Contra Callers

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22 participants
4374 discussions

by Kalia Kliban

I just noticed that these two dances, Unruly Reunion by Robert Cromartie and Monterey Detour by Bob Dalsemer, are identical. I don't know if I've picked up modified versions, or if they're simply examples of parallel evolution. There must be other known cases of identical dances with different names. Anyone know a few? It happens in English occasionally as well (Take a Dance and Ore Boggy being the most well-known). Kalia

12 years, 9 months

Shifting dance sequences

by Don Veino

I'm still gaining basic experience calling and have been noodling for a few minutes on this - thought I'd seek others' expertise and experience... I'm looking at my program candidates for an upcoming dance and in reviewing the dance *Seagull* by Erik Weberg (which can be found at http://www.kluberg.com/eriksdances.html#Seagull) I started thinking it would be easier to start the teaching at some other point than the A1, due to having to set up the initial short waves (which otherwise naturally form out of the B2). And noticing that the dance ends with a G Allem. Lt. 1+1/2, I started thinking it might be best to start with the B1, which is a very conventional Cir. Lt. 3/4 and Pass Thru..., which would leave the dance ending at the existing A2, finishing with a more satisfying P Swing. Ok, so this has two implications I see right away: 1. the band's music selection may change 2. the progression moves from the B1 original to the A1 as reshuffled. Are there any untoward consequences I'm missing? Why would this not be the default sequence? Thanks, Don

12 years, 9 months

Re: [Callers] Unruly Reunion/Monterey Detour

by Rickey Holt

Hi Luke, It is years since I have done any science but I remember tree diagrams like you are referring to that grouped things by degrees of similarity. What I remember is that it was possible to do so without specifying grouping criteria in advance. It was a challenge to determine what these axes meant however. The idea that this could become the basis for classifying or grouping dances could certainely be an interesting aid to programing. I no longer remember how to do this or have software that would work under modern operating systems. Do you? Rickey -----Original Message----- From: callers-bounces(a)sharedweight.net [mailto:callers-bounces@sharedweight.net] On Behalf Of Luke Donforth Sent: Saturday, September 01, 2012 8:33 AM To: Caller's discussion list Subject: Re: [Callers] Unruly Reunion/Monterey Detour Old Time Elixer #2 by Linda Leslie and Tica Tica Timing by Dean Snipes are darn close, the difference being a right and left through versus a promenade across. (They're both fabulously fun petronella dances). As for choreographers slipping up and writing their own dance twice, it wouldn't surprise me, but it also may be that they changed the name when they found something that suited better. I personally find naming dances harder than writing them. I know I've re-created dances that already existed; although it can be hard to say if I'm writing them myself, or pulling them out of my dance memory, It'd be fun to see a cladistic taxonomy of contra dances (and related forms), showing the similarities and differences; be they regional, composer, historic, or otherwise. I don't remember which caller, but someone broke contra dances in to primarily 1 swing and 2 swing dances (with some others), and then branches 2 swing dances into dances where the swings are in adjacent phrases (ex A2 & B1) or non-adjacent. That type of tree system could be the basis for basis for classifying dances and keeping track of how close your dances are to others (you'd still need a database of existing dances to compare to). On Sat, Sep 1, 2012 at 2:59 AM, Chris Page <chriscpage(a)gmail.com> wrote: > On Fri, Aug 31, 2012 at 7:04 PM, Linda Leslie > <laleslierjg(a)comcast.net> > wrote: > > > Tenth Year in Tommerup (Linda Leslie). Same dance by Greg Frock > > called Hopping Tiger, Baby Squirrel. I have not had the opportunity > > to talk with Greg about who might have written the dance at an earlier date. > > > > I know I have run across a few others, but have not kept tract of them. > > Linda > > > > And they're both idential to "Practice Petronella" by Tom Lehmann. > > I've written several dances that other people have written or wrote later. > > There's numerous duplication if you look close. I've even run across a > few cases of callers accidentally duplicating their own dance, > publishing two different names with the exact same moves. > > -Chris Page > San Diego > _______________________________________________ > Callers mailing list > Callers(a)sharedweight.net > http://www.sharedweight.net/mailman/listinfo/callers > -- Luke Donforth Luke.Donforth(a)gmail.com <Luke.Donev(a)gmail.com> www.lukedonev.com _______________________________________________ Callers mailing list Callers(a)sharedweight.net http://www.sharedweight.net/mailman/listinfo/callers

12 years, 9 months

Re: [Callers] mixers for regular dancers not ons

by David.Millstone＠valley.net

Borrowdale Exchange can be found here: http://homepage.ntlworld.com/greenery/BarnDances/WholeSet.html It's fun, especially when called to fast-tempo old-time southern Appalachian tunes. This one has you moving all over the floor. You'll find a video of a similar three-couple mixer called by Phil Jamison: http://squaredancehistory.vidcaster.com/44TM/pull-the-lady-thru-mixer/ In this one, though you mix up partners, you stay with the same threesome. I've had a lot of fun recently with this mixer figures from the southern Appalachian tradition: http://squaredancehistory.vidcaster.com/DbJm/harlem-rosette-big-set-square-… You'll see that at the start of the video, people are staying with their partner but partway through the caller changes the pattern slightly. (You'll see the change around 1:25 into the video.) Here's a fun dance from caller/musician Brian DeMarcus, now living in Anchorage but with a long time in North Carolina: 3x3 Bow Knot Mixer (Brian DeMarcus) Lines of 3 like Spokes of a Wheel Facing ccw A1 Lines of 3 Walk Forward (8) RH High, LH Low, Reverse Direction of Line (8) A2 Lines of 3 Walk Forward (8) RH High, LH Low, Reverse Direction of Line (8) B1 LH High, Rt person duck under to center of set (8) and Circle Left with others. Two that made arch swing on the outside of set. (8) B2 Outside Two Promenade, while insides Circle Rt Inside join up with any Twosome to reform Lines of 3 The transition from A2 to B1 is a continuous motion. There are a gazillion circle mixers. Here's one from a Danish choreographer that will work if the circle can fit nicely onto the floor and if your dancers are familiar with box the gnat / swat the flea: Disturbed by Insects (Inga Morton) mixer Formation: circle of couples, all facing counterclockwise A1 Promenade (with inside hands joined) California twirl Promenade back California twirl (then join both hands) A2 Ladies, push your partner to the center Gents, push your partner back Ladies, push your partner to the center Ladies, go back B1 With your partner box the gnat With your opposite to the left swat the flea With your opposite to the right box the gnat With your opposite to the left swat the flea B2 With your opposite to the right balance and swing Note: After each of the movements in B1, move a little away from the other person. You can find lots more on the syllabi from the Ralph Page Dance Legacy Weekend: http://www.library.unh.edu/special/index.php/ralph-page-dance-legacy-weekend Download the Master Index-- it's a spreadsheet in Excel format-- and then go to the particular year for instructions to the dances you want. You'll find some under scatter prom, circ mixer, Sicilian mixer, and then there's always one of several versions of Ninepin, a square with an extra person in the middle. You can find one version of Ninepin here: http://squaredancehistory.vidcaster.com/FmJ4d/the-ninepin/ In this version, when the call "all the Ninepins to the center" comes, the Ninepin is joined by all the others of the same sex as the Ninepin. David Millstone

12 years, 9 months

Re: [Callers] Hull's Victory

by Chrissy Fowler

Oh dear me. And I thought it was supposed to be 'young people these days' who have no manners with technology... I wonder what his partner thought of it. And at least there were no fatal accidents. C This video also contains a good example of why using your smart phone while contra dancing is a bad idea. Cheers Elmo

12 years, 10 months

Re: [Callers] Hull's Victory

by David Smukler

I was calling for the Rochester (NY) English dancers last night, and included a rendition of Hull's Victory with English styling. I did an old version with very nice symmetry (and no partner swing) that I got from Northern Junket. See <http://www.izaak.unh.edu/dlp/NorthernJunket/pages/NJv01/NJv01-11/NJv.01.11.…>. Excellent, jaunty music was provided by Laurel Sharp and Barb Seppeler. The dance was well received. David Smukler Syracuse, NY

12 years, 10 months

Re: [Callers] Yearn / Slice?

by John Sweeney

My understanding is that the move used to be called only "slice" then some callers started explaining what is what by telling people that they should yearn to dance with the people on their left (normally) diagonal - that was just to emphasise what a slice is all about. The term became popular and some people started using the word "yearn" for the move. So slice and yearn are identical. They are both single progressions, you yearn (or slice) towards someone on the diagonal and then fall back opposite them. If you want a double progression then it is a double slice - I have never heard that called a double yearn - it wouldn't make sense as yearning is all about moving towards someone that you want to dance with. Double slices are usually in long lines. In a single yearn people often work as a couple so that they have a free hand to press up against their new opposite's hand before falling back. Again, it emphasises who your new neighbours are. But there is no rule as to whether a yearn/slice is as a couple or in a long line. And undoubtedly there are other interpretations somewhere and somewhen in the dance world :-) 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, 10 months

Yearn / Slice?

by David.Millstone＠valley.net

I'd appreciate some clarification about several relatively new terms in the contra dance world. In her description of Fruit Punch, Joy wrote: A1 With couple on L diagonal, Yearn to new Neighbors and fall straight back (8) My understanding was that "yearn" means moving on the left diagonal toward one set of dancers, and then back from there on the left diagonal so that a couple has moved two places. If I understand Fruit Punch, the couple has only moved one place, forward on the left diagonal and then straight back. I've heard Bob Isaacs and others refer to that move as "slice" left but I don't know if that's common usage. "Yearn" was created by Seattle choreographer George Walker in his dance "A Quarter More/" http://www.quiteapair.us/calling/acdol/dance/acd_121.html David Millstone Lebanon, NH

12 years, 10 months

Redbeard Reel

by Bree Kalb

I have Bob Isaacs’s dance Redbeard Reel, that I must have written down after hearing it called. I tried to find the dance via a web search and also to contact Bob via Facebook. Now I’m turning to this helpful and knowledgeable group for help. Here’s the dance as I have it; my question is about B1. I’m pretty sure there’s a balance once the dancers are in an ocean wave, and would like to have that confirmed. If I made any (other) errors, please let me know! Becket formation A1 Long lines forward and back; Gents allmd Left 1 1/2 A2 Neighbor gypsy & swing B1 Pass the ocean wave (Balance?) Pass thru along the set; with the next Mad Robin while facing partner across B2 Women pass Left; Partner swing. Thanks, Bree Kalb Carrboro NC

12 years, 10 months

Unusual Formations at Open, Public Contra Dances (Was: "Triplets")

by Greg McKenzie

On introducing triplets David Smuckler wrote: > Just do. Trust a good dance to "speak to" the dancers about why it is > good. Anything unfamiliar requires a bit of a leap, but if we never take > that leap our dances will feel more and more the same, and what fun is that? > Well, the fun in that is precisely that "sameness." Uncommon formations and figures appeal to many dance enthusiasts. When calling an open, public contra dance, however, it is good to keep a few things in mind: - Our public contra dances are not merely a "gathering of dance enthusiasts." They are an offering from our dancer communities to the larger community--including new dancers and many non-enthusiasts. As such we invite first-time dancers and first-time contra dancers to participate--without any prior instruction or preparation. This is the heart and soul of contra dancing and it's greatest strength is the dance form's ability to "sweep in" new dancers without lessons. - At open public dances the real fun comes from meeting and sharing your passion for dance with many new, charming, and interesting partners. If you offer too much that is "different" or "interesting" you run the risk of undermining that core purpose of the event. - There are many forms of social and expressive dance available in our world today. If we attempt to compete by offering "interesting" or "challenging" dances at our open, public events we will lose that race. The purpose of open, public contra dances is to be a fun, community social event. Too much teaching can easily undermine that purpose. - The fun of an open, public social dance with joyful and spirited music, is something all of us can share. This is true no matter how experienced or sophisticated the dancer is. It is the caller's job to make this event "work." If the caller dominates the evening with lots of verbal instruction and lecturing then they are not making this open, public social event "work." - The fun at open, public contra dances comes from the variety of people we interact with and the spirited and varied music played by the live orchestra. Being "challenged" by new material is not appealing to many who attend these events. Why alienate a third of your audience? - Everyone can enjoy the more simple dances that are accessible to everyone. Experienced dancers can be "challenged" to lead the newcomers quickly through the dance and to get everyone dancing with little or no walk-through. The "challenge" at these dances is to be an effective host and to work closely with the caller to make the event "work" well. The caller's job is to make this process fun for everyone. - Triplets and other unusual formations certainly have their place. Before introducing such material at an open, public contra dance, however, the caller should carefully consider how it will affect the social purpose of the event and make sure that they can make the dance "work" for everyone with little or no verbal "teaching-from-the-mike." Enough for now. - Greg McKenzie

12 years, 10 months

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Contra Callers