Re: [Callers] [Organizers] contra dance gypsy

[Rich Sbardella via Callers]

Martha,

I have been using Right Shoulder Round for months with no issues.  If the
prompt is given in time, dancers get it.  Dancers do not confuse R Thru
with Right Allemande either, if the prompt is given in time.

In MWSD many calls are preceded by "Left" to change starting hands and it
does not confuse the calls.  There is Left Square Thru, Left Swing Thru,
Left Touch 1/4, ...

I am not arguing against Spiral" but simply stating that the predominant
cal in southern New England is Right Shoulder Round, and it does seem to
work well.

Rich Sbardella
Stafford, CT

On Wed, Oct 9, 2019 at 11:17 PM Martha Wild via Callers <
callers@lists.sharedweight.net> wrote:

> I hate "right shoulder round". It has the problem of using the term right
> in it. That makes it easy for people to confuse with a right allemande or a
> right shoulder do-si-do as you are calling it. Or right and left through.
> People often hear the first syllable you say to get direction, and that
> confuses them, especially if you have other moves starting with “right” in
> them in the dance. Also, the syllables don’t stand out - shoulder has
> little oomph, round similarly. There’s little way to shorten it as you
> call, which I like to do to cut down on interrupting the music. It’s a long
> string of words for one move.  I do not use it. I use “spiral”, which a
> number of other people also use around here. I just really, really don’t
> like “right shoulder round”. I’m afraid “walk all around” has similar
> issues, at least for me - walk is used in other situations, you might have
> people walking individually around the small or large set, and be
> shortening that to “walk” - to me, walk could mean anything. Okay, it’s not
> always a perfect spiral, because you don’t always swing afterwards, but it
> has the virtue of people knowing what they are supposed to do immediately.
> Martha
>
>
> > On Oct 9, 2019, at 7:12 AM, Bob Hofkin via Callers <
> callers@lists.sharedweight.net> wrote:
> >
> > "Walk all around" [the left-hand lady] has been the MWSD terminology,
> and it seems adequate to me. Why create new terminology?
> >
> > Bob
> >
> > On 10/9/2019 9:56, Adam Carlson via Callers wrote:
> >
> >> BTW, I'm really saddened that the term "right shoulder round" has become
> >> the standard replacement for gypsy. It's about as evocative as "modified
> >> ballroom position paired rotation" is for swing and takes too long to
> say.
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[Callers] Jim DeNigris

[Rich Sbardella via Callers]

Hello folks,
I sadly relay that CT square dance caller Jim DeNigris passed away last
night.
Jim was so vital to New England MWSD.  He served in NECCA offices and on
many Convention Committees.  Jim was a friend and he always the perfect
gentleman in all his dealings.
Rich
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[Callers] Fwd: Tempo for Squares

[Rich Sbardella via Callers]

I am asking about phrased squares as in the New England style.

-- Forwarded message -

Folks,
I am curious.  Tempo for contra is often below 120 bpm.  I learned to call
squares at about 128 bpm.
Is this significant difference the norm, and if so why?
Rich Sbardella
Stafford Springs, CT
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[Callers] Tempo for Squares

[Rich Sbardella via Callers]

Folks,
I am curious.  Tempo for contra is often below 120 bpm.  I learned to call
squares at about 128 bpm.
Is this significant difference the norm, and if so why?
Rich Sbardella
Stafford Springs, CT
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Re: [Callers] Including Mobility Challenged Dancers

[Rich Sbardella via Callers]

Don,
I've been at a party when Jerry Helt called a sit dance, but I could not
find a video link.  Here is the closest I could come.  When I danced it,
the chairs were around the perimeter of the room.
http://blog.d4bp.com/wp/sit-down-dancing/
Good luck with the gig!

On Wed, Sep 11, 2019 at 2:27 PM Don Veino via Callers <
callers@lists.sharedweight.net> wrote:

> I have a private family dance gig with a church this weekend. In our
> touching base just now, the contact brought up a request to include *some*
> material that would be amenable to a couple of folks who wish to
> participate but have mobility issues.
>
> I'm seeking further detail from them to know the scope of the challenges
> but thought I'd reach out to see how others have dealt with similar
> situations. In my normal calling for family events, I'll often mention
> alternative moves for folks who don't bend as well as they used to, etc.
> but I'm guessing the needs here may be more significant.
>
> Do you have any particular material you'd use within an otherwise standard
> family/community dance context to suit mobility challenges? I know there
> are things like the seated squares session at NEFFA but am hoping for
> material that wouldn't require rearranging the furniture, etc. between
> selections.
>
> Thanks!
> Don
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[Callers] Fwd: SIO/SD Magazine

[Rich Sbardella via Callers]

FYI


-- Forwarded message -
From: Calvin 
Date: Tue, Aug 27, 2019 at 9:47 PM
Subject: SIO/SD Magazine
To: SquareDanceModules 


I have two full sets of Sets-in-Order/Square Dance Magazine.  One set is
new magazines.  It is one of the sets that Bob Osgood saved for caller’s
associations.  The second set of magazines are all in red binders by year.
It has been well used, but the binders protect the individual magazines.

There were 444 magazines published between 1949 and 1985.  I weighed the
packages that contain the new magazine and they totaled up to about 135
pounds.  They are in eight bundles. It would cost about $80-100 to ship
them media mail in the U.S.

If you don’t want the set personally, consider finding a college or
university in your area that will take them.  I did this with Colorado
State University.  At the time I made my donation, there were only five
other libraries in the U.S. with complete sets.

I would really hate to see these magazines end up in a dump, but that is
likely destination of I can’t find a home for them.

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Re: [Callers] Brain Dead - Need Suggestions

[Rich Sbardella via Callers]

Linda,
Here is a very SIMPLE dance that I almost always use as the first dance
with K-3 children.  I often use CL 8, CR 8, ... instead of CL 16, but often
it takes a while to get youngsters moving so CL 16 is fine.  I learned this
dance from Cal Campbell, and is the best at getting dancers dancing to the
phrase.

Cat's Meow
https://youtu.be/EmwDsd_yf10  


On Sat, Aug 17, 2019 at 8:57 PM Rich Sbardella 
wrote:

> Linda,
> Chimes of Dunkirk is a great dance for tying the music to the dance.
> Also Heel & Toe Polka.
> Is there a dance that changes from 2/4 or 4/4 to 6/8?  I know I've danced
> one but I cannot recall it.
> I might suggest talking about the types of music we use in traditional
> dance and maybe talk about a particular tune and its origins.
> https://www.youtube.com/watch?v=LZgcvDRZI5Q
> Peace,
> Rich
>
>
> On Sat, Aug 17, 2019 at 12:40 AM Linda S. Mrosko via Callers <
> callers@lists.sharedweight.net> wrote:
>
>> Although I've been calling forever and I know things, I'm not currently
>> inspired to do this and am asking for help.
>>
>> Been hired to lead a dance for a music school -- ages 5 and up to teens
>> and their parents and my contact asked if I could lead "dances that
>> encourage really paying attention to beat counts….throw in some music
>> education in addition to fun."
>>
>> So I'll do my standard ONS dances for this group to recorded music that
>> has very good beat counts and distinct phrasing.  That's not the problem.
>> The problem is *"throw in some music education."  *I don't need a
>> dissertation, just bits and pieces.  The dance is only 1-1/2 hours long
>> followed by ice cream.
>>
>> I've got a job that keeps me pretty busy and am training for a new job
>> that's taking up a lot of my time and I just can't think anymore.
>>
>> Any suggestions?
>>
>> --
>>
>>
>>
>> *Looking forward,Linda S. Mrosko*
>>
>> *102 Mitchell Drive*
>>
>> *Temple, Texas 76501*
>> *(903) 292-3713 (Cell)*
>> *contradancetx.com *
>>
>> *www.zazzle.com/fuzzycozy*  (Dance
>> buttons, t-shirts, & more)*
>>
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>>
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Re: [Callers] Brain Dead - Need Suggestions

[Rich Sbardella via Callers]

Linda,
Chimes of Dunkirk is a great dance for tying the music to the dance.
Also Heel & Toe Polka.
Is there a dance that changes from 2/4 or 4/4 to 6/8?  I know I've danced
one but I cannot recall it.
I might suggest talking about the types of music we use in traditional
dance and maybe talk about a particular tune and its origins.
https://www.youtube.com/watch?v=LZgcvDRZI5Q
Peace,
Rich


On Sat, Aug 17, 2019 at 12:40 AM Linda S. Mrosko via Callers <
callers@lists.sharedweight.net> wrote:

> Although I've been calling forever and I know things, I'm not currently
> inspired to do this and am asking for help.
>
> Been hired to lead a dance for a music school -- ages 5 and up to teens
> and their parents and my contact asked if I could lead "dances that
> encourage really paying attention to beat counts….throw in some music
> education in addition to fun."
>
> So I'll do my standard ONS dances for this group to recorded music that
> has very good beat counts and distinct phrasing.  That's not the problem.
> The problem is *"throw in some music education."  *I don't need a
> dissertation, just bits and pieces.  The dance is only 1-1/2 hours long
> followed by ice cream.
>
> I've got a job that keeps me pretty busy and am training for a new job
> that's taking up a lot of my time and I just can't think anymore.
>
> Any suggestions?
>
> --
>
>
>
> *Looking forward,Linda S. Mrosko*
>
> *102 Mitchell Drive*
>
> *Temple, Texas 76501*
> *(903) 292-3713 (Cell)*
> *contradancetx.com *
>
> *www.zazzle.com/fuzzycozy*  (Dance
> buttons, t-shirts, & more)*
>
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Re: [Callers] Contra Corners Dance

[Rich Sbardella via Callers]

Here is another CC dance from Linda Leslie.

*Friendly Sandwich Corners*
A1 Full CL, Mirror (R/L) Shoulder Round
A2 Actives Down the Center, T/Cpls Return & Cast around One
B1 Turn Contra Corners
B2 Actives Only B

Sandwich is a town on the cape where Linda Leslie and Amy Larkin organized
a monthly contra dance.  When I began calling contras, I showed up there
one night and Linda allowed me to call a few dances.   The dance was indeed
friendly.

Peace,
Rich Stafford, CT




On Thu, Jul 11, 2019 at 12:15 PM Bill Olson via Callers <
callers@lists.sharedweight.net> wrote:

> yep. Truth be told I've used this dance several times when there were just
> 5 or 6 dancers. when 5, I danced.. Using Chorus Jig is a good time to
> impart the "historical aspect" of what it is we are doing too..
>
> BTW, I got this dance from David Kaynor.. yay David!!!
>
> bill
>
> --
> *From:* Callers  on behalf of
> John Sweeney via Callers 
> *Sent:* Thursday, July 11, 2019 4:05 PM
> *To:* 'Caller's discussion list'
> *Subject:* Re: [Callers] Contra Corners Dance
>
>
> Hi Bill,
>
>   Just get them to line up in contra lines and say, “Hands six
> from the top; hold hands in a circle of six; spread out and find some space
> then make two lines of three facing three.”
>
>
>
>   Then you just have to sort out any odd couples at the bottom.
>
>
>
> Happy dancing,
>
>John
>
>
>
> John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802
> 940 574
>
> http://contrafusion.co.uk/KentCeilidhs.html for Live Music
> Ceilidhs
>
> http://www.contrafusion.co.uk for Dancing in Kent
>
>
> http://www.modernjive.com for Modern Jive DVDs
>
>
>
>
>
> *From:* Callers  *On Behalf Of *Bill
> Olson via Callers
> *Sent:* 11 July 2019 16:26
> *To:* Caller's discussion list 
> *Subject:* Re: [Callers] Contra Corners Dance
>
>
>
> I agree about not wanting people coming from both sides. For just plain
> teaching the contra corners figure, I like Chorus Jig done as a triplet..
> (B2 = actives swing to end of set 3's move up). I have done this dance with
> total beginner groups with no problem. The down side of doing a triplet, I
> guess, is the "herding cats" aspect of setting up many short sets..
>
>
>
> Bill
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[Callers] Contra Corners Dance

[Rich Sbardella via Callers]

Friends,
I have been asked to call a contra dance with contra corners in it.  Can
anyone suggest an interesting dance that is relatively easy forr a dance
floor with many newbies?
Thanks for any ideas,
Rich
Stafford, CT
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[Callers] Two Face Three Dance Inquiry

[Rich Sbardella via Callers]

Folks,

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

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

Thanks,
Rich
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Re: [Callers] Hand Turns & Safety

[Rich Sbardella via Callers]

Don,
That is why Gents wear long sleeves all year in MWSD.
No skin too skin.
Rich

On Mon, May 20, 2019 at 8:19 PM Don Veino via Callers <
callers@lists.sharedweight.net> wrote:

> Not to mention a lot less sweaty skin contact!
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Re: [Callers] Hand Turns & Safety

[Rich Sbardella via Callers]

Here is a link with a square dance using the forearm allemande at 30
seconds in.  As a dancer and caller in both worlds, I prefer the contra
allemande over the forearm allemande.  It is easier ti give weight and I
would suspect it is faster going 1-1/2.

https://www.youtube.com/watch?v=_2Y-NdyZtKM


On Mon, May 20, 2019 at 6:58 PM Richard Fischer via Callers <
callers@lists.sharedweight.net> wrote:

> Andrea, could you describe the forearm allemande?  I don't think I've seen
> it and can't quite picture it.  Or maybe send a link to a video that shows
> it?
>
> Of possible interest to some, one of the scenes portrayed on the Shield of
> Achilles in the Iliad shows youths and maidens dancing, "holding their
> hands on one another's wrists."
>
> With best wishes,
>
> Richard Fischer
> Princeton, NJ
>
> On May 18, 2019, at 12:14 PM, Andrea Nettleton via Callers <
> callers@lists.sharedweight.net> wrote:
>
> Hi all,
> I’m going to add a controversial note.  I also loathe the many poor
> allemandes I get, unweighted, awkward handed, arm pulled in like a chicken
> wing, what have you.  As a MWSD, I have come to love the forearm allemande
> for arm turns.  Callerlab made the switch some years ago, and at first I
> was like, wut???  But it’s a position which save everyone’s hands and
> wrists, and even shoulders, is intrinsically very stable, and makes the
> chicken wing almost impossible.  I started using it for dances with
> revolving doors, as a dancer, because those turns are so brief and
> necessarily tight and need a quick strong connection.  I was so pleased I
> began using them elsewhere.  People generally go along with it.  I have
> been wishing Contra could just switch to this for all allemandes.  I know
> it would be an uphill struggle to get everyone on board. But I had to put
> it out there.
>
> Currently I still teach an old fashioned allemande.  I demonstrate and
> emphasize meaty parts of the thumb together, fingers curled around the base
> of the opposite’s thumb, flat wrist.  And I always add that the thumb
> itself is an injurious device which lands at a tender spot if depressed, so
> leave it loose.  Then I demonstrate how to produce enough connection to
> make a 2 person unit that turns on a post.  I’m sure everyone on this list
> has similar teaches.
> If teaching this allemande was ever going to work, it would have by now.
> I suspect it’s failure as a hold is why callerlab opted for the forearm
> hold instead.
> My 2c,
> Andrea N
> Arlington VA
>
> Sent from my iPhone
>
> On May 17, 2019, at 6:01 PM, Erik Hoffman via Callers <
> callers@lists.sharedweight.net> wrote:
>
> John Sweeny below hoped we callers would teach more about hand turns and
> the like.
>
> I’ve been thinking on this for quite a while. Years ago I had a discussion
> with Brad Foster. We both lamented the loss of the allemande with mildly
> interlocking thumbs to the modern overprotective thumb against the side of
> the palm allemande. At that time I think I was still in Santa Barbara, thus
> it must have been pre 1994. I wrote an article for our dance rag called,
> “If Allemande Left, Where’d Allemande Go?”
>
> I talked about what I do when someone grips my hand—and I think all of us
> should remove that word, “grip” from our caller’s vocabulary…
>
> But the most important thing I discussed is:
>
>- Our Wrist is Strongest When It’s Straight
>- Our Fingers are Strongest When Curved
>- Thus, however one does an allemande, it should be a hook, with
>curved fingers and a straight wrist.
>
>
> Lately I’ve seen teachers promote the straight fingers, bent wrist, and
> flat palm method. The almost always makes one person’s wrist uncomfortable.
> Not as bad as when someone draws the others hand into that
> almost-Aikido-put-them-on-the-ground position, but usually quite
> uncomfortable.
>
> Thus I hope most of us learn the curved fingers, straight wrist, no grip,
> and, no thumb clamping allemande, ECD hand turn, two hand turn type hand
> connections.
>
> ~Erik Hoffman,
>Oakland, CA
>
> *From:* Callers  *On Behalf Of *John
> Sweeney via Callers
> *Sent:* Friday, May 17, 2019 2:09 PM
> *To:* 'Caller's discussion list' 
> *Subject:* Re: [Callers] Name that Dance
>
> Hi Rich,
>   I would just call it a “Big Set Mixer”.  It is a slight
> variation of the one in the Community Dances Manual.  Callers just make up
> a 32 bar sequence that works for their dancers.
>
>   While it is a good example of all ages having fun together,
> I really wish callers would teach the dancers just a tiny bit about how to
> do better hand/arm turns and swings :-)
>
> Happy dancing,
>John
>
> John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802
> 940 574
> http://contrafusion.co.uk/KentCeilidhs.html for Live Music
> Ceilidhs
> http://www.contrafusion.co.uk for Dancing in Kent
>
> http://www.modernjive.com for Modern Jive DVDs
>
>
> 

[Callers] Name that Dance

[Rich Sbardella via Callers]

Can anyone put the title to this dance from the web?
https://www.youtube.com/watch?

v=20AzpUhcl_E=IwAR2cUdLxooGD3zONkK4KatXcca3B3spscqRK26CLlOFcVgzPuEPaYhCf8Tc
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Re: [Callers] Looking for "fun" dances

[Rich Sbardella via Callers]

Hello all,
Just a quick note to say there is a facebook page called "Community Dance",
and we would love anyone to post community level dance videos (preferred)
or descriptions on the page.
Thanks,
Rich

On Thu, May 16, 2019 at 12:06 PM Ann Fallon via Callers <
callers@lists.sharedweight.net> wrote:

> Do you know "Double Double This This"?
> It can be done as a mixer or keeper.
>
> Concentric circles, partners facing each other
>
> Partners tap 2 fists together at chin's height 2 times: "Double, double"
> Partners tap 2 hands together, palms together 2 times: "This, this"
> Partners tap 2 fists together 2 times: "Double, double"
> Partners tap 2 hands back to back 2 times: "That, that"
> Partners tap fists 1 time, and open palms 1 time: "Double, this"
> Partners tap fists 1 time, and backs of hands 1 time: "Double, that'
> Partners tap 2 fists together 2 times: "Double, double"
> Partners tap open palms together 1 time and backs of hands 1 time: "This,
> That!"
> Repeat the above with same partner (or shift to the next person in the
> circle if making it a mixer)
> B Right hand allemande your partner;
> Do si do partner
> Left hand allemande partner
> Do si do partner
>
> At this point you can throw in an elbow swing or a promenade.  I've done
> it with ages 9-10, never tried it with younger.
>
>
>
>
> -Original Message-
> From: Charles Abell via Callers 
> To: Callers@Lists.Sharedweight.net ; John
> Sweeney 
> Sent: Wed, May 15, 2019 8:51 am
> Subject: Re: [Callers] Looking for "fun" dances
>
> I'm sure there is already a thread on this somewhere, but I'm wondering
> what are your favorite dances for those in the 4-10 year old range.
> Specifically, dances that are not mixers since many younger dancers prefer
> to stay with a particular partner the whole time. I have a number of good
> ones already (Alabama Gal, Haste to the Wedding, La Bastringue, etc), but
> I'd like to expand my existing collection of dances geared towards "little
> ones".
>
> Let 'em rip!
>
>
> --
> *From:* Callers  on behalf of
> John Sweeney via Callers 
> *Sent:* Tuesday, February 13, 2018 9:58 AM
> *To:* callers@lists.sharedweight.net
> *Subject:* Re: [Callers] Looking for "fun" dances
>
> Since so many people enjoy the contrary circling in The Wheel, you might
> enjoy this one as well:
>
> Suicide Square
> http://www.ceilidhcalling.co.uk/danceviewpage.php?view=1=9
>
> It is extremely chaotic!  You can reduce the chaos slightly by getting the
> band to stop randomly during the circling, at which point everyone grabs a
> partner; the band waits a few seconds while everyone finds a partner and
> decides whether they are Heads or Sides, then gives two notes and starts
> the
> next Heads Gallop.
>
> I modify it to give a bit more recovery time:
>
> Start in a big square around the room
> A1: Head couples take partner in a ballroom hold and gallop eight steps
> into the centre and back
> A2: Sides gallop eight steps into the centre and back
> B1: All the men form an outer circle facing in, while the ladies form
> an
> inner circle facing out. All circle left then find a new partner
> B2: Partner Swing - stop early enough to decide whether you are now
> Heads or Sides - Heads get ready to gallop
>
> There is also The Muffin Man Jig:
> http://www.ceilidhcalling.co.uk/danceviewpage.php?view=1=11
>
> Happy dancing,
>John
>
> John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802
> 940 574
> http://www.modernjive.com for Modern Jive Events & DVDs
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[Callers] Another Untitled Dance

[Rich Sbardella via Callers]

Here is another dance I do not have a title for.
Can anyone help?
Thanks,
Rich

Untitled Easy Dance


Contra D/I

Neighbor Dosido 1-1/2



Next Neighbor Left Shoulder Round


Original Neighbor Balance & Swing


----


Circle Left 3/4


Partner Swing


Ladies Chain



Left Hand Star



New Neighbor Dosido 1-1/2
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[Callers] Dance Title

[Rich Sbardella via Callers]

Anyone recognize this dance?

