Jumping in on dance selection and tempo.
You CAN call duple-minor contras to an all-beginner crowd if you choose the
right workshop and dances. See the video at
orlandocontra.org, which was
45 brand-new beginners. The key is to have very simple dances. Simple
dances done fast are fun, period, even for experts! Some people assume
that slowing things down makes it easier. But, except for dancers with
mobility issues, slow dances (e.g., 100 bpm) can be harder than the
standard 120 bpm of New England contras, if the dance itself is simple
enough.
What's simple?
1. Low piece count - more/all 16-beat figures
2. Rescue moves - long swings, long lines forward and back, that are done
in one place, so people can catch up and regroup
3. Highly connected - less chance to wander off in the wrong direction
4. Near-repeat dances - A and B parts are almost the same, one with partner
and one with neighbor
5. Use only the moves done in your workshop for the first several dances,
then max one new move (simple ones) per dance
6. Simple progression at end of B2
7. No leaving the set, pull-bys along the set, shadows
8. Simple figures only - no heys, chains, waves, roll-aways, contra
corners, orbits, spank the alligator, ...
Also:
If you try a dance that doesn't work, give them a win with a very simple
dance done quickly for the next dance. Have several of these ready. Don't
waste them early!
Design your workshop deliberately to teach just the half-dozen moves you'll
need in your first dances. Teach it through dance, not lecture. Repeat a
LOT (let your dances run a bit). Use simple circle dances, not contras, at
least initially. Visit other callers' lessons and take notes.
Simplicity
Clarity
Repetition
...
Simplicity
Clarity
Repetition
Write out your teaching scripts for several dances and edit them down.
Write out your calls and timing.
Video-record yourself and watch later (prepare to be embarrassed! forgive
yourself! eat some chocolate or ice cream...)
Know your group. Different beginners are different. There are
generational and stage-of-life differences in learning pace and style, as
well as individual differences in personality, aptitude, and prior
dance/music experience. Two groups of ten random people of the same age
and social background can be quite different! Adapt.
Label your dances by level. Select from the group that your dancers are
ready for.
Some of my collection (what's in each level depends on what your beginner
workshop teaches, so YMMV; I don't workshop a star, for example):
Level 1
Airpants
The Big Easy
Family Contra
Midwest Folklore
Level 2
Claire's Request
Easy Peasy
Hypnosis
Kinematic Vorticity
The Nice Combination
Pearls of Wisdom
Push the Button
Thursday Night Special #1
Level 3
Al's Safeway Produce
Another Easy One
Appetizer
The Baby Rose
The Balter Dance
Bristol Court
Broken Sixpence
The Cure for the Claps
Forgotten Treasure
Hocus Pocus
M.A.D. about Dancing
Missing You
Tica Tica Timing
Good luck!
--jh--
On Wed, Apr 16, 2025 at 1:34 PM Taco van Ieperen via Contra Callers <
contracallers(a)lists.sharedweight.net> wrote:
Thanks so much for all the suggestions and discussion
everyone! I picked
up some great tips.
Taco
On Wed, Apr 16, 2025 at 11:04 AM David Kirchner via Contra Callers <
contracallers(a)lists.sharedweight.net> wrote:
From: Taco van Ieperen <tacovan(a)gmail.com>
To: contracallers(a)lists.sharedweight.net
Related, I find the most annoying figures to call are 1.5 figures.
There's just no way to say
"New Neighbor Allemande Left Once and a Half" in four beats. Also,
beginners struggle parsing 1.5x as trading places, especially across the
set.
There are lots of other thoughts on this thread about your other
questions, but I will jump in on this specific one. Bear in mind here that
you are talking about two different things (1) what move the dancers have
to start at the top of the phrase, and (2) where they have to end up when
they are done with that move. Those two pieces of information do not have
to be presented in the same call, and in fact it may be easier for newer
dancers to sort things out if you separate the two. For example:
5 NEW
6 NEIGH-bor
7 LEFT
8 alle-MANDE
1 go ONCE and a
2 HALF to
3 TRADE
4 PLA-ces
5 ROB-ins
6 to the MIDdle
7 for a RIGHT-hand
8 CHAIN
1 do a COURTesy
2 TURN and
3 FACE
4 acROSS
etc.
Now, I am sometimes more pattery in my calling and use more words than
others might. Put in whatever words work for you, and obviously you can
reduce the number of calls as the dancers become more comfortable with the
figure. But the point is that there is no need to tell the dancers how many
times they have to allemande before they start. They need to know where to
go and what move to start doing. You have time to add the additional
information later.
David
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