Re: [Callers] [Organizers] contra dance gypsy

[Woody Lane via Callers]

I generally call the move "two-eye turn". This seems to work just fine, 
and it captures the choreographic essence of the movement -- the walk 
around each other with a looking contact.


IMO, right-shoulder round and left-shoulder round are like the 
square-dance move "weave the line" around one person. Nothing about 
eye-contact or even looking at each other. I don't like those terms.


Of course, when I teach the two-eye turn in pre-dance lessons, I always 
advise that it's just looking at each other, that you don't need to 
stare or even look at eyes, that you can choose to read the T-shirt or 
look at a forehead or anything you feel comfortable with. And I like 
your idea of including the concept of playfulness or whimsy (concepts 
that are sometimes missing on the dance floor.)


(Thinking about this move -- it's actually a four-eye turn, but that 
gets weird.)


Woody Lane

On 10/7/2019 5:45 PM, Amy Wimmer via Callers wrote:
I'm experimenting with teaching this move as a right shoulder 'round, 
but describing it as friendly/playful. I will try subbing one of those 
words for RSR. I think it gets the idea of a face-to-face move without 
the flirty/slur. I know, I know, there are tons of suggestions out 
there. None of them that I've heard get the attitude across, and 
suggest face-to-face without actually calling it FTF, or "eyeballs" or 
something, or without sounding almost exactly like the G word. I know 
many people are uncomfortable with eye contact, but the interaction 
has been missing when I call it RSR, and I hear folks being wistful 
for that. I think a "playful" might bring the spark back, eliminate 
confused do-si-doing, and be rather fun.


-Amy

On Mon, Oct 7, 2019, 12:19 PM Becky Liddle via Callers 
> wrote:


We should avoid the term “gypsy” in all ways, in my opinion, not
just as an official dance call. In some areas of the world it is a
racial slur akin to the N word. It has been reclaimed by some Roma
in the same way some lesbians have reclaimed “dyke” but when a
term is reclaimed, it can still only be used by a member of the
group. I can call myself a dyke but you cannot, and a black person
can use the N word but I, as a white person, cannot. Since we are
not all Roma we need to avoid the term gypsy in the same ways we
would avoid other racial/ethnic/other slurs. I miss the term,
myself. There was a flirty quality to “gypsy” that “right shoulder
round” simply cannot connote. But if there were a traditional term
that used “dyke” in it, I would object, and I need to show the
same respect to other groups. So when I call this weekend, it will
be “right shoulder round”, tho in the walk-thru I’ll also say
something like, “don’t forget to make a little
joking-pretend-flirty eye contact as you go around! That’s the fun
of it!”
Becky


On Oct 7, 2019, at 3:07 PM, Mac Mckeever via Callers
mailto:callers@lists.sharedweight.net>> wrote:

only slightly related question: Why is it offensive to call a
dance figure a gypsy but not offensive to be a dance gypsy?

Mac McKeever





___
List Name:  Callers mailing list
List Address:  Callers@lists.sharedweight.net
Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/

Re: [Callers] Tempos for Contras (was Re: Tempo for Squares)

[Woody Lane via Callers]

Hi Jim,

in addition to "liveBPM", I also have on my Android phone the app 
"Metronome Beats". I use it to tap out the tempos and also to compare 
the results with liveBPM. I found these two apps to be reasonably close, 
at least for jigs and reels.


Woody


On 9/22/2019 8:06 PM, jim saxe via Callers wrote:

I'd expect a contra dance tempo in the 80s to feel not merely slow, but excruciatingly 
slow, especially if in the low 80s.  To get an idea, try playing one of the Youtube 
videos in the slower half of the list I posted on Wednesday afternoon, and then use 
YouTube's "Settings" control (click on the gear-shaped icon in the strip at the 
bottom of the YouTube viewing window) to set the playback speed to 0.75.

I don't know whether anyone has done careful systematic testing of liveBPM's 
accuracy on a varied range of contra dance music.  If anyone does, I'd be 
interested in knowing the result.  I have, however, seen liveBPM be seriously 
confused (if you'll pardon the anthropomorphism) about the tempos of waltzes, 
where the beats come in multiples of three.  I wouldn't be surprised if it 
could were sometimes similarly inaccurate about jigs, in which the beats 
subdivide in thirds.  For example, perhaps it would sometimes report a tempo 
of, say, 84 BPM for a jig whose real tempo is 84 * 4/3 = 112 BPM.

--Jim

On Sep 22, 2019, at 7:26 PM, Richard Hart via Callers 
 wrote:

Sometime over past year someone use liveBPM at the Nelson Monday night dances a 
few times. It was interesting to see that the beat per minute varied quite a 
bit depending on musicians, dancers, the caller, and particular dance. They 
varied from a low in the 80’s up to about 125.

And, yes, the music seemed slow with bpm in the 80’s, but it worked well given 
the dancers on the floor.

Rich.



___
List Name:  Callers mailing list
List Address:  Callers@lists.sharedweight.net
Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/


___
List Name:  Callers mailing list
List Address:  Callers@lists.sharedweight.net
Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/

Re: [Callers] Using music in beginner session

[Woody Lane via Callers]

Hi Ken,

Actually, not in a line. I start with all the dancers in a circle (I'm 
in the center so I can easily be seen and heard, even with a wireless 
mic). They work with their partner for moves like the allemandes, 
dos-i-do, gypsy (or whatever I call it), swing (walking swing), balance 
& swing, etc.


Then I get them into groups of 4 (two couples). Again, the foursomes are 
in a circle around me so they can see and hear me. That's when we do the 
various moves needed for contra dancing -- circle L (and R), circle 3/4, 
circle 1/2, courtesy turns, pass through, R through, ladies chain, 
1/2-hey, full hey. Maybe the petronella turn and/or star, depending on 
the group and my program. Then I ask the musicians to play a tune and 
hash call many of these moves, as I outlined previously. There are some 
other details in there during this session, but that gives you the gist. 
Oh yes, at the very end, I bring the newcomers together in a close 
huddle, off mic, to talk about some of the conventions of contra dancing 
(partnering, feeling safe, refusing a request, whom to notify for 
problems, etc.)


I don't get them into lines. I don't worry about their learning about 
lines or progression during the lesson. I know I can teach that easily 
at the beginning of the first contra, when the entire room is lined up 
so we flow directly into the first real dance.


Woody


On 9/13/2019 5:01 AM, K Panton via Callers wrote:

Woody:

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

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


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

Ken Panton



___
List Name:  Callers mailing list
List Address:  Callers@lists.sharedweight.net
Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/

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

[Woody Lane via Callers]

Hi Michael,

We are going to agree to disagree. My pre-dance lesson has been very 
successful -- we've observed that many newcomers in those lessons 
continue to stay into the second half of the evening or all the way to 
the end.  I've run my style of pre-dance lesson for more than 400  
dances, and the observed results are quite clear. It works.


But one thing I consider important -- that the ultimate goal of a lesson 
is for people /to learn/, not for us to teach. As teachers, we may favor 
certain things -- like dancing to music -- but that might not be the 
best way for the newcomers to learn to dance. Too many things happening 
at the same time, with too many words of explanations.


So I break it down -- first the moves, lots and lots of muscle 
repetitions. Then placement and holds, including allemandes, swings, 
balance and swing, circle left, circle right, etc. Then the courtesy 
turn -- again and again and again. Then counting -- a right-and-left 
through with a courtesy turn takes 8 counts.  Then, and only then after 
they have done these moves 10-20 times, then we add the music. So in 20 
minutes my lesson builds, piece by piece in small, logical, 
understandable steps. For example, first the courtesy turn. Then the 
pass through with a courtesy turn. Then the right-and-left through with 
the courtesy turn. Then the ladies chain with the courtesy turn. All in 
a firm count of 8. Sometimes I'll add 9 and 10 for slow movers and 
everyone laughs. Then a half-hey, in a count of 8. Then the full hey in 
the count of 16. Then and only then, the music -- when the dancers can 
put this together in response to the calls, one move after another 
without a break, all to the music. And so the dancers get the "feel" of 
the music and moves subliminally. And it works because by then they are 
ready to add the music to their knowledge base.


This way of learning is also the best way of learning languages -- just 
copy and speak, copy and speak. We don't spend time on verb declinations 
or extensive rules of grammar. That's how they do it in academia, of 
course, but not in the Peace Corps or the Foreign Service. Or when we 
are young children and we learn our language by copying and speaking. 
Musical bars and musical phrases don't mean anything to newcomers who 
don't play instruments; counting does.


Do you remember the old movie "The Karate Kid"? The newcomer kid wants 
to learn Karate, but the sensei tells him instead to spend his time 
waxing his cars. A lot. But eventually, in a scene where the sensei 
suddenly throws punches at him, the kid uses those same arm motions to 
automatically block the blows successfully. Much to his surprise. Of 
course that was Hollywood, but the lesson is real. Learning doesn't have 
to be direct. Sometimes indirect roads lead to a more successful outcome.


BTW, "no music, no dance". Have you ever seen an acapella clogging 
routine? It's dancing without "music", but it's clearly in rhythms and 
tempo; it's clearly dancing.


Woody


On 9/11/2019 3:24 AM, Michael Barraclough wrote:


Hi All

I couldn't disagree more with the comments below.

For me, dance is movement laid upon music - no music, no dance. Having 
the band is best, but if the band can't do it (why not?) then recorded 
music can work fine. I start with a circle (no partner) and get 
everyone moving. Dancers get to feel the music and to listen to the 
caller. People aren't necessarily used to listening and to being told 
what to do. Take this as an opportunity for new dancers to learn that 
they need to do this at a contra dance. Try 8-bars, 4-bars, 2-bars 
etc, mix them up, after a few circle left/right throw in a right/right 
or left/left. As well as circling, you can do some in and out (again, 
mix up everyone/men/ladies/tall/short) etc. After that, I pair people 
up randomly by getting concentric gendered circles going in opposite 
directions and you get a partner when the music stops. Now you can do 
a few turns, do-si-dos and maybe swinging. After that promenade out of 
the circle into lines. Then I teach the concept of progression (at 
length, it's probably the most important thing for a successful contra 
evening). Then, and only then, a few figures.


Michael Barraclough

On 11/09/2019 02:53, Woody Lane via Callers wrote:

Hi Jim,

I never use music during the pre-dance lesson until the very end of 
the lesson. I don't think there is a need until the end.


My entire lesson is filled with moves -- either as a couple or as a 
foursome. We repeat the moves; we repeat the moves, again and again. 
For moves like courtesy turn, pass through, right-and-left through, 
ladies chain, 1/2-hey, and full hey -- once they learn the actual 
move, then I add the count -- either 8 or 16. Again, with no music, 
just my voice.


Then, during the last 4 minutes or so of the lesson, I ask the band 
to

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

[Woody Lane via Callers]

Hi Jim,

I never use music during the pre-dance lesson until the very end of the 
lesson. I don't think there is a need until the end.


My entire lesson is filled with moves -- either as a couple or as a 
foursome. We repeat the moves; we repeat the moves, again and again. For 
moves like courtesy turn, pass through, right-and-left through, ladies 
chain, 1/2-hey, and full hey -- once they learn the actual move, then I 
add the count -- either 8 or 16. Again, with no music, just my voice.


Then, during the last 4 minutes or so of the lesson, I ask the band to 
play a single tune -- whatever the band likes, reel or jig. I want the 
tempo at regular dance speed -- 112-118 or so. The dancers are still in 
their foursomes. Then I call those moves to the music -- hash call so no 
one knows what move is next. The dancers dance to the music, do the 
moves at speed in the right tempo, finish the moves on time, and learn 
to listen to the caller. I don't worry about lining up for a contra and 
learning the progression -- I can teach that in 30-seconds during the 
first dance of the evening. Basically, I want dancers to have fun and 
confidence in dancing.


I think this lesson does a good job of getting new dancers confident and 
dancing to the music.


Best,
Woody
--
<><><><><><><><><><><><><><><><><><>
Woody Lane
Caller, Percussive Dancer
Roseburg, Oregon
http://www.woodylanecaller.com
cell: 541-556-0054


On 9/10/2019 12:41 PM, jim saxe via Callers wrote:

I'd like to hear from any of you who can share experience or advice about making use of music 
during the introductory lesson (a/k/a "new dancers' orientation", "beginners' 
workshop", etc.) that often precedes a regularly scheduled contradance.

What source of music do you use? (Recorded music played on a device that you control? 
Live music played by a musician assisting with the lesson? Music that you yourself can 
play on some instrument while leading the session? Your own singing of song lyrics, 
nonsense syllables like "la la la", or dance calls? Music that may happen to be 
coming from the evening's band doing their sound check at the other end of the hall?  ..) 
 How--in as much detail as you care to supply--do you use that music in your teaching? 
What do you think/hope your use of music contributes to the effectiveness or fun of the 
lesson?

I tossed out a few ideas on this topic, with much uncertainty about which ones were any 
good, in a message I sent on September 2 in the "Brain Dead - Need Suggestions" 
thread.  I'm re-raising the topic here under a more descriptive Subject line in hope of 
getting responses from people who can offer comments based on actual experience.

Thanks.

--Jim

___
List Name:  Callers mailing list
List Address:  Callers@lists.sharedweight.net
Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/


___
List Name:  Callers mailing list
List Address:  Callers@lists.sharedweight.net
Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/

Re: [Callers] Brain Dead - Need Suggestions

[Woody Lane via Callers]

Hi Linda,

An idea: After teaching about AABB, perhaps have a couple of tunes that 
are crooked -- both extra 8-bar parts (e.g., AABBCC) and tunes with 
extra beats. Then demonstrate the differences with standard contra tunes.


Woody

On 8/17/2019 11:33 AM, Bob Peterson via Callers wrote:
For added “music education” make the teens listen for the AABB 
pattern. I wouldn’t even go that far for under 7th grade unless they 
play an instrument.



On Aug 17, 2019, at 13:14, David Harding via Callers 
> wrote:


I don't read the request as going beyond beat counts.  The basic 
message is hearing the music, stepping in time, and getting to where 
you need to be in eight beats.  Then you have various 
balance-and-four beats and balance-and-twelve beats figures.  You 
have the timing of the turns on down-the-hall.  That sounds to me 
like plenty of material for 1 1/2 hours.


On 8/16/2019 11:40 PM, Linda S. Mrosko via Callers wrote:
Although I've been calling forever and I know things, I'm not 
currently inspired to do this and am asking for help.


Been hired to lead a dance for a music school -- ages 5 and up to 
teens and their parents and my contact asked if I could lead "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)

/*
*/
/*

___
List Name:  Callers mailing list
List Address:Callers@lists.sharedweight.net
Archives:https://www.mail-archive.com/callers@lists.sharedweight.net/

___
List Name:  Callers mailing list
List Address: Callers@lists.sharedweight.net 


Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/



___
List Name:  Callers mailing list
List Address:Callers@lists.sharedweight.net
Archives:https://www.mail-archive.com/callers@lists.sharedweight.net/


___
List Name:  Callers mailing list
List Address:  Callers@lists.sharedweight.net
Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/

Re: [Callers] "Dixie Twirl" term

[Woody Lane via Callers]

"Thread the Needle" seems to be a reasonable description of the move and 
easy to remember, especially if the caller teaches it carefully and 
associates the name with that move.


