For those of you who have transitioned to ungendered dances, was the transition slow or was it abrupt? Was a vote held by the membership or by the dance committee. Did you experience an increase in attendance or a decrease. We’re the changes due to new dancers coming, members returning or leaving. Any information on the transition would be appreciated.
Thank you
Stan Prince
Tampa Friends of Old~Time Dance, Inc.
____________________________________________________________
Gay Celebrities Who Claim Coming Out Ruined Their Careers
poplively.comhttp://thirdpartyoffers.juno.com/TGL3131/5d4d8063f2a2c634acfst03duc
Jack makes a good point - not all crooked tunes are crooked in the same way - so unless you can get the tune structure ahead of time and then look for a dance it won't mess up too bad this will be a difficult thing to do
Mac McKeever
On Thursday, June 27, 2019, 10:56:17 AM CDT, Jack Mitchell <jmitchell.nc(a)gmail.com> wrote:
I once worked with a band that had some crooked Quebecois tunes that they wanted to do. One was A-A-B-0.5B -- so the last phrase was half length. I found a dance that had something that didn't move the dancers anywhere -- long lines, circle L 1x, etc -- in the right place and just removed that from the dance. They also had the crooked version of Fleur de Madrigore which has an extra bar at the end of the A2. I did that with a dance that was not written for crooked tunes, but has an extra allemande 1/2 right there that people are always late finishing. With that tune, the dancers were right on time and everything worked. Beyond that, though, if you have a band that wants to do crooked tunes, learn a few visiting couple squares or southern patter squares that don't need to be right on the phrase and have them use those tunes for the squares.
On Thu, Jun 27, 2019 at 7:46 AM Mac Mckeever via Organizers <organizers(a)lists.sharedweight.net> wrote:
There are a couple dances out there written for crooked tunes that are crooked in a specific way (often 2 extra bars in the B part). I tried one once and it just did not feel right. Running a swing longer is also awkward because crooked tunes feel (to the dancers) like the phrase will end at the normal time an then it doesn't - so some will try to move on too early.
Explain this to the band - there are so many great old time tunes that are not crooked.
Mac McKeever
On Thursday, June 27, 2019, 05:46:39 AM CDT, Karlsruhe Contra Dance via Organizers <organizers(a)lists.sharedweight.net> wrote:
Hi List,
first, thanks for all of your good input about my 'swing workshop' brainstorm. Have taken note and will definitely use some of your ideas.
My next question is perhaps less of an organizational question and more of a calling question. I hope it is still appropriate here. Do you know of any callers/bands who will play/call to crooked tunes. I have some old-time musicians who like to play for me but don't seem to understand why I insist on them playing straight tunes... (you would be correct in assuming that they are not dancers). Also, it has started to make me feel like a party pooper because they loooove their crooked tunes and want to play them.
I have stayed firm, but I wonder if there is a way I could humor them. I mean, if the swing corresponds to the crooked part, the swing just goes a bit longer, but eee. As a dancer, I just can't image it working. Or maybe I have danced to crooked tunes without even knowing it... Does anyone do this?
thanks,Rebecca Sass
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Hi List,
first, thanks for all of your good input about my 'swing workshop' brainstorm. Have taken note and will definitely use some of your ideas.
My next question is perhaps less of an organizational question and more of a calling question. I hope it is still appropriate here. Do you know of any callers/bands who will play/call to crooked tunes. I have some old-time musicians who like to play for me but don't seem to understand why I insist on them playing straight tunes... (you would be correct in assuming that they are not dancers). Also, it has started to make me feel like a party pooper because they loooove their crooked tunes and want to play them.
I have stayed firm, but I wonder if there is a way I could humor them. I mean, if the swing corresponds to the crooked part, the swing just goes a bit longer, but eee. As a dancer, I just can't image it working. Or maybe I have danced to crooked tunes without even knowing it... Does anyone do this?
thanks,
Rebecca Sass
Hi All,
I am enjoying this dialogue. And here is a note about the side slipping step:A while ago, I attempted to show an elderly dancer the "correct" footwork, i.e walking *forward* during swing,
rather than the awkward side-slip-backwards kind of thing she was doing.She kindly let me know that her way does not aggravate her hip.Not sure how, but it's her body and she knows it better than I do.
Just reminding people that when teaching, be careful to add -
"if it hurts someone else OR YOURSELF, it is probably not a good thing for you to be doing,even if I say it is the *right* way. "
Bob Fabinski
-----Original Message-----
From: Read Weaver via Organizers <organizers(a)lists.sharedweight.net>
To: organizers <organizers(a)lists.sharedweight.net>
Sent: Sun, Jun 23, 2019 8:48 pm
Subject: Re: [Organizers] Tips for a swing workshop
I think this is quite good, though I’d add that it’s useful to specify some things not to do, because I’ve danced with experienced dancers who clearly think you should give weight by clamping your partner’s arm, or that you should lean your torso back or to the side. And since they probably think they don’t have to listen, it may require emphasizing “even some experienced dancers do this, but…”.
Also, it’s tempting when showing what not to do to exaggerate it, so people can see what you’re talking about. But when you do that, people think you mean “don’t do it in this exaggerated way” rather than “don’t do it at all."
Slightly more advanced (because not necessary, though easy) is to show people that you can walk in a swing just as well as buzzstep. And I think it’s likely worth talking about how to decline a twirl, and that it’s always fine for either partner to do so.
Consider discussing buzzstep vs slipping step, depending on what you’re seeing on the floor—there’s a local dance where there are several experienced dancers who do a slipping step, because no one at that dance has made a point to teach otherwise. It’s pretty easy to never change it, if you’re never taught otherwise, since it’s in the same double-step rhythm as a buzzstep (and why wouldn’t you lead with your left foot if you’re going clockwise? easy enough to see how the mistake happens).
Read WeaverJamaica Plain, MAhttp://lcfd.org
On Jun 19, 2019, at 1:59 PM, Alexandra Deis-Lauby via Organizers <organizers(a)lists.sharedweight.net> wrote:
I’d suggest taking a moment in the evening dance after the 4th dance to go over swing technique. Explain where we want both flat hands (on correct shoulder blades as heights allow), squarish torsos, toes pointed in the direction you wish to walk, lots of connection on the rounded end (no gaps between those arms), rounded frames with space between the two people. Encourage and demonstrate feedback. “Higher hand please, I’d like less/more weight please,” “ask for what you need to make the swing feel good for you” Have them try the swing from both sides so they understand how symmetrical the connection is. No one role is responsible for all the weight. They age equally responsible.
Good luck!
A
Sent from my iPhone
On Jun 19, 2019, at 2:20 AM, Karlsruhe Contra Dance via Organizers <organizers(a)lists.sharedweight.net> wrote:
HI Larry,
By "proper" I mean something more focused than a beginner workshop. Something you would not do during a normal weekly dance. But might have time to offer during a special weekend, for example. I do teach the swing in my beginner workshop, but just to help them get by in the dance. And to be honest, it's not the true beginners I am needing to help. If they have only experienced my teaching of the swing, they generally do fine. I have a number of dancers who have come from another dance group and have never been taught how to swing well, but don't consider themselves beginners - and they aren't. They also generally come after the beginner workshop. They know figures. They are experienced at what they do. They have just never learned the importance of, and how to really share a swing.
I don't want to be condescending to them, that's why I was thinking of trying to sell it as a workshop to improve your swing or be more creative with your swing.
Hope that helps.
From: Organizers <organizers-bounces+karlsruhecontradance=hotmail.com(a)lists.sharedweight.net> on behalf of Alexandra Deis-Lauby via Organizers <organizers(a)lists.sharedweight.net>
Sent: Tuesday, June 18, 2019 11:39:24 PM
To: Larry Koplik; organizers(a)lists.sharedweight.net
Subject: Re: [Organizers] Tips for a swing workshop What is a “proper” workshop? A beginner workshop?
Sent from my iPhone
On Jun 18, 2019, at 5:31 PM, Larry Koplik via Organizers <organizers(a)lists.sharedweight.net> wrote:
Here's a video that Princeton Country Dancers created
about the buzz step swing that might be helpful.
https://www.youtube.com/watch?v=jaVSVtPRwlA
Larry Koplik
On 6/18/2019 4:01 PM, Karlsruhe Contra Dance via Organizers wrote:
HI all,
I know, we learn to swing by swinging with other experienced dancers. But my problem is a lack of experienced dancers.
I would love to help my dancers get a bit more out of their swings the next time I have the chance to offer a proper workshop (other than "the basics") There is potential there.
I was thinking of possibly selling it as "swings and swing flourishes" - but based on the level, the flourishes won't have to be terribly creative.
I have never participated in a workshop of this type. Can any of you point me to some resources or tell me about experiences that you have had? Or other ideas?
Thanks!
Rebecca in Karlsruhe, D.
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HI all,
I know, we learn to swing by swinging with other experienced dancers. But my problem is a lack of experienced dancers.
I would love to help my dancers get a bit more out of their swings the next time I have the chance to offer a proper workshop (other than "the basics") There is potential there.
I was thinking of possibly selling it as "swings and swing flourishes" - but based on the level, the flourishes won't have to be terribly creative.
I have never participated in a workshop of this type. Can any of you point me to some resources or tell me about experiences that you have had? Or other ideas?
Thanks!
Rebecca in Karlsruhe, D.
Hi fellow organizers,
I just wanted to give you a heads up that registration is now open for
CDSS's next web chat on "Building Safe Dance Communities".
It should be a great session AND it's free!
Details are below.
Emily Addison
Consultant for the Country Dance and Song Society
Dance organizer/caller/musician in Ottawa, Ontario
====================
The web chat is happening July 11, 8:30-9:45 PM Eastern Daylight Time. This
is an exciting opportunity to gather valuable resources and hear personal
experiences about this important topic. You'll hear from web chat guests
across the continent and there will be time for Q&A.
- Avia Moore (Toronto, ON) will share resources compiled by the CDSS
Community Safety Task Group.
- Diane Silver and Robert Zieber (Asheville, NC) are long-time
organizers for the Old Farmers Ball dance community.
- Marcia Davis-Cannon (Mountain View, CA) leads workshops on this topic
for dance organizers on the West Coast.
- Angela DeCarlis (Boston, MA) is a former Board Member of BIDA (Boston
Intergenerational Dance Advocates) and co-founder of the BIDA Safety Team.
To join the web chat (by computer or phone), RSVP BY JULY 7. All
registrants will receive instructions via email about how to participate.
Even if you can’t join us on July 11, submit an RSVP to receive
announcements about upcoming webchats.
https://docs.google.com/forms/d/e/1FAIpQLSdYc34kuW4-rXeqqrfT3M5AueC0dUx0igu…
<https://docs.google.com/forms/d/e/1FAIpQLSdYc34kuW4-rXeqqrfT3M5AueC0dUx0igu…>
Hand on back of shoulder prevents the dreaded elbow clamp,
And reinforces that the follow needs to support SOME of their own weight.
Both of those issues have caused me shoulder problems.
On Wednesday, June 19, 2019 John Sweeney via Organizers <john(a)modernjive.com> wrote:
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In the video that Larry recommends (great video in general), re the lady’s left hand, Sue says, "and pushes into his shoulder blade".
Please don’t! It is unnecessary and uncomfortable!
In fact I disagree with getting the lady to try and reach the man’s back at all. Her hand resting on his upper arm is a far nicer connection.
For the details, read on:
= = = = = = = = = = = = = = = = = = = = = = = = = = =
An essay on the lady's left hand in a swing:
Yes, I know some very well-respected American callers who teach a swing with the lady's left hand on the back of the man's shoulder blade.
I believe that there are many challenges associated with this:
1) The man, who, on average, has longer arms, reaches under the lady's arm to very easily reach her shoulder-blade. The lady, with her (on average) shorter arms and probably starting from lower down, has to reach OVER the man's arm to get to his shoulder-blade. Yes, some ladies can reach. But in my experience many ladies cannot easily reach and still be comfortable.
2) If they can just reach, many ladies then, instead of just placing their hand on the man's shoulder-blade (so that when centrifugal force increases they can resist it) they actually press into the man's shoulder-blade. I am not sure if this is just bad technique, but I suspect it may be partially to do with the fact that they can only just reach so they press so that their hand doesn't slip. It can be quite uncomfortable for the man.
3) Even if the lady's arm is the same length as the man, and she is the same height, she still has to reach over his arm, so it automatically pulls you closer together than you need to be, and even closer if her arm is shorter. While there are fun swing variations where we get really, really close, in a standard buzz-step swing I don’t believe that being forced closer together is desirable.
4) It is not necessary if the man's hand is well placed. Each person should support their own weight, so all the connection is doing is resisting centrifugal force and, in 50 years of swinging, I have never found that a problem.
5) It is quite common for the lady to twirl under the man's arm at the end of a swing. If the lady twirls counter-clockwise that is not a problem. But if she twirls clockwise then she will break her arm. Probably not a problem if the lady is completely in control of the twirl - she just prepares for it by moving her arm, but if the man takes some part in initiating the twirl (which I believe is very common) then if he tries to twirl her and she reacts slowly, then either the twirl fails or she gets hurt. Of course if the lady's left hand is just resting on the man's upper arm she can twirl either way without a problem. The hand just slides off easily.
6) In complex flourishes, such as a Texas Tommy/Apache Whip exit from a swing, then you really do need some lead and follow, and it is nearly always the man leading the lady. A move like that is impossible if the lady's left hand is on the man's back. Believe me I have tried it!
I hope that helps you understand why I always teach the lady to leave her relaxed left arm resting on the man's upper arm. :-)
= = = = = = = = = = = = = = = = = = = = = = = = = = =
Happy dancing,
John
John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 & 07802 940 574
http://contrafusion.co.uk/KentCeilidhs.html for Live Music Ceilidhs
http://www.contrafusion.co.uk for Dancing in Kent
http://www.modernjive.com for Modern Jive DVDs
From: Organizers <organizers-bounces+john=modernjive.com(a)lists.sharedweight.net> On Behalf Of Larry Koplik via Organizers
Sent: 18 June 2019 22:32
To: organizers(a)lists.sharedweight.net
Subject: Re: [Organizers] Tips for a swing workshop
Here's a video that Princeton Country Dancers created
about the buzz step swing that might be helpful.
https://www.youtube.com/watch?v=jaVSVtPRwlA
Larry Koplik
On 6/18/2019 4:01 PM, Karlsruhe Contra Dance via Organizers wrote:
HI all,
I know, we learn to swing by swinging with other experienced dancers. But my problem is a lack of experienced dancers.
I would love to help my dancers get a bit more out of their swings the next time I have the chance to offer a proper workshop (other than "the basics") There is potential there.
I was thinking of possibly selling it as "swings and swing flourishes" - but based on the level, the flourishes won't have to be terribly creative.
I have never participated in a workshop of this type. Can any of you point me to some resources or tell me about experiences that you have had? Or other ideas?
Thanks!
Rebecca in Karlsruhe, D.
_______________________________________________Organizers mailing listOrganizers@lists.sharedweight.nethttp://lists.sharedweight.net/listinfo.cgi/organizers-sharedweight.net
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Hi Rebecca,
Have a look at http://contrafusion.co.uk/Contra.html#swinging
Hopefully that will be helpful.
The key to flourishes at the end of swings: Men need to stop
early, facing the right way, so that there is time to do the flourish and
for the lady to finish, facing the right way, on time. (That assumes the
lady is performing the flourish - which is the common way in basic
flourishes - men can, of course, perform flourishes as well!)
Happy dancing,
John
John Sweeney, Dancer, England john(a)modernjive.com
<mailto:john@modernjive.com> 01233 625 362 & 07802 940 574
http://contrafusion.co.uk/KentCeilidhs.html for Live Music Ceilidhs
http://www.contrafusion.co.uk for Dancing in Kent
http://www.modernjive.com for Modern Jive DVDs
From: Organizers
<organizers-bounces+john=modernjive.com(a)lists.sharedweight.net
<mailto:organizers-bounces+john=modernjive.com@lists.sharedweight.net> > On
Behalf Of Karlsruhe Contra Dance via Organizers
Sent: 18 June 2019 21:02
To: organizers(a)lists.sharedweight.net
<mailto:organizers@lists.sharedweight.net>
Subject: [Organizers] Tips for a swing workshop
HI all,
I know, we learn to swing by swinging with other experienced dancers. But my
problem is a lack of experienced dancers.
I would love to help my dancers get a bit more out of their swings the next
time I have the chance to offer a proper workshop (other than "the basics")
There is potential there.
I was thinking of possibly selling it as "swings and swing flourishes" - but
based on the level, the flourishes won't have to be terribly creative.
I have never participated in a workshop of this type. Can any of you point
me to some resources or tell me about experiences that you have had? Or
other ideas?
Thanks!
Rebecca in Karlsruhe, D.
Hi All,
I'm looking for advice on timing our evening community dances for families.
This season we had four community dances (barn dances) from 630-730 and
then had a contra beginner lesson from 730-8pm and contra from 8-11pm.
(There were also potlucks from 5-630pm.)
We're going to continue community dances next year but change the timing
around a bit.
We're thinking of advertising them as 630-8pm, and have the last half hour
a few very basic contra dances that also act as a beginner lesson for the
evening contra.
Is 630pm too late a start to get school-aged families out? Might 6pm be
better? Or is 6pm too early for folks to have dinner and get to the dance.
I'm wondering what others have found works well for them!
With much thanks :)
Emily Addison
Ottawa, Ontario
