hey folks,
i posted something years ago to rec.folk-dancing along the lines
of this:
contras and squares are completely different animals for me, and
i love them both; but i look for completely different things
from each. (note that these are idealized descriptions of "what
i want," and that i can and do enjoy dances that do not match
these descriptions!)
from a contra, i want *flow*: i want the dance to be relatively
simple, with plenty of partner interaction that builds to a
cadence of a good long swing. i don't want any sudden weight
shifts or jerky moves and i don't want to have to learn a new or
gimicky move that feels awkward; basically i don't want to have
to think. i want to be able to memorize the dance, figure out
what embellishments work (but ideally not what is necessary to
make the timing work out), set my motor to "on" and go. the
most important consideration, dancer-wise, is who my partner is,
what our type of interaction is, how good our swing is, etc.
from a square, my wants are completely different. i want
(remember, this is idealized) to have 7 other people who are
equally intent on having fun with the square as i am. i want it
to be creative, with good weight exhange (the fun breaks in the
middle that wheel the square around, or completely turn it
inside out and then back again are great), and a bit of a
magical quality. i like feeling like i have no idea how i got
there, but then suddenly all becomes clear again. :) i don't
mind swapping partners around, and i don't mind the absence of
long swings or major amounts of partner interaction. the most
important consideration for me, for a square, is the *attitude*
of the other dancers in the square, since we'll be with each
other for about 10 minutes solid.
*****
just for the sake of completion, i'll also speak a few words
about triplets. triplets and such ("other odd formations") are
a mixed bag for me. moneymusk happens to be up there on my list
of favorite dances of all time, despite the lack of swing, and i
think it has to do with the concept of *timing*. similarly to
english dancing, moneymusk manages to be a dance that fits the
traditional tune perfectly. as such, it really encourages (or
requires, actually) dancers to take the time to do the moves to
the music -- otherwise, no dance magic. for some sad reason,
many contradancers seem to have a tough time with this, and so
dances like moneymusk end up feeling, and being boring...
final note: i'm finding that as i branch out more and more into
other dance forms (english, international, etc) i become more
and more concscious of the importance and relevance of timing in
all dance, including contradance.
take it easy,
melissa, who hasn't ever really figured out the how-to-call
game. :)
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Jeff Petrovitch wrote, "...everyone is going to have their own opinion on
squares."
No disagreement there. Some folks like 'em, others don't. Some folks like
contras, others don't. Some like Balkan line dances, others don't. Some like
tango, lambada, Sufi dancing, trance dance, mosh pits... heck, some folks like
the Macarena and the Hokey Pokey and the Chicken Dance. Different strokes for
different folks. Jeff, you're clearly in the "don't like squares" camp. Okay,
that's your preference.
But then you go on to say, "but there is not doubt as a formation, a dance
formation there are a lot of limiting factors that contra line do not have.
Everything that you can do in a square, you can do in a contra line, either
proper, improper, beckett, whatever formation, so based simply on the
possiblities of dance movement, the contra line is far superior then the
square..."
Well, I have some doubts, and I'll invite Shakespeare to chime in here:
"There are more things in heaven and earth, Horatio,
Than are dreamt of in your philosophy"
To name a few:
Grand square, grapevine twist, Alamo thar (and throw in the clutch), grand
chain, dip and dive, rip and snort, teacup chain... well, you get my drift. Your
comment is akin to saying that there is absolutely nothing that you do in triple
minor contras that you can't do in duple minor. Again, you may have your
preferences, but please, don't try to pass off your preferences as absolute
fact.
<soapbox alert>
The part of your post that most concerned me, though, was this statement: "I
admit that I am one of those dances who will grown when a caller is going to be
calling a square, because dancing squares are not fun for me."
You also say, "I believe there is a certain responsibility places on the callers
and musicians of any dance to carry on certain traditions of dancing (old
traditional dances being one of these things)."
Perhaps I'm misreading you here, but I would hope that you would set a better
example than to groan at the choice made by another caller. If you do believe
that it is important to carry on certain traditions of dancing, then I'd hope
you realize that squares have an equally long tradition, with both squares and
longways dances going back at least 350 years. Indeed, it is only in the last
few decades that an all-contra program became the norm in certain regions.
That's a mighty small chunk of time in the span of Anglo-American country dance
and the folks who enjoy that particular narrow spectrum of dances represent just
one segment of the dancing public. I am not asking you to call squares-- few
things are less appealing than someone doing something they really don't
like--and a caller calling squares even though he or she really hates them will
only pass on that dislike to others. I am asking you to consider that there may
be other points of view that are equally valid, and that you have an obligation
not to undercut a fellow caller at the mic.
