Re: [Callers] New Dance to Share
ERROR Correction in the first, long paragraph below: 1s are back-to-back in the center. 2s are on the outside (moving up the hall, eventually)!!! On Jun 10, 2017, at 11:54 AM, Frederick Park wrote: . . . I wish to offer a teaching element I’ve used successfully in the Pat Shaw dance, K + E. Once sets are established, 1s on the outside facing in, 2s standing back to back in the center facing outside couples, the primary dance move that makes it all work out is the partner relationship. I ask all to practice once or twice “Change Hands” with Partners. Obviously, those in the center, the 1s, when changing the direction they face at any time places their own Partner on one side and then the other. Simply suggesting that the call is “Change Hands” when practicing the move makes it unique and clear and simple, all at once! Having the sense of “double beckett” is not so very intuitive for dancers simply because this dance is a one-of-a-kind dance. I can “see” it but I wouldn’t mention it to dancers. The 1s need to “bond”. As well those far across on the opposite side of the set, the 2s, need to “bond” or recognize they are a unit…which is all the more useful once any couples reach the end of the set. To that end I ask the dancers to change places with couple they are initially facing (each 1 changes places with their original 2) and the “Change Hands” introduces them to their other half for any who are in the center four. The only thing that pushes this dance into the realm of “intermediate to advanced” is the final 8 bars of the dance, the progression. Those on the outside are swinging their Partners and could and should “move up the hall” every so slightly. Meanwhile the center four have just met again (the “magic” includes meeting their Partners!) and are with their “other half”, the 2s! The 1s then “Circle Down - three quarters ‘round - and Change Hands”. This call indicates the movement of Circle Left 3/4 WHILE moving down the hall ever so slightly (to end with “Trade Hands in the Center”, face out and meet a new Couple 2 to begin again . . . I’ve found that the movement of Circle and move is akin the square dance chorus figure of four dancers moving in a circle Left while dancing in Promenade direction around the “other couple”. So introducing such a chorus in a square dance one or two dances earlier allows the whole dance hall to be a bit familiar with the similar pattern used in K+E! Lastly, may I recommend that any of you may also find interest in Pat Shaw’s “The American Husband”! It’s a sicillian circle for groups of three, very unusual progression and includes a Shetland Hey (for three) with each couple dancing as a single unit in a hey for three pattern! Let me know if you can’t find it and I’ll post it here. More dances? Yes, please! (especially circle mixers and sicillian circles) : ) And here’s one from me ~ "Michael and Angie” Originally written as a wedding dance for old friends in the early days of the Old Farmers Ball, it also works as a stand-alone Becket Formation dance. Formation: Sicilian Circle, Becket Formation (large circle round the hall, with hands four established as in Becket. Each couple either faces out of the large big circle or into the large big circle). Notes: ID each dancers’ “Corner” thusly: join hands in two single circles just after hands-four have been established. Corners are as in the original Becket’s Reel, next to you in the large circle but NOT in your “hands four”. Moderate to slow speed. Accomplished dance leaders may choose to speed up the dance tempo just a bit after seeing the room has “got it”! A1 Corners Alle. L, Partners Swing (end facing original Opposite Couple) . . . A2 Circular Hey (see description below - alternatively, simply dance a straight Hey for Four but note the ending!!!) B1 See Saw Partner once Round (ending with the Gent on the R. Lady on the L. facing Original Opposite Couple in original Hands-Four), Star Left three-quarters round (progression - to face new dancers) B2 Swing New Opposites, Half Ladies Chain (to Partner) Additional Notes for teaching: Timing is an essential part of a satisfactory dance here. There are two points that may be useful. First - - - - - - - The beginning of the dance flows out of a Ladies Chain to their Partners and into Allemande Left with Corners all. To ease this transition, a modified “courtesy turn” enabling the person dancing the “Gent’s” roll to use his Right Arm around their Partner’s waist to receive and send their Partner toward their Corner…freeing both dancers’ Left Hand for the Allemande Left with Corners All. Second - - - - - The Hey begins (one may assume) with the Gent on the Left as the two couples face one another. Yet the end of the Hey - in this dance - requires the Gent to transition from the Hey into a “See Saw” (or reverse Gypsy) and then into a Star Left AHEAD of his Partner
