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

[K Panton via Callers]

I think that whole "momentum" topic is very useful and, in my experience,
aside from the occasional reference in a walk-through it is typically left
for the dancer to connect the dots on their own.

It goes hand in hand with awareness of transitions (i.e. the connecting
tissue, that we don't often teach, between the figures, that we do teach),
I think. (I sometimes think - not really - I'm the only one who can enjoy a
lovely transition as much as a lovely figure)

Not sure how one can incorporate yet another teaching point into a beginner
session but I've often thought that a regular "tips" session of, perhaps,
10 minutes during the break - for those interested - would be a good time
for such things in a community's dance schedule.

I'd be curious to hear what other communities do by way of well-received
teachable moments (apart from quick, targetted style points from the caller
during the walk-through).

Ken Panton

On Sun., Sep. 29, 2019, 18:02 , 
wrote:

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> Today's Topics:
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>1. What can you do.? (tom hinds)
>2. Re: What can you do.? (Winston, Alan P.)
>
>
> --
>
> Message: 1
> Date: Sun, 29 Sep 2019 08:44:38 -0400
> From: tom hinds 
> To: callers@lists.sharedweight.net
> Subject: [Callers] What can you do.?
> Message-ID: <8757e3f3-e880-4101-9cf8-5a05a2446...@yahoo.com>
> Content-Type: text/plain;   charset=utf-8
>
> Alan,
>
> You raise an interesting question.  After I?ve had time to sleep on it,
> I?ve come up with some other issues to raise and.discuss.
>
> I?m curious if you have a beginning workshop before the dance.
>
> In my opinion the skills needed for a new dancer to not only survive their
> first dance but to actually enjoy it are many   And that means having a
> beginning session that approximates as close as possible the dance itself.
>
> In your email you mention larks and ravens.  If you do have a beginning
> workshop, are the newbies given the opportunity to practice/react to their
> new titles?   Not having that opportunity to practice reacting to their new
> titles may cause a bit of confusion on the dance floor.
>
> Tom
>
>
>
>
> --
>
> Message: 2
> Date: Sun, 29 Sep 2019 19:37:06 +
> From: "Winston, Alan P." 
> To: "callers@lists.sharedweight.net" ,
> tom hinds 
> Subject: Re: [Callers] What can you do.?
> Message-ID:
> <
> dm5pr07mb403868a0f8945fe5d7b411f7f2...@dm5pr07mb4038.namprd07.prod.outlook.com
> >
>
> Content-Type: text/plain; charset="windows-1252"
>
> Tom --
>
> It's possible, if not likely, that what I'm calling "seems to have no
> sense of flow" has different causes for different people at different
> times.  I've definitely seen it happening at gents/ladies dances as well as
> at larks/robins dances as well as at English dances.  When I lead a
> beginner session at a larks/robins dance I introduce role names when
> teaching the swing, emphasize that larks open on the left, ravens/robins on
> the right, and do a circle mixer that's just into the center and back,
> swing the next etc, repeating the larks left robins right thing.  So they
> get to hear the role name a lot.
>
> Of course new comers often take quite a while to get sorted regardless.
> Last Sunday I called a single contra dance at a party - the party honored a
> queer activist who also liked contra dancing, so the honoree wanted there
> to be a dance, although hardly anybody at the party had done it before.
> Did a Haste-to-the-Wedding variant which only had a partner swing, felt no
> need to use any role names at all (beyond partner and neighbor)  and every
> foursome one couple was in spent about 6 of the 8 beats available to do a
> right hand star getting the star organized.  I couldn't see what was going
> on, but they'd pass through and circle on time, and then their foursome
> would be huddled like the Peanuts kids around the sad little tree in the
> Christmas special and then a star would start moving.
>
> (This isn't an example of a "no sense of flow" problem, and I didn't see
> any of that at that event.)
>
> What I'm talking about here is that there's choreography that seems fairly
> inevitable - if you're going to circle left into a half-poussette isn't the
> probable direction of the half-poussette pretty obvious, or if you did a
> clockwise half poussette into a mad robin why should you even have to use a
> role name to 

Re: [Callers] Using music in beginner session

[K Panton via Callers]

Has someone a link to the Glen Echo newcomers workshop outline?

Ken Panton

Subject: Re: [Callers] Using music in beginner session
Message-ID:

Content-Type: text/plain; charset="utf-8"

I commend to your attention the outline of the newcomers workshop as it was
developed at the Glen Echo contra dance. This is still rather close to the
workshop that is given on Fridays, including using muisc throughout.
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Re: [Callers] Using music in beginner session

[K Panton via Callers]

Woody:

it's been many years since I danced to your calling.

Q: in your intro session, how have you got the dancers configured (circle,
long lines)?

Your comments suggest, to me, that you have them in long lines throughout.

Ken Panton

>
>
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Re: [Callers] "Dixie Twirl" term

[K Panton via Callers]

May I first compliment Becky on her phraseology. Terrific post.

As for an alternate name: given that it is a variant of a California Twirl,
a group figure as it were, how about Polyfornia Twirl?

Just a thought.

