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
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> 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
>
I'm looking for a circle dance called, I believe, "Shoofly Swing". Cubby Whitehead used to end every evening with it in Bradenton Florida in the late 1980s. It involves one couple starting with an allemande right, lady then allemandes next gent by left, then partner by right, next gent by left, and so on. After the allemanding partners have passed you by, you and your partner join until the whole circle is peeling off in one amazing mass of allemandes.
Anyone have it?
I've just joined the list, have been calling for two years, and appreciate the support of the community. I plan to try Microchasmic soon for our weekly Monday night dance, where the level of dancing is, surprise surprise, improving as we three local callers try more challenging dances. Not a lot of contracorners going on. This triplet might be just the thing.
Gretchen Caldwell
Charlotte NC
Hi everyone,
I joined SharedWeight a few weeks ago but have not had time to introduce
myself. My name is Will Loving - though some who met me many years ago may
remember me as Will McNaughten - and I live in Amherst, MA. I've been contra
dancing for about half my life - 26+ years I think - initially in Seattle,
NH/VT (Lyme, Etna, Norwich, Putney), and DC/MD/VA, but mostly in the Pioneer
Valley/Western Mass area for the last 20+ years.
I got interested in calling early on and started collecting dances and
teaching my students (small Quaker High School in Maryland) and anyone else
who was interested. Ken Haltenhoff (Bluemont dance), Steve Schnur, David
Kaynor and Larry Jennings book ³Zesty Contras² were early influences. After
I moved to Western Mass I called the Montague dance once or twice when David
was away but didn¹t do much beyond that. My wife, Kate, and I also taught
East Coast swing for five years here in the valley and my interest in
calling is very much related to my joy in teaching dance.
For the last 12+ years, parenting and running my business have taken
precedence over many personal interests including dancing and calling, but
I'm finally beginning to move in those directions again. Though my time is
still limited, I'm actively looking for opportunities to learn more about
calling and to talk with and observe people calling and teaching. I¹m
driving to Belfast, Maine this weekend to do the Intro Callers workshop with
Chrissy Fowler and will hopefully be going to the followup weekend with Lisa
in September.
I really appreciate Chris Weiler¹s recent post about his experiences as a
new caller, it¹s inspiring and gives me hope for how things can open up as
you go along. I know I bring certain skills to the table because of my
background in movement and teaching, but I¹m pretty clueless at the moment
about the music side of things and how to interact with the musicians. Lots
to learn and I very much appreciate the encouragement of the caller
community (esp. David Kaynor, Rick Mohr, Lisa Greenleaf, Linda Leslie,
George Marshall, et al.) as I figure out what next steps to take.
Finally, for my work, I do database programming in FileMaker Pro, mostly for
community arts organizations and other non-profits. I created a small dance
database some years ago for my own use, but now that I actually might start
using it actively I wanted something that was much more functional and nicer
to look at. I¹ve been working on something for several weeks that I think
might be of interest to the caller community, particularly because it has
the ability to create and preserve sets of dances for a particular date and
location.
At some point in the next few weeks I¹ll post a link to a downloadable beta
(both Mac and Win) for people to play with, but in the short term here (
http://dedicationtechnologies.com/CC/ ) are some screen shots to show you
where I¹m going with it. There is a lot of functionality already built in
which you can¹t really see but which will be apparent when you actually get
a chance to play with it. I also have lots of questions for you all because
I would like this to be versatile enough for contras, square and English, so
I¹ll be soliciting your input on that.
Thanks for listening and for the encouragement I¹ve already received from
many of you.
Thanks,
Will
--
William M. Loving
Dedication Technologies, Inc.
7 Coach Lane
Amherst, MA 01002-3304 USA
will(a)dedicationtechnologies.com
Tel: +1 413 253-7223 (GMT 5)
Fax: +1 206 202-0476
Yes, this is a visiting big circle dance, as was done in the Southeast (I believe). There is an initial lead couple that starts the shoofly swing, which is the allemande turning figure that progresses from couple to couple. After the lead couple has passed about 3 or 4 couples, the next couple starts dancing the move and it travels around the circle. The man follows along the inside of the circle and turns his partner as she returns to him.
If I were to call this, I would start with a big circle, possible circle left and right, into the center and back, swing partner and promenade, grand right and left, and then when that's all done, get the lead couple started with the shoofly swing. At the end (when you have decided that it has gone on long enough), you can do a similar ending with the whole circle. I probably wouldn't do this at a "contra dance" but there are many one night stands, parties, and square dances where this would be totally appropriate and fun.
Suzanne
-----Original Message-----
>From: Jack Mitchell <jamitch3(a)mindspring.com>
>Sent: Apr 30, 2008 10:19 AM
>To: Suzanne Girardot <suzanneg(a)wolfenet.com>, Caller's discussion list <callers(a)sharedweight.net>
>Subject: Re: [Callers] Shoofly Swing
>
>Ok. Having a little trouble picturing this.
>
>a) Is the whole dance the shoefly swing?
>b) If the women are visiting, does her partner
>just follow her along the circle on the inside of the circle?
>
>Thanks,
>
>Jack
>
>
>At 01:02 PM 4/30/2008, you wrote:
>>Gretchen, I have seen this dance called by Phil
>>Jamison. In a big circle, this dance goes on
>>for a while, but many people can be dancing at
>>one time. Once the women have danced all the
>>way around, the women can turn the men and the
>>men can do the visiting. This would indeed be a
>>long dance, but back in the day, this would have
>>been extremely fun and not at all boring. What I
>>enjoy about this dance is the chance to turn
>>smoothly with your partner, and then turn the
>>next person in the circle with the left,
>>smoothly going around into the allemande with
>>your partner again. It can be really rhythmic
>>and did I mention smooth? You can get a nice
>>groove going with it. It would be a fun dance
>>for newer dancers, especially with a driving
>>old-time band. It sounds as though you have the
>>entire dance. Once you get the dancers going
>>("Turn your partner with a shoofly swing") there
>>is no more calling necessary until you want to
>>bring that part of the dance to a close and
>>perhaps finish with a big circle or grand right
>>and left. Suzanne Girardot Seattle, WA
>>-----Original Message----- >From: Gretchen
>>Caldwell <gretchendance(a)yahoo.com> >Sent: Apr
>>29, 2008 12:12 PM >To:
>>callers(a)sharedweight.net >Subject: [Callers]
>>Shoofly Swing > >I'm looking for a circle dance
>>called, I believe, "Shoofly Swing". Cubby
>>Whitehead used to end every evening with it in
>>Bradenton Florida in the late 1980s. It
>>involves one couple starting with an allemande
>>right, lady then allemandes next gent by left,
>>then partner by right, next gent by left, and so
>>on. After the allemanding partners have passed
>>you by, you and your partner join until the
>>whole circle is peeling off in one amazing mass
>>of allemandes. >Anyone have it? >I've just
>>joined the list, have been calling for two
>>years, and appreciate the support of the
>>community. I plan to try Microchasmic soon for
>>our weekly Monday night dance, where the level
>>of dancing is, surprise surprise, improving as
>>we three local callers try more challenging
>>dances. Not a lot of contracorners going
>>on. This triplet might be just the
>>thing. >Gretchen Caldwell >Charlotte
>>NC >_____________________________________________
>>__ >Callers mailing
>>list >Callers(a)sharedweight.net >http://www.shared
>>weight.net/mailman/listinfo/callers
>>_______________________________________________
>>Callers mailing list Callers(a)sharedweight.net
>>http://www.sharedweight.net/mailman/listinfo/callers
>
All-
Over the last few weeks I 've come across some questions related to calling and I though I'd combine a couple in one note rather than inflict two messages on everyone. Comments on either or both are appreciated.
1. I have run into the following mixer dance and I'm not sure how best to call it. I don't know the name and author or I'd ask him/her. The problem is that no beat counts or A1-A2-B1-B2 divisions were given.
The formation is a wavy circle with gents facing in, ladies facing out, partners by the right. The moves are:
Balance the wave R/L
Allemande R half way and reform the wavy circle
Balance the wave L/R
Allemande L half way and reform the wavy circle
Balance the wave R/L
Allemande R 1x
Allemande L 1 1/2 times
Partners balance and swing
Promenade around the circle
Partners drop R hands and reform the circle. Old partner is in left hand, new partner in right.
The problem is I can't make the timing look right. The first five moves look to all be four beat moves, but then there are 12 beats left for the allemande R 1x and allemande L 1 1/2. If not, moves are falling across the phrase.
Has anyone tried this dance or know anything about it? I'm thinking that drop the third balancing of the wave would work best, but that means a half allemande, full allemande, and 1 1/2 allemande consecutively.
2. I'm at the point where I want to try calling a dance medley. Any thoughts on good combinations to start with? What coordination do you do with the band ahead of time?
Thanks.
-Parker
Ok. Having a little trouble picturing this.
a) Is the whole dance the shoefly swing?
b) If the women are visiting, does her partner
just follow her along the circle on the inside of the circle?
Thanks,
Jack
At 01:02 PM 4/30/2008, you wrote:
>Gretchen, I have seen this dance called by Phil
>Jamison. In a big circle, this dance goes on
>for a while, but many people can be dancing at
>one time. Once the women have danced all the
>way around, the women can turn the men and the
>men can do the visiting. This would indeed be a
>long dance, but back in the day, this would have
>been extremely fun and not at all boring. What I
>enjoy about this dance is the chance to turn
>smoothly with your partner, and then turn the
>next person in the circle with the left,
>smoothly going around into the allemande with
>your partner again. It can be really rhythmic
>and did I mention smooth? You can get a nice
>groove going with it. It would be a fun dance
>for newer dancers, especially with a driving
>old-time band. It sounds as though you have the
>entire dance. Once you get the dancers going
>("Turn your partner with a shoofly swing") there
>is no more calling necessary until you want to
>bring that part of the dance to a close and
>perhaps finish with a big circle or grand right
>and left. Suzanne Girardot Seattle, WA
>-----Original Message----- >From: Gretchen
>Caldwell <gretchendance(a)yahoo.com> >Sent: Apr
>29, 2008 12:12 PM >To:
>callers(a)sharedweight.net >Subject: [Callers]
>Shoofly Swing > >I'm looking for a circle dance
>called, I believe, "Shoofly Swing". Cubby
>Whitehead used to end every evening with it in
>Bradenton Florida in the late 1980s. It
>involves one couple starting with an allemande
>right, lady then allemandes next gent by left,
>then partner by right, next gent by left, and so
>on. After the allemanding partners have passed
>you by, you and your partner join until the
>whole circle is peeling off in one amazing mass
>of allemandes. >Anyone have it? >I've just
>joined the list, have been calling for two
>years, and appreciate the support of the
>community. I plan to try Microchasmic soon for
>our weekly Monday night dance, where the level
>of dancing is, surprise surprise, improving as
>we three local callers try more challenging
>dances. Not a lot of contracorners going
>on. This triplet might be just the
>thing. >Gretchen Caldwell >Charlotte
>NC >_____________________________________________
>__ >Callers mailing
>list >Callers(a)sharedweight.net >http://www.shared
>weight.net/mailman/listinfo/callers
>_______________________________________________
>Callers mailing list Callers(a)sharedweight.net
>http://www.sharedweight.net/mailman/listinfo/callers
Gretchen,
I have seen this dance called by Phil Jamison. In a big circle, this dance goes on for a while, but many people can be dancing at one time. Once the women have danced all the way around, the women can turn the men and the men can do the visiting. This would indeed be a long dance, but back in the day, this would have been extremely fun and not at all boring.
What I enjoy about this dance is the chance to turn smoothly with your partner, and then turn the next person in the circle with the left, smoothly going around into the allemande with your partner again. It can be really rhythmic and did I mention smooth? You can get a nice groove going with it. It would be a fun dance for newer dancers, especially with a driving old-time band.
It sounds as though you have the entire dance. Once you get the dancers going ("Turn your partner with a shoofly swing") there is no more calling necessary until you want to bring that part of the dance to a close and perhaps finish with a big circle or grand right and left.
Suzanne Girardot
Seattle, WA
-----Original Message-----
>From: Gretchen Caldwell <gretchendance(a)yahoo.com>
>Sent: Apr 29, 2008 12:12 PM
>To: callers(a)sharedweight.net
>Subject: [Callers] Shoofly Swing
>
>I'm looking for a circle dance called, I believe, "Shoofly Swing". Cubby Whitehead used to end every evening with it in Bradenton Florida in the late 1980s. It involves one couple starting with an allemande right, lady then allemandes next gent by left, then partner by right, next gent by left, and so on. After the allemanding partners have passed you by, you and your partner join until the whole circle is peeling off in one amazing mass of allemandes.
>Anyone have it?
>I've just joined the list, have been calling for two years, and appreciate the support of the community. I plan to try Microchasmic soon for our weekly Monday night dance, where the level of dancing is, surprise surprise, improving as we three local callers try more challenging dances. Not a lot of contracorners going on. This triplet might be just the thing.
>Gretchen Caldwell
>Charlotte NC
>_______________________________________________
>Callers mailing list
>Callers(a)sharedweight.net
>http://www.sharedweight.net/mailman/listinfo/callers
Gretchen,
This sounds fun. Is the formation a single circle or a Sicillian circle?
I don't know the dance, but the figure you describe sounds like some sort of
progressive "strip the willow." I'm trying to picture how it would work in a
circle. And was there more to the dance with this being the finishing
flourish?
Also, would just the active lady allemande the neighbors with the active
gent allemanding only his partner, or would the active gent be allemanding
ladies on his side of the set as well?
--Jerome
Date: Tue, 29 Apr 2008 12:12:46 -0700 (PDT)
> From: Gretchen Caldwell <gretchendance(a)yahoo.com>
> Subject: [Callers] Shoofly Swing
> To: callers(a)sharedweight.net
> Message-ID: <961615.60097.qm(a)web33804.mail.mud.yahoo.com>
> Content-Type: text/plain; charset=iso-8859-1
>
> I'm looking for a circle dance called, I believe, "Shoofly Swing".? Cubby
> Whitehead used to end every evening with it in Bradenton Florida in the late
> 1980s.? It involves one couple starting with an allemande right, lady then
> allemandes next gent by left, then partner by right, next gent by left, and
> so on.? After the allemanding partners have passed you by, you and your
> partner join until the whole circle is peeling off in one amazing mass of
> allemandes.
> Anyone have it?
> I've just joined the list, have been calling for two years, and appreciate
> the support of the community.? I plan to try Microchasmic soon for our
> weekly?Monday night dance, where the level of dancing is, surprise surprise,
> improving as we three local callers try more challenging dances.? Not a lot
> of contracorners going on.? This triplet might be just the thing.
> Gretchen Caldwell
> Charlotte NC
>
> ------------------------------
>
> _______________________________________________
> Callers mailing list
> Callers(a)sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>
>
> End of Callers Digest, Vol 44, Issue 12
> ***************************************
>
--
Jerome Grisanti
660-528-0858
660-528-0714
http://www.jeromegrisanti.com
