Re: [Callers] Waltz-Time Contra Choreography

[Alan Winston via Callers]

Dugan --

Over in English-country-dance land there are a zillion longways duple 
minor waltz-time dances.  Some of them have contra figures.


Gary Roodman's "Winter Dreams Waltz" to Jonathan Jensen's tune starts 
off with a leisurely unassisted 1s cast down and face up while 2s lead 
up and face down which will require a demonstration, but after that it's 
mirror gypsy, pass through across, courtesy turn, left -had-star, long 
lines fall back/come forward, circle left 1x,square-thru 2 (no 
balances), partner two-hand-turn once round, whch should all be pretty 
accessible for contra dancers, and it's a gorgeous dance.  (There's a 
couple of videos up of it which each show people who don't have hold of 
it yet.)


I wrote this one which has English figures that have already infiltrated 
contra dance (poussette, dolphin hey); even though it's not standard 
contra figures (and the right hand turn halfway isn't an allemande) I 
think contra dancers will like it.



MOVEMENT AFOOT
Alan Winston - thought of it at AmWeek, Jul 3, 2013
longways duple minor
Tune: "Steciaks" in waltz book II, by Larry Unger

A1: 1-2: Men set forward to women (boureeish, stamping optional)
3-4: Men fall back as women come forward
5-6: All turn single R
7-8: All RH turn halfway

A2: As above, with women leading.  Keep right hands ...

B1: 1-4: ... take left hands as well  for Clockwise half poussette 
(progressed)

5-8: contra-style Mad Robin (W1 and M2 through the middle first)

B2: 1-8: 1s acting as a unit, dolphin hey for three
 (M1 turns round coming out of the mad robin to give Left shoulder
 to M2, W1 takes the lead, giving right to M2 on the other side,
 M1 takes the lead to arrive progressed and proper.)


NOTE: Alan is agreeable to couple-dance style variations in the 
half-poussette,

and in general hopes for a spirit of flirtatious play.

Here's a video into which I had no input, where some of the dancers have 
the spirit.  (They don't seem to understand that in A1 1-2 the women 
should stand their ground rather than falling back, but it's an 
acceptable variation.)



-- Alan

On 8/8/17 11:02 AM, Dugan Murphy via Callers wrote:
Do you have a favorite contra dance written to fit a waltz tune?  I 
danced one once many years ago and haven't thought much about it 
since, though it was pretty special.


Thank you in advance for sharing some choreography!

Dugan Murphy
Portland, Maine
dugan at duganmurphy.com 
www.DuganMurphy.com 
www.PortlandIntownContraDance.com 


www.NufSed.consulting 


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Re: [Callers] terminology in Sicilian Circle

[Alan Winston via Callers]

In the 1980s in the SF Bay Area at English dances (which was where I saw 
Sicilian Circles regularly) "opposite" was the term generally used.  
Nowadays if I call an evening of longways dances and include one 
Sicilian, if I say "opposite" I get a lot of blank looks, so I say 
'neighbor' and the problem goes away.


"Opposite" seems like a self-descriptive term but if it's not getting 
used elsewhere in the evening it's a speed bump.


-- Alan


On 9/20/17 6:18 AM, Sue C. Hulsether via Callers wrote:
Does anyone have an opinion about the use of the term “neighbor”  and 
the term “opposite” in a Sicilian Circle?
“Neighbor” is more correct from a contra perspective, but “opposite" 
feels more correct to me from a square dance perspective.


thanks,

sue





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608-632-1267  Cell
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Re: [Callers] Dances for Novice Crowds

[Alan Winston via Callers]

On 5/19/15 1:08 PM, Ben Hornstein via Callers wrote:

Hi All,

I'm calling a dance this weekend at Comicpalooza, a large comic book 
convention. The crowd will be at least 95% people who have never 
danced. What are some dances that you all recommend for this sort of 
crowd?


-Ben




If you're in a hotel ballroom, try to keep them from laying down a tiny 
dance floor in the middle of your space.  Short-pile ballroom carpet is 
a lot better than mostly-short-pile-ballroom-carpet with a wooden lump 
with raised edges in the middle. Dancers hate dancing on carpet; 
non-dancers don't care.  They're going to have the wrong shoes in any case.


Give up on any idea of doing modern contra dances with duple minor 
progression.  Things are different form when I first got involved with 
sf fandom, but I'm imagining you'll likely have a gender imbalance.  
Don't require or try to teach ballroom swings; elbow turns or two-hand 
turns are probably good.


These will typically be very in-their-heads people; you want to 
circumvent that at first by getting them moving right away, and not 
having to do any language processing.  Make them successful immediately.


Get one long line of people holding hands, you at one end.  Lead the 
line snaking around the room, doubling back sometimes so that everybody 
sees everybody.   Wind up the ball of twine by bringing the line into a 
circle and then doing progressively smaller circles until just before 
you can't turn around.  Turn around and trace your path back.  Bring the 
line around into a big circle, with you next to the person at the end of 
the line.  Bring them into the center and back on out, do it again with 
a great big shout.  Applause.


(If you have adequate gender balance or willing people, you could pair 
them up and do a Grand March instead of the "wind up the ball of twine" 
you have above, and if you're leading a Grand March you can turn it into 
a wind-up-the-ball-of-twine as well.  The thing above is great for 
getting hold of people too shy to find partners, and there's no partner 
stuff so even people who don't want to dance with the same sex don't 
generally freak out.)


If you have partners, do Circassian Circle mixer (Into the center and 
out twice, ladies in and out, gents in and go to the lady who was on 
their other side (next neighbor); balance and swing (can be two-hand 
turn, elbow swing, whatever) and promenade.  Reform the ring, repeat) or 
La Bastringue (Into the center and out twice, circle left, circle right, 
swing the next lady/gent, promenade).


Squish the circle into two facing lines.  (If there's an extra person, 
step out, if you're needed make sure you're in at the top.)


Orcadian Strip the Willow (google it).  Top couple elbow turn right one 
and a half, left elbow turn the neighbor in line, turn partner once, 
left elbow turn the next neighbor, etc, etc.  A new couple starts every 
16 bars of music or when they have enough running room to do it.


Break up into smaller sets (four or five couples).  Virginia Reel/Roger 
de Coverley.


Another good five-couple set dance is "Up the Sides and Down the 
Middle", but don't do it as your first small set dance. - Take hands in 
lines, step-swing balance  right and left and right and left, drop 
hands, cross right should with partner and loop to make lines on the 
other sides. Repeat all that to return.  Tops make an arch and lead down 
the middle while second couples cast off, leading their lines down the 
outside; they meet and lead up the middle under the arch, finishing with 
original tops at the bottom, original seconds at the tops.  Swing to the 
end of the phrase and repeat from new places.


By this time everybody who isn't aerobically fit is resting.  Make 
squares for Cumberland Squares / Square 8.


By now there should be some understanding of phrasing, especially if 
you've been pointing out how figures fit to the music.


If you still have enough people and they are are reasonably gender 
assorted you could do a Sicilian Circle.  If you have gender balance, 
Spanish Waltz is good.  (Couple facing couple, gent on the left, waltz 
time.  Take near hand with partner.  That hand (gent's left, ladies 
right) is the only hand used for the first sixteen bars.
Balance forward and back; take neighbor's only hand with your only hand 
and change places, turning the lady under.  Face partner, repeat with 
partner.  Face neighbor, repeat with neighbor.  Face partner, repeat 
with partner, all are home.  Right hand star, left hands back.  Facing 
neighbors, lead forward, fall back, drop hands, pass through, bow or 
curtsey to next neighbors.  Repeat with new neighbors.)


-- Alan

Re: [Callers] Thanks

[Alan Winston via Callers]

On 7/9/15 11:58 PM, Claire Takemori via Callers wrote:


I'm still looking for good instructions on when to cue the band for the ending? 
  Is it simply when a couple is out at the top that you signal during B1 that 
there are 3 more times left?

Basically, mostly.

And you have to stay with them because sometimes they'll catch the 3, 
know it's happening, and then look to you for confirmation of the last 
one and if you're thinking about the next dance or glazing over and 
can't confirm it, confusion may ensue.  So it doesn't hurt to be ready 
to show them 1 finger (not that one) before the last time. Usually a 
full 3-2-1 is more than they need and actually unhelpful because your 
coming over with the "2" makes them think this is new information and 
they need to process it.



Complications:  Some dances have a couple out at the top in B1 who are 
going to be brought back in B2, so you have to know the end effects of 
the dance.


Talk to the band.

Rarely (in the Bay Area, anyway) you get an old-timey band that's just 
going to pound one tune all the way through, and they just want to know 
when to go out.


I've mostly been used to bands that are playing three-tune medleys. 
They're going to play like 6-6-7 or 6-6-5.  The last tune is probably 
climactic so you don't want to cut it short.  You ideally will keep 
track of which tune they're on (which can be surprisingly hard to do 
from the stage with your attention on the floor and no monitors pointing 
at you and the tune sounding different every time they play it because 
of variations and dynamics - you might not realize they've changed)  and 
know when they're in the third tune and give them the 3-more at B1 of 
tune 2 or 4.If you give 'em 3 when they're about to change tunes 
they might wave you off and play 5.


But the band might want to play a two-tune medley, and then they want to 
know when you're (about) halfway through the dance so they know when to 
switch, and for that you have to decide how many times you want to run 
the dance, keep count of how many times it's been run by the time you 
said it was halfway, and count down to your "3", remembering to do it 
when there's a couple out at the top, if that's possible.


"If that's possible" because sometimes you're trying to manage all this 
and some couple drops out of one set or tries and fails to trade or some 
other damn thing and the sets get out of synch.  (For some reason that's 
happened to me most often calling Lake City.) Then it's not possible to 
finish after a couple has come in at the top in all sets.


People who care about that care about that,  most won't notice, and a 
lot of dancers will just say "huh" and move on if they do notice it.


