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I might be a bit different than most of the replies to your
question. For a regular contra dance, I usually set up a program on
that day or one day prior. Sometimes in the car enroute to the dance
(if someone else is driving). I may be thinking of dances that I'd
like to call during the previous week or two, but I actually put
things on paper (or lay out cards) within 48 hours of the actual
event, usually within 12 hours . Frankly, I don't want to get my
head into an ownership mindset that would result if I invest so much
in the program. My approach leaves much to flexibility and
nimbleness. Of course, for some slots I'll have 2 or 3 dances listed
on the paper -- depends on the dancers/music/heat in the room/etc --
and then make those choices on-the-fly while calling the previous
one or two dances. Always watching the dancers and listening to the
music.<br>
<br>
Of course, everything can change in an evening, depending on so many
things. Dances, dance sequence, tempos, musical requests to the
band, musician preferences of the musicians and their skills for
communication, etc. I also have a couple of back-pocket dances for
just-in-case situations. I also have a couple of dances that I could
call as No-Walk-Throughs, depending on the timing of the program and
many other on-the-spot judgements. In the end, I think it's all
about the dancers -- I want them and the musicians to have a very
fun time.<br>
<br>
Sometimes I like to have a small table at the back/side of the stage
where I can lay out a few other cards that are not in my program.
These I can see quickly and possibly use them if necessary. Again,
the judgements are made on the fly.<br>
<br>
Community dances (like barn dances, Grange dances, square dances,
etc.) are different. I rarely do any preparation. I bring my cards,
talk to the organizers, watch the crowd, listen to the music, and
choose dances on the fly. Again, always watching the crowd.<br>
<br>
And hot-house gigs like NEFFA, Northwest Folklife, the Portland
Roadhouse, etc. are again different. Those are highly-organized
programs well in advance, but they are also short (slots of 50-90
minutes). I'll think of dances weeks in advance, work up a program
two weeks in advance, send it to the band, and then coordinate with
them intensively. These gigs are kind of like Las Vegas Shows, and
IMO they require careful preparation. Only rarely do they include
on-the-fly changes.<br>
<br>
Woody<br>
<br>
<hr size="2" width="100%"><br>
<div class="moz-cite-prefix">On 3/13/2018 10:58 AM, Rich Sbardella
via Callers wrote:<br>
</div>
<blockquote type="cite"
cite="mid:CAE4Buj+zKnjEcqeS-To4V1HGnW_RfQgtFNY1NOBW9WQyTqNSdA@mail.gmail.com">
<div dir="ltr">I am curious how much time you all plan programming
a dance before arriving at a venue. If you do not preprogram,
what is your approach for on the fly programming?
<div>Rich Sbardella</div>
<div>Stafford, CT<br>
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</blockquote>
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