Contra Callers

contracallers@lists.sharedweight.net

8 participants
4417 discussions

by Martha Wild

Andrea, My sentiments exactly. I like your batter analogy, and each dance is different - and even changes during the dance, as you point out, if a raft of beginners from the bottom suddenly hit the top at the same time. Martha Wild

14 years, 10 months

Re: [Callers] How much is too much?

by Martha Wild

I think you don't need to consider all the assumptions below, because I doubt that there is any hard and fast rule. What I find easiest in terms of dropping out is to wean the dancers off the cueing fairly rapidly. The first time through, if there are lots of beginners, I use a lot more words - e.g. face across and right and left through, or long lines forward and back. The next time I might say "right and left" or "long lines", and then the next time just "lines"). For most dances you can pretty quickly stop bothering to say "swing" - people tend to remember that they are supposed to do that. If there is a really good sequence that makes sense, I may call just the first call into it and leave the rest out pretty early. In the first few dances of the evening, you may have to call more times before you are able to drop out completely because the beginners are less experienced and are all dancing. Then they tire out and by dance three or four you can often drop calls out very quickly. But it also depends on the dances you are calling and the time of night and the heat of the hall. Heat and lateness will tax the brains of the dancers, and towards the end of the evening, especially in the summer in our non- air-conditioned hall here in San Diego, I often find that I have to start prompting much more again. And some dances, particularly those with two swings, may require almost continual prompting specifically after each swing, especially late in the evening, when the entire set may suddenly, in an amazing display of solidarity, all launch into lines forward and back, which was supposed to come after the second swing, not the first. It's a great chain reaction to watch, one person puts their hands out and the whole line telegraphs the motion and chaos ensues. Another thing I watch out for is beginners who are becoming #1 couples, especially if the ones and twos do different things and their 2s aren't able to help them much. Even if I haven't been calling at all for a while, I might pop in briefly with a cue for the clueless at a critical moment the first time they do it. And of course there are the occasional brain teaser dances that require more cueing than others. We have had a couple of callers come through here that were of the opinion they should call the dance through twice and then ignore the dancers, even if the dance was not going smoothly, and the dancers were not happy about it. I've heard the dancers yell out "Keep calling!" I do like to have people dancing to the music, not to me, so I try to call dances with good flow that can dance themselves, so to speak. I also like people to have a good experience dancing, a confidence-building experience. Weaning the dancers seems to be a good compromise for me to the "sink or swim" sudden cessation of prompting. Martha On Feb 11, 2011, at 9:00 AM, callers-request(a)sharedweight.net wrote: > Send Callers mailing list submissions to > callers(a)sharedweight.net > > To subscribe or unsubscribe via the World Wide Web, visit > http://www.sharedweight.net/mailman/listinfo/callers > or, via email, send a message with subject or body 'help' to > callers-request(a)sharedweight.net > > You can reach the person managing the list at > callers-owner(a)sharedweight.net > > When replying, please edit your Subject line so it is more specific > than "Re: Contents of Callers digest..." > > > Today's Topics: > > 1. How much is too much? How little is too little? (Martha Edwards) > > > ---------------------------------------------------------------------- > > Message: 1 > Date: Fri, 11 Feb 2011 10:58:28 -0600 > From: Martha Edwards <meedwards(a)westendweb.com> > To: "Caller's discussion list" <callers(a)sharedweight.net> > Subject: [Callers] How much is too much? How little is too little? > Message-ID: > <AANLkTimGd63hMVFo73i4yrBQ+k=Na7bz2A1Dtg+PKU=s(a)mail.gmail.com> > Content-Type: text/plain; charset=UTF-8 > > We had a discussion the other night - not about how many > walkthroughs, but > about how many times the caller should call before dropping out. > > Obviously, it depends. > > So, for the purpose of this discussion, let's assume a new-dancer to > intermediate dancer to experienced dancer ratio of 1:2:1. If > everyone were > evenly scattered by dance level, each group of four would have two > intermediate dancers, one beginner and one very experienced > dancer. Let's > not assume that the dancers are evenly scattered, but are slightly > clumped, > so that beginners do encounter each other occasionally, sometimes > with only > a couple of intermediate dancers to help them. > > Let's further assume that the dance is in the part of the country > where two > walkthroughs is considered appropriate - where, even if the first > walkthrough goes just fine, the second one cements the learning and > leaves > you in a position to "dance it from here." Let's further assume > that the > dance lasts about nine minutes (17 times through). > > Here's the question: If you have taught an easy dance clearly, *and > the > dance appears to be going well*, how many times through the dance > should you > call? Once or twice with full calls ("join hands and circle to the > left"), > once or twice with shortened calls ("circle left") and then > nothing? Or five > times through with full calls, three times with shortened calls, then > nothing? > > How much is too much? How little is too little? > > M > E > -- > For the good are always the merry, > Save by an evil chance, > And the merry love the fiddle > And the merry love to dance. ~ William Butler Yeats > > > ------------------------------ > > _______________________________________________ > Callers mailing list > Callers(a)sharedweight.net > http://www.sharedweight.net/mailman/listinfo/callers > > > End of Callers Digest, Vol 78, Issue 9 > **************************************