As a caller, you have higher visibility in the dance community and others will
model themselves on what you do. A dancer who is also a caller has an
obligation, I believe, to lead by example. This means that when you're out on
the dance floor, you make a conscious effort to invite folks who are sitting on
the sidelines, to dance now and then with the perpetual beginners, to join side
sets, to join at the bottom end of the line, to refrain from talking while the
caller is talking, to avoid extraneous embellishments in your dancing
(especially when surrounded by new dancers), to be gentle and supportive... in
short, to model the very behavior that we all want to see on the dance floor
when we're at the microphone.
<soapbox off>
Thanks for sharing your thoughts on this subject and for considering another
point of view.
David Millstone
My home dance being Nelson, New Hampshire, I am not stranger to the old
traditional dances, such as Chorus Jig, Money Musk, Petronella, etc., and all
these dances are dances that I love... As a caller, as a dancers, I believe
there is a certain responsibility places on the callers and musicians of any
dance to carry on certain traditions of dancing (old traditional dances being
one of these things).
I also believe that contra dancing, like everything is evolving, with is
self-evident by the music, such as Airdance, Wild Asparagus, and the list goes
on... It is bands such as these, which in a lot of way have defined what
modern contra dancing is today. Along with that contra dances have changed,
examples of this would be the majority of dances that are danced now are
improper opposed to proper; this is how modern contra dancing has evolved.
In no way am I suggest that we elimate the old and bring the new, but callers,
dancers, musicians, and everyone have to be aware the contra dancing and
square dancing are changing, and the great callers, the people that are going
to make the most difference, in my opinion are not the people who are firm set
in the traditional ways of dancings, but the people who are firm set in the
adaptation of the traditionaly ways of dancing and making dancing appealing to
an ever changing crowd...
I caller should be confident in the program that he or she is putting on, but
at the same time he or she needs to know the crowd they are calling to,
because I believe there are just some dances that should not be caller to
certain groups of people, and the perfect and most basic example is, you are
not going to start with a really hard dance for a bunch of new dancers. And
you are not going to call Money Musk at the Brattleboro Dawn Dance. And you
are just not going to call squares are certain dances. There are callers'
callers and dancers' callers, and people somewhere in between...
I love contra dancing, as a caller I love calling, as a dancer I love dancing,
but the reason I love contra dancing is because it is fun. Fun, fun, fun, is
the key to the whole thing, if you are not having fun dancing, why would you
ever want to dance. I admit that I am one of those dances who will grown when
a caller is going to be calling a square, because dancing squares are not fun
for me. Of course everyone is going to have their own opinion on squares, but
there is not doubt as a formation, a dance formation there are a lot of
limiting factors that contra line do not have. Everything that you can do in
a square, you can do in a contra line, either proper, improper, beckett,
whatever formation, so based simply on the possiblities of dance movement, the
contra line is far superior then the square...
I believe that future of squares are squantras and contreas. Rich Mohr is a
great writer of these and perhaps a simple example of this would be the dance:
"Dance All Night", which is a great combination of a contra and a square. I
think the square needs to be looking at the future, because a square is just a
square...
Closing thoughts: as a caller, as a dancers, I feel that perhaps one of the
most important things to do, is get new dancers interested in contra dancing.
I think contra dancing perhaps one of the most wondeful things I have ever
done. There are dances that struggle on a week to week, month to month basis,
because they lack the ability to attach new dancers. Dancing should be rooted
in tradition, not stuck in it... Evolve the square...
Sincerely,
Jeff Petrovitch
Jeffrey M. Petrovitch
jeffrey.m.petrovitch(a)usa.net
"Five nights of contra dancing... through 'top-notch' style and technique,
with the love and passion for the dance, the title above all others was
awarded. I am an 'Iron Dancer'." - J.M. Petrovitch
Tom:
As a caller I really can not say that I have much to say about squares. I
have attended a couple different workshops about calling squares, and not
doubt calling contras and squares are very different animals...
As a dancer, a contra dancer I can definately do without the square and if
anything I really am not a fan at all. Personally I do not really enjoy
dancing squares for a couple different reasons, same people, same dance moves
all the way through, the pace of a sqaure is usually such that there is not
much room for creative dance expression, and I find the majority of callers
are not good at either explaining or calling them.
A lot of callers and dancers really like squares and that is fine. A lot of
people like them because of the tradition, etc. that is behind them and that
is great as well. Personally, I would prefer to dance Chorus Jig or Money
Musk any day of the week over a square...
Squares are not for everyone...
