2 Dec
2011
2 Dec
'11
1:20 a.m.
Hi Folks,
Brand new to the list. I'm one of the organizers for the MondayContras
series at the Concord, MA Scout House and have been an avid dancer for just
over 4 years now. Hi to those I already know and to those of you I'll get
to know from here!
I've been an occasional caller for dances on shared evening programs and
camper nights, etc. but have my first full evening coming up later this
month, which I'm excited about. This is for a smaller regional dance that
attracts a mixed crowd of mostly periodic dancers. I've done some basic
"how to call" workshops at festivals, etc. but have not taken a formal
caller's course.
I'm planning to tailor my dance selection to the expected crowd and build
in some flexibility to address variability. I'm pretty confident in my
dance selection skills but I'm definitely still counting my way through the
music to call. So one concern is with making sure I stay firmly anchored to
the music, without depending upon the crowd for cues. I craft my calls to
fit the phrasing and rehearse with music to get confident but dance
breakdowns are a fear. I've come close a couple of times early on but have
been able to set things right somehow on the fly... however, I was not very
confident doing so at the time.
So with that concern, a couple of related questions:
- Do you have practiced recovery routines (more than just "get home and
swing your partner")? Is that common? Or do most callers just make it up on
the spot?
- In working with the musicians, are there any customary "I've lost track,
where are we in the music?" signals?
I look forward to learning from the shared wisdom of the group here and am
open to any other tips you may have.
Thanks,
Don
2 Dec
2 Dec
2:01 a.m.
Don --
Brand new to the list. I'm one of the organizers
for the MondayContras
series at the Concord, MA Scout House and have been an avid dancer for just
over 4 years now. Hi to those I already know and to those of you I'll get
to know from here!
Hi, Don!
I've been an occasional caller for dances on
shared evening programs and
camper nights, etc. but have my first full evening coming up later this
month, which I'm excited about. This is for a smaller regional dance that
attracts a mixed crowd of mostly periodic dancers. I've done some basic
"how to call" workshops at festivals, etc. but have not taken a formal
caller's course.
I'm planning to tailor my dance selection to the
expected crowd and build
in some flexibility to address variability. I'm pretty confident in my
dance selection skills but I'm definitely still counting my way through the
music to call. So one concern is with making sure I stay firmly anchored to
the music, without depending upon the crowd for cues. I craft my calls to
fit the phrasing and rehearse with music to get confident but dance
breakdowns are a fear. I've come close a couple of times early on but have
been able to set things right somehow on the fly... however, I was not very
confident doing so at the time.
Hmm. Do you pay attention to the music when you're dancing? Do you know where
you are in the tune when you're on the floor? You kinda need for that to be
second nature - something you don't have to spend conscious brain cycles on.
If it isn't, I can only suggest even more practice with recorded music than
you're doing, plus trying to be conscious about it when you're dancing, so you
always know what phrase you're in. (If you're a good dancer, you probably do
actually know this, but you might not know you do.)
So with that concern, a couple of related questions:
- Do you have practiced recovery routines (more than just "get home and
swing your partner")? Is that common? Or do most callers just make it up on
the spot?
I don't have practiced recovery routines. If the dance has been going on long
enough to be done when it breaks down, something like "Listen up - find your
partner, balance and swing" while signalling the band so they know they're
going out is fine. If it's really not done, you can just stop the music and
regroup if you have to, but you have to figure out where it's breaking down.
If you're trying to repair it without stopping, then you need to get people
into the progression in the right orientation, which is really challenging in
some dances. If I were worried about it - and I'm not, particularly, and don't
think you should be if you're confident in matching your dance choices to the
floor - I would identify the moment in each dance when you're with your partner
with the man on the right and the lady on the left and craft my recovery call
around getting people to that point.
- In working with the musicians, are there any
customary "I've lost track,
where are we in the music?" signals?
No, and you really don't want to do that. It's much likelier that they're
going
to repeat something they shouldn't or not to repeat something they should than
that you're going to get lost. You need to be ready to say to somebody "Play
another B!"
Find some couples who are doing the dance right and check in on where they are
in the pattern. If there aren't any you can rely on, then you picked the wrong
dance.
-- Alan
--
===============================================================================
Alan Winston --- WINSTON(a)SSRL.SLAC.STANFORD.EDU
Disclaimer: I speak only for myself, not SLAC or SSRL Phone: 650/926-3056
Paper mail to: SSRL -- SLAC BIN 99, 2575 Sand Hill Rd, Menlo Park CA 94025
===============================================================================
2 p.m.
Hi, thanks for the help, see below.
And BTW, I forgot to mention in my intro that I'm also very involved with
NEFFA as a Director and being the guy responsible for Advance Ticket Sales
and getting the sound equipment into the smaller venues for several years.
Late night/new parent brain. :)
On Fri, Dec 2, 2011 at 2:01 AM, Alan Winston - SSRL Central Computing <
winston(a)slac.stanford.edu> wrote:
totally in sync with the music and choreography without counting. I just
know/feel what comes next and when. I guess the point then is that I need
to transfer that connectedness while being on the other side of the mic.
[snip]
[snip]
I'm pretty
confident in my
dance selection skills but I'm definitely still counting my way through
the
music to call. So one concern is with making sure
I stay firmly anchored
to
the music, without depending upon the crowd for
cues. I craft my calls to
fit the phrasing and rehearse with music to get confident but dance
breakdowns are a fear. I've come close a couple of times early on but
have
been able to set things right somehow on the
fly... however, I was not
very
confident doing so at the time.
Hmm. Do you pay attention to the music when you're dancing? Do you know
where
you are in the tune when you're on the floor? You kinda need for that to
be
second nature - something you don't have to spend conscious brain cycles
on.
If it isn't, I can only suggest even more practice with recorded music than
you're doing, plus trying to be conscious about it when you're dancing, so
you
always know what phrase you're in. (If you're a good dancer, you probably
do
actually know this, but you might not know you do.)
Good point. Yes, as a dancer with that form of immersion in the dance, I'm
- In working with the musicians, are there any
customary "I've lost
track,
where are we in the music?" signals?
No, and you really don't want to do that. It's much likelier that they're
going
to repeat something they shouldn't or not to repeat something they should
than
that you're going to get lost. You need to be ready to say to somebody
"Play
another B!"
Interesting! Will work on that. Find some couples who are doing the dance right and
check in on where they
are
in the pattern. If there aren't any you can rely on, then you picked the
wrong
dance.
I agree on the dance selection - my "breakdown" near misses to date were
either from rookie mistakes (like calling a balanceandswing instead of
balance...and swing) or an alignment of the planets around a particular
4-some in a line.
I'm a mis-matcher by nature -- I see/focus on what sticks out. So when a
4-some is having trouble then that is where my attention naturally goes. I
need to make the shift in this instance to see but not overly focus on that
local issue, if the rest of the hall is OK. And picking some trusty couples
would certainly help.
Thanks again!
2:41 p.m.
Congratulations Don!
I don't have a set routine when things fall apart. I may just tell them to take
hands 4 from the top and wait until the top of the music comes around. If the
dance has been running for a while, just say "Find your partner and swing" as
you cue out the band with a raised foot. Then have a "go to" dance ready for the
next one - one you know cold that works 99% of the time (like Nice Combination
or Al's Safeway Produce). It restores everyone's confidence. Even a simple dance
can be fun if the band plays a very lively tune. It's good to get the signals
worked out with the band ahead of time. Typical ones are faster (palm facing and
pushing up); slower (palm facing and pushing down); going out at the end of this
phrase (the raised foot). Find out which of the band members can talk while
they're playing. Not all musicians can. This is the one you can ask when you
don't know where you are in the music. And if there's a clear musician in charge
of keeping the rhythm, I've walked up to them during a tune and called out "I
can't hear the phrasing" - hoping they'll make it clearer. If you have a few
"ringers" in the room, they may be good to cue off of - assuming they're
almost
always in the right place at the right time. Also ask the band how much notice
they want before the end of the dance: 1, 2, or 3 times and then count it down
instead of assuming they can keep track.
I've only heard you call a couple of times, but both times you've been very
clear and at least sounded confident. You'll do great, and it's about time you
did more calling. Good luck. I look forward to getting a full report.
Lynn
----- Original Message ----
From: Don Veino <sharedweight_net(a)veino.com>
To: callers(a)sharedweight.net
Sent: Thu, December 1, 2011 10:20:18 PM
Subject: [Callers] Hello and a few questions...
Hi Folks,
Brand new to the list. I'm one of the organizers for the MondayContras
series at the Concord, MA Scout House and have been an avid dancer for just
over 4 years now. Hi to those I already know and to those of you I'll get
to know from here!
I've been an occasional caller for dances on shared evening programs and
camper nights, etc. but have my first full evening coming up later this
month, which I'm excited about. This is for a smaller regional dance that
attracts a mixed crowd of mostly periodic dancers. I've done some basic
"how to call" workshops at festivals, etc. but have not taken a formal
caller's course.
I'm planning to tailor my dance selection to the expected crowd and build
in some flexibility to address variability. I'm pretty confident in my
dance selection skills but I'm definitely still counting my way through the
music to call. So one concern is with making sure I stay firmly anchored to
the music, without depending upon the crowd for cues. I craft my calls to
fit the phrasing and rehearse with music to get confident but dance
breakdowns are a fear. I've come close a couple of times early on but have
been able to set things right somehow on the fly... however, I was not very
confident doing so at the time.
So with that concern, a couple of related questions:
- Do you have practiced recovery routines (more than just "get home and
swing your partner")? Is that common? Or do most callers just make it up on
the spot?
- In working with the musicians, are there any customary "I've lost track,
where are we in the music?" signals?
I look forward to learning from the shared wisdom of the group here and am
open to any other tips you may have.
Thanks,
Don
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers
3:49 p.m.
Don,
Welcome!
My favorite way to practice calling is to play tunes on the stereo and call
while DRIVING. It's a reasonable simulation of the number of things you
need to be able to do at the same time that you are calling.
Note that I have missed exits in this manner, but have never been in an
accident :-).
Best,
Lisa
--
<http://r20.rs6.net/tn.jsp?et=1103582272438&s=522&e=001yMXrq9ir0gBX7ESCD5f3qAy3s-hBfhWCr-aXEvNXEappa8BMWBkPMIpbXiUIvJ0GA0-IJ7h7iGpvzQe1dQBqOmxJqmZvaOOAJCQz7y3uLog=>
lisa(a)lisasieverts.com
603-762-0235
4:58 p.m.
Thanks Lisa. Are you reading from cards when doing this or do you memorize
the dances? I've done a fair bit of practicing while riding in the car, but
not yet driving.
On Fri, Dec 2, 2011 at 3:49 PM, Lisa Sieverts <lisa(a)lisasieverts.com> wrote:
Don,
Welcome!
My favorite way to practice calling is to play tunes on the stereo and call
while DRIVING. It's a reasonable simulation of the number of things you
need to be able to do at the same time that you are calling.
Note that I have missed exits in this manner, but have never been in an
accident :-).
Best,
Lisa
3 Dec
3 Dec
10:05 a.m.
I print my dances in very large fonts on full-size paper, so it's easy to
glance over at the dance on the passenger seat to check the sequence. I try
to learn it as quickly as possible to minimize the moments when my eyes are
not on the road. This is a skill that is also useful on stage.
I don't want to lose sight of the fact that one's ability to teach a dance
effectively is as important as being able to call it well.
Lisa
On Fri, Dec 2, 2011 at 4:58 PM, Don Veino <sharedweight_net(a)veino.com>wrote;wrote:
Thanks Lisa. Are you reading from cards when doing
this or do you memorize
the dances? I've done a fair bit of practicing while riding in the car, but
not yet driving.
On Fri, Dec 2, 2011 at 3:49 PM, Lisa Sieverts <lisa(a)lisasieverts.com>wrote;wrote:
> Don,
>
> Welcome!
>
> My favorite way to practice calling is to play tunes on the stereo and
> call
> while DRIVING. It's a reasonable simulation of the number of things you
> need to be able to do at the same time that you are calling.
>
> Note that I have missed exits in this manner, but have never been in an
> accident :-).
>
> Best,
> Lisa
>
>
--
<http://r20.rs6.net/tn.jsp?et=1103582272438&s=522&e=001yMXrq9ir0gBX7ESCD5f3qAy3s-hBfhWCr-aXEvNXEappa8BMWBkPMIpbXiUIvJ0GA0-IJ7h7iGpvzQe1dQBqOmxJqmZvaOOAJCQz7y3uLog=>
lisa(a)lisasieverts.com
603-762-0235
4 Dec
4 Dec
7:11 p.m.
New subject: Practicing Calling thread
We each have a variety of experiential voices that whisper/speak to us
when issues come up. For these Shared Weight discussions, of course,
it is usually my caller/dancer voice that is at the forefront.
However, in this particular case, my nurse voice is asking for some
time......In particular, I am reminded that society is trying to get
drivers to avoid activities which take their eyes off the road
(California prohibits cell phone use; Mass prohibits texting by teens,
etc).
It seems to me that memorizing dances at home, not looking at any
cards or other written form of the dance while driving, and then
practicing to music in the car accomplishes at least three things: 1)
gets the caller into the habit of memorizing dances, which always is
helpful; 2) offers you extra practice time beyond that which you can
do while at home; 3) keeps the driver's eyes safely on the road.
Linda Leslie
On Dec 3, 2011, at 10:05 AM, Lisa Sieverts wrote:
I print my dances in very large fonts on full-size
paper, so it's
easy to
glance over at the dance on the passenger seat to check the
sequence. I try
to learn it as quickly as possible to minimize the moments when my
eyes are
not on the road. This is a skill that is also useful on stage.
I don't want to lose sight of the fact that one's ability to teach a
dance
effectively is as important as being able to call it well.
Lisa
On Fri, Dec 2, 2011 at 4:58 PM, Don Veino
<sharedweight_net(a)veino.com>wrote;wrote:
lisa(a)lisasieverts.com
603-762-0235
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers
Thanks Lisa. Are you reading from cards when
doing this or do you
memorize
the dances? I've done a fair bit of practicing while riding in the
car, but
not yet driving.
On Fri, Dec 2, 2011 at 3:49 PM, Lisa Sieverts
<lisa(a)lisasieverts.com>wrote;wrote:
> Don,
>
> Welcome!
>
> My favorite way to practice calling is to play tunes on the stereo
> and
> call
> while DRIVING. It's a reasonable simulation of the number of
> things you
> need to be able to do at the same time that you are calling.
>
> Note that I have missed exits in this manner, but have never been
> in an
> accident :-).
>
> Best,
> Lisa
>
>
--
<http://r20.rs6.net/tn.jsp?et=1103582272438&s=522&e=001yMXrq9ir0gBX7ESCD5f3qAy3s-hBfhWCr-aXEvNXEappa8BMWBkPMIpbXiUIvJ0GA0-IJ7h7iGpvzQe1dQBqOmxJqmZvaOOAJCQz7y3uLog=
9:52 p.m.
New subject: Practicing Calling thread
Lisa Sieverts probably drives in less traffic than Linda Leslie - although the trees do
tend to run around at night. CT prohibits drivers from all cell phone use.
Bob Livingston
________________________________
From: Linda Leslie <laleslierjg(a)comcast.net>
To: Caller's discussion list <callers(a)sharedweight.net>
Sent: Sunday, December 4, 2011 7:11 PM
Subject: [Callers] Practicing Calling thread
We each have a variety of experiential voices that whisper/speak to us when issues come
up. For these Shared Weight discussions, of course, it is usually my caller/dancer voice
that is at the forefront. However, in this particular case, my nurse voice is asking for
some time......In particular, I am reminded that society is trying to get drivers to avoid
activities which take their eyes off the road (California prohibits cell phone use; Mass
prohibits texting by teens, etc).
It seems to me that memorizing dances at home, not looking at any cards or other written
form of the dance while driving, and then practicing to music in the car accomplishes at
least three things: 1) gets the caller into the habit of memorizing dances, which always
is helpful; 2) offers you extra practice time beyond that which you can do while at home;
3) keeps the driver's eyes safely on the road.
Linda Leslie
On Dec 3, 2011, at 10:05 AM, Lisa Sieverts wrote:
I print my dances in very large fonts on full-size
paper, so it's easy to
glance over at the dance on the passenger seat to check the sequence. I try
to learn it as quickly as possible to minimize the moments when my eyes are
not on the road. This is a skill that is also useful on stage.
I don't want to lose sight of the fact that one's ability to teach a dance
effectively is as important as being able to call it well.
Lisa
On Fri, Dec 2, 2011 at 4:58 PM, Don Veino <sharedweight_net(a)veino.com>wrote;wrote:
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers
Thanks Lisa. Are you reading from cards when
doing this or do you memorize
the dances? I've done a fair bit of practicing while riding in the car, but
not yet driving.
On Fri, Dec 2, 2011 at 3:49 PM, Lisa Sieverts <lisa(a)lisasieverts.com>wrote;wrote:
> Don,
>
> Welcome!
>
> My favorite way to practice calling is to play tunes on the stereo and
> call
> while DRIVING. It's a reasonable simulation of the number of things you
> need to be able to do at the same time that you are calling.
>
> Note that I have missed exits in this manner, but have never been in an
> accident :-).
>
> Best,
> Lisa
>
>
--<http://r20.rs6.net/tn.jsp?et=1103582272438&s=522&e=001yMXrq9ir0gBX7ESCD5f3qAy3s-hBfhWCr-aXEvNXEappa8BMWBkPMIpbXiUIvJ0GA0-IJ7h7iGpvzQe1dQBqOmxJqmZvaOOAJCQz7y3uLog=>
lisa(a)lisasieverts.com
603-762-0235
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers 
5 Dec
5 Dec
12:19 a.m.
New subject: Practicing Calling thread
I too have driven the roads of Nelson, NH where the trees might well run
around, so: I record myself calling a few times to recorded music and let
the music run many times without calls as well, put it all on a CD and pop
it into the car's CD player. Then I can drive around New Hampshire (and
beyond) where the trees do in fact pose a significant danger of moving.
Rickey Holt,
Fremont, NH
-----Original Message-----
From: callers-bounces(a)sharedweight.net
[mailto:callers-bounces@sharedweight.net] On Behalf Of Robert Livingston
Sent: Sunday, December 04, 2011 9:52 PM
To: Caller's discussion list
Subject: Re: [Callers] Practicing Calling thread
Lisa Sieverts probably drives in less traffic than Linda Leslie - although
the trees do tend to run around at night. CT prohibits drivers from all
cell phone use.
Bob Livingston
________________________________
From: Linda Leslie <laleslierjg(a)comcast.net>
To: Caller's discussion list <callers(a)sharedweight.net>
Sent: Sunday, December 4, 2011 7:11 PM
Subject: [Callers] Practicing Calling thread
We each have a variety of experiential voices that whisper/speak to us when
issues come up. For these Shared Weight discussions, of course, it is
usually my caller/dancer voice that is at the forefront. However, in this
particular case, my nurse voice is asking for some time......In particular,
I am reminded that society is trying to get drivers to avoid activities
which take their eyes off the road (California prohibits cell phone use;
Mass prohibits texting by teens, etc).
It seems to me that memorizing dances at home, not looking at any cards or
other written form of the dance while driving, and then practicing to music
in the car accomplishes at least three things: 1) gets the caller into the
habit of memorizing dances, which always is helpful; 2) offers you extra
practice time beyond that which you can do while at home; 3) keeps the
driver's eyes safely on the road.
Linda Leslie
On Dec 3, 2011, at 10:05 AM, Lisa Sieverts wrote:
_______________________________________________
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
I print my dances in very large fonts on full-size
paper, so it's easy
to glance over at the dance on the passenger seat to check the
sequence. I try to learn it as quickly as possible to minimize the
moments when my eyes are not on the road. This is a skill that is also
useful on
stage.
I don't want to lose sight of the fact that one's ability to teach a
dance effectively is as important as being able to call it well.
Lisa
On Fri, Dec 2, 2011 at 4:58 PM, Don Veino
<sharedweight_net(a)veino.com>wrote;wrote:
> Thanks Lisa. Are you reading from cards when doing this or do you
> memorize the dances? I've done a fair bit of practicing while riding
> in the car, but not yet driving.
>
> On Fri, Dec 2, 2011 at 3:49 PM, Lisa Sieverts
<lisa(a)lisasieverts.com>wrote;wrote:
> Don,
>
> Welcome!
>
> My favorite way to practice calling is to play tunes on the stereo
> and call while DRIVING. It's a reasonable simulation of the number
> of things you need to be able to do at the same time that you are
> calling.
>
> Note that I have missed exits in this manner, but have never been in
> an accident :-).
>
> Best,
> Lisa
>
>
--<http://r20.rs6.net/tn.jsp?et=1103582272438&s=522&e=001yMXrq9ir0gBX7
ESCD5f3qAy3s-hBfhWCr-aXEvNXEappa8BMWBkPMIpbXiUIvJ0GA0-IJ7h7iGpvzQe1dQB
qOmxJqmZvaOOAJCQz7y3uLog=>
lisa(a)lisasieverts.com
603-762-0235
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers 
12:50 a.m.
New subject: Practicing Calling thread
Well, that sounds good. But I found that I visualize when I start going through the
dances, or my thoughts are such that I'm really not focusing on the road like I
should. It's like I glaze over!
Laurie P
~
When I dance, I cannot judge, I cannot hate, I cannot separate myself from life. I can
only be joyful and whole, that is why I dance. ~Hans Bos~
~
________________________________
From: Linda Leslie <laleslierjg(a)comcast.net>
To: Caller's discussion list <callers(a)sharedweight.net>
Sent: Sunday, December 4, 2011 7:11 PM
Subject: [Callers] Practicing Calling thread
We each have a variety of experiential voices that whisper/speak to us when issues come
up. For these Shared Weight discussions, of course, it is usually my caller/dancer voice
that is at the forefront. However, in this particular case, my nurse voice is asking for
some time......In particular, I am reminded that society is trying to get drivers to avoid
activities which take their eyes off the road (California prohibits cell phone use; Mass
prohibits texting by teens, etc).
It seems to me that memorizing dances at home, not looking at any cards or other written
form of the dance while driving, and then practicing to music in the car accomplishes at
least three things: 1) gets the caller into the habit of memorizing dances, which always
is helpful; 2) offers you extra practice time beyond that which you can do while at home;
3) keeps the driver's eyes safely on the road.
Linda Leslie
On Dec 3, 2011, at 10:05 AM, Lisa Sieverts wrote:
I print my dances in very large fonts on
full-size paper, so it's easy to
glance over at the dance on the passenger seat to check the sequence. I try
to learn it as quickly as possible to minimize the moments when my eyes are
not on the road. This is a skill that is also useful on stage.
I don't want to lose sight of the fact that one's ability to teach a dance
effectively is as important as being able to call it well.
Lisa
On Fri, Dec 2, 2011 at 4:58 PM, Don Veino <sharedweight_net(a)veino.com>wrote;wrote:
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers
Thanks Lisa. Are you reading from cards when
doing this or do you memorize
the dances? I've done a fair bit of practicing while riding in the car, but
not yet driving.
On Fri, Dec 2, 2011 at 3:49 PM, Lisa Sieverts <lisa(a)lisasieverts.com>wrote;wrote:
> Don,
>
> Welcome!
>
> My favorite way to practice calling is to play tunes on the stereo and
> call
> while DRIVING. It's a reasonable simulation of the number of things you
> need to be able to do at the same time that you are calling.
>
> Note that I have missed exits in this manner, but have never been in an
> accident :-).
>
> Best,
> Lisa
>
>
--<http://r20.rs6.net/tn.jsp?et=1103582272438&s=522&e=001yMXrq9ir0gBX7ESCD5f3qAy3s-hBfhWCr-aXEvNXEappa8BMWBkPMIpbXiUIvJ0GA0-IJ7h7iGpvzQe1dQBqOmxJqmZvaOOAJCQz7y3uLog=>
lisa(a)lisasieverts.com
603-762-0235
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers 
9:17 p.m.
New subject: Practicing Calling thread
Similarly to practicing calling, I've written a number of dances on my
commute to and from work. Although it passes the time nicely and I don't
succumb to the stresses of driving in Detroit traffic, like Laurie mentions
below, I find I zone out. I've written some nice dances during these drives,
but realize it's better for me and my fellow drivers if I pay attention to
the flow of the traffic instead of the flow of the dancers. 8-)
Mark Hillegonds
cell: 734-756-8441
email: mhillegonds(a)comcast.net
-----Original Message-----
From: callers-bounces(a)sharedweight.net
[mailto:callers-bounces@sharedweight.net] On Behalf Of Laur
Sent: Monday, December 05, 2011 12:50 AM
To: Caller's discussion list
Subject: Re: [Callers] Practicing Calling thread
Well, that sounds good. But I found that I visualize when I start going
through the dances, or my thoughts are such that I'm really not focusing on
the road like I should. It's like I glaze over!
Laurie P
~
When I dance, I cannot judge, I cannot hate, I cannot separate myself from
life. I can only be joyful and whole, that is why I dance. ~Hans Bos~
~
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers
________________________________
From: Linda Leslie <laleslierjg(a)comcast.net>
To: Caller's discussion list <callers(a)sharedweight.net>
Sent: Sunday, December 4, 2011 7:11 PM
Subject: [Callers] Practicing Calling thread
We each have a variety of experiential voices that whisper/speak to us when
issues
come up. For these Shared Weight discussions, of course, it is
usually my caller/dancer voice that is at the forefront. However, in this
particular case, my nurse voice is asking for some time......In particular,
I am reminded that society is trying to get drivers to avoid activities
which take their eyes off the road (California prohibits cell phone use;
Mass prohibits texting by teens, etc).
It seems to me that memorizing dances at home, not looking at any cards or
other
written form of the dance while driving, and then practicing to music
in the car accomplishes at least three things: 1) gets the caller into the
habit of memorizing dances, which always is helpful; 2) offers you extra
practice time beyond that which you can do while at home; 3) keeps the
driver's eyes safely on the road.
Linda Leslie
On Dec 3, 2011, at 10:05 AM, Lisa Sieverts wrote:
> I print my dances in very large fonts on full-size paper, so it's easy to
> glance over at the dance on the passenger seat to check the sequence. I
try
> to learn it as quickly as possible to minimize the
moments when my eyes
are
> not on the road. This is a skill that is also
useful on stage.
>
> I don't want to lose sight of the fact that one's ability to teach a
dance
> effectively is as important as being able to call
it well.
>
> Lisa
>
>
> On Fri, Dec 2, 2011 at 4:58 PM, Don Veino
<sharedweight_net(a)veino.com>wrote;wrote:
>
>> Thanks Lisa. Are you reading from cards when doing this or do you
memorize
>> the dances? I've done a fair bit of
practicing while riding in the car,
but
>> not yet driving.
>>
>> On Fri, Dec 2, 2011 at 3:49 PM, Lisa Sieverts
<lisa(a)lisasieverts.com>wrote;wrote:
>>
>>> Don,
>>>
>>> Welcome!
>>>
>>> My favorite way to practice calling is to play tunes on the stereo and
>>> call
>>> while DRIVING. It's a reasonable simulation of the number of things you
>>> need to be able to do at the same time that you are calling.
>>>
>>> Note that I have missed exits in this manner, but have never been in an
>>> accident :-).
>>>
>>> Best,
>>> Lisa
>>>
>>>
>
>
>
--<http://r20.rs6.net/tn.jsp?et=1103582272438&s=522&e=001yMXrq9ir0gBX7ESCD5f
3qAy3s-hBfhWCr-aXEvNXEappa8BMWBkPMIpbXiUIvJ0GA0-IJ7h7iGpvzQe1dQBqOmxJqmZvaOO
AJCQz7y3uLog=>
lisa(a)lisasieverts.com
603-762-0235
_______________________________________________
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
9:49 p.m.
New subject: Practicing Calling thread
I think Julie's Gypsies was one of these great dances, Mark. I love that dance.
Laurie
________________________________
From: Mark Hillegonds <mhillegonds(a)comcast.net>
To: 'Caller's discussion list' <callers(a)sharedweight.net>
Sent: Monday, December 5, 2011 9:17 PM
Subject: Re: [Callers] Practicing Calling thread
Similarly to practicing calling, I've written a number of dances on my
commute to and from work. Although it passes the time nicely and I don't
succumb to the stresses of driving in Detroit traffic, like Laurie mentions
below, I find I zone out. I've written some nice dances during these drives,
but realize it's better for me and my fellow drivers if I pay attention to
the flow of the traffic instead of the flow of the dancers. 8-)
Mark Hillegonds
cell: 734-756-8441
email: mhillegonds(a)comcast.net
-----Original Message-----
From: callers-bounces(a)sharedweight.net
[mailto:callers-bounces@sharedweight.net] On Behalf Of Laur
Sent: Monday, December 05, 2011 12:50 AM
To: Caller's discussion list
Subject: Re: [Callers] Practicing Calling thread
Well, that sounds good. But I found that I visualize when I start going
through the dances, or my thoughts are such that I'm really not focusing on
the road like I should. It's like I glaze over!
Laurie P
~
When I dance, I cannot judge, I cannot hate, I cannot separate myself from
life. I can only be joyful and whole, that is why I dance. ~Hans Bos~
~
_______________________________________________
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
________________________________
From: Linda Leslie <laleslierjg(a)comcast.net>
To: Caller's discussion list <callers(a)sharedweight.net>
Sent: Sunday, December 4, 2011 7:11 PM
Subject: [Callers] Practicing Calling thread
We each have a variety of experiential voices that whisper/speak to us when
issues
come up. For these Shared Weight discussions, of course, it is
usually my caller/dancer voice that is at the forefront. However, in this
particular case, my nurse voice is asking for some time......In particular,
I am reminded that society is trying to get drivers to avoid activities
which take their eyes off the road (California prohibits cell phone use;
Mass prohibits texting by teens, etc).
It seems to me that memorizing dances at home, not looking at any cards or
other
written form of the dance while driving, and then practicing to music
in the car accomplishes at least three things: 1) gets the caller into the
habit of memorizing dances, which always is helpful; 2) offers you extra
practice time beyond that which you can do while at home; 3) keeps the
driver's eyes safely on the road.
Linda Leslie
On Dec 3, 2011, at 10:05 AM, Lisa Sieverts wrote:
> I print my dances in very large fonts on full-size paper, so it's easy to
> glance over at the dance on the passenger seat to check the sequence. I
try
> to learn it as quickly as possible to
minimize the moments when my eyes
are
> not on the road. This is a skill that is also
useful on stage.
>
> I don't want to lose sight of the fact that one's ability to teach a
dance
> effectively is as important as being able to
call it well.
>
> Lisa
>
>
> On Fri, Dec 2, 2011 at 4:58 PM, Don Veino
<sharedweight_net(a)veino.com>wrote;wrote:
>
>> Thanks Lisa. Are you reading from cards when doing this or do you
memorize
>> the dances? I've done a fair bit of
practicing while riding in the car,
but
>> not yet driving.
>>
>> On Fri, Dec 2, 2011 at 3:49 PM, Lisa Sieverts
<lisa(a)lisasieverts.com>wrote;wrote:
>>
>>> Don,
>>>
>>> Welcome!
>>>
>>> My favorite way to practice calling is to play tunes on the stereo and
>>> call
>>> while DRIVING. It's a reasonable simulation of the number of things you
>>> need to be able to do at the same time that you are calling.
>>>
>>> Note that I have missed exits in this manner, but have never been in an
>>> accident :-).
>>>
>>> Best,
>>> Lisa
>>>
>>>
>
>
>
--<http://r20.rs6.net/tn.jsp?et=1103582272438&s=522&e=001yMXrq9ir0gBX7ESCD5f
3qAy3s-hBfhWCr-aXEvNXEappa8BMWBkPMIpbXiUIvJ0GA0-IJ7h7iGpvzQe1dQBqOmxJqmZvaOO
AJCQz7y3uLog=>
lisa(a)lisasieverts.com
603-762-0235
_______________________________________________
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
6 Dec
6 Dec
1:02 a.m.
New subject: Practicing Calling thread
Dance please. I am intrigued. How does "Julie's Gypsies" go.
Rickey Holt,
Fremont, NH
-----Original Message-----
From: callers-bounces(a)sharedweight.net
[mailto:callers-bounces@sharedweight.net] On Behalf Of Laur
Sent: Monday, December 05, 2011 9:50 PM
To: Caller's discussion list
Subject: Re: [Callers] Practicing Calling thread
I think Julie's Gypsies was one of these great dances, Mark. I love that
dance.
Laurie
________________________________
From: Mark Hillegonds <mhillegonds(a)comcast.net>
To: 'Caller's discussion list' <callers(a)sharedweight.net>
Sent: Monday, December 5, 2011 9:17 PM
Subject: Re: [Callers] Practicing Calling thread
Similarly to practicing calling, I've written a number of dances on my
commute to and from work. Although it passes the time nicely and I
don't succumb to the stresses of driving in Detroit traffic, like
Laurie mentions below, I find I zone out. I've written some nice dances
during these drives, but realize it's better for me and my fellow
drivers if I pay attention to the flow of the traffic instead of the
flow of the dancers. 8-)
Mark Hillegonds
cell: 734-756-8441
email: mhillegonds(a)comcast.net
-----Original Message-----
From: callers-bounces(a)sharedweight.net
[mailto:callers-bounces@sharedweight.net] On Behalf Of Laur
Sent: Monday, December 05, 2011 12:50 AM
To: Caller's discussion list
Subject: Re: [Callers] Practicing Calling thread
Well, that sounds good. But I found that I visualize when I start
going through the dances, or my thoughts are such that I'm really not
focusing on the road like I should. It's like I glaze over!
Laurie P
~
When I dance, I cannot judge, I cannot hate, I cannot separate myself
from life. I can only be joyful and whole, that is why I dance. ~Hans
Bos~ ~
_______________________________________________
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
________________________________
From: Linda Leslie <laleslierjg(a)comcast.net>
To: Caller's discussion list <callers(a)sharedweight.net>
Sent: Sunday, December 4, 2011 7:11 PM
Subject: [Callers] Practicing Calling thread
We each have a variety of experiential voices that whisper/speak to us
when
issues come up. For these Shared Weight discussions, of course, it is
usually my caller/dancer voice that is at the forefront. However, in
this particular case, my nurse voice is asking for some time......In
particular, I am reminded that society is trying to get drivers to
avoid activities which take their eyes off the road (California
prohibits cell phone use; Mass prohibits texting by teens, etc).
It seems to me that memorizing dances at home, not looking at any
cards or
other written form of the dance while driving, and then practicing to
music in the car accomplishes at least three things: 1) gets the caller
into the habit of memorizing dances, which always is helpful; 2) offers
you extra practice time beyond that which you can do while at home; 3)
keeps the driver's eyes safely on the road.
Linda Leslie
On Dec 3, 2011, at 10:05 AM, Lisa Sieverts wrote:
> I print my dances in very large fonts on full-size paper, so it's
> easy to glance over at the dance on the passenger seat to check the
> sequence. I
try
> to learn it as quickly as possible to
minimize the moments when my
> eyes
are
> not on the road. This is a skill that is also
useful on stage.
>
> I don't want to lose sight of the fact that one's ability to teach a
dance
> effectively is as important as being able to
call it well.
>
> Lisa
>
>
> On Fri, Dec 2, 2011 at 4:58 PM, Don Veino
<sharedweight_net(a)veino.com>wrote;wrote:
>
>> Thanks Lisa. Are you reading from cards when doing this or do you
memorize
>> the dances? I've done a fair bit of
practicing while riding in the
>> car,
but
>> not yet driving.
>>
>> On Fri, Dec 2, 2011 at 3:49 PM, Lisa Sieverts
<lisa(a)lisasieverts.com>wrote;wrote:
>>
>>> Don,
>>>
>>> Welcome!
>>>
>>> My favorite way to practice calling is to play tunes on the stereo
>>> and call while DRIVING. It's a reasonable simulation of the number
>>> of things you need to be able to do at the same time that you are
>>> calling.
>>>
>>> Note that I have missed exits in this manner, but have never been
>>> in an accident :-).
>>>
>>> Best,
>>> Lisa
>>>
>>>
>
>
>
--<http://r20.rs6.net/tn.jsp?et=1103582272438&s=522&e=001yMXrq9ir0gBX7E
SCD5f
3qAy3s-hBfhWCr-aXEvNXEappa8BMWBkPMIpbXiUIvJ0GA0-IJ7h7iGpvzQe1dQBqOmxJqm
ZvaOO
AJCQz7y3uLog=>
lisa(a)lisasieverts.com
603-762-0235
_______________________________________________
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 Dec
7 Dec
8:11 p.m.
New subject: Practicing Calling thread
Hi all,
Per Rickey's request, here is Julie's Gypsy's. I've also taken the
liberty
of posting a couple more dances that I wrote while driving. The red text is
teaching reminders.
I hope you enjoy them.
Julies Gypsies
CONTRA
INT
Author
Scalar Scalawags, June 7, 2008
Formation
Duple Minor, Improper
Tune
A1
Start the dance by asking women to face in and men face out to form a long
wavy line. Neighbors have right hands
(4) Long wavy lines balance right and left; (4) Neighbor allemande right
once
(4) Ladies pass left shoulder; (4) Partner right shoulder gypsy
A2
(4) Ladies pass left shoulder; (12) Neighbor swing
B1
(6) Circle left ¾; (10) Partner swing
B2
(8) Ladies chain; (8) Left hand star ¾ (look for new neighbor on
right)
NOTES
This dance was written for Julie, a wonderful dancer from Goshen, IN on the
occasion of her hmmth birthday. The Scalar Scalawags (Elisabeth Epstein,
Neil Epstein, Dave Sebolt, and Mark Hillegonds) colluded to write the dance
on the drive to play a dance in Goshen.
Starting with the Ladies pass left shoulder in the 2nd half of A1, the
ladies are doing a full left shoulder hey. The men trace circles, but dont
change sides.
Robbs a Snob
CONTRA
INT
Author
Mark Hillegonds, January, 2008
Formation
Duple minor, Becket CW
Tune
A1
(8) On left diagonal, right and left thru
(8) Ladies gypsy right 1 ½ (exit gypsy by passing neighbor by right
shoulder)
A2
(16) Men left shoulder hey for four
B1
(4) Circle left ¾ (end facing partner up and down the set)
(4) As couple pass by right shoulders (travel with neighbor)
(4) With next couple, circle right ½
(4) As couple pass by left shoulders
B2
(16) Partner balance and swing
NOTES
Written on the way to Grand Rapids, MI to call a dance. We walked the dance
through at dinner with some fellow dancers. Someone made a comment about
how Robbs a snob and the dance had its name.
Greenleaf Twirl
CONTRA
HARDER
Author
Mark and Julia Hillegonds, August 11, 2007
Formation
Duple minor, Improper
Tune
Smooth jigs or reels
A1
(8) Neighbor swing
(4) Long lines forward; (4) Gents pull partner back with him and roll
her away to gents right
A2
(8) Gents allemande left 2; (8) Partner swing
B1
(16) Men lead left shoulder hey for 4, ladies ricochet when they meet the
second time
B2
(8) Actives Mad Robin up around original neighbors
(8) With new neighbors do si do (optional to raise arms over head like a
ballerina while twirling around in the do si do the Greenleaf Twirl!!)
NOTES
B1 The single ricochet by the ladies will allow them to get back to their
side for the Mad Robin and eventual progression.
This dance was written on the way home from English and American week at
Pinewoods, 2007. Lisa Greenleaf was the lead contra caller that week and
was spotted performing the above twirl while dancing do si dos. This caught
on and others were soon following her lead.
Mark Hillegonds
cell: 734-756-8441
email: mhillegonds(a)comcast.net
-----Original Message-----
From: callers-bounces(a)sharedweight.net
[mailto:callers-bounces@sharedweight.net] On Behalf Of Rickey Holt
Sent: Tuesday, December 06, 2011 1:03 AM
To: 'Laur'; 'Caller's discussion list'
Subject: Re: [Callers] Practicing Calling thread
Dance please. I am intrigued. How does "Julie's Gypsies" go.
Rickey Holt,
Fremont, NH
-----Original Message-----
From: callers-bounces(a)sharedweight.net
[mailto:callers-bounces@sharedweight.net] On Behalf Of Laur
Sent: Monday, December 05, 2011 9:50 PM
To: Caller's discussion list
Subject: Re: [Callers] Practicing Calling thread
I think Julie's Gypsies was one of these great dances, Mark. I love that
dance.
Laurie
>
>
>>
>>>>
>>
>>
>>
>
>
_______________________________________________
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
________________________________
From: Mark Hillegonds <mhillegonds(a)comcast.net>
To: 'Caller's discussion list'
<callers(a)sharedweight.net>
Sent: Monday, December 5, 2011 9:17 PM
Subject: Re: [Callers] Practicing Calling thread
Similarly to practicing calling, I've written a
number of dances on my
commute to and from work. Although it passes the time
nicely and I
don't succumb to the stresses of driving in Detroit
traffic, like
Laurie mentions below, I find I zone out. I've
written some nice dances
during these drives, but realize it's better for me
and my fellow
drivers if I pay attention to the flow of the traffic
instead of the
flow of the dancers. 8-)
Mark Hillegonds
cell: 734-756-8441
email: mhillegonds(a)comcast.net
-----Original Message-----
From: callers-bounces(a)sharedweight.net
[mailto:callers-bounces@sharedweight.net] On Behalf Of
Laur
Sent: Monday, December 05, 2011 12:50 AM
To: Caller's discussion list
Subject: Re: [Callers] Practicing Calling thread
Well, that sounds good. But I found that I visualize
when I start
going through the dances, or my thoughts are such that
I'm really not
focusing on the road like I should. It's like I
glaze over!
Laurie P
~
When I dance, I cannot judge, I cannot hate, I cannot
separate myself
from life. I can only be joyful and whole, that is why
I dance. ~Hans
Bos~ ~
________________________________
> From: Linda Leslie <laleslierjg(a)comcast.net>
>To: Caller's discussion list
<callers(a)sharedweight.net>
>Sent: Sunday, December 4, 2011 7:11 PM
>Subject: [Callers] Practicing Calling thread
> >We each have a variety of experiential voices that
whisper/speak to us
>when
issues come up. For these Shared Weight discussions, of
course, it is
usually my caller/dancer voice that is at the
forefront. However, in
this particular case, my nurse voice is asking for some
time......In
particular, I am reminded that society is trying to get
drivers to
avoid activities which take their eyes off the road
(California
prohibits cell phone use; Mass prohibits texting by
teens, etc).
> >It seems to me that memorizing dances at home, not
looking at any
>cards or
other written form of the dance while driving, and then
practicing to
music in the car accomplishes at least three things: 1)
gets the caller
into the habit of memorizing dances, which always is
helpful; 2) offers
you extra practice time beyond that which you can do
while at home; 3)
keeps the driver's eyes safely on the road.
>Linda Leslie
> >On Dec 3, 2011, at 10:05 AM, Lisa Sieverts wrote:
> >> I print my dances in very large fonts on
full-size paper, so it's
>> easy to glance over at the dance on the
passenger seat to check the
>> sequence. I
try
>> to learn it as quickly as possible to minimize
the moments when my
>> eyes
are
>> not on the road. This is a skill that is also
useful on stage.
>> >> I don't want to lose sight of the fact
that one's ability to teach a
dance
>> effectively is as important as being able to
call it well.
>> >> Lisa
>> >> On Fri, Dec 2, 2011 at 4:58 PM, Don Veino
<sharedweight_net(a)veino.com>wrote;wrote:
>> >>> Thanks Lisa. Are you reading from cards
when doing this or do you
memorize
>>> the dances? I've done a fair bit of
practicing while riding in the
>>> car,
but
>>> not yet driving.
>>> >>> On Fri, Dec 2, 2011 at 3:49 PM, Lisa
Sieverts
<lisa(a)lisasieverts.com>wrote;wrote:
>>> >>>> Don,
>>>> >>>> Welcome!
>>>> >>>> My favorite way to practice calling is
to play tunes on the stereo
>>>> and call while DRIVING. It's a
reasonable simulation of the number
>>>> of things you need to be able to do at
the same time that you are
>>>> calling.
>>>> >>>> Note that I have missed exits in this
manner, but have never been
>>>> in an accident :-).
>>>> >>>> Best,
>> >> Lisa
>>>>
--<http://r20.rs6.net/tn.jsp?et=1103582272438&s=522&e=001yMXrq9ir0gBX7E
SCD5f
3qAy3s-hBfhWCr-aXEvNXEappa8BMWBkPMIpbXiUIvJ0GA0-IJ7h7iGpvzQe1dQBqOmxJqm
ZvaOO
AJCQz7y3uLog=>
>> lisa(a)lisasieverts.com
>> 603-762-0235
>>
_______________________________________________
>> Callers mailing list
>> Callers(a)sharedweight.net
> >_______________________________________________
>Callers mailing list
>Callers(a)sharedweight.net
>http://www.sharedweight.net/mailman/listinfo/callers
> _______________________________________________
Callers mailing list
Callers(a)sharedweight.net
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
10 Dec
10 Dec
12:08 p.m.
New subject: Practicing Calling thread
Hi all,
Based on a few emails I've received, it seems the lack of formatting from my
original post of the dances is causing some confusion. I have my dances
saved in a Word document with tables and that didn't copy and paste so well
into a text-based email format.
Here are the dances again in a (hopefully) more easily useable format. Sorry
for any hassle from the first time around.
Formatting note: text in parentheses are teaching or orientation notes that
I find helpful. Your mileage may vary.
****************
Julie's Gypsies
Mark Hillegonds, Jun 2008
Duple minor, Improper
(Start the dance by having the dancers take hands in long wavy lines, women
facing in, men facing out. Neighbors have right hands.)
A1
(4) Long wavy lines balance right and left
(4) Neighbor allemande right once
(4) Ladies pass left shoulder
(4) Partner right shoulder gypsy
A2
(4) Ladies pass left shoulder
(12) Neighbor swing
B1
(6) Circle left 3/4
(10) Partner swing
B2
(8) Ladies chain
(8) Left hand star 3/4 (look for new neighbor on right)
NOTES: Starting with the Ladies pass left shoulder in the 2nd half of A1,
the ladies trace the path of a full hey. The men trace circles, but dont
change sides.
*****************
Robb's a Snobb
Mark Hillegonds, Jan 2008
Duple Minor, Becket
A1
(8) On left diagonal, right and left thru
(8) Ladies gypsy right 1 1/2 (exit gypsy by passing neighbor by right
shoulder)
A2
(16) Men left shoulder hey for four (important to finish the hey to be in
the right places for the circle)
B1
(4) Circle left 3/4 (end facing partner up and down the set)
(4) As couple pass by right shoulders (travel with neighbor)
(4) With next couple, circle right 1/2
(4) As couple pass by left shoulders
B2
(16) Partner balance and swing
*********************
Greenleaf Twirl
Mark Hillegonds, Aug 2007
Duple Minor, Improper
Tunes: Smooth jigs or reels work nicely
A1
(8) Neighbor swing
(4) Long lines forward
(4) Gents pull partner back with him and roll her away to gents right
A2
(4) Gents allemande left
(12) Partner swing
B1
(16) Men lead left shoulder hey for 4, ladies ricochet (push back) when they
meet the second time
B2
(8) Mad Robin around original neighbors (Actives will Mad Robin up and
Inactives down)
(8) With new neighbors do si do (optional to raise arms over head like a
ballerina while twirling around in the do si do the Greenleaf Twirl!!)
