Re: [Callers] What is the best contra dance(s) ever written?

[Dorcas Hand]

The "MUC" era??? Mostly Urban Contra?  I started dancing in 1973 in the wilds 
of Amherst MA with Dudley Laufman, definitely not urban but equally definitely 
a serious piece of the modern contra revival.  Those chestnuts allowed Dudley 
to play and call, and we on the dance floor dressed up the simplicity as much 
as our skills and energy allowed. The floor was packed with college students - 
fabulous fun.
Dorcas Hand

-Original Message-
From: callers-boun...@sharedweight.net 
[mailto:callers-boun...@sharedweight.net] On Behalf Of Michael Fuerst
Sent: Friday, November 30, 2012 7:34 PM
To: Caller's discussion list
Subject: Re: [Callers] What is the best contra dance(s) ever written?

I suspect contra dancing  was somewhat urban before the so-called "MUC" era.
i don't think Ted Sanella  and his contemporaries  would characterize their 
regular dances as  non-urban.  

 
Michael Fuerst      802 N Broadway      Urbana IL 61801   217-239-5844
From: "johnfr...@aol.com" 
To: call...@sharedweight.net
Sent: Friday, November 30, 2012 7:14 PM
Subject: Re: [Callers] What is the best contra dance(s) ever written?
 
Dale,

When did you start dancing? If you began during the "MUC" era, then you likely 
never had a chance to appreciate some of the chestnuts and unequal dances of 
the pre-MUC era. Some dances are comfortable, like an old pair of dancing 
shoes. I remember dancing to some of these dances that began on their own while 
the bend was "noodling" the tune, before the caller was ready.

John B. Freeman, SFTPOCTJ
Calling and dancing for only 30+ years
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Re: [Callers] What is the best contra dance(s) ever written?

[Dorcas Hand]

Beautifully put.

One other thing I like is the Sufi dance aspect of dancing in perfect tune with 
the music and the set, without having to think much about what move is next.  
Delicious.
Dorcas hand

-Original Message-
From: callers-boun...@sharedweight.net 
[mailto:callers-boun...@sharedweight.net] On Behalf Of Alan Winston
Sent: Friday, November 30, 2012 7:40 PM
To: call...@sharedweight.net
Subject: Re: [Callers] What is the best contra dance(s) ever written?

On 11/30/2012 4:26 PM, Dale Wilson wrote:
> And slightly more seriously.
>
> I don't want to start religious war but I have always wondered about A 
> Chorus Jig.  I just don't see why anyone likes it other than those who
> cherish it as a relic of a bygone era.   The few times I have danced it my
> primary impression was that the inactive couples stood still for the 
> entire dance -- offering admiration an occasional helping hand to the 
> actives, and even the actives spent a great deal of time walking up and down 
> the set.
> What am I missing?  Why do people like it?
>

Why I like it:

Whether I'm inactive or active, I like the music, I really like the way the 
parts of the dance interlock, I like the many things that remind me I'm dancing 
in a bigger set than just my foursome - go down the outside and you have to see 
the whole line, be in line, match their timing; go down the middle and it's the 
same, but if I'm inactive I have to see people outside of my foursome on the 
way through.  I really like how much it requires timing and rewards timing and 
geographical sense.  I rather like the feeling of being a good cog in the big 
dance machine.  I like supporting the actives and being supported when it's my 
turn.

- When I'm an active, the way the excitement of the tune builds up during the 
contra corners to resolve at the balance with partner (and the balance + swing 
is way
   better than the balance without swing)  is just unparalleled. Hitting the 
balance on the dot is just a tremendous moment.  The whole dance (which is, 
incidentally, made of
   standard early-nineteenth century figures which show up in other dances but 
aren't as  satisfying there) is an exercise in delayed gratification; I leave 
my partner, we're apart
   (but have a flirtatious peek, perhaps, in the middle of the 
down-the-outside-and-back), we're closer together for the 
down-the-middle-and-back; we connect with our
   same-sex neighbors on the cast off, we interact with two opposite-sex 
neighbors in the contra-corners, briefly seeing partner in between others, and 
we finally connect.
   It's awesome.

