Contra Callers

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28 participants
4385 discussions

by Kalia Kliban via Callers

Hi all I was just working a wedding gig and my old Samson headset mic crapped out. If the piano player hadn't had hers along, I would have been in serious trouble. Time for a new and more reliable headset mic. I use my hands a LOT when I'm doing ONS gigs, so a handheld cordless isn't really an option for me. I'd love recommendations from any of you about models to look at. I'm planning to plow the funds from this wedding and some of my caller piggy bank into a new mic, so I want something that's really good quality. It doesn't have to be tiny and invisible, but it does need to be reliable. If it doesn't have a belt pack that's a plus, but it seems like most of the good-quality headset mics have belt packs. I'll deal with it if that's the best bet. So, recommendations? For reference, the one I was working with was a Samson Airline 77, often referred to as the "aerobic instructor mic." It had the transmitter on the headset, so there were no wires or belt pack, and it worked just fine for a long time until suddenly it didn't. I would like to hear what folks are using who rely on a headset mic for their calling gigs. Kalia Kliban in Sebastopol, CA

8 years, 11 months

Re: [Callers] Favorite dance to teach a ladies chain?

by John Sweeney via Callers

Hi Luke, I use Chain 'n' Hey http://contrafusion.co.uk/Dances/ChainnHey.html a lot with groups where at least some of the people know what they are doing. No, I don't generally draw imaginary lines on the floor for ordinary heys (yes, for a Lichfield Hey!), but I often demonstrate and tell them to watch how we are walking figure eights (with extra loops) and weaving between each other. I teach the Courtesy turn first, hand positions and hips together - tell them to imagine a pole between them and the man walks backwards around the pole, the lady walks forwards. Once they get it I tell them, "OK. Now you are Pole Dancing". :-) I then tell the ladies to make sure they only "touch & go" with their right hands - no holding on - and that their objective is to get around the man by passing him with their left shoulder - and to walk forwards all the time (so many try to back into the man's arm!). Then I tell the men that their job is to step in and scoop up the lady with their right arm (I used to focus on the left hand, but have found that focussing on the right arm has more success), then do the courtesy turn that they have learnt. Once they get it (reasonably well) I tell the ladies to step forwards and the men to step back and make a line of four ready for the hey (it really helps to get the men to step back!). Now the ladies already know the path since it is exactly the same as two ladies' chains. As long as I can persuade them to keep their eye on the last person they pass so they turn the easy way, and to make that turn a big loop, then there is a high level of success. The dance is also forgiving since they have 16 beats of partner balance and swing to get back to their own side and get ready for the lines. I think the R & L Through is the worst move of all! It is completely counter-intuitive. The lady pulls by with her right hand, and especially if the man hangs on, she automatically starts to turn to the right, when she needs to turn to the left. There are areas and styles where it is the standard to pass through without hands, then do the courtesy turn with hands. I have a much higher success rate when I teach it that way. I quite often change a R & L Through to a Half Promenade if there is only one dance I want to do in an evening that has a R & L Through. Happy dancing, John John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 http://www.contrafusion.co.uk for Dancing in Kent From: Luke Donforth via Callers [mailto:callers@lists.sharedweight.net] Sent: 23 August 2016 13:42 To: callers(a)lists.sharedweight.net Subject: Re: [Callers] Favorite dance to teach a ladies chain? Interesting approach John. I'd personally hesitate to introduce both chain and a hey in the same dance for mostly new dancers. Do you draw an extensive parallel of the motion on the floor for the ladies?

8 years, 11 months

On Balances, Box circulates, Allemandes, Circles & Timing

by Erik Hoffman via Callers

There’s been a discussion on balancing forward & back, or right & left, or starting the balance left, then right when the balance precedes a left allemande. And there’s been a discussion on the timing of circles. Like, does a circle left ¾ take 6 or 8 beats? And how long should a circle left 1¼ take? Balances & Direction I think it was Cammy Kaynor who told me he always teaches, “Balance in the direction you’re going to go.” This, as stated, is obvious in a box circulate: you’re going to go forward after the balance. It’s also obvious in a Rory O’More type balance: the balance is right, then left making that right slide or twirl gratifying. And it’s the one place where we do teach the left then right balance, to make that slide/twirl left so cool. Now, consider the allemande: The initial motion of an allemande is forward. The connection of arms is what turns the forward motion into a circular motion. It is not very satisfying to balance right—tension in the left arm—then left—no tension in the left arm—then go into an allemande left. But a forward & back creates some loss of tension in both arms, then tension in both arms, and you can even favor tension in the left arm facilitating a wonderful launch into that left allemande. When doing this there is no need to alter our “normal” right then left balance. Thus I’ve strongly adopted the above rule: Balance in the Direction you’re going to go. And remember: the initial direction of an allemande—any allemande—is forward. Thus following this rule yields satisfying results whether the balance precedes a left or a right allemande. I try to bring this up whenever I teach a dance. Circles, Allemandes, & Circumference Back in the old days (when I started dancing in the 1980s), callers could and would give styling points. We did dances where, in 8 beats, we might allemande left once, dances with an 8 beat 1½ allemande, and dances, like Hull’s Victory, where we’d make it twice around in 8 beats. Some of us were taught that we could get a good connection and give good weight by varying the circumference of the circle we traveled. Keep arms wide, travel a larger circle, and once around in 8 beats feels great! Pull in close, and you can make it around twice in 8 beats. At times there has been discussion about how a circle left ¾, swing someone is a 6, then 10 beat set of figures. I think of it as 8 & 8, but let dancers do whatever they want. Then we have a circle left ¾, ring balance, California twirl. The timing of this is definitely 8, 4, 4. It is easy to have a good connection, give good weight in a circle ¾, and make it last 6 or 8 beats by expanding or contracting the circle. Aware dancers will adjust to make the move fit the timing of the dance. Circle left ¾ into a balance: make the circle bigger so the path is a bit longer. Want that extra two beats of swing? Contract the circle, and get there early… I do agree that a circle left 1¼ in 8 beats does not work well. So, make the circle a bit bigger and turn it into a zesty 12 beats. Erik Hoffman Oakland, CA

8 years, 11 months

Surely this already exists?

by Luke Donforth via Callers

Hello all, I was trying to find an easy and accessible dance, a real glossary basic contra. I feel like this must already exist, but I'm not finding it in my notes. Someone got a prior? Type: Contra Formation: Duple-Improper A1 ----------- (8) Neighbor Do-si-do (8) Neighbor swing, end facing down the hall A2 ----------- (8) Down the hall, four in line (turn as couples) (8) Return and Bend the line B1 ----------- (6) Circle Left 3/4 (10) Partner neighbor B2 ----------- (8) Long lines, forward and back (8) Women allemande Left 1-1/2 The B2 could be W DSD 1.5, although I like the allemande for the connection for brand new dancers. I specifically chose the left hand to leave the women facing towards their new neighbor. I know it's really close to a bunch of other stuff. B2 could be C L 3/4, balance and pass through; or chain to left hand star à la The Nice Combination; etc. Barring it already having been named by someone else, I'm going to call it "Having Fun with PAM" to keep track of it in my box; since I just got back from the fabulous PAMFest (Peacham Acoustic Music Festival). Thanks.

8 years, 11 months

Re: [Callers] Surely this already exists?

by Luke Donforth via Callers

Excuse me, that B1 is Partner Swing, not Partner Neighbor. (Thank you David Harding for catching my copy/paste error) A1 ----------- (8) Neighbor Do-si-do (8) Neighbor swing, end facing down the hall A2 ----------- (8) Down the hall, four in line (turn as couples) (8) Return and Bend the line B1 ----------- (6) Circle Left 3/4 (10) Partner swing B2 ----------- (8) Long lines, forward and back (8) Women allemande Left 1-1/2

8 years, 11 months

Looking for notes

by Kalia Kliban via Callers

Anybody have Marty Fager's "Balance and Bounce" handy? Many thanks, Kalia Kliban

8 years, 11 months

New dance, already written?

by QuiAnn2 via Callers

> Hi, all, > > I wrote a dance recently and called it over the weekend and it was well received. Would like to see if anyone knows if it’s already written. Thanks. > > Jacqui Grennan > > > Mad Orbin > by Jacqui Grennan, 8/13/16 > Contra/Improper > > A1 ----------- > (4) N RH Balance > (4) Box the gnat > (8) Mad Robin, gents in front > A2 ----------- > (8) Gents allemande Left 1-1/2 > meanwhile ladies orbit CW > (8) N Sw > B1 ----------- > (8) Ladies give & take their P > (8) P Sw > B2 ----------- > (6, 2) Circle left 3/4, pass thru > (8) Next N DSD > >

8 years, 11 months

Re: [Callers] Is this dance already written?

by Neal Schlein via Callers

"...the same hey can be different numbers of passes in different heys." I think there is some double-speak in there. Peace is war, hate is love, difference is the same. I refuse to bow to Big Brother! ;-) I also refuse to accept imprecision in dance directions. "Do a 15/16ths hey for four, ending with the homogeneous sapien in the nominally gent-gendered role on the inside of the set looking leftward at a 49-degree angle....)" On Aug 15, 2016 3:55 PM, "Ron Blechner" <contraron(a)gmail.com> wrote: Good points from Neal and Bev. I'm curious now about the timing of the ladies casting over right shoulder and entering the hey. It does seem like it would better fit the music. RE: 3/8ths hey - there's a ton of dances with 3/8 hey called as half, as the same hey can be different number of passes in different heys. Anyway, now I really want to dance a star-cast-hey transition... :) Ron On Aug 11, 2016 3:57 PM, "Neal Schlein via Callers" < callers(a)lists.sharedweight.net> wrote: Isn't it actually a 3/8ths hey? ...Which is somewhat tricky to say: Three Eights Hey For Four. Lots of numbers in there. Good enough reason to find another explanation. ;-) What I'm seeing about not simply writing it out as a hey is that the star is causing the ladies to move forward into the men's position. From a static perspective it is definitely a partial hey, but the women's momentum will want to carry them too far forward and it'll become mush for anyone not paying attention. Turning back to the right is nice flow, and to me there's nothing wrong with writing things like that into the dance. For example, I have long used a dance which cues the ladies to turn AWAY from a star and swing the man behind them. Technically it is just a u-turn, but every time I use that phrase three quarters of the ladies will turn TOWARD the star (for a variety of reasons, including partner "assistance"). It makes me cringe, because the dance is so much nicer if they turn the other direction. Neal _______________________________________________ Callers mailing list Callers(a)lists.sharedweight.net http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net

8 years, 11 months

Re: [Callers] Is this dance already written?

by Ron Blechner via Callers

Good points from Neal and Bev. I'm curious now about the timing of the ladies casting over right shoulder and entering the hey. It does seem like it would better fit the music. RE: 3/8ths hey - there's a ton of dances with 3/8 hey called as half, as the same hey can be different number of passes in different heys. Anyway, now I really want to dance a star-cast-hey transition... :) Ron On Aug 11, 2016 3:57 PM, "Neal Schlein via Callers" < callers(a)lists.sharedweight.net> wrote: Isn't it actually a 3/8ths hey? ...Which is somewhat tricky to say: Three Eights Hey For Four. Lots of numbers in there. Good enough reason to find another explanation. ;-) What I'm seeing about not simply writing it out as a hey is that the star is causing the ladies to move forward into the men's position. From a static perspective it is definitely a partial hey, but the women's momentum will want to carry them too far forward and it'll become mush for anyone not paying attention. Turning back to the right is nice flow, and to me there's nothing wrong with writing things like that into the dance. For example, I have long used a dance which cues the ladies to turn AWAY from a star and swing the man behind them. Technically it is just a u-turn, but every time I use that phrase three quarters of the ladies will turn TOWARD the star (for a variety of reasons, including partner "assistance"). It makes me cringe, because the dance is so much nicer if they turn the other direction. Neal _______________________________________________ Callers mailing list Callers(a)lists.sharedweight.net http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net

8 years, 11 months

Recognize this?

by Amy Wimmer via Callers

I've had this dance for years and don't know who wrote it or what it's called. Anyone know? Duple, improper A1 ladies chain up/down set to neighbor Partner swing A2 circle L 3 places Neighbor swing B1 long lines F & B Ladies chain B2 circle L 1 1/4 Rings of 4 balance, California twirl -Amy

8 years, 12 months

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