Tony Parkes has been running a square series in Belmont that's starting up
again tonight. He calls, I anchor the band. I've had a great time doing this
and have learned TONS, partly because the whole evening is squares (New
England and southern, plus Kentucky running sets/circles/Fr.Can longways, a
huge mix) so I can get out of the contra groove for a whole evening, really
sink into a different way of playing/responding to the caller/dancers.
The other reason I've learned so much is because of the dancers - there's a
small but loyal core of dancers who are old enough to have been dancing
since before the big split - they were doing evenings of mixed contras and
squares back in the days when that was still the norm. Just watching them,
cueing in to their body language and phrasing, has taught me more than I can
explain in words.
I've heard contra callers say that they'd like more time with squares - that
it's hard to improve when you can only call one or two per night at the
usual contracentric dances. Tony and I have been talking about opening up
the evening to other callers - letting this dance be a venue where other
folks can come in and share the mike. Any interest out there? Anyone
Boston/New England callers who'd like the chance to call a whole bunch of
squares in an evening, practice communicating with a supportive/seasoned
band, observe how Tony does it, get feedback etc? Is this an idea we should
pursue?
I'd be interested in your feedback - thanks!
Cheers,
Amy
Another way of using hash calls -- At a dance I attended, after a
difficult time with several new and rather nippy callers calling
complicated dances they couldn't call, the main caller got everyone on
the floor promenading in couples around the floor in no pattern then
proceeded to hash call various combinations, coupling up four randomly,
doing a few figures, heading out with maybe a neighbor instead of
partner, connecting up with another couple, and so on. Nothing too
hard, everyone could do it, the band was lively, it got the dancers
back in good spirits and it ended lining us up in contra lines where he
went immediately into a fairly easy dance. Confidence and fun came back
for all (experienced and new) and the evening ended on a high note. A
good memory that crowded out the unhappy part.
Cheers, Sue R.
--
* * * * * * * * * *
Sue Robishaw ~ [1]sue(a)manytracks.com
906-644-2598 ~ 770N Fox Rd, Cooks MI 49817
Check out our Website ~ [2]www.ManyTracks.com ~ Gardening /
Homesteading / Artwork / Books / and more
* * * * * * * * * *
References
1. mailto:sue@manytracks.com
2. http://www.ManyTracks.com/
I don't necessarily mix up the calling as much as the hash approach
below - but I do sometimes change an easy beginner dance with two
ladies chains into two right and left throughs midway through the
dance, with a warning that I might do something like that before I
begin the dance, just for variety (and if I want to teach both of
those for some later dances). In dances later in the evening, I'll
occasionally have the men do-si-do instead of the women if it's just
once, though there's at least one dance where it's one-and-a half
that I can do a reciprocal crossing move at the end to make it all
work out OK. Or switch other similar figures, or switch around and
have the twos swing and face up every other time instead of the one's
swing and face down if I want to do an unequal dance but give
everyone a chance to swing their partners.
Martha
On Sep 24, 2010, at 9:00 AM, callers-request(a)sharedweight.net wrote:
> Send Callers mailing list submissions to
> callers(a)sharedweight.net
>
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> Today's Topics:
>
> 1. Re: Hash Call (John Sweeney)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Thu, 23 Sep 2010 17:27:15 +0100
> From: "John Sweeney" <info(a)contrafusion.co.uk>
> To: <callers(a)sharedweight.net>
> Subject: Re: [Callers] Hash Call
> Message-ID: <E95A66998AE749C78576F0ACE6D438A4@JohnT400>
> Content-Type: text/plain; charset="us-ascii"
>
> Hi Jeanette,
> Sorry, hash is a term used by square dancers to mean a dance
> where there are no initial walk-through and no fixed pattern to the
> dance - the caller calls whatever they want and the dancers respond
> immediately (with the extra challenge in Modern Western Square Dancing
> that the name of the move also defines exactly which way you face
> at the
> end of the move!).
>
> They often do a "tip" of two dances one after another with the
> same partner (and indeed the same other six people in your square).
> The
> hash call comes first, and then (brain now thoroughly melted away) you
> are rewarded by a second dance which follow a simple repetitive
> pattern
> (often referred to as a "singing call" since it is often done to a
> popular song and everyone joins in the chorus).
