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2524 discussions

by Frederick Park via Callers

Dear All, Been reading this list serve series of posts now for about a year or so. I love the off handed comment that lends humor and insight so: “Moderation in all things, including moderation!” More another time . . . Frederick Park ------------------------------ On Oct 12, 2015, at 8:20 PM, Andy Shore via Callers <callers(a)lists.sharedweight.net> wrote: I've found this thread very informative, thanks for all the thoughtful observations. Having just returned from a weekend as a dancer, I can add one more: It is indeed possible to over-use rolling starts! /Andy

9 years, 6 months

Re: [Callers] Rolling Starts?

by Kalia Kliban via Callers

Thanks Dave, Alan and Sue for catching me up! Kalia On 10/6/2015 10:27 AM, Dave Casserly wrote: > Done. > > On Tue, Oct 6, 2015 at 1:15 PM, Kalia Kliban via Callers > <callers(a)lists.sharedweight.net <mailto:callers@lists.sharedweight.net>> > wrote: > > > If Woody sent a message to the list on this subject, I seem to have > misplaced it. I'd be grateful if someone could forward it to me > offline. I've been wrestling with this subject myself. > > Kalia > > _______________________________________________ > Callers mailing list > Callers(a)lists.sharedweight.net <mailto:Callers@lists.sharedweight.net> > http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net

9 years, 6 months

Re: [Callers] Seeking contras for a crowded hall

by James Saxe via Callers

Paul, Thanks for mentioning mescolanzas (a/k/a 4-face-4 or Portland Fancy formation dances). I'll try to pick out a couple where the figures aren't expansive lengthwise and have them ready for possible use depending on how I see the dancers fitting into the available space. I'll make a couple comments on space requirements of 4-face-4 dances below. Meanwhile I hope people will keep contributing other ideas (both general suggestions and specific dances) for contra dances in crowded halls. * * * * * * * * * * I think people often misjudge the space requirements for 4-face-4 dances, both in term of width and length. I've sometimes seen callers combine four contra sets into two 4-face-4 sets (and leave them like that) at times when I thought that three 4-face-4 sets would have fit comfortably into the width of the hall and would have been much more comfortable than two sets in terms of length. By conrast, I once saw a caller--wisely, in my opinion--put dancers into four 4-face-4 sets at a dance weekend where, as far as I'd noticed, the best-attended sessions had never had more than five regular contra lines, and where six contra lines might have felt just a little bit crowded in width. Dancers may line up for a 4-face-4 with foursomes closer to each other than optimal, particularly if the dance includes a figure that is expansive lengthwise. Consider, for example, Al Olsen's "First Bloom" [see _Zesty Contras_ or RPDLW syllabi for 2007 and 2009], where dancers get into a temporary square and the ladies do a grand chain over and back. If foursomes start out too closely spaced, the "square" will end up having head couples close together and side couples far apart, and the chain will become awkward, both because the head ladies have to wait for the side ladies to rush to the center and because the head ladies will be uncomfortably close to dancers in the next group up or down the set during the courtesy turns. If the caller suggests, before the walk-through, that dancers stretch their sets to use the full length of the hall, and if the dancers respond half-heartedly, the caller might get better results by repeating the suggestion *after* the walk-through or, if convenient, just after walking through ladies' grand chain (or whatever figure in a particular dance is most in need of space along the set). --Jim

9 years, 6 months

[Callers] Seeking contras for a crowded hall

by James Saxe via Callers

In a couple weeks, I'm scheduled to call at a contra dance series whose usual hall is unavailable for that evening. The alternative hall where I'll be calling is smaller than the usual one, so may be rather crowded. I'd like to have anyone's suggestions of contras suitable for a crowded hall. Being more crowded than usual might also mean that it will be hotter than usual, especially in the later part of the evening, when we'll need to close windows on account of noise restrictions. So I'd like to the program to include some dances that give people a chance to relax a little, and that can be done at moderate tempo without feeling draggy. The series is well established series of the "modern urban contra" sort. While I don't want to have people crashing into each other if it's crowded, and I don't want to wear them out if it's hot, I also don't want to stray too far from dancers' expectations of most dances having both partner and neighbor swings, etc. [In case anyone's wondering, I do have a copy of the CDSS booklet "Dances for a Crowded Hall"m which talks about stuff like avoiding expansive figures. The specific dances listed in that book, however, are English Country Dances.] Thanks in advance for any ideas. --Jim

9 years, 6 months

Re: [Callers] Shadow Swing Disclaimers?

by James Saxe via Callers

Back in September, we discussed a topic raised by Maia McCormick: > ... > > There do exist some really fabulous shadow-swing dances that I would love to be able to call, as long as I could do so without putting anyone in an uncomfortable position. Do folks have ideas for ways to mitigate the potential harms of shadow swing dances? [See below for Maia's full message.] I've had an idea that I don't think anyone mentioned. First, a disclaimer: I don't imagine that what I'm about to say will sway any of you who are dead-set against shadow swings in any circumstances. However, if you feel compelled to reiterate your opposition, I hope you'll have the courtesy to respect Maia's original request and do so under a different "Subject" line. Anyway, my idea is: Use the occasion as a "teachable moment". When you get to the shadow swing during the walk-through, or perhaps during the second walk-through, point out to the dancers that they'll be swinging the same person every time, and give them a chance to discuss what is or isn't comfortable for them. You might give examples: "Please don't dig you're thumb into my neck", "My arm is not a pump handle', "Not too fast", "Not so close", etc. Or you could make general remarks about believing you shadow if they say something hurts, or about how the person whose less interested in being flirty is the one who gets to decide, etc. And remind people to that they can make additional adjustments during the dance. Exactly what points you (the caller) want to mention, what words you choose, whether to employ humor, etc., will depend on what fits your personality, what you see as the likely issues in the particular community, how much time you feel you can spend before moving along with the dance, etc. Note that this idea can be applied to shadow interactions other than swings. For example, if a dance has an allemande with shadows, you might let women and men (or dancers in those roles) take turns showing each other their preferred hand holds, strength of connection, etc. You might encourage them, if they have different preferences, to give each other's suggestions a fair try, but with the very important proviso (better stated sooner than later) that nobody should be pressured into doing something they think may be painful. If the action with shadows is a chain or a right and left through, you could give dancers a chance to talk about their preferences regarding twirls or about making the courtesy turns feel comfortably connected without being *too* comfy cosy for anyone's comfort. You could also occasionally invite people (and give them some time) to have such discussions with their partners. Just a thought. --Jim > On Sep 8, 2015, at 8:06 AM, Maia McCormick via Callers <callers(a)lists.sharedweight.net> wrote: > > Hey all, > > First, a disclaimer: Some people on this listserv thing shadow swings are problematic. Some don't see any issue with them. This is NOT the conversation I want to have in this thread; I ask that you respond to the question I'm asking and do not debate my premise--at least not in this particular thread. This should help keep this thread on track and hopefully reduce excess noise and go-nowhere discussions on this listserv. Thanks! > > Anyway, the actual question I wanted to ask (whew!)-- > > There do exist some really fabulous shadow-swing dances that I would love to be able to call, as long as I could do so without putting anyone in an uncomfortable position. Do folks have ideas for ways to mitigate the potential harms of shadow swing dances? I was considering, at the beginning of the dance, having dancers identify their shadow and mentioning, "this will be a shadow swing dance, so if you need to make any changes, do so now" (or something like that)--haven't gotten the wording down-pat, but the idea is giving dancers advance warning of a shadow swing so they can move (thereby changing their shadow) if they need to. Any thoughts on this method? Suggestions of others? > > Cheers. > Maia > _______________________________________________ > Callers mailing list > Callers(a)lists.sharedweight.net > http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net

9 years, 6 months

[Callers] One caller slot remaining for 2016 New Zealand tour

by Vicki Morrison via Callers

Hello! The Allemande Joy Contra Dance Tour is a group of 32 dancers, musicians, and callers from the US who spend a month every other year touring New Zealand, mostly the south island. We stop in cities along the way to conduct and/or participate in local contra dances. The trip also includes a dance weekend. The next trip is January 29-February 29, 2016. The 2016 trip is sold out except we are saving a slot for one more caller. Price is $4,050 for a single, which includes round trip air fare from LAX, lodging, meals, tour bus, and dances. If you or a caller you may know is interested in joining us, please contact Julie, 2016NZContra(a)gmail.com. You can also find more information on our Facebook page. Search for Allemande Joy 2016 New Zealand Contra Dance Tour. Please feel free to share this information. Thanks! Vicki MorrisonTallahassee, FLtallygal007(a)yahoo.com

9 years, 6 months

Re: [Callers] Rolling Starts?

