22 May
2010
22 May
'10
12:14 a.m.
Seems like I've called a kajillion dances for total beginners, including
many rowdy, well-lubricated wedding parties, some K-3rd-grade groups, and
one memorable reception in a gym full of of wound-up Russian high-school
exchange students, few of whom understood English, and their American peers,
none of whom had done any American traditional dance before. I largely agree
with everything that everyone else has said and recommended...
...And yet, in more than 75% of these cases I've chosen to include the
contra "Ellen's Green Jig" by Roy Dommett or one of several variations on
it
I've evolved. It takes a little longer to walk through, which I do at least
twice, but it has never, ever failed (sorry if I'm duplicating some info I
think I've posted before). I think that's mostly because of the high level
of connection sustained and the small amount of movement away from original
places. The walkthrough demands enough attention that it actually defuses a
lot of that random unfocused adolescent energy. I disregard gender and
improper formation completely for the most challenging situations. Lots of
practice with such groups has significantly built up my comfort and
confidence, but this dance worked just as well way back when I was starting
out. If there are others that people can trust to work this well, please
share them. Here's the original and a couple tweaked versions:
A1: Dosido below; !s (actives) dosido;
A2: 1s bal, swing
B!: Circle L and R
B2: 2s arch, 1s take a peek; 1s arch, 2s peek;
2s carry arch over the 1s, who duck, then advance to next
Insisting that the 2s don't just stand still and let the 1s go through the
arch prevents the set getting dragged down the hall.
Variations:
A1: As couples, 1s and 2s dosido; circle L
A2: All bal, swing
B1: Star R, circle R
A1: Dosido below; circle L
Depending upon how the group has responded to material such as others have
suggested, I mix and match the various components above...
...And meanwhile: just last summer, I was asked to guest-call at a MWSD club
retreat in northern Vermont. The saving grace was that my invitation was set
up through some musicians who had been invited to play at the retreat during
a break between SD sessions. Having that live music at the right tempo
totally uncoupled the wary "shuffle quickly, then wait" pattern that
characterized the 45 minutes of mixed-ability and advanced level MWSD done
to recorded SD beats (and genuinely skillful prompting) before we were on.
We did a Virginia Reel variant, then an Ellen's Green variant, and the
behavior of these mostly 40-plus-year-olds rapidly became almost identical
to what you often see with high-schoolers: lots of exhausting skipping and
sashaying through the figures, laughter, and the kind of giddiness that gets
in the way of hearing the next call. Who'da thunk it? And after it was all
over they asked where else they could do this sort of thing.
Chip Hedler
22 May
22 May
2:01 p.m.
New subject: Contras for beginners
Have a great time, Noah!
I, too, have called a large number of dances for groups of total
beginners. I find these events to be some of the most satisfying of my
calling adventures! I agree wholeheartedly with Chip that ignoring
gender roles is very important. It allows you to be more flexible, and
avoids the whole "who asks whom?" problem. A dance I use a lot is the
following three face three formation. I *don't* talk about ones/twos/
actives/inactives. Rather I mention that the direction the dancers are
facing is "home". "Home changes at the ends, but that makes things
more fun!" Without much teaching, dancers have actually learned how
to progress.....I wrote the dance for just these sorts of occasions.
Do Si Three
A1 Hands 6 circle left
Circle right (make sure you are home!)
A2 Ends only do si do your opposite neighbor
Middles only do si do your opposite neighbor
B1 Ends 2 hand swing (go home!)
Middles 2 hand swing
B2 Lines of three (hold hands) go forward and back
(drop hands) Forward and again and pass through to new neighbors
Dancers love this dance for a lot of reasons: they learn it quickly;
they love passing through to new neighbors; there is no pressure
concerning who your partners happen to be; if the lines are not too
long, you can call it until they get back to their original neighbors--
which surprises and delights them; and it is very easy to keep the
dancers dancing to the musical phrases.
One other thought: especially for a one hour gig, I rarely teach a
"contra swing". Dancers can do a 2 hand turn swing without much
teaching, and it is a move that can be done by 2 girls, 2 boys, or a
mixed gender couple, without any confusion.
I also use a lot of longways sets (Le Brandy, Alabama Gal, Boston Tea
Party), some Sicilian Circles, and circle mixers. For circle mixers, I
invite the dancers to give names to "the person on the left, and the
person on the right" if I wish to keep the dance gender role free.
School age kids love the opportunity to be involved in this way. My
favorite circle mixer is:
I Don't Know Why
A1 Circle left
Circle right
A2 Everyone into the center and back
Just the dancers on the right (lady position) into the center,
turn around to face out
Everybody face the person on the left*
B1 do si do this new partner
2 hand swing this new partner
B2 Promenade
*the first time through the dance, I have the dancers face the
person they asked to dance, so that they get to do the whole dance
with this individual; the next time through, they find new partners.
It is wonderful to experience how quickly dancers "get it", and how
much fun they have dancing with a new partner each time through.
If you would like to have other dances, please get in touch with me,
and I will be glad to share some others that work very, very well with
groups like yours.
warmly, Linda Leslie
On May 22, 2010, at 1:14 AM, Chip Hedler wrote:
Seems like I've called a kajillion dances for
total beginners,
including
many rowdy, well-lubricated wedding parties, some K-3rd-grade
groups, and
one memorable reception in a gym full of of wound-up Russian high-
school
exchange students, few of whom understood English, and their
American peers,
none of whom had done any American traditional dance before. I
largely agree
with everything that everyone else has said and recommended...
...And yet, in more than 75% of these cases I've chosen to include the
contra "Ellen's Green Jig" by Roy Dommett or one of several
variations on it
I've evolved. It takes a little longer to walk through, which I do
at least
twice, but it has never, ever failed (sorry if I'm duplicating some
info I
think I've posted before). I think that's mostly because of the high
level
of connection sustained and the small amount of movement away from
original
places. The walkthrough demands enough attention that it actually
defuses a
lot of that random unfocused adolescent energy. I disregard gender and
improper formation completely for the most challenging situations.
Lots of
practice with such groups has significantly built up my comfort and
confidence, but this dance worked just as well way back when I was
starting
out. If there are others that people can trust to work this well,
please
share them. Here's the original and a couple tweaked versions:
A1: Dosido below; !s (actives) dosido;
A2: 1s bal, swing
B!: Circle L and R
B2: 2s arch, 1s take a peek; 1s arch, 2s peek;
2s carry arch over the 1s, who duck, then advance to next
Insisting that the 2s don't just stand still and let the 1s go
through the
arch prevents the set getting dragged down the hall.
Variations:
A1: As couples, 1s and 2s dosido; circle L
A2: All bal, swing
B1: Star R, circle R
A1: Dosido below; circle L
Depending upon how the group has responded to material such as
others have
suggested, I mix and match the various components above...
...And meanwhile: just last summer, I was asked to guest-call at a
MWSD club
retreat in northern Vermont. The saving grace was that my invitation
was set
up through some musicians who had been invited to play at the
retreat during
a break between SD sessions. Having that live music at the right tempo
totally uncoupled the wary "shuffle quickly, then wait" pattern that
characterized the 45 minutes of mixed-ability and advanced level
MWSD done
to recorded SD beats (and genuinely skillful prompting) before we
were on.
We did a Virginia Reel variant, then an Ellen's Green variant, and the
behavior of these mostly 40-plus-year-olds rapidly became almost
identical
to what you often see with high-schoolers: lots of exhausting
skipping and
sashaying through the figures, laughter, and the kind of giddiness
that gets
in the way of hearing the next call. Who'da thunk it? And after it
was all
over they asked where else they could do this sort of thing.
Chip Hedler
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers
23 May
23 May
6:45 a.m.
New subject: Contras for beginners
Perfect timing, Linda! After reading your post, I used "Do Si Three" at a
dance last night. Worked as well as you said it would! It was one of those
community center gigs with three or four experienced dancers and the rest
just coming out because it's something happening in their community. Very
fun evening.
-cynthia
-----Original Message-----
From: callers-bounces(a)sharedweight.net
[mailto:callers-bounces@sharedweight.net] On Behalf Of Linda Leslie
Sent: Saturday, May 22, 2010 3:01 PM
To: Caller's discussion list
Subject: Re: [Callers] Contras for beginners
Have a great time, Noah!
I, too, have called a large number of dances for groups of total
beginners. I find these events to be some of the most satisfying of my
calling adventures! I agree wholeheartedly with Chip that ignoring
gender roles is very important. It allows you to be more flexible, and
avoids the whole "who asks whom?" problem. A dance I use a lot is the
following three face three formation. I *don't* talk about ones/twos/
actives/inactives. Rather I mention that the direction the dancers are
facing is "home". "Home changes at the ends, but that makes things
more fun!" Without much teaching, dancers have actually learned how
to progress.....I wrote the dance for just these sorts of occasions.
Do Si Three
A1 Hands 6 circle left
Circle right (make sure you are home!)
A2 Ends only do si do your opposite neighbor
Middles only do si do your opposite neighbor
B1 Ends 2 hand swing (go home!)
Middles 2 hand swing
B2 Lines of three (hold hands) go forward and back
(drop hands) Forward and again and pass through to new neighbors
Dancers love this dance for a lot of reasons: they learn it quickly;
they love passing through to new neighbors; there is no pressure
concerning who your partners happen to be; if the lines are not too
long, you can call it until they get back to their original neighbors--
which surprises and delights them; and it is very easy to keep the
dancers dancing to the musical phrases.
One other thought: especially for a one hour gig, I rarely teach a
"contra swing". Dancers can do a 2 hand turn swing without much
teaching, and it is a move that can be done by 2 girls, 2 boys, or a
mixed gender couple, without any confusion.
I also use a lot of longways sets (Le Brandy, Alabama Gal, Boston Tea
Party), some Sicilian Circles, and circle mixers. For circle mixers, I
invite the dancers to give names to "the person on the left, and the
person on the right" if I wish to keep the dance gender role free.
School age kids love the opportunity to be involved in this way. My
favorite circle mixer is:
I Don't Know Why
A1 Circle left
Circle right
A2 Everyone into the center and back
Just the dancers on the right (lady position) into the center,
turn around to face out
Everybody face the person on the left*
B1 do si do this new partner
2 hand swing this new partner
B2 Promenade
*the first time through the dance, I have the dancers face the
person they asked to dance, so that they get to do the whole dance
with this individual; the next time through, they find new partners.
It is wonderful to experience how quickly dancers "get it", and how
much fun they have dancing with a new partner each time through.
If you would like to have other dances, please get in touch with me,
and I will be glad to share some others that work very, very well with
groups like yours.
warmly, Linda Leslie
On May 22, 2010, at 1:14 AM, Chip Hedler wrote:
Seems like I've called a kajillion dances for
total beginners,
including
many rowdy, well-lubricated wedding parties, some K-3rd-grade
groups, and
one memorable reception in a gym full of of wound-up Russian high-
school
exchange students, few of whom understood English, and their
American peers,
none of whom had done any American traditional dance before. I
largely agree
with everything that everyone else has said and recommended...
...And yet, in more than 75% of these cases I've chosen to include the
contra "Ellen's Green Jig" by Roy Dommett or one of several
variations on it
I've evolved. It takes a little longer to walk through, which I do
at least
twice, but it has never, ever failed (sorry if I'm duplicating some
info I
think I've posted before). I think that's mostly because of the high
level
of connection sustained and the small amount of movement away from
original
places. The walkthrough demands enough attention that it actually
defuses a
lot of that random unfocused adolescent energy. I disregard gender and
improper formation completely for the most challenging situations.
Lots of
practice with such groups has significantly built up my comfort and
confidence, but this dance worked just as well way back when I was
starting
out. If there are others that people can trust to work this well,
please
share them. Here's the original and a couple tweaked versions:
A1: Dosido below; !s (actives) dosido;
A2: 1s bal, swing
B!: Circle L and R
B2: 2s arch, 1s take a peek; 1s arch, 2s peek;
2s carry arch over the 1s, who duck, then advance to next
Insisting that the 2s don't just stand still and let the 1s go
through the
arch prevents the set getting dragged down the hall.
Variations:
A1: As couples, 1s and 2s dosido; circle L
A2: All bal, swing
B1: Star R, circle R
A1: Dosido below; circle L
Depending upon how the group has responded to material such as
others have
suggested, I mix and match the various components above...
...And meanwhile: just last summer, I was asked to guest-call at a
MWSD club
retreat in northern Vermont. The saving grace was that my invitation
was set
up through some musicians who had been invited to play at the
retreat during
a break between SD sessions. Having that live music at the right tempo
totally uncoupled the wary "shuffle quickly, then wait" pattern that
characterized the 45 minutes of mixed-ability and advanced level
MWSD done
to recorded SD beats (and genuinely skillful prompting) before we
were on.
We did a Virginia Reel variant, then an Ellen's Green variant, and the
behavior of these mostly 40-plus-year-olds rapidly became almost
identical
to what you often see with high-schoolers: lots of exhausting
skipping and
sashaying through the figures, laughter, and the kind of giddiness
that gets
in the way of hearing the next call. Who'da thunk it? And after it
was all
over they asked where else they could do this sort of thing.
Chip Hedler
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers
11:08 a.m.
New subject: Contras for beginners
Dear Cynthia,
I am so glad that the dance was useful! Thanks for letting me know...
LInda
On May 23, 2010, at 7:45 AM, Cynthia Phinney wrote:
Perfect timing, Linda! After reading your post, I used
"Do Si Three"
at a
dance last night. Worked as well as you said it would! It was one of
those
community center gigs with three or four experienced dancers and the
rest
just coming out because it's something happening in their community.
Very
fun evening.
-cynthia
-----Original Message-----
From: callers-bounces(a)sharedweight.net
[mailto:callers-bounces@sharedweight.net] On Behalf Of Linda Leslie
Sent: Saturday, May 22, 2010 3:01 PM
To: Caller's discussion list
Subject: Re: [Callers] Contras for beginners
Have a great time, Noah!
I, too, have called a large number of dances for groups of total
beginners. I find these events to be some of the most satisfying of my
calling adventures! I agree wholeheartedly with Chip that ignoring
gender roles is very important. It allows you to be more flexible, and
avoids the whole "who asks whom?" problem. A dance I use a lot is the
following three face three formation. I *don't* talk about ones/twos/
actives/inactives. Rather I mention that the direction the dancers are
facing is "home". "Home changes at the ends, but that makes things
more fun!" Without much teaching, dancers have actually learned how
to progress.....I wrote the dance for just these sorts of occasions.
Do Si Three
A1 Hands 6 circle left
Circle right (make sure you are home!)
A2 Ends only do si do your opposite neighbor
Middles only do si do your opposite neighbor
B1 Ends 2 hand swing (go home!)
Middles 2 hand swing
B2 Lines of three (hold hands) go forward and back
(drop hands) Forward and again and pass through to new neighbors
Dancers love this dance for a lot of reasons: they learn it quickly;
they love passing through to new neighbors; there is no pressure
concerning who your partners happen to be; if the lines are not too
long, you can call it until they get back to their original
neighbors--
which surprises and delights them; and it is very easy to keep the
dancers dancing to the musical phrases.
One other thought: especially for a one hour gig, I rarely teach a
"contra swing". Dancers can do a 2 hand turn swing without much
teaching, and it is a move that can be done by 2 girls, 2 boys, or a
mixed gender couple, without any confusion.
I also use a lot of longways sets (Le Brandy, Alabama Gal, Boston Tea
Party), some Sicilian Circles, and circle mixers. For circle mixers, I
invite the dancers to give names to "the person on the left, and the
person on the right" if I wish to keep the dance gender role free.
School age kids love the opportunity to be involved in this way. My
favorite circle mixer is:
I Don't Know Why
A1 Circle left
Circle right
A2 Everyone into the center and back
Just the dancers on the right (lady position) into the center,
turn around to face out
Everybody face the person on the left*
B1 do si do this new partner
2 hand swing this new partner
B2 Promenade
*the first time through the dance, I have the dancers face the
person they asked to dance, so that they get to do the whole dance
with this individual; the next time through, they find new partners.
It is wonderful to experience how quickly dancers "get it", and how
much fun they have dancing with a new partner each time through.
If you would like to have other dances, please get in touch with me,
and I will be glad to share some others that work very, very well with
groups like yours.
warmly, Linda Leslie
On May 22, 2010, at 1:14 AM, Chip Hedler wrote:
Seems like I've called a kajillion dances for
total beginners,
including
many rowdy, well-lubricated wedding parties, some K-3rd-grade
groups, and
one memorable reception in a gym full of of wound-up Russian high-
school
exchange students, few of whom understood English, and their
American peers,
none of whom had done any American traditional dance before. I
largely agree
with everything that everyone else has said and recommended...
...And yet, in more than 75% of these cases I've chosen to include
the
contra "Ellen's Green Jig" by Roy Dommett or one of several
variations on it
I've evolved. It takes a little longer to walk through, which I do
at least
twice, but it has never, ever failed (sorry if I'm duplicating some
info I
think I've posted before). I think that's mostly because of the high
level
of connection sustained and the small amount of movement away from
original
places. The walkthrough demands enough attention that it actually
defuses a
lot of that random unfocused adolescent energy. I disregard gender
and
improper formation completely for the most challenging situations.
Lots of
practice with such groups has significantly built up my comfort and
confidence, but this dance worked just as well way back when I was
starting
out. If there are others that people can trust to work this well,
please
share them. Here's the original and a couple tweaked versions:
A1: Dosido below; !s (actives) dosido;
A2: 1s bal, swing
B!: Circle L and R
B2: 2s arch, 1s take a peek; 1s arch, 2s peek;
2s carry arch over the 1s, who duck, then advance to next
Insisting that the 2s don't just stand still and let the 1s go
through the
arch prevents the set getting dragged down the hall.
Variations:
A1: As couples, 1s and 2s dosido; circle L
A2: All bal, swing
B1: Star R, circle R
A1: Dosido below; circle L
Depending upon how the group has responded to material such as
others have
suggested, I mix and match the various components above...
...And meanwhile: just last summer, I was asked to guest-call at a
MWSD club
retreat in northern Vermont. The saving grace was that my invitation
was set
up through some musicians who had been invited to play at the
retreat during
a break between SD sessions. Having that live music at the right
tempo
totally uncoupled the wary "shuffle quickly, then wait" pattern that
characterized the 45 minutes of mixed-ability and advanced level
MWSD done
to recorded SD beats (and genuinely skillful prompting) before we
were on.
We did a Virginia Reel variant, then an Ellen's Green variant, and
the
behavior of these mostly 40-plus-year-olds rapidly became almost
identical
to what you often see with high-schoolers: lots of exhausting
skipping and
sashaying through the figures, laughter, and the kind of giddiness
that gets
in the way of hearing the next call. Who'da thunk it? And after it
was all
over they asked where else they could do this sort of thing.
Chip Hedler
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers 
7 Jun
7 Jun
8:39 a.m.
New subject: Contras for beginners
I called a community/contra dance in Bridgton, Maine during Memorial Day
weekend, and realized that there were a much higher percentage of beginners
than I had expected - at least half the group, with several children.
Fortunately I had written down Linda's dance Do Si Three after seeing in on
the caller's list, and ended up using it for my second dance. It worked
fabulously well, and was part of a progression of dances that ended up with
mainstream contras by the end of the evening, still with several people that
had started the evening as beginners.
This is definitely a keeper, and I would be interested in collecting other
easier dances, especially contras. We started with: Galopede, Do Si Three,
La Bastringue Circle Mixer, and Family Contra by Sherri Nevins, before doing
more difficult dances.
I have posted some video from the dance at:
http://www.youtube.com/watch?v=SpaHDOkzUgw
Thanks so much, Linda, and to others that have posted on this list!
Richard Green
Wayne, Maine
-----Original Message-----
From: callers-bounces(a)sharedweight.net
[mailto:callers-bounces@sharedweight.net] On Behalf Of Linda Leslie
Sent: Saturday, May 22, 2010 3:01 PM
To: Caller's discussion list
Subject: Re: [Callers] Contras for beginners
Have a great time, Noah!
I, too, have called a large number of dances for groups of total
beginners. I find these events to be some of the most satisfying of my
calling adventures! I agree wholeheartedly with Chip that ignoring
gender roles is very important. It allows you to be more flexible, and
avoids the whole "who asks whom?" problem. A dance I use a lot is the
following three face three formation. I *don't* talk about ones/twos/
actives/inactives. Rather I mention that the direction the dancers are
facing is "home". "Home changes at the ends, but that makes things
more fun!" Without much teaching, dancers have actually learned how
to progress.....I wrote the dance for just these sorts of occasions.
Do Si Three
A1 Hands 6 circle left
Circle right (make sure you are home!)
A2 Ends only do si do your opposite neighbor
Middles only do si do your opposite neighbor
B1 Ends 2 hand swing (go home!)
Middles 2 hand swing
B2 Lines of three (hold hands) go forward and back
(drop hands) Forward and again and pass through to new neighbors
Dancers love this dance for a lot of reasons: they learn it quickly;
they love passing through to new neighbors; there is no pressure
concerning who your partners happen to be; if the lines are not too
long, you can call it until they get back to their original neighbors--
which surprises and delights them; and it is very easy to keep the
dancers dancing to the musical phrases.
One other thought: especially for a one hour gig, I rarely teach a
"contra swing". Dancers can do a 2 hand turn swing without much
teaching, and it is a move that can be done by 2 girls, 2 boys, or a
mixed gender couple, without any confusion.
I also use a lot of longways sets (Le Brandy, Alabama Gal, Boston Tea
Party), some Sicilian Circles, and circle mixers. For circle mixers, I
invite the dancers to give names to "the person on the left, and the
person on the right" if I wish to keep the dance gender role free.
School age kids love the opportunity to be involved in this way. My
favorite circle mixer is:
I Don't Know Why
A1 Circle left
Circle right
A2 Everyone into the center and back
Just the dancers on the right (lady position) into the center,
turn around to face out
Everybody face the person on the left*
B1 do si do this new partner
2 hand swing this new partner
B2 Promenade
*the first time through the dance, I have the dancers face the
person they asked to dance, so that they get to do the whole dance
with this individual; the next time through, they find new partners.
It is wonderful to experience how quickly dancers "get it", and how
much fun they have dancing with a new partner each time through.
If you would like to have other dances, please get in touch with me,
and I will be glad to share some others that work very, very well with
groups like yours.
warmly, Linda Leslie
On May 22, 2010, at 1:14 AM, Chip Hedler wrote:
Seems like I've called a kajillion dances for
total beginners,
including
many rowdy, well-lubricated wedding parties, some K-3rd-grade
groups, and
one memorable reception in a gym full of of wound-up Russian high-
school
exchange students, few of whom understood English, and their
American peers,
none of whom had done any American traditional dance before. I
largely agree
with everything that everyone else has said and recommended...
...And yet, in more than 75% of these cases I've chosen to include the
contra "Ellen's Green Jig" by Roy Dommett or one of several
variations on it
I've evolved. It takes a little longer to walk through, which I do
at least
twice, but it has never, ever failed (sorry if I'm duplicating some
info I
think I've posted before). I think that's mostly because of the high
level
of connection sustained and the small amount of movement away from
original
places. The walkthrough demands enough attention that it actually
defuses a
lot of that random unfocused adolescent energy. I disregard gender and
improper formation completely for the most challenging situations.
Lots of
practice with such groups has significantly built up my comfort and
confidence, but this dance worked just as well way back when I was
starting
out. If there are others that people can trust to work this well,
please
share them. Here's the original and a couple tweaked versions:
A1: Dosido below; !s (actives) dosido;
A2: 1s bal, swing
B!: Circle L and R
B2: 2s arch, 1s take a peek; 1s arch, 2s peek;
2s carry arch over the 1s, who duck, then advance to next
Insisting that the 2s don't just stand still and let the 1s go
through the
arch prevents the set getting dragged down the hall.
Variations:
A1: As couples, 1s and 2s dosido; circle L
A2: All bal, swing
B1: Star R, circle R
A1: Dosido below; circle L
Depending upon how the group has responded to material such as
others have
suggested, I mix and match the various components above...
...And meanwhile: just last summer, I was asked to guest-call at a
MWSD club
retreat in northern Vermont. The saving grace was that my invitation
was set
up through some musicians who had been invited to play at the
retreat during
a break between SD sessions. Having that live music at the right tempo
totally uncoupled the wary "shuffle quickly, then wait" pattern that
characterized the 45 minutes of mixed-ability and advanced level
MWSD done
to recorded SD beats (and genuinely skillful prompting) before we
were on.
We did a Virginia Reel variant, then an Ellen's Green variant, and the
behavior of these mostly 40-plus-year-olds rapidly became almost
identical
to what you often see with high-schoolers: lots of exhausting
skipping and
sashaying through the figures, laughter, and the kind of giddiness
that gets
in the way of hearing the next call. Who'da thunk it? And after it
was all
over they asked where else they could do this sort of thing.
Chip Hedler
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9:16 a.m.
New subject: Contras for beginners
Thank you Richard for posting this video!
Perpetual eMotion sounds like a great band for this kind of
event. They did an excellent job for you.
My formula for dealing with a group of mostly beginners is:
- Dances that are easy, fun, and known by at least some of the regulars
- Precise and clear instructions and calling
- Calling in perfect time and with effective word order
- Hot and electrifying music played with a strong beat at regular tempo
The music is a key component of making the dancing work for new
contra dancers. The music is what makes the dancers want to be on
time and to make the dance work.
Just a thought,
Greg
**************
At 06:39 AM 6/7/2010, you wrote:
I called a community/contra dance in Bridgton, Maine
during Memorial Day
weekend, and realized that there were a much higher percentage of beginners
than I had expected - at least half the group, with several children.
Fortunately I had written down Linda's dance Do Si Three after seeing in on
the caller's list, and ended up using it for my second dance. It worked
fabulously well, and was part of a progression of dances that ended up with
mainstream contras by the end of the evening, still with several people that
had started the evening as beginners.
This is definitely a keeper, and I would be interested in collecting other
easier dances, especially contras. We started with: Galopede, Do Si Three,
La Bastringue Circle Mixer, and Family Contra by Sherri Nevins, before doing
more difficult dances.
I have posted some video from the dance at:
http://www.youtube.com/watch?v=SpaHDOkzUgw
Thanks so much, Linda, and to others that have posted on this list!
Richard Green
Wayne, Maine
-----Original Message-----
From: callers-bounces(a)sharedweight.net
[mailto:callers-bounces@sharedweight.net] On Behalf Of Linda Leslie
Sent: Saturday, May 22, 2010 3:01 PM
To: Caller's discussion list
Subject: Re: [Callers] Contras for beginners
Have a great time, Noah!
I, too, have called a large number of dances for groups of total
beginners. I find these events to be some of the most satisfying of my
calling adventures! I agree wholeheartedly with Chip that ignoring
gender roles is very important. It allows you to be more flexible, and
avoids the whole "who asks whom?" problem. A dance I use a lot is the
following three face three formation. I *don't* talk about ones/twos/
actives/inactives. Rather I mention that the direction the dancers are
facing is "home". "Home changes at the ends, but that makes things
more fun!" Without much teaching, dancers have actually learned how
to progress.....I wrote the dance for just these sorts of occasions.
Do Si Three
A1 Hands 6 circle left
Circle right (make sure you are home!)
A2 Ends only do si do your opposite neighbor
Middles only do si do your opposite neighbor
B1 Ends 2 hand swing (go home!)
Middles 2 hand swing
B2 Lines of three (hold hands) go forward and back
(drop hands) Forward and again and pass through to new neighbors
Dancers love this dance for a lot of reasons: they learn it quickly;
they love passing through to new neighbors; there is no pressure
concerning who your partners happen to be; if the lines are not too
long, you can call it until they get back to their original neighbors--
which surprises and delights them; and it is very easy to keep the
dancers dancing to the musical phrases.
One other thought: especially for a one hour gig, I rarely teach a
"contra swing". Dancers can do a 2 hand turn swing without much
teaching, and it is a move that can be done by 2 girls, 2 boys, or a
mixed gender couple, without any confusion.
I also use a lot of longways sets (Le Brandy, Alabama Gal, Boston Tea
Party), some Sicilian Circles, and circle mixers. For circle mixers, I
invite the dancers to give names to "the person on the left, and the
person on the right" if I wish to keep the dance gender role free.
School age kids love the opportunity to be involved in this way. My
favorite circle mixer is:
I Don't Know Why
A1 Circle left
Circle right
A2 Everyone into the center and back
Just the dancers on the right (lady position) into the center,
turn around to face out
Everybody face the person on the left*
B1 do si do this new partner
2 hand swing this new partner
B2 Promenade
*the first time through the dance, I have the dancers face the
person they asked to dance, so that they get to do the whole dance
with this individual; the next time through, they find new partners.
It is wonderful to experience how quickly dancers "get it", and how
much fun they have dancing with a new partner each time through.
If you would like to have other dances, please get in touch with me,
and I will be glad to share some others that work very, very well with
groups like yours.
warmly, Linda Leslie
On May 22, 2010, at 1:14 AM, Chip Hedler wrote:
Seems like I've called a kajillion dances for
total beginners,
including
many rowdy, well-lubricated wedding parties, some K-3rd-grade
groups, and
one memorable reception in a gym full of of wound-up Russian high-
school
exchange students, few of whom understood English, and their
American peers,
none of whom had done any American traditional dance before. I
largely agree
with everything that everyone else has said and recommended...
...And yet, in more than 75% of these cases I've chosen to include the
contra "Ellen's Green Jig" by Roy Dommett or one of several
variations on it
I've evolved. It takes a little longer to walk through, which I do
at least
twice, but it has never, ever failed (sorry if I'm duplicating some
info I
think I've posted before). I think that's mostly because of the high
level
of connection sustained and the small amount of movement away from
original
places. The walkthrough demands enough attention that it actually
defuses a
lot of that random unfocused adolescent energy. I disregard gender and
improper formation completely for the most challenging situations.
Lots of
practice with such groups has significantly built up my comfort and
confidence, but this dance worked just as well way back when I was
starting
out. If there are others that people can trust to work this well,
please
share them. Here's the original and a couple tweaked versions:
A1: Dosido below; !s (actives) dosido;
A2: 1s bal, swing
B!: Circle L and R
B2: 2s arch, 1s take a peek; 1s arch, 2s peek;
2s carry arch over the 1s, who duck, then advance to next
Insisting that the 2s don't just stand still and let the 1s go
through the
arch prevents the set getting dragged down the hall.
Variations:
A1: As couples, 1s and 2s dosido; circle L
A2: All bal, swing
B1: Star R, circle R
A1: Dosido below; circle L
Depending upon how the group has responded to material such as
others have
suggested, I mix and match the various components above...
...And meanwhile: just last summer, I was asked to guest-call at a
MWSD club
retreat in northern Vermont. The saving grace was that my invitation
was set
up through some musicians who had been invited to play at the
retreat during
a break between SD sessions. Having that live music at the right tempo
totally uncoupled the wary "shuffle quickly, then wait" pattern that
characterized the 45 minutes of mixed-ability and advanced level
MWSD done
to recorded SD beats (and genuinely skillful prompting) before we
were on.
We did a Virginia Reel variant, then an Ellen's Green variant, and the
behavior of these mostly 40-plus-year-olds rapidly became almost
identical
to what you often see with high-schoolers: lots of exhausting
skipping and
sashaying through the figures, laughter, and the kind of giddiness
that gets
in the way of hearing the next call. Who'da thunk it? And after it
was all
over they asked where else they could do this sort of thing.
Chip Hedler
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5 comments
5 participants
participants (5)
-
Chip Hedler -
Cynthia Phinney -
Greg McKenzie -
Linda Leslie -
Richard Green