Hi all,
Chris Weiler wrote:
"I subscribe to the theory that if I need more than one walk thru, then
I'm calling a dance that is too difficult for the crowd... That doesn't mean that
you don't challenge them at some point or call boring dances. The dances
need to flow well and be interesting, but not require a lot of thought
to dance. Most of the time, one walk thru should be enough."
While I wholeheartedly support keeping dances appropriate to the group at hand, I always run two walkthroughs . Running only one walkthrough means either you have to ask the dancers to reset or you start the dance with a couple out at the top of the hall. In about as much time as it takes dancers to reset, re-take hands four, etc. , I can do a quick second walkthrough which does three things .
1. I do the walkthrough at something closer to dance tempo . I've found that this is extremely helpful for people who don't yet have the ability to "feel" the timing (especially of a series of quick moves) during a slower walkthrough.
2. I move away from the educational language of the first walkthrough and mostly use the calls I'll use during the dance.
3. I t progresses the dancers so that no one is out at the top. The music can start almost immediately after the second walkthrough and new neighbors are identified which minimizes the time between the walkthrough and the dance and maximizes dancing time .
Also, it's my experience that new dancers aren't concentrating much on who they're dancing with. S o reorienting back to a familiar face doesn't help them much. Experienced dancers are used to dancing with different people, so resetting just takes longer to start the dance.
Mark Hillegonds
cell: 734-756-8441
email: mhillegonds(a)comcast.net
Luke,
Most of the dances in Southern California give out coupons to get you in your second dance free. I think it helps.
-John Rogers
On Apr 29, 2010, at 12:43 PM, callers-request(a)sharedweight.net wrote:
>
>
> Message: 1
> Date: Thu, 29 Apr 2010 12:47:43 -0500
> From: Luke Donev <luke.donev(a)gmail.com>
> To: "Caller's discussion list" <callers(a)sharedweight.net>
> Subject: [Callers] Recruiting new dancers
> Message-ID:
> <o2p243d1eda1004291047if0260372ue7df1db3acba2618(a)mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> The post on walk-throughs for new dancers got me thinking about
> recruiting new dancers. This straddles dance caller and dance
> organizer, but I'd like to hear people's responses.
>
> I'm curious about people's experiences recruiting new dancers. I've
> seen several dances that do a lower cost for first time dancers to try
> to lower the barrier for entry. Has any group tried doing a coupon for
> a discount when they come back a second time?
>
> I feel like the venues for dances are usually such that folks don't
> randomly wander in. If folks show up for a first time, they've decided
> to come (or were brought). Does knowing there is a discount for first
> timers help make them come? When there is a discount, how often do the
> first timers know that coming in? I'm pondering the scenario where you
> charge full price for the first time, when they've committed to coming
> out, and then give them a coupon to come back at a discount price
> their second time.
>
> I know a lot of people who tried contra once and were hooked, and I've
> seen people who try for a little bit and then never come back. Is it
> worth trying to up the likelihood of a second experience, at what
> fractional cost for the first? Or should the focus be on that first
> experience, and making the barriers for entry as low as possible?
>
> If a group has the resources, then it can just say that the first two
> dances are cheaper, but I feel like giving someone a reminder,
> business card sized, with the website to check for more information,
> is a nice way of having them think about the dance at least once more.
>
> Do callers doing one night gigs announce local dance options if they
> know them? Or do you only talk about it with the folks who come up and
> ask? Presumably if a caller has been brought in, the organizer of the
> party knows the folks at the party and the local dance scene. Is it on
> the caller or the organizer to spread information about other chances
> to dance? And do you broadcast wide, or focus on the folks who seem
> really in to it. I think culturally, at a societal level, we've lost
> the sense that we can dance after our 20s at things besides weddings,
> which is a real shame.
>
> --
> Luke Donev
> http://www.lukedonev.com
> Luke.Donev(a)gmail.com
>
>
Hi Everyone,
I'd like your advice on the timing and teaching of "flutter wheel
with a butterfly whirl."
Lots of dances use the following in a 16 beat section:
Gents Allemand Left 1 1/2, scoop up Partner star Promenade, Butterfly whirl
or
Ladies Allemand Right 1 1/2 scoop up Neighbor for star Promenade 1/2, Butterfly
whirl
In Butterflies by Cary Ravitz, A2 is
A2 Men allemand left 1/2 . Men keep left hands, pick up your partner, star
promenade across, and butterfly whirl 1/2 to put the ladies in the middle.
Ladies allemand right 1/2 Ladies keep right hands, pick up your
neighbor, star promenade across, and butterfly whirl 1/2 (men go forward, ladies
go backward) to put the men in the middle
so allemande left 1/2, star promenade, butterfly whirl is done in a 8 beat
phrase.
However in American Gothic by Nathaniel Jack which starts
A1 (around Neighbor) Mad Robin Ladies Allemand Left 1 1/2 (Scoop up Partner)
A2 Star Promenade 1/2 (Ladies in the center) w/ whirl Gents start 1/2 hey
by Right
Allemand Left 1 1/2 is done in a 8 beat phrase, and star promenade, butterfly
whirl is done in a 8 beat phrase.
I tried this dance earlier this year with experienced contra dancers and
many were having trouble
getting through A2 in time.
A1 Circle Left 3/4, Partner Swing
A2 Promenade across, Ladies Allemand Right 1/2, scoop up Neighbor for star
promenade 1/2, butterfly whirl
B1 Pass Thru across (right shoulder), Neighbor Swing (face down four in line)
B2 down the hall four in line, Turn alone, come back four in line, 2's in the
middle make an arch and pop the 1's Thru to the next couple.
How do you help people with the timing? I've tried to suggest that those getting
scooped up need to be ready.
Thanks.
Cheers, Bill
PS - in MWSD, right hand dancer allemand right 1/2, pick up person across,
star promenade back, is called Flutter Wheel
and left hand dancer allemand left 1/2 , pick up person across, star promenade
back is called Reverse Flutter Wheel. Both are
meant to take 8 beats. I have square dancers in my regular contra group and need
to get them used to
contra dance timing.
from Luke Donev:
> The post on walk-throughs for new dancers got me thinking about
> recruiting new dancers.
(...)
> I feel like the venues for dances are usually such that folks don't
> randomly wander in. If folks show up for a first time, they've decided
> to come (or were brought).
Our dance hall is downtown, at street level, and adjacent to a private club (American Legion). So, people do randomly wander in, even just to poke in their head to see what the heck all that fiddle noise is about. And occasionally they stay.
> should the focus be on that first
> experience, and making the barriers for entry as low as possible?
For our series, we do that by having two dances in the evening. The first dance is low cost/low pressure. (1hr, giant open band, community-level dances for all ages, $2 adults/$1 kids, very beginner-friendly) We have a snack break and then contras, and often those folks stick around long enough to figuratively "poke their heads in" at the contradance. (Over time, many of folks set themselves a goal of getting ready to stay for what they often call the "big dance."
> Do callers doing one night gigs announce local dance options if they
> know them? Or do you only talk about it with the folks who come up and
> ask?
Yes. When I call one-night-stands, I always point out over the mic that this sort of fun stuff is out there in the world, even if it's an out-of-my-area gig. Usually I reference websites of CDSS, NEFFA, DownEast Friends of the Folk Arts, Dance Gypsy, etc as useful places to find out about local dances. If someone is interested enough to ask, I give them my card and write down specific local dances (and those same websites.) If it's a local one-night-stand, I bring flyers for our local dance and set them out on a table/chair near my caller "nest".
Great topic Luke (with so many interesting questions, and generating so many interesting responses!)
Chrissy Fowler
Belfast, ME
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Really thoughtful comments from everyone. I appreciate Greg reframing this point to clarify that while the caller may not always be at fault, the caller always must take responsibility. Hear hear. Two further points:
1) Context does matter. Most gigs have few enough dancers that callers can intervene vocally or physically when problems occur on the dance floor. And careful advance planning can pre-empt many problems. But if a minor breakdown occurs in a hall of 500 dancers, as in my earlier example, I'd argue that not only should the caller consider not intervening, but that this minor breakdown is a sign of success, not failure.
Why success? For one thing, having only minor breakdowns in a hall with that many dancers indicates that overall, the caller has exercised effective programming, set management, and calling techniques; otherwise, major rather than minor breakdowns would have ensued. Second, the caller has the maturity and confidence NOT to intervene upon seeing every individual breakdown on the floor, which at best would be distracting to the majority of the dancers and at worst would be impossible. Evaluating when intervention is merited is itself a caller skill.
2) Lewis used the metaphor of conducting an orchestra to show how the caller is responsible for meshing everything together from the helm. This metaphor is accurate in the sense that callers, like conductors, do "conduct" all parties at the dance into a coherent whole. But it's also important to recognize the limitations of the metaphor: unlike conductors, callers exercise limited control over who is in their "orchestra."
Generally, anyone in the orchestra has reached a certain level of mastery and has been individually selected to be there. In contrast, as Dan Pearl's post illustrated, callers are at the mercy of whoever shows up to dance, and sometimes those dancers present challenges beyond the callers' ability to efficiently remediate. Even the most talented conductors would be severely challenged if forced to conduct an orchestra formed moments earlier and made up of people who have never before touched an instrument.
Jeremy
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If you're going to start calling squares, Martha, I suggest you do
what is comfortable for you. Unless of course this challenge is
like, "how many beers can you drink", and you're a real risk taker.
I think that if you call contras, New England squares would be the
next logical type of square to call.
No matter what kind of square you call, you should have (or develop)
good skills in watching the dancers. That means no cards. For
example, when you call an allemande left, grand right and left, you
should be able to follow a couple around the set. While you are
calling a square you need to be constantly watching. Your mind will
be working much harder calling a square than when calling a contra.
If you're interested in checking out the various styles of square
dancing, I suggest reading Ralph Sweet's book, Let's Create Old Tyme
Dancing. Don't know if it's still in print.
For many non New England squares, calling in fours is the way to go.
You can start on one or start on 5. But I would suggest to be
prepared to abandon that from time to time as things happen on the
dance floor.
