Dear Shared Weight callers,
Please forward the below info to any organizers you know in the Northeast
(or beyond)
Cheers,
POTD3 team
We're thrilled to announce that the Puttin' On the Dance (POTD)
<http://www.puttinonthedance.org>conference returns this year.
*Save the Dates for POTD3!*
*November 30 – December 2, 2018*
*Puttin’ On the Dance 3 : A Conference for Northeast Dance Organizers*
Join us for POTD3 in Portland, Maine.
Learn, connect, dance, and more!
POTD is especially for organizers in Eastern Canada and the Northeastern
United States who produce dance events in the North American and English
social dance traditions (e.g., Cape Breton, community, contra, English
country, family, gender free, Quebecois, and square). Space permitting,
others interested in dance organizing, whether from other regions or those
not currently organizing dances, are also welcome to attend.
POTD is all about:
- Providing resources and opportunities for learning, sharing, renewal
and fun!
- Strengthening our network of dance organizers
- Practicing traditions together
- Did we mention having fun?
Lead sponsors include DownEast Friends of the Folk Arts (DEFFA
<http://www.deffa.org>) and Portland Intown Contra Dance (PICD
<http://www.portlandintowncontradance.com>).
*Be in touch!*
Let us know you’re excited, want to help make it happen, and/or anything
else.
Email puttinonthedance(a)gmail.com or connect with us on Facebook at
facebook.com/PuttinOnTheDance
With excitement and anticipation,
POTD 3 Core Organizers
Dela Murphy
Chrissy Fowler
Coral Breuer
*P.S. The Back Story:*
In November 2011, Puttin' On the Dance convened nearly 80 dance organizers
in White River Junction, VT. In March 2015, Puttin' On the Dance 2
convened over 80 dance organizers in Ottawa, ON.
Both POTD1 and POTD2 were packed with workshops, discussions, dancing and
more. Dance communities throughout the region benefited from the weekend
conference in significant ways, and Conference Archives from POTD1
<http://www.puttinonthedance.org/potd1archive/> and POTD2
<http://www.puttinonthedance.org/potd2-conference-notes/> continue to
support dance organizers. Participants made it clear an event like this
should happen every few years. (See testimonials
<http://www.puttinonthedance.org/testimonials/>.) It’s time for POTD3!
--
puttinonthedance.orgfacebook.com/PuttinOnTheDance
*You're on the POTD email list because we think you're interested in
conferences for dance organizers. Do let us know if you want your address
removed,.and feel free to forward our news to others. Thanks!*
I have a good mixer, two large speakers & stands, lots of wires -- and they
all weigh a lot, but they work great for large rooms full of people and
outdoor venues. However...
I occasionally have smaller events in smaller rooms with fewer people where
the band is acoustic and so am I. I find myself straining my voice to be
heard by the dancers and I'm tired of screaming.
I used to have a karaoke system, but found it inadequate (and I couldn't
plug my wireless headset into it). Are there smaller, less heavy, less
cumbersome systems you carry around? I want to be able to plug my computer
into it when I have an event that's not live music or just to use it to
amplify my voice over acoustic music (7-8 musicians) -- a couple of small
but lightweight speakers.
Help!
--
*Looking forward,Linda S. Mrosko*
*102 Mitchell Drive*
*Temple, Texas 76501*
*(903) 292-3713 (Cell)*
*(903) 603-9955 (Skype)*
*contradancetx.com <http://www.contradancetx.com>*
*www.zazzle.com/fuzzycozy* <http://www.zazzle.com/fuzzycozy*> (Dance
buttons, t-shirts, & more)*
Hi all,
I recently called Beneficial Tradition for the first time and noticed a
consistent hitch in the dance at the top of the set. It was probably
happening at the bottom too.
I was doing the variant with no wave balance in the A1, just Women
allemande L 1x and P swing. Though the transition from the pull-bys in
the B2 to that L allemande worked well inside the line, it was always
funky at the ends. I'm speculating that that's because folks coming out
of the pull-by pattern into empty space at the end were tending to head
in a consistent incorrect direction.
Those of you who have called this dance a lot, have you noticed the same
issue? How do you teach the B2-A1 transition to minimize the confusion
and end effects?
Kalia
ps Happy New Year, everyone!
I have seen it called as a Sicilian Circle, which eliminated the end effects.
-------- Original message --------From: Bob Green via Callers <callers(a)lists.sharedweight.net> Date: 1/4/18 6:00 PM (GMT-05:00) To: Kalia Kliban <kalia.kliban(a)gmail.com> Cc: Caller's discussion list <callers(a)sharedweight.net> Subject: Re: [Callers] Beneficial Tradition
I have always thought part of the difficulty is that the ladies momentum is away from each other in that last pull by, leaving them a distance away from each other. On the end there can be some indecision about being in or out. In XYZ (which has a different set of challenges at the end with the "reverse") the momentum brings the ladies toward each other to start the next round, and makes it a little more obvious when you are out. Those dancing gent can help by giving SUBTLE weith in the correct direction after the last pull-by.
(https://www.youtube.com/watch?v=gBwjTWK3-4g)
Happy New Year,
Bob
Those of you who have called this dance a lot, have you noticed the same issue? How do you teach the B2-A1 transition to minimize the confusion and end effects?
Kalia
ps Happy New Year, everyone!
_______________________________________________
List Name: Callers mailing list
List Address: Callers(a)lists.sharedweight.net
Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/
I have dozens of caller's books in storage and I can't find my copy of Son
of Shadrack. Can anyone share Meshack's March by Tony Parkes, please?
--
*Looking forward,Linda S. Mrosko*
*102 Mitchell Drive*
*Temple, Texas 76501*
*(903) 292-3713 (Cell)*
*(903) 603-9955 (Skype)*
*contradancetx.com <http://www.contradancetx.com>*
*www.zazzle.com/fuzzycozy* <http://www.zazzle.com/fuzzycozy*> (Dance
buttons, t-shirts, & more)*
I wrote this dance yesterday, but I'm not confident it doesn't already
exist under a different name. Does anyone recognize the choreography under
a different name?
Longfellow's Revenge by Dugan Murphy (duple improper contra)
A1 Neighbor balance and swing (16)
A2 Long lines forward and back (8) / Gents left hand allemande 1.5 (8)
B1 Partner balance and swing (16)
B2 Ladies chain to neighbor (8) / Partner right hand balance (4) - Partner
pull by across (2) - Neighbor left hand pull by on the side to face new
neighbor (2)
Thanks for taking a look!
Dugan Murphy
dugan at duganmurphy.comwww.DuganMurphy.comwww.PortlandIntownContraDance.comwww.NufSed.consulting
Thanks, Michael and Linda! I'll write it down as a variation of "Finishing
Touches" by Ridge Kennedy. I like the original A1 with a do-si-do too.
Dugan Murphy
dugan at duganmurphy.comwww.DuganMurphy.comwww.PortlandIntownContraDance.comwww.NufSed.consulting
On Sat, Dec 30, 2017 at 9:08 PM, Linda Leslie <laleslierjg(a)comcast.net>
wrote:
> In my records, I have this dance with a minor variation:
> Finishing Touches by Ridge Kennedy
>
> In Ridge’s dance, the A1 is N do si do and swing.
>
> Cheers! Linda
>
> On Dec 30, 2017, at 7:37 PM, Dugan Murphy via Callers <
> callers(a)lists.sharedweight.net> wrote:
>
> I wrote this dance yesterday, but I'm not confident it doesn't already
> exist under a different name. Does anyone recognize the choreography under
> a different name?
>
>
> Longfellow's Revenge by Dugan Murphy (duple improper contra)
>
> A1 Neighbor balance and swing (16)
> A2 Long lines forward and back (8) / Gents left hand allemande 1.5 (8)
> B1 Partner balance and swing (16)
> B2 Ladies chain to neighbor (8) / Partner right hand balance (4) - Partner
> pull by across (2) - Neighbor left hand pull by on the side to face new
> neighbor (2)
>
>
> Thanks for taking a look!
>
> Dugan Murphy
> dugan at duganmurphy.com
> www.DuganMurphy.com <http://www.duganmurphy.com/>
> www.PortlandIntownContraDance.com
> <http://www.portlandintowncontradance.com/>
> www.NufSed.consulting
>
>
>
I composed this to have a fairly easy way to introduce diagonal moves to a
group that isn't familiar with them. I don’t usually write dances without a
N swing, but my attempts to include one haven’t gone well. Suggestions
welcome.
If it’s original, I’ll call it ChainChainChain Improper
A1 N dosido into long lines, Gents face out; Ladies face in. Balance F&B,
Box circulate
A2 In these longlines (Ladies face out, Gents face in, partner on the
right) Balance the wave, Partner Swg
B1 on left diagonal, Ladies chain over and back to partner
B2 across the set, Ladies chain to N; Star Left
Hello all,
I'm on the road for vacation instead of calling, which means that I don't
have easy access to dancers to try things with; so I'm pinging the hive
mind.
What do folks think about the transition star->hey with the next.
For instance:
A1
Ladies start left shoulder hey
A2
Neighbor right shoulder gyre and swing
B1
Circle Left 3/4
Partner swing
B2
Ladies chain across
Left hand star 1x
The ladies have their left hand in on the star, and usually I avoid a left
with one, left with the next transition; but I feel like the swoopy nature
of the hey gives it some slack. It also sets the gents up for a turn over
shoulder entry into the hey.
It could be a right shoulder in the middle hey, and a balance and swing. I
don't have a passel of dancers to try it with.
What are your thoughts?
Thanks, and happy solstice and return of the light to you all.
--
Luke Donforth
Luke.Donforth(a)gmail.com <Luke.Donev(a)gmail.com>
Hi all,
Those of us who started dancing 2 or 3 decades back probably remember
the rule about sitting out the dance if you turn down a partner offer.
A very competent male dancer I know who started around the same time I
did (late 80s) recently confessed to me that he never asks anyone to
dance because he doesn't want to put folks in the position of thinking
"If I don't dance with this guy then I have to sit one out. Oh crap,
guess I'll have to dance with him." For the record, he's a totally
solid and delightful dancer.
To what extent has that earlier etiquette norm either survived or been
replaced, and what has it been replaced with? In your dance community,
do you have a written statement of the etiquette around this? Our
community's statement doesn't directly address this issue.
Kalia
