Contra Callers April 2010

contracallers@lists.sharedweight.net

58 participants
45 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, 10 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, 4 months

Recruiting new dancers

by Luke Donev

The post on walk-throughs for new dancers got me thinking about recruiting new dancers. This straddles dance caller and dance organizer, but I'd like to hear people's responses. I'm curious about people's experiences recruiting new dancers. I've seen several dances that do a lower cost for first time dancers to try to lower the barrier for entry. Has any group tried doing a coupon for a discount when they come back a second time? I feel like the venues for dances are usually such that folks don't randomly wander in. If folks show up for a first time, they've decided to come (or were brought). Does knowing there is a discount for first timers help make them come? When there is a discount, how often do the first timers know that coming in? I'm pondering the scenario where you charge full price for the first time, when they've committed to coming out, and then give them a coupon to come back at a discount price their second time. I know a lot of people who tried contra once and were hooked, and I've seen people who try for a little bit and then never come back. Is it worth trying to up the likelihood of a second experience, at what fractional cost for the first? Or should the focus be on that first experience, and making the barriers for entry as low as possible? If a group has the resources, then it can just say that the first two dances are cheaper, but I feel like giving someone a reminder, business card sized, with the website to check for more information, is a nice way of having them think about the dance at least once more. Do callers doing one night gigs announce local dance options if they know them? Or do you only talk about it with the folks who come up and ask? Presumably if a caller has been brought in, the organizer of the party knows the folks at the party and the local dance scene. Is it on the caller or the organizer to spread information about other chances to dance? And do you broadcast wide, or focus on the folks who seem really in to it. I think culturally, at a societal level, we've lost the sense that we can dance after our 20s at things besides weddings, which is a real shame. -- Luke Donev http://www.lukedonev.com Luke.Donev(a)gmail.com

13 years

Re: [Callers] Walk-throughs

by David.Millstone＠VALLEY.NET

--- Delia wrote: One circle of four ended up in the wrong places as the dance progressed and it appeared that the others near them couldn't figure out how to fix it and land them in the correct spots --- end of quote --- Rather than sending everyone home and doing two more walkthroughs, you might have fixed that one group-- identifying who were the ones and who were the twos and where they should now be-- and doing one more walkthrough from that spot, then starting the dance from that next progressed place. It'd certainly be faster, less talking on your part, and it would move those two couples farther away from each other. Sometimes all that's needed is to separate the folks involved in a "clot of confusion" from one another, and as they get mixed in with more skilled dancers they'll be helped through the parts they didn't understand. David Millstone Lebanon, NH

14 years, 5 months

Re: [Callers] "Integrating the Dance Hall", was "Recruiting new dancers:

by mhillegonds＠comcast.net

Hi all, My idea of the perfect contra dance differs depends largely on the goal of the dance that I'm attending. If it's a community dance, then I share Greg's well-stated opinion that a healthy dose of beginners is manditory. After all, we need beginners to have fun and stick around so that they make the transition from beginner to non-beginner. However, sometimes I do opportunity to dance with people who understand giving weight and know where they are supposed to be and when. For me, excellent music and callers (while certainly desirable) are less important than my fellow dancers. My idea of "perfect" in this "advanced" setting also includes such things gender- and partner-switching. Interesting thread. I'd be curious to hear other's opinions on what makes a perfect contra dance. Mark Hillegonds cell: 734-756-8441 email: mhillegonds(a)comcast.net ----- Original Message ----- From: "Greg McKenzie" <gregmck(a)earthlink.net> To: "Caller's discussion list" <callers(a)sharedweight.net>, "Caller's discussion list" <callers(a)sharedweight.net> Sent: Friday, April 30, 2010 12:04:19 PM GMT -05:00 US/Canada Eastern Subject: Re: [Callers] "Integrating the Dance Hall", was "Recruiting new dancers: At 11:56 PM 5/29/2010, Colin Hume wrote: >It's the hot-shots who turn up their noses at anything less than >the perfect contra dance experience, and you can do without them - I >expect there are plenty of other places they can go. I think it would be interesting to explore the underlying assumptions in the phrase: "...the perfect contra dance experience,..."

14 years, 5 months

Re: [Callers] Walk-throughs

by mhillegonds＠comcast.net

Hi all, Chris Weiler wrote: "I subscribe to the theory that if I need more than one walk thru, then I'm calling a dance that is too difficult for the crowd... That doesn't mean that you don't challenge them at some point or call boring dances. The dances need to flow well and be interesting, but not require a lot of thought to dance. Most of the time, one walk thru should be enough." While I wholeheartedly support keeping dances appropriate to the group at hand, I always run two walkthroughs . Running only one walkthrough means either you have to ask the dancers to reset or you start the dance with a couple out at the top of the hall. In about as much time as it takes dancers to reset, re-take hands four, etc. , I can do a quick second walkthrough which does three things . 1. I do the walkthrough at something closer to dance tempo . I've found that this is extremely helpful for people who don't yet have the ability to "feel" the timing (especially of a series of quick moves) during a slower walkthrough. 2. I move away from the educational language of the first walkthrough and mostly use the calls I'll use during the dance. 3. I t progresses the dancers so that no one is out at the top. The music can start almost immediately after the second walkthrough and new neighbors are identified which minimizes the time between the walkthrough and the dance and maximizes dancing time . Also, it's my experience that new dancers aren't concentrating much on who they're dancing with. S o reorienting back to a familiar face doesn't help them much. Experienced dancers are used to dancing with different people, so resetting just takes longer to start the dance. Mark Hillegonds cell: 734-756-8441 email: mhillegonds(a)comcast.net

14 years, 5 months

Re: [Callers] Recruiting new dancers

by joda_rogers

Luke, Most of the dances in Southern California give out coupons to get you in your second dance free. I think it helps. -John Rogers On Apr 29, 2010, at 12:43 PM, callers-request(a)sharedweight.net wrote: > > > Message: 1 > Date: Thu, 29 Apr 2010 12:47:43 -0500 > From: Luke Donev <luke.donev(a)gmail.com> > To: "Caller's discussion list" <callers(a)sharedweight.net> > Subject: [Callers] Recruiting new dancers > Message-ID: > <o2p243d1eda1004291047if0260372ue7df1db3acba2618(a)mail.gmail.com> > Content-Type: text/plain; charset=ISO-8859-1 > > The post on walk-throughs for new dancers got me thinking about > recruiting new dancers. This straddles dance caller and dance > organizer, but I'd like to hear people's responses. > > I'm curious about people's experiences recruiting new dancers. I've > seen several dances that do a lower cost for first time dancers to try > to lower the barrier for entry. Has any group tried doing a coupon for > a discount when they come back a second time? > > I feel like the venues for dances are usually such that folks don't > randomly wander in. If folks show up for a first time, they've decided > to come (or were brought). Does knowing there is a discount for first > timers help make them come? When there is a discount, how often do the > first timers know that coming in? I'm pondering the scenario where you > charge full price for the first time, when they've committed to coming > out, and then give them a coupon to come back at a discount price > their second time. > > I know a lot of people who tried contra once and were hooked, and I've > seen people who try for a little bit and then never come back. Is it > worth trying to up the likelihood of a second experience, at what > fractional cost for the first? Or should the focus be on that first > experience, and making the barriers for entry as low as possible? > > If a group has the resources, then it can just say that the first two > dances are cheaper, but I feel like giving someone a reminder, > business card sized, with the website to check for more information, > is a nice way of having them think about the dance at least once more. > > Do callers doing one night gigs announce local dance options if they > know them? Or do you only talk about it with the folks who come up and > ask? Presumably if a caller has been brought in, the organizer of the > party knows the folks at the party and the local dance scene. Is it on > the caller or the organizer to spread information about other chances > to dance? And do you broadcast wide, or focus on the folks who seem > really in to it. I think culturally, at a societal level, we've lost > the sense that we can dance after our 20s at things besides weddings, > which is a real shame. > > -- > Luke Donev > http://www.lukedonev.com > Luke.Donev(a)gmail.com > >

14 years, 5 months

Butterfly Whirl

by Liz and Bill

Hi Everyone, I'd like your advice on the timing and teaching of "flutter wheel with a butterfly whirl." Lots of dances use the following in a 16 beat section: Gents Allemand Left 1 1/2, scoop up Partner star Promenade, Butterfly whirl or Ladies Allemand Right 1 1/2 scoop up Neighbor for star Promenade 1/2, Butterfly whirl In Butterflies by Cary Ravitz, A2 is A2 Men allemand left 1/2 . Men keep left hands, pick up your partner, star promenade across, and butterfly whirl 1/2 to put the ladies in the middle. Ladies allemand right 1/2 Ladies keep right hands, pick up your neighbor, star promenade across, and butterfly whirl 1/2 (men go forward, ladies go backward) to put the men in the middle so allemande left 1/2, star promenade, butterfly whirl is done in a 8 beat phrase. However in American Gothic by Nathaniel Jack which starts A1 (around Neighbor) Mad Robin Ladies Allemand Left 1 1/2 (Scoop up Partner) A2 Star Promenade 1/2 (Ladies in the center) w/ whirl Gents start 1/2 hey by Right Allemand Left 1 1/2 is done in a 8 beat phrase, and star promenade, butterfly whirl is done in a 8 beat phrase. I tried this dance earlier this year with experienced contra dancers and many were having trouble getting through A2 in time. A1 Circle Left 3/4, Partner Swing A2 Promenade across, Ladies Allemand Right 1/2, scoop up Neighbor for star promenade 1/2, butterfly whirl B1 Pass Thru across (right shoulder), Neighbor Swing (face down four in line) B2 down the hall four in line, Turn alone, come back four in line, 2's in the middle make an arch and pop the 1's Thru to the next couple. How do you help people with the timing? I've tried to suggest that those getting scooped up need to be ready. Thanks. Cheers, Bill PS - in MWSD, right hand dancer allemand right 1/2, pick up person across, star promenade back, is called Flutter Wheel and left hand dancer allemand left 1/2 , pick up person across, star promenade back is called Reverse Flutter Wheel. Both are meant to take 8 beats. I have square dancers in my regular contra group and need to get them used to contra dance timing.

14 years, 5 months

Recruiting new dancers

by Chrissy Fowler

from Luke Donev: > The post on walk-throughs for new dancers got me thinking about > recruiting new dancers. (...) > I feel like the venues for dances are usually such that folks don't > randomly wander in. If folks show up for a first time, they've decided > to come (or were brought). Our dance hall is downtown, at street level, and adjacent to a private club (American Legion). So, people do randomly wander in, even just to poke in their head to see what the heck all that fiddle noise is about. And occasionally they stay. > should the focus be on that first > experience, and making the barriers for entry as low as possible? For our series, we do that by having two dances in the evening. The first dance is low cost/low pressure. (1hr, giant open band, community-level dances for all ages, $2 adults/$1 kids, very beginner-friendly) We have a snack break and then contras, and often those folks stick around long enough to figuratively "poke their heads in" at the contradance. (Over time, many of folks set themselves a goal of getting ready to stay for what they often call the "big dance." > Do callers doing one night gigs announce local dance options if they > know them? Or do you only talk about it with the folks who come up and > ask? Yes. When I call one-night-stands, I always point out over the mic that this sort of fun stuff is out there in the world, even if it's an out-of-my-area gig. Usually I reference websites of CDSS, NEFFA, DownEast Friends of the Folk Arts, Dance Gypsy, etc as useful places to find out about local dances. If someone is interested enough to ask, I give them my card and write down specific local dances (and those same websites.) If it's a local one-night-stand, I bring flyers for our local dance and set them out on a table/chair near my caller "nest". Great topic Luke (with so many interesting questions, and generating so many interesting responses!) Chrissy Fowler Belfast, ME _________________________________________________________________ Hotmail is redefining busy with tools for the New Busy. Get more from your inbox. http://www.windowslive.com/campaign/thenewbusy?ocid=PID28326::T:WLMTAGL:ON:…

14 years, 5 months

Callers' responsibility

by J L Korr

Really thoughtful comments from everyone. I appreciate Greg reframing this point to clarify that while the caller may not always be at fault, the caller always must take responsibility. Hear hear. Two further points: 1) Context does matter. Most gigs have few enough dancers that callers can intervene vocally or physically when problems occur on the dance floor. And careful advance planning can pre-empt many problems. But if a minor breakdown occurs in a hall of 500 dancers, as in my earlier example, I'd argue that not only should the caller consider not intervening, but that this minor breakdown is a sign of success, not failure. Why success? For one thing, having only minor breakdowns in a hall with that many dancers indicates that overall, the caller has exercised effective programming, set management, and calling techniques; otherwise, major rather than minor breakdowns would have ensued. Second, the caller has the maturity and confidence NOT to intervene upon seeing every individual breakdown on the floor, which at best would be distracting to the majority of the dancers and at worst would be impossible. Evaluating when intervention is merited is itself a caller skill. 2) Lewis used the metaphor of conducting an orchestra to show how the caller is responsible for meshing everything together from the helm. This metaphor is accurate in the sense that callers, like conductors, do "conduct" all parties at the dance into a coherent whole. But it's also important to recognize the limitations of the metaphor: unlike conductors, callers exercise limited control over who is in their "orchestra." Generally, anyone in the orchestra has reached a certain level of mastery and has been individually selected to be there. In contrast, as Dan Pearl's post illustrated, callers are at the mercy of whoever shows up to dance, and sometimes those dancers present challenges beyond the callers' ability to efficiently remediate. Even the most talented conductors would be severely challenged if forced to conduct an orchestra formed moments earlier and made up of people who have never before touched an instrument. Jeremy _________________________________________________________________ The New Busy think 9 to 5 is a cute idea. Combine multiple calendars with Hotmail. http://www.windowslive.com/campaign/thenewbusy?tile=multicalendar&ocid=PID2…

14 years, 5 months

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Contra Callers April 2010