On 2019-04-22 3:53 a.m., barrie bullimore via Callers wrote:
> Men need to orbit ccw!
While it's certainly common to have an allemande/orbit combination rotating
in opposite directions, I'm pretty sure Liam intended what he described:
that both the allemande and orbit are clockwise. It sounds similar to Ron
Buchanan's "Revolving Door" figure.
-Michael
Hi All,
Whilst on a walk with my dogs recently enjoying the remarkably good weather we have in the UK at the moment, I ended up writing a dance in my head that I thought might be quite nice. Well after a bit of refinement, it seems to work nicely (although I haven’t tried it out with a big group of dancers yet). At the moment It is called ’St George’s Day Contra’ for the simple reason that it is St Georges day on Tuesday and I couldn’t think of a better name for it, but I am hoping that one will pop into my head soon.
Please let me know what you think.
Longways: 1s Improper
A1:
(16) Neighbour balance & swing
A2:
(8) Lines forward & back; (8) Ladies allemande RH WHILST gents orbit CW and loop wide *1 to flow into…
B1:
(16) Partner balance & swing
B2:
(8) Promenade across {ladies passing R} *2; (6) Circle L ¾; (2) Pass through.
NB
*1 Gents cross the set and turn R wide so that it uses up all the music and it will flow into the balance & swing. *2 Ladies need to pass R shoulder so that you turning R as a unit and it should flow nicely into the circle L ¾.
P.S Here is a link to the music I have used, It’s on Spotify so whether everyone will be able to get it, I don’t know https://open.spotify.com/track/40dgK9bzB6NiR3tRUmNTdL?si=lGmyeXhlRO-fNkDrNP… <https://open.spotify.com/track/40dgK9bzB6NiR3tRUmNTdL?si=lGmyeXhlRO-fNkDrNP…>
Many Thanks,
Liam Binley.
liam.binley(a)me.com
Oh, that’s a wonderful image! I was thinking it was maybe the caller?
> On Apr 17, 2019, at 8:52 PM, Rich Dempsey via Callers <callers(a)lists.sharedweight.net> wrote:
>
> The extra skater models the obligato of the kids frolic around the hall while we dance.
>
> Rich
>
> On Mon, Apr 15, 2019 at 10:06 PM Bree Kalb via Callers <callers(a)lists.sharedweight.net <mailto:callers@lists.sharedweight.net>> wrote:
> This is terrific. Will you be posting this to any Contra groups on FB? If not, would it be okay if I post to Triangle Country Dancers' page? I think lots of people would enjoys seeing it.
>
> On Mon, Apr 15, 2019 at 1:57 PM Luke Donforth via Callers <callers(a)lists.sharedweight.net <mailto:callers@lists.sharedweight.net>> wrote:
> I'd like to share this because I think it's really fun.
>
> Several months ago, I was approached by the coaches of a Theater on Ice team about helping put together a program for their 2018-19 Choreographic Challenge, which was to showcase cultural dance. Burlington's team, "On Thin Ice" wanted to do a contra dance on ice.
>
> There were various restrictions; style and historic elements that they wanted included, coverage of the ring, movement on the ice, etc. What they generated is not a contra dance, but does showcase several elements of a contra dance, and they do it on ice.
>
> You can check out their performance at
> https://www.youtube.com/watch?v=8EzYx4XtxSs&lc <https://www.youtube.com/watch?v=8EzYx4XtxSs&lc>
>
> It was a learning experience for me, and a fun exercise in deconstructing and putting things back together with different constraints. For instance, they needed percussive elements in the choreography; I'd originally tried to sell them on petronellas; but they all balked at the turning over "outside edges" on skates (a harder feat).
>
> It's the first time I've every had folks dance to recorded calls, but they wanted them to add to the feeling of a contra (and I won't be travelling with them to nationals in Alabama this June).
>
> As a side not, for historical reasons relating to how their program would be judged, I used the term gypsy instead of my preference of an alternative. I still think they do a wonderful job of bringing contra dance to a different corner of the world.
>
> When I went to my first contra dance, I'd never have guessed where it would take me. Here's to more fun memories and interesting experiences in this community and others.
>
> --
> Luke Donforth
> Luke.Donforth(a)gmail.com <mailto:Luke.Donev@gmail.com>
> _______________________________________________
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> List Address: Callers(a)lists.sharedweight.net <mailto:Callers@lists.sharedweight.net>
> Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/ <https://www.mail-archive.com/callers@lists.sharedweight.net/>
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> _______________________________________________
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<>:<>:<>:<>:<>:<>:<>:<>:<>
Delia Clark
PO Box 45
Taftsville, VT 05073
Office/mobile: +1-802-457-2075
deliaclark8(a)gmail.com
www.deliaclarkconfluence.com
The extra skater models the obligato of the kids frolic around the hall
while we dance.
Rich
On Mon, Apr 15, 2019 at 10:06 PM Bree Kalb via Callers <
callers(a)lists.sharedweight.net> wrote:
> This is terrific. Will you be posting this to any Contra groups on FB? If
> not, would it be okay if I post to Triangle Country Dancers' page? I think
> lots of people would enjoys seeing it.
>
> On Mon, Apr 15, 2019 at 1:57 PM Luke Donforth via Callers <
> callers(a)lists.sharedweight.net> wrote:
>
>> I'd like to share this because I think it's really fun.
>>
>> Several months ago, I was approached by the coaches of a Theater on Ice
>> team about helping put together a program for their 2018-19 Choreographic
>> Challenge, which was to showcase cultural dance. Burlington's team, "On
>> Thin Ice" wanted to do a contra dance on ice.
>>
>> There were various restrictions; style and historic elements that they
>> wanted included, coverage of the ring, movement on the ice, etc. What they
>> generated is not a contra dance, but does showcase several elements of a
>> contra dance, and they do it on ice.
>>
>> You can check out their performance at
>> https://www.youtube.com/watch?v=8EzYx4XtxSs&lc
>>
>> It was a learning experience for me, and a fun exercise in deconstructing
>> and putting things back together with different constraints. For instance,
>> they needed percussive elements in the choreography; I'd originally tried
>> to sell them on petronellas; but they all balked at the turning over
>> "outside edges" on skates (a harder feat).
>>
>> It's the first time I've every had folks dance to recorded calls, but
>> they wanted them to add to the feeling of a contra (and I won't be
>> travelling with them to nationals in Alabama this June).
>>
>> As a side not, for historical reasons relating to how their program would
>> be judged, I used the term gypsy instead of my preference of an
>> alternative. I still think they do a wonderful job of bringing contra dance
>> to a different corner of the world.
>>
>> When I went to my first contra dance, I'd never have guessed where it
>> would take me. Here's to more fun memories and interesting experiences in
>> this community and others.
>>
>> --
>> Luke Donforth
>> Luke.Donforth(a)gmail.com <Luke.Donev(a)gmail.com>
>> _______________________________________________
>> List Name: Callers mailing list
>> List Address: Callers(a)lists.sharedweight.net
>> Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/
>>
> _______________________________________________
> List Name: Callers mailing list
> List Address: Callers(a)lists.sharedweight.net
> Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/
>
Here are the entries for the NEFFA 75th Contra Contest. Thanks again to all of you who submitted dances.
The dances are presented as written, mostly unedited. They are grouped by author in order of submission, with the exception of the winning dance, which is at the top. I do have all of this in a Word doc., so feel free to write me off list for a copy as it may be easier to read.
And a big thank you to Bob Isaacs for being a co-judge, as well as caller of the winning dance at Neffa this past weekend. We had a blast working on this together.
Lisa Greenleaf
-----------------------------------------------------------------------------------------------------------
What Bob Isaacs and I said to announce the winner:
The winner is Diamonds Are For Neffa, written by Chris Page. The judges feel that his dance has good flow, is suitable for the NEFFA audience, and includes very NEFFA-appropriate inter-set allemandes and a celebratory diamond. Even the title is clever. We thank Chris for this wonderful contribution to the NEFFA tradition. Congratulations!
Diamonds Are For NEFFA Chris Page
Improper
A1 Shift left to new neighbors
Circle left ¾;
Neighbor swing
A2 Long lines forward and back;
Hands-across star right 7/8 (until Ladies are in the center of a
diamond, Gents are on the outside).
B1 Ladies (next Lady from the next star) allemande left 1;
Hands-across star right 3/4 (with original foursome);
Gents (with previous Gent from the next star) allemande left 1
B2 Gents (in center of set, facing partner) walk forward to partner on side
Partner R Shoulder Round
Partner swing
This is the base version of the dance. However, when there's multiple
lines and skilled dancers, point out that inactive dancers during the
B1 can allemande left once with a dancer from an adjacent contra line.
If this is done, at the top of the A1, it's likely that your current
neighbors will be on the slight left diagonal, so you'll need to take
an extra step to the left to make sure you get to new neighbors.
(as for the title, diamonds are 60th anniversary, but sometimes they
are 75th anniversary as well)
Here's the one-line test video (times 14 through 17 of the dance, so
things had smoothed out):
https://www.youtube.com/watch?v=FhrxUuVfRCY
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Diamond Jubilee Becket (reverse progression) Jim Hemphill
A1 Balance in a ring and spin to a diamond (ladies in center facing up & down, gents facing across)
Balance the ring and petronella, gents form a long wave in the center
A2 Balance the wave, turn by the right half way
Swing a new neighbor
B1 Slice on the left diagonal (to meet your partner), push straight back
Ladies allemande right 1 1/2
B2 Partner balance and swing
Notes: In A1 the 1st spin covers half the distance of a regular petronella. The second spin gents turn an extra quarter to face across, take left hands with current neighbor & right with the next.
End effect: Put Lady on Left
-----------------------------------------------------------------------------------------------------------
NEFFA! Say NEFFA Again! Cary Ravitz
Becket
A1
(8) Right and left through across.
(8) Circle RIGHT 3/4.
A2
(6) With partners, ladies lead a zig zag right and left to pass
neighbors.
(10) Look for a new neighbor to swing.
B1
(8) Gents pass by the left to start a 1/2 hey.
(8) Gents allemande left 1+1/2.
B2
(16) Partners balance and swing.
Neffanella Cary Ravitz
indecent
A1
(16) Neighbors gypsy and swing.
A2
(8) Right and left through across.
(8) Ladies allemande right 1+1/2.
B1
(16) Partners balance and swing.
B2
(8) Petronella balance and spin 1+1/2 places to a diamond.
(8) Petronella balance and spin 1+1/2 places to indecent progressed
position and turn to look for a new neighbor.
Neffarious Cary Ravitz
Becket, progresses right
A1
(7) Right and left through across.
(2) Partners trade places, gents behind ladies.
(7) Circle RIGHT 3/4.
A2
(6) Neighbors allemande left once around.
(10) Look for a new neighbor to swing.
B1
(8) Circle left 3/4.
(8) Ladies pass by the left to start a 1/2 hey.
B2
(16) Partners balance and swing.
-----------------------------------------------------------------------------------------------------------
Forty-Four Friends for 6 Bits (NEFFA Diamond Jubilee)
Barbara Renna DI
1. Two lines forward and back
2. Box the gnat with your partner
3. Right hand star with your group of four
4. Left hand star with the adjacent couple up or down the set
5. Right shoulders around with your original neighbor
6. Box the gnat with your neighbor (all have now progressed but are in reversed positions)
7. Balance 2x with partner across the set
8. Swing partner (end with partner on original side of set, ready to begin dance from start)
About the title: The 44 is because NEFFA started in 1944, and because you meet a lot of people at NEFFA, who
About the dance: Just as you meet and interact with many people at NEFFA, you meet and interact with many people during this dance.
NEFFA Jubilee Jumble Barbara Renna (regular contra formation):
1. All circle to the left (end in original place)
2. Balance the ring 1x (and move one spot CCW around circle)
3. Right and Left through ¾ (W now back to original place, M are switched)
4. Left hand star with your own group of 4
5. Right hand star with the adjacent couple from the next group up or down the set (no one is in a group with their partner for this)(good to release the left hand star when it’s about ⅞ of the way around!)
6. Balance the ring 1x with your original foursome (and move 1 spot CCW, all are now progressed)
7. Left shoulder dosido with your neighbor along the line
8. Balance and swing your partner
About the title: Sometimes things get a bit mixed up by accident during a dance, but in this dance things get
About the dance: Everyone not only dances with everyone else, they even dance outside of their foursome with someone other than their partner!
NEFFA 6.75 Barbara Renna (regular contra formation):
1. All circle to the left (all the way back to place)
2. Balance the ring 1x (advance 1 place CCW)
3. Right and Left through and back to place
4. Ladies chain ½ way
5. Men left hands around 1 ½ times (men are now progressed)
6. Balance and swing your partner along the side of the set
7. Ladies chain halfway (all are now progressed)
8. Dosido your partner across the set
About the title: There are 6 states in New England and NEFFA has been happening for 75 years. Also, 0.75 is ¾ and there are a lot of fractions in contra dancing! (balance the ring + ladies chain = ¼ + ½ = ¾)
About the dance: I just put a lot of things I enjoy together in a way that I thought was smooth and happy the way fractions and math and dancing all go together and make me happy!
-----------------------------------------------------------------------------------------------------------
Friendly New England Folks By Jane Ewing 11-2-18 Duple Improper
A1 Neighbor Rt Hand Balance – pull by
Partner Lf Hand pull by
Neighbor Rt Hand Balance – pull by
Partner Lf Hand pull by
A2 Neighbor Balance & Swing
B1 Circle Lf 3 Places
Partner Swing
B2 Long Lines Forward & Back
Ladies Chain (face New Neighbor)
-----------------------------------------------------------------------------------------------------------
Diamond Jubilee in Mansfield by Bob Green (duplex improper)
A1 Balance the ring & spin to a diamond (Gent 1 top center, Gent 2 bottom center)
Balance the ring, partners twirl to swap & reform the diamond
A2 Balance the ring & partner swing on the Gents current side
(Break the swing back in a diamond, Lady 1 bottom center, Lady 2 top center)
B1 Balance the ring & spin to neighbor on the gents side
Neighbor swing
B2 Long lines forward & back
Pass through and twirl to swap with neighbor
NOTE: The dance can be made slightly easier by replacing the balance and twirl to swap in A1 with a balance and roll away with a half sashay. Also in B1 it can be simplified with a balance the ring & swing on the Gents side.
Here was a trial run with a mixed level of dancers:
http://youtu.be/IJNSwb7a-Ig
-----------------------------------------------------------------------------------------------------------
75 Already? John Robert Becket
A 1 : Slide left and circle left with a new couple, flatten into wave with ladies In middle (8
Balance r&l. neighboor allemande R Gents Allemande L to take hands with partner and with other gent In the middle.
A 2 : Balance r&(4)l, partner allemande right(2), ladies allemande left (2), swing neighboor(8)
B 1: Ladies Allemande left 1 1/2, pass partner right shoulder 1/2 hey
B 2 : Partner B&S
75th Stomp John Robert Becket
A1: Left Diagonal Slide Foreward, fall back(8) Ladies Chain(8)
A2: Balance ring, spin right, petronella 2x
B1: Neighboor B&S
B2: Balance Ring, Ladies Draw partner Back For A Swing
-----------------------------------------------------------------------------------------------------------
NEFFA a Dull Moment by Jon Greene CCW Becket
Suggested music: smooth jigs or reels, slow to moderate tempo
A1: Circle left 3/4 and let go of partner’s hand to take hands in long lines (with current and next neighbors), connecting the set at the ends to form a giant oval (8)
Oval left (8)
A2: Oval back right (8)
Drop next neighbor’s hand and retake partner’s hand to make a circle of four and circle right exactly 1/2 (4)
Drop neighbors hand and give both hands to partner to start a CCW 1/2 pousette (ladies initially backing up) around these same neighbors (~5)
B1: CW 1/2 pousette (gents initially backing up) around next neighbors (~5)
Swing next neighbor (~10)
B2: Two changes of a hey, gents pass left in the center, right with partner,
ladies push back (ricochet) (6)
Swing partner (10)
Notes: Partners should drop hands a little before the end of the 3/4 circle left in A1 to make it easier for the ladies in particular to flow into the oval. Also, I’m hoping that dancers will naturally adjust the timing of the circle to take a full 8 beats (instead of say 6 or 7) so that the oval left starts right on beat 9. But the dance should still work even if the oval starts a beat or two early as the eventual neighbor swing in B1 will synchronize the dancers.
During the transition in B1 from a pousette to a neighbor swing, partners should stay connected until the last possible moment when the gents “catch” the ladies almost blindly as they back into the swing.
The push back hey in B2 has a similar dynamic as the gents catch their partners as they back into the swing.
Couples waiting out are strongly encouraged to participate in the ovals. They formally reenter the dance in B1 with the CW 1/2 pousette around new neighbors.
The title has two meanings for me. First, that NEFFA remains a vibrant and exciting organization (even after 75 years) and second, that everyone is always moving in the dance (i.e., there are no same gender allemandes, for example).
—————————————————————————————————————————————————————
Diamond Jubilee by Fred Wersan DI, Double Progression
1. Circle left all the way. (8)
2. Swing neighbor. (8)
3. Ones cast up the set and down the outside below the next neighbor. (8)
4. Long lines forward and back. (8)
5. Active couple turn contra neighbors: (16)
(First neighbor is to active dancers right, second is to the left.)
a. Active couple allemand right about 7/8 to
b. Allemand left first neighbor and back to center.
c. Active couple meet in center of set and ricochet to
d. Allemande left second neighbor.
6. Active couple swing in the middle and end facing up. (8)
7. Circle left with couple above half way and pass through to next neighbors. (8)
End effects – Could at the top will need to go below a neighbor at the cast. Couple reaching the end will need to switch sides to get into the contra neighbor figure.
This might be a little challenging for what you want. You could alternate between ones and twos by having the twos cast down the set and up the outside to mirror what the ones do. However, I think that would be confusing for this dance and given its duple minor, people will move up a reasonably size set fairly quickly.
—————————————————————————————————————————————————————
Diamonds for (N)EFFA Keith Wood November 2018
Longways duple minor diamond, double progression 32 bar reels
To get into diamond formation, start in improper Contra formation and each group of four circles ⅛(. place) to the left so ladies are in a line down the middle of the set and men are on the side of the set. Diamond dances have a double progression.
A1 Do-si-do neighbour
Swing neighbour; finish facing your partner in the diamond, now with Gents down the
middle and Ladies on the side of the set
A2 R shoulder around partner
Swing partner; finish diagonally opposite where you started, facing your neighbour in the
diamond, once more with Ladies down the middle and Gents on the side of the set
B1 Star right once around
Star left once around
B2 Partners butterfly whirl half-way anti-clockwise to face out of your set (4 beats)
Still joined with your partner, Gents take left hand with the Gent from the next set (where
possible) and Star promenade half-way into the next set, facing out (8 beats); a couple
coming out at the top or bottom
Swing partner (12 beats)
In your new set, partners butterfly whirl half-way anti-clockwise to face new neighbours in
the diamond (Ladies down the middle, Gents on the side) (4 beats)
NEFFA Enough Keith Wood November 2018
Becket formation, clockwise progression 32 bar reels
A1 Circle left . to a wavy line, Ladies join left hands, right to neighbour
Balance the wave (forward and back) and walk forward to new neighbours (progression)
A2 Do-si-do neighbour
Swing neighbor
B1 Half hey, Gents pass L
Mad Robin, clockwise with neighbour, Gents in to start
B2 Slingshot: Neighbours butterfly whirl once around clockwise, Gents moving forward, Ladies
backwards, and Gents cross the set passing right shoulder to partner
Swing partner
-----------------------------------------------------------------------------------------------------------
This first one is inspired/along the lines of Linda Leslie's prior NEFFA anniversary dances, e.g.: "Celebrating 60". I noted that hers had very easy moves overall and featured long waves. This one honors that heritage and other familiar contra themes while finishing with an unusual twist to reunite partners.
Celebrating 75 - Becket - Don Veino 20181216B
(or "Looking Back on 75", should Celebrating 75 not be available)
A1 Gents to Center Wave, Balance
Gents Back Out WHILE Ladies to Center Wave, Balance
(Ladies note Gent on left diagonal)
A2 Ladies Allemande Left 1/2x, Next Ladies Right 1/2x to
Neighbor Swing
B1 Long Lines Forward to Partner and Back
(swing should finish straight across from partner but might be slightly offset)
Circle Left 3/4x (to face Partner up/down)
With Neighbor, Couple Dosido 1/2x* around Partner, drop hands and look back/right to...
B2 Gypsy and Swing Partner
* Technically, 3/8x. This seems to be the best way to describe the move to dancers, but I'm open to others. I've tried "Zig Left and Right around Partner" and "Sliding Doors" as well. I have them drop hands as they move left and start turning over shoulder as they shift back right. It goes very smoothly after a try or two.
My second recognizes NEFFA's Diamond Jubilee in the title and plays on the New England-based Friendly's Ice Cream classic dessert. It incorporates several "modern" moves while honoring a little of our ECD/early contra heritage in forming the diamond.
Jubilee Roll - DI - Don Veino 20181105D
A1 Long Lines Forward & GNT/LRK Roll LDY/RVN on way back
LDY/RVN Gate GNT/LRK CW 1+1/4x (to GNT/LRK facing up/down in center)
A2 Diamond Balance, GNT/LRK Pass NBR Right**, LDY/RVN Pass Left
Half Hey, Pass PNR Right
(so feels like a 3/4x Hey overall, Lefts in center)
B1 PNR Gypsy & Swing
B2 Gents Allemande Left 1+1/2x, NBR Swing
** Having the Gents move to the outside first creates more room for the first pass of the Ladies.
My third entry is simply a fun dance inspired by the classic tune Joys of Quebec - the title salutes that tune and the myriad ways NEFFA brings joy to participants.
The Joys of NEFFA - DI - Don Veino 20190129
A1 Long Lines Fwd & GNT/LRK Roll NBR Away Back, keep tension to...
(or alt., if you are concerned about difficulty: NBR RH Balance, Box the Gnat)
NBR Dosido 1+1/4x to a Wave/4 across (GNT/LRK by LH, RH to NBR)
A2 Wave/4 Balance Rt & Lt, Slide/Twirl Right
Wave/4 Balance Lt & Rt, Slide/Twirl Left (GNT/LRK all the way across to PNR)
B1 PNR Pull By Right into Half Hey, PNR Swing
B2 Give & Take to GNT/LRK, NBR Swing
-----------------------------------------------------------------------------------------------------------
Happy Diamond Jubilee, NEFFA! - a Down-the-Hallmark Greeting Card*
(2-9-2019) by Elizabeth Bloom Albert
Improper formation.
