well, that's some thinking-outside-the-box stuff, right there!
thank you Alex!
On Tue, Aug 6, 2024 at 2:35 PM Alexandra Deis-Lauby <
alex(a)villagewestdesign.com> wrote:
> The last time I danced one of these, I learned that if you promenade with
> the Robins passing right shoulder, this flows very well. So if one MUST
> call it, you might change the promenade direction.
>
> Alex
>
>
> On Aug 6, 2024, at 3:32 PM, Elizabeth Bloom Albert via Contra Callers <
> contracallers(a)lists.sharedweight.net> wrote:
>
> Please, pretty please, with sugar on top!
> Please don’t call (or write) any more dances where a Half-Promenade
> (across the set) is followed by a Circle to the Left! With the possible
> exception of interlocking long wavy lines-- another big ugh! in my book,
> there is nothing more jarring than the 1/2 Prom to a Circle Left combo
> I once attended an (out-of-town) dance where three dances were called that
> had that combo (three!) and in spite of all the (other) pretty good dances
> and excellent dance partners, this is what I remember about that experience
> to this day!
>
> On Tue, Aug 6, 2024 at 8:29 AM Julian Blechner via Contra Callers <
> contracallers(a)lists.sharedweight.net> wrote:
>
>> My biggest nono is "too much clockwise". If moves are awkward or with meh
>> flow, that's not a health or safety thing. Whereas getting dizzy is.
>>
>> In dance,
>> Julian Blechner
>> He/him
>> Western Mass
>>
>> On Tue, Aug 6, 2024, 8:40 AM Angela DeCarlis via Contra Callers <
>> contracallers(a)lists.sharedweight.net> wrote:
>>
>>> Surprised no one's mentioned interlocking long wavy lines, yet — I think
>>> it's relatively well-known that Lisa Greenleaf hates this move! Can't say
>>> I'm a huge fan, either, but it has its moments.
>>>
>>> For my two-cents, butterfly whirls are on thin ice! I'll program dances
>>> that include this figure with a partner on rare occasion, and symmetrical
>>> dances with both a partner and neighbor whirl could be novel enough to be
>>> okay (???) on a cold day, but I think I would essentially never call a
>>> dance with only a neighbor butterfly whirl.
>>>
>>> There are too many excellent dances to ever bother with the mediocre
>>> ones, honestly.
>>>
>>> On Tue, Aug 6, 2024, 3:14 AM Neal Schlein via Contra Callers <
>>> contracallers(a)lists.sharedweight.net> wrote:
>>>
>>>> I agree with Jonathan about your existing list, and think that almost
>>>> any sequence CAN be used if done with knowledgeable intent.
>>>>
>>>> However, for the general list of things to avoid I would nominate what
>>>> I like to call “fudge down the line,” which is any adjustment that a)
>>>> happens solely because the sequence doesn’t fully progress the couples and
>>>> b) does not flow naturally from the existing movement. (This most often
>>>> happens in Beckett dances or those substantially in Beckett formation;
>>>> examples include a 2 count sideways slide along the line or a slightly
>>>> angled right and left thru.)
>>>>
>>>> Notably, the 4 beat slide in “With Thanks to the Dean” and similar
>>>> dances would not count because they are full and discrete actions that
>>>> are specifically accounted for in the flow and timing.
>>>>
>>>> Neal Schlein
>>>> Librarian, MSLIS
>>>>
>>>>
>>>> On Mon, Aug 5, 2024 at 10:28 PM Michael Fuerst via Contra Callers <
>>>> contracallers(a)lists.sharedweight.net> wrote:
>>>>
>>>>> Depending on the flow of the dance, balance and box the gnat can
>>>>> often replace dsd and shoulder rounds 1 1/2
>>>>>
>>>>> On Mon, Aug 5, 2024 at 11:17 PM Maia McCormick via Contra Callers <
>>>>> contracallers(a)lists.sharedweight.net> wrote:
>>>>>
>>>>>> I don't have Bob's list handy, but I cribbed heavily from it to make this
>>>>>> (much less extensive) list of figures + timings
>>>>>> <https://contra.maiamccormick.com/assets/pdfs/esc-choreo-figures.pdf>,
>>>>>> in case it's useful to anyone!
