Re: [Callers] Looking for "fun" dances

[Ann Fallon via Callers]

Do you know "Double Double This This"?  It can be done as a mixer or keeper.  
Concentric circles, partners facing each other 
Partners tap 2 fists together at chin's height 2 times: "Double, 
double"Partners tap 2 hands together, palms together 2 times: "This, 
this"Partners tap 2 fists together 2 times: "Double, double"Partners tap 2 
hands back to back 2 times: "That, that"Partners tap fists 1 time, and open 
palms 1 time: "Double, this"Partners tap fists 1 time, and backs of hands 1 
time: "Double, that'Partners tap 2 fists together 2 times: "Double, 
double"Partners tap open palms together 1 time and backs of hands 1 time: 
"This, That!"Repeat the above with same partner (or shift to the next person in 
the circle if making it a mixer)B Right hand allemande your partner;Do si do 
partnerLeft hand allemande partnerDo si do partner
At this point you can throw in an elbow swing or a promenade.  I've done it 
with ages 9-10, never tried it with younger.  



-Original Message-
From: Charles Abell via Callers 
To: Callers@Lists.Sharedweight.net ; John 
Sweeney 
Sent: Wed, May 15, 2019 8:51 am
Subject: Re: [Callers] Looking for "fun" dances

 #yiv2122591051 P {margin-top:0;margin-bottom:0;}I'm sure there is already a 
thread on this somewhere, but I'm wondering what are your favorite dances for 
those in the 4-10 year old range. Specifically, dances that are not mixers 
since many younger dancers prefer to stay with a particular partner the whole 
time. I have a number of good ones already (Alabama Gal, Haste to the Wedding, 
La Bastringue, etc), but I'd like to expand my existing collection of dances 
geared towards "little ones".
Let 'em rip!

From: Callers  on behalf of John 
Sweeney via Callers 
Sent: Tuesday, February 13, 2018 9:58 AM
To: callers@lists.sharedweight.net
Subject: Re: [Callers] Looking for "fun" dances Since so many people enjoy the 
contrary circling in The Wheel, you might
enjoy this one as well:

Suicide Square
http://www.ceilidhcalling.co.uk/danceviewpage.php?view=1=9

It is extremely chaotic!  You can reduce the chaos slightly by getting the
band to stop randomly during the circling, at which point everyone grabs a
partner; the band waits a few seconds while everyone finds a partner and
decides whether they are Heads or Sides, then gives two notes and starts the
next Heads Gallop.

I modify it to give a bit more recovery time:

Start in a big square around the room
A1: Head couples take partner in a ballroom hold and gallop eight steps
into the centre and back
A2: Sides gallop eight steps into the centre and back
B1: All the men form an outer circle facing in, while the ladies form an
inner circle facing out. All circle left then find a new partner
B2: Partner Swing - stop early enough to decide whether you are now
Heads or Sides - Heads get ready to gallop

There is also The Muffin Man Jig:
http://www.ceilidhcalling.co.uk/danceviewpage.php?view=1=11

    Happy dancing,  
   John 
    
John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802
940 574 
http://www.modernjive.com for Modern Jive Events & DVDs
http://www.contrafusion.co.uk for Dancing in Kent  


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Re: [Callers] Building to Contra Corners

[Ann Fallon via Callers]

Hi, Hannah
I like your idea of teaching a proper dance earlier in your program.  If you 
are going to choose a contra corners dance in which the active couple has to do 
a half-figure eight to get proper, you might want to teach the half-figure 
eight in an earlier dance, too.
Here's a triplet which I also find useful for teaching/learning contra corners. 
 I am the author, but don't mean to be self-promoting here.
Microchasmic Triplet
Proper Formation, all facing partnerThe middle couple is the "active" couple, 
so there is no need to get them into position before starting the contra 
corners.
A1    Forward and Back, DSD PartnerA2    Middle couple turn contra cornersB1    
ALL balance and swing Partner, end facing upB2    Top couple lead a cast off to 
the bottom.   When they reach the bottom they make a two-handed arch and the 
other two couples go below them and come through the arch.
 It's a peel the banana, come through the arch figure as in the Virginia Reel. 
Encourage the dancers to come to the top of their set before casting off to the 
bottom, or the sets will move too far down the hall. 
Here's a link to a video.  
Good luck!
Ann


-Original Message-
From: Hannah Chamb via Callers 
To: callers 
Sent: Wed, Feb 20, 2019 4:38 pm
Subject: [Callers] Building to Contra Corners

Hi all, first time posting here!
I'm new-ish to calling and I've yet to call contra corners. I think I'm up for 
the challenge and could teach the figure itself, but I still think it's a 
tricky one for dancers in all but the most experienced crowds. A few callers I 
know have advised me to build up to a challenging figure like contra corners 
over the course of an evening by calling dances that echo the skills the 
dancers will need later. 
With that in mind, what dances would you call early in the evening in a 
mixed-level group that would help "teach" dancers the skills they need to be 
successful at contra corners? 
I've been thinking I should include an easy proper-ish dance, and maybe a dance 
with allemandes outside the minor set... anything else come to mind?
Thanks in advance, Hannah ChamberlainWestbrook, 
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Re: [Callers] Dance ID and question

[Ann Fallon via Callers]

Here's one that I "wrote", not sure if it's original or not, but it has the 
mirror A and B parts:


Is this a New Dance?   DI
A1LLFB
Circle L .75, to face P up and down
A2DSD P, Sw P
or B & S Partner,
(My choice depends  on whether there are many new dancers for whom a 
16-count balance and swing might be too much)
B1LLFB
Circle RIGHT .75, to face N up and down
B2DSD N, Sw N  or B & S N



-Original Message-
From: Mac Mckeever via Callers 
To: callers ; Richard Hart 

Sent: Sat, Jul 28, 2018 10:27 am
Subject: Re: [Callers] Dance ID and question





That looks like 'Will You Marry Me' by Seth Tepfer


Other ones that come to mind


Hey in the barn by Chart(?) Gutherie
Tinkie Winkie by Ron Buchannon


I am sure there are several others


Mac McKeever





On Saturday, July 28, 2018, 9:16:26 AM CDT, Richard Hart 
via Callers  wrote:







Two questions. First I collected the following dance long ago. Does anyone know 
the author and title?



Becket formation.



A1: Circle L 3/4

   Flatten circle to wavy line or 4, woman in middle.

   Balance wave. W alla main L 1 x.



A2: N Bal & Swing.



B1: Circle L 3/4

Flatten circle to wavy line of 4, women in middle.

Balance wave. W alla main L 1 x.



B2: P Bal & Swing.

Slide L to progress.



In this dance, the A and B parts are essentially mirror image repetitions of 
each other. Do you know of any other dances where the A and B parts repeat in a 
similar way? The only other dance that I know of that does this is Chart 
Guthrie’s Hey in the Barn.



Thanks, Rich Hart.



Sent from my iPhone

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Re: [Callers] Quiet (was: Super easy dances - do they exist?)

[Ann Fallon via Callers]

Yes, they do listen better when they are seated.  So do large groups of 
exuberant young adult square dancers! 

 

Last year in one of my residencies, when I was having difficulty getting the 
attention of the students one little girl came up to me and said “Say Tootsie 
Roll Lollipop”.  I did, and there was a loud response, “We were talking, now 
we’ll stop”.  This worked very well for short periods.  I had to do it many 
times, but it was part of the culture of that school.  So if you can get a 
handle on what works in that school it would be helpful. 

 

Ann 

 

From: Callers [mailto:callers-boun...@lists.sharedweight.net] On Behalf Of Sue 
C. Hulsether via Callers
Sent: Monday, June 19, 2017 2:39 PM
To: Caller's discussion list 
Subject: Re: [Callers] Quiet (was: Super easy dances - do they exist?)

 

I worked with a Physical Education teacher once who said “Here’s the deal…”  
and all the kids shouted back, “What’s the deal?”.

 

Also —  someone gave me this gem early on in my teaching career:  They listen 
better if they are sitting down.

I use it alot:  “Everybody sit down and face the __ (stage/center of 
gym/wherever you are).”  Quick demo, stand up and do that, sit back down.  

 

sch

 

 

Sue Hulsether
shulset...@mac.com  

www.suehulsether.com  
608-632-1267  Cell
608-629-6250  Home
P.O. Box 363
Viroqua, WI 54665





 

On Jun 18, 2017, at 11:55 PM, Linda S. Mrosko via Callers 
 > wrote:

 

Ooooh, that looks like a good one.  I'll add it to my list of potential methods.

I also thought of using a chant...like, "If I say Quiet, you say Right Now -- 
Quiet -- Right Now" 

Can someone think of a better chant?

 

On Sun, Jun 18, 2017 at 11:12 PM, Jacob or Nancy Bloom  > wrote:

It isn't necessary to hire a person who can do a loud whistle - you can buy a 
loud whistle for a few dollars, and hang it from a lanyard.

 

Here's another technique for calling for quiet which I have seen work, although 
I haven't used it myself.

 

"If you can hear my voice clap once.  If you can hear my voice clap 
twice.  If you can hear my voice clap three times.   
... "

 

The few people who hear you the first time clap, and that attracts the 
attention of people near them, so more people hear you calling for them to clap 
twice, which attracts more attention.  Repeat until you have the attention of 
the room.  It won't solve the problem of keeping them quiet, but it doesn't 
hurt to have more than one technique to draw on.

 

And it's easier on the ears than that loud whistle.

 

Jacob

 

 

On Sat, Jun 17, 2017 at 12:50 PM, Linda S. Mrosko via Callers 
 > wrote:

Oh how I wish that would work.  I've tried that technique over the years.  They 
just ignore me.  Shushing works, but I have to repeat the sh into the mic 
lots of times.  A big part of the challenge is the acoustics -- it's worse than 
being in a gym.  For instance, I get them quiet and then teach them the first 
move -- there is a roar -- I get them quiet again -- teach the next move -- 
there is a roar -- I get them quiet again -- teach the third move -- there is a 
roar -- ad nauseam.  The musicians crank up their music to the max for the 
dance, but even I can barely hear it over the din from the dancers.  Short of 
hiring a person who can do that loud whistle, I'm at a loss.  I've sort of 
grown used to it, but my temper is short and I really have to watch myself.

 

On Sat, Jun 17, 2017 at 7:42 AM, Jeremy Child  > wrote:

To quiet a room I use the Girl Guides technique:

 

I raise my hand, and anyone who sees me knows to stop talking and raise their 
hand too.  More notice this (other peoples hands up and slightly diminished 
volume).  This snowballs quite quickly as peer pressure kicks in, and is a very 
effective technique.  You have to teach it to them first, of course, but they 
pick it up quite quickly.

 

Jeremy

www.barndancecaller.net  

 

On 16 June 2017 at 20:10, Linda S. Mrosko via Callers 
 > wrote:

I lead an annual dance for 200+ 18-year olds in a hall with terrible acoustics. 
 Been doing it for 15+ years.  If they all whispered at the same time, it would 
sound like a roar in that room.  I can only do the most basic stuff most of the 
time...simple circles, longways with lots of sashaying, an easy folk dance.  
But I experiment every now and then, which lead me to come up with the 
following dances which, for the most part, worked.  Am I stealing them from 
somebody?  (I like to give credit where credit is due.)

 

They call their dance "Swat the Flea".  I searched 

[Callers] Anyone know this dance?

[Ann Fallon via Callers]

I learned this dance from George Marshall at the Charlottesville, VA, Fall
Festival, 2014.  Can someone tell me the name of the dance and its author?
Thanks.  

Improper Contra

A1  Half-pousette around Neighbors, women push
Swing Neighbor 

A2  Men allemande L 1 1/2
Meet P and pass R for half a hey

B1  Gypsy and swing P

B2  Women chain
Circle RIGHT into half-pousette 



> 

Re: [Callers] Dance length/dances per evening

[Ann Fallon via Callers]

Very interesting discussion.  

 

One thing I try to pay attention to is the music and whether the band will be 
playing two-tune or three-tune medleys.  If I think the dance will not run for 
a long time (short hall, time running out, etc.) I’ll let the band know so they 
can make their changes sooner rather than later.  I always feel badly if I have 
to cut the dance short and the band hasn’t gotten a chance to play the last 
tune at least four times through.  If I have to make an “emergency” stop I 
always try to apologize to the band for cutting them short.  If I lose track of 
the changes I’ll ask where they are.  

 

Ann Fallon

Annapolis, Maryland

From: Callers [mailto:callers-boun...@lists.sharedweight.net] On Behalf Of Ryan 
Smith via Callers
Sent: Monday, April 27, 2015 10:25 AM
Cc: callers@lists.sharedweight.net
Subject: Re: [Callers] Dance length/dances per evening

 

"If you decide on a number of times through and actually count, you can stick 
to that pretty well, but if you decide a running time, it is much more 
difficult to stay on track of the time and warn the band three times before you 
want to end, etc."

 

I couldn't disagree more.  I have always used a stopwatch to keep track of how 
long I'm running the dance, and since one time through the dance is close 
enough to 30 seconds as to make it not matter, I signal the band 3 more times 
at whichever B2 is closest to one and a half minutes (usually 6.5 minutes since 
we started) from my target time (usually 8 minutes).  I don't count times 
through or use marker couples or anything like that because I don't need the 
distractions.  If I were counting, I would definitely have a moment where some 
couple needed my help and I'd be figuring out what calls would best put them 
back on the right track and forget whether I was on 5 or 7, and then I'd 
probably end up running the dance too long thinking I was on 16 times through, 
when it was really 20.

 

If counting works for you, that's great.  For people like me, having a target 
length is much simpler.