Regardless of the cultural/historical implications of "Dixie Twirl", the 
name Dixie Twirl is one more code phrase that dancers would have to 
remember. Whenever possible, I prefer using terminology that has visual 
associations with the actual dance move. (Said by someone who calls 
square dances with all sorts of code words at high speed.)


Regards,

Woody


On 8/8/2019 12:44 AM, jim saxe via Callers wrote:

I rather like the term Greg Frock's suggestion (not claimed to be original) of "Thread the 
Needle".  While I've heard "Thread the Needle" used with other meanings, I think 
there's little danger of confusion in the contra context, especially since that the action is rare 
enough that the caller will presumably need to teach it.

Ric Goldman wrote:

I’ve sometimes come across this a Paired Twirl, a Paired California Twirl, a 
California Four,  or an Arch and Swap (taught this way):
  
In a line-of-4 facing all the same, middles raise an arch and, keeping hands, right-hand pair goes under the arch (led by end dancer) while left-hand pair cross over to the other side (led by the end dancer).

End result is the same line-of-4, facing back the other way, 
much as a California Twirl does for 2 dancers.
  
This description also avoids any gender-specific terms in case that’s an offense issue for others.

In modern western square dance terminology, the figure might be called "As Couples, 
California Twirl" though I don't know whether it actually is (since it might be 
claimed that that would imply the right hand pair going under the arch 
side-by-side--which could require quite a stretch of the arching dancers' arms--rather 
than with the end dancer in the lead).

Digressing for a moment from the terminology, I'll take the opportunity to 
opine that the action could be smoother if the two dancers nearest the left end 
of the line are the ones who make the arch, rather than the two center dancers. 
 (Anyone agree? disagree?)  Regardless of who makes the arch, it's important 
that the dancer on the left end of the line remember to move across the set 
instead standing still as if only the right hand dancers were active.

Returning to terminology, note that if the leftmost pair of dancers make the arch. then "As 
Couples, California Twirl" definitely will not bean accurate description, but I think 
"Thread the Needle" would be just fine.

--Jim

___
List Name:  Callers mailing list
List Address:  Callers@lists.sharedweight.net
Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/


___
List Name:  Callers mailing list
List Address:  Callers@lists.sharedweight.net
Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/

Re: [Callers] Larks and Robins

[Woody Lane via Callers]

It's interesting to note that raven has other connotations. In the 
Pacific Northwest, especially among the Native Americans and First 
Nations, the raven is very important in history, legend, and culture, 
but not necessarily in a good way. The raven character is a trickster, 
someone who cannot be completely trusted, powerful but also possibly to 
be feared. Totem poles often include the raven in their designs. Tribes 
are sometimes separated into camps that are defined by the raven.


Much more on the cultural meaning of this word (which is very interesting):
https://en.wikipedia.org/wiki/Raven_Tales

For a community that got bent out of shape over the word "gypsy", it 
would seem consistent to respect the word "raven".


Woody Lane



On 8/2/2019 12:35 AM, Colin Hume via Callers wrote:

I still prefer Man and Ladies (and I'm aware this is old-fashioned and 
inconsistent), but I certainly prefer Robins to Ravens.
I think of a Raven as a large bird, and since men are generally larger than 
women I get confused!  I think of a Robin as a
small bird (though maybe the American Robin is larger than the English Robin).

Colin Hume

___
List Name:  Callers mailing list
List Address:  Callers@lists.sharedweight.net
Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/

Re: [Callers] Colds

[Woody Lane via Callers]

Hi Bob,

I would suggest that you talk with the programmer first as early as 
possible, alert that person and get feedback on their preferences. Offer 
to find a contingency caller -- maybe say a few possible names, get any 
feedback even if subtle (like an extended silence). Then visit with the 
band if possible. Like Don pointed out, ask if they have any preferences 
one way or another.


Your health and safety come first. And the health of everyone you will 
come in contact with during that gig (including the musicians and 
organizers).


Good luck with it,
Woody



On 11/14/2018 7:57 PM, Winston, Alan P. via Callers wrote:

Bob --

I've called an entire English dance so debilitated by a sinus infection
that I had to lean against a wall the whole time.  It's not ideal.

Cancel if you're contagious.  Cancel if you're enough under the weather
that your performance will suffer.  Cancel if it's not safe for you to
get there and back.  Don't risk your life and health or anybody else's.

As a series programmer, I think I would prefer honest communication as
soon as you know there's an issue.  I'd way rather hear on Thursday, for
a Saturday dance, "I'm starting to feel under the weather and if this
gets worse I may have to cancel."  Once we're in touch we can work out
whether you'll find a replacement or I will.  (In my case, I'm in a
caller-dense area and I have the addresses of a lot of callers, so if I
have a day or two of notice I can likely find somebody I'd want to hire
anyway, or call the dance myself if I need to.  I call some outlying
dances where if I'm not up to making the three-hour drive somebody else
will have to, in which case my finding an acceptable substitute can be a
mercy.)

The one thing that makes you less popular with a booker than canceling
at the last minute with no replacement is canceling at the last minute
and lining up a replacement that dance series would never want to hire,
so talk to your booker.

-- Alan


On 11/14/2018 7:47 PM, Bob Peterson via Callers wrote:

Cold and flu season is on us. Where is the line between cancelling on a gig and 
forging ahead despite how I feel? I guess it’s a matter of how composed I can 
be and how quiet I can keep my conditions from the dancers. Medication can 
help, but can interfere with safe driving.

If I feel I must cancel, what’s the right amount of notice to give? Who finds 
the replacement if I have to cancel?


___
List Name:  Callers mailing list
List Address:  Callers@lists.sharedweight.net
Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/

Re: [Callers] Contras with square dance figures

[Woody Lane via Callers]

Hi Rachel,

Mike Richardson of Seattle wrote the dance "Now We Are Three" that uses 
Tag-the-Line. Erik Weberg of Portland adjusted that dance and called it 
"Now We Are Four." He replaced the A1 LLFB and Half-Hey with a 
Give-and-Take and Swing Neighbor. But both use Tag-the-Line. Here is 
Erik's "Now We Are Four":


https://www.erikweberg.com/now-we-are-four/

Woody Lane
Roseburg, OR


On 8/4/2018 12:51 PM, Rachel Shapiro via Callers 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




___
List Name:  Callers mailing list
List Address:  Callers@lists.sharedweight.net
Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/


___
List Name:  Callers mailing list
List Address:  Callers@lists.sharedweight.net
Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/

Re: [Callers] Contralab, gypsylab

[Woody Lane via Callers]

Hi Tom,

I think non-standardization is just fine. We've lived with it in the 
contra world since . . . whenever. I think it's a strength, not a problem.


I brought up the Callerlab concept because some of the issues we are 
having today with terminology were analogous issues in the square dance 
world in the 50s and 60s. Different details but comparable issues. Their 
response was to form a national association where one of its goals was 
to standardize things. (It was a different culture back then.) If we are 
aware of the similarities and cultural pressures, we can possibly learn 
from history, gain understanding of that system and appreciation for 
where we are now, and not repeat the same mistakes. I don't want 
anything like that response now, but I think we should be aware that it 
happened once before in the community dance world.


