Contra Callers May 2012

contracallers@lists.sharedweight.net

68 participants
53 discussions

Re: [Callers] Mentorship for Choreographers

by Brian Hamshar

I love the idea, and I would utilize it as a very useful resource. I'm not so concerned about deeing possibly inferior material ... I'd be interested in the exchange of ideas. Bring it on! Brian Hamshar Virginia Alan Winston <winston(a)slac.stanford.edu> wrote: >On 5/8/2012 6:35 PM, Mark Hillegonds wrote: > > > It's been my experience that unless one is a well-known choreographer >(Ravitz, >Hume, Ormand, Sanella, Olsen, and any number of others) it can >be difficult get >new dances into the light of day and, in the theme of >mentorship, get feedback on >them. There are certainly a number of >dances posted to this list and feedback is >readily and warmly given. I >have gleaned a number of dances from this list and am >glad to see them, >both as a caller and choreographer. > > >Three of questions for you: > > >1. Do you see this [Caller] list an appropriate place to publish new >dances? Too >many postings of new dances could dilute the [Caller] >aspect of the list. > >I do see it as an appropriate place. It seems mutually beneficial to me >for choreographers to put new dances under caller's noses, and the >volume of new dances posted so far isn't very high. > >There are three types of postings that, for me as a caller (acting like >a filter feeder who snags things as they come by) have almost the same >effect: > > - I wrote down this dance - anybody know what it is? > > - I think I made up this dance - does it exist already? > >- Here's my cool new dance - I hope you'll like it. > >I don't see much point in segregating the third type of post to another >list. > > > > > 2. Do you feel there would be interest in a separate [Choreographer] >list? I can >see this list really focusing on creating new dances, >getting feedback, and >getting the word out about new dances. It could >be a nice venue for >choreographic student/mentorship stuff to happen. > >If there were one, I would probably sign up so that I didn't miss >anything. That's different from thinking there's actual demand for it. > > >3. What would you think about a monthly dances-of-the-month email to > >consolidate new dances into a single or some moderated number of emails > >The devil is in the details there. From what pool are the new dances >drawn? Who's doing the moderating? What makes the cut? > >-- Alan > > >_______________________________________________ >Callers mailing list >Callers(a)sharedweight.net >http://www.sharedweight.net/mailman/listinfo/callers

11 years, 11 months

Re: [Callers] Mentorship for Choreographers

by Brian Hamshar

This sounds great! A centralized resource for sharing dances -- new or not -- is something I would consult and post to often. Brian Hamshar Virginia Mark Hillegonds <mhillegonds(a)comcast.net> wrote: >Hi all, > >I've been following with interest the discussion on calling and mentorships. >Ron Blechner mentioned choreographers in his recent post and I'd like to >expand on that a bit, so starting a new thread. > >It's been my experience that unless one is a well-known choreographer >(Ravitz, Hume, Ormand, Sanella, Olsen, and any number of others) it can be >difficult get new dances into the light of day and, in the theme of >mentorship, get feedback on them. > >There are certainly a number of dances posted to this list and feedback is >readily and warmly given. I have gleaned a number of dances from this list >and am glad to see them, both as a caller and choreographer. > >Three of questions for you: >1. Do you see this [Caller] list an appropriate place to publish new >dances? Too many postings of new dances could dilute the [Caller] aspect of >the list. >2. Do you feel there would be interest in a separate [Choreographer] list? >I can see this list really focusing on creating new dances, getting >feedback, and getting the word out about new dances. It could be a nice >venue for choreographic student/mentorship stuff to happen. >3. What would you think about a monthly dances-of-the-month email to >consolidate new dances into a single or some moderated number of emails. > >Mark Hillegonds > >cell: 734-756-8441 >email: mhillegonds(a)comcast.net >blog: www.defriction.com > > >_______________________________________________ >Callers mailing list >Callers(a)sharedweight.net >http://www.sharedweight.net/mailman/listinfo/callers

11 years, 11 months

Re: [Callers] Don't teach proper formation unless you need it

by Brian Hamshar

Very well put, Greg. Thank you! Brian Hamshar Virginia Greg McKenzie <grekenzie(a)gmail.com> wrote: >David wrote: > >> As as a long-time New England caller, I admit to a special fondness for >> the so-called chestnuts, most of which are in proper formation; I think >> that dancers can appreciate having these in their repertoire as a >> connection to the long traditions of music and dance we inherit, and a >> community does well to foster those connections. >> > >I think fostering "...connections to the long traditions of music an dance >we inherit,..." is a good and important goal. The question is one of venue >for this purpose. > >If we are talking about open, public contra dances (as opposed to a >gathering of social dance enthusiasts) then I would urge callers to be >mindful of the central, social purpose of these events. > >I see the regular open, public contra dances as social events and as public >outreach events. In essence the dance community is offering a social >event--with live music and called dances--to the general community. Our >flyers say "No experience needed." and "No need to bring a partner." That >implies an open social event. > >Personally, I do not attend these social events to be connected with an >historic tradition, to learn the history of that tradition, or to re-enact >some of the historic dances done in generations past. My own research >suggests that most of those in the hall at these events do not come for >those reasons either. People attend open, public dances primarily for the >social experience. > >While there is certainly a place for some "cultural enrichment" at open, >public social dance events we need to keep focused on the purpose of the >venue. There are camps, festivals, workshops, and special events that may >be more appropriate for this kind of diversified cultural enrichment--and I >hope dance communities continue to offer such events, which are targeted >specifically for social dance enthusiasts. > >But I do not attend the open, public contra dances to stand and listen to >lectures, or to learn complex dance figures and to hear about the history >of the name of each dance, who wrote the dance, or what that person said >once at a dance festival. No offense intended. I can tolerate only a >limited amount of cultural enrichment at social events I attend. > >As a caller at open, public contra dances I see my role differently. I >want people to experience the excitement and joy of dancing to live >music--without having to attend separate classes. I want the regulars to >experience the excitement and joy of sharing their passion for social >dancing with newcomers who are discovering this tradition for the first >time. > >We should talk more about our purpose, the purpose of the event, and the >purposes of those who attend. There is certainly room for those who seek a >deep understanding of the cultural roots of the dance. We should discuss >how that goal can best be achieved. > >Soapbox is now available. > >- Greg McKenzie >_______________________________________________ >Callers mailing list >Callers(a)sharedweight.net >http://www.sharedweight.net/mailman/listinfo/callers

11 years, 11 months

Re: [Callers] Before the First Walk-Through (Was:"Don't teach proper formation unless...")

by David.Millstone＠valley.net

Several typos in last post. Fingers moving without brain being fully engaged. Here's what I meant to say: The old hands (old feet?) are more comfortable being the center of attention than would be the case if I asked all the newcomers to raise their hands. David

11 years, 11 months

Re: [Callers] Don't teach proper formation unless you need it

by David.Millstone＠VALLEY.NET

--- Martha wrote: This is probably a regional or specific community thing. In our village, St Louis, Missouri, we just line up improper --- end of quote --- I'd agree that what Martha describes is increasingly the norm, especially in relatively new series and outside of New England. There are still dance series and callers where dancers enjoy a wider variety of dances in an evening than duple improper or Becket, including a mix of contras, squares and other formations. And even within the contras-only format, one might encounter proper dances or-- gasp!-- triple minors, both old favorites or new compositions in that "hands six" formation. /entering soapbox mode/ Myself, with a strong curmudgeonly streak, I think that such variety adds richness to a program as well as helping dancers become more experienced by exposing them to more choreographic possibilities. (Take, for example, dip and dive; that's a common square dance move and there are triplets and triple minor contras that use it, but only one contra that I know of, David Smukler's Frog in the Well.) As as a long-time New England caller, I admit to a special fondness for the so-called chestnuts, most of which are in proper formation; I think that dancers can appreciate having these in their repertoire as a connection to the long traditions of music and dance we inherit, and a community does well to foster those connections. /stepping off soapbox/ David Millstone

11 years, 11 months

Re: [Callers] Line Formation (Proper, Improper)

by Maura Volante

I started dancing 22 years ago in Vancouver and continue in Ottawa. In both of these communities we line up proper, take hands four and cross over when we are told to do so by the caller. Many these days do cross over in advance of being told, and almost all our dances are improper. But I have heard it said over the years (and have said it myself, sort of jokingly) "wait to be told because it might be a proper dance." Occasionally we do a proper dance (I have called a few myself), and I do like them for the variety. In response to another comment about same-gender right and left through, I also had a hard time calling a dance with that move the one time I called it, and would now only do that one if I felt that the hall could handle a moment of confusion. Gender-bending always throws some of even the most experienced dancers, but it is interesting that this same gender move is actually from a very old dance, not from a new choreographer trying to be gender free. I like what Greg said about the caller pausing to do the instructions to allow for socializing. I haven't made this a conscious choice but I think I naturally do that as well, if only because I want to make sure everyone who wants to dance is in the line and that can take awhile, especially for shy newcomers, and it is so important not to start before they are ready. I also like what he says about specifying the number of sets. When I am dancing and we are not sure how many sets to make, I have sometimes wished the caller would say something. Different dances can require different lengths of sets. Happy dancing! Maura Volante Ottawa Ontario Canada