- When I'm inactive - well, you can always swing your partner during the 
down-the-outside, and I have no problem for that. During the 
down-the-middle  you can likely cheat-swing somebody from the   next 
line (although I won't generally do that and don't much like it when my partner 
abandons me to cheat swing).  But here's what I like there - I enjoy being able 
to support the actives in the contra corners, I enjoy getting a read on whether 
they want to push off and spin out of the allemande and supporting that, I 
enjoy helping to get them to their 
appointment with their partner on time.   (I'll usually balance or stomp 
at the end of the contra corners even if I'm an inactive.)  I'll admit that I'd 
be a bit frustrated if I were inactive all the way to to the top and the dance 
ended without my ever getting to be active, but I'm happy to have it run long 
enough for everybody to get to be both active and inactive.

Your mileage may well vary.  People like different things.

-- Alan

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Re: [Callers] What is the best contra dance(s) ever written?

[Alan Winston]

On 11/30/2012 4:26 PM, Dale Wilson wrote:

And slightly more seriously.

I don't want to start religious war but I have always wondered about A
Chorus Jig.  I just don't see why anyone likes it other than those who
cherish it as a relic of a bygone era.   The few times I have danced it my
primary impression was that the inactive couples stood still for the entire
dance -- offering admiration an occasional helping hand to the actives, and
even the actives spent a great deal of time walking up and down the set.
What am I missing?  Why do people like it?



Why I like it:

Whether I'm inactive or active, I like the music, I really like the way 
the parts of the dance interlock, I like the many things that remind me 
I'm dancing in a bigger set
than just my foursome - go down the outside and you have to see the 
whole line, be in line, match their timing; go down the middle and it's 
the same, but if I'm inactive
I have to see people outside of my foursome on the way through.  I 
really like how much it requires timing and rewards timing and 
geographical sense.  I rather like the feeling of being a good cog in 
the big dance machine.  I like supporting the actives and being 
supported when it's my turn.


- When I'm an active, the way the excitement of the tune builds up 
during the contra corners to resolve at the balance with partner (and 
the balance + swing is way
  better than the balance without swing)  is just unparalleled. Hitting 
the balance on the dot is just a tremendous moment.  The whole dance 
(which is, incidentally, made of
  standard early-nineteenth century figures which show up in other 
dances but aren't as  satisfying there) is an exercise in delayed 
gratification; I leave my partner, we're apart
  (but have a flirtatious peek, perhaps, in the middle of the 
down-the-outside-and-back), we're closer together for the 
down-the-middle-and-back; we connect with our
  same-sex neighbors on the cast off, we interact with two opposite-sex 
neighbors in the contra-corners, briefly seeing partner in between 
others, and we finally connect.

  It's awesome.

- When I'm inactive - well, you can always swing your partner during the 
down-the-outside, and I have no problem for that. During the 
down-the-middle  you can likely cheat-swing somebody from the   next 
line (although I won't generally do that and don't much like it when my 
partner abandons me to cheat swing).  But here's what I like there - I 
enjoy being able to support the actives in the contra corners, I enjoy 
getting a read on whether they want to push off and spin out of the 
allemande and supporting that, I enjoy helping to get them to their 
appointment with their partner on time.   (I'll usually balance or stomp 
at the end of the contra corners even if I'm an inactive.)  I'll admit 
that I'd be a bit frustrated if I were inactive all the way to to the 
top and the dance ended without my ever getting to be active, but I'm 
happy to have it run long enough for everybody to get to be both active 
and inactive.


Your mileage may well vary.  People like different things.

-- Alan

Re: [Callers] What is the best contra dance(s) ever written?

[Michael Fuerst]

I suspect contra dancing  was somewhat urban before the so-called "MUC" era.
i don't think Ted Sanella  and his contemporaries  would characterize their 
regular dances as  non-urban.  

