I concur with Jerome's point. The ability to "read the room" is the the
primary skill that gets a caller rebooked frequently at my local dance
(Glen Echo).

Greg

On Wed, Jan 22, 2025 at 11:15 AM Jerome Grisanti via Contra Callers <
[email protected]> wrote:

> Regardless of the value of encouraging dancers to develop the musical
> discernment needed to recognize the eight-count phrases with the 16-count
> phrases, the caller needs considerable skills and experience to teach
> material that's unusual to any particular dance community.*
>
> For example, I teach several squares in which the promenade ends with
> something other than wheeling 1/4 to face into the center (the habitual end
> of a square's promenade). It takes skill to anticipate the habitual
> behavior, warn dancers that they're going to deviate from that pattern, and
> then use words that dancers can interpret on the fly to execute the
> alternate pattern.
>
> These are things a new caller can be made aware of, but are probably best
> avoided as one is still learning the basics of teaching and cueing a dance.
>
> In other words, initial flight time for new callers is best used with
> familiar patterns so as to limit the variables. I'd encourage the new
> caller to try Baby Rose or another "glossary" sequence.
>
> * Standards vary between communities. Callers unfamiliar with a community
> must develop judgment about what calls the dancers can execute with one
> word, which need a bit of teaching, and which require more teaching or even
> workshopping. As well, the crowds vary from one evening to another within
> the same dance series.
>
> Jerome Grisanti
>
> On Wed, Jan 22, 2025, 10:35 AM John Sweeney via Contra Callers <
> [email protected]> wrote:
>
>> Hi Jeff,
>>
>>               It was just the first dance that came to mind.  I’m sure
>> there are lots of others.  To me the eight-beat sections are the most
>> important, since most moves are based on eight beats.  To get the dancers
>> to listen to the music and hear the eights seems an important skill to me.
>>
>>
>>
>>             Happy dancing,
>>
>>                    John
>>
>>
>>
>> John Sweeney, Dancer, England   [email protected] 01233 625 362 &
>> 07802 940 574
>>
>> http://www.contrafusion.co.uk for Dancing in Kent
>>
>>
>>
>>
>> *From:* Jeff Kaufman <[email protected]>
>> *Sent:* 22 January 2025 15:07
>> *To:* John Sweeney <[email protected]>
>> *Cc:* Contra Callers <[email protected]>
>> *Subject:* Re: [Callers] Re: Identify another dance?
>>
>>
>>
>> Hi John,
>>
>>
>>
>> Hexitation is an unusual formation (a "square" with four head couples and
>> two side couples).  While I haven't danced it, I'm guessing the caller
>> wouldn't drop out, in which case the issue with ending a swing halfway
>> through the B1 (or B2 in Hexitation's case) isn't a big concern.  Lots of
>> squares have short swings that end in the middle of the phrase, or in some
>> traditions are danced unphrased (where, then, ending in the middle of a
>> phrase isn't a meaningful concept).
>>
>>
>>
>> But I really disagree on this being a valuable thing to teach in a contra
>> dance context.  Swinging until the music tells you to stop (by ending the
>> 8-bar phrase) does much more to promote musicality.
>>
>>
>>
>> Jeff
>>
>>
>>
>>
>>
>> On Wed, Jan 22, 2025 at 4:21 AM John Sweeney via Contra Callers <
>> [email protected]> wrote:
>>
>> There are some excellent dances that have a swing which ends in the
>> middle of a phrase (Hexitation springs to mind straight away for me).  It
>> is a skill worth learning and helps teach the dancers about musicality.
>>
>>
>>
>> (Actually I wrote one yesterday, before I saw this discussion!) :-)
>>
>>
>>
>>             Happy dancing,
>>
>>                    John
>>
>>
>>
>> John Sweeney, Dancer, England   [email protected] 01233 625 362 &
>> 07802 940 574
>>
>> http://www.contrafusion.co.uk for Dancing in Kent
>>
>>
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