While "Spring Cleaning" my desk I discovered this dance noted.
Can anyone supply the title and author? It's one of those "NO Swing" dances!
Thanks
Jane Ewing
Huntsville, AL
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
Here is a real easy dance that has the circle balances and Pet twirls. I
don't know who wrote it or the name.
It us an improper contra. I've used it at dances where there were large
numbers of beginners (80% beginners) and it
goes over really well. the new dancers pick it up easily.
A1, A2 in a circle balance and spin to the right. repeat this three more
times.
B1 Circle left. swing neighbor.
B2 Long lines forward and back, actives swing.
Tom
Original Message:
-----------------
From: callers-request(a)sharedweight.net
Date: Sun, 04 May 2008 10:28:40 -0400
To: callers(a)sharedweight.net
Subject: Callers Digest, Vol 45, Issue 8
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Today's Topics:
1. Re: petronella (Jack Mitchell)
2. Re: petronella (Bob Isaacs)
3. Re: petronella (Michael Barraclough)
4. Re: petronella (Dave Colestock)
5. Dance Debrief (Jack Mitchell)
----------------------------------------------------------------------
Message: 1
Date: Sat, 03 May 2008 15:30:32 -0400
From: Jack Mitchell <jamitch3(a)mindspring.com>
Subject: Re: [Callers] petronella
To: Caller's discussion list <callers(a)sharedweight.net>
Message-ID: <E1JsNR5-0005XF-Hn(a)elasmtp-masked.atl.sa.earthlink.net>
Content-Type: text/plain; charset="iso-8859-1"; format=flowed
Hmmm...this doesn't seem to have come through.
Jack
At 03:17 PM 5/3/2008, you wrote:
>Content-Type: multipart/related;
> boundary="----=_NextPart_000_0169_01C8AD30.CC9FCF80"
>Content-language: en-us
>
>Cure for the Claps by Bob Isaacs
>
>[nb timing is in measures/bars, not beats]
>
>
>
>
>
>
>
>Michael Barraclough
>
>http://www.michaelbarraclough.com
>
>
>
>
>
>
>
>
>
>-----Original Message-----
>From: callers-bounces(a)sharedweight.net
>[mailto:callers-bounces@sharedweight.net] On Behalf Of Jack Mitchell
>Sent: Saturday, May 03, 2008 3:09 PM
>To: Caller's discussion list
>Subject: Re: [Callers] petronella
>
>
>
>While we're on the topic, does anyone have The
>
>Cure for the Claps, by Bob Issacs written
>
>down? I had it, but can't find it in my box.
>
>
>
>Jack
>
>
>
>At 01:11 PM 5/3/2008, you wrote:
>
> >The simplest Petronella dance is probably
>
> >Petronella itself. Issues for some might be that
>
> >it is a proper dance and there is no swing with
>
> >anyone at all. But it is the standard and we
>
> >still enjoy it here. David Smukler has a very
>
> >nice description of the dance here:
>
> >http://www.davidsmukler.syracusecountrydancers.org/petronella.htm
>
> >
>
> >Where in France are you located?
>
> >
>
> >Rich Hart.
>
> >
>
> >B?atrice De'N?ve remarked on 5/3/2008 12:38 PM:
>
> >>Hello,
>
> >>
>
> >>I am a French contra dancer, trying to introduce contra in France. We
have
>a
>
> >>small group of 20 dancers who are able to dance most of the main
figures.
>I
>
> >>would like to introduce 'petronella' and 'balance the ring', I'm looking
>for
>
> >>a contra with 4 'balance the ring' and 4 petronella, do you know a
simple
>
> >>one ?
