Mavis, in Lynn's improper variation, where do you do the Carmen thing - A1 w/ Ns? or both then and B1 w/ P?
Yes, I too thought it was by Lisa Greenleaf - but when I called it in San Francisco a couple of weeks ago, a dancer came up after and told me he thought it was by Kathy Anderson. Trying to discover the truth online, I then found the Paul Balliet reference too... yikes. Carmen seems very popular amongst dance creators!
I'd love to see all of these Carmen dances to compare them. Anyone have them?
Tina
--- On Tue, 11/18/08, callers-request(a)sharedweight.net <callers-request(a)sharedweight.net> wrote:
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> Subject: Callers Digest, Vol 51, Issue 9
> To: callers(a)sharedweight.net
> Date: Tuesday, November 18, 2008, 9:00 AM
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> 1. Re: Carmen's Garments (mavis mcgaugh)
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> ----------------------------------------------------------------------
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> Message: 1
> Date: Mon, 17 Nov 2008 19:51:27 -0800 (PST)
> From: mavis mcgaugh <yankeecalls(a)yahoo.com>
> Subject: Re: [Callers] Carmen's Garments
> To: Caller's discussion list
> <callers(a)sharedweight.net>
> Message-ID:
> <301447.84806.qm(a)web36408.mail.mud.yahoo.com>
> Content-Type: text/plain; charset=utf-8
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>
> I too learned it as Carmen's Contra by Lisa Greenleaf
>
> I use it often but as an IMPROPER Dance more often than
> becket (thanks Lynn A)
>
> A1) N B & Swing
>
> A2) LL f&b
> Ladies Right AL 1 1/2
>
> B1) Partner B & S
>
> B2) Circle Left 3 place
> Pass Thru
> Next Neighbor D-S-D
>
>
> B1
> Mavis L McGaugh
> 510-814-8118 (answering machine-leave message)
>
>
> --- On Mon, 11/17/08, Richard Allen Fischer
> <richardallenfischer(a)verizon.net> wrote:
>
> > From: Richard Allen Fischer
> <richardallenfischer(a)verizon.net>
> > Subject: Re: [Callers] Carmen's Garments
> > To: tfields8(a)yahoo.com, "Caller's discussion
> list" <callers(a)sharedweight.net>
> > Date: Monday, November 17, 2008, 2:25 AM
> > Hmmm... I've got it as Carmen's Contra by
> Lisa
> > Greenleaf.
> >
> > RAF
> >
> > On Nov 16, 2008, at 11:53 PM, Tina Fields wrote:
> >
> > > Hi callers -
> > >
> > > I've been calling this goofy, fun dance that
> I
> > learned while dancing as "Carmen's
> Scarf." I
> > want to ascribe it correctly. When I looked online, I
> found
> > references to (w/o the dance) for a Carmen's Scarf
> by
> > Paul Balliet and a Carmen's Hat by Kathy Anderson.
> Do
> > any of you know which one I've got here? Thanks! -
> Tina
> > >
> > > Carmen?s Scarf Becket contra
> > > ? FUN, E/I
> > >
> > > A1) (8) Cir L ?, pass thru
> > > (8) DSD next N
> > >
> > > A2) (4) with same N: clap clap, bump bump
> > > (12) Sw
> > >
> > > B1) (8) LL F&B
> > > (8) Women Al-R 1-1/2
> > >
> > > B2) (16) B & Sw P
> > >
> > > NB: Men empty R pockets 1st!
> > >
> > >
> > >
> > >
> > >
> > >
> > >
> > > _______________________________________________
> > > Callers mailing list
> > > Callers(a)sharedweight.net
> > >
> http://www.sharedweight.net/mailman/listinfo/callers
> >
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> End of Callers Digest, Vol 51, Issue 9
> **************************************
Hi Folks,
A dance titled Carmen's Hat, by Kathy Anderson, appeared in my dance
collection as early as April 1997. I don't know where I collected it but I use it
vary sparingly as the action is oriented up & down the line more than
across. The figures go as follows:
duple improper contra formation
A1 Star Left 1X
Circle Right 3/4 (end facing Partner on Gent's home side)
A2 Clap own hands 2x and with Neighbor bump 2x / Neighbor Swing
(in center of set) End facing Partner up or down hall
B1 Ladies Chain Along the line to Partner
Promenade along the line ( Gents pass left) to original place
B2 Pass thru same Neighbors (up or down) to progressed places and
Partner Swing in center of set. End Facing New Neighbors.
