6 Sep
2010
6 Sep
'10
2:21 a.m.
I 'm planning on calling a couple of dances this weekend where there is interaction
with couples outside the usual minor sets. One of them is Dan pearl's composition
"Cal and Irene." My concern is what happens at the top and bottom of the
lines.
What recommendations do you have to prepare dancers for end effects when they are not used
to anything more than "cross over and wait?"
Thanks.
Parker
6 Sep
6 Sep
8:32 a.m.
Great question. I look forward to reading the responses. It's always tricky
because the dancers don't get to practice the end effects until they need to use
them once in anger, and then it's over in seconds. And it's hard to get them in
your head when you're practicing the dance at home as a caller.
Jeanette
"When we eat from the industrial-food system, we are eating oil and spewing
greenhouse gases."
- Michael Pollan
----- Original Message ----
From: PARKER MANN <M_P_Mann(a)shaw.ca>
To: callers(a)sharedweight.net
Sent: Mon, 6 September, 2010 4:21:45 PM
Subject: [Callers] Dances with tricky end effects
I 'm planning on calling a couple of dances this weekend where there is
interaction with couples outside the usual minor sets. One of them is Dan
pearl's composition "Cal and Irene." My concern is what happens at the top
and
bottom of the lines.
What recommendations do you have to prepare dancers for end effects when they
are not used to anything more than "cross over and wait?"
Thanks.
Parker
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers
3:55 p.m.
I had a dance I was calling where you were in and out three different
ways. After a near meltdown, I wrote a stacked call that included the
waitouts in my notes, but concluded that most dances that don't allow
the dancers to take over and the caller to drop out are probably not
worth it.
Sent from my iPhone
On Sep 6, 2010, at 8:32 AM, Jeanette Mill <jeanette_mill(a)yahoo.com.au>
wrote:
Great question. I look forward to reading the
responses. It's always
tricky
because the dancers don't get to practice the end effects until they
need to use
them once in anger, and then it's over in seconds. And it's hard to
get them in
your head when you're practicing the dance at home as a caller.
Jeanette
"When we eat from the industrial-food system, we are eating oil and
spewing
greenhouse gases."
- Michael Pollan
----- Original Message ----
From: PARKER MANN <M_P_Mann(a)shaw.ca>
To: callers(a)sharedweight.net
Sent: Mon, 6 September, 2010 4:21:45 PM
Subject: [Callers] Dances with tricky end effects
I 'm planning on calling a couple of dances this weekend where there
is
interaction with couples outside the usual minor sets. One of them
is Dan
pearl's composition "Cal and Irene." My concern is what happens at
the top and
bottom of the lines.
What recommendations do you have to prepare dancers for end effects
when they
are not used to anything more than "cross over and wait?"
Thanks.
Parker
_______________________________________________
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
1:54 p.m.
Hey, Parker
I seem to have lost your direct email - but I thought I would say hello. I'm wishing
for your cooler weather! Dorcas
-----Original Message-----
From: callers-bounces(a)sharedweight.net [mailto:callers-bounces@sharedweight.net] On Behalf
Of PARKER MANN
Sent: Monday, September 06, 2010 1:22 AM
To: callers(a)sharedweight.net
Subject: [Callers] Dances with tricky end effects
I 'm planning on calling a couple of dances this weekend where there is interaction
with couples outside the usual minor sets. One of them is Dan pearl's composition
"Cal and Irene." My concern is what happens at the top and bottom of the
lines.
What recommendations do you have to prepare dancers for end effects when they are not used
to anything more than "cross over and wait?"
Thanks.
Parker
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers
No virus found in this incoming message.
Checked by AVG - www.avg.com
Version: 9.0.851 / Virus Database: 271.1.1/3117 - Release Date: 09/06/10 01:35:00
2:28 p.m.
You can tell people which side they need to be on (if it's just
waiting out on the end for something to happen), but frequently the best
advice is to just tell them that the people who are in the dance know
where you need to be better than you (who are standing out) do -- go
where you're needed.
Jack
On 9/6/2010 2:21 AM, PARKER MANN wrote:
I 'm planning on calling a couple of dances this
weekend where there is interaction with couples outside the usual minor sets. One of them
is Dan pearl's composition "Cal and Irene." My concern is what happens at
the top and bottom of the lines.
What recommendations do you have to prepare dancers for end effects when they are not
used to anything more than "cross over and wait?"
Thanks.
Parker
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers
10:53 p.m.
What recommendations do you have to prepare dancers
for end effects when they are not used to anything more than "cross over and
wait?"
Make sure they hear and respond positively to special instructions. As an example, the
improper duple minor dance "Round the Horn" by Walter Lenk requires dancers
waiting out at the ends to refrain from trading places until they have interacted with a
shadow dancer, at which point they must trade places before the cycle of the dance begins
again. After I have taught the dance I will say something like this: "In all the
dances we have done tonight, you have been so good at quickly trading places with your
partner at the ends. But 'Round the Horn' is not a dance that rewards efficiency
in trading places..." and then I tell them what to do while waiting out. Having just
received a compliment for the style in which they have danced the previous dances, the
crowd is listening closely when I tell them that "Round the Horn" is a special
case - and so there will be no mix-ups at the ends of the sets.
4986
days inactive
4987
days old
contracallers@lists.sharedweight.net
5 comments
6 participants
participants (6)
-
Andrea Nettleton -
Dorcas Hand -
Jack Mitchell -
Jeanette Mill -
PARKER MANN -
Robert Golder