Tom
I don't call very many squares, but they've always been a part of the
northern New England dance tradition. Anyone who attended the amazing summer
dances in Fitzwilliam, NH called by Duke Miller will know about "Smoke on
the Water" and all the other squares that should be given equal standing as
New England chestnuts.
As for square dances with a range of challenge that have an absolutely
traditional feel, the Lloyd Shaw Foundation is a great source. Lloyd Shaw
may well have done for square dancing what Dudley Laufman and other New
Hampshire callers and musicians have done for contra dancing. The LSF has
resources online for all sorts of traditional dance--their square dance
listing is here: http://lloydshaw.org/Catalogue/Square_Index.htm
It's my good fortune to have a hardbound copy of Shaw's 1939 book Cowboy
Dancing but you can view that online as well at
http://www.traditionalmusic.co.uk/cowboy-dances/ -- probably something there
for everyone.
Chip Hedler
For years I've had a set of 8 plastic engraved "checkers" for working
out square dance choreography.
Now that I'm a contra caller too, I wanted more dancers to push
through dances, so I drew some up in Adobe Illustrator, printed them
on heavy card stock, got them laminated front & back at the local
office supply store, and cut them out.
The PDF file is available free at my web site http://andyshore.com/
Scroll down to 'Various Goodies / Contra Dance "Checkers"' where you
can see a thumbnail of what I'm talking about and download the file to
print.
I hope someone else finds these useful. Constructive suggestions for
improving them are welcome!
--
/Andy Shore
Fort Lauderdale, FL
http://andyshore.com/
best email - andyshore(a)gmail.com
Martha,
You've been given a lot of great advice, and there is always more to know about calling squares. One thing I have noticed lately is that, since fewer squares have been called at contra dances (at least in my community in Seattle), contra dancers have a harder time with the different spacial awareness that is required to dance in a square formation rather than a contra formation. I find that even some dances that I consider "simple" are not executed easily by contra dancers simply because the formation is new to them.
All this is to say that you do not need to call a square dance that you consider complicated for it to be somewhat challenging for your dancers as they start to learn how to dance squares. Visiting couple square dances are fun and accessible, and not to difficult to learn to call. The timing can be forgiving, and as Tom mentioned, you can call in fours, starting on the 1 or the 5.
One trick that has been adopted by a number of callers is to have a visiting couple figure danced by both head couples at the same time, which allows more people to be dancing at one time. So you would have couple 1 visit couple 2, and couple 3 visit couple 4, then the two head couples dance together, then couple 1 visits couple 4 and couple 3 visits couple 2. It tends to work well, and there is not much standing-around time.
There are certainly a number of visiting couple square dances that you can find on YouTube for some examples. A fellow in Tucson, Fred Feild, has put some easier visiting couple square dance videos up on YouTube and they might be some dances that you could start with. There are certainly lots of other resources available. I started with Sandy Brandley's recording "Potluck and Dance Tonight" which is unfortunately unavailable. It had the calls and music on the record (yes, "record") with the calls on an enclosed booklet. Calling along with Sandy was how I got used to the calls, as well as some of the timing.
Perhaps you can have a house dance with some friends to try this new skill out. At the very least, you'll have a fun party! Hope this helps.
Suzanne Girardot
Seattle, WA
-----Original Message-----
>From: Tom Hinds <twhinds(a)earthlink.net>
>Sent: Apr 21, 2010 1:34 PM
>To: callers(a)sharedweight.net
>Subject: Re: [Callers] calling squares
>
>If you're going to start calling squares, Martha, I suggest you do
>what is comfortable for you. Unless of course this challenge is
>like, "how many beers can you drink", and you're a real risk taker.
>I think that if you call contras, New England squares would be the
>next logical type of square to call.
>
>No matter what kind of square you call, you should have (or develop)
>good skills in watching the dancers. That means no cards. For
>example, when you call an allemande left, grand right and left, you
>should be able to follow a couple around the set. While you are
>calling a square you need to be constantly watching. Your mind will
>be working much harder calling a square than when calling a contra.
>
>If you're interested in checking out the various styles of square
>dancing, I suggest reading Ralph Sweet's book, Let's Create Old Tyme
>Dancing. Don't know if it's still in print.
>
>For many non New England squares, calling in fours is the way to go.
>You can start on one or start on 5. But I would suggest to be
>prepared to abandon that from time to time as things happen on the
>dance floor.
>
>Tom
>
>_______________________________________________
>Callers mailing list
>Callers(a)sharedweight.net
>http://www.sharedweight.net/mailman/listinfo/callers
--- Tom Hinds wrote:
If you're interested in checking out the various styles of square dancing, I
suggest reading Ralph Sweet's book, Let's Create Old Tyme Dancing. Don't know
if it's still in print.
--- end of quote ---
That one's not, but CDSS is about to publish "On the Beat with Ralph Sweet," a
large compendium of squares as called by Ralph including both patter squares and
singing squares.
Last I heard, it was just about to go to the printers-- maybe this week!-- so
should be available shortly. Check out the sales section of the CDSS store on
the web:
http://www.cdss.org/store-home.html
I'm sure it'll be given a prominent place when it's available.
David Millstone
Lebanon, NH
