Re: [Callers] Does this dance exist ?

[Mac Mckeever via Callers]

 How do you do a box circulate from a pet turn?  you are not in the correct 
place to circulate?
Mac McKeever
On Monday, October 14, 2019, 08:48:31 PM CDT, Tepfer, Seth via Callers 
 wrote:  
 
 Hello encyclopedic dance minds. Does this dance already exist?

Formation: Becker, CW
A1: [slide left] new ravens allemande right 1.5; neighbor swing
A2: Circle left 3/4; balance the ring, neighbor CA twirl
B1: balance, petronella twirl; balance, box circulate
B2: balance, slide right; partner swing

Question 2: is petronella followed by box circulate boring?

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Re: [Callers] [Organizers] contra dance gypsy

[Mac Mckeever via Callers]

 Sorry - I did not mean to hijack this thread with discussion of gypsies - just 
found it curious that the term 'dance gypsy' was used in the subject line.  I 
have not heard of anyone addressing that usage.  Please return to the original 
discussion
Mac
On Monday, October 7, 2019, 02:46:21 PM CDT, Masha Goodman Crawford 
 wrote:  
 
  Becky - Excellent answer.
The first time I heard the term "gypsy" for the dance move, I happened to be 
living among Roma in Europe and was back in the states on a short visit.The 
part that seemed particularly offensive to me was that the move was taught with 
the emphasis on gazing flirtatiously into the other dancer's eyes - something 
that would have been absolutely taboo among the people I had been travelling 
with. I suppose the name came from someone's mental image of a Flamenco dancer 
circling, and some idea that Gypsy = Flamenco? who knows. I discovered, much to 
my dismay, that many of my well-educated American friends thought "Gypsies" 
were just a fictional group or general term for folks who travel, hence the 
"dance gypsy" slang. They are a proud and very real ethnic group with a 
centuries-old language, customs, and a long history of being marginalized and 
persecuted.In your mind, take any other group with a similar history, and 
substitute it: Would you teach dancers to do a "Xxx", and tell them that it 
means to behave a certain way with strangers?  (Becky gave one good example, I 
can think of others as well.)Can we just DROP the term "gypsy" altogether, 
please?- Masha(dancing and calling since 1978)
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Re: [Callers] [Organizers] contra dance gypsy & fuel consumption

[Mac Mckeever via Callers]

 These are some really important things to consider.  There are easy ways to 
reduce our carbon footprint without avoiding travel
Carpools are wonderful - more efficient and a great opportunity to bond with 
other dancers
There are lots of more fuel efficient cars that make a real difference.  
Outside out local dances it is starting to look like a Prius dealer's lot - 
those get near 50 mpg.  All electric or plugable hybrids do even better - but 
are relatively new and expensive right now.  Trains and buses take a little 
planning but better for the environment..
only slightly related question:  Why is it offensive to call a dance figure a 
gypsy but not offensive to be a dance gypsy?
Mac McKeever
On Monday, October 7, 2019, 01:55:01 PM CDT, Paul Wilde via Organizers 
 wrote:  
 
 Hey all,

This is a long email, as it includes three posts.

First, I hope people don't mind, but I'm ccing,
callers and musicians list here, as I think
we can collectively bring about a major shift
in habits w/ our concerted hive intelligence.

I am including the original two posts near the top of
this email, so callers/musicians list people can
see where this started.  PLEASE feel free to
cut out the original lengthy posts when replying.

First:

On 10/7/19, Heitzso via Organizers  wrote:
> I'm a believer that climate change is a real threat.

> I'm also a believer that our culture desperately needs activities
  that bind people together rather than fractures them apart, and
  I believe contra dance is an excellent way to do that.
  (sharing weight, dancing with everyone, ...)

> I've mentioned the issue of how do we change our contra culture
  to minimize our carbon footprint from traveling to non-local contra
  dances to my wife, Jennifer Horrocks, a few times over the years
  (she sews and sells contra dance dresses all over the country).

> Recently Liz Burkhart (on this email's "to" list) posted on Facebook
  about her trying to alter her contra lifestyle to minimize her contra
  carbon footprint.

> Cut-and-pasting from her post:

>> I've spent years with a contra habit that takes me to roughly one
dance weekend per month. The closest, besides our own, was 83 miles
away and the furthest was 795 miles. I am acutely aware that this is an
incredible amount of distance to be covered for just one weekend (sometimes
a week) for a pleasurable activity. It's been weighing on me more and more,
as it's becoming painfully obvious that our lifestyles aren't sustainable. My
lifestyle at home is mostly pretty simple, but I feel this nagging guilt
when I do something extravagant, like drive to Vermont for YDW. Although
we did our best to cram up to 6 people and our stuff in a van, we still
consumed a lot of fuel to make it happen. Some people flew, which consumes
even more.

>> I think I'd like to work on decreasing the amount of out-of-town events
I go to, and try to find alternative ways to get there. Carpools are great
and much better than driving solo, but we could do more. One dancer this
weekend took public transit and a bicycle from DC area to Vermont. A whole
band playing for a square dance weekend a few years ago biked from south
(I think New Orleans?) all the way to Nashville. I think this is really
admirable and more people should consider something like this. This
ongoing climate change makes our world a scary place, and it will only get
worse (it doesn't look like those with the power to fix it care to change
the high consumption status quo). It's also becoming more common for me to
have to drive distances to call contra dances, which is harder to find
carpool mates for. I'm not sure what that will look like for me - I am
fantasizing about a NE train/bike tour with dates far enough apart that I
can make it to gigs with this slower and less convenient transportation.
I'm also considering making a vow to never fly on an airplane again. Their
use is so incredibly terrible for our environment.

>> Has anyone been adapting their travel habits in the face of climate
>> change?

> I believe that we, our contra community, needs to openly start discussing
this issue.
I applaud Liz's public request for comment and solutions.

> Sincerely,
> Heitzso
> http://atgaga.com

Finally, my reply:

Yes, this is a very worthwhile discussion.

On a slightly side note, 2+ yrs ago a hydrogen station was completed
at a local super market parking lot 1 mile from our house.

I tried for 1 yr, writing emails and calling Stop & Shop, Toyota, Honda,
and people from Air Liquide who were the ones responsible for installing
the hydrogen station.  I got absolutely nowhere for all this effort.
I was told repeatedly by everyone I could get to talk to at both
Toyota and Honda (both who make hydrogen powered cars)
that there weren't stations to provide fuel to start selling these
cars anywhere but in CA.  To my knowledge (I live in Prov RI),
there are stations near Hartford CT, Mansfield MA (20 mi. from us),
Newton MA, (40 miles from us and close to 

Re: [Callers] Two Face Three Dance Inquiry

[Mac Mckeever via Callers]

 I have a dance I think is called 'turn back jack' - part if it is 3 face 2 and 
the 2 dosido with the center dancer in the line of 3.  It goes into a basket 
swing in a way that is hard to explain - but i will try
I will not relate this to the music because it never seems to be able to keep 
up - so it is more free form.
All 5 right star - one person is designate as the JackJack drops out of the 
star and turns back the other way an chooses someone to swingThe other 3 do a 
basket swing and end in line of 3 facing the other 2 who were swingingWho ever 
ends up in the center of the line of 3 is the Jack next time aroundLine of 2 
dosido with person in center of line of 3Center person returns to center of 
line - but faces out and crosses arms to take hands in line of 2other 2 join to 
make a circle of 5 with the new Jack facing out with arms crossedJack raises 
top arm to make arch and pulls 2 dancers into middle of circleno one lets go - 
center dancers raise arms over others to make a basket (yes - this actually 
works!)Basket swing - release to right star and start again.
This is not an easy dance
Mac McKeeverST Louis

On Sunday, July 7, 2019, 09:43:03 PM CDT, Rich Sbardella via Callers 
 wrote:  
 
 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?
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Re: [Callers] Calling for the visually impaired

[Mac Mckeever via Callers]

 For several years we had a wonderful lady dance with us who was totally blind 
(could not even tell light or dark)- here are a few things I learned from her
She always danced in a line next to a wall - the reflections off the wall gave 
her as good a sense of direction as the rest of us.
Use dances where you stay connected to other dancers.  With her experience she 
did well on dosido and hey - but down the outside alone was not possible.
You will have a problem any time dancers need to make new connections - like 
ladies chain, allemand, etc - someone has to be able to find the impaired 
dancer's hand.
She would not dance squares - too much uncertainty and dancers who are lost 
made it impossible for her to recover(in a contra you get past it quickly so 
only one time thru is challenging).
As I said - this dancer was totally blind (but so good that those who did not 
know her often did not figure it out).  She also clapped at times when not 
connected to hear what was around her.
It sounds like your dancers will have various degrees of impairment, so some of 
this may not be as important. 
Hope this helps some - while challenging - this should be very rewarding and 
fun.
Mac McKeeverSt Louis
On Sunday, April 14, 2019, 2:53:33 PM CDT, Helle Hill via Callers 
 wrote:  
 
 I work with the visually impaired and have been asked to call an evening of 
dances for an outing. I know the basics of working with the visually impaired 
but does anyone have any suggestions for dances, how to handle the directional 
aspect, or any other ideas to make it a successful experience. I hope that each 
visually impaired dancer will have a "seeing" partner.
Thank you so much in advance.
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Re: [Callers] Leading a 1 hr contra dance

[Mac Mckeever via Callers]

 Here is a contra I  have had success with new dancers - but only if they are 
doing really well on the other stuff - otherwise I avoid contras.
A1 - Cir L - dosido neighborA2 ladies dosido, gents dosidoB1 Long Liine for & 
back - 1s swing in centerB2 Down hall line of 4 - don't let go - back up -  
centers  (1s) arch - shoot 2s thru to new neighbors
They really need to understand 1s & 2s and when t change and how to wait out at 
the ends
With new dancers I only let them go down the hall 4 counts, back up 4 counts - 
then they have 8 counts to get the progression and get a new circle formed.  
Not how I would call it with experienced dancers.
Mac McKeever
On Friday, March 29, 2019, 12:53:24 PM CDT, Bree Kalb via Callers 
 wrote:  
 
 Do Si Three by Linda Leslie is another excellent dance for newbies. It has 
progression and swings (I encourage elbow swings) and it doesn't matter a bit 
where one ends up. It's always been a great success when I've called it.

On Fri, Mar 29, 2019 at 11:02 AM Rich Sbardella via Callers 
 wrote:

Casey,
In a one hour gig with lots of newbies, I would suggest not using any 
progressive contras.  There are too many fun dances that usr similar basics 
without the complication of progression.  I have been hired to call such contra 
dances, but found the most success calling dances likes "Rakes of Mallow", La 
Bastringue, Rural Felicity, Heel & Toe Polka, etc.  Few people in the crowd 
understand what a "modern" contra dance is, they just want to move to the music.
Goodluck,Rich SbardellaStafford, CT
On Fri, Mar 29, 2019 at 10:05 AM Casey Carr via Callers 
 wrote:

  I would also start with a circle - teach giving weight, hand holds, 8 counts. 
 Might teach La Bastringue (keeping partners and 2 hand turn instead of swing). 
  I would definitely not teach swings in an hour - no ladies chains.   Just 
circles, stars, allemandes, dos si dos. 
  Depending on the crowd could start with Gallopede or Virginia Reel, then 
Family Contra would be perfect and end with another simple contra. 
  
  Casey Carr
  
  On 3/29/2019 8:52 AM, Liz Burkhart via Callers wrote:
  
 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] Building to Contra Corners

[Mac Mckeever via Callers]

 I think there are certain figures that define a dance.  butterfly whirl, 
rory-o-more, zipper, etc.  I put contra corners in this category.  Heys are not 
as defining (in my opinion) and can be spread around the program more easily (I 
include petronella in this same category) - but I till try to avoid calling 2 
dances with full heys in the same program.
My goal is to keep as much variety in the program as possible.  I would not 
call contra corners twice n the same evening.
I am glad Down by the Riverside has been recommended.  I first danced this on a 
trip to Scotland with Melanie calling her dance.  I did not like it much on the 
walk thru but once the dance started it changed my mind quickly.  It is a great 
dance and certainly adds variety to a program.
Mac
On Thursday, February 21, 2019, 7:56:44 AM CST, Bob Hofkin 
 wrote:  
 
 Mac,

Callers do that all the time with hey for four--which I think is harder 
for inexperienced dancers than contra corners because there's less 
connection with the other dancers.

Bob

On 2/21/2019 8:14, Mac Mckeever via Callers wrote:
>  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
>      On Thursday, February 21, 2019, 12:12:29 AM CST, Chris Page via Callers 
> wrote:
>  
>  Like many others, I recommend a triplet or 3-face-3. You're not going
> out of your minor set, and not everyone's active all the time.
> 
> I recommend:
> Corner Triplet (Linda Leslie)
> Melanie's Triplet (Melanie Axel-Lute)
> Microchasmic Triplet (Ann Fallon)
> 
> or
> 
> Down by the Riverside (3-face-3 by Melanie Axel-Lute)
> 
> I don't recommend Ted's Triplet #7, because it also includes a proper
> right-and-left through, which many people these days are more
> unfamiliar with than contra corners.
> 
> -Chris Page
> San Diego, CA
> 
> On Wed, Feb 20, 2019 at 1:38 PM Hannah Chamb via Callers
>  wrote:
>>
>> Hi all, first time posting here!
>>
>> I'm new-ish to calling and I've yet to call contra corners. I think I'm up 
>> for the challenge and could teach the figure itself, but I still think it's 
>> a tricky one for dancers in all but the most experienced crowds. A few 
>> callers I know have advised me to build up to a challenging figure like 
>> contra corners over the course of an evening by calling dances that echo the 
>> skills the dancers will need later.
>>
>> With that in mind, what dances would you call early in the evening in a 
>> mixed-level group that would help "teach" dancers the skills they need to be 
>> successful at contra corners?
>>
>> I've been thinking I should include an easy proper-ish dance, and maybe a 
>> dance with allemandes outside the minor set... anything else come to mind?
>>
>> Thanks in advance,
>> Hannah Chamberlain
>> Westbrook, ME
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Re: [Callers] Building to Contra Corners

[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
On Thursday, February 21, 2019, 12:12:29 AM CST, Chris Page via Callers 
 wrote:  
 
 Like many others, I recommend a triplet or 3-face-3. You're not going
out of your minor set, and not everyone's active all the time.

I recommend:
Corner Triplet (Linda Leslie)
Melanie's Triplet (Melanie Axel-Lute)
Microchasmic Triplet (Ann Fallon)

or

Down by the Riverside (3-face-3 by Melanie Axel-Lute)

I don't recommend Ted's Triplet #7, because it also includes a proper
right-and-left through, which many people these days are more
unfamiliar with than contra corners.

-Chris Page
San Diego, CA

On Wed, Feb 20, 2019 at 1:38 PM Hannah Chamb via Callers
 wrote:
>
> Hi all, first time posting here!
>
> I'm new-ish to calling and I've yet to call contra corners. I think I'm up 
> for the challenge and could teach the figure itself, but I still think it's a 
> tricky one for dancers in all but the most experienced crowds. A few callers 
> I know have advised me to build up to a challenging figure like contra 
> corners over the course of an evening by calling dances that echo the skills 
> the dancers will need later.
>
> With that in mind, what dances would you call early in the evening in a 
> mixed-level group that would help "teach" dancers the skills they need to be 
> successful at contra corners?
>
> I've been thinking I should include an easy proper-ish dance, and maybe a 
> dance with allemandes outside the minor set... anything else come to mind?
>
> Thanks in advance,
> Hannah Chamberlain
> Westbrook, ME
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Re: [Callers] Calling a "box circulate"

[Mac Mckeever via Callers]

 I just call 'gents cross' or 'ladies cross'  No one has trouble figuring it out
Mac McKeever
On Monday, January 7, 2019, 2:46:15 AM CST, Lenore Frigo via Callers 
 wrote:  
 
 I'm planning to call a dance with a box circulate, for the first time, and got 
to thinking, how do you call it during the dance? Do you use the actual word 
"circulate"? That seems clunky to me.I can think of lots of possible 
alternatives, but was wondering if there's a word that is commonly used. 

For context, I'll be calling this for a group that has for the most part never 
done a box circulate. (And while we're at it, if you have any tips for teaching 
the box circulate, I'd be glad to hear those as well!).

Thanks so much,Lenore Frigo


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Re: [Callers] Square Dance Choruses

[Mac Mckeever via Callers]

another really easy one is circle left - swing corner X4 - prom home
Mac McKeever
   On Friday, August 31, 2018, 6:14:01 AM CDT, Tom Hinds via Callers 
 wrote:  
 
 Of course there’s tons of material.  If you’re newish to calling I would get 
comfortable with a just one at first.  How about:
Circle left, right
Allemande left corner, grand right and left.
swing P and promenade
Forward and back twice.
You can change the order of the above for variety.  Just take a look at how the 
figure ends and begins so it all flows well.
My experience is that the some of the dancers will reach their partners a beat 
or two before the end of the phrase during the grand right and left.   So I 
always say something like “swing when your meet your own” rather than “when you 
meet your own swing”
Tom Hinds
Sent from my iPad
On Aug 31, 2018, at 6:41 AM, Liam Binley via Callers 
 wrote:



Hi all, I have been calling for about a 18 months now, mostly Contra, with a 
bit of ECD mixed in for good measure. The one thing I haven’t tried yet is 
American format squares(chorus, figure, figure, chorus, etc)! So, I have some 
square figures that I’d like to try, but I’m a bit stuck on choruses. Has 
anyone got any good, interesting, but simple choruses that can be easily done 
‘on the call’?

Many Thanks,
Liam Binley.

liam.bin...@me.com

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Re: [Callers] Contras with square dance figures

[Mac Mckeever via Callers]

 Great dance - but I think it is the 24th of June
Mac McKeever
On Saturday, August 4, 2018, 6:54:09 PM CDT, Tom Hinds via Callers 
 wrote:  
 
 I’ve used (over used) the combination swing thru, turn thru in a number of 
contras:

Batja’s Breakdown
Stretching the Limits.

Batja’s has pass the ocean

I thought it would be fun to include scoot back in a contra and came up with 
Lisa’s Contra.  The gypsy in that dance is a scoot back without hands.

Double Take has reverse the flutter
The Mixing Bowl has flutterwheel and reverse the flutter

Steve Schnur probably wrote the first contra with circulate in it called (going 
by memory here) 24th of Jan.  I’m sure he wasn’t aware of a move from MWSD 
called circulate when he wrote that contra.  It might be in Zesty if you don’t 
have it.



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

[Mac Mckeever via Callers]

 interesting - the a1 looks pretty ambitious - but if they don't finish in 
time, the a2 is forgiving
Mac McKeever
On Thursday, August 2, 2018, 1:36:35 PM CDT, Luke Donforth via Callers 
 wrote:  
 
 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 contraA1(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 
sideA2(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] Dance ID and question

[Mac Mckeever via Callers]

 That looks like 'Will You Marry Me' by Seth Tepfer
Other ones that come to mind
Hey in the barn by Chart(?) GutherieTinkie Winkie by Ron Buchannon
I am sure there are several others
Mac McKeever
On Saturday, July 28, 2018, 9:16:26 AM CDT, Richard Hart via Callers 
 wrote:  
 
 Two questions. First I collected the following dance long ago. Does anyone 
know the author and title?

Becket formation.

A1: Circle L 3/4
      Flatten circle to wavy line or 4, woman in middle.
      Balance wave. W alla main L 1 x.

A2: N Bal & Swing.

B1: Circle L 3/4
        Flatten circle to wavy line of 4, women in middle.
        Balance wave. W alla main L 1 x.

B2: P Bal & Swing.
        Slide L to progress.

In this dance, the A and B parts are essentially mirror image repetitions of 
each other. Do you know of any other dances where the A and B parts repeat in a 
similar way? The only other dance that I know of that does this is Chart 
Guthrie’s Hey in the Barn.

Thanks, Rich Hart.

Sent from my iPhone
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Re: [Callers] Folk Festival - Easy Contra dances to teach Beginners

[Mac Mckeever via Callers]

 I stay away from contras unless you have a good number of experienced dancers 
to hold things together.  There are lots of dances that are more self 
correcting and don't have the complexity that progression creates.  Virginia 
Reel works good with beginners
Mac McKeever
On Tuesday, July 24, 2018, 9:48:59 AM CDT, Lorraine Sutton via Callers 
 wrote:  
 
 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] Circles, Crazy Circles

[Mac Mckeever via Callers]

 Roger Diggle - Snake Oil Reel - great dance no circles
On Monday, July 9, 2018, 7:16:41 PM CDT, Rich Sbardella via Callers 
 wrote:  
 
 Helo Folks,
This group has been so quiet lately.  The group has been so important for me as 
I developed my Contra calling repertoire and skills, so I thought I'd initiate 
a conversation.

As I sit here programming a dance I realize that I do not have many dances 
without circles.  Many that I do have, do not have a Neighbor Swing, or have a 
Give & Take to cheat it out.  Those factors limit where and when I can use them.
I generally like to program two no circle dances in each half, and also a NO 
neighbor Swing dance in at least one half if not both halves of an evening.  
Any thoughts on this?
Does anyone want to share some modern contras that have no Circles and no Give 
& Takes, but include a partner and neighbor swing.
Here are a few I have used.
Just for NEFFA, Linda LeslieRollin' and Tumblin'. Cis HinkleRocket City Romp, 
Cis HinkleTravels with Rick and Kim, Shari Miller JohnsonFriday Night Fever, 
Tony Parkes
Thanks,Rich SbardellaStafford, CT

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Re: [Callers] A Dance without Partner Swing

[Mac Mckeever via Callers]

The tease has a partner swing.  If you want the ultimate non- partner dance - 
look at Snake River Reel by Petr LIppincott - it is a very nice dance - except 
you never have any contact with your partner (also a great tune with the same 
name - also from Peter)

Mac McKeever
St Louis
 

On Sunday, May 13, 2018, 2:35:20 PM CDT, Rich Sbardella via Callers 
 wrote:  
 
 I cannot recall dancing a modern contra in the last few years that does not 
include a Partner Swing, so I have a few questions.
First, do you call any such modern dances without a partner swing?  Why or why 
not?
Second, if you do, do you announce it before the preceding dance so as to 
inform those pairs of dancer that love to swing together?
The Tease by Tom Hinds is one such creative dance that begs to be called.
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Re: [Callers] Looking for a CD that would have full length contra tunes for calling

[Mac Mckeever via Callers]

We have one from 1998 dance weekend  - tracks are 9 to 12 min long.  They are 
strictly old-time bands and a little faster than some are used to
Might not be what you want - but let me know if  you want to try it
'Face the Creek'  $12 includes shipping
Mac McKeeverSt Louis
 

On Friday, April 6, 2018, 7:56:15 PM CDT, Cheryl Joyal via Callers 
 wrote:  
 
 Fellow Callers - Does anyone know of a CD that would have full contra length 
tunes that I could use to call from…… Thinking it is time I called a contra for 
my work friends in Greece in May. 
(Alternately know of any contra bands in Greece ?) Thanks in advance - Cheryl

Cheryl Joyalclmjoyal@gmail.comclmjoyal@aol.com630-667-3284 (cell)



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Re: [Callers] alphabet breaks

[Mac Mckeever via Callers]

Wow - that is impressive!
Thanks
 

On Thursday, April 5, 2018, 10:16:24 PM CDT, Chris Page 
<chriscp...@gmail.com> wrote:  
 
 Searching

https://squaredancehistory.org/items/search/

for "allemande alphabet"

gives the appropriate links.