by JD Erskine iDance via Callers

On 2015-10-02 0853, Maia McCormick via Callers wrote: > I think that rolling starts (seamless transition from walkthrough into > the dance, as the band just starts playing music during the walkthrough) > are super neat if done properly! But I'm still not quite sure how to do > them properly. So I ask you all: > 1) tips on how to execute a rolling start well, making sure all the > dancers are on board etc.? > 2) thoughts on what dances/tunes will/won't work well with a rolling start? > > Cheers, > Maia My best experience with a rolling start -- one of those heart exploding, happy with the dance thing, moments -- was my first, a spontaneous one that figured itself out. I was doing a barn dance/ceilidh billed as a "Contra" fundraiser. There was a bar, there was a Manifesto (yup, read at the break), there were babes in arms. It was truly a wonderful group, evening, band, moment. During the last dance of the night, I got into calling the figures in a rhythmic, repetitive way as, well it was the last dance, folks had only been half getting the directions for this one (also they'd sold out the keg(s?) and gone for more smaller containers of wobbly pop.) I kept it up, the dancers took it calling the dance with me, the rhythm section (double bass and percussion picked up on the beat) and without a plan in place, in the near dark, I was telepathically signalling my dearest hope the melody section would work it out. The dance had effectively started, we just couldn't really see each other, hadn't anything worked out prior, etc etc etc. One melody player realised it would be cool to do this, the other worked out where the top of the dance was, the first started in, and the whole place went up. I got home shortly after the gig and couldn't get to sleep for an hour and half I was so happy with the whole thing. After that, without really asking around, a couple of musicians in that band and I looked at what had been needed, or used and talked about it. It boiled down to those bits on timing, timing issues, repair work we've talked about on the list. Things such as Lindsey described under Troubleshooting. There have been a few since, none with quite the impact of that first evening, however all with some range of excitement from the dancers. Since, then, with that band, I generally let them know what figure the dance begins (or ends with) with so they may come in if the situation looks like it might work. Occasionally we've considered and discussed whether the situation may allow for a rolling start, effectively planning for one. With other bands we may briefly discuss whether to try one or in general I'll, as Woody puts it, go with it if the band is there or wave them off. It was great to see Woody contribute his approach. I was about to write that one of my memorable moments as a dancer at a Contra dance event was a rolling start at the beginning of their program when Woody called with The Sybaritic Stringband at NW Folklife (Seattle, WA) a couple of years ago. Early, rhythmic instruction of dance directions, Woody starting early with his foot percussion, accompanying himself briefly, then the band coming in. Most fun and effective. The energy and excitement on the floor was happily palpable. The choice of dance or tune needn't be a driving piece or particular energetic dance choice. Several of us have used rolling starts with our house band at our weekly English Country dance evening. Again, lots of satisfaction and enjoyment. (A part of that phrase may make ECD seem staid, however I'm more like to hurt after it than Contra which has much less "moving" than ECD or English Ceilidh.) So, give it a try. Like a first dance called, pick something that stands a chance of otherwise working out well. One needn't load on the work by trying it with a dance new to one. I don't think the dancers need to be "on board" in all instances, in fact in many cases I might suggest not offering that awareness to the dancers that it might be a rolling start. This might lessen any personal concern about having to perhaps excuse a "failure" of it. It would naturally behoove the kind caller to know the make up of the event, the "floor" or "hall" as we call it and judge whether it's worth giving it a try. Confirm the band is happy with the process and the band-caller-band communication is generally effective. Use a simple phrase to keep momentum and communicate what is going on, now, to the dancers ("let's _keep_ going -- _New_ Neighbour, Balance and Swing", etc.) Perhaps have that next direction offered a little earlier than one would throughout the rest of the dance. As to tune, most good bands can make extra rhythm when required and from my experience that is what the rolling start bridge from teaching to dancing tends to be. For example: In a caller/musician workshop I was in with Out of the Wood (Pat and Vickie Marron and Kathy Bowman) one of the comments (not about rolling starts) was how alert musicians may help the learning process for new dancers by providing such a rhythmic emphasis during early dances of an evening by accentuation. (e.g. more left hand or vamping on a piano, beating with a bow on the fiddle strings, etc.) Please share your lessons and reports of success and fun. Cheers, John -- J.D. Erskine Victoria, BC Island Dance - Folk & Country Vancouver Island & BC islands dance info - site & mail list http://members.shaw.ca/island.dance/

9 years, 6 months

Re: [Callers] Rolling Starts?

