Hi Everyone,
Below is our dance program for the New Caller's dance on Dec. 4th. We'd
be happy to answer any questions about how we arrived at this program.
Those of you who are coming to the dance can tell us how well it works
and see if we have to change it at all... 8^)
Chris
Dance sequences follow.
CHRIS
1) Forgotten Treasure (reels)
2) Love and Kisses Mixer (French Canadian reels)
3) The Carousel (reels)
4) Another Nice Combination (hot reels)
SETH
5) You're Already There (chunky jigs)
6) Roll 11 (reels)
7) Rockin Robin (zesty reels)
waltz
-------
hambo
SETH
8) Joel's in The Kitchen (driving, downbeat reels)
NATHANIEL
9) Chorus Jig
10) Pirates Life (groove jigs)
11) American Gothic (smooth reels)
12) Square Affair (hot reels)
Forgotten Treasure Beth Parkes DI
(16) B&S N (8) Down 4, as couples (8) Up, bend line (8) CL 3/4
(8) Sw P (8) F&B (8) LC 1/2
Love and Kisses Ted Sannella Circle Mixer
(4,12) B&S P
(8) W to center and back
(8) M to center turn around and come back to wavy ring
(4,4) Balance, P Allem L
(8) Corner DSD, give RH to corner (#1)
(16) #1 pull by R, #2 pull by L, #3 pull by R, #4 Allem L
#3 pull by R, #2 pull by L, #1 is new partner
Carousel, The Tom Hinds DI
(8) F&B (8) W Allem L 1-1/2 (16) Hey, P R (16) B&S P
(8) CL 3/4 (8) Sw N
Another Nice Combination Tom Hinds DI
(16) B&S N (orig Gyp and Sw) (8) CL 3/4, face P, pass thru
(8) DSD Shadow (16) B&S P (8) LC 1/2 (8) Star L
You¹re Already There LG DI
(4) Bal Wave X (R to N) (4) Al R N 3/4 to long ws, W face in (4) Bal (4)
Al R 3/4 to w X, M in ctr (16) B&S N (8) M Al L 1-1/2 (8) Sw P
(8) 1/2 Prom (R&L) (8) CL 3/4 pass, thru to new w
Roll Eleven Sue Rosen & Larry Jennings DI
(4) CL 1/2! (12) Sw N on other side (8) F&B (8) LC 1/2 to P make
a ring (4) Bal ring; (4) Roll N X (8) Catch P and Sw (8) 1/2 Prom
(8) CL 3/4, Calif Twirl
Rockin Robin Rick Mohr DI
(8) C Right once (8) Al L N once, M pull by R (16) Hey, P L
(16) B&S P (12) CL 1-1/4 (orig place) Hold on to P (4) Veer L,
veer R to next cple
Joel¹s in the Kitchen Sue Rosen B L1
(8) F&B (8) LC1/2 to N make a ring (8) Bal and Petronella Twirl
(8) Bal and Petronella Twirl now P is X from you (8) Bal and X Trail!
(pass R, pass L) P R, N L (8) Sw next N (8) CL 3/4 (8) Sw P
Chorus Jig Trad DP *
(8) 1s down outside (8) Up (8) 1s down middle, alone (8) is up,
cast off w/ same role (16) CC (16) 1s B&S end facing up and roll
down
A Pirate's Life for Me (Really Bad Eggs): (Improper) NJ
A1 4,12 Neighbor Bal + Swing
A2 8 Pass through to a wave
8 Balance the wave, Rory O'More spin R--BUT the men go past
N adn the oterh man--catch the other man by the L!
B1 4 Men Allemande left once
12 Partner Swing
B2 8 Ladies Dos a dos 1-1/2 in the center
8 Neighbor gypsy 3/4 to new neighbors
American Gothic: (Improper) NJ
A1 Mad Robin
Women Al left 1-1/2
A2 Star Promenade 1/2 (women in the center) w/ whirl
Men start 1/2 hey by right
B1 Partner Balance and Swing
B2 Long Lines F+B
Circle Left 3/4, Pass through to next
Square Affair Becky Hill B L1 X
(8) F&B (8) LC (8) Bal P, Pull by, Pull by N (8) Bal P, Pull by,
Pull by N (16) B&S Next N (8) CL 3/4 (8) Sw P
That's a great question. I've gotten into many discussions about this
very issue. I think that your first example is the one to go with. Just
for fun, go down the hall with a partner and keep your joined hands down
during beats1 through 6. Then, on beats 7 and 8, turn as a couple.
You'll probably find that allowing 2 beats to turn as a couple is
rushed. So I think of turning as a couple as a 4 beat move. Turning
alone in 2 beats works but I'd still call it on 5-8. Calling in fours
fits the music nicely and sounds good.
