Import1 June 2015

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1 participants
123 discussions

by John Sweeney via Callers

Thanks for all the great ideas/ Yes, I should say gallop instead of skate-board - I start with "Now walk fast on the spot" before I tell them to turn, so I assume they are going to keep alternating their feet, but some don't! Maybe "gallop" will help. I did get one guy at a workshop tell me that he had been taught to keep one foot fixed on the floor on a single spot. I showed him what would happen if we both did that - in slow motion, otherwise it could have been quite painful :) Ron asked, "Okay, so what about my first comment: Not everyone is physically able to do the buzzstep swing?" Well, my first statement was "Yes, of course I always tell dancers that they can walk instead of buzz" and the last line of my sample teach was, "If you are having trouble with the buzz-step then you can always just walk." So I thought I had covered that. Sorry if I have misunderstood. At one of the weekly sessions I run we get around 25 to 30 people each week; most of them are ladies, and the ages range mainly from 50s to mid-80s. We provide badges saying, "Please swing gently" and we tell them they can walk. I always teach the buzz-step and they all try it. Most of them carry on doing a buzz-step and very few wear the badges after the first few weeks once they have got used to swinging. They also love my no-swing contras - they don't need swings to have fun! Ron also said, "The single most important thing to teach a dancer is "it's okay to make mistakes".". I agree that that is important and we joke about the mistakes a lot. Sometimes they have the most fun when they fail completely! But my Rule #1 is: "Every dancer has the right to get on the dance-floor and have fun without getting hurt." I have been hurt a lot on the dance-floor. I used to dance Ceroc/Modern Jive three or four nights a week. You know the way that some people yank on you when they step back in the Balance before a swing? Well in Modern Jive you step apart about once every eight steps, and the general level of technique teaching at Modern Jive classes is very low, so most of the dancers have never been told that they shouldn't pull when they step back. In fact some of the <expletive deleted> teachers actually tell them to pull to generate tension, without mentioning that the level of tension required is around the one ounce level, not the one ton level! So I ended up with repetitive stress injuries which weakened my muscular infrastructure and when an aerial move went wrong in a practice session I ended up tearing one of my rotator cuff (shoulder) muscles badly. Aerials: https://www.youtube.com/watch?v=CJnL_Y63AnY - that's me in black. So, having had two shoulder operations, and not wanting any more, if my partner appears to be about to throw their whole weight at me when they step back in a Balance & Swing then I step forward to prevent it. (Once having asked a lady to stop pulling on the step-back as she was hurting me, and failing to get through to her, next time we stepped back I pulled on her. She immediately got cross and said I had hurt her. The irony appeared to be completely lost on her!). And if a lady leans back in a swing then I move my hand from her shoulder blade to her waist so she has to stand up or fall over! I have learnt a lot of self-defence skills over the years! I recently ran a "Contra Skillz - Style and Technique" workshop at a UK festival and the experienced dancers loved it - most of them do want to improve and do want the caller to do some teaching. (Of course, they self-selected by attending the workshop in the first place!) One of the guys is a very good dancer, but my wife, Karen, complained that his swinging was far too forceful; he was rigid and using too much power. The first thing I taught in the workshop was that most people will swing better if they relax. Next time she swung with him, he was, as usual, rigid, but, because I had empowered her by teaching relaxation, she felt able to say, with a big smile, "And relax <she breathed out>" - he did the same and suddenly turned into a wonderful swing partner. She heaped on the praise and he felt good that he was giving Karen a better swing. I agree with Tom that we all have different perspectives and so we approach things differently. That is a good thing as far as I am concerned. If all callers ran their evening the same way then the dancers would get bored. Different approaches help different people, and give the variety needed to keep the dance alive. My perspective is based on learning the Galway Swing from my Irish mother when I was a teenager (take an Allemande Right hold, each of you cup your left fingertips around your partner's right elbow, buzz - great fun!), so I have been buzzing for fifty years and would always choose it. But of course I walk if I or my partner is tired, or if my partner can't cope with a fast swing, or if they are such a bad swinger that I need to slow the swing down to avoid damage. Though actually you can do a slow, controlled buzz-step swing and that can feel great too. I also agree that programming is crucial to a successful evening. Apart from avoiding overuse of particular moves or sequences, providing variety, and trying to include something a bit different, I am also building the move set slowly so that newcomers get to a point where they can do great dances later in the evening because they have seen all the bits already. The Right & Left Through is such a counter-intuitive move that I often leave it out completely. If I need it for a particular dance then I can change it to a Half Promenade. I certainly never spend time teaching it in a beginner's workshop unless I am planning to use it multiple times in the evening. Thanks again for all the great ideas in this thread. Maybe I should stop rambling now. :) Happy dancing, John John Sweeney, Dancer, England <mailto:john@modernjive.com> john(a)modernjive.com 01233 625 362 & 07802 940 574 <http://www.modernjive.com> http://www.modernjive.com for Modern Jive Events & DVDs <http://www.contrafusion.co.uk> http://www.contrafusion.co.uk for Dancing in Kent

8 years, 10 months

Re: [Callers] Buzz Step Swing

by Tom Hinds via Callers

Maia, Personally I really don't give a hoot which swing people teach. I've voiced my opinion and I'm ready to move on. My real concern is my own dance in C'ville which seems to be going down hill. Callers have done such horrible jobs teaching the lesson that the board voted to have me teach all of the lessons. What's important to me is that the swing is taught well and safely no matter which one is chosen. I've responded to some of your points in sprinkles below. On Jun 21, 2015, at 1:52 PM, Maia McCormick via Callers wrote: > Tom, at a guess, Aahz is not talking about NOT spending time on the > swing, nor about neglecting to teach dancers how to start/end one-- > just that the finer points of technique aren't a priority for the > beginner's lesson. Yes that's a guess. And he wasn't real specific in his first email. I believe he mentioned sashayed in a latter email so that's probably what he meant, ending a swing with the lady on left, man on the right. > John mentions the bad habits that even experienced dancers may have > while swinging, such as: > - grip, clamp, squeeze, hang, press > - hold their partner in the wrong place so it is uncomfortable > - use too much strength and try to do silly things like making their > partners feet leave the floor > - lean sideways or backwards > - start twirls too late and when they are facing the wrong way so > that they > end up in the wrong place What's your conclusion and what's the bigger picture? Perhaps the dance community is full of bad teachers and/or bad students or something else is going on..........Or is all of the above OK? We're not MWSDers or ballet dancers are we? > I find it pretty telling that this list of habits actually has > nothing to do with footwork! In my opinion, the reason to teach > walking swing instead of buzz-step to beginners is that there's SO > MUCH ELSE to concentrate on. NO! NO, NO, NO!!!! I have to strongly disagree with you here. There isn't SO MUCH ELSE to concentrate on. I have no doubt that I program a dance night way differently than you or the others do. How I program and how I teach the lesson are unique to me and both fit together and the newbies are never overwhelmed by SO MUCH ELSE. I haven't seen you or the others call but I have to say that there's this stage that some of us go through where we perceive the beginners as deficient and therefore need to be stuffed with all of these rules, moves etc. so that we can have a REAL modern urban contra dance. I went through that stage but I'm over it now. I see it in many callers. The real secret to calling as far as I'm concerned has to do with personality and emotions, not moves. For me, dancing is a vehicle to community. Perhaps the dancers in your area have certain expectation of a dance level. I'm fortunate here in C'ville that the dancers don't have those expectations. They are real laid back. I didn't say this yet but I've come to the conclusion that one's calling is a system. If you value or choose one aspect in that system you, by default choose other aspects. Programming and the beginning workshop should fit logically together. There's so much that goes into programming and there's so much that goes into choosing one's system that I find this little discussion about swing to be a bit meaningless. In C'ville in the last two years, those who didn't teach a swing at all had lousy programs-I mean most of the floor went home at the break-it's that bad!! The two seem to be correlated. If you're unskilled in one you tend to be unskilled in the other. > The more things we can abstract away, the easier a time beginners > will have learning what's left. If you're focusing on strange new > footwork (and I find that buzz-stepping beginners tend to think > that the buzz-stepping is the most important part of the swing, and > concentrate more on that than on their frame), it's harder to pick > up things like giving weight, a proper hold, etc. But everyone > already knows how to walk! I consider the way I teach a buzz step swing to be efficient, maybe taking 5 minutes for a small group. Maia, perhaps you should watch my beginning workshop. At the end of my workshop they are ready!!!. The integration of the beginners into the evening's dance is seamless. If they survive the beginning lesson (which they all can) the rest of the evening is literally a piece of cake because of the way I program. I'm human and it doesn't always go well but in general it does. > > I would also add that I would much rather dance with someone doing > a funky/odd/strange/unpracticed walking swing than a funky/odd/ > strange/unpracticed buzz step. I've also come to the conclusion that everything that goes on at a contra dance can be boiled down to plain emotions. I recently watched a caller who is a very good showman. I think he's insecure. He doesn't show compassion also so he fails as a caller-doesn't establish a relationship with any of the dancers. I also think he's afraid to teach (fear of boring the experienced dancers) so he does a rushed job of all of his walk throughs. The beginners have their own emotional reaction to this: frustration big time. Perhaps you think that we humans are rational. But the truth is we are emotional and the emotional side of us bring in the rational side to justify what we want. As I see it, most of this talk is just BS- rational sounding BS for what we really feel and value. I value the buzz and therefore feel like teaching the buzz step swing. John also values the buzz so that's what he does. Someone else may not value the buzz or doesn't know how to do it, so that's what they feel like doing. > I find that there are fewer ways to mess up a walk, and that > there's less potential for your partner to be uncomfortable or > perhaps harmed than with one of those galloping, out-of-control > excited-pony buzz step swings. > > Just my two cents! > > Cheers, > Maia > > On Sun, Jun 21, 2015 at 1:38 PM, Amy Wimmer via Callers > <callers(a)lists.sharedweight.net> wrote: > I love John's idea of teaching the buzz step as individuals first, > then as couples. The most frequent complaints I hear from men is that > women hang on them and don't hold up their own weight during a swing. > The most frequent complaint I hear from women is men pulling them off > their feet and going too fast. If they can learn to hold themselves > upright on their own first, then everyone will have a much more > enjoyable experience. > > -Amy > > > > > On Jun 21, 2015, at 3:44 AM, John Sweeney via Callers > <callers(a)lists.sharedweight.net> wrote: > > > > Yes, of course I always tell dancers that they can walk instead > of buzz, but > > the buzz-step is so much more fun that it seems crazy not to > teach it when > > every dance is going to have a swing and usually two. > > > > <Digression:> Yes, I love swinging, and have been loving it for > fifty years > > now, but why does every new dance have to have two swings? Oh > no, not > > Neighbour Balance & Swing, Circle Left 3/4, Partner Swing again - > that's > > half the dance gone with nothing new or interesting in it! (And > changing the > > Circle Left 3/4 to Men/Ladies Allemande 1 & 1/2 does not make it > more > > interesting!) I write lots of dances with one or zero swings - a > zero-swing > > dance can have so much good stuff in it that the dancers don't > even notice > > there is no swing; they are having too much fun. It always > puzzles me when > > people take a great one-swing dance and re-choreograph it to add > a second > > swing, losing part of what made it a great dance just for the > sake of even > > more swinging. <End of digression.> > > > > I found it interesting that Ron said, "the buzz-step swing gets > axed if I'm > > short on time". If I only had time to teach one thing then the > only thing I > > would teach would be the buzz-step swing, and how to finish it so > you end up > > in the right place. I can't think of anything else that > newcomers can't > > learn during the walk-throughs. > > > > Question: If you were calling for a group with a dozen newcomers > in the hall > > out of 100 people, and the organizers said you could have two > minutes > > teaching before you started the first walk-through, what would > you teach? > > For me the answer is obvious, every dance has a buzz-step swing; > teach a > > buzz-step swing. > > > > Another reason for teaching swinging is that there are a > significant number > > of "experienced" dancers who have bad swinging habits. I dance > all over the > > USA and the UK and wherever I go there are always some people who: > > - grip, clamp, squeeze, hang, press > > - hold their partner in the wrong place so it is uncomfortable > > - use too much strength and try to do silly things like making their > > partners feet leave the floor > > - lean sideways or backwards > > - start twirls too late and when they are facing the wrong way so > that they > > end up in the wrong place > > - etc. > > > > If just a couple of those dancers pick up on any of these points > and improve > > their swinging then you have done good work! > > > > Yes, I hate it when callers talk too much and take time out of > dancing time. > > But this can be really short: > > > > Sample teach: > > = = = = = = = = > > Hi, I'm John. We have some new people here today and they are > going to > > spend half an hour swinging tonight, so please let's spend a > minute or two > > on showing them how it's done. And all you great dancers out > there why not > > see if you can't make your swing even better for you and your > partners. > > > > This is called a buzz-step swing. > > > > First, let go of you partner completely. Put your left toe just > behind your > > right foot like this. Now walk fast on the spot. Now push with > your left > > foor as though you were on a skateboard and turn clockwise by > yourself on > > the spot. Relax your knees so you don't bounce up and down. See how > > smoothly.you can turn with the minimum of effort. > > > > Now take your partner in a ballroom hold - the man's hand on the > lady's > > shoulderblade - it is far more comfotable for the lady if you > hold them up > > high. Now relax - make sure you are not pressing on any part of > your > > partner. > > > > And swing - it should be a gentle embrace where, as a single > counterbalanced > > unit, you glide smoothly and effortlessly around. Smile at your > partner and > > you won't get dizzy. > > > > Now think of your joined hands as an arrowhead and finish > pointing at the > > other couple. > > > > If you are having trouble with the buzz-step then you can always > just walk. > > = = = = = = = = > > > > I just timed that and it took less than 90 seconds. Surely that > is worth > > doing! > > > > Yes, some of them won’t get it, but for those who do you have > just greatly > > enhanced their enjoyment of the evening. > > > > Anyway, that's what I think. :-) > > > > Happy dancing, > > John > > > > John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 > > http://www.contrafusion.co.uk for Dancing in Kent > > > > _______________________________________________ > > Callers mailing list > > Callers(a)lists.sharedweight.net > > http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net > _______________________________________________ > Callers mailing list > Callers(a)lists.sharedweight.net > http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net > > _______________________________________________ > Callers mailing list > Callers(a)lists.sharedweight.net > http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net

8 years, 10 months

Re: [Callers] Buzz Step Swing

by Aahz Maruch via Callers

[rearranging quoted parts to make provenance clearer -- which is one reason I strongly prefer inline quoting ;-) ] On Sun, Jun 21, 2015, Maia McCormick via Callers wrote: >> On Jun 21, 2015, at 3:44 AM, John Sweeney via Callers <callers(a)lists.sharedweight.net> wrote: >>> >>> I found it interesting that Ron said, "the buzz-step swing gets axed >>> if I'm short on time". If I only had time to teach one thing then >>> the only thing I would teach would be the buzz-step swing, and how >>> to finish it so you end up in the right place. I can't think of >>> anything else that newcomers can't learn during the walk-throughs. > > Tom, at a guess, Aahz is not talking about NOT spending time on > the swing, nor about neglecting to teach dancers how to start/end > one--just that the finer points of technique aren't a priority for the > beginner's lesson. Actually, I was. I was responding to John's point above. My dancing experience is that a lot of newbies do end up sashayed and that it causes fewer problems than some other kinds of miscues. (Although I'm a new caller, I've been doing contra for more than a quarter-century.) > Of course any teacher worth their salt will teach that a swing always > ends with the lady on the right. But I think all Aahz is saying is > that, IF the dancers end the swing with the lady on the right, it > doesn't really matter how they get there--fumbling through a swing > happens, and it's easy to recover from, while moves that involve the > rest of your hands-4 or the rest of the set have potential to cause > way more disruption to the dance if botched. That is true, but it's also true IMO that dancers ending up on the wrong side of the set causes more problems than ending up sashayed after swinging. -- Hugs and backrubs -- I break Rule 6 http://rule6.info/ <*> <*> <*> Help a hearing-impaired person: http://rule6.info/hearing.html

8 years, 10 months

[Callers] Fwd: Buzz Step Swing

by Read Weaver via Callers

But keep in mind that no beginner _ever_ does a walking swing, unless that is specifically taught, and usually not even then. They see and/or feel that others are doing a double-time step so they do one too, and since the swing is a clockwise (to-the-left) circle they lead with their left, hence a slipping step rather than a buzzstep. (Either that or they skip.) When I do an actual beginners’ workshop I teach both walking and buzzstep swing, but for something quick on the floor, I think teaching the buzzstep gives better results. Read Weaver Jamaica Plain, MA http://lcfd.org On Jun 20, 2015, at 10:28 AM, Lindsay Morris via Callers <callers(a)lists.sharedweight.net> wrote: > > John, respectfully, I have to disagree with your disagreement. A simple walking swing works just fine even when the other person is doing a buzz step. > > The HUGE problem that I see with beginner lessons is that people stand around bored while the teacher talks and talks. All the air goes out of the room. Keeping the beginners moving is job number one. > > So, I have them do a right elbow swing, to get the body dynamics right. Then maybe 30 seconds of talking about ballroom position, have them do a walking swing, a moment on how to balance, and they are good for the night. Especially if they get to practice that with three or four different people during the lesson. > > I can move a competent newcomer from walking-swing to buzz-step swing during the dance, just with "look at my feet." > > Always appreciate the perspectives on this list though. > >> On Jun 20, 2015, at 5:16 AM, John Sweeney via Callers <callers(a)lists.sharedweight.net> wrote: >> >> Dale said, "Don't teach advanced techniques to new dancers. Forget the buzz >> step." >> >> Sorry, but I must disagree most strongly. >> >> In an average evening of contra dancing you will spend nearly thirty minutes >> swinging (if the dances are in the Modern Urban Contra Dance style rather >> than the older styles). >> >> I think it is incredibly unfair to a newcomer to make them suffer for thirty >> minutes rather than teach them how to swing. They can also cause a lot of >> suffering to whomever they are swinging with if they have lousy technique. >> >> I would not agree that it is advanced either. I strongly believe that a >> couple of minutes teaching the basics of a buzz step swing will give >> everyone a much more enjoyable evening. Some of them won't get it, but for >> those that do it can completely change their experience of the evening. >> >> Happy dancing, >> John >> >> John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 >> http://www.contrafusion.co.uk for Dancing in Kent

8 years, 10 months

[Callers] Fwd: Buzz Step Swing

by Read Weaver via Callers

In my beginners’ workshops, that is how I teach buzzstep: after teaching giving weight in a large circle, I have folks give weight in a large circle while galloping. I break up the circles into successively smaller circles and then into twosomes (with a two hand hold), keeping the galloping & giving weight (and then explain that we contra folks call that buzzstep). Read Weaver Jamaica Plain, MA http://lcfd.org > On Jun 21, 2015, at 12:34 PM, Bob Green via Callers <callers(a)lists.sharedweight.net> wrote: > … > I have never tried teaching the buzz step out of ring around the Rosie, but I think I will try it next week.

8 years, 10 months

Re: [Callers] Buzz Step Swing

by Erik Hoffman via Callers

Erik Hoffman Chiming in: In a beginners' workshop I will often do a quick demonstration of a buzz step, but never explicitly teach it. I think it's not opinion that: * thinking about footwork while trying to also figure out figures is more than most beginners need * one walking while one buzz steps works fine I will say, "if you come back you'll find your feet figuring out out." I might say, "if you try it, keep your right foot in front of your left foot," with a small demo. Things I think are important to covey in that usually 20 minutes: Giving Weight No Grip! Gripping leads to hurt! (And I have a small mission of encouraging callers to remover the word "grip" from their calling vocabulary. Smooth transitions Swing Position Hands on shoulder blades Giving Support 98 percent -- end with woman (raven) on right Geography Courtesy Turns Lady's Chain R&L Thru Balance - and - Balance & Swing And, that is a lot to absorb! I think adding footwork is just too much. Maia wrote: Of course any teacher worth their salt will teach that a swing always ends with the lady on the right. Since I've been dancing for a while, and, back in the day when we used to do proper, active/inactive dances, and I still occasionally call those, there are times when you don't end with the lady on the right and the gent on the left, but instead end backing away from your partner into the vacant spaces behind you, as in ... Rory O'More! (I still think it's funny when callers say, "as in Rory O'More," or, "as in Petronella," and I look around and see 98% of the dancers -- and possibly even the caller -- have never danced Rory O'More or Petronella...) I agree with Tom on ending swing transitions offering timing and other challenges: Swing and face the next neighbor -- potentially confusing Swing into a R&L Thru -- incorrect ending messes up timing Swing int a Ladies Chain -- doesn't need to be a problem, as even ending up on the incorrect sides, the women (ravens) just put out their right hands but often leads to timing issues because newcomers think they must get into the correct spot prior to starting the chain... On 6/21/2015 10:52 AM, Maia McCormick via Callers wrote: > I agree that the buzz-step is not the be-all, end-all of contra swing! > I've been dancing for going on 5 years and I pretty much exclusively > walk-swing, because I find it more comfortable and easy to control, > and don't actually like swinging extremely fast. I completely agree with this, although I do buzz. Then again, with new dancers who are still getting dizzy, sometimes I just sway and slow turn... > John mentions the bad habits that even experienced dancers may have > while swinging, such as: > > - grip, clamp, squeeze, hang, press > - hold their partner in the wrong place so it is uncomfortable > - use too much strength and try to do silly things like making > their > partners feet leave the floor > - lean sideways or backwards > - start twirls too late and when they are facing the wrong way > so that they > end up in the wrong place > > I find it pretty telling that this list of habits actually has nothing > to do with footwork! In my opinion, the reason to teach walking swing > instead of buzz-step to beginners is that there's SO MUCH ELSE to > concentrate on. The more things we can abstract away, the easier a > time beginners will have learning what's left. If you're focusing on > strange new footwork (and I find that buzz-stepping beginners tend to > think that the buzz-stepping is the most important part of the swing, > and concentrate more on that than on their frame), it's harder to pick > up things like giving weight, a proper hold, etc. But everyone already > knows how to walk! Above, I'm putting this in my own words... Sometimes, if there's a call for it, during the break I'll give a buzz-step lesson. A long time ago I was presented a way to do this: first: teach dancers to "gallop": right foot forward, the buzz step in a straight line second: have dancers back away from partner, to opposite sides of the room third: have dancers hold their "frame" fourth: set them off galloping towards each other. When they meet, while still galloping, have them enter into swing position, and they'll start going round in circles. It's fun! When I learned this, this teaching plan was attributed to Todd Whittemore. erik hoffman oakland, ca

8 years, 10 months

Re: [Callers] Buzz Step Swing

by Maia McCormick via Callers

Oh, one more thing: my local dance (CDNY) often holds a "swinging workshop" at the break, to teach the finer points of swing, talk about the buzz step explicitly and give pointers, reiterate the important stuff like giving weight, etc. This often works pretty well, and might be a good model: a beginners' lesson at the start of the evening that teaches a simple walking swing and focuses on the hold, frame, giving weight, where to end the swing, how to swing safely, etc., and a "swing workshop" at the break to teach buzz step to those who want to learn it (and refine the buzz-step of those who have picked it up not-all-that-well), as well as reiterate all of the technique points about weight and safety. On Sun, Jun 21, 2015 at 1:52 PM, Maia McCormick <maia.mcc(a)gmail.com> wrote: > Tom, at a guess, Aahz is not talking about NOT spending time on the swing, > nor about neglecting to teach dancers how to start/end one--just that the > finer points of technique aren't a priority for the beginner's lesson. Of > course any teacher worth their salt will teach that a swing always ends > with the lady on the right. But I think all Aahz is saying is that, IF the > dancers end the swing with the lady on the right, it doesn't really matter > how they get there--fumbling through a swing happens, and it's easy to > recover from, while moves that involve the rest of your hands-4 or the rest > of the set have potential to cause way more disruption to the dance if > botched. > > I agree that the buzz-step is not the be-all, end-all of contra swing! > I've been dancing for going on 5 years and I pretty much exclusively > walk-swing, because I find it more comfortable and easy to control, and > don't actually like swinging extremely fast. > > John mentions the bad habits that even experienced dancers may have while > swinging, such as: > > - grip, clamp, squeeze, hang, press > - hold their partner in the wrong place so it is uncomfortable > - use too much strength and try to do silly things like making their > partners feet leave the floor > - lean sideways or backwards > - start twirls too late and when they are facing the wrong way so that they > end up in the wrong place > > I find it pretty telling that this list of habits actually has nothing to > do with footwork! In my opinion, the reason to teach walking swing instead > of buzz-step to beginners is that there's SO MUCH ELSE to concentrate on. > The more things we can abstract away, the easier a time beginners will have > learning what's left. If you're focusing on strange new footwork (and I > find that buzz-stepping beginners tend to think that the buzz-stepping is > the most important part of the swing, and concentrate more on that than on > their frame), it's harder to pick up things like giving weight, a proper > hold, etc. But everyone already knows how to walk! > > I would also add that I would much rather dance with someone doing a > funky/odd/strange/unpracticed walking swing than a > funky/odd/strange/unpracticed buzz step. I find that there are fewer ways > to mess up a walk, and that there's less potential for your partner to be > uncomfortable or perhaps harmed than with one of those galloping, > out-of-control excited-pony buzz step swings. > > Just my two cents! > > Cheers, > Maia > > On Sun, Jun 21, 2015 at 1:38 PM, Amy Wimmer via Callers < > callers(a)lists.sharedweight.net> wrote: > >> I love John's idea of teaching the buzz step as individuals first, >> then as couples. The most frequent complaints I hear from men is that >> women hang on them and don't hold up their own weight during a swing. >> The most frequent complaint I hear from women is men pulling them off >> their feet and going too fast. If they can learn to hold themselves >> upright on their own first, then everyone will have a much more >> enjoyable experience. >> >> -Amy >> >> >> >> > On Jun 21, 2015, at 3:44 AM, John Sweeney via Callers < >> callers(a)lists.sharedweight.net> wrote: >> > >> > Yes, of course I always tell dancers that they can walk instead of >> buzz, but >> > the buzz-step is so much more fun that it seems crazy not to teach it >> when >> > every dance is going to have a swing and usually two. >> > >> > <Digression:> Yes, I love swinging, and have been loving it for fifty >> years >> > now, but why does every new dance have to have two swings? Oh no, not >> > Neighbour Balance & Swing, Circle Left 3/4, Partner Swing again - that's >> > half the dance gone with nothing new or interesting in it! (And >> changing the >> > Circle Left 3/4 to Men/Ladies Allemande 1 & 1/2 does not make it more >> > interesting!) I write lots of dances with one or zero swings - a >> zero-swing >> > dance can have so much good stuff in it that the dancers don't even >> notice >> > there is no swing; they are having too much fun. It always puzzles me >> when >> > people take a great one-swing dance and re-choreograph it to add a >> second >> > swing, losing part of what made it a great dance just for the sake of >> even >> > more swinging. <End of digression.> >> > >> > I found it interesting that Ron said, "the buzz-step swing gets axed if >> I'm >> > short on time". If I only had time to teach one thing then the only >> thing I >> > would teach would be the buzz-step swing, and how to finish it so you >> end up >> > in the right place. I can't think of anything else that newcomers can't >> > learn during the walk-throughs. >> > >> > Question: If you were calling for a group with a dozen newcomers in the >> hall >> > out of 100 people, and the organizers said you could have two minutes >> > teaching before you started the first walk-through, what would you >> teach? >> > For me the answer is obvious, every dance has a buzz-step swing; teach a >> > buzz-step swing. >> > >> > Another reason for teaching swinging is that there are a significant >> number >> > of "experienced" dancers who have bad swinging habits. I dance all >> over the >> > USA and the UK and wherever I go there are always some people who: >> > - grip, clamp, squeeze, hang, press >> > - hold their partner in the wrong place so it is uncomfortable >> > - use too much strength and try to do silly things like making their >> > partners feet leave the floor >> > - lean sideways or backwards >> > - start twirls too late and when they are facing the wrong way so that >> they >> > end up in the wrong place >> > - etc. >> > >> > If just a couple of those dancers pick up on any of these points and >> improve >> > their swinging then you have done good work! >> > >> > Yes, I hate it when callers talk too much and take time out of dancing >> time. >> > But this can be really short: >> > >> > Sample teach: >> > = = = = = = = = >> > Hi, I'm John. We have some new people here today and they are going to >> > spend half an hour swinging tonight, so please let's spend a minute or >> two >> > on showing them how it's done. And all you great dancers out there why >> not >> > see if you can't make your swing even better for you and your partners. >> > >> > This is called a buzz-step swing. >> > >> > First, let go of you partner completely. Put your left toe just behind >> your >> > right foot like this. Now walk fast on the spot. Now push with your left >> > foor as though you were on a skateboard and turn clockwise by yourself >> on >> > the spot. Relax your knees so you don't bounce up and down. See how >> > smoothly.you can turn with the minimum of effort. >> > >> > Now take your partner in a ballroom hold - the man's hand on the lady's >> > shoulderblade - it is far more comfotable for the lady if you hold them >> up >> > high. Now relax - make sure you are not pressing on any part of your >> > partner. >> > >> > And swing - it should be a gentle embrace where, as a single >> counterbalanced >> > unit, you glide smoothly and effortlessly around. Smile at your partner >> and >> > you won't get dizzy. >> > >> > Now think of your joined hands as an arrowhead and finish pointing at >> the >> > other couple. >> > >> > If you are having trouble with the buzz-step then you can always just >> walk. >> > = = = = = = = = >> > >> > I just timed that and it took less than 90 seconds. Surely that is worth >> > doing! >> > >> > Yes, some of them won’t get it, but for those who do you have just >> greatly >> > enhanced their enjoyment of the evening. >> > >> > Anyway, that's what I think. :-) >> > >> > Happy dancing, >> > John >> > >> > John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 >> > http://www.contrafusion.co.uk for Dancing in Kent >> > >> > _______________________________________________ >> > Callers mailing list >> > Callers(a)lists.sharedweight.net >> > http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net >> _______________________________________________ >> Callers mailing list >> Callers(a)lists.sharedweight.net >> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net >> > >

8 years, 10 months

Re: [Callers] Buzz Step Swing

by Dale Wilson via Callers

Right after I sent my last message I realized I hadn't mentioned the most important point directly. The goal of the beginners' workshop, and the goal of teaching during a walk-thru, is not to produce dancers with perfect technique and a complete repertory of moves. The goal is to help dancers have a successful (and safe) dance experience. That's why telling people where the restrooms are, and reminding them to drink lots of water is WAY more important than teaching them to twirl rather than courtesy turn out of a ladies' chain. If you are running a special workshop focused on style or the nuances of a particular move (you can spend a lot of time discussing how-to-hey) then sure go for the gold, but for a workshop, go for the smile, and the "gee, this is fun, I think I'll come back" moment. Dale On Sun, Jun 21, 2015 at 11:34 AM, Bob Green via Callers < callers(a)lists.sharedweight.net> wrote: > > On Jun 21, 2015, at 5:44 AM, John Sweeney via Callers < > callers(a)lists.sharedweight.net> wrote: > > > Yes, of course I always tell dancers that they can walk instead of buzz, > but > > the buzz-step is so much more fun that it seems crazy not to teach it when > > every dance is going to have a swing and usually two. > > > I see a workshop coming on: "The Art of the Walking Swing". While I think > it is true that it is probably easier for most people to get a swing "up to > speed" with a buzz step, a skilled walking swing has a slightly subtly > different but every bit as exhilarating feel as a buzz step. From this > discussion it appears it is becoming a lost art. I am going to try an > experiment - walking swings only for the rest of June. > > To me, what makes for a good swing is a balance of forces, and that is the > piece that is both difficult to teach and difficult to maintain. I can't > even count how many times I have gotten feedback from folks who tried > contra but didn't go back because people insisted on high speed buzz step > swings until they were so dizzy they wanted to puke. A quote from my early > dance education: A good lead can get their partner to go where they want > them to go. A great lead takes them where they want to go." > > I do think it is good to teach the buzz step for those that want it. I got > my teach-the-swing technique from Becky Hill, and it has proven to be just > about bullet proof. It starts with ring-around-the-Rosie to develop the > idea of the balance of forces and negotiating the pace with the person you > are dancing with. While maintaining that balance of forces in the > traditional man's women's right, you walk into ballroom hold. The buzz > step is taught like a left-foot propelled scooter. It can be practiced > first without holding a partner to get the coordination and timing. I have > never tried teaching the buzz step out of ring around the Rosie, but I > think I will try it next week. > > Interesting discussion. Thanks, > > Bob Green > > _______________________________________________ > Callers mailing list > Callers(a)lists.sharedweight.net > http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net > > -- Turn Observation into Data. Turn Data into Information <http://en.wikiquote.org/wiki/Information>. Turn Information into Knowledge. Turn Knowledge into Wisdom. Turn Wisdom into Beauty. Turn Beauty into Love .

8 years, 10 months

Re: [Callers] Buzz Step Swing

by John Sweeney via Callers

Dale said, "Don't teach advanced techniques to new dancers. Forget the buzz step." Sorry, but I must disagree most strongly. In an average evening of contra dancing you will spend nearly thirty minutes swinging (if the dances are in the Modern Urban Contra Dance style rather than the older styles). I think it is incredibly unfair to a newcomer to make them suffer for thirty minutes rather than teach them how to swing. They can also cause a lot of suffering to whomever they are swinging with if they have lousy technique. I would not agree that it is advanced either. I strongly believe that a couple of minutes teaching the basics of a buzz step swing will give everyone a much more enjoyable evening. Some of them won't get it, but for those that do it can completely change their experience of the evening. Happy dancing, John John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 http://www.contrafusion.co.uk for Dancing in Kent

8 years, 10 months

Re: [Callers] Having settled the geography debate, lets move on to entomology

by Don Veino via Callers

On Sat, Jun 20, 2015 at 10:42 AM, Luke Donforth via Callers < callers(a)lists.sharedweight.net> wrote: > The recent discussion about California versus Nevada twirls and all the > related variants suddenly flashed through my mind when I was writing this > dance: > > Whipped Butter > [snip] > > The odd thing that's (to me) evocative of the previous name debate is the > butterfly whirl. If the woman is on the left of her partner, but still > moving forward, is it a butterfly whirl? Or some other species of > lepidoptera? > > I had a similar question in mind when writing the following dance. At that time I was assured by those I spoke with that the varying configurations of this move were all Butterfly Whirls. -Don *Give the Gents a Whirl* [Type]: Contra [Formation]: Becket CW [Author]: Don Veino [Status]: DV:: [Comments]: Romantic start with Neighbor and promenade into a Gents (Butterfly) Whirl along the set. Have lines stretch out to make room for A1 simultaneous gypsy in middle. :: [A1]: (3,2,3) LINES FORWARD, GYPSY NEIGHBOR 1/2, LINES BACK (so all cross set to N's place) (6,2) STAR LEFT 3/4, SHIFT TO TAKE NEIGHBOR IN PROMENADE POSITION facing CCW around oval :: [A2]: (6,2) Everyone PROMENADE THE OVAL, LADIES TURN BACK over right shoulder #PROGRESSION (8) NEW N SWING end facing CW around oval in promenade position :: [B1]: (6) PROMENADE BACK until opposite Partner (6,4) GENTS WHIRL* 1+1/4, GENTS CROSS to P (passing Left) :: [B2]: (4,12) PARTNER BALANCE, SWING (alternate for smooth, slinky feel: Partner Gypsy, Swing) :: [Notes]: A1 - Shift to take Neighbor in Promenade: All drop hands from Star, Gent walks forward to join hands with current Neighbor lady in promenade position - left in left, right in right. A2 - EVERYONE (ENDS!) MUST PARTICIPATE IN THE A2 PROMENADE, as it is the progression. B1 = *Gents Whirl in this case is a CW rotation Butterfly Whirl with the Gents going forward and the Ladies backing up. Mention eye contact with Neighbor in whirl.:: [Tunes]: :: [Provenance]: From author. Composed 4/8/15. Opening part of A1 taken from Cary Ravitz's dance Terry & Sherry, which derives from an ECD sequence The Hole in the Wall. First called by Sue Rosen 5/4/2015 Monday Contras, by Don 5/25/15 Thursday Contras at Scout House.:: [Tags]: oval, gypsy lines, hole in the wall, gents whirl, DV, intermediate::

8 years, 10 months

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