I have settled on using Google Docs spreadsheet to manage my dances. For
the most part, it works really well. The only limitation I've encountered
is I can't search the entire document, only one tab at a time. Each tab is
a different dance and I have a format for entering the dance and the
teaching script. As a fairly new caller, I thought it was important to
write out my teaching script word-for-word concentrating on clear and
concise. It has been a great help! I'm really good at reading so it
doesn't sound like I am reading it word-for-word and now that I have called
a while, my clear and concise script is committed to memory for the basic
moves.
I can also share my google doc with bands and other callers I am working
with. I can call it up on my netbook or smart phone if I'm in a situation
where I need to call a dance unexpectedly.
I do not use the netbook or phone to call from except in an emergency. I
print them out on a full size sheet of paper and put them in a three ring
binder in order for the evening, back-ups are available in a pocket in the
binder. I place the binder on a music stand so I can be hands-free and only
glance at it when needed. I can make notes all over the piece of paper and
then go home and update the spreadsheet so the next time I print it off, it
will have my most current notes.
I also use a google doc for keeping up with the programs I've called, when,
where, what, band, pay, etc.
If anyone would like to see my google doc, I'd be glad to share.
JoLaine
Hi all,
I'm calling a couple of community dances this summer for a non-profit
that mentors adult artists with varying developmental disabilities. A
high proportion of the dancers will be their clients, or other
similarly-disabled clients of the parent organization. The mentors
and other agency staff will be on hand to dance as well. We're all very
excited that this is happening, and I want to be sure it's a successful
experience for the dancers, especially those with disabilities.
Thanks for generous suggestions thus far! I wanted to clarify that these are not primarily folks in wheelchairs. Their disabilities include Down Syndrome, autism, and mental illness, and the parent agency's mission is to assist adults and children with disabilities
to obtain a full and inclusive life in their chosen community.
I'm working on this with the agency staff too, but also wondered if any of my caller peers had direct experience with creating a successful dance experience for folks with such disabilities.
Chrissy Fowler
Belfast, ME
Hi all,
I'm calling a couple of community dances this summer for a non-profit that mentors adult artists with varying developmental disabilities. A high proportion of the dancers will be their clients, or other similarly-disabled clients of their parent organization. The mentors and other agency staff will be on hand to dance as well. We're all very excited that this is happening, and I want to be sure it's a successful experience for the dancers, especially those with disabilities.
Has anyone on this list done anything similar? If so, do you have any specific suggestions as I prepare? (On or off-list. Content or approach.)
Thx!
Chrissy Fowler
Belfast, Maine
To those who have explore technological options for organizing your
dances, what have you come up with? I'm starting to see more laptops,
PDAs, tablets, and smartphones* at dances so does anyone know how
that's working? What software are you using?
Will
* At an open mic session last weekend a friend decided to call at the
last minute and pulled the dance up on his smartphone. I was
tremendously tempted to pull out my phone and call him when I dropped
out at the bottom of the set. I resisted the urge :-)
In order to get experience as a caller I started my own dance series
(mostly for a beginning crowd). On occasion I would hire another
caller who also was inexperienced. You've never heard of this woman.
She wasn't polished. Some of her dances were dorky, her timing so-so
etc. BUT she was the greatest caller I've ever seen. She had a
talent for interacting with people that was incredible. She got them
laughing, yelling and screaming with joy with her style, kidding and
dances. The dancers were glad they came dancing. And they had a
reason to come back. I've never seen any other caller do what she
did. I wish I could copy her style but can't- this is something
that's unique to her.
I've begged her to keep calling but she's not into it.
Tom
Hi all-- There are several dances I've called, or am about to call, that
I've taken from Youtube videos that did not have the name attached. Hope
this crowd can help.
1. Just called by Gaye Fifer at Pigtown Fling...
Ring bal, pet twirl... repeat
Bal & N swing
W gypsy 1 1/2.... P swing
Circle L 3/4... ring bal, CA twirl
2. Didn't note when or where... it's a Becket...
Circle L 3/4, pass through... new N swing
R+L through... W chain
Ring bal, Pet. twirl... repeat
P bal and wing
3. Called by Cis Hinkle at a Blue Moon weekend in 08 or 09...
(start in short waves)
Wave bal, turn 1/2... M allmnde L 3/4 (to long wave in center), bal
Allmnde 3/4, P swing
W allmnde R 1 1/2, N swing
Bal (across set), pull by R, L... w/ next, dosido 1 1/2
Thanks!
Keith Tuxhorn, Austin
Re Star Crazy:
I remember dancing a square where all of us ended up holding the right
hand of our opposite - forming a lattice rather than a star - and then
drawing the lady/man/shorter one/taller one under the star, starting at
the bottom pair of hands.
Anyone know the dance?
Of course some bright spark worked out how to hold hands so that no pair
of hands was lowest!
Happy dancing,
John
John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 &
07802 940 574
http://www.modernjive.com for Modern Jive Events, Instructional DVDs and
Interactive Maps
http://www.contrafusion.co.uk for Contra Dancing in Kent
To add to the history that Bree offered, the last time Honor Among Thieves was
posted on this most excellent list (by John McIntire), Alan Winston took it
further back yet. So the whole story, as I can put it together from what
everyone has said, is as follows:
Alan said that the 'chase' figure was originally found in Playford’s 1701 ed,
Cheshire Rounds, a longways duple minor formation like contra. It then migrated
across the sea to become incorporated into Appalachian dancing. Ted Sanella
encountered the move in these old-time southern Appalachian square dances, and
in the mode of artists everywhere, nabbed it to incorporate into modern American
contra - the first to do so with this particular move. Then in 1986, Penn Fix
took Ted's dance and added a P-Sw for all, to appeal to modern contra tastes.
What an interesting dance biography! Thanks to all of you scholars.
Tina
Hi,
Please could you let me know how to find the ECD list
mentioned earlier.
Thanks.
Happy dancing,
John
John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 &
07802 940 574
http://www.contrafusion.co.uk for Contra Dancing in Kent
