Gang,
On this topic, if people choose to put dances on the web, please include your name by the dance title. I have printed out dances from the web to be put on cards later and had to go back to sites to get the name correct or at all. Some sites have the name at the top or bottom of the printed out page. For this technophobe if chorographers could put their name by the title, procrastinaters like me,( am I alone in this?), will at least spell your name correctly. Pronunciation is a whole different aspect. As I have been taught, progress not perfection.
See ya on the floor,
Dan Black (Jersey Guy)
____________________________________________________________________________________
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A question about publishing new dances.
(Let's assume for this argument that the dances are good, and
a significant number of other callers would be interested in them.
Publishing bad dances is a whole other issue.)
Is it better to publish them in a web site, or in book format?
(This is two sub-questions -- which is better for the person
publishing the dances, and which is better for the contra
dance community.)
Advantages of a web site:
-You don't lose money, or storage space with boxes of unsold
books. (I don't see anyone ever making money by published a
contra dance book.)
-It takes much less time to produce.
-It's not permanent, so you can update or fix it over time.
-It's free, supporting more the folk aspect of transmission.
Advantages of a book:
-It's permanent.
-It's more exclusive (you need to pay and order), so
hence it must be more valuable.
-There are fewer of them, so they stand out more.
-Hence, it's more prestigious.
(note that if they're a bad or lackluster collection of dances,
these advantages quickly become disadvantages)
Are there other reasons?
I've run across web sites (like Gene Hubert's or Rick
Mohr's) that rival the best of the individual printed books.
Then again, you can probably name books that have fallen
far short of expectations.
Thoughts? This is more than a theoretical question for me.
-Chris Page
San Diego
Hay Rickey
Here's Slippery Swing thought I would share with everyone
This is an interesting dance as the progression is in
A1 not at the end of B2
I hope Ted Crane does not mind this posting as I found
The dance on his web site. (and danced in VT)
Much fun to call, more fun to dance!
A plug for the 1st Thursday Dover NH dance guest callers
Are welcome! Dance goes throughout the summer
Dover city hall 8:00 - 10:30
See ya on the floor!
Gale
'Slippery Swing' Ted Crane
Becket
A1: Circle L 1X 8
With part slide left and
Cir L with new Neighbors 3/4. (Prog) 8
A2: DSD this neighbor, 8
Swing this neighbor 8
B1: full H44 across the set: 16
Women pass R
B2: Women cross again, passing Right, 16
Swing Part.
Hi folks -
You might recall that I was looking for the dance Oddville
(Ad Vielle) by Erik Weberg. Karen Fontana asked me to post
it here when I found it.
Well, thanks to your collective knowledge, I was able to
write to Erik directly. He sent back a very kind response
stating that he's now updated his website to include the
dance, and wishes me joy in calling it.
You'll find it at http://www.kluberg.com/erikcalls.html
It's a terrific dance, and one I hope many of you will try
out and enjoy calling too.
I suspect, though, that part of its wonderfulness that I
felt as a dancer is the way it totally fits the music it
turns out the dance was written FOR... this was an
excellent learning moment for me when I realized that. And
it makes me ponder how we can more often identify & request
tunes (as callers) or choose tunes (as musicians)
specifically for certain dances... have any of you IDed
good pairings like that to suggest? --Or is this line of
questioning getting too Englishy for comfort? <g>
Tina
Tina R. Fields, Ph.D.
(707) 824-9318
"Hindsight Now!"
-- the dance, not the mental state. <g> Erik Weber called
it at Folklife in Seattle last weekend, to his tune of a
similar name "Oddville Cupola," and I *loved* it. He said
the call is posted on his website, but I can't seem to
locate him online. Can anyone hook me up with how to call
this dance?
Thanks!
Tina Fields
Tina R. Fields, Ph.D.
(707) 824-9318
"Hindsight Now!"
Hello,
I am in the process of creating a third photo album of Bob McQuillen's
tunes. I'm looking for people and places that Bob has remembered in the
titles of the very many dance tunes he has written. Each page of the
photo album will include a copy of a tune, with 1, 2, or 3 pictures of
the person, people, or place that the tune was written for. I might also
include a note to Bob on the page for your tune if you desire. Bob has
written over 1200 dance tunes so far, each with its own history and
namesake. Callers, musicians, dancers, dance halls, and festivals all
have their own McQuillen tunes now. I could especially use photos of Bob
at places like NEFFA, the Folklife Festival, and the Augusta Heritage
Center, but there are many other places as well.
Partly in an effort to record a little of this dance history and partly
to create birthday presents for Bob, I have been working on these photo
albums for a few years now. This next one will be number three.
If you have photos of Bob, events that he has played music for, or
people who he has named his tunes for, I'd love to get copies to include
in this next album of Bob's tunes.
Please forward this message to others who might know of Bob or his
tunes. And please contact me if you think you might have a photo or a
message for Bob that I could use in this next album. Bob has published
his 12th and 13th tune books since my last photo album, so there are
many photos waiting out there somewhere. Please let me know if you have
one of them.
And Shhh! Don't tell bob. Its a secret...
Thanks for your help,
Rich Hart.
http://traumatherapy.typepad.com/trauma_attachment_therapy/2007/05/
intersubjectivi.html
An excerpt:
> "I recommend contradance for clients who want to do something fun
> that doesn't involved drinking. I send people who have enough
> attachability to tolerate the eye/human contact and who can
> tolerate some positive affect. If your person has an anxiety
> disorder or very low self-esteem, they may not tolerate the
> learning curve. I suggest these people get a few lessons before
> they hit the dance floor. I warn other clients that they will be
> completely lost for the first few dances, and then they'll catch
> on. They do, and come back triumphant. You may want to try it
> yourself, before you refer your clients. But only if you want more
> contact, more community, and more joy."
Lisa
5th Hot Squares weekend!
When: July 6-8, 2007
Where: Private home; Atlanta, GA
Who: Dan Sahlstrom, caller
Cost: $75 + food (either contribute to the potluck or $25)
What:
This weekend is devoted to exploring Modern Western (Club) squares in an
intensive but fun environment. Unlike previous years we will not focus
on completing Plus or Mainstream levels (though we will probably do most
of Mainstream). Instead, Dan will pick fun and interesting calls from
all lists (Basic - Challenge). Also unlike previous years, we will have
more than the exact number of people, so not all will be required to
dance every tip.
2007 will mark the 5th Hot Squares event. We are holding Hot Squares
2007 in a homey atmosphere with room for two squares. Genders will not
be balanced. Meals will be home cooked. Fellowship and Camaraderie will
be plentiful.
To register, send your name, email, and phone number and a check for $75
(or $100, if you are not interested in joining in the pot luck) to:
Dance Rhapsody: Hot Squares 2007
125 Russell Street
Decatur, GA 30030
Hello everyone!
I got a question last night from a band that I am going to work with
next month about Chorus Jig. They're learning the tune (at my request)
for the dance. They had heard that it should be played at a slower tempo
and were wondering how slow that should be.
I didn't have any idea. Anyone here know if it should be played at a
different tempo than most dances? I have memories of dancing it when the
contra corners seemed rushed, but that's my only impression.
Thanks for the help!
Chris