  
  
What I was mostly curious is if someone had written out ways to teach the various steps.  I guess this is one of those things that is still passed down the old-fashioned way.  I have to find a great caller, listen to them call and write down what they say.  I was hoping I would not have to miss out on dancing to learn this.


You can set up a voice recorder and transcribe later.  (Polite to ask if 
it's okay first.)  If you're friends with the sound man you might the 
caller mic feed ...


-- Alan

Re: [Callers] Amy dances

[Alan Winston via Callers]

Amy's Harmonium, by Cary Ravitz.  (Just called that in Petaluma, to good 
effect.)

http://www.dance.ravitz.us/#ah


Amy Asked for a Gypsy  (which I must have gotten off this mailing list 
at some point):



Amy Asked for a Gypsy
by Unknown
Contra/Becket-CCW

Form:BK Figs: WC,WAR1.5;PGCL.75,NS;MAL1.5,STARP,SlideL;

A1 ---
(8) Ladies chain (to N)
(8) Ladies allemande Right 1-1/2

A2 ---
(16) Partner gypsy and swing

B1 ---
(8) Circle Left 3/4
(10) Neighbor swing

B2 ---
(8) Gents allemande Left 1-1/2 (pick up Partner)
(6,2) Star promenade / slide right to face new couple

-- Alan

On 9/8/15 10:08 PM, Andrea Nettleton via Callers wrote:

Hi friends,
I'm calling at my home dance this weekend, and my good friend Amy let me know 
it's her birthday.  I want to call some dances with Amy in the title to honor 
her.  Could you please share any Amy titled dances with me?  Include 
instructions if you have them, so I don't have to hunt around.
Amy and I thank you,
Andrea N.
Atlanta


Sent from my iPad
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Re: [Callers] Problem dancers / Crying Wolf

[Alan Winston via Callers]

Here's the thing:

 - There really is harassment, creepy behavior, etc.
 - There really are cases where third parties see those  things and 
they aren't actually there in the eyes of the perceived victim


 So organizers have to keep their eyes open and review things on a case 
by case basis.  Because one organizer has seen unjustified third-party 
charges of harrassment doesn't mean this particular case is one of 
those; because another organizer can multiply real examples of 
unacceptable behavior doesn't mean this particular case is one of them.


It doesn't, in my view, help discourse to tell people who have real 
experiences on one side or the other of that that they're not taking the 
situation seriously enough / taking the situation too seriously and, 
implicitly, that your experiences trump their experiences.


-- Alan



On 9/9/15 1:44 PM, Ron Blechner via Callers wrote:


Harassment is real. It's widespread, and pretending it isn't hurts 
people and keeps people away from our dances.


Things I have personally witnessed, and when subsequently asked the 
dancer whether anything was unusual, they confirmed:


One dancer has a habit of grabbing hip *just* at the butt-line. One of 
the young women was 15.


Another dancer intentionally threw a quarter on the ground in front of 
a young 20-something lady. I watched in horror as she bent over and 
picked it up as he leered.


One dancer did a frontways dip to a 20-something lady which included 
torso-torso frontal contact. No permission was asked.


Another dancer came in drunk / high and was dancing wild.

Another dancer has a habit of intentionally shoulder-checked men who 
have called him out on his creepiness.


Another dancer was swinging way too close. Turns out he was following 
a minor around and asking completely inappropriate questions.


And I have more of these stories. Seriously, the list goes on and on.

I've been dancing far fewer years than many on this list, and danced 
at many different dances - this isn't limited to one dance community. 
And these are just the stories I've verified.

So are all of your eyes closed?

So... Yeah. I absolutely think that we should keep our eyes open. I 
think we should calmly and privately inquire when we think we see 
inappropriate behavior. We should be absolutely receptive that 
sometimes behavior is seen and a victim is too afraid to step forward 
on their own.


And we should stop with such flippant and potentially dangerous 
phrases like "crying wolf" or that people need to just grow up and 
"act like an adult" because bad stuff happens.


On Sep 9, 2015 4:04 PM, "Martha Wild via Callers" 
> wrote:


Yeah, we had a guy at one dance complain bitterly that other men
were being creepy with his girlfriend. But when I spoke with her,
she said there was no problem, they'd done no more than gypsy and
swing her and occasionally speak to her with advice on the dance.
The more I spoke with the two of them the more I wanted to yell at
the woman - run fast, very fast, as far away from this control
freak as you can But I suppose it was not my place to warn her
right in front of him. No surprise they never returned.

Martha


On Sep 9, 2015, at 7:39 AM, Lindsay Morris via Callers wrote:


Appreciate that.  Don't think the "where there's smoke there's
fire" issue applies here, though.  It would if there were several
*different* women complaining about one man...


Lindsay Morris
CEO, TSMworks
Tel. 1-859-539-9900 
lind...@tsmworks.com 

On Wed, Sep 9, 2015 at 10:34 AM, Ron Blechner
> wrote:

Hi Lindsay,

I realize this is a tricky topic, so apologies in advance if
my brevity comes off as bruskness.

These two suggestions work for Amherst Contra.

As a proxy complaint comes in, a board member would seek out
the source. Anonymous complaints are permitted, and a high
level of ensuring that we ask open-ended questions, and not
leading questions.

We also wear board member buttons at dances and make regular
announcements about us being available for any reason.
Usually 4-7 members of our board attend any dance.

You might speak privately to Will Loving, our lead organizer,
if you're interested in more specifics.

I would also caution about making such definitive statements
as "just an accusation". In my experience, where there's
smoke, there's fire. For every accusation, there's five
people who are too uncomfortable to speak up.

That said, I have seen the success of proactive addressing of
issues. The biggest benefit is simple:

Address it early when it's small, and not a huge deal. Maybe
it's a 

Re: [Callers] other descriptive titles for ONS's

[Alan Winston via Callers]

Depends on what kind of thing it is, but:

Community Dance
Family Dance
No-experience-needed dance
Dance for Everybody
Community Dance Party

(And although I don't advocate it, a bunch of people in the world seem 
to think "Square Dance" means this.)


-- Alan

On 9/22/15 12:52 PM, Hulsether Sue via Callers wrote:

Greetings all,

I know this has been discussed before, but I am gathering a list of 
descriptive titles for
one-night-stand dances.  Especially looking titles that work in 
describing in a way that would be acceptable and understandable to the 
people organizing these events.  (i.e. Do they really want their event 
to be called a one night stand? )


Here's a start:
One-shot-deal
Barn Dances
Special Event dances
One-off.

Anyone have any more?

sue




/*Sue Hulsether*/
shulset...@mac.com 

www.suehulsether.com 
608-632-1267  Cell
608-629-6250  Home
P.O. Box 363
Viroqua, WI 54665







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Re: [Callers] Advice about "gypsy"

[Alan Winston via Callers]

On 10/24/15 12:12 AM, Amy Wimmer via Callers wrote:

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?



I think apologizing for unintentionally offending is good but I don't 
think you have to take on all of what your correspondent is offended over.


Your correspondent made up the idea that it's so named because of the 
idea that Romani women are oversexualized.


 Here's my take on this:

- the use of the term "Gypsy" is inherently offensive to some of the 
people to whom it refers in just the way the use of the term "Indian" is 
inherently offensive to some Native Americans.  It's a name they don't 
accept (a) because it incorrectly ascribes an incorrect geographical 
origin to them (Egyptian for Gypsies, India (well, East Indies) for 
Indians) and (b) was assigned to them by outsiders and became the terms 
used for them by people who wanted to move them along / kill them.   
(Although the term the Nazis used, Zigeuner, derives from a Greek root 
meaning "untouchable" rather than "Egyptian", according to the US 
Holocaust Museum website.)


- The term "Indian File" for walking in a line, one after another, 
doesn't suggest anything particularly derogatory about Native Americans; 
I think it's an observation or speculation that the way East Coast 
(forest-dwelling) indigenous people walked through forests on minimal 
trails was in single file.  We can point out that white society thinks 
there are many admirable things about native peoples - the whole "Indian 
Guides" thing shows that - and that the use of the world "Indian" in 
that isn't intended to be offensive, etc, etc, and yet the obviously 
right thing to do was to start saying "single file" instead, because the 
benefits of not pointlessly offending people vastly outweighed the 
benefits of continuing to use a non-descriptive term.  It's virtually 
never effective and rarely kind to tell people they shouldn't be offended.


- By me, the same logic suggests that we should stop calling the figure 
gypsy.  We can go at length into why it's not named after Gypsies, why 
"Gypsy" is a superset name that includes Rom and other traveling people, 
some of whom don't mind it, the use of gypsy to mean "traveler" (from 
which dance gypsy, Gypsy moth, etc, derive), the admiring use of gypsy 
to mean free spirit ("gypsy in my soul"), etc, but none of that actually 
matters in this context.  What actual benefit do we derive from calling 
it "gypsy", other than the sunk cost of having a community of people who 
know it by that name?  It's not descriptive.  (It is evocative and we 
have a bunch of dances with "gypsy" in the name; not sure what to do 
about those.)


(I had been thinking that it would be very difficult to get a universal 
change of name for the figure in the absence of a Callerlab for Contra, 
but Yoyo's post (where he says he'll  just drop the name and prompt by 
which shoulder you go around) opened my eyes to the possibility of 
effective individual action by callers; you don't need universal 
agreement on a new name.  That does open the door to a dancer on the 
floor saying "you mean gypsy?" but I guess you can say "that name is 
offensive to some people".)  I'm going to have to think more about this 
for my own practice as an English and a contra caller.


- I'm personally interested in the history of things and how they got 
their names, and I'm convinced that gypsy in contra was picked up from 
gypsy in English which was picked up from "whole-gyp" and "half-gyp" in 
Morris and that there's not necessarily any relationship of the name to 
any group of people in origin, and I do not believe that in  naming the 
figure anybody was saying anything about the stereotypical 
characteristics of any people.  I really, with all the intellectual 
honesty I have available, don't believe that.  (And I've heard different 
stereotypical characteristics assumed to be the origin - sexuality, 
untrustworthiness, tendency to do non-touching dances, so I think these 
are all just-so stories, ex post facto rationalizations.)  I don't think 
this blameless origin is a reason to keep the name, and I know it's 
absolutely ineffective to point out the blameless origin to somebody 
who's offended.


That's the end of my argument, but I have more thoughts.

- This is different from people who are offended by callers who 
sexualize the figure, which they could do whatever it's called.  I don't 
mind gypsy meltdowns, but  I find "until you just can't stand it 
anymore" kinda tedious; let's just walk 

Re: [Callers] Advice about "gypsy"

[Alan Winston via Callers]

On 10/26/15 7:36 AM, Colin Hume via Callers wrote:

Well, now we've moved on from political correctness to dance interpretation 
(reconstruction) I have some interest in the matter.

On Mon, 26 Oct 2015 01:40:18 -0700, Alan Winston via Callers wrote:

�Basically, Cecil Sharp made up *and named* the Gypsy figure.

Are you sure he didn't get it from the Morris dancers he collected the dances 
from?

I always enjoy it when somebody says: "I'm comprehensively wrong but my 
point still stands."  So, I'm comprehensively wrong:


- Sharp didn't use the term gypsy in the Country Dance Books, and now I 
don't even know how we started using it as a country dance figure name.


- I didn't know morris dancers used "gypsy" rather than "gyp", as you 
say on the web page.  (This isn't even evidence, really, but in my 20+ 
years dancing morris in the US I never heard "gypsy" rather than "gyp" 
or "gip".)  (In my long screed earlier, I did say that I thought Sharp 
(or whoever) probably got it from morris.)


But my point still stands:

Defining "gypsy" as a country dance figure is an act of imagination or 
creation.  (That's what I meant by "made up".)  Unless you can present a 
historical country dance source that uses the figure by name, there's no 
reason to think that the figure was called that, or that the figure name 
was in common use, which makes it a considerable stretch that it 
contemporaneously picked up the name from the Spanish Jeepsie dance, and 
that would seem to make it vanishingly unlikely that morris dancers 
picked up the name from country dancing.




�In Spanish Jeepsie - reconstructed at the link you have above- the
�figure isn't a gypsy, and it isn't called a gypsy. �It's a back to
�back.

That's their interpretation, but I'm not sure it's correct.

I've been working on a web page about this figure, and the discussion has 
inspired me to do more to it.  See what you think.

http://colinhume.com/degipsy.htm

Interesting, as always.  (I did acknowledge in my long screed that there 
were multiple interpretations of the text that's being considered to be 
a gypsy.)


-- Alan

Re: [Callers] Gypsy Synopsis

[Alan Winston via Callers]

On 10/29/15 2:45 AM, Jeff Kaufman via Callers wrote:


On Oct 29, 2015 4:24 AM, "Erik Hoffman via Callers" 
> wrote:

>
>
> No Hand Allemande (and I do think Allemande comes from "The 
German," a dance)

>

I wonder what we'll do if we discover that to some Germans the French 
term "Allemande" is derogatory and they prefer to be called "Deutsche".



Given that "allemande" is an incredibly-overloaded term in different 
dance genres - it's a progressive figure for two or three couples in 
Scottish dancing; it's a kind of 1700s couple dance; it's a 
pretzel-armed turn in cotillions, it's a 
not-100%-clearly-understood-thing-with-a-circular-track in Regency-era 
longways dances, it's an elbow turn, it's a hand turn - it wouldn't ruin 
my life if we started saying "hand turn" instead of "allemande".


Just sayin'.   (Although I would miss "allemande left with your left 
hand, walk right in to a right and left grand" and the allemande alphabet.)


-- Alan

Re: [Callers] As in Petronella

[Alan Winston via Callers]

I use "Mad Robin" because that's what people use around here, but I 
kinda like "sliding doors" for the figure.


-- Alan

On 12/15/15 10:20 PM, Michael Fuerst via Callers wrote:
Movements are best described with the minimal syllables possible with 
minimal  jargon.


"Mad Robin" became part of contra in the last ten years or so.   
Unless someone comes up with more succinct and descriptive words, we 
are probably stuck with "Mad Robin"
Actually now that I think about it, one could describe the Mad Robin 
action as "side gypsy"


"California twirl"  predates my 1985 introduction to contra. One 
could say "twirl to swap," but that is not any more helpful for new 
dancers.  California twirl is here to stay.


Concerning "petromella"  when I started contra dancing, callers 
teaching a dance, would almost always say something like "balance and 
shift one place and spin if you wish as in Petromella"  and would 
prompt during the dance with "balance and spin" or "balance and 
shift."In the mid '80's we actually danced "Petronella" often 
enough so that most dancers knew from where it came.Only in the 
past ten years has some callers started calling the move Petronella.   
  I will always teach and prompt this without reference to 
"Petronella" and avoid the unnecessary jargon


There is no compelling reason to stop using gypsy.
Michael Fuerst  802 N Broadway  Urbana IL 61801  217 239 5844
Links to photos of many of my drawings and paintings are at 
www.ArtComesFuerst.com




On Tuesday, December 15, 2015 8:54 PM, Aahz Maruch via Callers 
 wrote:



On Tue, Dec 15, 2015, Michael Fuerst via Callers wrote:
>
> "Balance and spin" has the same number of syllables as "Petronella"
> and avoids unnecessary jargon

Of course, some of us think that unless there's a compelling reason (as
possibly in the case of "gypsy"), keeping the old terminology is part of
the charm of folk dancing (in the generic sense, as opposed to IFD).

Should we also get rid of "California Twirl" and "Mad Robin"?
--
Hugs and backrubs -- I break Rule 6 http://rule6.info/
  <*>  <*> <*>
Help a hearing-impaired person: http://rule6.info/hearing.html

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Re: [Callers] As in Petronella

[Alan Winston via Callers]

Martha --

I believe "Double Mad Robin" in ECD is a reimportation from contra of 
the contra-style Mad Robin.


-- Alan

On 12/17/15 7:42 AM, Martha Wild via Callers wrote:

Hear, hear, John. I agree with you. I’ve heard this move called "petronella turn" at 
least since the late 80s and, as you do, just call it as such, and teach where necessary, without a 
reference to the original dance. Why bother? Most dancers don’t know the original dance - now if I 
were teaching the original dance I might say this is where this move came from, but otherwise that 
information is just unnecessary verbiage that no one is listening to and doesn’t help in the 
teaching. If I were calling a medley without teaching, saying "petronella turn" would get 
the job done as that’s what the dancers here all know, and balance and spin would confuse utterly, 
for the reasons you  mentioned. What is wrong with using “mad robin” and “petronella”? It’s not as 
if we have 200 different calls people need to know to do contra - these have been in use regularly 
for many years now and I don’t quite understand what the fuss is all about.

Also, as for “mad robin” not being the same as the ECD version - well, yes and 
no. What we do is “double mad robin” and that does exist in ECD, though I’m not 
sure how old the usage is. Contra just doesn’t use the single version, so I 
suppose we dropped the “double” designation.
Martha



On Dec 17, 2015, at 2:29 AM, John Sweeney via Callers 
 wrote:

Michael Fuerst wrote, "'Balance and spin' has the same number of syllables
as 'Petronella' and avoids unnecessary jargon"

Hmmm... well if someone says "Petronella" I know that I am balancing forward
and back and then spinning clockwise while moving one place to my right to
the place of the person who was holding my right hand.

If the caller just says "Balance & Spin" then I don't know which direction
to balance, which way to turn or which way to move (if indeed I move at
all).  Set & Turn Single has basically the same meaning as Balance & Spin
but means something completely different.

I never say "as in Petronella".  The move is well enough established in
contra dance that all I have to do is say, "Petronella" and it happens.  If
there are new dancers I teach them the move, call it a Petronella, and
everything works fine from then on.

And we have been clapping for fun in dances for over 400 years now so don't
expect people not to do it! :-)

Our dancing couldn't survive without jargon.  Star. Ladies' Chain,
Allemande, Dosido are all jargon.  Would you try calling a contra dance
without using any of those words?

But none of those words are well defined.  Star can mean wrist-lock or
hands-across depending on the next move.  Ladies' Chain can mean across, or
across and back depending on which century you are in.  Allemande means
completely different things in other dance styles. And Dosido could be a
Mountain Dosido, a Do Paso, an Alabama Rang Tang or a Docey Ding if you are
in a different part of America a century ago.

I was dancing with another Morris side recently and #1 (the "caller") called
"Allemande".  I had never heard that term used in Morris before so I started
to offer my right hand, but the guy opposite me started doing a Back to Back
around me.  That is what #1 meant by "Allemande".  I thought this very
strange until I was researching "Captain Macintosh" and found Thomas
Wilson's 1820 book "The Complete System of English Country Dancing" which
defined "Allemande" as "Back to Back"!

Every dancing master in every community in every style in every period in
every country uses the words to mean what they want them to mean.  But they
teach their dancers what they mean and then it works.  Some calls get
standardised and are easy to use across communities.  Others take time to
settle down and may never be universally used.  But if jargon allows a group
of dancers to have fun at any particular dance then I am all for it!

Whether complete standardisation is a good thing or a bad thing is another
matter entirely; we all have our own opinions about MWSD :-)

Happy dancing,
John

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

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Re: [Callers] Family dances for 3-9 people?

[Alan Winston via Callers]

This has worked for me:

3 or 4 couples longways.  Try to get talls and smalls mixed in each line 
but partners are across from each other.



A1 1-4 Lines go forward and back.
 5-8 Link arms in line and as a unit, pass left shoulder (bottom 
person in one line, top in the other)  and wheel around to face in in 
the other line's place.


A2 repeat to home

B1 Top couple freestyle their way down the middle and back - tell em 
they can dance together any way they want - and peel off to the bottom


B2: Everyone else steps up and swings their partner.

