Contra Callers

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26 participants
4346 discussions

by richgoss＠comcast.net

It might be fun to have one of you walk through a dance, then the other one start calling a totally different dance, completely ignoring the dance that was walked through. The first one could be a dance with no swings or something, to get them grumbling. Rich

19 years

Re: [Callers] [trad-dance-callers] Re: April Fool

by Karen Fontana

Hi All, Jeff Spero and I are calling the Brentwood (LA) dance together: I happen to be in LA this weekend for another calling gig; he wants to play a prank on his home dance community, so many months ago, we decided to share the evening... It's been fun to have someone to bounce ideas off of and create this together..... I've never called an April Fool's dance, and I'm glad to be part of creating one. And, I've never danced somewhere on April Fool's day when the caller or band did anything unusual or tricky.... I did see some comments last year around this time on trad-dance-callers. I started setting dances aside a few months ago and making notes.... Most of what I've thought about doing are things that are a bit unusual, that have some twist on what we're "used to" doing... Some ideas, not in any particular order: 1. "The Tease" by Tom Hinds, already mentioned 2. "B&B" by Robert Cromartie. When cpl waits out at the bottom or top of the set, wait out "the wrong way": w/ lady on the LEFT. 3. "Open Doors" by David Kaynor. ... it's got some unusual order of figures together: A2: Down 4, return, then B1: Long Lines ( ! ), rather the typical "circle left.." B2: LL F&B, then circle RIGHT ( ! ) , turn alone, face new N's .... You got to think a bit during this one, which I kind of like.... 4. A medley (ok, this I got from Robert Cromartie).... dance 1: no P swg, dance 2: no P swg; finally dance 3: includes P Swg! Something like that.... you could even do 3 with no P Swg, then P Swg.... --> I haven't picked out the dances for this yet..... Can anyone suggest simple no P swg dances that would do well in a medley? 5. Triple progression is a bit unusual: "Eleanor's Reel" by Bill Olson is a good one. Likewise, Bill Olson's "Scrod Pudding's Trip to the Mall" has a two-handed box the gnat rather than one-handed, again, just a different twist on common moves. "Weeks on the Road" by Bill Olson.... it's a backwards becket (which Gene Hubert pointed out to him...), to start, get in improper formation, women trade places. On side w P, but Gent is on the Rt..... (OK, so I just spent two wknds w/ Bill Olson and Ti'Acadie in California, can you tell??!!). 6. Similarly.... calling an "indecent" dance, where the two's cross over, instead of the one's crossing..... Jim Kitch's "Dancing the Winter Away", Joseph Pimentel's "Oh Geez!" 7. The "clap trap" type of dances where there is a figure after the Petronella-turn-to-the-right, making it (nearly) impossible to clap twice after the spin: "Princeton Petronellas" and "Cure for the Clap" (this one, don't say the name of the dance before calling it; say it afterwards; otherwise, they'll try to clap!) both by Bob Isaacs. "ContraQuad Reel" by Seth Tepfer. 8. "Bases Loaded" by Jim Saxe, Tom Thoreau and Lydee Schudder, offers an unusual pattern (a "diamond" type interaction in the A1, A2) 9. A friend mentioned: call a dance so that it doesn't progress! Actually, I did this once, by mistake! so I have one, should I decide to do this! ("Pigtown Petronella" by Cary Ravitz... yes, I got a dble progression dance to not progress at all! I can tell you how, for those that want to know!). The dancers were laughing and smiling, and I went up to a minor set and said "what's up"? A dancer answered "we really like our neighbors, and we're having a good time, but we haven't progressed!"... they were laughing hysterically.... 10. Jeff Spero had the idea that since we both have wireless mike's we could do some sort of "ventriloquist" thing..... one person could be up on stage "calling" (moving your lips), and the other calling it from the back of the room, or somewhere not visible to the dancers.... obviously, a male voice coming from a female caller (or vise verse) would be a bit unusual.... 11. I also suggested to Jeff that he could dress as me and I as him.... gee, didn't hear back on that one! I think he'd look great in one of my North Carolina "Nancy" dresses! 12. Any suggestions from musicians? on tricks the band could play? (NOT ON THE CALLER!!!! but working TOGETHER on a prank for the dance!!!!!!!!!!!!!!)..... ; ^ ) (no crooked tune surprises! .... ) Now, Bill Olson this past weekend in California called a dance to a 48 bar tune.... it worked well and the dancers seemed to like the different feel to it.... I do like the "hokey pokey" idea, having the band play that.... More ideas? Karen Fontana Northern California PS: .05 cents royalties for any ideas used..... just kidding!! ErikThor(a)aol.com wrote: Barb K writes: i was thinking about calling a medley of mecket dances - alternating ones that progress CW with ones that progress CCW... I write: This sounds like a challenge. Love to hear how it works out. Also, on a walk-through of a dance that ends with "circle left 3/4, pass thru," after having the dancers circle, but not pass thru, George Marshall has been heard to say something like: "If this were April 1, I'd leave you right there, but since it's not..." erik hoffman 510-444-4397 erik(a)erikhoffman.com -- erik, with a 'k' \\\\\///////\\\\\\\//////////\\\\\\\\\\//////////\\\\\\\/////\\\ There is no way to peace; Peace is the way. ~ A. J. Muste /////\\\\\\///////\\\\\\\///////////\\\\\\//\\\\\\/////\\/////// [Non-text portions of this message have been removed] The J. Appleseed Society E-Mail Discussion Lists to nurture the growth of participatory art and cultural activities. The Traditional Dance Callers List: For participatory dance callers, teachers, leaders and interested friends. Subscribe by sending a blank e-mail message (no subject, no message) to: trad-dance-callers-subscribe(a)yahoogroups.com SPONSORED LINKS Russian folk dance Traditional Dance Folk --------------------------------- YAHOO! GROUPS LINKS Visit your group "trad-dance-callers" on the web. To unsubscribe from this group, send an email to: trad-dance-callers-unsubscribe(a)yahoogroups.com Your use of Yahoo! Groups is subject to the Yahoo! Terms of Service. --------------------------------- <>:<>:<>:<>:<>:<>:<>:<>:<> Karen Fontana www.karenscontracorner.com karen_fontana(a)yahoo.com (H) 650-691-9663 <>:<>:<>:<>:<>:<>:<>:<>:<>

19 years

The Language

by Camilla Streeter

With apologies to Rick and an invitation for him to set me straight, the buzz step lesson goes something like this: Take your partner and form one big circle around the hall. Hold hands and everyone face the center. Take your right foot and CROSS (big voice) in front. (Stay on that foot-exaggerated motion, until everyone has successfully crossed their right foot in front.) Take a small STEP to the left. CROSS in front (wait for everyone to catch up) STEP (little voice) CROSS (wait for the slow ones) STEP CROSS (keep an eye on the ones having trouble, speed up as their comfort increases.) STEP CROSS STEP CROSS STEP and on and on until everyone is doing the step at a reasonable speed. Camilla Streeter --------------------------------- Yahoo! Mail Use Photomail to share photos without annoying attachments.

19 years

Re: [Callers] Callers Digest, Vol 19, Issue 18

by jerome23＠bellsouth.net

> > --- Seth Tepfer <labst(a)emory.edu> wrote: > > > What called waltz dances do people know? That is - > > called dances in waltz > > time, either in circle, sicilian circle, or other > > formation. I only know > > two, and I'd love to collect some more. > > > > Seth, Mike Richardson has written several contras for two-part slip jigs, which I find are most easily danced with a waltz step. These dances CANNOT be done with regular reels or jigs. My favorite of these is Another Jig Will Do, there is also Peacock Follows the Hen and at least one other. My favorite tune for this is Snowy Path. I have also used The Butterfly, adding a C part consisting of Star Left and Star Right, or a Star Left, Circle Left, or some other position-neutral sequence. Another Jig Will Do By Mike Richardson Level med (assigned by the editor) Type Contra Formation Becket A1 (6) Long lines go forward and back, moving left one place (the progression) (6) With the new circle left 3/4 A2 (9) Neighbors dosido (3) Neighbors allemande right 1/2, until gents face in B1 (12) 5 changes of a hey, gents pass left shoulders to start; end with gents passing left shoulders to face partner, all on original side B2 (12) Partners swing Editor's Notes: Tune: any 2-part (16-bar) slip jig, such as "The Peacock Follows the Hen", "Another Jig Will Do" or "A Fig for a Kiss". Jerome Grisanti

