Thanks Alan and Lark for the wonderful and positive feedback.
Incidentally, amused to see Cary Ravitz's name in the message following mine - his mother is one of my infrequent dancers who provided me with the loveliest quote. To paraphrase; three hours after the dance I was aching, but found it was my face that was aching because I was still smiling. This is the experience I am used to with my dance group, and the experience I want to bring to the estates contra.
In refering to "real contra", I meant keeping away from set dance or ceili/ceilidh type barn dances which I also call. Nothing against them, but want to emphasize contra. I will be repeating the first session as the second session, and think I can build up to a (one) longways duple improper. But, Alan, thank you so very much for the dances you included.You gave me a lot to consider.
A band member gave me a copy of Good Morning last night, and the estates are working on getting me copies of programmes from dances Ford would have attended. But, I didn't like feeling pushed for time in getting a programme like this together, which is why I asked for help from the list - and I'm glad I did. Thanks, and wish me luck!
Gillian Carney
fortmyersdancers(a)hotmail.com
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Hi all,
In January, the NYC contra is holding a dance themed around "emerging
artists". I will be calling to Stunt Double (Laurie Tupper, Christopher
Jacoby, Dave Casserly, Julie Vallimont). It should be a great dance.
Anyway, in keeping with the theme, I would like to call some dances by
"emerging" choreographers. I'm currently looking for dances that fit this
loose description - "emerging" can really be defined however you want. So,
if you know of dances that you like that you think fit the bill, let me
know! Also let me know if the dances have been called before or still need
to be given a trial run.
Thanks,
Bronwyn
When faced with really complicated dances and no likely suspects I
take out my set of matched change -pennies, nickels etc., even a
couple Sacagaweas. Heads are one sex, tails are the other - you can
choose who you want to be heads or tails, I'll leave my choices out
of this - each value is a couple. Line them up and move them through
each figure.
On Aug 27, 2009, at 9:00 AM, callers-request(a)sharedweight.net wrote:
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> 1. Re: which hand (Delia Clark)
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> ----------------------------------------------------------------------
>
> Message: 1
> Date: Wed, 26 Aug 2009 13:56:05 -0400
> From: Delia Clark <deliaclark8(a)gmail.com>
> To: Caller's discussion list <callers(a)sharedweight.net>
> Subject: Re: [Callers] which hand
> Message-ID: <A2FA13CD-B6E1-42E4-9BE6-6EA2E76D1845(a)gmail.com>
> Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed
>
> Not only can I not easily visualize flow, I can't easily visualize
> how you would diagram a dance!! Can anyone scan and post one they've
> done, or recommend a website that shows one?
>
>
> On Aug 26, 2009, at 12:02 AM, Dave Colestock wrote:
>
>> Hi All,
>>
>> Great suggestion Tom. Diagramming dances is the best way to see
>> the flow, especially for those who cannot easily visualize the
>> flow. Thanks for pointing out the Allemande change in Luke's dance
>> - that makes it flow much nicer.
>>
>> Dave Colestock
>> Harrisburg, PA
>> www.davecolestock.com
>> www.frolicinthefall.freeservers.com
>> www.harrisburgcontra.org
>>
>>
>>
>> --- On Tue, 8/25/09, Tom Hinds <twhinds(a)earthlink.net> wrote:
>>
>>
>> From: Tom Hinds <twhinds(a)earthlink.net>
>> Subject: [Callers] which hand
>> To: callers(a)sharedweight.net
>> Date: Tuesday, August 25, 2009, 10:14 PM
>>
>>
>> I'd suggest an allemande right in Luke's dance. The reason is that
>> an allemande left would tend to have the couples end their swing
>> slightly staggered. That is, they wouldn't be exactly across from
>> each other. If the women allemande right this isn't an issue. Draw
>> it out and see if that's correct.
>> Tom Hinds
>> On Aug 25, 2009, at 6:11 PM, callers-request(a)sharedweight.net wrote:
>>
>>
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>>> 1. question about flow and feel (Luke Donev)
>>> 2. Re: question about flow and feel (Bronwyn Woods)
>>> 3. emerging artists (Bronwyn Woods)
>>> 4. Re: emerging artists (Martha Edwards)
>>> 5. Re: question about flow and feel
>>> (Alan Winston - SSRL Central Computing)
>>> 6. Re: emerging artists (Jeff Kaufman)
>>> 7. Re: emerging artists (Dave Colestock)
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> <>:<>:<>:<>:<>:<>:<>:<>:<>
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> Delia Clark
> PO Box 45
> Taftsville, VT 05073
> 802-457-2075
> deliaclark8(a)gmail.com
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>
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>
>
>
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> End of Callers Digest, Vol 60, Issue 15
> ***************************************
Hi everyone,
I've been teaching ECD in Ft. Myers (Florida) since Jan 2007, and we're now trying to establish a contra group. I've been given the opportunity to call a contra dance at the Edison & Ford winter estates in Ft. Myers on Sept 20th - I began contra dancing at Lovett hall, danced there for 13 years and attended the final dance there, so I fully understand the significance of this - and am looking for resources, ideas, any sort of help. Depending on the success of this contra, the estates are willing to work with us on having a monthly dance.
The contra will be part of the opening day ceremonies for the new exhibit - Ford; Movies, Music and Dance. It will be 4 hours long, with a 20 min break. The estates prefer that I do it as 2 separate sessions. I would like to keep it somewhat historical. The attendees will be primarily estate members (non dancers). We also have to involve the local ballet school as they are members and recognised in the community.
In my research I've found the following dances menetioned as onees that HF would have done: Gavotte, Minuet, Varsouvianna, Black Hawk Waltz, Blue Pacific Waltz. I think it would be best if I taught some of these to the ballet students and let them perform them during the break. I've not called much contra before - but then I'd never called ECD 22 months ago and now we have a group of 30 regulars and are approaching our second annual dance weekend - so would like some help choosing easier but fun dances to teach to a complete group of newbies. I thought of The Virginia reel, Money musk (done as a triplet with 4 couples as in Scottish) and Chorus Jig. Also the Gay Gordons and Schottische which I have experience teaching to strangers in bars and coffee shops in under 5 mins.
I have an amazing band who can play anything... I just have to come up with a fun programme and would like it to reflect how beautiful and how much fun contra, real contra, can be.
Help? Advice? Feel free to contact me off list at fortmyersdancers(a)hotmail.com
Thanks,
Gillian Carney
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I'd suggest an allemande right in Luke's dance. The reason is that
an allemande left would tend to have the couples end their swing
slightly staggered. That is, they wouldn't be exactly across from
each other. If the women allemande right this isn't an issue. Draw
it out and see if that's correct.
Tom Hinds
On Aug 25, 2009, at 6:11 PM, callers-request(a)sharedweight.net wrote:
> Send Callers mailing list submissions to
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> Today's Topics:
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> 1. question about flow and feel (Luke Donev)
> 2. Re: question about flow and feel (Bronwyn Woods)
> 3. emerging artists (Bronwyn Woods)
> 4. Re: emerging artists (Martha Edwards)
> 5. Re: question about flow and feel
> (Alan Winston - SSRL Central Computing)
> 6. Re: emerging artists (Jeff Kaufman)
> 7. Re: emerging artists (Dave Colestock)
> 8. Re: emerging artists (richgoss(a)comcast.net)
>
>
>
Two questions for Dave Colestock's dances, which look like fun:
A Sizzlin' Seattle has the Gents Allemande 1-1/2 - with which hand? Left?
Men in Plaid has a Gent's Chain. With which hand is this typically done? Gents pull by R as ladies do, or by L? I just called a dance this weekend with this move, and a discussion with the male dancers about this both ahead of time and afterwards yielded mostly that they're unaccustomed to the move. The dance I called had this chain followed by a 1/2 hey, and one thing that is clear is that they have to be congruent (e.g., gents chain by L --> gents pass by L to start the hey).
Thanks, folks!
Tina
Here's one I co-wrote. It's been danced and refined a number of times. I'd still like constructive or enjoyable feedback.
Grape-Stompin’ Peasant duple
improper contra
by Tina Fields & Jim Marcolina, 2007
A1 (16) Gents
pass by R-sh*, Sw N
(Note: The 1st time thru
this does not happen: begin B & Sw or just Sw.)
A2 (8)
Long lines F & B
(8) Cir
L all the way around
B1 (4+4) Balance
the ring, Petronella turn
(but don’t clap; stamp feet to
stomp grapes instead)
(4+4) Balance
the ring, Petronella turn
B2 (16)
Ladies
pass by R-sh to P,
Sw
P
It’s
really fun if dancers add some style to the pass by: Look the same-gender
person in the eye with a deep gaze as in gypsy, and pass by belly to belly with
a dramatic swoosh! -- arms out before and behind, like flying. This is more
easily demonstrated.
Note: The 1st time thru the
gents are not yet in place to pass by; begin the dance with B & Sw or just
Sw.
*******************************
Tina R. Fields, Ph.D.
"Hindsight Now!"
--- On Tue, 8/25/09, callers-request(a)sharedweight.net <callers-request(a)sharedweight.net> wrote:
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Subject: Callers Digest, Vol 60, Issue 12
To: callers(a)sharedweight.net
Date: Tuesday, August 25, 2009, 4:13 PM
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Today's Topics:
1. Re: emerging artists (Richard Allen Fischer)
2. Re: emerging artists (richgoss(a)comcast.net)
3. Re: emerging artists (David Casserly)
4. Re: emerging artists (Alan Winston - SSRL Central Computing)
5. Re: emerging artists (Chris Page)
6. Re: emerging artists (richgoss(a)comcast.net)
7. Re: emerging artists (Alan Winston - SSRL Central Computing)
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Thank you all for your feedback :-)
The overwhelming opinion is that the R hand allemande is more natural.
I think it's in part a circle L versus circle R kinda thing, where one
is more comfortable because it's done more and folks know how to make
it smooth. I also think it's a really small effect, and that dancer
comfort is an important consideration.
It's been pointed out to me that the sample dance I put up is very
close to Contraindicated by Peter Stix (replace the allemande with a
do-si-do, thus sidestepping the issue). The sample dance was actually
a simplification to just address the lines->allemande transition. The
dance I'm was working on that brought it up:
They're a right bunch of dancers
Becket
A1
Circle L 3/4, gents lead out to the left; zig and zag the set to new couples
A2
Circle R 3/4
ladies 1/2 chain
B1
long lines fwd & back
ladies allemande R 1 1/2 to ptr
B2
ptr bal & swg
Which I wrote to end with a partner balance and swing (something I
like to close a set with).
Thanks again for all the feedback and information.
On Tue, Aug 25, 2009 at 4:59 PM, Luke Donev<luke.donev(a)gmail.com> wrote:
> Hello all,
>
> I'm sitting at home writing a contra (they get in my head and won't
> leave me alone till I write them down). I unfortunately don't have a
> closet full of dancers to pull out and test things on, but I've got a
> question about flow.
>
> When the ladies are standing to the right of their neighbor on the
> side of the set, facing their partner, and are going to allemande
> over to their partner for a balance and swing, should it be an
> allemande Right or Left? I feel like the R is more traditional for
> ladies, but an allemande L would leave their R hand free for a
> smoother transition to a balance and swing (I feel lead's L, follow's
> R is a better 1 hand balance to go into a swing with than lead's R,
> follow's L).
>
> To put it in context, consider the following dance:
> Sample dance 1, Improper
> A1: N bal & swg
> A2: long lines, fwd & back
> Ladies Allmnd L 1+ to partner
> B1: ptr bal & swg
> B2: ladies 1/2 chain
> star L 1x, on to next
>
> I think the ladies should allemande L there, but I'd be curious what
> other people think of the flow.
>
> If it was something like going to a R hand R hand balance for a box
> the gnat, it would seem to force the issue, but it seems more open
> when it's just going into a swing. Preferences? Thoughts?
>
> --
> Luke Donev
> http://www.lukedonev.com
> Luke.Donev(a)gmail.com
>
--
Luke Donev
http://www.lukedonev.com
Luke.Donev(a)gmail.com
Hi, Bronwyn,
Here are three dances you might consider
Yes We Can! duple Improper Walter Daves
A1: Long lines forward and back; (8) W/ neighbor, roll away to a
circle of 4 (Woman roll to right in front of gent, Gent slide to left;
immediately reach across set to partner to make the circle); (4)
Balance the circle (4)
A2: W/Partner roll away across the set to a circle of 4 (4) , balance
the circle; (4) Gents do-si-do 1.5 to partner (8)
B1: Partner balance and swing (16)
B2: Circle left 3 places; (8) Neighbor swing (8)
Here's another, written several years ago, and slightly modified by Bob
Dalsemer
Nail that Catfish to a Tree duple improper Walter Daves
(inspired by the tune of the same name by Steve Rosen)
A1: In circle of 4, balance the circle; (4) circle 2 places to the
left; (4) balance the circle; (4) circle left 2 places (4)
A2: # 1 couple balance and swing (16)
B1: Neighbor do-si-do; (8) neighbor swing. (8) End swing facing down
the set
B2: Down the hall 4 in line,(4+) turn single, (2) return, (4+) # 2
couple arch, # 1 couple duck thru to next (4)
Note: need to hurry bac
Finally,
Little Nell duple improper Walter Daves
(Inspired by the tune of that name, by Tony Mates)
Start: Right hand to neighbor, women take left hands in wavy line across
A1: Balance the wave; (4) Allemande right half way, (4) balance the
wave (4); Gents allemande left half way, to partner (4)
A2: Partner balance and swing (16)
B1: Women allemande right 1.5 to neighbor, (8) neighbor swing, end
swing in circle of 4 (8)
B2: Balance the circle; (4) W/ partner, roll away across the set; (4)
balance the circle, (4) pass thru to next (4)
Hello all,
I'm sitting at home writing a contra (they get in my head and won't
leave me alone till I write them down). I unfortunately don't have a
closet full of dancers to pull out and test things on, but I've got a
question about flow.
When the ladies are standing to the right of their neighbor on the
side of the set, facing their partner, and are going to allemande
over to their partner for a balance and swing, should it be an
allemande Right or Left? I feel like the R is more traditional for
ladies, but an allemande L would leave their R hand free for a
smoother transition to a balance and swing (I feel lead's L, follow's
R is a better 1 hand balance to go into a swing with than lead's R,
follow's L).
To put it in context, consider the following dance:
Sample dance 1, Improper
A1: N bal & swg
A2: long lines, fwd & back
Ladies Allmnd L 1+ to partner
B1: ptr bal & swg
B2: ladies 1/2 chain
star L 1x, on to next
I think the ladies should allemande L there, but I'd be curious what
other people think of the flow.
If it was something like going to a R hand R hand balance for a box
the gnat, it would seem to force the issue, but it seems more open
when it's just going into a swing. Preferences? Thoughts?
--
Luke Donev
http://www.lukedonev.com
Luke.Donev(a)gmail.com
