Re: [Callers] Beneficial Tradition

[Linda Leslie via Callers]

Sorry, I should have been more specific/clear: the ladies’ role has 4 pull by 
actions, plus a final allemande….for a total of 5.
Linda

On Jan 5, 2018, at 11:47 AM, Bill Olson via Callers 
 wrote:

> A really really GREAT dance by Dan Pearl! Yeah, the "end effects" are mostly 
> created by dancers doing something they weren't instructed to do! Pointing 
> out that the dance is a double progression during the walk through (to those 
> who are actually listening) is helpful I've found. It gives dancers a better 
> idea where they will end up even if they DO get confused. Admittedly that's a 
> little trickier if you start with a couple waiting out. But in that case, you 
> can at least note that there will be a couple waiting out at the end each 
> time the dance starts..
> 
> HNY everyone.
> 
> bill
> 
> 
> From: Callers  on behalf of Bob Green 
> via Callers 
> Sent: Thursday, January 4, 2018 11:00 PM
> To: Kalia Kliban
> Cc: Caller's discussion list
> Subject: Re: [Callers] Beneficial Tradition
>  
> I have always thought part of the difficulty is that the ladies momentum is 
> away from each other in that last pull by, leaving them a distance away from 
> each other. On the end there can be some indecision about being in or out. In 
> XYZ (which has a different set of challenges at the end with the "reverse") 
> the momentum brings the ladies toward each other to start the next round, and 
> makes it a little more obvious when you are out. Those dancing gent can help 
> by giving SUBTLE weith in the correct direction after the last pull-by.
> 
> (https://www.youtube.com/watch?v=gBwjTWK3-4g)
> 
> Happy New Year,
> 
> Bob
> 
> 
> 
> 
> Those of you who have called this dance a lot, have you noticed the same 
> issue?  How do you teach the B2-A1 transition to minimize the confusion and 
> end effects?
> 
> Kalia
> 
> ps Happy New Year, everyone!
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Re: [Callers] Beneficial Tradition

[Linda Leslie via Callers]

I have also found that it helps to point out that the ladies’ role has a total 
of 5 pull by actions, while the gents’ role has 4. 
Linda

On Jan 5, 2018, at 11:47 AM, Bill Olson via Callers 
 wrote:

> A really really GREAT dance by Dan Pearl! Yeah, the "end effects" are mostly 
> created by dancers doing something they weren't instructed to do! Pointing 
> out that the dance is a double progression during the walk through (to those 
> who are actually listening) is helpful I've found. It gives dancers a better 
> idea where they will end up even if they DO get confused. Admittedly that's a 
> little trickier if you start with a couple waiting out. But in that case, you 
> can at least note that there will be a couple waiting out at the end each 
> time the dance starts..
> 
> HNY everyone.
> 
> bill
> 
> 
> From: Callers  on behalf of Bob Green 
> via Callers 
> Sent: Thursday, January 4, 2018 11:00 PM
> To: Kalia Kliban
> Cc: Caller's discussion list
> Subject: Re: [Callers] Beneficial Tradition
>  
> I have always thought part of the difficulty is that the ladies momentum is 
> away from each other in that last pull by, leaving them a distance away from 
> each other. On the end there can be some indecision about being in or out. In 
> XYZ (which has a different set of challenges at the end with the "reverse") 
> the momentum brings the ladies toward each other to start the next round, and 
> makes it a little more obvious when you are out. Those dancing gent can help 
> by giving SUBTLE weith in the correct direction after the last pull-by.
> 
> (https://www.youtube.com/watch?v=gBwjTWK3-4g)
> 
> Happy New Year,
> 
> Bob
> 
> 
> 
> 
> Those of you who have called this dance a lot, have you noticed the same 
> issue?  How do you teach the B2-A1 transition to minimize the confusion and 
> end effects?
> 
> Kalia
> 
> ps Happy New Year, everyone!
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Re: [Callers] New Square-Through Dance?

[Linda Leslie via Callers]

In my records, I have this dance with a minor variation:
Finishing Touches by Ridge Kennedy

In Ridge’s dance, the A1 is N do si do and swing.

Cheers! Linda

On Dec 30, 2017, at 7:37 PM, Dugan Murphy via Callers 
 wrote:

> I wrote this dance yesterday, but I'm not confident it doesn't already exist 
> under a different name.  Does anyone recognize the choreography under a 
> different name?
> 
> 
> Longfellow's Revenge by Dugan Murphy (duple improper contra)
> 
> A1 Neighbor balance and swing (16)
> A2 Long lines forward and back (8) / Gents left hand allemande 1.5 (8)
> B1 Partner balance and swing (16)
> B2 Ladies chain to neighbor (8) / Partner right hand balance (4) - Partner 
> pull by across (2) - Neighbor left hand pull by on the side to face new 
> neighbor (2)
> 
> 
> Thanks for taking a look!
> 
> Dugan Murphy
> dugan at duganmurphy.com
> www.DuganMurphy.com
> www.PortlandIntownContraDance.com
> www.NufSed.consulting
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Re: [Callers] Holiday Contra

[Linda Leslie via Callers]

Hi, Jonathan!
Just went to your website to look for Champaign Cocktail. I am not seeing it. 
Would you share it with us?
Thanks! Linda

On Dec 14, 2017, at 1:39 PM, Jonathan Sivier via Callers 
 wrote:

>   It depends on what you consider to be a holiday theme.  Here are some 
> dances I included in my program at our local contra dance last Friday.
> 
> What we are all trying to do at this time of year -
> Losing Weight by Michael Barraclough
> 
> For New Years Eve -
> Champaign Cocktail by Jonathan Sivier
> 
> For the Gay Gordon's figure -
> Glen Echo Promenade by Bob Dalsemer
> 
> For Christmas shopping -
> Scrod Pudding's Trip to the Mall by Bill Olson
> 
> Snow Dance by Gene Hubert
> 
> Christmas is on Monday -
> Monday by Jim Hemphill
> 
> And what we are looking forward to after winter -
> American Spring by Glen Nickerson
> Summer Sunshine by Paul Balliet
> 
>  I also had some Star themed dances such as Star of Joy by Kate Chaitin in 
> reserve.
> 
> Jonathan
> -
> Jonathan Sivier
> Caller of Contra, Square, English and Early American Dances
> jsivier AT illinois DOT edu
> Dance Page: http://www.sivier.me/dance_leader.html
> -
> Q: How many angels can dance on the head of a pin?
> A: It depends on what dance you call!
> 
> On 12/14/2017 12:24 PM, Rich Sbardella via Callers wrote:
>> Does anyone have a couple of easy holiday themed contras to share?
>> Thanks,
>> Rich
> 
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Re: [Callers] Holiday Contra

[Linda Leslie via Callers]

Here are a few more!
Linda

On Dec 14, 2017, at 1:24 PM, Rich Sbardella via Callers 
 wrote:

> Does anyone have a couple of easy holiday themed contras to share?
> Thanks,
> Rich 
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Christmas Hornpipe
by (Traditional)
Contra/Improper/Easy

A1 ---
Cpl 1 Balance (2 times) ring of 3 with Lady 2
Circle left once
A2 ---
Cpl 1 Balance (2) with Gent 2 
Circle left once (2’s let go)
B1 ---
4 in line down the hall (actives in the center) TA return
and cast off
B2 ---
Long lines forward & back
Actives swing

Joy to the World
by Don Flaherty
Contra/Becket-CW/Easy

A1 ---
(8) Circle Left 3/4
(8) Neighbor swing
A2 ---
(8) Women's Chain
(8) 1/2 Hey, women passing right shoulders
B1 ---
(16) Partner balance and swing
B2 ---
Promenade across and whirl to face left diag.
Slice with the couple on the left
   (or long lines and then a R & L)


Snowball Shimmy
Seth Tepfer
Type: Contra
Formation: Becket-CW
Level: Easy

A1 ---
(8) Circle Left 1X*
(8) Men allemande Right 1-1/2
A2 ---
(16) Neighbor balance and swing
B1 ---
(8) Balance the ring and twirl to the right (petronella)
(8) Balance the ring and twirl 2 places to the right (petronella)
B2 ---
(16) Partner balance and swing (face left)

Notes: *I Changed this to slice left, gents alle Left 1 & 1/2

Snow Dance
by Gene Hubert
Contra/Improper/Int

A1 ---
Ring Balance
Ladies pass by the R/change places (alternate with men change places)**
Ring Balance
California twirl with your Neighbor (face a new couple, shadow in other hand)*

A2 ---
Circle left once
Star left once
B1 ---
Partner Balance and Swing
B2 ---
Right and Left through  (long lines)
Ladies Chain


Hors d’oeuvre
by Melanie Axel-Lute
Contra/Improper/Easy

A1 ---
(8) Neighbor Do-si-do
(8) Neighbor swing
A2 ---
(8) Long lines, forward and back
(8) Women's Chain
B1 ---
(8) Women allemande Right once
(8) Partner swing
B2 ---
(8) Circle Left 3/4
(4) Balance the Ring
Pass through

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Re: [Callers] pre-school dances?

[Linda Leslie via Callers]

Tom’s dance is the perfect type dance to segue into the “spiral” dance! No 
partner needed, and after doing the spiral in and out (led by you), you can 
march them all over your room, or even into other available spaces.
My other go to dance is Galopede. The A1 can be a simple forward and back 
twice. Doing a longways assumes the kids will partner up.
Let us know how you do!
Linda

On Oct 29, 2017, at 9:02 AM, Tom Hinds via Callers 
 wrote:

> Here's one.  They have to know the colors of the clothes they are wearing.  
> It's a circle.
> 
> Circle left, right
> Forward and back .
> 
> Those wearing red, for instance, skip in the inside.  Then skip the other way 
> back to place.
> 
> Sent from my iPad
> 
> On Oct 29, 2017, at 12:53 AM, Luke Donforth via Callers 
>  wrote:
> 
>> Hi Folks, 
>> 
>> I've got my collection of family dances that I use with mixed age groups. 
>> But I wonder if anyone has recommendations for family dance stuff when you 
>> don't have the full family?
>> 
>> What's good for ~12 pre-schoolers (age 3 to 5) when they aren't dancing with 
>> their parents; and you have maybe 2 other adults total. It seems dubious 
>> they'd get through even two dances, so give me your favorite if you have 
>> one. 
>> 
>> Thanks!
>> 
>> -- 
>> Luke Donforth
>> luke.donfo...@gmail.com
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Re: [Callers] Halloween

[Linda Leslie via Callers]

Here are a few for you, Rich.
Have fun! Linda

Halloween
by Al Olson
Contra/Improper/Easy

A1 ---
Neighbor swing
   var: B & S
A2 ---
Circle left three-quarters
Partner swing
B1 ---
Promenade
Ladies chain
B2 ---
Long lines
Right and left through

Devil's Dervish
by Al Olson & Linda Leslie*
Four Face Four/Four Facing Four/Int

A1 ---
Forward and Back
Opposite allemande right once and three-quarters
Pull by this opposite to start:

A2 ---
Half hey for eight!
B1 ---
Same Opposite Balance and Swing
B2 ---
Ring BalanceCircle left one-half
Partner Swing
*This dance beads on Devil’s Duty by Al Olson, so I include his name as an 
author.

Ghosts in the Night
variation on a dance by  Don Flaherty 
Contra/Improper/Easy

A1 ---
Balance R,L, slide right
Balance L,R, slide left
A2 ---
(16) Neighbor balance and swing
B1 ---
Ladies Do si do 1 & 1/2 (or alle  R)
Partner swing
B2 ---
Circle Left 3/4
Flatten to a wave, Balance
Walk forward to new waves

Witch's Stars
by Linda Leslie
Contra/Improper/Easy

A1 ---
Hands across right hand star
Left hands back (gents drop out)
A2 ---
Ladies continue to partner and swing
B1 ---
Long lines forward and back
Ladies chain
B2 ---
Hey (ladies center right)



On Oct 12, 2017, at 9:16 AM, Rich Sbardella via Callers 
<callers@lists.sharedweight.net> wrote:

> Hello Friends,
> I need some Halloween themed dances.  Any suggestions?
> Rich Sbardella
> Stafford, CT
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Re: [Callers] Were These Dances Written Before?

[Linda Leslie via Callers]

I don’t recognize the first one, Dugan.
However, the second dance I have in my files as “Together At Last” by Beau 
Farmer; but also written by Erik Hoffman as “Down in the P.A.- P.A Patch”

Cheers! Linda

On Sep 27, 2017, at 6:36 PM, Dugan Murphy via Callers 
 wrote:

> Does anybody recognize these two choreographical sequences as dances that 
> have already been written by someone else?  I came up with them yesterday, 
> but they look basic enough to be already-composed, so I want to give credit 
> where it is due if I'm not the first to land on these sequences.  
> 
> 
> "Hanging Out in Portland" by Dugan Murphy (improper, double progression)
> A1 Neighbor right shoulder spiral/gypsy and swing (16)
> A2 Gents Left Hand Allemand 1.5 (8) / Partner Pass Right to Start Half Hey 
> Across (8)
> B1 Partner right shoulder spiral/gypsy and swing (16)
> B2 Circle Left Three Places (7) - Partner Weave Left Past This Couple (3) - 
> Weave Right Past Second Couple (3) - Weave Left to Face 3rd Neighbor on the 
> Side (3)
> 
> 
> "Get the Baby" by Dugan Murphy (improper, single progression)
> A1 Neighbor Balance and swing (16)
> A2 Gents Left Hand Allemand 1.5 (8) / Partner Pass Right to Start Half Hey 
> Across (8)
> B1 Partner Balance and swing (16)
> B2 Ladies Chain Across to Neighbor (8) / Left Hand Star Once (8)
> 
> 
> "Hanging Out in Portland" came about while looking at "Valerie's Trip to 
> Portland" by Erik Weberg and "Leave Them Hanging" by Luke Donforth at the 
> same time.  "Get the Baby" is like a lot of basic star-progression dances, 
> but I guess I had "Get Me Going" by Lisa Greenleaf and "The Baby Rose" by 
> David Kaynor on my mind at the time when I was looking for a different 
> progression sequence to accompany the swing-allemand-hey-swing sequence.
> 
> Thanks, everybody
> 
> Dugan Murphy
> Portland, Maine
> dugan at duganmurphy.com
> www.DuganMurphy.com
> www.PortlandIntownContraDance.com
> www.NufSed.consulting
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Re: [Callers] Last Minute Advice

[Linda Leslie via Callers]

You might want to look at the archives for this list. Many great dances have 
been shared already here.
Good luck!
Linda

On Sep 23, 2017, at 11:10 AM, John Freeman via Callers 
 wrote:

> Hi All,
> 
> I have been calling for almost 37 years, but have mostly been on “emeritus” 
> status since I moved to an island that has no regular dances. The last dance 
> I called was on Cape Cod 18 months ago. That dance is the only one I can get 
> to; not more than once or twice a year. Attending that dance requires a ferry 
> ride and leaving at intermission to catch the last ferry home.
> 
> Anyway, I am going from no dances in 18 months to 3 in three weeks. Tonight’s 
> dance will be mostly “rookies”, but I expect a handful of experienced 
> dancers. The other two dances will full of new dancers. I have my usual ONS 
> list of dances. I wonder if you might share a few newer dances that can 
> easily be taught and danced by these folks. I will be working with a really 
> great string band, so the music will be great for these dances.
> 
> Thanks in advance,
> 
> John B. Freeman, SFTPOCTJ
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Re: [Callers] Multiple N swings / does this dance exist?

[Linda Leslie via Callers]

Here are a few for you, Maia. Hope the workshop is a lot of fun!
Linda
ps: I have not seen your dance before…

Back from Vermont
by David Zinkin
Contra/Improper/Int

A1 ---
Neighbor swing
Long lines forward and back
A2 ---
Star right three-quarters to long waves (P right, gents out, ladies in)
Balance the long wave
Shadow allemande left once
B1 ---
Partner Balance and Swing
B2 ---
Circle left three-quarters
Swing same neighbor
  At ends, don't cross! shadow!

Got Nice Neighbors
by Billy Boyer
Contra/Becket-CW/Easy

A1 ---
Down the Hall four in line, turn as a couple, return
A2 ---
Circle left 3/4
(8) Neighbor swing
B1 ---
(8) Long lines, forward and back
(8) NEXT Neighbor swing*
B2 ---
(8) Ladies allemande Right 1-1/2
(8) Partner swing

Naked in California
by Nils Fredland
Contra/Improper/Int

A1 ---
Long lines forward and back
Neighbor swing
A2 ---
Ladies allemande right One-Half
Partner allemande left three-quarters
Shadow allemande right once and a half (ladies out, gents face in)
B1 ---
Long waves balance right, left, Slide right
Partner swing
B2 ---
Circle left three-quarters
Same neighbor swing

Around the Sound
by Cary Ravitz
Contra/Becket-CW/Adv

A1 ---
(var. on Give & Take): Long lines forward
 Neighbor gypsy 1/2, gent back up with N to swing (ladies side)
A2 ---
(8) 1/2 Hey, men passing left shoulders
Same Neighbor swing
B1 ---
Long lines forward, P gypsy 1/2 (same effect as pass thru, TA)
(8) Star Right 3/4 
NEW GENTS alle L once (ladies step L to meet P)

B2 ---
P B

CDS Reel
by Ted Sannella
Contra/Improper/Easy

A1 ---
Neighbor swing
Long lines forward and back (end join in)
A2 ---
Whole set circle left
Circle right
B1 ---
Star left three-quarters
Gents turn back and swing partner
B2 ---
Gents allemande left once and a half
Same neighbor Swing


On Sep 19, 2017, at 11:19 PM, Maia McCormick via Callers 
 wrote:

> Hey folks,
> 
> Looking for a dance with multiple swings with the same N, and also preferably 
> a P b, for a workshop I'm running on in-dance communication. Anyone have 
> one to recommend?
> 
> On a similar note, this is the dance I tossed off to fill this need: does it 
> exist? If not, tentatively titling it "Good Fences".
> 
> Improper
> A1: long lines forward and back
> (new) N swing
> A2: ladies chain to P
> half hey (ladies pass R)
> B1: P b
> B2: gents alle. L 1 1/2
> (same) N swing
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Re: [Callers] Looking for a particular sort of becket dance

[Linda Leslie via Callers]

I guess I misunderstood your rules!  I thought you wished to avoid circle left 
3/4, N swing, not all circles in the A1.  Hope you find enough!
Linda

On Jun 29, 2017, at 7:13 PM, Kalia Kliban <kalia.kli...@gmail.com> wrote:

> On 6/29/2017 3:33 PM, Linda Leslie wrote:
>> Here are few for you to consider, Kalia. Hope you and the new callers have a 
>> lot of fun!
>> warmly, Linda
>> *A1 Reel*
>> by Chris Weiler
>> Contra/Becket-CCW/Easy
> 
> This is my go-to ending dance, and I love it.  It does, however, start with 
> the dread circle left 3/4, which I'm trying to avoid in this case.
> 
>> *Boys from Urbana*
>> by John Coffman
>> Contra/Becket-CW/Easy
> 
> Another truly excellent dance.  I considered this one, but thought the timing 
> subtleties of the zig-zag to allemande might get away from a hesitant new 
> caller.  As a fairly new trainer-of-callers, I'm uncertain about how much 
> complexity they can handle.  I know I was a total mess on my first few 
> camper-night attempts.  Anything that needed teaching beyond the very basics 
> would have been out of my league.  But there are often callers in classes 
> who've got the basics down and are looking for a bit more of a challenge.
> 
>> *Classical Contra*
>> by Peter Campbell & Lisa Greenleaf
>> Contra/Becket-CW/Easy
>> A1 ---
>> Circle left three-quarters, pass through
> 
> Again, the circle L 3/4 start...
> 
>> *Equal Turn, The*
>> by Tom Hinds
>> Contra/Becket-CW/Easy-Int
>> A1 ---
>> Gents Allemande left once and a half
>> Neighbor swing
>> A2 ---
>> R & L through
>> Ladies chain
>> B1 ---
>> Circle Left three-quarters,
>> pass through up and down
>> New ladies allemande left once and a half**
>> B2 ---
>> Partner Balance and Swing
> 
> Aha!  We may have a winner!  A glossary-figure Becket that doesn't start with 
> circle L 3/4!
> 
>> *Midwest Folklore*
>> by Orace Johnson
>> Contra/Becket-CW/Easy
>> A1 ---
>> Circle left three-quarters
> 
>> *Trip to Falmouth*
>> by Linda Leslie
>> Contra/Becket-CW/Easy
>> A1 ---
>> Circle left three-quarters
> 
> Ubiquitous, aren't they :>)
> 
>> *Serenity & Grace*
>> by Linda Leslie
>> Contra/Becket-CW/Easy
>> A1 ---
>> Long lines forward and back
>> Circle Left three-quarters
> 
> It's not _quite_ the first move...
> 
>> *Wingnut Whirl*
>> by Allan Brozek
>> Contra/Becket-CW/Easy
>> A1 ---
>> (8) Down the hall, four in line (turn as couples)
>> (8) Return and Bend the line
>> A2 ---
>> (8) Circle Left 3/4 and pass through along the set
>> (8) Next Neighbor swing
>> B1 ---
>> (8) Men allemande Left 1-1/2
>> Scoop up partner and star promenade half-way
>> B2 ---
>> (8) Women Do-si-do
>> (8) Partner swing
> 
> Hooray, another good candidate!  The star promenade is an excellent bonus 
> move, since none of my other easy dances have it, and I like the Women's 
> dosido into the swing.
> 
> Thank you Linda!

