That’s an interesting take—I usually see people
swinging for too LONG, and specifically see swings running over as one of the main
culprits of dance timing muddiness. Probably a combination of: swinging is fun, it’s a
variable number of rotations (ie no clear end point), and it may take beginners a sec to
get the hand/foot position right. So when dance timing is slipping, my go-to is to start
more clearly prompting the first move after the swing, esp. the partner swing.
For whatever that’s worth!
Cheers,
Maia (Brooklyn, NY)
--
Maia McCormick (she/her)
917.279.8194
On Wed, Sep 25, 2024 at 4:40 PM Neal Schlein <nschlein(a)gmail.com> wrote:
Robert—
I’m thinking there are three things you may be working to counteract:
1. Rushing to the swing/the “easy bits” of the dance. If the dancers don’t perceive each
part of the sequence as equally important or interesting, they will often attempt to
shorten the distance to the next part; flowing segments are the natural casualty. This is
also trained behavior, learned from exposure to music and tight choreography that rewards
or forces “clipped” endings for flowing figures like heys or rushed contra corners. I
don’t know how to alter this in a simple, clean way except by repeatedly not programming
such choreography.
2. Driving or low-phrased music. This is regional, and in my opinion the dance tunes
played in different places in our country are getting smooshed stylistically, but there
are differences. When I lived in Illinois, for example, the music tended toward a hard
driven beat with less intra- and sometimes extra-phrase distinction. I personally felt it
was infinitely better for squares because it made contras became mushy, especially on long
and flowing parts (which is choreography I tend to appreciate…and then people would rush
to the swings). That outcome didn’t seem to bother anyone other than me, though.
3. Dropping out/style of calling. When we start to drop out, it gives more latitude to
the dancers to make their own decisions about timing—which are then dictated by the band
(music phrasing), their attitude toward the choreography (rush to the good parts), and
their skill (easier to execute=faster potential execution). You can try to keep calling
longer and provide more direction….which might also result in a riot, depending on the
dancers. (Here in Colorado I have the reverse: a group that threatens homicide if I ever
leave out a single call.)
Neal Schlein
Librarian, MSLIS
Colorado
On Wed, Sep 25, 2024 at 2:44 AM Maia McCormick via Contra Callers
<contracallers(a)lists.sharedweight.net> wrote:
> Robert, are you looking for tips beyond the basic “clear, well-phrased,
LONG/well-in-advance calls”? That’s probably the biggest thing, in my mind—a nice long
(3-4 beat) call in advance of the move that often lags, to give dancers some heads up.
(And of course, identifying ahead of time what parts of the dance that are likely to get
smeary.)
>
> You might be able to preempt some of the timing issues in teaching. Eg “take JUST
FOUR STEPS down the hall, it’s shorter than you think” etc, but honestly that kind of
thing flies right out of people’s heads when the music starts.
>
> Cheers,
> Maia in Brooklyn
>
>
> --
> Maia McCormick (she/her)
> 917.279.8194
>
>
> On Wed, Sep 25, 2024 at 2:51 AM Luke Donforth via Contra Callers
<contracallers(a)lists.sharedweight.net> wrote:
>> Thanks for giving the new dance a spin! I haven't even tried it with people
yet :-)
>>
>> Robert, I'm reminded of George Wilson's beginner lesson where he talks
explicitly about the connection between the music and the dancing, and makes the timing
explicit:
>>
https://www.youtube.com/watch?v=14nxFdcaKWA
>>
>> Thanks again all,
>> Luke
>>
>> On Tue, Sep 24, 2024 at 3:25 PM Robert Matson via Contra Callers
<contracallers(a)lists.sharedweight.net> wrote:
>>> Like Harris recently did, we plan to try Star Trek Phaser for our
beginner-heavy college contra next week. Thanks for writing and posting it, Luke.
>>>
>>> We often find that our dancers get off-phrase, especially with flowy dances,
like this one. Is that what causes the challenge with the oval in this dance?
>>>
>>> We have the benefit of choosing our music program at the same time as our
dance program. So, our Plan A for flowy dances is to choose a tune set with clear
differentiation between the 8-bar phrases and some sort of punctuation at the start or end
of each phrase. (Maybe a tune set like this one.
<https://youtu.be/ADQq_nqqHik?si=UX83w43tUtd8pw6x&t=151>)
>>>
>>> From the perspective of callers, what would be a few tips that help ensure
flowy dances don't get off-phrase or would help in a case like Harris'?
>>>
>>> Thanks,
>>> Rob
>>> - - - - - - - - - - - -
>>>
>>>
>>> Robert Matson
>>> Cell: (917) 626-2675
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>> On Tue, Sep 24, 2024 at 12:51 AM Harris Lapiroff via Contra Callers
<contracallers(a)lists.sharedweight.net> wrote:
>>>> __
>>>> I called Star Trek Phraser at a beginner-heavy college dance last weekend
and it worked quite well! The only thing I noticed was that I had to keep jumping in to
keep the oval on time (dancers kept trying to shift it to A2) and even still it got pretty
messy. But it's a nice whole-set moment that I think is worth it. (And for attentive
beginners I think it also reveals something to them about the structure of the dance.) I
was surprised and pleased by how well beginners were able to handle the star-to-star
transition, quick though it is!
>>>>
>>>> Thanks for that one, Luke!
>>>>
>>>> Harris Lapiroff
>>>>
>>>> Dance Caller and Organizer
>>>> Boston Intergenerational Dance Advocates Board (Cambridge MA)
>>>> Pinewoods Camp, Inc Board (Plymouth MA)
>>>>
https://chromamine.com/contra/
>>>>
>>>> On Mon, Sep 9, 2024, at 8:08 PM, Luke Donforth via Contra Callers wrote:
>>>>> Thanks all.
>>>>>
>>>>> I continue to turn this one over in my head, and I think I've got
a new one (borrowing heavily from Bob Isaac's *To Turn a Phrase* and the star-to-star
transition of Mick Richardson's *Star Trek*)
>>>>>
>>>>> Star Trek Phraser
>>>>> by Luke Donforth
>>>>> Contra/Becket-CCW
>>>>>
>>>>> A1 -----------
>>>>> (8) Left hand Star
>>>>> (8) Whole set oval right
>>>>> A2 -----------
>>>>> (8) whole set oval Left
>>>>> (8) Groups of 4 Circle Left 1X
>>>>> B1 -----------
>>>>> (8) Partner Do-si-do
>>>>> (8) Partner swing
>>>>> B2 -----------
>>>>> (8) Long lines, forward and back
>>>>> (8) Left hand Star 1x, walk on to next star
>>>>>
>>>>> On Sun, Sep 8, 2024 at 7:55 PM <sjapartments(a)gmail.com> wrote:
>>>>>>
https://aptsg.org/Dance/dances.html#Balter
>>>>>>
>>>>>> On Sun, Sep 8, 2024 at 11:50 AM Luke Donforth via Contra Callers
<contracallers(a)lists.sharedweight.net> wrote:
>>>>>>> Hello all,
>>>>>>>
>>>>>>> Oftentimes at One Night Gigs, I'll do a mix of circle and
longways set dances. With scatter mixers and specialty dances, I can fill an evening. But
sometimes I get a group that "wants contras" or is looking to grow their
familiarity with the dance form.
>>>>>>>
>>>>>>> I think Becket dances without lark/robin distinctions and no
neighbor swing are AN easy option into "hands-four" contras. There are other
ways in, but I'm looking for more Beckets that match that description. For a while
I've had "Pluck It" in my box as a friendly option:
>>>>>>>
>>>>>>> Pluck It
>>>>>>> Contra/Becket-CW
>>>>>>>
>>>>>>> A1 -----------
>>>>>>> (8) Circle Left
>>>>>>> (8) Circle Right
>>>>>>> A2 -----------
>>>>>>> (8) Left hand Star
>>>>>>> (8) Right hand Star
>>>>>>> B1 -----------
>>>>>>> (8) Partner Do-si-do
>>>>>>> (8) Partner swing
>>>>>>> B2 -----------
>>>>>>> (8) Neighbor Do-si-do across set
>>>>>>> (8) Long lines, yearn left
>>>>>>>
>>>>>>> This is, in my opinion, pretty close to the traditional mixer
Scatter Shot but done as a keeper in Becket. (It does have a DSD across the set, which in
a recent thread was listed as a no-no for some callers. While I wouldn't use that move
at a dance weekend, for One Night gigs I think it's accessible and acceptable). You
don't have to teach ballroom swing, and if folks want to elbow swing and swap roles
with their partner it doesn't really impact the dance (this is a small advantage of
Becket over improper for this type of dance; different position on the side is less
disorienting than different side of the set).
>>>>>>>
>>>>>>> What other Becket dances do folks have that don't rely on
roles? No larks allemande or robins chain, etc.
>>>>>>>
>>>>>>> On the drive home from my gig last night I came up with this
one (which may already exist), written for Naomi who organizes the community dance I was
at:
>>>>>>>
>>>>>>> A Pillar of Weathersfield
>>>>>>> Contra/Becket-CW
>>>>>>>
>>>>>>> A1 -----------
>>>>>>> (8) Balance the ring and spin to the right (petronella)
>>>>>>> (8) Balance the ring and spin to the right (petronella)
>>>>>>> A2 -----------
>>>>>>> (16) Partner balance and swing, end facing down the hall
>>>>>>> B1 -----------
>>>>>>> (8) Down the hall, four in line (turn as couples)
>>>>>>> (8) Return and face across
>>>>>>> B2 -----------
>>>>>>> (8) Long lines, forward and back
>>>>>>> (8) Promenade across the Set, turn as a couple and progress
>>>>>>> (Go between the ones you danced with, passing by left
shoulder, and the new couple on your right, turn to take hands with new couple)
>>>>>>>
>>>>>>> I'd be curious what else folks have that they use for
entry-level contras when you don't have a critical mass of experience for improper
dances with neighbor swings.
>>>>>>>
>>>>>>> Thanks!
>>>>>>> Luke Donforth
>>>>>>> Burlington, VT
>>>>>>> _______________________________________________
>>>>>>> Contra Callers mailing list --
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contracallers-leave(a)lists.sharedweight.net
>>>>>
>>>>>
>>>>> --
>>>>> Luke Donforth
>>>>> Luke.Donforth(a)gmail.com <mailto:Luke.Donev@gmail.com>
>>>>> _______________________________________________
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>>>>> To unsubscribe send an email to
contracallers-leave(a)lists.sharedweight.net
>>>>>
>>>>
>>>> _______________________________________________
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>>
>>
>> --
>> Luke Donforth
>> Luke.Donforth(a)gmail.com <mailto:Luke.Donev@gmail.com>
>> _______________________________________________
>> Contra Callers mailing list -- contracallers(a)lists.sharedweight.net
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