>
> So, in the example below, where it says "hash" against A1 and
> A2, I call a different set of moves each time through the dance.
>
> I usually choose three or four of the examples listed below that
> I want to work on (let's call them Ax, Ay and Az. First I walk them
> through any new moves, and B1/2. Then I call something like:
> Ax, B1/2, Ax, B1/2, Ay, B1/2, Ay, B1/2, Az, B1/B2, Az, B1/B2, Ax,
> B1/B2,
> Ax, B1/B2.
>
> It makes new dancers learn how to listen and respond quickly to
> a call, and allows you to focus on moves that are causing them a
> problem
> (doing it within a much more controlled environment). Then we do a
> normal contra (probably using some of the moves I just made them do
> over
> and over again) and they usually find the contra really easy - gives
> them confidence.
>
> Of course all the above is aimed primarily at a workshop
> environment for a group of (mainly) beginners, but our experienced
> dancers seem to enjoy it as well.
>
> I was also interested in whether anyone ever does a hash call in
> a contra, i.e. get the dancers formed up, start the music, and just
> start calling, but calling a different set of moves each time through
> the music (maybe with some repetition to give some sort of anchor).
>
> Hope that helps.
> Happy dancing,
> John
> John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 &
> 07802 940 574
> http://www.contrafusion.co.uk for Contra Dancing in Kent
>
> -----Original Message-----
>
> Date: Wed, 22 Sep 2010 17:49:02 +0100
> From: "John Sweeney" <info(a)contrafusion.co.uk>
> Subject: Re: [Callers] Medleys
>
> Hi,
> Do you include hash calls as a subset of medleys?
>
> I often do hash calls with beginners to help them practice lots
> of different moves. I make them into four couple sets and do
> something
> like:
>
> "Anything Goes" by John Sweeney
> Four Couple Becket
> A1: Hash
> A2: Hash
> B1: On the Left Diagonal: R & L Through; Straight Across: R & L
> Through
> B2: Gypsy Meltdown with your partner
>
> Using a four couple set and a progression like the one in B1 means
> that
> there are no end effects and the dancers get to practice their
> diagonal
> movements in a controlled manner.
>
> Then for A1/A2 I can call anything I like that is a null transform
> (i.e.
> they end up where they started).
>
> Examples:
> Circle Left 3/4, Neighbour Swing on the side; Circle Left 3/4, Partner
> Swing on the side
> Balance the Circle, first corners cross; Balance the Circle, second
> corners cross; Repeat
> Balance the Circle, Petronella turn x 4
> Circle Left; Circle Right; Star Right; Star Left
> Circle Left; Star Right; Circle Right; Star Left
> Circle Left; Star Left; Circle Right; Star Right
> Balance the Circle; Ladies Roll Away with a Half Sashay (swap places
> with Neighbour) x 4
> R & L Through Across & Back; Ladies' Chain Across & Back
> Ladies' Chain Across; R & L Through Back x 2
> Ladies Chain Across; Full Hey (Ladies start with R Shoulder); Ladies
> Chain Back
> Half Poussette; Dosido x 2
> Draw Poussette; Gypsy x 2
>
> I haven't tried this for longways-for-as-many-as-will. They do
> it all the time in squares, does anyone do it in contras?
>
> Happy dancing,
> John
>
> John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 &
> 07802 940 574
> http://www.contrafusion.co.uk for Contra Dancing in Kent
>
>
>
>
> ------------------------------
>
> Message: 3
> Date: Thu, 23 Sep 2010 06:43:30 -0700 (PDT)
> From: Jeanette Mill <jeanette_mill(a)yahoo.com.au>
> To: Caller's discussion list <callers(a)sharedweight.net>
> Subject: Re: [Callers] Medleys
> Message-ID: <679985.90554.qm(a)web30703.mail.mud.yahoo.com>
> Content-Type: text/plain; charset=utf-8
>
> Thanks for your great replies everyone.
>
> Now I have another question - what is a hash call?
