I'm going to leading a workshop on Pat Shaw dances in the near
future. With next year being the 100th anniversary of his birth I
thought this will be appropriate. I've done several of his dances, but
I know there are many others. There will only be time for 5 or so
dances in the workshop, but if you had to select some dances that best
conveyed the spirit of his dances which ones would they be?
Jonathan
Farewell to Devon is a wonderful tune. One if my favorite waltzes!
Sent from my Samsung Galaxy Tab®4
-------- Original message --------
From: "Sylvia Miskoe sylviasmiskoe(a)gmail.com [trad-dance-callers]" <trad-dance-callers(a)yahoogroups.com>
Date:12/28/2016 9:28 PM (GMT-07:00)
To: trad-dance-callers(a)yahoogroups.com
Subject: Re: [trad-dance-callers] Pat Shaw dances
Pat Shaw wrote a companion waltz, Farewell to Devon, in honor of Margaret when she moved from Devon. It has faded into obscurity.
Sylvia Miskoe, Concord NH
On Wed, Dec 28, 2016 at 9:06 PM, JD Erskine iDance island.dance(a)shaw.ca [trad-dance-callers] <trad-dance-callers(a)yahoogroups.com> wrote:
On 2016-12-27 10:04, Jonathan Sivier jsivier(a)illinois.edu
[trad-dance-callers] wrote:
> if you had to select some dances that best
> conveyed the spirit of his dances which ones would they be?
>
> Jonathan
Off the top of my head, any of these three Sicilian circle set dances:
Margaret's Waltz
Long Live London
Waterfall Waltz
I think LLL speaks nicely to both North American ECDancers and Contra
dancers. Sure moves along and is just quirky enough to be unique,
certainly for the time it was written I'd think.
Some folks might say, "Oh ho! He wrote that?" to Margaret's Waltz - both
tune and dance. I like the "over the shoulder" star set up.
I've read someone comment on one of the lists that Levi Jackson Rag has
been done to death, where they live. Fair enough. In other areas give it
a try.
It turns out I have my ECD dance index with me. Here are my entries for
these as I've programmed them a number of times.
Levi Jackson Rag 5U/Bkt 2/4 G ABCD B1.66 D&M=Pat Shaw, 1974
Long Live London SCir 2/2 G AAB B1.67 D&M=Pat Shaw, 1971
Margaret's Waltz SCir 3/4w A AABB B1.75 D&M=Pat Shaw, 1959
Waterfall Waltz SCir 3/4w G AABC B1.135 Pat Shaw
I'm about to be looking for other choice PS-S dances in the next few
weeks myself, so open to suggestions myself.
Oh, almost forgot these others I've called are also by PS-S:
Heidenröslein Sq4 3/4 G ABx4 A16B12 B1.49 Pat Shaw, 1971; Pat Shaw
Collection Book 2, 1986
and _another_ SCir, however in jig time.
Morecambe Bay SCir 6/8 D AAB 8,8,16 B1.81 D=Pat Shuldham-Shaw, 1972
A fun aspect to this dance is the use of the North Country style Ladies
Chain, over and back which gives folks enough time to practise and
employ/enjoy it. Shortest recalled description of that (corrections
welcome) is man doesn't turn about, passes ladys left hand from his left
to his right behind his own back. Pretty cute.
Cheers, John
--
J.D. Erskine
Victoria, BC
Posted on behalf of Gareth Kiddier <gareth.kiddier(a)gmail.com> who isn't on this list.
Thought you might like to see this.
Gareth Kiddier
Folk Dance Coord, Sidmouth Folk Week
Sidmouth Folk Dance 2017
What's happening this time? Well, we've listened to your feedback, made
some changes, kept the good bits, polished up some others.
Firstly, the Big Mornings carry on. Long, intensive, workshops in English
Dance led by returnee Michael Barraclough, supported by Purcell's
Polyphonic Party who were highly praised last time. The other English band
is Mrs Savage's Whim, a new string quartet focused on playing for dance.
The American stream is led by USA caller, Bob Isaacs, who is coming to
England for the first time. His dances have been a regular part of many
English callers' cards for some years. The bands are the young four piece,
Contra Alt Delete, and a new band, The Linda Game Band, fiddle with string
bass and guitar, plus young multi instrumentalist, Matt Quinn on melodeons.
The afternoons are interesting and varied. After the success of Early Dance
last time, we have extended the workshops to include more music sessions.
Andy Richards and his team will lead you through the dance.Terry Mann, with
help from Vicki Swan and Jonny Dyer, will do strange things with unusual
instruments. We are doing more Irish sessions as well, including some Sean
Nos workshops led by Emma Dyson, and Irish Set dance with Val Knight, music
provided by Chris Dyson and Paddy Hefron from Yorkshire based band, Roisin
Ban.
A special this year, celebrating 100 year anniversary of Pat Shaw's birth,
is a series of workshops looking at his work. John Sweeney will take a
fresh look, supported by Ali Messer and Jane Harrison who both have a
wealth of experience of Pat Shaw style. We have invited Emma Wooders back
to continue her popular English afternoon workshops, and Ivan Aitken will
be challenging you with his American squares and contras.
The beginners workshop is led by Rhianwen Davies, supported by another
astonishing melodeon player, Sam Mabbett. They will cover all the basic
styles during the week, and assume no prior knowledge.
The evenings are fun. A series of mixed social dance with local callers
Simon Maplesden and Jane Thomas, with bands Momentum and The Andrew Purkiss
Band. We will have a Playford Ball, a Pat Shaw Ball, an Irish Set Night,
American, and English events, around the town and in Stowford Rise. Bands
and callers from the daytime sessions. A special night midweek will be a
Gender Free Calling Dance, to which everyone is welcome. The final dance
of the festival will be English Contra Dance Band, with caller, Jake Wood.
