Contra Callers

contracallers@lists.sharedweight.net

8 participants
4417 discussions

by Joe Harrington

From the notes: This is an Officially Compliant Contra DanceTM. It has two swings, one with the same person each time and one with someone else... Most Perfect Holiday (written April 1, 2025) Joe Harrington <contradancerjoe(a)gmail.com> Contra Becket CW A 8 Long lines backward and forth (1) 16 Swing shadow (2,3) 8 w/ neighbor across, balance right & square through two, find your partner B1 8 Balance the original ring & spin to the right 8 Balance the ring & Arky twirl (4) B2 4 Larks swat the flea (5) while robins balance anyone but your neighbor robin (6) 12 Swing this one (7) Notes: 1. Loud, whooping, "WOO!" on four. Don't knock into the people behind you! 2. Yeah? So? (*sigh*...if you don't like it, then do-si-do twice or two-hand turn. Sheesh.) 3. Recommend twirl at end, so lark's right hand is free. 4. Like California twirl. Take inside hands with partner, trade places and directions, taller person ducks under shorter person's raised hand. 5. No balance. You figure out who ducks. Maybe the taller one. 6. Recommend the robin behind you in the next line, or next to you if in a side or only line. No limit on the number of dancers. Best to flout quickly over your left shoulder and ignore the lark antics. 7. Larks' setup is for wedding-cake swing, but hey, be creative. I told 'em not to look... This is an Officially Compliant Contra DanceTM. It has two swings, one with the same person each time and one with someone else. Source: Posted to Shared Weight callers email list April 1, 2025. Without testing, of course. --jh--

8 months, 2 weeks

📣POTD registration now open to those outside our catchment area!

by Puttin' on the Dance Team

Hi Fellow Dance Organizers! Wow - it's already April first - hoping that many of you are enjoying some early spring flowers. 🪻🪻🪻 🌟🌟🌟🌟🌟🌟🌟🌟 *Puttin' On The Dance 3 registration is now officially open to those outside our catchment area!* 🌟🌟🌟🌟🌟🌟🌟🌟 All details about the conference are here. <https://www.puttinonthedance.org/potd-3/> There are even still a few scholarships available. *Heads up that registration CLOSES April 15th.* Our team is in the midst of program planning and it's looking pretty darn exciting! So thankful that many of you will be joining us for this co-created weekend of learning, connection, and inspiration for dance organizers. ♥️♥️♥️ The POTD3 organizing team Chrissy Fowler, Patty Giavara, and Emily Addison -- puttinonthedance.org facebook.com/PuttinOnTheDance *You're on the POTD email list because we think you're interested in conferences for dance organizers. Let us know if you want your address removed. *

8 months, 2 weeks

New Names for Ladies' Chains

by John Sweeney

Hi all, Please could you let me know what the new gender-free names for Ladies' Chains are? Has anything evolved as the definitive new name? Thanks. Happy dancing, John John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 & 07802 940 574 http://www.contrafusion.co.uk for Dancing in Kent

