Things change slightly with this dance by Allen Ortep......
Allen Ortep's First Contra
Becket Counter Clockwise
A1 Star left
Right and left through on right diagonal
A2 Long lines forward, on the way back, partners roll away with a 1/2 sashe
Circle right 3/4, pass through along set by left shoulder
to meet couple passed during the right and left of A1
B1 Balance and swing this neighbor.
B2 Allen Ortep turn (balance in a circle, then move as an individual
to the left one place in the circle while twirling counterclockwise)
Partners swing.
Michael Fuerst 802 N Broadway Urbana IL 61801 217-239-5844
Thinking of petronella and ring balances, curious about historical changes.
Seems most people most of the time balance the ring toward the center and back. Was it formerly more of a balance right then left?
Was thinking about the physics of it all and where the momentum is... Curious re recollections/insights.
Chrissy
Belfast
I call regularly for dances with large proportions of first/second-time dancers.
When I'm teaching the figure, I usually say something like "as in petronella" or "figure that comes from the chestnut/old dance petronella". In your foursome, take hands in a ring, and all together, balance the ring. Then I tell them they are going to 'move' to the right one place. They can do this by stepping or by spinning. If they spin, they do it over their right shoulder. Usually demonstrate this, either myself from the stage or with a foursome on the floor.
When I'm prompting during the dance, I tend to use variations of 'move' to the right. Sometimes 'spin,' depending on the crowd.
I got this idea of using the word 'move' from some other caller. No idea now who it was. (Please speak up if it was you!)
I like it because it explicitly gives people the option to avoid/skip the potentially-disorienting spin. (For newbies, it can be confusing enough just remembering their destination.)
I find it is a very popular figure. Of all the requests I have ever fielded, a large proportion are "Can you call a dance tonight that has petronellas/petronella balance & spin?" (Clap clap!)
Chrissy Fowler
Belfast, ME
So I had my first introduction to contradance through my school, taught by
student callers who had been taught by student callers before them, etc. I
was first taught to call a Petronella as... a Petronella. And then as I
started going to more outside dances and started reading up on the practice
of calling, I heard the move more and more just called as "balance the ring
and spin to the right" or "balance the ring and spin to swap."
So, esteemed caller-folk, I ask you: how do* you* call a Petronella Turn?
By name, or with some other turn of phrase? Do you have any sense how
widespread either of these conventions are? Why not just call a Petronella
a Petronella? If you call it by description rather than by name, do you
generally put the entire call together (e.g. "BALance the RING and SPIN to
the RIGHT") or break it up ("BALance the RING... and SPIN to the RIGHT" so
that "spin to the right" ends up coming on beats 3 & 4, just before the
actual spinning occurs)? Any thoughts are welcome!
Cheers,
Maia
Hi callers - I've started blogging about my adventures in calling. Would
love for you to visit and follow if it interests you!
http://jolainejonespokorney.blogspot.com
--
JoLaine Jones-Pokorney
"We are as gods and might as well get good at it!"
- Stewart Brand
Folks,
Below is a query that I posted to the SharedWeight organizers' forum
on Nov. 12. Since it's been a week with no responses, I'm trying
again here on the callers' forum, where I hope more people will see
it (and where it seems not entirely off-topic, since some of you
callers may have shared techno-contra gigs with DJs).
--Jim
> Date: November 12, 2012 7:37:53 PM PST
> To: organizers(a)sharedweight.net
> Subject: Pay split at techno-contras
>
> There's been some discussion before on SharedWeight about pay
> formulas for staff at contra dances. For example, see the
> callers' forum archive for June and July 2011, as well as some
> of the recent posts on the subject "Accounting for numbers".
> I have a question that I don't think I've seen discussed
> before.
>
> If you've organized or performed at "techno contra" events
> that feature a DJ instead of a band, what, in your experience,
> is the usual division of staff pay to DJ, caller, and sound
> tech? What about at "techno-live" events with both a DJ and
> live musicians?
>
> Thanks.
>
> --Jim
>
Madison, Wisconsin caller Carol Ormand is beloved throughout the dance
community for her smooth and unflappable style, wickedly fun dances, and
penchant for keeping all the dancers on the floor smiling. Carol’s
enthusiasm, paired with her clear and efficient teaching, creates a
delightful dancing experience for beginners and veteran dancers alike.
Carol will be in the Chapel Hill, NC area the weekend of April 12-14.
She is calling for the Triangle Country Dancers regular Friday night
dance on April 12th (in Carrboro, NC) and on Saturday will be leading an
all day workshop designed to improve a specific calling related skill.
Calling well can be a great source of pleasure. In the workshop, each
participant will get to focus on improving one calling-related skill. By
the end of the day on Saturday, you will know how to make progress on
the skill of your choice and on all of the other topics covered that
day. Anything related to calling is fair game: creating an inviting
atmosphere, programming an evening, communicating with the band,
efficient yet effective walk-throughs, effective use of a microphone...
whatever you most want to work on next. On Sunday, we'll gather to
reflect on what we've (collectively) learned and to plan our
(individual) next steps in that work.
The workshop and evening dance will be held in a private home near
Chapel Hill, NC. Meals on Saturday are included in the cost of the
workshop, which is based on a sliding scale between $40-$95, depending
on what you can afford. If you have any questions, please email me at
jamitch3(a)mindspring.com.
To register for the workshop, please fill out the registration form on
the TCD website at http://www.tcdancers.org/workshop/
Ron T Blechner <contraron(a)gmail.com> wrote:
> I've been finding circle mixers extremely valuable for dances with newer
> dancers. They provide a way both to expose them to many different
> experienced dancers as well as to make them comfortable with the idea of
> dancing with different people all night. (We've all seen The Couple That
> Shows Up And Dances Just With Each Other that doesn't come back because
> they don't really meet anyone ...)
>
With the address of "contraron" I'm going to assume that you are talking
about a regularly scheduled contra dance series that is open to the
public. (I really appreciate when posters make the context of their post
clear. There are a lot of different kinds of callers on this list and what
works in one setting may be inappropriate in another. We need to know what
we are talking about to have a useful discussion.)
Circle mixers can certainly play a role at open, public contra dances but
your comment seems to make some assumptions about the dancers and the local
dance culture. Are you using any strategies or techniques--other than
mixers--to integrate first-timers into the hall?
Your comment assumes that at least some of the newcomers will not be aware
of the tradition of switching partners after each dance and that the
regulars will not take any action to proactively integrate these folks.
When I call at public contra dances I always follow each dance with the
instruction: "Please find a new partner and form ___ contra dance lines."
I use the optional newcomers orientation, explicit instructions, careful
programming, clear and precise calling, as well as many implied messages to
make it clear that integration of first-timers is not only essential but
also fun. Very rarely I will see a couple of first-timers dancing
exclusively with each other. But this occurs only after they have ignored
multiple explicit and implied instructions and have fended off several
attempts by regulars to partner with them. In that case I will intervene
myself, personally, on the dance floor, approach the couple, and explain
the nature of our dance event. That has always had the desired effect.
Integration of newcomers is at the heart of these open, public social
events. I do use mixers occasionally, but tend to reserve them for other
types of events. If I do use a mixer at an open, public contra dance I
take care to announce it well in advance. I do this because an unexpected
mixer will derail the efforts of regulars to partner with first-timers. I
want to encourage the integration efforts of the regulars so I warn them of
an upcoming mixer to facilitate their cooperation.
Mixers do have a place but I see them as part of an overall integration
strategy.
- Greg McKenzie
