I am looking for a dance that alternates diagonal heys betweens 1 and 2 and has contra corners It is like dancing sailors in lots of ways. I thought it was called ALTERNATING HEYS but can't seem to find it on Internet search. Anyone have the correct name and/or the actual calls ?
Cheryl Joyal
630-667-3284
Sent from my iPhone
I find dances where '1s swing, 2s admire' very helpful for summer dances in
hot halls, too.
Meg
On Tue, Jan 8, 2013 at 11:00 AM, <callers-request(a)sharedweight.net> wrote:
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> Today's Topics:
>
> 1. Re: Repertoire... (tavi merrill)
> 2. Re: Repertoire... (Delia Clark)
> 3. Re: Repertoire... (Kalia Kliban)
> 4. Re: Repertoire... (Janet Bertog)
> 5. Re: Inclusivemess & Older Dancers (Michael Fuerst)
> 6. Re: Inclusivemess & Older Dancers (Paul Wilde)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Mon, 7 Jan 2013 13:50:55 -0500
> From: tavi merrill <melodiouswoodchuck(a)gmail.com>
> To: callers(a)sharedweight.net
> Subject: Re: [Callers] Repertoire...
> Message-ID:
> <
> CA+hGDsWh9-2eAS9yh8C1VEgeD16N2Drz55m1shz0yjgyqB1Yzw(a)mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> Chris, indeed, panning for gold, trying not to get distracted by diamonds
> in the rough...
>
> In response to Greg/Yoyo/Kalia/Aahz comments on my choreography question,
> Yoyo is right on with the understanding that down the hall (i was thinking
> 4-in-line) dances at a basic level are quite easy to find, and something
> that i tend not to use more than twice in a night. Re: R&L through
> transitions, i've tried substituting a California twirl, but find that in
> crowds where heavy beginner numbers demand lower piece-count dances,
> California twirls can be befuddling (particularly after the pass-through,
> where experienced dancers may reflexively move to a CT or twirl, confusing
> themselves and newbie partner/neighbors). A friend of mine said (i
> paraphrase) "for a newbie, any kind of twirl early on can be like a
> brain-wipe", and i tend to agree.
>
> In the search for accessible dances, going dancing probably IS the best way
> of finding appropriate material... it requires a little mental
> recalibration for me to go from "whoa, that was a COOL dance" to, "What a
> nice thoroughly user-friendly dance!"
>
> I hope this thread has been useful to someone else out there... Thanks to
> all for your repertoire suggestions!
>
>
> Dance in good health,
> tavi
>
>
> ------------------------------
>
> Message: 2
> Date: Mon, 7 Jan 2013 14:06:15 -0500
> From: Delia Clark <deliaclark8(a)gmail.com>
> To: Caller's discussion list <callers(a)sharedweight.net>
> Subject: Re: [Callers] Repertoire...
> Message-ID: <F80EDF3A-D918-4F5E-95DD-AAF0265F1ABC(a)gmail.com>
> Content-Type: text/plain; charset=us-ascii
>
> Super helpful, tavi, thanks so much!! This is exactly the kind of thing
> I'm always looking for for my regular dance, which is a community-based
> dance and doesn't tend to draw experienced dancers from farther away.
>
>
> On Jan 7, 2013, at 1:50 PM, tavi merrill wrote:
>
> > I hope this thread has been useful to someone else out there... Thanks to
> > all for your repertoire suggestions!
> >
>
>
> <>:<>:<>:<>:<>:<>:<>:<>:<>
>
> Delia Clark
> PO Box 45
> Taftsville, VT 05073
> 802-457-2075
> deliaclark8(a)gmail.com
>
>
>
>
>
>
> ------------------------------
>
> Message: 3
> Date: Mon, 07 Jan 2013 11:10:19 -0800
> From: Kalia Kliban <kalia(a)sbcglobal.net>
> To: Caller's discussion list <callers(a)sharedweight.net>
> Subject: Re: [Callers] Repertoire...
> Message-ID: <50EB1D9B.8030801(a)sbcglobal.net>
> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>
> Helpful for me too. Lots of good suggestions here.
> Kalia
>
> On 1/7/2013 11:06 AM, Delia Clark wrote:
> > Super helpful, tavi, thanks so much!! This is exactly the kind of thing
> I'm always looking for for my regular dance, which is a community-based
> dance and doesn't tend to draw experienced dancers from farther away.
> >
> >
> > On Jan 7, 2013, at 1:50 PM, tavi merrill wrote:
> >
> >> I hope this thread has been useful to someone else out there... Thanks
> to
> >> all for your repertoire suggestions!
> >>
> >
> >
> > <>:<>:<>:<>:<>:<>:<>:<>:<>
> >
> > Delia Clark
> > PO Box 45
> > Taftsville, VT 05073
> > 802-457-2075
> > deliaclark8(a)gmail.com
> >
> >
> >
> >
> > _______________________________________________
> > Callers mailing list
> > Callers(a)sharedweight.net
> > http://www.sharedweight.net/mailman/listinfo/callers
> >
>
>
> ------------------------------
>
> Message: 4
> Date: Mon, 7 Jan 2013 14:57:12 -0500
> From: "Janet Bertog" <janet(a)bertog.com>
> To: "'Caller's discussion list'" <callers(a)sharedweight.net>
> Subject: Re: [Callers] Repertoire...
> Message-ID: <00b601cded11$2f2f0510$8d8d0f30$(a)bertog.com>
> Content-Type: text/plain; charset="US-ASCII"
>
> Cary Ravitz has his dances indexed (which is fortunate since he has a lot
> of
> them) at http://www.ravitz.us/dance/#x. I would look at the dances he
> lists
> as easy, no walk through, and last dance of the evening as good starting
> points.
>
>
> -----Original Message-----
> From: callers-bounces(a)sharedweight.net
> [mailto:callers-bounces@sharedweight.net] On Behalf Of tavi merrill
> Sent: Monday, January 07, 2013 1:51 PM
> To: callers(a)sharedweight.net
> Subject: Re: [Callers] Repertoire...
>
> Chris, indeed, panning for gold, trying not to get distracted by diamonds
> in
> the rough...
>
> In response to Greg/Yoyo/Kalia/Aahz comments on my choreography question,
> Yoyo is right on with the understanding that down the hall (i was thinking
> 4-in-line) dances at a basic level are quite easy to find, and something
> that i tend not to use more than twice in a night. Re: R&L through
> transitions, i've tried substituting a California twirl, but find that in
> crowds where heavy beginner numbers demand lower piece-count dances,
> California twirls can be befuddling (particularly after the pass-through,
> where experienced dancers may reflexively move to a CT or twirl, confusing
> themselves and newbie partner/neighbors). A friend of mine said (i
> paraphrase) "for a newbie, any kind of twirl early on can be like a
> brain-wipe", and i tend to agree.
>
> In the search for accessible dances, going dancing probably IS the best way
> of finding appropriate material... it requires a little mental
> recalibration
> for me to go from "whoa, that was a COOL dance" to, "What a nice thoroughly
> user-friendly dance!"
>
> I hope this thread has been useful to someone else out there... Thanks to
> all for your repertoire suggestions!
>
>
> Dance in good health,
> tavi
> _______________________________________________
> Callers mailing list
> Callers(a)sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>
>
>
> ------------------------------
>
> Message: 5
> Date: Mon, 7 Jan 2013 16:19:01 -0800 (PST)
> From: Michael Fuerst <mjerryfuerst(a)yahoo.com>
> To: Caller's discussion list <callers(a)sharedweight.net>
> Subject: Re: [Callers] Inclusivemess & Older Dancers
> Message-ID:
> <1357604341.40630.YahooMailNeo(a)web122202.mail.ne1.yahoo.com>
> Content-Type: text/plain; charset=iso-8859-1
>
> I recently attended a dance event which attracted participants from
> multiple states and provinces and which lasted several days, attended by
> 200+ ?almost exclusively experienced dancers. ??
