Re: [Callers] [Organizers] contra dance gypsy

[Don Veino via Callers]

We're fortunate that the Town of Concord municipal parking near the Scout
House recently put in charging stations (though we had nothing to do with
the project). https://concordma.gov/2342/EV-Charging-Stations-Map

On Wed, Oct 9, 2019 at 6:33 PM Richard Hart via Callers <
callers@lists.sharedweight.net> wrote:

> A question for the group on dance transportation. Has any dance
> organization tried to get an auto charging station or stations installed at
> or near dance locations?
>
> Rich.
>
> Sent from my iPhone
>
> On Oct 8, 2019, at 9:16 AM, Isaac Banner via Callers <
> callers@lists.sharedweight.net> wrote:
>
> Hey Jeff,
>
> Not **us** non-roma folk, thank you. My family on my mother's side were a
> part of the culture and none of us appreciate the folks telling us not to
> worry and that we don't need to be offended.
>
> Isaav
>
> On Tue, Oct 8, 2019, 8:10 AM Jeffrey Spero via Callers <
> callers@lists.sharedweight.net> wrote:
>
>> But Isaac… isn’t that what people on BOTH sides of the issue are doing?
>> There are VERY few Roma in the contra community, and we’ve heard from very
>> few overall on this issue.  Mostly it’s just us non-Roma folk arguing
>> amongst ourselves about what WE perceive how a majority of the Roma people
>> feel about this.  And that does apply to people who are both for and
>> against using the term “gypsy” to describe a contradance move.  Aren’t we
>> ALL saying what is right or wrong for people who are from another heritage?
>>
>> And now I am bowing out of this controversy as it seems never-ending and
>> very divisive.
>>
>> Jeff
>>
>>
>>
>> > On Oct 8, 2019, at 5:57 AM, Isaac Banner via Callers <
>> callers@lists.sharedweight.net> wrote:
>> >
>> > Hey John,
>> >
>> > If the N word was also a move that somehow wasn't connected to the
>> slur, you wouldn't dare argue that it's different or that you should get to
>> call it, so drop the argument please. Just because you don't think I should
>> be offended about the word and how it reflects on my heritage doesn't mean
>> you get to dictate whether I actually am. I would ask you not to decide for
>> others how they ought to experience and respect their racial identity,
>> thanks.
>> >
>> > Isaac
>> >
>>
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Re: [Callers] [Organizers] contra dance gypsy & fuel consumption

[Don Veino via Callers]

While I make no representation as to quality/frequency/speed of the MBTA,
there's train service to within about a half mile of the Scout House. This
line connects folks to the greater MBTA system in Boston and towns along
the route as far NW as Fitchburg.
http://concordscouthouse.org/pages/map-directions.php .

On Mon, Oct 7, 2019 at 2:54 PM Paul Wilde via Callers <
callers@lists.sharedweight.net> wrote:

>   However, just for an example, I believe there
> is no public transportation that will take you into Concord MA,
> where the Scout House is, and where there is dancing at least
> 10X/mo.  Correct me if I'm wrong on this. 
>
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Re: [Callers] sign up to list

[Don Veino via Callers]

Typically your own emails will not come back via the list. If you want to
verify it went out, you can check the group archive (but, obviously, this
one did ;-) ).

On Mon, Sep 23, 2019 at 9:19 AM nevell richard via Callers <
callers@lists.sharedweight.net> wrote:

> Hello Moderator
> I signed up but not sure if it worked and i'm receiving my own
> contributions. Please apprise, what am I doing wrong!
>
> Thankyou, Richard Nevell
>
> --
> Richard Nevell & Ni Wayan Suarni
> 40 Sugarbush Road, Hancock, NH 03449
>
> www.thepondok.com
> www.facebook.com/giftsfrombali
> www.facebook.com/richardnevellATTD/
>
>
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Re: [Callers] Including Mobility Challenged Dancers

[Don Veino via Callers]

I've got clarification back from the organizer and there's no specific
challenges over slower and potentially unstable movement. Thanks for the
ideas shared! I'll likely be well sorted for the event.
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[Callers] Including Mobility Challenged Dancers

[Don Veino via Callers]

I have a private family dance gig with a church this weekend. In our
touching base just now, the contact brought up a request to include *some*
material that would be amenable to a couple of folks who wish to
participate but have mobility issues.

I'm seeking further detail from them to know the scope of the challenges
but thought I'd reach out to see how others have dealt with similar
situations. In my normal calling for family events, I'll often mention
alternative moves for folks who don't bend as well as they used to, etc.
but I'm guessing the needs here may be more significant.

Do you have any particular material you'd use within an otherwise standard
family/community dance context to suit mobility challenges? I know there
are things like the seated squares session at NEFFA but am hoping for
material that wouldn't require rearranging the furniture, etc. between
selections.

Thanks!
Don
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[Callers] Contraventional Corners Re: dances

[Don Veino via Callers]

Hi Chuck, looking forward to meeting you at our dance this upcoming Monday!

Seeing few responses and that you did ask for challenging...  I was on a
mission to fit two CC sequences (everyone gets to be active) in one 32-bar
dance with the "desired" PNR/NBR swings and this resulted. I believe the
sequence is unique?

Will Mentor has called Rev 1 a few times, Rev 2 addresses his
observations. The dance originally was Becket CW & started with new GNT/LRK
reaching on left diagonal to start the reverse CC - dancers had difficulty
with the resulting skew and ended up progressing differing amounts.
Noodling on this during a dark highway drive home generated the fractional
slice idea to align the action (eureka!) led to this revision.

Note there are many alternate versions in both Becket CW & CCW, varying by:
-the CC being by RH or LH in the center
-which role starts
-slice fraction
-promenade indexing (whom ends opposite) and
-slice or promenade first.

The version below appears to be a good compromise on progression behavior,
next hand predictability/flow and end effects - I believe it should be
dependably single progression. There's a Becket CW variation which may get
its own name, I'll write up the full set before posting the dance(s) as
final to my site.

Not heard if Will's tried Rev 2 yet nor had a chance to call it myself in
public. Walked it through with dancers on a sideline and that went fine.

Would love to hear should anyone give it a go - feedback welcomed overall.

Thanks,
Don

PS: have other multi-CC 40-bar or systematically/automatically alternating
(no need to keep track of actives) 32-bar CC dances drafted. Awaiting an
opportunity to at least walk them through before calling/distributing. Or
seeking a suitable choreography pen pal/review buddy to look them over &
exchange feedback before greater exposure.

*Contraventional Corners (DRAFT **Rev 2)** - Becket RIGHT/CCW Var. - Don
Veino **20170117**, Rev'd 20190329*
A challenging dance not for Contra Corners newbies!

*A1* Slice Right 1+1/2x*
(forward on right diag. until NEW GNT/LRK are face to face, fall straight
back)
GNT/LRK Turn 1/2x REVERSE Contra Corners
(LH w/NBR1 GNT/LRK Center, RH with NBR1 LDY/RVN)

*A2* GNT/LRK Turn 1/2x (finish full) Reverse Contra Corners
(LH w/NBR1 GNT/LRK Center, RH with NBR2 LDY/RVN)
(end facing back along side to)
NBR1 Swing

*B1* NBR1 Promenade Across (Pass PNR & Opp Role NBR1 by Left) w/tight
Courtesy Turn to face back
(ends w/LDY/RVN from NBR1 pairs directly opposite each other, a la the
GNT/LRKs in A1 Slice)
LDY/RVN Turn 1/2x Contra Corners
(RH w/NBR1 LDY/RVN, LH with PNR)

*B2* LDY/RVN Turn 1/2x (finish full) Contra Corners
(RH w/NBR1 LDY/RVN, LH with Shadow)
(end facing back along side to)
PNR Swing

*Slice in 1/2x increments puts same role dancers opposite. First time
through could be Slice 1/2x so original foursome GNT/LRK face & start the
A1 CC (using some ghost corners - e.g. for GNT2 and LDY2 at the top) &
swing with the original NBRs.

On Wed, Jul 17, 2019, 2:55 PM Charles Abell via Callers <
callers@lists.sharedweight.net> wrote:

> There was a recent discussion of easy contra corners dances on here. As I
> have a nice body of beginner level CC dances, I am looking to add some more
> challenging contra corners dances into my repertoire. What do you all got?
> (Triplets are okay, but definitely some in contra formation ...)
>
> Chuck
>
> Sent from my iPhone
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Re: [Callers] dances

[Don Veino via Callers]

Caller's Box leads to Wayback Machine gets to
http://web.archive.org/web/20151009131959/http://www.theyken.net/don/Dances/Webster%20Hall.pdf

On Wed, Jul 17, 2019 at 3:20 PM Mark Hillegonds via Callers <
callers@lists.sharedweight.net> wrote:

> Webster Hall Reel, by Don Theyken. Not sure if it's OK to share so
> publicly, so I'll send it to you offline.
>
> It has a lovely English-y move to get into the CC. Looks simple on the
> card, but can be quite disorienting for newer or otherwise
> geographically-challenged dancers.
>
> On Wed, Jul 17, 2019, 2:55 PM Charles Abell via Callers <
> callers@lists.sharedweight.net> wrote:
>
>> There was a recent discussion of easy contra corners dances on here. As I
>> have a nice body of beginner level CC dances, I am looking to add some more
>> challenging contra corners dances into my repertoire. What do you all got?
>> (Triplets are okay, but definitely some in contra formation ...)
>>
>> Chuck
>>
>> Sent from my iPhone
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Re: [Callers] Mad Robin + Lady/Raven combos

[Don Veino via Callers]

Two that immediately come to mind...

-Don

By left hand:


*For All, There Exists, Such That - Becket - Nicholas Rockstroh*
A1 (left diag.) Circle Left 3/4x, NBR Dosido/Mad Robin 1+1/4x

A2 LDY/RVN Allemande Left 1+1/2x, PNR Star Promenade, BFWhirl

B1 GNT/LRK by RH Revolving Door w/PNR (drop LDY/RVN 1/2 way), NBR Swing

B2 Give & Take to LDY/RVN, PNR Swing

By right:

*RUTH’S (FOR) REEL – (Progressed) DI – DON VEINO 20161113*

A1
LLFB
Mad Robin, Ladies through center first/CCW (so looking at P across)

A2
LDY/RVN Chain
Mad Robin, LDY/RVN through center first/CCW (so looking at N across)
(look away from P to Shadow)

B1
RT Shldr w/Shadow
Partner Swing

B2
Circle Left 3/4, Pass Through Up/Down
Swing (new) Neighbor

End effects: never really out, shadow needs you in B1 before crossing over.

On Wed, Jul 17, 2019 at 1:31 PM Ron Blechner via Callers <
callers@lists.sharedweight.net> wrote:

> I'd like to hear examples of contra dances with combos of Mad Robins with
> Lady/Raven figures, such as:
>
> Chain
> Mad Robin (Counterclockwise)
> Ravens Alle R / DSD / Lead a hey
>
> Or especiall a Mad Robin progression to Mad Robin with a Lady/Raven role
> on either/both end.
>
> Thanks,
> Ron Blechner
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Re: [Callers] Coconut Cream Puff vs Pie + choreographer?

[Don Veino via Callers]

I was aware of Lynn's dance but not Ron's when I came up with the
following. As a happy coincidence it's a sort of hybrid of the two in 32
bars.

I originally envisioned the last part of the B2 as an outward-facing CCW
circle 1/2 (i.e.: "circle left" to those in the circle) - that's the path
the individual lines/4 end up taking on the floor. As the lines/4 approach
worked, I never ended up trying an actual outward circle formation (concern
re: possible dancer shoulders/elbows strain).

-Don

BOSTON CREAM PIE – 4 FACE 4 – DON VEINO 20161005

A1
LLF
Center 4 Star Right 1x

A2
Partner Allemande Left 1+1/2x
(new) Center 4 Star Right 1x

B1
Partner Balance & Swing

B2
Current Ring/8 Balance, California Twirl (to facing prior Neighbors)
[Take hands in line/4 with Trail Buddies]
Left End Gent/Lark Tow Your Line (in an arc, over left shoulder) to face
new Line/4

http://veino.com/blog/?p=1401

On Wed, May 29, 2019 at 8:41 PM Winston, Alan P. via Callers <
callers@lists.sharedweight.net> wrote:

> My understanding is that Lynn adapted Ron Beeson's dance, Apple Pie
> Quadrille, by changing B2 into a can't-fail circle progression from a
> "Devil's Backbone" progression.
>
> I'm going to guess that Nils called it at a dance and somebody
> misattributed the dance to him and got the name wrong.
>
> Here's the notation Ridge Kennedy posted for Apple Pie Quadrille on the
> trad-dance-callers list:
>
>
> APPLE PIE QUADRILLE
> Ron Beeson (via Ridge Kennedy)
> Four Facing Four
>
> Called by Kathy Anderson at Buffalo gap 2002
> Ask for lively music that's a bit silly to suit the dance.
>
> A-1  Lines of Four, Forward and Back
> (Reminder - this is original direction!) (8)
>
> Center Four (dancers in the middle of each line of four):
> Star Right Once Around  (8)
>
> A-2 Partners Allemande Left Once and a Half  (8)
>
> Ends (Original ends of each line of four, now Center Four)
> Star Right Once Around (8)
>
> B-1 Partners balance and swing (16)
>
> B-2 "End Man" (Man on left end of line):Lead back over left shoulder to
>  invert line.  Lead around the *other* end of the other line and all
>  face original direction and a new line of four. (16)
>
>
> Notes: Tricky Part: Leading the line back and around is counter-intuitive.
> End man starts turning in opposite direction that his line is progressing.
>
>
> Original dance:
>
> A-1 Lines forward and back (8)  All do sa do opposite dancer(8)
> A-2 Centre four star right (8)  All allemande left with partner x
> 3/2   (8)
> B-1 New centre four star right (8)  All swing partners  (8)
> B-2 Circle left all eight once round(16)
> C-1 The left hand man casts left taking his line around the other line
> to face the next line   (16)
>
>
>
> -- Alan
>
>
> On 5/29/2019 5:36 PM, Liz Burkhart via Callers wrote:
>
> I have found two identical dances. First I collected Coconut Cream Puff by
> Nils Fredland, then I lost the card, and in the process of looking for it
> online, discovered Coconut Cream Pie by Lynn Ackerson. It is the same dance:
>
> 4 Facing 4
> A1 Lines of 4 go forward and back
>  middles star R once
> A2 Partner allemande L 1 1/2
>  new middles star R once
> B1 Partner balance & swing
> B2 All 8 circle L 1/2 (4 places)
>  Balance ring, partner California twirl
>
>
> So who really wrote it? Does anyone know why there are two names and two
> choreographers attributed?
>
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Re: [Callers] Hand Turns & Safety

[Don Veino via Callers]

Not to mention a lot less sweaty skin contact!
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Re: [Callers] [External] Re: Opposite StarThru and functional difference in LD v Slide

[Don Veino via Callers]

I did think about writing that other part out but... ;-). Of course you'd
specify with whom they're interacting.

On Mon, Mar 25, 2019 at 1:11 AM jim saxe  wrote:

> On Mar 24, 2019, at 9:51 PM, Don Veino via Callers <
> callers@lists.sharedweight.net> wrote:
> >
> > I think I've actually heard Arizona Twirl from somewhere as well.
> >
> > In the interest of keeping the lexicon as small as possible, why not
> just say "with inside hands, twirl to swap" or similar?
>
> From the position of facing couples, if the caller says "with inside
> hands, twirl to swap," would that mean that you're supposed to do the
> "twirl to swap" with the dancer beside you, or would it mean that you're
> supposed to do it with the dancer facing you?  I thing that without
> additional words (and without the benefit of a previous walk-through), the
> meaning isn't obvious.  Adn if dancers think the meaning *is* obvious, they
> might not all come up with the same "obvious" meaning that the caller
> intended.
>
> --Jim
>
>
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Re: [Callers] [External] Re: Opposite StarThru and functional difference in LD v Slide

[Don Veino via Callers]

I think I've actually heard Arizona Twirl from somewhere as well.

In the interest of keeping the lexicon as small as possible, why not just
say "with inside hands, twirl to swap" or similar?

-Don

On Sun, Mar 24, 2019 at 9:03 PM Tepfer, Seth via Callers <
callers@lists.sharedweight.net> wrote:

> I believe Rick Mohr called it a Nevada twirl in one of his dances.
> --
> *From:* Andy Shore 
> *Sent:* Sunday, March 24, 2019 6:53:43 PM
> *To:* Tepfer, Seth
> *Cc:* callers
> *Subject:* [External] Re: [Callers] Opposite StarThru and functional
> difference in LD v Slide
>
>
>
> On Thu, Mar 21, 2019 at 9:57 AM Tepfer, Seth via Callers <
> callers@lists.sharedweight.net> wrote:
>
> Two questions:
>
> 1) We have box the gnat (right hand to right hand), swat the flea (left
> hand to left hand), and star thru (Lark/Gent right hand to Lady/Raven left
> hand). What is the name of the opposite of a star thru (Lark/Gent left
> hand to Lady/Raven right hand)?
>
>
>
> MWSD offers one option, probably not a term to use  in a contra setting.
>
> *Arky Star Thru* is a position dependent (rather than dance role
> dependent  version):
>
> From Facing Couples.
> Beaus do the Boys part, and Belles do the Girls part of a Star Thru.
> (Everybody uses the inside hand)
> Ends in Facing Couples.
> https://www.ceder.net/oldcalls/viewsingle.php?RecordId=155
>
>
> This is not exactly what you asked for, which is to use the OTHER HAND
> than typical of your role, but independent of your position.
>
> *Left Star Thru (edited slightly)*
> From a boy facing a girl: boy holds left hand up and girl places her right
> palm against it. boy steps forward and does a quarter left as the girl
> passes the boy left shoulders under the raised arms and does a quarter
> right. Finishes as a couple.
> https://www.ceder.net/oldcalls/viewsingle.php?RecordId=3616
>
>
> Note that Bob Isaacs uses "Jersey Twirl" for a wrong-side California Twirl
> with the Lark going under.
>
> Note that California Twirl (and Jersey Twirl) are 180˚ turns, while Star
> Thru and Arky Star Thru are 90˚ turns.
>
> /Andy Shore
>
>
>
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Re: [Callers] How would you teach this? What would you call it?

[Don Veino via Callers]

The feel/facing may be different, but these usages appear to pretty much
align with classic circle to zig/zag patterns as well?

[snip]
On Mon, Mar 11, 2019 at 10:58 AM Luke Donforth via Callers <
callers@lists.sharedweight.net> wrote:

> Alan, I agree that dolphin poussette is an apt description for what's
> going on; and concur that it probably wouldn't help all the dancers (and
> less so in Contra than in English, I think).
>
> The star bursts as envisioned below definitely have a dolphin hey
> poussette feel, with the two couples curving around each other.
>
> Here's another triplet with a star burst.
>
> [/snip]
>
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Re: [Callers] Anyone seen this before?

[Don Veino via Callers]

Interesting - just a few moments ago I read a facebook post relating Chart
Guthrie having written a similar theme/title dance, but without any
choreography details other than there being leaps across the set. The post
was from the musician perspective, here's the video of how they chose to
match the motion: https://www.youtube.com/watch?v=9zIlJmX9kOE .

On Sun, Mar 10, 2019 at 11:05 PM Sandy Lafleur via Callers <
callers@lists.sharedweight.net> wrote:

> So asking one of the most asked questions on this list? *"Anyone seen
> this dance before?"* It came to me as I was preparing for the Norwich, VT
> dance and I called it last night. Thanks!
>
> *Spring Forward** – Impr. contra **(double progresssion)*
>
> *A1:  Neighbor B & S*
>
> *A2:  Ladies Ch across; Ladies Ch back*
>
> *B1:  Long Lines F & B; 1s swing **(end facing **down)*
>
> *B2:  **(with new neighbors)** Circle Clockwise 1 full hour; Bal. the
> ring and Spring forward to next*
>
> Sandy Lafleur
> PO Box 877
> Wilton, NH  03086
> (603) 654-1245
>
> *Since the beginning of man the hours between the coming of night and the
> coming of sleep have belonged to the tellers of tales and the makers of
> music.*
>
>
>
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Re: [Callers] Moves Following Box Circulate

[Don Veino via Callers]

Or a less balance-y alternative:

Too Rich for Me - DI - Don Veino 20190310

A1 (GNT/LRK face out) Long Wave Balance
Gents Loop Right *WHILE* LDY/RVN Allemande Left 1x and step into GNT/LRK's
original spot
Long Wave Balance, Box Circulate (GNT/LRK cross, LDY/RNV loop)

A2 PNR Right Shoulder Around & Swing

B1 Circle Left 3/4x, NBR Swing

B2 LLF
LDY/RVN Pass Right Half Hey into long waves (prior NBR LH, RH to new)
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Re: [Callers] Moves Following Box Circulate

[Don Veino via Callers]

I like it - this is what quickly came to mind after Rich's post. A part
timing is pretty tight but the momentum/connections throughout should help?

Riffing on Richness - DI - Don Veino 20190310

A1 (GNT/LRK face out) Long Wave Balance
Gents Loop Right *WHILE* LDY/RVN Allemande Left 1x and step into GNT/LRK's
original spot
Long Wave Balance, Box Circulate (GNT/LRK cross, LDY/RNV loop)

A2 (GNT/LRK face out) Long Wave Balance
Gents Loop Right *WHILE* LDY/RVN Allemande Left 1x back to PNR
PNR Swing

B1 Circle Left 3/4x, NBR Swing

B2 LLF
LDY/RVN Pass Right Half Hey into long waves (prior NBR LH, RH to new)

On Sun, Mar 10, 2019 at 12:40 PM Rich Sbardella via Callers <
callers@lists.sharedweight.net> wrote:

> "Scootback" would be another easy option after a box circulate for contra
> dance.  Here is an example:
> Balance wave, Those facing in Allemande (L/R), comeback to same wave and
> swing (P/N).  Those facing out simply flip and await the swing.
>
> Here is another with two consecutive scootbacks, but a balance can be
> inserted between the scootbacks as well.  Balance Wave, Those facing in
> allemande outfacers loop.  The new dancers facing in now allemande while
> the new outfaces flip.  Both dancers meet for a swing after the second
> scootbback.
>
> I wonder if Bob Isaacs has written one yet?
>
> By Callerlab definition Scootbpck is 6 beats/steps, but they are often
> danced in four beats/steps when followed by another scootback or a swing.
>
> Rich Sbardella
> Stafford, CT
>
> On Sun, Mar 10, 2019 at 11:00 AM Aahz via Callers <
> callers@lists.sharedweight.net> wrote:
>
>> On Fri, Mar 08, 2019, Isaac Banner via Callers wrote:
>> >
>> > I've felt like most box circulate dances use the circulate as a buildup
>> > into a swing with *someone*. Looking at
>> > http://www.contra.dance/thecallersbox, there are only 12 results for
>> dances
>> > with a circulate that isn't followed by a swing and 9 of those results
>> > don't include their choreography (grumble grumble), so I can't actually
>> > confirm that they belong in the result set.
>>
>> Square dancing has lots of options, but a lot of those options rely on
>> eight dancers in the group.  Two options that seem suitable for contra
>> dance:
>>
>> * outfacers run
>>
>> * hinge (to change wave orientation ninety degrees)
>>
>> No time to construct example choreo, but I can work up something if
>> people want.
>> --
>> Hugs and backrubs -- I break Rule 6
>> http://rule6.info/
>>   <*>   <*>   <*>
>> Help a hearing-impaired person: http://rule6.info/hearing.html
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[Callers] Fan Favorite PROPER Contras?

[Don Veino via Callers]

Hi,

I've been assigned the opening slot at this year's 2019 New England Folk
Festival (NEFFA) for my session:

"Keepin' It Proper Contras - It's not all about improper contras! Dances
from times past to the present set in a proper form."

S... what proper dances have you found to be particular favorites with
dancers and amenable in a large hall "some experience" (non-advanced
dancer) setting? I'd appreciate your suggestions.

Thanks,
Don
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Re: [Callers] Easy/Fun Hey-for-Three Contras

[Don Veino via Callers]

Hi, back to close the loop on this one. Thanks for the helpful replies here
- I also posted this to the "Rising Callers..." group on Facebook and got
several suggestions there as well:

Alan Prince Winston's HEYLOFT and HEY, HEY IN THE HAYLOFT
Flashy Sorrell Mare by Rich Goss
Blackbirds of Spring by Al Olson
Pat Shaw's Walpole Cottage

and several ECD dances.

I ended up using Proofreader's Triplet (I wanted to avoid the risk of
people getting lost beyond the minor set in a dance with the Heys on the
side). One group in the hall had difficulty with that dance but I now know
what to stress to help avoid how they got confused. It set the stage well
for what I wanted to try later, which was this:

DREAMING OF DOLPHINS – DI – DON VEINO 20190123

A1 Neighbor Balance & Swing

A2 LLF, 1s Swing
[face NEW 2s below] [NOTE this NBR!]
#progression

B1 Dolphin Hey, Centers/1s as couple passing solo LDY/RVN 2 by LEFT
[end with Centers facing down, Outsides facing UP]

B2
1s in Center DTH, Turn as CPL /*WHILE*/ 2s Outside UTH, Turn Alone
As Return, 1s Cross Trail back to “Hey” NBR &…

Full details, video link, etc. at http://veino.com/blog/?p=2260
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Re: [Callers] Building to Contra Corners

[Don Veino via Callers]

I used this dance again just the other night for a mixed capabilities
crowd. It has so few moving parts that it's easy to focus on the CC
sequence.

-Don

Corner Triplet - Proper - Linda Leslie

A1   1st couple down the center (the lady will be on the left going down
the set)
   Turn alone, return
   Cast off with same role neighbor #2
A2   Ones Contra corners

B1   Ones Balance & Swing

B2  Ones up the center to the top, separate, go down the outside
  Lines of three forward & back

Linda said: "Written to have a dance for teaching contra corners."

On Wed, Feb 20, 2019 at 4:38 PM Hannah Chamb via Callers <
callers@lists.sharedweight.net> wrote:

> Hi all, first time posting here!
>
> I'm new-ish to calling and I've yet to call contra corners. I think I'm up
> for the challenge and could teach the figure itself, but I still think it's
> a tricky one for dancers in all but the most experienced crowds. A few
> callers I know have advised me to build up to a challenging figure like
> contra corners over the course of an evening by calling dances that echo
> the skills the dancers will need later.
>
> With that in mind, what dances would you call early in the evening in a
> mixed-level group that would help "teach" dancers the skills they need to
> be successful at contra corners?
>
> I've been thinking I should include an easy proper-ish dance, and maybe a
> dance with allemandes outside the minor set... anything else come to mind?
>
> Thanks in advance,
> Hannah Chamberlain
> Westbrook, ME
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[Callers] Easy/Fun Hey-for-Three Contras

[Don Veino via Callers]

Would love to get suggestions for simpler contras containing a
hey-for-three with 3 people. Looking to set a foundation with the sequence
in the earlier part of an evening. Ideally a duple minor but willing to
consider other settings.

Yes, I'm working through the Caller's Box listings but it would be great to
have suggestions from personal experience.

Thanks,
Don
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Re: [Callers] Colds

[Don Veino via Callers]

I agree with Alan on this. It's not only arranging for someone the series
hasn't qualified - even if the replacement performer is a series regular,
there's the issue of balancing appearance frequency and creating harmonious
performer groupings. As much as we like to think of our community as all
happy together, there are some performers who have strong preferences re:
whom they work with.

Give the booking person an opportunity to manage the mix or accept your
help before contacting others.

-Don

On Wed, Nov 14, 2018 at 10:57 PM Winston, Alan P. via Callers <
callers@lists.sharedweight.net> wrote:

> [snip]
> The one thing that makes you less popular with a booker than canceling
> at the last minute with no replacement is canceling at the last minute
> and lining up a replacement that dance series would never want to hire,
> so talk to your booker.
>
> -- Alan
>
>
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Re: [Callers] Gate vs Hand Cast

[Don Veino via Callers]

Thanks for all the replies and details! I only have one of Larry's books,
mine (G if I recall correctly) has just a supplemental glossary.

I was stuck on the idea of a gate having a person serving as a post, now I
understand the definition has gone to a shared/equal move. Gate it is.

I don't have any examples at hand, but such a change in meaning/practice
(around a person - > around a pair's center) could impact the feeling of
prior choreography. I think I read something recently where an argument was
being made that modern folks approaching traditional material with current
move interpretation may be causing them to not flow as well as they did
with contemporary interpretation, negatively coloring dancer reception of
the material.

-Don

On Mon, Oct 8, 2018, 1:20 AM Don Veino  wrote:

> You may have seen my "Feeling Gravity's Pull" which I posted at the end of
> the recent Mad Robin teaching thread.
>
> In that dance, there's a move where partners are facing in side by side on
> the outside of the set (where the Gents have forward momentum and the
> Ladies neutral to backward momentum) and my intent was for them to rotate
> around their inside hand connection with the Gents going forward and Ladies
> backing up once around. (As opposed to the Gent walks a circle around the
> Lady.) So the net effect would be like a courtesy turn, in going around a
> central point between the dancers, just a little "wider."
>
> I believe the correct term for this would be "Hand Cast" but I had a
> dancer who was adamant about it being a "Gate" in ECD so when I posted the
> dance that's the term I used. I've again done some googling and found no
> ready reference to a "Hand Cast" in ECD and only the slightest in a contra
> context, yet the term sticks in my mind.
>
> What say ye? Is "Hand Cast" a thing and correct in this context?
>
> Thanks,
> Don
>
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[Callers] Gate vs Hand Cast

[Don Veino via Callers]

You may have seen my "Feeling Gravity's Pull" which I posted at the end of
the recent Mad Robin teaching thread.

In that dance, there's a move where partners are facing in side by side on
the outside of the set (where the Gents have forward momentum and the
Ladies neutral to backward momentum) and my intent was for them to rotate
around their inside hand connection with the Gents going forward and Ladies
backing up once around. (As opposed to the Gent walks a circle around the
Lady.) So the net effect would be like a courtesy turn, in going around a
central point between the dancers, just a little "wider."

I believe the correct term for this would be "Hand Cast" but I had a dancer
who was adamant about it being a "Gate" in ECD so when I posted the dance
that's the term I used. I've again done some googling and found no ready
reference to a "Hand Cast" in ECD and only the slightest in a contra
context, yet the term sticks in my mind.

What say ye? Is "Hand Cast" a thing and correct in this context?

Thanks,
Don
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Re: [Callers] Teaching a Mad Robin

[Don Veino via Callers]

Thanks everyone for your replies!

I like the "slide" language approach and plan to work on that for next time.

I'm less fond of the sashay term in this application as, IMHO, contra
dancers don't know what it is. With groups that do a "Roll Away with a Half
Sashay" and even when callers prompt the full sequence, it usually comes
out more like "ROLL AWAY, with a half sashay" (almost inhaling the last
bit). In my experience, overall the language seems to have evolved to more
just saying who rolls whom and the rest is expected, just a part of the
"Roll Away". The instances of a separate Sashay are extremely rare, so
working to get them to understand the sashay itself would be another
incremental step.

BTW, that's why in this recent dance of mine I call the A2 move a slide:

*Feeling Gravity’s Pull – DI – Don Veino 20180710*

A1
Neighbor Gypsy, Swing

A2
Gents Swap Places (passing left) and face out
Gents Loop Left *WHILE* Ladies Slide Left+ (so each move into Partner’s
place)
(inside hands) Ladies Gate the Gents 1x
[+Alternative for the Ladies here: Walk forward on the slight left diagonal
to bounce back into the left hand position next to Partner Gent]

B1
Pass Through across, Partner Swing

B2
Gents pass Left for a Full Hey (EXCEPT Ladies Bounce Back the FIRST time)

More at http://veino.com/blog/?p=2179

Thanks,
Don

>
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Re: [Callers] Teaching a Mad Robin

[Don Veino via Callers]

Your numbered list approach is just what I did that night (but Gents and
Ladies). I do like your stressing point 2.

-Don

On Mon, Sep 24, 2018 at 12:49 PM, Maia McCormick  wrote:
[snip]

>
> When teaching it from the mic, I've taken to doing it like this:
> 1. "This is another of those fancy moves that gets you right back where
> you started. *At the end of this move, you'll be right back here*."
> 2. "So it's important to *stay on the side of your set*. Lots of people
> feel like they should cross. Don't."
> 3. "Lock eyes with your [partner]. You're going to walk a little circle
> around your [neighbor], while looking at your partner.
> 4. "[Ravens] take a small step forward, [larks] take a small step back."
> 5. "Keep your eyes on your partner. Ravens, step to your left and larks
> step to your right, sliding past your neighbor."
> 6. "Now larks step forward and ravens step back; larks step right and
> ravens step left, sliding past your neighbor again."
> 7. "You're back where you started, hooray! Now let's try that up to
> speed..." etc.
>
> On Mon, Sep 24, 2018 at 12:39 PM Don Veino via Callers <
> callers@lists.sharedweight.net> wrote:
>
>> As may be obvious, I love Mad Robins. I'm still working on what is the
>> best way to teach them.
>>
>> [snip]
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[Callers] Teaching a Mad Robin

[Don Veino via Callers]

As may be obvious, I love Mad Robins. I'm still working on what is the best
way to teach them.

I know about the "Dosido/now face your Partner/on the same path as the
Dosido, do a Mad Robin" approach and have used it.

I've heard other callers I admire admonish to not use the "wrong" move as a
teaching tool for the "right" move - as it's that much harder to "unlearn"
the original bit.

What I've observed is that newer dancers may end up focused on the wrong
person, facing the wrong direction, and possibly doing the "Dosido Twirl"
when using the Dosido teach. But they *do* follow the correct path (so long
as the caller remembers to say SeeSaw vs. Dosido as the correct analogue)
on the floor. Some can make the facing adjustment and some persist in
facing the wrong way. If the dance tolerates the facing differences, all is
OK.

As a practice, I actively solicit feedback on my calling at each gig. Out
of a recent one I got into an extended discussion about the Mad Robin teach
with a dancer whom had struggled with their beginner partner in a sequence
that evening. I had read that crowd as highly experienced so did only a
basic teaching of the move, which they reported having not got through to
this beginner. They freely offered that all was well around them, it was
just a frustration in their own experience. We touched on the merits and
drawbacks of the Dosido teach (which I chose not to use in that situation
as it appears to annoy experienced dancers, plus because of the above
points).

I'm trying to evolve to something that teaches both the correct motion and
the facing direction at the same time - *without* taxing experienced folks'
patience. I have my own ideas on this but welcome others'.

So, how do *you* teach a Mad Robin most effectively and efficiently? Do you
vary it by context, crowd composition, other factors?

Thanks,
Don
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Re: [Callers] Easy contras for teens

[Don Veino via Callers]

Just FYI, Teen Spirit worked out fine when called. People *really* like to
travel during the Sashay/Gallop, even after encouraging them in the
walk-through to moderate the pass back (so they would get to the ring/4
balance on time). Settled down after a couple rounds. Worked best when
folks moved to a two-hand hold rather than staying in ballroom position out
of the swing.

-Don
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Re: [Callers] Easy contras for teens

[Don Veino via Callers]

Hi John, I mean it as per
http://www.ibiblio.org/contradance/thecallersbox/Glossary.htm#sashay .

"SeeSaw Gallop" would definitely avoid the "Peter Piper"-style diction
challenge. I welcome folks to adjust as you see fit. :-)

One could also do the hammy Tango-style strutting move over & back if
partners are comfortable with that.
https://onceuponascreen.files.wordpress.com/2016/09/gomez-teaches-lurch-the-tango.jpg




On Fri, Sep 21, 2018 at 4:09 PM, John Sweeney via Callers <
callers@lists.sharedweight.net> wrote:

> Hi Don,
>
>   I get confused when Americans use Sashay in a dance.
>
  [snip]
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Re: [Callers] Easy contras for teens

[Don Veino via Callers]

It appears that the formatting on this one may have gone awry, so here's
another try:

DANGER HIGH VOLTAGE - Becket - Don Veino 20180914

A1 Left diagonal Neighbors SeeSaw Sashay* w/Partner
[Gents back to back to start, can substitute a diagonal left couple
conventional SeeSaw]
Gents Allemande Left 1+1/2x, give RH to Neighbor

A2 Wave/4 across Balance Right & Left, Slide/Twirl Right
Wave/4 across Balance Left & Right, Slide/Twirl Left

B1 Neighbor Balance & Swing

B2 Gents low LH Balance (L adjust to left), Pull By & Partner Swing
[or Give & Take to Ladies, Partner Swing]

*With your Partner Sashay around your next Neighbors following the path of
a SeeSaw
End effects: Wait out crossed over on left diagonal for SeeSaw

On Fri, Sep 21, 2018 at 3:28 PM, Don Veino 
wrote:

>  [snip]
>
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Re: [Callers] Easy contras for teens

[Don Veino via Callers]

There's *Grease and Glue* by Linda Mrosko:
https://www.mail-archive.com/callers@lists.sharedweight.net/msg10519.html

At Ogontz Family Camp this year (missed you three!) Steve Z-A wanted to
teach Mad Robin to the 11s & 12s but didn't have a dance that was suitable.
We couldn't find one in my deck either, so I wrote this one. It worked out
well but as you know that group may be at a more advanced level than your
average teens:

*Mad for Ogontz - DI - Don Veino 20180808*

A1 Neighbor Gypsy, Swing
A2 Gents Allemande Left 1+1/2x, Partner Swing
B1 Long Lines Forward & Back, Half Hey (Ladies Right start)
B2 Ladies Chain, Mad Robin CCW (Ladies thru center first) to next

I've also been playing recently with some compositions for a younger and/or
more energetic crowd. For instance, I've noted they tend to enjoy Sashays,
so...






*DANGER HIGH VOLTAGE - Becket - Don Veino 20180914A1 Left diagonal
Neighbors SeeSaw Sashay* w/Partner[Gents back to back to start, can
substitute a diagonal left couple conventional SeeSaw]Gents Allemande Left
1+1/2x, give RH to NeighborA2 Wave/4 across Balance Right & Left,
Slide/Twirl RightWave/4 across Balance Left & Right, Slide/Twirl LeftB1
Neighbor Balance & SwingB2 Gents low LH Balance (L adjust to left), Pull By
& Partner Swing[or Give & Take to Ladies, Partner Swing]*With your Partner
Sashay around your next Neighbors following the path of a SeeSawEnd
effects: Wait out crossed over on left diagonal for SeeSaw*
High Voltage worked well with the target group (mustn't go too far away on
sashay!). The following sibling hasn't been tested and didn't have a name
until your request inspired it... :-) I may be giving this one a go at my
gig tonight.

*(Smells Like) Teen Spirit - Becket - Don Veino 20180914*

A1 Left diagonal Neighbors SeeSaw Sashay w/Partner [to opp these N]
Ring/4 Balance, Twirl/Slide Right

A2 Neighbor Balance & Swing

B1 Long Lines Forward & Back, Star Right 3/4x
[can take right hand with Partner and pull into...]

B2 Partner Dosido & Swing

End effects: Wait out crossed over on left diagonal for SeeSaw

*BTW*, I've found out that "SeeSaw Sashay" is surprisingly hard to say
without practice - sort of a Peter Piper thing. :-)

On Wed, Sep 19, 2018 at 4:55 PM, Rick Mohr via Callers <
callers@lists.sharedweight.net> wrote:

> I call a small monthly dance for teenagers, a blast and interesting in
> many ways.
>
> My easiest “regular evening” contras are a good challenge for the group,
> so I’m looking for some varied easy contras to lead up to those. (Also
> interesting barn dances -- asking about those in a separate thread.)
>
> The teens are fine with swings but aren’t hooked on them like most contra
> dancers. So contras with no partner swing, no neighbor swing, or no swings
> at all are just fine, and good for variety. And our lines are fairly short,
> so unequal dances are OK.
>
> Here are some favorites. Have other good ones to add? The group is all
> about having fun, so it’s fine to have chases, basket swings, sashaying,
> and other goofiness.
>
> Family Contra (Sherry Nevins)
> A1:  Bal ring x2, circle R
> A2:  Bal ring x2, circle L
> B1:  Dosido P, dosido N
> B2:  Dosido as couples 1.5
>
> Andy White's (Amy Cann)
> A1:  Circle L, dosido P
> A2:  As couples dosido Ns, 2 hand turn N
> B1:  Clap both/R/both/L with P, same with N; repeat all
> B2:  2s arch, 1s duck; 1s arch, 2s duck BACK; 2s arch, 1s duck
>
> Jefferson & Liberty
> A1:  Circle L/R
> A2:  Star R/L
> B1:  1s balance & swing
> B2:  Down center, 1's arch, 2's duck; return (1s backing up)
>
> Monterey Detour (Bob Dalsemer)
> A1:  Down center (turn alone) & back
> A2:  Circle R/L
> B1:  Dosido N, sw N
> B2:  F, 1s sw
>
> Thanks!
>
> Rick
>
>
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Re: [Callers] Barn dances for teens

[Don Veino via Callers]

This one I use fairly frequently at ONS and those small town dances where
you get the big slug of family dancers who need to be sensed out/eased into
an evening of conventional contras.

Clap Happy – Gender Free Longways or Circle – Don Veino

A1
(8 @ 1 beat/move) Clap two hands over (own!  ) left leg, under left, over
right leg, under right, in front at waist, behind back at waist, in front
again and then two handed “high five” with Partner
(8) Repeat pattern
[Encourage adjustments for mobility issues as required – can clap high/low
instead of over/under leg, etc.]

A2
Partner Right Elbow turn 1x, Left Elbow turn 1x

B1
Facing Circles or Big Oval to your own personal RIGHT (opposite direction
from Partner) and back left
[as a keeper, left is return to Partner – as mixer, go one person past
Partner to next]

B2
(keep or new) Partner Balance & Swing (two-hand, whatever – end in place,
facing P)

Alternative set-ups detail: http://veino.com/blog/?p=2037

On Wed, Sep 19, 2018 at 4:55 PM, Rick Mohr via Callers <
callers@lists.sharedweight.net> wrote:

> I call a small monthly dance for teenagers, a blast and interesting in
> many ways.
>
> We always do a few barn dances -- great fun, and a nice break from
> worrying about progressing the wrong way and ending swings on the wrong
> side. But the kids are smart and game, so most of the family dances in my
> box are too easy.
>
> Here are some favorites. Have other good ones to add?
>
> Bottoms Up - https://www.barndances.org.uk/detail.php?Title=Bottoms_Up
> Country Bumpkin - https://www.barndances.org.uk/detail.php?Title=Country_
> Bumpkin
> Falling Masonry - http://www.ceilidhcalling.co.uk/danceviewpage.php?id=33
> Firehose Reel
> Intersection Reel
> Roll the Arches
> Sashay the Donut
> Waves of Tory
>
> Dances that can include everybody are best (longways, circles) rather than
> fixed-size sets (squares, triplets) where some people have to sit out.
>
> Thanks!
>
> Rick
>
>
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Re: [Callers] Linda Leslie's dances

[Don Veino via Callers]

A couple of us mirrored a copy of the most recent version of Linda's site,
just in case.

Bob is working on getting the Weebly account re-enabled in the short term
and we're looking toward a longer term hosting solution from there.

-Don

On Sat, Sep 15, 2018 at 2:24 PM, Anne Lutun via Callers <
callers@lists.sharedweight.net> wrote:

> Thank you, Cary! Yes, I am aware of the web archive, and it solved my
> immediate problem when I was looking for one of Linda's dances the other
> day. However, I am hoping for a more permanent solution, since other
> callers (including some who are not on this list) may run into this problem
> too. A number of resources, including Chris and Michael's new database (The
> Caller's Box) link to her website — so there are a lot of broken links out
> there.
>
> Thanks,
>
> Anne
>
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Re: [Callers] New contra dance database

[Don Veino via Callers]

Thanks for the resource! I've found it to be incredibly useful in answering
the "did someone already write this?" question, as well as tracking down
titles/authors for the dance snippets collected from others' calling.

-Don

On Tue, Aug 21, 2018 at 11:37 PM Chris Page via Callers <
callers@lists.sharedweight.net> wrote:

> Michael Dyck and I have done a thing:
>
> http://www.ibiblio.org/contradance/thecallersbox/
>
> This (mostly) contra dance database 12,000 dances:
> 5,000 dances with viewable instructions
> 4,000 more dances with links to instructions
>
> Current search options include author, title, formation, and figures.
> You can search the figures of dances even when we don't have
> permission to show the figures.
>
>
> This will always be a work in progress, but hopefully it's good enough to
> use.
>
> Have fun!
>
> (and a lot of questions should be answerable by the FAQ on that site.)
>
> -Chris Page and Michael Dyck
>
> p.s.
> This has been (and continues to be) a long-term project. Michael and I
> started formally working on this back in April of 2015, but I started
> building my database back in November of 2010.
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Re: [Callers] Demolition Derby, a 4 Face 4 of dubious do-ability?

[Don Veino via Callers]

Hi,

Thanks for the replies, I'll address the points in-line below.

-Don

On Sun, Aug 19, 2018 at 8:09 AM, Luke Donforth  wrote:

> The sense I have of the A2 bit is that you've combined a mad robin with a
> hey, right?  I'd start with that as the description. It's just a hey
> passing the one you swung by right shoulder, but you're facing your partner
> in the other line of four as you go.
>

A Hey obviously works, but I originally envisioned something more wide like
a Mad Robin (fewer, bigger loops) so the combination was meant to be more
like if a Figure 8 and a Mad Robin had a love child. Each dancer was to
follow the path of their own personal full Figure 8 from their differing
starting positions.

>
> And if it's not a hey, but in fact something a little different then a hey
> in terms of the switches, then I'd try to see if it would work as a mad
> robin hey...
>

I got a chance to try out just the critical bits on the sideline with some
very experienced dancers this evening. The Fig-8 style sequence works as
envisioned, but it is pretty much impossible to teach - as it violates
firmly ingrained dancer expectations. It took an excessive amount of time
before they'd do it as instructed, they **want** it to be a Hey and kept
accidentally twiddling it to be so. I understand why - it was the reason
I'd originally put this aside.

Despite my own discomfort with the additional crosses of a Hey with that
facing, they liked it being done while facing Partners up/down (we only had
a single line/4 to try it so could only simulate with ghosts). I accept
that going with the Hey is the best way to go, and leaving it to a styling
option if folks want to do it facing Partners MR-like (it will work fine if
some folks do and others don't).


> But then, I'm not actually sure what you mean by weave the ring in B1; so
> possibly I should get some more sleep after my own gigs.
>

Standard Weave the Ring 1/2x around the group of 8, starting by passing
Partner right. The Circles of 4 @3/4x after the A2 effectively puts
everyone on the corner of the minor set/8 with their Partner such that it
should be easy to pull into the Weave and end with P on the opposite
diagonal.

>
>
> On Sat, Aug 18, 2018 at 3:01 PM Bob Green via Callers <
> callers@lists.sharedweight.net> wrote:
>
>> Well Don, you know you shouldn't be smoking that stuff... )))
>>
>
Not that I would ever go there, but Massachusetts is taking its sweet time
post-legalization. :-)


>
>> Sugar Hill is next weekend. We should be able to wrangle up enough
>> dancers to give this a decent walk-thru. This looks like a great dance to
>> tryout at 4:00 in the morning. :::wink:::
>>
>
Would love to hear about it if you do give it a go.


> If I have this right you are weaving the line, but faced like you are a
>> crab.
>>
>
Hopefully the additional commentary above clarifies. The A2 now becomes
simply a Full Hey for 4 in the parallel lines/4, starting with a pass the
Opposite (you swung) outside by right (lefts in center). Facing up/down at
your Partner Mad-Robin-style while doing the parallel moves is a styling
option (one I'd love to try).


>> This is one of those I think a demo set would be the most expedient teach
>> the A2.  Get 8 dancers walked through it before the dance starts or at the
>> break.
>>
>
Thanks for the advice. Even with the change to a more typical Hey, the
styling demonstration would likely still be helpful.


> If I have this right you are weaving the line of 4 facing up & down the
>> hall, faced like you are a crab.
>>
>
See above.

>
>> Looks like it might be fun!
>>
>> Bob Green
>>
>>
>> [trimmed out original post details]

>
>
> --
> Luke Donforth
> luke.donfo...@gmail.com 
>
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[Callers] Demolition Derby, a 4 Face 4 of dubious do-ability?

[Don Veino via Callers]

Earlier today, I resurrected a draft dance from (almost exactly) this time
last year which I'd put aside as probably being too crazy. In looking at it
again, I started wondering if it is... too crazy... and wrote up a more
specific description to get it across to others. The magnet people show me
it works, but they don't say much about how it felt. :-)

As I'm still up due to the caffeine I drank to drive home after a gig
tonight, I thought I'd type this up and throw it out there for input. Is it
too crazy? How would you teach the A2 if you attempted it?

Thanks,
Don

Demolition Derby (DRAFT) - 4 Face 4 - Don Veino 20170823 (updated
description 20180817)

[starts in lines/4, so G1, L1, G2, L2]

A1 Give & Take up/down to Gents (opposites Swing) [ends in line/4 facing
up/down: G1, OpL2, G2, OpL1]

A2 "Crazy Eights" [Fig 8 in current lines/4 done a la a Mad Robin - all
trace path of a figure 8, equidistant rel. to Partner, whom you face
up/down in the other line/4]:
(3,1 or 4) Mad Robin CW 1/2x around opposite N you swung [G thru center
first], OpL1 pass in front of G1 in middle to swap ends [to OpL2, OpL1, G1,
G2]
(3,1 or 4) All Pass Same Role Trail Buddy in Fig 8 arc (same arc, but
opposite dir.) to trade places [G1 and OpL1 take outside path - "insides
out"], OpL2 pass in front of G2 in middle to swap ends [to OpL1, G2, OpL2,
G1]
(3,1 or 4) Mad Robin CCW 1/2x around opposite N [G thru center first], OpL1
pass in front of G1 in middle to swap ends [to G2, G1, OpL1, OpL2]
(3,1 or 4) All Pass Same Role Trail Buddy in Fig 8 arc (same arc, opposite
dir.) to trade places [G1 and OpL1 take outside path - "insides out"], OpL2
pass in front of G2 in middle to swap ends [to end in same positions as
start of A2: G1, OpL2, G2, OpL1]

B1 w/Opposites Circle/4 Left 3/4x to (face & Pass Partner Right to start)
Weave the Ring/8 1/2x

B2 Partner Balance (or Gypsy) and Swing, face progression

BTW, it was this dance idea that fed what became another related dance on
my site, Wild Mouse: http://veino.com/blog/?p=1879 . Neither of these have
I dared to attempt to date.
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Re: [Callers] Dance ID and question

[Don Veino via Callers]

Midwest Folklore by Orace Johnson is another repeating/mirror pattern dance

On Sat, Jul 28, 2018, 11:48 AM Don Veino  wrote:

> This dance is Will You Marry Me by Seth Tepfer.
>
> -Don
>
> On Sat, Jul 28, 2018, 10:16 AM Richard Hart via Callers <
> callers@lists.sharedweight.net> wrote:
>
>> Two questions. First I collected the following dance long ago. Does
>> anyone know the author and title?
>>
>> Becket formation.
>>
>> A1: Circle L 3/4
>>Flatten circle to wavy line or 4, woman in middle.
>>Balance wave. W alla main L 1 x.
>>
>> A2: N Bal & Swing.
>>
>> B1: Circle L 3/4
>> Flatten circle to wavy line of 4, women in middle.
>> Balance wave. W alla main L 1 x.
>>
>> B2: P Bal & Swing.
>> Slide L to progress.
>>
>> In this dance, the A and B parts are essentially mirror image repetitions
>> of each other. Do you know of any other dances where the A and B parts
>> repeat in a similar way? The only other dance that I know of that does this
>> is Chart Guthrie’s Hey in the Barn.
>>
>> Thanks, Rich Hart.
>>
>> Sent from my iPhone
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Re: [Callers] Dance ID and question

[Don Veino via Callers]

This dance is Will You Marry Me by Seth Tepfer.

-Don

On Sat, Jul 28, 2018, 10:16 AM Richard Hart via Callers <
callers@lists.sharedweight.net> wrote:

> Two questions. First I collected the following dance long ago. Does anyone
> know the author and title?
>
> Becket formation.
>
> A1: Circle L 3/4
>Flatten circle to wavy line or 4, woman in middle.
>Balance wave. W alla main L 1 x.
>
> A2: N Bal & Swing.
>
> B1: Circle L 3/4
> Flatten circle to wavy line of 4, women in middle.
> Balance wave. W alla main L 1 x.
>
> B2: P Bal & Swing.
> Slide L to progress.
>
> In this dance, the A and B parts are essentially mirror image repetitions
> of each other. Do you know of any other dances where the A and B parts
> repeat in a similar way? The only other dance that I know of that does this
> is Chart Guthrie’s Hey in the Barn.
>
> Thanks, Rich Hart.
>
> Sent from my iPhone
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Re: [Callers] Circles, Crazy Circles

[Don Veino via Callers]

Others not mentioned yet...

Pedal Pushers, Bob Dalsemer (is SF Prom. considered a cheat too?)
Molly Pitcher, Melanie Axel-Lute
Get Me Going , Lisa Greenleaf (believe you have this?)
Tranquility, Linda Leslie (" ")
MN-NY Happy Returns, Carol Ormand

Plus there's a bunch of mine - a sampling of proven/published longways:

Force of Nature – DI or Becket – Don Veino 20180620
Fun, easy intermediate dance
http://veino.com/blog/?p=2060

The Right In Tension (a.k.a. Synchro de Mayo) – Becket – Don Veino 20180430
Couple of interesting/unique twists in a down the hall dance
http://veino.com/blog/?p=2030

(Home Again, Home Again) Jiggity Jig – DI – Don Veino 20180430
Easy way to introduce RH High, Left Low turn to swap
http://veino.com/blog/?p=2117

Dosi Dude – DI – Don Veino 20171006
Easy big energy dance
http://veino.com/blog/?p=1959

(Riding in the) Zoomy Car – DI – Don Veino 20170717
Another unique take on a down the hall
http://veino.com/blog/?p=1792

Double Crossed Again! [V2] – DI – Don Veino 20140721
Double cross-trails dance
http://veino.com/blog/?p=1469

Charlie’s Free Flowing Elixir – DI – Don Veino 20160827
Fun, bouncy respin on a Charlie Harvey dance - sort of an alternate to Cis
Hinkle's Rocket City Romp
http://veino.com/blog/?p=1443

I ♥ Unicorns – DI – Don Veino 20170203
Mirror Mad Robin & Fig 8s in a DTH dance
http://veino.com/blog/?p=1317

-Don


On Mon, Jul 9, 2018 at 8:16 PM, Rich Sbardella via Callers <
callers@lists.sharedweight.net> wrote:

> Helo Folks,
>
> This group has been so quiet lately.  The group has been so important for
> me as I developed my Contra calling repertoire and skills, so I thought I'd
> initiate a conversation.
>
> As I sit here programming a dance I realize that I do not have many dances
> without circles.  Many that I do have, do not have a Neighbor Swing, or
> have a Give & Take to cheat it out.  Those factors limit where and when I
> can use them.
>
> I generally like to program two no circle dances in each half, and also a
> NO neighbor Swing dance in at least one half if not both halves of an
> evening.  Any thoughts on this?
>
> Does anyone want to share some modern contras that have no Circles and no
> Give & Takes, but include a partner and neighbor swing.
>
> Here are a few I have used.
>
> Just for NEFFA, Linda Leslie
> Rollin' and Tumblin'. Cis Hinkle
> Rocket City Romp, Cis Hinkle
> Travels with Rick and Kim, Shari Miller Johnson
> Friday Night Fever, Tony Parkes
>
> Thanks,
> Rich Sbardella
> Stafford, CT
>
>
>
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>
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Re: [Callers] New dance composition, star to next neighbor hey

[Don Veino via Callers]

Here's one I'm familiar with off the top of my head featuring that
transition (called it at NEFFA this year):

*Belmont Romp - Becket - Dan Pearl (var DonV)*

A1 Circle Left 3/4x, Neighbor Swing

A2 Long Lines Fwd/Back (note next N)

Star Left 1x to Gents face out, Ladies in

B1 NEXT Ns Full Hey (Ladies pass LEFT in center)

B2 Ladies Cross, Partner Swing


Dan's original is "modified DI" starting with the hey and has a Circle Left
in place of the Long Lines. Page 94 of Give and Take.


-Don


On Mon, Jun 25, 2018, 4:03 PM Luke Donforth via Callers <
callers@lists.sharedweight.net> wrote:

> Hi folks,
>
> I ran this at a monthly dance, and it was well received; so I figured I'd
> share it around. To my knowledge it's new. Please correct me if you know of
> a prior.
>
> The interesting/odd bit is the transition from B2 to A1, where the ladies
> role comes out of a left hand star with old neighbors to start a hey by the
> left shoulder in the middle with new neighbors. It flows well, but is
> unexpected.
>
> *Hubert Humphrey Deserves More Than Just a Song By Tom Lehrer*
> by Luke Donforth
> Improper, duple minor contra
> A1
> Ladies start full hey by the left
> A2
> Neighbor gyre and swing
> B1
> Circle Left 3/4
> Partner Swing
> B2
> Ladies chain across
> Left Hand Star 1x
>
> As for the title, well, I was on a presidents and folk music kick. Writing
> titles is harder than writing dances...
>
> Enjoy.
>
> --
> Luke Donforth
> luke.donfo...@gmail.com 
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[Callers] FYI - Synchronize

[Don Veino via Callers]

Please see the disclaimer/request at the end of this message.

Just FYI, I've been trialing an alternative term for Gypsy in place of the
good but long-ish "[Right|Left] Shoulder 'round" - I wanted to wait until
I'd had several evenings of usage in order to see how it went before
sharing with others.

The term, "Synchronize", fits syntactically like "Gypsy" using the same
modifiers, e.g.: "Neighbor Left Synchronize", with something like
"Sync(h)(ro) Left" as a short form. In my opinion, it speaks to what the
move achieves in choreography and feeling, plus fits some of the prior
constructs used (e.g.: "Sync into a Swing"). As best as I can determine
there is no existing/related dance form using the term, so there's no
complication with existing meanings.

In my experience, dancers have just smiled and done the move when I've
taught/introduced it - no confusion or complaints or "why don't you just
say Gypsy?" comments in several events now. Those dancers who have
mentioned it at all said they liked it.

BTW, I don't wish to re-ignite the flame wars on whether or not an
alternative term is required - if you aren't interested in one then please
simply ignore this.

Thanks,
Don
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Re: [Callers] 2 New Dances (with a new move?)

[Don Veino via Callers]

On Tue, May 22, 2018 at 11:29 AM, Andy Shore via Callers <
callers@lists.sharedweight.net> wrote:

[snip]

>
> As for Mad Robin after a Swing, I have several dances with that
> combination:
>
> Cricket's Flight by Don Veino
> Fiddlers' Fling by Cary Ravitz
> Mad Robin Landing by Will Mentor
> Pigtown Pousette by Cary Ravitz & others
> Robin on a Wire by Will Mentor
>
>
>
> /Andy
>
> On Mon, May 21, 2018 at 4:18 PM, Tom Hinds  wrote:
>
>>
[snip]

>
>> I can't remember doing a Mad Robin immediately after a swing so I'm
>> curious how that feels.  This looks like it's a good one for experienced
>> dancers.
>>
>> Tom
>>
>
> I have several compositions with that transition, including Wicked Smooth
(Becket Version below). What I've found is that it takes a couple of cycles
for some dancers to settle into the transition. It flows well but a
minority of dancers stop/break the flow early on to simply face across when
they come out of the swing - it takes them a beat or two to remember and
get moving CW again. Aware dancers keep their momentum going from the swing
and take or keep inside hands out of it to boost each other into the MR.

-Don


*Wicked Smooth – Becket – Don Veino 20170803*

A1
Ladies Chain (to N)
Star Left 1x

A2
With NEXT Neighbors Circle Left 1x
Neighbor Swing

B1
(6) Mad Robin (Gents through center first/CW)
(2) Gents Pass Left to cross
Half Hey (Pass Partner by Right)

B2
Partner Gypsy, Swing

See http://veino.com/blog/?p=1839
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Re: [Callers] A new(?) dance, written with a gyre

[Don Veino via Callers]

Tonight's mink hole dive uncovered this post - which was likely lost in the
passion of other threads circa the time... I found it unopened in my mail
queue but like what I see now.

Luke, what happened to this dance - has it been called successfully?

On Sat, Oct 31, 2015 at 10:33 AM, Luke Donforth via Callers <
callers@lists.sharedweight.net> wrote:

> Hello all,
>
> Linda Leslie's suggestion of gyre as a replacement for gypsy bubbled
> around in my brain and a new (I think) dance percolated up. It has a twist
> that isn't the gyre (which I consider just new nomenclature); women casting
> out of the swing to travel from one minor set to another (similar to gent's
> movement in Scoot by Tom Hinds).
>
> I haven't gotten to test it with dancers yet, as I just finished running
> it through with pegs on my desk; but I wanted to share it in support of a
> new term.
>
> A Gyre for Linda
> by Luke Donforth
> Contra/Becket-CCW
>
> A1 ---
> (4) Pass through to an ocean wave (ladies left, catch right with partner)
> (4) Balance the short Wavy line
> (2) Walk forward
> (3) Shadow gyre right 1/2
> (3) Gents gyre left 1/2 in the middle
> A2 ---
> (16) Neighbor gyre right and swing
> B1 ---
> MEANWHILE FIGURE:
> (8) Men allemande Left 1-1/2 WHILE women cast cw around whole set one
> woman’s place
> (8) 1/2 Hey, passing partner by right shoulder
> B2 ---
> (16) Partner gyre right and swing at home
>
>
> As for the other aspects that have been discussed:
> I pronounce it with a softer g sound. For reasons unclear to me, gyre has
> different accepted pronunciations; but (to my knowledge) gyration doesn't.
>
> As for using the term (which I clearly support); it costs me nearly
> nothing to switch and helps make the dance more accessible for some; both
> in dropping a term some find offensive and making the name more descriptive
> of the move. My job as a caller is to help share the joy of dancing, and if
> this does that I'm in favor of it.
>
> --
> Luke Donforth
> luke.donfo...@gmail.com 
>
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[Callers] Sharing ¡Que Linda!

[Don Veino via Callers]

I wanted to share a contra written in honor of Linda Leslie - it was called
this weekend in a session with the Youth Festival Orchestra at the 2018 New
England Folk Festival to a nice reception. Full details at
http://veino.com/blog/?p=1990 .

May it bring dancers joy - as did she.

-Don

*¡Que Linda! - DI - Don Veino 20180211*

*A1*
Neighbor Balance & Swing

*A2*
Long Lines Forward & Back
Mad Robin CCW 1+1/4x (Ladies through center 1st, to Wave/4 across)
[N by LH, Ladies RH center]

*B1*
Balance Wave, Neighbor Allemande Left 1/2x,
Gents Pass Right to cross, Partner Swing

*B2*
Circle Left 3/4x, Ring Balance & CA Twirl
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Re: [Callers] Playing With Butterflies

[Don Veino via Callers]

Never mind on the option A question below. I'm embarrassed to realize I
didn't diagram enough of the dancers to catch my error in it only working
for 50% of the couples.

On Fri, Apr 13, 2018, 4:37 PM Don Veino  wrote:

> Had a recent inspiration on a couple of Butterfly Whirl sequences -
> looking for input on a few questions/options... opinions welcome!
>
> Thanks,
> Don
>
> Butterfly DRAFT 20180410.1 - 4 Face 4 - Don Veino
> A1 LLF, Circle/8 RIGHT 1/2x
> A2 Circle/4 Left 3/4x, Opposite N Swing [at Gent’s progressed home]
> B1 (option A) Gents Star Left ~3/4x (to P)
> P Star Promenade 1/4x [all at progressed home], Butterfly Whirl to face
> center
>  (option B) Opposite Gents Allemande Left 1+1/2x (to P)
> P Star Promenade 1/2x [w/in opp. 4; to all at progr. home], Butterfly
> Whirl to face up/down
> B2 (option A) Ladies Star Right 1x (to P), P Swing & face progression
>  (option B) Opposite Ladies Allemande Right 1x (to P), P Swing & face
> progression
>
> Questions:
> - Option A, IMO, is more of a "real" 4 facing 4 - but I'm uncertain if the
> timing will work? (Option B = bog standard timing.)
> - Is there a strong argument for one option vs. the other - will dancers
> care if the majority of the action is in 2-couple groups with opposites
> rather than involving all 4 couples?
> - Will there be a significant space problem when all 4 couples pass
> through the center in B1 option B?
>
> Butterfly DRAFT 20180410.2 - DI - Don Veino
> A1 N Balance & Swing
> A2 Gents Allemande Left 1+1/2x (Ladies left arm over P’s right as picked
> up),
> P Star Promenade 1/2x, Butterfly Whirl CCW along set to next Ns*, stay
> connected with P
> B1 Ladies Catch RH, Star Promenade P 1/2x CW, Butterfly Whirl CW into P
> Swing [on L’s home side]
> B2 Ladies Chain, Half Hey (back to THIS N...)
>
> End effects: re-enter in Butterfly hold with P (where/how depends upon
> answer below)
>
> *Question: I believe the butterfly shift could progress this dance forward
> (whirl shift to right as face out) or reverse (shift left). I believe
> reverse progression would flow/feel slightly better but forward progression
> could be less confusing to dancers - which would be best?
>
>
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[Callers] Playing With Butterflies

[Don Veino via Callers]

Had a recent inspiration on a couple of Butterfly Whirl sequences - looking
for input on a few questions/options... opinions welcome!

Thanks,
Don

Butterfly DRAFT 20180410.1 - 4 Face 4 - Don Veino
A1 LLF, Circle/8 RIGHT 1/2x
A2 Circle/4 Left 3/4x, Opposite N Swing [at Gent’s progressed home]
B1 (option A) Gents Star Left ~3/4x (to P)
P Star Promenade 1/4x [all at progressed home], Butterfly Whirl to face
center
 (option B) Opposite Gents Allemande Left 1+1/2x (to P)
P Star Promenade 1/2x [w/in opp. 4; to all at progr. home], Butterfly Whirl
to face up/down
B2 (option A) Ladies Star Right 1x (to P), P Swing & face progression
 (option B) Opposite Ladies Allemande Right 1x (to P), P Swing & face
progression

Questions:
- Option A, IMO, is more of a "real" 4 facing 4 - but I'm uncertain if the
timing will work? (Option B = bog standard timing.)
- Is there a strong argument for one option vs. the other - will dancers
care if the majority of the action is in 2-couple groups with opposites
rather than involving all 4 couples?
- Will there be a significant space problem when all 4 couples pass through
the center in B1 option B?

Butterfly DRAFT 20180410.2 - DI - Don Veino
A1 N Balance & Swing
A2 Gents Allemande Left 1+1/2x (Ladies left arm over P’s right as picked
up),
P Star Promenade 1/2x, Butterfly Whirl CCW along set to next Ns*, stay
connected with P
B1 Ladies Catch RH, Star Promenade P 1/2x CW, Butterfly Whirl CW into P
Swing [on L’s home side]
B2 Ladies Chain, Half Hey (back to THIS N...)

End effects: re-enter in Butterfly hold with P (where/how depends upon
answer below)

*Question: I believe the butterfly shift could progress this dance forward
(whirl shift to right as face out) or reverse (shift left). I believe
reverse progression would flow/feel slightly better but forward progression
could be less confusing to dancers - which would be best?
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Re: [Callers] Handheld mic advice

[Don Veino via Callers]

Harbor Freight has a line of waterproof hard side equipment cases which are
reasonably priced, rated well and feature foam inserts which can be custom
fitted to gear. I routinely see coupons to get the large one at ~$30.

https://www.harborfreight.com/3800-watertight-protective-case-16-516-in-63927.html

On Thu, Apr 12, 2018 at 12:22 PM, Jonathan Sivier via Callers <
callers@lists.sharedweight.net> wrote:

>I got a Shure BLX a couple of months ago to replace my 20 year old
> Shure wireless handheld.  It has worked fine so far.  I opted for the more
> expensive 2 channel receiver and got a wireless head set as well as the
> handheld unit.
>
>Now I need a carrying case to put everything in.  Does anyone have any
> recommendations on cases?
>
> Jonathan



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Re: [Callers] Handheld mic advice

[Don Veino via Callers]

They may have been putting you off due to the FCC frequency reassignment
for wireless systems? If you're sure it's the switch and are interested in
getting it fixed I'd recommend trying a handy/capable friend or a local
electronics repair shop instead. You may end up with antenna-toting folks
at your door someday, however...

I've been very happy with my PGX-D setup for a couple of years now (PGX-D2
handheld with Beta 58A capsule and a PGX-D4 base station). I use
rechargeable low self-drain NiMH AA cells (I find the IKEA LADDA 2450 to be
great at the price) and they last well.

-Don

On Wed, Apr 11, 2018 at 9:18 PM, Delia Clark via Callers <
callers@lists.sharedweight.net> wrote:

> Hi,
> I need some advice. My wireless mic (Shure PGx2) has finally died - a
> problem with the on/off switch. I sent it to Shure but they said it was was
> too old to repair. Rather than buying through a cheap online site like I
> did last time, which might be why it seems to have broken and gone out of
> date so quickly, I went to the Shure website to look at new ones. Two that
> seem to look a lot like my old one are below. Can anyone recommend which
> might be better for calling, or another handheld wireless mic that you’d
> recommend more?
>
> BLX The ideal entry-level wireless microphone system for small venues, BLX
> offers professional quality sound with simple setup and an intuitive
> interface. $299
> - Transmitter form factors include handheld (customizable at
> designstudio.shure.com), bodypack, headworn, lavalier, instrument
> clip-on, and combo
> - Single-channel, dual-channel, and rack mount receiver options available
> - Powered with AA batteries
> - Offers a 24 MHz tuning bandwidth and up to 12 compatible systems per
> frequency band (region dependent)
>
>
>
> PGX-D Digital offers wireless audio that sounds like wired, rock-solid RF
> performance, and simple setup and operation for small clubs and venues.
>  $349
> Transmitter form factors include handheld, lavalier, headworn, bodypack,
> and instrument clip-on
> Powered with AA batteries
> Operates in the 900 MHz frequency band
> Up to 5 systems can be used simultaneously
>
> Thanks for any advice you have!
> Delia
>
>
> <>:<>:<>:<>:<>:<>:<>:<>:<>
>
> Delia Clark
> PO Box 45
> Taftsville, VT 05073
> Office/mobile: +1-802-457-2075
> deliacla...@gmail.com
> www.deliaclarkconfluence.com
>
>
>
>
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Re: [Callers] Great dances for learning how to dance with ghosts?

[Don Veino via Callers]

Hi Ken,

I've never called this one, but this is my take on the end effects from a
quick review (what the heck - the worst that could happen is I'm wrong!).

-Don

Notation is "DV1" (my initials, first cycle, assuming full/even sets) and
"DV2" (second cycle). If starting with a couple out, flip the cycles at
that end.
The Hobbitby Melanie Axel-Lute
Intermediate - Dup imp
*A1* (8)   Neighbor balance and box the gnat
DV1 => Still in same minor set, swapped place with N
DV2 => Couples out at end awaiting next move
(8)   Pull by with right hand to previous neighbor; with that one,
allemande left once around
DV1 => All have de-progressed one minor set temporarily. If kicked "out" at
the end, stay in place... don't do anything at end (or could allemande
ghost or partner 1x back to place and then wait there)
DV2 => end couples are temporarily back in the dance and participate
through the B1 first move.
*A2* (8)   Women (in new group of four) allemande right once and a half
DV1 => Gents are still on their home side, Ladies have crossed set
(8)   Partner swing
DV1 => all on Gent's home side, still de-progressed 1 minor set
*B1* (8)   Circle left 3/4 and pass through to original neighbor
DV1 => All are back at original minor set, nobody "out" now
DV2 => "out" couple is once again out, stay in place.
(8)   Swing original neighbor
DV1 => Back to standard improper home side, 1s below 2s (progressed)
*B2* (8)   Long lines forward and back
(8)   Lefthand star
DV1 => Puts end couple really "out" and they should cross over at this
point.
DV2 => "out" couple coming back into the dance for real but will be subject
to temporary ejection again (stay in place when it happens).

On Fri, Apr 6, 2018 at 5:52 PM, K Panton via Callers <
callers@lists.sharedweight.net> wrote:

> Warning: rabbit hole ahead.
>
> Colin: I read your text for your workshop. All useful stuff and you do say
> more than "treat your partner as a neighbour".
>
> Re Michael Fuerst's quote, I agree that end-effects are what they are and
> they are not (necessarily?) the point of the dance, but they sometimes must
> be dealt with head-on. Example: I have tried to make any sense of the end
> effects in the dance The Hobbit http://www.quiteapair.us/calli
> ng/acdol/dance/acd_283.html . I think it's a great dance - if you can
> avoid the ends - but I'll be [darned] if I can make it around the end
> successfully. I've tried calling it, walking thru at a callers workshop
> with several experienced dancers and none of us could make sense of the
> end-effects. We were missing some magical key to understanding (perhaps
> guarded by Smaug). "Go where you are needed" wasn't going to work. Nor were
> the other rules. Sometimes, it seems, the end-effects must be taught just
> as the dance. No easy feat.
>
>
> Colin Hume via Callers
> 
>  Thu, 05 Apr 2018 02:42:50 -0700
> 
>
> I'm not sure that dancing with ghosts is the best way to deal with end-effects
> - I prefer "treat your partner as a neighbour".
>
> I have a whole section of notes on End-effects at  
> https://colinhume.com/dtendeffects.htm
>
> Colin Hume
>
>
>
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Re: [Callers] Another dolphin surfaces

[Don Veino via Callers]

Sometimes better to show than explain - there's one in an ECD by Christine
Robb here: https://youtu.be/g-8LyExynvA

After seeing Christine's dance I played with writing contras with one but
hadn't considered this entry into the hey... nice. You've inspired me to
dig my drafts out and try to finish one.

-Don

On Thu, Apr 5, 2018 at 12:24 AM, Cheryl Joyal via Callers <
callers@lists.sharedweight.net> wrote:

> This has me intrigued….
>
> But I don’t know what a “dolphin hey” is or how to teach ….. additional
> help appreciated.Thanks - Cheryl
> Cheryl Joyal
> clmjo...@gmail.com
> clmjo...@aol.com
> 630-667-3284 (cell)
>
>
>
>
> On Apr 4, 2018, at 11:21 PM, April via Callers <
> callers@lists.sharedweight.net> wrote:
>
> We danced this one last weekend, and it works quite well, even if the
> "dolphin" couple doesn't quite get the "switch leads without switching
> places" bit.  As long as they wind up in the center, it works.
>
> Passion for Dolphins
> A1 Down the hall, 1s in the middle. Turn alone, come back, end with all
> facing Lady 2.
> A2 Full dolphin hey by the 1s, starts with Gent 1 passing Lady 2 by the
> right.
> B1 Ones swing in the middle of the set (8) (end facing down) and roll out
> to swing N (8) (progression).
> B2 LL F/B.  2s (below) gate their new ones about 1.25, to a new line
> facing down.
>
> April Blum
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Re: [Callers] Down the hall - do something - then come back up

[Don Veino via Callers]

Hickman's Hey is one I've had local dancers request. I see from Martha's
post that it's credited to Dan Pearl - it came to me as "unknown author."

Below are a couple of mine that fit the bill - one well proven and one yet
to be.

-Don

(Riding in the) Zoomy Car – DI – Don Veino 20170717
*Status:* Proven

*A1*
Long Lines Forward & Back
1s Half Figure 8 down through 2s (around same role and above to center of
line/4 facing down, L2,L1,G1,G2)

*A2*
Line/4 Down the Hall, bend line
2s Half Figure 8 up through 1s (around opposite role and below to center of
line/4 facing up)
[to G1,L2,G2,L1 from dancer’s perspective (or L1,G2,L2,G1 from stage)]

*B1*
Line/4 Up the Hall; Gent 1 lets go, the Twos arch* via Gent doing Left Hand
High/Right Low to shoot Lady 1 through to Gent 1
Partner Swing
[*note Lady 2 continues walking forward during Left High/Right Low move to
make space for Lady 1 to pass through straight across and can keep hands
directly into the Swing]

*B2*
Gents Allem Left 1+1/2x
Neighbor Swing

*End effects*: Be mindful of how your action changes when crossing over at
ends
*Tune suggestions*: Marches, strongly phrased romantic tunes
Posted at http://veino.com/blog/?p=1792 .

Strolling & Rolling – Becket – Don Veino 20170725
*Status:* DRAFT

This is most likely an intermediate level dance due to the need for timely
and slightly differing action in the A2 as well as the need for good dancer
technique to make the roll to heys timing work and everyone end up in the
right places. Because all the hey action is focused on Partners, the dance
should provide effective recovery points that would keep it out of
“advanced” territory.

So far this dance has been walked through successfully but not yet
called/danced. I’ve since leveraged this roll to hey into a 4 Face 4
dance, Lobster
Roll , which has been called publicly.

*A1*
Left Diagonal Circle 3/4x, Swing Neighbor
[first time through, circle is straight across]

*A2*
(8) Ladies Chain (to P) to face down the hall (so Courtesy Turn = different
fractions for 1s and 2s)
(6,2) Down the Hall in Line/4, Gents Roll Partner w/HS (face Partner across
set)

*B1*
Half Hey (pass P Left to start, end in mirror position of start, facing up,
Ladies on *left* of P)
(6,2) Up the Hall in Line/4, Gents Roll Partner w/HS (face P across set)

*B2*
Half Hey (pass P Right to start, end in mirror position of start, facing P)
Partner Swing

*End effects*: Wait out on left diagonal to enter in the circle
*Tune suggestions*: Strongly phrased/driving smooth tunes

Posted at http://veino.com/blog/?p=1901 .


On Wed, Apr 4, 2018 at 10:01 PM, K Panton via Callers <
callers@lists.sharedweight.net> wrote:

> It's been a while since I've danced one of these but I know they exist!
>
> 1. Line of four goes down the hall.
> 2. While there, do something such as 1/2 hey.
> 3. Line of 4 comes back up.
>
> Any suggestions for lovely dances that include such a (or similar)
> sequence?
>
> Thanks.
>
> Ken Panton
>
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Re: [Callers] Temporarily Remove Name From Sharedweight Request

[Don Veino via Callers]

Hi Joe,

I don't believe you can temporarily unsubscribe but you are certainly free
to drop and rejoin later.

So far as I can tell, the link to maintain one's own list membership is at
http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net

-Don

On Mar 28, 2018 12:09 PM, "Joe via Callers" 
wrote:

Hi  Sharedweight,

I would like to take a time out from Shareweight.  Could you please remove
my email address from the forum.  My name is Joe De Paolo and my email is
jsph...@aol.com



Thank you,
Joe
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Re: [Callers] Politically Correct?

[Don Veino via Callers]

I've started doing singing squares over the past year and have been making
adjustments to lyrics for each one I do. So far the changes have been
relatively easy - mostly eliminating explicit gender and talking to
everyone whenever possible vs. a "talk to the (assumed) lead" focus.

There are real challenges for me in some popular ones - for example,
despite the fun of the sequence, Smoke on the Water's
https://squaredancehistory.org/items/show/1383 refrain's primary phrase
essentially amounts to "we'll kill 'em all" - as it's taken from a 1944
WWII song. I'm personally not ready to call that knowing the meaning and a
significant re-wording of the key refrain is not likely to go over well
with fans of the dance.

On Sun, Mar 25, 2018 at 1:39 AM, Alexandra Deis-Lauby via Callers <
callers@lists.sharedweight.net> wrote:

> People are not things. I don’t think it’s appropriate for any crowd.
> Try your hand at some new lyrics!
>
> Sent from my iPhone
>
> On Mar 25, 2018, at 1:12 AM, Rich Sbardella via Callers <
> callers@lists.sharedweight.net> wrote:
>
> Hello folks,
>
> I have been calling singing squares for years, and there is one I love by
> Dick Leger titled Billy Boy.  The tag line that is sung during the
> Promenade is "She's a young thing, that cannot leave her mother."
>
> Here is a link to a version of the full song, not within a square.
>
> https://www.youtube.com/watch?v=cKRJuLHU3Qo
>
> My question is, is this song appropriate for the contra dance crowd with
> the tag line above?  (The tag line is the only line that is sung.)
>
> Any Thoughts?
>
> Rich
> Stafford, CT
>
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Re: [Callers] Fwd: More substitute terms for the g-word

[Don Veino via Callers]

Or simply not do it as it's been covered many times before? Please, let's
not travel down this hole again.

Michael, search is your friend, for example
https://www.google.com/search?q=contra+dance+gypsy+slur gets you a couple
of top results. Other terms may yield more info.

On Wed, Mar 14, 2018 at 4:51 PM, Chris Page via Callers <
callers@lists.sharedweight.net> wrote:

>
> -- Forwarded message -
> From: Chris Page 
> Date: Wed, Mar 14, 2018 at 1:51 PM
> Subject: Re: [Callers] More substitute terms for the g-word
> To: Michael Barraclough 
>
>
> And could we please do this under a separate thread so it doesn’t drown
> out the original question?
>
> -Chris Page
> San Diego
>
>
> On Wed, Mar 14, 2018 at 1:44 PM Michael Barraclough via Callers <
> callers@lists.sharedweight.net> wrote:
>
>> Could someone please explain to me why the word gyp*** is considered a
>> racial slur. I note that the body that represents gyp***s in the USA calls
>> itself the Gypsy Council USA and in the UK it is the Gypsy Council. This is
>> the term they have chosen to represent their ethnicity and they seem to be
>> proud of it. Who are we to disagree?
>>
>> Michael Barraclough
>> http://michaelbarraclough.com
>>
>>
>> On 03/14/2018 01:33 PM, Rich Sbardella via Callers wrote:
>>
>> I think having a word that sounds similar is an asset, not a liability.
>> I have used look-see quite successfully.  In years, few will know that a
>> "look-see" used to be called as a G...  I have also used Walk 'round with
>> no problem.
>>
>> My initial attempt was Hipsy, but Linda Leslie quickly, and prudently
>> discouraged such usage.
>>
>> Rich
>>
>> On Wed, Mar 14, 2018 at 4:25 PM, Martha Wild via Callers <
>> callers@lists.sharedweight.net> wrote:
>>
>>> I don’t see that if you substitute a term that ends with a long e it
>>> should be nixed just for that reason. OK, maybe kipsy might be considered
>>> just a euphemism. But "Look-see", as described by Susan Michaels, has the
>>> virtue of involving the fact that you are looking at the other person, and
>>> seeing them. Why shouldn’t we choose a term that’s easier to substitute and
>>> remember to use like “Look-see” instead of the bland, cold, bulky,
>>> impossible to shorten, “right shoulder round” (or left shoulder round).
>>> Martha
>>>
>>> > On Mar 14, 2018, at 1:11 PM, Kalia Kliban via Callers <
>>> callers@lists.sharedweight.net> wrote:
>>> >
>>> > I appreciate the point that several have made that a term that sounds
>>> just like gypsy isn't a reasonable substitute.  Fair enough.  The search
>>> continues...
>>> >
>>> > Kalia in Sebastopol
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>>
>>
>>
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Re: [Callers] More substitute terms for the g-word

[Don Veino via Callers]

I've successfully tried both Glance (around) and Swoop (around) with
dancers. Several have told me they really liked Swoop and thought it was
the best alternative they've heard so far (and I've seen folks having fun
making "wings" on the floor as they do it).

A caution on terms that explicitly use "eye" in them: we have a regular
dancer who is blind and that person and their friends are strongly offended
by those terms. As eye locking is styling and not the essential motion,
it's not necessary to the call.

Also, on some of these sound-alike terms... if I were to call you a
"plucking gerk" would you not be offended just the same? I submit for the
same reason that a replacement term we settle on should not sound like the
original term we're trying to replace. Similar metrics, sure - but not a
minor tweak of the original sound. For this reason I've never tried making
"Glance" into "Glancey."

On Wed, Mar 14, 2018 at 10:52 AM, Bob Hofkin via Callers <
callers@lists.sharedweight.net> wrote:

>
> [snip]

>
> I appreciate the reports of what different callers are trying and their
> degree of success. At the same time, it makes a lot of sense to avoid
> rehashing the same arguments, as you suggest. Right now, we're in an
> empirical phase--trial and error--and rapid dissemination of results seems
> like the way to go. If that process suggests a few good candidates, it
> might be time to debate their merits.
>
> Bob
>
> 
>

[snip]
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Re: [Callers] Nerdy dances

[Don Veino via Callers]

Pretty darn nerdy, if you have a large enough group to keep it going:
https://www.jefftk.com/contras/dances/labubblesort

On Wed, Feb 7, 2018 at 9:58 AM, Ron Blechner via Callers <
callers@lists.sharedweight.net> wrote:

> Hey callers,
>
> I'm looking for dances with nerdy inspirations to add a few more choices
> to an upcoming session. Skill level easy through intermediate+.
>
> This can be dances inspired by a nerdy reason (like Jurassic Redheads or
> Star Trek) or some kind of nerdy-choreography.
>
> Thanks!
>
> Ron Blechner
>
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Re: [Callers] Equalizer

[Don Veino via Callers]

Agree on the Beta. I have a deep voice myself and use a Shure Beta 58
capsule in my wireless set up - it seems to work very well when coupled
with basic mixer tone adjustments (roll off lows significantly, mids around
neutral, boost highs).

When I was using venue "house" mics I found the results less predictable -
with my own I take that variation out of the equation. Proximity and
on-axis positioning does have a significant impact, I use a high quality
foam windscreen to ensure I keep a minimum spacing from the capsule to
avoid muddiness without muffling the high frequencies.

-Don

On Jan 30, 2018 10:50 AM, "Dale Wilson via Callers" <
callers@lists.sharedweight.net> wrote:

> 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

[Don Veino via Callers]

I think that person was really saying "no, sorry; I'm a total self-centered
a-hole!"

When doing a beginner session, I cover the basic asking to dance bit and
then say something to the effect of

"You're free to decline for any reason - just say "no thank you" and move
on. You don't owe any explanation and trying to give one will just delay
that person in finding another partner."

On Sat, Dec 16, 2017 at 3:24 PM, Angela DeCarlis via Callers <
callers@lists.sharedweight.net> wrote:
>
>
> To clarify, however, being rude is still totally unacceptable! My mom was
> turned down for a dance recently with the line, "no, sorry; I'm *very*
> particular with who I dance with!" Nope! Don't be that guy!
>
>
>
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Re: [Callers] "pick her up"

[Don Veino via Callers]

That's why I keep this reminder at the top of my card holder...

https://photos.app.goo.gl/s5jksoIuKMIsrwss2

On Tue, Nov 28, 2017 at 1:37 PM, Donna Hunt via Callers <
callers@lists.sharedweight.net> wrote:

> If I evaluate the crowd of dancers and they require a lot of instruction
> for a move that they will see once in a evening (like the star promenade)
> then I get on the floor and do a demonstration.
>
> [snip]

>
> I see less and less Callers teaching/demonstrating from the floor in the
> dances I attend on regular evenings.  And more often it seems that the
> Callers are relying on the experienced dances to teach the newcomers during
> the dance, which is a completely different discussion.
>
>
>
> Donna
>
>
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Re: [Callers] "pick her up"

[Don Veino via Callers]

I view this situation generically as akin to talking to the "actives" in a
sequence where there's not enough time to tell everyone what to do in the
call (as opposed to the walk-through).

In this case, the Allemande folks are moving first and therefore "active."
I've used a call of "Gents Allemande Left once and a half, hold on, Ladies
join your Partner for a Star Promenade.." (or the reverse) but it's more
wordy than the "pick up your _"  or "pick 'em up" variant.

In my teaching I try to stress to the "picked up" folks that they are
active participants and it's important to stay aware, facing the right
direction and ready to merge up to speed into the promenade (akin to cars
on an on-ramp) - so all arrive on time for the next bit.

-Don

On Wed, Nov 22, 2017 at 3:15 PM, Ron Blechner via Callers <
callers@lists.sharedweight.net> wrote:

> A quick question:
>
> How many callers believe that one role does the majority of the work in a
> courtesy turn or a butterfly whirl? If so, can you explain how the shared
> weight that differs from an allemande?
>
> I've always been taught about shared weight being essential in all contra
> moves, and I guess I'm still surprised when I hear callers prompt "pick her
> up and take her to the other side" as if the person in lady/raven role is
> not giving any weight. (Or similar one-role-biased prompting.)
>
> Thanks,
> Ron Blechner
>
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Re: [Callers] Balancing LEFT in a wave?

[Don Veino via Callers]

I've noticed that dancers' natural tendency is to balance towards the hand
that touches first in these situations, which is consistent with what you
report. Should the rest of the dance be truly worthwhile in fighting that
tendency, I would opt for doing a balance forward and back in this
situation. Otherwise spin the wheel of dance and pick one that matches
custom?

On Nov 8, 2017 2:07 PM, "Maia McCormick via Callers" <
callers@lists.sharedweight.net> wrote:

> Recently called a dance with an allemande R into long waves, balance wave,
> allemande L. Because of personal preference, I taught the balance as
> "balance left, then right", but cuz I didn't teach it all that clearly, the
> dancers defaulted back into balancing right first, and enough tricky stuff
> was happening in the dance that I didn't wanna correct them in flight.
>
> I'm just wondering: do others agree that a balance left makes more sense /
> flows better in this context, or is this a weird personal preference? In
> your opinion, does the flow of the balance left outweigh its potential
> unidiomaticness?
>
> Cheers,
> Maia
>
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Re: [Callers] Halloween

[Don Veino via Callers]

Horror films apply?

Below is my original chainsaw themed dance. I've since got several
permutations on this sort of theme & motion which are not yet posted on my
site - including the second simpler sequence.

These have been walked through with dancers but not yet called publicly.
I'm hoping to try Swinging Chainsaws this weekend. I'd love to hear
feedback should anyone try these.

-Don

(Like) Juggling Chainsaws – DI – Don Veino 20170406
[Working/alternative title: Concord Chainsaw Massacre]

A1
Neighbor Balance & Swing

A2
(8) Gents LH Chain (to P)
(8) Gents See Saw 1+1/2x (or See Saw 1x and pass Lefts across)
WHILE
Ladies Orbit CW 1/2x (Pass RT shoulder w/next Lady)

B1
Partner Balance & Swing

B2
Ladies RH Chain, ending Courtesy Turn facing N (up/down, reverse of
progression), keep left hands w/N
(pull into) See Saw 1x with THIS Neighbor, end facing NEXT Neighbor

End effects: Wait out crossed over for N to come to you out of B2 See Saw.

More details at http://veino.com/blog/?p=1558


Swinging Chainsaws - DI - Don Veino 20171006

A1 N B

A2 Ladies Chain; L See Saw

B1 P B

B2 Ladies Chain; N See Saw to next (see Juggling Chainsaws B2 for details)


On Thu, Oct 12, 2017 at 9:16 AM, Rich Sbardella via Callers <
callers@lists.sharedweight.net> wrote:

> Hello Friends,
> I need some Halloween themed dances.  Any suggestions?
> Rich Sbardella
> Stafford, CT
>
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[Callers] Fooling with Devil's Dream (was Re: Halloween)

[Don Veino via Callers]

I like the A parts motion of this trad dance (thanks Bob for posting!).
Seeing this got my brain going while I was running my errands this
morning... and out popped these two multi-swing retakes. I hope they're
unique but please let me know should you have info otherwise.

Thanks,
Don

The Devil's a Swinger - DI - Don Veino 20171012

A respin on the traditional dance Devil's Dream to incorporate swings yet
retain some of the tradtional feel.

Starts with the 1s facing down in the center and 2s facing up on the
outside.

A1 (6,2) 1s go down center/2s go up outside - 1s turn as couple, 2s turn
alone
   [I'd probably teach/prompt "centers as couples, outsides turn alone" as
it fits both instances]
   (6,2) 1s go up center/2s go down outside - Handy Hand Allemande 1/2x
same role Neighbor to 2s in center

A2 (6,2) 1s go down outside/2s go up center - 2s turn as couple, 1s turn
alone
   (6,2) 1s go up outside/2s go down center - Right Hand Allemande 1/2x
opposite role Neighbor

B1 Half Hey (G Pass Left to start)
   Neighbor Swing

B2 Long Lines Forward & Back [Alternative: Circle Left 1x]
   1s Swing in Center, all face progression


I ♥ Devil Dogs - DI - Don Veino 20171012

A respin on the traditional dance Devil's Dream to incorporate Partner and
Neighbor swings.

Starts with the 1s facing down in the center and 2s facing up on the
outside.

A1 (6,2) 1s go down center/2s go up outside - 1s turn as couple, 2s turn
alone
   [I'd probably teach/prompt "centers as couples, outsides turn alone" as
it fits both instances]
   (6,2) 1s go up center/2s go down outside - Handy Hand Allemande 1/2x
same role Neighbor to 2s in center

A2 (6,2) 1s go down outside/2s go up center - 2s turn as couple, 1s turn
alone
   (6,2) 1s go up outside/2s go down center - Right Hand Allemande 1/2x
opposite role Neighbor

B1 Gents Cross
   Partner Swing

B2 Give & Take to Gents (N Swing), all face progression
   [Alternative: Circle Left 3/4x, Neighbor Swing, all face progression]


On Thu, Oct 12, 2017 at 10:34 AM, Bob Peterson via Callers <
callers@lists.sharedweight.net> wrote:

> There’s this no-swing dance, which I got from https://www.
> cambridgefolk.org.uk/contra/dances/devils_dream.html
>
> The Devil's DreamTraditional
>
> Improper Contra
> A1
>
>- 1s face down and lead down the centre while the 2s face up and go up
>the outside
>- all turn alone and lead back to give neighbour nearest hand and half
>turn neighbour
>
> A2
>
>- 1s facing down the outside and 2s up the middle: lead up or down
>again
>   - you promenade in the same direction both times
>- all turn alone and lead back to give *left* hands to neighbour
>
> B1
>
>- turn neighbour into a full ladies chain across
>
> B2
>
>- half promenade neighbour across set
>- half right and left back
>
>
>
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Re: [Callers] Hole in the Wall Crossing

[Don Veino via Callers]

Sorry for the delayed response, I've been on something of an internet fast.

Regarding:

On Tue, Oct 3, 2017 at 4:44 PM, John Sweeney via Callers <
callers@lists.sharedweight.net> wrote:

> Hi Angela,
> [snip]
> The “Hole in the Wall Crossing” is not a new move.  It is a
> stylised version of a normal Cross Over.
>
> [snip]
> There are countless contra dances already with moves like: Balance
> the Ring; Ladies Cross.
>
> You just do the crossing in that style and you are doing a “Hole
> in the Wall Crossing”.  You don’t need to write new dances, just give the
> dancers that stylistic option.


I agree with John in a geographic destination sense.

However, unless I'm misunderstanding his point, I apparently differ in
opinion as regards timing and flow. I believe you definitely need to
address the "styling" of the cross within the rest of the dance's
choreography - meaning the composition must be fit to a HitW-style cross or
risk the dance not being satisfying.

A "conventional" [persons identifier] cross by [shoulder] (or alternatively
[persons identifier] swap) can range from 2 (rushed) to 4 (typical) beats.
A HitW-styled cross would typically run 6-8 beats. As a result, the
proximate moves (or "styling" of them) must address that timing for the
overall dance to be satisfying.

By way of example, consider this one of mine:

  The Whole Slice – Becket – Don Veino 20170401

  A1
  (4,4) Slice Forward on left diagonal, Fall Straight Back
  (8!) Hole in the Wall* (with N straight across – “Go Forward, Neighbor
Swap, Fall Back”), look away from Partner

  A2
  (6) Circle Left 3/4 (w/same N & your shadow)
  (10) Neighbor Swing

  B1
  (8) Left Diagonal Ladies Chain (to P)
  (8) Half Hey Ladies Pass Right (straight across)

  B2
  (4,12) Partner Balance & Swing

  (*Choreographic shorthand - I don't call with this term - see full
details at http://veino.com/blog/?p=1541)

If the caller decided to do a "conventionally styled" swap instead of "HitW
styled" to end the A1, there's ~4 beats difference that'd need to be dealt
with. Dancers might hold their place smiling or (more likely) do something
unintended instead - possibly disrupting the rest of the dance. Bottom
line, one can't just "style" that single bit without addressing the other
parts.

FWIW, this is why the A1 and A2 above are crafted as they are... the slice
demonstrates similar cadence to the HitW cross timing.  It'd take all 4
dancers shaking that off and then rushing the HitW cross for the circle to
start early (vs. a 2 dancer move, with proportionately greater risk of
mis-timing) - this was intended as a "point of control" to smooth things
out and help dancers settle into the relaxed (for contra) cadence.

-Don
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Re: [Callers] New Dance?

[Don Veino via Callers]

Presume the one you encountered was "The Love Pirate"? There's a few more
of mine featuring the move:

http://veino.com/blog/?tag=hole-in-the-wall

(One really must stress the timing of the move for contra dancers or
they'll fly through it in half the time (you can only build in so much
"shock absorber" capacity otherwise to deal with that). I replaced a HitW
in another new (not as yet posted) dance because I believed dancers would
tend to rush it and an alternative approach would be more robust there (it
wasn't central to the theme in that one).)

There's a few more of my ECD-feely dances currently posted:

http://veino.com/blog/?cat=328


On Mon, Oct 2, 2017 at 6:48 PM, Angela DeCarlis via Callers <
callers@lists.sharedweight.net> wrote:

> I'm pretty happy with the choreography, generally.  I think adding a
> Gents' chain would serve to make the dance less accessible, and that wasn't
> my goal in writing it.
>
> I recently picked up a dance by Don Veino that has an English figure in
> it, too. I think the figure is called Hole in the Wall? That's another
> figure I'd love to see plopped into more contra choreography for
> easy/intermediate dances!
>
>
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Re: [Callers] New Dance?

[Don Veino via Callers]

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

[Don Veino via Callers]

I believe Clark Baker and Lisa Greenleaf have worked up several Contra/MWSD
hybrids but the only one I could find on Clark's site was Relay The Orbit:
http://www.tiac.net/~mabaker/contra-dances.html

-Don

On Sat, Sep 23, 2017 at 1:05 PM, Mark Hillegonds via Callers <
callers@lists.sharedweight.net> 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] Pirate Themed Dances!

[Don Veino via Callers]

Well, there's my The Love Pirate, which offers the softer side of the
pirate lifestyle: http://veino.com/blog/?p=1634

On Sep 16, 2017 10:21 AM, "Angela DeCarlis via Callers" <
callers@lists.sharedweight.net> wrote:

He- Ahem- AHOY, Shared Weight?

Did you know that September 19 is International Talk Like a Pirate Day?

Me neither, but the dance I'm calling tonight was sure to let me know! I
know there are a bunch of Pirate-themed dances out there (one that I heard
Maggie Jo Saylor called years ago springs to mind, with two consecutive
wave balances).  Send along some of your favorites, maybe others with gigs
this weekend will find they come in handy!

Thanks!
Angela

www.angeladecarlis.com

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Re: [Callers] New archives

[Don Veino via Callers]

Looks good - thanks for your efforts, Seth!

On Wed, Aug 23, 2017 at 8:28 AM, Seth Seeger via Callers <
callers@lists.sharedweight.net> wrote:

> Hello callers,
>
> I’m sorry it’s taken me so long, but at last we have a new archive system:
>
> http://www.mail-archive.com/callers@lists.sharedweight.net/
>
> The old archives should be imported this weekend.  For power users, there
> are some interesting search options and keyboard shortcuts:
>
> https://www.mail-archive.com/faq.html#search
> https://www.mail-archive.com/faq.html#accesskeys
>
> I welcome any feedback!
>
> Seth
>
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Re: [Callers] Waltz-Time Contra Choreography

[Don Veino via Callers]

Here's one I'm fond of. One could argue whether this is a Contra, ECD, or...

Linda’s Gifts (of Time) – Longways Duple Proper in Waltz Time – Don Veino
20160818

*Type:* Longways Contra or English Dance, Duple Proper
*Status:* Public, Proven

In grateful recognition of Linda Leslie’s investments of time in the folk
dance community and in particular her consultation and mentoring given me
as I hone my dance calling and composition.

*A1*
(6,6) First Corners Set to each other (small steps to the Right-2-3,
Left-2-3), Hole in the Wall (forward 3 beats/steps, pass rights and pivot 1
step, fall back 2 steps into each other’s places)
(12) Second Corners, same thing

*A2*
(12) Partner Two-Hand Turn 1x
(12) Circle Left 1x

*B1*
(12) Ones Half Figure 8 up and around Twos to finish below
(12) Twos do similar below, to finish above

*B2*
(12) Partner Back to Back/Dosido
(6) Ring Balance with current Neighbors
(6) Cloverleaf Turn Single over outside shoulder to face new Neighbors

http://veino.com/blog/?p=1464


On Aug 8, 2017 2:03 PM, "Dugan Murphy via Callers" <
callers@lists.sharedweight.net> wrote:

Do you have a favorite contra dance written to fit a waltz tune?
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[Callers] Prior? Trip to Santa Fe

[Don Veino via Callers]

I came up with this one for a particular gig. Given the simplicity it was
probably already written - if so I'd like to give proper credit. Please let
me know.

Thanks,
Don

Shortly before calling the Santa Fe NM dance last month I was informed that
a group of 20+ international students who’d never done contra were planning
on attending (turned out to be ~60% of the attendees at the start). In
planning my program I realized the existing mixers in my deck were either
too risky for those folks or too simple for the regulars. I wanted
something that would build on the sequence of moves introduced in my
teaching plan (which factored in language challenge) so I came up with the
following. It worked out well with that group.

Trip to Santa Fe – Circle Mixer – Don Veino 20170622

*A1*
Into the Center and Back
Circle Left

*A2*
Circle Right
Partner Dosido (and turn away from P)
[so Gents look CW, Ladies CCW]

*B1*
Neighbor Balance and Swing

*B2*
(new) Partner Promenade
http://veino.com/blog/?p=1722
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Re: [Callers] Looking for a particular sort of becket dance

[Don Veino via Callers]

Here are two Becket dances which are somewhat unusual but still easy to
call and robust to dance. These might be considered a "step up" for a
beginner caller - something to grow into from straight glossary material -
requiring a more thought out walk-through/teach.

-Don

*Tranquility - Linda Leslie*
Contra/Becket-CW/Easy   (6/17/2000   Sandwich, MA)

A1   Long lines forward & back
   Gents allemande left once and a half
A2   Neighbor Balance & Swing
B1   Pass through to an ocean wave
   Balance
   Walk forward
   New Wave Balance
B2   Ladies allemande left one-half  (or once and a half)
   Partner Swing
(I recommend the 1+1/2 for the easier timing)

Wavy Star Slice – Becket – Don Veino 20170120

*Type:* Contra Dance, Becket Left/CW Formation

*A1*
(8) Slice left (Fwd on left diagonal, fall straight back)
(4,4) Fwd to Wavy Star*, Balance

*A2*
Star CW 3/4x (Gents forward, Ladies back up 3 places)
N Swing

*B1*
L Chain to P
Circle RIGHT 1x

*B2*
Partner Balance & Swing

*AKA “Gypsy Star” – Take hands in wave with same role N, Gents below
Ladies, for an interleaved wave facing opposite role N. Let go of outside
hands (the one touching adjacent hands/4 folks) and retake hands with
opposite role N before rotating the star.
See http://veino.com/blog/?p=1357


On Jun 29, 2017 3:58 PM, "Kalia Kliban via Callers" <
callers@lists.sharedweight.net> wrote:

Hi all,

I'm re-vamping my list of simple contra dances for new callers, and am in
search of a very particular sort of becket dance.


{snip}

Re: [Callers] New Dance to Share

[Don Veino via Callers]

I'm guessing it has to do with average wing spans. Much as we may like to
divorce role from physical characteristics, there are times in choreography
where predominant dancer properties can affect the "feel" of a dance.

BTW, folks: please remember to trim your posts to just the applicable bits.
Risking swiping thumb fatigue on my phone today... 

On Jun 10, 2017 3:06 PM, "jandnbloom via Callers" <
callers@lists.sharedweight.net> wrote:

I'm curious - what is it about having the ladies in the center that makes
it work better?
Jacob


Sent from my T-Mobile 4G LTE Device


 Original message 
From: Mac Mckeever via Callers
List-Post: callers@lists.sharedweight.net
Date:06/10/2017 1:48 PM (GMT-05:00)
To: Frederick Park ,Callers@lists.sharedweight.net
Subject: Re: [Callers] New Dance to Share

Since you mentioned circle mixers - one of my current favorites is a very
easy one that has been around for a while - but I only discovered it a
couple years ago.  I messed with it a little to make it work for all
experience levels.

The Wheel by Gene Huber - random circle mixer

Start in a circle with Ladies facing partner with their backs to center -
holding 2 hands with partner (I think the original had the gents in the
center - but I found it works better this way)

[Callers] Trip to ... = ?

[Don Veino via Callers]

Silly question of the day: is there some expectation/standard for what a
"Trip to ..." dance contains - other than the words "Trip to" appear in the
title?

Re: [Callers] Website development

[Don Veino via Callers]

Hi Jeanette,

In case you're not aware, there's another list on SharedWeight for just
this sort of purpose. However, there has been no activity on that list for
quite a while:
http://sharedweight.net/index.php?pagestate=webcontent_about

I don't think there's anything in particular about a given web content
management system (CMS) that makes it more suitable for a dance series or
caller "topic", per se, vs. any other. I think the choice is more a
personal one based upon your given situation, tech comfort and desired
capabilities.

The fact that you asked for "open source" implies a level of understanding
that is different from mainstream and most likely means the choice for you
could/would be different than for the next person.

I've personally used hand coded html/php/css and two CMS packages
(Wordpress and Website Baker) for my work with similar topics and
organizations. I'm not an expert by any measure but have been successful in
doing what I needed to in this area by using these tools in a suitable
manner.

Hand coding provides the best flexibility at the cost of detailed
work/knowledge. Arguably also the best security - as the attack vectors are
greatly minimized. BTW, website attacks are very much a real thing - I see
attempts in my server logs 24x7.

The two mentioned packages are both open source and typically free & easy
to install under low cost linux-based hosting packages (usually a single
"click" on a software package selection page).

Wordpress is *very* popular, has far more in terms of plugins that extend
functionality (e.g.: do you need to accept comments? integrate a calendar?
sell something? want dedicated post types?) and automation of component
updates (i.e.: security/bugfix), but is more complicated to manage
("complexity begets power"). It is at it's heart a blogging platform but
people bend it to be a website management package routinely.

Website Baker (and related forks) does basic website creation & maintenance
very well and I have been successful in getting (mostly) non-technical
folks to be able to maintain their own sites using it ("with simplicity
comes clarity").

This is an area of tech where there are many other package options and each
have their own adherents - so you could get an infinite number of
recommendations from the faithful. A place to start to sort that out for me
included https://www.opensourcecms.com/ (I haven't used it since making my
choices years ago - beware the rabbit hole!).

If having a dedicated package hosted under your own domain name (e.g.:
mydancegroupname.org) for your site is not important, then several of the
free (but not necessarily "open source") tools seem to work well for
others. Folks seem to use Tumblr, Blogger, Weebly, Wix, Google Sites, etc.
all the time. These provide easy templates but also limit your flexibility
in making it look/work exactly how you want (yet may also offer unique
capabilities integrated with other products). For many the limitations
aren't a significant issue - but can be for others. For instance, if it is
important that your group's image is all under one brand/domain then you'll
most likely want to host a package on your (own or shared) server/service
so you can have your site and email use the same domain name. There are
ways to split this up across servers/services but you ratchet up the
required knowledge/complexity as you do. For some of these providers, a
"premium" product is available at a fee which enables additional
capabilities similar to the above.

There's a great range of possibilities here and I've deliberately
constrained my answer (though it may not appear so!). I may have aimed too
high or too low for your interest level with the above. I'm happy to talk
with you more specifically about my experiences in this area (and your
interest/needs) if that is helpful.

-Don

On Fri, Apr 21, 2017 at 7:24 AM, Jeanette Mill via Callers <
callers@lists.sharedweight.net> wrote:

> Can anyone recommend an open source website development tool that is
> appropriate for touring dance callers and musicians?
>
> cheers
> Jeanette
>
> Jeanette Mill
> Contra dance caller, musician and workshop convenor
> +61 (0)449 686 077 <+61%20449%20686%20077>
> Canberra, Australia
>
> "The piano - 88 little mistakes waiting to happen" Kate Barnes
>
> ___
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> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
>

Re: [Callers] Ladies Chain to Allemande Left (Was: Does this dance already exist?)

[Don Veino via Callers]

Hi Robert,

I may be totally missing the point but, in *Just Because*, the chain and
allemande are with *different* people. I agree that's a common bit of
choreography with a well established history - particularly so in squares.

In the dance I referenced (and how I interpreted - perhaps erroneously -
the original request), the person you chain to and the person you allemande
with are the *same* people, and the moves proceed directly from one to the
other for more than a minor fraction (see below).

I'm happy to let go any claim to uniqueness for this approach, should it
matter. We all just add little bits to the foundations we've inherited.

Thanks,
Don
Greenfield Tornado – Becket – Don Veino 20161218

*A1*
Left Diagonal Slice & Take to Gent’s Side (Neighbor Swing)
[First time can be straight across Give & Take; Alternate A1 = Diagonal
Circle Left 3/4, N Swing]

*A2*
Ladies Chain (to P)
Partner Allemande Left 1+1/2x

*B1*
Full Hey, Gents Pass Right to start

*B2*
Partner Balance & Swing

*End Effects*: Wait out crossed over on Left Diagonal at ends.
(Note: as covered in my blog post on this dance, the same sequence but for
the A2 was independently done previously by Linda Leslie as her dance
*Greenfield
Storm*. I modified my dance title as shown to honor hers, once I became
aware of it.)


On Thu, Apr 13, 2017 at 9:38 PM, Robert Livingston <rlivng...@yahoo.com>
wrote:

> Don..and all,
>
> Dover, VT, in a square dance;  "Just Because"  Ted Glabach, caller:
>
> A1  Head Ladies Chain  - Back
> A2  Sides...the same
>
> B1 Allemande Left on the Corner  (8)
>   come home and Swing with Your Own  (8)
> B2  Take the Corner maid and we'll all Promenade  (8)
>Because, just because  (8)
>
> Tag  B3  Because, just because
>
> Not a modern era dance, not in contra formation, but still in play.
>
> Bob Livingston
>
> ----------
> *From:* Don Veino via Callers <callers@lists.sharedweight.net>
> *To:* Don Veino via Callers <callers@lists.sharedweight.net>
> *Sent:* Thursday, April 13, 2017 8:51 PM
> *Subject:* Re: [Callers] Ladies Chain to Allemande Left (Was: Does this
> dance already exist?)
>
> In case anyone might be under the assumption that I'd claimed to have
> invented the Ladies Chain or similar... :-)
>
> My understanding of the context of the original post was looking for a
> modern era dance featuring Ladies Chain with Courtesy Turn, proceeding
> directly to a full Allemande Left with the same person. That's the sequence
> in my dance I referenced (and haven't encountered elsewhere before).
>
> Fascinating and informative Chain history thread please continue...
>
> -Don
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
>
>

Re: [Callers] Ladies Chain to Allemande Left (Was: Does this dance already exist?)

[Don Veino via Callers]

In case anyone might be under the assumption that I'd claimed to have
invented the Ladies Chain or similar... :-)

My understanding of the context of the original post was looking for a
modern era dance featuring Ladies Chain with Courtesy Turn, proceeding
directly to a full Allemande Left with the same person. That's the sequence
in my dance I referenced (and haven't encountered elsewhere before).

Fascinating and informative Chain history thread please continue...

-Don

Re: [Callers] Rapid City Reel?

[Don Veino via Callers]

Rocket City Romp
http://lists.sharedweight.net/pipermail/callers-sharedweight.net/2015-July/000464.html

On Tue, Apr 11, 2017 at 6:36 PM, Rich Sbardella via Callers <
callers@lists.sharedweight.net> wrote:

> I am looking for a dance titled either Rapid City Reel, or Rocket City
> Reel.
> The dance has back to back interrupted square thru two hands.
>
> Can anyone help me with this one?
>
> Rich
> Stafford, CT
>
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Re: [Callers] Does this dance already exist?

[Don Veino via Callers]

Hi Esther,

Such a move is in my Greenfield Tornado dance. Choreo and a video link is
on my blog post . I'm not aware of any other
dance until now which used this combination, but would be happy to give
credit to a prior pioneer.

-Don

On Mon, Apr 10, 2017 at 5:24 PM, Esther Fraser via Callers <
callers@lists.sharedweight.net> wrote:

> Also interested in other dances that have a Ladies' Chain to into
> Allemande Left (with the one you chain to) combo. I think I might have seen
> it somewhere, but I can't remember where.

Re: [Callers] In search of un-premiered contras!

[Don Veino via Callers]

Dave,

I believe there's a simple fix that'll retain the balance of your dance -
but it's double progression. Split your heys into halves with the first
half being on the diagonal (progresssion) and then straight across.

-Don

On Mon, Mar 27, 2017 at 8:49 AM, David Harding via Callers <
callers@lists.sharedweight.net> wrote:

> Scratch that.  Now that I look at it in light of Tom's comments, I realize
> that there is no progression.  Doh!
>
> On 3/26/2017 9:26 PM, David Harding via Callers wrote:
>
> Here's something I envisioned last fall and have been meaning to post for
> comment.  There were conversations here about gents chains and about
> balancing the activity levels of ladies and gents.  At Squirrel Moon
> Weekend, Tom Hinds called a dance whose details I don't remember, except
> that it started with a gents chain across from Becket formation, followed
> by gents chain on the right diagonal (I think).  About 2/3 of the way
> through the dance, he switched to start with a ladies chain across and then
> on the left diagonal.  It was dramatic how different the two versions of
> the dance felt.  That got me to thinking, why not switch each time through
> to symmetrize the dance, the way modern dances with contra corners often
> do?  Perhaps that's sufficiently disorienting to be cutting edge.
>
> I have not had the occasion to call this, but would be happy to hear if
> anyone thinks it's worth giving a try.  I haven't thought through the
> teaching, but imagine that for a group that could handle it, two
> walk-throughs would be useful.
>
> The working title is "Both Sides"
> Becket
>
> A1 Gents allemande 1 1/2; Neighbor swing
> A2 Long lines forward and back; Gents chain, courtesy turn
> B1 Gents left shoulder full hey
> B2 Partner balance and swing
>
> Alternate with
> A1 Ladies allemande right 1 1/2; Neighbor swing
> A2 Long lines; Ladies chain,  courtesy trun
> B1 Ladies right shoulder full hey
> B2 Partner balance and swing
>
> Dave Harding
>
> On 3/26/2017 8:26 PM, Maia McCormick via Callers wrote:
>
> Hi choreographer folks,
>
> I'm leading a session at NEFFA called "Cutting-Edge Contras", consisting
> of un-premiered (or very sparsely called) contras. If anyone has any dances
> they'd like to throw my way for consideration, please do so!
>
> Cheers,
> Maia
>
>
> ___
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>
>
>
>
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>
>
>
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>
>

Re: [Callers] New Dance

[Don Veino via Callers]

Harking back to a prior thread - there's different dizziness quotients for
different moves. I ran an experiment with dancers where we did 64 beats+ of
Mad Robin CW - no reported dizziness.

In my experience, the tighter the radius, the higher the perceived
dizziness. Think of it as RPB (rotations per beat). Facing direction also
impacts perception (can you look at a fixed (relative) point?).

So on a scale, a swing could be a 1.0, a Walkaround/G*p*y Right say a 0.8,
Allemande Right = 0.6?, Left shoulder center start Hey = 0.2?. Circles more
dizzy than Stars?, etc.

Bottom line, in my experience, a simple CW beat count is a useful first
level check but doesn't necessarily represent the dance's true perceived
"dizzy dancer" impact.

-Don

BTW Michael (from the parallel Trad Dance Callers thread): I have Fun Dance
for Marjorie as being by Bob Golder, collected from the author himself. :)
Ref:
https://www.library.unh.edu/special/forms/rpdlw/syllabus2009.pdf#page=25


On Thu, Mar 23, 2017 at 12:39 AM, Ron Blechner via Callers <
callers@lists.sharedweight.net> wrote:

> Unfortunately, I count a whole lot of clockwise rotation.
> In beats:
> A1: 12 all, assuming people spin on the Petronella
> A2: 4 for Gents
> B1. 16
> B2. 16, with ladies getting an extra rotation.
>
> So, that's 44 beats of clockwise rotation (the "noticeably dizzy mark" for
> me is 40) and gents get 48 beats.
>
> Sorry. :(
>
> Ron Blechner
>
> ___
> Callers mailing list
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>
>

Re: [Callers] Tax Day Dances

[Don Veino via Callers]

*MN-NY Happy Returns - Carol Ormand*
in RPDLW Syllabus
https://www.library.unh.edu/special/forms/rpdlw/syllabus2005.pdf#page=43
(yes, you can link to specific pages in these)


*Last Time I Checked This Was Still a Democracy, Isn’t It? - Amy Cann*
(be sure to check the back story)
http://www.library.unh.edu/special/forms/rpdlw/syllabus2012.pdf#page=08

*The Amazing Return - Ken Bonner*

http://lists.sharedweight.net/pipermail/callers-sharedweight.net/2015-January/016854.html

*Close Enough For Government Work - Rich Blazej*

Only title found, no easy web link to sequence?

Have fun,

Don


On Thu, Mar 23, 2017 at 7:11 AM, Mary Collins via Callers <
callers@lists.sharedweight.net> wrote:

> I am calling on April 15thwould love some ideas for "tax" related
> dances.  Any out there?
>
> Thanks.
> Mary Collins
>
> “Life is not about waiting for the storms to pass ... it's about learning
> to dance in the rain!” ~ Unknown
>
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>
>

Re: [Callers] Difficult dancers - Decision to ask not to return

[Don Veino via Callers]

On Wed, Mar 8, 2017 at 1:26 PM, Mark Hillegonds via Callers <
callers@lists.sharedweight.net> wrote:

> Would you ever (or have you ever) asked someone not to return based on
> their inability to dance?
>

No. If we want to consider ourselves open and welcoming then, IMO, I
believe we need to model that. There are venues that have a different
mission and objective (the limited set of "experienced" dances) where this
might be appropriate but for a general dance I'm uncomfortable with the
idea of sending someone away because they struggle to perform as others
might expect.

In the dance series I help run we have several folks with challenges whom
dance with us regularly. These include blindness, some memory impairment,
perceptual/developmental issues, physical impairment and just plain slowing
down. They are all welcome, even though that may cause others to have to
adjust - and that's just what we do. Callers adjust their material and
timing/calls. Dancers find ways collaboratively to surpass the challenges
presented.

We strive to keep the hall well mixed, or the dancers will naturally
segment themselves such that the difficulties multiply rather than get
mitigated. A lot of that has to do with material selection - fidgety
fast-action dances will not encourage the mixing. Well constructed dances
with great flow (and some space for flourishes/recovery) will. We also have
generous experienced dancers who help in partnering.

Is it easy to continue this way? Maybe not. It may cost us attendance.
There are times I (and others) get frustrated. But then I take a deep
breath and move on from the temporary issue knowing the bigger goal. I feel
you need to set a view of what you want the culture of your series to be
and act in accord. My dance strives to be a real community where we dance
and engage *with* people and not just dance *next* to them.

Of course there's a difference between lesser capability and inappropriate
behavior. We don't tolerate the latter but fortunately we've had few issues
in that regard.

-Don

Re: [Callers] Dances Inspired by "Beneficial Tradition"

[Don Veino via Callers]

I was inspired to try fitting it into a 4 Face 4 - which I dubbed
"Traditions with Benefits."

See http://veino.com/blog/?p=1500 .

On Fri, Mar 3, 2017 at 1:10 PM, Dugan Murphy via Callers <
callers@lists.sharedweight.net> wrote:

> Does anybody know of dances inspired by "Beneficial Tradition" by Dan
> Pearl that includes the "zipper" figure (B2 of "Beneficial Tradition") or
> variations of that figure?  I just wrote one myself, so I'm curious to see
> what else is out there.
>
> Here's mine:
>
> Dela Says Yippee by Dugan Murphy (Clockwise Becket)
>
> A1  Long Lines Forward and Back (8) / Neighbor Left Hand Pull-by Across
> the Set (hopping and shouting recommended on the fourth beat) (4) - New
> Same-Role Dancer Across the Set Right Hand Pull-by Across the Set (hopping
> and shouting recommended on the fourth beat) (4)
>
> A2  New Ladies (not the one just pulled by) Left Hand Allemande 1.5 (8) /
> Neighbor Swing
>
> B1  Circle Left 3 Places (8) / Partner Di-Si-Do (8)
>
> B2  Partner Balance & Swing (16)
>
> This dance is also posted here: www.duganmurphy.com/dances-i-wrote
>
> Dugan Murphy
> Portland, Maine
> dugan at duganmurphy.com 
> www.DuganMurphy.com
> www.PortlandIntownContraDance.com
> www.NufSed.consulting
>
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>
>

Re: [Callers] I ♥ Dances - was: Contras which feature a "Dublin Bay" figure

[Don Veino via Callers]

I was asked off-list how the titles should be verbalized - they are "I
Heart..."

On Sun, Feb 5, 2017 at 4:52 PM, Don Veino 
wrote:

> BTW, I ♥ Faeries video from this past Thursday now posted:
> https://youtu.be/Sg1Lu92NqNE
>

Re: [Callers] I ♥ Dances - was: Contras which feature a "Dublin Bay" figure

[Don Veino via Callers]

BTW, I ♥ Faeries video from this past Thursday now posted:
https://youtu.be/Sg1Lu92NqNE

On Sat, Feb 4, 2017 at 4:10 PM, Don Veino 
wrote:

> In response to Ron's challenge, here's my take on a non-glossary way out
> of the Dublin Bay figure - via a unique(?) twist on a Mad Robin. Good
> response when called at the Concord, MA Scout House Thursday dance this
> week (2/2/17).
>
 [trimmed]

[Callers] I ♥ Dances - was: Contras which feature a "Dublin Bay" figure

[Don Veino via Callers]

In response to Ron's challenge, here's my take on a non-glossary way out of
the Dublin Bay figure - via a unique(?) twist on a Mad Robin. Good response
when called at the Concord, MA Scout House Thursday dance this week
(2/2/17).

Included below is a follow-up spin with a more traditional Down the Hall to
simplify further. Names were contributed by our 5 year old daughter, which
then inspired the choreography.

Happy Dancing!
Don


*I ♥ Faeries - DI - Don Veino 20170125*

*A1*
Neighbor Balance & Swing, end facing down (Twos in center)

*A2*
Line/4 DTH and Back, Dublin Bay Style
(4 steps fwd down the hall, turn single to face up, continue 4 steps down
in reverse, 4 steps fwd up the hall, turn single to face down, continue 4
steps up in reverse)
Bend the line (so Twos are above the Ones)

*B1*
Mirror Mad Robin - Ones Through the Center First (starting up towards head
of the hall)
[G1 and L2 dyad moving CW, L1 and G2 moving CCW]
1s Swing in Center, end facing UP

*B2*
1s Half Figure 8 up through the 2s (around opposite role N, to end BELOW -
improper and facing progression)
2s Swing, end facing UP

Tune suggestion: Becky Tracy's Black Rock https://youtu.be/GHoJ3B-LgPY


*I ♥ Unicorns - DI - Don Veino 20170203*

NOTE: All swings in this dance end facing down.

*A1*
Neighbor Balance & Swing, end facing down (Twos in center)

*A2*
Line/4 DTH - Turn as a Couple - Return, Bend the Line (so 2s above 1s)

*B1*
Mirror Mad Robin - Twos Through the Center First (starting down towards
foot of the hall)
[G1 and L2 dyad moving CCW, L1 and G2 moving CW]
Twos Swing in Center, end facing DOWN

*B2*
Twos Half Figure 8 DOWN through the Ones (around opposite role N, to end
above - improper and facing progression)
Ones Swing, end facing DOWN

Re: [Callers] Four face fours

[Don Veino via Callers]

BTW, here's the referenced Boston Cream Pie.

-Don

*Boston Cream Pie - 4F4 - Don Veino* (B2 riff off Lynne Ackerson's Coconut
Creme Pie)

A1
LLFB
Center 4 Star Right 1x
A2
Partner Allemande Left 1+1/2x
(new) Center 4 Start Right 1x
B1
Partner Balance & Swing
B2
Current Ring/8 Balance, California Twirl (to facing prior Neighbors)
LH Gent Tow Your Line (in an arc, over left shoulder) to face new Line/4

On Sat, Jan 7, 2017 at 11:03 PM, Don Veino 
wrote:

> [snip]
> On your other questions, Lynne Ackerson's Coconut Cream Pie is a fave as
> it's interesting yet bulletproof with mixed crowds (and I use it so much, I
> wrote another dance leveraged from it to have some variation - Boston Cream
> Pie). [/snip]
>

Re: [Callers] Four face fours

[Don Veino via Callers]

Below is one of mine from a similar series - the one of those I've called
so far. I'm going to test the other [B1 variation] shown here next time I
get a chance.

On your other questions, Lynne Ackerson's Coconut Cream Pie is a fave as
it's interesting yet bulletproof with mixed crowds (and I use it so much, I
wrote another dance leveraged from it to have some variation - Boston Cream
Pie). I also share your fondness for Rick's dance so I swapped bits of Up
All Night to generate one to pair for an alternating dance - Insomniac's
Delight (Gents Left Star, Grand L & R, See Saw).

*Oceans 4 (DRAFT) - 4 Face 4 - Don Veino 20161204*

Note this dance never converts to a square formation. Tune suggestion:
Thomas Shrug's March.

A1
Give & Take (Up/Down), Gent take Neighbor Lady back and Swing

A2
(4,4) Pass the Ocean (Up/Down), Wave Balance Fwd/Back
[NOTE all Gents are on outside oval facing clockwise, Ladies are inside
facing CCW]
(8) Simultaneously:
Ladies in center (across) Half Hey (Ladies facing center start passing
Right)
*WHILE*
Gents Circulate 2 Places (wrap around ends) [I TEACH/CALL THIS AS AN ORBIT
1/2 to stay with more typical contra language for dancers]
[Form similar Ocean Waves aligned up/down with Right Hand to same G
Neighbor]

B1
Wave Balance Right (toward N) & Left, Neighbor Box the Gnat
[Not yet tested variation: Balance Fwd/Back, N Allemande Rt 1/2x]
Gents Allemande Left 1+1/2 (to P)

B2
Partner Balance & Swing, end facing progression

First called at the Monday Contras dance in Concord, MA on Dec. 19, 2016

Re: [Callers] Four face fours

[Don Veino via Callers]

Hi Luke,

I like the theme. I've been playing a lot with 4F4 which include similar
types of action myself.

If I'm not mistaken, this power turn will only work for the couples
starting on the left end of the line/4. The others will be facing the wrong
way (out) if they power turn (interpreted as a courtesy turn 1+1/4).

-Don

On Sat, Jan 7, 2017 at 10:01 PM, Luke Donforth via Callers <
callers@lists.sharedweight.net> wrote:

> B1 ---
> (8) Women's Chain up and down to partner, power turn to face trail buddy
> couple
>

Re: [Callers] Favorite relatively Modern ECD

[Don Veino via Callers]

My contributions are limited as I only occasionally dance English. There's
a new dance by a local friend which appears to be making a splash...
Sapphire Sea by Christine Robb (see
https://www.youtube.com/watch?v=g-8LyExynvA). Choreography and tune can be
seen clearly in the video if you pause it at 0:11 and 0:14 or so.

BTW, I also wrote a dance recently which could arguably be either an
English dance or a contra in waltz time, see below.

-Don

*Linda's Gifts (of Time) - Longways Duple Proper in Waltz Time - Don Veino
20160818*

In grateful recognition of Linda Leslie's investments of time in the folk
dance community and in particular her consultation and mentoring given me
as I hone my dance calling and composition.

A1
(6,6) First Corners Set to each other (small steps to the Right-2-3,
Left-2-3), Hole in the Wall (forward 3 beats/steps, pass rights and pivot 1
step, fall back 2 steps into each other's places)
(12) Second Corners, same thing

A2
(12) Partner Two-Hand Turn 1x
(12) Circle Left 1x

B1
(12) Ones Half Figure 8 up through and around Twos to finish below
(12) Twos do similar below, to finish above

B2
(12) Partner Back to Back/Dosido
(6) Ring Balance with current Neighbors
(6) Cloverleaf Turn Single over outside shoulder to face new Neighbors

Working title was "Two Rivers", written to go with the tune of the same
name by Larry Unger, but any lilting/romantic waltz of suitable length will
do.

On Sat, Dec 10, 2016 at 1:49 AM, Erik Hoffman via Callers <
callers@lists.sharedweight.net> wrote:

> Hi All,
>
> I’m going to lead an English dance in early February. I’ve led English
> once or twice, and mostly stuck with The Playford Collection, and some Pat
> Shaw dances. I wouldn’t mind collecting a few more modern dances.
>
> Please feel free to either post them to the list, or send to me directly:
>   *e...@erikhoffman.com* 
>
> And, of course, please include the music.
>
> Thanks,
> ~Erik Hoffman
>Oakland, CA
>
>
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
>

Re: [Callers] Is Pony Fun Unique?

[Don Veino via Callers]

BTW, an assumed/implied *while* action in the A1 was not shown the first
time around. It's spelled out below.

Best,
Don

Pony Fun - DI - Raeden Veino 20161012

A1
Star Left
Neighbor Allemande Left 1x
Gents start Hands-Across Star Right (1/4x) *while*
Ladies continue with their Allemande momentum into the Gent's former spot

A2
Ladies join Star behind N, all Star Right 3/4x
Partner Swing

B1
Give & Take to Gents Side, N Swing

B2
Ladies Chain
Circle Left 3/4, Pass Through

Re: [Callers] Is Pony Fun Unique?

[Don Veino via Callers]

You mean in public, I'm sure - that's TBD. Mom and Dad have been able to
enjoy her "calling" at home for quite some time now. :)

BTW, she's ambidanceterous, taking either role when we dance together at
public events - which blows a few minds fairly frequently ("Huh? A tiny
girl coming at me as a Gent?").

On Thu, Oct 13, 2016 at 7:34 PM, Aahz via Callers <
callers@lists.sharedweight.net> wrote:

> When is she
> going to call her first set?
>

[Callers] Is Pony Fun Unique?

[Don Veino via Callers]

Last night at bedtime my 5 year old daughter and I had the following
interaction:

Raeden: "Daddy. I want to write a new dance, Pony Fun."
Me: "OK, how does it go?"
R: "Star, Star, Swing. Swing, Courtesy Turn, Circle 3 places, Pass Through,
repeat."

A little bit of back and forth figuring out the glue resulted in the
following. Has someone else written it first?

Thanks,
Don

Pony Fun - DI - Raeden Veino 20161012

A1
Star Left
Neighbor Allemande Left 1x
Gents start Hands-Across Star Right (1/4x)

A2
Ladies join Star behind N, all Star Right 3/4x
Partner Swing

B1
Give & Take to Gents Side, N Swing

B2
Ladies Chain
Circle Left 3/4, Pass Through

BTW, in case you may call this, Raeden's name is pronounced "RAY-den VEE-no"

Re: [Callers] Good dances for beginners to safely leave/return to minor set.

[Don Veino via Callers]

My opinion is "current Neighbor", from a dancer's standpoint, is equivalent
to simply saying "Neighbor" (but with possible added confusion). Current is
contextual in conventional experience, so many people would interpret it as
the closest Neighbor.

I've started trying to find remembered/distinguishing features to describe
the targeted individual in my call. For example, in my dance I posted
above, I call "...look AWAY, NEXT Neighbors Star Left, find your ALLEMANDE
Neighbor, Swing..." for the first few times through and then fall back to
simpler language once they've got it.

On Tue, Oct 11, 2016 at 10:19 AM, Chet Gray via Callers <
callers@lists.sharedweight.net> wrote:

> Does anybody have any experience with using "original neighbor" vs
> "current neighbor" in these outside-minor-set-interaction dances? My
> thinking is to prefer "current neighbor" for dances with previous neighbor
> interaction, and "original neighbor" for dances with future neighbor
> interaction, but I don't have enough evidence for any strong decision in
> the matter.

Re: [Callers] Good dances for beginners to safely leave/return to minor set.

[Don Veino via Callers]

With more experience I've become very sensitive to when to use dances that
include out-of-set action. For me, once you get to something like ~20% of
the hall being "new", I likely won't include any out of set dances in the
first half (second half, only if things are going well).

Cal and Irene by Dan Pearl is one I do use a fair bit when introducing out
of set action:

A1
(16) N Bal., & Swing (SHDW on Lt. Diag. while facing in)
A2
(2,6) N Slide Lt., Cir. Lt. 3/4 (SHDW in this Cir./Ring)
(4,4) Ring Bal., N Calif. Twirl
B1
(16) P Bal., & Swing
B2
(8) Rt. & Lt. Thru **OR** P Prom. Across
(6,2) Cir. Lt. 3/4, Pass Thru Up/Dn

The parts are basic and common earlier in a program. The CA Twirl to face P
is an AHA! moment. I now stress that the A2 Circle is NOT with your Partner
(but you'll come back to them) in the teaching. I can vividly remember a
dancer that repeatedly "fixed" that circle to be with their P every time
through the dance, breaking it for those around them. Call coaching didn't
work, I had to get on the floor and "twin" them once through the dance to
convince them it was OK to separate.

I've recently come up with the following, which I've had luck with under
similar conditions, as you excurse and return with your Partner:

(I'll Take) What's Behind Door #2 - DI - Don Veino 20160822

A1
Star Right
Neighbor Allemande Rt. 1+1/2

A2
Next Neighbors Star Left
Original (A1 Allemande) Neighbor Swing

B1
Circle Left 3/4, Partner Swing
[alt. music fit: Give and Take to Gent's Side, Swing]

B2 (Author preferred)
Ring/4 Balance, Slide/Twirl Right 1x
Neighbor Left Hand Balance, Pull By Up/Down (leisurely)

B2 (Easier alternate)
Ring/4 Balance, Slide/Twirl Right 1x
Ring/4 Balance, Pass Through Up/Down

Written to match with the tune Door County #2 by Larry Unger, but fits with
other old timey or common tunes.

-Don

On Mon, Oct 10, 2016 at 12:36 PM, K Panton via Callers <
callers@lists.sharedweight.net> wrote:

>

> 3-33-33 is not a good choice for introducing beginners to extra-4some
expeditions. I've also found that a diagonal chain followed by a
straight-across figure causes confusion.
>
> The Young Adult Rose,and others, have a pass-through to shadow allemande
which is doable.
>
> Does anyone have some reliable key to unlock this mystery for new
dancers, thereby opening up a whole new world!
>
> Thanks
>
> Ken
>
>
> ___
> Callers mailing list
> Callers@lists.sharedweight.net 
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net

>

Re: [Callers] Wrist-Lock Stars

[Don Veino via Callers]

Not sure how I came by it, but I call them "pack saddle" stars when I teach
beginners ("wrist-lock", no). "Raise your right hand, put it in the center
and now lay it on the wrist of the person in front of you, like a pack
saddle on a horse, to make a star. Notice you don't need to clamp on or
even really use your thumb at all."

And yes, very much the default star form from my experience.

Re: [Callers] Dance Variety

[Don Veino via Callers]

On Sun, Sep 18, 2016 at 4:54 PM, Rich Sbardella via Callers <
callers@lists.sharedweight.net> wrote:

> Is this unique to my collection or this generally true of contra dances?
>

I've had a similar observation (not in my deck necessarily but also from
the dance programs I encounter on the floor) - in many cases the Ladies are
the ones getting the run around/doing the most "single role" action. I
haven't done the percentages, but to me it seems the Gents' same role
action is typically limited to allemandes.

This is something I've been using to inform my own dance compositions,
creating either more even or Gents-heavy dances (featuring other moves)
which could balance things out in aggregate.

-Don

Re: [Callers] On Balances, Box circulates, Allemandes, Circles & Timing

[Don Veino via Callers]

Following this logic, where an on-time arrival is essential out of a star
it would be best to make it hands-across (H-A). In a H-A star, folks can
use a similar arm angle adjustment to vary the star circumference (and
resulting speed). Due to the configuration, there's less opportunity to
gently* influence star speed with the pack saddle/hand-on-wrist form.

BTW, in dances featuring a star where a pair drop out I mention there's no
need to shove your opposite away at disengagement - centrifugal force will
gently take care of it once you let go of them. This is a curious bit which
only seems to happen in this case - I've never received a parting shove
when an "everybody" H-A star breaks up, but there's always someone in the
line doing it in the drop out variant.

*I've witnessed some dancers "expediting" those ahead in a star using their
free palm applied to a shoulder or back. :(

On Sun, Aug 21, 2016 at 4:31 PM, Erik Hoffman via Callers <
callers@lists.sharedweight.net> wrote:

> It is easy to have a good connection, give good weight in a circle ¾, and
> make it last 6 or 8 beats by expanding or contracting the circle. Aware
> dancers will adjust to make the move fit the timing of the dance. Circle
> left ¾ into a balance: make the circle bigger so the path is a bit longer.
> Want that extra two beats of swing? Contract the circle, and get there
> early…

Re: [Callers] Another Existential Inquiry

[Don Veino via Callers]

Agreed. Somehow this bit of the note I wrote in response to Greg's digest
reply was left out of what I sent (surely operator error, as I simply had
to hit paste here below to get it back from the clipboard):

"I'll wait a bit more to hear if these are new/unique before working up
name(s).

BTW, they're double progression. Believe the end effects work out to: never
really out; if nobody is there on the left diagonal stay put to rejoin
immediately at the chain."

Thanks,
-Don
On Wed, Jul 27, 2016 at 8:20 PM, Yoyo Zhou via Callers <
callers@lists.sharedweight.net> wrote:

> Also, Don, you might want to note these are double progression (the
> result of left diagonal right and left thru).
>

Re: [Callers] Existential Inquiry

[Don Veino via Callers]

Yup. While I call single swing and chestnut dances in some programs, I also
call in venues where you better do that infrequently if you're interested
in being asked back. Know your audience and pick your points of
influence... :)

On Jul 27, 2016 4:10 PM, "Greg Allan via Callers" <
callers@lists.sharedweight.net> wrote:
>
> I agree with Martha and Colin. There's no reason to think that any contra
dance without two swings has a bug, necessarily, although Don may have been
in the mindset of fulfilling the desires and catering to the tastes of his
audiences when he said what he said. I can support that, too!
>
> Greg
>