Hi Jeanette, For star holds see: http://lists.sharedweight.net/pipermail/callers-sharedweight.net/2016-Octob… Embellishments are best achieved in a microsecond by a good leader initiating the embellishment and a good follower following it. Unfortunately, since contra dancing is fundamentally a dance genre which does NOT use leaders and followers, the techniques are not normally taught as they are not relevant to the basic dance. Countless swing holds, and entries and exits, do work perfectly well in contra as long as both dancers are experienced and know how to ensure that both dancers finish facing in the correct direction at the right time. Here is one of my old posts covering many aspects of this question in detail: My beliefs, understandings, opinions - some points: 1) Contra is not intrinsically a lead/follow dance style; calling the roles "leader" & "follower" is incorrect, misleading and generally a bad idea 2) Within contra there are opportunities to do some lead and follow, but either role can be the leader 3) There is a difference between leads, signals and connections, though connections are often used to lead beginners 4) Lead & Follow works better if both dancers have good lead/follow technique, and some of the flourishes also benefit from good technique 5) Leads can be with fingertips, body angles, eyes, and anything else that works 6) The end of a swing is not symmetrical and it is much easier to let the "man" control the end of the swing; that's not sexist, it is physics! 7) Most dancers would benefit from good teaching on this subject, but sadly there is very little teaching provided Details below. Read on if you are interested... First, I should perhaps explain my background. I have been dancing for over fifty years and teaching dance for over forty-five years. As well as contra, square, ECD, ceilidh, Morris, clog, etc. I also dance many partner dances such as West Coast Swing, Lindy/Swing, Argentine Tango, contra waltz and Modern Jive/LeRoc/Ceroc: http://www.modernjive.com. Modern Jive is an English, simplified form of Swing which has no fixed footwork and very few close-hold moves. It is led primarily by the man's fingertips and has a very wide range of moves. I specialise in Double Trouble: one man leading two ladies: https://www.youtube.com/watch?v=CE6Iu6Fh6bw This is a cabaret performance so we are doing some choreographed moves, but most of it is being led by me and the ladies don't know what I am going to do next. When I go to new venues I dance with lots of ladies to see how well they follow, then I dance Double Trouble with two of the good followers and I can lead them into a wide range of interesting moves. Leading two strangers simultaneously only works if they are following well, and because I have spent a lot of time studying lead and follow and developing my leading skills so that I can do this. So, back to contra: 1) Contra is not intrinsically a lead/follow dance style; calling the roles "leader" & "follower" is incorrect, misleading and generally a bad idea I agree entirely with what many others have said already. The caller teaches the dance. The dancers dance it to the music. Everyone knows (at least in theory!) what is coming next, so there can be no lead or follow. The whole point of lead and follow is that the leader chooses the next move and has to let the follower know what it is through the lead; the follower then has to react to that lead in whatever way they choose. 2) Within contra there are opportunities to do some lead and follow, but either role can be the leader When you execute the dance as the caller called it then there is no lead or follow. If you add some flourishes then they MAY involve some lead and follow, but which role leads depends on the actual move. A nice flourish at the end of "Up the Hall in Lines of Four; Bend the Line" is for a middle person to raise their hand and turn their end person into the circle. This is not part of the dance; the end person may not be expecting it and has to react to it; this is lead & follow. The genders/roles of the participants are completely irrelevant. Note: this can also be performed by the twirlee as an independent flourish - as long as the dancer whose hand you are holding allows it! Many dancers are so rigid that I can't raise their arm to twirl under it! (If only everyone would relax the muscles that they don't need to be using, and let their hands be moved!) 3) There is a difference between leads, signals and connections, though connections are often used to lead beginners When you help each other to redirect your momentum that is not really lead & follow. Examples are "Circle Left; Neighbour Dosido" or "Long Lines Go Forward & Back with the Ladies Rolling the Men Away from Right to Left; Ladies' Chain". Keeping connected and using the elastic in your arms to redirect the momentum and change direction makes these really satisfying moves. But no-one is leading or following; you are both just using good technique to help each other execute pre-defined moves. Of course if one dancer is experienced and the other is new to contra, this type of connection can be used to help the new dancer to move in the correct direction. Connection, gestures and eyes are all great for helping everyone achieve the dance. Signals are pre-defined gestures that lead to choreographed moves that both participants know. An example in contra is the twirls at the end of a Ladies' Chain. As a man, I offer my left hand high, fingers pointing down to let the lady know that I am willing to help her twirl - this is a signal; she responds with a high or low hand to let me know what she wants to happen. If she goes high then we start the twirls and I make very small circular movements directly above her head to help her twirl twice (or just once if she resists). Once I have established rapport with a dancer and realised they want to do more twirls then, on subsequent interactions, we may get up to around seven twirls - but only if both of us have good dance technique. Of course, a lady can lead herself into this move as well by just raising the man's hand and hoping he doesn't resist too much! Again this is more a signalled, playful, co-operative move than a lead and follow, since the lady knows what is going to happen and is equally involved in the decision about how many twirls are done. Genuine lead & follow, where the leader leads a follower into something they are not expecting, is quite rare in contra. 4) Lead & Follow works better if both dancers have good lead/follow technique, and some of the flourishes also benefit from good technique Moves like Ladies' Chain twirls works best when both dancers have good technique. The techniques for leading and following and executing good twirls are identical to those used in Modern Jive. There is an article about lead and follow and twirling technique at http://www.modernjive.com/history/tension.html - you may find some useful material there. 5) Leads can be with fingertips, body angles, eyes, and anything else that works When I dance Modern Jive with a beginner lady, I spend the first couple of minutes teaching her the techniques for following; I do this through simple moves and exercises. If she has a good sense of rhythm and good balance then, during the second track that we dance to together, I can lead her through fifty different moves - she doesn’t need to know the moves; she needs to know how to follow. This is lead & follow, and is very different from what happens in a contra dance. The main leads are done with the fingertips, but a good leader will use anything that works to let the follower know what they are trying to achieve. The lead is an invitation. The follower can react in many ways to the invitation and the two dancers can play off each other in fun ways. Of course, always remembering that, if this is in the middle of a contra dance, you need to have both players facing the right way in the right place for beat one of the next move! 6) The end of a swing is not symmetrical and it is much easier to let the "man" control the end of the swing; that's not sexist, it is physics! A simple swing does not involve lead and follow, but someone has to control the end of the swing. The objective is to end side by side facing the correct way. If the lady stops when she is facing the right way then the man has already turned too far and he is facing the wrong way; he then has to turn back against his momentum. To avoid this the lady would have to stop the man, get out of his embrace, and continue turning herself while making the man stay still. This is quite hard. On the other hand, If the man stops the swing on around beat 6 then he just releases the lady and her momentum takes her out smoothly to face in the same direction as the man. This is just physics, based on the fact that we choose to swing clockwise and to finish with the man on the left. This is not lead and follow; this is a mutual agreement as to how many times to go around, and how fast, and then to let the man end the swing so that it ends smoothly. Good dancers of course make the end of the swing flow into the next move. But here I am talking about a basic swing for ordinary dancers. Of course if one of you wants to twirl or be twirled at the end of the swing then you start moving into lead & follow territory, and since many of the embellishments are based on moves stolen from couple dances, then most such flourishes are commonly led by the man. But that is not a rule - the lady can initiate a twirl of herself or her man, or both if she has good leading technique and he has good following technique. 7) Most dancers would benefit from good teaching on this subject, but sadly there is very little teaching provided As I have said, elements such as leading, following and twirling work well if the dancers have developed good technique. But where will they learn it in the contra world? I teach workshops on the subject, but that seems to be quite rare. I also occasionally teach flourishes at our regular weekly dances. Sometimes it only needs a caller to drop in a few good one-liners into an evening's calling to pass along a little bit of knowledge. If callers don't do it who will? Hmmm... I have probably rambled on for too long now. I hope some of you find some of that useful. If you want to hear me talk on the subject for nearly two hours please contact me about getting a cheap copy of my Toolkit DVD: http://www.modernjive.com/tmjt.html :-) Happy dancing, John John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 & 07802 940 574 http://www.modernjive.com for Modern Jive Events & DVDs http://www.contrafusion.co.uk for Dancing in Kent From: Jeanette Mill &lt;jeanette_mill(a)yahoo.com.au&gt; Sent: 06 March 2018 05:21 To: Callers List &lt;callers(a)lists.sharedweight.net&gt; Subject: [Callers] Leading, consent in embellishments Hello I am devising a workshop for a festival here in Australia, and have long been of the opinion that there are no "leaders" in contra dance couples. Moves should be executed with mutual consent, especially embellishments such as turning under out of a ladies' chain. Conventions such as waltz hold swings are really useful here. In Australia, other related dance forms use a variety of swing holds, which lead to confusion and interruption of flow. I plan to place some emphasis on conventions of holds, such as allemande and star holds. I would value people's opinions on this, as it may ruffle some long-held conventions. Any words of wisdom from the gender free dance community would be especially welcome. Also, I believe that if dancers are to enjoy embellishments, they must be by mutual consent. This is so difficult to establish in a microsecond. I would value any thoughts on how to advise reaching this consent in the context of a contra dance. Looking forward to your thoughts cheers Jeanette Jeanette Mill Contra dance caller, musician, workshop facilitator Canberra, Australia Phone: +61 (0)449 686 077 Email: jeanette_mill(a)yahoo.com.au <mailto:jeanette_mill@yahoo.com.au> Skype: jeanette.mill "The piano - 88 little mistakes waiting to happen" Kate Barnes

My friend Ron Blechner wrote a wonderful piece <http://contradances.tumblr.com/post/132380206885/lead-and-follow-as-styles-not-roles-in-contra> a few years ago about "lead" and "follow" as being how one can dance whichever role in contra you are dancing. I commend it to your attention. It's tangentially related, but that's not really what you were asking about. A few thoughts on that: Any lead *offered *from one dancer to another should be just that -- an offer -- and not a command. It shouldn't be so forceful that it can't be refused. Additionally, the person leading the flourish should be ready for the person to refuse (or not to respond) and be ready to continue with whatever courtesy turn or completion of a swing would have normally been expected. I believe that the response to any lead can be one of three (or possibly more) response: "Yes!", "No!" and "What was that??!" and that if you get either of the latter two responses those should be taken as a "no" and the one leading that move should continue on with whatever the default version of that move might be. So, how do you ask that "question"? - You can just ask verbally. A long time dancer in our local community will, when he encounters me in the line dancing the lady's / right side role, ask me "Twirling today?" And we've been dancing in the same community for approaching 20 years now. I have had others ask as we start swinging if I am ok being dipped. (The answer is almost always yes, but occasionally it's not, and it only takes a second.) - A lot of swing exits / flourishes, can be "pre-led". There is some part of the lead that you can start just a couple of counts before you would actually do it. This can be a way of asking that question. It also allows your partner to be ready to change which direction they're going, and generally to use much less force in the lead. A few examples.... Starting to bring the joined hands in a swing up just a bit a few counts before the twirl would happen, or bringing the "gent's" left hand to the "lady's" shoulder, and then using very light pressure on the back of the "lady's" left shoulder and the front of her right to cue the twirl out of the swing. - We will frequently say in the newcomers lesson that a sign of an offered twirl is for the twirling person's partner to lift their joined hands (either the "pointy end" hands in a swing or the left hand in a courtesy turn, and that if one is not desiring a twirl at that particular moment, that one should pull that hand back down. To that I would just add that as the person leading the twirl raises the appropriate hand, no reaction / limp arm probably is best to take as a "No" or at least as a "What was that??" and move along. If it's your partner, you can always talk about the various flourishes and try again. So I suppose what it mostly comes down to is: 1. Many leads should be able to be able to be refused / ignored 2. If you're dancing with someone you don't know, and you want to lead something that is difficult to do in a refusable way (dips come to mind), ask. - Even if you encounter someone you do know if you don't have time to ask (and haven't made previous arrangement), try to make sure your leads are refusable. [I'm thinking particularly of the various ways that the same role dancer can twirl a neighbor as they pass in a hey, and the time on the friday of a dance weekend when someone forced a twirl in a hay on my wife when she had already planted her foot and wasn't ready to be twirled....messed up her knee for the rest of the weekend and that was the last dance she did.] I can give you other examples if you'd like, but this is already getting a bit rambling. Hope that some of it is useful! Let us know how the workshop goes! Jack On Tue, Mar 6, 2018 at 12:22 AM Jeanette Mill via Callers < callers(a)lists.sharedweight.net&gt; wrote: -- Jack Mitchell Durham, NC