I can only speak with reference to calling at NEFFA, as I have never applied to DownEast. As some of you may know that Linda Leslie is NEFFA's program chair, I will note that the program chair does not select performers for contra sessions.
Regarding NEFFA 2007, the following notice is now posted at http://neffa.org/perf_app.html - The Program Committee is not prepared to take your application at this time, since it is too late to apply for this year's NEFFA Festival. Please note that the application to perform is always available during the month of September, with a deadline in October. If you'd like to get an e-mail notice of application availability, send a blank e-mail to NEFFA_Performers-subscribe(a)yahoogroups.com
So you can note on your calendar that September is a good time to check the NEFFA web site, and also arrange for a notice to pop up in your e-mail.
The NEFFA application invites you to come up with a briefly-described theme for your session, with a title of 20 characters or less. IMO, use your own judgment as to how important the theme is. If you are offering a concept that's really meaningful to you, don't be afraid to describe it. If what you really want to do is just call some hot contras, then IMO I wouldn't go overboard on the theme.
Unlike Northwest Folklife, callers and bands apply SEPARATELY to the New England Folk Festival. And I believe that this is a very good thing for beginning callers who hope to have a chance at getting onstage. This mix-and-match policy gives a fresh perspective for experienced performers, and can be an eye-opening experience for newcomers who may get to work with seasoned veterans. I will never forget calling at NEFFA with Northern Spy, a band that has worked with caller David Millstone for 25 years. And where was David during this session? Out on the floor, happily dancing to the music of his own band. NEFFA's selection process made that wonderful hour possible for me.
For what it's worth, the first year I successfully applied I asked for a "Festival Orchestra" slot, which means that instead of calling a themed, hour-long session I called two dances in the Main Hall with the assembled orchestra and then got off the stage as the next Festival Orchestra caller had a turn. IMO, the key here (as well as in submitting a session proposal) is to choose dances that you know by heart, can teach well, fully believe in, and love to share with a crowd. You don't want to have second thoughts as you approach the microphone.
If you're wondering why performer applications are required so far in advance of a festival, note that NEFFA may have 1700 performers, many of whom perform in multiple sessions (perhaps performing alone, and with a participatory dance group, and also with a concert performance group!). You can't doublebook a performer (or larger groups to which she may belong), you have to give her time to move from one venue to another, plus a bunch of other scheduling etceteras that would drive me loony to contemplate further. How scheduling was done in the days before computers is beyond me.
--
Robert Jon Golder
164 Maxfield St
New Bedford, MA 02740
(508) 999-2486
Hi
I saw a 48 bar dance called Beatrice by Erik
Hoffmann - intrigued me.
I am planning to use it in December --- spoke with the
band about a 48 Bar tune set.
Never called a 48 Bar dance before ----
anything tricky about it - aside from the length
issue - staying focused for that extra section?
thanks for any insights.
Mavis L McGaugh
510-814-8118 (answering machine-leave message)
____________________________________________________________________________________
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Thanks to everyone who so generously sent me suggestions for easy dances to use in the fourth slot that I, as a new caller will call at our Toronto Country Dancer's dance that Bev Bernbaum will be calling next Saturday.
I have attached a Word document that has all the dances, some of which are annotated with teaching notes.
I have two requests: I need the details of two dances: First Hey by Paul Balliet, and "Kiss of a Lifetime" bu Peter Stix (I could not find either through an internet search. [A suggestion: Please post the info to the whole list, so once someone has sent the info, others need not bother. Thanks!]
The other request is for suggestions on how to teach a hey. (I am a little bit terrified.)
Please note, that I have not chosen a dance yet, but need to do so by tomorrow, so I cam open to suggestions from the list I sent (including the two above) and any other dances that you think are suitable. [Note: If I am too terrified to teach a Hey, then Bev has graciously offered that I can choose another easy dance, so I am open to suggestions on that front as well.]
Thanks for 'Sharing the Weight', and helping me out! I have learned a lot from you out there in List Serve Land so far, and I am looking forward to more!
