I’m sharing the following on behalf of David Millstone, who is not currently a list member.
David Smukler
Syracuse, NY
====================
I'm happy to announce the release of A Hand to the Band!, a celebration of dance musicians over the last half century. This project, centered on an interactive map, looks at groups who played for square dances or contra dances, who were among the early such musicians in a given community, and who made a recording.
For each band, you'll find information about the musicians and instruments, the release date of their first album (cassette, LP, or CD), the cover image, an instrumental track from that album, and comments about the band, usually from one of the group's members. At the moment, there are more than 275 groups represented in the collection.
When you first open the site, the map displays all of the bands. However, you can also narrow your focus by geography and by chronology, so if you're interested in bands from the upper Midwest who recorded between 1980 and 1985, that's easy to arrange. There's also a robust search engine that lets you look for particular musicians or bands. The technical wizardry that makes this possible was provided by Andrew Frock, a young programmer who grew up in the dance world. Without his expertise, all of the information I gathered would be sitting on my desktop computer. He was a fantastic collaborator, and he is sharing the tech underpinnings of the site via GitHub.
I started this project from a New England perspective, thinking I knew all the early New England bands. (Surprise! I didn't.) Naively (and arrogantly) I thought there might be a handful of bands elsewhere around the country who had also recorded early on. (Surprise! There were far more than a handful.) In short, compiling the information for this project gave me a deep appreciation for the many musicians around the country who lifted dancers' feet over the decades.
From the beginning, I was interested in musicians playing for square dances and for contra dances. When I started dancing, in the early 1970s, both forms would turn up on an evening's program, and I continue to enjoy both styles of country dance. This eclectic approach in this project means that there is a wide variety of musical styles represented here, tunes from northern New England as well as southern Appalachia.
Enough! Enjoy the site and please tell others about it. Let us know if we need to make corrections or additions.
David Millstone
https://ahandfortheband.org/
davidmillstone7(a)gmail.com
ContraSquareMap(a)gmail.com
I'd love to collect a few more whole set dances for one night stands.
I have done my version of the Virginia Reel, of course. Some Running Set figures (though not in a big circle, but, "find another couple and circle left), Sasha, the Broom Dance and/or the Fan Dance, Blobs, and possibly teach Jefferson & Liberty, or a slightly simplified version of Haste to the Wedding and the first "Hands Four" dance. So, I've been collecting the Simple Contra Dances, and adding them to my repertoire with thanks to all sharing them! I am looking for Whole Set Dances.
Here's one from me:
Building a Tunnel
I put some figures together after looking at dancing in Douglastown, Quebec, that I found from Laura Risk's wonderful collection of music and notes she coproduced with Brian Morris, the Douglastown cd (https://www.laurarisk.com/recordings.html). I call this Building a Tunnel. Then I stole part of what I think is The Flying Scottsman (which I learned from the wonderful Sandy Bradley) or is it Kingston Flyer as Tony Parkes mentioned.
Building a Tunnel
Longways set a Whole Set dance
Not too phrased to the music
In long lines, Head Person of Line One leads their line all the way around Line Two
Then Head of Line Two leads line around Line One
All Partner Do Si Do, Swing (any way: elbow, 2-hand, ballroom)
Top Couple arch over one line to the bottom-Mow The Lawn...
Top Couple arch over the other line back to the top-Cut Their Hair...
Top Couple Sashay to Bottom, Make an Arch
The two lines face down, go down and around the Top (soon to be Bottom) Couple
Through the arch, and, as the line goes under, make an Arch when couples go through the last arch (made by the couple they've been following).
In other words, Building a Tunnel.
When teaching the Top Couple to make an arch I teach taking one hand as they face the line. By the second or third time, couple start doing the arch with two hands, thus, I don't know why I bother...
Like other dances as the Virginia Reel, sets can easily get out of sync. If they do, I watch and stop calling except to remind un-sync-ed if they forgot something.
So many times when teaching the Virginia Reel, dancers want to do the "build a tunnel" and I (and most likely most of you) have to teach promenading up and not passing anyone. Now they get to build it!
Thinking of making the first Hands Four dance Easier
For years I've called the dance at the Full Belly Farm's "Hoes Down" where they put their hoes down and dance. I've used Jefferson & Liberty, but, in sets on an empty field where sets can easily get 20-couples long or longer, and not wanting to take even more time bi and trifurcating sets into shorter sets. I think I presented Barbarella earlier, and it got me thinking: would it be easier to teach a phrased progressive dance in Becket Formation ending by sliding left to a new couple? So, I'm going to try a couple of ideas at my next One Night Stand:
Start getting lines in becket formation. My first thought is to star with Long Lines going forward and back, to reinforce that we are dancing with everyone, but I can also starting by teaching a slice and then putting that slice as B2.
