Contra Callers May 2008

contracallers@lists.sharedweight.net

46 participants
44 discussions

by Tina Fields

Hi everyone - In a conversation with Lynn Ackerson a couple of weeks ago, it came out that both of us have Ph.Ds. Now I'm very curious about how many of us have higher degrees, and what fields they're in. (Maybe calling really IS rocket science! <g>) If you have a terminal degree or know of a caller who does, would you be willing to e-mail that info to me? I'll collate the info and share it back with you as one letter. Thanks!! Tina Fields tfields8 at yahoo dot com Tina R. Fields, Ph.D. (707) 824-9318 "Hindsight Now!"

16 years, 7 months

Re: [Callers] Callers Digest, Vol 45, Issue 13

by Martha Wild

Well, let's see - here in San Diego, I've got a Ph.D. in molecular biology, another caller is a Professor of Dance at SDSU, another caller is a post-doc at UCSD, another caller has a Ph.D. and runs the electron microscope facility at SDSU, and the last caller has an M.A. of Fine Arts. So, yeah, we do seem to be a bit degree-heavy. Martha I've also noticed that there are many people On May 10, 2008, at 9:00 AM, callers-request(a)sharedweight.net wrote: > Send Callers mailing list submissions to > callers(a)sharedweight.net > > To subscribe or unsubscribe via the World Wide Web, visit > http://www.sharedweight.net/mailman/listinfo/callers > or, via email, send a message with subject or body 'help' to > callers-request(a)sharedweight.net > > You can reach the person managing the list at > callers-owner(a)sharedweight.net > > When replying, please edit your Subject line so it is more specific > than "Re: Contents of Callers digest..." > > > Today's Topics: > > 1. Callers with higher degrees (Tina Fields) > 2. Turning Point and A Rollin and A Tumblin (Rickey) > 3. Re: Turning Point and A Rollin and A Tumblin (Chris Page) > 4. Re: Callers with higher degrees > (Alan Winston - SSRL Central Computing) > 5. Re: Turning Point and A Rollin and A Tumblin (Jack Mitchell) > 6. Re: Turning Point and A Rollin and A Tumblin (mavis mcgaugh) > 7. Re: Callers with higher degrees (jean francis) > > > ---------------------------------------------------------------------- > > Message: 1 > Date: Fri, 9 May 2008 10:04:51 -0700 (PDT) > From: Tina Fields <tfields8(a)yahoo.com> > Subject: [Callers] Callers with higher degrees > To: "callers@ sharedweight.net" <callers(a)sharedweight.net>, Lynn > Ackerson <callynn1(a)pacbell.net> > Message-ID: <911837.13529.qm(a)web83207.mail.mud.yahoo.com> > Content-Type: text/plain; charset=iso-8859-1 > > Hi everyone - > > In a conversation with Lynn Ackerson a couple of weeks ago, > it came out that both of us have Ph.Ds. Now I'm very > curious about how many of us have higher degrees, and what > fields they're in. (Maybe calling really IS rocket science! > <g>) > > If you have a terminal degree or know of a caller who does, > would you be willing to e-mail that info to me? I'll > collate the info and share it back with you as one letter. > Thanks!! > > Tina Fields > tfields8 at yahoo dot com > > Tina R. Fields, Ph.D. > (707) 824-9318 > > "Hindsight Now!" > > > ------------------------------ > > Message: 2 > Date: Fri, 9 May 2008 15:47:49 -0400 > From: "Rickey" <holt.e(a)comcast.net> > Subject: [Callers] Turning Point and A Rollin and A Tumblin > To: <callers(a)sharedweight.net> > Message-ID: <000501c8b20d$93214810$020fa8c0@maxx> > Content-Type: text/plain; charset="iso-8859-1" > > Hi Callers, > > I am working up two dances that I am having trouble with. The > evening I am > preparing them for is tomorrow night. The dances are Turning Point > and A > Rollin and A Tumblin. Here are the dances and my questions: > > (1) Turning Point (do you know the author) > > Duple Improper > > A1 Women change places (with a ? gypsy) (4) > > Circle left ? > (4) > > Partner Swing (8) > > A2 Men change places (with a ? gypsy) (4) > > Circle left ? > (4) > > Neighbor do-si-do (8) > > B1 Neighbor Balance and Swing (16) > > B2 Right and Left over (not back) (8) > > Star > left (8) > > When my wife and I walk this at home I believe that she has an > abrupt change > of direction to get from the circle left ? to the partner swing, > and I know > that I have a similar abrupt change of direction to get from the > circle left > ? to the neighbor do-si-do, if I am correct to do that with the > neighbors > who are then below me. This seems do-able, even fun, but, as it seems > unusual, I wanted to try and be sure that it was correct. > > > > (2) A Rollin and A Tumblin (Cis Hinkle) > > Duple Improper > > A1 Neighbor balance and swing (16) > > A2 Long lines forward and back, women roll away on the way > back (8) > > Same again, but men roll away (8) > > B1 Women Allemande Right (1 ? ) (8) > > Partner Swing (8) > > B2 Ladies chain (over but not back) (8) > > Star left (8) > > I have been having trouble getting dancers to roll away on the way > back, > rather than after the forward and back. Should mess up the timing, > although > not too much bad seems to follow. What experiences with this dance > have you > had? > > Thanks as always > > (And my dancers thank you too) > > Rickey Holt > > Fremont, NH > > > > > > > > > > ------------------------------ > > Message: 3 > Date: Fri, 9 May 2008 13:02:04 -0700 > From: "Chris