There's enough flex in B2 to make up for any confusion in B1.  I've done 
this for slightly-drunk Civil War reenactors and for 
mostly-11-year-olds.  I designed it for three-face-three but it works 
with four face four.


Feel free to change B1 to two-hand turn and cast off, or lace-the-boot 
to the bottom.


You need to run it at least twice because people want another chance at 
the showoffy part.


I don't have a title for this but I made it up (because I needed 
something right then) at a Firefly-themed birthday party a week after 
being inspired by Susan Michaels's brief family dance seminar at Queer 
Contra weekend, so I could call it "Firefly Jig", "Susan's Reel".  I 
swiped the forward and back and march and wheel from a three-face-three 
Sicilian called "Three Meet" so there might be a name choice there.


This one probably needs 11-year-old or older, and a band that can play 
"Sellenger's Round".

$DISK9:[WINSTON.TEXT.DANCES.APW]SELLENGERS_WHEEL.TXT;2

SELLENGER'S WHEEL
Alan Winston, 11/16/2003
cut-down version of Sellenger's Round for 3-7 people, no partners needed.
Formation: circle of people facing in
Tune in Barnes, 5x.

I:
A:  Slipping circle (*really* slipping)  left and back to the right.

B:  Chorus (same each time).
Set forward right and left
fall back straight
still facing in, set right and left
turn single
Repeat

II:

A:  Lead into the center and back
Repeat

B: As above

III:

A: right hand star (contra style wrist grip keeps you from having a mess)
   left hands back

B: As above


IV:

A: Basket left and _keep going_, not back to the right.

B: As above

(Finish with slipping circle again, but if you're repeating don't do 
slipping

circle twice in a row - it's lame).



Hope this helps!

-- Alan




On 2/18/16 10:52 PM, Claire Takemori via Callers wrote:

Hi Everyone,
In preparation for calling my first family dance on March 6, I’d like to find 
some family-friendly dances that are for very small groups, like 3-9 people.
Ideally NOT proper triplets, or 3x3s (already have a few of those) and NO 
gender roles.

I’ve got a good collection of simple dances for 10++ people, circles, lines, 
etc.
I’m preparing for a crowd of up to 100 but if it dwindles down to 1-2 families 
or starts slow, I’d like something for small groups too.

Thanks!
Claire Takemori

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Re: [Callers] Best gigs

[Alan Winston via Callers]

I would like to associate myself with Rich's sentiments here:
On 3/3/16 10:28 AM, Rich Sbardella via Callers wrote:
Although I have had many good nights as a square dance and/or contra 
dance caller, My best gigs are often one night stands/party dances.  
It is a thrill to see non dancers learn to move with the phtrase of 
music and see those great smiles when they succeed.  40-100 people are 
a good size for such a gig, and great music is always a plus.  Success 
is much more important than challenge.


Most of these parties are for a "community" that is already 
established, so the dancers are already among friends.  I am simply 
bringing them a new, and joyful, way to interact.


No matter what kind of venue I call, a good way for me to judge a good 
dance is to look at how many dancers stick around to the end.


Rich Sbardella
Stafford, CT

The kind of gig that makes me feel like I'm bringing new good into the 
world is this kind of gig, which for me is usually more often people 
with some kind of historical interest (Civil War, Regency, academics at 
the Dickens Universe conference).  Get people who think they can't dance 
to try it and enjoy it - I feel like that's fulfilling my mission.


That's sometimes hard work - and in some ways easy, because you don't 
have to make up a new program for every gig - and it requires close 
engagement with the crowd and continual attention, but is' quite rewarding.


On an entirely different front, I've had some pretty great nights 
leading English with great bands whose strengths I know when I make the 
program / pick the tunes and when I know what level the dancers will be 
at and push them just enough; there's a huge collective high and I've 
also gotten to deploy all my artistic judgment and make an evening 
that's just how I wanted it - I had the fun of planning a menu with an 
intention to delight and watching the meal get eaten.


I've also really enjoyed leading contras for mixed crowds where the more 
experienced dancers were good at sweeping in the newcomers. Doing that 
kind of a night where the music's good and communication with the band 
is easy and my read of the floor is really working - it kind of feels 
like Mickey Mouse in "Sorceror's Apprentice" before he realizes he 
doesn't know how to stop the brooms from carrying water, during the 
early euphoria.


But those things - dances for dance hobbyists - while I think valuable, 
are mostly helping people have a kind of fun they already know they want 
to have.  They're fun to do and fun to plan, but I don't think they're 
as big a contribution to general happiness as the dances for non-dancers.


-- Alan

Re: [Callers] Rates for private events (weddings etc)?

[Alan Winston via Callers]

First off, you're not charging for the number of minutes of dancing.  
You're charging for your experience, expertise, and skill, showing up on 
time and being ready to do it, waiting around as necessary, traveling if 
needed, being mellow if (when) things go over and your time is cut, etc.


What are you being asked to deliver for your fee?  Are they booking 
their own band and arranging their own sound?


For the wedding dance I just did in Berkeley - probably a comparable 
market to NYC - they provided sound, I organized a band for them, each 
band member and I were promised $300 for playing for the dance (and then 
a more for playing in the ceremony and some incidental music).  They 
actually paid me more than the agreed-upon amount, so I don't think they 
thought I was gouging.,


For a friend's wedding I might work free.

If you want to be paid appropriately, state your price and don't waver.  
If you want to get the gig regardless, ask them their budget and quote 
less than that.


When asked to arrange musicians I make it clear that I can't quote 
before I know who's available but state a range ($1000-$1500) and I also 
ask their budget and then adjust the number of musicians (two good ones 
is fine, three better) so we all get paid enough within their budget.


-- Alan

On 3/26/16 11:13 AM, Maia McCormick via Callers wrote:

Hey folks,

I've just been asked to call a wedding, and I don't have a good idea 
for what the going rate for these things is. What do you all charge 
for a wedding (say, 30 mins-an hour of dancing)? (And how might you 
adjust this rate for NYC?)


Thanks,
Maia


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Re: [Callers] Young Adult Rose

[Alan Winston via Callers]

Of course you're funning, but this gives me the chance to refer to an 
incident described in Herbert Asbury's book, "The French Quarter", where 
a riot broke out in c. 1800 New Orleans and someone was killed because 
of a conflict over whether to do American or French contradanses at a 
public ball.


--Alan


On 3/28/16 4:22 AM, Michael Fuerst via Callers wrote:
The incident that actually ignited the French Revolution was a group 
of dancers at a public dance in Paris  who insisted on a left 
allemande, despite the caller's pleas for a right allemande--much more 
mundane than the incident at Fort Sumter which ignited the United 
States' Civil War, or the assassination of Duke Ferdinand which 
ignited WWI.

Michael Fuerst  802 N Broadway  Urbana IL 61801  217 239 5844
Links to photos of many of my drawings and paintings are at 
www.ArtComesFuerst.com 





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Re: [Callers] New dance?

[Alan Winston via Callers]

In fact, MacArthur was considered a potential Republican presidential 
candidate and made some speeches, but it didn't work out.  So he was a 
politician, too.


-- Alan


On 3/28/16 9:42 AM, James Saxe via Callers wrote:

This isn't exactly a case of naming a dance after a politician
(in the sense of someone seeking or holding elective government
office), but the description of "Monadnock Reel" in the syllabus
from the 2011 Ralph Page Dance Legacy Weekend includes the
following comment:

  Dudley [Laufman] added, "[Ralph] Page originally named the
  dance MacArthur's Reel after General Douglas MacArthur, but
  when the boys came home to Keene after the war, Ralph found
  that many of them did not share a love for the general. So
  he changed the name to Monadnock Reel."

--Jim

On Monday, March 28, 2016 9:41 AM, Ron Blechner via Callers 
 wrote:


Let me rephrase:
Is there a precedent for naming a dance after a living politician?



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Re: [Callers] Confirming Bookings - Best Practices?

[Alan Winston via Callers]

Most of the places I call which take out of town callers have Facebook 
pages, web pages, etc, and I check those.  Several of those places have 
a standardized reminder email *they* send to booked staff about a week 
before - "We are looking forward to ...".   (At Palo Alto Contra, while 
I book most of the staff, somebody else sends that email.)


[I once did book somebody way ahead of the booking cycle and then lose 
track, so it was a really good thing that person wrote me and said 
"don't see myself on the calendar; what's up?"  Since then have taken 
measures to be sure it doesn't happen again.  Had to apologize profusely 
and sincerely to everybody involved and then rebook one of them.]



If I haven't had separate confirmation I send them an "I'm really 
looking forward to ...  Has anything changed since the last time- same 
hall?" kind of email.


-- Alan


On 5/8/16 12:18 PM, Don Veino via Callers wrote:
What do folks do to ensure dance booking contacts remember that 
they've booked you?


I just had my second booking in a row in a certain geography forget 
that they had booked me. What's curious is that in both cases these 
dances approached me by email (I could understand it maybe if it were 
the other way around?), we had an exchange where we clarified the 
dates, etc. and confirmed we were all set. We agreed to connect again 
with any final questions on program, accommodation, etc. as we 
approached closer to the date. The first case turned out to be rather 
comical in their confusion - the second I can't figure out.


So, short of calling/emailing monthly, what do YOU do to ensure folks 
remember their booking commitment with you?


Thanks,
Don


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Re: [Callers] Dolphin Heys in contra dances

[Alan Winston via Callers]

On 6/12/16 10:42 PM, Liz and Bill via Callers wrote:

Hi Luke,

There is a New Zealand connection. Do you know the origin of the move?
I suspect it comes from the Scottish country dance which was in honour of a 
dolphin named Pelorus Jack.
https://en.m.wikipedia.org/wiki/Pelorus_Jack
http://www.scottish-country-dancing-dictionary.com/video/pelorus-jack.html


I was going to say more about this myself.  Yes, the dolphin hey name 
refers to "Pelorus Jack", although at about the same time (early-mid 
1990s).   Incidentally, "Pelorus Jack" was just one dance in a book by 
Barry Skelton which had multiple dances, including "Dancing Dolphins", 
which used the figure, which he seems to have called "tandem reels", 
although some people who publish cribs call them "alternating tandem reels."


Skelton got the figure from Barry Priddey's dance "The Flight of the 
Falcon".


Here's a nice rendition of "Flight of the Falcon".
https://www.youtube.com/watch?v=pdkMrxy4SHM

(Ignore the part where the guy is claiming that contra derives from 
Scottish dancing.)


In the Scottish content,the heys happen on the diagonal in a 
three-couple minor set, and it happens on one diagonal, then the other, 
so there are two heys.  The active couple go round all four corners 
(like flying around pylons).  It's huge fun.


By 1997 the move had been imported into English country dancing with 
Mary Devlin's dance "Halsway Manners" (after a dance camp at Halsway 
Manor in England), where the move is simplified somewhat by having it in 
the men's line and then in the women's line, rather than on the diagonal.


Since then it has appeared in various modern 'English' dances, including 
the Friendly/Sackett "Potter's Wheel" (who may have gotten it from the 
Scottish source, since they are also Scottish dancers/leaders), my own 
"Movement Afoot", and Christine Robb's "Sapphire Sea", and in all those 
cases it's a single hey and goes across the set.  ("Sapphire Sea" has a 
really clean entry into the hey and a great tune; it became the flavor 
of the month on ball programs in 2015 and 2016.)


WIthin the last few months I danced a dolphin hey in a contra dance to 
Yoyo Zhou's calling; I think it was his dance but I didn't write it down.


I wrote "Movement Afoot" at BACDS American Week in 2013; it's set to 
Steciak's Waltz, which I heard Larry Unger play there several times that 
week.  Contra dancers can readily do it and have enjoyed it when I've 
called it at "Trash English" night at that camp, but it probably 
wouldn't fit right into  a contra dance program.  Here it is anyway.  
(The tune is a very ethnic-sounding driving not-very-waltzy waltz):



MOVEMENT AFOOT
Alan Winston - thought of it at AmWeek, Jul 3, 2013
longways duple minor
Tune: "Steciaks" in waltz book II, by Larry Unger

A1: 1-2: Men set forward to women (boureeish, stamping optional)
3-4: Men fall back as women come forward
5-6: All turn single R
7-8: All RH turn halfway

A2: As above, with women leading.  Keep right hands ...

B1: 1-4: ... take left hands as well  for Clockwise half poussette 
(progressed)

5-8: contra-style Mad Robin (W1 and M2 through the middle first)

B2: 1-8: 1s acting as a unit, dolphin hey for three
 (M1 turns round coming out of the mad robin to give Left shoulder
 to M2, W1 takes the lead, giving right to M2 on the other side,
 M1 takes the lead to arrive progressed and proper.)


NOTE: Alan is agreeable to couple-dance style variations in the 
half-poussette,

and in general hopes for a spirit of flirtatious play.

Here's a version of the dance; I prefer it played much less politely and 
a bit faster, and I want the A1-2 to have the people who aren't going 
forward to hold their ground while their partners get right up in their 
faces, but this nonetheless gives some of the flavor.


https://www.youtube.com/watch?v=vLdxiy9k4y8

-- Alan

Re: [Callers] On Balances, Box circulates, Allemandes, Circles & Timing

[Alan Winston via Callers]

On 8/23/16 8:10 PM, Don Veino via Callers wrote:
Following this logic, where an on-time arrival is essential out of a 
star it would be best to make it hands-across (H-A). In a H-A star, 
folks can use a similar arm angle adjustment to vary the star 
circumference (and resulting speed). Due to the configuration, there's 
less opportunity to gently* influence star speed with the pack 
saddle/hand-on-wrist form.


BTW, in dances featuring a star where a pair drop out I mention 
there's no need to shove your opposite away at disengagement - 
centrifugal force will gently take care of it once you let go of them. 
This is a curious bit which only seems to happen in this case - I've 
never received a parting shove when an "everybody" H-A star breaks up, 
but there's always someone in the line doing it in the drop out variant.


*
I find that a lot - maybe most - gents in the SF Bay Area will do a push 
off on dropping out of a hands-across star, and since I'm expecting it I 
kind of like it and offer a rigid-enough arm to be pushed off from.


On the other hand, it's a very small minority of gents who'll push off 
from a star promenade, and I wish it were more.  (There's a lot of 'em 
who'll just drop the allemande hand once they've picked up the lady 
they're promenading with, and then the figure is really, really 
unsatisfying.)


-- Alan

Re: [Callers] Amy Cann

[Alan Winston via Callers]

Claire:


(1) Buy this book: 
https://smile.amazon.com/Step-Lively-Book-Marian-Rose/dp/0968756905?sa-no-redirect=1


(2) Consider buying this book:

https://smile.amazon.com/Alabama-Gal-No-Fail-Singing-Children/dp/1579998429/ref=sr_1_1?s=books=UTF8=1473626812=1-1=new+england+dancing+masters

(3) Check out this web page and consider the items marked as difficulty "1".
http://barndances.org.uk/

(4) View archives of the callers list at
http://lists.sharedweight.net/pipermail/callers-sharedweight.net/

-- Alan

On 9/11/16 1:43 PM, Claire Takemori via Callers wrote:

Hi Amy and all,

I’m a new family dance (and contra) caller.  I’d love to see your new 
inspired program, as I don’t have an archive of Shared Weight emails YET.


I’d love to hear about other folks favorite family/community dances? 
 (I know the Spiral, basic CL, CR, in/out,  Sasha, longways from a few 
books)


I get to call for our son’s nature class, which has preschool up to 
adults.  And it’s outside, WITHOUT amplification….
I also get to call at our local contra during the break, as we are a 
Sunday afternoon dance and families show up with kids!


Thanks for sharing!

Claire Takemori (Campbell CA)



On Sep 11, 2016, at 1:02 PM, via Callers 
> wrote:


Message: 1
Date: Sat, 10 Sep 2016 17:14:48 -0400
From: Amy Cann via Callers >
To: "Caller's discussion list" >

Subject: [Callers] Just had to share this:
Message-ID:
>

Content-Type: text/plain; charset="utf-8"

It's 5:00. At 7:30 tonight I'll be calling a dance for about 150 Putney
School teens freshly-returned from their Long Fall wilderness trips.
They'll be smelly and exuberant.

An hour ago at 4:00 I was planning my program and had a sudden wave of
"Gosh, I'm sick of my own material."

You know how it's easy to stick to the tried-and-true favorites you *know*
will work?

But once in a while your repertoire starts to feel like the pillowcase 
when

you've been stuck sick in bed for too long? You turn it over and over but
you can't find a fresh cool spot anymore?

So I went to my gmail  archive, typed in "circle mixer",
browsed a bunch of old threads, and am now going out the door freshly
invigorated.

What a vital, valuable,  inspiring community this is.

Thanks, all of you.

Amy



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Re: [Callers] Yet another "Anyone seen this dance?"

[Alan Winston via Callers]

If you call it tonight, I suspect some dancers will have some trouble 
with the circle left all the way around the second and subsequent times 
through.


But let us know how it goes!

-- Alan


On 9/24/16 2:39 PM, Ric Goldman - Letsdance via Callers wrote:


Hi folks,

I was thinking about dances for tonite’s gig and this sequence came 
together in my heard.  I figure someone must’ve come up with it before 
me.  Anyone recognize it?


A1   Circle L 1x

Nbr swing, end facing down

A2   Down hall, turn alone

Come back, bend line

B1   Balance ring, petronella

Ptnr swing

B2   Circle L ¾

Balance ring, California Twirl

Thanx, Ric Goldman



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Re: [Callers] Wrist-Lock Stars

[Alan Winston via Callers]

go back far enough (1700s) and you get "moulinet" in French sources, 
"mill" in some English sources,f or what I'm pretty sure are 
hands-across stars.



-- Alan Winston


On 10/10/16 9:57 AM, Robert Livingston via Callers wrote:
Millstone or "windmill" - term I've seen used in print for older 
Canadian dances.


Bob Livingston



*From:* Angela DeCarlis via Callers 
*To:* Jacob or Nancy Bloom 
*Cc:* callers 
*Sent:* Monday, October 10, 2016 12:45 PM
*Subject:* Re: [Callers] Wrist-Lock Stars

I've never heard "millstone" or "mill" before, but it sounds like it 
has precedence. My guess is that it was (is?) a useful term at dances 
where hands-across stars are default. Since that isn't generally the 
case in many places any longer, it makes sense that "hands-across" has 
become the more useful modifier.


On Oct 10, 2016 11:37 AM, "Jacob or Nancy Bloom via Callers" 
> wrote:


When I attended the Berea Christmas Dance School forty years ago,
and put my hand on the wrist in front of me during a walk through,
someone complained, saying, "He said a star, not a mill!"

Is the term "mill", or the term "millstone", commonly used to
refer to wrist stars in areas where hands-across is the default
way of doing a star?

Jacob Bloom


On Mon, Oct 10, 2016 at 10:29 AM, Jerome Grisanti via Callers
> wrote:

I agree with Chet that Louisville's default star is
hands-across, although weekend festivals in nearby cities tend
toward the millstone star. I avoid the terms wrist-lock or
even wrist-grip star, as I prefer the fingers to lay atop the
adjoining wrist without using the thumb to "grip" in any way.

The Midwest where I dance/call now is pretty solidly
wrist-star territory (St. Louis, Columbia MO, Kansas City,
Lawrence). When I call one-night events (parties, weddings), I
dictate hands-across stars, but when calling for an
established contra community I ask for the default.

--Jerome


Jerome Grisanti
660-528-0858
http://www.jeromegrisanti.com 

"Whatever you do, or dream you can, begin it. Boldness has
genius and power and magic in it." --Johann Wolfgang von Goethe

On Mon, Oct 10, 2016 at 3:31 AM, John Sweeney via Callers
> wrote:

Hi all,
I have been to contra dances and festivals all
over America and
everywhere I have danced everyone automatically uses a
wrist-lock star
(unless the caller has specified hands-across because of
the subsequent
choreography).

