Hi everyone,
I've been teaching ECD in Ft. Myers (Florida) since Jan 2007, and we're now trying to establish a contra group. I've been given the opportunity to call a contra dance at the Edison & Ford winter estates in Ft. Myers on Sept 20th - I began contra dancing at Lovett hall, danced there for 13 years and attended the final dance there, so I fully understand the significance of this - and am looking for resources, ideas, any sort of help. Depending on the success of this contra, the estates are willing to work with us on having a monthly dance.
The contra will be part of the opening day ceremonies for the new exhibit - Ford; Movies, Music and Dance. It will be 4 hours long, with a 20 min break. The estates prefer that I do it as 2 separate sessions. I would like to keep it somewhat historical. The attendees will be primarily estate members (non dancers). We also have to involve the local ballet school as they are members and recognised in the community.
In my research I've found the following dances menetioned as onees that HF would have done: Gavotte, Minuet, Varsouvianna, Black Hawk Waltz, Blue Pacific Waltz. I think it would be best if I taught some of these to the ballet students and let them perform them during the break. I've not called much contra before - but then I'd never called ECD 22 months ago and now we have a group of 30 regulars and are approaching our second annual dance weekend - so would like some help choosing easier but fun dances to teach to a complete group of newbies. I thought of The Virginia reel, Money musk (done as a triplet with 4 couples as in Scottish) and Chorus Jig. Also the Gay Gordons and Schottische which I have experience teaching to strangers in bars and coffee shops in under 5 mins.
I have an amazing band who can play anything... I just have to come up with a fun programme and would like it to reflect how beautiful and how much fun contra, real contra, can be.
Help? Advice? Feel free to contact me off list at fortmyersdancers(a)hotmail.com
Thanks,
Gillian Carney
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I'd suggest an allemande right in Luke's dance. The reason is that
an allemande left would tend to have the couples end their swing
slightly staggered. That is, they wouldn't be exactly across from
each other. If the women allemande right this isn't an issue. Draw
it out and see if that's correct.
Tom Hinds
On Aug 25, 2009, at 6:11 PM, callers-request(a)sharedweight.net wrote:
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> Today's Topics:
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> 1. question about flow and feel (Luke Donev)
> 2. Re: question about flow and feel (Bronwyn Woods)
> 3. emerging artists (Bronwyn Woods)
> 4. Re: emerging artists (Martha Edwards)
> 5. Re: question about flow and feel
> (Alan Winston - SSRL Central Computing)
> 6. Re: emerging artists (Jeff Kaufman)
> 7. Re: emerging artists (Dave Colestock)
> 8. Re: emerging artists (richgoss(a)comcast.net)
>
>
>
Two questions for Dave Colestock's dances, which look like fun:
A Sizzlin' Seattle has the Gents Allemande 1-1/2 - with which hand? Left?
Men in Plaid has a Gent's Chain. With which hand is this typically done? Gents pull by R as ladies do, or by L? I just called a dance this weekend with this move, and a discussion with the male dancers about this both ahead of time and afterwards yielded mostly that they're unaccustomed to the move. The dance I called had this chain followed by a 1/2 hey, and one thing that is clear is that they have to be congruent (e.g., gents chain by L --> gents pass by L to start the hey).
Thanks, folks!
Tina
Here's one I co-wrote. It's been danced and refined a number of times. I'd still like constructive or enjoyable feedback.
Grape-Stompin’ Peasant duple
improper contra
by Tina Fields & Jim Marcolina, 2007
A1 (16) Gents
pass by R-sh*, Sw N
(Note: The 1st time thru
this does not happen: begin B & Sw or just Sw.)
A2 (8)
Long lines F & B
(8) Cir
L all the way around
B1 (4+4) Balance
the ring, Petronella turn
(but don’t clap; stamp feet to
stomp grapes instead)
(4+4) Balance
the ring, Petronella turn
B2 (16)
Ladies
pass by R-sh to P,
Sw
P
It’s
really fun if dancers add some style to the pass by: Look the same-gender
person in the eye with a deep gaze as in gypsy, and pass by belly to belly with
a dramatic swoosh! -- arms out before and behind, like flying. This is more
easily demonstrated.
Note: The 1st time thru the
gents are not yet in place to pass by; begin the dance with B & Sw or just
Sw.
*******************************
Tina R. Fields, Ph.D.
"Hindsight Now!"
--- On Tue, 8/25/09, callers-request(a)sharedweight.net <callers-request(a)sharedweight.net> wrote:
From: callers-request(a)sharedweight.net <callers-request(a)sharedweight.net>
Subject: Callers Digest, Vol 60, Issue 12
To: callers(a)sharedweight.net
Date: Tuesday, August 25, 2009, 4:13 PM
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Today's Topics:
1. Re: emerging artists (Richard Allen Fischer)
2. Re: emerging artists (richgoss(a)comcast.net)
3. Re: emerging artists (David Casserly)
4. Re: emerging artists (Alan Winston - SSRL Central Computing)
5. Re: emerging artists (Chris Page)
6. Re: emerging artists (richgoss(a)comcast.net)
7. Re: emerging artists (Alan Winston - SSRL Central Computing)
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Thank you all for your feedback :-)
The overwhelming opinion is that the R hand allemande is more natural.
I think it's in part a circle L versus circle R kinda thing, where one
is more comfortable because it's done more and folks know how to make
it smooth. I also think it's a really small effect, and that dancer
comfort is an important consideration.
It's been pointed out to me that the sample dance I put up is very
close to Contraindicated by Peter Stix (replace the allemande with a
do-si-do, thus sidestepping the issue). The sample dance was actually
a simplification to just address the lines->allemande transition. The
dance I'm was working on that brought it up:
They're a right bunch of dancers
Becket
A1
Circle L 3/4, gents lead out to the left; zig and zag the set to new couples
A2
Circle R 3/4
ladies 1/2 chain
B1
long lines fwd & back
ladies allemande R 1 1/2 to ptr
B2
ptr bal & swg
Which I wrote to end with a partner balance and swing (something I
like to close a set with).
Thanks again for all the feedback and information.
On Tue, Aug 25, 2009 at 4:59 PM, Luke Donev<luke.donev(a)gmail.com> wrote:
> Hello all,
>
> I'm sitting at home writing a contra (they get in my head and won't
> leave me alone till I write them down). I unfortunately don't have a
> closet full of dancers to pull out and test things on, but I've got a
> question about flow.
>
> When the ladies are standing to the right of their neighbor on the
> side of the set, facing their partner, and are going to allemande
> over to their partner for a balance and swing, should it be an
> allemande Right or Left? I feel like the R is more traditional for
> ladies, but an allemande L would leave their R hand free for a
> smoother transition to a balance and swing (I feel lead's L, follow's
> R is a better 1 hand balance to go into a swing with than lead's R,
> follow's L).
>
> To put it in context, consider the following dance:
> Sample dance 1, Improper
> A1: N bal & swg
> A2: long lines, fwd & back
> Ladies Allmnd L 1+ to partner
> B1: ptr bal & swg
> B2: ladies 1/2 chain
> star L 1x, on to next
>
> I think the ladies should allemande L there, but I'd be curious what
> other people think of the flow.
>
> If it was something like going to a R hand R hand balance for a box
> the gnat, it would seem to force the issue, but it seems more open
> when it's just going into a swing. Preferences? Thoughts?
>
> --
> Luke Donev
> http://www.lukedonev.com
> Luke.Donev(a)gmail.com
>
--
Luke Donev
http://www.lukedonev.com
Luke.Donev(a)gmail.com
Hi, Bronwyn,
Here are three dances you might consider
Yes We Can! duple Improper Walter Daves
A1: Long lines forward and back; (8) W/ neighbor, roll away to a
circle of 4 (Woman roll to right in front of gent, Gent slide to left;
immediately reach across set to partner to make the circle); (4)
Balance the circle (4)
A2: W/Partner roll away across the set to a circle of 4 (4) , balance
the circle; (4) Gents do-si-do 1.5 to partner (8)
B1: Partner balance and swing (16)
B2: Circle left 3 places; (8) Neighbor swing (8)
Here's another, written several years ago, and slightly modified by Bob
Dalsemer
Nail that Catfish to a Tree duple improper Walter Daves
(inspired by the tune of the same name by Steve Rosen)
A1: In circle of 4, balance the circle; (4) circle 2 places to the
left; (4) balance the circle; (4) circle left 2 places (4)
A2: # 1 couple balance and swing (16)
B1: Neighbor do-si-do; (8) neighbor swing. (8) End swing facing down
the set
B2: Down the hall 4 in line,(4+) turn single, (2) return, (4+) # 2
couple arch, # 1 couple duck thru to next (4)
Note: need to hurry bac
Finally,
Little Nell duple improper Walter Daves
(Inspired by the tune of that name, by Tony Mates)
Start: Right hand to neighbor, women take left hands in wavy line across
A1: Balance the wave; (4) Allemande right half way, (4) balance the
wave (4); Gents allemande left half way, to partner (4)
A2: Partner balance and swing (16)
B1: Women allemande right 1.5 to neighbor, (8) neighbor swing, end
swing in circle of 4 (8)
B2: Balance the circle; (4) W/ partner, roll away across the set; (4)
balance the circle, (4) pass thru to next (4)
Hello all,
I'm sitting at home writing a contra (they get in my head and won't
leave me alone till I write them down). I unfortunately don't have a
closet full of dancers to pull out and test things on, but I've got a
question about flow.
When the ladies are standing to the right of their neighbor on the
side of the set, facing their partner, and are going to allemande
over to their partner for a balance and swing, should it be an
allemande Right or Left? I feel like the R is more traditional for
ladies, but an allemande L would leave their R hand free for a
smoother transition to a balance and swing (I feel lead's L, follow's
R is a better 1 hand balance to go into a swing with than lead's R,
follow's L).
To put it in context, consider the following dance:
Sample dance 1, Improper
A1: N bal & swg
A2: long lines, fwd & back
Ladies Allmnd L 1+ to partner
B1: ptr bal & swg
B2: ladies 1/2 chain
star L 1x, on to next
I think the ladies should allemande L there, but I'd be curious what
other people think of the flow.
If it was something like going to a R hand R hand balance for a box
the gnat, it would seem to force the issue, but it seems more open
when it's just going into a swing. Preferences? Thoughts?
--
Luke Donev
http://www.lukedonev.com
Luke.Donev(a)gmail.com
This one is hot off the presses. Would appreciate feedback. Plan to debut this Saturday in Portland.
Loose Marbles by Rich Goss improper contra
double progression
A1: Pass current N by right, next N by left, swing N #3
A2: Ladies alle right 1 1/2 (to face partner), 1/2 hey (pass ptr left sh)
B1: Partner Bal and Sw
B2: Ladies chain, Bal ring, roll away partner across set (to trade places)
Need to swap quickly on the ends to come back in (unless the lines are uneven)
----- Original Message -----
From: "Bronwyn Woods" <woods.bronwyn(a)googlemail.com>
To: "Caller's discussion list" <callers(a)sharedweight.net>
Sent: Tuesday, August 25, 2009 2:20:49 PM GMT -08:00 US/Canada Pacific
Subject: [Callers] emerging artists
Hi all,
In January, the NYC contra is holding a dance themed around "emerging
artists". I will be calling to Stunt Double (Laurie Tupper, Christopher
Jacoby, Dave Casserly, Julie Vallimont). It should be a great dance.
Anyway, in keeping with the theme, I would like to call some dances by
"emerging" choreographers. I'm currently looking for dances that fit this
loose description - "emerging" can really be defined however you want. So,
if you know of dances that you like that you think fit the bill, let me
know! Also let me know if the dances have been called before or still need
to be given a trial run.
Thanks,
Bronwyn
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Hello all,
I've noticed on more than one occasion when Sheandoah Falls has turned up in
a medley that the B-part of the dance falls apart (as in things not
happening in the right rhythm) and I have to call constantly until the tune
changes. I've seen this with more than one dance. The phrasing in the B-part
of that tune is a bit different from standard. Does anyone have a suggestion
of a dance that might fit well with that tune? (and/or can you think of
other tunes with similar phrasing in the B-part? Could be it's just not a
good standard medley tune for dancing..)
What do you think?
-cynthia
Re: Shenandoah Falls
We play that tune a lot for dances, and I've never noticed any
problem with it. As a caller/musician, I usually choose a smooth
flowing A part dance to match the tune to. Similar to Richard
below, at least the way we do the B part, I often choose it to go
with a petronella dance like Citronella Morning or Salmonella.