Re: [Callers] Looking for a particular sort of becket dance

[Linda Leslie via Callers]

Here are few for you to consider, Kalia. Hope you and the new callers have a 
lot of fun!
warmly, Linda

On Jun 29, 2017, at 5:58 PM, Kalia Kliban via Callers 
<callers@lists.sharedweight.net> wrote:

> Hi all,
> 
> I'm re-vamping my list of simple contra dances for new callers, and am in 
> search of a very particular sort of becket dance.  The list is one of my 
> hand-outs for callers' classes at camps, so the folks who'll be using it are 
> likely to be nervous, brand-new callers.  To that end, I'm looking for 
> sturdy, hard-to-break, low-piece-count dances.  In a perfect world they'd be 
> composed of simpler glossary figures.
> 
> I already have a fair collection of simple dances to choose from, but would 
> like to include one more becket dance (I have Tica Tica Timing already on the 
> list).  This perfect becket that I'm looking for should _not_ start with 
> circle L 3/4, and should not contain petronella twirls.  Bonus points if it 
> doesn't have a whole hey, since I've already got a couple of whole hey dances 
> in the list.
> 
> I look forward to hearing what you can recommend.
> Many thanks,
> Kalia Kliban
> 

A1 Reel
by Chris Weiler
Contra/Becket-CCW/Easy

A1 ---
(8) Circle Left 3/4
(4) Balance the Ring
California Twirl
A2 ---
New (16) Neighbor balance and swing
B1 ---
(8) Half Right and left through
(8) Women allemande Right 1-1/2
B2 ---
(16) Partner balance and swing

Boys from Urbana
by John Coffman
Contra/Becket-CW/Easy

A1 ---
(8) Circle Left 3/4
Zig left Zag right
New gents alle left 1/2
A2 ---
(16) Neighbor balance and swing
B1 ---
(8) Long lines, forward and back
(8) Women allemande Right 1-1/2
B2 ---
(16) Partner balance and swing

Classical Contra
by Peter Campbell & Lisa Greenleaf
Contra/Becket-CW/Easy

A1 ---
Circle left three-quarters, pass through
New neighbor do si do
A2 ---
Same neighbor Balance and Swing
B1 ---
Long lines forward and back
ladies do si do once and a half(or allemande right)
B2 ---
Partner Balance and Swing

Equal Turn, The
by Tom Hinds
Contra/Becket-CW/Easy-Int

A1 ---
Gents Allemande left once and a half
Neighbor swing
A2 ---
R & L through
Ladies chain
B1 ---
Circle Left three-quarters,
pass through up and down
New ladies allemande left once and a half**
B2 ---
Partner Balance and Swing

Midwest Folklore
by Orace Johnson
Contra/Becket-CW/Easy

A1 ---
Circle left three-quarters
Neighbor do si do
A2 ---
Neighbor Balance and Swing
B1 ---
Circle left three-quarters
Partner Do si do
B2 ---
Partner Balance and Swing
 (look left and slide left to a new couple)

Trip to Falmouth
by Linda Leslie
Contra/Becket-CW/Easy

A1 ---
Circle left three-quarters
This neighbor do si do once and a quarter (form a wave)
A2 ---
Wave Balance, walk forward  and new neighbor swing
B1 ---
Long lines forward and back
ladies R dance around  once and a half
B2 ---
Partner Balance and Swing

Serenity & Grace
by Linda Leslie
Contra/Becket-CW/Easy

A1 ---
Long lines forward and back
Circle Left three-quarters
Pass through up and down

A2 ---
Next Neighbor Balance & Swing (do si do works better)
B1 ---
Gents allemande left once and a half
(face partner)
1/2 hey
B2 ---
Partner Balance & Swing

Wingnut Whirl
by Allan Brozek
Contra/Becket-CW/Easy

A1 ---
(8) Down the hall, four in line (turn as couples)
(8) Return and Bend the line
A2 ---
(8) Circle Left 3/4 and pass through along the set
(8) Next Neighbor swing
B1 ---
(8) Men allemande Left 1-1/2
Scoop up partner and star promenade half-way
B2 ---
(8) Women Do-si-do
(8) Partner swing

Re: [Callers] Similar list for musicians?

[Linda Leslie via Callers]

I just joined by going to the following link:
http://lists.sharedweight.net/listinfo.cgi/organizers-sharedweight.net

Linda


On Jun 24, 2017, at 5:35 PM, April Blum via Callers 
 wrote:

> April Blum here. I will happily join the organizers group if you can point me 
> in the right direction. On Jun 24, 2017 4:13 PM, Chris Weiler via Callers 
>  wrote:
>> 
>> Hi Everyone,
>> 
>>  
>> 
>> The other SharedWeight lists are fairly low traffic, but there is something 
>> that people can do about that. The more people ask questions, the more the 
>> members of the list remember that it’s there as a resource and the more 
>> questions that are posted. The Caller’s list got started because I was a new 
>> caller and had lots of questions and got the ball rolling. The other lists 
>> (Musicians, Organizers & Web Content) need people to get the ball rolling. 
>> Once the momentum gets started, more people join and the more information 
>> gets shared. I hope that some of you will take it upon yourselves to join 
>> those lists and get things going.
>> 
>>  
>> 
>> All the best,
>> 
>> Chris Weiler
>> 
>> Co-founder SharedWeight
>> 
>>  
>> 
>>  
>> 
>> From: Callers [mailto:callers-boun...@lists.sharedweight.net] On Behalf Of 
>> Meg Dedolph via Callers
>> Sent: Saturday, June 24, 2017 2:32 PM
>> To: Bree Kalb ; callers@lists.sharedweight.net
>> Subject: Re: [Callers] Similar list for musicians?
>> 
>>  
>> 
>> There is, though it's low-traffic.  But people are generally responsive when 
>> someone asks a question. I think this is the link that takes you to a page 
>> that tells you about it. 
>> 
>> http://www.sharedweight.net/index.php?pagestate=music_about
>> 
>>  
>> 
>> meg
>> 
>>  
>> 
>> On Sat, Jun 24, 2017 at 1:03 PM Bree Kalb via Callers 
>>  wrote:
>>> 
>>> A brand new baby contra band is eager to learn more. Is there a list like 
>>> this one for musicians?
>>> 
>>> Bree Kalb
>>> 
>>> Carrboro, NC
>>> 
>>>  
>>> 
>>> ___
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Re: [Callers] Allen Ortep's First Contra

[Linda Leslie via Callers]

Here is the dance, with notes,  as listed on Michael Dyck’s comprehensive web 
site:
http://www.ibiblio.org/contradance/index/
As Paul Wilde pointed out, the dance is Becket formation. I have never tried 
calling it.
Linda


Allen Ortep's First Contra  Top
Becket Counter ClockwiseIntermediate-Advanced
Michael Fuerst  February 1998

A1  Star left
Right and left through on right diagonal

A2  Long lines forward, on the way back, partners roll away with a 1/2 sashe
Circle right 3/4, pass through along set by left shoulder
   to meet couple passed during the right and left of A1

B1  Balance and swing this neighbor.

B2  Allen Ortep turn (balance in a circle, then move as an individual
   to the left one place in the circle while twirling counterclockwise)
Partners swing.

Alternatives for B2 are
Men allemande left 1 1/2, partners swing, or
Star left 3/4, men turn back, partners swing

Those unfamiliar with the famous dance composer Allen Ortep,
   should spell his name backwards


On Jun 18, 2017, at 10:33 PM, Mark Hillegonds via Callers 
 wrote:

> Hi all,
> 
> Allen Ortep's First Contra was shared with this group in November, 2012. Just 
> wondering if anyone has successfully called this dance. I ask because I've 
> tried a few times with some adventurous and skilled dancers and have never 
> gotten it to work. So I'm wondering if I have the instructions right.
> 
> I tried searching the SharedWeight archives and am not getting any results. 
> (In fact, I get no results even if I search for Contra. So now I'm feeling 
> very technologically challenged!)
> 
> Below are the instructions as I copied then and then double-checked them.at 
> the time.
> 
> Does anyone see any mistakes or have any other thoughts? Thanks.
> 
> Allen Ortep’s First Contra
> by  Michael Fuerst
> Contra/Improper/Int-Adv
> 
> A1 ---
> (8) LH star
> (8) R diag R & L thru
> A2 ---
> (4,4) LL F & B, On way back, Gents roll Partner R to L
> (6,2) Circle R 3/4, Pass thru (along)
> B1 ---
> (16)  New Neighbor B & S
> B2 ---
> (4,4) Rings balance, Spin to L
> (8) Partner swing
> 
> -- 
> Mark Hillegonds
> 
> Cell:  734-756-8441
> Email:  mark.hillego...@gmail.com
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Re: [Callers] Super easy dances - do they exist?

[Linda Leslie via Callers]

I use two hand turns with groups like yours….elbow swings work, too. Since 
there is more distance between dancers, they don’t seem to have any discomfort 
with these moves.

A question for you, though:  if girls are dancing with girls, and boys with 
boys, how are you approaching the use of language to distinguish positions?

thanks! Linda Leslie


On Jun 17, 2017, at 12:31 PM, Linda S. Mrosko via Callers 
<callers@lists.sharedweight.net> wrote:

> That Tony Parkes dance looks good, but I'd never be able to use it with this 
> crowd.  In years passed, I tried to teach them swings -- but I guess 
> everybody still has cooties at 18 years -- never worked -- plus, you have a 
> good number of girls dancing with girls and boys dancing with boys and it 
> makes some of them uncomfortable.  This is a crowd that, when I tell them, 
> let's make a big circle all around the room, they have trouble with the 
> concept of what a circle looks like.  Not to re-mention the acoustics.  
> 
> As a contra dancer, I understand flow from figure to figure, but Swat the 
> Flea into a right shoulder DSD wasn't a problem with this crowd.
> 
> But thanks for sharing Tony's dance.  I don't remember ever seeing it before.
> 
> On Sat, Jun 17, 2017 at 4:55 AM, John Sweeney via Callers 
> <callers@lists.sharedweight.net> wrote:
> Hi Linda,
> Re your Box ‘n’ Swat:  I have a somewhat similar dance in my files:
> 
> Circle Mixers Are Fun (by Tony Parkes)
> 
> A1) Into the Middle & Back x 2
> 
> A2) Partner Right Hand: Balance & Box the Gnat; Partner Dosido
> 
> B1) Partner Left Hand: Balance & Swat the Flea; Partner Seesaw (Left 
> Shoulder Dosido) 1 & 1/2 to meet your New Partner
> 
> B2) New Partner Balance (OR Gypsy) & Swing
> 
> Note that your sequence of Swat the Flea into Dosido involves passing 
> by the right when you are holding left hands.  Tony’s sequences above allow 
> much easier flow and connection as you can pull past with the connected hand.
> 
> Last time I had the challenge of working with a room full of noisy 
> youngsters (most of whom didn’t speak English) I just led by example, 
> starting with a Grand March then did:
> Sausage (Circle) to the Left/Right (Till I was at the top)
> Long Lines Go Forward & Back
> Top couple Gallop Down (I just took the person opposite and galloped); Next 
> Couple; Next Couple; Next Couple
> Repeat
> 
> Once they has used up a bit of energy I was able to get them to quiet 
> down a bit!
> 
> 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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> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
> 
> 
> 
> -- 
> Looking forward,
> 
> Linda S. Mrosko
> 102 Mitchell Drive
> Temple, Texas 76501
> (903) 292-3713 (Cell)
> (903) 603-9955 (Skype)
> contradancetx.com
> www.zazzle.com/fuzzycozy* (Dance buttons, t-shirts, & more)
> ___
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Re: [Callers] Swing Like Thunder

[Linda Leslie via Callers]

Perhaps this is the one you mean?   “Go like thunder” is a phrase sometimes 
used for this square.
Have fun!
Linda

Forward Six & Back

A1 ---
1st old cpl lead out to the right
Circle up 4 with all your might.
Leave her there and on to the next
A2 ---
Circle up three
Steal that girl and put her on the right
On to the next
B1 ---
Circle four and leave her there
Go on home
B2 ---
Six to the center and back you go
Two lone gents with a do si do.
Right hand high and left hand under, twirl those girls and go like thunder.
  
Repeat three times until all are home with Partner.

On Jun 14, 2017, at 9:21 AM, dje h via Callers  
wrote:

> I'm way out in the boonies teaching square dance to a group of campers, and 
> they asked for a dance called Roll Like Thunder. I did figure out that it's 
> probably a square called Swing Like Thunder, but I'm not having much luck 
> tracking down the actual moves. WiFi is really spotty out here, so I can't 
> watch a video or listen to a recording. Does anyone have this dance in your 
> collection? Thanks for any help. 
> 
> Deborah Hyland 
> St Louis 
> 
> Sent from Yahoo Mail on Android
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Re: [Callers] Missing Dance Name

[Linda Leslie via Callers]

This is a small variation on Becky Hill’s dance “Simplicity Swing”. The only 
difference is the A2. In Becky’s dance, it is “circle Left 3/4, P swing”.
Linda

On Jun 2, 2017, at 1:54 PM, Isaac Banner via Callers 
 wrote:

> Hey all,
> 
> Michael Karcher suggested this was a good endpoint for dance questions. I 
> used this simple jumble at a dance recently. I never looked into whether it 
> was an existing sequence, but I would assume so... -
> 
> Improper
> A1.  Neighbor balance/swing
> A2.  Ladies RH 1.5x, Partner swing
> B1.  LLFB, Ladies chain
> B2.  Left hand star, Next neighbor dosido
> 
> Anyone have this on a card?
> 
> Thanks,
> Isaac
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Re: [Callers] Two new dances (and two more dances)

[Linda Leslie via Callers]

Hi, Jacqui,
I looked through some of my collection, and found that your dance “Starlet” is 
the same as a dance by Melanie Axel-Lute, which she calls Show of Hands I. I am 
not sure when she wrote it, but I first called it in 2012.
Line Up the Square is very similar to a dance by Bill Baritompa called Snow in 
July. The only small difference is that Bill’s dance has a Give & Take (no ring 
balance) for the A2. I first called this dance in 2012.

I don’t find any dances that are the same as A Stroll in the Hey or Zag It 
Back. They look like a lot of fun! Thanks for sharing…
Linda

On May 24, 2017, at 2:51 AM, QuiAnn2 via Callers 
 wrote:

> Hi, I’ve recently written two dances. Both have been tested and called at 
> regular contra dances (one in England, one in California!) to positive 
> feedback from the dancers. I’m running it by the caller’s gauntlet to see if 
> anyone knows if these dances have already been written. Please let me know if 
> you’ve seen them before. Thanks! I’m also adding a couple of other simple 
> dances that I wrote specifically to introduce a some figures in an easy way 
> when I have many beginners. They aren’t fancy dances and I don’t usually 
> announce the names of these dances but since I include my programs in my 
> website, I thought I should probably give correct attribution if the dance 
> has already been written. Thanks for any help!
> 
> Jacqui Grennan
> 
> 
> A Stroll in the Hey
> by Jacqui Grennan
> Contra/Becket-CW
> 
> A1 ---
> (8) Gents allemande Left 1-1/2
> (8) N Sw
> A2 ---
> (8) LL F to P
> (8) Ladies Chain to P, extra courtesy turn
> B1 ---
> (8) w/P, Promenade the set clockwise, ladies in the middle, turn as couples
> (8) Return promenade, go PAST current Ns  <=PROGRESSION
> B2 ---
> (8) 1/2 hey (NEW gents start passing left, NR, ladies L)
> (8) P Sw
> 
> 
> Zag It Back
> by Jacqui Grennan
> Contra/Becket-CW
> 
> A1 ---
> (8) w/P, slice on left diagonal, fall straight back <=PROGRESSION
> (8) Ladies allemande Right 1-1/2
> A2 ---
> (16) N B
> B1 ---
> (Note: loose timing in the B1) 
> (8) Circle Left 3/4
> (3,3) w/N, zig left, zag right to your shadows
> (2) Shadow L allem. 1x
> B2 ---
> (16) P B
> 
> 
> Starlet
> by Jacqui Grennan
> Contra/Improper
> 
> A1 ---
> (8) N Allem. RIGHT 1x
> (8) Ladies allemande LEFT 1-1/2
> A2 ---
> (16) P gypsy R/Sw
> B1 ---
> (6) Circle Left 3/4
> (10) N Sw
> B2 ---
> (8) LL F to P
> (8) Star Left 1x <=PROGRESSION
> 
> 
> Line Up the Square
> by Jacqui Grennan
> Contra/Improper/Easy
> 
> A1 ---
> (8)N DSD 1x
> (8) N Sw
> A2 ---
> (4) Balance ring
> (12) Give and Take to gents side, P Sw
> B1 ---
> (8) Promenade across the Set
> (8) Ladies Chain to N
> B2 ---
> (8) LL F to P
> “INTERRUPTED SQUARE THROUGH”
> (4) P RH balance across set
> (2) Pull by P RH
> (2) Pull by N LH
> 
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Re: [Callers] In search of un-premiered contras!

[Linda Leslie via Callers]

You can fix that little challenge by making the A1 a neighbor give & take on 
the left diagonal. As couples, dancers go forward on the left, and bring 
neighbor straight back for a swing. In the gents' chain version, the ladies 
would bring N back; in the ladies’ chain version, gents would bring N back to 
swing. 
Linda

On Mar 27, 2017, at 8:49 AM, David Harding via Callers 
 wrote:

> Scratch that.  Now that I look at it in light of Tom's comments, I realize 
> that there is no progression.  Doh!
> 
> On 3/26/2017 9:26 PM, David Harding via Callers wrote:
>> Here's something I envisioned last fall and have been meaning to post for 
>> comment.  There were conversations here about gents chains and about 
>> balancing the activity levels of ladies and gents.  At Squirrel Moon 
>> Weekend, Tom Hinds called a dance whose details I don't remember, except 
>> that it started with a gents chain across from Becket formation, followed by 
>> gents chain on the right diagonal (I think).  About 2/3 of the way through 
>> the dance, he switched to start with a ladies chain across and then on the 
>> left diagonal.  It was dramatic how different the two versions of the dance 
>> felt.  That got me to thinking, why not switch each time through to 
>> symmetrize the dance, the way modern dances with contra corners often do?  
>> Perhaps that's sufficiently disorienting to be cutting edge.  
>> I have not had the occasion to call this, but would be happy to hear if 
>> anyone thinks it's worth giving a try.  I haven't thought through the 
>> teaching, but imagine that for a group that could handle it, two 
>> walk-throughs would be useful.  
>> The working title is "Both Sides"  
>> Becket
>> 
>> A1 Gents allemande 1 1/2; Neighbor swing
>> A2 Long lines forward and back; Gents chain, courtesy turn
>> B1 Gents left shoulder full hey
>> B2 Partner balance and swing
>> 
>> Alternate with
>> A1 Ladies allemande right 1 1/2; Neighbor swing
>> A2 Long lines; Ladies chain,  courtesy trun
>> B1 Ladies right shoulder full hey
>> B2 Partner balance and swing
>> Dave Harding
>> 
>> On 3/26/2017 8:26 PM, Maia McCormick via Callers wrote:
>>> Hi choreographer folks,
>>> 
>>> I'm leading a session at NEFFA called "Cutting-Edge Contras", consisting of 
>>> un-premiered (or very sparsely called) contras. If anyone has any dances 
>>> they'd like to throw my way for consideration, please do so!
>>> 
>>> Cheers,
>>> Maia
>>> 
>>> 
>>> ___
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>>> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>> 
>> 
>> 
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> 
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Re: [Callers] What to do with a really bad new dancer?

[Linda Leslie via Callers]

A while back, we had the same sort of challenge at one of the local dances.  
About a dozen of us from the dance community got together to problem solve. The 
group decided that if one of us made sure that the challenged dancer had a 
partner for each dance, that it would be good for the entire dance. The 
less-than-satisfying dance experience would only last for 10 minutes or so, but 
improve the experience for the rest of folks in the set. Our reward: the 
continuous smile on the challenged dancer’s face more than made up for any 
perceived loss of “quality” dance time.  This gesture made a lot of difference, 
making the dance more pleasurable for all involved. 

As for the techniques used to help the dancer be on time: asking directly for 
permission to help, and how best to help might show the dancer that you care 
enough about his feelings and experience to ask. 

Warm wishes for happy problem solving for your dance community, Linda

On Mar 6, 2017, at 3:13 PM, Marie-Michèle Fournier via Callers 
 wrote:

> Hi everyone,
>Lately a new dancer has started coming to our dance and he is bad enough 
> that he will often make the set break if the dance is moderately challenging. 
> He seems to have some kind of impairment and walks very stiffly which means 
> he will often not be on time for a figure and also often does not remember 
> what is coming next.
>   We want to be inclusive but at the same time his presence negatively 
> impacts other dancers in his set and while some of the experienced dancers 
> will take one for the team and dance with him, it is an unpleasant experience 
> to be his partner. Unfortunately, we always have many new dancers and having 
> one couple not be where they should be can really throw them off in some 
> dances so I feel like I have to push and pull him around to be on time, 
> despite the fact that it's a little rude.
>A recent caller to our dance called him a "speed bump" which was quite 
> accurate. I'm sure other dances have had experience with similar troubles, 
> does anyone have advice on how to deal with this so that other dancers still 
> have a good time yet we are nice to this problematic dancer?
> Thank you
> Marie
> ContraMontreal
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Re: [Callers] Dances Inspired by "Beneficial Tradition"

[Linda Leslie via Callers]

Al Olson wrote a triplet. Here it is
Linda

Benefical Triplet
by Al Olson
Other/Triplet/Int

A1 ---
Partner across pull by the right,  L diag pull by left
Across pull by R;  L diag pull by L

A2 ---
across pull by R;  L diag pull by L
Partner across Balance & Box the gnat
B1 ---
Partner Balance & Swing
B2 ---
Cpl #1  (at the bottom) up the center TA; 
Return to center (2s now at bottom)
& Cast UP with Cpl #2  
END:   2  1   3

On Mar 3, 2017, at 1:10 PM, Dugan Murphy via Callers 
 wrote:

> Does anybody know of dances inspired by "Beneficial Tradition" by Dan Pearl 
> that includes the "zipper" figure (B2 of "Beneficial Tradition") or 
> variations of that figure?  I just wrote one myself, so I'm curious to see 
> what else is out there.
> 
> Here's mine:
> 
> Dela Says Yippee by Dugan Murphy (Clockwise Becket)
> 
> A1  Long Lines Forward and Back (8) / Neighbor Left Hand Pull-by Across the 
> Set (hopping and shouting recommended on the fourth beat) (4) - New Same-Role 
> Dancer Across the Set Right Hand Pull-by Across the Set (hopping and shouting 
> recommended on the fourth beat) (4)
> 
> A2  New Ladies (not the one just pulled by) Left Hand Allemande 1.5 (8) / 
> Neighbor Swing
> 
> B1  Circle Left 3 Places (8) / Partner Di-Si-Do (8)
> 
> B2  Partner Balance & Swing (16)
> 
> This dance is also posted here: www.duganmurphy.com/dances-i-wrote
> 
> Dugan Murphy
> Portland, Maine
> dugan at duganmurphy.com
> www.DuganMurphy.com
> www.PortlandIntownContraDance.com
> www.NufSed.consulting
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Re: [Callers] ACK! First time calling night of *squares* -- any last minute advice?

[Linda Leslie via Callers]

I am with you on leaving out the allemande entirely, John. Works out so much 
better for some groups to simply “face Partner, grand right & Left”.
Linda

On Feb 7, 2017, at 4:53 AM, John Sweeney via Callers 
 wrote:

> Meg said, "I have better luck teaching that to beginners if I teach the grand 
> right and left first and *then* add the allemande left, rather than teach it 
> in the sequence it's presented in the dance."
> 
> The same advice was given by Lloyd Shaw in "Cowboy Dances" in 1939:
> "It is so simple that it may seem labored to teach it in two parts in this 
> way. But I have found, especially with a large crowd, that it saves a lot of 
> confusion and innumerable collisions. Starting with the simple Grand right 
> and left gets their directions established and the men get in the habit of 
> always going right and the ladies always going left with a serpentine, 
> touching alternate hands. Once this is established it is easy to add the 
> preliminary left hook of the Allemande, and the trick is done. But try to 
> teach the two manoeuvers at the same time to a large crowd and you will have 
> them all running off wildly in all directions, and the stampede will be hard 
> to check."
> 
> Nothing changes! :-)
> 
> For beginner groups, especially one night stands, I don't add the Allemande 
> at all.
> 
> 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] Another vote for "jets" and "rubies"

[Linda Leslie via Callers]

It may be that the Organizers’ List for Shared Weight may have this kind of 
data.
Linda

On Jan 30, 2017, at 12:51 PM, Ron Blechner via Callers 
 wrote:

> No, I haven't seen statistical analysis of this. Maybe it's worthwhile for 
> this to be polled out to various dances.
> 
> Best regards,
> Ron
> 
> On Jan 30, 2017 10:54 AM, "Donna Hunt"  wrote:
> Just getting back to this thread, lots to catch up on.
> 
> Jeff and Ron:  You both seem like the statisticians here.  Is there any data 
> that reflects where in the country the LGBTQ gender-free dances are and where 
> the communities that use gender-free terminology are?  
> 
> Just curious.
> 
> Ron:  When you say that local dances attendance is down is there data about 
> that compared to dances where attendance is not down?  Again, looking for 
> information country wide or even geographic area.
> 
> Thanks
> Donna Hunt
> 
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Re: [Callers] Contras which feature a "Dublin Bay" figure

[Linda Leslie via Callers]

Al Olson used the move in his dance “Leaving Home”. It was published in Give & 
Take by Larry Jennings in 2004. Larry spent a number of years putting this book 
together, so the dance was written well before this. I did not find the dance 
in Zesty Contras, Larry’s fist book, published in 1988; but this might mean 
that Larry did not have space to include it, rather than it had not been 
written yet.  If I were of a betting nature…..I would bet that the dance was 
from the 1980’s, maybe 1990’s. 
Linda

On Jan 16, 2017, at 5:20 PM, Tavi Merrill via Callers 
 wrote:

> 
> Dance genealogy question: The figure first appearing in "Dublin Bay" (aka 
> "We'll Wed and We'll Bed," its title in Playford) morphed in contra into a 
> modified "lines of four down the hall." 
> 
> I know a version of it from Sue Rosen's dance "Handsome Young Maids," where 
> dancers facing down take four steps forwards, turn alone, and continue down 
> the hall with four backward steps, then repeat the figure to return up the 
> hall. 
> 
> I'm curious how many other contras this figure, or a version of it, appears 
> in. Does anyone know of other dances? And any astute dance historians out 
> there know what the first contra to use this figure is?  
> 
> Tavi
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Re: [Callers] Title and author

[Linda Leslie via Callers]

This dance is Ann Arbor Four by Al Olson.
Linda

On Nov 5, 2016, at 2:40 PM, Donna Hunt via Callers 
 wrote:

> Anyone know the Title and Author for this dance?  Thanks!
> 
> A1  Long Lines Fwd and Back
> Neighbor Allem Right 1x, Ladies Allem Left 1/2
> 
> A2  Balance and Rory twirl past partner
> Balance and Rory twirl past partner   
> 
> B1  Balance and Swing Partner
> 
> B2  Circle Left 3/4, Swing Neighbor
> 
> Donna Hunt
> 
> 
> 
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Re: [Callers] Positive values on the mic

[Linda Leslie via Callers]

“if you are now joining a line, please join the shortest set.”
I try to remember to ask dancers to acknowledge not only sound folks, but also 
the organizers.

Linda

On Oct 31, 2016, at 10:28 AM, Ron Blechner via Callers 
 wrote:

> Hi Shared Weight,
> 
> I'd like to hear some examples of things you as a caller (or you as an 
> organizer encouraging callers) say on the mic during a dance to promote 
> positive dance values.
> 
> I ask because I'm reviewing my own dance's "calling our dance" communication 
> with callers, as well as evaluating my own statements on mic.
> 
> I'll get us started.
> 
> I like to say, a couple times per evening, for dancers to look to the 
> sidelines for dancers who were sitting out, in considering a partner.
> 
> In dance,
> Ron Blechner
> 
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Re: [Callers] Contra friendly squares

[Linda Leslie via Callers]

Hi, Ron,
Here are some favorites of mine. I hope a few might be the type of square you 
would like. Have fun!
warmly, Linda

On Oct 14, 2016, at 11:51 AM, Ron Blechner via Callers 
 wrote:

> Hi all,
> 
> I'm looking to expand the number of contra-friendly Squares in my box.
> 
> 1. Keepers preferred unless it's a really good mixer.
> 2. Not too gimmicky. 
> 3. Not really interested currently in Southern style visiting couple squares 
> (heads and sides fine, but not one couple at a time).
> 
> (Got Kimmswick Express, First Night Quadrille, a couple others)
> 
> Thanks,
> Ron

Virginia Reel Square
by Ted Sannella
Square/Easy

A1 ---
1st cpl down the center 
Swing opposite (back up to lines at the heads/sides)
A2 ---
(8) Long lines, forward and back
Cpl #1 alle R once
Alle L the first in line
B1 ---
1st cpl alle Right once and a half
Next alle Left once
1st cpl Right once and a half
Last alle left once
B2 ---
All P swing


Texas Star
by (Traditional)
Square/Easy

A1 ---
All four lades forward and back
All four gents right hand star
A2 ---
Let hand star, other way back
Pass your P pick up the next Star Promenade
B1 ---
“Outsides in, and the Insides out”
Gents back out and the ladies forward around you whirl (cw)
ladies in the center and star promenade
B2 ---
Drop that star and swing
Promenade


Mittens for Three
by Chris Ricciotti
Square/Int

A1 ---
Heads/Sides forward and back
Same 2 ladies chain

A2 ---
Same four circle left three-quarters, pass through to original corner
Corner do si do
B1 ---
Hey for four (o, r, corner)
B2 ---
Corner/New Partner Balance and Swing
C1  ---
All star promenade once
Ladies drop out at new home
C2 ---
Gents continue left hand star once
Swing this new partner again


Knaves Quadrille
by Tony Parkes
Square/Easy

A1 ---
Head couples forward and back
Head gent cross and swing that opposite lady
A2 ---
Side couples forward and back
Side gents cross and swing that opposite lady
B1 ---
All join hands and circle left
Break that swing with a corner swing
B2 ---
Keep this one and promenade the ring (gent's place)


Hey on the Square
by Becky Hill
Square/Easy-Int

A1 ---
H/S do si do your opposite
Face the S/H, and circle left once around
A2 ---
Corner do si do once and a quarter to waves (corner Left)
Balance the wave, slide Right

B1 ---
same corner Allemande Left 1/2
Ladies start a Hey for 4
B2 ---
Same corner B
C1 ---
Lines at the sides/heads Forward and back
Four gents star left
C2 ---
Same corner Promenade to the gent’s home place


Dip & Dive
by Traditional French Canadian
Square/Easy

A1 ---
Cpl #1 out to the right
Circle up four half way
Insides arch, outsides under
Dip and dive, go like thunder
A2 ---
On to the next and circle half,
Insides arch, outsides duck AND ON TO THE NEXT
B1 ---
Circle left 1/2
Insides arch, outsides duck.
dip and dive until home
B2 ---
Everybody home and swing


Crooked Stovepipe
by Traditional French Canadian
Square/Easy

A1 ---
Head ladies*
Forward again & swing, six hands around while they swing
A2 ---
Once around till you get back home & everybody swing your own
B1 ---
Alle L  your corner, Alle R your own
do si do your corner
B2 ---
Do si do your own
Swing your partners there at home

Re: [Callers] Surely this already exists?

[Linda Leslie via Callers]

This dance is virtually the same as Troxler’s on the Loose, by Chris Ricciotti. 
The only difference in Chris’ dance is that the final move is a ladies chain.
Beth Parkes also wrote a dance that is mostly the same: Forgotten treasure. She 
begins the dance with a N B, and ends it with a chain as well.
Linda

On Aug 21, 2016, at 9:10 PM, Luke Donforth via Callers 
 wrote:

> Hello all,
> 
> I was trying to find an easy and accessible dance, a real glossary basic 
> contra.  
> 
> I feel like this must already exist, but I'm not finding it in my notes. 
> Someone got a prior?
> 
> Type: Contra
> Formation: Duple-Improper
> 
> A1 ---
> (8) Neighbor Do-si-do
> (8) Neighbor swing, end facing down the hall
> A2 ---
> (8) Down the hall, four in line (turn as couples)
> (8) Return and Bend the line
> B1 ---
> (6) Circle Left 3/4
> (10) Partner swing
> B2 ---
> (8) Long lines, forward and back
> (8) Women allemande Left 1-1/2
> 
> The B2 could be W DSD 1.5, although I like the allemande for the connection 
> for brand new dancers. I specifically chose the left hand to leave the women 
> facing towards their new neighbor. 
> 
> I know it's really close to a bunch of other stuff. B2 could be C L 3/4, 
> balance and pass through; or chain to left hand star à la The Nice 
> Combination; etc.
> 
> Barring it already having been named by someone else, I'm going to call it 
> "Having Fun with PAM" to keep track of it in my box; since I just got back 
> from the fabulous PAMFest (Peacham Acoustic Music Festival). 
> 
> Thanks.
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Re: [Callers] Mad Orbin, a new dance

[Linda Leslie via Callers]

Thanks for mentioning the personal preference for Give & Take, Ron! The timing 
does seem to vary. But Larry Jennings, originator of the move, actually 
preferred two steps forward, two steps back with your Partner, and then a 12 
count swing. Larry liked his dancing “Zesty”!
Linda

On Aug 20, 2016, at 2:35 PM, Ron Blechner via Callers 
 wrote:

> This is a nice dance.
> 
> I think I'll call it tonight.
> 
> (For timing, I just mark down give and take to a swing as 16 beats, but 
> timing for that move is a personal preference, I believe).
> 
> Best,
> Ron Blechner
> 
> 
> On Aug 19, 2016 9:56 PM, "QuiAnn2 via Callers" 
>  wrote:
> Hi, all!
> 
> Thanks to all those who responded about this dance. Both Bob Isaacs and Chris 
> Page don’t recognize the dance as already written so I think we’re good to 
> go. Would love to hear how it goes if you decide to call it. The title is not 
> a typo. The 2nd word is a play on words as a combination of robin+orbit.
> 
> I changed the choreography slightly in B1. I teach the “give and take” as a 
> ring balance, followed by the ladies drawing their Partner across the set. As 
> such, I’ve changed the timing to (4) and (12) rather than how I had it 
> originally as (8) and (8). That was just an oversight on my part when I 
> originally posted the dance. 
> 
> Jacqui Grennan
> 
> 
> 
> Mad Orbin
> by Jacqui Grennan
> Contra/Improper
> 
> A1 ---
> (4) N RH Balance
> (4) Box the gnat
> (8) Mad Robin, gents in front
> A2 ---
> (8) Gents allemande Left 1-1/2 
>   meanwhile ladies orbit CW
> (8) N Sw
> B1 ---
> (4) Ladies give & take their P (ring balance)
> (12) P Sw 
> B2 ---
> (6, 2) Circle left 3/4, pass thru
> (8) Next N DSD
> 
>> On Aug 15, 2016, at 11:09 AM, QuiAnn2  wrote:
>> 
>> 
>>> Hi, all,
>>> 
>>> I wrote a dance recently and called it over the weekend and it was well 
>>> received. Would like to see if anyone knows if it’s already written. Thanks.
>>> 
>>> Jacqui Grennan
>>> 
>>> 
>>> Mad Orbin
>>> by Jacqui Grennan, 8/13/16
>>> Contra/Improper
>>> 
>>> A1 ---
>>> (4) N RH Balance
>>> (4) Box the gnat
>>> (8) Mad Robin, gents in front
>>> A2 ---
>>> (8) Gents allemande Left 1-1/2 
>>>   meanwhile ladies orbit CW
>>> (8) N Sw
>>> B1 ---
>>> (8) Ladies give & take their P
>>> (8) P Sw 
>>> B2 ---
>>> (6, 2) Circle left 3/4, pass thru
>>> (8) Next N DSD
>>> 
>>> 
>> 
> 
> 
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Re: [Callers] Floor Space Requirement

[Linda Leslie via Callers]

Hi, Rich!
A couple of thoughts that I have:
I would make sure that I asked about the wedding couple’s definition of “modern 
contra”. Their actual definition might help make your programming easier; of 
course, the opposite is also true! Does this mean no squares, no circle mixers, 
no sicilian circles?
I would also ask them about what their goals are for their dance. If it is 
mostly to please the contra dancers, that is important to know; but if it is to 
get the non-contra dancing families and friends dancing together, then you have 
a way in to get permission to do some programming with those desires in mind. 
Do they want gender role-free terminology used? Asking this may encourage them 
to think about their attendees.

As for “modern contras” that are a bit easier, I do have a few listed on my 
webpage. Do Si Three is a great way to get non-dancers used to dancing, as well 
as progressing. And since it was written not so very long ago, I assume it is 
defined as a “modern contra”   ;-)

After the concept of progressing, the most challenging part of doing “modern 
contras” is how to end a swing. So dances in which this is a bit easier to 
figure out might be helpful to you. An example is the dance below; however, you 
will need room up and down, since the P swing is across. This dance (like most 
contras), can be done as a sicilian circle; this formation is a great choice, 
as aefallon suggested in her note to you.  There are also a number of Becket 
dances that might be considered. I have included one below by Orace Johnson.

As for floor space: I saved some advice from John Sweeney and Martha Wild, when 
this question came up a while back. Here is what they each said:
  We usually plan 1.5 square yards / person.  35 feet x 16
feet = 62 sq.yds. so 40 people will be able to dance comfortably.  60
people is starting to get tight.
John Sweeney

And from Martha (this is a digest of what she shared):
20 feet across for two contra lines
Length of the hall, divided by 4 determines the number of couples in the line.

I hope you have a great experience! Do let us know how the event goes!
Linda


Que Guapo  by Linda Leslie
Contra/Improper/Beginner
A1 ---
Circle left
Circle right
A2 ---
Right hand star
Left hand star
B1 ---
Partner do si do
Partner 2 hand Swing (face these neighbors)
B2 ---
Forward and Back
Twos arch, Ones Duck

Midwest Folklore
by Orace Johnson
Contra/Becket-CW/Easy

A1 ---
Circle left three-quarters
Neighbor do si do
A2 ---
Neighbor Balance and Swing
B1 ---
Circle left three-quarters
Partner Do si do
B2 ---
Partner Balance and Swing
 (look left and slide left to a new couple)



On Aug 1, 2016, at 9:01 AM, Rich Sbardella via Callers 
<callers@lists.sharedweight.net> wrote:

> Friends,
> 
> I have been hire to call a wedding with 145 attendees and 15 known contra 
> dancers.  The bride and groom are insisting on modern contras.
> 
> I have never thought about floor space, what is the typical requirement for a 
> line of twenty couples?
> 
> Any very easy duple improper dances to recommend?  I plan on using "Family 
> Contra" and "Jefferson and Lincoln".
> 
> Thanls,
> Rich
> 
> 
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Re: [Callers] Is this a new dance?

[Linda Leslie via Callers]

Leaving out the long lines, and moving things around a bit, your dance is very 
similar to the following, by Orace Johnson.
Cheers, Linda

Midwest Folklore
Contra/Becket
A1 ---
Circle left three-quarters
Neighbor do si do
A2 ---
Neighbor Balance and Swing
B1 ---
Circle left three-quarters
Partner Do si do
B2 ---
Partner Balance and Swing
 (look left and slide left to a new couple)



On Jul 19, 2016, at 4:54 PM, via Callers  wrote:

>  Not sure if this has already been written, but it fits a particular spot in 
> an upcoming program:
> 
> A1LL FB
>   Circle L 1.25 to face P on side
> 
> A2DSD P, Swing P
>   (or Balance and Swing P)
> 
> B1LL FB
>   Circle L .75 to face N on side
> 
> B2DSD N, Swing N
>   (or Balance and Swing N)
>  
>  Thanks for any enlightenment!
> 
> Ann in hot, humid, Annapolis, MD
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Re: [Callers] Grand Square in a contra?

[Linda Leslie via Callers]

An FYI…..Jacob also calls this dance “Fox Hollow Fancy”.  In the RPDLW syllabus 
from 2005….Jacob states that both titles are valid.  
Linda


On Jun 30, 2016, at 6:13 PM, Bob Isaacs via Callers 
 wrote:

> Hi Luke:
>  
> You may be thinking of:
>  
> Grand Square ContraJacob Bloom  4 x 4
>  
> A1.  8  Lines forward and back
> 8  Corner swing – form square
> 
> A2.  16Sides face grand square
> 
> B1.  16Reverse grand square
> 
> B2.  4,4   Heads pass through, sides pass through
> 8  Partner swing
>  
> I don't see how you can have a grand square in a contra without it being a 4 
> x 4.  But if you come up with a way, let us know - 
>  
> Bob
>  
> 
>  
> 
>  
> Date: Thu, 30 Jun 2016 17:05:45 -0400
> To: callers@lists.sharedweight.net
> Subject: [Callers] Grand Square in a contra?
> From: callers@lists.sharedweight.net
> 
> Hi Folks,
> 
> Several years ago (2013?) while at the fabulous DEFFA festival in Maine, I 
> danced a contra that had a grand square. I think it was on the diagonal.
> 
> But that's about all I remember about it. 
> 
> Anyone know the dance? Or can give me more of a lead like the caller or such?
> 
> I don't think it was a 4x4. I'm not sure if it had the full 16 beats one way, 
> then reverse and 16 beats the other way; because that'd be half the dance...
> 
> Now that I'm thinking about it, as a 4x4 with a full grand square and still 
> following somewhat typical 4x4 conventions:
> 
> A1
> Lines of 4 go forward and back
> Corner Swing
> A2
> Grand Square: Heads start forward, sides split
> B1
> Reverse: sides start forward, heads split
> B2
> Option 1: Heads pass straight through, sides pass straight through; find 
> partner
> Option 2: Pass new corner right, next left; find partner
> Option 3: Gents left hand star promenade with corner, ladies go ~1/2, turn 
> back to partner
> partner swing, face line of direction
> 
> I'm now really confident it wasn't a 4x4 contra, but I still don't remember 
> what it was. Any help would be appreciated. 
> 
> If I can't find it I may try it as a 4x4, but it seems like you'd be further 
> ahead with a simple square to have a little more variety than just grand 
> square and two swings...
> 
> Thanks.
> 
> -- 
> Luke Donforth
> luke.donfo...@gmail.com
> 
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Re: [Callers] Confirming Bookings - Best Practices?

[Linda Leslie via Callers]

I check their dance web page to make sure that I am listed. Many dances have 
their schedules up several months at a time, so it is usually easy to check. It 
there is no web page or FB page for the dance, then I definitely email them a 
week or so before.
Linda

On May 8, 2016, at 3:18 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] Novelty & Gimmick Contras

[Linda Leslie via Callers]

Very Correct, Bree, about not turning around! The 3/4 starts back to back, but 
ends in the usual way in the wave; this made me incorrectly think there was a 
turnaround. Thanks for catching that mistake of mine! And describing that ones 
always face down, and twos always face up also helps a lot.
Linda

On Mar 18, 2016, at 10:16 AM, Bree Kalb <b...@mindspring.com> wrote:

> Hi Linda,
> 
> Yes, I forgot to note that it is double progression.  And you are right, the 
> solo part of the dosido is actually 3/4. But I'm not sure what you mean by 
> '...and must turn around." The 1s are facing down, the 2s facing up during 
> all of A1. Did I misunderstand your question?
> Regards,
> 
> Bree
> 
> 
> 
> -Original Message- 
> From: Linda Leslie 
> Sent: Mar 17, 2016 1:40 PM 
> To: Bree Kalb 
> Cc: "callers@lists.sharedweight.net" 
> Subject: Re: [Callers] Novelty & Gimmick Contras 
> 
> Hi, Bree!
> That is a very novel way to get into a short wave Balance! and not al tall 
> gimmicky, in my view. I watched the video…thanks for including the link. I 
> have two questions for you:
> It seems the dance is double progression, correct?
> For the single do si do: the dancers stay back to back with their Neighbors 
> to start, and actually do a 3/4 dosido into the wave, and must turn around  
> (neighbor now in right hand), right? This means that each dancer is facing 
> their original direction of travel once in the wave. The link really helped 
> with this move; when I read the dance, in my head I was picturing the dancers 
> moving very differently.
> 
> Thanks for the dance!
> warmly, Linda
> 
> On Mar 17, 2016, at 1:00 PM, Bree Kalb via Callers 
> <callers@lists.sharedweight.net> wrote:
> 
>> I wrote a dance that has a move I've not seen in a dance before. Although 
>> I'd rather not call it a gimmick. The 'reviews' so far have been good. 
>> There’s a video of Jack Mitchell calling the dance here: 
>> https://www.youtube.com/watch?v=eEp2vlYq1Nc=youtu.be
>> 
>> This is My Brain on Buddha Imp
>> 
>> 
>> 
>> A1  Partners DoSiSo as a couple just ½ way until back-to-back with these 
>> Neighbors. 
>> 
>>Drop hands with your Ptr, and complete the DosiDo solo with the N you 
>> have your back to, 
>> 
>>until the women can take L hands, Rt to N, in a wavy line of 4.  
>> 
>>Balance the wave, walk forward to next Ns in a new wave of 4.
>> 
>> 
>> 
>> A2 Balance this wave; with this new N, Swg.
>> 
>> 
>> 
>> B1 Face across, Mad Robin (Gents sliding in front to the right to start) 
>> 
>>   Men keep moving to cross the set to your Ptr; Swg.
>> 
>> 
>> 
>> B2 Circle L ¾; Balance the Ring, Calif Twirl
>> 
>> 
>> 
>> 
>> 
>> 
>> 
>> A dancer suggested naming the move in A1 “Double Dose.” I like it, but 
>> another caller, Jack Mitchell, discouraged me from making up a new name when 
>> just explaining the move will do.  I’m curious what others think.
>> 
>>  
>> 
>> 
>> 
>> 
>> 
>> 
>> ___
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> 
> 
> Bree Kalb, LCSW
> 301 W. Weaver St.
> Carrboro, NC 27510
> 919-932-6262 ext 216
> http://www.thewellnessalliance.com/BreeKalb.html
> https://www.facebook.com/carrborokorumindfulness
> 
> Regarding the Use of Email -- Please Note: Although I use a firewall and my 
> computer is password protected, my emails are not encrypted. Therefore, I 
> cannot guarantee confidentiality of email communication. If you choose to 
> communicate confidential information with me via email, I will assume that 
> you have made an informed decision and I will view it as your agreement to 
> take the risk that email may be intercepted. Please be aware that email is 
> never an appropriate vehicle for emergency communication. If you are 
> canceling an appointment less than 48 hours in advance, please also leave me 
> a voice mail message at my office.

Re: [Callers] Novelty & Gimmick Contras

[Linda Leslie via Callers]

Hi, Bree!
That is a very novel way to get into a short wave Balance! and not al tall 
gimmicky, in my view. I watched the video…thanks for including the link. I have 
two questions for you:
It seems the dance is double progression, correct?
For the single do si do: the dancers stay back to back with their Neighbors to 
start, and actually do a 3/4 dosido into the wave, and must turn around  
(neighbor now in right hand), right? This means that each dancer is facing 
their original direction of travel once in the wave. The link really helped 
with this move; when I read the dance, in my head I was picturing the dancers 
moving very differently.

Thanks for the dance!
warmly, Linda

On Mar 17, 2016, at 1:00 PM, Bree Kalb via Callers 
 wrote:

> I wrote a dance that has a move I've not seen in a dance before. Although I'd 
> rather not call it a gimmick. The 'reviews' so far have been good. There’s a 
> video of Jack Mitchell calling the dance here: 
> https://www.youtube.com/watch?v=eEp2vlYq1Nc=youtu.be
> 
> This is My Brain on Buddha Imp
> 
> 
> 
> A1  Partners DoSiSo as a couple just ½ way until back-to-back with these 
> Neighbors. 
> 
>Drop hands with your Ptr, and complete the DosiDo solo with the N you 
> have your back to, 
> 
>until the women can take L hands, Rt to N, in a wavy line of 4.  
> 
>Balance the wave, walk forward to next Ns in a new wave of 4.
> 
> 
> 
> A2 Balance this wave; with this new N, Swg.
> 
> 
> 
> B1 Face across, Mad Robin (Gents sliding in front to the right to start) 
> 
>   Men keep moving to cross the set to your Ptr; Swg.
> 
> 
> 
> B2 Circle L ¾; Balance the Ring, Calif Twirl
> 
> 
> 
> 
> 
> 
> 
> A dancer suggested naming the move in A1 “Double Dose.” I like it, but 
> another caller, Jack Mitchell, discouraged me from making up a new name when 
> just explaining the move will do.  I’m curious what others think.
> 
>  
> 
> 
> 
> 
> 
> 
> ___
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Re: [Callers] looking for zesty Proper dances?

[Linda Leslie via Callers]

The first dance below is Lost in the Stars by Tom Hinds
Linda

On Feb 7, 2016, at 9:23 PM, Donna Hunt via Callers 
 wrote:

> Andy:
> Here are a few that I have.  Haven't called them in awhile, but I think I'll 
> dig them out again, as they can be fun.  Thanks for asking.
> 
> Don't know title or author
>  Proper
>  
> A1  1st corners  Balance and Box the Gnat
> 2nd corners join R hands make hands across star
> Star R 1x
>  
> A2 (Men go down and ladies up to change stars)
> Star L 1x
> Do Si Do Partner
>  
> B1  B  Partner
>  
> B2   Ladies chain
> #1   ½ figure 8
> ___
> Insomnia Reel Beth MolaroProper
> ***know who’s 1’s and 2’s and men’s line and Ladies line
> z
> A1  Same gender Neighbor Allem R 1 ½
> (with same person),   Box the Gnat (with #1 person going under)
> 
>  
> A2   (Gents raise hands and lady #2 duck under to form)
> Star Right ~1x   (until #2  on gent’s line,  #1 on Ladies side)
> Swing Partner
>  
> B1   Long lines Fwd & Back
> Circle Left ¾
>  
> B2  #1 couple down hall 2x2 turn as couple, return
> Hand cast off with original neighbors to be Proper
> 
> __
> Every Which Way   Ted CraneProper
> A1   Allemande R (same gender) 1 ¼
> (To wavy line with 1st corners in middle)
> Balance wave,
> 1st corners Gypsy left 1 ½
>  
> A2   Partner Balance and Swing
>  
> B1   Down hall 4x4, thread needle, return
>  
> B2   Circle L ¾
> #2 ½ figure 8 down thru neighbors
> 
> 
> Donna Hunt
> 
> 
> 
> 
> -Original Message-
> From: Andy Shore via Callers 
> To: Caller's discussion list 
> Sent: Thu, Feb 4, 2016 10:11 pm
> Subject: [Callers] looking for zesty Proper dances?
> 
> I'm looking for some zesty Proper dances to add to my collection.
> 
> Suggestions?
> 
> aTdHvAaNnKcSe  (thanks in advance)
> /Andy Shore
> http://andyshore.com/
> 
> best email - andysh...@gmail.com
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Re: [Callers] Proactive Management of “Problem Dancers” — Creating a Dance Environment Safe for All

[Linda Leslie via Callers]

Many interesting questions! Unless I am mistaken, and the list no longer is 
active: I believe there is a Shared Weight Organizers list. These questions 
would be great to post to that group, too.
Linda

On Dec 14, 2015, at 9:04 PM, Kalia Kliban via Callers 
 wrote:

> Thanks for sharing this, Will!  Organizers out there, how many of you have a 
> coherent contingency plan in place for dealing with issues that occur at your 
> dances?  How many of you have had to deal with issues on the fly, making it 
> up as you go?  Those of you that do have a plan, how did you develop it?  Did 
> it come as a response to a previous issue, or did you decide to be proactive 
> in advance of anything happening?  Did your policy come from the top levels 
> of the organization down, or was it organized by a non-administrative dancer 
> or group of dancers?  Do you have any sort of script or manual for your door 
> sitters?  Do you include information in your beginner sessions so your new 
> dancers know who to talk to if there's a problem?
> 
> I'm curious about the varied ways these policies have been implemented.  Our 
> itty bitty English dance series here in Sebastopol has been pretty free of 
> drama, but the local contras have had occasional moments of unwelcome 
> excitement over the years.  It seems like a good idea to get an 
> organization-wide policy of consent and safety in place.
> 
> Does BACDS have such a policy?  How about NBCDS?  If there is one, how is it 
> expressed, and where?
> 
> Kalia
> 
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Re: [Callers] Petronella spin, no chain or allemande?

[Linda Leslie via Callers]

Here are a couple for you.
Warmly, Linda


Petronella’s Pin
by Dave Colestock
Contra/Improper/Easy

A1 ---
Ring Balance, Petronella spin
Ring Balance, Petronell spin
A2 ---
Ring Balance
Neighbor swing
B1 ---
Give & Take to ladies side & swing
B2 ---
Circle left three-quarters
Ring Balance
Pass thru

Newlywed's Jig
by Mark Widmer
Contra/Improper/Easy

A1 ---
Long Lines Forward and Back
Neighbor Swing
A2 ---
Circle left three-quarters
Gents do si do*
B1 ---
Partner Balance and Swing
B2 ---
Ring Balance, Pet Twirl
Ring Balance
Ladies roll away with a half sashay with neighbor (to the left)

Love at First Swing
by Bob Isaacs
Contra/Improper/Easy

A1 ---
(8) Balance the ring and twirl to the right
(8) Balance the ring and twirl to the right
A2 ---
Balance the Ring
California Twirl
New Neighbor swing
B1 ---
Circle Left 3/4
Partner swing
B2 ---
Down the hall, four in line
Gent #2 Right hand high, left low, gent 1 TA
Return*  (bend the line and restart the dance with these N’s)

Lanny's Back
by Erik Weberg
Contra/Improper/Int

A1 ---
Neghbor gypsy  (Or B)
(8) Neighbor swing
   
A2 ---
(8) Circle Left 3/4
(8) Partner swing
B1 ---
Ring Balance
Ladies cross by the right
Ring Balance 
Gents cross by the right
B2 ---
Ring Balance
Petronella twirl
Ring Balance
California Twirl

Fun with Alex
by Linda Leslie
Contra/Becket-CW/Int

A1 ---
Long lines forward & back
Circle left three-quarters (Flatten to a wave)
A2 ---
Balance the wave
Walk forward
New Neighbor swing (face across)
B1 ---
Ring Balance
Partner roll away across the ring
Ring Balance   Petronella twirl
B2 ---
Partner Balance & Swing

Cure for the Claps,The
by Bob Isaacs
Contra/Improper/Easy-Int

A1 ---
Ring Balance, Petronella twirl
Partner Swing
A2 ---
Ring Balance, Petronella twirl
Neighbor Swing
B1 ---
Four in line down the hall, turn alone, return
B2 ---
Circle left once
Ring Balance
California Twirl

On Dec 13, 2015, at 10:13 PM, Ron Blechner via Callers 
<callers@lists.sharedweight.net> wrote:

> Any suggestions for your favorite easy or intermediate Petronella spin dance 
> with no chain, no allemandes?
> 
> Thanks,
> Ron Blechner
> 
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Re: [Callers] Gypsy Synopsis

[Linda Leslie via Callers]

Thanks, Erik for summarizing. It is very helpful to have the list below. I have 
one other suggestion to add for consideration for those who wish to make a 
change in terms. Gyre can be found in Carol’s  “Jabberwocky" and Yeats’  "The 
Second Coming". It has the advantage of being one syllable, not used for 
anything else, and begins with the same sound as gypsy. Rather capricious, if I 
do say so myself!  My husband Bob Golder, thinks that this word is even better 
than gypsy, because the meaning of the word conveys the movement. 
Linda

gyre   [jahyuh r]  noun


   1.  a ring or circle. 
2. a circular course or motion.
   3.
Oceanography. a ringlike system of ocean currents rotating clockwise in the 
Northern Hemisphere and counterclockwise in the Southern Hemisphere.


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

> On the subject of gypsies and language, I've enjoyed reading the myriad 
> comments, and find myself feeling ambiguous (which I define as feeling very 
> strongly both ways). And, I know it's been thrashed about and we've a request 
> for acknowledging that we are unlikely to change any opinions on this. That 
> said:
> 
> * I have had this discussion with a number people in the past, about the very 
> strong negative connotations of the word "Gypsy." Ambivalent as I am, I do 
> think we should look for a replacement word.
> 
> * I thought I'd collect all the words that have been suggested so far (unless 
> I missed one or two) in one place. Here it is:
>No Hand Turn
>No Hand Allemande (and I do think Allemande comes from "The German," a 
> dance)
>Dance Around, or Walk Around
>Face to Face Do Si Do
>Bine (binary stars -- snippet below)
>Nose-to-Nose Do Si Do
>Dance Around - or Dance About
>Orbit Around - or Orbit About
>Loop
>Eddy
>Vortex
>Swirl
>Spiral
>Eyes or "Take Eyes"
>Holding Eyes
>Eyeballs
>Facing
>Maypole
>Hands Off
>Face à Face (facey-face...)
>Right (Left) Shoulder (without the G-word)
>Cyclone (though mentioned with a complaint - too "violent")
> 

Re: [Callers] Dances For Short Line

[Linda Leslie via Callers]

I believe it was written by Roger Diggle….
Linda

On Oct 17, 2015, at 4:32 PM, Louie.cromartie via Callers 
 wrote:

> Just curious. Robert doesn't recall writing (or calling) a dance called Saint 
> Louis Cruise. Perhaps it was created by someone else.
> -Louie (not a saint)
> 
>> On Oct 16, 2015, at 12:56 AM, Martha Wild via Callers 
>>  wrote:
>> 
>> It's a good time to call dances that might need extra space along the line - 
>> for example, there are some dances with a ladies chain up and down as 
>> opposed to across the set such as Saint Louis Cruise by Robert Cromartie. 
> ___
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Re: [Callers] Shadow Swing Disclaimers?

[Linda Leslie via Callers]

Thanks, Jim! This is a great idea, and I agree with you that interactions with 
one’s shadow might be used as a teachable moment. Your insight is appreciated.
Linda

On Oct 10, 2015, at 7:31 PM, James Saxe via Callers 
 wrote:

> Back in September, we discussed a topic raised by Maia McCormick:
> 
>> ...
>> 
>> There do exist some really fabulous shadow-swing dances that I would love to 
>> be able to call, as long as I could do so without putting anyone in an 
>> uncomfortable position. Do folks have ideas for ways to mitigate the 
>> potential harms of shadow swing dances?
> 
> [See below for Maia's full message.]
> 
> I've had an idea that I don't think anyone mentioned.  First, a
> disclaimer:  I don't imagine that what I'm about to say will
> sway any of you who are dead-set against shadow swings in any
> circumstances.  However, if you feel compelled to reiterate your
> opposition, I hope you'll have the courtesy to respect Maia's
> original request and do so under a different "Subject" line.
> 
> Anyway, my idea is:  Use the occasion as a "teachable moment".
> 
> When you get to the shadow swing during the walk-through, or
> perhaps during the second walk-through, point out to the
> dancers that they'll be swinging the same person every time,
> and give them a chance to discuss what is or isn't comfortable
> for them.  You might give examples: "Please don't dig you're
> thumb into my neck", "My arm is not a pump handle', "Not too
> fast", "Not so close", etc.  Or you could make general remarks
> about believing you shadow if they say something hurts, or
> about how the person whose less interested in being flirty is
> the one who gets to decide, etc.  And remind people to that
> they can make additional adjustments during the dance.
> Exactly what points you (the caller) want to mention, what
> words you choose, whether to employ humor, etc., will depend
> on what fits your personality, what you see as the likely
> issues in the particular community, how much time you feel
> you can spend before moving along with the dance, etc.
> 
> Note that this idea can be applied to shadow interactions
> other than swings.
> 
> For example, if a dance has an allemande with shadows, you
> might let women and men (or dancers in those roles) take turns
> showing each other their preferred hand holds, strength of
> connection, etc.  You might encourage them, if they have
> different preferences, to give each other's suggestions a
> fair try, but with the very important proviso (better stated
> sooner than later) that nobody should be pressured into
> doing something they think may be painful.
> 
> If the action with shadows is a chain or a right and left
> through, you could give dancers a chance to talk about their
> preferences regarding twirls or about making the courtesy
> turns feel comfortably connected without being *too*
> comfy cosy for anyone's comfort.
> 
> You could also occasionally invite people (and give them
> some time) to have such discussions with their partners.
> 
> Just a thought.
> 
> --Jim
> 

Re: [Callers] Rolling Starts?

[Linda Leslie via Callers]

Amy Larkin is masterful at this! She also is an incredible dancer, so she 
really understands what needs to happen. Heavenly!
Linda

On Oct 6, 2015, at 11:47 AM, Don Veino via Callers 
 wrote:

> I experienced a wonderful spontaneous rolling start recently.
> 
> We were in a small private party venue and fortunate to have Amy 
> Richardson-Larkin (fiddle), her husband Jonathan Larkin (guitar, etc.) and 
> Chris Ricciotti (yes - not only a caller, he plays button accordion) playing 
> for us.
> 
> I was teaching a new dance of mine in a fairly rhythmic fashion and noticed 
> the band start slipping in behind me quietly fitting a tune. No verbal or 
> visual communication with them, it was more just a growing awareness of the 
> possibility being offered to me. With it being a new dance, and therefore one 
> I hadn't called before, I was a bit worried about going for it with the one 
> walk-through. So I kept the momentum and matched pace straight into one more 
> round of walk-through-like calls with them playing subtly in the background 
> (offer accepted!) and went for it. It just flowed wonderfully and was 
> rewarded with smiles all around. Great musicians make it look easy. :)
> 
> On Tue, Oct 6, 2015 at 4:07 AM, JD Erskine iDance via Callers 
>  wrote:
> Please share your lessons and reports of success and fun.
> 
> 
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Re: [Callers] Does this dance exist? / Beginner dances with chain, without star-L prog

[Linda Leslie via Callers]

Hi Maia!
I don't have this exact dance, but one that is quite similar by Scott  
Higgs. I have noted it below. I have added a few others, as requested.

Cheers! Linda
Appetizer,The
by Scott Higgs
Contra/Improper/Easy

A1 ---
Neighbor Balance and Swing
A2 ---
Long lines forward and back
Ladies chain
B1 ---
Same ladies allemande right once
Partner swing
B2 ---
Circle left three-quarters
Neighbor do si do once and a half

Almost Never Too Late
by Melanie Axel-Lute
Contra/Improper/Easy

A1 ---
(8) Long lines, forward and back
(8) Men allemande Left 1-1/2
A2 ---
(16) Partner balance and swing
B1 ---
(8) Half Promenade across the Set
(8) Women's Chain
B2 ---
(8) Women allemande Right once
(8) Neighbor swing

Heritage Reel
by Tony Parkes
Contra/Improper/Easy

A1 ---
Neighbor Balance and Swing
A2 ---
Long lines forward and back
Gents allemande left once and a half
B1 ---
Partner Balance and Swing
B2 ---
Promenade across
Ladies Chain

Lavender & Lilacby John Coffman
same dance by Bronwyn Woods, titled The Missing Piece
Contra/Improper/Easy

A1 ---
(16) Neighbor balance and swing
A2 ---
(8) Men allemande Left 1-1/2
(8) Partner swing
B1 ---
(8) Long lines, forward and back
(8) Women's Chain
B2 ---
(8) Balance the ring and twirl to the right (petronella)
(8) Balance the ring and twirl to the right (petronella)
  and a bit more to new N

Rounding the Corners
by Jim Hemphill
Contra/Improper/Easy

A1 ---
(8) Long lines, forward and back
(8) Men allemande left 1-1/2
A2 ---
(16) Partner balance and swing
B1 ---
(8) Half Promenade across the Set
(8) Women's Chain
B2 ---
(8) Women allemande Right once
(8) Neighbor swing

Top of the Stairs
by Paul Moore
Contra/Improper/Easy

A1 ---
Neighbor do si do
Neighbor Swing
A2 ---
Long lines forward and back
Ladies allemande right once and a half
B1 ---
Partner Balance and Swing
B2 ---
Circle left (or long lines)
Ladies chain
On Sep 13, 2015, at 1:27 PM, Maia McCormick via Callers wrote:

Wanted a beginners' dance with a chain but without a star-L  
progression. Jotted down this one. I find it quite likely that  
someone has written it before:


[untitled], imp.
A1: N b
A2: long lines forward & back
ladies chain
B1: ladies alle. R 1x
P swing
B2: circle L 3/4
bal. ring and pass through

So a) has this been written? And b) can folks recommend already- 
written dances that meet my criteria?


Cheers,
Maia
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Re: [Callers] Family dance questions

[Linda Leslie via Callers]

Thanks for the compliment, Bree!  If folks would like to look at other easy 
dances (including Do Si Three), I have a list of some that I have put together; 
you can see them at www.lindalesliecaller.website

As for the circle/spiral…..I learned it from someone a long time ago (I don’t 
remember now who it was). My impression is that the dance is surely 
traditional, and so I never take credit for it, but admire the probably folk 
process that put it together.

Linda

On Aug 4, 2015, at 11:03 AM, Bree Kalb via Callers 
 wrote:

> I've done house parties with just a fiddler who was very familiar with dance 
> music and knows how to maintain the beat and play square tunes. Not everyone 
> can do that. Does your dance community have a list serve or Facebook page 
> where you can ask for that kind of assistance? Unless you can find someone 
> with those skills, it might be best to have no music.
> 
> Linda Leslie's DoSiThree is one of my favorite beginner dances, but usually 
> after they've done some simple circles. Linda posted here a week or so ago 
> her excellent strategy for getting people dancing and into a spiral that 
> turns into a partner-less circle. I thought I 'invented' that approach, but 
> it seems at least 2 of us came up with the idea. It works really well, 
> especially if you enlist some helpers to get it started and to urge their 
> friends to join. When I call at weddings I make it a condition of my contract 
> that the bride and groom will play that role for at least the first dance. 
> 
> 
> 
> 
> 
> On Tue, Aug 4, 2015 at 6:18 AM, Claire Takemori via 
> Callers wrote:
> I want to learn to call & share family dances with more kids to spread folk 
> music and dancing in our area (SF bay area, near Santa Cruz).
> 
> I've got an opportunity to teach dances for my son's nature class.  It will 
> range in age from 5 to 15 years.  There's an option to work with just 8 years 
> and up for some or all of the dancing.
> 
> My questions:
> 
> 1. Can you recommend some really fun dances for starting out?  The first 
> couple have be great so I can win them over with fun.
> 
> 2.  I'm wondering how vital music is to the success?  I think really great 
> live music is a major part of my joy of contra dancing.  We are not allowed 
> to use electrical amplification.   I'm wondering if I could use a single 
> fiddler?And how do I locate a local fiddler who might volunteer 
> playing?  Maybe a talented youth?
> 
> 3.  I won't have a mic and will have to use a bullhorn.  Any advice?  I don't 
> have a naturally loud voice, but do sing so I know about projection and belly 
> breathing.
> 
> 4.  They are thinking of 8 consecutive weeks, once a week for 15-30 minutes 
> (before nature classes head out hiking).   Is 8 weeks a good initial 
> exposure?  How long should each session last, 30 minutes?
> 
> 5.  We might culminate with a "field trip" to a local barn dance.  Any advice 
> for the preparation for that?
> 
> Thanks for any advice!
> 
> claire takemori
> 
> 
> 
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> 
> 
> Bree Kalb, LCSW
> 301 W. Weaver St.
> Carrboro, NC 27510
> 919-932-6262 ext 216
> http://www.thewellnessalliance.com/BreeKalb.html
> https://www.facebook.com/carrborokorumindfulness
> 
> Regarding the Use of Email -- Please Note: Although I use a firewall and my 
> computer is password protected, my emails are not encrypted. Therefore, I 
> cannot guarantee confidentiality of email communication. If you choose to 
> communicate confidential information with me via email, I will assume that 
> you have made an informed decision and I will view it as your agreement to 
> take the risk that email may be intercepted. Please be aware that email is 
> never an appropriate vehicle for emergency communication. If you are 
> canceling an appointment less than 48 hours in advance, please also leave me 
> a voice mail message at my office.
> 
> 
> 
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Re: [Callers] "Flash Mob" dances

[Linda Leslie via Callers]

What a great idea, Alan! I hope you are able to continue this as a successful 
annual event!
Whenever I find folks are reluctant to join in dances (weddings, parties, 
etc.,), I find a surefire solution is to begin with a no-partner circle. I hold 
hands with the “volunteer” dancers, and snake around the area, picking up folks 
as we go by them. You can encourage folks with happy smiles, “Join us!” and 
other exhortations….Once we have a good group, I close the circle, and do hash 
calls: circle left, circle right, single file left, right, all f, “everybody 
over 50 into the center and back”, etc., etc. I then from a circle left, become 
the lead again, and spiral the circle in, then back out. It is wonderful how 
this simple movement to music, and the surprise of reversing the spiral makes 
people happy, From here, I would have people pair up and do a very simple 
circle mixer, which gets them used to the P change idea. Then the simple 
contras. 

