1 May
2008
1 May
'08
11:33 a.m.
Thanks to both Amy and Will for your comments.
Amy asked:
****Do I sense a certain amount of subtext here?***
Subtext? I'm only trying to help.
We all have different goals at a dance. The
caller, I believe, takes responsibility for
knowing the common goals of the entire hall and
working toward that end. This is a big
challenge, and few of us will ever excel at
it. It requires leadership and an understanding
of the subtle influence a caller can have on both
the evening's event, and on the tradition of
contras over time. That is the real challenge of
calling and I hope that I will someday be good at it.
I understand that there are some dancers, and
many callers, who enjoy the challenge of
medleys. A caller should also know that even a
flawlessly executed medley will not be enjoyed by
some people and that those people are likely to
include new dancers and those who enjoy dancing with newcomers.
When I attended NEFFA some years ago I was one of
those who, during the medley, took the time to get my dinner.
Will spoke of, "
novice dancers who know the
basics." I think this is a self-canceling
phrase. Clearly there is a role for contra
medleys in the current culture of dance camps and
festivals. (This may partly explain why you
don't see me at such events designed exclusively
for dance enthusiasts.) The question here is
whether medleys have a role at regular community
dances that are open to the public. The caller,
in that context, plays a different role than at
an event intended only for dance enthusiasts.
The real question is: What is the purpose of the
dance evening, and what is the role of the caller
in achieving that purpose? Answering that
question is the ultimate challenge of contra dance calling.
Just a thought,
Greg McKenzie
1 May
1 May
11:59 a.m.
New subject: 2 questions
Thanks for your response Greg, I very much agree with you on the "real
question" - I think that every evening will have a different answer. In my
experience, medleys can definitely have a place in some public events if
they are done at an appropriate time and appropriate level.
Will spoke of, "
novice dancers who know the
basics." I think this is a self-canceling
phrase.
I had to go lookup the definition of "novice" which I always thought meant
someone who is learning but is not a complete beginner (and who therefore
might know the basics of the skill in question). Seems that while it can in
fact mean that, someone with some skills, but that the more common usage is
that of someone with no experience at all, hence the apparent contradiction
in my sentence.
on 5/1/08 11:33 AM, Greg McKenzie at gregmck(a)earthlink.net wrote:
--
William M. Loving
Dedication Technologies, Inc.
7 Coach Lane
Amherst, MA 01002-3304 USA
will(a)dedicationtechnologies.com
Tel: +1 413 253-7223 (GMT 5)
Fax: +1 206 202-0476
12:35 p.m.
New subject: 2 questions
Anyone who wants to call a contra medley would be well served by
carefully reading Greg's cautionary statements. Contra dancing, taken
as a whole, is meant at its foundation to be an inclusive,
community-building activity. On rare occasions we spice up that formula
by adding a twist, such as a medley. Medleys are exclusive at their
foundation, but can become inclusive if they are so well executed by
the band and caller that the dancers succeed, sometimes going beyond
their own personal expectations. Then the dancers will say "WE did it!"
(significantly, not "I did it!"), and so the occasional, very well
crafted medley may actually support the inclusive,
community-orientation of contra dance. But true opportunities to create
this dynamic at a regular, community contra dance are very small, so
small that I sense Greg would say it ought not to be tried at all. I
wouldn't go quite that far, but I'd come pretty close to it. There are
a few prerequisites. The caller must have previously worked with the
band enough times so that they have a easy rapport and know each
other's tendencies onstage. The caller must know his dancers, some
personally through prior experience, and the new dancers by accurate
assessment as he watches them interact with others on the dance floor
prior to the medley. And finally, the caller must know himself/herself.
The caller must be seeking to create a community dynamic by means of
the medley, and not merely trying to show everyone what a cool dude he
is with a microphone. The caller must know the dances backwards and
forwards and in his sleep. If you're still parsing out where bits of
choreography fall in a dance sequence, then calling medleys is not a
good idea. The caller must have the skill to call economically while
communicating fully, the poise to simultaneously pay attention to the
band and the dancers, and the common sense to shove the planned medley
back in his pocket, unused, forty-nine times out of fifty. ... Bob
Robert Jon Golder
164 Maxfield St
New Bedford, MA 02740 USA
508-999-2486
On May 1, 2008, at 11:33 AM, Greg McKenzie wrote:
Thanks to both Amy and Will for your comments.
Amy asked:
****Do I sense a certain amount of subtext
here?***
Subtext? I'm only trying to help.
We all have different goals at a dance. The
caller, I believe, takes responsibility for
knowing the common goals of the entire hall and
working toward that end. This is a big
challenge, and few of us will ever excel at
it. It requires leadership and an understanding
of the subtle influence a caller can have on both
the evening's event, and on the tradition of
contras over time. That is the real challenge of
calling and I hope that I will someday be good at it.
I understand that there are some dancers, and
many callers, who enjoy the challenge of
medleys. A caller should also know that even a
flawlessly executed medley will not be enjoyed by
some people and that those people are likely to
include new dancers and those who enjoy dancing with newcomers.
When I attended NEFFA some years ago I was one of
those who, during the medley, took the time to get my dinner.
Will spoke of, "…novice dancers who know the
basics." I think this is a self-canceling
phrase. Clearly there is a role for contra
medleys in the current culture of dance camps and
festivals. (This may partly explain why you
don't see me at such events designed exclusively
for dance enthusiasts.) The question here is
whether medleys have a role at regular community
dances that are open to the public. The caller,
in that context, plays a different role than at
an event intended only for dance enthusiasts.
The real question is: What is the purpose of the
dance evening, and what is the role of the caller
in achieving that purpose? Answering that
question is the ultimate challenge of contra dance calling.
Just a thought,
Greg McKenzie
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2 comments
3 participants
participants (3)
-
Greg McKenzie -
Robert Golder -
Will Loving