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341 discussions

Interactions with sound tech (esp. setting monitor mix)

by James Saxe via Musicians

Dear musicians, I have what might seem like more of a sound-tech question than a musician's question, but I'm interested in musicians' perspectives on it, so I'm asking it here. My apologies if anyone thinks I'm going off topic for the list. The question is: What order of doing things, and what manner of interaction between sound tech and musicians, do you find most effective and efficient and pleasant for getting the monitor mix set in a way that makes you happy? Here's some more detail that may clarify what I'm asking about in case the short form above seems too vague and general. Let's say that we've got everything wired together and powered on and that I've got the pre-amp (a/k/a "gain", "trim", or "sensitivity") knobs on all the channels set to compensate for the fact that not all mics and pick-ups are equally "hot" and that some instruments may be fundamentally quieter than others and would be overwhelmed in a purely acoustic setting. Now I (in the sound tech role) want to figure out how much of each channel to put into the monitor mix in order to make you happy. Possibly some EQ adjustments will also be needed, but even leaving that aside, there are still lots of different ways I could proceed, and some could be much better at keeping you happy than others. For example: * Would you rather set monitor levels with the house levels already up (which is the realistic condition in which you'll be playing)? Or would you rather get the monitor levels set first and then, if necessary, do some fine tuning after the house speakers come up? [Assume to start that interference with a newcomers' session isn't an issue, but feel free also to add how you'd like the sound tech to cope if it is an issue.] * Would you like to start from some guess at the monitor mix (say, all instruments about equally loud, or a monitor mix that parallel the house mix except for maybe cutting instruments that are especially load on stage [e.g., piano]) and then tweak from there? Or would you rather start with the monitor master volume knob set to some medium level but monitor feeds from all channels completely off, and then bring the channels up one at a time? And if the latter, do you have a preferred order (e.g., lead melody instrument first)? * Would you rather start by having everyone play at once? Or would you rather have people play one at a time to get the initial mix set, then play all together to see whether any adjustments are needed? For a band that uses multiple monitor mixes, there are even more possibilities: start by working on one monitor mix at a time? start by working on one instrument at a time (in all monitors)? start by setting each musician's instrument(s) one at a time in his/her own monitor mix, and then ...? Of course once the dance gets going, all the monitors will be on, and you (musician) may be hearing some of what's coming out of a nearby band-mate's monitor as well as your own (and sound from the house). If monitors need to be moved or turned to keep you from getting blasted by someone who likes to hear a lot of him/herself, that's best discovered during the sound check. In all these scenarios, there's the question of how to communicate your needs to the sound tech ("I'm hearing [too much/too little] of [myself/someone else] through my monitor [someone else's monitor].") and vice versa ("OK, now can I hear just the guitar, please?"). I'm most interested in the situation where the mixing board is on the lip of the stage and it's *not* one of those remote-controled models that would let the sound tech make a series of adjustments on a tablet while standing on stage beside one of the musicians. So what do you like to do about that? Obviously everything's easiest during the sound check, when you have the liberty to play a little, stop, talk with the sound tech, let the sound tech make adjustments, play a little more, etc.--a liberty you don't have if there are still some changes needed after the dance starts. Whew! Obviously any routine might need to be adapted as issues arise, but I'd still be interested in learning people's first preference about how the routine of setting the mix would go (from a musician's perspective) in cases where it doesn't go off into some trouble-shooting side-track or something. And I'm interested in hearing from multiple people, since part of my goal is to get an idea of which preferences are pretty widely held and which are variable from musician to musician. Of course there's a lot of variation among musicians in how much they know about operating sound gear, whether they're able to play and have a conversation at the same time, whether they have gear that gives them control over their own monitoring (and know how to use it), whether their band configuration allows someone to leave the stage and listen in the back of the hall or stand by the board and offer comments to the sound tech, etc. I imagine some of those differences might affect your answers to my questions. If you've read all this, thanks for your patience, and thanks for whatever thoughts you care to share. --Jim

9 years, 6 months

community/open band... a few more thoughts

by Emily Addison via Musicians

Hello fellow musicians from up here in the great white north! Soooo many amazing ideas regarding open and community bands that folks have been sharing. After a crazy March and first half of April, I've pulled together some ideas on what we do here in Ottawa. Apologies as my email is a bit of a 'dumping' of ideas rather than being overly thought out... it's been written as I get a moment here and there from our 11 month old. :) (BTW our band page has a lot of resources that I pulled together for our local musicians... http://www.ottawacontra.ca/communityband/default.htm) *Open vs community* Three years ago, we set up a community band. We considered an open band that anyone could join up on stage but with our main purpose being to grow our pool of contra musicians here in Ottawa and expose folks to new strategies that our local bands weren't using, we thought a community band approach would be better. (There are a lot of local trad musicians in Ottawa but a lot of them are not dancers and don't listen/see travelling contra bands so they have no idea what options are out there.) Anyway, some details about the band... - *Mission: *At our first two gatherings, we talked about why we wanted to play contra dance music. This led to shaping our "goals" which I think have been particularly helpful. Whenever someone else wanted/wants to join the band, I've sent them our web link so they can read what we're about and whether what we're doing is of interest. Sharing the same intention helps a lot when talking tunes, strategies to excite the dancers etc. http://www.ottawacontra.ca/communityband/default.htm - *Who could join. *At first, anyone was allowed to join the band... come to practices, check it out. We invited all current contra musicians in the area + reached out to dancers who played + some local trad musicians who we thought would be receptive. Skill level and experience playing for dances didn't matter. - *Practice regularity:* Very early on, we settled on weekly practices. Over the first 1.5 years, a core group formed and they are super keen. A few people float in and out but that's ok.. the nature of a community band. And we take a break in the summer so there's anticipation for another season. - *Number of members: *At 12 members, we've capped the band. This is because we can't fit more people into our practice space OR on stage. However, even if we didn't have the space limit, twelve is reallllly hard to corral in terms of tight arrangements so I think we would have maxed out anyway. As people cycle out of this group, we'll add others. (We aren't a professional band, we're definitely community and about learning.) - *Can others participate? *Yes! We've promoted to other musicians (including from other contra bands) that they can come sit in for a whole evening as a guest. Plus, other bands (or possible new bands) can come try out a few sets at our dances. Plus, we play a few sets where anyone can come join us on stage. Few have taken us up on these offers so maybe we should promote it more??? - *Leadership: *I'm the founder and leader of the band. For the first couple of years, I tried to get others to share the leadership role. But it turns out after repeated checking (and I still check) that they like the current structure. I think this is mostly do to with two things (1) they like the mission of the band and I structure practices in a way that focuses on the mission so they're currently happy with it's direction (2) I work really hard on bringing accessible but new tunes/ideas that are always stretching the group in a way that excites them. We're now getting to the point that others are bringing ideas which is great but we started with so many novices that didn't have that base to begin. - *Tunes:* VERRRYYYYY carefully selected for ease of playing as well as ariety in emotional feel, style, and grooves for dancing. Not very many reels as most of our players can't play them cleanly up to speed and even if they could, they'd be messy with so many melody players. A few reel sets but a LOT of marches and related material in addition to jigs. Various keys - but lots of D & G )+ relative), especially to accommodate our accordion and whistle players. OOODLES of variety - kelzmer, swing, quebecois, irish, appalachian, modern contra, trad contra, swedish. And... yes... we've 'stolen' a few sets off bands like Wild Asparagus ... our name is 'Stolen Goods' and we're happy with this as it's a 'learning band' in which we don't make any money. By copying really great bands, we learn lots... it helps us see where we might go with certain tunes. - *Arrangements: *See above re 'stolen goods' 'stealing' ideas from other bands. We work reallly hard to learn different tricks for arrangements from a variety of bands. The more cool fun stuff we can do for dancers, the better. And we also like doing goofy things that make the dancers smile. We have chord charts and we do write out arrangements of who is playing when (although we also throw those out the window). It's HHHARD to get melody players to take breaks in order to let other voices come through but we're getting better. More... ... we have a few sets that we sing on ... we've started practicing the 'groove' for the set before playing the set so everyone shares the same intention of what the set is supposed to feel like ... we are working on getting people off the sheet music in order to listen to others better ... we are working on various tricks we can plus in anywhere (e.g., harmonies) - *Workshops:*Twice a year, we hire a touring band to give us a 2hr workshop. Three of our musicians have also been to Ogontz for Keith Murphy and Becky Tracey's dance musician course... it's fantastic when we can learn as a group. My next idea is to have a mini-camp experience here in Ottawa for our local musicians as a number of people can't travel. (There are a few sets below that we haven't got in our repertoire yet but most are being used.) ----Contra march 1. On the Danforth (in G) 2. On the Danforth (in A) ----Oldtime-Irish march & reels 1. Coleman's March 2. Whisky Before Breakfast 3. Juliann Johnson ----Swedish-Klezmer 1. Schottishe Fran Havero 2. Leybedik ----German-Scottish marches 1. Bear Dance/La Danse de L'Ours/Barentanz 2. Campbell's Farewell to Redcastle/Red Gap ---Irish-NFLD jigs 1. The Miller's Maggot 2. The Kerfunken 3. Skipper Lost his Guernsey ----Oldtime reels 1. Kitchen Girl 2. Rabbit in the Pea Patch 3. The Judge ----Irish-Cape Breton reels 1. Lady Ann Montgomery 2. The Dunmore Lasses 3. Union Street Session ---Quebecois jig & reel 1. La Maison de Glace 2. Reel Beloiel ----Swedish(y) 1. Schottishe Fran Idre 2. Griffenfeld's 3. Black Rock ----Contra jigs 1. Glen Echo Jig 2. The Walk Home 3. The Farmer's Joy ----11: Swing 1. Puttin' On The Ritz 2. Who's the Blue-Eyed Lady? ----Oldtime song 1. Buffalo Gals (Gmaj) 2. Buffalo Gals (Dmaj) ----Contra-French marches 1. March of the Lost Boys 2. March of Poetry 3. Tournemine ----English marches 1. Mount Hills 2. Childgrove 3. Newcastle ----Klezmer 1. Zahta 2. Galician Sher ----Contra reels 1. The Golden Ticket 2. Gloucester Girl 3. The New Mango Technique ----Mixed marches 1. The Coral Riff 2. 250 to Vigo ----Oldtime-Quebecois marches 1. John Brown March 2. Marche de Queteux Pomerleau -----Mixed jigs 1. The Coming Dawn 2. Stan Chapman's Jig 3. The Star Above the Garter -----Quebecois-Contra reels 1. Le Contredanse 2. The Adirondack (in G) 3. The Adirondack (in A) ----Chestnut reel Chorus Jig ----Chestnut reel Money Musk ----Contra march 1. Reign of Love ----English marches 1. Softly Good Tummas 2. Rose Tree -----Old time marches 1. Booth Shot Lincoln 2. There is a Mountain/Mountain Jam ----Old time reels 1. Red Prairie Dawn 2. Shenandoah Falls ---- French-Breton-Irish marches 1. The Chanter Song 2. The Wren ----Scottish-Russian marches/reel 1. Doon the Brae 2. Screech Owl Reel 3. Korobeiniki-Tetris ---- Klezmer 1. Hora by Emil Kroiter 2. Podolia 3 ---- Breton-Contra marches 1. Gavotte des Montagnes 2. Wedding Dance ---- Early-??? marches 1. Bergamasca 2. Butcher's March ----Irish polkas 1. Kieran's 2. Glen Cottage Polka 3. Unknown Sliabh Luachra Polka ----Irish-Contra jigs & reel (Ogontz) 1. Connaughtman's Rambles 2. Chamonix 3. Camel Hump ----Contra-Quebecois jigs 1. The Fading Light 2. Jigapapaz ----Quebecois-Irish jigs 1. Gigue Du Salon 2. Tobin's Favourite ----Old Time-RocknRoll 1. Durang's Hornpipe 2. Eight Days a Week -----Waltzes W1. Catherine Burns' Waltz W2. Old Clock Tower W3. Sourgrass and Granite W4. Sunday River Waltz W5. In Continental Mood W6. Haapavesi W7. Honeysuckle Cottage W8. Old Queen W12. The Winding Song W10. Valse de Pastouriaux W11. Wedding Gift W12. Over the Ice W13. Gratvalsen W14.Es iz shoyn shpeyt (It's getting late) W15. Fremont Waltz W16. Valse Baulieu W17. Hills of Manchuria W18. Sommarvals ----Other couple dances C2. Hargalaten C2. Norsken C3. Ulrika Till Canada C4. Elaine's Hambo (revised to fit dance) C5. Snigelschottis C6. Skepper Schottis C7. Sweet Georgia Brown -

9 years, 7 months

Dance musicians - a question about 'sit ins'

by Emily Addison via Musicians

Hi dance musicians :) I lamented watching some amazing conversations happening last month about open & community bands ... I'm hoping to chime-in much belatedly with Ottawa's experience. But first, I have a different question all together for the group! Way up here in Ottawa, it's hard for our local dance musicians to get much experience playing dance music with anyone other than other local musicians. Thus the question: Have any of you had local musicians 'sit in' when you've played as the hired band? This idea came up at Puttin' On The Dance 2 and we have a few keen musicians who would like to do this as part of their strategy for improving their chops. I've since talked to two touring musicians who are very open to this and think that some other bands may also be open. However, I anticipate that other bands may not be open. So, if you have experienced something like this... 1. What worked or didn't work for you? 2. How would you ideally like it structured? Off mic only or on mic depending on the person? Would you want a max number of people on stage and if so what? Would you be open to a 'sit in' at any time or only on a few designated sets? Other thoughts? 3. And how would you like to be approached by the organizers? This would definitely be a choice thing... not forced!!! I'm thinking more on how it could be thoughtfully presented and facilitated. Re sit ins... I'm talking about musicians who already have some dance experience (not random musicians). With thanks! Emily in Ottawa

9 years, 7 months

More about open bands

by Benjamin Kalish via Musicians

I've been meaning to chip in on this topic as well. We have a local dance in Amherst, the Fiddlers Green Contra Dance, which is always an open band. The dance is once a month, and each month we hire a different professional fiddler to "anchor" for the band. Often this will be a touring musician, but it's always just the fiddler, not a whole band. We also have Linda Henry on piano each and every month, and she takes on much of the work of organizing and communicating with all the sit-in musicians. It seems to work pretty well—we certainly have a lot of fun, we always get compliments from the dancers, and because the fiddler is hired specifically to anchor the sit-in band, they know exactly what they are getting into. In fact, the musicians have so much fun that the sit-in band has been growing, but this has led to its own problems, most especially in terms of communication and arranging. So I'd be curious to hear how other open bands handle this. Is one person in charge of "conducting" the band? If so, who? Do they play an instrument while they conduct? What signs or symbols do they use to communicate? When we have a small group we can all cluster around Linda at the piano and she can shout out instructions, but we are now too large for this to work! - Benjamin Kalish On Fri, Apr 10, 2015 at 7:16 AM, Jeff Kaufman via Musicians < musicians(a)lists.sharedweight.net> wrote: > (Cross posting my reply to the callers list.) > > It depends on what your goals are. If you want to give the dancers there > that night the best music you can give them that usually means letting your > touring band play on their own. Most bands have their own tunes, > arrangements, and style, and when fitting in extra musicians that's often > hard to communicate and organize in the time available. Especially if this > is a band known for having a tight sound, you're going to lose that when > you add more people. > > But this may be worth it if your main goal is building local capacity. > Yes, the music that night won't be as good, but if you can make up for that > when the local musicians who sat in are playing on their own it's good on > balance. If you go this route it's important that the sit ins are there > because they want to learn and not just because it would be fun to play > with the visiting musicians, or else you're not really being fair to the > dancers. > > (You do still want to check with the band, because the amount the band's > sounds will change when they incorporate new musicians is variable. At one > extreme you have groups like Perpetual eMotion, at the other you have > groups of individually excellent musicians who have more of a pickup band > style among themselves. The more pickupish a band is the better they'll be > able to integrate new musicians, and the way to find out is to ask them > what they'd think.) > > (The above is all talking about sit ins who are included in the overall > sound and that the band is trying to coordinate with. It's also possible to > allow sit ins to sit well behind the band off mic while the band plays > whatever they normally would. This is what BIDA does, though people only > rarely show up. Some musicians find it annoying to have people noodling > along behind them, others don't care.) > On Apr 9, 2015 10:46 PM, "Emily Addison via Musicians" < > musicians(a)lists.sharedweight.net> wrote: > >> Hi dance musicians :) >> >> I lamented watching some amazing conversations happening last month about >> open & community bands ... I'm hoping to chime-in much belatedly with >> Ottawa's experience. But first, I have a different question all together >> for the group! >> >> Way up here in Ottawa, it's hard for our local dance musicians to get >> much experience playing dance music with anyone other than other local >> musicians. >> >> Thus the question: Have any of you had local musicians 'sit in' when >> you've played as the hired band? This idea came up at Puttin' On The Dance >> 2 and we have a few keen musicians who would like to do this as part of >> their strategy for improving their chops. I've since talked to two touring >> musicians who are very open to this and think that some other bands may >> also be open. However, I anticipate that other bands may not be open. >> >> So, if you have experienced something like this... >> >> 1. What worked or didn't work for you? >> >> 2. How would you ideally like it structured? Off mic only or on mic >> depending on the person? Would you want a max number of people on stage and >> if so what? Would you be open to a 'sit in' at any time or only on a few >> designated sets? Other thoughts? >> >> 3. And how would you like to be approached by the organizers? This would >> definitely be a choice thing... not forced!!! I'm thinking more on how it >> could be thoughtfully presented and facilitated. >> >> Re sit ins... I'm talking about musicians who already have some dance >> experience (not random musicians). >> >> With thanks! >> Emily in Ottawa >> >> _______________________________________________ >> Musicians mailing list >> Musicians(a)lists.sharedweight.net >> http://lists.sharedweight.net/listinfo.cgi/musicians-sharedweight.net >> >> > _______________________________________________ > Musicians mailing list > Musicians(a)lists.sharedweight.net > http://lists.sharedweight.net/listinfo.cgi/musicians-sharedweight.net > >

9 years, 7 months

Re: [Organizers] tips for beginners???

by Liz Sturgen via Organizers

I got the message with Delia's document, which I really like. But whatever Mac and Larry sent did not appear in my inbox. Could you re-post, please? Thanks, Liz Sturgen Sent from AOL Mobile Mail On Thursday, September 4, 2014 Emily Addison via Organizers <organizers(a)lists.sharedweight.net> wrote: Hi organizers, Delia, Mac, and Larry --- thanks so much for sharing your resources! Delia - I especially loved the tone of the handout you sent... beautiful. :) I had forgot but I had written something on this 5yrs ago for our website... http://www.ottawacontra.ca/view/?about However, it certainly wasn't meeting the need I was looking for as I wouldn't be trying to create something similar now. [Also wayyyy too long winded.] :) It does have some info that folks might find interesting though. I'm planning on listening carefully to a workshop George Marshall's offering this month in Ottawa called "How to become everyone's favourite dance partner"... he should have many great ideas. And then... I hope to learn lots at Puttin' On The Dance 2: Hands Across the Border too!!!! :) http://www.puttinonthedance.org/ Emily On Wed, Sep 3, 2014 at 8:29 AM, Delia Clark <deliaclark8(a)gmail.com> wrote: Hi Emily! Here's something from my files. I haven't used it, so can't speak to its effectiveness, but maybe you could adapt it. Attribution is at the bottom. Delia On Sep 2, 2014, at 3:19 PM, Emily Addison via Organizers <organizers(a)lists.sharedweight.net> wrote: > Hey Dance Organizers, > > Hope things are going well in your dance communities with the start of September! > > Up here in Ottawa, we'd like to have some targeted information for brand new dancers that (1) might encourage them to come back and (2) share some fundamental tips for contra dancing. We're thinking a dedicated page on our website as well as a handout. > > Plus... ... I'm wondering about something similar for our general community... along the lines of a workshop title that George Marshall is going to offer up here this fall... "How to be everyone's favourite dance partner". Tips for basic key etiquette etc. > > Do you have a page, handout, or other resources that you direct dancers to, or something specific for new folks??? > > With thanks! > Emily > _______________________________________________ > Organizers mailing list > Organizers(a)lists.sharedweight.net > http://lists.sharedweight.net/listinfo.cgi/organizers-sharedweight.net <>:<>:<>:<>:<>:<>:<>:<>:<> Delia Clark PO Box 45 Taftsville, VT 05073 802-457-2075 deliaclark8(a)gmail.com _______________________________________________ Organizers mailing list Organizers(a)lists.sharedweight.net http://lists.sharedweight.net/listinfo.cgi/organizers-sharedweight.net

10 years, 2 months

Re: [Organizers] tips for beginners???

by Emily Addison via Organizers

Hi organizers, Delia, Mac, and Larry --- thanks so much for sharing your resources! Delia - I especially loved the tone of the handout you sent... beautiful. :) I had forgot but I had written something on this 5yrs ago for our website... http://www.ottawacontra.ca/view/?about However, it certainly wasn't meeting the need I was looking for as I wouldn't be trying to create something similar now. [Also wayyyy too long winded.] :) It does have some info that folks might find interesting though. I'm planning on listening carefully to a workshop George Marshall's offering this month in Ottawa called "How to become everyone's favourite dance partner"... he should have many great ideas. And then... I hope to learn lots at Puttin' On The Dance 2: Hands Across the Border too!!!! :) http://www.puttinonthedance.org/ Emily On Wed, Sep 3, 2014 at 8:29 AM, Delia Clark <deliaclark8(a)gmail.com> wrote: > Hi Emily! > Here's something from my files. I haven't used it, so can't speak to its > effectiveness, but maybe you could adapt it. Attribution is at the bottom. > Delia > > > > > On Sep 2, 2014, at 3:19 PM, Emily Addison via Organizers < > organizers(a)lists.sharedweight.net> wrote: > > > Hey Dance Organizers, > > > > Hope things are going well in your dance communities with the start of > September! > > > > Up here in Ottawa, we'd like to have some targeted information for brand > new dancers that (1) might encourage them to come back and (2) share some > fundamental tips for contra dancing. We're thinking a dedicated page on > our website as well as a handout. > > > > Plus... ... I'm wondering about something similar for our general > community... along the lines of a workshop title that George Marshall is > going to offer up here this fall... "How to be everyone's favourite dance > partner". Tips for basic key etiquette etc. > > > > Do you have a page, handout, or other resources that you direct dancers > to, or something specific for new folks??? > > > > With thanks! > > Emily > > _______________________________________________ > > Organizers mailing list > > Organizers(a)lists.sharedweight.net > > http://lists.sharedweight.net/listinfo.cgi/organizers-sharedweight.net > > > <>:<>:<>:<>:<>:<>:<>:<>:<> > > Delia Clark > PO Box 45 > Taftsville, VT 05073 > 802-457-2075 > deliaclark8(a)gmail.com > > > > > >

10 years, 2 months

[Organizers] tips for beginners???

by Emily Addison via Organizers

Hey Dance Organizers, Hope things are going well in your dance communities with the start of September! Up here in Ottawa, we'd like to have some targeted information for brand new dancers that (1) might encourage them to come back and (2) share some fundamental tips for contra dancing. We're thinking a dedicated page on our website as well as a handout. Plus... ... I'm wondering about something similar for our general community... along the lines of a workshop title that George Marshall is going to offer up here this fall... "How to be everyone's favourite dance partner". Tips for basic key etiquette etc. Do you have a page, handout, or other resources that you direct dancers to, or something specific for new folks??? With thanks! Emily

10 years, 2 months

[Organizers] Survey: key for potential session leaders at organizers' conference in Ottawa

by POTD2 organizers' conference via Organizers

Dear Northeast Dance Organizers, We're looking for LOTS OF INPUT for our PROGRAM SURVEY <https://docs.google.com/forms/d/19B0OScEeztA45RM7pEr8hrCSj5p--9Qset4Y8wl9jM…> ! POTD2 <http://www.puttinonthedance.org/> is a participatory, grass-roots event. SESSION LEADERS are conferees who have skill and expertise in particular aspects of running a dance series. The information collected from the SURVEY is KEY in identifying not only the topics that are in high demand but also some of the people who might lead them. Please take a few minutes to check it out <https://docs.google.com/forms/d/19B0OScEeztA45RM7pEr8hrCSj5p--9Qset4Y8wl9jM…>, if you haven't already (whether or not you think you can make it to the conference, March 20-22)--and pass it on! Thank you! Tara, for the POTD2 committee <http://www.puttinonthedance.org/who-we-are/> puttinonthedance(a)gmail.org

10 years, 2 months

[Organizers] Program Survey (POTD2 organizers' conference) Expires September 7!

by Dance Organizers Conference via Organizers

Dear Dance Organizers, As you have hopefully heard, plans afoot for a very exciting conference of dance organizers throughout Eastern Canada and the Northeastern US. Whoohoo! We are announcing..... Puttin’ On the Dance 2: Hands Across the Border, March 20-22, in Ottawa, Ontario. This conference will bring people like you to share ideas and experiences, learn new skills and strategies for successful dances, and more. We’ll also dance, eat, and have fun with our organizer peers! PLEASE GIVE US *YOUR* INPUT At this point in our planning we want to know FROM YOU what you want to see happen at the conference, including what topics would be most helpful for your dance community to be discussed. Please click on the following link and respond to our brief survey by Sunday September 7th. https://docs.google.com/forms/d/19B0OScEeztA45RM7pEr8hrCSj5p--9Qset4Y8wl9jM… We have recently updated the POTD website, www.puttinonthedance.org. While not all details are up (e.g., registration opens in October) you can find out a fair bit about what we have planned. More information on the conference is also below. If you know other dance organizers who might be interested in this conference please feel free to forward this message along to them. Thanks! Sincerely, Emily Addison, Ottawa ON, committee chair, for the POTD2 committee Adina Gordon, Burlington VT Andrew Clyde, Ottawa ON Catherine Burns, Ottawa ON Chrissy Fowler, Belfast ME Danielle Boudreau, Manchester VT David Smukler, Syracuse NY Delia Clark, Taftsville VT Linda Henry, Amherst, MA Nancy Turner, Mad River VT Quena Crain, Brattleboro VT Reta Troop, Smith Falls, ON Roger Williams, Ottawa ON Sarah VanNorstrand, Syracuse NY Tara Bolker, Hamilton ON Val Robb, Ottawa ON -------------------------------------------------------------------------------------------------------------------------- More information on the conference: WHAT IS PUTTIN' ON THE DANCE? In November 2011, the first Puttin' On the Dance convened 78 dance organizers for a conference in White River Junction, VT. POTD was packed with workshops, discussions, dancing and more! Many dance communities benefited in significant ways from this weekend, and it was clear an event like this should happen every few years. (See testimonials.) POTD2 will provide resources and opportunities for learning, sharing, and renewal! We’ll strengthen networks for sustaining the dance traditions we love throughout our region. WHO? For organizers of any American/English dance series! This includes contra, English country, community/family, square, Quebecois, Cape Breton, and other American and Canadian social dance. ALL dance organizers are welcome to attend! We are specifically targeting in eastern Canada and the northeastern U.S.: New York, Vermont, New Hampshire, Maine, Massachusetts, Rhode Island, Connecticut, Newfoundland, Nova Scotia, New Brunswick, Prince Edward Island, Quebec, and Ontario. HOW MUCH? Attending this event is an excellent investment in your dance’s future! Making this conference as affordable as possible is one of our priorities, but there are many ways you and your group can help pay your way, including travel costs. More information on costs and registration will be available later in the summer. WHERE? Ottawa, Ontario WHY CANADA? The first POTD was co-sponsored by many dance organizations, including the Country Dance and Song Society. After supporting several conferences throughout the U.S. since 2006, CDSS recently decided it’s time to help a conference happen in Canada. The Ottawa dance contra community sent three of their dance organizers to the first POTD. Those individuals and their local dance organization are thrilled to help catalyze the next conference in the Northeast Region – on their home turf. A reminder, passports are required for travel to Canada by US Citizens. Plan ahead! QUESTIONS? email puttinonthedance(a)gmail.com

10 years, 3 months

[Organizers] 3 for 2

by Rickey Holt via Organizers

Hi again, Another payment issue. Up to now we have paid caller, musicians, (and sound person) a guarantee of $50 each, up to $150 for the band. We are considering simply paying $150 for the band, even if there are only 2 musicians. The problem I see is that in that case the musicians get a minimum of $75 each, but the caller still gets a minimum of only $50. Hardly seems fair. Have you any thoughts on this? Rickey Holt

10 years, 3 months

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2007

Musicians