nicely put, tina! i couldn't agree more.
for my part, on the "isn't that interesting" front, i've noticed that there are many callers in my circle who are (or have been) various sorts of educator/teachers and/or are first-born children. both of these loose associations seem pretty logical -- as has been pointed out, good calling involves good teaching while managing groups of people, often of varying skill levels, effectively enough to ensure a positive experience for the greatest number. and eldest children often have spent years practicing orchestrating & leading, and are "quite-comfortable-telling-others-what-to-do-next". as tina points out, it's just an observation, sort of like observing that there are lots of math/engineering professionals attending modern urban contradances.
ah, which brings me to another association - many callers are prone to observing, noticing patterns and making guesses about why those patterns might be occurring. hah! :-)
chrissy fowler
~~~~~~~~~~~~~~~~~~~~~~~http://www.belfastflyingshoes.org home 207-338-0979 cell 603-498-3506> > > Message: 2> Date: Sun, 11 May 2008 12:26:22 -0700 (PDT)> From: Tina Fields <tfields8(a)yahoo.com>> Subject: Re: [Callers] Callers with higher degrees> > Greg makes a very important point here. The 'elitism'> factor really never occurred to me when asking this> question; it really came out of surprised curiosity. Like> many of us, I'm just interested in weird phenomena. There> aren't that many Ph.Ds/MDs/JDs etc. in the country, and> it's wild to see how many wind up calling too. > > My dad was a brilliant square dance caller, and he had a> junior-high education. I'm the first one in my family to> even get through high school; the relatives were worried> that "that much education might ruin yer girl." And I> could not agree with Greg more. As a college teacher,> artist-in-residence with kids, and outdoor leader alike,> I've noticed that the best teaching is really a form of> servant leadership or midwife education rather than egoic> performance; that is, the 'guide on the side', not the> 'sage on the stage.' This is, of course, exactly Greg's> point about good calling. > > One of the reasons I find calling so compelling is the> challenge of making sure everyone - band, dancers, sound> person, dance manager - all are having a good time, feeling> confident, appreciated, and in sync; all the while not> screwing any of it up myself. (As a newish caller, that> last bit is the tricky part.) Callers have to focus> effectively on many parts at the same time to create one> cohesive, joyful whole -- talk about a humbling meditation> practice! > > If I offended anyone inadvertently, please take this as a> sincere apology. The question comes out of curiosity, not> snobbishness.> > Tina> >
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Hi Tina,
I took an informal survay, years back, of the contra dance community in
general.
I found that for the most part dancers, musicians, and I assume
callers are very well educated/ professionals.... but are quite modest
on such subjects.
Original Message:
-----------------
From: Tina Fields tfields8(a)yahoo.com
Date: Sun, 11 May 2008 12:26:22 -0700 (PDT)
To: callers(a)sharedweight.net
Subject: Re: [Callers] Callers with higher degrees
Greg makes a very important point here. The 'elitism'
factor really never occurred to me when asking this
question; it really came out of surprised curiosity. Like
many of us, I'm just interested in weird phenomena. There
aren't that many Ph.Ds/MDs/JDs etc. in the country, and
it's wild to see how many wind up calling too.
My dad was a brilliant square dance caller, and he had a
junior-high education. I'm the first one in my family to
even get through high school; the relatives were worried
that "that much education might ruin yer girl." And I
could not agree with Greg more. As a college teacher,
artist-in-residence with kids, and outdoor leader alike,
I've noticed that the best teaching is really a form of
servant leadership or midwife education rather than egoic
performance; that is, the 'guide on the side', not the
'sage on the stage.' This is, of course, exactly Greg's
point about good calling.
One of the reasons I find calling so compelling is the
challenge of making sure everyone - band, dancers, sound
person, dance manager - all are having a good time, feeling
confident, appreciated, and in sync; all the while not
screwing any of it up myself. (As a newish caller, that
last bit is the tricky part.) Callers have to focus
effectively on many parts at the same time to create one
cohesive, joyful whole -- talk about a humbling meditation
practice!
If I offended anyone inadvertently, please take this as a
sincere apology. The question comes out of curiosity, not
snobbishness.
