Hi,
I am wondering if you have any dances for low numbers of dancers (perhaps 6
or less), when most or all of the dancers are beginners and adults. I am
also wondering if you have any dances (presumably different dances), that do
not require choosing a partner and are good openers for beginner adults.
Thanks as always to all,
Rickey Holt.
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
If there are a lot of children, and no other contra dancers, for the
first workshop, don't start with a contra.
Start with something that breaks the ice and is easy and gets them
facing each other in long lines.
For my "one night stands", weddings, etc., I start with a dance
sometimes called "The Hat Dance" - except I use a large stuffed
animal gorilla, so people call it the "gorilla dance' - you know,
three chairs at the top of the set, two lines on either side, one
person sits in middle with gorilla on lap, one head of each line sit
on the side, band starts up and plays like a house afire, mid person
gives gorilla to one of the seated people, dances down set with the
other in a sashay or polka or whatever they choose, gorilla receiver
moves to mid seat, next two sit down. I don't know why this is so
successful, but people love this dance. They love watching other
people get or give the gorilla. I gave up on the hat idea because w.
kids there may be head lice. Really. The gorilla is cuter anyway.
This gets people moving, touching, laughing, and standing in two
lines and learning top of set and bottom of set.
Then follow perhaps with a reel, like Virginia reel. This gives a
vague concept of progression and doing something different at
different positions in the dance. There are some other simpler reels
than Virginia reel as well, without the strip the willow but with the
follow around and arch and under.
I think the one of the easiest contras is Ellen's Green Jig. I don't
have time to put it up here, maybe someone else could if you don't
know it, but it's one where everyone pretty much is in contact all
the time so it's hard to screw up, has just balance and swing, do-si-
do and circles pretty much, and the progression is oh-so-obvious, and
it doesn't matter if the genders get all screwed up as long as ones
are ones and twos are twos.
Oh, I called for a dance where 15 foreign exchange students showed up
with limited English. I'd keep the calls in English as you are a
beginning caller and it would be too much to think of to do it in
Japanese as well. But just pick the way you are going to call the
figure, e.g. Ladie's Chain - and NEVER vary it. It will always be
Ladie's Chain, not "Chain the women", not "women chain" not "chain
across" just flat out plain "Ladies Chain". People will catch on.
Martha
On Oct 2, 2007, at 4:00 PM, callers-request(a)sharedweight.net wrote:
> Send Callers mailing list submissions to
> callers(a)sharedweight.net
>
> To subscribe or unsubscribe via the World Wide Web, visit
> http://www.sharedweight.net/mailman/listinfo/callers
> or, via email, send a message with subject or body 'help' to
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>
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of Callers digest..."
>
>
> Today's Topics:
>
> 1. Japan dance and self intro/update
> (sharedweight.99.kyoto(a)spamgourmet.com)
> 2. Re: Japan dance and self intro/update (Lindsay Morris)
> 3. Re: Japan dance and self intro/update (Greg McKenzie)
> 4. Re: Japan dance and self intro/update
> (Alan Winston - SSRL Central Computing)
> 5. Re: Japan dance and self intro/update (Lisa Sieverts)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Tue, 2 Oct 2007 11:59:28 -0700 (PDT)
> From: sharedweight.99.kyoto(a)spamgourmet.com
> Subject: [Callers] Japan dance and self intro/update
> To: callers(a)sharedweight.net
> Message-ID: <74363.4139.qm(a)web38705.mail.mud.yahoo.com>
> Content-Type: text/plain; charset=iso-8859-1
>
> [n.b. this has been 'cross posted' to the yahoo traditional callers
> list, in case anyone is on
> both lists...]
>
> This post from a llooonnnngg time dancer and first time caller who is
> requesting some advice for an unusual situation...but as it is my
> first post, I will explain a little about myself, and along the way
> that will explain the unusual situation and help guide and refine any
> replies.