That said, these just thinking right now:
My First Try:
A1 LLF&B; Neighbor across Do Si Do
A2 Partner Do Si Do, Swing (any way)
B1 Face Down for Line of Four Down the Hall, Turn as a Couple (or, uh, not), Return
B2 Circle Left, Circle Right, Slide Right to next couple to A1 LLF&B
Or
A1 w/ Couple Across: Circle Left, then Right
A2 w/ Neighbor Across: DSD, Two Hand Turn
B1 Back on Own Side: Ptnr DSD, Two Hand Turn (or Swing any kind)
B2 Looking to the Left: Long Lines go Forward to a New Couple, then Straight Back, to A1 with New Nbr
I think these might be easier to explain to complete novices. Any thoughts?
~Erik Hoffman
Oakland, CA
Let me suggest Victoria’s Waltz, by Australian dance leader Peter Foster.
American dancers will recognize the B1 sequence as Gay Gordon’s, in waltz tempo. The dance has both English and contra characteristics, but is wholly itself.
VICTORIA’S WALTZ
By Peter Foster
32 bar waltz
A1 All holding hands in a circle, balance forward and back
Men take the lady on their left and pass her across to place her on his right
All holding hands in a circle, balance forward and back
Women take the man on their left and pass him across to place him on her right
(it’s the same man who just passed her across)
A2 All holding hands in a circle, balance forward and back
Men take the lady on their left and pass her across to place her on his right. This is
your new partner
Two hand turn partner once around, open out standing next to your partner facing
anticlockwise around the room, men on the inside, women on the outside
B1 Two waltz steps forward, turn on the spot (turning towards your partner) and take
their other hand
Two waltz steps backward (so still going in the same direction)
Repeat the other way: two waltz steps, turn on the spot, two waltz steps back.
Then take a ballroom hold
B2 Waltz on
Richard Hopkins
Middlebury, Vermont
hopkinsrs(a)comcast.net
850-544-7614
> On Nov 6, 2023, at 12:00 AM, contracallers-request(a)lists.sharedweight.net wrote:
>
> Send Contra Callers mailing list submissions to
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> Today's Topics:
>
> 1. Re: ISO closing circle mixer for Holiday Ball (John Sweeney)
> 2. Re: ISO closing circle mixer for Holiday Ball (Val Medve)
> 3. Re: ISO closing circle mixer for Holiday Ball (Dorcas Hand)
> (Claire T)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Sun, 5 Nov 2023 11:22:56 -0000
> From: "John Sweeney" <john(a)modernjive.com>
> Subject: [Callers] Re: ISO closing circle mixer for Holiday Ball
> To: "'Caller's discussion list'" <callers(a)sharedweight.net>
> Message-ID: <000d01da0fda$6d1aa1c0$474fe540$(a)modernjive.com>
> Content-Type: multipart/alternative;
> boundary="----=_NextPart_000_000E_01DA0FDA.6D1B16F0"
>
> Hi Dorcas,
>
> Here are a few of mine:
>
> http://contrafusion.co.uk/Dances/Calliope.html
>
> http://contrafusion.co.uk/Dances/TheWinsomeWaltz.html
>
> http://contrafusion.co.uk/Dances/RollingWaves.html
>
>
>
>
>
> Happy dancing,
>
> John
>
>
>
> John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 & 07802 940 574
>
> http://www.contrafusion.co.uk for Dancing in Kent
>
>
>
> From: Dorcas Hand via Contra Callers <contracallers(a)lists.sharedweight.net>
> Sent: 04 November 2023 20:34
> To: Caller's discussion list <callers(a)sharedweight.net>
> Subject: [Callers] ISO closing circle mixer for Holiday Ball
>
>
>
> We have the idea to close our Holiday event in Houston with a dance welcoming both contra and ECD dancers to enjoy a dance together at the end of our evening – I’m certain this community has some great suggestions! Thanks in Advance
>
> Dorcas Hand
>
>
Hi All,
I hope this helps someone in our community save money on a cordless
microphone.
Just now, a caller friend asked me about the ~$130 Monoprice-brand cordless
mic system that we use for calling and teaching. We've used this
inexpensive but perfectly adequate cordless mic system for over a year and
16 dances.
https://www.monoprice.com/product?p_id=600060
2x mics, 2x headpieces, 2x transmitters, 1x 2-channel receiver.
