Import1 August 2016

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1 participants
47 discussions

by Colin Hume via Callers

The latest version of my Dance Organiser program (which runs on Windows, including a Windows tablet) has extra features which may appeal to contra callers. Now you can see a grid of which figures appear in which dances of your event, and you can change things to give more variety of figures. I realised the necessity of this while calling in the States in June! Download a trial copy from http://colinhume.com/download.htm and experiment with some of my existing program(me)s. Apologies to those of you who subscribe to two or three lists and will see this two or three times. Colin Hume

8 years, 3 months

Re: [Callers] This has to have been written

by Ron Blechner via Callers

For the one in question, I've been told: Together At Last by Beau Farmer Is basically the same, but the progression is the star to next neighbor, don't return to previous neighbor. Related question: Would it be awful for gents to allemande instead with the next gent on the slight left, and ladies to join the hey, and have a progression there? -R On Aug 29, 2016 1:24 PM, "Ron Blechner" <contraron(a)gmail.com> wrote: > I'd like to give the choreographer credit: > > Becket contra: > A1. Ladies Chain (to N) (8) > Star L 1x (8) > A2. Gypsy/Face-to-face/Spiral R Next N 1x (6) > N1 Sw (10) > B1. Gents Alle L 1.5 (8) > 1/2 Hey (PR, LL, NR, GL) (8) > B2. P Gypsy + Swing (16) > > I have been poking at the idea of coming out of a star L, having a > next-neighbor/shadow peek, and then returning to swing the person you > starred with. (Thanks to the dance "Here's to the Ladies" for getting my > gears going.) > > A more complex, partner heavy dance that I'm poking at: > > Becket contra > A1. w/P pass thru across, turn left, single file to next (6) > w/n2s Star L 1+1/4 (10) (til on side w/N, gents home side) > A2. N3 Gypsy/F2F/Spiral Right 1x (6) > N2 Swing (10) > B1. Mad Robin (8) (CW, gents in front, same N2s) > 1/2 Hey (8/ (GL, PR, LL, NR) > B2. G pass L (2) > PS (14) > > In dance, > Ron Blechner >

8 years, 3 months

[Callers] This has to have been written

by Ron Blechner via Callers

I'd like to give the choreographer credit: Becket contra: A1. Ladies Chain (to N) (8) Star L 1x (8) A2. Gypsy/Face-to-face/Spiral R Next N 1x (6) N1 Sw (10) B1. Gents Alle L 1.5 (8) 1/2 Hey (PR, LL, NR, GL) (8) B2. P Gypsy + Swing (16) I have been poking at the idea of coming out of a star L, having a next-neighbor/shadow peek, and then returning to swing the person you starred with. (Thanks to the dance "Here's to the Ladies" for getting my gears going.) A more complex, partner heavy dance that I'm poking at: Becket contra A1. w/P pass thru across, turn left, single file to next (6) w/n2s Star L 1+1/4 (10) (til on side w/N, gents home side) A2. N3 Gypsy/F2F/Spiral Right 1x (6) N2 Swing (10) B1. Mad Robin (8) (CW, gents in front, same N2s) 1/2 Hey (8/ (GL, PR, LL, NR) B2. G pass L (2) PS (14) In dance, Ron Blechner

8 years, 3 months

Re: [Callers] looking for notes

by Ron Blechner via Callers

Danced this Saturday, Will Mentor calling. This is a real good one! Ron On Aug 28, 2016 2:01 PM, "Martin Fager via Callers" < callers(a)lists.sharedweight.net> wrote: > All- > > I just got back from Pinewoods yesterday evening and am now going through > emails. > > Marty Fager > > Balance and Bounce > > *Becket Formation Contra by Marty Fager March, 2009 * > > *A1 C*ircle left *¾* to a wave/4 (right hand to *N*br*) > > Balance, walk forward to new wave/4 > > *A2 *Balance, Ladies Allem Left halfway > > Ptnrs Allem Right *1&1/2* > > *B1* Half hey, gents pass left, ladies ricochet > > Neighbors swing > > *B2* Half hey, gents pass left, ladies ricochet > > Partners Swing > > *This borrows the A sections from Balance For Bubba by Bob Dalsemer.* > > > > * Women in the middle of the wave. > > > > > > > On Mon, Aug 22, 2016 at 10:55 AM, tavi merrill via Callers < > callers(a)lists.sharedweight.net> wrote: > >> it's easy to collect from this video https://www.youtube.com/watch? >> v=C6LlCUhPwnM& >> >> >>> Anybody have Marty Fager's "Balance and Bounce" handy? >>> >>> Many thanks, >>> Kalia Kliban >>> >>> >>> ------------------------------ >>> >>> Subject: Digest Footer >>> >>> _______________________________________________ >>> Callers mailing list >>> Callers(a)lists.sharedweight.net >>> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net >>> >>> >>> ------------------------------ >>> >>> End of Callers Digest, Vol 28, Issue 12 >>> *************************************** >>> >> >> >> _______________________________________________ >> 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, 3 months

[Callers] Headset mics

by Kalia Kliban via Callers

Hi all I was just working a wedding gig and my old Samson headset mic crapped out. If the piano player hadn't had hers along, I would have been in serious trouble. Time for a new and more reliable headset mic. I use my hands a LOT when I'm doing ONS gigs, so a handheld cordless isn't really an option for me. I'd love recommendations from any of you about models to look at. I'm planning to plow the funds from this wedding and some of my caller piggy bank into a new mic, so I want something that's really good quality. It doesn't have to be tiny and invisible, but it does need to be reliable. If it doesn't have a belt pack that's a plus, but it seems like most of the good-quality headset mics have belt packs. I'll deal with it if that's the best bet. So, recommendations? For reference, the one I was working with was a Samson Airline 77, often referred to as the "aerobic instructor mic." It had the transmitter on the headset, so there were no wires or belt pack, and it worked just fine for a long time until suddenly it didn't. I would like to hear what folks are using who rely on a headset mic for their calling gigs. Kalia Kliban in Sebastopol, CA

8 years, 3 months

Re: [Callers] looking for notes

by Martin Fager via Callers

All- I just got back from Pinewoods yesterday evening and am now going through emails. Marty Fager Balance and Bounce *Becket Formation Contra by Marty Fager March, 2009 * *A1 C*ircle left *¾* to a wave/4 (right hand to *N*br*) Balance, walk forward to new wave/4 *A2 *Balance, Ladies Allem Left halfway Ptnrs Allem Right *1&1/2* *B1* Half hey, gents pass left, ladies ricochet Neighbors swing *B2* Half hey, gents pass left, ladies ricochet Partners Swing *This borrows the A sections from Balance For Bubba by Bob Dalsemer.* * Women in the middle of the wave. On Mon, Aug 22, 2016 at 10:55 AM, tavi merrill via Callers < callers(a)lists.sharedweight.net> wrote: > it's easy to collect from this video https://www.youtube.com/watch? > v=C6LlCUhPwnM& > > >> Anybody have Marty Fager's "Balance and Bounce" handy? >> >> Many thanks, >> Kalia Kliban >> >> >> ------------------------------ >> >> Subject: Digest Footer >> >> _______________________________________________ >> Callers mailing list >> Callers(a)lists.sharedweight.net >> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net >> >> >> ------------------------------ >> >> End of Callers Digest, Vol 28, Issue 12 >> *************************************** >> > > > _______________________________________________ > Callers mailing list > Callers(a)lists.sharedweight.net > http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net > >

8 years, 3 months

Re: [Callers] Favorite dance to teach a ladies chain?

by John Sweeney via Callers

Hi Luke, I use Chain 'n' Hey http://contrafusion.co.uk/Dances/ChainnHey.html a lot with groups where at least some of the people know what they are doing. No, I don't generally draw imaginary lines on the floor for ordinary heys (yes, for a Lichfield Hey!), but I often demonstrate and tell them to watch how we are walking figure eights (with extra loops) and weaving between each other. I teach the Courtesy turn first, hand positions and hips together - tell them to imagine a pole between them and the man walks backwards around the pole, the lady walks forwards. Once they get it I tell them, "OK. Now you are Pole Dancing". :-) I then tell the ladies to make sure they only "touch & go" with their right hands - no holding on - and that their objective is to get around the man by passing him with their left shoulder - and to walk forwards all the time (so many try to back into the man's arm!). Then I tell the men that their job is to step in and scoop up the lady with their right arm (I used to focus on the left hand, but have found that focussing on the right arm has more success), then do the courtesy turn that they have learnt. Once they get it (reasonably well) I tell the ladies to step forwards and the men to step back and make a line of four ready for the hey (it really helps to get the men to step back!). Now the ladies already know the path since it is exactly the same as two ladies' chains. As long as I can persuade them to keep their eye on the last person they pass so they turn the easy way, and to make that turn a big loop, then there is a high level of success. The dance is also forgiving since they have 16 beats of partner balance and swing to get back to their own side and get ready for the lines. I think the R & L Through is the worst move of all! It is completely counter-intuitive. The lady pulls by with her right hand, and especially if the man hangs on, she automatically starts to turn to the right, when she needs to turn to the left. There are areas and styles where it is the standard to pass through without hands, then do the courtesy turn with hands. I have a much higher success rate when I teach it that way. I quite often change a R & L Through to a Half Promenade if there is only one dance I want to do in an evening that has a R & L Through. Happy dancing, John John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 http://www.contrafusion.co.uk for Dancing in Kent From: Luke Donforth via Callers [mailto:callers@lists.sharedweight.net] Sent: 23 August 2016 13:42 To: callers(a)lists.sharedweight.net Subject: Re: [Callers] Favorite dance to teach a ladies chain? Interesting approach John. I'd personally hesitate to introduce both chain and a hey in the same dance for mostly new dancers. Do you draw an extensive parallel of the motion on the floor for the ladies?

8 years, 4 months

Re: [Callers] On Balances, Box circulates, Allemandes, Circles & Timing

by Alan Winston via Callers

On 8/23/16 8:10 PM, Don Veino via Callers wrote: > Following this logic, where an on-time arrival is essential out of a > star it would be best to make it hands-across (H-A). In a H-A star, > folks can use a similar arm angle adjustment to vary the star > circumference (and resulting speed). Due to the configuration, there's > less opportunity to gently* influence star speed with the pack > saddle/hand-on-wrist form. > > BTW, in dances featuring a star where a pair drop out I mention > there's no need to shove your opposite away at disengagement - > centrifugal force will gently take care of it once you let go of them. > This is a curious bit which only seems to happen in this case - I've > never received a parting shove when an "everybody" H-A star breaks up, > but there's always someone in the line doing it in the drop out variant. > > * I find that a lot - maybe most - gents in the SF Bay Area will do a push off on dropping out of a hands-across star, and since I'm expecting it I kind of like it and offer a rigid-enough arm to be pushed off from. On the other hand, it's a very small minority of gents who'll push off from a star promenade, and I wish it were more. (There's a lot of 'em who'll just drop the allemande hand once they've picked up the lady they're promenading with, and then the figure is really, really unsatisfying.) -- Alan

8 years, 4 months

[Callers] FW: Favorite dance to teach a ladies chain?