Page" <chriscpage(a)gmail.com> > Subject: Re: [Callers] Turning Point and A Rollin and A Tumblin > To: "Caller's discussion list" <callers(a)sharedweight.net> > Message-ID: > <9469896c0805091302t57e01802hfb4048301117fedd(a)mail.gmail.com> > Content-Type: text/plain; charset=ISO-8859-1 > > On 5/9/08, Rickey <holt.e(a)comcast.net> wrote: >> Hi Callers, >> >> I am working up two dances that I am having trouble with. The >> evening I am >> preparing them for is tomorrow night. The dances are Turning >> Point and A >> Rollin and A Tumblin. Here are the dances and my questions: >> >> (1) Turning Point (do you know the author) > > Gene Hubert (It's "The Turning Point") > Your transcription appears to be correct. > >> >> When my wife and I walk this at home I believe that she has an >> abrupt change >> of direction to get from the circle left ? to the partner swing, >> and I know >> that I have a similar abrupt change of direction to get from the >> circle left >> ? to the neighbor do-si-do, if I am correct to do that with the >> neighbors >> who are then below me. This seems do-able, even fun, but, as it >> seems >> unusual, I wanted to try and be sure that it was correct. >> > > The first is the same sort of transition as appears in the A1 of > "Alternating > Corners" or "Roll in the Hey." > > The second is the same deal as the women's role in "Midwest Folklore", > among other dances. You can use the connection of the circle to pull > into the do-si-do. (I assume your description of "below" is from the > viewpoint of Man #1.) > > > -Chris Page > San Diego > > > ------------------------------ > > Message: 4 > Date: Fri, 09 May 2008 15:09:39 -0700 (PDT) > From: Alan Winston - SSRL Central Computing > <winston(a)slac.stanford.edu> > Subject: Re: [Callers] Callers with higher degrees > To: "Caller's discussion list" <callers(a)sharedweight.net> > Message-ID: <01MUL7RMK1ZY8XAHUC(a)SSRL.SLAC.STANFORD.EDU> > Content-Type: TEXT/PLAIN; CHARSET=us-ascii > > > Tina -- > > I'm a college dropout myself, but I'm pretty sure Bruce Hamilton is a > PhD. Mike Richardson is an MD, if that counts. > > -- 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: 5 > Date: Fri, 09 May 2008 18:44:28 -0400 > From: Jack Mitchell <jamitch3(a)mindspring.com> > Subject: Re: [Callers] Turning Point and A Rollin and A Tumblin > To: Caller's discussion list <callers(a)sharedweight.net> > Message-ID: <E1JubKX-0005pY-8u(a)elasmtp-mealy.atl.sa.earthlink.net> > Content-Type: text/plain; charset="iso-8859-1"; format=flowed > > Thoughts below. > > J > > At 03:47 PM 5/9/2008, you wrote: >> Hi Callers, >> >> I am working up two dances that I am having trouble with. The >> evening I am >> preparing them for is tomorrow night. The dances are Turning Point >> and A >> Rollin and A Tumblin. Here are the dances and my questions: >> >> (1) Turning Point (do you know the author) >> >> Duple Improper >> >> A1 Women change places (with a ? gypsy) (4) >> >> Circle >> left ? (4) >> >> Partner Swing (8) >> >> A2 Men change places (with a ? gypsy) (4) >> >> Circle >> left ? (4) >> >> Neighbor do-si-do (8) >> >> B1 Neighbor Balance and Swing (16) >> >> B2 Right and Left over (not back) (8) >> >> Star >> left (8) >> >> When my wife and I walk this at home I believe that she has an >> abrupt change >> of direction to get from the circle left ? to the partner swing, >> and I know >> that I have a similar abrupt change of direction to get from the >> circle left >> ? to the neighbor do-si-do, if I am correct to do that with the >> neighbors >> who are then below me. This seems do-able, even fun, but, as it >> seems >> unusual, I wanted to try and be sure that it was correct. > You should just be able to tug your neighbor into > the DsD and use the momentum of the circle to get > started, since you'd be with your neighbor on the side of the set. > > >> >> >> (2) A Rollin and A Tumblin (Cis Hinkle) >> >> Duple Improper >> >> A1 Neighbor balance and swing (16) >> >> A2 Long lines forward and back, women roll away on the way >> back (8) >> >> Same again, but men roll away (8) >> >> B1 Women Allemande Right (1 ? ) (8) >> >> Partner Swing (8) >> >> B2 Ladies chain (over but not back) (8) >> >> Star left (8) >> >> I have been having trouble getting dancers to roll away on the way >> back, >> rather than after the forward and back. Should mess up the >> timing, although >> not too much bad seems to follow. What experiences with this >> dance have you >> had? > > I've had this same problem. All I've been able > to do is to emphacize the "and on the way back > out" in the walk through. It also helps if > they're giving weight through the long lines -- > that way the connection for the rollaway is already there. > > >> Thanks as always >> >> (And my dancers thank you too) >> >> Rickey Holt >> >> Fremont, NH >> >> >> >> >> >> >> >> _______________________________________________ >> Callers mailing list >> Callers(a)sharedweight.net >> http://www.sharedweight.net/mailman/listinfo/callers > > > > ------------------------------ > > Message: 6 > Date: Fri, 9 May 2008 19:49:20 -0700 (PDT) > From: mavis mcgaugh <yankeecalls(a)yahoo.com> > Subject: Re: [Callers] Turning Point and A Rollin and A Tumblin > To: Caller's discussion list <callers(a)sharedweight.net> > Message-ID: <474123.69119.qm(a)web36405.mail.mud.yahoo.com> > Content-Type: text/plain; charset=iso-8859-1 > > I never use the phrase forward and back when I teach > this dance. > I say take hands in lines and walk forward and STOP > -- > then I say > Gents as you back up roll your neighbor away with a > half sashay > then I say > take hands in lines and walk forward and STOP > Ladies on your way back roll that same neighbor gent > away with a 1/2 sashay > > if there are a lot of beginners I teach the roll > away during the newcomer's session. > --- Jack Mitchell <jamitch3(a)mindspring.com> wrote: > >> Thoughts below. >> >> J >> >> At 03:47 PM 5/9/2008, you wrote: >>> Hi Callers, >>> >>> I am working up two dances that I am having trouble >> with. The evening I am >>> preparing them for is tomorrow night. The dances >> are Turning Point and A >>> Rollin and A Tumblin. Here are the dances and my >> questions: >>> >>> (1) Turning Point (do you know the author) >>> >>> Duple Improper >>> >>> A1 Women change places (with a ? gypsy) (4) >>> >>> Circle left ? >> (4) >>> >>> Partner Swing >> (8) >>> >>> A2 Men change places (with a ? gypsy) >> (4) >>> >>> Circle left ? >> (4) >>> >>> Neighbor do-si-do >> (8) >>> >>> B1 Neighbor Balance and Swing >> (16) >>> >>> B2 Right and Left over (not back) >> (8) >>> >>> Star left >> (8) >>> >>> When my wife and I walk this at home I believe that >> she has an abrupt change >>> of direction to get from the circle left ? to the >> partner swing, and I know >>> that I have a similar abrupt change of direction to >> get from the circle left >>> ? to the neighbor do-si-do, if I am correct to do >> that with the neighbors >>> who are then below me. This seems do-able, even >> fun, but, as it seems >>> unusual, I wanted to try and be sure that it was >> correct. >> You should just be able to tug your neighbor into >> the DsD and use the momentum of the circle to get >> started, since you'd be with your neighbor on the >> side of the set. >> >> >>> >>> >>> (2) A Rollin and A Tumblin (Cis Hinkle) >>> >>> Duple Improper >>> >>> A1 Neighbor balance and swing (16) >>> >>> A2 Long lines forward and back, women roll >> away on the way back (8) >>> >>> Same again, but men roll away (8) >>> >>> B1 Women Allemande Right (1 ? ) (8) >>> >>> Partner Swing (8) >>> >>> B2 Ladies chain (over but not back) (8) >>> >>> Star left (8) >>> >>> I have been having trouble getting dancers to roll >> away on the way back, >>> rather than after the forward and back. Should >> mess up the timing, although >>> not too much bad seems to follow. What experiences >> with this dance have you >>> had? >> >> I've had this same problem. All I've been able >> to do is to emphacize the "and on the way back >> out" in the walk through. It also helps if >> they're giving weight through the long lines -- >> that way the connection for the rollaway is already >> there. >> >> >>> Thanks as always >>> >>> (And my dancers thank you too) >>> >>> Rickey Holt >>> >>> Fremont, NH >>> >>> >>> >>> >>> >>> >>> >>> _______________________________________________ >>> 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 >> > > > Mavis L McGaugh > 510-814-8118 (answering machine-leave message) > > > > ______________________________________________________________________ > ______________ > Be a better friend, newshound, and > know-it-all with Yahoo! Mobile. Try it now. http:// > mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ > > > ------------------------------ > > Message: 7 > Date: Fri, 9 May 2008 19:49:57 -0700 (PDT) > From: jean francis <catherineaura(a)yahoo.com> > Subject: Re: [Callers] Callers with higher degrees > To: Caller's discussion list <callers(a)sharedweight.net> > Message-ID: <17096.50641.qm(a)web53204.mail.re2.yahoo.com> > Content-Type: text/plain; charset=iso-8859-1 > > Probably more than half have advanced degrees, I'd bet. Lots among > contra musicians too. A few who come to mind: > > Among New Mexico callers, Merri Rudd is a probate judge, Donna > Howell has a PhD in biology, Will McDonald and Katherine Bueler > have masters. > > In California, Kirston Koths has a PhD. > > Tina Fields <tfields8(a)yahoo.com> wrote: > Hi everyone - > > In a conversation with Lynn Ackerson a couple of weeks ago, > it came out that both of us have Ph.Ds. Now I'm very > curious about how many of us have higher degrees, and what > fields they're in. (Maybe calling really IS rocket science! > ) > > If you have a terminal degree or know of a caller who does, > would you be willing to e-mail that info to me? I'll > collate the info and share it back with you as one letter. > Thanks!! > > Tina Fields > tfields8 at yahoo dot com > > Tina R. Fields, Ph.D. > (707) 824-9318 > > "Hindsight Now!" > _______________________________________________ > Callers mailing list > Callers(a)sharedweight.net > http://www.sharedweight.net/mailman/listinfo/callers > > > > --------------------------------- > Be a better friend, newshound, and know-it-all with Yahoo! Mobile. > Try it now. > > ------------------------------ > > _______________________________________________ > Callers mailing list > Callers(a)sharedweight.net > http://www.sharedweight.net/mailman/listinfo/callers > > > End of Callers Digest, Vol 45, Issue 13 > ***************************************

