into the rhythm of calling. In any case, it’s the sort of
distinctive figure that you don’t need to call very many times before people
remember it.
Louise.
—
Louise Siddons, dance caller
http://www.scissortail.org/siddons/
> On Jan 7, 2019, at 9:18 AM, Amy Wimmer via Callers
> wrote:
&
aces; N swing
B2 Long lines fwd & back; new N do-si-do
thanks,
Louise.
—
Louise Siddons, dance caller
http://www.scissortail.org/siddons/
lesidd...@gmail.com
650-804-9663
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I have a friend who danced for the pure joy of it until he got sick of being
asked why a black man wanted to contra dance. I dance with more, purer joy now
that fewer men “offer” to split me up from my girlfriend when we join a line
together.
I’d love everyone to dance for the pure joy of it,
I agree wholeheartedly with Jen, and appreciate her thoughtful response.
Donald makes the excellent point that history is the source of an ongoing
challenge (it’s not the present, and the values of any one historical moment
are not the same as those of another) for which language usefully
In Oklahoma, Sandy Knudson has been active maintaining (and encouraging the
rest of us contra callers to help maintain) a Google spreadsheet of dances in
the state (because our org is statewide and many of our dancers travel to other
cities for dances). It includes location, caller, dance name,
traveled so far. I
hope his memory can travel with it.
Louise Siddons
(Stillwater, OK)
> On Aug 16, 2017, at 3:31 PM, Gretchen Caldwell via Callers
> <callers@lists.sharedweight.net> wrote:
>
> Tulsa Tribute is a simple, lovely "contra waltz" that works well as a
&g
in Suffolk County would be good;
either of the Forks or Riverheadish would be great).
Thanks,
Louise Siddons
Temporarily of Cutchogue, NY! But usually from Stillwater, OK.
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Here in Oklahoma I call it a wagon-wheel grip, but I think I picked up that
term in either Michigan or California when I was starting to dance contra circa
2008. Wagon-wheel stars are the default in OK/TX/KS/MO local dances, and also
seem standard in the SF Bay Area.
When I teach a star in a
On Jan 3, 2013, at 4:04 AM, Alan Winston wrote:
> On 1/2/2013 10:07 AM, Louise Siddons wrote:
>>
>> And when you pile up a bunch of figures that involve a certain amount of
>> leading that tends to fall to one role more than the other, then you have a
>> danc
> (b) I don't like giving up control to someone else. (In Maia's terms, I like
> being 'in control' and 'taking care of' the other dancers.) I simply don't
> like ceding all agency, in general, and I have never relied on the gent role
> to tell me where I am going when contradancing. I can
I agree with Maia that there's a difference in "feel" between dancing the lead
role and the follow role; that's why women (in my experience) ask each other if
they have a preference when they dance together. Also the two roles do
different things in certain figures: any dance form that has a
I recently prepped Ted's Triplet #24 for a dance that I knew would be tiny, at
least at the beginning (Tulsa, OK). I chose it because after going through all
of Ted's Triplets in Zesty Contras, it was one of the only ones (the only one?)
that I felt confident the dancers would be able to
Hi all,
I'm calling a dance this Friday on a dock (over a reservoir). I anticipate
(fear?) the following problems: mostly new dancers (we're frequently 3/4 new or
new-ish); dancers having difficulty hearing me (although I will have a mic);
and a relatively rough dance surface (they hold Latin
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