Rich wrote:

> I attended a well established open contra dance recently with at least 50%
> newbies.  The caller did an excellent job teaching and calling contras, but
> his method was more like a square dance caller.  He seldom stopped calling
> and had lots of descriptive words for the dancers.  Several dancers
> throughout the night told me how easy it was to dance to this caller, and
> how good his calls were.  I did not hear one complaint from the dancers, or
> musicians, that he never stopped calling.


There is definitely a difference in style and preference here.  I really
respect a caller who can entertain in this way.  But it does not "work" for
me like most of the dances I attend.  I come for the music and the people
and I love a caller who facilitates a connection between the music and the
dancers.  That is plenty "entertaining" for me.  Connecting with the caller
is not so much of a draw for me.  If the caller "fills the room" with his
personality and voice...well, I generally start looking for another room.

But, that's just how I roll on this.  I like to be an integral part of the
event and feel I have a role in making the connections happen.  I don't go
to be entertained by the caller.

Oh...and I don't get any complaints when I call either.  Dancers are a very
kind and generous bunch, I think.  (And I make it my business to seek out
complaints.)

To each his own.

- Greg Mckenzie
West Coast, USA

*********


> Additionally, the caller went out of his way several times to bring the
> attention to the excellent musicians playing beside him.  The dance was
> very successful, and the caller (calls) very entertaining.
>
> There are few callers capable of delivering that kind of program, and even
> fewer who do.  It was a welcomed change for me, and for many of the dancers
> at the event.
>
> Rich Sbardella
> Stafford, CT
>
>
> ________________________________
>  From: Harold E. Watson <[email protected]>
> To: Caller's discussion list <[email protected]>
> Sent: Thursday, February 13, 2014 5:16 PM
> Subject: Re: [Callers] Planned vs. "on-the-fly" call wording (was Re:
> Circle & pass through as the last move of a dance)
>
>
> I know most our dancers are still listening because if I ever lose my
> place and miss-call the next figure, half will try to do what I said
> (usually the beginners) and the other half will loudly pronounce the
> correct move.  When I do booboo, after the dance I always compliment the
> dancers on their masterful recovery, even if they didn't have one.
>
> I also try to drop out as early as practical.  It's usually as switch from
> full calling to single words, and finally to maybe a word once every 32
> bars at a place that may have tricky timing or to get everyone back in sync
> with each other.
>
> ........Circle left
> .......Neighbor swing
> ...Long lines forward and back
> ...Ladies allemande right 1-1/2
>
> To
>
> ........Circle
> ........Neighbor
> ......Forward and back
> ........Ladies
>
> Harold
>
>
> -----Original Message-----
> From: [email protected] [mailto:
> [email protected]] On Behalf Of Aahz Maruch
> Sent: Thursday, February 13, 2014 3:35 PM
> To: [email protected]
> Subject: Re: [Callers] Planned vs. "on-the-fly" call wording (was Re:
> Circle & pass through as the last move of a dance)
>
> On Thu, Feb 13, 2014, Jonathan Sivier wrote:
> >
> >    I like to change around the exact words I use during a dance.  In
> > part to keep myself and the dancers alert.  Also if a given phrase
> > doesn't work for someone then the next time through if I say something
> > slightly different it may make more sense for them.  Also if some part
> > of the dance seems to be causing problems for some of the dancers I
> > may change the words I'm using in order to, hopefully, help them out.
>
> Does anyone have evidence that dancers pay attention to the caller after
> the first few iterations?  I certainly don't, and my limited experience as
> a caller indicates that few do (if any).
> --
> Hugs and backrubs -- I break Rule 6
> http://rule6.info/
>                       <*>           <*>           <*>
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