>
> My name is david crespo, a name some of you no doubt fear -- I mean
> recognize -- or would (recognize, that is) (if you saw my ugly
> mug) (well, maybe fear...) from my 20 odd (quite odd) years of
> dancing and involvement in the dance community in New England, mostly
> Vermont (Etna, Norwich, Thetford, to Northern Spy etc.) and Maine
> (SMFA (Yarmouth), Falmouth, Bates, Bowdoinham...). As some of you
> thus know, about 3 years ago, at a Wake the Neighbors Bates dance I
> was met by a cute and not very frightening Japanese exchange student,
> Yukie, who with a very little gentle nudging at Deffa a week later,
> eventually (rapidly, that is) was able to parlay that happenstance
> circumstance into what is now a beautiful and happy marriage. She
> returned to Japan shortly after we completed our courtship and about
> a year later I followed. We're living in Kyoto.
>
> Alas, there is one tragic note attending this otherwise joyous and
> perfect scenario. Japan, you see, is a land thouroughly devoid of one
> essential nutrient: contradancing. You can imagine my dismay, tears,
> and lamentations. Sadly, then, since my arrival, I have been quietly
> (well not so quietly) teaching english while secretly incubating evil
> plans to conquer Japan, then Asia, then the world in 64 (drastic)
> measures (hmmm--- good name for a dance). This month, my long patient
> agony of waiting has begun to pay off. I have been given the
> opportunity to indoctrinate a few trusting and innocent souls into
> the sublime mysteries of la dance du contra and create an army of
> swiftfooted robots, ready and willing to do my bidding at every call.
> SOON I WILL CONQUER THE WORLD!!!
>
> ahem.
>
> please excuse me while my medicine kicks in. Ah, yes, thank you. OK,
> where was I? The fact is, my wife and I have been invited to lead a
> contradance workshop at a local festival on October 20. When we found
> out, we began doing as much research as we could on calling and so
> on. We found a few basic dances, like Baby Rose and Diane's Visit and
> Atonement Reel that we like and figured would be suitable and we have
> been practicing calling them. But I really welcome any suggestions...
>
> Actually, above and beyond some decades of doing things proper and
> improper, I took a caller workshop or two from Rick Mohr (thanks
> Rick) so I have a rough idea of what's involved. And I've learned a
> bit from practicing calling and writing a few ad hoc dances on my
> own. For example, I learned that being a dancer has habituated me to
> act ON the beat, but as a caller I need to act BEFORE the beat,
> eh....this flustered me at first. Are there any other typical first
> caller pointers we should be on the lookout for?
>
> In addition, there are a few other associated circumstances in this
> project that create the aforementioned unique situation. In brief
> (HA! fooled you), since I've rattled on too long, here is what I mean:
>
> I don't speak more than the rudiments of Japanese. My wife is still a
> beginner dancer, to wit, she isn't a strong enough one to call on her
> own. Between us we are trying to teach each other what the other
> lacks and hopefully make one good caller out of the two of us. One
> question that has come up is is it better to keep the standard names
> for the figures, or to Japanify them. (We are leaning to the
> former...Japanese has a very high percentage of english loan words,
> and they learn english (poooooorly) in school.) Still, has anyone
> ever tried to call across a language barrier?
>
> Japanese are touch sensitve. They don't touch, they don't give eye
> contact. They don't give weight. (They give wait). They don't hug.
> They don't even say I love you. They are very shy. For example, I am
> told that this is to the point that standing in a line of men facing
> a line of women is likely be uncomfortable, even for the younger
> generation, so Yukie feels we should use mixed couples with armbands
> to distinguish "gender"--I mean position. As we build a community of
> experienced dancers, it would be expected that some of this
> inhibition might wear off...). You can see why they need to dance. On
> the other hand, they are good followers. Any advice for working with
> a shy crowd?
>
> Some or many of the attendees at this workshop, we just found out,
> are likely to be children. Depending on the percentage, it may be
> necessary to do a kids dance, or at least a dance kids could enjoy. I
> am good at working with kids in general, but I would love any advice
> for doing a dance with young people. I don't know or haven't been
> able to find any children's dances, though I assume the Family Dance
> in Yarmouth is still up and I plan to contact Jeff Raymond about it,
> because I can't remember the caller's name (Nancy....) (though we
> have danced and chatted about dancing and calling several times at
> the May Day Festival...gads! say hi if you're listening..).
