Contra Callers June 2015

contracallers@lists.sharedweight.net

1 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.

2 years, 7 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

5 years, 1 month

Itty-bitty dances, triplets, odd numbers

by Kalia Kliban via Callers

I just called a tiny dance last night, and went through several of my triplets along with a big pile of English 3-couple dances that we did to old-time tunes (that was a little weird for me but the dancers enjoyed them, so what the heck). I was grateful to have the few triplets I had, and I'd like to expand my collection. The ones I used were Microchasmic, David's Triplet #7 and Ted's Triplet #24, which all have distinctive bits in them (contra corners, round two/drop through, and a cast to invert then 1s lead up, respectively). I like triplets that have some choreographic substance to them, something for the dancers to chew on. Do you have favorites you enjoy dancing as well as calling? I get the impression sometimes that triplets are "that thing you do to fill time until the real dancing starts," but 3-couple sets can be a whole lot of fun. And sometimes they can save your butt as a caller. We had lots of odd numbers last night, so in addition to the triplets and 3-couple English dances I used dances like Domino 5 (5 dancers) and Pride of Dingle (for 9). For a short while we had 4 couples and did contras but most of the evening was "other." Got any good dances for odd numbers? Kalia

9 years, 8 months

Re: [Callers] Buzz Step Swing

by John Sweeney via Callers

Yes, of course I always tell dancers that they can walk instead of buzz, but the buzz-step is so much more fun that it seems crazy not to teach it when every dance is going to have a swing and usually two. <Digression:> Yes, I love swinging, and have been loving it for fifty years now, but why does every new dance have to have two swings? Oh no, not Neighbour Balance & Swing, Circle Left 3/4, Partner Swing again - that's half the dance gone with nothing new or interesting in it! (And changing the Circle Left 3/4 to Men/Ladies Allemande 1 & 1/2 does not make it more interesting!) I write lots of dances with one or zero swings - a zero-swing dance can have so much good stuff in it that the dancers don't even notice there is no swing; they are having too much fun. It always puzzles me when people take a great one-swing dance and re-choreograph it to add a second swing, losing part of what made it a great dance just for the sake of even more swinging. <End of digression.> I found it interesting that Ron said, "the buzz-step swing gets axed if I'm short on time". If I only had time to teach one thing then the only thing I would teach would be the buzz-step swing, and how to finish it so you end up in the right place. I can't think of anything else that newcomers can't learn during the walk-throughs. Question: If you were calling for a group with a dozen newcomers in the hall out of 100 people, and the organizers said you could have two minutes teaching before you started the first walk-through, what would you teach? For me the answer is obvious, every dance has a buzz-step swing; teach a buzz-step swing. Another reason for teaching swinging is that there are a significant number of "experienced" dancers who have bad swinging habits. I dance all over the USA and the UK and wherever I go there are always some people who: - grip, clamp, squeeze, hang, press - hold their partner in the wrong place so it is uncomfortable - use too much strength and try to do silly things like making their partners feet leave the floor - lean sideways or backwards - start twirls too late and when they are facing the wrong way so that they end up in the wrong place - etc. If just a couple of those dancers pick up on any of these points and improve their swinging then you have done good work! Yes, I hate it when callers talk too much and take time out of dancing time. But this can be really short: Sample teach: = = = = = = = = Hi, I'm John. We have some new people here today and they are going to spend half an hour swinging tonight, so please let's spend a minute or two on showing them how it's done. And all you great dancers out there why not see if you can't make your swing even better for you and your partners. This is called a buzz-step swing. First, let go of you partner completely. Put your left toe just behind your right foot like this. Now walk fast on the spot. Now push with your left foor as though you were on a skateboard and turn clockwise by yourself on the spot. Relax your knees so you don't bounce up and down. See how smoothly.you can turn with the minimum of effort. Now take your partner in a ballroom hold - the man's hand on the lady's shoulderblade - it is far more comfotable for the lady if you hold them up high. Now relax - make sure you are not pressing on any part of your partner. And swing - it should be a gentle embrace where, as a single counterbalanced unit, you glide smoothly and effortlessly around. Smile at your partner and you won't get dizzy. Now think of your joined hands as an arrowhead and finish pointing at the other couple. If you are having trouble with the buzz-step then you can always just walk. = = = = = = = = I just timed that and it took less than 90 seconds. Surely that is worth doing! Yes, some of them wont get it, but for those who do you have just greatly enhanced their enjoyment of the evening. Anyway, that's what I think. :-) Happy dancing, John John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 http://www.contrafusion.co.uk for Dancing in Kent

10 years

Favorite Techno-Suitable Contras?

by Don Veino via Callers

Have my first gig for a Techno contra coming up next week. Spoke with the band about dances selection and am culling through my cards for suitable dances now. Do you have any favorite easy-to-remember (not necessarily easy to call) dances that are interesting yet support dropping out on calls quickly? Thanks, Don

10 years

Dances with One Swing

by John Sweeney via Callers

Rich asked for dances with one or zero swings. These are some of mine, many aimed at beginners. Duck! (by John Sweeney) Contra; Improper; Double Progression A1: Neighbour Dosido Neighbour Two Hand Turn - open into a circle A2: Circle Left; Circle Right B1: Men Dosido Ladies Dosido B2: Balance the Ring; #2s Arch, #1s Duck Through to New Circle Balance the New Ring; #2s Arch, #1s Duck Through to face New Neighbours Do a quick California Twirl when you reach the end of the line Finding Your Balance (by John Sweeney) Contra; Becket (CW) A1/A2: Four Changes all with Balances - Start Right with Partner and alternate hands B1: Balance the Ring; Men Cross Balance the Ring; Ladies Cross B2: Half Promenade Yearn on the Left Diagonal to New Neighbours Life is But A Melancholy Flower (by John Sweeney) Contra; Improper A1: Neighbour Dosido Neighbour two hand Balance & Petronalla Turn for Two (Men now back to back in the middle) A2: Take Two Hands with Neighbour: All Gallop* Down; All Gallop Up B1: Start a Neighbour Gypsy; Men leave and Half Left Shoulder Gypsy with each other Partner Swing B2: Balance the Ring; Petronella Turn Balance the Ring; California Twirl * Americans often say "sashay" - but that word doesn't give the right feel - I mean gallop! Rotafl (by John Sweeney) Contra; Becket (CW) A1: Yearn on Left Diagonal to a New Couple Ladies' Chain A2:Long Lines Go F & B - Men Roll the Ladies from Right to Left Long Lines Go F & B - Ladies Roll the Men from Right to Left B1: Tapsalteerie Hey: Ladies Half Hey, Men Ricochet Ladies Ricochet, Men Half Hey B2: Flutterwheel and sweep the Men in to: Men Dosido Pestchye (by John Sweeney) Contra; Becket A1: Balance the Ring; Petronella Balance the Ring; Petronella A2: Hands Across: Star Left; Star Right - Men Drop Out B1: Ladies' Chain x 2 B2: Half Promenade Yearn to the Left Dixie Doo-Dah (by John Sweeney) Contra; Improper A1: Neighbour Dosido & Swing - finish facing Down A2: Down the Hall in Lines of Four; Dixie Twirl* Up the Hall in Lines of Four; Bend the Line B1: Balance the Ring; Men Cross Balance the Ring; Ladies Cross B2: Neighbour Two Hand Turn Long Lines Go Forward & Back * Dixie Twirl: No letting go: middle couple arch; end lady leads through the arch to the other end facing up; end man goes straight across to the other end facing up. The Mad Gypsy (by John Sweeney) Contra; Becket (CW) A1: Ladies' Chain Mad Robin - AC - Ladies through the Middle A2: Full Hey - Ladies start Right Shoulder B1: Ladies Gypsy Neighbour Two-Hand Turn (or Swing) B2: Balance the Ring; Ladies Cross Yearn on the Left Diagonal Someone mentioned that they didn't like the term "cross over". Whenever I use it I mean pass by the right shoulder and turn right to face each other. I also describe it as "half a gypsy to change places". I hope you find some of those useful. Please let me know if you use them or have any feedback. Thanks. Happy dancing, John John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 http://www.contrafusion.co.uk for Dancing in Kent

10 years

Re: [Callers] Giving Weight

by John Sweeney via Callers

I really, really don't like the term "giving weight". It is a technical term that is too easily misunderstood. As soon as you mention giving weight some people will start to lean or pull. I don't believe that leaning or pulling have any place in contra dancing. All that leaning and pulling do is throw your partner off balance and tire them out. I do actually use a lean sometimes in teaching first-timers: "Make a circle, elbows down, hands up, now lean back very slightly. Can you feel a little tension in your arms? OK stand up straight and never, ever lean again! :) That little tension you felt was the kind of tension you need in your arms to feel connected to those on either side of you." I talk about connection rather than giving weight. I don't want your weight! Please don't give me any of your weigh! You are responsible for your own balance.. On the other hand I am very happy to connect to you and create a gentle counterbalance so that we can rotate without flying apart. I will happily use my muscles to counteract centrifugal force and control our combined mass. (No, I don't normally talk about mass on the dance-floor!) This applies to swings, allemandes, two hand turns and any other form of rotation. It is not wrestling it is dancing. Always start at zero tension and build up to the minimum that you need to do the move. Someone said you should press back against your partner's hand in a swing. Please don't - all you will do is tire me out! You connect to each other and make a gentle frame; as you speed up centrifugal force will try to pull you apart; you just apply your muscles to maintain the frame. It may now feel like you are pushing against the hand, but you are not - centrifugal force is doing all the pushing - adding to it is unnecessary. Some dancers also put their hand on your back and press to pull you towards them - again this is completely unnecessary and can be quite uncomfortable. If I want someone to feel the connection I do a fast, skipping, two hand turn with them, or a zesty Galway Swing, generating enough centrifugal force so that they connect ("give weight") automatically. Jonathan's description was good: "They need to move their center of gravity backwards a little. This can be done by bending the knees and waist a very little, as if you were going to sit down. That plus the rotation should provide enough force to provide the tension/counterweight. So we may want the dancers to move the core of their body back a little, but not by leaning." When you practice that sitting motion you should always do it individually so that you learn to keep your own balance. Happy dancing, John John Sweeney, Dancer, England <mailto:john@modernjive.com> john(a)modernjive.com 01233 625 362 & 07802 940 574 <http://www.modernjive.com> http://www.modernjive.com for Modern Jive Events & DVDs <http://www.contrafusion.co.uk> http://www.contrafusion.co.uk for Dancing in Kent

10 years

How to explain the charms of square dances (was More on Programming)

by Jacob Nancy Bloom via Callers

Many thanks to Cary Ravitz for explaining why some dancers prefer contras to squares. (You can see that explanation below.) Tom Hinds said that, when dancers tell him they don't like squares, he tells them, "then stay home when I call". I wouldn't be comfortable giving that reply. While square dances might not offer dancers the " dancer, music, motion connection", without the voice of a caller intruding, that they might find in contra dances, the square dances offer other benefits. I would rather come up with a way of describing those benefits, in the hope that some of those dancers will find things to enjoy in the squares. How would those of you who enjoy both squares and contras describe what you get out of dancing square dances? Jacob On Thu, Jun 25, 2015 at 11:25 PM, Cary Ravitz via Callers < callers(a)lists.sharedweight.net> wrote: > > > On Thu, Jun 25, 2015 at 10:40 PM, Jacob Nancy Bloom via Callers >> <callers(a)lists.sharedweight.net> wrote: >> > Cary, some of your objections to squares seem a bit contradictory. Let >> me >> > re-state them, and see if I've understood you correctly. >> > >> > Some squares are unphrased, and those squares have less opportunity to >> > connect your movement to the music. >> > Yes. > > > Many squares are danced for a shorter time than contradances are usually >> > danced, and therefore take relatively longer to teach compared to the >> > dancing time. >> > No, in my experience as a dancer, squares take longer to teach and this is > compensated with shorter dance time. > > >> > Many squares are mixers, and therefore have less time dancing with your >> > original partner than in a contra. >> > Yes. > > >> > Some squares have visiting couple dances, in which the dancers can only >> make >> > movements in place during some of the music. >> > In my experience as a dancer, visiting couple square use the interaction > sequence 1-2, 1-3, 1-4 and 2-3, 2-3, 2-4, 2-1 and 3-4, ... so for 2/3 of > the dance half the dancers are not included. > > >> > In all square dances, the need to listen for the calls interferes with >> the >> > relationship you would like to have with the music. >> > Yes. > > >> > >> > Have I understood your points correctly? Or have I not quite >> understood >> > your meaning? >> > *For me*, this all comes down to > > dancer, music, motion connection. It can be wonderful in a contra. I've > never found it in a square. > >

10 years

Re: [Callers] How to explain the charms of square dances (was More on Programming)

by Perry via Callers

There are two square dance series near me, one in DC and one in Baltimore, who get tremendously large crowds for their dances. They are young as well and most people there are not contra dancers but there are some contra dancers who happen to be square lovers too. I always wonder how these dances get up to 200 people and some of the contra dances struggle to draw. Perry Sent from my Galaxy S®III <div>-------- Original message --------</div><div>From: Tom Hinds via Callers <callers(a)lists.sharedweight.net> </div><div>Date:06/27/2015 8:38 AM (GMT-06:00) </div><div>To: Jacob Nancy Bloom <jandnbloom(a)gmail.com> </div><div>Cc: Shared_Weight_Callers <callers(a)lists.sharedweight.net> </div><div>Subject: Re: [Callers] How to explain the charms of square dances (was More on Programming) </div><div> </div>Yes you are correct, pointing out the benefits of squares is a much better option than telling them to stay home. I included that comment in hopes that callers might consider being less afraid of what dancers think. I have no illusions that others would say that to a dancer. One aspect that makes squares attractive is the changing patterns. For myself and others, dancing choreography that wasn't walked through is very enjoyable. And changing the pattern doesn't have to be challenging. For partner changing squares there's a certain satisfaction/challenge in performing the choreography well as a group and ending with your partner again. Picking the correct square for this is crucial-not too easy and not too hard. Some people enjoy dancing squares to music where the phrasing is less distinct. It's hard for me to describe but it's like dancing without holding back. Or could it be described as charging ahead? Perhaps some of you can describe this gooder than I can. This works well with driving old time music. Although I don't enjoy the visiting couple type square, I understand that there are a number of groups who enjoy these types of squares with very fast music. In central Virginia there're getting large turnouts. I'm told that most of these dancers are young and not contra dancers. I often hear of other groups in the country where young dancers are discovering squares. Is this the future? T _______________________________________________ Callers mailing list Callers(a)lists.sharedweight.net http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net

10 years

Re: [Callers] More on Programming

by Rich Sbardella via Callers

I differ with Cary's generalized storyline of contra being "uniting of partners". If I had to generalize a storyline, it would be of building community. I may be wrong, but I think David Kaynor, in his calling booklet, referred to your "hands four" group as your "neighborhood". I love that terminology. I often choose new or weak dancers as partners, and I rely on the support of these neighborhoods to make the dance enjoyable. In a square the neighborhood changes from four dancers to eight but you stay with them longer. In most mixer squares, if called and danced correctly, the partner relationship is restored as the dance resolves. As a dancer, I love squares. It is a refreshing change, thus adding variety without difficulty, during an evening of contras. Squares often provide a rest period as others dance. This is a plus, not a minus; as I age, I appreciate the rest. I have found that some callers who are quite competent with contras, are terrible with squares, I also see callers choosing squares that are too difficult for an open contra dance, thus causing failure on the floor. Calling squares is a different art than calling contras. Choosing squares carefully with an adequate walk thru is essential. If a caller gets too much negative feedback, or no positive feedback, perhaps that caller should not be calling squares. Another problem is that squares are not called often enough at some series. The concept of corners, opposites, home position, RH lady, etc,, are foreign to many contra dancers. These are all EZ concepts but all together in a four minute blitz, every once in a while, can be overwhelming. Adding squares regularly to our programs would enhance and expand the experience. Squarely, (can I say that?) Rich Sbardella Stafford, CT On Thu, Jun 25, 2015 at 9:09 AM, Perry Shafran via Callers < callers(a)lists.sharedweight.net> wrote: > See, this is what I mean, when I get advice from some callers that say one > thing and advice from other callers that say the complete opposite. > > I figure that there are lots of different people on the floor. Some > people LIKE squares, believe it or not. Whenever I see squares called, > yeah, there are some people who head for the sidelines, but generally I see > dancers on the floor having a good time. So I learned some time ago that > for everyone who grumbles about a square being called, there are 10 others > who love it. > > As for insisting that every dance has two swings AND the neighbor swing > MUST come before the partner swing, that seems to be a personal preference > rather than a hard and fast rule. I think that most dancers don't really > care which one comes first. I went to a dance weekend this past weekend > where there were more than a few dances with no neighbor swing, and it > appeared that everyone had a great time dancing. > > I have long been taught that variety is the spice of life, and people do > enjoy squares mixed in with a contra, as well as varied choreography. > Varied choreography makes the dance interesting. Hard and fast rules limit > the choreography that you can do and excludes many all-time great dances > that might have a neighbor swing or a partner swing first (like Joyride and > Ramsay Chase). And let's not even talking about throwing in an occasional > chestnut in there - we have to get rid of all those wonderful dances > because they are "boring" by today's standards. (Except to those folks who > love them of course!) > > Perry > > ------------------------------ > *From:* Cary Ravitz via Callers <callers(a)lists.sharedweight.net> > *To:* Shared_Weight_Callers <callers(a)lists.sharedweight.net> > *Sent:* Wednesday, June 24, 2015 10:34 PM > *Subject:* Re: [Callers] More on Programming > > Why swings in every dance - because that is a huge part of the contra > experience, a swing with the person that you asked to dance. > > Why should the partner swing follow the neighbor swing - because this is > an art form, not an exercise routine. The storyline of a contra is the > uniting of partners, not the the breaking up of partners (that's my > preference anyway). And in practical terms, I want to be with my partner at > the end of a dance to thank them quickly before finding another partner. > > "Squares are just like contras, only you have to listen" - this is not > correct. > > Some things that people to not like about squares - > > less movement/music connection due to lack of strict phrasing > having to listen to the caller breaks the movement/music connection > teaching time > mixer squares breaks the partner connection > visiting squares leave people "out of the dance" for long periods. > > I find squares and contras completely different. > > > > On Wed, Jun 24, 2015 at 11:47 AM, George Mercer via Callers < > callers(a)lists.sharedweight.net> wrote: > > I may not be a good example or even that good a caller, but ... I like > swings, I have no need to have a neighbor swing in every dance and most > certainly don't care where in the dance the neighbor swing happens. That's > making up rules for the sake of having rules. I like the buzz step, but to > put it mildly there are many dancers with whom a buzz step is impossible, > difficult or merely uncomfortable. I teach a walking swing and sometimes > demonstrate a buzz step with a little time for practice. Far too many > callers and beginner workshop instructors teach a buzz step in a way that > promotes bouncing, which in turn makes swinging difficult or worse. I've > also heard more than one caller-instructor tell dancers that to "give > weight" (an inadequate term) they should lean back. Just kill me. As a > dancer, I often combine a walking swing-with a buzz step -- especially if > we have gotten out of sync with the music. I come down on to the floor when > I think it's required. On two occasions recently while dancing, the person > I was dancing with said, "Well, this a dance the caller has never actually > danced before. If she or he had, she or he wouldn't have chosen it." Amen. > I was at an dance recently where a mixer was called near the end of the > evening. I'm not sure what that was all about. Once early in my limited > calling career,just as the first dance got underway about 20 newcomers > walked in. I then called several dances without swings, just to get them > acclimated to moving in rhythm and with the music. I'll never do that > again. I was too cautious and shouldn't have been. I honestly was afraid > the experienced dancers were going to hurt me. And they say I can't learn. > Perhaps my biggest peeve on the dance floor is the experienced dancers who > insist on sharing their bad dance habits (swinging backwards, excessive and > unexpected twirling -- I almost wrote twerking --, inappropriate dipping, > showing how athletic and fancy they are, etc.) with new dancers rather than > helping them learn the basic fundamentals, timing and courtesy. I love > squares. Not everyone does, but I often explain to people in my square, > "squares are just like contras, only you have to listen." And finally, > callers, please stop telling people that when they reach the end of the > line, "they're out." This seems to encourgae dancers to think, "Well now, > I don't have to pay attention." While they are on the floor they should > "stay in the dance." That just may be me. Thanks, George > > > > > -- > Cary Ravitz > caryravitz(a)gmail.com > > > > > _______________________________________________ > Callers mailing list > Callers(a)lists.sharedweight.net > http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net > > > > _______________________________________________ > Callers mailing list > Callers(a)lists.sharedweight.net > http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net > >

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Contra Callers June 2015