Contra Callers

contracallers@lists.sharedweight.net

20 participants
4374 discussions

by Nathaniel Puffer

Thought I'd share this to encourage those of you who don't want to spend $500+ on a wireless system. My group in Taos has recently had great success with this, a handheld mic system for just over $100: Audio-Technica ATW-802 VHF Wireless Microphone System. http://www.fullcompass.com/product/420660.html It is available in 3 fixed frequencies (not switchable), so it won't work for everyone. I recommend buying from a local retailer if possible so you make sure it fits your needs and can easily return it & try another frequency model if one has interference. Because it is set to a fixed frequency, this system may not work well everywhere, especially in urban areas. The quality is good so far (4 successful months & counting, on same pair of batteries even), though user must be very careful not to switch the wireless system off while PA volume is up, as it makes a loud and horrible noise. We also prefer handheld to headset for variety of uses and sharing reasons, though headset would be handy at times. Nate

11 years, 5 months

off-stage and acoustics

by Tom Hinds

I find that an off-stage mic can give you a huge advantage over a wired mic when the acoustics of the hall are really bad. Here's a telling example: I and two other callers called a square dance at Swisher's hall, known perhaps for having the worst acoustics on the East coast. I called from the floor while the other two called from the stage. At the end of the event about 6 dancers came up to me and said they could understand me but not the other two. When you call from the floor you can hear what the dancers hear. You can change the way you call (more spaces between words, vary the loudness etc.etc.). Doing this doesn't negate the bad acoustics but it does help. For me it's clear: being able to be heard is far preferable to being seen. And I would argue that the dancers (new and experienced) are looking at their neighbors, partners etc. during and after the walk through. Add to this what others have said about helping dancers in distress and I think you can really see the advantages of going wireless. The last advantage is checking the sound (balance of the instruments, balance of the caller verses the band etc.) as Eric previously pointed out. I've been criticized by a few people over the years for doing this. They say the beginners freak out when they can't see the caller. I wish I had asked them how they knew this. I'm assuming they took a survey or more likely, they read minds. Be careful you don't create feedback. If you call off-stage, maybe have a talk with the sound person before the dance. Tom

11 years, 5 months

Re: [Callers] Thoughts on Off-Stage Microphones (Was: Headset microphone recommendations?)

by John W Gintell

> Date: Sun, 05 Jan 2014 18:07:39 -0800 > From: Erik Hoffman <erik(a)erikhoffman.com> > To: Caller's discussion list <callers(a)sharedweight.net> > Subject: Re: [Callers] Thoughts on Off-Stage Microphones (Was: Headset > microphone recommendations?) > Message-ID: <52CA0FEB.1010908(a)erikhoffman.com> > Content-Type: text/plain; charset=ISO-8859-1; format=flowed > > My opinion and experience on the use of wireless mics differs greatly > from Greg's. …. > Third: I have found it useful at times to assist a dancer through a move > (like pointing where to go in Contra Corners) while calling. I do this > from the floor, during a dance. At this time, dancers are not looking > to the stage, and finding a disembodied voice, they are looking at each > other. I've had many thanks for such assistance. > It think this is a very important point. Callers often go down on the floor to help out - particularly early after the teaching and when there are inexperienced dancers present. This can make a huge difference to the experience of the new dancers and other people in the line.

11 years, 5 months

Thoughts on Off-Stage Microphones (Was: Headset microphone recommendations?)

