Contra Callers July 2008

contracallers@lists.sharedweight.net

33 participants
36 discussions

by Rickey

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.

1 year, 7 months

Re: [Callers] Festival Applications

by robertgolder＠comcast.net

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

4 years, 2 months

Re: [Callers] Callers Digest, Vol 38, Issue 2

by Martha Wild

If there are a lot of children, and no other contra dancers, for the first workshop, don't start with a contra. Start with something that breaks the ice and is easy and gets them facing each other in long lines. For my "one night stands", weddings, etc., I start with a dance sometimes called "The Hat Dance" - except I use a large stuffed animal gorilla, so people call it the "gorilla dance' - you know, three chairs at the top of the set, two lines on either side, one person sits in middle with gorilla on lap, one head of each line sit on the side, band starts up and plays like a house afire, mid person gives gorilla to one of the seated people, dances down set with the other in a sashay or polka or whatever they choose, gorilla receiver moves to mid seat, next two sit down. I don't know why this is so successful, but people love this dance. They love watching other people get or give the gorilla. I gave up on the hat idea because w. kids there may be head lice. Really. The gorilla is cuter anyway. This gets people moving, touching, laughing, and standing in two lines and learning top of set and bottom of set. Then follow perhaps with a reel, like Virginia reel. This gives a vague concept of progression and doing something different at different positions in the dance. There are some other simpler reels than Virginia reel as well, without the strip the willow but with the follow around and arch and under. I think the one of the easiest contras is Ellen's Green Jig. I don't have time to put it up here, maybe someone else could if you don't know it, but it's one where everyone pretty much is in contact all the time so it's hard to screw up, has just balance and swing, do-si- do and circles pretty much, and the progression is oh-so-obvious, and it doesn't matter if the genders get all screwed up as long as ones are ones and twos are twos. Oh, I called for a dance where 15 foreign exchange students showed up with limited English. I'd keep the calls in English as you are a beginning caller and it would be too much to think of to do it in Japanese as well. But just pick the way you are going to call the figure, e.g. Ladie's Chain - and NEVER vary it. It will always be Ladie's Chain, not "Chain the women", not "women chain" not "chain across" just flat out plain "Ladies Chain". People will catch on. Martha On Oct 2, 2007, at 4:00 PM, callers-request(a)sharedweight.net wrote: > Send Callers mailing list submissions to > callers(a)sharedweight.net > > To subscribe or unsubscribe via the World Wide Web, visit > http://www.sharedweight.net/mailman/listinfo/callers > or, via email, send a message with subject or body 'help' to > 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. 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 >

15 years, 3 months

Re: [Callers] Thanks for a dance name, author and other data...

by Adina Gordon

Hi Richie, That's Donna Hunt. Donna, are you on this list? - Adina --------- Adina Gordon 828.230.9266 http://www.adinagordon.com/ --- On Wed, 7/30/08, callers-request(a)sharedweight.net <callers-request(a)sharedweight.net> wrote: From: "Richie K." <mightylumpy3(a)juno.com> Subject: [Callers] Thanks for a dance name, author and other data... oh and one more question besides... :) ... http://contrausa.com/user/fri2%20ron%20b4%20with%20quote.wmv ...starting just after the music gets fast, there is an inactive women coming up the line with reddish hair and and a knee brace who does a sort of stutter step before she does some of the moves... If anyone knows why she does so or even who she is so I can ask her the advantage of that it would be most appreciated :) best wishes ... Richie Katz

15 years, 12 months

Zia Formation

by Bob Isaacs

Hello All; Since we are mostly interested in contras and squares, I'd like to share with you what I've learned about a hybrid formation that combines contras and squares called zia formation (see the attached). In the past year I've started writing and calling zias, and have found they can be a fun novelty for those audiences experienced enough to appreciate them. Compared to another hybrid formation, grid squares, I have found they are harder to write but easier to dance, as they tend to stay aligned better and thus give dancers a more clearly defined path. I'd certainly be interested if anyone on this list knows of other zia dances that have been used. I hope you enjoy the discussion and the dances, and this gives you another way to bring fun to your dancers - Bob Isaacs _________________________________________________________________ Use video conversation to talk face-to-face with Windows Live Messenger. http://www.windowslive.com/messenger/connect_your_way.html?ocid=TXT_TAGLM_W…

15 years, 12 months

Re: [Callers] Announcing Dance Names

by David.Millstone＠valley.net

Thank you, Greg, for your thoughtful, well-stated, and caring responses to the points folks brought up in response to your original question. I really appreciate-- and this is something I've felt in your earlier posts-- the way that you work at bringing different points of view together, finding common ground without minimizing different opinions. As you certainly recognize, this particular question comes down to an individual caller's personal preferences and style, and there's not One Right Answer. Thank goodness! We don't aim to create a coterie of certified clones, but rather to celebrate the unique style that each caller brings to the mix. And I agree that through thoughtful discussions of issues such as this, callers from all vantage points come away with ideas to consider. I've often told folks at my callers' workshops to get copies of Larry Jennings's two books. Initially, newer callers are excited by the idea of obtaining collections of so many dances all in one volume. Useful as those dances are, I think the greater value of "Zesty Contras" and "Give-and-Take" is found in Larry's thoughtful essays. He was a man of many opinions and he wasn't bashful about sharing them. Whether or not you agreed with him wasn't the point; reading those many essays forces callers-- established and newbies alike-- to think about what they themselves value and to hone their own vision of what they want the dance to be when they're at the caller's mic. David Millstone Lebanon, NH

15 years, 12 months

Thanks for a dance name, author and other data... oh and one more que stion besides... :)

by Richie K.

Bob and Cis... Thanks for the "Jurassic Redheads"- Carol Ormand dance identification.... I'll email Carol and make sure the use of the dance in the video is OK :) THANKS !!! By the way... in the same video ... http://contrausa.com/user/fri2%20ron%20b4%20with%20quote.wmv ...starting just after the music gets fast, there is an inactive women coming up the line with reddish hair and and a knee brace who does a sort of stutter step before she does some of the moves... If anyone knows why she does so or even who she is so I can ask her the advantage of that it would be most appreciated :) best wishes ... Richie Katz ____________________________________________________________ Get life insurance quotes from top companies. Click Now. http://thirdpartyoffers.juno.com/TGL2141/fc/Ioyw6i3m2vx7pauKY7L3KMHUHpJhCWf…

15 years, 12 months

Re: [Callers] Zia Formation

by Jerome Grisanti

Jack, I can picture three squares created by one longways contra line crossed by three "east-west" contra lines, with squares at each intersection. I can picture four squares composed of either two longways and two "east-west" contra lines, or one longways and four "east-west" contra lines. I'm presuming the "two-by-two" arrangement would create the "closed box," i.e. four squares without contra lines between (but contra lines on the outside). This is only my conjecture, however, and I await an expert opinion. --Jerome Date: Mon, 28 Jul 2008 08:58:42 -0400 > From: Jack Mitchell <jamitch3(a)mindspring.com> > Subject: Re: [Callers] Zia Formation > To: Caller's discussion list <callers(a)sharedweight.net> > Message-ID: <E1KNSJp-00070I-DE(a)elasmtp-dupuy.atl.sa.earthlink.net> > Content-Type: text/plain; charset="us-ascii"; format=flowed > > This looks really interesting....but I'm having some trouble > picturing how the multiple square arrangements would work. 2 Squares > I can picture, but I'm a little unsure about how three squares would > be laid out and even less sure what the difference between "Four > Squares" and "Four Squares -- closed box" is. Anyone care to step up > with some clarification? > > Jack > > > -- Jerome Grisanti 660-528-0858 http://www.jeromegrisanti.com

15 years, 12 months

Re: [Callers] Zia Formation

by David.Millstone＠valley.net

Thanks, Bob, for your detailed look at this formation. An earlier use of this dance formation, and the earliest one I know, is the Weston Mt. Zia, written by Daniel Clark ten years ago. Details are here: http://fam.bmi.net/zia.htm There were a series of posts discussing this dance back in January of 1999; a search on rec.folk-dancing for "Walla Walla Wunder" will bring you to the list, which included a discussion of possible English country dance antecedents of this formation, and a similar dance that came to Nick Hawes in a dream. David Millstone Lebanon, NH

16 years

Re: [Callers] A Rollin and A Tumblin

by Tina Fields

Hi folks - I like to call this dance as well, and like David's very clear 'here are the moves to the beats' suggestion. I have actually had no problem getting folks to roll away on the way back, though, if I teach the 8 bars as one piece that way from the very beginning, explaining how it's different before they even begin moving in the LL. The funny thing is when next I teach a dance with long lines, everyone hesitates before doing it - will there be a twist? <g> So nice to see they're paying attention, eh? For dances with lots of beginners, I enjoy preceding Rollin and Tumblin with Oslo Waltz Mixer. This way, dancers get to first practice smooth, slow, graceful rolls, then later with the contra they get to rant and roar with them. I've found that a really a fun combo. Tina Fields Message: 2 Date: 09 May 2008 18:45:56 -0400 From: David.Millstone(a)valley.net (David Millstone) Subject: [Callers] A Rollin and A Tumblin To: callers(a)sharedweight.net Message-ID: <92058317(a)retriever.VALLEY.NET> Content-Type: text/plain 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 Tina R. Fields, Ph.D. (707) 824-9318 "Hindsight Now!"

16 years

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Contra Callers July 2008