-Chris Page
San Diego

On Thu, Apr 5, 2018 at 8:08 PM, Mac Mckeever via Callers
<callers@lists.sharedweight.net> wrote:
> I am trying to collect the series of square breaks based on various letters
> of the alphabet - I believe there are a bunch oft them.
>
> I can only remember allemand X and allemand R
>
> Who has others?
>
> Mac Mckeever
>
>
>
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[Callers] alphabet breaks

[Mac Mckeever via Callers]

 I am trying to collect the series of square breaks based on various letters of 
the alphabet - I believe there are a bunch oft them. 
I can only remember allemand X and allemand R
Who has others?
Mac Mckeever

  
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Re: [Callers] Down the hall - do something - then come back up

[Mac Mckeever via Callers]

I have always liked Marching Ants by Ron Blechner (I hope I have that name right
Mac McKeever
 
Ron's Contra Dances, Ants Marching

| 
| 
|  | 
Ron's Contra Dances, Ants Marching

Ants Marching Ants Marching Duple Improper Contra by: Ron T Blechner Setup: 
Neighbors face up and down the set a...
 |

 |

 |




On Wednesday, April 4, 2018, 9:01:52 PM CDT, K Panton via Callers 
 wrote:  
 
 It's been a while since I've danced one of these but I know they exist!
1. Line of four goes down the hall.2. While there, do something such as 1/2 
hey.3. Line of 4 comes back up.
Any suggestions for lovely dances that include such a (or similar) sequence?
Thanks.
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Re: [Callers] New (?) 4x4 contra

[Mac Mckeever via Callers]

I have called hey mania several times and it is not hard to stay with the 
phrasing - as long as you use the swing after the heys to let everyone catch up
Mac McKeever
 

On Wednesday, April 4, 2018, 11:17:08 AM CDT, Luke Donforth via Callers 
 wrote:  
 
 Thanks all for the feedback! I'll reach out to Erik and Nils. 
As Rick pointed out, the dance could work from standard 4x4 lines; and I 
certainly wouldn't object to folks dancing it that way. In my head, the half 
grand hey precludes this from many dance events, so I figured dancers I could 
toss this at would probably not be thrown by the bent formation. But keeping 
the non-hook moves simple is worthwhile. 
I haven't done a Dutch Crossing workshop, although I've been meaning to. Nice 
to see Lisa getting everyone through it, thank you for the link; and the 
reminder to learn Dutch Crossing.
Colin, I don't remember the last time I got to call a 48 bar dance. But if I 
get a band itching to play one, now I've got some things in the quiver. 
Jim, I'll admit Heymania is intimidating to me. I like the fixed timing of 
contra, the squishyness of squares is a challenge for me. I'd have to work up 
to that one with some simpler non-musically-square squares. 
As for this dance, dropping the balance before the partner swing and letting 
the hey flow into B2 seems the simplest and most forgiving way of handling the 
timing. I like the idea of the reunion moment being marked in time though, so 
that partners know when they're supposed to find each other. You could give the 
hey more time in B1 at the expense of some of the neighbor swing. What about 
the following variation, informed by Chris's comments on timing?
Tamlin's Cross (variation)4x4 (lines or bent)
A1 
(4) All 8 go into the middle
(4) Gents roll partners away on the way out
(8) Corner Swing, square set
A2
(8) Gents left hands across star 1x; gents drop out
(8) Ladies left hands across star 1x;ladies keep hands, and take right hand 
with corner (making crossed wavy lines of 4)B1
(4) Balance the wavy lines of four(12) half grand hey, start passing corner you 
swung by right
then turn away from corner you swung
B2
(16) Partner Balance and Swing
End the swing facing new couple, having swapped sides with your trail-buddy 
couple
That gives both roles the muscle memory of a left hand star in the middle as 
prep for the handless-star in the hey; which could either be helpful or 
monotonous. 
I wouldn't usually chase a left hand star with a left hand star, but I think 
left will flow better for the gents out of a swing; and I want the corners to 
take right hands (because getting folks to balance left then right seems 
impossible outside of Rory o'More). The two left hand stars would also leave 
some room for silliness on the part of the dancers. A2 could be ladies right 
hand star, then gents left; but I'm not super fond of the swing->ladies go in 
transition. It happens a lot in swing->chain, but I don't think it would add to 
the dance here.
Thanks again for sharing your experience :-)


-- 
Luke Donforth
luke.donfo...@gmail.com
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Re: [Callers] New (?) 4x4 contra

[Mac Mckeever via Callers]

that looks like pretty challenging timing in B1 - you might want to eliminate 
the balance in B2 and just let everyone sing whent they get there
That X formation will be unfamiliar and hard to recreate at the end of B2

Mac
 

On Tuesday, April 3, 2018, 8:04:49 PM CDT, Luke Donforth via Callers 
 wrote:  
 
 Hello all, 

I was playing around with a new (?) composition; and since it's a 4x4, it's 
unlikely I'll get a house-party together to test it any time soon. I'd 
appreciate feedback on flow (would it work), timing (is it too much?) and how 
you'd teach it. I'm especially curious if something similar exists in the 
square dance repertoire; specifically the figure used in B1

Tamlin's Cross
Bent 4x4 (i.e. 4x4 formation, but with couples facing into the middle on an X, 
instead of straight up and down in lines of four)

A1 
(4) All 8 go into the middle and shout
(4) Gents roll partners away on the way out
(8) Neighbor Do-Si-Do
A2
(16) Neighbor Balance and Swing (square the set and face in)
B1
(8) Gents left hands across star 1x
(8) start passing neighbor you swung by right, all 8 half hey through, 
then turn away from neighbor you swung
B2
(16) Partner Balance and Swing
End the swing facing new couple, having swapped sides with your trail-buddy 
couple

For the half hey through, all 8 folks are moving at the same time. At the end 
of A2, there are couples in head and side position (nobody is with their 
partner). The heads are heying up and down, while the sides are heying across. 
When four people of the same role come into the middle, what would normally be 
a left shoulder pass is (in my mind's eye) half of a left hand star

I look forward to hearing your thoughts. 
Thanks

-- 
Luke Donforth
luke.donfo...@gmail.com
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Re: [Callers] Dance logs and record-keeping

[Mac Mckeever via Callers]

This seems to me to be a lot of effort with very little benefit.  There are 
thousands of dances and each caller has their own approach to programming.  It 
is rare for a dance to be called two nights in a row.  When I do see that 
happening I often ask other dancers around me if they remember it - and no one 
ever has.
How would the next caller get access to this info? The logistics would seem 
difficult and unnecessary.
I do not even keep track of what dances I have called.  I start off fresh when 
planning a program.  If I called somewhere and they ask me back next year - no 
one will notice if a couple dances are the same. It probably means they were 
really good ones.

I agree that a different band, etc can make the same dance feel very different 
and that a lot of dances are very similar.  It bothers me more when a caller 
programs an evening with several dances that all feel the same.
Mac McKeeverSt Louis
 

On Tuesday, March 6, 2018, 8:22:25 PM CST, Winston, Alan P. via Callers 
 wrote:  
 
  
Oddly enough, I was just in Seattle at the end of February and had a 
conversation about this with Lindsey Dono, who told me to my surprise that 
dancers at Lake City, at least, will complain about getting the same dance two 
weeks in a row, and said that there *was* a log kept of dances called locally.
 
So, Amy, I suggest checking with Lindsey and see if the effort is already under 
way.
 
In the SF Bay Area, I think our dance populations kinda slop around, so that 
while a core of people may go to the central Bay Area dances (SF, Berkeley, 
Palo Alto), East Bay people may also go to North Bay dances (San Rafael, 
Petaluma) and North Bay people may go to Berkeley or SF but not usually Palo 
Alto, while Monterey Bay people (Monterey, Santa Cruz) go to those dances and 
some come up to Palo Alto, and some South Bay people (Palo Alto, San Jose, etc) 
go to Santa Cruz or Monterey.  The result is that every dancer does the dances 
that are called at the dances they happen to go to, it would be a huge 
coordinating effort to keep all the dances at different dance series with 
somewhat-overlapping attendance separate, and nobody but callers seems to care 
anyway.  
 
 
For me personally, different band, different tune set pretty much equals 
different dance even with the same figures - but also dances that are 3/4 the 
same figures as other dances feel like the same dances anyway.
 
-- Alan
 
 On 3/6/2018 6:07 PM, Amy Wimmer via Callers wrote:
  
 
Huh! I never thought of that for the dance we run. I keep a file of each gig 
and the dances I called at each. I also write on each dance card the date and 
location of each time I've called it, so I don't repeat myself too often. 
  There's a record of contra dances called at Northwest Folklife Festival. I 
don't know how far back it goes.  
  I'll talk to my fellow organizers about starting this at Emerald City Contra 
Dance. 
  -Amy  
  On Tue, Mar 6, 2018, 5:42 PM Kalia Kliban via Callers 
 wrote:
  
Dance logs, a cumulative record for a series of which dances have been
 called on any given evening, are very common in the English dance
 community but vanishingly rare in the contra community.  Why is that?
 They're really helpful for incoming callers, and it's probably nice for
 the dancers not to keep getting the same dances week after week.
 
 I've only ever known of one contra series that kept a log, and it's
 probably because I suggested it when they started out (the Queer Contra
 series in Oakland, CA).  Are there any contra organizers out there who
 maintain a dance log?  Those of you who do, how do you get the dance
 lists from the callers?  The Oakland series had a little book on the
 stage and the callers would write their programs down as they went or at
 the end of the night.
 
 Part of it comes down to record-keeping on the part of the callers.  I
 keep a personal log of all the dances I've called so I can avoid
 repeating myself when I return to a given venue.  That makes it easy for
 me to produce a set list after the fact if an organizer wants to fill in
 a gap in the log.  Fellow contra callers, do you all keep records of
 what you call, and if you don't, how do you avoid repeating yourself or
 remember what worked well (or not) the last time you called at a
 particular place?
 
 If you work with something like Caller's Companion, do you update the
 program list with what you actually danced as opposed to what you
 programmed?
 
 Just curious about other people's process on this.
 
 Kalia in Sebastopol, CA
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Re: [Callers] Looking for "fun" dances

[Mac Mckeever via Callers]

You have identified the same issue I found with this dance - the women with 
shorter arms make the larger circle.  I deal this by having the ladies roll to 
the inside at the end of the prominade so they make the inner circle.  Even new 
dancers have no trouble doing this.
Great dance for all skill levels.  The banner photo on our group's web site is 
a photo of this dance being done a the local botanical garden around a circular 
fountain.  Unfortunately, this time they had the fountain turned off (the water 
shoots up through the grates we are dancing on) - it is even more fun soak and 
wet.
www.childgrove.org
Mac McKeeverSt Louis
 

On Wednesday, January 31, 2018, 3:07:01 PM CST, Bill Olson via Callers 
 wrote:  
 
 
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)

This dance is a riot. needs MANY couples in circle and resist urge to make 2 
sets because even when dancers line up originally in circle NEXT to partner, 
they are never that way in the actual dance. Lots of craziness at swing, lost 
and found in the middle. gender changes happen here, also if dancer cannot find 
a partner at swing (or promenade) stay in dance with "invisible partner" and 
try again. Needs many couple to make it work, especially since women are on the 
outside of the concentric and have shorter arms on the average. If this becomes 
a problem 9womens arms being pulled out or arm sockets) tell dances "big steps 
in, short steps out"..  often, after a few times thru, I tell the dancers to 
"let the music tell them when to swing" in B2, then it's REALLY a riot. This 
works for dancers of ANY level! I've never had experienced dancers not have a 
good time.

I miss Gene!
bill







From: Callers  on behalf of Chris Page 
via Callers 
Sent: Wednesday, January 31, 2018 8:57 PM
To: sdg...@aol.com
Cc: Callers@Lists.Sharedweight.net
Subject: Re: [Callers] Looking for "fun" dances Ninepins?

-Chris Page
San Diego, CA

On Tue, Jan 30, 2018 at 10:23 AM, Sue via Callers
 wrote:
> Sure they're all fun (we hope). I'm looking for a few dances that are
> particularly playful, quirky, sillysomething that typically gets the
> dancers laughing.
>
> You get the idea. What are your favorites?
>
> Sue Gola
> Princeton, NJ
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Re: [Callers] "pick her up"

[Mac Mckeever via Callers]

I don't recall anyone saying 'whirl her around'.  That would imply the gent is 
not moving - which is not the case.  I usually just say 'butterfly whirl'.  
When I teach, I occasionally show the problem if they let the ladies role do 
all the traveling.
Mac
 

On Wednesday, November 22, 2017, 2:44:55 PM CST, Ron Blechner 
 wrote:  
 
 Addendum:
Often accompanied by "... And whirl/reel her around" (again, both butterfly 
whirl / courtesy turn / a few other moves).
(Thanks for helping me clarify!)
On Nov 22, 2017 3:21 PM, "Mac Mckeever"  wrote:

I have always considered that terminology to refer to picking up someone as you 
would a hitchhiker, not physically lifting someone.  I don't see it as having 
anything to do with who is doing what work.
Mac McKeever
 

On Wednesday, November 22, 2017, 2:15:38 PM CST, Ron Blechner via Callers 
 wrote:  
 
 A quick question:
How many callers believe that one role does the majority of the work in a 
courtesy turn or a butterfly whirl? If so, can you explain how the shared 
weight that differs from an allemande?
I've always been taught about shared weight being essential in all contra 
moves, and I guess I'm still surprised when I hear callers prompt "pick her up 
and take her to the other side" as if the person in lady/raven role is not 
giving any weight. (Or similar one-role-biased prompting.)
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Re: [Callers] "pick her up"

[Mac Mckeever via Callers]

I have always considered that terminology to refer to picking up someone as you 
would a hitchhiker, not physically lifting someone.  I don't see it as having 
anything to do with who is doing what work.
Mac McKeever
 

On Wednesday, November 22, 2017, 2:15:38 PM CST, Ron Blechner via Callers 
 wrote:  
 
 A quick question:
How many callers believe that one role does the majority of the work in a 
courtesy turn or a butterfly whirl? If so, can you explain how the shared 
weight that differs from an allemande?
I've always been taught about shared weight being essential in all contra 
moves, and I guess I'm still surprised when I hear callers prompt "pick her up 
and take her to the other side" as if the person in lady/raven role is not 
giving any weight. (Or similar one-role-biased prompting.)
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Re: [Callers] Balancing LEFT in a wave?

[Mac Mckeever via Callers]

sorry - I missed that you said the alle L followed the balance - in that case - 
I think the first bal should be left.  To bal R & then L and then turn by the 
left just sounds awkward.
Mac Mckeevr
 

On Wednesday, November 8, 2017, 2:09:46 PM CST, Mac Mckeever 
 wrote:  
 
 It depends on what will happen after the balance
Can we see the rest of the dance?
Mac McKeever
 

On Wednesday, November 8, 2017, 1:07:46 PM CST, Maia McCormick via Callers 
 wrote:  
 
 Recently called a dance with an allemande R into long waves, balance wave, 
allemande L. Because of personal preference, I taught the balance as "balance 
left, then right", but cuz I didn't teach it all that clearly, the dancers 
defaulted back into balancing right first, and enough tricky stuff was 
happening in the dance that I didn't wanna correct them in flight.
I'm just wondering: do others agree that a balance left makes more sense / 
flows better in this context, or is this a weird personal preference? In your 
opinion, does the flow of the balance left outweigh its potential 
unidiomaticness?
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Re: [Callers] New Dance?

[Mac Mckeever via Callers]

Cary's dance is Woven Waves.  I really liked it and called it several times - 
and I hav also danced it on several occasions
I stopped calling it because I was not getting good feedback on the star figure 
from the dancers.
Mac McKeever
St Louis
 

On Monday, October 2, 2017, 3:30:07 PM CDT, Bill Olson via Callers 
 wrote:  
 
 
Dugan and all, I don't know if Cary Ravitz actually "invented" the Gypsy Star 
but he wrote a dance entitled that and a lot of others that include it. Dugan, 
you're sort of Cary's protégé, right?, so you must know the dance. This is the 
same figure, correct??




bill



From: Callers  on behalf of Dugan 
Murphy via Callers 
Sent: Monday, October 2, 2017 8:16 PM
To: callers@lists.sharedweight.net
Subject: Re: [Callers] New Dance? Hi, Angela,
I've been calling the figure a "facing star," when I bother naming it at all 
while teaching or prompting it.

Also, nice dance, though I suspect that since experienced dancers tend to take 
fewer than eight beats to do half poussettes and 3/4 stars, I suspect that 
dancers may end up swinging for as many as 20 beats.
Dugan MurphyPortland, Maine
dugan at duganmurphy.com


|  | DUGAN MURPHYduganmurphy.comDugan Murphy is a nationally known contra dance 
caller, co-organizer of Portland Intown Contra Dance, a Maine Storyteller, and 
a non-profit consultant. He's based in ... |





www.DuganMurphy.com


|  | DUGAN MURPHYwww.duganmurphy.comDugan Murphy is a nationally known contra 
dance caller, co-organizer of Portland Intown Contra Dance, a Maine 
Storyteller, and a non-profit consultant. He's based in ... |




www.PortlandIntownContraDance.com


|  | Portland Intown Contra Dancewww.portlandintowncontradance.comPortland 
Intown Contra Dance is a weekly Thursday contra dance to live music in town 
Portland, Maine that is delightful, welcoming to all humans, and a heck of a 
lot ... |




www.NufSed.consulting


|  | NUF SEDwww.nufsed.consultingNuf Sed is a Portland, Maine based 
communications & consulting boutique. We offer services like branding, 
marketing, public relations, online communications ... |







Date: Mon, 2 Oct 2017 14:03:37 -0400
From: Angela DeCarlis 
To: callers 
Subject: [Callers] New Dance?
Message-ID:
        
Content-Type: text/plain; charset="utf-8"

Hey y'all!

After a lovely weekend of both Contra and English at Youth Dance Weekend, I
had an itch for programming some English-inspired choreography at BIDA last
night. Since I didn't have a dance with the figures I wanted, I whipped one
together on the drive home, tested it in the driveway, and debuted it last
night. Success!

Now the question, of course, is whether or not someone already wrote it!

-===-

Amble On East
Becket CCW

A1: Long Lines Forward & Back
      Ladies Chain Across (to Neighbor)
A2: Ladies Dosido 1x
      Neighbor Swing
B1: Give & Take, Gents draw Partner into 1/2 Poussette CCW
      With NEXT, Gypsy Star* 3/4 (Ladies backing up)
B2: Partner (Long) Swing

-===-

*Do we have a new name for this figure yet? I called it Gypsy Star in the
walkthrough once or twice before realizing I should maybe figure something
else out, and the phrase "Special Star" actually escaped my mouth, to the
absolute delight of some of the dancers.  During the dance itself, I just
called "Star."
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Re: [Callers] Contra Dances with Modern Western Square Dance Figures

[Mac Mckeever via Callers]

 Highly recommend Dale Wilson's Gold Star Wednesday - I added Dale to this 
reply and he can fill you in on a teaching secret.  It contains the star 
inversion that comes from square dancing.
Also Rang Tang Contra by Ridge Kennedy comes to mind - it uses the Georgia Rang 
Tang figure.
Kath Anderson's Deep Well uses a figure she saw clogers performing - does that 
count?

Mac Mckeever

On Saturday, September 23, 2017, 12:05:24 PM CDT, Mark Hillegonds via 
Callers  wrote:  
 
 Hi all,
I'm preparing for a workshop at a dance weekend in November where the theme 
will be contra dances that incorporate square dance moves.
I have a number dances with square thrus and swing thrus and box circulates. 
However, these moves are fairly well known at this point. This will be an 
advanced group of dancers so I'm looking for dances that incorporate more 
unique and sophisicated moves.
I know Bob Isaacs has several that quality, with dances that use Spin the Top 
and Spin Chain Exchange the Gears.
Looking forward to seeing what you may have.
-- 
Mark Hillegonds

Cell:  734-756-8441
Email:  mark.hillego...@gmail.com
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Re: [Callers] Labor Day dances

[Mac Mckeever via Callers]

interesting list - lots of dances by John Coffman.  Andrea will be in St Louis 
to call for us the day before Labor Day and there is a reasonable chance that 
John will be there!
Mac McKeever


  From: Andy Shore via Callers 
 To: Andrea Nettleton  
Cc: Caller's discussion list 
 Sent: Sunday, August 27, 2017 12:22 PM
 Subject: Re: [Callers] Labor Day dances
   
Working Stiff - John Coffman
The Collective - John Coffman
The Reunion - Gene Hubert (get it, Re-Union)
Labor of Love - Kathy Anderson
Communist Plot - John Coffman
Company Man - John Coffman
Holiday Haze - Cheri GlaserCrossed the Line - John  Coffman (picket line)

singing square Red Wing is to the "look for the union label" tune


/Andy

On Tue, Aug 22, 2017 at 8:36 PM, Andrea Nettleton via Callers 
 wrote:
>
> Hey all,
> Can someone point me to the thread I imagine already exists with dances for 
> Labor Day?  Or, if you have written or know of some good ones, please let me 
> know?  Anything about work, workers, labor, and the like.
> The one I have that came to mind was Labor of Love, by, I think, Kathy 
> Anderson.
> Thanks!
> Andrea

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Re: [Callers] Swing Like Thunder

[Mac Mckeever via Callers]

I always call it with circles fo r4/6/8 - the dosido has a different feel but a 
lot of fun
Mac


  From: dje h via Callers 
 To: dje h via Callers  
 Sent: Wednesday, June 14, 2017 1:19 PM
 Subject: Re: [Callers] Swing Like Thunder
   
David has the right one, thank you! The next question I had was whether the 
circles got progressively bigger or whether it was always circles of 4. Thanks 
so much! 
Deborah Hyland St Louis 

Sent from Yahoo Mail on Android 
 
 On Wed, Jun 14, 2017 at 11:50 AM, DAVID HARDING 
wrote:  Also known as "California Fruit Basket," or "Ladies Bow, Gents Bow 
Under" The signature move is the basket swing. Couple 1 visits first Couple 2, 
then couple 3, then couple 4. Et cetera. 
http://www.lloydshaw.org/swing-like-thunder.html


On June 14, 2017 at 8:21 AM dje h via Callers  
wrote:

I'm way out in the boonies teaching square dance to a group of campers, and 
they asked for a dance called Roll Like Thunder. I did figure out that it's 
probably a square called Swing Like Thunder, but I'm not having much luck 
tracking down the actual moves. WiFi is really spotty out here, so I can't 
watch a video or listen to a recording. Does anyone have this dance in your 
collection? Thanks for any help. 
Deborah Hyland St Louis 

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Re: [Callers] New Dance to Share

[Mac Mckeever via Callers]

Generally their arms are shorter - so it works better if they make the smaller 
circle. 

I tried it with the gents in the center and found that awkward
By the way, our web site - www.chldgrove.org has a photo of us doing this dance 
in the home page banner at the wonderful Missouri Botanical Garden with me 
standing in the center calling.  The fountain is usually on when we danced 
there - but they had it turned off that evening.

Mac McKeever


  From: jandnbloom <jandnbl...@gmail.com>
 To: Mac Mckeever <mac...@ymail.com>; Frederick Park <freder...@apalache.com>; 
"Callers@lists.sharedweight.net" <Callers@lists.sharedweight.net> 
 Sent: Saturday, June 10, 2017 2:06 PM
 Subject: Re: [Callers] New Dance to Share
   
I'm curious - what is it about having the ladies in the center that makes it 
work better?Jacob

Sent from my T-Mobile 4G LTE Device

---- Original message From: Mac Mckeever via Callers 
Date:06/10/2017 1:48 PM (GMT-05:00) To: Frederick Park 
,Callers@lists.sharedweight.net Subject: Re: [Callers] New Dance to Share 
Since you mentioned circle mixers - one of my current favorites is a very easy 
one that has been around for a while - but I only discovered it a couple years 
ago.  I messed with it a little to make it work for all experience levels.

The Wheel by Gene Huber - random circle mixer

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

A1 - Into the center - all drop hands with partner take hands with the persons 
on both sides of you - so you have a circle of gents facing in and a circle of 
ladies facing out
walk back out so both circles are near their full size - there is lots of time 
to get everything done in this part.

A2 - everyone circle left (this makes the circles turn in opposite directions
B1 - everyone balance and swing (or do-si-do and swing depending on the 
experience level) who ever is in front of them at the time - lost and found is 
in the center.
B2 Prominade with current partner - ladies on outside - roll ladies to the 
inside to get ready for A1
Mac McKeever


  From: Frederick Park via Callers <callers@lists.sharedweight.net>
 To: Callers@lists.sharedweight.net 
 Sent: Saturday, June 10, 2017 10:54 AM
 Subject: Re: [Callers] New Dance to Share
  
Dear Folks,
This little opening for discussion of unusual dances that are not contra or 
square is delightful. Thank you all.
"Le Brandy" and the “Weevil" are both new to me and have great potential I 
think. 
Erik, I don’t have your “double becket" dance - will you send it my way?
The other dances are well known to me and I wish to offer a teaching element 
I’ve used successfully in the Pat Shaw dance, K + E.
Once sets are established, 1s on the outside facing in, 2s standing back to 
back in the center facing outside couples, the primary dance move that makes it 
all work out is the partner relationship.I ask all to practice once or twice 
“Change Hands” with Partners. Obviously, those in the center, the 1s, when 
changing the direction they face at any time places their own Partner on one 
side and then the other.Simply suggesting that the call is “Change Hands” when 
practicing the move makes it unique and clear and simple, all at once!Having 
the sense of “double beckett” is not so very intuitive for dancers simply 
because this dance is a one-of-a-kind dance. I can “see” it but I wouldn’t 
mention it to dancers.The 1s need to “bond”. As well those far across on the 
opposite side of the set, the 2s, need to “bond” or recognize they are a 
unit…which is all the more useful once any couples reach the end of the set.To 
that end I ask the dancers to change places with couple they are initially 
facing (each 1 changes places with their original 2) and the “Change Hands” 
introduces them to their other half for any who are in the center four.
The only thing that pushes this dance into the realm of “intermediate to 
advanced” is the final 8 bars of the dance, the progression.Those on the 
outside are swinging their Partners and could and should “move up the hall” 
every so slightly.Meanwhile the center four have just met again (the “magic” 
includes meeting their Partners!) and are with their “other half”, the 2s! The 
1s then “Circle Down - three quarters ‘round - and Change Hands”. This call 
indicates the movement of Circle Left 3/4 WHILE moving down the hall ever so 
slightly (to end with “Trade Hands in the Center”, face out and meet a new 
Couple 2 to begin again . . .
I’ve found that the movement of Circle and move is akin the square dance chorus 
figure of four dancers moving in a circle Left while dancing in Promenade 
direction around the “other couple”.So introducing such a chorus in a square 
dance one or two dances earlier allows the whole dance hall to be a bit 
familiar with the s

Re: [Callers] New Dance to Share

[Mac Mckeever via Callers]

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

The Wheel by Gene Huber - random circle mixer

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

A1 - Into the center - all drop hands with partner take hands with the persons 
on both sides of you - so you have a circle of gents facing in and a circle of 
ladies facing out
walk back out so both circles are near their full size - there is lots of time 
to get everything done in this part.

A2 - everyone circle left (this makes the circles turn in opposite directions
B1 - everyone balance and swing (or do-si-do and swing depending on the 
experience level) who ever is in front of them at the time - lost and found is 
in the center.
B2 Prominade with current partner - ladies on outside - roll ladies to the 
inside to get ready for A1
Mac McKeever


  From: Frederick Park via Callers 
 To: Callers@lists.sharedweight.net 
 Sent: Saturday, June 10, 2017 10:54 AM
 Subject: Re: [Callers] New Dance to Share
   
Dear Folks,
This little opening for discussion of unusual dances that are not contra or 
square is delightful. Thank you all.
"Le Brandy" and the “Weevil" are both new to me and have great potential I 
think. 
Erik, I don’t have your “double becket" dance - will you send it my way?
The other dances are well known to me and I wish to offer a teaching element 
I’ve used successfully in the Pat Shaw dance, K + E.
Once sets are established, 1s on the outside facing in, 2s standing back to 
back in the center facing outside couples, the primary dance move that makes it 
all work out is the partner relationship.I ask all to practice once or twice 
“Change Hands” with Partners. Obviously, those in the center, the 1s, when 
changing the direction they face at any time places their own Partner on one 
side and then the other.Simply suggesting that the call is “Change Hands” when 
practicing the move makes it unique and clear and simple, all at once!Having 
the sense of “double beckett” is not so very intuitive for dancers simply 
because this dance is a one-of-a-kind dance. I can “see” it but I wouldn’t 
mention it to dancers.The 1s need to “bond”. As well those far across on the 
opposite side of the set, the 2s, need to “bond” or recognize they are a 
unit…which is all the more useful once any couples reach the end of the set.To 
that end I ask the dancers to change places with couple they are initially 
facing (each 1 changes places with their original 2) and the “Change Hands” 
introduces them to their other half for any who are in the center four.
The only thing that pushes this dance into the realm of “intermediate to 
advanced” is the final 8 bars of the dance, the progression.Those on the 
outside are swinging their Partners and could and should “move up the hall” 
every so slightly.Meanwhile the center four have just met again (the “magic” 
includes meeting their Partners!) and are with their “other half”, the 2s! The 
1s then “Circle Down - three quarters ‘round - and Change Hands”. This call 
indicates the movement of Circle Left 3/4 WHILE moving down the hall ever so 
slightly (to end with “Trade Hands in the Center”, face out and meet a new 
Couple 2 to begin again . . .
I’ve found that the movement of Circle and move is akin the square dance chorus 
figure of four dancers moving in a circle Left while dancing in Promenade 
direction around the “other couple”.So introducing such a chorus in a square 
dance one or two dances earlier allows the whole dance hall to be a bit 
familiar with the similar pattern used in K+E!
Lastly, may I recommend that any of you may also find interest in Pat Shaw’s 
“The American Husband”! It’s a sicillian circle for groups of three, very 
unusual progression and includes a Shetland Hey (for three) with each couple 
dancing as a single unit in a hey for three pattern! Let me know if you can’t 
find it and I’ll post it here.
More dances? Yes, please! (especially circle mixers and sicillian circles)  : )


Frederick Park3377 Halls Chapel Road
Burnsville, NC 28714
828.335.5630
freder...@apalache.com



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Re: [Callers] New Dance to Share

[Mac Mckeever via Callers]

I have a dance called The Weevil by Richard Mason
It is a 7 person set (3 face 4) 

It looks like it would be fun - but I have never had the opportunity to try it 
out.  Anyone had any experience with this one?
The Weevil

  
|  
|   
|   
|   ||

   |

  |
|  
||  
The Weevil
 A gender free dance written by by Richard Mason for 7 people in friends garden 
on a sunny summer day in New Zeal...  |   |

  |

  |

 
Mac McKeever

  From: Frederick Park via Callers 
 To: Callers@lists.sharedweight.net 
 Sent: Thursday, June 8, 2017 7:25 PM
 Subject: Re: [Callers] New Dance to Share
   
Howdy Folks!

Interested to know of dances you’ve found that are NOT contra or square dances.
Catagorically fun dances, dances for irregular numbers of couples, circles of 
any sort, odd formations, etc.
Matters not what tradition they may come from or if you think of the dance as 
strictly for beginners, intermediate or advanced dancers.

Is this a dance you usually share? Is this a dance you save for “special 
occasions”?

Should be a fun “read”!

Best regards to all,

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

[Mac Mckeever via Callers]

In St Louis we have had our share of very challenged dancer and have never 
considered this possibility.  We take the removal of anyone from the community 
to be a very serious step.  It has been limited to a very few cases of 
inappropriate contact or other relationship issues.
Mac McKeever

  From: Mark Hillegonds via Callers 
 To: Alexandra Deis-Lauby  
Cc: Caller's discussion list 
 Sent: Wednesday, March 8, 2017 12:26 PM
 Subject: Re: [Callers] Difficult dancers - Decision to ask not to return
   
Lots of thoughtful discussion and ideas about how to incorporate difficult 
dancers.
Splitting this into another variant of this discussion...

So...what happens if all of the attempts to shepherd and coach and "angel" the 
difficult dancer do not work and their skills and abilities continue to be a 
significant negative impact when they're dancing. 
Would you ever (or have you ever) asked someone not to return based on their 
inability to dance?
I realize "inability" is a broad term and I intended it to be so for this 
question. There are lots of reasons why someone may not be able to know what to 
do and/or to be able to keep up when dancing and may not even be able to 
improve.
Is there some point at which you as organizers would consider and ultimately 
such a decision?
On Mar 6, 2017 6:46 PM, "Alexandra Deis-Lauby via Callers" 
 wrote:

Inspired by Marie's other thread, I wonder what tools callers use when they 
encounter a dance floor with such a dancer, especially if there is only one who 
is having so much difficulty but who leaves confused dancers in their wake. Do 
you call to that dancer? Do you call earlier? Do you adjust your program 
accordingly? Something else? 
Thanks,Alex

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Re: [Callers] Difficult dancers as a caller

[Mac Mckeever via Callers]

I don't have any suggestions.  We are fortunate in our community who handle 
this sort of thing professionally and they jump in to help us when needed.
Just sitting down and discussing it in a positive 'we want to help you' way 
would seem reasonable.

Mac


  From: Ron Blechner <contra...@gmail.com>
 To: Mac Mckeever <mac...@ymail.com> 
Cc: Caller's discussion list <call...@sharedweight.net>; Martha Wild 
<maw...@sbcglobal.net>
 Sent: Tuesday, March 7, 2017 3:51 PM
 Subject: Re: [Callers] Difficult dancers as a caller
   
Mac, suggestions on how?
(Guessing this is more of an organizer, not caller, thing to do.)

Ron Blechner
On Mar 7, 2017 9:51 AM, "Mac Mckeever via Callers" 
<callers@lists.sharedweight.net> wrote:

It has been my experience that dancers with limited skills/ability  often do 
not realize they are different from anyone else.  They assume that being lost 
and confused during a dance is normal.
Finding a gentle way to bring this to their attention might be a good way to 
start
Mac McKeeverSTLouis

  From: Martha Wild via Callers <callers@lists.sharedweight. net>
 To: Caller's discussion list <call...@sharedweight.net> 
 Sent: Tuesday, March 7, 2017 8:40 AM
 Subject: Re: [Callers] Difficult dancers as a caller
  
As one other caller mentioned - what I do as a caller is avoid looking at that 
dancer AT ALL. That confuses me, and I will miscall if I get to caught up in 
what is happening there. What I do is look ASAP for the dancers who are doing 
the moves smoothly and well, and I call to them, making sure I call clearly at 
the start of the four beats before each move will start, and not at the two 
beats before that I might often use, to give a little extra time for the person 
to react. If there is a four in line down the hall, I will call for the turn 
also on beat five of the phrase before (just as above, just saying it 
differently) ensuring that they turn around and head back in time to cast off 
or do whatever needs to be done in time for the next move. If I call carefully 
and steadily and clearly at the appropriate time for a few times through the 
dance to the experienced dancers, I generally find that once I look at the 
problem area, it has resolved. Also - I don’t vary or shorten my calls, as I 
might otherwise, and I might say Neighbor balance and swing, or With the next 
couple star left - telling them who to do it with and what, or face across, 
right and left through - which way to face etc. especially on any figure that 
might be confusing. 


