Contra Callers

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12 participants
4406 discussions

Fostering a Fun and Inclusive Dance Event

by Greg McKenzie

In the "Sidelines" thread Jill wrote: > I think everyone would agree that callers and organizers can work together > to influence the behavior of the dancers and to set the tone for a fun and > inclusive evening of dancing. I agree with Greg: > > "If anyone wants to discuss the ways callers...and others can lead, I would > love to have such a thread." > I'm game. This is a core purpose of what, I think, callers do. Jill also wrote: > Although we might not all agree on what is acceptable dancer behavior, do > you have more ideas for callers and organizers, perhaps a list of what has > worked for you to make your dances more inclusive and friendly to all. > I think we probably *can *agree on what many *desirable *behaviors or qualities are: Graciousness, civility, kindness, respect, gentleness, support, confidence, etc. I suggest we focus on how to encourage what is desirable rather than on trying to extinguish undesirable behaviors. Kalia wrote, in reference to her newcomer orientation: > ... I make a point of demonstrating how to ask someone to dance. A lot of > new dancers may not have done this since high school or earlier, and it's a > very different ball of worms at a contra dance. It can be super simple > (offer a hand, raise the eyebrows) or you can say "would you like to > dance?" But it doesn't have to be a big deal. That can take some > learning, so I like to give folks a head start on that very important > process. > Great point! I have seen George Marshall do this and I'm going to include it in my own orientation sessions. Thank you for reminding me of this idea. Maia wrote: > "I have a challenge for you: at least once tonight, dance with someone you > don't know; and at least once tonight, dance with someone of a different > experience level than yourself." Something along those lines. > This is also very good. Here is how I do it. I try to avoid ever telling the regulars how to behave...directly. Instead I direct my comments to the first-timers and speak *on behalf of the regulars while assuming their full support. *The fact is that the first-timers have no way to identify people of a "different experience level" so any reference to that is, by implication, directed at the regulars. At the start of the dance evening I say: "If you are new to this kind of dancing please find someone who has danced contras at least one night, and form two contra dance lines." This is a strongly implied cue to the regulars--who already know exactly who the newcomers are--to take a leadership role and to partner with first-timers. (Note that I do NOT tell them how to form lines. I do NOT say "...with the lady on the right, facing the stage" or "please join at the bottom of the line" etc. The regulars know all of this. To include any such information would imply that I expect, at least, *some *of the first-timers to be partnered with other first-timers. I want to imply that *all *of the first-timers will be partnered with regulars. This is what I mean by assuming the full support of the regulars.) As callers we are more effective when we use our words very carefully and judiciously. At an open, public social event eliminating excess verbiage is always helpful in holding the attention of the hall. Implied messages are very powerful. You can have much more influence with what you do NOT say than with what you do say. More on this later. - Greg McKenzie (who, having a degree in speech communication sometimes gets a bit wonkish about it.)

12 years, 9 months

looking for a 4x4

by lynn ackerson

I have a vague recollection that recently a group at a dance camp wrote a 4x4 (double contra, mescalonza) called something like "Warm up". If true, would someone send me a copy? thanks, Lynn

12 years, 9 months

sidelines

by jill allen

Thank you to everyone who has posted their ideas about how to make sure everyone is getting a chance to dance. This will be very helpful. I think it was important to have the discussions about gender balance, booking ahead, equal opportunity and whose responsibility is it to facilitate it, can we really affect people's behavior, etc. I think everyone would agree that callers and organizers can work together to influence the behavior of the dancers and to set the tone for a fun and inclusive evening of dancing. I agree with Greg: "If anyone wants to discuss the ways callers...and others can lead, I would love to have such a thread." Although we might not all agree on what is acceptable dancer behavior, do you have more ideas for callers and organizers, perhaps a list of what has worked for you to make your dances more inclusive and friendly to all. Thanks again, Jill

12 years, 9 months

Re: [Callers] Waltz contras - does anyone have any in their box?

by Jerome Grisanti

I've had some success with Mike Richardson's dance "Another Jig Will Do." It's not a waltz, but dances as one. Musically, it fits a two-part slip-jig such as "The Snowy Path" or two parts of the three-part "The Butterfly." See http://www.quiteapair.us/calling/acdol/dance/acd_10.html for details of the figure. I can generally find a waltz rhythm within the 9/8 signature, but I've seen some dancers struggle with this, so check the tune with the band beforehand. These same dancers were upset with me for asking them to use a waltz step during a contra, so it might not have been the tune. --Jerome On Wed, Jan 23, 2013 at 11:00 AM, <callers-request(a)sharedweight.net> wrote: > Re: Waltz contras - does anyone have any in their box? -- Jerome Grisanti 660-528-0858 http://www.jeromegrisanti.com For the good are always the merry, Save by an evil chance, And the merry love the fiddle And the merry love to dance. ~ William Butler Yeats

12 years, 9 months

Re: [Callers] Waltz contras - does anyone have any in their box?

