David Millstone wrote:
> I'd suggest
> that any caller interested in investigating breaks would do well to purchase a
> copy of Ted Sannella's "Calling Traditional New England Squares," which is full
> of general comments and theory, scores of breaks that Ted used, and a CD of Ted
> callign squares. The cuts on the CD were chosen in part to illustrate many
> different breaks. Two other items that may be helpful are Tom Hinds's recent
> publication with a similar title, "Calling New England Squares" and Tom's
> earlier "Give Me a Break!" All of these materials are available from the sales
> office at Country Dance and Song Society, http://www.cdss.org/sales/index.html
>
I would like to throw in my own endorsement for Tom Hinds' "Calling New England Squares" and "Give Me a Break!" I have found both to be very fine resources as I seek to call fun and satisfying squares. I've been reading and rereading these as I've been traveling lately.
One of the wisest nuggets is the lesson that squares I find fun to dance may not be suitable for me to call because callers are generally more experienced dancers. So Tom offers several ways to analyze squares for suitability to a particular crowd.
I know that some contra dancers think squares aren't fun. It's my judgement that when callers are very well prepared and the figures are well-matched to the crowd's ability, I don't hear from those "squares aren't fun" dancers. In fact, I even hear "that was a fun square!" It's especially satisfying to get a smile from a grump.
Contrawise, if I am not well prepared on a square, I will hear it.
Jerome Grisanti
Hello callers,
I am just back from a wonderful two days at the DownEast Country Dance
Festival in Maine.
There was something I noticed there that I thought was worthy of note on
this list.
I was sitting out watching Linda Leslie do a walk-through for a dance. The
dance had a contra-corners figure in it and the dancers got lost enough
trying to walk it through that Linda had six couples do a demo. It struck me
that fifteen years ago I don't think that would have had to be taught at an
event like the Festival, because it was a figure we used (and was taught to
us) so frequently in the regular Saturday night dances that the number of
people attending an event like the festival who didn't know it would be low.
It seemed to me to be a reflection of doing the older dances so much less
often than we used to. I remarked on this to the person I was sitting with,
but then realized that he is in his twenties and does not know the kinds of
dances that used to fill an evening of dancing around here back in the 70s
and 80s (when the majority of dances we used in an evening might well have
been older traditional dances and were as likely to be proper as improper).
His assumption is contra corners is a figure that always has to be taught no
matter who the crowd.
When relating this story to my partner, who was not at the festival, he
asked whether people sat down when Linda did the demo. Most of them did -
but there were a good number who did not. He recalled how it used to be that
when the caller asked for a demo, the whole rest of the hall automatically
squatted or sat so everyone could see. Very often now people remain standing
during demos (at least around here).
Just two interesting observations on the evolution of what we're doing and
how we do it.
I've made a note to teach the contra corners at my local dance sometime
soon. (other callers have used it there - but very infrequently).
Best to all of you,
-cynthia
If there is one dance that you are going to dance at the Nelson Town
Hall, it is going to be Chorus Jig. Without exception, Chorus Jig is
danced every Monday, every Monday of the year, and there is no doubt
that it is the highlight of the evening. I think there are few places
where the dancers will actually cheer when the caller says that are
going to call Chorus Jig or Money Musk (both dances you should not miss).
It is interesting people are talking about less used figures, because in
doing so, we can really look at the evolution of contra dancing.
Formation for example, from a time where the majority of dances were
proper, from a time where the majority of dances were improper, to a
time where the majority of dances are improper and becket.
Last month, I was talking with my friend Amy Cann, a fiddler in the
Greater Putney Area, and we were talking about the evolution and history
of contra dancing. An interesting point came up when we danced a dance
with a wave across to a pass-through. I have only been contra dancing
for three years, and I learned that a "balance the wave" was balance to
the right and balance to the left. According to Amy, she told me that
the "original balance the wave" was balance forward and balance back,
similar to a "balance and swing". It is an interesting point and when
you think about the physics of it, it makes a lot of sense. Another
example is "line of four, down the hall, turn alone and return"; as
experienced callers and dancers we known that is polite to turn alone
towards your neighbor, because it has become so second nature to us.
These are two examples of the "little things" the history points that
really had to a contra dancing experience.
Also in the dance Money Musk there is a "lines of three forward and
back" and it really is not a "forward and back"; it is a "balance in and
balance out", which is danced differently. What does this have to do
with discussion of less used figures; I think it is important to know
dance moves like contra corners, balance in and balance out and once
again the "little things" that have brought contra dancing to where it
is today. It is the history!!!
Chris made a great point about "we as callers need to model the good
behavior from the floor as dancers." My addition to that would be that
we as callers perhaps are one of the largest factors in the evolution of
contra dancing. Through our dance selection and dance programming and
of course our teaching, we have the opportunity every evening to present
contra dancing to a new individual, someone who has no idea what contra
dancing is all about and for them that is where contra dancing starts.
If contra dancing was a plate of cookies siting on the table, it would
be perhaps one of the best cookies there is, but don't you think it was
taste better if you knew what were the ingredients and where they came
from???
Jeff
Cynthia spoke about the necessity of demonstrating contra corners, a figure that
she had thought most would know well.
As Lisa pointed out, there are dance series where the older dances are called
regularly and dancers there will be familiar with figures such as contra
corners. (I'd say you're more likely to find these older dances included in the
repertoire of smaller dances in rural New England than you are at most of the
zesty urban dances.) The figure isn't called as much these days because it
favors the ones-- the "active" couples, in the now out-of-favor parlance. The
contemporary passion for everyone-moving, equal-activity choreography means that
figures such as contra corners simply aren't used as much, unless it's a dance
such as Alternating Corners where the ones and twos take turns doing contra
corners.
There's an example I like to use to demonstrate these changes. In the early to
mid-1980s, when the "hey for four" started to appear with increasing frequency
in contra choreography, an import from English country dancing, it frequently
required lengthy, step-by-step instruction, often supplemented with a
demonstration by a carefully-selected group of dancers. At that same time, when
an evening's program included traditional contras--many of which are duple
proper and end with the generic down the center and return, cast off, right and
left over and back--people had no trouble with those closing figures.
Today, the situation is nearly reversed--callers can move swiftly through a hey
for four, knowing that most dancers on the floor will be familiar with the
figure; it's a figure that you couild expect to encounter in a contra medley at
NEFFA, for example, where there's no instruction. The newcomers will be assisted
by those old hands (old feet?), who can indicate with an exaggerated shoulder
the correct passing side and who can keep everyone moving. Call a duple proper
dance, though, and the caller's troubles multiply. First of all, there are all
those dancers who have already taken hands four and crossed over... they need to
be brough back onto the correct side. And then doing the same sex right and left
through can cause all manner of problems, so a careful, step-by-step instruction
follows, often with a demonstration. The same applies, even more so, with triple
minors, which of course were the norm at one time in our dancing past. People
like what they know, and if they haven't been exposed to different figures and
different formations, they'll initially resist the unfamiliar. But take a group
of dancers who only dance contras regularly and get them through a grand square
successfully, let alone something like a teacup chain, and you can feel the
excitement in the room. But I digress...
Cynthia also also raised the question of whether dancers squat or sit down when
there's a demonstration, and Chris made several good suggestions about this.
Dancers simply have grown accustomed to not having a demonstration, or are less
tolerant of a demo than they might have been. I recall the story of Ted Sannella
calling in Washington, DC, some years ago. He went out onto the floor to
demonstrate the timing he wanted to see for a right and left through, and one of
the dancers was heard grumbling something to the effect of "Who is this old man,
who thinks he has the right to show us something?" The dance's organizer swiftly
replied, "That's Ted Sannella, and if he thinks people here need to work on that
figure, then they do!"
Ted was fond of jumping onto the floor once or twice in an evening-- never more
than that, in my recollection-- to illustrate style points. I don't think that
this practice is as common these days, at least in the groups where I dance.
One delightful exception for me came last fall when I was calling in Prague.
There, in part because of the language barrier, I found it far more efficient to
demonstrate unusual figures than to try to explain with words what I wanted.
Yes, they'd be able to follow me, with the assistance of a translator, but the
one picture/thousand words maxim applied. As soon as I took two steps toward the
dance floor from the mic, the entire room sat down or squatted, without my
needing even to make a request. I'd show the figure with the assistance of a few
couples, and then everyone would dance it.
I consciously modeled my calling on Ted's model, so I'm comfortable going out
onto the floor. I do think that this action is a good way of making style points
or demonstrating a particularly complex move. Perhaps if more of us did this at
opportune moments, dancers would in time learn to get out of the sightlines of
their neighbors.
One final point. Chris ended his post with the comment that "we as callers need
to model the good behavior from the floor as dancers." Well said! If we're on
the dance floor when another caller comes out to demo something, I think that we
have an obligation immediately to squat down ourselves, and trust that others
will follow our lead.
David Millstone
Hi:
After this year's DEFFA survivors dance and armed with this year's Ralph
Page Weekend syllabus, (and my first impromptu chance to call squares) I'm
left with a question. Are the intro, breaks, and close traditional and
standard for particular dances, or are they generally improvised by the
caller as his own signature?
(Bow to partner, and then to corner seems to be how most begin but they seem
fairly divergent from there on out!)
Thanks from a very inexperienced sort-of-caller,
Dave Merrill
_________________________________________________________________
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I've been sitting on the sidelines for a while enjoying the conversation. I'm been an avid dancer for almost twenty years and I truly enjoy bringing new people in to contra dancing through one-on-one teaching.
I think that Rick Mohr has a wonderful way of explaining the mechanics of the swing. He recently taught the buzz step to the gathered crowd at Rehoboth and it was great to watch. I used the same language the other night with a beginner and he got it easily.
Rick also has a nice way of explaining the weight distribution concept so that the gents don't get sore right arms.
I agree with Jeff that if you find the right language you can teach this successfully. The buzz step swing is such a great thing, it seems a shame to let someone miss it.
Camilla Streeter
---------------------------------
Yahoo! Mail
Bring photos to life! New PhotoMail makes sharing a breeze.
Thanks Camilla.
I remember talking with some dancers a while ago, and they had mention
Rick's method of teaching the swing, but I really didn't understand it,
till now. What great language!!! At first as I was reading it, I was
like how is this going to teach me to swing, but as soon as I got up and
tried it, it all made sense.
Good language, good communication, and there you have it, the buzz-step.
All in about ten minutes or less.
Another interesting point I think, callers think a lot about how to
teach contra dancing in a workshop sense, but a lot of the times forget
about the teaching they do every time they call a dance. Of course, the
walk-through. And having good language for the walk-through is just as
important. Finding a balance of good words, not too many (you don't
have have a ten minute walk-through) not too short, so the dancers don't
understand...
But being able to give a good walk-through is a good tell of a good
caller...
Jeff
I heartily agree with Chris on the stepping or walking swing for beginners! My husband, Bob Golder, who has been dancing for 30 years, and several other very experienced dancers, only do a walking swing. They can keep up with the fastest of buzz step swinging partners, and are very smooth. The stepping swing is easy to teach, and is a natural movement for dancers. In addition, it keeps them moving smoothly. I always tell them that when they are ready, and feel it in the movement, they will naturally begin buzz step swinging. And even if they don't, walking swings can be just as terrific!
And in general to everyone, it is very enjoyable to be on this email list! The discussions and suggestions are thought provoking and very helpful. Thanks to everyone!
warmly, Linda Leslie
>
> Hi Tom,
>
> I agree with all but two of these. Here's why I disagree:
>
> 2) Beginners have a delay in their reaction times to calls. They have to
> process the call, translate it to what they know before they can tell
> their bodies what to do. This is unlike an experienced dancer who has
> muscle memory tied directly to the ears (or something like that). 8^)
> When I have called to dances with a high percentage of beginners, the
> dances with 8 count swings, by the time the dancers get into swing
> position and start turning, they can't even get around once sometimes. 8
> count swings also indicate a higher piece count in the dance and make it
> more difficult. I have had better luck with 12 count swings when dealing
> with beginners.
>
> 8) I am convinced that (with rare exceptions) when you teach someone
> anything about the swing, they only can move up one notch along the
> learning curve. They can only keep one instruction in mind when they are
> practicing the swing. It took me a long time to learn how to buzz step
> well and to incorporate it in such a way that didn't cause discomfort
> for my partner. Since the swing is one of the first, hardest and most
> common moves that they learn, it needs to be easy and quick to learn.
> That's why I teach the walking swing. They have enough to learn about
> posture, frame and dealing with eye contact. Why burden them with extra
> information when they already know how to walk forward and it will work
> just as well? By all means, let them know that the buzz step exists and
> show them what it looks like. But also let them know that they don't
> have to do it for a swing to be fun. I can show someone how to do a
> walking swing in less than 30 seconds and have them dancing and their
> mind will be clear enough to learn the other calls that they are being
> taught. I have seen too many people befuddled by the buzz step and in a
> daze while the first dance is being taught.
>
> Hmmm... I guess that number 8 touched a nerve... 8^)
>
> Happy Dancing,
>
> Chris
>
> http://www.chrisweiler.ws/
>
>
> Tom Hinds wrote:
>
> > It occurred to me that many of the behaviors on this list are due to
> >insecurity (dancing with other beginners, waiting to be asked etc.) That got
> >me to thinking about what callers can do to make sure the beginners have a
> >good experience. So, I've come up with my own list for callers. These items
> >may contain items that some may not agree with. But this may generate some
> >good discussion.
> >
> >10 things a caller can do to help beginners have a good experience:
> >
> >1) Prepare a logical program that starts easy and builds.
> >
> >2) Like a professional dance teacher, warm up muscles slowly. Use dances
> >with 8 count swings (max) early in the evening. Keep the first couple of
> >dances shorter. New and not so new dancers are entering the hall and you want
> >them up and dancing sooner rather than later,
> >
> >3) Be prepared well enough so that you don't have to use cards. Watch the
> >dancers. Watch the dancers.
> >
> >4) Encourage everyone to dance with everyone else. When a dance ends,
> >suggest that those who just danced ask those sitting out for the next dance.
> >
> >5) Demonstrate what smooth dancing looks like (especially if many newbees are
> >skipping).
> >
> >6) Teach safe dancing - like proper allemandes. If you see dancers dancing
> >out of control take measures to make sure that they don't hurt anyone.
> >
> >7) If you make a mistake, admit it. Often if something doesn't work, the new
> >dancers think it's because of them.
> >
> >8) Teach the buzz step swing in the beginning workshop. Teach it well.
> >
> >9) If a dance has a tricky move, show the dancers how to perform the move
> >with finesse. If the dance has a challenge in the timing department,
> >communicate to the dancers how to be on time.
> >
> >10) If you call a challenging dance and the new dancers look a bit confused,
> >tell the crowd that that was a very difficult dance and that they handled it
> >very well (this one from Ted Sannella). If the dance was so challenging that
> >sets broke down, tell the dancers that you picked a bad dance (in other words
> >it's you, not them).
> >
> >Tom Hinds
> >
> >
> >
>
>
>
> ------------------------------
>
> _______________________________________________
> Callers mailing list
> Callers(a)sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>
>
> End of Callers Digest, Vol 19, Issue 11
> ***************************************
Yes I understand what you mean. All of your points are valid points. I guess all of our experiences are different. I've never been to your dance and I don't think you've seen me teach a beginning workshop. I have a couple of points for you to think about. It is possible to get most beginners (maybe 95%) to do the buzz step in about 10 minutes. To do it you have to teach one thing at a time and work from the ground up (feet, then knees, then upper body). Some of them might regress into a sloppy swing during the regular dance but I did give them the opportunity.
The problem with teaching the walking step swing is that once people learn it, it is VERY difficult to unlearn. Not worth the effort for many. I called a dance in North Carolina where most of the dancers were fairly skilled. Except, all of the men did the walking step swing. Why? Because the walking step swing is taught at the beginning lesson. So, I spent a good 10 minutes of the regular dance teaching them the buzz step swing. They all got it. They retained it for one dance.
Here's another reason:
One move that is in every dance is the swing. Many dances have two swings. If you listed all of the moves that you called in an evening and the amount of time spent dancing each move, the swing would be at the top of the list. The amount of time swinging might even be more than many of the other top moves combined. Why not concentrate on the move that is done the most and gives (many people) the most enjoyment?
Chris mentioned the issue with reaction time. Great observation! My workshops for the first 15 minutes or so center on two main things: reaction time and progression. I really can't describe what I do but is is kinda of like a gently hash calling in contra formation. To be honest, I have always used only 8 beat swings in the first two dances of the evening and have never seen any problems with the beginners ending a swing on time. For me it's the dancers who have a bit of experience and imitate the experienced dancers who end swings late-twirl, twirl, twirl.
Tom
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> Today's Topics:
>
> 1. Teaching a Swing (laleslierjg(a)comcast.net)
> 2. Calling Katie's Trip to Starbase 12 (Rickey)
> 3. Re: Calling Katie's Trip to Starbase 12 (David Millstone)
> 4. Re: Teaching a Swing (barb kirchner)
> 5. Re: Calling Katie's Trip to Starbase 12 (Seth Tepfer)
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Wed, 15 Mar 2006 00:25:13 +0000
> From: laleslierjg(a)comcast.net
> Subject: [Callers] Teaching a Swing
> To: callers(a)sharedweight.net
> Message-ID:
> <031520060025.10891.44175EE90000FBDC00002A8B220075074409069D0A07049C0A040E04(a)comcast.net>
>
>
> I heartily agree with Chris on the stepping or walking swing for beginners! My husband, Bob Golder, who has been dancing for 30 years, and several other very experienced dancers, only do a walking swing. They can keep up with the fastest of buzz step swinging partners, and are very smooth. The stepping swing is easy to teach, and is a natural movement for dancers. In addition, it keeps them moving smoothly. I always tell them that when they are ready, and feel it in the movement, they will naturally begin buzz step swinging. And even if they don't, walking swings can be just as terrific!
>
> And in general to everyone, it is very enjoyable to be on this email list! The discussions and suggestions are thought provoking and very helpful. Thanks to everyone!
> warmly, Linda Leslie
>
> >
> > Hi Tom,
> >
> > I agree with all but two of these. Here's why I disagree:
> >
> > 2) Beginners have a delay in their reaction times to calls. They have to
> > process the call, translate it to what they know before they can tell
> > their bodies what to do. This is unlike an experienced dancer who has
> > muscle memory tied directly to the ears (or something like that). 8^)
> > When I have called to dances with a high percentage of beginners, the
> > dances with 8 count swings, by the time the dancers get into swing
> > position and start turning, they can't even get around once sometimes. 8
> > count swings also indicate a higher piece count in the dance and make it
> > more difficult. I have had better luck with 12 count swings when dealing
> > with beginners.
> >
> > 8) I am convinced that (with rare exceptions) when you teach someone
> > anything about the swing, they only can move up one notch along the
> > learning curve. They can only keep one instruction in mind when they are
> > practicing the swing. It took me a long time to learn how to buzz step
> > well and to incorporate it in such a way that didn't cause discomfort
> > for my partner. Since the swing is one of the first, hardest and most
> > common moves that they learn, it needs to be easy and quick to learn.
> > That's why I teach the walking swing. They have enough to learn about
> > posture, frame and dealing with eye contact. Why burden them with extra
> > information when they already know how to walk forward and it will work
> > just as well? By all means, let them know that the buzz step exists and
> > show them what it looks like. But also let them know that they don't
> > have to do it for a swing to be fun. I can show someone how to do a
> > walking swing in less than 30 seconds and have them dancing and their
> > mind will be clear enough to learn the other calls that they are being
> > taught. I have seen too many people befuddled by the buzz step and in a
> > daze while the first dance is being taught.
> >
> > Hmmm... I guess that number 8 touched a nerve... 8^)
> >
> > Happy Dancing,
> >
> > Chris
> >
> > http://www.chrisweiler.ws/
> >
> >
> > Tom Hinds wrote:
> >
> > > It occurred to me that many of the behaviors on this list are due to
> > >insecurity (dancing with other beginners, waiting to be asked etc.) That got
> > >me to thinking about what callers can do to make sure the beginners have a
> > >good experience. So, I've come up with my own list for callers. These items
> > >may contain items that some may not agree with. But this may generate some
> > >good discussion.
> > >
> > >10 things a caller can do to help beginners have a good experience:
> > >
> > >1) Prepare a logical program that starts easy and builds.
> > >
> > >2) Like a professional dance teacher, warm up muscles slowly. Use dances
> > >with 8 count swings (max) early in the evening. Keep the first couple of
> > >dances shorter. New and not so new dancers are entering the hall and you want
> > >them up and dancing sooner rather than later,
> > >
> > >3) Be prepared well enough so that you don't have to use cards. Watch the
> > >dancers. Watch the dancers.
> > >
> > >4) Encourage everyone to dance with everyone else. When a dance ends,
> > >suggest that those who just danced ask those sitting out for the next dance.
> > >
> > >5) Demonstrate what smooth dancing looks like (especially if many newbees are
> > >skipping).
> > >
> > >6) Teach safe dancing - like proper allemandes. If you see dancers dancing
> > >out of control take measures to make sure that they don't hurt anyone.
> > >
> > >7) If you make a mistake, admit it. Often if something doesn't work, the new
> > >dancers think it's because of them.
> > >
> > >8) Teach the buzz step swing in the beginning workshop. Teach it well.
> > >
> > >9) If a dance has a tricky move, show the dancers how to perform the move
> > >with finesse. If the dance has a challenge in the timing department,
> > >communicate to the dancers how to be on time.
> > >
> > >10) If you call a challenging dance and the new dancers look a bit confused,
> > >tell the crowd that that was a very difficult dance and that they handled it
> > >very well (this one from Ted Sannella). If the dance was so challenging that
> > >sets broke down, tell the dancers that you picked a bad dance (in other words
> > >it's you, not them).
> > >
> > >Tom Hinds
> > >
> > >
> > >
> >
> >
> >
> > ------------------------------
> >
> > _______________________________________________
> > Callers mailing list
> > Callers(a)sharedweight.net
> > http://www.sharedweight.net/mailman/listinfo/callers
> >
> >
> > End of Callers Digest, Vol 19, Issue 11
> > ***************************************
>
> ------------------------------
>
> Message: 2
> Date: Tue, 14 Mar 2006 21:26:12 -0500
> From: "Rickey" <holt.e(a)comcast.net>
> Subject: [Callers] Calling Katie's Trip to Starbase 12
> To: <callers(a)sharedweight.net>
> Message-ID: <000001c647d7$d70a3930$5f511e42@maxx>
> Content-Type: text/plain; charset="us-ascii"
>
> Hi,
>
> I got such great responses to my very first question posted to this list
> that I thought I'd try another. "Katie's Trip to Starbase 12", by Merilee
> Karr calls for a "Swinging Star" (a double star, both wrist grip right-hand
> star and left hands across star at the same time). This takes up all of B1.
> The number of times around is not specified in my version. It can take a
> bit of time to get this star together, and as it uses a buzz step, it can
> really get going once assembled - so the lack of instructions as to the
> number of revolutions may be intentional. B2 starts with the left-hand
> hands across star, and it is important where that one ends. Perhaps the
> only thing to do is to point out where this second star ends when teaching
> the dance. Has anyone else on this list called the dance? How do you deal
> with this?
>
> Thanks,
>
> Rickey Holt.
>
> ------------------------------
>
> Message: 3
> Date: 14 Mar 2006 21:56:59 EST
> From: David.Millstone(a)VALLEY.NET (David Millstone)
> Subject: Re: [Callers] Calling Katie's Trip to Starbase 12
> To: callers(a)sharedweight.net
> Message-ID: <7901099(a)retriever.VALLEY.NET>
> Content-Type: text/plain
>
> I used to call it a lot-- the swinging star is a nice gimmick and when you're in
> the right foursome, you can have a great time in that figure.
>
> > the lack of instructions as to the number of revolutions may be intentional
>
> Yes, I think that's the case. And yes, I agree with your solution to emphasize
> where you end up the LH star.
>
> In one of those wonderful cross-country leaps (Merilee Karr is in Portland, OR,
> and Seth Tepfer is in Atlanta), nspired by Merilee's dance, Seth wrote another,
> Swinging on a Star." I often use that one instead. I like the way it ends
> slightly better than the original.
>
> Seth's dance is here:
>
> http://www.dancerhapsody.com/index.cfm?FuseAction=Choreography#SwinginStar
>
> Both dances, in my opinion, work better if not allowed to run too long.
>
> David Millstone
>
> ------------------------------
>
> Message: 4
> Date: Wed, 15 Mar 2006 06:25:59 +0000
> From: "barb kirchner" <barbkirchner(a)hotmail.com>
> Subject: Re: [Callers] Teaching a Swing
> To: callers(a)sharedweight.net
> Message-ID: <BAY102-F183417EA38F92C9527B4EADEE60(a)phx.gbl>
> Content-Type: text/plain; format=flowed
>
> i also strongly agree! i *never* teach a buzz-step swing. i *do* demo a
> swing with one person walking and one person buzzing, and point out to them
> that they can walk to matter what the other person is doing.
>
> i also tell them that after awhile, they will "feel" the buzz step, and when
> they do, they should go ahead and try it out.
>
> in my mind, it's more important to explain to everyone that they need to
> carry their own weight during a swing. i also tell them that it's important
> to swing in a way that's comfortable for both people, and "comfortable" is
> the important word here.
>
> also, the swing is the first thing i teach - it's the one figure that's
> guaranteed to be in every dance. as soon as they figure out "lady on the
> right" and the pointy hands thing, i'm ready to line them up.
>
> it's my perception that if they can get oriented at the end of a swing and
> be comfortable with that, they don't have much trouble getting oriented once
> they're in line. so i teach the swing first, they are scattered around the
> area. i explain about the pointy hands, then have them swing and end with
> the pointy hands facing me. doing it again, face down the hall. do it
> again, face the stage. they lady's always on the right, they get used to
> following instructions - lots of info about orientation and position in a
> small, coherent lump in a short time!
>
> i see so many people swinging poorly these days, especially at places like
> the thursday night dance and greenfield - the focus always seems to be how
> many twirls/dips you can fit in, and there is no comprehension of the
> musical phrase. i also hear a lot of guys complaining about chronic right
> shoulder pain...
>
> i'd be interested to hear anyone's thoughts on the current state of the
> swing and what we, as people trying to set good examples in our communities,
> might do about it. even if we teach new dancers good form, what can be done
> about poor form from experienced dancers?
>
> barb
>
> http://www.barbkirchner.us
>
> ----Original Message Follows----
> From: laleslierjg(a)comcast.net
> Reply-To: Caller's discussion list <callers(a)sharedweight.net>
> To: callers(a)sharedweight.net
> Subject: [Callers] Teaching a Swing
> Date: Wed, 15 Mar 2006 00:25:13 +0000
>
> I heartily agree with Chris on the stepping or walking swing for beginners!
> My husband, Bob Golder, who has been dancing for 30 years, and several other
> very experienced dancers, only do a walking swing. They can keep up with the
> fastest of buzz step swinging partners, and are very smooth. The stepping
> swing is easy to teach, and is a natural movement for dancers. In addition,
> it keeps them moving smoothly. I always tell them that when they are ready,
> and feel it in the movement, they will naturally begin buzz step swinging.
> And even if they don't, walking swings can be just as terrific!
>
> And in general to everyone, it is very enjoyable to be on this email list!
> The discussions and suggestions are thought provoking and very helpful.
> Thanks to everyone!
> warmly, Linda Leslie
>
> >
> > Hi Tom,
> >
> > I agree with all but two of these. Here's why I disagree:
> >
> > 2) Beginners have a delay in their reaction times to calls. They have to
> > process the call, translate it to what they know before they can tell
> > their bodies what to do. This is unlike an experienced dancer who has
> > muscle memory tied directly to the ears (or something like that). 8^)
> > When I have called to dances with a high percentage of beginners, the
> > dances with 8 count swings, by the time the dancers get into swing
> > position and start turning, they can't even get around once sometimes. 8
> > count swings also indicate a higher piece count in the dance and make it
> > more difficult. I have had better luck with 12 count swings when dealing
> > with beginners.
> >
> > 8) I am convinced that (with rare exceptions) when you teach someone
> > anything about the swing, they only can move up one notch along the
> > learning curve. They can only keep one instruction in mind when they are
> > practicing the swing. It took me a long time to learn how to buzz step
> > well and to incorporate it in such a way that didn't cause discomfort
> > for my partner. Since the swing is one of the first, hardest and most
> > common moves that they learn, it needs to be easy and quick to learn.
> > That's why I teach the walking swing. They have enough to learn about
> > posture, frame and dealing with eye contact. Why burden them with extra
> > information when they already know how to walk forward and it will work
> > just as well? By all means, let them know that the buzz step exists and
> > show them what it looks like. But also let them know that they don't
> > have to do it for a swing to be fun. I can show someone how to do a
> > walking swing in less than 30 seconds and have them dancing and their
> > mind will be clear enough to learn the other calls that they are being
> > taught. I have seen too many people befuddled by the buzz step and in a
> > daze while the first dance is being taught.
> >
> > Hmmm... I guess that number 8 touched a nerve... 8^)
> >
> > Happy Dancing,
> >
> > Chris
> >
> > http://www.chrisweiler.ws/
> >
> >
> > Tom Hinds wrote:
> >
> > > It occurred to me that many of the behaviors on this list are due to
> > >insecurity (dancing with other beginners, waiting to be asked etc.)
> That got
> > >me to thinking about what callers can do to make sure the beginners have
> a
> > >good experience. So, I've come up with my own list for callers. These
> items
> > >may contain items that some may not agree with. But this may generate
> some
> > >good discussion.
> > >
> > >10 things a caller can do to help beginners have a good experience:
> > >
> > >1) Prepare a logical program that starts easy and builds.
