> Is there a dance figure tied to Oh Johnny?
I recently met a delightful local guy who grew up playing for his father in
southwestern NH, who promised to sing me the whole dance when we meet
again next week! I will duly write it down and share it here.
On Saturday, July 6, 2013, wrote:
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> than "Re: Contents of Callers digest..."
>
>
> Today's Topics:
>
> 1. Re: Singing Calls (Jack Mitchell)
> 2. Coconut Cream Pie: easy 4-facing-4s (Tina Fields)
> 3. Re: Coconut Cream Pie: easy 4-facing-4s (Mac Mckeever)
> 4. Re: Coconut Cream Pie: easy 4-facing-4s (Dorcas Hand)
> 5. Re: Coconut Cream Pie: easy 4-facing-4s (Tina Fields)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Sat, 06 Jul 2013 14:31:21 -0400
> From: Jack Mitchell <jamitch3(a)mindspring.com <javascript:;>>
> To: Caller's discussion list <callers(a)sharedweight.net <javascript:;>>
> Subject: Re: [Callers] Singing Calls
> Message-ID: <51D86279.5040403(a)mindspring.com <javascript:;>>
> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>
> If you don't have the two collections of singing squares that Nils
> Fredland has edited, you may want to check them out. In the case of Oh
> Johnny, the chorus is a grand square.
>
> Here are links to the CDSS store pages for the two collections.
>
>
> New River Train: Singing Squares from the Collection of Keith
> Blackmon
> <http://www.cdss.org/product-details/product/new-river-train.html>
>
>
> On the Beat with Ralph Sweet
> <
> http://www.cdss.org/product-details/product/On-the-Beat-with-Ralph-Sweet.ht…
> >
>
>
> On 7/6/2013 1:15 PM, rich sbardella wrote:
> > Is there a dance figure tied to Oh Johnny?
> > Rich
> >
> > --- On Sat, 7/6/13, Allison Aldrich <animaterra321(a)gmail.com<javascript:;>>
> wrote:
> >
> >
> > From: Allison Aldrich <animaterra321(a)gmail.com <javascript:;>>
> > Subject: Re: [Callers] Singing Calls
> > To: "callers(a)sharedweight.net <javascript:;>" <callers(a)sharedweight.net<javascript:;>
> >
> > Date: Saturday, July 6, 2013, 1:01 PM
> >
> >
> > Here in the Monadnock region of NH, where I call mostly community, school
> > and camp "barn dances," whenever there are folks over 60 they invariably
> > request, "Oh, Johnny, Oh"!
> >
> > On Saturday, July 6, 2013, wrote:
> >
> >> Send Callers mailing list submissions to
> >> callers(a)sharedweight.net <javascript:;> <javascript:;>
> >>
> >> To subscribe or unsubscribe via the World Wide Web, visit
> >> http://www.sharedweight.net/mailman/listinfo/callers
> >> or, via email, send a message with subject or body 'help' to
> >> callers-request(a)sharedweight.net <javascript:;><javascript:;>
> >>
> >> You can reach the person managing the list at
> >> callers-owner(a)sharedweight.net <javascript:;> <javascript:;>
> >>
> >> When replying, please edit your Subject line so it is more specific
> >> than "Re: Contents of Callers digest..."
> >>
> >>
> >> Today's Topics:
> >>
> >> 1. Need name and author of a dance (Bree Kalb)
> >> 2. Re: Need name and author of a dance (Jack Mitchell)
> >> 3. Re: Need name and author of a dance (Bree Kalb)
> >> 4. Re: Cone shaped swings (jean francis)
> >> 5. Singing Calls (rich sbardella)
> >> 6. 3-33-33 (Tom Hinds)
> >> 7. Re: Singing Calls (Joseph Kwiatkowski)
> >>
> >>
> >> ----------------------------------------------------------------------
> >>
> >> Message: 1
> >> Date: Fri, 5 Jul 2013 12:22:51 -0400
> >> From: "Bree Kalb" <bree(a)mindspring.com <javascript:;> <javascript:;>>
> >> To: "Caller's discussion list" <callers(a)sharedweight.net <javascript:;><javascript:;>>
> >> Subject: [Callers] Need name and author of a dance
> >> Message-ID: <70741C892E8B4389B50D49509FC62B02@BreeHomeLaptop>
> >> Content-Type: text/plain; charset="utf-8"
> >>
> >> I apparently scribbled this on a card after dancing it, but never got
> the
> >> name and author. I?m also not completely confident that I wrote it
> >> accurately so am hoping to find a video of it somewhere.
> >>
> >> It?s improper.
> >>
> >> A1 Star Rt 1/2 way; men drop out and loop behind partner as the women
> >> continue to turn; men rejoin the star and all end up where they started
> >> Repeat
> >>
> >> A2 Hey for four (I assume women start by the Left?)
> >>
> >> B1 Partner Bal and Swg
> >>
> >> B2 Women chain, Left hand star
> >>
> >> Thanks for even considering helping me out with this.
> >>
> >> Bree Kalb
> >> Carrboro, NC
> >>
> >>
> >> ------------------------------
> >>
> >> Message: 2
> >> Date: Fri, 05 Jul 2013 12:45:25 -0400
> >> From: Jack Mitchell <jamitch3(a)mindspring.com <javascript:;><javascript:;>>
> >> To: Caller's discussion list <callers(a)sharedweight.net <javascript:;><javascript:;>>
> >> Subject: Re: [Callers] Need name and author of a dance
> >> Message-ID: <51D6F825.1090000(a)mindspring.com <javascript:;><javascript:;>>
> >> Content-Type: text/plain; charset=UTF-8; format=flowed
> >>
> >> The name is Of The Mills by John Gallagher
> >>
> >> It can be found here:
> >> http://www.quiteapair.us/calling/acdol/dance/acd_112.html
> >>
> >> The A1 should be:
> >>
> >> RHS 1/2, gents loop back to fall in behind partner
> >> RHS 1/2, gents loop back at home and face across while the ladies
> >> allemande R 3/4 to face partner
> >>
> >> Hey starts passing partner by L shoulder
> >>
> >> Is this possibly going to show up in your program saturday? It's a
> >> great dance and it's been a long time since I've gotten to dance it.
> >>
> >> Jack
> >>
> >>
> >> On 7/5/2013 12:22 PM, Bree Kalb wrote:
> >>> I apparently scribbled this on a card after dancing it, but never got
> >> the name and author. I?m also not completely confident that I wrote it
> >> accurately so am hoping to find a video of it somewhere.
> >>> It?s improper.
> >>>
> >>> A1 Star Rt 1/2 way; men drop out and loop behind partner as the women
> >> continue to turn; men rejoin the star and all end up where they started
> >>> Repeat
> >>>
> >>> A2 Hey for four (I assume women start by the Left?)
> >>>
> >>> B1 Partner Bal and Swg
> >>>
> >>> B2 Women chain, Left hand star
> >>>
> >>> Thanks for even considering helping me out with this.
> >>>
> >>> Bree Kalb
> >>> Carrboro, NC
> >>>
> >>> _______________________________________________
> >>> Callers mailing list
> >>> Callers(a)sharedweight.net <javascript:;> <javascript:;>
> >>> http://www.sharedweight.net/mailman/listinfo/callers
> >>
> >>
> >> ------------------------------
> >>
> >> Message: 3
> >> Date: Fri, 5 Jul 2013 13:03:04 -0400
> >> From: "Bree Kalb" <bree(a)mindspring.com <javascript:;> <javascript:;>>
> >> To: <jamitch3(a)mindspring.com <javascript:;> <javascript:;>>, "Caller's
> discussion list"
> >> <callers(a)sharedweight.net <javascript:;> <javascript:;>>
> >> Subject: Re: [Callers] Need name and author of a dance
> >> Message-ID: <281ABC1CB50C472BAF8EBEB3B1B8906E@BreeHomeLaptop>
> >> Content-Type: text/plain; format=flowed; charset="utf-8";
> >> reply-type=response
> >>
> >> Jack, as usual, to the rescue! Thanks very much. Yes, it is a contender
> >> for
> >> Saturday.
> >>
> >> -----Original Message-----
> >> From: Jack Mitchell
> >> Sent: Friday, July 05, 2013 12:45 PM
> >> To: Caller's discussion list
> >> Subject: Re: [Callers] Need name and author of a dance
> >>
> >> The name is Of The Mills by John Gallagher
> >>
> >> It can be found here:
> >> http://www.quiteapair.us/calling/acdol/dance/acd_112.html
> >>
> >> The A1 should be:
> >>
> >> RHS 1/2, gents loop back to fall in behind partner
> >> RHS 1/2, gents loop back at home and face across while the ladies
> >> allemande R 3/4 to face partner
> >>
> >> Hey starts passing partner by L shoulder
> >>
> >> Is this possibly going to show up in your program saturday? It's a
> >> great dance and it's been a long time since I've gotten to dance it.
> >>
> >> Jack
> >>
> >>
> >> On 7/5/2013 12:22 PM, Bree Kalb wrote:
> >>> I apparently scribbled this on a card after dancing it, but never got
> the
> >>> name and author. I?m also not completely confident that I wrote it
> >>> accurately so am hoping to find a video of it somewhere.
> >>>
> >>> It?s improper.
> >>>
> >>> A1 Star Rt 1/2 way; men drop out and loop behind partner as the women
> >>> continue to turn; men rejoin the star and all end up where they started
> >>> Repeat
> >>>
> >>> A2 Hey for four (I assume women start by the Left?)
> >>>
> >>> B1 Partner Bal and Swg
> >>>
> >>> B2 Women chain, Left hand star
> >>>
> >>> Thanks for even considering helping me out with this.
