Hi, John,
The Instagram associated with my dance community has had some success in
promoting our dance. It also caught the eye of a local business who ended
up sponsoring us for a short while when we were new.
Because I don't manage it or use Instagram at all myself, I can't say
anything about getting started. What I can say is that because Instagram
is for photos, you need someone who can take good photos. It also helps if
the person managing the profile has an understanding of relevant hashtags
to use.
Here's the link: https://www.instagram.com/portlandintowncontradance/
Good luck!
Dugan Murphy
Portland, Maine
dugan at duganmurphy.comwww.DuganMurphy.comwww.PortlandIntownContraDance.comwww.NufSed.consulting
>
>
> Date: Fri, 16 Nov 2018 10:59:07 -0000
> From: "John Sweeney" <john(a)modernjive.com>
> To: <callers(a)sharedweight.net>
> Subject: [Callers] Twitter and Instagram for Contra Dance Marketing
> Message-ID: <001501d47d9b$658adff0$30a09fd0$(a)modernjive.com>
> Content-Type: text/plain; charset="us-ascii"
>
> Hi all,
>
> Has anyone had any success at getting new people along to
> dances by using Twitter or Instagram?
>
>
>
> If so, please do you have any advice on:
>
> How to get started?
>
> What sort of material to post?
>
> Who to Follow to see some successful usage?
>
>
>
> Thanks.
>
>
>
>
>
> Happy dancing,
>
> John
>
>
>
> John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 & 07802
> 940 574
>
> http://www.modernjive.com for Modern Jive Events & DVDs
>
>
> http://www.contrafusion.co.uk for Dancing in Kent
>
Hello Friends,
I am looking for the name and composer of this dance. Can you help?
Becket
A1 CL 3/4, N Swg
A2 LL, P RH Balance, Pull P Right, Pull N Left
B1 Along Line, RH Bal, Box Gnat, Gents Alle L 1-1/2
B2 P B&S
Thanks,
Rich
Dear Northeast Dance Organizers*,
We’re writing with an update on Puttin’ On the Dance (POTD)*. As many of
you know, planning had begun for a third POTD conference, but for various
reasons, including illness of loved ones, those plans were postponed. The
Puttin’ On the Dance Advisory Board is grateful to that team, especially
Dela Murphy and Coral Breuer, for their enthusiasm and hard work on behalf
of dance organizers in the Northeast.
Today, we are pleased to announce that Lisa Sieverts will chair a committee
to put on POTD-3, sometime in 2020 in the Northeastern US.
A project manager by trade, Lisa has organized dances in Boise ID, Nelson
NH, and Peterborough NH and she worked closely with Larry Jennings on his
book, Give-and-Take. She is also on the board of the Monadnock Folklore
Society. Lisa attended POTD-1 and believes strongly in the POTD mission.
We’re thrilled to have her at the helm!
In July 2019, we will send out a call for folks to join the organizing team
for POTD-3. If you have ideas, enthusiasm, or questions before then, please
contact the advisory board at puttinonthedance(a)gmail.com .
For ongoing support for dance organizers:
-
Shared Weight Organizers List -- online discussion forum
sharedweight.net/
<http://www.sharedweight.net/index.php?pagestate=org_about>
-
Shop Talk -- a quarterly email from the Country Dance and Song Society
(CDSS) with news and resources for organizers bit.ly/2sqQr4B
-
CDSS Organizers Resource Portal -- includes archives from POTD-1 and
POTD-2 cdss.org/resources/how-to/organizers-resources
<https://www.cdss.org/resources/how-to/organizers-resources>
Yours in traditional social dance,
Puttin’ On the Dance Advisory Board
Emily Addison – chair POTD-2
Chrissy Fowler – co-chair POTD-1
Linda Henry – co-chair POTD-1 and CDSS Liaison
puttinonthedance.org <http://www.puttinonthedance.org>
*POTD is a conference that convenes organizers in the Northeastern US and
Eastern Canada who produce dance events in the North American and English
social dance traditions (e.g., Cape Breton, community, contra, English
country, family, gender free, Quebecois, and square). The objective of this
weekend event is to provide resources and opportunities for learning,
sharing, renewal, and fun! This will strengthen networks for sustaining
dance organizers, who in turn sustain important traditions of participatory
social dance throughout our region.
