This is very interesting. Martha writes: I think you have gone to the core of the matter with this statement. This view of human nature is a common framing of the situation, and it is such a basic view that it affects almost everything the caller does, or does not do with regard to civility and an attitude of inclusiveness. I reject this view for two main reasons: First, I don't believe it is true. I see humans as social animals who have evolved to be in communities or tribes where each individual's own survival depends upon cooperation and working together for common goals. It is our nature to support one another and to see ourselves as a community. Second, I reject the idea that snobbishness and selfish actions are inherent in the human condition simply because it is not a useful framing of the situation, particularly for a dance caller. I don't see any value that can come from this framing beyond creating an excuse for the caller to blame the dancers for any untoward actions in the hall. This framing is only useful to absolve the caller of responsibility, something that is at the core of the caller's job. The caller takes responsibility for everything that happens in the hall. Instead of making excuses for why we are not responsible why not discuss what we can do to build a more inclusive spirit in the hall? Callers have a lot of influence. They certainly have more influence than a handful of dance leaders. How should we use our influence? Martha also wrote: "A kind and inclusive word dropped here and there from the stage can work wonders..." Now this is an idea that I agree with completely. The caller is in view of everyone in the hall and can see everyone in the room. The caller can project their voice throughout the hall, and this gives the caller more influence than any other single person in the room. Let's explore this idea more deeply. What words do you use? When? what words to you avoid using? I use single words such as "good," "excellent," "wonderful," or "nice," during the walk-through and while calling. A light touch is best. I usually use a couple of these words during each walk-through. I also think a lot about what I don't say. I never, for example, speak to small groups or individuals over the mike. If people in a particular set are out of position I address the entire room with my comments, and then only with positive comments. I even try to avoid looking directly at the group that is out of position. I am interested in what others do to influence the partnering process and the level of civility and community spirit in the hall. - Greg ************** Martha wrote: >I don't want to say "It's simple," but I'm going to have to. The grownups >(aka Dance Leaders - board members, callers, major dance gypsies, thoughtful >members of the community) have to start, by gentle precept and strong >example, teaching the rest of the crowd how to behave. > >Here, we talk about it. Not a whole lot, but whenever there's a chance - we >bring things up. Got Center Set Syndrome? Ask the Cool Kids to start >dancing all over the floor. Someone complains about the new dancers? >Someone else pipes up and says "Oh, I remember what it was like. I always >dance with new people at the beginning of every dance - you find some real >gems that way, and it's always a fun challenge." After a while you just >develop a culture of inclusiveness. > >It wasn't always like that here. St Louis used to have a very bad reputation >for snobbery - some people still won't come to our dance weekend because of >it, even though it changed over ten years ago. We had to make an effort - >and we have to keep making the effort. Even with an established culture of >kindness, new people come in, and it takes a while for them to adjust - to >believe that they will be accepted, and that we expect them to treat others >well, too. > > >It can't be just the callers who turn a community around, even though we do >have a major Bully Pulpit. A kind and inclusive word dropped here and there >from the stage can work wonders in reminding people why we chose contra >dance over all those other dance forms. But we can't get all moralistic on >stage without risking losing what influence we have. > >My suggestion to us as callers? Start talking to the Leadership. If they >don't get it, use thoughtful discussion to try to get them to see the >advantages. We can also lead by example, dance with everyone ourselves. What >we do, others will too. > >M >E > >On Sun, Jan 30, 2011 at 11:52 AM, Greg McKenzie <grekenzie(a)gmail.com> wrote: > > > > > Bob Green wrote: > > > >> In some communities, a different approach is taken - to help avoid > >> breakdowns while switching dances on the fly, trying to see that less > >> experienced/skilled dancers have a partner the can give them a little help > >> along on the way. I favor this approach as I believe it tends to make the > >> overall dance experience better. > >> > > > > I would be very interested in any techniques or strategies you, as the > > caller, would use to achieve this behavior: "...trying to see that less > > experienced/skilled dancers have a partner the can give them a little help > > along on the way." I am particularly interested in what callers do to > > encourage more generous partnering behaviors in a medley. How do you > > achieve that "We're all in this together," sentiment that Larry Jennings > > speaks of? > > > > > > - Greg > > > > > > _______________________________________________ > > Callers mailing list > > Callers(a)sharedweight.net > > http://www.sharedweight.net/mailman/listinfo/callers > > > > > >-- >For the good are always the merry, >Save by an evil chance, >And the merry love the fiddle >And the merry love to dance. ~ William Butler Yeats >_______________________________________________ >Callers mailing list >Callers(a)sharedweight.net >http://www.sharedweight.net/mailman/listinfo/callers