8 months, 2 weeks

Statement of Work for calling a one-night stand

by Joe Harrington

I was called on Tuesday by someone looking for an hour of dancing at their church retreat this Saturday. We talked and quickly agreed on the parameters. Then, she asked for an invoice and a statement of work. Hmmm. I have not called that many one-night stands, and this is the first time I've been asked for either. So, of course, I asked ChatGPT. It produced the SOW below. Is it missing anything important? Does anyone here use a contract or SOW and is willing to share it? (Is the SOW below in fact *your* SOW, scraped in the training of ChatGPT??) The prompt was: "Write the Statement of Work for a contract for a contra dance caller who will teach and lead community dances (circles, contra dances, and related dance forms) to a group for one hour. The caller will bring their own music and microphone and will connect to the host organization's sound system." I looked at CDSS and found Erik Hoffman's excellent, short guide. It has a super-simple SOW, too. I'm wondering if there are terms one should add involving liability or such. Should I be worried that, if one person doesn't like it, I won't satisfy the "enjoyable experience for all" clause? (I mean, I'll do my best!) A quick search at CALLERLAB didn't turn up anything, but it's a big site. Thanks, --jh-- Joe Harrington Contra dance caller and DJ Organizer, Orlando Contra Dance orlandocontra.org FB: Orlando Contra Dance Community Ig: orlandocontradance contradancerjoe(a)gmail.com Statement of Work (SOW) *Project Title:* Contra Dance Calling Services *Prepared By:* [Your Name/Organization] *Date:* [Insert Date] *Contractor:* [Caller’s Name] *Contractor Contact Information:* [Caller’s Contact Information] ------------------------------ 1. *Purpose* The purpose of this Statement of Work (SOW) is to outline the responsibilities, deliverables, and terms of engagement for the contra dance caller who will teach and lead community dances, including circles, contra dances, and related dance forms, for a designated group. 2. *Scope of Work* The contractor will provide the following services: - *Dance Instruction and Leadership:* - Lead a one-hour session of community dances, including but not limited to contra dances, circles, and related dance forms. - Provide clear and engaging instruction to participants of varying skill levels, ensuring an inclusive and enjoyable experience for all. - *Music and Equipment:* - Bring personal music and a microphone for the session. - Connect to the host organization's sound system to ensure audio clarity for all participants. 3. *Deliverables* The contractor will deliver the following: - A one-hour dance session, including: - A selection of dances appropriate for the group’s skill level and experience. - Instructional guidance and support throughout the session. - A positive and engaging atmosphere that encourages participation. - Coordination with the host organization to ensure the sound system is set up and functioning prior to the start of the session. 4. *Timeline* - *Date of Service:* [Insert Date] - *Time of Service:* [Insert Time] - *Duration:* 1 hour 5. *Location* The dance session will take place at [Insert Venue/Location], as agreed upon by both parties. 6. *Payment Terms* - The total fee for the services rendered will be [Insert Amount]. - Payment will be made [Insert Payment Terms, e.g., upon completion of the service, within 30 days of the invoice, etc.]. 7. *Responsibilities of the Host Organization* The host organization will: - Provide access to the venue and ensure it is set up for the dance session. - Ensure the sound system is operational and compatible with the contractor’s equipment. - Promote the event to encourage community participation. 8. *Cancellation Policy* - Either party may cancel the engagement with [Insert Notice Period, e.g., 48 hours] notice. - In the event of cancellation by the host organization, any deposits or fees paid will be refunded, provided the notice period is adhered to. 9. *Signatures* By signing below, both parties agree to the terms outlined in this Statement of Work. *Contractor Signature:* ___________________________ *Date:* ___________________________ *Host Organization Representative Signature:* ___________________________ *Date:* ___________________________ ------------------------------ This Statement of Work can be customized further based on specific needs or requirements. Be sure to fill in the placeholders with the relevant information before finalizing the document.

8 months, 3 weeks

Archive troubles

by Kalia Kliban

Hi all, I was trying to do a search in the Shared weight Contra-callers archives and kept getting "Server error. An error occurred while processing your request." Are any admins around and able to take a look at that? Thanks, Kalia

8 months, 3 weeks

bringing back waltz line of direction

by Joe Harrington

There used to be a strong community tradition about the flow of waltzing at contra dances. It was fast around the outside and stationary in the middle. You could do a nice Viennese, flying around the outside of the hall with no trouble, except in the most crowded of halls. You could do tricks galore standing virtually still. You could do everything in between. There were a lot fewer collisions, despite some much-faster-moving dancers. Halls were at least as crowded as they are today. Today, that's a near-impossibility in many halls. There tends to be a slow-circulating middle, but there isn't the former gradient of speeds outside of that zone that increases options while reducing collisions. It's all just a slow-moving mass, and people are so focused on their partners that collisions are common. I think everyone's enjoyment would increase if we followed four simple considerations: a) If someone passes you on the inside, you are a slower-circulating couple and should move closer to the middle, b) If you pass someone on the inside, you are a faster-circulating couple and should move farther out, c) Moving counter-flow or wagging strongly sideways (much more than just a side-by-side promenade) in the traveling ring are no-nos, d) Both partners really need to look out for others all the time and protect each other from collisions, elbows to the face, etc. This is not just the lead's job, especially if they're being considerate and moving backward for a substantial portion of the time. I hope this is on-topic for this group. Callers are the evening's MCs, but they usually don't have much to do with waltzes, other than to announce them. However, what I'm talking about here would probably come about if callers a) announce it and b) include it in their waltz lesson, if they hold one. And maybe c) discuss it with dancers and organizers. Happy(ier) waltzing! --jh-- Joe Harrington Orlando

