Off the main topic of weight balancing and to the side topic of phrasing. We often have our newcomer’s workshop in a side room while the sound is being adjusted in the main hall. To demonstrate how the phrasing fits the dance I give them some simple instructions (circle L, circle R, in and out twice) then tell them to dance while I sing a simple children’s song (Twinkle, Twinkle ; Itsy Bitsty Spider). It demonstrates phasing and sets the tone for a light-hearted evening. 

Sent from my iPhone

On Jun 27, 2025, at 2:26 PM, Michael Fuerst via Contra Callers <contracallers@lists.sharedweight.net> wrote:


Giving weight in an allemande requires  dancers keeping their elbows  firm and flexible, but not stiff adjusting the tension  in their elbows so the joined allenanding hands retain approximately the same position between the dancers.   Mastering this takes 5-10 min of practice   Many new dancers have a tendency to stiffen their elbows.

On Tue, Jun 24, 2025 at 4:09 PM Ellen Hodgkin via Contra Callers <contracallers@lists.sharedweight.net> wrote:
I like talking about this as I teach promenade position. I say how it is a cool way to connect with someone, because you both can sort of drive the couple around with how your hands are connected. Then we practice that for a bit. 

Also, just so y'all know, according to my high school students, "zesty" is now part of teen slang and is a hurtful way to describe a male who is seen as effeminate. Not that you shouldn't use the word (you really can't avoid all the things they have decided to take over and change), but if it causes snickers in a young crowd, that might be why. 

Ellen Hodgkin
she/her/hers




On Tue, Jun 24, 2025 at 1:34 PM ROBERT FABINSKI via Contra Callers <contracallers@lists.sharedweight.net> wrote:
I have started using allemandes as a way to explain "giving weight", when I lead a beginner workshop.

The instruction I use is "Pull yourself around the other person", followed by doing it with noodle-arms for contrast. I also use the words "unsatisfying", and "zesty".

Then we go back to the circle and use that same level of tension to hold the circle together while I ask a band member to play one AABB of a highly punctuated melody, such as La Bastringue. I lead/announce the first two direction switches and tell the group to listen to the music, count the beats to 8, and initiate the change in direction themselves. I also ask them to maintain the tension even during the direction change. I point out that the connection in our arms help us know when other people think it's time to switch direction. Then I say that all the moves where we are contacting other dances have approximately that same tension as connection. 

Bob Fabinski
Rochester NY



bobfab@aol.com

On Fri, Jun 20, 2025 at 5:58 PM, Robert Setili via Contra Callers
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