by Greg McKenzie

Lindsay wrote: > We are looking at buying a headset mic to help people who are teaching the > beginner's lesson. > > Do any of you have recommendations... > I would recommend you consider the option of *not *buying a headset mic. I'm not sure if I've posted my reservations about headset mics here before, but I think it is worth bringing it up again. As a caller, a talent booking coordinator, and as a dance manager at open public contra dances, I have worked for years on strategies and techniques for making the dance hall a place where everyone can feel safe and comfortable. I believe this sense of a "safe space" is essential for putting first-timers as well as regulars at ease in order to facilitate a comfortable, fun social event where there is little stress or tension. This is a subtle point but one that I have learned is critical for integrating newcomers and for making the event an exciting, fun, and relaxed social occasion. The primary issue for me is not wireless mics, but *off-stage* mics--of any kind. Michael Jackson--and many other performers--have used wireless mics professionally *on-stage* with great success. This technology is particularly useful when dancing or demonstrating. Note, however, that even when used on-stage, wireless mics are usually used in conjunction with a follow spot. The purpose of the follow spot is to help the audience follow the action in the absence of a mic stand that acts as an anchor. At contra dances, where stages are typically small, a headset mic used *on stage* will seldom confuse the dancers. (A caller using a headset mic to play bodhran while calling, for example.) An *off-stage* mike, however, can create unease in the dancers when they look for the caller--who may have moved during a demo, for example. That moment of confusion--as the dancer looks right and left--is likely to make many dancers feel a bit silly or clueless. These are feelings I work to avoid during a social dance. I want both the regulars and the first-timers to feel confident at all times. A live mic on the dance floor can be unnerving. (Callers who call from the dance floor using a headset mike often come across as confused about their own role at the event.) There are techniques to keep the dancers/audience oriented while using an off-stage mike, without a follow spot. Taking care to only change location after you have earned the attention of all of the dancers is one such technique. (That way dancers who look to the last place they saw the caller will always find them there.) Talking *off-mike* to make your position clear before switching on the wireless is another. These techniques, however, require experience and practice. I personally would not use an off-stage mike without a follow spot or a prepared plan. I find it interesting that the off-stage mike is often used in stagecraft to deliberately create tension in the room. A darkened room with a dis-embodied voice will always create drama. In my view the less drama at open public contra dances the better. There can be other issues such as mic clarity, volume, and feedback. It would seem to be a good idea to have a sound engineer at the mixer board whenever an off-stage mike is being used. Feedback is always a sure way to create stress in an otherwise relaxed social event. I know that I personally get a little uneasy whenever I see a caller or teacher lead an optional newcomer's orientation while wearing a headset mic. Yes, wireless mics can be useful, when in the hands of an experienced professional. But these devices are often used inappropriately. I would be cautious about purchasing one to make it available for general use, without some kind of practice or training. Just a thought, Greg McKenzie

11 years, 5 months

Headset microphone recommendations?

by Lindsay Morris

We are looking at buying a headset mic to help people who are teaching the beginner's lesson. Do any of you have recommendations on brands, style, etc? or do you have any failure stories we should be aware of? Thanks! -------------------- Lindsay Morris CEO, TSMworks Tel. 1-859-539-9900 lindsay(a)tsmworks.com

11 years, 5 months

Modern Western Squares for Contra Dancers and callers Feb 28-Mar 2, 2014 in Georgia

by Tepfer, Seth

A weekend of almost all no-walk-thru squares, with a few contras thrown in for good measure? Essentially the entire Basic/Mainstream program in one blitz weekend? An intimate weekend of dance, camaraderie, and fun with like minded dancers? Join us for a mind-blowing good time Feb 28-Mar 2, 2014, at our house in Decatur, GA. Dan Sahlstrom will be calling. This event is limited to 20 people (2 squares plus a couple extras). The event starts with arrival 6pm on Friday, dinner at 7 and dancing at 8 pm. The event ends on Sunday with lunch at 1:30 pm. The cost of the event is $100. At this event, we work together on meals, clean up, and setup. We ask that you bring two potluck dishes for 8 people each, or contribute $25 to cover 6 meals (Friday dinner; Saturday breakfast, lunch, dinner; Sunday breakfast and lunch) and snacks. We will house you at our house or with other local dancers. Please fill out this form http://tiny.cc/mwsd2104 for each person. On Friday, we are having a special "Modern Western Square Calling for Contra Callers". This will run 9:30 am - 4:30 pm. The cost will be $50, including materials, breakfast (8:30) and lunch. We welcome dancers to join as guinea pigs (at no cost). The seminar will include a bit of lecture but mostly practice. <https://app.oxford.emory.edu/WebApps/Directories/index.cfm?fuseaction=v.sea…> ________________________________ This e-mail message (including any attachments) is for the sole use of the intended recipient(s) and may contain confidential and privileged information. If the reader of this message is not the intended recipient, you are hereby notified that any dissemination, distribution or copying of this message (including any attachments) is strictly prohibited. If you have received this message in error, please contact the sender by reply e-mail message and destroy all copies of the original message (including attachments).

11 years, 5 months

Dances which work with a wide variety of tune types?