NOTES B1 The single ricochet by the ladies will allow them to get back
to their side for the Mad Robin and eventual progression.
This dance was written on the way home from English and American week at
Pinewoods, 2007. Lisa Greenleaf was the lead contra caller that week and
was spotted performing the above twirl while dancing do si dos. This caught
on and others were soon following her lead.
Mark Hillegonds
cell: 734-756-8441
email: mhillegonds(a)comcast.net
-----Original Message-----
From: callers-bounces(a)sharedweight.net
[mailto:callers-bounces@sharedweight.net] On Behalf Of Laur
Sent: Monday, December 05, 2011 9:50 PM
To: Caller's discussion list
Subject: Re: [Callers] Practicing Calling thread
I think Julie's Gypsies was one of these great dances, Mark. I love that
dance.
Laurie
you
f
________________________________
From: Mark Hillegonds <mhillegonds(a)comcast.net>
To: 'Caller's discussion list' <callers(a)sharedweight.net>
Sent: Monday, December 5, 2011 9:17 PM
Subject: Re: [Callers] Practicing Calling thread
Similarly to practicing calling, I've written a number of dances on my
commute to and from work. Although it passes the time nicely and I don't
succumb to the stresses of driving in Detroit traffic, like Laurie mentions
below, I find I zone out. I've written some nice dances during these
drives,
but realize it's better for me and my fellow
drivers if I pay attention to
the flow of the traffic instead of the flow of the dancers. 8-)
Mark Hillegonds
cell: 734-756-8441
email: mhillegonds(a)comcast.net
-----Original Message-----
From: callers-bounces(a)sharedweight.net
[mailto:callers-bounces@sharedweight.net] On Behalf Of Laur
Sent: Monday, December 05, 2011 12:50 AM
To: Caller's discussion list
Subject: Re: [Callers] Practicing Calling thread
Well, that sounds good. But I found that I visualize when I start going
through the dances, or my thoughts are such that I'm really not focusing on
the road like I should. It's like I glaze over!
Laurie P
~
When I dance, I cannot judge, I cannot hate, I cannot separate myself from
life. I can only be joyful and whole, that is why I dance. ~Hans Bos~
~
>________________________________
> From: Linda Leslie <laleslierjg(a)comcast.net>
>To: Caller's discussion list <callers(a)sharedweight.net>
>Sent: Sunday, December 4, 2011 7:11 PM
>Subject: [Callers] Practicing Calling thread
>
>We each have a variety of experiential voices that whisper/speak to us
when
issues come up. For these Shared Weight discussions, of
course, it is
usually my caller/dancer voice that is at the forefront. However, in this
particular case, my nurse voice is asking for some time......In particular,
I am reminded that society is trying to get drivers to avoid activities
which take their eyes off the road (California prohibits cell phone use;
Mass prohibits texting by teens, etc).
to
It seems to me that memorizing dances at home, not looking at any cards or
other
written form of the dance while driving, and then practicing to music
in the car accomplishes at least three things: 1) gets the caller into the
habit of memorizing dances, which always is helpful; 2) offers you extra
practice time beyond that which you can do while at home; 3) keeps the
driver's eyes safely on the road.
>Linda Leslie
>
>
>On Dec 3, 2011, at 10:05 AM, Lisa Sieverts wrote:
>
>> I print my dances in very large fonts on full-size paper, so it's easy
> glance
over at the dance on the passenger seat to check the sequence. I
try
> to learn it as quickly as possible to
minimize the moments when my eyes
are
> not on the road. This is a skill that is also
useful on stage.
>
> I don't want to lose sight of the fact that one's ability to teach a
dance
> effectively is as important as being able to
call it well.
>
> Lisa
>
>
> On Fri, Dec 2, 2011 at 4:58 PM, Don Veino
<sharedweight_net(a)veino.com>wrote;wrote:
>
>> Thanks Lisa. Are you reading from cards when doing this or do you
memorize
>> the dances? I've done a fair bit of
practicing while riding in the car,
but
>> not yet driving.
>>
>> On Fri, Dec 2, 2011 at 3:49 PM, Lisa Sieverts
<lisa(a)lisasieverts.com>wrote;wrote:
>>>
>>>> Don,
>>>>
>>>> Welcome!
>>>>
>>>> My favorite way to practice calling is to play tunes on the stereo and
>>>> call
>>>> while DRIVING. It's a reasonable simulation of the number of things
>>>> need to be able to do at the same time
that you are calling.
>>>>
>>>> Note that I have missed exits in this manner, but have never been in
an
>>>
accident :-).
>>>
>>> Best,
>>> Lisa
>>>
>>>
>
>
>
--<http://r20.rs6.net/tn.jsp?et=1103582272438&s=522&e=001yMXrq9ir0gBX7ESCD5
3qAy3s-hBfhWCr-aXEvNXEappa8BMWBkPMIpbXiUIvJ0GA0-IJ7h7iGpvzQe1dQBqOmxJqmZvaO
O
AJCQz7y3uLog=>
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11 Dec
11 Dec
5:19 p.m.
New subject: Practicing Calling thread
thank you for your dances. I plan to try one or more of them in the future.
I have a question about the timing of the B! part of Robb's A Snobb. It
seems like a lot to fit into the available time. How does it work on
reality, especialy as it follows a Hey that some might finish a bit late,
already.
It's been my observation that a simple full circle followed by a couple
do-si-do (As in Bil Olsen's Cranky ingenuity) can be hard to finish in the
time available, especially for beginners, or slower dancers. In this case,
your circle 1 1/4 and also do a full couple do-si-do, but with a lot more
transitions, as well.
Are there timing issues that may cause problems or does this actually work
ok?
Thanks again for the dances,
Rich Hart.
On Sat, Dec 10, 2011 at 12:08 PM, Mark Hillegonds
<mhillegonds(a)comcast.net>wrote;wrote:
Hi all,
****************
Robb's a Snobb
Mark Hillegonds, Jan 2008
Duple Minor, Becket
A1
(8) On left diagonal, right and left thru
(8) Ladies gypsy right 1 1/2 (exit gypsy by passing neighbor by right
shoulder)
A2
(16) Men left shoulder hey for four (important to finish the hey to be in
the right places for the circle)
B1
(4) Circle left 3/4 (end facing partner up and down the set)
(4) As couple pass by right shoulders (travel with neighbor)
(4) With next couple, circle right 1/2
(4) As couple pass by left shoulders
B2
(16) Partner balance and swing
12 Dec
12 Dec
8:57 p.m.
New subject: Practicing Calling thread
Hi, Rich.
Thanks for the question. I've called the dance numerous times and have
danced it and can assure you it flows nicely. You are correct in that the
transition from the hey through the B1 sequence is the tricky bit of the
dance, but it's accessible to all but the most geographically challenged
dancers.
And by geographically challenged, I DO NOT mean beginners! 8-) I've called
the dance where there were quite a few beginners without problems.
First of all, the circle immediately following the hey is only 3/4.
Second, (and maybe this is clear, but I'll clarify anyway), when I say as a
couple pass by... the couple (neighbors) keep hands and veer past their
respective partners (who are the other couple in the foursome) and have four
beats to dance to the next couple with whom they circle right. Each couple
is roughly tracing a figure 8 during the pass right, circle right, pass left
sequence.
Finally, the partner balance and swing to end the dance is an nice recovery
point if someone is running a bit late. However, like the hey for 8 in Major
Hey, I find that dancers enjoy the thrill of getting to their partners on
time for the balance and swing and navigate the moves quite nicely.
If you're anywhere near Michigan, I'd be happy to come and call the dance
for your group! 8-)
Mark Hillegonds
cell: 734-756-8441
email: mhillegonds(a)comcast.net
-----Original Message-----
From: callers-bounces(a)sharedweight.net
[mailto:callers-bounces@sharedweight.net] On Behalf Of Richard Hart
Sent: Sunday, December 11, 2011 5:20 PM
To: Caller's discussion list
Subject: Re: [Callers] Practicing Calling thread
thank you for your dances. I plan to try one or more of them in the future.
I have a question about the timing of the B! part of Robb's A Snobb. It
seems like a lot to fit into the available time. How does it work on
reality, especialy as it follows a Hey that some might finish a bit late,
already.
It's been my observation that a simple full circle followed by a couple
do-si-do (As in Bil Olsen's Cranky ingenuity) can be hard to finish in the
time available, especially for beginners, or slower dancers. In this case,
your circle 1 1/4 and also do a full couple do-si-do, but with a lot more
transitions, as well.
Are there timing issues that may cause problems or does this actually work
ok?
Thanks again for the dances,
Rich Hart.
On Sat, Dec 10, 2011 at 12:08 PM, Mark Hillegonds
<mhillegonds(a)comcast.net>wrote;wrote:
Hi all,
****************
Robb's a Snobb
Mark Hillegonds, Jan 2008
Duple Minor, Becket
A1
(8) On left diagonal, right and left thru
(8) Ladies gypsy right 1 1/2 (exit gypsy by passing neighbor by right
shoulder)
A2
(16) Men left shoulder hey for four (important to finish the hey to be in
the right places for the circle)
B1
(4) Circle left 3/4 (end facing partner up and down the set)
(4) As couple pass by right shoulders (travel with neighbor)
(4) With next couple, circle right 1/2
(4) As couple pass by left shoulders
B2
(16) Partner balance and swing
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3 Dec
3 Dec
1:15 p.m.
Don,
Congratulations! I'm sure you will do well. Remember that all of the
dancers want, very much, for you to succeed and will help in any way they
can. The first tip is to work on getting all of the first-timers matched
up with the regulars. This will allow them to help you more effectively.
If you can integrate the hall in this way you will eliminate most of the
problems that could crop up.
Call to the entire hall and watch the entire hall.
If there is "trouble" in some part of the hall you will see it out of the
corner of your eye. It is important to *not *look directly at the confused
dancers! There is seldom anything you can learn from them and it is likely
to throw you off if you watch them carefully. (It can also throw them off
because it may make them nervous if they see the caller watching them.)
Regardless of what the confused dancers are doing the solution is almost
always the same: Call clearly, succinctly, in time with the music, and use
effective word order in forming your calls.
Most set breakdowns are the result of the caller watching and desperately
trying to "help" the confused dancers. I know there is real trouble when I
hear the caller say something like: "No! Swing the *other *one, the one on
your RIGHT!!" That kind of targeted instruction-from-the-mike comes from
watching the confused dancers carefully. It always ends badly.
Also, let the dancers know that you are impressed with how well they are
doing. Just a simple word like "Good!" during the walk-through will put
many dancers at ease. If the dancers believe you are pleased with them
they will listen to you more carefully.
Good luck!
Greg McKenzie
****************
On Thu, Dec 1, 2011 at 10:20 PM, Don Veino <sharedweight_net(a)veino.com>wrote;wrote:
Hi Folks,
Brand new to the list. I'm one of the organizers for the MondayContras
series at the Concord, MA Scout House and have been an avid dancer for just
over 4 years now. Hi to those I already know and to those of you I'll get
to know from here!
I've been an occasional caller for dances on shared evening programs and
camper nights, etc. but have my first full evening coming up later this
month, which I'm excited about. This is for a smaller regional dance that
attracts a mixed crowd of mostly periodic dancers. I've done some basic
"how to call" workshops at festivals, etc. but have not taken a formal
caller's course.
I'm planning to tailor my dance selection to the expected crowd and build
in some flexibility to address variability. I'm pretty confident in my
dance selection skills but I'm definitely still counting my way through the
music to call. So one concern is with making sure I stay firmly anchored to
the music, without depending upon the crowd for cues. I craft my calls to
fit the phrasing and rehearse with music to get confident but dance
breakdowns are a fear. I've come close a couple of times early on but have
been able to set things right somehow on the fly... however, I was not very
confident doing so at the time.
So with that concern, a couple of related questions:
- Do you have practiced recovery routines (more than just "get home and
swing your partner")? Is that common? Or do most callers just make it up on
the spot?
- In working with the musicians, are there any customary "I've lost track,
where are we in the music?" signals?
I look forward to learning from the shared wisdom of the group here and am
open to any other tips you may have.
Thanks,
Don
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4 Dec
4 Dec
1 p.m.
When I'm in the band and I've lost count, I like to hear from the caller,
about the time you'd be calling the next move "B 1 coming up". Then, on the
next beat, I can start playing it right then.
If I haven't been too involved in picking the next tune or catching up with
fellow band members and have been watching the walkthrough as I should have
been, I myself can then figure out how far the band is off and can tell us
(or, on some occasions, the caller) where we are.
Another key thing is to signal the "3 more times" or "2 more times" or
"1
more time" in the B2. If you tell us in the B1, we'll forget by the time
the tune is over. And if you tell us 2 more in the A1 (quel horreurs!) we
will not know if you mean "This one and one more," or "Two more after this
one." So PLEASE don't tell us how many more times when we're playing the
A1, even if that is when you just remembered you had to tell us! (It's
okay to tell us "Last Time" then, but make it loud and clear.)
And the secret is: when you've got everyone dancing, and no one is out at
the top, tell us 2 more during the B2. Then the next one will be with one
couple out, and the one after that, everyone's back in again. If you screw
up, we may be kind and play an extra time through so everyone is dancing at
the end and you'll think you did it right, or we'll be mean (or oblivious)
and do what you told us to do.
M
E
1:11 p.m.
I try to finish without a couple out at the top, but there still could
be at the bottom and on the potential problem scale I think this this
is a very minor point.
On Sun, Dec 4, 2011 at 1:00 PM, Martha Edwards
And the secret is: when you've got everyone
dancing, and no one is out at
the top, tell us 2 more during the B2. Then the next one will be with one
couple out, and the one after that, everyone's back in again. If you screw
up, we may be kind and play an extra time through so everyone is dancing at
the end and you'll think you did it right, or we'll be mean (or oblivious)
and do what you told us to do.
1:21 p.m.
Right. By "everyone" dancing, I meant "everyone" at the top.
Obviously, if
there are an odd number of couples, one has to be out somewhere. But better
at the bottom than at the top, because if there are an even number of
couples, and there's one out at the top, there's one out at the bottom,
too.
M
E
On Sun, Dec 4, 2011 at 12:11 PM, Donald Perley <donperley(a)gmail.com> wrote:
I try to finish without a couple out at the top, but
there still could
be at the bottom and on the potential problem scale I think this this
is a very minor point.
On Sun, Dec 4, 2011 at 1:00 PM, Martha Edwards
--
As you set out for Ithaka, pray that your journey be long, full of
adventure, full of discovery...
May there be many summer mornings when, with what pleasure, with what joy,
you enter harbors you're seeing for the first time.
~Constantine Cavafy, "Ithaka" 1911
And the secret is: when you've got everyone
dancing, and no one is out at
the top, tell us 2 more during the B2. Then the next one will be with one
couple out, and the one after that, everyone's back in again. If you
screw
up, we may be kind and play an extra time through
so everyone is dancing
at
the end and you'll think you did it right, or
we'll be mean (or
oblivious)
and do what you told us to do.
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21 comments
13 participants
participants (13)
-
Alan Winston - SSRL Central Computing -
Don Veino -
Donald Perley -
Greg McKenzie -
Laur -
Linda Leslie -
Lisa Sieverts -
lynn ackerson -
Mark Hillegonds -
Martha Edwards -
Richard Hart -
Rickey Holt -
Robert Livingston