Contra Callers August 2017

contracallers@lists.sharedweight.net

9 participants
22 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, 1 month

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

4 years, 7 months

Calling a Halloween dance tonight? Try this circle mixer...

by Amy Cann via Callers

I try and call the dances of Rich Blazej whenever I can and this one's a Halloween favorite, re-done as "Werewolves and Zombies". *Garfield's Escape* -- circle of couples PLUS ONE EXTRA in the center (Garfield) A1 All into the center EIGHT steps and back, menacing the Garfield A2 Circle left, circle right B1 Women (werewolves) promenade single file to the right, while men (zombies) "star" by the right -- each man puts his right hand on right shoulder of the man in front - including Garfield. B2 Caller hollers "Escape!" ("Boo!", or maybe "Braaaiiins") and all men run to the outside and swing with a woman in the outer circle. A new Garfield remains in the center. Rich himself named this after Garfield the comic-strip cat, way back when he was cynical and funny (the cat, not Rich). "The single man remaining at the end of the dance is entitled to a pan of lasagna and some fresh kitty litter". My favorite normal tune for this is the minor jig Coleraine, played at a slightly slower lurch-y tempo, but if I'm lucky the band'll do the Alfred Hitchcock theme. Have fun, just thought I'd share -- and I'd love to hear how it goes if you do it, and what variations emerge. Cheers, Amy

5 years, 2 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>

6 years, 9 months

4 couple set Chorus Jig

by Yoyo Zhou via Callers

Hi callers, I've been looking for a funky dance, a variation on Chorus Jig for 4 couples, alternating, everybody turns contra corners. Does anyone know who to thank for it? (I remember dancing it at one of the Monte Toyon camps (Spring Fever or Queer Contra Camp) but I can't remember which! For bonus points, I'd love to figure out whom I learned it from.) The dance goes like this: A1: top couple down the outside and back B1: top couple down the middle and back, cast off with 2s C: all turn contra corners in the middle (All turn partner right 3/4, 1st corner left 1, parter right 1/2, 2nd corner left 1. It looks like a wave of 8 down the middle.) B2: all balance and swing partner; end swing facing up (?) (? = Do you alternate facing up/down?) Then, every other time, alternate: the bottom couple goes up the set and casts off with the 3s. So the 1s and 2s just change places with each other, and the 3s and 4s change places with each other, and everyone has a turn. Thanks, Yoyo Zhou

7 years, 4 months

Labor Day dances

by Andrea Nettleton

Hey all, Can someone point me to the thread I imagine already exists with dances for Labor Day? Or, if you have written or know of some good ones, please let me know? Anything about work, workers, labor, and the like. The one I have that came to mind was Labor of Love, by, I think, Kathy Anderson. Thanks! Andrea Sent from my external brain

7 years, 4 months

New archives

by Seth Seeger

Hello callers, I’m sorry it’s taken me so long, but at last we have a new archive system: http://www.mail-archive.com/callers@lists.sharedweight.net/ <http://www.mail-archive.com/callers@lists.sharedweight.net/> The old archives should be imported this weekend. For power users, there are some interesting search options and keyboard shortcuts: https://www.mail-archive.com/faq.html#search <https://www.mail-archive.com/faq.html#search> https://www.mail-archive.com/faq.html#accesskeys <https://www.mail-archive.com/faq.html#accesskeys> I welcome any feedback! Seth

7 years, 5 months

Re: [Callers] Waltz-Time Contra Choreography

by Don Veino via Callers

Here's one I'm fond of. One could argue whether this is a Contra, ECD, or... Linda’s Gifts (of Time) – Longways Duple Proper in Waltz Time – Don Veino 20160818 *Type:* Longways Contra or English Dance, Duple Proper *Status:* Public, Proven In grateful recognition of Linda Leslie’s investments of time in the folk dance community and in particular her consultation and mentoring given me as I hone my dance calling and composition. *A1* (6,6) First Corners Set to each other (small steps to the Right-2-3, Left-2-3), Hole in the Wall (forward 3 beats/steps, pass rights and pivot 1 step, fall back 2 steps into each other’s places) (12) Second Corners, same thing *A2* (12) Partner Two-Hand Turn 1x (12) Circle Left 1x *B1* (12) Ones Half Figure 8 up and around Twos to finish below (12) Twos do similar below, to finish above *B2* (12) Partner Back to Back/Dosido (6) Ring Balance with current Neighbors (6) Cloverleaf Turn Single over outside shoulder to face new Neighbors http://veino.com/blog/?p=1464 On Aug 8, 2017 2:03 PM, "Dugan Murphy via Callers" < callers(a)lists.sharedweight.net> wrote: Do you have a favorite contra dance written to fit a waltz tune?