 
Michael Fuerst      802 N Broadway      Urbana IL 61801   217-239-5844
From: "johnfr...@aol.com" 
To: call...@sharedweight.net 
Sent: Friday, November 30, 2012 7:14 PM
Subject: Re: [Callers] What is the best contra dance(s) ever written?
 
Dale,

When did you start dancing? If you began during the "MUC" era, then you 
likely never had a chance to appreciate some of the chestnuts and unequal 
dances of the pre-MUC era. Some dances are comfortable, like an old pair of 
dancing shoes. I remember dancing to some of these dances that began on their 
own 
while the bend was "noodling" the tune, before the caller was ready.

John B. Freeman, SFTPOCTJ
Calling and dancing for only 30+ years
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Re: [Callers] What is the best contra dance(s) ever written?

[JohnFreem]

Dale,

When did you start dancing? If you began during the "MUC" era, then you 
likely never had a chance to appreciate some of the chestnuts and unequal 
dances of the pre-MUC era. Some dances are comfortable, like an old pair of 
dancing shoes. I remember dancing to some of these dances that began on their 
own 
while the bend was "noodling" the tune, before the caller was ready.

John B. Freeman, SFTPOCTJ
Calling and dancing for only 30+ years

Re: [Callers] What is the best contra dance(s) ever written?

[Linda Mrosko]

Speaking as an older dancer, being inactive allows you to rest after all
that zesty activity.

And the dance is really timeless.

It also allows for all kinds of play.

And as the inactive couple, you can add a little more activity.  For
instance, while the ones go down the outside, the twos can come up the
middle.  The twos just have to understand they must be home in time for the
cast off.  Or if you have multiple lines and there are willing people
standing behind you, you can do those allemands for continual motion - but
that's for a more experienced crowd.

But I like it for its opportunity to flirt with your partner as you go down
the outside, clapping time while the 1s are doing all the down and back
stuff, the matching tune...


On Fri, Nov 30, 2012 at 6:26 PM, Dale Wilson  wrote:

> Jonathan, you left out
>
> 18 The first time you danced it, you must have been dancing with your
> favorite partner to music by your favorite band with a world class caller.
>
>
> And slightly more seriously.
>
> I don't want to start religious war but I have always wondered about A
> Chorus Jig.  I just don't see why anyone likes it other than those who
> cherish it as a relic of a bygone era.   The few times I have danced it my
> primary impression was that the inactive couples stood still for the entire
> dance -- offering admiration an occasional helping hand to the actives, and
> even the actives spent a great deal of time walking up and down the set.
> What am I missing?  Why do people like it?
>
> Dale
>
>
>
>
>
> > __**_
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> > call...@sharedweight.net
> > http://www.sharedweight.net/**mailman/listinfo/callers<
> http://www.sharedweight.net/mailman/listinfo/callers>
> >
>
>
>
> --
> *So if you knew what was broken...how long would it take you to fix it?*
> ___
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>



-- 
*Looking forward,

Linda S. Mrosko
7302 CR 2829
Mabank, Texas 75156
(903) 451-5535 (H)
(903) 288-4401 (cell)
(903) 603-9033 (Skype)
www.towerwebsites.com/dancinglinda

*"We should consider every day lost on which we have not danced at least
once."
  -- Friedrich Nietzsche

Re: [Callers] What is the best contra dance(s) ever written?

[Michael Fuerst]

Hello Chris

Sarah's Journey would probably be one of my top five or ten, but not thetop one
None of the others on your list  (at least the 50% for which I had familiarity 
or could find on the  internet)  would make my top ten list.

 

Michael Fuerst      802 N Broadway      Urbana IL 61801   217-239-5844



 From: Chris Page 
To: Michael Fuerst ; Caller's discussion list 
 
Sent: Friday, November 30, 2012 4:57 PM
Subject: Re: [Callers] What is the best contra dance(s) ever written?
 

A lot of it is very personal -- what you were exposed to, what was your 
original "tradition," whether that started in 1958 or 2009.

There's also context. Favorite for me as a dancer is a bit different than 
favorite for me as a caller.

My favorite is probably 333, with a B2 that varies from year to year. (Right 
now it's chain, star left.)

A couple years ago I wrote a longer list of favorites here:
http://chrispagecontra.awardspace.us/choreography/index.htm

If I were updating the list, I'd delete one or two, and add several. (At least 
Quick Spin, Bicoastal Contra, Fatal Attraction, Contra Primer, Heart of Glass, 
O'Brien's Star, Oak Hill Quickstep, and Yankee Reel.)

-Chris Page
San Diego




On Thu, Nov 29, 2012 at 7:19 PM, Michael Fuerst  wrote:

If you had to choose one or two or at most  three  ... 
>
>

Re: [Callers] What is the best contra dance(s) ever written?

[Dale Wilson]

Jonathan, you left out

18 The first time you danced it, you must have been dancing with your
favorite partner to music by your favorite band with a world class caller.


And slightly more seriously.

I don't want to start religious war but I have always wondered about A
Chorus Jig.  I just don't see why anyone likes it other than those who
cherish it as a relic of a bygone era.   The few times I have danced it my
primary impression was that the inactive couples stood still for the entire
dance -- offering admiration an occasional helping hand to the actives, and
even the actives spent a great deal of time walking up and down the set.
What am I missing?  Why do people like it?

Dale





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> Callers mailing list
> call...@sharedweight.net
> http://www.sharedweight.net/**mailman/listinfo/callers
>



-- 
*So if you knew what was broken...how long would it take you to fix it?*

Re: [Callers] What is the best contra dance(s) ever written?

[Jonathan Sivier]

On 11/30/2012 3:06 PM, Kalia Kliban wrote:

It's hard to single out any particular dance since so much depends on
the music and the partners.  I could have a massively peak dance
experience doing a completely generic dance if my partner and I were
really in tune with each other and the room and if the band was cooking.
  Likewise, the best dance in the world wouldn't be able to make up for
a partner or line who weren't getting it, or a band that was struggling.


   So far this has been a list of favorites, and they have all been 
great dances.  However Michael asked for the name of the BEST DANCE EVER 
WRITTEN, not our personal favorites.  While I don't have a candidate 
dance to put forward at this time, I do think I can list some criteria 
which could be used to judge the dance.  Here is my list of requirements.


1. It must be smooth with great flow.
2. It must be bouncy and energetic with lots of balances.
3. It must have at least 3 swings (partner, neighbor and shadow).
4. It must have several gypsy figures.
5. It must be an equal dance.
6. It must give the actives a chance to shine, while the 2's appreciate 
them.
7. It must have all the usual glossary figures; stars, circles, 
allemandes, do-si-do's, etc.

8. It must have a ladies chain.
9. It must have a gents chain.
10. It must have contra corners.
11. It must have a hey.
12. It must have 4 Petronella balance and turn figures.
13. It must not require more than one walk-through, even for absolute 
beginners with no experience at all.
14. The caller must be able to drop out after no more than 3 times 
through the dance with no effect on the set.
15. It must work equally well with reels, jigs, hornpipes, slip jigs, or 
any other tune the band decides to play, including crooked tunes.

16. It must be traditional, with lots of historical significance.
17. It must be modern, with all the latest bells and whistles.

   That's all I can think of at the moment.  I'm sure others will have 
additional requirements.  As I say I can't think of one offhand that 
fulfills these needs, but I look forward to dancing it at the next dance 
I go to.


Jonathan

P.S.  ;-)

-
Jonathan Sivier
Caller of Contra, 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!

Re: [Callers] What is the best contra dance(s) ever written?

[Chris Page]

A lot of it is very personal -- what you were exposed to, what was your
original "tradition," whether that started in 1958 or 2009.

There's also context. Favorite for me as a dancer is a bit different than
favorite for me as a caller.

My favorite is probably 333, with a B2 that varies from year to year.
(Right now it's chain, star left.)

A couple years ago I wrote a longer list of favorites here:
http://chrispagecontra.awardspace.us/choreography/index.htm

If I were updating the list, I'd delete one or two, and add several. (At
least Quick Spin, Bicoastal Contra, Fatal Attraction, Contra Primer, Heart
of Glass, O'Brien's Star, Oak Hill Quickstep, and Yankee Reel.)

