Re: [Callers] does this dance already exist?

[Dale Wilson via Callers]

The Partner Box the Gnat (across) at the end of A1 leaves partners facing
opposite directions (one up the hall,the other down).
One is looking at a new neighbor, the other is looking at the neighbor they
were just dancing with.  Who swings who?

This needs clarification.

Dale

On Sat, Sep 8, 2018 at 11:34 AM Jean Gibson-Gorrindo via Callers <
callers@lists.sharedweight.net> wrote:

> Hello Callers!  Around the breakfast table at Penelope Weinberger’s house
> this morning, while on tour with Cloud Ten, I came up with this dance.
> Wrote it with the Sam Bartlett tune Penelope’s Cruise (also written for
> Penelope Weinberger) in mind.   Wondering if it is already out there?
> Thanks for your input!
>
> Jean Gorrindo
>
> Breakfast at Penelope’s
> by Jean Gorrindo
> Contra/Improper/Easy-Int/Double Progression
>
> A1 ---
> (8) Partner R-Hand Balance; Square Thru (pull by Partner with Right,
> Neighbor Left)
> (8) Partner Balance & Box the Gnat
> A2 ---
> (16) Neighbor balance and swing
> B1 ---
> (8) Women allemande Right 1-1/2
> (8) Partner swing
> B2 ---
> (8) Long lines, forward and back
> (8) Women's Chain
> ___
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Re: [Callers] New 4x4 composition with a tunnel, and related questions

[Dale Wilson via Callers]

I called this sunday to a room full of experienced dancers.  The feedback
was positive.   It's not something I will call often, but I plan to keep it
as a "novelty" dance for the right circumstances.

Dale

On Tue, Aug 7, 2018 at 1:14 PM Luke Donforth via Callers <
callers@lists.sharedweight.net> wrote:

> In honor of John calling it before I had a chance to test it (and after
> checking in with him), I'm going to call this "The Brave Sir Sweeney".
>
> Hope other folks get to enjoy it.
>
> On Mon, Aug 6, 2018 at 6:51 PM, John Sweeney via Callers <
> callers@lists.sharedweight.net> wrote:
>
>> Hi Luke,
>>
>>   I called it tonight.  We had low numbers so I tested it
>> during the interval with some volunteers as a Four Couple Dance.  At the
>> end of the Partner Swing we just faced back to the same line.  Or changed
>> it from Head Lines to Side Lines if we wanted different people to go
>> through the arches.
>>
>>
>>
>>   I wanted all the Box the Gnats at the same time, so I did
>> Balance & Box the Gnat.  They may have been very slightly late getting
>> through the tunnel, so, to avoid the possibility of the Balance being late
>> or random, I changed the Balance & Swing to Dosido & Swing which worked
>> fine.
>>
>>
>>
>>   I indicated who should go through the tunnel first via a
>> geographic reference: pick a feature of the room and let people know that
>> you are going to use it.  I called “Window People Tunnel” – that worked
>> well.
>>
>>
>>
>>   We had lots of room, so the first swing tended to end up
>> with the set as a square, which meant that the four steps into the middle
>> were fine, but with less room the “Head Couples” might not have very far to
>> travel, but I don’t think it would be a problem.
>>
>>
>>
>>   The dancers said that they liked it.  I will definitely use
>> it again.
>>
>>
>>
>>   Does it have a name?
>>
>>
>>
>>   Thanks.
>>
>>
>>
>> Happy dancing,
>>
>>John
>>
>>
>>
>> John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 &
>> 07802 940 574
>>
>> http://www.modernjive.com for Modern Jive Events
>> & DVDs
>>
>> http://www.contrafusion.co.uk for Dancing in Kent
>>
>>
>>
>>
>> *From:* Callers  *On Behalf Of *Luke
>> Donforth via Callers
>> *Sent:* 02 August 2018 19:36
>> *To:* callers@lists.sharedweight.net
>> *Subject:* [Callers] New 4x4 composition with a tunnel, and related
>> questions
>>
>>
>>
>> Hello all,
>>
>>
>>
>> I've had an idea for a 4 facing 4 dance rattling around, and it seems
>> unlikely I'll have enough dancers to house-party it anytime soon, so I'd
>> appreciate feedback on an untested dance.
>>
>>
>>
>> 4 facing 4 contra
>>
>> A1
>>
>> (4) Lines of 4 go forward, take right hand with the one in front of you
>>
>> (4) box the gnat, keep and lift right hand to make a tunnel
>>
>> (4) couple at stage right side of line of couples duck through to far side
>>
>> (4) couple that was at stage left side of line of couples duck through to
>> far side
>>
>> A2
>>
>> (16) Initial corner balance and swing
>>
>> (end couples, it's the one they tunneled with, middle folks it's their
>> trail buddy)
>>
>> B1
>>
>> (4) All 8 go into the middle
>>
>> (4) On the way out, gents roll the one they swung with away with a half
>> sashay
>>
>> (8) Gents right hand star ~1x (ladies adjust position as needed, stepping
>> a little to left)
>>
>> B2
>>
>> (16) Partner balance and swing, end facing new couple
>>
>>
>>
>> Questions for those so inclined:
>>
>> Would you be interested in dancing and/or calling this dance? Why, or why
>> not?
>>
>>
>>
>> The inspiration for the tunnel came from "plow the row", a (to my
>> knowledge) traditional square (at least, it's traditional enough to have
>> lots of variations). Anyone know of a tunnel figure in a 4x4 contra?
>>
>>
>>
>> In the B1, I wrote it as the gents roll the ladies, and the gents star.
>> It could instead be the ladies roll the gents and ladies star. Preferences?
>>
>>
>>
>> There are two places where what would normally be "balance+move" have
>> been replaced with "in to the middle+move"; is the four steps forward
>> before the box the gnat and the roll away going to throw folks?
>>
>>
>>
>> How would you prompt the couples on the end going through the tunnel so
>> that there's only one couple in the tunnel at a time? Or would you prompt
>> it as both going through and let them figure it out inside the tunnel?
>>
>>
>>
>> Thanks for feedback.
>>
>>
>>
>> --
>>
>> Luke Donforth
>> luke.donfo...@gmail.com 
>>
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>>
>>
>
>
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> luke.donfo...@gmail.com 
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> 

Re: [Callers] Fwd: Glossary dances with promenade, no chain/RL through?

[Dale Wilson via Callers]

This is my "I'm only calling one dance for non-dancers" dance:

*Title:*
*Author:*
*Formation:*
*Difficulty:*
*Music:* *HCD Dancefest Reel*
Christine Hale
Improper
Easy

*A1* (8) Balance ring; ladies trade places
(8) Balance ring; gents trade places
*A2* (8) Circle left
(8) Neighbor swing; face across
*B1* (8) Circle left 3/4; partner swing
*B2* (8) Long lines forward and back
(8) Balance & gents trade places
(Turn your back on this neighbor and see the next)


>
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Re: [Callers] Nerdy dances

[Dale Wilson via Callers]

On Wed, Feb 7, 2018 at 8:58 AM, Ron Blechner via Callers <
callers@lists.sharedweight.net> wrote:

> I'm looking for dances with nerdy inspirations to add a few more choices
> to an upcoming session. Skill level easy through intermediate+.
>

​This one was inspired by Seth Tepfer's dance in one of the Mockingjay
movies​:

To Call a Mockingjay by Dale Wilson, (2016)

Contra Improper

A1: Neighbor do-si-do & Swing

A2: Gents Allemande Left 1 ½;

   Partner Swing

B1: Ring Balance, Petronella twirl (with a clap)

  Ring Balance Petronella (no clap)

B2: Star Left;

   Ladies Chain

Teaching notes:

B1: Encourage the dancers to clap on the first Petronella (they will
anyway), then strongly suggest that they skip the clap on the second one so
it will flow right into the star.  Some of them will clap anyway because
they can't help themselves, but most of them like the flow.

B2: As they end the star, tell ladies to reach their free right hands
across the star to each other, then tell them it's a ladies chain to their
neighbors.


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Re: [Callers] Looking for "fun" dances

[Dale Wilson via Callers]

I'll second "Happy as a Cold Pig..." but you have to call it to the right
crowd.  You need people who won't get upset when "everything went wrong but
I still found my partner."  You'll see six people stars, three people
stars,  one person stars! but everyone will be smiling.

Dale

On Sat, Feb 3, 2018 at 9:45 AM, Jack Mitchell via Callers <
callers@lists.sharedweight.net> wrote:

> I really love “Happy as a Cold Pig in Warm Mud by Mike Borshig
>
> Not obviously silly, but much more fun if the dancers allow themselves to
> be silly
>
>
> A1 N B
> A2 gents Alle L 1.5
>   P alle r 1.5 (end facing up / down, partners facing in opposite
> directions)
> B1   Walk forward, make a Left Hand Star (in theory with N, Shadow and one
> other person)
> LHS 1x
> P Sw
> B2Circle L 3/4
>  Ring Balance, CA Twirl
>
> This dance is best when people don't take it too seriously.  Secret is not
> to worry about whether you went the right way for the star -- turn a star
> all the way around and you'll get back to your partner.  Also works if you
> and partner both go the same way (and make a 5 person star).  Challenge
> dancers to make stars with more people.  Come down off the stage and jump
> into the stars yourself.  :-)
>
> J
>
>
> On Thu, Feb 1, 2018 at 1:30 PM Robert Green via Callers <
> callers@lists.sharedweight.net> wrote:
>
>> Here is a photo of The Wheel from the original Dizzy Dances
>>
>> Sent from my iPad
>>
>> On Feb 1, 2018, at 9:27 AM, Bill Olson via Callers <
>> callers@lists.sharedweight.net> wrote:
>>
>> Rick and Mac and all, I also tried various "fixes" like promenading
>> clockwise but like a lot of  times I have tried to "fix" a dance, it gets
>> clunky and I end up going back to the original. Since the "Wheel" is the
>> most fun with a hall packed with dancers, I have settled on calling it only
>> for large crowds when the original "circle up" has the dancers pretty much
>> pushed up against the walls. Then when they get in promenade position, that
>> all loosens up but during the circle lefts the women's arms are saved.
>>
>>
>> bill
>>
>>
>> --
>> *From:* Callers  on behalf of
>> Rick Mohr via Callers 
>> *Sent:* Thursday, February 1, 2018 1:11 PM
>> *To:* callers@lists.sharedweight.net
>> *Subject:* Re: [Callers] Looking for "fun" dances
>>
>> "The Wheel" has been a favorite of mine since 1994. Around here some call
>> it "Wheel of Misfortune" -- hilarious! (i.e. who will the fates deliver
>> unto you for a swing?)
>>
>> I could never find it in my Gene Hubert books -- apparently because it
>> was published in his first collection "Dizzy Dances" (
>> https://www.ibiblio.org/contradance/index/DD1.txt
>> 
>> ) which I don't have. I never thought that was a problem, since "Dizzy
>> Dances II" is subtitled "Featuring the best of Volume 1 plus...". But now I
>> wonder how many other great dances that Gene didn't consider "the best" are
>> hiding in that book!
>>
>> I've also long struggled with the "women's arms pulled out of their
>> sockets" problem, and tried a couple fixes that failed spectacularly.
>> Mac, your solution looks brilliant and I'm excited to try it!
>>
>> Rick
>>
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> --
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> Durham, NC
>
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Re: [Callers] Equalizer