Tom
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> 1. Timing on calling a 4 in line down the hall (Chris Weiler)
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Sun, 14 Nov 2004 23:03:26 -0500
> From: Chris Weiler <chris(a)sharedweight.net>
> Subject: [Callers] Timing on calling a 4 in line down the hall
> To: callers(a)sharedweight.net
> Message-ID: <41982A8E.8040305(a)sharedweight.net>
> Content-Type: text/plain; charset=us-ascii; format=flowed
>
> Hey all,
>
> We sat down today and programmed our dance on Dec. 4th.
> (http://www.seeger.ws/dec4_contradance.pdf)
>
> We're all pretty excited. I was going through my dances tonight doing a
> little thinking ahead and realized that I'm not sure about timing the
> calls for a 4 in line down the hall. Do you time the call to end on the
> 6th beat to encourage dancers to use the final 2 beats to turn around,
> or do you time it to end on the eighth beat?
>
> Beat - Call
> 5 - Down the
> 6 - Hall
> 7 - 4 in
> 8 - Line
> 1 -
> 2 -
> 3 -
> 4 -
> 5 - Turn as a
> 6 - Couple
> 7 - C'mon
> 8 - Back
>
> Or:
> 5 - Down the
> 6 - Hall
> 7 - 4 in
> 8 - Line
> 1 -
> 2 -
> 3 -
> 4 -
> 5 -
> 6 -
> 7 - Turn as a
> 8 - Couple
> 1 - C'mon
> 2 - Back
>
> I think that I answered my own question, but I'm interested in hearing
> what people say about it.
>
> Thanks!
> Chris
>
> ------------------------------
>
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>
> End of Callers Digest, Vol 3, Issue 3
> *************************************
Hey all,
We sat down today and programmed our dance on Dec. 4th.
(http://www.seeger.ws/dec4_contradance.pdf)
We're all pretty excited. I was going through my dances tonight doing a
little thinking ahead and realized that I'm not sure about timing the
calls for a 4 in line down the hall. Do you time the call to end on the
6th beat to encourage dancers to use the final 2 beats to turn around,
or do you time it to end on the eighth beat?
Beat - Call
5 - Down the
6 - Hall
7 - 4 in
8 - Line
1 -
2 -
3 -
4 -
5 - Turn as a
6 - Couple
7 - C'mon
8 - Back
Or:
5 - Down the
6 - Hall
7 - 4 in
8 - Line
1 -
2 -
3 -
4 -
5 -
6 -
7 - Turn as a
8 - Couple
1 - C'mon
2 - Back
I think that I answered my own question, but I'm interested in hearing
what people say about it.
Thanks!
Chris
You guys are going to be terrific ! I wish I could be there, but alas, I was
already double booked for that dated. And unfortunately, I had to cancel on
the dance in order to do the politically correct thing and attend the
company Christmas party. Too many events and not enough time, or air miles.
Break a leg, and I know I'll want a full report afterwards !
Bev
*****************************************
The Witful Turnip wturnip(a)sympatico.ca
"If you're gonna eat shit, don't nibble."
- said by Tom Hinds re: calling square dances
*****************************************
> Message: 1
> Date: Tue, 09 Nov 2004 06:04:55 -0500
> From: Chris Weiler <chris(a)sharedweight.net>
> Subject: [Callers] New Callers Dance in Arlington, MA
> To: callers(a)sharedweight.net
> Message-ID: <4190A457.8070005(a)sharedweight.net>
> Content-Type: text/plain; charset=us-ascii; format=flowed
>
> For those of you in the Boston area:
>
> A New Callers Dance
> Saturday, December 4th, 2-5pm
> in Arlington, MA
>
> Introducing callers:
> Chris Weiler
> Seth Seeger
> Nathaniel Jack
>
> Flyer:
> http://www.seeger.ws/dec4_contradance.pdf
>
> We hope that people can come and support us!
>
> Thanks!
> Chris
>
>
>
>
>
> ------------------------------
>
> _______________________________________________
> Callers mailing list
> Callers(a)sharedweight.net
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>
>
> End of Callers Digest, Vol 3, Issue 1
> *************************************
>
I think that it depends on the musicians. Some bands I've worked with
don't have the slightest idea when you request a certain type of tune.
Others are tuned in to what the dancers need (they even dance!!!). You
could ask for a traditional flavor like French Canadian, old time, New
England etc. Adjectives that are typically used include flowing, marchy,
bouncy and driving. So, you might want to request a flowing tune for a
dance that has a hey in it. But does it get to be the
'same old thing' to always dance heys to flowing music? Don't be afraid
to be different from what everyone else does in your area. Dances with
many balances like Summer of 84 by Gene Hubbert and Four, forty four,
forty four by Steve Zaken work well with jigs (but they work fine with
reels). It will help the musicians to tell them where the balances are.