-Chris Page
San Diego


On Thu, Nov 29, 2012 at 7:19 PM, Michael Fuerst wrote:

> If you had to choose one or two or at most  three  ...
>
>

Re: [Callers] Right & Left Through

[Kalia Kliban]

On 11/30/2012 1:38 PM, John Sweeney wrote:

Kalia said, "a right and left through over and back (4 changes of rights

and lefts for you English dancers)".

Q1: Why for English dancers?  Dancers in England do R&L Throughs, and I
am pretty sure that ECD dancers in the USA do them as well.

Q2: "Four changes" does NOT (to the best of my knowledge) have any
courtesy turns in it, whereas wherever I have danced in the UK or the
USA (extensively in both countries) R&L Throughs DO.  How do you do a
R&L Through?


Ah, right.  When I teach this dance for contra dancers, I use a right 
and left through, with, as you mentioned, a side-by-side turn rather 
than a courtesy turn.  For English dancers (which is to say, dancers 
used to English country dances, rather than dancers from England, though 
the two aren't mutually exclusive) I call it as 4 changes of rights and 
lefts.  Sorry.  I should have been clearer about that.



Q4: Does anyone know how a R&L Through was done, and with what styling,
back when this dance was written?


David Smukler says, in "Cracking Chestnuts" which is my source for the 
dance, that "When the dance was first published in the early 19th 
century, rights and lefts would have resembled "four changes" in an 
English country dance, or a "square through" in American square dancing."


The source for British Sorrow is either the "Otsego" manuscript (1808) 
or "Saltator's" manuscript (1807), according to Ralph Page.


Kalia Kliban

Re: [Callers] Fw: What is the best contra dance(s) ever written?

[Michael Fuerst]

Mac:

DuQuoin Races would be in my top five or ten, but certainly not the top one, 
probably because the experience of dancing it varies with the music more than 
other dances..

Du Quoin Races, Becket  by Orace Johnson (1991)

A1:  Balance ring, pass through to an ocean wave
     Balance again, allemande right 3/4 to form long waves (men facing out, 
women in)
A2:  Balance, women cross set to where partner is standing as men turn into the 
place abandoned
       by their partner, to form new long waves with the women facing out and 
the men in.
      Balance, “rotate” again (men walking across set, women looping around to 
the right)
B1- Swing partner on the side (the same side you started on)
    Circle left halfway, roll away with a half sashay to trade places with 
neighbors (across set)
B2- Circle left halfway, roll away with a half sashay to trade places with 
partners (along set)
    Circle left halfway, and shift left along the set to face new neighbors
 
Michael Fuerst      802 N Broadway      Urbana IL 61801   217-239-5844


 From: Richard Mckeever 
To: Michael Fuerst ; Caller's discussion list 
 
Sent: Friday, November 30, 2012 11:02 AM
Subject: Re: [Callers] Fw:  What is the best contra dance(s) ever written?
 

Michael - 

I think you would agree that Du Quion Races would need to be on this list

Mac

Re: [Callers] What is the best contra dance(s) ever written?

[Michael Fuerst]

Hello Kalia 
Best dance experience of course depends upon both partner and music, but a best 
dance transcends both partner and music
 
Michael Fuerst      802 N Broadway      Urbana IL 61801   217-239-5844



 From: Kalia Kliban 
To: Caller's discussion list  
Sent: Friday, November 30, 2012 3:06 PM
Subject: Re: [Callers] What is the best contra dance(s) ever written?
 
It's hard to single out any particular dance since so much depends on the music 
and the partners.  I could have a massively peak dance experience doing a 
completely generic dance if my partner and I were really in tune with each 
other and the room and if the band was cooking.  Likewise, the best dance in 
the world wouldn't be able to make up for a partner or line who weren't getting 
it, or a band that was struggling.

That being said, I'm paying a lot of attention to the dances folks are singling 
out here.  It's always good to hear recommendations.

So I can't speak to its objective perfection or lack thereof, but I had a 
fantastic time with Joel's In The Kitchen (Sue Rosen) at the Petaluma contra a 
few weeks back.  KGB was playing and I had an excellent partner (thanks, Dan!). 
 So that one's a standout for me at the moment.

Kalia
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Re: [Callers] Fw: What is the best contra dance(s) ever written?

[Roger Hayes]

Mention must be made of "Wizards Walk".

(Was it written, or found?)

- Roger Hayes

Re: [Callers] Right & Left Through

[John Sweeney]

Kalia said, "a right and left through over and back (4 changes of rights

and lefts for you English dancers)".

Q1: Why for English dancers?  Dancers in England do R&L Throughs, and I
am pretty sure that ECD dancers in the USA do them as well.

Q2: "Four changes" does NOT (to the best of my knowledge) have any
courtesy turns in it, whereas wherever I have danced in the UK or the
USA (extensively in both countries) R&L Throughs DO.  How do you do a
R&L Through?

Q3: When the dance is proper like this, then the two men are courtesy
turning each other - is that what makes the difference?  In my
experience the men turn shoulder to shoulder, possibly with arms around
each other, but they still do a turn which wouldn't happen in "four
changes". (And the ladies likewise of course.)

Q4: Does anyone know how a R&L Through was done, and with what styling,
back when this dance was written?

Thanks.

Happy dancing,
John

John Sweeney, Dancer, England j...@modernjive.com 01233 625 362
http://www.contrafusion.co.uk for Dancing in Kent

Re: [Callers] What is the best contra dance(s) ever written?

[Kalia Kliban]

On 11/30/2012 10:04 AM, Robert Golder wrote:

Traditional
1) Mony Musk
2) British Sorrow


I'm glad to hear somebody mention British Sorrow.  To my mind this is 
one of the best dances ever for introducing folks to triple minor 
formation.  And it's equally appropriate for English and contra dancers. 
 It also has that lovely star-to-star transition in the A2, a circle 
right, and a right and left through over and back (4 changes of rights 
and lefts for you English dancers).  It's a great dance for teaching 
basic skills and timing.


Kalia Kliban

Re: [Callers] What is the best contra dance(s) ever written?

[Kalia Kliban]

It's hard to single out any particular dance since so much depends on 
the music and the partners.  I could have a massively peak dance 
experience doing a completely generic dance if my partner and I were 
really in tune with each other and the room and if the band was cooking. 
 Likewise, the best dance in the world wouldn't be able to make up for 
a partner or line who weren't getting it, or a band that was struggling.


That being said, I'm paying a lot of attention to the dances folks are 
singling out here.  It's always good to hear recommendations.


So I can't speak to its objective perfection or lack thereof, but I had 
a fantastic time with Joel's In The Kitchen (Sue Rosen) at the Petaluma 
contra a few weeks back.  KGB was playing and I had an excellent partner 
(thanks, Dan!).  So that one's a standout for me at the moment.


Kalia

Re: [Callers] What is the best contra dance(s) ever written?

[Bree Kalb]

3 that I am thrilled to dance and also get lots of thanks from dancers when 
I call them are:


Chorus Jig
There Is No Way to Peace; Peace is the Way (Eric Hoffman)
The Devil's Backbone (William Watson)

Although they are not easy/simple dances, they all work well the 2nd half of 
the night here in Carrboro, NC IF it's not as crowded as our dances usually 
are.


I could name at least 1/2 dozen others, but will refrain.


-Original Message- 
From: Michael Fuerst

Sent: Thursday, November 29, 2012 10:19 PM
To: Caller's discussion list
Subject: [Callers] What is the best contra dance(s) ever written?

If you had to choose one or two or at most  three  ...

Michael Fuerst  802 N Broadway  Urbana IL 61801   217-239-5844
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Re: [Callers] What is the best contra dance(s) ever written?

[Robert Golder]

Traditional
1) Mony Musk
2) British Sorrow

Contemporary (or my idea of "contemporary")
1) King of the Keyboard, Ted Sannella, 1989
2) Flirtation Reel, Tony Parkes, 1985

Re: [Callers] Fw: What is the best contra dance(s) ever written?

[Paul Wilde]

Kalia,

In Bowl of Cherries, the original calls for the cross trail without hands,
which tends to make it part of the amazingly smooth & flowing dance it is.
 Hands help if you have beginners in the line.  You can teach it with
hands, and then point out that the actual dance doesn't use hands at this
point.  So many choices.

Men can gypsy, too (instead of Women), because the other partner is where
the swing takes place.  OR, one person from each couple gypsy.  Last time
through, EVERYBODY gypsy :-)  (My apologies to Sue).

warmest regards,
Paul

Re: [Callers] Fw: What is the best contra dance(s) ever written?

[Kalia Kliban]

On 11/30/2012 8:46 AM, Michael Fuerst wrote:

Bowl of Cherries,   Improper  by Sue Rosen
A1   N Dsd & swing
A2   Promenade across, W ch to P
B1   W gypsy each other, then sw P
B2   Circle left, Cross Trails (pass thru across, pass N by left shoulder to 
face new N)


I have a question about cross trails.  Is it invariably done without 
hands, done with hands, or is the use (or not) of hands a regional thing 
like it is in Right and Left Through?


Kalia

Re: [Callers] Fw: What is the best contra dance(s) ever written?

[Paul Wilde]

To Have & To Hold  by Don Flaherty  Becket R (CCW)

A-1  LL F&B
   Ladies Chain R Diagonal (those who can)
A-2  Pass Thru (across set) & Swing

B-1  Circle L 1X
   Gents Al R 1X
B-2  Gent 2 Al L 1/2,  Gent 3 Al R 1/2
   P-S

Original has the 3 Allemandes happening all in second half of B-1.  It's
your choice, really (tempo, crowd, etc.)

Notes:  after Circle L, I have men step into long wavy line in center
(teaching purposes only).  Identify Gent 1 in R hand, Gent 2 in L hand, and
P is on L Diagonal (gents destination).  Drop L hands and start Al R.

Double progression (thank you David Smuckler & Chris Weiler for getting me
straight on this), so men at ends need to be ready to do 2 of the 3
Allemandes.  Lady will be where P needs to get to for Swing, in case of end
of line confusion.

Was informed that at the end of the Circle, Gents need to give Ladies room
(to get out of the way) before Gents go into Allemande "frenzy".

I like to Becket R (in spite of some council saying it doesn't matter) to
help give dancers a little directional aid, as the dance  *progresses to
the R*.

Enjoy,
Paul

PS  If I am ever at a dance you are calling, I would be greatly
appreciative to have this one called.
PPS  Thank you ever so much, Donna Hunt, for your wonderful generosity in
handing this to me in my early days.  I still love it.

Re: [Callers] Fw: What is the best contra dance(s) ever written?

[Richard Mckeever]

Michael - 

I think you would agree that Du Quion Races would need to be on this list

Mac





 From: Michael Fuerst 
To: Caller's discussion list  
Sent: Friday, November 30, 2012 10:46 AM
Subject: [Callers] Fw:  What is the best contra dance(s) ever written?
 


Concerning Paul's suggestions, what is  the sequence for Paul's suggestion "To 
Have & To Hold" ?



I found the sequences for the other two:

The second time around, Improper by Jim Kitch 
A1   N gypsy & sw
A2   M almd left  1 1/2;   1/2 hey
B1.  P gyspy & sw
B2. Long lines;  Cir left 3/4, pass thru
Bowl of Cherries,   Improper  by Sue Rosen
A1   N Dsd & swing
A2   Promenade across, W ch to P
B1   W gypsy each other, then sw P
B2   Circle left, Cross Trails (pass thru across, pass N by left shoulder to 
face new N)
 
Michael Fuerst      802 N Broadway      Urbana IL 61801   217-239-5844



From: Paul Wilde 
To: Michael Fuerst ; Caller's discussion list 
 
Sent: Friday, November 30, 2012 1:19 AM
Subject: Re: [Callers] What is the best contra dance(s) ever written?


Hey all,

Three of my favorite contemporary dances are:

To Have & to Hold  by Don Flaherty
The Second Time Around (apologies, author temporarily slipped my mind)
Bowl of Cherries  by Sue Rosen

Not intentional, but there isn't a balance in one of them.

warmest regards,
Paul Wilde
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[Callers] Fw: What is the best contra dance(s) ever written?

[Michael Fuerst]

Concerning Paul's suggestions, what is  the sequence for Paul's suggestion "To 
Have & To Hold" ?



I found the sequences for the other two:

The second time around, Improper by Jim Kitch 
A1   N gypsy & sw
A2   M almd left  1 1/2;   1/2 hey
B1.  P gyspy & sw
B2. Long lines;  Cir left 3/4, pass thru
Bowl of Cherries,   Improper  by Sue Rosen
A1   N Dsd & swing
A2   Promenade across, W ch to P
B1   W gypsy each other, then sw P
B2   Circle left, Cross Trails (pass thru across, pass N by left shoulder to 
face new N)
 
Michael Fuerst      802 N Broadway      Urbana IL 61801   217-239-5844



 From: Paul Wilde 
To: Michael Fuerst ; Caller's discussion list 
 
Sent: Friday, November 30, 2012 1:19 AM
Subject: Re: [Callers] What is the best contra dance(s) ever written?
 

Hey all,

Three of my favorite contemporary dances are:

To Have & to Hold  by Don Flaherty
The Second Time Around (apologies, author temporarily slipped my mind)
Bowl of Cherries  by Sue Rosen

Not intentional, but there isn't a balance in one of them.

warmest regards,
Paul Wilde

Re: [Callers] What is the best contra dance(s) ever written?

[JohnFreem]

My all-around favorite to begin any dance has long been Don Armstrong's 
"Broken Sixpence". It moves a lot, introduces dancers to each other, is easy 
for beginners to comprehend, and would look familiar to square dancers. It's 
all about the fun!

John B. Freeman, SFTPOCTJ

Re: [Callers] What is the best contra dance(s) ever written?

[Joyce Miller]

My votes:

among "modern" contras: 3-33-33 by Steve Zakon-Anderson

of the chestnuts: Chorus Jig

Joyce Miller
Grass Valley, CA

On Nov 29, 2012, at 11:19 PM, Paul Wilde  wrote:

> Hey all,
> 
> Three of my favorite contemporary dances are:
> 
> To Have & to Hold  by Don Flaherty
> The Second Time Around (apologies, author temporarily slipped my mind)
> Bowl of Cherries  by Sue Rosen
> 
> Not intentional, but there isn't a balance in one of them.
> 
> warmest regards,
> Paul Wilde
> ___
> Callers mailing list
> call...@sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers

Re: [Callers] What is the best contra dance(s) ever written?

[Richard Mckeever]

I often feel the best one ever written is the one I am currently dancing

Mac





 From: Greg McKenzie 
To: Caller's discussion list  
Sent: Friday, November 30, 2012 8:49 AM
Subject: Re: [Callers] What is the best contra dance(s) ever written?
 
Alan asked:

"Best" for what purpose?
>

Thank you Alan.  This is the real question.  What is the purpose?

Maybe that is the only real question.

- Greg McKenzie
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Re: [Callers] What is the best contra dance(s) ever written?

[Greg McKenzie]

Alan asked:

"Best" for what purpose?
>

Thank you Alan.  This is the real question.  What is the purpose?

Maybe that is the only real question.

- Greg McKenzie

Re: [Callers] What is the best contra dance(s) ever written?

[Paul Wilde]

Hey all,

Three of my favorite contemporary dances are:

To Have & to Hold  by Don Flaherty
The Second Time Around (apologies, author temporarily slipped my mind)
Bowl of Cherries  by Sue Rosen

Not intentional, but there isn't a balance in one of them.

warmest regards,
Paul Wilde