Jillian Hovey
Facilitator of Sustainable Community Planning and Design
The Sustainable Living Network
& Sustainable Living Books
Toronto, Ontario, Canada
416-410-7581; fax 416-654-8917
Draft Web Sites:
www.sustainablelivingnetwork.orgwww.sustainablelivingbooks.comwww.jillianhovey.com
email: jillian(a)permaculture.net
Save the date: 5th Hot Squares weekend!
When: July 6-8, 2007
Where: Private home; Atlanta, GA
Who: Dan Sahlstrom, calller
Cost: TBD
Limited to 20 people
What:
This weekend is devoted to exploring Modern Western (Club) squares in an
intensive but fun environment. Unlike previous years we will not focus
on completing Plus or Mainstream levels (though we will probably do most
of Mainstream). Instead, Dan will pick fun and interesting calls from
all lists (Basic - Challenge). Also unlike previous years, we will have
more than the exact number of people, so not all will be required to
dance every tip.
2007 will mark the 5th Hot Squares event. We are holding Hot Squares
2007 in a homey atmosphere with room for two squares. Genders will not
be balanced. Meals will be home cooked. Fellowship and Camaraderie will
be plentiful.
Official registration is not open, but email now to hold your space.
> Message: 4
> Date: Wed, 20 Dec 2006 15:47:18 -0500
> From: "J L Korr" <jeremykorr(a)hotmail.com>
> Subject: [Callers] New Year's Eve
> To: callers(a)sharedweight.net
> Message-ID: <BAY129-F40FFA945932B34BBC9BEABC7CF0(a)phx.gbl>
> Content-Type: text/plain; format=flowed
>
<snip>
> The callers and band coordinated in advance to pull this off. To build up
> the energy approaching midnight, we began a four-dance contra medley soon
> after 11:40, alternating the callers with each dance. The band played six
> times through each of the first three dances. We then ran the final dance
in
> the medley as long as we needed to fill up the remaining time until
11:58...
<snip>
>...promenading up to the band, intros, count down, cheering, Auld Lang
Syne, waltzing....
I like the "concentration of people up at the stage" idea Jeremy. Being
surrounded by friends at that moment is a great thing.
Thanks for mentioning it !
Bev
> ------------------------------
>
> Message: 5
> Date: Wed, 20 Dec 2006 20:28:28 -0800 (PST)
> From: Dan Pearl <daniel_pearl(a)yahoo.com>
> Subject: Re: [Callers] NYE dances and ideas for the stroke of
> midnight....
> To: callers(a)sharedweight.net
> Message-ID: <278984.14032.qm(a)web60420.mail.yahoo.com>
> Content-Type: text/plain; charset=iso-8859-1
>
> Well that brings me back...
>
> I was hired for a NYE dance at the Swingin Tern dance in Chatham NJ.
> They were paying me well, so I felt obligated to do something a little,
> um.., special. Before the big countdown, I stepped into the stage wing
> and ended the dance in progress. I donned an Old Man outfit and mask,
> and announced myself onto the stage. I made a few parting remarks, and
> then came the big countdown. At 5 seconds to midnight, I whipped off
> the old man outfit and mask, and at midnight I had transformed myself
> into Baby New Year, complete with big diaper and sash proclaiming the
> New Year. (This took practice.) We then launched into a waltz and
> then broke for a dessert buffet.
<laughing> Oh Dan ! Thanks for sharing this. That image of you is just
*hilarious* ! And although these organizers are paying me exceptionally
well, I just don't think that I can bring myself to do the diaper thing.
Getting myself into a mermaid costume with a scallop shell bra, tight green
stretchy long skirt and a long black wig for a Halloween dance once, was
about as far as I'm willing to go on the "minimal clothing in public" scale
! <only exceptions being the Ashokan sauna and the Long Pond dock at
Pinewoods>
> Don't worry too much about the ritual. Work with the producers and just
> have a fun, safe, time.
Amen to that !
Bev
----- Original Message -----
From: "Lisa Greenleaf" <laleaf(a)verizon.net>
To: "Caller's discussion list" <callers(a)sharedweight.net>
Sent: Thursday, December 21, 2006 12:24 PM
Subject: Re: [Callers] NYE dances and ideas for the stroke of midnight....
> On Dec 21, 2006, at 12:01 PM, The Witful Turnip wrote:
<Lisa's comment below hasn't hit the digest yet, which is what I receive,
but since I also got it in email....>
<getting people back to their original partners in Lucky Seven>
> It's a bit goofy, but it works. When you get to the R&L Grand in the
> A2, you just
> say, "Keep going until you get your original partner, then swing!"
> The inner circle gets there early and some folks just laugh and cut
> across the room.
Hmmm... so the version of Lucky Seven that I've got written down is
different than yours. The one I have has the Grand R&L in the B1 going into
a Promenade in the B2. In fact, mine doesn't have a partner swing in it at
all. It has a partner dosido in the second phrase of the A2. Can you please
post the version you have Lisa ?
> During the mixer, people are lighthearted anyway, talking and saying
> Happy New
> Year to one another, so it's not about having a peak dance experience;
> it's about dancing together and being a community.
I absolutely agree with that, which is why I like the mixer idea.
Thanks,
Bev
*****************************************
The Witful Turnip wturnip(a)sympatico.ca
"I'm 40-fucking-5, and I've got nothing to hide !"
- Samantha Jones (Sex in the City)
*****************************************
Hi all,
For the last 4-5 years I've called at contra dances on New Years Eve, and
this year is no exception. My typical MO is to ask the organizer how
they/their community would like to handle the stroke of midnight and what's
been done in the past. I've done a couple of different things over the
years, none of which really seemed great for everyone, for one reason or
another. At a few dances, they wanted to stop right before and sing Auld
Lang Syne. So, I had them contra dancing right up until about a minute to go
and we made a big circle and sang. But then everyone wandered about to hug
and smooch and it seemed to take a while to get everyone back to dancing.
Not sure the dancer wanted to bother but the organizers wanted to keep
dancing ! I've also been at dances where they move to a waltz right before
midnight. But if you don't have a waltz partner (as I often do not) that's
awkward and leaves people out, in my ever so humble opinion. I've been to
dances where they do a waltz mixer instead, and at a minimum, that works
better for the partner-less dancers like myself, and I've appreciated that.
But for the people who do have a waltz partner, they then want a second
waltz where they can *really* dance with the person, because they don't see
that as enough.
Personally, I'd like to contra dance right through the stroke of midnight
with no preamble stop, but that's just me. So, I'm wondering about this
idea... Three Couple Mixer is granted, a silly family dance style, but also
very fun (again in my ever so humble opinion) mixer. You do need a partner,
but it's never tied to the 3 couples, and the couples don't have to be mixed
gender. In fact, it's *way* more fun if it's more couples. Here's the
dance:
a1. Circle Left
Circle Right
a2. Hands across R hand star (with someone other than your partner who's
beside you)
Hands across L hand star
b1. Raise hands*, starting with the lowest hands, gents/leads pull new
partner thru and swing
b2. Promenade with new partner to find new couples
* Everyone would shout Happy New Year when they raise their hands !
It's so simple that I could teach it a couple of minutes before midnight and
then get into the dance myself, which would be fun for me. I'd ask the band
to play their hottest tunes. It's a mixer so it "should" get everyone in
and dancing thru the stroke of midnight. And that would leave the waltz for
the folks who have specific partners and others, but not have it right at
midnight, the "special meaning moment"..... I got this idea from some local
callers who run a NYE dance in a relatively small and newbie dance
community. I really like the idea, but I wonder if a more/very experienced
dance community might find it so hokey that they would absolutely abhor it.
Often, I think that the way something is raised sets the tone for how it's
received. I'd be very enthusiastic. But I'm concerned that while the
organizer might like the idea and may want to try something different, when
it came to the time, the dancers would hate it. You folks are the best test
audience I know. What do you think of this idea ? What idea have you tried
at NYE dances ? What have you found to work ?
Thanks in advance ! And all my best wishes to everyone for the holiday
season. Be safe and healthy.