8 months, 3 weeks

Favorite 4x4s?

by Luke Donforth

Hi Maia, My most called: Dance all Night - Rick Mohr Spring Blooms - Linda Leslie Fox Hollow Fancy - Jacob Bloom (grand square!) Coconut Cream Pie - Lynn Ackerson The Devil's Backbone - William Watson A couple of mine that have unusual features: Double the Pleasure (swing both neighbors, not your trail buddy) https://www.ibiblio.org/contradance/thecallersbox/dance.php?id=11126 Things that go Bump in the Night (6 balances) https://www.ibiblio.org/contradance/thecallersbox/dance.php?id=16360 Tamlin's Cross (variation). Has a hey for 8 through the middle: https://www.ibiblio.org/contradance/thecallersbox/dance.php?id=14778 I should update Caller's box, I have called that one multiple times. Have fun! Luke On Sat, Mar 22, 2025 at 1:37 AM Maia McCormick via Contra Callers < contracallers(a)lists.sharedweight.net> wrote: > What it says on the tin—I want more four-face-fours in my collection (not > least because I’m calling a session of them at NEFFA 😅), drop your > favorites here! Accepting recommendations of any difficulty level. > > Thanks all! > - Maia (Brooklyn, NY) > > -- > Maia McCormick (she/her) > 917.279.8194 > _______________________________________________ > Contra Callers mailing list -- contracallers(a)lists.sharedweight.net > To unsubscribe send an email to contracallers-leave(a)lists.sharedweight.net > -- -- Luke Donforth calling.luke(a)gmail.com 802-448-4533 Click here for publicity information. <https://www.uvm.edu/~ldonfort/ContraPublicity/>

8 months, 4 weeks

Bringing back waltz line of direction (Joe Harrington)

by becky.liddle＠icloud.com

Hi Joe, I’m so glad you suggested this! I’ve been contra dancing about 8 years and have NEVER heard anyone describe the waltz circulating convention (counter-clockwise, faster toward outside). It would be SO easy to just announce it (not every time, but even a few times a year would eventually get the info/convention out there to everyone.) I will try to remember to suggest it from the stage if I ever get to call again! (I just moved from Toronto, where I called 2 or 3 times a year, to Bowen Island BC where if I want a contra dance I will have to start it myself!) Becky Liddle > On Mar 18, 2025, at 10:00 PM, contracallers-request(a)lists.sharedweight.net wrote: > > Send Contra Callers mailing list submissions to > contracallers(a)lists.sharedweight.net > > To subscribe or unsubscribe via email, send a message with subject or > body 'help' to > contracallers-request(a)lists.sharedweight.net > > You can reach the person managing the list at > contracallers-owner(a)lists.sharedweight.net > > When replying, please edit your Subject line so it is more specific > than "Re: Contents of Contra Callers digest..."Today's Topics: > > 1. bringing back waltz line of direction (Joe Harrington) > > From: Joe Harrington <contradancerjoe(a)gmail.com> > Subject: [Callers] bringing back waltz line of direction > Date: March 17, 2025 at 10:14:03 PM PDT > To: Shared Weight Callers <contracallers(a)lists.sharedweight.net> > > > There used to be a strong community tradition about the flow of waltzing at contra dances. It was fast around the outside and stationary in the middle. You could do a nice Viennese, flying around the outside of the hall with no trouble, except in the most crowded of halls. You could do tricks galore standing virtually still. You could do everything in between. There were a lot fewer collisions, despite some much-faster-moving dancers. Halls were at least as crowded as they are today. > > Today, that's a near-impossibility in many halls. There tends to be a slow-circulating middle, but there isn't the former gradient of speeds outside of that zone that increases options while reducing collisions. It's all just a slow-moving mass, and people are so focused on their partners that collisions are common. > > I think everyone's enjoyment would increase if we followed four simple considerations: > > a) If someone passes you on the inside, you are a slower-circulating couple and should move closer to the middle, > b) If you pass someone on the inside, you are a faster-circulating couple and should move farther out, > c) Moving counter-flow or wagging strongly sideways (much more than just a side-by-side promenade) in the traveling ring are no-nos, > d) Both partners really need to look out for others all the time and protect each other from collisions, elbows to the face, etc. This is not just the lead's job, especially if they're being considerate and moving backward for a substantial portion of the time. > > I hope this is on-topic for this group. Callers are the evening's MCs, but they usually don't have much to do with waltzes, other than to announce them. However, what I'm talking about here would probably come about if callers a) announce it and b) include it in their waltz lesson, if they hold one. And maybe c) discuss it with dancers and organizers. > > Happy(ier) waltzing! > > --jh-- > Joe Harrington > Orlando >