by Jerome Grisanti

> > Alan Winston asked: > Slip-jgs are usually played with DAH-du-dum DAH-du-dum DAH-dum-dum > (nine beats in a measure, with emphasis on the first beat of each triplet). > Are you taking three (ONE-two-three) waltz steps per measure, or one > (ONE...TWO...THREE) waltz step per measure? > Alan, three waltz steps per measure. When I danced in Louisville, the Monday Night Band often used The Butterfly or The Snowy Path for the waltz, and it took me a while to realize that these were not, in fact, waltzes. And as I suggest, not all slip jigs can be felt as a waltz, as I've painfully discovered. The Butterfly in particular is very hypnotic as a (turning) waltz, since the phrases seem to drive on and on rather than regathering as in most waltzes. But perhaps this is a regional taste. When I discovered "Another Jig Will Do," and saw it was written for a two-part slip jig, I asked for "The Snowy Path." I assumed people would waltz, and in fact they did, in Louisville. Elsewhere, I've found myself trying to explain why I'm asking them to waltz. --Jerome -- Jerome Grisanti 660-528-0858 http://www.jeromegrisanti.com For the good are always the merry, Save by an evil chance, And the merry love the fiddle And the merry love to dance. ~ William Butler Yeats

12 years, 9 months

Re: [Callers] Gender Disparity

by John Sweeney

Or you could try to get rid of the gender disparity. For example, if you don't have enough men then offer free entry to anyone who brings a new man to a dance. Happy dancing, John John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 http://www.contrafusion.co.uk for Dancing in Kent

12 years, 9 months

Waltz contras - does anyone have any in their box?

by Hanny Budnick

Many contra events have a couple waltz during intermission or at the last dance. BUT does anyone ever due a contra (duple or triple minor) in waltz time? Hanny

12 years, 9 months

Gender disparity responsibilities (was: booking ahead)

by Maia McCormick

Dave's post about booking ahead and people's "responsibilities" to dance one role or the other made me think: DO people (read: experienced dancers who are capable of switching) have a responsibility to dance a particular role if there's a gender disparity? There's something to be said for reminding people, "not all couples need to be male/female!" But the idea that anyone is obligated to dance lead or follow, or to dance with same or opposite sex, makes me uncomfortable. My home dance regularly has more men than women (crazy!) but my preferred role is lead; does this mean I'm obligated to dance follow/dance with men (it happens that many of the men don't follow, and anyway, the height difference makes it tricky), rather than dancing with women? Is there a difference in obligating someone to dance their gender-typical role and their gender-atypical role? How much responsibility do experience dancers have for evening out a gender imbalance? (And to what extent is it an okay thing to assume that a gender imbalance *needs* evening out?) Cheers, Maia

12 years, 9 months

Re: [Callers] Lots of Contra Corners

by John Sweeney

Another one for Three-Facing-Three is Walpole Cottage by Pat Shaw - has a C part as well so time to include some stars and heys. That one is a Sicilian Circle so you get to dance with lots of trios. I believe Erik Hoffman did a version he called Walpole Dollhouse. = = = = = = = = The same move is in: Strip the Willow Square Square (32 or 48 bars Jigs) A1: Heads gallop across (men b-to-b) and back (ladies b-to-b) A2: Sides gallop across (men b-to-b) and back (ladies b-to-b) B1/2: Head Men Strip the Willow: Men Allemande* Right 3/4; Allemande L the R-hand Lady; Men Allemande R 3/4; Allemande L the opposite Lady; Men Allemande R 3/4; Allemande L the L-hand Lady; Men Allemande R 3/4; Partner Allemande L C1: Circle L, Circle R C2: Partner Balance & Swing Repeat for side men, then head ladies, then side ladies, then all the man at once, then all the ladies at once (stars rather than allemandes). = = = = = = = = Or if you like turning contra corners then you can just do it as a Strip the Willow: Orcadian (or Shetland) Strip the Willow Longways; Proper (slip jig) A1: Top couple R hand turn (elbows linked) 1 1/2 and Strip the Willow to the bottom B1: Next couple start Repeat until too tired to stand. When you reach the bottom swing and then join the lines. Everyone: Move up after you have turned the active couple. = = = = = = = = Or do some Big Set and throw in a Shoo Fly Swing: One couple starts a Ladies' Strip the Willow, each Lady joins in as soon as she can so all the Men are circling in the middle following their Ladies around the set; then the Men Strip the Willow - see http://www.youtube.com/watch?v=9KKvElR4ZaA = = = = = = = = Or go back in time and do Fandango (Apted 1774) with two hand turns rather than allemandes. = = = = = = = = There are lots more... :-) Happy dancing, John John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 http://www.contrafusion.co.uk for Dancing in Kent

12 years, 9 months

sharp corners

by Tom Hinds

Years ago I remember dancing a dance that had a full contra corners in it. The active dancers had four corners to turn instead of two. I think the caller called the move sharp corners. Does anyone have any of these dances they could share? I'm particularly interested in dances with this move that have been written in the last 40 years or so. Tom

12 years, 9 months

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