{Dance starts in short wavy lines, [Ladies in center, L-hands joined]}
A1 (4) Balance the wave R/L
(4) Slide or spin right; form a new wave (as in Rory O'More)
(4) Balance this wave L/R
(4) Slide or spin left (as in Rory) but end in diamond
{Ladies in center of the set (#1 Lady facing down the hall); Gents on sides facing in (standing to left of their partner)}
A2 (4) Balance the diamond
(4) Spin one place to the Right (as in Petronella)
(4) Gents in center: R-hand {handshake-grip} Balance
(4) Gents Allemande-R 3/4
{Form a new wave: Gents in center, R-hands joined; Partner is in Left hand}
B1 (4) Balance the wave LEFT/Right
(2) Slide* Left
(10) Swing Partner
B2 (8) Star Left 3/4
(4) Neighbors: L-hand Balance
(4) Pull-by L
{Take R-hand with next Neighbor, Ladies join L-hands in center of new wave, ready to re-start dance in A1}
NOTES:
B1: Dancers can “Rory” here if they like, however they will have more time for the partner swing if they don’t.
There is no "Down the Hall" in this dance! But please don’t accuse me of false advertising; this dance has many of the **hallmarks** of a typical (corny) greeting card:
The Diamond in A2 is the central image on the face of the card, as it should be for a Diamond Jubilee, but the card is also adorned with stars (well one anyway, in B2) and curly-cue confetti that mimic the trail of the Rory spins in A1.
All the thumbs-up grips as dancers form waves in A1 & B1? That’s us in Chicago, giving you the thumbs-up, that all-American way of saying, “Way to go!"
When gents execute their right-hand balance in A2, they are shaking right hands, saying, “Congratulations!”
And last but not least:
The Petronella spin in A2 gives dancers the opportunity to clap, thereby applauding you. Keep up the good work, and give us many more years of dancing and fellowship!
The “Half We Had e-NEFFA Contra?” Dance*
Beckett formation; start one-quarter turn to RIGHT of Improper; this dance progresses CCW.
A1 (8) R/L thru X-set w/ courtesy turn
(2) Gents: Roll Partner with 1/2 sashay*
[w/ Neighbor:]
(6) [Ladies push] 1/2 Pousette
A2 (4) Neighbor [inside hands] Balance
(4) Star thru**
(4) Partner [inside hands] Balance
(4) Star thru**
B1 (8) Gents pass Left to start a 1/2 Hey
(8) Swing Partner
B2 (8) Long lines F/B
(8) 1/2-Promenade X-set, with wide loop to right
[End promenade facing new neighbors X-set]
NOTES:
A1: Finishing a courtesy turn with a roll-away/half-sashay is unusual, but should flow nicely once dancers get the hang of it. Basically, the courtesy turn has both lady and gent rotating counter-clockwise; so when the gent uses his left hand to (gently!) tug before letting go of their joined left hands, she will continue (solo) her counter-clockwise spin until she is standing side by side with her partner, but on his left. (Gent makes room for her by shifting right.)
A2: Star thru is a move more common in square dance. Dancers begin facing each other, with the gent's right hand and the lady's left hand joined; dancers raise joined hands, ladies walk under arch; dancers end facing same direction.
* Hopefully the answer to the question posed here is a resounding “No!”
My original title was The Can’t Get e-NEFFA Contra Dance, but then I looked at all the halves I had incorporated (1/2 sashay, 1/2 pousette; 1/2 hey) and **halving** a soft spot for puns, I came up with a way to use “half” in the title…
-----------------------------------------------------------------------------------------------------------
Time-y NEFFA Dancin' Dane Wallinga
progressed improper (or reverse progression indecent, depending on which terminology you prefer)
A1: Balance partner across the set (4) and star through (4)
Take hands in a ring and balance (4) and petronella (4)
A2: Partner balance and swing (16)
B1: Larks allemande left 3/4 to form a long wave along the center of the set (4) and balance (4). At the end of this, ravens should be looking directly at their neighbor's back. Larks are facing an empty space between two ravens (their partner and their shadow), with their partner slightly to the left.
Larks walk forward out of the center while ravens follow their neighbor straight forward into the set. Ravens catch left hands, allemande left halfway (4), then right halfway with a new neighbor raven while larks loop over their right shoulder to face back in.
B2: New neighbor balance and swing (16)
End effects:
The progression happens improper, so couples can wait out as normal with the lark on the left, and the raven on the right.
This is terrific. Will you be posting this to any Contra groups on FB? If
not, would it be okay if I post to Triangle Country Dancers' page? I think
lots of people would enjoys seeing it.
On Mon, Apr 15, 2019 at 1:57 PM Luke Donforth via Callers <
callers(a)lists.sharedweight.net> wrote:
> I'd like to share this because I think it's really fun.
>
> Several months ago, I was approached by the coaches of a Theater on Ice
> team about helping put together a program for their 2018-19 Choreographic
> Challenge, which was to showcase cultural dance. Burlington's team, "On
> Thin Ice" wanted to do a contra dance on ice.
>
> There were various restrictions; style and historic elements that they
> wanted included, coverage of the ring, movement on the ice, etc. What they
> generated is not a contra dance, but does showcase several elements of a
> contra dance, and they do it on ice.
>
> You can check out their performance at
> https://www.youtube.com/watch?v=8EzYx4XtxSs&lc
>
> It was a learning experience for me, and a fun exercise in deconstructing
> and putting things back together with different constraints. For instance,
> they needed percussive elements in the choreography; I'd originally tried
> to sell them on petronellas; but they all balked at the turning over
> "outside edges" on skates (a harder feat).
>
> It's the first time I've every had folks dance to recorded calls, but they
> wanted them to add to the feeling of a contra (and I won't be travelling
> with them to nationals in Alabama this June).
>
> As a side not, for historical reasons relating to how their program would
> be judged, I used the term gypsy instead of my preference of an
> alternative. I still think they do a wonderful job of bringing contra dance
> to a different corner of the world.
>
> When I went to my first contra dance, I'd never have guessed where it
> would take me. Here's to more fun memories and interesting experiences in
> this community and others.
>
> --
> Luke Donforth
> Luke.Donforth(a)gmail.com <Luke.Donev(a)gmail.com>
> _______________________________________________
> List Name: Callers mailing list
> List Address: Callers(a)lists.sharedweight.net
> Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/
>
Beats out the Farmall Tractors’ square dance easily! I’m ashamed to even compare them.
> On Apr 15, 2019, at 13:57, Luke Donforth via Callers <callers(a)lists.sharedweight.net> wrote:
>
> I'd like to share this because I think it's really fun.
>
> Several months ago, I was approached by the coaches of a Theater on Ice team about helping put together a program for their 2018-19 Choreographic Challenge, which was to showcase cultural dance. Burlington's team, "On Thin Ice" wanted to do a contra dance on ice.
>
> There were various restrictions; style and historic elements that they wanted included, coverage of the ring, movement on the ice, etc. What they generated is not a contra dance, but does showcase several elements of a contra dance, and they do it on ice.
>
> You can check out their performance at
> https://www.youtube.com/watch?v=8EzYx4XtxSs&lc <https://www.youtube.com/watch?v=8EzYx4XtxSs&lc>
>
> It was a learning experience for me, and a fun exercise in deconstructing and putting things back together with different constraints. For instance, they needed percussive elements in the choreography; I'd originally tried to sell them on petronellas; but they all balked at the turning over "outside edges" on skates (a harder feat).
>
> It's the first time I've every had folks dance to recorded calls, but they wanted them to add to the feeling of a contra (and I won't be travelling with them to nationals in Alabama this June).
>
> As a side not, for historical reasons relating to how their program would be judged, I used the term gypsy instead of my preference of an alternative. I still think they do a wonderful job of bringing contra dance to a different corner of the world.
>
> When I went to my first contra dance, I'd never have guessed where it would take me. Here's to more fun memories and interesting experiences in this community and others.
>
> --
> Luke Donforth
> Luke.Donforth(a)gmail.com <mailto:Luke.Donev@gmail.com>
> _______________________________________________
> List Name: Callers mailing list
> List Address: Callers(a)lists.sharedweight.net
> Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/
I'd like to share this because I think it's really fun.
Several months ago, I was approached by the coaches of a Theater on Ice
team about helping put together a program for their 2018-19 Choreographic
Challenge, which was to showcase cultural dance. Burlington's team, "On
Thin Ice" wanted to do a contra dance on ice.
There were various restrictions; style and historic elements that they
wanted included, coverage of the ring, movement on the ice, etc. What they
generated is not a contra dance, but does showcase several elements of a
contra dance, and they do it on ice.
You can check out their performance at
https://www.youtube.com/watch?v=8EzYx4XtxSs&lc
It was a learning experience for me, and a fun exercise in deconstructing
and putting things back together with different constraints. For instance,
they needed percussive elements in the choreography; I'd originally tried
to sell them on petronellas; but they all balked at the turning over
"outside edges" on skates (a harder feat).
It's the first time I've every had folks dance to recorded calls, but they
wanted them to add to the feeling of a contra (and I won't be travelling
with them to nationals in Alabama this June).
As a side not, for historical reasons relating to how their program would
be judged, I used the term gypsy instead of my preference of an
alternative. I still think they do a wonderful job of bringing contra dance
to a different corner of the world.
When I went to my first contra dance, I'd never have guessed where it would
take me. Here's to more fun memories and interesting experiences in this
community and others.
--
Luke Donforth
Luke.Donforth(a)gmail.com <Luke.Donev(a)gmail.com>
Thank you so far for all your responses. I have learned a lot already. I just reread my original email and realize that I forgot to mention that most of the visually impaired are elementary, middle, and high school students so traditional dance may work well.
Someone mentioned a Snake dance and I actually thought of starting with that.
Thank you again. I look forward to reading more responses and suggestions.
Helle
From: Luke Donforth <luke.donev(a)gmail.com>
To: Shared Weight Callers' Listserv <callers(a)lists.sharedweight.net>
Cc: Helle Hill <hellehill(a)yahoo.com>; Mac Mckeever <macmck(a)ymail.com>
Sent: Sunday, April 14, 2019 6:42 PM
Subject: Re: [Callers] Calling for the visually impaired
(Technical note, I Mac's response, but not Helle's original post?)
I don't have extensive experience calling for visually impaired dancers. I have occasionally had an experienced blind dancer on the floor, but never a sizable percentage. But this is conjecture on my part; please trust your own judgement.
It sounds like you're calling for a bunch of folks who don't regularly dance? In which case, I'd recommend (as with most one-off gigs), not focusing on 'duple improper contras' and just get folks moving to music. Something as simple as a snake dance may be a good kick-off. It's not overly simplifying for them, that's often a dance that gets used at community dances.
It may be worth talking to the sound person ahead of time to see if a clear "head of the hall" can be established sonicly. Some gigs will put up more than one row of speakers or such to blanket the sound, but giving an audio clue about direction may be useful.
If you're shooting for hands-four contras, I wonder if some of the pass through progressions of simple contra dances could be re-worked to have a roll-away instead? For instance, A1: long lines neighbor swing, end facing down the hallA2Down four in line, turn as couples, come backB1Circle left three places, partner swingB2Circle left three places,balance the ring, gents roll neighbor lady away with a half sashay
As two-swing contras go, that's a relatively simple. Everyone is always holding on to at least one other person. But you've still got changes of direction and knowing your orientation when you end the swing.
But even that is more complicated than I would run for most community dances when most people aren't regular dancers. Even if you have one "seeing" partner in each pair, if you're not separating sets out by "this set has seeing gents role; that set has seeing ladies role" then if you do a neighbor swing, you'll end up with couples that don't have a "seeing" person.
Good luck! And please do let us know how it goes, and what you figure out.
On Sun, Apr 14, 2019 at 4:21 PM Mac Mckeever via Callers <callers(a)lists.sharedweight.net> wrote:
For several years we had a wonderful lady dance with us who was totally blind (could not even tell light or dark)- here are a few things I learned from her
She always danced in a line next to a wall - the reflections off the wall gave her as good a sense of direction as the rest of us.
Use dances where you stay connected to other dancers. With her experience she did well on dosido and hey - but down the outside alone was not possible.
You will have a problem any time dancers need to make new connections - like ladies chain, allemand, etc - someone has to be able to find the impaired dancer's hand.
She would not dance squares - too much uncertainty and dancers who are lost made it impossible for her to recover(in a contra you get past it quickly so only one time thru is challenging).
As I said - this dancer was totally blind (but so good that those who did not know her often did not figure it out). She also clapped at times when not connected to hear what was around her.
It sounds like your dancers will have various degrees of impairment, so some of this may not be as important.
Hope this helps some - while challenging - this should be very rewarding and fun.
Mac McKeeverSt Louis
On Sunday, April 14, 2019, 2:53:33 PM CDT, Helle Hill via Callers <callers(a)lists.sharedweight.net> wrote:
I work with the visually impaired and have been asked to call an evening of dances for an outing. I know the basics of working with the visually impaired but does anyone have any suggestions for dances, how to handle the directional aspect, or any other ideas to make it a successful experience. I hope that each visually impaired dancer will have a "seeing" partner.
Thank you so much in advance.
Helle _______________________________________________
List Name: Callers mailing list
List Address: Callers(a)lists.sharedweight.net
Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/
_______________________________________________
List Name: Callers mailing list
List Address: Callers(a)lists.sharedweight.net
Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/
--
Luke Donforth
Luke.Donforth(a)gmail.com
