Re: [Callers] Happy as a Warm Pig in Cold Mud
I have a "Cold Pig in Warm Mud", first heard it from Penn Fix in 1995, and it's published that way in Midwest Folklore. Maybe the slightly altered version is slightly renamed? I haven't used it much but have approached it as a "let loose and live with what happens" dance -- if the stars have more or fewer than four people, that's ok, you just have to come back to your partner. In the box next to Eric Zorn's "The Axiom of Choice". :-) ~ Becky Nankivell -- List-Post: callers@lists.sharedweight.net Date: Tue, 01 Feb 2011 15:50:58 +1300 From: Liz and Bill To: Caller's discussion list Subject: Re: [Callers] Happy as a Warm Pig in Cold Mud Message-ID: <4d477512.6050...@ext.canterbury.ac.nz> Content-Type: text/plain; charset=ISO-8859-1; format=flowed Interesting discussion, looks like a fun dance, but what temperature is the pig? I have a dance card with a cold pig and warm mud! The title on the you tube video title has a warm pig, but the title frame in the video has a cold pig. I suppose the pig would be happy either way. Cheers, Bill
Re: [Callers] Happy as a Warm Pig in Cold Mud
Hi Martin, Dale's "way that worked" is how Mike's dance appears in http://ravitz.us/mike/ and "Written for 1992 Pigtown Fling (in Cincinnati)" appears on http://www.cambridgefolk.org.uk/contra/dances/midwest_folklore/happy_as_a_cold_pig.html. As march is hot here downunder, I'll use a warm pig. Cheers, Bill
Re: [Callers] Happy as a Warm Pig in Cold Mud
My dance card says "Happy as a Cold Pig in Hot Mud", but it could be that I have overheated the mud. I think the pig should be cold, given the time of year that the Pigtown Fling is held. This dance is one of my all-time favorites. I have been calling it from time to time for many years, after (IIRC) getting it directly from Mike Boerschig. (I wish I knew when that was. I don't have a date on my card.) I've always taught it more or less in the fashion described by Dale as "the way that worked." -- Marlin On 01/31/2011 09:50 PM, Liz and Bill wrote: Interesting discussion, looks like a fun dance, but what temperature is the pig? I have a dance card with a cold pig and warm mud! The title on the you tube video title has a warm pig, but the title frame in the video has a cold pig. I suppose the pig would be happy either way. Cheers, Bill ___ Callers mailing list call...@sharedweight.net http://www.sharedweight.net/mailman/listinfo/callers
Re: [Callers] Developing a Culture of Inclusiveness. Was: Calling medleys
I don't find many people who have been at contra dances for a while to be
high-schoolers. Quite the contrary, which is why I love contra dancing so
much. I'm certainly not framing THEM as behaving badly. But I do see it in
newer dancers, and I see it in the newly skilled, what we affectionately
call "hot-doggers", the dancers who, after experiencinga few dance weekends,
will only dance with the most skilled dancers, who twirl and twist every
partner along the way ("See what I can do?") and who book ahead and
who...well, you get the idea. We don't, at the moment, have more than a
couple - and they're getting better all the time.
And as for grownups - I'll have to use another word I suppose. Because my
"grownup" is not authoritarian - my "grownup" takes responsibility, just
like your "caller" does. I use the word "grownup" to mean a person who has
become mature, less self-centered, and who can be counted upon to do the
things necessary to build a better world for all of us - not just himself or
herself.
So, Greg, since you are clearly a Good Guy, what was the meaning of your
original post, where you suggested the caller warn people that there was a
medley coming up so they could be sure they wouldn't have to dance the
medley with someone who wasn't skilled? That's what I'm reacting to - it
just sounded so...like a hotdogger. Which you otherwise don't seem to be.
M
E
On Mon, Jan 31, 2011 at 2:08 PM, Greg McKenzie wrote:
> Martha wrote:
>
>> Greg - I think you misunderstood me a little bit. My view that, left to
>> our
>> own devices, we act like high schoolers, is based on observation --
>> anecdotal observation, to be sure, but what I have seen has been so
>> consistent, that I, at least, am convinced.
>>
>
> I understand that you are convinced. This is the nature of framing. Once
> we adopt a frame we see the world in terms of that framing. The more we
> "activate" a frame, the easier it is to evoke it. I am not directing this
> critique at you, personally. This framing is very common among callers.
> You merely expressed it very clearly and succinctly. I am questioning the
> prevailing frame for contra dance.
>
> I want to assure you that I do not observe the world as you do through the
> "high schooler" frame. Employing a different frame I see that almost all
> contra dancers are enthusiastic about and enjoy dancing with newcomers. In
> fact, it is one of the most enjoyable parts of contra dance.
>
> How is this possible? Seen through my frame any uncivil behavior in the
> hall is direct evidence of poor calling. If there is anyone in the hall
> behaving poorly the proper response from the caller is to be apologetic.
>
>
> Martha also wrote:
>
>> This view does not in any way absolve anyone of responsibility. In fact,
>> my
>> whole argument is that "the grownups" need to take charge and make sure
>> that
>> the kindness/inclusiveness attitudes are predominant. Yes, we are all
>> capable of such behavior, and yes, in fact, it is our ability to behave
>> that
>> way that led to the survival of our species. But our survival was also
>> dependent on keeping away from "others" who were not in the family, tribe
>> or
>> village. It is that inherited sense of "us" and "they" that leads to
>> exclusiveness and shunning. And war and pestilence.
>>
>
> My argument was that absolving the caller of responsibility was the only
> possible advantage I can see of this framing. By treating the dancers as
> high-schoolers we give up a host of strategies that could be used to gain
> their support and participation in building a sense of community. When a
> caller activates "the grownup" framing this projects an authoritarian
> position and puts the caller at odds with the interests of the dancers.
> This is not an advantage. The framing creates an adversarial relationship
> with the dancers.
>
>
> Martha also wrote:
>
>> What I said was, the group leadership needs to address these issues. The
>> caller is part of the leadership, so we have the right and the
>> responsibility (at least in our own towns) to speak up in meetings, at
>> after-dance get-togethers, online, etc. But when we're actually calling, I
>> agree that we should limit our etiquette remarks to small, cheerful
>> reminders, no harangues or lectures from the stage.
>>
>
> Nor off-stage. The frame that sees people as inherently uncivil creates a
> sense that the seat of the problem is with undisciplined or uneducated
> dancers. My frame sees the seat of the problem as poor calling.
>
> Martha then asked:
>
> What about this point of view "excuses" the caller from taking
>> responsibility? What about this point of view suggests that the caller
>> "blame" the behavior on the dancers and leave it at that? I'm just saying
>> that trying to change a culture by fiat is rarely sucessful, and a caller
>> who wants to change things should start, first, on the dance floor by
>> being
>> the sort of person he/she wants others to emulate, sec
Re: [Callers] Another Cure for the Claps
Personally, I avoid talking about timing. However, I often mention the fact that people are welcome to clap if they wish, but that clapping reduces the swinging time and sends a message to the other person that you'd rather be clapping than swinging with them. This usually results in minimal clapping. Michael Barraclough www.michaelbarraclough.com -Original Message- From: callers-boun...@sharedweight.net [mailto:callers-boun...@sharedweight.net] On Behalf Of Jeff Kaufman Sent: Monday, January 31, 2011 3:53 PM To: Caller's discussion list Subject: Re: [Callers] Another Cure for the Claps Bob Green wrote: > > *Another Cure for the Claps* > > A1(8) Balance the ring and twirl to the right (Petronella) > (8) Scoop up your Partner and swing on the side > > A2(8) (8) Balance the ring and twirl to the right (Petronella) > (8) Scoop up your Neighbor and swing on the side > > B1(8) Down the hall, four in line (turn as couples) > (8) Return and Bend the line > > B2(8) Ladies Chain > (8) Circle Right 3/4 Pass left up/down to face next couple (form > ring) > This is picky, but I think the timing in the A part is closer to: A1 (4) Balance the ring (2) twirl to the right (10) Scoop up your Partner and swing on the side A2 (4) Balance the ring (2) twirl to the right (10) Scoop up your Neighbor and swing on the side If you leave the full 4 beats between the ring balance and the swing, that includes enough time both to twirl and to stand still and clap. By skipping the clapping beats (or the standing there curmudgeonly beats) and going directly from the twirl to a swing you get nicer flow and a slightly longer swing. Jeff
Re: [Callers] Calling Medleys for the first time
BIDA is a perfect example of the grownups being in charge. It's especially terrific in that some of the grownups are so young. M E On Mon, Jan 31, 2011 at 2:23 PM, John W Gintell wrote: > > > > Message: 2 > > Date: Sun, 30 Jan 2011 09:52:08 -0800 > > From: Greg McKenzie > > To: Caller's discussion list > > Subject: Re: [Callers] Calling medleys for the first time > > Message-ID: <4d45a548.1f48960a.0b45.d...@mx.google.com> > > Content-Type: text/plain; charset="us-ascii"; format=flowed > > > > > > Bob Green wrote: > >> In some communities, a different approach is taken - to help avoid > >> breakdowns while switching dances on the fly, trying to see that less > >> experienced/skilled dancers have a partner the can give them a little > help > >> along on the way. I favor this approach as I believe it tends to make > the > >> overall dance experience better. > > > > I would be very interested in any techniques or strategies you, as > > the caller, would use to achieve this behavior: "...trying to see > > that less experienced/skilled dancers have a partner the can give > > them a little help along on the way." I am particularly interested > > in what callers do to encourage more generous partnering behaviors in > > a medley. How do you achieve that "We're all in this together," > > sentiment that Larry Jennings speaks of? > > > > - Greg > > I think it is a good idea for callers to add little bits of dance culture > instruction during their teaching and remarks. Many people start coming to > Contra Dances without knowing the culture and it isn't always easy to "get". > New dancers are sometime shy and don't want to ask experienced dancers to > be partners; of course some experienced dancers are snobs but I think most > want to make the evening fun for everyone - reminders about > changing/selecting partners can help. I like dancing with inexperienced > dancers and I think it helps make me a better dancer because I have to be > more aware of everyone and learn how to help in a constructive fashion with > hand gestures instead of too many words that can't be heard. > > Here's an example of something that organizers can do: at the BIDA dance in > Cambridge (http://bidadance.org/index.html) they have some very nice > posters hung around the wall that talk about having fun, changing partners, > etc. They have been working hard on being inclusive on getting new dancers - > they have a beginners workshop before each dance. The I in BIDA stands for > Intergenerational, the A for Advocates. > ___ > Callers mailing list > call...@sharedweight.net > http://www.sharedweight.net/mailman/listinfo/callers > -- For the good are always the merry, Save by an evil chance, And the merry love the fiddle And the merry love to dance. ~ William Butler Yeats