Tina
Message: 3
Date: Sat, 10 May 2008 23:46:18 -0700
From: Greg McKenzie <gregmck(a)earthlink.net>
Subject: Re: [Callers] Callers with higher degrees
To: Caller's discussion list <callers(a)sharedweight.net>
Message-ID:
<7.0.0.16.1.20080510112220.01130c20(a)earthlink.net>
Content-Type: text/plain; charset="us-ascii"; format=flowed
I think we are skating close to the point of some sort of
caller
elitism here.
I want to point out that anyone, regardless of his or her
background,
can both benefit from the discipline and experience of
calling and
also make a significant contribution to the tradition of
contra dance
calling as a whole. Obviously, those with higher
degrees--because of
their training, knowledge, and background--have significant
obstacles
to overcome in order to become an effective contra dance
caller. But
that is true of all of us.
I encourage anyone, even those with higher degrees, to give
contra
dance calling a try. Contra dance calling is, and should
be, a
humbling experience. It challenges each of us to be a
leader in the
community and to empower all of those in the hall. A true
leader
understands that their job is to build the confidence of
everyone,
not merely their own. The caller's effectiveness comes not
from any
confidence the caller has in herself, but from the
confidence the
dancers have in themselves.
We should be cautious about assuming that those with higher
degrees
of academic training cannot overcome their background and
go on to
become expert callers. In fact contra dance calling, when
approached
without hubris, can be a marvelous tool for
self-examination and for
overcoming whatever disadvantage a prospective caller might
be burdened
with.
I encourage all of you with higher degrees to persist in
your pursuit
of this marvelous tradition.
Just a thought,
Greg McKenzie
********
At 10:04 AM 5/9/2008, Tina Fields wrote:
>Hi everyone -
>
>In a conversation with Lynn Ackerson a couple of weeks
ago,
>it came out that both of us have Ph.Ds. Now I'm very
>curious about how many of us have higher degrees, and what
>fields they're in. (Maybe calling really IS rocket
science!
><g>)
>
>If you have a terminal degree or know of a caller who
does,
>would you be willing to e-mail that info to me? I'll
>collate the info and share it back with you as one letter.
>Thanks!!
>
>Tina Fields
>tfields8 at yahoo dot com
>
>Tina R. Fields, Ph.D.
>(707) 824-9318
>
>"Hindsight Now!"
Tina R. Fields, Ph.D.
(707) 824-9318
"Hindsight Now!"
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Greg makes a very important point here. The 'elitism'
factor really never occurred to me when asking this
question; it really came out of surprised curiosity. Like
many of us, I'm just interested in weird phenomena. There
aren't that many Ph.Ds/MDs/JDs etc. in the country, and
it's wild to see how many wind up calling too.
My dad was a brilliant square dance caller, and he had a
junior-high education. I'm the first one in my family to
even get through high school; the relatives were worried
that "that much education might ruin yer girl." And I
could not agree with Greg more. As a college teacher,
artist-in-residence with kids, and outdoor leader alike,
I've noticed that the best teaching is really a form of
servant leadership or midwife education rather than egoic
performance; that is, the 'guide on the side', not the
'sage on the stage.' This is, of course, exactly Greg's
point about good calling.
One of the reasons I find calling so compelling is the
challenge of making sure everyone - band, dancers, sound
person, dance manager - all are having a good time, feeling
confident, appreciated, and in sync; all the while not
screwing any of it up myself. (As a newish caller, that
last bit is the tricky part.) Callers have to focus
effectively on many parts at the same time to create one
cohesive, joyful whole -- talk about a humbling meditation
practice!
If I offended anyone inadvertently, please take this as a
sincere apology. The question comes out of curiosity, not
snobbishness.
Tina
Message: 3
Date: Sat, 10 May 2008 23:46:18 -0700
From: Greg McKenzie <gregmck(a)earthlink.net>
Subject: Re: [Callers] Callers with higher degrees
To: Caller's discussion list <callers(a)sharedweight.net>
Message-ID:
<7.0.0.16.1.20080510112220.01130c20(a)earthlink.net>
Content-Type: text/plain; charset="us-ascii"; format=flowed
I think we are skating close to the point of some sort of
caller
elitism here.
I want to point out that anyone, regardless of his or her
background,
can both benefit from the discipline and experience of
calling and
also make a significant contribution to the tradition of
contra dance
calling as a whole. Obviously, those with higher
degrees--because of
their training, knowledge, and background--have significant
obstacles
to overcome in order to become an effective contra dance
caller. But
that is true of all of us.
I encourage anyone, even those with higher degrees, to give
contra
dance calling a try. Contra dance calling is, and should
be, a
humbling experience. It challenges each of us to be a
leader in the
community and to empower all of those in the hall. A true
leader
understands that their job is to build the confidence of
everyone,
not merely their own. The caller's effectiveness comes not
from any
confidence the caller has in herself, but from the
confidence the
dancers have in themselves.
We should be cautious about assuming that those with higher
degrees
of academic training cannot overcome their background and
go on to
become expert callers. In fact contra dance calling, when
approached
without hubris, can be a marvelous tool for
self-examination and for
overcoming whatever disadvantage a prospective caller might
be burdened
with.
I encourage all of you with higher degrees to persist in
your pursuit
of this marvelous tradition.
Just a thought,
Greg McKenzie
********
At 10:04 AM 5/9/2008, Tina Fields wrote:
>Hi everyone -
>
>In a conversation with Lynn Ackerson a couple of weeks
ago,
>it came out that both of us have Ph.Ds. Now I'm very
>curious about how many of us have higher degrees, and what
>fields they're in. (Maybe calling really IS rocket
science!
><g>)
>
>If you have a terminal degree or know of a caller who
does,
>would you be willing to e-mail that info to me? I'll
>collate the info and share it back with you as one letter.
>Thanks!!
>
>Tina Fields
>tfields8 at yahoo dot com
>
>Tina R. Fields, Ph.D.
>(707) 824-9318
>
>"Hindsight Now!"
Tina R. Fields, Ph.D.
(707) 824-9318
"Hindsight Now!"
Hi folks -
Along with details of her own degree, Martha also mentioned
others:
"Well, let's see - here in San Diego, I've got a Ph.D. in
molecular
biology, another caller is a Professor of Dance at SDSU,
another
caller is a post-doc at UCSD, another caller has a Ph.D.
and runs the
electron microscope facility at SDSU, and the last caller
has an M.A.
of Fine Arts. So, yeah, we do seem to be a bit
degree-heavy.
Would you be willing to provide their names to go with
those degrees? I'm trying to make an actual list, and
details would be very helpful.
I'm posting this request here in case others have the same
sort of info to offer.
Thanks everyone - it's very interesting so far!
Tina
Tina R. Fields, Ph.D.
(707) 824-9318
"Hindsight Now!"
Hi everyone -
In a conversation with Lynn Ackerson a couple of weeks ago,
it came out that both of us have Ph.Ds. Now I'm very
curious about how many of us have higher degrees, and what
fields they're in. (Maybe calling really IS rocket science!
<g>)
If you have a terminal degree or know of a caller who does,
would you be willing to e-mail that info to me? I'll
collate the info and share it back with you as one letter.
Thanks!!
Tina Fields
tfields8 at yahoo dot com
Tina R. Fields, Ph.D.
(707) 824-9318
"Hindsight Now!"
Well, let's see - here in San Diego, I've got a Ph.D. in molecular
biology, another caller is a Professor of Dance at SDSU, another
caller is a post-doc at UCSD, another caller has a Ph.D. and runs the
electron microscope facility at SDSU, and the last caller has an M.A.
of Fine Arts. So, yeah, we do seem to be a bit degree-heavy.
Martha
I've also noticed that there are many people
On May 10, 2008, at 9:00 AM, callers-request(a)sharedweight.net wrote:
> Send Callers mailing list submissions to
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>
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> than "Re: Contents of Callers digest..."
