Contra Callers

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4388 discussions

Announcing the Frolic in the Fall - 9/27/08 in Harrisburg, PA

by Frolic in the Fall

Hi Friends, Dancers, Organizers, and previous Frolicers: ANNOUNCING, The Second Annual Frolic in the Fall. To be held Saturday, September 27, 2008 from 11am-11pm . Location is the YWCA Camp Reily, just outside of Harrisburg , PA , a 5-acre camp where we dance in a rustic lodge with a wood floor, surrounded by Nature in the Appalachian Mountains of PA. Music from the Contra Rebels from York and Dancewiz from Philadelphia , calling by Tom Hinds, from Faber, VA, and Dave Colestock, from Harrisburg, PA. The Frolic starts with an hour of Waltzing from 11-12, then Contra Dancing from Noon-11. There will be an HOUR LONG Dance Medley, at about 4:30 , followed by a Pot Luck Dinner (last name A-M, dessert or side dish; N-Z main dish, please). Cost is $25/person, limited to 100 dancers, advance registration highly encouraged. Dance at the Locust Lane Contra Dance on Friday 9/26/08 with Perry Shafran calling to All Hat, No Cattle, then stay over at a local motel, b&b, or camp with us on-site. Tent camping for Fri and Sat nights is available for additional $20 /person. Contact us at Fallfrolic(a)yahoo.com or visit the website at www.frolicinthefall.freeservers.com Register online or by snail mail by 9/13/08 , please. Feel free to forward this email, and tell all of your friends - spread the word! Thank you, and hope to see YOU at the Frolic. Can you DANCE for an HOUR??? Come to the FROLIC and find out!!! Thanks for your interest, Dave Colestock --------------------------------- Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now.

17 years, 3 months

Re: [Callers] idea for a longer contra medley

by Dan Black

Dave, During Ralph Page Legacy Dance weekend I was introduced by the emcee as being from the western shores of NJ. Couldn't resist, and it must be in the advance geography class. See ya, Dan ----- Original Message ---- From: Dave Colestock <contradancerdave(a)yahoo.com> To: Caller's discussion list <callers(a)sharedweight.net> Sent: Thursday, May 1, 2008 4:16:06 PM Subject: Re: [Callers] idea for a longer contra medley Hey Dan - When did NJ acquire a Western Shore??? I thought it only had an east coast ocean exposure!!! Or do I need to brush up on Geography 201? Dave Colestock Dan Black <blackjunier(a)yahoo.com> wrote: One thing that has been helpful being involved in medeleys, is the chance to become familiar with calling a no walk through dance. Sometime I can include one quick dance at the end with a no walk thru. People seem to enjoy and this dance is usually has more dancers than the previous. Secondly it is better than a medley because you don't have to call as many times and keep track of how many times til the change. Chris great comment about the band, just think playing the fiddle for 26 minutes straight. My shoulder gets sore thinking about it. There was a time when I'd call a three dance medley and it seemed to go over well. Maybe it is time to do that again. Nice thread. Dan Black Western Shore of NJ ----- Original Message ---- From: Chris Weiler (home) To: Caller's discussion list Sent: Thursday, May 1, 2008 2:49:31 PM Subject: Re: [Callers] idea for a longer contra medley Speaking as a caller who made a mistake during his medley, it was eternal. 8^) Right now 6 dances repeated 6 times works out to roughly 19 minutes. That's just enough time to get set up, form lines, recite the warning/welcoming poem and be done in time to allow the bands to change for the next set. 6 dances repeated 8 times is almost 26 minutes. That doesn't leave any time for the band change. Koren's idea of having two medleys in a session might be more practical, but I have another concern: What about the musicians? It's a long time to play and I've talked to some after playing for a medley and heard how fatigued they are. Happy Dancing! Chris Weiler Goffstown, NH Janet Levatin wrote: > I like some of those ideas. I would at least like to see the 6 dances > each repeated 8 times, or 8 dances each repeated 6 times. Or maybe two > 6 x 6 in a row. I just thought the whole thing was a bit too short. > Janet > > _______________________________________________ Callers mailing list Callers(a)sharedweight.net http://www.sharedweight.net/mailman/listinfo/callers ____________________________________________________________________________________ Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ _______________________________________________ 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 ____________________________________________________________________________________ Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ

17 years, 3 months

Re: [Callers] idea for a longer contra medley

by Dan Black

One thing that has been helpful being involved in medeleys, is the chance to become familiar with calling a no walk through dance. Sometime I can include one quick dance at the end with a no walk thru. People seem to enjoy and this dance is usually has more dancers than the previous. Secondly it is better than a medley because you don't have to call as many times and keep track of how many times til the change. Chris great comment about the band, just think playing the fiddle for 26 minutes straight. My shoulder gets sore thinking about it. There was a time when I'd call a three dance medley and it seemed to go over well. Maybe it is time to do that again. Nice thread. Dan Black Western Shore of NJ ----- Original Message ---- From: Chris Weiler (home) <chris.weiler(a)weirdtable.org> To: Caller's discussion list <callers(a)sharedweight.net> Sent: Thursday, May 1, 2008 2:49:31 PM Subject: Re: [Callers] idea for a longer contra medley Speaking as a caller who made a mistake during his medley, it was eternal. 8^) Right now 6 dances repeated 6 times works out to roughly 19 minutes. That's just enough time to get set up, form lines, recite the warning/welcoming poem and be done in time to allow the bands to change for the next set. 6 dances repeated 8 times is almost 26 minutes. That doesn't leave any time for the band change. Koren's idea of having two medleys in a session might be more practical, but I have another concern: What about the musicians? It's a long time to play and I've talked to some after playing for a medley and heard how fatigued they are. Happy Dancing! Chris Weiler Goffstown, NH Janet Levatin wrote: > I like some of those ideas. I would at least like to see the 6 dances > each repeated 8 times, or 8 dances each repeated 6 times. Or maybe two > 6 x 6 in a row. I just thought the whole thing was a bit too short. > Janet > > _______________________________________________ Callers mailing list Callers(a)sharedweight.net http://www.sharedweight.net/mailman/listinfo/callers ____________________________________________________________________________________ Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ

17 years, 3 months

The mystery mixer....

by The Witful Turnip

Hi All, The dance in question is Sunday on the Green, written by Jim Kitch. I've called it lots of times and it's a great dance. I agree with Alan's notation of the timing below, and his comment to NOT drop the balances. They make the dance. I've added some comments that help me teach and call it as well as a bit about the B2, that might help the rest of you. So here's my take on it: (starts in an Alamo ring, ladies face out/gents in) A1 1-2 Balance the wave R/L 3-4 Partners allemande R half way and reform the wavy circle 5-6 Balance the wave L/R 7-8 With #1, allemande L half way and reform the wavy circle A2 1-2 Balance the wave R/L 3-4 With #2, allemande R 1x 5-8 With #1, allemande L 1 1/2 times B1 1-8 Partners balance and swing B2 1-6 Promenade around the circle 7-8 Partners drop R hands, keep holding L hand, ladies loop L to the inside of the circle and around current partner, and gives R to new partner to reform the wavy circle. (Old partner is in left hand, new partner in right) I typically tell dancers that they'll move away from their partner by 2 people and then come back to balance and swing them. I think it helps to give them the markers. Also, I particularly like the transition from the promenade back to the wavy circle because you keep the connection with the partner the whole time. Hope that helps, Bev >Message: 7 >Date: Wed, 30 Apr 2008 12:59:16 -0700 (PDT) >From: Alan Winston - SSRL Central Computing > <winston(a)slac.stanford.edu> >Subject: Re: [Callers] 2 questions >To: "Caller's discussion list" <callers(a)sharedweight.net> >Message-ID: <01MU8J6EYIMM8XO7P3(a)SSRL.SLAC.STANFORD.EDU> >Content-Type: TEXT/PLAIN; CHARSET=us-ascii > >Parker wrote: > >> 1. I have run into the following mixer dance and I'm not sure how best to >>call it. I don't know the name and author or I'd ask him/her. The >>problem is >>that no beat counts or A1-A2-B1-B2 divisions were given. > >> The formation is a wavy circle with gents facing in, ladies facing out, >>partners by the right. The moves are: > >(I have modified this with measure counts, assuming 2 beats to a measure) > >A1 1-2 Balance the wave R/L > 3-4 Allemande R half way and reform the wavy circle > 5-6 Balance the wave L/R > 7-8 Allemande L half way and reform the wavy circle > >A2 1-2 Balance the wave R/L > 3-4 Allemande R 1x > 5-8 Allemande L 1 1/2 times >B1 1-8 Partners balance and swing >B2 1-6 Promenade around the circle > 7-8 Partners drop R hands and reform the circle. > Old partner is in left hand, new partner in right. > >> The problem is I can't make the timing look right. The first five moves >>look >>to all be four beat moves, but then there are 12 beats left for the >>allemande R >>1x and allemande L 1 1/2. If not, moves are falling across the phrase. > >I don't actually know this dance either, but can see this working. The >allemande R 1x works up some momentum which you don't have to damp to get >into >the allemande L, and you _can_ get all the way around an allemande in four >steps. If you like you can encourage the dancers to try to do that. (What >will really happen is that the two allemandes will blur into one figure >(which >will feel a little bit like a do pas o), and the timing will vary a bit >from >person to person. But everybody's motivated to be on time for the balance >(which is definitely at the top of B1), so it will work, and if anybody's >late >they can just get a shorter swing with their partner, so it won't break >down. > >> Has anyone tried this dance or know anything about it? I'm thinking that >>drop the third balancing of the wave would work best, but that means a >>half >>allemande, full allemande, and 1 1/2 allemande consecutively. > >Don't drop the balance. You'll only confuse their muscle memory. And 12 >beats >is enough time to do the allemande figures. > >-- Alan

17 years, 3 months

Re: [Callers] 2 questions

by Greg McKenzie

Thanks to both Amy and Will for your comments. Amy asked: >****Do I sense a certain amount of subtext here?*** Subtext? I'm only trying to help. We all have different goals at a dance. The caller, I believe, takes responsibility for knowing the common goals of the entire hall and working toward that end. This is a big challenge, and few of us will ever excel at it. It requires leadership and an understanding of the subtle influence a caller can have on both the evening's event, and on the tradition of contras over time. That is the real challenge of calling and I hope that I will someday be good at it. I understand that there are some dancers, and many callers, who enjoy the challenge of medleys. A caller should also know that even a flawlessly executed medley will not be enjoyed by some people and that those people are likely to include new dancers and those who enjoy dancing with newcomers. When I attended NEFFA some years ago I was one of those who, during the medley, took the time to get my dinner. Will spoke of, "novice dancers who know the basics." I think this is a self-canceling phrase. Clearly there is a role for contra medleys in the current culture of dance camps and festivals. (This may partly explain why you don't see me at such events designed exclusively for dance enthusiasts.) The question here is whether medleys have a role at regular community dances that are open to the public. The caller, in that context, plays a different role than at an event intended only for dance enthusiasts. The real question is: What is the purpose of the dance evening, and what is the role of the caller in achieving that purpose? Answering that question is the ultimate challenge of contra dance calling. Just a thought, Greg McKenzie

17 years, 3 months

Re: [Callers] Shoofly Swing

by Jack Mitchell

Ok. Having a little trouble picturing this. a) Is the whole dance the shoefly swing? b) If the women are visiting, does her partner just follow her along the circle on the inside of the circle? Thanks, Jack At 01:02 PM 4/30/2008, you wrote: >Gretchen, I have seen this dance called by Phil >Jamison. In a big circle, this dance goes on >for a while, but many people can be dancing at >one time. Once the women have danced all the >way around, the women can turn the men and the >men can do the visiting. This would indeed be a >long dance, but back in the day, this would have >been extremely fun and not at all boring. What I >enjoy about this dance is the chance to turn >smoothly with your partner, and then turn the >next person in the circle with the left, >smoothly going around into the allemande with >your partner again. It can be really rhythmic >and did I mention smooth? You can get a nice >groove going with it. It would be a fun dance >for newer dancers, especially with a driving >old-time band. It sounds as though you have the >entire dance. Once you get the dancers going >("Turn your partner with a shoofly swing") there >is no more calling necessary until you want to >bring that part of the dance to a close and >perhaps finish with a big circle or grand right >and left. Suzanne Girardot Seattle, WA >-----Original Message----- >From: Gretchen >Caldwell <gretchendance(a)yahoo.com> >Sent: Apr >29, 2008 12:12 PM >To: >callers(a)sharedweight.net >Subject: [Callers] >Shoofly Swing > >I'm looking for a circle dance >called, I believe, "Shoofly Swing".Â Cubby >Whitehead used to end every evening with it in >Bradenton Florida in the late 1980s.Â It >involves one couple starting with an allemande >right, lady then allemandes next gent by left, >then partner by right, next gent by left, and so >on.Â After the allemanding partners have passed >you by, you and your partner join until the >whole circle is peeling off in one amazing mass >of allemandes. >Anyone have it? >I've just >joined the list, have been calling for two >years, and appreciate the support of the >community.Â I plan to try Microchasmic soon for >our weeklyÂ Monday night dance, where the level >of dancing is, surprise surprise, improving as >we three local callers try more challenging >dances.Â Not a lot of contracorners going >on.Â This triplet might be just the >thing. >Gretchen Caldwell >Charlotte >NC >_____________________________________________ >__ >Callers mailing >list >Callers(a)sharedweight.net >http://www.shared >weight.net/mailman/listinfo/callers >_______________________________________________ >Callers mailing list Callers(a)sharedweight.net >http://www.sharedweight.net/mailman/listinfo/callers

17 years, 3 months

Re: [Callers] Shoofly Swing

by Suzanne Girardot

Gretchen, I have seen this dance called by Phil Jamison. In a big circle, this dance goes on for a while, but many people can be dancing at one time. Once the women have danced all the way around, the women can turn the men and the men can do the visiting. This would indeed be a long dance, but back in the day, this would have been extremely fun and not at all boring. What I enjoy about this dance is the chance to turn smoothly with your partner, and then turn the next person in the circle with the left, smoothly going around into the allemande with your partner again. It can be really rhythmic and did I mention smooth? You can get a nice groove going with it. It would be a fun dance for newer dancers, especially with a driving old-time band. It sounds as though you have the entire dance. Once you get the dancers going ("Turn your partner with a shoofly swing") there is no more calling necessary until you want to bring that part of the dance to a close and perhaps finish with a big circle or grand right and left. Suzanne Girardot Seattle, WA -----Original Message----- >From: Gretchen Caldwell <gretchendance(a)yahoo.com> >Sent: Apr 29, 2008 12:12 PM >To: callers(a)sharedweight.net >Subject: [Callers] Shoofly Swing > >I'm looking for a circle dance called, I believe, "Shoofly Swing". Cubby Whitehead used to end every evening with it in Bradenton Florida in the late 1980s. It involves one couple starting with an allemande right, lady then allemandes next gent by left, then partner by right, next gent by left, and so on. After the allemanding partners have passed you by, you and your partner join until the whole circle is peeling off in one amazing mass of allemandes. >Anyone have it? >I've just joined the list, have been calling for two years, and appreciate the support of the community. I plan to try Microchasmic soon for our weekly Monday night dance, where the level of dancing is, surprise surprise, improving as we three local callers try more challenging dances. Not a lot of contracorners going on. This triplet might be just the thing. >Gretchen Caldwell >Charlotte NC >_______________________________________________ >Callers mailing list >Callers(a)sharedweight.net >http://www.sharedweight.net/mailman/listinfo/callers

