Re: [Callers] [Organizers] contra dance gypsy

[John Sweeney via Callers]

Delia said, “especially with the family/community/ONS dances that are my 
mainstay. It’s easy to call, emphasizes eye contact, flirty and fun like the 
original move.”

 

Please see http://contrafusion.co.uk/Gypsy.html.  The original move was not 
flirty and did not involve eye contact :-)

 

For a family event with children present I don’t understand why anyone would 
want to emphasise flirtation.

 

I teach the Gypsy (and use words such as “lock eyeballs”) at countless family 
events and they don’t find it flirtatious; they find it hilarious.

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574  

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http://www.modernjive.com for Modern Jive DVDs

 

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Re: [Callers] [Organizers] contra dance gypsy

[John Sweeney via Callers]

Bob said:
"Walk all around" [the left-hand lady] has been the MWSD terminology, and it
seems adequate to me. Why create new terminology?

The MWSD definition is:
Dance action: Dancers face their corners. Walking forward and around each
other while keeping right shoulders adjacent, dancers return to their
original position, with their backs toward their corner.

This is not quite a Gypsy, no eye-contact, and the final position is with
your back to the person you walked around.

Also, "Walk Around" can mean a number of different moves.  See:
http://contrafusion.co.uk/Gypsy.html#A1

I'm not saying you shouldn't use it.  Just responding to your query :-)

    Happy dancing,  
   John 

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940 574 
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Re: [Callers] [Organizers] contra dance gypsy

[John Sweeney via Callers]

Since the topic has been re-opened…

 

First, please may I clear up a couple of points of confusion.

 

The original version of the Gypsy dance move did not involve eyes.  The first 
known mention of eyes is in America in 1983.  Dancers outside the modern contra 
genre do not always lock eyes.  Indeed, in 1911 Cecil Sharp defined two moves, 
the Whole-Gip Facing Centre and the Whole-Gip Facing Outward, the second of 
which definitely didn’t involve eye contact!

 

English is a rich and varied language wherein many words have multiple, 
different meanings. This is one of them! In this context the word Gip or Gypsy 
is a historical dance term. It has nothing to do with the people known as 
gypsies.

 

Roma and gypsy are not synonymous.  One of the definitions of gypsy is just 
“traveller”.  Dance Gypsy just means a dancer who travels.

 

For lots more background on the Gypsy move please see  
 http://contrafusion.co.uk/Gypsy.html. 

 

= = = = = = = = = = =

 

However, if you insist on linking the two together, the move and the person, 
then please read on.

 

I am sorry, but I do not believe that the word “gypsy” is intrinsically a 
racial/ethnic slur.  To be a slur it would have to be used in a way that the 
context and tone make it a slur.  If I call someone a “stupid gypsy” in a nasty 
tone of voice then it would be a slur.  But, of course, I could say, “stupid 
blonde”, “stupid Irishman” or “stupid child” in a nasty tone.  None of these 
make the individual words “blonde”, “Irishman” or “child” into slurs.  Context 
and tone are crucial in making an ordinary word into a slur.  In the context of 
a dance there is no slur intended, and none should be inferred.

 

If it was intrinsically a slur then would these, and countless other, 
organisations use it in their names or descriptions?

Gypsy Council USA   https://twitter.com/gypsy_usa

The National Federation of Gypsy Liaison Groups  
 
http://www.nationalgypsytravellerfederation.org/

Friends Families and Travellers   
https://www.gypsy-traveller.org/

 

The Pope started his address to the Pilgrimage of Gypsies with, “Dear gypsy 
friends”.  

 
https://w2.vatican.va/content/francesco/en/speeches/2015/october/documents/papa-francesco_20151026_popolo-gitano.html
 I don’t believe that he intended it as a slur!

 

 I have been teaching dance for nearly 50 years, using the words “Half Gyp”, 
“Whole Gyp” and “Gypsy” and of the thousands of people I have taught, not a 
single one has ever suggested that it might be a slur in that context.

 

I am Irish and have cousins who call themselves gypsies and who would be most 
upset at the suggestion that the word is intrinsically a slur.

 

Rather than remove the word from our vocabulary, surely we should instead be 
trying to make the word positive.  Fight back against those who use words 
nastily and reclaim our language.

 

When all the gypsy organisations in the world declare that it is a slur and 
change their names then I might start to believe it, but until then please 
consider just explaining to anyone who asks (IF anyone ever asks) that the 
dance move is a completely different use of the word, and because of its 
context cannot possibly be a slur.

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574  

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Re: [Callers] What can you do.....?

[John Sweeney via Callers]

Bill asked, "Consider a right and left thru. Which is more natural:
following by Circle Left or Circle Right?"

 

Ah ha! That's a trick question!

 

Right & Left Thru is not natural itself, so the answer is neither! :-)

 

Happy dancing,  

   John   



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940 574  

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Re: [Callers] What can you do.....?

[John Sweeney via Callers]

For a Petronella, I always say, "Look to your right, step to your right, spin 
to your right".

But some look to the right, then spin to the left (must be very uncomfortable!).

As long as they are happy and get to the correct place then accept it as a win.

Happy dancing,  
   John 

John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
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Re: [Callers] Tempos for Contras (was Re: Tempo for Squares)

[John Sweeney via Callers]

http://www.all8.com/tools/bpm.htm is an excellent tool for timing music or
videos on your computer.

    Happy dancing,  
   John 

John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802
940 574 
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Re: [Callers] Using music in the pre-dance lesson

[John Sweeney via Callers]

Hi Jim,

Q: I said, "The only thing I focus on with respect to music is getting them
to hear the eights and be ready for the next "one"."  You asked, "do you say
anything in particular about the structure of the music or have new dancers
do any particular exercises to practice awareness of "the eights"?

A: I always start by playing some music and saying, "Everything happens in
eights. ONE, 2, 3, 4, 5, 6, 7, 8, ONE..." Emphasising the ONEs and only
whispering the rest of the numbers.  If there is time I may ask them to clap
on ONE, but I often feel that some of them are just trying to clap when
everyone else does and not really listening to the music.

= = = = = = = = = = = = = = = = = = = =

Q: Re: [Circle Left, Into the Middle & Back, Swing your Neighbour].
Repeat... You asked, " Do I correctly understand that this is an exercise
you have them do in big circle formation?  Do you say or do anything in
particular to teach them to hear the end of a phrase approaching and
recognize when they don't have enough music left to swing another time
around?"

A: Yes, I get everyone in a big circle; I am usually in the circle as I wear
a wireless head mike.  The spiel goes something like this:

= = = = = = = = = = = = = = = = = = = =
In this type of dancing, the lady is always right... man on the left, lady
on the right.  And the lady has the upper hand... the men do this, and the
ladies hook over the top.  Use hooks to connect with each other so that you
don't have to use your thumbs - never grip anyone with your thumb. Elbows
down, hands slightly raised.

Now  CIRCLE LEFT, 1, 2, 3, 4, 5, 6, CIRCLE RIGHT, 1, 2, 3,
4, 5, 6, CIRCLE LEFT, 1, 2, 3, 4, 5, 6, TURN aROUND, 1, 2, 3, 4, 5, 6, TURN
aROUND, 1, 2, 3, 4, 5, 6, CIRCLE RIGHT 
OK that was just to see who is listening! I won't normally do that, you will
usually know which move is coming next .

You should feel connected to the people around you so that you are helping
the person behind you and the person in front of you is helping you to move
around the circle

Now some of you are doing this ,
thinking lo yourself, "look how good I am with my left hand perfect".  But
actually you are dragging down the hand of the person behind you.  This is
known as the "Nelly the Elephant Syndrome".  The way to avoid it is to turn
your body at the hips; keep facing the centre and turn your hips to the left
and the right - try it.

You always want to be facing the right way for the next move, so change
direction on 7 and 8.  Let's circle again, feeling connected,  CIRCLE LEFT 5, 6, TURN aROUND... 5, 6, TURN aROUND...  .



http://contrafusion.co.uk/Contra.html#swinging, with special focus on how to
finish facing in the correct direction on the correct side.>

So just like we use 7 and 8 in the circles to get ready for the next move,
the same thing happens in the swing.  If the man finishes facing in the
right direction on 8, and you are still in ballroom hold , then the lady is facing the wrong way.  Because of the direction
of the swing, the man always finishes first, so he has to stop on 6, leaving
the lady two beats to open out .  If you go too
far don't jerk back the other way, keep turning. add another quick turn and
get ready for the next move.  So, just like the circles, don’t think of it
as an eight-beat move, think of it as a six beat move, then two beats to get
ready for the next move.  



Plan ahead so that you are ready for the next move.  If you find that you
aren't ready then do fewer turns.  You can add more as you get better.

 Circle Left, Into the Middle & Back, 1, 2, 3, STAMP...
Swing your Neighbour... 5, 6, OPEN OUT  .
= = = = = = = = = = = = = = = = = = = =

So, I do a lot of counting, emphasising the ones and the "5, 6" so
that they realise that they must use 7 and 8 to finish the move and get
ready for the next.  And I emphasise the 4 in Into the Middle and Forward &
Back.

If there is time then I will do a simple dance. If there is time for
two then I will do Family Contra and East Litchfield Volunteers.  If there
is only time for one then I will do East Litchfield Volunteers. It adds the
very useful Allemande and Dosido, but otherwise only uses moves we have done
already, and provides an easy progression.  The prime swing is a Neighbour
Swing so that there is more chance of them swinging with experienced dancers
and not messing up the progression.

East Litchfield Volunteers by Jim Gregory
Contra; Improper
A1: Circle Left; Circle Right 
A2: Neighbour Allemande Right; Neighbour Allemande Left 
B1: Neighbour Dosido; Neighbour Swing (to progress) 
B2: Long Lines Go Forward & Back
 #1s Swing, finish facing down to the next couple

Sometimes instead I will teach the first dance and maybe run it a
couple of times so that they get a heads-up before we start the dance.

I hope that helps.

    Happy dancing,  
   John 

John Sweeney, Dancer, 

Re: [Callers] Using music in the pre-dance lesson

[John Sweeney via Callers]

“maybe swinging”?

 

You swing every 15 seconds!

 

And, for beginners, the most common fault in contras is to finish the swing on 
the wrong side, thus messing up the next figure or the progression.

 

If I only had time to teach one thing, then it would unquestionably be the 
swing - how to do it, how to end it.

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574  

http://contrafusion.co.uk/KentCeilidhs.html for Live Music Ceilidhs 
   

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Re: [Callers] Using music in the pre-dance lesson

[John Sweeney via Callers]

The only thing I focus on with respect to music is getting them to hear the
eights and be ready for the next "one".

So, if there is a band they can play anything. If there isn't I play an mp3
file at 115 to 120bpm on my deck.  Failing that I just count.

Having circled left and right and gone into the middle and back, and talked
about connection, I always spend most of the time on the swing.

At a contra dance evening you will spend about thirty minutes swinging.
When dancing dances with a partner swing and a neighbour swing, you will, on
average, do a swing every 15 seconds.  So I always spend most of the time on
the swing.  Then [Circle Left, Into the Middle & Back (with a stamp on four
so that they get used to working with the music ready for Long Lines Go
Forward & Back), Swing your Neighbour]. Repeat until they finish the swings
on time and facing the middle, getting lots of practice with new neighbours.

    Happy dancing,  
   John 

John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802
940 574 
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Re: [Callers] Public Dance, Ideas Wanted

[John Sweeney via Callers]

Colin suggested:
https://barndances.org.uk/detail.php?Title=Clopton_Bridge

Make sure that you check the video https://www.youtube.com/watch?v=eB4a1z-DHwM 
to understand the music speed and the stepping (watch the dancers who are doing 
what the caller is saying).

The music in that video is at 74 bpm, anywhere from 70 to 90 bpm is good for 
Hornpipe Step dances.  American bands are not used to playing that slowly or 
putting the oomph into the beat so that the stepping works.  Make sure the band 
knows how they need to play!

= = = = =

Who told him that Virginia Reel was an English Country Dance?  Wikipedia! 
https://en.wikipedia.org/wiki/Virginia_reel_(dance) 

Happy dancing,  
   John 

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Re: [Callers] Brain Dead - Need Suggestions

[John Sweeney via Callers]

Hi Linda,

  With some of the dancers as young as five you have quite a 
challenge.  :-)

 

  I would start with something like:

Welcome to the Dance

Sicilian Circle

A1: Circle Left; Circle Right

A2: Star Right; Star Left

B1: Neighbour Arm Right; Arm Left

B2: With Partner: Forward 1, 2, stamp, stamp, stamp; backwards 1, 2, clap, 
clap, clap

   Odds (facing CCW) make arches, every go forwards and meet someone new

 

I always teach B2 multiple times as the first part of the walkthrough to 
establish the progression and direction and who is making the arches.

 

>From a musical point of view this gives them a chance to work easily in 
>eights, and practise stamping/clapping at the right time.

 

The heel and toe in this makes them have to work with the music and listen for 
their turn to go:

Ping

Longways; Proper; Four Couples (but if some sets have five couples it is still 
fine)

A1: Line 1 Lead Around Line 2 to places

A2: Line 2 Lead Around Line 1 to places

B1: Top Couple: two hands: Heel & Toe x2; Gallop to the bottom

   Top Couple: two hands: Heel & Toe x2; Gallop to the bottom

B2: Top Couple: two hands: Heel & Toe x2; Gallop to the bottom

   Partner Arm Right (or Swing - but for this type of group I would use 
Arming)

 

To cover some musical education as well you could contrast different time 
signatures.  For example you could use a dance with a long gallop (sorry, I 
know you say “sashay” in the US, but “sashay” is defined as “walk in an 
ostentatious yet casual manner, typically with exaggerated movements of the 
hips and shoulders” so it is completely the wrong word!) - I would tell them to 
“gallop”! Anyway, if you do a simple dance with a long gallop and change tunes 
from a jig to a reel part way through, you could tell them in advance to listen 
for the change and see how it changes the feel of the gallop.

 

You could try Swedish Masquearde 
https://www.barndances.org.uk/detail.php?Title=Swedish_Masquerade to show them 
the difference in feel between a march, a waltz and a polka - I would 
substitute Two Hand Turns for the close hold waltz and polka sections. 
https://www.youtube.com/watch?v=iFqDEfZIxqg

 

This type of group usually enjoys Horse’s Branle 
https://www.webfeet.org/eceilidh/dances/horses-branle.html, getting them to 
match footwork to the music in the A part, listen for their turn every four 
counts in the B music, and timing their hey to finish on time in the C music.  
And of course it is different from many tunes in that it has three parts.  If 
you want to be silly you can tell the leader in the B part to do something 
silly in the four beat crossing, then everyone else has to do the same thing.

 

  I hope that helps.

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574  

http://contrafusion.co.uk/KentCeilidhs.html for Live Music Ceilidhs 
   

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http://www.modernjive.com for Modern Jive DVDs

 

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Re: [Callers] "Dixie Twirl" term

[John Sweeney via Callers]

I call lots of dances with Thread the Needle and it is never called by itself.  
First you have to tell the dancers who is making the arch.  This is normally an 
end-of-line couple, so it is obvious that the other end of the line is doing 
the threading.

 

For a Dixie Twirl you would need to say, “Middles Arch, Ladies (or whoever is 
on the appropriate end of the line) Thread the Needle”.  But that still doesn’t 
tell the poor guy at the other end of the line where to go.

 

So I wouldn’t ever use “Thread the Needle” for this move.

 

Other similar moves such as Right Hand High and Left Hand Low, Rip ‘n’ Snort, 
Mountaineer’s Loop, etc. don’t quite fit either.

 

If I wanted to avoid giving it a name and adding more jargon, then I would 
teach the move during the walk-through without using any jargon then tell them 
it is a bit like a California Twirl for couples, so all I am going to call it 
“Twirl”!

 

Note: It is important to teach the timing during the walk-through.  Many 
dancers will go down the hall for eight before starting the twirl and wonder 
why they keep crashing into other lines.  The timing is:

Down the Hall (4)

Twirl (4)

Up the Hall (4)

Bend the Line (4)

 

Of course it is always helpful, if half of the dancers know the move before you 
teach it, to let them know what you are doing, so I might well say, “This next 
move used to be known as a Dixie Twirl; I am just going to call Twirl”.

 

Happy dancing,  

   John   



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574  

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Re: [Callers] "Dixie Twirl" term

[John Sweeney via Callers]

Sorry, but I don't understand how the term Dixie Twirl can be considered to be 
culturally sensitive.

 

There are over twenty towns in the USA called Dixie.  I haven't heard of any 
plans to change their name by them, or Winn-Dixie, or the Dixie Chicks, or 
countless other organisations with Dixie in their name.

 

Surely it requires both context and intent for a term to be considered 
negative.  In the fun context of a contra dance, with no intent to offend 
anyone, I don't understand how the use of a common word can be considered 
offensive.

 

I don't expect these arguments to sway those who have already made their mind 
up.  And I really don't want to turn this into an ongoing debate.  This is 
really just to let you know that I strongly believe that those who wish to 
continue to use the term Dixie Twirl (and other such terms) should be allowed 
to do so without being criticised and without anyone taking offense.

 

Happy dancing,  

   John   



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574  

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Re: [Callers] Larks and Robins

[John Sweeney via Callers]

I wish people who document dances on the forum would not write things like 
“ladies’/robins’ chain”.  We all know what you mean if you say either “ladies’ 
chain” or “robins’ chain”.  You don’t need to say both.  Trying to parse a 
dance with extra words scattered throughout it can be very confusing.

 

As a member of the  (Association for the Abolition of the Aberrant 
Apostrophe) I always appreciate a “Ladies’ Chain”.

 

I also use Men and Ladies almost exclusively since I find those to be the 
clearest words to use over a PA.  If I do need to use other words occasionally 
for a specific community, then I am unlikely to use “Larks” as it is too much 
like “Ladies” but means the person in the traditional Man’s role!

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574  

http://contrafusion.co.uk/KentCeilidhs.html for Live Music Ceilidhs 
   

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http://www.modernjive.com for Modern Jive DVDs

 

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Re: [Callers] Double Grand Square

[John Sweeney via Callers]

I had these responses from trad-dance-call...@yahoogroups.com
 

 

= = = = = = = = = = = = = 

 

Otto Warteman:

I had an exhibition group from 1975-1998 and we did it with 32 dancers, but
with 8 steps and turn and alternating couples turning.

You can have like spokes of a wheel four couples deep where all the heads
are facing the center or as alternating couples face their partner.

You can also do four different contras at the same time where to number one
couple is the furthest out from the center.

 

= = = = = = = = = = = = = 

 

Jim Saxe:

There's a dance by Ted Sannella called "Ted's Double Quadrille No. 1" (or
"... #1") that includes a different (and, I think, simpler) version of grand
square for sixteen dancers than the one in the video John cited.  The
starting formation is a square with two couples side-by-side on each side of
(as in Rod's Quads) and the action is simply for each couple to act the part
of an individual in a normal eight-person grand square.  If I recall
correctly, when I danced to Ted's calling at Augusta Dance Week in 1985, he
had partners put our near arms around each other's backs as in a star
promenade, but it might also be done with partners simply holding near
hands.

 

Side couples begin by facing up or down the hall toward the other side
couple in their foursome and backing away, while heads begin by dancing
forward towards the opposite head couple.  On the fourth beat each couple,
turns as a unit 90 degrees to face across the square.  On the next four
beats, the original heads back out toward the side spots, while the original
sides advance toward the head spots, all couples turning on the last beat to
face uo and down.  Etc.

 

A spreadsheet index of Ted's dances linked from

 

 http://davidsmukler.syracusecountrydancers.org/ted-sannella-index/

 

lists the date of composition as 1965.

 

--Jim

 

= = = = = = = = = = = = = 

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802
940 574  

http://contrafusion.co.uk/KentCeilidhs.html for Live Music Ceilidhs


http://www.contrafusion.co.uk for Dancing in Kent


http://www.modernjive.com for Modern Jive DVDs

 

 

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[Callers] Double Grand Square

[John Sweeney via Callers]

Hi all,

This post is all about Double Grand Squares.  But just to justify it being
on a contra dance forum, here are a couple of nice Four-Facing-Four contras
that incorporate Grand-Square-like figures, and call them "Double Grand
Squares":

https://grandsquare.dk/alle/index.php?menu=5
 =2045

http://www.grandsquare.dk/alle/index.php?menu=5
 =2108

 

  On with my query:

 

I've just seen the video of Seth calling a Double Grand Square (thanks Seth
- hope I can try it someday!):

https://www.facebook.com/seth.tepfer/videos/10204536010419503

 

Looks like the figure was created by Martha Edwards around 2009:

http://www.westendweb.com/doublegrandsquare/

http://dancecaller.blogspot.com/2009/06/more-on-double-grand-square.html

 

But I found a number of earlier references to "Double Grand Square".  Does
anyone know whether any other versions of a Double Grand Square exist?

 

Some of these may just be references to two sets doing Grand Square side by
side (maybe interlocked?), or to doing a Grand Square twice.

 

1955

https://newspaperarchive.com/bakersfield-californian-apr-13-1955-p-36/

"A double grand square, never before presented for a local audience, is
being prepared by B Squares under the direction of Bernice Braddon.
Precision timing is the keynote of the square..."

 

1959

http://www.folkdance.com/LDArchive/1959October.pdf

Exhibitions

Lariat Swingers

Director:   Ace Smith

Dance - DOUBLE GRAND SQUARE - American

 

1978

http://doczz.net/doc/577224/american-square-dance-marcy-1978

"Keith does a fine job on his side, but the dancers felt that a double grand
square in the opener, middle break and closer were too many. "

 

1979

American Square Dance Vol. 34 no. 3 (search for ""double grand square"
dance")

"Bob has used a grand parade in his opener, and a double grand square in his
closer."

