Contra Callers

contracallers@lists.sharedweight.net

33 participants
4411 discussions

by Will Loving

OK, enough people have asked me for the list that I'm including it below. I hesitated at first because I'm well aware that while many dance choreographers are fine with having their dances appear online in this way, such feeling is not universal. I wasn't sure about the appropriateness of posting a longer list like this, though I guess there is a difference between posting in a discussion group and posting on a web page. I just didn't want to get anyone upset. I will say that some of the emails I received with dance suggestions prompted me to take a trip over to CDSS (I live about 12 miles away) and go through various books beyond the ones I already had. Having found lots of good dances in various books and booklets there, I would recommend to others to consider purchasing (online or in person) some of the smaller collections of dances that they have available. In particular, Gary Roodman has a number of booklets with interesting dance collections and commentary and the Gary Armstrong "Dance Workshop" has a large number of dances (contra, square, folk and novelty) that might be appropriate for smaller groups. This is of course in addition to the "Other Formations" sections of the usual sources such as Zesty Contras and Give and Take. Will ---------------------------------------------- The following list is made up of dances which either I found on my own or were referred to me in preparation for a dance that might potentially have 6-10 dancers. The Quadruplets are particularly interesting especially Gary Roodman's Square Line Special which Linda Leslie referred me to. The notation has not been checked and the notes are usually verbatim from the source - website, email, whatever - so check the calls out before you try using them! Will Loving --------------------------------------------------------------- Microchasmic by Anne Fallon Triplet A1) Lines forward and back Opposite Do si do A2) Center couple turn Contra corners B1) ALL Balance & Swing Partner end facing up toward the band] B2 Top couple leads Peel the Banana all follow the leader when top couple hits the bottom they make and arch other two couples run throught the arch. This the Progression. I sometimes use it at regular contra dances as the 5th dance as a way to teach beginners the Contra Corners figure without all the pushing and shoving to be where they need to be. Corners only have to watch one direction for their turning couple. It fun for all and I advise them to make the Sets with at least one set of newcomers in the set. - Mavis L McGaugh ------------------------------------ Here are two suggestions, both set dances: Double Dot - for 5 people, and Pride of the Pingle for 9 people. I do not have authors. I think "Pride" is traditional. (Pingle is a peninsula in Ireland.) Rickey Holt, Fremont, NH DOUBLE DOT >From the calling of Marianne Taylor, from whom I learned the dance. Formation: 4 people on the ends of a plus sign with the fifth person in the middle facing up (or if it easier to picture, 4 people on the sides of a square as if each was missing a partner, plus that fifth in the middle). Left and Right are from the perspective of the middle person - who is facing up A1 Middle person, top and right hand person - Star Right Into a Star Left for middle, bottom and left hand person A2 Hey for 3 up and down the middle - for middle, top and bottom; middle and top, right shoulders to start B1,2 Middle and RIGHT hand person balance together and away and change places (i.e. allemande right 1/2 way) Repeat for NEW middle and bottom Repeat for new middle and next Repeat for new middle and current top. Do not let go of this last change and form the star to start the dance again. I like to use waltzes, Marianne used Reels PRIDE OF THE PINGLE By Ken Alexander Formation: Four couples in longways formation, proper, men on caller's right, women across from them, AND an extra person at the bottom, between and below the lines, facing up. A1 All dance down the hall single file while the Dingle dances up between the lines Turn and dance back A2 "Climb the Ladder": On the sides, all Allemande Left 1/2, then Right 1/2. Dingle joins each allemande to make a 3 person star in succession moving up with each successive star. This is repeated (for a total of twice) until the dingle is at the top. B1 Dingle joins line of their own gender (if this can be determined). Lines go forward and back, with the dingle going forward to an empty spot. All go forward and back again but adjust so that the all are opposite a new partner. This means that the dingle's line moves down one place as it moves forward and a new dingle is popped out at the bottom. B2 All swing new partners. Optionally, Dingle can join the bottom couple to form a basket of three (although I normally do this dance for beginners and they are too busy getting straight to do the basket). ------------------------------------------------------------- Corner Triplet By Linda Leslie Type: Contra Formation: Triplet Level: Easy A1 ----------- (8) All Actives down the center as a couple (W on Left) (8) Turn alone and cast off with twos A2 ----------- (16) Active couple turn contra corners B1 ----------- (16) Active couple balance and swing, end facing UP B2 ----------- (8) Actives step btw twos and separate and go down the outside to bottom (to become threes) (8) Lines of three, forward and back Other Notes: I put together a triplet that introduces folks to the