9 months

Contra callers - Puttin' On The Dance 3 is starting to fill up!

by Emily Addison

Hi contra callers, I just wanted to put the bug in your ear as some of you are organizers as well. :) Puttin' On The Dance 3 is happening later this spring in Belfast Maine. Registration has been open for under two weeks and we're already 2/5 full....it's pretty exciting! If you are an organizer and would like to join we'd love to have you. Details are below. :) Emily in Ottawa One of the POTD3 organizers along with Chrissy Fowler and Patty Giavara ================================== Puttin' On the Dance 3: Dancing Forward Together is happening May 2-4 in Belfast, Maine. Our conference theme, Dancing Forward Together, reflects the commitment we all share. Our dances create strong social bonds and positive uplift to our communities, and in this time of uncertainty and upheaval, it is especially important for dance organizers to support each other and ourselves. POTD will nourish peer to peer connections and buoy our spirits, helping us return to our dance organizations with renewed commitment and vigor. Let’s join hands to move forward! Before you register, look at puttinonthedance.org/potd-3/ <https://www.puttinonthedance.org/potd-3/> for important info on: - fees - scholarships - schedule - program survey - and more! Register Here: https://forms.gle/uUMWrebtrwJdBTJW9 The Fund Your Attendance <https://www.puttinonthedance.org/register/fund-your-attendance/> page has new information, including: - scholarship process - offsetting the exchange rate for Canadians - additional strategies to fund your attendance without stretching your personal reserves. Live outside the POTD catchment area <https://www.puttinonthedance.org/potd-3/>? If you want to attend - fill out the registration form now - but don’t pay. On April 1, if there’s room in the conference, we will offer spots to registrants outside the catchment area, in date order of registration. We’re getting some great input through the POTD3 Program Input Survey - if you haven’t filled it out, here’s the form: https://forms.gle/3gCBRuqodu9Z2RCV8 We can’t wait to be with you in May! POTD Planning Team Patty Giavara, Chrissy Fowler & Emily Addison PS Check out these amazing photos from POTD2 to get a sense of the fun and energy! <https://www.flickr.com/photos/puttinonthedance/albums/>