A1   Bal Wave Spin Right, Bar Wave, Spin L (Ladies all the way across)
A2   P B
B1   CL 3/4, N Swg
B2   F, Star Left

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

[Rich Sbardella via Callers]

Seth,
Since a star thru starts with facing dancers, your move could be called as,
Pass by the left and face  (Across, Face in/out, face up/down).
A Left Star Thru would take 4 steps and a pass thru and face XXX, would
also take four steps.
Rich

On Thu, Mar 21, 2019 at 1:03 PM Tepfer, Seth via Callers <
callers@lists.sharedweight.net> wrote:

> Technically, I believe the hands for a CA Twirl and Star Thru are the same
> - only difference is which way the dancers are facing.
> --
> *From:* Isaac Banner 
> *Sent:* Thursday, March 21, 2019 1:01:16 PM
> *To:* Tepfer, Seth
> *Cc:* callers
> *Subject:* Re: [Callers] Opposite StarThru and functional difference in
> LD v Slide
>
> Isn't #1 just a California Twirl (unless we want to debate whether it can
> only be a Cali Twirl if we're using those hands AND they're our outside
> hands)?
>
> For #2 I'd say there isn't much of a difference aside from suggesting a
> path on the floor to the dancers. LD circle left might feel more crowded as
> a result.
>
> Isaac
>
> On Thu, Mar 21, 2019, 9:57 AM Tepfer, Seth via Callers <
> callers@lists.sharedweight.net> wrote:
>
> Two questions:
>
> 1) We have box the gnat (right hand to right hand), swat the flea (left
> hand to left hand), and star thru (Lark/Gent right hand to Lady/Raven left
> hand). What is the name of the opposite of a star thru (Lark/Gent left
> hand to Lady/Raven right hand)?
>
> 2) What is the functional difference between slide left circle left 3/4
> and on the left diagonal circle left 3/4?
>
>
> Thanks
>
> Seth
>
> --
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Re: [Callers] Opposite StarThru and functional difference in LD v Slide

[Rich Sbardella via Callers]

In MWSD Star Thru is one of the few gender specific calls.  Slide thru is
the same motion as Star Thru, but without hands.

In both Star Thru and Slide Thru, the dancers start face to face and end up
side by side.  In both Star Thru and Slide Thru the dancers pass Right
Shoulders and Turn 1/4 Boys/Gents/Larks Turn 1/4 Right as the
Girls/Ladies/Ravens Turn 1/4 left..

Many MWSD calls have left versions.  For example Pass Thru (by right
shoulder) and Left Pass thru (by left shoulder).  Swing Thru is another.
Swing thru is turn half by the left, half by the right, but Left Swing Thru
is turn half but the left, then half by the right.  Left Square Thru is one
that starts with the left hand, BUT the dancers walk the exact same pattern
as a normal, right handed square thru.

In the case of a star thru and slide thru, I have never danced or called a
Left Star Thru or a Left Slide Thru.  I could imagine teaching it as Face
your partner/neighbor, Gent use Left hand, Ladies use Right, make an arch,
passing Left shoulders turn under the arch.  Ladies face 1/4 right, and
gents turn 1/4 left.

I think the terms Left Star Thru/Left Slide Thru might work with MWSDers,
but might confuse contra dancers.  Perhaps at a level higher than PLUS,
MWSD has a basic for the Left Star Thru.

As far as your second question, the only difference I see is in the
timing.  OTLD Circle left 3/4 is usually done in 8 beats.  If you want to
shorten a swing, you could call slide left, and then circle left 3/4.  I
often use this with lots of new dancers allowing 4 beats for the dancers to
slide and recognize their new foursome.

Rich Sbardella
Stafford, CT

On Thu, Mar 21, 2019 at 12:57 PM Tepfer, Seth via Callers <
callers@lists.sharedweight.net> wrote:

> Two questions:
>
> 1) We have box the gnat (right hand to right hand), swat the flea (left
> hand to left hand), and star thru (Lark/Gent right hand to Lady/Raven left
> hand). What is the name of the opposite of a star thru (Lark/Gent left
> hand to Lady/Raven right hand)?
>
> 2) What is the functional difference between slide left circle left 3/4
> and on the left diagonal circle left 3/4?
>
>
> Thanks
>
> Seth
>
> --
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> prohibited.
>
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Re: [Callers] Moves Following Box Circulate

[Rich Sbardella via Callers]

"Scootback" would be another easy option after a box circulate for contra
dance.  Here is an example:
Balance wave, Those facing in Allemande (L/R), comeback to same wave and
swing (P/N).  Those facing out simply flip and await the swing.

Here is another with two consecutive scootbacks, but a balance can be
inserted between the scootbacks as well.  Balance Wave, Those facing in
allemande outfacers loop.  The new dancers facing in now allemande while
the new outfaces flip.  Both dancers meet for a swing after the second
scootbback.

I wonder if Bob Isaacs has written one yet?

By Callerlab definition Scootbpck is 6 beats/steps, but they are often
danced in four beats/steps when followed by another scootback or a swing.

Rich Sbardella
Stafford, CT

On Sun, Mar 10, 2019 at 11:00 AM Aahz via Callers <
callers@lists.sharedweight.net> wrote:

> On Fri, Mar 08, 2019, Isaac Banner via Callers wrote:
> >
> > I've felt like most box circulate dances use the circulate as a buildup
> > into a swing with *someone*. Looking at
> > http://www.contra.dance/thecallersbox, there are only 12 results for
> dances
> > with a circulate that isn't followed by a swing and 9 of those results
> > don't include their choreography (grumble grumble), so I can't actually
> > confirm that they belong in the result set.
>
> Square dancing has lots of options, but a lot of those options rely on
> eight dancers in the group.  Two options that seem suitable for contra
> dance:
>
> * outfacers run
>
> * hinge (to change wave orientation ninety degrees)
>
> No time to construct example choreo, but I can work up something if
> people want.
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[Callers] Untitled Dance

[Rich Sbardella via Callers]

Can anyone ID this dance?
Thanks, Rich

Untitled Easy R Thru



1s in Center, Down in Fours



Turn Alone, Come Back



Face Across & Circle Left

(Full Around)

Neighbor Swing



Promenade Across


Right and Left Thru


Lines Fwd & Bk



1s Swing



1s in Center, Down in Fours
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[Callers] Dance Title

[Rich Sbardella via Callers]

Hello Friends,
I am looking for the name and composer of this dance.  Can you help?

Becket
A1  CL 3/4, N Swg
A2  LL, P RH Balance, Pull P Right, Pull N Left
B1  Along Line, RH Bal, Box Gnat, Gents Alle L 1-1/2
B2  P B

Thanks,
Rich
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Re: [Callers] "Second" ONS

[Rich Sbardella via Callers]

Often when I close a ONS dance with a circle, I have the dancers find their
original parents for a swing  & promenade.
Rich


On Wed, Oct 24, 2018 at 5:14 PM jim saxe via Callers <
callers@lists.sharedweight.net> wrote:

> Good advice from both Alan and Rich.  I agree with Rich that you could
> repeat more than one well-received dance from last time.
>
> Alan wrote:
>
> > and have a couple slightly more challenging ones - with progression, etc
> - up your sleeve but without any emotional investment in actually using
> them.
>
> Definitely agree on the "without any emotional investment" part.
> Long-term, do you have an ambition for these events to evolve into "contra"
> dances, or would you be happy as a clam to keep having events where
> facility at ending a swing side-by-side with the _ on the left and the
> _ on the right is not an important skill, so long as you have a room
> full of smiling dancers?
>
> I have a few comments and questions about your notes:
>
> The notes say "beginner's lesson (circle, Lark Raven, ...)" but the dance
> descriptions use "ladles" and "gentlespoons".  What terms did you actually
> use?  If you used "Larks" and "Ravens", did you say anything at all about
> their relation to traditional gender roles?  In practice how much
> correlation was there between what people looked like and which role they
> danced in?
>
> Leaving aside the waltz and the polka, it looks like the only two dances
> where the roles of Lark/Gentlespoon vs. Raven/Ladle were significant were
> the roll away dance and Mad Scatter.
>
> Notes on the roll away dance say "succeeded at walkthrough, weren't going
> to make it through the dance."  If you could tell, did the confusion seem
> to have to do with figuring out wha was in what role, or was it mostly
> about something else, such as getting from the star to the lines of four?
>
> [Two side comments on that dance: (1) Notes say "This variation is Wade
> Pearson's, removing the right-left-through. ...", but the "original"
> version you link to doesn't have a right and left through.  It has a cross
> trail.  (2) Personally, I don't think it would be a great loss to drop this
> dance from the repertoire, regardless of the role terminology or the manner
> of setting up the lines of four.  I could say more on both points but don't
> want to go even further off topic.]
>
> The other dance description that mentions the roles is Mad Scatter.  How
> did that work out in practice?  I note that it doesn't really matter which
> member of each pair goes into the center for an allemande or star and which
> one orbits, provided nobody minds who they get for new partner.  But I'm
> curious about what actually happened.
>
> Notes on Mad Scatter say "Avoid a mixer last even though they voted for
> it."  Do you have reason to believe that people were disappointed about
> that?  I certainly know of many dance series where people would bristle at
> having a mixer as the "last" dance of the evening (even if followed by a
> waltz as the really last dance), but I'm wondering whether you actually
> sensed such bristling at your event.  Note also Rich's comment on ending a
> barn dance with a circle mixer.
>
> --Jim
>
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Re: [Callers] Teaching a Mad Robin

[Rich Sbardella via Callers]

Here is the definition of Half Sashay from the square dance world.  A Mad
robin is simply two half sashay.  The direction may change, and it may be
"neighbor" instead of "partner", but the simplicity of definition may help.


 (a) HALF SASHAY

Starting formation - couple.

Partners exchange places without changing facing directions.

Dancer on the right sidesteps to the left, while the other dancer on the
left steps back, sidesteps to the right, then steps forward to rejoin
partner.

Rich Sbardella
Stafford, CT

On Mon, Sep 24, 2018 at 1:33 PM Linda S. Mrosko via Callers <
callers@lists.sharedweight.net> wrote:

> That's why I use the term "sashay around" rather than "mad robin".
> Sashay means move sideways, and around is pretty obvious.
> tell them who to go around and who to focus their attention on and no one
> has too much trouble doing it correctly.
> Besides, "sashay around" or "sashay round" feels better to say than "mad
> robin" -- which sounds angry or confused, IMO.
>
> On Mon, Sep 24, 2018 at 11:39 AM Don Veino via Callers <
> callers@lists.sharedweight.net> wrote:
>
>> As may be obvious, I love Mad Robins. I'm still working on what is the
>> best way to teach them.
>>
>> I know about the "Dosido/now face your Partner/on the same path as the
>> Dosido, do a Mad Robin" approach and have used it.
>>
>> I've heard other callers I admire admonish to not use the "wrong" move as
>> a teaching tool for the "right" move - as it's that much harder to
>> "unlearn" the original bit.
>>
>> What I've observed is that newer dancers may end up focused on the wrong
>> person, facing the wrong direction, and possibly doing the "Dosido Twirl"
>> when using the Dosido teach. But they *do* follow the correct path (so
>> long as the caller remembers to say SeeSaw vs. Dosido as the correct
>> analogue) on the floor. Some can make the facing adjustment and some
>> persist in facing the wrong way. If the dance tolerates the facing
>> differences, all is OK.
>>
>> As a practice, I actively solicit feedback on my calling at each gig. Out
>> of a recent one I got into an extended discussion about the Mad Robin teach
>> with a dancer whom had struggled with their beginner partner in a sequence
>> that evening. I had read that crowd as highly experienced so did only a
>> basic teaching of the move, which they reported having not got through to
>> this beginner. They freely offered that all was well around them, it was
>> just a frustration in their own experience. We touched on the merits and
>> drawbacks of the Dosido teach (which I chose not to use in that situation
>> as it appears to annoy experienced dancers, plus because of the above
>> points).
>>
>> I'm trying to evolve to something that teaches both the correct motion
>> and the facing direction at the same time - *without* taxing experienced
>> folks' patience. I have my own ideas on this but welcome others'.
>>
>> So, how do *you* teach a Mad Robin most effectively and efficiently? Do
>> you vary it by context, crowd composition, other factors?
>>
>> Thanks,
>> Don
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>
>
> --
>
>
>
> *Looking forward,Linda S. Mrosko*
>
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>
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>
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Re: [Callers] does this dance already exist?

[Rich Sbardella via Callers]

In MWSD it is the fact that the dancers are not adjacent to each other, the
two beats allow them to get into the center and then they have 8 beats to
square thru.
-Rich

On Sun, Sep 9, 2018 at 2:48 AM Nick Cuccia via Callers <
callers@lists.sharedweight.net> wrote:

> Could hand technique be contributing to square thrus taking more than
> two beats per exchange?  One of my long-past English dance instructors
> taught pull-by hands as almost a quick handshake-and-release, where
> you're no longer in contact by the time you're shoulder-to-shoulder.  If
> the dancers maintain contact for longer than that, one of them is almost
> certainly going to have less than a 1/4 turn after the exchange, while
> the other will have more than a 1/4 turn.  I've observed this phenomena
> even in 16-beat square thrus with balances preceding the first and third
> exchanges.
>
> --Nick
>
> [Stuff below Rich's response snipped]
>
> On 09/08/2018 09:34 PM, Rich Sbardella via Callers wrote:
> > The Callerlab timing chart has square thru taking 10 beats from a
> > static square and 8 beats from (closer( facing couples such as they
> > would be after the heads star thru.
> >
> > In the following square I would allow 10 beats.
> >
> > Heads Lead Right & Circle to a Line,
> > Lines F
> > 2 ladies Chain Across and Back
> > Has Square Thru 4  (This square thru is from a line of four that is at
> > the sides static position.
> > Corner Swg & Promenade
> >
> > In the square, below, I would use 8 beats for the second square thru.
> >
> > Heads Sq Thru 4 (10)
> > RH Star (8), LH Star (8)
> > Corner DSD (6), Sq Thru 4 (8)
> > Can Swg (8), Promenade (16)
> >
> > In this square the dancers start the second square thru nose to nose
> > rather than across the set.
> >
> > Most contra would be starting a square thru from across the set, so 10
> > is a good number, if it starts after a balance, 8 would be wiser.
> >
> > Rich
> >
>
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Re: [Callers] does this dance already exist?

[Rich Sbardella via Callers]

The Callerlab timing chart has square thru taking 10 beats from a static
square and 8 beats from (closer( facing couples such as they would be after
the heads star thru.

In the following square I would allow 10 beats.

Heads Lead Right & Circle to a Line,
Lines F
2 ladies Chain Across and Back
Has Square Thru 4  (This square thru is from a line of four that is at the
sides static position.
Corner Swg & Promenade

In the square, below, I would use 8 beats for the second square thru.

Heads Sq Thru 4 (10)
RH Star (8), LH Star (8)
Corner DSD (6), Sq Thru 4 (8)
Can Swg (8), Promenade (16)

In this square the dancers start the second square thru nose to nose rather
than across the set.

Most contra would be starting a square thru from across the set, so 10 is a
good number, if it starts after a balance, 8 would be wiser.

Rich







On Sat, Sep 8, 2018 at 8:57 PM Tom Hinds via Callers <
callers@lists.sharedweight.net> wrote:

> I’ve mulled over the timing of square through 4 for some time.  10 is what
> I’ve come up with after walking it through in my living room and more
> importantly watching the dancers do it in dances I’ve written.
>
> Much depends on where you end and start and also on formation (squared set
> or contra) because of the spacing.
>
> As an example, in The Amazing Sara Wilcox the square through three from
> lines facing across into lines facing out comfortably takes 8 steps.  In
> other situations maybe square through 3 could be done in 6.
>
> Some may say that square through two (followed by a balance) takes 4, so a
> square through 4 would take 8.  My way of thinking is that the longer and
> more complicated the figure, the more you have to give the dancers some
> extra beats.  And square through 2 in 4 beats is a bit rushed.
>
> Try it out during a break at your next dance and let me know what you come
> up with.
>
>
>
> Sent from my iPad
>
> > On Sep 8, 2018, at 7:06 PM, Alan Winston 
> wrote:
> >
> > Tom —
> >
> > Why is the square through 4 10 beats?
> >
> > — Alan
> >
> > Sent from my iPad
> >
> >> On Sep 8, 2018, at 1:39 PM, Tom Hinds via Callers <
> callers@lists.sharedweight.net> wrote:
> >>
> >> Jean, nice dance.  Let us know how it goes if you try it out.  I would
> be surprised if your dance has been written before.  You list it as a
> double progression.  Is that because you swing the second neighbor?
> >>
> >> You gave me an idea for a new dance.  I’m not trying to out do any one
> here, just very much enjoy writing dances.
> >>
> >> Lunch with Jean
> >> Improper
> >>
> >> A1. Bal. P, square through 2
> >>   Bal P, box the gnat
> >>
> >> A2. With new neighbors, square through 4 (going in the opposite
> direction as the first square through and starting by giving right hand to
> partner, 10 beats)
> >>   With original neighbor do si do, (6)
> >>
> >> B1 Men allemande left 1/2 (or pull by) swing partner
> >>
> >> B2  Right and left through, ladies chain.
> >>
> >> Tom Hinds
> >>
> >>
> >>
> >>> On Sep 8, 2018, at 12:34 PM, Jean Gibson-Gorrindo via Callers <
> callers@lists.sharedweight.net> wrote:
> >>>
> >>> Hello Callers!  Around the breakfast table at Penelope Weinberger’s
> house this morning, while on tour with Cloud Ten, I came up with this
> dance.  Wrote it with the Sam Bartlett tune Penelope’s Cruise (also written
> for Penelope Weinberger) in mind.   Wondering if it is already out there?
> Thanks for your input!
> >>>
> >>> Jean Gorrindo
> >>>
> >>> Breakfast at Penelope’s
> >>> by Jean Gorrindo
> >>> Contra/Improper/Easy-Int/Double Progression
> >>>
> >>> A1 ---
> >>> (8) Partner R-Hand Balance; Square Thru (pull by Partner with Right,
> Neighbor Left)
> >>> (8) Partner Balance & Box the Gnat
> >>> A2 ---
> >>> (16) Neighbor balance and swing
> >>> B1 ---
> >>> (8) Women allemande Right 1-1/2
> >>> (8) Partner swing
> >>> B2 ---
> >>> (8) Long lines, forward and back
> >>> (8) Women's Chain
> >>> ___
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> >>
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Re: [Callers] Glossary dances with promenade, no chain/RL through?

[Rich Sbardella via Callers]

I agree that calling a circle right after a promenade across, has better
flow than a circle left, but I am reluctant to call a circle right in my
first dance (unless it follows a circle left).  I prefer to use the first
dance to teach basic calls I will be using all night, and I believe that
the body, or muscle, memory learned in that first dance will help the
danceability all evening.  Teaching them to circle right, when they will be
circle left all evening, works against my goals.
I do call dances with circle right, just not as part of my first few dances
of the evening.
Rich


On Mon, Aug 13, 2018 at 1:00 PM, Yoyo Zhou via Callers <
callers@lists.sharedweight.net> wrote:

> On Sun, Aug 12, 2018 at 6:08 PM, Maia McCormick via Callers <
> callers@lists.sharedweight.net> wrote:
>>
>> Had a busload of beginners at my dance last night and realized I have a
>> hole in my program -- I don't have any good glossary/beginner-friendly
>> dances with a promenade but no chain or RL through. Any suggestions?
>>
>>>
> A nice one is Promenade Right by Luke Donforth (note: it has a circle
> right):
> http://www.madrobincallers.org/2013/06/25/three-tries-at-simple-dances/
>
> Also, some of the dances below can be adapted by changing a right and left
> thru to a promenade across.
>
>
> On Mon, Aug 13, 2018 at 11:42 AM, Alexandra Deis-Lauby  b...@gmail.com> wrote:
>
>> I find that there aren’t many dances with a Promenade or RL that are NOT
>> followed by a circle left. When Dancing promenades to circle lefts, I don’t
>> like them as an experienced dancer because they don’t feel good and as a
>> caller I watch new dancers struggle with them because they don’t flow
>> logically unless the dancers correct for it (which one won’t know how to do
>> unless they’ve been dancing a very long time and are attuned to momentum.)
>>
>
> I agree with your assessment about promenade/right and left thru to circle
> left.
> I find right and left thru or promenade can also often be followed by one
> of these, which flows better:
>
> - ladies chain (very common)
>
> - left hand star (example: True Grit by Chris Page:
> http://chrispagecontra.awardspace.us/dances/#true-grit)
>
> - circle right (see above)
>
> - hey, ladies pass right (example: Zoey and Me by Sue Rosen:
> http://dance.suerosencaller.com/dancedb/view/?title=Zoey+and+Me)
>
> - ladies allemande right (example: A-1 Reel by Chris Weiler:
> http://caller.chrisweiler.ws/dances.htm#a1reel)
>
> Yoyo Zhou
>
>
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Re: [Callers] Fwd: Glossary dances with promenade, no chain/RL through?

[Rich Sbardella via Callers]

Kalia,
I never thought about that.  In Squares it is very common to go from
Promenade Home to Circle Left.  I never had a problem dancing that.
I have called Wrinkled Ribbon many times and never noticed a problem, and
never had negative feedback.
-Rich

On Mon, Aug 13, 2018 at 1:37 PM, Kalia Kliban via Callers <
callers@lists.sharedweight.net> wrote:

> On 8/13/2018 8:53 AM, Rich Sbardella via Callers wrote:
>
> Old Time Elixir #2 by Linda Leslie and Wrinkled Riccon by Melanie Axel
>> Lute are two great dances.
>> Rich
>>
>
> In Wrinkled Ribbon, have you found it awkward to switch from promenade
> hold to the handhold for the circles?
>
> Kalia in Sebastopol
>
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Re: [Callers] Glossary dances with promenade, no chain/RL through?

[Rich Sbardella via Callers]

Just to be clear, "My Corduroy Blazer"  has LL (Long Lines F) not CL.
Again the dance was written to be a first dance of an evening that
introduces many of the basics that will follow in the evening, yet have
loose timing to accommodate newbies.
-R

On Mon, Aug 13, 2018 at 11:42 AM, Alexandra Deis-Lauby  wrote:

> I find that there aren’t many dances with a Promenade or RL that are NOT
> followed by a circle left. When Dancing promenades to circle lefts, I don’t
> like them as an experienced dancer because they don’t feel good and as a
> caller I watch new dancers struggle with them because they don’t flow
> logically unless the dancers correct for it (which one won’t know how to do
> unless they’ve been dancing a very long time and are attuned to momentum.)
> Does anyone have dances with promenade or right and left throughs that
> flow into the next figure in a logical and satisfying way?
>
> Sent from my iPhone
>
> On Aug 13, 2018, at 11:08 AM, Rich Sbardella via Callers <
> callers@lists.sharedweight.net> wrote:
>
> Hello Maia,
> I put one together a couple of years ago.  I tried to make the timing as
> forgiving as possible, thus the Balance the Ring and Pass Thru, instead of
> CL 3/4 & Pass Thru.
>
> My Corduroy Blazer (D/I)
>
> A1: N DSD, N Swg
> A2: Gents Alle L 1-1/2. P Swg
> B1: Prom Across, LL
> B2: CL 3/4. Bal Ring, Pass Thru
>
> Rich Sbardella
>
> On Sun, Aug 12, 2018 at 9:08 PM, Maia McCormick via Callers <
> callers@lists.sharedweight.net> wrote:
>
>> Hi folks,
>>
>> Had a busload of beginners at my dance last night and realized I have a
>> hole in my program -- I don't have any good glossary/beginner-friendly
>> dances with a promenade but no chain or RL through. Any suggestions?
>>
>>>
>> Thanks!
>> Maia
>>>
>>>
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>>
>>
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Re: [Callers] Fwd: Glossary dances with promenade, no chain/RL through?

[Rich Sbardella via Callers]

That is "Wrinkled Ribbon".
-R

On Mon, Aug 13, 2018 at 12:07 PM, Alexandra Deis-Lauby  wrote:

> Yes! I love the promenade and loop, though I wouldn’t use it early in the
> evening with a bus load of beginners unless the experienced folks were
> really experienced.
>
> Sent from my iPhone
>
> On Aug 13, 2018, at 11:53 AM, Rich Sbardella via Callers <
> callers@lists.sharedweight.net> wrote:
>
>
> -- Forwarded message --
> From: Rich Sbardella 
> Date: Mon, Aug 13, 2018 at 11:51 AM
> Subject: Re: [Callers] Glossary dances with promenade, no chain/RL through?
> To: Alexandra Deis-Lauby 
>
>
> Alex,
> Old Time Elixir #2 by Linda Leslie and Wrinkled Riccon by Melanie Axel
> Lute are two great dances.
> Rich
>
> On Mon, Aug 13, 2018 at 11:42 AM, Alexandra Deis-Lauby <
> adeisla...@gmail.com> wrote:
>
>> I find that there aren’t many dances with a Promenade or RL that are NOT
>> followed by a circle left. When Dancing promenades to circle lefts, I don’t
>> like them as an experienced dancer because they don’t feel good and as a
>> caller I watch new dancers struggle with them because they don’t flow
>> logically unless the dancers correct for it (which one won’t know how to do
>> unless they’ve been dancing a very long time and are attuned to momentum.)
>> Does anyone have dances with promenade or right and left throughs that
>> flow into the next figure in a logical and satisfying way?
>>
>> Sent from my iPhone
>>
>> On Aug 13, 2018, at 11:08 AM, Rich Sbardella via Callers <
>> callers@lists.sharedweight.net> wrote:
>>
>> Hello Maia,
>> I put one together a couple of years ago.  I tried to make the timing as
>> forgiving as possible, thus the Balance the Ring and Pass Thru, instead of
>> CL 3/4 & Pass Thru.
>>
>> My Corduroy Blazer (D/I)
>>
>> A1: N DSD, N Swg
>> A2: Gents Alle L 1-1/2. P Swg
>> B1: Prom Across, LL
>> B2: CL 3/4. Bal Ring, Pass Thru
>>
>> Rich Sbardella
>>
>> On Sun, Aug 12, 2018 at 9:08 PM, Maia McCormick via Callers <
>> callers@lists.sharedweight.net> wrote:
>>
>>> Hi folks,
>>>
>>> Had a busload of beginners at my dance last night and realized I have a
>>> hole in my program -- I don't have any good glossary/beginner-friendly
>>> dances with a promenade but no chain or RL through. Any suggestions?
>>>
>>>>
>>> Thanks!
>>> Maia
>>>>
>>>>
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>>>
>>>
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>>
>>
>
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Re: [Callers] Glossary dances with promenade, no chain/RL through?

[Rich Sbardella via Callers]

Hello Maia,
I put one together a couple of years ago.  I tried to make the timing as
forgiving as possible, thus the Balance the Ring and Pass Thru, instead of
CL 3/4 & Pass Thru.

My Corduroy Blazer (D/I)

A1: N DSD, N Swg
A2: Gents Alle L 1-1/2. P Swg
B1: Prom Across, LL
B2: CL 3/4. Bal Ring, Pass Thru

Rich Sbardella

On Sun, Aug 12, 2018 at 9:08 PM, Maia McCormick via Callers <
callers@lists.sharedweight.net> wrote:

> Hi folks,
>
> Had a busload of beginners at my dance last night and realized I have a
> hole in my program -- I don't have any good glossary/beginner-friendly
> dances with a promenade but no chain or RL through. Any suggestions?
>
>>
> Thanks!
> Maia
>>
>>
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Re: [Callers] Contras with square dance figures

[Rich Sbardella via Callers]

Square thru is certainly from square dance as is Star Thru, and Cal Twirl.
Rip and Snort can be used instead of 1s split the 2s and return, as in Roll
Over Johannes.
Right Hand High, Left Hand Low
Peek Experience by Ridge Kennedy uses Take a Peek from square dance.
Pass the Ocean/Pass Thru to a Wave is from square dance as is Sliding
Doors/Tag the Line.


On Sat, Aug 4, 2018 at 3:51 PM, Rachel Shapiro via Callers <
callers@lists.sharedweight.net> wrote:

> Hi all,
> I'm in search of contras that have borrowed interesting figures from
> traditional and modern western square dances. Do you have any favorites
> you're willing to share? I've got Rang Tang Contra and some dances with
> Dixie Twirls. Lots with Box the Gnat and Swat the Flea. Any others you love?
> Thank you!
> Rachel Shapiro Wallace
>
>
>
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Re: [Callers] Circles, Crazy Circles

[Rich Sbardella via Callers]

Hello Maia,
I do a short teach of the give & take more often than not, and most G in
my collection are with partners.
Interesting point about partners.  Linda Leslie once advised me to use a
neighbor rollaway as my first rollaway of the evening, She noted how
unsatisfying it is  to have to roll a partner away repeatedly, who just
never gets it.
Peace,
Rich


On Tue, Jul 10, 2018 at 10:23 AM, Maia McCormick  wrote:

> Re: g -- that's totally fair, and an experience I've had on the floor as
> well, but oh man when it's done right it's lovely! Maybe worth spending
> some time teaching the right way to do it from the mic? (This is something
> I might do myself the next time I call one, come to think of it.) Another
> option: select for dances with a g *with partner* (rather than with
> neighbor) so couples can adjust to each other refine their resistance,
> playfulness, etc. rather than starting from square zero with a new N every
> time. Might make for a more satisfying experience. Just a thought.
>
> Cheers,
> Maia
>
> On Tue, Jul 10, 2018 at 9:58 AM, Rich Sbardella via Callers <
> callers@lists.sharedweight.net> wrote:
>
>> Thanks Luke,
>> You made some great points, and offer some good choices.
>> My experience as a dancer is the Give & Take is rarely satisfying.
>> Seldom is there any resistance, or playfulness, as intended by Jennings.
>> I try not to call more than one G in an evening.
>> Peace, Rich
>>
>> On Tue, Jul 10, 2018 at 8:00 AM, Luke Donforth 
>> wrote:
>>
>>> Lots of great dances already suggested.
>>>
>>> Talking about the bigger picture programming thing, I hear wanting to
>>> change the feel and not have circles in every dance. While Give and Take
>>> might feel like a cheat to you, it will feel different for the dancers, and
>>> it's probably not egregious.
>>>
>>> You can also add a fair bit of texture with just different results from
>>> the circle. A swing ->circle & swing transition is going to feel different
>>> than a circle into a chain, or a circle left to a circle right, etc. I
>>> think two no-circle dances in a half is a good thing to shoot for, but also
>>> showing the various ways the circle can be used.
>>>
>>> A lot of 4x4 dances don't use circles, so if your crowds are up for (and
>>> large enough) for those, they can get you there and add other program
>>> texture.
>>>
>>> As for specific dances that haven't been mentioned yet, here are some
>>> with 10+ calls from my box:
>>> Marion's Delight by Carol Kopp
>>> A turn for the better by Bill Pope
>>> Friday Night Fever by Tony Parks
>>> Rocket City Romp by Cis Hinkle
>>> iFlirt by Luke Donforth
>>> 2nd Course by Luke Donforth
>>> A Sure Thing by Chris Page (has Circle Right)
>>> Treasure of the Sierra Madre by James Hutson (no N swing)
>>> Amherst and Wooster by Chris Weiler (no N swing)
>>>
>>>
>>> On Mon, Jul 9, 2018 at 8:16 PM, Rich Sbardella via Callers <
>>> callers@lists.sharedweight.net> wrote:
>>>
>>>> Helo Folks,
>>>>
>>>> This group has been so quiet lately.  The group has been so important
>>>> for me as I developed my Contra calling repertoire and skills, so I thought
>>>> I'd initiate a conversation.
>>>>
>>>> As I sit here programming a dance I realize that I do not have many
>>>> dances without circles.  Many that I do have, do not have a Neighbor Swing,
>>>> or have a Give & Take to cheat it out.  Those factors limit where and when
>>>> I can use them.
>>>>
>>>> I generally like to program two no circle dances in each half, and also
>>>> a NO neighbor Swing dance in at least one half if not both halves of an
>>>> evening.  Any thoughts on this?
>>>>
>>>> Does anyone want to share some modern contras that have no Circles and
>>>> no Give & Takes, but include a partner and neighbor swing.
>>>>
>>>> Here are a few I have used.
>>>>
>>>> Just for NEFFA, Linda Leslie
>>>> Rollin' and Tumblin'. Cis Hinkle
>>>> Rocket City Romp, Cis Hinkle
>>>> Travels with Rick and Kim, Shari Miller Johnson
>>>> Friday Night Fever, Tony Parkes
>>>>
>>>> Thanks,
>>>> Rich Sbardella
>>>> Stafford, CT
>>>>
>>>>
>>>>
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>>>>
>>>>
>>>
>>>
>>> --
>>> Luke Donforth
>>> luke.donfo...@gmail.com 
>>>
>>
>>
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>>
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Re: [Callers] Circles, Crazy Circles

[Rich Sbardella via Callers]

Thanks Luke,
You made some great points, and offer some good choices.
My experience as a dancer is the Give & Take is rarely satisfying.  Seldom
is there any resistance, or playfulness, as intended by Jennings.
I try not to call more than one G in an evening.
Peace, Rich

On Tue, Jul 10, 2018 at 8:00 AM, Luke Donforth  wrote:

> Lots of great dances already suggested.
>
> Talking about the bigger picture programming thing, I hear wanting to
> change the feel and not have circles in every dance. While Give and Take
> might feel like a cheat to you, it will feel different for the dancers, and
> it's probably not egregious.
>
> You can also add a fair bit of texture with just different results from
> the circle. A swing ->circle & swing transition is going to feel different
> than a circle into a chain, or a circle left to a circle right, etc. I
> think two no-circle dances in a half is a good thing to shoot for, but also
> showing the various ways the circle can be used.
>
> A lot of 4x4 dances don't use circles, so if your crowds are up for (and
> large enough) for those, they can get you there and add other program
> texture.
>
> As for specific dances that haven't been mentioned yet, here are some with
> 10+ calls from my box:
> Marion's Delight by Carol Kopp
> A turn for the better by Bill Pope
> Friday Night Fever by Tony Parks
> Rocket City Romp by Cis Hinkle
> iFlirt by Luke Donforth
> 2nd Course by Luke Donforth
> A Sure Thing by Chris Page (has Circle Right)
> Treasure of the Sierra Madre by James Hutson (no N swing)
> Amherst and Wooster by Chris Weiler (no N swing)
>
>
> On Mon, Jul 9, 2018 at 8:16 PM, Rich Sbardella via Callers <
> callers@lists.sharedweight.net> wrote:
>
>> Helo Folks,
>>
>> This group has been so quiet lately.  The group has been so important for
>> me as I developed my Contra calling repertoire and skills, so I thought I'd
>> initiate a conversation.
>>
>> As I sit here programming a dance I realize that I do not have many
>> dances without circles.  Many that I do have, do not have a Neighbor Swing,
>> or have a Give & Take to cheat it out.  Those factors limit where and when
>> I can use them.
>>
>> I generally like to program two no circle dances in each half, and also a
>> NO neighbor Swing dance in at least one half if not both halves of an
>> evening.  Any thoughts on this?
>>
>> Does anyone want to share some modern contras that have no Circles and no
>> Give & Takes, but include a partner and neighbor swing.
>>
>> Here are a few I have used.
>>
>> Just for NEFFA, Linda Leslie
>> Rollin' and Tumblin'. Cis Hinkle
>> Rocket City Romp, Cis Hinkle
>> Travels with Rick and Kim, Shari Miller Johnson
>> Friday Night Fever, Tony Parkes
>>
>> Thanks,
>> Rich Sbardella
>> Stafford, CT
>>
>>
>>
>> ___
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>> Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/
>>
>>
>
>
> --
> Luke Donforth
> luke.donfo...@gmail.com 
>
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[Callers] Circles, Crazy Circles

[Rich Sbardella via Callers]

Helo Folks,

This group has been so quiet lately.  The group has been so important for
me as I developed my Contra calling repertoire and skills, so I thought I'd
initiate a conversation.

As I sit here programming a dance I realize that I do not have many dances
without circles.  Many that I do have, do not have a Neighbor Swing, or
have a Give & Take to cheat it out.  Those factors limit where and when I
can use them.

I generally like to program two no circle dances in each half, and also a
NO neighbor Swing dance in at least one half if not both halves of an
evening.  Any thoughts on this?

Does anyone want to share some modern contras that have no Circles and no
Give & Takes, but include a partner and neighbor swing.

Here are a few I have used.

Just for NEFFA, Linda Leslie
Rollin' and Tumblin'. Cis Hinkle
Rocket City Romp, Cis Hinkle
Travels with Rick and Kim, Shari Miller Johnson
Friday Night Fever, Tony Parkes

Thanks,
Rich Sbardella
Stafford, CT
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[Callers] A Dance without Partner Swing

[Rich Sbardella via Callers]

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.

Rich Sbardella,
Stafford, CT
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Re: [Callers] Cinco deMayo dances

[Rich Sbardella via Callers]

Hello Mary,

Here is a circle mixer I wrote to teach Grande R  Five's Alive is named
for the robot, #5, in the Short Circuit movie. (Hope you have seen that
movie.)

The link is a version of the dance set to a singing call with my wife Lynn
on harmony.  This video is from a community dance, NOT a contra dance.

https://www.youtube.com/watch?v=HqCyZfweFk0

Peace, Rich


Five’s Alive Mixer


 Big Circle, Lady on the Right

All Join Hands Circle Left



-   -   -   -


Circle Right


Face your Partner…..RH Shake

Grande R

#5

Dosido with #5

Swing that Girl if She’s Alive


Promenade



-   -   -   -



All Face In…Circle Left

On Tue, Apr 10, 2018 at 12:49 PM, Mary Collins via Callers <
callers@lists.sharedweight.net> wrote:

> Looking for dance ideas. Either with May or '5' idea in title. Thanks!
>
> Mary Collins
>
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Re: [Callers] Looking for a CD that would have full length contra tunes for calling

[Rich Sbardella via Callers]

New England Dance Masters is always a good resource for dance music.
Here is one of theirs.
http://dancingmasters.com/product/any-jig-or-reel-cd/
Rich

On Sat, Apr 7, 2018 at 1:38 AM, Laur via Callers <
callers@lists.sharedweight.net> wrote:

> Yes great
>
>
> Sent from Yahoo Mail for iPhone
> 
>
> On Saturday, April 7, 2018, 1:36 AM, Karen Fontana <
> karen_font...@yahoo.com> wrote:
>
> From the West: KGB (Seattle) "Volga Notions" -- " the music on this album
> is formatted for dancing or calling practice. Three tracks are waltzes, two
> are jig medleys, five are reel medleys, and one is a jig-to-reel medley."
> Has the four potatoes..
>
> http://www.kgbmole.com/kgb/volga.html
>
>
>
>
> On Friday, April 6, 2018, 8:44:00 PM PDT, Laur via Callers <
> callers@lists.sharedweight.net> wrote:
>
>
> Cheryl, It’s a great CD  DO IT.
>
> I am also looking for tunes that have some intro beats to use. I did find
> some thanks to friends that had collections.
>
> Laurie
>
>
> Sent from Yahoo Mail for iPad 
>
> On Friday, April 6, 2018, 10:53 PM, Mac Mckeever via Callers <
> callers@lists.sharedweight.net> wrote:
>
> 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 McKeever
> St Louis
>
>
> On Friday, April 6, 2018, 7:56:15 PM CDT, Cheryl Joyal via Callers <
> callers@lists.sharedweight.net> 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 Joyal
> clmjo...@gmail.com
> clmjo...@aol.com
> 630-667-3284 (cell)
>
>
>
>
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Re: [Callers] Politically Correct?

[Rich Sbardella via Callers]

As a member of Callerlab for 25 years, I can answer Woody's question with a
definitive "NO".

Callerlab does offer many benefits, but it has its drawbacks as well.
Standardization was supposed to be a good thing, and perhaps in the MWSD
world that is more good than bad, but it also diminishes the regional
differences of dance, and limits the expression and flexibilities of
callers.  There is also an organization called ContraLab, and thankfully
its reach is limited.

Rich Sbardella
Stafford, CT



On Fri, Mar 30, 2018 at 3:23 PM, Tom Hinds via Callers <
callers@lists.sharedweight.net> wrote:

> Woody, I really don't understand your question.  Please connect the dots.
>
> Sent from my iPad
>
> > On Mar 30, 2018, at 2:20 AM, Woody Lane via Callers <
> callers@lists.sharedweight.net> wrote:
> >
> > Hi Tom,
> >
> > Earlier this year in Eugene, a caller was struggling with trying to be
> extra careful with alternative terms for gypsy. She referred to the
> "g-word" and then tried using other terms. She was actually trying to
> demonstrate something else on the floor. The crowd said in a friendly way
> but very clearly -- we don't care, just use the word "gypsy"! And then she
> did, people relaxed, and the evening progressed smoothly.
> >
> > The intensity and animus of these conversations may have unintended
> long-term consequences in the contra dance world. Does anyone really want
> to establish the contra equivalent of Callerlab?
> >
> > Woody
> >
> >> On 3/28/2018 11:58 AM, Tom Hinds via Callers wrote:
> >> I've had very good conversations with Rich on and off the discussion
> group and feel that he shares many of my values. Would you rather that I
> and others not participate? Perhaps that is the primary reason that some of
> us aren't comfortable with PC. Where does it end and what freedoms am I
> going to have to give up? My memory is that this incredible discussion
> started with a complaint from ONE person.
> >> Lastly let me suggest this after reading Jeffrey's very good email:  It
> may be that terms like gypsy (and of course others) are location
> dependent.  Here in Charlottesville and perhaps DC people don't really care
> for the gypsy issue.   In other areas perhaps that's not the case.  On the
> English list people are reminded that folks from many countries are members
> and that we should keep this in mind.
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Re: [Callers] Politically Correct?

[Rich Sbardella via Callers]

Folks,

I began this discussion as a simple question with no intention of creating
a debate on gender terms.  I simply wanted to know if the lyrics ,in the
context of a traditional song, were going to cause offense to any contra
dancers.  I think I had my answer early on.

If we choose to continue this conversation let's do it with respect for
each other, but I believe conversations like this are best held in face to
face round tables.  Emails make it hard to feel the emotion of the writer,
and to see that writer as a person, who too, deserves much respect.

Without pontificating, I do want to say, in my few short years in the
contra community, ALL the callers I have met have treated the dancers, and
each other, with great respect.  We have a lot more in common than we have
as differences.  We must remember traditions within dance communities
vary.  Our way is just one way.

Now, as a caller who often calls singing squares, I find that changing the
words of a popular song, changes the way dancers respond to that square
 They expect certain words and changing them leaves many feeling cheated or
disappointed.  Try changing the song Marianne to say "All day, all night,
my Caroline" and you will know what I mean.  IMHO, it is better not to use
a song than to change the tag line significantly.  (In MWSD the tag line is
the lyric that is sung during the 16 step promenades, and it is most often
the most common, or repeated lyric in the song.)

Thanks for all your thoughtful responses.

Rich
Stafford, CT





On Wed, Mar 28, 2018 at 1:12 PM, Dorcas Hand via Callers <
callers@lists.sharedweight.net> wrote:

> Louise has hit the nail on the head: "I’d love everyone to dance for the
> pure joy of it, but the idea that we can get “back” to that place, rather
> than move forward to it, is a myth." Me too (yup), and there is no easy
> path to get there. We must keep talking - just like in the broader world of
> politics. Talking does/can get frustrating and circular, but it also opens
> minds and keeps people thinking about how to be together better.
>
> Meanwhile, together let's forge a path - maybe of many sortof parallel
> lanes - to move forward to dancing in joy.
> Dorcas Hand
> Houston
>
> -Original Message-
> From: Callers  On Behalf Of
> Louise Siddons via Callers
> Sent: Wednesday, March 28, 2018 10:49 AM
> To: call...@sharedweight.net
> Subject: Re: [Callers] Politically Correct?
>
> I have a friend who danced for the pure joy of it until he got sick of
> being asked why a black man wanted to contra dance. I dance with more,
> purer joy now that fewer men “offer” to split me up from my girlfriend when
> we join a line together.
>
> I’d love everyone to dance for the pure joy of it, but the idea that we
> can get “back” to that place, rather than move forward to it, is a myth.
>
> Louise.
> www.scissortail.org
>
> > On Mar 28, 2018, at 4:43 PM, Jeffrey Spero via Callers <
> callers@lists.sharedweight.net> wrote:
> >
> > Can we just get back to dancing for the pure joy of it?
> >
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Re: [Callers] Politically Correct?

[Rich Sbardella via Callers]

Yes Bob,

You are correct, but the tag line for each verse remains the same.  I would
have to find a word to replace  -young "thing".

I think perhaps it is a generational thing.  I have been calling this song
to my seniors who are about 75% women in their 70's and 80s and they sing
along.  No objections.  In fact many remember it as a child.  There are
certainly some contra venues where I would expect a similar response, but
others that would cringe.

"Such a sweet young thing" used to be a term of endearment for Ladies and
Gents, but times change.

In MWSD, boys and girls are the default role terms, and I called MWSD for
25 years.  However, I remember accidentally using the term girls in a
square for a contra community a few years back, and immediately after the
square, I had a dancer approach me and voice her concerns.

This is one of the reasons I posed the original question.

Peace,
Rich



On Sun, Mar 25, 2018 at 9:35 AM, Bob Hofkin via Callers <
callers@lists.sharedweight.net> wrote:

>
> If I recall the folk song, it's more satirical--she can bake a cherry pie
> and stuff, and turns out to be older than Billy lets on. See if you can't
> find lines in one of the versions that shift the focus.
>
> Bob
>
> On 3/25/2018 02:07, Don Veino via Callers wrote:
>
>> I've started doing singing squares over the past year and have been making
>> adjustments to lyrics for each one I do. So far the changes have been
>> relatively easy - mostly eliminating explicit gender and talking to
>> everyone whenever possible vs. a "talk to the (assumed) lead" focus.
>>
>> There are real challenges for me in some popular ones - for example,
>> despite the fun of the sequence, Smoke on the Water's
>> https://squaredancehistory.org/items/show/1383 refrain's primary phrase
>> essentially amounts to "we'll kill 'em all" - as it's taken from a 1944
>> WWII song. I'm personally not ready to call that knowing the meaning and a
>> significant re-wording of the key refrain is not likely to go over well
>> with fans of the dance.
>>
>> On Sun, Mar 25, 2018 at 1:39 AM, Alexandra Deis-Lauby via Callers <
>> callers@lists.sharedweight.net> wrote:
>>
>> People are not things. I don’t think it’s appropriate for any crowd.
>>> Try your hand at some new lyrics!
>>>
>>> Sent from my iPhone
>>>
>>> On Mar 25, 2018, at 1:12 AM, Rich Sbardella via Callers <
>>> callers@lists.sharedweight.net> wrote:
>>>
>>> Hello folks,
>>>
>>> I have been calling singing squares for years, and there is one I love by
>>> Dick Leger titled Billy Boy.  The tag line that is sung during the
>>> Promenade is "She's a young thing, that cannot leave her mother."
>>>
>>> Here is a link to a version of the full song, not within a square.
>>>
>>> https://www.youtube.com/watch?v=cKRJuLHU3Qo
>>>
>>> My question is, is this song appropriate for the contra dance crowd with
>>> the tag line above?  (The tag line is the only line that is sung.)
>>>
>>> Any Thoughts?
>>>
>>> Rich
>>> Stafford, CT
>>>
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>>>
>>>
>>
>>
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[Callers] Politically Correct?

[Rich Sbardella via Callers]

Hello folks,

I have been calling singing squares for years, and there is one I love by
Dick Leger titled Billy Boy.  The tag line that is sung during the
Promenade is "She's a young thing, that cannot leave her mother."

Here is a link to a version of the full song, not within a square.

https://www.youtube.com/watch?v=cKRJuLHU3Qo

My question is, is this song appropriate for the contra dance crowd with
the tag line above?  (The tag line is the only line that is sung.)

Any Thoughts?

Rich
Stafford, CT
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Re: [Callers] More substitute terms for the g-word

[Rich Sbardella via Callers]

I think having a word that sounds similar is an asset, not a liability.  I
have used look-see quite successfully.  In years, few will know that a
"look-see" used to be called as a G...  I have also used Walk 'round with
no problem.

My initial attempt was Hipsy, but Linda Leslie quickly, and prudently
discouraged such usage.

Rich

On Wed, Mar 14, 2018 at 4:25 PM, Martha Wild via Callers <
callers@lists.sharedweight.net> wrote:

> I don’t see that if you substitute a term that ends with a long e it
> should be nixed just for that reason. OK, maybe kipsy might be considered
> just a euphemism. But "Look-see", as described by Susan Michaels, has the
> virtue of involving the fact that you are looking at the other person, and
> seeing them. Why shouldn’t we choose a term that’s easier to substitute and
> remember to use like “Look-see” instead of the bland, cold, bulky,
> impossible to shorten, “right shoulder round” (or left shoulder round).
> Martha
>
> > On Mar 14, 2018, at 1:11 PM, Kalia Kliban via Callers <
> callers@lists.sharedweight.net> wrote:
> >
> > I appreciate the point that several have made that a term that sounds
> just like gypsy isn't a reasonable substitute.  Fair enough.  The search
> continues...
> >
> > Kalia in Sebastopol
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[Callers] Programming a Dance

[Rich Sbardella via Callers]

I am curious how much time you all plan programming a dance before arriving
at a venue.  If you do not preprogram, what is your approach for on the fly
programming?
Rich Sbardella
Stafford, CT
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[Callers] Untitled Dances

[Rich Sbardella via Callers]

As I sit out this Nor'easter, I am doing some house cleaning. I have
collected many dances without titles and perhaps someone can provide names.

Thanks in advance!
Rich Sbardella
Stafford, CT

#1

Untitled Contra Star Thru




Inside Hands - Neighbor Balance

Star Thru

Ladies Chain


Ladies Allemande Right 1-1/2


Neighbor Swing


Gents Allemande Left 1-1/2


Partner Swing


Balance The Ring

Spin Right

Balance The Ring

California Twirl

Inside Hands - Neighbor Balance

#2

Newer Untitled Early Stars


Contra D/I

(Good for Pre-Dance Workshop?)

Neighbor Dosido


Neighbor Swing


Circle left 3/4


Partner Swing


Long Lines Forward & Back


Right Hand Star


Ladies Chain



Left Hand Star


New Neighbor Dosido



#3

Untitled 2 Half Heys




Neighbor Balance & Swing



----


Circle Left 3/4

Gents Pass Left in Center to start Hey

Partner Rollaway to Half a Hey


Partner Balance & Swing


----

Ladies Pass Right in Center to start Hey

Ladies Chain



Half Hey



New Neighbor Balance & Swing

#4

Untitled 2 Half Heys




Neighbor Balance & Swing



----


Circle Left 3/4

Gents Pass Left in Center to start Hey

Partner Rollaway to Half a Hey


Partner Balance & Swing


----

Ladies Pass Right in Center to start Hey

Ladies Chain



Half Hey



New Neighbor Balance & Swing


#5

Untitled PTO

BECKET



Pass Thru to a Wave

(Recommend L then R)  Balance Wave

Ladies Alle L 1-1/2 - Gents Orbit


Partner Balance & Swing


----


Gents Pass Left

Walk Around Neighbor

Neighbor Swing


Ladies Pass Right

LEFT Walkaround Partner

Promenade

Hook to the Left

Pass Thru to a Wave


#6

Untiltled w/ Gents Chain

Untitled



Balance the Ring

Spin to the Right

Balance the Ring

Spin to the Right

Hands Across - Left Hand Star


 (to Partner)  Gents Chain Across

Gents pull  Left Hand and end up on left side after Chain.

Mad Robin


 Face Partner & Partner Swing


Circle Left 3/4



Pass Thru - New Neighbor Swing


Form a Ring & Balance Now
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[Callers] Sir Roger De Coverly

[Rich Sbardella via Callers]

Does anyone have a dance length recording of Sir Roger De Coverly?
I need a source for purchase.l
Rich
Stafford, CT
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Re: [Callers] Looking for "fun" dances

[Rich Sbardella via Callers]

Why not just have everyone face left and single file promenade instead of
circle to the left?  The circles are still moving in the opposite direction
and right shoulders are adjacent for the Dosido.
Rich


On Sun, Feb 4, 2018 at 11:21 PM, K Panton via Callers <
callers@lists.sharedweight.net> wrote:

> (aside: I love this list! So very helpful)
>
> RE: The Wheel
>
> Bill Olson noted that the dance can be challenging with the ladies in the
> outside circle, due to their generally shorter arms.
>
> Given that the promenade is a long 16 beats, Has anyone tried adding a two
> hand turn after 12 beats to put the gents on the outside? I wonder if this
> is one of the things that Rick Mohr tried while attempting to reduce socket
> injuries. ??
>
>
> Date: Wed, 31 Jan 2018 21:06:54 +
> From: Bill Olson 
>
>
> Yeah, That's what I was more thinking of than moderately difficult dances
> like Beneficial Tradition.. I like Gene Hubert's circle mixer "the wheel"
> :
>
>
> The Wheel, circle mixer by Gene Hubert
>
> A1 Promenade (CCW)(16)
> A2 (face partner Gents facing out, Women facing in) join 2 hands with
> partner and walk ~8 steps IN (8), join hands in concentric circles and walk
> ~8 steps back out (8)
> B1 all circle LEFT (opposite directions obviously)
> B2 *SWING* (nearest person)
>
>
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Re: [Callers] Etiquette of refusing an offer to dance

[Rich Sbardella via Callers]

Mary has made some very valid points.  It would be good to emphasize that
this is a dance "community", and that all people should be respectful of
others.  Many dancers take a "no" as a personal rejection and perhaps even
as disrespectful.  This tends to hurt the community as a whole and often
leads to cliques.  My thought is that dancers should have a reason for
saying no, but that reason need not be vocalized.

As an older dancer, most of the rejections I experience are from much
younger ladies that do not know me yet.  I tend to want to help newer
dancers with their skills, and have made many new dance friends this way.
I handle most rejections by remembering that many other dances seek me out
as a partner.

To summarize, two people are involved in a dance request, and the response
should keep that in mind.

On Mon, Dec 18, 2017 at 11:17 AM, Mary Collins via Callers <
callers@lists.sharedweight.net> wrote:

> coming late also here, Dale, so stealing your "lesson" comments.  We
> usually don't directly address the refusal part of the equation as we are
> so short of dancers, it's usually exhaustion that sits us out! lol...saying
> that...we do encourage new dancers to ask anyone (esp. those that look like
> they know what they are doing) to dance.  Our regular dancers are always
> eager to bring them into the experience for which I am grateful.  The "old"
> rule used to apply and several years ago, we had a very upset dancer who
> left and never returned because someone turned him down and then danced
> with someone else.  This particular dancer it was found, had some mental
> health issues, along with size and ability issues as well and took the
> refusal very personally.
>
> In the CDSS callers' course we discussed this and it was mentioned that
> saying no, needs no explanation.  Now, as a large woman (who,it has been
> noted by another dancer as"...very light on your feet") I often get no's.
> I try to ignore this and not take it personally, however, it often comes to
> mind as I sit out more and more.  Age and size do matter, unfortunately.
> As we become more inclusive in our dance culture we tend to forget those of
> us who raised you and brought you into this wonderful world of dance and
> community.  So if there is a kind, gentle way to remind dancers to ask
> ANYone to dance, and to accept the invitation (if so desired) regardless of
> dancer appearance or possible experience then I am all for it.  Please note
> this happens to me more at festivals and dances where I am less known as
> organizer, dancer, caller.
>
> Ok way to get off on a tangent but I feel it is relevant.
>
> Mary Collins
>
> “Life is not about waiting for the storms to pass ... it's about learning
> to dance in the rain!” ~ Unknown
>
> On Mon, Dec 18, 2017 at 10:54 AM, Luke Donforth via Callers <
> callers@lists.sharedweight.net> wrote:
>
>> At the dances I've seen/called in and around VT, we don't address this
>> directly (with signs or such).
>>
>> I've heard of the practice of sitting after declining, but I don't think
>> it's a common practice for most folks these days. I'd say it's mostly
>> fallen by the wayside.
>>
>> The one time I've seen it come up at a dance was more than a decade ago
>> when an older male dancer castigated a young female dancer for turning him
>> down and then dancing with someone else instead of sitting out. Several
>> folks told her afterwards that he was rude and impertinent and she hadn't
>> been in the wrong. I wish we'd taken a stronger line with him directly too
>> though. I don't know if she offered an excuse or just a no, thank you.
>>
>> I like CD*NY's etiquette list that Alexandra linked to (
>> http://cdny.org/what-is-contra/contra-etiquette/), especially the bit
>> that addresses this:
>>
>> *You are always free to say no when someone asks you to dance.  You don’t
>> have to give a reason; you can just say “No, thank you.” If you ask someone
>> to dance and they say “No,” take it gracefully and move on. If someone has
>> declined to dance with you, the etiquette in our community is not to ask
>> that person again that same night. If they would like to dance with you,
>> they can come ask you—it’s their turn to do the asking.*
>>
>> Adding that you shouldn't ask someone multiple times, but have put the
>> ball in their court seems a polite nudge to folks on both sides
>>
>> Incorporating some of the other strong suggestions that have come up on
>> this discussion, I might advocate our group putting up something like:
>> You are always free to say no when someone asks you to dance.  No reasons
>> are required; a short "No, thank you.” gives that person more time to find
>> a different partner. If you ask someone...
>>
>> Thanks for starting this discussion Kalia! It seems like one that could
>> have gone on the organizers shared-weight instead of callers; but this one
>> does seem to be most people's default.
>>
>> --
>> Luke Donforth
>> luke.donfo...@gmail.com 

Re: [Callers] Holiday Contra

[Rich Sbardella via Callers]

Here are a few additional titles from my collection.  Some may require a
stretch because every family has its own holiday traditions.

Forgotten Treasure - Beth Parkes (the present that was hidden and saved for
last)
Turkey Trot - Unknown
Rings & Things - Tom Lehmann
Box the Cat - Lisa Greenleaf (Or die trying!)
Wrinkled Ribbon - Melanie Axel-Lute
Peace Through Dance - Perry Shafran
Hot Buttered Rolls - Perry Shafran
The Social Butterfly - John Coffman
Out of the Kitchen - Erik Hoffman (Mom was always too busy cooking to come
out and eat)
Petronella for Peace - Devin Nordson
Leap of Faith - Bob Isaacs
Cows are Watching - (Creche) Bill Pope
Star Trek (Three Kings) -Mike Richardson
United We Dance - Bob Isaacs
All You Can Eat - Ted Crane
Return 2 Sender - (wrong size) - Bob Isaacs

I also have a dance I collected that I call Give the Box to Ally somewhere.

If you can provide a title and author I would be delighted.

*Give the Box to Allie *(Becket)

A1  CL 3/4, N Swg
A2  LL, P RH Bal, Pull P R, Pull N Left
B1  Along the Line RH Bal, Box Gnat, Gents All L 1-1/2
B2  P B

Happy Holidays,
Rich


On Thu, Dec 14, 2017 at 1:24 PM, Rich Sbardella 
wrote:

> Does anyone have a couple of easy holiday themed contras to share?
> Thanks,
> Rich
>
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[Callers] Holiday Contra

[Rich Sbardella via Callers]

Does anyone have a couple of easy holiday themed contras to share?
Thanks,
Rich
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[Callers] Put Your Red Hand In

[Rich Sbardella via Callers]

I had a Girl Scout Dance coming up Sunday and I was thinking how I would
get 150 six to nine year old girls to know which hand was right and which
hand is left.  On the way to my contra calling gig on Saturday, the thought
arose that right hand sounds very close to red hand.  On the way to the
Scout Dance, I stopped and purchased scissors and some red ribbon (the
store did not carry yarn) and asked that the leaders tie a red ribbon
bracelet around each scout as they entered the hall.  When I called dances
with arm turns I called, "Turn your partner with your red hand, change
hands, other way back."  It worked so well that I know I will do it again.

I thought I would share this trick, and then ask if anyone has useful
methods when working with only children.  Please share some trade secrets.

Rich Sbardella
Stafford, CT
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Re: [Callers] Moving past self-flagellation

[Rich Sbardella via Callers]

I have learned that owning my mistakes publicly is an important part of
moving forward.  Sometimes I use humor to soften the blow.  Another very
important thing I have learned is to make the next dance a great dance.
Something fun, with guaranteed success.  Our mistakes bother us more that
they bother most dancers.

My belief is that we are hired to help the dancers have a good time.  One
or two little mistakes will not destroy our efforts, and even a major
mistake need not be taken out of the context of an overall successful
evening.  (BTW, these are truths that I am still learning)

Rich Sbardella
Stafford, CT


On Mon, Nov 6, 2017 at 11:10 AM, Maia McCormick via Callers <
callers@lists.sharedweight.net> wrote:

> So after a gig, I find myself haunted by one or two missteps from an
> evening — the rolling start that was a little muddy, the thing I didn’t
> teach clearly enough so the dancers never quite got it — even though the
> dancers adjusted and all had a good time, and I still had the hall’s trust
> and goodwill at the end of the evening.
>
> Is this a familiar experience for anyone? Assuming you’ve already learned
> the lesson to be learned there, how do you move past it and stop
> self-flagellating?Would love to hear some people’s thoughts!
>
> Cheers,
> Maia
>
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[Callers] Halloween

[Rich Sbardella via Callers]

Hello Friends,
I need some Halloween themed dances.  Any suggestions?
Rich Sbardella
Stafford, CT
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[Callers] New Square?

[Rich Sbardella via Callers]

Folks,
I found a square sequence I wrote a while ago?
Does it exist in trad-dance circles?

Heads R Thru (8), Hds Pass Thru, Sep @1 into middle and Bx Gnat. (12)
Same 4 RH Star (8) to corner Alle Left (6)
P DSD (6), Corner Swg (8)
Full Promenade (16)

Thanks,
Rich Sbardella
Stafford Springs, CT
Home of the Stafford Stomp!
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[Callers] Roger Whynot Contras for Modern Square Dancers (Part 1)

[Rich Sbardella via Callers]

Hello Judy,

I found the Dick Leger album with Roger Whynot contras.  I remember dancing
many of these at East Hill Farm with Dick Leger.

*SW Contra*
Alternate Duple/Double Progression, No P Swg

A1 N DSD, N Swg
A2 Face Across Flutterwheel, Sweep 1/4, Star Thru
B1 Circle Left, Circle Right
B2 Promenade Across, R Thru

*Eighteenth of January*
Alternate Duple/Double Progression, No P Swg

A1 N DSD, N Swg
A2 Square Thru, Slide Thru, Meet New Neighbor, Join Hands w/New Neighbor
B1 Circle Left, Circle Right
B2 Lad Chain, Chain Back

*Route 61*
Alternate Duple, No P Swg
(This is listed as a Double Progression. Is it?)

A1 Across the Set RH Balance, Turn Half by Right, R Thru & Courtesy Turn
1/4 More
A2 Promenade Wholeset, Wheel Around & Comeback
B1 Lad Chain, Chain Back
B2 New N Swg, LL F

*Sue's Delight*
Alternate Duple Single Progression
The Sweep 1/4 are indicated as with vines.

A1 Holding your P hand, Balance as Couples R, then L, Sweep 1/4, Lad Chain
to N
A2 Lad Chain to P, Holding N Hand, Balance as Couples R, the Left, Sweep 1/4
B1 R Thru, Star Thru, Circle Half,
B2 Pass Thru & Swg, LL F

These contras are all on the first side of the LP "A Modern Style Contra
Dance Party".
Each dance would all be a tough sell today, since there are no Partner
Swings.

More to come,
Rich Sbardella
Stafford, CT








On Wed, Jul 19, 2017 at 9:48 AM, Rich Sbardella 
wrote:

> Judy,
>
> Dick Leger published an LP of contras written by Roger Whynot.  The LP was
> aimed at square dancers and included Flutter Wheel and Sweep 1/4 More.
> Perhaps I will be able to find it later and post some dances.
>
> I called contras at the New England Square and Round Dance Convention this
> year and the dancers enjoyed contras that I also call at modern contra
> dances,  Keep the progressions simple, and keep the swings short.
>
> Peace,
> Rich
> Stafford, CT
>
> On Tue, Jul 18, 2017 at 10:28 PM, Judy Greenhill via Callers <
> callers@lists.sharedweight.net> wrote:
>
>> Hi everyone,
>>
>> I have undertaken to teach some modern square dancers how to contra
>> dance, and I’m wondering if anyone has experience with this and has any
>> dances to recommend? I’m a square dancer myself but most of my contra
>> repertoire is for modern contra dancers- 2 swings, lots of Balance and
>> swing, etc. I’d like more dances with MWSD moves in them and possibly
>> without any, or only 1, swing, and they don’t need to have a partner swing.
>> The dancers I am teaching are all either plus or advanced, so they will
>> tire pretty quickly of the usual simple glossary contras I would normally
>> do in a teaching situation. They can do the moves; it’s the formation that
>> is new to them.
>>
>>
>>
>> Thanks,
>>
>> Judy
>>
>>
>>
>>
>> 
>>  Virus-free.
>> www.avast.com
>> 
>> <#m_-880773143942596016_m_6636786697433527171_DAB4FAD8-2DD7-40BB-A1B8-4E2AA1F9FDF2>
>>
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[Callers] Sing Call Squares

[Rich Sbardella via Callers]

Hello folks,

I am curious what singing calls, if any, are being called nowadays.  I am
hoping to build a traditional"singing square dance locally, and hope to use
tunes that bands might have heard or been exposed to.

I am familiar with the ones on Ralph Sweet's CD and Bob Dalsemer's two
collections.

Thanks,
Rich Sbardella
Stafford, CT

[Callers] Untitled Dances

[Rich Sbardella via Callers]

Hello folks,

I have many dances in my collection that I would love to attach to a
title.  If you can provide one, I would appreciate it.

Thanks,
Rich Sbardella
Stafford, CT

*#5  Untitled*

A1  Bal Ring, Spin Right (2X)
A2  LH Star, Gents Chain
B1  Mad Robin, Face Partner & Swg
B2  CL 3/4, Pass Thru, New Neighbor Swing

*#6 Untitled (Becket)*

A1  CL 3/4, N Swg
A2  Hey
B1  N RH Balance, Bx Gnat, Pull By, Ladies Alle L
B2  P B

*#7  Untitled*

A1  N Gyp, N Swg
A2  Gents Alle L 1-1/2, P Swg
B1  Cir Left 3/4, Bal Ring, Spin R
B2  Bal Ring, Spin R, Bal Ring, Pass Thru

*#9 Untitled*
A1   N B
A2   Ladies Gypsy 1-1/2, P swing
B1  Lad Chain, LL
B2  N DSD, N Bx Gnat, Pass Thru

*#12 Untitled*

A1  N Gypsy, N Swg
A2  Hey/Lad Ricochet
B1  P B
B2  LL , CL 3/4, Pass Thru

[Callers] Ralph Sweet's Birthday Dance

[Rich Sbardella via Callers]

Hello Friends,

I am hosting/organizing a contra dance on Sunday evening, May 21st, to
celebrate Ralph Sweet's 88th birthday.  This is the last dance in Ralph's
Shindig in the Barn series this season, and next season is not a
certainty.  Ralph's son Walter is part of a trio of musicians that will be
providing the dance music.

We are planning this dance as a tribute, and a thank you to Ralph for all
he is to the dance community, and I am hoping for multiple callers to
participate.  If you are available, and would like to call a dance please
send me a message.  I can program in about 10 callers, and I will reserve
slots on a first come, first serve basis.

Please consider helping us to make this dance at Ralph's barn a celebration!

Rich Sbardella
Stafford, CT

[Callers] Try this link: Another new article about Square Dancing [NPR]

[Rich Sbardella via Callers]

Here is the link again, this time it really should work.
Rich


>> From NPR affiliate KJZZ, :
>>
>> http://kjzz.org/content/459685/not-your-grandpa%E2%80%
99s-hoedown-square-dance-calls-get-remix 
>>
>

[Callers] MWSD Link

[Rich Sbardella via Callers]

Her is the link of the MWSD Radio program.

http://kjzz.org/content/459685/not-your-grandpa
’s-hoedown-square-dance-calls-get-remix

This should work.
Rich

[Callers] MWSD Radio Piece

[Rich Sbardella via Callers]

Here is a little piece about MWSD,  Enjoy!
http://kjzz.org/content/459685/not-your-grandpa
’s-hoedown-square-dance-calls-get-remix
Rich

[Callers] Rapid City Reel?

[Rich Sbardella via Callers]

I am looking for a dance titled either Rapid City Reel, or Rocket City Reel.
The dance has back to back interrupted square thru two hands.

Can anyone help me with this one?

Rich
Stafford, CT

[Callers] If You Can Walk...

[Rich Sbardella via Callers]

I am looking for a contra dance titled,  "If You Can Walk, You can Dance",
or maybe, "If you Can Dance, You Can Walk".

Would someone please share it, or a link.

Thanks,
Rich

Re: [Callers] Full hey spanning two phrases?

[Rich Sbardella via Callers]

Maia,

I wrote a simple square "Hey Square, Let's Dance" that has the hey crossing
phrases.
It must be called Heads, Sides, Heads, Sides to have a complete mixer
square.

A1 Heads Lead Right & Circle to a Line, F
A2 Ladies Chain, Start a Full Hey
B1 Finish the Hey, Swing the one you meet
B2 Promenade

I have only shared this with one caller, and she remarked that the hey
crosses phrases, and she would not use it.
I must often use it wit singing calls, or square dance music that has
strong 8 beat phrasing.

Bob Isaacs "To Turn a Phrase" has the Oval crossing phrases.  I have danced
it when it feels good, but also when it did not.  I think the music
selection is more critical.

Rich Sbardella

On Tue, Mar 28, 2017 at 7:31 PM, Maia McCormick via Callers <
callers@lists.sharedweight.net> wrote:

> Hi folks,
>
> I'm running up against a wall in a dance I'm currently writing, and
> it's making me wonder: what dances, if any, have a full hey that spans two
> sections* and really WORKS?  I feel like in general, if I danced such a
> dance, I would roll my eyes at the choreographer "breaking the rules", but
> I can also imagine delightful dances a hey spanning two phrases that
> justify their own existence and feel great to dance.
>
> Thoughts? Dances to point me to?
>
> As always, in dance,
> Maia
>
> * e.g. hey occurs during the last eight counts of B1 and the first
> eight of B2
>
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Re: [Callers] Modern Western Square Dance for Contra Dancers

[Rich Sbardella via Callers]

Jeremy,
I would not even attempt that.  I might look at 10 popular calls that are
unique to MWSD and attempt to cover those.  Serving a good appetizers is
better than serving a terrible buffet.
Rich

On Sun, Mar 19, 2017 at 4:36 AM, Jeremy Child via Callers <
callers@lists.sharedweight.net> wrote:

> Fascinating.  I'm doing something similar at Eastbourne International Folk
> Festival (http://eiff.org.uk/new-for-2017/149-jeremytea.html).
>
> I,however, only have 2 1/2 hours in which to take them through the gamut
> of the Basic 1, 2 and Mainstream programmes.
>
> Wish me luck!
>
> Jeremy
> www.barndancecaller.net
>
> On 18 March 2017 at 19:59, Andy Shore via Callers <
> callers@lists.sharedweight.net> wrote:
>
>> I realize this post qualifies as both shameless self-promotion, as well
>> as possible improper use of this list for (somewhat) commercial purposes,
>> but I do think this topic may be of particular interest to contra and trad
>> callers and choreographers. Scold me if you must.
>>
>> I'll be teaching a special weeklong workshop at CDSS American Dance and
>> Music Week at Pinewoods (Plymouth, MA) August 8-15, 2017 titled "Modern
>> Western Square Dance for Contra Dancers".
>>
>> This course is an intensive “blitz” exposure to Modern Western Square
>> Dancing (MWSD) for experienced contra dancers, traditional square dancers,
>> and contra or trad callers. If you enjoy learning new choreography and the
>> unexpected delights of no-walk-thru contra medleys, this is for you.
>> Starting with the 25 or so contra calls that are shared with Modern Western
>> squares, we will explore much of the CALLERLAB Basic, Mainstream, and Plus
>> lists. New calls will be taught and workshopped, but you’ll get plenty of
>> time to “just dance” and enjoy what you have already learned in both patter
>> and singing call contexts. The pace of the course will be determined by the
>> students’ ability to assimilate the material, but the goal will be that you
>> can dance most Mainstream calls smoothly at speed. We will cover several of
>> the more popular Plus calls as well. Expect to be challenged and have lots
>> of fun!
>>
>> Modern Western uses recorded music of various genres; the patter music is
>> designed to get you moving at a continuous flow and the singing call music
>> allows for a change of pace. The class time will be divided into an all
>> morning workshop session where we will learn new figures, then a late
>> afternoon practice and review session. You will have the middle of the day
>> to relax or enjoy other workshops at American Week.
>>
>>
>> More details at the CDSS site: http://www.cdss.org/programs/d
>> ance-music-song-camps/camp-weeks/mwsd
>>
>> This class may be of particular interest to contra and trad callers and
>> choreographers. Many MWSD moves have been "borrowed" into contra and
>> several contra choreographers who have had experience with MWSD have
>> written dances that have components inspired by MWSD moves. (Carol Ormand,
>> Bob Isaacs, and Chris Page to name a few.) Some of the moves that come from
>> MWSD are: box circulate, pass the ocean, square thru, star thru, California
>> twirl, hinge... If you'd like to stir your creative juices, or just learn a
>> bit more about some of the calls and their applications, this is a great
>> way to do so. Learning about the added rigor of MWSD may improve your own
>> teaching and presentation skills, as well as give you new insights into
>> contra and trad choreography.
>>
>> Space in this class is limited. Registration is currently open.
>>
>> my site: http://site.andyshore.com/
>>
>> I taught a similar weekend workshop in Durham NC in 2011 with many contra
>> & trad callers in attendance.  Here is my "trip report" (on facebook) from
>> that weekend
>> https://www.facebook.com/notes/andy-shore/trip-report-mwsd-
>> for-contra-folks-blitz-or-how-i-spent-last-weekend/10150112721414483
>>
>> Questions or comments - my best contact email is andysh...@gmail.com
>>
>> Thanks,
>> /Andy Shore
>>
>>
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Re: [Callers] Difficult dancers - Decision to ask not to return

[Rich Sbardella via Callers]

I want to be clear that when I suggest other dance venues, I have never
suggested that dancers stop attending a series.  My suggestion of other
(additional) venues is so that the dancer finds a user friendly place to
hone his/her skills.
Like Don, I believe that our communities should be inclusive.
Sorry for any misunderstanding.
Rich
Stafford, CT

On Wed, Mar 8, 2017 at 5:34 PM, Don Veino via Callers <
callers@lists.sharedweight.net> wrote:

> On Wed, Mar 8, 2017 at 1:26 PM, Mark Hillegonds via Callers <
> callers@lists.sharedweight.net> wrote:
>
>> Would you ever (or have you ever) asked someone not to return based on
>> their inability to dance?
>>
>
> No. If we want to consider ourselves open and welcoming then, IMO, I
> believe we need to model that. There are venues that have a different
> mission and objective (the limited set of "experienced" dances) where this
> might be appropriate but for a general dance I'm uncomfortable with the
> idea of sending someone away because they struggle to perform as others
> might expect.
>
> In the dance series I help run we have several folks with challenges whom
> dance with us regularly. These include blindness, some memory impairment,
> perceptual/developmental issues, physical impairment and just plain slowing
> down. They are all welcome, even though that may cause others to have to
> adjust - and that's just what we do. Callers adjust their material and
> timing/calls. Dancers find ways collaboratively to surpass the challenges
> presented.
>
> We strive to keep the hall well mixed, or the dancers will naturally
> segment themselves such that the difficulties multiply rather than get
> mitigated. A lot of that has to do with material selection - fidgety
> fast-action dances will not encourage the mixing. Well constructed dances
> with great flow (and some space for flourishes/recovery) will. We also have
> generous experienced dancers who help in partnering.
>
> Is it easy to continue this way? Maybe not. It may cost us attendance.
> There are times I (and others) get frustrated. But then I take a deep
> breath and move on from the temporary issue knowing the bigger goal. I feel
> you need to set a view of what you want the culture of your series to be
> and act in accord. My dance strives to be a real community where we dance
> and engage *with* people and not just dance *next* to them.
>
> Of course there's a difference between lesser capability and inappropriate
> behavior. We don't tolerate the latter but fortunately we've had few issues
> in that regard.
>
> -Don
>
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>

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

[Rich Sbardella via Callers]

I have never asked a dancer not to return to a dance.

As a caller, organizer, and as a dancer, I have often suggested other dance
locations that might be more suitable for their skill level.  For instance,
I often refer dancers with difficulties to a the local community dance that
I organize, and sometimes call, or to smaller, beginner friendly dance
communities.

I have recently begun teaching six week Adult Ed sessions, that I call an
"Introduction to Traditional Country Dance".  Often these dancers/students
have dancers that would have trouble elsewhere.  With many, the issue is
that English is a second language, others have physical or other
challenges.

I also lead a seniors' community dance session weekly, and the dancers
range from 60-85 years old.  Most do well at community level dancing, and
several have danced at the local contra communities.

Both of the above situations afford newer dancers opportunities to learn
basics like Heys, Ladies Chain, Square Thrus, and Swings. in a less
intimidating environment.  They also allow for much more
repitition/drilling than at a typical contra dance evening.

I also suggest to these dancers that they attend the pre-dance workshops
even if they do not feel that they are necessary.  These workshops help
newer dancers adjust to the voice and style of the evening's caller, and
provide a quick review of many basics.

Despite all this, I have dancers that still freeze when they encounter a
R Thru in a dance, especially if there is a Ladies Chain, or a Square
Thru in the same dance.

Rich Sbardella,
Stafford, CT


On Wed, Mar 8, 2017 at 1:48 PM, Mac Mckeever via Callers <
callers@lists.sharedweight.net> wrote:

> 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" <
> 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
>
>
> Sent from my iPhone
>
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>
>
>
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Re: [Callers] Increased number of community dance requests?

[Rich Sbardella via Callers]

I am also experiencing an increase in CT.  One example is a local adult ed
running two six week sessions each year that are free to the local
communities.  Our town Arts Commision is also sponsoring the Stafford Stomp
this year.  More scouts and family parties as well.  I am not sure if it is
more demand from the community, or just more bookings coming my way.

Rich Sbardella

The Stafford Stomp (Community Dance)
Building community one step at a time!

On Wed, Feb 22, 2017 at 5:35 PM, Kalia Kliban via Callers <
callers@lists.sharedweight.net> wrote:

> On 2/22/2017 6:25 AM, Luke Donforth via Callers wrote:
>
>> Hi all,
>>
>> Just wondering if anyone else is experiencing a bump in requests for
>> community/family dances? I feel like the last month or so, there's been
>> an uptick in schools and community centers requesting them. Could be a
>> local fluctuation, or something bigger. Anyone else getting that
>> impression?
>>
>> Possibly I'm projecting based on my own desire to build community
>> through dance, but a couple years ago I was knocking on doors trying to
>> make these happen, and now they're knocking on our door.
>>
>> Hope you're all having a similar experience!
>>
>> --
>> Luke Donforth
>> luke.donfo...@gmail.com 
>>
>
> Here in the Sonoma County area (a bit north of SF), we've definitely had
> growing interest in family dancing over the last year.  There's a quarterly
> family dance forming up that precedes one of our regular contras, and we're
> looking at possibly adding another before one of our regular English
> dances.  Part of the interest is coming from the local home-schoolers.
>
> Kalia Kliban
>
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Re: [Callers] Another vote for "jets" and "rubies"

[Rich Sbardella via Callers]

In the New England MWSD Community, there is one weekend a year that dances
collect data.
This method, although it has problems, is probable good at seeng long term
trends.
Rich Sbardella

On Mon, Jan 30, 2017 at 12:51 PM, Ron Blechner via Callers <
callers@lists.sharedweight.net> wrote:

> No, I haven't seen statistical analysis of this. Maybe it's worthwhile for
> this to be polled out to various dances.
>
> Best regards,
> Ron
>
> On Jan 30, 2017 10:54 AM, "Donna Hunt"  wrote:
>
> Just getting back to this thread, lots to catch up on.
>
> Jeff and Ron:  You both seem like the statisticians here.  Is there any
> data that reflects where in the country the LGBTQ gender-free dances are
> and where the communities that use gender-free terminology are?
>
> Just curious.
>
> Ron:  When you say that local dances attendance is down is there data
> about that compared to dances where attendance is not down?  Again, looking
> for information country wide or even geographic area.
>
> Thanks
> Donna Hunt
>
>
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Re: [Callers] Totals for taxes

[Rich Sbardella via Callers]

Here is a page from the IRS website regarding hobby vs for profit business.

https://www.irs.gov/uac/is-your-hobby-a-for-profit-endeavor

Rich Sbardella

On Tue, Jan 17, 2017 at 8:58 AM, Tony Parkes via Callers <
callers@lists.sharedweight.net> wrote:

> Luke Donforth wrote:
>
> < income paid not counting airplane tickets. It didn't remove mileage
> reimbursement, CDSS membership and insurance, etc.
>
> Net comes to about $5000.>>
>
>
>
> Luke, does your “net” figure represent what you have left after **all**
> expenses? Have you deducted 54 cents per mile driven (the IRS rate for
> 2016), whether or not you were reimbursed? (The alternative is to figure
> actual car expenses and deduct the percentage of those that corresponds to
> business use of the car, but it’s simpler to take the mileage allowance.)
> If you own any sound equipment, whether it’s a mic or a full system, have
> you expensed or depreciated each piece? (I’m not an accountant, but our
> accountants have always told us it’s OK to expense relatively small
> purchases rather than bother with depreciating them.)
>
>
>
> The one expense we don’t bother listing is meals on the road. The IRS
> allows only 50 percent of those to be written off (rule adopted in response
> to the three-martini business lunch); much of the time we get fed by our
> hosts; we tend to eat cheaply when we’re paying out of pocket; and we
> figure we would have spent that much on food anyway. But all other expenses
> get itemized on Schedule C.
>
>
>
> In a typical year our net (taxable) figure is less than half our gross. I
> agree that it’s a good idea to think about these things as one weighs how
> intently to pursue calling or playing for dances. I used to go anywhere for
> any amount of money, just for the joy of calling. Somewhere along the line
> I realized that I was losing money on many of my gigs, and I got more
> careful about pay scale vs. distance traveled.
>
>
>
> For many years my rule has been “for love or money” – both is better, but
> one or the other is essential. If I suspect it’s going to be a tough gig
> (e.g. an open bar or a “family” dance where the parents won’t join in), I
> quote high enough that I won’t kick myself later. Conversely, I’ll go out
> for short money if it’s a chance to work with some treasured
> friends/colleagues, or if it’s a new series that wants help getting off the
> ground, or if I get to call lots of Merry-Go-Round-type squares .
>
>
>
> Not specifically addressed to Luke: There’s a common belief that if the
> IRS decides your calling or playing is a hobby, you’re not allowed to
> deduct any expenses. On this subject, the IRS says only that losses can’t
> exceed gross income, so presumably you can deduct expenses down to the
> break-even point. Note that if you’ve made a profit in three of the last
> five years including the most recent year, the IRS assumes it’s a
> legitimate business.
>
>
>
> Tony Parkes
>
> Billerica, Mass.
>
>
>
> *From:* Callers [mailto:callers-boun...@lists.sharedweight.net] *On
> Behalf Of *Luke Donforth via Callers
> *Sent:* Tuesday, January 17, 2017 7:56 AM
> *To:* Callers@Lists.Sharedweight.net
> *Subject:* Re: [Callers] Totals for taxes
>
>
>
> I've already had two inquires, so I should specify, the $8000 was income
> paid not counting airplane tickets. It didn't remove mileage reimbursement,
> CDSS membership and insurance, etc.
>
> Net comes to about $5000.
>
>
>
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
>

Re: [Callers] Holiday contras - BEG/EASY

[Rich Sbardella via Callers]

Here are some Christmas singing call records that are in my record case.
All of these were available as 45rpms until recently.   The ones in* Bold *are
ones I called most recently.  I most often choose singing calls that have
no lyrics on beat 7/8 of the last phrase, so I can prompt the next figure.

*Winter Wonderland*
*Feliz Navidad*
*Jingle Bells*
*Jingle Bell Rock*
*Blue Christmas*

*I'll Be Home with Bells On (Dolly Parton)*
https://www.youtube.com/watch?v=d0fxBCasbZc

*I'll Be Home for Christmas*
*Rockin Around the Christmas Tree*
*White Christmas*


It's Beginning to Look a Lot Like Christmas
Grandma Got Run Over
Merry Christmas in My Home Town
Silver Bells
White Christmas
Santa Claus is Coming to Town
Christmas Island
The Christmas Song (Chestnuts roasting...)
I Believe in Santa Claus
Up on the Housetop
Senor Santa Claus
Santa Looked a Lot Like Daddy
Rudolph the Red Nosed Reindeer
Merry Christmas Polka
Deck the Halls
Let It Snow
Christmas in Your Arms








On Tue, Dec 6, 2016 at 9:28 AM, Tom Hinds  wrote:

> Rich,
>
> Good point.  I'm always on the look out for new material.  Do you have any
> in mind?
>
> Come to think of it, JIngle Bells can be used as a singing square and for
> contras too.
>
> Tom
>
> On Dec 6, 2016, at 9:15 AM, Rich Sbardella wrote:
>
> Tina, If you investigate Square Dance singing calls, many, many have been
> arranged into 32 bar tunes, and many are appropriate for contra dance with
> a slight tempo adjustment.
> Rich
>
> On Tue, Dec 6, 2016 at 9:08 AM, Tom Hinds via Callers <
> callers@lists.sharedweight.net> wrote:
>
>> It's not my cup of tea but Grandma Got Run Over by a Reindeer could be
>> used as a singing square or in a contra medley.
>>
>> On Dec 5, 2016, at 11:49 PM, Tina Fields via Callers wrote:
>>
>> The year I called the No Snow Ball in the SF Bay Area, Hillbillies from
>>> Mars agreed to include I Saw Mommy Kissing Santa Claus as one tune in a
>>> set. I sang it after dancers got their flow going, and it went great.
>>>
>>> I like Alan's idea of including not only holiday tunes but bad holiday
>>> puns as alt dance titles. That way, you can choose excellent dances and
>>> still get your holiday theme on.
>>>
>>> I also look forward to hearing more ideas here. Have fun!
>>> Tina
>>>
>>>
 On Saturday, December 3, 2016 David Harding via Callers <
 callers@lists.sharedweight.net> wrote:
 I'm interested in familiar holiday tunes that work for contras. I know
 I've danced to Jingle Bells a couple of times (as Alan suggested), and
 think I remember doing a mixer to Gloria in Excelsis Deo. Any other
 ideas?

 David


 On 12/2/2016 6:10 PM, Winston, Alan P. via Callers wrote:
> Claire --
>
> In my experience, choosing dances because their titles fit a
> particular theme isn't the best way to make programs.
>
> For Christmas holiday dances I'm used to bands slipping familiar
> holiday tunes into their regular sets. (Jingle Bells fits in nicely as
> a bouncy tune. Several carols can be played as waltzes.) You can also
> playfully alter the names of dances you'd want to call anyway to make
> them fit the theme.
>

>>> ___
>>> Callers mailing list
>>> Callers@lists.sharedweight.net
>>> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>>>
>>
>> ___
>> Callers mailing list
>> Callers@lists.sharedweight.net
>> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>>
>
>
>

Re: [Callers] Holiday contras - BEG/EASY

[Rich Sbardella via Callers]

Tina, If you investigate Square Dance singing calls, many, many have been
arranged into 32 bar tunes, and many are appropriate for contra dance with
a slight tempo adjustment.
Rich

On Tue, Dec 6, 2016 at 9:08 AM, Tom Hinds via Callers <
callers@lists.sharedweight.net> wrote:

> It's not my cup of tea but Grandma Got Run Over by a Reindeer could be
> used as a singing square or in a contra medley.
>
> On Dec 5, 2016, at 11:49 PM, Tina Fields via Callers wrote:
>
> The year I called the No Snow Ball in the SF Bay Area, Hillbillies from
>> Mars agreed to include I Saw Mommy Kissing Santa Claus as one tune in a
>> set. I sang it after dancers got their flow going, and it went great.
>>
>> I like Alan's idea of including not only holiday tunes but bad holiday
>> puns as alt dance titles. That way, you can choose excellent dances and
>> still get your holiday theme on.
>>
>> I also look forward to hearing more ideas here. Have fun!
>> Tina
>>
>>
>>> On Saturday, December 3, 2016 David Harding via Callers <
>>> callers@lists.sharedweight.net> wrote:
>>> I'm interested in familiar holiday tunes that work for contras. I know
>>> I've danced to Jingle Bells a couple of times (as Alan suggested), and
>>> think I remember doing a mixer to Gloria in Excelsis Deo. Any other
>>> ideas?
>>>
>>> David
>>>
>>>
>>> On 12/2/2016 6:10 PM, Winston, Alan P. via Callers wrote:
 Claire --

 In my experience, choosing dances because their titles fit a
 particular theme isn't the best way to make programs.

 For Christmas holiday dances I'm used to bands slipping familiar
 holiday tunes into their regular sets. (Jingle Bells fits in nicely as
 a bouncy tune. Several carols can be played as waltzes.) You can also
 playfully alter the names of dances you'd want to call anyway to make
 them fit the theme.

>>>
>> ___
>> Callers mailing list
>> Callers@lists.sharedweight.net
>> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>>
>
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>

Re: [Callers] Holiday contras - BEG/EASY

[Rich Sbardella via Callers]

Winter Wonderland.  Here is a Community Dance, square dance version, but it
is a 32 bar tune and will work with contras.
Rich

On Sat, Dec 3, 2016 at 5:20 PM, David Harding via Callers <
callers@lists.sharedweight.net> wrote:

> I'm interested in familiar holiday tunes that work for contras. I know
> I've danced to Jingle Bells a couple of times (as Alan suggested), and
> think I remember doing a mixer to Gloria in Excelsis Deo.  Any other ideas?
>
> David
>
>
> On 12/2/2016 6:10 PM, Winston, Alan P. via Callers wrote:
>
>> Claire --
>>
>> In my experience, choosing dances because their titles fit a particular
>> theme isn't the best way to make programs.
>>
>> For Christmas holiday dances I'm used to bands slipping familiar holiday
>> tunes into their regular sets. (Jingle Bells fits in nicely as a bouncy
>> tune.  Several carols can be played as waltzes.) You can also playfully
>> alter the names of dances you'd want to call anyway to make them fit the
>> theme.
>>
>>
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>

Re: [Callers] Positive values on the mic

[Rich Sbardella via Callers]

As a caller that transitioned from MWSD, I miss one of their traditions.
In club dancing, at the end of the evening, the performers and organizers
gather at the front of the dance floor, and all the dancers come forward
and say good night, and thank you.  It takes just a few minutes. but this
expression gratitude has often lifted me up, and helped me make the long
drive home.
Rich Sbardella
Stafford, CT

On Mon, Oct 31, 2016 at 5:38 PM, Richard Fischer via Callers <
callers@lists.sharedweight.net> wrote:

> Especially at community dances, but also at contras, I look for was to
> encourage dancers to say thank you. At community events one of my first
> dances is usually a kind of Appalachian square dance. Couples do one or two
> simple figures to my calls with another couple, and then I go, "Everybody,
> face your neighbors. ...  Say, "Thank you!"  ...   Take your partner and
> find new neighbors."  People seem to enjoy the opportunity to say thanks.
> At contras, if there is a pre-dance lesson, I try to work in some
> experience on progressing, even if it's in a mini-contra. (E.g., Circle
> left, circle right, dosido your neighbor, say thanks to your neighbor, walk
> forward to a new neighbor.)  And having the mic all evening I get
> opportunities to thank the band, sound personnel, organizers, and the
> dancers themselves.  Squares and triplets (and other set dances) give us a
> chance to encourage people to thank their whole set as well as their
> partner.
>
> Richard
>
> On Oct 31, 2016, at 1:47 PM, via Callers wrote:
>
> Once or twice a night, remind the dancers to hydrate and tell them where
> to find the punch bowl, drinking fountains, etc. If there are a lot of
> newcomers, they may not know where the water source is located (and you can
> joke that it's included with the price of admissionwho can resist!).
> Make it clear that you won't be starting the next dance for a few minutes -
> this encourages hydration, plus many dancers will be happy for the quick
> break and a chance to move to the side of the hall where they can mingle
> and find their next partner without fear that they'll be left out.
>
> Sue Gola
>
>
> -Original Message-
> From: Ron Blechner via Callers 
> To: Caller's discussion list 
> Sent: Mon, Oct 31, 2016 12:56 pm
> Subject: [Callers] Positive values on the mic
>
> Hi Shared Weight,
> I'd like to hear some examples of things you as a caller (or you as an
> organizer encouraging callers) say on the mic during a dance to promote
> positive dance values.
> I ask because I'm reviewing my own dance's "calling our dance"
> communication with callers, as well as evaluating my own statements on mic.
> I'll get us started.
> I like to say, a couple times per evening, for dancers to look to the
> sidelines for dancers who were sitting out, in considering a partner.
> In dance,
> Ron Blechner
> ___
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> ___
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> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
>
>
> ___
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> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
>

[Callers] Dance Title

[Rich Sbardella via Callers]

Hello Folks,

I am looking for the title and author of the following dance.  Can anyone
help me?

A1  CL 3/4, N Swg
A2  LL, Partner Balance, Pull R, Pull L
B1  Along Line RH Bal, Bx Gnat, Gents Alle Left 1 1/2
B2  P Bal & Swg

Thanks, Rich

Re: [Callers] Wrist Lock Stars - Summary

[Rich Sbardella via Callers]

In refereence to John's comment about hairy, sweaty wrists in MWSD, it has
been an unwritten rule, or at least a courtesy, that men wear long sleeve
shirts to avoid such hairy, sweaty, contact.  Long sleeves are still the
norm in MWSD.
Rich Sbardella

On Wed, Oct 19, 2016 at 5:40 AM, John Sweeney via Callers <
callers@lists.sharedweight.net> wrote:

> Thanks to all those who contributed.  Here is a summary of the key points
> that were made.  It is clear that the wrist lock star is indeed the
> standard
> across the USA, with only a few areas using hands across.
>
> Summary
>
> Names: Wrist Star, Box Star, Wrist-Grip Star, Wrist-Lock Star, Pack-saddle
> Star, Wagon-Wheel (Star), Basket Handhold
> Also, but these can mean Hands Across: Millstone Star, Mill, Windmill,
> Moulinet, Old Mill
> Alternative Star Holds:
> Hands Across (that term goes back to at least 1650!)
> Palm Star (MWSD only)
> Lump (Bunch of Bananas, Limp Lettuce) - to be avoided at all costs
>
> Etymology of Mill references:
> Alan Winston: Go back far enough (1700s) and you get "moulinet" in French
> sources, "mill" in some English sources, for what I'm pretty sure are
> hands-across stars.
> Colin Hume: In the Netherlands it's called "molen" which means "windmill".
> John Sweeney: The early 19th century Quadrilles and dances like The Lancers
> used the term Moulinet for Star. As far as we know it was always a Hands
> Across Star.  Moulinet means turnstile, crank or propeller.  Whether it
> independently became known as a Windmill/Mill or whether it was badly
> translated as Moulin = Windmill is unclear.
>
> Wagon-Wheel: in the Appalachians it was a shoulder star - see 2 minutes in
> at https://www.youtube.com/watch?v=Ht9kjeKcOsg.
>
> There is a general view that the term Wrist-Grip should be avoided, and
> that
> it should be emphasised that you don't grip (keep your thumb up top with
> your fingers!).
>
> I like the term "Wrist Lock" since it makes it clear that we are using
> wrists, and since the shape you make looks like the Lock that sword and
> rapper dancers make when they interlink them all and raise them high.  I
> also love that wrist-locks work perfectly for three or five dancers in a
> star (I call lots of different styles).  But I am sure that although the
> move may become even more ubiquitous, the terminology will retains its
> local
> flavour.
>
> Any ideas on when it started?
>
> Dan Pearl: Sylvia Miskoe, in rec.folk-dancing on March 4, 1999 said: "Wrist
> grip stars became popular after the appearance at New England Folk Festival
> (NEFFA) of the Lithuanian Dance Group doing their dances and they all used
> wrist grips.  The square dancers thought it was a neat idea and adopted
> it."
> Any idea when that festival was?
>
> 1964 in Northern Vermont shows wrist-lock stars:
> https://www.youtube.com/watch?v=pZubTju7g_s
> 1981 Ted Sanella's "Balance & Swing" defines a star in New England as
> "grasp
> the wrist of the dancer ahead".
> 1983 Larry Jennings' "Zesty Contras" refers you to Ted's book.
>
> Exceptions:
> When choreography dictates, e.g. "men drop out, ladies chain" works
> better with hands across
> One night stands
>
> Dave Casserley:
> https://www.swarthmore.edu/sites/default/files/assets/
> documents/linguistics/
> 2007_kaufman_jeff.pdf
> This shows that ten years ago wrist-stars were common everywhere in the US
> except in some parts of the South.
>
> Amy Wimmer (Seattle):
> The wrist lock is the common star formation in the Northwest, with a hands
> across being the exception.
>
> Tim Klein (TN):
> I call for dances in Knoxville, TN and occasionally in the surrounding area
> (Jonesboro, Chattanooga). I've been dancing here for 30 years. I recall
> hands across stars in Knoxville, Atlanta, Brasstown, Asheville and points
> between, but wrist grip stars in Lexington, Louisville and Nashville.
>
> Chet Gray (KY):
> I tend to consider my home dance, Louisville, KY, and nearby Lexington, as
> two of the last bastions of hands-across-by-default. Wrist-grip seems to be
> the default even in relatively nearby cities: Indianapolis, Bloomington,
> IN,
> Nashville, Cincinnati. Not sure about Berea and Somerset, KY, also nearby.
>
> Jerome Grisanti (Midwest):
> I agree with Chet that Louisville's default star is hands-across, although
> weekend festivals in nearby cities tend toward the millstone star. The
> Midwest where I dance/call now is pretty solidly wrist-star territory (St.
> Louis, Columbia MO, Kansas City, Lawrence).
>
> BUT...
> Susan McElroy-Marcus:
> Just a bit of Louisville dance community history on this subject-when my
> husband started dancing there in the late '70s and I came in 1982, the
> Monday night dance was a mix of English and contra.  The default contra
> dance star grip was the "wrist lock" not hands across as in English.  We
> called it a basket handhold or wrist grip.  Our influence came from New
> England because our friend, Norb Spencer, who started 

Re: [Callers] What dance is this?

[Rich Sbardella via Callers]

Dave, Andrea,and Yoyo,
My apologies, you are absolutely correct.  I somehow confused "Boys from
Urbana" with another dance.  The two dances are very similar, and the
untitled dance could easily be considered a variation of "Boys from
Urbana".
Rich Sbardella

On Fri, Oct 7, 2016 at 6:43 PM, Dave Casserly <david.j.casse...@gmail.com>
wrote:

> I agree with Andrea and Yoyo that this dance is very similar to Boys from
> Urbana, enough certainly to qualify as a variation of the same dance.
> Literally the only difference is that there's a 1/2 gents allemenade after
> the progression in Boys from Urbana.  And this one starts at a different
> spot than Boys from Urbana usually starts, but there's no reason Boys has
> to start there.
>
> I also agree with Yoyo about the timing.  The reason Boys from Urbana
> works well is that there are 2 beats to veer each direction, then 4 beats
> for the gent to allemande left 1/2.  In this dance, timing in B2 is
> unclear: 3/4 circle left is typically 6 beats, which leaves 10 for the veer
> left and veer right.  Dancers won't split that into 5 beats and 5 beats, so
> it's uneven.  Some dancers will compensate by taking extra time to circle
> left, and doing it in 8 beats instead of 6, but other dancers find such
> circles unsatisfying.
>
> -Dave
> Washington, DC
>
> On Fri, Oct 7, 2016 at 5:58 PM, Andrea Nettleton via Callers <
> callers@lists.sharedweight.net> wrote:
>
>>
>>
>> Sent from my external brain
>>
>> On Oct 6, 2016, at 2:44 PM, Rich Sbardella via Callers <
>> callers@lists.sharedweight.net> wrote:
>>
>> While we are at this, here is another untitled dance.  I am not sure
>> where I collected it.
>>
>> Can anyone name it?
>>
>> a1  N B
>> a2  LL, Ladies Alle R 1 1/2
>> b1  P B
>> b2  CL 3/4, Veer Left, Veer Right
>>
>>
>> This looks like Boys from Urbana
>>
>>
>> Rich Sbardella
>>
>> On Thu, Oct 6, 2016 at 2:29 PM, frannie via Callers <
>> callers@lists.sharedweight.net> wrote:
>>
>>> I have it as a variation of Berkeley Bind by Erik Hoffman. Long lines
>>> instead of a full circle Left.   If it's actually something else I'd love
>>> to give it correct credit.
>>>
>>> ~Frannie
>>>
>>> On Thu, Oct 6, 2016 at 11:08 AM, Maia McCormick via Callers <
>>> callers@lists.sharedweight.net> wrote:
>>>
>>>> Any insights?
>>>>
>>>> A1: neighbor B
>>>> A2: long lines
>>>> gents alle. L 1 1/2
>>>> B1: PB
>>>> B2: circle L 3/4
>>>> Bal. the ring, CA twirl to face new neighbors
>>>>
>>>> Cheers,
>>>> Maia
>>>>
>>>> ___
>>>> Callers mailing list
>>>> Callers@lists.sharedweight.net
>>>> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>>>>
>>>>
>>>
>>>
>>> --
>>> twirls,
>>> Frannie
>>>
>>> ___
>>> Callers mailing list
>>> Callers@lists.sharedweight.net
>>> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>>>
>>>
>> ___
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>>
>>
>> ___
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>>
>>
>
>
> --
> David Casserly
> (cell) 781 258-2761
>

Re: [Callers] What dance is this?

[Rich Sbardella via Callers]

Yoyo,
I do not consider this dance and Boys from Urbana variations of the same
dance.  I would have no trouble calling this dance to start off an evening,
but Urbana is much more difficult.
Where are your concerns with timing and flow?  The only difference I see is
that there are 8 beats available for the zig/zag versus 4 beats in Urbana.
That is a plus early in an evening.
Rich Sbardella

On Thu, Oct 6, 2016 at 3:01 PM, Yoyo Zhou <yoz...@gmail.com> wrote:

> On Thu, Oct 6, 2016 at 11:44 AM, Rich Sbardella via Callers <
> callers@lists.sharedweight.net> wrote:
>
>> While we are at this, here is another untitled dance.  I am not sure
>> where I collected it.
>>
>> Can anyone name it?
>>
>> a1  N B
>> a2  LL, Ladies Alle R 1 1/2
>> b1  P B
>> b2  CL 3/4, Veer Left, Veer Right
>>
>
> This looks like a variation of the Boys from Urbana by John Coffman. I
> think the timing and flow in the original works better.
>
> See here: https://sites.google.com/site/capecontradance/home/
> contra-dances-by-john-coffman
>
> Yoyo Zhou
>
>

Re: [Callers] What dance is this?

[Rich Sbardella via Callers]

While we are at this, here is another untitled dance.  I am not sure where
I collected it.

Can anyone name it?

a1  N B
a2  LL, Ladies Alle R 1 1/2
b1  P B
b2  CL 3/4, Veer Left, Veer Right

Rich Sbardella

On Thu, Oct 6, 2016 at 2:29 PM, frannie via Callers <
callers@lists.sharedweight.net> wrote:

> I have it as a variation of Berkeley Bind by Erik Hoffman. Long lines
> instead of a full circle Left.   If it's actually something else I'd love
> to give it correct credit.
>
> ~Frannie
>
> On Thu, Oct 6, 2016 at 11:08 AM, Maia McCormick via Callers <
> callers@lists.sharedweight.net> wrote:
>
>> Any insights?
>>
>> A1: neighbor B
>> A2: long lines
>> gents alle. L 1 1/2
>> B1: PB
>> B2: circle L 3/4
>> Bal. the ring, CA twirl to face new neighbors
>>
>> Cheers,
>> Maia
>>
>> ___
>> Callers mailing list
>> Callers@lists.sharedweight.net
>> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>>
>>
>
>
> --
> twirls,
> Frannie
>
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
>

Re: [Callers] Boys and Girls

[Rich Sbardella via Callers]

Jeremy,

Perhaps this is a partially generational concern.

In the MWSD community today, there is much role swapping among dancers.
Most often ladies are dancing the gents' role.  The terms boys and girls,
are roles much like ladies and gents in the contra scene.  Although I call
fewer MWSD events these days, in 25 years have never encountered
opposition, or even concern about these terms at a MWSD event.  Many out
dated gender specific terms are used in the activity as well, for example,
lads and lassies, and ruffles and beaus.  All these terms are part of their
dance "tradition".

The MWSD community is generally much older, and does not have problems with
these traditional dance terms.  As noted the terms are often selected to
fit within the rhythm and rhyme of patter.  As a caller who calls to both
MWSD and contra communities, I am trying very hard to eliminate boys and
girls, and it is very hard.  It is like speaking a new language language,
and having no time to think about what comes next.  It all happens so fast.

As most of the MWSD community ages out, perhaps gender terms will become a
concern, but I do not see that happening any time soon.

Rich Sbardella
Stafford, CT




On Mon, Sep 26, 2016 at 7:26 PM, Angela DeCarlis via Callers <
callers@lists.sharedweight.net> wrote:

> I imagine that the conversation must be much more complex in MWSD given
> the tradition of patter.  As I understand it, oftentimes the decision of
> which term to label each role is determined by what might best rhyme with
> the following call, or by how many syllables you have time to say.
>
> While it's probably a much more ambitious endeavor -- and one which I'm
> sure as a contra dance caller I have very little grasp of -- I would say
> that many MWSD communities are ready to handle a role-term change, but that
> it would take exceedingly creative and experienced callers within that
> tradition to help determine what those might look like.
>
> Good luck!
> Angela
>
> On Mon, Sep 26, 2016 at 7:19 PM, Jeremy Child via Callers <
> callers@lists.sharedweight.net> wrote:
>
>> Hi
>>
>> This is for the MWSD callers amongst you.
>>
>> There has been much discussion on this group about the terms used for the
>> two roles in contra dance.  I do not propose to resurrect that here, I
>> mention it to emphasise that many feel the terms used to be important, and
>> that we should be moving away from any gender connotation in them.
>>
>> MWSD uses Ladies, Gents, Men, Women, Girls, Boys - all highly gendered.
>> Is it time we changed these?  If so, how?  In theory with Callerlab it will
>> be easier, but I suspect they would strongly resist such a change, since
>> the "maleness" and "femaleness" of the roles (e.g. skirt work) is such a
>> fundamental part of what MWSD is.
>>
>> Thoughts?
>>
>> (Apologies to those to whom this is all gibberish)
>>
>> Jeremy Child
>> www.barndancecaller.net
>> www.genderfreedance.net
>>
>> ___
>> Callers mailing list
>> Callers@lists.sharedweight.net
>> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>>
>>
>
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
>

[Callers] Dance Variety

[Rich Sbardella via Callers]

As I programed my dance evenings for this weekend, I noticed that close to
80% of my dance cards have just the Ladies in the center doing something,
 About 10% have the Gents going in, and the remaining 10% or so have both
the Lady and the Gent, or neither the Lady or the Gent going in.

My observations consider a Hey and Half hey as neutral, and as such I did
not include the hey in my estimations.  However if the hey was set up by an
allemande or chain, those basics were considered.

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

Rich Sbardella
Stafford, CT

Re: [Callers] Headset mics, take two

[Rich Sbardella via Callers]

I previously mentioned that I use an Audio Technica System 10, but in fact,
WE use three system 10s.  My wife Lynn and I, call duet singing calls with
two handhelds, and I often use the headset at ONS parties.  If one
receiver, or mic,dies, I can change the pairing as needed.  I can also use
all three at once if needed.   The system 10 automatically senses
interference and changes channels/frequencies when needed. I was having
problems with RF interference using my Carvin headset.

I also have a Energizer rapid charger that allows me to charge batteries on
the way, or at a gig, if needed.  It is quit convenient.


On Wed, Sep 7, 2016 at 11:13 AM, Sue C. Hulsether via Callers <
callers@lists.sharedweight.net> wrote:

> Kalia and others,
>
> I have been using an Audio-Technica wireless system for over 13 years.
> And I am very pleased with its performance.
> Whereas I don’t like a mic on my head, this works for me in gigs where I
> need my hands.  I have both a headset mic (with belt-pack) and a hand-held
> cordless mic that operate with the same receiver.  They just can’t be on at
> the same time.  I think the sound quality is better with the hand-held mic,
> but they are both great, and I have *rarely* had feedback issues with
> them.  The hand-held mic is very unidirectional, so does not cause feedback
> (unless I loan it to someone who holds it far from their mouth and steps
> right in front of the speaker).
>
> The Audio-Technica system I have is:  ATW 1451.  A quick check on their
> website makes it looks like this series is discontinued, but I’m guessing
> the 2000 series is the current equivalent. http://www.audio-technica.com/
> cms/wls_systems/6bc6d93a774d761d/index.html
>
> Re beltpack:  I have a comfy/loose belt that I wear around my waist so the
> beltpack does not need to clip on my clothing.  I keep the belt with the
> mic and receiver.
>
> Re the sturdiness:  I use this 6 hours a day, 10 + days per month.  I have
> replaced the mic/headset (but not the belt-pack) a few times in 13 years
> since the wire is small (also not bulky on me!) and eventually gets shorts
> in it.  My “local” sound shop can sometimes clip the cord and re-wire, but
> I find that I have to replace the headset (at $125) about every 18 months
> or so.
> I have never had to replace or fix the handheld unit, even after dropping
> it on a wood floor.
>
> Re batteries:  They both use AA batteries, and I have found some
> high-quality rechargeable batteries that I love (Powerex batteries and
> accompanying Maha/Powerex charger).
> One pair of AA batteries will last me about 10 hours of usage.  (My
> original AT used 9 volt batteries and would need a new battery about every
> 4 hours.)
>
> I also know others who have been happy with the SHURE wireless headset.
> The sound guys I go to say that the A-T is slightly better quality.
>
> sue
>
>
>
>
> *Sue Hulsether*
> shulset...@mac.com
>
> www.suehulsether.com
> 608-632-1267  Cell
> 608-629-6250  Home
> P.O. Box 363
> Viroqua, WI 54665
>
>
>
>
>
> On Sep 5, 2016, at 10:12 PM, Kalia Kliban via Callers <
> callers@lists.sharedweight.net> wrote:
>
> I sent this last week but got a message from Dave Casserly telling me the
> message had been marked as spam, so I'm guessing it mostly disappeared into
> everyone's lint filter.  I've read the previous threads on headsets going
> back to 2014 and there aren't a lot of specifics. JoLaine, if you're
> reading this, I'd love to know what model you use. You mentioned that it
> was a Shure and that you loved it.  And Rich Sbardella mentioned last year
> that his Shure had been giving him trouble.  Rich, what model is yours, and
> are you happy with your replacement?
>
> Here's the mail from last week, to get those of you who didn't see it on
> the same page with those who did:
>
> Hi all
>
> I was just working a wedding gig and my old Samson headset mic crapped
> out.  If the piano player hadn't had hers along, I would have been in
> serious trouble.  Time for a new and more reliable headset mic.  I use my
> hands a LOT when I'm doing ONS gigs, so a handheld cordless isn't an option
> for me.
>
> I'd love recommendations from any of you about specific models to look
> at.  I'm planning to plow the funds from this wedding and some of my caller
> piggy bank into a new mic, so I want something that's really good quality.
> It doesn't have to be tiny and invisible, but it does need to be reliable
> and sturdy. If it doesn't have a belt pack that's a plus, but it seems like
> most of the good-quality headset mics have belt packs.  I'll deal with it
> if that's the best bet.  So, recommendations?
>
> For reference, the one I was working with was a Samson Airline 77, often
> referred to as the "aerobic instructor mic."  It had the transmitter on the
> headset, so there were no wires or belt pack, and it worked just fine for a
> long time until suddenly it didn't.  I would like to hear what folks are
> using who rely on a headset mic for their calling 

Re: [Callers] Headset mics, take two

[Rich Sbardella via Callers]

I have been using an Audio Technica System 10 headset, and I am happy with
it.  It is a good mic for *singing* and speaking.  If I were not a singing
caller, I would probably use a different mic with the same System 10.
Rich Sbardella

On Tue, Sep 6, 2016 at 11:42 AM, via Callers  wrote:

> Hi Kalia,
>
> I use a Countryman Associates hands free headset.  Countryman is very high
> performance company that many professionals speakers and performers use.
> You can contact them directly to ask questions.  Their web site is
> http://www.countryman.com/
>
> I have been using their Isomax headset with my Shure PGX1 wireless
> transmitter for years now.
>
> Hope this was helpful.  Good luck.
>
> Joe De Paolo
>
> In a message dated 9/5/2016 11:12:17 P.M. Eastern Daylight Time,
> callers@lists.sharedweight.net writes:
>
> I sent this last week but got a message from Dave Casserly telling me
> the message had been marked as spam, so I'm guessing it mostly
> disappeared into everyone's lint filter.  I've read the previous threads
> on headsets going back to 2014 and there aren't a lot of specifics.
> JoLaine, if you're reading this, I'd love to know what model you use.
> You mentioned that it was a Shure and that you loved it.  And Rich
> Sbardella mentioned last year that his Shure had been giving him
> trouble.  Rich, what model is yours, and are you happy with your
> replacement?
>
> Here's the mail from last week, to get those of you who didn't see it on
> the same page with those who did:
>
> Hi all
>
> I was just working a wedding gig and my old Samson headset mic crapped
> out.  If the piano player hadn't had hers along, I would have been in
> serious trouble.  Time for a new and more reliable headset mic.  I use
> my hands a LOT when I'm doing ONS gigs, so a handheld cordless isn't an
> option for me.
>
> I'd love recommendations from any of you about specific models to look
> at.  I'm planning to plow the funds from this wedding and some of my
> caller piggy bank into a new mic, so I want something that's really good
> quality.  It doesn't have to be tiny and invisible, but it does need to
> be reliable and sturdy. If it doesn't have a belt pack that's a plus,
> but it seems like most of the good-quality headset mics have belt packs.
>   I'll deal with it if that's the best bet.  So, recommendations?
>
> For reference, the one I was working with was a Samson Airline 77, often
> referred to as the "aerobic instructor mic."  It had the transmitter on
> the headset, so there were no wires or belt pack, and it worked just
> fine for a long time until suddenly it didn't.  I would like to hear
> what folks are using who rely on a headset mic for their calling gigs.
>
> Kalia Kliban in Sebastopol, CA
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
>
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
>

Re: [Callers] Floor Space Requirement

[Rich Sbardella via Callers]

Hello Woody,

I have not assumed that only 20 couples would dance, I was just using that
as a way to determine how much dance floor is needed.  I would love three
or four lines of 20 couples.  I have not yet visited the hall.

I have spoken at length with the B  They are indeed contra dancers.  I
let them know that they could have a great time with few or no contras, but
they are insisting.  I will include a longways and a circle mixer, if space
allows, before I go to contras.  I will have some easy, gender free contras
to start, and a few very easy duple improper contras.  It is their day, and
they are calling the shots, but perhaps as the event develops, I can
persuade them to be flexible.  I have many ONS dances to draw from.

Thanks for the advice, it will be useful.

Rich Sbardella
Stafford, CT

On Mon, Aug 1, 2016 at 5:30 PM, Woody Lane via Callers <
callers@lists.sharedweight.net> wrote:

> Hi Rich,
>
> Are the bride and groom actual contra dancers?
>
> I would talk with them first. Get a feel for their comfort about contras,
> and also dancing in general. Ask them if they waltz. If you hear a few
> moments of silence -- that says a lot about their dancing. Assure them that
> everyone will have a great time.
>
> With a 145 attendees, why assume that there will only be 40 dancers (20
> couples)? Maybe there will be only 40 if all the dances you call are modern
> contras. But if you, as the MC for that part of the event, can get all the
> attendees on the dance floor (or at least 100+), all happy and celebrating
> -- would that be an option? Would that be what the couple really wants but
> is either narrow in their perspective or doesn't know how to articulate it?
>
> This weekend, I called a wedding for some folks who wanted contras. That's
> what they advertised. Well, yes, except that the bride and groom had really
> never waltzed or had done real contras.
>
> Nonetheless, contras was what they had in their heads. There were 80
> attendees. The dance area was a relatively narrow rectangle of grass. But
> we began with a Grand March -- which everyone (and I mean everyone) could
> do, with a wind-up spiral. Even the non-dancers could walk through it and
> laugh. Then a very phrase-driven circle mixer, then a Virginia Reel style
> of dance. Nearly everyone was on the dance floor, having a great time. And
> they stayed on the floor, ignoring the free drinks. Yes, it was
> occasionally a bit crowded, but nobody cared. Actually, that's what I think
> the wedding couple really wanted -- to have lots of fun on their special
> day and share the celebration. They were absolutely delighted that so many
> of their non-dancer friends were clearly having a great time on the dance
> floor.  (and then we did more dances after a dessert break, ending with a
> simple fun mixer.) And at the end of the evening, they gave me an extra tip
> on top of my payment.
>
> Just some thoughts. Good luck.
>
> Woody
>
> --
> <><><><><><><><><><><><><><><><><><>
> Woody Lane
> Caller, Percussive Dancer
> Roseburg, Oregon
> http://www.woodylanecaller.com
> home: 541-440-1926 cell: 541-556-0054
> <><><><><><><><><><><><><><><><><><>
>
> On 8/1/2016 6:01 AM, Rich Sbardella via Callers wrote:
>
>> Friends,
>>
>> I have been hire to call a wedding with 145 attendees and 15 known
>> contra dancers.  The bride and groom are insisting on modern contras.
>>
>> I have never thought about floor space, what is the typical
>> requirement for a line of twenty couples?
>>
>> Any very easy duple improper dances to recommend?  I plan on using
>> "Family Contra" and "Jefferson and Lincoln".
>>
>> Thanls,
>> Rich
>>
>
>
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>

[Callers] Floor Space Requirement

[Rich Sbardella via Callers]

Friends,

I have been hire to call a wedding with 145 attendees and 15 known contra
dancers.  The bride and groom are insisting on modern contras.

I have never thought about floor space, what is the typical requirement for
a line of twenty couples?

Any very easy duple improper dances to recommend?  I plan on using "Family
Contra" and "Jefferson and Lincoln".

Thanls,
Rich

Re: [Callers] Confirming Bookings - Best Practices?

[Rich Sbardella via Callers]

The American MWSD clubs/callers also use contracts, although seldom is a
deposit required.  In 25 years of club calling, I only had one bad
experience, where two callers were booked for the same dance.  I was
working 'graveyard" shift, so I willingly let the other caller have the gig
and returned home for a power nap.

The standard MWSD club contract had fees and variances, such as $125 plus
$10 for every square over 6.  It had contact information for the caller and
organizer, date, times, location, and music licensing requirements.  It
sometimes specified who would provide the sound equipment as well, and who
would be working with the caller.  Many clubs listed themes for the night,
for example 50s night, or Hawaiian Night.   "Contra Prom" would be one
theme used at a nearby contra dance.  These themes helped the caller pick
out music, dances, and clothing.

Contracts were a nice way for me to gather all my tax info at the end of
the year.

As I book more ONS and contra dances, I let the emails serve as a contract,
but they sometimes have a "tentative" feeling.

I also tend to post my schedule on Facebook, hoping that any irregularities
might be noticed.  Just last night someone told me that an upcoming dance
was not on my schedule.  There are reasons, but I will post it soon.

Peace,
Rich Sbardella
Stafford, CT

On Wed, May 11, 2016 at 3:54 AM, Kate Carpenter via Callers <
callers@lists.sharedweight.net> wrote:

> I'm surprised you don't have contracts.
>
> I call for, play in and organise a Barn Dance/Ceilidh band in England. We
> always have a Musicians Union contract which states: date, venue, times,
> how much we're paid, how much deposit has already been paid (the deposit
> confirms the booking) and who the contract is with... Yes, it is a pain
> drawing up the contracts, but everyone knows the details. We don't have
> surprises on the night. We can still be flexible. We mostly play for
> weddings, anniversaries, fundraising... and although about half our
> bookings are repeats/recommendations we don't really know these people.
>
> My husband and I also play for Scottish Dance societies. This is a
> specialist area - more like your dance series, and we know these people,
> mostly playing for them every year/6 months and some dance weekends. I
> would trust them, but we still have contracts and deposits.
>
> Once someone has paid a deposit, they aren't going to casually forget
> about you, or book someone else.
>
> Kate
>
>
>
>
> > Date: Tue, 10 May 2016 21:01:32 -0700
> > To: callers@lists.sharedweight.net
> > Subject: Re: [Callers] Confirming Bookings - Best Practices?
> > From: callers@lists.sharedweight.net
> >
> > The local series is good that way, with their confirmations. Those are
> > pretty close to the date, so I tend to follow the Check Their
> > Sites/Pages thing.
> >
> > Others in the region are pretty good with a run of communication to set
> > up and one to later confirm. Again with something closer to the date.
> > Again I'll do a check on the lead up, mostly by having a look on my own
> > for promo material.
> >
> > One dance series had the caller I was replacing still listed on the
> > site, so I wrote about a month and a half out so I knew if I was free to
> > rebook, do other things, or simply enjoy the evening as a dancer.
> >
> > With a series, where there's a bit of pattern to the behaviour I have
> > little concerns. Also the communication tends to be pretty good and
> > established.
> >
> > For one off dances I may do a bit more asking, esp. if there have only
> > been early enquiries.
> >
> > On occasion a "definitely want you" has fizzled, on other occasions what
> > appears to be a casual inquiry really was their idea of a firm booking,
> > for myself and the band.
> >
> > A band I do regular ONS work with (anniversary, wedding, fund-raiser
> > gigs) and I are seriously considering asking for a financial deposit for
> > some bigger one-off affairs. Esp. if there's travel, rental of
> > equipment, accommodation (that we must book) and such.
> >
> > So, mostly nothing earthshakingly different than what a number have
> > commented on.
> >
> > Cheers, John
> > --
> > J.D. Erskine
> > Victoria, BC
> > Island Dance
> > ___
> > Callers mailing list
> > Callers@lists.sharedweight.net
> > http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
>

Re: [Callers] Community Dance

[Rich Sbardella via Callers]

At the suggestion of a friend, I have decided to change the Faceboook Page
to a Facebook Group.  The group is simply called "Community Dance" and this
link should lead you there.

https://www.facebook.com/groups/998379520248723/

Rich Sbardella

On Mon, Apr 4, 2016 at 5:17 PM, Rich Sbardella 
wrote:

> I have been asked to post a link to the Facebook page.
>
> Try this:
>
> https://www.facebook.com/Community-Dance-361393070697776/
>
>
>
>
>
> On Mon, Apr 4, 2016 at 3:38 PM, Rich Sbardella 
> wrote:
>
>> Hello folks,
>>
>> I have set up a "Community Dance" Facebook Page as a place to share
>> family friendly community dances with each other. My expectation is that
>> the page will be a place to swap dances, and to provide information
>> regarding caller/leader training opportunities.
>>
>> This page is not intended as a discussion group, nor is it intended for
>> sharing contra or complicated square dances, but rather for sharing dances
>> that children can easily succeed in.
>>
>> Since I am a visual learner, I hope that users will provide both links to
>> videos, and written descriptions of dances whenever possible.
>>
>> I have reposted a link from a caller gathering this past weekend led by
>> Patricia Campbell as the first dance to share.
>>
>> I am practically computer illiterate, so if any of you gurus want to help
>> make the page useful and attractive. please reach out.
>>
>> Thanks,
>> Rich Sbardella
>> Stafford, CT
>>
>
>

Re: [Callers] Community Dance

[Rich Sbardella via Callers]

I have been asked to post a link to the Facebook page.

Try this:

https://www.facebook.com/Community-Dance-361393070697776/





On Mon, Apr 4, 2016 at 3:38 PM, Rich Sbardella 
wrote:

> Hello folks,
>
> I have set up a "Community Dance" Facebook Page as a place to share family
> friendly community dances with each other. My expectation is that the page
> will be a place to swap dances, and to provide information regarding
> caller/leader training opportunities.
>
> This page is not intended as a discussion group, nor is it intended for
> sharing contra or complicated square dances, but rather for sharing dances
> that children can easily succeed in.
>
> Since I am a visual learner, I hope that users will provide both links to
> videos, and written descriptions of dances whenever possible.
>
> I have reposted a link from a caller gathering this past weekend led by
> Patricia Campbell as the first dance to share.
>
> I am practically computer illiterate, so if any of you gurus want to help
> make the page useful and attractive. please reach out.
>
> Thanks,
> Rich Sbardella
> Stafford, CT
>

[Callers] Community Dance

[Rich Sbardella via Callers]

Hello folks,

I have set up a "Community Dance" Facebook Page as a place to share family
friendly community dances with each other. My expectation is that the page
will be a place to swap dances, and to provide information regarding
caller/leader training opportunities.

This page is not intended as a discussion group, nor is it intended for
sharing contra or complicated square dances, but rather for sharing dances
that children can easily succeed in.

Since I am a visual learner, I hope that users will provide both links to
videos, and written descriptions of dances whenever possible.

I have reposted a link from a caller gathering this past weekend led by
Patricia Campbell as the first dance to share.

I am practically computer illiterate, so if any of you gurus want to help
make the page useful and attractive. please reach out.

Thanks,
Rich Sbardella
Stafford, CT

[Callers] Teaching the Cloverleaf?

[Rich Sbardella via Callers]

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 Sbardella
CT

Re: [Callers] Young Adult Rose

[Rich Sbardella via Callers]

In Another Nice Combination, dancers Pass P by R to Shadow DSD which is a
right (handed) move, before returning to a partner swing.  There is no
choice required since DSD is almost always right shoulder.

Rich


On Sun, Mar 27, 2016 at 7:16 PM, Jonathan Sivier via Callers <
callers@lists.sharedweight.net> wrote:

>I've not encountered problems with dancers not doing the figures
> described in the dance, but I have experienced a certain amount of
> dissatisfaction when dancing dances with similar figures.  I think there is
> a tendency to want to alternate hands/shoulders as you encounter other
> dancers.  Similar to a hey or Right and Left Grand if you pass one person
> by the right the tendency is to want to interact with the next by the
> left.  This can be overcome, but requires thinking about what the next
> figure is rather than just doing it and it can make it difficult to "get
> into the groove" the way many dancers like to do.  I don't think this is
> always the case, but I have certainly come across occasions when it just
> seemed like we were turning by the wrong hand or whatever.
>
> Jonathan
> -
> Jonathan Sivier
> Caller of Contra, Square, English and Early American Dances
> jsivier AT illinois DOT edu
> Dance Page: http://www.sivier.me/dance_leader.html
> -
> Q: How many angels can dance on the head of a pin?
> A: It depends on what dance you call!
>
> On 3/27/2016 3:24 PM, Kalia Kliban via Callers wrote:
>
>> I called Young Adult Rose last night and experienced a near-complete
>> dancer revolt about the shadow allemande.  The dance is written with a
>> circle left 3/4, pass P by R along the line then allemande shadow R 1x,
>> before coming back to P for a balance and swing.  The dancers all
>> _really_ wanted to do the allemande by the left.  I tried calling it a
>> few times with the R hand, then gave up and called it L and they were
>> all much happier.  Anyone else experienced this?
>>
>> Kalia
>>
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>

Re: [Callers] Novelty & Gimmick Contras

[Rich Sbardella via Callers]

Hello Tavi,

You are correct, gimmick was a bad choice of words.  Gimmick is a term used
in MWSD publications to describe surprise or unusual choreography.

The type of dances I am looking for are dances that have an unusual
element, whether it be a different move like rip 'n snort, an unusual
application as in Bree's "couple to solo" Dosido, or an unusual
progression.  These dances are easy enough for a floor with many beginners
but novel (?) enough for most dancers to enjoy.

Rich





On Thu, Mar 17, 2016 at 1:46 PM, tavi merrill via Callers <
callers@lists.sharedweight.net> wrote:

> I take issue with the term "gimmick." Using familiar moves in new ways is
> IMO called "good choreography." If one defines using existing moves in
> novel ways as "gimmick," basically every use of petronella turns and waves
> after "Petronella" and "Rory O'Moore" is a gimmick.
>
> Originally had a long list of dances, but then i saw "easy" in Rich's
> original ask, so pared down:
>
> "Anthem to a Pet Ferret" by Sargon de Jesus may be of interest
>
> "A Sure Thing" by Chris Page is challenging to teach but not actually
> challenging to dance
>
> also do si do and swing the one behind offers a simple but fun twist. U
> can find it in Tom Hinds' "Python Reel" and Rick Mohr's "Leave the Wine"
>
>
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
>

Re: [Callers] Fw: Novelty & Gimmick Contras

[Rich Sbardella via Callers]

Mac,
That is really what I was thinking of.
Unique or seldom used figures.  (I call Roll Over Johannes with a rip 'n
snort.)
Add to that unusual sequences and progressions.
Rich

On Wed, Mar 16, 2016 at 3:27 PM, Mac Mckeever via Callers <
callers@lists.sharedweight.net> wrote:

> 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 contra
> Deep Well by Kathy Anderson - unique way to get into a star
> Down by the Riverside - Melony Axle Lute - fun 3 face 3
> A Valentine Surprise - Eric Hoffman - recently posted on this group - has
> large set prominade
>
> Mac McKeever
>
>
>
> ----- Forwarded Message -
> *From:* Rich Sbardella via Callers <callers@lists.sharedweight.net>
> *To:* Caller's discussion list <call...@sharedweight.net>;
> 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 Sbardella
> Stafford, CT
>
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[Callers] Novelty & Gimmick Contras

[Rich Sbardella via Callers]

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 Sbardella
Stafford, CT

Re: [Callers] Contras for One Nighters

[Rich Sbardella via Callers]

Kalia,
You make a good point.  My most successful contra for such applications has
been Haste to the Wedding in a proper line.
I have had trouble with the cast at Party Dances.  Do you demonstrate it?
How do you describe it?
I like your suggestion of Washington Quickstep.  I might try it with 1.s
DSD, then 2s DSD instead of R Thrus.
Rich

On Sat, Mar 5, 2016 at 3:54 PM, Kalia Kliban via Callers <
callers@lists.sharedweight.net> wrote:

> On 3/5/2016 10:44 AM, Rich Sbardella via Callers wrote:
>
>> I rarely call a contra at a One Night Party Dance, but occasionally I am
>> asked to.  I have a few in my cards, but can anyone make some sure fire
>> recommendations.
>>
>> Assume 95%-100% non dancers.
>>
>
> Just getting to the duple minor progression can be quite a process.  The
> simplest duple minor I've got is not technically a contra (it's an English
> ceilidh dance), but works well as a mine-sweeper to see whether more
> complex duples will work.  It's called the Itchington Long Dance (Hugh
> Rippon, 1990).  Star L/R; cnrs dosido; 1s down/bk/cast; 1s swing and look
> down for new Ns.  If your crowd is up for it and you've got room, the B2
> can be a general P swing, but I like to do it just for the 1s to make the
> progression clearer.
>
> Washington Quickstep (a contra chestnut) is good too, and if the 1s lose
> track of who needs to be on the right after the swing, nothing terrible
> happens.  Star R/L, 1s dn/bk/cast; R thru over/bk; LLFB, 1s sw.
>
> Kalia
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>

[Callers] Contras for One Nighters

[Rich Sbardella via Callers]

I rarely call a contra at a One Night Party Dance, but occasionally I am
asked to.  I have a few in my cards, but can anyone make some sure fire
recommendations.

Assume 95%-100% non dancers.

Thanks, Rich
Stafford, CT

Re: [Callers] CRAPO Dance Recall Notice, #DCAv1 - "Double Crossed Again"

[Rich Sbardella via Callers]

Was this official email from the TrusTed campaign?  It looks official
Rich

On Sat, Feb 27, 2016 at 11:42 PM, Abed A. Dan, S.E. via Callers <
callers@lists.sharedweight.net> wrote:

> CRAPO Dance Recall Notice DCAv1, 20160227
>
> Dear Dance Leader,
>
> The Choreography Registration And Publication Office* (CRAPO) Safety
> Division (SD), in partnership with dance author Don Veino, jointly announce
> a voluntary recall of his dance composition "Double Crossed Again", version
> 1.
>
> In order to prevent dancer dissatisfaction and maximize enjoyment for the
> future, we have agreed this joint voluntary recall. Mr. Veino has
> re-imagined the dance to address a flow violation and has revised the
> composition to improve dancer enjoyment.
>
> As a potential consumer of this composition (via participation on the
> Shared Weight Callers forum), we provide this notice to you. As sole
> compensation for your potentially sub-optimal experience, CRAPO SD have
> reached an agreement with Mr. Veino to supply you a fully tested second
> revision of the original composition plus a bonus dance for your
> inconvenience (his new "Sneaks & Peeks"), see below.
>
> Should you wish to opt out of this recall, please delete this entire
> message and discard your copy of the original version dance in a safe
> manner, in compliance with applicable local hazardous waste regulations.
>
> Best Regards,
>
> Abed A. Dan, S.E.
> CRAPO Chief Safety Engineer
>
> ==
> REVISED DANCE COMPOSITION
> ==
>
> *Double Crossed Again!* (V2)
> _
> [Type]: Contra [Formation]: Duple Improper [Author]: Don Veino [Status]:
> Independently Validated::
> [Comments]: Intermediate/Advanced (Cross-Trails, significant out of minor
> set action). My first double Cross-Trails dance.
> ::
> [A1]: (4,4) Right Hand BALANCE, CROSS-TRAIL (Pass current N (N1) Right
> up/down the set, Pass P Left across)
> (8) NEIGHBOR 1 SWING (on away side)
> ::
> [A2]: (8) LEFT DIAGONAL LADIES CHAIN (to Shadow)
> (4) Right Hand to NEIGHBOR 2 (across set), BALANCE N2
> (4) CROSS TRAIL (pass N2 by right across, pass Shadow by left up/down to
> face P)
> #PROGRESSION
> ::
> [B1]: (4,12) PARTNER BALANCE, SWING
> ::
> [B2]: (8) LONG LINES FORWARD & BACK
> (8) STAR RIGHT 3/4 and face progression to take Right Hand with THIS
> neighbor...
>
> ==
> BONUS DANCE COMPOSITION
> ==
>
> *Sneaks & Peeks* - DI, DP - Don Veino 20150106
> 
> Set up with Ones slightly between Twos to ID handy hands (I have them
> swing as in the B2 first), all facing up/down in direction of progression.
> Intermediate/advanced (due to expectation-warping). Double progression many
> swings dance - particularly if sneaky!
>
> A1
> (4,4) Handy Hand (G1 LH, L1 RH) Neighbor Balance, Twirl to Swap into
> Mirror Waves (1s face out, 2s in)
> (4,4) Wave Balance Fwd & Back, Handy Hand Allemande 1/2x
>
> A2
> (4,4) Wave Balance Fwd & Back, Handy Hand Allemande 1/2x (1s face out, 2s
> in)
> (8) Twos Swing in center, end facing UP (for cross-set play, 1s may
> meanwhile Mirror Turn Single on the outside to sneak a peek with/high
> five a shadow in the next line and face down)
> [Progression 1]
>
> B1
> (4,12) Next Neighbor Balance & Swing
>
> B2
> (4,12) Ones Only Balance & Swing in center, face down (2s can meanwhile
> sneak in a cross-set Swing w/a shadow in the next line over and face up
> with a ready Handy Hand)
> [Progression 2]
>
> NOTES:
>
> Tune: Daniel Boucher's "Circular Reel" was used as inspiration and fits
> well.
>
> Cautions for dancers: as a DP you're never out, and note your handy hand
> _and_allemande_direction_ changes at ends.
>
> Named after a game our 4+1/2 year old daughter Raeden calls "Sneaks",
> where she tries to stay in my blind spot while I try to catch sight of her
> (giggling herself silly the whole time).
>
> Dancers seem to really like this one, called at two Concord Scout House
> gigs during Feb. 2016. Short video at https://youtu.be/nF15xR3EwN4 .
>
>
> *This is all intended as an amusing way of getting out an improved
> revision to my original dance. This is a joke organization, really!  -Don :)
>
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>
>

Re: [Callers] Calling to a square dance crowd

[Rich Sbardella via Callers]

Another difference is that calls such as R Thru have a different beat
count depending on the starting position.  From a static square R Thru is
8 beats as in contra, but from a wavy line or a box, it is only 6 beats.
MWSDers also rush their dancing because so many callers use "clipped"
timing to avoid stop & go.
Rich

On Mon, Feb 22, 2016 at 9:44 PM, Aahz Maruch via Callers <
callers@lists.sharedweight.net> wrote:

> On Mon, Feb 22, 2016, Joe Micheals wrote:
> >
> > I have often thought that contra and round dancing had in common a
> > person who cues/prompts ahead of the phrase of music.  MWS dancers who
> > Round dancer would be able to relate to that...
>
> That's what I would think/expect, but I've seen plenty of round dancers
> who don't seem to get the concept of moving to the beat when square
> dancing (I've only seen round dancing at square dances, so they're all
> also square dancers).
>
> It probably relates somewhat to what some MWSD callers derisively name
> "pattern walking": people who learn a concept in one context are not
> able to easily translate that into another context.  For these people,
> R Thru as normal couples is completely different from sashayed R
> Thru, it's two different calls that happen to be named the same.
>
> My take is that because of the need to prime muscle memory, almost
> everyone is a pattern walker at some level (e.g. many/most MWSD people
> who gender swap agree that Allemande Left is one of the more difficult
> calls -- despite being technically gender-neutral, you normally turn left
> as a man and right as a woman to find the person you're allemanding, and
> that's a difficult muscle memory to prime).
> --
> 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] Calling to a square dance crowd

[Rich Sbardella via Callers]

The Don Armstrong book is actually called "The Caller/Teacher Manual for
Contras...With 101 Ready-To-Call Contras".
Rich

On Mon, Feb 22, 2016 at 10:35 AM, Rich Sbardella 
wrote:

> Tom and Joseph,
> The organization Tom referred to is called ContraLab.  It still exists,
> but is quite small.  Several of the contra callers at last summer's
> National Square Dance Convention, in Massachusetts, were ContraLab members.
> One book by Don Armstrong is called "Contras...with 101 Ready to Call
> Contras".  It was published in 1973 by Sets in Order.
> Rich Sbardella
> Stafford, CT
>
>
> On Mon, Feb 22, 2016 at 9:08 AM, Tom Hinds via Callers <
> callers@lists.sharedweight.net> wrote:
>
>>
>> Joseph,
>>
>> Everyone's given you great advice.
>>
>> If I were doing this I would use music that they're more used to for the
>> first evening.  And I'd use dances that they can more easily relate to (see
>> below).  That might make for a easier transition and more acceptance (and
>> therefore more enjoyment).
>>
>> I don't know about now but at one time there was a western contra dance
>> movement.  I'm sure the dances they used would be perfect for your group.
>> One source for material is a book on contras put out by Sets in Order.  You
>> want my copy?  And Don Armstrong put out a collection of dances.  Sorry I
>> don't recall the name of the book.  I think a good number of the dances in
>> both collections have no or little swinging and also include many of the
>> moves they are familiar with like flutterwheel etc.  Maybe google western
>> contra.
>>
>> As far as I can tell the music they use(d) is recorded but phrased farily
>> well.
>>
>> Tom
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>> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>>
>
>

Re: [Callers] Calling to a square dance crowd

[Rich Sbardella via Callers]

Tom and Joseph,
The organization Tom referred to is called ContraLab.  It still exists, but
is quite small.  Several of the contra callers at last summer's National
Square Dance Convention, in Massachusetts, were ContraLab members.
One book by Don Armstrong is called "Contras...with 101 Ready to Call
Contras".  It was published in 1973 by Sets in Order.
Rich Sbardella
Stafford, CT


On Mon, Feb 22, 2016 at 9:08 AM, Tom Hinds via Callers <
callers@lists.sharedweight.net> wrote:

>
> Joseph,
>
> Everyone's given you great advice.
>
> If I were doing this I would use music that they're more used to for the
> first evening.  And I'd use dances that they can more easily relate to (see
> below).  That might make for a easier transition and more acceptance (and
> therefore more enjoyment).
>
> I don't know about now but at one time there was a western contra dance
> movement.  I'm sure the dances they used would be perfect for your group.
> One source for material is a book on contras put out by Sets in Order.  You
> want my copy?  And Don Armstrong put out a collection of dances.  Sorry I
> don't recall the name of the book.  I think a good number of the dances in
> both collections have no or little swinging and also include many of the
> moves they are familiar with like flutterwheel etc.  Maybe google western
> contra.
>
> As far as I can tell the music they use(d) is recorded but phrased farily
> well.
>
> Tom
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>