I’m trying to get in touch with Bob Isaacs — we’re calling together in November — but my internet skills are not yielding info that’s producing a response. Bob (or someone with his current contact info), could you please contact me off list at steve dot pike dot madison at gmail dot com? Thanks!!
Steve Pike
Madison, WI
Wanted a beginners' dance with a chain but without a star-L progression.
Jotted down this one. I find it quite likely that someone has written it
before:
[untitled], imp.
A1: N b&s
A2: long lines forward & back
ladies chain
B1: ladies alle. R 1x
P swing
B2: circle L 3/4
bal. ring and pass through
So a) has this been written? And b) can folks recommend already-written
dances that meet my criteria?
Cheers,
Maia
Chris Weiler's Positive Solutions
<http://www.puttinonthedance.org/wp-content/uploads/2011/11/Positive-Solutio…>
on dealing with problem dancers, and the CDU Policy
<http://www.puttinonthedance.org/wp-content/uploads/2011/11/09-12-16-CDU-pol…>
are thoughtful and useful documents.
We have a different problem here.
One woman often complains to board members about men she sees as creepers
or sexual predators. She reports their misbehavior on behalf of their
victims. The victims don't initiate these reports.*
Many others *don't* see these men as creepy or inappropriate. Recently one
of the "victims" clarified that her discomfort with the man was a year ago
and she'd long ago dealt with it to her satisfaction. The man in question
had heard only rumors that some nameless woman was unhappy about some
nameless thing he'd done.
This woman also publicly asked that young women who feel harassed should
talk to her about it. We feel that's the Board's job, not hers.
It seems that this woman is fishing for - or even inventing -
"naughty-dancer" problems.
When a married man gets accused of being a sexual predator, his wife has to
wonder if it's true. This adds to any marital tensions they may already
have. So, while this woman is not actually punching anybody in the face,
it seems to me that she's committing violence.
How should we handle this?
- I think we need a "No proxy complaints" policy - i.e., the victim has
to speak up (and then our process will usually fix simple miscommunication
issues).
- We need to clearly identify board members, so genuine victims know who
to talk to.
But does anybody have other ideas about preventing one person's issues from
poisoning the atmosphere of a mostly friendly dance?
____
* I know, victims often have a hard time stepping up and complaining, so
advocacy may be a good thing. But that's a different discussion. In these
situations, there's no victim; there's no predator; there's just an
accusation with little to back it up.
Hi Everyone
In a normal (1s improper) contra, you start with your partner across from
you and your neighbour next to you. Anyone outside the minor set is a new
neighbour / shadow / something else.
In a Becket formation, you start with your partner next to you. Who's
opposite you - your neighbour or your opposite? If it's your opposite,
who's your neighbour? Is it the person next to you who isn't your partner?
(I have seen it used this way.)
Jeremy Child
Exeter, UK
Hi Callers,
There are a number of dances that have significant clockwise momentum; I try to label such dances so I don't call them back to back. However, I'd like to identify a collection of dances with the *least* clockwise movement (beyond swinging in the other direction).
Which moves are CCW? I realize that this depends somewhat on how the move is danced.
Have you IDed any dances as particularly good to call after a very clockwise one?
Thanks!Lindsey
Two persons have lamented privately to me that my posts are reaching the group with almost unreadably small text.No where else I send email or post has reported this problem
Which, if any of these lines better?
1. Garamond small
2. Garamond medium3. Garamond large
4 Modern small5 Modern Medium6 Modern wide Michael Fuerst 802 N Broadway Urbana IL 61801 217 239 5844
Recently there was some discussion of the difference between a "rollaway
with a half-sashay" and a plain ol' rollaway. Jim Saxe presented the dance Roll
Away <http://contradances.blogspot.com/2012/03/roll-away.html> as an
example of a contra with a rollaway without a half-sashay. Can anyone else
name/post choreography for any CONTRAS (or 4-face-4s, I suppose... not
looking for squares at the moment, though) that include a rollaway *without* a
half-sashay?
Cheers,
Maia
Hello everyone,
Seth and Chris here, the lists founders and (currently) silent members.
The discussions from yesterday and today have generated a lot of traffic
and a lot of emotions. So I'd like to take this opportunity to remind
us all why we are here.
Chris and I started this list to SUPPORT each other and other callers.
Please remember that when writing and responding here. Everyone should
be treated with kindness.
When you write an email, please consider this before you press send: If
you were face to face, would you say the same thing? Does what you are
writing add to the SUPPORT of the community?
And finally, remember that humor and sarcasm are not easily communicated
through email. Please leave sarcasm and jokes out, as the other people
reading your email may not know if you are being serious or not.
Thank you,
Seth & Chris
Concerning dances with shadow swings, Chris Page has noted, "I know Carol Ormand writes and calls them." Because of her advanced scientific training, Carol is undoubtedly certified to handle hazardous material.
For most of the day and evening I've been praying to the Dance Deity about the issue of shadow swings, knowing, all levity aside, that a wrong decision could end me in jail for a week or so (like a certain Kim Davis from Kentucky).
At about 11pm I received a vision from the Dance Deity. Visions are of course difficult to translate into words, but I'll do my best here. According to D.D., any caller attempting a shadow swing dance should (i) meditate for an hour (or as long as needed) to get the the Deity's permission, and, if granted, (ii) get Secret Service clearance and the appropriate CDSS permit. One these two conditions are satisfied, the caller should initially teach the dance with an alternative for the shadow swing. Then, during a second walk-through, the caller should casually and emphatically mention that dancers might want to instead swing with their shadow.
Michael Fuerst 802 N Broadway Urbana IL 61801 217 239 5844
My only observation to add to the shadow swing melee is that while not
completely closed to them, i'm cognizant of the several reasons they are a
less than optimal choice. Given these drawbacks of the figure, i would not
use a shadow swing in a situation with very long sets. If the choreography
of the dance is so awesome i feel a need to use it, and the end effects
aren't prohibitive, i'd consider running it in a situation with short sets
(much as i'd use for a 1s active dance). Why? Because if anyone feels the
need to escape their shadow, they can get to an end of the set and either
jump out or rumble into another set sooner. I think this offers dancers the
best chance to fix a potential issue without singling anyone out or
creating a dynamic on the floor more awkward than the choice of a shadow
swing dance (albeit an exceptional one!) already did.