Ken

>
>
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Re: [Callers] Brain Dead - Need Suggestions

[K Panton via Callers]

As it happens, I'm calling a regular contra evening in a few weeks and I'm
going to experiment, right off the top of the beginner session, by playing
a tune (i.e. start music, then say "welcome")

https://youtu.be/O0AW6MQXX0Y

(Don't worry, the 3/4 quickly changes to jigs. I've listened to many tunes
to accompany this idea - Pop, Motown, Celtic - and this tune seems to
provide the musicality and the clear phrasing useful for this exercise, and
continuity with what they'll hear while dancing later.)

have the dancers listen for phrasing and then (repeating) in a big circle
holding hands:

L/R 8

F/B 8

L4/R12

F2/B2/R4

L OR R 6/2 the other way.

i.e. introduce them to a few ways of slicing up a musical phrase in ways
they will encounter with contra figures.

Finish off with a maze of F/B/L/R 8 OR 16

My contention/hope/observation is that I have never seen an intro session
that actually introduces new dancers to the music and, therefore, they have
no connection between music and figures when the band actually starts
playing later. My hope is that, by first laying a musical foundation, the
newbies will try to sync the movements they learn to the music they heard
first.

We'll see.

this idea might work for your situation.

On Sat., Aug. 17, 2019, 16:16 , 
wrote:

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> Today's Topics:
>
>1. Brain Dead - Need Suggestions (Linda S. Mrosko)
>2. Re: Brain Dead - Need Suggestions (David Harding)
>3. Re: Brain Dead - Need Suggestions (Bob Peterson)
>4. Re: Brain Dead - Need Suggestions (Winston, Alan P.)
>5. Re: Brain Dead - Need Suggestions (Colin Hume)
>6. Re: Brain Dead - Need Suggestions (Woody Lane)
>7. Re: Brain Dead - Need Suggestions (jim saxe)
>
>
> --
>
> Message: 1
> Date: Fri, 16 Aug 2019 23:40:27 -0500
> From: "Linda S. Mrosko" 
> To: Callers List 
> Subject: [Callers] Brain Dead - Need Suggestions
> Message-ID:
> <
> cahc5bqfhhvs7hvyspxgcmvozffrt8kntmke8a2rsfyb90ov...@mail.gmail.com>
> Content-Type: text/plain; charset="utf-8"
>
> Although I've been calling forever and I know things, I'm not currently
> inspired to do this and am asking for help.
>
> Been hired to lead a dance for a music school -- ages 5 and up to teens and
> their parents and my contact asked if I could lead "dances that encourage
> really paying attention to beat counts?.throw in some music education in
> addition to fun."
>
> So I'll do my standard ONS dances for this group to recorded music that has
> very good beat counts and distinct phrasing.  That's not the problem.  The
> problem is *"throw in some music education."  *I don't need a dissertation,
> just bits and pieces.  The dance is only 1-1/2 hours long followed by ice
> cream.
>
> I've got a job that keeps me pretty busy and am training for a new job
> that's taking up a lot of my time and I just can't think anymore.
>
> Any suggestions?
>
> --
>
>
>
> *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)*
> -- next part --
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> --
>
> Message: 2
> Date: Sat, 17 Aug 2019 12:14:43 -0500
> From: David Harding 
> To: callers@lists.sharedweight.net
> Subject: Re: [Callers] Brain Dead - Need Suggestions
> Message-ID: <58633f04-1cd4-4164-6bb9-5988fe438...@comcast.net>
> Content-Type: text/plain; charset="utf-8"; Format="flowed"
>
> I don't read the request as going beyond beat counts.? The basic message
> is hearing the music, stepping in time, and getting to where you need to
> be in eight beats.? Then you have various balance-and-four beats and
> balance-and-twelve beats figures.? You have the timing of the turns on
> down-the-hall.? That sounds to me like plenty of material for 1 1/2 hours.
>
> On 8/16/2019 11:40 PM, Linda S. Mrosko via Callers wrote:
> > Although I've been calling forever and I know things, I'm not
> > currently inspired to do this and am asking for help.
> >
> > Been hired to lead a dance for a music school -- ages 5 and up to
> > teens and their parents and my contact asked if I could lead 

Re: [Callers] A contact for a fiddler in Modesto trying to meet the musical community

[K Panton via Callers]

Thanks to Nick & the others that were in touch with me by email.

I think you all have provided great starting points which I will pass along
to the parents and, presumably, on to the offspring in the strawberry patch.

Regards,

Ken
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[Callers] A contact for a fiddler in Modesto trying to meet the musical community

[K Panton via Callers]

Hi all,

I'm not a member of the musicians list and I may have success here, hence
this post.

A client informed me that his 20-something daughter - fiddler since 5 - had
moved to Modesto, CA a year ago and not yet linked in with a community of
musicians. She has apparently sat in with the Old Sod Band here in Ottawa
at some point for a dance. I've not met her.

At this point, having recently started a new job, she may not be actively
seeking musical contacts. Nonetheless, if anyone can suggest a contact for
her - Bay area? Sacramento? Alvin, Yogi, Smoky in Yosemite? - which I can
pass along, I would be happy to do so.

Ken Panton
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[Callers] Fwd: Identify some dances

[K Panton via Callers]

>Yoyo Zhou

 Tue, 12 Mar 2013 16:19:18 -0400 (EDT)


>Thanks, all. I've found that the first dance (? 1), as I noted it, isn't in
>any of your collections, because it doesn't work:






This is an old thread, but I was searching for an easy introduction to an
alle/orbit figure and landed on it.

I have made a fix to Yoyo's original transcription that, as he described,
resulted in couples swapping sides and, my guess, cycling back and forth
within one place of the starting point forever!