Note: "grand square" is italicized, "double" is not. So it might just mean a
Grand Square twice.

 

2005

http://squaredancehumor.blogspot.com/

"This was one big double square with six side couples and two head couples.
The other and even more difficult thing was I could not use my hands. To me
square dancing is hands. Every since I started it was right hand this and
left hand that. I can't remember anyone mentioning anything about my feet.
Patty was picking everything up just fine while I was slowly starting to get
some if it with many gentle pushes and endless pointing by the other
Stumblers. And of course there was the caller Ivan patient as ever saying,
"George - to the right, the right, the other right . . . very good!" Bill,
an experienced dancer, explained carefully how I was to count my steps,
especially for the double grand square. Eight steps and turn, repeated eight
times, that was the secret for my position."

This one may not be serious! :-)

 

  Thanks,

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802
940 574  

http://contrafusion.co.uk/KentCeilidhs.html for Live Music Ceilidhs


http://www.contrafusion.co.uk for Dancing in Kent


http://www.modernjive.com for Modern Jive DVDs

 

 

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[Callers] 101 Formations

[John Sweeney via Callers]

Thanks to all those who have contributed more formations since I started
this page with about 80 formations.

 

I was going to let you know when I hit 100.

 

But Carmen Giunta sent me Wheels Within Wheels this morning, and I found
Seth Tepfer calling Double Grand Square this afternoon.

 

So there are now 101 diagrams of different formations:
http://contrafusion.co.uk/Formations.html

 

That doesn't include all the ways of setting up partners or genders (e,g.
First Couples Improper is not a separate diagram).

 

I hope you find something you like!

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802
940 574  

http://contrafusion.co.uk/KentCeilidhs.html for Live Music Ceilidhs


http://www.contrafusion.co.uk for Dancing in Kent


http://www.modernjive.com for Modern Jive DVDs

 

 

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Re: [Callers] Contra Corners Dance

[John Sweeney via Callers]

Hi Bill,

  Just get them to line up in contra lines and say, "Hands six
from the top; hold hands in a circle of six; spread out and find some space
then make two lines of three facing three."

 

  Then you just have to sort out any odd couples at the bottom.

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802
940 574  

http://contrafusion.co.uk/KentCeilidhs.html for Live Music Ceilidhs


http://www.contrafusion.co.uk for Dancing in Kent


http://www.modernjive.com for Modern Jive DVDs

 

 

From: Callers  On Behalf Of Bill
Olson via Callers
Sent: 11 July 2019 16:26
To: Caller's discussion list 
Subject: Re: [Callers] Contra Corners Dance

 

I agree about not wanting people coming from both sides. For just plain
teaching the contra corners figure, I like Chorus Jig done as a triplet..
(B2 = actives swing to end of set 3's move up). I have done this dance with
total beginner groups with no problem. The down side of doing a triplet, I
guess, is the "herding cats" aspect of setting up many short sets.. 

 

Bill

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Re: [Callers] Contra Corners Dance

[John Sweeney via Callers]

Hi Rich,

  While Linda’s “Corner Triplet” is a good dance, it does leave the 
#2s and #3s with nothing to do most of the time.

 

  For a Triplet I prefer Michrochasmic:

http://www.folkdancecamp.org/assets/Contra-MicrochasmicTriplet-SFDC2015.pdf

 

  For a contra I like Tom Hinds’ The Tease:

https://www.library.unh.edu/special/forms/rpdlw/syllabus1995.pdf

https://www.youtube.com/watch?v=1wnjWFtI1gc

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574  

http://contrafusion.co.uk/KentCeilidhs.html for Live Music Ceilidhs 
   

http://www.contrafusion.co.uk for Dancing in Kent   
   

http://www.modernjive.com for Modern Jive DVDs

 

 

From: Callers  On Behalf Of Rich 
Sbardella via Callers
Sent: 10 July 2019 23:32
To: Caller's discussion list 
Subject: [Callers] Contra Corners Dance

 

Friends,

I have been asked to call a contra dance with contra corners in it.  Can anyone 
suggest an interesting dance that is relatively easy forr a dance floor with 
many newbies?

Thanks for any ideas,

Rich

Stafford, CT

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Re: [Callers] What are they thunking? (was Re: Hand Turns & Safety)

[John Sweeney via Callers]

At the last Style & Technique workshop that I ran at Chippenham Folk
Festival, one of the key areas that I focussed on was finishing a flourish
with both dancers facing in the correct direction, and on time.

One guy failed completely.  When my wife danced with him during the lesson,
and pointed this out, his attitude was that he liked the way he danced and
had no intention of changing it.

He seemed completely oblivious to the fact that he made all the ladies late
for the next move, and that they didn't like that.

I have no idea why he bothered coming to the workshop in the first place!

    Happy dancing,  
   John 

John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802
940 574 
http://contrafusion.co.uk/KentCeilidhs.html for Live Music Ceilidhs

http://www.contrafusion.co.uk for Dancing in Kent   
http://www.modernjive.com for Modern Jive DVDs


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Re: [Callers] Two Face Three Dance Inquiry

[John Sweeney via Callers]

Hi Rich,

  Jack Turns Back is a circle of five.  You can find a link to the 
instructions at http://contrafusion.co.uk/Formations.html

 

  On the same page you will find two  actual Two Face Three dances, 
plus lots more dances for five dancers, or indeed any number!

 

  If you want a different sort of basket you could try 
http://contrafusion.co.uk/Dances/F-Lock.html

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574  

http://contrafusion.co.uk/KentCeilidhs.html for Live Music Ceilidhs 
   

http://www.contrafusion.co.uk for Dancing in Kent   
   

http://www.modernjive.com for Modern Jive DVDs

 

 

From: Callers  On Behalf Of Rich 
Sbardella via Callers
Sent: 08 July 2019 03:43
To: Caller's discussion list 
Subject: [Callers] Two Face Three Dance Inquiry

 

Folks,

 

I remember dancing a dance where two people face a line of three.  I believe 
there was a Dosido as lines of two and three, but I cannot remember the dance.

 

Does anyone recall such a dance.  Are you willing to share it?

 

Thanks,

Rich

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Re: [Callers] Allemande

[John Sweeney via Callers]

Hi Tom,
As I say at the top of the page, "Allemande" is a popular word and has 
been used to mean many completely different things. For example Wilson, in 
1816, used "Allemande" to mean a Dosido using three chasses, a jete and an 
assemble (polka steps then jump)!

https://www.regencydances.org/paper001.php has lots more about the 
Allemandes of the period.

The original instructions for "Away to the Camp" from Thompson in 1782  
just say "Allemand with your partner" with no indication of what is meant by 
"Allemand".  Away to the Camp would of course have been danced vigorously with 
stepping in 1782.  Whoever reconstructed the dance at 
https://www.youtube.com/watch?v=Nk5-IKvxubg choose one of  the many 
interpretations of the word "Allemand".

The Sottish still use that hold and call it a Tulloch Hold Swing, 
though they use it less now as it can be awkward.  You can learn all about it 
at https://www.scottish-country-dancing-dictionary.com/tulloch-turn-grip.html 
and see it being danced at 
https://www.scottish-country-dancing-dictionary.com/videoclips/tulloch-turn.html.

I often use it in contra dances if I have a good partner.  I try to do 
a different swing each time through the dance, and use the Tulloch Hold as one 
of my swings if the dancer is good.

Happy dancing,  
   John 

John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574   
http://contrafusion.co.uk/KentCeilidhs.html for Live Music Ceilidhs 
http://www.contrafusion.co.uk for Dancing in Kent   
http://www.modernjive.com for Modern Jive DVDs


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[Callers] Allemandes, Hand Turns and Arming

[John Sweeney via Callers]

Hi all,

  Following up on forum discussions over the years, some of
which floundered a little without photographs to aid the discussion, I have
now created this page on Allemandes:

http://contrafusion.co.uk/Allemande.html

 

  I haven't linked to it yet.  Please let me know of any
updates, errors, omissions, etc.

 

  Once a few more people have checked it out I will add some
more links to it.

 

  Thanks to all those of you who contributed words of wisdom.

 

  I hope you find it useful.

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802
940 574  

http://contrafusion.co.uk/KentCeilidhs.html for Live Music Ceilidhs


http://www.contrafusion.co.uk for Dancing in Kent


http://www.modernjive.com for Modern Jive DVDs

 

 

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Re: [Callers] Colin Hume

[John Sweeney via Callers]

https://colinhume.com/Contact.aspx

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574  

http://contrafusion.co.uk/KentCeilidhs.html for Live Music Ceilidhs 
   

http://www.contrafusion.co.uk for Dancing in Kent   
   

http://www.modernjive.com for Modern Jive DVDs

 

 

From: Callers  On Behalf Of Mary 
Collins via Callers
Sent: 13 June 2019 18:25
To: Callers@lists.sharedweight.net
Subject: [Callers] Colin Hume

 

Looking for contact info for Colin.

 

Thanks

Mary Collins

QCCD

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Re: [Callers] Hand Turns & Safety

[John Sweeney via Callers]

Hi Andrea,

  Absolutely.  All moves should be taught explicitly as not a grip.

 

  Amazing! There is always something new to learn.  I have been 
dancing the cupped elbow hold for over 50 years, and taught it to literally 
thousands of dancers. I have never heard about there being a challenge 
regarding bust contact.  I checked with my wife and she has never encountered 
it either.

 

  Just to clarify: I was not suggesting in any way that either 
forearm hold should be used in modern American contra dancing.  I was just 
clarifying the various version of the move in response to someone’s query about 
what the hold is.

 

  The cupped elbow hold definitely has its place in various parts 
of the wonderful spectrum of traditional/folk/country/contra dancing.

 

  I would only ever suggest it as an option in contra dancing if 
someone had an injury and didn’t want to use the standard contra Allemande 
hold.  It could also be offered in self-defence, instead of the fist-to-fist 
“hold”, when encountering someone in the line that you know is likely to hurt 
you.

 

  The standard contra Allemande hold is undoubtedly here to stay.  
It is by far the best option for moves like Rory O’More and Swing Thru, and it 
is established across the world as the way to do a modern American contra dance 
Allemande.

 

  So, all we can try to do is improve people’s technique.

 

  Quite often a new caller will learn how to call a dance,  get up 
in front of an experienced crowd, walk through the dance calling the moves, 
then call the dance, calling all the right words at the right time, and relying 
on the experienced dancers to help the beginners through the dance.  The dance 
works. The caller will then consider themself to be a contra dance caller, 
without ever having actually taught anything at all.

 

  In the UK the EFDSS changed the name of the person holding the 
microphone from “teacher” to “caller” some time in the 1950s.

 

  I feel that very few modern callers realise that teaching is part 
of the job.

 

  We callers are the only ones who can improve the dancers’ 
technique.  I just wish that all callers realised this and took responsibility 
for it.  It only takes a few seconds during each walk-through to drop a pearl 
of wisdom into the mix.   It doesn’t take long to say one of these:

 

Allemande: It’s not arm-wrestling - if your hand moves towards you, you lose!

 

Allemande: Make a good connection then relax - your muscles are for fighting 
centrifugal force, not your partner.

 

Allemande 1.5: Keep your hands mid-way between you with nice W-shaped arms and 
take bigger steps.

 

Circle Left 3/4; Pass Through: It’s six steps for the circle and two to pass 
through - don’t be late for your new neighbour.

 

Swing: Plan the end of the move so your are both facing the right way on time.


Wrist-Lock Stars: Make sure your thumb is on top with your fingers so that you 
can’t grip.

 

Etc.

 

  I have often though of putting a poster at the door saying, 
“Leave your thumbs at the door!”

 

  Maybe we could all share our favourite teaching phrases and make 
a database of them to encourage all callers to do some teaching.

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574  

http://contrafusion.co.uk/KentCeilidhs.html for Live Music Ceilidhs 
   

http://www.contrafusion.co.uk for Dancing in Kent   
   

http://www.modernjive.com for Modern Jive DVDs

 

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Re: [Callers] Hand Turns & Safety

[John Sweeney via Callers]

The Cupped-Elbow Forearm Hold is NOT suitable for all moves!

 

Waves are unquestionably much better with the standard contra Elbows-Down 
Palm-to-Palm hand holds.  As are Swing Thrus.  As Callerlab says, “All hands 
are joined in hands-up position, elbows in close. Exert slight pressure to 
assist opposite dancer in turning. Arcing turns should be utilized rather than 
pull by type of movements and should flow effortlessly from one turn to the 
other so that you are in a sense, "weaving" along the line.”  (Sadly very few 
of the MWSD dancers that I have danced with seem to have understood this; they 
do lousy Waves with hand-holds at waist level and Grand Right & Left instead of 
Swing Thru!)

 

I don’t find dis-engagement to be an issue with a Cupped-Elbow Forearm Hold in 
the moves that I use it for.  But it certainly doesn’t give the ability to spin 
out of it.  The standard contra Allemande is much better if you want to spin 
out of Allemande Left 1.5 or Contra Corners.  If only we could find a way to 
get people to do it better…

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574  

http://contrafusion.co.uk/KentCeilidhs.html for Live Music Ceilidhs 
   

http://www.contrafusion.co.uk for Dancing in Kent   
   

http://www.modernjive.com for Modern Jive DVDs

 

 

From: Folk Dance  
Sent: 21 May 2019 12:12
To: John Sweeney 
Cc: Caller's discussion list 
Subject: Re: [Callers] Hand Turns & Safety

 

I agree with John's concerns over gripping in the forearm hold, and the 
increased security of the elbow cup - provided dancers are reminded that thumbs 
do not belong in the soft, vulnerable inside of elbows!

 

However, I think the full elbow cup grip gives up a certain freedom of 
disengagement and if we tried to use it universally would result in some 
awkward transitions - balance the wave to swing through for instance would be 
clunky with an elbow cup.  A well taught hooked or flat  hand (properly 
vertical and balanced!) hand allemande would be my preference.  

 

I'm not sure I'm clear on the "flat" grip issues - could someone give me a 
clear definition of what they consider to be this problematic option? 

 

Bob

 

On Tue, May 21, 2019 at 10:19 AM John Sweeney via Callers 
mailto:callers@lists.sharedweight.net> > wrote:

Hmm… I seem to have stirred up a hornet’s nest!  It is great to see discussion 
on this important topic.

 

There are two very different forearm holds.

 

*** In front of the elbow ***:

This is the MWSD version. Callerlab defines it as:

“Forearm: The arms are held past the wrist but not past the elbow joint. Each 
dancer places the hand on the inside of the arm of the person with whom he is 
to work. The fingers and thumb are held in close. The center of the turn will 
be at the joined arms, so, while turning, each dancer is moving equally around 
the other.”

 

I think this is what Andrea is describing (my apologies if I am wrong).

 

I don’t like this one.  Sorry.

 

The connection is not as good as it could be.

Good connection can often only be achieved by gripping the other person’s arm.

It provides the opportunity to grip hard.

I often find that, due to different arm lengths, the gap between by thumb and 
index finger is pressed against the inside of the other person’s upper arm. 
This can be uncomfortable.

 

The one I do like is:

 

*** Behind the elbow ***:

Put your thumb beside your fingers. Curve your hand. Place your forearms 
together. Place your curved hand behind your partner’s forearm, just above the 
elbow.  Get close enough so that your upper arm is vertical.

 

This is a great connection.

There is no need to grip.

You are close together so that you can turn really well.

It is very effective for 1.5 turns.

Thumbs are not involved so the chance of gripping is greatly reduced.

It can be achieved instantaneously.

There is little opportunity to mess it up.

 

You can see it being used in this video: 
https://www.youtube.com/watch?v=Q_wncJcFPVo

There is a good example 5 seconds in - look at the second couple on the right 
(two ladies - one in grey).

 

We use this hold for all sorts of dances in the UK.  It is great for Strip the 
Willow and Lock Chain Swings (i.e. Grand Right and Left where you don’t pull 
by, instead you turn 1.5 times with each dancer).

 

I would thoroughly recommend this as an alternative Allemande style.

 

Try them and see what you think.

 

(P.S. The really sad thing about that video Is the swings.  If only the caller 
had told them to take the same forearm hold and join left hands underneath, 
then they could have had so much more fun swinging!)

 

(P.P.S. I love this dance.  Nottingham Swing.  I spent 

Re: [Callers] Hand Turns & Safety

[John Sweeney via Callers]

Hmm… I seem to have stirred up a hornet’s nest!  It is great to see discussion 
on this important topic.

 

There are two very different forearm holds.

 

*** In front of the elbow ***:

This is the MWSD version. Callerlab defines it as:

“Forearm: The arms are held past the wrist but not past the elbow joint. Each 
dancer places the hand on the inside of the arm of the person with whom he is 
to work. The fingers and thumb are held in close. The center of the turn will 
be at the joined arms, so, while turning, each dancer is moving equally around 
the other.”

 

I think this is what Andrea is describing (my apologies if I am wrong).

 

I don’t like this one.  Sorry.

 

The connection is not as good as it could be.

Good connection can often only be achieved by gripping the other person’s arm.

It provides the opportunity to grip hard.

I often find that, due to different arm lengths, the gap between by thumb and 
index finger is pressed against the inside of the other person’s upper arm. 
This can be uncomfortable.

 

The one I do like is:

 

*** Behind the elbow ***:

Put your thumb beside your fingers. Curve your hand. Place your forearms 
together. Place your curved hand behind your partner’s forearm, just above the 
elbow.  Get close enough so that your upper arm is vertical.

 

This is a great connection.

There is no need to grip.

You are close together so that you can turn really well.

It is very effective for 1.5 turns.

Thumbs are not involved so the chance of gripping is greatly reduced.

It can be achieved instantaneously.

There is little opportunity to mess it up.

 

You can see it being used in this video: 
https://www.youtube.com/watch?v=Q_wncJcFPVo

There is a good example 5 seconds in - look at the second couple on the right 
(two ladies - one in grey).

 

We use this hold for all sorts of dances in the UK.  It is great for Strip the 
Willow and Lock Chain Swings (i.e. Grand Right and Left where you don’t pull 
by, instead you turn 1.5 times with each dancer).

 

I would thoroughly recommend this as an alternative Allemande style.

 

Try them and see what you think.

 

(P.S. The really sad thing about that video Is the swings.  If only the caller 
had told them to take the same forearm hold and join left hands underneath, 
then they could have had so much more fun swinging!)

 

(P.P.S. I love this dance.  Nottingham Swing.  I spent my first 50 years in 
Nottingham, so I have been dancing this dance for nearly 50 years now and I 
still love it.)

 

(P.P.P.S. The dance is actually from Northamptonshire - 50 mile south.)

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574  

http://contrafusion.co.uk/KentCeilidhs.html for Live Music Ceilidhs 
   

http://www.contrafusion.co.uk for Dancing in Kent   
   

http://www.modernjive.com for Modern Jive DVDs

 

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Re: [Callers] Name that Dance

[John Sweeney via Callers]

Hi Rich,

  I would just call it a "Big Set Mixer".  It is a slight
variation of the one in the Community Dances Manual.  Callers just make up a
32 bar sequence that works for their dancers.

 

  While it is a good example of all ages having fun together, I
really wish callers would teach the dancers just a tiny bit about how to do
better hand/arm turns and swings :-)

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802
940 574  

http://contrafusion.co.uk/KentCeilidhs.html for Live Music Ceilidhs


http://www.contrafusion.co.uk for Dancing in Kent


http://www.modernjive.com for Modern Jive DVDs

 

 

From: Callers  On Behalf Of Bill
Olson via Callers
Sent: 17 May 2019 21:12
To: Caller's discussion list ; Rich Sbardella

Subject: Re: [Callers] Name that Dance

 

Rich, No idea but here's the link put back together again:

 

https://www.youtube.com/watch?v=20AzpUhcl_E

=IwAR2cUdLxooGD3zONkK4KatXcca3B3spscqRK26CLlOFcVgzPuEPaYhCf8Tc


 
 

 
 Traditional English Barn Dance -
YouTube

Ceilidh Dance Berlin - Spring Session 2015 Music: Fiddlers 3 - Sounds like a
Square Dance!

www.youtube.com  

bill

 

  _  

From: Callers mailto:callers-boun...@lists.sharedweight.net> > on behalf of Rich
Sbardella via Callers mailto:callers@lists.sharedweight.net> >
Sent: Friday, May 17, 2019 8:03 PM
To: Caller's discussion list
Subject: [Callers] Name that Dance 

 

Can anyone put the title to this dance from the web? 

https://www.youtube.com/watch
 ?

 

v=20AzpUhcl_E=IwAR2cUdLxooGD3zONkK4KatXcca3B3spscqRK26CLlOFcVgzPuEPaY
hCf8Tc

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Re: [Callers] Easy flourishes or other "bonus" movements?

[John Sweeney via Callers]

Hi Lenore,

  I think part of the challenge with contra is that there is so 
little teaching done at dances.  Technique is very rarely taught; people are 
just supposed to pick it all up as they go along.  As a result people who can 
get through challenging dances consider themselves “advanced” while still 
having no basic dancing skills.

 

  One of the most frustrating sequences for me is “Men Allemande 
Left 1.5; Neighbour Swing”.  I like to spin out of the Allemande into my 
Neighbour’s arms for the Swing.  But no-one ever teaches Allemande technique 
and very few dancers do it well (the ladies tend to be much better than the 
men).  I get offered all sorts of strange hand positions; the dancers put their 
arms at strange angles which prevent you disengaging smoothly; many of the 
dancers seem to think that they are arm-wrestling instead of dancing; some of 
them have misunderstood the term “give weight” and lean away strongly so that I 
have to devote myself to stopping them from falling over (very tiring!); and, 
possibly as a result of all this poor connection, they don’t move fast enough - 
their steps are too small.  All of this means that getting around 1.5 times 
takes too long and there is no time to add a spin out of the Allemande.