by Linda Leslie via Callers

Amy Larkin is masterful at this! She also is an incredible dancer, so she really understands what needs to happen. Heavenly! Linda On Oct 6, 2015, at 11:47 AM, Don Veino via Callers <callers(a)lists.sharedweight.net> wrote: > I experienced a wonderful spontaneous rolling start recently. > > We were in a small private party venue and fortunate to have Amy Richardson-Larkin (fiddle), her husband Jonathan Larkin (guitar, etc.) and Chris Ricciotti (yes - not only a caller, he plays button accordion) playing for us. > > I was teaching a new dance of mine in a fairly rhythmic fashion and noticed the band start slipping in behind me quietly fitting a tune. No verbal or visual communication with them, it was more just a growing awareness of the possibility being offered to me. With it being a new dance, and therefore one I hadn't called before, I was a bit worried about going for it with the one walk-through. So I kept the momentum and matched pace straight into one more round of walk-through-like calls with them playing subtly in the background (offer accepted!) and went for it. It just flowed wonderfully and was rewarded with smiles all around. Great musicians make it look easy. :) > > On Tue, Oct 6, 2015 at 4:07 AM, JD Erskine iDance via Callers <callers(a)lists.sharedweight.net> wrote: > Please share your lessons and reports of success and fun. > > > _______________________________________________ > Callers mailing list > Callers(a)lists.sharedweight.net > http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net

9 years, 6 months

Re: [Callers] Rolling Starts?

by Lindsey Dono via Callers

Hi Maia, I agree with everything Jack and Dave wrote! Successful rolling starts have comprised some of my most memorable dancing moments, so I'm always seeking opportunities to work on them as a caller. Some more thoughts: -Preplanned vs spontaneous rolling starts. When I decided to start working on rolling starts, I preplanned with a band that I knew loved them. We discussed: timing, signaling, what to do if things failed to sync or fell apart. To my total delight, both rolling starts worked. My next rolling start was a surprise to me- the band just jumped in behind me! Some bands can and love to do this. Some callers love this, others don't. I've stopped bands from vamping behind me if I knew I had a lot of explaining to do. -Working with a band comfortable with rolling starts and comfortable with you. I've only tried rolling starts with well-established bands; I've never taught a band how to do a rolling start (trying to work on this now, actually). Consider first exploring them with bands that you've seen execute rolling starts. These bands often have a caller in them (ie Dave). Several musicians I've asked have expressed a dislike of rolling starts, so don't take it personally if you're turned down. Also, there are several style of rolling starts, so make sure that you and the band define what you're aiming for. -Picking the right dance. If it's easy enough to call as a no walkthrough, why bother with a rolling start? Conversely, if it's complicated enough to deserve two full walkthroughs with complete attention, probably not a great choice either. I look for a dance that has a clear A1 (for the called potatoes, as Jack suggests, and for clueing the band in), and just one or two "teaching points." This teaching point depends on the crowd; it could be something such as a left diagonal move or a fractional hey. This allows me to start the walkthrough in dance time, with, say, a neighbor balance and swing, pause the action while dancers identify their left diagonal next neighbors, and then resume the walkthrough at dance pace. If needed, I'll wait an extra eight beats for people to complete moves on the first walkthrough. Once the dance is "rolling" at dance tempo, you'll need to make sure that you and the band are synced. This very much depends on the band: -Signaling. There are lots of options here; find out what your band likes. What I've done in the past: I tell them what my B2/A1 moves are, line dancers up, and let the band start vamping. Once there is an established groove, I focus on the dancers and face away from the band vamping behind me. Then, when approaching the A1 at "go time," I turn to the band (making sure I have my mic in my hand, not on the stand- may have forgotten that once!), make eye contact, and with deliberation, bounce on the potatoes while delivering the vocal potatoes to the dancers. Also, a common signal is to tap the top of your head at the A1. Explore this with your band- lots of options! When bands just start vamping behind me, this ignore until I'm ready trick seems to work as well. -Troubleshooting. Things go wrong! I try to hold myself responsible for any hiccups, regardless of whether or not the error was *really* my fault. Easiest fix: stop the band, reset people up for potatoes. Other caller-initiated fixes for syncing: tell the band where A1 needs to be, ask them to play an additional B part, have dancers swing an extra eight beats, cut a long line one time through, etc. Fundamentally, fixing a rolling start error is no different than fixing any timing error made while calling. My worst error was when I found myself eight beats off from the band; they "launched" after I expected. Amazingly, my band figured this out and fixed it before I had the chance to panic! Musicians are amazing. :) Like any caller error, handling the situation with poise, grace, and humor will placate most of the grumbles. I'm sure I'll think of more I forgot to write, but I hope some of this rambling is helpful! Lindsey From: Jack Mitchell via Callers <callers(a)lists.sharedweight.net> To: Dave Casserly <david.j.casserly(a)gmail.com>; Maia McCormick <maia.mcc(a)gmail.com> Cc: "callers(a)lists.sharedweight.net" <callers(a)lists.sharedweight.net> Sent: Friday, October 2, 2015 9:11 AM Subject: Re: [Callers] Rolling Starts? If the band can play a repeated 8 count chord progression from which they can easily go into the top of the tune, it gives you a phrase to call to, but if you need to slow down, or fix something, you have that option too -- then you can just get yourself back on the phrase. Other than the fact that I flubbed the first call of the dance, I am pretty happy with the one in this video of me with Atlantic Crossing. It wasn't a planned thing (and planning is definitely a good idea the first time you do it. In particular, planning how you will cue the band in, whether you want them to actually do potatoes, or just use your first call (WITH your NEIGHbor BALance NOW, with some good punch) as the potatoes.) https://www.youtube.com/watch?v=lq1tKJb7z-Q At it's best, it gives you a chance to do two walk thrus if needed, without the dancers feeling like you're doing too much teaching. The first time, you can be teaching completely off the phrase, or the band can sneak in halfway through the first time. Then the second time, you move to being more on the phrase. Once you're on the phrase, you have effectively agreed with the band on a tempo and can stick with that as you move into the dance, so there's really not a need for actual potatoes. As long as you have your sign worked out with the band (beating the last 4 beats with your hand, calling with some punch for the first call, patting the top of your head (to indicate that you're coming up on the top of the dance) or whatever.) Please note, that if you don't have things worked out with the band, it can be pretty messy and awkward. Rather similar to the first time I tried to do one -- the band just started playing a bit under the walk through and I had no clue of how to cue them in! J On Fri, Oct 2, 2015 at 12:01 PM Dave Casserly via Callers <callers(a)lists.sharedweight.net> wrote: I also like rolling starts. One of my bands has a few sets where we greatly prefer it, and try to work with callers to make it happen. What has worked well for me in the past is having a tune where the start of the dance can happen every two bars or so (in other words, a tune that is not harmonically complicated). Making walkthrough prompts in time with the music, but not giving a particular set amount of time to each call seems to work well. Dances that end with a move that can be extended (allemande, swing, etc) can help sync if you need that extra beat or two. I've found that rolling starts work well with a dance that starts with a balance, as that can make it very clear where the dance starts. Otherwise, asking the band for four soft potatoes at the end of the rolling start can be helpful. Hope that helps!-Dave On Fri, Oct 2, 2015 at 11:53 AM, Maia McCormick via Callers <callers(a)lists.sharedweight.net> wrote: I think that rolling starts (seamless transition from walkthrough into the dance, as the band just starts playing music during the walkthrough) are super neat if done properly! But I'm still not quite sure how to do them properly. So I ask you all:1) tips on how to execute a rolling start well, making sure all the dancers are on board etc.?2) thoughts on what dances/tunes will/won't work well with a rolling start? Cheers,Maia _______________________________________________ Callers mailing list Callers(a)lists.sharedweight.net http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net -- David Casserly (cell) 781 258-2761_______________________________________________ Callers mailing list Callers(a)lists.sharedweight.net http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net -- Jack Mitchell Durham, NC _______________________________________________ Callers mailing list Callers(a)lists.sharedweight.net http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net

9 years, 6 months

[Callers] Dick Henschel

by Rich Sbardella via Callers

I am relaying this information to any concerned. Dick Henschel was the voice of Hilton Sound Equipment, and was always a helpful voice to callers. He will be missed. It is with the greatest of sadness, to inform you of the sudden passing of Dick Henschel on Saturday evening. > > Eight months ago, Dick discovered that he had cancer...specifically Mantle Cell Lymphoma, which originates in the lymphatic system. This particular form is a very rare form of non-Hodgkinâ€™s lymphoma. There are only 11,000 cases of this in the US. > > Dick entered treatment at Walnut Creek Hospital six months ago and recently symptoms showed up which led to the suspension of that treatment and the investigation of other therapies. Saturday he became very ill and he was rushed to the hospital. Doctors discovered he had a massive abdominal infection resulting in sepsis, a life-threatening response which can lead to tissue damage, organ failure and death. Sadly he passed very quickly and peacefully with Vicky holding his hand. > > Funeral arrangements have not yet been finalized, but will be shared as soon as they are available. > > Sympathies my be extended to Vicky by emailing her at RHandVH24 at gmail.com or by mail at: > 1631 Rio Blanco Drive > Concord, CA 94521 > > In lieu of flowers, donations may be made to the CALLERLAB Foundation for the Preservation of Square Dancing at: > CALLERLAB Foundation > Dana Schirmer, Executive Director > 200 SW 30th Street, Suite 104 > Topeka, KS 66611 > > Phone: (785) 783-3665 > Email: info at callerlab.org > > Please share this sad news with your square dance friends. > > > Bill Heyman > P.O. Box 550 > Marlborough, NH 03455-0550 >

9 years, 6 months

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