Re: [Callers] New Dance to Share
Dear Folks, This little opening for discussion of unusual dances that are not contra or square is delightful. Thank you all. "Le Brandy" and the “Weevil" are both new to me and have great potential I think. Erik, I don’t have your “double becket" dance - will you send it my way? The other dances are well known to me and I wish to offer a teaching element I’ve used successfully in the Pat Shaw dance, K + E. Once sets are established, 1s on the outside facing in, 2s standing back to back in the center facing outside couples, the primary dance move that makes it all work out is the partner relationship. I ask all to practice once or twice “Change Hands” with Partners. Obviously, those in the center, the 1s, when changing the direction they face at any time places their own Partner on one side and then the other. Simply suggesting that the call is “Change Hands” when practicing the move makes it unique and clear and simple, all at once! Having the sense of “double beckett” is not so very intuitive for dancers simply because this dance is a one-of-a-kind dance. I can “see” it but I wouldn’t mention it to dancers. The 1s need to “bond”. As well those far across on the opposite side of the set, the 2s, need to “bond” or recognize they are a unit…which is all the more useful once any couples reach the end of the set. To that end I ask the dancers to change places with couple they are initially facing (each 1 changes places with their original 2) and the “Change Hands” introduces them to their other half for any who are in the center four. The only thing that pushes this dance into the realm of “intermediate to advanced” is the final 8 bars of the dance, the progression. Those on the outside are swinging their Partners and could and should “move up the hall” every so slightly. Meanwhile the center four have just met again (the “magic” includes meeting their Partners!) and are with their “other half”, the 2s! The 1s then “Circle Down - three quarters ‘round - and Change Hands”. This call indicates the movement of Circle Left 3/4 WHILE moving down the hall ever so slightly (to end with “Trade Hands in the Center”, face out and meet a new Couple 2 to begin again . . . I’ve found that the movement of Circle and move is akin the square dance chorus figure of four dancers moving in a circle Left while dancing in Promenade direction around the “other couple”. So introducing such a chorus in a square dance one or two dances earlier allows the whole dance hall to be a bit familiar with the similar pattern used in K+E! Lastly, may I recommend that any of you may also find interest in Pat Shaw’s “The American Husband”! It’s a sicillian circle for groups of three, very unusual progression and includes a Shetland Hey (for three) with each couple dancing as a single unit in a hey for three pattern! Let me know if you can’t find it and I’ll post it here. More dances? Yes, please! (especially circle mixers and sicillian circles) : ) Frederick Park 3377 Halls Chapel Road Burnsville, NC 28714 828.335.5630 freder...@apalache.com
Re: [Callers] New Dance to Share
Howdy Folks! Interested to know of dances you’ve found that are NOT contra or square dances. Catagorically fun dances, dances for irregular numbers of couples, circles of any sort, odd formations, etc. Matters not what tradition they may come from or if you think of the dance as strictly for beginners, intermediate or advanced dancers. Is this a dance you usually share? Is this a dance you save for “special occasions”? Should be a fun “read”! Best regards to all, Frederick Park
Re: [Callers] Holiday contras - BEG/EASY
Dear Callers interested in this dance, a good choice to use early before the floor is crowded . . . a few simple corrections and a wee bit of history are shared below concerning “Balance The Star”. Regards, Frederick -- BALANCE THE STAR by Raymond K. McLain of Berea, KY Music: Beaumont Rag Sicilian Circle - Originally Beginner & Intermediate Dance Level (use “hand-shake star throughout” - it’s a Southern mountain tradition) A1: (make a) Right Hand Star and Balance twice - In and Out (8 counts) <— hence, “Balance” the Star! Turn the Star once ‘round (8 counts) A2: make a Left Hand Star and Balance - In and Out (8 counts) Turn the Star once ‘round (8 counts) B1: Neighbors Dosido (8 counts) (Take 2-hand-over-hand hold w/ your Neighbor and . . .) Gents Promenade Her into your Partner’s place (8 counts) (the Gent acting as a pivot point rather than “courtesy turn”) B2: Partners Dosido (Similarly) Gents Promenade Partners into Original place AND continue Promenade on to face a New Couple! (8 counts) Notes: "Balance The Star" was written by Raymond McLain Sr. for Christmas Country Dance School with Beaumont Rag as THE tune to play. The dance was written as a Sicilian Circle Dance - c. 1970 or 1971 ——— - and on another note, I recently heard The Alman Brothers Band original recording of “Tied To The Whipping Post” and realized it’s a WALTZ! (A perfect choice for those who are only using recorded music in an all-Republican contra dance - both couples should love it!) ——— On Dec 2, 2016, at 7:10 PM, Winston, Alan P. via Callers wrote: Claire -- In my experience, choosing dances because their titles fit a particular theme isn't the best way to make programs. For Christmas holiday dances I'm used to bands slipping familiar holiday tunes into their regular sets. (Jingle Bells fits in nicely as a bouncy tune. Several carols can be played as waltzes.) You can also playfully alter the names of dances you'd want to call anyway to make them fit the theme. If you insist on dances with Christmas-relevant names, consider stuff with "Star", "Winter", "Cradle","Peace" in the title. -- BALANCE THE STAR (Tom Hinds recommend Beaumont Rag) improper contra suitable for beginners A1: make a right hand (handshake) star and balance twice (elbows point down) Turn that star for 4 counts (halfway) Let go and turn alone for 4 counts. A2: make a left hand star and balance twice. Star left 4 counts and turn alone; finish facing neighbor (orig direction) B1: Neighbors dosido end the do si do facing OUT (away from partner) w/ Neighbor on the side 'courtesy turn' plus a little ... NOTE: It's not a true courtesy turn. The dancers have to travel a bit more than in a courtesy turn so that the men end where they started and the women have traded places. B2: Partners do si do on the side. End the do si do facing out (away from neighbor) Partners 'courtesy turn' (women change back) and neighbors pass thru left shoulder in order to meet the next couple. = This shouldn't be one of the first three dances, but it's fun: Rock the Cradle Joe by Ridge Kennedy Contra/Improper Form:IC Figs:ROM,ROM;NB&S;G&T(Gent);CL.75;BTR,PT: STARTS IN SHORT WAVES, neighbor right hand A1 (short waves) (8) Balance and slide to the right (as in Rory O'More) (8) Balance and slide to the left (as in Rory O'More) A2 (16) Neighbor balance and swing B1 Give & Take to gent's side & swing B2 (8) Circle Left 3/4 (4) Balance the Ring & pass through "There is no way to Peace; Peace is the way" Becket Erik Hoffman Form: BK Figs: WDSD,PS;MAL1.5,NS;LLF&B,WREl1.5;Custom;Bt; A1 Women Do Si Do; Partner Swing A2 Men Allemande Left 1-1/2; Neighbor Swing B1 Long Lines Forward & Back; Women Right Elbow Turn 1-1/2 B2 Women Star Promenade Partner 3/4 until two (new-Next Neighbor) Men meet Men link Left Elbows (women let go of the right elbow) to Star Promenade End on Own Side with a butterfly twirl to face that same Next Neighbor couple Erik's Note: the quote is a saying from A. J. Muste, our nations one time "most famous pacifist." It boggles my mind that, with our corporate media tied to the military-industrial complex, we could have ever had a famous pacifist. Then again, we had Martin Luther King, too... Winter Storm becket cw Linda Leslie Figs:CL3/4:NDSD1.25:BTW:Walk:NNS:MAL1.5:HH4:PB&S: A1 circle left 3/4 Dosido N 1 1/4 to short waves A2 balance the wave walk forward Swing new N B1 M allamande L 1 1/2 1/2 Hey passing partner R B2 Partner Balance and swing --
Re: [Callers] New Years Eve favorites
Dear All,
The event of any dance is an opportunity to investigate options for the art of
programing.
I use the work “art” so that you, gentle reader, may take time to ponder the
roll of each aspect of “event”.
As the one most are relying upon for guidance ("the next dance is…”, “the next
move is . . .”) the dance leader, the “caller”, is in a unique place to treat
himself or herself to the larger ramifications of the programing.
If “art form” is a real consideration for deciding how to lead the experience
of an evening dance, perhaps the larger considerations of the art world may
come into play here.
What does that mean? I’m suggesting that it is art. What does art do? All art
shares only one single consideration: a statement is made which is commonly
called the “artist’s statement”.
We see this in visual art, in theater, in music, in poetry and occasionally
such a broad dynamic breaths new life into other human endeavors - such as
presenting an event of social dance with live music.
When deciding to “step into the deep end of the pool” and accept traditional
dance as “art form” each element takes on new “weight”. Programing is one
element.
So, what are the dancers’ expectations? How can we create a “heightened”
experience? What sort of presentation made by one is available to all present
and may be “seen” by another within a new light and “borrowed” (as is the case
in all art forms - artists are really grand “borrowers”), morphed in a creative
moment and reused later BECAUSE the outcome is understood to create a response!
It is this “response” that drives the action of the artist.
To address the earlier question, dancers expect “community” to simply happen on
some level. They expect an “aesthetic” experience, on some level. They expect
the midnight hour, the actual moment of the stroke of midnight to carry some
weight, some additional “significance". It matters not whether tis with their
“partner” of choice or not so long as the experience is memorable! The decision
of what to choose for the moment of change-of-year is the root of Sue’s
original search.
I hope many will share options from their own experiences of the “New Year” at
a dance. My personal approach to the “form” of year ending/year beginning is
tempered by a desire to fulfill the “need” many have to stand with their
sweetie while allowing any and all - even those with no partner - to join in.
(Community considerations include all present. That is a “given”.)
There are serious expectations for some within the contra dance community that
a “contra dance” will NOT include any dances BUT contra (addressed by many for
years now though not germane to this topic specifically). La Bastringue is a
good choice for those willing to try a circle mixer. Like so many older dances,
it has always been associated with the tune of the same name.
Below is a YouTube link to four couples doing a very fine version. Note that
while one man only is present in this YouTube presentation, his “original”
partner is the lady to his Left! Timing the dance for four couples could easily
lead all present into a short dance within a “community of eight dancers” so
that as the fifth time through approaches it is suddenly MIDNIGHT! Hurrah!
Swing your Partner!
Similarly, an enticing option is for the same dance in one single circle which
is how it is presented usually. (Being in a circle is the oldest common
“community” dynamic ever!) And bridging the gap into midnight could “give way”
to ending the dance with your Original Partner too - no matter how large the
circle! Use of the Right and Left Grand to Original Partners is also an option
(though contra dancers may have to “learn” that one single figure)!
https://youtu.be/0w6WJxNgSmY?t=3s
- - - - - - - - - - - - - - - - - - -
- - - - - -
Another Option: “Oh How Lovely Is The Evening”
a singing round, with concentric circles for “as many as will” join in!
(Hopefully ALL!)
Singing? “We don’t do that” some will say. But once you’ve taught this round
(with or without a Partner) THEN you may introduce the dance. It’s simplicity
of a high order here.
Oh how lovely is the evening, is the evening
(Circle Left)
When the bells are sweetly ringing, sweetly ringing
(Circle Right)
Ding Dong, Ding Dong, Ding Dong . . .
(In place, all swing joined hands up and down in the arch of a bell
ringing three times)
NOTE: The “leader” will want to make a prearrangement for the inner most circle
to follow their lead so that after a few time (or until it’s MidNight) the
Round continues only as many times as there are circles. The ending is started
thusly: the inner circle continues with the last line and it’s associated
movement of ringing the bells
the second
circle also will continue with the final line - now there are two circles
leading all towa
Re: [Callers] Contras with a Hey
Here’s To Us - Duple Improper, Becket Formation (Clock-wise Progression) A-1 Ladies Pass R. then dance around Neighbor - passing L. with Him (into the other Lady’s place), Long Lines Dance Forward and Back A-2 Gents Pass R. then dance around Partner - passing L. with Her, Gent’s Pass R. again and Balance Neighbor B-1 Swing Neighbor (short swing), Half R. & L. Thru B-2 Gents Pass Thru while Ladies Alle. L. 1x, Swing Partners (and Slide Left to Progress…) Notes: Relative to Half Hey and Teaching of the Full Hey, I wrote this dance some years ago…don’t have the note on a specific date…just to isolate the movement across and and around another dancer. It’s based on the notion that most Full Heys begin with the Ladies passing Right shoulder. Of course it’s a beginners dance mostly. The last figure, prior to Swing Partner, begins just as with Pass Thru but the Ladies catch hands and “turn back”. All end swinging on Original side of set and simply slide toward a new couple for the Ladies to Pass R. . . . Enjoy!
Re: [Callers] Rolling Starts?
Dear All, Been reading this list serve series of posts now for about a year or so. I love the off handed comment that lends humor and insight so: “Moderation in all things, including moderation!” More another time . . . Frederick Park -- On Oct 12, 2015, at 8:20 PM, Andy Shore via Callers wrote: I've found this thread very informative, thanks for all the thoughtful observations. Having just returned from a weekend as a dancer, I can add one more: It is indeed possible to over-use rolling starts! /Andy