>>>>>>
>>>>>> (This reminds me of some more things I don't like, ha. Circle L and
>>>>>> pass through to swing -- IME the swing always gets truncated. Dosido 1.5x
>>>>>> and right shoulder round 1.5x don't quiiite fit in 8 counts of music and
>>>>>> are often frustrating. And I don't call couples' dosidos anymore, they're a
>>>>>> pain to execute correctly unless everyone in the hall is EXTREMELY on top
>>>>>> of it.)
>>>>>> --
>>>>>> Maia McCormick (she/her)
>>>>>> 917.279.8194
>>>>>>
>>>>>>
>>>>>> On Tue, Aug 6, 2024 at 12:02 AM Joe Harrington <
>>>>>> contradancerjoe(a)gmail.com> wrote:
>>>>>>
>>>>>>> Is Bob Isaacs in the house? He has a giant spreadsheet with every
>>>>>>> possible move transition and a count of the number of times it occurs in a
>>>>>>> set of dances that now numbers in the hundreds or maybe a lot more. It’s
>>>>>>> interesting which unlikely combinations do occur and which rarely do. I
>>>>>>> hope this someday sees the light of day.
>>>>>>>
>>>>>>> —jh—
>>>>>>>
>>>>>>>
>>>>>>> On Mon, Aug 5, 2024 at 11:29 PM Maia McCormick via Contra Callers <
>>>>>>> contracallers(a)lists.sharedweight.net> wrote:
>>>>>>>
>>>>>>>> Jeff, impressively bad, well done!
>>>>>>>>
>>>>>>>> My biggest pet peeve is a RH chain (or promenade, or other move
>>>>>>>> with a CCW courtesy turn) into a circle L—though this is a very
>>>>>>>> of-the-moment style preference, as I know plenty of the classic dances have
>>>>>>>> this combo. (Likewise for dances where just the 1s do a figure while the 2s
>>>>>>>> stand around, doubly so if the dance doesn’t alternate active couples.)
>>>>>>>>
>>>>>>>> Long lines followed by a chain is quite idiomatic—and probably in
>>>>>>>> part because of the strength that idiom, a chain (or other courtesy turn
>>>>>>>> figure) followed by long lines drives me up a wall.
>>>>>>>>
>>>>>>>> I don’t love long lines into a circle—I’ll tolerate it if the rest
>>>>>>>> of the dance is really exceptional, ehhhh.
>>>>>>>>
>>>>>>>> --
>>>>>>>> Maia McCormick (she/her)
>>>>>>>> 917.279.8194
>>>>>>>>
>>>>>>>>
>>>>>>>> On Mon, Aug 5, 2024 at 10:31 PM Jeff Kaufman via Contra Callers <
>>>>>>>> contracallers(a)lists.sharedweight.net> wrote:
>>>>>>>>
>>>>>>>>> Balance neighbor (4), swing partner (12)
>>>>>>>>>
>>>>>>>>> Ones dosido below while twos seesaw above (8).
>>>>>>>>>
>>>>>>>>> Long lines forward (4), swing on the side (8), long lines back (4).
>>>>>>>>>
>>>>>>>>> Circle left 1x (6) pass through (2)
>>>>>>>>>
>>>>>>>>> Jeff
>>>>>>>>>
>>>>>>>>> On Mon, Aug 5, 2024 at 9:51 PM Tepfer, Seth via Contra Callers <
>>>>>>>>> contracallers(a)lists.sharedweight.net> wrote:
>>>>>>>>>
>>>>>>>>>>
>>>>>>>>>> - A right chain INTO a swing
>>>>>>>>>> - A swing into a circle right
>>>>>>>>>> - Standard right shoulder hey into a swing
>>>>>>>>>>
>>>>>>>>>>
>>>>>>>>>> Plenty other bad flow examples
>>>>>>>>>>
>>>>>>>>>>
>>>>>>>>>> Seth Tepfer, MBA, CSM, PMP (he, him, his)
>>>>>>>>>> Senior IT Manager, Emory Primate Center
>>>>>>>>>> <Outlook-b31euhoh.png>
>>>>>>>>>> <https://outlook.office.com/bookwithme/user/fcd3f5d71da848759228584d1a49babd…> Book
>>>>>>>>>> time to meet with me
>>>>>>>>>> <https://outlook.office365.com/owa/calendar/SethTepfer@mscloud.emory.net/boo…>
>>>>>>>>>> ------------------------------
>>>>>>>>>> *From:* Jonathan Sivier via Contra Callers <
>>>>>>>>>> contracallers(a)lists.sharedweight.net>
>>>>>>>>>> *Sent:* Monday, August 5, 2024 9:48 PM
>>>>>>>>>> *To:* New Contra Callers List <
>>>>>>>>>> contracallers(a)lists.sharedweight.net>
>>>>>>>>>> *Subject:* [External] [Callers] Re: Choreographic No-Nos
>>>>>>>>>>
>>>>>>>>>> I don't agree with your list. Yes, swings on the first half of a
>>>>>>>>>> phrase are challenging and I might try to avoid them. There are dances
>>>>>>>>>> with this that generally work fine, especially if the caller is aware of
>>>>>>>>>> the potential issue and teaches and calls accordingly. The do-si-do across
>>>>>>>>>> can be a bit awkward in a crowded line, but only if everyone is doing the
>>>>>>>>>> do-si-do. If only the 1's or 2's are doing it then there is no problem.
>>>>>>>>>> Shadow swings seem to be a personal preference or dislike and not really a
>>>>>>>>>> choreographic issue. I actually think that a right chain after a swing can
>>>>>>>>>> work very well. If you end the swing with the pointy hands pointing across
>>>>>>>>>> then the right hands of the right hand dancers are right there ready to
>>>>>>>>>> pull by. I suppose you might say there is a momentum change, but that can
>>>>>>>>>> be very welcome in a dance where everything seems to be traveling the same
>>>>>>>>>> way. Not every dance has to have continuous motion in the same direction
>>>>>>>>>> all the time. I danced a dance with that set of figures just last Friday
>>>>>>>>>> and I was thinking to myself how well it seemed to work.
>>>>>>>>>>
>>>>>>>>>> So I see #1 and #3 as more of a challenge than a problem. #4 is
>>>>>>>>>> a personal preference and #2 seems like a perfectly fine transition between
>>>>>>>>>> figures.
>>>>>>>>>>
>>>>>>>>>> Jonathan
>>>>>>>>>>
>>>>>>>>>> On 8/5/2024 7:37 PM, Michael Fuerst via Contra Callers wrote:
>>>>>>>>>> > I am accumulating a list of figures, or figure sequence that
>>>>>>>>>> significant dance writers (not necessarily a majority) consider
>>>>>>>>>> Choreographic No-Nos
>>>>>>>>>> > My list so far:
>>>>>>>>>> > 1. do-si-do across
>>>>>>>>>> > 2. right chain after a swing
>>>>>>>>>> > 3 short swings on an odd phrase
>>>>>>>>>> > 4. Shadow swings
>>>>>>>>>> > Does anyone have further suggestions?
