Thanks Lisa!
I'll let you know how it goes.
where are you calling this month?
Original Message:
-----------------
From: Lisa Sieverts lisa(a)lisasieverts.com
Date: Wed, 2 Aug 2006 22:57:24 -0400
To: callers(a)sharedweight.net
Subject: Re: [Callers] Community/Family dance
Gale,
I'll support what others have said. If it's a true family dance,
don't expect to do any contras at all. There are plenty of fun dances
that will make sure that everyone feels successful.
Here are some more:
A LITTLE BRANDY.
Longways set for as many as will. Any 2/4 tune will do.
from Dudley Laufman
FAMILY
1. All swing partners, (2 hand swing, or elbow hook swings).
2. Top cpl sashay down the middle and back while everyone clap
3. Everyone make a bridge, same cpl dance under bridge to bottom and
stay there.
Repeat til all have been top cpl. If very long lines, you might have
two or even three cpls dance down at once.
Trains (from Marian Rose)
longways sets, 6-8 couples
FAMILY
1. All face front, hold inside hands with partner, place outside hand
on shoulder of person in front, forward 4 and back 4
2. forward 4 and back 4
3&4. first set leads around the second train
5&6. second train leads around the first train
7&8. Couples from an arch, top couple through the arch to the bottom
La Bastringue - LKS version
circle of partners, facing center MIXER *FAMILY*
1. F&B 2. F&B
3. Circle LEFT
4. Circle RIGHT
5. keep walking, ladies tap gent in front of them
6. Swing NEIGHBOR
7&8. Promenade new Partner
Jubilee Rag
FAMILY longways sets of 4-5 couples
1. partner allemand RIGHT 1
2. partner allemande LEFT 1x
3. do si do partner by right
4. do si do partner by left
5&6. top couple sashay down and back
7. top couple lead down the middle, rest cast IN to follow
8. at bottom, top couple make an arch, all through and UP the outside
to place
Welsh Circle Dance
circle of partners
FAMILY
1a. Shake RIGHT hands with P 4x (... shake shake shake shake)
1b. Shake LEFT hands with P 4x
2a. Clap own hands 4 times
2b. Clap partners hands 4 times
3. With partner, sashay 4 steps into the center and back out
4. Repeat
5. Allemande right 1 or 2x
6. Allemande left 1 or 2x
7&8. Promenade (could progress here by having the women move back one)
Cat and Mouse (5-6 couples per set. Might fall off the phrase)
longways sets
PROPER (cat on left, mouse on right)
FAMILY
1. F&B
2. Top couple sashay down & back
3. Top couple cast and lead their line down the outside ("peel the
banana")
4. Top couple arch, all under the arch back to place
5. Top couple cat and mouse: cat up the center, mouse up the
outside of mice line, then
6. Mouse down the center, cat down the outside of cats line
7&8. All partner swing
Kids Chaos Mixer #3 Chrissy Fowler
*FAMILY* scattered couple
1. set of 4, Circle Left
2. Circle Right
3. Right hand star
4. Left hand star
5. Neighbor two hand turn
6. Partner two hand turn
7&8. With PARTNER promenade to new couple
Chicken Dance (needs the named tune)
Reel du Canard
*FAMILY*
1a. 4x beak (hands like a beak)
1b. 4x wings (arms bent like wings)
1c. 4x waddles (hips back and forth)
1d. 4 claps
and repeat 3 more times
5&6. Circle Left
7&8. Circle Right
Do the first part faster each time through the tune.
Circassian Circle Paul Rosenberg
circle of couples facing in *FAMILY*
ask them to self identify as either moon or star!
1. F&B
2. F&B
3. Women (Stars) in, 2, 3 CLAP
4. Men (Moons) in, 2, 3 CLAP
5. do-si-do partner
6. two hand turn partner
7&8. Promenade; form circle
Tall, Short Kathryn Larsen *FAMILY*
1&2. Circle RIGHT
3&4. Circle LEFT
5. Short people in, 2, 3, CLAP
6. Tall people in, 2, 3, CLAP
7. Short people in, circle RIGHT on the inside, Tall people on the
outside, circle LEFT
8. Switch gears, Circle LEFT on the inside and RIGHT on the outside
music stop at random
short people turn around and elbow swing someone on the outside
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Hi Callers,
I am calling a Community/ Family dance in a couple of weeks, I'd
appreciate it if you would share some of your favorite dances
that are appropriate for the occasion. The dance will be attended by
never-evers, families with children and a few old time dancers.