movements, as well as the cast off, which is found in so many contra corner dances. I have used it a lot, and it works well. SharedWeight - 4/26/08 --------------------------------------------------------- David's Triplet #5 By David Smukler Type: Contra Formation: Triplet A1 ----------- Couple one down the outside to the bottom and step into the center Up the center and cast off with couple two A2 ----------- All do-si-do partner 1-1/4 into a wavy line-of-6 (right hands with partner) Balance, allemande right partner just halfway into a new wave B1 ----------- Balance, pull past partner's right shoulder to start a hey-for-6 (just half a hey) B2 ----------- When you meet your partner, gypsy and swing Notes: Ends of hey function just like a hey for four with out on the right and back in by the right Other Notes: Ends in 3-1-2 order. --------------------------------------------------------- >From Richard Green But that reminds me that I wrote a triplet a few years back, which works best with experienced dancers: TRIANGLE TRIPLET Three couple longways, actives in the middle, all proper By Alan Winston, Jan/Feb 2004, subsequent tweaks Music: Any 32-bar jig or driving reel, NOT TOO FAST. I like "Moon and Seven Stars" (in Portland Collection) and also like "K and E" for the raggy, driving feel. For the Triangle Country Dancers and Sun Assembly A1: Partners take right hand in right, balance fwd and back. Actives swing, ends pull by to start a weave the ring (circular hey with just the four end people). All finish at home. A2: Partners take right hand in right, balance fwd and back. End couples swing, actives turn right halfway (or pull by) and individually orbit the couple to their right; ends finish at home, middles go through home into the set and face up. B1: TRIANGLE STARS 1-4: Middles stick out the handy hand (woman's right, man's left) and ends join in same-sex triangle stars on the sides. Turn the star until the old middles are on the bottom (about 2/3ds of the way), then let go and face into the set; that leaves you in order 3-1-2. 5-8: Partners do-si-do. B2: 1-4: Lines of three forward and back, new middle coming back further than the others; finish with all facing into your group of three. 5-8: TRIANGLE SWING: cross your hands in front of you and take hands with your neighbors; turn once around with a buzz-step turn. Open up again in the same order; you're with the same partner. NOTES: On the Triangle star: A wrist grip star gives you an equilateral triangle. The star is with the people in your own line, and starts with the actives shoulder to shoulder in the middle, facing up. You may find you prefer to drop the forward and back and make a longer triangle swing; I like the opportunity for a smooth entry into the swing, and there's a memory of the end of "Walpole Cottage" in this sequence. Or, and this is probably better for most crowds, keep the forward and back and turn the triangle swing into a basket swing. --------------------------------------------------------- Square Line Special By Gary Roodman >From his book "Calculated Figures" Type: Contra Formation: Quadruplet Music: ³Swinging on a Gate² or any 32-bar contra dance tune, 4 times through. A1 ----------- (8) Long lines, forward and back (8) Go forward again and pass through and turn alone A2 ----------- (4) Take Right Hand with partner across, balance (4) (in your group of four) pull partner by the Right, neighbor by the left (8) Swing the next (partner on the ends, neighbor for the centers) (End the swing forming a square) B1 ----------- (8) Head couples Right & Left through (8) Head couples ladies Chain B2 ----------- (8) Head couples lead to the right, circle left once (8) Sides arch, heads duck under, separate, around one (form lines to start the dance again, your original partner will be across from you) --------------------------------------------------------- Al¹s Quadruplet #1 By Al Olson >From "Give and Take" by Larry Jennings Type: Contra Formation: Quadruplet A1 ----------- (8) Circle Left 1X (in fours) (8) Circle Right 1X (same groups) A2 ----------- (16) Dip and dive eight, start with 2s arch and 1s dive (End when original end couples have passed in the middle a second time) B1 ----------- (16) Balance and swing the one you face (new neighbor), end facing across B2 ----------- (8) Half Promenade across the Set (8) Partner swing - end with new ends facing new middles Notes: The dancers end a change in 3-1-4-2 order. Four changes return everyone to the original formation. --------------------------------------------------------- Al¹s Quadruplet #2 By Al Olson >From "Give and Take" by Larry Jennings Type: Contra Formation: Quadruplet A1 ----------- (8) Circle Left 1X (in fours) (8) Circle Right 1X (same groups) A2 ----------- (16) Right and Left eight along the set, ending in orig positions facing Neighbor (each couple passes through along to the end of the set, turns as a couple, and continues to original starting position) B1 ----------- (8) Swing neighbor, end facing across (8) Long lines (of eight), forward and back B2 ----------- (8) New ends cast to the other end passing R shoulder (while the mids do-si-do perhaps?) (8) Partner swing - end with new ends facing new middles Notes: Four changes return everyone to the original formation. --------------------------------------------------------- Rise and Run By Gary Roodman >From his book "Calculated Figures" Type: Contra Formation: Becket-CW Music: ³My Wife¹s a Wanton Wee Thing² (or any 32-bar contra dance tune - 4X through) A1 ----------- (8) Star Right 1X (both sets of four) (8) Middle four Star Left 1X A2 ----------- (16) Partner balance and swing B1 ----------- (8) ³1st couples² Right and left through on the Right diagonal, courtesy turn (4) ³2nd couples² Right and left through on Left diagonal, and immediately turn as a couple to the right and (4) progress cw 1 position around the set B2 ----------- (8) Women Chain (8) Women Chain (for a mixer, substitute N Swing for second chain, or R&L for first chain) Notes: How about 4X through with same partner and then make a change which will cause you to change partners for 4X more? e.g. B2 could have women chain across to swing N, or R&L and then women chain ³There is sometimes confusion about how to form the left-hand star in A1 and when to take one¹s turn. I usually begin the teaching by designating the inside four people as 1s and the outside 4 as 2s. Then I can call their turns as the time comes. Also, for help in forming the left-hand stars, I have everyone note carefully who is in front of them in the star. That will be the person to find coming out of the right-hand star.² Gary Roodman --------------------------------------------------------- O¹Donnell Anew By Tony Saletan Type: Contra Formation: Becket A1 ----------- (8) Forward four and back (8) Neighbor Do-si-do A2 ----------- (8) Left shoulder Partner Do-si-do (8) Neighbor allemande Right 1-1/2 B1 ----------- (16) Hey, men passing left shoulders B2 ----------- (16) Swing neighbor who is new partner, end facing other couple in new position (aligned across the hall) Notes: Four changes returns everyone to place. If the first change is along the hall, the second is across and so on. Other Notes: Composed for Vince O¹Donnell, former NEFFA music chairman, on his birthday. --------------------------------------------------------- K & E for Eight By Al Olson >From "Give and Take" by Larry Jennings Type: Contra Formation: Quadruplet A1 ----------- (16) Dip and dive eight, start with 2s arch and 1s dive (End when original end couples have passed in the middle a second time) A2 ----------- (8) End fours, Star Right (8) Same fours, Star Left (ending with end cpls home, mid W facing each other and mid M making do) B1 ----------- (8) Mid W 1/2 chain along the set with extra 1/2 courtesy turn (8) End fours 1/2 women chain along B2 ----------- (8) Same fours circle Left 3/4(?) (8) Mid four circle Left 3/4 while end cpls swing and face mid cpls Notes: Ending order: 3-1-4-2 Other Notes: Alt A1: End cpls face mid cpls: gd R&L for eight, six changes, M going cw --------------------------------------------------------- Levi Jackson Rag By Pat Shaw >From Gary Armstrong's "Dance Workbook" a collection of 231 dances includling contras, quadrilles, squares, folk dances, mixers, line and novelty dances. (This is probably a great resource for other small group dances) Type: Other Formation: Becket with one extra couple facing down from the top A1 ----------- (8) Two pairs of couples R&L, lone cpl goes dn the ctr 1/2 way during courtesy turn (8) Two pairs of couples R&L back, lone cpl continues dn the ctr to bot during courtesy turn A2 ----------- (8) Foursomes circle Left while lone cpl cast up outside to orig pos (8) All DSD partner and face into set B1 ----------- (8) Five woman Star 2/5 passing pt and next M to courtesy turn with next M (8) Repeat - women passing two new men to new partner, courtesy turn B2 ----------- (4) Promenade new partner one position ccw (12) Balance & swing new partner and end facing across Notes: 5 couples, four in becket, one at top of group facing down Suggestion: People always seem to run out of time for the balance and swing, so as a queue for a more pleasing (longer swing), suggest that dancers may skip the second courtesy turn off the chain in B1 and do the promenade directly for a full 16 ct balance and swing. Or, just skip the balance. --------------------------------------------------------- >From Richard Allen Fischer on SharedWeight.com A favorite triplet of mine is Melanie's Triplet by Melanie Axel-Lute. It's on her website: http://www.maxellute.net/triplet.html A simple dance for three couples starting in a circle goes: A1 Circle left, circle right A2 Right hands across star, left hand across star B1 Couple with lowest hands, lady ducks under to swing partner, then middle-hands couple, then top, so all are swinging partners B2 Promenade around the ring If there are just two couples, many simple contras can be done by just treating your partner as your next neighbor (and so the axis of the dance will rotate 90 degrees each time). In addition to couple dances to break things up, some simple ceilidh or whole set dances might work; and if you have exactly nine dancers, how about the fun square Nine Pin? ---------------------------------- Here is a dance that I have called a few times, and I like it because it is a little different. It is phrased, although the timing becomes a little more critical with four couples. I hope it is something you can use. Richard Green T.A.G. by Roger Whynot Proper Lines of 3 or 4 couples A1 1's lead down center, turn alone come back Return & Cast around 2's. As they cast: A2 Gents turn LH star, Ladies turn RH Star(at same time) B1 When 1's meet, switch stars, lady passing in front. Keep star moving. Each couple switches as they meet. All switch back as they meet again When 1's meet again lead all to top, peel the banana, 1's make arch at bottom B2 Others pass under arch to top, 2's are now 1s ------------------------------------

17 years

Correction in name

by Linda Leslie

Thanks, Will, for the dances! You stated: " and the Gary Armstrong "Dance Workshop" has a large number of dances (contra, square, folk and novelty) that might be appropriate for smaller groups." The author is actually DON Armstrong, and there are several books out there by him that are terrific collections. Cheers! Linda Leslie

17 years

Re: [Callers] Admission

by Tina Fields

Hi folks - I agree with most of the answers thus far, that dance attendees should indeed pay up according to ability, regardless of what specific part of the activity they're most drawn to (dancing, watching the caller, listening to the band, the brownies at the break...) But I must say I find the question itself curious. For me, there's not much separation between caller-apprenticeship and dancing. When I go to a dance, I find myself sitting in two minds, back and forth - both a dancer and a caller, and participate in activities that further both. I will deliberately watch the caller's teaching technique when I sit one out. And I'm also noticing it when I'm dancing - what works for those around me, what could be clearer. I will often try to remember (or ask to see the card for) one particularly great new dance to take home and learn myself. But I identify these dances as great through dancing them. It seems to me that we (OK, I) learn about callers' techniques through ears and eyes, but just as much through moving to their leading, since ultimately that's what it's about. Hm. So maybe someone like me should pay double, depending on the organizer's policy on coming to the event with intent to learn better calling. I guess it basically comes down to this: If the caller is that hot, there's no way I'd be able to just sit there throughout the evening! :-) Thanks for a provocative topic, Chrissy. Tina > Chrissy Fowler wrote: >> >>> Hi all, >>> >>> I have been wondering about something lately and wanted to know what >>> others think, and what's usual and customary in your experience as callers >>> learning from other callers. >>> >>> Say, for example, that I want to learn from another caller and go to a >>> dance specifically and particularly to observe what he/she does. I am >>> simply going to sit on the side of the hall and take it all in. Do I have >>> to pay admission for that dance since I am not dancing? Why or why not? >>> >>> Curiously yours, >>> Chrissy

17 years

Admission?

by Chrissy Fowler

Hi all, I have been wondering about something lately and wanted to know what others think, and what's usual and customary in your experience as callers learning from other callers. Say, for example, that I want to learn from another caller and go to a dance specifically and particularly to observe what he/she does. I am simply going to sit on the side of the hall and take it all in. Do I have to pay admission for that dance since I am not dancing? Why or why not? Curiously yours, Chrissy _________________________________________________________________ When your life is on the go—take your life with you. http://clk.atdmt.com/MRT/go/115298558/direct/01/

17 years

Opinions on various topics

by Dan Pearl

>I've most commonly heard four different calls for the four different >combinations of man's left/right and woman's left/right: >man woman figure >--- ----- ------ > R L California twirl > L R Star through > R R Box the gnat > L L Swat the flea This doesn't jibe with my understanding. California twirl is executed with the dancers facing in the same direction, and leaves them facing the opposite direction. The other three calls are executed with two facing dancers. Star thru also uses M's R and W's L and leaves the dancers facing in the same direction. Box.. and Swat.. leaves the dancers in each other's place, facing each other. Regarding the Admission issue... When NEFFA took over the Thursday dance from Tod Whittemore in 1990, we established the policy that non-dancers do not have to pay. In fact, our policy allows dancers to do up to two dances (about 30 minutes worth) and leave and they get their money back. These policies were from Larry Jennings, and I can envision some rationale for each. Certainly people who attend are getting something of value, even if they do not dance. I think it is OK to sometimes give something away; it tends to pay itself back in the long run what with increased goodwill. Very often, non-dancers will INSIST on paying a donation to "support the dance". The refund issue was to address situations where someone gives it a try and discovers pretty quickly that it is not "their thing".

17 years

Dances for 3-6 couples - add'l note

by Will Loving

I neglected to mention that I'm looking for dances that might be suitable for more experienced dancers. I've found a fair number of dances that can work well with a small number of dancers, but nearly all are geared towards beginner dancers, with only the most basic figures. Finding interesting dances that can satisfy more experienced dancers - near the end of a smallish dance or at a party - seems to be the challenge. Thanks to Richard for your suggestions, I will be following up! Is Nine Pin anything like the John McIntire's "Prime Minister's Breakdown", which I've heard described but never seen or danced and which I believe has a similar three-by-three formation? Thanks, Will Loving

17 years

Callers Wkshp Dec 13th

by gtwood＠worldpath.net

callers(a)sharedweight.net Hello Callers, Info about upcoming callers wkshp: When: Afternoon of Dec 13th Who: George Marshall (of Swallowtail) will be conducting a callers workshop geared toward: Novice/ Intermediate callers. Experienced Callers are most welcome to attend Where: Gilmanton NH town Office Building In conjunction with Swallowtail Dance on the same evening Cost; $20.00 (scholarships provided through CDSS ) Call: Lynn Durham for Details smile(a)lynndurham.com 603926-9700 More information: Our Web Site! www.worldpath.net/~gtwood Hope to see you there, Gale

17 years

Quebecois dances

by Jeanette Mill

I took a brief trip to a dance in Montreal when visiting New England earlier this year, to indulge my passion for French Canadian music. A band called Revellions was playing - awesome music. The dancers were having a great time, and helped me through with the French calls - but it was fascinating to note that much of the terminology was identical (chain, dos-a-dos, swing, promenade all seem to have their roots in French). Does anybody have instructions for any simple Quebecois dances they would be happy to share with me? Cheers Jeanette The piano - 88 little mistakes waiting to happen; Peter Barnes Make the switch to the world's best email. Get Yahoo!7 Mail! http://au.yahoo.com/y7mail

17 years

And while we're on the subject of great 4f4 dances ...

by Lark-Aeryn Speyer

Four facing four No More Worth-less Swings By Seth Tepfer A1: Lines of four forward and back (8) Ladies allemande opposite lady left 1 ½ (8) A2: Neighbor balance and swing (16) B1: Gents left hand star ½ (to 'partner') (4) Allemande right 'partner' ½ (4) Ladies left hand star 1x (8) B2: 'partner' balance and swing (16) "Partner" is in quotations because, in this dance, you will alternate between swinging the person whom you asked to dance and swinging the other opposite sex person in your line of four ("your other partner"). This dance was written in honor of the double wedding of Nancy and Sarah Worth to Drake Lombardini and Bill Price. (Drake and Nancy are now Drake and Nancy Meadow.) -- "In this case, we may waive formalities. We really haven't time. This is to-day, but it will soon be to-morrow, and then we may be very different people, and in some other country." -- Willa Cather, _The Song of the Lark_

17 years

K&E - thanks, ? about substitution, still need help with B2/progressio n

by crunchymama＠juno.com

Thank you for all the responses! I'm excited to try the Rick Mohr 4f4. And I think I understand the Double Becket formation and the power turn well! I love the power turn; it's that butterfly whirl feeling I've been looking for, in a different format. So I'm looking at possibly calling K&E for a contra crowd- there are no EC dances in our area so there would be nowhere to carry over the knowledge. Would it be a crime against nature to teach N gypsy, N lt sh gypsy in place of the split and cast around to place? It seems like it would keep the dancers a bit more active and use their existing vocabulary- and I wouldn't spend time teaching a move we won't be using again any time soon. I'm sure there are a variety of opinions on this! And, I do still have questions about the way the progression works in B2. I can't seem to figure it out without adding some sliding, turning alone, twirling, or passing through. Here's the dance again and the progression Lark notated for me: K&E by Pat Shaw- formation Double Becket 1's are in the middle and progress down, 2's are on the ends and progress up A1: 1's split the 2's, cast back to place, end facing the other 1's(8) OR N gypsy (8) 1's only- Right hand star, back to your 2's (8) A2: 2's split the 1's and cast back to place (8) OR N l sh gypsy (8) Same four (1's w/ 2's): Left hand star (8) (L start the chain as they pass each other, 3/4 of the way through the star) B1: 1's only- Ladies chain with power turn - face out (8) Ones with the twos: Ladies chain (8) B2: Same four: Circle left 3/4 (8) 1's Circle left 3/4 and move down a little while 2's Swing and move up (8) Lark wrote: <snip> Okay, that's gotta have been even more confusing than you're used to. Try the "diagram" version of the Progression (Please look at this in Courier or another fixed-width font): Dance Turn 1: BAND 2M 1L 3M 4L 2L 1M 3L 4M 6M 5L 7M 8L 6L 5M 7L 8M Dance Turn 2: BAND 2L 2M 4L 4M (Out) 6M 1L 3M 8L 6L 1M 3L 8M 5M 5L 7M 7L (Out) Dance Turn 3: BAND 6M 2L 4M 8L 6L 2M 4L 8M 5M 1L 3M 7L 5L 1M 3L 7M <snip> Don't worry, the circles will get you back with your partner. The Circle Ls are both 3/4--i.e. until the "insides" are back on the inside of the set and can whirl around to take Circle L hands-4 with their partners. <end quote> At the end of B1, as a #1 lady, I've got a #1 gent in my right hand and a #2 on my left. If I circle 1/2 way, then let go of the #2 on my left hand and ooze to my left, I can get into a circle L with my partner on my left and the other 1's. After the second circle L 3/4, we're facing 1's still- so we could pass through (which would not be the progression shown in the diagram, since 1's are swapping sides, but would seem to work fine) OR we would california twirl to change direction and progress as shown. OR If we (1's and 2's) circle L a complete 3/4, I end up as a #1 back to back with my partner. If all then turn alone, my partner will be on the wrong side of me, so after the second circle L 3/4, we will need to twirl (would that be a star through or?) to swap places and directions. OR We circle a complete 3/4, 1's ending up back to back with P, and 1's twirl to swap (would that be a star through or?) which would put partners on the correct sides of each other- 1's circle left 3/4, we would need to pass through to follow the progression shown in the diagram, or california twirl to progress on the opposite side. I'm sure there may be another option on the progression that I'm missing, and maybe one that is CORRECT. I know there has to be something missing, since 1's need to end up facing 2's, not 1's. How have you danced it? And is the progression only within each line, or do the ones cross over each time through? Thanks again! -Alison Murphy ____________________________________________________________ Click for free info on discount teaching degrees programs. http://thirdpartyoffers.juno.com/TGL2131/fc/Ioyw6iif8jdcdiRVPrDmL3YgqN9bA4t…

17 years

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Contra Callers