[Callers] Using music in the pre-dance lesson

[John Sweeney]

Hi Jim,

Q: I said, "The only thing I focus on with respect to music is getting them
to hear the eights and be ready for the next "one"."  You asked, "do you say
anything in particular about the structure of the music or have new dancers
do any particular exercises to practice awareness of "the eights"?

A: I always start by playing some music and saying, "Everything happens in
eights. ONE, 2, 3, 4, 5, 6, 7, 8, ONE..." Emphasising the ONEs and only
whispering the rest of the numbers.  If there is time I may ask them to clap
on ONE, but I often feel that some of them are just trying to clap when
everyone else does and not really listening to the music.

= = = = = = = = = = = = = = = = = = = =

Q: Re: [Circle Left, Into the Middle & Back, Swing your Neighbour].
Repeat... You asked, " Do I correctly understand that this is an exercise
you have them do in big circle formation?  Do you say or do anything in
particular to teach them to hear the end of a phrase approaching and
recognize when they don't have enough music left to swing another time
around?"

A: Yes, I get everyone in a big circle; I am usually in the circle as I wear
a wireless head mike.  The spiel goes something like this:

= = = = = = = = = = = = = = = = = = = =
In this type of dancing, the lady is always right... man on the left, lady
on the right.  And the lady has the upper hand... the men do this, and the
ladies hook over the top.  Use hooks to connect with each other so that you
don't have to use your thumbs - never grip anyone with your thumb. Elbows
down, hands slightly raised.

Now <with the music> CIRCLE LEFT, 1, 2, 3, 4, 5, 6, CIRCLE RIGHT, 1, 2, 3,
4, 5, 6, CIRCLE LEFT, 1, 2, 3, 4, 5, 6, TURN aROUND, 1, 2, 3, 4, 5, 6, TURN
aROUND, 1, 2, 3, 4, 5, 6, CIRCLE RIGHT <they were already circling right!>
OK that was just to see who is listening! I won't normally do that, you will
usually know which move is coming next <obviously Contra Medleys, Squares
and Big Set are exceptions>.

You should feel connected to the people around you so that you are helping
the person behind you and the person in front of you is helping you to move
around the circle

Now some of you are doing this <demonstrate facing left with left hand
raised in a perfect position, but right hand way down near my knee>,
thinking lo yourself, "look how good I am with my left hand perfect".  But
actually you are dragging down the hand of the person behind you.  This is
known as the "Nelly the Elephant Syndrome".  The way to avoid it is to turn
your body at the hips; keep facing the centre and turn your hips to the left
and the right - try it.

You always want to be facing the right way for the next move, so change
direction on 7 and 8.  Let's circle again, feeling connected, <with the
music> CIRCLE LEFT.... 5, 6, TURN aROUND... 5, 6, TURN aROUND...  <I only
count the 5 and 6 so that they know the turn is coming up>.

<I will throw in some INTO the MIDDLE, 1, 2, 3, STAMP, trying to persuade
them not to move backwards until 5 - good practice for Long Lines Go Forward
& Back.>

<Then I teach the swing as at
http://contrafusion.co.uk/Contra.html#swinging, with special focus on how to
finish facing in the correct direction on the correct side.>

So just like we use 7 and 8 in the circles to get ready for the next move,
the same thing happens in the swing.  If the man finishes facing in the
right direction on 8, and you are still in ballroom hold <demonstrate that
position>, then the lady is facing the wrong way.  Because of the direction
of the swing, the man always finishes first, so he has to stop on 6, leaving
the lady two beats to open out <demonstrate, with a count>.  If you go too
far don't jerk back the other way, keep turning. add another quick turn and
get ready for the next move.  So, just like the circles, don’t think of it
as an eight-beat move, think of it as a six beat move, then two beats to get
ready for the next move.  <Obviously as they get better they can use more of
the music for a swing, and still be ready for the next move, making the
moves flow together, but I usually find that they react well initially to
this concept.>

<Explain Neighbour/Corner>

Plan ahead so that you are ready for the next move.  If you find that you
aren't ready then do fewer turns.  You can add more as you get better.

<With the music> Circle Left, Into the Middle & Back, 1, 2, 3, STAMP...
Swing your Neighbour... 5, 6, OPEN OUT <wait 8 while you check everyone is
ready> <repeat until they are finishing well, then flow the moves together
in any order, just saying "5,6" during the swing>.
= = = = = = = = = = = = = = = = = = = =

	So, I do a lot of counting, emphasising the ones and the "5, 6" so
that they realise that they must use 7 and 8 to finish the move and get
ready for the next.  And I emphasise the 4 in Into the Middle and Forward &
Back.

	If there is time then I will do a simple dance. If there is time for
two then I will do Family Contra and East Litchfield Volunteers.  If there
is only time for one then I will do East Litchfield Volunteers. It adds the
very useful Allemande and Dosido, but otherwise only uses moves we have done
already, and provides an easy progression.  The prime swing is a Neighbour
Swing so that there is more chance of them swinging with experienced dancers
and not messing up the progression.

East Litchfield Volunteers by Jim Gregory
Contra; Improper
A1: Circle Left; Circle Right 
A2: Neighbour Allemande Right; Neighbour Allemande Left 
B1: Neighbour Dosido; Neighbour Swing (to progress) 
B2: Long Lines Go Forward & Back
     #1s Swing, finish facing down to the next couple

	Sometimes instead I will teach the first dance and maybe run it a
couple of times so that they get a heads-up before we start the dance.

	I hope that helps.

            Happy dancing,			
                   John			
			
John Sweeney, Dancer, England   john at 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			
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