7 years, 5 months

Re: [Callers] Waltz-Time Contra Choreography

by John Sweeney via Callers

Hi, Dugan asked about waltz contra choreographies. The music in the Allison Wonderland video is much faster than I would use for a contra waltz. Many of the dancers seem to end up almost running to keep up. The waltz at the beginning or end of an evening at a contra dance is usually significantly slower, and more the sort of speed that I would use to get the feel of a waltz. (Yes, I know the Irish like to waltz 50% faster, but that is a very different style!) Here are some contras that were written specifically for waltz music: = = = = = = = = = = = = = = = = = = = = = Tulsa Tribute (by Keith Tuxhorn) Contra; Becket - Waltz A1: Circle Left Half Way (2); Balance the Ring (2) Circle Left* Half Way (2); Balance the Ring (2) A2: Open Ladies' Chain x2 B1: Full Hey with hands - Ladies start with Right Hand B2: Partner Waltz in Place (4), Waltz Left** to face a New Neighbours (4) An Open Ladies' Chain is an old form in which you do NOT do a Courtesy Turn. I always teach it and call it as "Ladies Pull By Right, Allemande Left the Man you meet" * I go Right to make it easier for inexperienced dancers ** I go Right because my brain tells me that is the direction in which I should waltz around the room Easy B2: Ladies Gypsy (4); Yearn Left (2); Step Right & Honour (2) = = = = = = = = = = = = = = = = = = = = = A Waltz for Terry (by Don Armstrong) Contra; Improper - Waltz A1: #1s with #2 Man: Balance the Ring twice; Circle Left A2: #1s with #2 Lady: Balance the Ring twice; Circle Right to a Line of Four facing Down the Hall (#1 Lady lets go with Right Hand; #1 Man raises Left Hand to left #2 Lady through) B1: Down the Hall in Lines of Four (2) bars, Balance Forwards (1), Turn Alone (1) Up the Hall in Lines of Four (2), #2s Gate the #1s Up to progressed positions with a wide hand-cast (2) B2: Open Ladies' Chain (the Men can do a Turn Single to the Left while the Ladies cross) Open Ladies' Chain back An Open Ladies' Chain is an old form in which you do NOT do a Courtesy Turn. I always teach it and call it as "Ladies Pull By Right, Allemande Left the Man you meet" = = = = = = = = = = = = = = = = = = = = = Equal Opportunity Waltz Contra (by Becky Hill) Contra; Improper - Waltz A1: Star Left; Star Right A2: Neighbour Allemande Right; Partner Allemande Left B1: Ladies Cross (2); Men Cross (2) Balance the Ring; Partner Roll Away with a Half Sashay B2: Partner: Take Right Hand: Balance & Box the Gnat Partner: Take Left Hand: Balance & Swat the Flea = = = = = = = = = = = = = = = = = = = = = If I was going to use a standard contra then I would choose a smooth, flowing one like: The Mad Gypsy (by John Sweeney) Contra; Becket A1: Ladies' Chain Mad Robin - AC - Ladies through the Middle A2: Full Hey - Ladies start Right Shoulder B1: Ladies Gypsy (slow & wide) Neighbour Two-Hand Turn (or Waltz) B2: Balance the Ring; Ladies Cross Yearn on the Left Diagonal = = = = = = = = = = = = = = = = = = = = = Happy dancing, John John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 http://www.contrafusion.co.uk for Dancing in Kent

7 years, 5 months

Re: [Callers] Callers Digest, Vol 40, Issue 10

by Gretchen Caldwell via Callers

Tulsa Tribute is a simple, lovely "contra waltz" that works well as a cool-down on a hot night. I sometimes use it as the next-to-last dance of the evening. The band needs to choose a waltz in AABB, rather than ABAB as many are usually played. If I teach it in tempo, they usually figure it out. Tulsa Tribute - Keith ?Juxhorn? (can't read my own writing)**Becket**A1: Circle left 1/2, balance the ring Circle left 1/2, balance the ringA2: Ladies chain over and back (it really helps to call this in tempo - the ladies tend to pick up the loveliness of the waltz tempo with the chain)B1: Full hey for four (ladies start by passing right shoulders)B2: With your partner, waltz in place, end by sliding left to a new couple. Gretchen Caldwell, Charlotte NC gretchendance(a)yahoo.com

7 years, 5 months

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Contra Callers August 2017