Contra Callers

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15 participants
4372 discussions

by Richard Hopkins via Callers

Dear colleagues, I have had this circle mixer in my box since before 1990, and have long ago lost its name or origin. Could any of you help? It has served me well many many times. Formation: Circle of couples A1 Forward and Back Forward again, just the gents come back (ladies turn to face out) A2 All turn right, promenade single file (ladies clockwise, gents CCW) Return B1 Partner (the last one you swung) dosido Corner Allemande left, pass partner by the right B2 New Partner B and S Richard `````````````````````````````````````````````````````````` Richard Hopkins Tallahassee, FL 850-544-7614 hopkinsrs(a)comcast.net

8 years, 3 months

Re: [Callers] Difficult dancers - Decision to ask not to return

by Mark Hillegonds via Callers

Lots of thoughtful discussion and ideas about how to incorporate difficult dancers. Splitting this into another variant of this discussion... So...what happens if all of the attempts to shepherd and coach and "angel" the difficult dancer do not work and their skills and abilities continue to be a significant negative impact when they're dancing. Would you ever (or have you ever) asked someone not to return based on their inability to dance? I realize "inability" is a broad term and I intended it to be so for this question. There are lots of reasons why someone may not be able to know what to do and/or to be able to keep up when dancing and may not even be able to improve. Is there some point at which you as organizers would consider and ultimately such a decision? On Mar 6, 2017 6:46 PM, "Alexandra Deis-Lauby via Callers" < callers(a)lists.sharedweight.net> wrote: Inspired by Marie's other thread, I wonder what tools callers use when they encounter a dance floor with such a dancer, especially if there is only one who is having so much difficulty but who leaves confused dancers in their wake. Do you call to that dancer? Do you call earlier? Do you adjust your program accordingly? Something else? Thanks, Alex Sent from my iPhone _______________________________________________ Callers mailing list Callers(a)lists.sharedweight.net http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net

8 years, 3 months

Difficult dancers as a caller

by Alexandra Deis-Lauby via Callers

Inspired by Marie's other thread, I wonder what tools callers use when they encounter a dance floor with such a dancer, especially if there is only one who is having so much difficulty but who leaves confused dancers in their wake. Do you call to that dancer? Do you call earlier? Do you adjust your program accordingly? Something else? Thanks, Alex Sent from my iPhone

8 years, 3 months

Re: [Callers] Difficult dancers as a caller

by April Blum via Callers

Two more suggestions. At some dances I have called, I found that saying "end the swing and face across" a bit early solved the late-for-the-next move issues. And sometimes repeatedly cuing at B1, where the music is often audibly different AND where there is often some noticeable move starting, can also help. On Mar 7, 2017 9:40 AM, Martha Wild via Callers <callers(a)lists.sharedweight.net> wrote: > > As one other caller mentioned - what I do as a caller is avoid looking at that dancer AT ALL. That confuses me, and I will miscall if I get to caught up in what is happening there. What I do is look ASAP for the dancers who are doing the moves smoothly and well, and I call to them, making sure I call clearly at the start of the four beats before each move will start, and not at the two beats before that I might often use, to give a little extra time for the person to react. If there is a four in line down the hall, I will call for the turn also on beat five of the phrase before (just as above, just saying it differently) ensuring that they turn around and head back in time to cast off or do whatever needs to be done in time for the next move. If I call carefully and steadily and clearly at the appropriate time for a few times through the dance to the experienced dancers, I generally find that once I look at the problem area, it has resolved. Also - I don’t vary or shorten my calls, as I might otherwise, and I might say Neighbor balance and swing, or With the next couple star left - telling them who to do it with and what, or face across, right and left through - which way to face etc. especially on any figure that might be confusing. > > >> On Mar 6, 2017, at 3:45 PM, Alexandra Deis-Lauby via Callers <callers(a)lists.sharedweight.net> wrote: >> > Inspired by Marie's other thread, I wonder what tools callers use when they encounter a dance floor with such a dancer, especially if there is only one who is having so much difficulty but who leaves confused dancers in their wake. Do you call to that dancer? Do you call earlier? Do you adjust your program accordingly? Something else? > > Thanks, > Alex > > > Sent from my iPhone > _______________________________________________ > Callers mailing list > Callers(a)lists.sharedweight.net > http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net >

8 years, 3 months

Do you recognize this dance?

by Yoyo Zhou via Callers

Hi callers, I improvised this dance inspired by James Hutson's Treasure of the Sierra Madre last night, but it seems like it could have been written before. Does anyone have a title and author for it? NB. The B2->A1 transition has slightly awkward hands for the gents, but it seemed to go fine. A1: N balance, box the gnat; gents allemande left 1+1/2 A2: full hey, pass P right B1: P balance, swing B2: circle left 3/4; balance ring, P CA twirl Thanks, Yoyo Zhou

8 years, 3 months

Re: [Callers] What to do with a really bad new dancer?

by April Blum via Callers

You want to avoid letting him pair up with a new dancer, so you might indeed want to have a confidential chat with the regular ladies who are also good leads, and see if they are willing to take turns dancing with him. Some techniques for his partners: Walk the swing and stop early to face in. Turn 1.5 allemandes into half allemandes or pull bys. Turn free moves into "with hands" moves where possible. Ask your caller to suggest that everyone try a hey with hands if the timing is tight. Or turn a hey for four into a hey for three, with you and he acting as a unit. That works for half heys as well. Just cross the set together, dodging the other two dancers. If he's hopelessly behind each time through, consider skipping B2 and set up for the next repetition. Maybe concentrate on getting him comfortable with the first part of the sequence. Is he aware of his "rock in the stream of the dance" status? The answer to this might affect how much adaptation he will accept. Do keep in mind that it takes a certain amount of courage to try something new and challenging, particularly as an individual rather than a couple. And one or more of the organizers should chat with him at the break. It would be useful to find out if he has a physical challenge. On Mar 6, 2017 3:13 PM, Marie-Michèle Fournier via Callers <callers(a)lists.sharedweight.net> wrote: > > Hi everyone, > Lately a new dancer has started coming to our dance and he is bad enough that he will often make the set break if the dance is moderately challenging. He seems to have some kind of impairment and walks very stiffly which means he will often not be on time for a figure and also often does not remember what is coming next. > We want to be inclusive but at the same time his presence negatively impacts other dancers in his set and while some of the experienced dancers will take one for the team and dance with him, it is an unpleasant experience to be his partner. Unfortunately, we always have many new dancers and having one couple not be where they should be can really throw them off in some dances so I feel like I have to push and pull him around to be on time, despite the fact that it's a little rude. > A recent caller to our dance called him a "speed bump" which was quite accurate. I'm sure other dances have had experience with similar troubles, does anyone have advice on how to deal with this so that other dancers still have a good time yet we are nice to this problematic dancer? > Thank you > Marie > ContraMontreal

8 years, 3 months

Dances Inspired by "Beneficial Tradition"

by Dugan Murphy via Callers

Does anybody know of dances inspired by "Beneficial Tradition" by Dan Pearl that includes the "zipper" figure (B2 of "Beneficial Tradition") or variations of that figure? I just wrote one myself, so I'm curious to see what else is out there. Here's mine: Dela Says Yippee by Dugan Murphy (Clockwise Becket) A1 Long Lines Forward and Back (8) / Neighbor Left Hand Pull-by Across the Set (hopping and shouting recommended on the fourth beat) (4) - New Same-Role Dancer Across the Set Right Hand Pull-by Across the Set (hopping and shouting recommended on the fourth beat) (4) A2 New Ladies (not the one just pulled by) Left Hand Allemande 1.5 (8) / Neighbor Swing B1 Circle Left 3 Places (8) / Partner Di-Si-Do (8) B2 Partner Balance & Swing (16) This dance is also posted here: www.duganmurphy.com/dances-i-wrote Dugan Murphy Portland, Maine dugan at duganmurphy.com <dugan(a)duganmurphy.com> www.DuganMurphy.com www.PortlandIntownContraDance.com www.NufSed.consulting

8 years, 3 months

Role term survey responses

by Jeff Kaufman via Callers

As part of thinking about how whether non-gendered terms would work for mainstream contra dances, I thought it would be good to ask callers what they thought. Is it something where most callers were only willing to call Gents/Ladies, or are they more flexible? Do they generally support this sort of change, or do they think it's a bad idea? I wrote to people who have called BIDA in the last year, plus the ones who are currently booked, to ask them whether: - A dance like BIDA switching to gender free terms is better, worse, or about the same. - They have a preference between Larks/Ravens and Jets/Rubies. - They would be willing to call Larks/Ravens or Jets/Rubies if a dance required that. Of the 18 callers I wrote to, 17 responded. Of them, all but one was willing to call Larks/Ravens or Jets/Rubies, though several said (without my having suggested it) that they wouldn't be willing to call Lead/Follow. Many of the respondents didn't say whether they were in favor of the switch. Of the 11 who did respond, it was 5x yes, 3x ambivalent, and 3x no. Nine callers preferred Jets/Rubies because they find it easier to say, but no one so much that they were willing to call Jets/Rubies but not Larks/Ravens. Some freeform responses, lightly edited: - "I prefer Jets/Rubies, but only slightly. I can see the benefit of 'L'/'R' matching the default swing ending position with the initial letters but I think I'd make fewer mistakes with Jets/Rubies. Not enough to sway a decision though. - "My personal preference is for Jets/Rubies, but that's just because it's easier for me to say right now. I'm sure that if I practiced Larks/Ravens would be fine too. If the point of using gender free terms is to distance the roles even further from gender, than I'd go with Larks/Ravens. Jets/Rubies sounds very similar to Gents/Ladies, and some callers slip up and say 'Gents' for 'Jets'." - "The birds are arbitrary terms and seem to have fewer unwanted(?) associations than the rock terms. So I'm for the birds." - "I'm not wildly positive about either Larks/Ravens or Jets/Rubies, but if I had to choose one set, it would be Larks/Ravens. To me, Jets/Rubies carries a lot of baggage: It sounds enough like Gents/Ladies that it invites the reaction 'Who are they trying to kid?' The lack of logical association between jewels (inanimate objects) and dancing (an intimate human activity) makes the use of Jets/Rubies feel as if the series is being run by an in-group with a secret language. (I realize the two foregoing reactions are contradictory, but these are gut reactions, not necessarily rational ones.) Also, 'Jets' makes me think of the gang in West Side Story, and also of airplanes (more inanimate objects). To sum up, the word in a dance context has no positive associations for me, and some negative ones. Larks/Ravens has no baggage for me, doesn't reinforce gender stereotypes, and has a built-in mnemonic with the L/R initials." - "Enough people are offended by 'Jets' sounding too close to 'Gents' that I think Larks/Ravens is a much easier sell." - "My preference would be Jets/Rubies, because the sound similarity to traditional terms make the transition easier. (I understand that that very feature makes it the less desirable choice in some people's view.)" - "As a caller who learned with Gents/Ladies, I find Jets/Rubies the easiest to use." - "I've never used Larks/Ravens. I've used Jets/Rubies, and felt fairly comfortable with it. Larks/Ravens makes more sense to me. Definitely happy to use either one." - "I have a preference for Jets/Rubies but the only terms I *will not use* are Leads/Follows." - "I don't have a preference between those two sets of terms. I am also comfortable with Lead/Follow, but know that this is also a challenging choice for some people and I understand why it's maybe not the best pick. I like it because those terms have dance connotations" - "I like Jets/Rubies because regular contra dancers from other places can come in and dance without needing anything to be explained to them since the terms are pretty similar to Gents/Ladies. Also, Larks/Ravens sounds a little silly." - "As far as Jets/Rubies vs Larks/Ravens, I like using Jets/Rubies because they sound almost the same as Gents/Ladies. For my rhymes and patter, it's a pretty easy substitution. But my first impression of the terms is that they are still kind of gendered, or at least can be interpreted that. 'Jets' sounds aggressive and masculine, and 'Rubies' are definitely feminine. " - "I can't imagine trying to turn a singing square gender free." - "From the point of view of a caller trying to get a new set of words out of my mouth when significant chunks of my teaching and prompting are automatic, I think that I would prefer Jets/Rubies for a few reasons. First, I think that I would manage to confuse myself and stumble around switching 'Gents' to 'Larks', which starts with the same letter as 'Ladies', and might be more likely to flip-flop the two. Also, I know that it has been successfully used, but the initial consonants of Larks/Ravens aren't nearly as contrasted as are those of Jets/Rubies (or of Gents/Ladies)." - "Not really a preference, although as a caller perhaps Jets/Rubies is a slightly easier transition."

8 years, 3 months

Pousette between mad robins

by Ron Blechner via Callers

Choreography question: Anyone encounter any dances with a mad robin, half pousette, into a mad Robin with new neighbors? Thanks, Ron Blechner

8 years, 3 months

Re: [Callers] Pousette between mad robins

by Dugan Murphy via Callers

Hi, Ron, My favorite is "Songbird" by Cary Ravitz: http://www.dance.ravitz.us/#sb2 Dugan Murphy Portland, Maine dugan at duganmurphy.com www.DuganMurphy.com www.PortlandIntownContraDance.com www.NufSed.consulting > Date: Fri, 24 Feb 2017 14:16:49 -0500 > From: Ron Blechner via Callers <callers(a)lists.sharedweight.net> > To: callers <callers(a)lists.sharedweight.net> > Subject: [Callers] Pousette between mad robins > > Choreography question: > > Anyone encounter any dances with a mad robin, half pousette, into a mad > Robin with new neighbors? > > Thanks, > Ron Blechner >

8 years, 3 months

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Contra Callers