I have on line for the evening: The Virginia Reel, Jefferson and
Liberty, Portland Fancy, Lady of the Lake, La Bastranege(???)
It seems most of the 'easy dances I have been looking at are quite
similar in structure so I am looking for some different dances in the
Contra/ circle/ square traditions.
Thanks in advance
Gale
Dear Gale,
This one works well, and is an easy way to help folks get the concept of progression. I describe where the lines of three stand as being "home", and the only time "home directions changes is when the line is out at the top or bottom". I don't point this out until they have walked it through once...Good luck!
Linda Leslie
Do Si Three Lines of three facing lines of three
A1 Circle left
circle right
A2 Those on the ends of the lines do si do your opposite
Middles do si do
B1 Ends swing your opposite (I use a 2 hand turn with beginners/families)
Middles swing
B2 lines of three forward and back
pass through to new neighbors
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> Today's Topics:
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> 1. Traffic Jam (Gale T. Wood)
> 2. Re: Traffic Jam (David Millstone)
> 3. Re: Community/Family dance (Rickey)
>
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> ----------------------------------------------------------------------
>
> Message: 1
> Date: Tue, 1 Aug 2006 15:06:26 -0400
> From: "Gale T. Wood" <Gale(a)robbinsauto.com>
> Subject: [Callers] Traffic Jam
> To: <callers(a)sharedweight.net>
> Message-ID:
> <79C5F2A3DD0551469291F6CD6BF5422E02FB9E(a)officemail.robbinsauto.com>
> Content-Type: text/plain; charset="US-ASCII"
>
> Thanks Alan and Jeff,
> I was at David Millstones Wkshp and remember Traffic Jam, being a good
> time.
> If somebody out there has the calls I would appreciate it if you could
> pass them along.
> I am desperately digging into my archives, hoping to find the same.
> Next stop is the Nottingham NH Library to find some of the literature
> suggestions.....
>
> Thanks
> Gale Wood
>
>
> ------------------------------
>
> Message: 2
> Date: 01 Aug 2006 15:19:07 EDT
> From: David.Millstone(a)valley.net (David Millstone)
> Subject: Re: [Callers] Traffic Jam
> To: callers(a)sharedweight.net
> Message-ID: <16527089(a)retriever.VALLEY.NET>
> Content-Type: text/plain
>
> We usually do it to a tune played AB:
>
> Traffic Jam
> from John Krumm
> no partner needed at start
>
> 1) Elementary Traffic Jam
>
> A part:
> Clap-clap-clap, stamp-stamp-stamp, walk-2-3-4 (whichever way you're facing)
> Repeat all that
>
> B part
> Sashay sideways 8 steps
> Pick another direction and sashay back
>
> Do that for 5-7 times, then move to
>
> 2) Intermediate Traffic Jam
>
> Turn around and find a buddy standing near you. Do the dance again. Instead of
> clapping your own hands in A1, you clap both hands with your buddy, then stand
> side by side facing the same direction, hook elbows and walk for the 4 steps. In
> the B part, you take both hands with your buddy and sashay-- it helps if you
> both go in the same direction!
>
> Do that for another 5-7 times, then, if the crowd seems ready for it, do
>
> 3) Advanced Traffic Jam
>
> Same as above, only after the first sashay, callers says "Switch!" whereupon
> dancers drop hands with current partner, turn around and find someone new with
> whom to sashay back again.
>
> It's a dance I often use early in the program for family groups. No partner
> needed at start, so everyone can participate. Then you dance with a partner, and
> then change partners.
>
> David Millstone
>
>
> ------------------------------
>
> Message: 3
> Date: Tue, 1 Aug 2006 19:51:47 -0400
> From: "Rickey" <holt.e(a)comcast.net>
> Subject: Re: [Callers] Community/Family dance
> To: "'Caller's discussion list'" <callers(a)sharedweight.net>
> Cc: "'Gale T. Wood'" <Gale(a)robbinsauto.com>
> Message-ID: <000001c6b5c5$76ab7250$5f511e42@maxx>
> Content-Type: text/plain; charset="us-ascii"
>
> Hi Gale,
> Here's a variety of stuff. Good luck.
> Rickey
>
>
> Scatter mixer
> 'Borrowdale Exchange'
> 3 couples in a circle. Scatter mixer. Difficulty: 1
> . A1: All circle L and R.
> . A2: Into the middle and back; do-si-do partner.
> . B1: Right-hand star holding hands with person opposite and with
> nobody else, then undo the star: the woman whose hand is lowest goes under
> (others arch), then the next. Keep hold of the hands.
> . B2: Promenade around and make new sets.
> The person I got this dance from said its real name was something else, but
> he liked calling it Borrowdale Exchange. Seems to be a variant on Kentucky
> Reel.
>
> Scatter mixer
> The Barn Mixer
> By Rick Mohr; August, 1986
> Mixer, Scattered 4's
> Level: Easy
> A1: Circle left (8)
> Right hand star (8)
> A2: Right and left through (8)
> Dosido neighbor (8)
> B1: Balance and swing neighbor (16)
> (This is your new partner)
> B2: Promenade anywhere with new partner (16)
> (Find another couple to circle with)
> Bill Olson (fine caller from Maine and all-around great guy) points out that
> doing a Maine-style right and left through (with hands) in the A2 makes for
> a nice transition out of the right hand star. Thanks, Bill!
>
> A bit harder because of the right and left through, but it really doesn't
> matter if they get that right
>
> Circle Mixer
> January Mixer
> by Bob Dalsemer
> Formation: circle of couples facing promenade direction
> A1: Promenade as couples
> A2: Gents continue single file, ladies turn back single file (8) Everybody
> turn back (8), pass partner
> B1: Allemande left the next (8) allemande right the same (8)
> B2: Do-si-do the same (8) swing the same
> Composed January 8, 1998 in preparation for a dance with a lot of newcomers.
> I needed a sure fire mixer like Atlantic Mixer, but with a more certain
> progression to a new partner.
>
> I have used this a lot. The ladies turn back and the all turn backs give
> some trouble, but everyone gets it pretty quickly
>
>
> Set dance
> FLYING SCOTSMAN
> reel
> 6-7 couples in a set
> A1 Ladies line skips all the way around the men's line
> A2 Men do the same (if the ladies are late getting around, the gents
> can still start on time, just make a larger loupe to avoid the ladies)
> B1 Top couple only sashay down - past the bottom of the set, and back
> to the bottom of the set. (there is a new top couple now.)
> B2 All sashay down and back
>
>
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> End of Callers Digest, Vol 24, Issue 2
> **************************************
Greetings all,
I am a caller at our local dance in Charlotte, but I've been writing dances
for a couple of years.
Because the community here is not large and because I don't travel to call,
the dances I've
written have not had much exposure. If anyone is interested, they are now
on the web at
www dot charlottedancegypsies dot org/
under "John's Contra Dances". Feel free to call them. I would appreciate
any feedback or
constructive criticism that you can give me, though you might want to do
that outside of the
forum.
Thanks and Happy Dancing!
John Nance
We usually do it to a tune played AB:
Traffic Jam
from John Krumm
no partner needed at start
1) Elementary Traffic Jam
A part:
Clap-clap-clap, stamp-stamp-stamp, walk-2-3-4 (whichever way you're facing)
Repeat all that
B part
Sashay sideways 8 steps
Pick another direction and sashay back
Do that for 5-7 times, then move to
2) Intermediate Traffic Jam
Turn around and find a buddy standing near you. Do the dance again. Instead of
clapping your own hands in A1, you clap both hands with your buddy, then stand
side by side facing the same direction, hook elbows and walk for the 4 steps. In
the B part, you take both hands with your buddy and sashay-- it helps if you
both go in the same direction!
Do that for another 5-7 times, then, if the crowd seems ready for it, do
3) Advanced Traffic Jam
Same as above, only after the first sashay, callers says "Switch!" whereupon
dancers drop hands with current partner, turn around and find someone new with
whom to sashay back again.
It's a dance I often use early in the program for family groups. No partner
needed at start, so everyone can participate. Then you dance with a partner, and
then change partners.
David Millstone
Thanks Alan and Jeff,
I was at David Millstones Wkshp and remember Traffic Jam, being a good
time.
If somebody out there has the calls I would appreciate it if you could
pass them along.
I am desperately digging into my archives, hoping to find the same.
Next stop is the Nottingham NH Library to find some of the literature
suggestions.....
Thanks
Gale Wood
Hi All,
In the dance Cornish 6-hand reel there is a hey for 6 (not a surprise given
the name of the dance). Several sources agree that this gets 32 beats of
music (B1 and B2), which seems like too much music. In our contras a hey
for 4 (over and back) gets 16 counts. Reasoning from proportions (probably
a dangerous thing) it would seem that 32 beats (B1,B2) would be enough music
for a hey for 8 (God forbid), and that a hey for 6 should take 16+8 or 24
counts and leave ½ of a B undanced. I ask because I called the dance in
Exeter last Saturday and several dancers seemed to be getting through the
hey early. The tradition is to use B1 and B2 to do this hey. Its English.
How do they do it? Perhaps it would be more danceable for us if an 8 count
move were added at the end of the hey but what move would this be. It
would need to be a move done only with your partner and do-si-do, allemande
left and right, and 2-hand turns are all already used. Its a puzzle. Do
you call this dance? Its a great dance. Have you had this problem?
Rickey Holt.
--- Rickey wrote:
In the dance Cornish 6-hand reel there is a hey for 6 (not a surprise given the
name of the dance). Several sources agree that this gets 32 beats of music (B1
and B2), which seems like too much music.
--- end of quote ---
I'll get to this particular dance in a moment, but first a digression:
One of the tasks dancers face as they become more skilled is to make their
dancing fit the music. Thus, on a simple figure such as right and left through
(the full version, over and back), while this certainly can be accomplished in
far fewer than 16 steps, experienced dancers have learned to slow down a little,
to enjoy the time-- four steps to cross, four steps to turn, and the same on the
way back.
One of the strongest things that we in the contra and traditional square dance
community have going for us is that close connection with the music. Modern
Western Square Dance, for example, no longer has everything fitting the music,
and moves which we would do in, say, 8 steps, they often do in six, thereby
losing that connection with the musical phrases.
As a further aside, many intermediate level dancers have the same difficulty
fitting their movements to the phrase, hence the appearance of all those extra
twirls, designed to fill up the time while they're waiting for the next move.
And now, to the topic at hand:
I've never danced Cornish 6-hand reel, but I danced the Dorset 4-hand reel just
a few weeks ago. In many of these traditional English dances the dancers aren't
just moving with a simple walking step as we do in contras. They move with a
variety of steps, such as rants or polka steps. We actually see some of that
tradition in the sort of shuffle clog two-step that some older dancers prefer--
watch Dudley Laufman on the dance floor, for example, dancing Chorus Jig. On
that simple down the outside and back, he doesn't take 7 or 8 long steps down
the outside, but rather three or four two-steps, moving only a short way down
and a short way back.
Now, the question is, if you want to introduce Cornish 6-hand-reel, do you want
to take your allotment of talking time at the mic to introduce the notion of
stepping to your dancers? In some situations you may decide it's worth the
effort and the time-- you're presenting a dance which seems quite similar but
actually has an added challenge for folks to explore-- or you may decide that
it's not appropriate for that given venue.
Hope this is helpful.
David
The topic of preparing to call a program sent me off on a tangent here, hence the different title.
One of the best pieces of advice I got early in my dance calling career was how to organize my cards, including the idea of making notes every time I called that dance. It got me used to analyzing the dance that night, while it was fresh in my head, to see where I might have been clearer in my teaching (or where I went wrong, if you want to think that way).
Then, before calling that dance again, I could benefit from my hard-won experience in the form of my notes on the backs of my cards.
I also notice that the tone of these notes changed over time, so on some of my very earliest notes I was very frustrated with those dancers who were ** intentionally ** mishearing my very clear and concise instructions (wink). Somehow, as I gained experience, these same dancers got better and better. It was very enlightening how this process worked.
I also luckily received the advice to publicly accept the blame for any problems that occured, even if I thought the problem lay elsewhere. These days, any problems are easy to own, as I'm much more sure of the things I did to cause the problems and much more adept at correcting them smoothly and quickly. Life is good.
I concur with practicing to tapes, and to practicing while walking, and while driving, and to visualizing and scripting the walkthroughs, though I may not actually write down the script.
Jerome
Hi all,
I have just come back from a wonderful caller's workshop and have gotten
addicted to having other caller's to talk to. So I have two questions for
you. First, how do you prepare for an upcoming evening of calling? I am
wondering how you prepare AFTER you have selected the dances and programmed
the evening. Do you memorize the dances? Do you call to music and an empty
room? How do you keep focused on what might happen when nothing is
happening in front of you? How do you learn new dances that you want to
call? I have recently tried scripting a dance. It took over an hour to do
the one dance, but seemed very useful. Do you script your teaching in
advance? If so how do you use that script during the evening? Second, I
have heard dance described as controlled falling. In another form of dance
I was taught to lean into the direction of travel in order to commit my
weight to the dance. I have been watching experienced dancers recently and
see no evidence of this. I have danced for perhaps 30 years, and I cannot
remember what we used to do. AS A DANCER, how do you commit your weight to
a move?
Rickey Holt.
