Contra Callers

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45 participants
4388 discussions

by David.Millstone＠valley.net

Thank you, Greg, for your thoughtful, well-stated, and caring responses to the points folks brought up in response to your original question. I really appreciate-- and this is something I've felt in your earlier posts-- the way that you work at bringing different points of view together, finding common ground without minimizing different opinions. As you certainly recognize, this particular question comes down to an individual caller's personal preferences and style, and there's not One Right Answer. Thank goodness! We don't aim to create a coterie of certified clones, but rather to celebrate the unique style that each caller brings to the mix. And I agree that through thoughtful discussions of issues such as this, callers from all vantage points come away with ideas to consider. I've often told folks at my callers' workshops to get copies of Larry Jennings's two books. Initially, newer callers are excited by the idea of obtaining collections of so many dances all in one volume. Useful as those dances are, I think the greater value of "Zesty Contras" and "Give-and-Take" is found in Larry's thoughtful essays. He was a man of many opinions and he wasn't bashful about sharing them. Whether or not you agreed with him wasn't the point; reading those many essays forces callers-- established and newbies alike-- to think about what they themselves value and to hone their own vision of what they want the dance to be when they're at the caller's mic. David Millstone Lebanon, NH

17 years

Thanks for a dance name, author and other data... oh and one more que stion besides... :)

by Richie K.

Bob and Cis... Thanks for the "Jurassic Redheads"- Carol Ormand dance identification.... I'll email Carol and make sure the use of the dance in the video is OK :) THANKS !!! By the way... in the same video ... http://contrausa.com/user/fri2%20ron%20b4%20with%20quote.wmv ...starting just after the music gets fast, there is an inactive women coming up the line with reddish hair and and a knee brace who does a sort of stutter step before she does some of the moves... If anyone knows why she does so or even who she is so I can ask her the advantage of that it would be most appreciated :) best wishes ... Richie Katz ____________________________________________________________ Get life insurance quotes from top companies. Click Now. http://thirdpartyoffers.juno.com/TGL2141/fc/Ioyw6i3m2vx7pauKY7L3KMHUHpJhCWf…

17 years

Re: [Callers] Zia Formation

by Jerome Grisanti

Jack, I can picture three squares created by one longways contra line crossed by three "east-west" contra lines, with squares at each intersection. I can picture four squares composed of either two longways and two "east-west" contra lines, or one longways and four "east-west" contra lines. I'm presuming the "two-by-two" arrangement would create the "closed box," i.e. four squares without contra lines between (but contra lines on the outside). This is only my conjecture, however, and I await an expert opinion. --Jerome Date: Mon, 28 Jul 2008 08:58:42 -0400 > From: Jack Mitchell <jamitch3(a)mindspring.com> > Subject: Re: [Callers] Zia Formation > To: Caller's discussion list <callers(a)sharedweight.net> > Message-ID: <E1KNSJp-00070I-DE(a)elasmtp-dupuy.atl.sa.earthlink.net> > Content-Type: text/plain; charset="us-ascii"; format=flowed > > This looks really interesting....but I'm having some trouble > picturing how the multiple square arrangements would work. 2 Squares > I can picture, but I'm a little unsure about how three squares would > be laid out and even less sure what the difference between "Four > Squares" and "Four Squares -- closed box" is. Anyone care to step up > with some clarification? > > Jack > > > -- Jerome Grisanti 660-528-0858 http://www.jeromegrisanti.com

17 years

Re: [Callers] Zia Formation

by David.Millstone＠valley.net

Thanks, Bob, for your detailed look at this formation. An earlier use of this dance formation, and the earliest one I know, is the Weston Mt. Zia, written by Daniel Clark ten years ago. Details are here: http://fam.bmi.net/zia.htm There were a series of posts discussing this dance back in January of 1999; a search on rec.folk-dancing for "Walla Walla Wunder" will bring you to the list, which included a discussion of possible English country dance antecedents of this formation, and a similar dance that came to Nick Hawes in a dream. David Millstone Lebanon, NH