The fixed dance is as follows and has a CCW progression. I swapped a LL for
the R/L and juggled a figure here or there in A. the only hiccup is the
slight grinding of gears (i.e. reverse of momentum) for the ladies
transitioning from a swing to a chain (but not a biggie and it occurs often
in the repertoire).

*A1*

*(8)*

*LL F & B*


*(8)*

*Gents alle L 1.5*

*A2*

*(8)*

*N Swing*


*(8)*

*Ladies Chain*

*B1*

*(8)*

*Cir L 3/4; pass thru*


*(8)*

*New ladies alle L 1.0*

*Gents orbit CW*

*B2*

*(16)*

*P Bal & Sw*


I've discovered this is very similar to Cary Ravitz's "Amy's Harmonium"
leading me to think that Yoyo might have had that dance in mind.

https://danceminder.com/dance/show/amysha

*A1* LLFB (partners roll away w/half sashay on the way back)
Gents allemande right 1 3/4 8
*A2* Neighbor balance and swing 8
*B1* Ladies chain across
Circle left 3/4, Pass thru (up/down) to new couple 8
*B2* Ladies alle lt 1x while Gents orbit 1/2 CW(left)
Partner swing
I like Cary's better for flow (his balance/no balance swings are a better
fit) BUT the roll-away is an extra thing to throw off novices. On the other
hand, there's no reason that, in the first version, partners couldn't flow
right into a 16 beat swing (or dancers' choice), foregoing the balance.
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Re: [Callers] New (?) simple dance without a neighbor swing

[K Panton via Callers]

Hi Luke:

There is a resemblance to this one which can be found in a 2016 posting:

Dick and Mary's Departure (for Dick and Mary Ashbrook)
Jan Larsen
Duple, improper
A1 Neighbor allemande right 1 ½,
  Men allemande left 1 ½
A2 *Partner balance and swing ( *alt: gypsy and swing)
B1 Ladies allemande right 1 ½
  Swing your neighbor
B2 Half promenade,
  Left hand star



Regards

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

[K Panton via Callers]

Thanks for all the great ideas; it is much appreciated.

I was particularly intrigued at the thought of incorporating an MWSD figure
(I know squat about MWSD and had no idea there were so many figures.).

So, I've settled on a short list of 3 possibilities and, as it happens, our
community has a caller workshop this coming weekend so I'm going to ask the
dancers to suffer through the 3 options to see how the options dance, in
practice. I think the dance would work well with any of them but each
provides a somewhat different feel.

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

[K Panton via Callers]

Another great option, Jack; and plenty creative.

Thanks.

I can see this will need some blind taste tests!

Now I'm very curious what further solutions may appear.

Ken


On 8 April 2018 at 23:46, Jack Mitchell <jmitchell...@gmail.com> wrote:

> I’m with Tom - I think that a wave is going to be too limiting.  One thing
> that comes to mind is circle left 3/4, balance the ring, partner roll away
> - swing neighbor.  I think that would be a slightly modified Wowee (a la
> Bob Isaacs & friends). I’m sure that others will come up with more creative
> options but that is what came to mind.
>
> On Sun, Apr 8, 2018 at 9:00 PM K Panton via Callers <
> callers@lists.sharedweight.net> wrote:
>
>> I am need of some choreographic gerrymandering from the braintrust.
>>
>> I have the flow the way I want in a dance that first gelled about 10
>> years but when some folks walked it through for me, more recently, they
>> said, "uh, Ken, I'm not swinging my N, it's my P."
>>
>> "Dang," said I.
>>
>
etc etc etc.



> --
> Jack Mitchell
> Durham, NC
>
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Re: [Callers] Need help teleporting to other side of set - new dance

[K Panton via Callers]

I like that, Tom.

With just a little tug from the gent to redirect the lady's momentum into
the allemande (and he can keep moving, anticipating his subsequent
allemande). The 3 x 1/2 alle becomes a neat twist.

I case anyone cares, I mind-danced Tom's idea to this tune. Very cool
result.
https://www.youtube.com/watch?v=ocxkWekLBIc

Thanks,

Ken





On 8 April 2018 at 23:01, Tom Hinds <twhi...@earthlink.net> wrote:

> I don't think you should make an ocean wave.  To get a satisfying swing
> the dancers will have to do the arm turns as you describe.  You have three
> arm turns which comes to 6 beats and I always allow for two extra beats
> when there are busy transitions so the dancers would get approx and 8 beat
> swing, maybe more with energetic, experienced dancers.
>
> Sent from my iPad
>
> > On Apr 8, 2018, at 8:59 PM, K Panton via Callers <
> callers@lists.sharedweight.net> wrote:
> >
> > I am need of some choreographic gerrymandering from the braintrust.
> >
> > I have the flow the way I want in a dance that first gelled about 10
> years but when some folks walked it through for me, more recently, they
> said, "uh, Ken, I'm not swinging my N, it's my P."
> >
> > "Dang," said I.
> >
> > Here's the dance. the problem is "How do I get neighbours who are beside
> each other in an ocean wave (A1) to the other side of the set for a swing?"
> (A2) (short of calling on Mr. Scott for a teleport)
> >
> > So, I need the first half of A2.
> >
> > Return from Vulcan  Becket
> >
> > A1 (8) Cir L 1.0
> >   (8) Slide left and cir 3/4 the next couple to a wavy line.
> > A2 (4,6,8?) (balance wave, not critical) get gent to other side of set
> with neighbour [hmmm... Ladies alle L 1/2, P alle R 1/2, Gents alle L 1/2 -
> I'm not convinced]
> >   (12,10,8?) N Swing
> > B1 (8) Gents alle L 1.5
> >  (8) Scoop P in star promenade/B'fly Whirl
> > B2 (8) Ladies alle R 1.5 while gents orbit CCW
> >   (8) P Swing
> >
> >
> > Thanks for any ideas.
> >
> > Ken Panton
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>
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Re: [Callers] How many beats to a rip/snort?

[K Panton via Callers]

Tom, Ben & Jane:

Thanks for your responses; I feel relieved.

The dance I've written is as follows and includes a ring balance followed
by R'n'S then down the hall. the transition A2->B1 will be a bit of a run
(X trails to a ring balance).

Here it is, in case you are curious.

The name? Inspired by Love at First Swing (Bob Isaacs) - the basic
structure is the same - with a, (granted) somewhat forced, allusion to that
first time your new sweetie makes you laugh just as you've taken a large
sip of a fizzy beverage! ha ha :)

*Love at First Snort (Ken Panton, April 2018)*

Improper

*CALL *

*A1*

*(8)*

*Bal the ring; spin R*


*(8)*

*Swing P*

*A2*

*(8)*

*Bal the ring; spin R*


*(8)*

*Swing N*

*B1*

*(8)*

*Bal the ring; x trails*


*(4)*

*with new N, Bal the ring*


*(4)*

*Rip/Snort to line of 4*

*B2*

*(8)*

*Line of 4 down the hall*


*(8)*

*with N, turn as couples and return*
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[Callers] Need help teleporting to other side of set - new dance

[K Panton via Callers]

I am need of some choreographic gerrymandering from the braintrust.

I have the flow the way I want in a dance that first gelled about 10 years
but when some folks walked it through for me, more recently, they said,
"uh, Ken, I'm not swinging my N, it's my P."

"Dang," said I.

Here's the dance. the problem is "How do I get neighbours who are beside
each other in an ocean wave (A1) to the other side of the set for a swing?"
(A2) (short of calling on Mr. Scott for a teleport)

So, I need the first half of A2.

Return from Vulcan  Becket

A1 (8) Cir L 1.0
  (8) Slide left and cir 3/4 the next couple to a wavy line.
A2 (4,6,8?) (balance wave, not critical) get gent to other side of set with
neighbour [hmmm... Ladies alle L 1/2, P alle R 1/2, Gents alle L 1/2 - I'm
not convinced]
  (12,10,8?) N Swing
B1 (8) Gents alle L 1.5
 (8) Scoop P in star promenade/B'fly Whirl
B2 (8) Ladies alle R 1.5 while gents orbit CCW
  (8) P Swing


Thanks for any ideas.

Ken Panton
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[Callers] How many beats to a rip/snort?

[K Panton via Callers]

I've looked in the usual places and came up with only two examples of a
dance with a Rip/Snort (Rip 'n' Snort?) but one is inaccessible online.

How many beats does it take to dance a rip/snort for two couples? My brain
says 4 is too short and 8 is too long. I found one dance that pairs it with
a ring balance for a total of 8 beats.

I haven't access to "Roll Over Johannes" to see how Becky Hill made use of
it.

Thanks

Ken Panton
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Re: [Callers] Great dances for learning how to dance with ghosts?

[K Panton via Callers]

Thanks, Yoyo.

I am causing myself serious brain injury mind-dancing this one.

In the end, I agree with you that treating your P as N works in this dance.

There remains another issue of locating error-recovery opportunities (and
possible caller interventions!) which I will look at (and NOT report back)

Ken



Yoyo Zhou via Callers Fri, 06 Apr 2018 15:50:03 -0700

On Fri, Apr 6, 2018 at 2:52 PM, K Panton via Callers <
callers@lists.sharedweight.net> wrote:

In The Hobbit, here are the 3 places you come back in. Let's call the top

couple "couple 1", and if someone is waiting out above them, call them

"couple 0".

0. as couple 1 (with nobody out), top of A1

The start of the dance - it's a regular improper dance. Couple 1 should

come in as usual (gents left, ladies right).



1. as couple 1 (with nobody out), B1: pass through to original neighbor

If there's no couple 0, couple 1 goes out in the pull by in A1. We can

figure out that couple 1 should come in as usual (gents left, ladies right).



2. as couple 0, A1: pull by to previous neighbor

This is the couple that just went out at the top. They have to come back in

with gents on the right, ladies on the left! However - this is the key - if

they treat their partner as neighbor at the end (box the gnat, pull by),

they end up in the correct place.



All this is to say that the advice for this dance should be "dance with

your partner as neighbor at the end", because it turns out that works for

all the situations here.
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[Callers] Looking for a CD that would have full length contra tunes for calling

[K Panton via Callers]

Perpetual Emotion - self titled (awesome contra dance tracks but not trad
music. If you want Zen trance dancing, this is the one to get. The phrasing
is not always obvious, though, so new dancers won't get as many clues as
the music of other bands as to the As & Bs. Ed and John made a great
pairing)
https://store.cdbaby.com/cd/PerpetualeMotion   Only $10 to download! Great
deal.

The Old Sod Band - Grass Roots (our very talented house band in Ottawa.
Great trad tunes/arrangements. Still going strong! Calling with them in 2
weeks.) Typically longer tracks of 6-7 minutes
http://www.ottawacontra.ca/oldsodband/

hotpoint String Band - hotpoint Special (different twist on trad)
https://store.cdbaby.com/cd/hotpoint3   $10!