>
> Several dancers had challenges.
>
> One dancer ?was blind. However this?individual? had excellent mobility and
> dance memory, and knew exactly where and how place her/his hands so other
> dancers could take hold and orient her/him ?as needed. ?S/he?quickly?and
> fluidly responded to any physical direction, whether by taking this
> dancer's hand or by someone placing hands on this dancer's shoulders in
> order to provide proper orientation. ?
>
> Another woman had much difficulty with any lateral movement.
> ?Despite?knowing exactly when to face where and where one should be,
> his/her getting there was almost always a challenge, and nearly all figures
> had to be abbreviated ?
>
> Two other dancers, although physically mobile, had noticeable difficulty
> in orientation. ? ?Seemed like they were having initial signs of mental
> deterioration (more likely I think, especially for the one who usually
> danced with the same person) and/or in need of a hearing aid.
>
> The callers did not make any adjustments for these four individuals, but
> all the other dancers?diligently, graciously and?enthusiastically?ensured
> the challenged dancers enjoyed the dances within their abilities.
> ?
> Michael Fuerst ? ? ?802 N Broadway ? ? ?Urbana IL 61801?????? 217-239-5844
>
> ________________________________
> From: Jonathan Sivier <jsivier(a)illinois.edu>
> To: Caller's discussion list <callers(a)sharedweight.net>
> Sent: Sunday, January 6, 2013 1:39 PM
> Subject: Re: [Callers] Inclusivemess & Older Dancers
>
> On 1/5/2013 5:48 AM, Donald Perley wrote:
> > Different dancers will have different issues.? One elderly dancer I
> > encounter regularly seems to be able to handle all the normal
> > maneuvers except she consistently takes 9 or 10 beats to get once
> > around in a swing.
> >
> > Some adaptation can come from education (that all dancers should get).
> >? Allemande 1 1/2 can turn in to 1/2. Petronella twirl can be just a
> > shift. If you fall behind, you WON'T be able to catch up, so just get
> > to where you need to be for the next thing.
>
> ? These are good ideas and I have used them in my dance class for
> seniors.? Swings can be tricky since there is both the need for a certain
> amount of speed to get around at least once in the allotted time and the
> problem with dizziness that even a little turning can cause. Sometimes the
> dancers may need to skip the swing, if they have trouble getting around
> even once and just prepare for the next figure.? However, most of my
> participants can get around at least once, so a slow walking swing works
> OK.? Since many swings, especially with neighbors, end up with the dancers
> trading places turning half-way and then opening up to face the appropriate
> direction could work in some circumstances.
>
> ? One thing I have run into with a few dancers is problems with
> orientation.? There was one dancer in one of my classes who always seemed
> to end up facing the wrong direction, no matter what figure came before.? I
> learned to say things like, "If your new neighbor (or whomever) isn't right
> in front of you, they are probably right behind you."? This seemed to be
> helpful at least some of the time.? Luckily this wasn't an issue with most
> of the dancers and they were able to help the ones who had some troubles.
>
> Jonathan
> -----
> Jonathan Sivier
> Caller of Contra, English and Early American Dances
> jsivier AT illinois DOT edu
> Dance Page: http://www.sivier.me/dance_leader.html
> -----
> Q: How many angels can dance on the head of a pin?
> A: It depends on what dance you call!
>
> _______________________________________________
> Callers mailing list
> Callers(a)sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>
> ------------------------------
>
> Message: 6
> Date: Mon, 7 Jan 2013 23:44:23 -0500
> From: Paul Wilde <zenyente(a)gmail.com>
> To: Michael Fuerst <mjerryfuerst(a)yahoo.com>, "Caller's discussion
> list" <callers(a)sharedweight.net>
> Subject: Re: [Callers] Inclusivemess & Older Dancers
> Message-ID:
> <CACyeUsPETV-1EsKX=
> WQVmUHO0uncTifkB+zXQOky9xUJsqfhNw(a)mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> Michael,
>
> Hi and thanks for your wonderful post. I regularly call for a new dancer
> (who started within the last yr. or two and who dances once a month or
> less) who is 91 and very deaf. I have also danced at several wknd. &
> festival settings where there were blind and otherwise physically
> challenged dancers. In the first case, I try and call dances that are not
> overly taxing on orientation and quick/complicated progressions across or
> up or down the set. Yes, other dancers are wonderful at helping keep him
> on track, but there is only so far I can take things when he's in line (if
> I'm his partner, it's easier still, knowing exactly what he needs help w/
> at any one instant). In the second case, the blind or physically
> challenged dancers at the festivals and dance weekends were nearly always
> accomplished and were easily helped and oriented by all those he/she danced
> with, much like you described.
>
> What I'm looking for is to build a group of dances that are more aimed at
> older dancers (and perhaps a higher % than we see at most series) who don't
> have the physical capabilities and stamina they once did, but still love
> the dance. I want to provide them w/ enjoyable and not too simple dances
> that will not leave them purple and on the verge of passing out (or worse).
>
>
> I realize we often strive to plan and create the best programs possible for
> the MUC setting. This is a wonderful thing that is happening around this
> and other countries. What I would like to focus on in this particular
> thread is to address the needs of, let's arbitrarily say, a large group of
> 70 y.o. and up who have been dancing a long time and would like to continue
> doing so both comfortably, confidently and, of course, joyfully.
>
> A quick example. 1s swing while 2s admire, etc.
>
> My deck's not at hand, but I'll offer one dance from memory.
>
> Jeff's Gypsy DI
>
> A-1 1s gypsy & swing (or whatever they want to do in the center)
> A-2 Lines of 4 down the hall (1s in center) 2s half cast 1s to swap places
> and come back up
> B-1 Circle L 1X (to original DI)
> Pass N-1 by R (1s D, 2s Up) and gypsy N-2 (by L in orig, but could
> modify and make it a RSh gypsy to simplify)
> B-2 (Back to) N-1 gypsy & swing
>
> This gives the dancers a lot of slack time and they have the freedom to do
> pretty much as they please in either of the gypsy/swing sequences. It also
> has a very pleasing flow. Tunes for this could be very relaxed.
>
> As it turns out, this is also a completely gender neutral dance.
>
> warmest regards,
> Paul
> Prov RI
>
>
> ------------------------------
>
> _______________________________________________
> Callers mailing list
> Callers(a)sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>
>
> End of Callers Digest, Vol 101, Issue 27
> ****************************************
>
It isn't contra, but you might find some ideas in a book available from
CDSS:
Don't Stop Calling: A Guide to Leading English Country Dance Classes for
Older Adults
by Judy Chaves
http://www.cdss.org/product-details/product/dont-stop-calling.html
David
Date: Mon, 7 Jan 2013 23:44:23 -0500
> From: Paul Wilde <zenyente(a)gmail.com>
> To: Michael Fuerst <mjerryfuerst(a)yahoo.com>, "Caller's discussion
> list" <callers(a)sharedweight.net>
> Subject: Re: [Callers] Inclusivemess & Older Dancers
> Message-ID:
> <CACyeUsPETV-1EsKX=
> WQVmUHO0uncTifkB+zXQOky9xUJsqfhNw(a)mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> Michael,
>
> ...
> What I'm looking for is to build a group of dances that are more aimed at
> older dancers (and perhaps a higher % than we see at most series) who don't
> have the physical capabilities and stamina they once did, but still love
> the dance. I want to provide them w/ enjoyable and not too simple dances
> that will not leave them purple and on the verge of passing out (or worse).