On Mar 6, 2017, at 3:45 PM, Alexandra Deis-Lauby via Callers 
<callers@lists.sharedweight. net> wrote:

Inspired by Marie's other thread, I wonder what tools callers use when they 
encounter a dance floor with such a dancer, especially if there is only one who 
is having so much difficulty but who leaves confused dancers in their wake. Do 
you call to that dancer? Do you call earlier? Do you adjust your program 
accordingly? Something else? 
Thanks,Alex

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Re: [Callers] Difficult dancers as a caller

[Mac Mckeever via Callers]

It has been my experience that dancers with limited skills/ability  often do 
not realize they are different from anyone else.  They assume that being lost 
and confused during a dance is normal.
Finding a gentle way to bring this to their attention might be a good way to 
start
Mac McKeeverSTLouis

  From: Martha Wild via Callers 
 To: Caller's discussion list  
 Sent: Tuesday, March 7, 2017 8:40 AM
 Subject: Re: [Callers] Difficult dancers as a caller
   
As one other caller mentioned - what I do as a caller is avoid looking at that 
dancer AT ALL. That confuses me, and I will miscall if I get to caught up in 
what is happening there. What I do is look ASAP for the dancers who are doing 
the moves smoothly and well, and I call to them, making sure I call clearly at 
the start of the four beats before each move will start, and not at the two 
beats before that I might often use, to give a little extra time for the person 
to react. If there is a four in line down the hall, I will call for the turn 
also on beat five of the phrase before (just as above, just saying it 
differently) ensuring that they turn around and head back in time to cast off 
or do whatever needs to be done in time for the next move. If I call carefully 
and steadily and clearly at the appropriate time for a few times through the 
dance to the experienced dancers, I generally find that once I look at the 
problem area, it has resolved. Also - I don’t vary or shorten my calls, as I 
might otherwise, and I might say Neighbor balance and swing, or With the next 
couple star left - telling them who to do it with and what, or face across, 
right and left through - which way to face etc. especially on any figure that 
might be confusing. 


On Mar 6, 2017, at 3:45 PM, Alexandra Deis-Lauby via Callers 
 wrote:

Inspired by Marie's other thread, I wonder what tools callers use when they 
encounter a dance floor with such a dancer, especially if there is only one who 
is having so much difficulty but who leaves confused dancers in their wake. Do 
you call to that dancer? Do you call earlier? Do you adjust your program 
accordingly? Something else? 
Thanks,Alex

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

[Mac Mckeever via Callers]

One I call frequently is 

Jim's Reel by Steve Snurr

A1 Do Si Di N 1 1/4 ti WL - ladies in center, Rt hand to N Remember this WL 
- we will come back to it
 Bal Line - Trun N by R 1/2 - Gents pull by LA2 B PB1 Down hall 4 steps 
- turn alone - back up 4 steps  For 4 steps - turn alone back up 4 stepsB2 
Cir L 5 places until you can collapse to original WL Bal (on last 4 
beats)A1 walk for to new N - as dance starts over
Great dance
Mac McKeever


  From: Tavi Merrill via Callers 
 To: callers@lists.sharedweight.net 
 Sent: Monday, January 16, 2017 4:20 PM
 Subject: [Callers] Contras which feature a "Dublin Bay" figure
   

Dance genealogy question: The figure first appearing in "Dublin Bay" (aka 
"We'll Wed and We'll Bed," its title in Playford) morphed in contra into a 
modified "lines of four down the hall." 

I know a version of it from Sue Rosen's dance "Handsome Young Maids," where 
dancers facing down take four steps forwards, turn alone, and continue down the 
hall with four backward steps, then repeat the figure to return up the hall. 

I'm curious how many other contras this figure, or a version of it, appears in. 
Does anyone know of other dances? And any astute dance historians out there 
know what the first contra to use this figure is?  

Tavi
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[Callers] Fw: suggestions for dances

[Mac Mckeever via Callers]

gold star wednesday by dale wilsongood friday by kirstin koths (probably not 
spelled correctly)
come to mind (both wonderful dances) -  I am sure there are lots of others

 
- Forwarded Message -
 From: via Callers 
 To: callers@lists.sharedweight.net 
 Sent: Tuesday, November 1, 2016 5:39 PM
 Subject: [Callers] suggestions for dances
   
Hi Everyone Wanted to know if anyone has dances with days of the week in the 
title.  Could you please share.  I could always use more dances with Monday, 
Friday and Saturday in their tiles. I have the following:Monday - Monday Night 
in Ballard/Monday Night FeverFriday -  Friday Night FeverSat. - Saturday Night 
Line Need:TuesdayWednesdayThursdaySunday I wanted to put together a gig with a 
weekly/seasonal theme.  Thanks...Barbara GToms River, NJ
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[Callers] Fw: Positive values on the mic

[Mac Mckeever via Callers]

I sometimes just start giving instructions that are not really part of the 
dance - like long lines forward and back - that usually gets everyone's 
attention
Mac

 
- Forwarded Message -
 From: John W Gintell via Callers 
 To: callers  
 Sent: Monday, October 31, 2016 12:46 PM
 Subject: Re: [Callers] Positive values on the mic
   
Often it is hard to hear the caller during the Walkthrough because of chatter 
from some of the dancers and the people sitting out. 

Any thoughts as to what the caller should say to politely get people to be 
quiet?

    John
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[Callers] Fw: Beneficial Tradition end effects

[Mac Mckeever via Callers]

When you come to the end - do nothing for one pull by - do not cross set.  It 
will mean doing 2 rights or 2 lefts in a row (since you are out for one pull by)
If there are an even number of couples - no one is ever out more than that one 
pull by.  

The end effects have never caused a problem any time I have called this.
Mac McKeever

 
- Forwarded Message -
 From: Kalia Kliban via Callers 
 To: Caller's discussion list  
 Sent: Friday, October 21, 2016 7:33 PM
 Subject: [Callers] Beneficial Tradition end effects
   
Hi all

I haven't yet called Beneficial Tradition, but think it might be a good 
fit for an upcoming dance.  Does it get weird at the ends or does it 
flow reasonably well?  I danced it years ago and don't remember.  If you 
pull by RH to go out on the right diagonal, do you cross solo to the 
other side to make space for the next person to come out on the right 
diagonal?

Kalia
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[Callers] Fw: Teaching the Cloverleaf?

[Mac Mckeever via Callers]

Good dance - I have called it many times
Down the hall - stop - NO ONE LETS GO OF HANDS! -  center 2 turn around turning 
away from each other and bring arms over.  End 2 take hands behind in a cozy 
line of 4 - up the hall, center 2 duck to allow ends arms to pas over to 
clover.  Walk thru each step slowly until you are sure each line has it right.

The problem with this figure is the 1s and 2s have different parts.  going from 
1 to 2 is not bad - but when 2s become 1s you often have issues.  One solution 
it to teach both parts to 1s and 2s.  Another solution is to just let them 
figure it out - they usually do after a couple failed attempts
Another dance I call with this figure is Symmetrical Force by Fred Fields (if I 
remember correctly - it has been a while for that one). 

Mac McKeever

 
- Forwarded Message -
 From: Rich Sbardella via Callers 
 To: Caller's discussion list  
 Sent: Monday, April 4, 2016 12:15 PM
 Subject: [Callers] Teaching the Cloverleaf?
   
I have yet to call a dance with a cloverleaf in it because I am not comfortable 
with teaching the walk thru.  The Connectrix by Rick Mohr has such a cloverleaf.
Any suggestions on good teaching language, and any other dances with such a 
cloverleaf would be welcomed.
Thanks,Rich SbardellaCT


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[Callers] Fw: Novelty & Gimmick Contras

[Mac Mckeever via Callers]

I don't think of those as novelty - but more dances with unique or seldom used 
figures
A couple that come to mind without digging too deep
Gold Star Wednesday - by Dale Wilson - has a square dance figure that I have 
not seen in any other contraDeep Well by Kathy Anderson - unique way to get 
into a star 
Down by the Riverside - Melony Axle Lute - fun 3 face 3A Valentine Surprise - 
Eric Hoffman - recently posted on this group - has large set prominade
Mac McKeever

 
- Forwarded Message -
 From: Rich Sbardella via Callers 
 To: Caller's discussion list ; 
trad-dance-call...@yahoogroups.com 
 Sent: Wednesday, March 16, 2016 1:13 PM
 Subject: [Callers] Novelty & Gimmick Contras
   
Here I am with another question.  I learn so much from these threads.
What are some easy, but good, novelty, or gimmick contras.  To elaborate, I 
mean contras that have unusual moves, or contras that use basic moves in 
unusual ways.
Maybe Ovals, Wholeset Promenades, Old-Timey square dance moves?Two of my 
favorites are "Hot Buttered Rolls" and "Roll Over Johannes"
Rich SbardellaStafford, CT
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[Callers] Fw: Dances with multiple swings- Trinity?

[Mac Mckeever via Callers]

CDS reel by Ted Senella - 3 swings including the progression that goes from 
neighbor swing direct to next neighbor swing
Billy Boyer's Got Nice Neighbors - has 3 swings but no swing to swing 
transition.

Mac McKeever


- Forwarded Message -
 From: Lindsey Dono via Callers 
 To: Callers List  
 Sent: Friday, March 11, 2016 2:56 PM
 Subject: [Callers] Dances with multiple swings- Trinity?

Hi all,
I'm in the process of sorting through old dance notes, and found this: 
"Trinity? triple swing, double progression, Al Olson." If this is an existing 
dance, does anyone have the choreography?
I'm also interested in finding other dances with more than two swings, 
especially swing-to-swing transitions.I have:Back from VermontString of 
SwingsCDS ReelMeg's a Dancing FoolTen Strings AttachedGang of FourNaked in 
CaliforniaAlexander's Swingtime
Many thanks in advance!Lindsey(Tacoma, WA)
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[Callers] Fw: Contras for One Nighters

[Mac Mckeever via Callers]

On the rare occasion when I call a contra to new dancers - I use one similar - 
but with an easier progression
A1 Cir Left 1X  -   Neighbors Do-si-doA2 Women Do-si-do   - Mem Do-Si -doB1 
Long lines - 1s swing - face downB2 Down hall - do not turn - back up 1s arch 
and guide 2s thru arch to new neighbors
Even this easy - I have strange things happen - like the time that when couples 
were out at the bottom - they ran back to the top
Mac McKeever

 
- Forwarded Message -
 From: Kalia Kliban via Callers 
 To: callers@lists.sharedweight.net 
 Sent: Saturday, March 5, 2016 6:03 PM
 Subject: Re: [Callers] Contras for One Nighters
   
On 3/5/2016 1:27 PM, Erik Hoffman via Callers wrote:
> In looking at Kalia's suggestions, I've put the Itchinton dance in what
> is more readable to me. Kalia, do I have it correct?

As written, it's proper (or, for a non-dancer crowd, "it doesn't matter 
which side you're on as long as you're across from your partner'), so 
I'd avoid using the gendered terms in the A2.  And as written, it was RH 
then LH star but I think it flows better the other way.

> Itchington Long Dance
> Hugh Rippon, 1990
>
> (pretending it's) Improper
> A1: Star L/R;
>
> A2:Wm DSD; Mn DSD
>
> B1: Ones down center, turn alone, return, cast
>
> B2:1s swing and look down for new Nbrs
>
> For beginning dancers, I'd change B2 to Long lines forward and back
> (good for connection, reduces swing time, which is often better for
> beginners)

Good suggestion!  I'm making a note on the card.

Kalia
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[Callers] Fw: Fw: Fw: another new word idea

[Mac Mckeever via Callers]

There are lots of examples where the same name is used for figures that are 
done differently - allemand for example
I always thought the staring at the other person was an option and often 
uncomfortable for new dancers
Mac
 

 - Forwarded Message -
 From: Jeremy Gmail via Callers <callers@lists.sharedweight.net>
 To: callers@lists.sharedweight.net 
 Sent: Wednesday, January 27, 2016 1:51 PM
 Subject: Re: [Callers] Fw: Fw: another new word idea
   
#yiv2342473169 #yiv2342473169 -- _filtered #yiv2342473169 
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{font-family:Tahoma;panose-1:2 11 6 4 3 5 4 4 2 4;} _filtered #yiv2342473169 
{panose-1:3 15 7 2 3 3 2 2 2 4;}#yiv2342473169 #yiv2342473169 
p.yiv2342473169MsoNormal, #yiv2342473169 li.yiv2342473169MsoNormal, 
#yiv2342473169 div.yiv2342473169MsoNormal 
{margin:0cm;margin-bottom:.0001pt;font-size:12.0pt;}#yiv2342473169 a:link, 
#yiv2342473169 span.yiv2342473169MsoHyperlink 
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{color:purple;text-decoration:underline;}#yiv2342473169 
p.yiv2342473169MsoAcetate, #yiv2342473169 li.yiv2342473169MsoAcetate, 
#yiv2342473169 div.yiv2342473169MsoAcetate 
{margin:0cm;margin-bottom:.0001pt;font-size:8.0pt;}#yiv2342473169 
span.yiv2342473169EmailStyle17 {color:#1F497D;}#yiv2342473169 
span.yiv2342473169BalloonTextChar {}#yiv2342473169 .yiv2342473169MsoChpDefault 
{font-size:10.0pt;} _filtered #yiv2342473169 {margin:72.0pt 72.0pt 72.0pt 
72.0pt;}#yiv2342473169 div.yiv2342473169WordSection1 {}#yiv2342473169 In MWSD, 
walk around (your corner) is effectively a “without hands” Right Hand Turn – it 
specifically does not have the “look at the other person” aspect.
This is not in itself a reason for not using the phrase, but avoiding confusion 
with closely allied dance forms that share dancers is probably a good idea.  
Jeremy  From: Callers [mailto:callers-boun...@lists.sharedweight.net] On Behalf 
Of Mac Mckeever via Callers
Sent: 27 January 2016 15:47
To: callers@lists.sharedweight.net
Subject: [Callers] Fw: Fw: another new word idea  That would seem to be an even 
more obvious solution.

Mac    - Forwarded Message -
From: Steve Holland via Callers <callers@lists.sharedweight.net>
To: callers@lists.sharedweight.net 
Sent: Wednesday, January 27, 2016 9:41 AM
Subject: Re: [Callers] Fw: another new word idea  I believe that in the singing 
square "Trail of the Lonesome Pine" the term they use is walk around. Steve  
-Original Message-----
From: Mac Mckeever via Callers <callers@lists.sharedweight.net>
To: callers <callers@lists.sharedweight.net>
Sent: Wed, Jan 27, 2016 10:32 am
Subject: [Callers] Fw: another new word ideaIf I recall - square dances use the 
term 'dance around' to achieve the same thing

'dance around your partner', etc.



Mac McKeever    - Forwarded Message -
From: Aahz Maruch via Callers <callers@lists.sharedweight.net>
To: callers@lists.sharedweight.net 
Sent: Wednesday, January 27, 2016 9:18 AM
Subject: Re: [Callers] another new word idea
On Wed, Jan 27, 2016, jwcontrahands4 via Callers wrote:
> 
> I think that, if I decide to abandon gypsy, I will go with "ease
> about". I like the feel of it. An alternative would be "walkabout".

Walkabout would be a poor substitute:

http://www.abc.net.au/news/2016-01-07/lets-go-walkabout-changes-name-a-cultural-appropriation-claims/7071662

I suggest that anyone thinking of a substitute term do at least a quick
search for " appropriation" (which is what I did to find the above
link) and " slur".
-- 
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[Callers] Fw: another new word idea

[Mac Mckeever via Callers]

If I recall - square dances use the term 'dance around' to achieve the same 
thing
'dance around your partner', etc.

Mac McKeever
 

 - Forwarded Message -
 From: Aahz Maruch via Callers 
 To: callers@lists.sharedweight.net 
 Sent: Wednesday, January 27, 2016 9:18 AM
 Subject: Re: [Callers] another new word idea
   
On Wed, Jan 27, 2016, jwcontrahands4 via Callers wrote:
> 
> I think that, if I decide to abandon gypsy, I will go with "ease
> about". I like the feel of it. An alternative would be "walkabout".

Walkabout would be a poor substitute:

http://www.abc.net.au/news/2016-01-07/lets-go-walkabout-changes-name-a-cultural-appropriation-claims/7071662

I suggest that anyone thinking of a substitute term do at least a quick
search for " appropriation" (which is what I did to find the above
link) and " slur".
-- 
Hugs and backrubs -- I break Rule 6                        http://rule6.info/
                      <*>          <*>          <*>
Help a hearing-impaired person: http://rule6.info/hearing.html
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Re: [Callers] Becket Formation

[Mac Mckeever via Callers]

The only thing I can imagine is that many Becket dances leave the minor set - 
making them slightly more complex.  Perhaps they had some bad experiences with 
a couple dances and haven't given them another chance.
They seem to be different - even though they really aren't - maybe they are 
just more comfortable with what they are used to.

I would think a Becket is a good choice for a final dance because they can end 
with a partner swing - an nice way to end the last dance.
Mac McKeever

  From: Bill Olson via Callers 
 To: Caller's discussion list  
 Sent: Thursday, December 10, 2015 2:20 PM
 Subject: Re: [Callers] Becket Formation
   
#yiv5824956374 #yiv5824956374 --.yiv5824956374hmmessage 
P{margin:0px;padding:0px;}#yiv5824956374 
body.yiv5824956374hmmessage{font-size:12pt;font-family:Calibri;}#yiv5824956374 
Wow, maybe that couple didn't actually know what Becket Formation was?
 
bill
 
List-Post: callers@lists.sharedweight.net
Date: Thu, 10 Dec 2015 14:45:17 -0500
To: call...@sharedweight.net
Subject: [Callers] Becket Formation
From: callers@lists.sharedweight.net



Folks,
I was at a dance not too long ago, and as the caller (not me) invited dancers 
to join the last dance of the night, he also declared it to be in Becket 
formation.  One visiting couple, who had been waiting eagerly for the last 
dance , put on their jackets and left disappointed, stating that they do not 
like Beckets.
Perhaps because I am a square dance caller, I tend to program about 40% Beckets 
in a contra  evening.  Is there a negative sentiment about Becket formation 
among many dancers?  If so, can someone explain the reason?
Rich
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Re: [Callers] Dances with R & L Thru

[Mac Mckeever via Callers]

Couple of my favorites are:

Sweet Music by Amy KahnGood Friday by Kirsten Koths
  From: Rich Sbardella via Callers 
 To: Caller's discussion list ; 
trad-dance-call...@yahoogroups.com 
 Sent: Tuesday, November 24, 2015 7:22 AM
 Subject: [Callers] Dances with R & L Thru
   
I am looking for a few good contras with a R & L Thru that do not contain a 
Ladies chain.  Any suggestions?Peace,Rich
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[Callers] Fw: dances in unusual formations

[Mac Mckeever via Callers]

How abut 'turn back jack'  for 5 dancers - no couples - it is a little tricky 
but fun
Mac McKeever
- Forwarded Message -
  From: Keith Wood via Callers 
 To: callers@lists.sharedweight.net 
 Sent: Sunday, November 1, 2015 3:35 AM
 Subject: Re: [Callers] dances in unusual formations
   
 You could try a couple of my dances:
 
 Rubigold - 5 couples in a horseshoe - 
http://keith-wood.name/mydances.html#Rubigold
 
 Crossroads - 5 people in a diamond - 
http://keith-wood.name/mydances.html#Crossroads
 
 Cheers
 
 Keith
 
 
 

 
 
 
 
   Hi
 I'm doing a workshop on dances "outside the box" (ie, no squares or contras).
 Anyone have any interesting dances for contra dancers that fit the criteria?  
 
 I have Tom Hinds "Hexitation" and several triplets, a Zia and a Tempest, and 
have looked through the Ralph Page weekend glossary, but I'm wondering if you 
were doing a workshop like this, what would be your top pick of a dance? 
   
   Thanks
  Donna Hunt
 
  
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[Callers] Fw: Musical styles for a Barn Dance question

[Mac Mckeever via Callers]

I believe Eric Hoffman has a dance called Flying Circus.  I worked with a band 
several years ago to play Liberty Bell March - it was a lot of fun
Mac McKeever

 
- Forwarded Message -
  From: Aahz Maruch via Callers 
 To: callers@lists.sharedweight.net 
 Sent: Tuesday, October 20, 2015 6:29 PM
 Subject: Re: [Callers] Musical styles for a Barn Dance question
   
On Sun, Oct 18, 2015, JD Erskine iDance via Callers wrote:
>
> A few weeks ago I attended a free, intro night of MWSD. The point I took
> away from that was that someone could really use any music if it met the
> basic criteria. There were Beatles tunes/songs, pop "standards" and such.
> Not much in the way of tune as many of us might generally expect or
> appreciate.

One MWSD caller I know likes to use John Philip Sousa's "Liberty Bell"
March -- aka the theme from Monty Python.  I find that somewhat
distracting as I keep expecting to hear the *STOMP*.
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Re: [Callers] [Musicians] worthiness of a tune for contra?

[Mac Mckeever via Callers]

I didn't have any problems with the phrasing - but would not enjoy calling to 
96bpm - but that is just my preference.
Mac McKeever

  From: Martha Wild via Callers 
 To: Callers  
 Sent: Friday, July 31, 2015 8:23 AM
 Subject: Re: [Callers] [Musicians] worthiness of a tune for contra?
   
All, I had no trouble in the first two videos. The third one is definitely 
crooked. In the second one there's accompaniment and that really defines the 
beat, so I wouldn't think a band with a guitar, bass, or piano would be 
difficult for dancers to follow this at all.
Martha

On Jul 30, 2015, at 11:54 PM, Erik Hoffman via Callers wrote:

> I, too, had no trouble hearing phrases of 4-beats, 8-beats, and the major 
> parts. (In music speak: 2-bar phrases, 4-bar phrases, and 8-bar parts.) I 
> would have no trouble calling to either tune in that video. Thus, I'm also 
> curious about what makes it hard to hear, for those of you who have trouble 
> with it.
> 
> ~erik hoffman
>    oakland, ca
> 
> 
> On 7/30/2015 6:52 PM, James Saxe via Musicians wrote:
>> After Emily Addison asked about the tunes in this video
>> 
>>      https://www.youtube.com/watch?v=2DkJQ9xNGuU
>> 
>> several people commented that they found the phrasing of
>> the jig (Jim Rumboldt's Tune) deceptive.  I'm curious to
>> know what any of you--or other list members--think after
>> listening to it at 1.25x speed, as described in my previous
>> message (quoted below).
>> 
>> I did a little searching for other videos of the tune.
>> This one
>> 
>>      https://www.youtube.com/watch?v=rx_E3qeZAfQ
>> 
>> is played at about 165 bpm.  If it were played at a
>> normal contra tempo and with a clear four-beat intro, but
>> otherwise in the same style as in the video, I think it
>> would be fine for dancing.  Yes, there are a couple places
>> where, if I started the video at a random point in the
>> tune, I could momentarily wonder whether a particular note
>> was a pick-up note or the true beat 1 of a new phrase.
>> But, to my ear, there are enough other places where the
>> phrasing is quite clear so that it's not a problem.  I'd
>> be interested in reading other people's reactions.
>> 
>> I found another rendition starting about 3:15 in this
>> video
>> 
>>      https://www.youtube.com/watch?v=ZCnFlmrN1mk
>> 
>> with tempo in the high 140s.  I can't make sense of
>> the phrasing in this one at all.  It seems to me it's a
>> different, and genuinely crooked, variant of the tune.
>> Does anyone disagree.
>> 
>> After watching that last video, I tried searching for abc
>> notation or pdfs of sheet music or tablature to see whether
>> I'd find notation for different versions--straight vs.
>> crooked--of the tune.  So far, however, I haven't turned
>> up any notation at all.
>> 
>> --Jim
>> 
>>> On Jul 30, 2015, at 1:58 AM, James Saxe  wrote:
>>> 
>>> I'm a mere caller and pretty much a musical muggle, but
>>> here are some observations about the jig for what they're
>>> worth.
>>> 
>>> First off, in the video the jig is played at about 93 or 94
>>> beats per minute (based on my stopwatch timing, which also
>>> appears to agree closely with the YouTube time counter).
>>> You might get a better idea of how it would sound as a dance
>>> tuen by playing it at 1.25x speed.  (Click on the gear-shaped
>>> "Settings" button near the lower right of the YouTube video
>>> frame; then click on the Speed box (typically defaulting
>>> to "Normal"); then click "1.25" in the menu that pops up.
>>> YouTube should then play at 1.25x normal speed but with the
>>> audio pitch-shifted back down to normal pitch.)
>> 
>> 
>> 
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>> 
>> 
> 
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Re: [Callers] "Flash Mob" dances

[Mac Mckeever via Callers]

What we do and what I think Alan is referring to is a bit different.  He 
already has a critical mass of experienced dancers - so he can do beginner 
level contras and even a bit above that level.  You often end up with about 1/3 
new dancers.
We have done this many times without having to go to one night stand type 
dances.  It is really good at encourage the new people to attend a regular 
dance.  We have often set up in areas where there is good cultural diversity to 
help us out in that area.
We used to do about one a month in good weather - but have tapered off lately.  
We need to start these up again.
Mac Mckeever
  From: Jack Mitchell via Callers 
 To: Linda Leslie ; Alan Winston 
 
Cc: callers@lists.sharedweight.net 
 Sent: Monday, July 27, 2015 9:58 AM
 Subject: Re: [Callers] "Flash Mob" dances
   
LInda--

I love those ideas for getting folks out on the floor. So simple. Thanks! 


On Mon, Jul 27, 2015 at 10:51 AM Linda Leslie via Callers 
 wrote:

What a great idea, Alan! I hope you are able to continue this as a successful 
annual event!
Whenever I find folks are reluctant to join in dances (weddings, parties, 
etc.,), I find a surefire solution is to begin with a no-partner circle. I hold 
hands with the “volunteer” dancers, and snake around the area, picking up folks 
as we go by them. You can encourage folks with happy smiles, “Join us!” and 
other exhortations….Once we have a good group, I close the circle, and do hash 
calls: circle left, circle right, single file left, right, all f, “everybody 
over 50 into the center and back”, etc., etc. I then from a circle left, become 
the lead again, and spiral the circle in, then back out. It is wonderful how 
this simple movement to music, and the surprise of reversing the spiral makes 
people happy, From here, I would have people pair up and do a very simple 
circle mixer, which gets them used to the P change idea. Then the simple 
contras.

Looking forward to seeing the other suggestions that folks offer you!
warmly, Linda

On Jul 26, 2015, at 11:52 PM, Alan Winston via Callers 
 wrote:

> Over in San Jose we've just done a  second annual not-really-flash-mob dance. 
>  Symphony Silicon Valley does a free public series of Pops concerts, get 
> permission from them, pick one, get a bunch of volunteer dancers and a pickup 
> band, print up some flyers and put up a sign with the sponsoring organization 
> logo and URL, We put up a sign with the name of the organization, set up in 
> the path of foot traffic to the concert spot, and do an hour and a half (or 
> so) of easy contra dances, encouraging passersby to join in and hooking them 
> up with more-experienced partners.
>
> This is successful in terms of getting some exposure, and today we got 
> somewhere between a half-dozen and a dozen new people to actually try it, and 
> probably moved 25 flyers.  Nobody got hurt, some of the dancers stayed for 
> several dances, etc.  We flushed out some old square dancers (who of course 
> wanted to swing once around and wait for the next call) and some previous 
> non-dancers of various ages.
>
> (I was calling.  First round was missing many volunteer dancers and had 
> multiple newbies, so I did a one-night-stand dance ("Up the Sides and Down 
> the Middle") rather than a duple-minor contra; then Cranky Ingenuity, 
> Inflation Reel, Kitchen Stomp, and Delphiniums and Daisies.)
>
> Posting to ask if people who've done this kind of thing have any tips or 
> tricks to get things going.
>
> As caller I relied on my volunteer dancers to do the recruiting, and people 
> had different comfort and skill levels doing that.  Is there something I can 
> tell them that will increase their comfort in talking to strangers?
>
> Thanks!
>
> -- Alan
>
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-- 
Jack Mitchell
Durham, NC

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Re: [Callers] How to explain the charms of square dances (was More on Programming)

[Mac Mckeever via Callers]

Sorry - I menat this to go to the group but only sent it to Tom by mistake

Tom has mentioned some of the things I like to do to make squares more fun for 
contra dancers:
I have the band step up the tempo - usually around 128 bpm so the squares can 
be danced more aggressively than contras.I avoid visiting couples squares (with 
some exceptions)  I like to keep the dancer moving  as much as possibleI try to 
avoid pauses between figures and breaks.I like to use squares that have some 
figure that they do not normally find in contra - so they are doing something 
fun that wouldn't get otherwise.I especially like squares where the set seems 
really mixed up - bu then all of a sudden there is your corner or partner.
I get excited and have a lot of fun and hope some of that is passed to the 
dancers.
I rarely get complaints about calling a couple squares - but I wouldn't get a 
lot of complaints if I left them out either (but I would get a few - there are 
dancers who even ask me when they will be called so they can get a favorite 
partner).
What really hurts is when callers call squares that are boring or call them 
badly - then the dancers start projecting that to all squares.  In a 
conversation not long ago a dancer commented that she doesn't like squares 
except when one specific caller calls them.  My response was it wasn't squares 
she didn't like - just the way a lot of our callers present them
Mac McKeever
  From: Tom Hinds via Callers 
 To: Jacob Nancy Bloom  
Cc: Shared_Weight_Callers  
 Sent: Saturday, June 27, 2015 8:38 AM
 Subject: Re: [Callers] How to explain the charms of square dances (was More on 
Programming)
   
Yes you are correct, pointing out the benefits of squares is a much  
better option than telling them to stay home.  I included that  
comment in hopes that callers might consider being less afraid of  
what dancers think.  I have no illusions that others would say that  
to a dancer.

One aspect that makes squares attractive is the changing patterns.  
For myself and others, dancing choreography that wasn't walked  
through is very enjoyable.  And changing the pattern doesn't have to  
be challenging.

For partner changing squares there's a certain satisfaction/challenge  
in performing the choreography well as a group and ending with your  
partner again.  Picking the correct square for this is crucial-not  
too easy and not too hard.

Some people enjoy dancing squares to music where the phrasing is less  
distinct.  It's hard for me to describe but it's like dancing without  
holding back.  Or could it be described as charging ahead?  Perhaps  
some of you can describe this gooder than I can.  This works well  
with driving old time music.

Although I don't enjoy the visiting couple type square, I understand  
that there are a number of groups who enjoy these types of squares  
with very fast music.  In central Virginia there're getting large  
turnouts.  I'm told that most of these dancers are young and not  
contra dancers.  I often hear of other groups in the country where  
young dancers are discovering squares.  Is this the future?



T

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Re: [Callers] Solo fiddler or recorded music?

[Mac Mckeever via Callers]

Eric,
That sounds like a nice resource.  In addition to one night stands - those type 
dances can also be used (sometimes with minor modification) at family dances.
I plan to vacation out your way in September - I'll try to look you up and save 
$3.
Mac McKeever

  From: Cheryl Joyal via Callers 
 To: Erik Hoffman  
Cc: "callers@lists.sharedweight.net"  
 Sent: Friday, March 27, 2015 2:38 PM
 Subject: Re: [Callers] Solo fiddler or recorded music?
   
Erik I will take you up on mailing me your book - how doI get you a check? 
I will try to post the program I did recently for about 10 dancers and 45 
beginners - I had to abort a couple dances ( including ladies chain) but we did 
manage to get to contras and progress.    I use callers companion to plan 
program and introduce on new move at a time.   Usually do a circle dance with 
couple progression to get the concept 


Cheryl Joyal630-667-3284
Sent from my iPhone


On Mar 27, 2015, at 11:10 AM, Erik Hoffman via Callers 
 wrote:

  Yes, the courtesy turn is a challenge. And, in a right & left thru, finding 
your "turner" is a challenge for the women. This is because for the person on 
the right, the natural way to turn is away from your partner. And, for some 
reason, men often think they don't have to move...
 
 But, for a room of beginners, I think, as said in an earlier email, the chain 
is a challenge, as the mere idea of progressing one way or the other...
 
 ~erik Hoffman
 
 On 3/27/2015 8:54 AM, Cheryl Joyal via Callers wrote:
  
 
The courtesy turn is the hard part.   Sometimes Teaching hat first works as 
they practice the movement prior to moving - then have them walk across and do 
same turn.   Similar for ladies chain although I think having a dance with R 
b4 chain is my new approach.      And sometimes it just doesn't work with many 
beginners - so I apologize for not explaining well and change to an easy backup 
dance  
 Cheryl Joyal 630-667-3284 
  Sent from my iPhone  
 On Mar 27, 2015, at 8:28 AM, Jacob Nancy Bloom via Callers 
 wrote:
 
I would absolutely believe that the dancers were completely confounded by 
"right and left through".  I remember how surprised I was, when I called my 
first dance, to discover how much more confusing it was than a Ladie's Chain.  
If you are used to both of them, then you tend to think of them as being 
similar.  If you've never done either, then one of them has you connected to 
other people, while the other leaves you by yourself, trying to figure out 
which way to turn (and usually getting it wrong.) 
  But learning which figures are easier and harder comes quickly.  Learning 
which dances to call for a given crowd and how to teach them efficiently is a 
neverending process! 
  Jacob 
 On Fri, Mar 27, 2015 at 10:47 AM, Brooks Hart via Callers 
 wrote:
 
  So, as the original poster, I am reporting back. 
  The dance with the solo fiddler was a mixed bag.  The music was very nice, 
but because I am new to calling, and our dancers are 99% beginners, way too 
much time was spent on walk-throughs and teaching. The fiddler sat out for long 
stretches of time, which seemed like a waste of his time and the money spent on 
live music. 
  I thought I had picked easy dances, but you wouldn't believe how confounded 
so many of the people were at "right and left through",  and that falls on me 
and my lack of experience with teaching and crowd wrangling. 
  A special moment for everyone, though, was doing a circle waltz dance with 
the fiddler playing, unplugged, in the center of the circle.  
  So, thanks again for everyone's input and encouragement, Brooks 
  
  
 
 > Date: Fri, 27 Mar 2015 03:50:51 -0700
 > To: callers@lists.sharedweight.net
 > Subject: Re: [Callers] Solo fiddler or recorded music?
 > From: callers@lists.sharedweight.net
 > 
 > [resting up before the CALLERLAB convention, catching up on some older
 > messages]
 > 
 > On Thu, Mar 05, 2015, Neal Schlein via Callers wrote:
 > >
 > > So, the moral of the story is that if a caller isn't USED to working with a
 > > band, live music isn't necessarily going to result in the best experience
 > > for the dancers.
 > 
 > My experience as a relatively new caller is that it also depends on the
 > caller's experience as a dancer. My hearing makes it a bit difficult to
 > tune into the phrasing of a live band to call at the correct times, but
 > because I've been contra dancing for so many years (almost exclusively to
 > live music) I can roughly manage it -- and I know what it's supposed to
 > sound like.
 > -- 
 > Hugs and backrubs -- I break Rule 6 http://rule6.info/
 > <*> <*> <*>
 > Help a hearing-impaired person: http://rule6.info/hearing.html
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