Re: [Callers] What is the best contra dance(s) ever written?

[Bob Green]

Speaking of great dances Dale, your *Fly Around My Pretty Little
Miss*certainly makes my top 5.

http://dancevideos.childgrove.org/contra/contra-modern/74-fly-around-my-pretty-little-miss


On Fri, Nov 30, 2012 at 6:26 PM, Dale Wilson  wrote:

> Jonathan, you left out
>
> 18 The first time you danced it, you must have been dancing with your
> favorite partner to music by your favorite band with a world class caller.
>
>
> And slightly more seriously.
>
> I don't want to start religious war but I have always wondered about A
> Chorus Jig.  I just don't see why anyone likes it other than those who
> cherish it as a relic of a bygone era.   The few times I have danced it my
> primary impression was that the inactive couples stood still for the entire
> dance -- offering admiration an occasional helping hand to the actives, and
> even the actives spent a great deal of time walking up and down the set.
> What am I missing?  Why do people like it?
>
> Dale
>
>
>
>
>
> > __**_
> > Callers mailing list
> > call...@sharedweight.net
> > http://www.sharedweight.net/**mailman/listinfo/callers<
> http://www.sharedweight.net/mailman/listinfo/callers>
> >
>
>
>
> --
> *So if you knew what was broken...how long would it take you to fix it?*
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Re: [Callers] What is the best contra dance(s) ever written?

[Mark Hillegonds]

I second 3-33-33 by Steve Zakon-Anderson and offer Joyride by Erik Weberg. 

Also, start a slight variant on the topic and say that my favorite English
Country Dance is Alice, by Philippe Callens. I say slight variant because
I've had good success calling this dance at contra dances, even when there
aren't many people who have danced ECD before. 

Mark Hillegonds

cell:  734-756-8441
email:  mhillego...@comcast.net
blog:  www.defriction.com


-Original Message-
From: callers-boun...@sharedweight.net
[mailto:callers-boun...@sharedweight.net] On Behalf Of Michael Fuerst
Sent: Thursday, November 29, 2012 10:20 PM
To: Caller's discussion list
Subject: [Callers] What is the best contra dance(s) ever written?

If you had to choose one or two or at most  three  ...
 
Michael Fuerst      802 N Broadway      Urbana IL 61801   217-239-5844
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Re: [Callers] What is the best contra dance(s) ever written?

[Donna Hunt]

The Wizard's Walk tune is often played without the Wizard's Walk dance in dance 
halls these days.  So why aren't some of the Chestnut tunes played without the 
corresponding dance?

 Donna Hunt

 

 

-Original Message-
From: Michael Fuerst <mjerryfue...@yahoo.com>
To: Caller's discussion list <call...@sharedweight.net>
Sent: Sat, Dec 1, 2012 5:32 pm
Subject: Re: [Callers] What is the best contra dance(s) ever written?


The "chestnut"  dances have staying power because 
1) The excellent  tunes associated with them. 
2) People like to connect with the distant past.   Relatively few new contra 
dances appeared between the early 19th century  (by which time all the 
chestnuts 
existed--although they may have since been modified to please today's dancers) 
and the 1930's or 1940's

Without their  corresponding tunes, today  Chorus Jig, Petronella, Hull's 
Victory, etc, would likely  be danced much less often, if at all

Michael Fuerst  802 N Broadway  Urbana IL 61801   217-239-5844




 From: Linda Mrosko <elmero...@gmail.com>
To: Caller's discussion list <call...@sharedweight.net> 
Sent: Saturday, December 1, 2012 2:40 PM
Subject: Re: [Callers] What is the best contra dance(s) ever written?
 
This thread reminds me of a question posed years ago - probably because of
the staying power of the chestnut dances like Chorus Jig, Rory O'More,
Petronella, etc. - WHICH CONTRA DANCES DO YOU THINK FOLKS WILL STILL BE
DANCING 100 YEARS FROM NOW?
-- 
*Looking forward,

Linda S. Mrosko
7302 CR 2829
Mabank, Texas 75156
(903) 451-5535 (H)
(903) 288-4401 (cell)
(903) 603-9033 (Skype)
www.towerwebsites.com/dancinglinda

*"We should consider every day lost on which we have not danced at least
once."
  -- Friedrich Nietzsche
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Re: [Callers] What is the best contra dance(s) ever written?

[Michael Fuerst]

The "chestnut"  dances have staying power because 
1) The excellent  tunes associated with them. 
2) People like to connect with the distant past.   Relatively few new contra 
dances appeared between the early 19th century  (by which time all the 
chestnuts existed--although they may have since been modified to please today's 
dancers) and the 1930's or 1940's

Without their  corresponding tunes, today  Chorus Jig, Petronella, Hull's 
Victory, etc, would likely  be danced much less often, if at all

Michael Fuerst      802 N Broadway      Urbana IL 61801   217-239-5844




 From: Linda Mrosko <elmero...@gmail.com>
To: Caller's discussion list <call...@sharedweight.net> 
Sent: Saturday, December 1, 2012 2:40 PM
Subject: Re: [Callers] What is the best contra dance(s) ever written?
 