Looking forward to seeing the other suggestions that folks offer you!
warmly, Linda

On Jul 26, 2015, at 11:52 PM, Alan Winston via Callers 
 wrote:

> Over in San Jose we've just done a  second annual not-really-flash-mob dance. 
>  Symphony Silicon Valley does a free public series of Pops concerts, get 
> permission from them, pick one, get a bunch of volunteer dancers and a pickup 
> band, print up some flyers and put up a sign with the sponsoring organization 
> logo and URL, We put up a sign with the name of the organization, set up in 
> the path of foot traffic to the concert spot, and do an hour and a half (or 
> so) of easy contra dances, encouraging passersby to join in and hooking them 
> up with more-experienced partners.
> 
> This is successful in terms of getting some exposure, and today we got 
> somewhere between a half-dozen and a dozen new people to actually try it, and 
> probably moved 25 flyers.  Nobody got hurt, some of the dancers stayed for 
> several dances, etc.  We flushed out some old square dancers (who of course 
> wanted to swing once around and wait for the next call) and some previous 
> non-dancers of various ages.
> 
> (I was calling.  First round was missing many volunteer dancers and had 
> multiple newbies, so I did a one-night-stand dance ("Up the Sides and Down 
> the Middle") rather than a duple-minor contra; then Cranky Ingenuity, 
> Inflation Reel, Kitchen Stomp, and Delphiniums and Daisies.)
> 
> Posting to ask if people who've done this kind of thing have any tips or 
> tricks to get things going.
> 
> As caller I relied on my volunteer dancers to do the recruiting, and people 
> had different comfort and skill levels doing that.  Is there something I can 
> tell them that will increase their comfort in talking to strangers?
> 
> Thanks!
> 
> -- Alan
> 
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Re: [Callers] sticky floors

[Linda Leslie via Callers]

Here is another take on what to do when the floor is less than ideal….this from 
our Swing/Salsa friends. I share this only to show that some folks think that 
the dancers need to make adjustments, too….I don’t have the expertise to 
endorse any of the recommendations. But it does make for interesting reading!
Linda
http://www.gottadance.org/bad_floor_dancing.shtml


On Jul 20, 2015, at 4:21 PM, Bill Olson via Callers 
 wrote:

> Whew, If I had to cancel all the gigs I had that had sticky, or otherwise 
> less than optimum dance floors, I'd lose half my work! Outdoor gigs on the 
> grass (often sloping or uneven or with holes) or on weddings on rented "dance 
> floors", indoor school (or other) gigs on super sticky polyurethane gym 
> floors sometimes wood on cement, church hall or other "local venue" dances on 
> linoleum/concrete floors, or indoor-outdoor carpet, etc etc etc.. In these 
> cases, (and I do so many of them I don't even think about it much any more,) 
> I just have to adjust the dancing to the venue. true, these dances are mostly 
> family/community type affairs, so they don't last that long, run at a slower 
> pace and the choreography isn't that difficult!
>  
> I agree that it's best not to "mess with someone's floor" certainly not 
> without permission!! They are often very proprietorial about their floors, 
> especially schools! The sad thing is a lot of venues think a "shiny floor" is 
> the best floor.. the finish the heck out of them with shiny stuff 
> (polyurethane normally) and this is almost always sticky when it's humid. It 
> also comes off when danced on and covers everything with white power (nice 
> having it stuck in your nose too!).. But unless we OWN the venues, and that 
> is happening in some places, (Guiding Star Grange, Capitol City Grange for 
> two) all we can do is try to educate the venue owners. This is a long process 
> for sure..
>  
> Blah blah, what am I saying here?? I guess I am saying, "it ain't that easy" 
> and there isn't one solution that fits all the possible situations. My way of 
> dealing as a dancer is to "take it easy" (less twirls and flourishes maybe) 
> or in extreme cases (and this is bad for sure) to stay away.. and as a 
> programmer, more forgiving choreography..
>  
> Finally, there has been a lot written about finish on dance floors, I'm sure 
> someone will point us all to the correct archive again. Stan Fowler did a lot 
> of work on this for Glen Echo and it's written down somewhere.. Others have 
> done work at the above mentioned venues. BUT this doesn't help us at a one 
> night stand or at a venue where everything else might be just fine 
> (acoustics, stage, parking, rent) but where the owners have their own idea 
> about the floor.. I will be interested to see what more people have to say 
> about this!
>  
> bill
>  
> Date: Mon, 20 Jul 2015 15:28:49 -0400
> To: lynz...@yahoo.com
> CC: jmitchell...@gmail.com; callers@lists.sharedweight.net
> Subject: Re: [Callers] sticky floors
> From: callers@lists.sharedweight.net
> 
> I don't think you should *ever* “put up with” a super-sticky floor.  It 
> damages dancers' knees and ankles.  If the floor is too sticky to dance on, 
> and the venue isn't allowing any options for fixing it, cancel the dance.
> 
> On Mon, Jul 20, 2015 at 3:21 PM, Lindsey Dono via Callers 
>  wrote:
> Thoughts from the organizational perspective:
> 
> Be very, very careful about adding anything to any floor you don't own! A 
> number of dances have lost their venues over issues such as this. Question: 
> is this floor chronically sticky, or newly so? My generic plan of action 
> would go something along these lines:
> 
> 1. Put up with the sticky floor for the one evening (question for all: What 
> are good dances for a slow floor? I'm assuming heys and whole-set promenades 
> would work better than Petronella/Rory O'More figures). If you're at the hall 
> early enough, you can try mopping particularly awful spots with JUST water. 
> Unless you own the hall or have checked in with the owners in advance, 
> probably best to avoid adding anything to the floor.
> 
> 2. Immediately contact the owner/rental coordinator for your hall, and let 
> them know about the sticky floor. Try to find out why the floor is not 
> danceable (spills, new finish, humidity...) and find a short-term solution 
> (mopping, adding a tiny bit of dance floor powdered wax, etc). One time, our 
> hall was used the night prior for a party, and sugary drinks had been spilled 
> everywhere! This wasn't the norm and the owners were apologetic. They put a 
> lot of effort into cleaning up, and there haven't been issues since.
> 
> 3. Make long-term plans for a danceable floor. A local grange coordinated 
> with the contra community on the best way to refinish the floor. We faced a 
> rather pungent month of dancing, but afterwards, the floor was excellent.
> 
> 4. If the hall is 

Re: [Callers] Global terminology in contra dances

[Linda Leslie via Callers]

In an earlier email, David Casserly shared the following link, which defines 
the approach very, very well!
http://heatherandrose.org/terms.shtml
Linda



On Jun 1, 2015, at 12:37 PM, Perry Shafran <ps...@yahoo.com> wrote:

> It would help tremendously if we could have a discussion on what "global 
> terminology" is and an example of choreography that is called with such 
> terminology.  The concept is one I have not heard of before.
> 
> Perry
> 
> From: Linda Leslie via Callers <callers@lists.sharedweight.net>
> To: Andrea Nettleton <twirly-g...@bellsouth.net> 
> Cc: Caller's discussion list <call...@sharedweight.net> 
> Sent: Monday, June 1, 2015 10:33 AM
> Subject: [Callers] Global terminology in contra dances
> 
> In Jamaica Plain, MA, the ECD dancers use Window Wall and Clock Wall, rather 
> than left/right file. It is different global terminology, but works very 
> well. I don’t know the history of why these words were chosen, but I could 
> probably find out. The dancers also line up without identifying a partner, as 
> discussed at Brooke’s site. This tradition is really quite lovely. I have had 
> the opportunity to call this dance many times, so the terminology is very 
> second nature to me.
> 
> For me, the major challenge with incorporating global language into contra 
> dances has to do with ending the swing. So many contra dances depend on the 
> dancers having learned that the lady/lark/barearm/ruby/right file end on the 
> right. 
> How do we help completely new dancers learn this? 
> Do we say “swing your Neighbor and change places”? Swing your Partner and 
> change places”? 
> I recognize that experienced dancers will know this instinctively; just as 
> many dancers line up and automatically form improper lines at many contra 
> dances. 
> 
> But I am curious about how callers out there see us helping the new folks, 
> without using any role language at all.
> 
> Thanks!
> Linda
> 
> 
> 
> 
> 
> 
> On Jun 1, 2015, at 11:59 AM, Andrea Nettleton via Callers 
> <callers@lists.sharedweight.net> wrote:
> 
> 
> In previous discussions here, on FB, and privately with organizers at 
> Hampshire over the last two years, I have discussed the possible use of 
> global terminology for gender free contra.  I would contend that if used, 
> everyone would become more aware of the structure of dances.  Only the most 
> unusual figures/sequences would be unable to be called.  The addition of 
> first and second corner positions to the arsenal makes it possible for same 
> role dancers to also be called upon to dance together without reference to 
> gender.  Second corners chain, or first corners allemande L 1 1/2 for 
> example.  It would have to be agreed that this refers to those standing in 
> those positions at that moment.  In ECD we use first and second corners to 
> refer to the people, first and second diagonals for the positions.  But since 
> we use diagonal to refer to those across and over one set, this seems 
> unhelpful.  Simply corner positions works better.  I'm glad some folks are 
> trying it out at last.  I had hoped for an opportunity myself before now.
> Cheers,
> Andrea
> 
> Sent from my iOnlypretendtomultitask
> 
> On Jun 1, 2015, at 8:37 AM, Jim Hemphill via Callers 
> <callers@lists.sharedweight.net> wrote:
> 
>> The recent discussions on this topic inspired me to try an experiment in 
>> gender free calling.  Last night I called the contra dance in St. Louis 
>> using gender free calling without telling anyone.The experiment was a 
>> great success.  I received lots of  positive feedback on the evenings dance. 
>>  At the break and after the dance I made a point to ask several dancers, 
>> some were callers as well, if they noticed anything different or unusual 
>> about the dances or how I taught them.   One person noticed that there were 
>> more dances that included a swing in the center for couple 2 than usual.  No 
>> one I talked to noticed that the calls and teaching were gender free.
>>  
>> It took some extra time to construct a fun, diverse 3 hour program, but it 
>> is certainly possible.  Re-labeling the dancers is not the only way to call 
>> gender free. 
>>  
>> If you are interested in the program I used or the larger collection of 
>> gender free dances I chose the program from, send me an email,  
>> arcadia...@gmail.com.
>>  
>> Thanks,
>> Jim Hemphill
> 
> 
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> 
> 

Re: [Callers] Jets / rubies genderfree terms redux: gems?

[Linda Leslie via Callers]

Thanks for reviewing these thoughts, Ron. I am in full agreement with all of 
your points!
Linda Leslie

On May 29, 2015, at 11:43 AM, Ron Blechner via Callers 
<callers@lists.sharedweight.net> wrote:
> For reference, my own thoughts on the terms, and a general FAQ about gender 
> free terms:
> http://contradances.tumblr.com/post/113203981035/genderfree-contra-dance-term-faq
> 
> I have not updated it with gems / rubies.
> 
> I like jets / rubies, but I think gems / rubies is better:
> 
> 1. I disagree that the "em" sound is harder to hear than the "et" in jet. 
> Good mic skills / having a foam pad on a mic will dull the sharp "ts" in 
> "gents", and thus, "jets". Because a loud "ts" on the mic is harsh. 
> Therefore, this argument against "gems" is not an issue.
> 
> 2. A lot of people don't know "jet" is a gemstone, and so they think 
> airplane. I've had a lot of gender free dancers complain about this.  Given 
> that the terms need to serve the LGBTQ community, and not merely us as 
> callers, I take this complaint seriously. Thus, "gem" is a better choice.
> 
> 3. Yes, a ruby is a gem. So what? They're both gems.
> 
> 4. There's a gender connotation to thinking jet = airplane, since it's either 
> phallic, or people think the NY/NJ football team, or the West Side Story 
> fictional gang. Again, the terms are here to serve the dancers, not merely us.
> 
> 5. Gem has all the same advantages as jet.
> 
> I thus think gem / ruby is a superior pair than jet / ruby.
> 
> Ron Blechner
> 

Re: [Callers] Identify dance

[Linda Leslie via Callers]

This is a variation of a dance called “Feet in Flight”. In my notes, I have the 
variation that you have below in the B1 as having been called by Chrissy 
Fowler. I don’t know if Chrissy actually came up with the variation, but she 
was the first caller I heard call it this way. The original dance is below for 
you.
Linda

On May 5, 2015, at 8:12 PM, Amy Wimmer via Callers 
 wrote:

> Hive mind,
> 
> I've been calling this dance but don't know its name or author. Do
> you? The link is to the YouTube video where I found it.
> 
> Improper contra
> 
> A1 Ring of 4 balance, gents roll away
> Ladies chain
> A2 Ladies gypsy once
> Partner swing
> B1 Circle left 3/4
> Balance, Petronella
> B2 Balance, Petronella
> Balance, California twirl

Feet in Flight
by Dale Rempert
Contra/Improper

A1 ---
Balance the ring
Roll away neighbor (gents to the left)
Ladies chain
A2 ---
Ladies gypsy once
Partner Swing
B1 ---
Gents cross by the right
Ladies cross by the right
Tight circle left once
B2 ---
Balance the ring, Petronella twirl
Ring Balance
California Twirl

Re: [Callers] Anyone seen this dance?

[Linda Leslie via Callers]

Very close to Dancing with Amy, by Bill Olson.
Linda

On Apr 29, 2015, at 8:25 PM, Perry Shafran via Callers 
 wrote:

> Since folks generally check here to see whether dance compositions have 
> already been written, I thought I might as well.  Tentatively calling this 
> "Charm City Contra".  
> 
> Becket dance
> 
> A1 Circle L 3/4
> Pass thru, swing next N
> A2 L chn
> LH star
> B1 Al rt shadow #1 to wavy line, gents facing in
> Bal wave, spin rt
> B2  Bal & Sw P
> 
> Perry
> 
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Re: [Callers] Applause or Not...

[Linda Leslie via Callers]

This is a great topic! Thanks for bringing it up, Erik. 
A few thoughts:
**I introduce the band before the first dance. “Let’s give a warm welcome 
to…..”  I like to gently set up expectations.
**If the dancers don’t remember to applaud, I remind them, even if it means 
doing this more than once in an evening.
**Especially during the waltz, I will get off the stage, and mix among the 
dancers, and then applaud like crazy when they end. I’ve also been known to 
hoot. Nothing like a role model!
**I, too, have stopped calling for a few series because of not getting anything 
back. I’ld rather spend my time and energy calling for a group that has decided 
that it is just as important to take care of me and the band, as it is for me 
and the band to take care of them., even for a lot less money.
**And for this last reason, I respectfully disagree with Barb, who said "you 
were rocking - but i just needed the community tonight.  don't be offended :-D” 
   I don’t think these two things are mutually exclusive: dancers can get their 
needs met, and still help the band/caller have their needs met.
Linda Leslie

On Apr 23, 2015, at 8:57 AM, Perry Shafran via Callers 
<callers@lists.sharedweight.net> wrote:

> Erik (and all),
> 
> You certainly hit on one of the issues for me.  I remember calling in one 
> community with a pretty well-known popular band, and I gave the band their 
> props, as I usually do, but I could not get the dancers to applaud the band.  
> Maybe a bit more at the end of the night, but not much during the dance.  OK, 
> I might not be the most well-known popular callers but the band is and 
> travelled a long way for not a lot of money and some appreciation would be 
> nice.
> 
> OTOH, I was in another community, with a local band, and I and the band got 
> TONS of applause that night.  It really made me special and as a result put 
> that community in a special place in my heart.  I was grateful.  The other 
> community kind of gave me that "eh" feeling.  Maybe I called better dances in 
> the place I got applause, or maybe I explained things better, I don't know.  
> 
> I know that when I'm dancing I always give applause to all bands and callers. 
>  Even if they had off nights.  They are all part of our community, too, and 
> communities support bands and callers.
> 
> Perry
> 
> 
> Hi All,
> 
> There are several places where almost no applause occurs after a dance. 
> In some communities, when I've been subjected to that experience, I've 
> asked, "were we off tonight?" The reply usually is something like, "no, 
> the dance was fine (or even great), we just head for our next 
> partner..." I know sometimes it's just the night. Sometimes, though, 
> it's the community's habit. I spoke with a renowned musician the other 
> day, who will no longer play for a certain series. One of the reasons: 
> lack of applause -- lack of that palpable sense of appreciation.
> 
> I think dancers don't often know that applause really makes the band and 
> caller feel better. If they feel better they play better. And, as a 
> dancer, applause usually makes me feel better, too. Any ideas on how to 
> encourage applause? Or, if you're in one of those communities where 
> applause is minimal, does it bother you?
> 
> ~erik hoffman
> oakland, ca
> 

Re: [Callers] Timing on a zig and zag

[Linda Leslie via Callers]

HI, Luke!
I looked up Bill’s web site, and found that he wrote 20 Below in Feb, 2003. 
Coincidentally enough, I came up with The Winter Storm that very same month and 
year…..I was on the ferry to Martha’s Vineyard to call a dance over there, and 
there was a cold, windy, snowy storm….but not enough to keep the ferries in 
port! I thought of the dance while on the ferry. The storm was the biggest part 
of the story; but I also know that at that time, some of us were attempting to 
come up with dances that had a different start than “circle left 3/4, swing N”. 
I learned about Bill’s dance a few years later. Since the A’s are a bit 
different from each other, I believe they do qualify as different dances…..but 
not by much!  So it will be interesting to see what folks have to say about 
Ron’s most recent question…..

As for zig zags, I find it very useful that the timing is “squishy” , or 
“forgiving” in some compositions, since this means that many dance styles and 
abilities are accommodated. In Meg’s Choice, by Sue Rosen, called in Rehoboth 
by the author, Amy Larkin and Bob Golder were dancing together, and they turned 
the zig/zag motion into a playful poussette. Very nice!

Your final entry below is very similar to Boys from Urbana by John Coffman.
Becket-CW
A1 ---
(8) Circle Left 3/4 (with P)
Zig left Zag right
New gents alle left 1/2
A2 ---
(16) Neighbor balance and swing
B1 ---
(8) Long lines, forward and back
(8) Women allemande Right 1-1/2
B2 ---
(16) Partner balance and swing

I believe in your second, single progression dance, the dancers may arrive 
early for the N B—a bit too “squishy” for some? 
 
The dances may very well be new compositions, so I look forward to hearing from 
others on the list. 
warmly, Linda

On Jul 30, 2014, at 11:14 PM, Luke Donforth via Callers 
 wrote:

> Hello folks,
> 
> Thanks for all the insight on Grand Marches. It was a very fruitful 
> discussion for me, so I'm going to toss another question out there. 
> 
> What timing do you like for zig and zag the set? The (uncommon) move where 
> you and someone else (usually partner) move out to one side and slip behind 
> the couple you were facing to face a new couple, and then possibly do it 
> again where you keep going and then cut back to face a 3rd couple (double 
> progression).
> 
> I've got dances in my box that have a zig and zag in 8 (single progression) 
> like Bill Pope's "The Cows Are Watching"; and I've got danced in my box that 
> zig-zag-zig (double progression) in 8, like Rick Mohr's "Leave the Wine".  
> 
> A couple of the zig-zag dances I've seen do the zig and zag in, pairing it 
> with a circle 1 1/4 or such (Will Mentor's "Frock's Rocking Frolic").
> 
> I've danced and enjoyed all of these dances, or they wouldn't be in my box, 
> but it seems a squishier move on timing than most; so I'm curious what people 
> think about it; and/or what they ask for the band when calling one of these. 
> 
> This came up for me when I was playing with a new (I think) choreography. I 
> put forth two possibilities drawing inspiration from Linda Leslie's Winter 
> Storm and Bill Olson's 20 Below (side question, which one came first?). 
> 
> Becket, double progression cw
> A1 
> Circle Left 3/4
> With Partner, zig left, zag right past a couple, zig left to face another new 
> couple
> A2
> New Neighbor Gypsy and Swing
> B1
> Men allemande Left 1 1/2
> Pass Partner Right to start 1/2 hey 
> B2
> Partner Gypsy and Swing
> 
> Becket, single progression cw
> A1
> Circle Left 3/4
> With Partner, zig left, zag right to face new couple
> A2
> New Neighbor balance and swing
> B1 
> Men allemande Left 1 1/2
> Pass Partner to start 1/2 hey by Right
> B2
> Partner Balance and Swing
> 
> And for those of you who have stuck with my rambling this long, I'll toss 
> another one out there:
> 
> Becket, single progression, ccw
> A1
> Circle Left 1 1/4
> with Partner: Zig left, zag right to face new couple
> A2
> New Neighbor balance and swing
> B1
> Promenade across set with Neighbor
> Women Do-Si-Do 1 1/2
> B2
> Partner Balance and Swing
> 
> If I had enough dancers, I'd just medley them; using the double progression 
> every other time so you'd always see new faces... no, wait, that's a terrible 
> idea. 
> 
> Thoughts or experience?
> 
> Thanks again!
> 
> -- 
> Luke Donforth
> luke.donfo...@gmail.com
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[Callers] Caller's Companion thread

[Linda Leslie via Callers]

Dear tallygal007,
I have used Callers Companion for a number of years now. It has changed my life 
as a caller….and all of it for the better! I love the ease of use, the number 
of ways that a search can be done for a dance, and the features that make it 
such a pleasure to plan programs. Plus, it keeps track of previous programs as 
well. Will Loving did a fantastic job with this program…... If you would like 
to chat with me offline, I would be glad let you know more. 
Linda Leslie


On Jul 28, 2014, at 3:18 PM, tallygal007 via Callers 
<callers@lists.sharedweight.net> wrote:

> Are you familiar with Will Loving's software?
> 
> Www.callerscompanion.com
> 
> 
> Sent from my Verizon Wireless 4G LTE smartphone
> 

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Re: [Callers] Name this Robert Cromertie dance!

[Linda Leslie via Callers]

The Dixie Gal by Robert Cromartie (verified in Give & Take), is quite a 
different dance from that shared by Vicki Herndon. Here it is:

The Dixie Gal 
by Robert Cromartie
A1 ---
(8) Long lines, forward and back
(8) Men allemande Left 1-1/2
A2 ---
(16) Partner balance and swing
B1 ---
(16) Down the hall four in line  Dixie Twirl* and return

B2 ---
(8) Circle Left 3/4
(8) Neighbor swing
* Dixie Twirl: Without anyone releasing hands, the left-most pair, led by the 
end dancer, go under an arch made by the central pair to become the left-most 
pair in a line of four facing up. Simulataneously, the right-most pair sweep 
across the set to become the right-most pair in the inverted line.

And I believe that some of the confusion might be caused by interchanging the 
phrase “Dixie Twirl” with a different move: right hand high/left hand low. The 
dance above is, as the title indicates, using a Dixie Twirl, with all four 
dancers changing position. There are a number of dances that have a different 
move: right hand high/left hand low, or an arch and duck under movement for 
three dancers. Chip Hedler mentions one of the first dances with this move: The 
Nova Scotian, by Maurice Hennigar. For this move, two dancers change position 
relative to each other, but the other two maintain their positions in the line 
(an end dancer turns alone; another turns under his/her own arm after the 
arch/duck movement has happened).

So the dance, as written down by Vicki does work. I have not seen it before; 
don’t know a title; and did not find it in Michael Dyck’s comprehensive dance 
listing. It seems like a good dance, so knowing a title would be great! Here’s 
another, similar dance by Bob Isaacs:

Love at First Swing  by Bob Isaacs

A1 -(8) Balance the ring and twirl to the right (petronella)
(8) Balance the ring and twirl to the right (petronella)
A2 ---
(4) Balance the Ring
California Twirl
New Neighbor swing
B1 ---
(8) Circle Left 3/4
(8) Partner swing
B2 ---
(16) Down the hall, four in line
Gent #2 Right hand high, left low, gent 1 TA
Return*
(start dance again with these same N”s)

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Re: [Callers] Yet Another "Does this dance already exist?"

[Linda Leslie via Callers]

I have the non-alternating version of this dance as “Hillsboro Jig” by Bill 
Thomas. There might be some interesting discussion about whether or not making 
it alternating is a “new dance” worthy of a new name/choreographer. 
LInda Leslie

On Jul 22, 2014, at 10:31 PM, Erik Hoffman via Callers 
<callers@lists.sharedweight.net> wrote:

> I'm at Stockton Folkdance Camp, And I arrived at a workshop where I 
> inadvertently left my cards behind. I'm doing a series of Old and New:
> 
> Did Petronella then a dance called Terry O'Less that has the Petronella move 
> in it.
> 
> Today I did Chorus Jig, then a dance that had alternating corners. Since I 
> didn't have my cards, I made one up:
> 
> 1st A1 Neighbor B
> 1st A2 Ones down center, turn as couple return, same-sex cast off
> 1st B1 Ones turn contra corners
> 1st B2 Ones B
> 2nd A1 Neighbor B
> 2nd A2 Twos up center, turn as couple, return, same-sex cast of
> 2nd B1 Twos turn contra corners
> 2nd B2 Twos B
> 
> Is this one of Jim Kitch's ideas, or another dance that does the alternating 
> thing?
> 
> ~erik hoffman
>oakland, ca
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Re: [Callers] New Dance

[Linda Leslie via Callers]

Hi, Ben!
Back in 2008, I wrote the following dance, similar, but not the same:
Greenfield Storm

A1 Give and Take Neighbor to gent's side for a swing
 (straight across first time, on left diagonal thereafter)
A2 (face straight across with partner across) Long lines forward and back
Ladies chain
B1 Hey (ladies center right)
B2 Partner Balance and Swing

Cheers! Linda

On Jun 8, 2014, at 4:02 PM, Ben Werner via Callers 
 wrote:

> Hey All,
> 
> I just wrote a new dance and wanted to see if the name, or the dance has been 
> written before. 
> 
> The Erik Effect - Imp, Becket
> By Danielle Boudreau and Ben Werner - written for Erik Erhardt
> 
> A1:   (16) Yearn Left, give and take, ladies take gents, Neighbor 
> Swing
> A2:   (8) right and left through
>   (8) Ladies chain
> B1:   (16) full hey
> B2:   (16) partner gypsy & Swing
> 
> Cheers,
> Ben
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Re: [Callers] Yet more unknown dances!

[Linda Leslie via Callers]

Hi, Maia!
I have some answers for you (see below); however, I don’t have #1 or #3.  I 
also don’t know what dance #2 is specifically, but have mentioned a very 
similar dance.
Hope this helps!
warmly, Linda

#2: I don’t have this dance, but there is one very much like it:  Joel’s in the 
Kitchen by Sue Rosen. Her dance has a different B1: Balance the ring, cross 
trails through, new N swing, but otherwise is the dance below.

 Becket – Left prog.   

A1  Long lines F / Ladies chain (to Nbr)

A2(Petronella) balance ring, spin to Right / Balance ring, spin to Right

 B1   [Square thru two]: Right hand balance w/partner, Pull by partner to face 
Nbr,

Along set pull by Nbr to face next neighbor

Swing new neighbor

B2  Circle Left ¾ / Partners Swing



 #4: Moments of Transition by Chris Page

 becket

A1: long lines

Circle L ¾

A2: N swing

Next N swing

B1: Prom across and SHIFT R (to face shadow)

Ladies R 1 ½

B2: shadow swing

Partner swing

(NEFFA ’14)



#5: Rollaway Sue by Bob Isaacs

becket

A1: slice L

Gents chain

A2: bal ring, roll P away

N swing

B1: R/L thru

Ladies chain

B2: bal ring, roll N away

P swing

(NEFFA ’14)



#6: Trip to Hubert by Will Mentor

 imp

A1: star R

star L

A2: P courtesy turn and ladies cross

Swing N

B1: gents allemande left once and a half

P swing

B2: long lines (and gent roll lady)

Pass thru, turn R, prom single file to next

(NEFFA ’14)



#7: Manga Tak by Ron Buchanon

 imp.

A1: N b

Pass ocean and balance

A2: N R ½, gents pull by L, P R ¾

B1: Shadow alle L 1x

P swing

B2: pass ocean, bal

P R ½, gents pull by, N R ¾ to next N

(NEFFA ’14)



#8: Duple, ImproperMad Robin Landingby Will Mentor

A1. N B
A2. Mad Robin (6) gents go forward and right to start
  Gents Cross Set pass r with opp. gent  while   Ladies Slide Left into 
neighbors place  into Long 
   Waves (2)gents face out, ladies face in, partners holding right 
hands
Bal Wave
  Circulate   Ladies cross set while Gents loop right into partners 
place
B1. Bal Wave
  Circulate   Gents cross set while Ladies turn around
  Partner Swing
B2. Ladies Chain to neighbor
  Star L  face new neighbor

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Re: [Callers] ID This Dance?

[Linda Leslie]

I also have this in my collection under the name/author mentioned by  
Chris Page; but I also have it as "32 Seconds" by Tom Calwell. I don't  
know who wrote it first.

Linda


On Apr 12, 2014, at 12:27 PM, Jerome Grisanti wrote:

I recently thought of a dance that I presume has been written  
already, as

it is all glossary moves. Can anyone identify it?

Improper Contra

A1: Long Lines Forward, Roll Away* on way back, Ladies Chain
(* Men roll from right to left, Women half-sashey from left to right)

A2: Ladies start Hey for Four

B1: Partner Balance & Swing

B2: Circle Left 3/4, Neighbor Swing

In long lines, identify new neighbor with a gentle squeeze.

Thanks!

--Jerome

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

"We should consider every day lost on which we have not danced at  
least

once."
-- Friedrich Nietzsche
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Re: [Callers] Looking for 2 dances

[Linda Leslie]

Happy to give you the dance! I have Tika Tika Timing as being written   
by Dean Snipes...and not sure who wrote the dance first..

Linda

Old Time Elixir #2
Linda Leslie
Type: Contra
Formation: Becket-CW
Level: Easy
Music: Ross’ Reel, Frenchies

A1 ---
Circle left three-quarters
Neighbor Swing
A2 ---
Right and left Through (or promenade)
Ladies Chain (to partner)
B1 ---
Ring Balance, Pet Twirl
Ring Balance, Pet Twirl
B2 ---
Partner Balance and Swing (look of the left diagonal for new cpl)

Other Notes: Same dance written by Dean Snipes, and called Tica Tica  
Timing not sure who wrote their first.



On Apr 3, 2014, at 1:19 PM, tallygal007 wrote:


Would someone care to share with me the following 2 dances:

Tika Tika Timing by Ron Buchanan and
Old Time Elixir #2 by Linda Leslie

Thank you!

Sent from my Verizon Wireless 4G LTE smartphone
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Re: [Callers] Mud Season?

[Linda Leslie]

Here they are. Enjoy!
Linda

Boiling Mud
Greg Byrne
Type: Contra
Formation: Duple-Improper
Level: Easy

A1 ---
Long lines forward and back
Actives swing (face down)
A2 ---
Handy hand once and a half
Twos swing (face down)
B1 ---
Down the hall four in line, twos in the center turn as a couple, return
B2 ---
Circle left once
Balance the Ring**
Roll away Neighbor with a half sashay
(ladies roll to the right)
Notes: **Will Mentor called this B2: Circle left, Neighbor swing

Happy as a Cold Pig in Warm Mud
Mike Boerschig
Type: Contra
Formation: Duple-Improper
Level: Int

A1 ---
Neighbor Balance and Swing
A2 ---
Gents allemande left once and a half
Partner allemande right once and 3/4*
B1 ---
With shadow Star left
Partner swing***
B2 ---
Circle left three-quarters
Balance
California twirl
Notes: Ladies face OUT, gents face IN
*Gent one and Lady two go up for the star
   Gent two and Lady one go down
OR: finishing in long waves: ladies face out, gents face in
To find shadow: get becket, pass by P, shadow is next.
However: dancers going in wrong directions for the stars can be part  
of the fun!


On Mar 9, 2014, at 3:08 PM, Luke Donforth wrote:

Linda, if you would share "Boiling Mud" and "Happy as a Cold Pig in  
Warm

Mud" I'd appreciate it. Thank you.

I guess I'll have to write a dance the next time I'm trying to get  
my car

out of mud season trouble.


On Sun, Mar 9, 2014 at 2:58 PM, Linda Leslie  
<laleslie...@comcast.net>wrote:



Are you referring to "Boiling Mud", Luke? The only other dance I know
about with "Mud" in the title is "Happy as a Cold Pig in Warm Mud".
I can share these two dances, if you wish.
warmly, Linda


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Re: [Callers] Mud Season?

[Linda Leslie]

Are you referring to "Boiling Mud", Luke? The only other dance I know  
about with "Mud" in the title is "Happy as a Cold Pig in Warm Mud".

I can share these two dances, if you wish.
warmly, Linda

On Mar 8, 2014, at 2:22 PM, Luke Donforth wrote:


Hello all,

I vaguely remember the existence of a dance called "Mud Season", but  
no

more than that. Anyone know it?

My google-foo is failing me, as I'm getting to many spurious hits  
for mud

season.

--
Luke Donforth
luke.donfo...@gmail.com 
www.lukedonev.com
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Re: [Callers] Community

[Linda Leslie]

Dear Chris,
It is a tribute to this group that we want to try and do the right  
thing, and spending some time figuring this out certainly seems worth  
the effort.


Another perspective might also include the history of the number/ 
content of posts, not just the gaff that was committed recently. For  
me, posts that are overly long, or those that are particularly  
repetitive, can be a challenge. And those that are much like a  
"lecturing parent" can also cause some displeasure. After a while, I  
tend to tune these out, and any useful content gets lost as a result.


I guess that, much in the way that we would like our callers to "teach  
succinctly, clearly, and efficiently" when it comes to dances, I would  
appreciate posters to self-edit in the same ways. There are lots of  
ways that posters have done this successfully. I lost patience with  
Greg because he so often seemed to be lecturing the group, rather than  
treating us as peers, and often his posts were very repetitive.  
Because I lost patience, I had some "Greg fatigue", and gave up  
looking at his posts.


I believe another important issue to consider is that there was no  
real casting out; unless I am in error, I believe Greg chose to remove  
himself from the group. He could have chosen to stay, and to let the  
group know that he had learned something new and useful as a result of  
the controversy.


This really could be a teachable moment. Who does the teaching, and  
how it is done are now the focus, I believe. Your feelings are strong,  
so it is clear to me that we should have Greg back in the group. How  
that happens is the next challenge.


LInda

On Feb 24, 2014, at 2:29 PM, Chris Weiler (Home) wrote:


Jean,

Do you really believe that is what is happening here? The man was  
chastised and offered a sincere apology. Do you really believe that  
his "crime" deserves the punishment of expulsion? Or is it a  
overblown response because he rubs people the wrong way sometimes?


Put yourself in his shoes. You misspeak while talking to your  
friends. The next thing you know, you're cast out of that social  
circle with no chance of redemption. Is that a fair response?


These are not rhetorical questions. I would really like to know what  
you think.


Chris

On 2/24/2014 11:10 AM, jean francis wrote:
”The ultimate result of shielding men from the results of folly is  
to fill the world with fools." Herbert Spencer (1820-1903)




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Re: [Callers] ONS Plus Circle Mixers

[Linda Leslie]

Dear Maia,
In the grand web of serendipity, I actually did write almost this  
dance about 14 or so years ago when the daughter of good friends was  
born. I named it "Maya's Mixer". The only difference is that there is  
an alamo ring balance after the P allemande Right. This makes for more  
zesty timing. Your version is more forgiving in this regard.

Thanks for sharing!
warmly, Linda

On Feb 24, 2014, at 12:47 AM, Maia McCormick wrote:


Recently wrote this one for a beginner dance I was calling (so named
because it was written right next to the Catholic chapel at my  
school and I

couldn't breathe because of the overpowering incense...)

Clouds of Incense - circle mixer
by Maia McCormick
Begins with all in a ring with partner, lady on the right
A1: forward and back (2x)
A2: partner alle. R 1.5x
neighbor alle. L 1x
B1: back to partner for balance and swing
B2: w/ partner, promenade the circle counterclockwise (i.e. to the  
right)
ladies loop back to the gent behind and swing him--becomes new  
partner,

dance restarts.

(It's also quite possible that this dance already exists somewhere, in
which case someone should certainly tell me!)


On Sun, Feb 23, 2014 at 11:00 PM, Mac Mckeever   
wrote:


I have always had great success with the Patty Cake Polka - the  
only ONS

dance where I can stop calling!

One of my current favorites came from a discussion on this group a  
few

months ago ( I modified it a bit)

The Wheel by Gene Hubert - random circle mixer

Start with ladies w/backs to center holding 2 hands with partner
A1 Ladies back into center pulling partner with them
 all take hands in 2 circles - circle of ladies facing out and  
cir of

gents facing in
A2 All circle left (causes circles to go opposite directions)
B1 Find a new partner and Dosido then swing
for those with no partner - lost and found is in the middle
B2 promenade - lost and found couples join in the promenade
at end of prominade - roll the ladies in so their backs are toward  
the

center

Mac McKeever





From: Sue Robishaw 
To: Shared Weight Callers List 
Sent: Sunday, February 23, 2014 6:58 PM
Subject: [Callers] ONS Plus Circle Mixers


Hi,
I'm looking for a few interesting circle (or longways) mixers for
5-10 cpl size group who are beyond Lucky 6/7 but still learning.  
Along the
lines of Cabot School Mixer maybe. I have plenty of easy mixers for  
new
dancers, and many nice ones for 3-4 cpls, but could use a few more  
in the

middling range. Recommendations appreciated!
Thanks,   Sue Robishaw, U.P.M.
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Re: [Callers] Height diffferential

[Linda Leslie]

My arm will actually ache from the pressure of my swing partner  
leaning back too much.

Linda

On Feb 19, 2014, at 12:02 PM, Harold E. Watson wrote:

While "relax" would actually be a better description than "leaning"  
into hand behind you, "relax" has so far not proven very effective  
in keeping a beginner dancer from leaning INTO the swing which makes  
it much more difficult.  Goes right along with death grip on the  
right shoulder.  It is a challenge.  What exactly do you mean by  
dramatic consequences for your arm?


Harold

-Original Message-
From: callers-boun...@sharedweight.net [mailto:callers-boun...@sharedweight.net 
] On Behalf Of Linda Leslie

Sent: Wednesday, February 19, 2014 10:52 AM
To: Caller's discussion list
Subject: Re: [Callers] Height diffferential

As a dancer who often role switches, I have noted that  "leaning"  
can have some dramatic consequences for my right arm when I dance  
the gent's role. I tend to avoid using this word, but do like  
"relax", "connection", and other concepts that might get to a better  
swing experience. I would love to hear about other words that seem  
to work for dancers/callers.

Linda

On Feb 19, 2014, at 10:25 AM, George Mercer wrote:


The "Where to place the gent's hand for a swing" is a curious problem
for me.  I've generally been told I have a good swing, but every once
in a while I'll be dancing with someone who insists/demands I move my
hand further up on the back or much lower.  I do what I'm asked to  
do.
I hesitate to suggest to anyone that swinging involves "leaning  
back."

As for body tension/giving weight, I suggest they use the guide that
one uses for gardening and even child rearing -- firm but gentle.
Tension but not stiff or rigid.  You can do both.  I also find myself
when dancing with new dancers telling them to relax, body rigidity or
stiffness is not the answer and it doesn't help them or the person
their dancing with at that moment.
Relax. Firm but gentle.  Let me know you're there,  Thanks.


On Wed, Feb 19, 2014 at 9:33 AM, Harold E. Watson <hwat...@uark.edu>
wrote:

Sometimes we'll hold a quick swing teach during a break.  I've  
always

taught the gents to place their right hands between the ladies
shoulder blades.  This provides support for the ladies' backs so  
they
can lean back into it to balance with swing and it doesn't hurt  
their
back.  (We have some gents that insist on swinging at around 90  
RPM.)

One of the more difficult thing I've had to teach beginner ladies is
get used to leaning into that hand.  They have a tendency to tightly
grip my right shoulder rather than relax.  It can be a difficult
concept for a newbie.

Harold


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Re: [Callers] Height diffferential

[Linda Leslie]

As a dancer who often role switches, I have noted that  "leaning" can  
have some dramatic consequences for my right arm when I dance the  
gent's role. I tend to avoid using this word, but do like "relax",  
"connection", and other concepts that might get to a better swing  
experience. I would love to hear about other words that seem to work  
for dancers/callers.

Linda

On Feb 19, 2014, at 10:25 AM, George Mercer wrote:

The "Where to place the gent's hand for a swing" is a curious  
problem for

me.  I've generally been told I have a good swing, but every once in a
while I'll be dancing with someone who insists/demands I move my hand
further up on the back or much lower.  I do what I'm asked to do. I
hesitate to suggest to anyone that swinging involves "leaning  
back."  As
for body tension/giving weight, I suggest they use the guide that  
one uses
for gardening and even child rearing -- firm but gentle.  Tension  
but not
stiff or rigid.  You can do both.  I also find myself when dancing  
with new
dancers telling them to relax, body rigidity or stiffness is not the  
answer
and it doesn't help them or the person their dancing with at that  
moment.

Relax. Firm but gentle.  Let me know you're there,  Thanks.


On Wed, Feb 19, 2014 at 9:33 AM, Harold E. Watson   
wrote:



Sometimes we'll hold a quick swing teach during a break.  I've always
taught the gents to place their right hands between the ladies  
shoulder
blades.  This provides support for the ladies' backs so they can  
lean back
into it to balance with swing and it doesn't hurt their back.  (We  
have
some gents that insist on swinging at around 90 RPM.)  One of the  
more
difficult thing I've had to teach beginner ladies is get used to  
leaning
into that hand.  They have a tendency to tightly grip my right  
shoulder

rather than relax.  It can be a difficult concept for a newbie.

Harold

Re: [Callers] Hand Manners (was: Dances with three or more allemandes)

[Linda Leslie]

Dear George,
I am so glad that you brought up this issue. I have noticed it, too,  
and also see that the whacking has become a prelude to a balance  
(yikes!) for some dancers. It will be interesting to hear from callers  
how we might approach this challenge. For me, although I have no  
particular arm or shoulder problems, I simply don't like the gesture.  
Usually I do say something like "a gentle connection works better for  
me", or a related sharing. But I have also used the "ouch!" with  
success.


I wonder if it comes from "high five"??
Linda

On Feb 18, 2014, at 9:12 AM, George Mercer wrote:

I guess this is tangential to the hands/allemande discussion, but it  
has
been a source of personal pain for me for some time.  Over the past  
decade

or so more and more people, many of them pretty good long-time dancers
(both men and women), have approached me for an allemande with a  
percussive
force akin to a punch or slap.  Wham!  I have a variety of hand/arm  
issues
and the percussive impact of the initial allemande contact sends a  
jolt all
the way up to the shoulder.  I have been forced to hold my hand/arm  
back
until the last second (when the force has dissipated) or even set it  
up so

the other dancer whiffs past my hand altogether.  When did whacking
someone's hand for an allemande become acceptable or appropriate?   
This may
not be a problem for others, but for me it has the same result as  
the death

grip, bent wrist, thumb wrench, and other allemande problems -- pain.
Thanks.


On Tue, Feb 18, 2014 at 7:45 AM, Lindsay Morris  
wrote:


Don's photo illustrates the "OSHA-approved" grip I mentioned.  It's  
not the

intuitive thing to do, so callers would do well (IMHO) to promote it.

Jonathan, the "thumbs-up" position is different, and puts one at  
risk of
injury or just awkwardness (like, when a new dancer grabs my thumb  
with

their whole hand- ick).

"Hand manners" in general would be a good topic - and how callers can
promote good ones.


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


On Mon, Feb 17, 2014 at 10:03 PM, Don Veino 

Re: [Callers] Author of Tranquility?

[Linda Leslie]

The author would be me, Don! Except that for the B2, the original  
dance has the women do an allemande left just 1/2, then a long Partner  
swing. Certainly the allemande left 1 and 1/2 also works!

warmly, Linda

On Oct 20, 2013, at 2:44 PM, Don Veino wrote:

I got this one from a local caller but there was no author known.  
Googling

has failed to uncover them. Do you know?

Tranquility – Becket – Unknown

A1

(8) LLFB

(8) G Allem. Lt. 1+1/2 *to N*

A2

(4,12) N Bal. & Swing *end facing across*

B1

(4,4) Pass The Ocean to Wave/4, Bal. *Fwd/Bk*

*Pass the Ocean: L take LH as cross, RH to N - G are back on home  
side, L

away*

(4,4) Pass Thru Up/Dn to new Wave/4, Bal. *Fwd./Bk.*

B2

(8) L Allem. Lt. 1+1/2 *to your P*

(8) P Swing
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[Callers] RPDLW

[Linda Leslie]

It has been mentioned in previous posts what a great weekend this  
event is for callers. I hope to see many of you in attendance in  
January!


A few years ago, Chrissy Fowler and I gathered some of our calling and  
tune books into a collection that was used for  a "silent auction"  
held during the weekend. The funds collected were then donated as a  
way to help defray costs. Callers at the weekend participated in a  
significant way so that we were able to contribute over $200 to the  
RPDLW!  And we have decided to do it again. If you will be at the  
weekend, and would like to donate some books, CDs, or other  
interesting items, please let me know.


Please email your reply to me only.
Thanks! Linda

[Callers] Memorizing Dances

[Linda Leslie]

Bill Olson states:
 I consider Ted Sannella to be one of my primary mentors and back in  
the early days I did sound and often played in the band for his 4th  
Friday dance in North Whitefield, ME, so I got to see him close up..  
Ted ALWAYS used cards but I KNEW he new the dances he called from  
memory. I asked him about it once and he said it just made him feel  
safer up there..


Another motivation for Ted may have been the fact that he kept  
meticulous notes the date, place, and the dances that he called.  
His extensive collection of personal notes, as well as books, and many  
other items were donated to the Special Collections archives at the  
University of New Hampshire. Here is the link to the information about  
Ted:


http://www.library.unh.edu/special/index.php/ted-sannella

Linda

Re: [Callers] 2 Dances

[Linda Leslie]

John's dance is on YouTube, and can be seen at this link:
http://dancevideos.childgrove.org/contra/contra-modern/319-alternating-current-by-john-coffman-duple-improper
The caller does a great job with the timing!
Linda

On Oct 7, 2013, at 2:29 PM, Rickey Holt wrote:


Hi all,
I need help with 2 dances:
(1) Where is the progression in Steve Zakon-Anderson's 3-33-33
(2) Alternating Current is a great dance by John Coffman.  The A2  
has a
Right and left Through into a men roll his neighbor lady away along  
the line
and then she rolls him into (B2) Ladies Allemande Right (once and a  
half). A

great sereis of moves that zip.  But dancers are consistently getting
through the 2 roll aways early.  I thought of putting a 'power turn'  
in at
the end of the Right and Left Through (i.e. an extra turn as a  
couple coming
out of the Right and left Through), but have not tried that yet.   
Anyone

else have experience with this dance or have other suggestions?
Rickey Holt,
Fremont, NH

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[Callers] New Callers

[Linda Leslie]

Folks on the list may find an article in CDSS News by Mary Wesley to  
be very helpful. She offers a great way for new callers to improve and  
have places to call:

Here is the link:
http://www.cdss.org/tl_files/cdss/newsletter_archives/news/CDSS_News_fall_2013_spreading_our_wings.pdf

Linda

On Oct 1, 2013, at 1:24 PM, Lindsay Morris wrote:

Twice I have seen groups encourage new callers, then put them on the  
local dance schedule. It was bad. The new callers only got a chance  
to call once every 2-3 months. They never improved. The community  
was saddled with several less-than-stellar callers for 2 years.


Just something to consider.

--
Lindsay Morris
859-539-9900

Re: [Callers] Favorite mixers?

[Linda Leslie]

Another solution to the short arms problem, Bill, might be to have the  
couples face differently:   women (or those dancing this role) face  
out, and men face in for the forward and back.

Linda

On Sep 27, 2013, at 10:59 AM, Bill Olson wrote:


The Wheel, circle mixer by Gene Hubert

A1 Promenade (CCW)(16)
A2 (face partner Gents facing out, Women facing in) join 2 hands  
with partner and walk ~8 steps IN (8), join hands in concentric  
circles and walk ~8 steps back out (8)

B1 all circle LEFT (opposite directions obviously)
B2 *SWING* (nearest person)

This dance is a riot. needs MANY couples in circle and resist urge  
to make 2 sets because even when dancers line up originally in  
circle NEXT to partner, they are never that way in the actual dance.  
Lots of craziness at swing, lost and found in the middle. gender  
changes happen here, also if dancer cannot find a partner at swing  
(or promenade) stay in dance with "invisible partner" and try again.  
Needs many couple to make it work, especially since women are on the  
outside of the concentric and have shorter arms on the average. If  
this becomes a problem 9womens arms being pulled out or arm sockets)  
tell dances "big steps in, short steps out"..  often, after a few  
times thru, I tell the dancers to "let the music tell them when to  
swing" in B2, then it's REALLY a riot. This works for dancers of ANY  
level! I've never had experienced dancers not have a good time.


I miss Gene!

bill





Date: Thu, 26 Sep 2013 15:47:32 -0700
From: ka...@sbcglobal.net
To: call...@sharedweight.net
Subject: [Callers] Favorite mixers?

I'd love to add a few more mixers to my repertoire.  Which ones do  
you
like for beginning groups or for early in the evening?  And do you  
have

some that more advanced groups can enjoy?

Kalia
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Re: [Callers] 11 dances without names (or authors) ... possible help???

[Linda Leslie]

Number 8 is Get Me Going by Lisa Greenleaf

Number 1 is essentially the same dance, with the exception of the  
ladies' gypsy.  Not sure that this would qualify as a different dance/ 
different name. When I call dances with very slight variations like  
this, I usually say something like "slight variation on a dance by  
Lisa Greenleaf",  and give the name of the dance.

Linda


*??NAME 1: IMPROPER*

N B

LL F
L Gyp 1.5

P B

L Chain
Star L to next couple





*??NAME 8: IMPROPER*

N B

LLF
L Al R 1.5

P B

Ladies chain
LH Star (look for new neighbours)

Re: [Callers] 11 dances without names (or authors) ... possible help???

[Linda Leslie]

Number 4 is Rollin' & Tumblin' by Cis Hinkle
However, I have the ladies doing an allemande left once and a half

Linda



*??NAME 3: IMPROPER*

N Bal & Sw

LL F, G roll L away with half sashay
LL F, L roll G away with half sashay

L in for Al L 1.5
P Swing

Ladies Chain
LH Star
*--*

Re: [Callers] Scheduling/programmer Question

[Linda Leslie]

Thanks to Woody, Colin, Jeff, Don, Kalia, and Jim for the responses to  
my original query.


Of particular note is this portion from Woody, who wrote:
From my perspective, as a caller, I am really reluctant to make a  
calling commitment a year in advance for a nearby community dance. Six  
months is no problem, but committing in May to calling a small  
community dance the following April -- I am not comfortable with that.  
Too many conflicts can arise, either in the dance/calling world or  
professionally, as I travel a lot for my work. True, I may miss some  
calling opportunities, but that can't be helped. (In contrast, I am  
not talking about caller/band tours which are often booked 8-12 months  
or more in advance.)


I feel exactly the same way, and I am so glad to know that there are  
other callers out there who prefer not to schedule so far into the  
future.

Linda

[Callers] Scheduling/programmer Question

[Linda Leslie]

Kalia wrote:

The way we book here is on a quarterly basis.  The programmers (each  
venue has their own) request the available dates from callers and  
musicians partway through the previous quarter, and then assemble  
the next quarter's program from who's available.  There's a sort of  
limbo period when you've sent out your dates to lots of different  
series, but don't yet know which ones are going to book you.   
Sometimes they all do, and you wind up with a quarter filled with  
insane 3-gig weekends. Sometimes none do.  There's usually some  
flex, though, so if you find yourself overbooked on a given weekend  
you can often get the programmers to jiggle things around a little  
and rearrange the schedule.


I am very curious about how the programmers have decided to schedule  
in this way, Kalia. Did they get together and decide to do it this  
way, or did this just naturally happen? In the last few years, I have  
noted that it can be a real challenge to try and schedule gigs, since  
the time frame varies so significantly from dance to dance. A few  
dances, such as the Concord MA Scout House, follow the quarterly rule  
(with exceptions for traveling callers/bands from far away). But  
others seem to schedule up to a year (or more!) in advance. I would  
also enjoy knowing the thoughts of other callers on this subject.


Thanks! Linda

[Callers] Fwd: List of contra dance figures

[Linda Leslie]

Dear Sam,
A quick look at the link seems to reveal that Give & Take is missing.  
This is a move for 4 dancers. As couples, dancers move forward, and  
give the outside (free hand) to the opposite person. Depending on the  
dance, one of them moves back, drawing the opposite dancer into a  
swing. A Give & Take can be

Gents give & take, swing partner
Gent's give & take, swing N
Same moves above, but led by the ladies.

Can you share with us why you are making this list?
warmly, Linda

On Sep 9, 2013, at 3:58 PM, Sam Whited wrote:


Hi all;

I'm looking for a complete (or, as complete as this sort of thing can
be) list of Contra Dance moves. Once I exchausted all of the ones I
could think of off the top of my head, I started using Wikipedia's
list [1].

Can anyone think of any less-common moves that are missing from that
list? I know there are lots of square dance moves that are adapted to
contra dances fairly regularly that might be missing from the article
on Contra; I'm basically looking for any move that's ever been used in
a contra dance (even if only once). Contra squares (in which any
square dance move is more or less valid) probably don't count. The
move should work in `normal' contra dance formations and/or  
mescolanzas.


Thanks,
Sam


[1]: https://en.wikipedia.org/wiki/Contra_dance_choreography

--
Sam Whited
pub 4096R/EC2C9934
https://samwhited.com/contact
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[Callers] Hichkman's Hey

[Linda Leslie]

I have a slightly different version to share; but have heard the same  
explanation for the title.

Linda
"Hickman's Hey"
by  unknown
Contra/Improper/Int

A1 ---
(8) Down the hall four in line (1's between the 2's)
(8) (all face the center) Half hey, 1's pass right shoulders to start*
A2 ---
(8) Return up the hall four in line
(8) (face center) Half hey, 1's pass right shoulders to start*
B1 ---
(4) 1's allemande right once
(12) Neighbors swing
B2 ---
(8) Long lines go forward and back
(8) 1's swing
   * the effect of each half hey is to change places with partner

On Aug 30, 2013, at 2:39 AM, Cynthia Phinney wrote:


Here's a fun twist.
"Hickman's Hey"
There is half a hey when you get the bottom of the hall, then you  
finish the

hey when you get back home.

Hickman's Hey

A1  Down the Hall, four in line (Ones in middle)
½ Hey (Start facing in, ones pass right, End where partner was)
A2  Up the Hall
Finish the Hey
B1  One’s Allemande Left 1 1/2
Neighbor Swing
B2  One’s Balance & Swing

From what I can find out, Steve Hickman was the name of the person  
who
collected the dance and he did not know the actual name, nor the  
author.
Also, it seems that the B1 and B2 parts vary (the A1 and A2, being  
what
makes the dance distinctive, do not), but this is how I learned it  
and how I

call it.

-cynthia



-Original Message-
From: callers-boun...@sharedweight.net
[mailto:callers-boun...@sharedweight.net] On Behalf Of JoLaine
Jones-Pokorney
Sent: Thursday, August 29, 2013 4:58 PM
To: callers-requ...@sharedweight.net; call...@sharedweight.net
Subject: [Callers] dances with down-the-halls

Hi Everyone - Many of our easier dances include down-the-halls, but  
there
are so many ways to come back up!  There's turn alone, and turn as a  
couple
of course, but there's also sliding doors, right-hand-high-left-hand- 
low,
loop-de-loop, cloverleaf.  What are your favorite dances that  
include an

unusual down-the-hall? I've thought of putting together a program that
highlights all the different ways to go down the hall.  I think  
there is a
wide enough variety in these dances that it could be doable without  
boring

the dancers.
JoLaine

--
JoLaine Jones-Pokorney

"We are as gods and might as well get good at it!"
- Stewart Brand
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Re: [Callers] Halloween dances

[Linda Leslie]

Also the following:

Zombies of Sugar Hill by Gene Hubert

Devil's Nightmare by Tom HInds
Devils' Backbone by William Watson
The Devil's Becket by Becky Hill

All Hallow's Eve by Chris Ricciotti

Have fun! Linda

On Aug 9, 2013, at 2:31 PM, Betsey Mullen wrote:


I'm looking for some Halloween-theme dances. Something with
Monster/Ghost/Bat, etc in the title.
Any suggestions?

Cheers,
Betsey

--  
Love truly, Laugh uncontrollably.. And never regret anything that  
made you

smile.
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Re: [Callers] contradance materials and/or calls in Spanish or any non-English language

[Linda Leslie]

Also, my congrats and wishes for a successful dance!

The dancers in Denmark also decided, a few decades ago, to call their  
contra/square dances with English terminology. The teaching is done in  
Danish, but the calls in English. And the explanation for this that I  
was given was so that dancers could dance anywhere in the world.  And  
it seems to have worked, since lots of Danes come to the U.S. to  
attend dance camps.
This also might avoid a part of the challenge of having non-Spanish,  
non-English speakers in the crowd.


Please keep us posted on how your dance progresses!
warmly, Linda

On Jul 21, 2013, at 1:54 PM, Aahz Maruch wrote:


On Sun, Jul 21, 2013, Mark Stowe wrote:


I am dating a Mexican anthropology professor that I met at a
contradance at an Earth Skills festival in Gainesville FL and she is
now a complete convert.  This past New Year's we got 20 of her family
and friends contradancing.  They caught on quickly, really liked it
and would like me to start a regular contradance in Xalapa=Jalapa
where it actually has a better than average chance of working given
the large arts/ music community, and the numerous international
students and expats.


Congrats!


Any leads to possibly existing materials/ written explanations or
calls in Spanish would be appreciated.   And given my travels to  
other

countries (especially French speaking) I wonder is there any
non-English material and/or calls?  Thanks!


No advice directly related, but the square dance community has decreed
that all calls are given in English (much the same way that pretty  
much
all programming languages have their keywords in English).  Kinda  
rude in
some ways, but it does mean that people can travel to other  
countries and

still square dance.
--
Hugs and backrubs -- I break Rule 6http://rule6.info/
 <*>   <*>   <*>
Help a hearing-impaired person: http://rule6.info/hearing.html
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Re: [Callers] Giant Robot Dance

[Linda Leslie]

Sorry!
The default for me is that a Give & Take always ends up in a swing, so  
I don't write it down in my dance description database.


And it is interesting to note that Larry Jennings, acknowledged as a  
choreographer who used Give & Take a lot (his second book uses this  
phrase as the title), preferred that the first part of this move only  
take 4 beats of music:   2 beats forward, another 2 beats to back up,  
and then a 12 beat swing. Makes for a longer/zestier swing, which  
Larry loved!

Linda



On Jul 9, 2013, at 7:22 PM, Kalia Kliban wrote:


On 7/9/2013 3:42 PM, Linda Leslie wrote:

Giant Robot Dance
by Linda Leslie
Contra/Becket-CW/Dbl-Prog/Easy

A1 ---
Circle left three-quarters
Pass through
Next Neighbor do si do
A2 ---
Same Neighbor B & S
B1 ---
Long lines forward and back
NEXT neighbor swing
B2 ---
Give & Take to the Gent’s side


Is there more to the B2?  I think of a give and take as an 8-beat  
move.  P swing maybe?


Kalia
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Re: [Callers] Giant Robot Dance

[Linda Leslie]

Dear Kalia,
I am not sure that the dance you refer to is the following. However, I  
wrote this for Dance Flurry 2009, when I had the pleasure of calling  
there with Giant Robot. The session was titled "1,2,3,4 Swings".  I  
would love to know if this is the dance in question!

warmly, Linda

Giant Robot Dance
by Linda Leslie
Contra/Becket-CW/Dbl-Prog/Easy

A1 ---
Circle left three-quarters
Pass through
Next Neighbor do si do
A2 ---
Same Neighbor B & S
B1 ---
Long lines forward and back
NEXT neighbor swing
B2 ---
Give & Take to the Gent’s side

On Jul 9, 2013, at 4:21 PM, Kalia Kliban wrote:

I have a scribbled note from a dance weekend back in February that I  
really enjoyed this dance but I didn't get the author's name, and  
now all I can find online is references to the band with that name.   
Can anybody point me to a source?


Kalia
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Re: [Callers] And while I'm at it...

[Linda Leslie]

Rick has a very complete web page which includes all of his dances,  
and some great commentary!

http://rickmohr.net/Contra/Dances.asp#Introduction

Joseph's last name is spelled:   Pimentel

Jack: would you please clarify? In the dance below, the allemandes in  
the B1 are each 1/2, correct? And the Becket progression is to the  
right (counter clockwise)?

Thanks for sharing the dance; such a creative way to progress!
Linda

On Jul 9, 2013, at 4:46 PM, Jack Mitchell wrote:


*The Hotpoint Special *-- Joseph Pemental*Becket*

*A1*Ladies Alle R 1½
N Sw

*A2*Gents Alle L 1½
P Sw

*B1*Ring Balance
Pass thru to wave (ladies take LH, gents cross set, give RH to P)
Wave Balance
P Alle R, Gents Alle L

*B2*Wave Balance
from wave facing opp dir of progression -- look behind you for new N  
looking back at you

Step forward, turn right,ladies follow partnerSingle file
R Thru with these two**



On 7/9/2013 4:41 PM, Kalia Kliban wrote:
There are a couple of other dances I'm having trouble tracking  
down. One is Hotpoint Special, which I think may be by Rick Mohr,  
and again there's a band by that name.  Criss-Cross Hey by Bob  
Isaacs is another.


Kalia
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[Callers] Request for civility from the list

[Linda Leslie]

In recent weeks, I have begun to notice that some posts lack the usual  
supportive comments and suggestions that I have come to enjoy on this  
list. Instead, there seems to be more than a hint of  "I'm right, you  
must be wrong" or "how could you possibly think that..?", and  
other negative postings. I include here comments concerning our  
approaches/teaching as callers, but also about dancers and dance  
communities.


More recently, folks have been suggesting that positive phrases will  
work better to encourage dancers and make them feel great about  
dancing. It would seem logical that we would practice this behavior  
with each other! We all have different dance communities and ways that  
we have learned to call and teach and dance. I would hope that we  
would offer our own experiences as suggestions, or ways that have been  
successful in our own dance communities, and avoid denigrating the  
experiences or ideas of others.


My thanks to the many on the list who are very aware of the impact of  
their posts, and continue to share in such positive ways.


I would so much appreciate again looking forward to all of the emails  
generated from this list.

Respectfully,
Linda 

Re: [Callers] End Effect Rules for callers

[Linda Leslie]

For some dancers, the joy of a dance may be in figuring out the end  
effects for themselves. There are great *aha* moments that are  
possible when dancers see for themselves how the dance "works".  
Perhaps your workshop, Jack, might put this idea to use.what about  
presenting dances, and then having the dancers come up with the rules?  
I have a feeling that this would lead to lively discussion and the  
potential for dancers to develop insights that are long-term.

Linda

On Jun 29, 2013, at 1:33 AM, Jack Mitchell wrote:

My goal in the workshop would be to give people tools that they can  
use to make sense of at least a large subset of dances with  
challenging end effects by trying to come up with the smallest  
number of general categories of end effects / coping skills  
possible, and avoiding having to give specific instructions for that  
dance -- the first time you go out wait out with the lady on the  
left, then wait out on the right diagonal, and such as that.  While  
I strongly doubt that I can cover every possible type of end effect,  
I think that it should be possible to cover some general categories  
of end effect and to give folks some structure for dealing with  
them.  I would really like to help the dancers find the patterns so  
that they can better cope with end effects when they come along...


I'm going to sit down with some of the things that folks have posted  
this weekend and with my dance box and see what I can come up with.


Jack


On 6/28/2013 8:04 PM, Jim Hemphill wrote:
Great idea for a workshop for dancers, but I'm curious what the  
callers
approach to these types of dances are.  Many of the dance weekend  
caliber
callers seem to take a very cavalier approach, often saying  
something like

"This dance has some unusual end effects, be ready and good luck" or
nothing at all.  Sometimes this works out ok, sometimes not.
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Re: [Callers] Circle left 3/4

[Linda Leslie]

Hmm. I am going to respectfully disagree.  It might seem like a  
single progression, since you are doing 56 counts of the dance with  
just one couple. But, you are actually dancing with two distinct  
couples. You pass by the first couple in the R through on the left  
diagonal, this is the only movement danced with them. You then dance  
the remainder of the dance with a second couple.
Another hint that this is double progression is the fact that you are  
not out at the top of the set (you indicate this in your notes, when  
you mention that the top couple should not move; if it were single  
progression, they would have to cross to other side of the set, and  
wait out one cycle of the dance). This is quite distinctive of double  
prog. dances.


Becket Reel is another Double prog. dance that progresses in the same  
way that your dance does, except that the progression occurs at the  
B1. You can see the dance below.

Hope this explanation helps!
warmly, Linda

Becket Reel   By Herbie Gaudreau

Becket formation, double clockwise progression

A1  Allemande left your corner, swing partner

A2  full ladies chain across

B1 on the left diagonal: half right and left through

straight across: half right and left through

B2(across) star left

star right

* note that you end with your left hand free ready for the initial  
allemande left


On Jun 5, 2013, at 9:01 PM, Aahz Maruch wrote:


On Wed, Jun 05, 2013, Linda Leslie wrote:

On Jun 5, 2013, at 5:51 PM, Aahz Maruch wrote:


Here's a Beckett with a circle that doesn't start with a circle:

Panix Dot Chat (a...@pobox.com)

Beckett formation

Right-and-left thru on left diagonal (8)
 (Yes, start with progression)
 (Warn ends about not moving)
Right-and-left thru new couple (8)
Circle left 3/4 (8)
Swing neighbor (8)
Pass through (4)
California twirl (4)
Men left-hand turn once-and-half (8)
Balance and swing partner (16)


The dance is a double progression dance, so alerting dancers to the
fact that "you will quickly be back in the dance at the top" should
help. I also find that encouraging dancers to have an odd number of
couples (an extra couple at the bottom of the set) helps; this way,
they will get to dance with more of their neighbors.


Nope, not double-progression, I hate double-progression.  ;-)   
However,
the way it's constructed, nobody is ever out at the top; you're only  
out

when you're on the bottom with an odd number of couples.
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Re: [Callers] Circle left 3/4

[Linda Leslie]

The dance is a double progression dance, so alerting dancers to the  
fact that "you will quickly be back in the dance at the top" should  
help. I also find that encouraging dancers to have an odd number of  
couples (an extra couple at the bottom of the set) helps; this way,  
they will get to dance with more of their neighbors.

Linda

On Jun 5, 2013, at 5:51 PM, Aahz Maruch wrote:


On Wed, Jun 05, 2013, Robert Golder wrote:


There are many no-circle dances; "Flirtation Reel" by Tony Parkes  
is a

modern classic. A special subset is no-circle Becket dances, which I
started collecting a few years ago. It is always handy to have Becket
dances that do NOT begin with "Circle left 3/4 to un-Becket?" You  
will

find that Becket dances can start in a great variety of ways. "Tenth
Year in Tommerup" by Linda Leslie is a good example (starts with  
gents

allemande left). ? Bob


Here's a Beckett with a circle that doesn't start with a circle:

Panix Dot Chat (a...@pobox.com)

Beckett formation

Right-and-left thru on left diagonal (8)
   (Yes, start with progression)
   (Warn ends about not moving)
Right-and-left thru new couple (8)
Circle left 3/4 (8)
Swing neighbor (8)
Pass through (4)
California twirl (4)
Men left-hand turn once-and-half (8)
Balance and swing partner (16)
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Re: [Callers] "Full sashay"/"MadRobin" (was Re: Arms Folded in Dosidos)

[Linda Leslie]

JIm:
The first dance I recall ever having a Mad Robin is "Silver  
Anniversary Reel" by Jim Kitch. I don't know when he wrote it, but I  
first called it in 1997.

LInda

On Jun 1, 2013, at 6:31 PM, James Saxe wrote:


On Jun 1, 2013, at 9:55 AM, Jonathan Sivier quoted me (Jim
Saxe) as asking:


Can any of you pinpoint who introduced term "Mad Robin" with
it's current contra dance meaning, or when, or what dance they
were describing?


and he replied

 The name, and figure, almost certainly come from the English  
country dance Mad Robin (Playford 1687) as reconstructed by Cecil  
Sharp in 1922. ...


Yes, I know that.  In fact, in the paragraph previous to the
one Jonathan quoted, I wrote


...  The term "Mad Robin"
entered the contra dance lexicon (for an action that only
vaguely resembles something from the English country dance
"Mad Robin") much later [than 1982]--perhaps in the late 1990's.


Perhaps "only vaguely resembles" was an overstatement and I should
have written something more like "(based on a not-quite identical
action in the English country dance ...)".

In any case, Jonathan's comment doesn't address my original
question:  Just when did the phrase "Mad Robin" become part
of contemporary contra dance vocabulary, and who introduced
it, and in connection with what dance?  It didn't happen all
that long ago, so it seems plausible that someone might have
clear memories.

--Jim

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Re: [Callers] Greenfield Formation

[Linda Leslie]

I've usually seen the spelling as "Mescolanza".
Linda

On May 15, 2013, at 9:47 AM, Mark Jones wrote:


On Wed, May 15, 2013 at 9:01 AM, Liz and Bill
 wrote:

Hi Bob,

A nice challenge! Please clarify the following re " a contra  
formation." Is  4 facing 4 a contra formation? Are grid squares a  
contra formation?


Cheers, Bill


Four Facing Four -
  Yes, sometimes calle Mescalenza
  see: http://en.wikipedia.org/wiki/Contra_dance_form#In_less_common_formations

Grid Squares -
  Yes, in the sense that this hybrid formation can be danced to
contra-dance moves and calls and  understood by experienced dancers
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Re: [Callers] Fruit Punch choreography

[Linda Leslie]

Here is the dance as I have it in my collection. I have called it  
several times...lots of fun!

Linda

Fruit Punch
by Diane Silver
Contra/Becket-CW progression

A1 ---
Slice on the left, and return straight back
(8) Women allemande Right 1-1/2
A2 ---
(16) Neighbor balance and swing
B1 ---
(4) Balance the Ring
Pass through to an ocean wave
Balance the wave
N alle rignt 1/2, men pull by the left
B2 ---
(16) Partner balance and swing


On Apr 7, 2013, at 2:22 PM, Richard Hart wrote:

I don't think this can work. The pass through to a wave (I assumed  
to the
original couple the dance was started with) puts the neighbor in  
your R
hand, but it's the men who would take Left hands in the middle.  And  
most

importantly there is no progression.

After looking the dance up, I see that the B1 and B2 are actually:


B1: Take hands in a ring.
   Balance the ring (4)
   Pass through to an ocean wave (4)
   Balance the wave (4)
   N Allemande R x1 (4)

B2: Ladies Allemande L 1+1/2 to partner (8)
   Partner swing (8)

The key is that the pass through is across the set, not up and down  
the set.


Rich.

On Sun, Apr 7, 2013 at 1:14 PM, Dugan Murphy   
wrote:



The dance is called "Fruit Punch" by Diane Silver.  To be clear, the
choreography (Becket formation) is

A1 With couple on L diagonal, Yearn to new Neighbors and fall  
straight back

(8); Ladies Allemande Right 1.5 (8)
A2 Neighbor Balance & Swing (16)
B1 Take hands in a ring and balance the ring (4); Pass through to a  
short
wavy line across (neighbor right hand, ladies left hand) (4);  
Balance the

wave (4); Neighbor allemande Right .5 (2); Men pull by the left (2)
B2 Partner Balance and Swing

Dugan Murphy
Skowhegan, Maine
www.duganmurphy.com




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Re: [Callers] Identify some dances

[Linda Leslie]

?1 is a very slight variation on The Equal Turn by Tom Hinds. In Tom's  
dance the B1/ B2 is:

B1 Circle left 3/4, pass thru, Women allemande left 1 1/2
B2 P B & S
Linda


On Mar 11, 2013, at 10:29 PM, Yoyo Zhou wrote:


Dear callers,

Like many of you, I've collected a few dances whose titles and  
authors I
don't know. Since I always find it interesting to read when other  
people
post their unidentified dances, I thought I'd reciprocate. I've  
included

the name of the caller who called them, if that helps. Does anyone
recognize these?

(Transcription errors are always possible; corrections are welcome.)

? 1 (from Warren Blier)
becket
A1 gents allemande L 1+1/2
neighbor swing
A2 right and left thru
ladies chain
B1 circle left 3/4, pass thru up/down
next ladies allemande L 1 while gents orbit 1/2
B2 partner balance, swing

? 2 (from Lisa Greenleaf)
improper
A1 square thru 2 up/down ((new) neighbor R, partner L)
this neighbor swing
A2 long lines
ladies allemande R 1+1/2
B1 partner balance, swing
B2 ladies chain
square thru 2 across (partner R, this neighbor L)

? 3 (from Lisa Greenleaf; the author is from Denmark)
becket
A1 circle left 3/4, pass thru
next neighbor swing
A2 long lines
pass thru to wave (no balance), swing thru
B1 full hey, pass partner R
B2 partner gypsy, swing
(In the swing thru, it can flow better if gents just pass left  
instead of

allemanding left 1/2.)

? 4 (from George Marshall)
improper
A1 ladies walk forward to long wave, balance
ladies allemande R 1/2, balance wave
A2 gents walk forward to long wave as ladies back up, balance
gents allemande L 1/2, balance wave
B1 gents walk forward, partner gypsy, swing
B2 circle left 3/4; neighbor swing

? 5 (from Bob Isaacs, who I think is also the author)
becket
A1 circle left 3/4, pass thru to new neighbor
single file promenade the set up/down (gents outside, ladies  
inside)

A2 turn over right shoulder and promenade back (ladies outside, gents
inside)
neighbor swing
B1 long lines
ladies allemande R 1+1/2
B2 partner balance, swing
(The tricky part is remembering who your new neighbor was.)

? 6 (from Mary Wesley)
becket
A1 slide left to new neighbors, ladies allemande R 1+1/2
neighbor swing
A2 long lines
gents allemande L 1+1/2, fall back into a ring
B1 balance ring, petronella turn
balance ring, petronella turn
B2 partner balance, swing
(Ladies should make sure to catch gents spinning out of the  
allemande to

form a ring.)

Thanks,
Yoyo Zhou
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Re: [Callers] Dance title?

[Linda Leslie]

Yes, the dance the Paul has shared is by Robert Cromartie.
I often will change the A1 of  a Becket dance from circle left 3/4  
pass thru, new N swing
TO (at the end of the B2 P swing) Look on the left diagonal and find  
the next Ns, Circle L 3/4, N swing
I find the circle and pass thru to take more than 8 beats usually,  
which makes for a very short N swing; so the variation means the N  
swing is a bit longer. Of course, for some situations, such as this  
dance, perhaps less time swinging is preferable.

Linda

On Mar 11, 2013, at 1:22 PM, Paul Wilde wrote:


Mac,

This is very similar to Another Second TIme Around (I believe the  
author is
Robert Cromartie), difference being in ASTA (as I have it) the A-1  
is Cir L

3/4 and swing N, w/o the pass through.  It is a GREAT dance, but very
vigorous.

best,
Paul


Here is a dance I collected a few years ago - but the caller did not
mention the name or author.  Without that info - I haven't called  
it much

even thought I really like the dance.






Help will be appreciated

Becket

A1 - Cir L 3/4 - pass thru swing next neighbor
A2 Cir L 3/4 - Swing Partner
B1 Lines for & back - ladies chain on left diagonal
B2 - Ladies pull by right - allemand left shadow swing partner agai



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Re: [Callers] Moving Arches longways

[Linda Leslie]

Waves of Tory comes to mind. See it at:
http://www.youtube.com/watch?v=-t4nfz2QDrU
Linda

On Mar 4, 2013, at 9:03 PM, Sue Robishaw wrote:


  Hi,
  Recently I ran across the barndance in the Disney cartoon "The
  Martins & the Coys" segment of the "Make Mine Music" series (about  
4:50
  into the cartoon -- [1]http://www.youtube.com/watch? 
v=XtyUycHvYls). I
  liked the "moving arches" figure so I tried it out on my Int'l  
dancers
  and they really enjoyed it. They much preferred it over Dip & Dive  
(so
  did I). In consideration of my more moderate humans, we didn't do  
the
  dance exactly as shown in the cartoon (see below). But I'm  
wondering:

  (1) Is the dance in the cartoon a particular dance? (2) Is there
  another name for the moving arches figure? (3) Do you have other  
dances

  that use that figure?
  There are a lot of options as danced in the cartoon, of  
course, but

  since I had four couples and wanted to keep it to regular AB length,
  this is what turned out to work well. It was fun and fairly simple
  dance but it did require keeping the set tight and moving as there  
was

  no "recovery" time. I think it would be fun with three couples and
  another swift round.
  Disney "The Martins & The Coys" Barndance #1 - four couple longways
  A:   Moving Arches -- Cpls 2,3,4 make arches & move up as Cpl#1  
faces

  down and goes thru arches to bottom.
  At botttom, turn & join arches going up. At top turn & go thru  
arches

  to bottom. Keep moving. Two rounds back to original place.
  B1-8:   Cpl 1 -- Thru Arches to Bottom
8:   Hands 4 -- Circle Left  (top 2 cpls and bottom 2 cpls)
  B2-8:   Partner -- Right Arm turn
8:   Neighbor -- Left Arm turn
  March cheers!  Sue Robishaw, U.P. of Michigan

References

  1. http://www.youtube.com/watch?v=XtyUycHvYls
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Re: [Callers] Callers Digest, Vol 103, Issue 1 dances with ultimate partner time

[Linda Leslie]

I believe that there is something missing, Martha. The B1 ends with  
your partner next to you, to the Balanced Square through would have to  
be with your neighbor across. But then the dancers don't progress.  
Perhaps in the B2 there is a chain and then just one Balanced square  
through?

Linda

On Mar 4, 2013, at 1:55 AM, Martha Wild wrote:

I like a dance my friend JoAnn Koppany wrote called "Ride the Wave  
to Love" because it has 2 partner swings


Ride the Wave to Love  by JoAnn Koppany

Duple Improper

A1  Balance neighbor, box the gnat into a

Wave balance (along the lines), Allemande left the next (in your  
hand) 3/4 into a


A2 		Wave balance (across the set, women in middle)/Women allemnade  
right to partner


Swing partner

B1 Half hey

Swing partner again

B2 Balance partner across set and half square through

Balance partner across set and half square through







Today's Topics:

 1. dances with ultimate partner time (JoLaine Jones-Pokorney)
 2. Re: dances with ultimate partner time (Ron Blechner)
 3. Re: dances with ultimate partner time (Michael Fuerst)
 4. Re: dances with ultimate partner time (Michael Fuerst)


--



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Re: [Callers] Does this dance already exist?

[Linda Leslie]

Although it is a very different dance, I wrote a dance which starts in  
this way. It was written in November 2008, to celebrate the wedding of  
very close friends of mine. Here it is.

Linda
The Fabulous Couple
by Linda Leslie
Contra/Becket-CW/Int

A1  Pass through to an ocean wave
Balance (shadow is in the next wave, facing you, and on the right a bit)
Shadow do si do (turn around and go back to your original wave, but  
you will be facing the opposite direction!)

A2  Same wave (but now have partner in your left) Balance the wave
Ladies allemande right one half
Balance the wave

B1 Walk forward to new neighbor and gypsy (this neighbor will be a bit  
to the left) and Swing

B2 Give and take to the ladies' side
   (start dance again with this couple)



On Feb 18, 2013, at 5:10 PM, hgrast...@aol.com wrote:


Wrote this one on my way back from calling Norfolk.

Slow M'Ocean
Becket

A1  Pass thru to an Ocean Wave (Ps are facing in opposite directions).
Balance forward and back. Swing your SHADOW (who is facing you in  
the next

wave). (Gents, make the ladies come to you.) End facing across.
A2  Pass thru to an Ocean Wave. Balance F/B -- swing your Partner,  
who is

facing you in the next wave. End facing your original Ns.
B1 Ladies  chain to your N.  Ladies allemande R 1.5 (continue to  
hold Rt

hands)
B2 Ladies pick up your partner, star promenade across with a   
butterfly
whirl (to the lady's side).  Promenade across (to gent's side),   
with ladies
passing RIGHT shoulders, and curl RIGHT to face the next neighbor,   
ready to

pass the Ocean.

I can't think of another dance that starts this way -- anybody?

April Blum
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Re: [Callers] favourite easy 'out of minor set' dances???

[Linda Leslie]

I have a lot of success with Another Nice Combination by Tom Hinds.  
The original starts with a gypsy and swing, but I find a Balance &  
swing more to my liking. Because your shadow is the person outside of  
the minor set, it is a great way to have folks experience the  
movement, but to see the same person.

Here's the dance:
Another Nice Combination
Tom Hinds
Type: Contra
Formation: Duple-Improper
Level: Easy

A1 ---
Neighbor gypsy & swing (or Balance & swing)
A2 ---
Circle left three-quarters (face partner)
Pass through up and down
Do si do shadow
B1 ---
Partner Balance & Swing
B2 ---
Ladies chain
Star left once*
Notes: *When out at the ends, change places right away to be ready for  
your shadow!


Another useful one, great for newer dancers:
New Year's Day
by Paul Balliet
Contra/Improper/Easy

A1 ---
Long lines forward and back
Gents do si do once
A2 ---
Ladies allemande left once and a half
Partner Swing
B1 ---
Circle left three-quarters, pass through
Next (future)  neighbor gypsy right once
B2 ---
Original (present) neighbor Balance and Swing

Good luck!
Linda



 Feb 6, 2013, at 9:23 AM, Emily Addison wrote:


Hi Folks,

I was wondering if anyone had relatively 'easy on the brain' 'out of  
your

minor set' dances???

Here in Ottawa (Ontario), dancers aren't used to leaving their minor
set/partner to go dance with other.  I'd like to try a few really  
great
dances with this feature but they need to have a high success rate  
for a

room of folks not used to this feature of some contras.

Any ideas and if so, why did you choose that dance

Much thanks!
Emily Addison
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[Callers] Triplet with contra corners

[Linda Leslie]

Dear Chip,
A similar dance was written by me, for very much the same reason. I  
wrote it in 1991. Independently, David Smukler wrote the same dance a  
few years later. Here it is for you:

Corner Triplet
by Linda Leslie Proper

A1 (The lady will be on the left of her partner) Actives down the center
 Turn alone, return, Cast off with same role neighbor #2
A2  Contra corners
B1  Actives Balance & Swing
B2 (Face up) Separate and go through the sides (easier version)
 Or
  Ones up the center to the top, separate, go down the outside
  Lines of three forward & back

Linda


On Jan 26, 2013, at 3:19 PM, Chip Hedler wrote:


Hi, all--

I don't have the lore or the archives to answer Tom or Michael, but  
here's
another spur-of-the-moment composition that seems very likely to  
have been
created earlier and elsewhere. I had just run out of suitable  
triplets and

I wanted to teach country corners so in desperation I tried this:

Triplet, all proper

A1: #1 couple balance, cross over, go below #2, half-figure eight up
through #2 to end proper between #2 and #3.

A2: #1 turn country corners with the usual suspects.

B1: #1 gypsy and swing, end facing up.

B2: #1 cast around #2 to go down the outside to bottom while #2 and  
#3 move

up; lines of three go forward and back.

Seemed to work very well for a mixed-age group of beginners (maybe  
because
the #1s are so much busier than everyone else?)--if it's a known  
sequence
I'd like to give credit where credit is due. Also interested in any  
close

resemblances that people like.

Chip Hedler


On Sat, Jan 26, 2013 at 12:00 PM, callers-requ...@sharedweight.net <
callers-requ...@sharedweight.net> wrote:-



Message: 1
Date: Sat, 26 Jan 2013 11:06:54 -0500
From: Tom Hinds <twhi...@earthlink.net>
To: call...@sharedweight.net
Subject: [Callers] is this dance new?
Message-ID: <334ae5ea-1f5d-47c0-bb2f-69f240b17...@earthlink.net>
Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed

I just wrote a dance and wanted to know if it's unique.  I'm pretty
sure the A1 is borrowed from another dance.


D-imp
A1  Circle left.  Mad Robin (face partner and do-si-do neighbor).

A2  Hey, women pass left shoulders

B1  Women pass left shoulders and swing partner

B2  Ladies chain, forward and back.


Tom



Message: 3


Date: Sat, 26 Jan 2013 08:38:39 -0800 (PST)
From: Michael Fuerst <mjerryfue...@yahoo.com>
To: Caller's discussion list <call...@sharedweight.net>
Subject: Re: [Callers] is this dance new?
Message-ID:
   <1359218319.44607.yahoomail...@web122202.mail.ne1.yahoo.com>
Content-Type: text/plain; charset=iso-8859-1

How many dances do people know of that were independently written by
persons?
I know of two such pairs.

(1) Jim Kitch and Al Olson independently wrote the following  
sequence:

Improper
A1 Alm left N 1 1/2 and swing a 2nd (new) neighbor
A2 Alm left a 3rd N once, pass right shoulders with the one you  
swung, and

swing your original N




The two dances had the same B1 (I don't remember if it's W alm L 1  
1/2 and

partners swing or Circle Left 3/4 and partners swing).


But the two dances differ only in the B2.
Al Olson's version is called "The Empty Crack." I do not recall the  
name

of Jim's version





(2) Mark Richardson from Bloomington IN and someone (in California I
think) independently wrote the same dance.  I do not recall the  
name or

sequence of either.

Michael Fuerst


802 N Broadway

  Urbana IL 61801
  217-239-5844





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Re: [Callers] easy modern-day contras with petronella turns

[Linda Leslie]

And this is another example of independently written dances...I also  
came up with this dance in 1998. I have called it "Old Time Elixir #2.

Linda

On Jan 26, 2013, at 11:52 PM, Kenny Greer wrote:


I've got it as:

Tica Tica Timing

Written right off Dean's card if I remember correctly.  It's been a  
few

years.

Kenny Greer

-Original Message-
From: callers-boun...@sharedweight.net
[mailto:callers-boun...@sharedweight.net] On Behalf Of Kalia Kliban
Sent: Friday, January 25, 2013 10:02 PM
To: Caller's discussion list
Subject: Re: [Callers] easy modern-day contras with petronella turns

On 1/25/2013 5:44 PM, Bob Isaacs wrote:


Val:

Here's a few:

Tic-a-Tic-a-Timing   Becket-L / Dean Snipes


I've seen this title spelled at least 4 different ways.  Anyone know  
which

one is right?  And it's a great dance!

Kalia
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Re: [Callers] sharp corners

[Linda Leslie]

I have this one by Al Olson, but it is for three facing three, rather  
than duple formation. Is this the type of dance you had in mind, Tom?

Linda

Four Corners
Al Olson
Type: Other
Formation: Three face three
Level: Int-Adv

A1 ---
Centers turn all your corners (usual corners for A1)
A2 ---
cont Contra Corners with trio partners*
B1 ---
All opposite Balance and Swing (return to original side)
B2 ---
Circle 6 one-half
in trios Circle left about 3/4**

Notes: *those doing contra corners will move ccw around to each corner
** at this point, trios can decide who will be the center person.


On Jan 18, 2013, at 9:37 AM, Tom Hinds wrote:



Years ago I remember dancing a dance that had a full contra corners  
in it.  The active dancers had four corners to turn instead of two.   
I think the caller called the move sharp corners.  Does anyone have  
any of these dances they could share?   I'm particularly interested  
in dances with this move that have been written in the last 40 years  
or so.


Tom
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Re: [Callers] Booking Ahead - (was ideas for callers about sidelines)

[Linda Leslie]

And thanks, Dave, for adding such good points to the discussion!
I might add that Dave was one of the first Board members of BIDA  
(Boston Intergenerational Dance Advocates), a group that has done an  
amazing job of promoting various community aspects at their monthly  
dance. I encourage folks to look at their web site. It is amazing what  
a group can accomplish when they have common goals and objectives!

http://bidadance.org/faq.html
Linda

On Jan 17, 2013, at 2:34 PM, Dave Casserly wrote:


Thanks, Ron, for bringing up a different aspect of this issue.

I don't book ahead, either, and mostly dance in communities where it  
is

quite common to do so.

I've noticed that when there are large gender disparities, some people
still end up dancing every dance with somebody of their preferred  
gender,
while the same few people end up without partners consistently.   
Callers
and organizers often, in my community at least, stress to new  
dancers that

they should partner with a different person every time, and that they
should feel free to ask anybody and everybody to dance, etc.  I  
don't think

this approach is the right one.

When there is a gender disparity at a dance where most dancers  
prefer to
dance with somebody of the opposite gender, there is a math  
problem.  Some
people will have to sit out dances or dance with people of their own  
gender
throughout the night.  Often, those people tend to be the people who  
do not
book ahead and are less competitive about immediately finding  
partners.  I
do not think our solutions as callers and organizers should be aimed  
at
those people.  Instead, I think we should aim any solutions at the  
people
who dance with those of the opposite gender every single dance, and  
do not
sit out the entire night.  Those are the people who are most  
competitive

about partnering and book ahead the most.

So when I see large gender disparities, as a dancer, I personally  
ask my
male friends who book ahead and are the cool, hip, dancers to dance  
(that
is, if there are more men than women, which is common in my local  
dance).
Or I even see if they'd like to sit out and chat with me for a dance  
or
two.  In my view, there should be an even distribution of people who  
sit
out or dance with somebody who is not of their preferred gender to  
dance
with.  The way to do that is to target the people who are dancing  
every
dance with somebody of the opposite gender, not to target the people  
who
might be more community-oriented and are less competitive about  
partnering.


I know it's a bit awkward as a caller or organizer to ask certain  
dancers
not to dance a dance, or something along those lines.  I do think  
it's ok
to point out to the crowd that, look, there's more men here than  
there are

women (or vice versa), so, if you've danced every dance so far with a
woman, try to dance one of the next couple with a man.  But whatever  
the
caller does, I don't think it's productive to say things that imply  
that
it's the fault of the dancers who are community-minded enough to sit  
out a
dance that they should be the ones getting more competitive about  
finding
partners.  Targeting comments only at the newcomers' session makes  
no sense
to me.  In the dances I've been at, it's the experienced, popular  
dancers
who are not being community-minded and book ahead all of their  
dances with

people of their preferred gender, not the newcomers.

-Dave

On Thu, Jan 17, 2013 at 2:05 PM, Ron T Blechner  
 wrote:


You know, I just realized, regarding the "sidelines" discussion ...  
no

one's yet mentioned "booking ahead". In the context of
getting-new-dancers-partners, I thought it might deserve its own  
thread.


Simply put: Booking ahead is a big threat to including new and/or
infrequent dancers.

When I was a newer dancer, and finally getting known as a fun dance  
partner
with enough people, there was the inevitable "I want to dance with  
all my
friends!" tendency that most newer dancers get. I booked ahead,  
sometimes
two dances ahead. I never booked *all* of my dances for the night,  
and I
did seek out and dance with people I didn't normally, on a regular  
basis.
Still, once I reflected upon it, it limited my dance partners  
somewhat.


I cut down to only booking "next dance". Then I cut down the number  
of
times in a night that I do that. Now, I will never book ahead as a  
rule,
but allow exceptions, usually for out-of-towners that I don't get  
to see
often, or a dancer that I simply haven't had the chance to dance  
with for
several weeks. I've found that I don't sit out any more often, I'm  
still

dancing with friends for about half my dances in the evening, and I'm
having just as much fun. At the same time, I don't have to worry  
about
remembering who I booked, nor about offending anyone by, "Sorry,  
got the

next one booked already!"

Nowadays, I'm a pretty okay dancer. And there are some dances I can  
walk

into, and