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
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
Sure they're all fun (we hope). I'm looking for a few dances that are particularly playful, quirky, silly....something that typically gets the dancers laughing.
Some examples would be "Over the Hill and Still Chased" with the lady round two/gent cut through figure, or Beneficial Tradition when the dancers throw their free arm up and shout "Wooo!"
You get the idea. What are your favorites?
Sue Gola
Princeton, NJ
Helo Folks,
This group has been so quiet lately. The group has been so important for
me as I developed my Contra calling repertoire and skills, so I thought I'd
initiate a conversation.
As I sit here programming a dance I realize that I do not have many dances
without circles. Many that I do have, do not have a Neighbor Swing, or
have a Give & Take to cheat it out. Those factors limit where and when I
can use them.
I generally like to program two no circle dances in each half, and also a
NO neighbor Swing dance in at least one half if not both halves of an
evening. Any thoughts on this?
Does anyone want to share some modern contras that have no Circles and no
Give & Takes, but include a partner and neighbor swing.
Here are a few I have used.
Just for NEFFA, Linda Leslie
Rollin' and Tumblin'. Cis Hinkle
Rocket City Romp, Cis Hinkle
Travels with Rick and Kim, Shari Miller Johnson
Friday Night Fever, Tony Parkes
Thanks,
Rich Sbardella
Stafford, CT
Suddenly realised that the way I had copied the dance into the email hadn’t worked so here it is.
Never Forgotten Longways: Beckett
A1: (8) {L diagonal} Circle L ¾; (8) Neighbour swing.
A2: (8) Lines forward & back; (8) Mad robin {men in front}.
B1: (16) Ricochet reel {men pass L to start, ladies push back 2nd time they meet}.
B2: (16) Partner balance & swing.
Many Thanks,
Liam Binley.
liam.binley(a)me.com
Afternoon all,
So, whilst on a half term break from working in a school, I set myself a challenge to write my first dance… and I’ve done it. I have tried it with a small group of confident dancers to check that it works! But I am yet to try it on a big group, hoping to try it out in the next few weeks. I have copied it below so if you would like to give it a go, please do, and let me know what you think! The name (Never Forgotten) as you can probably guess, is a personal one, I don’t know what people think about giving dances names which have some personal meaning behind them, but for me, with a certain event coming up (I won’t divulge on here) it just seemed right.
I have got a suggested track to use for it, but would rather people asked me directly about that, to be honest it would fit with most 32 bar reels.. I just have a preference.
Anyway, let me know what you think,
Many Thanks,
Liam Binley.
liam.binley(a)me.com
Hi Allison,
I would echo Alan and Rich... especially if the folks LIKED those dances. I
have run many beginner dancers events over the last ten years and folks
want to do the dances they enjoyed from last time (sometimes you have to
remind them that you have other new fun dances to teach too). :-)
The one complaint I have heard from long time dancers are that some of the
dance groups don't repeat favorite dances often enough in a goal to do as
many different dances over the course of a year as possible so keep that
“fun” factor in mind when selecting them.
You have a nice list of dances! Don't forget about the classic Sicillian
Circle dance where there's clapping and hooting when the gents go in then
the ladies go in. Folks love to clap and hoot and it brings up the energy!
Let us know how it went!
Darlene
Historical Tea & Dance Society
Pasadena, CA
On Wed, Oct 24, 2018 at 1:44 PM <callers-request(a)lists.sharedweight.net>
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> Today's Topics:
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> 1. "Second" ONS (Allison Jonjak)
> 2. Re: "Second" ONS (Winston, Alan P.)
> 3. Re: "Second" ONS (Rich Sbardella)
> 4. Re: "Second" ONS (jim saxe)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Wed, 24 Oct 2018 12:25:51 -0500
> From: Allison Jonjak <allisonjonjak(a)gmail.com>
> To: callers(a)sharedweight.net
> Subject: [Callers] "Second" ONS
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>
> Hi all,
>
> I hail from a rural area with no nearby dance communities. This June I held
> a free community barn dance, featuring lots of Linda Leslie's "very easy
> dances". Through the magic of newspapers I was able to connect with a
> string band, and we had about 25 dancers, lots of whom left their email
> addresses 'so you can invite us again next time.'
>
> I'll head home for the holidays, the band is willing and the hall is
> willing, so I'm planning to host another dance. The question is: should I
> prepare
> -the same dances
> -the same easiness-level of dances, but different actual dances
> -a dance or two that uses progressions?
>
> The dancers in June learned very quickly, and aced the proto-progressions
> in both Jefferson & Liberty, and Peak Bagger.
>
> How much of that practice in June do I expect to carry forward to
> November? Here was the program I wound up calling,
> https://contradb.com/programs/76 , pardon that the calling notes are mixed
> in with my followup notes. Here were the dances I had prepared:
> https://contradb.com/programs/71
>
> Thanks all in advance for your help!
>
> --
> Allison Jonjak, M.S., E.I.T.
> allisonjonjak(a)gmail.com
> allisonjonjak.com
>
Thanks Alan, Rich, Mac, and Jim!
>> and have a couple slightly more challenging ones - with progression, etc
- up your sleeve but without any emotional investment in actually using
them.
"without emotional investment in using them" is very well-put, and I think
it describes my philosophy overall for this dance "series"
>Definitely agree on the "without any emotional investment" part.
Long-term, do you have an ambition for these events to evolve into "contra"
dances, or would you be happy as a clam to keep having events where
facility at ending a swing side-by-side with the _____ on the left and the
_____ on the right is not an important skill, so long as you have a room
full of smiling dancers?
I haven't emotionally invested in an outcome :) I don't live there, so I
can realistically only hold dances when I visit my parents. I think I'd *feel
glad *if I was able to help sow seeds of an eventual dance community. But
since I'm not present to spearhead growth, it seems like the best seed I
can sow is "have a room full of smiling dancers every once in a while."
Give people good memories of connecting with family and friends through
music and dance.
> I have a few comments and questions about your notes:
> The notes say "beginner's lesson (circle, Lark Raven, ...)" but the dance
descriptions use "ladles" and "gentlespoons". What terms did you actually
use? If you used "Larks" and "Ravens", did you say anything at all about
their relation to traditional gender roles? In practice how much
correlation was there between what people looked like and which role they
danced in?
That's a website feature---if you're logged in, you can choose a dialect to
print your program. So you (not logged in) saw gentlespoons, while I logged
in to print that program saw Larks & Ravens. When I print a program for
Childgrove open calling I print the roles as ladies & gents.
https://contradb.com/dialect
I picked Larks and Ravens for this dance, and introduced them like this:
"ask someone to dance, take their hand, and line up facing the band.
Somebody's on the left, lefts are Larks, raise your left hand. The other
person's on the right, rights are Ravens, raise your right hand. You can be
a lark one dance and a raven the next dance, the roles only matter so you
know when I'm talking to you."
As you notice only 2 dances really "had" roles, but this worked fine,
nobody seemed confused, and everybody danced with each other. The 'I can
dance with anyone" persisted from the beginners' lesson through the rest of
the dance too (you don't name them lark & raven or lady & gent to do
Virginia Reel, but you still find a partner. Men and women partnered, women
and women partnered, men and men partnered---which seems like the ideal
outcome for a twice-a-year dance? Who knows what ratio of people will come
in the door---my hope is to have people only have to sit out when they
choose to sit out.)
>Leaving aside the waltz and the polka, it looks like the only two dances
where the roles of Lark/Gentlespoon vs. Raven/Ladle were significant were
the roll away dance and Mad Scatter.
I didn't say anything but 'find a partner for a waltz / polka' for the
couples dances. People did pair off more-or-less by gender for those; a
fair number of attendees were married couples.
>Notes on the roll away dance say "succeeded at walkthrough, weren't going
to make it through the dance." If you could tell, did the confusion seem
to have to do with figuring out who was in what role, or was it mostly
about something else, such as getting from the star to the lines of four?
I think that the difficulty was that there were TWO roles to remember: a
person was a head OR a side, AND a raven OR a lark. That was too much
intricacy for people who don't know at least one of the roles on autopilot.
Lesson learned.
>[Two side comments on that dance: (1) Notes say "This variation is Wade
Pearson's, removing the right-left-through. ...", but the "original"
version you link to doesn't have a right and left through. It has a cross
trail. (2) Personally, I don't think it would be a great loss to drop this
dance from the repertoire, regardless of the role terminology or the manner
of setting up the lines of four. I could say more on both points but don't
want to go even further off topic.]
Agreed, I really wanted something with a rollaway since it's my favorite
move for "teaching giving weight," but it seems to require intricate
choreography to get people back to place. I hoped the square would do it,
but I overshot the audience. They were gracious when I had us switch, at
least :)
>The other dance description that mentions the roles is Mad Scatter. How
did that work out in practice? I note that it doesn't really matter which
member of each pair goes into the center for an allemande or star and which
one orbits, provided nobody minds who they get for new partner. But I'm
curious about what actually happened.
>Notes on Mad Scatter say "Avoid a mixer last even though they voted for
it." Do you have reason to believe that people were disappointed about
that? I certainly know of many dance series where people would bristle at
having a mixer as the "last" dance of the evening (even if followed by a
waltz as the really last dance), but I'm wondering whether you actually
sensed such bristling at your event. Note also Rich's comment on ending a
barn dance with a circle mixer.
This dance itself went smoothly, people retained their roles and knew what
to do. People sort of made larger and larger 'blobs' by the end of the
tune. I thought I sensed something like stress, though---in a scatter
mixer, it seemed like there were moments of "oh we're left out, there's no
new partner for us" and so sometimes people would have a
disappointed/stressed look on their face while looking for the 'lost and
found'. I had a broad age range, and it seemed like people who had lower
mobility were more-often the left-out, stressed ones.
Since those were the first non-smiles I saw all evening, I'd rather avoid
it next time, especially as the closing dance. I think a circle mixer would
be a great closer for this type of dance though, since you will meet
everyone to bid farewell, while always having a 'next partner'
close-at-hand.
Thanks for asking! I hope I've answered the spirit of all your
questions---if I've missed anything let me know,
Allison
--
Allison Jonjak, M.S., E.I.T.
allisonjonjak(a)gmail.com
allisonjonjak.com
Hi all,
I hail from a rural area with no nearby dance communities. This June I held
a free community barn dance, featuring lots of Linda Leslie's "very easy
dances". Through the magic of newspapers I was able to connect with a
string band, and we had about 25 dancers, lots of whom left their email
addresses 'so you can invite us again next time.'
I'll head home for the holidays, the band is willing and the hall is
willing, so I'm planning to host another dance. The question is: should I
prepare
-the same dances
-the same easiness-level of dances, but different actual dances
-a dance or two that uses progressions?
The dancers in June learned very quickly, and aced the proto-progressions
in both Jefferson & Liberty, and Peak Bagger.
How much of that practice in June do I expect to carry forward to
November? Here was the program I wound up calling,
https://contradb.com/programs/76 , pardon that the calling notes are mixed
in with my followup notes. Here were the dances I had prepared:
https://contradb.com/programs/71
Thanks all in advance for your help!
--
Allison Jonjak, M.S., E.I.T.
allisonjonjak(a)gmail.com
allisonjonjak.com