>
>
> Today's Topics:
>
> 1. Callers with higher degrees (Tina Fields)
> 2. Turning Point and A Rollin and A Tumblin (Rickey)
> 3. Re: Turning Point and A Rollin and A Tumblin (Chris Page)
> 4. Re: Callers with higher degrees
> (Alan Winston - SSRL Central Computing)
> 5. Re: Turning Point and A Rollin and A Tumblin (Jack Mitchell)
> 6. Re: Turning Point and A Rollin and A Tumblin (mavis mcgaugh)
> 7. Re: Callers with higher degrees (jean francis)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Fri, 9 May 2008 10:04:51 -0700 (PDT)
> From: Tina Fields <tfields8(a)yahoo.com>
> Subject: [Callers] Callers with higher degrees
> To: "callers@ sharedweight.net" <callers(a)sharedweight.net>, Lynn
> Ackerson <callynn1(a)pacbell.net>
> Message-ID: <911837.13529.qm(a)web83207.mail.mud.yahoo.com>
> Content-Type: text/plain; charset=iso-8859-1
>
> Hi everyone -
>
> In a conversation with Lynn Ackerson a couple of weeks ago,
> it came out that both of us have Ph.Ds. Now I'm very
> curious about how many of us have higher degrees, and what
> fields they're in. (Maybe calling really IS rocket science!
> <g>)
>
> If you have a terminal degree or know of a caller who does,
> would you be willing to e-mail that info to me? I'll
> collate the info and share it back with you as one letter.
> Thanks!!
>
> Tina Fields
> tfields8 at yahoo dot com
>
> Tina R. Fields, Ph.D.
> (707) 824-9318
>
> "Hindsight Now!"
>
>
> ------------------------------
>
> Message: 2
> Date: Fri, 9 May 2008 15:47:49 -0400
> From: "Rickey" <holt.e(a)comcast.net>
> Subject: [Callers] Turning Point and A Rollin and A Tumblin
> To: <callers(a)sharedweight.net>
> Message-ID: <000501c8b20d$93214810$020fa8c0@maxx>
> Content-Type: text/plain; charset="iso-8859-1"
>
> Hi Callers,
>
> I am working up two dances that I am having trouble with. The
> evening I am
> preparing them for is tomorrow night. The dances are Turning Point
> and A
> Rollin and A Tumblin. Here are the dances and my questions:
>
> (1) Turning Point (do you know the author)
>
> Duple Improper
>
> A1 Women change places (with a ? gypsy) (4)
>
> Circle left ?
> (4)
>
> Partner Swing (8)
>
> A2 Men change places (with a ? gypsy) (4)
>
> Circle left ?
> (4)
>
> Neighbor do-si-do (8)
>
> B1 Neighbor Balance and Swing (16)
>
> B2 Right and Left over (not back) (8)
>
> Star
> left (8)
>
> When my wife and I walk this at home I believe that she has an
> abrupt change
> of direction to get from the circle left ? to the partner swing,
> and I know
> that I have a similar abrupt change of direction to get from the
> circle left
> ? to the neighbor do-si-do, if I am correct to do that with the
> neighbors
> who are then below me. This seems do-able, even fun, but, as it seems
> unusual, I wanted to try and be sure that it was correct.
>
>
>
> (2) A Rollin and A Tumblin (Cis Hinkle)
>
> Duple Improper
>
> A1 Neighbor balance and swing (16)
>
> A2 Long lines forward and back, women roll away on the way
> back (8)
>
> Same again, but men roll away (8)
>
> B1 Women Allemande Right (1 ? ) (8)
>
> Partner Swing (8)
>
> B2 Ladies chain (over but not back) (8)
>
> Star left (8)
>
> I have been having trouble getting dancers to roll away on the way
> back,
> rather than after the forward and back. Should mess up the timing,
> although
> not too much bad seems to follow. What experiences with this dance
> have you
> had?
>
> Thanks as always
>
> (And my dancers thank you too)
>
> Rickey Holt
>
> Fremont, NH
>
>
>
>
>
>
>
>
>
> ------------------------------
>
> Message: 3
> Date: Fri, 9 May 2008 13:02:04 -0700
> From: "Chris Page" <chriscpage(a)gmail.com>
> Subject: Re: [Callers] Turning Point and A Rollin and A Tumblin
> To: "Caller's discussion list" <callers(a)sharedweight.net>
> Message-ID:
> <9469896c0805091302t57e01802hfb4048301117fedd(a)mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> On 5/9/08, Rickey <holt.e(a)comcast.net> wrote:
>> Hi Callers,
>>
>> I am working up two dances that I am having trouble with. The
>> evening I am
>> preparing them for is tomorrow night. The dances are Turning
>> Point and A
>> Rollin and A Tumblin. Here are the dances and my questions:
>>
>> (1) Turning Point (do you know the author)
>
> Gene Hubert (It's "The Turning Point")
> Your transcription appears to be correct.
