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
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
I wrote a couple dances to fill gaps in the program at this evening's
Pittsburgh dance, and they both went quite well. But since they were
inspired by a number of other dances there's a good chance they already
exist. Anybody recognize either of these?
Dance A
Becket (ccw)
A1:
(8) Long lines forward; on the way back, men roll partner away
(8) Pass through across. Each person turns 1/4 to their right and everyone
walk single file around the set to the next neighbors
A2:
(8) Right hand star once around with new neighbors (hands across)
(8) Gents drop out, Women allemande right 1 1/2
B1:
(16) Balance and swing neighbor
B2:
(8) Men allemande left 1 1/2
(8) Swing partner
Note: The single file promenade flows nicely into the hands across star if
the gents take right hand as they pass each other and the women fall in
behind them.
Dance B
Becket (cw)
A1:
(8) Long lines forward and back
(8) Right and left through
A2:
(8) Circle left 3/4
(8) Neighbor swing
B1:
(8) Ladies chain on the left diagonal (to shadow)
(8) Give right hands to the person across the set, balance, pull by right.
Pull by shadow left. [like a piece of an interrupted square through]
B2:
(16) Balance and swing partner
Thanks,
Bronwyn
Have any of you ever called this dance by Mike Boerschig? It's been in my box for years, and I've never called it because I haven't been sure about who should go to which star. It was published one way in Midwest Folklore (see below), but the two YouTube videos I've seen of it have a shorter partner allemande, ending with the first woman and second man (i.e., second corners) starring above, while the second woman and the first man (first corners) star below.
If you've called this and have an opinion about how it's best danced, or if you've found it challenging to teach, I'd love to hear what you have to say about it!
--Katy Heine
HAPPY AS A WARM PIG IN COLD MUD
by Mike Boerschig
dpl imp
A1
Neighbor balance and swing
A2
Men allemande left once and a half
allemande right partner once and three quarters
so men are facing in, women out
B1
Star left
away from partner, 1st corners star up, 2nd down; reaching across to shadow in star
swing partner
B2
Circle left three quarters
balance in that circle, California twirl partner to face next couple
The conversation here about those petronella into swing dances
inspired me to look through my collection and I found this:
A1 Neighbor balance & swing
A2 All four balance, petronella twirl and an immediate allemande left
1/2, 1/2 hey
B1 Partner balance & swing
B2 All four balance, petronella twirl and an immediate allemande left
1/2, 1/2 hey
Anyone have a title and author?
I am planning on calling *Another Cure fir the Claps *tonight. I did not
have the author of the dance. does anyone have it? this version:
*Another Cure for the Claps*
A1 (8) Balance the ring and twirl to the right (Petronella)
(8) Scoop up your Partner and swing on the side
A2 (8) (8) Balance the ring and twirl to the right (Petronella)
(8) Scoop up your Neighbor and swing on the side
B1 (8) Down the hall, four in line (turn as couples)
(8) Return and Bend the line
B2 (8) Ladies Chain
(8) Circle Right 3/4 Pass left up/down to face next couple (form ring)
Thanks,
Bob
Martha wrote:
>Greg - I think you misunderstood me a little bit. My view that, left to our
>own devices, we act like high schoolers, is based on observation --
>anecdotal observation, to be sure, but what I have seen has been so
>consistent, that I, at least, am convinced.
I understand that you are convinced. This is the nature of
framing. Once we adopt a frame we see the world in terms of that
framing. The more we "activate" a frame, the easier it is to evoke
it. I am not directing this critique at you, personally. This
framing is very common among callers. You merely expressed it very
clearly and succinctly. I am questioning the prevailing frame for
contra dance.
I want to assure you that I do not observe the world as you do
through the "high schooler" frame. Employing a different frame I see
that almost all contra dancers are enthusiastic about and enjoy
dancing with newcomers. In fact, it is one of the most enjoyable
parts of contra dance.
How is this possible? Seen through my frame any uncivil behavior in
the hall is direct evidence of poor calling. If there is anyone in
the hall behaving poorly the proper response from the caller is to be
apologetic.
Martha also wrote:
>This view does not in any way absolve anyone of responsibility. In fact, my
>whole argument is that "the grownups" need to take charge and make sure that
>the kindness/inclusiveness attitudes are predominant. Yes, we are all
>capable of such behavior, and yes, in fact, it is our ability to behave that
>way that led to the survival of our species. But our survival was also
>dependent on keeping away from "others" who were not in the family, tribe or
>village. It is that inherited sense of "us" and "they" that leads to
>exclusiveness and shunning. And war and pestilence.
My argument was that absolving the caller of responsibility was the
only possible advantage I can see of this framing. By treating the
dancers as high-schoolers we give up a host of strategies that could
be used to gain their support and participation in building a sense
of community. When a caller activates "the grownup" framing this
projects an authoritarian position and puts the caller at odds with
the interests of the dancers. This is not an advantage. The framing
creates an adversarial relationship with the dancers.
Martha also wrote:
>What I said was, the group leadership needs to address these issues. The
>caller is part of the leadership, so we have the right and the
>responsibility (at least in our own towns) to speak up in meetings, at
>after-dance get-togethers, online, etc. But when we're actually calling, I
>agree that we should limit our etiquette remarks to small, cheerful
>reminders, no harangues or lectures from the stage.
Nor off-stage. The frame that sees people as inherently uncivil
creates a sense that the seat of the problem is with undisciplined or
uneducated dancers. My frame sees the seat of the problem as poor calling.
Martha then asked:
>What about this point of view "excuses" the caller from taking
>responsibility? What about this point of view suggests that the caller
>"blame" the behavior on the dancers and leave it at that? I'm just saying
>that trying to change a culture by fiat is rarely sucessful, and a caller
>who wants to change things should start, first, on the dance floor by being
>the sort of person he/she wants others to emulate, second, off the dance
>floor by passing on the larger "contradance culture", and lastly, from the
>stage only in small bites, respectfully, and with good humor.
Doing anything by fiat would be a destructive action by the caller,
because it undermines the relationship of trust and goodwill with the
dancers. The nature of the "contradance culture" is what we are
discussing. That culture is currently dominated by the frame you
have put forth so eloquently. If you wish to change that culture I
can attest that you will have much more influence as a caller than as a dancer.
Martha also wrote:
>What I also said was that, in a contra group, we callers should lead by
>"gentle precept" (words) and "strong example" (doing). Fewer words, more
>doing. Here,one of our best dancers spends nearly 80% of her time with the
>least experienced dancers, bless her angelic heart. Now THAT is a strong
>example.
"Fewer words, more doing" is an excellent prescription. If the
caller assumes the support and civility of all of the dancers they
can eliminate many words intended to "correct" what the "high
schooler" frame implies that the dancers will be inclined to
do. Assume the best and take responsibility for the rest. That is a
recipe for few words.
Please consider that your 80% "angelic heart" dancer may be doing
what she most enjoys. She may be one of your most selfish
dancers. Why not direct your programming and calling efforts towards
making sure that regulars, who are partnered with newcomers, have a
great time. Make sure that they have an opportunity to use their
skills and knowledge to share something they are passionate about
with a confident stranger who is ready to learn. You may find that
there are many more "angelic hearts" than you had assumed by looking
through the "high-schooler" frame.
- Greg
>
> Message: 2
> Date: Sun, 30 Jan 2011 09:52:08 -0800
> From: Greg McKenzie <grekenzie(a)gmail.com>
> To: Caller's discussion list <callers(a)sharedweight.net>
> Subject: Re: [Callers] Calling medleys for the first time
> Message-ID: <4d45a548.1f48960a.0b45.ffffd026(a)mx.google.com>
> Content-Type: text/plain; charset="us-ascii"; format=flowed
>
>
> Bob Green wrote:
>> In some communities, a different approach is taken - to help avoid
>> breakdowns while switching dances on the fly, trying to see that less
>> experienced/skilled dancers have a partner the can give them a little help
>> along on the way. I favor this approach as I believe it tends to make the
>> overall dance experience better.
>
> I would be very interested in any techniques or strategies you, as
> the caller, would use to achieve this behavior: "...trying to see
> that less experienced/skilled dancers have a partner the can give
> them a little help along on the way." I am particularly interested
> in what callers do to encourage more generous partnering behaviors in
> a medley. How do you achieve that "We're all in this together,"
> sentiment that Larry Jennings speaks of?
>
> - Greg
I think it is a good idea for callers to add little bits of dance culture instruction during their teaching and remarks. Many people start coming to Contra Dances without knowing the culture and it isn't always easy to "get". New dancers are sometime shy and don't want to ask experienced dancers to be partners; of course some experienced dancers are snobs but I think most want to make the evening fun for everyone - reminders about changing/selecting partners can help. I like dancing with inexperienced dancers and I think it helps make me a better dancer because I have to be more aware of everyone and learn how to help in a constructive fashion with hand gestures instead of too many words that can't be heard.
Here's an example of something that organizers can do: at the BIDA dance in Cambridge (http://bidadance.org/index.html) they have some very nice posters hung around the wall that talk about having fun, changing partners, etc. They have been working hard on being inclusive on getting new dancers - they have a beginners workshop before each dance. The I in BIDA stands for Intergenerational, the A for Advocates.
This is very interesting.
Martha writes:
>I don't believe that we humans exhibit community and civility by nature - it
>seems to be a learned thing.
>
>Left to our own devices, we get all clicquey and snobby - or turn into
>loners.