19 years

Re: [Callers] Less-used figures

by David.Millstone＠VALLEY.NET

> I call it [Chorus Jig] as standard at my dances (even if the band does not know the tune!) Gale's comment points to a problem that's developing. As fewer callers use the old dances, many of which have a tune associated with them, fewer musicians coming into the tradition are learning those particular tunes. That in turn makes it harder to call the older dances so callers might shy away from that material. I suppose you _could_ dance Money Musk to a generic tune played AAB, but it surely wouldn't be the same and I don't think I'd want to try it. And the balances for Hull's Victory just fit that tune perfectly. So, callers, I'd encourage everyone to get those chestnuts into your repertoire and to let bands know in advance that you'd like to be able to call Rory O'More, for example, and if the musicians don't already know the tune, perhaps they'll learn it. And yes, there are lots and lots of old dances and tunes, but a list of ones that I'd love to see in every New England dance musician's repertoire might include: Chorus Jig Devil's Dream Green Mountain Petronella Hull's Victory Lady of the Lake Lady Walpole's Reel Lamplighter's Hornpipe Money Musk O'Donal Abhu (for British Sorrow) Opera Reel Petronella Portland Fancy Rory O'More Steamboat/Washington Quickstep Vinton's Hornpipe and tunes for a couple of the older couple dances, such as the Gie Gordon's and Road to the Isles. Heck, just get a copy of the New England Chestnuts albums (now out in a double CD from Great Meadow Music) and hand that to the band and say, "Here! Please learn these!" And if they want dots to read, direct them to the New England Fiddler's Repertoire tunebook. And, of course, tunes for some of the traditional singing squares such as Redwing, Crooked Stovepipe... Well, you get the idea... David Millstone

19 years

Less-used figures

by Gale T. Wood

Greetings, On the subject of Chorus Jig, I believe that it was John Macintyre who called Chorus Jig at Down East. I happened to be dancing with a talented and experienced dancer form Maine. She had never danced CJ or done the Contra Corner figure. Her eyes lit up once she had got the sequence down. She asked why this dance Is not called more often.... I explained that it is rare at a dance in NH when CJ is not called. I call it as standard at my dances (even if the band does not know the tune!)

19 years

Re: [Callers] Less Used Figures

by jerome23＠bellsouth.net

Jeffrey Petrovitch wrote: > > Also in the dance Money Musk there is a "lines of three forward and > back" and it really is not a "forward and back"; it is a "balance in and > balance out", which is danced differently. What does this have to do > with discussion of less used figures; I think it is important to know > dance moves like contra corners, balance in and balance out and once > again the "little things" that have brought contra dancing to where it > is today. It is the history!!! > In a similar vein, I recently learned from Peter Rogers that in the English figure called "forward a double and back," the double refers not to doing the move as a pair, but rather taking two measures of music to move forward and two to move back back. Forward a single and back would be equivalent (in timing) to a contra balance, forward a double and back would be equivalent in timing (if not shape) to long lines forward and back. Also, I have intuited that in the move "roll away with a half sashay," the half sashay refers to the non-rolling individual stepping sideways into the original place of the rolling individual. Can anyone confirm this? Jerome Grisanti

19 years

Re: [Callers] Called waltzes

by David.Millstone＠valley.net

> What called waltz dances do people know? These are the three I use most frequently: Spanish Waltz, an oldie Waterfall Waltz, by Pat Shaw The Wood Duck, by Fried Herman (both of these are from English country dancing, as is Margaret's Waltz, Duke of Kent's Waltz, and many, many more, but these two are the ones I seem to have settled on) There's also Roses in Bloom, a square set in waltz time, written by Rich Jackson and published in the CDSS News #106. But given the difficulty of getting some contra dancers to dance squares at all, and adding in the challenge of asking people to dance in waltz time, you can imagine that this doesn't get used much in contra circles! Also from the ECD world, another square in waltz time is Pat Shaw's Heidenroslein. David Millstone