17 years, 3 months

Re: [Callers] Shoofly Swing

by Jerome Grisanti

Gretchen, This sounds fun. Is the formation a single circle or a Sicillian circle? I don't know the dance, but the figure you describe sounds like some sort of progressive "strip the willow." I'm trying to picture how it would work in a circle. And was there more to the dance with this being the finishing flourish? Also, would just the active lady allemande the neighbors with the active gent allemanding only his partner, or would the active gent be allemanding ladies on his side of the set as well? --Jerome Date: Tue, 29 Apr 2008 12:12:46 -0700 (PDT) > From: Gretchen Caldwell <gretchendance(a)yahoo.com> > Subject: [Callers] Shoofly Swing > To: callers(a)sharedweight.net > Message-ID: <961615.60097.qm(a)web33804.mail.mud.yahoo.com> > Content-Type: text/plain; charset=iso-8859-1 > > I'm looking for a circle dance called, I believe, "Shoofly Swing".? Cubby > Whitehead used to end every evening with it in Bradenton Florida in the late > 1980s.? It involves one couple starting with an allemande right, lady then > allemandes next gent by left, then partner by right, next gent by left, and > so on.? After the allemanding partners have passed you by, you and your > partner join until the whole circle is peeling off in one amazing mass of > allemandes. > Anyone have it? > I've just joined the list, have been calling for two years, and appreciate > the support of the community.? I plan to try Microchasmic soon for our > weekly?Monday night dance, where the level of dancing is, surprise surprise, > improving as we three local callers try more challenging dances.? Not a lot > of contracorners going on.? This triplet might be just the thing. > Gretchen Caldwell > Charlotte NC > > ------------------------------ > > _______________________________________________ > Callers mailing list > Callers(a)sharedweight.net > http://www.sharedweight.net/mailman/listinfo/callers > > > End of Callers Digest, Vol 44, Issue 12 > *************************************** > -- Jerome Grisanti 660-528-0858 660-528-0714 http://www.jeromegrisanti.com

17 years, 3 months

Summer Sunshine

by Rickey

Hi callers, I am preparing to call Paul Balliets contra Summer Sunshine and I have a timing question about the B2. I have copied the entire dance as I have it below. My question is this: It seems that 8 counts of music is too much for walking from one wavy line to another. (I believe that I have other, more modern dances to be sure, that do this in 4). What would you think of adding a balance there with the old neighbors before walking forward to the new neighbors wavy line and balancing with them? Here is the dance as I have it: (Start in a wavy line of 4, across the set, 1s facing down, 2s facing up) A1 Balance the wave (once - twice might be fun) Neighbor Swing A2 Ladies chain over and back B1 Circle left ¾ Partner Swing B2 Circle left ¾ more to a wavy line [no balance in this version] Walk forward to a new wavy line with new neighbors. Thanks in advance for your comments Rickey Holt, Fremont, NH

17 years, 3 months

Update (long)