Giant robot Dance - spontaneous animation (though this seems to be live
tracks with the calling muted - longer tracks as a result)
https://store.cdbaby.com/Artist/GiantRobotDance

Brittany Bay - spirit of the dance (best choice for spirited trad tunes
with terrific, varied arrangements) I bought through their website several
years ago. Typically, 3 tunes per medley, 3 times through each tune = 4+1/2
minutes per track, generally.
http://www.betsybyars.com/guy/BrittanyBay/mus.html

KGB - Volga Notions (I'll second this choice but check out their other
albums as well. Not "driving" but great to dance to with a variety of
moods. Many original tunes or original twists on trad tunes)
https://store.cdbaby.com/Search/a2di/0

Elsewhere - find several very danceable tracks on various Lunasa CDs
(totally awesome band. but listen through to make sure they don't slip in
an extra measure/beat here or there in the tunes you select)
e.g. https://www.emusic.com/album/61623544/Lnasa/Lnasasample: Meitheamh
(live recording, driving and danceable right through!)   but there are many
other tunes. A wonderful band ranging from absolutely "driving" to
melodically romantic.

Ken Panton
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Re: [Callers] Great dances for learning how to dance with ghosts?

[K Panton via Callers]

Warning: rabbit hole ahead.

Colin: I read your text for your workshop. All useful stuff and you do say
more than "treat your partner as a neighbour".

Re Michael Fuerst's quote, I agree that end-effects are what they are and
they are not (necessarily?) the point of the dance, but they sometimes must
be dealt with head-on. Example: I have tried to make any sense of the end
effects in the dance The Hobbit
http://www.quiteapair.us/calling/acdol/dance/acd_283.html . I think it's a
great dance - if you can avoid the ends - but I'll be [darned] if I can
make it around the end successfully. I've tried calling it, walking thru at
a callers workshop with several experienced dancers and none of us could
make sense of the end-effects. We were missing some magical key to
understanding (perhaps guarded by Smaug). "Go where you are needed" wasn't
going to work. Nor were the other rules. Sometimes, it seems, the
end-effects must be taught just as the dance. No easy feat.


Colin Hume via Callers

 Thu, 05 Apr 2018 02:42:50 -0700


I'm not sure that dancing with ghosts is the best way to deal with end-effects
- I prefer "treat your partner as a neighbour".

I have a whole section of notes on End-effects at
https://colinhume.com/dtendeffects.htm

Colin Hume
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Re: [Callers] Great dances for learning how to dance with ghosts?

[K Panton via Callers]

Thanks, Mark.

Yes, Lisa's Contra would do the trick with a simple out and back.

"Happy as a Cold Pig in Warm Mud" would be another where a star with ghosts
would be on offer. One notch up in complexity.

https://www.cambridgefolk.org.uk/contra/dances/midwest_folklore/happy_as_a_cold_pig.html

Ken


Mark Hillegonds via Callers

 Wed, 04 Apr 2018 18:51:22 -0700


Ken,

I just happened to be pulling dances for an upcoming gig. One of the dances
I selected is Lisa's Contra (Tom Hinds) that has an out and back in A2 that
may work for your purposes.

Looking forward to seeing other suggestions.
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Re: [Callers] Great dances for learning how to dance with ghosts?

[K Panton via Callers]

Right you are, Jack, though I want to read Colin's post in detail; I've had
a skim and he's put in much thought.

In the dance that I'm hoping to call (Mad Slice) the travelling is actually
done not with partner but with a neighbour with whom is visited Shadow 1
and shadow 2. At various points before finally getting clear of the end,
neigbbour is at least shadow 1 and probably shadow 2 but I need to make my
head hurt some more to get a full understanding. So far, though, it looks
as though dancing with ghosts should make it simpler and, in spite of there
being two shadows, it is quite straight forward to work around the ends and
get back successfully to one's partner.

Song in the Night is too complex for my crowd at my skill level as caller,
though I can see it being a useful ghost dance, as you suggest.

Ken


Jack Mitchell via Callers

 Thu, 05 Apr 2018 16:09:06 -0700


That works a lot of the time, but it really doesn’t work in dances like Ken
is talking about. Dance like song in the night (gene Hubert), or for other
dances where you go out and then in and then out, not necessarily with your
partner.
On Thu, Apr 5, 2018 at 5:42 AM Colin Hume via Callers
 wrote:

> I'm not sure that dancing with ghosts is the best way to deal with
> end-effects - I prefer "treat your partner as a neighbour".
>
> I have a whole section of notes on End-effects at
> https://colinhume.com/dtendeffects.htm
>
> Colin Hume
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>
-- 
Jack Mitchell
Durham, NC
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Re: [Callers] Great dances for learning how to dance with ghosts?

[K Panton via Callers]

Thanks, Colin.

I came across your notes yesterday afternoon and will have a read through
as soon as I can.

Ken


Colin Hume via Callers

 Thu, 05 Apr 2018 02:42:50 -0700


I'm not sure that dancing with ghosts is the best way to deal with end-effects
- I prefer "treat your partner as a neighbour".

I have a whole section of notes on End-effects at
https://colinhume.com/dtendeffects.htm

Colin Hume
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Re: [Callers] Another dolphin surfaces

[K Panton via Callers]

April,

When you danced it, did any lady 2 begin the hey with a (quick!) turn
single R (to keep the flow going)?

