Re: [Callers] A Call For Civility

[Greg McKenzie]

Folks,

Well, I think I have an answer to my question.

I have experienced this kind of thing before and it seems obvious where it
is going.  It is also becoming clearer to me where it comes from.

I am saddened by this turn of events.  The truth is that it is too
stressful to attempt to continue in this environment.  I have enjoyed the
discussions with many of you and I will miss hearing your ideas.  If you do
wish to contact me directly please do so.  I would love to hear from you.
And I would be happy to answer any questions you may have.

And if you would like to talk about the future of contra dance calling in
another forum please do contact me.  Perhaps we can come up with a way to
do that.  There is much, much to discuss.

My best wishes to all of you.

Greg McKenzie
greken...@gmail.com

1435 Myrtle Ave.
Coos Bay, OR  97420
(831) 325-7627


On Sat, Feb 15, 2014 at 12:58 PM, Rickey Holt <hol...@comcast.net> wrote:

> Greg,
> I am afraid I fine it ironic at the very least, for you  to call for a more
> civil discourse. Your tone has been so denigrating and disrespectful of
> others for so long that I too have been ignoring your posts pretty
> regularly. That is easy enough.  But when I read that a caller as well
> established as Martha Wild has not posted for a long time because of the
> treatment she received from you on this list, I am much more worried.  Far
> from encouraging an open exchange this is evidence that you have stifled
> it.
> As I remember it, folks posting here have tried to point this out to you
> several times in the past.
> Moderators,
> I propose that Greg not be allowed to post here for perhaps a month. I do
> not take such a step lightly and rather than suppressing free speech, this
> would encourge it.
> Rickey Holt
>
> -Original Message-
> From: callers-boun...@sharedweight.net
> [mailto:callers-boun...@sharedweight.net] On Behalf Of Greg McKenzie
> Sent: Saturday, February 15, 2014 3:28 PM
> To: Caller's discussion list
> Subject: Re: [Callers] A Call For Civility
>
> Lindsay wrote:
>
> > Well, you might want to walk this one back, then:
> >
> > >> "The dancers in your video look like a competent group of regulars
> > >> who
> > are
> > >> able to adapt to poorly-structured calls quickly and graciously.
> > >> I'm
> > sure
> > >> they have a lot of practice at it. I find it very productive to be
> > >> more diligent in my own calling."
> >
>
> Alright.  I only watched part of the first video.  I didn't really note who
> the caller was.  And I certainly didn't mention any caller.  (The names of
> the callers were inserted into my post by a subsequent poster.  I never
> mentioned them.)  I was trying to make the point that this was a group of
> regular contra dancers, with few, if any, first-timers in the crowd.  Since
> there are no callers I know of who use structured calls regularly it is a
> sure bet that these folks have had lots of experience interpreting
> unstructured calls.
>
> I seldom call for such experienced groups.  Consequently I use structured
> calls more than most callers do to maintain the confidence of newcomers.  I
> should have been more clear in my post, and I should have anticipated that
> some folks might take it personally.  I'm sorry about that.  As a policy I
> try to avoid taking anything posted here personally unless it has my name
> on
> it.
>
> - Greg McKenzie
> West Coast, USA
> ___
> Callers mailing list
> call...@sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>
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Re: [Callers] A Call For Civility

[Greg McKenzie]

Aahz wrote:

> Following up your faux pas with a call for civility after you got
> attacked for your mistake does very little to settle ruffled feathers.
> (Speaking as someone who does more than my fair share of feather
> ruffling -- I have a lot of experience.)
>

With your experience you probably know that efforts to settle ruffled
feathers are seldom very successful.  I'm only asking for civility.
Seriously.  I don't even expect an apology.

Ruffling feathers is permissible.  Personal attacks are just
counter-productive...unless the real purpose is to stifle the expression of
ideas we disagree with.  The attacks can discourage others from discussing
new ideas openly.  That's the danger.

Is this a forum where we can freely express our ideas about calling...or
not?

That's the real question.

- Greg McKenzie

Re: [Callers] A Call For Civility

[Greg McKenzie]

Lindsay wrote:

> Well, you might want to walk this one back, then:
>
> >> "The dancers in your video look like a competent group of regulars who
> are
> >> able to adapt to poorly-structured calls quickly and graciously. I'm
> sure
> >> they have a lot of practice at it. I find it very productive to be more
> >> diligent in my own calling."
>

Alright.  I only watched part of the first video.  I didn't really note who
the caller was.  And I certainly didn't mention any caller.  (The names of
the callers were inserted into my post by a subsequent poster.  I never
mentioned them.)  I was trying to make the point that this was a group of
regular contra dancers, with few, if any, first-timers in the crowd.  Since
there are no callers I know of who use structured calls regularly it is a
sure bet that these folks have had lots of experience interpreting
unstructured calls.

I seldom call for such experienced groups.  Consequently I use structured
calls more than most callers do to maintain the confidence of newcomers.  I
should have been more clear in my post, and I should have anticipated that
some folks might take it personally.  I'm sorry about that.  As a policy I
try to avoid taking anything posted here personally unless it has my name
on it.

- Greg McKenzie
West Coast, USA

[Callers] A Call For Civility

[Greg McKenzie]

Folks,

There are a lot of different perspectives and opinions represented here.
That is a great value of this list and we can all benefit from hearing the
full spectrum of ideas.

But please try to avoid personal attacks against anyone.  If you disagree
with someone we can still coexist and learn from one another.  That is the
value of this kind of media.  Personal attacks will only stifle the free
exchange of ideas.  That free exchange is why we are here.

We don't need to agree with everything posted here to maintain a civil and
productive conversation.

Sincerely,

Greg McKenzie

Re: [Callers] Planned vs. "on-the-fly" call wording (was Re: Circle & pass through as the last move of a dance)

[Greg McKenzie]

Rich wrote:

> I attended a well established open contra dance recently with at least 50%
> newbies.  The caller did an excellent job teaching and calling contras, but
> his method was more like a square dance caller.  He seldom stopped calling
> and had lots of descriptive words for the dancers.  Several dancers
> throughout the night told me how easy it was to dance to this caller, and
> how good his calls were.  I did not hear one complaint from the dancers, or
> musicians, that he never stopped calling.


There is definitely a difference in style and preference here.  I really
respect a caller who can entertain in this way.  But it does not "work" for
me like most of the dances I attend.  I come for the music and the people
and I love a caller who facilitates a connection between the music and the
dancers.  That is plenty "entertaining" for me.  Connecting with the caller
is not so much of a draw for me.  If the caller "fills the room" with his
personality and voice...well, I generally start looking for another room.

But, that's just how I roll on this.  I like to be an integral part of the
event and feel I have a role in making the connections happen.  I don't go
to be entertained by the caller.

Oh...and I don't get any complaints when I call either.  Dancers are a very
kind and generous bunch, I think.  (And I make it my business to seek out
complaints.)

To each his own.

- Greg Mckenzie
West Coast, USA

*


> Additionally, the caller went out of his way several times to bring the
> attention to the excellent musicians playing beside him.  The dance was
> very successful, and the caller (calls) very entertaining.
>
> There are few callers capable of delivering that kind of program, and even
> fewer who do.  It was a welcomed change for me, and for many of the dancers
> at the event.
>
> Rich Sbardella
> Stafford, CT
>
>
> 
>  From: Harold E. Watson <hwat...@uark.edu>
> To: Caller's discussion list <call...@sharedweight.net>
> Sent: Thursday, February 13, 2014 5:16 PM
> Subject: Re: [Callers] Planned vs. "on-the-fly" call wording (was Re:
> Circle & pass through as the last move of a dance)
>
>
> I know most our dancers are still listening because if I ever lose my
> place and miss-call the next figure, half will try to do what I said
> (usually the beginners) and the other half will loudly pronounce the
> correct move.  When I do booboo, after the dance I always compliment the
> dancers on their masterful recovery, even if they didn't have one.
>
> I also try to drop out as early as practical.  It's usually as switch from
> full calling to single words, and finally to maybe a word once every 32
> bars at a place that may have tricky timing or to get everyone back in sync
> with each other.
>
> Circle left
> ...Neighbor swing
> ...Long lines forward and back
> ...Ladies allemande right 1-1/2
>
> To
>
> Circle
> Neighbor
> ..Forward and back
> Ladies
>
> Harold
>
>
> -Original Message-
> From: callers-boun...@sharedweight.net [mailto:
> callers-boun...@sharedweight.net] On Behalf Of Aahz Maruch
> Sent: Thursday, February 13, 2014 3:35 PM
> To: call...@sharedweight.net
> Subject: Re: [Callers] Planned vs. "on-the-fly" call wording (was Re:
> Circle & pass through as the last move of a dance)
>
> On Thu, Feb 13, 2014, Jonathan Sivier wrote:
> >
> >I like to change around the exact words I use during a dance.  In
> > part to keep myself and the dancers alert.  Also if a given phrase
> > doesn't work for someone then the next time through if I say something
> > slightly different it may make more sense for them.  Also if some part
> > of the dance seems to be causing problems for some of the dancers I
> > may change the words I'm using in order to, hopefully, help them out.
>
> Does anyone have evidence that dancers pay attention to the caller after
> the first few iterations?  I certainly don't, and my limited experience as
> a caller indicates that few do (if any).
> --
> Hugs and backrubs -- I break Rule 6
> http://rule6.info/
>   <*>   <*>   <*>
> Help a hearing-impaired person: 
> http://rule6.info/hearing.html___
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> ___
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> http://www.sharedweight.net/mailman/listinfo/callers
> ___
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> call...@sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>

Re: [Callers] Circling 3/4 and pass thru

[Greg McKenzie]

Someone wrote:

> Greg   M  wrote in response to a post by Jim Saxe :
> "The dancers in your video look like a competent group of regulars who are
> able to adapt to poorly-structured calls quickly and graciously. I'm sure
> they have a lot of practice at it. I find it very productive to be more
> diligent in my own calling."
>
> YOWIE! Is this paragraph really the bashing of these callers that it seems?
>

No it's not.  No one is "bashing" anyone.

Someone else wrote:

> Yes, Greg is like that at times. ;-)
>

Hey folks.  Let's please try to avoid personal attacks.  It makes the
newcomers to the list nervous.

Without some kind of critical comments there is no way we can advance any
tradition.  When I am critical I try to be as even-handed as possible.  In
the above case I mentioned no one.  I was being critical of the behavior of
all callers...including myself (as I mentioned earlier in this thread.).
Ok, "The King has no clothes!"  "Callers are human beings!"  and all of us
make mistakes.  I am amazed and grateful for the tolerance and graciousness
of the dancers when I call.  If I look like a competent and capable caller
it is because of them.

If you have critical comments about this or any of my other ideas I welcome
the discussion.

- Greg McKenzie
West Coast, USA

Re: [Callers] Circle & pass through as the last move of a dance

[Greg McKenzie]

James,

Thanks for your studied reply to my post.

Jim wrote:

> First, I see no point in urging dancers to brisk circling in cases
>
where the action following "circle left 3/4; pass through" gives the
> dancers adequate opportunity to make up time...
>

I agree with the suggestion of urging dancers to circle briskly.  It's a
short, quick comment that can help.  My concern was in structuring my calls
so that they match the timing of the dance precisely.  My goal is to teach
the dancers that my calls contain reliable information about the timing of
the dance.

Second, in cases where I think inspiring dancers circle briskly *is*
> worthwhile--for example, when "circle left 3/4 (6); pass through (2)" is
> followed by "new neighbors balance"--I think it is no sin to finish the
> call "pass through" before beat 6 of the circle.  In fact, in such
> cases, I usually give the call "pass through" on beats 3 and 4.
>

That seems to be what most callers do in this case.  That's what I was
doing...until I resolved to fix the structure of my calls to match the
actual dance timing.

It is not a "sin" to call early.  Nor is it a "sin" to attempt to teach the
timing of the dance with verbal instructions.  What I hope to avoid is
standing before a mixed crowd of dancers.  Asking an excellent band to hold
their music.  And asking a wonderful dance community to hold off on their
social interactions and listen patiently while I attempt to explain the
timing of the dance verbally with counted beats, steps, or whatever.  Then,
when the music begins, to embarrass myself by giving my calls either early
or late.  And that is why I asked for help here.

And I got some very good suggestions.  Hopefully I can now call the dance
with more confidence and the dancers will feel more confidence because my
calls are consistent with the timing of the dance.

The dancers in your video look like a competent group of regulars who are
able to adapt to poorly-structured calls quickly and graciously.  I'm sure
they have a lot of practice at it.  I find it very productive to be more
diligent in my own calling.

Well-structured calling is not easy.  It does however make a subtle but
significant difference in how confident the dancers feel--particularly at
open, public social events.  That is why I structure my calls carefully and
write the calls out verbatim on my cards.  That is also why I advocate for
callers at open public contra dances to use dance cards when calling.
Making up calls on the fly often puts the onus on the dancers to get the
timing right.

- Greg McKenzie
West Coast, USA

Re: [Callers] Circle & pass through as the last move of a dance

[Greg McKenzie]

Thanks Lindsay.  This piece is excellent.  It highlights the nonverbal
teaching that is central to community dance.

- Greg McKenzie
West Coast, USA


On Wed, Feb 12, 2014 at 7:07 AM, Lindsay Morris <lind...@tsmworks.com>wrote:

> Bruce Hamilton's excellent one-pager on how experienced dancers can best
> help <http://www.portlandcountrydance.org/files/When%20Not%20Caller.pdf
> >newcomers
> is worth a read.  In fact, it's worth handing out at the dance.
>
> 
> Lindsay Morris
> CEO, TSMworks
> Tel. 1-859-539-9900
> lind...@tsmworks.com
>
>
> On Wed, Feb 12, 2014 at 9:54 AM, rich sbardella <richsbarde...@snet.net
> >wrote:
>
> > Greg wrote:
> > ...But that's a lot of words to cram in at the very end of the dance
> > phrase.  If the dance started with "Balance and swing" for example, I
> could
> > fit in the word "Balance" which only takes one beat.
> > I'm thinking of just dropping the dance from my repertoire.
> >
> >
> > There would be a lot of dances to drop.  A square dance caller might say
> > Pass thru and Dosi Next.  It easily fits in, takes a syllable out and
> > dancers hear Dosi as Dosido.  In walkthrough you could explain your call
> if
> > needed.
> >
> > Rich Sbardella
> >
> >
> > 
> >  From: Greg McKenzie <greken...@gmail.com>
> > To: Caller's discussion list <call...@sharedweight.net>
> > Sent: Tuesday, February 11, 2014 5:53 PM
> > Subject: Re: [Callers] Circle & pass through as the last move of a dance
> >
> >
> > Dave wrote:
> >
> > > Logistically, I think Greg's approach is difficult to make work.
>  There's
> > > always a new move happening after the pass through, so in effect,
> you'll
> > be
> > > calling four beats of "pass through, something something," usually
> > "balance
> > > here" or whatnot.  Because there's no break between the instruction
> "pass
> > > through" and the instruction that follows it, I don't think dancers
> > > generally realize from that phrasing that the pass through is intended
> to
> > > occur after exactly six beats of the circle.
> > >
> >
> > You are absolutely correct Dave!  Structuring calls precisely is often
> very
> > difficult and I sometimes simply drop a dance because the prompts become
> > too jumbled when actually given at the correct beat.  I posted to this
> > thread because I was, coincidentally, working on a dance called Kiss the
> > Bride by Jeffery Spero.
> >
> > Kiss the Bride is particularly difficult because it uses the circle 3/4,
> > pass through transition at the end and the last call I need to fit in is
> > "dosido" which takes two beats.  Because it is where the progression
> takes
> > place I also want to say "With the NEXT" to make that clear as well.  On
> my
> > current dance card I "solved" the problem by giving the "Pass Through"
> call
> > early.  That is unacceptable to me and I was trying to come up with a
> good
> > way to make it work using calls that are precisely in time with the
> > phrasing.
> >
> > My current card reads:
> >
> > B2:  _ _ _ _ [Hands Four and] Circle RIGHT!
> >    _ [Three Places], Pass Through, with the NEXT Dosido
> >
> > To fix the timing I'm considering something like:
> >
> > B2:  _ _ _ _ [Hands Four and] Circle RIGHT!
> >_ _ [Three Places], Pass Through, NEXT Dosido
> >
> > ...But that's a lot of words to cram in at the very end of the dance
> > phrase.  If the dance started with "Balance and swing" for example, I
> could
> > fit in the word "Balance" which only takes one beat.
> >
> > I'm thinking of just dropping the dance from my repertoire.
> >
> > Thanks for reading.
> >
> > Greg McKenzie
> > West Coast, USA
> > ___
> > 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
> >
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>

Re: [Callers] Circle & pass through as the last move of a dance

[Greg McKenzie]

Donna wrote:

> Personally I prefer that the "regular dancers" do not verbally "teach" the
> new dancers.
>

I agree wholeheartedly and would not suggest that the regulars speak at all
during a walk-through.

The only exception to that might be when a caller is doing such a poor job
that confusion is spreading wildly through the hall.  Sometimes it is
necessary to clarify something when the caller makes a serious error and
does not realize it.  Otherwise some dancers may think that the confusion
is *their *fault.  That would be bad.

The vast majority of the teaching that takes place in the dance hall is
non-verbal.  As the only person in the hall with a microphone it is very
important that the caller realize that fact.  Talking on mike is often much
more disruptive than talking in the dance line.

- Greg McKenzie
West Coast, USA

Re: [Callers] Circle & pass through as the last move of a dance

[Greg McKenzie]

Dave wrote:

> Logistically, I think Greg's approach is difficult to make work.  There's
> always a new move happening after the pass through, so in effect, you'll be
> calling four beats of "pass through, something something," usually "balance
> here" or whatnot.  Because there's no break between the instruction "pass
> through" and the instruction that follows it, I don't think dancers
> generally realize from that phrasing that the pass through is intended to
> occur after exactly six beats of the circle.
>

You are absolutely correct Dave!  Structuring calls precisely is often very
difficult and I sometimes simply drop a dance because the prompts become
too jumbled when actually given at the correct beat.  I posted to this
thread because I was, coincidentally, working on a dance called Kiss the
Bride by Jeffery Spero.

Kiss the Bride is particularly difficult because it uses the circle 3/4,
pass through transition at the end and the last call I need to fit in is
"dosido" which takes two beats.  Because it is where the progression takes
place I also want to say "With the NEXT" to make that clear as well.  On my
current dance card I "solved" the problem by giving the "Pass Through" call
early.  That is unacceptable to me and I was trying to come up with a good
way to make it work using calls that are precisely in time with the
phrasing.

My current card reads:

B2:  _ _ _ _ [Hands Four and] Circle RIGHT!
   _ [Three Places], Pass Through, with the NEXT Dosido

To fix the timing I'm considering something like:

B2:  _ _ _ _ [Hands Four and] Circle RIGHT!
   _ _ [Three Places], Pass Through, NEXT Dosido

...But that's a lot of words to cram in at the very end of the dance
phrase.  If the dance started with "Balance and swing" for example, I could
fit in the word "Balance" which only takes one beat.

I'm thinking of just dropping the dance from my repertoire.

Thanks for reading.

Greg McKenzie
West Coast, USA

Re: [Callers] Circle & pass through as the last move of a dance

[Greg McKenzie]

John wrote:

Read also mentioned "avoidance of teaching".
>
> But we ARE teachers.  You may CALL it a walk-through, but what you are
> actually doing is TEACHING the dance.  And if the dance will work better if
> you point out some key items then go head and point them out, i.e. teach!
>

I know that many of us love teaching.  In fact it seems to be one reason
many take up calling in the first place.  But teaching from the mike at an
open, public contra dance can be very counterproductive...particularly with
regard to your efforts to integrate first-timers into the fun.

You love to teach.  But so do most of the regular dancers.  A big part of
the fun of partnering with newcomers is being able to guide them through
the dance and share your passion for this wonderful dance form.  While the
caller is teaching verbally it is almost impossible for the regulars to
enjoy their own "teaching" role.  If you really want the regulars to
partner with first-timers one of the key "tricks" is to make sure the
regulars will have time to take the lead and "teach" their partner during
the walk through.

This is what makes partnering with regulars fun,  And that is why I try to
keep my prompts to an absolute minimum during the walk-through.

A caller who jabbers constantly during the walk-through can transform the
joy of a collaborative learning experience into a dreadful chore as the
regulars are required to stand by silently while the caller *explains *a
move that they could *show *their partner in less time than it would take
the caller to say the *name *of the move.

And later the caller will complain that it is so hard to get the regulars
to partner with first-timers.

Instead of "explaining" that a circle takes only "6 counts" I would gently
suggest that callers consider simply giving the prompt "pass through" so
that it ends precisely two counts before the end of the phrase.

That way you can "say it all" with only two words and the dancers get to
keep moving in time with the live music.  Make it fun!

Just a thought.

Greg McKenzie
West Coast, USA

Re: [Callers] Programming on-the-fly

[Greg McKenzie]

Danielle wrote:

> I'd love to hear what other callers do in this situation, or how they are
> able to avoid it with prep work beforehand.
>

Integrating the hall is critical.  Even when there are only a few regular
contra dancers getting them spread out and paired up with first-timers will
help a lot.  The trick is to be very precise, clear, and confident to
convince everyone that you will make sure they don't fail.

Here is a technique I used recently:  I started with an easy first dance
"Scout House Reel," and tried to end it as soon as folks learned the
moves.  Then I announced that the next dance would be the very same dance,
repeated, and I authorized all of those on the floor to go out and pick a
new partner to lead through the dance.  Most of them took the cue and the
people on the floor almost doubled--with almost all couples including at
least one who had already just learned the dance.

That worked much better than I had expected.

- Greg McKenzie
West Coast, USA

Re: [Callers] What is flowing contra? (was: Flow & Glide Contras)

[Greg McKenzie]

Thank you Aahz for the thread.

My recollection is that "flow" has been used most often to refer to a
quality of the dance that makes it more intuitive for learners because the
figures leave the dancer in a position where the next figure is obvious or
natural.  This is exemplified in the statement: "Because of good flow this
dance is easier to learn than the piece count might indicate."

Of course, "flow" can also be a quality the dancers add to the dance.  Some
dances are written with a particularly *awkward *"flow" but a clever
embellishment can make them flow extremely well.  Such dances however may
not be appropriate for a mixed crowd with lots of first-timers.

- Greg McKenzie
West Coast, USA


On Wed, Feb 5, 2014 at 8:32 AM, Aahz Maruch <a...@pobox.com> wrote:

> On Wed, Feb 05, 2014, John Sweeney wrote:
> >
> > I am planning some workshops, for festivals here in the UK, with the
> title
> > "Flow & Glide Contras: Dances with beautiful flow, connectivity and a
> > smooth, satisfying glide."  (Thanks to Sarah VanNorstrand and no doubt
> many
> > others for the title!)
>
> There's some risk of hijacking this thread, so I've changed the Subject:
> line.
>
> I wrote this contra with the intent of being flowing, and I'm curious
> what other people think -- if you think it's not flowing, please try to
> explain why:
>
> Panix Dot Chat (a...@pobox.com)
>
> Becket formation
> Double-progression, better with odd number of couples
>
> A1  Right-and-left thru on left diagonal (8)
> (Yes, start with progression)
> (Warn ends about not moving)
> Right-and-left thru new couple (8)
> A2  Circle left 3/4 (8)
> Swing neighbor (8)
> B1  Pass through (4)
> California twirl (4)
> Men left-hand turn once-and-half (8)
> B2  Balance and swing partner (16)
> --
> Hugs and backrubs -- I break Rule 6
> http://rule6.info/
>   <*>   <*>   <*>
> Help a hearing-impaired person: http://rule6.info/hearing.html
> ___
> Callers mailing list
> call...@sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>

Re: [Callers] Is it possible to have more 2s than 1s in a pinch?

[Greg McKenzie]

Interesting question.

I know that squares and circle dances require more room than contras.  I
have also heard that contras are the most efficient called set dance for
squeezing as many people onto the floor as possible.  I wonder if a random
or "scatter" mixer could be even more efficient...if folks were packed
together tightly?

- Greg
West Coast, USA

***

On Wed, Jan 22, 2014 at 7:23 PM, Leslie Gotfrit  wrote:

> That is, in a pinched space. I don't know how else to phrase it. Is it
> possible to wait out an extra turn or two at the bottom so that the number
> of couples actually dancing is smaller than the number of couples in the
> contra line? (I couldn't look up the question in the archives because
> explaining it is wordy.) Has anyone tried it?
>
> Are there other methods for dealing with not enough room?
>
> Background: I'm calling a house party contra with room for one contra line
> of 16-18 dancers but need 24 paying participants (to cover the band and
> me). Given that some people will be late, others chatting around the food,
> there won't be four extra couples dancing but maybe one or two or maybe
> none. There is a "waiting area" off to the side that doesn't take space
> away from the contra line.
>
> thanks, this forum has been invaluable to this newbie caller
> Leslie Gotfrit
>
> ___
> Callers mailing list
> call...@sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>

Re: [Callers] Calling to the tune Sheepskin and Beeswax

[Greg McKenzie]

Dave has good advice here.  I think the short answer is: Don't assume that
the problem is the tune itself.  Another band--or the same band in a
different mood--can make the same tune a delight or a disaster.  So don't
"condemn" a particular tune until you've heard several bands confuse
dancers with that tune.

I try to remember to let the band know that when I count out four beats
with my fingers it is a signal that the first figure of the dance starts
right after those beats.  I warn them that if something goes "wrong" or if
I get confused I will give them that signal to make it clear where the
"top" of the dance is.  This signal is useful if the band drops a "B" part
or if the dance gets off synch for any reason.  It can also signal that the
particular tune, or arrangement, might be confusing to dancers.

- Greg McKenzie





On Tue, Jan 7, 2014 at 9:47 AM, Dave Casserly <david.j.casse...@gmail.com>wrote:

> Beeswax and Sheepskin is one of my favorite tunes to play, and dance to.  I
> don't actually really agree with the musician quoted; it's not particularly
> rhythmically complex, and I don't think the upbeat emphasis detracts much
> from understanding the phrasing of Quebecois tunes.  The problem, in my
> view, is more along the lines of what Suzanne identified.  There is very
> little difference between the phrases in the A and B sections, which is
> compounded by the fact that some people playing the tune go back to the A
> phrase over the second part of the last time through the B section.  So the
> tune ends up sounding to some like a four-bar phrase repeated five times
> followed by a four-bar phrase repeated three times, instead of 4 of the
> first, three of the second, then back to one of the first.  It's a strictly
> modal tune, based on a six note scale, so can be incredibly monotonous (or
> trance-like, if that's how you prefer to see it) if played by bands that
> don't change the feeling up at all.
>
> I've noticed this issue with a lot of strictly modal tunes that have little
> harmonic complexity and repeated phrases.  My advice would be to ask the
> band to do something to differentiate sections, or even to mark the return
> to the beginning of the tune.  There are lots of things bands can do for
> this; for Beeswax and Sheepskin, for instance, bands could play over a D
> major chord instead of an A minor in the B section, or even just over the
> last four bars of the second B section.  Or any number of other harmonic
> changes.  Bands can also put stops at the end of phrases, hits at the
> beginning of the B section, or other rhythmic variations, too.  I think
> most creative bands, when told what the problem is, can change to adapt to
> it.  But that's not particularly helpful when you don't know the tune ahead
> of time and have it sprung on by surprise.  Another alternative, as Don V.
> alluded to, is to ask bands to use more strongly phrased tunes with
> well-differentiated A and B parts to start off every set.
>
> As a musician, for me personally, the most limiting part of playing for
> contra dances is keeping improvisation down.  I sympathize with the caller
> in Suzanne's side-story below; it can be very difficult to help dancers
> find the phrasing when nobody in the band is playing the tune.  I don't
> really have any good ideas for callers faced with a band in this situation,
> other than to try to communicate as best as possible that everybody is
> there for the dancers, and hearing the tune (or something phrased like the
> tune) at least every other time through the dance can be very helpful.
>
> -Dave
>
>
> On Tue, Jan 7, 2014 at 12:19 PM, Suzanne Girardot <suzan...@wolfenet.com
> >wrote:
>
> >Delia,
> >
> >
> >Your band member is very observant, and your bands should respect your
> >request to not use tunes that don't work well for the dances. My
> >experience is, if I'm getting messed up by the music as a caller, the
> >dancers are as well, which affects the enjoyment of the dance. When
> >this happens on the fly, I often see if the band can change tunes in
> >midstream, which many good bands can do.
> >
> >
> >There are many French-Canadian and old-time tunes that are either
> >crooked (have extra or missing beats or measures), have extra or short
> >parts, or are highly syncopated. While many of these tunes are really
> >fun to dance to if you don't need a square tune (32 bars), for example
> >for a square dance, they obviously won't work for a contra dance. In
> >addition, I have had some old-time players insist that a tune is 32
> >bars, but it sure doesn't feel that way. I have counted these tunes,
> >and th

[Callers] Thoughts on Off-Stage Microphones (Was: Headset microphone recommendations?)

[Greg McKenzie]

Lindsay wrote:

> We are looking at buying a headset mic to help people who are teaching the
> beginner's lesson.
>
> Do any of you have recommendations...
>

I would recommend you consider the option of *not *buying a headset mic.
I'm not sure if I've posted my reservations about headset mics here before,
but I think it is worth bringing it up again.

As a caller, a talent booking coordinator, and as a dance manager at open
public contra dances, I have worked for years on strategies and techniques
for making the dance hall a place where everyone can feel safe and
comfortable.  I believe this sense of a "safe space" is essential for
putting first-timers as well as regulars at ease in order to facilitate a
comfortable, fun social event where there is little stress or tension.
This is a subtle point but one that I have learned is critical for
integrating newcomers and for making the event an exciting, fun, and
relaxed social occasion.

The primary issue for me is not wireless mics, but *off-stage* mics--of any
kind.  Michael Jackson--and many other performers--have used wireless mics
professionally *on-stage* with great success.  This technology is
particularly useful when dancing or demonstrating.  Note, however, that
even when used on-stage, wireless mics are usually used in conjunction with
a follow spot.  The purpose of the follow spot is to help the audience
follow the action in the absence of a mic stand that acts as an anchor.  At
contra dances, where stages are typically small, a headset mic used *on
stage* will seldom confuse the dancers.  (A caller using a headset mic to
play bodhran while calling, for example.)

An *off-stage* mike, however, can create unease in the dancers when they
look for the caller--who may have moved during a demo, for example.  That
moment of confusion--as the dancer looks right and left--is likely to make
many dancers feel a bit silly or clueless.  These are feelings I work to
avoid during a social dance.  I want both the regulars and the first-timers
to feel confident at all times.  A live mic on the dance floor can be
unnerving.  (Callers who call from the dance floor using a headset mike
often come across as confused about their own role at the event.)

There are techniques to keep the dancers/audience oriented while using an
off-stage mike, without a follow spot.  Taking care to only change location
after you have earned the attention of all of the dancers is one such
technique.  (That way dancers who look to the last place they saw the
caller will always find them there.)  Talking *off-mike* to make your
position clear before switching on the wireless is another.  These
techniques, however, require experience and practice.  I personally would
not use an off-stage mike without a follow spot or a prepared plan.

I find it interesting that the off-stage mike is often used in stagecraft
to deliberately create tension in the room.  A darkened room with a
dis-embodied voice will always create drama.  In my view the less drama at
open public contra dances the better.

There can be other issues such as mic clarity, volume, and feedback.  It
would seem to be a good idea to have a sound engineer at the mixer board
whenever an off-stage mike is being used.  Feedback is always a sure way to
create stress in an otherwise relaxed social event.  I know that I
personally get a little uneasy whenever I see a caller or teacher lead an
optional newcomer's orientation while wearing a headset mic.

Yes, wireless mics can be useful, when in the hands of an experienced
professional.  But these devices are often used inappropriately.  I would
be cautious about purchasing one to make it available for general use,
without some kind of practice or training.

Just a thought,

Greg McKenzie

Re: [Callers] What is this dance called?

[Greg McKenzie]

Yoyo wrote:

> I'd be most surprised if this dance hadn't been written already (it
> occurred to me because I thought I'd danced part of it somewhere, but
> I just found that the progression transition is like Amy Kahn's Sweet
> Music). Does anyone recognize it?
>

The first half of the dance is a lot like "Pedal Pushers" by Bob Dalsemer,
and like "Suzie's Choice" (I don't have the author.)  But I prefer your
dance because it is more connected and would require less walk-through than
either of those dances.

Do you have a name yet?  I would like to use it.  I particularly like the
progression transition from right hand star into Gent's left hand turn.

Good work.

- Greg McKenzie
West Coast, USA

**


> improper
> A1. gents allemande left 1+1/2; P star promenade
> A2. ladies do si do; P swing
> B1. circle left 3/4; N swing
> B2. long lines; right hand star
>
> Thanks,
> Yoyo Zhou
>

[Callers] Catching the Onus

[Greg McKenzie]

Aahz wrote:

> Despite your admonition that the caller is responsible for
> everything (which certainly is worthwhile as general advice), I think
> that placing the onus for the sound system also on the caller is probably
> going a bit too far.
>
Actually,…I don’t think anyone should place an onus on anybody at a social
event.  Unfortunately the fact is that sometimes onuses just “fall” in the
dance hall.  Nobody knows where they fall *from* but I suspect they are up
there—perhaps somewhere near the light fixtures.

Often the onus falls upon the dancers.  That’s not good.  Onuses are not
attractive and dancers don’t like them.  I try to keep those guys off the
dancers if at all possible.

I think that having onuses falling in a dance hall is a bad idea.  When an
onus falls on a dancer, for instance, it can be very disturbing for the
dancer and makes it harder for them to concentrate on anything else but
that damned onus.  Once an onus gets on a dancer they are not easy to get
rid of.  And, fact is, that there are a lot of folks who won’t even want to
dance with you once you’ve got an onus on you.  And who could blame them.  If
one onus falls then it’s a good bet that there’s another one up there,
lurking, and the critter is likely to fall on the same dancer again.  It is
safer to stay away from a dancer who has an ornery onus on them.  Some
folks even stay away from the spot in the hall where an onus fell on a
dancer on account of there are probably more of them up there.

Once onuses start falling in a dance hall everybody gets a little edgy.  Nobody
wants an onus to get on them.  Onuses can hurt when they hit a dancer.

But the caller can do something about the onuses.  A good caller can catch
an onus before it falls on a dancer.  A live microphone is an effective
onus-catching device.  By being a leader the caller can take responsibility
and apologize for whatever the onus is about and that is how the caller can
catch the onus before somebody is injured or hurt.

I was not calling before we had microphones.  Back then maybe leaders could
catch onuses without a mike…if they had a strong voice.  But the pa system
sure helps with onus catching.  Masters of Ceremony have to catch onuses
all the time.  It’s part of their professional responsibility

The caller can catch most onuses before they hit the dance floor.  Even
better they should catch them before one even hits the stage, where the
musicians are.  And they should certainly try to catch an onus before it
hits a sound engineer.

Years ago I saw a rock performer drop an onus on a sound engineer and it
was an ugly thing.  The singer was inebriated and didn’t like the sound he
was getting so he dropped a particularly onerous onus smack dab on the
sound engineer’s head.  Man!  When that onus hit him the guy lost it.  He
shut down the pa system, screamed a few descriptive words at the singer,
and stomped out of the hall in a huff.  It took a half hour to get the
sound system working again and the singer’s performance was not well
received after that.

I would never drop an onus on the sound guy.

The night I attended my first contra dance the lovely woman who dragged me
there told me that I should not worry because, if anyone makes a mistake
everybody knows that it’s always the caller’s fault.  That’s when I
realized that the caller is the Chief Onus-Catcher in the hall.  The caller
catches the onus by stepping up, taking responsibility, and being a leader.

But it’s not just the caller’s professional responsibility.  It’s also the
smartest thing a caller can do.

When the dancers realize that somebody is catching the onuses they can
relax and focus on dancing and having fun.  The dancers are not stupid
either.  Some of them will realize that the caller has a high opinion of
the dancers and expects more from them.

If you want to be a true “Folk Hero” start catching falling onuses at the
dances you call.  The dancers will love you for that.  Some will follow
that example and take more personal responsibility themselves.  And many
will work harder to make the caller look good.

Everybody wins when the onuses are kept out of the dance hall.

- Greg McKenzie

West Coast, USA

Re: [Callers] Shutdown-related dances?

[Greg McKenzie]

Folks,

I think Chris is right.  For me contra dance is about connecting with
others I may not have much else in common with.  That's why I worked so
hard to organize three citizen diplomacy contra dance tours to the (former)
Soviet Union.  It's about making a visceral, human connection and finding
community with a diverse group.

I am also, generally, very skeptical of the idea of "theme dance
evenings."  I would rather the caller focus on making sure the evening
"works" as a social event.  Adding the "theme" requirement to the
programming process is unlikely to make that task easier.  The "name" of a
dance is something I seldom consider in my programming decisions.  But if
someone is hell-bent on inflicting a "theme evening" on the dancers it
could, at least, reduce the pain somewhat if they have lots of dances to
choose from.

The politics of a dance community are plenty to deal with in any case.  As
it stands we have to deal with a diverse group with vastly different ideas
of where our particular dance tradition is headed--or, for that matter,
where it came from.  Lots of folks are pushing hard to move some traditions
in different directions--and I am one of them.  That's something I think it
*is *useful to discuss.  We need to keep those discussions civil and
respectful.  But I hope that we can offer new or unconventional ideas about
those directions here.  Discussions about our visions of what we are
creating when we call are often very enlightening to me.

I think such discussions could be very helpful here.

In Community,

Greg McKenzie
West Coast, USA



On Fri, Oct 4, 2013 at 4:05 PM, Erik Hoffman <e...@erikhoffman.com> wrote:

> It is interesting.  By in large, contra dancers tend to be on the liberal
> side of the spectrum.  And, judging from this discussion, even the reasons
> for not bringing up current events are because we want to get away from the
> message ("denying people healthcare is so important that they'll shut down
> the government..."), not because we hold the opinion that "Obamacare is
> going to destroy America and everything we hold holy...".
>
> Though I tend to be on the extreme left, (like, I think of NPR as National
> Pentagon Radio...) and sometimes I can't help but comment by giving my
> dances titles like:
> There is No Way to Peace; Peace Is the Way
> Malcolm's X
> Black Wednesday (the day after Bush II's second stolen election...)
> and occasionally making comments, I want the dance to be a place where
> people of all political persuasions and colors are welcome.
>
> So, if a card carrying Tea-Partier, or an anti-women's-right-to-choose
> fundamentalist Christian, or a fundamentalist Muslim, or a nazi-white
> supremacist, or a flat-earther, or a "God made the Universe in 7 earth days
> exactly 10,000 years ago...", or a person with any sort of ridiculous
> belief structure comes to the dance, and finds joy in sharing the dance
> with others, I am happy they are there and don't want to drive them away
> with my ideology -- even though I'm Right!
>
> Granted, if this variety of people all showed up at the same time, we
> might end up with fireworks, and that is something we must watch out for.
>  I once had to tell a man that his racist comments to a Black dancer were
> not welcome at the dance, and if we heard him say anything like that again,
> he would be immediately asked to leave. Still, if someone has those belief
> structures, and can come to the dance and not show them, it should be a
> chance for us to revel in the humanity of all, regardless of the ridiculous
> beliefs they -- or we -- might carry.
>
> So, I guess I'm saying that there should be at least a caution before
> extolling certain ideas from the podium.  Let's find other places to carry
> out political and social discussions and keep the dance a place where we
> can connect with people and see beyond their beliefs and find their
> humanity.
>
> Now, it's back to our generally White, mostly liberal dance community...
>
> ~erik hoffman
> oakland, ca
>
> PS, if anyone wants to discuss things political, I'm happy to, but
> privately!
>
>
> On 10/4/2013 2:36 PM, Dave Casserly wrote:
>
>> I agree with Chris.  It's a moot point, since the dance Sargon was asking
>> about is cancelled, but as a furloughed fed, I would rather not be
>> reminded
>> that half of our country thinks denying people heath care is so important
>> that they'll shut down the government to do it.  Reminders are all over
>> the
>> place in this town.  It'd be nice to be able to go somewhere that isn't
>> reminding me I'm not going to get a paycheck anytime soon.
>>
>> -Dave
>>
>>
>> On Thu, Oct 3, 2013 at 9:

Re: [Callers] Shutdown-related dances?

[Greg McKenzie]

...Oh.  How about:

"Help" by Al Olson
"Heart of Glass" by Cary Ravitz
"You Can't Get There From Here" by Carol Ormand

Note: "Down And Out" is by Don Lennartson (with two "N"s)

Greg McKenzie
West Coast, USA


On Wed, Oct 2, 2013 at 9:37 AM, Sargon de Jesus <sargo...@gmail.com> wrote:

> Hello fellow callers,
>
> I'm theoretically calling the Glen Echo (MD) dance on Friday, but as many
> of you know, this is National Park land. If the Congressional standoff
> continues, it may very well be that the gates will remain closed.
>
> While things are obviously in flux, there is a possibility that I might
> either calling at Glen Echo or at an alternate venue. In either case, I'd
> like to incorporate some shutdown-themed dances for our DC folks.
>
> So, in the event that I call, I'd love some ideas for dances themed/titled
> around shutdowns, openings, bickering, childishness, etc. What have you
> guys got? Any suggestions are happily welcome!
>
> -Sargon
> ___
> Callers mailing list
> call...@sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>

Re: [Callers] Shutdown-related dances?

[Greg McKenzie]

How about "Down And Out" by Don Lenartson?

Greg McKenzie
West Coast, USA



On Wed, Oct 2, 2013 at 9:37 AM, Sargon de Jesus <sargo...@gmail.com> wrote:

> Hello fellow callers,
>
> I'm theoretically calling the Glen Echo (MD) dance on Friday, but as many
> of you know, this is National Park land. If the Congressional standoff
> continues, it may very well be that the gates will remain closed.
>
> While things are obviously in flux, there is a possibility that I might
> either calling at Glen Echo or at an alternate venue. In either case, I'd
> like to incorporate some shutdown-themed dances for our DC folks.
>
> So, in the event that I call, I'd love some ideas for dances themed/titled
> around shutdowns, openings, bickering, childishness, etc. What have you
> guys got? Any suggestions are happily welcome!
>
> -Sargon
> ___
> Callers mailing list
> call...@sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>

Re: [Callers] Scheduling/programmer Question

[Greg McKenzie]

Colin wrote:

> The final step is to be booked at festivals, usually a weekend or a whole
> week.
>

This is how most people see it in the USA contra dance scene as well.  I'm
not sure why.  I have seen many of our "top bill" callers struggling at one
of our local dances--where a healthy percentage of those in the hall are
bright and eager first-time contra dancers.  Yet, someone who has proven
themselves to be an excellent caller at open, public contra dances is often
more than ready to call a dance weekend.

I would urge new callers to attend these special events and try to get a
calling "slot" in the main dance hall.  You will have a room full of
regular contra dancers who will be able to make your dances work...even if
your calling is lacking in some way.  At an open, public contra dance you
could be facing a much tougher challenge.  Calling at an event targeting
long-time dancers is a very easy gig.  It seems like the best place for new
callers to develop calling skills.

Greg McKenzie
West Coast, USA

*


On Sun, Sep 29, 2013 at 3:17 PM, Colin Hume <co...@colinhume.com> wrote:

> On Thu, 26 Sep 2013 07:39:24 -0700, Aahz Maruch wrote:
> > On Thu, Sep 12, 2013, Colin Hume wrote:
> >> Groups in England book bands and callers much further ahead. I
> >> have  12 bookings for 2014 (it would often be more by this time
> >> of the year)  and 3 for 2015.
> >
> > How do y'all bring in new talent?
>
> The grass-roots organisations are the Dance Clubs, which usually meet
> once a week.  Often they will encourage budding callers to call an
> evening, or part of an evening.  Once you get known you hope that
> other clubs in your area will book you for their club nights.  Then if
> things go well you start getting booked for Saturday night dances with
> a live band, which will spread your name further afield.  The final
> step is to be booked at festivals, usually a weekend or a whole week.
>
> http://www.colinhume.com/clubs.htm
>
> Colin Hume
>
>
> ___
> Callers mailing list
> call...@sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>

Re: [Callers] How to devise a program

[Greg McKenzie]

Aahz wrote:

You may in fact be one of the rarer contra callers with excellent
enunciation and a killer sound engineer (because it's a lot harder to get
good speech over live music), but I think it's really inappropriate for
you to encourage no-walkthrough as a general practice.

Thank you Aahz.  You are absolutely correct.  I was trying to restrict my
post length by focusing only on programming.  My comments should have been
prefaced with a stipulation that this programming will not work if you do
not know and apply some of the core contra calling skills of; clear
enunciation, concise word choices, projection, using the most effective
word order, and impeccable timing.  To that I would also add; knowing how
to earn and hold the attention of the crowd, clear transitions between
social and instruction times, and an effective strategy for integrating the
hall.  (I mentioned in my post that integrating the hall was the primary
reason for the programming style I use.  The caller's style, messaging, and
programming have to work together without "mixed" messages.)

It is true that the vast majority of contra dance callers do not do some,
or many of these things.  Our dances "work" largely with the help of the
regulars who take responsibility.  The dancers, largely, provide cover for
callers who lack these skills.  I am a strong advocate of work on the
basic, core skills of calling.  I would rather see all callers focus on the
basics rather than on complex dances or fancy calling "gimmicks."  The
basics are where I try to put my own efforts at developing my calling
skills.  The basics always need work.

I usually only do one or two "no-walk-through" dances in an evening.  For
most dances I try to work with the band for a "rolling start."  I can see
why someone might "hate" a dance with no walk-through.  But I would urge
you to direct your concern at the basic skills of the caller.  If they
attempt a no-walk-through dance without clear, precise calling, blame
should not be directed at anyone but the caller.  Remember: It's always the
caller's fault.

So, yes.  We should all focus on the basic, core skills first.  Then I
recommend working on techniques and strategies for integrating the
hall...unless, of course, you never call at open, public dance events.

Greg McKenzie, (who was part of a rock band in high school and who
consequently, himself, suffers from a slight hearing loss as he ages.
West Coast, USA

***

On Sat, Sep 28, 2013 at 8:50 AM, Aahz Maruch <a...@pobox.com> wrote:

> On Tue, Sep 17, 2013, Greg McKenzie wrote:
> >
> > The first three dances of the evening are where I put most of my
> > programming effort.  The goal of this segment of the evening is to build
> > the confidence of all of the dancers and to minimize the perceived
> > importance of partnering decisions.  This helps to limit any cliquish or
> > defensive partnering behaviors by the dancers early in the evening.  I do
> > this first by keeping the dance slots as short as possible with little or
> > no walk-through.  For this early segment of the evening I also select
>   ^^^
> > dances with excellent neighbor interaction and with minimal partner
> > interaction.
>
> Going to sound like a broken record, but I think this is a recipe for
> causing difficulty for hearing-impaired dancers.  Experienced as I am, I
> *hate* no-walkthrough dances.  You may recall I've made earlier comments
> about the clarity and enunciation of the average square dance caller
> compared with the average contra caller -- the contra caller usually
> suffers in comparison, even without music.
>
> You probably won't even see the effects of this, because anyone who has
> problems will just quietly leave.  That's what the vast majority of
> hearing-impaired people do.
>
> You may in fact be one of the rarer contra callers with excellent
> enunciation and a killer sound engineer (because it's a lot harder to get
> good speech over live music), but I think it's really inappropriate for
> you to encourage no-walkthrough as a general practice.
>
> Side note: I've noticed *WAY* more hearing-impaired people square dancing
> than contra dancing, despite the fact that contra dancing is overall much
> easier for hearing-impaired people (because you only need to hear the
> walkthrough until you learn the dance).  I wonder why that is
> --
> Hugs and backrubs -- I break Rule 6
> http://rule6.info/
>   <*>   <*>   <*>
> Help a hearing-impaired person: http://rule6.info/hearing.html
> ___
> Callers mailing list
> call...@sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>

Re: [Callers] What made you contra addicted?

[Greg McKenzie]

Jeanette asked:

> I am designing workshop for a dance weekend here in Australia and would
> like to crowd source some inspiration:
>
> Simply answer the question - what made you addicted to contra?
>

Interesting.  I am not all that sure what you mean by "addicted."  Here in
the USA that word has negative connotations for many people.

Well, I think of a "contra dance enthusiast" as someone who attended six or
more contra dance events within the last year.  I fit that description.
But what is a contra "addict?"  What comes to mind is the image of someone
who not only attends regular contra dances, but who also attends workshops,
camps, festivals, or special events--particularly someone who pays air
fares or drives for many hours to attend such events.  (A pathological
interpretation might mean someone who cannot control their urge to dance
contras?  Or someone who's job or family life is becoming dysfunctional
because of their addiction?  But I assume you do not mean that.)

I, personally, don't attend weekends, workshops, or special events.  (I may
be an exception on this list in that respect.)  I did those kind of events
for about the first ten years of dancing but I have been "clean" now for
over a decade.  So I'm not sure I would qualify to answer your question.

I suspect there are folks on this list who do not dance contras that
often.  Some favor squares, English Country dancing, or some other dance
form.

Who is the audience for your workshop?  Are they, themselves, "addicts?"

Just wondering.

Greg McKenzie

West Coast, USA

Re: [Callers] End Effects

[Greg McKenzie]

Paul wrote:

> Just wanted to reconfirm that George Marshall gets credit for "stand
> where you land".
> It was the first place I heard it.  George, hope you don't mind :-)
>

Oh Dear!  Does George Marshall own the copyright for "Stand where you land?"

Calling is getting so complicated now.

- Greg McKenzie
West Coast, USA

Re: [Callers] Feline dislocation syndrome

[Greg McKenzie]

Kalia wrote:

> I'm in the process of programming tomorrow's Berkeley contra and my desk
> is covered wall-to-wall with a carefully-arranged layer of index cards.  On
> the left edge is, was, the program I had sorted out before dinner.  I came
> back in to take a look at it, carefully closing the door.  My husband came
> in to ask a question, leaving the door open.  Shortly thereafter, Sam the
> cat came flying through the air, skidding across the desk and sending cards
> flying every which way.
>
> I have finally, with the doors closed again, re-created something like the
> program I had earlier.
>
> This is another compelling argument for programming dances on the computer.
>

I think not.  Sam is trying to help you.  The program you were putting
together was, clearly, flawed in some important way.

Cats know stuff.

- Greg McKenzie

Re: [Callers] How to devise a program

[Greg McKenzie]

 it.  I seldom call a dance above a level 6.  I
have two dances I have rated at 8 in my database but none higher than
that.  I know there are some of them out there but I have no need for them
so I keep the scale as it is to remind me that such dances exist.  I tend
to think of such dances as just poorly choreographed contra dances.

I use a combination of factors to rate a dance and I often rate the
difficulty level differently than the original author.  I use the piece
count, demanding sequences, good or poor flow, unusual or awkward
transitions, etc. to come up with a level assignment.  I use the ratings to
help me choose dances and to place them in my program.  Over the years I
have changed the ratings on a few dances.  I don't know if I moved more of
them up or down in difficulty level.  I have done it in both directions
based upon my experience calling them.

My approach is to pick dances with good flow, with less emphasis on the
difficulty level.  My target audience is the regulars at a series.  If the
regulars are comfortable with the dance and my calls then they will pull
the first-timers through it well.  I don't teach figures or transitions at
an open, public contra dance.  I leave that up to the regulars.

My experience is that the regulars accept their role as hosts with
enthusiasm.  The trick is to give them all of the information they need at
exactly the moment they need it.  If there is a sudden influx of
first-timers I try to speak on behalf of the regulars and graciously
welcome the newcomers into the hall.  The regulars seem to take this cue
well and make sure the hall gets integrated.  That solves most of the
problems with such influxes.  I don't start teaching from the mike.  I know
that the regulars will be much more effective at leading the newcomers.  My
teaching from the mike will only make everyone more nervous.  It's a team
effort.

In solidarity,

Greg McKenzie
West Coast, USA

**

Re: [Callers] How to devise a program

[Greg McKenzie]

ten call at
least one “no partner swing” dance during the evening, and this will happen
during the first three dances.  Most callers do this in the form of a
“mixer” during the evening.  I will often substitute a “no partner swing”
contra dance because I see the entire evening as a “mixer”…particularly the
first half of the evening.  Another way to “minimize” partner swinging is
to program dances in which only the ones have a partner swing.  “Scout
House Reel” for example, is an excellent first dance choice.



During the first half of the evening I try to show some variation and add a
few figures as I go.  The primary goal though is to make sure the dancers
who have partnered with first-timers will have fun.  Key to this is to keep
the dances easy enough that there is only a quick walk-through and that the
music starts right away.  If the band is willing I try to do roll-ins for
the first three dances and as often as possible in the first half of the
evening.  That means choosing dances where no demonstrations or
explanations are needed.  During the first half I try to do no “teaching
from the mike.”  The regulars are in charge of showing the moves to the
newcomers.  I step back and stay out of that process, (leadership by
omission).



The strategy here is to limit what I call “partnering pressure” which I
define as: “that feeling that one needs to find a particular kind of
partner or any partner quickly.”  By programming short slots with easy
dances that allow minimal walk-throughs I can subtly create a sense that
there will be many more partnering opportunities during the evening.  This
also reduces the apprehension of some dancers that they will get “stuck”
with a “bad partner” for a long dance slot.  In general this programming
encourages more generous and community-minded partnering behaviors.  It is,
after all, a social event.



In the second half of the evening I will program one or two dances in a
longer dance slot to allow the band to work their magic and to allow the
dancers to enter “trance dance” mode.  It is in the second half that I may
include a “mini-lecture” or a dance that requires a demonstration or some
“teaching from the mike.”  But I work to maintain a precise and clear
calling style with impeccable timing using the most effective word
order.  “Teaching
from the mike” is usually limited to about two minutes per evening.



Those are my goals and strategies.  I use Filemaker Pro to keep my database
of dances.  I have set up an interface that allows me to select dances for
the evening and order them in slots from 1-14.  Dances that are being held
for possible inclusion are assigned to slot 15 so I can display them at
will if I need another dance.  Changing the slot number moves that dance
into the program.



I have coded my database using the NEFFA dance planning matrix.  This is a
great tool, by the way.  I use it to plan every evening.  I can instantly
display my program in the matrix and see if I have selected too many “down
the hall” dances or other distinctive figures or transitions.  The matrix
also helps me to collect dances that will round out my program.  (Dances
that start without “neighbor, balance and swing” but which include another
specific figure, for example.  I’m always on the lookout for easy dances
that will also satisfy those regulars who want “interesting” dance
sequences.)



I print out my cards using Filemaker Pro and they are color-coded for
difficulty level.  I am in the process of creating a key on the back of the
cards that will allow me to select from the NEFFA matrix criteria by
looking at the backs of the cards—without using a computer—while at a dance.



That’s how I plan my programs.



Greg McKenzie



West Coast, USA

Re: [Callers] Dances licensed with CC or similar

[Greg McKenzie]

David wrote:

> Fair use does not cover public performance at a contra dance.
>

This assumes, however, that a specific sequence of common figures
constitutes a copyrightable work by the author.  I am not at all convinced
that this is the case.  If I conjure up a dance, on the spot, at a gig and
call it using my own instructions I don't see how anyone can claim that
they already "own" the rights to that sequence of figures.  They can
copyright the *name *of the dance, the *book *they publish it in, and
any *comments
*they may make about the dance--but to take legal action on the sequence of
figures alone would be a fools errand.  I think their "case" would never
make it to court.

Just a thought.

Greg McKenzie
West Coast, USA

Re: [Callers] How to devise a program

[Greg McKenzie]

Miaa asked:

>  how do you go about putting together a program for

a full (or partial) evening of calling?


Yes.  This certainly is a broad question.  For me it would require multiple
approaches depending upon:

- Is it a square dance, a contra dance, a "barn dance" a "family dance" or
a "community dance" and what exactly do these terms mean to the organizers?

- Is the event open to the public or is it a private party, a weekend dance
camp session, a festival?

- Who is the "Client" and what do they expect?

- Is this an ongoing series "hosted" by a group of "regulars" who know one
another?

- If it is an ongoing series what is the local dance culture?  Will they
expect in terms of dance formations and variety?

- What is the purpose of the event?

- Will there be live musicians?  If so, who is the band?

The different approaches you see will depend a lot upon the answers to
these--and other--questions.  Depending upon the answers above some of us
would not accept the gig because we don't have the skills or material to
provide what the dancers and the organizers are looking for.  Or because we
are not interested in doing that particular kind of gig.

You might get more useful answers if you narrowed your question to a
particular "real" situation that callers can respond to.  But that's just
one way to approach it.  I can't really respond without knowing at least
some of the answers.  I see a variety of different roles for the caller in
a variety of different situations.  Other callers may not see it this way.

- Greg McKenzie

West Coast, USA

Re: [Callers] Dances licensed with CC or similar (Sam Whited)

[Greg McKenzie]

Kalia asked:

> If Taco Bell can get legal protection for rearrangements of the same 6
> ingredients in new orders, why not contra dances?
>

I am not a lawyer either but I suspect that Taco Bell could receive
protection for the name of the dish, their advertising slogan,
descriptions, and photos of the dish.  They might even get protection for
the artistic "look" of the dish.  They surely could not copyright a list of
the ingredients nor the recipe for assembling them.

My understanding is that you have the rights to the name of your dance, the
teaching notes included with the notation, and possibly the layout of the
dance notes on a page.  You could also copyright any commentary you write
and any photos or videos of the dance being called or danced.

If another caller, however, uses a different set of words to call that
sequence of figures and does not mention you as the author or the name you
have assigned to the dance...I'm not sure you can protect the specific
sequence of movements that make up the choreography.

Personally, I am always honored if someone calls a dance I wrote.  I don't
feel a need to be credited for the dance, particularly at the time the
dance is called.  If I do a good job of choreographing a dance, then I see
it, really, as the property of the dancers.  The wisdom of the crowd is
what makes a dance that works.  I only assemble the sequence.

But I recognize that some choreographers may feel more "ownership" of the
dance.  I don't want to call those dances.  I would like to know if a dance
is "owned" by a specific person so that I can avoid calling it.

I think the best dances are embraced by the folk process and will evolve as
the dance is passed through the community.  No one "owns" those dances.
They are being re-created with each generation of dancers.  This
traditional dance form is a collaborative process.

- Greg McKenzie
West Coast, USA



On Fri, Sep 13, 2013 at 3:36 PM, Kalia Kliban <ka...@sbcglobal.net> wrote:

> On 9/13/2013 1:59 PM, Jeff Kaufman wrote:
>
>> On Fri, Sep 13, 2013 at 4:29 PM, Erik Hoffman <e...@erikhoffman.com>
>> wrote:
>>
>>> I published it ... only to find out later that Tony Parkes had
>>> written the same dance -- for the same reason -- with the
>>> variant of a B1 Half Promenade; Women Chain. ... Later I
>>> found the same dance with the Right & Left Through, in
>>> another book by a Lucille ...
>>>
>>
>> This is part of why I'm skeptical that a contra dance would be
>> original enough to qualify for copyright protection: people keep
>> coming up with the same dances independently.
>>
>
> If Taco Bell can get legal protection for rearrangements of the same 6
> ingredients in new orders, why not contra dances?
>
> Kalia
>
> __**_
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> call...@sharedweight.net
> http://www.sharedweight.net/**mailman/listinfo/callers<http://www.sharedweight.net/mailman/listinfo/callers>
>

Re: [Callers] 11 dances without names (or authors) ... possible help???

[Greg McKenzie]

Emily,

This looks like good dances for an open public contra dance.  Thank you for
noting the figures using effective word order.  It makes it much easier to
read.

#3 appears to be "Rollin' and Tumblin'" by Cis Hinkle

#7 is "Cranky Ingenuity" by Bill Olson

I will be interested in learning what the other ones are.


- Greg McKenzie
West Coast, USA


On Fri, Sep 13, 2013 at 7:32 AM, Emily Addison <emilyladdi...@gmail.com>wrote:

> Hi Caller Listservers :)
>
> I've been collecting dances over the last few years and there are a few
> that I'd like to add to my box but for which I don't have a name. I've
> listed 11 below.  If anyone has the brain (or computer program!) to help me
> out, it would be much appreciated!
>
> Authors are awesome too and a few have question marks as to the actual
> moves.  (I can test the move issues with our callers group here but it's a
> small group without a way to look up names).
>
> Much thanks :)
> Emily in Ottawa
> *
> *
> *--*
> *??NAME 1: IMPROPER*
> 
> N B
> 
> LL F
> L Gyp 1.5
> 
> P B
> 
> L Chain
> Star L to next couple
>
> *--*
> *??NAME 2: IMPROPER*
> 
> LL F
> N Swing on the side
> 
> CL 3 places
> P Swing
> 
> G Al ???which hand??? 1.5
> G face N to start half hey
> 
> Promenade up & down set (G inside/mid)
> Turn (wheel as a couple) and come on back
>
> *--*
> *??NAME 3: IMPROPER*
> 
> N Bal & Sw
> 
> LL F, G roll L away with half sashay
> LL F, L roll G away with half sashay
> 
> L in for Al L 1.5
> P Swing
> 
> Ladies Chain
> LH Star
> *--*
> *??NAME 4: IMPROPER*
> 
> L in 4 steps & Bal Wave
> L out, G in  & Bal Wave
> 
> G Al L until see N
> N Swing
> 
> CL 3 places
> P Swing
> 
> LL F
> Ladies Chain
> *--*
> *??NAME 5: IMPROPER*
> 
> N B
> 
> LLF
> L Al L 1.5 (or Right???)
> 
> P B
> 
> G DSD 1 X
> Cir L 3/4  & pass through to new Ns
>
> *--*
> *??NAME 6: IMPROPER*
> 
> LLF
> N Al R once around (fast)… L Al L ½ … with R to P to make a wave
> 
> Bal wave & slide to R (face to face)
> Bal wave & slide L (face to face)
> 
> P B
> 
> Cir L 3 places
> N Swing
> *--*
> *??NAME 7: IMPROPER*
> 
> CL 1X
> Couple DSD
> 
> N DSD
> N Swing
> 
> G Al R 1.5
> P Swing
> 
> Cir L 3/4
> Bal Circle & Cal Twirl
> *--*
> *??NAME 8: IMPROPER*
> 
> N B
> 
> LLF
> L Al R 1.5
> 
> P B
> 
> Ladies chain
> LH Star (look for new neighbours)
>
> *--*
> *??NAME 9: IMPROPER*
> 
> N B
> 
> La Chain
> Ladies back in, lead R shoulders for ½ Hey
> 
> P B
> 
> La Al R 1X … P Al L ½ … G Al R ½ … N Al R once and a bit onto the next N
> (keep flowing)
> *--*
> *??NAME 10: IMPROPER??? BECKETT?*
> 
> Cir L 1X (all the way)
> R Through
> 
> La Chain across
> La Chain on L diagonal (TO SHADOW)
> 
> Bal Ring + Petronella
> Bal Ring + Petronella
> 
> Turn to B your Partner
> ???not sure if I have this dance right
> *--*
> *??NAME 11: CIRCLE MIXER*
> 
> Cir R (8 steps)
> Cir L
> 
> Forward 4 (with clap) & back
> Corner Al L 1X
> 
> P Al R 1X
> New N DSD 1X
> 
> New N (now your partner!) Swing
> Promenade to R
> ___
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> call...@sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>

Re: [Callers] Calling squares at contra.

[Greg McKenzie]

Jeff wrote:

> (When I'm calling I try to drop out as early as possible and not
> choose dances where I'll need to keep calling.  When I'm playing I
> like it when callers do the same.)
>

Yes.  I also appreciate it when callers who are dancing on the floor take
it upon themselves to start calling at key moments when confusion threatens
those around them.  This is not appreciated when I am calling, but after I
stop calling, this "calling from the floor" allows me to be silent so that
the music and the dancers can remain the focus.

Help from the floor is almost always done non-verbally with eye contact and
gentle guidance by touch.  The predictability of contras allows the
regulars to take a much more active role in guiding those around them.  I
love it when the regular dancers take charge of guiding first-timers.  This
is one reason I am inclined to sit out when squares are announced.  This is
also one of the main reasons why I don't call squares.

- Greg McKenzie
West Coast, USA

Re: [Callers] Calling squares at contra.

[Greg McKenzie]

Jolaine makes some good points.  The square dance culture is different than
the culture at open, public contra dances and the calling skills and
dancing experience requirements are also different.

The only other thing I would suggest is that--if a caller needs to offer a
square, or any other non-contra formation at an open public contra
dance--please consider announcing the upcoming formation well before the
partnering process for that dance slot begins.

I suspect that many of the groans or protestations that some
square-inclined callers complain about at contra dances result from the
common practice of "springing" these formations on the dancers without any
notice whatsoever.
You will earn the respect and consideration of the dancers if you also
treat them with respect and consideration.  That means trusting the dancers
with programming information so that they can plan ahead.

Note that squares require more room on the dance floor per couple than
contras do.  If the hall is crowded the instruction to "form square sets"
is, in effect, an invitation for some folks to sit out that dance slot.
Squares can be less inclusive in some situations and some folks will
normally plan to sit out for a few dances during the evening.  Trusting the
dancers with programming information gives them the opportunity to work
with you and support your efforts.  "Springing" an unusual formation on the
regulars at an open, public contra dance can undermine the trust you need
to exercise leadership.

Just a thought,

Greg McKenzie
West Coast, USA



On Mon, Sep 9, 2013 at 5:47 AM, JoLaine Jones-Pokorney <jola...@gmail.com>wrote:

> Speaking as a dancer here and not a caller, I enjoy a square now and then
> but I really don't like it when the caller calls two squares back to back.
> If I sat out the first one, that generally means I have to sit out the next
> one too. The last time that happened in our community, one of the dancers
> complained that he had driven two hours to get there and had only gotten
> two dances in the second half because the caller had called two squares
> back to back and took a really long time to teach both of them. In my
> experience, the main reason contra dancers don't like squares is that it
> takes a long time to get set up, there is a chance you will get left out if
> you're slow to find a partner and then can't get enough other people to
> make a square, and that it often takes more teaching time. I don't think it
> has anything at all to do with the dance itself.
> So my advice is to call one square in the first half and one square in the
> second half and find something that can be taught quickly and is
> interesting and fun. I will happily dance those squares!
> JoLaine
> ___
> Callers mailing list
> call...@sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>

Re: [Callers] Crowd noise during walk through - CONCLUSION

[Greg McKenzie]

Good work Jacqui!

Thank you for posing the question so well.  This is a common problem and
I'm sure all of us benefited from the discussion.

Greg McKenzie
West Coast, USA

Re: [Callers] dances with down-the-halls

[Greg McKenzie]

Chris asked:

> Please be careful and cautious when using the Dublin Bay down the hall.
>

Interesting.  I never call dances that instruct the dancers to walk
backwards.  It always seemed awkward and hazardous on it's face.  If I am
partnered in such a dance I will usually go ahead and dance it...but I
never walk backwards.  I alter the dance so that I can walk normally.

- Greg McKenzie
West Coast, USA



On Fri, Aug 30, 2013 at 11:53 AM, Chris Weiler (Home) <
chris.wei...@weirdtable.org> wrote:

> Please be careful and cautious when using the Dublin Bay down the hall. I
> have a vivid memory of dancing this at the Greenfield Grange in very
> crowded conditions (many many years ago). During the 2nd backing up the
> hall, I tripped over the foot of someone in the next line and fell on my
> rear end. I looked up at the wall of people backing up towards me with no
> idea that I had fallen. I never got to my feet so fast in my life.
>
> Chris Weiler
> Craftsbury, VT
>
>
>
> On 8/29/2013 5:36 PM, Kalia Kliban wrote:
>
>>
>> Al Olson's "Leaving Home" features a Dublin-Bay-style (that's an English
>> country dance, for those who aren't familiar with the name) down the hall.
>>
>> .
>>
>> A2 Line of 4 lead down for 4, turn toward N to face up but keep backing
>> down the hall for another 4, then lead up for 4, turn toward N to face down
>> and keep backing up the hall, bending the line at the very end. The 1s are
>> below.
>>
>
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>

Re: [Callers] Contra culture (was Glen Echo FND beginner lesson plan)

[Greg McKenzie]

Aahz wrote:

> Certainly.  And there are also lots of assumptions behind any human
> interaction.  For example, I tend to be somewhat blind to a lot of
> non-verbal cues (partly due to my hearing impairment, partly due to
> personality), so I might well have done the same thing as "that guy"
> simply because I didn't recognize the two of you as a couple.
>

Well, I can see what you're saying.  But we were in conversation with full
eye contact, and he interrupted me in mid-sentence.  It was like I wasn't
even there.  I'm glad it happened because I am now very cautious when
approaching two people in conversation--particularly if they look like
newcomers.  I don't interrupt people in mid-sentence.  I often address the
gent first, and ask him if he is planning to ask this lady to dance.   (I
probably should change this strategy and address them both, asking if they
are planning to dance together for the next dance.)  If not I would then
ask the lady to dance.  Often this question prompts the gent to immediately
ask the woman to dance.

"That guy," by the way, turned out to be a rather decent fellow, just a
little lacking in social skills.  He was a life-long social dancer for whom
dancing was where he was able to stand out.  He was tuned into the local
dance culture where partnering quickly for the next dance was the prime
directive.  I am glad that that dance culture is changing.

