Contra Callers

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4372 discussions

Increased number of community dance requests?

by Luke Donforth via Callers

Hi all, Just wondering if anyone else is experiencing a bump in requests for community/family dances? I feel like the last month or so, there's been an uptick in schools and community centers requesting them. Could be a local fluctuation, or something bigger. Anyone else getting that impression? Possibly I'm projecting based on my own desire to build community through dance, but a couple years ago I was knocking on doors trying to make these happen, and now they're knocking on our door. Hope you're all having a similar experience! -- Luke Donforth Luke.Donforth(a)gmail.com <Luke.Donev(a)gmail.com>

8 years, 3 months

from geopmercer@gmail.com

by geopmercer via Callers

Hi! Have you already seen it? http://www.stowemedia.com/lkitwm.php?geopmercer_gmail_com geopmercer(a)gmail.com

8 years, 3 months

Re: [Callers] Callers Digest, Vol 34, Issue 11

by K Panton via Callers

Ron, I could not locate use of the word "bland" in the post you reference. In any event... Did you not read the paragraph following that which contained the reference to diet soda? The author stated that others may disagree. Obviously, you disagree. Please don't belittle the views of others as you demonstrate your egalitarian viewpoint. I happily agree with most of what Neal wrote. I don't go contra dancing to dance with guys, primarily. I go to dance with women. Yes, for me there is quite a (fortunate) difference between dancing with men & women. I'll dance with men but those "sublime" moments have happened only when dancing with women. Couples dancing originated as gendered. I would argue that it continues to be primarily gendered simply because couples are gendered whether identified by physical difference or role predeliction. I know of homosexual dancers who have preference for one role over the other; they are not ambi-dance-trous in that sense. I.e. they do not get a similar level of enjoyment dancing both roles. Argue away, but please avoid the "holier than thou". Ken Panton Message: 1 Date: Thu, 16 Feb 2017 22:49:24 -0500 From: Ron Blechner via Callers < I have danced at a bunch of genderfree dances, as well as my home dance having a lot of people who dance both roles. I can't say I've ever had this "diet contra" experience. My home dance is widely known among musicians and callers as a lively crowd who brings good energy to performers. Proper and improper have little relevance, but that doesn't stop a seeming endless supply of new choreography being generated and called by various callers. Does it really matter if I'm allemanding or swinging with a particular gender? I guess a person can still choose to only dance with one gender if they really felt strongly. But saying that genderfree dancing is bland? I mean, it's a folk community dance. The whole point is we all dance in one big set together. If dancing only to swing people of one gender means so much that contra is "diet" without it, I would ask what exactly contra means to you? Best regards, Ron Blechner On Feb 13, 2017 6:17 PM, "Woody Lane via Callers" < callers(a)lists.sharedweight.net> wrote: I basically agree with Neal. I would not want to replace gents and ladies with other arbitrary terms. For many of the same reasons. Woody -- Woody Lane Caller, Percussive Dancer Roseburg, Oregon http://www.woodylanecaller.com home: 541-440-1926 <(541)%20440-1926> cell: 541-556-0054 <(541)%20556-0054> ------------------------------ On 2/13/2017 2:51 PM, Neal Schlein via Callers wrote: I do not want to replace gent and lady as terms, based on my own experience. Some context: I've been dancing for between 29 and 37 years, depending on how you count--my parents met at a square dance and I grew up dancing. I started calling about 18 years ago, and dance/call ECD, Scottish, squares, contra, ballroom, and folk styles at varying levels of proficiency. Seeing a man dancing the lady's role, or a woman dancing the gent's role, has never, ever phased me. It's fun to swap, requires technical skill, speaks well of a dancer who can do it well stylistically, and sometimes is necessary to fill out a set. It is also an important skill for any caller, and one callers need to know how to handle when it happens in special situations; the callers I grew up with talked about when they first encountered gay or one-gender crowds in the 60s and how they struggled to adjust on the fly. That said, I first encountered "gender-free" dancing at a Heather and Rose (?) ECD dance outside of Eugene, Oregon about 15 years ago. I didn't know what I was walking into, and thought it was a normal ECD event until they lined up and started teaching. They used several dances I was familiar with; I had been teaching some older ECD dances for a graduate folklore class and recently returned from Berea's Christmas Country Dance School. Aside from momentary confusion, adapting to the unfamiliar terminology and random line-up was not a problem for me. What I couldn't adapt to was how being made "gender free" changed the character of the dances I knew. They became less elegant, less interesting, and were lessened overall. Switching between an A and a B position meant nothing aside from (possibly) a slightly different floor pattern. Proper and improper had no relevance. There was no stylistic mastery needed to switch dance sides because any clue as to historically demanded or intended stylistic differences had been stripped out--there weren't even ROLES anymore, merely positions; there was nothing to hold onto even as a guideline for playacting. The dances completely lost their flavor and character. They became like Caffeine Free Diet Crystal Coke. (I mean, honestly...WHY WAS THAT EVER MADE? Just drink water!) Other folks may certainly disagree with me, and I have followed and agree with the many counterpoints, but I personally believe that the terms "gentlemen" and "ladies" (and their derivatives) positively influence how people behave and relate, and definitely how a dance is done. I don't worry about that at special or family events, of course; I just want everyone to get up and have a good time. But encouraging folks to learn both roles to become better dancers is only meaningful if there is a meaningful difference between the roles. I am a happily married man and prefer to dance with women as partners and corners. I don't mind dancing with men, but that's not what I go to dances for; if I wanted to get close to a bunch of sweaty guys, I'd play football. If we're honest, we can admit that the vast majority of our general dancers (both new and old) are probably similar. So why not let the dance reflect that? That's more likely to win friends than taking a wonderful dance with character and making it into "gender free diet crystal contra." Just my 2 cents. Neal Neal Schlein Youth Services Librarian, Mahomet Public Library _______________________________________________ Callers mailing list Callers(a)lists.sharedweight.net http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net

8 years, 3 months

The Gene, resequenced

by Tavi Merrill via Callers

For anyone who's fooling around with left swings, in knee-saving workshops and such... Margarine becket: from improper, circle RIGHT ;) 3 places A1. circle R 3, turn to new Neighbor, swing! (standard clockwise swing) A2. Long lines forward & (returning) Gents Neighbor roll away along Gents RH chain (standard courtesy turn with roles reversed) B1. Gents pass R: full hey B2. Partner gypsy L (or seesaw) swing L (counterclockwise)!!! Tavi

8 years, 3 months

Re: [Callers] has anybody else written / similar sequences?

by Dugan Murphy via Callers

Hi, Tavi, Thanks for sharing! I can't say if anyone else has authored these dances as you have them, but I can think of two dances very similar to three first one you shared. The first is "Stop, Drop, and Roll," which I also wrote as a simple dance to introduce the rollaway and half sashay to less experienced crowds: http://www.duganmurphy.com/dances-i-wrote/ The other is "Roll Around A" by Cary Ravitz, which was the inspiration for my dance: http://www.dance.ravitz.us/#ra Dugan Murphy Portland, Maine dugan at duganmurphy.com www.DuganMurphy.com www.PortlandIntownContraDance.com www.NufSed.consulting (I drafted this message on a device that likes to autocorrect my words in ways I don't always notice. Thank you for your understanding.) Date: Thu, 16 Feb 2017 12:14:49 -0700 From: Tavi Merrill via Callers <callers(a)lists.sharedweight.net> To: callers(a)lists.sharedweight.net, Ronald Nieman <nieman(a)cox.net> Subject: Re: [Callers] has anybody else written / similar sequences? danged Gmail sent when i tabbed! Checking in with y'all to share new chore, confirm whether it is "original," and ask if others have sequences they use for similar intents and purposes. Both are as yet un-danced, though i'm certain enough they are sound to say feel free to use them. Additional recently tested chore in the pipeline, though the rest has very low odds of duplicating others' efforts. Bread improper A1. Ring balance; Ladies Neighbor roll away (with a half sashay) along Ring balance; Gents Partner rollaway across A2. Neighbor balance and swing B1. Circle L 3 places; Partner swing B2. Ring balance; Gents Neighbor rollaway across Ring balance and (either pass R or arch/duck) to meet new neighbors (1/2017) Roll away with a half sashay is perhaps the purest distillation of weight-sharing, yet compared to the more complex chain, conspicuously absent from much of the choreography used with beginning dancers. In the interest of teaching only one new move per dance, i sought here to use the rollaway as a means of drilling weight sharing, building muscle memory, and reinforcing key hall awareness concepts "along/across" in an early-evening sequence. A2 can be articulated as either a ring balance or a two-hand neighbor balance. For dancers already familiar with the petronella spin, "Sourdough" variation: B2. Ring balance; Ladies Partner rollaway along; Ring balance; all spin R 1.5 to meet new neighbors. Water improper: waves across, right hand to Neighbor, Ladies take left A1. Waves balance, walk forward to new neighbors Right hand (wrist) star 3 places; Neighbor pull by R across A2. Partner L hand alleman 1.5 Partner promenade across B1. Ladies R hand alleman 1 Partner swing B2. Gents L hand alleman 1.5 Neighbor R hand alleman 1+ to waves (1/2017) I've sought here to deconstruct both chain and R&L through, focusing dancers on the A2 promenade and two exaggerated, hands-connected "pass R" elements in A1. From A1 to A2, ladies may need a reminder to turn left toward their partner for the alleman - better taught here than during a square-through. ?Heavy Water? variation: If dancers are already familiar with the courtesy turn, make A2 a Partner power turn and promenade across. "Super-heavy Water:" That substitution, and gypsy (/whatever you prefer to call it) in place of the B1 and B2 right-hand allemans, transform this into a dance more suited to seasoned dancers and crowded spaces. Courtesy twirls, Tavi

8 years, 4 months

has anybody else written / similar sequences?

by Tavi Merrill via Callers

Checking in with y'all to share new chore, confirm whether it is "original," and ask if others have sequences they use for similar intents and purposes. Bread improper A1. Ring balance; Ladies Neighbor roll away (with a half sashay) along Ring balance; Gents Partner rollaway across</td> </tr><tr> <td class="sched-table">A2.</td> <td>Neighbor balance and swing </td> </tr><tr> <td class="sched-table">B1.</td> <td>Circle L 3 places; Partner swing</td> </tr><tr> <td class="sched-table">B2.</td> <td>Ring balance; Gents Neighbor rollaway across Ring balance and (either pass R or arch/duck) to meet new neighbors</td> </tr> </table> (1/2017) Roll away with a half sashay is perhaps the purest distillation of weight-sharing, yet compared to the more complex chain, conspicuously absent from much of the choreography used with beginning dancers. In the interest of teaching only one new move per dance, i sought here to use the rollaway as a means of drilling weight sharing, building muscle memory, and reinforcing key hall awareness concepts "along/across" in an early-evening sequence. There's a hidden agenda here: Doing a "wowee" figure in the second half with minimal additional teaching. A2 can be articulated as either a ring balance or a two-hand neighbor balance. For dancers already familiar with the petronella spin, "Sourdough" variation: B2. Ring balance; Ladies Partner rollaway along; Ring balance; all spin R 1.5 to meet new neighbors.

8 years, 4 months

"booker" fee for tour planning

by Donna Hunt via Callers

Hi Just wondering aloud since this is not something I've ever seen discussed here. Do you (or a musician you're traveling with) take a "booker fee" for planning a tour, or even a single community dance when there is a lot of planning with the event host and time spent booking musicians? How much of a fee do you usually ask for from the event host or cut for yourself from the total fee to the group? Donna Hunt

8 years, 4 months

ACK! First time calling night of *squares* -- any last minute advice?

by Amy Cann via Callers

It's a friendly low-key local community dance, and they know I'm mainly a contra caller, so the potential for hurled tomatoes is low -- but I still want to not stink too much. Any suggestions for dance choices or thought-habit adjustments? Back to scribbling on my 3x5 cards and re-reading Lloyd Shaw... Amy

8 years, 4 months

Gene Murrow Workshop in Rancho Bernardo area of San Diego

by Martha Wild via Callers

Gene Murrow is giving a caller’s workshop, details below, on Monday evening. This is open to ECD and contra caller’s if you are interested and can attend. I’ve put the details below: "The caller's workshop with Gene Murrow will be at Casa de Las Campanas at 18655 W Bernardo Drive in Rancho Bernardo. A donation of $20/person is requested. This is the campus where Priscilla [one of our dancers] lives. Workshop starts at 6:30 and ends at 9:30. Here's what Priscilla says: 'Casa has 3 major construction projects going on right now. Car-pooling will help the parking situation Attendees will bear right up the hill as they enter the campus from W. Bernardo Dr. and go to the Sur Building reception area. That is the main entrance to Casa. I will be waiting to point down the hall to the Craft Room. Rest rooms close by. I'm pretty sure wifi is available in the Craft Room.'"

8 years, 4 months

I ♥ Dances - was: Contras which feature a "Dublin Bay" figure

by Don Veino via Callers

In response to Ron's challenge, here's my take on a non-glossary way out of the Dublin Bay figure - via a unique(?) twist on a Mad Robin. Good response when called at the Concord, MA Scout House Thursday dance this week (2/2/17). Included below is a follow-up spin with a more traditional Down the Hall to simplify further. Names were contributed by our 5 year old daughter, which then inspired the choreography. Happy Dancing! Don *I ♥ Faeries - DI - Don Veino 20170125* *A1* Neighbor Balance & Swing, end facing down (Twos in center) *A2* Line/4 DTH and Back, Dublin Bay Style (4 steps fwd down the hall, turn single to face up, continue 4 steps down in reverse, 4 steps fwd up the hall, turn single to face down, continue 4 steps up in reverse) Bend the line (so Twos are above the Ones) *B1* Mirror Mad Robin - Ones Through the Center First (starting up towards head of the hall) [G1 and L2 dyad moving CW, L1 and G2 moving CCW] 1s Swing in Center, end facing UP *B2* 1s Half Figure 8 up through the 2s (around opposite role N, to end BELOW - improper and facing progression) 2s Swing, end facing UP Tune suggestion: Becky Tracy's Black Rock https://youtu.be/GHoJ3B-LgPY *I ♥ Unicorns - DI - Don Veino 20170203* NOTE: All swings in this dance end facing down. *A1* Neighbor Balance & Swing, end facing down (Twos in center) *A2* Line/4 DTH - Turn as a Couple - Return, Bend the Line (so 2s above 1s) *B1* Mirror Mad Robin - Twos Through the Center First (starting down towards foot of the hall) [G1 and L2 dyad moving CCW, L1 and G2 moving CW] Twos Swing in Center, end facing DOWN *B2* Twos Half Figure 8 DOWN through the Ones (around opposite role N, to end above - improper and facing progression) Ones Swing, end facing DOWN

8 years, 4 months

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