Thanks for the advice and suggestions so far. Many of the suggestions that you all make
are fairly generically about good practices when calling squares in a traditional setting,
and I almost entirely agree. I appreciate the specificity and thoughtfulness especially
of Mac's and Woody's comments about style and approach.
Just for context: I have been calling contra- and square-dances for over twenty years, at
community dances in Tallahassee, Gainesville, Jacksonville, and occasionally elsewhere.
This last year I organized and called four special Sunday-afternoon dances locally that
were all-squares (which I used as license to do some other non-contra set dances as
well….). I usually call one or two squares at each community contra-dance that I call. I
have been working on getting better at several different styles of squares, including
western and southern squares as well as New England squares, and recently have added a few
singing squares to my repertory.
So, if I may modify my question a bit: Do you have specific squares or figures that have
worked well for you in this context? I realize there are hundreds, if not thousands, to
pick from. Which ones do you reach for most often when you want to call a square in an
evening of mostly contras?
Richard
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Personally, I like to dance and call squares as much as contra dances, but in many locales
there is a strong preference for contras. If you were going to program a square or two in
an evening otherwise devoted to contra dances, which ones would you pick? Or what would
be the characteristics of squares that you think would make the contra devotees say
"That wasn't so bad after all"? (This is assuming you have asked and the
organizers haven't told you they expect all contras).
I am programming this Friday's Tallahassee dance right now, so this is not just an
academic question.
Richard Hopkins
hopkinsrs(a)comcast.net
850-894-9212
850-544-7614 cell
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Richard Hopkins
850-894-9212 (home)
850-544-7614 (cell)
hopkinsrs(a)comcast.net