Greg McKenzie
West Coast, USA

***

On Tue, Aug 27, 2013 at 3:35 PM, Aahz Maruch <a...@pobox.com> wrote:

> On Tue, Aug 13, 2013, Greg McKenzie wrote:
> >
> > Good ideas.  As to the contra dance subculture: I was taken to my first
> > contra dance by a woman I had fallen in love with.  We were there for
> only
> > a few minutes when a regular dancer came over to her and--without
> > acknowledging my presence or even making eye contact--asked my sweetheart
> > to dance.  I was shocked.  I thought it was the rudest thing I'd seen in
> > years.  And I never forgot that guy.
> >
> > I always try to remember that there are a lot of assumptions we make at
> > contra dances.  Newcomers don't understand many of them.
>
> Certainly.  And there are also lots of assumptions behind any human
> interaction.  For example, I tend to be somewhat blind to a lot of
> non-verbal cues (partly due to my hearing impairment, partly due to
> personality), so I might well have done the same thing as "that guy"
> simply because I didn't recognize the two of you as a couple.
> --
> Hugs and backrubs -- I break Rule 6
> http://rule6.info/
>   <*>   <*>   <*>
> Help a hearing-impaired person: http://rule6.info/hearing.html
> ___
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>

Re: [Callers] Easy dance List

[Greg McKenzie]

On Sun, Aug 25, 2013 at 4:58 PM, Michael Fuerst wrote:

> I have sent the list of easy dances I have collected to he 23 people who
> requested such.
> If you have not received it by Monday, email me.
> Make sure to check your trash ans spam folders, in case it ended up there.
>
> Michael Fuerst  802 N Broadway  Urbana IL 61801   217-239-5844
> ___
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>

[Callers] Calling as Conducting

[Greg McKenzie]

Calling has sometimes been compared with conducting an orchestra.  The
metaphor certainly does have resonance.  This link is to a 23 minute TED
talk by conductor Itay Talgam about the leadership of some of the greatest
conductors.  It's the best talk I've seen on leadership.

I recommend streaming this from the YouTube link below (rather than the TED
website) to get the best synch for watching the conductor clips he shows.
For the same reason I recommend watching it during off-peak hours on your
broadband network.

http://www.youtube.com/watch?v=R9g3Q-qvtss

Comments?

Greg McKenzie
West Coast, USA

[Callers] The Descent of Traditional Contra Dance (Was Glen Echo...) LONG

[Greg McKenzie]

will do it out
of a sense of "duty" but others realize that it will be more fun for them
and everyone else if they do so.  (Dancing with your favorite partner in a
set that keeps breaking down is probably less fun than dancing in a working
set with a happy newcomer.  Contras are structured to embody the idea that
"we are all in this together.")

When they arrive at the hall about half of the first-time contra dancers
are already dancing regularly at some other type of dance event.  Others
may have previous dance training.  The "first-time dancer of any kind" is
rare, so there is almost always considerable dance experience in the hall
to help the caller.  (See "Dance Habits of Contra Dance
Attendees<http://santacruzdance.org/drupal/node/114>"
at: <http://santacruzdance.org/drupal/node/114>)

I suspect that after dancing the first two or three contras of an evening
at least half of the "first-timers" will have "gotten" enough of the lingo
and concepts to, potentially, partner with the remaining first-timers.
Most of them may not realize this but some of them probably will.

I appreciate your concept but it seems to be leaving the real world out of
> the equation.


Well, I have not invoked the "R-word" here.  Almost all of what we post
here is personal opinion based upon our personal experience.  That
experience varies for each of us depending on a lot of factors.

In short, the "reality" of what people do at our dances and what the
caller's role is at these events varies with what frame is active in the
brain of the person making the comment.

In my own "real world" a big part of the caller's job is to be a leader.
"Leadership" implies movement from one place, or state, to another (so that
others can "follow.")  And leadership also implies that the caller's job
involves changing the "reality" of what is happening in the room.  Great
callers take a room full of people--many who don't know each other, and
some who may not even *like *each other--and transform it into a magical,
joyful, and transformational event where extraordinary connections between
people are possible.

To do that we need a capable group of musicians, managers, and regular
attendees who are passionate about making this tradition work.  It has
always been a team effort, in most forms of dance.  And all dance
instructors use the experience of those in the room to help.  It is a
collaborative learning experience.

I see open, public contra dances as particularly adaptable to collaborative
learning and I feel that this approach could be employed much more
effectively by many contra dance callers.  Rather than talking about how
the "real world" limits what we can accomplish as a community I would
rather talk about how we, as a community, can alter that world.  That is
what leaders have always done.  That's why I started calling contras.

I'm not saying this is easy.  I see the open, public contra dances as the
most challenging type of gig for a caller.  What works for me is to be very
precise and clear in my calls and to structure the calls using the most
effective word order so that all of the dancers hear the instruction
precisely when they need the information.  That builds the confidence of
all of the dancers and makes the regulars more comfortable with partnering
with first-timers.  I am also very strategic in my programming and in all
of my behaviors at the mike so that my nonverbal behavior is consistent
with my words and goals.

I think what it comes down to is that the caller needs to let the dancers
know that she believes in them.  That she believes not only in their
ability to dance well but also in their ability to lead others and to make
them feel welcomed.  The caller does this, not only by modeling such
behavior at the mike, but also by creating a space in which the regulars
can "take the lead" and by giving the regulars all of the information that
they need to succeed.

The caller creates this "leadership space" to a great extent by what she
does NOT do.  When the caller, for example, says "Please find someone who
has danced contras at least one night and form three contra dance lines,"
she does NOT tell the dancers how to line up.  She does NOT tell them to
"join at the bottom of the set with the lady on the right facing the
stage."  She assumes that the regulars are taking care of that
situation.  Instead
of giving long explanations at the mike the caller simply says the *name *of
the figure and allows the regulars to lead.

This traditional collaborative approach is very fast, effective, and fun.
It doesn't work as well at some other types of events.  But when you have a
base of regulars in the room it seems like a shame not to use it.  Others
do it very differently.  And many other callers have different goals than I
do.

Thanks for reading.

- Greg McKenzie
West Coast, USA

Re: [Callers] Glen Echo FND beginner lesson plan

[Greg McKenzie]

Jeff wrote:

> I think the fraction of dances with a beginners workshop is more like 30%.
>
> (With the Free Raisins I notice when there are workshops because while
> we're not generally asked to play for a workshop we do need to be
> quiet and stop soundchecking.  We've played dances at about 45
> different dance series, and think about 15 had workshops.)
>

Keep in mind that some venues have the option of holding a newcomer's
orientation in a separate room.  You may not have been aware of it.
Nevertheless this does sound encouraging.  I would love to see some harder
numbers regarding dance series with no orientation session for newcomers.
That would be helpful.

In what geographical area do the "Free Raisins" play?

- Greg McKenzie
West Coast, USA

Re: [Callers] Crowd noise during walk through

[Greg McKenzie]

Jacqui,

I think you are on the right track.  Earning and holding the attention of
the hall is a key skill that many callers struggle with.  A contra dance is
a complex ritual where the caller takes control of the audio space in the
room and moves the locus of attention to their voice for defined periods of
time.  Managing these transitions is a vital communication skill for
callers.  Here is how I work to earn and hold the attention of the hall.

1.  I take full responsibility for whatever happens in the hall.

2.  I recognize that dancers come to socialize and that talking is a core
reason they come to the dance.  It the room is buzzing with exciting
chatter I take this as a sign that the band and I are doing our job well.

3.  I give the dancers time to socialize.  When the band is ready I stand
ready at the mike and wait until I hear a subtle drop off in the chatter
and I take this as a signal that it is time to begin the walk-through.  (If
folks are looking expectantly at the stage I know I have waited too long.)

4.  I set up a ritualized pattern wherein I call for the attention of the
room in stages.  I start by saying something like "Ladies and gentlemen,"
to signal that essential information is about to be given.  I then
immediately give the dancers an instruction to physically move.  (Usually
"Please take hands in groups of four from the top of the line.")  Then I
wait about 10-15 seconds or so and give another instruction to physically
move: "Ones please cross over."  Then I wait another 10-15 seconds or so
and begin the walk-through proper, something like: "Ones face down.  Twos
face up.  With the one you're facing balance and swing."

The purpose of this staged process is to politely allow the dancers to
gracefully transition from their socializing into listening to my
instructions.  It would be rude to interrupt a dancer's "story" with a
demand for full attention immediately so this ritualized process gives the
regulars clear signals and allows them to take the lead with their
first-timer partners and demonstrate that they "know the drill" and will
lead the newcomer successfully  through the process.  This is a way to
include the regulars as leaders in the walk-through and make it a
collaborative process.

5.  As I continue the walk-through I restrict my speech to essential
information.  I use effective word order.  I never repeat an instruction or
a call.  (If I screw up and the dancers need clarification I will give the
call using different words.)

6.  I then begin dropping calls as soon as possible and lowering the volume
of my voice to "give back" some of the sonic space in the room to the
dancers...and to the band.

On Regaining the Attention of the Hall After Losing It.

I take full responsibility.  It was, after all, my screw up that caused the
dancers to feel the need to talk during the walk-through.  I will usually
apologize for losing my focus and ask the dancers to allow me to try
again.  Apologies are one of the most powerful tools I have as a caller to
regain the attention of the hall after a screw up.  It brings the locus of
attention back to my voice and signals that I know what went wrong and have
a plan to fix it.  It also offers a way to model politeness and gracious
consideration for the dancers.  I try to always take responsibility.

That's how I do it.  There are other ways that seem to work well for other
callers.

- Greg McKenzie
West Coast, USA

**


On Tue, Aug 13, 2013 at 9:55 PM, Quiann2 <quia...@gmail.com> wrote:

> Hello,
>
> I'm a new caller and have been noticing recently at some dances that the
> crowd is quite chatty and noisy and it can take a long time to get them to
> settle down and listen to the walk through. And then even during the
> walk-through the noise level rises again so that some people in the hall
> can't hear the walk through. I'll be calling my first full evening next
> month at a venue that is known for the chattiness of the dancers. I want
> people to be able to socialize but I also want dancers to be able to hear
> the entire walkthrough. Can you give me some tips on how to balance
> socializing (i.e. how to judge when to start) and ways to regain their
> attention mid-walk through without sounding like a schoolmarm or raising my
> voice? Thanks much!
>
> Jacqui
> ___
> Callers mailing list
> call...@sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>

Re: [Callers] Glen Echo FND beginner lesson plan

[Greg McKenzie]

Mac wrote:

> At our dances in St Louis, new dancers are almost always paired with
> experienced dancers for much of the first part of the evening (not ones who
> have just attended once or twice - but dancers skilled in dancing with new
> dancers).  There are exceptions - but our dancers work hard to make this
> happen.
>

Very cool.  You certainly have a wonderful dance community.  I would be
very interested in what you think your area callers and dance organizers
are doing that encourages, allows, or enables this to happen.  Can you
point to one or two factors?

Mac also wrote:

> Remember - even if every new dancer has an experienced partner - they will
> be dancing with neighbors who are also new at various points in the dance -
> this is where the lesson is the biggest help - at least they know the lady
> is supposed to be on the right, etc.
>

If the hall is integrated the first-timers will have either a partner who
will put them on the correct side, or they will be surrounded by couples
modeling the correct behavior.  If I need to give out this sort of
information I consider it to be a sign that I have failed to integrate the
hall sufficiently.

Mac then wrote:

> Yes - we could run the dance fairly successfully without the lesson - but
> we don't.  I see the lesson more about making the new dancers comfortable
> than being necessary.  I know they don't need it - but they don't
> understand or believe that.


I think you are spot on about the purpose of the newcomer's orientation.
Confidence is much more important than skills.  (Of course, the best way to
signal that the orientation is not needed would be to make it the tradition
to NOT offer it.)  I have given up on that effort.  There are too many
people who expect an orientation and who believe that it is essential.  To
address those needs I try to keep the orientation as short and simple as
possible.

Mac also wrote:

> The real trick is to get the experienced dancer to adapt this approach and
> feel very proud to be part of a community that is so helpful to new
> dancers.  But we still provide the lesson.  New dancers often ask about it
> as they enter the hall - so we do it for them.
>

I think almost all contra dances provide some kind of orientation.  When
first-timers arrive I always tell them that they do not need to attend the
orientation.

I also try to compliment and praise our community.  Pride in the community
is a core idea.  If the callers or other community leaders do not think
highly of their own dance community that will be clear to almost everyone.

Mac finished by writing:

> As a caller - I try to think of new dancers as I develop my program.  That
> doesn't mean just do easy dances.  Certain figures - like gypsies - are
> intimidating to new dancers who don't understand the culture yet - so I
> avoid them early in the evening.  I am not recommending that for all
> callers - it is just something I do.  But you should think about new
> dancers not only as you introduce them to the dances - but also to the
> culture of the dance community.
>

Good ideas.  As to the contra dance subculture: I was taken to my first
contra dance by a woman I had fallen in love with.  We were there for only
a few minutes when a regular dancer came over to her and--without
acknowledging my presence or even making eye contact--asked my sweetheart
to dance.  I was shocked.  I thought it was the rudest thing I'd seen in
years.  And I never forgot that guy.

I always try to remember that there are a lot of assumptions we make at
contra dances.  Newcomers don't understand many of them.

I would love to hear other ideas about how callers and organizers can
encourage and foster a "wonderful dance community."

- Greg McKenzie
West Coast, USA

Re: [Callers] Glen Echo FND beginner lesson plan

[Greg McKenzie]

Thank you Tavi, Stan, and Laura for posting this.

It's been a long time since I danced in Glen Echo and I am delighted to
hear that they have moved beyond the four-separate-classes format.  This
new approach takes several big steps in a very helpful direction.  I like
the emphasis on getting folks moving and keeping it visceral and simple.

This approach starts with an assessment of what "skills" are needed.  From
an instructional design perspective it might also be helpful to take one
more step backwards and start with a "problem statement" instead.  What is
the problem that you are trying to address?

The goal of "teaching beginners how to persist under actual floor
conditions" assumes a lot about those "floor conditions."  Consider the
situation if you had full integration of the first-timers into the dance
hall.  (Meaning that every single first-timer was partnered with someone
who had danced for at least one night--*and *the first-timers were
distributed evenly throughout the hall.)

With a fully integrated hall--and clear, precise calling--your list of
skills needed by first-timers is reduced by about 80%, or more.  Maybe our
efforts would be better directed at what we can do to achieve hall
integration rather than preparing first-timers to deal with a
non-integrated hall.  How do we accomplish that?  It may not require
separate lessons of any kind.

- Greg McKenzie
West Coast, USA

***

On Sat, Aug 10, 2013 at 1:57 AM, tavi merrill
<melodiouswoodch...@gmail.com>wrote:

> Hi all,
>
> It was a real treat to utilize the lesson plan Stan Fowler and Laura Brown
> developed for Glen Echo's Friday night dance. As a caller who's often more
> comfortable with experienced crowds than one night stands, it was magic to
> watch the simple concept behind this come to life and open a new way of
> looking at teaching. In response to interest some caller friends showed on
> a facebook post about the lesson plan, it is with permission of Laura and
> Stan and thanks to Kevin Mabon that i share what they developed. It has
> been published before, but i thought in response to friends' requests for
> the document that sharing it in this forum would make it available and
> archived for a new generation and wider audience of callers.
>
> Stan (aka "Dance Ranger") writes: "As I recall we wrote this paper to solve
> a particular issues we were having at the time. If I recall at the time,
> the caller was sometimes to teach the work shop, and their methods were all
> over the board. Our dance was often the largest dance the caller had
> worked. We wished to provide the caller a guideline for our dances. They
> did not have to use the paper, but we wished the newcomers to come out of
> the workshop with confidence to join the dance and have a good time and
> want to return."
>
> Whether or not you use it in a big crowd, the basic idea - keep them moving
> to music *the whole time -* is, as Stan added, the key element. Applying
> the "Create Chaos" technique was mad fun. Steps 2 and 3 may require for
> some an ad lib about the flexibility of gender and role in your philosophy
> dance community. But the document speaks for itself.
>
> With gratitude for all our community shares,
> tavi
>
> ___
> Callers mailing list
> call...@sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>
>

Re: [Callers] Seen This One Before?

[Greg McKenzie]

"Robotic Petronella?"

or

"Clearwater Petronella?"

- Greg

***

On Sat, Jul 27, 2013 at 3:14 AM, Bob Isaacs  wrote:

> Rich:
>
> Good questions.  This happened at the Clearwater Festival held at a park
> on the Hudson River about an hour north of NYC.  Clearwater is much more
> about concerts than dancing - for example, on the main stage act at that
> time was some guy named Pete Seeger.  The band was the ridiculously
> talented Giant Robot Dance, I was a last-minute fill-in for the Sunday
> session, and we had an hour.  So most of the participants were folks who
> didn't realize Seeger was playing, wandered by the tent, and decided to
> give contra a try.  So after three dances of dosido-and-away-we-go and
> put-the-lady-on-the-right, I wanted to give the contra regulars and the
> band something mildly interesting to finish with.  Andrew van Norstrand
> suggested Petronellas, I happily agreed, and then - oops! - I realized I
> hadn't taught a ladies chain yet.  After teaching the A1 the band went into
> rolling start mode, so I winged it and this dance is what happened.
>
>
>
> Bob
>
>
>

Re: [Callers] "Techno" / "Crossover" (etc) Musician & Callers Alert

[Greg McKenzie]

This sounds very interesting.  I would love to read the article.

Where can non-Facebook users go to see a copy?

Thanks.

- Greg McKenzie
West Coast, USA

**

On Wed, Jul 24, 2013 at 1:59 PM, William Loving <
cont...@dedicationtechnologies.com> wrote:

> Hi everyone - CDSS will be reprinting my Facebook article about organizing
> techno/crossover dances. It will be published in both in print and online.
>
>
> https://www.facebook.com/notes/will-loving/putting-on-techno-contra-dances-my-experience-over-the-last-2-years/10151541411764182
>
> The article includes a list of musical groups that perform in the
> "techno/crossover" mode, along with a list of callers who have experience
> calling such dances which generally requires some additional skills, effort
> and awareness (see the article for more thoughts on that).
>
> If you know of anyone - musician or caller who should be on the list at
> the end of the article, please email or message me directly, meaning don't
> just reply through SharedWeight. Deadline is fairly soon.
>
> Thanks!
>
> Will
>
> Will Loving
> Founder & Artistic Director
> Downtown Amherst Contra Dance
> http://amherstcontra.org
>
>
> ___
> Callers mailing list
> call...@sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>

Re: [Callers] contradance materials and/or calls in Spanish or any non-English language

[Greg McKenzie]

The answer is that it depends.

If you have even a small contingent of contradance regulars in the hall I
would say you are much better off calling, and teaching, in English only.
With 10% or even 5% of regulars in the hall you have people to model the
moves where the first-timers can pick it up much more quickly than using
verbal explanations in any language.  Remember that contras are a
traditional dance form and the dance is passed on from one generation of
dancers to another--(not from one teacher to the dancers).

I saw a caller who speaks Russian attempt to teach contras speaking Russian
in Saint Petersburg with a strong contingent of American contra dancers in
the hall.  It was almost comical.  The Americans stood there confused while
the Russians tried to show the Americans the moves that the caller was
describing in their own language.  Needless to say it didn't work.

If you have even a few contradancers in the hall you are better off
sticking to English.

- Greg McKenzie
West Coast, USA



On Sun, Jul 21, 2013 at 12:05 PM, Erik Hoffman <e...@erikhoffman.com> wrote:

> First:
>
> Even if the calls are in English, the teaching must be done in Spanish.
>  And, if you're doing one night stand dances, English in other countries
> doesn't work.  I've called simple dances in both France and Italy, after
> asking people how to say long lines forward & back, right hand turn, swing,
> etc.  Would not have worked to speak English, no way, no how...
>
> Now, if it were at a place where people came to learn the dance, take a
> few classes, become familiar with the names put on the figures, then
> saying, "This is an American dance, so let's learn the American words,"
> that works great.  Well, almost great.  I was calling a dance in Denmark,
> to an older crowd of practiced dancers (all young people speak English).
>  They had been dancing to their regular caller for years, knew all the
> moves.  So, when calling a square dance I was surprised when I called,
> "Allemande Left your corner, back to your own with a Right & Left Grand,"
> and they didn't have a clue.  After a struggle with trying to teach and
> wondering why they didn't know that move, I somehow said, "Grand Right &
> Left," and they immediately knew what to do.  They only knew one word order
> for the name of the figure...
>
> As far as word choices go, when I first started calling dances and playing
> fiddle, when teaching the dance I'd teach a do si do.  Then I'd say, "so
> the move you're going to do is a do si do, but it'll sound like this,
> 'oshiho'," "and balance & swing will sound like this, 'halnacenswin'."
>  Even with these garbled calls, dancers did fine.  So, when you have an
> audience that is there to learn dances -- came to learn -- teaching the
> English calls is fine.  But, again, if it's a group of people, who came to
> a gathering for a different reason, and you just are to call a few dances,
> you do need to know how to give descriptive calls in the local lingo.
>
> ~erik hoffman
> oakland, ca
>
>
>
> On 7/21/2013 10:54 AM, Aahz Maruch wrote:
>
>> On Sun, Jul 21, 2013, Mark Stowe wrote:
>>
>>> I am dating a Mexican anthropology professor that I met at a
>>> contradance at an Earth Skills festival in Gainesville FL and she is
>>> now a complete convert.  This past New Year's we got 20 of her family
>>> and friends contradancing.  They caught on quickly, really liked it
>>> and would like me to start a regular contradance in Xalapa=Jalapa
>>> where it actually has a better than average chance of working given
>>> the large arts/ music community, and the numerous international
>>> students and expats.
>>>
>> Congrats!
>>
>>  Any leads to possibly existing materials/ written explanations or
>>> calls in Spanish would be appreciated.   And given my travels to other
>>> countries (especially French speaking) I wonder is there any
>>> non-English material and/or calls?  Thanks!
>>>
>> No advice directly related, but the square dance community has decreed
>> that all calls are given in English (much the same way that pretty much
>> all programming languages have their keywords in English).  Kinda rude in
>> some ways, but it does mean that people can travel to other countries and
>> still square dance.
>>
>
> __**_
> Callers mailing list
> call...@sharedweight.net
> http://www.sharedweight.net/**mailman/listinfo/callers<http://www.sharedweight.net/mailman/listinfo/callers>
>

Re: [Callers] THANK YOU LINDA!

[Greg McKenzie]

Thank you Linda for your comments.

When Linda voiced concerns about "civility" Tom wrote:

> Some of the grandiose claims that a number of you make just leave shaking
> my head.  Isn't it true that the answer to many issues is often "it
> depends"?  Couldn't your way and another person's way be valid at the same
> time?
>
> At the same time I admit that I made a mistake in labeling Greg's method
> of integrating new dancers as weird. Greg, if you were insulted, please
> accept my apologies.  I don't need to add fuel to the fire and I'll be more
> careful in the future.
>

I was not insulted in the least.  I understand that callers have strong
opinions.  (In fact I would venture that one of the first requirements of
being a caller is that you need to have strong opinions about what should
be happening in the dance hall.  It's part of the role.)  And I appreciate
this list as a place where I can hear those opinions.

I want to hear about divergent ideas here because I know we cannot make
much progress if all we talk about is how folks have always done it.  We
need new ideas, and putting forth new ideas is fraught with risk.

I would be disappointed if I had to "read between the lines" to figure out
if someone disagrees with me but--for the sake of "civility"--buries their
feelings under a lot of platitudes and false compliments.  I would rather
hear your true reaction clearly and concisely.

I don't even mind if someone attacks me personally.  I appreciate any kind
of feedback I can get.  It's the only way I can grow as a caller.  I don't
recommend personal attacks, however.  It is much safer and much more useful
to criticize the ideas but not the person.

I try to maintain a "thick skin" here and not take things too personally.
This is good training for my work in the dance community.  We need to get
over ourselves and trust that we are all working on some shared, core goals.

(And that would be another good discussion to have!)

- Greg McKenzie
West Coast, USA

***

Let's view these discussions as great learning opportunities.  They
> shouldn't be bitch sessions, ego builders, opportunities for power plays or
> therapy sessions!!!
>
> Tom
>
> __**_
> Callers mailing list
> call...@sharedweight.net
> http://www.sharedweight.net/**mailman/listinfo/callers<http://www.sharedweight.net/mailman/listinfo/callers>
>

Re: [Callers] Caller Expectations and Dancer Performance

[Greg McKenzie]

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

[Callers] Caller Expectations and Dancer Performance

[Greg McKenzie]

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

Re: [Callers] integrating new dancers

[Greg McKenzie]

in the caller’s brain she tends to see the dancers as
generally cooperative and interested in seeing everyone succeed and
everyone have a good time.

Which frame is "correct?"  Both.  Two callers—each with the opposing frame
active—will see the same dance hall in different ways.  Same people, same
behaviors, but a different interpretation.  What's more, we all have both
frames available in our brains and use them at different times.



The frame active in the brain of the caller is obvious to everyone in the
room.  Your view of the dancers will “leak out” through your non-verbal
behavior, the implications of your word choices, and by what you do *not*say.

Even more amazing: We can switch frames through willful action.  It's not
easy but we can switch which frame we activate even during a single evening!



This is the language of cognitive science.  But this is brain science.  It
isn't rocket science.  And individuals have been influencing the behavior
of those around them since long before Lakoff.  Basically people tend to
behave the way other people *expect *them to behave.  (The frames we
activate in our brains will project to others what we expect of them.)



You don’t have to understand Lakoff to “get” the idea that callers act as
leaders and set a tone.  I try to keep this in mind as I conduct myself at
the mike.  I try to be aware of how I see the dancers and what my own
expectations of them are.  When I expect them to dance well and to help
newcomers I know that this “frame” is projected through my non-verbal
behaviors, the implied meanings of my words, and by what I do NOT say.



Regardless of your political or religious beliefs I think most of us would
agree that the world needs more leadership right now—at all levels.  Dance
instructors have historically been a significant source of learning about
the social graces and how to conduct ourselves in a civil and courteous
manner



 In called set dances—such as contras—the dance form itself demands that
people help one another to “get” the dance and to make it work.  This is
particularly true of open, public contra dances where there are lots of
newcomers and the dancers dance with everyone else at some point during the
evening.  Helping one another is inherent in the dance form.  These dances
are a perfect model for how people can work together to address some of the
historic challenges in our world today.



Yes.  Dance callers are in a key position to help us build a just, free,
kind, and sustainable society.



I propose that we, as callers, accept our historical role as teachers and
role models to set a tone at our events where people treat each other with
gentleness, kindness, and respect.  When that “works” it looks like a
“wonderful dance community,” and it is a joyful and magical thing worth
celebrating.  Callers are necessary to make this happen.  But the dancers,
and the musicians, are the ones who should get the credit.


There are a lot of ways callers can work to encourage gentleness, kindness,
and respect on the dance floor…and I would love to discuss all of
them.  Apologies,
for example, are a powerful communication tool for callers.  I try to
apologize at least once every time I call.



My apologies for this extended rant.

-Greg McKenzie  (No "a" in my name.)

Re: [Callers] End Effect Rules for callers

[Greg McKenzie]

Jim Hemphill wrote:

> Many of the dance weekend caliber callers seem to take a very cavalier
> approach
>

While it is true that “dance weekend caliber callers” often have little
opportunity to deal with some of the challenges inherent in our open public
contra dances, many of them have great potential and some are almost as
good as our local callers.  I think we should book them for our local
events on occasion.  This is how they improve.  Someday they will learn how
to integrate first-timers into the hall and become serviceable callers at
our open public dances.  (Smile)

- Greg McKenzie

Re: [Callers] First-time Contra Dancers and similar figures

[Greg McKenzie]

Jean wrote:

> I disagree with the general concept of teaching by the regular dancers,
> during the dance or walk-thru. I absolutely encourage helpful eye contact,
> proffered hands, body language, friendly waves ("its me, here I am") by all
> to all, but 'teaching' in the sense of doing what the caller is or should
> be doing...no.
>

I'm sorry.  I should have been more clear in stating that by "teaching" I
was not referring to the narrow meaning of verbal teaching as in
"lecturing" or "presenting" in some spoken form.  I was referring to
"teaching" in the general sense.

I agree that it is disruptive when dancers talk during the walk-through.  I
try to earn and hold the attention of the crowd...primarily by limiting my
words to only the most essential ones.  When folks realize that my voice
always carries essential information it is easier to capture and hold their
attention.

Educators worldwide have come to recognize different forms of teaching.
One is "collaborative learning" in which the "teacher" facilitates a
learning environment where the "learners" teach one another.  The educator
creates the learning environment and manages the process.  But in
collaborative learning the "teacher" speaks very little.

This kind of collaborative learning is an ancient form that is particularly
helpful in complex tasks involving psychomotor skills...such as dance.
Think of a "barn-raising" where there is no single "teacher" but the
participants learn from each other by doing, watching, and modeling
behaviors for one another.

When I first learned contras about 30 years ago about 70% - 80% of what I
learned came from the dancers around me who taught simply by modeling the
correct moves and gentle leads..  Now, as a caller, I try to allow at least
90% of the learning to happen collaboratively in this way.  This is a bit
of a different approach than most contra dance callers but my experience is
that, when I limit my words and choose them carefully, the walk-throughs
are much shorter; the music starts sooner,  the first-timers are more
confident and amazed, and the regulars are very enthusiastic about how well
new folks are "swept in" to the excitement.  Everyone works hard to make
sure it happens that way again.

The ironic thing is that I get a lot of compliments about "what a great
teacher" I am.

But this approach depends upon the hall being integrated well.  I try to
take full responsibility for making that happen.  The regulars will
enthusiastically integrate the hall when it is fun to do it that way.

- Greg McKenzie
West Coast, USA




>
> Greg Mackenzie says that regular dancers like to teach a much as does the
> caller. It is my contention that among the several agendas a contra dance
> "regular" might have when going to a dance, teaching is not one. I think
> the main agenda is to dance as much and as seamlessly as possible with
> whomever ( no preconception about dancing only with experienced folks) and
> to this end, folks hope the caller has done their homework and can explain
> the moves so clearly that additional 'teaching' from the floor is
> unnecessary. In the minority, there may be a few regulars who are compelled
> to tell others what to do, or more benignly, just try to be helpful with
> verbal or physical instruction.
>
> Here's a worst case scenario.  Cpl B in the minor set isn't catching on to
> the ladies chainman A walks across to teach them how its done...while
> he is doing so the caller has 2 choices  Stop calling/teaching while one
> person in the hall instructs 2 others in the hall  or keep callinglets
> say caller goes with the latter option and calls "and balance and swing a
> new neighbor".  Cpl B is engaged in being taught the previous move...they
> are out of place and out of time. Man A is over teaching cpl B: he's out of
> place and out of time;  Next female neighbor for Man B has no one to
> balance. Instant set breakdown.
>
> Even on a less dramatic scale, verbal instruction is best done by one
> person. Historically this has been the caller. Historically, it has worked
> for a long time. "Duelling teaching" is very disorienting to most
> newcomers..they want to listen to the caller but feel its impolite to
> ignore the 'experienced' person in their face. It is also disrespectful to
> the caller.
>
>
> 
>  From: Greg McKenzie <greken...@gmail.com>
> To: wins...@slac.stanford.edu; Caller's discussion list <
> call...@sharedweight.net>
> Sent: Monday, June 24, 2013 8:22 AM
> Subject: Re: [Callers] First-time Contra Dancers and similar figures
>
>
> Alan wrote:
>
> > I totally agree that we need to rely on and

Re: [Callers] First-time Contra Dancers and similar figures

[Greg McKenzie]

Alan wrote:

> I totally agree that we need to rely on and empower experienced dancers to
> teach figures.  What I'm talking about however is newcomers who seemed to
> have learned the figure in the walkthrough losing it after the dance starts
> and apparently unable to receive any input from caller or other dancers,
> and what can be done about that.


My apologies.  I was not being clear in addressing your question.  Earlier
Alan wrote:

> This is likelier to happen if both partners are new, and likeliest to
>> happen if all four in that set are new.  But that couple that's new will
>> have that problem repeatedly.  When I see that I continue to prompt the
>> figures, maybe with more emphasis - Ladies CHAIN and COURTESY TURN  - and
>> it doesn't seem to make any difference.
>>
>
 What I was trying to say is that this problem seems to be rooted in the
fact that your hall was not integrated.  If all first-timers were paired
with a regular then your situation would be a very different one.

Instead of focusing on tactics to teach multiple couples of paired
first-timers from the mike I am suggesting that we address the root cause
which is the fact that the hall is not integrated.

Obviously, this is more difficult when there are already couples of
first-timers paired with each other.  But being pro-active in your efforts
to integrate the hall would solve the root problem for your next gig and
would set a different tone that will allow you to demonstrate to the
regulars that partnering with first-timers is very gratifying and fun.

This is not, by the way, a long-term "problem" that lives in the "local
dance culture."  Any caller who can call precisely and clearly using
effective word-order can set a tone that immediately makes it clear that
the regulars have a vital role to play in welcoming and leading newcomers
through the figures.  This is what makes contras a "traditional" dance
form.  The regulars show the first-timers how it's done...not the caller.

Thank you Donna and JoLaine for your ideas about integration.

JoLaine wrote:

> I often hear callers tell the newbies to find experienced dancers.  That's
> like telling a drowning person to go find a lifeguard!
>

This is a good point.  But there are some subtle factors to keep in mind
when speaking on mike that can make it more effective to speak directly to
the first-timers.  If you tell the regulars to pair up with first-timers
you are sending out some subtle implied messages with negative consequences:

- You will be indicating that you feel the regulars either do not know that
there are first-timers in the room...or worse you will be indicating that
you believe the regulars are not inclined to dance with first-timers and
must be told to do so from the mike.

This point will not be lost on the first-timers themselves, who are likely
to assume that the regulars are not fond of dancing with first-timers (why
else would the caller have to tell them to do it?).

I prefer to address the first-timers directly and assume the full support
of the regulars.  The regulars already know who the first-timers are.  And
the first-timers need to know that it is the custom that regulars will
partner with them.  (The regulars already know this.)  I begin my evening
by saying:

"If you are new to this kind of dancing please find someone who has danced
for at least one night.  I will tell you everything you need to know and
your more experienced partner will show you all of the moves."

This is a subtle point but it has to do with "leading by assumption."  If
you assume the support of the regulars you will get more support than by
ordering them from the mike.  The "at least one night" phrase authorizes
everyone in the room--except first-timers--to partner with first-timers,
and this makes the task seem much more manageable because there are many
dancers who can help.

Just a thought,

Greg McKenzie
West Coast, USA

Re: [Callers] New contra dancers and similar figures

[Greg McKenzie]

Alan,

Thank you for this great question.  Situations like this are all too
common.  I see this as a problem of integration.  The core principle I use
is to remember that:

The caller always takes full responsibility for anything that happens in
the hall.

If first-timers are not integrated with the regulars, this is the caller's
problem, not the dancer's. At an open public contra dance, integration of
the hall can be seen as a primary indicator of how well the caller is doing
their job.  The opposite of integration is disintegration...and that is a
bad thing at contra dances.

So how can the caller assure full integration of the first-timers?  The
answer to that question gets at the heart of good contra dance calling, and
goes beyond the scope of this discussion because there are many, many
techniques, strategies, and skills that affect this complex goal.  Much of
it has to do with building the confidence of the dancers.

The ideal situation is that the regulars feel confident and enthusiastic
about partnering with first-timers and look forward to that as one of the
primary reasons they attend the dance.  The goal is to make dancing with
first-timers *more *fun than dancing with other regulars.

I think most callers start calling because they really enjoy teaching
dance.  This is all well and good.  But we need to remember that the
regular dancers enjoy this process as much as the caller.  One key to
achieving full integration is to empower the regulars to become leaders who
have a key role in the process of welcoming newcomers.  That means building
their confidence through precise, clear calling and structuring your calls
so that the regulars--as well as the first-timers--get the information they
need at just the moment they need it.

The caller has the resource of dozens of intelligent and helpful hands on
the dance floor that are more than willing to help the caller *show *the
dancers all of the moves.  My experience is that when the caller uses that
resource skillfully, the regular dancers respond immediately with boundless
enthusiasm.  The excitement of seeing your partner "swept in" to the
excitement of contra dancing is an ecstatic one.  We all remember that.
When other regulars see how this process is working most of them will,
naturally, want to be a part of it and are much more likely to partner with
a first-timer for the next dance.

Part of this strategy is to be willing to "step back" and allow the
regulars to take th lead role in this process.

I would like to hear how other callers use this strategy in their calling.

Greg McKenzie
West Coast, USA



On Fri, Jun 21, 2013 at 12:52 PM, Alan Winston <wins...@slac.stanford.edu>wrote:

> Gang --
>
> Wasn't really sure of the subject line, but thought I might as well not
> say "memetic entrapment" because who would want to read it?
>
> Anyway, a phenomenon I've noticed several times over the years is that
> some fraction of people who were in a beginner workshop and who in the
> walkthrough of the dance were able to do something like "women chain to
> partner, women allemande 1x, partner balance and swing" are no longer able
> to do it, instead pretty reliably doing "women pull by, partner swing" and
> confusion.  [That one's recoverable, although if they then stop swinging
> early and move on to the after-the-swing figure it can require attention.]
>
> This is likelier to happen if both partners are new, and likeliest to
> happen if all four in that set are new.  But that couple that's new will
> have that problem repeatedly.  When I see that I continue to prompt the
> figures, maybe with more emphasis - Ladies CHAIN and COURTESY TURN  - and
> it doesn't seem to make any difference.
>
> (I'm reminded of something that happens to beginning English dancers.
>  "Back to back" (non-spinning do-si-do) and "Cross and go below" start the
> same way - striding out to pass partner by the right shoulder.  If there's
> a do-si-do in dance #1 and a "Cross and go below" in dance #2, they'll do
> the cross and go below in the walkthrough once they get the idea, but once
> the dance is up and running, when it comes time for that move they'll try
> to do-si-do, with resultant levels of chaos.  That one has the obvious
> feature that even if half of the partnership is doing it right the other
> half can't see them, so there's no feedback about anything going wrong
> until the 2s move up to fill the spot that one of the 1s is still in, or
> only one of the 2s moves up, or neither of the 2s moves up.)
>
> This either doesn't happen to dancers who have been coming for a while or
> is corrected quickly if it does, maybe by noticing what everybody else in
> the line is doing.
>
> My hypothesis is that these are people who are still drinking from the
&g

Re: [Callers] Circle left 3/4

[Greg McKenzie]

Jim,

Regarding my story about Ted Sannella you wrote:

> I find this story surprising.  Are you sure you're remembering
> correctly and, if so, are you sure you're not omitting some
> important context or qualification of Ted's remark?
>

That's how I remember it.  I don't find it surprising at all.  This entire
thread is riddled with complaints about dancers taking too long to complete
a full circle in 8 counts and the need for teaching dancers how to do
faster circles.

I think Ted was simply pointing all of this out.  It's a good statement to
get the attention of callers...and of coriographers.

There are no absolutes here.  Maybe a full circle takes 9.3 beats.  I don't
know.  It was just a way to make a point.

Greg
West Coast, USA

Re: [Callers] Circle left 3/4

[Greg McKenzie]

I remember once being in a caller's workshop with Ted Sannella and he asked
us how many beats a circle took.  We answered "eight," and he said "No.  A
circle really takes 10 beats."

- Greg McKenzie
West Coast, USA

**

On Thu, Jun 6, 2013 at 4:08 PM, James Saxe <jim.s...@gmail.com> wrote:

>
> On Jun 6, 2013, at 12:19 PM, Chris Lahey wrote, on the subject
> of getting dancers to complete the sequence "circle left 3/4,
> pass through" in 8 beats:
>
>
>  Could you prompt the pass through with more emphasis?  Maybe
>>
>> 5 - 6 - circle - left - 1 - 2 - three - quarters - pass - through - 7 - 8?
>>
>> Or perhaps even "pass through now" with the now being on the 6 beat?
>> Or emphasize the balance beat so people realize they're late.
>>
>
> I think that this sequence is one for whihc it can be useful to
> prompt a figure--namely "pass through"--with the last beat of the
> call falling earlier than the beat just before the first beat of
> the action.  Specifically, I often time the words "pass through"
> so the word "through" falls on beat 4 of the circle, not beat 6.
> You can hear some examples of other callers doing the same in
> these videos:
>
>  
> http://www.youtube.com/watch?**v=s_-uD_-nV6g<http://www.youtube.com/watch?v=s_-uD_-nV6g>
>  (Steve Zakon-Anderson calls a contra medley at the Concord
>  Scout House.  Notice his timing on the third sequence in
>  the medley, Lisa Greenlef's "After the Solstice", wich
>  starts around 5:40.)
>
>  
> http://www.youtube.com/watch?**v=MMInHQo4mJY<http://www.youtube.com/watch?v=MMInHQo4mJY>
>  (Maggie Cowan calls "Black Bird in the Night" by Don
>  Flaherty.)
>
> The idea is that if you say the word "through" by beat 4, it will
> implicitly encourage slow circlers to pick up the pace.  If you
> say "pass through" on beats 5 and 6, it's already too late to help
> any dancers who haven't already gotten their circles turned 3/4 of
> the way around by the time you say "through".
>
> You could also try to explain the timing during the walk-through,
> either by using numbers of beats (six to circle left 3/4; two to
> pass through), or just by remarking that the time dancers have to
> circle left 3/4 and pass through is the same time that some dances
> allow for the circle 3/4 alone, so they (dancers) had better
> make the circle a little brisker than they might expect.  Beware
> that when you speak in declarative sentences or ask dancers to
> picture a move that they're not doing right now (e.g., talking
> about the timing of the circle while dancers are lined up after
> the walk-through and waiting for the music to start), there are
> likely to be some who won't be paying attention or who won't be
> able to visualize whatever part of the dance you're blabbing
> about.  On the other hand, a few dancers who already the basics of
> timing might pick up on your words and be a little more attentive
> about politely (I hope) helping their less experienced neighbors
> to be on time.
>
> It can also be helpful to have music that clearly telegraphs
> when it's coming around to the first beat of the figure after
> 'Pass Through".
>
> --Jim
>
>
> __**_
> Callers mailing list
> call...@sharedweight.net
> http://www.sharedweight.net/**mailman/listinfo/callers<http://www.sharedweight.net/mailman/listinfo/callers>
>

Re: [Callers] "Full sashay"/"MadRobin" (was Re: Arms Folded in Dosidos)

[Greg McKenzie]

Charles wrote:

> I've been trying to rename it to "Angry Bird", but I haven't got much
> buy-in yet.
>

 It will always be "Angry Bird" to me.

- Greg
West Coast, USA

Re: [Callers] Arms Folded in Dosidos

[Greg McKenzie]

John wrote:

> Why teach the dosido spin? Because it helps people to know which way to
> spin, and because there are elements like catching your partner's eyes
> between the spins that people won't necessarily pick up without some
> guidance.
>

 I started spinning during dosidos during my first few contra dances.  I
did so because of one advantage that has not yet been mentioned here:  If
you do NOT spin then you must walk backwards during half of the figure.
Walking backwards is awkward because you could step on someone if you don't
look over your shoulder.  The spinning allows you to look in your direction
of movement several times during the move...kind of like in a waltz.

So, basically, spinning can be safer than the "straight" dosido.

I think folks will figure out pretty quickly that spinning to the left is
much easier so I see no need to teach the spinning.

- Greg McKenzie
West Coast, USA

Re: [Callers] When the ones who would have needed it most....

[Greg McKenzie]

I have worked to limit the optional newcomer's orientation to 20 minutes or
less at our dances.  This seems to work well for most schedules.  This also
makes it clear that no separate classes are needed because 20 minutes
limits what can be covered and telegraphs to first-timers that this will be
easy.  We also specify that the caller is expected to start promptly at 8
PM with live music starting no later than  8:02.

As an open public social event it seems prudent to accept all comers
graciously at any point during the evening and integrate them immediately
into the dancing..  Callers ought to be able to handle this...even if it
requires altering their planned program slightly.

My experience is that the regulars will integrate newcomers
enthusiastically if they know the caller will make sure that everyone will
be successful and that the process will be fun.

The worst thing anyone can do is to blame first-timer late arrivals for
"ruining it for everyone."  All of the regulars are welcome to arrive late
for whatever reason.  Requiring the first-timers to arrive early sends a
message of exclusivity and unfriendliness.  I enjoy seeing first-timers at
any point during the evening--especially if there is a group of them.  This
is what contra dancing is for.

It sounds to me like your caller handled it pretty well.  Corralling the
latecomers for a special separate session would have been the worst thing
to do in that situation.

- Greg McKenzie
West Coast, USA

*

On Mon, May 20, 2013 at 12:03 PM, Hanny Budnick <kyr...@cotse.net> wrote:

> As usual, before the  contra dance there is a half-hour session before the
> starting time of the main dance. It is advertised, and beginners are
> encouraged to come early. Depending on number of attendees and time left,
> rudimentary basics are presented and 'lightly' practiced.
> I would like this panel's recommendations for dealing with this situation:
> the beginners session was offered and attended. The main dance had started
> exactly on time when - ca. 20 minutes into the evening - a large group of
> absolute newbies appeared and joined right in.
> In light of this development the beginners session could have been
> repeated and somewhat extended, even in an additional available hall in the
> same building. Alas, no further help was offered except for the advice 'try
> to find an experienced partner'.
> Fortunately, the band for the evening was an absolute delight...
> Hanny Budnick
> __**_
> Callers mailing list
> call...@sharedweight.net
> http://www.sharedweight.net/**mailman/listinfo/callers<http://www.sharedweight.net/mailman/listinfo/callers>
>

Re: [Callers] Arms Folded in Dosidos

[Greg McKenzie]

John wrote:

> 1) If you implicitly condone it by saying nothing, then others will copy
> it and it will spread even more.
>

Just a few thoughts:

- The above statement, ironically, was probably said--in some form--by
religious "leaders" in colonial America who devoted much effort to stamping
out social dance altogether as a provocative corruption of the morals of
the common folk.  Those "leaders" failed.

- In the art of dance "saying nothing" is often the best tactic.  Words are
so cumbersome when teaching psychomotor skills.  The words tend to gum up
the work.

- This is, we hope, a free country.  If any "leader" tells folks to stop
doing some thing that those folks want to do, it is likely that those folks
will find another "leader" who will allow it.  The nay-saying "leader" is
likely to end up with an empty, or near-empty hall.  That is as it should
be.

- Folk arts are, after all, the province of the folks.  They are the final
arbitrators of what is "correct."  The best "folk leaders" are those who
recognize this and who have faith in the ability of the folk to evolve
their own tradition.

Greg McKenzie
West Coast, USA

Re: [Callers] Contra Academia?

