That the dance works in 8-step chunks, and the music tells you when the move is about to change. You can use a circle formation to teach that, circle left and right , into the middle, a few times while you doodle (preferable) or count (only preferable if you can't really sing). Giving weight - or whatever term your community uses. This is also teachable through the circle formation. Swing basics, especially hand placement and the importance of mutual support. A demo of the buss step is a bonus. THEN, I move to the line formation and explain hands four, and progression. I probably use a figure or two to demonstrate how the foursome moves within itself, and how to move to the new four. It's a very full 30 minutes - but it works. Dorcas Hand Houston -----Original Message----- From: callers-bounces(a)sharedweight.net [mailto:callers-bounces@sharedweight.net] On Behalf Of D Bar Sent: Sunday, October 02, 2011 2:17 PM To: callers(a)sharedweight.net Subject: [Callers] The Beginners' Lesson Tips? Howdy, I am going to be calling one of my first gigged contra dances in a week! I have a half-hour to introduce newbies on what's what in the dance prior and I am wondering what do other callers find has been the most effective use of that half hour? I imagine going over improper formation [ladies on the right etc.], and a few of the base moves are good. But I'd like to see if anyone else has some good hints I can work with! Thanks, Davey _______________________________________________ Callers mailing list Callers(a)sharedweight.net http://www.sharedweight.net/mailman/listinfo/callers

On 02/Oct/11 12:16, D Bar wrote: Congratulations! There have been some recent contributions on list and there are some good notes posted about the topic in the (overly-public) archives for it as well. Also some on the Trad Dance Callers list (subscribe as a member to view), and on-line in various places. http://www.dancerhapsody.com/handouts/BeginnersWorkshop.pdf at http://www.dancerhapsody.com/Calling/Handouts.html http://www.cdss.org/tl_files/cdss/documents/__file%20or%20toss/beginners_ar… No person, especially one new to the activity, is going to steadily hoist in tonnes (metric) of new info so is likely to shut down at some point in this regard. I apply the KISS principle and try to keep it fun and relevant. Tough indeed for me. I like to start moving the group to the music, a circle works. I may count out loud, at some point, I may not. If I do, then as Dorcas states I'll mention it's in 8s. Possible statement: "We moved to the music, the call was simply to help us know or remember what came next. It is information, it's not to get in the way." "Better never than late" may feel worthwhile including now, maybe later in the workshop and/or evening/dance. If I start teaching figures now I'll often begin with those for two people (partner). Add another couple and introduce Neighbours. Switch between partner and neighbour (two person figures). Move to a Sicilian Circle like object and add circles and stars. Possibly, depending on dances on the program and/or what proportion of the hall might be made up with newer folks, get into some other four person figures (R&L, Ladies Chn), then progression to the next couple. Usually a time for laughter. Hall orientation is useful. I'm not particularly concerned about set formations. I may comment on it in the workshop, or just cover it quickly on the floor early in the evening at the first L2i dance, especially if I'm starting with other than longways sets. (e.g. First walk through, "Look, folks are 'out' at either end. Face the action, put lady on right". Works well especially with a down the hall and back. Courtesy Susan Michaels) Fun, fun, fun. Kindness, safety (physical interaction, holds, hydration, social stuff - general). Couching most everything in as positive, minimalist terms as possible. I don't say anything is tricky or difficult, doing so tends to make it so. Encourage folks to dance with people they don't know, to dance as many of those dances early on the program as possible. The workshop is about the only opportunity where one will not use up time for regular dancers yet may move quickly from one new dancer to another to make contact and show things by that method. This means, if it's appropriate one can quickly give a number of folks a good _feel_ for what "weight" is in a nice allemande, or swing. The eyes open, ooh, then they may be more easily able to replicate it. Really, they can get much of what they need on the floor, through a few added points by the caller, general or specific, and the kind, unspoken, non-physical assistance from regular dancers. http://www.colinhume.com/denotcal.htm http://www.cdss.org/newsletter-archives.html?page=8&file=tl_files/cdss/… We're now out of the workshop time, however . . . there will likely be folks dancing who didn't make that workshop. Count on it. Relax, outwardly anyway, integrate it. I'd attempt to avoid over-teaching or trying ensure absolutely everyone gets it before the music starts, usually the music helps in a way, that a dozen more walk throughs won't. Hope that is somewhat useful. Ask away, think out loud, let us know how it went. Cheers, John/'JD' ----- No virus found in this message. Checked by AVG - www.avg.com Version: 10.0.1410 / Virus Database: 1520/3933 - Release Date: 10/02/11

When present, the newcomer's orientation is the first contact the caller has with first-time contra dancers. It is important primarily because it is where you begin the process of integrating the first-timers into the hall. (The reason these sessions can be problematic is because they are, by nature, an act of dis-integration by virtue of the fact that newcomers are segregated from the regular dancers for separate instruction and this sends numerous implied messages that counteract the central purpose of integrating the hall.) Consequently the most important information in such orientations is what is NOT said and what is NOT taught. The real purpose of any newcomer's orientation (if done at all) should be to integrate the hall. The key to designing a great newcomer's orientation is to have a clear idea of your goals. Here are mine: 1. Make sure that all newcomers (including both those new to contras and those new to any kind of social dance) are partnered with regular dancers (who have danced contras at least one night). This goal has both an informational component; (Newcomers need to know that this is the tradition and that it is different than other kinds of dance they may have experienced in this respect.), and an attitudinal component; (Newcomers need to feel confident enough to be comfortable partnering with the regulars. They need to know that they are ready.) 2. Make sure that the newcomers will give weight and keep a strong connection with all other dancers. This goal is primarily a psychomotor skill that must be taught and practiced. It also has an informational aspect in that the newcomers need to know that this is an important skill that will allow them to learn. 3. Make sure that the newcomers relax and enjoy themselves. They need to know that contras are an extremely social kind of dance and that, consequently, letting your partner know that you are enjoying their company is much more important than any technical dance skill. To relax and enjoy themselves the newcomers must feel confident and relaxed when they finish the orientation session. These are ambitious goals to complete in 10 or 15 minutes. The fact is that these goals have to be part of an overall integration strategy for the first half of the dance evening--or at least for the first few dances. The good news is that if you accomplish goal #1 you will eliminate the need for 90% of what is usually taught in the newcomer's orientation. (This includes the figures and details such as "Gents, on the left and ladies on the right." The "trick" is to assume that *all *of the first-timers will be partnered with regular dancers and use that as your basic assumption during the entire first part of the evening. This assumption drives what happens in any orientation session and in all of your calling behaviors. When you operate on this assumption you will omit a great deal of instruction from any orientation, as well as most of the "teaching from the microphone" that often happens in walk-throughs. The result is a very powerful and compelling implied message to all of the dancers that the regulars have a vital role to play as "hosts" in welcoming and partnering with first-time dancers. My experience is that the regular dancers will accept this role with enthusiasm because it is clear that they will be an integral part of the process. The key is to allow your regular dancers the delight and pleasure of sharing something they are passionate about with relaxed and confident newcomers. If you do NOT assume this kind of integration your implied messages will conflict with your instructions for goal #1. For example: Assuming full integration there is no need to teach figures in any orientation because the "host" regulars will lead the first-timers through the figures during the walk-throughs. Teaching figures in a separate orientation, therefore, implies that you do *not *really expect the hall to be fully integrated. (Both the newcomers and the regulars will pick up on this fact and it will undermine your efforts to integrate the hall.) Please note that this approach requires that you re-frame the integration process in your own brain. For most of us this is an extended process that takes some time and effort. You will need to re-learn some basic habits and attitudes about your role as a caller, the role of the regular dancers, and the role of first-timers. You need to learn to trust all of the dancers and to develop a sense of partnership that allows the regulars to take responsibility for many things that callers normally do. (This will be a great relief and encouragement to many regulars, however.) Also note that this integration process cannot work in other settings where there is not a core group of dancers who know the basics and who accept their role as hosts in the process. Calling in a hall full of first-timers requires a completely different frame and strategy. The good news is: - The skills required by those who "host" the newcomers are very basic and can be acquired in a single evening of dancing contras. Beyond leading folks through the basic figures the primary task is to put the newcomer at ease and make them feel welcomed. It is important to make this clear to the dancers. Doing so will allow many in the hall to act as hosts who would otherwise not consider themselves "experienced" enough to partner with first-timers. In other words: You probably have a lot more willing and capable help in the hall than you might otherwise think. - The number of "helpers" or "hosts" you need in the hall is actually quite small. When the "hosts" are aware of their role it requires less than 20% of the hall to make the integration work. I have seen it work with even less than 20%. Remember that all of the dancers are invested in the success of this process and all want to get the music and dancing started as quickly as possible. About 60% of the "first-timers" are already experienced in some other dance form and some of them will be ready to act as "hosts" before their first night is over. The bad news is that this is not easy. To successfully integrate a dance hall you will need all of your calling skills. You will need to be precise and clear in your instructions. The regulars will need to hear precisely the essential information they need at precisely the time they need it. Only then will they feel confident in leading newcomers through the dance. The caller needs to use the most effective word order and enunciate clearly to make this happen. The caller needs to start on time and take immediate responsibility for set management. The caller needs to project professionalism and confidence to put the entire hall at ease. The caller also needs to eliminate non-essential words from their delivery in order to hold the attention of the entire hall. In short; integrating the hall is at the core of what great contra dance callers do. It is something you can dispense with for festivals and special events where your calling can become more casual. At a regular open public contra dance series, however, the ability to integrate the hall is paramount. It is how newcomers are "swept into" the dance without prior instruction and it is fairly unique to this dance form. It starts with the design of any newcomer's orientation session, if there is one, where you can begin to set the tone for the entire evening. Just a thought, - Greg McKenzie ******************* On Sun, Oct 2, 2011 at 12:16 PM, D Bar <davey.bar(a)gmail.com> wrote: