Contra Callers

contracallers@lists.sharedweight.net

22 participants
4374 discussions

by Kalia Kliban

Hi all I just encountered a triplet in the wild for the first time (they don't get called much around here, and I've been out of the dancing loop for a bit) at our Santa Rosa (CA) contra last Friday. It was Ted's Triplet #24. Apparently wild cheering is traditional when one of Ted Triplets is announced? As an English dancer, I found it to be a pretty simple and straightforward dance and a nice break from loads o' longways, but the contra dancers all around me were falling to bits, apparently completely flummoxed by the small sets. How often do triplets show up in programs where you dance? How often, and in what sorts of settings, do you call them? What do you do differently to teach them, to help contra dancers with the unusual formation? They seem like useful dances, both for a change of pace and for those dreaded dinky crowds, but as I mentioned, this was my first time encountering one in years of dancing. Are they more common on the East Coast? Kalia

12 years, 10 months

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

by Chrissy Fowler

We've had this programming discussion before on SharedWeight, and I doubt anyone's really going to change their personal/individual position dramatically. Some like variety, some like repetition, some like a little of both. We all have good reasons for our personal and/or professional preferences. One thing that occurs to me is that programming expectations for a given dance series may be considered the purview of the dance organizers (individual/committee/whoever does the job). Personally, I find it helpful to have input from a committee. They know their series better than I as a caller, and they have much more invested in its continued success. We give extensive input to the visiting callers at our monthly series, which is known for being extremely well-attended and energetic, with many happy newcomers and regulars of all ages at every dance. I've copied the latest version of that info below. Perhaps the proof is in the pudding. If your dance series is thriving with a positive outlook for future good health, then it doesn't matter what any outside experts say. Cheers, Chrissy Fowler Belfast, ME ** CALLERS ** - Our series welcomes new dancers. Expect relative novices and rank beginners of all ages to join the contradance. - Experienced Maine dancers at our series range in age from seven to seventy, and are friendly, enthusiastic, and used to the core contra figures, although our overall style has been described as evincing our lumberjack/fisherman/back-to-the-lander roots. - Our committee appreciates judiciously sprinkled tips and reminders of ways to make dancing fun and safe for everyone. A few of these style tips, whether simply described from the stage or demonstrated on the floor, and especially those issued with good cheer or humor, would benefit our dancers. - Directly teach the swing at some point in the first half. - We prefer reasonably interesting dances with logical flow (enabling us to enjoy the music and each other) over complex choreography that requires intense concentration (hampering our enjoyment). - Most dancers will expect a program that is primarily modern contras. However, the committee strongly encourages inclusion of a few other dances, in part to broaden our community's horizons. ("Other" could be a different formation, such as a circle, square, four-face-four, Sicilian circle, or triplet; or another type, such as chestnuts or mixers.) - As you look out from the stage, the set furthest to your left is the one most likely to fall apart. Newcomers congregate there. Also, the floor slopes toward the stage on that side of the hall, so with four or five sets, the left-most 2 sets will squash toward the stage. Remind those sets to leave space at the top, and to resist the urge to slide toward the stage. - The hall is often extremely crowded, with a very high percentage of newcomers. The mood is generally one of elation and good cheer, but the combination of unskilled dancing, rowdy enthusiasm, and very little elbow room makes for a dance experience that some might consider unpleasant, perhaps even unsafe. Keep this in mind when programming, teaching and calling. (Space and safety considerations trump any committee expectations of varied formations such as squares or circles.) - We have an archive book listing past programs, which you may refer to before/during the dance. Please record your actual program there – name of dance, composer/author, etc. - Check in with us before your dance is scheduled, to see if things have changed, and to see what other insights we might offer. ~~~~~~~~~~~~~~~~~~~~~~~~~~ dance calling: chrissyfowler.com monthly dance series: belfastflyingshoes.org