16 years, 7 months

Re: [Callers] Turning Point and A Rollin and A Tumblin

by Jerome Grisanti

Rickey, I think (but I may be wrong) that Turning Point is by Gene Hubert. Since the A parts are so "busy," I warn the dancers that the moves happen quickly and they need to be on their toes. It's very fun with experienced dancers, but not with frenetic music and/or too many beginners. Regarding Rollin' and Tumbin', Steve Bennett of Lexington suggested a great way to prompt the A2: Instead of saying "forward and back, and roll away," he says "All go forward, now roll roll roll away." When teaching, make sure the dancers know this is all about flowing through a sequence, so you are starting the roll aways before you finish moving back (rather than forward and back, then roll away). Good luck! Jerome Date: Fri, 9 May 2008 15:47:49 -0400 > From: "Rickey" <holt.e(a)comcast.net> > Subject: [Callers] Turning Point and A Rollin and A Tumblin > To: <callers(a)sharedweight.net> > Message-ID: <000501c8b20d$93214810$020fa8c0@maxx> > Content-Type: text/plain; charset="iso-8859-1" > > Hi Callers, > > I am working up two dances that I am having trouble with. The evening I am > preparing them for is tomorrow night. The dances are Turning Point and A > Rollin and A Tumblin. Here are the dances and my questions: > > (1) Turning Point (do you know the author) > > > > (2) A Rollin and A Tumblin (Cis Hinkle) > > I have been having trouble getting dancers to roll away on the way back, > rather than after the forward and back. Should mess up the timing, > although > not too much bad seems to follow. What experiences with this dance have > you > had? > > Rickey Holt > > Fremont, NH > > -- Jerome Grisanti 660-528-0858 http://www.jeromegrisanti.com

16 years, 7 months

Turning Point and A Rollin and A Tumblin

by Rickey

Hi Callers, I am working up two dances that I am having trouble with. The evening I am preparing them for is tomorrow night. The dances are Turning Point and A Rollin and A Tumblin. Here are the dances and my questions: (1) Turning Point (do you know the author) Duple Improper A1 Women change places (with a ½ gypsy) (4) Circle left ½ (4) Partner Swing (8) A2 Men change places (with a ½ gypsy) (4) Circle left ½ (4) Neighbor do-si-do (8) B1 Neighbor Balance and Swing (16) B2 Right and Left over (not back) (8) Star left (8) When my wife and I walk this at home I believe that she has an abrupt change of direction to get from the circle left ½ to the partner swing, and I know that I have a similar abrupt change of direction to get from the circle left ½ to the neighbor do-si-do, if I am correct to do that with the neighbors who are then below me. This seems do-able, even fun, but, as it seems unusual, I wanted to try and be sure that it was correct. (2) A Rollin and A Tumblin (Cis Hinkle) Duple Improper A1 Neighbor balance and swing (16) A2 Long lines forward and back, women roll away on the way back (8) Same again, but men roll away (8) B1 Women Allemande Right (1 ½ ) (8) Partner Swing (8) B2 Ladies chain (over but not back) (8) Star left (8) I have been having trouble getting dancers to roll away on the way back, rather than after the forward and back. Should mess up the timing, although not too much bad seems to follow. What experiences with this dance have you had? Thanks as always (And my dancers thank you too) Rickey Holt Fremont, NH

16 years, 7 months

A Rollin and A Tumblin

by David.Millstone＠valley.net

Hi Rickey, I have the dance from Cis as Rollin' and Tumblin'. > I have been having trouble getting dancers to roll away on the way back, rather than after the forward and back. As you point out, even if folks are late on the timing of the second rollaway, the dance will work out. If you wish, you could teach the dance with counts, as in Bases Loaded: "Forward - 2 - 3 - 4; Back - 2 - and ROLL aWAY." I generally just signal the timing I want by putting in the rollaway call at just the right time. It's a fun dance that I use often, a great way to introduce rollaway early in the evening, especially if you want to use that figure later on and want folks to be already familiar with it. David Millstone Lebanon, NH