Ken
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Re: [Callers] Another dolphin surfaces

[K Panton via Callers]

April,

Am I correct to attribute choreography to you?

Cheers,

Ken Panton
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[Callers] Another dolphin surfaces

[K Panton via Callers]

This looks lovely. Both a dolphin and swing-to-swing transition. Woo hoo!

Thanks, April.
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[Callers] Down the hall - do something - then come back up

[K Panton via Callers]

It's been a while since I've danced one of these but I know they exist!

1. Line of four goes down the hall.
2. While there, do something such as 1/2 hey.
3. Line of 4 comes back up.

Any suggestions for lovely dances that include such a (or similar) sequence?

Thanks.

Ken Panton
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[Callers] Great dances for learning how to dance with ghosts?

[K Panton via Callers]

I'm planning to include, in an upcoming evening, a dance with some moderate
(from a beginner perspective) end-effects. Preceding that, I'd like to get
the dancers accustomed to dancing with ghosts with a view to making the
end-effects make sense or, at least, be less of a concern.

I can think of a few dances in which there are easy-intros to end effects
(a move involving a an out-and-back with a shadow, for example (e.g. The
Young Adult Rose)) but I'm more interested in dances that callers may have
in mind that dance well with ghosts.

Maybe I could write a purpose-written dance with the name "The Ghosts and
Mrs. Muir". :)

(Dating myself)

Ken Panton
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[Callers] A Cry for Edits to Your Replies

[K Panton via Callers]

My complaint originates with the "daily summary" email as read on my phone.

I find that if I got to the list archives website, it is much easier to
read and comprehend.

KP
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[Callers] A Cry for Edits to Your Replies

[K Panton via Callers]

This morning I received an update to this list that was entirely
unintelligible. Not because it was long, or that it had several replies on
a topic (substitute terms for gypsy) but because the submissions were made
without removing all that had gone before.

It was one long mass of words which I had no desire to parse.

This is a shortcoming of the mailing list software, to be sure, but please,
when you reply on a topic, take the time to remove all but the most
necessary of previous words that will form part (the annoying bulk?) of
your message.

I really appreciate being able to hear many voices on this list but when it
is gibberish, I am simply frustrated.

Thanks for reading.

Ken Panton
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Re: [Callers] Looking for "fun" dances

[K Panton via Callers]

(aside: I love this list! So very helpful)

RE: The Wheel

Bill Olson noted that the dance can be challenging with the ladies in the
outside circle, due to their generally shorter arms.

Given that the promenade is a long 16 beats, Has anyone tried adding a two
hand turn after 12 beats to put the gents on the outside? I wonder if this
is one of the things that Rick Mohr tried while attempting to reduce socket
injuries. ??


Date: Wed, 31 Jan 2018 21:06:54 +
From: Bill Olson 


Yeah, That's what I was more thinking of than moderately difficult dances
like Beneficial Tradition.. I like Gene Hubert's circle mixer "the wheel" :


The Wheel, circle mixer by Gene Hubert

A1 Promenade (CCW)(16)
A2 (face partner Gents facing out, Women facing in) join 2 hands with
partner and walk ~8 steps IN (8), join hands in concentric circles and walk
~8 steps back out (8)
B1 all circle LEFT (opposite directions obviously)
B2 *SWING* (nearest person)
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Re: [Callers] Looking for suggestions

[K Panton via Callers]

to be clear (not that anyone has said anything)... "Frankenstein's Monster"
meant merely that it was pieced together from parts taken from elsewhere.
No allusions to literary, or other, merit or other, were intended!   :)

On 30 January 2018 at 12:02, K Panton  wrote:

> Dan:
>
> Thanks for sending along Allan's Frankenstein's Monster dance. It reads
> really well and I look forward to running it through my head a few times
> and calling it.
>
> How does the dance/music phrasing work, in practice, for the allemandes
> that span A2-B1? Instinct leads me to prefer having that all contained with
> A or within B (as in Chuck the Budgie).
>
> Ken Panton
>
>
> From: Dan Black 
> To: Bill Olson ,  Grant Goodyear
> ,  Grant Goodyear via Callers
> 
> Subject: Re: [Callers] Looking for suggestions
> Message-ID: <418803780.588959.1517152720...@mail.yahoo.com>
> Content-Type: text/plain; charset="utf-8"
>
> Gang,I usually get so much from this message board, it is time for me to
> provide.? See a rock solid dance below.
> ?Holiday in the Wood
>  Allan Brozek
>  Duple improper
>  Intermediate to advanced
>  Needs moderate tempo due to large number of 4 count figures
> | Note:
>  This one borrows bits from two of my favorite dances...Slapping the Wood
> (Don Flaherty) (A1 & B2) and Hudson Holiday (A2 & B1)...hence the title. |
>
>  A1 (8) Do-si-do neighbor couple around couple(8) Swing neighbor A2 (8)
> Men allemande left 1 & 1/2 to a wave across(4) Balance(4) Turn partner by
> right 3/4 to a wave along the line B1 (4) Balance(4) Allemande left with
> shadow(8) Swing partner B2 (8) Circle four 3/4(4) Balance in the circle(4)
> California twirl
>
>
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Re: [Callers] Looking for suggestions

[K Panton via Callers]

Dan:

Thanks for sending along Allan's Frankenstein's Monster dance. It reads
really well and I look forward to running it through my head a few times
and calling it.

How does the dance/music phrasing work, in practice, for the allemandes
that span A2-B1? Instinct leads me to prefer having that all contained with
A or within B (as in Chuck the Budgie).

Ken Panton


From: Dan Black 
To: Bill Olson ,  Grant Goodyear
,  Grant Goodyear via Callers

Subject: Re: [Callers] Looking for suggestions
Message-ID: <418803780.588959.1517152720...@mail.yahoo.com>
Content-Type: text/plain; charset="utf-8"

Gang,I usually get so much from this message board, it is time for me to
provide.? See a rock solid dance below.
?Holiday in the Wood
 Allan Brozek
 Duple improper
 Intermediate to advanced
 Needs moderate tempo due to large number of 4 count figures
| Note:
 This one borrows bits from two of my favorite dances...Slapping the Wood
(Don Flaherty) (A1 & B2) and Hudson Holiday (A2 & B1)...hence the title. |

 A1 (8) Do-si-do neighbor couple around couple(8) Swing neighbor A2 (8) Men
allemande left 1 & 1/2 to a wave across(4) Balance(4) Turn partner by right
3/4 to a wave along the line B1 (4) Balance(4) Allemande left with
shadow(8) Swing partner B2 (8) Circle four 3/4(4) Balance in the circle(4)
California twirl
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Re: [Callers] ???? Looking for Author of Dance -dancers adjust

[K Panton via Callers]

To my knowledge, it depends on the dance; i.e. how many beats has the
choreographer allowed for. Some dances are timed to 2 beats zig, 2 beats
zag. Some are timed for 4 beat zig and 4 beat zag.

I believe that "Cows are Watching" (just looked online) and  Weave the
Line, as examples, are the latter.

I can't recall the name of a dance with the similar zig/zag into a gents
alle L as "Cows" that, I think, has 2 beats/zig timing.

Ken


> --
>
> Message: 1
> Date: Sat, 25 Mar 2017 13:43:36 -0500
> From: Jerome Grisanti via Callers 
> To: Tom Hinds 
> Cc: "callers@lists.sharedweight.net" 
> Subject: Re: [Callers]  Looking for Author of Dance -dancers
> adjust
> Message-ID:
> 

Re: [Callers] Callers Digest, Vol 34, Issue 11

[K Panton via Callers]

Ron,

I could not locate use of the word "bland" in the post you reference.

In any event...

Did you not read the paragraph following that which contained the reference
to diet soda? The author stated that others may disagree. Obviously, you
disagree. Please don't belittle the views of others as you demonstrate your
egalitarian viewpoint.

I happily agree with most of what Neal wrote. I don't go contra dancing to
dance with guys, primarily. I go to dance with women. Yes, for me there is
quite a (fortunate) difference between dancing with men & women. I'll dance
with men but those "sublime" moments have happened only when dancing with
women.

Couples dancing originated as gendered. I would argue that it continues to
be primarily gendered simply because couples are gendered whether
identified by physical difference or role predeliction. I know of
homosexual dancers who have preference for one role over the other; they
are not ambi-dance-trous in that sense. I.e. they do not get a similar
level of enjoyment dancing both roles.

Argue away, but please avoid the "holier than thou".

Ken Panton




Message: 1
List-Post: callers@lists.sharedweight.net
Date: Thu, 16 Feb 2017 22:49:24 -0500
From: Ron Blechner via Callers <

I have danced at a bunch of genderfree dances, as well as my home dance
having a lot of people who dance both roles. I can't say I've ever had this
"diet contra" experience.

My home dance is widely known among musicians and callers as a lively crowd
who brings good energy to performers. Proper and improper have little
relevance, but that doesn't stop a seeming endless supply of new
choreography being generated and called by various callers. Does it really
matter if I'm allemanding or swinging with a particular gender? I guess a
person can still choose to only dance with one gender if they really felt
strongly.

But saying that genderfree dancing is bland? I mean, it's a folk community
dance. The whole point is we all dance in one big set together. If dancing
only to swing people of one gender means so much that contra is "diet"
without it, I would ask what exactly contra means to you?


Best regards,
Ron Blechner



On Feb 13, 2017 6:17 PM, "Woody Lane via Callers" <
callers@lists.sharedweight.net> wrote:

I basically agree with Neal. I would not want to replace gents and ladies
with other arbitrary terms. For many of the same reasons.

Woody

--
Woody Lane
Caller, Percussive Dancer
Roseburg, Oregon
http://www.woodylanecaller.com
home: 541-440-1926 <(541)%20440-1926> cell: 541-556-0054 <(541)%20556-0054>
--

On 2/13/2017 2:51 PM, Neal Schlein via Callers wrote:

I do not want to replace gent and lady as terms, based on my own experience.

Some context: I've been dancing for between 29 and 37 years, depending on
how you count--my parents met at a square dance and I grew up dancing.  I
started calling about 18 years ago, and dance/call ECD, Scottish, squares,
contra, ballroom, and folk styles at varying levels of proficiency.  Seeing
a man dancing the lady's role, or a woman dancing the gent's role, has
never, ever phased me.  It's fun to swap, requires technical skill, speaks
well of a dancer who can do it well stylistically, and sometimes is
necessary to fill out a set.  It is also an important skill for any caller,
and one callers need to know how to handle when it happens in special
situations; the callers I grew up with talked about when they first
encountered gay or one-gender crowds in the 60s and how they struggled to
adjust on the fly.

