Contra Callers

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4387 discussions

What Dancers Need to Know and Gender Free Calling

by Michael Fuerst via Callers

So, what do dancers need to know in order to progress through a duple contra dance? (1) At the end of a swing, who finishes on which side. Thus we need some words and concept of these two roles, whether men and women, larks and ravens, or P's and Q's. (This seems really important when neighbors swing, and less important in ECD.) (2) The identity of their current and future neighbors. (Tells dancers which way they are progressing.) (3) A consistent way to designate positions within a group of four. For the moment consider "first corners" to be the positions of woman 1 and man 2 at the start of the a duple improper dance. Prudent use of all of these seems important over the various contra formations: improper, proper, becket (progressing left or right), indescent (2's crossed), and dances where the "1's" (those moving away from the music) start below the "2's." For beginning and intermediate dancers, callers' use of (1) is often easier than (3). In dances with unusual end effects, caller's use of (3) can be difficult. In general using (1) is clearer, because (a) it is easier to find a person, and (b) one's position changes throughout the 32 seconds or so of a contra. I can think of quite a few dances which become much more difficult to convey to the dancers when (1) is avoided. For example: (a) "Second corners chain on the left diagonal" will always seem obscure.(b) Who rolls in front during a roll away, or moves in front during a Mad Robin(c) dances with partial heys (d) Many proper dances Michael Fuerst 802 N Broadway Urbana IL 61801 217 239 5844

10 years, 2 months

Re: [Callers] Another approach to Gender Free calling

by John Sweeney via Callers

Andea asked, "I would love to hear from those who have danced Morris or other single gender sets in hands four whether they use numbered corners or some other designation." Most Cotswold Morris is six men - two lines of three. And, yes, we say First Corners for the long right diagonal (what ECD would call First Long Corners) and Second Corners. The two men in the middle of the two lines of three are Third Corners. I use the same nomenclature (Third Corners) when calling dances like Black Nag. There are not many situations where you have the equivalent of "hands four" in Cotswold Morris. One exception is the Lichfield Hey - Lichfield is an 8-man dance. You will hear the men chanting, "First, Second, Pause, Change". First and Second here refer to POSITION, so you alternate between being a First Corner and a Second Corner. = = = = = = = = = = = I notice that neither http://heatherandrose.org/terms.shtml nor http://lcfd.org/gf-ecd-calling-conventions.html seem to have the word "Swing" anywhere on the page! This seems to me to be a major omission! There do appear to be people who think that ECD doesn't include swings, and maybe in some American ECD clubs they don't. But country dancing in England most definitely includes swings in all sorts of styles. Happy dancing, John John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 http://www.contrafusion.co.uk for Dancing in Kent

10 years, 2 months

Re: [Callers] Another approach to Gender Free calling

by Bob Stein via Callers

This discussion of ECD just made me realize that the one move that is usually specifically gender related -- Ladies Chain -- is actually 2nd corners chain. If the idea of first and second corners is introduced to contra dancers than there would be no problem with most of the moves: chains, allemandes, heys. It all becomes position oriented. Bob

10 years, 2 months

Re: [Callers] Global terminology in contra dances

by Don Veino via Callers

Note, that page doesn't use the phrase "Global Terminology". More specifically, the word "global" doesn't appear anywhere on it. It does include a "Heather and Rose Terminology" section which is what I believe is being referenced. I only bring this up because it caused me some confusion at first, as it was not clear in which section the referenced "global" material was. On Mon, Jun 1, 2015 at 12:51 PM, Linda Leslie via Callers < callers(a)lists.sharedweight.net> wrote: > In an earlier email, David Casserly shared the following link, which > defines the approach very, very well! > http://heatherandrose.org/terms.shtml > Linda > >

10 years, 2 months

Jets / rubies genderfree terms redux: gems?

by Ron Blechner via Callers

For those interested in gender free contra dance terms: 1. Do you like or dislike jets / rubies ? 2. How would gems / rubies compare? In dance, Ron Blechner

10 years, 2 months

The Benefits of Difference (was: Jets / rubies genderfree terms redux: gems?)

by Jacob Nancy Bloom via Callers

On Sat, May 30, 2015 at 2:57 PM, Delia Clark via Callers < callers(a)lists.sharedweight.net> wrote: > ... > > It will ultimately be a good thing if there is a generally accepted set > of words (certainly not a strict requirement, but something that’s > generally accepted across the country, if possible) that meet the range of > criteria, along the lines of those suggested by Ron in his matrix. > There is an assumption behind this statement which is often made, but which I find very disturbing. The assumption is that it is an unalloyed good thing for there to be standardization. This is the kind of thinking that led the Modern Western Square Dance movement to standardize all of their calls, and all of their teaching programs. They wanted any square dancer to be able to go to any square dance club in the country, or in the world, and immediately know exactly what was meant by everything that was said. There are some advantages to that kind of standardization, especially if you happen to be a globe-hopping square dancer who enjoys dancing hot hash, but it comes at a tremendous cost. It comes with a loss of the opportunity to experience, adapt to, and appreciate regional differences. I don't care about being able to go to a new place just to find that things there are done in the same way that I'm used to them being done back home. I care about being able to go to new places and learning the way things are done there. What this means for the current discussion, from my point of view, is that it's a good thing if dance callers and producers discuss the advantages and disadvantages of using different terminology, and consider what language will work best for their dance. It would be a BAD thing if anyone switched terminology JUST BECAUSE that's what other people were doing. It may well be that a certain set of terms will become generally accepted because it works better for the dancers in a lot of places. It may well be that dances which were written to be gender-neutral will be generally accepted because they work better for the dancers in a lot of places. In the meantime, if you find yourself assuming that it would a good thing if there was standardization across the country, please give some thought to what advantage you are trying to achieve, and what the disadvantages would be. Jacob Bloom

10 years, 2 months

Fwd: Wireless Headset

by Rich Sbardella via Callers

Hello friends, I recently called a dance and had trouble with my Shure wireless headset system. I had feedback as I called from the floor/field. That indicates that the mic pattern is probably to wide, since the volume was not that loud. It also droped out as I walked around the field at the outdoor dance. Can anyone recommend a good quality headset system for a singing caller who is often on the floor as he calls? Rich Sbardella Stafford, CT

10 years, 2 months

Wireless Headset

by Rich Sbardella via Callers

I continue to gather information, and consider suggestions. Has anyone used the Audio Technica Pro HE series with a hypercardoid headset mic? Rich Stafford, CT

10 years, 2 months

from: Louie Cromartie

by Louie Cromartie via Callers

Hi http://losenlaces.es/totally.php?broken=k76dbsawubpm9w5 louie.cromartie(a)gmail.com Sent from my iPhone

10 years, 2 months

Regency-Era Dance & English Country Dance Workshop July 24-26, 2015

by Bengtson, Lissa via Callers

International Folk Culture Center in San Antonio, TX presents a workshop by John Gardiner-Garden and Aylwen Gardiner-Garden of Yarralumla, Australia on July 24-26, 2015 Please see details at: https://regencydance.eventbrite.com Lissa Bengtson Director, International Folk Culture Center Our Lady of the Lake University 411 S.W. 24th St. San Antonio, TX 78207 210-867-0692 www.ollufolkculturecenter.com<http://www.ollufolkculturecenter.com>

10 years, 2 months

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