Lisa Greenleaf has been a key organizer for the dances at NEFFA, known
for (giant) packed halls. I believe she told me once she has a list of
moves that she recommends callers avoid -- but I don't remember what
they are. Anyone got NEFFA experience?
~ Becky Nankivell
Tucson, AZ and Long Beach, CA
On Sat, Mar 26, 2011 at 12:06 AM, Paul Wilde <zenyente(a)gmail.com> wrote:
> What I would like is for people to make suggestions of fun, flowing
> dances that are compact, especially in their width. I think having a "list"
> or some other organizing format, of these "compact dances" would greatly
> enhance our toolboxes. What do you think?
>
> Paul
Hi,
I call some ONS dances now and then and like The Carding (from Dudley Laufman's "Sweets of May" book), a quadrille that can accommodate varying numbers of couples which is something I love in any ONS dance. The dancers enjoy it and it's fun to call. But I'm challenged in the beginning to get the dancers in formation (if I or someone isn't on the floor to help). Squares aren't intuitive for many folks. And once in a square they really balk at adding extra couples to the sides, in spite of assurances that it really is OK. Once we're on our way all is fine and everyone is happy. But I'd like to be better at getting the dancers comfortably in a quadrille/square formation when it is new for many. Any suggestions?
Thanks,
Sue Robishaw
Upper Peninsula of Michigan
PS - I'll add my vote for Snowball. The AABB version works for 3, 4 or 5 couples, though I often do top couple to the bottom at the end. I didn't know it had a CC part.
>
>
> 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
Was that figure found in an Appalachian or western square? Or both?
I think the whole point of a North Country Ladies' Chain is that the man
DOESN'T turn around (them Northerners being a lazy bunch apparently!).
Yes, I was taught originally that the man just stands still. After the
lady has turned under his hand he lowers his left hand and changes the
lady's left hand from his left hand to his right hand behind his back,
drawing the lady across to his right.
However, with the flowing choreography of a modern contra dance I would
always be more sympathetic - I make it very clear that I am doing
something different by bringing my left hand down strongly as soon as
the lady has gone under it and I step forwards slightly, then as I
change hands behind my back I step to the left as I draw the lady to my
right. It should be a smooth and pleasing experience for both parties.
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
On Sat, Mar 26, 2011 at 12:06 AM, Paul Wilde <zenyente(a)gmail.com> wrote:
> What I would like is for people to make suggestions of fun, flowing
> dances that are compact, especially in their width. I think having a "list"
> or some other organizing format, of these "compact dances" would greatly
> enhance our toolboxes. What do you think?
>
> Paul
> ______________________________
>
Hi Paul,
Good topic, thanks for starting it.
I remember being at a crowded dance in Montpelier with Nils Fredland
calling, and he did 4 face 4 dances. I was initially surprised, but it made
good use of the space. By merging two sets laterally it eliminated the space
that would normally be between those sets and made folks aware of 7 other
dancers instead of 3 other dancers.
I think it depends on the geometry of the hall, but 4 face 4 dances can be
good, non-obvious, efficient use of space. Just something to add to that
part of your tool-box.
--
Luke Donev
http://www.lukedonev.com
Luke.Donev(a)gmail.com
-If I'm going to a new hall, I ask the dance organizer beforehand about the
hall. Is it longways? Square? Are there posts/pillars within the dance
floor?
-Next I ask how full the hall gets. When the lines only fill up to 3/4 of
the hall, you can still do pretty much any move.
-Dance organizers with experience will often know specifics to tell a
caller, and sometimes won't even wait for you to ask. It was a great help,
before calling the Seattle Phinney Ridge dance for the first time, for
organizer Tom Wimmer to tell me the hall is filled from end to end, so don't
call any down-the-hall dances. Maybe in the first dance, but forget it
afterwards... He was right!
-Paul, I don't think a hey is a problem. Look at the shape from a bird's-eye
view. It's a narrow line, and can be made narrower by dancers with
experience. That move isn't a "space hog".
-Luke, I think a 4-face-4 is a space hog in length, but can help in width.
Although if you've been dancing with two lines for the rest of the night,
I'm sure hoping hall width hasn't been a problem!
-Down the hall, and 4-face-4, are the first things to go for me in space
restricted halls. Most other moves can be made to fit, or fit better.
Keith Tuxhorn, Austin
My first suggestion would be to eliminate or highly restrict moves like a
> full hey in these situations. What I would like is for people to make
> suggestions of fun, flowing dances that are compact, especially in their
> width.
> I think having a "list" or some other organizing format, of these "compact
> dances" would greatly enhance our toolboxes. What do you think?
>
> This list is truly amazing. Thank you everyone.
>
> warmest regards,
> Paul
>
>
>
>
> Hi Paul,
>
> Good topic, thanks for starting it.
>
> I remember being at a crowded dance in Montpelier with Nils Fredland
> calling, and he did 4 face 4 dances. I was initially surprised, but it made
> good use of the space. By merging two sets laterally it eliminated the
> space
> that would normally be between those sets and made folks aware of 7 other
> dancers instead of 3 other dancers.
>
> I think it depends on the geometry of the hall, but 4 face 4 dances can be
> good, non-obvious, efficient use of space. Just something to add to that
> part of your tool-box.
>
> --
> Luke Donev
> http://www.lukedonev.com
> Luke.Donev(a)gmail.com
>
>
> ----------
A good simple dance for a crowded hall is Joseph Taulane's "Steve's
Swing." I like to use it as the last dance of the evening. It is
available in "California Twirls," so perhaps I shouldn't write it out
here. It has a swing actives, but that can be easily switched back
and forth for the 1s and 2s to do.
Martha
On Mar 26, 2011, at 9:00 AM, callers-request(a)sharedweight.net wrote:
>
> Message: 3
> Date: Sat, 26 Mar 2011 01:06:12 -0400
> From: Paul Wilde <zenyente(a)gmail.com>
> To: "Caller's discussion list" <callers(a)sharedweight.net>
> Subject: Re: [Callers] Quadrille Formation and ONS
> Message-ID:
> <AANLkTi=W=i+zOZLMv+oMM89kRoxnats4cwT_bBFZCEu2(a)mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> Most esteemed colleagues,
>
> I danced at Rehoboth tonight and a most unusual and wonderful thing
> happened. Lisa Greenleaf walked us through a dance, saw that we
> were too
> crowded and that some of the moves were going to be especially
> uncomfortable, and told us to talk among ourselves while she picked
> out
> another dance. I might add that this is a very popular dance, and
> 3 full
> lines are comfortable in the hall and 4 lines are definitely
> pushing the
> limit, especially if there are some dancers being a little over
> zealous or
> not watching their set spacing. We've probably all been in this
> situation
> at least once as dancers.
>
> This is the first time I can ever remember someone changing a dance
> because
> it was too crowded for that particular set of moves. Occasionally
> we, as
> callers, switch dances after a walkthrough because what we first
> had in mind
> might be looking a bit too challenging for the particular mix
> before us.
> But never can I remember a caller changing dances after a walkthrough
> because of space. Thank you Lisa.
>
> I would love to start a thread on this mostly overlooked (unless I
> missed
> something earlier on), but very dear to my heart, topic. Far too
> often have
> I been in a hall that was too tight for certain sequences, but it
> seems that
> maybe the caller came with a set program and wasn't willing to
> modify dance
> selections based on this most important criteria. Most dances are
> made up
> of a wide range of ages, and crowded halls where people are getting
> knocked
> around and bumped is uncomfortable, not all that much fun, and
> especially
> unfair to older dancers.
>
> My first suggestion would be to eliminate or highly restrict moves
> like a
> full hey in these situations. What I would like is for people to make
> suggestions of fun, flowing dances that are compact, especially in
> their
> width.
> I think having a "list" or some other organizing format, of these
> "compact
> dances" would greatly enhance our toolboxes. What do you think?
>
> This list is truly amazing. Thank you everyone.
>
> warmest regards,
> Paul
>
>
> ------------------------------
>
> Message: 4
> Date: Sat, 26 Mar 2011 09:49:04 -0500
> From: Luke Donev <luke.donev(a)gmail.com>
> To: "Caller's discussion list" <callers(a)sharedweight.net>
> Subject: Re: [Callers] Compact dances
> Message-ID:
> <AANLkTimCuraxuOrVwjmgWsYMtNqaqicrmXS-9osSvC+K(a)mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> On Sat, Mar 26, 2011 at 12:06 AM, Paul Wilde <zenyente(a)gmail.com>
> wrote:
>
>> What I would like is for people to make suggestions of fun, flowing
>> dances that are compact, especially in their width. I think having
>> a "list"
>> or some other organizing format, of these "compact dances" would
>> greatly
>> enhance our toolboxes. What do you think?
>>
>> Paul
>> ______________________________
>>
>
>
> Hi Paul,
>
> Good topic, thanks for starting it.
>
> I remember being at a crowded dance in Montpelier with Nils Fredland
> calling, and he did 4 face 4 dances. I was initially surprised, but
> it made
> good use of the space. By merging two sets laterally it eliminated
> the space
> that would normally be between those sets and made folks aware of 7
> other
> dancers instead of 3 other dancers.
>
> I think it depends on the geometry of the hall, but 4 face 4 dances
> can be
> good, non-obvious, efficient use of space. Just something to add to
> that
> part of your tool-box.
>
> --
> Luke Donev
> http://www.lukedonev.com
> Luke.Donev(a)gmail.com
>
>
> ------------------------------
>
> Message: 5
> Date: Sat, 26 Mar 2011 11:20:01 -0400 (EDT)
> From: barbara153(a)aol.com
> To: callers(a)sharedweight.net
> Subject: Re: [Callers] Quadrille Formation and ONS
> Message-ID: <8CDB9E068D51A3E-D00-23033(a)Webmail-m115.sysops.aol.com>
> Content-Type: text/plain; charset="us-ascii"
>
>
> Paul
>
> Barbara G. here. I would be very interested in this list you are
> suggesting about compact dances. I have had the occasion, as I'm
> sure many of us had, to change up my program once I was in the hall
> and saw how crowded it was getting. I have stopped in the middle
> of a walkthrough, to the surprise of several seasoned callers in
> the room, and changed the dance. I didn't know this was a "no no"
> but also I feel you are doing what is best for the dancers. I did
> it without a lot of fuss or explanation and it worked fine.
>
>
>
>
>
>
Hi all-- I'm Keith Tuxhorn, and this is my first post to this list. I'm a
caller in Austin, TX, and have been calling for about 4 1/2 years now. In
addition to calling around TX, I've called around the Midwest and Northwest,
and just got back from a weekend in CO. I've also called ECD for a year and
a half. I've been on the list for only a couple week, and already have been
given much to think about.
My first comment is more of a question. It seems Tina was asking for dances
that would suit 7-to-10-year-old girls and their fathers, who also probably
know nothing about this dance style. Plue they're going to be worrying about
doing it right, making sure their daughter has fun... Alan, your suggestions
seem quite advanced for the target audience. I've only called a couple
ONS's, to college age and older, and observe they have the most success, and
the most fun, when they don't have to worry about position changes and
direction changes. The dances stay simple, but the dancers have loads of
fun, because they get it quickly.
A couple of moves you include, I wouldn't think about calling for college
beginners until I see they've mastered 4-5 simpler dances. For what Tina
wants, well, I'd be real hesitant... So, my question is, have you called
these dances for children, with inexperienced adults, and how successful
were they? I know kids can sometimes learn faster than adults, but am
wondering what ends up being too much...? Is anyone here learned in
behavioral/growth studies that might tell us what a kid can "spatially" do
at a certain age? I've never called to a crowd with this age/skill
concentration, so whatever enlightenment you can
O
>
> Today's Topics:
>
> 1. easy ONS dances where partner is kept? (Tina Fields)
> 2. Re: easy ONS dances where partner is kept?
> (Alan Winston - SSRL Central Computing)
>
> My go-to Sicilians - which you may well already have -
>
> Haste to the Wedding
> [Sicilian Circle)
> [Greatly benefits from the name tune]
>
> A1: Circle left, Circle right
> A2: RH *, LH *
> B1: Neighbors back-to-back, clap, clap, turn 2 hands once round.
