Contra Callers May 2016

contracallers@lists.sharedweight.net

1 participants
14 discussions

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

1 year, 5 months

A new(?) dance, written with a gyre

by Luke Donforth via Callers

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>

3 years, 6 months

New (?) dance, B1 balance, B2 balance and partner swing

by Luke Donforth via Callers

Hello all, I was trying to write a nice end-of-evening dance that had a balance at the top of B1, and ended with a partner swing (that wasn't Old Time Elixir #2 or Tica Tica timing...) and came up with this. I think it's new, and it worked well in Montreal recently; but I'd like to know if it already existed: Becket A1 Circle left 3/4 Neighbor swing A2 Gents start hey for 4 by left B1 Right to neighbor (women back to back in middle), balance and box gnat Pull by right, women allemande left 1 1/2 B2 Partner balance and swing Slide left Happy dancing -- Luke Donforth Luke.Donforth(a)gmail.com <Luke.Donev(a)gmail.com>

5 years, 4 months

Re: [Callers] Gents doing "ladies" chain

by Rona via Callers

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 _______________________________________________ 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

5 years, 4 months

Microphones and/or technique for a deep voice.

by Darwin Gregory via Callers

I am a new caller, and I have called two dances. The first, I completely blew the microphone part. Since then, I practiced holding the mic close to my mouth like was suggested to me. The second dnce, I was told that my voice was too deep for the microphone, and I was overpowering it. It was suggested that I hold the microphone further away and project, which I tried, but again, not something I practiced. Someone afterwards suggested that it could have been dealt with by the sound board. Although, the sound guy was sitting there and I'm sure would have done something if it would have helped. So, any advice? Is there a particular mic or mic type that is good for deep voices? Any techniques to practice? Sound guy/gal need to be on the ball? Any advice welcome. ... Darwin

5 years, 4 months

Re: [Callers] here it is - sorry

by Ron Blechner via Callers

That article had a few interesting *new* points, for me. 1. That Roma are in the US, not just Europe, and face continued discrimination. 2. That Roma in the US often don't speak up about their identity out of fear of discrimination. 3. That perhaps the use of "gypsy" as a term isn't as bad as non-Roma self-identitying as "dance gypsies". Roma wander because they are persecuted or can't find work. When we talk about "dance gypsies" beig wandering from place to place, we're comparing our having fun traveling to various dances to the widespread persecution of an ethnicity (the worst being the Holocaust). On Apr 1, 2016 10:03 AM, "via Callers" <callers(a)lists.sharedweight.net> wrote: > I was thinking that very thing, but didn't have any experiences. > Something I read recently pointed out that Romani people in Spain proudly > refer to themselves as "Gitano" which translates to Gypsy. > > This is issue is not as cut and dry as many of us would like it to be. > > Thanks for sharing this story. > > > ****************************************************************************************************** > Amy Carroll > amy(a)calleramy.com > 206-330-7408 > http://www.calleramy.com/ > > > > On April 1, 2016 at 9:02 AM Rich Sbardella <richsbardella(a)gmail.com> > wrote: > > There are still at least two sides to this argument. Although I am using > the term less and less, I want to relate a recent experience. > > I was dancing in one of MA biggest contra venues as a caller walked the a > dance with a "two eyed" turn. A dancer in my line became more than a > little upset, yelling it "it's a gypsy". Turns out the dancer is Romani, > and the term "gypsy" is one he proudly owns. > > I do not think the Roma people as a whole have come to a consensus. (For > example, The Gypsy Kings proudly use the term as a reference to their > heritage.) > > Rich Stafford > > > On Fri, Apr 1, 2016 at 4:56 AM, Michael Fuerst via Callers < > callers(a)lists.sharedweight.net> wrote: > > Ms Carroll: > > Quite frankly a fairly useless article for us. > Ms Raessi is "a Romani/Métis researcher and activist" so it seems logical > that she dislikes the term gypsy. > She lists alleged myths stereotypes about Romani people > Every ethnic group has an associated set of myths and stereotypes. > Every ethnic group tries to purge the negative stereotypes and retain the > positive aspects of their heritage. > Ms Raessi writes "many people find that using this term is wrong because > it perpetuates misinformation about our origins" > This makes little sense. Anyone person bigoted enough to entertain > any of her alleged stereotypes has no idea about the origins of Romani > people. > > Ms Raessi writes "...the term has been used as a racial slur and is > loaded with stereotypes ..." > Yes the word gypsy has been used to deprecate Romani people but over the > years it evolved to mean a free-spirited or nomadic person. > Other ethnic slurs (such as kike, chink, jap or nigger) have not similarly > evolved, and thus their use remains offensive. > This article discusses some English words or idioms that evolved from > ethnic slurs: > http://www.huffingtonpost.com/2013/10/24/offensive-words-_n_4144472.html > > The ongoing discussion during the past year of the word gypsy has included > claims that some persons of Romani descent embrace gypsy and its positive > aspects of current usage, most don't care, and some hate the word. And > of course only those who object will speak out. > As long the common usage of gypsy keeps evolving towards a free-spirited > or nomadic person, keeping it in the contra lexicon seems appropriate > > > Michael Fuerst 802 N Broadway Urbana IL 61801 217 239 584 > > > On Thursday, March 31, 2016 11:32 PM, via Callers < > callers(a)lists.sharedweight.net> wrote: > > > http://bellydanceu.net/culture/520/ > "What's wrong with the Word 'Gypsy'?" > > ****************************************************************************************************** > Amy Carroll > amy(a)calleramy.com > 206-330-7408 > http://www.calleramy.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 > > > > > > _______________________________________________ > Callers mailing list > Callers(a)lists.sharedweight.net > http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net > >