>
>>
>> When my wife and I walk this at home I believe that she has an
>> abrupt change
>> of direction to get from the circle left ? to the partner swing,
>> and I know
>> that I have a similar abrupt change of direction to get from the
>> circle left
>> ? to the neighbor do-si-do, if I am correct to do that with the
>> neighbors
>> who are then below me. This seems do-able, even fun, but, as it
>> seems
>> unusual, I wanted to try and be sure that it was correct.
>>
>
> The first is the same sort of transition as appears in the A1 of
> "Alternating
> Corners" or "Roll in the Hey."
>
> The second is the same deal as the women's role in "Midwest Folklore",
> among other dances. You can use the connection of the circle to pull
> into the do-si-do. (I assume your description of "below" is from the
> viewpoint of Man #1.)
>
>
> -Chris Page
> San Diego
>
>
> ------------------------------
>
> Message: 4
> Date: Fri, 09 May 2008 15:09:39 -0700 (PDT)
> From: Alan Winston - SSRL Central Computing
> <winston(a)slac.stanford.edu>
> Subject: Re: [Callers] Callers with higher degrees
> To: "Caller's discussion list" <callers(a)sharedweight.net>
> Message-ID: <01MUL7RMK1ZY8XAHUC(a)SSRL.SLAC.STANFORD.EDU>
> Content-Type: TEXT/PLAIN; CHARSET=us-ascii
>
>
> Tina --
>
> I'm a college dropout myself, but I'm pretty sure Bruce Hamilton is a
> PhD. Mike Richardson is an MD, if that counts.
>
> -- 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
> ======================================================================
> =========
>
>
>
> ------------------------------
>
> Message: 5
> Date: Fri, 09 May 2008 18:44:28 -0400
> From: Jack Mitchell <jamitch3(a)mindspring.com>
> Subject: Re: [Callers] Turning Point and A Rollin and A Tumblin
> To: Caller's discussion list <callers(a)sharedweight.net>
> Message-ID: <E1JubKX-0005pY-8u(a)elasmtp-mealy.atl.sa.earthlink.net>
> Content-Type: text/plain; charset="iso-8859-1"; format=flowed
>
> Thoughts below.
>
> J
>
> At 03:47 PM 5/9/2008, you wrote:
>> Hi Callers,
>>
>> I am working up two dances that I am having trouble with. The
>> evening I am
>> preparing them for is tomorrow night. The dances are Turning Point
>> and A
>> Rollin and A Tumblin. Here are the dances and my questions:
>>
>> (1) Turning Point (do you know the author)
>>
>> Duple Improper
>>
>> A1 Women change places (with a ? gypsy) (4)
>>
>> Circle
>> left ? (4)
>>
>> Partner Swing (8)
>>
>> A2 Men change places (with a ? gypsy) (4)
>>
>> Circle
>> left ? (4)
>>
>> Neighbor do-si-do (8)
>>
>> B1 Neighbor Balance and Swing (16)
>>
>> B2 Right and Left over (not back) (8)
>>
>> Star
>> left (8)
>>
>> When my wife and I walk this at home I believe that she has an
>> abrupt change
>> of direction to get from the circle left ? to the partner swing,
>> and I know
>> that I have a similar abrupt change of direction to get from the
>> circle left
>> ? to the neighbor do-si-do, if I am correct to do that with the
>> neighbors
>> who are then below me. This seems do-able, even fun, but, as it
>> seems
>> unusual, I wanted to try and be sure that it was correct.
> You should just be able to tug your neighbor into
> the DsD and use the momentum of the circle to get
> started, since you'd be with your neighbor on the side of the set.
