ >> Callers mailing list >> Callers(a)sharedweight.net >> http://www.sharedweight.net/mailman/listinfo/callers > > > > ------------------------------ > > Message: 5 > Date: Mon, 12 Apr 2010 22:13:52 -0400 > From: "Katy Heine" <kheine(a)twcny.rr.com> > To: "'Caller's discussion list'" <callers(a)sharedweight.net> > Subject: Re: [Callers] Putting Out Fires > Message-ID: <C06AEBE06FD2469791979D618B3056C4@stewart> > Content-Type: text/plain; charset="us-ascii" > > Hear, hear! This puts me in mind of my first callers' workshop more > than 20 > years ago at Ashokan, when Steve Zakon-Anderson said something > like, "If > something goes wrong, it's not the dancers' fault, and it's not the > musicians' fault; it's your fault." His point was that we're there > to ensure > that everyone has the best time possible, given the skill and > ability of > those present. It's our job to program and teach appropriately for the > circumstances, and if a dance fails, it's because we've failed to > do our job > well. > > I was impressed with the humility expressed in this idea, and all > these > years later I'm still guided by it as I'm navigating through an > evening. > We're not hired to dazzle the hottest dancers with the complexity > of our > choreography; we're there to make sure that the dancers succeed, > that we > build community, and that everyone leaves smiling. > > --Katy Heine > > > -----Original Message----- > From: callers-bounces(a)sharedweight.net > [mailto:callers-bounces@sharedweight.net] On Behalf Of Greg McKenzie > Sent: Monday, April 12, 2010 9:18 PM > To: Caller's discussion list > Subject: Re: [Callers] Putting Out Fires > > > There are never fires in the hall--only in your own mind. If there > is trouble anywhere in the hall it is because you have screwed > up...somewhere. Whether it be programming, teaching, or calling the > fault is your own. The caller should take full responsibility for > the gaff. > > I point this out because the question assumes that there is trouble > in one of the lines. This assumption will not help and will only > lead to even more trouble. > > When I see confused dancers anywhere in the hall the best tactic I > have ever used, or seen used, is to begin calling clearly, precisely, > and with enthusiasm to the entire hall. Call in perfect time with > the music, enunciate clearly, and use effective word order. I try to > avoid even looking in the direction of the confused dancers. It is > better to look at dancers who are dancing well and use your > peripheral vision to monitor the rest of the hall. (If you are lucky > the confused dancers will assume that others in the hall are also > confused and this will help to put them at ease.) > > Never direct any instruction or call to a specific group or > area. Any emphasis or punctuation should be directed to the entire > hall. This will avoid confusion and make you look more > professional. If more than a few dancers are confused it is > sometimes possible to hold the entire hall at the starting position > and start them dancing again when the music comes around. > > If this does not work, end the dance and apologize. This will give > the impression that you know what went wrong and encourage > confidence. Don't use too many words. (Please don't explain!) You > might also compliment all of the dancers for adapting well in spite > of your gaff. Give clear instructions, (such as whether to keep the > same partner, to form new sets, or to go back to your starting > position.) > > This is the way I prefer callers behave when they screw up. > > Just a thought, > Greg McKenzie > > ************ > > Jo wrote: >> I'd love to hear from some of you, about how (and when?) to fix >> contra >> lines that have broken down. What are your favorite strategies? >> >> If one line has broken down, it's easy to stop the music, do one more >> walk through, and start up again. Even with two lines this can work >> pretty well. And you don't even have to stop the music - I've seen >> callers get everyone organized and improper again (or whatever >> formation), while the music is still going. >> >> What if there are three or more lines and one doesn't work? >> >> Do you ever go to a different dance? Do you keep trying with the >> current one? >> >> Thanks very much. >> >> Jo Mortland >> Chicago >> >> >> >> _______________________________________________ >> 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: Tue, 13 Apr 2010 08:09:08 -0600 > From: Lewis Land <lewisland(a)windstream.net> > To: Caller's discussion list <callers(a)sharedweight.net> > Subject: Re: [Callers] Putting Out Fires > Message-ID: <4BC47B04.4090808(a)windstream.net> > Content-Type: text/plain; charset=ISO-8859-1; format=flowed > > When I'm doing the newcomers instruction, or instruction at the first > dance of the evening, and it's obvious that there are more than the > usual number of novice dancers in the crowd, I'll tell them this: You > know how, when you're doing couples dancing, like a waltz or swing, > and > something goes wrong or your timing is off, it's always the guy's > fault? > Even when it's not really the guy's fault, it's still his fault. Well, > contra is community dancing, so when something goes wrong it's always > the /caller's/ fault. Even when it's not my fault, it's still "my > fault". This usually gets a laugh and makes the newcomers a little > less > self-conscious about making mistakes. > > On those rare occasions when things get so out of hand that I have to > stop the music and start over, I apologize to the dancers for having > chosen a dance that didn't work for them, and pull out a back-up dance > that I've called successfully many times before. A few weeks ago I > tried > calling, for the first time, a double-progression becket with > petronella > twirls, and one of the lines totally fell apart. Fortunately I had > another dance in reserve, also a becket with petronella twirls, > that I'd > called many times to this group, and it worked fine. Because I often > have lots of inexperienced dancers to contend with, I always hold a > few > simple backup dances in my pocket. I like to challenge myself by > calling > new and interesting dances, but I find that it's most satisfying when > all the dancers are having a great time and are genuinely engaged > in the > dance, even if all you're calling are dances like Broken Sixpence. > -Lewis Land > > > ------------------------------ > > Message: 7 > Date: Tue, 13 Apr 2010 09:57:20 -0500 > From: "Mortland, Jo" <j-mortland(a)neiu.edu> > To: "Caller's discussion list" <callers(a)sharedweight.net> > Subject: Re: [Callers] Putting Out Fires > Message-ID: > <9B0B0B8FF2328E48930D4B6273C1B261132CF66C(a)EXNODE2.univ.neiu.edu> > Content-Type: text/plain; charset="us-ascii" > > > > The reason I asked this question is that one of our newer callers, who > is quite competent now, asked me what else she could do to get better. > She wanted to know if there was something she could "work on". She is > already doing so well, I couldn't think of much else to offer. > > That is what prompted my question, and thank you to all who have > responded! > > Jo Mortland > > > > > ------------------------------ > > _______________________________________________ > Callers mailing list > Callers(a)sharedweight.net > http://www.sharedweight.net/mailman/listinfo/callers > > > End of Callers Digest, Vol 68, Issue 10 > ***************************************

15 years, 1 month

Spreading out the "Inexperience"

by Jerome Grisanti

I recently had the following exchange on a different list with Michael Shapiro (guitarist with U4): Michael wrote: >>> U4 just played the SwingShift weekend in Lexington/Berea. The caller was Barbara Groh. She did something that I think most callers should do, but I haven't seen before. After the sets were formed and people had done the hand four, she then broke up the beginners sets that had formed at the end of the lines. She asked then to move forward and intersperse themselves with the more advanced dancers (so that they were more toward the beggining of the line and the foursomes were not all beginners). She was also good at letting the music be heard ... I wrote: >> Regarding the caller asking sets to reform in order to spread the less experienced dancers throughout the hall, much tact is required. Generally, callers strive to avoid calling attention to particular dancers other than when asking people to watch a demonstration, but asking people to change sets can have the effect of making them feel like there is attention on them. In addition, newish dancers want to dance with people they know, even if those friends may also be newish dancers. >> Speaking to the entire crowd, I do encourage experienced dancers to share their experience by asking someone they've never met to dance at least once in the evening, and praise the community for being so welcoming to newcomer dancers. So while I might be thinking "let's break up this clump of confusion," it would not be good to say something that draws attention to "you people right here." >> I have asked, off mic, for a set of experienced dancers to offer to repartner with a set of inexperienced dancers down the line. To this list, I ask: I'd be interested in the wording that Barbara Groh used (which I'm assuming was quite gentle). I'm also guessing other callers on this list have developed tactful ways to address this issue. Thanks, Jerome -- Jerome Grisanti 660-528-0858 http://www.jeromegrisanti.com

15 years, 1 month

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