These days a Floor Manager (or Venue Manager) might also be responsible
for, or delegate the responsibility for:
- ensuring someone is one the door, greeting and taking money
- making sure first timers know what is going on
- health and safety
- heating, lighting, power, etc.
- organising refreshments
- etc.
That is as well as what Alan mentioned:
- making sure that sets get formed
- making introductions
- ejecting the disorderly
In other words, making sure that the dance is running smoothly, leaving
the caller free to handle the dancing.
My worst experience as a floor manager was handling a fatal heart attack
in the middle of the dance floor!
Happy dancing,
John
John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362
http://www.contrafusion.co.uk for Dancing in Kent
Around hereabouts (Boston), dancers have been observed lining up duple improper. I'd say that is a good bet upwards of 98% of the time. Usually the cross-over makes it halfway down before some cajoling from the downstream dancers gets the cross-over the remaining way. If you train the dancers to take hands four in improper circle as they join the set, then the sets will be comfortably spaced out, as well. Worth trying, I think.
As a dancer or floor manager, I sometimes have done what the Scottish Country Dancers do: An individual from the top couple walks down the set and counts people off. Instead of "1, 2, 3, 4: end of set; 1, 2, 3, 4: end of set; ..." it would simply be 1, 2, 1, 2...
On Nov 13, 2012, at 7:32 AM, callers-request(a)sharedweight.net wrote:
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> Today's Topics:
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> 1. Taking hands four (Kalia Kliban)
> 2. Re: Taking hands four (Paul Wilde)
> 3. Re: Taking hands four (Andrea Nettleton)
> 4. Re: Taking hands four (Donald Perley)
> 5. Re: Taking hands four (Richard Mckeever)
> 6. Re: Taking hands four (Lewis Land)
> 7. Re: Taking hands four (Richard Hart)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Mon, 12 Nov 2012 17:38:59 -0800
> From: Kalia Kliban <kalia(a)sbcglobal.net>
> To: Caller's discussion list <callers(a)sharedweight.net>
> Subject: [Callers] Taking hands four
> Message-ID: <50A1A4B3.5050705(a)sbcglobal.net>
> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>
> This may have been discussed before, but why does the idea that they
> should take hands four seem to come as a complete surprise to at least
> half the dancers, every single freakin' time?
>
> It's not hard. You can do it while you're talking. It's a complete and
> total no-brainer for contemporary contras. And yet...
>
> Anyone have successful strategies for helping this process along that
> doesn't involve specially-trained dogs?
>
> Kalia
>
>
>
>
> On Tue, Nov 13, 2012 at 8:10 AM, Andrea Nettleton <twirly-girl(a)bellsouth.net
>> wrote:
>
>> I like to think of it as meaning the dancers are happy, because they are
>> chatting instead of fussing. I say hands four, as you line up, consult the
>> band re tunes, say it again. If they still appear disorganized, I'll pick
>> a random move like N Allemande L , or Cir L all the way. They think I'm
>> teaching the dance, so scramble to get hands four. Then I can say, OK, now
>> that you have hands 4, here's what you really do. Usually they are a
>> little quicker after that. Will they ever just take hands four
>> automatically? I seriously doubt it. Not in this country. The Danes are
>> rumored to line themselves up silently. We are more unruly in general.
>> Best luck
>> Andrea
>> Sent from my iPhone
>>
>>
>
>
I also use Andrea's approach if the lines have formed and it's time to get going and the "hands four" request continues to fall on deaf ears - Do-si-do your neighbor is my choice - suddenly there is a great scramble - and she's right, after that people seem to notice hands four more. Martha
Is this spam??
Donna
"Life may not be the party we hoped for, but while we're here we should
dance." -unknown
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Re: "First Turn in May", i called it for a beginner-heavy crowd in
Montague, MA recently (about 10 first-timers and several more inexperienced
dancers out of 50 total). Timing on the allemandes didn't seem to be an
issue. One thing i really liked about that dance was the opportunity to use
it as a teaching tool for allemandes (eg, offering style points followed by
intensive use of allemande, and being able to point out that weight-sharing
makes a big difference in tight timing). Also, thanks to the clear
corner/partner relationships, there seemed to be less confusion about
direction of progression than i've observed in similar
allemande/weave-heavy mixers under similar experience level conditions.
tavi
Hi all
I'll be in Provo from December 8-14th. Is there any dancing in that
neck of the woods? Contra or ECD would be great. I'm taking a class
there and would love to have something to do in the evenings. I'll have
a car so could travel a little ways if needed.
Kalia
ps Hi Frannie! Nice meeting you last night.
On Mon, 5 Nov 2012 10:34:59 -0500, Luke Donforth wrote:
> First Turn in May has 3 allemandes in the A2, with the B1 being a
> balance and swing. North Shore Mixer does something similar, but
> goes to a DSD.
>
> Do you not worry about the timing? I've been at several new dancer
> orientations where the caller stressed the 8 count phrasing as a
> way to keep track and demarcate the moves; I've even used it myself.
That's generally true, but in this case the writer knows that an allemande
doesn't take the full 8 steps so he's able to fit three moves into the
normal time for two. If you did just two allemandes in the 16 beats you'd
find it very slow.
> Is it just not an issue? Do new dancers get through 3 full
> allemandes in 16
It's an issue but it's not a problem! The issue is teaching people to give
weight, and you can encourage them to do this by saying, "If you bend your
elbow and give some weight in the turns, you'll be there right on the beat
for the balance". Of course this presupposes that you're doing some
teaching!
Colin Hume
Email colin(a)colinhume.com Web site http://www.colinhume.com
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Hi callers,
I've been finding circle mixers extremely valuable for dances with newer
dancers. They provide a way both to expose them to many different
experienced dancers as well as to make them comfortable with the idea of
dancing with different people all night. (We've all seen The Couple That
Shows Up And Dances Just With Each Other that doesn't come back because
they don't really meet anyone ...)
I was looking for some alternatives to La Bastringue that I can do early in
the evening, like 2nd or 3rd dance. Other mixers I've seen include doing
things like Do-Si-Do or Allemande one person and coming back to another;
I've found for new dancers that can often be confusing. ("Find another
partner-less person in the middle of the circle" is only amusing so many
times.)
Also, I called this at MIT on Tuesday evening and it worked pretty well
with a high percentage of new dancers.
It's a variation on La Bastringue which I'm tentatively calling "La String
Bean". If you've seen this or something really similar before, let me know
so I can start calling it by its proper name.
A1: Ladies to the center and back (4,4)
Gents to the center, turnaround and back (4,4)
A2: Current P Alle L 1.5x (8)
New P DSD (8, forgiving)
B1: Same New P B+S (4,12)
B2: Promenade the ring CCW, Gents turn in Ladies so all face in (14,2)
Optional: Make the promenade 8 beats and end the B2 with a courtesy turn
once and a little more.
One major point of this dance is to stealthily teach the Courtesy Turn from
the Promenade, something I stole from a new-dancer-lesson from, if I recall
correctly, Peter Stix.
Critique / suggestions welcome. (Thanks to Mr. Bob Isaacs for initial
suggestions earlier this week.)
In dance,
Ron Blechner
contradances.tumblr.com