<html><body><div style="color:#000; background-color:#fff; font-family:HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif;font-size:16px"><div id="yui_3_16_0_1_1435091044595_135195"><span id="yui_3_16_0_1_1435091044595_135374">Some thoughts on this:</span></div><div id="yui_3_16_0_1_1435091044595_135276"><br><span></span></div><div id="yui_3_16_0_1_1435091044595_135274" dir="ltr"><span id="yui_3_16_0_1_1435091044595_135275">I go to callers workshops and sometimes I hear different things from different people. I went to a caller's workshop one time where the leader told us that the best dances are ones that have a partner AND a neighbor swing, AND that the partner swing MUST come second because it's more satisfying. I think some callers suggest programming to satisfy the experienced dancers and some callers (like Tom) suggest programming that is mainly targeted to help new dancers come along.</span></div><div id="yui_3_16_0_1_1435091044595_135313" dir="ltr"><br><span id="yui_3_16_0_1_1435091044595_135275"></span></div><div id="yui_3_16_0_1_1435091044595_135314" dir="ltr"><span id="yui_3_16_0_1_1435091044595_135275">FWIW, I prefer Tom's approach. You don't know how many times that I have seen callers - good, well-respected callers - start off with somewhat of a challenging dance that is not very approachable for beginners. I know as a caller I like to build up my program from super brain-dead easy at the start and build from there. Nice Easy Contra is an excellent choice. <br></span></div><div id="yui_3_16_0_1_1435091044595_135405" dir="ltr"><br><span id="yui_3_16_0_1_1435091044595_135275"></span></div><div id="yui_3_16_0_1_1435091044595_135456" dir="ltr"><span id="yui_3_16_0_1_1435091044595_135275">Variety is important to me too. I think in a hall like Glen Echo that an unequal dance MAY not be a good idea but in most halls, why not? And I agree with Tom's thoughts about dances with only one swing. Someone once said if your dance only has one swing it had BETTER contain enough interesting moves to make it worth it. I think this goes to Tom's point of being afraid of dancers. I think there are some callers who teach new callers to be afraid of dancers so you'd better give them what they want if you expect to be hired again.<br></span></div><div id="yui_3_16_0_1_1435091044595_135566" dir="ltr"><br><span id="yui_3_16_0_1_1435091044595_135275"></span></div><div id="yui_3_16_0_1_1435091044595_135565" dir="ltr"><span id="yui_3_16_0_1_1435091044595_135275">I do think that today's dance crowd really desires certain types of dances and I don't see anything wrong in giving them what they want. But the dancers also need to understand that this is brand new for new dancers and that we need to start slow and brain-dead before we move on to more intricate figures. These "anchor" dances are very important even though to the experienced dancer it's not very interesting, but to the new dancers it might be the hardest thing they've ever done. <br></span></div><div id="yui_3_16_0_1_1435091044595_135564" dir="ltr"><br><span id="yui_3_16_0_1_1435091044595_135275"></span></div><div id="yui_3_16_0_1_1435091044595_135500" dir="ltr"><span id="yui_3_16_0_1_1435091044595_135275">As for Tom's notes about people not complaining, it's pretty much a fact that some of the most well-known callers (like Tom) don't hear griping because they have some "political capital" to spend because of their respect in the dance community. Some of us who don't have that yet hear it. <br></span></div><div id="yui_3_16_0_1_1435091044595_135562" dir="ltr"><span id="yui_3_16_0_1_1435091044595_135275"><br></span></div><div id="yui_3_16_0_1_1435091044595_135563" dir="ltr"><span id="yui_3_16_0_1_1435091044595_135275">I once called a program with maybe 3 dances with no neighbor swing, and I heard it from several people. I have heard others callers with more of a national brand come through and call similar dances and no gripes. </span></div><div id="yui_3_16_0_1_1435091044595_135700" dir="ltr"><br><span id="yui_3_16_0_1_1435091044595_135275"></span></div><div id="yui_3_16_0_1_1435091044595_135701" dir="ltr"><span id="yui_3_16_0_1_1435091044595_135275">Perry</span></div><br> <div id="yui_3_16_0_1_1435091044595_135192" style="font-family: HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif; font-size: 16px;"> <div id="yui_3_16_0_1_1435091044595_135191" style="font-family: HelveticaNeue, Helvetica Neue, Helvetica, Arial, Lucida Grande, sans-serif; font-size: 16px;"> <div id="yui_3_16_0_1_1435091044595_135190" dir="ltr"> <hr id="yui_3_16_0_1_1435091044595_135246" size="1"> <font id="yui_3_16_0_1_1435091044595_135194" face="Arial" size="2"> <b id="yui_3_16_0_1_1435091044595_135273"><span id="yui_3_16_0_1_1435091044595_135272" style="font-weight:bold;">From:</span></b> Tom Hinds via Callers <callers@lists.sharedweight.net><br> <b id="yui_3_16_0_1_1435091044595_135703"><span id="yui_3_16_0_1_1435091044595_135702" style="font-weight: bold;">To:</span></b> callers@lists.sharedweight.net <br> <b id="yui_3_16_0_1_1435091044595_135705"><span id="yui_3_16_0_1_1435091044595_135704" style="font-weight: bold;">Sent:</span></b> Tuesday, June 23, 2015 8:21 PM<br> <b><span style="font-weight: bold;">Subject:</span></b> Re: [Callers] Buzz Step Swing<br> </font> </div> <div id="yui_3_16_0_1_1435091044595_135193" class="y_msg_container"><br>I'm going to describe my newish ideas on programming. But I think it <br>will have much more meaning if I also explain how I came up with it. <br>For some of you, reading this may be a little uncomfortable. I'm not <br>picking on anyone. I want you to know that I learned calling the <br>hard way (no formal class) and made every mistake you can imagine and <br>then some! And I'm still learning.<br><br>When I re-joined the dance board I began doing the sound chores. <br>While doing sound for the last 2 1/2 years I sat and watched callers <br>and studied what they did. I watched how they interacted with the <br>band and I watched the reactions on the floor. I was all ears and <br>all eyes. I made copious notes. From these observations I wrote <br>what I consider an advanced calling manuel called The Complete <br>Caller. It's coming out maybe at the end of the summer.