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
Had an interesting gig this weekend (a good one, just interesting).
Things were going along smoothly, I thought. The fiddler had made a
comment earlier that I had a high ratio of playing time to down time,
but I didn't think much of it. Before we started the 2nd to last dance
of the first half, and I was waiting for the band to be ready to start
the music, the fiddler snaps at me that I'm teaching too fast and it's
much to stressful for choosing tunes! I looked him straight in the eye,
apologized, and then promised to slow down. I spent the next bit of time
trying to figure out how to slow down. Couldn't think of too many ways.
I slowed my pace of teaching down. I made sure to take a minute and talk
to the band before even requesting that people line up. I introduced the
band before the next dance (although this probably didn't add any time
for the fiddler to think about tune selection).
We made nice at the break and he explained that he was under stress in
other areas of his life. I had done my homework (so I thought) and done
my pre-dance interview - turns out with the wrong musician! The fiddler
was the real leader and he had shown up at the last minute and was too
busy setting up to talk.
Some other fun points: I announced in the 2nd half that we were going to
dance Chorus Jig and the crowd ohhhed and ahhhed and scrambled to line
up!! For the 2nd dance of the evening, we had about 15-20 kids show up.
Some had danced before and they did fine! I had to adjust my language
because I would call a ladies chain and a bunch of the dancers would go
over and back. 8^)
All in all a fun dance! I'd love to hear your thoughts about slowing
down the teaching for musicians who need more time for tune selection.
Any techniques? Since I really try to match my dances to the level of
the dancers, I rarely need a 2nd walkthrough. And since I time my
teaching off of the dancer's speed of doing the moves (calling the next
while they're finishing the previous move), not much time to add there.
Happy Dancing!
Chris Weiler
Goffstown, NH
www.chrisweiler.ws
I consider it part of my job as a fiddler to be ready when the caller is
ready to start the dance. Though there can be something to recommend
giving people time to talk to each other between dances, there are some
fast paced urban dances where folks seem to prefer launching right in to
the next dance. They do their talking during the walk-through, or
during the dance. (I like those kinds of dances evenings myself!)
That's why we use amplification! More music and dancing, people can
talk anytime.
Though I was recently on stage with another fiddler who told the caller
to slow down because we weren't used to working together, and it was
challenging to pick tunes in time. Always useful to have the odd joke
in your pocket..." the frog who says: "if you kiss me I'll turn into a
handsome contradance caller" and the fiddler who says: "you're worth
more to me as a talking frog!" well, you get the idea...
Enjoying the list,
Amy Larkin
callers-request(a)sharedweight.net wrote:
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> Today's Topics:
>
> 1. slow down... (Chris Weiler)
> 2. Re: slow down... (Peter Amidon)
> 3. Re: slow down... (Dan Black)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Tue, 29 May 2007 06:57:01 -0400
> From: Chris Weiler <chris.weiler(a)weirdtable.org>
> Subject: [Callers] slow down...
> To: Shared Weight <callers(a)sharedweight.net>
> Message-ID: <465C06FD.5090907(a)weirdtable.org>
> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>
> Had an interesting gig this weekend (a good one, just interesting).
> Things were going along smoothly, I thought. The fiddler had made a
> comment earlier that I had a high ratio of playing time to down time,
> but I didn't think much of it. Before we started the 2nd to last dance
> of the first half, and I was waiting for the band to be ready to start
> the music, the fiddler snaps at me that I'm teaching too fast and it's
> much to stressful for choosing tunes! I looked him straight in the eye,
> apologized, and then promised to slow down. I spent the next bit of time
> trying to figure out how to slow down. Couldn't think of too many ways.
> I slowed my pace of teaching down. I made sure to take a minute and talk
> to the band before even requesting that people line up. I introduced the
> band before the next dance (although this probably didn't add any time
> for the fiddler to think about tune selection).
>
> We made nice at the break and he explained that he was under stress in
> other areas of his life. I had done my homework (so I thought) and done
> my pre-dance interview - turns out with the wrong musician! The fiddler
> was the real leader and he had shown up at the last minute and was too
> busy setting up to talk.
>
> Some other fun points: I announced in the 2nd half that we were going to
> dance Chorus Jig and the crowd ohhhed and ahhhed and scrambled to line
> up!! For the 2nd dance of the evening, we had about 15-20 kids show up.
> Some had danced before and they did fine! I had to adjust my language
> because I would call a ladies chain and a bunch of the dancers would go
> over and back. 8^)
>
> All in all a fun dance! I'd love to hear your thoughts about slowing
> down the teaching for musicians who need more time for tune selection.
> Any techniques? Since I really try to match my dances to the level of
> the dancers, I rarely need a 2nd walkthrough. And since I time my
> teaching off of the dancer's speed of doing the moves (calling the next
> while they're finishing the previous move), not much time to add there.
>
> Happy Dancing!
>
> Chris Weiler
> Goffstown, NH
> www.chrisweiler.ws
>
>
>
>
> ------------------------------
>
> Message: 2
> Date: Tue, 29 May 2007 07:31:09 -0400
> From: Peter Amidon <peter(a)amidonmusic.com>
> Subject: Re: [Callers] slow down...
> To: "Caller's discussion list" <callers(a)sharedweight.net>
> Message-ID: <p06230925c281be4decef(a)[192.168.1.100]>
> Content-Type: text/plain; charset="us-ascii" ; format="flowed"
>
> When I first called in Greenfield I was filling in for David Kaynor,
> and Mary Cay, wanting to keep it a David Kaynor-styled dance, said
> that David always let the folks chat for a bit after they have lined
> up. Now I do that at all my dances. I just stand there and do
> nothing for a while. A touch of Zen.
>
> This makes the evening more relaxed and social, helps keep the
> dancers from getting exhausted, gives the musicians more time
> to figure out their music, and allows me to do a mental rehearsal
> of the teaching and calling of the dance before I do a walk through.
>
> I think walk throughs should always be efficient. I only slow
> them down when that benefits the dancers.
>
> Thanks for the interesting question.
>
> -Peter Amidon
>
>
>> Had an interesting gig this weekend (a good one, just interesting).
>> Things were going along smoothly, I thought. The fiddler had made a
>> comment earlier that I had a high ratio of playing time to down time,
>> but I didn't think much of it. Before we started the 2nd to last dance
>> of the first half, and I was waiting for the band to be ready to start
>> the music, the fiddler snaps at me that I'm teaching too fast and it's
>> much to stressful for choosing tunes! I looked him straight in the eye,
>> apologized, and then promised to slow down. I spent the next bit of time
>> trying to figure out how to slow down. Couldn't think of too many ways.
>> I slowed my pace of teaching down. I made sure to take a minute and talk
>> to the band before even requesting that people line up. I introduced the
>> band before the next dance (although this probably didn't add any time
>> for the fiddler to think about tune selection).
>>
>> We made nice at the break and he explained that he was under stress in
>> other areas of his life. I had done my homework (so I thought) and done
>> my pre-dance interview - turns out with the wrong musician! The fiddler
>> was the real leader and he had shown up at the last minute and was too
>> busy setting up to talk.
>>
>> Some other fun points: I announced in the 2nd half that we were going to
>> dance Chorus Jig and the crowd ohhhed and ahhhed and scrambled to line
>> up!! For the 2nd dance of the evening, we had about 15-20 kids show up.
>> Some had danced before and they did fine! I had to adjust my language
>> because I would call a ladies chain and a bunch of the dancers would go
>> over and back. 8^)
>>
>> All in all a fun dance! I'd love to hear your thoughts about slowing
>> down the teaching for musicians who need more time for tune selection.
>> Any techniques? Since I really try to match my dances to the level of
>> the dancers, I rarely need a 2nd walkthrough. And since I time my
>> teaching off of the dancer's speed of doing the moves (calling the next
>> while they're finishing the previous move), not much time to add there.
>>
>> Happy Dancing!
>>
>> Chris Weiler
>> Goffstown, NH
>> www.chrisweiler.ws
>>
>>
>> _______________________________________________
>> Callers mailing list
>> Callers(a)sharedweight.net
>> http://www.sharedweight.net/mailman/listinfo/callers
>>
>
>
>
> ------------------------------
>
> Message: 3
> Date: Tue, 29 May 2007 05:08:52 -0700 (PDT)
> From: Dan Black <blackjunier(a)yahoo.com>
> Subject: Re: [Callers] slow down...
> To: Caller's discussion list <callers(a)sharedweight.net>
> Message-ID: <645212.36567.qm(a)web52206.mail.re2.yahoo.com>
> Content-Type: text/plain; charset=ascii
>
> Chris,
>
> I have had the band comment time to play again so soon. Since we have similiar professions, efficiency is so important. Just standing there is a challenge for me. When it is hot like it was this Sat in Bethlehem Pa, I have to force myself to let the dancers talks for a minute or two. Also, I forget the band may want to talk to each other. The band was the Contrapolitans with Rich Mohr sitting in, they were incredible and had alot of fun on stage. There was a few times I just had to watch the clock and not say anything until the digital clock on stage changed to the next minute. It was reassuring noticing the dancers talking all along the line and letting them talk for a minute or so felt good to me. It may benefit me to reread the section of Give & Take regarding time management. For a numbers guy like me, this information was so helpful. Thanks for the reminder Chris
>
> ----- Original Message ----
> From: Chris Weiler <chris.weiler(a)weirdtable.org>
> To: Shared Weight <callers(a)sharedweight.net>
> Sent: Tuesday, May 29, 2007 6:57:01 AM
> Subject: [Callers] slow down...
>
>
> Had an interesting gig this weekend (a good one, just interesting).
> Things were going along smoothly, I thought. The fiddler had made a
> comment earlier that I had a high ratio of playing time to down time,
> but I didn't think much of it. Before we started the 2nd to last dance
> of the first half, and I was waiting for the band to be ready to start
> the music, the fiddler snaps at me that I'm teaching too fast and it's
> much to stressful for choosing tunes! I looked him straight in the eye,
> apologized, and then promised to slow down. I spent the next bit of time
> trying to figure out how to slow down. Couldn't think of too many ways.
> I slowed my pace of teaching down. I made sure to take a minute and talk
> to the band before even requesting that people line up. I introduced the
> band before the next dance (although this probably didn't add any time
> for the fiddler to think about tune selection).
>
> We made nice at the break and he explained that he was under stress in
> other areas of his life. I had done my homework (so I thought) and done
> my pre-dance interview - turns out with the wrong musician! The fiddler
> was the real leader and he had shown up at the last minute and was too
> busy setting up to talk.
>
> Some other fun points: I announced in the 2nd half that we were going to
> dance Chorus Jig and the crowd ohhhed and ahhhed and scrambled to line
> up!! For the 2nd dance of the evening, we had about 15-20 kids show up.
> Some had danced before and they did fine! I had to adjust my language
> because I would call a ladies chain and a bunch of the dancers would go
> over and back. 8^)
>
> All in all a fun dance! I'd love to hear your thoughts about slowing
> down the teaching for musicians who need more time for tune selection.
> Any techniques? Since I really try to match my dances to the level of
> the dancers, I rarely need a 2nd walkthrough. And since I time my
> teaching off of the dancer's speed of doing the moves (calling the next
> while they're finishing the previous move), not much time to add there.
>
> Happy Dancing!
>
> Chris Weiler
> Goffstown, NH
> www.chrisweiler.ws
>
>
> _______________________________________________
> Callers mailing list
> Callers(a)sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>
>
>
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>
> ------------------------------
>
> _______________________________________________
> Callers mailing list
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>
>
> End of Callers Digest, Vol 33, Issue 11
> ***************************************
>
>
Jeff wrote: "My thinking is that dancers are there to dance, so that is what I
am going to provide for them."
What are the implications of this for those people who come to the dance as an
opportunity to socialize with other members of their community? Yes, they want
to dance-- they did come to the dance, after all, not to the turkey supper-- but
having an opportunity to talk with friends and neighbors may be high on their
list of reasons why they came.
> I am looking to do 14 dances and looking to go 14 times through ... [snip]
Even amounts of time (12, 14, 16) all that the top couple be in the for the last
time of the dance.
Assuming you're calling duple minor dances, which I suspect is the case, doesn't
even amounts of time through the dance have the opposite effect, that the top
couple is left standing out?
# of times
1 Top couple is involved
2 New top couple is waiting out
3 Top couple involved again
etc.
I heartily agree with Jeff that I don't generally want a dance to run on too
long, although there are exceptions:
* If the band has a set of three tunes that they want to play, they may want
more room to stretch out. Four times through a tune is often not enough for the
musicians to show their stuff, and dancers do appreciate hearing a well-planned
medley of tunes.
* If there's a dance with a lot of newcomers present, sometimes it's worth
running it longer so that they can feel successful. It may take them longer than
more experienced dancers to catch on to the choreography of a particular dance,
and then once they've got it, it's nice to give 'em a chance to just dance.
* Similarly, if there's a dance that is unequal (#1s have more activity than
#2s, for example), I might run it longer so that more couples get a chance to be
#1s. (Of course, another way to achieve that effect is to ask for shorter sets,
but not all dance series have dancers who will agree to such a request from the
caller.)
* I think the main reason I'd keep dances shorter, though-- and this is just one
of many reasons why I like to include triplets, or a mixer, or a square, or some
other odd formation dance-- is that shorter repetitions means dancers have more
opportunity to switch around.
David Millstone
