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
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
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.
*/ / *
Many thanks to all who post on this list. I enjoy reading the digests, and digesting them myself - to inform my calling practice (whether the posts are about repertoire, teaching techniques, attitude and philosophical underpinnings, affirmation +/or virtual-kicks-in-the-behind, or sheer entertainment.) A gift indeed.
Chrissy Fowler* * * * * * * * * * * * * * * * * * * Check out our dance series at http://www.belfastflyingshoes.org home 207-338-0979 cell 603-498-3506
_________________________________________________________________
Discover the new Windows Vista
http://search.msn.com/results.aspx?q=windows+vista&mkt=en-US&form=QBRE
Re: When to abort a dance?
Some time ago we had a situation where the scheduled caller was
suddenly unable to call one night, so several of us took turns during
the night. Our banjo player is a caller, so she left the band to get
up and call a few, then sat down again. The next caller was teaching
a dance, when suddenly, just as we were called upon for the four
potatoes, not only did I recognize it as one I wrote, but I realized
it was the same dance that my friend had called earlier. We stared at
each other, began playing, and watched. Nothing seemed to happen,
everyone danced happily. At the end of the dance I asked a few of the
dancers what they thought of the dance, and they were all happy -
when I told them it was one they'd done previously in the evening,
their common response was "No wonder it seemed so familiar!" But no
one seemed aware at the time that it was the same dance. And we all
got a laugh out of it.
So, Chris, don't sweat it too much! It probably seemed worse than it
was because you were feeling worse than usual. If you "smile and keep
moving" as my aunt says, a lot will be forgiven and forgotten.
Martha
On Sep 26, 2007, at 5:50 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
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> 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. when to abort a dance (Chris Weiler)
> 2. Re: when to abort a dance (Alan Winston - SSRL Central
> Computing)
> 3. Re: when to abort a dance (Robert Golder)
> 4. Please Correct A Pirate (Rickey)
> 5. Re: Please Correct A Pirate (David Giusti)
> 6. Re: when to abort a dance (Dan Black)
> 7. Re: Please Correct A Pirate (Tepfer, Seth)
> 8. Re: Please Correct A Pirate (Lisa Greenleaf)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Wed, 26 Sep 2007 00:51:14 -0400
> From: Chris Weiler <chris.weiler(a)weirdtable.org>
> Subject: [Callers] when to abort a dance
> To: Shared Weight <callers(a)sharedweight.net>
> Message-ID: <46F9E542.1000707(a)weirdtable.org>
> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>
> Hello everyone,
>
> Tonight I had a pretty bad gig (just a hint: don't schedule a dentist
> appointment for the afternoon before your gig). So tonight I made some
> choreographic goofs when choosing my dances. One dance I realized that
> it didn't flow as well as I would have hoped after the walkthrough.
> Should I have aborted and called something else? Tom Hinds has a
> line "I
> don't like that dance, let's do something else". However, he usually
> follows it by teaching the very same dance again. I stuck with it and
> just ran the dance a little shorter.
>
> The same thing happened a little later when I called two dances in
> a row
> with the sequence: ladies chain, ladies "x" once around, partner
> swing.
> I realized it during the walk through, but went ahead and called it
> anyway.
>
> What do you think? Abort or deal with it?
>
> Chris Weiler
> Goffstown, NH
> http://www.chrisweiler.ws/
>
>
>
>
> ------------------------------
>
> Message: 2
> Date: Tue, 25 Sep 2007 21:54:37 -0700 (PDT)
> From: Alan Winston - SSRL Central Computing
> <winston(a)slac.stanford.edu>
> Subject: Re: [Callers] when to abort a dance
> To: Chris Weiler <chris.weiler(a)weirdtable.org>
> Cc: Shared Weight <callers(a)sharedweight.net>
> Message-ID: <01MLSHX9KT92FP4SVF(a)SSRL.SLAC.STANFORD.EDU>
> Content-Type: TEXT/PLAIN; CHARSET=us-ascii
>
> Chris wrote:
>
>> Tonight I had a pretty bad gig (just a hint: don't schedule a dentist
>> appointment for the afternoon before your gig). So tonight I made
>> some
>> choreographic goofs when choosing my dances. One dance I realized
>> that
>> it didn't flow as well as I would have hoped after the walkthrough.
