Dave,
My vacation was on my mind and also the Dance MudPies & Brownies which does not have a circle in it. For some reason I have linked Warming up the Car and the previously titled dance. Both are dances that I enjoy dancing.
See ya all,
Dan Black
----- Original Message ----
From: Dave Colestock <contradancerdave(a)yahoo.com>
To: Caller's discussion list <callers(a)sharedweight.net>
Sent: Saturday, October 6, 2007 5:30:45 PM
Subject: Re: [Callers] Dance Name
Dan,
I wonder if you noticed the circle left 3/4 in the B2?!? Nice dance, but WITH a circle.
Dave Colestock
Dan Black <blackjunier(a)yahoo.com> wrote:
Rich,
Wow I finally got one of these. The name of the dance is Warming up the Car by who you said. Nice dance without a circle. Enjoy.
Dan
----- Original Message ----
From: Rich Goss
To: Shared Weight
Sent: Saturday, October 6, 2007 1:02:30 AM
Subject: [Callers] Dance Name
Hi,
Hope someone can shed some light on this. I copied down a dance recently
but did not catch the name. I didn't have a chance to ask the caller.
The dance was written by Nick Boulet. Here are the moves.
A1: Long wavy lines (women facing out) Balance, allemande left
...to a ladies chain.
A2: Hey (ladies st pass rt sh)
B1: Partner Bal and Swing
B2: Circle left 3/4, Pass thru and alle left next to form long wave (A1)
It was fun to dance to.
Rich
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I've composed three dances that I'd like to put out to the list for
feedback. I'd appreciate any comments you might have.
Walter
Sadie and theBack door
Duple, Improper
Walter Daves
A1: Neighbor gypsy and swing
A2: Gents allemande left 1.5 to partner; partner swing
B1: Gents start hey for 4, passing left shoulders in the center
B2: Circle left 3 places; balance the ring; partner California twirl to
face next
This dance was inspired by Jere Canote's tune of the same name about his
cat, Sadie, who would meow at the front door to get out, then
immediately go around to the back door and meow to get back in. It
works pretty well with that tune.
Nail That Catfish to the Tree
Duple, Improper
Walter Daves and Bob Dalsemer
A1: In ring of 4, balance the ring; circle left 2 places; balance the
ring; circle left two places, back to starting point.
A2: Couple # 1 balance and swing
B1: Neighbor do-si-do and swing; end facing down the hall with #2
couple in the middle
B2: Down the hall 4 in line, turn single, return, #2s arch and #1s duck
thru to next.
To avoid the rush from B2 to the next A1, encourage the dancers to turn
around after only 4 steps down the hall.
I wrote this dance 3 years ago at the John C. Campbell Folk School Dance
Caller's workshop. Bob Dalsemer made a couple of improvements.
It was inspired by Steve Rosen's tune of the same name, and works well
with that tune. We play it in a medley with Squirrel Heads and Gravy,
which also works well.
Little Nell
Duple, impoper
Walter Daves
Line up in a wavy line of 4, with ladies in the center
A1: Balance the line; allemande right .5 to wavy line with gents in
center; balance the line;
Gents allemande left to partner
A2: Partner balance and swing
B1: Ladies allemande right 1.5 to neighbor; neighbor swing
B2: Circle left; balance the circle; ladies roll away to change places
with partner; pass thru to next
Inspired by Tony Mates' tune of the same name.
*/ / *
Rich,
Wow I finally got one of these. The name of the dance is Warming up the Car by who you said. Nice dance without a circle. Enjoy.
Dan
----- Original Message ----
From: Rich Goss <richgoss(a)comcast.net>
To: Shared Weight <callers(a)sharedweight.net>
Sent: Saturday, October 6, 2007 1:02:30 AM
Subject: [Callers] Dance Name
Hi,
Hope someone can shed some light on this. I copied down a dance recently
but did not catch the name. I didn't have a chance to ask the caller.
The dance was written by Nick Boulet. Here are the moves.
A1: Long wavy lines (women facing out) Balance, allemande left
...to a ladies chain.
A2: Hey (ladies st pass rt sh)
B1: Partner Bal and Swing
B2: Circle left 3/4, Pass thru and alle left next to form long wave (A1)
It was fun to dance to.
Rich
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Hi all.
I've recently enjoyed leading Ellen's Green Jig (and modified versions of) in both Sicilian and Contra-formation. I found this dual-method to be particually effective during the lesson or at the beginning of an evening that's community or family-oriented, at wedding/special events, or when the "bus load of beginners" walk in.
First, I teach the dance in Sicilian formation. The benefits of this include: 1) I can quickly get folks moving, laughing, and having fun without too much instruction2) Introduce the balance and swing move, as well as identify 1's and 2's as each take a turn to try it.
3) Dancers tend to pay attention to the calls because I modify the moves through my calls as in square/KY set dancing
4) I can avoid discussing "improper"/changing over at the heads since the Sicilian circle is, in essence, a contra dance longways set that has been bent around so the ends meet so that dancers stay active or inactive throughout the dance.
If and when appropriate, after several times through the dance with music, we promenade around the ring, and form long lines and dance it contra-style. Since dancers already know the dance, I can address the "improper" issue without creating too much confusion.
Sincerely,Wendy Graham
970-903-9402
PO Box 806 Durango, Co 81302
www.folkmads.org/wendy.html
> From: callers-request(a)sharedweight.net> Subject: Callers Digest, Vol 38, Issue 6> To: callers(a)sharedweight.net> Date: Thu, 4 Oct 2007 12:00:02 -0400> > 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: Ellen's Green Jig (David Millstone) (Chip Hedler)> 2. Tweaked version of Ellen's Green Jig (Chip Hedler)> > > ----------------------------------------------------------------------> > Message: 1> Date: Wed, 3 Oct 2007 17:25:47 -0400> From: "Chip Hedler" <CHedler(a)rumney.org>> Subject: Re: [Callers] Ellen's Green Jig (David Millstone)> To: <callers(a)sharedweight.net>> Message-ID:> <3AC8A721C63BB34282D076C566F5868001D2F642(a)adminserver9u32.U32.ORG>> Content-Type: text/plain; charset="iso-8859-1"> > David Millstone had provided the figures for a dance proven to be as close to sure-fire as a genuine contra can get at many, many events I've called where the dancers are all beginners and very young and/or very old. I find it much more effective than Jefferson and Liberty, a "chestnut" often recommended for beginners.> > Ellen's Green Jig (Roy Dommett) > longways, duple minor> > A1 Do-si-do neighbor > Do-si-do partner > > A2 Ones balance and swing> > B1 Circle left; Circle right> > B2 Square dance figure, Duck for the Oyster, Dive for the Clam: Still joined in> a circle, twos arch and ones duck partially under and then back up to place.> Ones arch and twos duck under and then back up. Ones duck all the way through> Twos' arch, drop hands with old neighbors to meet new neighbors.) > > "Duck for the oyster, dive for the clam, duck through the hole in the old tin> can" or similar patter> > ========================> > Here's a dance based on Ellen's Green Jig that has turned out to be very nearly as successful with more action and stronger connection:> > A1: Couples ("partners welded together") do-si-do each other; all four circle LEFT (flows very nicely; could do in opposite order)> > A2: All balance and swing (or just the ones, if you need the twos to keep the ones oriented correctly when the swing ends)> > B1: Right-hand star; circle RIGHT> > B2: Same as Ellen's Green Jig. I describe the duck/peek through the arch as a sneak preview> of both couples' final destination and have twos initiate the progression by carrying their arch over the ones, who should duck down and then step forward through the arch. Otherwise, the set migrates away from the music significantly.> > This is a good dance for introducing stuff like the improper formation and the orthodox way to end a swing, but ignoring both of those issues has not impaired its success.> > Chip Hedler> chiph(a)rumney.org> chedler(a)rumney.org> > -------------- next part --------------> A non-text attachment was scrubbed...> Name: not available> Type: application/ms-tnef> Size: 3652 bytes> Desc: not available> Url : http://www.sharedweight.net/pipermail/callers/attachments/20071003/cdc72c75… > > ------------------------------> > Message: 2> Date: Thu, 4 Oct 2007 06:34:25 -0400 (EDT)> From: "Chip Hedler" <chiph(a)rumney.org>> Subject: [Callers] Tweaked version of Ellen's Green Jig> To: callers(a)sharedweight.net> Message-ID:> <51001.216.57.115.226.1191494065.squirrel(a)earthcovenant.org>> Content-Type: text/plain;charset=iso-8859-1> > -- > Jerome Grisanti (http://www.jeromegrisanti.com) asked me where a tweaked> version of Ellen's Green Jig comes from. The source would be me, but I> never got around to naming it. If folks think it's worthy of an> independent identity, maybe it should be "Knights of Pythias" because> that's the little hall in Danville where I started substituting it for> Ellen's Green Jig a good number of years ago.> > The dance again, with a few of the walkthrough cues that have helped> beginners:> > > A1: Couples ("partners welded together") slide left into a do-si-do around> each other; all four circle LEFT (flows very nicely; could do in opposite> order)> > A2: All balance and swing (or just the ones, if you need the twos to keep> the ones oriented correctly when the swing ends); "face the other couple"> > B1: Right-hand star; circle RIGHT to home place, "keep the circle"> > B2: With hands joined all the while, twos arch, ones duck under and> retreat; ones arch and twos duck; "twos over, ones under, on to the next."> > > Chip Hedler> chiph(a)rumney.org> chedler(a)rumney.org> > > ------------------------------> > _______________________________________________> Callers mailing list> Callers(a)sharedweight.net> http://www.sharedweight.net/mailman/listinfo/callers> > > End of Callers Digest, Vol 38, Issue 6> **************************************
_________________________________________________________________
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--
Jerome Grisanti (http://www.jeromegrisanti.com) asked me where a tweaked
version of Ellen's Green Jig comes from. The source would be me, but I
never got around to naming it. If folks think it's worthy of an
independent identity, maybe it should be "Knights of Pythias" because
that's the little hall in Danville where I started substituting it for
Ellen's Green Jig a good number of years ago.
The dance again, with a few of the walkthrough cues that have helped
beginners:
A1: Couples ("partners welded together") slide left into a do-si-do around
each other; all four circle LEFT (flows very nicely; could do in opposite
order)
A2: All balance and swing (or just the ones, if you need the twos to keep
the ones oriented correctly when the swing ends); "face the other couple"
B1: Right-hand star; circle RIGHT to home place, "keep the circle"
B2: With hands joined all the while, twos arch, ones duck under and
retreat; ones arch and twos duck; "twos over, ones under, on to the next."
Chip Hedler
chiph(a)rumney.org
chedler(a)rumney.org
David Millstone had provided the figures for a dance proven to be as close to sure-fire as a genuine contra can get at many, many events I've called where the dancers are all beginners and very young and/or very old. I find it much more effective than Jefferson and Liberty, a "chestnut" often recommended for beginners.
Ellen's Green Jig (Roy Dommett)
longways, duple minor
A1 Do-si-do neighbor
Do-si-do partner
A2 Ones balance and swing
B1 Circle left; Circle right
B2 Square dance figure, Duck for the Oyster, Dive for the Clam: Still joined in
a circle, twos arch and ones duck partially under and then back up to place.
Ones arch and twos duck under and then back up. Ones duck all the way through
Twos' arch, drop hands with old neighbors to meet new neighbors.)
"Duck for the oyster, dive for the clam, duck through the hole in the old tin
can" or similar patter
========================
Here's a dance based on Ellen's Green Jig that has turned out to be very nearly as successful with more action and stronger connection:
A1: Couples ("partners welded together") do-si-do each other; all four circle LEFT (flows very nicely; could do in opposite order)
A2: All balance and swing (or just the ones, if you need the twos to keep the ones oriented correctly when the swing ends)
B1: Right-hand star; circle RIGHT
B2: Same as Ellen's Green Jig. I describe the duck/peek through the arch as a sneak preview
of both couples' final destination and have twos initiate the progression by carrying their arch over the ones, who should duck down and then step forward through the arch. Otherwise, the set migrates away from the music significantly.
This is a good dance for introducing stuff like the improper formation and the orthodox way to end a swing, but ignoring both of those issues has not impaired its success.
Chip Hedler
chiph(a)rumney.org
chedler(a)rumney.org
Ellen's Green Jig (Roy Dommett)
longways, duple minor
A1 Do-si-do neighbor
Do-si-do partner
A2 Ones balance and swing
B1 Circle left; Circle right
B2 Square dance figure, Duck for the Oyster, Dive for the Clam: Still joined in
a circle, twos arch and ones duck partially under and then back up to place.
Ones arch and twos duck under and then back up. Ones duck all the way through
Twos' arch, drop hands with old neighbors to meet new neighbors.)
"Duck for the oyster, dive for the clam, duck through the hole in the old tin
can" or similar patter
> 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.)
Well, well, well... nice to hear what's emerged from our local dance series long
ago!
I've no experience teaching dances in Japan, but:
a) I've taught dances in Denmark (good number of English speakers), in the Czech
Republic (some English speakers nut fewer), and to kids in Bratislava, Slovak
Republic (virtually no English speakers)
b) I know several ofther folks who have taught dance in Japan
Bottom line: I don't foresee many problems.
As a Czech dance teacher told me, based on lots of experience working with
Japanese dancers who come to Prague to learn traditional Czech dance (which does
involve physical contact) and who has taught in Japan as well, "Japanese are the
best
dancers and students in the world and it is a pleasure to work with them. They
can repeat almost everything and are very orderly."
Ahmet Luleci, who travels internationally teaching Turkish dance, tells the
story of the time he was teaching to a group of several hundred in Japan. In the
middle of a complicated dance, his translator had to leave the room, so Ahmet
continued on his own. Suddenly, he noticed that that his shoelace was untied. He
bent down to tie his shoe, and upon rising, also wiped some sweat from his
forehead. He looked around the room and saw several hundred people bent over
shoelaces and/or wiping their foreheads, copying his every move.
Lessons (most reiterating what others have said, for emphasis):
1a) Keep your dances simple. The idea is to give them a taste of American style
dancing, with American music.
1b) Simple dances can be taught more quickly, which increases the amount of time
spent dancing to music and minimizes the time spent listening to translated
instructions.
2) You can get through the event just fine without calling any bonafide contras.
(see note below)
3) Show more than you speak. A clear demonstration will let people learn all
kinds of movement without language. I taught Rod's Quad #2 to a group in Prague
a few years ago-- it's a complex double quadrille-- and once one group got it
and was able to demonstrate it, the hall of 200+ dancers was able to replicate
the dance.
4) Use English words for figures. If, as you hope, this may turn into something
that continues, people might as well learn the vocabulary. It's possible to call
dances in Denmark-- home of the world's most thriving contra and traditional
square dance community-- to folks who cannot speak English but who do know the
names of twenty or thirty basic figures. Why? Because thirty years ago, when she
was getting this scene started, Margot Gunzenhauser decided that she would make
sure that figures are called in English. This means that American and English
callers can visit often-- and they do-- and that Danish dancers can dance
contras and squares elsewhere with pleasure, using a shared vocabulary.
5) Pick great music!
Let us all know how it turns out.
David Millstone
Lebanon, NH
P.S. If you really want to call a contra, I'd recommend this one.
Family Contra (Sherry Nevins)
duple minor-- don't worry about gender, proper or improper
A1 Balance ring 2x, circle left 1x
("Go IN... and OUT... and IN... and OUT)
A2 Balance ring 2x, circle right 1x
B1 DSD with neighbor, DSD with partner
B2 Facing other couple and with inside hands joined with partner, DSD 1.5 as a
couple to progress
[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...
____________________________________________________________________________________
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David,
I was likely calling the dance when you met Yukie. Congratulations! No
wonder I haven't seen you around lately.
I have to very strongly urge you to follow the advice of Lindsey and Lisa.
That is exactly what I would do. Keep it VERY BASIC or as Ted Sannella
advised, KISS!
That said, check with Eric Black <eric(a)mirador.com>. I know Eric from
NEFFA among other venues. He has lived in Tokyo and led contra dancing
there. I can't vouch for the above email but he was in the Bay Area last I knew.
Good lick, John McIntire, Unity Maine