>
> cheers
> Jeanette
>
>
>
>
>
>
> ------------------------------
>
> _______________________________________________
> Callers mailing list
> Callers(a)sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>
>
> End of Callers Digest, Vol 73, Issue 17
> ***************************************
I had a bout of laryngitis (completely lost my voice) and then had to
call a dance (really, really wanted to call it, too) as my voice was
barely back. I had heard on my Lord of the Rings extra discs that
Andy Serkis had a hard time with Gollum's voice and had been given a
concoction called "Gollum Juice" that he found helped to keep his
voice together. I found a couple of recipes online - the best seemed
to be:
A LOT of raw ginger - peeled and sliced up or grated - I used about a
cup sliced. Add 4 cups of water and simmer for a while (10-15
minutes). Crush and add two to four whole cloves (turn heat off). Add
the juice of one or two lemons (I have a Meyer lemon tree - it's the
best). Add a lot of honey, essentially to taste. Pour it into a
thermos to keep it warm.
Sip on this while you are calling. It feels really good on a bad
throat. But after that - rest, rest, rest.
I find honey lemon lozenges useful while I'm calling if necessary.
Also, sometimes if you change the pitch of your voice - for example,
I'll say some words a little higher pitched than usual - it can ease
up on the vocal burden. At least it helps a little for me.
Martha
On Sep 21, 2010, at 9:00 AM, callers-request(a)sharedweight.net wrote:
> Send Callers mailing list submissions to
> callers(a)sharedweight.net
>
> 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
>
> You can reach the person managing the list at
> callers-owner(a)sharedweight.net
>
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of Callers digest..."
>
>
> Today's Topics:
>
> 1. Re: Medleys (Dan Pearl)
> 2. Re: Medleys (Mortland, Jo)
> 3. Re: Medleys (Andrea Nettleton)
> 4. Re: Taking care of your Voice (was Medleys) (Martha Edwards)
>
>
>
>
> On another note, and while I have your "ears", I have a question. As
> callers, if you feel you are losing your voice, or you have a cold, is
> there anything you have found that can help clear your throat?
>
> Thanks.
>
>
>
> ------------------------------
>
> Message: 3
> Date: Mon, 20 Sep 2010 16:56:02 -0400
> From: Andrea Nettleton <twirly-girl(a)bellsouth.net>
> To: Caller's discussion list <callers(a)sharedweight.net>
> Subject: Re: [Callers] Medleys
> Message-ID: <4C97CA62.6020908(a)bellsouth.net>
> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>
> On the subject of vocal inflammation, which is the reason you lose
> your voice, I have more experience as a singer than as a caller.
> If you
> are truly very ill and the bug is in the tissues perpetually renewing
> the inflammatory response, there isn't a whole lot you can do in the
> short term, but I have had success with: ice (cold takes down the
> inflammation quickly, but it doesn't last long, so count on keeping it
> up), cooled ginger tea, cooled mint tea, ginger and mint both have
> antinflammatory properties, honey, thai coconut soup, slippery elm
> lozenges, salt gargle, or if you are out and can't do a home remedy
> eat
> salty food that is a little oily (like a salad with fish or chicken
> and
> vinaigrette, or a good soup or stew), drink icy drinks and get some
> halls or something to get you through till you can really take
> care. It
> goes without saying, that rest is the preferred remedy.
> Yours,
> Andrea
>
>
>
> _______________________________________________
> Callers mailing list
> Callers(a)sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>
>
> End of Callers Digest, Vol 73, Issue 14
> ***************************************
Hi Jeanette,
Sorry, hash is a term used by square dancers to mean a dance
where there are no initial walk-through and no fixed pattern to the
dance - the caller calls whatever they want and the dancers respond
immediately (with the extra challenge in Modern Western Square Dancing
that the name of the move also defines exactly which way you face at the
end of the move!).
They often do a "tip" of two dances one after another with the
same partner (and indeed the same other six people in your square). The
hash call comes first, and then (brain now thoroughly melted away) you
are rewarded by a second dance which follow a simple repetitive pattern
(often referred to as a "singing call" since it is often done to a
popular song and everyone joins in the chorus).
So, in the example below, where it says "hash" against A1 and
A2, I call a different set of moves each time through the dance.
I usually choose three or four of the examples listed below that
I want to work on (let's call them Ax, Ay and Az. First I walk them
through any new moves, and B1/2. Then I call something like:
Ax, B1/2, Ax, B1/2, Ay, B1/2, Ay, B1/2, Az, B1/B2, Az, B1/B2, Ax, B1/B2,
Ax, B1/B2.
It makes new dancers learn how to listen and respond quickly to
a call, and allows you to focus on moves that are causing them a problem
(doing it within a much more controlled environment). Then we do a
normal contra (probably using some of the moves I just made them do over
and over again) and they usually find the contra really easy - gives
them confidence.
Of course all the above is aimed primarily at a workshop
environment for a group of (mainly) beginners, but our experienced
dancers seem to enjoy it as well.
I was also interested in whether anyone ever does a hash call in
a contra, i.e. get the dancers formed up, start the music, and just
start calling, but calling a different set of moves each time through
the music (maybe with some repetition to give some sort of anchor).
Hope that helps.
Happy dancing,
John
John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 &
07802 940 574
http://www.contrafusion.co.uk for Contra Dancing in Kent
-----Original Message-----
Date: Wed, 22 Sep 2010 17:49:02 +0100
From: "John Sweeney" <info(a)contrafusion.co.uk>
Subject: Re: [Callers] Medleys
Hi,
Do you include hash calls as a subset of medleys?
I often do hash calls with beginners to help them practice lots
of different moves. I make them into four couple sets and do something
like:
"Anything Goes" by John Sweeney
Four Couple Becket
A1: Hash
A2: Hash
B1: On the Left Diagonal: R & L Through; Straight Across: R & L
Through
B2: Gypsy Meltdown with your partner
Using a four couple set and a progression like the one in B1 means that
there are no end effects and the dancers get to practice their diagonal
movements in a controlled manner.
Then for A1/A2 I can call anything I like that is a null transform (i.e.
they end up where they started).
Examples:
Circle Left 3/4, Neighbour Swing on the side; Circle Left 3/4, Partner
Swing on the side
Balance the Circle, first corners cross; Balance the Circle, second
corners cross; Repeat
Balance the Circle, Petronella turn x 4
Circle Left; Circle Right; Star Right; Star Left
Circle Left; Star Right; Circle Right; Star Left
Circle Left; Star Left; Circle Right; Star Right
Balance the Circle; Ladies Roll Away with a Half Sashay (swap places
with Neighbour) x 4
R & L Through Across & Back; Ladies' Chain Across & Back
Ladies' Chain Across; R & L Through Back x 2
Ladies Chain Across; Full Hey (Ladies start with R Shoulder); Ladies
Chain Back
Half Poussette; Dosido x 2
Draw Poussette; Gypsy x 2
I haven't tried this for longways-for-as-many-as-will. They do
it all the time in squares, does anyone do it in contras?
Happy dancing,
John
John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 &
07802 940 574
http://www.contrafusion.co.uk for Contra Dancing in Kent
------------------------------
Message: 3
Date: Thu, 23 Sep 2010 06:43:30 -0700 (PDT)
From: Jeanette Mill <jeanette_mill(a)yahoo.com.au>
To: Caller's discussion list <callers(a)sharedweight.net>
Subject: Re: [Callers] Medleys
Message-ID: <679985.90554.qm(a)web30703.mail.mud.yahoo.com>
Content-Type: text/plain; charset=utf-8
Thanks for your great replies everyone.
Now I have another question - what is a hash call?
cheers
Jeanette
Hi,
Do you include hash calls as a subset of medleys?
I often do hash calls with beginners to help them practice lots
of different moves. I make them into four couple sets and do something
like:
"Anything Goes" by John Sweeney
Four Couple Becket
A1: Hash
A2: Hash
B1: On the Left Diagonal: R & L Through; Straight Across: R & L
Through
B2: Gypsy Meltdown with your partner
Using a four couple set and a progression like the one in B1 means that
there are no end effects and the dancers get to practice their diagonal
movements in a controlled manner.
Then for A1/A2 I can call anything I like that is a null transform (i.e.
they end up where they started).
Examples:
Circle Left 3/4, Neighbour Swing on the side; Circle Left 3/4, Partner
Swing on the side
Balance the Circle, first corners cross; Balance the Circle, second
corners cross; Repeat
Balance the Circle, Petronella turn x 4
Circle Left; Circle Right; Star Right; Star Left
Circle Left; Star Right; Circle Right; Star Left
Circle Left; Star Left; Circle Right; Star Right
Balance the Circle; Ladies Roll Away with a Half Sashay (swap places
with Neighbour) x 4
R & L Through Across & Back; Ladies' Chain Across & Back
Ladies' Chain Across; R & L Through Back x 2
Ladies Chain Across; Full Hey (Ladies start with R Shoulder); Ladies
Chain Back
Half Poussette; Dosido x 2
Draw Poussette; Gypsy x 2
I haven't tried this for longways-for-as-many-as-will. They do
it all the time in squares, does anyone do it in contras?