>
> >>Beatrice
>
> >>_______________________________________________
>
> >>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
>
> >
>
>
>
>_______________________________________________
>
>Callers mailing list
>
>Callers(a)sharedweight.net
>
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>
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------------------------------
Message: 2
Date: Sat, 3 May 2008 15:35:30 -0400
From: Bob Isaacs <isaacsbob(a)hotmail.com>
Subject: Re: [Callers] petronella
To: Caller's discussion list <callers(a)sharedweight.net>
Message-ID: <BAY129-W41764FB01B7132632FA075AAD50(a)phx.gbl>
Content-Type: text/plain; charset="iso-8859-1"
Jack and All;
I do;
The Cure for the Claps Improper, 8/19/03
A1. 4,4,8 Balance, Petronella, partner swing
A2. 4,4,8 Balance, Petronella, neighbor swing - face down
B1. 8,8 Down hall in line/4 - turn alone, up hall and bend line
B2. 8,4,4 Circle L, balance, California twirl
When this first started circlulating, it was often called The Cure for the
Clap, but that's a whole different story. This
is a rarity among modern contras - no fractions.
Bob Isaacs> Date: Sat, 3 May 2008 15:09:03 -0400> To:
callers(a)sharedweight.net> From:
jamitch3(a)mindspring.com> Subject: Re: [Callers] petronella> > While we're
on the topic, does anyone have The >
Cure for the Claps, by Bob Issacs written > down? I had it, but can't find
it in my box.> > Jack> > At 01:11 PM
5/3/2008, you wrote:> >The simplest Petronella dance is probably >
>Petronella itself. Issues for some might be
that > >it is a proper dance and there is no swing with > >anyone at all.
But it is the standard and we > >still enjoy
it here. David Smukler has a very > >nice description of the dance here: >
>http://www.davidsmukler.syracusecountrydancers.org/petronella.htm> >>
>Where in France are you located?>
>> >Rich Hart.> >> >B?atrice De'N?ve remarked on 5/3/2008 12:38 PM:>
>>Hello,> >>> >>I am a French contra
dancer, trying to introduce contra in France. We have a> >>small group of
20 dancers who are able to dance most of
the main figures. I> >>would like to introduce '
petronella' and 'balance the ring', I'm looking for> >>a contra with 4
'balance the ring' and 4 petronella, do you
know a simple> >>one ?> >>Beatrice>
>>_______________________________________________> >>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> >> >
_______________________________________________>
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------------------------------
Message: 3
Date: Sat, 3 May 2008 15:59:10 -0400
From: "Michael Barraclough" <michael(a)michaelbarraclough.com>
Subject: Re: [Callers] petronella
To: "'Caller's discussion list'" <callers(a)sharedweight.net>
Message-ID: <017a01c8ad58$276e0c70$764a2550$@com>
Content-Type: text/plain; charset="iso-8859-1"
The content was turned into an attached image. However, Bob has provided
the info now anyway.
Michael Barraclough
http://www.michaelbarraclough.com
-----Original Message-----
From: callers-bounces(a)sharedweight.net
[mailto:callers-bounces@sharedweight.net] On Behalf Of Jack Mitchell
Sent: Saturday, May 03, 2008 3:31 PM
To: Caller's discussion list
Subject: Re: [Callers] petronella
Hmmm...this doesn't seem to have come through.
Jack
At 03:17 PM 5/3/2008, you wrote:
>Content-Type: multipart/related;
> boundary="----=_NextPart_000_0169_01C8AD30.CC9FCF80"
>Content-language: en-us
>
>Cure for the Claps by Bob Isaacs
>
>[nb timing is in measures/bars, not beats]
>
>
>
>
>
>
>
>Michael Barraclough
>
>http://www.michaelbarraclough.com
>
>
>
>
>
>
>
>
>
>-----Original Message-----
>From: callers-bounces(a)sharedweight.net
>[mailto:callers-bounces@sharedweight.net] On Behalf Of Jack Mitchell
>Sent: Saturday, May 03, 2008 3:09 PM
>To: Caller's discussion list
>Subject: Re: [Callers] petronella
>
>
>
>While we're on the topic, does anyone have The
>
>Cure for the Claps, by Bob Issacs written
>
>down? I had it, but can't find it in my box.
>
>
>
>Jack
>
>
>
>At 01:11 PM 5/3/2008, you wrote:
>
> >The simplest Petronella dance is probably
>
> >Petronella itself. Issues for some might be that
>
> >it is a proper dance and there is no swing with
>
> >anyone at all. But it is the standard and we
>
> >still enjoy it here. David Smukler has a very
>
> >nice description of the dance here:
>
> >http://www.davidsmukler.syracusecountrydancers.org/petronella.htm
>
> >
>
> >Where in France are you located?
>
> >
>
> >Rich Hart.
>
> >
>
> >B?atrice De'N?ve remarked on 5/3/2008 12:38 PM:
>
> >>Hello,
>
> >>
>
> >>I am a French contra dancer, trying to introduce contra in France. We
have
>a
>
> >>small group of 20 dancers who are able to dance most of the main
figures.
>I
>
> >>would like to introduce 'petronella' and 'balance the ring', I'm looking
>for
>
> >>a contra with 4 'balance the ring' and 4 petronella, do you know a
simple
>
> >>one ?
>
> >>Beatrice
>
> >>_______________________________________________
>
> >>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
>
> >
>
>
>
>_______________________________________________
>
>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
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers
------------------------------
Message: 4
Date: Sat, 3 May 2008 21:54:33 -0700 (PDT)
From: Dave Colestock <contradancerdave(a)yahoo.com>
Subject: Re: [Callers] petronella
To: Caller's discussion list <callers(a)sharedweight.net>
Message-ID: <813025.14625.qm(a)web52608.mail.re2.yahoo.com>
Content-Type: text/plain; charset=iso-8859-1
Thanks Lisa, for posting Petronella's Pin. Rather than post my description
of the original here I invite you to peruse
my website at www.davecolestock.com and find it under my dance
compositions.
Basically there is a move called a Give and Take, but in my dance it is
the Ladies who bring the Gents back to their
side for the partner swing (instead of the gents bringing back the ladies).
Nils modified it by changing the Give and
Take to a Gents Allemande Left 1.5x. The G&T allows for a longer partner
swing, since the G&T is a 4 beat move.
The dance Petronella itself presents a slight teaching challenge in that
the figure starts in a diamond formation
rather than from a standard improper formation. This makes it difficult
for dancers who are not used to that
formation, and callers who are unfamiliar with the dance. Check out David
Smuklers site for more on that dance.
I would advise choosing easy dances to teach the figure, then progress
onto the more difficult dances that use the
"Petronella style" figure (the balance, then spin right one place sequence
that has become know as the Petronella
figure). I would consider Cure for the Claps a more advanced dance, since
it splits the Petronella spins into separate
sequences to allow for the swings.
HTH
Dave Colestock
Lisa Sieverts <lisa(a)lisasieverts.com> wrote:
Not 4, but 2, and a surprisingly accessible dance:
Petronella's Pin - 08/05/2005 Dave Colestock (as modified by Nils
Fredland)
Duple, Improper
1. Balance in a Ring of 4, Spin to the Right 1 Place
2. Balance in a Ring of 4, Spin to the Right 1 Place
3. Balance in a Ring of 4
4. Swing Neighbor
5. Men Allemande Left 1?
6. Partner Swing
7. Circle LEFT ?
8. Balance the Ring; Pass Thru to New Neighbors
On May 3, 2008, at 12:38 PM, B?atrice De'N?ve wrote:
> Hello,
>
> I am a French contra dancer, trying to introduce contra in France.
> We have a
> small group of 20 dancers who are able to dance most of the main
> figures. I
> would like to introduce 'petronella' and 'balance the ring', I'm
> looking for
> a contra with 4 'balance the ring' and 4 petronella, do you know a
> simple
> one ?
> Beatrice
> _______________________________________________
> Callers mailing list
> Callers(a)sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
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------------------------------
Message: 5
Date: Sun, 04 May 2008 10:27:58 -0400
From: Jack Mitchell <jamitch3(a)mindspring.com>
Subject: [Callers] Dance Debrief
To: callers(a)sharedweight.net
Message-ID: <E1JsfCb-0007Fl-SF(a)elasmtp-spurfowl.atl.sa.earthlink.net>
Content-Type: text/plain; charset="iso-8859-1"
So, I started writing this out for myself, just to write out some of my
thoughts about the dance -- what went well, what didn't, what I needed
to think about. Once I got it done, I thought there might be some
folks out there who would be interested in reading (or at least
skimming) some of this.... Usually I just mull over a dance
afterwards, sometimes talking it out with another dancer. This is the
first time I've tried to write things out. It's kinda long, so feel
free to ignore it if you're not interested. If you would be interested
in helping me troubleshoot a walk through, but don't want to deal with
it all, I would be interested in any thoughts that you might have on
teaching "Happy as a Warm Pig in Cold Mud" -- it's the first dance I
talk about in detail. If you don't want to plow thorough the rest,
just have a look at it -- start at the bold face text below.
