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Hi Amy,<br>
<br>
I've been calling squares for a long time. If they are
western/southern squares, they are very different than contras, and
the caller's role is very different, both in terms of the dancers
and of the music/band. If the dances are New England quadrilles,
then they are essentially contras in square-formation. My comments
are primarily about the former rather than the latter, although the
underlying principles are the same.<br>
<br>
Squares are fun! Smile a lot; be playful. I would suggest that you
don't spring new things on the dancers during the dance, especially
if these are contra dancers, but don't hesitate to do something like
(especially for an opening): swing someone in your square; now swing
someone in a different square; now swing someone you've never swung
before; now run back home and swing your own! Which can get lots of
folks giggling like 10-year-old kids.<br>
<br>
Call to the dancers, not to the music. I'm not saying "ignore the
phrasing", but OTOH, you don't want folks standing still waiting for
the phrase to come around while one other square struggles to catch
up. Scan the room; do not call to the slowest square(s). You can
call one move ahead of most of the dancers. Use your voice.<br>
<br>
Most western-style and southern-style squares are not phrased to a
32-bar tune. OTOH, by keeping the phrasing in your head while you
call, or at least listening to the tune, you can skillfully weave
the calls so that, when the music comes around to the top of the
tune, you can begin a new part of the dance. Subtle, but very
satisfying all around. You can use moves like: Swing your partner,
promenade, all join hands and circle left -- all which take up music
and can bring the entire room together.<br>
<br>
Not every break has to be grand-right-and-left or its variations or
Alamo-style complexities. Simple breaks work, and they can be used
as refreshing breathers after the main figure -- a way for the
dancers to experience a reset. A variation of: join hands 8 and
circle left all the way around, swing your partner, now promenade
home -- will work as a simple break. (or even just "circle left all
the way around" -- good for weddings, etc.).<br>
<br>
Put laughter in your voice. Lead your friends through the dance,
like at a party, not just prompt.<br>
<br>
Good luck!<br>
<br>
Woody<br>
<br>
<><><><><><><><><><><><><><><><><><><br>
Woody Lane<br>
Caller, Percussive Dancer <br>
Roseburg, Oregon <br>
<a class="moz-txt-link-freetext"
href="http://www.woodylanecaller.com">http://www.woodylanecaller.com</a><br>
home: 541-440-1926 cell: 541-556-0054<br>
<hr size="2" width="100%"><br>
<div class="moz-cite-prefix">On 2/4/2017 9:26 AM, Amy Cann via
Callers wrote:<br>
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cite="mid:CALZWU+t4Mk415=_byAmOSjk_UUnGF3SP0kq+gXhPYOJV0M700A@mail.gmail.com"
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<div>It's a friendly low-key local community dance, and they
know I'm mainly a contra caller, so the potential for
hurled tomatoes is low -- but I still want to not stink
too much.<br>
<br>
</div>
Any suggestions for dance choices or thought-habit
adjustments?<br>
<br>
</div>
<div>Back to scribbling on my 3x5 cards and re-reading Lloyd
Shaw...<br>
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<br>
</div>
Amy<br>
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