17 years, 1 month

Re: [Callers] A Rollin and A Tumblin

by Tina Fields

Hi folks - I like to call this dance as well, and like David's very clear 'here are the moves to the beats' suggestion. I have actually had no problem getting folks to roll away on the way back, though, if I teach the 8 bars as one piece that way from the very beginning, explaining how it's different before they even begin moving in the LL. The funny thing is when next I teach a dance with long lines, everyone hesitates before doing it - will there be a twist? <g> So nice to see they're paying attention, eh? For dances with lots of beginners, I enjoy preceding Rollin and Tumblin with Oslo Waltz Mixer. This way, dancers get to first practice smooth, slow, graceful rolls, then later with the contra they get to rant and roar with them. I've found that a really a fun combo. Tina Fields Message: 2 Date: 09 May 2008 18:45:56 -0400 From: David.Millstone(a)valley.net (David Millstone) Subject: [Callers] A Rollin and A Tumblin To: callers(a)sharedweight.net Message-ID: <92058317(a)retriever.VALLEY.NET> Content-Type: text/plain Hi Rickey, I have the dance from Cis as Rollin' and Tumblin'. > I have been having trouble getting dancers to roll away on the way back, rather than after the forward and back. As you point out, even if folks are late on the timing of the second rollaway, the dance will work out. If you wish, you could teach the dance with counts, as in Bases Loaded: "Forward - 2 - 3 - 4; Back - 2 - and ROLL aWAY." I generally just signal the timing I want by putting in the rollaway call at just the right time. It's a fun dance that I use often, a great way to introduce rollaway early in the evening, especially if you want to use that figure later on and want folks to be already familiar with it. David Millstone Lebanon, NH Tina R. Fields, Ph.D. (707) 824-9318 "Hindsight Now!"

17 years, 1 month

Re: [Callers] Announcing Dance Names

by Greg McKenzie

Callers, Thank you to all who have posted on this thread. It is illuminating and useful to hear all of your views. I am, in particular, interested in the ideas of those new to calling. New callers often bring a fresh perspective to the art and are less bound by traditions and habits that may not always be as relevant in the context of contemporary contra dance culture. That is particularly useful in a thread such as this one where a minor but long-established tradition is being challenged and re-examined. We should keep in mind that contra dance is a living folk tradition that is not frozen in time. That is a great part of its appeal and popularity. While we need to honor the historical contributions of those who came before us it is also important to remember that each of us--regardless of how experienced we are--has a legitimate voice in how this dance tradition evolves. It is vitally important that new dancers and new callers both take courage and speak out in this kind of forum. If contra dancing is to survive as a living tradition it needs your intelligence, energy, and insight. **** David Millstone wrote: >there are many dancers-- most, at some series-- >who don't care about being on time, either. And >there are some dancers who think it's fine to >dance roughly, to yank their partner's arm >around for a gratituous and unwanted twirl, to >swing their partner off the floor, to chatter >incessantly during a walkthrough... Thank you for pointing out that this reflects directly upon the caller. The caller has far more influence than anyone else in the room. Only the caller can take responsibility for this kind of behavior. And taking responsibility is the only way to prevent it. As David also wrote: >The caller provides leadership, not just a >well-timed reminder of what figures come where. >As a leader, the caller helps dancers reach a >higher level in their dancing, builds community, >respects our traditions and keeps the music and >dancing alive for future generations... Well said! The art of achieving this goal will be a useful discussion. I think most of us would agree that it is not effective to simply tell the dancers how we think they should behave. **** Joe Micheals wrote: >I have always felt the majority of the dancers >don't care who wrote the dance. I try to do it >though out of respect for the author who >deserves credit and because the precedent has >made it part of the culture at dances. I agree that the author deserves both respect and credit. They should certainly be cited on any printed depiction of the dance and at workshops, etc.. The question here is about the tradition of announcing the author's name over the PA system each time a dance is called at open public venues. Personally, I would prefer that my own dances not be so credited to me. This is particularly true if I am present in the room. **** Gretchen Caldwell wrote: >Imagine the new dancer who realizes "Harold and >Barbara Sittin' in a Tree" was written by a >Charlotte caller for that couple sitting right over there. Obviously this would be a dance with an interesting title. I would only point out that it could be a breach of etiquette to draw the attention of the entire hall to anyone without his or her prior permission. Thankfully no one has written a dance about me. This highlights why I sincerely hope that no one ever does. **** Amy wrote: >New dancers need to know that the dance world is not -- quite-- all about >them, and about their having a peak aerobic active dance experience every >possible minute - there's reasons that the dance world is here for them >to enjoy, and those reasons (the organizers, sound folks, musicians, >callers, dancer crafters and sometimes even tune composers) all deserve >their (brief but eloquent) moment of credit. I love making introductions of the band, sound person, and dance manager. This seems highly relevant to the success and enjoyment of the evening. Since "peak" moments are, by definition, never continuous there will always be time for such announcements. My concern is that the rote reading of dance names and authors seems less than relevant to the current festivities and can be a distraction at a critical moment. **** Chris Weiler wrote: >My own technique is to announce them after the >walkthrough and before the music starts. "come >back to place and we'll dance ____ by ____". The >beginners won't think that they're being left >out because they all have been taught the dance, >and in fact may be distracted by everyone >starting to back up. The ones who are interested >and have attention to spare will hear. This also >lets the band know that we're ready for some music. This highlights another reason I don't mention dance names and authors. In many cases it serves as a way of filling the time after the walk-through and before the beginning of the music. My own preference is to eliminate this awkward and distracting break by having the band "roll in" the music during the walk-through itself. This way the dancers never end the walk-through and the music begins without stopping the dancers. If the band is willing I do this with most of the dances during the evening. Consequently the only time I have to announce the dance name and author is usually before the walk-through begins. This is a critical point where I am asking the dancers to begin listening to me and I am loath to feed them non-essential information at that critical moment. Chris also wrote: >There are many ways for a caller to gain the >attention of the dancers. Scarcity of speech is >one of them, but tone of voice and force of >personality do a lot more to making the evening >fun. If just your tone and style of speech can >convey "I'm having fun, please join me" and >command attention and obedience as well, it >really makes the evening fun for the dancers. >It's not easy, especially for someone like me >who tends to be shy, but it can be cultivated without sounding phony. There is certainly something to be said for the caller conveying her or his own excitement and love of the dance at the microphone. Personally I feel like I hear more than enough "force of personality" from callers. When calling, I see the dancers having a great deal of fun socializing in the sets before I begin teaching. I don't feel any need to invite them to "join me" in the fun I am having. With a hall full of gracious, considerate, generous, warm-hearted, and fascinating people--not to mention a spirited and talented group of musicians--it seems clear that people are there to enjoy a great evening of socializing with inspired live music. I consider it my gift of professionalism to get them dancing to the music as effectively as possible and then to get out of the way and let them have what they came for. This is what I most appreciate from great callers. **** Dan wrote: >In general, at regular open dances I announce >dance names and authors just before I begin the >walk-through. It is my acknowledgement, in lieu >of a license fee, to the person whose creativity >I am taking advantage of by calling their >dance. I tend not to announce my own name, as I >feel uncomfortable even bragging a little bit. I have some concern that announcing the dance name before the walk-through could be taken as a signal by newcomers that others in the hall have already learned the dance and this could lower the newcomer's self-confidence. (Just for your reference, Dan, I would prefer a license feeif that's what it takes to keep my name from being announced at the dance.) **** Susan Elberger wrote: >I could not disagree with you more, Greg. I've >been calling dances for 30 years, Well, actually, you probably could disagree with me moreand probably will. The value of this kind of forum is that we can discuss these ideas in an open and civil manner. If we all agreed on everything we postedthere wouldn't be much to learn here. As a caller I have found that some of my greatest contributions come from what I don't say and what I don't do. Like many endeavors calling is often a subtle art where "less is more." The more force we apply to our words and actions the less people will want to attend to them. One thing that we do agree upon is the purpose of the contra dance evening as: "a social, community-building event." That's a big one. With that common vision I hope we can have many fruitful discussions. ###

