8 Mar
2017
8 Mar
'17
1:08 a.m.
This is only marginally relevant, but when demonstrating a move I often
will take the newest dancers I can and use them as my demonstrators --
walking them through the move while assuring them they can do it. I also
throw in little hints like "You're not going to remember everything, so
don't bother," "You don't have to be perfect," and "You'll
find you're
learning as you go." I also tell new dancers on the floor, "just walk." We
make everything too damned complicated. Of course, when I'm dancing, I
scream when I make a mistake. It tends to relieve pressure on others. When
I'm on the mic, I repeatedly ask experienced dancers to give hints and nods
and do a lot of pointing. It doesn't work for every situation, but ....
Rely on the other dancers to help and ask them to ensure evryone has a
chance on the floor. As I said, it's only tangentially useful.
On Tue, Mar 7, 2017 at 9:03 PM, April Blum via Callers <
callers(a)lists.sharedweight.net> wrote:
Two more suggestions. At some dances I have called, I
found that saying
"end the swing and face across" a bit early solved the late-for-the-next
move issues. And sometimes repeatedly cuing at B1, where the music is often
audibly different AND where there is often some noticeable move starting,
can also help. On Mar 7, 2017 9:40 AM, Martha Wild via Callers <
callers(a)lists.sharedweight.net> wrote:
Inspired by Marie's other thread, I wonder what tools callers use when they
encounter a dance floor with such a dancer, especially if there is
only one who is having so much difficulty but who leaves confused dancers
in their wake. Do you call to that dancer? Do you call earlier? Do you
adjust your program accordingly? Something else?
As one other caller mentioned - what I do as a caller is avoid looking
at that
dancer AT ALL. That confuses me, and I will miscall if I get to
caught up in what is happening there. What I do is look ASAP for the
dancers who are doing the moves smoothly and well, and I call to them,
making sure I call clearly at the start of the four beats before each move
will start, and not at the two beats before that I might often use, to give
a little extra time for the person to react. If there is a four in line
down the hall, I will call for the turn also on beat five of the phrase
before (just as above, just saying it differently) ensuring that they turn
around and head back in time to cast off or do whatever needs to be done in
time for the next move. If I call carefully and steadily and clearly at the
appropriate time for a few times through the dance to the experienced
dancers, I generally find that once I look at the problem area, it has
resolved. Also - I don’t vary or shorten my calls, as I might otherwise,
and I might say Neighbor balance and swing, or With the next couple star
left - telling them who to do it with and what, or face across, right and
left through - which way to face etc. especially on any figure that might
be confusing.
> On Mar 6, 2017, at 3:45 PM, Alexandra Deis-Lauby via Callers <
callers(a)lists.sharedweight.net> wrote:
Thanks,
Alex
Sent from my iPhone
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