This thread reminds me of a question posed years ago - probably because of
the staying power of the chestnut dances like Chorus Jig, Rory O'More,
Petronella, etc. - WHICH CONTRA DANCES DO YOU THINK FOLKS WILL STILL BE
DANCING 100 YEARS FROM NOW?
-- 
*Looking forward,

Linda S. Mrosko
7302 CR 2829
Mabank, Texas 75156
(903) 451-5535 (H)
(903) 288-4401 (cell)
(903) 603-9033 (Skype)
www.towerwebsites.com/dancinglinda

*"We should consider every day lost on which we have not danced at least
once."
                                  -- Friedrich Nietzsche

Re: [Callers] What is the best contra dance(s) ever written?

[Gary Shapiro]

On Sat, Dec 1, 2012 at 12:40 PM, Linda Mrosko wrote:

> This thread reminds me of a question posed years ago - probably because of
> the staying power of the chestnut dances like Chorus Jig, Rory O'More,
> Petronella, etc. - WHICH CONTRA DANCES DO YOU THINK FOLKS WILL STILL BE
> DANCING 100 YEARS FROM NOW?
>

200 Years of Mischief (oops, you said "still").

Re: [Callers] What is the best contra dance(s) ever written?

[Linda Mrosko]

This thread reminds me of a question posed years ago - probably because of
the staying power of the chestnut dances like Chorus Jig, Rory O'More,
Petronella, etc. - WHICH CONTRA DANCES DO YOU THINK FOLKS WILL STILL BE
DANCING 100 YEARS FROM NOW?


On Sat, Dec 1, 2012 at 1:01 PM, Bree Kalb  wrote:

> Alan,
>
> Your explanation is so reflective of my reasons and so vivid, I felt like
> I was dancing with you. If we're ever in the same hall and that dance is on
> the program.
>
> Bree Kalb
>
>
> -
>
> Why I like it:
>
> Whether I'm inactive or active, I like the music, I really like the way
> the parts of the dance interlock, I like the many things that remind me
> I'm dancing in a bigger set
> than just my foursome - go down the outside and you have to see the
> whole line, be in line, match their timing; go down the middle and it's
> the same, but if I'm inactive
> I have to see people outside of my foursome on the way through.  I
> really like how much it requires timing and rewards timing and
> geographical sense.  I rather like the feeling of being a good cog in
> the big dance machine.  I like supporting the actives and being
> supported when it's my turn.
>
> - When I'm an active, the way the excitement of the tune builds up
> during the contra corners to resolve at the balance with partner (and
> the balance + swing is way
>   better than the balance without swing)  is just unparalleled. Hitting
> the balance on the dot is just a tremendous moment.  The whole dance
> (which is, incidentally, made of
>   standard early-nineteenth century figures which show up in other
> dances but aren't as  satisfying there) is an exercise in delayed
> gratification; I leave my partner, we're apart
>   (but have a flirtatious peek, perhaps, in the middle of the
> down-the-outside-and-back), we're closer together for the
> down-the-middle-and-back; we connect with our
>   same-sex neighbors on the cast off, we interact with two opposite-sex
> neighbors in the contra-corners, briefly seeing partner in between
> others, and we finally connect.
>   It's awesome.
>
> - When I'm inactive - well, you can always swing your partner during the
> down-the-outside, and I have no problem for that. During the
> down-the-middle  you can likely cheat-swing somebody from the   next
> line (although I won't generally do that and don't much like it when my
> partner abandons me to cheat swing).  But here's what I like there - I
> enjoy being able to support the actives in the contra corners, I enjoy
> getting a read on whether they want to push off and spin out of the
> allemande and supporting that, I enjoy helping to get them to their
> appointment with their partner on time.   (I'll usually balance or stomp
> at the end of the contra corners even if I'm an inactive.)  I'll admit
> that I'd be a bit frustrated if I were inactive all the way to to the
> top and the dance ended without my ever getting to be active, but I'm
> happy to have it run long enough for everybody to get to be both active
> and inactive.
>
> Your mileage may well vary.  People like different things.
>
> -- Alan
>
> __**_
> Callers mailing list
> call...@sharedweight.net
> http://www.sharedweight.net/**mailman/listinfo/callers
> __**_
> Callers mailing list
> call...@sharedweight.net
> http://www.sharedweight.net/**mailman/listinfo/callers
>



-- 
*Looking forward,

Linda S. Mrosko
7302 CR 2829
Mabank, Texas 75156
(903) 451-5535 (H)
(903) 288-4401 (cell)
(903) 603-9033 (Skype)
www.towerwebsites.com/dancinglinda

*"We should consider every day lost on which we have not danced at least
once."
  -- Friedrich Nietzsche

Re: [Callers] What is the best contra dance(s) ever written?

[Bree Kalb]

Alan,

Your explanation is so reflective of my reasons and so vivid, I felt like I 
was dancing with you. If we're ever in the same hall and that dance is on 
the program.


Bree Kalb


-
Why I like it:

Whether I'm inactive or active, I like the music, I really like the way
the parts of the dance interlock, I like the many things that remind me
I'm dancing in a bigger set
than just my foursome - go down the outside and you have to see the
whole line, be in line, match their timing; go down the middle and it's
the same, but if I'm inactive
I have to see people outside of my foursome on the way through.  I
really like how much it requires timing and rewards timing and
geographical sense.  I rather like the feeling of being a good cog in
the big dance machine.  I like supporting the actives and being
supported when it's my turn.

- When I'm an active, the way the excitement of the tune builds up
during the contra corners to resolve at the balance with partner (and
the balance + swing is way
  better than the balance without swing)  is just unparalleled. Hitting
the balance on the dot is just a tremendous moment.  The whole dance
(which is, incidentally, made of
  standard early-nineteenth century figures which show up in other
dances but aren't as  satisfying there) is an exercise in delayed
gratification; I leave my partner, we're apart
  (but have a flirtatious peek, perhaps, in the middle of the
down-the-outside-and-back), we're closer together for the
down-the-middle-and-back; we connect with our
  same-sex neighbors on the cast off, we interact with two opposite-sex
neighbors in the contra-corners, briefly seeing partner in between
others, and we finally connect.
  It's awesome.

- When I'm inactive - well, you can always swing your partner during the
down-the-outside, and I have no problem for that. During the
down-the-middle  you can likely cheat-swing somebody from the   next
line (although I won't generally do that and don't much like it when my
partner abandons me to cheat swing).  But here's what I like there - I
enjoy being able to support the actives in the contra corners, I enjoy
getting a read on whether they want to push off and spin out of the
allemande and supporting that, I enjoy helping to get them to their
appointment with their partner on time.   (I'll usually balance or stomp
at the end of the contra corners even if I'm an inactive.)  I'll admit
that I'd be a bit frustrated if I were inactive all the way to to the
top and the dance ended without my ever getting to be active, but I'm
happy to have it run long enough for everybody to get to be both active
and inactive.

Your mileage may well vary.  People like different things.

-- Alan

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Re: [Callers] What is the best contra dance(s) ever written?

[James Saxe]

Jonathan,

Here are some more requirements for your list:

* It must not have a shadow swing.  (Imagine having to swing every
time through with someone you didn't choose [shudder].)
* It must not have any gypsy figures.  (Forced mock flirtation--yuck!)
* The ladies chain must be over and back.  (All those one-way figures
in dances these days seem somehow incomplete.)
* It must not have any "over and back" figures.  (Bo-o-o-oring.)
* It must not have a gents chain (too often danced awkwardly).
* It must have a same-sex swing.
* It must not have a same-sex swing.
* All the figures and transitions must be comfortably familiar.
* It must have at least one excitingly novel figure or transition.
* It must have a special tune that fits it like a glove.
* It must have lots of partner interaction, not just a (balance and)
swing.
* It must separate dancers from their partners and then reunite them
in a surprising (but comfortably familiar) way.
* It must not have out-of-minor-set actions that make for confusing
end effects.
* It must start in improper formation with "New neighbors balance
and swing".
* It must end in Becket formation with "Partners balance and swing".
[BTW, if we only get to pick three best/favorite dances, no two should
start or end the same way.]
* It must be the dance I dance with a superbly skilled partner (who
is also oblivious to any of my own imperfections).
* It must be the dance where my first-time-dancer partner's eyes
light up.

--Jim


On Nov 30, 2012, at 2:58 PM, Jonathan Sivier wrote:



...
  So far this has been a list of favorites, and they have all been  
great dances.  However Michael asked for the name of the BEST DANCE  
EVER WRITTEN, not our personal favorites.  While I don't have a  
candidate dance to put forward at this time, I do think I can list  
some criteria which could be used to judge the dance.  Here is my  
list of requirements.


1. It must be smooth with great flow.
2. It must be bouncy and energetic with lots of balances.
3. It must have at least 3 swings (partner, neighbor and shadow).
4. It must have several gypsy figures.
5. It must be an equal dance.
6. It must give the actives a chance to shine, while the 2's  
appreciate them.
7. It must have all the usual glossary figures; stars, circles,  
allemandes, do-si-do's, etc.

8. It must have a ladies chain.
9. It must have a gents chain.
10. It must have contra corners.
11. It must have a hey.
12. It must have 4 Petronella balance and turn figures.
13. It must not require more than one walk-through, even for  
absolute beginners with no experience at all.
14. The caller must be able to drop out after no more than 3 times  
through the dance with no effect on the set.
15. It must work equally well with reels, jigs, hornpipes, slip  
jigs, or any other tune the band decides to play, including crooked  
tunes.