16 years, 7 months

Announcing the Frolic in the Fall - 9/27/08 in Harrisburg, PA - corrected copy

by Dave Colestock

Hi Friends, Dancers, Organizers, and previous Frolicers: ANNOUNCING, The Second Annual Frolic in the Fall. To be held Saturday, September 27, 2008 from 11am-11pm . Location is the YWCA Camp Reily, just outside of Harrisburg , PA , a 5-acre camp where we dance in a rustic lodge with a wood floor, surrounded by Nature in the Appalachian Mountains of PA. Music from the LATE FOR SUPPER from York and DANCEWIZ from Philadelphia , calling by TOM HINDS, from Faber, VA, and DAVE COLESTOCK, from Harrisburg, PA. The Frolic starts with an hour of Waltzing from 11-12, then Contra Dancing from Noon-11. There will be an HOUR LONG Dance Medley, at about 4:30 , followed by a Pot Luck Dinner (last name A-M, dessert or side dish; N-Z main dish, please). Cost is $25/person, limited to 100 dancers, advance registration highly encouraged. Dance at the Locust Lane Contra Dance on Friday 9/26/08 with Perry Shafran calling to All Hat, No Cattle, then stay over at a local motel, b&b, or camp with us on-site. Tent camping for Fri and Sat nights is available for additional $20 /person. Contact us at Fallfrolic@yahoo. com or visit the website at www.frolicinthefall .freeservers. com Register online (available soon) or download registration form and send snail mail by 9/13/08 , please. Feel free to forward this email, and tell all of your friends - spread the word about the Frolic! Thank you, and hope to see YOU at the Frolic. Can you DANCE for an HOUR??? Come to the FROLIC and find out!!! Thanks for your interest, Dave Colestock

16 years, 7 months

Announcing the Frolic in the Fall - 9/27/08 in Harrisburg, PA - corrected copy

by Frolic in the Fall

Hi Friends, Dancers, Organizers, and previous Frolicers: ANNOUNCING, The Second Annual Frolic in the Fall. To be held Saturday, September 27, 2008 from 11am-11pm . Location is the YWCA Camp Reily, just outside of Harrisburg , PA , a 5-acre camp where we dance in a rustic lodge with a wood floor, surrounded by Nature in the Appalachian Mountains of PA. Music from the LATE FOR SUPPER from York and DANCEWIZ from Philadelphia , calling by TOM HINDS, from Faber, VA, and DAVE COLESTOCK, from Harrisburg, PA. The Frolic starts with an hour of Waltzing from 11-12, then Contra Dancing from Noon-11. There will be an HOUR LONG Dance Medley, at about 4:30 , followed by a Pot Luck Dinner (last name A-M, dessert or side dish; N-Z main dish, please). Cost is $25/person, limited to 100 dancers, advance registration highly encouraged. Dance at the Locust Lane Contra Dance on Friday 9/26/08 with Perry Shafran calling to All Hat, No Cattle, then stay over at a local motel, b&b, or camp with us on-site. Tent camping for Fri and Sat nights is available for additional $20 /person. Contact us at Fallfrolic(a)yahoo.com or visit the website at www.frolicinthefall.freeservers.com Register online (available soon) or download registration form and send snail mail by 9/13/08 , please. Feel free to forward this email, and tell all of your friends - spread the word about the Frolic ! Thank you, and hope to see YOU at the Frolic. Can you DANCE for an HOUR??? Come to the FROLIC and find out!!! Thanks for your interest, Dave Colestock --------------------------------- Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now.