> >>>
> >>> Bree Kalb
> >>> Carrboro, NC
> >>> _______________________________________________
> >>> Callers mailing list
> >>> Callers(a)sharedweight.net <javascript:;> <javascript:;>
> >>> http://www.sharedweight.net/mailman/listinfo/callers
> >> _______________________________________________
> >> Callers mailing list
> >> Callers(a)sharedweight.net <javascript:;> <javascript:;>
> >> http://www.sharedweight.net/mailman/listinfo/callers
> >>
> >>
> >>
> >> ------------------------------
> >>
> >> Message: 4
> >> Date: Fri, 5 Jul 2013 10:17:05 -0700 (PDT)
> >> From: jean francis <catherineaura(a)yahoo.com <javascript:;><javascript:;>>
> >> To: "callers(a)sharedweight.net <javascript:;> <javascript:;>" <
> callers(a)sharedweight.net <javascript:;><javascript:;>
> >> Subject: Re: [Callers] Cone shaped swings
> >> Message-ID:
> >> <1373044625.7529.YahooMailNeo(a)web162605.mail.bf1.yahoo.com<javascript:;>
> <javascript:;>
> >> Content-Type: text/plain; charset=utf-8
> >>
> >>
> >>
> >>
> >> ________________________________
> >> From: jean francis <catherineaura(a)yahoo.com <javascript:;><javascript:;>>
> >> To: Gary Shapiro <lets-dance(a)garyes.com <javascript:;><javascript:;>>; callers web <
> >> callers-request(a)sharedweight.net <javascript:;> <javascript:;>>
> >> Sent: Friday, July 5, 2013 11:07 AM
> >> Subject: Re: [Callers] Cone shaped swings
> >>
> >>
> >>
> >> you may want to take that up with the folks who cited you at
> >> http://www.cocoabeachcontra.org/contrais.htm
> >>
> >>
> >> ________________________________
> >> From: Gary Shapiro <lets-dance(a)garyes.com <javascript:;><javascript:;>>
> >> To: jean francis <catherineaura(a)yahoo.com <javascript:;><javascript:;>>
> >> Sent: Friday, July 5, 2013 1:04 AM
> >> Subject: Re: [Callers] Cone shaped swings
> >>
> >>
> >>
> >>
> >>
> >> On Thu, Jul 4, 2013 at 6:35 PM, jean francis catherineaura-at-yahoo.com|sharedweight-garyes|
> <
> >> f7yw3q1ajt(a)sneakemail.com <javascript:;> <javascript:;>> wrote:
> >>
> >> ? ? *
> >>> ? ? ? ? * adapted from information created by Gary Shapiro ?
> >>> ? ? ? ? *
> >> Huh? I don't see anything of mine anywhere in the conversations about
> >> swinging and frames etc.
> >>
> >> ------------------------------
> >>
> >> Message: 5
> >> Date: Fri, 5 Jul 2013 17:59:35 -0700 (PDT)
> >> From: rich sbardella <richsbardella(a)snet.net <javascript:;><javascript:;>>
> >> To: "callers(a)sharedweight.net <javascript:;> <javascript:;>" <
> callers(a)sharedweight.net <javascript:;><javascript:;>>,
> >> jean
> >> francis <catherineaura(a)yahoo.com <javascript:;><javascript:;>>
> >> Subject: [Callers] Singing Calls
> >> Message-ID:
> >> <
> 1373072375.19531.YahooMailClassic(a)web184702.mail.ne1.yahoo.com<javascript:;>
> <javascript:;>
> >> Content-Type: text/plain; charset=iso-8859-1
> >>
> >> Hello folks,
> >> ?
> >> I am considering a recording project?that spans the?gap between modern
> >> club dancing and traditional squares.? From a traditional perspective,
> what
> >> are the most common singing calls in your area of the country?? What are
> >> the most well received by the dancers?? Are there any that you wish were
> >> available in an instrumental?pre-recorded version??
> >> ?
> >> My vision is to use traditional dance figures with traditional music
> in?a
> >> format?that club? callers would use and that club dancers would enjoy.?
> >> (That typically means 7x64? beats)
> >> ?
> >> I have enjoyed Ralph Sweet's recent CD and Bob Dalsemer's two sets,?
> Some
> >> of those songs would be appropriate for my project as well as songs like
> >> Goodbye My Lady Love, and many others.
> >> ?
> >> I'd appreciate any input and/or suggestions.
> >> ?
> >> Rich Sbardellla
> >> Stafford, CT?
> >> ?
> >>
> >> ------------------------------
> >>
> >> Message: 6
> >> Date: Sat, 6 Jul 2013 08:34:48 -0400
> >> From: Tom Hinds <twhinds(a)earthlink.net <javascript:;> <javascript:;>>
> >> To: callers(a)sharedweight.net <javascript:;> <javascript:;>
> >> Subject: [Callers] 3-33-33
> >> Message-ID: <311EFAF3-8A6E-4DF4-A0AA-898CAD191F0F(a)earthlink.net<javascript:;>
> <javascript:;>
> >> Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed
> >>
> >> Dave,
> >>
> >> I came up with that variation on my own but that doesn't make me the
> >> first to do so.
> >> To me and others the variation is pretty obvious.
> >>
> >> Tom
> >>
> >>
> >> ------------------------------
> >>
> >> Message: 7
> >> Date: Sat, 06 Jul 2013 11:49:06 -0400
> >> From: Joseph Kwiatkowski <jkwiat(a)netsync.net <javascript:;><javascript:;>>
> >> To: Caller's discussion list <callers(a)sharedweight.net <javascript:;><javascript:;>>
> >> Subject: Re: [Callers] Singing Calls
> >> Message-ID: <51D83C72.3050101(a)netsync.net <javascript:;><javascript:;>>
> >> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
> >>
> >> CDSS just published Nils Fredland's work "New River Train, Square Dances
> >> from the Collection of Keith Blackmon". There's a lot of 30s-40s-50s
> >> popular songs in that book. Living in the area, I'm certainly biased,
> >> but I would hope some of those might pick up popularity in the rest of
> >> the country.
> >>
> >> Joe Kwiatkowski
> >>
> >>
> >> On 7/5/2013 8:59 PM, rich sbardella wrote:
> >>> Hello folks,
> >>>
> >>> I am considering a recording project that spans the gap between modern
> >> club dancing and traditional squares. From a traditional perspective,
> what
> >> are the most common singing calls in your area of the country? What are
> >> the most well received by the dancers? Are there any that you wish were
> >> available in an instrumental pre-recorded version?
> >>> My vision is to use traditional dance figures with traditional music in
> >> a format that club callers would use and that club dancers would enjoy.
> >> (That typically means 7x64 beats)
> >>> I have enjoyed Ralph Sweet's recent CD and Bob Dalsemer's two sets,
> >> Some of those songs would be appropriate for my project as well as
> songs
> >> like Goodbye My Lady Love, and many others.
> >>> I'd appreciate any input and/or suggestions.
> >>>
> >>> Rich Sbardellla
> >>> Stafford, CT
> >>>
> >>> _______________________________________________
> >>> Callers mailing list
> >>> Callers(a)sharedweight.net <javascript:;> <javascript:;>
> >>> http://www.sharedweight.net/mailman/listinfo/callers
> >>>
> >>
> >>
> >> ------------------------------
> >>
> >> _______________________________________________
> >> Callers mailing list
> >> Callers(a)sharedweight.net <javascript:;> <javascript:;>
> >> http://www.sharedweight.net/mailman/listinfo/callers
> >>
> >>
> >> End of Callers Digest, Vol 107, Issue 10
> >> ****************************************
> >>
> >
>
>
>
> ------------------------------
>
> Message: 2
> Date: Sat, 6 Jul 2013 12:48:42 -0700 (PDT)
> From: Tina Fields <tfields8(a)yahoo.com <javascript:;>>
> To: "callers(a)sharedweight.net <javascript:;>" <callers(a)sharedweight.net<javascript:;>
> >
> Subject: [Callers] Coconut Cream Pie: easy 4-facing-4s
> Message-ID:
> <1373140122.3816.YahooMailNeo(a)web184404.mail.bf1.yahoo.com<javascript:;>
> >
> Content-Type: text/plain; charset=iso-8859-1
>
> Hi everyone,
>
> I had the pleasure of calling Lynn Ackerson's 4x4 "Coconut Cream Pie" for
> the first time last night. It was, forgive me, easy as pie for everyone to
> get - which I suppose was her reason for writing it as it's a simplified
> version of Apple Pie Quadrille. (It was also perfect for an American 4th of
> July weekend dance, featuring both stars and stripes [long lines]. Ha.)
>
>
> Do you have other favorite, not too difficult, 4-facing-4 dances you're
> willing to share?
>
> ?
> Tina
>
> ------------------------------
>
> Message: 3
> Date: Sat, 6 Jul 2013 13:05:39 -0700 (PDT)
> From: Mac Mckeever <macmck(a)ymail.com <javascript:;>>
> To: Tina Fields <tfields8(a)yahoo.com <javascript:;>>, Caller's
> discussion list
> <callers(a)sharedweight.net <javascript:;>>
> Subject: Re: [Callers] Coconut Cream Pie: easy 4-facing-4s
> Message-ID:
> <1373141139.10520.YahooMailNeo(a)web165006.mail.bf1.yahoo.com<javascript:;>
> >
> Content-Type: text/plain; charset=iso-8859-1
>
> are we thinking of the same dance?? I agree - this is a easy 4X4 and I
> like it - but I don't see any resemblance to Apple Pie Quadrille - which I
> really like to call - especially with newer dance groups.? I find it much
> easier than Lynn's dance.
>
> Mac McKeever
>
>
>
>
> ________________________________
> From: Tina Fields <tfields8(a)yahoo.com <javascript:;>>
> To: "callers(a)sharedweight.net <javascript:;>" <callers(a)sharedweight.net<javascript:;>
> >
> Sent: Saturday, July 6, 2013 2:48 PM
> Subject: [Callers] Coconut Cream Pie: easy 4-facing-4s
>
>
> Hi everyone,
>
> I had the pleasure of calling Lynn Ackerson's 4x4 "Coconut Cream Pie" for
> the first time last night. It was, forgive me, easy as pie for everyone to
> get - which I suppose was her reason for writing it as it's a simplified
> version of Apple Pie Quadrille. (It was also perfect for an American 4th of
> July weekend dance, featuring both stars and stripes [long lines]. Ha.)
>
>
> Do you have other favorite, not too difficult, 4-facing-4 dances you're
> willing to share?
>
> ?
> Tina
> _______________________________________________
> Callers mailing list
> Callers(a)sharedweight.net <javascript:;>
> http://www.sharedweight.net/mailman/listinfo/callers
>
> ------------------------------
>
> Message: 4
> Date: Sat, 6 Jul 2013 15:06:57 -0500
> From: Dorcas Hand <handd51(a)tekkmail.com <javascript:;>>
> To: Tina Fields <tfields8(a)yahoo.com <javascript:;>>, Caller's discussion
> list
> <callers(a)sharedweight.net <javascript:;>>
> Subject: Re: [Callers] Coconut Cream Pie: easy 4-facing-4s
> Message-ID:
>
> <68BE1BAE269CBC4B80BD58B034C86C9901DB077E1D32(a)mx1.networkservice.local>
>
> Content-Type: text/plain; charset="iso-8859-1"
>
> Could you post the calls? Sounds great!
> Dorcas Hand
> Houston
>
> -----Original Message-----
> From: callers-bounces(a)sharedweight.net <javascript:;> [mailto:
> callers-bounces(a)sharedweight.net <javascript:;>] On Behalf Of Tina Fields
> Sent: Saturday, July 06, 2013 2:49 PM
> To: callers(a)sharedweight.net <javascript:;>
> Subject: [Callers] Coconut Cream Pie: easy 4-facing-4s
>
> Hi everyone,
>
> I had the pleasure of calling Lynn Ackerson's 4x4 "Coconut Cream Pie" for
> the first time last night. It was, forgive me, easy as pie for everyone to
> get - which I suppose was her reason for writing it as it's a simplified
> version of Apple Pie Quadrille. (It was also perfect for an American 4th of
> July weekend dance, featuring both stars and stripes [long lines]. Ha.)
>
>
> Do you have other favorite, not too difficult, 4-facing-4 dances you're
> willing to share?
>
> ?
> Tina
> _______________________________________________
> Callers mailing list
> Callers(a)sharedweight.net <javascript:;>
> http://www.sharedweight.net/mailman/listinfo/callers
>
>
> ------------------------------
>
> Message: 5
> Date: Sat, 6 Jul 2013 13:14:10 -0700 (PDT)
> From: Tina Fields <tfields8(a)yahoo.com <javascript:;>>
> To: Mac Mckeever <macmck(a)ymail.com <javascript:;>>, Caller's
> discussion list
> <callers(a)sharedweight.net <javascript:;>>
> Subject: Re: [Callers] Coconut Cream Pie: easy 4-facing-4s
> Message-ID:
> <1373141650.14180.YahooMailNeo(a)web184405.mail.bf1.yahoo.com<javascript:;>
> >
> Content-Type: text/plain; charset=iso-8859-1
>
> Interesting, Mac. Now I wonder if we have different variations on the
> Quadrille, because the only difference I see between that and Coconut Cream
> Pie is the added B2 Bal the Ring/CA twirl that allows the dance to continue
> on in a contra line formation rather than being static among the same 8
> dancers. Would you post your version?
>
> ?
> Tina
>
>
>
>
>
> >________________________________
> > From: Mac Mckeever <macmck(a)ymail.com <javascript:;>>
> >To: Tina Fields <tfields8(a)yahoo.com <javascript:;>>; Caller's discussion
> list <callers(a)sharedweight.net <javascript:;>>
> >Sent: Saturday, July 6, 2013 2:05 PM
> >Subject: Re: [Callers] Coconut Cream Pie: easy 4-facing-4s
> >
> >
> >
> >are we thinking of the same dance?? I agree - this is a easy 4X4 and I
> like it - but I don't see any resemblance to Apple Pie Quadrille - which I
> really like to call - especially with newer dance groups.? I find it much
> easier than Lynn's dance.
> >
> >Mac McKeever
> >
> >
> >
> >
> >
> >
> >________________________________
> > From: Tina Fields <tfields8(a)yahoo.com <javascript:;>>
> >To: "callers(a)sharedweight.net <javascript:;>" <callers(a)sharedweight.net<javascript:;>
> >
> >Sent: Saturday, July 6, 2013 2:48 PM
> >Subject: [Callers] Coconut Cream Pie: easy 4-facing-4s
> >
> >
> >Hi everyone,
> >
> >I had the pleasure of calling Lynn Ackerson's 4x4 "Coconut Cream Pie" for
> the first time last night. It was, forgive me, easy as pie for everyone to
> get - which I suppose was her reason for writing it as it's a simplified
> version of Apple Pie Quadrille. (It was also perfect for an American 4th of
> July weekend dance, featuring both stars and stripes [long lines]. Ha.)
> >
> >
> >Do you have other favorite, not too difficult, 4-facing-4 dances you're
> willing to share?
> >
> >?
> >Tina
> >_______________________________________________
> >Callers mailing list
> >Callers(a)sharedweight.net <javascript:;>
> >http://www.sharedweight.net/mailman/listinfo/callers
> >
> >
> >
> >
> >
>
> ------------------------------
>
> _______________________________________________
> Callers mailing list
> Callers(a)sharedweight.net <javascript:;>
> http://www.sharedweight.net/mailman/listinfo/callers
>
>
> End of Callers Digest, Vol 107, Issue 12
> ****************************************
>
--
"Music expresses that which cannot be said and on which it is impossible to
be silent."
