I concur with Jerome's point. The ability to "read the room" is the the
primary skill that gets a caller rebooked frequently at my local dance
(Glen Echo).
Greg
On Wed, Jan 22, 2025 at 11:15 AM Jerome Grisanti via Contra Callers <
contracallers(a)lists.sharedweight.net> wrote:
Regardless of the value of encouraging dancers to
develop the musical
discernment needed to recognize the eight-count phrases with the 16-count
phrases, the caller needs considerable skills and experience to teach
material that's unusual to any particular dance community.*
For example, I teach several squares in which the promenade ends with
something other than wheeling 1/4 to face into the center (the habitual end
of a square's promenade). It takes skill to anticipate the habitual
behavior, warn dancers that they're going to deviate from that pattern, and
then use words that dancers can interpret on the fly to execute the
alternate pattern.
These are things a new caller can be made aware of, but are probably best
avoided as one is still learning the basics of teaching and cueing a dance.
In other words, initial flight time for new callers is best used with
familiar patterns so as to limit the variables. I'd encourage the new
caller to try Baby Rose or another "glossary" sequence.
* Standards vary between communities. Callers unfamiliar with a community
must develop judgment about what calls the dancers can execute with one
word, which need a bit of teaching, and which require more teaching or even
workshopping. As well, the crowds vary from one evening to another within
the same dance series.
Jerome Grisanti
On Wed, Jan 22, 2025, 10:35 AM John Sweeney via Contra Callers <
contracallers(a)lists.sharedweight.net> wrote:
Hi Jeff,
It was just the first dance that came to mind. I’m sure
there are lots of others. To me the eight-beat sections are the most
important, since most moves are based on eight beats. To get the dancers
to listen to the music and hear the eights seems an important skill to me.
Happy dancing,
John
John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 &
07802 940 574
http://www.contrafusion.co.uk for Dancing in Kent
*From:* Jeff Kaufman <jeff.t.kaufman(a)gmail.com>
*Sent:* 22 January 2025 15:07
*To:* John Sweeney <john(a)modernjive.com>
*Cc:* Contra Callers <contracallers(a)sharedweight.net>
*Subject:* Re: [Callers] Re: Identify another dance?
Hi John,
Hexitation is an unusual formation (a "square" with four head couples and
two side couples). While I haven't danced it, I'm guessing the caller
wouldn't drop out, in which case the issue with ending a swing halfway
through the B1 (or B2 in Hexitation's case) isn't a big concern. Lots of
squares have short swings that end in the middle of the phrase, or in some
traditions are danced unphrased (where, then, ending in the middle of a
phrase isn't a meaningful concept).
But I really disagree on this being a valuable thing to teach in a contra
dance context. Swinging until the music tells you to stop (by ending the
8-bar phrase) does much more to promote musicality.
Jeff
On Wed, Jan 22, 2025 at 4:21 AM John Sweeney via Contra Callers <
contracallers(a)lists.sharedweight.net> wrote:
There are some excellent dances that have a swing which ends in the
middle of a phrase (Hexitation springs to mind straight away for me). It
is a skill worth learning and helps teach the dancers about musicality.
(Actually I wrote one yesterday, before I saw this discussion!) :-)
Happy dancing,
John
John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 &
07802 940 574
http://www.contrafusion.co.uk for Dancing in Kent
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