>> Should I have aborted and called something else? Tom Hinds has a
>> line "I
>> don't like that dance, let's do something else". However, he usually
>> follows it by teaching the very same dance again. I stuck with it and
>> just ran the dance a little shorter.
>
> What wastes as little as possible of the dancer's time? Bag it if
> it doesn't
> work during the walkthrough, but if it's merely a little
> infelicitous in the
> dance and you can keep it working by prompting, then running it
> long enough
> that it feels like a dance, but not as long as a *good* dance seems
> like a good
> choice.
>
>> The same thing happened a little later when I called two dances in
>> a row
>> with the sequence: ladies chain, ladies "x" once around, partner
>> swing.
>> I realized it during the walk through, but went ahead and called
>> it anyway.
>
>> What do you think? Abort or deal with it?
>
> Depends on the crowd, and on where you are in the evening. If
> there are enough
> beginners, doing something like this can be a positive, confidence-
> building
> strategy. If there are too many sharpies in the crowd, you can
> expect joshing
> later.
>
> But you're really asking how to make judgments when your judgment's
> impaired
> (by pain or anesthesia or whatever). That's a harder question.
>
> -- Alan
>
> --
> ======================================================================
> =========
> Alan Winston --- WINSTON(a)SSRL.SLAC.STANFORD.EDU
> Disclaimer: I speak only for myself, not SLAC or SSRL Phone:
> 650/926-3056
> Paper mail to: SSRL -- SLAC BIN 99, 2575 Sand Hill Rd, Menlo Park
> CA 94025
> ======================================================================
> =========
>
>
>
> ------------------------------
>
> Message: 3
> Date: Wed, 26 Sep 2007 01:18:45 -0400
> From: Robert Golder <robertgolder(a)comcast.net>
> Subject: Re: [Callers] when to abort a dance
> To: Caller's discussion list <callers(a)sharedweight.net>
> Message-ID: <1b344666e77c5116fe3e7c28a6f83d19(a)comcast.net>
> Content-Type: text/plain; charset=US-ASCII; format=flowed
>
> It's extremely useful to have some dances thoroughly memorized. I
> would
> call something else if I knew what the "something else" was going
> to be
> (preferably using one of my can't-fail memorized dances), and
> understood why the new dance I selected was going to work better than
> my original choice. Otherwise, I'd just accept that the next couple of
> dances share some choreography, call them as well as possible, and
> move
> on. Whichever option you choose, decide quickly and carry out your
> decision with confidence. ... Bob
>
> Robert Jon Golder
> 164 Maxfield St
> New Bedford, MA 02740 USA
> 508-999-2486
>
> On Sep 26, 2007, at 12:51 AM, Chris Weiler wrote:
>
>> Hello everyone,
>>
>> Tonight I had a pretty bad gig (just a hint: don't schedule a dentist
>> appointment for the afternoon before your gig). So tonight I made
>> some
>> choreographic goofs when choosing my dances. One dance I realized
>> that
>> it didn't flow as well as I would have hoped after the walkthrough.
>> Should I have aborted and called something else? Tom Hinds has a line
>> "I
>> don't like that dance, let's do something else". However, he usually
>> follows it by teaching the very same dance again. I stuck with it and
>> just ran the dance a little shorter.
>>
>> The same thing happened a little later when I called two dances in a
>> row
>> with the sequence: ladies chain, ladies "x" once around, partner
>> swing.
>> I realized it during the walk through, but went ahead and called it
>> anyway.
>>
>> What do you think? Abort or deal with it?