--
puttinonthedance.orgfacebook.com/PuttinOnTheDance
*You're on the POTD email list because we think you're interested in
conferences for dance organizers. Let us know if you want your address
removed. *
In Warren's Roadhouse at Seattle's Northwest Folklife Festival, there used
to be (and probably still is) a notebook at the side of the stage, in which
each caller would record the names of the dances they called.
Has that info been put online? (My searches have been fruitless.)
I seem to recall that someone had volunteered to do the data entry, but that
was a while ago, and I forget who it was.
-Michael
Hi all. I'm heading in to Boston this weekend to call a double bill for
BIDA -- family dance for an hour, then potluck, then the regular Sunday
evening.
It's intergenerational, leans young/collegiate, uses "Larks/Ravens" (just
found this out) and is in general all things hip.
I am staring at my cards and feeling... Ralph Page-y. Out of date.
Wayyyy too many proper dances. Not enough "cool moves".
Old fashioned.
Help me?
What's your current dance that adapts well to gender-role-free, has an
interesting "hook", isn't too hard, keeps everyone moving, and in general
comes across as "cool"?
Low mental piece count, but interesting pieces?
Contras, sicilians, circles all welcome. Also links to any past threads on
here w/ a similar focus.
I'm going to go drink my Postum.
Amy
NEFFA 75th Contra Contest
To help NEFFA celebrate our Diamond Jubilee, we hereby open up the NEFFA 75th Anniversary Contra Choreography Contest. The winning dance, as judged by Bob Isaacs and Lisa Greenleaf, will be called by Mr. Isaacs at the Festival's celebration dance on Saturday, April 13. Besides fame and glory, the winner will also be awarded a Neffa T shirt.
We are looking for a contra dance with good story line and flow, and would prefer to have a mostly equal-action dance with good movement for everyone, although we will entertain submissions that favor the ones, or that alternate between the ones and twos.
Contra Choreography Parameters:
-The title must reflect Neffa somehow, and perhaps the 75th
-32 bars long
-Contra formation
-Intermediate skill level: commonly-used figures, moderate piece count, and nothing too complicated out of the minor set
-Good flow
-Limit three submissions per person
-Deadline is Feb 15, 2019
-Do not need to be at the Festival to win
Send your clearly worded and annotated-as-necessary submissions to Lisa Greenleaf at neffacontra(a)yahoo.com (or you can reply to this email; just don’t hit reply all).
Don’t delay—get crackin’!
Lisa Greenleaf
Suddenly realised that the way I had copied the dance into the email hadn’t worked so here it is.
Never Forgotten Longways: Beckett
A1: (8) {L diagonal} Circle L ¾; (8) Neighbour swing.
A2: (8) Lines forward & back; (8) Mad robin {men in front}.
B1: (16) Ricochet reel {men pass L to start, ladies push back 2nd time they meet}.
B2: (16) Partner balance & swing.
Many Thanks,
Liam Binley.
liam.binley(a)me.com
Afternoon all,
So, whilst on a half term break from working in a school, I set myself a challenge to write my first dance… and I’ve done it. I have tried it with a small group of confident dancers to check that it works! But I am yet to try it on a big group, hoping to try it out in the next few weeks. I have copied it below so if you would like to give it a go, please do, and let me know what you think! The name (Never Forgotten) as you can probably guess, is a personal one, I don’t know what people think about giving dances names which have some personal meaning behind them, but for me, with a certain event coming up (I won’t divulge on here) it just seemed right.
I have got a suggested track to use for it, but would rather people asked me directly about that, to be honest it would fit with most 32 bar reels.. I just have a preference.
Anyway, let me know what you think,
Many Thanks,
Liam Binley.
liam.binley(a)me.com
Hi Allison,
I would echo Alan and Rich... especially if the folks LIKED those dances. I
have run many beginner dancers events over the last ten years and folks
want to do the dances they enjoyed from last time (sometimes you have to
remind them that you have other new fun dances to teach too). :-)
The one complaint I have heard from long time dancers are that some of the
dance groups don't repeat favorite dances often enough in a goal to do as
many different dances over the course of a year as possible so keep that
“fun” factor in mind when selecting them.
You have a nice list of dances! Don't forget about the classic Sicillian
Circle dance where there's clapping and hooting when the gents go in then
the ladies go in. Folks love to clap and hoot and it brings up the energy!
Let us know how it went!
Darlene
Historical Tea & Dance Society
Pasadena, CA
On Wed, Oct 24, 2018 at 1:44 PM <callers-request(a)lists.sharedweight.net>
wrote:
> Send Callers mailing list submissions to
> callers(a)lists.sharedweight.net
>
> To subscribe or unsubscribe via the World Wide Web, visit
>
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
> or, via email, send a message with subject or body 'help' to
> callers-request(a)lists.sharedweight.net
>
> You can reach the person managing the list at
> callers-owner(a)lists.sharedweight.net
>
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of Callers digest..."
>
>
> Today's Topics:
>
> 1. "Second" ONS (Allison Jonjak)
> 2. Re: "Second" ONS (Winston, Alan P.)
> 3. Re: "Second" ONS (Rich Sbardella)
> 4. Re: "Second" ONS (jim saxe)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Wed, 24 Oct 2018 12:25:51 -0500
> From: Allison Jonjak <allisonjonjak(a)gmail.com>
> To: callers(a)sharedweight.net
> Subject: [Callers] "Second" ONS
> Message-ID:
> <
> CAK2+5bksFF_tEGH_YZcFuYn8qHJFw1BfdGagg2D5NSQJevL1Qg(a)mail.gmail.com>
> Content-Type: text/plain; charset="utf-8"
>
> Hi all,
>
> I hail from a rural area with no nearby dance communities. This June I held
> a free community barn dance, featuring lots of Linda Leslie's "very easy
> dances". Through the magic of newspapers I was able to connect with a
> string band, and we had about 25 dancers, lots of whom left their email
> addresses 'so you can invite us again next time.'
>
> I'll head home for the holidays, the band is willing and the hall is
> willing, so I'm planning to host another dance. The question is: should I
> prepare
> -the same dances
> -the same easiness-level of dances, but different actual dances
> -a dance or two that uses progressions?
>
> The dancers in June learned very quickly, and aced the proto-progressions
> in both Jefferson & Liberty, and Peak Bagger.
>
> How much of that practice in June do I expect to carry forward to
> November? Here was the program I wound up calling,
> https://contradb.com/programs/76 , pardon that the calling notes are mixed
> in with my followup notes. Here were the dances I had prepared:
> https://contradb.com/programs/71
>
> Thanks all in advance for your help!
>
> --
> Allison Jonjak, M.S., E.I.T.
> allisonjonjak(a)gmail.com
> allisonjonjak.com
>
Thanks Alan, Rich, Mac, and Jim!
>> and have a couple slightly more challenging ones - with progression, etc
- up your sleeve but without any emotional investment in actually using
them.
"without emotional investment in using them" is very well-put, and I think
it describes my philosophy overall for this dance "series"
>Definitely agree on the "without any emotional investment" part.
Long-term, do you have an ambition for these events to evolve into "contra"
dances, or would you be happy as a clam to keep having events where
facility at ending a swing side-by-side with the _____ on the left and the
_____ on the right is not an important skill, so long as you have a room
full of smiling dancers?
I haven't emotionally invested in an outcome :) I don't live there, so I
can realistically only hold dances when I visit my parents. I think I'd *feel
glad *if I was able to help sow seeds of an eventual dance community. But
since I'm not present to spearhead growth, it seems like the best seed I
can sow is "have a room full of smiling dancers every once in a while."
Give people good memories of connecting with family and friends through
music and dance.
> I have a few comments and questions about your notes:
> The notes say "beginner's lesson (circle, Lark Raven, ...)" but the dance
descriptions use "ladles" and "gentlespoons". What terms did you actually
use? If you used "Larks" and "Ravens", did you say anything at all about
their relation to traditional gender roles? In practice how much
correlation was there between what people looked like and which role they
danced in?
That's a website feature---if you're logged in, you can choose a dialect to
print your program. So you (not logged in) saw gentlespoons, while I logged
in to print that program saw Larks & Ravens. When I print a program for
Childgrove open calling I print the roles as ladies & gents.
https://contradb.com/dialect
I picked Larks and Ravens for this dance, and introduced them like this:
"ask someone to dance, take their hand, and line up facing the band.
Somebody's on the left, lefts are Larks, raise your left hand. The other
person's on the right, rights are Ravens, raise your right hand. You can be
a lark one dance and a raven the next dance, the roles only matter so you
know when I'm talking to you."
As you notice only 2 dances really "had" roles, but this worked fine,
nobody seemed confused, and everybody danced with each other. The 'I can
dance with anyone" persisted from the beginners' lesson through the rest of
the dance too (you don't name them lark & raven or lady & gent to do
Virginia Reel, but you still find a partner. Men and women partnered, women
and women partnered, men and men partnered---which seems like the ideal
outcome for a twice-a-year dance? Who knows what ratio of people will come
in the door---my hope is to have people only have to sit out when they
choose to sit out.)
>Leaving aside the waltz and the polka, it looks like the only two dances
where the roles of Lark/Gentlespoon vs. Raven/Ladle were significant were
the roll away dance and Mad Scatter.
I didn't say anything but 'find a partner for a waltz / polka' for the
couples dances. People did pair off more-or-less by gender for those; a
fair number of attendees were married couples.
>Notes on the roll away dance say "succeeded at walkthrough, weren't going
to make it through the dance." If you could tell, did the confusion seem
to have to do with figuring out who was in what role, or was it mostly
about something else, such as getting from the star to the lines of four?
I think that the difficulty was that there were TWO roles to remember: a
person was a head OR a side, AND a raven OR a lark. That was too much
intricacy for people who don't know at least one of the roles on autopilot.
Lesson learned.
>[Two side comments on that dance: (1) Notes say "This variation is Wade
Pearson's, removing the right-left-through. ...", but the "original"
version you link to doesn't have a right and left through. It has a cross
trail. (2) Personally, I don't think it would be a great loss to drop this
dance from the repertoire, regardless of the role terminology or the manner
of setting up the lines of four. I could say more on both points but don't
want to go even further off topic.]
Agreed, I really wanted something with a rollaway since it's my favorite
move for "teaching giving weight," but it seems to require intricate
choreography to get people back to place. I hoped the square would do it,
but I overshot the audience. They were gracious when I had us switch, at
least :)
>The other dance description that mentions the roles is Mad Scatter. How
did that work out in practice? I note that it doesn't really matter which
member of each pair goes into the center for an allemande or star and which
one orbits, provided nobody minds who they get for new partner. But I'm
curious about what actually happened.
>Notes on Mad Scatter say "Avoid a mixer last even though they voted for
it." Do you have reason to believe that people were disappointed about
that? I certainly know of many dance series where people would bristle at
having a mixer as the "last" dance of the evening (even if followed by a
waltz as the really last dance), but I'm wondering whether you actually
sensed such bristling at your event. Note also Rich's comment on ending a
barn dance with a circle mixer.
This dance itself went smoothly, people retained their roles and knew what
to do. People sort of made larger and larger 'blobs' by the end of the
tune. I thought I sensed something like stress, though---in a scatter
mixer, it seemed like there were moments of "oh we're left out, there's no
new partner for us" and so sometimes people would have a
disappointed/stressed look on their face while looking for the 'lost and
found'. I had a broad age range, and it seemed like people who had lower
mobility were more-often the left-out, stressed ones.
Since those were the first non-smiles I saw all evening, I'd rather avoid
it next time, especially as the closing dance. I think a circle mixer would
be a great closer for this type of dance though, since you will meet
everyone to bid farewell, while always having a 'next partner'
close-at-hand.
Thanks for asking! I hope I've answered the spirit of all your
questions---if I've missed anything let me know,
Allison
--
Allison Jonjak, M.S., E.I.T.
allisonjonjak(a)gmail.com
allisonjonjak.com