<br><br>Our attendance at the dance has been going down hill for some time. <br>Part of the reason is the hall. The other reason I believe is the <br>lack of training/awareness on the part of many callers. On many <br>occasions the majority of the dancers simply left during the break <br>leaving 6-8 dancers for the second half. It's been that bad.<br><br>My newish way of programming may not be for every dance community. <br>It may be of some value to those trying to retain beginners.<br><br>In terms of programming here's what I've noticed:<br><br>1) All callers, both local and out of town call dances that are <br>accessible to the new dancers. However, almost all of the dances <br>called are just barely accessible. The new dancers NEVER have a <br>chance to relax and enjoy. The effect is that experienced dancers <br>see newbies as always stiff and nervous.<br><br>2) almost all of the callers observed either didn't teach the swing <br>or taught it in about 30 seconds. I think these callers like <br>torturing the experienced dancers. Watching the newbies swing with <br>each other and the experienced dancers was very, very painful. I saw <br>every possible body hold and footwork imaginable.<br><br>3) most callers called programs that were extremely predictable- all <br>contras, all with two swings. This predictability is for myself and <br>others a bit boring. How can you have cold without hot or night <br>without day? I'm currently thinking of making a rule: at-least one <br>contra in the evening can't contain the combination circle left 3/4 <br>and swing!<br><br>4) I would say 99% if these callers never discuss tune selections <br>with the musicians AND never slow the band down or speed them up even <br>when it's OBVIOUS there's a problem. On many occasions I've asked <br>the caller, "do you want me to slow them down?" and the response is <br>always "yes".<br><br><br>This is my newish way to program. There's more to it but this is the <br>core:<br>The first three dances of the evening must be accessible to the new <br>dancers AND must allow them to relax and have a good time. Perhaps <br>it's the latter part of this requirement where you and I are very <br>different.<br><br>When I mention this to other callers their response is usually "ok <br>I'll just do Nice Combination for the first contra" NOPE. AINT <br>GOING TO WORK, DEAD WRONG. There's too much swinging and no <br>anchors. The progression out of a star is not a good thing. That <br>much swinging is counter productive to keeping new dancers. Newbies <br>also need anchors. Anchors are people keeping their place while <br>others dance. A dance that contains anchors is gooder.<br><br>Examples: Sides are anchors if the heads circle left. In Scout House <br>Reel, the twos are anchors while the ones swing. The men are anchors <br>while the women do-si-do etc.........<br><br>So dances like Scout House Reel, Nice Easy Contra and some circle <br>mixers are good choices for the first three or so dances. It's not <br>the number of dances it's the emotional response you need to look for!<br><br>This doesn't mean that once the dancers relax that you can start <br>calling material that's going to wow the experienced dancers. No, <br>you have to dunk and dry 'em. Don't wear them out physically or <br>mentally.<br><br><br>One of the skills the newbies need is the ability to listen and <br>immediately (or almost immediately) respond. So in the beginning <br>workshop I use short drills or modules to teach one move or concept <br>at a time. A series of say 5 modules will teach all of the moves <br>that are in the first dance. To really understand my modular method <br>you'll have to watch one of my lessons or buy the booklet. It's way <br>too much to write. The modules are constantly changing so the <br>newbies have to learn to listen. We don't end one module and go onto <br>the next until they have slightly over-learned the current one- the <br>beginners are constantly learning in the lesson but I watch them and <br>make sure they are never overwhelmed. My voice is always clear and <br>direct but relaxed at the same time. If they survive the lesson the <br>rest of the evening is a piece of cake because I slowly introduce <br>move that are new to them. The first dance of the evening is taught <br>so they might be a bit confident after dancing it as the first dance.<br><br>I value a dance series with good dancing. Good dancing to me means <br>good, safe style and if physically able, buzz step swinging. The <br>buzz step swing is in the last module. It is last because newbies <br>are (as you know) always coming at the last minute. I include what I <br>consider to be a descent list of skills/concepts in a half hour and <br>never run out of time.<br><br>My impression is that most of you are afraid of the dancers. You're <br>afraid of calling an unequal dance or a square for example. Don't be <br>afraid of them. Good, effective leaders make good choices not always <br>what you perceive to be popular ones. And many of the experienced <br>dancers will notice the new way and welcome it. They are very bright.<br><br>All of my evenings contain some contras that only have one swing. No <br>one has every complained. I usually start with an unequal dance. I <br>haven't heard any gripes. Maybe there're afraid of me.<br><br>Early in my calling career it sometimes happened that a dancer would <br>come up to me and say, "some of us don't like square". My response? <br>"then stay home when I call". They stopped whining.<br><br>T<br><br><br><br><br>_______________________________________________<br>Callers mailing list<br><a ymailto="mailto:Callers@lists.sharedweight.net" href="mailto:Callers@lists.sharedweight.net">Callers@lists.sharedweight.net</a><br><a href="http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net" target="_blank">http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net</a><br><br><br></div> </div> </div> </div></body></html>