Contra Callers May 2013

contracallers@lists.sharedweight.net

62 participants
32 discussions

Re: [Callers] gender (and "Alternate Role Terms")

by tavi merrill

Perry brings up a couple things which are often on my mind. As i write this, i'm thinking there are a few folks out there rolling their eyes or gritting their teeth at the recent flood of progressive dialogue on this thread. Bear with me, please... I consider myself a trans-role dancer (as opposed to cis-gendered; i fully identify as male, but my gender identity has no bearing on which role i dance). When i first encountered contradance, it was with callers who emphasized that "gent/lady" are merely titles of traditional roles which anyone can play regardless of their gender identity. That idea stuck. At those dances in rural Maine, there was often a surfeit of female dancers, and the callers brought along a briefcase full of neckties to help folks denote roles. (That practice suffers the same limitations that physical armbands do, if dancers plan on "flipping the ship" mid-dance.) I'm going to focus this next bit on "same gender neighboring" versus partnering, so as to include heteropartner-pairs who have swapped roles, and speak from my experience as a trans-role male (a slightly different topic than trans-role female partner/neighbor issues, i recognize). The interpersonal dynamics of same-gender neighbor swings (particularly those following from a gypsy!) are never far from my mind. It seems that no matter where i dance, from Maine to Massachusetts to North Carolina, the sample composition is the same: most men are comfortable with limited same-gender neighboring; many are energized by the apparent physical opportunity to swing or flourish more vigorously; some are merely disoriented by it; and a few are downright uncomfortable. A friend of mine, a male in his 60s, describes his initial discomfort at same-gender dance floor encounters giving way to an appreciation for the inclusivity of the community. He still prefers to partner heteronormatively, but he recognizes the value of making the dance community as inclusive as it is, and on occasion actively supports that value by partnering same-gender. I think that position describes where a lot of dancers are. Whatever a person's experience of the folkdance meta-community is, i believe we can agree that one thing which sets it apart from other social spheres is its inclusivity. In a few locations i've danced, most recently Bangor, Maine, i've noted a phenomenon where multiple sets forming seemed to segregate into cisgendered dancers versus trans-role dancers. I foresee a potentially vehement tangent in response to this observation. Yes, having sets segregate by some set of partnering preferences, be it age or role-flexibility (the two often co-occur) does begin to fragment the community - but it is a patch solution which minimizes the discomfort to some dancers, offering a choice of expressions and comfort levels in communities where a strictly gender-free dance outlet is unavailable. Will we ever move contradancing to a completely gender-free system? I hope not. Good or bad, the genderedness of the form is an intrinsic aspect of the tradition, more so even than in couple dancing; without it, where would the "proper" dance formation be? Gender-free dance can be a "safe space", or a playground for more adventurous dancers - offering an experiential contrast to traditionally gendered dance we would be unable to enjoy or appreciate if the distinction were erased. But... terminology, gender, dance roles, partnering issues (broadening to include other characteristics like age, physical characteristics, dance skill...). In a discussion thread elsewhere, Scott Higgs described partnering issues as an "elephant in the room" that can be a major factor determining whether individuals' experience of the dance is positive or negative. I agree wholeheartedly, and hope that we as a community can be more attentive to these issues, following on opportunities like the session he and Lisa Greenleaf led at NEFFA 2012 to discuss partnering choices and behavior patterns in a judgment-free zone. The thing that's really on my mind right now, and seems to be on others', is that contradance is a unique form, and terms which accurately describe other dance forms don't really fit here. Can we as a community find a system of our own, one that innovates while honoring the tradition, transcending yet including our historical antecedents? As we move into 2013, i hope we can continue to decloak this elephantine polylogue, finding ways to both honor individuals' comfort level and enhance the inclusivity of the community... and get rid of that damn "lead/follow" thing... happy new year, btw! ------------------------------ > > Message: 3 > Date: Wed, 2 Jan 2013 08:12:42 -0800 (PST) > From: Perry Shafran <pshaf(a)yahoo.com> > To: Caller's discussion list <callers(a)sharedweight.net> > Subject: Re: [Callers] gender > Message-ID: > <1357143162.59466.YahooMailNeo(a)web120701.mail.ne1.yahoo.com> > Content-Type: text/plain; charset=iso-8859-1 > > There are several issues here.? One is the terminology that is used to > differentiate the two dance roles and second, whether we will ever move > contra dancing to a completely gender-free system. > > I think that > we all have to understand that everyone has their own comfort zone.? > Some people do NOT want to dance with a same-gendered person no matter > how much you prod them, shame them, or even force them to do so.?? Some > are willing to try it from time to time, others enjoy it a lot, and others > want to make all > contra dances completely gender free regardless of whether or not it > will chase some members from the community.? > > It is a strong > uphill battle to at least move from a heteronormative way of thinking.? > Just recently it was suggested that the way to get someone to contra > dance (a man) was to tell him that a > new woman will be thrown into his arms every 30 seconds.? Reason being > that most people are heterosexual and might be drawn to dance thinking > he's going to dance with women.? I suggested that this was a bad idea > due to the fact that in most dances you'll see men dancing with men, > women dancing with women, and people switching roles.? > > I think > that the best compromise is to continue with the gents/ladies > terminology, but emphasize that these are merely titles of traditional > roles, but anyone can play them regardless of physical gender.? That is > what I say in my workshops, and it's usually generally understood.? Any > new terminology that you use will force people to translate which means > "man" and which means "woman".?? However, I do understand the baggage > that these gender-loaded terms do bring.?? > > > Perry > >

12 years

A Farewell June 1 Dance to Benefit CDSS/NEFFA, Callers & Musicians Sought, Medway MA

by Paul Wilde

Hey all, This is a little bit of an unusual request for the list and I hope it's w/in bounds. If you are not headed to The Dance in memory of Nat Hewitt in Falmouth ME , June 1 and are free & willing, please consider: Sat, June 1, 7:30-10:30 pm: a benefit contra dance for CDSS & NEFFA at Christ Episcopal Church, 14 School St, Medway MA. Paul Wilde & members of the PJammers invite ALL dancers, including musicians and callers (who are welcome to dance as well as call or play). Contact Paul at zenyente(a)gmail.com for further info. Please come and make the final spin around this beautiful floor a success. Is there a musician's list that parallels the shared wt. caller's list, and how might I post/join it (if the above request seems appropriate)? Thanks. warmest regards, Paul

12 years

The Hussy Bride - again

by Rickey Holt

I was walking Bill Olson's "The Hussy Bride" with my wife when she said it would be better if, after the the "Long Lines Forward and Back" in the A1, the ladies did an allemande left, not an allemande right as written. They are on their way to a long wavy line with their partner in their left, women facing out. If they do an allemande right as written they need to avoid bumping into each other, since their paths tend to cross. The Allemande Left does feel better. Your thoughts. The dance as written by Bill Olson is below: The Hussy Bride - Bill Olson duple improper (A1) Long lines foward and back Ladies Allemande Right to a long wavy line on the other side of the set, women facing out. (A2) Balance the Long Wave With your neighbor Allemande Right, 3 places to a short wavy line across the set Balance the short wave Walk foward to a new wave (B1) Balance that short wave Partner Swing (B2) Circle Left 3 places Neighbor Swing

12 years

Re: [Callers] Greenfield Formation

by John Sweeney

Polly said, "Here is a formation I used only once, I don't know if it has a name... anyone familiar with it? Triplet: From proper line up: Ones cross over improper, (face down or across as needed). Twos cross over improper. Twos and Threes circle right 1/4 to Becket." Umm... Isn't that just three couples in a circle? There are countless dances in that formation. A nice contra in that formation is Alamo Triad by Bob Marr (it is in "Give-and-Take"). Circles of three couples all the way down the hall, with all the ones facing down; ones progress down the hall; twos and threes progress up the hall. Just make sure everyone is listening when you tell them that when twos and threes reach the top they have to decide who will be the next ones - if they both try to be new ones at the same time it gets messy :-) Happy dancing, John John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 http://www.contrafusion.co.uk for Dancing in Kent

