Re: [Callers] New Dance?

[Jack Mitchell via Callers]

Tho I have spring fever with a different B1: Hey with hands - gents pull by L, 
P pull by R, Ravens Alle L 1x, P Sw

Jack Mitchell
Durham, NC
On Jun 29, 2019, 2:28 AM -0400, Ron Blechner via Callers 
, wrote:
> It's basically Spring Fever, by Nils Fredland:
>
> A1 bal, petro, bal, petro
> A2 N B+S
> B1 1/2 Hey, Larks passing L, Ravens ricochet, PS
> B2 Circle L 3/4, Bal, pass thru
>
>
> > On Sat, Jun 8, 2019, 9:07 AM Angela DeCarlis via Callers 
> >  wrote:
> > > Hello all!
> > >
> > > In a scene with which I'm sure many of you are familiar, I woke up in the 
> > > middle of the night with a tune stuck in my head, and I couldn't fall 
> > > asleep until I'd written a dance to go with it.
> > >
> > > Let me know if someone's beat me to it:
> > >
> > > Molly Apple Pye, Becket
> > >
> > > A1: Balance Ring, Petronella
> > >        Balance Ring, Pass through up and down
> > > A2: New Neighbor Balance and Swing
> > > B1: Gents start 3/4 Hey across (GL PR LL NR GL PR),
> > >        Ladies Ricochet*
> > > B2: Partner Swing
> > >
> > > I realize the partner swing in this version is longer than standard, but 
> > > figure since the timing can run long for a full hey with ricochet and 
> > > since the next move is a ring balance, I don't mind giving the dancers 
> > > the extra time to get their affairs in order. ;)
> > >
> > > *But maybe the timing works better if the Ladies dance a 
> > > left-shoulder-round instead, to take up a bit more music? I need to 
> > > play-test! In that case, the B's would be,
> > >
> > > B1: Gents start 3/4 Hey across (GL PR LL NR GL PR),
> > >        Ladies Left Shoulder Round
> > > B2: Partner Right Shoulder Round and Swing
> > >
> > > Thanks!
> > > Angela
> > > ___
> > > List Name:  Callers mailing list
> > > List Address:  Callers@lists.sharedweight.net
> > > Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/
> ___
> List Name: Callers mailing list
> List Address: Callers@lists.sharedweight.net
> Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/
___
List Name:  Callers mailing list
List Address:  Callers@lists.sharedweight.net
Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/

Re: [Callers] Calling for the visually impaired

[Jack Mitchell via Callers]

You didn't mention in what context you work wth kids who are visually
impaired -- are you a classroom teacher, orientation & mobility specialist,
some other type of therapist?   I'm a (relatively recent) O&M specialist
and have twice done workshops at a dance weekend that I co-taught with a
visually impaired dancer, where we looked at the techniques that he used
for staying oriented.  Lots of them would be great to work on with kids
from an Orientation & Mobility perspective too.  In a nutshell, the skills
included

   - sound localization (keeping track of where the sound of the band /
   music is coming from
   - developing a sense of how far you get in how many steps (this was
   particularly in contra lines) -- eg: 8 counts/steps is about 1x around; 6
   is about 3/4;
   - In a disconnected move like a hey or dosido, he would use a slightly
   stylised upper and lower protective technique, with one hand palm out
   around head level and one hand palm towards him around waist level, using
   that as both bumpers and feelers to detect when he was passing someone, and
   to keep from walking into something

If it would be useful, I'd be glad to talk about some of the other things,
and also O&M techniques that I could see being applied to traditional dance
-- when I was doing these workshops I had just started my O&M program, and
there are a number of things I would probably do differently.

One possible idea is teaching some of those disconnected moves by using the
narrow passages human guide technique -- with the guide's arm behind their
back (more or less the same position used for the ladies role in a courtesy
turn) and the VI person holding onto the guide's wrist (and therefore right
behind the guide).

In any event, I have a lot of thoughts on this, as you might be able to
tell.  Glad to elaborate further either on or off list.

Jack

On Sun, Apr 14, 2019 at 9:38 PM Helle Hill via Callers <
callers@lists.sharedweight.net> wrote:

> Thank you so far for all your responses. I have learned a lot already. I
> just reread my original email and realize that I forgot to mention that
> most of the visually impaired are elementary, middle, and high school
> students so traditional dance may work well.
>
> Someone mentioned a Snake dance and I actually thought of starting with
> that.
>
> Thank you again. I look forward to reading more responses and suggestions.
>
> Helle
>
>
> --
> *From:* Luke Donforth 
> *To:* Shared Weight Callers' Listserv 
> *Cc:* Helle Hill ; Mac Mckeever 
> *Sent:* Sunday, April 14, 2019 6:42 PM
> *Subject:* Re: [Callers] Calling for the visually impaired
>
> (Technical note, I Mac's response, but not Helle's original post?)
>
> I don't have extensive experience calling for visually impaired dancers. I
> have occasionally had an experienced blind dancer on the floor, but never a
> sizable percentage. But this is conjecture on my part; please trust your
> own judgement.
>
> It sounds like you're calling for a bunch of folks who don't regularly
> dance? In which case, I'd recommend (as with most one-off gigs), not
> focusing on 'duple improper contras' and just get folks moving to music.
> Something as simple as a snake dance may be a good kick-off. It's not
> overly simplifying for them, that's often a dance that gets used at
> community dances.
>
> It may be worth talking to the sound person ahead of time to see if a
> clear "head of the hall" can be established sonicly. Some gigs will put up
> more than one row of speakers or such to blanket the sound, but giving an
> audio clue about direction may be useful.
>
> If you're shooting for hands-four contras, I wonder if some of the pass
> through progressions of simple contra dances could be re-worked to have a
> roll-away instead? For instance,
> A1:
> long lines
> neighbor swing, end facing down the hall
> A2
> Down four in line, turn as couples, come back
> B1
> Circle left three places, partner swing
> B2
> Circle left three places,
> balance the ring, gents roll neighbor lady away with a half sashay
>
> As two-swing contras go, that's a relatively simple. Everyone is always
> holding on to at least one other person. But you've still got changes of
> direction and knowing your orientation when you end the swing.
>
> But even that is more complicated than I would run for most community
> dances when most people aren't regular dancers. Even if you have one
> "seeing" partner in each pair, if you're not separating sets out by "this
> set has seeing gents role; that set has seeing ladies role" then if you do
> a neighbor swing, you'll end up with couples that don't have a "seeing"
> person.
>
> Good luck! And please do let us know how it goes, and what you figure out.
>
> On Sun, Apr 14, 2019 at 4:21 PM Mac Mckeever via Callers <
> callers@lists.sharedweight.net> wrote:
>
> For several years we had a wonderful lady dance with us who was totally
> blind (could not even tell light or dark)- here are a few things

Re: [Callers] New Dance

[Jack Mitchell via Callers]

Looks like a nice flow, but it sure does have a lot of clockwise motion.
On Mon, Mar 4, 2019 at 3:17 PM Donna Hunt via Callers <
callers@lists.sharedweight.net> wrote:

> Hi All:
> I wrote a dance to honor my BFF and his long time service to the Swingin'
> Tern Dance in NJ, writing the puns for their fliers for 35 years and doing
> publicity (and to honor his upcoming birthday). Many of you know him, Doug
> Heacock (pronounced Heycock).  If you don't know him as a dance organizer,
> perhaps you've seen one of his many dance videos on his youtube channel?
>
> Feel free to call the dance and let me know how it works for you.  The
> dancers at Swingin' Tern this past Saturday enjoyed it.
>
> Proud as a Heacock  IMP  by Donna Hunt
> A1  Circle Left 1x
> 1/2 Pousette with Partner CW
>
> A2 Balance ring (with original neighbors)
> with Partner: Ladies roll away and Gents sashay
> Swing Neighbor
>
> B1Star Right 3/4,   Swing Partner
>
> B2  Gents Chain (left hand pull by)
> Long Lines forward and back
>
>
> Donna
> Web Site:  donnahuntcaller.com
> Email: dhuntdan...@aol.com
> Cell:  215-565-6050
>
>
> ___
> List Name:  Callers mailing list
> List Address:  Callers@lists.sharedweight.net
> Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/
>
-- 
Jack Mitchell
Durham, NC
___
List Name:  Callers mailing list
List Address:  Callers@lists.sharedweight.net
Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/

Re: [Callers] In honor of George Rettie

[Jack Mitchell via Callers]

I plan to call it on Friday in Charlottesville and also on Sunday evening
in Winston Salem at the Salem College dance.  So strange to think about
calling a dance in the Triad without George being there.  And if your group
of dancers isn't up to Dean's dance, A Nice Combination would also be great
to be called in his honor.  Many years ago he wanted to have a dance that
he could call at open mics and such, and that was the one he picked.

I'm glad that so many people have liked the picture of George waltzing
(with Louie Cromartie, who we lost almost 2 years ago).  I found it when
looking for pictures of him, and love it (even if it does make me start
tearing up every time I see it.)

Jack

On Fri, Feb 22, 2019 at 11:58 AM Bree Kalb via Callers <
callers@lists.sharedweight.net> wrote:

> Bill,
> The dance is at the end of Emily’s email.  Note that it is in “indecent”
> formation and a little tricky. As was our dear George.
> Bree
>
> On Fri, Feb 22, 2019 at 11:15 AM Bill Olson via Callers <
> callers@lists.sharedweight.net> wrote:
>
>> Oh this is so sad.. "Suspenders George" was a good friend and one of my
>> very favorite dancers when we toured down that way. George was always
>> friendly and always helpful. And he sure was a great "dipper"..
>>
>> Please forward the Dean Snipes dance and I will call it next chance I
>> get!!
>>
>> bill in Maine
>>
>> --
>> *From:* Callers  on behalf of
>> Emily Rush via Callers 
>> *Sent:* Friday, February 22, 2019 3:55 PM
>> *To:* Caller's discussion list
>> *Subject:* [Callers] In honor of George Rettie
>>
>> Hi all,
>> George Rettie, the NC dancer in the yellow ruler suspenders, passed away
>> unexpectedly this week. He'd been dancing since at least the 1980's, and it
>> was a rare dance that he didn't attend. He was always the first to
>> volunteer (and did, more hours than I can count), personally thanked the
>> musicians and callers, danced with beginners, dipped everyone beautifully
>> and frequently, flirted with us all, could call one dance (Gene Hubert's "A
>> Nice Combination"), brought his children into the dance community, and was
>> a favorite partner to many, many dancers.
>>
>> Myra, Adina, and JoLaine are calling a dance that Dean Snipes wrote for
>> George some years ago. If you're calling sometime soon and are so moved, I
>> would like to invite you to call it too. If you're dancing, I hope you'll
>> go up to the stage and thank the musicians and callers, welcome the
>> beginners, and have an extra-good time.
>>
>> Love,
>> Emily
>>
>> --
>>
>> George is Rettie, Willing, and Able
>> by Dean Snipes
>> Indecent (2s crossed), double progression
>>
>> A1.
>> Neighbor balance & swing
>>
>> A2.
>> Pass thru across, turn alone
>> Star R 1x, pull by up and down with your neighbor
>>
>> B1.
>> New ladies allemande L 1x while gents orbit 1/2 clockwise
>> Partner swing
>>
>> B2.
>> Long lines forward & back
>> Ladies right hand pull by, neighbor allemande L 1.5
>> ___
>> List Name:  Callers mailing list
>> List Address:  Callers@lists.sharedweight.net
>> Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/
>>
> ___
> List Name:  Callers mailing list
> List Address:  Callers@lists.sharedweight.net
> Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/
>
-- 
Jack Mitchell
Durham, NC
___
List Name:  Callers mailing list
List Address:  Callers@lists.sharedweight.net
Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/

Re: [Callers] Possible new dance

[Jack Mitchell via Callers]

Is B2 intended to be ravens chain with a courtesy turn and then swing or
just ravens pull by right and swing your partner?
On Tue, Oct 9, 2018 at 7:31 AM Mary Collins via Callers <
callers@lists.sharedweight.net> wrote:

> I was in the MRI tube yesterday and this dance asked to be written down.  To
> any one's knowlege does it exists?
>
> In the MRI. Imp.
>
> A1- in ring bal. Petronella, repeat; N swing
> A2- LLFwB; Ladies/Raven chain
> B1- ladies/Raven chain; P swing
> B2- in ring bal. Petronella, repeat; balance California twirl to new N.
>
> In the B2 you can skip the courtesy turn and make a bit lonher swing with
> your partner if you choose.
>
> I really don't like a lot of turning and spinning due to a personal
> balance issue but this felt fun.
>
> Thanks all.
> Mary Collins
> ___
> List Name:  Callers mailing list
> List Address:  Callers@lists.sharedweight.net
> Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/
>
-- 
Jack Mitchell
Durham, NC
___
List Name:  Callers mailing list
List Address:  Callers@lists.sharedweight.net
Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/

Re: [Callers] Partial circulate the wave?

[Jack Mitchell via Callers]

I really like your description of "women reach forward to form a wave of
women".  If you state what hand you're taking with the person in your H4
(as you do here) that makes it even clearer (and means that if someone
doesn't actually do the loop to take their neighbor or partner's place,
it'll still work.

The dance is not one of mine.  It's actually a Dean Snipes dance.  I'm
finishing up editing the collection of his dances that I'm trying to put
together.  Here's the rest of the dance for those that might be interested.

Oh Yea! – Dean Snipes Improper
Start in long waves, gents face out ladies face in
A1 Balance Wave
½ Circulate (Gents Loop, ladies reach forward RH to N Lady) to a long wave
of ladies
Balance Wave of Ladies
½ Circulate (ladies forward and face in, gents reach forward RH to N Gent)
to a long wave of gents

A2 Balance Wave of Gents
Gents step forward – N Sw
B1 Gents Alle L 1½
P Sw
B2 Take hands in a Ring – Balance Ring, petronella twirl to the right
N Alle L 1½ to a long wave – gents face out, ladies face in

On Fri, May 18, 2018 at 2:10 PM Bill Olson  wrote:

> Hi Jack and all, A little off topic, but... Your dance made me remember a
> dance I wrote back in 2002, "Do Make Waves". here's from my web site:
>
>
> *DO MAKE WAVES*
>
> * A duple improper contra by Bill Olson *
>
> *  A1:  Star R x 1 to long waves (Right Hand to N, L to previous
> N. Women are facing in, Men out))(8), Bal Wave(4) (women reach forward to
> form a wave of women down the center of set while men loop around to right,
> taking Neighbor's position, facing in), Bal the wave (of Women)(4)* *
>
> *  A2: Women reach forward and form a long wave (Right Hand to
> Partner, L to shadow, W face out) Bal Wave (4) and Swing Partner (12) *
>
> *  B1: Circle L 3/4 Sw N (16) *
>
> *  B2: Circl L (8), (with same Neighbors) Star L (8) (Look for new
> N in next Star) *
>
> *Notes: *The 3 balances are all done consecutively, that is to say:
> "balance,2,3,4,balance2,3,4,balance,2,3,4! Needless to say there is little
> time between balances for the women to drop hands and pick up new ones, and
> it helps if the balances are more "forward and back" rather than "right and
> left" so there is some "forward propulsion" going on after each balance! In
> reality the second and third balances are actually started (feet hit the
> floor) while the hand change is being made. Here's why I wrote this dance.
> Every year at NEFFA (New England Folk Festival in Natick, MA), callers are
> reminded that the dance floors are very crowded and to pay attention NOT to
> call dances that require a lot of room between sets (since there ISN'T
> any). I figured I would write a dance that REQUIRED that there be very
> little room between sets, and this is IT!! My announcement to some Boston
> area callers of my intention met with great skepticism, but I always DO
> like to make waves! and the dance works!! Written April 15, 2002.*
>
>
> This dance has three wave balances, the first two are the same as yours I
> think, i.e. Balance wave (Men out Women in etc) along the long lines,
> balance wave of women down the center, BUT no time in between.. (the notes
> as to "why" heh heh) I called this dance ONE TIME at NEFFA and it worked
> fine BUT comments after were mostly that it was VERY zesty for the women..
>
>
> I am assuming the first wave in A1 is along the long lines.. If so,  4
> steps is a LOT of steps to go a pretty short distance.. Maybe I am reading
> this wrong, in which case I offer the dance as something similar and
> *different*.
>
>
> You might note that when I wrote the dance I had no words "like circulate
> the wave" in my vocabulary, so I probably just called it what it was,
> "gents loop, women walk forward" or something like that.. Makes for nice
> "toung twisters" when actually calling the dance!!
>
>
> bill (in Black Fly infested Maine)
>
>
> *From:* Callers  on behalf of
> Jack Mitchell via Callers 
>
> *Sent:* Thursday, May 17, 2018 6:09 PM
>
>
> *To:* Callers List
> *Subject:* [Callers] Partial circulate the wave?
> What would you call a circulate like this?  Would it be a partial
> circulate?  Or, in the interest of not adding any more terminology, since
> only half of the people are going to end up in a wave after each one, would
> it be better to just say "ladies take 4 steps forward to a long wave of
> ladies, gents face in", etc?
>
> *A1*Balance Wave
> Circulate (Gents Loop, ladies take 4 steps forward) to a long
> wave of ladies
>  Balance Wave of Ladies
>  Circulate (lad

[Callers] Partial circulate the wave?

[Jack Mitchell via Callers]

What would you call a circulate like this?  Would it be a partial
circulate?  Or, in the interest of not adding any more terminology, since
only half of the people are going to end up in a wave after each one, would
it be better to just say "ladies take 4 steps forward to a long wave of
ladies, gents face in", etc?

*A1*Balance Wave
Circulate (Gents Loop, ladies take 4 steps forward) to a long wave
of ladies
 Balance Wave of Ladies
 Circulate (ladies walk forward and face in, gents take 4 steps
forward) to a long wave of gents

*A2*Balance Wave of Gents
  Gents step forward – N Sw
-- 
Jack Mitchell
Durham, NC
___
List Name:  Callers mailing list
List Address:  Callers@lists.sharedweight.net
Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/

Re: [Callers] Caller's monitor question

[Jack Mitchell via Callers]

A number of years back, I was trying to make a decision between getting a
wireless mic and a monitor, and went with the monitor.  The monitor I ended
up with was the TC Helicon VoiceSolo 300XT, and it has served me well
(unfortunately, it's no longer made).  The Roland that you have is one I
have more often seen used by keyboard players as an aux monitor, and I
don't believe it has any way to place it on the floor or on a stand where
it is angled up towards you, which is a feature I would look for in any
callers monitor.  It's possible you could rig up a stand that would allow
you to tip the roland back, or possibly get or make an angled mount that
would let you tip it back on a mic stand.  I believe that it is capable of
all of the other things I would want to see in a monitor besides that.

Other features that I would be looking for:

   - a "thru" connection for XLR, allowing you to plug your mic into the
   monitor, and then send a feed to the board, and where the adjustments made
   on the monitor do not affect the signal sent to the board.
   - A way to mount the monitor on a mic stand, which gets it up closer to
   your ears
   - The possibility of taking a monitor feed from the board if you do want
   to be able to hear the band in the monitor (particularly nice for singing
   squares, or for larger bands where you can't hear the folks on the far side
   of the stage.


I really like having a monitor for the reasons John mentioned: it make it
easier to balance your volume with the band, and less likely to abuse your
voice because you can't hear yourself.  John is also correct that hearing
yourself in the monitor is no guarantee of good sound in the house.  So I
also have a wireless mic and if I am not confident in the skill of the
person running sound will generally go wander around a bit during an early
dance to see what it sounds like.

Jack

On Sat, May 12, 2018 at 12:55 PM JD Erskine via Callers <
callers@lists.sharedweight.net> wrote:

> Hullo Jeremy,
>
> 1. Hit up the Contra Sound Forum for advice. Callers are nicely
> tolerated, actually welcomed. A great place to ask about such things as
> monitors, wireless mics, etc. from sound engineers whether pro or super
> experienced amateurs.
>
> https://groups.yahoo.com/neo/groups/contrasf/info
>
> 2. Bob Mills book All Mixed Up is a fab resource for understanding many
> sound reinforcement tasks. It is, by design, comprehensive enough yet
> basic, so may not address every nuance one is interested in. Great place
> to start though.
>
> http://bobmills.org/amu/
>
> One might search it (or any other site) using https://duckduckgo.com/ by
> entering such as:
>
> monitors site:bobmills.org/amu/
>
> 3. My experience regarding monitors is the band does not wish to hear
> the caller. Not in _their_ monitor(s) at any rate (why you picked up
> your own no doubt.) So, even with a separate one why should they get
> blasted by that of the caller?
>
> So consider a position that directs it toward one, away from the bulk of
> the band. That may be sideways, up, or both. Elevated monitors generally
> work better than on the floor, esp. for the type of sound/information
> we're delivering and monitoring.
>
> 4. The biggest help I see a monitor for, is to keep the excitable caller
> from getting too loud, (you know, when trying to "drag" that one dancer
> or couple around the set. )
>
> It also can help keep one from unintentionally becoming too quiet. Other
> than for those purposes I can get by without one, at least for the sake
> of simplicity. They are nice.
>
> Pushed on the subject I'd rather have a wireless mic.
>
> I suppose as hearing myself in the monitor is no guarantee of what I
> sound like in the house.
>
> Cheers, John
> --
> J.D. Erskine
> Victoria, BC
>
> ___
> List Name:  Callers mailing list
> List Address:  Callers@lists.sharedweight.net
> Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/
>
-- 
Jack Mitchell
Durham, NC
___
List Name:  Callers mailing list
List Address:  Callers@lists.sharedweight.net
Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/

Re: [Callers] Multiple partner swings?

[Jack Mitchell via Callers]

Here's another:

*Diagonal Discovery* – Gene Hubert
  *Becket*

*A1*LL F&B
 (L Diag Gents) Gents Look Left Alle L 1½

*A2*with New (L Diag) N B&S

*B1*Circle Left ¾, pass thru
 P Sw

*B2*½ Hey gents pass L Sh
  P Sw (or 2-hand turn)

An excellent dance. Give the dancers the option of a two hand turn or a
swing in B2.

On Wed, May 2, 2018 at 2:22 PM Jim Hemphill via Callers <
callers@lists.sharedweight.net> wrote:

> I like this double partner swing dance!
>
> Double Play by John Coffman7/11
> Duple, Becket
>
> A1 Circle Left 3/4 (8)
>  Neighbor Swing (8)
>
> A2 Men Allemande Left 1 1/2 (8)
>  Partner Swing  {end in short lines of four facing down the hall}
> (8)
>
> B1 Down the Hall in lines of four (8)
>  Turn Alone and Come Back Up the Hall {in lines of four} (8)
>
> B2 Invert the Line {Couple #2 makes an arch; lady #1 leads her
> partner under the arch and swings her partner on their original side as the
>
>  #2 couple walks to their original side and swings}  (16)
>
> Slide left to start the dance over with new neighbors
>
>
> On Tue, May 1, 2018 at 4:45 PM, Dan Black via Callers <
> callers@lists.sharedweight.net> wrote:
>
>> Here's a double neighbor swing:
>>
>> Naked in California  (previously No Name Dance)
>>   Duple Improper Contra by Nils Fredland, NH
>>   Two N Swg (same N)
>>
>>   A1:  (8) LL Fwd & Bck
>>  (8) N Swg
>>
>>   A2:  (4) Ladies Al R 1/2x across to P
>>   (4) P Al L 3/4x to Shadow
>>Shadow = (the first person you would Al Rt w/ facing up & Dwn)
>>  (8) Shadow Al R 1.5x to long wavy lines up & down
>>   Gents face IN; Ladies face OUT
>>
>>   B1:  (4) Long Wavy Lines Bal Rt, Left
>>  (4)  Slide or twirl Rt, (ROM) into P’s arms
>>  (8) P Swg
>>
>>   B2:  (6) Cir L 3/4x
>>  (10) N Swg (same N as Swg in A1)
>>
>>
>> See ya,
>> Dan Black
>>
>>
>> On Tuesday, May 1, 2018, 3:48:22 PM EDT, Maia McCormick via Callers <
>> callers@lists.sharedweight.net> wrote:
>>
>>
>> Hey folks,
>>
>> For REASONS, I'm in search of dances with more than one partner swing --
>> preferably one of which is a balance and swing. Thoughts?
>>
>> Cheers,
>> Maia
>> ___
>> List Name:  Callers mailing list
>> List Address:  Callers@lists.sharedweight.net
>> Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/
>>
>> ___
>> List Name:  Callers mailing list
>> List Address:  Callers@lists.sharedweight.net
>> Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/
>>
>>
> ___
> List Name:  Callers mailing list
> List Address:  Callers@lists.sharedweight.net
> Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/
>
-- 
Jack Mitchell
Durham, NC
___
List Name:  Callers mailing list
List Address:  Callers@lists.sharedweight.net
Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/

Re: [Callers] Need help teleporting to other side of set - new dance

[Jack Mitchell via Callers]

I’m with Tom - I think that a wave is going to be too limiting.  One thing
that comes to mind is circle left 3/4, balance the ring, partner roll away
- swing neighbor.  I think that would be a slightly modified Wowee (a la
Bob Isaacs & friends). I’m sure that others will come up with more creative
options but that is what came to mind.

On Sun, Apr 8, 2018 at 9:00 PM K Panton via Callers <
callers@lists.sharedweight.net> wrote:

> I am need of some choreographic gerrymandering from the braintrust.
>
> I have the flow the way I want in a dance that first gelled about 10 years
> but when some folks walked it through for me, more recently, they said,
> "uh, Ken, I'm not swinging my N, it's my P."
>
> "Dang," said I.
>
> Here's the dance. the problem is "How do I get neighbours who are beside
> each other in an ocean wave (A1) to the other side of the set for a swing?"
> (A2) (short of calling on Mr. Scott for a teleport)
>
> So, I need the first half of A2.
>
> Return from Vulcan  Becket
>
> A1 (8) Cir L 1.0
>   (8) Slide left and cir 3/4 the next couple to a wavy line.
> A2 (4,6,8?) (balance wave, not critical) get gent to other side of set
> with neighbour [hmmm... Ladies alle L 1/2, P alle R 1/2, Gents alle L 1/2 -
> I'm not convinced]
>   (12,10,8?) N Swing
> B1 (8) Gents alle L 1.5
>  (8) Scoop P in star promenade/B'fly Whirl
> B2 (8) Ladies alle R 1.5 while gents orbit CCW
>   (8) P Swing
>
>
> Thanks for any ideas.
>
> Ken Panton
> ___
> List Name:  Callers mailing list
> List Address:  Callers@lists.sharedweight.net
> Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/
>
-- 
Jack Mitchell
Durham, NC
___
List Name:  Callers mailing list
List Address:  Callers@lists.sharedweight.net
Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/

Re: [Callers] Looking for a CD that would have full length contra tunes for calling

[Jack Mitchell via Callers]

The Live from the Guiding Star Grange double CD from Wild Asparagus

On Fri, Apr 6, 2018 at 10:53 PM Mac Mckeever via Callers <
callers@lists.sharedweight.net> wrote:

> We have one from 1998 dance weekend  - tracks are 9 to 12 min long.  They
> are strictly old-time bands and a little faster than some are used to
>
> Might not be what you want - but let me know if  you want to try it
>
> 'Face the Creek'  $12 includes shipping
>
> Mac McKeever
> St Louis
>
>
> On Friday, April 6, 2018, 7:56:15 PM CDT, Cheryl Joyal via Callers <
> callers@lists.sharedweight.net> wrote:
>
>
> Fellow Callers - Does anyone know of a CD that would have full contra
> length tunes that I could use to call from…… Thinking it is time I called
> a contra for my work friends in Greece in May.
>
> (Alternately know of any contra bands in Greece ?) Thanks in advance -
> Cheryl
>
>
> Cheryl Joyal
> clmjo...@gmail.com
> clmjo...@aol.com
> 630-667-3284 <(630)%20667-3284> (cell)
>
>
>
>
> ___
> List Name:  Callers mailing list
> List Address:  Callers@lists.sharedweight.net
> Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/
> ___
> List Name:  Callers mailing list
> List Address:  Callers@lists.sharedweight.net
> Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/
>
-- 
Jack Mitchell
Durham, NC
___
List Name:  Callers mailing list
List Address:  Callers@lists.sharedweight.net
Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/

Re: [Callers] Great dances for learning how to dance with ghosts?

[Jack Mitchell via Callers]

That works a lot of the time, but it really doesn’t work in dances like Ken
is talking about. Dance like song in the night (gene Hubert), or for other
dances where you go out and then in and then out, not necessarily with your
partner.
On Thu, Apr 5, 2018 at 5:42 AM Colin Hume via Callers <
callers@lists.sharedweight.net> wrote:

> I'm not sure that dancing with ghosts is the best way to deal with
> end-effects - I prefer "treat your partner as a neighbour".
>
> I have a whole section of notes on End-effects at
> https://colinhume.com/dtendeffects.htm
>
> Colin Hume
> ___
> List Name:  Callers mailing list
> List Address:  Callers@lists.sharedweight.net
> Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/
>
-- 
Jack Mitchell
Durham, NC
___
List Name:  Callers mailing list
List Address:  Callers@lists.sharedweight.net
Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/

Re: [Callers] Leading, consent in embellishments

[Jack Mitchell via Callers]

My friend Ron Blechner wrote a wonderful piece

a
few years ago about "lead" and "follow" as being how one can dance
whichever role in contra you are dancing.  I commend it to your attention.
It's tangentially related, but that's not really what you were asking
about.

A few thoughts on that:

Any lead *offered *from one dancer to another should be just that -- an
offer -- and not a command.  It shouldn't be so forceful that it can't be
refused.  Additionally, the person leading the flourish should be ready for
the person to refuse (or not to respond) and be ready to continue with
whatever courtesy turn  or completion of a swing would have normally been
expected.

I believe that the response to any lead can be one of three (or possibly
more) response: "Yes!", "No!" and "What was that??!" and that if you get
either of the latter two responses those should be taken as a "no" and the
one leading that move should continue on with whatever the default version
of that move might be.

So, how do you ask that "question"?

   - You can just ask verbally.  A long time dancer in our local community
   will, when he encounters me in the line dancing the lady's / right side
   role, ask me "Twirling today?"  And we've been dancing in the same
   community for approaching 20 years now.  I have had others ask as we start
   swinging if I am ok being dipped.  (The answer is almost always yes, but
   occasionally it's not, and it only takes a second.)
   - A lot of swing exits / flourishes, can be "pre-led".  There is some
   part of the lead that you can start just a couple of counts before you
   would actually do it.  This can be a way of asking that question.  It also
   allows your partner to be ready to change which direction they're going,
   and generally to use much less force in the lead.  A few examples
   Starting to bring the joined hands in a swing up just a bit a few counts
   before the twirl would happen, or bringing the "gent's" left hand to the
   "lady's" shoulder, and then using very light pressure on the back of the
   "lady's" left shoulder and the front of her right to cue the twirl out of
   the swing.
   - We will frequently say in the newcomers lesson that a sign of an
   offered twirl is for the twirling person's partner to lift their joined
   hands (either the "pointy end" hands in a swing or the left hand in a
   courtesy turn, and that if one is not desiring a twirl at that particular
   moment, that one should pull that hand back down.  To that I would just add
   that as the person leading the twirl raises the appropriate hand, no
   reaction / limp arm probably is best to take as a "No" or at least as a
   "What was that??" and move along.  If it's your partner, you can always
   talk about the various flourishes and try again.

So I suppose what it mostly comes down to is:

   1. Many leads should be able to be able to be refused / ignored
   2. If you're dancing with someone you don't know, and you want to lead
   something that is difficult to do in a refusable way (dips come to mind),
   ask.


