Friends,
I have a small weekly dance session with seniors in CT and often lack dancers. If anyone could share dances for 5 or 7 people, or two or three couples, I would greatly appreciate it. I often fall back on solo lines similar to the electric slide, or I dance them in squares with a phantom (not too successful).
Thanks,
Rich Sbardella
Stafford, CT
Not sure if anyone mentioned the 5 person dance called either Hot Tub Rag, or Jack Turn Back, or sometimes Cottontail Rag. It's by Steve Schnur and you can find instructions for it here:
http://www.library.unh.edu/special/forms/rpdlw/syllabus2012.pdf#page=15b
Martha
On Mar 3, 2014, at 9:00 AM, callers-request(a)sharedweight.net wrote:
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> Today's Topics:
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> 1. Re: three couples or less (Sue Robishaw)
> 2. Re: Three Couples or Less Dances (Jacob Nancy Bloom)
> 3. Re: three couples or less (Yoyo Zhou)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Sun, 02 Mar 2014 21:33:09 -0500
> From: Sue Robishaw <sue(a)manytracks.com>
> To: callers(a)sharedweight.net
> Subject: Re: [Callers] three couples or less
> Message-ID: <5313E9E5.40505(a)manytracks.com>
> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>
> <snip> In the B2 of the dance, Microchase you say "Turn Single (spacer if needed.") Is that because there's music left over after the arch and all thru? <snip>
>
> Yes, I'd simply changed from the Contra Corners in the original to DoSiDos but almost always had time left so ended up adding the TS. I like your arrangement though and look forward to trying it. Even better, it starts with something other than F&B! I just realized I only have one dance in about 50 that has arming in it (other than ECD). Don't know why I didn't notice that before. Thanks!
> Sue
>
>
>
>
> ------------------------------
>
> Message: 2
> Date: Sun, 2 Mar 2014 21:46:43 -0500
> From: Jacob Nancy Bloom <jandnbloom(a)gmail.com>
> To: callers(a)sharedweight.net
> Subject: Re: [Callers] Three Couples or Less Dances
> Message-ID:
> <CAJPS8NhT+vUyB+4qZVFtET72EVWJ6gzTKZM=Dk2TsbxHDHkjEQ(a)mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> Hi Rich,
>
> Ted's Triplet #3 has already been mentioned. Of Ted's Triplets, it's the
> only one I know of that's suitable for a less-experienced group.
>
> My dance The Luck of the Morris is in Zesty Contras, in Larry Jennings'
> version. Here's my version:
> Formation: From a three couple longways set, have ladies #1 and #3 change
> places, and have lady #2 and gent #2 change places with each other, to get
> a circle with each dancer's partner across from them. Dancers retain their
> numbers throughout the dance. The dance is not square with the walls of
> the room.
>
> A1: Couple #1 lead a forward six and back [1]
> All swing opposite. End couples end their swing facing the center
> of the set, and the active couples end facing either of the other two
> couples
> A2: Active couple ladies chain with the couple you face
> Chain back with an extra half turn to face the other couple
> B1: Actives half R&L with the couple they face
> Actives down center of set and cast off
> B2: Circle 6 to the left
> All go forward and back
>
> Repeat with couple two leading the first Forward & Back, then couple three.
>
> [1] The forward and back is oriented so that the active couple is going
> forward and back to each other, and the other four dancers are going
> forward and back towards someone who is not their partner.
>
> For two-couple dances, both Billingsdale Pattern by Chip Hendrickson and
> O'Donnell Anew by Tony Saletan are in Zesty Contras.
>
> General Dummer's Reel (for five), my dance Shira's Seven (for seven), and
> Cornish Six Hand Reel (for six) are three other dances I've found useful.
> They are described in the archives, at:
>
> http://www.sharedweight.net/pipermail/callers/2013-February/005742.html
>
> Jacob Bloom
>
>
> Date: Fri, 28 Feb 2014 08:01:29 -0800 (PST)
>> From: rich sbardella <richsbardella(a)snet.net>
>> To: "callers(a)sharedweight.net" <callers(a)sharedweight.net>
>> Subject: [Callers]
>>
>> Three Couples or Less Dances
>> Message-ID:
>> <1393603289.48866.YahooMailNeo(a)web181503.mail.ne1.yahoo.com>
>> Content-Type: text/plain; charset=iso-8859-1
>>
>> Friends,
>> I have a small weekly dance session with seniors in CT and often lack
>> dancers.? If anyone could share dances for 5 or 7 people, or two or three
>> couples, I would?greatly appreciate it.? I often fall back on solo lines
>> similar to the electric slide, or I dance them in squares with a phantom
>> (not too successful).
>> Thanks,
>> Rich Sbardella
>> Stafford, CT
>>
>
>
> ------------------------------
>
> Message: 3
> Date: Sun, 2 Mar 2014 22:15:07 -0800
> From: Yoyo Zhou <yozhov(a)gmail.com>
> To: sue(a)manytracks.com, "Caller's discussion list"
> <callers(a)sharedweight.net>
> Subject: Re: [Callers] three couples or less
> Message-ID:
> <CAPNCXWhznYefyV_C6BRRUrEBKD3GtkwafUsGDgFAvMNA9Zwh-A(a)mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> On Sun, Mar 2, 2014 at 6:33 PM, Sue Robishaw <sue(a)manytracks.com> wrote:
>> <snip> In the B2 of the dance, Microchase you say "Turn Single (spacer if
>> needed.") Is that because there's music left over after the arch and all
>> thru? <snip>
>>
>> Yes, I'd simply changed from the Contra Corners in the original to DoSiDos
>> but almost always had time left so ended up adding the TS. I like your
>> arrangement though and look forward to trying it. Even better, it starts
>> with something other than F&B! I just realized I only have one dance in
>> about 50 that has arming in it (other than ECD). Don't know why I didn't
>> notice that before. Thanks!
>
> I believe the original (Microchasmic) has B1 partner balance and
> swing, B2 all cast off and 1s arch and the rest go through. It looks
> like your variation changes the 16-count balance and swing to an
> 8-count 2-hand turn, which is where the extra time to turn single
> comes from. The cast off and arch ("peel the banana" I've heard it
> called) feels to me like a single figure, so I like it being all in
> one phrase.
>
> I do like Tom's suggestion; the partner left arm turn flows nicely to
> the first corner.
>
> Yoyo Zhou
>
>
> ------------------------------
>
> _______________________________________________
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>
> End of Callers Digest, Vol 115, Issue 2
> ***************************************
I've actually had good luck by taking some of the early chestnuts that were done in triple minor formation and tweaking them a bit into triplets. I call at events put on by the National Park Service with a core group of reenactors in historic dress. Members of the general public join in as they wish, so the make-up on the floor is quite varied. Instead of the top couple casting off one place, I have them cast to the bottom of the triplet. I also tend to convert the right & left thrus into circle left/circle right, or a two-hand turn with partner.
Regards,
Deborah Hyland
St. Louis
<snip> In the B2 of the dance, Microchase you say "Turn Single (spacer if needed.") Is that because there's music left over after the arch and all thru? <snip>
Yes, I'd simply changed from the Contra Corners in the original to DoSiDos but almost always had time left so ended up adding the TS. I like your arrangement though and look forward to trying it. Even better, it starts with something other than F&B! I just realized I only have one dance in about 50 that has arming in it (other than ECD). Don't know why I didn't notice that before. Thanks!
Sue
Thanks everyone for sharing those dances. It's great to have new
material to call.
Sue, In the B2 of the dance, Microchase you say "Turn Single (spacer
if needed." Is that because there's music left over after the arch
and all thru?
How about putting the cast off, all follow and the arch all in the
B2? Maybe do something like:
A1 Right elbow P, left elbow P
A2 right corner dosido
left corner dosido
B1 Partner dosido, swing
B2 cast, all follow, arch and others through
I'm sure all of us could figure out even better combinations. Since
people like names for their dances about Microchasmicchase for the
above?
Tom
>
> -------------------------------------
> Microchase - easier adaptation of Anne Fallon's Microchasmic - 3
> cpl longways
>
> A1 8 Lines -- Forward & Back
> 8 Partners -- DoSiDo
> A2 8 Right Corners --DoSiDo
> 8 Left Corners -- DoSiDo
> B1 8 Partners -- Two Hand Turn
> 8 Top Cpl -- Cast Off / All Follow
> B2 16 Arch & All Thru / Turn Single (spacer if needed)
>
> I found it worked better to have everyone look to their Right
> (Left) Corner and DoSiDo with them. If no one there, don't do
> anything. Rather than think of it just in terms of the middle couple.
>
I've come to the conclusion that in an effort to please and wow the
dancers the contra movement may at times change in ways I don't feel
comfortable with.
Several years ago I called with "the latest rage band". At one point
I asked the musicians to slow down. "No can do" was their reply.
Turns out they were doing this thang called looping. This country
boy ain't never heard of no loopin'.
How about warning me ahead of time?
My wife recently called to a band where, after several times through
the dance she asked them to slow down. "No can do" was their reply.
Turns out they were using a metronome to keep a steady beat. And
they have a drummer!!!!!!!!!!!!!???????????
How about warning her ahead of time?
A couple of months ago I was doing sound for a band that has copied
"a couple of the latest rage bands" and they handed me a cord. "This
is our mix" they said. For years we've been balancing the volume of
the monitor mix independently from the house mix. Not that night.
So what if the guitar is louder than the fiddle.
In the future will the role of the caller (and sound dude) change for
the worse or the better or will it just be different? Maybe you've
had similar experiences.
Tom
Here are the notes. Sorry for the length (thanks to everyone who <snip>s!) (for us Digesters :-)
-------------------------------------
Microchase - easier adaptation of Anne Fallon's Microchasmic - 3 cpl longways
A1 8 Lines -- Forward & Back
8 Partners -- DoSiDo
A2 8 Right Corners --DoSiDo
8 Left Corners -- DoSiDo
B1 8 Partners -- Two Hand Turn
8 Top Cpl -- Cast Off / All Follow
B2 16 Arch & All Thru / Turn Single (spacer if needed)
I found it worked better to have everyone look to their Right (Left) Corner and DoSiDo with them. If no one there, don't do anything. Rather than think of it just in terms of the middle couple.
-------------------------------------
On-the-Fly-Circles -- longways mixer for 2, 3, or 4 cpls plus 1 extra person in one line, even at top (see notes next dance)
A1 8-8 All -- Circle Left / Circle Rt
A2 8-8 Cpls -- Right Hnd Turn / DoSiDo (extra at bottom rests or turns themselves)
B1 8-8 Cpls -- Left Hnd Turn / SeeSaw
B2 8 Top Cpl -- Cast to Bottom
8 Lines -- Forw & Back
-------------------------------------
On-the-Fly-Stars -- longways mixer for 2, 3, or 4 cpls plus 1 extra person in one line, even at top
A1 8-8 Top Cpls -- Rt Hnd Star / Lft HS
A2 8-8 Top Cpl -- Sashay Down & Back
B1 16 Cast / Follow / Arch / Thru (including extra)
B2 8 (Lines -- Forw & Back)* Even up Top
8 Cpls -- DoSiDo (extra at bottom rest or turn themselves)
* might skip F&B if 4 cpls or slow 3 cpls. I tried to drop the DoSiDo once but dancers who had done it before objected -- they LIKED the DoSiDo.
Both of these are highly adaptable, and likely have been 'written' by others, too. Made them "on the fly" at a snowstormed 5 person dance. They could probably use a better name but they stick in my head this way.
-------------------------------------
Three Track - circle mixer for 3 cpls (many similar dances, likely already named by someone else but this is what I call it)
A1 8-8 Circle Right / Left
A2 16 (Face partner, note Direction you're facing) Grand Chain - PASS Partner once
B1 8 When meet Partner 2nd time -- Right Hand Turn 1+
8 with next -- Left Hand Turn 1+
B2 8 with next -- Two Hand Turn
8 Promenade ... into ...
-------------------------------------
Two Track - circle mixer for 3 cpls (or 4) (easier than Three Track) (same note as above)
A1 8-8 Circle Right / Left
A2 16 (Face partner, note Direction you're facing) Grand Chain - PASS Partner once
B1 8 When meet Partner 2nd time -- DoSiDo
8 Pass them By
B2 8 with Next -- SeeSaw
8 Promenade ... into ...
Note: 4 cpl version don't Pass Partner, DoSiDo first time you meet.
-------------------------------------
Sheehana's Reel - circle mixer 3-4 cpls (5 works if dancers quick, or let it cross phrase) - variation of Roger Whynot's Sheehan's Reel
A1 8 Two's -- Forward & Back
8 Right Hand Star
A2 8 One's -- Forward & Back
8 Left Hand Star past partner to Next
B 32 New Partner -- DoSiDo / Swing or THT
Promenade
-------------------------------------
Cheers, Sue R., U.P.Michigan
.
Hi Rich,
Small numbers are common here, especially this winter. Here are some dances that have worked well for me:
LONGWAYS - even cpls
DoSiThree - Linda Leslie (3 - 5 cpls)
Snowball - Martin Hayes (3 - 4 cpls)
Waves of Tory, or Ted's Dip & Dive (Triplet #3) - Ted Sanella (3 - 6 cpls)
Cumberland Reel (3 - 6 cpls)
Weave the Top (3-7 cpls) (variation of "Over the Top")
OXO dances (3-6 cpls) (single cpls use Hand Turns instead of Circle/Star)
Microchase* (3 cpls) (easier version of Anne Fallon's Microchasmic)
MIXERS - even cpls
Lucky Six (3+ cpls) (Lucky Seven if 5, 7, or more cpls)
Two's Out (4+ cpls) (if 4 cpls works better if back to neighbor instead of back to center) (my favorite of the many Easy Circle Mixers)
Cabot School Mixer (4+ cpls)
Sheehana's Reel* (3 - 4 cpls) (variation of Roger Whynot's Sheehan's Reel) (a little crowded with 3 cpls but it works)
Three Track (3 cpl)* (variation of Three Stop which I miscalled but dancers liked so kept it this way)
Two Track (3 cpl)* (simpler version of Three Track as some dancers got disoriented with the turns) (many similar dances to these two)
OTHER and ODD Number
Gelding of the Devil (3 cpls, or 2 cpls plus one with ghost) (B variation with 4 cpls, or 3 cpls plus one and ghost -- F&B 2 x, cpls cross & cast as usual)
Sellengers Round (4+, easy to dance with a ghost)
Rufty Tufty (2 cpl) (not particularly easy but OK if the music isn't too fast) (variation 3-4 cpl longways)
On-the-Fly-Circles* (2, 3, or 4 cpls plus 1, longways mixer) (came up with this and the following one big snowstorm night when I had 5 and no dances to suit. Decided to keep them.)
On-the-Fly-Stars* (2, 3, or 4 cpls plus 1, longways mixer)
Raatikko (any number cpls - I haven't done this with small numbers but it works fine in a line as well as a circle so seems it would be good) (fun Finnish folk dance)
The Carding (from Dudley Laufman's book) (Quad but easy to include an extra couple or two or a single even) (Depends on how your folks are with sashays, my current group have too many knee and hip replacements to enjoy this one).
* I'll put the instructions in another post for those interested. Others all in the archives or common.
Big cheers for the small dances!
Sue R. , U.P.M.
Different genre but those working with seniors might find this book
helpful: http://www.cdss.org/product-details/product/dont-stop-calling.html -
from CDSS.
David Chandler
On Fri, Feb 28, 2014 at 12:00 PM, <callers-request(a)sharedweight.net> wrote:
>
> Date: Fri, 28 Feb 2014 08:01:29 -0800 (PST)
> From: rich sbardella <richsbardella(a)snet.net>
> To: "callers(a)sharedweight.net" <callers(a)sharedweight.net>
> Subject: [Callers] Three Couples or Less Dances
> Message-ID:
> <1393603289.48866.YahooMailNeo(a)web181503.mail.ne1.yahoo.com>
> Content-Type: text/plain; charset=iso-8859-1
>
> Friends,
> I have a small weekly dance session with seniors in CT and often lack
> dancers.? If anyone could share dances for 5 or 7 people, or two or three
> couples, I would?greatly appreciate it.? I often fall back on solo lines
> similar to the electric slide, or I dance them in squares with a phantom
> (not too successful).
> Thanks,
> Rich Sbardella
> Stafford, CT
>
> ------------------------------
>
> _______________________________________________
> Callers mailing list
> Callers(a)sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>
>
> End of Callers Digest, Vol 114, Issue 63
> ****************************************
>
Tom,
You shared some of the concerns that have pretty much driven me from the
microphone. What a shame.
I began calling in 1981, after dancing and playing for two years. I began
calling as part of the music curriculum at a psychiatric hospital. Little did
I know how things would turn out.
I began as a "Mr. Microphone", like many of us have. This didn't last long.
Bill Alkire set me straight a few years later. He got me to think of my
role as a recreation leader. This changed my whole outlook about calling.
I have only called one gig to recorded music...and hated it! Oh, I taught
some classes to recorded music, by often had at least a fiddler play along.
There are many gigs that I turned down because they would not pay for a band.
I look at a dance as a three-legged stool. The legs are caller, band, and
dancers. The "legs" have to be even for the dance to work best for everyone.
I early on chose to work with mostly beginning dancers as everyone else
wanted to call for "real" dancers. Feedback showed me that my teaching and
calling styles were easy to follow and friendly.
Most of the bands I've worked with have been able and fun to work with.
Some were nationally known..some were beginner bands. When possible, I contact
a new band prior to the dance to make sure that we will be on the same page.
I worked with a few bands who needed little guidance from me, since we knew
each other so well.
I've been out-of-the-loop for a few years. The changes in many contra dance
series seemed to lose the sense of "community" I used to feel. It ceased to
be fun. I cut down my calling to a monthly family dance and the occasional
ONS.
I now live on an island that doesn't have much music or dancing. The local
band is great fun, but I hipe to have them learn some of the tunes I am used
to.
So, the caller is still the "conductor" of the evening. The band may have
its preferences, but they are not more important than helping the dancers to
have a grea time.
John B. Freeman
