This is a big subject. There is a lot we can talk about and debate. It is indeed easier to call for an experienced crowd than it is for newer dancers and when you're working with a mixed crowd, it is easier when they truly mix instead of "clumping" beginners to beginners and experienced to experienced dancers. I would challenge the thought that there is much that the caller can do besides gently encouraging the dancers to mix. In my mind, this is the responsibility of the organizers and the core group of regulars who come to the dance series. They do much more to decide how welcoming and successful they are in integrating newer dancers into the community. If they're not being aware and saying to their friend "Hey, that new couple is dancing with each other, let's see if we can break them up." Or "Sally, this is Bob. Bob, Sally is new tonight and needs a good dance partner and I thought of you, would you dance with her?" All callers can do is offer encouragement to do this sort of thing. The organizers and core group of experienced dancers can set the example for others to emulate. I disagree that if the dancers are failing to integrate the newer dancers that this is a failing of the caller. In my experience, the dancers are attending the dance with a certain expectation of how the evening is going to be. They expect the caller to be competent, concise and encouraging. They have a certain amount of trust and patience that if the caller does something outside of their expectations or new it will be fun or they will learn something. The more the caller wastes their time with manipulation and over-teaching, the less patience they have with it. If you're not careful, you loose their trust completely and don't get asked to return. More than one or two walkthroughs, manipulating the sets by moving dancers around, reminders from the mic to dance with new people are fine if used sparingly. If used too much will become preachy and lecturing. Some of the comments that I will use early in the evening, maybe one every other dance or one per dance if the dancers are not responding. I don't repeat them if I can help it: "Find someone who was sitting out to dance with for this next dance" "Find someone to dance with you've never danced with before" "If you're new tonight, dance with experienced dancers, and you'll learn quickly" "Thank your partner, thank the band and find someone new to dance with" or if I'm really desperate: "Who here has been dancing a while and is comfortable dancing with someone who is new to dancing? Keep your hands up. If you're new and want some help, go ask one of these people to dance." I will use mixers in a dance because I feel that they have value in themselves. It allows the experienced dancers to come in contact with as many new people as possible. It's a great lesson for the new dancers in how different each person's dance style is and how to dance with them. It's also one of the best swing tutorials that I know for beginners who are only dancing with their friends who are also new. I also think that it's a great way of opening people's eyes to people they might not have chosen to dance with before. It's a great way to build community. If I am dancing and ask a beginner to dance and it turns out to be a mixer, then I will ask them to dance the next one. Then they get the experience of the mixer and still get the benefit of dancing with me. My perspective is that the more the caller says from the microphone, beyond the minimum needed to lead the dancing, intrudes on the dancer's enjoyment of the music, the dance and their friend's company. The more time spent teaching or lecturing or manipulating is less time talking to friends and dancing to music. I have had people tell me that what they enjoy most in a caller is how invisible they can be. If all they notice is the fun of dancing and the great music, then the caller is doing their job right. my 2 cents Chris Weiler Goffstown, NH Greg McKenzie wrote:

I think your programming idea sounds great. Gypsy 'Round Two by Tom Hinds is a dance I love to call - I always give a little demonstration. duple improper A1 Ones as a couple gypsy Man #2 by R , gypsy Woman #2 by L A2 All go down the hall in line (Ones in middle), turn toward neighbor and return B1 Circle L once around, N do-si-do B2 Ones in center bal & swing, end facing down I demonstrate that when the ones gyp Man 2 the woman is closer and can hog the interaction with the lone man although her partner is there orbiting with her in shoulder-waist position, and then the tables turn and the man can flirt with Woman 2 as the couple gypsies with her. This dance is nice to rags or some playful tune. Cortni On Jan 27, 2009, at 10:01 AM, Will Loving wrote: I'm calling a dance on Valentine's Day and was thinking about using that as a theme for programming. What comes to mind would be dances with strong partner interactions or figures - like couples DSD, give and take, or couples weave the line - along with dances that involve leaving one's partner and returning. I'm interested to know what others have done with programming along similar lines, what your thoughts were, and any dances you found particularly appropriate. Will Loving -- "A contra-dance is like an amusement park ride that we make for ourselves." (author unknown) _______________________________________________ Callers mailing list Callers(a)sharedweight.net http://www.sharedweight.net/mailman/listinfo/callers

Hi Will and SW: I try to avoid programming around titles, as it usually gets me in trouble. But given the day, this one is worth considering: Love of My Life Improper/Dan Pearl A1. Circle L, partner twirl to swap, 2s arch and all back up to form ring A2. Balance, neighbor swing - face down B1. Down hall in line/4 - turn alone, up hall and bend line B2. 2s 1/2 figure 8 below, 1s swing Dedicated to Dan's wife, Shelagh Ellman-Pearl. Another dance with strong partner interaction and leaving/returning is: The Reunion Becket, double/Gene Hubert A1. L diagonal ladies chain, ladies chain across to shadow A2. Hey (LR, NL, GR, ShL) and look away B1. Partner balance, swing B2. Circle L 3/4 and pass through, w/next circle R 3/4 and face on L diagonal Bob _________________________________________________________________ Windows Live™: E-mail. Chat. Share. Get more ways to connect. http://windowslive.com/explore?ocid=TXT_TAGLM_WL_t2_allup_explore_012009

Bob wrote: And Mavis replied: Something like: Start improper. | w m | | - - | (8) Circle left all the way around | w m | | - - | (2) Partner twirl to swap | m w | | - - | (6) Twos make an arch (ones duck ready to go under it); all back up | - - | | m w | Then all are on the side with their neighbors ready to balance and swing. Jeff Medford MA

Here is an offering from St. Louis, a contra corners dance done with gypsies. *Gypsy Camp* by Bob Green duple PROPER A1 1. Ones gypsy your partner, 2. Swing your first corner A2 3. Ones gypsy your partner 4. Swing your second corner B1. 5.&6 Ones gypsy and swing B2 7. Down the hall four in line (ones between the twos) Ones turn as a couple, twos turn alone 8. Come back, twos cast the ones down to progressed place M E On Tue, Jan 27, 2009 at 9:01 AM, Will Loving < will(a)dedicationtechnologies.com&gt; wrote:

Thank you Chris for your thoughtful remarks. Chris wrote: This discussion could be very helpful. At the heart of any "debate" is the question of what a contra dance caller is, in fact, doing. (We don't talk about that much on this list. It is a subject with widely varying views.) My own view is that "working with a mixed crowd" is at the heart of contra dance calling. In a tradition based upon open public dances without separate classes, calling contra dances is, primarily, an exercise in integrating newcomers. This is precisely how the tradition will survive. It is also fun. Chris also wrote: I agree with this statement. The question lies in how you define "gentle encouragement." This phrase might be a suitable definition of good contra dance calling. As such it would include much more than explicit instructions to the dancers. It would include, for example, how the caller comports herself on stage. How the caller sets an example of graciousness, community spirit, and goodwill. And, most important, how the caller actively takes responsibility for everything that happens in the hall. It might also include factors like programming decisions, how the caller phrases instructions, and giving out programming information in advance so that the regulars feel included and empowered to help. Here is a specific example: If the caller begins the evening with a series of short dance slots--with quick walk-throughs and lots of neighbor interaction (swings)--this will have the effect of lowering what I call "partnering pressure." (This is the feeling that one must find a "good" partner for the next dance or must find a partner quickly to position himself or herself favorably in the hall.) When the caller offers lots of short dance slots with neighbor swings the dancers quickly get the sense that there will be lots of partnering opportunities during the evening and that getting "stuck" with a "poor" partner for 20 minutes is not an issue. This is a way of "gently encouraging" regular dancers to be more generous in their partnering decisions since it is only a 10 minute commitment and they will be swinging with lots of other people during that slot. This is subtle stuff. Few dancers will be aware of the difference. The caller says nothing about this tactic. It will not "solve" the problem. But combined with many other tactics of "gentle encouragement" it can change the entire mood of the hall. In my calling workshop I have a list of over 100 such tactics of "gentle encouragement" that callers can use to help generate a spirit of community and gracious regard for others. None of them are heavy-handed and few dancers, or even callers, will notice. In my experience the vast majority of regular dancers would prefer that callers use these tactics. Most of them would be considered, simply; "good contra dance calling." Yes. The regulars at a dance have a great influence. But only the caller has a microphone and is on stage where they can be seen by everyone. They have a commanding view of the action and can control more subtle factors than any other individual. If the caller does not take responsibility for what happens in the hall, why should anyone else? Just a thought, Greg McKenzie *************** Chris also wrote:

Hello Jo, I announced one day that the next dance was new to all of us, hence it being written/inspired on the way to the dance. All four lines had no clue during the walk through X3 try's (something I do not do). So I took the card and announced that it was not going to happen and tossed the card over my shoulder and proclaimed we would dance something everyone knew and without further ado started the music and proceeded without a walk-thru. I called the same dance that I discarded and it worked absolute. It could be the music or it could be psychological. When one or more lines break down during a dance, find a place they can locate.. lines or partner or neighbor swing on the side and keep them there until the call comes back around.. and now.. Never and I have seen it tried, run a line independently from the hall trying to play catch-up with the hall. It further confuses everyone. Don Primrose Nelson, NH On Mon, Apr 12, 2010 at 3:35 PM, Mortland, Jo &lt;j-mortland(a)neiu.edu&gt; wrote: