Re: [Callers] Including Mobility Challenged Dancers

[Jacob or Nancy Bloom via Callers]

Syp Simeon

https://youtu.be/WpwWO5NycOg


On Wed, Sep 11, 2019, 2:41 PM Rich Sbardella via Callers <
callers@lists.sharedweight.net> wrote:

> Don,
> I've been at a party when Jerry Helt called a sit dance, but I could not
> find a video link.  Here is the closest I could come.  When I danced it,
> the chairs were around the perimeter of the room.
> http://blog.d4bp.com/wp/sit-down-dancing/
> Good luck with the gig!
>
> On Wed, Sep 11, 2019 at 2:27 PM Don Veino via Callers <
> callers@lists.sharedweight.net> wrote:
>
>> I have a private family dance gig with a church this weekend. In our
>> touching base just now, the contact brought up a request to include
>> *some* material that would be amenable to a couple of folks who wish to
>> participate but have mobility issues.
>>
>> I'm seeking further detail from them to know the scope of the challenges
>> but thought I'd reach out to see how others have dealt with similar
>> situations. In my normal calling for family events, I'll often mention
>> alternative moves for folks who don't bend as well as they used to, etc.
>> but I'm guessing the needs here may be more significant.
>>
>> Do you have any particular material you'd use within an otherwise
>> standard family/community dance context to suit mobility challenges? I know
>> there are things like the seated squares session at NEFFA but am hoping for
>> material that wouldn't require rearranging the furniture, etc. between
>> selections.
>>
>> Thanks!
>> Don
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Re: [Callers] Allemande

[Jacob or Nancy Bloom via Callers]

The Lambertville ECD site is pointing to a copy of Samuel, Ann, and Peter
Thompson's Twenty Four Country Dances for the Year 1782, on the Vaughan
Williams Memorial Library website.  There are a couple of things that the
term "allemande" could mean in 1782, but the one that seems correct for
that version of Away To The Camp would be danced as follows:

The couple link right elbows and then straighten out their right arms to
reach their partner’s hand, while they hold left hands behind their backs.
(For an allemand reverse they would reverse this and start by linking their
left elbows.)  They dance forward once around each other and return to
their places.  For the Thompsons' 1782 version of Away To The Camp I
suggest that both Allemande and Allemande Reverse be done, that the
footwork used be a skip-change step (which would have been called "chassee
forward" in 1782), and that all three couples do the allemandes (although a
case can certainly be made for only the active couple doing them.)

If you are interested in dance from that era, check out the blog that my
wife and I have at http://www.dancehistoryalive.com/blog/  We haven't
written an article on Away to the Camp yet, but we'll try to do one soon.

Jacob Bloom

On Wed, Jun 26, 2019 at 5:02 PM tom hinds via Callers <
callers@lists.sharedweight.net> wrote:

> John,
>
> Thanks so much for your hard work and sharing a tremendous amount of
> information with us.
>
> There’s one allemande I’d like to know more about.  It’s the one used in
> the the dance, Away to the Camp which can be seen on the Lambertville ECD
> site.
>
> Tom
>
> Sent from my iPad
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Re: [Callers] Building to Contra Corners

[Jacob or Nancy Bloom via Callers]

If you ever do triplets at your dance, you could teach the figure in a
triplet first.  Ted's Triplet #7 uses it, if I recall correctly.
Jacob

On Wed, Feb 20, 2019, 5:30 PM Richard Hart via Callers <
callers@lists.sharedweight.net wrote:

> I’d make sure that the dancers had already successfully danced every other
> move in the dance you want to call with contra corners. That way you could
> focus on the contra corners and the dancers would understand where they
> would be at the beginning and end of the move.
>
> Sent from my iPhone
>
> > On Feb 20, 2019, at 4:37 PM, Hannah Chamb via Callers <
> callers@lists.sharedweight.net> wrote:
> >
> > Hi all, first time posting here!
> >
> > I'm new-ish to calling and I've yet to call contra corners. I think I'm
> up for the challenge and could teach the figure itself, but I still think
> it's a tricky one for dancers in all but the most experienced crowds. A few
> callers I know have advised me to build up to a challenging figure like
> contra corners over the course of an evening by calling dances that echo
> the skills the dancers will need later.
> >
> > With that in mind, what dances would you call early in the evening in a
> mixed-level group that would help "teach" dancers the skills they need to
> be successful at contra corners?
> >
> > I've been thinking I should include an easy proper-ish dance, and maybe
> a dance with allemandes outside the minor set... anything else come to mind?
> >
> > Thanks in advance,
> > Hannah Chamberlain
> > Westbrook, ME
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Re: [Callers] Contras with square dance figures

[Jacob or Nancy Bloom via Callers]

Grand Square Contra (also known as Fox Hollow Fancy) uses the grand square
figure.

Jacob

On Sat, Aug 4, 2018, 4:27 PM Woody Lane via Callers <
callers@lists.sharedweight.net> wrote:

> Hi Rachel,
>
> Mike Richardson of Seattle wrote the dance "Now We Are Three" that uses
> Tag-the-Line. Erik Weberg of Portland adjusted that dance and called it
> "Now We Are Four." He replaced the A1 LLFB and Half-Hey with a
> Give-and-Take and Swing Neighbor. But both use Tag-the-Line. Here is Erik's
> "Now We Are Four":
>
> https://www.erikweberg.com/now-we-are-four/
>
> Woody Lane
> Roseburg, OR
>
>
> On 8/4/2018 12:51 PM, Rachel Shapiro via Callers wrote:
>
> Hi all,
> I'm in search of contras that have borrowed interesting figures from
> traditional and modern western square dances. Do you have any favorites
> you're willing to share? I've got Rang Tang Contra and some dances with
> Dixie Twirls. Lots with Box the Gnat and Swat the Flea. Any others you love?
> Thank you!
> Rachel Shapiro Wallace
>
>
>
>
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Re: [Callers] Folk Festival - Easy Contra dances to teach Beginners

[Jacob or Nancy Bloom via Callers]

WITH BEGINNERS, AVOID RIGHTS AND LEFTS!  Half of them will turn right when
they should have turned left, and the other half will turn all the way
around and look back at the person they just walked past.  To experienced
dancers they seem similar to a ladies chain, but people who have never done
either before find rights and lefts vastly more confusing.

Jacob

On Tue, Jul 24, 2018 at 11:17 AM, Jen Morgan via Callers <
callers@lists.sharedweight.net> wrote:

> Not necessarily.  I called a contra dance in the ceilidh tent at a UK folk
> festival with few if any experienced contra dancers.  I made a list of very
> basic figures and chose only dances with those figures in.  I think I used
> either only right and left throughs, or only ladies chains, but not both
> (can't remember which sorry!)  No work outside minor set, I preferred eight
> bar figures to four bar figures (over and back etc).  Lots of line of four
> lead down sort of dances.  Lots of the easier chestnuts.
>
> And I delivered the explanation of how to line up, how to know if you're a
> one or two, how the progression works etc, before *every* *single*
> *dance*.  It worked and the dancers had a great time.
>
> Hope it goes well!
> Jen
>
>
> On 24 July 2018 at 15:53, Mac Mckeever via Callers <
> callers@lists.sharedweight.net> wrote:
>
>> I stay away from contras unless you have a good number of experienced
>> dancers to hold things together.  There are lots of dances that are more
>> self correcting and don't have the complexity that progression creates.
>> Virginia Reel works good with beginners
>>
>> Mac McKeever
>>
>> On Tuesday, July 24, 2018, 9:48:59 AM CDT, Lorraine Sutton via Callers <
>> callers@lists.sharedweight.net> wrote:
>>
>>
>> Hello All,
>>
>> I am calling a 2 hour Intro to Contra dance at an Ontario Canada
>> Festival. ( more a music focus than a dance focus, at this festival)
>>
>> I would appreciate hearing from you as to contra dances ( lws proper
>> & Improper) that you have found successful with very novice dancers and why
>> you think those dances work for beginners.(I love Larry Jennings definition
>> of easy vs complicated )
>>
>> I do plan on doing some non progressive lws as well as a both a circle
>> and a Sicilian  circle in the program mix , to get the concept of
>> progression.
>>
>> Thanks so much.
>>
>> Lorraine Sutton  ( lorrainesutt...@gmail.com )
>>
>>
>> ...
>>
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Re: [Callers] Folk Festival - Easy Contra dances to teach Beginners

[Jacob or Nancy Bloom via Callers]

Beginners are often confused by contra dances in which they focus on their
partner across the set and progress sideways.  For a first contra, I
recommend that you start with a dance where the progression is "Pass
through to the next" or "Duck through to the next couple", so that the
dancers are focusing their attention up and down the set.  In fact, you can
start by having them do a Sicilian Circle, then stop, change the sets into
lines, and have them continue with the same dance.  Haste to the Wedding is
a good choice, or here's a dance of mine which has been successful with
beginners.

Jacob's Polka Contra by Jacob Bloom
Duple Improper
Music: polka or polka-like reel
Requires extra room up and down the line
Give both hands to the next, or take ballroom position

With the outside foot, heel, toe, two slides out, with inside foot heel,
toe, two slides in
Heel, toe, two slides out, Heel, toe, two slides in
Dosido below
All dosido partner
Allemande left below,
All swing partner
Circle left with same couple
Pass through, bow to next

On Tue, Jul 24, 2018 at 10:48 AM, Lorraine Sutton via Callers <
callers@lists.sharedweight.net> wrote:

> Hello All,
>
> I am calling a 2 hour Intro to Contra dance at an Ontario Canada
> Festival. ( more a music focus than a dance focus, at this festival)
>
> I would appreciate hearing from you as to contra dances ( lws proper
> & Improper) that you have found successful with very novice dancers and why
> you think those dances work for beginners.(I love Larry Jennings definition
> of easy vs complicated )
>
> I do plan on doing some non progressive lws as well as a both a circle and
> a Sicilian  circle in the program mix , to get the concept of progression.
>
> Thanks so much.
>
> Lorraine Sutton  ( lorrainesutt...@gmail.com )
>
>
> ...
>
>
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>
>


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[Callers] Question about Show of Hands

[Jacob or Nancy Bloom via Callers]

Does anybody call Show of Hands by Melanie Axel-Lute?  I have the first
figure as neighbor allemande right once around in eight beats, which is
enough time to go twice around.  Is there some reason the extra time is
necessary?  Or should it be twice around?

Jacob Bloom

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Re: [Callers] Leading, consent in embellishments

[Jacob or Nancy Bloom via Callers]

One thing is missing from this discussion, and that is a recognition that
some embellishments occur between dancers who are dancing the same role.
For example, if the dance calls for two gents or two ladies to allemande
left once around, one those two dancers might start leading an allemande
twice around instead of once around.  The principles of mutual consent and
of being alert to signals from the other dancer apply in this case as well.

Jacob

On Fri, Mar 16, 2018 at 12:55 PM, Ron Blechner via Callers <
callers@lists.sharedweight.net> wrote:

> Thanks, Jack.
>
> I think we, as callers, ought to acknowledge there are 2 camps of dancers,
> believing either:
>
> 1. Gents/Larks role is implicitly "led", and ladies/Ravens role is
> implicitly "follow" (along with all of the good comments about consent,
> such as Maia's)
>
> 2. Contra is implicitly not lead/follow, and any initiating can be done
> from either role.
>
> Either way to dance can be valid. Because both are valid, then we cannot
> assume either is default. Thus, technically both viewpoints are wrong.
> Contra is not *implicitly* one or the other. And in fact, I dance both
> styles, depending on partner. Sometimes, I feel like one style and the very
> next dance I might feel like the other. Options!
>
> Neither viewpoint is universal, nor is either rare. Thus, if we don't
> acknowledge that these both exist, we are doing a huge disservice by
> denying dancers to dance the way they want to dance.
>
> Thus, as callers, the view we should treat lead/follow are *style*
> choices. And while some areas may have dominant styles, it's not right to
> stifle either. Thus I have several practical recommendations:
>
> 1. Refer to it as style choice.
> 2. Get to know what your dance partners' preference is. Don't presume one
> or the other.
> 3. Lead/Follow are not appropriate role terms, because they dismiss people
> whose style is not that.
> 4. Teach leading tips for both roles. Like, you have a long lines, and
> then a mad robin or gents/larks allemande left? The ladies/Ravens are
> leading the move by easing the gents/Larks into those moves.
>
> In dance,
> Ron Blechner
>

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Re: [Callers] Contra Dances with Modern Western Square Dance Figures

[Jacob or Nancy Bloom via Callers]

The original 4-face-4 with a Grand Square (and the original 4-face-4 in
which the couples changed sides during the course of the dance) was my
Grand Square Contra:

Forward and Back, all swing corner
Sides face, Grand Square
Reverse
Side couples pass thru, Head couples pass thru, all swing partner and face
original direction.

Jacob Bloom


On Sat, Sep 23, 2017 at 1:54 PM, Bob Green via Callers <
callers@lists.sharedweight.net> wrote:

> I have a 4X4 with a grand square, well...half a grand square called
>
> *Luke, Your Not My Father.
> http://dancevideos.childgrove.org/contra/contra-modern/491-luke-you-re-not-my-father-by-bob-green-4x4
> *
> It is not that challenging. however the dance that inspired it is. Luke
> Donforth has one where the grand square is on the diagonal that was the
> inspiration for my dance. That dance is deceptively challenging...It makes
> keeping your role straight on the grand square take serious concentration.
> I don;t remember the name of the dance, perhaps you could contact Luke for
> it.
>
> Bob Green
> St. Louis
>
> On Sat, Sep 23, 2017 at 12:05 PM, Mark Hillegonds via Callers <
> callers@lists.sharedweight.net> wrote:
>
>> Hi all,
>>
>> I'm preparing for a workshop at a dance weekend in November where the
>> theme will be contra dances that incorporate square dance moves.
>>
>> I have a number dances with square thrus and swing thrus and box
>> circulates. However, these moves are fairly well known at this point. This
>> will be an advanced group of dancers so I'm looking for dances that
>> incorporate more unique and sophisicated moves.
>>
>> I know Bob Isaacs has several that quality, with dances that use Spin the
>> Top and Spin Chain Exchange the Gears.
>>
>> Looking forward to seeing what you may have.
>>
>> --
>> *Mark Hillegonds*
>>
>> Cell:  734-756-8441 <(734)%20756-8441>
>> Email:  mark.hillego...@gmail.com
>>
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Re: [Callers] terminology in Sicilian Circle

[Jacob or Nancy Bloom via Callers]

I don't think correctness needs to be considered. As long as the dancers
understand that they're going to do something with the person next to them
who isn't their partner, I'm happy, and either term conveys that.

Nowadays I think that I'm more likely to hear the word neighbor come out of
my mouth.

Jacob

On Sep 20, 2017 9:28 AM, "Sue C. Hulsether via Callers" <
callers@lists.sharedweight.net> wrote:

> Does anyone have an opinion about the use of the term “neighbor”  and the
> term “opposite” in a Sicilian Circle?
> “Neighbor” is more correct from a contra perspective, but “opposite" feels
> more correct to me from a square dance perspective.
>
> thanks,
>
> sue
>
>
>
>
>
> *Sue Hulsether*
> shulset...@mac.com
>
> www.suehulsether.com
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>
>
>
>
>
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[Callers] Quiet (was: Super easy dances - do they exist?)

[Jacob or Nancy Bloom via Callers]

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

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

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

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

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

Jacob


On Sat, Jun 17, 2017 at 12:50 PM, Linda S. Mrosko via Callers <
callers@lists.sharedweight.net> wrote:

> Oh how I wish that would work.  I've tried that technique over the years.
> They just ignore me.  Shushing works, but I have to repeat the sh into
> the mic lots of times.  A big part of the challenge is the acoustics --
> it's worse than being in a gym.  For instance, I get them quiet and then
> teach them the first move -- there is a roar -- I get them quiet again --
> teach the next move -- there is a roar -- I get them quiet again -- teach
> the third move -- there is a roar -- ad nauseam.  The musicians crank up
> their music to the max for the dance, but even I can barely hear it over
> the din from the dancers.  Short of hiring a person who can do that loud
> whistle, I'm at a loss.  I've sort of grown used to it, but my temper is
> short and I really have to watch myself.
>
> On Sat, Jun 17, 2017 at 7:42 AM, Jeremy Child 
> wrote:
>
>> To quiet a room I use the Girl Guides technique:
>>
>> I raise my hand, and anyone who sees me knows to stop talking and raise
>> their hand too.  More notice this (other peoples hands up and slightly
>> diminished volume).  This snowballs quite quickly as peer pressure kicks
>> in, and is a very effective technique.  You have to teach it to them first,
>> of course, but they pick it up quite quickly.
>>
>> Jeremy
>> www.barndancecaller.net
>>
>> On 16 June 2017 at 20:10, Linda S. Mrosko via Callers <
>> callers@lists.sharedweight.net> wrote:
>>
>>> I lead an annual dance for 200+ 18-year olds in a hall with terrible
>>> acoustics.  Been doing it for 15+ years.  If they all whispered at the same
>>> time, it would sound like a roar in that room.  I can only do the most
>>> basic stuff most of the time...simple circles, longways with lots of
>>> sashaying, an easy folk dance.  But I experiment every now and then, which
>>> lead me to come up with the following dances which, for the most part,
>>> worked.  Am I stealing them from somebody?  (I like to give credit where
>>> credit is due.)
>>>
>>> They call their dance "Swat the Flea".  I searched for a long time for a
>>> very easy dance that had a Swat the Flea and finally wrote this one --
>>>
>>> BOX'NSWAT (Circle)
>>> A1  Women into the middle and back; Gents into the middle & back
>>> A2  All make a quarter turn to the right and walk single file to the
>>> right
>>> B1  Women turn back to face partner -- all shake R hands with Partner &
>>> Box the Gnat; change hands, Balance & Swat the Flea
>>> B2  DSD Partner; Allemande R w/partner 1-1/2 to progress (women end
>>> facing into the center ready to go F&B)
>>>
>>>
>>> Since contra dances are almost impossible to teach to a loud,
>>> boisterous, energetic bunch of 18-year olds who have never heard of or seen
>>> a contra dance, I decided to give this a whirl -- and it worked -- mostly!
>>> It would probably be better with a smaller more sedate crowd.
>>>
>>> GREASE & GLUE (Contra formation -- Gender free -- all you need is a
>>> partner)
>>> A1  Couple 1 split Couple 2, return to places; Couple 1 DSD
>>> A2  Couple 2 split Couple 1, return to places; Couple 2 DSD
>>> B1  Star R; Star L (w/hands)
>>> B2  Couples face each other -- Couples DSD 1-1/2 ending back-to-back,
>>> facing next couple
>>>
>>>
>>> As an aside -- how do you quiet a room with terrible acoustics full of
>>> loud people?  Thanks!
>>>
>>> --
>>>
>>>
>>>
>>> *Looking forward,Linda S. Mrosko*
>>>
>>> *102 Mitchell Drive*
>>>
>>> *Temple, Texas 76501*
>>>
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>>>
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>>>
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>>
>
>
> --
>
>
>
> *Looking forward,Linda S. Mrosko*
>
> *102 Mitchell Drive*
>
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>
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> *contradancetx.com 

[Callers] Ladies Chain to Allemande Left (Was: Does this dance already exist?)

[Jacob or Nancy Bloom via Callers]

My dance You Married My Daughter (written in 1987) has a Ladies Chain into
an Allemande Left, although I find it less confusing to teach it as "ladies
pull by, allemande left with the opposite gent.

You Married My Daughter
Jacob Bloom
Duple Improper

Balance in long lines (gents facing out), slide past to right
Balance left and right, slide to left
Balance in long lines, allemande right 3/4
Gents allemande left once and a half
Balance and swing partner
   end facing across
Promenade across
Ladies pull by, allemande left with opposite gent to long lines



On Mon, Apr 10, 2017 at 5:51 PM, Don Veino via Callers <
callers@lists.sharedweight.net> wrote:

> Hi Esther,
>
> Such a move is in my Greenfield Tornado dance. Choreo and a video link is
> on my blog post . I'm not aware of any
> other dance until now which used this combination, but would be happy to
> give credit to a prior pioneer.
>
> -Don
>
> On Mon, Apr 10, 2017 at 5:24 PM, Esther Fraser via Callers <
> callers@lists.sharedweight.net> wrote:
>
>> Also interested in other dances that have a Ladies' Chain to into
>> Allemande Left (with the one you chain to) combo. I think I might have seen
>> it somewhere, but I can't remember where.
>
>
>
>
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>
>


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Re: [Callers] Another vote for "jets" and "rubies"

[Jacob or Nancy Bloom via Callers]

I'll echo this viewpoint.  I value the opportunity to go different places
and learn different ways of doing things.  I feel that much more is lost in
uniformity than is gained.

Jacob


On Sun, Jan 29, 2017 at 9:03 PM, Chet Gray via Callers <
callers@lists.sharedweight.net> wrote:

> In regards to the present variety in role terminology, I may be fairly
> alone in this opinion, but I hope we never intentionally arrive at a grand
> consensus.
>
> I love that different terms for roles have sprung up in different
> communities, just as I love that so many wonderful terms have sprung up for
> eye-turn/shoulder-turn/spiral. I love hearing "allemande", "hand turn", and
> "hand 'round" in different communities. I love that "dosado" means
> drastically different things in different long-lived community ("square")
> dances. I love that some communities default to hands-across stars while
> others default to wrist-hold stars. I love that there are at least three
> different promenade positions, and each is default in different
> communities. As much as my engineer brain would enjoy it, I hope we never
> have a CALLERLAB to strictly define terminology and steps for contra dances.
>
> — Chet Gray
> dance caller
> Louisville, KY
>  (502) 419-7008 <+1-502-419-7008>
>
> On Thu, Jan 26, 2017 at 11:42 AM, Donna Hunt via Callers <
> callers@lists.sharedweight.net> wrote:
>
>> I'm sad to hear that so many groups are using different role terms and
>> such a variety to boot.  Not only do our beginners have to learn a brand
>> new vocabulary (sometimes in a foreign language) and then remember the
>> movement to go with those new words, but now they have to deal with
>> remembering a role that there's no basis for, and that role term changes at
>> different dance locations.  Augh my head hurts just thinking about it.
>>
>> Donna
>>
>

Re: [Callers] Calling a Halloween dance tonight? Try this circle mixer...

[Jacob or Nancy Bloom via Callers]

Here's a link to the sheet music for the tune that was used for Alfred
Hitchcock Presents, in case you want to have it for your musicians.  It's
called, "Funeral March of a Marionette."

http://makingmusicfun.net/pdf/sheet_music/march-of-the-marionette-piano.pdf

Jacob

On Sat, Oct 29, 2016 at 12:53 PM, Amy Cann via Callers <
callers@lists.sharedweight.net> wrote:

> I try and call the dances of Rich Blazej whenever I can and this one's a
> Halloween favorite, re-done as "Werewolves and Zombies".
>
> *Garfield's Escape* -- circle of couples PLUS ONE EXTRA in the center
> (Garfield)
>
> A1  All into the center EIGHT steps and back, menacing the Garfield
> A2  Circle left, circle right
>
> B1  Women (werewolves) promenade single file to the right, while men
> (zombies) "star" by the right -- each man puts his right hand on right
> shoulder of the man in front - including Garfield.
>
> B2  Caller hollers "Escape!" ("Boo!", or maybe "Braaaiiins") and all men
> run to the outside and swing with a woman in the outer circle. A new
> Garfield remains in the center.
>
> Rich himself named this after Garfield the comic-strip cat, way back when
> he was cynical and funny (the cat, not Rich).
> "The single man remaining at the end of the dance is entitled to a pan of
> lasagna and some fresh kitty litter".
>
> My favorite normal tune for this is the minor jig Coleraine, played at a
> slightly slower lurch-y tempo, but if I'm lucky the band'll do the Alfred
> Hitchcock theme.
>
> Have fun, just thought I'd share -- and I'd love to hear how it goes if
> you do it, and what variations emerge.
>
> Cheers,
> Amy
>
> ___
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>
>


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Re: [Callers] Wrist-Lock Stars

[Jacob or Nancy Bloom via Callers]

When I attended the Berea Christmas Dance School forty years ago, and put
my hand on the wrist in front of me during a walk through, someone
complained, saying, "He said a star, not a mill!"

Is the term "mill", or the term "millstone", commonly used to refer to
wrist stars in areas where hands-across is the default way of doing a star?

Jacob Bloom


On Mon, Oct 10, 2016 at 10:29 AM, Jerome Grisanti via Callers <
callers@lists.sharedweight.net> wrote:

> I agree with Chet that Louisville's default star is hands-across, although
> weekend festivals in nearby cities tend toward the millstone star. I avoid
> the terms wrist-lock or even wrist-grip star, as I prefer the fingers to
> lay atop the adjoining wrist without using the thumb to "grip" in any way.
>
> The Midwest where I dance/call now is pretty solidly wrist-star territory
> (St. Louis, Columbia MO, Kansas City, Lawrence). When I call one-night
> events (parties, weddings), I dictate hands-across stars, but when calling
> for an established contra community I ask for the default.
>
> --Jerome
>
>
> Jerome Grisanti
> 660-528-0858
> http://www.jeromegrisanti.com
>
> "Whatever you do, or dream you can, begin it. Boldness has genius and
> power and magic in it." --Johann Wolfgang von Goethe
>
> On Mon, Oct 10, 2016 at 3:31 AM, John Sweeney via Callers <
> callers@lists.sharedweight.net> wrote:
>
>> Hi all,
>> I have been to contra dances and festivals all over America and
>> everywhere I have danced everyone automatically uses a wrist-lock star
>> (unless the caller has specified hands-across because of the subsequent
>> choreography).
>>
>> But I am constantly challenged in England by people claiming that
>> wrist-lock stars are not the standard in America.
>>
>> When I go to somewhere like The Flurry and see 600 people from all
>> over the country all doing wrist-locks it seems to me that it must be the
>> standard way of doing things.
>>
>> And obviously it has been common in America for a long time; this
>> video is from 1964 in Northern Vermont and shows wrist-lock stars:
>> https://www.youtube.com/watch?v=pZubTju7g_s
>>
>> So, are there still significant communities that don't use
>> wrist-locks?
>>
>> Is the wrist-lock the de facto standard?
>>
>> Thanks.
>>
>> Happy dancing,
>>John
>>
>> John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802
>> 940 574
>> http://www.modernjive.com for Modern Jive Events & DVDs
>> http://www.contrafusion.co.uk for Dancing in Kent
>>
>>
>>
>> ___
>> Callers mailing list
>> Callers@lists.sharedweight.net
>> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>>
>
>
> ___
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> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
>


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Re: [Callers] Favorite Triplet ?

[Jacob or Nancy Bloom via Callers]

That chassee and heel, toe, heel, toe combination is essentially a chassee
and beaten step combination, very common in 18th century country dances.
The beaten step was not usually specified in the description of the dance,
but was one of the steps that might be used whenever a "footing step" was
called for.

See my blog entry on Ashley's Ride for an example:
http://www.dancehistoryalive.com/blog/2015/05/ashleys-ride/

Jacob

On Wed, Mar 30, 2016 at 9:33 PM, Michael Barraclough via Callers <
callers@lists.sharedweight.net> wrote:

> No old ones that I am aware of. Some other modern ones.
> --
> Michael Barraclough
> mich...@michaelbarraclough.com
> www.michaelbarraclough.com
>
>
>
> -Original Message-
> *From*: Tom Hinds  >
> *To*: mich...@michaelbarraclough.com
> *Cc*: Valerie Cohen  >,
> callers@lists.sharedweight.net, callers-requ...@lists.sharedweight.net
> *Subject*: Re: [Callers] Favorite Triplet ?
> *Date*: Wed, 30 Mar 2016 21:03:43 -0400
>
> Michael,
>
> That's one of my favorites too.  I'm curious about the chasse down
> and heel toe.  Are there any old English dances that have this
> combination?  Maybe French (shouldn't leave them out)?
>
>
>
> Tom
>
>
>
> ___
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> Callers@lists.sharedweight.net
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>
>


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http://jacobbloom.net/

Re: [Callers] Contras for One Nighters

[Jacob or Nancy Bloom via Callers]

Hi Rich,

On such occasions, I use what I think of as my House Dance Special, which
is just a Sicilian Circle straightened out.

Duple, and don't say a word about who is supposed to be on which side of
the set

Circle left, circle right
Right hand star, left hand star
Dosido partner, two hand turn
Dosido neighbor, pass through and bow to new neighbor


Jacob


On Sat, Mar 5, 2016 at 1:44 PM, Rich Sbardella via Callers <
callers@lists.sharedweight.net> wrote:

> I rarely call a contra at a One Night Party Dance, but occasionally I am
> asked to.  I have a few in my cards, but can anyone make some sure fire
> recommendations.
>
> Assume 95%-100% non dancers.
>
> Thanks, Rich
> Stafford, CT
>
> ___
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>
>


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Re: [Callers] Family dance- educational supplements?

[Jacob or Nancy Bloom via Callers]

Claire,

Let me add my voice to those recommending that you get hold of and study
the books by the Laufmans, New England Dancing Masters, and Marion Rose
BEFORE your family dance gig.  As a new Family Dance caller, you need to
learn a completely different repertoire than what you've been trying to
learn as a new contra dance caller.  Also, some of the skills are
different.  (As a contra dance caller you've been trying to keep your
phrasing rock solid, but for a family dance you need to judge when to
ignore the phrase and sight call - and what to do when you have two sets
that are at different places in the dance.)