That said, I first encountered "gender-free" dancing at a Heather and Rose
(?) ECD dance outside of Eugene, Oregon about 15 years ago.  I didn't know
what I was walking into, and thought it was a normal ECD event until they
lined up and started teaching.

They used several dances I was familiar with; I had been teaching some
older ECD dances for a graduate folklore class and recently returned from
Berea's Christmas Country Dance School.  Aside from momentary confusion,
adapting to the unfamiliar terminology and random line-up was not a problem
for me.

What I couldn't adapt to was how being made "gender free" changed the
character of the dances I knew.  They became less elegant, less
interesting, and were lessened overall.  Switching between an A and a B
position meant nothing aside from (possibly) a slightly different floor
pattern.  Proper and improper had no relevance.  There was no stylistic
mastery needed to switch dance sides because any clue as to historically
demanded or intended stylistic differences had been stripped out--there
weren't even ROLES anymore, merely positions; there was nothing to hold
onto even as a guideline for playacting.  The dances completely lost their
flavor and character.  They became like Caffeine Free Diet Crystal Coke.
(I mean, honestly...WHY WAS THAT EVER MADE?  Just drink water!)

Other folks may certainly disagree with me, and I have followed and agree
with the many counterpoints, but I 

Re: [Callers] Contras which feature a "Dublin Bay" figure

[K Panton via Callers]

How does this dance feel in practice, Erik?


I like the notion of incorporating lesser-used figures. I like both the
chain the line - to progress the lady early and setup for a satisfying
reunion later - and the Dublin Bay.

I am troubled by two things here though. First the courtesy turn duration
will vary depending on which side of the set you are on (1/4 or 1+1/4 for
the overachiever on one side, 3/4 for the other couple).

Second is the transition you mentioned to B2.

How to get rid of chain to line of 4?

The Dublin Bay to P b "might" be smoothed by the following: on the
return, after 4 steps forward, do not turn and backup. Instead, do a funky
whatever-we're-calling-a-gypsy just 1/2. I.e. all drop hands. Insides walk
around outside person 1/2 way to face P in next 4-some. Outsides kind mad
robin around the inside person 1/2 way to face P.
Meh.







On 1/19/2017 11:49 PM, Erik Hoffman via Callers wrote:
I find, when dancing the one or two dances I?ve danced that try to steal
the Dublin Bay figure, they have a line backing up bending into a
circle. I found this transition not to my taste. So I took a stab at a
different transition. I think it works, but it?s a bit tricky:

Happy Birthday, Susan
Erik Hoffman
Becket
A1  Wm ?Chain the line? (Wm Al R ?, then to next Wm,  Al L ? to meet
Nb on R diag ?  across from Shadow);
Neighbor Swing
A2  LLF  Wm Chain to Shadow
B1  Dublin Bay DH4inL ends loop back, centers step forward to
B2  Pt B

Given to Susan Petrick on her birthday, while on tour with the
OpporTunists in 2010 (I think).
The Dublin Bay DH4inL: Down for 4, turn alone backing up for 4,
up for 4, turn alone, backing up for 4. From the ECD dance Dublin Bay.
Others have used the Dublin Bay  move, but ended it with a ?fold into a
circle. That backing up, then circling has never felt good to me. This
is my attempt to come up with a segue I like.
Note, even though it?s a Becket dance, there is a difference in
roles in this dance between the ?ones? and ?twos?.

~Erik Hoffman
Oakland, CA

___



, Be

Re: [Callers] Favorite NWT dances

[K Panton via Callers]

Kalia:

I usually reserve my NWT til the end of the night but I can see the value
in calling one after announcements. I might do that next time. I agree that
announcements often are long and dancers wanna dance!

I like the Nils Fredland approach to the NWT "walk-through". "Face your N.
Do we need to walk that through a second time?"

My NWT choices are simply those that have clean and clear starts and
finishes for each figure that require very little brain power even for
first-timers. All the figures have occurred at least twice in earlier
dances that evening. Low piece count.

Kiss the bride
Delphiniums & Daisies
Al's Safeway Produce
A(nother) nice combo
Rendezvous
Simplicity Swing
Streetsboro daisies
Jubilation
The boys from Urbana - if you're truly confident.


Ken

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

[K Panton via Callers]

Thanks to all for the ideas.

Special thanks to Maia!

If anyone has insights into teaching diagonal figures to the uninitiated
I'd love to hear them.

Ken

On Oct 10, 2016 12:36, "K Panton"  wrote:

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

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

[K Panton via Callers]

3-33-33 is not a good choice for introducing beginners to extra-4some
expeditions. I've also found that a diagonal chain followed by a
straight-across figure causes confusion.

The Young Adult Rose,and others, have a pass-through to shadow allemande
which is doable.

Does anyone have some reliable key to unlock this mystery for new dancers,
thereby opening up a whole new world!

Thanks

Ken

[Callers] Alternating Rang Tang Contra - anyone?

[K Panton via Callers]

I'm calling Rang Tang Contra tonight.

As it stands, the gents alone cross the set in the rang Tang. In the same
way as Alternating Corners, has anyone ever called this dance alternating
between gents and ladies crossing in the rang Tang?

I figure it could be done easily enough by having 2ladies alle L to start.
The timing would be slightly different than starting with a N alle R but as
the timing seems imprecise in this move anyhow..

Anyone?