I also speak from limited calling experience (4 years, in Maine and more
recently Boston). I do give more programmatic weight to becket dances
towards the end of the halves, and occasionally i'll modify a B part that
already circles left to end with a partner swing.
(I take a fairly conservative approach based on my own experience as a
dancer. I may be atypical but i rarely find partners i'm so into that i
want every dance to end with a swing. IMO, if this were all about partners,
people would be dancing salsa or swing; i prefer the more
communally-oriented tradition of contra. No doubt there are also a variety
of opinions among the dancers.)
I'd say there are two basic approaches a caller can take to this question:
develop a style that is authentically your own (if you love to end with a
swing, do it; if not, why bother?) or consult people in the dance
communities you're visiting as a caller and modify your approach to suit
local tastes.
There is however a technique no one has brought up so far, one used by
several callers i know. I don't think it at all awkward to acknowledge a
new neighbor and then acknowledge my partner, and to that end some callers
simply say "and bow to your partner" as the music finishes, always careful
to ensure it dovetails with what the band is doing.
Will however agree with Chris, the most disappointing of common B2 options
to end with is ladies chain to a left hand star, though i do not think
disappointment is intrinsic to the moves. Perhaps it is because we have
failed to cultivate the basic sense of dancing 'with' the others on all
moves, even the most mundane connective tissue of the dance.
The great strength of this tradition is its plurality.
contra dance music and calling workshops deerfield, nh
Feb. 4 - Carol Compton, "Play in the Band": Feb. 4 - David Millstone, "Call
Chestnuts" March 3 - Chris Ricciotti, "CALLER'S WORKSHOP - A SOLID
FOUNDATION" Sylvia Miskoe "Play Your Accordion for Dancing".
*** RSVP, ASAP to reserve a space. Info and reservations:
<mailto:holt.e@comcast.net> holt.e(a)comcast.net, (603) 679-1915 ***
*** PRICE: $25.00, includes admission to the evening dance where workshop
leaders will be calling and playing. *** (Contact us at the above address to
explore the possibility of a few limited scholarships if needed).
*** Additional details will be sent to workshop participants.
*** Additional info: contact holt.e(a)comcast.net and I will send you a copy
of the flyer.
FYI
Choreography, choreographer.
Martha Wild
On Dec 31, 2011, at 9:00 AM, callers-request(a)sharedweight.net wrote:
> Send Callers mailing list submissions to
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> Today's Topics:
>
> 1. Re: Do you share - or don't you? (Greg McKenzie)
> 2. Re: Do you share - or don't you? (Ron Nelson)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Fri, 30 Dec 2011 13:17:20 -0800
> From: Greg McKenzie <grekenzie(a)gmail.com>
> To: "Caller's discussion list" <callers(a)sharedweight.net>
> Subject: Re: [Callers] Do you share - or don't you?
> Message-ID:
> <CAFqkWLvY-vB7_bpbn2YMTgHV5-jn_RtDEKaynAT15u4uORf2QA(a)mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> Hanny wrote:
>
>> Valid reasons indeed, Colin. But what about dances that are NOT
>> your own
>> and that you call? Does anybody ever announce 'please don't call
>> this dance
>> without speaking to me first' or somesuch?
>>
>
> I can see why some coriographers may want to insulate a new dance
> from the
> folk process...for a time. Eventually, however, the folks will get
> a hold
> of it and you will lose control. I don't know of many dances that are
> being hoarded by callers. It seems like a doomed effort in any
> case. If
> someone doesn't want their dance called I will remove it from my
> database
> and allow it to spiral into the oblivion of "protected works" where it
> belongs. The musicians play public domain music and I feel that we
> should
> call dances that are also available for free use. There are plenty of
> great dances available without restriction and more being written
> all the
> time. I always give credit to the alleged coriographer on my cards
> and
> when I pass a dance on. If you want to become immortalized by your
> work it
> is best not to keep it in a lockbox.
>
> - Greg
>
>
> ------------------------------
>
> Message: 2
> Date: Fri, 30 Dec 2011 21:24:21 +0000
> From: Ron Nelson <callerman(a)hotmail.com>
> To: <callers(a)sharedweight.net>
> Subject: Re: [Callers] Do you share - or don't you?
> Message-ID: <BAY171-W136DA2E1056637AF29B2850B8920(a)phx.gbl>
> Content-Type: text/plain; charset="iso-8859-1"
>
>
> When I first started calling square dances, some 50 years ago, I
> would attend other callers' dances to research my own presentation.
> i would carry a little notebook in my pocket to make notes. The
> point is, once you have presented the figure in public, it is no
> longer within your control. You can only control its being
> reprinted without proper recognition and permission.
>
> Ron Nelson
> Chula Vista, CA
>
>
>
>
>> Date: Fri, 30 Dec 2011 13:17:20 -0800
>> From: grekenzie(a)gmail.com
>> To: callers(a)sharedweight.net
>> Subject: Re: [Callers] Do you share - or don't you?
>>
>> Hanny wrote:
>>
>>> Valid reasons indeed, Colin. But what about dances that are NOT
>>> your own
>>> and that you call? Does anybody ever announce 'please don't call
>>> this dance
>>> without speaking to me first' or somesuch?
>>>
>>
>> I can see why some coriographers may want to insulate a new dance
>> from the
>> folk process...for a time. Eventually, however, the folks will get
>> a hold
>> of it and you will lose control. I don't know of many dances that are
>> being hoarded by callers. It seems like a doomed effort in any
>> case. If
>> someone doesn't want their dance called I will remove it from my
>> database
>> and allow it to spiral into the oblivion of "protected works"
>> where it
>> belongs. The musicians play public domain music and I feel that we
>> should
>> call dances that are also available for free use. There are plenty of
>> great dances available without restriction and more being written
>> all the
>> time. I always give credit to the alleged coriographer on my cards
>> and
>> when I pass a dance on. If you want to become immortalized by your
>> work it
>> is best not to keep it in a lockbox.
>>
>> - Greg
>> _______________________________________________
>> Callers mailing list
>> Callers(a)sharedweight.net
>> http://www.sharedweight.net/mailman/listinfo/callers
>
>
> ------------------------------
>
> _______________________________________________
> Callers mailing list
> Callers(a)sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>
>
> End of Callers Digest, Vol 88, Issue 36
> ***************************************
I wrote two emails to the person who definitely knew a dance (the caller)
asking the relevant questions about author, correct name and choreography. When
no answer came, I turned to this list, successfully.
Now I wonder about folks' attitude about sharing the materials they carry in
their collection, and about which they are being asked. Once a dance has been
presented on a public dance floor, do you elect NOT to share? And what might be
your reasons?
Hanny
I had the opportunity to try out the dance last night on live dancers and
it went very well, got lots of positive feedback from the dancers.
Jim Hemphill
I failed to note it down immediately after dancing it... Maybe one of you can
fill in the considerable gaps, please:
1) The choreography stems from 'someone in California'.
2) Formation: two improper contra lines, close together for a double dance
across the whole set
3) there's a hey for all eight in it
Your turn....
Thanks, Hanny
Hmm. "Devil's Dervish" (Linda's variation of Al Olson's "Devil's Duty")
does not fit the 'someone from California' criterion.
And "Major Hey" does not fit the 'improper formation' criterion. (For
anyone who loves "Major Hey, but does not love 40-bar dances, Carol Ormand
has a 32-bar variation!)
However, i did a bit of sleuthing... there's a Chris Page variant of the
same Al Olson dance, called "The Dancer's Duty" - which fits both criteria!
It's on his page http://chrispagecontra.awardspace.us/dances/index.htm
Hoping that is what you sought,
Tavi
> Hanny, could. It be devil's dervish by Linda Leslie?
>
> All best,
> Kim
>
> > Date: Mon, 26 Dec 2011 11:01:53 -0500
> > From: Hanny Budnick <kyrmyt(a)cavtel.net>
> > To: Callers(a)sharedweight.net
> > Subject: [Callers] Double contra - whodunnit?
> > Message-ID: <4EF89A71.7020407(a)cavtel.net>
> > Content-Type: text/plain; charset=ISO-8859-1; format=flowed
> >
> > I failed to note it down immediately after dancing it... Maybe one of you
> > can
> > fill in the considerable gaps, please:
> > 1) The choreography stems from 'someone in California'.
> > 2) Formation: two improper contra lines, close together for a double
> dance
> > across the whole set
> > 3) there's a hey for all eight in it
> > Your turn....
> > Thanks, Hanny
> >
> >
> > Message: 9
> > Date: Mon, 26 Dec 2011 11:14:33 -0500
> > From: Chris Page <chriscpage(a)gmail.com>
> > To: "Caller's discussion list" <callers(a)sharedweight.net>
> > Subject: Re: [Callers] Double contra - whodunnit?
> > Message-ID:
> > <CAObbV+NTLi-=
> tZ0YyZ+YKeENoue-Zjwh-g9VO9PagvTtn-tQ0w(a)mail.gmail.com
> > >
> > Content-Type: text/plain; charset=ISO-8859-1
> >
> > On Mon, Dec 26, 2011 at 11:01 AM, Hanny Budnick <kyrmyt(a)cavtel.net>
> wrote:
> > > I failed to note it down immediately after dancing it... Maybe one of
> you
> > > can fill in the considerable gaps, please:
> > > 1) The choreography stems from 'someone in California'.
> > > 2) Formation: two improper contra lines, close together for a double
> > dance
> > > ? across the whole set
> > > 3) there's a hey for all eight in it
> > > Your turn....
> > > Thanks, Hanny
> >
> >
> > "Major Hey" by Erik Hoffman? It also has Rory o' More slides in it,
> > and is 40 bars. Though I think it's a Becket 4-face-4.
> >
> >
> > -Chris Page
> > San Diego
> >
> >
> > ------------------------------
> >
> > Message: 10
> > Date: Mon, 26 Dec 2011 11:17:05 -0500
> > From: "Bree Kalb" <bree(a)mindspring.com>
> > To: "Caller's discussion list" <callers(a)sharedweight.net>
> > Subject: Re: [Callers] Double contra - whodunnit?
> > Message-ID: <ECD7604DAEE1417395377A682DA8CDD2@BreeHomeLaptop>
> > Content-Type: text/plain; format=flowed; charset="iso-8859-1";
> > reply-type=response
> >
> > Might be Major Hey by Erik Hoffman. Here's a link to a previous
> discussion
> > and description on this list.
> >
> > http://www.sharedweight.net/pipermail/callers/2007-December/001112.html
> >
> > Bree Kalb
> >
> > -----Original Message-----
> > From: Hanny Budnick
> > Sent: Monday, December 26, 2011 11:01 AM
> > To: Callers(a)sharedweight.net
> > Subject: [Callers] Double contra - whodunnit?
> >
> > I failed to note it down immediately after dancing it... Maybe one of you
> > can
> > fill in the considerable gaps, please:
> > 1) The choreography stems from 'someone in California'.
> > 2) Formation: two improper contra lines, close together for a double
> dance
> > across the whole set
> > 3) there's a hey for all eight in it
> > Your turn....
> > Thanks, Hanny
> > _____________________________________
These guidelines for dance teachers include dozens of nuggets for any dance
caller. I wish I'd seen it when I stared calling, and it's stilt a good
reminder of things for me to remember to do.
http://socialdance.stanford.edu/syllabi/teaching_tips.htm
Rich Hart.
I'm fairly new to Calling and fascinated with Contra dance choreography.
Below is my attempt at a Groundhog day dance. The groundhog starts his
day by looking for his shadow and so does this dance.
Groundhog Daze Becket
A1 Gypsy your shadow
Partner swing
A2 Circle left 3 places
Balance the circle, 1's make an arch, 2's dive thru
B1 Next neighbor balance and swing
B2 Long lines forward and back
Ladies allemande right 1/2, partner allemande left 3/4
I know there are thousands of dances out there so if this is not an
original, please let me know the true name.
Thanks, Jim Hemphill
The applicability of shadow dances notwithstanding, I have also used
tunnel dances and dances with a dip and dive progression in honor of the
other piece of the tradition, namely, coming out of the hole to greet
the whatever.
Walter
