24 Jun
2015
24 Jun
'15
12:21 a.m.
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
24 Jun
24 Jun
1:07 p.m.
New subject: [Callers] More on Programming
Some thoughts on this:
I go to callers workshops and sometimes I hear different things from different people. I
went to a caller's workshop one time where the leader told us that the best dances are
ones that have a partner AND a neighbor swing, AND that the partner swing MUST come second
because it's more satisfying. I think some callers suggest programming to satisfy the
experienced dancers and some callers (like Tom) suggest programming that is mainly
targeted to help new dancers come along.
FWIW, I prefer Tom's approach. You don't know how many times that I have seen
callers - good, well-respected callers - start off with somewhat of a challenging dance
that is not very approachable for beginners. I know as a caller I like to build up my
program from super brain-dead easy at the start and build from there. Nice Easy Contra is
an excellent choice.
Variety is important to me too. I think in a hall like Glen Echo that an unequal dance
MAY not be a good idea but in most halls, why not? And I agree with Tom's thoughts
about dances with only one swing. Someone once said if your dance only has one swing it
had BETTER contain enough interesting moves to make it worth it. I think this goes to
Tom's point of being afraid of dancers. I think there are some callers who teach new
callers to be afraid of dancers so you'd better give them what they want if you expect
to be hired again.
I do think that today's dance crowd really desires certain types of dances and I
don't see anything wrong in giving them what they want. But the dancers also need to
understand that this is brand new for new dancers and that we need to start slow and
brain-dead before we move on to more intricate figures. These "anchor" dances
are very important even though to the experienced dancer it's not very interesting,
but to the new dancers it might be the hardest thing they've ever done.
As for Tom's notes about people not complaining, it's pretty much a fact that some
of the most well-known callers (like Tom) don't hear griping because they have some
"political capital" to spend because of their respect in the dance community.
Some of us who don't have that yet hear it.
I once called a program with maybe 3 dances with no neighbor swing, and I heard it from
several people. I have heard others callers with more of a national brand come through
and call similar dances and no gripes.
Perry
From: Tom Hinds via Callers <callers(a)lists.sharedweight.net>
To: callers(a)lists.sharedweight.net
Sent: Tuesday, June 23, 2015 8:21 PM
Subject: 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
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Callers mailing list
Callers(a)lists.sharedweight.net
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1:27 p.m.
New subject: [Callers] More on Programming
Perry wrote: "I think there are some callers who teach new callers to be afraid of
dancers so you'd better give them what they want if you expect to be hired
again."Like politicians who vote against gun control out of fear of not being
re-elected. Michael Fuerst 802 N Broadway Urbana IL 61801 217 239 5844
On Wednesday, June 24, 2015 8:07 AM, Perry Shafran via Callers
<callers(a)lists.sharedweight.net> wrote:
Some thoughts on this:
I go to callers workshops and sometimes I hear different things from different people. I
went to a caller's workshop one time where the leader told us that the best dances are
ones that have a partner AND a neighbor swing, AND that the partner swing MUST come second
because it's more satisfying. I think some callers suggest programming to satisfy the
experienced dancers and some callers (like Tom) suggest programming that is mainly
targeted to help new dancers come along.
FWIW, I prefer Tom's approach. You don't know how many times that I have seen
callers - good, well-respected callers - start off with somewhat of a challenging dance
that is not very approachable for beginners. I know as a caller I like to build up my
program from super brain-dead easy at the start and build from there. Nice Easy Contra is
an excellent choice.
Variety is important to me too. I think in a hall like Glen Echo that an unequal dance
MAY not be a good idea but in most halls, why not? And I agree with Tom's thoughts
about dances with only one swing. Someone once said if your dance only has one swing it
had BETTER contain enough interesting moves to make it worth it. I think this goes to
Tom's point of being afraid of dancers. I think there are some callers who teach new
callers to be afraid of dancers so you'd better give them what they want if you expect
to be hired again.
I do think that today's dance crowd really desires certain types of dances and I
don't see anything wrong in giving them what they want. But the dancers also need to
understand that this is brand new for new dancers and that we need to start slow and
brain-dead before we move on to more intricate figures. These "anchor" dances
are very important even though to the experienced dancer it's not very interesting,
but to the new dancers it might be the hardest thing they've ever done.
As for Tom's notes about people not complaining, it's pretty much a fact that some
of the most well-known callers (like Tom) don't hear griping because they have some
"political capital" to spend because of their respect in the dance community.
Some of us who don't have that yet hear it.
I once called a program with maybe 3 dances with no neighbor swing, and I heard it from
several people. I have heard others callers with more of a national brand come through
and call similar dances and no gripes.
Perry
From: Tom Hinds via Callers <callers(a)lists.sharedweight.net>
To: callers(a)lists.sharedweight.net
Sent: Tuesday, June 23, 2015 8:21 PM
Subject: 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
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3:47 p.m.
New subject: [Callers] More on Programming
I may not be a good example or even that good a caller, but ... I like
swings, I have no need to have a neighbor swing in every dance and most
certainly don't care where in the dance the neighbor swing happens. That's
making up rules for the sake of having rules. I like the buzz step, but to
put it mildly there are many dancers with whom a buzz step is impossible,
difficult or merely uncomfortable. I teach a walking swing and sometimes
demonstrate a buzz step with a little time for practice. Far too many
callers and beginner workshop instructors teach a buzz step in a way that
promotes bouncing, which in turn makes swinging difficult or worse. I've
also heard more than one caller-instructor tell dancers that to "give
weight" (an inadequate term) they should lean back. Just kill me. As a
dancer, I often combine a walking swing-with a buzz step -- especially if
we have gotten out of sync with the music. I come down on to the floor when
I think it's required. On two occasions recently while dancing, the person
I was dancing with said, "Well, this a dance the caller has never actually
danced before. If she or he had, she or he wouldn't have chosen it." Amen.
I was at an dance recently where a mixer was called near the end of the
evening. I'm not sure what that was all about. Once early in my limited
calling career,just as the first dance got underway about 20 newcomers
walked in. I then called several dances without swings, just to get them
acclimated to moving in rhythm and with the music. I'll never do that
again. I was too cautious and shouldn't have been. I honestly was afraid
the experienced dancers were going to hurt me. And they say I can't learn.
Perhaps my biggest peeve on the dance floor is the experienced dancers who
insist on sharing their bad dance habits (swinging backwards, excessive and
unexpected twirling -- I almost wrote twerking --, inappropriate dipping,
showing how athletic and fancy they are, etc.) with new dancers rather than
helping them learn the basic fundamentals, timing and courtesy. I love
squares. Not everyone does, but I often explain to people in my square,
"squares are just like contras, only you have to listen." And finally,
callers, please stop telling people that when they reach the end of the
line, "they're out." This seems to encourgae dancers to think, "Well
now,
I don't have to pay attention." While they are on the floor they should
"stay in the dance." That just may be me. Thanks, George
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3229
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3229
days old
import1@lists2.sharedweight.net
3 comments
4 participants
participants (4)
-
George Mercer via Callers -
Michael Fuerst via Callers
-
Perry Shafran via Callers
-
Tom Hinds via Callers