>
>
>>
>>
>> (2) A Rollin and A Tumblin (Cis Hinkle)
>>
>> Duple Improper
>>
>> A1 Neighbor balance and swing (16)
>>
>> A2 Long lines forward and back, women roll away on the way
>> back (8)
>>
>> Same again, but men roll away (8)
>>
>> B1 Women Allemande Right (1 ? ) (8)
>>
>> Partner Swing (8)
>>
>> B2 Ladies chain (over but not back) (8)
>>
>> Star left (8)
>>
>> I have been having trouble getting dancers to roll away on the way
>> back,
>> rather than after the forward and back. Should mess up the
>> timing, although
>> not too much bad seems to follow. What experiences with this
>> dance have you
>> had?
>
> I've had this same problem. All I've been able
> to do is to emphacize the "and on the way back
> out" in the walk through. It also helps if
> they're giving weight through the long lines --
> that way the connection for the rollaway is already there.
>
>
>> Thanks as always
>>
>> (And my dancers thank you too)
>>
>> Rickey Holt
>>
>> Fremont, NH
>>
>>
>>
>>
>>
>>
>>
>> _______________________________________________
>> Callers mailing list
>> Callers(a)sharedweight.net
>> http://www.sharedweight.net/mailman/listinfo/callers
>
>
>
> ------------------------------
>
> Message: 6
> Date: Fri, 9 May 2008 19:49:20 -0700 (PDT)
> From: mavis mcgaugh <yankeecalls(a)yahoo.com>
> Subject: Re: [Callers] Turning Point and A Rollin and A Tumblin
> To: Caller's discussion list <callers(a)sharedweight.net>
> Message-ID: <474123.69119.qm(a)web36405.mail.mud.yahoo.com>
> Content-Type: text/plain; charset=iso-8859-1
>
> I never use the phrase forward and back when I teach
> this dance.
> I say take hands in lines and walk forward and STOP
> --
> then I say
> Gents as you back up roll your neighbor away with a
> half sashay
> then I say
> take hands in lines and walk forward and STOP
> Ladies on your way back roll that same neighbor gent
> away with a 1/2 sashay
>
> if there are a lot of beginners I teach the roll
> away during the newcomer's session.
> --- Jack Mitchell <jamitch3(a)mindspring.com> wrote:
>
>> Thoughts below.
>>
>> J
>>
>> At 03:47 PM 5/9/2008, you wrote:
>>> Hi Callers,
>>>
>>> I am working up two dances that I am having trouble
>> with. The evening I am
>>> preparing them for is tomorrow night. The dances
>> are Turning Point and A
>>> Rollin and A Tumblin. Here are the dances and my
>> questions:
>>>
>>> (1) Turning Point (do you know the author)
>>>
>>> Duple Improper
>>>
>>> A1 Women change places (with a ? gypsy) (4)
>>>
>>> Circle left ?
>> (4)
>>>
>>> Partner Swing
>> (8)
>>>
>>> A2 Men change places (with a ? gypsy)
>> (4)
>>>
>>> Circle left ?
>> (4)
>>>
>>> Neighbor do-si-do
>> (8)
>>>
>>> B1 Neighbor Balance and Swing
>> (16)
>>>
>>> B2 Right and Left over (not back)
>> (8)
>>>
>>> Star left
>> (8)
>>>
>>> When my wife and I walk this at home I believe that
>> she has an abrupt change
>>> of direction to get from the circle left ? to the
>> partner swing, and I know
>>> that I have a similar abrupt change of direction to
>> get from the circle left
>>> ? to the neighbor do-si-do, if I am correct to do
>> that with the neighbors
>>> who are then below me. This seems do-able, even
>> fun, but, as it seems
>>> unusual, I wanted to try and be sure that it was
>> correct.
>> You should just be able to tug your neighbor into
>> the DsD and use the momentum of the circle to get
>> started, since you'd be with your neighbor on the
>> side of the set.