Bev
*****************************************
The Witful Turnip wturnip(a)sympatico.ca
"I'm 40-fucking-5, and I've got nothing to hide !"
- Samantha Jones (Sex in the City)
*****************************************
Well that brings me back...
I was hired for a NYE dance at the Swingin Tern dance in Chatham NJ.
They were paying me well, so I felt obligated to do something a little,
um.., special. Before the big countdown, I stepped into the stage wing
and ended the dance in progress. I donned an Old Man outfit and mask,
and announced myself onto the stage. I made a few parting remarks, and
then came the big countdown. At 5 seconds to midnight, I whipped off
the old man outfit and mask, and at midnight I had transformed myself
into Baby New Year, complete with big diaper and sash proclaiming the
New Year. (This took practice.) We then launched into a waltz and
then broke for a dessert buffet.
Don't worry too much about the ritual. Work with the producers and just
have a fun, safe, time.
>What idea have you tried at NYE dances ? What have you found to work ?
Hi Bev,
Here's what we did most recently for New Year's Eve in Pasadena (CA), which
seemed to give everyone at least something. We had two callers on hand, but
a similar plan would also work with one.
The callers and band coordinated in advance to pull this off. To build up
the energy approaching midnight, we began a four-dance contra medley soon
after 11:40, alternating the callers with each dance. The band played six
times through each of the first three dances. We then ran the final dance in
the medley as long as we needed to fill up the remaining time until 11:58.
At 11:58, we changed the B2 call to "everyone promenade up to the band and
give them a hand." By the time the applause died down, it was 11:59. We
(re-)introduced each member of the band, for more applause, and drew this
out until it was ten seconds to midnight. At that point, everyone counted
down together, cheered at midnight, and the band played "Auld Lang Syne."
Not everyone participated in the waltz, as usual. But we felt like everyone
got something out of this. Virtually everyone danced in the medley and ended
up in a throng up toward the stage, so even those without a "special
someone" were surrounded by friends for the cheers and the countdown.
Good luck with your own program and let us know how it goes!
Jeremy
_________________________________________________________________
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Hi Everyone,
Does anyone have and is willing to post "Streetsboro Reel" Improper Contra by Becky Hill? It's in her book "Twirling Derbishes", p. 32. I only have the next book "Twirling Dervish Returns" and her following book "The Rosen Hill Collection".
I am wanting to use "Streesboro Reel" in a medley (no, NOT for the last dance of the evening!). I haven't danced it before but I was looking up another dance: "Flying Flamingos" by Cary Ravitz which led me to "Streetsboro Daisies" by Cary Ravitz (the opposite hand version of the previous dance). "Streetsboro Reel" had a note by the author that it was designed to medley with "Streetsboro Daisies" by Becky Hill and "Delphiniums and Daisies" by Tanya Rotenberg. All these dances start and end the same........
So, now my curiosity is peaked!!! .... I have all the other dances mentioned above.... Have danced "Flying Flamingos" and "Delphiniums and Daises".... just looking for "Streetsboro Reel" by Becky Hill.
I know it begins and ends like this:
Streetsboro Reel by Becky Hill
Improper Contra
A1: N Al Left ~1.5x
?
A2: ? ?
B1: ? ?
B2: probably: Cir L 3/4
N Al Rt ~1.5x
Thanks much, and Happy Holidays!
Karen Fontana
<>:<>:<>:<>:<>:<>:<>:<>:<>
Karen Fontana
www.karenscontracorner.com
karen_fontana(a)yahoo.com
(H) 650-691-9663
<>:<>:<>:<>:<>:<>:<>:<>:<>
Last night I called Beatrice -I had discussed this
dance with the band several weeks ago - they played
two 3-part jigs - [forgot the names already <sigh>]
but they were a great match to the dance - it
went really well. I wish I could have been dancing
-as the dance contains three of my favorite figures.
I will use it again. I had a large group of beginners
on the floor so I taught the Full Hey figure and then
immediately taught the dance. It flows so well all
the beginners did fine. I called it as the first
dance after the break.
Mavis L McGaugh
510-814-8118 (answering machine-leave message)
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