Victor Hugo
www.huntandallison.netwww.animaterrasings.org
________________________________
From: jean francis <catherineaura(a)yahoo.com>
To: Gary Shapiro <lets-dance(a)garyes.com>; callers web <callers-request(a)sharedweight.net>
Sent: Friday, July 5, 2013 11:07 AM
Subject: Re: [Callers] Cone shaped swings
you may want to take that up with the folks who cited you at http://www.cocoabeachcontra.org/contrais.htm
________________________________
From: Gary Shapiro <lets-dance(a)garyes.com>
To: jean francis <catherineaura(a)yahoo.com>
Sent: Friday, July 5, 2013 1:04 AM
Subject: Re: [Callers] Cone shaped swings
On Thu, Jul 4, 2013 at 6:35 PM, jean francis catherineaura-at-yahoo.com |sharedweight-garyes| <f7yw3q1ajt(a)sneakemail.com> wrote:
*
> * adapted from information created by Gary Shapiro –
> *
Huh? I don't see anything of mine anywhere in the conversations about swinging and frames etc.
I apparently scribbled this on a card after dancing it, but never got the name and author. I’m also not completely confident that I wrote it accurately so am hoping to find a video of it somewhere.
It’s improper.
A1 Star Rt 1/2 way; men drop out and loop behind partner as the women continue to turn; men rejoin the star and all end up where they started
Repeat
A2 Hey for four (I assume women start by the Left?)
B1 Partner Bal and Swg
B2 Women chain, Left hand star
Thanks for even considering helping me out with this.
Bree Kalb
Carrboro, NC
I was a bit surprised by the comment that went something like " she’s supposed to be following, why would she want to resist him?"…In 25 years of teaching couple dancing, during my initial ranting about frame, I’ve had lots of interesting questions from students, but haven’t heard that one…yet. Remember the line in "Dirty Dancing" " you stay in your space, I’ll stay in mine"? Gentle resistance is the essence of frame.
Let me preface this small collection of web gleanings below by a line from one of them : "I have a feeling that honorable teachers will differ on this point." Here’s my position:
Non-believers in the cone (within reason as I initially stated) might want to try this exercise. Have 2 dancers join both hands, stand upright with nice posture, each supporting 100% of their own weight. No noodle arms of course. Put something on the floor in the middle of them (rock, cup?) and ask them to circle around the object as fast as they can while maintaining absolutely upright posture and supporting 100% of their own weight. You could time their revolutions per minute. Then ask them to "Give weight" (let’s reflect a moment on that "give" "weight" ..give to whom? Whose weight?..why, your weight to your partner of course or rather both your weights given to the central part of the frame). Each person leans back from the feet a bit, maybe you have them move their feet in toward the object a bit…and they find the central balance point…certainly not enough to topple if let go, but to begin to feel that sensation…then ask them to repeat the
exercise. Time their revolutions. More important, ask them which felt more thrilling. It is not that one partner is throwing weight on the other, its not that the man has a burden of holding the woman’s dead weight. Its that they’ve found a physical balance point. An 80 pound grandchild could do this with a 200 pound granddad.
What I find very interesting in this exercise, which I use in each waltz class before teaching couple turns and couple pivots, is that the folks have a bit of a hard time following the instructions for the first part…they want badly to make a cone at the very start…they know or their bodies know that’s the way to go faster
And of course the couple doesn’t maintain the cone at the end of the swing, so the suggestion they would topple over as an argument against the cone is reductio ad absurdum. To end the swing, the partners stand more and more upright which naturally slows the momentum. The instantaneous forming of the cone and the dissolving of it are, in fact, meta-leads that signal the start and finish of the swing.
And re: the woman pressing back into the Man’s right hand. It’s called by many dance teachers "finding the lead". Some nights when I am social dancing the man’s part, I find many women partners who have bought into the biggest lie in couple dancing "Be light as a feather in a man’s arms". If I can’t find you I can’t lead you!! Women whose backs come to rest shy of my palm are absolutely unleadable. A nice firm press back into my right hand by her shoulder blade maximizes skin (and nerve) contact so she can feel the slightest suggestion I may give her.
http://www.cocoabeachcontra.org/contrais.htm
The Swing. Contra dance's flagship move is a spin in ballroom position. Develop a good swing and people will want to dance with you! Experienced dancers are eager to give you pointers, so ask, and try them when they're given whether they're requested or not.
* Hand position. The man's right hand goes on the lady's back on or just below the bra strap, placed to support her weight in the spin. The woman’s left arm goes on top of his arm and around his shoulder with the hand wherever it lands. If she can reach behind his shoulder, she should support the spin as well, but don't stretch to reach if you are much smaller than he is. The other hands touch lightly. Their arms should be tensed, with elbow bent, creating a "frame."
* The spin. Rotate the frame to your left, placing your right foot down on every odd beat, parallel to your partner's. Left feet can walk or "buzz step" (ask for a demo). Do not bounce! That's for (bad) movies. Rotate as smoothly as you can, like a merry-go-round. Leaning left asks to go faster, right asks to decelerate. If you easily get dizzy, say, "spin slowly" when you start.
* Giving weight. Keep your upper body straight and lean out to give your partner a feeling of connectedness. Your arms hold you together; if you let go you should fly apart (so don't!). It's a tension between the two people - you can feel that there's someone there. Look at each other! If they're smiling, you're doing fine. If not, ask.
*
* adapted from information created by Gary Shapiro –
*
http://www.ras-this.com/dance-frame-vs-spaghetti-arms/
On the other hand ladies, it is our responsibility to offer a stable frame. One that is a constant, toned resistance, equal to that of our partner –
http://www.cyber-tango.com/art/frame.html
Maybe I'm just stuck in a certain style that works for me, but I have partners here with whom I cannot dance very well at all because they don't maintain a "V". I have a feeling that honorable teachers will differ on this point. http://www.jmnelson.com/studio/dance/articles/summary.pdf
Closed Position:….The man's right wrist should be at the back edge of the woman's armpit, fingers and thumb together, hand cupped slightly, resting gently on her shoulder blade. The man is responsible for keeping his hand in the proper position,and the woman is responsible for keeping gentle pressure against his hand… http://socialdancemusings.wordpress.com/2012/04/22/dance-frame/
Have tension in your arms so each partner can move the other around. Sit back a bit, settle your weight, use your frame to hold the two of you up.
I agree with Michael. Especially in the case of a classic.
-----Original Message-----
>From: Michael Barraclough <michael(a)michaelbarraclough.com>
>Sent: Jun 20, 2013 5:25 PM
>To: callers(a)sharedweight.net
>Subject: Re: [Callers] Tampering with a classis aagain 3-33-33
>
>There are thousands of contras. If one doesn't work, why not try
>another one instead of altering that one?
>
>Michael Barraclough
>
>
>
>On Thu, 2013-06-20 at 13:16 -0700, Dave C wrote:
>
>> Instead of the Ladies Dosido 1.5 at the end to progress, just have the Ladies AL 1 1/2 in the center, with RH ready for the next neighbor. Some in the caller community have dubbed this version of the dance 3-33-34.
>>
>> Dave Colestock
>> New Cumberland, PA
>>
>>
>> --- On Thu, 6/20/13, Kalia Kliban <kalia(a)sbcglobal.net> wrote:
>>
>> From: Kalia Kliban <kalia(a)sbcglobal.net>
>> Subject: Re: [Callers] Tampering with a classis aagain 3-33-33
>> To: "Caller's discussion list" <callers(a)sharedweight.net>
>> Date: Thursday, June 20, 2013, 2:10 PM
>>
>> I've had pretty good luck with it, possibly because I have the women ID the next neighbor early on. They know which face to look for. After that, they get a better feel for the area to aim for to find the new neighbor. A couple of seriously disoriented dancers can really play havoc with this dance though. It's brittle.
>>
>> Kalia
>>
>> On 6/20/2013 11:02 AM, Rickey Holt wrote:
>> > 3-33-33 lovers and callers - I have been calling this great dance recently
>> > and noticed that dancers of various experience levels in several venues have
>> > had trouble with the transition in the B2 from the Ladies Do-si-do 1 1/2 to
>> > the balance with the next neighbor that starts the dance. They have trouble
>> > finding that next neighbor, even after several times through, and with
>> > translating the momentum of crossing the set to that of up and down the line
>> > of the first part of the dance. I tried substituting an allemande right 1
>> > 1/2 for the do-si-do 1 1/2 of the original with little effect. What about a
>> > ladies allemande right about 1 1/2 to a next neighbor allemande left and
>> > then starting the dance again with a balance by the right with that
>> > neighbor? Other solutions? Have you or your dancers noticed the problem
>> > that I have seen. As always, thanks for your thoughts.
>> >
>> > Rickey Holt
>>
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>
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Bree Kalb, LCSW
301 W. Weaver St.
Carrboro, NC 27510
919-932-6262 ext 216
http://www.thewellnessalliance.com/BreeKalb.html
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Hi Andrea,
The best sites for finding out what is going on are:
http://www.webfeet.org/
This lists all the ceilidh-orientated dances. Simpler dances usually with
lots of energy - lots of stepping.
http://www.setandturnsingle.org.uk/
This lists all the Folk Dance Clubs. ECD is an American concept. At FDCs
the evening will usually have lots of ECD-like material, but can include
anything including contras, squares and barn dances.
http://www.contrafusion.co.uk/Links.html
This will give you the links for all the contras I know about in the UK.
http://www.efdss.org/
If you are in London it is worth going to Cecil Sharp House - this site will
tell you what is on.
http://www.uksquaredancing.com/
MWSD in the UK.
If you want to try some English couples dancing try some Ceroc/Modern
Jive/LeRoc. You will find all the clubs listed at
http://www.uk-jive.co.uk - if you want to know what it is see
http://www.modernjive.com - great fun :-)
Hope that helps :-)
If there is any particular person or organisation you need to contact,
e-mail me and I will try to put you in touch.
Happy dancing,
John
John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362
http://www.contrafusion.co.uk for Dancing in Kent
Due to technical difficulties, I cannot access the information some of my UK friends sent me about dancing in the UK, where I am spending the summer (Oxford). I am going into dance withdrawal and need a fix ASAP. Can any of you help me? I dance MWSD up to Advanced, contras, trad squares, ECD, vintage, a variety of couples dances, Irish Sets and a little ceilidh. I am willing to go learn something new, if the group will be welcoming. Also would love to have tea with callers or choreographers. I am surrounded by astounding beauty, fabulous and fascinating history, but without my community, I feel so untethered!
