Re: [Callers] [External] Petroella-nella
Moose Flores wrote Calinella twirl for NEFFA this year with a petronella-ella. Bob On Thu, 8 Aug 2019, 16:49 Tepfer, Seth via Callers, < callers@lists.sharedweight.net> wrote: > Erik Weberg's dance Wasatch Wiggle has a Nella-nella: > https://www.erikweberg.com/wasatch-wiggle/ > > I riffed off his dance to create Snowball Shimmy > http://www.ibiblio.org/contradance/thecallersbox/dance.php?id=2049 > > -- > *From:* Callers on behalf of > Jane Ewing via Callers > *Sent:* Thursday, August 8, 2019 11:25 AM > *To:* callers@lists.sharedweight.net > *Subject:* [External] [Callers] Petroella-nella > > > I thought I had a dance titled Petronella-nella but I cannot locate it. > Does anyone know what I am talking about? > > Jane Ewing, Grant, AL > > -- > > This e-mail message (including any attachments) is for the sole use of > the intended recipient(s) and may contain confidential and privileged > information. If the reader of this message is not the intended > recipient, you are hereby notified that any dissemination, distribution > or copying of this message (including any attachments) is strictly > prohibited. > > If you have received this message in error, please contact > the sender by reply e-mail message and destroy all copies of the > original message (including attachments). > ___ > List Name: Callers mailing list > List Address: Callers@lists.sharedweight.net > Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/ > ___ List Name: Callers mailing list List Address: Callers@lists.sharedweight.net Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/
Re: [Callers] "Dixie Twirl" term
Thread the needle is a whole set move in ceilidh and ECD using an arch at the end of lines, I wouldn't recommend it as a replacement for a Dixie twirl for this reason. Bob On Thu, 8 Aug 2019, 09:21 jim saxe via Callers, < callers@lists.sharedweight.net> wrote: > I rather like the term Greg Frock's suggestion (not claimed to be > original) of "Thread the Needle". While I've heard "Thread the Needle" > used with other meanings, I think there's little danger of confusion in the > contra context, especially since that the action is rare enough that the > caller will presumably need to teach it. > > Ric Goldman wrote: > > > I’ve sometimes come across this a Paired Twirl, a Paired California > Twirl, a California Four, or an Arch and Swap (taught this way): > > > >In a line-of-4 facing all the same, middles raise an arch > and, keeping hands, right-hand pair goes under the arch (led by end dancer) > while left-hand pair cross over to the other side (led by the end dancer). > >End result is the same line-of-4, facing back the other > way, much as a California Twirl does for 2 dancers. > > > > This description also avoids any gender-specific terms in case that’s an > offense issue for others. > > In modern western square dance terminology, the figure might be called "As > Couples, California Twirl" though I don't know whether it actually is > (since it might be claimed that that would imply the right hand pair going > under the arch side-by-side--which could require quite a stretch of the > arching dancers' arms--rather than with the end dancer in the lead). > > Digressing for a moment from the terminology, I'll take the opportunity to > opine that the action could be smoother if the two dancers nearest the left > end of the line are the ones who make the arch, rather than the two center > dancers. (Anyone agree? disagree?) Regardless of who makes the arch, it's > important that the dancer on the left end of the line remember to move > across the set instead standing still as if only the right hand dancers > were active. > > Returning to terminology, note that if the leftmost pair of dancers make > the arch. then "As Couples, California Twirl" definitely will not bean > accurate description, but I think "Thread the Needle" would be just fine. > > --Jim > > ___ > List Name: Callers mailing list > List Address: Callers@lists.sharedweight.net > Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/ > ___ List Name: Callers mailing list List Address: Callers@lists.sharedweight.net Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/
Re: [Callers] Hand Turns & Safety
I agree with John's concerns over gripping in the forearm hold, and the increased security of the elbow cup - provided dancers are reminded that thumbs do not belong in the soft, vulnerable inside of elbows! However, I think the full elbow cup grip gives up a certain freedom of disengagement and if we tried to use it universally would result in some awkward transitions - balance the wave to swing through for instance would be clunky with an elbow cup. A well taught hooked or flat hand (properly vertical and balanced!) hand allemande would be my preference. I'm not sure I'm clear on the "flat" grip issues - could someone give me a clear definition of what they consider to be this problematic option? Bob On Tue, May 21, 2019 at 10:19 AM John Sweeney via Callers < callers@lists.sharedweight.net> wrote: > Hmm… I seem to have stirred up a hornet’s nest! It is great to see > discussion on this important topic. > > > > There are two very different forearm holds. > > > > *** In front of the elbow ***: > > This is the MWSD version. Callerlab defines it as: > > “Forearm: The arms are held past the wrist but not past the elbow joint. > Each dancer places the hand on the inside of the arm of the person with > whom he is to work. The fingers and thumb are held in close. The center of > the turn will be at the joined arms, so, while turning, each dancer is > moving equally around the other.” > > > > I think this is what Andrea is describing (my apologies if I am wrong). > > > > I don’t like this one. Sorry. > > > > The connection is not as good as it could be. > > Good connection can often only be achieved by gripping the other person’s > arm. > > It provides the opportunity to grip hard. > > I often find that, due to different arm lengths, the gap between by thumb > and index finger is pressed against the inside of the other person’s upper > arm. This can be uncomfortable. > > > > The one I do like is: > > > > *** Behind the elbow ***: > > Put your thumb beside your fingers. Curve your hand. Place your forearms > together. Place your curved hand behind your partner’s forearm, just above > the elbow. Get close enough so that your upper arm is vertical. > > > > This is a great connection. > > There is no need to grip. > > You are close together so that you can turn really well. > > It is very effective for 1.5 turns. > > Thumbs are not involved so the chance of gripping is greatly reduced. > > It can be achieved instantaneously. > > There is little opportunity to mess it up. > > > > You can see it being used in this video: > https://www.youtube.com/watch?v=Q_wncJcFPVo > > There is a good example 5 seconds in - look at the second couple on the > right (two ladies - one in grey). > > > > We use this hold for all sorts of dances in the UK. It is great for Strip > the Willow and Lock Chain Swings (i.e. Grand Right and Left where you don’t > pull by, instead you turn 1.5 times with each dancer). > > > > I would thoroughly recommend this as an alternative Allemande style. > > > > Try them and see what you think. > > > > (P.S. The really sad thing about that video Is the swings. If only the > caller had told them to take the same forearm hold and join left hands > underneath, then they could have had so much more fun swinging!) > > > > (P.P.S. I love this dance. Nottingham Swing. I spent my first 50 years > in Nottingham, so I have been dancing this dance for nearly 50 years now > and I still love it.) > > > > (P.P.P.S. The dance is actually from Northamptonshire - 50 mile south.) > > > > Happy dancing, > >John > > > > John Sweeney, Dancer, England j...@modernjive.com 01233 625 362 & 07802 > 940 574 > > http://contrafusion.co.uk/KentCeilidhs.html for Live Music > Ceilidhs > > http://www.contrafusion.co.uk for Dancing in Kent > > > http://www.modernjive.com for Modern Jive DVDs > > > ___ > List Name: Callers mailing list > List Address: Callers@lists.sharedweight.net > Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/ > ___ List Name: Callers mailing list List Address: Callers@lists.sharedweight.net Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/
Re: [Callers] Teaching a Mad Robin
I gathered that was the case - it just isn't something I've come across and it seems redundant to use the double option. Is it really widespread enough that it needs mentioning? On Sat, Sep 29, 2018 at 5:02 PM Read Weaver via Callers < callers@lists.sharedweight.net> wrote: > Sorry I was unclear. Because some contra callers say “mad robin” and some > contra callers say “double mad robin,” meaning the same thing, and if > you’ve learned it as “mad robin” and a new-to-you caller says “double mad > robin,” you’ll think it’s a different figure. > > On Sep 28, 2018, at 8:51 AM, Folk Dance > wrote: > > I don't think the distinction is necessary is it? "mad robin with your > neighbour" is clearly distinct from "1s in the middle mad robin" so why add > double mad robin? It'd be like calling most petronella's double > petronellas because they have four people moving but the original > petronella is for 1s only. > > Bob > > On Fri, Sep 28, 2018 at 1:29 PM Read Weaver via Callers < > callers@lists.sharedweight.net> wrote: > >> It’s perhaps worth saying during the teaching “also called a double mad >> robin,” since dancers will sometimes hear that (from callers who know ECD). >> I’ve seen confusion on moderately experienced contra dancers’ faces (and >> feet) at the term “double mad robin” (thinking you go around twice, or that >> it involves more than 4 people) because they’ve only ever seen the figure >> with 4 people moving and they’ve only ever heard it called “mad robin.” >> (In the English country dance “Mad Robin,” only two people are moving in >> the eponymous figure.) >> > > ___ > List Name: Callers mailing list > List Address: Callers@lists.sharedweight.net > Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/ > ___ List Name: Callers mailing list List Address: Callers@lists.sharedweight.net Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/
Re: [Callers] Teaching a Mad Robin
I don't think the distinction is necessary is it? "mad robin with your neighbour" is clearly distinct from "1s in the middle mad robin" so why add double mad robin? It'd be like calling most petronella's double petronellas because they have four people moving but the original petronella is for 1s only. Bob On Fri, Sep 28, 2018 at 1:29 PM Read Weaver via Callers < callers@lists.sharedweight.net> wrote: > It’s perhaps worth saying during the teaching “also called a double mad > robin,” since dancers will sometimes hear that (from callers who know ECD). > I’ve seen confusion on moderately experienced contra dancers’ faces (and > feet) at the term “double mad robin” (thinking you go around twice, or that > it involves more than 4 people) because they’ve only ever seen the figure > with 4 people moving and they’ve only ever heard it called “mad robin.” > (In the English country dance “Mad Robin,” only two people are moving in > the eponymous figure.) > > Read Weaver > Jamaica Plain, MA > http://lcfd.org > ___ > List Name: Callers mailing list > List Address: Callers@lists.sharedweight.net > Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/ > ___ List Name: Callers mailing list List Address: Callers@lists.sharedweight.net Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/
Re: [Callers] What is a contra?
I'd differentiate between a singular contra dance - longways sets, duple minor (some triple minor chestnuts in special cases e.g. The Young Widow), jigs/reels typically (except exceptions as discussed). I would characterise them choreographically as ideally linked figure to figure in a continuous progression. I think (even though the etymology is spurious) I would want to have the feeling of a contrary person as well as my partner. A contra dance evening might well feature the other styles particularly if it's a one-off party etc. but I would not say they are contra dances themselves. Similarly square dances are not contra but might make an appearance in this context. I'd be more inclined to include the non-contras in an "American" night at a festival rather than at a "contra" night. Ted Sanella and Larry Jennings quite clearly included these styles in their books but in seperate sections to the contras. So yes, I think I agree with you Colin. On Wed, Jun 27, 2018 at 8:47 PM Colin Hume via Callers < callers@lists.sharedweight.net> wrote: > I'm in Germany, and I'm speaking for the next few days at a Conference run > by the European Callers and Teachers Association. > Several of my sessions are about Contras, and speaking to the Contra > Coordinator as we drove to the hotel I realised we had very > different ideas about what a contra is. I say it is an American (or > American-style) dance, longways duple or triple. He classes > three-couple dances (such as Ted's Triplets), four-couple dances and > circles as contras. He even classes my dance "Sting in the > Tail" as a contra. This is for two three-couple sets side-by-side and > involves siding into line, set and turn single. I would > regard this quite definitely as "Playford"-style, and I think Americans > would categorise it as English. But what is a contra? I > know the hot-shots would say that it's longways duple improper or Becket > with a partner swing and preferably a neighbor swing, but > is that your definition? What about an early American dance such as "The > Young Widow" - is that a contra? Can a dance in waltz > time be a contra? I think of a contra as mainly danced to reels or jigs, > though I know there are a few to slip-jigs. Within > reels I would include marches and American hornpipes, which are smooth, > but not English hornpipes which I would dance to a > step-hop. And not Strathspeys. I would say contras are done to a walking > step, apart from the swing which is often a buzz step. > But do you agree with me? > > Answers fairly quickly please! > > Colin Hume > > Email co...@colinhume.com Web site http://colinhume.com > ___ > List Name: Callers mailing list > List Address: Callers@lists.sharedweight.net > Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/ > ___ List Name: Callers mailing list List Address: Callers@lists.sharedweight.net Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/
Re: [Callers] Caller's monitor question
So in terms of including the monitor in your setup it looks like from the manual you'll have to connect your mic to the desk as usual. You'll then need a cable back from a monitor or aux feed on the desk. Ideally this will want to be seperate from the band mix. If you have a signal splitter or a second output on a radio mic receiver you can send a signal directly to the monitor (this is what I do with my setup) - this makes my monitor entirely isolated from anything except my signal. Physically the monitor you have can be mounted on a second mic stand fairly easily , I'd do that and have it pointed at me and not on the floor so as to make it as localised as possible. Bob On Sat, May 12, 2018 at 5:52 AM, J L Korr via Callers < callers@lists.sharedweight.net> wrote: > Hi friends, > > > After years of calling at most venues without a caller's monitor, and > finding life much easier at the occasional venues that did provide a > caller's monitor, I finally sprung for my own monitor. Recalling a > recommendation some time ago either on this list or one of the others, I > bought a Roland Cube Monitor (CM-30). But having read through the manual > and looked over the unit itself, I realized I don't know what to do with it > to put it to use in this context. I consulted with the sound person for my > next upcoming gig, but that sound person (whom I do appreciate for many > reasons) has limited sound skills and also wasn't sure. > > > Those of you who know more than me on this subject: Is there > straightforward guidance that would help me use this unit as a caller's > monitor? Or, did I buy the wrong unit for this function despite having good > intentions? > > > Thanks in advance, > > Jeremy Korr > > Rancho Cucamonga, CA > > ___ > List Name: Callers mailing list > List Address: Callers@lists.sharedweight.net > Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/ > > ___ List Name: Callers mailing list List Address: Callers@lists.sharedweight.net Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/
Re: [Callers] "I've Got A Bad Feeling About This" -- does this dance exist?
There's Suicide Square from Sheffield, giant square for as many as you can fit A1 Head ends of the room take their partner in a ballroom hold and gallop eight steps into the centre and back A2 Side do the same B1 Balance and swing your partner B2 Men form and inner circle facing out, women form and outer circle facing in, every body circle left, then find a new partner Best done with a large number of university students, to loud tunes with a great deal of vigour. Finding a partner tends to be less than orderly and risky since the first part of the dance is a full on gallop. ___ List Name: Callers mailing list List Address: Callers@lists.sharedweight.net Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/