16 years, 7 months

Dance Debrief

by Jack Mitchell

So, I started writing this out for myself, just to write out some of my thoughts about the dance -- what went well, what didn't, what I needed to think about. Once I got it done, I thought there might be some folks out there who would be interested in reading (or at least skimming) some of this.... Usually I just mull over a dance afterwards, sometimes talking it out with another dancer. This is the first time I've tried to write things out. It's kinda long, so feel free to ignore it if you're not interested. If you would be interested in helping me troubleshoot a walk through, but don't want to deal with it all, I would be interested in any thoughts that you might have on teaching "Happy as a Warm Pig in Cold Mud" -- it's the first dance I talk about in detail. If you don't want to plow thorough the rest, just have a look at it -- start at the bold face text below. Jack Here goes..... Just called a dance at the Greensboro (NC) Grange this evening. We had a relatively small group -- probably in part because it was a first Saturday and so we didn't get the folks coming over from the Triangle, never getting above two lines (but never having to go to just one line either!). The band was Skylark (Paul Fackler on fiddle, Marilyn Hartman on piano and Colin Cannell on percussion and mouth harp). Overall, I was pretty happy with the program I called, but I probably did try to do 1 too many more involved dances later in the evening. First half: The first part of the evening was mostly glossary dances, adding in a Hey by the 3rd dance of the evening. * Greetings, by Tori Berone -- a nice simple dance, with Long Lines after both of the swings, which helps remind the dancers to stop swinging and move on without my having to call for the whole time * Summer Sunshine, by Paul Balliet - starts and ends in the same short wavy lines, introduces Ladies Chain * Flirting Attempt, by Marian Hepburn - first Hey of the evening, otherwise, a pretty simple dance * Salmanella Evening by Steve Zakon Anderson - brings in Petranella Spins, pretty heavy on allemandes - another great set of tunes - a set of rip roaring french canadian tunes with both foot percussion and drum * After the Flu, by Dean Snipes - a down the hall dance which ends with a ladies chain into a circle right into (the top of the dance which is a) circle left with new neighbors. We did it to a nice set of smooth jigs and once people got the hang of the transition, it went well. I really love that transition -- circle right into circle left with new folks. Inpatient readers, please start here!! I ended the first half with Happy as a Warm Pig in Cold Mud. I've been playing with how I want to teach this one, and I'm still not happy with what I've got, though Eileen gave me some good ideas for things to try next time (probably when I call at Glen Echo next week) So, the dance is: Happy as a Warm Pig in Cold Mud (or in the winter Happy as a Cold Pig in Warm Mud -- I'm actually not sure which is the original title....) Mike Boershig Improper A1 N B&S A2 Men Allemande L 1.5 P Allemande R 1.5 B1 Leave your partner, Left Hand Star 1x (theoretically with neighbor, shadow and shadow's neighbor) Back to your partner, Swing B2 Circle Left 3/4 Balance the Ring California Twirl So, as you would guess, the B1 is the tricky bit. One of the fun things about this dance is that it doesn't matter which way you go for the star -- it helps if you and your partner go in different directions, but even that doesn't really matter -- as long as you go somewhere, turn a star and then swing your partner. Because of that, it's a very resilient dance. That being said, what I discovered tonight was that it can still be confusing for folks even when it doesn't fall apart -- that's more or less what happened tonight. The dance kept going, and I was able to stop calling, but new dancers ended up confused (and keeping calling didn't change much). It was a matter of getting oriented in the first place. We also had a lower proportion of experienced dancers to beginners than usual. What I did during the walk through was have them allemande R 1.5 with partner, and then get the men back to back in the center. Reach out with your left hand and star left with your neighbor and the two people pointing back at you. I also pointed out that in the dance it didn't matter how many times you allemande with your partner or which direction you went to form the star -- as long as you go and keep moving. People still had a lot of trouble figuring out where to go once the dance got going, and in a lot of cases the new folks just got the "deer in the headlights" syndrome and stopped completely. A few options: 1) Point out that (theoretically) you will have a shadow in your star -- if you're doing a wrist grip star, the gent's shadow will be the lady whose wrist he grabs to form the star. Problem: If some folks go the other way, this could be more confusing. Option: Just don't mention that you can go either way -- have it be allemande 1.5, star left with shadow, come back swing. 2) Men back to back in the middle (after the allemande). Look away from your hands 4 for someone of the same gender and form a hands across star. Turn the star 1 time. Swing your partner. Problem: Again, could be confusing if someone ended up with he he he she stars or she she she he stars. 3) Other ideas?? How's the best way to point out the position without having to tie it either to a particular person or gender? I suspect that with the group I had, I should probably have just "done it straight" without pointing out the opportunity to mess around. In that case, which way above would seem to be clearer? With a larger proportion of experienced dancers, though, any thoughts on the best way to teach it? Ok. Impatient readers are done. If you want to read about the second half and pick up another new dance, keep going! Second half, I did * Square Affair, by Becky Hill, a great dance with a square thru, * Any Jig Will Do, by Mike Richardson (done to Slip Jigs -- I love to call this one when I have a band that can do slip Jigs, and the band had put a set together specifically for me. They ended up at a higher tempo than I've done it at before. It was almost too fast, but the dancers were able to keep up confortably. For some reason, once of the new dancers who had been confused and disoriented for many of the dances was able to get this one with no problems -- and it's a dance that depends on the men to get the hey going. * a simple 4 face 4 (Dance All Night, by Rick Mohr) * Lundee's Laughter, a new dance by Adina Gordon On this one, I forgot that I hadn't done the dance I had planned to do earlier in the evening to introduce the Roll Away (which came right after a ladies chain, making it more complicated.) I had planned to start out with Rollin and Tumblin by Cis Hinkle, but then (for some reason) changed to another dance instead and forgot that I needed the roll away for this dance. Also, this is the first time I've called it at a regular dance -- we tested it out two weeks ago when the naming rights were auctioned off at a benefit dance -- but we only danced it a few times then) The dance is: Lundee's Laughter Adina Gordon Becket!! A1 2 ladies down the hall Turn alone, come back (while the ladies are traveling, men face down) A2 Partner Gypsy (by inside shoulder -- the one that's closest), ladies cross Neighbor Swing B1 Long Lines Left Diagonal Ladies Chain (to shadow), and Roll Away B2 Partner Swing Definitely needed to have done a roll away earlier in the evening like I had originally planned, because this is a special case for a rollaway and getting to it from the ladies chain can be tricky to figure out what to do with which hand even when you know how to do a roll away. It does flow very nicely into the swing though. The one problem that we had when we tested it 2 weeks ago was the progression -- you have to make sure that when you come back around to the top that it's two NEW ladies to go down the hall. After the swing, the dancers are likely to need to shift just a bit to the right to be across from new neighbors. It's a good dance, and I think with a more experienced group, would have been fine. As it was, it never fell apart, it was just a little rough around the edges, and a number of folks never got the roll away. This dance isn't a good one to start with for a roll away because a) it's from an unusual position and b) it's always with the same person -- your shadow. If neither of you know how to do a roll away, you'd just sunk. Fortunately, all you have to do is trade places and there your partner is, and you've got a nice long swing with them before you have to do anything else. Ended the evening with Hey in the Barn by Chart Guthrie -- one of my favorite everyone's-brain-dead-and-we-just-want-to-dance-and-not-think dances. (for those who don't know it: N B&S, L Chain, 1/2 Hey, P B&S, LC, 1/2 Hey, on to the next..... If I had it to program again I wouldn't have done Any Jig, Dance all Night and Lundee's Laughter all together -- too many unusual dances all in a row, and I think it taxed the dancers a bit. I also wouldn't have done Lundee's laughter without having done a roll away earlier in the evening so that they get lots of practice with different folks. I think that two out of three would have been ok, perhaps split up by a simpler dance. Ahh, the joys of programming on the fly in combination with new dances (Dance all Night was my first ever 4 face 4, and Lundee's Laughter was a new dance too....) Fortunately, I had fabulous music to work with. This is my first time working with them since Colin's been playing with Paul and Marilyn. Colin just started working with them about 6 months ago, and the percussion has really added a lot to their sound. I had called with them a bunch of times as a duo and always enjoyed it. The addition of a nice solid percussion just makes it that much better. Almost all of the tunes that they played fit the dances really well, and I think that everyone (dancers, band and caller) had a good time. If you made it this far, I hope that it was interesting (or at least that you picked up a couple of new dances). If anyone would like copies of other dances mentioned, just drop me an email and I'll send them out. Jack Mitchell Durham, NC

16 years, 7 months

Shoofly Swing

by Gretchen Caldwell

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

16 years, 7 months

Re: [Callers] Dance Debrief

by Jack Mitchell

Greetings Tori Berone Improper A1 N B&S A2 LL F&B Ladies Allemande R 1.5 B1 P B&S B2 LL F&B CL 3/4, pass thru to new Ns Collected from Nills F at a dance at the Vintage Theater, Winston Salem, NC It's a great first dance because the long lines allows the "group consciousness" to remind people when it's time to stop swinging. Makes it easier to start backing out on the calls sooner. At 07:50 PM 5/4/2008, you wrote: >Dear Jack, > >Thank you for posting your program. It is always interesting to see >what dances callers are calling. > >I was curious about the dance "Greetings" by Tori Barone. Can you >send me a copy of it? I can't seem to find it. > >Thanks in advance. > >Regards, >Greg McKenzie > >********** > >> First half: >> The first part of the evening was mostly glossary dances, adding in a >> Hey by the 3rd dance of the evening. >> * Greetings, by Tori Berone -- a nice simple dance, with Long Lines >> after both of the swings, which helps remind the dancers to stop >> swinging and move on without my having to call for the whole time >> * Summer Sunshine, by Paul Balliet - starts and ends in the same >> short wavy lines, introduces Ladies Chain >> * Flirting Attempt, by Marian Hepburn - first Hey of the evening, >> otherwise, a pretty simple dance >> * Salmanella Evening by Steve Zakon Anderson - brings in Petranella >> Spins, pretty heavy on allemandes - another great set of tunes - a >> set of rip roaring french canadian tunes with both foot percussion >> and drum >> * After the Flu, by Dean Snipes - a down the hall dance which ends >> with a ladies chain into a circle right into (the top of the dance >> which is a) circle left with new neighbors. We did it to a nice >> set of smooth jigs and once people got the hang of the transition, >> it went well. I really love that transition -- circle right into >> circle left with new folks. >> >> >> Inpatient readers, please start here!! >> >> I ended the first half with Happy as a Warm Pig in Cold Mud. I've been >> playing with how I want to teach this one, and I'm still not happy with >> what I've got, though Eileen gave me some good ideas for things to try >> next time (probably when I call at Glen Echo next week) >> >> So, the dance is: >> >> Happy as a Warm Pig in Cold Mud (or in the winter Happy as a Cold Pig >> in Warm Mud -- I'm actually not sure which is the original title....) >> Mike Boershig Improper >> A1 N B&S >> A2 Men Allemande L 1.5 >> P Allemande R 1.5 >> B1 Leave your partner, Left Hand Star 1x (theoretically with >> neighbor, shadow and shadow's neighbor) >> Back to your partner, Swing >> B2 Circle Left 3/4 >> Balance the Ring >> California Twirl >> >> So, as you would guess, the B1 is the tricky bit. One of the fun >> things about this dance is that it doesn't matter which way you go for >> the star -- it helps if you and your partner go in different >> directions, but even that doesn't really matter -- as long as you go >> somewhere, turn a star and then swing your partner. Because of that, >> it's a very resilient dance. That being said, what I discovered >> tonight was that it can still be confusing for folks even when it >> doesn't fall apart -- that's more or less what happened tonight. The >> dance kept going, and I was able to stop calling, but new dancers ended >> up confused (and keeping calling didn't change much). It was a matter >> of getting oriented in the first place. We also had a lower proportion >> of experienced dancers to beginners than usual. >> >> What I did during the walk through was have them allemande R 1.5 with >> partner, and then get the men back to back in the center. Reach out >> with your left hand and star left with your neighbor and the two people >> pointing back at you. I also pointed out that in the dance it didn't >> matter how many times you allemande with your partner or which >> direction you went to form the star -- as long as you go and keep >> moving. People still had a lot of trouble figuring out where to go >> once the dance got going, and in a lot of cases the new folks just got >> the "deer in the headlights" syndrome and stopped completely. >> >> A few options: >> >> 1) Point out that (theoretically) you will have a shadow in your star >> -- if you're doing a wrist grip star, the gent's shadow will be the >> lady whose wrist he grabs to form the star. Problem: If some folks go >> the other way, this could be more confusing. Option: Just don't >> mention that you can go either way -- have it be allemande 1.5, star >> left with shadow, come back swing. >> >> 2) Men back to back in the middle (after the allemande). Look away >> from your hands 4 for someone of the same gender and form a hands >> across star. Turn the star 1 time. Swing your partner. Problem: >> Again, could be confusing if someone ended up with he he he she stars >> or she she she he stars. >> 3) Other ideas?? >> >> How's the best way to point out the position without having to tie it >> either to a particular person or gender? I suspect that with the group >> I had, I should probably have just "done it straight" without pointing >> out the opportunity to mess around. In that case, which way above >> would seem to be clearer? With a larger proportion of experienced >> dancers, though, any thoughts on the best way to teach it? >> >> Ok. Impatient readers are done. If you want to read about the second >> half and pick up another new dance, keep going! >> >> Second half, I did >> >> * Square Affair, by Becky Hill, a great dance with a square thru, >> * Any Jig Will Do, by Mike Richardson (done to Slip Jigs -- I love to >> call this one when I have a band that can do slip Jigs, and the >> band had put a set together specifically for me. They ended up at >> a higher tempo than I've done it at before. It was almost too >> fast, but the dancers were able to keep up confortably. For some >> reason, once of the new dancers who had been confused and >> disoriented for many of the dances was able to get this one with no >> problems -- and it's a dance that depends on the men to get the hey >> going. >> * a simple 4 face 4 (Dance All Night, by Rick Mohr) >> * Lundee's Laughter, a new dance by Adina Gordon >> >> On this one, I forgot that I hadn't done the dance I had >> planned to do earlier in the evening to introduce the Roll >> Away (which came right after a ladies chain, making it >> more complicated.) I had planned to start out with Rollin >> and Tumblin by Cis Hinkle, but then (for some reason) >> changed to another dance instead and forgot that I needed >> the roll away for this dance. Also, this is the first >> time I've called it at a regular dance -- we tested it out >> two weeks ago when the naming rights were auctioned off at >> a benefit dance -- but we only danced it a few times then) >> The dance is: >> Lundee's Laughter >> Adina Gordon Becket!! >> A1 2 ladies down the hall >> Turn alone, come back >> (while the ladies are traveling, men face >> down) >> A2 Partner Gypsy (by inside shoulder -- the one >> that's closest), ladies cross >> Neighbor Swing >> B1 Long Lines >> Left Diagonal Ladies Chain (to shadow), and >> Roll Away >> B2 Partner Swing >> Definitely needed to have done a roll away earlier in the >> evening like I had originally planned, because this is a >> special case for a rollaway and getting to it from the >> ladies chain can be tricky to figure out what to do with >> which hand even when you know how to do a roll away. It >> does flow very nicely into the swing though. The one >> problem that we had when we tested it 2 weeks ago was the >> progression -- you have to make sure that when you come >> back around to the top that it's two NEW ladies to go down >> the hall. After the swing, the dancers are likely to need >> to shift just a bit to the right to be across from new >> neighbors. It's a good dance, and I think with a more >> experienced group, would have been fine. As it was, it >> never fell apart, it was just a little rough around the >> edges, and a number of folks never got the roll away. >> This dance isn't a good one to start with for a roll away >> because a) it's from an unusual position and b) it's >> always with the same person -- your shadow. If neither of >> you know how to do a roll away, you'd just sunk. >> Fortunately, all you have to do is trade places and there >> your partner is, and you've got a nice long swing with >> them before you have to do anything else. >> >> Ended the evening with Hey in the Barn by Chart Guthrie -- one of >> my favorite >> everyone's-brain-dead-and-we-just-want-to-dance-and-not-think >> dances. (for those who don't know it: N B&S, L Chain, 1/2 Hey, P >> B&S, LC, 1/2 Hey, on to the next..... >> >> If I had it to program again I wouldn't have done Any Jig, Dance >> all Night and Lundee's Laughter all together -- too many unusual >> dances all in a row, and I think it taxed the dancers a bit. I >> also wouldn't have done Lundee's laughter without having done a >> roll away earlier in the evening so that they get lots of practice >> with different folks. I think that two out of three would have >> been ok, perhaps split up by a simpler dance. Ahh, the joys of >> programming on the fly in combination with new dances (Dance all >> Night was my first ever 4 face 4, and Lundee's Laughter was a new >> dance too....) >> >> Fortunately, I had fabulous music to work with. This is my first >> time working with them since Colin's been playing with Paul and >> Marilyn. Colin just started working with them about 6 months ago, >> and the percussion has really added a lot to their sound. I had >> called with them a bunch of times as a duo and always enjoyed it. >> The addition of a nice solid percussion just makes it that much >> better. Almost all of the tunes that they played fit the dances >> really well, and I think that everyone (dancers, band and caller) >> had a good time. >> If you made it this far, I hope that it was interesting (or at >> least that you picked up a couple of new dances). If anyone would >> like copies of other dances mentioned, just drop me an email and >> I'll send them out. >> Jack Mitchell >> Durham, NC >>_______________________________________________ >>Callers mailing list >>Callers(a)sharedweight.net >>http://www.sharedweight.net/mailman/listinfo/callers >

16 years, 7 months

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