by Chris Weiler

Hello everyone, For those of you who have been on this list from the beginning, or have read through the archives, you know that I posted several updates describing my early experiences as a caller. I just looked back and realized that the last one was in October of 2005 and I'm long past due for an update. These e-mails tend to run long, and ramble a bit, so I won't be offended if you don't read the whole thing. Since that last update, plenty of things have happened that I did post to the list: Calling at the Down East and NEFFA festivals. Writing my first dances. Starting my own dance series. But there have been plenty of other lessons learned and great experiences that I haven't posted. Overall, it's been wonderful gaining experience, becoming more confident on stage and really enjoying calling. Taking Lisa Greenleaf's Contra Caller's course a couple of summers ago at Pinewoods was a big step for me along that process. She gave me an assignment on Wednesday for Thursday's class. The assignment was to figure out how to express my joy and enthusiasm for the dance through my voice. I had been pretty monotone in my delivery so far. That night I found myself drawn into a dance writing session with Bob Isaacs and 4 other people that didn't end until 3am (the result was the dance "A Slice of Pinewoods"). The next morning in class, I was exhausted. I spent some time on my own building my focus and drawing on my energy reserves and taught a dance in a way that was a world different (and better!) than before. It's a lesson that I've drawn on again and again since. Now I can relax and share with people the fun that I'm having and don't let a hard day affect my performance on stage. The next summer I went back to American Week as a camper and had a blast helping Lisa teach the next class of students. It was an eye-opening experience to take on the role of teacher as well as student. As most of you know, I started the Mill City Contra Dance monthly series in May of 2006. After December of 2007, I handed that dance off to a group of people to run. Taking on the role of organizer opened up my awareness to more aspects of our shared activity. It inspired me to expand the SharedWeight lists to include musicians and organizers. That way, there was a resource for each role in producing a dance. I learned a lot about how much work it is and how hard it can be to get the word out about a wonderful dance experience. The dance never grew much beyond 30 or so people, which made it barely viable economically. When I handed it off, there were many stated reasons, but the primary one was I was burned out from trying to do it mostly on my own (with the help of one person on publicity). The experience of calling every month was invaluable as I was starting out as a caller. It also gave me the opportunity to give new talent a place to gain experience. Several of the bands that played were performing for the first time or close to it. A few times I had new callers call a dance during the evening. I discovered how important it was to have a good relationship with the musicians. How important it was to make sure that they had fun, too. Most of the bands that I've worked with have come up to me afterwards and told me how much they've enjoyed working with me. Some of them even ask when we can work together again. So I was able to bring some great bands that might not normally be willing to play for the small amount of money that I could offer but were willing to come for the experience of working with me and in a great hall. [Boy, doesn't that make me sound like I have a swelled head! Believe me, it's humbling to have musicians that I admire working with me to arrange gigs.] Other incidental lessons learned from running a dance series: learning how to set up sound and run a sound board; the value of having a good relationship with the owners of the hall; the politics of running a dance series; recruiting people to help or take over a series; and the fun of having a bunch of musicians invade my condo. This last year has been wonderful with some firsts for me: My debut at the Scout House in Concord, MA. Working with some top-notch bands and musicians like Notorious, Celticladda, Lissa Schneckenburger, Amy Cann, Bruce Rosen and many more. My debut at the Thursday Contras at the Scout House series. And an invitation to call at the Champlain Valley Folk Festival this summer. So far it's been a bunch of generalities about my calling experiences. How about a couple of recent experiences? Last Spring, there was a fundraiser dance for the Scout House that included a silent auction. Our own Bob Isaacs had put an item up for auction. The winning bidder would have Bob write a dance for them with their favorite moves. I outbid Lisa G. for the honor. After that, I e-mailed Bob and made a counteroffer: Instead of writing the dance on his own, we would write the dance together. Bob agreed and the next month he made a trip to New England for a calling gig and visited me for a day. I shared with him two fragments that I had in mind. From those fragments, we wrote several dances, but two of them we felt were worth calling the "auction dances" and sharing the writing credits. Thus was born "Give the Scout a hand" and "On the Rebound". A fun and educational experience. I had a couple of people ask me about my session at the Down East Festival last month that was opposite the medley. We had about 7-10 couples show up. Most beginners with some experience dancing during the day and a very few people that knew what they were doing. So I called very simple contras and made sure that the musicians played a moderate to slow tempo and kept the music and phrasing clear. It was a shame, since they had worked up some new tune sets that would have been fun, but would have made life more difficult for the dancers. Afterwards, I had discussions with a couple of the organizers about whether such a session was necessary and that if it was, it shouldn't be anyones ONLY performance. This year at NEFFA I had the privilege of calling with Lisa Greenleaf and Bob Isaacs for the Festival Orchestra set Friday night. Both friends and mentors, it was fun working with them to plan the session and to share the experience of calling a fun dance for everyone. Saturday I was one of the callers for the Medley. Unfortunately, I didn't have all of my language firmly in mind when it came my turn to call and flubbed the first time through my dance. I recovered in time to give the dancers time to recover and it went smoothly from there. Humbling and embarrassing in front of my fellow callers and my friends on the floor. Saturday night after the dance, I was staying with a friend who is starting out playing piano for contras. As we were relaxing before heading to bed, she mentioned how much she loved the tune "Vladamir's Steamboat" and that it somebody should write a dance for it just like the chestnuts. I asked her if she had the music available and told her that we were going to write a dance right then. So we listened to the tune several times and she clarified what she thought would be the best moves to put into the dance. By 3am, I had written a new dance. On Sunday, I found people to walk it through and it all worked out. Now I just have to create an opportunity to call the dance with the tune and some dancers. I think that it's the best dance I've written on my own, but we'll find out for sure once it gets battle tested. This summer I'm looking forward to taking Kathy Anderson's Square Dance Caller's course again. Now that I'm more comfortable on stage, I think that I'll have better luck with bringing squares back into my repertoire. What a wonderful place Pinewoods is and the CDSS programs are great. If you haven't been, you're really missing out! Congratulations on reading to the end of this post! I applaud your stamina for listening to me go on and on about my experiences as a caller. I would encourage anyone to share their calling experiences with the list. I know that I would be interested in hear about other people and how their journey as a caller got started or is progressing. Happy Dancing and Calling! Chris Weiler Goffstown, NH

17 years, 3 months

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