19 years

Re: [Callers] calling New England squares : intro and break

by David.Millstone＠valley.net

Dave Merrill asked, "Are the intro, breaks, and close traditional and standard for particular dances, or are they generally improvised by the caller as his own signature?" Singing squares typically have the breaks built into the words that the caller sings. There may be slight variations in the wording that the caller uses, but the figures that are called for those breaks remain the same. Hence, when a group of dancers hears the caller sing, "Well, you do-si-do 'round your corner, with a right hand go twice around your own," they're primed to chime in with "Make it twice!" That's part of the fun of the singing squares, their very predictability.* In calling New England quadrilles or other styles of squares, it's more common for the breaks not to be a set part of the routine, and yes, that's part of the fun. If there's a particularly complex break that the caller plans to use, s/he may teach it before the dance, in the same manner as teaching the figure. If the break is going to be made up of more common movements, ones that the caller expects the dancers to be capable of carrying out on the fly, then there's no advance warning and the dancers just react to the calls as they are given. The "bow to partner, bow to corner" is indeed one time-honored way of starting a square--I've seen references citing this as a particularly New England styling, harking back to more genteel times--but even that isn't a given. I'd suggest that any caller interested in investigating breaks would do well to purchase a copy of Ted Sannella's "Calling Traditional New England Squares," which is full of general comments and theory, scores of breaks that Ted used, and a CD of Ted callign squares. The cuts on the CD were chosen in part to illustrate many different breaks. Two other items that may be helpful are Tom Hinds's recent publication with a similar title, "Calling New England Squares" and Tom's earlier "Give Me a Break!" All of these materials are available from the sales office at Country Dance and Song Society, http://www.cdss.org/sales/index.html David Millstone * Of course, the predictability sometimes breaks down, as it did for me when I was calling "Just Because" some years ago. I found myself moving dancers in unexpected patterns, shuffling them all around the square. A friend came up afterwards and congratulated me on a calling tour-de-force, keeping people moving and getting back home with partners where they needed to be, all the while keeping up the singing square. The truth, which I readily confessed, is that I had experienced a sort of brain freeze, and simply couldn't remember what was supposed to come next, and just kept calling. It worked out okay, but it's not an experience I'm eager to repeat!

19 years

Calling New England Squares

by jerome23＠bellsouth.net

David Millstone wrote: > I'd suggest > that any caller interested in investigating breaks would do well to purchase a > copy of Ted Sannella's "Calling Traditional New England Squares," which is full > of general comments and theory, scores of breaks that Ted used, and a CD of Ted > callign squares. The cuts on the CD were chosen in part to illustrate many > different breaks. Two other items that may be helpful are Tom Hinds's recent > publication with a similar title, "Calling New England Squares" and Tom's > earlier "Give Me a Break!" All of these materials are available from the sales > office at Country Dance and Song Society, http://www.cdss.org/sales/index.html > I would like to throw in my own endorsement for Tom Hinds' "Calling New England Squares" and "Give Me a Break!" I have found both to be very fine resources as I seek to call fun and satisfying squares. I've been reading and rereading these as I've been traveling lately. One of the wisest nuggets is the lesson that squares I find fun to dance may not be suitable for me to call because callers are generally more experienced dancers. So Tom offers several ways to analyze squares for suitability to a particular crowd. I know that some contra dancers think squares aren't fun. It's my judgement that when callers are very well prepared and the figures are well-matched to the crowd's ability, I don't hear from those "squares aren't fun" dancers. In fact, I even hear "that was a fun square!" It's especially satisfying to get a smile from a grump. Contrawise, if I am not well prepared on a square, I will hear it. Jerome Grisanti

19 years

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Contra Callers