Hello all.
It's been a while since I've had enough folks at a house party to really
walk through a 4x4 dance, so I'm sending this out for comment: I'm trying
to increase my repertoire of accessible and entertaining 4x4s (my double
reverse progression 4x4, etc, not qualifying)
This one is in the "Midwestern Folklore" and "Will You Mary Me?" tradition
of being two nearly identical halves.
Plow and Cross Stitch
by Luke Donforth
Contra/Four Facing Four
A1 -----------
(8) Lines of four, forward and back
(8) Women's Chain up & down to facing neighbor
A2 -----------
(8) 1/2 Hey up & down, women passing right shoulders
(8) Neighbor swing (end facing partner, Women's line of direction; men
opposite initial facing.)
B1 -----------
(8) Women's Chain up and down to partner, power turn to face trail buddy
couple
(8) 1/2 Hey across, women passing right shoulders
B2 -----------
(16) Partner balance and swing
It could go lines of four again in B1, then the chain and power turn, with
B2 being half hey and just a swing; but I figured try for the partner
balance and longer swing.
I'd appreciate hearing folks thoughts (too repetitive? too disorienting?
basically X's dance Y), as well as your own favorite 4x4s; and why. My
personal favorite is Rick Mohr's "Dance All Night", because you get a grand
right and left in a contra.
Take care,
--
Luke Donforth
Luke.Donforth(a)gmail.com <Luke.Donev(a)gmail.com>
Luke, I picked this one up from you, probably here, and have used it
with great success with kids, mixed groups of kids and adults, and also
with happily drunk adults. I usually call it "Middle Muddle."
Kalia
On 1/3/2017 9:03 AM, Luke Donforth via Callers wrote:
> I have to apologize Claire; that is a dance I wrote... jeesh, I can't
> even remember my own dances anymore.
>
> I posted it to Shared Weight in February of 2014. :"/For 20 couples,
> with many dancers still working on the walking thing, it went fine (1
> 1/2 phrases seemed to be the right amount of time to get through the
> middle). Nobody had to leave their partner, and you got to see lots of
> people.// /"
>
> I call it circ-splosion in my box. I went back to look for it when
> Claire asked me about it; and didn't find it. But it was something I
> made up on the fly.
>
> It was nagging at me, so I did some more digging, and found it.
>
> Hope folks have fun with it.
>
> On Thu, Dec 29, 2016 at 1:19 AM, Claire Takemori via Callers
> <callers(a)lists.sharedweight.net <mailto:callers@lists.sharedweight.net>>
> wrote:
>
> I have received this from 2 sources attributing it to Luke Donforth,
> but Luke emailed me saying that he didn’t write it. Anyone know the
> author?
>
> Circle Shuffle* *
> **Circle of Partners *
> A1 (8) Partner Do-si-do
> (8) Partner two hand turn
> A2 (8) Circle left
> (8) Circle right
> B1 (8) Into middle/out
> (8) Into middle/out
> B2 Promenade across the circle to a new spot*
>
> Thanks!
> Claire Takemori
> (SF Bay Area)
Thanks all for your thoughts and comments. And for those of you still on
the fence about applying (or referring someone) as a caller or musician in
a breakout band, there's still hope.
Due to too much merriment and not enough time over the winter holidays, the
deadline for submitting band and caller applications for Catapult has been
extended until January 6, 2017.
Think about all those contra musicians and callers out there who dream of
making it to the big time. Surely you know a few (maybe one of them is
you), so point them towards Catapult for an opportunity to find fame and
(figuratively) fortune on a national stage.
www.catapultshowcase.com
And while you're at it, mark Memorial Day 2017 (May 26-29) on your calendar
to join us in Atlanta for the Catapult Showcase.
Have an outstanding 2017 and beyond!
ciao,
rah
Rob Harper
404-307-3444
On Fri, Dec 16, 2016 at 1:31 PM, Keith Tuxhorn via Callers <
callers(a)lists.sharedweight.net> wrote:
> Terrific research, Jeff! Let me add a couple "variables" and info bits...
>
> -Because Ladies at Play (from OK) and I (from TX) were both at C-13, we
> had a great turnout of dancers, and bookers from that area in Atlanta...
> You'll notice that Austin, Dallas, and OKC are among the best at booking
> Catapult talent, and the class of '13 benefitted most.
>
> Except me, which is easy to understand--I was a familiar face who could be
> hired anytime, and wouldn't be a "special selling point" for any weekends
> there.
>
> -The TX/OK dance groups have a friendly/competitive attitude about
> "booking the hot new band first", and I think that may drive booking the
> emerging bands a little.
>
> -And the only way those two states can get big-name bands is to book them
> for weekends, and they don't want to book the same legacy bands year after
> year. They want freshness and variety. So maybe that drives the willingness
> to hire less-known bands more, too.
>
> -Ladies at Play also played the High Tea ECD weekend 2016.
>
> -I did have a "2nd caller" role at Fire Ant Frolic '13. And I became the
> featured caller at Flamingo Fling, June '13 when/where George Marshall had
> his heart attack, and I was asked to fill in, calling with Crowfoot that
> evening. So, technically, I guess I got my first weekend job quicker than
> any other caller after appearing at Catapult...;-)
>
> Keith Tuxhorn
> Springfield, IL
>
> On Thu, Dec 15, 2016 at 2:54 PM, Jeff Kaufman <jeff(a)alum.swarthmore.edu>
> wrote:
>
>> This thread got me thinking about whether I could figure out the
>> effect of catapult from looking at later dance weekend bookings. I
>> didn't make much progress, but people might be interested in the data:
>> http://www.jefftk.com/p/effect-of-catapult
>>
>> On Thu, Dec 15, 2016 at 3:37 PM, Keith Tuxhorn via Callers
>> <callers(a)lists.sharedweight.net> wrote:
>> > What Luke said! I answered in much the same way on a FB post to a
>> similar
>> > query.
>> >
>> > I was a caller on the 2013 roster with Luke. It was one of the most
>> > enjoyable experiences of my life.
>> >
>> > And what Rob said! Catapult get a good amount of national attention,
>> thanks
>> > to the way Rob's done it. The majority of attendees still come from the
>> > southeast, but increasing numbers are coming from all over.
>> >
>> > And Rob, if you need any help, get in touch, I'd be happy to.
>> >
>> > Keith Tuxhorn
>> > Springfield, IL
>> >
>> > On Thu, Dec 15, 2016 at 1:59 PM, Luke Donforth via Callers
>> > <callers(a)lists.sharedweight.net> wrote:
>> >>>>
>> >>>>
>> >>> How many of you out there have participated in this? What did you
>> think
>> >>> of it? I'm curious, but not sure whether I'm what they're looking
>> for, or
>> >>> vice versa. And it's a long way to travel for a short gig.
>> >>>
>> >>> Kalia
>> >>>
>> >>
>> >> I'll weigh in as someone who called there in 2013.
>> >>
>> >> I had a great time
>> >> It helped me get some other festival gigs
>> >> It nucleated relationships with bands
>> >> I've directly mentioned this to some callers who aren't on this list,
>> >> encouraging them to apply
>> >> If selected, they cover the direct cost for you to come out
>> >> It's a short gig, but it's also a dance festival you get to attend
>> ~70% of
>> >> as a dancer with expenses paid
>> >> I think the process of going through the application is worthwhile in
>> >> helping define your own goals
>> >> I'm enough in favor of it that I've volunteered to help as I can for
>> >> future years
>> >> It puts you in Georgia during peach season (I think I ate half a crate
>> >> while I was there, fresh at the farmers market. SO good)
>> >>
>> >>
>> >> It got some initial buzz as a sort of America's Got Talent - Contra
>> >> Edition. That wasn't the vibe fore me at all. The 6 callers got
>> together and
>> >> had wonderful chats about calling; both the stage craft and the
>> >> back-of-house stuff. I'm closer with all of them as a result. It's
>> probably
>> >> one of the few opportunities for that many callers to get together and
>> work
>> >> a festival together (I found it a much more collaborative and bonding
>> >> experience than calling at NEFFA, which doesn't cover travel costs)
>> >>
>> >> I'm happy to talk about it one-on-one if you have more specific
>> questions.
>> >> I'm also happy to publicly endorse applying if you're interested.
>> >>
>> >> And like Rob, I'll also admit to being biased.
>> >>
>> >> --
>> >> Luke Donforth
>> >> Luke.Donforth(a)gmail.com
>> >>
>> >> _______________________________________________
>> >> 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
>
>
--
Rob Harper
thatrobharper(a)gmail.com
(404) 307-3444
Has it occurred to you that those in the gents role basically stay in the
same spot the whole dance?
On Dec 26, 2016 2:27 PM, "Maia McCormick via Callers" <
callers(a)lists.sharedweight.net> wrote:
Ah, Don is correct that I'm missing the B2. Full dance is:
becket L
A1: slice L
ladies chain to N
A2: ladies chain to P
ladies alle. R 1 1/2
B1: N b&s
B2: circle L 3/4
P swing
On Mon, Dec 26, 2016 at 1:11 PM, Maia McCormick <maia.mcc(a)gmail.com> wrote:
> Whipped this one up looking for a double-chain dance to get beginners
> accustomed to the figure*. Has it been written before? (If not, tentatively
> titling this one "Chain of Fools".) (Uhh, unless there's another dance of
> that name already... which I can't imagine there isn't... in which case
> I'll come up with something else.)
>
> becket L
> A1: slice L
> ladies chain to N
> A2: ladies chain to P
> ladies alle. R 1 1/2
> B1: N b&s
> (Or perhaps the same dance, starting at B1, with "long lines forward and
> back" in place of the slice.)
>
> Cheers,
> Maia
>
> * currently my go-to dance for this purpose is currently Erik Hoffman's Made
> Up Tonight
> <https://www.cambridgefolk.org.uk/contra/dances/erik_hoffman/made_up_tonight…>,
> but I like to have options (and I like to have glossary dances that don't
> start with "N b&s").
>
_______________________________________________
Callers mailing list
Callers(a)lists.sharedweight.net
http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
Richard Hopkins asked, "What is 'slice'? And is it different from 'yearn'?"
I think most people use Slice and Yearn to mean the same thing:
As a couple move forward diagonally to face the next couple (default is
usually to the left); high-five them with your spare hands (not the one you
are using to hold your partner's hand) while turning to face them across the
set; fall back (push away) to your progressed positions facing them.
There is also a Double Slice, i.e. forward to the left diagonal couple and
continue moving to the left as you back out to face the next couple (double
progression)
And Bob Isaacs introduced Half a Slice (in the dance of the same name): "As
a couple, go forward towards each other on the diagonal. The top two
dancers join hands; the bottom two push off to make a line of four facing
down. This is an efficient way to get everyone progressed and facing down
in 8 beats, so there is time for creative or dramatic push-offs."
Some people sometimes use one term to mean single progression and the other
to mean double progression, but I don't believe there is any universal
agreement, so it is always best to write or teach exactly which one you
mean.
I like Yearn as it implies more interaction with the couple you are
approaching.
Happy dancing,
John
John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362
http://www.contrafusion.co.uk for Dancing in Kent
What is ‘slice’? And is it different from ‘yearn’?
Richard
``````````````````````````````````````````````````````````
Richard Hopkins
850-544-7614
hopkinsrs(a)comcast.net
Any Musicians, Callers, Dancers want to spend the month of February 2018
traveling around New Zealand? The Allemande Joy Contra Dance Bus is now
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dances with the local communities. For information, contact Julie:
2018AJ(a)gmail.com
<2018AJ(a)gmail.com>
<2018AJ(a)gmail.com>
Ah, Don is correct that I'm missing the B2. Full dance is:
becket L
A1: slice L
ladies chain to N
A2: ladies chain to P
ladies alle. R 1 1/2
B1: N b&s
B2: circle L 3/4
P swing
On Mon, Dec 26, 2016 at 1:11 PM, Maia McCormick <maia.mcc(a)gmail.com> wrote:
> Whipped this one up looking for a double-chain dance to get beginners
> accustomed to the figure*. Has it been written before? (If not, tentatively
> titling this one "Chain of Fools".) (Uhh, unless there's another dance of
> that name already... which I can't imagine there isn't... in which case
> I'll come up with something else.)
>
> becket L
> A1: slice L
> ladies chain to N
> A2: ladies chain to P
> ladies alle. R 1 1/2
> B1: N b&s
> (Or perhaps the same dance, starting at B1, with "long lines forward and
> back" in place of the slice.)
>
> Cheers,
> Maia
>
> * currently my go-to dance for this purpose is currently Erik Hoffman's Made
> Up Tonight
> <https://www.cambridgefolk.org.uk/contra/dances/erik_hoffman/made_up_tonight…>,
> but I like to have options (and I like to have glossary dances that don't
> start with "N b&s").
>
Whipped this one up looking for a double-chain dance to get beginners
accustomed to the figure*. Has it been written before? (If not, tentatively
titling this one "Chain of Fools".) (Uhh, unless there's another dance of
that name already... which I can't imagine there isn't... in which case
I'll come up with something else.)
becket L
A1: slice L
ladies chain to N
A2: ladies chain to P
ladies alle. R 1 1/2
B1: N b&s
(Or perhaps the same dance, starting at B1, with "long lines forward and
back" in place of the slice.)
Cheers,
Maia
* currently my go-to dance for this purpose is currently Erik Hoffman's Made
Up Tonight
<https://www.cambridgefolk.org.uk/contra/dances/erik_hoffman/made_up_tonight…>,
but I like to have options (and I like to have glossary dances that don't
start with "N b&s").