Re: [Callers] Happy as a Warm Pig in Cold Mud
The "Gent's face out" call still confuses me. If it means "face away from the center line of the longways set" which is what "out" means when, for example, you're doing a long wavy line, then I can see why dancers are confused about whom they are supposed to to star with. The people you are going to star with are either up the hall or down the hall from you and that's the orientation I think the dancers need to hear. Maybe the "turn away from your partner" that Richard mentioned conveys that information, but "a widespread moment of confusion" doesn't sound like fun to me -- especially with newcomers in the mix. To me it just indicates that either the dance is flawed or the caller hasn't taught it well. Ah well. I have my plans for how I'll call it. We'll see if the dancers are having fun -- the ultimate test. Interesting discussion -- I'm enjoying reading different perspectives on this dance. Dale On Mon, Jan 31, 2011 at 8:18 PM, Bree Kalb wrote: > This is how I've always taught/called this dance--partners allmd only one > time, spot your shadow and join them in a star left--and it works very well > for the reasons Richard mentioned. > > Bree Kalb > Carrboro, NC > > -Original Message- From: Richard Green > Sent: Monday, January 31, 2011 9:07 PM > To: 'Caller's discussion list' > Subject: Re: [Callers] Happy as a Warm Pig in Cold Mud > > I just danced (but have never called) this dance last weekend at our local > dance. At the end of the A2 the call was for the gents to face out instead > of in. I am not sure if this was intentional or not, but it not only worked > fine, I liked it better than the original, which I assume is the version in > Katy's original post. I think the dance works fine either way, as long as > all the dancers are doing the same thing, but the calls need to be tweaked a > little. > > I preferred the shorter allemande ending with the Gents facing out because, > at the end of the partner allemande, there was a widespread moment of > confusion as people struggled to remember to turn away from their partner > and find their shadow for the LH star. This caused the star to be > consistently late, and the Partner Swing to be short. It seems like this > delay would have been worse if we had continued the partner allemande > another half way around. > > If the dance is done this way, I would change the A2 calls as follows: > > A2 > Men allemande L once and a half > Partner Allemande R a little more than once around until > the men face out and the ladies face in, look away from your partner to find > your shadow on your left > > For the B1 I might say something like: > > B1 > With your shadow and another couple make a LH Star. You are in a different > star from your partner. Star once around until you meet your partner coming > out of a different star and swing your partner. > > A little much to say as a calls, but okay for the walk through. > > A couple of other notes: > > You don't reach across to your shadow; they are next to you when you do the > star. > > Also, in this variation of the dance, while you are waiting out you are > obliged to participate in the LH star. If you cross over before the star, > you won't be next to your shadow for the star, although it all works out in > the end. I don't think that is the case in the original version. > > It should be noted that there were a fair number of beginners, but the > moment of confusion going into the left hand star seemed to affect more than > just the beginners; in fact, to me it was part of the fun of the dance. > > Richard Green > Wayne, Maine > > -Original Message- > From: callers-boun...@sharedweight.net > [mailto:callers-boun...@sharedweight.net] On Behalf Of khe...@twcny.rr.com > Sent: Monday, January 31, 2011 12:56 PM > To: call...@sharedweight.net > Subject: [Callers] Happy as a Warm Pig in Cold Mud > > Have any of you ever called this dance by Mike Boerschig? It's been in my > box for years, and I've never called it because I haven't been sure about > who should go to which star. It was published one way in Midwest Folklore > (see below), but the two YouTube videos I've seen of it have a shorter > partner allemande, ending with the first woman and second man (i.e., second > corners) starring above, while the second woman and the first man (first > corners) star below. > > If you've called this and have an opinion about how it's best danced, or if > you've found it challenging to teach, I'd love to hear what you have to say > about it! > > --Katy Heine > > HAPPY AS A WARM PIG IN COLD MUD > by Mike Boerschig > dpl imp > > A1 > Neighbor balance and swing > > A2 > Men allemande left once and a half > allemande right partner once and three quarters > so men are facing in, women out > > B1 > Star left > away from partner, 1st corners star up, 2nd down; reaching across to shadow > in star > swing partner > > B2 > Circle left three quarters > balance in that circle, California twirl partner to face ne
Re: [Callers] Happy as a Warm Pig in Cold Mud
Interesting discussion, looks like a fun dance, but what temperature is the pig? I have a dance card with a cold pig and warm mud! The title on the you tube video title has a warm pig, but the title frame in the video has a cold pig. I suppose the pig would be happy either way. Cheers, Bill
Re: [Callers] Happy as a Warm Pig in Cold Mud
This is how I've always taught/called this dance--partners allmd only one time, spot your shadow and join them in a star left--and it works very well for the reasons Richard mentioned. Bree Kalb Carrboro, NC -Original Message- From: Richard Green Sent: Monday, January 31, 2011 9:07 PM To: 'Caller's discussion list' Subject: Re: [Callers] Happy as a Warm Pig in Cold Mud I just danced (but have never called) this dance last weekend at our local dance. At the end of the A2 the call was for the gents to face out instead of in. I am not sure if this was intentional or not, but it not only worked fine, I liked it better than the original, which I assume is the version in Katy's original post. I think the dance works fine either way, as long as all the dancers are doing the same thing, but the calls need to be tweaked a little. I preferred the shorter allemande ending with the Gents facing out because, at the end of the partner allemande, there was a widespread moment of confusion as people struggled to remember to turn away from their partner and find their shadow for the LH star. This caused the star to be consistently late, and the Partner Swing to be short. It seems like this delay would have been worse if we had continued the partner allemande another half way around. If the dance is done this way, I would change the A2 calls as follows: A2 Men allemande L once and a half Partner Allemande R a little more than once around until the men face out and the ladies face in, look away from your partner to find your shadow on your left For the B1 I might say something like: B1 With your shadow and another couple make a LH Star. You are in a different star from your partner. Star once around until you meet your partner coming out of a different star and swing your partner. A little much to say as a calls, but okay for the walk through. A couple of other notes: You don't reach across to your shadow; they are next to you when you do the star. Also, in this variation of the dance, while you are waiting out you are obliged to participate in the LH star. If you cross over before the star, you won't be next to your shadow for the star, although it all works out in the end. I don't think that is the case in the original version. It should be noted that there were a fair number of beginners, but the moment of confusion going into the left hand star seemed to affect more than just the beginners; in fact, to me it was part of the fun of the dance. Richard Green Wayne, Maine -Original Message- From: callers-boun...@sharedweight.net [mailto:callers-boun...@sharedweight.net] On Behalf Of khe...@twcny.rr.com Sent: Monday, January 31, 2011 12:56 PM To: call...@sharedweight.net Subject: [Callers] Happy as a Warm Pig in Cold Mud Have any of you ever called this dance by Mike Boerschig? It's been in my box for years, and I've never called it because I haven't been sure about who should go to which star. It was published one way in Midwest Folklore (see below), but the two YouTube videos I've seen of it have a shorter partner allemande, ending with the first woman and second man (i.e., second corners) starring above, while the second woman and the first man (first corners) star below. If you've called this and have an opinion about how it's best danced, or if you've found it challenging to teach, I'd love to hear what you have to say about it! --Katy Heine HAPPY AS A WARM PIG IN COLD MUD by Mike Boerschig dpl imp A1 Neighbor balance and swing A2 Men allemande left once and a half allemande right partner once and three quarters so men are facing in, women out B1 Star left away from partner, 1st corners star up, 2nd down; reaching across to shadow in star swing partner B2 Circle left three quarters balance in that circle, California twirl partner to face next couple ___ Callers mailing list call...@sharedweight.net http://www.sharedweight.net/mailman/listinfo/callers ___ Callers mailing list call...@sharedweight.net http://www.sharedweight.net/mailman/listinfo/callers
Re: [Callers] Happy as a Warm Pig in Cold Mud
I just danced (but have never called) this dance last weekend at our local dance. At the end of the A2 the call was for the gents to face out instead of in. I am not sure if this was intentional or not, but it not only worked fine, I liked it better than the original, which I assume is the version in Katy's original post. I think the dance works fine either way, as long as all the dancers are doing the same thing, but the calls need to be tweaked a little. I preferred the shorter allemande ending with the Gents facing out because, at the end of the partner allemande, there was a widespread moment of confusion as people struggled to remember to turn away from their partner and find their shadow for the LH star. This caused the star to be consistently late, and the Partner Swing to be short. It seems like this delay would have been worse if we had continued the partner allemande another half way around. If the dance is done this way, I would change the A2 calls as follows: A2 Men allemande L once and a half Partner Allemande R a little more than once around until the men face out and the ladies face in, look away from your partner to find your shadow on your left For the B1 I might say something like: B1 With your shadow and another couple make a LH Star. You are in a different star from your partner. Star once around until you meet your partner coming out of a different star and swing your partner. A little much to say as a calls, but okay for the walk through. A couple of other notes: You don't reach across to your shadow; they are next to you when you do the star. Also, in this variation of the dance, while you are waiting out you are obliged to participate in the LH star. If you cross over before the star, you won't be next to your shadow for the star, although it all works out in the end. I don't think that is the case in the original version. It should be noted that there were a fair number of beginners, but the moment of confusion going into the left hand star seemed to affect more than just the beginners; in fact, to me it was part of the fun of the dance. Richard Green Wayne, Maine -Original Message- From: callers-boun...