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
Hi:
Someone asked me how to go about starting new contra dance series. Rather
than start from scratch making a list of everything to consider when
starting out, I'm wondering if any of you have a list or if there is an online
resource for this. Perhaps CDSS has something?
Donna Hunt
"Life may not be the party we hoped for, but while we're here we should
dance." -unknown
I'll be touring in North America October next year. If your group
might be interested in booking me to run dances or workshops, please
see http://www.colinhume.com/tour.htm
Colin Hume
Jeff Kaufman asked where dancers dance the cast off with the twos
acting as the pivot point. One place for sure is the Washington DC
area (that's my original dance community). But I'm talking more
about the past when we did the older dances.
Some dancers responded to me directly. Two dancers from the same
dance community reported completely different answers. One caller
made the point that it's very rare for a caller to go over the fine
points of a cast off. I think this is a good point since there are
so many other things to teach, like safety (safe allemandes), timing,
how to do the more common moves well etc. The finer points of a cast
of are relatively speaking not that important.
Thanks to all of you for helping me out on this.
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
I'm in the process of writing a book on the ins and outs of
choreography. The last chapter is a glossary of uncommon moves used
in contras. I remember, maybe 15 years ago, someone wrote a dance
that used a move called a hockey stick. Does anyone know the dance/
know the move? My memory is that dancers walk across the set single
file and then turn a quarter and move either up or down.
Also, I may have discovered some regional differences in the move
cast off. I realize that cast off isn't done as much as it was many
years ago, but I wanted to know how you do it in your area. Say the
ones go down the hall, return and cast off with the twos. Do the
twos act as a pivot point? Or do the twos back up while the ones
cast (the pivot is between the dancers).
Thanks for you help!!!!
Tom
It's also called "button-hook" by some dance writers. (Isn't that what Jim Kitch calls it in "Bees in the Shower?")
-----Original Message-----
>From: kheine(a)twcny.rr.com
>Sent: Feb 23, 2011 3:00 PM
>To: callers(a)sharedweight.net
>Cc: callers-request(a)sharedweight.net
>Subject: [Callers] uncommon moves--"hockey stick"/"fishhook"
>
>Here in Ithaca, the figure that you refer to as a "hockey stick" is called a "fishhook." --K
>
>>
>> Message: 6
>> Date: Wed, 23 Feb 2011 08:57:33 -0500
>> From: Tom Hinds <twhinds(a)earthlink.net>
>> To: callers(a)sharedweight.net
>> Subject: [Callers] cast off
>> Message-ID: <ADC6A104-0E5C-452A-B7F4-3B85B8BBA8D8(a)earthlink.net>
>> Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed
>>
>> I'm in the process of writing a book on the ins and outs of
>> choreography. The last chapter is a glossary of uncommon moves used
>> in contras. I remember, maybe 15 years ago, someone wrote a dance
>> that used a move called a hockey stick. Does anyone know the dance/
>> know the move? My memory is that dancers walk across the set single
>> file and then turn a quarter and move either up or down.
>>
>
>> Tom
>>
>>
>> ------------------------------
>>
>> Message: 9
>> Date: Wed, 23 Feb 2011 11:26:41 EST
>> From: Dhuntdancer(a)aol.com
>> To: callers(a)sharedweight.net
>> Subject: Re: [Callers] cast off
>> Message-ID: <847d4.3874e54d.3a968f41(a)aol.com>
>> Content-Type: text/plain; charset="ISO-8859-1"
>>
>> Bumbling in the Shower Erik Smith Becket-L
>> A1. 8 Long lines forward and back
>> 8 Gents allem L 1?
>> A2. 4,12 Neighbor balance, & swing
>> B1. 8 Ladies chain to partner
>> 8 Pass thru across and turn R ? and single file promenade to next
>> couple
>> B2. 8 Circle L
>> 8 Partner swing
>>
>> I collected this in the late 80's/early 90's and it has the "hockey stick"
>> you're talking about.
>>
>
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Bree Kalb, LCSW
301 W. Weaver St.
Carrboro, NC 27510
919-932-6262 ext 216
Regarding the Use of Email -- Please Note: Although I use a firewall and my
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never an appropriate vehicle for emergency communication. If you are canceling an appointment less than 48 hours in advance, please also leave me a voice mail message at my office.
Here in Ithaca, the figure that you refer to as a "hockey stick" is called a "fishhook." --K
>
> Message: 6
> Date: Wed, 23 Feb 2011 08:57:33 -0500
> From: Tom Hinds <twhinds(a)earthlink.net>
> To: callers(a)sharedweight.net
> Subject: [Callers] cast off
> Message-ID: <ADC6A104-0E5C-452A-B7F4-3B85B8BBA8D8(a)earthlink.net>
> Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed
>
> I'm in the process of writing a book on the ins and outs of
> choreography. The last chapter is a glossary of uncommon moves used
> in contras. I remember, maybe 15 years ago, someone wrote a dance
> that used a move called a hockey stick. Does anyone know the dance/
> know the move? My memory is that dancers walk across the set single
> file and then turn a quarter and move either up or down.
>
> Tom
>
>
> ------------------------------
>
> Message: 9
> Date: Wed, 23 Feb 2011 11:26:41 EST
> From: Dhuntdancer(a)aol.com
> To: callers(a)sharedweight.net
> Subject: Re: [Callers] cast off
> Message-ID: <847d4.3874e54d.3a968f41(a)aol.com>
> Content-Type: text/plain; charset="ISO-8859-1"
>
> Bumbling in the Shower Erik Smith Becket-L
> A1. 8 Long lines forward and back
> 8 Gents allem L 1?
> A2. 4,12 Neighbor balance, & swing
> B1. 8 Ladies chain to partner
> 8 Pass thru across and turn R ? and single file promenade to next
> couple
> B2. 8 Circle L
> 8 Partner swing
>
> I collected this in the late 80's/early 90's and it has the "hockey stick"
> you're talking about.
>
