While it's true that language is often not the problem, it's less relevant
to the discussion of what words to use as a caller than you might think.
Scenario A:
If we have to keep finding new ways to describe square dancing because it's
viewed as an activity only danced by weird old white people,
" Could someone please explain to me why the word gyp*** is considered a
racial slur. I note that the body that represents gyp***s in the USA calls
itself the Gypsy Council USA and in the UK it is the Gypsy Council. This is
the term they have chosen to represent their ethnicity and they seem to be
I keep a personal log on notecards. I put the date of the event and the
venue and any other information that might be helpful for me when going
back. Then I write out my intended program (in case I drop my ordered
cards). If I make a change to the program, I'll update the card with any
The rule for the end-effects on this one is surprisingly simple:
"If nobody gives you their hand, don't go anywhere."
The messiness usually comes from people feeling like they should be going
somewhere, similar to what happens with a diagonal chain or right & left
through. This is just different
contras much?
3 - Maybe they are confusing it with some other formation (sicilian, 4 face
4, squares, triplets, etc.)
--Ryan Smith
There's a band I work with on a pretty regular basis that usually follows
my lead, but will occasionally ask "For this set, can we choose when to go
out?" I trust them not to run it too long, and letting them choose when
they go out gives them a lot of control over the musical experience, which
"If you decide on a number of times through and actually count, you can
stick to that pretty well, but if you decide a running time, it is much
more difficult to stay on track of the time and warn the band three times
before you want to end, etc."
I couldn't disagree more. I have always used a
Oooh, ooh, A chance to get on one of my soapboxes.
A lot of dances are smooth or awkward depending on whether you're doing the
correct star. The basket/wrist-grip star moves very nicely into an
allemande (with neighbor or partner), but the hands-across star is a tad
clumsy. The opposite is
http://en.wikipedia.org/wiki/My_Sweet_Lord#Copyright_infringement_suit
There's actually some precedent for legal action against people who
accidentally copy your work.
This is exactly the sort of unproductive back and forth that sometimes
makes me sad to be subscribed to this list. I think we
If your list doesn't reject outside submissions then you're inviting spam.
Most lists tag their subject line in a useful manner. If you filter on
this tag instead of the To: field, BCCs shouldn't be an issue...if it is an
issue to begin with.
On Mon, Sep 9, 2013 at 6:01 PM, Sam Whited
Brief thoughts:
On the diagonal, it's also worth noting that if you're out, you have to be
attentive and know where you come in.
Spit out temporarily - Wizard's Walk is the only move I can think of where
I find Ghosts vs. treating the dance as a circle or just waiting out for a
few counts to be
Choreography and a video of me calling Beneficial Tradition is here:
http://dancevideos.childgrove.org/contra/contra-modern/245-beneficial-tradition
I've found the best way to keep people oriented during "the zipper" is to
have them keep hands for the previous pull-by while they figure out who
Out of a post-swing position (Man on Left, Lady on Right) the man's partner
can give weight and assistance for him to go into an allemande Left,
similarly the ladies partner can help her into an allemande Right. That's
not really true for the Man doing an Allemande R or the lady doing an
My primary goals when I lead a beginners workshop are really (in order):
1 - get them moving
2 - get them following directions
As a result, I give style pointers, but I'm less concerned with getting
everything exactly right and way more concerned with keeping everyone
moving. I tend to cover the
"What works well is if the more experienced dancer takes the less
familiar position. Just position your hands to indicate that you're
ok taking the less customary role, and if the other person is faster
to do so, go with that instead."
Jeff
I'd like to look at this issue as a caller, rather
of any of the dances, but it has been called in Ohio and Kentucky
a few times, and was always well received.
*Potter's Promenade by Ryan Smith (Becket - Double Progression - Waltz Time)
*
A1 Men pass left to start half a hey for two - ladies stay put (12); With
neighbor promenade across (12)
A2
It seems to me that because we've misidentified the problem, we've gone on
to misidentify the solution.
The problem is not gender imbalance. The problem is people who want to
dance who are instead sitting out.
The solution is not gender bending. The solution is asking people who sat
out the
And then there are dances where you progress out and then back in.
I always give the band at least 2 and out (which is what most bands
request). I'm actually in the habit of giving 3, 2, 1, just to give them
more warning if there's some sort of flourish they wanted to perform that
they haven't
I'm calling a dance tomorrow. Being so close to April Fools day, I'm
planning just a tiny bit of foolishness. There's a dance, it may be called
Trick Or Treat, where the hook is a 16-count segment where the dancers are
encouraged to call some action of their own, so long as they end up back
Long time listener, first-time caller.
Bad puns aside, one of my favorite dances for a half-hey is:
Pride of Charlottesville by Seth Tepfer
http://www.dancerhapsody.com/Calling/Dances.html#PrideCville
The dance has good flow without being dizzying. The dance is easy to call,
simple for
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