I've noticed that in a lot of community discussion, matters of safety are
getting confused for and mixed together with issues which I would call
Community Norms.
Empowering folks to decline things (or people) which make them
uncomfortable is a matter of Safety. Maia brings up some awesome points
Thanks Tom, I've done this before and have really enjoyed the process.
On Tue, Sep 10, 2019, 11:07 PM tom hinds via Callers <
callers@lists.sharedweight.net> wrote:
> I would stay away from programming dances by their names etc.
>
> Tom Hinds
>
> Sent from my iPad
>
Hello all!
I'm calling a delightful small-town dance here in Melrose, Florida this
Friday...which is Friday the 13th, and also a full moon.
I love using theme opportunities to collect new dances! Anyone have any
ideas?
Off the top of my head, I'll probably need to look into Mirror Mirror (Jim
to the Diversions Leveret
> album in Spotify but didn’t identify a specific tune. What is the name of
> the tune?
>
>
>
> On Jun 8, 2019, at 06:08, Angela DeCarlis via Callers <
> callers@lists.sharedweight.net> wrote:
>
> PS, here's the tune! A bit below contra t
PS, here's the tune! A bit below contra tempo in the recording, but still
oh so good.
https://open.spotify.com/track/0DS00P9yV0T9BGjBj0sBWI?si=3XW4rAcKTX657rphlNCUow
On Sat, Jun 8, 2019, 9:07 AM Angela DeCarlis wrote:
> Hello all!
>
> In a scene with which I'm sure many of you are familiar, I
Hello all!
In a scene with which I'm sure many of you are familiar, I woke up in the
middle of the night with a tune stuck in my head, and I couldn't fall
asleep until I'd written a dance to go with it.
Let me know if someone's beat me to it:
Molly Apple Pye, Becket
A1: Balance Ring,
I would probably get everyone into their final positions first before
teaching the move, so's that everyone knows where they'll end up.
After that the language would look something like, "Star Right all the way
around. With your partner and without hands, slide out and away from the
center of the
Hi Mary,
The important thing, I think, is that you communicate something along the
following lines: "Contra dance is divided into two roles, so that sometimes
half the people dancing do one thing while the other half do something
different. Otherwise, the two dance roles are nearly identical,
I almost always program a regular dance the day of. This has gotten a lot
easier since I now keep a digital record of every program I call -- I can
look through and find a program I called for a similar dance, pull out
those cards, and modify and make changes as necessary. I try to also make
notes
Quick note to all: while "Right Shoulder 'Round" seems like a mouthful at
four syllables, the words are easily spoken in two beats of music (or two
and a half depending how you count). It takes only half a beat more to say
than common moves like "Balance and Swing" or "Allemande Left," and takes
Hello Jeanette!
So excited about this topic. I help run a genderfree dance in Boston, and
love what happens to a community with genderfree terminology*.
Firstly, I agree with everything Maia has already said, particularly their
point about finding it confusing if there isn't a clearly delegated
I think the story you tell is a great reason why the older etiquette of
having to sit out is silly and outdated -- I'd rather someone who doesn't
want to dance with me just say "no thank you!" And continue about their
business.
As a caller, I teach that "yes, thank you!" and "no, thank you!" are
;
> http://www.jeromegrisanti.com
>
> "Whatever you do, or dream you can, begin it. Boldness has genius and
> power and magic in it." --Johann Wolfgang von Goethe
>
> On Wed, Nov 15, 2017 at 12:29 PM, Angela DeCarlis via Callers <
> callers@lists.sharedweight.net&g
php), especially the section on what he
> calls black boxes. http://www.dance.ravitz.us/chor.php#m I think that
> is exactly what you are asking about. He did a useful workshop on that
> subject at Pigtown Fling a few years ago.
>
> David Harding
>
> On November
Hello all,
I'm remembering a few workshops I'd taken with Rick Mohr a few years ago,
and also an occasion where I collected a dance from his calling. He happily
gave me the name and author of the dance, but was also quick to note that
he had substituted out different moves for 16 counts of the
Vallimont's Steamboat is the dance written for musician Julie Vallimont, to
the tune Vladimir's Steamboat. I imagine this has something to do with it,
but of course Luke will be chiming in before long with the *actual* story,
I'm sure.
On Thu, Nov 2, 2017 at 12:06 PM, frannie via Callers <
Hi Mary! A lot has already been written on the subject elsewhere, but the
summary of why Larks and Ravens has become a great set of terms is that
they correlate to the (L)eft and (R)ight positions at the end of a swing.
The syllable count is the same when compared to Gent and Lady (or Man and
Tom, I had this conversation with Sue Rosen this summer. Women who belong
to the original Feminist generation (like Sue and, presumably, like Mary
and Martha above) were involved in a cultural movement to abolish the word
"Lady", along with its restrictive connotations, in favor of "Woman". The
Zombies of Sugar Hill (Gene Hubert) comes to mind. Perhaps Cats and More
Cats by Melanie Axel-Lute?
The Pirate-themed dance email I put out last month could have some useful
overlap.
Other key words to look for that might not be immediately obvious, but
could be construed as Halloween-themed:
ure and also had some built in recovery time.
>
> Alex
>
> Sent from my iPhone
>
> On Oct 2, 2017, at 5:50 PM, Angela DeCarlis via Callers <
> callers@lists.sharedweight.net> wrote:
>
> Thanks all! I have a video uploading to YouTube now of the dance's debut
>
And here's the video!
You'll see that several dancers have "too much" time during the swing, but
also that everyone is starting the swing right on the B2, not earlier. Most
dancers are enjoying the swing for the full 16 beats, several stop
automatically after they've swung for 12.
Another note:
Thanks all! I have a video uploading to YouTube now of the dance's debut
from last night, I'll post it here when it's done. You'll see that the
dancers are using up the music for both the poussette and the star, at
least in this crowd. Maybe it would be different for other (more advanced?)
crowds,
Hey y'all!
After a lovely weekend of both Contra and English at Youth Dance Weekend, I
had an itch for programming some English-inspired choreography at BIDA last
night. Since I didn't have a dance with the figures I wanted, I whipped one
together on the drive home, tested it in the driveway, and
Howdy Maia!
"Cheat Lake Gypsies" sprung to mind. I think I had it down as a Cary
Ravitz dance, but on his website, it looks like it was done collaboratively
by a group of folks at a dance weekend. Of course, the other annoying thing
about this dance is that the title includes the G-word. I trust
te:
>> > Well, there's my The Love Pirate, which offers the softer side of the
>> pirate
>> > lifestyle: http://veino.com/blog/?p=1634
>> >
>> > On Sep 16, 2017 10:21 AM, "Angela DeCarlis via Callers"
>> > <callers@lists.sharedweight.net> wro
He- Ahem- AHOY, Shared Weight?
Did you know that September 19 is International Talk Like a Pirate Day?
Me neither, but the dance I'm calling tonight was sure to let me know! I
know there are a bunch of Pirate-themed dances out there (one that I heard
Maggie Jo Saylor called years ago springs to
Thanks Jeff for putting together this survey! This is all really
interesting information.
On Feb 12, 2017 9:03 AM, "Jeff Kaufman via Callers" <
callers@lists.sharedweight.net> wrote:
> As part of thinking about how whether non-gendered terms would work for
> mainstream contra dances, I thought
*applause*
On Sun, Jan 29, 2017 at 9:37 PM, Jacob or Nancy Bloom via Callers <
callers@lists.sharedweight.net> wrote:
> I'll echo this viewpoint. I value the opportunity to go different places
> and learn different ways of doing things. I feel that much more is lost in
> uniformity than is
For what it's worth, "Larks" and "Ravens" were terms designed to correlate
with "Left" and "Right".
There are plenty of moves we do in contra with names that have nothing to
do with anything. Like "Swat the Flea," or even "Chain". Head over to
Square Dancing, and the vernacular is so huge that
ively linked to how the dancer is thinking about
>> his/her/their role.
>>
>> Just curious if there is a history, I'm sure I am not the first person to
>> think of this.
>>
>> Thanks!
>> Cara
>>
>> Sent to you using thumbs.
>>
>> On Jan 18
; neutral.
>>
>> Bob
>>
>> On Wed, Jan 18, 2017 at 4:40 PM, Angela DeCarlis via Callers <
>> callers@lists.sharedweight.net> wrote:
>>
>>> When I called at PICD (the Portland ME dance), I really enjoyed using
>>> Jets and Rubies. One sill
When I called at PICD (the Portland ME dance), I really enjoyed using Jets
and Rubies. One silly thing I enjoyed any the terms during the beginners'
lesson was coaching palm direction based on the terms: "Jets' palms face
up, towards the sky; Rubies' palms face down, towards the ground."
And yes,
I've never heard "millstone" or "mill" before, but it sounds like it has
precedence. My guess is that it was (is?) a useful term at dances where
hands-across stars are default. Since that isn't generally the case in many
places any longer, it makes sense that "hands-across" has become the more
Where I've called recently, in the Northeast and in New England, wrist-grip
is definitely the default, and I wasn't aware that parts of the south
default to hands-across. Neat!
Here to comment that Florida, where I'm from originally, holds true to its
role as the Exception to the Rule: despite
I imagine that the conversation must be much more complex in MWSD given the
tradition of patter. As I understand it, oftentimes the decision of which
term to label each role is determined by what might best rhyme with the
following call, or by how many syllables you have time to say.
While it's
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