>>
>>
>>>
>>>
>>> (2) A Rollin and A Tumblin (Cis Hinkle)
>>>
>>> Duple Improper
>>>
>>> A1 Neighbor balance and swing (16)
>>>
>>> A2 Long lines forward and back, women roll
>> away on the way back (8)
>>>
>>> Same again, but men roll away (8)
>>>
>>> B1 Women Allemande Right (1 ? ) (8)
>>>
>>> Partner Swing (8)
>>>
>>> B2 Ladies chain (over but not back) (8)
>>>
>>> Star left (8)
>>>
>>> I have been having trouble getting dancers to roll
>> away on the way back,
>>> rather than after the forward and back. Should
>> mess up the timing, although
>>> not too much bad seems to follow. What experiences
>> with this dance have you
>>> had?
>>
>> I've had this same problem. All I've been able
>> to do is to emphacize the "and on the way back
>> out" in the walk through. It also helps if
>> they're giving weight through the long lines --
>> that way the connection for the rollaway is already
>> there.
>>
>>
>>> Thanks as always
>>>
>>> (And my dancers thank you too)
>>>
>>> Rickey Holt
>>>
>>> Fremont, NH
>>>
>>>
>>>
>>>
>>>
>>>
>>>
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>>> Callers(a)sharedweight.net
>>
>> http://www.sharedweight.net/mailman/listinfo/callers
>>
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>
>
> Mavis L McGaugh
> 510-814-8118 (answering machine-leave message)
>
>
>
> ______________________________________________________________________
> ______________
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>
> ------------------------------
>
> Message: 7
> Date: Fri, 9 May 2008 19:49:57 -0700 (PDT)
> From: jean francis <catherineaura(a)yahoo.com>
> Subject: Re: [Callers] Callers with higher degrees
> To: Caller's discussion list <callers(a)sharedweight.net>
> Message-ID: <17096.50641.qm(a)web53204.mail.re2.yahoo.com>
> Content-Type: text/plain; charset=iso-8859-1
>
> Probably more than half have advanced degrees, I'd bet. Lots among
> contra musicians too. A few who come to mind:
>
> Among New Mexico callers, Merri Rudd is a probate judge, Donna
> Howell has a PhD in biology, Will McDonald and Katherine Bueler
> have masters.
>
> In California, Kirston Koths has a PhD.
>
> Tina Fields <tfields8(a)yahoo.com> wrote:
> Hi everyone -
>
> In a conversation with Lynn Ackerson a couple of weeks ago,
> it came out that both of us have Ph.Ds. Now I'm very
> curious about how many of us have higher degrees, and what
> fields they're in. (Maybe calling really IS rocket science!
> )
>
> If you have a terminal degree or know of a caller who does,
> would you be willing to e-mail that info to me? I'll
> collate the info and share it back with you as one letter.
> Thanks!!
>
> Tina Fields
> tfields8 at yahoo dot com
>
> Tina R. Fields, Ph.D.
> (707) 824-9318
>
> "Hindsight Now!"
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>
>
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>
> End of Callers Digest, Vol 45, Issue 13
> ***************************************
Rickey,
I think (but I may be wrong) that Turning Point is by Gene Hubert. Since the
A parts are so "busy," I warn the dancers that the moves happen quickly and
they need to be on their toes. It's very fun with experienced dancers, but
not with frenetic music and/or too many beginners.
Regarding Rollin' and Tumbin', Steve Bennett of Lexington suggested a great
way to prompt the A2: Instead of saying "forward and back, and roll away,"
he says "All go forward, now roll roll roll away." When teaching, make sure
the dancers know this is all about flowing through a sequence, so you are
starting the roll aways before you finish moving back (rather than forward
and back, then roll away).
Good luck!
Jerome
Date: Fri, 9 May 2008 15:47:49 -0400
> From: "Rickey" <holt.e(a)comcast.net>
> Subject: [Callers] Turning Point and A Rollin and A Tumblin
> To: <callers(a)sharedweight.net>
> Message-ID: <000501c8b20d$93214810$020fa8c0@maxx>
> Content-Type: text/plain; charset="iso-8859-1"
>
> Hi Callers,
>
> I am working up two dances that I am having trouble with. The evening I am
> preparing them for is tomorrow night. The dances are Turning Point and A
> Rollin and A Tumblin. Here are the dances and my questions:
>
> (1) Turning Point (do you know the author)
>
>
>
> (2) A Rollin and A Tumblin (Cis Hinkle)
>
> I have been having trouble getting dancers to roll away on the way back,
> rather than after the forward and back. Should mess up the timing,
> although
> not too much bad seems to follow. What experiences with this dance have
> you
> had?
