Contra Callers

contracallers@lists.sharedweight.net

8 participants
4417 discussions

by richgoss＠comcast.net

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 ----- Original Message ----- From: "Richard Mckeever" <macmck(a)ymail.com> To: "Caller's discussion list" <callers(a)sharedweight.net> Sent: Tuesday, February 1, 2011 10:21:16 AM Subject: Re: [Callers] Developing a Culture of Inclusiveness. Was: Calling medleys This is all interesting - can someone explain where this leaves the less experienced dancer? A medley is the place where they need the most help from the more experienced. Unless we put them all in the same line and watch them scramble. Or should we just invite them not to dance? It really doesn't bother me to dance with a newer dancer for a couple extra minutes. Mac >From Greg: > In a medley the dancer could possible be making a commitment the length of > two regular contras... > > 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. >

14 years, 10 months

Another Cure for the Claps

by Bob Green

I am planning on calling *Another Cure fir the Claps *tonight. I did not have the author of the dance. does anyone have it? this version: *Another Cure for the Claps* A1 (8) Balance the ring and twirl to the right (Petronella) (8) Scoop up your Partner and swing on the side A2 (8) (8) Balance the ring and twirl to the right (Petronella) (8) Scoop up your Neighbor and swing on the side B1 (8) Down the hall, four in line (turn as couples) (8) Return and Bend the line B2 (8) Ladies Chain (8) Circle Right 3/4 Pass left up/down to face next couple (form ring) Thanks, Bob

14 years, 10 months

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

by Greg McKenzie

Martha wrote: >Greg - I think you misunderstood me a little bit. My view that, left to our >own devices, we act like high schoolers, is based on observation -- >anecdotal observation, to be sure, but what I have seen has been so >consistent, that I, at least, am convinced. I understand that you are convinced. This is the nature of framing. Once we adopt a frame we see the world in terms of that framing. The more we "activate" a frame, the easier it is to evoke it. I am not directing this critique at you, personally. This framing is very common among callers. You merely expressed it very clearly and succinctly. I am questioning the prevailing frame for contra dance. I want to assure you that I do not observe the world as you do through the "high schooler" frame. Employing a different frame I see that almost all contra dancers are enthusiastic about and enjoy dancing with newcomers. In fact, it is one of the most enjoyable parts of contra dance. How is this possible? Seen through my frame any uncivil behavior in the hall is direct evidence of poor calling. If there is anyone in the hall behaving poorly the proper response from the caller is to be apologetic. Martha also wrote: >This view does not in any way absolve anyone of responsibility. In fact, my >whole argument is that "the grownups" need to take charge and make sure that >the kindness/inclusiveness attitudes are predominant. Yes, we are all >capable of such behavior, and yes, in fact, it is our ability to behave that >way that led to the survival of our species. But our survival was also >dependent on keeping away from "others" who were not in the family, tribe or >village. It is that inherited sense of "us" and "they" that leads to >exclusiveness and shunning. And war and pestilence. My argument was that absolving the caller of responsibility was the only possible advantage I can see of this framing. By treating the dancers as high-schoolers we give up a host of strategies that could be used to gain their support and participation in building a sense of community. When a caller activates "the grownup" framing this projects an authoritarian position and puts the caller at odds with the interests of the dancers. This is not an advantage. The framing creates an adversarial relationship with the dancers. Martha also wrote: >What I said was, the group leadership needs to address these issues. The >caller is part of the leadership, so we have the right and the >responsibility (at least in our own towns) to speak up in meetings, at >after-dance get-togethers, online, etc. But when we're actually calling, I >agree that we should limit our etiquette remarks to small, cheerful >reminders, no harangues or lectures from the stage. Nor off-stage. The frame that sees people as inherently uncivil creates a sense that the seat of the problem is with undisciplined or uneducated dancers. My frame sees the seat of the problem as poor calling. Martha then asked: >What about this point of view "excuses" the caller from taking >responsibility? What about this point of view suggests that the caller >"blame" the behavior on the dancers and leave it at that? I'm just saying >that trying to change a culture by fiat is rarely sucessful, and a caller >who wants to change things should start, first, on the dance floor by being >the sort of person he/she wants others to emulate, second, off the dance >floor by passing on the larger "contradance culture", and lastly, from the >stage only in small bites, respectfully, and with good humor. Doing anything by fiat would be a destructive action by the caller, because it undermines the relationship of trust and goodwill with the dancers. The nature of the "contradance culture" is what we are discussing. That culture is currently dominated by the frame you have put forth so eloquently. If you wish to change that culture I can attest that you will have much more influence as a caller than as a dancer. Martha also wrote: >What I also said was that, in a contra group, we callers should lead by >"gentle precept" (words) and "strong example" (doing). Fewer words, more >doing. Here,one of our best dancers spends nearly 80% of her time with the >least experienced dancers, bless her angelic heart. Now THAT is a strong >example. "Fewer words, more doing" is an excellent prescription. If the caller assumes the support and civility of all of the dancers they can eliminate many words intended to "correct" what the "high schooler" frame implies that the dancers will be inclined to do. Assume the best and take responsibility for the rest. That is a recipe for few words. Please consider that your 80% "angelic heart" dancer may be doing what she most enjoys. She may be one of your most selfish dancers. Why not direct your programming and calling efforts towards making sure that regulars, who are partnered with newcomers, have a great time. Make sure that they have an opportunity to use their skills and knowledge to share something they are passionate about with a confident stranger who is ready to learn. You may find that there are many more "angelic hearts" than you had assumed by looking through the "high-schooler" frame. - Greg

14 years, 10 months

Re: [Callers] Calling Medleys for the first time

by John W Gintell

> > Message: 2 > Date: Sun, 30 Jan 2011 09:52:08 -0800 > From: Greg McKenzie <grekenzie(a)gmail.com> > To: Caller's discussion list <callers(a)sharedweight.net> > Subject: Re: [Callers] Calling medleys for the first time > Message-ID: <4d45a548.1f48960a.0b45.ffffd026(a)mx.google.com> > Content-Type: text/plain; charset="us-ascii"; format=flowed > > > Bob Green wrote: >> In some communities, a different approach is taken - to help avoid >> breakdowns while switching dances on the fly, trying to see that less >> experienced/skilled dancers have a partner the can give them a little help >> along on the way. I favor this approach as I believe it tends to make the >> overall dance experience better. > > I would be very interested in any techniques or strategies you, as > the caller, would use to achieve this behavior: "...trying to see > that less experienced/skilled dancers have a partner the can give > them a little help along on the way." I am particularly interested > in what callers do to encourage more generous partnering behaviors in > a medley. How do you achieve that "We're all in this together," > sentiment that Larry Jennings speaks of? > > - Greg I think it is a good idea for callers to add little bits of dance culture instruction during their teaching and remarks. Many people start coming to Contra Dances without knowing the culture and it isn't always easy to "get". New dancers are sometime shy and don't want to ask experienced dancers to be partners; of course some experienced dancers are snobs but I think most want to make the evening fun for everyone - reminders about changing/selecting partners can help. I like dancing with inexperienced dancers and I think it helps make me a better dancer because I have to be more aware of everyone and learn how to help in a constructive fashion with hand gestures instead of too many words that can't be heard. Here's an example of something that organizers can do: at the BIDA dance in Cambridge (http://bidadance.org/index.html) they have some very nice posters hung around the wall that talk about having fun, changing partners, etc. They have been working hard on being inclusive on getting new dancers - they have a beginners workshop before each dance. The I in BIDA stands for Intergenerational, the A for Advocates.

14 years, 10 months

Developing a Culture of Inclusiveness. Was: Calling medleys

by Greg McKenzie

This is very interesting. Martha writes: >I don't believe that we humans exhibit community and civility by nature - it >seems to be a learned thing. > >Left to our own devices, we get all clicquey and snobby - or turn into >loners. I think you have gone to the core of the matter with this statement. This view of human nature is a common framing of the situation, and it is such a basic view that it affects almost everything the caller does, or does not do with regard to civility and an attitude of inclusiveness. I reject this view for two main reasons: First, I don't believe it is true. I see humans as social animals who have evolved to be in communities or tribes where each individual's own survival depends upon cooperation and working together for common goals. It is our nature to support one another and to see ourselves as a community. Second, I reject the idea that snobbishness and selfish actions are inherent in the human condition simply because it is not a useful framing of the situation, particularly for a dance caller. I don't see any value that can come from this framing beyond creating an excuse for the caller to blame the dancers for any untoward actions in the hall. This framing is only useful to absolve the caller of responsibility, something that is at the core of the caller's job. The caller takes responsibility for everything that happens in the hall. Instead of making excuses for why we are not responsible why not discuss what we can do to build a more inclusive spirit in the hall? Callers have a lot of influence. They certainly have more influence than a handful of dance leaders. How should we use our influence? Martha also wrote: "A kind and inclusive word dropped here and there from the stage can work wonders..." Now this is an idea that I agree with completely. The caller is in view of everyone in the hall and can see everyone in the room. The caller can project their voice throughout the hall, and this gives the caller more influence than any other single person in the room. Let's explore this idea more deeply. What words do you use? When? what words to you avoid using? I use single words such as "good," "excellent," "wonderful," or "nice," during the walk-through and while calling. A light touch is best. I usually use a couple of these words during each walk-through. I also think a lot about what I don't say. I never, for example, speak to small groups or individuals over the mike. If people in a particular set are out of position I address the entire room with my comments, and then only with positive comments. I even try to avoid looking directly at the group that is out of position. I am interested in what others do to influence the partnering process and the level of civility and community spirit in the hall. - Greg ************** Martha wrote: >I don't want to say "It's simple," but I'm going to have to. The grownups >(aka Dance Leaders - board members, callers, major dance gypsies, thoughtful >members of the community) have to start, by gentle precept and strong >example, teaching the rest of the crowd how to behave. > >Here, we talk about it. Not a whole lot, but whenever there's a chance - we >bring things up. Got Center Set Syndrome? Ask the Cool Kids to start >dancing all over the floor. Someone complains about the new dancers? >Someone else pipes up and says "Oh, I remember what it was like. I always >dance with new people at the beginning of every dance - you find some real >gems that way, and it's always a fun challenge." After a while you just >develop a culture of inclusiveness. > >It wasn't always like that here. St Louis used to have a very bad reputation >for snobbery - some people still won't come to our dance weekend because of >it, even though it changed over ten years ago. We had to make an effort - >and we have to keep making the effort. Even with an established culture of >kindness, new people come in, and it takes a while for them to adjust - to >believe that they will be accepted, and that we expect them to treat others >well, too. > >I don't believe that we humans exhibit community and civility by nature - it >seems to be a learned thing. > >Left to our own devices, we get all clicquey and snobby - or turn into >loners. > >It can't be just the callers who turn a community around, even though we do >have a major Bully Pulpit. A kind and inclusive word dropped here and there >from the stage can work wonders in reminding people why we chose contra >dance over all those other dance forms. But we can't get all moralistic on >stage without risking losing what influence we have. > >My suggestion to us as callers? Start talking to the Leadership. If they >don't get it, use thoughtful discussion to try to get them to see the >advantages. We can also lead by example, dance with everyone ourselves. What >we do, others will too. > >M >E > >On Sun, Jan 30, 2011 at 11:52 AM, Greg McKenzie <grekenzie(a)gmail.com> wrote: > > > > > Bob Green wrote: > > > >> In some communities, a different approach is taken - to help avoid > >> breakdowns while switching dances on the fly, trying to see that less > >> experienced/skilled dancers have a partner the can give them a little help > >> along on the way. I favor this approach as I believe it tends to make the > >> overall dance experience better. > >> > > > > I would be very interested in any techniques or strategies you, as the > > caller, would use to achieve this behavior: "...trying to see that less > > experienced/skilled dancers have a partner the can give them a little help > > along on the way." I am particularly interested in what callers do to > > encourage more generous partnering behaviors in a medley. How do you > > achieve that "We're all in this together," sentiment that Larry Jennings > > speaks of? > > > > > > - Greg > > > > > > _______________________________________________ > > Callers mailing list > > Callers(a)sharedweight.net > > http://www.sharedweight.net/mailman/listinfo/callers > > > > > >-- >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

14 years, 10 months

Re: [Callers] Good grief, yet another cure

by David.Millstone＠valley.net

That's by Bob Isaacs, Princeton Petronellas. The first allemande left is with partner, the second one is with neighbor. Very smooth dance. David Millstone

14 years, 10 months

Re: [Callers] Calling medleys for the first time

by Greg McKenzie

Bob Green wrote: >In some communities, a different approach is taken - to help avoid >breakdowns while switching dances on the fly, trying to see that less >experienced/skilled dancers have a partner the can give them a little help >along on the way. I favor this approach as I believe it tends to make the >overall dance experience better. I would be very interested in any techniques or strategies you, as the caller, would use to achieve this behavior: "...trying to see that less experienced/skilled dancers have a partner the can give them a little help along on the way." I am particularly interested in what callers do to encourage more generous partnering behaviors in a medley. How do you achieve that "We're all in this together," sentiment that Larry Jennings speaks of? - Greg

