19 Sep
2013
19 Sep
'13
4:46 a.m.
Kalia,
Last month @ Pinewoods George Marshall was calling the afternoon
contra sessions @ E & A. Lots of fun & really interesting dances.
On some of the beckets, where the cpl out at the end (whether partners
or neighbors) needed to stay right where they are, he taught/called,
'stand where you land'. I think diagonal chains or pass thrus would
usually put the cpl out in this position. Another nice call for end
effects for cpls who are not involved w/ a diagonal move (etc.) is,
'for those who can'.
If the dance has a very unusual series of end effects, I try to
analyze the scenario the end cpls are experiencing, then synthesize it
into the most helpful but pared down advice that will alert dancers to
at least what sorts of things to be ready for. This may not require
telling them every little pc, as it may differ slightly for top and
bottom cpls, depending on even or odd # of cpls in the line.
More specific example provided upon request. Would love to hear what
others have to say on topic.
hugs around,
Paul
19 Sep
19 Sep
7:18 a.m.
There have been a bunch of discussions on end effects off and on.
I like the calls Paul mentioned below, that you can use for when people
are out and in, etc. So, I'm pretty dang sure I'll use the "stand where
you land" call, and that "for those who can," too.
As far as understanding and teaching end effects goes, I think it's
important for callers to understand end effects. But teaching is
usually not too productive, by the time dancers get to the end, they
often don't remember any of those things. I mean, I've spent many times
at dances saying, "When you get to the end, stay there, wait 8 beats,
and you're in!" only to watch most couples think "we're out, might as
well go look at the band or walk around or swing or something," and be
totally in the wrong place. The going out and in: it's such a short
moment in a long moment of dance.
My basic thing is to say, "Go To Where The Dance Need You To Go, " and,
if the effects are serious, run around with a wireless mic and help
people through it...
~erik hoffman
On 9/18/2013 9:46 PM, Paul Wilde wrote:
Kalia,
Last month @ Pinewoods George Marshall was calling the afternoon
contra sessions @ E & A. Lots of fun & really interesting dances.
On some of the beckets, where the cpl out at the end (whether partners
or neighbors) needed to stay right where they are, he taught/called,
'stand where you land'. I think diagonal chains or pass thrus would
usually put the cpl out in this position. Another nice call for end
effects for cpls who are not involved w/ a diagonal move (etc.) is,
'for those who can'.
If the dance has a very unusual series of end effects, I try to
analyze the scenario the end cpls are experiencing, then synthesize it
into the most helpful but pared down advice that will alert dancers to
at least what sorts of things to be ready for. This may not require
telling them every little pc, as it may differ slightly for top and
bottom cpls, depending on even or odd # of cpls in the line.
More specific example provided upon request. Would love to hear what
others have to say on topic.
hugs around,
Paul
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Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers
12:56 p.m.
Hi everyone, Here's another thing I often say from the stage. It applies to end
effects but other times as well.. "If you aren't sure what to do and someone
comes towards you who looks like he/she DOES KNOW what to do,... GO WITH IT!! and
you'll probably be OK"
As Erik points out, dancers who start the walkthrough in the middle of the set rarely
remember what was said about end effects by the time they get to the end. I often will try
to tell the dancers that I am talking to those people (in the middle of the set) too, but
I suspect what they hear is, "blah blah blah".. Often times it can get
"messy" at the ends which offends my sense of "order and perfection",
but it usually works out OK..
bill
Date: Thu, 19 Sep 2013 00:18:35 -0700
From: erik(a)erikhoffman.com
To: callers(a)sharedweight.net
Subject: Re: [Callers] End Effects
There have been a bunch of discussions on end effects off and on.
I like the calls Paul mentioned below, that you can use for when people
are out and in, etc. So, I'm pretty dang sure I'll use the "stand where
you land" call, and that "for those who can," too.
As far as understanding and teaching end effects goes, I think it's
important for callers to understand end effects. But teaching is
usually not too productive, by the time dancers get to the end, they
often don't remember any of those things. I mean, I've spent many times
at dances saying, "When you get to the end, stay there, wait 8 beats,
and you're in!" only to watch most couples think "we're out, might as
well go look at the band or walk around or swing or something," and be
totally in the wrong place. The going out and in: it's such a short
moment in a long moment of dance.
My basic thing is to say, "Go To Where The Dance Need You To Go, " and,
if the effects are serious, run around with a wireless mic and help
people through it...
~erik hoffman
On 9/18/2013 9:46 PM, Paul Wilde wrote:
Kalia,
Last month @ Pinewoods George Marshall was calling the afternoon
contra sessions @ E & A. Lots of fun & really interesting dances.
On some of the beckets, where the cpl out at the end (whether partners
or neighbors) needed to stay right where they are, he taught/called,
'stand where you land'. I think diagonal chains or pass thrus would
usually put the cpl out in this position. Another nice call for end
effects for cpls who are not involved w/ a diagonal move (etc.) is,
'for those who can'.
If the dance has a very unusual series of end effects, I try to
analyze the scenario the end cpls are experiencing, then synthesize it
into the most helpful but pared down advice that will alert dancers to
at least what sorts of things to be ready for. This may not require
telling them every little pc, as it may differ slightly for top and
bottom cpls, depending on even or odd # of cpls in the line.
More specific example provided upon request. Would love to hear what
others have to say on topic.
hugs around,
Paul
_______________________________________________
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 
2:27 p.m.
I've used "Go where the dance needs you" many many times. Sometimes it
works, but at Erik said, the couples in the middle tend to ignore any
comments about the ends . . . until they get there. Kind of the nature
of the contra dance.
But "Stand where you land" is a very nice and pithy call. I'll use that.
Woody Lane
On 9/19/2013 3:18 AM, Erik Hoffman wrote:
There have been a bunch of discussions on end effects
off and on.
I like the calls Paul mentioned below, that you can use for when
people are out and in, etc. So, I'm pretty dang sure I'll use the
"stand where you land" call, and that "for those who can," too.
As far as understanding and teaching end effects goes, I think it's
important for callers to understand end effects. But teaching is
usually not too productive, by the time dancers get to the end, they
often don't remember any of those things. I mean, I've spent many
times at dances saying, "When you get to the end, stay there, wait 8
beats, and you're in!" only to watch most couples think "we're out,
might as well go look at the band or walk around or swing or
something," and be totally in the wrong place. The going out and in:
it's such a short moment in a long moment of dance.
My basic thing is to say, "Go To Where The Dance Need You To Go, "
and, if the effects are serious, run around with a wireless mic and
help people through it...
~erik hoffman
6:52 p.m.
Hey all,
Just wanted to reconfirm that George Marshall gets credit for "stand
where you land".
It was the first place I heard it. George, hope you don't mind :-)
best,
Paul
10:28 p.m.
I take from this that as you exit the formation, you would stay where you are, not
changing places, or moving to one side or the other. "Stand where you land" is
fine if that is the case. But it's not always the case in a becket dance. I'm
probably just stating the obvious here. Nice phrase, where appropriate.
----- Original Message -----
From: "Paul Wilde" <zenyente(a)gmail.com>
To: "Caller's discussion list" <callers(a)sharedweight.net>
Sent: Thursday, September 19, 2013 11:52:38 AM
Subject: [Callers] End Effects
Hey all,
Just wanted to reconfirm that George Marshall gets credit for "stand
where you land".
It was the first place I heard it. George, hope you don't mind :-)
best,
Paul
20 Sep
20 Sep
1:35 a.m.
Paul wrote:
Just wanted to reconfirm that George Marshall gets
credit for "stand
where you land".
It was the first place I heard it. George, hope you don't mind :-)
Oh Dear! Does George Marshall own the copyright for "Stand where you land?"
Calling is getting so complicated now.
- Greg McKenzie
West Coast, USA
3871
days inactive
3872
days old
contracallers@lists.sharedweight.net
6 comments
6 participants
participants (6)
-
Bill Olson -
Erik Hoffman -
Greg McKenzie -
Paul Wilde -
richgossï¼ comcast.net -
Woody Lane