 

  You can’t build on shifting sands.

 

  Whenever I teach a Swing Variations workshop I always start by 
going over the basics of a good swing.  It’s amazing how many people afterwards 
thank me and say they hadn’t realised that they could improve their basic 
swing. See  http://contrafusion.co.uk/Contra.html#swinging for details.

 

  You may also find some ideas you can use at 
http://contrafusion.co.uk/Contra.html#connection.

 

  For improving technique in twirls (e.g. in and out of swings, and 
multiple twirls in a Ladies’ Chains), see 
http://modernjive.com/history/tension.html. Although this article was written 
for a different dance style, the technique points apply equally well to contra 
twirls.  Note: this article refers to Lead & Follow which is not a fundamental 
part of contra dance.  However, for many flourishes the Lead & Follow 
principles apply for the duration of that flourish.

 

  Some flourishes that can be done easily by yourself are:

Spin into a Tidal Wave (long wavy line)

Twirl yourself going from Up The Hall in Lines of Four into a Circle Left

Spin yourself out of Allemandes - great fun if you can do all four in a Contra 
Corners

Do something on beat four of Long Lines Go Forward & Back: shimmy, stamp, hip 
bump the opposite person (if you know them well), bow…

 

  I hope some of that helps.

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 
  01233 625 362 & 07802 940 574 
 

http://contrafusion.co.uk/KentCeilidhs.html for Live Music Ceilidhs 
   

http://www.contrafusion.co.uk for Dancing in Kent   
   

http://www.modernjive.com for Modern Jive DVDs

 

 

From: Callers mailto:callers-boun...@lists.sharedweight.net> > On Behalf Of Lenore Frigo via 
Callers
Sent: 26 April 2019 22:45
To: callers@lists.sharedweight.net  
Subject: [Callers] Easy flourishes or other "bonus" movements?

 

I would like to teach some of my more advanced dancers some flourishes or other 
embellishments to contra dance. I'd like to  start with things that are easy 
and obviously that can be smoothly integrated into a dance. 

 

Simpler is better and I am especially looking for "extras" that can be done 
singly rather than within a couple. For example, simply twirling during a 
do-si-do, or little "meanwhile" things you can do while waiting out as your 
partner allemandes with their diagonal. 

 

I've found some YouTube videos, but they tend to be for more elaborate 
technique than I am interested in introducing at this time.

 

Thanks for any thoughts, tips, support, or warnings! :)

Lenore Frigo

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[Callers] How Many Formations Are There?

[John Sweeney via Callers]

Hi All,

  Recently two situations started me thinking about formations.
Firstly, three different times, in different places, with different people,
the topic came up of why so many dance sessions consisted of a single
formation: "Longways for as many as will", also known as "contra lines".

 

  Secondly, there was a long discussion on one of the forums
about how much space is needed for a dance.  All the replies, without
exception, assumed that it was the space required for longways sets! There
was just one brief comment at the bottom of one post acknowledging that
other formations might have different space requirements.

 

  So, I did some research and made a Web page:
http://contrafusion.co.uk/Formations.html

 

  I list over EIGHTY different formations, with sample dances
(including links to instructions or videos) for every formation.

 

  I hope you find it useful, and maybe you will try
choreographing, calling or dancing a different formation.

 

  Please let me know of any additions, corrections, comments,
etc.

 

  Thanks.

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com
  01233 625 362 & 07802 940 574


http://contrafusion.co.uk/KentCeilidhs.html for Live Music Ceilidhs


http://www.contrafusion.co.uk for Dancing in Kent


http://www.modernjive.com for Modern Jive DVDs

 

 

 

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Re: [Callers] Leading a 1 hr contra dance

[John Sweeney via Callers]

I would strongly suggest that you don’t use the phrase “Give weight” when 
teaching.  It will be misunderstood and people will pull and lean.  I believe 
its is much better to talk about “connection”.

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574  

http://contrafusion.co.uk/KentCeilidhs.html for Live Music Ceilidhs 
   

http://www.contrafusion.co.uk for Dancing in Kent   
   

http://www.modernjive.com for Modern Jive DVDs

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Re: [Callers] Leading a 1 hr contra dance

[John Sweeney via Callers]

Hi Liz,

  I would start with something like:

In a big circle teach: 8-count moves; hand-holds and connection; how to swing

 

Family Contra so they learn to progress. No swings so that they can’t end on 
the wrong side and mess things up. Tell them not to switch lines when they get 
to the top or bottom!

https://folkdancemusings.blogspot.com/2015/05/family-contra-usa.html

 

East Litchfield Volunteers - use wrist-lock stars instead of circles as they 
did circles in the previous dance

http://biteyourownelbow.com/conndanc.htm

 

  Or I would do a completely different repertoire of easy dances 
since trying to do actual modern American contras with beginners can be a 
disaster :-)

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574  

http://contrafusion.co.uk/KentCeilidhs.html for Live Music Ceilidhs 
   

http://www.contrafusion.co.uk for Dancing in Kent   
   

http://www.modernjive.com for Modern Jive DVDs

 

 

From: Callers  On Behalf Of Liz 
Burkhart via Callers
Sent: 29 March 2019 12:53
To: callers@lists.sharedweight.net
Subject: [Callers] Leading a 1 hr contra dance

 

I have a gig coming up at a library wherein I have one hour to teach and call 
contra dances. It's a mixed crowd, and I heard there may be a lot of tweens 
present. I think I'd like to focus on bigger picture things - moving up and 
down the line, swinging, interacting with their set. I imagine I may even cut 
out courtesy turns in order to minimize the time we spend on the lesson. I've 
taught for small, mostly inexperienced crowds before but I usually have a lot 
more time. I'd really rather get them moving than to get bogged down in 
teaching. Does anyone have insight, suggestions, or advice? 

Thanks,

Liz Burkhart

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Re: [Callers] Opposite StarThru and functional difference in LD v Slide

[John Sweeney via Callers]

Hi Seth,

1)   Larry Jennings has a whole section on this in Give-and-Take.
Page 42: Effective Lingo.

 

  He suggests that you don't need any fancy names.  Just use
"Twirl to Swap".  As you do the walk-through you tell the dancers:

Initial facing

Final facing

Which hands are joined

 

  You are quite right that Star Thru and California Twirl use
the same hands (though Larry appears to have Star Thru wrong in his table!).
The different is the initial facing, so one is a 90 degree turn, the other
is 180 degrees.

 

  I have heard the opposite-hand California Twirl called a
Nevada Twirl in California - I don't think they know where Jersey is!  Larry
calls it a Courtesy Twirl.

 

  I agree with Lisa that we should try to use existing
terminology correctly in order to avoid confusion.

 

And I wish that callers would use more of the useful terms.  For example,
many dancers must be confused by the words "Pass the Ocean".  They must
wonder what that has to do with getting into a Short Wavy Line.  If the
callers called it an Ocean Wave, and explained that the call was short for
"Pass Through to an Ocean Wave" I suspect it would be a lot easier to teach!

 

And Tidal Wave sounds so much better than Long Wavy Line.  Or maybe that's
just me! :-)

 

2)   Part of the difference is what move you did before the Circle
Left 3/4 and what comes after it.  Circle Left 3/4 is 6 beats/steps.  If it
is sandwiched between two swings* then the dancers will be very happy to
finish on the diagonal, get straight into the swing, and have two extra
beats for the second swing.  But if you have different moves before and
after then you may want the circle to take the full 8 beats.  If you want a
circle-based move next then you might want to slide left first to absorb
some of the time and finish the circle at the right time to start the next
move.  If you want to fall back into lines after the circle then you might
want to go straight into the circle on the diagonal so there is time to fall
back at the end of the circle.

 

  Whether the difference will actually affect the timing and
flow once the dancers get into the groove is another matter entirely.

 

* The sequence  takes up (nearly) half a
dance without doing anything interesting.  I believe that it is far too
over-used.  Choreographers, please be more creative! :-)

 

   Happy dancing,   

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802
940 574  

http://contrafusion.co.uk/KentCeilidhs.html for Live Music Ceilidhs


http://www.contrafusion.co.uk for Dancing in Kent


http://www.modernjive.com for Modern Jive DVDs

 

 

From: Callers  On Behalf Of Tepfer,
Seth via Callers
Sent: 21 March 2019 16:57
To: callers 
Subject: [Callers] Opposite StarThru and functional difference in LD v Slide

 

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)?

2) What is the functional difference between slide left circle left 3/4 and
on the left diagonal circle left 3/4?

 

Thanks

Seth

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Re: [Callers] Building to Contra Corners

[John Sweeney via Callers]

But I’m guessing that you do things like:

Neighbour Swing, Circle Left 3/4, Partner Swing

multiple times in an evening.

 

I would much rather do Contra Corners multiple times! :-)

 

Happy dancing,  

   John   



John Sweeney, Dancer, England 
j...@modernjive.com 01233 625 362 & 07802 940 574  

  http://www.modernjive.com for Modern Jive Events & 
DVDs

  http://www.contrafusion.co.uk for Dancing in 
Kent  

 

From: Callers  On Behalf Of Mac 
Mckeever via Callers



My concern with introducing CC in  triplet is if you do that and then turn 
around and do it in a contra you have done it twice in one program - and 
probably very close together.  I wouldn't want to do that

 

Mac McKeever

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

[John Sweeney via Callers]

Hi Don,

  You could try http://contrafusion.co.uk/Dances/HeyDown.html

 

  For a more contra feel change B2 to Neighbour Swing; Long Lines 
Go Forward & Back.

 

  You could do http://contrafusion.co.uk/Dances/TheDolphinsF8.html 
as a Shetland Reel: #1 Man lets his arms hang down and offers his hands behind 
his back; #1 Lady hooks onto his hands.  So #1s are a single unit for a 
three-“person” hey.  Change the terminology to Down the Hall in Lines of Four 
(4); Fall Back (4) and Balance instead of Set. 

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574  

http://contrafusion.co.uk/KentCeilidhs.html for Live Music Ceilidhs 
   

http://www.contrafusion.co.uk for Dancing in Kent   
   

http://www.modernjive.com for Modern Jive DVDs

 

 

From: Callers  On Behalf Of Don Veino 
via Callers
Sent: 22 January 2019 19:01
To: Caller's discussion list 
Subject: [Callers] Easy/Fun Hey-for-Three Contras

 

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] Calling a "box circulate"

[John Sweeney via Callers]

If someone tells me to rotate then I will turn on the spot :-)

The move is called Box Circulate.  It doesn't make sense to me to use
"rotate" instead of "circulate".

When you are calling then using instructions such as Men Cross, Ladies Turn
(or just Circulate once they have got it) is obviously useful.

One trick that I have seen at MWSD when teaching is to get everyone to look
at the feet of the person whose place they are moving to.  You have to step
into the footprints of that person, i.e. don't turn if you are moving
forwards.

I usually start with a circle left one place, then circle left one place
without hands, then circle left one place following the person in front,
then that again.  That gets them back to where they started and then I get
them to make mini-waves (just two people) and teach the move.  But the idea
of starting using stars instead of circles is good - I might try that next
time.

I also use this little dance to familiarise people with the move.  With just
two couples in a set it is much easier to see where you are going!

= = = = = = = = = = = = = = = = = = = = 
Little Boxes by John Sweeney
Two Couples; Scatter Mixer

A1: Circle Left (your orientation when you stop is irrelevant)
Balance the Ring; Men Roll the Ladies (Partner) Right to Left with a
Half Sashay
A2: Balance the Ring; Men Cross - don't turn - make Mini-Wave with
Neighbour - Right hand to Right hand
Balance the Wave (F/B); Box Circulate CW
B1: Balance the Wave (F/B); Box Circulate CW
Neighbour Swing - this is your new Partner
B2: Promenade – find New Neighbours - make Circles of Four
= = = = = = = = = = = = = = = = = = = =

Note:  Balancing Forward & Back (rather than Right/Left) is much better for
Box Circulates as it gives you the momentum for the forward movement.  With
good momentum it is also much easier to throw in a spin as you cross the set
:-).

    Happy dancing,  
   John 

John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802
940 574 
http://contrafusion.co.uk/KentCeilidhs.html for Live Music Ceilidhs

http://www.contrafusion.co.uk for Dancing in Kent   
http://www.modernjive.com for Modern Jive DVDs


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[Callers] Twitter and Instagram for Contra Dance Marketing

[John Sweeney via Callers]

Hi all,

  Has anyone had any success at getting new people along to
dances by using Twitter or Instagram?

 

  If so, please do you have any advice on:

How to get started?

What sort of material to post?

Who to Follow to see some successful usage?

 

  Thanks.

 

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802
940 574  

http://www.modernjive.com for Modern Jive Events & DVDs


http://www.contrafusion.co.uk for Dancing in Kent


 

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Re: [Callers] Oval Petronella critique

[John Sweeney via Callers]

Hi Austin,
I’ve always found balances in lines to be fun.  Yes, it is a different 
feeling from a Wave Balance, but so is a standard Petronella Balance.  The 
whole line spinning together is great as well.

I can’t agree that the “ideal” Wave Balance is Right/Left.  That is 
only true when the next move is something like Allemande Right.  If the next 
move is Allemande Left then you end up too close together for a satisfying 
Allemande; in that situation Balance Left/Right is much more satisfying.  And 
if the next move is to move forwards to a new Wave (i.e. Extend) then a Balance 
Forward/Back gives a much more satisfying help to your forward momentum.

I wish more callers would specify which way to balance!  When they 
don’t and the dancers are balancing the wrong way, then I tend to do it 
Forward/Back; Forward/Back works well whichever direction you are going in next.

Regarding terminology, Balance and Set are synonymous. See Ralph A 
Piper’s article “50 Variations of the Balance”: “the term balance superseded 
the term “setting” to partners or corners”.  In my experience when people do a 
Petronella Balance, some go Step-Stamp and some go 1-2-3.  They are both 
included in Ralph’s document.  My understanding is that Contra Dancers in the 
1950s liked to do a different balance each time they did a Balance & Swing down 
the line, showing off how clever their footwork was.  The older term was 
Foot-It, which I generally assume to mean, “Fill the rest of the music with 
fancy footwork to impress your partner”.

As Larry Jennings says in “Zesty Contras”:
“Balance: Dance most any appropriate way for four counts; use your freedom and 
fit your mood. ... It is left to the dancers, perhaps with advice from the 
caller, to move forward and back, or to move from side to side.”

In this figure I would advise the dancers to move side to side, going 
to the right first.  When they get used to it I am sure dancers will make 
something of the move.

So when I use the term “Set” in my notes I could equally well have said 
“Balance”.  :-)

Happy dancing,  
   John 

John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574   
http://www.modernjive.com for Modern Jive Events & DVDs 
http://www.contrafusion.co.uk for Dancing in Kent   

From: Callers  On Behalf Of Austin Paul 
via Callers
Sent: 18 October 2018 19:53
To: callers@lists.sharedweight.net
Subject: Re: [Callers] Oval Petronella critique

Regarding the Oval Petronella figure:

Admittedly, I haven't tried dancing it, but it doesn't seem that appealing.

Most of the satisfaction I get from a balance comes when two dancers are both 
moving towards or away from a shared handhold and can share weight accordingly. 
Think of your ideal balance in ocean waves of 4: step right, step left. Now 
contrast that with a wave balance where your neighbor steps the wrong way 
first, meaning the two of you move in the same direction: that shared handhold 
loses all its energy. It's very underwhelming.

If the balance is done in long lines with everyone moving the same way, then 
the hand hold lacks energy. (As an aside: LLFB doesn't even tend to get the 
good handhold energy it deserves). I did notice John Sweeney called it "Long 
Lines Set Right & Left" on his website, and not in fact a Balance, which seems 
much more accurate. Not wanting to get into the issue(s) of wanting contra 
dancers to appreciate "setting" and other figures from ECD, I see it devolving 
into a hokey 4-beat 'shuffle' on the floor.

Granted, that's one opinion. I'm sure others disagree.

Best,
Austin


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Re: [Callers] Oval Petronella - critique please

[John Sweeney via Callers]

Hi Bill,
I first saw it in The Balanced Diet by Sue Rosen.

Here's one I wrote after seeing that:
http://contrafusion.co.uk/Dances/SlithyDance.html

I find it better to Balance Right & Left rather than Forward & Back
(as in a four person Petronella); it sets the momentum up better for the
movement to the right.

I call it a Sausage rather than an Oval.  Either way, it is
important to get the end couples to join hands and complete the Sausage,
otherwise the end people tend to spin off in random directions.

The only criticism I would make is that we have way too many dances
already with Swing, Circle Left 3/4, Swing; that's half the dance gone with
one basic sequence.  I always try to find more innovative ways to
transition.

    Happy dancing,  
   John 

John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802
940 574 
http://www.modernjive.com for Modern Jive Events & DVDs 
http://www.contrafusion.co.uk for Dancing in Kent   

-Original Message-
From: Callers  On Behalf Of Bill
Baritompa via Callers
Sent: 17 October 2018 04:52
To: Caller's discussion list 
Subject: [Callers] Oval Petronella - critique please

Hi All,

   Two Petronella balance and spins can be done around the whole set and
are equivalent to a double slice right (but different timing).

   Anyone know if this has been used before in contra dance?

   Here are two simple dances I wrote with this. I've not tried them out
yet, but the oval petronella that was in the grid dance I did at our last
dance went over well.

 What do you think? I'd appreciate your thoughts.

Oval Petronella DP Becket CCW DP
  best with odd number of couples
A1: Oval Balance & Petronella 2x
A2: G AL 1 1/2; N SW
B1: CL 3/4, P SW
B2: Prom Across; LLFB

Oval Petronella SP Becket CCW SP
A1: Oval Balance & Petronella 1x; G AL 1 1/2
A2: N Bal & SW
B1: CL 3/4, P SW
B2: Prom Across; LLFB

I searched the callers box database for dances with double slice (always
left) and with a bit a adjustment most can be tweaked to use oval
petronella.

Oval Petronella at Pinewoods Becket CW
derived from A Slice of Pinewoods by Bob Isaacs, Ann Cowan, Tina Fields,
Jillian Hovey, Mark Lattanzi, and Chris Weiler
A1: Oval Balance & Pet 2x
A2: N2 CL 3/4, Pass R along set to; N1 SW
B1: LC; 1/2 Hey
B2: Pass R across set, P SW

Another Oval Petronella at Pinewoods Becket CW
derived from Another Slice of Pinewoods by Bob Isaacs and Chris Weiler
A1: N Bal & SW
A2: Oval Balance & pet x2
B1: (w/2nd Shadow) LH* 3/4, Pass 1st Shadow R to; P SW
B2: CL 3/4; Bal ring, California Twirl

Thanks
Cheers, Bill
PS Don't confuse this with Oval Petronella by Rembrant :-)



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Re: [Callers] Gate vs Hand Cast

[John Sweeney via Callers]

Hi Don,

  I think that the default definition now is that the pivot point 
is at the joined hands, but diverse choreography means that it can be anywhere 
in order to achieve the desired effect.

 

  For example in Bob Isaacs’ March of the Triplets, the second pair 
of Gates have to move sideways while rotating, to make room for another couple 
to fit in line between the two Gates.

 

  It is often worth clarifying who is doing the Gating and what the 
destination is.

 

  I agree that choreography interpretation can be a challenge.  I 
have never understood dances like Devil’s Dream and Beaux/Boys of Oakhill where 
the dance finishes with a Right & Left Through, so that the couples are in 
line, but starts with a completely different configuration.  All the dancers 
have to move from lines into a new position in zero time.

 

  I strongly suspect that dances like this were originally Two 
Changes of Rights & Lefts; the dancers could use the final Pull By Left to get 
to their new position.  The addition of the Courtesy Turn really messes the 
choreography up.  Or maybe it was just lousy choreography :-)

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574  

http://www.modernjive.com for Modern Jive Events & DVDs 
   

http://www.contrafusion.co.uk for Dancing in Kent   
   

 

From: Callers  On Behalf Of Don Veino 
via Callers
Sent: 13 October 2018 22:53
To: Caller's discussion list 
Subject: Re: [Callers] Gate vs Hand Cast

 

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

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[Callers] FW: Gate vs Hand Cast

[John Sweeney via Callers]

Hi Don,

  Alan said most of it already.

 

  You could potentially use any of Gate, Wheel, Wheel Around, 
Assisted Cast, Hand Cast, Hand Cast Off, Turn as a Couple!

 

  From Zesty Contras:

Hand Cast Off: Often shortened to “hand cast”, even though it is assisted.  
Dancers, hand in hand and with strong connection, follow the same path as in 
any conventional cast off.

Cast Off: As described in B Note that two couples always participate, 
usually with connection between them.  In CAST AROUND, by contrast, those 
casting do not have connection with another couple and any movement by another 
couple is usually stated explicitly.

 

>From B (Balance and Swing by Ted Sannella):

CAST OFF: In a contra or triplet, a method of progression which can be danced 
in several ways. Most commonly, an active couple come up the center of the set 
until they are between the appropriate inactive couple and all four dancers 
face up. Each active dancer and the adjacent inactive dancer turn side by side 
three-quarters round, with the active dancer moving forward and the inactive 
dancer moving backward, until both dancers are in a line facing in, the active 
couple now below the inactives.  In an ARM-AROUND CAST OFF two dancers place 
their near arms around each other’s waists during the turn and in a HAND CAST 
OFF two dancers join near hands at shoulder height with elbows down. Either of 
these casts may also be referred to as an ASSISTED CAST OFF.