14 years, 10 months

Re: [Callers] Another Cure for the Claps

by David.Millstone＠valley.net

My notes say the dance was written by Rich Goss. David Millstone Lebanon, NH

14 years, 10 months

Re: [Callers] Calling medleys for the first time

by Mark T. Widmer

I think Parker is planning to do a 1-caller medley, rather than a multi-caller NEFFA-style medley. I do this at perhaps half the dances I call, so I can share what I know. Guidelines for 1-caller medleys: 1. Calling 3 dances seems to work the best here, and doing 2 dances is okay too. 2. Choose straightforward dances. You **might** walk through the first dance, but the rest will be no-walkthrough. Save any tricky stuff for after you have mastered the basics of doing medleys, and only if you're sure the experience level of the dancers is appropriate. 3. Pay attention to how the dances flow when transitioning from one dance to another. Just for example, **avoid** having a dance the ends with a star left followed by a dance that starts with a neighbor-allemande-left. 4. Let the band know ahead of time that you plan to do a medley. It would be great to show the band the dances several days in advance -- but usually I will mention to the band shortly before the start of the dance that I plan to call a 3-dance medley later on. Perhaps at the break I'll offer to show them the medley dances, and then actually do the medley shortly before the end of the evening, often the second-to-last dance. Since bands generally play 2 or 3-tune medleys anyway, it's not a great stretch for them to put something together. 5. I usually clue the dancers in to the fact that we are doing a medley. Between walking through the first dance and starting the dance, I might say "we'll dance [name of dance] by [author of dance], and other dances too, so be on your toes..." When I switch dances, I might say "Listen up -- THIS TIME, do-si-do your neighbor". 6. Call each dance an **even** number of times, except that the final dance gets called an **odd** number of times. This means that each new dance starts with no couple out at the top. It's not the end of the world if you don't do it this way, but it's a bit of a letdown for a couple to come out at the top just as a new dance is starting. 7. (A consequence of #6...) Signalling the band for the tune switches may seem counterintuitive for the caller -- when you want to signal two more times through, at the start of B2, there should be a couple out at the top. When you want to signal one more time through, there will not be a couple out at the top. This is the opposite of how you are used to signalling the very end of a dance! For the final dance in the medley, the usual rule applies: signal 2 more times when nobody is out at the top, and 1 more time when 1 couple is out at the top. 8. How many dances? I find that 6, 6, & 5 or 6, 6, & 7 time through generally works for a 3-dance medley; probably 8&7 or 8&9 for 2 dances. Adjust those numbers if the lines are unusually short or long. 9. Keeping count. With my hand inconspicuously down at my side, I hold out 1 finger the first time through a dance, 2 fingers the 2nd time through, etc., to keep track. When it's the 4th time through, I know to signal the band "2 more" at the start of the B2. There should be a couple out at the top when I do this, and that is a little error-check I do on myself. And finally, 10, The surprise medley trick I learned from Beau Farmer: Sometimes I regret choosing a certain dance after it has already started -- maybe I didn't notice before how similar it is to another recent dance in the program, or (as happened to me just last week) I inadvertently chose 2 consecutive dances without a neighbor swing. If you can think of another dance that starts the same way (for example, a neighbor balance and swing), then just listen for when the band switches tunes. When that happens, start calling the other dance. It's a surprise medley! Hope that helps, Mark > Date: Tue, 28 Dec 2010 09:39:31 -0800 > From: PARKER MANN<M_P_Mann(a)shaw.ca> > To: "Shared Weight, Callers"<callers(a)sharedweight.net> > Subject: [Callers] Calling medleys for the first time > Message-ID:<fb8eb41b6a27.4d19b053(a)shaw.ca> > Content-Type: text/plain; charset=windows-1252 > I > want to try calling a dance medley in our contra group in 2011. ?As > this will be new for me and all of our dancers I?m writing for advice. > ?Specifically: > What are some sets of dance that work well as medleys? > What coordination should you do with the band ahead of time? > What recommendations do you have for instructions during the walk through? > Anything else (other than screwing my courage to the sticking point?) > Thanks.

14 years, 10 months

Mary D.

by Amy Cann

I'm assuming the word has already gone out, but if it hasn't: Mary DeRosier's house was gutted by a fire yesterday. All people are ok, but -- if you know her -- you'll know it's pretty safe to assume that there's been a huge loss of a lifetime's worth of caller/musician/folk-radio-show-host resources. Does anyone out there have more specific information? I've heard there's a CD drive starting up to help her replace music. <sigh> A hard thing. What can we fellow callers do to soften it? -Amy

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