Phew, You're going to be tired, again.
Chase: American Folk Tales and Songs - paperback
Page: Heritage Dances of Early America - paper 2 copies
Tolman and Page: Country Dance Book - paper
Lovett: Good Morning - 1943 paper
Nevell: A Time to Dance - hardcover
Shaw: Cowboy Dances - hardcover 1943
Let me know if you want one. We can work out a price.
_________________
Emily L. Ferguson
mailto:elf@landsedgephoto.com
774-392-0022
New England landscapes, wooden boats and races
http://www.landsedgephoto.com
Hi folks--
Attended the local MUCC dance last week, and noticed that, for the second month in a row, the PA volume was very loud.
At least one dancer was wearing foam earplugs. Trying to have a conversation, my companion said he had to wait until the caller was finished with each phrase of instructions. I thought about trying to talk with a sound guy, but then remembered that, in October, he couldn't hear the content of our discussion (political) and how I'd had to repeat everything I said, at a louder volume.
Since my hearing is going, I should be less affected by a loud PA.
In my view, this falls into the category of "providing a comfortable welcoming dance experience" along with a smooth clean dance surface, cool drinking water that's readily available, chairs to sit on when not dancing, and name tags.
So I posted an opener on FB, and received several interesting replies:
Googled-up data:
"Last contra dance I measured a few months ago was 82 db. Some concerts are louder than that. Rock concerts are often 100 or 110 db. 80 db is a busy street or an alarm clock. 90 db is noisy factory machinery at 3 feet. A motorcycle can get a ticket if it is louder than 86 dbA."
[this is a folk music event, not a construction zone or a motorcycle run]
Dismissal:
"I heard no complaints..." [of course not, the PA was too loud!]
"...remember if there is only one person who is having an issue that person needs to be aware they are sensitive and bring earplugs"
and
"Everyone's hearing is different and some people are more sensitive to loud sounds. If you are one of these I suggest that you position yourself away from a loudspeaker and from directly in front of one."
[Problem is, there are typically two lines, and they always form up directly in front of the speakers at the top of the hall, which are positioned at ear height.
One line gets blasted at from speakers at both the top and bottom of the hall. In the other line, it's okay if you start as a 1 several couples from the top, and then bail out of the dance in the same position when returning as a 2. Or dance with fingers in your ears.
In the thread, three people agreed with the original premise, along with at least two others by my observation.]
Talk to dance personnel:
"I hope everyone know if they have a problem with something that's happening at our dances that they are encouraged to talk to somebody
The manager or sound guys could've done something if they were aware there was a problem"
"if an individual reports a problem we do check it out for verification. If a problem is confirmed we do what we can to fix it."
Sound tech comments (they were not present):
"As a sound tech I keep the level below 80 db, have an app on my phone to measure the levels."
"You can get a free sound meter app. for your ph. this will allow you to measure the decibels. Over 80db (I think, it's either 80 or 90) is not good for your hearing. Show the sound person and have them turn is down. There was an excellent thread on this subject on one of the contra sites a while ago. Too many people think more volume equals hearing the band / caller better. But it's really the EQ and volume. With the emphasis on the EQ."
I also suggested that "it seemed like dancers were leaving early," and someone's pushed back on that.
Comments and suggestions welcome. I'd like to continue supporting this local dance, particularly since they are asking for more volunteers.
--Karen D.
Hello folks,
I have a concern about collecting dances. When I first began to consider
calling contras, I video recorded several dances, mostly to observe and
study the walk-thus. Since I have begun calling, I carry a memo pad in my
pocket, and write down dances, or titles, that I find interesting. Many of
these dances never make my active calling collection, but many do. I have
always asked the callers/bands for permission to record, but I have not
asked for permission to notate dances and titles.
I really like calling dances that I have danced and enjoyed, and that is my
reason for taking notes. I also have never copied another callers program,
although I enjoy looking at them.
When I ask a caller the name of a dance, most callers feel honored that I
would want to call one of their choices. Occasionally the response is not
so positive, and I am left feeling like a pick-pocket.
Any thoughts on this to share?
Rich Sbardella
Stafford Springs, CT
Shoudn't that be "More Ed Durlacher lost recordings found" or "More Ed Durlacher previously lost recordings now available" or if this an appeal for recordings that really have been lost??? I'm not sure what the OP intends. CJB.
--------------------------------------------
On Mon, 28/11/16, don ward dward7(a)earthlink.net [trad-dance-callers] <trad-dance-callers(a)yahoogroups.com> wrote:
Subject: [trad-dance-callers] More Ed Durlacher lost recordings
To: trad-dance-callers(a)yahoogroups.com
Date: Monday, 28 November, 2016, 5:46
Ive posted another set of dances with Ed Durlacher
and the Top Hands.
This set includes a holiday dance to Jingle Bells.
You can listen and download at;
www.squaredance.podbean.com
Ed Durlacher 503-4 "American Folk Music and
Dances"
1; Billy Boy / Billy boy
2; Three ladies chain / Soldiers Joy
3; Standard waltz quadrille / Couple down center, By Bonnie,
Where has my little dog gone, Hi Lee hi lo, Band
played on
4; Cut off six / Little brown jug
5: Swingeroo / Kingdom come
6; Buffalo gals / Buffalo gals
7; Jingle bells / Jingle bells, Auld lang syne
8; Quaker Hill / Rakes of Mallow
9; Pass her by / Solomon Levi, Kerry dance
10: London bridge / London bridge
Don Ward
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