17 years, 1 month

Contra dance figures in history

by Jack Mitchell

Do you know of any figures or dances that had their roots in English County, showed up in the Civil War period and are still extant in some form in modern contra dancing? My mom is involved with a living history farm in SC and they will be doing a program that will involve all three types of dancing. They would like to be able to trace a figure or dance through all three periods, and possibly look at how the figure has changed over the years. If so, do you know details of how they had changed over the years? Thanks! Jack

17 years, 1 month

Re: [Callers] Looking for a dance name, author and other data...

by Cis Hinkle

Hi.... I've posted 4 videos of Lisa Greenleaf, Ron Buchanon, and Becky Hill calling, A Pirates Life for Me, The 24th of June, Are you 'most done, and one unknown dance. All this is on the caller's corner page of contrausa.com. Can anyone look at these and let me know some of the dance names, the author's data and any other comments on the calling and dances? By the way, the dancing and music is great also... and you may see your friends in there :) best wishes ... Richie Katz Tampa The unknown dance appears to be "Jurassic Redheads" by Carol Ormand. Cis Hinkle

17 years, 1 month

Odd posts

by Seth Seeger

Hi Everyone, I must apologize for the few old emails that came out today! The mailing list manager had a bug in it, and I just found out about it today. It caused a few emails (and a lot of spam) to be held up in a deferred queue. I patched the system this morning and released the queue. It shouldn't happen any more, but if your emails don't make it through the list in the future, please write to me and Chris! -Seth

17 years, 1 month

weird contra dances

by Mark Hillegonds

Hi all, Michael Barraclough posted the following "weird contra dances" I sure would appreciate some help with the timing and track in B2. The best I have managed to do is actives pull by (4) and box the gnat with 1st corners (4), I then have 4 beats to pull by with this corner, pass my partner right shoulder to get to 2nd corner for swat the flea (4). A few managed (just) to do it with going straight across from 1st corner to 2nd corner (ie passing left shoulder) but in the end we gave up. Any help would be appreciated. I am certainly NOT offended by the dance being called "weird" though I'm not sure it's as strange is Michael is interpreting it. I have called this dance several time successfully. You have the same amount of time (16 beats) to do B2 as you do with a "normal" contra corners. Michael, you're description appears to leave out 4 beats after the first corner box the gnat. You actually have 8 beats to pull by your first corner, pass your partner, and swat the flea with your second corner. Using your description below, it's: (4) actives pull by (4) box the gnat with 1st corners (4) Pull by with 1st corner, (should be able to get back to your partner by the 4th beat and start the right shoulder pass) (4) Pass partner by right shoulder and 2nd corner swat the flea. Here is the full dance. Rosie the Welder Composed: Mark Hillegonds, May 22, 2007 Formation: Contra, duple minor, improper A1 (16) Actives balance and swing A2 (8) Circle left (8) Neighbor do si do B1 (8) Take right hands with neighbor, balance and box the gnat (8) Take left hands with partner, balance and swat the flea B2 (8) Actives pull by and box the gnat with first corner (8) Pull by with that 1st corner, actives pass by the right shoulder swat the flea with 2nd corner. (Pull by 2nd corner to start the dance with the partner balance and swing.) Notes: B2 Explain to the dancers that this is just a contra corners with corner twirls instead of allemandes. Mark Hillegonds Phone: 734-747-7148 Cell: 734-756-8441 Email: mhillegonds(a)comcast.net

17 years, 1 month

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Contra Callers