Outputs: 2x XLR for ea. channel or 1x 1/4" combined.
~$130
We've noticed no downsides in spite of the low price, except that Ellen
finds the headpiece slips. I understand the issue as being that long thick
straight hair prevents the head piece from clamping snugly. She solved it
once by wearing a baseball cap. I've worn the mic about six times for
calling single dances and to help teach walk-throughs and -- short hair no
baseball cap and wearing reading glasses -- had a seamless experience.
Another semi-local caller, who calls a monthly dance and to whom I
recommended the same set, hasn't mentioned to me any downsides or
frustrations.
I have no relationship with the manufacturer or dealer. I've bought other
things from Monoprice. The one time I had an issue, they quickly resolved
it.
Hope this helps someone.
Rob
- - - - - - - - - - - -
Robert Matson
Cell: (917) 626-2675
Sometimes a dance looks good on paper, and it's difficult to know dance's
issues until you dance it.
I wonder if anyone has variations to Bob Isaacs' "Hinge Binge"?
I really like the hinging part of the dance, but ... in lark/gent/lefthand
role, I find my right arm is strained from having it up so much.
Here's the original:
Becket
A1: Larks Give and Take, Neighbor Swing
A2: Circle L 3/4, Partner Dosido to short wavy line, P in RH, larks in ctr
with LH
B1: Bal Wave, Hinge + Circulate (Partner Alle R 1/4, then box circulate
with Robins crossing set to new wave, larks, looping right to face back in
and join wave on the same side)
Bal Wave, Hinge + Advance (N1 Alle R 1/4, then walk forward to new
neighbors, make another wave)
B2: Bal Wave, Hinge + Circulate (N2 Alle R 1/4, Robins cross, larks loop
right)
Partner Swing
So the Lark role is holding their arm up and providing weight:
A1: 8 beats for swing
A2: 6 beats during circle, continued from the swing
B1a: 4 beats for the balance, 2-3 beats for the allemande, and you don't
really have any time to move your arms down and let them rest before you
have to take hands in the next wave
B1b: 4 beats for the balance , another 2-3 beats for the allemande, again,
no real time to put your arms down.
B2a: 4 beats for the balance , another 2-3 beats for the allemande, and,
again, no real time to put your arms down before the swing.
B2b: 8 beats for swing
So the dance for the larks/gents is an 8 beat break, 14-16 beats of swing
-> circle, a 8 beat dosido where the last beat or two to raise your arms
for the wave, and then 32 beats continuously keeping right arms up.
Could give a longer rest in the A:
A1: Robins G+T, NS
A2: Robins Chain, Pass Thru to an Ocean wave w/P in right, robins in ctr.
This keeps the dance nearly intact, a bit harder since Pass-the-Ocean isn't
a glossary move, but affords 6-8 more beats of rest. Roles are swapped in
the waves, but it doesn't matter since you progress the same and wind up
with your partner.
We could lose the neighbor swing in the A1 and make it something like:
A1. LLFB
Larks Alle L 1.5x
A2. 3/4 Hey (NR, Robins L, PR, Larks L, NR, Robins L)
Partner Alle R 1/4 to short waves
... which preserves the B1-B2 of Hinge Binge more closely without the role
swap.
There's probably a way to move the partner swing to the A1 and remove the
neighbor swing.
Anyway. Curious if there's already dances out there.
In dance,
Julian Blechner
> Which do you speculate will come first?
> a) The press will regularly refer to "X" rather than "X, formerly known as Twitter"
> OR
> b) The contra dance world will agree to one of larks/robins or gents/ladies
>
I like to point out two important factors that should influence the transition to larks/robins.
1. To some LGBTQ+ people being called a Lady or Gent is mentally harmful because gender ID is a very important matter and sometimes has a long and often uncomfortable personal history.
2. It helps encourage people to dance both roles.
a) I’ve been at dances where there are more people of one gender than the other and as a result some dancers sit out a dance because they feel uncomfortable about asking someone of the same gender to dance. And there are some people who think that Ladies shouldn’t ask Gents to dance.
b) I think dancing both roles makes you a better dancer because you get to appreciate the affect of some moves on the other person.
Which do you speculate will come first?
a) The press will regularly refer to "X" rather than "X, formerly known as Twitter"
OR
b) The contra dance world will agree to one of larks/robins or gents/ladies