Jack
Here goes.....
Just called a dance at the Greensboro (NC) Grange this evening. We had
a relatively small group -- probably in part because it was a first
Saturday and so we didn't get the folks coming over from the Triangle,
never getting above two lines (but never having to go to just one line
either!). The band was Skylark (Paul Fackler on fiddle, Marilyn
Hartman on piano and Colin Cannell on percussion and mouth harp).
Overall, I was pretty happy with the program I called, but I probably
did try to do 1 too many more involved dances later in the evening.
First half:
The first part of the evening was mostly glossary dances, adding in a
Hey by the 3rd dance of the evening.
* Greetings, by Tori Berone -- a nice simple dance, with Long Lines
after both of the swings, which helps remind the dancers to stop
swinging and move on without my having to call for the whole time
* Summer Sunshine, by Paul Balliet - starts and ends in the same
short wavy lines, introduces Ladies Chain
* Flirting Attempt, by Marian Hepburn - first Hey of the evening,
otherwise, a pretty simple dance
* Salmanella Evening by Steve Zakon Anderson - brings in Petranella
Spins, pretty heavy on allemandes - another great set of tunes - a
set of rip roaring french canadian tunes with both foot percussion
and drum
* After the Flu, by Dean Snipes - a down the hall dance which ends
with a ladies chain into a circle right into (the top of the dance
which is a) circle left with new neighbors. We did it to a nice
set of smooth jigs and once people got the hang of the transition,
it went well. I really love that transition -- circle right into
circle left with new folks.
Inpatient readers, please start here!!
I ended the first half with Happy as a Warm Pig in Cold Mud. I've been
playing with how I want to teach this one, and I'm still not happy with
what I've got, though Eileen gave me some good ideas for things to try
next time (probably when I call at Glen Echo next week)
So, the dance is:
Happy as a Warm Pig in Cold Mud (or in the winter Happy as a Cold Pig
in Warm Mud -- I'm actually not sure which is the original title....)
Mike Boershig Improper
A1 N B&S
A2 Men Allemande L 1.5
P Allemande R 1.5
B1 Leave your partner, Left Hand Star 1x (theoretically with
neighbor, shadow and shadow's neighbor)
Back to your partner, Swing
B2 Circle Left 3/4
Balance the Ring
California Twirl
So, as you would guess, the B1 is the tricky bit. One of the fun
things about this dance is that it doesn't matter which way you go for
the star -- it helps if you and your partner go in different
directions, but even that doesn't really matter -- as long as you go
somewhere, turn a star and then swing your partner. Because of that,
it's a very resilient dance. That being said, what I discovered
tonight was that it can still be confusing for folks even when it
doesn't fall apart -- that's more or less what happened tonight. The
dance kept going, and I was able to stop calling, but new dancers ended
up confused (and keeping calling didn't change much). It was a matter
of getting oriented in the first place. We also had a lower proportion
of experienced dancers to beginners than usual.
What I did during the walk through was have them allemande R 1.5 with
partner, and then get the men back to back in the center. Reach out
with your left hand and star left with your neighbor and the two people
pointing back at you. I also pointed out that in the dance it didn't
matter how many times you allemande with your partner or which
direction you went to form the star -- as long as you go and keep
moving. People still had a lot of trouble figuring out where to go
once the dance got going, and in a lot of cases the new folks just got
the "deer in the headlights" syndrome and stopped completely.
A few options:
1) Point out that (theoretically) you will have a shadow in your star
-- if you're doing a wrist grip star, the gent's shadow will be the
lady whose wrist he grabs to form the star. Problem: If some folks go
the other way, this could be more confusing. Option: Just don't
mention that you can go either way -- have it be allemande 1.5, star
left with shadow, come back swing.
2) Men back to back in the middle (after the allemande). Look away
from your hands 4 for someone of the same gender and form a hands
across star. Turn the star 1 time. Swing your partner. Problem:
Again, could be confusing if someone ended up with he he he she stars
or she she she he stars.
3) Other ideas??
How's the best way to point out the position without having to tie it
either to a particular person or gender? I suspect that with the group
I had, I should probably have just "done it straight" without pointing
out the opportunity to mess around. In that case, which way above
would seem to be clearer? With a larger proportion of experienced
dancers, though, any thoughts on the best way to teach it?
Ok. Impatient readers are done. If you want to read about the second
half and pick up another new dance, keep going!
Second half, I did
* Square Affair, by Becky Hill, a great dance with a square thru,
* Any Jig Will Do, by Mike Richardson (done to Slip Jigs -- I love to
call this one when I have a band that can do slip Jigs, and the
band had put a set together specifically for me. They ended up at
a higher tempo than I've done it at before. It was almost too
fast, but the dancers were able to keep up confortably. For some
reason, once of the new dancers who had been confused and
disoriented for many of the dances was able to get this one with no
problems -- and it's a dance that depends on the men to get the hey
going.
* a simple 4 face 4 (Dance All Night, by Rick Mohr)
* Lundee's Laughter, a new dance by Adina Gordon
On this one, I forgot that I hadn't done the dance I had
planned to do earlier in the evening to introduce the Roll
Away (which came right after a ladies chain, making it
more complicated.) I had planned to start out with Rollin
and Tumblin by Cis Hinkle, but then (for some reason)
changed to another dance instead and forgot that I needed
the roll away for this dance. Also, this is the first
time I've called it at a regular dance -- we tested it out
two weeks ago when the naming rights were auctioned off at
a benefit dance -- but we only danced it a few times then)
The dance is:
Lundee's Laughter
Adina Gordon Becket!!
A1 2 ladies down the hall
Turn alone, come back
(while the ladies are traveling, men face
down)
A2 Partner Gypsy (by inside shoulder -- the one
that's closest), ladies cross
Neighbor Swing
B1 Long Lines
Left Diagonal Ladies Chain (to shadow), and
Roll Away
B2 Partner Swing
Definitely needed to have done a roll away earlier in the
evening like I had originally planned, because this is a
special case for a rollaway and getting to it from the
ladies chain can be tricky to figure out what to do with
which hand even when you know how to do a roll away. It
does flow very nicely into the swing though. The one
problem that we had when we tested it 2 weeks ago was the
progression -- you have to make sure that when you come
back around to the top that it's two NEW ladies to go down
the hall. After the swing, the dancers are likely to need
to shift just a bit to the right to be across from new
neighbors. It's a good dance, and I think with a more
experienced group, would have been fine. As it was, it
never fell apart, it was just a little rough around the
edges, and a number of folks never got the roll away.
This dance isn't a good one to start with for a roll away
because a) it's from an unusual position and b) it's
always with the same person -- your shadow. If neither of
you know how to do a roll away, you'd just sunk.
Fortunately, all you have to do is trade places and there
your partner is, and you've got a nice long swing with
them before you have to do anything else.
Ended the evening with Hey in the Barn by Chart Guthrie -- one of
my favorite
everyone's-brain-dead-and-we-just-want-to-dance-and-not-think
dances. (for those who don't know it: N B&S, L Chain, 1/2 Hey, P
B&S, LC, 1/2 Hey, on to the next.....
If I had it to program again I wouldn't have done Any Jig, Dance
all Night and Lundee's Laughter all together -- too many unusual
dances all in a row, and I think it taxed the dancers a bit. I
also wouldn't have done Lundee's laughter without having done a
roll away earlier in the evening so that they get lots of practice
with different folks. I think that two out of three would have
been ok, perhaps split up by a simpler dance. Ahh, the joys of
programming on the fly in combination with new dances (Dance all
Night was my first ever 4 face 4, and Lundee's Laughter was a new
dance too....)
Fortunately, I had fabulous music to work with. This is my first
time working with them since Colin's been playing with Paul and
Marilyn. Colin just started working with them about 6 months ago,
and the percussion has really added a lot to their sound. I had
called with them a bunch of times as a duo and always enjoyed it.
The addition of a nice solid percussion just makes it that much
better. Almost all of the tunes that they played fit the dances
really well, and I think that everyone (dancers, band and caller)
had a good time.
If you made it this far, I hope that it was interesting (or at
least that you picked up a couple of new dances). If anyone would
like copies of other dances mentioned, just drop me an email and
I'll send them out.
Jack Mitchell
Durham, NC
------------------------------
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You may reply to the whole list or to me personally: acann(a)putneyschool.org
I will compile all lists and, when the project's done, post the
compilation and their paper/presentation so all the rest of us theory
wonks can read it too!
1a - Can you list your three favorite transitions (sequence of two
figures) in terms of flow, how they connect?
1b - What about your three least favorite?
2a - What is the dance that embodies the words flowing, elegant, smooth
the most to you?
2b - What is the dance that embodies them the least?
3a - Are there any dances you know and love, that are wonderfully
satisfying, but are not necessarily smooth or flowing?
3a - Why do these dances work, if it's not the flow?
Note: the students will not see your answers to Question 3a at first.
We're going to let them discover the other "satisfyers" on their own --
good story line, social tension and reward, the "oh cool, that's so
ingenious!" factor.
Here is one I have used:
"Ladies and Gentlemen: After this dance we will be taking a short break. If you have any concerns about anything happening in the dance hall please let me know during the break."
I feel it is important for the caller to take responsibility for receiving the feedback directly.
- Greg McKenzie
-----Original Message-----
>From: Chris Weiler <chris.weiler(a)weirdtable.org>
>Sent: May 14, 2008 6:02 PM
>To: Caller's discussion list <callers(a)sharedweight.net>
>Subject: Re: [Callers] Style/safety/etiquette tips from the microphone
>
>Thank you everyone for your contributions. I would like to compile more
>suggestions, however. I'll take a stab at remembering a few I've heard
>from the floor. (apologies to Lisa Greenleaf and other callers if I
>misremember some of them)
>
>- The hall is crowded tonight, take care of each other
>- Allemande: curl your fingers around the base of your partner's thumb
>and gently pull straight back; the wrist does not bend.
>- During the swing, each person's back is vertical and is supporting
>their own weight. Ladies can help by putting their left hand behind the
>gent's shoulder to support themselves.
>- Leading a twirl is a suggestion, not a command
>- Talk to each other - let your partner know if what they're doing is
>uncomfortable or painful and what they can do to make dancing with them
>more pleasurable.
>- Everyone has the right to say "no thank you" when asked to dance and
>then dance with someone else
>- Ladies, if you are being held too close in the swing, put your palm
>against the front of his shoulder and push
>
>Maybe some things that should be said from the microphone occasionally:
>- If you're having an unpleasant dance experience with your partner, you
>can drop out at either the top or bottom of the set before the dance is over
>- Feel free to talk to one of the organizers or the person minding the
>cash box if you have a problem with another dancer
>
>I look forward to your feedback.
>
>Chris Weiler
>Goffstown, NH
Hi Amy - My favorite moments: In 333 when the women get to dosido to their next neighbor and he/she is waiting, or, even better, doing a wind up turn to greeet me. Ramsay Chase, the whole thing, especially the gypsy and deciding who will lead to the other side in the hey. I love when the women are courtesy-turned by the old neighbor into a balance and swing with a new neighbor at the top of the A. (When the music is changing it's even better).
I detest ending a swing and starring left (right works well for women) or circling or anything that requires getting hands sorted out. I don't like too much in one direction, that is, circling left three quarters, sliding along the set and circling again with the next neighbors. I hate doing anything too much - balancing twice, petronella more than twice; dances with three or more balances get automatic Cs.
I also like the give and take if you do it with your partner. With the neighbor you never get an agreed on number of beats for giving and taking. Once you reach the agreement, you can flirt a lot.
Nell
>From: Amy Cann <ACann(a)putneyschool.org>
>Date: 2008/05/14 Wed PM 09:00:49 CDT
>To: Caller's discussion list <callers(a)sharedweight.net>
>Subject: [Callers] The rest of the story
>I teach at The Putney School, an academically
>intense/progressive/nerdy-hippy prep school with a working farm and a
>bunch of contradance-loving students who are also math geeks.
