Re: [Callers] Buzz Step Swing

I'm going to describe my newish ideas on programming. But I think it will have much more meaning if I also explain how I came up with it. For some of you, reading this may be a little uncomfortable. I'm not picking on anyone. I want you to know that I learned calling the hard way (no formal class) and made every mistake you can imagine and then some! And I'm still learning. When I re-joined the dance board I began doing the sound chores. While doing sound for the last 2 1/2 years I sat and watched callers and studied what they did. I watched how they interacted with the band and I watched the reactions on the floor. I was all ears and all eyes. I made copious notes. From these observations I wrote what I consider an advanced calling manuel called The Complete Caller. It's coming out maybe at the end of the summer. Our attendance at the dance has been going down hill for some time. Part of the reason is the hall. The other reason I believe is the lack of training/awareness on the part of many callers. On many occasions the majority of the dancers simply left during the break leaving 6-8 dancers for the second half. It's been that bad. My newish way of programming may not be for every dance community. It may be of some value to those trying to retain beginners. In terms of programming here's what I've noticed: 1) All callers, both local and out of town call dances that are accessible to the new dancers. However, almost all of the dances called are just barely accessible. The new dancers NEVER have a chance to relax and enjoy. The effect is that experienced dancers see newbies as always stiff and nervous. 2) almost all of the callers observed either didn't teach the swing or taught it in about 30 seconds. I think these callers like torturing the experienced dancers. Watching the newbies swing with each other and the experienced dancers was very, very painful. I saw every possible body hold and footwork imaginable. 3) most callers called programs that were extremely predictable- all contras, all with two swings. This predictability is for myself and others a bit boring. How can you have cold without hot or night without day? I'm currently thinking of making a rule: at-least one contra in the evening can't contain the combination circle left 3/4 and swing! 4) I would say 99% if these callers never discuss tune selections with the musicians AND never slow the band down or speed them up even when it's OBVIOUS there's a problem. On many occasions I've asked the caller, "do you want me to slow them down?" and the response is always "yes". This is my newish way to program. There's more to it but this is the core: The first three dances of the evening must be accessible to the new dancers AND must allow them to relax and have a good time. Perhaps it's the latter part of this requirement where you and I are very different. When I mention this to other callers their response is usually "ok I'll just do Nice Combination for the first contra" NOPE. AINT GOING TO WORK, DEAD WRONG. There's too much swinging and no anchors. The progression out of a star is not a good thing. That much swinging is counter productive to keeping new dancers. Newbies also need anchors. Anchors are people keeping their place while others dance. A dance that contains anchors is gooder. Examples: Sides are anchors if the heads circle left. In Scout House Reel, the twos are anchors while the ones swing. The men are anchors while the women do-si-do etc......... So dances like Scout House Reel, Nice Easy Contra and some circle mixers are good choices for the first three or so dances. It's not the number of dances it's the emotional response you need to look for! This doesn't mean that once the dancers relax that you can start calling material that's going to wow the experienced dancers. No, you have to dunk and dry 'em. Don't wear them out physically or mentally. One of the skills the newbies need is the ability to listen and immediately (or almost immediately) respond. So in the beginning workshop I use short drills or modules to teach one move or concept at a time. A series of say 5 modules will teach all of the moves that are in the first dance. To really understand my modular method you'll have to watch one of my lessons or buy the booklet. It's way too much to write. The modules are constantly changing so the newbies have to learn to listen. We don't end one module and go onto the next until they have slightly over-learned the current one- the beginners are constantly learning in the lesson but I watch them and make sure they are never overwhelmed. My voice is always clear and direct but relaxed at the same time. If they survive the lesson the rest of the evening is a piece of cake because I slowly introduce move that are new to them. The first dance of the evening is taught so they might be a bit confident after dancing it as the first dance. I value a dance series with good dancing. Good dancing to me means good, safe style and if physically able, buzz step swinging. The buzz step swing is in the last module. It is last because newbies are (as you know) always coming at the last minute. I include what I consider to be a descent list of skills/concepts in a half hour and never run out of time. My impression is that most of you are afraid of the dancers. You're afraid of calling an unequal dance or a square for example. Don't be afraid of them. Good, effective leaders make good choices not always what you perceive to be popular ones. And many of the experienced dancers will notice the new way and welcome it. They are very bright. All of my evenings contain some contras that only have one swing. No one has every complained. I usually start with an unequal dance. I haven't heard any gripes. Maybe there're afraid of me. Early in my calling career it sometimes happened that a dancer would come up to me and say, "some of us don't like square". My response? "then stay home when I call". They stopped whining. T