   - Even if you encounter someone you do know if you don't have time to
  ask (and haven't made previous arrangement), try to make sure your leads
  are refusable.  [I'm thinking particularly of the various ways that the
  same role dancer can twirl a neighbor as they pass in a hey, and the time
  on the friday of a dance weekend when someone forced a twirl in
a hay on my
  wife when she had already planted her foot and wasn't ready to be
  twirledmessed up her knee for the rest of the weekend and
that was the
  last dance she did.]


I can give you other examples if you'd like, but this is already getting a
bit rambling.  Hope that some of it is useful!  Let us know how the
workshop goes!

Jack


On Tue, Mar 6, 2018 at 12:22 AM Jeanette Mill via Callers <
callers@lists.sharedweight.net> wrote:

> Hello
>
> I am devising a workshop for a festival here in Australia, and have long
> been of the opinion that there are no "leaders" in contra dance couples.
> Moves should be executed with mutual consent, especially embellishments
> such as turning under out of a ladies' chain. Conventions such as waltz
> hold swings are really useful here. In Australia, other related dance forms
> use a variety of swing holds, which lead to confusion and interruption of
> flow. I plan to place some emphasis on conventions of holds, such as
> allemande and star holds.
>
> I would value people's opinions on this, as it may ruffle some long-held
> conventions. Any words of wisdom from the gender free dance community would
> be especially welcome.
>
> Also, I believe that if dancers are to enjoy embellishments, they must be
> by mutual consent. This is so difficult to establish in a microsecond. I
> would value any thoughts on how to advise reaching this consent in the
> context of a contr

Re: [Callers] Double petronella Dance -- Name?

[Jack Mitchell via Callers]

We were dancing this at a weekend, and the sets were reasonably crowded.
As it was, I didn't feel like we were coming dangerously close.  With
inexperienced dancers, I suspect that it would take up rather more room.
As it was, I was doing a fair bit of role switching with my partner, many
of those switches on the pivots, which probably meant we were taking up a
bit more space.  Nonetheless, I never felt like I was too close to the
other gent.  As long as people balance in, *and out*, I think it would be
pretty safe and wouldn't take up significantly more space than a regular
petronella.

J


On Sun, Feb 11, 2018 at 11:28 AM Tom Hinds  wrote:

> Jack, I'd like to call the dance you just sent but have a question.
>
> How close do the men get to each other as they do the double Pet?
> Since you've danced this, how might it work in a crowded hall?  Might
> the men crash into each other on the spin?
>
> On Feb 10, 2018, at 9:59 PM, Jack Mitchell via Callers wrote:
>
> >
> >
> > Collected this from Vicki Herndon last night at Cabin Fever in
> > Knoxville.  Anyone know the name / author?  It's a really fun dance
> > (and lots of fun to swap roles on).
> >
> >
> >
> >
> > A1  Yearn Left, then straight back
> > R&L Thru
> > A2Snuggle up to partner (arms around backs like for Star
> > Promenade)
> > As a couple balance, twirl to the right once place (gents go
> > forward, ladies back) End facing up & down
> > Couple balance, twirl to the right
> > B1  Gents pass L Shoulder -- Hey
> > B2  P B&S
> > --
> > Jack Mitchell
> > Durham, NC
> > --
> > Jack Mitchell
> > Durham, NC
> > ___
> > List Name:  Callers mailing list
> > List Address:  Callers@lists.sharedweight.net
> > Archives:  https://www.mail-archive.com/
> > callers@lists.sharedweight.net/
>
> --
Jack Mitchell
Durham, NC
___
List Name:  Callers mailing list
List Address:  Callers@lists.sharedweight.net
Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/

[Callers] Double petronella Dance -- Name?

[Jack Mitchell via Callers]

Collected this from Vicki Herndon last night at Cabin Fever in Knoxville.
Anyone know the name / author?  It's a really fun dance (and lots of fun to
swap roles on).




A1  Yearn Left, then straight back
R&L Thru
A2Snuggle up to partner (arms around backs like for Star Promenade)
As a couple balance, twirl to the right once place (gents go forward,
ladies back) End facing up & down
Couple balance, twirl to the right
B1  Gents pass L Shoulder -- Hey
B2  P B&S
-- 
Jack Mitchell
Durham, NC
-- 
Jack Mitchell
Durham, NC
___
List Name:  Callers mailing list
List Address:  Callers@lists.sharedweight.net
Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/

[Callers] Double petronella Dance -- Name?

[Jack Mitchell via Callers]

Collected this from Vicki Herndon last night at Cabin Fever in Knoxville.
Anyone know the name / author?  It's a really fun dance (and lots of fun to
swap roles on).




A1  Yearn Left, then straight back
R&L Thru
A2Snuggle up to partner (arms around backs like for Star Promenade)
As a couple balance, twirl to the right once place (gents go forward,
ladies back) End facing up & down
Couple balance, twirl to the right
B1  Gents pass L Shoulder -- Hey
B2  P B&S
-- 
Jack Mitchell
Durham, NC
___
List Name:  Callers mailing list
List Address:  Callers@lists.sharedweight.net
Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/

Re: [Callers] Looking for "fun" dances

[Jack Mitchell via Callers]

I really love “Happy as a Cold Pig in Warm Mud by Mike Borshig

Not obviously silly, but much more fun if the dancers allow themselves to
be silly


A1 N B&S
A2 gents Alle L 1.5
  P alle r 1.5 (end facing up / down, partners facing in opposite
directions)
B1   Walk forward, make a Left Hand Star (in theory with N, Shadow and one
other person)
LHS 1x
P Sw
B2Circle L 3/4
 Ring Balance, CA Twirl

This dance is best when people don't take it too seriously.  Secret is not
to worry about whether you went the right way for the star -- turn a star
all the way around and you'll get back to your partner.  Also works if you
and partner both go the same way (and make a 5 person star).  Challenge
dancers to make stars with more people.  Come down off the stage and jump
into the stars yourself.  :-)

J


On Thu, Feb 1, 2018 at 1:30 PM Robert Green via Callers <
callers@lists.sharedweight.net> wrote:

> Here is a photo of The Wheel from the original Dizzy Dances
>
> Sent from my iPad
>
> On Feb 1, 2018, at 9:27 AM, Bill Olson via Callers <
> callers@lists.sharedweight.net> wrote:
>
> Rick and Mac and all, I also tried various "fixes" like promenading
> clockwise but like a lot of  times I have tried to "fix" a dance, it gets
> clunky and I end up going back to the original. Since the "Wheel" is the
> most fun with a hall packed with dancers, I have settled on calling it only
> for large crowds when the original "circle up" has the dancers pretty much
> pushed up against the walls. Then when they get in promenade position, that
> all loosens up but during the circle lefts the women's arms are saved.
>
>
> bill
>
>
> --
> *From:* Callers  on behalf of
> Rick Mohr via Callers 
> *Sent:* Thursday, February 1, 2018 1:11 PM
> *To:* callers@lists.sharedweight.net
> *Subject:* Re: [Callers] Looking for "fun" dances
>
> "The Wheel" has been a favorite of mine since 1994. Around here some call
> it "Wheel of Misfortune" -- hilarious! (i.e. who will the fates deliver
> unto you for a swing?)
>
> I could never find it in my Gene Hubert books -- apparently because it was
> published in his first collection "Dizzy Dances" (
> https://www.ibiblio.org/contradance/index/DD1.txt
> 
> ) which I don't have. I never thought that was a problem, since "Dizzy
> Dances II" is subtitled "Featuring the best of Volume 1 plus...". But now I
> wonder how many other great dances that Gene didn't consider "the best" are
> hiding in that book!
>
> I've also long struggled with the "women's arms pulled out of their
> sockets" problem, and tried a couple fixes that failed spectacularly.
> Mac, your solution looks brilliant and I'm excited to try it!
>
> Rick
>
> ___
> List Name:  Callers mailing list
> List Address:  Callers@lists.sharedweight.net
> Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/
>
> ___
> List Name:  Callers mailing list
> List Address:  Callers@lists.sharedweight.net
> Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/
>
-- 
Jack Mitchell
Durham, NC
___
List Name:  Callers mailing list
List Address:  Callers@lists.sharedweight.net
Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/

Re: [Callers] Ladies

[Jack Mitchell via Callers]

I had a chance to use Larks and Ravens when I called for the Brooklyn
contra this summer.  I really liked it, better than any of the others I've
tried, and got multiple positive comments too.  That said, I pulled it off
by making a new set of cards (on my iPad) so that I had the correct terms
in front of me.  Once I got started calling, though, the terms felt really
intuitive, both for me and the dancers.  I'm so glad that the Brooklyn
organizers were willing to give it a try (they had normally used "leads"
and "follows", which I feel pretty strongly aren't good options for contra
for multiple reasons, both gender related and due to how contra works as a
dance form).

J

On Sun, Oct 15, 2017 at 1:58 PM Carol Geisler via Callers <
callers@lists.sharedweight.net> wrote:

> Hi Angela, Looking forward to hearing about your personal experiences as a
> caller and dance organizer with these new terms.
>
> On Sun, Oct 15, 2017 at 1:33 PM, Mary Collins via Callers <
> callers@lists.sharedweight.net> wrote:
>
>> Angela, ahI see said the blind person. Now it makes sense. Will not
>> work in my home ultra conservative community and I will certainly need to
>> practice replacing. It will be interesting to say the least.
>> Thanks again!
>>
>> On Oct 15, 2017 12:21 AM, "Angela DeCarlis"  wrote:
>>
>>> Hi Mary! A lot has already been written on the subject elsewhere, but
>>> the summary of why Larks and Ravens has become a great set of terms is that
>>> they correlate to the (L)eft and (R)ight positions at the end of a swing.
>>> The syllable count is the same when compared to Gent and Lady (or Man and
>>> Woman, for that matter), and the terms don't conflict with any dance
>>> instructions (like how Lead and Follow would, especially if used to call
>>> for English or Square Dancing).
>>>
>>> Another great set of terms are Jets and Rubies, but I've found those
>>> labels to be more arbitrary...the main advantage is that the words are
>>> phonetically similar to Gents and Ladies...and I'm not sure whether or not
>>> that's a good thing!
>>>
>>> I hope this helps clarify things for you, and I thank you in advance for
>>> keeping an open mind about trying these new, genderfree terms soon! In the
>>> communities I've danced in, I can't tell you how much of a positive
>>> difference these terms have made for individual dancers and for the
>>> communities on the balance. But again, more on that can be read elsewhere,
>>> and I hope to write in with more about my personal experiences as a caller
>>> and dance organizer soon!
>>>
>>> Angela
>>>
>>> On Oct 14, 2017 2:09 PM, "Mary Collins"  wrote:
>>>
 Ahem Tom...that would be "gender" lolSeriously, being of the more
 mature (and I use that term loosely) set, I find all these new names for
 ROLES to be troublesome and tiresome.  Who exactly is a Lark & who exactly
 are Ravens?  Because quite frankly I have mental pictures of bothfrom
 literature and music and they could be as offending as gents & ladies or
 women & mennot to try to start anything here.  I am just trying to
 grasp something that seems to be just a wee bit beyond my reach.  Several
 of my fellow traveling dance friends (of similar age) do not understand
 these terms either.  Since I plan to be traveling and hopefully calling in
 "your community" sometime, I'd really like to get a handle on this.

 Mary "24" Collins


 
  Virus-free.
 www.avg.com
 
 <#m_1583896410128011869_m_-3056614572501621447_m_7204306495091385479_m_-3621280477174631412_DAB4FAD8-2DD7-40BB-A1B8-4E2AA1F9FDF2>

 “Life is not about waiting for the storms to pass ... it's about
 learning to dance in the rain!” ~ Unknown

 On Sat, Oct 14, 2017 at 12:15 PM, Tom Hinds 
 wrote:

> Thanks Angela.  If only we could easily change our gender so we could
> understand what it's like to be the other sex.
>
>
>
>
> On Oct 14, 2017, at 11:32 AM, Angela DeCarlis wrote:
>
> Tom, I had this conversation with Sue Rosen this summer. Women who
> belong to the original Feminist generation (like Sue and, presumably, like
> Mary and Martha above) were involved in a cultural movement to abolish the
> word "Lady", along with its restrictive connotations, in favor of "Woman".
> The latter label, I understand, was one which lent more power and 
> ownership
> to its wearers, and so was preferable. You could be however you were,
> "ladylike" or not, and still be a Woman. (others, please chime in if I've
> gotten anything wrong or missed anything!)
>
> My generation has an opposite problem: due to the modern-day Gender
> Revolution, wherein we seek to abolish the g

Re: [Callers] Multiple N swings / does this dance exist?

[Jack Mitchell via Callers]

Here are a two more

*Diagonal Discovery* – Gene Hubert
*Becket*

*A1*LL F&B
  (L Diag Gents) Gents Look Left Alle L 1½

*A2*with New (L Diag) N B&S

*B1*Circle Left ¾, pass thru
  P Sw

*B2*½ Hey gents pass L Sh
P Sw (or 2-hand turn)

An excellent dance. Give the dancers the option of a two hand turn or a
swing in B2.



*The Gang of Four** – *Gene Hubert   Becket

R/CW

*A1*Circle Left ¾
  N Sw

*A2*N Promenade around whole set gents towards the center
Ladies Turn back, NEW N Sw

*B1*Big Circle Left until opposite your partner
LL F&B

*B2*Ladies Alle R 1½
  P Sw

On Fri, Sep 22, 2017 at 8:10 PM Maia McCormick via Callers <
callers@lists.sharedweight.net> wrote:

> Thanks for all your contributions, folks!
>
> To avoid a conflict, have officially renamed this dance to "Neighbor,
> Neighbor On the Wall
> "
> (it had a nice ring at the time, don't worry about it).
>
> On Fri, Sep 22, 2017 at 1:05 PM, Bob Isaacs  wrote:
>
>> Hi Maia:
>>
>>
>> If you're looking for something new, this was just written at the Labor
>> Day Dance Away.  Jerry Tobin won the raffle, and asked for a swing-to-swing
>> transition:
>>
>> Eight Years and Still Swinging
>>
>> Becket-R
>>
>>
>> A1.  Long lines, ladies chain to N1
>>
>> A2.  Balance, Petronella, balance, Petronella
>>
>> B1.  N1 swing and roll off . . , N2 swing
>>
>> B2.  Gents allemande L 1 1/2, partner swing
>>
>>
>> BTW, the title Good Fences was chosen for another auction dance this
>> summer, this one for Margaret Pigman, Gregg Gorin, and Dan Vilter at Amweek
>> 2017.
>>
>>
>> Bob
>>
>>
>> --
>> *From:* Callers  on behalf of
>> Maia McCormick via Callers 
>> *Sent:* Tuesday, September 19, 2017 11:19 PM
>> *To:* callers@lists.sharedweight.net
>> *Subject:* [Callers] Multiple N swings / does this dance exist?
>>
>> Hey folks,
>>
>> Looking for a dance with multiple swings with the same N, and also
>> preferably a P b&s, for a workshop I'm running on in-dance communication.
>> Anyone have one to recommend?
>>
>> On a similar note, this is the dance I tossed off to fill this need: does
>> it exist? If not, tentatively titling it "Good Fences".
>>
>> Improper
>> A1: long lines forward and back
>> (new) N swing
>> A2: ladies chain to P
>> half hey (ladies pass R)
>> B1: P b&s
>> B2: gents alle. L 1 1/2
>> (same) N swing
>>
>
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
-- 
Jack Mitchell
Durham, NC
___
List Name:  Callers mailing list
List Address:  Callers@lists.sharedweight.net
Archives:  https://www.mail-archive.com/callers@lists.sharedweight.net/

Re: [Callers] What to do?

[Jack Mitchell via Callers]

First off, I love this story.  "It was only a little crooked."   That's
definitely good for a laugh.  Well after the event.  At the time, I'm sure
it was another matter.

But going back to the original post, did the band tell you afterwards that
it was a new tune to them or before?  If after, then optimally, getting a
chance to listen to them play it again and figure out the phrasing could be
really good -- for you and the band both.  Potentially, you could help them
determine what type of dance would go well with it, or help them figure out
how to phrase it in a way that would make it easier for the dancers to find
the phrases.  There are definitely great tunes out there where either the A
or B parts (heaven help you if it's both) just don't have the phrasing to
be able to do anything that needs to happen NOW (balances & long lines in
particular) but that can do quite well with something where the internal
timing isn't as important (a series of allemandes, a hey, dsd and swing,
etc) but which give you exactly what you need to know where the end of the
whole part is.

Quite a while ago, I was calling with a band that I knew had a particular
set that was really great, but was going to be challenging to match dances
to.  Overall, the tunes were smooth, but well phrased.  Catch was that the
middle tune was half time, so the A part of the tune took the time of A1
and A2, and the B part of the tune took B1 and B2, and once you were in one
of the parts, figuring out where the end of the 8 or 16 count phrase was
was almost impossible.   So I ended up looking for smooth dances that only
had things that had to happen NOW at the top of the A1 or the top of the
B1, and otherwise had internally squishy timing.  I could only do that
because I had a chance to listen to the music some (ok, actually a lot)
ahead of time and find where the dancers would be able to get phrase
information and where they wouldn't.

Soagain, back to the original post:
If it's a band you work with frequently, getting the chance to hear them
play through sets that are new to them, or which they know are going to be
unusual, is almost never a waste of time, is actually something I quite
enjoy doing.  It also gives you a chance to potentially give them feedback
about the set or tune and for you to get an idea of what sort of dance
might work well with it.  Frequently, with a new tune, the band really
hasn't had a chance to figure out what sort of dance is going to work with
that new tune.  And we'd all rather they not have to figure it out by
process of elimination and experimenting on their callers and dancers.
(Where the band might be thinking after that dance: "It's a fun tune, but
it definitely didn't work with that dance.  We'll have to try it with
something different next time.  I wonder what will actually work")

And now I look back at the original question you asked, which is not quite
what I answered  I think that others have hit most of the high points
of the in the moment stuff.  Make sure that the next dance is a fun,
indestructible dance that will work with any tunes the band could play.
And that the next set of tunes is the band's 2nd best set (they're probably
saving the best for the last set of the evening)

If the band is able to change tunes, even if they've just changed tunes, I
have on a number of occasions *strongly* suggested that they switch now --
either to the third tune, or back to the first tune, just away from this
one that isn't working (for whatever reason).  That not being possible, and
the dance in the process of melting down before your eyes, though, I am a
big fan of either a) changing dances to something dead easy, or b) if the
sets are already unzipping, turn it into a scatter mixer (or a scatter
keeper)do some things in circles -- stars, swings, hands across and
pull the lady under, then promenade around and find a new circle.  And then
get them into a big circle and do a spiral into the middle and back out and
end on a high note.  Or just do 4-6 times through this new dance (that
you're probably making up as you go) and then promenade up to the front of
the hall and clap for the band.  If the mixer works, and the energy is way
up, take that and run with it.  (And do a can't fail dance, with hot tunes
next)  The dancers have probably forgotten all about the dance that
didn't work, and there's probably no need to remind them about it now.  (I
would still want to chat with the band after and get to hear that tune
again, though!)

Sothat was more long-winded than originally intendedhope that there
are some useful ideas in there.  :-)

Jack


On Tue, May 30, 2017 at 7:48 PM Donna Hunt via Callers <
callers@lists.sharedweight.net> wrote:

> Reminds me of a moment early in my calling career working with a band
> (with musicians who should have known better) who played a crooked tune.
>
> It took me 3 times through to realize what the problem was and I told the
> band we need to change 

Re: [Callers] Looking for "A Great Catch"

[Jack Mitchell via Callers]

Posted this on trad-dance-callers, but figure there are people here who
aren't there, but who still might like this dance in their box

A Nice Catch – Steve Zakon-Anderson
Improper

A1 Ladies Alle L 1½ to short wave (RH to P)
Wave Balance, walk forward to a wave with Shadow in RH

A2 Wave Balance
Shadow Alle R 1¼ to Long Wave LH to Shadow #2
Wave Balance

B1 Rory O’more Slide Right straight into your partner’s arms
P Sw

B2 LL F&B
Circle Left ¾
Pass thru
[new ladies Alle L]

On Sat, Apr 15, 2017 at 12:27 AM Linda S. Mrosko via Callers <
callers@lists.sharedweight.net> wrote:

> A friend is looking for a dance called by Steve Zakon-Anderson and she
> believes it's called "A Great Catch."
>
> Her description, as she remembers it, is:
>
> "Ladies left allemande 1 1/2 and balance in a short wave with partner in R
> hand, Walk forward to new wave with your shadow in your R hand, Allemand R
> 1 1/4 with shadow to long lines, ladies facing out, men facing in, Slide to
> the right in front of your shadow and catch your partner for a swing,
> ?Circle to the left all the way around"
>
> Any help would be appreciated.  Thanks!
>
> --
>
>
>
> *Looking forward,Linda S. Mrosko*
>
> *102 Mitchell Drive*
>
> *Temple, Texas 76501*
>
> *(903) 292-3713 <(903)%20292-3713> (Cell)*
> *(903) 603-9955 <(903)%20603-9955> (Skype)*
> *contradancetx.com *
>
> *www.zazzle.com/fuzzycozy*  (Dance
> buttons, t-shirts, & more)*
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
-- 
Jack Mitchell
Durham, NC

Re: [Callers] How do you organize your Dance Card Boxes ? Categories or Other Suggestions ?

[Jack Mitchell via Callers]

My organization is somewhat idiosyncratic in that aspect.  I organize by
the move that I most associate with that particular dance.  When I call
that dance, what is generally the key thing that I went to it for?  It
works sometimes better than others, and I definitely need to split out
"smooth" dances better than they are now, but it has lasted close to 10
years without much change.  A couple of friends have been talking about
doing databases that would allow cards to be included in whatever layout
you choose (my primary issue with companion), but would then let you "thumb
through" the cards that fit a particular criterian -- wavy lines, no
allemandes, or balance the ring, no petronella, or whatever.  For me that
would be the best of both worlds.  For now, I really like having physical
cards that I can sort through.

J

On Sat, Apr 8, 2017 at 2:34 PM Kalia Kliban via Callers <
callers@lists.sharedweight.net> wrote:

> Those of you who organize your cards by categories, what do you do when
> a dance falls across 2 or more categories?  Do you have multiple cards?
> Seems like that would get bulky in a hurry (I'm remembering Becky Hill's
> suitcase full of cards).
>
> Kalia
>
> On 4/8/2017 8:36 AM, Joy Greenwolfe via Callers wrote:
> > I organize my box by how I think of the components of a program. So I
> > have dances arranged by distinctive feature or slot in the program, or
> > whatever features sticks out.
> >
> > I have my categories color coded by type of move (in the box, not the
> > card, necessarily). For instance:
> > Orange for easy or basic components, dark green for distinctive (doesn’t
> > fit in other categories), yellow for smooth moves, light green for
> > balancy, puntuated dances, pink for moves that trade people around,
> > other formations, and ONS/family dance formations.I use those color
> > tabs that I can stick onto a card to make a divider.
> >
> > You might notice that I also have a split between swirly moves and more
> > balancy moves.
> >
> > First dances
> > Good basic
> > Fun ending dances
> > Allemandy and stars - basic, swirly
> > Gene Hubert (yes, he gets his own swirly category)
> > New (dances still early in my use)
> > Down the hall
> > First Heys
> > 1/2 Hey and unusual
> > Other Heys
> > Gypsy
> > Stars
> > Swirling/wheeling
> > Smooth progression
> > UNique/unexpected progressions
> > Wavy lines
> > Petronellas
> > ROM (Rory O’More)
> > Box the gnat/star thru
> > Rollaways
> > Pull By hands/square thru
> > Swap & Circulate
> > 1/2 Figure 8s/Contra corners
> > 1s & 2s, equal/unequal
> > Trailbuddy Easy/diagonal
> > Trailbuddy complex
> > Unusual-Complex-Advanced
> > Squares
> > Other Formations - 4x4s, triplets
> > ONS/Family - longways
> > ONS/Family - circles, mixers, others
> >
> >
> > In use, I’ll think, "Oh, I’d like something with a rollaway next," so I
> > look there. Or if a crowd of newbees walk in, I can go to my easy basic,
> > or any of my first few categories.
> >
> > You could look at your cards and see which ones clump up into categories
> > of similar dances, and where you need to bolster your collection.   See
> > what works for you!
> >
> > Joy Greenwolfe
> > Durham, NC
> >
> >
> >
> >> On Apr 8, 2017, at 12:40 AM, Cheryl Joyal via Callers
> >>  >> > wrote:
> >>
> >> Thanks Jack !  What a great list !
> >>
> >> I like some of the ones I was stuck on where to put - e.g. basics.
> >>
> >> Appreciate it !
> >>
> >> Cheryl Joyal
> >> clmjo...@gmail.com 
> >> clmjo...@aol.com 
> >> 630-667-3284 <(630)%20667-3284> (cell)
> >>
> >>
> >>
> >>
> >> On Apr 7, 2017, at 11:31 PM, Jack Mitchell  >> > wrote:
> >>
> >> My current set (probably due for modification / update soon).  In
> >> particular, I really need to improve the divisions in "smooth"
> >> dances.  But it has served me reasonably well for a while now  You
> >> are welcome to what of it is useful.  Hope it helps!
> >>
> >> Basics
> >> Smooth (with heys)
> >> Smooth (without)
> >> Orbits
> >> Stars
> >> Eyes/Gypsy
> >> Ring Balance
> >> Rory O'Moore
> >> Long to Short Waves
> >> Waves
> >> Allemande (without waves of any sort)
> >> Along the set (pull by's, zig zag, big oval promenade, etc)
> >> Down the hall
> >> Star Promenade
> >> Square Thru
> >> Tune Specific
> >> Proper
> >> 4 face 4
> >> Contra corners
> >> Multiple progression
> >> Squares
> >> Breaks
> >> Singing Squares
> >> Mixers
> >> One Night Stand / Party Dances
>
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
-- 
Jack Mitchell
Durham, NC

Re: [Callers] How do you organize your Dance Card Boxes ? Categories or Other Suggestions ?

[Jack Mitchell via Callers]

My current set (probably due for modification / update soon).  In
particular, I really need to improve the divisions in "smooth" dances.  But
it has served me reasonably well for a while now  You are welcome to
what of it is useful.  Hope it helps!

Basics
Smooth (with heys)
Smooth (without)
Orbits
Stars
Eyes/Gypsy
Ring Balance
Rory O'Moore
Long to Short Waves
Waves
Allemande (without waves of any sort)
Along the set (pull by's, zig zag, big oval promenade, etc)
Down the hall
Star Promenade
Square Thru
Tune Specific
Proper
4 face 4
Contra corners
Multiple progression
Squares
Breaks
Singing Squares
Mixers
One Night Stand / Party Dances

On Fri, Apr 7, 2017 at 9:20 PM Cheryl Joyal via Callers <
callers@lists.sharedweight.net> wrote:

> I am at the point that I want to reorganize my dance box to be able to
> better program an evening.   I plan to go to “categories of dance
> features”, and have listed what I am thinking for possible categories
> below.
>
> I am wondering how others organize their boxes - if categories, what do
> you include ?  Do you file Becket and/or Double Progression separately from
> “dance categories”, or just note on card ?
>
> Or do you have another suggestion ?
>
> Possible Categories:
>
> Easy and ONS Contras
> California Twirl
> Full Hey
> 1/2 Hey
> Down the Hall
> Petronella
> Mad Robin
> Short Wavy Lines
> Long Wavy Lines
> Zig Zag
> Balance the Ring
> Box The Gnat
> ? Four Facing Four
> ? Becket
> ? Double Progression
> ? Unique (e.g. Wizards Walk)
>
> Appreciate your suggestions !!   Thanks - Cheryl
>
> Cheryl Joyal
> clmjo...@gmail.com
> clmjo...@aol.com
> 630-667-3284 <(630)%20667-3284> (cell)
>
>
>
>
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
-- 
Jack Mitchell
Durham, NC

Re: [Callers] Lindy move in a Contra Dance

[Jack Mitchell via Callers]

Indeed, the dance with the box the gnat in place of the mini-dip is written
- Becky's Brouhaha by Rhiannon Giddens.
On Mon, Apr 3, 2017 at 3:34 PM Luke Donforth via Callers <
callers@lists.sharedweight.net> wrote:

> Hello folks,
>
> There was a recent call for new dances, but I can't find the thread, so
> here's a fresh post.
>
> Continuing what I think of as a long-standing tradition of contra dance
> choreography stealing moves from other dances; I've written a few with the
> mini-dip, a move from swing dancing. (Despite the name, it's not really a
> dip)
>
> I was recently on a small tour with Chimney Swift, and premiered one at
> the BIDA dance in Boston.
>
> You can check out a video of it here:
> https://goo.gl/photos/qaeUuuSKt9PKBY3v8
>
> For an explanation of what swing dancers consider a mini dip:
> https://youtu.be/nGI9IfhSCQE?t=6
> https://youtu.be/LiElJr7YSQA?t=99
>
> There's different opinions in swing if it's a 6 count or 8 count move, but
> I put it in 8 counts. The break down:
> 1-2: moving forward on balance
> 3-4: moving backwards on balance
> 5: pull past each other
> 6: clap (while low and moving)
> 7: catch hands
> 8: style pause
>
> Functionally, it's like a box the gnat; but folks let go and have an
> opportunity to clap and add style.
>
> The entire dance in that video is ~75% Bob Isaacs' "United We Dance";
> replacing long wavy Rory O'More's in the A1 with the mini-dip sequence, so
> it's called "United We Mini-Dip".
>
> Improper
> A1
> (8) Right hand to neighbor, balance, and mini-dip; catch right hands
> (2) Pull by right with current neighbor to previous neighbor
> (6) Previous neighbor allemande Left 1x, back to current neighbor
> A2
> (16) Current neighbor balance and swing
> B1
> (6) Circle left 3/4
> (10) Partner swing
> B2
> (8) Ladies Chain to neighbor
> (8) Left Hand Star 1x
>
> I know NB&S, CL PSwg, Chain Star, overlaps other dances as well. You could
> do the whole thing with a box the gnat instead of a mini dip in the A1
> (that may already exist as a choreographed and called dance); but I like
> the clap opportunity the mini-dip provides, especially if the band matches
> it well to a tune (as Chimney Swift did).
>
> Enjoy if you're so inclined.
>
> --
> Luke Donforth
> luke.donfo...@gmail.com 
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
-- 
Jack Mitchell
Durham, NC

Re: [Callers] Advanced Contras

[Jack Mitchell via Callers]

Hi Richard --

Here are a few  that could be fun for that sort of program:

Not all that difficult, but unusual (and for 3 part tunes)

*40 Years of Penguin Pam *– Seth Tepfer *Becket*

*A1* Circle Left ¾
N Sw

*A2* Circle Left ¾
w/ P two-hand turn (end facing L Diagonal)

*B1* on L Diagonal R&L Thru
straight across R&L Thru

*B2* on L Diagonal Ladies Chain
straight across Ladies Chain (to shadow)

*C1* on L Diagonal ½ Hey (passing R shoulder)
straight across ½ Hey

*C2* P B&S

Also a good traveling up and down the line dance:

*4 44 44*– Tom Hinds Improper

*A1 *N DsD
N RH Balance, pull by R
(next N) pull by L (This is the N you will alle )

*A2* 3rd N RH Balance
Square Thru (N by RH, P by LH, N by RH)
N#2 Alle L 1½

*B1* Gents Cross
P Sw

*B2* LL F&B
Circle Left ¾
Pass Thru

And finally:

*Would you do it for $20?** – *Robert Cromartie --
*Proper *based on Swinging into Matrimony by Kathy Anderson


*Note: For the 2's time doing contra corners, the dance will start
backwards proper **A1* Balance Ring, Twirl to the right
Balance Ring, Twirl to the right

*A2* 1s (2s) RH Bal and Box the Gnat
1s (2s) turn contra corners until they get to 2nd corner
(P Alle R, 1st Corner Alle L, P Alle R…) w/ 2nd Corner start

*B1* Hey on the diagonal, starting by passing L Sh
Note: All heys on the same diagonal (up/stage left to down/stage right)
In each hey, you have either partner (when active) or a shadow (shadows
start @ opp ends of hey)

*B2 *1s (2s) B&S
1s face down, 2s face up



On Wed, Mar 15, 2017 at 8:49 PM Richard Green via Callers <
callers@lists.sharedweight.net> wrote:

Hello fellow callers!



I am preparing a very short program of advanced or challenging contras
which I will be leading at the Down East Festival next week.  This will be
one of many festival offerings during the weekend of March 24-25.  I have
done a challenging session at several past festivals and have a small
collection of dances that I think are both moderately challenging and fun
to dance.  (I also have a few that I will never call again!)  I have not
added to my list for quite a while and would appreciate any suggestions
that any of you would be kind enough to share.  I will not be doing any
other formations than duple or becket dances, although I understand that
there are many other fun formations.



If you could include the complete choreography and any teaching or other
tips that would be very helpful.  I always credit the dance authors, so
please include that information as well.



Thanks so much!  This list is a great resource to have.



Richard Green

Wayne, Maine
___
Callers mailing list
Callers@lists.sharedweight.net
http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net



*Sent with Shift
*
-- 
Jack Mitchell
Durham, NC

Re: [Callers] "booker" fee for tour planning

[Jack Mitchell via Callers]

I have also booked quite a few tours, and have also generally not taken a
"booking fee" outside of what I was getting paid to call the dances.  In a
couple of cases, I was booking the tours with a particular $ figure in mind
for us to average out per night.  The most satisfactory arrangements have
involved one person (sometimes, me, other times one of the band members)
collecting the money, pooling it, expensing people out for travel costs or
gas, and then dividing the rest up.

My reasoning: 1) I really enjoy getting to do multiple gigs with the same
musicians -- I get a chance to get to know them and their music, and we can
develop a good rapport over the course of the tour 2) I have discovered
that by far the easiest way for (1) to happen is to book it myself.

I generally try to pin the band down to a chunk of time they are available,
find out how many total gigs we want to do, and if they have a particular
number that they need to hit for it to make sense financially (in terms of
$ they won't be getting for teaching lessons, or doing whatever they are
normally doing as a day job).

Now on the side of being a booking agent for ONS type gigs, I would feel
more comfortable about asking a bit more $ to serve as booking agent and
caller (or even to serve as booking agent to find them a caller and band).
I have done that work a number of times, now, and think that my time
handling logistics is worth more than the $0 I have been charging for
it.

J

On Mon, Feb 13, 2017 at 4:05 PM Bob Green via Callers <
callers@lists.sharedweight.net> wrote:

Hi  Donna,

I have now booked 4 tours. Three of them have been completed and one is
scheduled for next June/July. It is an enormous amount of work...but then
so is learning to play an instrument well enough to be going on tour,  ;-)
In my case, I was traveling with my wife, who was also one of the
musicians, and two to three additional band members. In all but two of the
30 some dances involved, I was the caller (or in one case waltz instructor)
in all but 2 dances. Even for those two I was off calling at a different
location. In our cases, we have decided to pool all the payments caller,
band, teacher, and then divide the remainder after all expenses equally.
Last year the band was exceedingly generous and did give me an extra amount
for the organizing, but the was completely voluntary on their part. I
suspect we might be a little "tighter knit" than the typical arrangement.

Bob Green
St. Louis

On Mon, Feb 13, 2017 at 2:45 PM, Donna Hunt via Callers <
callers@lists.sharedweight.net> wrote:

Hi
Just wondering aloud since this is not something I've ever seen discussed
here.  Do you (or a musician you're traveling with) take a "booker fee" for
planning a tour, or even a single community dance when there is a lot of
planning with the event host and time spent booking musicians?  How much of
a fee do you usually ask for from the event host or cut for yourself from
the total fee to the group?

Donna Hunt





___
Callers mailing list
Callers@lists.sharedweight.net
http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net


___
Callers mailing list
Callers@lists.sharedweight.net
http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net

-- 
Jack Mitchell
Durham, NC

Re: [Callers] Wizard's Way?

[Jack Mitchell via Callers]

Dean just called and gave me Wizard's Way over the phone.  Here ya go!

Wizard's Way - Dean Snipes  Improper
A1 Ring balance, gents roll P from R to L across set
Ring Balance, petranella twirl

A2 Ring Balance, P Sw

B1 R&L Thru
Circle L 3/4 -- 1's arch, 2's duck (ready to begin wizards walk, which
starts at the top of B2)

B2  Wizards walk:
Start with 2's diving through the 1's arch; then 1's split the next couple
(N2),  then 1's outside N3 -- reverse
moving backwards, 1's split  N3, outside of N2, take hands in a ring with
N2 to begin the dance again

On Sat, Oct 22, 2016 at 9:57 PM Jack Mitchell 
wrote:

> I believe that Cis wrote one called the Witch's Way.  It's possible that
> Wizard's Way is Dean Snipes' version of the dance.  I am copying him on
> this to see if he can pass it along.
>
>
> On Sat, Oct 22, 2016 at 7:47 PM kelseyannehart...@gmail.com via Callers <
> callers@lists.sharedweight.net> wrote:
>
> Hi! I have found Ruth Ungar's Wizard Walk on the WWW, but can't find
> Wizard's Way... and I feel bad but can't remember who wrote it...I keep
> thinking Cis or Linda Leslie. Can someone help me by sending the dance and
> the name of its illustrious choreographer? Thanks!
>
> Sent from my iPhone
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
> --
> Jack Mitchell
> Durham, NC
>
-- 
Jack Mitchell
Durham, NC

Re: [Callers] Beneficial Tradition end effects

[Jack Mitchell via Callers]

The biggest trick to dancing/calling Beneficial Tradition is to do
precicely what we tell folks not to do for a R&L Thru -- pull by and HOLD
ON to let that turn you back to face back in.  Then let go and pull by with
the other hand.  Think about how new dancers always try to do a R&L thru
with hands, and then do that.  Will put you in just the right spot.  And as
others have said above, when you don't have someone to pull by with, just
stay put and pull by with the person that comes to you from the next pull
by that everyone else does.

Jack

On Fri, Oct 21, 2016 at 8:56 PM JD Erskine via Callers <
callers@lists.sharedweight.net> wrote:

> On 2016-10-21 1733, Kalia Kliban via Callers wrote:
> > Hi all
> >
> > I haven't yet called Beneficial Tradition, but think it might be a good
> > fit for an upcoming dance.  Does it get weird at the ends or does it
> > flow reasonably well?  I danced it years ago and don't remember.  If you
> > pull by RH to go out on the right diagonal, do you cross solo to the
> > other side to make space for the next person to come out on the right
> > diagonal?
> >
> > Kalia
>
> Oh, _that_ dance. Cool. Now I know it's name.
>
> We danced that at Chehalis this Sept. Was great fun. I don't recall any
> overt weirdness, however I wasn't really looking at the ends throughout
> the whole of the dance.
> --
> The penny dropped when I was reading the directions at hand, thinking,
> "This looks fun", and then read in Mary Dart's book,
> --
> "A dance I wrote a few years ago called 'The Beneficial Tradition,' . .
> . I think it started in Philadelphia that they discovered they had a
> little extra time on their hands, so that after they pull by each of
> those hands they go, "hey!" or "ho!" or something like that, and they
> throw their free hand up in the air behind their heads. (Pearl 1990"
> --
> In Becky Hill's collection is, (possibly from Dan Pearl),
>
> "Becket, double L/CW prog
>
> This one needs strong, clear four-beat phrases in B2.  More driving or
> exhuberant, and not as mysterious or in a minor key."
> --
>  From "Give-and-Take" (Larry Jennings)
>
> "Neutrals must participate in the left-hand crossings,
> partners playing the part of neighbors. One dancer at each end
> stands pat during each diagonal crossing."
> --
>  From the RPDLW #24 / 2011 syllabus:
>
> "At the beginning of the dance, ladies should look on
> the left diagonal for a new lady with whom to allemande. The rule for
> diagonal action applies: at the ends of the set, if there is nobody to
> pull by with on the diagonal, stay put! Also, in B1, note that the
> ladies chain precedes the forward and back. This sets up B2 well, but is
> opposite to what often happens, and so dancers may forget at times.
>
> (In the original dance the A1 included a wave: Ladies allemande left
> once around and give right hand to partner to form a wave (4), balance
> the wave (4) and swing your partner (8). Lynn omits the balance.)"
>
> Thanks for the ID of the dance Kalia. That's a keeper.
>
> Cheers, John
> --
> J.D. Erskine
> Victoria, BC
>
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
-- 
Jack Mitchell
Durham, NC

Re: [Callers] Wizard's Way?

[Jack Mitchell via Callers]

I believe that Cis wrote one called the Witch's Way.  It's possible that
Wizard's Way is Dean Snipes' version of the dance.  I am copying him on
this to see if he can pass it along.

On Sat, Oct 22, 2016 at 7:47 PM kelseyannehart...@gmail.com via Callers <
callers@lists.sharedweight.net> wrote:

> Hi! I have found Ruth Ungar's Wizard Walk on the WWW, but can't find
> Wizard's Way... and I feel bad but can't remember who wrote it...I keep
> thinking Cis or Linda Leslie. Can someone help me by sending the dance and
> the name of its illustrious choreographer? Thanks!
>
> Sent from my iPhone
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
-- 
Jack Mitchell
Durham, NC

Re: [Callers] Favorite dance to teach a ladies chain?

[Jack Mitchell via Callers]

Richard said:
"My first dance with a courtesy turn may use it with a promenade,
depending on the crowd. Then move on to dances with a chain or R&L.
Once the turn is understood and well done, the others are easy."

And thus we come to why teaching moves with a courtesy turn is so much
easier in New England (where promenade and courtesy turn are both done in
the same position).  Oh how much easier if we all did a "New England
promenade."

J



On Fri, Sep 2, 2016 at 11:47 AM Richard Hart via Callers <
callers@lists.sharedweight.net> wrote:

> I usually try to separate the courtesy turn from the chain. A courtesy
> turn is used in a number of moves, including R&L through, and a
> promenade. Practice that first with your partner. Man backs up and the
> woman gores forward, with arms around your partner's back. .Remember
> to stop facing the right direction, and as a caller remember to tell
> dancers which way to face. This can be done in a couple of minutes or
> so.
>
> My first dance with a courtesy turn may use it with a promenade,
> depending on the crowd. Then move on to dances with a chain or R&L.
> Once the turn is understood and well done, the others are easy.
>
> I agree with Erik (and Dudley!) The walkthrough and instruction should
> be short. They'd all rather be dancing, so don't introduce much new
> stuff in any single dance.
>
> And thanks for this discussion. I love seeing new dances to try and
> new possibilities to teach when there are a lot of beginners.
>
> On Mon, Aug 22, 2016 at 11:18 AM, Luke Donforth via Callers
>  wrote:
> > Hello all,
> >
> > I've been thinking about glossary dances, and building vocabulary for new
> > dancers. I'm curious what your favorite dance is for teaching a ladies
> chain
> > for a crowd of mostly new dancers? Or if you don't have a specific dance,
> > what do you look for in a dance to make the chain as accessible as
> possible?
> >
> > Just a chain over? Or a full chain over and back?
> > Chain to neighbor? Chain to partner?
> > What move best precedes the chain to set it up?
> > What move best follows the chain that still helps new dancers succeed?
> > Other factors you consider?
> >
> > I don't have a go-to favorite, but I'll walk through some of the things I
> > think about:
> >
> > I very seldom call a dance with a full chain. Experienced dancers don't
> > whoop and holler over them, and for new dancers, I'd worry the confusion
> > would snowball.
> >
> > Programatically, in a hall with a reasonable mix of new and experienced
> > dancers, I shoot for the first chain to be to neighbor so that the new
> > dancers can feel it with different experienced dancers; rather than new
> > dancers (who will partner up and clump, no matter how many helpful  dance
> > angels you have) continually chaining to each other. If I were trying to
> > teach a chain to ALL new dancers... well, I doubt I'd teach a chain to
> > completely new dancers... but if I were, I'd probably go to partner.
> >
> > For moves, while I love the chain->left hand star transition; I'm not
> > convinced it's the best for teaching the chain. It often goes B2
> > chain->star, find new neighbor; and the new neighbor from a left hand
> star
> > is non-trivial for new dancers. Possibly a dance where the chain->star
> > wasn't followed by the progression would work, but it's such a great
> > progression when they're ready for it; I don't see many of those dances.
> > chain->star->left allemande maybe? I do like long lines either before or
> > after the chain as a set-up; but not on both ends. I'm not sure which
> side
> > of the chain the lines help more. The Trip to ___ dances that end with
> > chains and start with women walking in to long wavy lines flow well, but
> I
> > don't know that they're the best for teaching chains, since the long wavy
> > line is another new piece.
> >
> > Anyway, just some of my thoughts (started by the other thread about
> simple
> > glossary dances). I look forward to hearing what others on Shared Weight
> > have to say about the dances they use to teach chains (and I certainly
> won't
> > be offended if folks tangent off into gent's chains; just start a new
> thread
> > ;-)
> >
> > Take care,
> >
> >
> > --
> > Luke Donforth
> > luke.donfo...@gmail.com
> >
> > ___
> > Callers mailing list
> > Callers@lists.sharedweight.net
> > http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
> >
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
-- 
Jack Mitchell
Durham, NC

Re: [Callers] Surely this already exists?

[Jack Mitchell via Callers]

Though I know that there are lots of traditional dances with a ladies chain
(turn away) new N, I am really not crazy about them.  OkI'll admit
it, I actively dislike them.  Particularly for new dancers, and
particularly going to a discrete move like a balance.  It requires the lady
to extricate themselves from a previous neighbor (who *should
certainly not* twirl
and forget, but frequently does), and requires the (polite) gent to turn
away from their direction of progression to get new ladies pointed in the
right direction at the end of the courtesy turn before the gent can
progress (and for that matter, requires the courtesy turn to be either done
more quickly, or otherwise to be cut short to get everyone going in the
right direction.  (don't even get me started on dances that have a
butterfly whirl -> turn away to a new neighbor).   (There are dances --
like Punctuated Raindrops -- that have that progression, that I will still
call a) because they're great dances other than that and b) because the
timing of the progression isn't discrete -- if you're late to start the
allemande L, it's ok, the timing will work out in the wash.)  

The ladies allemande L progression, 1) puts the ladies in a bit more
control, 2) allows the caller to point out where they're going, and who
they're going to and 3) leaves a free hand available to reach out to the
new neighbor.  Even with similarities in the rest of the dance, I think
that is really enough to make it a distinct (and a more accessible) dance
from the ones mentioned.