I think you have gone to the core of the matter with this
statement. This view of human nature is a common framing of the
situation, and it is such a basic view that it affects almost
everything the caller does, or does not do with regard to civility
and an attitude of inclusiveness.
I reject this view for two main reasons: First, I don't believe it
is true. I see humans as social animals who have evolved to be in
communities or tribes where each individual's own survival depends
upon cooperation and working together for common goals. It is our
nature to support one another and to see ourselves as a community.
Second, I reject the idea that snobbishness and selfish actions are
inherent in the human condition simply because it is not a useful
framing of the situation, particularly for a dance caller. I don't
see any value that can come from this framing beyond creating an
excuse for the caller to blame the dancers for any untoward actions
in the hall. This framing is only useful to absolve the caller of
responsibility, something that is at the core of the caller's job.
The caller takes responsibility for everything that happens in the hall.
Instead of making excuses for why we are not responsible why not
discuss what we can do to build a more inclusive spirit in the
hall? Callers have a lot of influence. They certainly have more
influence than a handful of dance leaders. How should we use our influence?
Martha also wrote:
"A kind and inclusive word dropped here and there
from the stage can work wonders..."
Now this is an idea that I agree with completely. The caller is in
view of everyone in the hall and can see everyone in the room. The
caller can project their voice throughout the hall, and this gives
the caller more influence than any other single person in the
room. Let's explore this idea more deeply. What words do you
use? When? what words to you avoid using?
I use single words such as "good," "excellent," "wonderful," or
"nice," during the walk-through and while calling. A light touch is
best. I usually use a couple of these words during each
walk-through. I also think a lot about what I don't say. I never,
for example, speak to small groups or individuals over the mike. If
people in a particular set are out of position I address the entire
room with my comments, and then only with positive comments. I even
try to avoid looking directly at the group that is out of position.
I am interested in what others do to influence the partnering process
and the level of civility and community spirit in the hall.
- Greg
**************
Martha wrote:
>I don't want to say "It's simple," but I'm going to have to. The grownups
>(aka Dance Leaders - board members, callers, major dance gypsies, thoughtful
>members of the community) have to start, by gentle precept and strong
>example, teaching the rest of the crowd how to behave.
>
>Here, we talk about it. Not a whole lot, but whenever there's a chance - we
>bring things up. Got Center Set Syndrome? Ask the Cool Kids to start
>dancing all over the floor. Someone complains about the new dancers?
>Someone else pipes up and says "Oh, I remember what it was like. I always
>dance with new people at the beginning of every dance - you find some real
>gems that way, and it's always a fun challenge." After a while you just
>develop a culture of inclusiveness.
>
>It wasn't always like that here. St Louis used to have a very bad reputation
>for snobbery - some people still won't come to our dance weekend because of
>it, even though it changed over ten years ago. We had to make an effort -
>and we have to keep making the effort. Even with an established culture of
>kindness, new people come in, and it takes a while for them to adjust - to
>believe that they will be accepted, and that we expect them to treat others
>well, too.
>
>I don't believe that we humans exhibit community and civility by nature - it
>seems to be a learned thing.
>
>Left to our own devices, we get all clicquey and snobby - or turn into
>loners.
>
>It can't be just the callers who turn a community around, even though we do
>have a major Bully Pulpit. A kind and inclusive word dropped here and there
>from the stage can work wonders in reminding people why we chose contra
>dance over all those other dance forms. But we can't get all moralistic on
>stage without risking losing what influence we have.
>
>My suggestion to us as callers? Start talking to the Leadership. If they
>don't get it, use thoughtful discussion to try to get them to see the
>advantages. We can also lead by example, dance with everyone ourselves. What
>we do, others will too.
>
>M
>E
>
>On Sun, Jan 30, 2011 at 11:52 AM, Greg McKenzie <grekenzie(a)gmail.com> wrote:
>
> >
> > Bob Green wrote:
> >
> >> In some communities, a different approach is taken - to help avoid
> >> breakdowns while switching dances on the fly, trying to see that less
> >> experienced/skilled dancers have a partner the can give them a little help
> >> along on the way. I favor this approach as I believe it tends to make the
> >> overall dance experience better.
> >>
> >
> > I would be very interested in any techniques or strategies you, as the
> > caller, would use to achieve this behavior: "...trying to see that less
> > experienced/skilled dancers have a partner the can give them a little help
> > along on the way." I am particularly interested in what callers do to
> > encourage more generous partnering behaviors in a medley. How do you
> > achieve that "We're all in this together," sentiment that Larry Jennings
> > speaks of?
> >
> >
> > - Greg
> >
> >
> > _______________________________________________
> > Callers mailing list
> > Callers(a)sharedweight.net
> > http://www.sharedweight.net/mailman/listinfo/callers
> >
>
>
>
>--
>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
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