>
>
> I realize we often strive to plan and create the best programs possible for
> the MUC setting. This is a wonderful thing that is happening around this
> and other countries. What I would like to focus on in this particular
> thread is to address the needs of, let's arbitrarily say, a large group of
> 70 y.o. and up who have been dancing a long time and would like to continue
> doing so both comfortably, confidently and, of course, joyfully.
>
> ...
> warmest regards,
> Paul
> Prov RI
>
>
Hey all,
Seeing the topic of inclusiveness has just popped up, I would like to start
a new thread. I would like to see us share some dance choices that are
best suited for older dancers, ones that are fun and interesting to dance,
but not quite so physically demanding as some of the high energy and
sometimes high count dances. Wouldn't it be great to have a section of our
dance decks especially set aside for this?
It's late, so I'll offer up a few of my own choices on the subject soon.
Paul
Chris, indeed, panning for gold, trying not to get distracted by diamonds
in the rough...
In response to Greg/Yoyo/Kalia/Aahz comments on my choreography question,
Yoyo is right on with the understanding that down the hall (i was thinking
4-in-line) dances at a basic level are quite easy to find, and something
that i tend not to use more than twice in a night. Re: R&L through
transitions, i've tried substituting a California twirl, but find that in
crowds where heavy beginner numbers demand lower piece-count dances,
California twirls can be befuddling (particularly after the pass-through,
where experienced dancers may reflexively move to a CT or twirl, confusing
themselves and newbie partner/neighbors). A friend of mine said (i
paraphrase) "for a newbie, any kind of twirl early on can be like a
brain-wipe", and i tend to agree.
In the search for accessible dances, going dancing probably IS the best way
of finding appropriate material... it requires a little mental
recalibration for me to go from "whoa, that was a COOL dance" to, "What a
nice thoroughly user-friendly dance!"
I hope this thread has been useful to someone else out there... Thanks to
all for your repertoire suggestions!
Dance in good health,
tavi
I haven't been following this topic of lead/follow at all but Bree's
statement really caught my eye. I'm very curious to know what it's
like to dance as a women with men who have a wide range of skills and
personalities.
Sorry if this has already been discussed...
I should set aside an evening and dance disguised as a women to
really understand what the experience is like.
Tom
>
> I'd like to repeat the point that the terms lead/follow are implicitly
> communicating to (some) male dancers that they are in charge. Not
> only does
> this create pressure, but I think it contributes to a growing trend
> I'm
> noticing at my local dance; fairly new male dancers assume I'll
> happily
> follow their lead and seem dismayed (even insulted) if I choose not
> to. This
> sets up a dynamic of conflict rather than the friendly cooperation I
> consider the soul of contra dancing.
>
> Bree Kalb
> Carrboro, NC
>
> -
Perry got me thinking that much of this may well be due to the culture of
particular dances. My experience has been that there are more flourishes and
"in" moves at dances that are considered to be "hot" dances. In my formative
dance years, the late 70s through the early 80s, some dances were ones that
people would travel more than an hour to in order to dance at what was
perceived as a higher level. Dances where such dancers congregated at tended to
have fancier moves than the local dances. Dancers at most local dances
weren't as likely to use fancier moves, other than a twirl during a courtesy
turn.
As a caller, I have tried to keep an eye on dancers who were using a lot of
fancier moves. I am all for having fun. My concern was that they not
interfere with the fun of the other dancers or the flow of the dance. A dancer who
twirls his partner too many time to be ready for the next figure is not an
advanced dancer. Then there was the male dancer who was referred to as
"squish" due to his sweaty flannel shirts. Women often asked me to have him
change his shirt.
I don't mind a few flourishes as long as they don't take away from the
enjoyment of the other dancers. I would hope that dancers would take the needs
and feelings of the other dancers into consideration. Dancing is supposed to
be fun, not a competition.
John B. Freeman, SFTPOCTJ
Hi "call"eagues,
As a minor-league caller working towards a National-league position, i'm
always on the search for new repertoire. Unfortunately, whenever i peruse
collections - be they callers' websites or books like "Zesty Contras" - i'm
easily distracted by bright, shiny choreography that fascinates my
nerd-mind (Marshmallow Surprise! A Slice of Life! Possums in the House!),
but often takes a rare crowd of dancers to appreciate. Even the favorite
dances we tend to share with caller friends often veer toward the highly
"interesting". It's easy to find simple dances with a down-the-hall figure,
but i'm specifically looking for low to medium piece-count dances WITHOUT
down the hall.
I'm wondering if anyone could point me towards dances that really hit a
homer - things like: Jubilation (Gene Hubert), Thanks to the Gene (Tom
HInds) Another Nice Combination (Tome Hinds), Star Struck (Nick Boulet),
Simplicity Swing (Becky Hill), The Carousel (GH), The Baby Rose (David
Kaynor), All You Can Eat (Ted Crane), 20 Below (Bill Olson)... dances that
can be the bread and butter of a less advanced evening, or just a handy
fall-back for more capable crowds. Dances without down-the-hall, and
without awkward transitions (right&left through -> circle L?! agh!).
What are the best places to go looking for other bread-and-butter
repertoire like those? Anybody have a favorite fall-back or
last-of-the-night dance they'd like to share?
I'm not only asking for myself, but for anyone out there who finds it very
easy to collect 'advanced' level dances but harder to find accessible
dances that are truly satisfying with good flow.
The middle of a swing is a beautiful (almost) symmetrical move with the
man and lady (almost) completely equal.
I added the "almost"s because it is traditional for the man to place his
right arm under the lady's left arm causing a small, but important,
asymmetry.
Of course you can do completely symmetrical swing (Galway Swings,
Northumberland Swing, Ceilidh Swing, Sweetheart Swing, etc.), and
indeed, especially in the more reserved UK, I always go for a Galway
Swing when I meet a man for a swing. (Galway Swing = start an Allemande
Right, use your left hand to cup your partner's right elbow, buzz-step
and fly!)
But in a swing there is also the entry and exit.
Question 1:
In your community if one partner twirls under the other person's arm
while entering or exiting a swing, then is it the man or the lady that
twirls?
In my experience, watching countless dancers in many US states and UK
counties over the years, it is the lady who twirls 99% of the time.
Question 2:
When you do that type of twirl, do you find it easier if, as a man, you
provide a good lead, or, as a lady, you follow well?
In my experience (mainly as a man) then it is MUCH easier to execute
those twirls without effort and on time if the lady is a good follower.
Then there are more complex swing-exit-flourishes such as an extended
Apache Whip (the last part of http://www.youtube.com/watch?v=vSLttdtKOHs
then raise your arm so that the lady keeps turning under it). Also
Ladies' Chains where the lady wants to twirl half a dozen times. These
work MUCH better if there is good lead and follow (in fact, you can do a
lot of damage in an extended Apache Whip exit if you DON'T have good
lead and follow).
Question 3:
In a swing, who decides when to stop turning? Have you ever been jerked
by someone deciding to stop the swing earlier than you had planned? Or
been left late for the next move by someone carrying on for an extra
turn when there is no time?
Is there lead & follow in deciding when to stop?
So, yes, the middle of a swing doesn't involve lead and follow. But
taken as a whole maybe it does!
:-)
Happy dancing,
John
John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362
http://www.contrafusion.co.uk for Dancing in Kent
Hi Andrea,
I agree entirely. A great dance is one where you and your partner
perform as a single entity, reading each other intuitively so that
everything flows beautifully.
I love it when I dance with a complete stranger and afterwards someone
else comes up and says we looked great, then asks how long have we been
dancing together! :-)
Happy dancing,
John
John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362
http://www.contrafusion.co.uk for Dancing in Kent