 

  We also have an Assisted Cast Off wherein the inactives put their 
hand on their hip and offer their elbow for the active to hook onto; this is 
more common in dances with a Gallop where there is a lot of momentum to 
redirect.

 

  You also could use “Wheel”, which B defines as “The same as 
TURN AS A COUPLE”.

TURN AS A COUPLE: A pair of dancers with nearest hands joined reverse direction 
by rotating as a unit, with the right hand person moving forward as the left 
hand person backs around. This movement is usually done in four counts of 
music. In a popular variation some dancers prefer to turn as a couple by having 
the lady go under their upraised joined hands as both dancers move forward.  
<>

 

  We tend to say “Wheel Around” rather than just “Wheel” these 
days, and indeed Modern Western Square Dance defines: 

Wheel Around

Dance action: The couple, working as a unit, turns around to the left (180 
degrees). The left-side dancer backs up while the right-side dancer moves 
forward. The pivot point is the handhold between the two dancers.

 

  MWSD also has:

Cast Off 3/4

>From a General Line, each half of the line works together: ... those in a 
>Couple turn, as a unit, away from the center of the line for 3/4 of a circle 
>(270 degrees).

 

  Historically, Wilson (1820) used Cast Off where we, today, would 
now just say Cast, to get the #1s to turn up and out and head down the outside 
of the set.

 

  But, ignoring Wilson, I would suggest that the key difference 
between a Gate and a (Hand) Cast (Off) is that in a Hand Cast one person has 
some significant momentum to redirect and the other starts stationary, while in 
a Gate both people start from similar (not necessarily identical) states.  A 
Wheel Around tends to be 180 degrees, a Hand Cast tends to be 270 degrees, and 
you are going for 360 degrees.

 

  So, I would say that, in your dance, Gate would be the best word 
to use; Hand Cast, while basically the same, is not quite the right term and is 
rarely used these days.

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 
  01233 625 362 & 07802 940 574 
 

http://www.modernjive.com for Modern Jive Events & DVDs 
   

http://www.contrafusion.co.uk for Dancing in Kent   
   

 

From: Callers mailto:callers-boun...@lists.sharedweight.net> > On Behalf Of Don Veino via 
Callers
Sent: 08 October 2018 06:21
To: Caller's discussion list mailto:call...@sharedweight.net> >
Subject: [Callers] Gate vs Hand Cast

 

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 

Re: [Callers] A Call for Caller Jokes

[John Sweeney via Callers]

For loads more, get ready to groan:

http://www.jokes4us.com/miscellaneousjokes/dancingjokes.html

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574  

http://www.modernjive.com for Modern Jive Events & DVDs 
   

http://www.contrafusion.co.uk for Dancing in Kent   
   

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[Callers] My First Triple Minor

[John Sweeney via Callers]

Hi Judy,

  I like Alamo Triad from Give-and-Take.

 

  Hands Six from the top. #1s Improper, #2s and #3s Becket, now
hold hands in a circle of six - #1s keep your backs to the band.

 

  It is Double Progression, so you don't spend so long out at
the end.  It has a swing.  The #2s and #3s keep switching sides, but do the
same movements so there is less confusion.  They are all standard contra
moves.

 

  You just need to really make sure that they understand that
only one of the two couples out at the top can become the next #1s!

 

  It may help them to start understanding some of the concepts.

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802
940 574  

http://www.modernjive.com for Modern Jive Events & DVDs


http://www.contrafusion.co.uk for Dancing in Kent


 

From: Callers  On Behalf Of Judy
Greenhill via Callers
Sent: 24 September 2018 22:35
To: callers discussion list 



On a more serious note, I would like to get my local dance series doing
more-well, actually some!-triple minors. Eventually I'd like to get them to
at least tolerate some of the traditional dances, but the learning curve of
triple minor +plus unfamiliar figures + no swing has always been just too
steep for them to manage. I've gone through Zesty Contras for more modern
triples but so far haven't found one that I think will work-so, what are
your favourite triple minors? What worked-and what didn't-in introducing
them to a crowd used to at least one swing in every dance, and everybody
moving most, if not all of the time?

 

Can include contra corners as they are pretty proficient-thanks to 3 years
of including it every time I call!

 

Thanks everyone,

 

Judy Greenhill

 


 
 

Virus-free.
 www.avast.com 

 

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Re: [Callers] Teaching a Mad Robin

[John Sweeney via Callers]

Hi Don,

  I find that the key word is the one that Maia used: “Slide”.

 

  I teach it as slide in front/behind, step forwards/backwards, 
slide back to where you started.

 

  And, very important, I call it as “Slide (to the side)” for the 
first few times through the dance.

 

  Calling “Mad Robin” means that they have to process the words 
before they can do the move.  Call “Slide” and they slide.

 

  I find that using a Ladies’ Chain into an anti-clockwise Mad 
Robin is one of the easiest combinations since the dancers finish the Ladies’ 
Chain with man behind and the lady in front ready for the slide.

 

  Telling the dancers that it is called a Mad Robin is useful as it 
may help them next time they meet the move, but it is not a useful term per se 
as it has no intrinsic meaning.

 

  I don’t usually bother with the Dosido method; it causes more 
confusion that it is worth.

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574  

http://www.modernjive.com for Modern Jive Events & DVDs 
   

http://www.contrafusion.co.uk for Dancing in Kent   
   

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Re: [Callers] Easy contras for teens

[John Sweeney via Callers]

Hi Don,

  I get confused when Americans use Sashay in a dance.

 

  Do you mean Sashay as in Roll Away with a Half Sashay – where it 
just means step to the side?

 

  Or do you mean Sashay as in the dictionary: “walk in an 
ostentatious yet casual manner, typically with exaggerated movements of the 
hips and shoulders”?

 

  Or do you mean Gallop, where you take your partner in a Ballroom 
(or Two Hand) Hold and charge across using Side-Together, Side-Together steps?

 

  I think you mean the last one.  We always say Gallop in the UK.  
It avoids a lot of confusion and is much more in keeping with the actual move.

 

  (Yes, yes, I know Americans have been using Sashay for a long 
time, and, like Humpty Dumpty, you can pay the words extra at the end of the 
week to make the words mean anything you want, but Gallop is such a better way 
of saying it!  I can’t imagine what would happen if I asked a bunch of English 
teenagers to Sashay across the floor :-) ).

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574  

http://www.modernjive.com for Modern Jive Events & DVDs 
   

http://www.contrafusion.co.uk for Dancing in Kent   
   

 

From: Callers  On Behalf Of Don Veino 
via Callers
Sent: 21 September 2018 20:48
To: Shared Weight 
Subject: Re: [Callers] Easy contras for teens

 

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 mailto:sharedweight_...@veino.com> > wrote:

 [snip]

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Re: [Callers] Barn dances for teens

[John Sweeney via Callers]

Hi Rick,

  Here are a few ideas:

http://contrafusion.co.uk/Dances/DiversDelight.html

http://contrafusion.co.uk/Dances/FourJollySheepskins.html

http://contrafusion.co.uk/Dances/PlainHamburger.html

http://contrafusion.co.uk/Dances/WaltzCountryDance.html

http://contrafusion.co.uk/Dances/WholeHannikin.html

http://contrafusion.co.uk/Dances/Will-o-the-Wisp.html - not so easy – but great 
fun!

 

  And these are my favourites from the Community Dances Manual:

Jubilee Roundabout

Dorset Four Hand Reel

Bonny Breast Knot (Devon)

Bridge of Athlone

Drops of Brandy

Stoke Golding Country Dance

Virginia Reel

La Russe Quadrille

Ninepins

Corn Rigs

Dorset Triumph

Nottingham Swing

Pins and Needles

Speed the Plough

Steam Boat

Devil's Dream

Russian Ballet

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574  

http://www.modernjive.com for Modern Jive Events & DVDs 
   

http://www.contrafusion.co.uk for Dancing in Kent   
   

 

From: Callers  On Behalf Of Rick Mohr 
via Callers
Sent: 19 September 2018 21:55
To: Shared Weight 
Subject: [Callers] Barn dances for teens

 

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] Intrigued by a Photo

[John Sweeney via Callers]

Bottoms Up (Author unknown)

Five Couples; Longways; Proper

A1:Top Two Men Arch; #1 Lady leads Thread the Needle

A2:Top Two Ladies Arch; #1 Man leads Thread the Needle

B1: Circle Left; Circle Right [OR Partner Swing; Long Lines – gives 
recovery time if they are late]

B2: Bottoms Up: Bottom Couple Gallops Up

  Top Couple put their hands on the Bottom Couples waists and all 
four Gallop Down - #1s falling into place below the Bottoms

 

Travelling Thread the Needle: The #1 making the arch dances around the set – 
everyone goes through the arch twice

 

http://www.ceilidhcalling.co.uk/danceviewpage.php?name=bottoms%20up

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574  

http://www.modernjive.com for Modern Jive Events & DVDs 
   

http://www.contrafusion.co.uk for Dancing in Kent   
   

 

From: Callers  On Behalf Of Linda S. 
Mrosko via Callers
Sent: 13 September 2018 05:58
To: Callers List 
Subject: [Callers] Intrigued by a Photo

 

I saw this photo on Dancing Well and wondered if anyone knew which dance(s) 
this could be.

 



-- 

Looking forward,

Linda S. Mrosko

102 Mitchell Drive

Temple, Texas 76501

(903) 292-3713 (Cell)

contradancetx.com  

www.zazzle.com/fuzzycozy*   (Dance buttons, 
t-shirts, & more)

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Re: [Callers] does this dance already exist?

[John Sweeney via Callers]

A Box the Gnat finishes with you facing the person you did it with.  So 
everyone has to turn 90 degrees to face their neighbour for A2.

 

On another point.  It is not a Square Through!  (Sorry, just checked Callerlab: 
Square Thru!)

 

A Square Thru finishes with your back to the last person you passed.  In this 
dance, after the last Pull By you need to turn to face your Partner who is at 
90 degrees to you.

 

It is actually Two Changes (of Rights & Lefts).

 

Square Thru N is a particular case of N Changes; in Square Thru the end facing 
(not normally defined in N Changes) is specified.

 

Or has the Contra community now redefined this square dance term for their own 
purposes?  :-)

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574  

http://www.modernjive.com for Modern Jive Events & DVDs 
   

http://www.contrafusion.co.uk for Dancing in Kent   
   

 

From: Callers  On Behalf Of Jerome 
Grisanti via Callers
Sent: 09 September 2018 16:43
To: Jean Gibson-Gorrindo ; callers 

Subject: Re: [Callers] does this dance already exist?

 

Jean,

 

At the end of the A2 Box the Gnat, the gents have their backs toward their 
original neighbor and so must release the box-the-gnat hand with intention in 
order to turn their body into the neighbor balance & swing. Not necessarily a 
problem, just a heads-up. The ladies, it appears, will be facing toward their 
neighbor so not an issue for them.

 

--Jerome

 

 




Jerome Grisanti
660-528-0858
http://www.jeromegrisanti.com

"Whatever you do, or dream you can, begin it. Boldness has genius and power and 
magic in it." --Johann Wolfgang von Goethe

 

 

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

Hello Callers!  Around the breakfast table at Penelope Weinberger’s house this 
morning, while on tour with Cloud Ten, I came up with this dance.  Wrote it 
with the Sam Bartlett tune Penelope’s Cruise (also written for Penelope 
Weinberger) in mind.   Wondering if it is already out there?  Thanks for your 
input!

Jean Gorrindo

Breakfast at Penelope’s
by Jean Gorrindo
Contra/Improper/Easy-Int/Double Progression

A1 ---
(8) Partner R-Hand Balance; Square Thru (pull by Partner with Right, Neighbor 
Left)
(8) Partner Balance & Box the Gnat
A2 ---
(16) Neighbor balance and swing
B1 ---
(8) Women allemande Right 1-1/2
(8) Partner swing
B2 ---
(8) Long lines, forward and back
(8) Women's Chain
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Re: [Callers] Luke's Tunnel

[John Sweeney via Callers]

Hi Luke,

  There’s only one move (start of B1) done in a square, the one you 
are in a square at that point with isn’t your partner, and you don’t start the 
dance in a square, so, no, I wouldn’t call it a square.

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574  

http://www.modernjive.com for Modern Jive Events & DVDs 
   

http://www.contrafusion.co.uk for Dancing in Kent   
   

 

From: Luke Donforth  
Sent: 24 August 2018 18:11
To: John Sweeney 
Cc: callers@lists.sharedweight.net
Subject: Re: [Callers] Luke's Tunnel

 

Thanks for sharing John. 

 

This seems a hair's breadth away from being a square dance. Is there a reason 
to run it as a "contra" rather than a "square"? Or do you find the distinction 
doesn't really matter?

 

On Thu, Aug 23, 2018 at 8:19 AM John Sweeney via Callers 
mailto:callers@lists.sharedweight.net> > wrote:

I took Luke’s Double Contra and, since I often work with small groups, made it 
into a Four Couple Dance:

 

Luke’s Tunnel (by John Sweeney/Luke Donforth)

Four Couples; Longways; Becket

 

Start in Side Lines; Number the positions as in a Square Dance

A1: Neighbour Balance & Box the Gnat - keep right hand high to make a Tunnel

   Couple at #1s position go through the Tunnel

   Other End Couple go through the Tunnel

A2: Ends (went through Tunnel together) & Sides (i.e NOT the person you are 
holding hands with): Dosido & Swing – finish in a Square

B1: Into the Middle, on the way back Men Roll Current Partner Away with a Half 
Sashay

  Men Star Right to Original Partner

B2: Partner Gypsy & Swing – finish in Head Lines

 

Next time those in #2s position go through first and you finish in Side Lines - 
four times through lets everyone be the first Tunneler

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 
<mailto:j...@modernjive.com>  01233 625 362 & 07802 940 574 
 

http://www.modernjive.com for Modern Jive Events & DVDs 
   

http://www.contrafusion.co.uk for Dancing in Kent   
   

 

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-- 

Luke Donforth
luke.donfo...@gmail.com <mailto:luke.do...@gmail.com> 

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[Callers] Luke's Tunnel

[John Sweeney via Callers]

I took Luke's Double Contra and, since I often work with small groups, made
it into a Four Couple Dance:

 

Luke's Tunnel (by John Sweeney/Luke Donforth)

Four Couples; Longways; Becket

 

Start in Side Lines; Number the positions as in a Square Dance

A1: Neighbour Balance & Box the Gnat - keep right hand high to make a Tunnel

   Couple at #1s position go through the Tunnel

   Other End Couple go through the Tunnel

A2: Ends (went through Tunnel together) & Sides (i.e NOT the person you are
holding hands with): Dosido & Swing - finish in a Square

B1: Into the Middle, on the way back Men Roll Current Partner Away with a
Half Sashay

  Men Star Right to Partner

B2: Partner Gypsy & Swing - finish in Head Lines

 

Next time those in #2s position go through first and you finish in Side
Lines - four times through lets everyone be the first Tunneler

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802
940 574  

http://www.modernjive.com for Modern Jive Events & DVDs


http://www.contrafusion.co.uk for Dancing in Kent


 

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Re: [Callers] Barn Weddings are a thing now

[John Sweeney via Callers]

Hi Luke,

  I call for two or three weddings a year.  There are as many 
non-weddings as weddings in barns. Some of the barns are terrible!

 

  The weddings tend to be in the better quality barns.

 

  I think a number of old barns have been refurbished to make bring 
them up to wedding/conference standard.  I think those refurbishments are the 
reason more weddings are held in barns.  The number of brides who want a barn 
dance has probably remained unchanged.

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574  

http://www.modernjive.com for Modern Jive Events & DVDs 
   

http://www.contrafusion.co.uk for Dancing in Kent   
   

 

From: Callers  On Behalf Of Luke 
Donforth via Callers
Sent: 14 August 2018 15:02
To: callers@lists.sharedweight.net
Subject: [Callers] Barn Weddings are a thing now

 

This is tangentially related to calling, but apparently the percentage of 
weddings hosted in barns has grown from 2% to 15% in the last decade 
(https://tinyurl.com/ycbm9god). While the article doesn't specific that called 
dancing has increased as well, I'd be surprised if it hadn't. 

 

A decade ago is about when I started calling. I'd appreciate hearing from folks 
with longer records how they feel the prevalence of wedding gigs has shifted 
over time; and how that varies geographically. 

 

Although possibly the fluctuations are too large to get a decent signal out of 
the small sample size. From my own records:

 

2017: I had 14 One-Night-Stand gigs, and 1 of those was a wedding. 

2016: I had 14 family level dances, and 4 of those were weddings. 

2015: 10 ONS, 3 weddings. 

2014: 14 ONS, 7 weddings

2013: 13 ONS, 2 weddings

2012: 4 ONS, 1 wedding

 

As an aside, I really think the 15% of couples having their wedding party in a 
barn should be framed as a rebound from a longer historic decline. But if it's 
getting noticed and push-back from banquet hall trade groups, it may be coming 
to a close. 

 

-- 

Luke Donforth
luke.donfo...@gmail.com  

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

[John Sweeney via Callers]

Hi Maia,

  Just take any dance with a Right & Left Through and change it to 
a Half Promenade.

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574  

http://www.modernjive.com for Modern Jive Events & DVDs 
   

http://www.contrafusion.co.uk for Dancing in Kent   
   

 

From: Callers  On Behalf Of Maia 
McCormick via Callers
Sent: 13 August 2018 02:08
To: Shared Weight Callers' Listserv 
Subject: [Callers] Glossary dances with promenade, no chain/RL through?

 

Hi folks,

 

Had a busload of beginners at my dance last night and realized I have a hole in 
my program -- I don't have any good glossary/beginner-friendly dances with a 
promenade but no chain or RL through. Any suggestions?

 

Thanks!
Maia

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Re: [Callers] New 4x4 composition with a tunnel, and related questions

[John Sweeney via Callers]

Hi Luke,

  I called it tonight.  We had low numbers so I tested it during 
the interval with some volunteers as a Four Couple Dance.  At the end of the 
Partner Swing we just faced back to the same line.  Or changed it from Head 
Lines to Side Lines if we wanted different people to go through the arches.

 

  I wanted all the Box the Gnats at the same time, so I did Balance 
& Box the Gnat.  They may have been very slightly late getting through the 
tunnel, so, to avoid the possibility of the Balance being late or random, I 
changed the Balance & Swing to Dosido & Swing which worked fine.

 

  I indicated who should go through the tunnel first via a 
geographic reference: pick a feature of the room and let people know that you 
are going to use it.  I called “Window People Tunnel” – that worked well.

 

  We had lots of room, so the first swing tended to end up with the 
set as a square, which meant that the four steps into the middle were fine, but 
with less room the “Head Couples” might not have very far to travel, but I 
don’t think it would be a problem.

 

  The dancers said that they liked it.  I will definitely use it 
again.

 

  Does it have a name?

 

  Thanks.

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574  

http://www.modernjive.com for Modern Jive Events & DVDs 
   

http://www.contrafusion.co.uk for Dancing in Kent   
   

 

From: Callers  On Behalf Of Luke 
Donforth via Callers
Sent: 02 August 2018 19:36
To: callers@lists.sharedweight.net
Subject: [Callers] New 4x4 composition with a tunnel, and related questions

 

Hello all, 

 

I've had an idea for a 4 facing 4 dance rattling around, and it seems unlikely 
I'll have enough dancers to house-party it anytime soon, so I'd appreciate 
feedback on an untested dance.

 

4 facing 4 contra

A1

(4) Lines of 4 go forward, take right hand with the one in front of you

(4) box the gnat, keep and lift right hand to make a tunnel

(4) couple at stage right side of line of couples duck through to far side

(4) couple that was at stage left side of line of couples duck through to far 
side

A2

(16) Initial corner balance and swing 

(end couples, it's the one they tunneled with, middle folks it's their trail 
buddy)

B1

(4) All 8 go into the middle

(4) On the way out, gents roll the one they swung with away with a half sashay

(8) Gents right hand star ~1x (ladies adjust position as needed, stepping a 
little to left)


B2

(16) Partner balance and swing, end facing new couple

 

Questions for those so inclined:

Would you be interested in dancing and/or calling this dance? Why, or why not?

 

The inspiration for the tunnel came from "plow the row", a (to my knowledge) 
traditional square (at least, it's traditional enough to have lots of 
variations). Anyone know of a tunnel figure in a 4x4 contra?

 

In the B1, I wrote it as the gents roll the ladies, and the gents star. It 
could instead be the ladies roll the gents and ladies star. Preferences?

 

There are two places where what would normally be "balance+move" have been 
replaced with "in to the middle+move"; is the four steps forward before the box 
the gnat and the roll away going to throw folks?

 

How would you prompt the couples on the end going through the tunnel so that 
there's only one couple in the tunnel at a time? Or would you prompt it as both 
going through and let them figure it out inside the tunnel?

 

Thanks for feedback.

 

-- 

Luke Donforth
luke.donfo...@gmail.com  

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Re: [Callers] Contras with square dance figures

[John Sweeney via Callers]

Hi Rachel,

  Some of the moves that have been mentioned are actually English 
country dance moves that have been used in squares.

 

Grand Square:

1648: http://sca.uwaterloo.ca/~praetzel/sca/lansdowne.html

And a few years later in Playford’s Hunsdon House.  This is, of course, a 
Square Dance, and, yes, they were called Square Dances back then!

 

Right Hand High, Left Hand Low:

This is the third figure of Pepper’s Black (1650): 
http://www.izaak.unh.edu/nhltmd/indexes/dancingmaster/Dance/Play0944.htm

 

Square Through N:

This is “N Changes”, a very common figure from the 17th century onwards.  
MWSD’s contribution was to give it a new name and specify that when that name 
is used the dancers must NOT turn after the last change, finishing back to back 
with the last person you passed (as happens in many country dances).  The term 
”Square Through” is often misused in contra dancing, as there are many contra 
dances with “Square Through” where you turn after the last change.  The term “N 
Changes” would be better used in those circumstances.  But people use words to 
mean what they want them to mean, so I doubt we will ever get any 
standardisation on that! :-)

 

Some other “square dance” figures come from Appalachian Big Set.  Cecil Sharp 
published these dances as Running Set (a name he made up) and he says, “The 
Running Set is most effective when the number of couples is limited to four 
couples, although, if certain Figures by omitted, that number may be exceeded.” 
 Because of this decision by Sharp to publish Running Set as dances for four 
couples in a circle, i.e. a square dance, it has come to be believed that these 
are square dances and therefore the figures are square dance figures.  Sharp 
also believed that these dances were ”the sole survival of a type of 
Country-dance which, in order of development, preceded the Playford dance”.  
So, many of the figures did not really originate in square dancing.

 

Anyway, enough about history.  Here are some dances that probably meet your 
criteria:

 

Box Circulate:

Chris Page’s Chinese New Year

My Irish New Year – with a different ending: 
http://contrafusion.co.uk/Dances/IrishNewYear.html

 

Pass the Ocean, Extend, Swing Through:

Balancing Act: http://contrafusion.co.uk/Dances/BalancingAct.html

 

Figures from the traditional English Square Dance Cumberland Square Eight:

Cumberland Contra: http://contrafusion.co.uk/Dances/CumberlandContra.html

 

Mountain Dosido and Georgia Rang Tang:

DosiWhat? http://contrafusion.co.uk/Dances/DosiWhat.html

 

Flutterwheel:

FlutterRing: http://contrafusion.co.uk/Dances/FlutterRing.html

 

Flutterwheel and Sweep a Quarter:

Hothfield Hey: http://contrafusion.co.uk/Dances/HothfieldHey.html

 

Note: many of my dances are designed for beginners or for dancers in England 
who don’t demand multiple swings in every dance, so there may not be enough 
swings for you in some of the dances above.

 

  I hope that helps.

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574  

http://www.modernjive.com for Modern Jive Events & DVDs 
   

http://www.contrafusion.co.uk for Dancing in Kent   
   

 

From: Callers  On Behalf Of Rachel 
Shapiro via Callers
Sent: 04 August 2018 20:51
To: callers@lists.sharedweight.net
Subject: [Callers] Contras with square dance figures

 

Hi all,

I'm in search of contras that have borrowed interesting figures from 
traditional and modern western square dances. Do you have any favorites you're 
willing to share? I've got Rang Tang Contra and some dances with Dixie Twirls. 
Lots with Box the Gnat and Swat the Flea. Any others you love?

Thank you!

Rachel Shapiro Wallace


 

 

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Re: [Callers] Folk Festival - Easy Contra dances to teach Beginners

[John Sweeney via Callers]

Hi Read,

  Sorry, I’m not convinced by the idea of galloping, especially as 
in the video you cite, where the feet are too far apart, the trailing foot 
isn’t tucked in and the demonstrator is bouncing up and down.  I have seen 
people who learnt that way develop bad habits in their swing.

 

  I much prefer to get them to turn individually on the spot with 
the left leg tucked in behind and close, and with relaxed knees.  I want them 
to learn what it really feels like and to develop their own sense of balance.  
This seems to develop a much smoother swing.

 

  Lots more details about how I teach a swing at 
http://contrafusion.co.uk/Contra.html#swinging

 

  Of course if it is a one night stand and I am doing dances where 
the dancers spring apart at the end into their own line, then I don’t teach a 
buzz-step at all.  I teach: join right forearms, gently hook you left hand just 
above your partner’s elbow, join left hands (again, a nice hook) underneath, 
then skip, walk, buzz or anything you like.

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574  

http://www.modernjive.com for Modern Jive Events & DVDs 
   

http://www.contrafusion.co.uk for Dancing in Kent   
   

 

From: Callers  On Behalf Of Read Weaver 
via Callers
Sent: 25 July 2018 23:47
To: Caller's discussion list 
Subject: Re: [Callers] Folk Festival - Easy Contra dances to teach Beginners

 

Or don’t have them do a buzzstep—swings work just fine with a walking step. (If 
you’ve got moderately experienced folks mixed in, though, you may need to teach 
the buzzstep, since few moderately experienced dancers will do a walking swing 
even if asked to.)

 

If you do teach buzzstep, I’ve had the most success teaching it as a gallop 
https://youtu.be/5GmQ868ArAw?t=12 ; I’ll take a group of 8 or so, holding 
hands, and have everyone gallop (clockwise, right/inner foot in front), then 
break it into two circles without stopping, then into pairs; then stop and show 
ballroom position.

 

Getting them into ballroom position for the swing and then teaching them to let 
go of the pointy hands works much better than “gents on the left, ladies on the 
right” for ending correctly.

 

Read Weaver

Jamaica Plain, MA

http://lcfd.org





On Jul 24, 2018, at 12:00 PM, John Sweeney via Callers 
mailto:callers@lists.sharedweight.net> > wrote:

 

Your next big problem is getting them to do a good buzz-step swing and finish 
with the man on the left, lady on the right.  With large numbers of beginners 
there will some who get in wrong every time and break down the dance.  I would 
practice that in a circle mixer like:

 <http://contrafusion.co.uk/Dances/TheExchangeSwing.html> 
http://contrafusion.co.uk/Dances/TheExchangeSwing.html

or

 <http://contrafusion.co.uk/Dances/VirginiaReelCircleMixer24.html> 
http://contrafusion.co.uk/Dances/VirginiaReelCircleMixer24.html

 

 

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Re: [Callers] Folk Festival - Easy Contra dances to teach Beginners

[John Sweeney via Callers]

Here’s another easy one – my version of J & L, using ideas picked from other 
callers:

 

Jefferson & Liberty #27

Contra; Improper

 

A1:  Circle Left; Star Right

A2:  Star Left; Circle Right – finish where you started

B1:  #1s Dance Down the Outside (6), Turn around (2)

  #1s Dance Back Up the Outside & into the Middle of a Line of Four between 
the #2s (8)

B2: Down the Hall in Lines of Four (4)

  Backwards Up the Hall in Lines of Four (4)

  #1s Arch, #2s go through the Arch to Face New Neighbours (8)

 

Note: A1 is 16 steps in one direction, A2 is 16 steps back the other way.  I 
generally call “Keep Moving” as the prompt half way through each A music.

 

Use fast, lively music!

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574  

http://www.modernjive.com for Modern Jive Events & DVDs 
   

http://www.contrafusion.co.uk for Dancing in Kent   
   

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Re: [Callers] Folk Festival - Easy Contra dances to teach Beginners

[John Sweeney via Callers]

Hi Lorraine,

  As has been said, if you really want to do contras the you need 
to have a program which teaches basic concepts and builds on them.

 

Family Contra is a great dance for teaching the concept of progression:

https://folkdancemusings.blogspot.com/2015/05/family-contra-usa.html

 

Your next big problem is getting them to do a good buzz-step swing and finish 
with the man on the left, lady on the right.  With large numbers of beginners 
there will some who get in wrong every time and break down the dance.  I would 
practice that in a circle mixer like:

http://contrafusion.co.uk/Dances/TheExchangeSwing.html

or

http://contrafusion.co.uk/Dances/VirginiaReelCircleMixer24.html

 

You can have lots of fun without swings:

http://contrafusion.co.uk/Dances/CheekboneCity.html

http://contrafusion.co.uk/Dances/Duck.html

http://contrafusion.co.uk/Dances/GrapevineJig.html

 

Here’s an easy one with a swing:

http://contrafusion.co.uk/Dances/GirlsofOakhill.html

 

East Litchfield Volunteers is a great dance for beginners:

http://www.biteyourownelbow.com/conndanc.htm

 

I would agree that Right & Left Through is to be avoided.  It is the most 
non-intuitive move in contra dancing.  If you really want to use it in some of 
your dances then I would use something like this to help teach it:

http://contrafusion.co.uk/Dances/ToMoveorNottoMove.html

 

Flirtation Reel is great and I use this a lot with beginners as well – the 
Chris Page version:

 

= = = = = = = = = 

Ellen's Green Jig (by Roy Dommett)

Contra; Improper

 

A1:Neighbour Dosido; Partner Dosido

A2:#1s Balance & Swing (Step, Kick) – finish facing down

B1: Circle Left; Circle Right – keep holding hands in the Circle

B2: Duck for Oysters: #2s Arch - #1s Peek; #1s Arch - #2s Peek

  #2s Arch over #1s who pass through to New Neighbours

 

"Duck for the oyster, dive for the clam, duck through the hole in the old tin 
can."

 

Alt (Chris Page):

A1:Dosido Neighbour; Men Dosido

A2:Ladies Dosido; #1s Swing, end facing down

 

= = = = = = = = = 

 

  I hope that helps.

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574  

http://www.modernjive.com for Modern Jive Events & DVDs 
   

http://www.contrafusion.co.uk for Dancing in Kent   
   

 

From: Callers  On Behalf Of Lorraine 
Sutton via Callers
Sent: 24 July 2018 15:49
To: Callers@lists.sharedweight.net
Subject: [Callers] Folk Festival - Easy Contra dances to teach Beginners

 

Hello All,

 

I am calling a 2 hour Intro to Contra dance at an Ontario Canada Festival. 
( more a music focus than a dance focus, at this festival) 

 

I would appreciate hearing from you as to contra dances ( lws proper & 
Improper) that you have found successful with very novice dancers and why you 
think those dances work for beginners.(I love Larry Jennings definition of easy 
vs complicated ) 

 

I do plan on doing some non progressive lws as well as a both a circle and a 
Sicilian  circle in the program mix , to get the concept of progression.

 

Thanks so much. 

 

Lorraine Sutton  ( lorrainesutt...@gmail.com  
 )

 

 

...

 

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Re: [Callers] Does a 1/2 figure 8 and cast off exist in ECD? In Contra?

[John Sweeney via Callers]

Hi Luke,
I am not sure why you are calling it a Half Figure Eight.  Unless I 
have misunderstood something, you just have the ladies crossing the set, going 
around each other instead of straight across, while the men move out of the 
way.  Since the active dancers don't go around a gatepost (person or position) 
then it doesn't seem to be a Figure Eight sort of move.

I call that move a Bombast (Headcorn Morris use it and call it that and 
I thought it would make a nice dance figure for us).  In this version of the 
move, instead of the men casting they move straight to their destination, then 
turn (the turns aren't full turns - just until you can see your next 
destination); the ladies turn as well at their destination.  I also have the 
move along the set instead of your version across the set.

The dances below are more ECDish dances, but may help clarify the idea.

The "Turn Single Changing Places" starts as a Gypsy Right, but once you 
are past each other you keep turning to face away - I often call it a Spin Past.

Bombast I (by John Sweeney)
Longways; Improper

A1: Bombast:
   Men go straight across to the Ladies’ places WHILE Ladies Gypsy Right 1/2 to 
Men’s Places; All Turn Single
   Ladies go straight across to the Men’s places WHILE Men Gypsy Right 1/2 to 
Ladies’ Places; All Turn Single
A2: Repeat
B1: Set to Partner, Turn Single Changing Places [End facing out] 
   Lines Lead Away; Fall Back [Face In at last moment] 
B2: Balance the Ring; Ladies Cross; Balance the Ring; Men Cross

Bombast II (by John Sweeney)
Longways; Improper

A1: Bombast:
   Men go straight across to the Ladies’ places WHILE Ladies Gypsy Right 1/2 to 
Men’s Places; All Turn Single
   Ladies go straight across to the Men’s places WHILE Men Gypsy Right 1/2 to 
Ladies’ Places; All Turn Single
A2: Set to Partner, Turn Single Changing Places [End facing out] 
   Lines Lead Away; Fall Back [Face In at last moment] 
B1: Long Lines Go Forward & Back – Men Roll the Ladies from Right to Left as 
you Fall Back
   Mad Robin – Men through the Middle
B2: Long Lines Go Forward & Back – Ladies Roll the Men from Right to Left as 
you Fall Back
   Mad Robin – Ladies through the Middle

Happy dancing,  
   John 

John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574   
http://www.modernjive.com for Modern Jive Events & DVDs 
http://www.contrafusion.co.uk for Dancing in Kent   



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Re: [Callers] Circles, Crazy Circles

[John Sweeney via Callers]

Hi Rich,
If you have a great dance that you want to call but it has a circle, 
and you have called too many circles, then why not just rechoreograph it to 
remove the circle?

For example you can replace
Neighbour Swing; Circle Left 3/4; Partner Swing
   with
Neighbour Swing; Balance the Ring; Ladies Cross Over (by the right shoulder); 
Partner Swing
   or with
Neighbour Swing; Ladies Balance F/B with Right Hand; Ladies Pull by; Partner 
Swing
  with no effect on the rest of the dance.

Both versions send the lady smoothly across the set, flowing into her 
partner's arms with the right momentum. The second version can be especially 
satisfying if the ladies use just enough tension to catapult each other into 
their partner's arms.

Happy dancing,  
   John 

John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574   
http://www.modernjive.com for Modern Jive Events & DVDs 
http://www.contrafusion.co.uk for Dancing in Kent   



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Re: [Callers] Circles, Crazy Circles

[John Sweeney via Callers]

Larry Jenning's words from Give-and-Take (just in case there is anyone out
there who doesn't have, or can't find their copy!):

= = = = = = = = = = = = = = = = = =
GIVE-AND-TAKE: General definition adopted by some callers and composers: The
"swingers", a man and a woman facing across the set, meet, join free hands,
retreat to the designated side of the set, and prepare to swing. Unless
otherwise specified, the dancers retreat to the man's side. 

Original implementation: I visualized a very crisp, four-count
interpretation. The previous twosomes (not the new twosomes) end the
previous figure (perhaps a swing, a promenade, or a courtesy turn) in half
shoulder-waist position. The previous twosomes move forward at the start of
the phrase, and the swingers form new twosomes by joining free hands
(woman's right, man's left). The woman resists for a moment while they
establish firm but elastic connection, and they take only two more counts to
position themselves to swing a step cw around the entire set from where the
man started. This puts the set in SAWTOOTH FORMATION.

I was put on the defensive by a woman who let me know in no uncertain terms
that she was not about to be given or taken by any man. I felt much
relieved, therefore, to find "give-and-take", with the hyphens even, in the
dictionary: "the practice of compromise." Now that's my kind of attitude; I
even invite you to compromise with your swinger (and with me) by taking up
to as many as eight counts for your implementation.

= = = = = = = = = = = = = = = = = = 

I agree with Colin that it is much more satisfying if you start the move
with your arm around the person you just swung and go forward together. 

    Happy dancing,  
   John 

John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802
940 574 
http://www.modernjive.com for Modern Jive Events & DVDs 
http://www.contrafusion.co.uk for Dancing in Kent   


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Re: [Callers] What is a contra?

[John Sweeney via Callers]

Hi Colin,
I think there at least three definitions:

1) Average American understanding today:

>From https://en.wikipedia.org/wiki/Contra_dance

Many modern contra dances have these characteristics:
longways for as many as will
first couples improper, or Becket formation
flowing choreography
no-one stationary for more than 16 beats (e.g. First Couple Balance &
Swing, finish facing down to make Lines of Four)
containing at least one swing and normally both a partner swing and a
neighbour swing
the vast majority of the moves from a set of well-known moves that the
dancers know already
composed mostly of moves that keep you connected to the other dancers
generally danced to 32 bar jigs or reels played at between 110 and 130
bpm
danced with a smooth walk with lots of spins and twirls
An event which consists primarily (or solely) of dances in this style is
sometimes referred to as a Modern Urban Contra Dance.

2) Traditional American approach:
70 years ago an event which included squares, traditional contras (see
Cracking Chestnuts - so, yes, "Young Widow" (which I danced at a DC ECD
event last month!)) and other formations was known as a Square Dance; as
modern contra choreography developed and contras became more popular, the
same events came to be known as Contra Dances, with the mix focussing more
on contras, but still a mix.  Zesty Contras is a good example as it contains
lots of formations, including Triple Minors like Alamo Triad.

3) Historical approach:
"Contra Dance" used to just mean "Country Dance" and therefore included all
of Playford, ECD, etc:

"The term "Country Dance" is the one invariably used in all books on dancing
that have been published in England during the last three centuries, while
all works issued in France within the same period employ the term Contra
Dance, or in French "Contre Danse". As the authority is equally good in both
cases, either term is therefore correct. The Country or Contra Dance has
been one of the most popular amusements in the British Isles, France, and
other continental countries from time immemorial."
Howe, 1858

Music: Yes, for modern contras any tune will do, including waltzes, as long
as the dancers are open-minded - quite a few modern contras have been
written specifically for waltz time.  But, regardless of the type of tune,
it is the speed which defines contra - generally not slower than 105 bpm, so
an English step-hop hornpipe at 80 bpm is not part of the modern American
culture.  But still fits into definition 3 of course.

Stepping: Yes, definition 1 is walking, but with lots of spinning and
flourishes. 
https://www.youtube.com/watch?v=pZubTju7g_s is from 1965 and shows a walking
step - but I would suggest that quite a lot of it is a lighter step than is
used today.
I believe there was a greater variety of footwork in Balances 50 years ago,
now, in moves like that, the feet are used for simple percussion.

I hope that helps.

    Happy dancing,  
   John 

John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802
940 574 
http://www.modernjive.com for Modern Jive Events & DVDs 
http://www.contrafusion.co.uk for Dancing in Kent   

-Original Message-
From: Colin Hume  
Sent: 27 June 2018 21:47
To: Callers List 
Subject: [Callers] What is a contra?

I'm in Germany, and I'm speaking for the next few days at a Conference run
by the European Callers and Teachers Association.  
Several of my sessions are about Contras, and speaking to the Contra
Coordinator as we drove to the hotel I realised we had very 
different ideas about what a contra is.  I say it is an American (or
American-style) dance, longways duple or triple.  He classes 
three-couple dances (such as Ted's Triplets), four-couple dances and circles
as contras.  He even classes my dance "Sting in the 
Tail" as a contra.  This is for two three-couple sets side-by-side and
involves siding into line, set and turn single.  I would 
regard this quite definitely as "Playford"-style, and I think Americans
would categorise it as English.  But what is a contra?  I 
know the hot-shots would say that it's longways duple improper or Becket
with a partner swing and preferably a neighbor swing, but 
is that your definition?  What about an early American dance such as "The
Young Widow" - is that a contra?  Can a dance in waltz 
time be a contra?  I think of a contra as mainly danced to reels or jigs,
though I know there are a few to slip-jigs.  Within 
reels I would include marches and American hornpipes, which are smooth, but
not English hornpipes which I would dance to a 
step-hop.  And not Strathspeys.  I would say contras are done to a walking
step, apart from the swing which is often a buzz step.  
But do you agree with me?

Answers fairly quickly please!

Colin Hume

Email co...@colinhume.com  

[Callers] Sunshine & Dancing - Where to go in Jan/Feb?

[John Sweeney via Callers]

Hi all,

  Karen and I like to get some winter sunshine (temperature
averaging at least mid-sixties) with lots of dancing (ECD, contra, square,
etc.) on our USA vacations in January or February, taking in a dance
festival if we can.

 

  Any recommendations as to the best place to go?

 

  Thanks.

 

Happy dancing,  

   John   



John Sweeney, Caller, Dancer, England   j...@modernjive.com 01233 625 362 &
07802 940 574

http://www.modernjive.com for Modern Jive Events & DVDs


http://www.contrafusion.co.uk for Dancing in Kent


 

 

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Re: [Callers] A Dance without Partner Swing

[John Sweeney via Callers]

Hi Rich,

  I call them:

* As the first dance when there are lots of beginners.  Quite often they will 
dance with each other, so doing a dance with only a Neighbour Swing means that 
they get to learn to swing with lots of other people before doing a Partner 
Swing dance together.

 

* When I am working with older groups who don’t enjoy swinging as much as when 
they were younger.

 

* For variety!  I get so bored with half a dance being taken up by N B, Cir 
3/4, P Sw or N B, Men Alle L 1.5, P Sw.  There are lots of other wonderful 
moves to fill your dance with!

 

  Don’t get me wrong, I love to swing, but not everyone wants it 
all the time.

 

  No, I don’t usually tell them in advance.  They probably aren’t 
listening anyway :-)   If that happens to me with a favourite swinging partner 
then we usually agree that that dance didn’t count and we have another one 
together.

 

  I work a lot with older and less experienced dancers who don’t 
need or want to swing in every dance, so none of these have a Partner Swing:

http://contrafusion.co.uk/Dances/CheekboneCity.html

http://contrafusion.co.uk/Dances/DixieDoo-Dah.html

http://contrafusion.co.uk/Dances/Duck.html

http://contrafusion.co.uk/Dances/FindingYourBalance.html

http://contrafusion.co.uk/Dances/FlutterRing.html

http://contrafusion.co.uk/Dances/HeyDown.html

http://contrafusion.co.uk/Dances/TheMadGypsy.html

http://contrafusion.co.uk/Dances/Pestchye.html

http://contrafusion.co.uk/Dances/RoguesMarch.html

http://contrafusion.co.uk/Dances/Rotafl.html

http://contrafusion.co.uk/Dances/TrainingWheels.html

 

  Some of them are training dances to teach certain moves and are 
aimed at beginners.

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574  

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Re: [Callers] Need help teleporting to other side of set - new dance

[John Sweeney via Callers]

Hi Ken,

  How about:

 

1) (Balance Forward & Back) Men Orbit CW Half Way WHILE Ladies Allemande Left 
Half; Neighbour Swing

 

2) Travelling Gypsy Meltdown: Lock Eyes and the Man starts Orbiting CW with the 
Lady following, Gypsying around each other to the other side and melting into a 
Swing

 

3) Man turns to his right as he starts to Orbit CW, and walks backwards, 
beckoning the lady to follow, swing when you get to the other side

 

4) English Ceilidh Style: Swing while travelling to the other side – that is 
not very easy in a ballroom hold or with buzz-steps, so, instead of joining 
right hands at shoulder level for a wave, take a forearm Allemande hold 
(forearms together, hand hooked just above neighbour’s elbow) with left hands 
joined below, and swing using step-hop (single step/skip step) or 1-2-3-hop 
(double step/polka step).  That way you get a 16 beat swing! :-)

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574  

http://www.modernjive.com for Modern Jive Events & DVDs 
   

http://www.contrafusion.co.uk for Dancing in Kent   
   

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[Callers] New (?) 4x4 contra

[John Sweeney via Callers]

I picked up a Square Dance break from somewhere that was called the Dixie
Chain Break:

Dixie Chain Break:
Heads Hey for Four with hands – Ladies lead with Right Hand
Sides the same
Heads and Sides do simultaneous Heys – when four are in the middle they do a
Hands Across Star (Ladies Star, Pull the Men in, Men Star, Pull the Ladies
in)

My notes also say that the simultaneous crossed Heys are called a Grand Hey.

The original Dixie Chain was attributed to Bill Owen in 1952 and was just:
Ladies Pull By Right, Pull the Men in by the Left, Men Pull by Right

Quite why the Square Dance community felt the need to give "Three Changes of
a Hey" a special name, when it has been around since at least 1588, I don't
know - but then they did get up to over 5000 calls back in the 1950s...

Warleggan by Joyce Walker is a good four couple dance with a Grand Hey.

    Happy dancing,  
   John 

John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802
940 574 
http://www.modernjive.com for Modern Jive Events & DVDs 
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Re: [Callers] Leading, consent in embellishments

[John Sweeney via Callers]

My belief:

 

For the actual dance there is only one Leader: that is the caller.

 

All the dancers are Followers, following the caller’s Lead.

 

Any suggestion that one role has a leading responsibility is misleading and 
does disservice to all the dancers in the other role.

 

Historically this was different.  The Men led the Ladies down the set.  The Men 
swung the Ladies.  We try to avoid terminology like that these days.  I don’t 
think we should go backwards.

 

However, within the dance, when a flourish or embellishment takes place, then 
Lead/Follow happens briefly and dynamically just for that couple for that 
embellishment.

 

That is my feeling.

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574  

http://www.modernjive.com for Modern Jive Events & DVDs 
   

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Re: [Callers] Leading, consent in embellishments

[John Sweeney via Callers]

Angela’s point about managing your weight is really important.

 

I hate the term “give weight”!

 

I really don’t want your weight, in swings or allemandes or anything else.

 

I am happy, though, to counterbalance your mass in order to stop centrifugal 
force pulling us apart.  It is dancing, not wrestling!

 

Good connection is all you need.

 

Leaning backwards or sideways actually slows you down (check your physics) – 
all it does is tire your partner out as they try to stop you falling over.

 

Strength and lack of weight control can also mess up flourishes.

 

A strong lead is about clarity, not strength.  I often demonstrate by getting 
someone to blow on my hand – as their breath hits my hand I spin – I don’t need 
their help to spin – I just need to know that they want me to spin.  (Though, 
with two good dancers and good technique, a little help can generate multiple 
spins.)

 

Another good rule is: whenever your hand gets up to eye-level relax all your 
arm muscles – tension in moves like that slows the move down or even prevents 
it working.

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574  

http://www.modernjive.com for Modern Jive Events & DVDs 
   

http://www.contrafusion.co.uk for Dancing in Kent 

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Re: [Callers] Leading, consent in embellishments

[John Sweeney via Callers]

Hi Jeanette,

  For star holds see:

http://lists.sharedweight.net/pipermail/callers-sharedweight.net/2016-October/001950.html

 

  Embellishments are best achieved in a microsecond by a good 
leader initiating the embellishment and a good follower following it.  
Unfortunately, since contra dancing is fundamentally a dance genre which does 
NOT use leaders and followers, the techniques are not normally taught as they 
are not relevant to the basic dance.

 

  Countless swing holds, and entries and exits, do work perfectly 
well in contra as long as both dancers are experienced and know how to ensure 
that both dancers finish facing in the correct direction at the right time.

 

  Here is one of my old posts covering many aspects of this 
question in detail:

 

My beliefs, understandings, opinions - some points:

 

1) Contra is not intrinsically a lead/follow dance style; calling the roles 
"leader" & "follower" is incorrect, misleading and generally a bad idea

 

2) Within contra there are opportunities to do some lead and follow, but either 
role can be the leader

 

3) There is a difference between leads, signals and connections, though 
connections are often used to lead beginners

 

4) Lead & Follow works better if both dancers have good lead/follow technique, 
and some of the flourishes also benefit from good technique

 

5) Leads can be with fingertips, body angles, eyes, and anything else that works

 

6) The end of a swing is not symmetrical and it is much easier to let the "man" 
control the end of the swing; that's not sexist, it is physics!

 

7) Most dancers would benefit from good teaching on this subject, but sadly 
there is very little teaching provided

 

Details below.  Read on if you are interested...

 

First, I should perhaps explain my background.  I have been dancing for over 
fifty years and teaching dance for over forty-five years.  As well as contra, 
square, ECD, ceilidh, Morris, clog, etc. I also dance many partner dances such 
as West Coast Swing, Lindy/Swing, Argentine Tango, contra waltz and Modern 
Jive/LeRoc/Ceroc: http://www.modernjive.com.

 

Modern Jive is an English, simplified form of Swing which has no fixed footwork 
and very few close-hold moves.  It is led primarily by the man's fingertips and 
has a very wide range of moves.  I specialise in Double Trouble: one man 
leading two ladies: 

https://www.youtube.com/watch?v=CE6Iu6Fh6bw

 

This is a cabaret performance so we are doing some choreographed moves, but 
most of it is being led by me and the ladies don't know what I am going to do 
next.  When I go to new venues I dance with lots of ladies to see how well they 
follow, then I dance Double Trouble with two of the good followers and I can 
lead them into a wide range of interesting moves.  Leading two strangers 
simultaneously only works if they are following well, and because I have spent 
a lot of time studying lead and follow and developing my leading skills so that 
I can do this.

 

So, back to contra:

 

1) Contra is not intrinsically a lead/follow dance style; calling the roles 
"leader" & "follower" is incorrect, misleading and generally a bad idea

 

I agree entirely with what many others have said already.  The caller teaches 
the dance.  The dancers dance it to the music.  Everyone knows (at least in 
theory!) what is coming next, so there can be no lead or follow.  The whole 
point of lead and follow is that the leader chooses the next move and has to 
let the follower know what it is through the lead; the follower then has to 
react to that lead in whatever way they choose.

 

 

2) Within contra there are opportunities to do some lead and follow, but either 
role can be the leader

 

When you execute the dance as the caller called it then there is no lead or 
follow.  If you add some flourishes then they MAY involve some lead and follow, 
but which role leads depends on the actual move.

 

A nice flourish at the end of "Up the Hall in Lines of Four; Bend the Line" is 
for a middle person to raise their hand and turn their end person into the 
circle.  This is not part of the dance; the end person may not be expecting it 
and has to react to it; this is lead & follow.  The genders/roles of the 
participants are completely irrelevant.

 

Note: this can also be performed by the twirlee as an independent flourish - as 
long as the dancer whose hand you are holding allows it!  Many dancers are so 
rigid that I can't raise their arm to twirl under it! (If only everyone would 
relax the muscles that they don't need to be using, and let their hands be 
moved!)

 

 

3) There is a difference between leads, signals and connections, though 
connections are often used to lead beginners

 

When you help each other to redirect your momentum that is not really lead & 
follow.  Examples are "Circle Left; Neighbour Dosido" or "Long Lines Go Forward 
& Back with the Ladies Rolling the Men Away 

Re: [Callers] "I've Got A Bad Feeling About This" -- does this dance exist?

[John Sweeney via Callers]

Hi Amy,

  No, no, that’s not what See-Saw means!

 

  You can see a See-Saw being performed just after 31 seconds into:

https://archive.org/details/square_dancing

 

  No, just kidding.  

 

Dosido and Seesaw mean lots of different things (I have a contra dance with 
three completely different “Dosidos”!).  Your use of See-Saw is the one most 
contra dancers know, though Modern Western Square Dancing has redefined it as a 
Left Shoulder Gypsy!

 

You’re in charge! Call it what you like!

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574  

http://www.modernjive.com for Modern Jive Events & DVDs 
   

http://www.contrafusion.co.uk for Dancing in Kent   
   

 

From: Amy Cann [mailto:ac...@putneyschool.org] 
Sent: 23 February 2018 16:15
To: Caller's discussion list 
Subject: Re: [Callers] "I've Got A Bad Feeling About This" -- does this dance 
exist?

 

Hello again all -- it has been brought (gently) to my attention that I have 
been laboring under a delusion, that I have strayed from the path...


"Do-SI-do, do-SA-do" does not mean back-to-back starting right shoulder, then 
back to back starting left shoulder.


Deep down I know this, I swear, I know they're the same term with different 
accents, but SOMEwhere.SOMEhow I started using the phrase/habit with a 
particular wedding dance and it stuck. No idea why. Total brain fart. 

Thank you, Tony Parkes, for leading me back into the light of truth. 

I'm going to go recite the moves of Moneymusk three times and light a candle to 
Ralph Page and hope that's enough penance.

Please replace the B1 part of my silly Star Wars trash compactor dance with "Do 
Si Do, See-Saw"

Yikes,

Amy

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Re: [Callers] Looking for "fun" dances

[John Sweeney via Callers]

Since so many people enjoy the contrary circling in The Wheel, you might
enjoy this one as well:

Suicide Square
http://www.ceilidhcalling.co.uk/danceviewpage.php?view=1=9

It is extremely chaotic!  You can reduce the chaos slightly by getting the
band to stop randomly during the circling, at which point everyone grabs a
partner; the band waits a few seconds while everyone finds a partner and
decides whether they are Heads or Sides, then gives two notes and starts the
next Heads Gallop.

I modify it to give a bit more recovery time:

Start in a big square around the room
A1: Head couples take partner in a ballroom hold and gallop eight steps
into the centre and back
A2: Sides gallop eight steps into the centre and back
B1: All the men form an outer circle facing in, while the ladies form an
inner circle facing out. All circle left then find a new partner
B2: Partner Swing - stop early enough to decide whether you are now
Heads or Sides - Heads get ready to gallop

There is also The Muffin Man Jig:
http://www.ceilidhcalling.co.uk/danceviewpage.php?view=1=11

    Happy dancing,  
   John 

John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802
940 574 
http://www.modernjive.com for Modern Jive Events & DVDs 
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Re: [Callers] Double petronella Dance -- Name?

[John Sweeney via Callers]

Hi,

  I don’t know that dance.  But I have another dance with that move 
in my file.

 

  I learnt it as a “Petronella Pivot”.

 

  You’ll find the dance, “A Glimpse of Beauty “, at 
http://charleyharvey.com/dances.html

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574  

http://www.modernjive.com for Modern Jive Events & DVDs 
   

http://www.contrafusion.co.uk for Dancing in Kent   
   

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[Callers] Hole in the Wall Crossing

[John Sweeney via Callers]

Hi Angela,
“Hole in the Wall” isn’t a move.  It is a dance from 1695.

The “Hole in the Wall Crossing” is not a new move.  It is a stylised 
version of a normal Cross Over.

You can see it here: 
https://www.youtube.com/watch?time_continue=25=TUxbcJIOHNY

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.

Notes: 
They almost certainly didn’t cross over like that in 1695.  That style was 
added by someone, probably in the middle of the 20th century, and it became so 
popular in that dance that when people wanted that style in other dances they 
started referring to it as the “Hole in the Wall Crossing”.

While the video of them dancing The Hole in the Wall is very nice, it was 
extremely unlikely to have been danced in Jane Austen’s time.  It was over 100 
years old, and they didn’t dance old dances in the way that we do today.

I hope that helps to clarify things! 

Happy dancing,
John

John Sweeney, Dancer, England j...@modernjive.com 01233 625 362 
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[Callers] Everything You Always Wanted to Know About Gypsies (But Were Afraid to Ask)

[John Sweeney via Callers]

Important note: This is NOT about whether or not modern callers should use
the term. Please don't raise that question in response to this note. This is
a historical analysis of the gypsy.

If you are interested please look at http://contrafusion.co.uk/Gypsy.html
where you will find all these subjects covered:

Gypsy - Whole Gip - Walk Around: The Move & The Name
References & Definitions Through the Ages
Gypsy: The Name
Warning
Backs & Faces
Not Turning Your Faces
Sharp's Whole Gips
The Solo Gypsy
Interlocking Gypsies or Double Gyp
Conclusion
Note on Etymology
Other Sources
Appendix 1: Walk Around the Corner
Appendix 2: Back-Circles

Thanks to all the people who provided information and insights.

Please let me know if you have anything that will help me to improve this
page.

Thanks.

    Happy dancing,  
   John 

John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802
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Re: [Callers] Waltz-Time Contra Choreography

[John Sweeney via Callers]

Hi,
Dugan asked about waltz contra choreographies.

The music in the Allison Wonderland video is much faster than I
would use for a contra waltz.  Many of the dancers seem to end up almost
running to keep up.  The waltz at the beginning or end of an evening at a
contra dance is usually significantly slower, and more the sort of speed
that I would use to get the feel of a waltz.  (Yes, I know the Irish like to
waltz 50% faster, but that is a very different style!)

Here are some contras that were written specifically for waltz
music:

= = = = = = = = = = = = = = = = = = = = =

Tulsa Tribute (by Keith Tuxhorn)
Contra; Becket - Waltz

A1:  Circle Left Half Way (2); Balance the Ring (2)
  Circle Left* Half Way (2); Balance the Ring (2)
A2: Open Ladies' Chain x2
B1: Full Hey with hands - Ladies start with Right Hand
B2: Partner Waltz in Place (4), Waltz Left** to face a New Neighbours (4)

An Open Ladies' Chain is an old form in which you do NOT do a Courtesy Turn.
I always teach it and call it as "Ladies Pull By Right, Allemande Left the
Man you meet"

* I go Right to make it easier for inexperienced dancers  ** I go Right
because my brain tells me that is the direction in which I should waltz
around the room

Easy B2: Ladies Gypsy (4); Yearn Left (2); Step Right & Honour (2)

= = = = = = = = = = = = = = = = = = = = =

A Waltz for Terry (by Don Armstrong)
Contra; Improper - Waltz

A1: #1s with #2 Man: Balance the Ring twice; Circle Left
A2: #1s with #2 Lady: Balance the Ring twice; Circle Right to a Line of Four
facing Down the Hall (#1 Lady lets go with Right Hand; #1 Man raises Left
Hand to left #2 Lady through)
B1: Down the Hall in  Lines of Four (2) bars, Balance Forwards (1), Turn
Alone (1)
  Up the Hall in Lines of Four (2), #2s Gate the #1s Up to progressed
positions with a wide hand-cast (2)
B2: Open Ladies' Chain  (the Men can do a Turn Single to the Left while the
Ladies cross)
  Open Ladies' Chain back

An Open Ladies' Chain is an old form in which you do NOT do a Courtesy Turn.
I always teach it and call it as "Ladies Pull By Right, Allemande Left the
Man you meet"

= = = = = = = = = = = = = = = = = = = = =

Equal Opportunity Waltz Contra (by Becky Hill)
Contra; Improper - Waltz

A1: Star Left; Star Right
A2: Neighbour Allemande Right; Partner Allemande Left
B1: Ladies Cross (2); Men Cross (2)
 Balance the Ring; Partner Roll Away with a Half Sashay
B2: Partner: Take Right Hand: Balance & Box the Gnat
  Partner: Take Left Hand: Balance & Swat the Flea

= = = = = = = = = = = = = = = = = = = = =

If I was going to use a standard contra then I would choose a smooth,
flowing one like:

The Mad Gypsy (by John Sweeney)
Contra; Becket

A1: Ladies' Chain
  Mad Robin - AC - Ladies through the Middle
A2: Full Hey - Ladies start Right Shoulder
B1: Ladies Gypsy (slow & wide)
  Neighbour Two-Hand Turn (or Waltz)
B2: Balance the Ring; Ladies Cross
  Yearn on the Left Diagonal

= = = = = = = = = = = = = = = = = = = = =

Happy dancing,
John

John Sweeney, Dancer, England j...@modernjive.com 01233 625 362
http://www.contrafusion.co.uk for Dancing in Kent


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Re: [Callers] Looking for a particular sort of becket dance

[John Sweeney via Callers]

Hi Kalia,
I see you have loads of responses already!  Here are a few easy ones
from my files that I believe meet your criteria:

Bases Loaded (by Jim Saxe,  Lydee Scudder, and Tom Thoreau)
Contra; Becket (CW)
Start by turning the circle of four 1/8 AC so 
that you face another couple on the left diagonal
A1: Forward with Partner (3), turn and take Neighbour(1), Back (2), back
slowly with a zesty Roll-Away with a Half Sashay (2)
  Repeat
A2: Repeat; Repeat
B1: Same four: Ladies’ Chain x2 (don’t worry about lines)
B2: Partner Dosido; Partner Swing – finish facing new couple on left
diagonal


There is no Way to Peace; Peace is the Way (by Erik Hoffman)
Contra; Becket (CW)
Men: Look on your Left Diagonal – that is who you link with
A1: Ladies Dosido; Partner Swing
A2: Men Allemande Left 1 & ½; Neighbour Swing
B1: Long Lines Forward & Back
 Ladies link Right elbows and turn 1 & ½
B2: Ladies pick up Partner in a Star Promenade ¾
 Men who are approaching now link Left elbows to Star Promenade Partner ¾
 Push off to Butterfly Whirl on own side
Note: The second couple with whom you Star Promenade is the couple with whom
the dance starts again
This dance is easier than it sounds. It has proved good for mixed level
dancers because beginners can get into it, and the flow and unique quality
of the dance keeps experienced dancers interested. The consecutive star
promenades need a bit of space.


Fairport Harbour (by Paul Balliet)
Contra; Becket CW
A1: Men Allemande Left 1 & 1/2; Pick up Neighbour for Grand Promenade
(around the whole set – neutral couples join in)
A2: Ladies Turn Back (Back Track/Cast) & Gypsy Meltdown with the Man behind
– finish facing back
B1: Grand Promenade back until Partner is opposite (if you are with your
partner then you are a neutral couple at the end)
 Ladies’ Chain to your partner 
B2: Pass Through across the set; Partner Swing


Balance the Star #2 (by McLain Family)
Sicilian Circle/Becket-CW
Start holding hands across in Right-Hand Star
A1: Balance In and Out x2; Star Right
A2: Balance In and Out x2; Star Left
B1: Ladies Dosido; Men Dosido
B2: Circle Left; Slide Left to a New Couple (time for clogging!)
 

Fruit Punch (by Diane Silver (?))
Contra; Becket
A1: Yearn to New Neighbors on the Left Diagonal; Fall Back
  Ladies Allemande Right 1 & 1/2
A2: Neighbour Balance & Swing
B1: Balance the Ring; Pass the Ocean
Balance the Wave (R/L); Swing Through
B2: Partner Balance & Swing


Finding Your Balance (by John Sweeney) - intended for teaching purposes to
get people around four changes of right and lefts with plenty of time
Contra; Becket
A1/A2: Four Changes with Balances - Start Right with Neighbour
B1: Balance the Ring; Men Cross
  Balance the Ring; Ladies Cross
B2: Half Promenade (OR R & L Through)
Yearn on the Left Diagonal to New Neighbours


Grapevine Jig (by John Sweeney, based on Don Armstrong & Mick Peat)
Contra; Becket
Hold hands in Long Lines
A1: Grapevine: (R to side, L behind, R to side, L kick) x4
A2: Long Lines Go Forward & Back – with a bow
  Ladies’ Chain
B1: Circle Left; Star Right* – Men Drop Out
B2: Ladies’ Chain to Partner; Yearn on the Left Diagonal
* Make it easier with a Circle Right


  I hope you find something useful there.

Happy dancing,
John

John Sweeney, Dancer, England j...@modernjive.com 01233 625 362
http://www.contrafusion.co.uk for Dancing in Kent

Re: [Callers] Quiet (was Super easy dances - do they exist?)

[John Sweeney via Callers]

Jim said:
"I think there's more to it than using up a bit of energy.  John had also shown 
the dancers (not merely told/lectured them) that he had something to offer that 
was fun.  I think that could have done at least a little toward making them 
willing to attend to whatever he was about to present next (which is not to say 
that the chance to let off some steam mightn't also have helped).
[John, do you agree?]"

Hi Jim,
Yes, I am sure that helped.  The crowd were foreign language students - 
probably 18-22 year olds.  Most were from Eastern Europe. The college had 
organised a Saint Patrick's night dance and provided lots of green hats and 
other paraphernalia.  None of them had the slightest idea what this about or 
what the dancing was like.  There was no chance of communicating so I just 
called, "Hold Hands, Circle Left" and started doing that with the ones near me. 
 Lots joined in.  Using a wireless head microphone helps a lot in these 
situations.  I made no attempt at this stage to teach them anything, not even 
the concept of a partner. We just danced, circling and galloping.  That lead 
into a Grand March.  My wife, Karen, helps me with the demos and that is very 
useful too.  We dance in the middle when necessary so that everyone can just 
copy us.  We skip, they skip.  Lead by example.

