I'm going to describe my newish ideas on programming. But I think it
will have much more meaning if I also explain how I came up with it.
For some of you, reading this may be a little uncomfortable. I'm not
picking on anyone. I want you to know that I learned calling the
hard way (no formal class) and made every mistake you can imagine and
then some! And I'm still learning.
When I re-joined the dance board I began doing the sound chores.
While doing sound for the last 2 1/2 years I sat and watched callers
and studied what they did. I watched how they interacted with the
band and I watched the reactions on the floor. I was all ears and
all eyes. I made copious notes. From these observations I wrote
what I consider an advanced calling manuel called The Complete
Caller. It's coming out maybe at the end of the summer.
Our attendance at the dance has been going down hill for some time.
Part of the reason is the hall. The other reason I believe is the
lack of training/awareness on the part of many callers. On many
occasions the majority of the dancers simply left during the break
leaving 6-8 dancers for the second half. It's been that bad.
My newish way of programming may not be for every dance community.
It may be of some value to those trying to retain beginners.
In terms of programming here's what I've noticed:
1) All callers, both local and out of town call dances that are
accessible to the new dancers. However, almost all of the dances
called are just barely accessible. The new dancers NEVER have a
chance to relax and enjoy. The effect is that experienced dancers
see newbies as always stiff and nervous.
2) almost all of the callers observed either didn't teach the swing
or taught it in about 30 seconds. I think these callers like
torturing the experienced dancers. Watching the newbies swing with
each other and the experienced dancers was very, very painful. I saw
every possible body hold and footwork imaginable.
3) most callers called programs that were extremely predictable- all
contras, all with two swings. This predictability is for myself and
others a bit boring. How can you have cold without hot or night
without day? I'm currently thinking of making a rule: at-least one
contra in the evening can't contain the combination circle left 3/4
and swing!
4) I would say 99% if these callers never discuss tune selections
with the musicians AND never slow the band down or speed them up even
when it's OBVIOUS there's a problem. On many occasions I've asked
the caller, "do you want me to slow them down?" and the response is
always "yes".
This is my newish way to program. There's more to it but this is the
core:
The first three dances of the evening must be accessible to the new
dancers AND must allow them to relax and have a good time. Perhaps
it's the latter part of this requirement where you and I are very
different.
When I mention this to other callers their response is usually "ok
I'll just do Nice Combination for the first contra" NOPE. AINT
GOING TO WORK, DEAD WRONG. There's too much swinging and no
anchors. The progression out of a star is not a good thing. That
much swinging is counter productive to keeping new dancers. Newbies
also need anchors. Anchors are people keeping their place while
others dance. A dance that contains anchors is gooder.
Examples: Sides are anchors if the heads circle left. In Scout House
Reel, the twos are anchors while the ones swing. The men are anchors
while the women do-si-do etc.........
So dances like Scout House Reel, Nice Easy Contra and some circle
mixers are good choices for the first three or so dances. It's not
the number of dances it's the emotional response you need to look for!
This doesn't mean that once the dancers relax that you can start
calling material that's going to wow the experienced dancers. No,
you have to dunk and dry 'em. Don't wear them out physically or
mentally.
One of the skills the newbies need is the ability to listen and
immediately (or almost immediately) respond. So in the beginning
workshop I use short drills or modules to teach one move or concept
at a time. A series of say 5 modules will teach all of the moves
that are in the first dance. To really understand my modular method
you'll have to watch one of my lessons or buy the booklet. It's way
too much to write. The modules are constantly changing so the
newbies have to learn to listen. We don't end one module and go onto
the next until they have slightly over-learned the current one- the
beginners are constantly learning in the lesson but I watch them and
make sure they are never overwhelmed. My voice is always clear and
direct but relaxed at the same time. If they survive the lesson the
rest of the evening is a piece of cake because I slowly introduce
move that are new to them. The first dance of the evening is taught
so they might be a bit confident after dancing it as the first dance.
I value a dance series with good dancing. Good dancing to me means
good, safe style and if physically able, buzz step swinging. The
buzz step swing is in the last module. It is last because newbies
are (as you know) always coming at the last minute. I include what I
consider to be a descent list of skills/concepts in a half hour and
never run out of time.
My impression is that most of you are afraid of the dancers. You're
afraid of calling an unequal dance or a square for example. Don't be
afraid of them. Good, effective leaders make good choices not always
what you perceive to be popular ones. And many of the experienced
dancers will notice the new way and welcome it. They are very bright.
All of my evenings contain some contras that only have one swing. No
one has every complained. I usually start with an unequal dance. I
haven't heard any gripes. Maybe there're afraid of me.
Early in my calling career it sometimes happened that a dancer would
come up to me and say, "some of us don't like square". My response?
"then stay home when I call". They stopped whining.
T
