Hear, hear! This puts me in mind of my first callers' workshop more than 20 years ago at Ashokan, when Steve Zakon-Anderson said something like, "If something goes wrong, it's not the dancers' fault, and it's not the musicians' fault; it's your fault." His point was that we're there to ensure that everyone has the best time possible, given the skill and ability of those present. It's our job to program and teach appropriately for the circumstances, and if a dance fails, it's because we've failed to do our job well.
I was impressed with the humility expressed in this idea, and all these years later I'm still guided by it as I'm navigating through an evening. We're not hired to dazzle the hottest dancers with the complexity of our choreography; we're there to make sure that the dancers succeed, that we build community, and that everyone leaves smiling. --Katy Heine -----Original Message----- From: [email protected] [mailto:[email protected]] On Behalf Of Greg McKenzie Sent: Monday, April 12, 2010 9:18 PM To: Caller's discussion list Subject: Re: [Callers] Putting Out Fires There are never fires in the hall--only in your own mind. If there is trouble anywhere in the hall it is because you have screwed up...somewhere. Whether it be programming, teaching, or calling the fault is your own. The caller should take full responsibility for the gaff. I point this out because the question assumes that there is trouble in one of the lines. This assumption will not help and will only lead to even more trouble. When I see confused dancers anywhere in the hall the best tactic I have ever used, or seen used, is to begin calling clearly, precisely, and with enthusiasm to the entire hall. Call in perfect time with the music, enunciate clearly, and use effective word order. I try to avoid even looking in the direction of the confused dancers. It is better to look at dancers who are dancing well and use your peripheral vision to monitor the rest of the hall. (If you are lucky the confused dancers will assume that others in the hall are also confused and this will help to put them at ease.) Never direct any instruction or call to a specific group or area. Any emphasis or punctuation should be directed to the entire hall. This will avoid confusion and make you look more professional. If more than a few dancers are confused it is sometimes possible to hold the entire hall at the starting position and start them dancing again when the music comes around. If this does not work, end the dance and apologize. This will give the impression that you know what went wrong and encourage confidence. Don't use too many words. (Please don't explain!) You might also compliment all of the dancers for adapting well in spite of your gaff. Give clear instructions, (such as whether to keep the same partner, to form new sets, or to go back to your starting position.) This is the way I prefer callers behave when they screw up. Just a thought, Greg McKenzie ************ Jo wrote: >I'd love to hear from some of you, about how (and when?) to fix contra >lines that have broken down. What are your favorite strategies? > >If one line has broken down, it's easy to stop the music, do one more >walk through, and start up again. Even with two lines this can work >pretty well. And you don't even have to stop the music - I've seen >callers get everyone organized and improper again (or whatever >formation), while the music is still going. > >What if there are three or more lines and one doesn't work? > >Do you ever go to a different dance? Do you keep trying with the >current one? > >Thanks very much. > >Jo Mortland >Chicago > > > >_______________________________________________ >Callers mailing list >[email protected] >http://www.sharedweight.net/mailman/listinfo/callers _______________________________________________ Callers mailing list [email protected] http://www.sharedweight.net/mailman/listinfo/callers