@sharedweight.net [mailto:callers-boun...@sharedweight.net] On Behalf Of khe...@twcny.rr.com Sent: Monday, January 31, 2011 12:56 PM To: call...@sharedweight.net Subject: [Callers] Happy as a Warm Pig in Cold Mud Have any of you ever called this dance by Mike Boerschig? It's been in my box for years, and I've never called it because I haven't been sure about who should go to which star. It was published one way in Midwest Folklore (see below), but the two YouTube videos I've seen of it have a shorter partner allemande, ending with the first woman and second man (i.e., second corners) starring above, while the second woman and the first man (first corners) star below. If you've called this and have an opinion about how it's best danced, or if you've found it challenging to teach, I'd love to hear what you have to say about it! --Katy Heine HAPPY AS A WARM PIG IN COLD MUD by Mike Boerschig dpl imp A1 Neighbor balance and swing A2 Men allemande left once and a half allemande right partner once and three quarters so men are facing in, women out B1 Star left away from partner, 1st corners star up, 2nd down; reaching across to shadow in star swing partner B2 Circle left three quarters balance in that circle, California twirl partner to face next couple ___ Callers mailing list call...@sharedweight.net http://www.sharedweight.net/mailman/listinfo/callers
Re: [Callers] Another Cure for the Claps
Well Dale, the answer is simple: it is not a Groundhog's Day - It is a circle RIGHT 3/4 just like in the notes. [?] On Mon, Jan 31, 2011 at 2:35 PM, Dale Wilson wrote: > As we found out last night when Bob taught it, the dance as Bob > presented it is a Grounhog's day dance --- you progress the wrong way > so every other time you are back with you original neighbors. Bob > fixed it by changing the pass thru to be a California Twirl, and we > had a great time. I'm wondering though, what the original author > intended. > > Dale > > > On Sun, Jan 30, 2011 at 8:07 AM, Bob Green wrote: > > I am planning on calling *Another Cure fir the Claps *tonight. I did not > > have the author of the dance. does anyone have it? this version: > > > > *Another Cure for the Claps* > > > > A1(8) Balance the ring and twirl to the right (Petronella) > >(8) Scoop up your Partner and swing on the side > > > > A2(8) (8) Balance the ring and twirl to the right (Petronella) > >(8) Scoop up your Neighbor and swing on the side > > > > B1(8) Down the hall, four in line (turn as couples) > >(8) Return and Bend the line > > > > B2(8) Ladies Chain > >(8) Circle Right 3/4 Pass left up/down to face next couple (form ring) > > > > Thanks, > > > > Bob > > ___ > > Callers mailing list > > call...@sharedweight.net > > http://www.sharedweight.net/mailman/listinfo/callers > > > > > > -- > I get up every morning determined to both change the world and have > one hell of a good time. Sometimes this makes planning my day > difficult. > -E. B. White > ___ > Callers mailing list > call...@sharedweight.net > http://www.sharedweight.net/mailman/listinfo/callers >
Re: [Callers] Another Cure for the Claps
Bob Green wrote: > > *Another Cure for the Claps* > > A1(8) Balance the ring and twirl to the right (Petronella) > (8) Scoop up your Partner and swing on the side > > A2(8) (8) Balance the ring and twirl to the right (Petronella) > (8) Scoop up your Neighbor and swing on the side > > B1(8) Down the hall, four in line (turn as couples) > (8) Return and Bend the line > > B2(8) Ladies Chain > (8) Circle Right 3/4 Pass left up/down to face next couple (form ring) > This is picky, but I think the timing in the A part is closer to: A1 (4) Balance the ring (2) twirl to the right (10) Scoop up your Partner and swing on the side A2 (4) Balance the ring (2) twirl to the right (10) Scoop up your Neighbor and swing on the side If you leave the full 4 beats between the ring balance and the swing, that includes enough time both to twirl and to stand still and clap. By skipping the clapping beats (or the standing there curmudgeonly beats) and going directly from the twirl to a swing you get nicer flow and a slightly longer swing. Jeff pgpsWNLno4cTI.pgp Description: PGP signature
Re: [Callers] Another Cure for the Claps
As we found out last night when Bob taught it, the dance as Bob presented it is a Grounhog's day dance --- you progress the wrong way so every other time you are back with you original neighbors. Bob fixed it by changing the pass thru to be a California Twirl, and we had a great time. I'm wondering though, what the original author intended. Dale On Sun, Jan 30, 2011 at 8:07 AM, Bob Green wrote: > I am planning on calling *Another Cure fir the Claps *tonight. I did not > have the author of the dance. does anyone have it? this version: > > *Another Cure for the Claps* > > A1 (8) Balance the ring and twirl to the right (Petronella) > (8) Scoop up your Partner and swing on the side > > A2 (8) (8) Balance the ring and twirl to the right (Petronella) > (8) Scoop up your Neighbor and swing on the side > > B1 (8) Down the hall, four in line (turn as couples) > (8) Return and Bend the line > > B2 (8) Ladies Chain > (8) Circle Right 3/4 Pass left up/down to face next couple (form ring) > > Thanks, > > Bob > ___ > Callers mailing list > call...@sharedweight.net > http://www.sharedweight.net/mailman/listinfo/callers > -- I get up every morning determined to both change the world and have one hell of a good time. Sometimes this makes planning my day difficult. -E. B. White
Re: [Callers] Calling Medleys for the first time
> > Message: 2 > Date: Sun, 30 Jan 2011 09:52:08 -0800 > From: Greg McKenzie > To: Caller's discussion list > Subject: Re: [Callers] Calling medleys for the first time > Message-ID: <4d45a548.1f48960a.0b45.d...@mx.google.com> > Content-Type: text/plain; charset="us-ascii"; format=flowed > > > Bob Green wrote: >> In some communities, a different approach is taken - to help avoid >> breakdowns while switching dances on the fly, trying to see that less >> experienced/skilled dancers have a partner the can give them a little help >> along on the way. I favor this approach as I believe it tends to make the >> overall dance experience better. > > I would be very interested in any techniques or strategies you, as > the caller, would use to achieve this behavior: "...trying to see > that less experienced/skilled dancers have a partner the can give > them a little help along on the way." I am particularly interested > in what callers do to encourage more generous partnering behaviors in > a medley. How do you achieve that "We're all in this together," > sentiment that Larry Jennings speaks of? > > - Greg I think it is a good idea for callers to add little bits of dance culture instruction during their teaching and remarks. Many people start coming to Contra Dances without knowing the culture and it isn't always easy to "get". New dancers are sometime shy and don't want to ask experienced dancers to be partners; of course some experienced dancers are snobs but I think most want to make the evening fun for everyone - reminders about changing/selecting partners can help. I like dancing with inexperienced dancers and I think it helps make me a better dancer because I have to be more aware of everyone and learn how to help in a constructive fashion with hand gestures instead of too many words that can't be heard. Here's an example of something that organizers can do: at the BIDA dance in Cambridge (http://bidadance.org/index.html) they have some very nice posters hung around the wall that talk about having fun, changing partners, etc. They have been working hard on being inclusive on getting new dancers - they have a beginners workshop before each dance. The I in BIDA stands for Intergenerational, the A for Advocates.
Re: [Callers] Developing a Culture of Inclusiveness. Was: Calling medleys
Martha wrote: Greg - I think you misunderstood me a little bit. My view that, left to our own devices, we act like high schoolers, is based on observation -- anecdotal observation, to be sure, but what I have seen has been so consistent, that I, at least, am convinced. I understand that you are convinced. This is the nature of framing. Once we adopt a frame we see the world in terms of that framing. The more we "activate" a frame, the easier it is to evoke it. I am not directing this critique at you, personally. This framing is very common among callers. You merely expressed it very clearly and succinctly. I am questioning the prevailing frame for contra dance. I want to assure you that I do not observe the world as you do through the "high schooler" frame. Employing a different frame I see that almost all contra dancers are enthusiastic about and enjoy dancing with newcomers. In fact, it is one of the most enjoyable parts of contra dance. How is this possible? Seen through my frame any uncivil behavior in the hall is direct evidence of poor calling. If there is anyone in the hall behaving poorly the proper response from the caller is to be apologetic. Martha also wrote: This view does not in any way absolve anyone of responsibility. In fact, my whole argument is that "the grownups" need to take charge and make sure that the kindness/inclusiveness attitudes are predominant. Yes, we are all capable of such behavior, and yes, in fact, it is our ability to behave that way that led to the survival of our species. But our survival was also dependent on keeping away from "others" who were not in the family, tribe or village. It is that inherited sense of "us" and "they" that leads to exclusiveness and shunning. And war and pestilence. My argument was that absolving the caller of responsibility was the only possible advantage I can see of this framing. By treating the dancers as high-schoolers we give up a host of strategies that could be used to gain their support and participation in building a sense of community. When a caller activates "the grownup" framing this projects an authoritarian position and puts the caller at odds with the interests of the dancers. This is not an advantage. The framing creates an adversarial relationship with the dancers. Martha also wrote: What I said was, the group leadership needs to address these issues. The caller is part of the leadership, so we have the right and the responsibility (at least in our own towns) to speak up in meetings, at after-dance get-togethers, online, etc. But when we're actually calling, I agree that we should limit our etiquette remarks to small, cheerful reminders, no harangues or lectures from the stage. Nor off-stage. The frame that sees people as inherently uncivil creates a sense that the seat of the problem is with undisciplined or uneducated dancers. My frame sees the seat of the problem as poor calling. Martha then asked: What about this point of view "excuses" the caller from taking responsibility? What about this point of view suggests that the caller "blame" the behavior on the dancers and leave it at that? I'm just saying that trying to change a culture by fiat is rarely sucessful, and a caller who wants to change things should start, first, on the dance floor by being the sort of person he/she wants others to emulate, second, off the dance floor by passing on the larger "contradance culture", and lastly, from the stage only in small bites, respectfully, and with good humor. Doing anything by fiat would be a destructive action by the caller, because it undermines the relationship of trust and goodwill with the dancers. The nature of the "contradance culture" is what we are discussing. That culture is currently dominated by the frame you have put forth so eloquently. If you wish to change that culture I can attest that you will have much more influence as a caller than as a dancer. Martha also wrote: What I also said was that, in a contra group, we callers should lead by "gentle precept" (words) and "strong example" (doing). Fewer words, more doing. Here,one of our best dancers spends nearly 80% of her time with the least experienced dancers, bless her angelic heart. Now THAT is a strong example. "Fewer words, more doing" is an excellent prescription. If the caller assumes the support and civility of all of the dancers they can eliminate many words intended to "correct" what the "high schooler" frame implies that the dancers will be inclined to do. Assume the best and take responsibility for the rest. That is a recipe for few words. Please consider that your 80% "angelic heart" dancer may be doing what she most enjoys. She may be one of your most selfish dancers. Why not direct your programming and calling efforts towards making sure that regulars, who are partnered with newcomers, have a great time. Make sure that they have an opportunity to use the
Re: [Callers] Developing a Culture of Inclusiveness. Was: Calling medleys
Greg - I think you misunderstood me a little bit. My view that, left to our own devices, we act like high schoolers, is based on observation -- anecdotal observation, to be sure, but what I have seen has been so consistent, that I, at least, am convinced. This view does not in any way absolve anyone of responsibility. In fact, my whole argument is that "the grownups" need to take charge and make sure that the kindness/inclusiveness attitudes are predominant. Yes, we are all capable of such behavior, and yes, in fact, it is our ability to behave that way that led to the survival of our species. But our survival was also dependent on keeping away from "others" who were not in the family, tribe or village. It is that inherited sense of "us" and "they" that leads to exclusiveness and shunning. And war and pestilence. I'm not quite sure how survival depends on snobbiness *within *a group - making sure we only have the best dance partners for a medley, for instance :-) - but that, too, is part of what we need to take responsibility for eliminating, or at least softening. What I said was, the group leadership needs to address these issues. The caller is part of the leadership, so we have the right and the responsibility (at least in our own towns) to speak up in meetings, at after-dance get-togethers, online, etc. But when we're actually calling, I agree that we should limit our etiquette remarks to small, cheerful reminders, no harangues or lectures from the stage. What about this point of view "excuses" the caller from taking responsibility? What about this point of view suggests that the caller "blame" the behavior on the dancers and leave it at that? I'm just saying that trying to change a culture by fiat is rarely sucessful, and a caller who wants to change things should start, first, on the dance floor by being the sort of person he/she wants others to emulate, second, off the dance floor by passing on the larger "contradance culture", and lastly, from the stage only in small bites, respectfully, and with good humor. What I also said was that, in a contra group, we callers should lead by "gentle precept" (words) and "strong example" (doing). Fewer words, more doing. Here,one of our best dancers spends nearly 80% of her time with the least experienced dancers, bless her angelic heart. Now THAT is a strong example. M E On Sun, Jan 30, 2011 at 2:42 PM, Greg McKenzie wrote: > > This is very interesting. > > Martha writes: > >> I don't believe that we humans exhibit community and civility by nature - >> it >> seems to be a learned thing. >> >> Left to our own devices, we get all clicquey and snobby - or turn into >> loners. >> > > I think you have gone to the core of the matter with this statement. This > view of human nature is a common framing of the situation, and it is such a > basic view that it affects almost everything the caller does, or does not do > with regard to civility and an attitude of inclusiveness. > > I reject this view for two main reasons: First, I don't believe it is > true. I see humans as social animals who have evolved to be in communities > or tribes where each individual's own survival depends upon cooperation and > working together for common goals. It is our nature to support one another > and to see ourselves as a community. > > Second, I reject the idea that snobbishness and selfish actions are > inherent in the human condition simply because it is not a useful framing of > the situation, particularly for a dance caller. I don't see any value that > can come from this framing beyond creating an excuse for the caller to blame > the dancers for any untoward actions in the hall. This framing is only > useful to absolve the caller of responsibility, something that is at the > core of the caller's job. > > The caller takes responsibility for everything that happens in the hall. > > Instead of making excuses for why we are not responsible why not discuss > what we can do to build a more inclusive spirit in the hall? Callers have a > lot of influence. They certainly have more influence than a handful of > dance leaders. How should we use our influence? > > Martha also wrote: > "A kind and inclusive word dropped here and there > from the stage can work wonders..." > > Now this is an idea that I agree with completely. The caller is in view of > everyone in the hall and can see everyone in the room. The caller can > project their voice throughout the hall, and this gives the caller more > influence than any other single person in the room. Let's explore this idea > more deeply. What words do you use? When? what words to you avoid using? > > I use single words such as "good," "excellent," "wonderful," or "nice," > during the walk-through and while calling. A light touch is best. I > usually use a couple of these words during each walk-through. I also think > a lot about what I don't say. I never, for example, speak to small groups > or individuals over the mike.
Re: [Callers] Happy as a Warm Pig in Cold Mud
I tried calling it at a dance, but ended up switching to a simpler dance --- it was my problem, not theirs. I wasn't able to clearly explain how to get into the star -- the problem you are worried about. I tried it a few days later at a calling party and got it right then, so I'm going to try again "in public" sometime soon. The way that worked at the party was: A2: Men allemande left once and a half to your partner Partner's allemande one and a half to trade places. -> You're in a line across the set with men on the outside and women on the inside. -> Notice that you and your partner are facing opposite directions up and down the set. -> Drop your partner's hand and walk forward into a left hand star with the people you meet. B2: Star left all the way around to your partner for a swing. I still find the 1 3/4 allemende and men facing out/ women facing in description to be terribly confusing, but the dance itself is fine. Dale ... On Mon, Jan 31, 2011 at 11:56 AM, wrote: > Have any of you ever called this dance by Mike Boerschig? It's been in my box > for years, and I've never called it because I haven't been sure about who > should go to which star. It was published one way in Midwest Folklore (see > below), but the two YouTube videos I've seen of it have a shorter partner > allemande, ending with the first woman and second man (i.e., second corners) > starring above, while the second woman and the first man (first corners) star > below. > > If you've called this and have an opinion about how it's best danced, or if > you've found it challenging to teach, I'd love to hear what you have to say > about it! > > --Katy Heine > > HAPPY AS A WARM PIG IN COLD MUD > by Mike Boerschig > dpl imp > > A1 > Neighbor balance and swing > > A2 > Men allemande left once and a half > allemande right partner once and three quarters > so men are facing in, women out > > B1 > Star left > away from partner, 1st corners star up, 2nd down; reaching across to shadow > in star > swing partner > > B2 > Circle left three quarters > balance in that circle, California twirl partner to face next couple > ___ > Callers mailing list > call...@sharedweight.net > http://www.sharedweight.net/mailman/listinfo/callers > -- I get up every morning determined to both change the world and have one hell of a good time. Sometimes this makes planning my day difficult. -E. B. White
Re: [Callers] Happy as a Warm Pig in Cold Mud
Hi Katy, I learned this dance from the calling of Sue Rosen several years ago and it is one of my favorites. I advise dancers after the A1 neighbor balance and swing to look on the right diagonal to identify the shadow with whom they will later star. Then after the partner allemande, which I call as almost two times around, everyone usually can easily find their shadow and neighbor for the star. No. 1 lady and No. 2 man star below, No. 1 man and No. 2 lady above. (By the way, in the past year, I've seen this dance called by two different callers who told everyone that, during the star left, they could use those eight counts to star anywhere with anyone in the hall as long as they were back in the correct place and on time for the partner swing. It created a lot of fun chaos.) Joyce Miller Grass Valley, CA On Jan 31, 2011, at 9:56 AM, wrote: > Have any of you ever called this dance by Mike Boerschig? It's been in my box > for years, and I've never called it because I haven't been sure about who > should go to which star. It was published one way in Midwest Folklore (see > below), but the two YouTube videos I've seen of it have a shorter partner > allemande, ending with the first woman and second man (i.e., second corners) > starring above, while the second woman and the first man (first corners) star > below. > > If you've called this and have an opinion about how it's best danced, or if > you've found it challenging to teach, I'd love to hear what you have to say > about it! > > --Katy Heine > > HAPPY AS A WARM PIG IN COLD MUD > by Mike Boerschig > dpl imp > > A1 > Neighbor balance and swing > > A2 > Men allemande left once and a half > allemande right partner once and three quarters > so men are facing in, women out > > B1 > Star left > away from partner, 1st corners star up, 2nd down; reaching across to shadow > in star > swing partner > > B2 > Circle left three quarters > balance in that circle, California twirl partner to face next couple > ___ > Callers mailing list > call...@sharedweight.net > http://www.sharedweight.net/mailman/listinfo/callers
[Callers] Happy as a Warm Pig in Cold Mud
Have any of you ever called this dance by Mike Boerschig? It's been in my box for years, and I've never called it because I haven't been sure about who should go to which star. It was published one way in Midwest Folklore (see below), but the two YouTube videos I've seen of it have a shorter partner allemande, ending with the first woman and second man (i.e., second corners) starring above, while the second woman and the first man (first corners) star below. If you've called this and have an opinion about how it's best danced, or if you've found it challenging to teach, I'd love to hear what you have to say about it! --Katy Heine HAPPY AS A WARM PIG IN COLD MUD by Mike Boerschig dpl imp A1 Neighbor balance and swing A2 Men allemande left once and a half allemande right partner once and three quarters so men are facing in, women out B1 Star left away from partner, 1st corners star up, 2nd down; reaching across to shadow in star swing partner B2 Circle left three quarters balance in that circle, California twirl partner to face next couple