Jacob
Arlington, MA

On Tue, Feb 2, 2016 at 4:18 PM, Rich Sbardella via Callers <
callers@lists.sharedweight.net> wrote:

> My apologies to Dudley and Jacqueline.  Their Traditional Barn Dances
> book, with DVD and CD are also on my shelf.  Together they were an early
> inspiration, as I added community dance to my calling skills.  I remember
> driving to Scout House to observe Dudley's unique calling/teaching style
> one Sunday afternoon, after purchasing his book, and before I tried to call
> any such dance programs myself.  His simple dances were so effective with
> the families on hand.
>
> Additionally, I stress attending the types of dances that you want to
> call, as often as you can.  Dancing a particular dance, is a great way to
> learn it, and to place it appropriately in your repertoire.  I have many
> dance cards in my collection that I have not called, but I frequently call
> the ones that brought me joy as a dancer.
>
> Rich
> Stafford, CT
>
> On Tue, Feb 2, 2016 at 3:33 PM, James Saxe via Callers <
> callers@lists.sharedweight.net> wrote:
>
>> Hi, Claire,
>>
>> I've done only a tiny amount of calling for the family dance
>> crowd, but from what I've seen of the New England Dance Masters
>> material and Marion Rose's material, and from seeing the authors
>> in action either live or on video, I'd second both of Rich's
>> recommendations.
>>
>> Another resource worth looking at is Dudley Laufman's _Traditional
>> Barn Dances and Calling_, which comes packaged with two CD's of
>> music (called and uncalled) and a DVD showing some of the dances.
>> See
>>
>>
>> http://www.humankinetics.com/products/all-products/traditional-barn-dances-with-calls--fiddling?isbn=9780736076128
>>
>> SF Bay area caller Erik Hoffman has a book called "Old-Time Dance
>> Calling for Weddings, Parties, and One-Night Stands"
>>
>>  http://www.erikhoffman.com/otdancebk.html
>>
>> If you get in touch with him and tell more about the group you're
>> expecting to call for (What age-range of home-schoolers?  Will a
>> bunch of their younger siblings be there?), he might advise you
>> as to how much of the material in it would be suitable for you.
>>
>> Cheers,
>> --Jim
>>
>> > On Feb 2, 2016, at 11:44 AM, Rich Sbardella via Callers <
>> callers@lists.sharedweight.net> wrote:
>> >
>> > Hello Claire,
>> >
>> > Here are two excellent resources.
>> >
>> > New England Dancing Masters offer many books, Cds, and DVDs for
>> Family/Community Dance.  I cannot say enough good about this material.
>> >
>> > www.dancingmasters.com
>> >
>> > Marion Rose also has a series of books Called Step Lively.  They have
>> dances and CDs with family friendly dances.
>> > www.communitydance.ca.  Many, but not all, of the dances in this
>> series, are tune specific.
>> >
>> > Youtube is also an excellent series, and I would recommend Cal
>> Campbell's dancing for busy people blog and the BDPLS (Beginner Dance Party
>> Leaders Seminar) channel on youtube.
>> >
>> > Have fun,
>> > Rich
>> > Stafford, CT
>> >
>> >
>> >
>> >
>> >
>> > On Tue, Feb 2, 2016 at 2:14 PM, Claire Takemori via Callers <
>> callers@lists.sharedweight.net> wrote:
>> > I’m a new contra dance caller (took Nils’ workshop at American Week
>> last July).  And my goal is to offer calling for Family dances to help
>> spread folk music/dance in our community. (maybe College contras, but
>> that’s a different thread)
>> > I’m calling my first Family dance on March 6th for a home-school
>> community.   I was hoping to offer a page of INTERESTING , Kid-friendly,
>> FUN info, activities, links in case someone wants to delve further into the
>> history, dance or music.
>> >
>> > Any great resources out there?  I don’t have a ton of time to put this
>> together from scrap. And I don’t know enough yet to figure out the
>> history.  I’m learning as I go!
>> >
>> > thanks !
>> > Claire Takemori
>> > Bay Area California
>> > ___
>> > 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 mailing list
>> Callers@lis

Re: [Callers] dances in unusual formations

[Jacob or Nancy Bloom via Callers]

Here's some of the dances I've done which haven't already been mentioned.


Set a Crochet - Traditional French Canadian

Couples scatter on floor, then find another couple
As couples, hook left elbows and turn
Circle left
Swing Neighbor, