Hi,
In United We Dance, by Bob Isaacs, I am curious how you tell people to
re-form the long wavy lines after the star in B2, to continue the dance. To
set up these lines from an improper formation before the dance starts it
seems sufficient to me just to tell the men to turn and face out and take
their neighbors right in their right. It is the transition from the star
left that ends the dance to that long wavy line that puzzles me some for
the women. It seems that the men can naturally end that star facing out,
but it seems that the women will end that star also facing out and will need
to take an extra turn to face in to set up that long wavy line for the
continuation of the dance. How do you tell folks to make this transition?
Other comments are, of course welcome, but it is this transition that, for
the women, I am wondering about. The full dance is below. Thanks,
Rickey Holt,
Fremont
Starting formation: Right hand long wave with neighbor. I take this to
mean two such waves, down the sides.
(A1) Balance and ROM slide Right / Balance and ROM slide Left
(A2) Balance and swing Neighbor
(B1) Circle left ¾ / Swing Partner
(B2) Ladies Chain / Star Left.
New title: Not Always Right (much better, thanks!)
I haven't had a chance to actually "dance" it yet, but I would (gently)
remind the gentlemen that we ladies have gotten accustomed to a certain amount of
institutionalized awkwardness (I suppose we could call it the Ginger Rogers
syndrome) so a little turnabout seems fair. In squares, for instance, to
allemande one's corner is easy for the men -- you use the natural (outside)
hand. For the ladies, however, the natural hand to use would be the right hand
-- that's OUR outside hand. We ladies must turn 45 degrees and reach across
with our INSIDE hand to allemande our corner smoothly and gracefully --
something which many callers I've danced to fail to point out for the beginners on
the floor. And of course in virtually all contra corners dances with a
"cast off" figure, the man's free hand, as he comes into the center, is his right
hand, so he's ready to begin the contra corners figure. But the lady
"castee's" right hand is around the waist of the lady "caster." I've seen many
women beginners try contra corners and "not get it" repeatedly because they
try, over and over, to start with their natural hand -- the left (free) hand.
(I was a source of considerable "prop wash" the first time I tried contra
corners. A helpful neighboring woman dancer kept repeating "RIGHT hand" in my
direction until I finally got it "right"). Having spluttered on defensively
however at far too much length, I agree that the dance should flow smoothly.
What about:
B1: Half a hey on the LEFT diagonal, ladies chain across to the new
neighbor (16 counts).
B2 Balance the ring, Petronella LEFT (8) one place. Balance the ring,
Petronella LEFT one place, turn around and form a new left hand star with the next
neighbors?
April Blum
**************Vote for your city's best dining and nightlife. City's Best
2008. (http://citysbest.aol.com?ncid=aolacg00050000000102)
Hi all,
I have been hired to lead some dancing for a recreation of the Mormon Trek
that took place from 1840 to 1860. Apparently they believed in dancing and
danced during the trek itself. It would be fun to include any historically
accurate (or roughly historically accurate) material that I can. There will
be close to 100 dancers mostly teenagers I believe, most or all with no
prior experience with traditional dance. Any suggestions for easy dances -
circles, sets or maybe contras (although I know better than to expect them
to do contras unless we turn the contras into Sicilian circles) would be
very welcome. I might even take on a square or two. The dance will take
place outside, perhaps under a tent, but I believe without a wooden floor.
Your suggestions will be happily danced.
Thanks,
Rickey Holt,
Fremont, NH
I'm a novice caller, and will be taking the Callers Workshop with Lisa Greenleaf at Pinewoods this August.? Wednesday, August 13th will be the 36th International Lefthanders Day, and I've written the following dance which I hope to call there that evening, since its Campers Night?-- it?dances okay in my head.? Any input?
Name of Dance:? August 13
Duple Improper, double progression.
A1? LEFT hand star (8) morphing into LEFT hand Allm w/neighbor (8)?(like Al's Safeway Produce)
A2? Ladies pass LEFT shoulders across the set to B/S partner (16)? Face LEFT diagonal
B1? On the LEFT diagonal, half a hey, ladies leading.? Ladies turn back over their LEFT shoulders to LEFT gypsy partner (16).? Face across.
B2? Circle LEFT --? (One and 1/8 places?)?(8 counts) Far enough to balance the ring (4) and then pass LEFT shoulders (4) into a new LH star with the next.??
April Blum
Hi.... I've posted 4 videos of Lisa Greenleaf, Ron
Buchanon, and Becky Hill calling, A Pirates Life for
Me, The 24th of June, Are you 'most done, and one
unknown dance. All this is on the caller's corner
page of contrausa.com.
Can anyone look at these and let me know some of the
dance names, the author's data and any other
comments on the calling and dances?
By the way, the dancing and music is great also...
and you may see your friends in there :)
best wishes ...
Richie Katz
Tampa
--- April wrote:
Does anyone have a suggestion for a tune that has a different B2????
--- end of quote ---
I think what you mght be looking for is a three-part tune. Instead of playing
AABBCC, the band might play, for example, AABC, giving you that different sound
for the B2 part of your dance.
Possibly the best-known tune that has three parts (aside from Chorus Jig, which
won't work because it's more like ABCB and because for some dancers that tune is
linked with the dance) is Ragtime Annie. Most fiddlers know the A and B parts
and many will also know the C part.
