I like doing a star for three when I am out at the end of contra corners. Call me evil....
Sent from my Samsung Epic™ 4G [email protected] wrote:Send Callers mailing list submissions to [email protected] To subscribe or unsubscribe via the World Wide Web, visit http://www.sharedweight.net/mailman/listinfo/callers or, via email, send a message with subject or body 'help' to [email protected] You can reach the person managing the list at [email protected] When replying, please edit your Subject line so it is more specific than "Re: Contents of Callers digest..." Today's Topics: 1. Re: End Effect Rules / Patterns (Bill Olson) 2. Re: integrating new dancers (rich sbardella) 3. Regency for newbies (Andrea Nettleton) 4. Re: Regency for newbies (Alan Winston) 5. End Effect Rules for callers (Jim Hemphill) 6. Re: End Effect Rules / Patterns (Michael Fuerst) 7. Re: End Effect Rules for callers (Jack Mitchell) ---------------------------------------------------------------------- Message: 1 Date: Fri, 28 Jun 2013 16:08:39 +0000 From: Bill Olson <[email protected]> To: Caller's discussion list <[email protected]> Subject: Re: [Callers] End Effect Rules / Patterns Message-ID: <[email protected]> Content-Type: text/plain; charset="iso-8859-1" On type #1, Rule: don't cross over immediately when waiting out, face partner and participate in dance using inevitable partner swing to change places . On type #2 Don't know if this is a rule or not, but when women chain (let's say) to couple waiting out she thinks she's still in the dance and it's the waiting out gent's responsibility to "hold her back"... (and not get drawn back into the dance himself).. Is it worth mentioning that a pair of couples waiting out at the end of a 4 facing 4 can face across and dance the dance with each other? That's "sort of" an end effect.. bill > Date: Thu, 27 Jun 2013 16:27:24 -0400 > From: [email protected] > To: [email protected] > Subject: [Callers] End Effect Rules / Patterns > > So...I've been thinking about trying to put together a workshop for > experienced dancerd that would consist of dances that have end effects, > but giving the dancers some rules of thumb to go on for different types > of end effects. Would be glad of some help brainstorming different > general categories of end effects (grouped by "coping mechanism"). > Here's what I can come up with off the top of my head (Corrections, > additions and clarifications welcome) > > Type: Dances where you pull by along the set or do things with one > neighbor after another > Rule: At the ends, when you don't have a neighbor, treat your partner > like your neighbor > Rule: If you have to pass by shadows to get back to your partner, go the > long way at the ends -- don't try to cut the corner > > Type: Things on the diagonal > Rule: If there's no one there, stay put and *keep dancing -- you're not > out yet* > > Type: Shadow is also neighbor > Rule: Know that Shadow will fill both roles > > Type: spit out temporarily (with partner, neighbor or shadow) and then > come back in > Rule: Dance with ghosts > _______________________________________________ > Callers mailing list > [email protected] > http://www.sharedweight.net/mailman/listinfo/callers ------------------------------ Message: 2 Date: Fri, 28 Jun 2013 10:27:42 -0700 (PDT) From: rich sbardella <[email protected]> To: Caller's discussion list <[email protected]> Subject: Re: [Callers] integrating new dancers Message-ID: <[email protected]> Content-Type: text/plain; charset=iso-8859-1 I dance regularly at three places in New England and the dancers at those venues?fit the description of those kind, gentle and very relaxed Californian dancers. Rich --- On Thu, 6/27/13, Tom Hinds <[email protected]> wrote: From: Tom Hinds <[email protected]> Subject: [Callers] integrating new dancers To: [email protected] Date: Thursday, June 27, 2013, 8:37 AM Greg, you've been writing about integrating new dancers by getting the experienced dancers to dance with them and even teach them the figures.? For a long time I've thought that this was a bit weird- how could this ever work? Then my brain finally kicked in and I realized that we live in two very different worlds.? Although it's been some time since I called in California, I remember that the dancers there were kind, gentle and very relaxed.???They were quite a contrast to some of the dancers back east.? Maybe your method works well because of the kinds of people who live in your area.? Over the years I've seen some hostility and resentment towards new dancers in my small part of the world. In one dance community, the dancers were so hostile to the new dancers that someone started a separate dance series for the sole purpose of having a beginner friendly dance.? And before the center line was abolished at Glen Echo, a very large percentage of experienced dancers had absolutely no interest in dancing with beginners. In my area we've always had a beginning lesson and the caller always teaches the figures.? It's worked there for decades.? It's the tradition.? If it ain't broke why fix it?? I'm thinking that to get the experienced dancers to teach the figures might be detrimental in some dance communities. This is a