Jack

On Sun, Aug 21, 2016 at 9:53 PM Linda Leslie via Callers <
callers@lists.sharedweight.net> wrote:

> This dance is virtually the same as Troxler’s on the Loose, by Chris
> Ricciotti. The only difference in Chris’ dance is that the final move is a
> ladies chain.
> Beth Parkes also wrote a dance that is mostly the same: Forgotten
> treasure. She begins the dance with a N B&S, and ends it with a chain as
> well.
> Linda
>
> On Aug 21, 2016, at 9:10 PM, Luke Donforth via Callers <
> callers@lists.sharedweight.net> wrote:
>
> > Hello all,
> >
> > I was trying to find an easy and accessible dance, a real glossary basic
> contra.
> >
> > I feel like this must already exist, but I'm not finding it in my notes.
> Someone got a prior?
> >
> > Type: Contra
> > Formation: Duple-Improper
> >
> > A1 ---
> > (8) Neighbor Do-si-do
> > (8) Neighbor swing, end facing down the hall
> > A2 ---
> > (8) Down the hall, four in line (turn as couples)
> > (8) Return and Bend the line
> > B1 ---
> > (6) Circle Left 3/4
> > (10) Partner swing
> > B2 ---
> > (8) Long lines, forward and back
> > (8) Women allemande Left 1-1/2
> >
> > The B2 could be W DSD 1.5, although I like the allemande for the
> connection for brand new dancers. I specifically chose the left hand to
> leave the women facing towards their new neighbor.
> >
> > I know it's really close to a bunch of other stuff. B2 could be C L 3/4,
> balance and pass through; or chain to left hand star à la The Nice
> Combination; etc.
> >
> > Barring it already having been named by someone else, I'm going to call
> it "Having Fun with PAM" to keep track of it in my box; since I just got
> back from the fabulous PAMFest (Peacham Acoustic Music Festival).
> >
> > Thanks.
> > ___
> > Callers mailing list
> > Callers@lists.sharedweight.net
> > http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
-- 
Jack Mitchell
Durham, NC

Re: [Callers] Microphones and/or technique for a deep voice.

[Jack Mitchell via Callers]

I run sound and am also a caller. I have definitely had folks for whom the
proximity effect emphasizes particular frequencies in their voice and makes
it much more difficult to eq from the sound board. As both a sound operator
and caller, I definitely value intelligibility over strict reproduction of
the voice -- I would much rather intelligibly not sound like myself, rather
than to sound just like my normal voice but not cut through the crowd and
band sound. Proximity effect (the emphasizing of lower frequencies when
holding the mic extremely close to your mouth) causes more trouble with
some voices than with others. I have had a few callers who when they are
right on top of the mic become almost unintelligible, but if they back off
just an inch or so, are improved markedly and get a much more consistent
sound.  Because it is more consistent, it is also easier for the sound tech
to eq your voice.

Using a monitor can also be a big help because it gives you a better idea
for how your voice is coming through the system.

Jack

Be aware of how quickly you're talking. Record yourself (and listen to it,
even when it's painful). Can you understand yourself clearly?

On Thu, May 19, 2016 at 4:03 PM James Saxe via Callers <
callers@lists.sharedweight.net> wrote:

> Darwin,
>
> Here are a few thoughts:
>
> Besides working on mic technique, pay attention to enunciation.
>
> Somecallerstendtoruntheirwordstogetheranditmakesthemimeanthecallerswellactuallyboththewordsandthcallerswhosaythosewordshardtounderstand.
> I'm not saying that you should hyper-enunciate to the point of
> sounding stilted, but if you want to be understood in spite of
> room reverberation and competing sounds (crowd noise, music,
> electric fans) a little hyper-enunciation can help.
>
> One way to check yourself on enunciation (and more) is to make
> a recording from the back of the hall and force yourself to
> listen to it.
>
> If you're a guest caller at someone else's dance, politely let
> the sound tech know that your voice may be different from the
> main caller's, and ask for whatever help (s)he can give to make
> sure you're intelligible.
>
> Try to arrive early at the gig so that you and the sound tech
> can have a few minutes to experiment with what equalization
> and what mic position work best for you (e.g., what's not too
> close, but not too far), at a time when dancers aren't waiting
> for a walk-thru to start.
>
> If you don't 100% trust the sound tech to give ample priority
> to caller intelligibility--and maybe even if you do--enlist a
> trusted friend who can offer feedback during your sound check
> and who can call problems to your attention while there's time
> to do something about them, instead of after the dance is over.
>
> I agree with those who have recommended speaking along the axis
> of the mic.  While there are people who have learned to get good
> results with the ice-cream-cone style of mic hold, it's easier
> for most of us if we point our mouth at the mic and point the
> mic at our mouth.  Keep the mic fairly close, but not to the
> point of "eating" it.
>
> As for overpowering the mic, I doubt that you would actually
> be speaking loudly enough to force the mic element to the
> extremes of its travel.  It is possible that the first stage of
> amplification (usually controlled, on analog mixers, by a knob
> at the top of your mic channel labeled "sensitivity", "gain",
> or "trim") could be set too high, resulting in clipping, which
> could make you sound loud, horrible, and unintelligible all at
> once.  A competent sound tech will know how to set the gain
> structure to avoid this.  If the sound tech is a turf-conscious
> clown, then you have a problem, but you won't solve it by trying
> to offer advice based on stuff you read on an internet mailing
> list while you yourself are inexpert.
>
> You wrote:
>
> > ... the sound guy was sitting there and I'm sure would have done
> something ...
>
> If the sound board is near the stage, the sound tech can easily
> be unaware of a problem until (s)he stands up and walks to the
> middle or the back of the hall.  Assuming the sound tech isn't
> a turf-conscious clown, a request to "please check that I'm
> intelligible in the back of the hall" can be part of the same
> kind of polite conversation as "my voice may be different from
> the main caller ...".
>
> Good luck.
>
> --Jim
>
>
> > On May 18, 2016, at 7:09 PM, Darwin Gregory via Callers <
> callers@lists.sharedweight.net> wrote:
> >
> > I am a new caller, and I have called two dances.  The first, I
> completely blew the microphone part. Since then, I practiced holding the
> mic close to my mouth like was suggested to me.
> >
> > The second dnce, I was told that my voice was too deep for the
> microphone, and I was overpowering it.  It was suggested that I hold the
> microphone further away and project, which I tried, but again, not
> something I practiced.
> >
> > Someone afterwards suggested that it could have been de

[Callers] ID This dance? Square thru, shadow DsD

[Jack Mitchell via Callers]

Spotted on a video earlier today.

A1 Circle L 3/4, N Sw
A2 N Promenade, Ladies Chain
B1 RH to N balace, N pull by R, Partner pull by L; Shadow DsD
B2 P B&S

-- 
Jack Mitchell
Durham, NC

Re: [Callers] videos of rolling starts / musical walk thrus

[Jack Mitchell via Callers]

Here's one of me calling with Atlantic Crossing.  Unplanned (but
successful) rolling walk thru (though I did flub the first call as the
dance started.)

https://www.youtube.com/watch?v=lq1tKJb7z-Q

On Mon, Apr 4, 2016 at 8:28 AM Tepfer, Seth via Callers <
callers@lists.sharedweight.net> wrote:

> Are there any videos out there of band/callers doing rolling starts or
> musical walk thrus?
>
>
> Seth Tepfer
> Director of Administrative Computing
> Oxford College
> 770-784-8487
> seth.tep...@emory.edu
>
> Use AskIT for fastest response: Oxford.emory.edu/AskIT
> 
>
>
> 
>
>>
>>
> --
>
> 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).
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
-- 
Jack Mitchell
Durham, NC

Re: [Callers] Fwd: Re: Boomerang

[Jack Mitchell via Callers]

I really love this dance (though I mostly call the Double Boomerang variant
which includes a N Swing (below).  I almost always ask for a tune with
continuous, steady motion (but not too fast, at least at first), and
potentially squishy phrasing within the B part so that the dancers don't
feel like they're fighting the phrase of the music on the B1.  (Flying Home
to Shelly, Calliope House, If it's too fast, the dancers will definitely
have trouble with the timing and with getting to the Balance and Swing on
time.  It's a dance I love to dance, and love to call (and haven't called
in way too long).

Double Boomerang by Gene Hubert Contra Becket

A1 M Gents Alle L 1.5, N Sw

A2 L Diag Ladies Chain, LL F&B

B1 PT across, Turn alone, Cir L, (face shadow up & down), Pass thru

B2 P B&S

On Thu, Mar 31, 2016 at 12:12 PM Jonathan Sivier via Callers <
callers@lists.sharedweight.net> wrote:

> Laurie,
> Jim makes good points.  Think of the "pass through, circle left,
> pass through" as one extended 16 beat figure rather than trying to break
> it into 2 8 beat figures with the circle crossing the middle of the
> phrase.  When I'm calling this dance the 2nd half of the dance goes
> something like this (as best I can recall sitting at my computer).
>
> (starting on the last 2 beats of the previous phrase)
> pass through, (pause for a beat), turn alone, circle left, (pause for a
> few beats), pass through, (pause for a beat or so), balance and swing
>
> The "turn alone, circle left" goes very quickly, taking maybe only 2
> beats.  The rest tends to be slower, one word per beat.  Writing this
> out may not be the best way to convey my meaning, but hopefully it gives
> you some idea.
>
> Jonathan
> -
> Jonathan Sivier
> Caller of Contra, Square, English and Early American Dances
> jsivier AT illinois DOT edu
> Dance Page: http://www.sivier.me/dance_leader.html
> -
> Q: How many angels can dance on the head of a pin?
> A: It depends on what dance you call!
>
>
> On 3/31/2016 12:34 AM, James Saxe via Callers wrote:
> > On Mar 30, 2016, at 9:35 PM, Laur via Callers <
> callers@lists.sharedweight.net> wrote:
> >
> >> I am not comfortable with the timing in Boomerang. Am I off or .. is
> there something I'm missing???
> >>
> >> I've tried (with my imaginary friends) several theories but - always
> the timing isn't quite there.
> >>
> >> Laurie
> >> West MI
> >
> > Laurie,
> >
> > You don't say what part of the dance you're uncomfortable with, but
> > I'm going to guess that it's the B1 part.  The timing as given by
> > Gene Hubert in _Dizzy Dances, Volume II_ is:
> >
> >  Pass thru ACROSS the set and turn alone(4).
> >  Circle left, go all the way around(8).
> >  Pass thru ALONG the set to meet your partner(4).
> >
> > The timing is a bit unusual in that the circle crosses the middle
> > of the phrase, but I don't think there's anything wrong with it.
> > Dancers who aren't used to circling all the way around in 8 beats
> > can make up time on the pass thru (or pull thru) along and on the
> > forward part of the subsequent balance.  On the other hand, if the
> > dancers can easily circle once in 8 beats and if they think that 4
> > beats for pass thru along is a bit leisurely, they can try rearing
> > back at the end of the circle, or even add a spin during the pass
> > thru.
> >
> > You can see a video of _Boomerang_ here:
> >
> >   https://www.youtube.com/watch?v=zj49YHAMGnk
> >
> > (Thanks to Chris Page for supplying the title in a comment, so that
> > the video was easy to find.)  If you study the video, you'll see
> > many examples of dancers managing to meet their partners just in
> > time for the balance at the start of the B2 music--and also a few
> > examples of dancers being either early or late.  Beware that there
> > are a number of places where the video cuts to a different camera
> > angle and the new cut doesn't pick up at the same place in the tune
> > as the previous cut ended.
> >
> > I hope some of this is helpful.
> >
> > Cheers,
> > --Jim
>
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
-- 
Jack Mitchell
Durham, NC

Re: [Callers] Recognize this dance?

[Jack Mitchell via Callers]

I believe it is weeks on the road by Bill Olson
On Sun, Mar 13, 2016 at 2:08 PM Paul Wilde via Callers <
callers@lists.sharedweight.net> wrote:

> Can anyone identify the name/author of this dance please?
>
> Becket
>
> A-1 L Ch L Diag
>   1/2 Hey (LR in ctr)
> A-2 N B & S (N you chained to)
>
> B-1 Cir L 3/4
>   Bal & CA Twrl
> B-2 P B&S
>
> Thanks,
> Paul
>
>
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
-- 
Jack Mitchell
Durham, NC

Re: [Callers] Weary of the same discussions

[Jack Mitchell via Callers]

If you go to the link at the bottom of every message you can change your
subscription status to the digest.
On Fri, Jan 22, 2016 at 11:30 PM Amy Carroll via Callers <
callers@lists.sharedweight.net> wrote:

> I'm sorry, but it really isn't enough to just ignore the posts.  They fill
> my inbox and become another pile of stuff to filter through trying to find
> the email I really need/want to read.
>
> I feel as though this discussion happened already, quite recently, and
> it's just the same thing again.  No one is convincing anyone.  It all
> started with the simple announcement about a lecture, and then some snarky
> comments re sparked this entire discussion. Yuck.
>
> Questions:
> #1) Is it possible to recieve a daily digest of this list instead of each
> individual message?  Like you can do with yahoo groups.  Then I wouldn't
> mind all the junk so much.
>
> #2) Is there a facebook equivalent of this list?  Those are nice, because
> when you don't have time, you don't bother to look.  If you don't comment,
> you don't see the whole discussion unless you really go looking for it.  I
> would appreciate the discussion, even the repeated discussion,  that
> happens here a lot more if it were not in my email.
>
> Other solutions?
>
> yours,
>
> Amy Carroll
> a...@calleramy.com
> 206-330-7408
> http://www.calleramy.com/
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
-- 
Jack Mitchell
Durham, NC

Re: [Callers] Identifying Dances (Was "Anyone know this dance?"]

[Jack Mitchell via Callers]

>From Dizzy Dances II:

[image: Inline image 1]


On Wed, Nov 25, 2015 at 11:08 AM Michael Dyck via Callers <
callers@lists.sharedweight.net> wrote:

> On 15-11-25 04:15 AM, Jeremy Gmail via Callers wrote:
> >
> > I’ll post my “unknown” dances over time so as not to overwhelm the list.
> >
> > Here’s the first:
> >
> > 1s Improper
> >
> > Down hall 4-in-line (1's in the middle), Don't turn around, back-up a few
> > steps, 1s arch while 2s go under to new couple (8)
> >
> > Dosido the one you meet, Pass by and swing the next
> >
> > Pass thru across set Right shoulder with Partner, turn alone; In normal
> > couples R&L thru across
> >
> > LLFB, 1s Swing in middle
>
> That's "Contra Madness" by Gene Hubert. It appears in Dizzy Dances I and
> II,
> but not on the web (as far as I know).
>
> -Michael
>
>
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>

Re: [Callers] dances in unusual formations

[Jack Mitchell via Callers]

I second David's Triplet -- was recently posted on this list, so you should
be able to find it. Would love to see Square Line Special, though.

On Sun, Nov 1, 2015 at 1:00 AM Paul Wilde via Callers <
callers@lists.sharedweight.net> wrote:

> Donna,
>
> Levi Jackson Rag, for 10.  Becoming a local favorite when numbers permit.
> One I really like is David's Triplet #5 by David Smuckler.  (It has a hey
> for 6, or do it w/ hands to introduce a grand R & L).  Nice dance.
>
> Another quirky one that is a hybrid contra/square is Square Line Special
> by Gary Roodman.
> Lots of ways to mix things up in the B part.
>
> best regards,
> Paul
>
>
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
-- 
Jack Mitchell
Durham, NC

Re: [Callers] Dances For Short Line

[Jack Mitchell via Callers]

I would think that most dances would work fine with 5-6 sets.  That's
normal length for a lot of dances.  I had assumed you were talking about
2-3 hands 4.  Personally, I would call whatever you would call anyway, and
just run the dances a bit shorter than usual.  Where you might go for 15
minute slots (start to start) maybe take than down to closer to 10
minuteor just watch a couple and get them down and back again.