[Dale Wilson via Callers]

I have a similar problem.   Our sound people are very good at coping with
it, though.   One thing I know they do is use a Shure Beta58 mic for me
rather than the one they normally use as a caller mic.

Dale

On Sun, Jan 28, 2018 at 7:27 PM, Bob Peterson via Callers <
callers@lists.sharedweight.net> wrote:

> I have another sound equipment question. My natural voice comes out
> muffled and bassy at the back of the hall unless I make a concerted effort
> to raise my pitch and project from the diaphragm. I am also paying more
> attention to my mic position. All these are good things to do anyway, but
> it migh help in the few situations where the sound equipment is limited to
> bring my own inline equalizer or mic preamp. The idea would be to
> preprocess my mic before feeding the signal to the powered speaker or mixer
> the hall is using.
>
> So far all I can find are $99 mixer units with only a high and low band.
> Actual mic preamps cost more. Is there anything under $100 to clarify my
> tone?
>
> Does anyone else do this?
>
> \Bob Peterson
> Billerica, MA
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Re: [Callers] Etiquette of refusing an offer to dance

[Dale Wilson via Callers]

Great discussion.  I'm chiming in late, but my $0.02.

"No thank you.  Maybe later." means you have some reason not to dance this
particular dance with this person, but would be open to future offers.
"No thank you." with a friendly smile is similar but less explicit.

The above should cover 99% of the cases!

"No thank you." without a smile and turning away immediately, is a vague
way of saying, "Please don't ask again."  Some people will get the
message.  Many won't because the "thank you" diffuses the message.
"No" without a smile and with an immediate turn may be more effective, but
is still vague.
"No. Please don't ask again." is a kind and polite response when you have a
reason never to dance with a person.  It tells the person where they stand,
and avoids expectations that might lead to future invitations.

Even kinder is, "No, I don't feel (safe|comfortable|whatever) dancing with
you."  It lets the person know unambiguously that there is a problem and
indicates that you might be willing to elaborate.
This leaves open the possibility that the person might ask questions and
learn.
Unfortunately, it also leaves open the possibility that the person will ask
questions as another way to force unwanted attention on you.

In my intro lessons I say something like:

"Feel free to ask anyone to dance.
You will find that most experienced dancers will be pleased to dance with
you.
However, if someone turns down your request, don't be offended.  There are
many reasons why they may not be available right now.
If someone you don't know invites you to dance, be open to the idea that
you may be about to make a new friend.
However, you should also feel free to decline to dance with or without
explaining if you need a rest, or have a partner for the next dance, or if
you aren't comfortable dancing with the person who asked."

Although I have occasionally heard of the "rule" that started this thread,
I don't feel that people should ever be penalized for declining an offer to
dance.

Dale

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Re: [Callers] "pick her up"

[Dale Wilson via Callers]

If the dancers do the right thing (and have fun) when I say the words then
I'm calling it correctly.
If the dancers are confused or not having fun, then I am not calling it
correctly.
If I can use fewer words to call it correctly then I try to do so.

Sometimes my words are directed to the active couples, sometimes to the
inactives, sometimes to the gents, sometimes to the ladies, and of course
sometimes they apply to everybody.
Always they are intended to help the dancers enjoy themselves.

Getting back to the original question.

If I were to call "pick up your neighbor" and I observed the people
standing still somehow trying to "pick up" the person passing by in the
allemande, then I would change the words I use.  Until then, I use the
words that I "always" use and that the experienced dancers are used to
hearing.

And as for "courtesy turn", those two words are sufficient.  There is no
need  (and usually no time) to mention that one dancer is the turner and
the other the turnee.