complicated issue and involves more than language. There's also understanding people and their values, beliefs etc. etc. I can't remember exactly what your background is but I'm very interested in learning more about language and it's use.? Is there a good website or book that you could recommend? Tom _______________________________________________ Callers mailing list [email protected] http://www.sharedweight.net/mailman/listinfo/callers ------------------------------ Message: 3 Date: Fri, 28 Jun 2013 23:34:51 +0100 From: Andrea Nettleton <[email protected]> To: [email protected], Caller's discussion list <[email protected]> Subject: [Callers] Regency for newbies Message-ID: <[email protected]> Content-Type: text/plain; charset=us-ascii I'm in Oxford with a group of GA Tech undergrads and the Prof who is teaching a Jane Austen class has requested that I teach them a bunch of ECD from that era, things that would really have been danced then. I don't have with me the resources I had available in the states. I need a selection of maybe a dozen dances, and a resource from which to give them interesting tidbits about etiquette, flirtation, the circumstances of a ball such as chaperones, the necessity for an introduction before inter gender conversation could occur, etc. I want something as authentic as possible, but they are all newbies and I want them to have fun. Recommendations most welcome. I have a fiddler and a Barnes book, and notes for a few dances and any I can glean from the web, unless one of my esteemed colleagues loans them to me. I'm confident about the teaching part, it is more a matter of what to present. Thanks Andrea Sent from my iPad ------------------------------ Message: 4 Date: Fri, 28 Jun 2013 16:05:58 -0700 From: Alan Winston <[email protected]> To: [email protected] Subject: Re: [Callers] Regency for newbies Message-ID: <[email protected]> Content-Type: text/plain; charset=ISO-8859-1; format=flowed On 6/28/2013 3:34 PM, Andrea Nettleton wrote: > I'm in Oxford with a group of GA Tech undergrads and the Prof who is teaching > a Jane Austen class has requested that I teach them a bunch of ECD from that > era, things that would really have been danced then. I don't have with me the > resources I had available in the states. I need a selection of maybe a dozen > dances, and a resource from which to give them interesting tidbits about > etiquette, flirtation, the circumstances of a ball such as chaperones, the > necessity for an introduction before inter gender conversation could occur, > etc. I want something as authentic as possible, but they are all newbies and > I want them to have fun. Recommendations most welcome. I have a fiddler and > a Barnes book, and notes for a few dances and any I can glean from the web, > unless one of my esteemed colleagues loans them to me. I'm confident about > the teaching part, it is more a matter of what to present. > Thanks > Andrea > I just send Andrea a big file of dance notes off-list. That file has mid-1700s to early 1800s in it - probably too much, but I had it already made up. For Jane Austen class it's probably more apropos to do Austen's lifetime (1775-1817) than strictly Regency (1811-1820). For extremely authentic you'd be teaching them to make up dances out of building block figures. Many of the reconstructed Austen-era dances for modern dancers have been tweaked; triple minors often became three-couple sets. There's a number of 1740s or 1750s dance patterns that are very much like c.1800 dance patterns. Suggestions more closely focused on Austen's lifetime and general accessiblity, as I think of them and not in the order I would present them Haste to the Wedding (as a longways set, not Sicilian Circle) Midnight Ramble Young Widow Marlbrouk Cotillion Dover Pier Trip to Tunbridge (contra corners, similar to Chorus Jig) North Down Waltz Long Odds (requires the ability to RH turn 1.5 in four bars, which may be challenging) Physical Snob Prince William (crossover mirror hey _and_ contra corners!) Rakes of Rochester The Spaniard The Bishop (gypsy is historically questionable) Dover Pier (If your fiddler doesn't like any of those tunes - and I hear "the Bishop" can be a bear to play - it would be period practice to use the figures with a different tune.) Hope this helps! -- Alan ------------------------------ Message: 5 Date: Fri, 28 Jun 2013 19:04:50 -0500 From: Jim Hemphill <[email protected]> To: [email protected] Subject: [Callers] End Effect Rules for callers Message-ID: <CAL3h0BR23EhOAb=vg8db04pdzee04bu0ksazmkc5brxshpv...@mail.gmail.com> Content-Type: text/plain; charset=ISO-8859-1 Great idea for a workshop for dancers, but I'm curious what the callers approach to these types of dances are. Many of the dance weekend caliber callers seem to take a very cavalier approach, often saying something like "This dance has some unusual end effects, be ready and good luck" or nothing at all. Sometimes this works out ok, sometimes not. ------------------------------ Message: 6 Date: Fri, 28 Jun 2013 21:42:08 -0700 (PDT) From: Michael Fuerst <[email protected]> To: "[email protected]" <[email protected]>, Caller's discussion list <[email protected]> Subject: Re: [Callers] End Effect Rules / Patterns Message-ID: <[email protected]> Content-Type: text/plain; charset=iso-8859-1 Actually this strikes me a bad idea for a workshop. Dances with challenging end effects have such because of the interesting stuff within the dances. Dancers will not be enlightened by the ?end effects. So just do a workshop of advanced dances. Dancers just will remember at most ?one or two instruction for end effects, and it should be the most important instruction . ? For example: ? ? ? a) ?Dance around at the ends, or ? ? ? b) When out at the end, face back in with man on right, woman on left (which I do not think has been suggested yet). ? or ? ? ? c) You'll will pop in and out at the end several times If the dancers in front of the caller aren't skilled enough to handle the end effects with one or two brief items of advice, s/he should consider calling a different dance Some ideas for workshops a) ?Proper dances. ? ?? There are small number of interesting proper dances where bout couples are equally active. ?Tom Hinds probably has written the most of these. ? ?? ? ? ? ? ?Al Olson has a dance Contra Corners Special. ? ?Mark Richardson, David?Kirchner?and I have written one. ? ? ? ? ?Roger Diggle has several elegant, but uneven proper dance b) ?Quirky dances. ? ?Dances with seemingly bizarre choreography, but which are fun. ? ? ? ? ?Kirston Koths wrote quite a few of these in the 1980's ? ? ? ? ?Mike Boerschig has one called the The Fishin' Reel ? ? ? ? ?Claudio Buchwald has one, I think it's in Zesty Contras c) Quirky Formations (e.g. 1's crossed, backwards progressions, 1's start below 2's) ? Michael Fuerst ? ? ?802 N Broadway ? ? ?Urbana IL 61801?????? 217-239-5844 Links to photos of many of my drawings and paintings are at www.ArtComesFuerst.com ________________________________ From: Jack Mitchell <[email protected]> To: Caller's discussion list <[email protected]> Sent: Thursday, June 27, 2013 3:27 PM Subject: [Callers] End Effect Rules / Patterns So...I've been thinking about trying to put together a workshop for experienced dancerd that would consist of dances that have end effects, but giving the dancers some rules of thumb to go on for different types of end effects.? Would be glad of some help brainstorming different general categories of end effects (grouped by "coping mechanism").? Here's what I can come up with off the top of my head (Corrections, additions and clarifications welcome) Type: Dances where you pull by along the set or do things with one neighbor after another Rule: At the ends, when you don't have a neighbor, treat your partner like your neighbor Rule: If you have to pass by shadows to get back to your partner, go the long way at the ends -- don't try to cut the corner Type: Things on the diagonal Rule: If there's no one there, stay put and *keep dancing -- you're not out yet* Type: Shadow is also neighbor Rule: Know that Shadow will fill both roles Type: spit out temporarily (with partner, neighbor or shadow) and then come back in Rule: Dance with ghosts _______________________________________________ Callers mailing list [email protected] http://www.sharedweight.net/mailman/listinfo/callers ------------------------------ Message: 7 Date: Sat, 29 Jun 2013 01:33:45 -0400 From: Jack Mitchell <[email protected]> To: Caller's discussion list <[email protected]> Subject: Re: [Callers] End Effect Rules for callers Message-ID: <[email protected]> Content-Type: text/plain; charset=ISO-8859-1; format=flowed My goal in the workshop would be to give people tools that they can use to make sense of at least a large subset of dances with challenging end effects by trying to come up with the smallest number of general categories of end effects / coping skills possible, and avoiding having to give specific instructions for that dance -- the first time you go out wait out with the lady on the left, then wait out on the right diagonal, and such as that. While I strongly doubt that I can cover every possible type of end effect, I think that it should be possible to cover some general categories of end effect and to give folks some structure for dealing with them. I would really like to help the dancers find the patterns so that they can better cope with end effects when they come along... I'm going to sit down with some of the things that folks have posted this weekend and with my dance box and see what I can come up with. Jack On 6/28/2013 8:04 PM, Jim Hemphill wrote: > Great idea for a workshop for dancers, but I'm curious what the callers > approach to these types of dances are. Many of the dance weekend caliber > callers seem to take a very cavalier approach, often saying something like > "This dance has some unusual end effects, be ready and good luck" or > nothing at all. Sometimes this works out ok, sometimes not. > _______________________________________________ > Callers mailing list > [email protected] > http://www.sharedweight.net/mailman/listinfo/callers > > ------------------------------ _______________________________________________ Callers mailing list [email protected] http://www.sharedweight.net/mailman/listinfo/callers End of Callers Digest, Vol 106, Issue 38 ****************************************