16. It must be traditional, with lots of historical significance.
17. It must be modern, with all the latest bells and whistles.

  That's all I can think of at the moment.  I'm sure others will  
have additional requirements.  As I say I can't think of one offhand  
that fulfills these needs, but I look forward to dancing it at the  
next dance I go to.


Jonathan

P.S.  ;-)

Re: [Callers] What is the best contra dance(s) ever written?

[Michael Barraclough]

Allen - you are only supposed to post on April 1.

On Sat, 2012-12-01 at 10:48 -0600, Allen Ortep wrote:

> Hello All:
> 
> I don't have a favorite dance, but my least favorite dance (and dance move)
> is Petronella.
> Always seems a bit backwards to me.
> 
> Allen Ortep
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Re: [Callers] What is the best contra dance(s) ever written?

[Allen Ortep]

Hello All:

I don't have a favorite dance, but my least favorite dance (and dance move)
is Petronella.
Always seems a bit backwards to me.

Allen Ortep

Re: [Callers] What is the best contra dance(s) ever written?

[John Sweeney]

The one I get most requests for is Devil's Dream
http://www.cambridgefolk.org.uk/contra/dances/devils_dream.html

I also get a lot of requests for Feet in Flight by Dale Rempert
http://austinbarndancers.org/dances/ftflight.shtml
Especially when we dance it to Wild Asparagus playing Taliban.

The dance I have called most is probably Flirtation Reel by Tony Parkes
- great for beginners, but the experienced dancers love it as well.

Happy dancing,
John

John Sweeney, Dancer, England j...@modernjive.com 01233 625 362
http://www.contrafusion.co.uk for Dancing in Kent

Re: [Callers] What is the best contra dance(s) ever written?

[Michael Fuerst]

Hello Alan and Dorcas

I intended  the usual case of dances standing alone without associated tunes.
Relatively few contras have matching tunes, but I suspect  such dances were 
designed to match the tunes--and thus the pairs usually work very  well

 
Michael Fuerst      802 N Broadway      Urbana IL 61801   217-239-5844



 From: Dorcas Hand <hand...@tekkmail.com>
To: Caller's discussion list <call...@sharedweight.net> 
Sent: Friday, November 30, 2012 9:10 PM
Subject: Re: [Callers] What is the best contra dance(s) ever written?
 
Beautifully put.

One other thing I like is the Sufi dance aspect of dancing in perfect tune with 
the music and the set, without having to think much about what move is next.  
Delicious.
Dorcas hand

-Original Message-
From: callers-boun...@sharedweight.net 
[mailto:callers-boun...@sharedweight.net] On Behalf Of Alan Winston
Sent: Friday, November 30, 2012 7:40 PM
To: call...@sharedweight.net
Subject: Re: [Callers] What is the best contra dance(s) ever written?

On 11/30/2012 4:26 PM, Dale Wilson wrote:
> And slightly more seriously.
>
> I don't want to start religious war but I have always wondered about A 
> Chorus Jig.  I just don't see why anyone likes it other than those who
> cherish it as a relic of a bygone era.   The few times I have danced it my
> primary impression was that the inactive couples stood still for the 
> entire dance -- offering admiration an occasional helping hand to the 
> actives, and even the actives spent a great deal of time walking up and down 
> the set.
> What am I missing?  Why do people like it?
>

Why I like it:

Whether I'm inactive or active, I like the music, I really like the way the 
parts of the dance interlock, I like the many things that remind me I'm dancing 
in a bigger set than just my foursome - go down the outside and you have to see 
the whole line, be in line, match their timing; go down the middle and it's the 
same, but if I'm inactive I have to see people outside of my foursome on the 
way through.  I really like how much it requires timing and rewards timing and 
geographical sense.  I rather like the feeling of being a good cog in the big 
dance machine.  I like supporting the actives and being supported when it's my 
turn.

- When I'm an active, the way the excitement of the tune builds up during the 
contra corners to resolve at the balance with partner (and the balance + swing 
is way
   better than the balance without swing)  is just unparalleled. Hitting the 
balance on the dot is just a tremendous moment.  The whole dance (which is, 
incidentally, made of
   standard early-nineteenth century figures which show up in other dances but 
aren't as  satisfying there) is an exercise in delayed gratification; I leave 
my partner, we're apart
   (but have a flirtatious peek, perhaps, in the middle of the 
down-the-outside-and-back), we're closer together for the 
down-the-middle-and-back; we connect with our
   same-sex neighbors on the cast off, we interact with two opposite-sex 
neighbors in the contra-corners, briefly seeing partner in between others, and 
we finally connect.
   It's awesome.

- When I'm inactive - well, you can always swing your partner during the 
down-the-outside, and I have no problem for that. During the 
down-the-middle  you can likely cheat-swing somebody from the   next 
line (although I won't generally do that and don't much like it when my partner 
abandons me to cheat swing).  But here's what I like there - I enjoy being able 
to support the actives in the contra corners, I enjoy getting a read on whether 
they want to push off and spin out of the allemande and supporting that, I 
enjoy helping to get them to their 
appointment with their partner on time.   (I'll usually balance or stomp 
at the end of the contra corners even if I'm an inactive.)  I'll admit that I'd 
be a bit frustrated if I were inactive all the way to to the top and the dance 
ended without my ever getting to be active, but I'm happy to have it run long 
enough for everybody to get to be both active and inactive.

Your mileage may well vary.  People like different things.

-- Alan

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Re: [Callers] What is the best contra dance(s) ever written?

[Dorcas Hand]

The "MUC" era??? Mostly Urban Contra?  I started dancing in 1973 in the wilds 
of Amherst MA with Dudley Laufman, definitely not urban but equally definitely 
a serious piece of the modern contra revival.  Those chestnuts allowed Dudley 
to play and call, and we on the dance floor dressed up the simplicity as much 
as our skills and energy allowed. The floor was packed with college students - 
fabulous fun.
Dorcas Hand

-Original Message-
From: callers-boun...@sharedweight.net 
[mailto:callers-boun...@sharedweight.net] On Behalf Of Michael Fuerst
Sent: Friday, November 30, 2012 7:34 PM
To: Caller's discussion list
Subject: Re: [Callers] What is the best contra dance(s) ever written?

I suspect contra dancing  was somewhat urban before the so-called "MUC" era.
i don't think Ted Sanella  and his contemporaries  would characterize their 
regular dances as  non-urban.  

 
Michael Fuerst      802 N Broadway      Urbana IL 61801   217-239-5844
From: "johnfr...@aol.com" <johnfr...@aol.com>
To: call...@sharedweight.net
Sent: Friday, November 30, 2012 7:14 PM
Subject: Re: [Callers] What is the best contra dance(s) ever written?
 
Dale,

When did you start dancing? If you began during the "MUC" era, then you likely 
never had a chance to appreciate some of the chestnuts and unequal dances of 
the pre-MUC era. Some dances are comfortable, like an old pair of dancing 
shoes. I remember dancing to some of these dances that began on their own while 
the bend was "noodling" the tune, before the caller was ready.

John B. Freeman, SFTPOCTJ
Calling and dancing for only 30+ years
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Re: [Callers] What is the best contra dance(s) ever written?

[Dorcas Hand]

Beautifully put.

One other thing I like is the Sufi dance aspect of dancing in perfect tune with 
the music and the set, without having to think much about what move is next.  
Delicious.
Dorcas hand

-Original Message-
From: callers-boun...@sharedweight.net 
[mailto:callers-boun...@sharedweight.net] On Behalf Of Alan Winston
Sent: Friday, November 30, 2012 7:40 PM
To: call...@sharedweight.net
Subject: Re: [Callers] What is the best contra dance(s) ever written?

On 11/30/2012 4:26 PM, Dale Wilson wrote:
> And slightly more seriously.
>
> I don't want to start religious war but I have always wondered about A 
> Chorus Jig.  I just don't see why anyone likes it other than those who
> cherish it as a relic of a bygone era.   The few times I have danced it my
> primary impression was that the inactive couples stood still for the 
> entire dance -- offering admiration an occasional helping hand to the 
> actives, and even the actives spent a great deal of time walking up and down 
> the set.
> What am I missing?  Why do people like it?
>

Why I like it:

Whether I'm inactive or active, I like the music, I really like the way the 
parts of the dance interlock, I like the many things that remind me I'm dancing 
in a bigger set than just my foursome - go down the outside and you have to see 
the whole line, be in line, match their timing; go down the middle and it's the 
same, but if I'm inactive I have to see people outside of my foursome on the 
way through.  I really like how much it requires timing and rewards timing and 
geographical sense.  I rather like the feeling of being a good cog in the big 
dance machine.  I like supporting the actives and being supported when it's my 
turn.

- When I'm an active, the way the excitement of the tune builds up during the 
contra corners to resolve at the balance with partner (and the balance + swing 
is way
   better than the balance without swing)  is just unparalleled. Hitting the 
balance on the dot is just a tremendous moment.  The whole dance (which is, 
incidentally, made of
   standard early-nineteenth century figures which show up in other dances but 
aren't as  satisfying there) is an exercise in delayed gratification; I leave 
my partner, we're apart
   (but have a flirtatious peek, perhaps, in the middle of the 
down-the-outside-and-back), we're closer together for the 
down-the-middle-and-back; we connect with our
   same-sex neighbors on the cast off, we interact with two opposite-sex 
neighbors in the contra-corners, briefly seeing partner in between others, and 
we finally connect.
   It's awesome.

- When I'm inactive - well, you can always swing your partner during the 
down-the-outside, and I have no problem for that. During the 
down-the-middle  you can likely cheat-swing somebody from the   next 
line (although I won't generally do that and don't much like it when my partner 
abandons me to cheat swing).  But here's what I like there - I enjoy being able 
to support the actives in the contra corners, I enjoy getting a read on whether 
they want to push off and spin out of the allemande and supporting that, I 
enjoy helping to get them to their 
appointment with their partner on time.   (I'll usually balance or stomp 
at the end of the contra corners even if I'm an inactive.)  I'll admit that I'd 
be a bit frustrated if I were inactive all the way to to the top and the dance 
ended without my ever getting to be active, but I'm happy to have it run long 
enough for everybody to get to be both active and inactive.

Your mileage may well vary.  People like different things.

-- Alan

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Re: [Callers] What is the best contra dance(s) ever written?

[Alan Winston]

On 11/30/2012 4:26 PM, Dale Wilson wrote:

And slightly more seriously.

I don't want to start religious war but I have always wondered about A
Chorus Jig.  I just don't see why anyone likes it other than those who
cherish it as a relic of a bygone era.   The few times I have danced it my
primary impression was that the inactive couples stood still for the entire
dance -- offering admiration an occasional helping hand to the actives, and
even the actives spent a great deal of time walking up and down the set.
What am I missing?  Why do people like it?



Why I like it:

Whether I'm inactive or active, I like the music, I really like the way 
the parts of the dance interlock, I like the many things that remind me 
I'm dancing in a bigger set
than just my foursome - go down the outside and you have to see the 
whole line, be in line, match their timing; go down the middle and it's 
the same, but if I'm inactive
I have to see people outside of my foursome on the way through.  I 
really like how much it requires timing and rewards timing and 
geographical sense.  I rather like the feeling of being a good cog in 
the big dance machine.  I like supporting the actives and being 
supported when it's my turn.


- When I'm an active, the way the excitement of the tune builds up 
during the contra corners to resolve at the balance with partner (and 
the balance + swing is way
  better than the balance without swing)  is just unparalleled. Hitting 
the balance on the dot is just a tremendous moment.  The whole dance 
(which is, incidentally, made of
  standard early-nineteenth century figures which show up in other 
dances but aren't as  satisfying there) is an exercise in delayed 
gratification; I leave my partner, we're apart
  (but have a flirtatious peek, perhaps, in the middle of the 
down-the-outside-and-back), we're closer together for the 
down-the-middle-and-back; we connect with our
  same-sex neighbors on the cast off, we interact with two opposite-sex 
neighbors in the contra-corners, briefly seeing partner in between 
others, and we finally connect.

  It's awesome.

- When I'm inactive - well, you can always swing your partner during the 
down-the-outside, and I have no problem for that. During the 
down-the-middle  you can likely cheat-swing somebody from the   next 
line (although I won't generally do that and don't much like it when my 
partner abandons me to cheat swing).  But here's what I like there - I 
enjoy being able to support the actives in the contra corners, I enjoy 
getting a read on whether they want to push off and spin out of the 
allemande and supporting that, I enjoy helping to get them to their 
appointment with their partner on time.   (I'll usually balance or stomp 
at the end of the contra corners even if I'm an inactive.)  I'll admit 
that I'd be a bit frustrated if I were inactive all the way to to the 
top and the dance ended without my ever getting to be active, but I'm 
happy to have it run long enough for everybody to get to be both active 
and inactive.


Your mileage may well vary.  People like different things.

-- Alan

Re: [Callers] What is the best contra dance(s) ever written?

[Michael Fuerst]

I suspect contra dancing  was somewhat urban before the so-called "MUC" era.
i don't think Ted Sanella  and his contemporaries  would characterize their 
regular dances as  non-urban.  

 
Michael Fuerst      802 N Broadway      Urbana IL 61801   217-239-5844
From: "johnfr...@aol.com" <johnfr...@aol.com>
To: call...@sharedweight.net 
Sent: Friday, November 30, 2012 7:14 PM
Subject: Re: [Callers] What is the best contra dance(s) ever written?
 
Dale,

When did you start dancing? If you began during the "MUC" era, then you 
likely never had a chance to appreciate some of the chestnuts and unequal 
dances of the pre-MUC era. Some dances are comfortable, like an old pair of 
dancing shoes. I remember dancing to some of these dances that began on their 
own 
while the bend was "noodling" the tune, before the caller was ready.

John B. Freeman, SFTPOCTJ
Calling and dancing for only 30+ years
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Re: [Callers] What is the best contra dance(s) ever written?

[Dale Wilson]

Jonathan, you left out

18 The first time you danced it, you must have been dancing with your
favorite partner to music by your favorite band with a world class caller.


And slightly more seriously.

I don't want to start religious war but I have always wondered about A
Chorus Jig.  I just don't see why anyone likes it other than those who
cherish it as a relic of a bygone era.   The few times I have danced it my
primary impression was that the inactive couples stood still for the entire
dance -- offering admiration an occasional helping hand to the actives, and
even the actives spent a great deal of time walking up and down the set.
What am I missing?  Why do people like it?

Dale





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>



-- 
*So if you knew what was broken...how long would it take you to fix it?*

Re: [Callers] What is the best contra dance(s) ever written?

[Jonathan Sivier]

On 11/30/2012 3:06 PM, Kalia Kliban wrote:

It's hard to single out any particular dance since so much depends on
the music and the partners.  I could have a massively peak dance
experience doing a completely generic dance if my partner and I were
really in tune with each other and the room and if the band was cooking.
  Likewise, the best dance in the world wouldn't be able to make up for
a partner or line who weren't getting it, or a band that was struggling.


   So far this has been a list of favorites, and they have all been 
great dances.  However Michael asked for the name of the BEST DANCE EVER 
WRITTEN, not our personal favorites.  While I don't have a candidate 
dance to put forward at this time, I do think I can list some criteria 
which could be used to judge the dance.  Here is my list of requirements.


1. It must be smooth with great flow.
2. It must be bouncy and energetic with lots of balances.
3. It must have at least 3 swings (partner, neighbor and shadow).
4. It must have several gypsy figures.
5. It must be an equal dance.
6. It must give the actives a chance to shine, while the 2's appreciate 
them.
7. It must have all the usual glossary figures; stars, circles, 
allemandes, do-si-do's, etc.

8. It must have a ladies chain.
9. It must have a gents chain.
10. It must have contra corners.
11. It must have a hey.
12. It must have 4 Petronella balance and turn figures.
13. It must not require more than one walk-through, even for absolute 
beginners with no experience at all.
14. The caller must be able to drop out after no more than 3 times 
through the dance with no effect on the set.
15. It must work equally well with reels, jigs, hornpipes, slip jigs, or 
any other tune the band decides to play, including crooked tunes.

16. It must be traditional, with lots of historical significance.
17. It must be modern, with all the latest bells and whistles.

   That's all I can think of at the moment.  I'm sure others will have 
additional requirements.  As I say I can't think of one offhand that 
fulfills these needs, but I look forward to dancing it at the next dance 
I go to.


Jonathan

P.S.  ;-)

-
Jonathan Sivier
Caller of Contra, 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!

Re: [Callers] What is the best contra dance(s) ever written?

[Chris Page]

A lot of it is very personal -- what you were exposed to, what was your
original "tradition," whether that started in 1958 or 2009.

There's also context. Favorite for me as a dancer is a bit different than
favorite for me as a caller.

My favorite is probably 333, with a B2 that varies from year to year.
(Right now it's chain, star left.)

A couple years ago I wrote a longer list of favorites here:
http://chrispagecontra.awardspace.us/choreography/index.htm

If I were updating the list, I'd delete one or two, and add several. (At
least Quick Spin, Bicoastal Contra, Fatal Attraction, Contra Primer, Heart
of Glass, O'Brien's Star, Oak Hill Quickstep, and Yankee Reel.)

-Chris Page
San Diego


On Thu, Nov 29, 2012 at 7:19 PM, Michael Fuerst wrote:

> If you had to choose one or two or at most  three  ...
>
>

Re: [Callers] What is the best contra dance(s) ever written?

[Michael Fuerst]

Hello Kalia 
Best dance experience of course depends upon both partner and music, but a best 
dance transcends both partner and music
 
Michael Fuerst      802 N Broadway      Urbana IL 61801   217-239-5844



 From: Kalia Kliban <ka...@sbcglobal.net>
To: Caller's discussion list <call...@sharedweight.net> 
Sent: Friday, November 30, 2012 3:06 PM
Subject: Re: [Callers] What is the best contra dance(s) ever written?
 
It's hard to single out any particular dance since so much depends on the music 
and the partners.  I could have a massively peak dance experience doing a 
completely generic dance if my partner and I were really in tune with each 
other and the room and if the band was cooking.  Likewise, the best dance in 
the world wouldn't be able to make up for a partner or line who weren't getting 
it, or a band that was struggling.

That being said, I'm paying a lot of attention to the dances folks are singling 
out here.  It's always good to hear recommendations.

So I can't speak to its objective perfection or lack thereof, but I had a 
fantastic time with Joel's In The Kitchen (Sue Rosen) at the Petaluma contra a 
few weeks back.  KGB was playing and I had an excellent partner (thanks, Dan!). 
 So that one's a standout for me at the moment.

Kalia
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Re: [Callers] What is the best contra dance(s) ever written?

[Kalia Kliban]

On 11/30/2012 10:04 AM, Robert Golder wrote:

Traditional
1) Mony Musk
2) British Sorrow


I'm glad to hear somebody mention British Sorrow.  To my mind this is 
one of the best dances ever for introducing folks to triple minor 
formation.  And it's equally appropriate for English and contra dancers. 
 It also has that lovely star-to-star transition in the A2, a circle 
right, and a right and left through over and back (4 changes of rights 
and lefts for you English dancers).  It's a great dance for teaching 
basic skills and timing.


Kalia Kliban

Re: [Callers] What is the best contra dance(s) ever written?

[Kalia Kliban]

It's hard to single out any particular dance since so much depends on 
the music and the partners.  I could have a massively peak dance 
experience doing a completely generic dance if my partner and I were 
really in tune with each other and the room and if the band was cooking. 
 Likewise, the best dance in the world wouldn't be able to make up for 
a partner or line who weren't getting it, or a band that was struggling.


That being said, I'm paying a lot of attention to the dances folks are 
singling out here.  It's always good to hear recommendations.


So I can't speak to its objective perfection or lack thereof, but I had 
a fantastic time with Joel's In The Kitchen (Sue Rosen) at the Petaluma 
contra a few weeks back.  KGB was playing and I had an excellent partner 
(thanks, Dan!).  So that one's a standout for me at the moment.


Kalia

Re: [Callers] What is the best contra dance(s) ever written?

[Bree Kalb]

3 that I am thrilled to dance and also get lots of thanks from dancers when 
I call them are:


Chorus Jig
There Is No Way to Peace; Peace is the Way (Eric Hoffman)
The Devil's Backbone (William Watson)

Although they are not easy/simple dances, they all work well the 2nd half of 
the night here in Carrboro, NC IF it's not as crowded as our dances usually 
are.


I could name at least 1/2 dozen others, but will refrain.


-Original Message- 
From: Michael Fuerst

Sent: Thursday, November 29, 2012 10:19 PM
To: Caller's discussion list
Subject: [Callers] What is the best contra dance(s) ever written?

If you had to choose one or two or at most  three  ...

Michael Fuerst  802 N Broadway  Urbana IL 61801   217-239-5844
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Re: [Callers] What is the best contra dance(s) ever written?

[Robert Golder]

Traditional
1) Mony Musk
2) British Sorrow

Contemporary (or my idea of "contemporary")
1) King of the Keyboard, Ted Sannella, 1989
2) Flirtation Reel, Tony Parkes, 1985

Re: [Callers] What is the best contra dance(s) ever written?

[JohnFreem]

My all-around favorite to begin any dance has long been Don Armstrong's 
"Broken Sixpence". It moves a lot, introduces dancers to each other, is easy 
for beginners to comprehend, and would look familiar to square dancers. It's 
all about the fun!

John B. Freeman, SFTPOCTJ

Re: [Callers] What is the best contra dance(s) ever written?

[Joyce Miller]

My votes:

among "modern" contras: 3-33-33 by Steve Zakon-Anderson

of the chestnuts: Chorus Jig

Joyce Miller
Grass Valley, CA

On Nov 29, 2012, at 11:19 PM, Paul Wilde  wrote:

> Hey all,
> 
> Three of my favorite contemporary dances are:
> 
> To Have & to Hold  by Don Flaherty
> The Second Time Around (apologies, author temporarily slipped my mind)
> Bowl of Cherries  by Sue Rosen
> 
> Not intentional, but there isn't a balance in one of them.
> 
> warmest regards,
> Paul Wilde
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Re: [Callers] What is the best contra dance(s) ever written?

[Richard Mckeever]

I often feel the best one ever written is the one I am currently dancing

Mac





 From: Greg McKenzie <greken...@gmail.com>
To: Caller's discussion list <call...@sharedweight.net> 
Sent: Friday, November 30, 2012 8:49 AM
Subject: Re: [Callers] What is the best contra dance(s) ever written?
 
Alan asked:

"Best" for what purpose?
>

Thank you Alan.  This is the real question.  What is the purpose?

Maybe that is the only real question.

- Greg McKenzie
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Re: [Callers] What is the best contra dance(s) ever written?

[Greg McKenzie]

Alan asked:

"Best" for what purpose?
>

Thank you Alan.  This is the real question.  What is the purpose?

Maybe that is the only real question.

- Greg McKenzie

Re: [Callers] What is the best contra dance(s) ever written?

[Paul Wilde]

Hey all,

Three of my favorite contemporary dances are:

To Have & to Hold  by Don Flaherty
The Second Time Around (apologies, author temporarily slipped my mind)
Bowl of Cherries  by Sue Rosen

Not intentional, but there isn't a balance in one of them.

warmest regards,
Paul Wilde

[Callers] What is the best contra dance(s) ever written?

[Michael Fuerst]

If you had to choose one or two or at most  three  ...
 
Michael Fuerst      802 N Broadway      Urbana IL 61801   217-239-5844