[Callers] Rolling Starts?

[JD Erskine iDance via Callers]

On 2015-10-02 0853, Maia McCormick via Callers wrote:
> I think that rolling starts (seamless transition from walkthrough into
> the dance, as the band just starts playing music during the walkthrough)
> are super neat if done properly! But I'm still not quite sure how to do
> them properly. So I ask you all:
> 1) tips on how to execute a rolling start well, making sure all the
> dancers are on board etc.?
> 2) thoughts on what dances/tunes will/won't work well with a rolling start?
>
> Cheers,
> Maia

My best experience with a rolling start -- one of those heart exploding, 
happy with the dance thing, moments -- was my first, a spontaneous one 
that figured itself out.

I was doing a barn dance/ceilidh billed as a "Contra" fundraiser. There 
was a bar, there was a Manifesto (yup, read at the break), there were 
babes in arms. It was truly a wonderful group, evening, band, moment.

During the last dance of the night, I got into calling the figures in a 
rhythmic, repetitive way as, well it was the last dance, folks had only 
been half getting the directions for this one (also they'd sold out the 
keg(s?) and gone for more smaller containers of wobbly pop.)

I kept it up, the dancers took it calling the dance with me, the rhythm 
section (double bass and percussion picked up on the beat) and without a 
plan in place, in the near dark, I was telepathically signalling my 
dearest hope the melody section would work it out. The dance had 
effectively started, we just couldn't really see each other, hadn't 
anything worked out prior, etc etc etc.

One melody player realised it would be cool to do this, the other worked 
out where the top of the dance was, the first started in, and the whole 
place went up. I got home shortly after the gig and couldn't get to 
sleep for an hour and half I was so happy with the whole thing.

After that, without really asking around, a couple of musicians in that 
band and I looked at what had been needed, or used and talked about it.
It boiled down to those bits on timing, timing issues, repair work we've 
talked about on the list. Things such as Lindsey described under 
Troubleshooting.

There have been a few since, none with quite the impact of that first 
evening, however all with some range of excitement from the dancers.

Since, then, with that band, I generally let them know what figure the 
dance begins (or ends with) with so they may come in if the situation 
looks like it might work. Occasionally we've considered and discussed 
whether the situation may allow for a rolling start, effectively 
planning for one. With other bands we may briefly discuss whether to try 
one or in general I'll, as Woody puts it, go with it if the band is 
there or wave them off.

It was great to see Woody contribute his approach. I was about to write 
that one of my memorable moments as a dancer at a Contra dance event was 
a rolling start at the beginning of their program when Woody called with 
The Sybaritic Stringband at NW Folklife (Seattle, WA) a couple of years 
ago. Early, rhythmic instruction of dance directions, Woody starting 
early with his foot percussion, accompanying himself briefly, then the 
band coming in. Most fun and effective. The energy and excitement on the 
floor was happily palpable.

The choice of dance or tune needn't be a driving piece or particular 
energetic dance choice. Several of us have used rolling starts with our 
house band at our weekly English Country dance evening. Again, lots of 
satisfaction and enjoyment. (A part of that phrase may make ECD seem 
staid, however I'm more like to hurt after it than Contra which has much 
less "moving" than ECD or English Ceilidh.)

So, give it a try.

Like a first dance called, pick something that stands a chance of 
otherwise working out well. One needn't load on the work by trying it 
with a dance new to one.

I don't think the dancers need to be "on board" in all instances, in 
fact in many cases I might suggest not offering that awareness to the 
dancers that it might be a rolling start. This might lessen any personal 
concern about having to perhaps excuse a "failure" of it.

It would naturally behoove the kind caller to know the make up of the 
event, the "floor" or "hall" as we call it and judge whether it's worth 
giving it a try.

Confirm the band is happy with the process and the band-caller-band 
communication is generally effective.

Use a simple phrase to keep momentum and communicate what is going on, 
now, to the dancers ("let's _keep_ going -- _New_ Neighbour, Balance and 
Swing", etc.) Perhaps have that next direction offered a little earlier 
than one would throughout the rest of the dance.

As to tune, most good bands can make extra rhythm when required and from 
my experience that is what the rolling start bridge from teaching to 
dancing tends to be.

For example: In a caller/musician workshop I was in with Out of the Wood 
(Pat and Vickie Marron and Kathy Bowman) one of the comments (not about 
rolling starts) was how alert musicians may help the learning process 
for new dancers by providing such a rhythmic emphasis during early 
dances of an evening by accentuation. (e.g. more left hand or vamping on 
a piano, beating with a bow on the fiddle strings, etc.)

Please share your lessons and reports of success and fun.

Cheers, John
-- 
J.D. Erskine
Victoria, BC

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