Dale




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Re: [Callers] Put Your Red Hand In

[Dale Wilson via Callers]

Great idea. What did you call the other hand?

Dale

On Nov 9, 2017 8:52 PM, "David Harding via Callers" <
callers@lists.sharedweight.net> wrote:

> This evening I mentioned the brilliant idea to my Tai Ji instructor.  She
> loved it and plans to try it with her senior classes, where some of the
> participants can get a little confused.  This will be especially useful for
> her, since she sometimes has trouble with left and right herself.
>
> David
>
> On 11/6/2017 6:19 PM, Rich Sbardella via Callers wrote:
>
> I had a Girl Scout Dance coming up Sunday and I was thinking how I would
> get 150 six to nine year old girls to know which hand was right and which
> hand is left.  On the way to my contra calling gig on Saturday, the thought
> arose that right hand sounds very close to red hand.  On the way to the
> Scout Dance, I stopped and purchased scissors and some red ribbon (the
> store did not carry yarn) and asked that the leaders tie a red ribbon
> bracelet around each scout as they entered the hall.  When I called dances
> with arm turns I called, "Turn your partner with your red hand, change
> hands, other way back."  It worked so well that I know I will do it again.
>
> I thought I would share this trick, and then ask if anyone has useful
> methods when working with only children.  Please share some trade secrets.
>
> Rich Sbardella
> Stafford, CT
>
>
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Re: [Callers] New Dance?

[Dale Wilson via Callers]

Don said:  Privately I call them stub-toe stars

If this were Facebook I'd be clicking on that Laughing Out Loud icon.
This s the only move in contra where I actually lost a partner.  She was
walking backward and tripped over the person behind her and they both went
down,.

Dale  (who is slightly sorry for diverting this thread.)

On Mon, Oct 2, 2017 at 1:12 PM, Don Veino via Callers <
callers@lists.sharedweight.net> wrote:

> Privately I call them stub-toe stars & in public I use Wavy Star.
>
> -Don
>
> On Oct 2, 2017 2:03 PM, "Angela DeCarlis via Callers" <
> callers@lists.sharedweight.net> wrote:
>
>> Hey y'all!
>>
>> After a lovely weekend of both Contra and English at Youth Dance Weekend,
>> I had an itch for programming some English-inspired choreography at BIDA
>> last night. Since I didn't have a dance with the figures I wanted, I
>> whipped one together on the drive home, tested it in the driveway, and
>> debuted it last night. Success!
>>
>> Now the question, of course, is whether or not someone already wrote it!
>>
>> -===-
>>
>> Amble On East
>> Becket CCW
>>
>> A1: Long Lines Forward & Back
>>   Ladies Chain Across (to Neighbor)
>> A2: Ladies Dosido 1x
>>   Neighbor Swing
>> B1: Give & Take, Gents draw Partner into 1/2 Poussette CCW
>>   With NEXT, Gypsy Star* 3/4 (Ladies backing up)
>> B2: Partner (Long) Swing
>>
>> -===-
>>
>> *Do we have a new name for this figure yet? I called it Gypsy Star in the
>> walkthrough once or twice before realizing I should maybe figure something
>> else out, and the phrase "Special Star" actually escaped my mouth, to the
>> absolute delight of some of the dancers.  During the dance itself, I just
>> called "Star."
>>
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Re: [Callers] Contra Dances with Modern Western Square Dance Figures

[Dale Wilson via Callers]

Thanks, Mac,
Rather than making a copy of Gold Star Wednesday on the list, I'll point to
the website where you can find it including my teaching notes:

http://childgrove.org/index.php/people/dance-writers/dale-wilson-dances

Dale

On Sat, Sep 23, 2017 at 12:12 PM, Mac Mckeever  wrote:

> Highly recommend Dale Wilson's Gold Star Wednesday - I added Dale to this
> reply and he can fill you in on a teaching secret.  It contains the star
> inversion that comes from square dancing.
>
> Also Rang Tang Contra by Ridge Kennedy comes to mind - it uses the Georgia
> Rang Tang figure.
>
> Kath Anderson's Deep Well uses a figure she saw clogers performing - does
> that count?
>
> Mac Mckeever
>
> On Saturday, September 23, 2017, 12:05:24 PM CDT, Mark Hillegonds via
> Callers  wrote:
>
>
> Hi all,
>
> I'm preparing for a workshop at a dance weekend in November where the
> theme will be contra dances that incorporate square dance moves.
>
> I have a number dances with square thrus and swing thrus and box
> circulates. However, these moves are fairly well known at this point. This
> will be an advanced group of dancers so I'm looking for dances that
> incorporate more unique and sophisicated moves.
>
> I know Bob Isaacs has several that quality, with dances that use Spin the
> Top and Spin Chain Exchange the Gears.
>
> Looking forward to seeing what you may have.
>
> --
> *Mark Hillegonds*
>
> Cell:  734-756-8441 <(734)%20756-8441>
> Email:  mark.hillego...@gmail.com
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Re: [Callers] Difficult dancers - Decision to ask not to return

[Dale Wilson via Callers]

It's not about being the best dancers, or putting on the best show.  For
that, go watch "Dancing With the Stars" or better yet a performance by your
local ballet troupe   It's about a community getting together to enjoy each
others company.  Dancing happens along the way.  Tolerance should happen,
too.

   - So being a "poor" dancer (whatever the cause) is never a reason to ask
   someone to leave -- although it may prompt some very careful, very friendly
   advice, to try to help the person improve.


   - Being a "dangerous" dancer should trigger a stronger response.  Make
   the person aware that certain activities are unacceptable (for example at
   our dances lifting a partner off the ground is forbidden) and other
   activities frowned upon (for example forcing a partner to go beyond their
   abilities or desires.)

Even then the response should not be to ban the offender.  Just to educate
them firmly and stop the problem behavior.Of course if the problem
doesn't stop further action may be necessary, but still it is unlikely to
require a ban.


   - Having unfortunate personal habits (two much perfume, too little
   bathing, or showing up chemically impaired) should also trigger a firm, but
   kindly-intended response.

The most serious case is a "predatory" dancer who takes advantage of
other's weaknesses.  A dancer who sees the occasion as a meat market or an
opportunity to "get a little."  A dancer who uses the occasion to
intimidate or harrass other dancers.  For those cases, a ban may be the
appropriate response.  Fortunately these cases seem to be rare.

Dale

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naming things, and off-by-one errors.

Re: [Callers] Pre-existing dance?

[Dale Wilson via Callers]

On Tue, Oct 18, 2016 at 1:59 PM, Neal Schlein via Callers <
callers@lists.sharedweight.net> wrote:

> So please...if you came up with a dance put your name on it along with
> some of the details---and then tell me who else came up with it, too.
> Don't just stick their name on it.
>
> ​An interesting take on this issue, and one that I like very much.
Certain "glossary" dances appear over and over an that, in itself, is an
interesting bit of knowledge.

Dale​

Re: [Callers] Fewer than 6 dancers - Ideas?

[Dale Wilson via Callers]

We have something we call the "calling party progression" because we
sometimes try out new dances with only four people present (or four + a
caller).

We form one set with "Up" being "North" (for example).   At the end of the
dance we progress by changing "Up" to be "East." and turning to face the
new direction.  This swaps neighbors for partners, but everyone ends up
standing in the right place  (although not facing the right direction until
after the turn) for the next time through the dance.

I'm not sure how well this would work with inexperienced dancers, though
(and it certainly doesn't work with out-of-set dances, diagonal chains,
etc.) but for a lot of dances its actually quite fun.

Dale


On Tue, Oct 4, 2016 at 2:09 PM, QuiAnn2 via Callers <
callers@lists.sharedweight.net> wrote:

> I recently called at a contra dance where we had exactly 6 dancers for
> almost the entire evening (one joined us later but only occasionally
> danced). This was unexpected as they usually have attendance in the 12-20
> range. I was able to piece together a night of mixers, triplets, and
> oddball dances to make it work and the dancers were game for anything so it
> ended up being a fun night. But it got me thinking about what to do if only
> 4 dancers came to a dance (meaning even if I jumped in, we would only have
> 5 total dancers). In order to be better prepared for next time, I have a
> couple of questions.
>
> 1) Do you have any dances you can share that would work for 4 or 5
> dancers? Or also dances for 6 dancers that are not triplets (have plenty of
> triplets). I have already collected Do-Si-3 and Haste to the Divorce, both
> of which I modified so that they would not progress.
> 2) Could a whole evening (3 hours) of dance be put together for just 4-5
> dancers?
> 3) What preparation can be done by me in advance to help with this
> situation? It’s possible to talk with the organizer in advance about
> canceling the dance if only 4 or 5 dancers show up, however, this
> particular dance is a 75 minute drive one-way and I’d prefer to avoid the
> round trip if there won’t be enough dancers. For various reasons, any dance
> promoting that I do myself would be largely ineffective for this particular
> dance.
>
> Would love to hear about any ideas you can share. Thanks!
>
> Jacqui Grennan
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>



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There are only two hard things in computer science: cache invalidation,
naming things, and off-by-one errors.

Re: [Callers] headset mics

[Dale Wilson via Callers]

​Hi Jill,
Does you​r Sennheiser headset have a non-standard connector (one that
screws into the transmitter/receiver?)   It's nice that mine stays plugged
in, but it was a real pain when a wire broke in the cable and I had to do
major surgery rather than simply replacing it with a standard connector.

Dale

On Wed, Sep 7, 2016 at 2:50 PM, jill allen via Callers <
callers@lists.sharedweight.net> wrote:

> Regarding the Sennheiser:
>
> Headpiece:  ME3-ew
> Belt pack and receiver:  ew 100 G3
>
> I like the headpiece because it stays in place, the sound quality of the
> system is excellent and I have never had a problem with it in 8 -10 years.
>
> Also, I recently purchased a "Compact Powered PA System" by the name of
> SRM 150.  It weighs  maybe 10 pounds, I can lift it with one finger, and
> the one speaker sounds great and fills a big room.
>
> Jill
>
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>



-- 
Turn Observation into Data. Turn Data into Information
. Turn Information into
Knowledge. Turn Knowledge into Wisdom. Turn Wisdom into Beauty. Turn Beauty
into Love .