Sincerely,
Jeff Petrovitch
Jeffrey M. Petrovitch
jeffrey.m.petrovitch(a)usa.net
"Five nights of contra dancing... through 'top-notch' style and technique,
with the love and passion for the dance, the title above all others was
awarded. I am an 'Iron Dancer'." - J.M. Petrovitch
Marlena,
Unfortunately, it's just too little notice, so I can't help you out.
I am copying the SharedWeight list just in case one of the callers on
there= is available to run up there tomorrow.
SharedWeight people: If you're looking to gain experience, and you're
ready for it, jumping on an opportunity like this is a great way to do
it.
Chris
-----Marlena Schilke <mschilke(a)gmail.c= om> wrote: -----
To: Chris Weiler <Chris.Weiler(a)weirdtable.org>
= From: Marlena Schilke <mschilke(a)gmail.com>
Date: 06/10/2005 04:31P= M
Subject: Re: [Callers] Gorham, New Hampshire new venue
Hello Chris,
Harry Brauser, our schedule= d caller for tomorrow, has developed
health
problems, and cannot make it= . Any chance you can come to Gorham
tomorrow for our small develo= ping contra dance scheduled to begin
at
7:30pm?
--= Marlena
On 4/29/05, Chris Weiler <Chris.Weiler@weirdtable= .org> wrote:
> Hi Marlena,
>
> Sorry, I c= an't make it the 15th. Keep me in mind for other
dances this
> summer= and fall.
>
> Thanks!
> Chris
>
Hi All,
Thank you very much for all of your feedback. I plan on doing a rework
of my program tonight and will publish the revised program afterwards.
On another note, I forgot to ask if anyone has worked with Calliope
and cou= ld give me any advice about working with them?
Thanks!
Chris
So sorry! There is a typo in my message in the first paragraph, second
sentence. It should read "Some form of going down the center"...thought I
caught all the typos, but that one got by me!
Linda Leslie
on 5/23/05 12:00 PM, callers-request(a)sharedweight.net at
callers-request(a)sharedweight.net wrote:
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> Today's Topics:
>
> 1. thoughts for Chris W. (Linda A. Leslie)
> 2. Re: thoughts for Chris W. (David Millstone)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Sun, 22 May 2005 23:06:18 -0400
> From: "Linda A. Leslie" <laleslierjg(a)comcast.net>
> Subject: [Callers] thoughts for Chris W.
> To: <callers(a)sharedweight.net>
> Message-ID: <BEB6C0EA.9AE4%laleslierjg(a)comcast.net>
> Content-Type: text/plain; charset="US-ASCII"
>
> Dear Chris,
> Good luck and have fun in Maine! A few thoughts about your program: your
> first half has three dances with some form of going to the center (two with
> 4 in line, and another with actives); then you have a fourth one in the
> second half. I would encourage you to strive for more variety. How about a
> dance with some Petronella balances/twirls, Give & Take, Rory O'More type
> Balance/slides? I have also found that doing triplets in the first half
> works out a bit better. If I wait for the second half, the energy level is
> sometimes reduced a bit too much; but they are perfect for some variety
> early on.
>
> In the second half, almost all of the dances have the women in the center
> (allemandes or chains mostly), so I would suggest taking a look at trying to
> replace at least one. Since it is a long evening, you might want to consider
> calling at least one dance that has only one swing (partner).
>
> Hope these ideas help!
> warmly, Linda Leslie
>
>
>
> ------------------------------
>
> Message: 2
> Date: 23 May 2005 00:04:54 EDT
> From: David.Millstone(a)valley.net (David Millstone)
> Subject: Re: [Callers] thoughts for Chris W.
> To: callers(a)sharedweight.net
> Message-ID: <58783686(a)enfield.VALLEY.NET>
> Content-Type: text/plain
>
> Hi Chris,
>
> Delighted to see Chorus Jig in that program!
>
> A few thoughts that occurred to me when I read your note...
>
> I think you said the dance is 8 - 11:30, and you're planning on taking a break
> around 9:30. I find that taking the break a little more than halfway through
> works well. That way, the folks who plan to leave at the break get in plenty
> of
> dancing.
> Our usual Northern Spy dance, for example, is scheduled to run from 8 - 11,
> although we sometimes go longer. On a typical night, I'll start the break
> around
> 9:45 or 9:50, and then we come back after ten minutes or so for the last part
> of
> the evening, typically five dances.
>
> Ted's #38-- when we danced it as part of our Triplets Marathon, we used a rag
> for the tune, which made a nice change of pace and fit the zippy feeling of
> the
> dance.
>
> You might want to get a few more simple dances to have as a backup. Who knows?
> Hearing that there's an unfamiliar caller lined up may bring in masses of
> newcomers and it's nice to be ready if you need to stick to easier fare.
>
> Let us know how it all goes.
>
> David Millstone
>
>
> ------------------------------
>
> _______________________________________________
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>
>
> End of Callers Digest, Vol 9, Issue 6
> *************************************
Dear Chris:
Good luck in Maine... Just some thoughts about your program: of course a very
solid start with "The Nice Combination". This is a great starting dance, and
I really like that you have included a circle dance in your program. Though,
personally I am not a huge fan of a circle dance, depending on the type of
crowd you are calling for, this I think will be a wonderful selection and of
course "Love And Kisses"...
I would agree, that if you are going to a triplet it really has to be in the
first half of your program, probably number three or four, I would recommend.
As the night goes on there just will not be enough energy on the dance floor
to make a triplet work.
I would also consider that the first half of your program seems like it has a
lot of neighbor balances and swings, which is ok, but does not offer much
variety. There is "The Nice Combination", "Hey In The Barn", and "Forgotten
Treasure" all within about four or five dances of eachother. Personally, I
would recommend either or when it comes to "The Nice Combination" and
"Forgotten Treasure". I tend to go more with "Forgotten Treasure", because
there just seems to be better energy with that dance...
I love Chorus Jig, as you probably know, and love that you have included it in
your program... It is a great dance that really should be danced more... You
might want to consider waiting to late to call this dance, because contra
corner can be very differcult for new dancers. But yea!!! to Chorus Jig.
Also, there are only two dances without balances in your program, I would
consider, perhaps maybe adding a dance without a balance... Perhaps "Steel
Anniversary" by Rick Mohr or "Roll In The Hey" by Roger Diggie, both I would
consider very smooth dances. And of course different dances is always key
when I am calling, I really like Mary Cay's Reel, and no doubt it is a
classic, also there would be a good dance to call after a dance that has a lot
of gents movement, because in a lot ways, I think this dance is a good break
for the gents.
Just some other dances I really like that you should consider: "Balance To My
Lou" by Becky Hill, it has a great petronella balance squence in it, and it
just has a partners swing. Other dance like "Chuck the Bungie" by Rick Mohr
and "You Can't Get There From Here" by Carol Ormand have great balance
squences... All I would recommend... Just one finally thought, I would not
end a dance with the "The Baby Rose", it is great and solid dance... but I
would recommend going out either with more of a bang... or something very
smooth... If you are looking for bag of course there is "Trip To Lamberville"
by Steve Zakon-Anderson, one of my all time favorites, and of course request
the band play "Rainy Night in Montague (the only song that should be played
with this dance) or perhaps something very smooth like "Comfort Deluxe" by
Rick Mohr...
Well, just some thoughts, a lot of thoughts actually... But good luck, I'm
sure you will knock then dead...
Sincerely,
Jeff Petrovitch
Jeffrey M. Petrovitch
jeffrey.m.petrovitch(a)usa.net
"Five nights of contra dancing... through 'top-notch' style and technique,
with the love and passion for the dance, the title above all others was
awarded. I am an 'Iron Dancer'." - J.M. Petrovitch
Chris:
Unfortunately not yet... So the search is still on. This is a dance that we
call in Nelson a lot, and I really think that this is really a solid dance
with a great flow to it. So the search continues...
Sincerely,
Jeff Petrovitch
Jeffrey M. Petrovitch
jeffrey.m.petrovitch(a)usa.net
"Five nights of contra dancing... through 'top-notch' style and technique,
with the love and passion for the dance, the title above all others was
awarded. I am an 'Iron Dancer'." - J.M. Petrovitch
Hi Chris,
Delighted to see Chorus Jig in that program!
A few thoughts that occurred to me when I read your note...
I think you said the dance is 8 - 11:30, and you're planning on taking a break
around 9:30. I find that taking the break a little more than halfway through
works well. That way, the folks who plan to leave at the break get in plenty of
dancing.
Our usual Northern Spy dance, for example, is scheduled to run from 8 - 11,
although we sometimes go longer. On a typical night, I'll start the break around
9:45 or 9:50, and then we come back after ten minutes or so for the last part of
the evening, typically five dances.
Ted's #38-- when we danced it as part of our Triplets Marathon, we used a rag
for the tune, which made a nice change of pace and fit the zippy feeling of the
dance.
You might want to get a few more simple dances to have as a backup. Who knows?
Hearing that there's an unfamiliar caller lined up may bring in masses of
newcomers and it's nice to be ready if you need to stick to easier fare.
Let us know how it all goes.
David Millstone