> So, children's dances are one thing I am looking for.
>
> We are working in a small space...maybe two lines of six couples
> each. Advice for small spaces???　
>
> We are doing three workshops. If the same people return, we may do
> more advanced things, or we may just repeat teh workshop...but I
> would like to try different dances each time, for my practice.
>
> The room will be full of beginners, so no experienced dancers to rely
> on. Ballroom dancing had a certain following here (and in Kyoto there
> is a small set dancing group that we visited...small 14 or so... and
> a square dancing group that we plan to visit. ) but not enough to be
> helpful, in the sense that there are few cultural supports for
> learning (i.e. in the US most everyone knows (even if they don't
> admit it) how to at least fake a waltz or ballroom position...not
> here.) Think martian territory...
>
> I should add that we are seriously working towards starting a regular
> dance here (we've found an available and very suitable space, a
> church hall in a nearby church, for example) and this is for us a
> tryout and possible stepping stone. We want to whet people's
> appetite, and leave them wanting more. We have a half hour to do it...
>
> OK...apologies for the verbose and windy post. Fond regards to all of
> you I know, hajimemashite ("nice to meet you" in japanese, literally
> "beginning") to the rest and many thanks in advance for your time and
> help...cheers...david
>
> nothing rhymes with nostril...
>
>
>
> ______________________________________________________________________
> ______________
> Don't let your dream ride pass you by. Make it a reality with
> Yahoo! Autos.
> http://autos.yahoo.com/index.html
>
>
>
>
>
> ------------------------------
>
> Message: 2
> Date: Tue, 02 Oct 2007 15:23:07 -0400
> From: Lindsay Morris <lindsay(a)tsmworks.com>
> Subject: Re: [Callers] Japan dance and self intro/update
> To: Caller's discussion list <callers(a)sharedweight.net>
> Message-ID: <47029A9B.1020203(a)tsmworks.com>
> Content-Type: text/plain; charset="iso-8859-1"
>
> Wow, you're biting off too much.
> Teach them community-dance stuff first - circle mixers, easy
> things to
> get them used to touching, allemanding, and giving weight.
> If they refuse to take hands and circle left, then I suggest you
> fake a
> heart attack and get out.
> Lindsay Morris
> Principal
> TSMworks
> [1]www.tsmworks.com
> 859-539-9900
>
>
> [2]sharedweight.99.kyoto(a)spamgourmet.com wrote:
>
> [n.b. this has been 'cross posted' to the yahoo traditional callers
> list, in cas
> e anyone is on
> both lists...]
>
> This post from a llooonnnngg time dancer and first time caller who is
> requesting some advice for an unusual situation...but as it is my
> first post, I will explain a little about myself, and along the way
> that will explain the unusual situation and help guide and refine any
> replies.
>
> My name is david crespo, a name some of you no doubt fear -- I mean
> recognize -- or would (recognize, that is) (if you saw my ugly
> mug) (well, maybe fear...) from my 20 odd (quite odd) years of
> dancing and involvement in the dance community in New England, mostly
> Vermont (Etna, Norwich, Thetford, to Northern Spy etc.) and Maine
> (SMFA (Yarmouth), Falmouth, Bates, Bowdoinham...). As some of you
> thus know, about 3 years ago, at a Wake the Neighbors Bates dance I
> was met by a cute and not very frightening Japanese exchange student,
> Yukie, who with a very little gentle nudging at Deffa a week later,
> eventually (rapidly, that is) was able to parlay that happenstance
> circumstance into what is now a beautiful and happy marriage. She
> returned to Japan shortly after we completed our courtship and about
> a year later I followed. We're living in Kyoto.
>
> Alas, there is one tragic note attending this otherwise joyous and
> perfect scenario. Japan, you see, is a land thouroughly devoid of one
> essential nutrient: contradancing. You can imagine my dismay, tears,
> and lamentations. Sadly, then, since my arrival, I have been quietly
> (well not so quietly) teaching english while secretly incubating evil
> plans to conquer Japan, then Asia, then the world in 64 (drastic)
> measures (hmmm--- good name for a dance). This month, my long patient
> agony of waiting has begun to pay off. I have been given the
> opportunity to indoctrinate a few trusting and innocent souls into
> the sublime mysteries of la dance du contra and create an army of
> swiftfooted robots, ready and willing to do my bidding at every call.
> SOON I WILL CONQUER THE WORLD!!!
>
> ahem.
>
> please excuse me while my medicine kicks in. Ah, yes, thank you. OK,
> where was I? The fact is, my wife and I have been invited to lead a
> contradance workshop at a local festival on October 20. When we found
> out, we began doing as much research as we could on calling and so
> on. We found a few basic dances, like Baby Rose and Diane's Visit and
> Atonement Reel that we like and figured would be suitable and we have
> been practicing calling them. But I really welcome any suggestions...
>
> Actually, above and beyond some decades of doing things proper and
> improper, I took a caller workshop or two from Rick Mohr (thanks
> Rick) so I have a rough idea of what's involved. And I've learned a
> bit from practicing calling and writing a few ad hoc dances on my
> own. For example, I learned that being a dancer has habituated me to
> act ON the beat, but as a caller I need to act BEFORE the beat,
> eh....this flustered me at first. Are there any other typical first
> caller pointers we should be on the lookout for?
>
> In addition, there are a few other associated circumstances in this
> project that create the aforementioned unique situation. In brief
> (HA! fooled you), since I've rattled on too long, here is what I mean:
>
> I don't speak more than the rudiments of Japanese. My wife is still a
> beginner dancer, to wit, she isn't a strong enough one to call on her
> own. Between us we are trying to teach each other what the other
> lacks and hopefully make one good caller out of the two of us. One
> question that has come up is is it better to keep the standard names
> for the figures, or to Japanify them. (We are leaning to the
> former...Japanese has a very high percentage of english loan words,
> and they learn english (poooooorly) in school.) Still, has anyone
> ever tried to call across a language barrier?
>
> Japanese are touch sensitve. They don't touch, they don't give eye
> contact. They don't give weight. (They give wait). They don't hug.
> They don't even say I love you. They are very shy. For example, I am
> told that this is to the point that standing in a line of men facing
> a line of women is likely be uncomfortable, even for the younger
> generation, so Yukie feels we should use mixed couples with armbands
> to distinguish "gender"--I mean position. As we build a community of
> experienced dancers, it would be expected that some of this
> inhibition might wear off...). You can see why they need to dance. On
> the other hand, they are good followers. Any advice for working with
> a shy crowd?
>
> Some or many of the attendees at this workshop, we just found out,
> are likely to be children. Depending on the percentage, it may be
> necessary to do a kids dance, or at least a dance kids could enjoy. I
> am good at working with kids in general, but I would love any advice
> for doing a dance with young people. I don't know or haven't been
> able to find any children's dances, though I assume the Family Dance
> in Yarmouth is still up and I plan to contact Jeff Raymond about it,
> because I can't remember the caller's name (Nancy....) (though we
> have danced and chatted about dancing and calling several times at
> the May Day Festival...gads! say hi if you're listening..).
> So, children's dances are one thing I am looking for.
>
> We are working in a small space...maybe two lines of six couples
> each. Advice for small spaces???　
>
> We are doing three workshops. If the same people return, we may do
> more advanced things, or we may just repeat teh workshop...but I
> would like to try different dances each time, for my practice.
>
> The room will be full of beginners, so no experienced dancers to rely
> on. Ballroom dancing had a certain following here (and in Kyoto there
> is a small set dancing group that we visited...small 14 or so... and
> a square dancing group that we plan to visit. ) but not enough to be
> helpful, in the sense that there are few cultural supports for
> learning (i.e. in the US most everyone knows (even if they don't
> admit it) how to at least fake a waltz or ballroom position...not
> here.) Think martian territory...
>
> I should add that we are seriously working towards starting a regular
> dance here (we've found an available and very suitable space, a
> church hall in a nearby church, for example) and this is for us a
> tryout and possible stepping stone. We want to whet people's
> appetite, and leave them wanting more. We have a half hour to do it...
>
> OK...apologies for the verbose and windy post. Fond regards to all of
> you I know, hajimemashite ("nice to meet you" in japanese, literally
> "beginning") to the rest and many thanks in advance for your time and
> help...cheers...david
>
> nothing rhymes with nostril...
>
>
>
> ______________________________________________________________________
> ____
> __________
> Don't let your dream ride pass you by. Make it a reality with
> Yahoo! Autos.
> [3]http://autos.yahoo.com/index.html
>
>
>
> _______________________________________________
> Callers mailing list
> [4]Callers(a)sharedweight.net
> [5]http://www.sharedweight.net/mailman/listinfo/callers
>
> References
>
> 1. http://www.tsmworks.com/
> 2. mailto:sharedweight.99.kyoto@spamgourmet.com
> 3. http://autos.yahoo.com/index.html
> 4. mailto:Callers@sharedweight.net
> 5. http://www.sharedweight.net/mailman/listinfo/callers
>
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)
____________________________________________________________________________________
Sponsored Link
Get an Online or Campus degree
Associate's, Bachelor's, or Master's - in less than one year.
http://www.findtherightschool.com
Another nice variation on Ellen's Green Jig that Graham Hempel here
in San Diego came up with, is as follows:
A1 Do-si-so neighbor
Women do-si-do
A2 Men do-si-do
Actives swing
B1 (rest is the same) Circle left
Circle right
B2 Duck for the oyster figure, finishing with ones ducking under to next
This is really good for beginners. Balancing and swinging for 12
counts is sometimes a lot for new people who don't know how to swing
or balance, so limiting it to just the 8 count swing without a
balance works out very nicely.
Martha
On Oct 19, 2007, at 9:00 AM, callers-request(a)sharedweight.net wrote:
> Send Callers mailing list submissions to
> callers(a)sharedweight.net
>
> To subscribe or unsubscribe via the World Wide Web, visit
> http://www.sharedweight.net/mailman/listinfo/callers
> or, via email, send a message with subject or body 'help' to
> callers-request(a)sharedweight.net
>
> You can reach the person managing the list at
> callers-owner(a)sharedweight.net
>
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of Callers digest..."
>
>
> Today's Topics:
>
> 1. Re: Callers Digest, Vol 38, Issue 15 (Martha Wild)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Thu, 18 Oct 2007 22:52:27 -0700
> From: Martha Wild <mawild(a)sbcglobal.net>
> Subject: Re: [Callers] Callers Digest, Vol 38, Issue 15
> To: callers(a)sharedweight.net
> Message-ID: <38EEF2DB-9DAC-48B9-8C8D-E6771F081D3F(a)sbcglobal.net>
> Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed
>
> I like to say that whoever is doing the taking "lures" the other
> person back to their side, or entrances, or enchants, etc., and that
> the other person resists the awesome power, or I'll say "be coy"
> which inevitably leads to people doing fish imitations.
>
>
> On Oct 18, 2007, at 9:00 AM, callers-request(a)sharedweight.net wrote:
>
>> Send Callers mailing list submissions to
>> callers(a)sharedweight.net
>>
>> To subscribe or unsubscribe via the World Wide Web, visit
>> http://www.sharedweight.net/mailman/listinfo/callers
>> or, via email, send a message with subject or body 'help' to
>> callers-request(a)sharedweight.net
>>
>> You can reach the person managing the list at
>> callers-owner(a)sharedweight.net
>>
>> When replying, please edit your Subject line so it is more specific
>> than "Re: Contents of Callers digest..."
>>
>>
>> Today's Topics:
>>
>> 1. Re: A New Dance (Jerome Grisanti)
>> 2. Re: Give & Take teaching lines WAS: A New Dance (Joy
>> Greenwolfe)
>>
>>
>> ---------------------------------------------------------------------
>> -
>>
>> Message: 1
>> Date: Wed, 17 Oct 2007 13:45:58 -0500
>> From: "Jerome Grisanti" <jerome.grisanti(a)gmail.com>
>> Subject: Re: [Callers] A New Dance
>> To: callers(a)sharedweight.net
>> Message-ID:
>> <78dbc7c60710171145p133f2d5dq442ff5d878445306(a)mail.gmail.com>
>> Content-Type: text/plain; charset=ISO-8859-1
>>
>> Bob Isaacs wrote:
>>
>> I use terms such as "play hard to get" for those crossing the set,
>> and "turn
>>> on the charm" for those on the receiving side. Anyone else have
>>> some good
>>> lines for this one?
>>>
>>> One of my favorite descriptive lines for potentially flirtatious
>>> moves is
>> "the boy chases the girl until she catches him." Of course, you can
>> use
>> gents and ladies or men and women. And it can be she chasing and him
>> catching, but you get the idea.
>>
>> --
>> Jerome Grisanti
>> 660-528-0858
>> 660-528-0714
>> http://www.jeromegrisanti.com
>>
>>
>> ------------------------------
>>
>> Message: 2
>> Date: Wed, 17 Oct 2007 14:53:46 -0400
>> From: Joy Greenwolfe <joy2the(a)mindspring.com>
>> Subject: Re: [Callers] Give & Take teaching lines WAS: A New Dance
>> To: Caller's discussion list <callers(a)sharedweight.net>
>> Message-ID: <6C4B1CE7-493C-4E9A-B76C-7E66ABE35CEF(a)mindspring.com>
>> Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed
>>
>>
>>> Bob Isaacs wrote:
>>>
>>> I use terms such as "play hard to get" for those crossing the set,
>>> and "turn
>>>> on the charm" for those on the receiving side. Anyone else have
>>>> some good
>>>> lines for this one?
>>>>
>>
>>> On Oct 17, 2007, at 2:45 PM, Jerome Grisanti wrote:
>>>> One of my favorite descriptive lines for potentially flirtatious
>>>> moves is
>>> "the boy chases the girl until she catches him." Of course, you can
>>> use
>>> gents and ladies or men and women. And it can be she chasing and him
>>> catching, but you get the idea.
>>
>> I can't remember from where/who I got this, but I often use the line
>> that it's especially fun if/traditional that "the ladies resist just
>> enough to make it interesting."
>>
>> Joy Greenwolfe
>> Durham, NC
>>
>>
>>
>>
>> ------------------------------
>>
>> _______________________________________________
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A question for newer callers:
Since this is a list specifically to support new callers, I thought I'd ask
what you would like to have covered in a callers discussion workshop.
Specifically, a single session of not more than a couple of hours, so
there's really not time to do a lot of serious teaching. I have lots of
ideas, but it's been a long time since I was a new caller and I want to know
what YOU want to know.
Thanks in advance,
Beth
I like to say that whoever is doing the taking "lures" the other
person back to their side, or entrances, or enchants, etc., and that
the other person resists the awesome power, or I'll say "be coy"
which inevitably leads to people doing fish imitations.
On Oct 18, 2007, at 9:00 AM, callers-request(a)sharedweight.net wrote:
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> Today's Topics:
>
> 1. Re: A New Dance (Jerome Grisanti)
> 2. Re: Give & Take teaching lines WAS: A New Dance (Joy Greenwolfe)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Wed, 17 Oct 2007 13:45:58 -0500
> From: "Jerome Grisanti" <jerome.grisanti(a)gmail.com>
> Subject: Re: [Callers] A New Dance
> To: callers(a)sharedweight.net
> Message-ID:
> <78dbc7c60710171145p133f2d5dq442ff5d878445306(a)mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> Bob Isaacs wrote:
>
> I use terms such as "play hard to get" for those crossing the set,
> and "turn
>> on the charm" for those on the receiving side. Anyone else have
>> some good
>> lines for this one?
>>
>> One of my favorite descriptive lines for potentially flirtatious
>> moves is
> "the boy chases the girl until she catches him." Of course, you can
> use
> gents and ladies or men and women. And it can be she chasing and him
> catching, but you get the idea.