But I am constantly challenged in England by
people claiming that
wrist-lock stars are not the standard in America.

When I go to somewhere like The Flurry and see 600
people from all
over the country all doing wrist-locks it seems to me that
it must be the
standard way of doing things.

And obviously it has been common in America for a
long time; this
video is from 1964 in Northern Vermont and shows
wrist-lock stars:
https://www.youtube.com/watch? v=pZubTju7g_s


So, are there still significant communities that
don't use
wrist-locks?

Is the wrist-lock the de facto standard?

Thanks.

Happy dancing,
   John

John Sweeney, Dancer, England j...@modernjive.com
 01233 625 362 & 07802
940 574
http://www.modernjive.com  for
Modern Jive Events & DVDs
http://www.contrafusion.co.uk
 for Dancing in Kent



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[Callers] Another "does this easy dance exist already?" query

[Alan Winston via Callers]

This came to me earlier today and I don't seem to have it in my 
collection, although it seems so completely glossary-esque that it must 
be around.  I'm not sure it has any merit other than a pretty low piece 
count and a partner and neighbor swing; might work in a medley.  No 
place to stop and pull yourself together, but r over and back might 
suffice.


(I see that A1 and A2 are the start of Simplicity Swing, which is a 
better dance because it has a long lines moment of poise in it. Still 
curious if this is around.)



EASY START
Form:IC Figures:NBCL.75,PS;R,RWC,LHS:
Alan Winston 12-3-2016

A1: Neighbor Balance & Swing,
A2: circle left 3/4,
swing partners on the side of the set
B1: right and left thru over and back,
B2: Ladies chain (to neighbor),
left hand star and look for new neighbors).

-- Alan

Re: [Callers] Favorite relatively Modern ECD

[Alan Winston via Callers]

The Mendocino series has a giant band (which lately has included a bunch 
of people young enough that their parents have to bring them, and then 
stay and sometimes dance).  The band rehearses; they're willing to learn 
three or four new tunes for an evening, and the organizer will give you 
a list of stuff recently called and stuff the band knows cold to swap in.


There are always some first timers, but in the last several years some 
of the regulars have started traveling to dance camps and English balls 
and they hold a ball rehearsal series.  The group who do that are 
dedicated English dancers who know all the figures and can do 
challenging dances.  They are not more than half the people at the 
dance; they are public-spirited and try to dance with first-timers.


I'd say that for this dance you're looking for mostly pretty easy dances 
with some intermediate ones.  You might have to workshop double figure 
eights or heys.  There's also a strong tendency for attendance to drop 
off after the break.  Look for dances with strong flow!



For these purposes, I like

Easter Morn

When Laura Smiiles


On 12/10/16 11:21 AM, Erik Hoffman via Callers wrote:

As per my request for modern English dances, I don't mind collecting any few dances 
that people really like. But, for more info on the dance I'll be leading, it's the 
Mendocino, California, English dance. Having not been to it before, but knowing the 
organizers: Beth & Mickie Zekely, I think it's a dedicated English dance with 
dedicated English dancers. My suspicion is that Kalia and Alan Winston may know 
more about the dance than I, since they've both been there.

Again, Thanks for any help!
~Erik Hoffman
Oakland, CA

-Original Message-
From: Callers [mailto:callers-boun...@lists.sharedweight.net] On Behalf Of 
Kalia Kliban via Callers
Sent: Saturday, December 10, 2016 9:47 AM
To: callers@lists.sharedweight.net
Subject: Re: [Callers] Favorite relatively Modern ECD

On 12/9/2016 10:49 PM, Erik Hoffman via Callers wrote:

Hi All,

I'm going to lead an English dance in early February. I've led English
once or twice, and mostly stuck with The Playford Collection, and some
Pat Shaw dances. I wouldn't mind collecting a few more modern dances.

Please feel free to either post them to the list, or send to me directly:
   _erik@erikhoffman.com_ 

And, of course, please include the music.

Erik, can you specify what the group is like that you'll be calling for?
   Hardcore English dancers?  Mostly contra folks who are taking a walk on the 
wild side?  Brand-new dancers?  That will make a difference for the dances we 
can recommend.

Kalia

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Re: [Callers] Irish Contra Dances

[Alan Winston via Callers]

Don --

I think you should ask the organizers what they have in mind.  Have they 
booked an Irish band?  They might be perfectly happy with a regular 
contra program to Irish tunes, which is what I'd hope it would be.  What 
audience are they aiming for?  (If it's at the Irish Cultural Center for 
people who do Irish set or ceili dancing, that's kind of a different 
story than if it's intended for contra dancers or the general public.)


There are longways duple Irish dances (they call'em "long dances"), but 
in my limited experience they don't have ballroom swings and might be 
disappointing to any contra dancers who show up.


If you really want Irish dances in contra-ish formations:

http://www.bernards.cz/gallery/file/Ar-Rinci-Foirne.pdf

There are several Long Dances described in here.

Walls of Limerick (duple improper)
Siege of Ennis (4x4)
Harvest-Time Jig (3x3)
Rince Fada (duple proper)
Bridge of Athlone (same)
Haste to the Wedding
Siege of Carrick
Antrim Reel
Waves of Tory (whole set dance with 1s and 2s)
Rakes of Mallow (3x3)

-- Alan


On 4/3/15 5:13 AM, Don Heinold via Callers wrote:

Hi SharedWeight callers & friends

I'm a caller from RI and am fairly new to this site. I have been 
enjoying the informational posts on the many different issues that 
involve present day and past contra dancing.


In April I have been asked to call at what is being billed as an 
"Irish Contra Dance". Contra dancing as I know has its roots in New 
England and before that in English Country Dancing and French Court 
Dances. Unfortunately I only know one Irish contra Dance that is used 
at some beginner contra dances - "The Sweets of May". Are there others 
that have been tailored to the set style of contra dancing?  Your 
suggestions will be gratefully received.


Cheers,

Don


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Re: [Callers] Etiquette of refusing an offer to dance

[Alan Winston via Callers]

BACDS Code of Conduct says:

http://bacds.org/conduct/CodeOfConduct.pdf

-

"Ask a partner kindly.  Accept their answer cheerfully.  If you are 
repeatedly declined by a prospective partner, it is best to give them space.


Feel free to decline a dance with someone with whom you feel 
uncomfortable. If you would prefer not to dance with them, a simple "no 
thanks" is appropriate.  We encourage you to dance with a variety of 
peple both new and familiar, but your safety and comfort come first.


---

So it doesn't explicitly address this, but I think it doesn't address it 
because the norm is now understood to be that there's no obligations on 
the person being asked.


In my beginner lessons, both contra and English, I say (when I remember) 
that anybody may ask anybody else to dance, that you can accept or 
decline, that you don't have to explain yourself and that indeed you 
shouldn't spend a lot of time declining because that keeps the one who 
asked you from finding another partner.  (I also sometimes say that 
unlike a bar or club, the only necessary subtext of "may I have this 
dance" is "I need a partner to able to dance this dance".)  I've 
occasionally modeled asking, being declined, and moving on with good grace.


I think I got some of that by looking at the George Marshal beginner 
session that's on youtube.


Incidentally, some brand new dancers come in with the "must sit out if 
declining a dance" idea already installed; it turns out that it's there 
in Jane Austen.  So in discussing this in Regency-dance context I do a 
thing about how this isn't re-creation but recreation - we're playing, 
not slavishly reconstructing the period, and we can leave behind things 
that don't work for us today.


-- Alan


On 12/16/17 11:39 AM, Kalia Kliban via Callers wrote:

Hi all,

Those of us who started dancing 2 or 3 decades back probably remember 
the rule about sitting out the dance if you turn down a partner offer. 
A very competent male dancer I know who started around the same time I 
did (late 80s) recently confessed to me that he never asks anyone to 
dance because he doesn't want to put folks in the position of thinking 
"If I don't dance with this guy then I have to sit one out.  Oh crap, 
guess I'll have to dance with him."  For the record, he's a totally 
solid and delightful dancer.


To what extent has that earlier etiquette norm either survived or been 
replaced, and what has it been replaced with?  In your dance 
community, do you have a written statement of the etiquette around 
this?  Our community's statement doesn't directly address this issue.


Kalia
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[Callers] Fwd: Balancing LEFT in a wave?

[Alan Winston via Callers]

Accidentally sent only to Maia.

Sent from my iPad

Begin forwarded message:

> From: "Winston, Alan P." 
> Date: November 8, 2017 at 11:30:06 AM PST
> To: Maia McCormick 
> Subject: Re: [Callers] Balancing LEFT in a wave?
> 
> I would say the potential unidiomaticness of the balance left is *very high*. 
>  In a regular Rory O’More kind of balance R, slide R, balance L, slide L, 
> I always see a quarter to an eighth of the dancers balance right first both 
> times.  (I can get it down a lot by pointing out that you always balance to 
> the same person first, but very rarely can get everybody.). 
> 
> So as you saw, if you try to overcome the “right first” balance you’re really 
> fighting the tide, and it’s going to be a lot of work.
> 
> In the particular case you describe I’d think you’d do a lot better (both for 
> flow of the dance and for getting the dancers to do what you tell them) to 
> strongly suggest they balance forward and back to set up the allemande rather 
> than L *or* R
> 
> That said, to answer what you specifically asked, I agree that L makes more 
> sense than R, but I don’t think it’s a *lot* more sense (that is, R isn’t 
> even close to fatal) , and it’s not the hill I’d choose to die on.
> 
> -- Alan 
> From: Callers  on behalf of Maia 
> McCormick via Callers 
> Sent: Wednesday, November 8, 2017 11:07:20 AM
> To: callers@lists.sharedweight.net
> Subject: [Callers] Balancing LEFT in a wave?
>  
> Recently called a dance with an allemande R into long waves, balance wave, 
> allemande L. Because of personal preference, I taught the balance as "balance 
> left, then right", but cuz I didn't teach it all that clearly, the dancers 
> defaulted back into balancing right first, and enough tricky stuff was 
> happening in the dance that I didn't wanna correct them in flight.
> 
> I'm just wondering: do others agree that a balance left makes more sense / 
> flows better in this context, or is this a weird personal preference? In your 
> opinion, does the flow of the balance left outweigh its potential 
> unidiomaticness?
> 
> Cheers,
> Maia
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Re: [Callers] Glossary dances with promenade, no chain/RL through?

[Alan Winston via Callers]

Here's one of mine.  Low piece count, promenade to chain is good flow.  
(I never totally love the "chain, look for new neighbors" because you 
either have to bail out of the courtesy turn to face new neighbor or 
complete the turn (now facing partner) and turn away to new neighbor, 
but it's common enough that it works.


I think this really is easy enough for your busload  of beginners.  Low 
piece count, don't have to identify  the neighbor who's dancing with 
your partner (like many oval dances).  It does have a chain; sorry about 
that.


CLAIRE'S REQUEST
Alan Winston 11/17/2017

Form:IC Fig:NBOvalLBTR,PS;Prom,WC:

A1: Neighbor balance and swing
A2: Big Oval left and right
B1: 1-2: With hands, balance ring in original foursome
 (keep the hand you've got with neighbor and take the free hand 
with your

  partner)
    3-8: Ravens/ladies draw Partners to their side for a swing.
B2: 1-4: Partners promenade to gents/larks side
    5-8: Ladies/Ravens chain to current neighbor, look for new neighbor

   [But if you really don't want a chain even in the good flow 
from promenade situation, ladies/ravens allemand R 1.5 to new neighbor, 
which may be preferable given the courtesy turn problem mentioned above]



-- Alan

]


On 8/13/18 10:36 AM, Maia McCormick via Callers wrote:
Yep, Alex, I totally agree on the point of promenade (or RL thru, or 
ladies' chain) > circle L not flowing great! So I'm amending my 
original criteria: *dances with a promenade, no chain or RL thru, and 
promenade is NOT followed by a circle L*.


Thanks for the suggestions, folks :D

On Mon, Aug 13, 2018 at 1:00 PM Yoyo Zhou > wrote:


On Sun, Aug 12, 2018 at 6:08 PM, Maia McCormick via Callers
mailto:callers@lists.sharedweight.net>> wrote:

Had a busload of beginners at my dance last night and realized
I have a hole in my program -- I don't have any good
glossary/beginner-friendly dances with a promenade but no
chain or RL through. Any suggestions?


A nice one is Promenade Right by Luke Donforth (note: it has a
circle right):
http://www.madrobincallers.org/2013/06/25/three-tries-at-simple-dances/

Also, some of the dances below can be adapted by changing a right
and left thru to a promenade across.


On Mon, Aug 13, 2018 at 11:42 AM,
AlexandraDeis-Laubymailto:adeisla...@gmail.com>>wrote:

I find that there aren’t many dances with a Promenade or RL
that are NOT followed by a circle left. When Dancing
promenades to circle lefts, I don’t like them as an
experienced dancer because they don’t feel good and as a
caller I watch new dancers struggle with them because they
don’t flow logically unless the dancers correct for it (which
one won’t know how to do unless they’ve been dancing a very
long time and are attuned to momentum.)


I agree with your assessment about promenade/right and left thru
to circle left.
I find right and left thru or promenade can also often be followed
by one of these, which flows better:

- ladies chain (very common)

- left hand star (example: True Grit by Chris Page:
http://chrispagecontra.awardspace.us/dances/#true-grit)

- circle right (see above)

- hey, ladies pass right (example: Zoey and Me by Sue Rosen:
http://dance.suerosencaller.com/dancedb/view/?title=Zoey+and+Me)

- ladies allemande right (example: A-1 Reel by Chris Weiler:
http://caller.chrisweiler.ws/dances.htm#a1reel)

Yoyo Zhou



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Re: [Callers] does this dance already exist?

[Alan Winston via Callers]

Tom —

Why is the square through 4 10 beats?  

— Alan

Sent from my iPad

> On Sep 8, 2018, at 1:39 PM, Tom Hinds via Callers 
>  wrote:
> 
> Jean, nice dance.  Let us know how it goes if you try it out.  I would be 
> surprised if your dance has been written before.  You list it as a double 
> progression.  Is that because you swing the second neighbor?
> 
> You gave me an idea for a new dance.  I’m not trying to out do any one here, 
> just very much enjoy writing dances. 
> 
> Lunch with Jean
> Improper 
> 
> A1. Bal. P, square through 2
>Bal P, box the gnat
> 
> A2. With new neighbors, square through 4 (going in the opposite direction as 
> the first square through and starting by giving right hand to partner, 10 
> beats)
>With original neighbor do si do, (6)
> 
> B1 Men allemande left 1/2 (or pull by) swing partner
> 
> B2  Right and left through, ladies chain.
> 
> Tom Hinds
> 
> 
> 
>> On Sep 8, 2018, at 12:34 PM, Jean Gibson-Gorrindo via Callers 
>>  wrote:
>> 
>> Hello Callers!  Around the breakfast table at Penelope Weinberger’s house 
>> this morning, while on tour with Cloud Ten, I came up with this dance.  
>> Wrote it with the Sam Bartlett tune Penelope’s Cruise (also written for 
>> Penelope Weinberger) in mind.   Wondering if it is already out there?  
>> Thanks for your input!
>> 
>> Jean Gorrindo
>> 
>> Breakfast at Penelope’s
>> by Jean Gorrindo
>> Contra/Improper/Easy-Int/Double Progression
>> 
>> A1 ---
>> (8) Partner R-Hand Balance; Square Thru (pull by Partner with Right, 
>> Neighbor Left)
>> (8) Partner Balance & Box the Gnat
>> A2 ---
>> (16) Neighbor balance and swing
>> B1 ---
>> (8) Women allemande Right 1-1/2
>> (8) Partner swing
>> B2 ---
>> (8) Long lines, forward and back
>> (8) Women's Chain
>> ___
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Re: [Callers] does this dance already exist?

[Alan Winston via Callers]

It really doesn’t make much difference in this case since the domino will take 
8 beats if there’s 8 beats left.  I was just curious about 10 for the square 
through - in English dancing we do have eight beat circular heys (like 
“Collier’s Daughter”)  but the convention is usually not to take hands on those 
fast ones, so it’s more like a mini weave the ring. On the other hand contras 
have a lot of interrupted square through where there’s a four-beat balance and 
a four-beat square through 2, so it can be done.

— Alan

Sent from my iPad

> On Sep 8, 2018, at 9:34 PM, Rich Sbardella  wrote:
> 
> The Callerlab timing chart has square thru taking 10 beats from a static 
> square and 8 beats from (closer( facing couples such as they would be after 
> the heads star thru. 
> 
> In the following square I would allow 10 beats.
> 
> Heads Lead Right & Circle to a Line,
> Lines F
> 2 ladies Chain Across and Back
> Has Square Thru 4  (This square thru is from a line of four that is at the 
> sides static position.
> Corner Swg & Promenade
> 
> In the square, below, I would use 8 beats for the second square thru.
> 
> Heads Sq Thru 4 (10)
> RH Star (8), LH Star (8)
> Corner DSD (6), Sq Thru 4 (8)
> Can Swg (8), Promenade (16)
> 
> In this square the dancers start the second square thru nose to nose rather 
> than across the set.
> 
> Most contra would be starting a square thru from across the set, so 10 is a 
> good number, if it starts after a balance, 8 would be wiser.
> 
> Rich
> 
> 
> 
> 
> 
> 
> 
>> On Sat, Sep 8, 2018 at 8:57 PM Tom Hinds via Callers 
>>  wrote:
>> I’ve mulled over the timing of square through 4 for some time.  10 is what 
>> I’ve come up with after walking it through in my living room and more 
>> importantly watching the dancers do it in dances I’ve written.
>> 
>> Much depends on where you end and start and also on formation (squared set 
>> or contra) because of the spacing.
>> 
>> As an example, in The Amazing Sara Wilcox the square through three from 
>> lines facing across into lines facing out comfortably takes 8 steps.  In 
>> other situations maybe square through 3 could be done in 6.
>> 
>> Some may say that square through two (followed by a balance) takes 4, so a 
>> square through 4 would take 8.  My way of thinking is that the longer and 
>> more complicated the figure, the more you have to give the dancers some 
>> extra beats.  And square through 2 in 4 beats is a bit rushed.
>> 
>> Try it out during a break at your next dance and let me know what you come 
>> up with.
>> 
>> 
>> 
>> Sent from my iPad
>> 
>> > On Sep 8, 2018, at 7:06 PM, Alan Winston  wrote:
>> > 
>> > Tom —
>> > 
>> > Why is the square through 4 10 beats?  
>> > 
>> > — Alan
>> > 
>> > Sent from my iPad
>> > 
>> >> On Sep 8, 2018, at 1:39 PM, Tom Hinds via Callers 
>> >>  wrote:
>> >> 
>> >> Jean, nice dance.  Let us know how it goes if you try it out.  I would be 
>> >> surprised if your dance has been written before.  You list it as a double 
>> >> progression.  Is that because you swing the second neighbor?
>> >> 
>> >> You gave me an idea for a new dance.  I’m not trying to out do any one 
>> >> here, just very much enjoy writing dances. 
>> >> 
>> >> Lunch with Jean
>> >> Improper 
>> >> 
>> >> A1. Bal. P, square through 2
>> >>   Bal P, box the gnat
>> >> 
>> >> A2. With new neighbors, square through 4 (going in the opposite direction 
>> >> as the first square through and starting by giving right hand to partner, 
>> >> 10 beats)
>> >>   With original neighbor do si do, (6)
>> >> 
>> >> B1 Men allemande left 1/2 (or pull by) swing partner
>> >> 
>> >> B2  Right and left through, ladies chain.
>> >> 
>> >> Tom Hinds
>> >> 
>> >> 
>> >> 
>> >>> On Sep 8, 2018, at 12:34 PM, Jean Gibson-Gorrindo via Callers 
>> >>>  wrote:
>> >>> 
>> >>> Hello Callers!  Around the breakfast table at Penelope Weinberger’s 
>> >>> house this morning, while on tour with Cloud Ten, I came up with this 
>> >>> dance.  Wrote it with the Sam Bartlett tune Penelope’s Cruise (also 
>> >>> written for Penelope Weinberger) in mind.   Wondering if it is already 
>> >>> out there?  Thanks for your input!
>> >>> 
>> >>> Jean Gorrindo
>> >>> 
>> >>> Breakfast at Penelope’s
>> >>> by Jean Gorrindo
>> >>> Contra/Improper/Easy-Int/Double Progression
>> >>> 
>> >>> A1 ---
>> >>> (8) Partner R-Hand Balance; Square Thru (pull by Partner with Right, 
>> >>> Neighbor Left)
>> >>> (8) Partner Balance & Box the Gnat
>> >>> A2 ---
>> >>> (16) Neighbor balance and swing
>> >>> B1 ---
>> >>> (8) Women allemande Right 1-1/2
>> >>> (8) Partner swing
>> >>> B2 ---
>> >>> (8) Long lines, forward and back
>> >>> (8) Women's Chain
>> >>> ___
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>> >> 
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Re: [Callers] Does a 1/2 figure 8 and cast off exist in ECD? In Contra?

[Alan Winston via Callers]

Luke --

This isn't directly responsive to your actual question, but here's what 
it reminded me of:


In proper duple formation, the place where same-sex neighbors would 
stand in improper formation is diagonally opposite.  Most longways 
English dances are proper, so in English for these purposes, English 
"first corners" = contra "ladies", English second corners = contra gents.


In "News From Tripoli", first corners cast up or down the outside 
(pulling the shoulder back, a real cast)  while their same-side 
neighbors slide (just move sideways along the line) into the places 
they've vacated, then do a full figure eight and finish in their 
neighbors place.  (Now second corner people are standing in first corner 
places, and they repet the figure doing what the first corner people 
did; everybody's at home.)


In Barbarini's Tambourine (and Sally in Our Alley, which has the same A 
parts), first corners cast around neighbor on the side, half figure 
eight, and finish in each other's place.  Second corners cast around 
(it's their partner, but standing next to them on the side), half figure 
eight, finish in each other's place.


In some 1700s dances as reconstructed, in a duple minor proper 
formation, 1s half -figure eight to the right (gents down, ladies up) to 
go through the 2s next to them; those 1s encounter the opposite-role 1 
from the next set up (it's not quite a shadow interaction since while 
you do see the same person for a while, it stops happening when one of 
you goes out at the end of the set), so it's effectively long diagonals.


In a number of dances (Kelsterne Gardens may be the earliest, although 
some like to do it in Childgrove, which is an earlier dance) there are 
double figure eights, where one couple is is crossing through the middle 
while the other couple is going up or down the outside.  In fewer 
dances, there are double half figure eights; one couple goes through the 
middle, the other on the outside.  So you don't need the diagonal 
half-figure to not have to worry about them running into each other.


I would add to Michael's mention of Chevrons that a lot of people have 
trouble waiting one bar to start their part of the figure, and it does 
raise the difficulty level of the dance.


There's an "all cast one place" in "Wa is Me, Wa Mun I Do", which takes 
two bars of triple time music and a fair amount of room but is very 
pretty in context.  I think your "gents pull left should back and cast" 
has some of the logistical problems of an orbit (it's a quarter orbit) 
as far as using space, with increased chance of collision with gent from 
other set because of not facing the way you're going for the first 
half.  Slide across, orbit 1/4 while making a point of interlacing with 
other gent, or lots of room in the set.


-- Alan


On 7/10/18 5:18 AM, Luke Donforth via Callers wrote:

Hello all,

I've been thinking about half figure eights, and variations on them. 
Is anyone familiar (in ECD, contra, or other traditions), where 
instead of the 1s or 2s half figure eight, having the gents or ladies 
do the move from improper formation?


As soon as you have something like the ladies do a half figure eight 
from duple improper; they're either going to have to shift where they 
land, or the gents are going to have to get out of the way. It seems 
to me (during my insomnia, not with actual dancers in a house party) 
that you could have the gents cast off and over to a ladies place. i.e.:


/Ladies half figure eight, passing left shoulder in the middle to take 
neighbor gents' place

/
/Meanwhile, gents cast over left shoulder to take partner's place
/

Which takes
(head of hall)
W1 M1
m2 w2

to
(head of hall)
M1 W1
w2 m2

Which ends in the same place as everybody doing a half figure eight, 
but without 4 people trying to go through the middle at the same time. 
I think it can still happen in 8 beats of music, with nobody standing 
around.


Is that a sequence people have danced or used?

Here's a wrapping to put the whole thing in context.

Calliope's Cross
Improper contra by Luke Donforth
A1
Long lines forward and back
Ladies half figure eight, passing left shoulder in the middle to take 
neighbor gents' place

Meanwhile, gents cast over left shoulder to take partner's place
A2
Neighbor Right Shoulder Gyre and Swing
B1
Circle Left 3/4
Partner Swing
B2
Promenade across set with partner, courtesy turn
Ladies chain to neighbor

The name, and idea, comes from my older daughter (4), who wanted a 
"Calliope's Cross" dance for herself after hearing about "Tamlin's 
Cross" for her sister. Calliope like riding figure 8s on her bicycle.


I've deliberately kept this simple, instead of trying to get a gents 
figure 8 while ladies cast in for symmetry. I'm not sure how I'd teach 
that from the stage; and think I'd have to use a demo.


I look forward to hearing the experience of the group!
Thanks

--
Luke Donforth
luke.donfo...@gmail.com 

Re: [Callers] Programming a Dance

[Alan Winston via Callers]

My approach varies considerably depending on what kind of dance it is, and it 
also depends on my attitude about it and the musicians attitude about it.  I 
work with a lot of different musicians in my different dance worlds (English, 
contra, Civil War, Regency, Early American, Victorian, occasional barn dances 
and family dances).

In contra land, some bands want the program a few days ahead so they can match 
tunes or even rehearse the specific tunes they’ve chosen.  So for those bands, 
I program ahead, and that’s much easier if it’s in a venue I’m used to and know 
what to expect.  If I don’t know pretty well how it’s going to go and the band 
wants a program, I either spend 2-4 hours making up a coherent program with 
alternates, etc, or give them a program that’s already worked for me in another 
venue with different dancers.  If the band doesn’t want it in advance, I’m very 
likely to pick on the fly based on my reading of the room.  I use a little code 
to make a very abbreviated representation of the dance and put that in an index 
and eyeball that to make sure I’m not picking something with the same 
transitions as the last thing and only introduces as many new figures as I want 
to introduce for this crowd at this moment.  I may be a victim of 
Dunning-Kruger but I think I’m pretty good at prompting on time without doing 
extensive rehearsal.  

For Regency balls - well, we usually have a specific historic or literary 
theme, and I may spend a few hours cruising through historic dance manuals 
looking for dances that seem to fit the theme, trying out those dances at our 
regular dance parties, getting the bandleader’s opinion on those tunes (in this 
period, many of them kinda suck) before locking down a program, so a ball 
program could be 16 hours of prep.  On the other hand, for the second-Friday 
Regency dance parties, where attendance is unpredictable, I just pick on the 
fly; my band is willing to sight read.

For English Country Dancing it’s usually on me to organize a program that suits 
the particular band’s talents - don’t ask most bands for “Vivaldi in Paradise!” 
- provides significant variety in mood, meter, tempo, key. - as well as having 
an agreeable progression of figures and climax in difficulty around half way 
through, that will give a newcomer a chance to succeed and not to bore 
experienced dancers, and that also doesn’t repeat too many of the dances done 
recently at that venue. So that’s usually about a two-hour effort.  Sometimes I 
can pull out an old program and change a few dances on it, which is less 
painful.

For family dances, I need to know whether the band knows “Sasha!” But otherwise 
I’m calling from the floor, reading the room, and picking stuff on the fly.  
For Civil War dances, if I’m working from my iPad it’s the same thing and I 
pick tunes.  If I’m working with a brass band, which I’ve done several times, I 
get their repertoire first, set dances to the things they have arranged and can 
play (that took three or four hours the first time) and then pull stuff out in 
the moment.  (My Civil War gigs are all for reenactors after hours and rather 
informal.  If they were taking place in East Coast ballrooms with Spare Parts 
playing, I would certainly study their repertoire and organize a program to 
take advantage of it, and I’d expect that to be about four hours of effort.)

Sent from my iPad

> On Mar 13, 2018, at 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
> 
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Re: [Callers] Interesting dances without role-specific calls?

[Alan Winston via Callers]

If you can teach pass through to a wave and swing through to a new wave  
as "couples start to pass through across; the 2 people who *can* catch 
left hands do so and allemande 1/4 while the others continue to the 
sideline; neighbors allemande right halfway and the two now in the 
middle allemande left halfway and give right hand to partner to form a 
wave"  you can do Pinball Wizard without gender reference.


Kinematic Vorticity is unusual and requires no role reference

Hope this helps!

-- Alan



On 9/3/18 3:35 PM, Maia McCormick via Callers wrote:

Hi folks,

I’m introducing a dance series to larks/ravens next weekend, and to 
ease everyone into it (/in case of emergency), I want some dances 
handy that are non-trivial and interesting (so, not glossary dances, 
but one an intermediate-to-advanced crowd would enjoy) WITHOUT 
role-specific calls—i.e. nothing where you tell the gents to X or the 
ladies to Y. What are your favorites?!


Cheers,
Maia


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