12 years

When the ones who would have needed it most....

by Hanny Budnick

As usual, before the contra dance there is a half-hour session before the starting time of the main dance. It is advertised, and beginners are encouraged to come early. Depending on number of attendees and time left, rudimentary basics are presented and 'lightly' practiced. I would like this panel's recommendations for dealing with this situation: the beginners session was offered and attended. The main dance had started exactly on time when - ca. 20 minutes into the evening - a large group of absolute newbies appeared and joined right in. In light of this development the beginners session could have been repeated and somewhat extended, even in an additional available hall in the same building. Alas, no further help was offered except for the advice 'try to find an experienced partner'. Fortunately, the band for the evening was an absolute delight... Hanny Budnick

12 years

Re: [Callers] Arms Folded in Dosidos

by John Sweeney

Arms folded in dosidos? I DO "correct" it for three reasons: 1) If you implicitly condone it by saying nothing, then others will copy it and it will spread even more. 2) If these people then ever go to a contra dance they are going to look decidedly uncool, perhaps to their embarrassment. 3) If they ever want to add spins to their dosidos, then it is MUCH easier without arms folded - your arms help you balance and can aid your spinning. In fact as well as using lines like, "only teachers do it", I show them a spinning dosido and tell them that they need their arms for balance so folding them is not a good idea. They love spinning in dosidos and soon stop folding their arms. Happy dancing, John John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 & 07802 940 574 http://www.modernjive.com for Modern Jive Events & DVDs http://www.contrafusion.co.uk for Dancing in Kent

12 years

Anyone know a dance that has Contra Corners with 4 Corners?

by bobfab＠aol.com

I was talking with an older member of our dance community and he said it had been "a thousand years" since he danced a dance that had Contra Corners where the actives visited 4 corners. He could not remember the name. I promised him I would ask. bobfab(a)aol.com

12 years

Re: [Callers] Anyone know a dance that has Contra Corners with 4 Corners?

by rcd＠rochester.rr.com

Yes, Sags, Bob is asking about dances where each of the actives visits all four contra corners. David Millstone called such a dance during the Puttin' on the Dance organizers conference. Alas, I don't know the name. It was a 3 facing 3 Sicilian circle formation, and it moved quickly. Rich ----- Reply message ----- From: "Aahz Maruch" <aahz(a)pobox.com> To: "Caller's discussion list" <callers(a)sharedweight.net> Subject: [Callers] Anyone know a dance that has Contra Corners with 4 Corners? Date: Sun, May 19, 2013 3:00 pm On Sat, May 18, 2013, bobfab(a)aol.com wrote: > > I was talking with an older member of our dance community and he said > it had been "a thousand years" since he danced a dance that had Contra > Corners where the actives visited 4 corners. He could not remember the > name. I promised him I would ask. I'm confused, don't the actives visit the four corners in a normal contra corners? Or do you mean *each* active visits all four corners? -- Hugs and backrubs -- I break Rule 6 http://rule6.info/ <*> <*> <*> Help a hearing-impaired person: http://rule6.info/hearing.html _______________________________________________ Callers mailing list Callers(a)sharedweight.net http://www.sharedweight.net/mailman/listinfo/callers

12 years

Re: [Callers] Anyone know a dance that has Contra Corners with 4 Corners?

by JohnFreem＠aol.com

This was a very popular dance in Ann Arbor well into the mid 80s. Our Morris side used to improvise a bit. A favorite variation was to change direction at the end. John B. Freeman, SFTPOCTJ

12 years

Re: [Callers] Teaching in Classroom

by Dan Pearl

Arms folded in dosidos? I don't "correct" it for three reasons: 1. I don't want to undermine the kids' model of what this dancing is all about. In other words, I don't want the message to be "if you are doing THIS, then you are wrong". 2. The folding of their arms keeps the kids from confusing the movement with any number of other movements that do use hands/arms, and that's a win in my book. 3. Unless they are doing a demo where uniformity counts for something, IT DOESN'T MATTER! In picking my battles, this one is way, way down on the list!

12 years

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Contra Callers May 2013