On Thu, Oct 15, 2015 at 9:37 PM Laur via Callers <
callers@lists.sharedweight.net> wrote:

> I'm more thinking lines with maybe 5 or 6 sets, the smaller groups I think
> I have an understanding of, but I'm sucking in any other observations, of
> course.
>
> Would medley's work for a smaller line?
>
> L
>
> ~ When I dance, I cannot judge, I cannot hate, I cannot separate myself
> from life. I can only be joyful and whole, that is why I dance. ~Hans Bos~ ~
>
>
>
> On Thursday, October 15, 2015 9:35 PM, Jack Mitchell <
> jmitchell...@gmail.com> wrote:
>
>
>
> If the numbers work out, then some triplets or squares could be good.  If
> it's a lot of new dancers, you could even do some dances that just the top
> couple is "active" like the virginia reel or galopade (or lots of other
> older dances).  If you have lots of experienced dancers, you could either
> do medleys or run the dances much shorter than usual.  Also, it can be a
> good time to do an unequal dance since everyone will have time to be 1's --
> was calling in Greenwood, VA for a relatively small group -- maybe 4 -5
> hands 4 -- and called Fiddleheads for the first time.  Such a great dance.
>
> J
>
> On Thu, Oct 15, 2015 at 7:49 PM Laur via Callers <
> callers@lists.sharedweight.net> wrote:
>
> Fellow callers, what are things to look for in dances for a short line.
> I'm afraid that a limited number of dancers will be at an upcoming gig and
> I want to be prepared in the best possible way, and so am looking for input
> and for confirmation of my thoughts. They are intermediate/ experienced
> dancers.
>
> Laurie P
> West MI
>
> ~ When I dance, I cannot judge, I cannot hate, I cannot separate myself
> from life. I can only be joyful and whole, that is why I dance. ~Hans Bos~ ~
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
> --
> Jack Mitchell
> Durham, NC
>
>
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
-- 
Jack Mitchell
Durham, NC

Re: [Callers] Dances For Short Line

[Jack Mitchell via Callers]

If the numbers work out, then some triplets or squares could be good.  If
it's a lot of new dancers, you could even do some dances that just the top
couple is "active" like the virginia reel or galopade (or lots of other
older dances).  If you have lots of experienced dancers, you could either
do medleys or run the dances much shorter than usual.  Also, it can be a
good time to do an unequal dance since everyone will have time to be 1's --
was calling in Greenwood, VA for a relatively small group -- maybe 4 -5
hands 4 -- and called Fiddleheads for the first time.  Such a great dance.

J

On Thu, Oct 15, 2015 at 7:49 PM Laur via Callers <
callers@lists.sharedweight.net> wrote:

> Fellow callers, what are things to look for in dances for a short line.
> I'm afraid that a limited number of dancers will be at an upcoming gig and
> I want to be prepared in the best possible way, and so am looking for input
> and for confirmation of my thoughts. They are intermediate/ experienced
> dancers.
>
> Laurie P
> West MI
>
> ~ When I dance, I cannot judge, I cannot hate, I cannot separate myself
> from life. I can only be joyful and whole, that is why I dance. ~Hans Bos~ ~
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
-- 
Jack Mitchell
Durham, NC

Re: [Callers] looking for choreography "The Square Dance Caller"

[Jack Mitchell via Callers]

Actual title "Revenge of the Square Dance Caller"
https://www.youtube.com/watch?v=RrQvyWgXzKE
Walk thru here: http://youtu.be/K2bIenztXoA

On Fri, Oct 2, 2015 at 10:19 PM Karin Neils via Callers <
callers@lists.sharedweight.net> wrote:

> it's a Becket Sicilian by Ron Buchanan
> was intrigued by the set up and the geometry, but it fell apart
> 'would love to have a chance to figure it out
>
> thanks
> Karin
>
>
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
-- 
Jack Mitchell
Durham, NC

Re: [Callers] Rolling Starts?

[Jack Mitchell via Callers]

If the band can play a repeated 8 count chord progression from which they
can easily go into the top of the tune, it gives you a phrase to call to,
but if you need to slow down, or fix something, you have that option too --
then you can just get yourself back on the phrase.  Other than the fact
that I flubbed the first call of the dance, I am pretty happy with the one
in this video of me with Atlantic Crossing.  It wasn't a planned thing (and
planning is definitely a good idea the first time you do it.  In
particular, planning how you will cue the band in, whether you want them to
actually do potatoes, or just use your first call (WITH your NEIGHbor
BALance NOW, with some good punch) as the potatoes.)

https://www.youtube.com/watch?v=lq1tKJb7z-Q

At it's best, it gives you a chance to do two walk thrus if needed, without
the dancers feeling like you're doing too much teaching.  The first time,
you can be teaching completely off the phrase, or the band can sneak in
halfway through the first time.  Then the second time, you move to being
more on the phrase.  Once you're on the phrase, you have effectively agreed
with the band on a tempo and can stick with that as you move into the
dance, so there's really not a need for actual potatoes.  As long as you
have your sign worked out with the band (beating the last 4 beats with your
hand, calling with some punch for the first call, patting the top of your
head (to indicate that you're coming up on the top of the dance) or
whatever.)  Please note, that if you don't have things worked out with the
band, it can be pretty messy and awkward.  Rather similar to the first time
I tried to do one -- the band just started playing a bit under the walk
through and I had no clue of how to cue them in!

J





On Fri, Oct 2, 2015 at 12:01 PM Dave Casserly via Callers <
callers@lists.sharedweight.net> wrote:

> I also like rolling starts.  One of my bands has a few sets where we
> greatly prefer it, and try to work with callers to make it happen.
>
> What has worked well for me in the past is having a tune where the start
> of the dance can happen every two bars or so (in other words, a tune that
> is not harmonically complicated).  Making walkthrough prompts in time with
> the music, but not giving a particular set amount of time to each call
> seems to work well.  Dances that end with a move that can be extended
> (allemande, swing, etc) can help sync if you need that extra beat or two.
> I've found that rolling starts work well with a dance that starts with a
> balance, as that can make it very clear where the dance starts.  Otherwise,
> asking the band for four soft potatoes at the end of the rolling start can
> be helpful.
>
> Hope that helps!
> -Dave
>
> On Fri, Oct 2, 2015 at 11:53 AM, Maia McCormick via Callers <
> callers@lists.sharedweight.net> wrote:
>
>> I think that rolling starts (seamless transition from walkthrough into
>> the dance, as the band just starts playing music during the walkthrough)
>> are super neat if done properly! But I'm still not quite sure how to do
>> them properly. So I ask you all:
>> 1) tips on how to execute a rolling start well, making sure all the
>> dancers are on board etc.?
>> 2) thoughts on what dances/tunes will/won't work well with a rolling
>> start?
>>
>> Cheers,
>> Maia
>>
>> ___
>> Callers mailing list
>> Callers@lists.sharedweight.net
>> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>>
>>
>
>
> --
> David Casserly
> (cell) 781 258-2761
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
-- 
Jack Mitchell
Durham, NC

Re: [Callers] Differences in Terminology - Contra v Becket

[Jack Mitchell via Callers]

In your hands 4, the other opposite role person is still your neighbor.
The person across from you is generally that person -- your neighbor.  In
the long lines, the people who are in the same position in their hands 4 as
your partner are shadows -- generally you have 2 that you interact with,
but sometimes more.  Some people just use the term opposite interchangeably
with neighbor.  In squares, things are more definite.  The person across
from you is your opposite, the person next to you not your partner is your
corner, the person on the other diagonal is your RH lady / LH gent, and as
Larry Edilman reminded us at Pinewoods this year, there isn't any *$%
neighbor in square dancing.  :-)

On Sat, Sep 12, 2015 at 4:41 PM Jeremy Child via Callers <
callers@lists.sharedweight.net> wrote:

> Hi Everyone
>
> In a normal (1s improper) contra, you start with your partner across from
> you and your neighbour next to you.  Anyone outside the minor set is a new
> neighbour / shadow / something else.
>
> In a Becket formation, you start with your partner next to you.  Who's
> opposite you - your neighbour or your opposite? If it's your opposite,
> who's your neighbour?  Is it the person next to you who isn't your partner?
> (I have seen it used this way.)
>
> Jeremy Child
> Exeter, UK
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
-- 
Jack Mitchell
Durham, NC

Re: [Callers] counterclockwise momentum?

[Jack Mitchell via Callers]

Sitting here having breakfast with a caller friend, and her take on this
was just to follow it with a much more linear dance -- down the hall, pull
bys along the sides, etc.
On Fri, Sep 11, 2015 at 5:34 AM John Sweeney via Callers <
callers@lists.sharedweight.net> wrote:

> What to call after a dance with a lot of clockwise movement:
>
>
>
> I understand there are some Australian contras where they choreographed a
> counter-clockwise swing.  Of course you would have to be careful with that
> as most people have never practised CCW swings.  The CCW swing then
> provides momentum into moves you wouldn’t usually do after a swing.  If a
> heavily CW-orientated dance has a Partner Swing then my wife and I often do
> it as a CCW swing anyway.
>
>
>
> You could do a no-swing dance!
>
>
>
> I was taught by a professional dancer that one way to overcome dizziness
> from too much CW rotation is to jump up and down to get the “jelly” in your
> ears to settle.  So why not try a dance with lots of bouncing: gallops,
> heel-and-toes, etc.
>
>
>
> Happy dancing,
>
> John
>
>
>
> John Sweeney, Dancer, England j...@modernjive.com 01233 625 362
> http://www.contrafusion.co.uk for Dancing in Kent
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
-- 
Jack Mitchell
Durham, NC

Re: [Callers] counterclockwise momentum?

[Jack Mitchell via Callers]

I definitely try to identify them, and for the most part, there are very
few of them that I call (at least not that I call unmodified).  There are
exceptions, of course, but even there, I tend to run them short, and avoid
calling them early in the evening.  I'm not sure that a follow up dance can
really help matters all that much.  People who are particularly susceptible
to dizziness will probably sit out the next dance anyway, and people who
aren't probably won't really notice.  Now medleying a really clockwise
dance with a dance that could "unwind" the dancers might work.

On Wed, Sep 9, 2015 at 1:34 PM Lindsey Dono via Callers <
callers@lists.sharedweight.net> wrote:

> Hi Callers,
>
> There are a number of dances that have significant clockwise momentum; I
> try to label such dances so I don't call them back to back. However, I'd
> like to identify a collection of dances with the *least* clockwise movement
> (beyond swinging in the other direction).
>
> Which moves are CCW? I realize that this depends somewhat on how the move
> is danced.
>
>  Have you IDed any dances as particularly good to call after a very
> clockwise one?
>
> Thanks!
> Lindsey
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
-- 
Jack Mitchell
Durham, NC

Re: [Callers] "Flash Mob" dances

[Jack Mitchell via Callers]

LInda--

I love those ideas for getting folks out on the floor. So simple. Thanks!
On Mon, Jul 27, 2015 at 10:51 AM Linda Leslie via Callers <
callers@lists.sharedweight.net> wrote:

> What a great idea, Alan! I hope you are able to continue this as a
> successful annual event!
> Whenever I find folks are reluctant to join in dances (weddings, parties,
> etc.,), I find a surefire solution is to begin with a no-partner circle. I
> hold hands with the “volunteer” dancers, and snake around the area, picking
> up folks as we go by them. You can encourage folks with happy smiles, “Join
> us!” and other exhortations….Once we have a good group, I close the circle,
> and do hash calls: circle left, circle right, single file left, right, all
> f&b, “everybody over 50 into the center and back”, etc., etc. I then from a
> circle left, become the lead again, and spiral the circle in, then back
> out. It is wonderful how this simple movement to music, and the surprise of
> reversing the spiral makes people happy, From here, I would have people
> pair up and do a very simple circle mixer, which gets them used to the P
> change idea. Then the simple contras.
>
> Looking forward to seeing the other suggestions that folks offer you!
> warmly, Linda
>
> On Jul 26, 2015, at 11:52 PM, Alan Winston via Callers <
> callers@lists.sharedweight.net> wrote:
>
> > Over in San Jose we've just done a  second annual not-really-flash-mob
> dance.  Symphony Silicon Valley does a free public series of Pops concerts,
> get permission from them, pick one, get a bunch of volunteer dancers and a
> pickup band, print up some flyers and put up a sign with the sponsoring
> organization logo and URL, We put up a sign with the name of the
> organization, set up in the path of foot traffic to the concert spot, and
> do an hour and a half (or so) of easy contra dances, encouraging passersby
> to join in and hooking them up with more-experienced partners.
> >
> > This is successful in terms of getting some exposure, and today we got
> somewhere between a half-dozen and a dozen new people to actually try it,
> and probably moved 25 flyers.  Nobody got hurt, some of the dancers stayed
> for several dances, etc.  We flushed out some old square dancers (who of
> course wanted to swing once around and wait for the next call) and some
> previous non-dancers of various ages.
> >
> > (I was calling.  First round was missing many volunteer dancers and had
> multiple newbies, so I did a one-night-stand dance ("Up the Sides and Down
> the Middle") rather than a duple-minor contra; then Cranky Ingenuity,
> Inflation Reel, Kitchen Stomp, and Delphiniums and Daisies.)
> >
> > Posting to ask if people who've done this kind of thing have any tips or
> tricks to get things going.
> >
> > As caller I relied on my volunteer dancers to do the recruiting, and
> people had different comfort and skill levels doing that.  Is there
> something I can tell them that will increase their comfort in talking to
> strangers?
> >
> > Thanks!
> >
> > -- Alan
> >
> > ___
> > Callers mailing list
> > Callers@lists.sharedweight.net
> > http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
-- 
Jack Mitchell
Durham, NC

Re: [Callers] sticky floors

[Jack Mitchell via Callers]

Not cornmeal - corn starch.  Cornmeal would likely scratch the floor!

Sent from Outlook




On Mon, Jul 20, 2015 at 11:43 AM -0700, "Perry Shafran via Callers" 
 wrote:










Generally cornmeal is used to make the floor less sticky.  But be forewarned - 
don't use too much of it or else you'll have a new problem of the floor being 
too slippery.  Also try to distribute it evenly so you don't have any sticky 
spots remaining.  

Perry
From: Mary Collins via Callers 
 To: callers@lists.sharedweight.net 
 Sent: Monday, July 20, 2015 2:36 PM
 Subject: [Callers] sticky floors
   
Has anyone experienced issues with their wooden dance floors becoming sticky 
during humid weather?  If so, what if anything has been done to alleviate the 
problem?

thanks. 
Mary C. - Buffalo

-- 
“Life is not about waiting for the storms to pass ... it's about learning to 
dance in the rain!” ~ Unknown

___
Callers mailing list
Callers@lists.sharedweight.net
http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net

Re: [Callers] Title and Author? That's no moon...

[Jack Mitchell via Callers]

I have it as Rocket City Romp by Cis Hinkle.  Great dance

On Sat, Jul 11, 2015 at 10:29 PM, Luke Donforth via Callers <
callers@lists.sharedweight.net> wrote:

> Hello all,
>
> I recently had the pleasure and honor of calling at a weekend with Lisa
> Greenleaf. I had just called one of my own dances, and then went to call
> one of Lisa's. After walking it through and announcing it as such, Lisa
> told me that she didn't write the dance. (She was very gracious about it,
> and we had a good laugh.)
>
> I had it in my box as Gypsy Moon by Lisa Greenleaf. I'm not sure if it's
> same title, but different author and I conflated them, or if it's another
> name entirely. But if anyone recognizes it, I'd like to give credit where
> it's due.
>
> NOT Gypsy Moon
>  unknown
> Type: Contra
> Formation: Duple-Improper
>
> A1 ---
> (8) Neighbor Balance Right, pull by, pull by Ptr across set
> (8) Neighbor swing
> A2 ---
> (8) Long lines, forward and back
> (8) Women allemande Right 1-1/2
> B1 ---
> (16) Partner balance and swing
> B2 ---
> (8) Women's Chain across
> (4) Right to Your Partner,  balance Right
> (4) pull by Right with Ptr, and left with Neighbor on to the next
>
>
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
>

Re: [Callers] Itty-bitty dances, triplets, odd numbers

[Jack Mitchell via Callers]

Could you clarify the B2 of this dance?   You say that you form lines at the 
sides and swing.  But the lines don't go forward and back at any point. Is your 
partner in the opposite line from you or in the same line?