The Lisa Greenleaf version which I have noted as "Carmen's Hat" showed
up in my cards sometime by July, 2003. Again, I don't have a source noted.
It is pretty much what has been discussed.
duple improper contra formation
A1 Lines F & B
Ladies Allmd Left 1 1/2
A2 Partner B & S
B1 Circle Left 3/4
Neighbor D.S.D. 1 1/4
B2 Clap 2x Bump 2x with Neighbor & Swing Neighbor.
Of course the whole thing could be turned into a Becket dance by starting at
B1. Perhaps Lisa G. will pitch in her 2 cents worth. Thanks to Lisa for
making the dance more accessible. It is a fun change of pace.
Cheers, John
I too learned it as Carmen's Contra by Lisa Greenleaf
I use it often but as an IMPROPER Dance more often than becket (thanks Lynn A)
A1) N B & Swing
A2) LL f&b
Ladies Right AL 1 1/2
B1) Partner B & S
B2) Circle Left 3 place
Pass Thru
Next Neighbor D-S-D
B1
Mavis L McGaugh
510-814-8118 (answering machine-leave message)
--- On Mon, 11/17/08, Richard Allen Fischer <richardallenfischer(a)verizon.net> wrote:
> From: Richard Allen Fischer <richardallenfischer(a)verizon.net>
> Subject: Re: [Callers] Carmen's Garments
> To: tfields8(a)yahoo.com, "Caller's discussion list" <callers(a)sharedweight.net>
> Date: Monday, November 17, 2008, 2:25 AM
> Hmmm... I've got it as Carmen's Contra by Lisa
> Greenleaf.
>
> RAF
>
> On Nov 16, 2008, at 11:53 PM, Tina Fields wrote:
>
> > Hi callers -
> >
> > I've been calling this goofy, fun dance that I
> learned while dancing as "Carmen's Scarf." I
> want to ascribe it correctly. When I looked online, I found
> references to (w/o the dance) for a Carmen's Scarf by
> Paul Balliet and a Carmen's Hat by Kathy Anderson. Do
> any of you know which one I've got here? Thanks! - Tina
> >
> > Carmen’s Scarf Becket contra
> > ? FUN, E/I
> >
> > A1) (8) Cir L ¾, pass thru
> > (8) DSD next N
> >
> > A2) (4) with same N: clap clap, bump bump
> > (12) Sw
> >
> > B1) (8) LL F&B
> > (8) Women Al-R 1-1/2
> >
> > B2) (16) B & Sw P
> >
> > NB: Men empty R pockets 1st!
> >
> >
> >
> >
> >
> >
> >
> > _______________________________________________
> > 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
Hi callers -
I've been calling this goofy, fun dance that I learned while dancing as "Carmen's Scarf." I want to ascribe it correctly. When I looked online, I found references to (w/o the dance) for a Carmen's Scarf by Paul Balliet and a Carmen's Hat by Kathy Anderson. Do any of you know which one I've got here? Thanks! - Tina
Carmen’s Scarf Becket contra
? FUN, E/I
A1) (8) Cir L ¾, pass thru
(8) DSD next N
A2) (4) with same N: clap clap, bump bump
(12) Sw
B1) (8) LL F&B
(8) Women Al-R 1-1/2
B2) (16) B & Sw P
NB: Men empty R pockets 1st!
What I have for "The Eyes Have It" is a bit different than "Three Ceremonies"
A1: Circle left once, slide left
Ladies Chain
A2: "Mad Robin" (but opposite rotation, a "sideways see-saw")
Hey Halfway (L st rt sh)
B1: Neighbor Balance and Swing
B2: Gents Allemande Left 1 1/2
Partner Swing
-------------- Original message --------------
From: "Tepfer, Seth" <LABST(a)emory.edu>
> I don't have my Cardinal Collection handy, but isn't this the exact same
> choreography as "The Eyes Have It" by Becky Hill?
>
>
> Seth Tepfer 770-784-8487 seth.tepfer(a)emory.edu
> Director of Administrative Computing, Oxford College
> Baby Pix at: http://www.flickr.com/photos/25804137@N08/
>
>
> > -----Original Message-----
> > From: callers-bounces(a)sharedweight.net [mailto:callers-
> > bounces(a)sharedweight.net] On Behalf Of Alan Winston - SSRL Central
> > Computing
> > Sent: Monday, November 03, 2008 4:58 PM
> > To: richgoss(a)comcast.net
> > Cc: Shared Weight
> > Subject: Re: [Callers] Three Ceremonies
> >
> > Rich wrote:
> >
> > > >From The Cardinal Collection:
> >
> > > Three Ceremonies - Adriane Moser
> > > Becket
> > > A1: Ladies Chain, mad robin (around N)
> > > A2: Hey (ladies pass rt)
> > > B1: Ladies pass rt sh, to swing ptr
> > > B2: F&B, Circle L 1x, slide left to new Ns
> >
> >
> > The published choreography has B1 as pass rt shoulder to gypsy
> > partner, _then_ swing.
> >
> >
> > Cool dance - killer flow.
> >
> > -- Alan
> >
> >
> >
> > --
> > =======================================================================
> > ========
> > Alan Winston --- WINSTON(a)SSRL.SLAC.STANFORD.EDU
> > Disclaimer: I speak only for myself, not SLAC or SSRL Phone:
> > 650/926-3056
> > Paper mail to: SSRL -- SLAC BIN 99, 2575 Sand Hill Rd, Menlo Park CA
> > 94025
> > =======================================================================
> > ========
> >
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>From The Cardinal Collection:
Three Ceremonies - Adriane Moser
Becket
A1: Ladies Chain, mad robin (around N)
A2: Hey (ladies pass rt)
B1: Ladies pass rt sh, to swing ptr
B2: F&B, Circle L 1x, slide left to new Ns
On 11/3/08 10:56 AM, "Lisa Greenleaf" <laleaf(a)verizon.net> wrote:
> I'm looking for the choreography for a contra called Three
> Ceremonies. Does anyone have it?
Re: Dance space and that "bottom" couple drifting down the hall:
I've seen gaps in the line of 10 or 12 feet.... that makes it hard to do a forward and back at all, much less with "W" shaped arms. It's real hard to give weight and feel any connection with anything but "W" shaped arms :)
Dances with moves outside the set (such as next neighbor do-si-do) are brutal to execute in 8 steps, when the next neighbor is 10 feet away.
Some dancers I know are aware of the set and do compress it upwards when the couples get to far apart.
Expanding sets can even occur on level floors, just due to the random motion of the dance, You can often see a set line up close enough for the walk through but 2 times into the dance, the minor sets are way to far apart.
As a caller set management becomes an issue... in a small hall the difference between 2 or 3 lines is a big factor. Trying to talk the dancers into forming two lines when they almost always want 3 can cause a "mutiny" real fast :) :) so..... tricks, ploys, and careful observation are needed.
I've found I can only mold the dancers into a set formation where the hall limits the "spreading out" about 4 or 5 times a evening. The rest of the time I have to save my "connected" dances for times when they just happen to be in the right formation and use "stay in the minor sets" dances for the times when they are spread out.
Perhaps the best plan would be to find those dancers that understand how great contra dancing is when the dancers can feel each other and get them to nudge the sets into the correct spacing?
I remember dancing in the 1980's in halls in California where the spacing was so tight you had to turn sideways to do a right and left thru. Everyone was on time because you had to be, because the space you just vacated was immediately occupied by some one else. :) Beginners picked up on the dance real fast because the was no place to wander off to, and we all had a blast :)
Keep the contra fires burning... :)
Richie Katz
_____________________________________________________________
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That reminds me of an issue I've noticed when dancing (but forget about when I'm calling). In a short contra line, occasionally some people will wait out at the bottom of the HALL, rather than at the bottom of the SET, putting a very large empty space between them and the other dancers. The problem is compounded when it is time to rejoin the dance, and the end couple just stands there which encourages the next couple in the set to come join them at the bottom of the hall, unaware of the void being created within the set.
Mark Widmer (central NJ)
"Mortland, Jo" <j-mortland(a)neiu.edu> wrote on Mon, 3 Nov 2008 10:03:18 -0600:
Hello, all,
Are any of you teaching the concept of individual dance space? With so
many newcomers at some dances, it would be a useful thing to mention.
Do you have any good metaphors you use? Any visual imagery?
Thanks.
Jo Mortland
Chicago
One that I heard recently was a caller telling dancers to notice where
their feet were, and then to make sure that their feet were under them
and not someone else. Also, pointing out that an arm sticking out
during a swing is a bludgeon -- much safer if you tuck arm in.
J
At 11:03 AM 11/3/2008, you wrote:
Hello, all,
Are any of you teaching the concept of individual dance space? With
so
many newcomers at some dances, it would be a useful thing to
mention.
Do you have any good metaphors you use? Any visual imagery?
Thanks.
Jo Mortland
Chicago
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