12 years, 10 months

Re: [Callers] Triplets

by John Sweeney

Triplets don't have to be longways, they can also be in circles. This one usually goes down well: Gypsy A Trois (by John Sweeney) Three Couples in a Circle A1: Circle Left One Place; Balance the Ring Three Men DosiAll A2: Circle Left One Place; Balance the Ring Three Ladies DosiAll B1: Partner Allemande Left to Three Ladies' Gypsy in the middle WHILE Men Single File Promenade CCW outside B2: Meet your Partner (second time, at home): Partner Allemande Left (full Allemande to the person who started opposite you) This Neighbour Swing - this is your new Partner x3 should take you home (at least to your original partner, if not the exact spot on the dance-floor!). Details of exactly what a DosiAll is, and how to teach it, are below, with this standard contra dance that uses it. DosiAll (by John Sweeney) Contra; Becket A1: Circle Right Half Way; Balance the Ring DosiAll A2: Circle Left Half Way; Balance the Ring DosiAll B1: Partner Balance & Swing B2: On the Left Diagonal: Half Hey - Ladies lead by Right Shoulder Half Promenade back across to your own side and flow into the Circle Right The DosiAll is a Dosido for all four people simultaneously. Teaching: First you get the two men to Dosido. Then you get the two ladies to Dosido. Then you get all four to do a four-person Gypsy. Then you say "OK, now I want you all to do the Dosido simultaneously. You are going to follow the track you walked in the Gypsy, but you are doing a Dosido. Go slightly to your left as you start forwards so that you don't crash." Once they get the basic idea you can get them spinning counterclockwise in the Dosidos - it is even better if all four spin. Warn them to check the speed of the person in front and adjust so they don't catch up. The Balance the Ring is to synchronise the start of the DosiAll. It means all four people start forwards at the same time. 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

Re: [Callers] Callers Digest, Vol 96, Issue 11

by David Smukler

Hi Laurie, Here are a few stray thoughts about triplets. - Which ones to try first Ted's #24 is a great dance, but not necessarily the first one I'd try to introduce triplets to a group. Ted's #3 is probably the safest and easiest for a community dance. I've found Ted's #29 to be fairly "contra friendly." It starts with a partner bal & sw for all and has very satisfying "flow." Of the triplets I've composed, I'd recommend #5 as most likely to succeed (rather than #4). Of course, all such decisions depend on the crowd. - Where to find them Ted's 41 triplets have all been published. Between Ted's two books, Zesty Contras and Give-and-Take (all available from CDSS) you can find directions for any of them. I will say that I think they are brilliant, but not all of the same quality. Many are quite challenging, especially for groups that are not used to them. Lots of other triplets exist if you go hunting. I'm rather fond of my son Micah's Triplet #pi, which can be found at <http://www.math.uchicago.edu/~msmukler/dances.html>. Why use them? Triplets are a good way to introduce variety into an evening. They don't take very long, so if they are less than perfect you can move on. The whole set is easily visible and "process-able" to all the dancers. We six can work this out. They introduce some fun interaction. For example, I follow Ted's custom of asking all the dancers to introduce themselves and shake hands round their set. There's also the cheering (pretending we recognize which one is #29), which always gets smiles. Triplets can also be a great way to teach certain actions. For example, Linda Leslie's Corner Triplet (sometimes called David's Triplet #1.5) is a wonderful and easy dance for introducing contra corners. - How to introduce them 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? David On Aug 20, 2012, at 11:07 PM, callers-request(a)sharedweight.net wrote: > Date: Mon, 20 Aug 2012 15:28:14 -0700 (PDT) > From: Laur <lcpgr(a)yahoo.com> > To: Caller's discussion list <callers(a)sharedweight.net> > Subject: Re: [Callers] Triplets > Message-ID: > <1345501694.2999.YahooMailClassic(a)web121704.mail.ne1.yahoo.com> > Content-Type: text/plain; charset=iso-8859-1 > > > Thanks for starting the thread,? > Kalia.? I would like to start to include Triplets in one of our community series. ?And tips like these from Louise are helpful. ?I'll look at Ted's 24 later tonight. > I was thinking of Ted's #41 which I have heard referenced either here or on Trad-dance-caller. I also was interested in David's Triplet #4 by David Smukler; also Packing the Boxes... ?I believe David is on either this list or on Trad-Dance-Caller. ?If here, David, can you give me any tips? > Laurie PWest MI

12 years, 10 months

Re: [Callers] Hull's Victory - Proper Right & Left Throughs?

by John Sweeney

How do inexperienced dancers get on with Proper Right & Left Throughs? I have had lots of confusion when I have tried that sort of thing. The newer dancers are used to Becket or First Couples Improper and the man courtesy turning the lady. Many of the men, when they find they have crossed the set and met another man, don't know what to do. (The ladies are slightly better at it as many of them have danced the man's part.) Do the dancers at modern public contras know how to handle this sort of same gender move? Happy dancing, John John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 www.contrafusion.co.uk for Dancing in Kent

12 years, 10 months

Re: [Callers] Hull's Victory

by Val & Tom Medve

At the organizer's request, I called Hull's Victory at the Rochester, Vermont contra evening on Thursday, August 16th -- to great music by The Turning Stile (Joanne Garton and organizer Aaron Marcus). Thanks, David, for bringing the dance's (and naval victory's) 200th anniversary to our attention! Val Val Medve Essex, Vermont valandtom(a)myfairpoint.net

12 years, 10 months

Re: [Callers] Hull's Victory

by David.Millstone＠VALLEY.NET

Good for you, Chris! With Crowfoot providing the music, I'm sure the crowd responded with enthusiasm. I read in this morning's paper that the USS Constitution was going to take a sail around Boston Harbor, ony the second time in more than 100 years that this would take place. A momentous day in many ways! Thanks for letting me know. I'd be interested to know what else you put on your program. David

12 years, 10 months

tempo

by Tom Hinds

Rich Sbardella said: Some songs "sound" fast at 120 and some songs sound slow at 128.? This sound sometimes confuses dancers.? I'd be curious to know if the perception of tempo is influenced by the busyness of the tune or how it's played. Does a tune sound faster if it's notey? Does a less notey tune sound slower? Tom

12 years, 10 months

Re: [Callers] appropriate tempos

by tavi merrill

This may be slightly off topic, since i know nothing about MWSD, and i don't have exact tempo figures to share, but an observation - i've noticed recently that one of the moves in contra dance that is particularly sensitive to tempo issues is the hey, particularly when followed by a move like long waves balance & ROM. (You might notice this in dances such as "Rant & Roar" by Russell Owen and "Groovemongers Contra" by Don Flaherty). For ROM wave balances to work well, the tempo must be such that they can complete the hey and form waves ready to balance on the down beat of the next phrase. Conversely, particularly in a dance where a hey is followed by a balance & swing, when a tempo is too slow, dancers may finish a hey with a couple extra beats to spare before the balance. When there are live musicians involved, it strikes me that, whatever the starting tempo, musicians can respond to the dancers (and if they don't notice, callers can make sure they do) - particularly noting whether people are repeatedly late or early for the next move after a hey - or if dancers arrive early to a progression figure or appear to be rushing, all signs that the tempo needs adjustment.

12 years, 10 months

Appropriate Tempos

by Dugan Murphy

Callers, What is your experience working with bands to establish an appropriate tempo? Do bands ever ask you what tempo you want? Do you ever request a particular tempo to fit a dance? Do you communicate tempo requirements numerically (beats per minute) or maybe by tapping your feet? When are slower tempos appropriate and when are faster ones appropriate? What do you consider to be the range in beats per minute that is appropriate for contra? Some preliminary research told me that a range of 112-120 beats per minute is appropriate. Do you agree? I've called with maybe 20-25 bands in my young calling career and only 2 have asked me for guidance or confirmation concerning the tempo of their music (both bands play primarily for non-contra audiences, I believe). I told both bands to use their judgment, which produced satisfactory results in all cases except one dance in which the band misunderstood my request for a sultry/flirty tune to mean that they should play at about half the tempo one would normally expect for contra, which proved terribly confusing for the dancers. The lesson I learned is that I ought to know more about the range of tempo that is expected for contra and what tempos are appropriate when so that I can provide that information to bands when asked. -- Dugan Murphy Cincinnati, Ohio http://caller.duganmurphy.com <http://www.linkedin.com/in/duganmurphy>

12 years, 10 months

Jump to page:

2025

2024

2023

2022

2021

2020

2019

2018

2017

2016

2015

2014

2013

2012

2011

2010

2009

2008

2007

2006

2005

2004

Contra Callers