Sent from Outlook

_
From: Michael Fuerst via Callers 
Sent: Sunday, May 3, 2015 4:20 PM
Subject: Re: [Callers] Itty-bitty dances, triplets, odd numbers
To: Caller's discussion list 


   A four  couple contra I call sometimes is "Vet's Revenge"  by 
Colin Hume  Duple Improper  
  A1  Neighbor couples (1's with 2's, 3's with 4's)  star left  
        Middle couples (2's with 3's) star right  A2   Neighbor couples 
allemande left 1 1/2           Women chain to partner  B1    
All four couples promenade in a circle a bit more than 1/2 around to form a 
square                 (until the original couple 1 is in  position 3 
of  a square, i.e., facing the music)                This must be 
done somewhat quickly          Side couple women chain across  
B2    Head couples pass through, separate and go around one to form lines at 
the sides           All swing partner, finish with the two couples now 
in the middle facing the nearest end,               and the two couples 
at the end facing the middle  
    Michael Fuerst      802 N Broadway      Urbana IL 61801 
 217 239 5844   
   

 On Sunday, May 3, 2015 2:54 PM, Kalia Kliban 
via Callers  wrote:
   
  
  I just called a tiny dance last night, and went through several 
of my
triplets along with a big pile of English 3-couple dances that we did to
old-time tunes (that was a little weird for me but the dancers enjoyed
them, so what the heck).  I was grateful to have the few triplets I had,
and I'd like to expand my collection.  The ones I used were
Microchasmic, David's Triplet #7 and Ted's Triplet #24, which all have
distinctive bits in them (contra corners, round two/drop through, and a
cast to invert then 1s lead up, respectively).  I like triplets that
have some choreographic substance to them, something for the dancers to
chew on.   
   
Do you have favorites you enjoy dancing as well as calling?  I get the
impression sometimes that triplets are "that thing you do to fill time
until the real dancing starts," but 3-couple sets can be a whole lot of
fun.  And sometimes they can save your butt as a caller.   
   
We had lots of odd numbers last night, so in addition to the triplets
and 3-couple English dances I used dances like Domino 5 (5 dancers) and
Pride of Dingle (for 9).  For a short while we had 4 couples and did
contras but most of the evening was "other."  Got any good dances for
odd numbers?   
   
Kalia   
___   
Callers mailing list   
   Callers@lists.sharedweight.net   
   http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net

Re: [Callers] Itty-bitty dances, triplets, odd numbers

[Jack Mitchell via Callers]

But those "pass by" moves really need to be done with hands to a) keep things 
connected and b) keep the dancers oriented (if you hold on for just a second 
after each pull by, it turns you back in to face the center (exactly the same 
way beginners tend to try to do a R&L Thru) with the correct hand free for the 
next pull by.  

Jack Mitchell




On Fri, May 8, 2015 at 10:21 AM -0700, "jill allen via Callers" 
 wrote:










Kalia,
Since no one has mentioned it and to honor Larry Jennings, I will share this 
triplet I love with a zipper!  That is, I am pretty sure it's written by Larry. 
 Does anyone know the title?Jill Allen
Triplet (by Larry Jennings?) proper
A1  all pass ptr by RH  all who can, pass person on L diag by LH
all pass person straight across by RH   L diag by LHA2  across by RHL diag 
by LHbal ptr, box the gnatB1 B & S ptr ending properB2  bottom cpl lead up 
the middle, turn alone and lead back down the middle  cast with 2nd (now at 
bottom) cpl to end in 2nd place*
*end:   33  11  22

On May 3, 2015, at 2:53 PM, Kalia Kliban via Callers wrote:
I just called a tiny dance last night, and went through several of my triplets 
along with a big pile of English 3-couple dances that we did to old-time tunes 
(that was a little weird for me but the dancers enjoyed them, so what the 
heck).  I was grateful to have the few triplets I had, and I'd like to expand 
my collection.  The ones I used were Microchasmic, David's Triplet #7 and Ted's 
Triplet #24, which all have distinctive bits in them (contra corners, round 
two/drop through, and a cast to invert then 1s lead up, respectively).  I like 
triplets that have some choreographic substance to them, something for the 
dancers to chew on.

Do you have favorites you enjoy dancing as well as calling?  I get the 
impression sometimes that triplets are "that thing you do to fill time until 
the real dancing starts," but 3-couple sets can be a whole lot of fun.  And 
sometimes they can save your butt as a caller.

We had lots of odd numbers last night, so in addition to the triplets and 
3-couple English dances I used dances like Domino 5 (5 dancers) and Pride of 
Dingle (for 9).  For a short while we had 4 couples and did contras but most of 
the evening was "other."  Got any good dances for odd numbers?

Kalia

Re: [Callers] Dance length/dances per evening

[Jack Mitchell via Callers]

For me, it really depends on the size and energy level of the dance.  For a 
larger dance with lots of energy, I will run around 15 min per slot...so 3-4 
minutes to get a new partner, 3-4 min to walk thru and 8 or so minutes to dance 
(around 16 times through the tune).  Square and mixers run shorter frequently, 
doing a square and a mixer means that I get an extra dance in overall.  
Smaller dances, or dances where some of the dancers have problems with stamena, 
 I tend to run shorter -- frequently more like 10 minute slots.  Have gotten 
10-12 dances in a 2.5 hr (including break) dance.  Have a friend who called 14 
dances in a 2 hour dance because the band was an old time band and was just 
playing one tune per dance, the same way every time through, so she just ran 
all the dances much shorter.  
My goal is generally to get people down the hall and partway back during the 
dance for a single progression dance.  YMMV
Jack Mitchell




On Sun, Apr 26, 2015 at 5:54 PM -0700, "Maia McCormick via Callers" 
 wrote:










Just polling the masses here--how long do you generally run your dances (in 
times through the dance, time take, couples going up and back, etc.)? How many 
dances do you generally manage to fit into a 3-hour contra evening? I've heard 
different wisdom from different folks and am curious to add some more data 
points!
Cheers,Maia

[Callers] Fwd: Timing on a zig and zag

[Jack Mitchell via Callers]

All of the zig zag dances I can think of end with something where the
timing can be "squishy".  (ie, Cows are Watching: Gents Allemande, P Sw;
Leave the Wine: N DsD, previous N Sw).  As you said in your original post,
the timing can be slightly different in different dances. That being the
case, I think a Do si Do or Gypsy with the new neighbor might make the
dancers more likely to be able to be successful.  For experienced dancers,
the balance happening late can feel really unsatisfying, but it isn't
nearly as noticable with a move that has a smooth transition.

Jack


On Wed, Jul 30, 2014 at 11:14 PM, Luke Donforth via Callers <
callers@lists.sharedweight.net> wrote:

> Hello folks,
>
> Thanks for all the insight on Grand Marches. It was a very fruitful
> discussion for me, so I'm going to toss another question out there.
>
> What timing do you like for zig and zag the set? The (uncommon) move where
> you and someone else (usually partner) move out to one side and slip behind
> the couple you were facing to face a new couple, and then possibly do it
> again where you keep going and then cut back to face a 3rd couple (double
> progression).
>
> I've got dances in my box that have a zig and zag in 8 (single
> progression) like Bill Pope's "The Cows Are Watching"; and I've got danced
> in my box that zig-zag-zig (double progression) in 8, like Rick Mohr's
> "Leave the Wine".
>
> A couple of the zig-zag dances I've seen do the zig and zag in, pairing it
> with a circle 1 1/4 or such (Will Mentor's "Frock's Rocking Frolic").
>
> I've danced and enjoyed all of these dances, or they wouldn't be in my
> box, but it seems a squishier move on timing than most; so I'm curious what
> people think about it; and/or what they ask for the band when calling one
> of these.
>
> This came up for me when I was playing with a new (I think) choreography.
> I put forth two possibilities drawing inspiration from Linda Leslie's
> Winter Storm and Bill Olson's 20 Below (side question, which one came
> first?).
>
> Becket, double progression cw
> A1
> Circle Left 3/4
> With Partner, zig left, zag right past a couple, zig left to face another
> new couple
> A2
> New Neighbor Gypsy and Swing
> B1
> Men allemande Left 1 1/2
> Pass Partner Right to start 1/2 hey
> B2
> Partner Gypsy and Swing
>
> Becket, single progression cw
> A1
> Circle Left 3/4
> With Partner, zig left, zag right to face new couple
> A2
> New Neighbor balance and swing
> B1
> Men allemande Left 1 1/2
> Pass Partner to start 1/2 hey by Right
> B2
> Partner Balance and Swing
>
> And for those of you who have stuck with my rambling this long, I'll toss
> another one out there:
>
> Becket, single progression, ccw
> A1
> Circle Left 1 1/4
> with Partner: Zig left, zag right to face new couple
> A2
> New Neighbor balance and swing
> B1
> Promenade across set with Neighbor
> Women Do-Si-Do 1 1/2
> B2
> Partner Balance and Swing
>
> If I had enough dancers, I'd just medley them; using the double
> progression every other time so you'd always see new faces... no, wait,
> that's a terrible idea.
>
> Thoughts or experience?
>
> Thanks again!
>
> --
> Luke Donforth
> luke.donfo...@gmail.com 
>
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
>
___
Callers mailing list
Callers@lists.sharedweight.net
http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net

Re: [Callers] Yet more unknown dances!

[Jack Mitchell via Callers]

#1 is Melody's Madness by David Glick -- naked in california has a similar
figure, but 2 neighbor swings
#3 is *Susie's Send Off* – Scott Higgs
#7 is almost Manga Tak by Ron Buchannan -- timing in your transcription is
off by just a bit

*Manga Tak – Ron
Buchannan
Improper*

*A1   N B&S*

*A2   Pass the ocean, Balance Wave*

*Swing Thru (Alle R ½, gents L ½, P Alle R ¾ -> Shadow*

*B1   Shadow Alle L 1x*

*P Sw*

*B2   Pass the Ocean, Balance*

*Swing Thru (P alle R 1/2, Gents L 1/2), N Alle R ¾ [to new
N]*





On Sun, Jun 1, 2014 at 6:59 PM, Maia McCormick via Callers <
callers@lists.sharedweight.net> wrote:

> Hi all,
>
> Cleaning out my pile of notes on excellent and unknown dances again. If
> anyone knows names/authors for these, shout it out! Thanks so much!
>
> Cheers,
> Maia
>
> -
>
> *#1: *?, imp. ("cool shadow dance")
>
> A1: new neighbor balance and swing
>
> A2: ladies bull by right to allemande partner L 3/4; shadow allemande 1
> 1/2
>
> B1: in wavy lines w/ ladies facing out, balance, spin right to partner
> (like a half Rory O'Moore); partner swing
>
> B2: circle L 3; do-si-do neighbor 1 1/2 to the next
>
>
>
> *#2: *Becket – Left prog.
>
> Long lines F&B / Ladies chain (to Nbr)
>
> (Petronella) balance ring, spin to Right / Balance ring, spin to Right
>
> [Square thru two]: Right hand balance w/partner, Pull by partner to
> face Nbr,
>
> Along set pull by Nbr to face next neighbor
>
> Swing new neighbor
>
> Circle Left ¾ / Partners Swing
>
>
>
> *#3: *Imp.
>
> A1: long lines
>
> Gents alle L 1 ½ to short waves (partner in R)
>
> A2: balance, partner alle R ¾ to long waves
>
> Balance and circulate
>
> B1: balance and circulate
>
> Balance and partner cross to swing
>
> B2: circle L ¾
>
> Pass thru and swing next
>
> (Greenfield, Halloween Extravadance 2013)
>
>
>
> *#4: *???, becket
>
> A1: long lines
>
> Circle L ¾
>
> A2: N swing
>
> Next N swing
>
> B1: Prom across and face R
>
> Ladies R 1 ½
>
> B2: shadow swing
>
> Partner swing
>
> (NEFFA ’14)
>
>
> *#5: *???, becket
>
> A1: yearn L
>
> Gents chain
>
> A2: bal ring, roll P away
>
> N swing
>
> B1: R/L thru
>
> Ladies chain
>
> B2: bal ring, roll N away
>
> P swing
>
> (NEFFA ’14)
>
>
>
> *#6: *???,  imp
>
> A1: star R
>
> star L
>
> A2: P courtesy turn and ladies cross
>
> Swing N
>
> B1: gents by R(?)
>
> P swing
>
> B2: long lines (and gent roll lady)
>
> Pass thru, turn R, prom single file to next
>
> (NEFFA ’14)
>
>
>
> *#7: *???, imp.
>
> A1: N b&s
>
> Pass ocean and balance
>
> A2: N R ½, gents pull by L, P R ¾
>
> B1: Shadow alle L 1x
>
> P swing
>
> B2: pass ocean, bal
>
> P R ½, gents pull by, N R ¾ to next N
>
> (NEFFA ’14)
>
>
>
> *#8: *a frustrating fragment--loved this dance, but have no idea what the
> rest of the choreography is!!
>
> mad robin gents in front à gents cross for long waves
>
> balance and circ.
>
> Balance and circ
>
> P swing
>
> (NEFFA ’14, Saturday)
>
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
>
___
Callers mailing list
Callers@lists.sharedweight.net
http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net

[Callers] Yet more unknown dances!

[Jack Mitchell via Callers]

#1 is Melody's Madness by David Glick -- naked in california has a similar
figure, but 2 neighbor swings
#3 is *Susie's Send Off* – Scott Higgs
#7 is almost Manga Tak by Ron Buchannan -- timing in your transcription is
off by just a bit

 *Manga Tak – Ron
Buchannan
Improper*

*A1   N B&S*

*A2   Pass the ocean, Balance Wave*

*Swing Thru (Alle R ½, gents L ½, P Alle R ¾ -> Shadow*

*B1   Shadow Alle L 1x*

*P Sw*

*B2   Pass the Ocean, Balance*

*Swing Thru (P alle R 1/2, Gents L 1/2), N Alle R ¾ [to new
N]*





On Sun, Jun 1, 2014 at 6:59 PM, Maia McCormick via Callers <
callers@lists.sharedweight.net
> wrote:

> Hi all,
>
> Cleaning out my pile of notes on excellent and unknown dances again. If
> anyone knows names/authors for these, shout it out! Thanks so much!
>
> Cheers,
> Maia
>
> -
>
> *#1: *?, imp. ("cool shadow dance")
>
> A1: new neighbor balance and swing
>
> A2: ladies bull by right to allemande partner L 3/4; shadow allemande 1
> 1/2
>
> B1: in wavy lines w/ ladies facing out, balance, spin right to partner
> (like a half Rory O'Moore); partner swing
>
> B2: circle L 3; do-si-do neighbor 1 1/2 to the next
>
>
>
> *#2: *Becket – Left prog.
>
> Long lines F&B / Ladies chain (to Nbr)
>
> (Petronella) balance ring, spin to Right / Balance ring, spin to Right
>
> [Square thru two]: Right hand balance w/partner, Pull by partner to
> face Nbr,
>
> Along set pull by Nbr to face next neighbor
>
> Swing new neighbor
>
> Circle Left ¾ / Partners Swing
>
>
>
> *#3: *Imp.
>
> A1: long lines
>
> Gents alle L 1 ½ to short waves (partner in R)
>
> A2: balance, partner alle R ¾ to long waves
>
> Balance and circulate
>
> B1: balance and circulate
>
> Balance and partner cross to swing
>
> B2: circle L ¾
>
> Pass thru and swing next
>
> (Greenfield, Halloween Extravadance 2013)
>
>
>
> *#4: *???, becket
>
> A1: long lines
>
> Circle L ¾
>
> A2: N swing
>
> Next N swing
>
> B1: Prom across and face R
>
> Ladies R 1 ½
>
> B2: shadow swing
>
> Partner swing
>
> (NEFFA ’14)
>
>
> *#5: *???, becket
>
> A1: yearn L
>
> Gents chain
>
> A2: bal ring, roll P away
>
> N swing
>
> B1: R/L thru
>
> Ladies chain
>
> B2: bal ring, roll N away
>
> P swing
>
> (NEFFA ’14)
>
>
>
> *#6: *???,  imp
>
> A1: star R
>
> star L
>
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> 
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
>
___
Callers mailing list
Callers@lists.sharedweight.net
http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net