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
Hello all,
Linda Leslie's suggestion of gyre as a replacement for gypsy bubbled around
in my brain and a new (I think) dance percolated up. It has a twist that
isn't the gyre (which I consider just new nomenclature); women casting out
of the swing to travel from one minor set to another (similar to gent's
movement in Scoot by Tom Hinds).
I haven't gotten to test it with dancers yet, as I just finished running it
through with pegs on my desk; but I wanted to share it in support of a new
term.
A Gyre for Linda
by Luke Donforth
Contra/Becket-CCW
A1 -----------
(4) Pass through to an ocean wave (ladies left, catch right with partner)
(4) Balance the short Wavy line
(2) Walk forward
(3) Shadow gyre right 1/2
(3) Gents gyre left 1/2 in the middle
A2 -----------
(16) Neighbor gyre right and swing
B1 -----------
MEANWHILE FIGURE:
(8) Men allemande Left 1-1/2 WHILE women cast cw around whole set one
woman’s place
(8) 1/2 Hey, passing partner by right shoulder
B2 -----------
(16) Partner gyre right and swing at home
As for the other aspects that have been discussed:
I pronounce it with a softer g sound. For reasons unclear to me, gyre has
different accepted pronunciations; but (to my knowledge) gyration doesn't.
As for using the term (which I clearly support); it costs me nearly nothing
to switch and helps make the dance more accessible for some; both in
dropping a term some find offensive and making the name more descriptive of
the move. My job as a caller is to help share the joy of dancing, and if
this does that I'm in favor of it.
--
Luke Donforth
Luke.Donforth(a)gmail.com <Luke.Donev(a)gmail.com>
This discussion got me thinking about dances which have both a Gents RH chain and Ladies LH chain. I wasn't sure if any existed, so I wrote a few. I have no idea when I would ever call them, but it was a fun exercise :)
On a somewhat related note, I appear to have a thing for writing Becket dances, but I'm proud to say that none of these start with "Circle Left 3 places". In fact, they don't have any circles in them, so they can also help with the "dances without a circle left" campaign.
That's Not How We Do ItContra, BECKET, by Rona Wiener, Jan 2016
A1 (4) Balance the Ring (4) Gents Roll away P along set (8) Gents RIGHT HAND chain [To N] A2 (8) Gents [Gypsy] x1 (8) Neighbor Swing B1 (4) Balance the Ring (4) Ladies Roll away N along set (8) Ladies LEFT HAND chain [to P] B2 (8) On Right Diagonal Half a hey [Ladies lead by L] (8) Partner Swing
Slightly Less Wrong
Contra, BECKET, by Rona Wiener, Jan 2016
A1 (4) Balance the Ring (4) Spin R (as in Petronella), face NN (4) Balance the Ring (4) Spin R A2 (8) Star L x 1 [hands across, gents drop out] (8) Ladies LEFT HAND chain [to N] B1 (8) Star R x 1 [hands across, ladies drop out] (8) Gents RIGHT HAND chain [To P] B2 (4) Pass Through (12) Partner Swing
Double NegativeContra, BECKET, by Rona Wiener, Jan 2016
[Starts on side with P, Gents on R] A1 (8) Star R x 1 [hands across, ladies drop out] (8) Gents RIGHT HAND chain [To N] A2 (8) Star L x 1 [hands across, gents drop out] (8) Ladies LEFT HAND chain [to P] B1 (8) Half a hey [Ladies lead by L] (8) Partner Swing B2 (8) Right and Left Through (8) Pass Through, Single File Promenade along the set to NN
On Wednesday, January 20, 2016 10:17 PM, Alexandra Deis-Lauby via Callers <callers(a)lists.sharedweight.net> wrote:
I think I just danced one in CDH which both chains. But I can't remember who was chaining when because I was swapping anyway. But if anyone else was there and remembers...
On Sun, Jan 17, 2016 at 7:11 PM, Ron Blechner via Callers <callers(a)lists.sharedweight.net> wrote:
Anyone know any contras with gents chaining from right-hand position? I have four I wrote on the plane, and I don't think I've ever danced one. And considering the ro swapping I encounter at many of my gigs, maybe it's time I start calling them sometime.I know there's one by Gene Hubert where ladies chain, are rolled away with 1/2 sashay, and gents are right-hand chained from the right. Notes for that appreciated. I'd like dances where gents are doing a regular right hand chain.I'm not talking about "Gents chain", which is from the Left-hand side. For that matter, I want to make it clear that "gents chain" is named poorly. I called "gents, left-hand chain" the other night in Greenfield and it required less explanation than when I've called/taught it as "gents chain". But I digress.Thanks!
Ron Blechner
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Laurie,
Jim makes good points. Think of the "pass through, circle left,
pass through" as one extended 16 beat figure rather than trying to break
it into 2 8 beat figures with the circle crossing the middle of the
phrase. When I'm calling this dance the 2nd half of the dance goes
something like this (as best I can recall sitting at my computer).
(starting on the last 2 beats of the previous phrase)
pass through, (pause for a beat), turn alone, circle left, (pause for a
few beats), pass through, (pause for a beat or so), balance and swing
The "turn alone, circle left" goes very quickly, taking maybe only 2
beats. The rest tends to be slower, one word per beat. Writing this
out may not be the best way to convey my meaning, but hopefully it gives
you some idea.
Jonathan
-----
Jonathan Sivier
Caller of Contra, Square, English and Early American Dances
jsivier AT illinois DOT edu
Dance Page: http://www.sivier.me/dance_leader.html
-----
Q: How many angels can dance on the head of a pin?
A: It depends on what dance you call!
On 3/31/2016 12:34 AM, James Saxe via Callers wrote:
> On Mar 30, 2016, at 9:35 PM, Laur via Callers <callers(a)lists.sharedweight.net> wrote:
>
>> I am not comfortable with the timing in Boomerang. Am I off or .. is there something I'm missing???
>>
>> I've tried (with my imaginary friends) several theories but - always the timing isn't quite there.
>>
>> Laurie
>> West MI
>
> Laurie,
>
> You don't say what part of the dance you're uncomfortable with, but
> I'm going to guess that it's the B1 part. The timing as given by
> Gene Hubert in _Dizzy Dances, Volume II_ is:
>
> Pass thru ACROSS the set and turn alone(4).
> Circle left, go all the way around(8).
> Pass thru ALONG the set to meet your partner(4).
>
> The timing is a bit unusual in that the circle crosses the middle
> of the phrase, but I don't think there's anything wrong with it.
> Dancers who aren't used to circling all the way around in 8 beats
> can make up time on the pass thru (or pull thru) along and on the
> forward part of the subsequent balance. On the other hand, if the
> dancers can easily circle once in 8 beats and if they think that 4
> beats for pass thru along is a bit leisurely, they can try rearing
> back at the end of the circle, or even add a spin during the pass
> thru.
>
> You can see a video of _Boomerang_ here:
>
> https://www.youtube.com/watch?v=zj49YHAMGnk
>
> (Thanks to Chris Page for supplying the title in a comment, so that
> the video was easy to find.) If you study the video, you'll see
> many examples of dancers managing to meet their partners just in
> time for the balance at the start of the B2 music--and also a few
> examples of dancers being either early or late. Beware that there
> are a number of places where the video cuts to a different camera
> angle and the new cut doesn't pick up at the same place in the tune
> as the previous cut ended.
>
> I hope some of this is helpful.
>
> Cheers,
> --Jim
I am not comfortable with the timing in Boomerang. Am I off or .. is there something I'm missing???
I've tried (with my imaginary friends) several theories but - always the timing isn't quite there.
LaurieWest MI ~ When I dance, I cannot judge, I cannot hate, I cannot separate myself from life. I can only be joyful and whole, that is why I dance. ~Hans Bos~ ~
Hi, Claire,
One triplet I have enjoyed is Rick Mohr's Triplet #2 (I've copied his notes
below). once dancers get the feel, the momentum of the 1's leading into the
circle at the beginning of A2 is very satisfying, as is the wave into the
hey.
I had it nearly fall apart one time when the group of people left were all
beginners, but they were having a good time and laughed throughout - either
caught up on the circle left or straightened out the set at the partner
swing at the end, so it worked well enough.
I used to coordinate an open band/open caller dance that got tons of
musicians but was often short on dancers, so it was handy to have
interesting dances that worked for very short sets. I also once improvised
Rory O'more as a triplet, but the memory is hazy now. I think I just had
the #1 couple swing to the bottom of the set at the end.
-Valerie Cohen, Seattle
Rick's Triplet #2
By Rick Mohr; January 28, 2002
Triplet, 1's Improper
Level: Intermediate/Advanced
A1: 1's cross *(passing right shoulders)*, go outside below 2's who move up
(6)
1's cross *(passing right shoulders)*, turn right, go outside around two
people *(ending proper)* (10)
A2: Circle left 6 hands round (12)
Allemande right with partner 3/4 (4)
*(Join left hands with neighbor to form a wave of six)*
B1: Balance the wave (4)
Half hey for 6 *(neighbors pass left shoulders to start)* (12)
B2: Balance and swing partner (16)
The figures of this dance fit the music phrases exactly, so it can be quite
satisfying if dancers are on the ball but somewhat unforgiving if they get
confused.
The active couple moves continuously in A1. First they cross around the 2's
to the middle position, and then without stopping they cross again and both
turn right—the man loops around the bottom couple while the woman loops
around the top couple. As the active dancers return to the middle position
(proper) all join hands and match their motion smoothly into a circle left.
The circle left in A2 takes 12 steps, so be aware to call the allemande
right in time for its four steps to end the phrase in time to balance the
wave at the start of B1. Then 12 weaving hey steps invert the set in time
for the partner balance and swing at the start of B2.
In terms of the original numbering, once through the dance leaves the
couples in a 3, 1, 2 sequence.
>
> Message: 1
> Date: Sat, 26 Mar 2016 11:22:05 -0400
> From: Bob Isaacs via Callers <callers(a)lists.sharedweight.net>
> To: Claire Takemori <cht(a)mac.com>, Shared Weight
> <callers(a)sharedweight.net>
> Subject: Re: [Callers] Favorite Triplet ?
> Message-ID: <SNT151-W13A3370BE1CAB812BBB30BAA840(a)phx.gbl>
> Content-Type: text/plain; charset="windows-1252"
>
>
>
>
> Hi Claire:
> If you want a triplet with contra corners and a hey for 6 (and very much
> for experienced dancers) then try:
> Cinnamon CrullerTriplet, properBI / 10-23-05
> A1. 1s cast to bottom, 1s up the center and 1/2 figure 8 below (2s move
> up)A2. 1s turn contra cornersB1. All partner allemande R 3/4, 1/2 hey for
> 6B2. Partner balance, swing - face up progressed (3-1-2)
> Bob
>
> > Date: Wed, 16 Mar 2016 22:51:38 -0700
> > To: callers(a)lists.sharedweight.net
> > Subject: [Callers] Favorite Triplet ?
> > From: callers(a)lists.sharedweight.net
> >
> > Hi everyone. I?m enjoying all the great information that is shared on
> this list. Thank you!
> >
> > I?m wondering if you have a favorite Triplet that would work for a very
> small but experienced contra dance with just 6 dancers left after the
> break? Ideally
Thank you all for the great triplets! I did call Dave’s Triplet #5 with a hey for 6 that they loved, but I was guest calling and so we had 3 triplets during my slot, but after the break it was down to 6-8 dancers and we were looking for choreography for small groups.
I appreciate your time and very helpful explanations of the choreography!
Claire Takemori (Bay Area, CA)
On Mar 30, 2016, at 1:01 PM, via Callers <callers(a)lists.sharedweight.net> wrote:
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Today's Topics:
1. Re: Favorite Triplet ? (Valerie Cohen via Callers)
2. Re: Favorite Triplet ? (Michael Barraclough via Callers)
----------------------------------------------------------------------
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Date: Wed, 30 Mar 2016 10:50:31 -0700
From: Valerie Cohen via Callers <callers(a)lists.sharedweight.net>
To: callers(a)lists.sharedweight.net,
callers-request(a)lists.sharedweight.net
Subject: Re: [Callers] Favorite Triplet ?
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Hi, Claire,
One triplet I have enjoyed is Rick Mohr's Triplet #2 (I've copied his notes
below). once dancers get the feel, the momentum of the 1's leading into the
circle at the beginning of A2 is very satisfying, as is the wave into the
hey.
I had it nearly fall apart one time when the group of people left were all
beginners, but they were having a good time and laughed throughout - either
caught up on the circle left or straightened out the set at the partner
swing at the end, so it worked well enough.
I used to coordinate an open band/open caller dance that got tons of
musicians but was often short on dancers, so it was handy to have
interesting dances that worked for very short sets. I also once improvised
Rory O'more as a triplet, but the memory is hazy now. I think I just had
the #1 couple swing to the bottom of the set at the end.
-Valerie Cohen, Seattle
Rick's Triplet #2
By Rick Mohr; January 28, 2002
Triplet, 1's Improper
Level: Intermediate/Advanced
A1: 1's cross *(passing right shoulders)*, go outside below 2's who move up
(6)
1's cross *(passing right shoulders)*, turn right, go outside around two
people *(ending proper)* (10)
A2: Circle left 6 hands round (12)
Allemande right with partner 3/4 (4)
*(Join left hands with neighbor to form a wave of six)*
B1: Balance the wave (4)
Half hey for 6 *(neighbors pass left shoulders to start)* (12)
B2: Balance and swing partner (16)
The figures of this dance fit the music phrases exactly, so it can be quite
satisfying if dancers are on the ball but somewhat unforgiving if they get
confused.
The active couple moves continuously in A1. First they cross around the 2's
to the middle position, and then without stopping they cross again and both
turn right?the man loops around the bottom couple while the woman loops
around the top couple. As the active dancers return to the middle position
(proper) all join hands and match their motion smoothly into a circle left.
The circle left in A2 takes 12 steps, so be aware to call the allemande
right in time for its four steps to end the phrase in time to balance the
wave at the start of B1. Then 12 weaving hey steps invert the set in time
for the partner balance and swing at the start of B2.
In terms of the original numbering, once through the dance leaves the
couples in a 3, 1, 2 sequence.
>
> Message: 1
> Date: Sat, 26 Mar 2016 11:22:05 -0400
> From: Bob Isaacs via Callers <callers(a)lists.sharedweight.net>
> To: Claire Takemori <cht(a)mac.com>, Shared Weight
> <callers(a)sharedweight.net>
> Subject: Re: [Callers] Favorite Triplet ?
> Message-ID: <SNT151-W13A3370BE1CAB812BBB30BAA840(a)phx.gbl>
> Content-Type: text/plain; charset="windows-1252"
>
>
>
>
> Hi Claire:
> If you want a triplet with contra corners and a hey for 6 (and very much
> for experienced dancers) then try:
> Cinnamon CrullerTriplet, properBI / 10-23-05
> A1. 1s cast to bottom, 1s up the center and 1/2 figure 8 below (2s move
> up)A2. 1s turn contra cornersB1. All partner allemande R 3/4, 1/2 hey for
> 6B2. Partner balance, swing - face up progressed (3-1-2)
> Bob
>
>> Date: Wed, 16 Mar 2016 22:51:38 -0700
>> To: callers(a)lists.sharedweight.net
>> Subject: [Callers] Favorite Triplet ?
>> From: callers(a)lists.sharedweight.net
>>
>> Hi everyone. I?m enjoying all the great information that is shared on
> this list. Thank you!
>>
>> I?m wondering if you have a favorite Triplet that would work for a very
> small but experienced contra dance with just 6 dancers left after the
> break? Ideally
Thank you for the helpful comments when I shared this dance a few weeks
ago. I called the dance as written on 3/18/2016 at the Memorial Dance
for Charlie Fellows. It went ok but, as forecast, it was hard work to
ensure that the B2/A1 transition went smoothly. I have therefore changed
the dance slightly which I hope makes it a better dance. The original
B1and B2 have been swapped and the two 'trades' have been changed for a
'turn single' and a 'California Twirl'.
The final dance is as follows:
FOR HE'S A JOLLY GOOD FELLOW
Michael Barraclough (2016)
Longways improper
A1 Balance the ring, Petronella, Balance the ring, Turn Single
A2 Give & take (men take, neighbor swing)
B1 Give & take (men take, partner swing)
B2 Balance the ring, Petronella, Balance the ring, California Twirl
This keeps most of the symmetry/simplicity from the original but
improves the B2/A1 transition. Dancers eemed to like the double Give &
Take.
The full dance is available at
http://www.michaelbarraclough.com/24-dances-i-have-written/1090-for-he-s-a-…
--
Michael Barraclough
michael(a)michaelbarraclough.com
www.michaelbarraclough.com
While preparing to teach the beginners' session for tonight's dance in
Olympia, WA, I jotted down several figures I could teach that would be
simple enough, flow reasonably well and get them dancing. I looked at
my list and said, "Huh! This looks like an actual dance." I was
missing one figure to complete it. Today, while waiting for our caucus
to begin, I decided on the final figure. My caller/musician friend,
Valerie Cohen, who was sitting next to us, said I should call it the
Caucus Shuffle. I said I was planning to call it "Feelin' the Bern,"
to which she responded, "Then it should progress left." You're
welcome.
I think the dance works whether one starts at A1 or A2. Starting at A2
would end with a partner swing, which is always nice at the end of the
evening.
At any rate, here's the dance. My questions are, 1) does this already
exist? and 2) do you see any major problems with it?
Feelin' the Bern
Becket, improper contra
A1 Partner swing (16)
A2 Long lines forward and back (8)
Mad robin (ladies go in front) (8)
B1 Circle right 3 places (~8)
New neighbors star right (8)
B2 Neighbor allemande right (8)
Half hey (gents pass left), ladies ricochet (8)
-Amy
P.S. I'm going to call it tonight, but not for the beginner session.
I'll start by having everyone shuffle, single-file, around the oval of
the set, until they return to where they started.