Re: [Callers] tips for teaching dancing the "other" role?

[Dale Wilson via Callers]

Exactly, it's the hand that confuses me.
On Jul 6, 2016 1:40 PM, "Alexandra Deis-Lauby" <adeisla...@gmail.com> wrote:

> Left hand?
>
> On Wed, Jul 6, 2016 at 1:56 PM, Dale Wilson via Callers <
> callers@lists.sharedweight.net> wrote:
>
>> When I'm dancing the lady's role the only thing I consciously think about
>> is putting my right and on the Gent's shoulder as we start to swing.  If I
>> get that right, everything else seems natural (to me).
>>
>> Dale
>>
>> On Tue, Jul 5, 2016 at 9:13 PM, tavi merrill via Callers <
>> callers@lists.sharedweight.net> wrote:
>>
>>> Regarding swing position: With good frame, differences between the roles
>>> in giving weight are slight. But not all dancers are accustomed to good
>>> frame.
>>>
>>> I find a mirrored ballroom hold (both dancers have right hand on the
>>> other's shoulder blade, left hand on the other's shoulder) offers several
>>> advantages:
>>>- In general, it's a good hold for dancers to know as it saves
>>> space in crowded halls.
>>>- It facilitates spinning out from a swing, useful when dancers
>>> encounter "string of swings" choreography
>>>- It allows both dancers to experience both sides of good frame
>>> The one challenge is that dancers need to remember which side they are
>>> ending the swing on, as it removes "pointer hands" from the equation.
>>>
>>> This a bit of a tangent, but related to the chain: If we just called
>>> gents chains (by either hand! the courtesy turn for a left-hand chain isn't
>>> REALLY that complicated, folks) more often, role differences WRT chain
>>> would be a moot issue, and both roles would be better equipped to
>>> understand/offer/ask/decline flourishes. All for the effort of teaching one
>>> move well, one move that's out there in good choreography waiting to be
>>> used.
>>>
>>> Susan, I'm assuming this workshop is at a gender-free series, but geared
>>> to encourage attendance by dancers who aren't yet accustomed to gender-free
>>> dance? Having danced both roles widely and called a bit of gender-free, I'd
>>> be happy to chat by phone or IM. Feel free to ping me on facebook - Tavi
>>> Merrill
>>>
>>>
>>>
>>> On 7/5/2016 11:32 AM, Susan Pleck via Callers wrote:
>>>> > Hi folks,
>>>> >
>>>> > I'm to lead a workshop/extended intro lesson at a local dance this
>>>> > Saturday on gender-free dancing/dancing the "other" role/switching
>>>> > roles.  Not having done this before, I'd appreciate any thoughts or
>>>> > advice about what this should include.  For the gender-free aspect,
>>>> > I'm not sure there's much to discuss, really; ir'd be more just giving
>>>> > dancers a chance to practice responding to different terms.  For
>>>> > dancing the other role, though, what points of emphasis do you think
>>>> > would be most useful?  Two that come to mind are swing
>>>> > positioning/giving weight, and figures such as a chain where the
>>>> > actions of the two roles are different.
>>>>
>>>>
>>> ___
>>> Callers mailing list
>>> Callers@lists.sharedweight.net
>>> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>>>
>>>
>>
>>
>> --
>> Turn Observation into Data. Turn Data into Information
>> <http://en.wikiquote.org/wiki/Information>. Turn Information into
>> Knowledge. Turn Knowledge into Wisdom. Turn Wisdom into Beauty. Turn Beauty
>> into Love .
>>
>> ___
>> Callers mailing list
>> Callers@lists.sharedweight.net
>> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>>
>>
>

Re: [Callers] tips for teaching dancing the "other" role?

[Dale Wilson via Callers]

When I'm dancing the lady's role the only thing I consciously think about
is putting my right and on the Gent's shoulder as we start to swing.  If I
get that right, everything else seems natural (to me).

Dale

On Tue, Jul 5, 2016 at 9:13 PM, tavi merrill via Callers <
callers@lists.sharedweight.net> wrote:

> Regarding swing position: With good frame, differences between the roles
> in giving weight are slight. But not all dancers are accustomed to good
> frame.
>
> I find a mirrored ballroom hold (both dancers have right hand on the
> other's shoulder blade, left hand on the other's shoulder) offers several
> advantages:
>- In general, it's a good hold for dancers to know as it saves
> space in crowded halls.
>- It facilitates spinning out from a swing, useful when dancers
> encounter "string of swings" choreography
>- It allows both dancers to experience both sides of good frame
> The one challenge is that dancers need to remember which side they are
> ending the swing on, as it removes "pointer hands" from the equation.
>
> This a bit of a tangent, but related to the chain: If we just called gents
> chains (by either hand! the courtesy turn for a left-hand chain isn't
> REALLY that complicated, folks) more often, role differences WRT chain
> would be a moot issue, and both roles would be better equipped to
> understand/offer/ask/decline flourishes. All for the effort of teaching one
> move well, one move that's out there in good choreography waiting to be
> used.
>
> Susan, I'm assuming this workshop is at a gender-free series, but geared
> to encourage attendance by dancers who aren't yet accustomed to gender-free
> dance? Having danced both roles widely and called a bit of gender-free, I'd
> be happy to chat by phone or IM. Feel free to ping me on facebook - Tavi
> Merrill
>
>
>
> On 7/5/2016 11:32 AM, Susan Pleck via Callers wrote:
>> > Hi folks,
>> >
>> > I'm to lead a workshop/extended intro lesson at a local dance this
>> > Saturday on gender-free dancing/dancing the "other" role/switching
>> > roles.  Not having done this before, I'd appreciate any thoughts or
>> > advice about what this should include.  For the gender-free aspect,
>> > I'm not sure there's much to discuss, really; ir'd be more just giving
>> > dancers a chance to practice responding to different terms.  For
>> > dancing the other role, though, what points of emphasis do you think
>> > would be most useful?  Two that come to mind are swing
>> > positioning/giving weight, and figures such as a chain where the
>> > actions of the two roles are different.
>>
>>
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
>


-- 
Turn Observation into Data. Turn Data into Information
. Turn Information into
Knowledge. Turn Knowledge into Wisdom. Turn Wisdom into Beauty. Turn Beauty
into Love .

Re: [Callers] Organizing open calling

[Dale Wilson via Callers]

Hi Chet,

Here in Saint Louis we have a monthly dance called "Callers' Choice"  We
use it as an opportunity to try new dances (either new to the caller or
newly written); to let new callers "get their feet wet" by calling to real
dancers in a friendly environment (After a while calling a dance to salt
and pepper shakers loses its charm); and to just mess around in general.

Almost always we have someone coordinating the evening (every now an then
no one volunteers and we wing it -- with mixed results.)  People who want
to call send their dances to the coordinator usually by Wednesday before
the Saturday dance) and the coordinator tries to organize a coherent
program using these dances.  This is also good practice for new callers who
need to learn to think about the entire evening rather than thinking about
single dances.

This has worked very well for us over the years, and we often hear from
dancers that Callers's Choice is "the most fun of any of the dances."
 That's probably because the dancers feel invested in making things work
--- particularly with new callers -- and we can all laugh together at the
occasional mishaps.

Speaking of mishaps I had one recently where I was scheduled to call two
dances.  The one I tried in the first half didn't work at all, so I ditched
it and went with Plan B (the other dance).  Then in the second half I got
up and said -- "I figured out what was wrong and we're going to try again."
  The response from crowd was amazingly positive (and the dance worked)

Dale

BTW although we normally pay our callers for Saint Louis dances, we don't
pay the callers at Callers' Choice.  We do pay the band (mostly.)




On Mon, May 23, 2016 at 1:04 PM, Chet Gray via Callers <
callers@lists.sharedweight.net> wrote:

> Hello, all,
>
> After losing monthly open-calling evenings to venue schedule conflicts
> last year, the local contra group where I live (Louisville, KY) are
> re-implementing them on 5th-week dances (so, about four or so times a
> year). I am "organizing caller" for the first of these, next Monday, and
> I'm wondering if any of y'all have advice on coordinating an evening of
> open-calling.
>
> The extent of organization for our previous open-calling dances had been,
> essentially, callers put their name on a list and everyone hopes it works
> out, and, while this was usually serendipitous fun, it often led to
> long-running dances (both individually and for the evening overall) and
> less-than-enjoyable experiences for newer dancers. When our board was
> discussing re-starting open calling, I had recently been at the Jan Jam
> (Champaign/Urbana, IL) after party, where Lauren Peckman had coordinated
> open calling, and where I'd had the best open-calling experience—as both a
> dancer and a caller—I'd ever encountered. I suggested to our board that,
> this time around, the evenings each have an "organizing caller" to help
> ensure overall program flow, coordinate callers/dances with an eye to
> complexity/energy/time, incorporate and assist novice callers, wrangle
> callers if need be for time limits, fill in gaps in the program, have
> back-pocket dances at the ready, etc.
>
> Lo, they asked me to take a go at coordinating. Suggest a change, be the
> change, I suppose. ^_^
>
> The open calling has been announced at our weekly dances leading up, and
> tonight (a week before) I'll be asking (but not requiring) prospective
> callers to talk to me to help me get an idea for how I can best help the
> evening flow.
>
> Any suggestions/anecdotes/warnings from my more-experienced fellows would
> be greatly appreciated.
>
> — Chet Gray
>
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
>


-- 
Turn Observation into Data. Turn Data into Information
. Turn Information into
Knowledge. Turn Knowledge into Wisdom. Turn Wisdom into Beauty. Turn Beauty
into Love .