>
>Next week they're starting a ten-day intensive on the interrelation of
>traditional dance and math.
>Maypoles + Mathematical theory of braids and cyclic symmetries.
>Contradancing + Geometric transformations/Rotational motion/angular
>momentum.
>
>They're going to go to the Dawn Dance in Brattleboro, sit around and mess
>with LOTS of theory, write a dance, and present the whole thing to the
>school at the end.
>
>Cool project, huh?
>
>They need YOUR answers so that they can analyze the math/physics behind
>the moves.
>
>The next and final email will be the official reply form. PLEASE consider
>taking a few moments to fill it out and send it in - you will be much
>appreciated by a very cool group of kids -- one that probably contains at
>least one future caller!
>
>cheers again,
>Amy
>
>_______________________________________________
>Callers mailing list
>Callers(a)sharedweight.net
>http://www.sharedweight.net/mailman/listinfo/callers
I teach at The Putney School, an academically
intense/progressive/nerdy-hippy prep school with a working farm and a
bunch of contradance-loving students who are also math geeks.
Next week they're starting a ten-day intensive on the interrelation of
traditional dance and math.
Maypoles + Mathematical theory of braids and cyclic symmetries.
Contradancing + Geometric transformations/Rotational motion/angular
momentum.
They're going to go to the Dawn Dance in Brattleboro, sit around and mess
with LOTS of theory, write a dance, and present the whole thing to the
school at the end.
Cool project, huh?
They need YOUR answers so that they can analyze the math/physics behind
the moves.
The next and final email will be the official reply form. PLEASE consider
taking a few moments to fill it out and send it in - you will be much
appreciated by a very cool group of kids -- one that probably contains at
least one future caller!
cheers again,
Amy
I have a ...project... for all of you who delight in discussing what makes
a good dance work.
I'm going to ask three questions without telling you why first.
It would be a marvelous thing if each of you on this list thought about
YOUR answers to these questions, and held those answers in your head,
before reading anyone else's replies, or sneaking a peek at the next email
to see why I'm asking.
Ready? First, think about all of your favorite dances, or your favorite
moments in certain dances. Just sift through them, mentally.
Now think of the dances, or moments, you DON't like. Now:
*
*
*
*
*
Can you list your three favorite transitions (sequence of two figures) in
terms of flow, how they connect?
What about your three least favorite?
What is the dance that embodies the words flowing, elegant, smooth the
most to you?
What is the dance that embodies them the least?
Got your answers? NOW look at the next email...
Cheers,
Amy
Hello everyone,
We've been having a lively discussion in the Boston area about several
topics ranging from men behaving badly to poor style to dancers who are
too rough.
My question is, what tips or information do you like to give from the
microphone to help people deal with these issues? How do you give them?
It would help if you could share your wording because I'm sure that
brevity and humor play a big part in how effective they are. Do you give
demonstrations? Role play a situation on the floor?
My goal is to compile these into a list that we can reference, or that
organizers can give to visiting callers to encourage the atmosphere they
would like at their dances.
Thanks!
Chris Weiler
Goffstown, NH
Rich,
How nicely put! I was recently involved in conversations that brought up this same thing -- that our particular form of social activity can be a place where you can hang out and interact in a generally positive manner with people with whom you might not otherwise choose to spend social time and who aren't necessarily like you! (different background, education, profession, class, gender, age, politics, religion, sexual orientation, marital/family status, tax bracket, cognitive ability, social skills, etc.)
Great reminder that you gave us.
Chrissy
~~~~~~~~~~~~~~~~~~~~~~~
http://www.belfastflyingshoes.org
> ------------------------------
> Date: Tue, 13 May 2008 10:51:34 -0400
> From: Richard Hart <rich(a)harts.mv.com>
> Subject: Re: [Callers] Callers & Dancers With Various Degrees
> ....
> I know of no other place where people with so many
> different backgrounds get together so often to share something that they
> all enjoy.
>
> Rich.
>
>
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