--snip--
> If you call Chinese Fan such that the mini stars are longer, folks end up
> back with their partners. With skilled dancers you can do that
> intentionally just by adding an extra four counts of patter in. At speed,
> the ladies wind up turning 1 and 1/2 times, the men go all the way around,
> and that is perfectly legitimate for the caller to do.
--snip--
Just thinking about the elbow hold as a mini star will confuse some
dancers. It certainly confused me. Having this duo hang out (or
migrate rotationally) while the center star rotates all the way around
sounds to me like a disaster. I'd have difficulty doing it. I can keep
oriented while swinging, and I have good timing. I'm not sure what
you'd gain by doing the long girl's spin.
I have danced the Chinese Fan many times, and called it twice to
teenagers - some of whom have never danced anything before. Aiming for
the next spoke is easy. When first teaching, coach the one who rolled
back to hook elbows with the next.
The Chinese Fan works because the Turn Back / Pickup / Drop off /
Catch are so close in space and well in sync. The only times I've seen
it totally fall apart is when the center star stops turning.
Once the dancers have the basic fan, you can do a butterfly whirl and
put the girls in the center. (Texas Star)
If things are going really well, you can do the Chinese Fan with half
sashayed couples alternating with standard couples. (or with same sex
couples). Set it up again. Maybe: Heads make a Star. turn it once
around, then Pick up your Corner for a Star Promenade. Side [Boy /
Girl] Roll Back for a Chinese Fan.
Both the Chinese Fan and Texas Star work for 6 couples. You should be
able to call at the same time to groups with both 4 and 6 couples.
---
I had problems trying to call the Chinese Fan to the phrase, contra
style. This is a good time to have the band play a crooked tune.
Gloria Krusemeyer
Hi Luke,
Thanks for sharing all of this! I'm looking for ideas for a sophisticated crowd and a very square room; 4x4s (and 6x6s etc) end up progressing folks to the same neighbors multiple times, and no one cares to be inactive. I could likely get away with one dance where I'd call all the way through; typically I've been dropping out after ~5 times through with this crowd.
I'll check out the Mad Robin site and let you know what, if anything, I decide to try!
Lindsey
(PS: Odd connection- I'm the girlfriend of your brother's former housemate in WA; we've had Jason over for dinner.) From: Luke Donforth <luke.donev(a)gmail.com>
To: Lindsey Dono <lynzimd(a)yahoo.com>
Cc: "callers(a)lists.sharedweight.net" <callers(a)lists.sharedweight.net>
Sent: Friday, May 1, 2015 11:37 AM
Subject: Re: [Callers] Transgressive contras
I should note, I've never actually tried calling "Luke's Options are Limited" it was mostly a theoretical exercise for me. To my knowledge it's never been danced.
If you have only two sets, it's not clear to me how a transgressive contras are functionally different than 4 face 4 dances or their cousin, Tempest Formation. (In my box, I'd put "Kim's Game" under Tempest Formation.)
The Tempest: https://www.youtube.com/watch?v=3qNp-n4CbdI
It becomes a question of if everyone is changing lines, or just half the couples are, but you're bouncing back and forth.
If that's all you want, great. There's lots of room to write more 4 face 4 and tempest formation dances, and you can incorporate pass through lines there.
If you have more than two sets involved, I haven't found a way to keep things from being either complicated or boring for some dancers.
Option 1: all 1s and 2s progress the same way every time
If you have a progression that's down one couple, and over one set to the left for the 1s, and up one couple over one set to the right for the 2s, you no longer change numbers when you reach the bottom of the hall, you also change numbers when you reach the sides. So even with 5 sets across and 20 hands four deep, nobody is going to go more than 5 hands-four from their original position. If you've got a square (10 sets across, 10 hands four deep, etc) some folks on the main diagonal see 10 different couples, but other folks will bounce back and fourth on short diagonals of just a few couples.
Option 2: have options that vary the progression
This is what "Luke's Options are Limited" attempts to do (http://www.madrobincallers.org/2013/01/25/attempting-a-grid-contra-choreogr… ). If gives you different dances (thematically linked) to travel to different points on the floor. You could find other pairs of improper/becket dances using wide lines and long lines, and even incorporate passing through lines. But you're stuck with having to have different dances to call and be calling all the way through the dance. I personally try and get out of the way of the band and dancers interacting, and dislike calling through the entire dance.
Option 3: expand 4 face 4 to 6 face 6, 8 face 8, etc.
I played around with this a bit, and I think others have as well (Roger Auman?). There are dances up at
http://www.madrobincallers.org/2014/02/26/6-facing-6-contra-dances/
I haven't done anything with them after writing them, but if they inspire you; feel free to use them. The hard part (in my opinion) is giving everyone something interesting to do. If your line of 6 has a pass through along the set, you've got to keep your trail buddy groups together and permuting, or some folks get a bum ride.
Option 4: I haven't found one, but let me know if you do!
Have fun.
On Fri, May 1, 2015 at 11:36 AM, Michael Dyck via Callers <callers(a)lists.sharedweight.net> wrote:
On 15-05-01 01:02 AM, Lindsey Dono wrote:
Is "grid contra" the more standard terminology than "transgressive?"
I hadn't heard the term "transgressive contra" before, and I'm not finding hits for the term in search engines.
Here's what I've got:
1990-1995
Chris Kermiet: "Beckett's Crossing"
(in his "Zany Contras and Other Stuff!")
http://k-1.us/contras/beckettscrossing.html
(refers to it as "a progressive contra dance")
May 2010
Peter Foster: "Crisscross"
http://pfoster.pcug.org.au/dance/contra.htm#cri
(Doesn't really have a term for the dance form.)
Jan 2012?
Seth Tepfer: "Transgression"
http://lists.sharedweight.net/pipermail/callers-sharedweight.net/2012-Janua…
(refers to it as a "grid contra", but also refers to progression across as "transgression", hence the dance's title)
See also other posts in that thread.
Jan 2013
Luke Donforth: "Luke's Options are Limited"
http://www.madrobincallers.org/2013/01/25/attempting-a-grid-contra-choreogr…
(refers to it as a "grid contra")
-Michael
_______________________________________________
Callers mailing list
Callers(a)lists.sharedweight.net
http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
--
Luke Donforth
Luke.Donforth(a)gmail.com
I believe the dance doesn't exist yet, Jeff. I am curious about the 4x4
implementation as well, however; it might work just fine, or it might wear
out the novelty quickly. Chinese Fan would show spectacularly in a waltz
quadrille.
You're close on your interpretation of the figure; that's the effect it
has, but is not quite how it happens. What actually occurs are a pair of
mini-stars on the outside around the central star.
It isn't a hard move at all; in fact, it's probably easier to learn and
execute correctly than a right and left thru.
1. Star Promenade (men keep the star and never stop moving.)
2. The first and third ladies (heads) step out AS IF to backtrack--but
they don't want to go very wide or get to go very far. It's more like a
cast off than a backtrack, except they keep in close.
3. The head ladies immediately hook elbows with the trailing side ladies
to make two-person stars (elbow hook because an allemande makes the
circumference a bit large for comfortably maintaining an even speed and
tension). They turn those mini-stars halfway so the heads can rejoin the
star promenade, and then the side ladies fold in behind with the incoming
gent. That puts both ladies with their opposite.
If you call Chinese Fan such that the mini stars are longer, folks end up
back with their partners. With skilled dancers you can do that
intentionally just by adding an extra four counts of patter in. At speed,
the ladies wind up turning 1 and 1/2 times, the men go all the way around,
and that is perfectly legitimate for the caller to do.
What makes the timing tricky is that this is a traditional square dance
move, and not a modern squares or contra dance move; squares aren't set to
the phrase of a 16 bar tune, the calls themselves are constructed
differently, the dancers don't know exactly what is coming when, and the
figures have some give in them. This thing technically takes 6 counts to
complete--but absolutely no one is going to dance it that fast or count it
that way unless they are hyped up on sugar or have drilled it like crazy
for precision performance (that's how I learned it). In reality, though,
we wouldn't teach it with the counts. The majority of dancers will
naturally take 8 to 10 counts for each fan, plus some time between the
two. (Note: at 6 counts per plus a 4 count recovery, two renditions of
the Chinese Fan comes to exactly 16 counts, and moves everyone 1/2 of the
way around the circle!)
For contra-type settings, things are a little different. Because of the
predictability of the dance and the musical structure, I'd say that with
careful teaching it can reliably be an 8 count sequence per fan, plus time
to recover between them.
Chinese Fan isn't actually a MWSD figure to the best of my knowledge. Even
if it were active, it would be considered a traditional or
traditional-style move. It very well may be a post-1950s creation, and
could have been originally published by Sets in Order, but is very much in
line with the older material found in Colorado and the inner-mountain
West. The things that have been generally shifted into contra are modern
figures with linear structures and short, punctuated movement like box
circulate, scoot back, swing thru, square thru, box the gnat, flutterwheel
(in the form of star promenades), and cross trail thru (although that one
makes me a little sad when I see it taught as a linear figure or in crowded
halls; it deserves more movement and flow than it gets).
Neal Schlein
Youth Services Librarian, Mahomet Public Library
Currently reading: *The Different Girl* by Gordon Dahlquist
Currently learning: How to set up an automated email system.
On Mon, May 4, 2015 at 2:46 PM, Jeff Kaufman <jeff(a)jefftk.com> wrote:
> What's the choreography of this 4x4? I'm curious about how the timing of
> this figure works. It sounds like the timings you'd use for experienced
> dancers and newer dancers are dramatically different, which makes it hard
> to fit to the music with a general crowd in a way that works for the new
> dancers and feels satisfying for the experienced ones.
>
> Some successful transplants like the MWSD "box circulate" have worked by
> breaking down the movements into standard contra calls, without having to
> introduce a new call. Would that work here?
>
> For example, teach by asking them to star promenade, and then saying that
> while the gents keep starring the ladies turn out and single file promenade
> back two. During the dance you could just call "ladies turn out, go back
> two". (But I'm not confident I understand the figure, so this might not be
> close enough to what you want the dancers to do.)
> On May 4, 2015 2:54 PM, "Claire Takemori via Callers" <
> callers(a)lists.sharedweight.net> wrote:
>
>> Hi Neal and All,
>> thank you for the replies and help. I can see that it's not a simple
>> choreography issue.
>> I will give the floor pattern/teaching to my friend to see how
>> choreography goes.
>> I will ask an Advanced caller who knows how to teach Chinese Fan to see
>> if they want to try the Contra 4x4, AFTER teaching a square with the
>> Chinese Fan, so the crowd knows it already.
>>
>> Neal, I hear you on bringing a square move to Contra. And I've
>> experienced some new contras that are not so rigid or linear, so I thought
>> it might work.
>>
>> Thanks everyone!
>> claire
>>
>> On May 4, 2015, at 9:46 AM, Neal Schlein <nschlein(a)gmail.com> wrote:
>>
>> Hi Claire,
>>
>> I can help, but am not certain you asked for what you truly want. Are
>> you really looking for a set of calls for the square, or do you need
>> directions for the floor pattern, teaching instructions, a working timing
>> for the square-style calls, or the timing of the figure for a contra
>> setting?
>>
>> I'm asking because I suspect your friend doesn't actually need the
>> calls. This is going to open a can of worms on the list, but contras and
>> mescalonzas (aka 4x4 dances) are prompted, not called. Although most
>> dancers and many callers don't make a distinction, the mechanics and timing
>> of the two techniques are different. If you move Chinese Fan into a
>> contra-type setting, the calls (as a square dance caller would see them)
>> are technically irrelevant because you wouldn't want to use them. (And,
>> with many figures, you can't use them without either changing the wording,
>> changing the timing, or stepping outside of the contra-prompting
>> technique.) What I am betting he actually needs to know is the full floor
>> pattern and the timing of that sequence.
>>
>> *The Call*
>> For someone who knows the Chinese Fan figure is coming and how to do it,
>> the only necessary words for prompting are some variation on:
>> *Head (side) ladies turn back (lead, roll back, open out...) for a
>> Chinese fan.* (After completion, repeat for either same ladies or other
>> pair of ladies)
>>
>> That would suffice for a New England style square or a quadrille, as
>> everything else in the call is just filler. A longer call with patter
>> would be personalized to the caller and the region; in my calling
>> tradition, there would be near-constant running patter throughout. Both
>> the phrasing and the timing of the above would port over to contras and
>> your 4x4, although you wouldn't need to identify the leading parties
>> because their identity would be pre-defined.
>>
>> *Floor pattern/teaching*
>> Start in a Star Promenade; men keep the star and continue turning it
>> moving throughout. Identified ladies will turn out and away from their
>> partner to face the other direction, and then hook free elbows with the
>> lady behind them. Ladies turn 1/2 while men turn the star 1/4; lead lady
>> rejoins the star promenade with next man to arrive (original opposite).
>> Star turns another 1/4 and the following ladies rejoin star promenade with
>> the next man behind (original opposite). Repeat with either lady to return
>> to partner.
>>
>> *Timing*
>> If done precisely, each piece can be accomplished in 2 counts and it
>> takes 6 counts to complete the figure:
>> 1-2 Lead lady turns away from partner to face reverse direction; star
>> moves forward 1/4. (ending position: Ladies have met to hook elbows in the
>> position the lead ladies were in.)
>> 3-4 Men rotate star one position while ladies turn 1/2. (Ending
>> position: Lead lady has rejoined star with opposite man and released
>> following lady.)
>> 5-6 Star rotates 1/4; following ladies ladies loop toward center and
>> rejoin star. (Ending formation: Star Promenade. Ending location: All with
>> opposite person from start. Men have moved forward 3/4 around circle, and
>> ladies have moved forward 1/4 from beginning position.)
>>
>> That is a tight, performance-style timing. In reality, it takes between
>> 2 and 4 beats per part and a total of 8 to 12 counts to complete; also, if
>> called square to the walls the action will actually happen on the corner
>> diagonals and the set will have turned somewhat less than the full men 3/4
>> ladies 1/4.
>>
>>
>> Also...and this is an entirely personal opinion and something of a
>> soapbox... I would caution against moving this figure out of its
>> traditional environment, especially if you really love it. I know lots of
>> people on here will disagree with me, but figures that are lively,
>> expansive, and joyously free in their original square-dance context (such
>> as basket swings, the docey-do, Harlem Rosettes, or Texas Stars and the
>> related figures) tend to be greatly diminished when shoehorned into the
>> rigid 8 count phrase and linear, mechanical, progressive format of contra
>> dancing. Sometimes it is done successfully, but not very often. (End of
>> soap box.)
>>
>>
>> Good luck; if your friend does want a set of calls for the square dance
>> version, I can write something up.
>> Neal Schlein
>>
>> Neal Schlein
>> Youth Services Librarian, Mahomet Public Library
>>
>>
>> Currently reading: *The Different Girl* by Gordon Dahlquist
>> Currently learning: How to set up an automated email system.
>>
>> On Sat, May 2, 2015 at 3:58 PM, Claire Takemori via Callers <
>> callers(a)lists.sharedweight.net> wrote:
>>
>>> Hi.
>>> I'm new to the list, not a caller yet, but wanting to learn more about
>>> Contra dance and maybe calling.
>>>
>>> I've got a friend who is writing a 4x4 contra for me with a Chinese Fan
>>> in it. He needs to know how to call the Fan as he can't figure it out from
>>> the one video I've found on youtube that has it in it (Three Arches)
>>> www.youtube.com/watch?v=Q8c6Xzn3AyE
>>>
>>> Can you tell me how to call a Chinese Fan?
>>>
>>> Thanks!
>>> claire
>>> _______________________________________________
>>> 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
>>
>>
Hi Neal and All,
thank you for the replies and help. I can see that it's not a simple choreography issue.
I will give the floor pattern/teaching to my friend to see how choreography goes.
I will ask an Advanced caller who knows how to teach Chinese Fan to see if they want to try the Contra 4x4, AFTER teaching a square with the Chinese Fan, so the crowd knows it already.
Neal, I hear you on bringing a square move to Contra. And I've experienced some new contras that are not so rigid or linear, so I thought it might work.
Thanks everyone!
claire
On May 4, 2015, at 9:46 AM, Neal Schlein <nschlein(a)gmail.com> wrote:
Hi Claire,
I can help, but am not certain you asked for what you truly want. Are you really looking for a set of calls for the square, or do you need directions for the floor pattern, teaching instructions, a working timing for the square-style calls, or the timing of the figure for a contra setting?
I'm asking because I suspect your friend doesn't actually need the calls. This is going to open a can of worms on the list, but contras and mescalonzas (aka 4x4 dances) are prompted, not called. Although most dancers and many callers don't make a distinction, the mechanics and timing of the two techniques are different. If you move Chinese Fan into a contra-type setting, the calls (as a square dance caller would see them) are technically irrelevant because you wouldn't want to use them. (And, with many figures, you can't use them without either changing the wording, changing the timing, or stepping outside of the contra-prompting technique.) What I am betting he actually needs to know is the full floor pattern and the timing of that sequence.
The Call
For someone who knows the Chinese Fan figure is coming and how to do it, the only necessary words for prompting are some variation on:
Head (side) ladies turn back (lead, roll back, open out...) for a Chinese fan. (After completion, repeat for either same ladies or other pair of ladies)
That would suffice for a New England style square or a quadrille, as everything else in the call is just filler. A longer call with patter would be personalized to the caller and the region; in my calling tradition, there would be near-constant running patter throughout. Both the phrasing and the timing of the above would port over to contras and your 4x4, although you wouldn't need to identify the leading parties because their identity would be pre-defined.
Floor pattern/teaching
Start in a Star Promenade; men keep the star and continue turning it moving throughout. Identified ladies will turn out and away from their partner to face the other direction, and then hook free elbows with the lady behind them. Ladies turn 1/2 while men turn the star 1/4; lead lady rejoins the star promenade with next man to arrive (original opposite). Star turns another 1/4 and the following ladies rejoin star promenade with the next man behind (original opposite). Repeat with either lady to return to partner.
Timing
If done precisely, each piece can be accomplished in 2 counts and it takes 6 counts to complete the figure:
1-2 Lead lady turns away from partner to face reverse direction; star moves forward 1/4. (ending position: Ladies have met to hook elbows in the position the lead ladies were in.)
3-4 Men rotate star one position while ladies turn 1/2. (Ending position: Lead lady has rejoined star with opposite man and released following lady.)
5-6 Star rotates 1/4; following ladies ladies loop toward center and rejoin star. (Ending formation: Star Promenade. Ending location: All with opposite person from start. Men have moved forward 3/4 around circle, and ladies have moved forward 1/4 from beginning position.)
That is a tight, performance-style timing. In reality, it takes between 2 and 4 beats per part and a total of 8 to 12 counts to complete; also, if called square to the walls the action will actually happen on the corner diagonals and the set will have turned somewhat less than the full men 3/4 ladies 1/4.
Also...and this is an entirely personal opinion and something of a soapbox... I would caution against moving this figure out of its traditional environment, especially if you really love it. I know lots of people on here will disagree with me, but figures that are lively, expansive, and joyously free in their original square-dance context (such as basket swings, the docey-do, Harlem Rosettes, or Texas Stars and the related figures) tend to be greatly diminished when shoehorned into the rigid 8 count phrase and linear, mechanical, progressive format of contra dancing. Sometimes it is done successfully, but not very often. (End of soap box.)
Good luck; if your friend does want a set of calls for the square dance version, I can write something up.
Neal Schlein
Neal Schlein
Youth Services Librarian, Mahomet Public Library
Currently reading: The Different Girl by Gordon Dahlquist
Currently learning: How to set up an automated email system.
On Sat, May 2, 2015 at 3:58 PM, Claire Takemori via Callers <callers(a)lists.sharedweight.net> wrote:
Hi.
I'm new to the list, not a caller yet, but wanting to learn more about Contra dance and maybe calling.
I've got a friend who is writing a 4x4 contra for me with a Chinese Fan in it. He needs to know how to call the Fan as he can't figure it out from the one video I've found on youtube that has it in it (Three Arches)
www.youtube.com/watch?v=Q8c6Xzn3AyE
Can you tell me how to call a Chinese Fan?
Thanks!
claire
_______________________________________________
Callers mailing list
Callers(a)lists.sharedweight.net
http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
On 5/3/2015 9:02 PM, Paul Wilde wrote:
> Kalia,
>
> I love David's Triplet # 5 (David Smuckler). It has a lovely hey for 6
> w/ a P Gypsy Meltdown to finish.
I just revisited David's site yesterday and looked through his set of
triplets and that one looked really nice so I added it to my collection.
Thanks for the recommendation.
Kalia
I think Neal makes very good points about the wisdom of transferring
square-dance moves to contras. I think such transfers can be fun if done
well, but the teach must be very efficient or else will be likely to
frustrate dancers. The challenge grows steeper for a newish caller.
Consider whether such a transfer is justified.
--Jerome
Jerome Grisanti
660-528-0858
http://www.jeromegrisanti.com
“Dance like no one is watching...
Because they are not...
They are checking their phone.
On Mon, May 4, 2015 at 11:46 AM, Neal Schlein via Callers <
callers(a)lists.sharedweight.net> wrote:
> Hi Claire,
>
> I can help, but am not certain you asked for what you truly want. Are you
> really looking for a set of calls for the square, or do you need directions
> for the floor pattern, teaching instructions, a working timing for the
> square-style calls, or the timing of the figure for a contra setting?
>
> I'm asking because I suspect your friend doesn't actually need the calls.
> This is going to open a can of worms on the list, but contras and
> mescalonzas (aka 4x4 dances) are prompted, not called. Although most
> dancers and many callers don't make a distinction, the mechanics and timing
> of the two techniques are different. If you move Chinese Fan into a
> contra-type setting, the calls (as a square dance caller would see them)
> are technically irrelevant because you wouldn't want to use them. (And,
> with many figures, you can't use them without either changing the wording,
> changing the timing, or stepping outside of the contra-prompting
> technique.) What I am betting he actually needs to know is the full floor
> pattern and the timing of that sequence.
>
> *The Call*
> For someone who knows the Chinese Fan figure is coming and how to do it,
> the only necessary words for prompting are some variation on:
> *Head (side) ladies turn back (lead, roll back, open out...) for a Chinese
> fan.* (After completion, repeat for either same ladies or other pair of
> ladies)
>
> That would suffice for a New England style square or a quadrille, as
> everything else in the call is just filler. A longer call with patter
> would be personalized to the caller and the region; in my calling
> tradition, there would be near-constant running patter throughout. Both
> the phrasing and the timing of the above would port over to contras and
> your 4x4, although you wouldn't need to identify the leading parties
> because their identity would be pre-defined.
>
> *Floor pattern/teaching*
> Start in a Star Promenade; men keep the star and continue turning it
> moving throughout. Identified ladies will turn out and away from their
> partner to face the other direction, and then hook free elbows with the
> lady behind them. Ladies turn 1/2 while men turn the star 1/4; lead lady
> rejoins the star promenade with next man to arrive (original opposite).
> Star turns another 1/4 and the following ladies rejoin star promenade with
> the next man behind (original opposite). Repeat with either lady to return
> to partner.
>
> *Timing*
> If done precisely, each piece can be accomplished in 2 counts and it takes
> 6 counts to complete the figure:
> 1-2 Lead lady turns away from partner to face reverse direction; star
> moves forward 1/4. (ending position: Ladies have met to hook elbows in the
> position the lead ladies were in.)
> 3-4 Men rotate star one position while ladies turn 1/2. (Ending position:
> Lead lady has rejoined star with opposite man and released following lady.)
> 5-6 Star rotates 1/4; following ladies ladies loop toward center and
> rejoin star. (Ending formation: Star Promenade. Ending location: All with
> opposite person from start. Men have moved forward 3/4 around circle, and
> ladies have moved forward 1/4 from beginning position.)
>
> That is a tight, performance-style timing. In reality, it takes between 2
> and 4 beats per part and a total of 8 to 12 counts to complete; also, if
> called square to the walls the action will actually happen on the corner
> diagonals and the set will have turned somewhat less than the full men 3/4
> ladies 1/4.
>
>
> Also...and this is an entirely personal opinion and something of a
> soapbox... I would caution against moving this figure out of its
> traditional environment, especially if you really love it. I know lots of
> people on here will disagree with me, but figures that are lively,
> expansive, and joyously free in their original square-dance context (such
> as basket swings, the docey-do, Harlem Rosettes, or Texas Stars and the
> related figures) tend to be greatly diminished when shoehorned into the
> rigid 8 count phrase and linear, mechanical, progressive format of contra
> dancing. Sometimes it is done successfully, but not very often. (End of
> soap box.)
>
>
> Good luck; if your friend does want a set of calls for the square dance
> version, I can write something up.
> Neal Schlein
>
> Neal Schlein
> Youth Services Librarian, Mahomet Public Library
>
>
> Currently reading: *The Different Girl* by Gordon Dahlquist
> Currently learning: How to set up an automated email system.
>
> On Sat, May 2, 2015 at 3:58 PM, Claire Takemori via Callers <
> callers(a)lists.sharedweight.net> wrote:
>
>> Hi.
>> I'm new to the list, not a caller yet, but wanting to learn more about
>> Contra dance and maybe calling.
>>
>> I've got a friend who is writing a 4x4 contra for me with a Chinese Fan
>> in it. He needs to know how to call the Fan as he can't figure it out from
>> the one video I've found on youtube that has it in it (Three Arches)
>> www.youtube.com/watch?v=Q8c6Xzn3AyE
>>
>> Can you tell me how to call a Chinese Fan?
>>
>> Thanks!
>> claire
>> _______________________________________________
>> 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
>
>
Hi.
I'm new to the list, not a caller yet, but wanting to learn more about Contra dance and maybe calling.
I've got a friend who is writing a 4x4 contra for me with a Chinese Fan in it. He needs to know how to call the Fan as he can't figure it out from the one video I've found on youtube that has it in it (Three Arches)
www.youtube.com/watch?v=Q8c6Xzn3AyE
Can you tell me how to call a Chinese Fan?
Thanks!
claire
I collected a dance recommended by someone and do not quite understand
part of it. I need a description of what the gents are doing in B2
when they "loop over their left shoulder." Can you 'splain me?
Catch a Falling Star, by Melanie Axel-Lute
A1 Nbr B&S
A2 Cir L 3/4
Ptr sw
B1 LLF&B
Star R (hands across)
B2 Bal star, ladies pull by to trade places while gents loop over
their left shoulder
Star L (hands across)
Thanks!
-Amy
I am hoping someone can help me find a dance I danced in the Late 1990's in San Francisco, (maybe Charlie Fenton was calling.)
It was a 4 facing 4 and I swear that each time through the dance,
my partner and I moved left to the right and back instead of progressing up and down the hall,
while there was a different couple next to us each time, and progressed along the set.
I think it was a double progression dance.
It was like there were half the dancers moving side to side, while the other half were weaving up and down the line.
Bob Fabinski
It took a moment, Rich..you have time on your hands!!??
From: Rich Sbardella via Callers <callers(a)lists.sharedweight.net>
To: Jacob Nancy Bloom <jandnbloom(a)gmail.com>
Cc: "callers(a)lists.sharedweight.net" <callers(a)lists.sharedweight.net>
Sent: Friday, May 1, 2015 11:56 AM
Subject: Re: [Callers] Anyone seen this dance?
Aymless Dancing?(intentionally misspelled)Amylase Dancing?
RichStafford, CT
On Thu, Apr 30, 2015 at 7:48 PM, Jacob Nancy Bloom via Callers <callers(a)lists.sharedweight.net> wrote:
How true.
On Thu, Apr 30, 2015 at 3:07 PM, Robert Golder via Callers <callers(a)lists.sharedweight.net> wrote:
As anyone who has danced with Amy knows, any alternative renderings of Bill's composition ought to collectively entitled:
You WISH You Were Dancing With Amy!
On Apr 30, 2015, at 1:31 PM, Amy Larkin via Callers <callers(a)lists.sharedweight.net> wrote:
This makes me feel so special!
:-)
AmyOn Apr 30, 2015 10:57 AM, "Bill Olson via Callers" <callers(a)lists.sharedweight.net> wrote:
Funny, because I *almost* danced with (the) Amy at NEFFA this past weekend!
dance is similar but not the same for sure..
DANCING WITH AMY A Becket formation contra by Bill Olson
A1: Circle L 3/4, Sw Neighbor (16) (face couple on RIGHT diagonal*)
A2: W chain on R diag (to Shadow #1)(8) (face new couple across) L/H star with couple across x 1 (8) (Partner will be coming out of adjoining star give R hand to Partner, L hand to Shadow #1 to form long wavy line ALONG set)
B1: Bal wave (towards partner first)(4), slide R as in Rory O'More (R/H to Shadow #2, L/H to Partner)(4), Bal wave (towards partner on Left) (4), slide L (4)
B2: Partner Bal and Sw (16)
for Amy Richardson Larkin
Date: Thu, 30 Apr 2015 00:32:17 +0000
To: callers(a)lists.sharedweight.net
Subject: Re: [Callers] Anyone seen this dance?
From: callers(a)lists.sharedweight.net
Then it should be named "Almost Dancing With Amy" Michael Fuerst 802 N Broadway Urbana IL 61801 217 239 5844
On Wednesday, April 29, 2015 7:29 PM, Linda Leslie via Callers <callers(a)lists.sharedweight.net> wrote:
Very close to Dancing with Amy, by Bill Olson.Linda
On Apr 29, 2015, at 8:25 PM, Perry Shafran via Callers <callers(a)lists.sharedweight.net> wrote:
Since folks generally check here to see whether dance compositions have already been written, I thought I might as well. Tentatively calling this "Charm City Contra".
Becket dance
A1 Circle L 3/4Pass thru, swing next NA2 L chnLH starB1 Al rt shadow #1 to wavy line, gents facing inBal wave, spin rtB2 Bal & Sw P
Perry
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