I don't necessarily mix up the calling as much as the hash approach  
below - but I do sometimes change an easy beginner dance with two  
ladies chains into two right and left throughs midway through the  
dance, with a warning that I might do something like that before I  
begin the dance, just for variety (and if I want to teach both of  
those for some later dances). In dances later in the evening, I'll  
occasionally have the men do-si-do instead of the women if it's just  
once, though there's at least one dance where it's one-and-a half  
that I can do a reciprocal crossing move at the end to make it all  
work out OK.  Or switch other similar figures, or switch around and  
have the twos swing and face up every other time instead of the one's  
swing and face down if I want to do an unequal dance but give  
everyone a chance to swing their partners.
Martha
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 Today's Topics:
    1. Re: Hash Call (John Sweeney)
 ----------------------------------------------------------------------
 Message: 1
 Date: Thu, 23 Sep 2010 17:27:15 +0100
 From: "John Sweeney" <info(a)contrafusion.co.uk>
 To: <callers(a)sharedweight.net>
 Subject: Re: [Callers] Hash Call
 Message-ID: <E95A66998AE749C78576F0ACE6D438A4@JohnT400>
 Content-Type: text/plain;	charset="us-ascii"
 Hi Jeanette,
 	Sorry, hash is a term used by square dancers to mean a dance
 where there are no initial walk-through and no fixed pattern to the
 dance - the caller calls whatever they want and the dancers respond
 immediately (with the extra challenge in Modern Western Square Dancing
 that the name of the move also defines exactly which way you face  
 at the
 end of the move!).
 	They often do a "tip" of two dances one after another with the
 same partner (and indeed the same other six people in your square).  
 The
 hash call comes first, and then (brain now thoroughly melted away) you
 are rewarded by a second dance which follow a simple repetitive  
 pattern
 (often referred to as a "singing call" since it is often done to a
 popular song and everyone joins in the chorus).
 	So, in the example below, where it says "hash" against A1 and
 A2, I call a different set of moves each time through the dance.
 	I usually choose three or four of the examples listed below that
 I want to work on (let's call them Ax, Ay and Az.  First I walk them
 through any new moves, and B1/2. Then I call something like:
 Ax, B1/2, Ax, B1/2, Ay, B1/2, Ay, B1/2, Az, B1/B2, Az, B1/B2, Ax,  
 B1/B2,
 Ax, B1/B2.
 	It makes new dancers learn how to listen and respond quickly to
 a call, and allows you to focus on moves that are causing them a  
 problem
 (doing it within a much more controlled environment).   Then we do a
 normal contra (probably using some of the moves I just made them do  
 over
 and over again) and they usually find the contra really easy - gives
 them confidence.
 	Of course all the above is aimed primarily at a workshop
 environment for a group of (mainly) beginners, but our experienced
 dancers seem to enjoy it as well.
 	I was also interested in whether anyone ever does a hash call in
 a contra, i.e. get the dancers formed up, start the music, and just
 start calling, but calling a different set of moves each time through
 the music (maybe with some repetition to give some sort of anchor).
 	Hope that helps.
             Happy dancing,
                         John
 John Sweeney, Dancer, England   john(a)modernjive.com 01233 625 362 &
 07802 940 574
 
http://www.contrafusion.co.uk for Contra Dancing in Kent
 -----Original Message-----
 Date: Wed, 22 Sep 2010 17:49:02 +0100
 From: "John Sweeney" <info(a)contrafusion.co.uk>
 Subject: Re: [Callers] Medleys
 Hi,
 	Do you include hash calls as a subset of medleys?
 	I often do hash calls with beginners to help them practice lots
 of different moves.  I make them into four couple sets and do  
 something
 like:
 "Anything Goes" by John Sweeney
 Four Couple Becket
 A1:	Hash
 A2:	Hash
 B1:	On the Left Diagonal: R & L Through; Straight Across: R & L
 Through
 B2:	Gypsy Meltdown with your partner
 Using a four couple set and a progression like the one in B1 means  
 that
 there are no end effects and the dancers get to practice their  
 diagonal
 movements in a controlled manner.
 Then for A1/A2 I can call anything I like that is a null transform  
 (i.e.
 they end up where they started).
 Examples:
 Circle Left 3/4, Neighbour Swing on the side; Circle Left 3/4, Partner
 Swing on the side
 Balance the Circle, first corners cross; Balance the Circle, second
 corners cross; Repeat
 Balance the Circle, Petronella turn x 4
 Circle Left; Circle Right; Star Right; Star Left
 Circle Left; Star Right; Circle Right; Star Left
 Circle Left; Star Left; Circle Right; Star Right
 Balance the Circle; Ladies Roll Away with a Half Sashay (swap places
 with Neighbour) x 4
 R & L Through Across & Back; Ladies' Chain Across & Back
 Ladies' Chain Across; R & L Through Back x 2
 Ladies Chain Across; Full Hey (Ladies start with R Shoulder); Ladies
 Chain Back
 Half Poussette; Dosido x 2
 Draw Poussette; Gypsy x 2
 	I haven't tried this for longways-for-as-many-as-will.  They do
 it all the time in squares, does anyone do it in contras?
             Happy dancing,
                         John
 John Sweeney, Dancer, England   john(a)modernjive.com 01233 625 362 &
 07802 940 574
 
http://www.contrafusion.co.uk for Contra Dancing in Kent
 ------------------------------
 Message: 3
 Date: Thu, 23 Sep 2010 06:43:30 -0700 (PDT)
 From: Jeanette Mill <jeanette_mill(a)yahoo.com.au>
 To: Caller's discussion list <callers(a)sharedweight.net>
 Subject: Re: [Callers] Medleys
 Message-ID: <679985.90554.qm(a)web30703.mail.mud.yahoo.com>
 Content-Type: text/plain; charset=utf-8
 Thanks for your great replies everyone.
 Now I have another question - what is a hash call?
 cheers
 Jeanette
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