25 Sep
2024
25 Sep
'24
10:57 a.m.
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:
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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
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>
>
> --
> Luke Donforth
> Luke.Donforth(a)gmail.com <Luke.Donev(a)gmail.com>
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>
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