Thanks,
Andrea
Sent from my iPad
Hi Jeff,
Thanks for your detailed replies. I did say that not everyone would agree
about placing the lady's arm on the man's forearm rather than his back
during a swing :-)
Just because lots of people do it one way doesn't make it the best or only
way. Countless aspects of the dance have changed over the decades; nothing
is written in stone. Improvisation and innovation are good!
I gave all the reasons I could think of as to why I prefer the lady's arm on
my forearm rather than my back, to try to get people to at least think about
it.
If the lady is a good dancer, keeps her own balance, can move her arm
instantly to handle any flourish, can actually reach my shoulder blade, and
doesn't press in, then I am absolutely fine with her placing her hand on my
shoulder blade. But not all ladies are like that.
I dance a lot, in a lot of places, and I meet lots of wonderful ladies who
swing beautifully. Sadly I also meet ladies who grip my arm, clamp my arm,
strangle me, hang off me, lean away from me, press their hand into my back -
even to the extent of turning their hand and pressing the bony edge into my
back (I think they think it is stylish!) - etc.
So I strongly prefer to teach that the lady just rests her hand on my arm.
One minor point: you say you prefer the lady's hand on your back so that
they can support their weight. I would hope that the lady will be
supporting her weight with her feet. All the hand on the back is for is to
resist centrifugal force and in 50 years of swinging I have never found it a
problem to be the one resisting it.
My arms get sore as well (tends to be my shoulders rather than my wrists),
but it is not from resisting centrifugal force. It is from supporting
ladies who lean back or push back. When you have a perfect counterbalance
with both partners relaxed then you can have a high speed swing with very
little effort.
But we are all different! There are countless different ways to swing.
Please just think next time you teach a swing that maybe it is OK to show a
couple of hand positions and tell the ladies that it is OK to choose the one
that is most comfortable. And that wherever they place it they don't need to
press.
By the way, when I swing as a lady I find just as many challenges with the
way some men swing :-)
Yes, it would be much better to continue this discussion on the dance-floor.
I was talking to my wife only yesterday about trying to get to New England
for one of our vacations again. I'll let you know if we ever make it.
Otherwise I look forward to seeing you in London or Kent, or Phoenix on New
Year's Eve or the January Frolic; we are also hoping to get to the Contra
Carnivale in January (New England in January isn't warm enough for a
vacation for us :-) ).
Happy dancing,
John
John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362
http://www.contrafusion.co.uk for Dancing in Kent
Gang --
Wasn't really sure of the subject line, but thought I might as well not
say "memetic entrapment" because who would want to read it?
Anyway, a phenomenon I've noticed several times over the years is that
some fraction of people who were in a beginner workshop and who in the
walkthrough of the dance were able to do something like "women chain to
partner, women allemande 1x, partner balance and swing" are no longer
able to do it, instead pretty reliably doing "women pull by, partner
swing" and confusion. [That one's recoverable, although if they then
stop swinging early and move on to the after-the-swing figure it can
require attention.]
This is likelier to happen if both partners are new, and likeliest to
happen if all four in that set are new. But that couple that's new will
have that problem repeatedly. When I see that I continue to prompt the
figures, maybe with more emphasis - Ladies CHAIN and COURTESY TURN -
and it doesn't seem to make any difference.
(I'm reminded of something that happens to beginning English dancers.
"Back to back" (non-spinning do-si-do) and "Cross and go below" start
the same way - striding out to pass partner by the right shoulder. If
there's a do-si-do in dance #1 and a "Cross and go below" in dance #2,
they'll do the cross and go below in the walkthrough once they get the
idea, but once the dance is up and running, when it comes time for that
move they'll try to do-si-do, with resultant levels of chaos. That one
has the obvious feature that even if half of the partnership is doing it
right the other half can't see them, so there's no feedback about
anything going wrong until the 2s move up to fill the spot that one of
the 1s is still in, or only one of the 2s moves up, or neither of the 2s
moves up.)
This either doesn't happen to dancers who have been coming for a while
or is corrected quickly if it does, maybe by noticing what everybody
else in the line is doing.
My hypothesis is that these are people who are still drinking from the
firehose. (The first time you come you hear everything important about
contra dancing and probably get exposed to half or more of the common
figures. It's a big cognitive load. The second time you hear the same
things again and get exposed to many fewer new-to-you figures, and by
the third time you might be successfully associating the figures with
the names - the flow of novelty is at a trickle and easy to absorb.)
They're not ignoring the caller, per se, but they don't have CPU left
over to process the prompts and in any case the words aren't really
meaning anything to them yet; if a prompt changes what they're doing
they're going to take four-six beats to get organized enough to respond
to the prompt. )
This will get sorted out if they keep coming back, probably. But they
may be less likely to return if they were confused and overstretched
through the whole evening, and this is the kind of thing that leaves you
confused.
What do you guys do about this kind of thing? I already keep prompting
clearly and in a timely way, refrain from shouting "No!" over the
microphone, don't lose my cool (a place that took me a while to get to,
incidentally). What else can I do to help these people succeed?
[Also happy to hear alternative views of what's going on inside these
people.)
-- Alan
