I was wondering if anyone would be interested in calling the Gorham
contra dance on Saturday, September 12. There was a miscommunication
and I am trying to find a replacement for myself. I have called for
the dance the last three years and have had a great time. It is a
small community of people. They are open to having new callers as
well. If there is anyone interested, please contact me. I am trying
to find a replacement ASAP.
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,
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
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,
See you there!
'Tis the season, isn't it?
Linda Mrosko mentioned Newlywed Lane and Fancy Free Flirting circle waltz. Can someone please pass on the choreography to me?
I'm also looking for a dance called at Princeton Country Dancers' anniversary dance this year, a longways set dance having to do with a wolf in a barn snatching piglets...?
My suggested fix is no good :-(
I think this would fix it
B2: Balance the Ring, Petronella Turn
Balance the Ring, Petronella Turn and a 1/2 more
but with this suggestion, I think it's too clockwise.
B2: LLFB, right hand balance, and square thru 2 would be nicer
Salmonella Evening by Steve Zakon-Anderson has the same A1, A2 and B2
but B1: Balance the Ring, Petronella Twirl Balance the Ring, Petronella Twirl
Your mystery dance doesn't progress.
It would work if B2 was
Balance Ring, Petronella Twirl
Balance Ring, California Twirl
So...I just discovered a dance in my box without a title or author on
it. Can anyone ID it for me?
A1: Neighbor Alle R 1.5
Gents Alle Left 1.5
A2: Partner Gypsy and Swing
B1: Balance Ring, Petronella Twirl right into your N's arms
B2: Balance Ring, Petronella Twirl
Balance Ring, Pass Thru Along the Set
I explain that we can make drawbridges when people in the middle are tall,
and demonstrate. They catch on pretty quickly. Often an adult in the line
will call out "drawbridge!" if little ones are creating a regular arch.
> I'm curious:
> Family dance callers, how do you handle the dances in which:
> -- everyone goes through an arch (or the arch is brought over folks'
> heads) at some point
> -- and you get an arch made by two toddlers (aren't they CUTE???!) with a
> whole bunch of grownups sqeeeeezing through it
> -- while the band plays the B part for the 7th time
> -- and the other sets are all done and rarin' to go?
> (it always happens in the set with the person who hired you, and the cute
> toddlers are always their grandkids, have you noticed?)
For the good are always the merry,
Save by an evil chance,
And the merry love the fiddle
And the merry love to dance. ~ William Butler Yeats
Family dance callers, how do you handle the dances in which:
-- everyone goes through an arch (or the arch is brought over folks'
heads) at some point
-- and you get an arch made by two toddlers (aren't they CUTE???!) with a
whole bunch of grownups sqeeeeezing through it
-- while the band plays the B part for the 7th time
-- and the other sets are all done and rarin' to go?
(it always happens in the set with the person who hired you, and the cute
toddlers are always their grandkids, have you noticed?)
Here is a question I've mulled over and I'm curious to know what
others practice. Do you always try to keep family dancers in time
with the music? Most of the family dances I've called have had a mix
of young children 4 and up and their parents; so it is this type of
crowd that I'm thinking of when I ask this question.
Rather than split longways sets into 6-8 couples, I've let them run
longer. The dancers need more time to complete the figures due to the
length of the sets and I get them going with the next figure at the
start of the next A or B. The plus is that we don't have to worry
about rushing, but I find that this requires me to call the entire
time as the dancers don't have the music as the cue.
I've played a bit with tempo. Slowing it way down does allow even
young dancers to complete the moves in sync, but I have found a
corresponding loss of energy from the slow tempo.