by Alan Winston

Gang -- I was going to put "Tofu Dances" in the subject line, but I thought that might dissuade some of you from reading it. I was thinking that tofu is a nutritious substance without a really strong flavor of its own, and that can harmonize with a lot of different treatments; it'll end up tasting like the dish you put it in. Bill Olson's "Cranky Ingenuity" is a terrific dance - quick teach, fairly low piece count, unusual enough figure (dosido as couples) that it provides some variety in a program, useful as a first dance to let you know the state of the crowd, useful as a last dance if you don't have a lot of time, real teamwork with partner, adequate neighbor time. And one of the things that's great about it is that it works with reels, jigs, old-timey, rags, swing-dance tunes, French-Canadian tunes, Irish polka - probably good for techno, too, although I haven't tried that. While it has strong enough flow that dancers don't float in space wondering what they're supposed to do yet, the transitions (other than the closing balance-the-ring, California twirl) don't have hit precisely to still be satisfying. The dancers react to the music and the dance takes on the flavor of the music. If there's some tune set the band wants to play - like, it's the last dance and it's their showstopper - Cranky Ingenuity will likely work out well. (It might not be the single best match possible to some particular tune, but it's likely to be a good match, and having it handy and walking it through in 30 seconds makes up for deficiencies.) That's a great feature. But if I use it all the time - and worse, if everybody uses it all the time - I'll wear it out. What other dances have this feature? (I think anything where the distinctive figure of the dance has short phrases and tight timing - eg, Rory O More balances in long or short waves; roll away across the set, catch partner and swing, Petronella sequences, balance and square thru - is going to be disqualified. But if you have experience that says otherwise, speak up!) In the meantime, Happy New Year! I'm calling for an hour tonight at an English dance and dancing for three at a contra dance; I hope you all have agreeable New Year's Eves and 2014s full of satisfying music and dance. -- Alan

11 years, 5 months

Re: [Callers] Square through vs Cross-trail

by John Sweeney

One key aspect of a Square Through (as opposed to n changes of right & left, cross trails, circular heys, etc.) that hasn't been mentioned, is that after the last Pull By of a Square Through you do NOT turn. The initial Pull Bys all have a quarter turn after the Pull By, but the last one leaves you back to back with the last person you passed, facing in the opposite direction to them. Square Throughs or changes of rights & lefts, in ECD, take as many beats as there is music. Some dances require you to make each change in two beats, some are more leisurely and allow you four beats for each one. Contra dancers don't want to use four steps to pull past someone when they can do it in two steps. Hence the Balanced Square Through: four beats to balance forward & back; four beats for two changes - making a total of eight beats - just right for a contra dance figure. As has been mentioned the "Cross-Trail" found in modern contra dancers is not really a cross trail; it is much more like two changes of a circular hey or two changes of rights & lefts, without hands. Happy dancing, John Sweeney

11 years, 5 months

Mil Dixon

by rich sbardella

FYI, I am forwarding the message below. Mil contributed so much to the New England square dance community. Rich Dear SDFNE Board of Directors and Library Associates, There is not much one can say at a time like this. Milburn was at home with me from Wednesday, December 4th until Wednesday, December 11th when he peacefully passed away at 9:45 p.m. The world has lost someone very special. He was one of those truly gracious individuals who make life so much more pleasant for everyone around him. My "Thanks" to everyone for your thoughts, prayers, and good wishes. It made Mil's medical situation more bearable. You are true friends. Sincerely, Anna Funeral arrangements are: Wake - Monday, December 16th from 4:00 p.m. to 8:00 p.m. Location - Doherty-Berile Family Funeral Home, 11 Linden St., Reading MA www.barilefuneral.com Funeral Mass - Tuesday, December 17th at 10:30 a.m. Location: St. Agnes Church, 186 Woburn St., Reading MA Internment - St. Bernard's Cemetery, Concord MA In lieu of flowers, please honor Mil by making donations in his memory to the Square Dance Foundation of New England, Inc., Attn: Treas. F. Turgeon 9 Carleton Street, Lawrence MA 01843-1105 Anna K. Dixon President SDFNE 238 Woburn Street Reading MA 01867 781-944-4416 akdmjd(a)comcast.net

11 years, 6 months

Fw: Creating a CDSS dance depository

by Edmund Croft

This type of database already exists for Scottish dances: <http://my.strathspey.org/dd/>. It has written and diagram descriptions, links to videos, ratings and comments and a database searchable by figure, author, music type &c. I use it most weeks to pick appropriate music from my club's collection, when we don't have a recording intended for the dance in question. It helps that quite a lot of the legwork has already been done e.g. MiniCrib, an existing unofficial publication of abbreviated dance instructions in a standard form, and there being a standard set of diagrams for figures. Not that this wouldn't be possible for contra, but it would be more work to start from scratch / different styles of crib. If I understand correctly, only the (volunteer) administrators can add dances, but members of the public can comment on and rate dances if they have logged in, and submit cribs or video links, which are approved by moderators. Evolution of dances by the folk process has certainly been documented (which shoulder to pass in Mairi's Wedding, popular variations in the possibly-palindromic Ian Powrie's Farewell to Auchterarder), but I get the impression such variations are less common in SCD (published programmes of existing dances people might practise in advance, rather than the caller calling their favourite version on the night). Edmund Croft, Cambridge, UK

11 years, 6 months

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Contra Callers