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
> 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
>
I just learned a great contra that has great flow. I'd like to know
if anyone knows the title or composer:
A1 gypsy neighbor, mad robin.
A2 one half pousett, hey (about 3/4 hey) men pass left.
B1 swing partner
B2 ladies chain, star left.
thanks.
On Sep 29, 2008, at 12:00 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. Re: Another Name That Dance (crunchymama(a)juno.com)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Sun, 28 Sep 2008 23:00:04 GMT
> From: "crunchymama(a)juno.com" <crunchymama(a)juno.com>
> Subject: Re: [Callers] Another Name That Dance
> To: callers(a)sharedweight.net
> Message-ID: <20080928.180004.26347.0(a)webmail07.vgs.untd.com>
> Content-Type: text/plain; charset=windows-1252
>
> I am relieved to hear that it is in fact "Cure for the Claps"-
> locally it's been called as "Cure for the Clap" and in spite
> enjoying dance I've always shuddered at the name. Never made the
> connection to the clapping on petronella till now. :o)
>
> -Alison Murphy
>
>
>
>
> -- richgoss(a)comcast.net wrote:
> Cure for the Claps - Bob Isaacs
>
> -------------- Original message --------------
> From: Walter <walterdaves(a)alltel.net>
>
>> So, what's the name of this one? I saw it on YouTube, from All Soles
>> Dance, with the Great Bear Trio playing**
>>
>> * *
>>
>> *A1: Balance the ring; Petronella twirl, Swing partner
>> A2: Balance the ring, Petronella twirl, Swing neighbor
>> B1: Down the hall, turn single, return
>> B2: Circle left 3 places, balance the ring, California twirl
>> *
>>
>> Thanks,
>>
>> Walter Daves
>> **
>>
>>
>> _______________________________________________
>> 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
>
>
> ____________________________________________________________
> Click to become a designer and quit your boring job.
> http://thirdpartyoffers.juno.com/TGL2131/fc/
> Ioyw6iieWt4vxNBfVPt8enDYApM1TsouH40DE7PnSKs2vTlWvpi5YP/
>
>
> ------------------------------
>
> _______________________________________________
> Callers mailing list
> Callers(a)sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>
>
> End of Callers Digest, Vol 49, Issue 10
> ***************************************
Hi all,
I'm thinking of going to my son's school's Civil War day and teaching a dance.
The idea of Sackett's Harbor is nice because it is relatively local (Upstate New York)
and has the cool history from 1814?(dance used to be called Speed The Cable - google it),
But I am leery of teaching a triple minor with contra corners as a progression dance.
I'm wondering if anyone out there has called this dance as a tripLET, and fixed the
progression by having the 2's and 3's trade places while the ones go "across the hall?"
If not, I will claim it as my own!! If so, I would like to know the name of the dance and the
author, so credit can be righteously given.
Also, what do you think are the prospects of teaching said dance to a group of 5th graders?
Finally, Sackett's Harbor has been called so many times in our weekly dance of late that
I have taken to adding the following "flourish" when the involved dancers are all experienced:
As an idle dancer during the contra corners part, Join in for stars of 3 when the active is turning
the person across from me. (I could also do the 3 person star with the person behind me, but
I haven't done it because I can't keep track of who's in that set and don't want to confuse the
beginners) It really adds some zest to an otherwise ho-hum (no partner swing) dance.
Any comments?
For reference:
Sackett's Harbor:
Hands six circle 3/4 Left?(8)
Actives "down" the hall -really across the hall, and Rigadoon?(8)
(this is where I would have 2's and 3's trade places with allemande or sashay or do-si-do)
Actives Turn alone come back and cast to
??? middle position (in original dance cast is with 2s, in triplet version it's with 3's) (8)
Contra corners (this is where I add my zest) (16)
Actives fall back to place (-)
Lines of 3 forward and back
Hands Six circle RIGHT (8)
In the triplet version, the 1's become 2's, the 3's become 1's and the 2's become 3's.
In the original, the 1's stay 1's and the 2's and 3's trade back and forth until the end of the set.
Bob
I have "Cure for the Claps" down as written by the inimitable Bob Isaacs.
Tina Fields
> Date: Sun, 28 Sep 2008 23:00:04 GMT
> From: "crunchymama(a)juno.com"
> <crunchymama(a)juno.com>
> Subject: Re: [Callers] Another Name That Dance
> To: callers(a)sharedweight.net
> Message-ID:
> <20080928.180004.26347.0(a)webmail07.vgs.untd.com>
> Content-Type: text/plain; charset=windows-1252
>
> I am relieved to hear that it is in fact "Cure for the
> Claps"- locally it's been called as "Cure for
> the Clap" and in spite enjoying dance I've always
> shuddered at the name. Never made the connection to the
> clapping on petronella till now. :o)
>
> -Alison Murphy
>
>
>
>
> -- richgoss(a)comcast.net wrote:
> Cure for the Claps - Bob Isaacs
>
> -------------- Original message --------------
> From: Walter <walterdaves(a)alltel.net>
>
> > So, what's the name of this one? I saw it on
> YouTube, from All Soles
> > Dance, with the Great Bear Trio playing**
> >
> > * *
> >
> > *A1: Balance the ring; Petronella twirl, Swing partner
>
> > A2: Balance the ring, Petronella twirl, Swing neighbor
>
> > B1: Down the hall, turn single, return
> > B2: Circle left 3 places, balance the ring, California
> twirl
> > *
> >
> > Thanks,
> >
> > Walter Daves
> > **
> >
I am relieved to hear that it is in fact "Cure for the Claps"- locally it's been called as "Cure for the Clap" and in spite enjoying dance I've always shuddered at the name. Never made the connection to the clapping on petronella till now. :o)
-Alison Murphy
-- richgoss(a)comcast.net wrote:
Cure for the Claps - Bob Isaacs
-------------- Original message --------------
From: Walter <walterdaves(a)alltel.net>
> So, what's the name of this one? I saw it on YouTube, from All Soles
> Dance, with the Great Bear Trio playing**
>
> * *
>
> *A1: Balance the ring; Petronella twirl, Swing partner
> A2: Balance the ring, Petronella twirl, Swing neighbor
> B1: Down the hall, turn single, return
> B2: Circle left 3 places, balance the ring, California twirl
> *
>
> Thanks,
>
> Walter Daves
> **
>
>
> _______________________________________________
> 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
____________________________________________________________
Click to become a designer and quit your boring job.
http://thirdpartyoffers.juno.com/TGL2131/fc/Ioyw6iieWt4vxNBfVPt8enDYApM1Tso…
Hello everyone!!
Today is the 4th anniversary of the first post to SharedWeight. Seth
Seeger and I continue to be thrilled about how SharedWeight has grown
and evolved. And it's all due to your thoughtfulness, willingness to
help and energy. We now have around 200 members across 3 lists.
Thank you for your participation!! It's people like you that help keep
American traditional dance going and will carry it into the future.
Happy Dancing!!
Chris Weiler
Goffstown, NH
tony(a)hands4.com wrote:
> Hello, calling friends...
>
> This is an invitation to meet the legendary square dance
> caller Rickey Holden, who is making one of his rare trips
> to the States.
>
> Rickey started square and contra dancing in Vermont in the
> 1930s. He attended Ralph Page's Boston dances while
> studying (along with Ted Sannella) at Tufts University. He
> became one of the first full-time callers in the nationwide
> square dance boom, acting as a consultant for the San
> Antonio, TX Recreation Department and eventually traveling
> around the world teaching squares, contras, and
> international folk dances.
>
> Some of you may recognize Rickey's name from his books _The
> Square Dance Caller_ and _The Contra Dance Book_. In the
> 1950s he edited _American Squares_, a national magazine; in
> my opinion Rickey's tenure was the high point of _AS_'s
> long history.
>
> In 1967 Rickey moved to Brussels, Belgium and founded
> Folkraft-Europe, which produces recordings and organizes
> seminars on folk dancing. However, he still claims square
> and contra dance as his first love, and this visit provides
> a rare opportunity to meet and learn from him.
>
> On Friday, September 26, Rickey will be my guest - and do
> some calling - at the first of my Fourth Friday square
> dances in Belmont, Mass. The dance runs from 8 to 11 p.m.
> at Payson Park Church, 365 Belmont Street. Admission is $8
> ($5 for students under 21).
>
> On Saturday morning, September 27, Rickey has agreed to
> meet with local callers and "talk shop." The format is yet
> to be determined. It could be (1) a potluck brunch, with
> Rickey sharing his story followed by Q&A / bull session, or
> (2) a workshop, with actual music and dancing, or (3) both.
>
> Please let me know ASAP if you'd like to attend such a
> gathering, as the number of "yes" replies will affect the
> type of space I need to reserve. In addition to a
> contribution of food (if we go through with the potluck
> idea), I suggest $10 toward Rickey's travel expenses ($20
> if we end up hiring a hall). Your comments and suggestions
> are welcome and valued.
>
> Feel free to pass this invitation along; I'm sure I've
> missed a few people.
>
> Tony Parkes
>
>
Cure for the Claps - Bob Isaacs
-------------- Original message --------------
From: Walter <walterdaves(a)alltel.net>
> So, what's the name of this one? I saw it on YouTube, from All Soles
> Dance, with the Great Bear Trio playing**
>
> * *
>
> *A1: Balance the ring; Petronella twirl, Swing partner
> A2: Balance the ring, Petronella twirl, Swing neighbor
> B1: Down the hall, turn single, return
> B2: Circle left 3 places, balance the ring, California twirl
> *
>
> Thanks,
>
> Walter Daves
> **
>
>
> _______________________________________________
> Callers mailing list
> Callers(a)sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