> B2: Partners back-to-back, clap, clap, pass through.
>
> Spanish Waltz
> (Any waltz with nice 4-bar phrases)
> [Sicilian Circle]
>
> Note: In A1&A2, men use only right hand; women use only left hand
>
> A1: 1-2: Holding *that* hand with partner, waltz-balance fwd&back to
> neighbor
> 3-4: Givin that hand to neighbor, woman turns under to change
> places; both finish facing partner.
> 5-8: Repeat above with partner
>
> A2: 1-8: Repeat to home place.
>
> B1: 1-4: RH*
> 5-8: LH*
>
> B2: (this can depend greatly on the group. I like coming out of the LH
> star
> with partners holding left hands and gents stepping up to partner's
> right
> hand behind, then waltz-promenading (men's left shoulders closest to
> each other) 1.5 to meet a new couple.
>
> A group that can all waltz can waltz around; a group that can't manage
> the promenade can do forward two waltz steps, back two waltz steps,
> pass thorough and bow to a new couple.
>
> ---
> SOLDIER'S JOY.
> Sicilian Circle ("As for Spanish Dance")
> 32-bar reel.
>
>
> My reconstruction (which is pretty much everybody else's reconstruction)
>
> A1: 1-4: Forward and back
> 5-8: Opposites turn two hands (no progression)
>
> A2: 1-4: Partners balance
> 5-8: Partners turn (could swing if wanted)
>
> B1: 1-8: Ladies chain over and back
>
> B2: 1-8: Forward and back, forward and pass through.
>
>
> Original text:
> All forward and back, swing the opposite-all balance to partners and
> turn-ladies chain-forward and back, forward and cross to face the next
> couple.
> ------------------
>
>
>
> ------------------------------------------------------------------------
>
>
> Non-gallopy whole set longways:
>
> UP THE SIDES AND DOWN THE MIDDLE (CDM, own tune or any bright jig)
>
> Long set for four to six couples.
>
> A1: Step-swing balance in lines twice; cross over with polka step.
>
> A2: Repeat to places
>
> B1: (Reel time) 1s down the middle (walking, 8 bars) while 2s lead a single
> cast (polka step) down, then up through the 1s moving arch.
>
> B2: Swing partners.
>
> (Repeat until 1s at top again).
>
> [Also the own tune has a jig part and a reel part, you really don't have to
> worry about that. Experiment shows this works fine with old-timey reels.
> If
> you're tired, you can just do the whole thing walking and it still works.]
> ------------------------------
>
>
> Let us know how it goes!
>
> -- Alan
>
>
>
Just as Ted borrowed the figure from old-time southern Appalachian square dance
figures, Penn Fix took Ted's dance, recognized that it didn't have a partner
swing for all, and created Honor Among Thieves.
David Millstone
Karen and I love vacationing in America and try to make sure we always
get to at least one dance camp/week/weekend when we are over. We
already teach workshops on these subjects, so if anyone wants us to run
style, variation and swinging workshops please let us know.
A Lindy Anchor is what Lindy Hop/Swing dancers do at the end of each
pattern as they settle back into their home position. I see many contra
dancers doing footwork like this on moves such as Long Lines Forward &
Back. After taking two steps forwards (R/L), for step three, step onto
your right foot, turning your right toe out to the right and then swivel
the right foot counter-clockwise on the toe as you step to the left onto
your left foot, pointing it to the left and swiveling it clockwise. Can
look very stylish if done well.
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
Date: Thu, 24 Mar 2011 10:51:58 -0700 (PDT)
From: Tina Fields <tfields8(a)yahoo.com>
To: "callers@ sharedweight.net" <callers(a)sharedweight.net>
Subject: Re: [Callers] Making It Fun for Experienced Dancers
This is such a rich topic, key for making the dances inclusive and fun.
John,
thanks for opening it up. It would make a great hands-on workshop at a
dance
camp.
In the meantime, I've not heard two terms you used. What are:
* a "Lindy Anchor" (on Lines Forward & Back)
* A "North Country Ladies' Chain"?
Tina
