I am calling on April 15th....would love some ideas for "tax" related
dances. Any out there?
“Life is not about waiting for the storms to pass ... it's about learning
to dance in the rain!” ~ Unknown
Lately a new dancer has started coming to our dance and he is bad enough
that he will often make the set break if the dance is moderately
challenging. He seems to have some kind of impairment and walks very
stiffly which means he will often not be on time for a figure and also
often does not remember what is coming next.
We want to be inclusive but at the same time his presence negatively
impacts other dancers in his set and while some of the experienced dancers
will take one for the team and dance with him, it is an unpleasant
experience to be his partner. Unfortunately, we always have many new
dancers and having one couple not be where they should be can really throw
them off in some dances so I feel like I have to push and pull him around
to be on time, despite the fact that it's a little rude.
A recent caller to our dance called him a "speed bump" which was quite
accurate. I'm sure other dances have had experience with similar troubles,
does anyone have advice on how to deal with this so that other dancers
still have a good time yet we are nice to this problematic dancer?
Putney VT is short a caller. Very sweet local dance, 7:30-10:30,
all-contras is ok but a mix of contras/circles/longways is way OK too.
Email me directly and I'll give you the gory details.
The wonderful Take All of the Credit and None of the Blame
April Blum On Mar 23, 2017 7:11 AM, Mary Collins via Callers <callers(a)lists.sharedweight.net> wrote:
> I am calling on April 15th....would love some ideas for "tax" related dances. Any out there?
> Mary Collins
> “Life is not about waiting for the storms to pass ... it's about learning to dance in the rain!” ~ Unknown
I have it, Cheryl at home, but I am in Philadelphia. Email me and I will send it when I get home!!
Sent from my iPhone
> On Mar 22, 2017, at 10:38 AM, Meg Dedolph via Callers <callers(a)lists.sharedweight.net> wrote:
> Cary Ravitz has The Cows are Watching (which looks quite close to what you have) on a page of dances he's collected - link below.
>> On Wed, Mar 22, 2017 at 9:34 AM Cheryl Joyal via Callers <callers(a)lists.sharedweight.net> wrote:
>> I have a wonderful dance in my box that I enjoy dancing and calling - but do not know who wrote it…. can anyone tell me who wrote it?
>> Also - is this the correct name since another caller said they had a dance called “the Cows are Watching” ?
>> Anyone have any other “Cow” dances since we are on a theme ?
>> The Cows go Marching by _________________
>> A1 (8) Long lines, forward and back
>> (8) Women allemande Right 1-1/2
>> A2 (16) Neighbor balance and swing
>> B1 (8) Balance the ring
>> (8) Gents Roll/Sashay Partner across set
>> B2 (4) Zig to Left (w/Partner),
>> (4) Zag to Right and Gents catch by Left
>> (8) Men allemande Left 1x to Partner Swing
>> Thanks - Cheryl
>> Cheryl Joyal
>> 630-667-3284 (cell)
>> Cheryl Joyal
>> 630-667-3284 (cell)
>> Callers mailing list
> Callers mailing list
Hello fellow callers!
I am preparing a very short program of advanced or challenging contras which
I will be leading at the Down East Festival next week. This will be one of
many festival offerings during the weekend of March 24-25. I have done a
challenging session at several past festivals and have a small collection of
dances that I think are both moderately challenging and fun to dance. (I
also have a few that I will never call again!) I have not added to my list
for quite a while and would appreciate any suggestions that any of you would
be kind enough to share. I will not be doing any other formations than
duple or becket dances, although I understand that there are many other fun
If you could include the complete choreography and any teaching or other
tips that would be very helpful. I always credit the dance authors, so
please include that information as well.
Thanks so much! This list is a great resource to have.
I realize this post qualifies as both shameless self-promotion, as well as
possible improper use of this list for (somewhat) commercial purposes, but
I do think this topic may be of particular interest to contra and trad
callers and choreographers. Scold me if you must.
I'll be teaching a special weeklong workshop at CDSS American Dance and
Music Week at Pinewoods (Plymouth, MA) August 8-15, 2017 titled "Modern
Western Square Dance for Contra Dancers".
This course is an intensive “blitz” exposure to Modern Western Square
Dancing (MWSD) for experienced contra dancers, traditional square dancers,
and contra or trad callers. If you enjoy learning new choreography and the
unexpected delights of no-walk-thru contra medleys, this is for you.
Starting with the 25 or so contra calls that are shared with Modern Western
squares, we will explore much of the CALLERLAB Basic, Mainstream, and Plus
lists. New calls will be taught and workshopped, but you’ll get plenty of
time to “just dance” and enjoy what you have already learned in both patter
and singing call contexts. The pace of the course will be determined by the
students’ ability to assimilate the material, but the goal will be that you
can dance most Mainstream calls smoothly at speed. We will cover several of
the more popular Plus calls as well. Expect to be challenged and have lots
Modern Western uses recorded music of various genres; the patter music is
designed to get you moving at a continuous flow and the singing call music
allows for a change of pace. The class time will be divided into an all
morning workshop session where we will learn new figures, then a late
afternoon practice and review session. You will have the middle of the day
to relax or enjoy other workshops at American Week.
