Contra Callers

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38 participants
4387 discussions

by Rickey Holt via Callers

Hi callers, have you any dances for evenings when only a few folks show up, say 10 or 12 or under, other than squares. Rickey Holt with the summertime low attendance blues holt.e(a)comcast.net

10 years, 1 month

Re: [Callers] Ferry Boat Contra Ideas

by Claire Takemori via Callers

Lindsey, I was looking for a fun but easy to call contra and found this one for your nautical theme. From Rich Goss' collection of dance cards. http://www.quiteapair.us/calling/ claire takemori Dancing Sailors - Ed Shaw Proper Reels A1: Actives down the outside below two couples Return up the center, cast off A2: Actives turn contra corners B1: Actives with their second corners Hey-for-4 on the diag (actives start pass right sh) B2: Actives swing in the middle (end facing up)

10 years, 1 month

Re: [Callers] Title and author if this dance, please?

by Erik Hoffman via Callers

Um, yes, difference is in the B1, of course. ~erik hoffman On 7/12/2015 1:30 PM, Amy Carroll wrote: > > Hi Erik - > > > I'm thinking you mean the difference between your dance and Tony's is > in the B1, not the B2? Am I right? > > > Amy Carroll > > Seattle > >> On July 12, 2015 at 1:41 PM Erik Hoffman via Callers >> <callers(a)lists.sharedweight.net> wrote: >> >> On Writing Dances that have been Written: >> >> Years ago our we danced Bill Cochran's: >> /Third Friday/ >> A1 Neighbor Balance & Swing >> A2 Down Hall 4 in Line, Turn as Couple, Return, Fold Line >> B1 Women Chan -- over & back >> B2 Partner Balance, Square Thru Two, Partner Balance, Square Thru >> Two to next Neighbor >> >> I loved the B2 move, but wanted a partner swing in the dance, so I >> made the: >> /Second Third Friday/ >> Improper >> Erik Hoffman >> A1 Neighbor Balance & Swing >> A2 Men Allemande Left 1½; Partner Swing >> B1 Right & Left Thru Across the set; Women chain back >> B2 Partner Balance, Square Thru Two, Partner Balance, Square Thru >> Two to next Neighbor. >> >> And, I published it in my first book, Contra Comments. >> >> Turns out Tony Parkes had the same idea, and he wrote: >> /Friday Night Fever/ >> with the only difference being the B2, where Tony's dance goes: >> B2 Partner Promenade; Women Chain >> -- Which I now like better. And, Tony wrote his dance prior to me >> Tony published it in one of his books (don't recall which) >> >> Turns out Myrtle Wilhite also wrote and published this dance, the >> same as my version, and called it /Balanced Out #2/ >> >> In looking at composition dates, Tony's came first, mine second, and >> Ms. Wilhite's third -- all in the late 80s or early 90s. >> >> I'm pretty sure we all came out with this dance independently. Both >> Tony and I attribute Bill Cochran for the basic Idea. Myrtle doesn't, >> so, perhaps she came up with the dance independently. >> >> But the point of this is, we choreographers are all bound to put >> together some dance that someone else has also come up with. At this >> point, it's great to have this list to check that a sequence is >> original. It goes a long way to checking this. >> >> ~erik hoffman >> oakland, ca >>

10 years, 1 month

I'm marooned near Asheville for the week -- will trade ride for opportunity to call East Putney...

by Amy Cann via Callers

Hi everyone. I'm teaching a summer string intensive near Asheville NC this week and my host has emergent family medical issues that need evening attention. I'm in a charming B&B in Weaverville and get done with teaching at 5:00... I would DEARLY love to find a carpool to the local dances, I'd be HAPPY to recompense gas/mileage. If anyone has any suggestions re: who to contact, which Facebook page to post on, I'd love to hear them. My phone's 802-222-7598. IN RETURN, may I offer you the chance to call dances in FABULOUS Pierce's Hall, East Putney, VT, longtime home of callers Fred Breunig and Rich Blazej? Possessor of one of the best two-holer outhouses on the contra scene? Last Saturday of every month, and if you want a TRULY scintillating time, come on the months the All-Comers band is playing with its phalanx of fiddlers, masses of mandoliners, fleets of flautists, grand line of guitarists, and also a few dogs? We pay a PRINCELY sum. Actually, if you want to call Putney and know nothing about Asheville, you can still email me. Cheers, Amy

10 years, 1 month

Title and author if this dance, please?

by Keith Tuxhorn via Callers

Becket A1 Circle L 3/4; bal, CA twirl A2 N bal/swing B1 Hey for 4, M start R B2 M cross, P swing Thanks! Keith Tuxhorn Austin TX

10 years, 1 month

Title and Author? That's no moon...

by Luke Donforth via Callers

Hello all, I recently had the pleasure and honor of calling at a weekend with Lisa Greenleaf. I had just called one of my own dances, and then went to call one of Lisa's. After walking it through and announcing it as such, Lisa told me that she didn't write the dance. (She was very gracious about it, and we had a good laugh.) I had it in my box as Gypsy Moon by Lisa Greenleaf. I'm not sure if it's same title, but different author and I conflated them, or if it's another name entirely. But if anyone recognizes it, I'd like to give credit where it's due. NOT Gypsy Moon unknown Type: Contra Formation: Duple-Improper A1 ----------- (8) Neighbor Balance Right, pull by, pull by Ptr across set (8) Neighbor swing A2 ----------- (8) Long lines, forward and back (8) Women allemande Right 1-1/2 B1 ----------- (16) Partner balance and swing B2 ----------- (8) Women's Chain across (4) Right to Your Partner, balance Right (4) pull by Right with Ptr, and left with Neighbor on to the next

10 years, 1 month

Re: [Callers] cueing the band

by Claire Takemori via Callers

Thanks Alan! Sounds like a lot to learn. I'm really grateful that there are so many callers willing to mentor new callers and help with these things. When I called at camp last week, I was listening for the 3rd song and even my experienced caller helper was not sure on the transition....... but knew when to ask. Must be an amazing thing when really good callers like George Marshall can get out on the floor and dance for a bit, or Nils Fredland can join the band...... Thanks for all the help! claire Message: 3 Date: Fri, 10 Jul 2015 00:31:54 -0700 From: Alan Winston via Callers <callers(a)lists.sharedweight.net> To: <callers(a)lists.sharedweight.net> Subject: Re: [Callers] Thanks Message-ID: <559F74EA.4010603(a)slac.stanford.edu> Content-Type: text/plain; charset="windows-1252"; format=flowed On 7/9/15 11:58 PM, Claire Takemori via Callers wrote: > > I'm still looking for good instructions on when to cue the band for the ending? Is it simply when a couple is out at the top that you signal during B1 that there are 3 more times left? Basically, mostly. And you have to stay with them because sometimes they'll catch the 3, know it's happening, and then look to you for confirmation of the last one and if you're thinking about the next dance or glazing over and can't confirm it, confusion may ensue. So it doesn't hurt to be ready to show them 1 finger (not that one) before the last time. Usually a full 3-2-1 is more than they need and actually unhelpful because your coming over with the "2" makes them think this is new information and they need to process it. Complications: Some dances have a couple out at the top in B1 who are going to be brought back in B2, so you have to know the end effects of the dance. Talk to the band. Rarely (in the Bay Area, anyway) you get an old-timey band that's just going to pound one tune all the way through, and they just want to know when to go out. I've mostly been used to bands that are playing three-tune medleys. They're going to play like 6-6-7 or 6-6-5. The last tune is probably climactic so you don't want to cut it short. You ideally will keep track of which tune they're on (which can be surprisingly hard to do from the stage with your attention on the floor and no monitors pointing at you and the tune sounding different every time they play it because of variations and dynamics - you might not realize they've changed) and know when they're in the third tune and give them the 3-more at B1 of tune 2 or 4. If you give 'em 3 when they're about to change tunes they might wave you off and play 5. But the band might want to play a two-tune medley, and then they want to know when you're (about) halfway through the dance so they know when to switch, and for that you have to decide how many times you want to run the dance, keep count of how many times it's been run by the time you said it was halfway, and count down to your "3", remembering to do it when there's a couple out at the top, if that's possible. "If that's possible" because sometimes you're trying to manage all this and some couple drops out of one set or tries and fails to trade or some other damn thing and the sets get out of synch. (For some reason that's happened to me most often calling Lake City.) Then it's not possible to finish after a couple has come in at the top in all sets. People who care about that care about that, most won't notice, and a lot of dancers will just say "huh" and move on if they do notice it. > > > What I was mostly curious is if someone had written out ways to teach the various steps. I guess this is one of those things that is still passed down the old-fashioned way. I have to find a great caller, listen to them call and write down what they say..... I was hoping I would not have to miss out on dancing to learn this. You can set up a voice recorder and transcribe later. (Polite to ask if it's okay first.) If you're friends with the sound man you might the caller mic feed ... -- Alan

10 years, 1 month

Thanks

by Claire Takemori via Callers

Thank you for all the great advice! I do plan to call a simple contra that is still interesting to the experienced dancers. I have no ideas of calling hard figures until I've got experience and am ready. I'm still looking for good instructions on when to cue the band for the ending? Is it simply when a couple is out at the top that you signal during B1 that there are 3 more times left? What I was mostly curious is if someone had written out ways to teach the various steps. I guess this is one of those things that is still passed down the old-fashioned way. I have to find a great caller, listen to them call and write down what they say..... I was hoping I would not have to miss out on dancing to learn this. Thanks for the help. claire takemori

10 years, 1 month

Ferry Boat Contra Ideas

by Lindsey Dono via Callers

Hi Callers, In a couple of weeks, I'll be calling the annual Ferry Boat Contra for the second time. Last year I put a good deal of effort into coming up with nautical themes/jokes, so this year I'll really need to go "overboard." I'd love to hear your ideas regarding entertaining (but not distracting) maritime moves/terminology/jokes/trivia to add into my program. The majority of folks in my area have at least been on a boat other than a ferry, and a number sail regularly, but I'd rather keep the references from becoming too obscure. Looking forward to your suggestions! Lindsey(Tacoma, WA)

10 years, 1 month

How to teach various steps to beginners?

by Claire Takemori via Callers

Hi. I just called my first contra dance at camp last week. I didn't die, so I'm thinking of working with our son's nature class to do some family dances. In the meantime, I will try to call a contra when I can as a guest at our local dances. Do you know of a source/s (would you share yours) that has good clear wording for how to teach things like Hey, Pull-by, California Twirl, Petronella, Rory O'more, etc? I will ask good callers if I can record their teachings when I'm at dances with lots of beginners..... Where else can I learn good, simple wording? I sure don't want to reinvent it myself...... Thanks! claire takemori

10 years, 1 month

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