>>>>>>>>>>
>>>>>>>>>> _______________________________________________
>>>>>>>>>> Contra Callers mailing list --
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>>>>>>>>>> To unsubscribe send an email to
>>>>>>>>>> contracallers-leave(a)lists.sharedweight.net
>>>>>>>>>> _______________________________________________
>>>>>>>>>> Contra Callers mailing list --
>>>>>>>>>> contracallers(a)lists.sharedweight.net
>>>>>>>>>> To unsubscribe send an email to
>>>>>>>>>> contracallers-leave(a)lists.sharedweight.net
>>>>>>>>>>
>>>>>>>>> _______________________________________________
>>>>>>>>> Contra Callers mailing list --
>>>>>>>>> contracallers(a)lists.sharedweight.net
>>>>>>>>> To unsubscribe send an email to
>>>>>>>>> contracallers-leave(a)lists.sharedweight.net
>>>>>>>>>
>>>>>>>> _______________________________________________
>>>>>>>> Contra Callers mailing list -- contracallers(a)lists.sharedweight.net
>>>>>>>> To unsubscribe send an email to
>>>>>>>> contracallers-leave(a)lists.sharedweight.net
>>>>>>>>
>>>>>>> _______________________________________________
>>>>>> Contra Callers mailing list -- contracallers(a)lists.sharedweight.net
>>>>>> To unsubscribe send an email to
>>>>>> contracallers-leave(a)lists.sharedweight.net
>>>>>>
>>>>> _______________________________________________
>>>>> Contra Callers mailing list -- contracallers(a)lists.sharedweight.net
>>>>> To unsubscribe send an email to
>>>>> contracallers-leave(a)lists.sharedweight.net
>>>>>
>>>> _______________________________________________
>>>> Contra Callers mailing list -- contracallers(a)lists.sharedweight.net
>>>> To unsubscribe send an email to
>>>> contracallers-leave(a)lists.sharedweight.net
>>>>
>>> _______________________________________________
>>> Contra Callers mailing list -- contracallers(a)lists.sharedweight.net
>>> To unsubscribe send an email to
>>> contracallers-leave(a)lists.sharedweight.net
>>>
>> _______________________________________________
>> Contra Callers mailing list -- contracallers(a)lists.sharedweight.net
>> To unsubscribe send an email to
>> contracallers-leave(a)lists.sharedweight.net
>>
>
>
> --
>
> * Elizabeth Bloom Albert *
> _______________________________________________
> Contra Callers mailing list -- contracallers(a)lists.sharedweight.net
> To unsubscribe send an email to contracallers-leave(a)lists.sharedweight.net
>
>
>
--
* Elizabeth Bloom Albert *
I’m trying to add more style points to my teaching. What are some of your favorite brief style or safety tips to deliver from the mic? Ones that are relevant to specific sequences, general tips, for beginners, or for experienced dancers, I’m interested in any and all of them!
Harris Lapiroff
Dance Caller and Organizer
Boston Intergenerational Dance Advocates Board (Cambridge MA)
Pinewoods Camp, Inc Board (Plymouth MA)
https://chromamine.com/contra/
Prompted by some recent conversations, I’m curious how folks here feel
about shadow swings!
1. As a caller, do you:
A) not have an issue with shadow swings, and program them freely
B) not tend to program them just bc they don’t come up in your repertoire,
but have no issue with them
C) not program shadow swings as a matter of principle
D) some secret fourth thing (feel free to elaborate!)?
2. How do you feel about shadow swings as a dancer?
Will weigh in with my thoughts later, both to avoid biasing the
conversation from the outset, and also because I’m currently in transit 😅
Thanks for participating in the data gathering!
Cheers,
Maia
--
Maia McCormick (she/her)
917.279.8194
He hasn’t been active for many years, but I just learned that John Bradford
passed away on July 27, 2024.
John learned to call as a young child in Oklahoma, even before attending
one of Lloyd Shaw’s earliest caller workshops in Colorado Springs with his
parents. At the time he was not yet able to waltz (a prerequisite for
atending), and was trying to squeak by with a two-step. According to John,
Shaw caught him at it immediately—and set his best students to rectifying
the issue post-haste.
John would go on to perform with the Cheyenne Mountain Dancers, was a
founding member and driving force behind the Lloyd Shaw Foundation (LSF),
and was the caller for their recordings of Shaw’s 5-part singing quadrille
and the Broadmoor Promenade. According one report, he was deemed to have
perfectly picked up Shaw’s cadence and could call entirely without
affectation.
John was instrumental in getting the LSF’s recordings created, packaged,
marketed, and distributed to schools across the country. A deep well of
knowledge, John was a true old-time caller and knew patter that I have
never heard anywhere else.
In addition to being a superb and versatile caller and dancer (with one of
the best swings of anyone around), John was a self taught guitarist,
singer, and pianist, a professional educator, and an all-around gentleman
and excellent human being. As an added bonus, kids and adults both just did
what he told them to do.
He has left behind a family full of musicians, dancers, and callers, as
well as a legacy of teaching and inspiring everyone who danced with him—not
to mention the teachers and children touched by his efforts to have quality
dance exposure incorporated into school curriculums.
Neal Schlein
Librarian, MSLIS
Hi Folks,
Greg from Winnipeg - As customary, I just wrote a new dance and wondering if it's already been penned. It has two versions, below, one is easier, as I introduce many people to contra dancing in my group and it's nice to have a low stress option, the second is more standard. I also really like dances where it doesn't matter what side you're on, but it's hard to find variety without any corner figures.
In Action (standard) - duple proper/improper doesn't matter what side you're on
A1 - P DsD; Circle L
A2 - P B+Sw (end facing neighbours, doesn't matter what side but good to end on the side you started on)
B1 - N DsD; LH Star
B2 - LL F+B, neighbour roll away on the return; new neighbour LH turn
(Or, if I was Rick Mohr: B2 - LL F+B (7), Neighbour Roll Away (3), new Neighbour LH Turn (6)) LOL
Notes: Holding hands in long lines may not be necessary, as you're dropping them on the return to do the roll away, so if you're late you'll only get a 2 beat hand hold with your previous neighbour. It should only be required to pick up your current neighbour for the F+B.
In Action (easy) - duple proper/improper
A1 - P DsD; Circle L
A2 - P Swing
B1 - N DsD; LH Star
B2 - F+B across, with your neighbour (8); roll away your neighbour (4) and the last 4 beats is flex/catch up (because I usually find it's hard for people to orient themselves in the new minor set; I may say "Wave to your neighbour, then face your partner" or something like that).
Notes: I took out the balance because it's only satisfying if you get it right on the beat and my beginners are rarely ever there. The 16 beat swing can be catch-up time.
Greg
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Sent with [Proton Mail](https://proton.me/) secure email.
*my "**Vote Blue No Matter Who,**" tweaked for this election cycle:*
*(let me know how it goes if you call this one!)*
*Vote Blue No Matter Who, Version 2.024 *(5-2-24) *by Elizabeth Bloom
Albert *
Becket formation; start one-quarter turn to left of Improper; this dance
progresses clockwise.
A1* (2) Slide Left to new neighbors:
(6) Ladies Do-Si-Do 1 x
(8) Swing Partner
A2 (4) Ladies: R-hand Balance
(4) Ladies: Pull-by R to switch [places] {Drop hands}
(4) Gents: R-hand Balance
(4) Gents: Pull-by R to switch [places] {Don’t drop hands}
B1 (8) [Hands Across] Star Right
[End in Wavy Lines up/down hall with Gents facing in]
(4) Balance the [Blue!] wave
(4) Balance the wave again
B2 (8) Gents cross Left, for Half a Hey
(8) Swing Partner (again)
NOTES:
A1: CALLER: During walk thru and 1st time thru, couples do not shift left,
dancing instead with couple across.
Hi everyone,
I apologize - email to the list has been held up for a few days as there was a corruption in the mail database. Everything should be fine now. I don't yet know if any emails sent during the down time will come through.
Seth
I’ve been asked to call a dance at a church camp for middle schoolers at the end of July. Two of the campers have cerebral palsy - one is fairly mobile but the other is on crutches. I’m looking for dance ideas that could be used as is or modified for a dancer on crutches. About 40 people are anticipated (middle school aged campers and high school and adult staff).
Thanks,
Dianne