Happy dancing,
John
John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 &
07802 940 574
http://www.contrafusion.co.uk for Contra Dancing in Kent
I've used medleys at the end of an evening quite frequently, usually
with no walk-through (maybe some mention of a key move), sometimes
with no advance warning (and occasionally without advance planning!).
Usually I use just two very straighforward dances, with the idea that
either of them might be just a little boring by itself to go full
length, since it's mostly the experienced folks left, but that the
crowd has run out of the mental gas to really do anything much more
challenging. The dances are simple, but the dancers feel sufficiently
challenged by there being little or no walk-through, and the change in
the middle is another pick-me-up. The dancers haven't struggled, but
they finish feeling like they've accomplished something.
I agree that you need to be cautious about similarity between the
dances. If they're too similar, it's confusing and probably boring. If
they're relatively simple and mostly different, you won't need to call
too much, except to remind people what comes next after any similar
moves. If you don't have to call much, there's no conflict with the
band and their "hot finishing tunes".
~ Becky Nankivell
Tucson, Ariz. and Long Beach, Calif.
Luke wrote:
>Whenever you do them, it seems helpful to announce during the walk through
>of the previous dance that the next dance will be a medley. It gives
>experienced dancers a heads up to help out.
Thank you for that Luke. Announcing medleys in advance also gives
some of us the option of sitting out. Not all dancers like medleys.
I am also curious as to what you mean for the "experience dancers" to
actually do when they "help out?"
I would concur with those who recommend NOT doing a contra medley at
a regular, open, public contra dance. This is a different breed of
contra that is best limited to special events.
- Greg
On 9/20/2010 7:32 AM, Jeanette Mill wrote:
> I have a question for everyone about medleys - where, when and how do you find
> them most effective when incorporated in a program? Tips for teaching? Any
>other
> comments?
Several tidbits I've learned from experience:
* I think medleys are occasionally fine for a regular community contradance, if
done toward the end of the evening when you know most of the beginners have left
(or they're really into it and you've already danced each move that eve).
* Before you begin, make sure everyone calling and in the band is really clear
about how many times through each dance will go. If you have several callers in
the lineup, it's a good idea to designate one to act as MC, reminding each
person when her/his slot is coming up so the transitions go smoothly. Having two
mics is great for this too - one calling and one on deck.
* Michael Barraclough introduced me to the idea of planning a medley not by
simple ends/beginnings of dances but by diversity and smoothness of transition
between them. For my first medley at NBCDS Family Week this summer, I was
choosing dances that all began w/ Neighbor Balance & Swing, but he pointed out
that it's better to shake it up with radically different opening moves that also
flow well from the last closing move - for example, Neighbor Allemande to open
the second dance. Don't choose dances that are too similar, lest the dancers'
body memories lead them to unconsciously try to do the series from the previous
dance.
* If one of the dances has a more complex bit in it and you have a mixed crowd,
put that dance first and briefly walk it through before beginning the medley.
Who says a medley has to be all no-walkthru? This can build confidence and
momentum for the later switches.
I'm glad you asked about this because I'm about to do a short medley this
weekend too, and am always glad to 'hear' everyone's insights!
Tina
I really like Jo's insight from Nils about how simple alterations can open our
repertoire.
Thanks for that!
Tina
Jo Mortland said,
<<<But Nils showed me how to change from improper to Becket so you can use
both kinds of dances. Basically, it means looking at the beginning
moves of each dance, and the end moves. With enough attention to those
areas, it became easy to move from one formation to the other.
For example, let's say you are dancing in Becket, and the last move is a
partner balance and swing. If you can find an improper dance that
begins with a circle left one time around and swing your neighbor (like
Roll in the Hey), you could change that move, JUST THE FIRST TIME
THROUGH THE DANCE, to a circle left three places and swing your
neighbor. That way, from the partner balance and swing, you would move
everyone to the same side of the set as their neighbor for a swing.
Once I began looking at my dances with that goal in mind, I found many
more possibilities. It takes some creativity on the part of the caller,
but for me, that is one of the things I like about it.>>>