Martha Wild
On Aug 21, 2009, at 9:00 AM, callers-request(a)sharedweight.net wrote:
> Send Callers mailing list submissions to
> callers(a)sharedweight.net
>
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> http://www.sharedweight.net/mailman/listinfo/callers
> or, via email, send a message with subject or body 'help' to
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>
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of Callers digest..."
>
>
> Today's Topics:
>
> 1. Chicago Contra Dance Leadership Weekend with Lisa Greenleaf!
> (Rachel Shapiro)
> 2. The Frolic in the Fall - 9/26/09 in Harrisburg, PA
> (Dave Colestock)
> 3. Dance for Tune? Shenandoah Falls (Cynthia Phinney)
> 4. Re: Dance for Tune? Shenandoah Falls (Richard Allen Fischer)
> 5. Re: Dance for Tune? Shenandoah Falls (Jeff Kaufman)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Thu, 20 Aug 2009 20:37:43 -0500
> From: Rachel Shapiro <rachel.shapiro05(a)gmail.com>
> To: callers(a)sharedweight.net
> Cc: Edward Wallace <ewallace(a)uchicago.edu>
> Subject: [Callers] Chicago Contra Dance Leadership Weekend with Lisa
> Greenleaf!
> Message-ID:
> <dba043650908201837g136a4dbbyecf995db7b11f744(a)mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> The University of Chicago, with support from the CDSS Outreach
> Fund, is
> sponsoring a contra dance leadership weekend with an intensive callers
> workshop led by Boston caller Lisa Greenleaf the weekend of October
> 16th.
>
> *"Lisa *leads an intensive workshop
>
> designed for advanced-beginner through
>
> intermediate contra dance callers. It will focus
>
> on stage presence and teaching skills. The
>
> workshop runs Friday Night through Sunday
>
> Morning, and includes calling opportunities at
>
> the Saturday dance"
>
> callers must submit an application for this weekend in Chicago.
> There are
> only 10 slots available. the applications are due August 31 and
> can be
> found, along with the flyer, at: http://fac.uchicago.edu/
> leadership.html
>
> There will also be master musician classes with Pete Sutherland, Mark
> Roberts, and Jeremiah McLane (Three of the five members of Clayfoot
> Strutters!).
>
> There will be two dances this weekend, so even if you cant make the
> whole
> workshop, join us for a dance led by the callers on Saturday, and an
> Advanced Dance led by Lisa on Sunday.
>
> This is not to be missed. Please email with any questions (off list,
> please).
>
> See you there!
> Rachel
>
>
> ------------------------------
>
> Message: 2
> Date: Thu, 20 Aug 2009 21:23:23 -0700 (PDT)
> From: Dave Colestock <contradancerdave(a)yahoo.com>
> To: Shared Weight <callers(a)sharedweight.net>
> Subject: [Callers] The Frolic in the Fall - 9/26/09 in Harrisburg, PA
> Message-ID: <821682.14187.qm(a)web52606.mail.re2.yahoo.com>
> Content-Type: text/plain; charset=iso-8859-1
>
>
>
>
>
>
> The Third Annual Frolic in the Fall.? To be held Saturday,
> September 26, 2009 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?CONTRANELLA from New
> York and Maryland, and THE AVANT GARDENERS from Virginia, calling
> by SUSAN PETRICK, from California, and DAVE COLESTOCK, from
> Pennsylvania.?
> ?
> 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, but walk-
> ins are welcome if space is available.
> ?
> Dance at the Locust Lane Contra Dance on Friday 9/25/09 with GREG
> FROCK calling to THE AVANT GARDENERS, 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 $15 /person.? Contact us at
> Fallfrolic@yahoo. com or visit the website at
> www.frolicinthefall .freeservers. com?? Download the registration
> form and send?snail mail by 9/13/09 , please.? Print out the flyer
> and take copies?to your local dance.? Feel free to forward this
> email, and?tell all of your friends - spread the word about the
> Frolic!
>
> ?
> Thank you, and hope to see YOU at the Frolic.?
> ?
> Can you DANCE for an HOUR???? Come to the FROLIC and find out!!!
> ?
> Thanks for your interest,
> Dave Colestock
> ?
> ?
>
> ------------------------------
>
> Message: 3
> Date: Fri, 21 Aug 2009 09:40:36 -0400
> From: "Cynthia Phinney" <cynth(a)gwi.net>
> To: "'Shared Weight'" <callers(a)sharedweight.net>
> Subject: [Callers] Dance for Tune? Shenandoah Falls
> Message-ID: <000001ca2264$f7588cd0$e609a670$@net>
> Content-Type: text/plain; charset="us-ascii"
>
> Hello all,
>
>
>
> I've noticed on more than one occasion when Sheandoah Falls has
> turned up in
> a medley that the B-part of the dance falls apart (as in things not
> happening in the right rhythm) and I have to call constantly until
> the tune
> changes. I've seen this with more than one dance. The phrasing in
> the B-part
> of that tune is a bit different from standard. Does anyone have a
> suggestion
> of a dance that might fit well with that tune? (and/or can you
> think of
> other tunes with similar phrasing in the B-part? Could be it's just
> not a
> good standard medley tune for dancing..)
>
>
>
> What do you think?
>
>
>
> -cynthia
>
>
>
> ------------------------------
>
> Message: 4
> Date: Fri, 21 Aug 2009 09:46:45 -0400
> From: Richard Allen Fischer <richardallenfischer(a)verizon.net>
> To: Caller's discussion list <callers(a)sharedweight.net>
> Subject: Re: [Callers] Dance for Tune? Shenandoah Falls
> Message-ID: <EA96F8F8-30B6-444C-BC3D-ED4F93936B76(a)verizon.net>
> Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed
>
> I've never noticed that--as a dancer, musician or caller. Shenandoah
> Falls seems to work well with dances that have Petronella balances
> and spins in the B part. (E.g., Tica Tica Timing or Balance to My
> Lou.)
>
> RAF
> On Aug 21, 2009, at 9:40 AM, Cynthia Phinney wrote:
>
>> Hello all,
>>
>>
>>
>> I've noticed on more than one occasion when Sheandoah Falls has
>> turned up in
>> a medley that the B-part of the dance falls apart (as in things not
>> happening in the right rhythm) and I have to call constantly until
>> the tune
>> changes. I've seen this with more than one dance. The phrasing in
>> the B-part
>> of that tune is a bit different from standard. Does anyone have a
>> suggestion
>> of a dance that might fit well with that tune? (and/or can you
>> think of
>> other tunes with similar phrasing in the B-part? Could be it's just
>> not a
>> good standard medley tune for dancing..)
>>
>>
>>
>> What do you think?
>>
>>
>>
>> -cynthia
>>
>> _______________________________________________
>> Callers mailing list
>> Callers(a)sharedweight.net
>> http://www.sharedweight.net/mailman/listinfo/callers
>
>
>
> ------------------------------
>
> Message: 5
> Date: Fri, 21 Aug 2009 11:02:29 -0400
> From: Jeff Kaufman <cbr(a)sccs.swarthmore.edu>
> To: 'Shared Weight' <callers(a)sharedweight.net>
> Subject: Re: [Callers] Dance for Tune? Shenandoah Falls
> Message-ID: <20090821150229.GA5919(a)melfpelt.swarpa.net>
> Content-Type: text/plain; charset="us-ascii"
>
> Cynthia Phinney wrote:
>>
>> I've noticed on more than one occasion when Sheandoah Falls has
>> turned up in a medley that the B-part of the dance falls apart (as
>> in things not happening in the right rhythm) and I have to call
>> constantly until the tune changes. I've seen this with more than one
>> dance. The phrasing in the B-part of that tune is a bit different
>> from standard.
>>
>
> Shenandoah Falls is unusual in that some of the B-part is quite
> synchopated. The phrasing is still very regular, with well defined
> four beat chunks, but within the chunks the beat might be difficult to
> detect for some.
>
> So if you have a band that really wants to play shenandoah falls but
> you think that the group might not be able to take it in stride, you
> could call something that matches the phrasing well and lets the
> dancers reenforce each other's sense of the beat. Richard's
> suggestion of petronellas is good, as would any "balance for four,
> move for four" sort of repetition. Balance and swing would also work
> ok, as the synchopated hard to think about part comes in the middle of
> the swing.
>
> The bigger problem is that the caller generally doesn't know what
> tunes the band intends to play until the band switches tunes. So you
> generally never have an oppertunity to go "oh? You'd like to play
> shenandoah falls? Let me choose a dance that fits." Instead the best
> you can do is probably tell the band after observing the hall that you
> think it would be best if they avoided synchopated tunes like
> shenandoah falls tonight.
>
> Jeff
>