>
> --
> Jerome Grisanti
> 660-528-0858
> 660-528-0714
> http://www.jeromegrisanti.com
>
>
> ------------------------------
>
> Message: 2
> Date: Wed, 17 Oct 2007 14:53:46 -0400
> From: Joy Greenwolfe <joy2the(a)mindspring.com>
> Subject: Re: [Callers] Give & Take teaching lines WAS: A New Dance
> To: Caller's discussion list <callers(a)sharedweight.net>
> Message-ID: <6C4B1CE7-493C-4E9A-B76C-7E66ABE35CEF(a)mindspring.com>
> Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed
>
>
>> Bob Isaacs wrote:
>>
>> I use terms such as "play hard to get" for those crossing the set,
>> and "turn
>>> on the charm" for those on the receiving side. Anyone else have
>>> some good
>>> lines for this one?
>>>
>
>> On Oct 17, 2007, at 2:45 PM, Jerome Grisanti wrote:
>>> One of my favorite descriptive lines for potentially flirtatious
>>> moves is
>> "the boy chases the girl until she catches him." Of course, you can
>> use
>> gents and ladies or men and women. And it can be she chasing and him
>> catching, but you get the idea.
>
> I can't remember from where/who I got this, but I often use the line
> that it's especially fun if/traditional that "the ladies resist just
> enough to make it interesting."
>
> Joy Greenwolfe
> Durham, NC
>
>
>
>
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> End of Callers Digest, Vol 38, Issue 15
> ***************************************
Bob Isaacs wrote:
I use terms such as "play hard to get" for those crossing the set, and "turn
> on the charm" for those on the receiving side. Anyone else have some good
> lines for this one?
>
> One of my favorite descriptive lines for potentially flirtatious moves is
"the boy chases the girl until she catches him." Of course, you can use
gents and ladies or men and women. And it can be she chasing and him
catching, but you get the idea.
--
Jerome Grisanti
660-528-0858
660-528-0714
http://www.jeromegrisanti.com
To All;
With the premission of the author, I'd like to share a new and interesting dance;
The Boomerang Effect Becket-L Roger Auman
A1. 8 Ladies chain to N1
8 R diagonal ladies chain to Sh1
A2. 4 Give and take to gent's side (1)
12 N2 swing
B1. 8 L diagonal R and L through
8 Star L 3/4 (2)
B2. 16 Partner gypsy and swing
(1) - Give and takes to a neighbor are rare, but Roger makes the correct choice here. The natural circle L 3/4, N2 swing creates a sharp change of direction on the R diagonal/circle L transition.
(2) - All start the star across from a second shadow.
The neat part of this dance is that on the R and L through all pass their partner, only to boomerang back to them later on. As far as I know, the passing your partner on a L diagonal R and L through is new.
Roger Auman is a longtime dancer and up-and-coming caller from Philadelphia. He's written some other good ones, and if interested, you can contact him at the email on the CC line.
Bob
_________________________________________________________________
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Update on the dance in Japan:
First of all, many thanks to everyone (Linsay, Lisa, Amy, Greg, Alan, Chip, Pam, John (yes, john, I believe you were the caller when Yukie and I met), David and anyone else, if I missed anyone) for the replies, which I have read with interest. The suggestions were extremely helpful...and I have only a moment for a very quick and dirty update on how it is going:
We did a practice dance with some of the staff of the festival a week ago monday, and it went very well. They were having a blast, and I learned a lot about calling. People seemed to have no problem understanding calls in english (if I kept them simple), and yukie and I had no real problems calling...
We were worried that we weren't going to have any musicians, when this week the members on a session group stepped up. We went to their session last night and they were great, and they have sets all picked out, so that piece is going well (except I may not have a microphone...hmmm)
I appreciate the suggestions on dances to call, and we have a nice long list of possibles that we are going to have at our disposal depending on how many kids, how quickly people learn, how much space etc. So I feel like we are ready on that front. Right now it looks like we are going to go with some dances from Heinrick Fischle's website...I don't recall the name, but we are still looking the list over.
ANyhow, I have to scoot, but I will update later, and comment more specifically to what people said. THANK YOU SOOOOO MUCH for the SUGGESTIONS!!!!!!!!! I am sooooo excited about this I am bursting at the seams...
david
nothing rhymes with nostril...
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