Re: [Callers] Crowd noise during walk through

Jacqui, I think you are on the right track. Earning and holding the attention of the hall is a key skill that many callers struggle with. A contra dance is a complex ritual where the caller takes control of the audio space in the room and moves the locus of attention to their voice for defined periods of time. Managing these transitions is a vital communication skill for callers. Here is how I work to earn and hold the attention of the hall. 1. I take full responsibility for whatever happens in the hall. 2. I recognize that dancers come to socialize and that talking is a core reason they come to the dance. It the room is buzzing with exciting chatter I take this as a sign that the band and I are doing our job well. 3. I give the dancers time to socialize. When the band is ready I stand ready at the mike and wait until I hear a subtle drop off in the chatter and I take this as a signal that it is time to begin the walk-through. (If folks are looking expectantly at the stage I know I have waited too long.) 4. I set up a ritualized pattern wherein I call for the attention of the room in stages. I start by saying something like "Ladies and gentlemen," to signal that essential information is about to be given. I then immediately give the dancers an instruction to physically move. (Usually "Please take hands in groups of four from the top of the line.") Then I wait about 10-15 seconds or so and give another instruction to physically move: "Ones please cross over." Then I wait another 10-15 seconds or so and begin the walk-through proper, something like: "Ones face down. Twos face up. With the one you're facing balance and swing." The purpose of this staged process is to politely allow the dancers to gracefully transition from their socializing into listening to my instructions. It would be rude to interrupt a dancer's "story" with a demand for full attention immediately so this ritualized process gives the regulars clear signals and allows them to take the lead with their first-timer partners and demonstrate that they "know the drill" and will lead the newcomer successfully through the process. This is a way to include the regulars as leaders in the walk-through and make it a collaborative process. 5. As I continue the walk-through I restrict my speech to essential information. I use effective word order. I never repeat an instruction or a call. (If I screw up and the dancers need clarification I will give the call using different words.) 6. I then begin dropping calls as soon as possible and lowering the volume of my voice to "give back" some of the sonic space in the room to the dancers...and to the band. On Regaining the Attention of the Hall After Losing It. I take full responsibility. It was, after all, my screw up that caused the dancers to feel the need to talk during the walk-through. I will usually apologize for losing my focus and ask the dancers to allow me to try again. Apologies are one of the most powerful tools I have as a caller to regain the attention of the hall after a screw up. It brings the locus of attention back to my voice and signals that I know what went wrong and have a plan to fix it. It also offers a way to model politeness and gracious consideration for the dancers. I try to always take responsibility. That's how I do it. There are other ways that seem to work well for other callers. - Greg McKenzie West Coast, USA ****************** On Tue, Aug 13, 2013 at 9:55 PM, Quiann2 <quiann2(a)gmail.com> wrote: