Re: [Callers] Caller Expectations and Dancer Performance
Thank you John, Barb, and Bree for your ideas. These are all helpful and I would love to hear more thoughts on words used at dances. I try to remember that the first option is always to say nothing at all. Instead of telling them about an upcoming instruction just give them the prompt. Assume they are listening. Barb wrote: > I have also said 'this is tricky' to get the attention of experienced > dancers who talk during the walk through. > There are different ways to gain and hold attention. I know that some callers talk a lot to hold attention. Some repeat instructions several times. Others say the same thing three different ways. My approach is to talk as little as possible. Other than prompts the only other words I use are short one or two word phrases like: "Good!", "Yes!", "Nice!", "Excellent!", "Very good!" - Greg McKenzie
Re: [Callers] Caller Expectations and Dancer Performance
Barb: I love those two phrases. Sometimes I say: "Here comes a really cool move." I have also said 'this is tricky' to get the attention of experienced dancers who talk during the walk through. Although I know better I hadn't thought clearly about the effect on newer dancers. I'm pretty sure that some version of what you offered here will be part of the next dance I call. Thanks! Bree Kalb Carrboro, NC -Original Message- From: barb kirchner Sent: Monday, July 01, 2013 11:19 AM To: Caller's discussion list Subject: Re: [Callers] Caller Expectations and Dancer Performance instead of "this is a little tricky", i go with "this LOOKS a little bit different, but you'll be surprised how easy it is!" or "here comes the fun part!"
Re: [Callers] Timing & Force
These differing views of swing posture remind me of the old question of whether galloping horses ever had all four legs off the ground at once--a question settled by the innovative photographer Muybridge. I wonder if anyone has made slo-mo video of experienced couples swinging. It would be interesting to check our impressions and intuitions with some video that we can view and analyze slowly. My impression is that expert contra dance swingers have their weight over their own feet while swinging and are not in a V at all. But I'm willing to find out I'm completely wrong! Richard On Jul 1, 2013, at 2:55 PM, jean francis wrote: > Must disagree about leaning backwards (resisting each other, leaning away > within reason) and swing/allemande speed. The physical shapes that spin best > are cones (children's tops), small at the bottom, wider at the top. Couple > turns and pivots (in other social dance forms like waltz), have the gent > stepping almost between the woman's legs and have the woman resisting the guy > by dancing further back into his right hand than usual...this sets up the > 'wider at the top, narrow at the bottom" shape conducive to faster smoother > spins. Again, I said "within reason"no leaning away from the waist (the > optimal form is a V not a Y). The inherent joy of a good "V" with strong > resistance (weight-giving) is what makes the buzz step swing so much more fun > than the 'walk around' swing of modern squares > > > > From: John Sweeney > To: call...@sharedweight.net > Sent: Sunday, June 30, 2013 3:33 AM > Subject: Re: [Callers] Timing & Force > > > Laurie said, "Also, I have talked with many who have developed, as I have, a > shoulder/neck problem. This seems to come from inexperienced dancers or > assertive regular dancers (not terribly good dancers) when they FORCE a > turn, especially at an incorrect time. > > "I'd love to hear from someone how to describe to a dancer who wants to > twirl what the correct timing is - can someone give me a good way to put > this out there?" > > Hi Laurie, > Unless you are running a workshop that let's you go into more > detail, then the best way is probably to drip-feed hints and tips as you > teach the dances. > > = = = = = = = = = = > > Regarding timing, I emphasise that, while you can do what you want > in your own time and space, on beat #1 of the next phrase you and your > partner should be in the right place and facing the right way for the next > move. > > So, when there is a change of direction, don't think of a move as > being 8 beats, think of it as being 6 beats plus 2 beats to transition to > the next move. This applies to, for example: > > Down the hall & turn alone > Circle left/right > Star right/left > A simple flourish on the end of a swing such as an inside or outside turn > For the inexperienced: opening out from a swing into a line or circle > > If the dancers are all doing the basic transitions well on beats 7 & > 8 then just remind them occasionally that a twirl on the end of a swing has > to happen on beats 7 & 8 as well. Pick a dance where the transition into > the next move is demanding and remind them to finish their flourishes on > time. > > Make sure the twirler knows that they are responsible for the > twirlee's timing and positioning as well as their own, and that they should > plan ahead. > > = = = = = = = = = = > > Regarding force, these are some of the points I make: > (Note: although contra dancing is not about lead and follow, a flourish such > as a twirl out of a swing often is - so I use the terms leader and follower > purely as indicators of who is leading and following in a flourish.) > > Rule #1: Everyone is entitled to get on the dance floor and have fun without > getting hurt. > > "Dancing is the vertical expression of horizontal desire", so RELAX! > > A strong lead is about clarity, not strength. > > (As an example, I often put my hand in an allemande position and get someone > to blow on it - as their breath hits my hand I do a complete spin. People > who want to spin don't usually need any force from their partner - they are > quite capable of spinning themselves! A strong platform can be useful to > push off, but if you try to push someone into a spin you are more likely to > push them off balance then to help them.) > > When you are following, remember (as one excellent teacher used to say) "It > ain't my job to drag your ass across the floor!", so, when someone leads you > into a twirl or any other flourish, send the message straight from your > fingers to your toes and follow the lead - don't fight back! > > Always start with ZERO tension and build up to what you need to execute the > move. > > You aren't fighting each other - you are only fighting centrifugal force. > > Unlike arm-wrestling, if your hand moves nearer to your body in an > allemande, YOU LOSE! > > It's dancing not wrestling! > >
Re: [Callers] Timing & Force
Must disagree about leaning backwards (resisting each other, leaning away within reason) and swing/allemande speed. The physical shapes that spin best are cones (children's tops), small at the bottom, wider at the top. Couple turns and pivots (in other social dance forms like waltz), have the gent stepping almost between the woman's legs and have the woman resisting the guy by dancing further back into his right hand than usual...this sets up the 'wider at the top, narrow at the bottom" shape conducive to faster smoother spins. Again, I said "within reason"no leaning away from the waist (the optimal form is a V not a Y). The inherent joy of a good "V" with strong resistance (weight-giving) is what makes the buzz step swing so much more fun than the 'walk around' swing of modern squares From: John Sweeney To: call...@sharedweight.net Sent: Sunday, June 30, 2013 3:33 AM Subject: Re: [Callers] Timing & Force Laurie said, "Also, I have talked with many who have developed, as I have, a shoulder/neck problem. This seems to come from inexperienced dancers or assertive regular dancers (not terribly good dancers) when they FORCE a turn, especially at an incorrect time. "I'd love to hear from someone how to describe to a dancer who wants to twirl what the correct timing is - can someone give me a good way to put this out there?" Hi Laurie, Unless you are running a workshop that let's you go into more detail, then the best way is probably to drip-feed hints and tips as you teach the dances. = = = = = = = = = = Regarding timing, I emphasise that, while you can do what you want in your own time and space, on beat #1 of the next phrase you and your partner should be in the right place and facing the right way for the next move. So, when there is a change of direction, don't think of a move as being 8 beats, think of it as being 6 beats plus 2 beats to transition to the next move. This applies to, for example: Down the hall & turn alone Circle left/right Star right/left A simple flourish on the end of a swing such as an inside or outside turn For the inexperienced: opening out from a swing into a line or circle If the dancers are all doing the basic transitions well on beats 7 & 8 then just remind them occasionally that a twirl on the end of a swing has to happen on beats 7 & 8 as well. Pick a dance where the transition into the next move is demanding and remind them to finish their flourishes on time. Make sure the twirler knows that they are responsible for the twirlee's timing and positioning as well as their own, and that they should plan ahead. = = = = = = = = = = Regarding force, these are some of the points I make: (Note: although contra dancing is not about lead and follow, a flourish such as a twirl out of a swing often is - so I use the terms leader and follower purely as indicators of who is leading and following in a flourish.) Rule #1: Everyone is entitled to get on the dance floor and have fun without getting hurt. "Dancing is the vertical expression of horizontal desire", so RELAX! A strong lead is about clarity, not strength. (As an example, I often put my hand in an allemande position and get someone to blow on it - as their breath hits my hand I do a complete spin. People who want to spin don't usually need any force from their partner - they are quite capable of spinning themselves! A strong platform can be useful to push off, but if you try to push someone into a spin you are more likely to push them off balance then to help them.) When you are following, remember (as one excellent teacher used to say) "It ain't my job to drag your ass across the floor!", so, when someone leads you into a twirl or any other flourish, send the message straight from your fingers to your toes and follow the lead - don't fight back! Always start with ZERO tension and build up to what you need to execute the move. You aren't fighting each other - you are only fighting centrifugal force. Unlike arm-wrestling, if your hand moves nearer to your body in an allemande, YOU LOSE! It's dancing not wrestling! You are responsible for your own balance. Leaning backwards in swings or allemandes doesn't make you go faster it just makes your partner have to waste their energy holding you up. = = = = = = = = = = Of course, the people you most want to listen to these tips are probably the ones who aren't listening! If I seem a little passionate about this subject please forgive me, but I have had two shoulder operations as a result of dancing, and am hoping not to need another one. Hope that helps! :-) Happy dancing, John John Sweeney, Dancer, England j...@modernjive.com 01233 625 362 http://www.contrafusion.co.uk/for Dancing in Kent ___ Callers mailing list call...@sharedweight.net http://www.sharedweight.net/mailman/listinfo/callers
[Callers] Salute to Betsy Ross
In case you're calling on Thursday
Salute to Betsy Ross
Duple PROPER (because Betsy was proper)
A1 Long lines ("stripes") go forward and back (8); Ones swing in the
center, face down and pick up your 2s (8).
A2 All go down the hall (6), Thread the Needle** (4), come back up the
hall, bend to a hands across RH star (1s are below) (6)
B1 Turn this star once around (8), then with NEXT Ns LH star once around
8), face original Ns on the side (ones are still below the twos)
B2 Dosido this original N once around (8); just the Twos (who are above)
swing in the center (8), and back out PROPER into progressed places, ready
for long stripes/lines F/B.
**Thread the Needle:
Starts facing down. Ones are in the middle with the lady on the right.
Twos are on the outside. Everyone continues to hold hands through the
sequence.
Man 2 makes an arch -- the "eye" of the needle -- and moves across the set
toward woman 2, who leads the "thread" of hand-holding dancers through the
eye. The line unfurls with everyone facing up, with the twos still on the
outside, and the ones on the inside. A demo is often more helpful than a
verbal description.
My profound thanks to Bob Isaac, who looked at the original and said,
"Needs something." He was right, as he so often is.
April Blum
Re: [Callers] Caller Expectations and Dancer Performance
THANKS for bringing up this important teaching technique. the way you phrase something can make ALL the difference. instead of "this is a little tricky", i go with "this LOOKS a little bit different, but you'll be surprised how easy it is!" or "here comes the fun part!" if you ACT like you KNOW they'll just be able to do it, well, that's what they'll do. barb > From: johnfr...@aol.com > Date: Mon, 1 Jul 2013 11:09:28 -0400 > To: call...@sharedweight.net > Subject: Re: [Callers] Caller Expectations and Dancer Performance > > Great stuff, Greg! > > I learned many important things from some of the great callers early in my > career. Larry Edelman taught me to teach about "places, not faces" while > teaching squares. This can also apply to contras. Ted Sanella taught me to > first tell who we were to look for, then what we were to do with them. These > two > tips have proven very helpful when working with all dancers. > > John B. Freeman, SFTPOCTJ > ___ > Callers mailing list > call...@sharedweight.net > http://www.sharedweight.net/mailman/listinfo/callers
Re: [Callers] Caller Expectations and Dancer Performance
Great stuff, Greg! I learned many important things from some of the great callers early in my career. Larry Edelman taught me to teach about "places, not faces" while teaching squares. This can also apply to contras. Ted Sanella taught me to first tell who we were to look for, then what we were to do with them. These two tips have proven very helpful when working with all dancers. John B. Freeman, SFTPOCTJ
[Callers] Caller Expectations and Dancer Performance
I just listened to "RadioLab" on NPR http://www.radiolab.org/ The current show on "Inner Voices" is fascinating and has information about how the expectations of teachers (or callers) can affect performance. The impacts of simple word changes in how a task is described can make a dramatic difference in how people perform that task. The show talks about research on test performance as well as a study involving the performance of psychomotor skills (golf). This research dramatizes how small word choices and attitudes (or framings) by callers could change the competence of many people in the room enough to make the caller's job much easier or more difficult. Check it out. The segment about the specific research begins at about 11 minutes and 15 seconds in. But the entire show is good. Makes me think about every time I have said: "Now this part of the dance is a little tricky." - Greg McKenzie West Coast, USA