[Greg McKenzie]

Aahz wrote:

> Obviously, you'll need to do some research on proper technique for
>
obtaining study participants.  I'd suggest that getting support from
> dance organizers would help; you should definitely do your study over an
> extended period of time (to find people who like me are seasonal dancers
> or who only show at random times when their schedule permits, which is
> also true for me when I'm busy).
>

Aahz is correct.  On the other hand I am cautious that many who would
attempt to delve into important questions will be intimidated by lots of
folks with critiques of survey methodology.  These days many folks are
"experts" on survey science and are quick to dismiss any study that does
not meed the most rigorous standards.  This may be well-intentioned but
inappropriate for the study being critiqued.  One of my best instructors
once reminded us that survey research occurs at many levels.  Your survey
might not meet the rigorous standards of a major funded study but it may
also be the most rigorous and structured scientific inquiry into the
subject area at hand to date.  Simply ask your critics how many subjects *they
*interviewed and how *they* selected *their *participants.  Your survey is
likely to be the definitive study on your chosen subject.  Those who
question your methodology are likely depending on a few late night
conversations at dance camps for *their *data.  Go for it!

You also need to think about your goal(s), whether it's to provide useful
> information for the dance community, support your academic career, etc.;
> that'll likely influence both how you structure your study and how you
> find your participants.
>

Absolutely.  Who will read your report and what will they do with that
information?  Keep your goal(s) in mind.

- Greg McKenzie
West Coast, USA

Re: [Callers] Contra Academia?

[Greg McKenzie]

Michael wrote:

> Greg:
>
> Children can explain their motivations.
> For example, listen to the audio comprising Act 3 of this web site:
> http://www.thisamericanlife.org/radio-archives/episode/27/the-cruelty-of-children
>

Thank you for this link Michael.  I like the point that the teacher
(caller) sets up a structure in which the learners teach each other.  If
folks think that contra dance callers have no responsibility to address the
problem of center set syndrome because it is "human nature" they should
listen to this segment.

What I love about contras is that the customs and the dance formation
itself make it intuitively obvious that "we are all in this together."  If
one person fails the entire set begins to unravel.  Everyone has a core
investment in making sure that all of those around them succeed.

This makes a contra dance a perfect structure for collaborative learning.
I try to avoid any kind of performance teaching when I call.  The process
of collaborative learning at these dances is so effective that it makes
conventional teaching methods seem tediously inefficient by comparison.

The best callers know how to empower the regulars to take responsibility
and help to make the dance "work."

Just a thought,

Greg

Re: [Callers] Contra Academia?

[Greg McKenzie]

Maia wrote:

> But that's the sort of thing
> I'm really interested in exploring--WHY people do or don't dance switch,
> what place contra holds in their life and social world and how that
> does/doesn't impact the way they dance it, etc.
>

 I would point out that folks are, generally, much better at reporting
their own actual behavior than they are in reporting their motivations.
People are often not really aware of their own actual motivations.  We are
all prone to explain our behavior by generating reasons.  In research you
might be better off asking about actual behaviors.  If I ask "why" a person
attends contras the results are not likely to be dependable.  If I ask "how
many contra dance evenings have you attended during the last 12 months?" I
am more likely to get a more accurate answer, in part because the behavior
is externally observable.

Dancing a role that is different from your most apparent gender is
observable.  Why you do so is less dependable information.  A study that
reports on the behavior of gender-role switching at dances would generate
useful information for callers and organizers.  If you can also report on
the apparent gender of the respondents and the sexual preferences of the
respondents this might also be very helpful.

I would shy away from asking "why" of respondents.  That might be something
you, or the readers of your report can infer from the findings.

- Greg McKenzie
West Coast, USA

Re: [Callers] Contra Academia?

[Greg McKenzie]

Maia wrote:

> That's a really good point. I mean, one way would be to focus my study only
> on people who self-identify as being "in" the contra community... but, how
> would you suggest I go about finding people on the fringes? I feel like my
> sample size will be kind of biased by who I'm friendly with, which is
> pretty much the quote unquote 'young hip flashy' dancers (who tend to be
> super comfortable switching roles, largely queer, considerably poly and
> sexually liberal, etc.).


Last night I attended the "Queer Youth Leadership Awards" dinner in our
county.  State representatives, city council members, county supervisors,
and many other leaders in the community came out to celebrate queer youth
who have excelled in leadership in their high schools, etc.

Obviously there is some significant progress being made in our society
toward tolerance of differing personal relationships and preferences.  I am
delighted with how well the contra dance movement has worked to adapt to
these changes.  This is certainly an area where some study would be useful
for callers and organizers of contra dances.

Maia also wrote:

> I also want to find the people who consider
> themselves "contra community" but feel uncomfortable dancing switch, or
> might look at a male-male and female-female couple and say "hey, why don't
> you split up and pair off m/f?"
>

I wouldn't say that the idea of a "contra community" is a myth, but I would
question the usefulness of this concept in any objective study.  I fear
that the idea of a "self-identified" community of contra dancers is almost
always a projection of the one making that determination.  That's why, in
my study, I worked to obtain the most random sample I could of all those in
the hall at our dances.

I suspect that almost all of those in leadership positions in the contra
dance movement are enthusiasts of multiple dance forms, (defined as dancing
each form at least six times a year.  Please let me know if this is not the
case for you, personally.)  About HALF of those in the hall at our open,
public contra dances, however, will rarely, if ever, attend any other type
of social dance.  Contras are their primary, or sole social dance activity.

I suspect that most of those who are most comfortable with switching roles
are also multiple dance form enthusiasts.  The function of social dance as
a "mating ritual" may be much less significant for hard-core multiple dance
form enthusiasts.

Interesting.

- Greg McKenzie
West Coast

Re: [Callers] Contra Academia?

[Greg McKenzie]

Maia,

I conducted a survey about the dance habits of contra dance participants at
several venues here in the San Francisco Bay Area a couple of years ago.
The report is available for download at:

http://santacruzdance.org/drupal/node/114

- Greg McKenzie

**

On Sun, May 5, 2013 at 1:01 PM, Maia McCormick <maia@gmail.com> wrote:

> Hey all,
>
> This might be a really silly question, but has there been much (er, any)
> academic work done on contra/contra culture, from a sort of
> anthropology/sociology perspective? If it exists, please point me towards
> it, I'd love to  read it! And if it doesn't... I may have to remedy this!
>
> Peace,
> Maia
> ___
> Callers mailing list
> call...@sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>

Re: [Callers] How do you balance? (Was High-energy dances)

[Greg McKenzie]

In the optional first-timer's orientation I tell them that the balance is
not really a "step" at all.  It's really done with the hands and the eyes.
I emphasize this by telling them not to worry about what you do with your
feet because nobody will ever be looking at your feet.  The balance is an
eye-contact sport.

Greg McKenzie
Ben Lomond, CA

***

On Thu, Apr 25, 2013 at 3:39 AM, Mac Mckeever <mac...@ymail.com> wrote:

> When I teach a balance - I go over the footwork very quickly (step for &
> back) and then tell them not to worry about that part - the balance really
> happens in the arms - not the feet and emphasize keeping a strong
> connection with the other dancer(s) as you move toward them and back and
> using the balance to create the 'lead' or momentum in the direction you
> need to go for the next move.  Thinking about footwork just makes it more
> complicated than it needs to be and they will figure out what works for
> them.
>
> Mac McKeever
>
>

Re: [Callers] high energy

[Greg McKenzie]

I agree that callers can affect the "energy level" of an evening.  The
program of dances has a great influence.  I recently danced at two dances
on consecutive nights with the same great band...but with a different
caller.  The dance where the caller offered simple, well-flowing dances was
much higher energy.  The other caller offered complex dances, requiring
more teaching, that left many newcomers, as well as regulars, confused.
The complex dances seemed to suck the energy out of the room.

Jill wrote:

> When I think of "high energy" I think of something I would call early on
> when the dancers aren't tired, and a dance for which I would request a fast
> tune, probably an unforgiving dance with timing such that you barely make
> it from one move to the next, where everyone is moving all the time, like a
> good contra corners dance when active.
>

This sounds like a program suitable for a dance weekend or festival--but
not for an open, public contra dance.  What would you offer as a "high
energy" dance at an open, public contra dance with first-timers in the mix?

Greg McKenzie
Ben Lomond, CA

Re: [Callers] formation indifferent/ indecent

[Greg McKenzie]

Joy wrote:

> Slowing down the teaching does not help. It's like trying to teach someone
> how to walk: momentum helps!
>

Thank you Joy.  This is a principle we need to keep in mind.  It is always
most helpful when the caller gets the walk-through up to music speed as
quickly as possible.  Slow-motion walk-throughs make it much more difficult
and the teaching drags on and on.  Having all of the dancers moving
synchronously is immensely helpful.

- Greg McKenzie
Santa Cruz, CA

Re: [Callers] Suggestions for particularly flirty contra dances?

[Greg McKenzie]

Homophobia should not be an issue callers have to address directly.  For
the record, I should state that for me, personally, homophobia has NEVER
been an issue.  In fact, many of my closest friends are homophobic.

(smile)

- Greg McKenzie



On Thu, Apr 11, 2013 at 6:40 AM, Dave Casserly
<david.j.casse...@gmail.com>wrote:

> Jeff said:
>
> I'm confused: where did "hate crimes" come into this?  As far as I can
> tell the disagreement is over:
>
> 1. Do many male dancers prefer not to interact in semi-intimate ways?
> 2. Is that mainly because of homophobia?
> 3. If so, should the caller ignore this dancer preference when programming?
>
> Dave seems to accept all three.  I think (1) and (2) are true, but I'm
> not sure (3) works.  I read John and Colin as accepting (1), and
> rejecting (2) and (3).
>
> Jeff
>
> I think Jeff's summary is a good one.  Except, I'd point out that we're
> talking only about same-gender swings here, not preference of who you
> choose to dance with as your partner.
>
> I'm not sure this discussion is a great place to explore why some of us
> (myself, apparently Jeff and Maia, at least) think (2) is a resounding
> "yes," and others (Colin, John, Mac) disagree.  Not sure that really has a
> whole lot to do with dancing or calling.  The reason I brought the subject
> up in the first place was to get at what Jeff describes as (3), which is
> really a calling issue.  I believe that there are certain things that a
> caller should not let influence his or her calling, and homophobia is one
> of them, whether that's the dancers' homophobia or others'.  But since we
> don't agree on what constitutes homophobia, this does not seem to be the
> right context to have a productive discussion of to what extent callers
> should attempt to reflect the dancers' values in their calling.
>
> -Dave
>
> --
> David Casserly
> (cell) 781 258-2761
> ___
> Callers mailing list
> call...@sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>

Re: [Callers] Suggestions for particularly flirty contra dances?

[Greg McKenzie]

On Wed, Apr 10, 2013 at 10:55 AM, Donald Perley <donper...@gmail.com> wrote:

> While you're at it you can make them eat Brussels sprouts and bring a white
> board so you can give a calculus lesson.  Both good things that everyone
> should be into.
>

"Social Engineering" has gotten a bad rep because of its use as a term
describing "malicious and deceptive" practices, mostly having to do with
computer hacking.
http://en.wikipedia.org/wiki/Social_engineering_%28political_science%29

Some callers use the term to belittle any of the subtle but effective
techniques that make up the toolkit of good callers.

Don't assume that "social engineering" is always used to get people to do
what they don't want to do...or what they "should" do.  As a caller I try
to use all of my skills to get people to do what almost all of them already
*want *to do...even if they haven't thought it through very carefully.
(For example: People don't really *want *to rush to the center sets and
jockey to "beat" others to a good position.  We all would prefer a dance
where the regulars quickly partner with the first-timers and dancing
throughout the hall is enjoyable.  If I, as a caller, can "engineer" a
situation that makes center set syndrome both unnecessary and less
rewarding, then all of the dancers benefit from that--even those who say
that they "want" to compete on the dance floor.)

Anyone engaged in any effort for social change is a social engineer...and
that includes those working for acceptance of alternative sexual
orientations.  As a caller I don't use up too much of my limited capital of
influence to promote social change movements.  I do think it is essential
that all be welcomed and treated with respect.  That's very basic to any
open, public event.  It's also the law.

If I want to work against homophobia at dances I would wear a skirt and
dance with men more often than I do.  I don't see this as a core purpose of
my calling , or my dancing.  I sometimes dance the lady's part, and it can
be an effort to make a point.  But I don't often do that at the mike unless
it becomes an issue that affects the entire community.  Integrating the
first-timers into the hall is enough of a challenge.

- Greg McKenzie

*



>
> On Wed, Apr 10, 2013 at 1:33 PM, Dave Casserly
> <david.j.casse...@gmail.com>wrote:
>
> > If men in the UK are so uncomfortable touching another man that they
> don't
> > want to swing (which is, in its essence, simply placing one hand on the
> > man's back and one on a hand, not exactly an intimate embrace), that is
> > unacceptably homophobic.  I know there are some on this list who don't
> > agree that callers have any part in "social engineering" or letting our
> > calling reflect our values as humans, but personally, if I were asked to
> > call a dance where the men were that afraid of touching each other, I
> would
> > have no problem with challenging their perceptions by asking them to
> swing
> > with each other (obviously there are some people afraid of touching other
> > people for other reasons, but in that case, their fear isn't gendered).
>  In
> > that situation, a little "stress" is appropriate; I have no problem with
> > causing homophobic people some minor stress when it's their own awful
> views
> > that lead to their stress.
>

Re: [Callers] sidelines -- ideas for callers

[Greg McKenzie]

Jill and Seth,

Thank you for compiling this list and for circulating it.  This will help.
I think the important point is that there are many things a caller can do
that will make a difference in the atmosphere in the hall and in how people
treat one another.

Good work!

Greg McKenzie
Santa Cruz, CA

**

On Thu, Mar 21, 2013 at 7:03 AM, Tepfer, Seth <la...@emory.edu> wrote:

> Hey Kalia and Caller's list folks - would it be okay if I put this handout
> on my website (giving full credit to the kalia and caller's list)? I think
> it is a useful resource!
> It would appear somewhere on this page:
> http://www.dancerhapsody.com/Calling/Handouts.html
>
> 
> From: callers-boun...@sharedweight.net [callers-boun...@sharedweight.net]
> on behalf of Kalia Kliban [ka...@sbcglobal.net]
> Sent: Tuesday, February 26, 2013 5:21 PM
> To: Caller's discussion list
> Subject: Re: [Callers] sidelines -- ideas for callers
>
> On 2/26/2013 11:00 AM, jill allen wrote:
> > I have attached a document (I hope that works) with a list of ideas for
> callers to help foster equal dance opportunity.  This springs from the
> recent thread called "Sidelines" or something like that.  I took your
> ideas, some of them verbatim, and compiled this list.
>
> Wonderful to have all of this in one place.  A lot of this is handy for
> dancers as well as callers, and might be good source material for a
> "welcome to the dance!" flyer to hand out to new folks.
>
> Kalia
> ___
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> call...@sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>
> 
>
> This e-mail message (including any attachments) is for the sole use of
> the intended recipient(s) and may contain confidential and privileged
> information. If the reader of this message is not the intended
> recipient, you are hereby notified that any dissemination, distribution
> or copying of this message (including any attachments) is strictly
> prohibited.
>
> If you have received this message in error, please contact
> the sender by reply e-mail message and destroy all copies of the
> original message (including attachments).
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> http://www.sharedweight.net/mailman/listinfo/callers
>

Re: [Callers] Dances With Minimal Partner Time (Was: dances with ultimate partner time)

[Greg McKenzie]

Ron wrote:

> So ... social engineering, in a way that stake's a caller's reputation.
>

The engineer is an ancient, archetypal figure.  The engineer is the one who
makes things "work."

I am comfortable with that title.

Ron also wrote:

> Fair enough. I can see how that can be valuable if that's one's goal.
>

The way I see it, all callers are deeply involved in social engineering.
Some of them recognize it, take responsibility for it, and work to become
better at it.  Others don't.  That makes a difference.  Making the dancing
"work" seems, to me, to be at the heart of what I do as a caller.  If a
dance falls apart it will not be serving the goal of anyone.  That's part
of the beauty of contra dance.  Integrating the first-timers is possibly
the most effective strategy for making sure the dances do not fall apart.
Everyone has a stake in that goal.

Ron then wrote:

> It's better than shadow dances where you have more time with your shadow
> than your partner - that's a personal gripe of mine as a dancer.
> Follow-up question: Should a caller announce it as, essentially, a mixer
> with a trail-buddy, and/or are there distinct pros / cons for / against
> doing so?
>

Considering that the dancers have no opportunity to choose their shadow it
does come across as a bit "heavy-handed" to assign you a more significant
"other" than your selected partner.  I don't consider it to be as bad as,
say, calling a mixer without announcing it in advance. I'm not sure it
would be worth the effort to explain what you are talking about in an
announcement about a "shadow" dance with a "special" shadow.  Probably best
to call such dances only rarely.

My philosophy is to give the dancers as much information as I can and trust
in them to make social decisions.  I never try to "trick" the dancers into
doing anything.  I think those kind of "gambits" and "ploys" are corrosive
to the caller's relationship with the dancers.  I let the dancers take the
lead in whatever social engineering we need to make the evening work.  If I
see something that will help the dancers to make the evening "work" better
I will assume the support of the dancers and try to give them the
information they need to work towards that shared goal.

- Greg McKenzie
Santa Cruz,  CA

Re: [Callers] Dances With Minimal Partner Time (Was: dances with ultimate partner time)

[Greg McKenzie]

Thanks to all,.

Ron asked:

> Asking seriously:
>
> Why?
>

WARNING: The following discussion assumes that most of human
behavior--including decision-making--is performed subconsciously.  This
fact has been established for many years by numerous studies and much
observation.  My experience is that there are many callers--as well as many
other lay people--who reject the basic research of cognitive science out of
hand and who reject any suggestion that they, and other dancers, will be
influenced by anything that they are not consciously aware of.  If you
sincerely believe that all of your own actions are based solely upon
rational, conscious thought you should stop reading now and delete this
message.  The information below will be seen as meaningless gibberish to
you.  It could cause your head to explode.  Don't do it!  This is not a
debatable point.  We are also often unaware of the subconscious reasons for
decisions that we, ourselves, regard as conscious and rational.

Good calling is subtle stuff.

Like mixers, dances with less partner interaction will contribute to an
environment where the partnering decisions made by dancers become less
significant.  After only one or two dance slots with little partner
interaction, at least some of the regulars will "pick up" on the feeling
that finding that "special" partner is not such a big deal right now.
Combined with other subtle hints and actions this strategy by the caller
will encourage or allow more generous partnering decisions in the hall.

I refer to this feeling--that finding a particular kind of partner is
important, or the feeling that finding a partner *quickly *is important--as
"partnering pressure."  There are numerous factors that increase partnering
pressure.  A gender imbalance, for example, will increase partnering
pressure for both genders.  Poor audio quality--which makes it difficult to
understand the caller, and which consequently makes dancing with first-time
dancers less satisfying--is another.  There are many more factors that
affect partnering pressure.

High partnering pressure can cause a cliquish atmosphere in the hall.  It
can encourage "center set syndrome" and it can interfere with efforts to
integrate newcomers into the hall.  Lower partnering pressure is a
situation that almost all dancers will welcome and it is a worthy goal of
good callers.

The caller can work to lower partnering pressure using a number of
different strategies.  Programming dances with specific qualities is one
such strategy.  Choosing dances that minimize the importance of partner
interaction is one of those programming strategies.  It will have little
effect on its own.  But when used in conjunction with a number of other
actions it can foster a more community-spirited atmosphere.  I use numerous
strategies when I see symptoms of high partnering pressure: People lining
up very quickly; center set syndrome, lots of folks "saving a place in
line" while their partner gets some water, etc.

The programming strategies are best used early in the evening because it
takes one or two dance slots for dancers to "get" the sense that your
partner is not the only person you are dancing with and that the folks
partnered with first-timers are having as much fun as--or even more fun
than--everyone else.

I want easy dances that will build the confidence of all of the dancers and
create a sense that everyone will have a good time no matter; where in the
hall they are dancing, the skill level of their partner, or their own skill
level.  I try to program dances like this during the first half of the
evening.  I try to avoid dances with no partner swing at all because they
engender complaints.  But I will try to reduce the importance of partnering
decisions in the early part of the evening.

It is not the best strategy for this purpose.  It is only one of many.  You
need a toolkit of strategies to integrate the hall successfully.

Anyway, that's the way I do it.

Your Pal,

Greg McKenzie

[Callers] Dances With Minimal Partner Time (Was: dances with ultimate partner time)

[Greg McKenzie]

Hey Folks,

I do enjoy dances with good partner interaction...but I have a lot of
those.  What I am interested in now is contra dances with minimal partner
interaction.  No.  Not dances without a partner swing.  (That would likely
engender too many complaints.)  I'm looking for dances with eight or fewer
beats of partner swing, total, for the dance..

Yes.  A four-count partner swing would work.  But often the better choice
is one with ones-only swinging or twos-only swinging, (so the partner swing
count for the entire dance is lower overall).

I am particularly interested in easy-to moderate contra dances with good
neighbor interaction (including neighbor swings).

Thanks,

Greg
Santa Cruz, CA

***

On Sat, Mar 2, 2013 at 1:11 PM, JoLaine Jones-Pokorney wrote:

> Hi all - I'm looking for dances that have LOTS of partner interaction.
> What are your favorites?
>
> --
> JoLaine Jones-Pokorney
>
> "We are as gods and might as well get good at it!"
> - Stewart Brand
> ___
> Callers mailing list
> call...@sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>

Re: [Callers] What sets the feel of a dance? (Was: What to ask a band before the gig?)

[Greg McKenzie]

I think the "feel" of a dance is highly interpretive.  It really is the
"feel" of the music that sets the mood.  The same tune played to the same
dance can be very different with each band.

That is one reason the "mood" adjectives are so useful.  I'm really not
sure what the "mood" communicates to the musicians but some seem to like
them.  I try to, at least, make the "mood" signifiers both interesting and
evocative.  I know that--for some musicians--the mood adjectives are more
for entertainment value.  I try to use at least two very different mood
adjectives for each dance.  That gives the musicians permission to
interpret the instruction to suit their own "feeling" about the dance.

Here is a list of some of the "mood signifiers" I use on my cards and in
the program I print for the band:

Gallant, Stylish

Exhilarating, Warm

Fanciful, Yearning

Amicable, Poignant

Bouncy, Lighthearted

Steady, smooth, chipper

Driving, joyful, captivating

Bold, naughty

Dashing, Noble

Hearty, Relaxed, Impish

Thrilling, Entrancing

Bright, Sprightly

Touching, Piquant

Rolling, Playful

Spiffy, Meaningful

Abounding, Urbane

Luscious, Gentle

Brisk, Endearing

lighthearted, amenable
I hope this is useful to some.

Regards,

Greg McKenzie (Santa Cruz, CA area)

**

On Fri, Feb 22, 2013 at 10:09 AM, Maia McCormick <maia@gmail.com> wrote:

> Jumping off from the aforementioned thread, I'm sure this is quite an
> elementary question, but one I've never had to deal with before because I
> do most of my calling to a student band that has barely cobbled together a
> set list for the dance in question and so isn't really capable of much
> collaborating: what exactly sets the mood/feel of a dance? What are certain
> adjectives you'd apply to a dance or it's music based on the move-content?
> What sort of dances tend to go better to jigs as opposed to reels and vice
> versa? I'd love to hear what you all think!
>
> Cheers,
> Maia
> ___
> Callers mailing list
> call...@sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>

Re: [Callers] What to ask a band before the gig?

[Greg McKenzie]

Good suggestions.

I also ask the band if they do roll-ins or if they can vamp.  If they don't
do roll-ins we can sometimes plan to practice a couple of roll-ins before
the dance begins.  That really helps to build the confidence of the
dancers.  Some musicians have a specific way they roll-in the music during
the walk-through.  It helps to get our signals straight before the dance
starts.

I give the band a printed program of dances I'm planning for the evening
with a "mood" column that some use as a guide for selecting tunes.  Some
bands want to see my cards as well.

- Greg McKenzie
Santa Cruz, CA

***

On Wed, Feb 20, 2013 at 8:12 AM, barb kirchner <barbkirch...@hotmail.com>wrote:

>
> hey ron - some good points! i think what we're coming up with here is that
> it doesn't exactly matter WHAT you ask the band, as long as you set up some
> good communication with them.  take the time to talk, to ask who is in
> charge of what, what they reallly like to do most, etc., etc., etc.   ron -
> i have a slightly different approach if the caller doesn't give me good
> clues.  i watch the walk-through.  seriously, i program the music like the
> caller programs dances (start out easy and straightforward, kick up the
> energy, change the tempo, up the energy again, change the tempo again, big
> ending number).  i USUALLY know what i want to play next, or at least have
> it narrowed down to two or three sets (ie, i have three different sets that
> i could use to "change the tempo").  if the walk-through goes well, i play
> whatever my first choice was.  if not, i'll pick a more laid-back set :-)
>  > Date: Wed, 20 Feb 2013 10:59:14 -0500
> > From: david.j.casse...@gmail.com
> > To: call...@sharedweight.net
> > Subject: Re: [Callers] What to ask a band before the gig?
> >
> > Hi Ron,
> >
> > When I was first learning to call, Becky Hill suggested that, instead of
> > simply telling bands what kinds of tunes you want using the wide
> vocabulary
> > at your own disposal, ask bands what kinds of adjectives they'd find
> > useful.  As a musician, hearing that the caller wants a "marchy" or
> > "slinky" or "driving" tune set is very helpful, but hearing that they
> want
> > a "bubbly" tune is really not all that helpful.  Ask what language they'd
> > like to communicate in, and it can go much smoother.
> >
> > I agree with Barb that simply sharing the dance card isn't the best
> > approach.  In dances where I play, apparently unlike Michael F.'s
> > experience, this is an extremely common practice.  But, in my view, it's
> > the caller's responsibility to decide how the dance should be.  Many
> dances
> > work well either with smooth, flowing reels, or bouncy jigs, and the mood
> > of the dance should be something the caller selects to fit in with the
> > evening's program.  That said, if the caller isn't giving me helpful
> > adjectives, I'll ask to see the cards, just so I can at least make sure
> we
> > won't be playing the bounciest set ever when there's a hey into a gypsy
> > meltdown, etc.
> >
> > Also, I would echo other people's suggestions to find out which band
> member
> > you should be communicating with, and at the very least, what style of
> > music the band plays.  Getting a recording or two is even more helpful.
> >  You should know ahead of time not to ask an old-time band to play a
> polka,
> > and you should also know not to ask a band with no strings in it to play
> an
> > old-time tune.  It's a particular pet peeve of mine as a musician when a
> > caller asks for an old-time tune with every square dance, regardless of
> > who's in the band.  It might require actually looking at the moves and
> > figuring out what other music would work best with that particular dance,
> > but it's always going to be a better experience for the dancers if the
> band
> > plays music that they're good at playing.
> >
> > -Dave
> >
> > On Tue, Feb 19, 2013 at 10:58 PM, Ron T Blechner <contra...@gmail.com
> >wrote:
> >
> > >
> > >
> > > What sorts of questions do you ask bands prior to the dance,
> especially by
> > > e-mail / phone?
> > >
> > > A couple I like are:
> > > - Do they have particular music sets they like to play at certain
> times,
> > > like, to end the night, etc?
> > > - Especially if I haven't heard them before in person, what overall
> types
> > > of music do they enjoy playing the most?
> > >
> > > I'd love to hear your thoughts.
> > >
> > > Best,
> > >

Re: [Callers] First Dance - Adult ONS

[Greg McKenzie]

Sue,

I'm not sure what you mean by a "Community Dance series."  Are you talking
about called dances?  Like squares or contras?

Note: The term "Community Dance" has at least 20 years of use, in the UK
and elsewhere, for a wide range of dance activities which, themselves, also
defy any clear definition.  The term apparently means a form of
expressive/performance dance done by non-professional dancers under the
direction of a professional artist/director and funded by a non-profit or
government source.

You can find information on "community dance" at:
http://www.palgrave.com/PDFs/0230551696.pdf, or at
http://www.communitydance.org.uk/ .

Personally, I am wary whenever I see the word "community" in any title for
any activity.  It is one of those "feel good" terms that has value for
marketing but almost no value whatsoever for communication.

Thanks.

- Greg McKenzie
Santa Cruz, CA



On Tue, Jan 29, 2013 at 5:27 PM, Sue Robishaw <s...@manytracks.com> wrote:

> Hi,
> I'm starting a new Community Dance series in our area with no recent
> history of any trad dance. It will likely be nearly all beginners and
> geared toward adults/teens. Thanks to this List I have a good collection of
> ONS dances to choose from, but I'm having trouble deciding on the First
> Dance.
> I'm thinking a non-partner dance that folks can be encouraged to join
> as they arrive (before they sit down) with very little or no teaching. I've
> considered Circles/F with variety of who goes in, probably with claps.
> Or CL, F 2x, CR, start a promenade wave at a random spot, people coupling
> up one after another till all are promenading (I'll be on the floor with
> them). I'm concerned with the usual -- looking easy enough, looking
> interesting, not embarrassing, getting them involved before they have a
> chance to think much about it. I have no idea how many dancers I'll have.
> Any suggestions or recommendations would be much appreciated.
> Thanks,  Sue
> Sue Robishaw, U.P. of Michigan
> __**_
> Callers mailing list
> call...@sharedweight.net
> http://www.sharedweight.net/**mailman/listinfo/callers<http://www.sharedweight.net/mailman/listinfo/callers>
>

Re: [Callers] Fostering a Fun and Inclusive Dance Event

[Greg McKenzie]

Colin wrote:

> Ah, now I see what your problem is!
>

Actually, my training in non-verbal communication is a serious problem.
But that is not even the half of it!  I'm also a dance caller.  And that,
my friend, is a much more debilitating condition.

- Greg McKenzie

[Callers] Fostering a Fun and Inclusive Dance Event

[Greg McKenzie]

In the "Sidelines" thread Jill wrote:

> I think everyone would agree that callers and organizers can work together
> to influence the behavior of the dancers and to set the tone for a fun and
> inclusive evening of dancing.  I agree with Greg:
>
> "If anyone wants to discuss the ways callers...and others can lead, I would
> love to have such a thread."
>

I'm game.  This is a core purpose of what, I think, callers do.

Jill also wrote:

> Although we might not all agree on what is acceptable dancer behavior, do
> you have more ideas for callers and organizers, perhaps a list of what has
> worked for you to make your dances more inclusive and friendly to all.
>

I think we probably *can *agree on what many *desirable *behaviors or
qualities are: Graciousness, civility, kindness, respect, gentleness,
support, confidence, etc.  I suggest we focus on how to encourage what is
desirable rather than on trying to extinguish undesirable behaviors.

Kalia wrote, in reference to her newcomer orientation:

> ... I make a point of demonstrating how to ask someone to dance.  A lot of
> new dancers may not have done this since high school or earlier, and it's a
> very different ball of worms at a contra dance.  It can be super simple
> (offer a hand, raise the eyebrows) or you can say "would you like to
> dance?"  But it doesn't have to be a big deal.  That can take some
> learning, so I like to give folks a head start on that very important
> process.
>

Great point!  I have seen George Marshall do this and I'm going to include
it in my own orientation sessions.  Thank you for reminding me of this idea.

Maia wrote:

> "I have a challenge for you: at least once tonight, dance with someone you
> don't know; and at least once tonight, dance with someone of a different
> experience level than yourself." Something along those lines.
>

This is also very good.  Here is how I do it.  I try to avoid ever telling
the regulars how to behave...directly.  Instead I direct my comments to the
first-timers and speak *on behalf of the regulars while assuming their full
support.  *The fact is that the first-timers have no way to identify people
of a "different experience level" so any reference to that is, by
implication, directed at the regulars.

At the start of the dance evening I say: "If you are new to this kind of
dancing please find someone who has danced contras at least one night, and
form two contra dance lines."

This is a strongly implied cue to the regulars--who already know exactly
who the newcomers are--to take a leadership role and to partner with
first-timers.  (Note that I do NOT tell them how to form lines.  I do NOT
say "...with the lady on the right, facing the stage" or "please join at
the bottom of the line" etc.  The regulars know all of this.  To include
any such information would imply that I expect, at least, *some *of the
first-timers to be partnered with other first-timers.  I want to imply that
*all *of the first-timers will be partnered with regulars.  This is what I
mean by assuming the full support of the regulars.)

As callers we are more effective when we use our words very carefully and
judiciously.  At an open, public social event eliminating excess verbiage
is always helpful in holding the attention of the hall.  Implied messages
are very powerful.  You can have much more influence with what you do NOT
say than with what you do say.  More on this later.

- Greg McKenzie (who, having a degree in speech communication sometimes
gets a bit wonkish about it.)

Re: [Callers] Booking Ahead - (was ideas for callers about sidelines)

[Greg McKenzie]

Ron wrote:

> You need to watch this video:
>
> https://www.youtube.com/watch?v=v7b3yzjAv8c
>
> There are dances where you can take the greatest caller in the world,
> the best band in the world, and there will be stubborn dancers who
> just. Don't. Listen.
>

Thank you Ron for responding and for posting this link.  This is
hilarious!  I have seen it before.  It perfectly typifies what I call the
"selfish dancer" frame.  This is how we imagine the worst behaviors of the
most obstinate dancers.

But there is a reason this is a cartoon.  Real people are never quite this
clueless...not when standing with other dancers, and not to the caller's
face.  Nor would you accuse anyone of behaving this way to their face.  It
is a "frame" we create in our own brain to stereotype dancers.  As such it
is quite useless when dealing with reality.

The reality is that all of us are capable of clueless and obstinate
behavior at times.  And all of us can change our behavior...and rather
quickly I might add.  What it takes is interaction with a leader who
assumes the best qualities of those they are leading.

When I wrote:

> "> But if the dancers perceive the process of partnering with first-timers
> to
> > be a “duty” or “task” instead of one of the primary reasons they enjoy
> > attending open, public contra dances—and make the effort to drive two
> hours
> > to such a dance—this is the caller’s fault."
>

Ron responded with:

> While, in my experience, the friendliness of the average folk dancer's
> is better than the average person in general, we are far from the
> picture you describe.
>

The picture I describe is a "frame" in your brain.  You have to create it
there and use it.  People tend to fulfill our expectations of them, either
positive or negative.  It's about leadership.  If you treat someone with
respect and kindness they will be more likely to respond to you in a
similar manner.  If you treat them like a cartoon...well, I think you get
the idea.

Ron then wrote:

> While you and I agree very much so on the caller's power and
> responsibilities, you paint too rosy of a picture of people. Callers
> can set a good example, promote friendliness and safety, inject energy
> into a room, but not even the best diplomats in the world can stand in
> front of a room full of people who are attending event to have
> personal fun, and turn them into altruists who want to seek out new
> dancers.
>

Callers are in a unique position.  If they do their job well they are
representing the interests of the entire hall...as well as a tradition that
spans generations.  That is not omnipotence but it is more influence than
anyone else in the hall.

Ron also wrote:

> I also think that by alleging this "it's the caller's fault", you
> de-emphasize the things that *do* work to make dances more friendly. I
> think they are long-term initiatives that must be done by organizers
> in conjunction with callers. For example, the dances I attend that
> have clear, written, expressed organizational values that promote
> friendliness and safety are, by no coincidence, the dances that are
> the friendliest and most inviting towards new dancers.
>

Well, you might have a point here.  All of that is important, and useful.
I emphasize the caller's role only because this is a discussion list for
callers.  Isn't it?

And...

> That's why we have these discussions here - because it's the community
> leaders acting together, and not one person at a dance - the caller.
> This is a *community* dance. Attitudes in a community are dictated by
> the whole community, not one person on stage with a mic.
>

Absolutely.  I agree fully.  As the group facilitator and a leader the
caller is in a good position to inspire leadership in others as well.  The
whole community is needed to make any progress on these issues.  The caller
leads by multiple means.  Some of them have been described as: "Leading by
example", and "Leading by omission."  I use the term "Leading by
assumption" to describe what I outlined above.  A lot of it has to do with
what a person decides NOT to say and NOT to do.

If anyone wants to discuss the ways callers...and others can lead, I would
love to have such a thread.

Best Regards,

Greg McKenzie

Re: [Callers] Booking Ahead - (was ideas for callers about sidelines)

[Greg McKenzie]

Ron wrote to Greg:

> ** Booking ahead is done because people want to dance with a small subset
> of dancers who are their friends / the "cool, hip dancers" / etc. **
>
> So I don't, as a caller, make the assumption that you present.  Instead, I
> believe that unless a dance specifically fosters a new-dancer-friendly,
> inclusive environment, and goes out of its way to post signs / e-mails /
> promote discussion with callers / etc, dancers will generally see a narrow
> view of what's going on at the dance. It's up to organizers and callers, I
> believe, to specifically shape the dance to a friendly environment ...
>
> ... if that's the dance's goal.



Thanks Ron.  I think we agree entirely about our goals.  Shaping the dance
to a friendly environment is a goal implicit in the open, public nature of
our dances and in the accessibility of the dance form to people of all
skill and experience levels.  As callers and leaders it is our role to
facilitate that.


It is true that many folks “want to dance with a small subset of dancers
who are their friends / the ‘cool, hip dancers’ / etc.”  It is a natural
human tendency to form cliques and subgroups.


But it is also true that:

-  People want to feel they are a part of something larger than
themselves.

-  People enjoy sharing something they are passionate about with
new friends.

-  The structure of the dance itself requires an empathetic
response from the dancers.  We are all in this dance together and if anyone
fails we all fail.

-  Said another way: Our own personal enjoyment depends upon the
success of newcomers in the hall. or Our "enjoyment-maximizing behavior"
includes dancing with first-timers.

-  The caller is in a key position to provide leadership in this
process.

-  There are numerous things the caller can do to make this process
both easy and fun for the regulars as well as for the newcomers.


It is always the caller’s fault.  If the caller is not doing everything
possible to make it easy and fun for regulars to partner with first-time
dancers then any attribution of this problem to “selfish dancers” is
nothing more than a “blame the dancers” excuse for our own poor calling.

This is why I think of open, public contra dances as one of the greatest
challenges for a contra dance caller.  The caller needs to know how to earn
and hold the attention of the hall.  The instructions and calls need to be
clear, precise, structured using the most effective word order, and given
at precisely the time when the information is needed by the regulars so
that they can confidently lead their first-timer partners.

The sad fact is that most contra dance callers—including some very popular
and well known callers—either do not know how to do this effectively or
don’t believe that this is even their responsibility.  Instead they resort
to a “blame the dancers” strategy.  I know this because I did it myself for
more than a decade.

But if the dancers perceive the process of partnering with first-timers to
be a “duty” or “task” instead of one of the primary reasons they enjoy
attending open, public contra dances—and make the effort to drive two hours
to such a dance—this is the caller’s fault.

Sorry about that.

Alan wrote:

> “…if we banned everybody who ever behaved selfishly from contra dances
> we'd have a lot of trouble filling our dance halls.”
>

Thank you Alan for being specific that it is the *behavior* the caller
needs to address, and not a certain “type” of dancer.   When you adopt the
maxim that the caller takes responsibility for everything that happens in
the hall—which is the only sensible framing that offers us any hope to
”shape the dance to a friendly environment…”—then the caller will assume
the support of all of the regulars in this effort and give them what they
need to partner confidently with first-time dancers and to enjoy that
experience.

Our biggest obstacle to success in this effort is the “selfish dancer”
frame in our own brain which distracts us from the goal of better
calling.  Yes,
it is true.  Some dancers behave more selfishly at times than others.  But
we can choose to “frame” the situation differently.  We can choose to look
at this as a symptom of our calling, rather than a moral weakness in some
dancers.  These folks might be reacting to our failure to make the process
easy and fun.

Instead of complaining about “selfish dancers” I think we would be better
served to discuss strategies, as callers, to better integrate the hall and
make it fun for everyone no matter who they are dancing with or where in
the hall they are dancing.

That’s the way I choose to look at it,


Greg McKenzie



On Tue, Jan 22, 2013 at 5:32 AM, Alan Winston <wins...@slac.stanford.edu>wrote:

> On 1/21/2013 6:27 PM, Aahz Maruch quoted me:
>
>  Even if you did only want to dance with your friends, that is your
>

Re: [Callers] Booking Ahead - (was ideas for callers about sidelines)

[Greg McKenzie]

Ron wrote:

> Greg: That's an interesting argument, regarding saving the dancer from an
> "icky" partner. I would retort, however, that is just a band-aid for a
> larger problem that the dance community should be addressing. I think
> introducing the concept of booking ahead to new dancers is a *bad* idea,
> because it gives them the impression early on that it's okay. I'd rather
> solve the challenge of on-boarding new people through encouraging
> experienced dancers to look for them, rather than falling back on booking
> them in advance. I've also noticed new people often sit out a lot, because
> they're shy/tired/unsure of protocol. There's often lots of opportunities
> to sit out, walk up to the person while they're sitting out, then invite
> them to dance the next one. (I think there's an implicit difference between
> booking the next dance with someone already dancing versus someone sitting
> out.)
>

I agree that booking ahead is not appropriate for a newcomer's
orientation.  But there are times when booking ahead can be a helpful
strategy.  When there is a shortage of gents at a dance I often find my own
choices very limited as I am quickly asked to dance by women before I can
make any other choices.  I have, on occasion, told women that "Sorry, I'd
like to save this dance for [a first-timer/someone who is sitting out].
Let's try to dance later."

Sometimes when I am in this situation, where I have been too-quickly
partnered, I have excused myself for a moment, walked to the sidelines, and
asked a woman to dance the NEXT dance.

I do not favor putting any pressure on the dancers to address a "problem"
on the dance floor by altering their partnering behavior.  I feel this is
too heavy-handed and implicitly blames the dancers.  As a caller I feel
strongly that I should take responsibility for all of these uncomfortable
situations and allow the dancers to enjoy themselves.

My approach is to assume the best of the dancers and allow them to take the
initiative and rise to the occasion.  I assume that all dancers at an open,
public contra dance are attracted to that venue--at least in part--by the
prospect of dancing with lots of folks new to them personally and new to
dancing contras.  As a caller it is my responsibility to make that process
both easy and fun for them.

My experience is that this assumption always pays off.  I am not saying it
works perfectly every time.  I am saying that giving the dancers the
benefit of the doubt pays off in both the long, and the short term.  The
dancers do pick up on the caller's opinion of them.  There is no way a
caller can conceal their opinion of the dancers for long.  Everything the
caller says and does--or does *not *say or does *not *do--will telegraph
their personal framing of the dancers.

If I, as a caller, chide the dancers to ask newcomers to dance, or chide
them to dance with sidelined dancers, I am implicitly demonstrating that I
do not have confidence in them to do what is needed to make the dance event
a great success.  I am telegraphing my "selfish dancer" frame.  If, on the
other hand, I assume their complete support in my efforts to create an
exceptional event populated by wonderful people I will be telegraphing a
different frame.

The truth, however, is that none of us is perfect.  All of us are
"works-in-progress" and we will make mistakes.  That is why it is so
important for the caller to be able to apologize.  I apologize at least
once or twice at every event I call...usually more.  This is how we, as
callers, can show our own humanity and give more credit to the dancers.
When we show the dancers our confidence in them it pays off.  This is
leadership.

So I don't condemn any dancer for booking ahead.  I make the basic
assumption that they are competent and knowledgeable enough to make the
partnering decisions that will be best for the community as a whole.  In
most cases this is correct.  The dancers know--far better than I--what the
history of specific individuals is and even, perhaps, who *should *be
sidelined.  I assume that all of us are working to create a "wonderful
dance community" and do my part to make that process easy and fun.  If that
doesn't work out, and something goes wrong, then I apologize.

- Greg McKenzie

Re: [Callers] ideas for callers about sidelines

[Greg McKenzie]

Donald wrote:

> The strategies listed below all seem like "after the fact" moves that
> happen after partner choices are made.  Just because the last dance
> had more beats of neighbor swing doesn't mean the next will, unless
> you tell them that's what's coming up.
>

Thank you Donald for your comment.  Good point!

Just above where you cut my email is where I emphasized how essential it is
for the caller to take full responsibility for the situation.  If the
caller takes ownership of the problem then she will assume that it was her
calling that caused the problem in the first place.  (The caller cannot
control who shows up at the dance, but she can take responsibility for how
both she and the dancers respond to the situation.)

Building the confidence of the dancers in the caller cannot be done with a
few words.  Dancers are smart.  They are also skeptical...and have good
reason to be.  The caller must *prove *that she can make the dancing fun no
matter who you partner with or where you dance in the hall.

Yes.  It would be better to call precisely, using effective word order,
from the first words into the mike.  This is why this problem gets at the
heart of what good contra dance calling is about.  The best solutions are
proactive and the caller ought to be doing most of these things all along.

Shortening the dance slots will tend to "speed up" the evening and create a
sense of increased opportunities.  I always try to keep the first few dance
slots as short as possible, even if there is no gender imbalance.  I don't
do longer slots until later in the evening.

My approach is to assume that the regulars will want to take on leadership
and step up to address the situation.  My job is to make that effort easy
and fun.  Gender imbalances are a common problem.  The situation can change
dramatically in one or two dance slots.  If the caller does her job well
the sidelined dancers are more likely to think, "Well, at least things seem
to be moving along well and this is a fun dance.  Maybe I'll stick around
and get to dance the next one."

We need to have confidence in the dance community.  Their enjoyment and
success are enhanced when everyone is included.  That's part of the joy of
community dancing.

- Greg McKenzie



>
> On Thu, Jan 17, 2013 at 9:15 AM, Greg McKenzie <greken...@gmail.com>
> wrote:
>
>
>
> > - Call easy dances (this will make sure everyone can succeed and they
> will
> > not worry about failing because they have an inexperienced partner.  This
> > builds confidence in all of the dancers.)
> >
> > - Call dances with more beats of neighbor swinging, and less beats of
> > partner swinging.  Consider calling a "no partner swing" dance.  (This
> will
> > create the feeling that the choice of a "partner" is less critical to
> > having a good time.)
>
> > - Call with short walk-throughs and quit calling soon after beginning.
> > (Increases dancer confidence.)
> >
> > - Cut the dance slots as short as possible.  (Short dance slots will
> create
> > the feeling that there are lots more partnering opportunities to come and
> > more dancers will feel more generous in their partnering decisions.  In
> > reality, the caller has to work very hard to allow for even one more
> dance
> > slot in an evening.  But shorter dance slots will encourage a sense of
> more
> > partnering opportunities nonetheless.  The dancers will sense that the
> > danger of being "stuck" with a "bad" partner for a long slot is less of
> an
> > issue.)
> ___
> Callers mailing list
> call...@sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>

Re: [Callers] ideas for callers about sidelines

[Greg McKenzie]

Jill asked:

> Have you as a caller or organizer had particular success in helping people
> to find partners, especially when there is gender imbalance?  I welcome
> comments about the issue of making sure all are having equal opportunity to
> dance.
>

 This is a great question that gets to the heart of what good contra dance
calling is all about!

Yes.  You need to orient first-timers to the partnering process.  In the
optional newcomer's orientation do not waste any time teaching figures or
moves.  In that 15-20 minutes focus on connection (so that first-timers can
follow well) and the need to partner with the regulars.  The idea of
learning primarily from those you partner with, goes against everything
most folks "know" about all social dancing.  It takes effort to overcome
the feeling that they need a separate class to learn, and that they should
not partner with regulars until they learn the basics.  Tell them how to
ask someone to dance.  You need to ingrain this idea in them--not just
through repetition but by also making sure the implied messages in your
actions match your words.

But the main principle is that the caller takes full responsibility for
everything that happens in the hall.  And that includes "sidelined" dancers
and gender imbalances.  You have to own this problem completely.  It is not
the responsibility of the regular dancers or the local leadership to take
this on.  The caller is in the best position to address this situation.  It
is the caller's job.

The caller can address the situation by working to lower what I call the
"partnering pressure."  Partnering pressure is that feeling that you need
to find a "good" partner or any partner quickly for the next dance.
Partnering pressure goes up if there is a gender imbalance, if the dance
slots are exceptionally long, or if the caller is not clear or precise.
Center set syndrome is a symptom of partnering pressure.  And high
partnering pressure is usually a symptom of poor calling.

The strategies I use are subtle.  The dancers are unlikely to "notice" what
the caller is doing...but these strategies work to reduce the problem.

Here is what I do when there is a gender imbalance or lots of sidelined
dancers for other reasons:

- Call easy dances (this will make sure everyone can succeed and they will
not worry about failing because they have an inexperienced partner.  This
builds confidence in all of the dancers.)

- Call dances with more beats of neighbor swinging, and less beats of
partner swinging.  Consider calling a "no partner swing" dance.  (This will
create the feeling that the choice of a "partner" is less critical to
having a good time.)

- Call very clearly and precisely in exact time with the music and using
the most effective word order.  Give the dancers exactly the information
they need at exactly the moment they need it.  (This will help all dancers
to feel more confident and less likely to worry about failing because of a
"poor" partner.)  This is basic, good contra dance calling.

- Call with short walk-throughs and quit calling soon after beginning.
(Increases dancer confidence.)

- Cut the dance slots as short as possible.  (Short dance slots will create
the feeling that there are lots more partnering opportunities to come and
more dancers will feel more generous in their partnering decisions.  In
reality, the caller has to work very hard to allow for even one more dance
slot in an evening.  But shorter dance slots will encourage a sense of more
partnering opportunities nonetheless.  The dancers will sense that the
danger of being "stuck" with a "bad" partner for a long slot is less of an
issue.)

- Always remind the dancers to "find a new partner" at the end of each
dance...even if "everybody already knows this."  That reminder is for
first-timers, yes.  But it is primarily to remind the regulars that there
are first-timers in the hall who may not know that this happens after every
dance.

Here is what I don't do:

- I do not chide the regulars to dance with sidelined dancers.  (They
already know this so it comes across as guilt-tripping.  If I feel a strong
need to say anything at all I make sure it is unequivocally positive, as
in:  "It is great to have so many ladies here tonight.  I am glad to see
that all of them are getting a chance to dance.  This is such a wonderful
dance community!")

As an organizer:

- I point out the problem to the caller and encourage them to call short
dance slots to allow for more partnering opportunities so all can join in.

That's allIs this "social engineering?"  I hope so.

- Greg McKenzie

Re: [Callers] cards - writing in pencil vs pen???

[Greg McKenzie]

Emily,

There are a few "no nos" for calling that are not obvious.  For example:
"Never speak to an individual or small group while on mike."  All such
comments should be off-mike or you risk looking unprofessional.  What you
write on your cards with is up to the caller.

I always used a ball-point pen for my cards until I got them entered into a
Filemaker Pro database about 20 years ago.  Now I print them out.  My
penmanship is not great so this system is much better for me.  Plus I can
print out multiple copies of a basic dance program and keep one in my dance
shoe bag, one in my car, etc.   If someone is interested in a dance I call
I can just give them the dance card and print a new one when I get home.

- Greg McKenzie



On Sat, Jan 12, 2013 at 6:06 AM, Emily Addison <emilyladdi...@gmail.com>wrote:

> Hi Folks,
>
> The most basic of questions... does anyone write their dance cards with
> pencil and if so, have they found that they smudge???
>
> I'm quite a new caller and am a stage where I am figuring out my dance
> organization.  Until now, I've been keeping my dances on the computer.
> However, I do almost everything on the computer and I really like the idea
> of having my dances on physical cards I've written out.
>
> But... I want to use pencil!
>
> Is this a no no
>
> Thoughts???
>
> Emily
> ___
> Callers mailing list
> call...@sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>

Re: [Callers] women's experiences

[Greg McKenzie]

With regard to roughness during flourishes Perry wrote:

> Ugh - that's not good for our community.  Y'know, I've been dancing for
> years, but often people tell me, hey, don't pull so hard, and I am always
> happy to adjust because I do not want to be the cause of someone else's
> pain or discomfort.  I'm sure that there are probably several dancers who
> just don't dance with me because I might have tugged too hard or cranked
> too hard in the past - all they have to do is say so.  People should be
> free to express to another dancer, hey, this hurts, don't do that, and a
> good dancer should adjust.


...Or not.  Seems that the default should be to assume everyone wants to be
treated respectfully and gently.  No one should ever have to ask for that
care and consideration.

As is always the case: It's the caller's fault.  The caller needs to take
full responsibility for everything that happens in the hall.  And that
includes unwanted flourishes or roughness in the lines.

With lots of young people at our dances this has sometimes been a problem
here in the Santa Cruz area.  When calling I deal with it in short,
positive comments from the mike.  I think the caller is in the best
position to set a tone of gracious consideration in the hall.

- Greg McKenzie

Re: [Callers] Repertoire...

[Greg McKenzie]

Can you define "down the hall" and explain why you see it as a problem?

Do you mean "down the hall four in line", "Twos down the outside?"  Any
"down the hall" figure at all?

Just wondering.

- Greg McKenzie

**

On Sun, Jan 6, 2013 at 3:00 PM, tavi merrill
<melodiouswoodch...@gmail.com>wrote:

> Hi "call"eagues,
>
> As a minor-league caller working towards a National-league position, i'm
> always on the search for new repertoire. Unfortunately, whenever i peruse
> collections - be they callers' websites or books like "Zesty Contras" - i'm
> easily distracted by bright, shiny choreography that fascinates my
> nerd-mind (Marshmallow Surprise! A Slice of Life! Possums in the House!),
> but often takes a rare crowd of dancers to appreciate. Even the favorite
> dances we tend to share with caller friends often veer toward the highly
> "interesting". It's easy to find simple dances with a down-the-hall figure,
> but i'm specifically looking for low to medium piece-count dances WITHOUT
> down the hall.
>
> I'm wondering if anyone could point me towards dances that really hit a
> homer - things like: Jubilation (Gene Hubert), Thanks to the Gene (Tom
> HInds) Another Nice Combination (Tome Hinds), Star Struck (Nick Boulet),
> Simplicity Swing (Becky Hill), The Carousel (GH), The Baby Rose (David
> Kaynor), All You Can Eat (Ted Crane), 20 Below (Bill Olson)... dances that
> can be the bread and butter of a less advanced evening, or just a handy
> fall-back for more capable crowds. Dances without down-the-hall, and
> without awkward transitions (right through -> circle L?! agh!).
>
> What are the best places to go looking for other bread-and-butter
> repertoire like those? Anybody have a favorite fall-back or
> last-of-the-night dance they'd like to share?
>
> I'm not only asking for myself, but for anyone out there who finds it very
> easy to collect 'advanced' level dances but harder to find accessible
> dances that are truly satisfying with good flow.
> ___
> Callers mailing list
> call...@sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>

Re: [Callers] Eye Contact

[Greg McKenzie]

Maia wrote:

> I think the idea is, anyone you're not directly engaged in a move with. So,
> making eye contact with the rest of your hands-4 during a circle makes
> perfect sense. Meeting eyes with your neighbor across the set when you're
> about to go into a partner swing/gypsy/etc. is strange and distracting.
> Obviously, experienced dancers generally aren't too phased by "excess eye
> contact" (is there really such a thing??) but new dancers might be very
> thrown, as so much of the signaling in contra is done via the eyes. The
> rule, then, is to not make eye contact with new dancers in ways that might
> prove confusing, so they know who they're dancing with next, am I right?
>

Exactly!  We need to be conscious that in contra dance, eye contact is a
strong lead.  When I reach the end of a line with my partner I have
developed the habit of not turning to look back into the line right
away--particularly if it is a dance that is confusing for newcomers.  At
the top I encourage my partner to check out the band.  At the bottom I
engage them in conversation.  I don't want either of us to give a false
lead to confused dancers by looking at them.  (This, by the way, may be
part of the reason that confusion seems to be common at the ends of the
sets.  It might not be only that some dancers have just changed
directions.  It may also be that dancers are confused by couples out at the
ends who are making eye contact with people they are not dancing with.)
This tactic prevents my partner from being "drawn into" the dance by
confused dancers.

This, of course, is something I don't do if the end couples are not
completely "out" of the dance.

- Greg McKenzie

***

But, if you grab someone from the other line for a quick allemande, you'd
> best make eye contact with them first! And I doubt you'd try to grab them
> into a move if you hadn't met their eyes... so it all sort of works itself
> out.
>
> Maia
>
> On Thu, Jan 3, 2013 at 11:29 AM, Aahz Maruch <a...@pobox.com> wrote:
>
> > [starting a new thread]
> >
> > On Wed, Jan 02, 2013, Greg McKenzie wrote:
> > >
> > > The rule is to avoid eye contact with anyone with whom you are NOT
> > > dancing.
> >
> > Do you have a cite for this rule?  I've never heard it before in my
> > quarter-century of dancing (folk, square, contra).  I have, of course,
> > heard the opposite of this rule, but P->Q does NOT imply !P->!Q.
> >
> > It also brings up the question of who am I "not" dancing with?  From my
> > POV, I'm at least potentially interacting with pretty much anyone on the
> > dance floor (for example, grabbing someone in an adjacent line for a
> > quick allemande or swing).
> > --
> > Hugs and backrubs -- I break Rule 6
> > http://rule6.info/
> >   <*>   <*>   <*>
> > Help a hearing-impaired person: http://rule6.info/hearing.html
> > ___
> > 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] Alternate Role Terms

[Greg McKenzie]

Donna wrote:

> Anyone who has learned ballroom/couple dances (waltz, foxtrot,
> swing,tango) understands what the lead/follow roles are.  Contra dancing is
> not lead/follow.
>

Contra dance is not waltz, foxtrot, swing, or tango.  It also does not have
"leader" and "follower" roles.  But it most certainly does have leads and
follows, lots of them.

This is an example of how the framings from couple dancing can be
problematic when discussing called community dancing, and contras in
particular.  The couple dances mentioned above use a very restricted
meaning for their own purposes.  In the English language "lead" and
"follow" have much broader meanings.  Schools of fish, flocks of birds,
herds of deer, and groupings of many social insects all organize themselves
with individuals "leading" and "following" each other.

This is an important concept...particularly in social dance.  To suggest
that people do not lead or follow in contra dance is to block any
discussion of how this remarkable dance form *works*.  The core idea of
"sweeping newcomers into the dance" is predicated on the assumption that
the regulars are leading newcomers through the figures.

I hope that those of you who suggest contras are not a "lead/follow" dance
form will please "follow" my "lead" in this matter and allow us to use the
common English meaning of the word to discuss a core concept that--I would
argue--is more central to contras than it is to Tango or other partner
dances.

This misunderstanding could have great impacts on this dance form.  It
appears that many contra dance callers have accepted the notion that
"contras are not a lead/follow dance form" and the result is that they
insist on teaching from the mike when the regulars could quickly lead the
newcomers through the figures.

This is an unfortunate situation in the contra dance movement.  We need to
recognize that it is the ability of the regulars to lead the newcomers that
makes this dance form so accessible.

I know that this does not match the restricted way you learned to use these
words.  But please allow us to use common English to discuss this core
concept in contra dance.

Just a thought.

- Greg McKenzie

Re: [Callers] Alternate Role Terms

[Greg McKenzie]

Chrissy wrote:

> Hah!  I think I understand why I see no leader/follower dynamic in
> contradancing.
>

It may be that you are defining leads and follows in terms of partner
dancing...rather than community dancing.

Chrissy also wrote:

> I like helping make sure everyone ends up in the right place (as a lady or
> a gent or a same role neighbor) and of course I greatly appreciate that
> help when I'm spacing out, or don't get the dance, or am distracted by the
> music.
>

...and:

> I like the feeling of teamwork and accomplishment that comes from
> contradancing, including that dynamic of teamwork with my partner,
> regardless of what role I'm dancing and regardless of who's more
> experienced.
>

That's what I mean by a "lead" in contras.  It is primarily between those
who know what happens next...and those who don't.  The rule is to avoid eye
contact with anyone with whom you are NOT dancing.  Ignoring "lost" dancers
may seem cruel, at first, but it is the best "lead" you can give someone
with whom you are not supposed to be dancing.  The "cruel" thing to do is
to shout instructions to lost dancers you are not involved with.  It
attracts their attention in precisely the WRONG direction.

- Greg McKenzie

Re: [Callers] gender

[Greg McKenzie]

Perry wrote:

> There are several issues here.  One is the terminology that is used to
> differentiate the two dance roles and second, whether we will ever move
> contra dancing to a completely gender-free system.
>

I was booked to call a dance once and noticed, on arrival, that there was
only one man in the hall--besides myself.  I mentioned this to a band
member and she informed me that this was a lesbian group holding the
dance.  She was surprised that I had not been informed of this before the
gig.

I was not prepared for this and I saw it as a complication, but when I
spoke with the organizer she informed me that no special terms would be
required.  "Let me assure you," she said.  "We all know who the 'gents' and
the 'ladies' are."

It worked and a good time was had by all.

"Maleness" and "femaleness" are qualities that all of us share...to at
least some degree.  We all have testosterone and estrogen.  The differences
are a matter of quantities and proportion.

I have no problem dancing the ladies part once or twice in an
evening,...but I would not drive two hours to do that all night.  I see
that hint of "sexual tension" in the room at a dance as a core part of what
makes it fun.  The energy of opposite tantric polarities in close proximity
is part of what drives the energy level at a dance.  I see it as an
essential component.  Most folks do social dancing, at least in part, to
interact with the opposite gender.  We enjoy and celebrate dancing with all
kinds of folks, but I am hesitant about changing the terminology to the
extent that gender choice is not an option.

I want to be able to choose which gender role I play during an individual
dance.  I think most folks--regardless of sexual orientation--would also
like to have that option.

I hope we can work out a system that satisfies all of us and does not
obliterate gender roles from the dance.  If we use gender-free terms like
"yellows" and "blues" I am confident that most folks will, upon arrival, be
asking one another "which color are the ladies?"

Is that wrong?  I don't think so.  It's a part of why most of us dance.

- Greg McKenzie





>
> I think that
> we all have to understand that everyone has their own comfort zone.
> Some people do NOT want to dance with a same-gendered person no matter
> how much you prod them, shame them, or even force them to do so.   Some
> are willing to try it from time to time, others enjoy it a lot, and others
> want to make all
> contra dances completely gender free regardless of whether or not it
> will chase some members from the community.
>
> It is a strong
> uphill battle to at least move from a heteronormative way of thinking.
> Just recently it was suggested that the way to get someone to contra
> dance (a man) was to tell him that a
>  new woman will be thrown into his arms every 30 seconds.  Reason being
> that most people are heterosexual and might be drawn to dance thinking
> he's going to dance with women.  I suggested that this was a bad idea
> due to the fact that in most dances you'll see men dancing with men,
> women dancing with women, and people switching roles.
>
> I think
> that the best compromise is to continue with the gents/ladies
> terminology, but emphasize that these are merely titles of traditional
> roles, but anyone can play them regardless of physical gender.  That is
> what I say in my workshops, and it's usually generally understood.  Any
> new terminology that you use will force people to translate which means
> "man" and which means "woman".   However, I do understand the baggage
> that these gender-loaded terms do bring.
>
>
> Perry
>
>
>
> 
>  From: JoLaine Jones-Pokorney <jola...@gmail.com>
> To: call...@sharedweight.net; callers-requ...@sharedweight.net
> Sent: Wednesday, January 2, 2013 9:23 AM
> Subject: [Callers] gender
>
> In reply to Read who said "When gendered terms are used, people are more
> likely to sort themselves by gender. Newcomers are unlikely to even
> consider the possibility of not doing so."
> I disagree.  When I teach the introductory workshop I say, "You will see
> women dancing the men's role and men dancing the women's role."  They see
> this happening immediately, even in the introductory workshop.  In our
> community, men dancing the women's role is less common, but it will happen
> at least once at each dance so newcomers are seeing it.
> We often get new women who want to dance the men's role so that they can
> dance with their women friends that they came with.  Of course this isn't a
> great plan since they're all newbies, but my point is that they don't
> hesitate to switch roles.
> I find that the long-time cont

Re: [Callers] Alternate Role Terms

[Greg McKenzie]

Chrissy wrote:

> It does seem that some women dancers depend on leadership from the gent
> role, and some men dancers feel pressure to direct the non-gent role
> dancers.  But I don't think there's any lead/follow component inherent in
> the contra dance form.
>

That may be true from a traditional perspective of partner dancing.
Contras (and other called dances, to some extent) however are another sort
of thing altogether.  There is lots of leading and following going on, but
it is not gender specific and the vast majority of it is done with the
eyes.  In contras eye contact is a lead that means "Dance with me now."

I encourage regular contra dancers to avoid making eye contact with anyone
they are not currently dancing with...particularly if that person is
confused.  "Help only the one(s) you are currently dancing with," is the
rule.  If the regulars do this then the only one looking at you should be
the one you are dancing with next.

This assumes, however, that the caller is using the most effective word
order and calling precisely to the music.  The first information given in
the call should be the "who" information.  That way the regulars can lead
first-timers with eye contact.

It's a different kind of "lead" that is not gender-specific, but it fits
what the word means.  When dancing with multiple people this becomes a very
useful form of lead.

Just a thought.

- Greg McKenzie

Re: [Callers] Caller's nightmare

[Greg McKenzie]

Maia wrote:

> You all have inspired me. Last night I dreamt that the dance I'm supposedly
> in charge of was being run by a whole cycle of random people pretending to
> be contradance callers, that is, they had NO NOTION of how to call or walk
> or teach, and most didn't even really understand contradance, with the
> result that the dance was chaos, and I was trying to explain how calling a
> contradance actually worked and *no one would listen to me*. Aaagh!
>

This happens to me all of the time.

- Greg McKenzie

Re: [Callers] Questioning a sacred cow of contra dancing

[Greg McKenzie]

Luke wrote:

> Sacred Cow?  What do they know about dancing?  They have two left feet...
>

I have seen them at "barn dances."

- Greg

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] Sung fiddle tunes?

[Greg McKenzie]

Maia wrote:

> I've been talking with my band lately about coming up with some contra
> tunes that I/they/we can sing.
>

Good question.  This is something I've thought about over the years.  In
general I would be very cautious about this kind of thing for several
reasons.  It is something that seems more appropriate for events which are
gatherings of contra dance enthusiasts, rather than open public dance
events.


> a) suggestions for tunes? (Contra and waltz alike.)
>

 For myself, personally, I would choose simple songs with few words,
possibly that folks can sing along with.  The singing will preclude other
activities--such as flirting and talking amongst dancers--so it has to be
done in small doses.  This is often done by bands during waltzes around
here (San Francisco area).  People seem to enjoy it.

b) when do you usually stop calling and start singing? What do you do if
> the dance gets off track and you need to throw in some more calls?
>

With a simple song I would start calling and allow dancers to carry the
song while I stepped in with calls.  But I would probably not even try this
unless I were confident that there would be no problems.  A simple song,
and an easy dance.


> c) other relevant things to consider when the band/caller tries to sing for
> a less experienced group of dancers?
>

I wouldn't do this to a hall with more than a few confident newcomers.  I
wouldn't do it more than once in an evening.  And if I did it I would
practice carefully with the band until we had it down pat.  This is not
something you want to do half way.

- Greg McKenzie

Re: [Callers] Named Moves

[Greg McKenzie]

Read wrote:

> When calles at our dances do this, I lobby hard to not have them invited
> back. The message I get is "only I can be helpful to newcomers; you
> experienced dancers, don't even try." If you've got experienced dancers who
> are doing things that confuse newcomers, you (or someone) need to teach the
> newcomers how to be helpful. Preventing them from doing so is not a way to
> build a local dance.
>

It is an unfortunate incarnation of what I call the "don't do it yet"
syndrome, where the caller orders the dancers NOT to do something and
listen first.  There are situations where this call might be needed...but
not often.  If the caller asks dancers to ignore a call more than once a
night I'd call it a syndrome.

I try to let the regular dancers do almost all of the teaching, if
possible.  I do offer some safety tips, etc.  But my calls are directed
almost entirely at the regulars.  I assume that they will show others who
will then quickly learn the calls.  So...I guess I don't think calls need
to always be descriptive...I'm still thinking about that one.

A call like "angry robin," which is not descriptive, has no information for
first-timers.  That makes it a little more difficult for first-timers to
learn.  I avoid this figure for several reasons: The call is not friendly
to first-timers.  And there is no physical contact and that makes it more
difficult for the regulars who know it to show it to others.

Generally I design my calls to get the most essential information to the
dancers first.  I would never use the call "allemand left your neighbor,"
for example.  That is a totally backwards call.  I prefer "neighbor, left
hand turn" primarily because it first identifies the target dancer and then
it puts out the "left hand" information , which is what the dancers need to
know to start moving.

"Neighbor, left hand turn" also has two fewer syllables.

- Greg McKenzie

[Callers] Named Moves

[Greg McKenzie]

Mark wrote:

> Taking Beth's point, however, I fully support her premise of keeping
> terminology as simple and logical as possible. I'm likely to call something
> like "Balance the ring and twirl to the left."
>

So...can we get rid of that "Angry Robin" figure now?

- Greg McKenzie

Re: [Callers] Taking hands four

[Greg McKenzie]

Thankfully, first-timers have no need to know what "hands four from the
top" means.  Their more experienced partners will show them immediately.

- Greg



On Thu, Nov 15, 2012 at 10:14 AM, Donald Perley  wrote:

> Risky in itself.. often they will then make that circle with the other
> couple they lined up with, and be out of sync with sets of 4 from the top.
>  That false calibration then propagates downstream and has to be fixed
> later.
>
> On Thu, Nov 15, 2012 at 1:07 PM, <95s...@comcast.net> wrote:
>
> > In a mixed crowd, I find it more effective to say "Take hands in circles
> > of four people".  Even if a new dancer has just attended a workshop,
> he/she
> > might not yet recognize "Hands four from the top".
>
>