I used modern up-beat music (folk-rock) that made them want to move 
their feet - that is important too.  I turn the music up loud.  They start 
grooving to it and stop talking. I turn the music off and there is a brief 
silence where I can get their attention.

So, yes, by the end of those first two dances they now had some idea of 
what it was all about and they knew what a partner was - gender was never 
mentioned.  I am sure you are right, Jim, they were having fun, so when I 
started teaching the next dance they wanted to know how to do it so that they 
could have more fun, and I got their attention.  We even got them dancing heys. 
 I remember because every time I called, Hey" they all shouted "Hey" in unison 
- spontaneous and great fun!

Happy dancing,
John

John Sweeney, Dancer, England j...@modernjive.com 01233 625 362 
http://www.contrafusion.co.uk for Dancing in Kent

Re: [Callers] Super easy dances - do they exist?

[John Sweeney via Callers]

Hi Linda,
Do you try to teach them a Ballroom Hold Swing? I.e. a standard contra 
swing?  I never use that for one night stands.

For first-timers I always teach them to put their right forearms 
together, gently hook their hand around their partner’s elbow, with the thumb 
below so that they can’t grip, make a hook with their left hands and join them 
underneath. And don’t lean back! This gives really good connection with space 
between them.  The space means that they can each do any footwork (walk, skip, 
polka, chassis, buzz) without worrying about stepping on each other. The space 
also makes it more comfortable from a personal viewpoint.

I love the Gypsy into a Swing – I teach them to start the Gypsy, "join 
right arms, join left hands, swing".  I always demonstrate and most of them 
then make a decent job of swinging.

Or you can always do it as a Two-Hand Turn – nice big oval at shoulder 
level. 

But no, I wouldn’t do Tony's dance with first-timers.  My standard 
first timer circle mixer is my:

Virginia Reel Circle Mixer #24 

A1: Partner Arm Right; Partner Arm Left

A2: Partner Dosido; Partner Seesaw 

B1: Partner Gypsy Meltdown

B2: Promenade around the circle; Men (those on the inside) move on then 
face new partner

Or Diane Silver’s Kid's Chaos Mixer #3 - Scatter (Mixer)

A1: (In fours) Circle Left; Circle right (Slip)

A2: Star Right; Star Left

B1: Neighbour Two Hand Turn; Partner Two Hand Turn

B2: Partner Promenade (Scatter) and find a new couple

Make sure some of you promenade in random directions and against the flow.
OK to end up as 1, 2, 3, 4 couples together – chaos!

Alt B1: Neighbour Dosido; Partner Dosido

Alt B1: Partner Swing/Turn; Neighbour Swing/Turn – makes it a Mixer

Or Dosido the one you brought, now Dosido someone new - Promenade with this one

Happy dancing,  
   John 

John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574   
http://www.modernjive.com for Modern Jive Events & DVDs 
http://www.contrafusion.co.uk for Dancing in Kent   

Re: [Callers] Super easy dances - do they exist?

[John Sweeney via Callers]

Hi Linda,
Re your Box ‘n’ Swat:  I have a somewhat similar dance in my files:

Circle Mixers Are Fun (by Tony Parkes)

A1) Into the Middle & Back x 2

A2) Partner Right Hand: Balance & Box the Gnat; Partner Dosido

B1) Partner Left Hand: Balance & Swat the Flea; Partner Seesaw (Left 
Shoulder Dosido) 1 & 1/2 to meet your New Partner

B2) New Partner Balance (OR Gypsy) & Swing

Note that your sequence of Swat the Flea into Dosido involves passing 
by the right when you are holding left hands.  Tony’s sequences above allow 
much easier flow and connection as you can pull past with the connected hand.

Last time I had the challenge of working with a room full of noisy 
youngsters (most of whom didn’t speak English) I just led by example, starting 
with a Grand March then did:
Sausage (Circle) to the Left/Right (Till I was at the top)
Long Lines Go Forward & Back
Top couple Gallop Down (I just took the person opposite and galloped); Next 
Couple; Next Couple; Next Couple
Repeat

Once they has used up a bit of energy I was able to get them to quiet 
down a bit!

Happy dancing,
John

John Sweeney, Dancer, England j...@modernjive.com 01233 625 362 
http://www.contrafusion.co.uk for Dancing in Kent

Re: [Callers] Docey-Doe (Was: Swing Like Thunder)

[John Sweeney via Callers]

There is a very good example of the rollaway into a Docey-Doe, that Tony 
mentions, in https://www.youtube.com/watch?v=zfZZdB2MyKs at 5:16
Then you can see it danced three times in the next dance sequence.  Especially 
check out the one at 6:44 with a lady doing a double spin!

Happy dancing,
John

John Sweeney, Dancer, England j...@modernjive.com 01233 625 362 
http://www.contrafusion.co.uk for Dancing in Kent

Re: [Callers] Swing Like Thunder

[John Sweeney via Callers]

Hi Deborah,
The move for two couples is also known as a California Show Basket,
an Appalachian Big Set/Square dance move.

I have the full Swing Like Thunder as:

First Couple out to the Right : Circle Up Four
Take Hands Across: Men take hands; Ladies take hands below 
Ladies Bow: Men raise arms over Ladies' heads and bring them down to waist
level
Men Bow: Ladies lift arms over Men's heads to their shoulders - or keep hold
behind the Man's backs
Swing Like Thunder (Basket); Drop Hands; Circle Left

Pick up each next couple and repeat with 6 and 8 dancers:
Men Take Hands: Men step in and hold hands in a Circle
Ladies Bow: Ladies duck under the Men's Arches and take hands
The rest as above

You can see it danced at:
https://www.youtube.com/watch?v=5145AaQMliI

You can also have a lot of fun with Reverse the Basket - see 7:22 in this
video:
https://www.youtube.com/watch?v=vdztRcvtY_o


Happy dancing,
John

John Sweeney, Dancer, England j...@modernjive.com 01233 625 362
http://www.contrafusion.co.uk for Dancing in Kent

Re: [Callers] New Dance to Share

[John Sweeney via Callers]

Hi Frederick,
You'll find lots of dances at:
http://contrafusion.co.uk/Dances.html
http://contrafusion.co.uk/DancesEDS.html


If you call the Weevil, the most helpful things you can do are:
Make sure everyone knows that there are seven positions and the "threes"
must face the gaps between the "fours" - remind them every time the figure
eights and the tunnels end - "face a gap"
As they go through the tunnel call, "First go right, second go left" (Or
vice versa if you set the set up as it was originally written) - that REALLY
helps them to end up on the correct side
Tell the last two of the tunnel not to bother if the set is behind the music
- just get ready for the next time through.

Happy dancing,
John

John Sweeney, Dancer, England j...@modernjive.com 01233 625 362
http://www.contrafusion.co.uk for Dancing in Kent   

Re: [Callers] Two New Dances

[John Sweeney via Callers]

Hi Tony,
I've never heard the term "double gyp", but I think I know which move 
you mean...  Google... oh! Try Zesty Contras... Wow! Yes, Larry defines it just 
as I thought  So not just ECD, contra as well.  I call that move Interlocking 
Gypsies.

I'll try to think of a different term, if it even needs one.

Yes, you are quite right "ones split the twos" is a much better way of 
saying it, of course, thanks. Strange how the brain works (or doesn't!); if it 
had been a Square Dance I would have used Split without thinking, 

I tried it with "#1s Arch" to get a weaving flow and the dancers didn't 
like that.  I tried it with "#2s Arch", but we had some very tall people trying 
to get under short people's arches, so they didn't like that either.  So I went 
for "#1s Split #2s and they loved it.  Isn't the folk process wonderful? 

Happy dancing,  
   John 

John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574   
http://www.modernjive.com for Modern Jive Events & DVDs 
http://www.contrafusion.co.uk for Dancing in Kent   

-Original Message-
From: Tony Parkes [mailto:t...@hands4.com] 
Sent: 06 May 2017 16:58
To: John Sweeney <j...@modernjive.com>; callers <callers@lists.sharedweight.net>
Subject: RE: [Callers] Two New Dances

John, two suggestions:

1. I'd find a term other than "double gypsy." As I understand it, a "double 
gyp" in ECD involves two pairs of corners who each do a gypsy, the pairs taking 
it in turns to approach the middle.

2. If the ones stay together, I wouldn't call it a "pass through," which has an 
accepted definition; I'd say "ones split the twos." Note: In other dances where 
a "balance the ring" precedes this kind of action, the author (sometimes me) 
often specifies that the twos arch and the ones duck to the next. I like doing 
it that way, partly for the greater connection, partly because it uses up the 
music better than a simple "drop hands and walk through."

Cheers,
Tony


Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century (to be published 
Summer 2017)



-----Original Message-
From: Callers [mailto:callers-boun...@lists.sharedweight.net] On Behalf Of John 
Sweeney via Callers
Sent: Saturday, May 6, 2017 8:18 AM
To: callers@lists.sharedweight.net
Subject: [Callers] Two New Dances

Hi All,
These two proved popular at Eastbourne International Folk Festival.
I would be interested in any comments on them, and on whether the Double Gypsy 
I have used is common.

Rogue's March has the same first half as Devil's Dream, but without the 
awkward hand change at the end of A2.  The second half is different and, I 
believe, flows more smoothly, and includes a Swing.

Rogue's March (by John Sweeney)
Contra; Improper

A1: #1s Face Down in the Middle; #2s Face Up on the Outside: Dance Forwards, 
Turn Alone, Dance Back, Neighbour Handy Hand Allemande 1/2 - #2s now in the 
Middle
A2: Dance Forwards, Turn Alone, Dance Back, Neighbour Handy Hand Allemande
1/4  - #2s let go and face back in
B1: Double Gypsy: #1s Gypsy wide and separate into Neighbour Gypsy Meltdown
B2: Long Lines Go Forward & Back - Men Rolling the Ladies from Right to Left on 
the way back
   Balance the Ring; Pass Through - #1s Down the Middle - check out your 
New Neighbours

Teaching Notes: 
In A1 and A2 every dancer starts off heading the same direction each time.
In B1 the #1s start a Right Shoulder Gypsy with each other but as soon as they 
can see their Neighbour they change it into a Gypsy with the Neighbour then 
melt down into a Neighbour Swing.  #1 Lady needs to go wide around #1 Man and 
avoid the temptation to weave into a Left Shoulder Gypsy with her Neighbour.
The Pass Through is unusual in that the #1s stay together and go between the 
#2s.  This sets everyone up beside their New Neighbour and ready to start A1 
again.


Happy dancing,  
John

[Callers] Two New Dances

[John Sweeney via Callers]

Hi All,
These two proved popular at Eastbourne International Folk Festival.
I would be interested in any comments on them, and on whether the Double
Gypsy I have used is common.

Rogue's March has the same first half as Devil's Dream, but without
the awkward hand change at the end of A2.  The second half is different and,
I believe, flows more smoothly, and includes a Swing.

Rogue’s March (by John Sweeney)
Contra; Improper

A1: #1s Face Down in the Middle; #2s Face Up on the Outside: Dance Forwards,
Turn Alone, Dance Back, Neighbour Handy Hand Allemande 1/2 - #2s now in the
Middle
A2: Dance Forwards, Turn Alone, Dance Back, Neighbour Handy Hand Allemande
1/4  - #2s let go and face back in
B1: Double Gypsy: #1s Gypsy wide and separate into Neighbour Gypsy Meltdown
B2: Long Lines Go Forward & Back – Men Rolling the Ladies from Right to Left
on the way back
   Balance the Ring; Pass Through - #1s Down the Middle – check out your
New Neighbours

Teaching Notes: 
In A1 and A2 every dancer starts off heading the same direction each time.
In B1 the #1s start a Right Shoulder Gypsy with each other but as soon as
they can see their Neighbour they change it into a Gypsy with the Neighbour
then melt down into a Neighbour Swing.  #1 Lady needs to go wide around #1
Man and avoid the temptation to weave into a Left Shoulder Gypsy with her
Neighbour.
The Pass Through is unusual in that the #1s stay together and go between the
#2s.  This sets everyone up beside their New Neighbour and ready to start A1
again.

The Slithy Serpent (by John Sweeney)
Double Contra - Four Facing Four - Mescolanza

A1: Lines of Four Go Forward & Back - Men Roll the Ladies from Right to Left
on the way back
   Lines of Four Go Forward & Back - Ladies Roll the Men from Right to
Left on the way back
A2: With your Partner: Slip Sideways (4) - Left Hand Couples through the
Middle; Set to Neighbour
   With your Partner: Slip Sideways (4) - Left Hand Couples through the
Middle; In Fours: Balance the Ring
B1: Serpentine Hey: Ladies leading their Neighbour Men:  2 x
   [In Fours Circle Left Half Way (4); Middles Open Back Ring Half Way
(4)]
B2: Partner Gypsy Meltdown - Finish facing a New Line

Teaching Notes:
In the Serpentine Hey the four ladies are basically dancing a ladies’ hey,
dragging their neighbour along behind them. As they circle left they have to
very quickly change direction to dance around the back of the next couple.
An Open Back Ring is a circle with your backs to the middle of it, open
because you don’t take hands with the other couple, you just keep dragging
your neighbour along.  It should flow smoothly! If you are not in the Back
Ring then rest!  You can see the move at 0.26 in
https://www.youtube.com/watch?v=Lc3Bd9Rymp8
I practice the direction by getting the four ladies to dance a full hey
dragging their neighbour men behind them.  Then make sure they understand
that that is not part of the dance, just where they go.

    Happy dancing,  
   John 

John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802
940 574 
http://www.modernjive.com for Modern Jive Events & DVDs 
http://www.contrafusion.co.uk for Dancing in Kent   

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

[John Sweeney via Callers]

Hi All,
Ladies' Chain to Allemande Left is actually the original version of
the Ladies' Chain!  I believe that the Courtesy Turn was added sometime late
in the 19th century, or maybe in the first half of the 20th century.

Prior to that the "Chaine des Dames" was always danced as Ladies
Pull By Right, Allemande Left the Man You Meet - and always there and back
again.

It occurs in countless dances over the last few hundred years, going
back to the 18th century quadrilles and probably earlier.

The Ladies' Chains in Chestnut contras were probably danced that way
originally.

Of course If the man maintains that Allemande position he will end
up facing the wrong way in most dances.  So he will usually have to make a
quick turn to his left at the end of the Allemande.  I find it quite hard to
persuade the men NOT to touch the lady with their right arm.  Many ECD
dances contain this move and I understand that some American ladies hate it
when the man guides her with his right arm.

So, between the two extremes of the man ending up facing out, and
the man putting his right arm around the lady, you have the compromise of
starting the Allemande normally, but then the man turning towards the lady
as the move ends - this is known in some circles as a Polite Turn.

Happy dancing,
John

John Sweeney, Dancer, England j...@modernjive.com 01233 625 362
http://www.contrafusion.co.uk for Dancing in Kent

Re: [Callers] How do you organize your Dance Card Boxes ? Categories or Other Suggestions ?

[John Sweeney via Callers]

Hi all,
My categories are a little different:
Dances I want to try once I am calling for a group that can handle them
Dances for beginners
My current set of favourite dances which I will use for most gigs
Dances to fall back on when something doesn't work
Chestnuts and other traditional dances
Contra style dances in other formations (Triple Minor, Double Contra, Hex,
etc.)
Everything else is in alphabetical order - otherwise how can you find them?
- I work out which ones I want from my database
Then there are lots more categories for all the other genres I call

The stuff in alphabetical order doesn't get used as much.  I would rather
use great dances.  Most dancers are very happy to dance the favourites
regularly.

I get very bored with dances which go "swing, circle 3/4, swing" or "swing,
someone Allemande 1 & 1/2, swing" and very rarely use them now unless the
other half of the dance is stunning.

April said, "I believe that at some point in every dance, you and your
partner are on the same side, usually swinging, so from that perspective all
dances can start in Becket".

But dances can be:
Partner Swing only
Neighbour Swing only
Partner & Neighbour Swing
No Swing

And the Partner Swing doesn't have to be on the side - it could be #1s
swinging in the middle (or in an old dance everyone swinging in the middle)

So, no, they are not all Becket!

I use quite a few No Swing dances and everyone seems happy to do them -
though attitudes are somewhat different on this side of the pond.

Does anyone use No Swing contras at American contra dances?

Happy dancing,
John

John Sweeney, Dancer, England j...@modernjive.com 01233 625 362
http://www.contrafusion.co.uk for Dancing in Kent

Re: [Callers] Name and author for circle mixer?

[John Sweeney via Callers]

"Corner" does not appear to be well defined from the ending position of that
Dosido - normally for a Corner the Lady would look Right.



In Give & Take it specifies Dosido 1 & 1/4 which makes it clearer - the
person now beside you who you did not Dosido, i.e. the one on your left is
the one you Allemande.



I would just say Allemande Left on the Left Diagonal.



Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802
940 574  

http://www.modernjive.com for Modern Jive Events & DVDs


http://www.contrafusion.co.uk for Dancing in Kent




From: Tony Parkes via Callers [mailto:callers@lists.sharedweight.net] 
Sent: 11 March 2017 21:33
To: Richard Hopkins ; callers

Cc: Beth Parkes 
Subject: Re: [Callers] Name and author for circle mixer?



Esmeralda's Revenge by Beth Parkes (in Larry Jennings' Give and Take),
adapted from Esperanza by Eric Zorn (in Larry's Zesty Contras).





Tony Parkes

Billerica, Mass.

  www.hands4.com

New book! Square Dance Calling: An Old Art for a New Century

(to be published Spring 2017)







From: Callers [mailto:callers-boun...@lists.sharedweight.net] On Behalf Of
Richard Hopkins via Callers
Sent: Saturday, March 11, 2017 4:27 PM
To: callers@lists.sharedweight.net  ;
callers-requ...@lists.sharedweight.net
 
Subject: [Callers] Name and author for circle mixer?



Dear colleagues, 



I have had this circle mixer in my box since before 1990, and have long ago
lost its name or origin.  Could any of you help?  It has served me well many
many times.



Formation:  Circle of couples



A1Forward and Back
Forward again, just the gents come back (ladies turn to face out)
A2  All turn right, promenade single file (ladies clockwise, gents CCW)
  Return
B1  Partner (the last one you swung) dosido
  Corner Allemande left, pass partner by the right
B2  New Partner B and S



Richard




``

Richard Hopkins

Tallahassee, FL
850-544-7614
hopkin...@comcast.net  

Re: [Callers] ACK! First time calling night of *squares* -- any last minute advice?

[John Sweeney via Callers]

Hi Meg,

  Or you may have seen the Grand Chain, sorry Grand Right & Left 
for you Americans, without the Allemande in other dance styles.  English 
ceilidh dances don’t bother with the Allemande.  And of course it occurred in 
1650 dances as well.  The earliest record I know of is in the square dance 
Murry, from before Playford: http://contrafusion.co.uk/lovelace.htm#Murry:

 

“They all standing ni their places, they shall goe round apac a kind of hay 
only of giving of hands, as they goe unto every one, both men and woemen, and 
when they shall meete with their own again, sthey shall turne quite round both 
of them together, and meting any other but their owne, they shall turne but 
halfe round, and soe after this manner, they shall goe round as often as they 
please, the tune is played akording :4: or 5: goings round”

  

  That looks like a Grand Right & Left to me, with no Allemande!

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574  

http://www.modernjive.com for Modern Jive Events & DVDs 
   

http://www.contrafusion.co.uk for Dancing in Kent   
   

 

From: Meg Dedolph [mailto:meg.dedo...@gmail.com] 
Sent: 07 February 2017 13:21
To: John Sweeney ; callers@lists.sharedweight.net
Subject: Re: [Callers] ACK! First time calling night of *squares* -- any last 
minute advice?

 

Ha! I read that book, but I thought I came up with that trick on my own. Maybe 
I remembered it long after I read it and thought I'd invented it. :)
Meg

Re: [Callers] ACK! First time calling night of *squares* -- any last minute advice?

[John Sweeney via Callers]

Meg said, "I have better luck teaching that to beginners if I teach the grand 
right and left first and *then* add the allemande left, rather than teach it in 
the sequence it's presented in the dance."

The same advice was given by Lloyd Shaw in "Cowboy Dances" in 1939:
"It is so simple that it may seem labored to teach it in two parts in this way. 
But I have found, especially with a large crowd, that it saves a lot of 
confusion and innumerable collisions. Starting with the simple Grand right and 
left gets their directions established and the men get in the habit of always 
going right and the ladies always going left with a serpentine, touching 
alternate hands. Once this is established it is easy to add the preliminary 
left hook of the Allemande, and the trick is done. But try to teach the two 
manoeuvers at the same time to a large crowd and you will have them all running 
off wildly in all directions, and the stampede will be hard to check."

Nothing changes! :-)

For beginner groups, especially one night stands, I don't add the Allemande at 
all.

Happy dancing,
John

John Sweeney, Dancer, England j...@modernjive.com 01233 625 362 
http://www.contrafusion.co.uk for Dancing in Kent

Re: [Callers] Local styles vs. consensus (Was: Another vote for "jets" and "rubies")

[John Sweeney via Callers]

Yes, but…

 

Variations in local styling can be very unsatisfying unless:

1) visiting dancers are prepared to accept the local styling

2) if the caller sees problems then they explain what the local styling is and 
ask visitors to respect it

 

At my contra dances I always ask visiting callers to announce, during the first 
Star that they call, that our local styling is Wrist-Locks.  This is important 
in my area as there are lots of local dancers who do country dancing where the 
default is Hands-Across.  It always amazes me how reluctant callers are to do 
this. Some of them seem terrified of actually doing any teaching of style or 
technique.

 

If everyone just does what they want, you end up with uncomfortable Allemandes 
and Stars.

 

I just spent a month experiencing this at MWSD sessions in Phoenix.

 

For example, the CALLERLAB manuals are quite clear for Waves:

“STYLING: Dancers should use hands-up position.” “Hands Up: Hands are joined in 
crossed palm position;” “Swing Thru: All hands are joined in hands-up position, 
elbows in close. Exert slight pressure to assist opposite dancer in turning. 
Arcing turns should be utilized rather than pull by type of movements and 
should flow effortlessly from one turn to the other so that you are in a sense, 
"weaving" along the line.”

 

But because there are regional variations CALLERLAB could not get a consensus 
and finally published “Styling has also been standardized. While great strides 
were made in the 1970s and 1980s certain areas and groups continued to use 
styling that did not match the approved styling (e.g., “hands up” vs. “hands 
down” in Ocean Waves). In 1992 our membership acknowledged its inability to 
have one styling used by all dancers with a motion which said, “CALLERLAB 
recognizes that regional differences in styling exist.””

 

As a result callers are scared to tell people what they should do, and with a 
community made up of dancers from all over the States (enjoying the sunshine in 
Phoenix) it was a mess. I would be doing Swing Thrus down the line with Half 
Allemandes and then the next guy is offering his arm horizontally at waist 
level, making the experience less than satisfactory. And most stars were lumps 
where everyone grabbed any part of anyone else’s hand that they fancied.

 

Moves like Promenades can vary without problem since how you do it doesn’t 
affect anyone else.

 

Terminology is a completely different matter; everything works as long as the 
caller defines their terms carefully.   I do lots of different Dosidos, but 
give them different names, otherwise it would be impossible for the dancers to 
follow the call, especially when I do a dance which uses three different 
Dosidos!

 

 

Happy dancing,  

   John   



John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802 940 
574  

http://www.modernjive.com for Modern Jive Events & DVDs 
   

http://www.contrafusion.co.uk for Dancing in Kent   
   

 

From: Tony Parkes via Callers [mailto:callers@lists.sharedweight.net] 
Sent: 30 January 2017 14:06
To: callers 
Subject: [Callers] Local styles vs. consensus (Was: Another vote for "jets" and 
"rubies")

 

Chet Gray wrote:

 

<>


Amen!

 

One of the things I’ve long lamented about the modern square dance movement is 
the disappearance of regional variations. If square dancing is viewed as a 
hobby, it makes sense (given the mobility of people in industrialized 
countries) to standardize the meaning of calls, hand and arm positions, and 
other rules and customs. But if it’s viewed as a folk art, it’s a crying shame 
to lose the variations. To me, standardizing a folk dance form is like saying 
there’s only one right way to cook chicken. (Given how far MSD has strayed away 
from tradition and toward homogenization, it feels to me as if they’re saying 
KFC is the only right way to cook chicken.)

 

The contra dance world has never had an entity like Callerlab with the clout to 
convince local groups to standardize, and I don’t think it needs one. Two of 
the big attractions of contra dancing (IMO) are its lack of regimentation and 
the small number of terms a newcomer must learn. That small number (again IMO) 
means that adjusting from one village to another is not difficult: Typically 
only 3 or 4 terms out of 15 or 20 are understood differently.

 

A big question in my mind is whether there’s anything approaching a consensus 
among contra callers (and interested organizers and dancers) on any points 
beyond the obvious: that dancing should be enjoyable and a dance venue should 
be a safe space. I would strongly caution folks against thinking there’s a 
consensus when only a small percentage of callers and leaders has been heard 
from. I’m 

Re: [Callers] Lead & Follow

[John Sweeney via Callers]

Cara asked, "Is there something wrong with Lead and Follow? 

Not sure if I have posted this on here before; my apologies if you read it
all before.

My beliefs, understandings, opinions - some points:

1) Contra is not intrinsically a lead/follow dance style; calling the roles
"leader" & "follower" is incorrect, misleading and generally a bad idea

2) Within Contra there are opportunities to do some lead and follow, but
either role can be the leader

3) There is a difference between leads, signals and connections, though
connections are often used to lead beginners

4) Lead & Follow works better if both dancers have good lead/follow
technique, and some flourishes also benefit from good technique

5) Leads can be with fingertips, body angles, eyes, and anything else that
works

6) The end of a ballroom-hold swing is not symmetrical and it is often much
easier to let the "man" control the end of the swing; that's not sexist, it
is physics!

7) Most dancers would benefit from good teaching on this subject, but sadly
there is very little teaching provided

Details below.  Read on if you are interested...

First, I should perhaps explain my background.  I have been dancing for
nearly fifty years and teaching dance for over forty years.  As well as
contra, square, ECD, Contra, Morris, clog, etc. I also dance many partner
dances  such as West Coast Swing, Lindy/Swing, Argentine Tango, contra waltz
and Modern Jive/LeRoc/Ceroc: http://www.modernjive.com.

Modern Jive is an English, simplified form of Swing which has no fixed
footwork and very few close-hold moves.  It is led primarily by the man's
fingertips and has a very wide range of moves.  I specialise in Double
Trouble: one man leading two ladies: 
https://www.youtube.com/watch?v=CE6Iu6Fh6bw

This is a cabaret performance so we are doing some choreographed moves, but
most of it is being led by me and the ladies don't know what I am going to
do next.  When I go to new venues I dance with lots of ladies to see how
well they follow, then I dance Double Trouble with two of the good followers
and I can lead them into a wide range of interesting moves.  Leading two
strangers simultaneously only works if they are following well, and because
I have spent a lot of time studying lead and follow and developing my
leading skills so that I can do this.

So, back to Contra:

1) Contra is not intrinsically a lead/follow dance style; calling the roles
"leader" & "follower" is incorrect, misleading and generally a bad idea

I agree entirely with what many others have said already.  The caller
teaches the dance.  The dancers dance it to the music.  Everyone knows (at
least in theory!) what is coming next, so there can be no lead or follow.
The whole point of lead and follow is that the leader chooses the next move
and has to let the follower know what it is through the lead; the follower
then has to react to that lead in whatever way they choose.


2) Within Contra there are opportunities to do some lead and follow, but
either role can be the leader

When you execute the dance as the caller called it then there is no lead or
follow.  If you add some flourishes then they MAY involve some lead and
follow, but which role leads depends on the actual move.

A nice flourish at the end of "Up the Hall in Lines of Four; Bend the Line"
is for a middle person to raise their hand and turn their end person into
the circle.  This is not part of the dance; the end person may not be
expecting it and has to react to it; this is lead & follow.  The
genders/roles of the participants are completely irrelevant.

Note: this can also be performed by the twirlee as an independent flourish -
as long as the dancer whose hand you are holding allows it!  Many dancers
are so rigid that I can't raise their arm to twirl under it! (If only
everyone would relax the muscles that they don't need to be using, and let
their hands be moved!)


3) There is a difference between leads, signals and connections, though
connections are often used to lead beginners

When you help each other to redirect your momentum that is not really lead &
follow.  Examples are "Circle Left; Neighbour Dosido" or "Long Lines Go
Forward & Back with the Ladies Rolling the Men Away from Right to Left;
Ladies' Chain".  Keeping connected and using the elastic in your arms to
redirect the momentum and change direction makes these really satisfying
moves.  But no-one is leading or following; you are both just using good
technique to help each other execute pre-defined moves.  Of course if one
dancer is experienced and the other is new to Contra, this type of
connection can be used to help the new dancer to move in the correct
direction.  Connection, gestures and eyes are all great for helping everyone
achieve the dance.

Signals are pre-defined gestures that lead to choreographed moves that both
participants know.  An example is the twirls at the end of a Ladies' Chain.
As a man, I offer my left hand high, fingers pointing down to let the 

Re: [Callers] Slice vs Yearn

[John Sweeney via Callers]

Richard Hopkins asked, "What is 'slice'?  And is it different from 'yearn'?"

I think most people use Slice and Yearn to mean the same thing:
As a couple move forward diagonally to face the next couple (default is
usually to the left); high-five them with your spare hands (not the one you
are using to hold your partner's hand) while turning to face them across the
set; fall back (push away) to your progressed positions facing them.

There is also a Double Slice, i.e. forward to the left diagonal couple and
continue moving to the left as you back out to face the next couple (double
progression)

And Bob Isaacs introduced Half a Slice (in the dance of  the same name): "As
a couple, go forward towards each other on the diagonal.  The top two
dancers join hands; the bottom two push off to make a line of four facing
down.  This is an efficient way to get everyone progressed and facing down
in 8 beats, so there is time for creative or dramatic push-offs."

Some people sometimes use one term to mean single progression and the other
to mean double progression, but I don't believe there is any universal
agreement, so it is always best to write or teach exactly which one you
mean.

I like Yearn as it implies more interaction with the couple you are
approaching.

Happy dancing,
John

John Sweeney, Dancer, England j...@modernjive.com 01233 625 362
http://www.contrafusion.co.uk for Dancing in Kent

Re: [Callers] Variations of 3-33 by Steve Zakon-Anderson

[John Sweeney via Callers]

Instead of Ladies Dosido 1 & 1/2 I always teach Ladies Dosido then Pass
Through (by the Right Shoulder).  That makes it clearer as to where they are
heading (especially if they like spinning their Dosidos!).

Happy dancing,
John

John Sweeney, Dancer, England j...@modernjive.com 01233 625 362
http://www.contrafusion.co.uk for Dancing in Kent

Re: [Callers] Favorite relatively Modern ECD

[John Sweeney via Callers]

Hi Erik,
It all depends on how you, or the group you are working with, define
ECD.  The definition of country dancing in England is much wider.  We'll
dance anything the caller calls as long as it is fun.  

You can find some 50 year old dances at
http://contrafusion.co.uk/DancesEDS.html

And some of mine at http://contrafusion.co.uk/Dances.html

If you need more, then the archives of the ECD list would be a good
place to look: http://www.bacds.org/mailman/listinfo/ecd

Happy dancing,
John

John Sweeney, Dancer, England j...@modernjive.com 01233 625 362
http://www.contrafusion.co.uk for Dancing in Kent

Re: [Callers] Wizard's Way?

[John Sweeney via Callers]

Yes, Dean Snipes.

Sent off-list.

Happy dancing,
John

John Sweeney, Dancer, England j...@modernjive.com 01233 625 362
http://www.contrafusion.co.uk for Dancing in Kent

Re: [Callers] Wrist Lock Stars - Summary

[John Sweeney via Callers]

David said, " I would rather have a lump star moving promptly than a
beautiful wrist star three steps late".

Absolutely!

Which is why I always teach the dancers to move their feet first and worry
about their hands once they are moving.

Happy dancing,
John

John Sweeney, Dancer, England j...@modernjive.com 01233 625 362
http://www.contrafusion.co.uk for Dancing in Kent

[Callers] Wrist Lock Stars - Summary

[John Sweeney via Callers]

Thanks to all those who contributed.  Here is a summary of the key points
that were made.  It is clear that the wrist lock star is indeed the standard
across the USA, with only a few areas using hands across.

Summary

Names: Wrist Star, Box Star, Wrist-Grip Star, Wrist-Lock Star, Pack-saddle
Star, Wagon-Wheel (Star), Basket Handhold
Also, but these can mean Hands Across: Millstone Star, Mill, Windmill,
Moulinet, Old Mill
Alternative Star Holds: 
Hands Across (that term goes back to at least 1650!)
Palm Star (MWSD only)
Lump (Bunch of Bananas, Limp Lettuce) - to be avoided at all costs

Etymology of Mill references: 
Alan Winston: Go back far enough (1700s) and you get "moulinet" in French
sources, "mill" in some English sources, for what I'm pretty sure are
hands-across stars.
Colin Hume: In the Netherlands it's called "molen" which means "windmill".  
John Sweeney: The early 19th century Quadrilles and dances like The Lancers
used the term Moulinet for Star. As far as we know it was always a Hands
Across Star.  Moulinet means turnstile, crank or propeller.  Whether it
independently became known as a Windmill/Mill or whether it was badly
translated as Moulin = Windmill is unclear. 

Wagon-Wheel: in the Appalachians it was a shoulder star - see 2 minutes in
at https://www.youtube.com/watch?v=Ht9kjeKcOsg.

There is a general view that the term Wrist-Grip should be avoided, and that
it should be emphasised that you don't grip (keep your thumb up top with
your fingers!).

I like the term "Wrist Lock" since it makes it clear that we are using
wrists, and since the shape you make looks like the Lock that sword and
rapper dancers make when they interlink them all and raise them high.  I
also love that wrist-locks work perfectly for three or five dancers in a
star (I call lots of different styles).  But I am sure that although the
move may become even more ubiquitous, the terminology will retains its local
flavour.

Any ideas on when it started?

Dan Pearl: Sylvia Miskoe, in rec.folk-dancing on March 4, 1999 said: "Wrist
grip stars became popular after the appearance at New England Folk Festival
(NEFFA) of the Lithuanian Dance Group doing their dances and they all used
wrist grips.  The square dancers thought it was a neat idea and adopted it."
Any idea when that festival was?

1964 in Northern Vermont shows wrist-lock stars:
https://www.youtube.com/watch?v=pZubTju7g_s
1981 Ted Sanella's "Balance & Swing" defines a star in New England as "grasp
the wrist of the dancer ahead".
1983 Larry Jennings' "Zesty Contras" refers you to Ted's book.

Exceptions: 
When choreography dictates, e.g. "men drop out, ladies chain" works
better with hands across
One night stands

Dave Casserley:
https://www.swarthmore.edu/sites/default/files/assets/documents/linguistics/
2007_kaufman_jeff.pdf
This shows that ten years ago wrist-stars were common everywhere in the US
except in some parts of the South.

Amy Wimmer (Seattle):
The wrist lock is the common star formation in the Northwest, with a hands
across being the exception.

Tim Klein (TN):
I call for dances in Knoxville, TN and occasionally in the surrounding area
(Jonesboro, Chattanooga). I've been dancing here for 30 years. I recall
hands across stars in Knoxville, Atlanta, Brasstown, Asheville and points
between, but wrist grip stars in Lexington, Louisville and Nashville.

Chet Gray (KY):
I tend to consider my home dance, Louisville, KY, and nearby Lexington, as
two of the last bastions of hands-across-by-default. Wrist-grip seems to be
the default even in relatively nearby cities: Indianapolis, Bloomington, IN,
Nashville, Cincinnati. Not sure about Berea and Somerset, KY, also nearby.

Jerome Grisanti (Midwest):
I agree with Chet that Louisville's default star is hands-across, although
weekend festivals in nearby cities tend toward the millstone star. The
Midwest where I dance/call now is pretty solidly wrist-star territory (St.
Louis, Columbia MO, Kansas City, Lawrence). 

BUT...
Susan McElroy-Marcus:
Just a bit of Louisville dance community history on this subject-when my
husband started dancing there in the late '70s and I came in 1982, the
Monday night dance was a mix of English and contra.  The default contra
dance star grip was the "wrist lock" not hands across as in English.  We
called it a basket handhold or wrist grip.  Our influence came from New
England because our friend, Norb Spencer, who started the group along with
Marie and Frank (Cassidy?) and who called much of the time-learned in New
England.  We then taught it that way when we moved to Cincinnati and started
that group.  Louisville only became a "bastion of hands-across-by-default"
sometime in the late 1990s or early 2000s during my calling hiatus.  When I
re-entered the calling scene 6-7 years ago, I was surprised and bemused upon
calling in Louisville to learn of the high regard held for their
'traditional' hands-across star style.

Andrea Nettleton:
Somewhere 

Re: [Callers] Contra friendly squares

[John Sweeney via Callers]

Hi Ron,
   Here are some figures that might fit your needs.  But you also need
some breaks/choruses that contra dancers will find easy; you don’t have to
use ones shown with the figures.

Chippenham Square by Colin Hume
http://colinhume.com/insts.htm#ChippenhamSquare
Geezy Peezy by Larry Edelman
https://www.library.unh.edu/special/forms/rpdlw/syllabus2011.pdf
Banjos in Love by Erik Hoffman in Contradictions:
http://www.erikhoffman.com/dancescd.html
Deer Park Lancers https://www.youtube.com/watch?v=LZ1D5IZt_dc
The Lucky One by Tom Hinds in Bad Hair Decade
Perceptual Motion by Tom Hinds
https://www.library.unh.edu/special/forms/rpdlw/syllabus2007.pdf
Camille’s Quadrille by Walter Lenk
https://www.cambridgefolk.org.uk/contra/dances/camilles_quadrille.html
Beaver Lake Jig by Ted Sanella
https://www.cambridgefolk.org.uk/contra/dances/ted_sannella/beaver_lake_jig.
html
  (if the men mess up the first move, then get the ladies to go to their
left hand man for the allemande right instead – the ladies are often much
better than the men!)

Western Quadrille (from Chip Hendrickson) – based on Powell’s First Sett No.
3 – 1848
A1: Men Star Left (Hands Across); Star Right, take Left with Partner to form
intersecting Waves
A2: Balance the Wave (L/R), Partner Allemande Left 1/2
 Balance the Wave (L/R), Partner Allemande Left 3/4
B1: All Four Ladies Chain Half Way x2 – finish by sending the Lady around
the outside on to the next Man and turning Left to pick up your Corner
B2: Corner Promenade to Man's Home
(Original was Ladies’ Stars, but that makes the end of A2 an Allemande Left
1 & 1/4 in four beats)

Or for a slightly more complex one on the same theme:
Parisian Star https://www.youtube.com/watch?v=gzdwHF2EZ_k

Hope that helps.  If you want any of the instructions please e-mail
me off-list.

    Happy dancing,  
   John 

John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802
940 574 
http://www.modernjive.com for Modern Jive Events & DVDs 
http://www.contrafusion.co.uk for Dancing in Kent   

Re: [Callers] Ralph Page Style

[John Sweeney via Callers]

Hi Neal,
Thanks.  But I don't understand what Ralph's smoother style was.  To
me, modern contra dancing is beautifully smooth.  Larry Jennings defines the
style in Zesty Contras as "zesty, purposeful, extroverted, smooth,
meticulously phrased, strongly connected, vigorous, New England, contra
dancing" and goes on to define "Smooth: Refers both to the way the dancers
carry their bodies and to the flow from one figure into another."

If anything I would say that modern choreography has made much
smoother dances; many of the Chestnuts have disjointed flows.

Happy dancing,
John

John Sweeney, Dancer, England j...@modernjive.com 01233 625 362
http://www.contrafusion.co.uk for Dancing in Kent

Neal Schlein said:

This might shed some light on the subject -

https://www.library.unh.edu/find/archives/collections/ralph-page-dance-legac
y-weekend

Ralph Page Dance Legacy Weekend

The Ralph Page Dance Legacy Weekend (RPDLW) is held every January at the
University of New Hampshire in Durham. It takes its name from the man who
was perhaps the single most important figure in the preservation of
traditional dance in New England and was conceived to keep his legacy alive.

Begun in 1988, the RPDLW celebrates the music and dance of New England:
contras, squares, and more. From the beginning, the emphasis has been on
preserving the smoother style of dancing that Ralph Page favored.

Re: [Callers] Wrist-Lock Stars

[John Sweeney via Callers]

Hi Read,
Yes, you shouldn't pull away from the centre, but then I never 
recommend that in any move.  But you can pull forwards around the circle. I 
always teach that you are pulling the person behind you, who is pulling the 
person behind them, who is pulling the person behind them, who is pulling you!  
You share the energy!

It has a major benefit over the hands across star in this respect, in 
that all four dancers are linked together and can make the star turn faster 
when necessary.  In the hands across star you have no connection to two of the 
dancers, so if they are too slow you can’t help them to speed up.

But I never mention weight!  I don’t want anyone ever to give me their 
weight.  I always ask the dancers to keep their own balance.  On the other hand 
I am delighted to counterbalance their mass and use my muscles to fight 
centrifugal force, but never to fight the people I am connected to. :-)

Happy dancing,
John

John Sweeney, Dancer, England j...@modernjive.com 01233 625 362 
http://www.contrafusion.co.uk for Dancing in Kent
From: Read Weaver via Callers [mailto:callers@lists.sharedweight.net] 
Sent: 10 October 2016 21:35
To: Caller's discussion list 
Subject: Re: [Callers] Wrist-Lock Stars

When I’m teaching, I make the point that it’s pretty much the only move in 
contra where you _shouldn’t_ give weight even though you could—human wrists 
being neither strong nor flexible in that direction. And that if someone behind 
you is uncomfortably giving weight, you can just let go and turn it into a 
single file for yourself, since you’re not giving weight to aid the circle's 
momentum anyway.

Read Weaver
Jamaica Plain, MA
http://lcfd.org

[Callers] Wrist-Lock Stars

[John Sweeney via Callers]

Hi all,
I have been to contra dances and festivals all over America and
everywhere I have danced everyone automatically uses a wrist-lock star
(unless the caller has specified hands-across because of the subsequent
choreography).

But I am constantly challenged in England by people claiming that
wrist-lock stars are not the standard in America.

When I go to somewhere like The Flurry and see 600 people from all
over the country all doing wrist-locks it seems to me that it must be the
standard way of doing things.

And obviously it has been common in America for a long time; this
video is from 1964 in Northern Vermont and shows wrist-lock stars:
https://www.youtube.com/watch?v=pZubTju7g_s

So, are there still significant communities that don't use
wrist-locks?

Is the wrist-lock the de facto standard?

Thanks.

    Happy dancing,  
   John 

John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802
940 574 
http://www.modernjive.com for Modern Jive Events & DVDs 
http://www.contrafusion.co.uk for Dancing in Kent