More details at the CDSS site:
This class may be of particular interest to contra and trad callers and
choreographers. Many MWSD moves have been "borrowed" into contra and
several contra choreographers who have had experience with MWSD have
written dances that have components inspired by MWSD moves. (Carol Ormand,
Bob Isaacs, and Chris Page to name a few.) Some of the moves that come from
MWSD are: box circulate, pass the ocean, square thru, star thru, California
twirl, hinge... If you'd like to stir your creative juices, or just learn a
bit more about some of the calls and their applications, this is a great
way to do so. Learning about the added rigor of MWSD may improve your own
teaching and presentation skills, as well as give you new insights into
contra and trad choreography.
Space in this class is limited. Registration is currently open.
my site: http://site.andyshore.com/
I taught a similar weekend workshop in Durham NC in 2011 with many contra &
trad callers in attendance. Here is my "trip report" (on facebook) from
Questions or comments - my best contact email is andyshore(a)gmail.com
So, this is a cross between Jeff Spero's Kiss the Bride and Rick Mohr's
A1. N DSD (6)
A2. R+L Thru (8) (across)
Gents Alle L 1.5x (8)
B1. P Meltdown Swing (16)*
B2. Circle R 1.25x (10)
Zig R, Zag L (6) (to next Ns)
I was futzing with Kiss the Bride and this came out. I'd like to give
credit if it's been written, or pick a name if not.
As long as you're opening this line of thought, here's some more thoughts:
Should we thus also say that every circle L / star R to circle R / star L
transition has equally no place in contra? Because that's even more of a
pronounced shift in rotational direction. (To be clear: with same
neighbors, not as a transition.)
I can imagine a counter-point would be noting that the swing is unique
because it's a tighter rotation, and so it's not the same as stars/circles.
But then how do we explain the frequency of dances with swing to ladies
allemande right / ladies pass right to start a hey? It's absolutely ladies
going from clockwise swing rotation to moving the opposite direction.
Or how about some other frequently used transitions (from most frequent)?:
Chain / R+L Thru to circle left. (Common, and a change in vector for both
Chain/star promenade to Face Next neighbor, DSD/"Gypsy"/Allemandes R with
that new neighbor. (Less common, but I dance one of these every few weeks,
Contra Corners dances where ladies role has to make both a hand and
direction change (like... Chorus Jig)
And maybe the answer someone might give is "these are all bad flow". Yet
people seem to like many dances with them in it. I would be interested to
find out why.
On Mar 14, 2017 11:41 PM, "Bob Isaacs" <isaacsbob(a)hotmail.com> wrote:
Ron and All:
I respectfully disagree. As long as we swing in a clockwise direction, the
swing/circle R transition will flow poorly for both roles, and should
have no place in any contra dance -
*From:* Ron Blechner <contraron(a)gmail.com>
*Sent:* Tuesday, March 14, 2017 11:19 PM
*To:* Bob Isaacs
*Cc:* Caller's discussion list
*Subject:* Re: [Callers] Another dance-check zig-zag R dance
I dance the ladies role enough where I feel I can confidently assert that
swing -> circle R is as difficult for gents as swing -> circle L is for
ladies. Either way, one person is unfolding from the swing opposite from
the rotation of the subsequent circle.
The bigger objection to flow is simply that it's a circle right that is
from a standstill, and people don't dance many circle rights. (But we dance
plenty circle lefts from a standstill.) In this case, I'm interested in the
circle R as something to fill a second-half-of-evening slot where I often
have need for dances that are fairly easy but not the same old circle
lefts, swings, stars, chains, and allemandes.
On Mar 14, 2017 11:05 PM, "Bob Isaacs via Callers" <
> Hi Ron:
> Two transitions in this dance I find troubling. The R and L through/gents
> allemande is awkward for the gents, whose L hand is occupied in the
> courtesy turn of the R and L through. This can be avoided by 1/2 hey (GL,
> PR, LL, NR), gents allemande L 1 1/2 (or allemande/hey if you prefer that
> But swing/circle R?
> *From:* Callers <callers-bounces(a)lists.sharedweight.net> on behalf of Ron
> Blechner via Callers <callers(a)lists.sharedweight.net>
> *Sent:* Tuesday, March 14, 2017 9:49:10 PM
> *To:* callers
> *Subject:* [Callers] Another dance-check zig-zag R dance
> So, this is a cross between Jeff Spero's Kiss the Bride and Rick Mohr's
> Rockin' Robin:
> Duple Imp.
> A1. N DSD (6)
> NS (10)
> A2. R+L Thru (8) (across)
> Gents Alle L 1.5x (8)
> B1. P Meltdown Swing (16)*
> B2. Circle R 1.25x (10)
> Zig R, Zag L (6) (to next Ns)
> I was futzing with Kiss the Bride and this came out. I'd like to give
> credit if it's been written, or pick a name if not.
> In dance,
> Ron Blechner
> Callers mailing list
I have had this circle mixer in my box since before 1990, and have long ago lost its name or origin. Could any of you help? It has served me well many many times.
Formation: Circle of couples
A1 Forward and Back
Forward again, just the gents come back (ladies turn to face out)
A2 All turn right, promenade single file (ladies clockwise, gents CCW)
B1 Partner (the last one you swung) dosido
Corner Allemande left, pass partner by the right
B2 New Partner B and S