9 months, 1 week

Re: working with inexperienced bands

by David Kirchner

I'd like to cosign nearly all of Greg's excellent response below. Don't tell people how to play their music. It's disrespectful. But you can say that in order to have them play for your dance, you have certain needs. Are they interested in working to meet those needs? If not, that's fine, it's not the gig for them. If so, focus on your bottom line needs and build from there. What is already in their repertoire that you can use? What is a "must-have" (e.g. distinguishable phrases, steady beat), and what can you do without if you have to? I once did a entire dance where I did without 2-part tunes -- the band just played tune after tune, medleys of 5, 6 or 7 tunes played two or three times each. Some were three-part, some half-length, some regular. Fabulous musicians (internationally known, actually), but in their style of music they had never thought much about how many parts their tunes had. It was going to be a huge lift for them to keep track of which tunes had how many parts, and so I just let go of it. (Happily, all of their tunes had square phrases, at least.) I recently did a dance with an Irish bar band that had somehow heard about contra dancing and managed to talk themselves onto the schedule without having a clue what they were supposed to be doing. I went to a rehearsal about a month out and told them a bunch of things about what would work and what wouldn't, but I also realized there was no substitute for experience. So I said, "which of the next few Saturdays could some of you go to one of our dances? I'll arrange to get you a free pass." Eventually two of them came the following week to a dance and simply watched what was happening for about 90 minutes. The band leader called me the next day (I had a conflict and could not be at the dance myself) and said "Ohhhh. Now we understand." They ended up doing a nice job and were asked back. David > > Date: Wed, 19 Feb 2025 16:09:40 +0000 > From: Gregory <glibguide(a)protonmail.com> > Subject: [Callers] Re: working with inexperienced bands > > Hi Joseph, > > What is your musical experience/skill? > > I have a music degree, have plied my trade in a few different areas of > professional musicianship, and I've been working with live musicians > (particularly young fiddlers who i see as the future and want to give > performance opportunities to) for 10 years as a dance caller in an area > with little-to-no contra dancing. > > First off, I would get a sense of your musicians interest in the gig. Are > they doing it for easy money? Are they genuinely interested to play for > dancers and don't care how much they get paid? Are they making their living > from gig work? Or is this something they do on the side for fun? Are they > old-time experienced players? Or are they new upstarts, still forming their > musical identity as a performer? Have they mastered their instruments or > are they better-then-average amateurs? Answers to these questions can help > set expectations for their commitment. > > I can confidently say that the suggestion of sending musicians new tunes / > resources a few weeks before the dance is not a welcome prospect and not > setting them up for success. You should, instead, encourage new repertoire > over a long period of time, and for the next show focus on what is in their > current repertoire that will suffice for dances (if you want them to play > for you again). It may seem an imposition, but if you can attend one of > their rehearsals or jams, and ask to go through their repertoire, that > would be best. Keep a few things in mind while doing so: > > - No matter how experienced a fiddler is, playing for contra dances is a > specific skill or knowledge base; don't be afraid to say that such-and-such > doesn't work > - Some tunes sound fine but they're actually crooked and will not work for > contra. You need to be able to detect these tunes to prevent them being > programmed and ruining one of the dances. Crooked tunes in the contra dance > realm take multiple forms: additional beats within a measure, yes, but also > additional measures on a phrase. Phrases that are 4 or 12 beats long, and > tunes that have more than 2 parts are particularly hard to detect. Your > musicians may or may not know the difference or whether this is important > or not (even if you're clear that 32 bars jigs and reels is what you're > after, before hand). > - Different kinds of tunes work if the band is willing to play with the > tempo. For example, jigs tend to be played faster than is comfortable for > the dancers, so they need to be slowed down a touch, and polkas can also be > played at a slower tempo. I suggest this to attempt to broaden the > potential tunes that can be programmed while working within what they > already know. > > Also be respectful of different musicians abilities... Dave Brubeck > couldn't read music, and some traditional musicians also never learned how > to read music, picking up tunes by ear instead. If this is the case, > sending tunes a few weeks before a show is simply not going to work. > Musicians have their own culture apart from dancers, so temper your > expectations and be patient and respectful. > > Consider not hiring a "band" but hiring a fiddler. I don't know what the > remote situation you're in is like, but if you have any professional > musicians in your area, they should know how the gigs work. If you can find > a single fiddler and hire them, they will find someone else to play with > them as a duo or trio, as long as you explain what you're looking for > (reels at 120 bpm, playing for dancers, etc.) and the pay. If you can pair > less experienced musicians with more experienced musicians, this will > benefit you in the long run, bringing up a new generation of fiddlers in > this tradition. For example, many musicians have students. Ask if one of > their students is up for the task of performing and they can join in on a > few tunes. It also broadens your dance base when the parents come out and > participate. > > You'll want to go over with whomever you hire a series of signals that > indicate "speed up", "slow down", "keep playing", "stop immediately" and > "stop at the end of the phrase / last time". > > You'll want to ensure that they start each tune with a 4 beat introduction > ("Four for nothing" as Winton Marsalis says, and "Four potatoes" as is the > phrase around here), which is a cue for you to cue the dancers. Musicians > are NOT in the habit of doing this on their own, and waiting once through > the tune instead is too long. > > Forcing a square peg into a round hole is not what i would consider > setting anyone up for success. Expecting your blue grass band to convert to > a contra dance band lickity-split is, in my opinion, not a good approach. I > would suggest letting it be what it's going to be. Maybe your group likes > blue grass tunes, and you form a contra/bluegrass syncretism. This is part > of the folk process. Everywhere, everyone, is different and cherishing that > and encouraging appreciation is what i would consider setting people up for > success - my previous recommendations and advice support this idea, I > think. For example, in my area, fiddling is heavily influenced by many > repertoires, particularly Metis, which was originally used for Metis step > dancing. I doubt the Metis fiddle tunes get played anywhere else, but they > make for excellent contra dance tunes with their own flare and feel. I'm > leaning into this, it's part of the Manitoba sound! > > Best of luck! Happy Dancing! > > Greg, Winnipeg >

9 months, 3 weeks

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Contra Callers