> > >
> > >2) Like a professional dance teacher, warm up muscles slowly. Use
> dances
> > >with 8 count swings (max) early in the evening. Keep the first couple
> of
> > >dances shorter. New and not so new dancers are entering the hall and
> you want
> > >them up and dancing sooner rather than later,
> > >
> > >3) Be prepared well enough so that you don't have to use cards. Watch
> the
> > >dancers. Watch the dancers.
> > >
> > >4) Encourage everyone to dance with everyone else. When a dance ends,
> > >suggest that those who just danced ask those sitting out for the next
> dance.
> > >
> > >5) Demonstrate what smooth dancing looks like (especially if many
> newbees are
> > >skipping).
> > >
> > >6) Teach safe dancing - like proper allemandes. If you see dancers
> dancing
> > >out of control take measures to make sure that they don't hurt anyone.
> > >
> > >7) If you make a mistake, admit it. Often if something doesn't work,
> the new
> > >dancers think it's because of them.
> > >
> > >8) Teach the buzz step swing in the beginning workshop. Teach it well.
> > >
> > >9) If a dance has a tricky move, show the dancers how to perform the
> move
> > >with finesse. If the dance has a challenge in the timing department,
> > >communicate to the dancers how to be on time.
> > >
> > >10) If you call a challenging dance and the new dancers look a bit
> confused,
> > >tell the crowd that that was a very difficult dance and that they
> handled it
> > >very well (this one from Ted Sannella). If the dance was so challenging
> that
> > >sets broke down, tell the dancers that you picked a bad dance (in other
> words
> > >it's you, not them).
> > >
> > >Tom Hinds
> > >
> > >
> > >
> >
> >
> >
> > ------------------------------
> >
> > _______________________________________________
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> > Callers(a)sharedweight.net
> > http://www.sharedweight.net/mailman/listinfo/callers
> >
> >
> > End of Callers Digest, Vol 19, Issue 11
> > ***************************************
>
> _______________________________________________
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>
> ------------------------------
>
> Message: 5
> Date: Wed, 15 Mar 2006 08:30:24 -0500
> From: Seth Tepfer <labst(a)emory.edu>
> Subject: Re: [Callers] Calling Katie's Trip to Starbase 12
> To: millstone(a)VALLEY.NET, "Caller's discussion list"
> <callers(a)sharedweight.net>
> Cc: callers(a)sharedweight.net
> Message-ID: <6.1.2.0.2.20060315082648.06adff28(a)pop3.service.emory.edu>
> Content-Type: text/plain; charset=us-ascii; format=flowed
>
> At 09:56 PM 3/14/2006, David Millstone wrote:
> >In one of those wonderful cross-country leaps (Merilee Karr is in
> >Portland, OR,
> >and Seth Tepfer is in Atlanta), inspired by Merilee's dance,
>
> It is worth mentioning that when I first started to dance in 1993 Merilee's
> dance was common in GA and FL. I had no idea who Merilee was, or where she
> lived.
>
> >Seth wrote another,
> >http://www.dancerhapsody.com/index.cfm?FuseAction=Choreography#SwinginStar
>
> My wife mentioned that she got dizzy in the original, when doing the
> swinging star (to the right) followed by the left hand star. I always
> thought that switching direction would lessen the dizziness, but hey, what
> do I know? I love that swinging star move, so for her I wrote a slightly
> different version that continued the star to the right - right into the
> neighbor swing.
>
> Glad you like it!
>
> ------------------------------
>
> _______________________________________________
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> Callers(a)sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>
> End of Callers Digest, Vol 19, Issue 12
> ***************************************
In response to the recent discussion regarding the swing, I would say as
a caller, teaching the walking swing is easy. It gets new dancers doing
something, when the caller says "swing". As a dancer I think perhaps
teaching the walking swing is perhaps one of the most limiting factors
in starting a dancer to dance.
I think teaching the "buzz-step" is really important in establishing
perhaps one of the great pleasures of contra dancing. I do not claim to
have a full-proof way to teach the "buzz-step", but in teaching it is
all about the language. It is about using language so that the new
dancers understand.
If you are teaching new dancers any dance move, if it is an allemande,
do-si-do, and even the swing and they are not understanding how to do a
certain dance move, then the caller or teacher is not using the correct
language to teach them. From the many beginners workshops I have seen,
I see a lot of good callers, good teachers, teach the "buzz-step" with
success. I encourage people to go to beginners workshops, not necessary
for learning how to contra dance, but to learn how to teach contra
dance. You will see so teaching/language work well and so not... It's
all about the communication, not necessary the subject matter.
Jeff
