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
I recently had the following exchange on a different list with Michael
Shapiro (guitarist with U4):
Michael wrote:
>>> U4 just played the SwingShift weekend in Lexington/Berea. The caller was
Barbara Groh. She did something that I think most callers should do, but I
haven't seen before. After the sets were formed and people had done the hand
four, she then broke up the beginners sets that had formed at the end of the
lines. She asked then to move forward and intersperse themselves with the
more advanced dancers (so that they were more toward the beggining of the
line and the foursomes were not all beginners).
She was also good at letting the music be heard ...
I wrote:
>> Regarding the caller asking sets to reform in order to spread the less
experienced dancers throughout the hall, much tact is required. Generally,
callers strive to avoid calling attention to particular dancers other than
when asking people to watch a demonstration, but asking people to change
sets can have the effect of making them feel like there is attention on
them. In addition, newish dancers want to dance with people they know, even
if those friends may also be newish dancers.
>> Speaking to the entire crowd, I do encourage experienced dancers to share
their experience by asking someone they've never met to dance at least once
in the evening, and praise the community for being so welcoming to newcomer
dancers. So while I might be thinking "let's break up this clump of
confusion," it would not be good to say something that draws attention to
"you people right here."
>> I have asked, off mic, for a set of experienced dancers to offer to
repartner with a set of inexperienced dancers down the line.
To this list, I ask:
I'd be interested in the wording that Barbara Groh used (which I'm assuming
was quite gentle). I'm also guessing other callers on this list have
developed tactful ways to address this issue.
Thanks,
Jerome
--
Jerome Grisanti
660-528-0858
http://www.jeromegrisanti.com
Hmmm, I'm not sure a balance before the partner swing is the best fix here, it seems you'd get either a balance happening 2 beats early OR a 2 beat dead space while the dancers wait to do the balance at the right time
Another way to fix that would be either a do-si-do or a gypsy with your partner before the swing, since the dancers can be fairly loose with the timing that way
Just my 2 cents,
Mark Widmer
From: Mark Hillegonds <mark.hillegonds(a)gmail.com>
Hi all,
I called this dance on Saturday night and offer the following comments.
Overall, the dance flowed nicely and got good reviews from the dancers.
A1: There aren't quite enough moves for the music, especially as the circle
3/4 already has momentum going from the previous circle 3/8. As a result...
A2: ...the partner swing started 2-3 beats early making for a very long
swing. Several dancers suggested making the A2 a balance and swing.
B1: No problems / comments
B2: Had a little trouble in the walkthrough getting the women to orient
themselves after the almd L 1/2. Part of it was me not using the correct
words and part of it was the slightly different feel of the diamond, so
there was no "muscle memory" as to where to face to make the diamond. I
found that asking the women who left allemanded each other to turn to face
each other coming out the allemand worked nicely. I also found that when I
started stressing that the diamond was with new neighbors (the progression)
that the dancers were more comfortable knowing they were in the right
place. You will also have to keep reminding the gents to move right while
the ladies are having their fun. Having said that about the teaching, once
the dancers understood the move, it was a very satisfying moment to come out
of the allemendes and being away from one's partner and have everyone
reappear in the diamond. If you're teaching this to newer dancers, the
diamond will need some explaining.
Lots of nice comments from the dancers. I asked the band to start with a
jig and move to a reel. The reel kicked a bunch of energy into the second
half of the dance.
Hope this helps.
On Fri, Sep 25, 2009 at 8:15 AM, Will Loving <
will(a)dedicationtechnologies.com> wrote:
> Here's the dance as sent to me by Dan Pearl and confirmed by Ken:
>
> Flying Waffles (Becket)
> By Ken Haltenhoff
>
> A1. Cir L 3/4; Bal; Men pass Rsh
> A2. Sw pt
> B1. W ch over and back
> B2. W almd R 3/4; W almd L next W 1/2 while M move R; balance to diamond
> with M facing across with partner on R; circle R 3/8
>
> Alternate by Walter Lenk:
> A1. Balance ring; Cir L 3/4; M pass Rsh
> A2. Bal & Sw pt
>
>
Michael,
How does Tony's dance get the dancers in position for the right-and-left through in B1?
Coming up the hall, the ladies are on the wrong (left) side of the gents
So just turning to face across, people are in the wrong orientation
The right-and-left through has the ladies on the right, which they won't be here
Unless Tony's dance has them turn as couples, not turning alone as in Jane's dance?
Regards,
Mark Widmer
"Michael Barraclough" <michael(a)michaelbarraclough.com> wrote
Its not in my stack either. However, it is quite similar to Inflation Reel
by Tony Parkes. A1 and A2 are the same and Inflation Reel has your B2 as
it's B1.
Michael Barraclough
http://www.michaelbarraclough.com
-----Original Message-----
From: callers-bounces(a)sharedweight.net
[mailto:callers-bounces@sharedweight.net] On Behalf Of Jane Ewing
Sent: Monday, September 21, 2009 10:27 AM
To: callers(a)sharedweight.net
Subject: [Callers] Title assistance please.........
For various reasons I need a dance with these moves and find nothing in my
stack.
Does anyone recognize this combo as being an existing dance and if so can
you please give me title and author.
Thanks.
A1 Neighbor DSD & Swing
A2 4 in line down-turn alone
B1 Circle left 3, Partner Swing
B2 Right & Left Thru, Ladies Chain
Jane Ewing
Grant, AL
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------------------------------
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End of Callers Digest, Vol 61, Issue 15
***************************************
I have been contacted by a "Mother of a Bride" looking for a contra caller
for her daughters wedding.
They are looking for a caller with ONS expereince that is available.
Sadly I am 9+ hours away in Alabama.
Anyone out there interested??
Location: Washington, NC (about 1/2 hour from Greenville,NC)
Date: December 19, 2009
Bride & Groom both dance. They expect 200 guests with about 50 willing to
dance.
Should have 7-10 expereienced dancers in the crowd coming in from Houston
where these two met.
Brides Mother Lori McNiel phone 252-945-7794
Lorimcniel(a)hotmail.com
Jane Ewing
Grant, AL
Jane, that turn-alone should give your dance a real distinctive feel, and I would be quite surprised if there were any other dance like it. Coming back up the hall, each man has a lady on the left, rather than the usual lady-on-the-right. I don't recall ever doing a dance like that, though it's possible there are one or two out there.
Mark Widmer
"Jane Ewing" <contradance(a)charter.net> wrote
For various reasons I need a dance with these moves and find nothing in my
stack.
Does anyone recognize this combo as being an existing dance and if so can
you please give me title and author.
Thanks.
A1 Neighbor DSD & Swing
A2 4 in line down-turn alone
B1 Circle left 3, Partner Swing
B2 Right & Left Thru, Ladies Chain
Jane Ewing
Grant, AL
A big thanks to everyone.
Richard Hart, you were correct, it is identical to Tom Caldwell's "Early Bird Special"
His notes say he wrote it for the same reasons that I needed it.
Jane Ewing
Grant, AL
Also similar to Nice Combination.
On Sep 21, 2009, at 9:00 AM, callers-request(a)sharedweight.net wrote:
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> Today's Topics:
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> 1. Title assistance please......... (Jane Ewing)
> 2. Re: Title assistance please......... (Michael Barraclough)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Mon, 21 Sep 2009 09:26:37 -0500
> From: "Jane Ewing" <contradance(a)charter.net>
> To: <callers(a)sharedweight.net>
> Subject: [Callers] Title assistance please.........
> Message-ID: <9AADB31CCF974D7FAC472A0F5DB77CCE@TEAPOT>
> Content-Type: text/plain; format=flowed; charset="iso-8859-1";
> reply-type=original
>
> For various reasons I need a dance with these moves and find
> nothing in my
> stack.
> Does anyone recognize this combo as being an existing dance and if
> so can
> you please give me title and author.
> Thanks.
>
> A1 Neighbor DSD & Swing
>
> A2 4 in line down-turn alone
>
> B1 Circle left 3, Partner Swing
>
> B2 Right & Left Thru, Ladies Chain
>
> Jane Ewing
> Grant, AL
>
>
>
>
> ------------------------------
>
> Message: 2
> Date: Mon, 21 Sep 2009 11:10:45 -0400
> From: "Michael Barraclough" <michael(a)michaelbarraclough.com>
> To: "'Caller's discussion list'" <callers(a)sharedweight.net>
> Subject: Re: [Callers] Title assistance please.........
> Message-ID: <004101ca3acd$b25545c0$16ffd140$@com>
> Content-Type: text/plain; charset="us-ascii"
>
> Its not in my stack either. However, it is quite similar to
> Inflation Reel
> by Tony Parkes. A1 and A2 are the same and Inflation Reel has your
> B2 as
> it's B1.
>
> Michael Barraclough
> http://www.michaelbarraclough.com
>
>
>
> -----Original Message-----
> From: callers-bounces(a)sharedweight.net
> [mailto:callers-bounces@sharedweight.net] On Behalf Of Jane Ewing
> Sent: Monday, September 21, 2009 10:27 AM
> To: callers(a)sharedweight.net
> Subject: [Callers] Title assistance please.........
>
> For various reasons I need a dance with these moves and find
> nothing in my
> stack.
> Does anyone recognize this combo as being an existing dance and if
> so can
> you please give me title and author.
> Thanks.
>
> A1 Neighbor DSD & Swing
>
> A2 4 in line down-turn alone
>
> B1 Circle left 3, Partner Swing
>
> B2 Right & Left Thru, Ladies Chain
>
> Jane Ewing
> Grant, AL
>
>
> _______________________________________________
> Callers mailing list
> Callers(a)sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>
>
>
>
> ------------------------------
>
> _______________________________________________
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> http://www.sharedweight.net/mailman/listinfo/callers
>
>
> End of Callers Digest, Vol 61, Issue 15
> ***************************************
For various reasons I need a dance with these moves and find nothing in my
stack.
Does anyone recognize this combo as being an existing dance and if so can
you please give me title and author.
Thanks.
A1 Neighbor DSD & Swing
A2 4 in line down-turn alone
B1 Circle left 3, Partner Swing
B2 Right & Left Thru, Ladies Chain
Jane Ewing
Grant, AL