I think that the majority of these kinds of contras start with a balance
(2 measures), then two measures of some movement followed by a balance.
Less frequent are the dances where the dancers do something for 2 measures
and then balance. It makes a difference depending on the tune. Remember
that musicians usually talk in measures whereas we usually talk about
beats. The typical tune has 64 beats or 32 measures.
At our dance festival last weekend we danced a flirty type contra to a
march (or maybe a slow reel with a marchy feel). It was magical and a
nice change of pace form the regular reels and jigs. I wouldn't have
thought of doing that. On occasion, I have heard Steve Hickman play a set
of polkas for a contra and it really worked. Be careful of Irish bands.
I don't know about Irish bands in your area, but here in Virginia they
play the jigs way too fast, about 140 beats per minute. I prefer the
tunes to be around 120 or a tad slower depending on energy and skill level
of the dancers, type of dance, condition of floor, and temperature.
If your dancers are not dancing to the phrase well, you could ask the band
to use a tune that is well phrased.
Also, some musicians can pick the right tune just by looking at your card.
Tom
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>
> 1. Re: Callers Digest, Vol 2, Issue 12 (Jenna Watson)
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Wed, 27 Oct 2004 04:50:21 -0400
> From: Jenna Watson <watsonj75(a)earthlink.net>
> Subject: [Callers] Re: Callers Digest, Vol 2, Issue 12
> To: callers(a)sharedweight.net
> Message-ID: <3C63CC20-27F5-11D9-BAC4-0050E4797B04(a)earthlink.net>
> Content-Type: text/plain; charset=US-ASCII; format=flowed
>
> Can anyone tell me more about how to match the dances you have chosen
> to the music being played? How do you tell the band what you want?
> Other than Jig, reel, and so on? Does the band want to know when there
> is balances in a particular dance? Do they need to know other
> significant moves as well?
>
> PS. I think in response to Linda, I have the confidence that I will get
> there someday. Considering that I work with children five days a week.
> I am pretty good at getting their full attention. (Ages anywhere from
> 4- 10) I look forward to chatting with you the next time I see you! :)
>
> Cheers
> Jenna
>
> ------------------------------
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> End of Callers Digest, Vol 2, Issue 13
> **************************************
Can anyone tell me more about how to match the dances you have chosen
to the music being played? How do you tell the band what you want?
Other than Jig, reel, and so on? Does the band want to know when there
is balances in a particular dance? Do they need to know other
significant moves as well?
PS. I think in response to Linda, I have the confidence that I will get
there someday. Considering that I work with children five days a week.
I am pretty good at getting their full attention. (Ages anywhere from
4- 10) I look forward to chatting with you the next time I see you! :)
Cheers
Jenna
I have been reading the notes from the group with great interest! It is
wonderful to see the ideas and suggestions that are being shared. Jenna
asked about resources for calling community dances. The Amidons have
published some wonderful books, with accompanying CDs (Jump Jim Joe and
Listen to the Mockingbird). In addition, Dudley Laufman has published White
Mountain Reel, and Marian Rose has published Step Lively. CDSS has them in
stock.
Although it may seem that calling to children and to community groups might
be the easy evening, I have found that these type groups are actually quite
challenging! The same goes for calling one night stands for all adults
(parties, weddings, etc.). A caller's repertoire needs to be extensive, and
the caller needs to be very flexible and creative...often on the spur of the
moment! The experience and skills are quite different, compared to calling a
contra/square dance that is a regularly scheduled event. So my advice would
be to start with the usual contra dances, gain experience and comfort, and
move on to children's groups/one night stands once you feel confident as a
caller.
I have a large collection of dances that I use for these groups, including
some for wheel chair bound folks! Collecting them, and writing them has
given me a great deal of satisfaction. Once you are ready, I will be glad to
share dances, and more thoughts about these types of events.
Looking forward to other thoughts! Linda
Hey everyone,
I asked Bob Issac's if it was OK to share the materials that he gave me
from the callers workshop that he teaches and received permission to
share them. So attached to this e-mail are the Word documents. There is
the breakdown of "The Baby Rose" by David Kaynor that I called at
Pinewoods this summer. The Repertoire is pretty impressive. 50 basic
dances (Bob, of course, inserted a few of his own).
Enjoy,
Chris Weiler
P.S. I'm not sure if the list will allow attachments, so forgive me if
they don't go through. If it doesn't work, we'll put a link to them on
the website.