Re: [Callers] Challenging Contras

[Dale Wilson via Callers]

One of my favorites, but it not easy to teach is *There is No Way To Peace;
Peace is the Way* by Erik Hoffman:

http://www.erikhoffman.com/peace.html

And, although *I* don't think it's hard, this dance has two new moves:

*Gold Star Wednesday **by Dale Wilson, (2012)*


*...because good days deserve gold stars, and Wednesday was a great
Day!**Contra
improper*

*A1 * Neighbor Balance & Swing
*A2* Right hand star 3 places; Invert the star(see the note below)
  Left hand star
*B1 *Gents loop right around neighbor (behind) then cross. Meet partner
  Ladies follow gent’s path around the loop but don’t cross.  Meet
Partner.
  Partner Swing
*B2 *Circle left 3 places; Circle Balance; California Twirl


*Notes *  Identify Gent's Home place before start of dance.
Both stars end with the gent in his home place.

Invert the star means:
  Gents reach across their body (over the old star) with their free
(left) hand
to their neighbor who is behind them.  Ladies take gent's hand with
their free (left) hand.
  Let go of the original star.  Make an arch.
  Gents step back slightly to allow ladies to step thru the arch.
   Joined left hands come down into LH Star.

On Fri, Apr 8, 2016 at 1:31 PM, Bradley Smith via Callers <
callers@lists.sharedweight.net> wrote:

> Hello all! I'll be calling a session of challenging contras at a dance
> weekend next month, and find myself lacking in the aforementioned
> challenging contras. I want to keep the session balanced, with a mix of
> dances that are mind-bending or heavily technical as well as some dances
> that are a step or so below that but that still have something interesting
> or unique. Would any of you be so kind as to share some of your favorite
> challenging dances? Thank you in advance!
>
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
>


-- 
Turn Observation into Data. Turn Data into Information
. Turn Information into
Knowledge. Turn Knowledge into Wisdom. Turn Wisdom into Beauty. Turn Beauty
into Love .

Re: [Callers] How to Describe a Ricochet Hey

[Dale Wilson via Callers]

Replace "I spending" with "I spend"
Guideline 6: proofread your messages before you send them.

On Thu, Jun 18, 2015 at 8:43 AM, Dale Wilson  wrote:

> And since I'm on the subject.  I spending a lot of time thinking about how
> to teach dance moves during a workshop and during a walk-thru (they are
> different.)
>
> A couple guidelines:
>
> 1: Make it concrete.   "Gents look at each other."  That's concrete. Look
> at the place your neighbor is standing -- that's concrete (ish) Imagine a
> slice of pizza.  Nope.
> 2) Avoid analogies like the plague (you are thinking of a swarm of
> locusts, but I meant a rat-borne bacterial infection)   Ricochet hey is
> just like a slice of pizza as long as the pizza is six feet in diameter and
> sliced in fourths rather than sixths or eights.
> 3) Try to serve up the teaching in bite-sized chunks (ooh--an analogy).
> Teach half a hey, not a full hey, first, then put two of them together once
> they've made it through the simpler version.
> 4) If you've got an unusual mental model of a particular move that really
> helps you get the feel for it --- FORGET IT!   I once watched a caller try
> to teach a swing by explaining that it's playing air-guitar while riding a
> skateboard [I am not making this up!]  Needless to say the new dancers were
> confused.
> 5) Don't teach advanced techniques to new dancers.  Forget the buzz step.
> Forget the twirls. Teach the simplest moves that get the dancer from point
> A to point B facing the correct direction.   Other dancers will take care
> of adding the refinements (give's them a chance to show off (er... I mean
> be helpful))
>
> Dale
> ​
>



-- 
Turn Observation into Data. Turn Data into Information
. Turn Information into
Knowledge. Turn Knowledge into Wisdom. Turn Wisdom into Beauty. Turn Beauty
into Love .

Re: [Callers] How to Describe a Ricochet Hey

[Dale Wilson via Callers]

And since I'm on the subject.  I spending a lot of time thinking about how
to teach dance moves during a workshop and during a walk-thru (they are
different.)

A couple guidelines:

1: Make it concrete.   "Gents look at each other."  That's concrete. Look
at the place your neighbor is standing -- that's concrete (ish) Imagine a
slice of pizza.  Nope.
2) Avoid analogies like the plague (you are thinking of a swarm of locusts,
but I meant a rat-borne bacterial infection)   Ricochet hey is just like a
slice of pizza as long as the pizza is six feet in diameter and sliced in
fourths rather than sixths or eights.
3) Try to serve up the teaching in bite-sized chunks (ooh--an analogy).
Teach half a hey, not a full hey, first, then put two of them together once
they've made it through the simpler version.
4) If you've got an unusual mental model of a particular move that really
helps you get the feel for it --- FORGET IT!   I once watched a caller try
to teach a swing by explaining that it's playing air-guitar while riding a
skateboard [I am not making this up!]  Needless to say the new dancers were
confused.
5) Don't teach advanced techniques to new dancers.  Forget the buzz step.
Forget the twirls. Teach the simplest moves that get the dancer from point
A to point B facing the correct direction.   Other dancers will take care
of adding the refinements (give's them a chance to show off (er... I mean
be helpful))

Dale
​