Woody

On 3/30/2018 4:29 PM, Tom Hinds wrote:

Woody,

I haven't heard anyone suggest standardization and I'm not pushing for it.  My 
whole issue has been freedom so whatever people want to use if fine by me.

  At one time, around 2011 I thought the use of different terms by callers 
might lead to problems but now I don't think that's the case.

Tom
___
List Name:  Callers mailing list
List Address:  Callers@lists.sharedweight.net
Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/

Re: [Callers] freedom

[Woody Lane via Callers]

These are good points, and they bring up a larger situation. Presumably, 
Tom accepted the gig months ahead of the date (like all of us). A few 
days before the gig, he receives the new "rule". Does anyone think that 
there might be a slight ethical problem here?


When we accept a gig, it's an agreement between two consenting parties. 
This is, in fact, a contract. I'm not talking about a long legal 
document with pages of small print in a sans serif font. That's not 
customary in our dance culture, although in other types of performances 
it may be the norm. In any case, in the contra dance world, nearly all 
the specifics are not in writing; they are just accepted behaviors and 
conventions. The artist (here, the caller) accepted the gig with certain 
expectations -- microphone, payment, times, etc. The organizers have 
expectations of quality, preparation, being on time, etc. These are all 
cultural norms. Every community has its own way of approaching this. 
After all, this is a community dance, and things are often pretty loose 
with lots of volunteer helpers, not a hard-knuckled bargaining dispute 
between unions and coal mine owners.


Here's the issue: Let's assume that the new terminology rule had been 
decided up by the organizing committee after Tom's gig date had been 
scheduled and finalized. But Tom didn't learn about this change until 
just before the gig. I think the organizers have a responsibility here 
to convey their decision to the caller in a timely manner and ask if the 
caller still wanted to do the gig with this new condition.


Alternatively, the organizers could set a future date when this rule 
would become a rigid part of the agreement, and any scheduling for gigs 
after that date would include that rule in the initial back-and-forth 
communications between the caller and the organizers. That gives both 
parties all the information they need to make their decisions.


The awkward period would be the transition period that Tom was caught in 
-- where the rule was conveyed close to the gig date and the caller had 
to accept it "fait accompli" or cancel. By laying down a rigid rule 
unilaterally, the organizers actually broke the agreement. No one wants 
this, but IMO that's what they did. But Tom wanted the gig, accepted the 
change, and was gracious enough to adjust and call it anyway


In that case, however, I think the organizers could have conveyed 
something different -- like Yoyo gently described -- that the organizers 
"prefer" that the caller avoid the word "gypsy", use an alternative word 
or phrase, and here is a preferred alternative, but that the caller use 
judgement for the ultimate choice. This communication would be during 
this awkward transitional period. There would, of course, be some 
dancers who may complain, but this would also be an opportunity for the 
organizers to convey to those dancers the ethics that they followed and 
that it's just a transitional period.


My two cents.

Woody Lane


On 3/28/2018 4:04 PM, Tom Hinds via Callers wrote:
Thanks for the suggestion.  The rule was sent to me days befor the gig 
and it took my mind a good long while to process and work through it. 
 The organizer knows my concerns.


Sent from my iPad

On Mar 28, 2018, at 6:34 PM, Yoyo Zhou > wrote:


On Wed, Mar 28, 2018 at 2:29 PM, Tom Hinds via Callers 
> wrote:


Here was my issue, briefly :  I was told to use "walk around"
when calling at glen echo.  It also happens that I'm a western
square caller and have used "walk around your corner, see saw
your taw" for decades.


Here is an opportunity to say to the organizers, "I understand your 
intent is to avoid certain language, but your proposed substitute 
doesn't work for me because I use 'walk around' to mean something 
else. I would prefer to use [such and such] or another alternative to 
avoid confusion. Does that work for your community?" This is a 
conversation between you and the organizers, which will ideally 
result in clearer communication at the dance itself. But if they 
don't want to budge, then you've hopefully communicated that their 
rigidness is hindering you from presenting a good program. After all, 
we're here to serve the dancers.


Thanks,
Yoyo Zhou
___
List Name:  Callers mailing list
List Address:  Callers@lists.sharedweight.net
Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/

Re: [Callers] Politically Correct?

[Woody Lane via Callers]

Hi Tom,

Sure. The first paragraph describes the current situation regarding the 
use of a controversial single word.


The second paragraph steps back and looks at the bigger picture within 
our community. My speculation that the animus and hard feelings that 
this word has elicited among callers, organizers, and dancers may result 
in pressures to "standardize" terms. The logic then is by whom, then the 
move to setup an organization with some sort of 
standardization/certification/controlling power, etc. Hence the 
historical precedent of Callerlab.


Woody



On 3/30/2018 12:23 PM, Tom Hinds 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.


___
List Name:  Callers mailing list
List Address:  Callers@lists.sharedweight.net
Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/

Re: [Callers] Politically Correct?

[Woody Lane via Callers]

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.
___
List Name:  Callers mailing list
List Address:  Callers@lists.sharedweight.net
Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/

Re: [Callers] Politically Correct?

[Woody Lane via Callers]

Historically, a lot has changed. Take the traditional singing square 
"Marching Through Georgia." Does anyone really think the original song 
is about ambling with friends along a quiet country road near Atlanta?


I have a thin 1989 book "Just One More Dance" by Carole Howard. It lists 
scores of filler calls for Western Squares. A very wide range of filler 
calls. Some would be great today, but others, well  . . . Some examples:


"Buckskin breeches and calico dress
Let's head out to the cider press."

"Bite his ear and twist his tail,
Swing your honey, and home you sail."

"Grab that girl and kiss her twice,
Hurry up boys, here comes your wife."

"Promenade Rose, Promenade Myrtle,
Promenade the gal with the busted girdle."

"Spank them kids, listen to them squall.
Swing the opposite across the hall."

"Swing your partner and how-dee-do,
If I had a pistol, I'd shoot you."

"Allemande left like a broken hinge,
Grand right and left like a drunk on a binge."

"Good girls walk and bad girls ride,
Come on girls, my car's outside."

-  -  -  -  -  -  -  -  -  -

Political correctness? H. How many of us would call these phrases 
today? Times have changed a bit, and so have our cultures and sensitivities.


I agree with Tom -- call the best you can, with respect; appreciate and 
respect but don't worry about the words of others. We are artists, not 
plumbers.


Woody



On 3/25/2018 10:36 AM, Yoyo Zhou via Callers wrote:

It looks like this is the version Rich is referring to:
http://www.ceder.net/recorddb/viewsingle.php?RecordId=1891

More background on the English folk song / sea shanty this American 
folk song is based on: 
https://mainlynorfolk.info/martin.carthy/songs/billyboy.html


In traditional songs things don't really have to work logically - for 
example, in this song, there's the lyric, "She's as tall as any pine, 
And as straight as a pumpkin vine." So the last verse of the song goes,


"How old may she be,
Billy Boy, Billy Boy?
How old may she be,
Charming Billy?
Three times six and four times seven,
Twenty eight and eleven,
She's a young thing,
And cannot leave her mother."

This, despite the questionable math, puts the refrain into a very 
ironic context.


My understanding of square dance singing calls is that many of them 
were set to popular music of the time (though I have no idea about 
this particular one). So if your audience was expected to know this 
song and the context behind the refrain, that would be one thing. 
Notably, though, the square dance-edited version is missing this 
context, and it adds the line"Promenade this pretty thing, won't you 
help me to sing" to the refrain, "She's a young thing, And cannot 
leave her mother"! So it'd be quite something else to hear this line 
on its own, which makes it sound like you should be promenading with 
your underage partners/corners.