>
> Rickey Holt
>
> Fremont, NH
>
>
--
Jerome Grisanti
660-528-0858
http://www.jeromegrisanti.com
Hi Callers,
I am working up two dances that I am having trouble with. The evening I am
preparing them for is tomorrow night. The dances are Turning Point and A
Rollin and A Tumblin. Here are the dances and my questions:
(1) Turning Point (do you know the author)
Duple Improper
A1 Women change places (with a ½ gypsy) (4)
Circle left ½ (4)
Partner Swing (8)
A2 Men change places (with a ½ gypsy) (4)
Circle left ½ (4)
Neighbor do-si-do (8)
B1 Neighbor Balance and Swing (16)
B2 Right and Left over (not back) (8)
Star left (8)
When my wife and I walk this at home I believe that she has an abrupt change
of direction to get from the circle left ½ to the partner swing, and I know
that I have a similar abrupt change of direction to get from the circle left
½ to the neighbor do-si-do, if I am correct to do that with the neighbors
who are then below me. This seems do-able, even fun, but, as it seems
unusual, I wanted to try and be sure that it was correct.
(2) A Rollin and A Tumblin (Cis Hinkle)
Duple Improper
A1 Neighbor balance and swing (16)
A2 Long lines forward and back, women roll away on the way back (8)
Same again, but men roll away (8)
B1 Women Allemande Right (1 ½ ) (8)
Partner Swing (8)
B2 Ladies chain (over but not back) (8)
Star left (8)
I have been having trouble getting dancers to roll away on the way back,
rather than after the forward and back. Should mess up the timing, although
not too much bad seems to follow. What experiences with this dance have you
had?
Thanks as always
(And my dancers thank you too)
Rickey Holt
Fremont, NH
Hi Rickey,
I have the dance from Cis as Rollin' and Tumblin'.
> I have been having trouble getting dancers to roll away on the way back,
rather than after the forward and back.
As you point out, even if folks are late on the timing of the second rollaway,
the dance will work out. If you wish, you could teach the dance with counts, as
in Bases Loaded: "Forward - 2 - 3 - 4; Back - 2 - and ROLL aWAY." I generally
just signal the timing I want by putting in the rollaway call at just the right
time.
It's a fun dance that I use often, a great way to introduce rollaway early in
the evening, especially if you want to use that figure later on and want folks
to be already familiar with it.
David Millstone
Lebanon, NH
Hi Friends, Dancers, Organizers, and previous Frolicers:
ANNOUNCING,
The Second Annual Frolic in the Fall. To be held Saturday, September 27, 2008 from 11am-11pm . Location is the YWCA Camp Reily, just outside of Harrisburg , PA , a 5-acre camp where we dance in a rustic lodge with a wood floor, surrounded by Nature in the Appalachian Mountains of PA. Music from the LATE FOR SUPPER from York and DANCEWIZ from Philadelphia , calling by TOM HINDS, from Faber, VA, and DAVE COLESTOCK, from Harrisburg, PA.
The Frolic starts with an hour of Waltzing from 11-12, then Contra Dancing from Noon-11. There will be an HOUR LONG Dance Medley, at about 4:30 , followed by a Pot Luck Dinner (last name A-M, dessert or side dish; N-Z main dish, please). Cost is $25/person, limited to 100 dancers, advance registration highly encouraged.
Dance at the Locust Lane Contra Dance on Friday 9/26/08 with Perry Shafran calling to All Hat, No Cattle, then stay over at a local motel, b&b, or camp with us on-site. Tent camping for Fri and Sat nights is available for additional $20 /person. Contact us at Fallfrolic@yahoo. com or visit the website at www.frolicinthefall .freeservers. com Register online (available soon) or download registration form and send snail mail by 9/13/08 , please. Feel free to forward this email, and tell all of your friends - spread the word about the Frolic!
Thank you, and hope to see YOU at the Frolic.
Can you DANCE for an HOUR??? Come to the FROLIC and find out!!!
Thanks for your interest,
Dave Colestock
