12 Feb
2008
12 Feb
'08
11:13 a.m.
Hi Folks,
Coming out of LURK mode.
Many years ago, while calling a dance in Milwaukee, i noticed that
my selection of dances all had "down the middle 4 in line." Ouch.
To help me avoid this obvious programming faux pas, i started a
computer data base of my dance cards. I code each dance with its main
moves/story line: ie. both couples swing. Each of my cards now has
a number on it. I've printed out my list of dances several ways,
since i don't have a lap top at the dance, And when i need to change
programs on the fly, i can usually find what i need in the listing.
The biggest advantage to this system is that, if you put the cards
back in order after the dance, you can easily find the card the next
time.
Hope this may help,
Tom Senior (chicagoland)
-----Original Message-----
From: callers-bounces(a)sharedweight.net [mailto:callers-bounces@sharedweight.net] On
Behalf Of Amy Cann
Sent: Thursday, February 07, 2008 9:58 PM
To: Caller's discussion list
Subject: Re: [Callers] organizing dance cards
Caller's discussion list <callers(a)sharedweight.net> on Monday, February 4,
2008 at 9:09 PM +0000 wrote:
--
Tom Senior
Dance while you can.
I'm reorganizing my dance cards
...
The dance that's most puzzling to me right now
is Mary Cay's Reel
I often sort my dances by storyline, so for me the defining move of Mary
Cay's is that the women do something special WITH EACH OTHER, while the
men look on/cheer.
There is a very specific social thing that happens at moments like this -
( other examples: "ladies down center 2 by 2 with each other" or "men
gypsy each other" ) - when one gender displays and the other watches
(and BOY does that other gender like to watch sometime!)
so Mary Cay's, for me, goes in the "Gender Fun" category.
Other categories include "Where did my partner go - wait, how did you end
up THERE?" and "Look at me aren't I cool?"
We all get caught sometimes - we just can't seem to find a next dance that
doesn't repeat the previous one in some way - the same starting move, the
same progression, yet aNOTHer down-the-hall-in-lines-of-four.
At moments like this, I often opt to go for the dance with the most
different "storyline" or "social structure", and ask the band for a
contrasting tune type, in the (perhaps naive) belief that the dancers
won't notice repeating move so much if, say, the first one struts and the
second one slinks.
Cheers,
Amy
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