There's no universal answer to "is this acceptable" because it depends 
on your "contra dance crowd" who is doing the accepting - this can 
vary widely between dances, even within the same city. You'll have to 
figure out if the dancers are ok with it as is, might be ok with it if 
you give them some background about the song before you do the 
walkthrough, or would not be ok even with that. However, I think 
you'll find a lot of other material is less objectionable to any 
audience (and you already have some intuition for this, since you 
asked the callers list about this one).


Yoyo Zhou

On Sun, Mar 25, 2018 at 9:40 AM, Darwin Gregory via Callers 
> wrote:


If you are concerned about sexism alternate between she/her and
he/his.  

On Sun, Mar 25, 2018, 1:39 AM Alexandra Deis-Lauby via Callers
> 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
> 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




___
List Name:  Callers mailing list

Re: [Callers] Programming a Dance

[Woody Lane via Callers]

I might be a bit different than most of the replies to your question. 
For a regular contra dance, I usually set up a program on that day or 
one day prior. Sometimes in the car enroute to the dance (if someone 
else is driving). I may be thinking of dances that I'd like to call 
during the previous week or two, but I actually put things on paper (or 
lay out cards) within 48 hours of the actual event, usually within 12 
hours . Frankly, I don't want to get my head into an ownership mindset 
that would result if I invest so much in the program. My approach leaves 
much to flexibility and nimbleness. Of course, for some slots I'll have 
2 or 3 dances listed on the paper -- depends on the dancers/music/heat 
in the room/etc -- and then make those choices on-the-fly while calling 
the previous one or two dances. Always watching the dancers and 
listening to the music.


Of course, everything can change in an evening, depending on so many 
things. Dances, dance sequence, tempos, musical requests to the band, 
musician preferences of the musicians and their skills for 
communication, etc. I also have a couple of back-pocket dances for 
just-in-case situations. I also have a couple of dances that I could 
call as No-Walk-Throughs, depending on the timing of the program and 
many other on-the-spot judgements. In the end, I think it's all about 
the dancers -- I want them and the musicians to have a very fun time.


Sometimes I like to have a small table at the back/side of the stage 
where I can lay out a few other cards that are not in my program. These 
I can see quickly and possibly use them if necessary. Again, the 
judgements are made on the fly.


Community dances (like barn dances, Grange dances, square dances, etc.) 
are different. I rarely do any preparation. I bring my cards, talk to 
the organizers, watch the crowd, listen to the music, and choose dances 
on the fly. Again, always watching the crowd.


And hot-house gigs like NEFFA, Northwest Folklife, the Portland 
Roadhouse, etc. are again different. Those are highly-organized programs 
well in advance, but they are also short (slots of 50-90 minutes). I'll 
think of dances weeks in advance, work up a program two weeks in 
advance, send it to the band, and then coordinate with them intensively. 
These gigs are kind of like Las Vegas Shows, and IMO they require 
careful preparation. Only rarely do they include on-the-fly changes.


Woody



On 3/13/2018 10:58 AM, Rich Sbardella via Callers wrote:
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
___
List Name:  Callers mailing list
List Address:  Callers@lists.sharedweight.net
Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/

Re: [Callers] Super easy dances - do they exist?

[Woody Lane via Callers]

I always start my pre-dance workshop with a 2-handed turn. If necessary, 
I demonstrate it with someone. Then I teach allemande left, allemande 
right, and dos-i-do. Then I sometimes ask the band to play a tune 2-3 
times at a relatively fast tempo, and I make up a silly dance using only 
those figures, where the partners only dance with each other (no 
progression, although that would be fun -- just call "move to the next 
person!"). It doesn't take long before everyone is smiling and laughing, 
but the main thing is that they are doing the moves and listening to the 
calls and learning to trust my voice.


Woody

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


On 6/17/2017 10:07 AM, Linda S. Mrosko via Callers wrote:
2-hand turns --  one year I was teaching a dance that had a 2-hand 
turn -- which I discovered was beyond their comprehension.  Lots of 
blank faces and a few tried to hold onto each other and turn under 
their own arches.  I grabbed a young fellow close by and demonstrated 
a 2-hand turn and there was a huge "a" from the group.  Who'd have 
thought that was a foreign term for 18-year olds.  Why don't they 
teach this stuff in school anymore?

Re: [Callers] Calling at Free Folk Festival

[Woody Lane via Callers]

Hi Claire,

That's a good idea -- will help make all the dances easier and more 
rewarding for them. Can you do an initial impromptu lesson that lasts 
about 15-20 minutes which then flows gracefully into your first contra 
dance?


Woody

On 5/31/2017 6:41 PM, Claire Takemori via Callers wrote:

Hi everyone.
I’m looking for advice.  I’m calling a FFF next Sat and live in SF Bay Area, 
where the average person has never heard of contra dance.  I got advice from 
Alan Winston, who called the contra dance a couple years ago when it was a 2 
day event and the contra was Sunday evening.  Now it’s a 1 day festival and the 
contra is Sat 630-10pm.The other dance that evening is Blues/Fusion, which 
I expect will have a HUGE crowd.   There is also a contra dance about 30 
minutes South of the venue and a waltz evening 30 minutes East, so I’m not 
confident that a bunch of experienced contra dancers will show up. I’m sure 
some will, as many are also musicians who will be volunteering that day.

I have several very easy contras  (low piece count, connected, easy single 
progression, stays in minor set, etc) and plan to slip in brief reminders 
during each walk through (since new dancers can join at any time in the 3.5 
hours).  I’m sharing the contra calling with one person, and there is a caller 
for a couple squares, and a caller of 3/4 time contras.  I don’t know how the 
eve will be broken down yet, but I’m likely to call 2-3 contras in each half.

It’s in a high school gym, so I know to keep calls short and clear due to 
acoustics.
I’m wondering about offering a 20 minute lesson before the dance???

Thanks for any advice about free folk festivals (assuming there won’t be a lot 
of experienced dancer ringers).  I’m just back from FolkLife and NEFFA and they 
are full of experienced contra dancers……

Claire Takemori (SF Bay Area)


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

Re: [Callers] What to do?

[Woody Lane via Callers]

Hi Martha,

If the band was playing a medley of tunes, was this tune 1st, 2nd, or 
3rd? If there was still another tune in medley after this one, then I 
would probably ask the band to switch to the next tune ASAP. And hope 
for the best that the next tune was better than the current tune. If the 
problem tune was the last tune in the medley, then I would just end the 
dance early and as gracefully as possible. Thank the band profusely for 
an "interesting" tune, everyone laughing. Then I would pull out a 
rock-solid fun dance -- maybe even an easy no-walk-through -- for the 
next dance and move on.


Woody

On 5/30/2017 2:16 PM, Martha Wild via Callers wrote:

So, a while back I was working with a band and they played a tune that was sort 
of new for them, and the A part was fine, but the B part was unusual anyway, 
and hard to know where the count was, in particular because they were 
unfamiliar with it, and I tried to count and call so the dancers could keep 
going, and it kept coming back together in the A, but falling apart in the B, 
until things snowballed and the dance completely fell apart. What is the best 
thing to do or say in a situation like that so that the band doesn’t feel too 
much as if it is their fault, and the dancers don’t feel it’s their fault? And 
yes, it’s always the caller’s fault, since I couldn’t for the life of me figure 
out what the heck was going on with that tune, but the dancers couldn’t find 
their way in it either. Anyway, back to what to do to make everyone feel a 
little better after that.
Martha

Re: [Callers] How do you organize your Dance Card Boxes ? Categories or Other Suggestions ?

[Woody Lane via Callers]

On 4/7/2017 6:20 PM, Cheryl Joyal via Callers wrote:
I am at the point that I want to reorganize my dance box to be able to 
better program an evening.   I plan to go to “categories of dance 
features”, and have listed what I am thinking for possible categories 
below.


I am wondering how others organize their boxes - if categories, what 
do you include ?  Do you file Becket and/or Double Progression 
separately from “dance categories”, or just note on card ?


Or do you have another suggestion ?


Hi Cheryl,

A very good question. A couple of years ago I reorganized my cards also 
and expanded the number of categories. FWIW, here's what I use:


Easy contras
Basic Improper - 1
Basic Improper - 2
  (where 1 = solid main contras, 2 = slightly more advanced)
Becket - 1
Becket -2
w/heys  (these are full heys, duple minor sets)
w/petronella
w/box circulate
w/mad robin
w/bicycle chain
w/contra corners
Multiple progressions (2x, 3x, etc).
4x4 dances
Advanced contras  (truly advanced, dance camp level)
Novelty contras  (mixer contras, etc.)
Triplets
Odd formations
Circle dances
Mixers
Very, Very easy dances  (e.g., for ONS and wedding gigs)
Reserve contras  (i.e., "back pocket" dances to use when something 
fails, like "Roll In The Hey")


Also, I put a colored marker on cards for dances that lend themselves to 
No-Walk-Thru situations (these can be in any of 5 or 6 different 
categories). Sometimes I need to identify these quickly, on-the-fly 
during a gig.


If a dance falls into two or more categories, I sometimes put a piece of 
paper in one category with a cross-reference to that dance. Frankly, I 
don't like to do this -- it's too complicated, especially as so many 
dances are being written today that contain two or more distinctive moves.


Also, I have a separate box (book) for squares:
Simple squares
Medium Western-style squares
Advanced squares
New England Quadrilles
Novelty squares (& other formations that are not contras like 
"Strip-The-Willow" and "El Capitán")

Breaks
Quadrille Breaks

Also, I have a box of retired dances -- these have (finally) cycled out 
of use, for whatever reason. Nicely fits onto a shelf somewhere, 
wherever . . .


To create a program, I like to put cards on a table and visualize the 
program. Then move the cards around, substitute cards, stack cards in a 
slot, etc. Other people have other methods for this. I've never found 
software that can arrange things as I like. But in the end, it's still a 
matter of knowing the dances, having a good sense of how a dance feels 
to dancers on the dance floor. That's our art.


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

Re: [Callers] Role term survey responses

[Woody Lane via Callers]

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


Woody

--
Woody Lane
Caller, Percussive Dancer
Roseburg, Oregon
http://www.woodylanecaller.com
home: 541-440-1926 cell: 541-556-0054


On 2/13/2017 2:51 PM, Neal Schlein via Callers wrote:
I do not want to replace gent and lady as terms, based on my own 
experience.


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


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


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


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


Other folks may certainly disagree with me, and I have followed and 
agree with the many counterpoints, but I personally believe that the 
terms "gentlemen" and "ladies" (and their derivatives) positively 
influence how people behave and relate, and definitely how a dance is 
done.  I don't worry about that at special or family events, of 
course; I just want everyone to get up and have a good time.  But 
encouraging folks to learn both roles to become better dancers is only 
meaningful if there is a meaningful difference between the roles.


I am a happily married man and prefer to dance with women as partners 
and corners.  I don't mind dancing with men, but that's not what I go 
to dances for; if I wanted to get close to a bunch of sweaty guys, I'd 
play football.  If we're honest, we can admit that the vast majority 
of our general dancers (both new and old) are probably similar.  So 
why not let the dance reflect that?  That's more likely to win friends 
than taking a wonderful dance with character and making it into  
"gender free diet crystal contra."


Just my 2 cents.
Neal

Neal Schlein
Youth Services Librarian, Mahomet Public Library

Re: [Callers] "booker" fee for tour planning

[Woody Lane via Callers]

Hi Donna,

I've booked quite a few tours with a number of bands, and I've never 
charged a booking fee for the extra work. Like Jack said, as a caller I 
am getting some things I really enjoy -- working with the same band 
every night, getting to the venues I prefer, having some meaningful 
control over the series. And regardless of the payment arrangements of 
the respective dance organizers, after each gig we pool our funds and 
split them equally (sometimes taking into account some specialized 
individual expenses).


Woody

--
Woody Lane
Caller, Percussive Dancer
Roseburg, Oregon
http://www.woodylanecaller.com
home: 541-440-1926 cell: 541-556-0054


On 2/13/2017 12:45 PM, Donna Hunt via Callers wrote:

Hi
Just wondering aloud since this is not something I've ever seen 
discussed here.  Do you (or a musician you're traveling with) take a 
"booker fee" for planning a tour, or even a single community dance 
when there is a lot of planning with the event host and time spent 
booking musicians?  How much of a fee do you usually ask for from the 
event host or cut for yourself from the total fee to the group?


Donna Hunt

Re: [Callers] ACK! First time calling night of *squares* -- any last minute advice?

[Woody Lane via Callers]

Hi Amy,

I've been calling squares for a long time. If they are western/southern 
squares, they are very different than contras, and the caller's role is 
very different, both in terms of the dancers and of the music/band. If 
the dances are New England quadrilles, then they are essentially contras 
in square-formation. My comments are primarily about the former rather 
than the latter, although the underlying principles are the same.


Squares are fun! Smile a lot; be playful. I would suggest that you don't 
spring new things on the dancers during the dance, especially if these 
are contra dancers, but don't hesitate to do something like (especially 
for an opening): swing someone in your square; now swing someone in a 
different square; now swing someone you've never swung before; now run 
back home and swing your own! Which can get lots of folks giggling like 
10-year-old kids.


Call to the dancers, not to the music. I'm not saying "ignore the 
phrasing", but OTOH, you don't want folks standing still waiting for the 
phrase to come around while one other square struggles to catch up. Scan 
the room; do not call to the slowest square(s). You can call one move 
ahead of most of the dancers. Use your voice.


Most western-style and southern-style squares are not phrased to a 
32-bar tune. OTOH, by keeping the phrasing in your head while you call, 
or at least listening to the tune, you can skillfully weave the calls so 
that, when the music comes around to the top of the tune, you can begin 
a new part of the dance. Subtle, but very satisfying all around. You can 
use moves like: Swing your partner, promenade, all join hands and circle 
left -- all which take up music and can bring the entire room together.


Not every break has to be grand-right-and-left or its variations or 
Alamo-style complexities. Simple breaks work, and they can be used as 
refreshing breathers after the main figure -- a way for the dancers to 
experience a reset. A variation of: join hands 8 and circle left all the 
way around, swing your partner, now promenade home -- will work as a 
simple break. (or even just "circle left all the way around" -- good for 
weddings, etc.).


Put laughter in your voice. Lead your friends through the dance, like at 
a party, not just prompt.


Good luck!

Woody

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


On 2/4/2017 9:26 AM, Amy Cann via Callers wrote:
It's a friendly low-key local community dance, and they know I'm 
mainly a contra caller, so the potential for hurled tomatoes is low -- 
but I still want to not stink too much.


Any suggestions for dance choices or thought-habit adjustments?

Back to scribbling on my 3x5 cards and re-reading Lloyd Shaw...

Amy

Re: [Callers] Floor Space Requirement

[Woody Lane via Callers]

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

Re: [Callers] Warm weather dancing

[Woody Lane via Callers]

You might insert a couple of extra waltzes into the program. Like after every 
two contras. I've done this in very hot weather, working with the band of 
course, and it seems to work very nicely.

Woody 

Sent on the road from my Samsung Android tablet 




 Original Message 
From: Lindsey Dono via Callers 
Sent: Thu Jun 02 12:31:55 PDT 2016
To: Callers List 
Subject: [Callers] Warm weather dancing

Hi Callers,


 
I’m booked to call a dance this Saturday; the temperature is predicted to be 
98F. This is an unusually hightemperature for the area and time of year- this 
organization does not hold summerdances.


 
I’ve emailed the organizers asking for their thoughts/contingency plans.My 
first priority is keeping the dancers safe. 


 
While I’m waiting to hear back from them, I’m brainstormingideas for how to 
make a hot weather dance a safe and fun experience (presumingit isn’t cancelled 
due to heat). 


 
Here’s what I’ve come up with generally:

-Remind dancers to take time to hydrate/change shirts etcrather than rushing to 
maximize the number of dances called.

-Offer ice/popsicles at the break.


 
And specifically as a caller:

-Run dances shorter.

-Moderate band tempo

-Select dances where ladies/gents/ones/twos/first corners/second corners get 
“solos.” Thehall tends to consist of two long lines, so I imagine that I might 
want to makeshorter lines if I call something uneven.

-Avoid butterfly whirls

-Walk all dances, but avoid unnecessarily long walk-throughs.
 
Other thoughts? Are there figures that tend to take lessenergy? I’m imaging 
that sequential balances are less tiring than full heys,but I’m not certain of 
this. 


 
Also, suggestions for interesting dances with more recoverytime? 

A dance that comes to mind is Tecumseh (Dylan Bustin).


 
Thanks!

Lindsey

(Tacoma, WA)





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

Re: [Callers] Anyone know this dance?

[Woody Lane via Callers]

Hi Ann, 

A Sure Thing by Chris Page (San Diego) 

IMO,  one of the most beautiful B2-A1 transitions ever choreographed. 

Woody 

on the road, using an Android tablet 




 Original Message 
From: Ann Fallon via Callers 
Sent: Fri Nov 20 17:31:19 PST 2015
To: Callers@lists.sharedweight.net
Subject: [Callers] Anyone know this dance?

I learned this dance from George Marshall at the Charlottesville, VA, Fall
Festival, 2014.  Can someone tell me the name of the dance and its author?
Thanks.  

Improper Contra

A1  Half-pousette around Neighbors, women push
Swing Neighbor 

A2  Men allemande L 1 1/2
Meet P and pass R for half a hey

B1  Gypsy and swing P

B2  Women chain
Circle RIGHT into half-pousette 



> 

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

Re: [Callers] Advice about "gypsy"

[Woody Lane via Callers]

Hi Amy,
I believe this topic has come up previously on other callers lists, and it is a 
bit of a conundrum.
There are other terms in the arts, like "buck dancing". American percussive 
dance dates back to the slave period. In some regions, what was an 
(unfortunate) common term for male slaves?
Something to ruminate on.
Woody

Sent from my iPad

 From: Amy Wimmer via Callers  To: 
call...@sharedweight.net Subject: [Callers] Advice about "gypsy" Date: 
10/24/15, 12:12 AM



Hello All,

I taught a dance this evening that included a ladies' gypsy. I received the 
email below a few minutes ago. In teaching it I wanted to convey that it is a 
flirty, eye contact sort of move. This person was obviously offended. I am at a 
loss for how to respond, except to apologize for offending.

I'm pretty sure I described the move accurately. I meant absolutely no offense. 
I didn't make up the name for the move, but don't want to make excuses. Does 
this move need a new name? How would you respond?

-Amy
Seattle


Begin forwarded message:


Subject: First time at your event







This evening, I came to one of your dances for the first time. I was impressed 
by the friendliness of the dancers, the quality of the musicians, and the 
overall fun of the dance.

And then we got to a dance in which we were told we would be learning a step 
named after an offensive term for Romani people. And I felt uncomfortable. And 
then when the step was taught, it became clear that the term was so named based 
on stereotypes of Romani women as being overly sexual. And I became more 
uncomfortable.

I assume that this was not done maliciously, but rather out of an unawareness 
of the ways that that term has been used to denigrate Romani people throughout 
history (much the same way that many other racial slurs have been used in the 
past by well-meaning people before they became aware that those terms were 
hurtful and harmful to those disadvantaged groups).

Nonetheless, it felt shockingly offensive to me, all the more so in the context 
of a community that appeared to be so welcoming and accepting.

Until that point, I had a very enjoyable time dancing at your event. I've been 
a dancer in a variety of communities for many years now, and aside from that 
issue, this was probably the best first experience I've had when meeting a new 
dance community. It was a shame that some presumably unintentional racial 
insensitivity had to ruin what was otherwise such a positive experience.

Re: [Callers] Rolling Starts?

[Woody Lane via Callers]

Hi Maia,

I may have a slightly different approach than others. When I work with a 
band that likes to do rolling starts, we enjoy doing it when things 
"work right" musically. I tell the band that they are free to do a 
rolling start whenever they want, and it will be up to me to proceed or 
wave them off. Of course, this is for only once or twice during an 
evening. We don't want to overdo such a memorable technique.


Generally the musicians may be vamping, or they may be just tuning up. 
Either way, I hear that there is music behind me as I teach. Our default 
is to continue unless I give a signal to stop. From my role, if I hear 
the band roll into something that can work as a rolling start, I'll 
modify the teaching and my voice on the fly, while at the same time 
(with the hand that is not holding the mic) giving the band the signal 
to continue or to stop. I watch the dancers, listen to the music, know 
the dance that I'm teaching, and weigh the pros and cons of continuing.


IMO, this works well for the spontaneity and excitement, and I feel 
comfortable flowing with it and supporting the band, especially when the 
musicians are really into a tune. It depends on their musicianship and 
musical preferences. Sometimes the musicians will vamp with the entire 
band, sometimes only one or two of the musicians will be playing. With 
at least one band that I work with, the rolling start sometimes consists 
of a hand-drum or Quebecois feet.


Woody

On 10/2/2015 8:53 AM, Maia McCormick via Callers wrote:

I think that rolling starts (seamless transition from walkthrough into
the dance, as the band just starts playing music during the
walkthrough) are super neat if done properly! But I'm still not quite
sure how to do them properly. So I ask you all:
1) tips on how to execute a rolling start well, making sure all the
dancers are on board etc.?
2) thoughts on what dances/tunes will/won't work well with a rolling
start?

Cheers,
Maia

Re: [Callers] Shadow Swing Disclaimers?

[Woody Lane via Callers]

i agree with Eric. The world, even the contra world, is not always a 
comfortable place. Within reason, we should be able to deal with it, 
especially on the dance floor.


Woody

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


On 9/9/2015 3:39 AM, Eric Black via Callers wrote:
Wow.  ISTM [It Seems To Me] that this is far more responsibility for 
controlling social interpersonal interactions than the programmer 
and/or caller at the mic should have to worry about, even though we do 
worry about such things.


Sorry I don’t have opportunity to participate on this email list more 
often.  That Pesky Day Job [PDJ] and all…


Short response: Don’t point out shadow partner interaction; the 
dancers need to be adult about it, no one listens to the Caller 
anyway, let alone anything said while they’re still lining up.


Longer response:

I really REALLY don’t think that there should be any announcement 
calling attention to the fact that the next dance has interaction with 
someone other than your chosen partner.   What, are we supposed to say 
“This is a duple improper single progression with a shadow who is the 
same active or inactive role one place below [or above] where you line 
up”?


Or should we say “Thank this partner, and ask another partner for the 
next dance. As you line up, if there is someone at the dance here 
tonight with whom you don’t want to dance, please make sure that they 
are in a different longways set than you, or that if they are in the 
same long set as you that they are not in an adjacent hands-four from 
you either up or down as you line up for the dance.”


Are we dance choreographers supposed to create dance sequences that 
don’t have any “serious” interaction with the shadow partner, just in 
case the dancers happen to line up such that someone on the floor has 
an “Ex” as a shadow partner?  Or someone who hasn’t showered recently 
enough?


We already have the problem of MUC rejection of any dance that doesn’t 
include both partner swing and neighbor swing; this seems to be an 
injection of a problem of a potential swing with a neighbor some 
dancers might not want to swing with, yet such swings are still required.

I’m confused…



Yes, I understand the many reasons for not having serious shadow 
interactions, but I am proud that every local dance community where 
I’ve been a member, from NH/Boston to CA/SF, has understood that 
interpersonal conflicts will happen, and yet social interactions are 
required. They understand how to make everyone work together. Family 
schisms are inevitable.  Personal hygiene issues may arise.
I hope that everyone eventually can live the philosophy on Jeremiah’s 
T-shirt: “Dance With Who’s Comin’ Atcha!"


Even long-time couples break up.  It’s painful to the people involved 
and also to everyone surrounding.   We’re all Community here. 
 Our Community is larger and more long-lived than the simple “nuclear 
family” of two parents and 2.3 children.  That means we get to “enjoy” 
many various kinds of family ties, both genetic and non-genetic. 
 The Community connection carries us all through this specific 
break-up episode. The Dance entertains us and it heals us and it 
strengthens The Community.


I say this with a VERY PERSONAL involvement in this community support.

Yes, we DO see what’s going on. Yes, we DO love both of you, even if 
you’ve split apart, and even if there is a court restraining order 
about you both showing up at our dance on the same night (that’s a 
different discussion, and yes, it does happen).


If there’s a personal hygiene problem, sometimes it simply can not be 
helped.  I myself could change shirts whenever the band changes tunes 
and it still would not be often enough. In such a case, please enjoy 
fresh pheromones; fresh sweat can be enjoyable sweat.  If it’s stale 
sweat, then by all means tell the person that a shower with soap would 
make him/her a more enjoyable dance partner. That’s a quiet 
face-to-face conversation.


BUT please dance for several seconds, smile, and move on.
All that aside, any swing can be changed to an allemande right once or 
twice (to taste), or an elbow swing, or a do-si-do, or a gypsy (with 
varying amounts of eye contact, again to taste).  Experienced dancers, 
especially a split dancer couple who encounter each other in line, 
will do whatever they feel comfortable with. What a GREAT opportunity 
to swap roles with your partner, given a little look-ahead!  (“Oh! 
that’s my Ex ahead; let’s swap!” or just take hands with the palm-up 
signal that you’re taking the “Gent” role next time)   Painless and fun.
Never mind that experienced dancers often rewrite the dance to change 
a non-swing dance move into a swing, even in the middle of a hey; it’s 
just as easy to go 

Re: [Callers] Dance length/dances per evening

[Woody Lane via Callers]

Generally, I expect to call 9-12 dances in a regular evening 
contra/community dance venue. With 10-11 being the greatest majority of 
the gigs.


I usually prepare a program with 10-11 dances, but of course once the 
evening begins, things can change, sometimes quite radically.


The length of each dance -- really depends on the choreography of that 
dance and the crowd and the music and the time of night (and a few other 
judgements as well). The first and second dances can be slightly longer 
than normal to reinforce the moves and help get newcomers adjusted to 
the progression and responding to the calls. Or they can be shorter than 
normal to accommodate the flow of new folks as they walk into the hall.


And then there is the music, which I consider greatly as part of my 
judgements. If a band is in a groove, I'll want to continue their flow 
and thus continue the dance for a couple of extra times. Also, the 
common use of three tunes (rather than two or one) for a dance makes it 
a real judgement call, since sometimes a band may play the first tune 
longer than normal, so my choice is to cut off the third tune earlier 
than the band may like or allow the dance to go a bit longer. Of course, 
that also depends on a lot, including the actually tune being played and 
what the band is doing with it and the nature of the dancers. 
Conversely, if an old-time band plays one tune for each dance, I'll 
usually make those dances a bit shorter, especially for a firm contra 
crowd where the dancers may get bored with one tune that has no changes 
in texture or modulation.


Woody


On 4/26/2015 9:31 PM, Jack Mitchell via Callers wrote:
For me, it really depends on the size and energy level of the dance. 
 For a larger dance with lots of energy, I will run around 15 min per 
slot...so 3-4 minutes to get a new partner, 3-4 min to walk thru and 8 
or so minutes to dance (around 16 times through the tune).  Square and 
mixers run shorter frequently, doing a square and a mixer means that I 
get an extra dance in overall.


Smaller dances, or dances where some of the dancers have problems with 
stamena,  I tend to run shorter -- frequently more like 10 minute 
slots.  Have gotten 10-12 dances in a 2.5 hr (including break) dance. 
 Have a friend who called 14 dances in a 2 hour dance because the band 
was an old time band and was just playing one tune per dance, the same 
way every time through, so she just ran all the dances much shorter.


My goal is generally to get people down the hall and partway back 
during the dance for a single progression dance.  YMMV


Jack Mitchell


On Sun, Apr 26, 2015 at 5:54 PM -0700, "Maia McCormick via Callers" 
> wrote:


Just polling the masses here--how long do you generally run your
dances (in times through the dance, time take, couples going up
and back, etc.)? How many dances do you generally manage to fit
into a 3-hour contra evening? I've heard different wisdom from
different folks and am curious to add some more data points!

Cheers,
Maia

Re: [Callers] Giant dance database? - Email Issues

[Woody Lane via Callers]

On 7/31/2014 8:16 PM, Dave C via Callers wrote:
WHAT IS GOING ON???  I sent this email on MONDAY, July 28.  It showed 
up in my inbox, finally, date stamped today, 7/31/14 at 10 pm. 
WTHWHY  Can SOMEONE actually tell me what is going on 
with this email system???  Thanks,


Dave Colestock


On Mon, 7/28/14, Dave C via Callers  
wrote:


  Subject: Re: [Callers] Giant dance database?
  To: "Maia McCormick" , "Chris Page" 


  Cc: "Caller's discussion list" 
  Date: Monday, July 28, 2014, 1:27 PM
I am curious.  I got
  Chris' reply email in my inbox today stamped at 1:11 pm,
  but I never received the initial email from Maia that was
  sent at 7:46 this morning.  I have noticed this on other
  occassions as well.  Is anyone else getting reply messages
  but not the initial message???  Can a mod please address
  this?  Thanks,
Dave
  Colestock


Hi Dave,

One idea: You might try expanding the header and then copying it to a 
translation tool website. I've used this website with some success:


http://mxtoolbox.com/EmailHeaders.aspx

Gives you some insights where the delay occurs.

Woody
--
<><><><><><><><><><><><><><><><><><>
Woody Lane
Caller, Percussive Dancer
Roseburg, Oregon
http://www.woodylanecaller.com
home: 541-440-1926 cell: 541-556-0054
<><><><><><><><><><><><><><><><><><>
___
Callers mailing list
Callers@lists.sharedweight.net
http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net