Other three-part possibilities that quickly come to mind are Reel Beatrice
(French-Canadian), Quadrille Jos Bouchard (ditto) and Merrily Kissed the
Quaker's Wife (Irish).
Of course, in keeping with your theme of "LEFT," you might want to consider
using "The Girl I Left Behind Me" as your tune. ;-)
David Millstone
April,
If you decide to do any choreographic adjustments but want to stick to
the "left" theme, don't forget the option of using your "other" left
foot or hand.
--jerome
>
I've often threatened to knit myself some lacy fingerless gloves, one of which will have a large "L" on the back...
... and the other of which will have a large "OL" (for my Other Left).?
Does anyone have a suggestion for a tune that has a different B2????I think with the right tune providing an audio cue, the direction change (from gypsy left to circle left) would be less?apt to go "right."? Or do I mean more apt to go left??
April
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Sent: Wed, 4 Jun 2008 12:00 pm
Subject: Callers Digest, Vol 46, Issue 2
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Today's Topics:
1. Re: August 13, International Lefthanders Day (Janet Levatin)
(Jerome Grisanti)
----------------------------------------------------------------------
Message: 1
Date: Tue, 3 Jun 2008 12:00:27 -0500
From: "Jerome Grisanti" <jerome.grisanti(a)gmail.com>
Subject: Re: [Callers] August 13, International Lefthanders Day (Janet
Levatin)
To: callers(a)sharedweight.net
Message-ID:
<78dbc7c60806031000i49afaa0h31665f49ebc58f62(a)mail.gmail.com>
Content-Type: text/plain; charset=ISO-8859-1
April,
If you decide to do any choreographic adjustments but want to stick to
the "left" theme, don't forget the option of using your "other" left
foot or hand.
--jerome
>
>
> I'm not very experienced at writing dances or critiquing them. I think
> it looks good. The only part the seems awkward to me is transitioning
> from a left shoulder gypsy to a circle left. It seems like circling
> right would flow more easily. Or else gypsying right and transitioning
> into the circle left.
> Janet Levatin
>
--
Jerome Grisanti
660-528-0858
http://www.jeromegrisanti.com
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End of Callers Digest, Vol 46, Issue 2
**************************************
April,
If you decide to do any choreographic adjustments but want to stick to
the "left" theme, don't forget the option of using your "other" left
foot or hand.
--jerome
>
>
> I'm not very experienced at writing dances or critiquing them. I think
> it looks good. The only part the seems awkward to me is transitioning
> from a left shoulder gypsy to a circle left. It seems like circling
> right would flow more easily. Or else gypsying right and transitioning
> into the circle left.
> Janet Levatin
>
--
Jerome Grisanti
660-528-0858
http://www.jeromegrisanti.com
Hi all,
I'd like to suggest a style point for consideration. This is standard
in some communities, not in others, but it makes a (almost oddly) big
difference to my comfort as a dancer.
>From when I was originally taught the courtesy turn, "the ladies make
a little teapot" part (right arm the handle, left hand the very bent
spout, you all get the picture), and that that right hand on a lady's
hip is there "so that the gentlemen can BE gentlemen and take the
ladies by the hand, not the waist." This second part is very
important to me personally as a matter of dance etiquette.
I have no trouble with an arm around my waist for swings, star
promenade/butterfly whirls, any number of other moves most likely, but
for some reason the gentlemen being gentlemanly really stuck with me
and--for me--makes a full arm around the waist during a courtesy turn
feel literally too close for comfort.
Kindly consider this point in future dances, teaching sessions, &c.,
for what it's worth. My suggestion for dancing would be, ladies, make
your right hand an easy target, and, gents, be sensitive to such a
target when reaching for a lady on a courtesy turn. And thank you for
your consideration.
Lark Speyer
Boston area
--
Try being a warrior for freedom and go be who you really want to be,
and keep doing it. --"Civil War: 2061" Game Rules
I'd like to second Rebecca's invitation for callers to consider this particular
course:
http://www.cdss.org/programs/2008/pw-community-leaders.html
True, the focus isn't on calling for hard-core contra dancers; rather, it's
aimed at building the skills you'll need to work with less-experience folks at
community dances, one-night stands, PTO events, weddings, and the like.
Many of the calling skills, of course, are easily transferred to the
contemporary contra mainstream, but there's a different mindset (and a different
repertoire) that you need when approaching these other events. For example, I
called ten days ago for three hours of dancing with a large group celebrating a
family reunion, and didn't call a single honest-to-goodness contra all evening.
Never needed a ladies chain or a hey-for-four on the left diagonal or a right
and left through. Folks had a great time and this morning's e-mail brought an
invitation to call for a wedding, someone who had attended this event and is
completely changing her wedding reception plans to include a dance. I guarantee
you that wouldn't have happened if I'd called an evening of contras!
Andy's class at Pinewoods will be an excellent way to develop that way of
thinking.
Need I point out that weddings and such events also pay MUCH better than your
average contra dance? ;-) Indeed, being able to call for these events is a way
of earning cash to purchase CDs and attend camps on your own!
Andy literally wrote the book-- well, he's one of the co-authors, and it's many
books, not just one-- on the subject of community dancing.
David Millstone