>>
>> Chris Weiler
>> Goffstown, NH
>> http://www.chrisweiler.ws/
>
>
>
> ------------------------------
>
> Message: 4
> Date: Wed, 26 Sep 2007 07:19:18 -0400
> From: "Rickey" <holt.e(a)comcast.net>
> Subject: [Callers] Please Correct A Pirate
> To: <callers(a)sharedweight.net>
> Message-ID: <000001c8002f$1672e2f0$020fa8c0@maxx>
> Content-Type: text/plain; charset="iso-8859-1"
>
> Hi I have some more incomplete notes on dances. Hard as I try, my
> own notes
> don?t always make sense to me when I get to look at them. I very much
> appreciate the help I have gotten in the past. Here are questions
> on some
> more. If you know any of these dances I would appreciate you help
> again.
>
> Rickey Holt, Fremont, NH
>
> A Pirate?s Life for Me, author?
>
> (Duple Improper)
>
> A1 Neighbor Balance and Swing
>
> A2 Pass to a wave (men slide past each other into a wavey
> line of 4
> across the set)
>
> ??????
>
> Men Allemande Left to Partner
>
> B1 Partner Balance and Swing
>
> B2 Women Dos 1 ?
>
> Neighbor Gypsy (just a ?glance?)
>
> Progress to New Neighbors
>
> QUESTION: My notes on A2 seem incomplete
>
>
>
> Feet in Flight, Dale Rempert
>
> (Duple Improper)
>
> in A1 (4) Balance the ring
>
> (4) Ladies Roll neighbor GENT away with a 1/2 sashay
> (Rt to L)
>
> (8) Ladies chain to Partner
>
> QUESTION: I am not familiar with doing a roll away from a circle
> formation,
> and by the time dancers are doing a ladies chain, I expect that
> they are in
> a line. How and when do you have dancers transition into a line
> when you
> call this dance.
>
>
>
> QUESTION: I have the same problem in
>
> FORTY MOHR YEARS, Sue Rosen
>
> (Becket)
>
> in B1 Balance the ring
>
> Roll Away with a Half Sashay (Ladies or Gents Roll Away,
> depending on the version)
>
> Ladies Chain
>
>
>
> Pedal Pushers, Bob Dalsemer
>
> (Duple Improper)
>
> in A1 Gents Al? Left 1 1/2,
>
> Scoop Up Partner Star Promenade
>
> Butterfly Twirl
>
> QUESTION: What is the timing?
>
>
>
>
>
>
>
>
>
> ------------------------------
>
> Message: 5
> Date: Wed, 26 Sep 2007 08:02:30 -0400
> From: David Giusti <David.Giusti(a)oberlin.edu>
> Subject: Re: [Callers] Please Correct A Pirate
> To: Caller's discussion list <callers(a)sharedweight.net>
> Message-ID: <f9ede9e910395.10395f9ede9e9(a)oberlin.edu>
> Content-Type: text/plain; charset=iso-8859-1
>
> One of my favorite dances to call!
>
> It's a Pirate's Life for Me, by Nathanial Jack
> I got it from Nils Fredland's calling
> improper
> A1. N B+S
> A2. Pass through to a short wavey line/ocean wave* (4), Balance the
> wave
> R+L (4)
> Slide right (4), gents allemande left once (4)**
> B1. P B+S
> B2. Ladies allemande right 1 1/2
> Neighbor allemande right 1 1/2 to new neighbor (actually 1 3/4,
> but
> who's counting)
>
> *everybody passes through across; ladies catch left hands, give
> right to
> neighbor in short wave -- ladies in the middle, gents on ends.
>
> **This is confusing during the walkthrough, since the gents actually
> have to slide past two people, unlike the usual wave balance/slide
> figure. As long as the gents allemande by the left hand, things
> will be
> fine -- you just have to make them beleive that's how the dance goes,
> really.
>
> -David Giusti
>
> ----- Original Message -----
> From: Rickey <holt.e(a)comcast.net>
> Date: Wednesday, September 26, 2007 7:19 am
> Subject: [Callers] Please Correct A Pirate
> To: callers(a)sharedweight.net
>
>> Hi I have some more incomplete notes on dances. Hard as I try, my
>> own notes
>> don?t always make sense to me when I get to look at them. I very
>> much
>> appreciate the help I have gotten in the past. Here are questions
>> on some
>> more. If you know any of these dances I would appreciate you help
>> again.
>> Rickey Holt, Fremont, NH
>>
>> A Pirate?s Life for Me, author?
>>
>> (Duple Improper)
>>
>> A1 Neighbor Balance and Swing
>>
>> A2 Pass to a wave (men slide past each other into a wavey
>> line of 4
>> across the set)
>>
>> ??????
>>
>> Men Allemande Left to Partner
>>
>> B1 Partner Balance and Swing
>>
>> B2 Women Dos 1 ?
>>
>> Neighbor Gypsy (just a ?glance?)
>>
>> Progress to New Neighbors
>>
>> QUESTION: My notes on A2 seem incomplete
>>
>>
>>
>> Feet in Flight, Dale Rempert
>>
>> (Duple Improper)
>>
>> in A1 (4) Balance the ring
>>
>> (4) Ladies Roll neighbor GENT away with a 1/2 sashay
>> (Rt to L)
>>
>> (8) Ladies chain to Partner
>>
>> QUESTION: I am not familiar with doing a roll away from a circle
>> formation,and by the time dancers are doing a ladies chain, I
>> expect that they are in
>> a line. How and when do you have dancers transition into a line
>> when you
>> call this dance.
>>
>>
>>
>> QUESTION: I have the same problem in
>>
>> FORTY MOHR YEARS, Sue Rosen
>>
>> (Becket)
>>
>> in B1 Balance the ring
>>
>> Roll Away with a Half Sashay (Ladies or Gents Roll Away,
>> depending on the version)
>>
>> Ladies Chain
>>
>>
>>
>> Pedal Pushers, Bob Dalsemer
>>
>> (Duple Improper)
>>
>> in A1 Gents Al? Left 1 1/2,
>>
>> Scoop Up Partner Star Promenade
>>
>> Butterfly Twirl
>>
>> QUESTION: What is the timing?
>>
>>
>>
>>
>>
>>
>>
>> _______________________________________________
>> Callers mailing list
>> Callers(a)sharedweight.net
>> http://www.sharedweight.net/mailman/listinfo/callers
>>
>
>
> ------------------------------
>
> Message: 6
> Date: Wed, 26 Sep 2007 05:08:21 -0700 (PDT)
> From: Dan Black <blackjunier(a)yahoo.com>
> Subject: Re: [Callers] when to abort a dance
> To: Caller's discussion list <callers(a)sharedweight.net>
> Message-ID: <425464.34200.qm(a)web52208.mail.re2.yahoo.com>
> Content-Type: text/plain; charset=us-ascii
>
> Chris,
>
> First off I'd like to say thanks for sharing the so called bad with
> the so called good. So I am not the only caller that has learning
> experiences, thanks for helping me not feel alone with this.
> Pardon my soap box. If you could do it over again what would you
> do different this time? The reason I say that is in August was a
> learning experience for me. Doing a walkthrough from the stage and
> it doesn't look right but I went with it anyway. Like you I ran it
> short and got on with the next dance.
>
> For me I would not call at the same monthly dance two months in a
> row nor saying yes when I really didn't want to call. For me I
> can't fake calling with enthusiasm. In this same dance, I tried a
> dance that I had walked through the dance during the break at
> another dance. I knew the dance worked but there was a glitch in
> the progression during the walkthrough. After a demo and one walk
> through, I canned the dance immediately. There was no way for me
> to recover this after the problem dance in the first half.
>
> See ya from the floor,
> Dan Black
>
> ----- Original Message ----
> From: Chris Weiler <chris.weiler(a)weirdtable.org>
> To: Shared Weight <callers(a)sharedweight.net>
> Sent: Wednesday, September 26, 2007 12:51:14 AM
> Subject: [Callers] when to abort a dance
>
>
> Hello everyone,
>
> Tonight I had a pretty bad gig (just a hint: don't schedule a dentist
> appointment for the afternoon before your gig). So tonight I made some
> choreographic goofs when choosing my dances. One dance I realized that
> it didn't flow as well as I would have hoped after the walkthrough.
> Should I have aborted and called something else? Tom Hinds has a
> line "I
> don't like that dance, let's do something else". However, he usually
> follows it by teaching the very same dance again. I stuck with it and
> just ran the dance a little shorter.
>
> The same thing happened a little later when I called two dances in
> a row
> with the sequence: ladies chain, ladies "x" once around, partner
> swing.
> I realized it during the walk through, but went ahead and called it
> anyway.
>
> What do you think? Abort or deal with it?
>
> Chris Weiler
> Goffstown, NH
> http://www.chrisweiler.ws/
>
>
> _______________________________________________
> Callers mailing list
> Callers(a)sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>
>
>
> ______________________________________________________________________
> ______________
> Tonight's top picks. What will you watch tonight? Preview the
> hottest shows on Yahoo! TV.
> http://tv.yahoo.com/
>
>
>
> ------------------------------
>
> Message: 7
> Date: Wed, 26 Sep 2007 08:27:35 -0400
> From: "Tepfer, Seth" <LABST(a)emory.edu>
> Subject: Re: [Callers] Please Correct A Pirate
> To: "Caller's discussion list" <callers(a)sharedweight.net>
> Message-ID:
> <6EEB8893AB79164AA2F130789B5306DD3839D1(a)DMZEVS1.Eu.Emory.Edu>
> Content-Type: text/plain; charset="iso-8859-1"
>
> What's the story behind the name?
>
> Seth Tepfer
> Director of Administrative Computing
> Oxford College of Emory University
> seth.tepfer(a)emory.edu
> 770-784-8487
>
> -----Original Message-----
> From: callers-bounces(a)sharedweight.net [mailto:callers-
> bounces(a)sharedweight.net] On Behalf Of David Giusti
> Sent: Wednesday, September 26, 2007 8:03 AM
> To: Caller's discussion list
> Subject: Re: [Callers] Please Correct A Pirate
>
> One of my favorite dances to call!
>
> It's a Pirate's Life for Me, by Nathanial Jack
> I got it from Nils Fredland's calling
> improper
> A1. N B+S
> A2. Pass through to a short wavey line/ocean wave* (4), Balance the
> wave
> R+L (4)
> Slide right (4), gents allemande left once (4)**
> B1. P B+S
> B2. Ladies allemande right 1 1/2
> Neighbor allemande right 1 1/2 to new neighbor (actually 1 3/4,
> but
> who's counting)
>
> *everybody passes through across; ladies catch left hands, give
> right to
> neighbor in short wave -- ladies in the middle, gents on ends.
>
> **This is confusing during the walkthrough, since the gents actually
> have to slide past two people, unlike the usual wave balance/slide
> figure. As long as the gents allemande by the left hand, things
> will be
> fine -- you just have to make them beleive that's how the dance goes,
> really.
>
> -David Giusti
>
> ----- Original Message -----
> From: Rickey <holt.e(a)comcast.net>
> Date: Wednesday, September 26, 2007 7:19 am
> Subject: [Callers] Please Correct A Pirate
> To: callers(a)sharedweight.net
>
>> Hi I have some more incomplete notes on dances. Hard as I try, my
>> own notes
>> don?t always make sense to me when I get to look at them. I very
>> much
>> appreciate the help I have gotten in the past. Here are questions
>> on some
>> more. If you know any of these dances I would appreciate you help
>> again.
>> Rickey Holt, Fremont, NH
>>
>> A Pirate?s Life for Me, author?
>>
>> (Duple Improper)
>>
>> A1 Neighbor Balance and Swing
>>
>> A2 Pass to a wave (men slide past each other into a wavey
>> line of 4
>> across the set)
>>
>> ??????
>>
>> Men Allemande Left to Partner
>>
>> B1 Partner Balance and Swing
>>
>> B2 Women Dos 1 ?
>>
>> Neighbor Gypsy (just a ?glance?)
>>
>> Progress to New Neighbors
>>
>> QUESTION: My notes on A2 seem incomplete
>>
>>
>>
>> Feet in Flight, Dale Rempert
>>
>> (Duple Improper)
>>
>> in A1 (4) Balance the ring
>>
>> (4) Ladies Roll neighbor GENT away with a 1/2 sashay
>> (Rt to L)
>>
>> (8) Ladies chain to Partner
>>
>> QUESTION: I am not familiar with doing a roll away from a circle
>> formation,and by the time dancers are doing a ladies chain, I
>> expect that they are in
>> a line. How and when do you have dancers transition into a line
>> when you
>> call this dance.
>>
>>
>>
>> QUESTION: I have the same problem in
>>
>> FORTY MOHR YEARS, Sue Rosen
>>
>> (Becket)
>>
>> in B1 Balance the ring
>>
>> Roll Away with a Half Sashay (Ladies or Gents Roll Away,
>> depending on the version)
>>
>> Ladies Chain
>>
>>
>>
>> Pedal Pushers, Bob Dalsemer
>>
>> (Duple Improper)
>>
>> in A1 Gents Al? Left 1 1/2,
>>
>> Scoop Up Partner Star Promenade
>>
>> Butterfly Twirl
>>
>> QUESTION: What is the timing?
>>
>>
>>
>>
>>
>>
>>
>> _______________________________________________
>> Callers mailing list
>> Callers(a)sharedweight.net
>> http://www.sharedweight.net/mailman/listinfo/callers
>>
> _______________________________________________
> Callers mailing list
> Callers(a)sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>
>
> ------------------------------
>
> Message: 8
> Date: Wed, 26 Sep 2007 08:49:30 -0400
> From: Lisa Greenleaf <laleaf(a)verizon.net>
> Subject: Re: [Callers] Please Correct A Pirate
> To: Caller's discussion list <callers(a)sharedweight.net>
> Message-ID: <095C724E-0247-4966-82CE-2B0C46DDB126(a)verizon.net>
> Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed
>
>
>
>
>> B2. Ladies allemande right 1 1/2
>> Neighbor allemande right 1 1/2 to new neighbor (actually 1 3/4,
>> but
>> who's counting)
>
> Nathaniel's original ending:
>
> B2 Women Do-si-do 1.5 to face current neighbor.
> Gypsy neighbor right 1+ to progress to new neighbor.
>
> It's a little unusual, but it works.
> -- Lisa
>
>
>
> ------------------------------
>
> _______________________________________________
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> Callers(a)sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>
>
> End of Callers Digest, Vol 37, Issue 21
> ***************************************
Chris,
First off I'd like to say thanks for sharing the so called bad with the so called good. So I am not the only caller that has learning experiences, thanks for helping me not feel alone with this. Pardon my soap box. If you could do it over again what would you do different this time? The reason I say that is in August was a learning experience for me. Doing a walkthrough from the stage and it doesn't look right but I went with it anyway. Like you I ran it short and got on with the next dance.
For me I would not call at the same monthly dance two months in a row nor saying yes when I really didn't want to call. For me I can't fake calling with enthusiasm. In this same dance, I tried a dance that I had walked through the dance during the break at another dance. I knew the dance worked but there was a glitch in the progression during the walkthrough. After a demo and one walk through, I canned the dance immediately. There was no way for me to recover this after the problem dance in the first half.
See ya from the floor,
Dan Black
----- Original Message ----
From: Chris Weiler <chris.weiler(a)weirdtable.org>
To: Shared Weight <callers(a)sharedweight.net>
Sent: Wednesday, September 26, 2007 12:51:14 AM
Subject: [Callers] when to abort a dance
Hello everyone,
Tonight I had a pretty bad gig (just a hint: don't schedule a dentist
appointment for the afternoon before your gig). So tonight I made some
choreographic goofs when choosing my dances. One dance I realized that
it didn't flow as well as I would have hoped after the walkthrough.
Should I have aborted and called something else? Tom Hinds has a line "I
don't like that dance, let's do something else". However, he usually
follows it by teaching the very same dance again. I stuck with it and
just ran the dance a little shorter.
The same thing happened a little later when I called two dances in a row
with the sequence: ladies chain, ladies "x" once around, partner swing.
I realized it during the walk through, but went ahead and called it anyway.
What do you think? Abort or deal with it?
Chris Weiler
Goffstown, NH
http://www.chrisweiler.ws/
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Hi I have some more incomplete notes on dances. Hard as I try, my own notes
dont always make sense to me when I get to look at them. I very much
appreciate the help I have gotten in the past. Here are questions on some
more. If you know any of these dances I would appreciate you help again.
Rickey Holt, Fremont, NH
A Pirates Life for Me, author?
(Duple Improper)
A1 Neighbor Balance and Swing
A2 Pass to a wave (men slide past each other into a wavey line of 4
across the set)
??????
Men Allemande Left to Partner
B1 Partner Balance and Swing
B2 Women Dos 1 ½
Neighbor Gypsy (just a glance)
Progress to New Neighbors
QUESTION: My notes on A2 seem incomplete
Feet in Flight, Dale Rempert
(Duple Improper)
in A1 (4) Balance the ring
(4) Ladies Roll neighbor GENT away with a 1/2 sashay (Rt to L)
(8) Ladies chain to Partner
QUESTION: I am not familiar with doing a roll away from a circle formation,
and by the time dancers are doing a ladies chain, I expect that they are in
a line. How and when do you have dancers transition into a line when you
call this dance.
QUESTION: I have the same problem in
FORTY MOHR YEARS, Sue Rosen
(Becket)
in B1 Balance the ring
Roll Away with a Half Sashay (Ladies or Gents Roll Away,
depending on the version)
Ladies Chain
Pedal Pushers, Bob Dalsemer
(Duple Improper)
in A1 Gents Al Left 1 1/2,
Scoop Up Partner Star Promenade
Butterfly Twirl
QUESTION: What is the timing?
Hello everyone,
Tonight I had a pretty bad gig (just a hint: don't schedule a dentist
appointment for the afternoon before your gig). So tonight I made some
choreographic goofs when choosing my dances. One dance I realized that
it didn't flow as well as I would have hoped after the walkthrough.
Should I have aborted and called something else? Tom Hinds has a line "I
don't like that dance, let's do something else". However, he usually
follows it by teaching the very same dance again. I stuck with it and
just ran the dance a little shorter.
The same thing happened a little later when I called two dances in a row
with the sequence: ladies chain, ladies "x" once around, partner swing.
I realized it during the walk through, but went ahead and called it anyway.
What do you think? Abort or deal with it?
Chris Weiler
Goffstown, NH
http://www.chrisweiler.ws/
Hello everyone!
It was three years ago that Seth and I started SharedWeight. The first
invitations went out on September 19th and the first messages went out
shortly afterwards. We'd like to thank everyone for sharing their
thoughts, material, opinions and attention. It's been our privilege to
see you take our vision for what these lists could be and make them a
reality.
This next year is going to be an exciting one as well. As the Musicians
and Organizers lists get going, there are more plans in the works for
SharedWeight.
Happy Dancing!!
Chris Weiler
