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2524 discussions

by Rich Sbardella via Callers

I have been asked to share some short tidbits on "social dance" between dances. I will begin gathering some information soon, but I would also appreciate any facts or* short* input on what I can share. My emphasis will probably be how social dance , particularly country dance, came to America, and its impact or influence on American culture. Thanks, Rich Sbardella Stafford, CT

9 years, 5 months

Re: [Callers] More on Programming

by Kalia Kliban via Callers

On 6/25/2015 8:25 PM, Cary Ravitz via Callers wrote (regarding some of the reasons why he finds squares less fulfilling than contras) : > *For me*, this all comes down to dancer, music, motion connection. It > can be wonderful in a contra. I've never found it in a square. It's not just dancers and musicians in the hall, though. There's another person up there on stage, and what squares provide that contras really don't is a very live and fluid connection between the caller and the dancers. With the average contra, the caller prompts until they can get out of the way. The goal seems to be a sort of invisibility. But with squares, there's a very direct connection between the dancers and the caller, and it can be exhilarating. I experienced this recently dancing a fast square to Lisa Greenleaf's impeccably-timed calling, and there were points in there when she was calling sequences of moves so fast that we didn't have time to think. It was immediate response, like the calls went straight to the feet and hands and left the brains free to enjoy the ride. It was unlike any contra. Not better. Different. Excellent. And yes, it wasn't as much about the music. But it was very much about putting complete trust in the caller to get us to the right place at the right time. Not all callers can do that, of course, and a bad square is (IMO) less fun than a bad contra, but they can be REALLY good. Kalia

9 years, 5 months

Re: [Callers] Favorite Techno-Suitable Contras?

by Erik Erhardt via Callers

Don, If you're calling a medley of dances, my advice starts on page 5 of this document: http://statacumen.com/pub/fun/ErikBErhardt_CrossoverContras_MusicAndDanceMe… Erik Erhardt StatAcumen.com/dance On Mon, Jun 29, 2015 at 9:10 AM, Don Veino via Callers < callers(a)lists.sharedweight.net> wrote: > Have my first gig for a Techno contra coming up next week. Spoke with the > band about dances selection and am culling through my cards for suitable > dances now. > > Do you have any favorite easy-to-remember (not necessarily easy to call) > dances that are interesting yet support dropping out on calls quickly? > > Thanks, > Don > > _______________________________________________ > Callers mailing list > Callers(a)lists.sharedweight.net > http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net > >

9 years, 5 months

Re: [Callers] Favorite Techno-Suitable Contras?

by Ron Blechner via Callers

Don, In my experience with technos, the biggest factors are: - people can't see as well, and dances are often more crowded, so stuff with higher collision potential are out. Orbits, pousettes, star promenadrs ... Caution! - you draw a slightly different demographic, often newer dancers, so the overall difficulty is lower and you're calling longer - people get lost easier with less lighting, louder music, music whose phrasing may not be as clear, and the trancey nature of it. Again, calling longer. - Matching balances can be a lot easier or harder, greatly varying on the songs. Good luck and have fun! Ron Blechner On Jun 29, 2015 11:11 AM, "Don Veino via Callers" < callers(a)lists.sharedweight.net> wrote: > Have my first gig for a Techno contra coming up next week. Spoke with the > band about dances selection and am culling through my cards for suitable > dances now. > > Do you have any favorite easy-to-remember (not necessarily easy to call) > dances that are interesting yet support dropping out on calls quickly? > > Thanks, > Don > > _______________________________________________ > Callers mailing list > Callers(a)lists.sharedweight.net > http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net > >

9 years, 5 months

[Callers] Favorite Techno-Suitable Contras?

by Don Veino via Callers

Have my first gig for a Techno contra coming up next week. Spoke with the band about dances selection and am culling through my cards for suitable dances now. Do you have any favorite easy-to-remember (not necessarily easy to call) dances that are interesting yet support dropping out on calls quickly? Thanks, Don

9 years, 5 months

[Callers] Dances with One Swing

by John Sweeney via Callers

Rich asked for dances with one or zero swings. These are some of mine, many aimed at beginners. Duck! (by John Sweeney) Contra; Improper; Double Progression A1: Neighbour Dosido Neighbour Two Hand Turn - open into a circle A2: Circle Left; Circle Right B1: Men Dosido Ladies Dosido B2: Balance the Ring; #2s Arch, #1s Duck Through to New Circle Balance the New Ring; #2s Arch, #1s Duck Through to face New Neighbours Do a quick California Twirl when you reach the end of the line Finding Your Balance (by John Sweeney) Contra; Becket (CW) A1/A2: Four Changes all with Balances - Start Right with Partner and alternate hands B1: Balance the Ring; Men Cross Balance the Ring; Ladies Cross B2: Half Promenade Yearn on the Left Diagonal to New Neighbours Life is But A Melancholy Flower (by John Sweeney) Contra; Improper A1: Neighbour Dosido Neighbour two hand Balance & Petronalla Turn for Two (Men now back to back in the middle) A2: Take Two Hands with Neighbour: All Gallop* Down; All Gallop Up B1: Start a Neighbour Gypsy; Men leave and Half Left Shoulder Gypsy with each other Partner Swing B2: Balance the Ring; Petronella Turn Balance the Ring; California Twirl * Americans often say "sashay" - but that word doesn't give the right feel - I mean gallop! Rotafl (by John Sweeney) Contra; Becket (CW) A1: Yearn on Left Diagonal to a New Couple Ladies' Chain A2:Long Lines Go F & B - Men Roll the Ladies from Right to Left Long Lines Go F & B - Ladies Roll the Men from Right to Left B1: Tapsalteerie Hey: Ladies Half Hey, Men Ricochet Ladies Ricochet, Men Half Hey B2: Flutterwheel and sweep the Men in to: Men Dosido Pestchye (by John Sweeney) Contra; Becket A1: Balance the Ring; Petronella Balance the Ring; Petronella A2: Hands Across: Star Left; Star Right - Men Drop Out B1: Ladies' Chain x 2 B2: Half Promenade Yearn to the Left Dixie Doo-Dah (by John Sweeney) Contra; Improper A1: Neighbour Dosido & Swing - finish facing Down A2: Down the Hall in Lines of Four; Dixie Twirl* Up the Hall in Lines of Four; Bend the Line B1: Balance the Ring; Men Cross Balance the Ring; Ladies Cross B2: Neighbour Two Hand Turn Long Lines Go Forward & Back * Dixie Twirl: No letting go: middle couple arch; end lady leads through the arch to the other end facing up; end man goes straight across to the other end facing up. The Mad Gypsy (by John Sweeney) Contra; Becket (CW) A1: Ladies' Chain Mad Robin - AC - Ladies through the Middle A2: Full Hey - Ladies start Right Shoulder B1: Ladies Gypsy Neighbour Two-Hand Turn (or Swing) B2: Balance the Ring; Ladies Cross Yearn on the Left Diagonal Someone mentioned that they didn't like the term "cross over". Whenever I use it I mean pass by the right shoulder and turn right to face each other. I also describe it as "half a gypsy to change places". I hope you find some of those useful. Please let me know if you use them or have any feedback. Thanks. Happy dancing, John John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 http://www.contrafusion.co.uk for Dancing in Kent

9 years, 5 months

Re: [Callers] Giving Weight

by John Sweeney via Callers

I really, really don't like the term "giving weight". It is a technical term that is too easily misunderstood. As soon as you mention giving weight some people will start to lean or pull. I don't believe that leaning or pulling have any place in contra dancing. All that leaning and pulling do is throw your partner off balance and tire them out. I do actually use a lean sometimes in teaching first-timers: "Make a circle, elbows down, hands up, now lean back very slightly. Can you feel a little tension in your arms? OK stand up straight and never, ever lean again! :) That little tension you felt was the kind of tension you need in your arms to feel connected to those on either side of you." I talk about connection rather than giving weight. I don't want your weight! Please don't give me any of your weigh! You are responsible for your own balance.. On the other hand I am very happy to connect to you and create a gentle counterbalance so that we can rotate without flying apart. I will happily use my muscles to counteract centrifugal force and control our combined mass. (No, I don't normally talk about mass on the dance-floor!) This applies to swings, allemandes, two hand turns and any other form of rotation. It is not wrestling it is dancing. Always start at zero tension and build up to the minimum that you need to do the move. Someone said you should press back against your partner's hand in a swing. Please don't - all you will do is tire me out! You connect to each other and make a gentle frame; as you speed up centrifugal force will try to pull you apart; you just apply your muscles to maintain the frame. It may now feel like you are pushing against the hand, but you are not - centrifugal force is doing all the pushing - adding to it is unnecessary. Some dancers also put their hand on your back and press to pull you towards them - again this is completely unnecessary and can be quite uncomfortable. If I want someone to feel the connection I do a fast, skipping, two hand turn with them, or a zesty Galway Swing, generating enough centrifugal force so that they connect ("give weight") automatically. Jonathan's description was good: "They need to move their center of gravity backwards a little. This can be done by bending the knees and waist a very little, as if you were going to sit down. That plus the rotation should provide enough force to provide the tension/counterweight. So we may want the dancers to move the core of their body back a little, but not by leaning." When you practice that sitting motion you should always do it individually so that you learn to keep your own balance. 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

9 years, 5 months

Re: [Callers] How to explain the charms of square dances (was More on Programming)

by Tom Hinds via Callers

Yes you are correct, pointing out the benefits of squares is a much better option than telling them to stay home. I included that comment in hopes that callers might consider being less afraid of what dancers think. I have no illusions that others would say that to a dancer. One aspect that makes squares attractive is the changing patterns. For myself and others, dancing choreography that wasn't walked through is very enjoyable. And changing the pattern doesn't have to be challenging. For partner changing squares there's a certain satisfaction/challenge in performing the choreography well as a group and ending with your partner again. Picking the correct square for this is crucial-not too easy and not too hard. Some people enjoy dancing squares to music where the phrasing is less distinct. It's hard for me to describe but it's like dancing without holding back. Or could it be described as charging ahead? Perhaps some of you can describe this gooder than I can. This works well with driving old time music. Although I don't enjoy the visiting couple type square, I understand that there are a number of groups who enjoy these types of squares with very fast music. In central Virginia there're getting large turnouts. I'm told that most of these dancers are young and not contra dancers. I often hear of other groups in the country where young dancers are discovering squares. Is this the future? T

9 years, 5 months

Re: [Callers] How to explain the charms of square dances (was More on Programming)

by James Saxe via Callers

Jacob Bloom asked: > How would those of you who enjoy both squares and contras > describe what you get out of dancing square dances? First off, I'll offer an opinion about this whole "contras vs. squares" discussion that keeps popping up from time to time on this list and elsewhere: I think the likelihood of convincing someone, purely by force of argument, to fall in love with a particular dance form is similar to the likelihood of convincing someone, purely by force of argument, to fall in love with a particular other person. That said, I can tell you that what first got me hooked on both contras and squares (at my first evening of traditional dancing, which included both) was surely the friendliness of the people, together with the exuberant energy level and the fact that I somehow muddled through without making a complete fool of myself (or at least without being told that I had). It couldn't have been the swings, because I'm sure my swing footwork was a stumbling, bumbling mess until I learned to do a buzz-step swing several months later. Similarly it couldn't have been the cool choreography or other things that I wouldn't have been able to appreciate as a new dancer. Five or six years later, after I'd moved from a (then) square-centric community to a contra-centric community, a thing I realized I missed about my former home was dancing squares in the manner shown here: http://squaredancehistory.org/items/show/269 ( also at https://www.youtube.com/watch?v=fAKT_PT-DSs ) http://squaredancehistory.org/items/show/270 ( also at https://www.youtube.com/watch?v=BH9eozGRfpg ) Some notes on these videos: 1. For best effect be sure to watch with a fast connection. If you get a lot of compression artifacts and/or pauses for buffering, it'll really water down the excitement level. 2. I've never danced in the hall where these videos were made, at Lovely Lane Church in Baltimore. Alas, I don't know of any videos showing traditional square dancing in Pittsburgh, PA, from when I lived there in the 1980s. These videos are the ones that come closest to capturing the kind of dancing I remember. Larry Edelman, the caller in these videos, was one of the regular callers in Pittsburgh when I lived there. He moved to Baltimore around the time I moved to California, and he now lives in Colorado. 3. The music in the videos is darn fast. When I asked Larry about it, he wrote "... there wasn't any way to put the brakes on that band - I tried!!" The usual tempos for square dances in Pittsburgh (and probably also in Baltimore) weren't as fast as that, though they were faster than typical contra tempos. While the tempos that night may have been higher than usual, it's clear that the dancers in the videos were up to dancing at that speed. 4. Larry assures me that the videos are not from a special event or weekend, but from a regular open-to-the-public dance with a program that included a mix of squares and contras. Bob Dalsemer, who made the video, did tell me that he was focusing on squares with the most skilled/experienced dancers When I try to look carefully at the squares in the background, I do seem to notice occasional glitches, but they don't happen often, and the dancers seem to recover quite quickly. --Jim

9 years, 5 months

Re: [Callers] More on Programming

by Aahz Maruch via Callers

On Sat, Jun 27, 2015, George Mercer via Callers wrote: > > Not disagreeing with anything but explaining that when I tell dancers > "squares are just like contras only you have to listen" I am not so much > characterizing one or the other, but asking, even begging, the dancers to > pay attention to what the caller is calling. Many contra dancers are > notoriously bad listeners, especially experienced ones and they tend to set > an example for inexperienced dancers, good and bad. Noit listening in a > contra can lead to problems. Not listening in a square is often an outright > disaster. That's all. ...and speaking as someone who does both contra and MWSD, I'll stick myself in the "notoriously bad listener" camp at contra dances. OTOH, in all fairness, most contra callers are considerably more difficult to understand than square dance callers. (Partly due to sound being directed more at good music sound.) I'm probably not the only person with that habit. -- Hugs and backrubs -- I break Rule 6 http://rule6.info/ <*> <*> <*> Help a hearing-impaired person: http://rule6.info/hearing.html

9 years, 5 months

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