5 years, 4 months

Dance ID?

by Maia McCormick via Callers

Danced this Mary Cay's Reel look-alike recently--anyone know the title and author? (becket L) A1: circle L 3/4 N swing A2: llf&b ladies alle R 3/4, next lady alle L 3/4 B1: pass P by R for full hey B2: P B&S Thanks! Maia

5 years, 5 months

Re: [Callers] Organized Open Calling

by Valerie Cohen via Callers

Hi, I thought Don had some great suggestions for a periodic open caller dance. I helped keep Seattle's Open Band/Open Caller monthly dance going for awhile, and really liked having a host caller. The expectation was that the host would help keep the flow of the evening going by calling the first and last dance of the night, and fill in with others if needed, would arrange the order of the other callers (so more experienced callers might alternate with newer ones). The host caller would sometimes mentor (or chose a more experienced caller who was willing to mentor) less experienced callers: step in if they needed advice on choosing a dance, have dances to suggest on hand, help with band signals and knowing when to end the dance (but as Don says - also let it be learning experience - know how much to support & give reassurance, without taking over). We did not do sign-ups in advance, but put out a sign-up sheet during the potluck before the dance. It was a given that signing up to call a dance was not necessarily an indicator of the order. Great for you for keeping this tradition going! Hope it goes well, Valerie Message: 3 Date: Mon, 23 May 2016 15:31:21 -0400 From: Don Veino via Callers <callers(a)lists.sharedweight.net> To: Chet Gray <chetgray+sharedweight(a)gmail.com> Cc: Don Veino via Callers <callers(a)lists.sharedweight.net> Subject: Re: [Callers] Organizing open calling Message-ID: <CAAJTtiJwmrQ4xH33jh3YE+i8rWkN8_t1gZDbrLVnnnhHr_X8QA(a)mail.gmail.com> Content-Type: text/plain; charset="utf-8" Hi, Sue Rosen generally does this for the periodic NEFFA caller nights at the Scout House Thursday dance. The expectation there is you have your wall clock time slots (e.g.: 7:30-7:55) and you *end* your slot on time, no matter what happened before or during your slot. Having slots specified as real clock time instead of elapsed time makes staying on/recovering to schedule much easier. I appreciate/leverage her approach and have taken it a bit more on-line. I've done this several times for our other Scout House series. My approach is to set up a shared Google spreadsheet with the available time slots, names assigned to slots. Generally in the first "half" (curiously, longer than the second :), a given caller gets two dance slots in a row and one in the second (one caller gets the flip assignment). I have the four callers enter two dances for each slot. One choice for "beginner heavy" and the other for "more experienced". Having them all in one place, we can visualize the program choices and challenge arc of the selections. The crowd that arrives leads us to which column will be the program that night. People can comment in the sheet and we work out most conflicts or necessary adjustments on-line (or by phone, etc.) before the evening. Of course there may be some tweaks that night, but having the two program difficulty choices spelled out minimizes that. This process typically takes about 2 weeks. Can be done in less time but would need to be led strongly with deadlines. People (particularly at this level) have focus on their "primary" job/life and the turnaround time on requests and changes can take days. Other thoughts: - Work out who'll introduce/recognize the band, sound, etc. (easily overdone or forgot otherwise). - Outgoing caller introduce the next one. - Tape a copy of the program up near the caller's mic. - Following caller helps enforce (gently) finishing clock time of previous caller. - Have slop slots built into your schedule (~7 minutes first half, ~5 second - not distributed into the caller slots and ideally remaining unused) and explicitly schedule any waltz/scandi and break(s) too. - You're the glue in this process. Be ready to help out but also stay back to let them work out any issues themselves - that's part of their learning too! Good luck! -Don On Mon, May 23, 2016 at 2:04 PM, Chet Gray via Callers < callers(a)lists.sharedweight.net> wrote: > Hello, all, > > After losing monthly open-calling evenings to venue schedule conflicts > last year, the local contra group where I live (Louisville, KY) are > re-implementing them on 5th-week dances (so, about four or so times a > year). I am "organizing caller" for the first of these, next Monday, and > I'm wondering if any of y'all have advice on coordinating an evening of > open-calling. > > The extent of organization for our previous open-calling dances had been, > essentially, callers put their name on a list and everyone hopes it works > out, and, while this was usually serendipitous fun, it often led to > long-running dances (both individually and for the evening overall) and > less-than-enjoyable experiences for newer dancers. When our board was > discussing re-starting open calling, I had recently been at the Jan Jam > (Champaign/Urbana, IL) after party, where Lauren Peckman had coordinated > open calling, and where I'd had the best open-calling experience?as both a > dancer and a caller?I'd ever encountered. I suggested to our board that, > this time around, the evenings each have an "organizing caller" to help > ensure overall program flow, coordinate callers/dances with an eye to > complexity/energy/time, incorporate and assist novice callers, wrangle > callers if need be for time limits, fill in gaps in the program, have > back-pocket dances at the ready, etc. > > Lo, they asked me to take a go at coordinating. Suggest a change, be the > change, I suppose. ^_^ > > The open calling has been announced at our weekly dances leading up, and > tonight (a week before) I'll be asking (but not requiring) prospective > callers to talk to me to help me get an idea for how I can best help the > evening flow. > > Any suggestions/anecdotes/warnings from my more-experienced fellows would > be greatly appreciated. > > ? Chet Gray >

5 years, 5 months

Organizing open calling

by Chet Gray via Callers

Hello, all, After losing monthly open-calling evenings to venue schedule conflicts last year, the local contra group where I live (Louisville, KY) are re-implementing them on 5th-week dances (so, about four or so times a year). I am "organizing caller" for the first of these, next Monday, and I'm wondering if any of y'all have advice on coordinating an evening of open-calling. The extent of organization for our previous open-calling dances had been, essentially, callers put their name on a list and everyone hopes it works out, and, while this was usually serendipitous fun, it often led to long-running dances (both individually and for the evening overall) and less-than-enjoyable experiences for newer dancers. When our board was discussing re-starting open calling, I had recently been at the Jan Jam (Champaign/Urbana, IL) after party, where Lauren Peckman had coordinated open calling, and where I'd had the best open-calling experience—as both a dancer and a caller—I'd ever encountered. I suggested to our board that, this time around, the evenings each have an "organizing caller" to help ensure overall program flow, coordinate callers/dances with an eye to complexity/energy/time, incorporate and assist novice callers, wrangle callers if need be for time limits, fill in gaps in the program, have back-pocket dances at the ready, etc. Lo, they asked me to take a go at coordinating. Suggest a change, be the change, I suppose. ^_^ The open calling has been announced at our weekly dances leading up, and tonight (a week before) I'll be asking (but not requiring) prospective callers to talk to me to help me get an idea for how I can best help the evening flow. Any suggestions/anecdotes/warnings from my more-experienced fellows would be greatly appreciated. — Chet Gray

5 years, 5 months

Confirming Bookings - Best Practices?

by Don Veino via Callers

What do folks do to ensure dance booking contacts remember that they've booked you? I just had my second booking in a row in a certain geography forget that they had booked me. What's curious is that in both cases these dances approached me by email (I could understand it maybe if it were the other way around?), we had an exchange where we clarified the dates, etc. and confirmed we were all set. We agreed to connect again with any final questions on program, accommodation, etc. as we approached closer to the date. The first case turned out to be rather comical in their confusion - the second I can't figure out. So, short of calling/emailing monthly, what do YOU do to ensure folks remember their booking commitment with you? Thanks, Don

5 years, 5 months

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Contra Callers May 2016