14 years, 10 months

New(?) dance

by Luke Donev

Hello all, I think I've written a new dance, but I like to check. Anyone recognize this as pre-existing? Rory's Chewing Star by Luke Donev A1 Right Hand Star 1x Neighbor Do-si-do to a short wavy line A2 Balance Right and Left, slide Right Balance Left and Right, slide Left B1 Neighbor Allemande R 1/2x Men Allemande L 1/2x Partner swing B2 Men Allemande L 1 1/2x Women join in for a hands across Left hand star 1x Other comments also welcome. The name is from my niece's nickname. She's almost 1, and likes to chew on things. -- Luke Donev http://www.lukedonev.com Luke.Donev(a)gmail.com

14 years, 10 months

Ring Around the Daisy (was Dance Name)

by J L Korr

This is indeed a modified version of Shawn Brenneman's "Ring Around the Daisy," named by a dancer named Daisy who won the right to name it at a fundraising auction. I called the original version of the dance at a weekend in September 2009 that Nils was at, so it's possible he picked it up then and later modified it. Shawn's version was as follows: A1: Lines of 4 forward and back Ladies grand chain to diagonal opposite. [After the courtesy turn, turn away from that diagonal opposite to face corner.] A2: Corner gypsy x1, come back to diagonal opposite Swing diagonal opposite B1: All eight circle left 1/2 Four gents star L x1 while ladies walk CW 1/2 B2: Partner balance & swing --Jeremy > > From: Rich Goss <richgoss(a)comcast.net> > > Subject: [Callers] Dance Name > > To: "Shared Weight" <callers(a)sharedweight.net> > > Date: Thursday, February 3, 2011, 1:11 AM > > > > > > Danced a 4-face-4 dance tonight that Nils Fredland called. I wrote > > down the > > moves but forgot the name and author. I do remember that the author > > is from > > Chicago. Here are the moves: > > > > A1: Lines of 4 Forward and Back > > Ladies Grand Chain (to Opposite) > > > > A2: Opposite Balance and Swing > > > > B1: 8 Circle left 1/2, Gents in center, walk single file CCW > > 1x, > > while Ladies walk CW 1/2 > > > > B2: Partner Balance and Swing > > > > > > Anyone recognize it. > > Thanks

14 years, 10 months

Good grief, yet another cure

by Gary Shapiro

The conversation here about those petronella into swing dances inspired me to look through my collection and I found this: A1 Neighbor balance & swing A2 All four balance, petronella twirl and an immediate allemande left 1/2, 1/2 hey B1 Partner balance & swing B2 All four balance, petronella twirl and an immediate allemande left 1/2, 1/2 hey Anyone have a title and author?

14 years, 10 months

Re: [Callers] Dance Name

by richgoss＠comcast.net

That's the name he gave me. I asked when I was out at the top of the line, and promptly forgot it. It indeed is a chain to the diagonal opposite. Also, as Leslie points out, the CT uses up the remaining 4 beats. As one dancing it, I made sure to do a modified CT and transitioned into only having right hands joined for a balance. Thanks so much for the info and input. ----- Original Message ----- From: "Jack Mitchell" <jamitch3(a)mindspring.com> To: "Caller's discussion list" <callers(a)sharedweight.net> Sent: Thursday, February 3, 2011 4:38:58 PM Subject: Re: [Callers] Dance Name I have it (also from nils) as follows. Nils mentioned at the time that it was a modification of the original (somewhat more complicated dance). Also notice that after the circle left it was a gents star rather than gents promenade -- for me that was a really cool moment in the dance...when the gents reach back for that Star and pop out of the circle. Possibly Nils has made more changes. At that point, it starts to really become a new dance, tho. *Ring Around the Daisy (modified)*-- Shawn Brenneman4 Face 4 NOTE:*Very* circular for the ladies -- probably not one to call. A1LL F&B 4 ladies chain to diagonal neighbor A2N B&S B1All 8 Circle L 1/2 Ladies keep walking, gents star left 1x Ladies continue walking in the same direction you were circling, Gents Reach back B2P B&S On 2/3/2011 6:54 PM, Linda Leslie wrote: > A couple of thoughts about the dance below: > 1. If no one on this list knows it, an email to Nils might be the next > step. I have found him quite happy to respond to requests! > 2. If I were to make an educated guess, I would say that it might be > an Al Olson dance. > 3. The ladies grand chain is actually to the diagonal opposite, rather > than the opposite neighbor across. Perhaps a small point, but an > important distinction when it comes to calling/teaching Four Face Four > (Mescolanza) formations. > 4. The problem with changing the half grand chain to a star is that > there will be time left over. A courtesy turn should take 4 counts of > the music; if a half star is done, which should take about 4 counts of > the music, the ladies will reach their diagonal opposites too soon, > and have to wait 4 counts before doing the Balance and Swing. While it > may not be the most flowing move to go from a courtesy turn into a > balance and swing, it certainly is readily done, and the dancers can > be playful with how they dance these moves. > > If no one knows the dance, then I will be happy to get in touch with > Nils! > warmly, Linda Leslie > > On Feb 3, 2011, at 1:28 AM, Dave Colestock wrote: > >> I might not know the name, but for proper flow the A1 should be >> ladies RH Star, not a grand chain, which is always followed by a >> courtesy turn. In this dance there should be no courtesy turn, as >> the next move is a balance and swing with the opposite. >> >> Dave Colestock >> Harrisburg, PA >> >> >> --- On Thu, 2/3/11, Rich Goss <richgoss(a)comcast.net> wrote: >> >> >> From: Rich Goss <richgoss(a)comcast.net> >> Subject: [Callers] Dance Name >> To: "Shared Weight" <callers(a)sharedweight.net> >> Date: Thursday, February 3, 2011, 1:11 AM >> >> >> Danced a 4-face-4 dance tonight that Nils Fredland called. I wrote >> down the >> moves but forgot the name and author. I do remember that the author >> is from >> Chicago. Here are the moves: >> >> A1: Lines of 4 Forward and Back >> Ladies Grand Chain (to Opposite) >> >> A2: Opposite Balance and Swing >> >> B1: 8 Circle left 1/2, Gents in center, walk single file CCW 1x, >> while Ladies walk CW 1/2 >> >> B2: Partner Balance and Swing >> >> >> Anyone recognize it. >> Thanks >> >> >> _______________________________________________ >> 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 > > _______________________________________________ > 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

14 years, 10 months

Re: [Callers] Back to Calling Medleys

by Mark Widmer

Rich, You've pretty much summed up my approach (and that of other callers I know) to calling medleys at a regular contra dance -- i.e., not at a festival. A medley is a fun surprise for the dancers, there is no need to "warn" them about it. Straightforward dances are used, so it is arguably less challenging to beginners than doing a dance with contra corners or having a shadow. That being said, I do occasionally encounter a hallful of dancers where I feel, on balance, a medley would not be a good idea. But that is the exception rather than the rule. Mark Widmer On Tue, 1 Feb 2011 19:27:31 +0000 (UTC),richgoss(a)comcast.net wrote: > Hi, > > My two cent regarding medleys. > > Most all medleys I've ever encountered were not extra length, usually lasting > at most six times through per unique dance.? Medleys by nature must be easy > dances with progressions that fit together nicely.? > > I frequently call a medley as the last dance of the evening.? None of the moves > are ones that have not been used somewhere else in the evening. > > Usually I will ask the band to play three tunes, 4-4-5, and I will?signal > the tune changes myself.? The dance changes when the > tune does, but you know that part well. > > I really don't see medleys as being any more challenging than any other contra > dance.? Every dance should be just fun, and the?switch is what makes it so. ? > Each dance in the medley should be totally accessible to all skill levels at > that point in the evening. ? If there is a bit of fumbling about at the switch, > I think that just adds to the fun.? I just make sure I make my calls a bit > earlier and very clearly, with a "Listen UP, Listen UP" thrown in at the dance switch. > > Perhaps we're talking about a different sort of medley. > > Hope all you northeasterners are braving the latest storm okay.? Looks > nasty.??Nice sunny day here in the Pacific NW. > > Rich

14 years, 10 months

Re: [Callers] Developing a Culture of Inclusiveness. Was: Calling medleys

by Greg McKenzie

Martha Asked: >So, Greg, since you are clearly a Good Guy, what was the meaning of your >original post, where you suggested the caller warn people that there was a >medley coming up so they could be sure they wouldn't have to dance the >medley with someone who wasn't skilled? That's what I'm reacting to - it >just sounded so...like a hotdogger. Which you otherwise don't seem to be. No. I am not a "Good Guy."...but I have the potential. Everyone does. I believe that calling contras can make you a better person, if you work at it. So maybe there is still hope. For the caller to gain the respect and support of the entire hall they need to be open with people and trust them with information. As a caller you want everyone invested in your success. If the dancers feel informed they are more likely to trust the caller. To "spring" an unusual formation on the dancers will erode that sense of trust. In a medley the dancer could possible be making a commitment the length of two regular contras. It only seems fair to warn the dancers of this increased commitment. Yes. There are some who will feel an increased sense of urgency in finding a particular partner, or kind of partner, for this extended commitment. This does not reflect poorly upon the dancer. It is a natural outcome of longer dance slots that dancers will feel what could be called an increased "partnering urgency." If you are going to put them in that position it is only fair that you warn them in advance. We use words like "hotdogger" to describe such people and it does have a derogatory sound to it. But, as in all other cases, it's always the caller's fault. If you want to encourage an increased culture of inclusiveness then shorter partnering slots is one strategy that really works. Even shortening the slots a small amount during the first third of the dance evening will create a sense that there will be many partnering opportunities and this will engender a more generous feeling in the partnering process. This, of course, speaks against the use of medleys. Because of their length, and because they are regarded as more challenging, medleys are more exclusive than a regular contra dance. So those are just two tips on generating a culture of inclusiveness: 1. Build a sense of trust with the dancers by giving them more information. 2. Keep the length of the partnering slots shorter, particularly early in the evening. - Greg

14 years, 10 months

Re: [Callers] Developing a Culture of Inclusiveness. Was: Calling medleys

by richgoss＠comcast.net

No to both. For a no walk through, I say "The first move is a Neighbor dosido. That's all you need to know. We'll do it with music." The medleys just happen, with no announcement. Again, none of these dances can be difficult in any way, and would contain moves that have been done already in the evening. ----- Original Message ----- From: "Greg McKenzie" <grekenzie(a)gmail.com> To: "Caller's discussion list" <callers(a)sharedweight.net> Sent: Tuesday, February 1, 2011 12:48:03 PM Subject: Re: [Callers] Developing a Culture of Inclusiveness. Was: Calling medleys Rich wrote: >Perhaps we're talking about a different sort of medley. That may be the case. I have never seen the "short" medley you speak of. Do you announce your medley's in advance? Do you warn the dancers that there will be "no walk through?"

14 years, 10 months

Re: [Callers] Happy as a Warm Pig in Cold Mud

by Becky Nankivell

I have a "Cold Pig in Warm Mud", first heard it from Penn Fix in 1995, and it's published that way in Midwest Folklore. Maybe the slightly altered version is slightly renamed? I haven't used it much but have approached it as a "let loose and live with what happens" dance -- if the stars have more or fewer than four people, that's ok, you just have to come back to your partner. In the box next to Eric Zorn's "The Axiom of Choice". :-) ~ Becky Nankivell ------------------ Date: Tue, 01 Feb 2011 15:50:58 +1300 From: Liz and Bill <staf186(a)ext.canterbury.ac.nz> To: Caller's discussion list <callers(a)sharedweight.net> Subject: Re: [Callers] Happy as a Warm Pig in Cold Mud Message-ID: <4D477512.6050003(a)ext.canterbury.ac.nz> Content-Type: text/plain; charset=ISO-8859-1; format=flowed Interesting discussion, looks like a fun dance, but what temperature is the pig? I have a dance card with a cold pig and warm mud! The title on the you tube video title has a warm pig, but the title frame in the video has a cold pig. I suppose the pig would be happy either way. Cheers, Bill

14 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