11 years, 11 months

Re: [Callers] Before the First Walk-Through (Was:"Don't teach proper formation unless...")

by Greg McKenzie

Martha wrote: > This is probably a regional or specific community thing. In our village, St > Louis, Missouri, we just line up improper, and there's a bit of a confused > scuffle if a caller decides (rarely) to call a proper dance. Even though we > do that, our callers usually say, just for tradition's sake, "Line up for a > contra dance, ones cross over" or, if the caller has been calling for 20-30 > years, "actives change places", but it's usually irrelevant, since the > whole hall is already in that formation. > I do specify the number of lines, and I tell the dancers to "cross over," but it's not "...just for tradition's sake." After lines have formed the caller has lost influence over the partnering process. Consequently I try to intervene before lines have formed for three reasons: 1. It allows me to influence partnering decisions at this critical point when the integration of first-timers is so important. I get the attention of the hall and say: "If you are new to this kind of dancing please find a partner who has danced for at least one night. I will tell you everything you need to know and your more experienced partner will show you all of the moves. Please form ___ contra dance lines." This re-affirms what I told the first-timers in the orientation but, more important, it sends a clear signal to the regulars that they have a role to play in partnering with first-timers. It also lets everyone know that I have a plan for integrating newcomers into the hall. 2. It makes it clear that I will take responsibility for set formation, relieving the dancers of this responsibility. 3. I then allow time for socializing in the lines. This is important because it makes it easier for me to earn the attention of the hall when I begin the walk-through. The instructions: "Please take hands four from the top," and, moments later, "Ones cross over," are important signals to the regulars. They establish a routine that the regulars quickly recognize. This empowers the regulars because they know what is going to happen next and they can plan a dignified ending to the story they are telling their new friend. This routine "announces" that I am about to begin the walk through and sets an example of courtesy and consideration because the caller is not interrupting the socializing in the sets by "shouting down" people over the mike. (I often see the regulars "shushing" their partner and directing their partners attention to my voice when I begin the walk-through.) By informing the regulars the caller gives them power, authority, and a sense of investment in the tradition. I believe that on-time starts are critical to this process. If you see lines and sets forming for the first dance of the evening, without any instructions, it may be that your orientation session has run over time. The caller needs to maintain control over the process of line formation and if the lines are formed too late the partnering process is probably well under way. It is better to facilitate this process from the get go. Just a thought, Greg McKenzie

11 years, 11 months

Re: [Callers] Before the First Walk-Through (Was:"Don't teach proper formation unless...")

by David.Millstone＠valley.net

--- Greg wrote: "I get the attention of the hall and say: "If you are new to this kind of dancing please find a partner who has danced for at least one night..." I certainly agree with Greg that having experienced dancers partner with newcomers can be really helpful. I'd suggest that the instructions be changed, however, so that the experienced dancers are encouraged to seek out a newcomer. Newbies have no way of knowing if someone is experienced or not, whereas the regulars at a given series will probably be able to spot new faces. Similarly, in some situations I'll ask experienced dancers to raise their hands and to wait, and will request newer dancers to ask one of those people as a partner for the next dance. The old hands (old feet?) are more being the center of attention that would be the case if I asked all the newcomers to raise their hands. Just another thought, David Millstone

11 years, 11 months

New England Contra Dance History - Old Timers Talk

by Michael Barraclough

There was a wonderful session at this year's NEFFA hosted by David Millstone. It featured a panel consisting of Bob McQuillan, Ralph Sweet, Dudley Laufman, Bill Spence and Andy Spence with David Millstone in the chair. Fortunately, it was captured in 6 videos which are available on You Tube. I have provided links to them in the Contra Resources section of my web site. I hope that this will make it easier to find them and let you watch them in the correct sequence. The links can be found at http://www.michaelbarraclough.com/web-links/contra-dance. Michael Barraclough www.michaelbarraclough.com

11 years, 11 months

Settlement Swing Balance Question

by Nancy Turner

Hi All, I have Settlement Swing by Penn Fix as this: A1 Neighbor dosido to long wavy line G face out, Ladies face in, rt hand to N Bal the wave, alle right 1x, re-form the wave A2 Balance wave, Neighbor swing B1 Ladies chain, over and back B2 One’s balance and swing I'm wondering what your instructions would be for the Balance at the start of A2? Balance right, then left again, Or for this second long wave, Balance left, then right? Thanks! Nancy Turner Waitsfield VT

11 years, 11 months

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Contra Callers May 2012