by Erik Hoffman via Callers

I agree with Yoyo and others: so much of the order I teach figures depends on the dancers and the gig. Having just done a couple one-night-stand gigs, I had the realization that I use the same formula more or less for all dances: Can I teach a dance in less than 5 minutes--or 8 at the most--and start with the music. Hence, for rank beginners, start with circles, into the center, swings, and promenades--I can do all this with music and no talking... Then the Virginia Reel. Then onto what dancers are ready for. On rare occasions, hands four dances. Usually not... If I'm teaching after doing a beginners' workshop, I do an extremely glossary dance that covers the figures we drilled in the workshop: Lady's Chain, R&L Thru, Balance & Swing. The beginners have had a chance to walk it and learn it, then, when the dance starts, the experienced dancers have no problem helping. ABC Improper A1 Neighbor Balance & Swing A2 Women Chain over & back B1 R & L Thru over & back --OR-- B1 R & L Thru; Half Promenade B2 Long Lines Forward & Back; Ones Swing The OR B2 depends on how well dancers learned the R&L Thru. The challenge on the R&L Thru is mostly for the women, who are naturally steered the wrong way. Men can help, of course, in the pull by, but that takes awareness--something I usually point out in a workshop. And noting other comments, I have come to usually teach the Right & Left Thru first, the Chain second. I've done it both ways, and, of course, works or it doesn't... Although I do think of how people enter into the next figure, I often think if it as what kind of connection there is, and whether the position is ambiguous. I'll alter dances based on this. Like, another beginner dance is the slightly altered Nice Combination, by the late Gene Hubert: Nice Combination (slightly altered): Gene Hubert A1 Neighbor Balance & Swing A2 Down Hall Four in Line, Turn as Couples, Return, Fold to Circle B1 Circle Left 3/4; Partner Swing B2 Women Chain; Long Lines Forward & Back The original ends with a B2 Women Chain, Star Left Where a star starts and ends is a bit ambiguous until a dancer has internalized the bearings of the dance. So finding the next neighbor out of a mess of people possibly looking at their left hands in the center of the star is a challenge. Long lines forward and back has you connected to the previous neighbor and your next neighbor, and, if a mistake is made, is a bit easier to see where you're supposed to be. This lack of connection is what causes problems in things like a hey, where there is a milling about with no contact, and no sense of the bearings and characters like up, down, across, right, left, current neighbor, partner, etc. If I'm calling to mostly beginners, and it's a regular contra series, I'll call Carlotta Wellington's "Taking Liberties with Jefferson" Taking Liberties With Jefferson Carlotta Wellington Improper (or Proper--doesn't matter, though technically Improper) A1 Circle Left; Star left (back to starting point) A2 Ones Down Outside, Return, Step to Center making Line of Four with Twos--Ones in Center B1 Down Hall Four in Line; Ones Arch, Twos Duck Through to end up above Ones, Return 2x2 ("Twos in Front, Ones Behind) B2 All Balance & Swing Partner, End facing a New Couple I like Yoyo's dance below, and will start using it, too. Could go on, but that's enough for now... Erik Hoffman Oakland, CA -----Original Message----- From: Callers [mailto:callers-bounces@lists.sharedweight.net] On Behalf Of Yoyo Zhou via Callers Sent: Monday, August 22, 2016 1:25 PM To: Luke Donforth <luke.donev(a)gmail.com> Cc: Callers(a)Lists.Sharedweight.net Subject: Re: [Callers] Favorite dance to teach a ladies chain? On Mon, Aug 22, 2016 at 8:18 AM, Luke Donforth via Callers <callers(a)lists.sharedweight.net> wrote: > Hello all, > > I've been thinking about glossary dances, and building vocabulary for > new dancers. I'm curious what your favorite dance is for teaching a > ladies chain for a crowd of mostly new dancers? Or if you don't have a > specific dance, what do you look for in a dance to make the chain as accessible as possible? > > Just a chain over? Or a full chain over and back? > Chain to neighbor? Chain to partner? > What move best precedes the chain to set it up? > What move best follows the chain that still helps new dancers succeed? > Other factors you consider? Definitely for the first introduction to courtesy turn, just one chain ("half chain") and with neighbor. My choice of dance depends on the crowd and what issues they are having, and whether the beginners have enough experienced neighbors to help them. For instance, sometimes they struggle to end a swing or courtesy turn on the correct side. Entering a courtesy turn from a swing (or long lines) is fine even if dancers don't end on the left/right correctly. Going from courtesy turn into a ladies allemande or do si do is also fine if they don't end on the left/right correctly. One thing that occurred to me while pondering left hand stars was: what happens if the courtesy turn doesn't end on time but 4 beats late? How forgiving is the next move? With some figures like forward and back, or ladies allemande, it's easy to see what's going on and skip ahead. With left hand stars, though, it *looks* like it's easy to see what's going on, but there is a temptation to join in the star wherever (disorienting for what follows, usually progression) or dash madly to get into the right place (stressful). Or the whole star is late. And it's not intuitive to many dancers (even experienced) where they need to join into the star; it's less familiar than, say, a circle. And I've also seen dancers struggle with letting go of the star to find the next neighbor. As you've said, I think there are choreographic needs that could be filled here - there is a common sequence that looks like 4. chain to P 5. ladies allemande/do si do 1 6. P swing which it would be great to do with neighbors instead. Here's a suggestion - I'm ready to believe Bob (or another choreographer) has written it already: becket A1: slice left to meet new N; ladies chain to N A2: ladies allemande right 1; N swing B1: down the hall, turn as couples B2: circle left 3/4; P swing Yoyo Zhou _______________________________________________ Callers mailing list Callers(a)lists.sharedweight.net http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net

8 years, 4 months

Re: [Callers] On Balances, Box circulates, Allemandes, Circles & Timing

by Don Veino via Callers

Following this logic, where an on-time arrival is essential out of a star it would be best to make it hands-across (H-A). In a H-A star, folks can use a similar arm angle adjustment to vary the star circumference (and resulting speed). Due to the configuration, there's less opportunity to gently* influence star speed with the pack saddle/hand-on-wrist form. BTW, in dances featuring a star where a pair drop out I mention there's no need to shove your opposite away at disengagement - centrifugal force will gently take care of it once you let go of them. This is a curious bit which only seems to happen in this case - I've never received a parting shove when an "everybody" H-A star breaks up, but there's always someone in the line doing it in the drop out variant. *I've witnessed some dancers "expediting" those ahead in a star using their free palm applied to a shoulder or back. :( On Sun, Aug 21, 2016 at 4:31 PM, Erik Hoffman via Callers < callers(a)lists.sharedweight.net> wrote: > It is easy to have a good connection, give good weight in a circle ¾, and > make it last 6 or 8 beats by expanding or contracting the circle. Aware > dancers will adjust to make the move fit the timing of the dance. Circle > left ¾ into a balance: make the circle bigger so the path is a bit longer. > Want that extra two beats of swing? Contract the circle, and get there > early…

8 years, 4 months

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Import1 August 2016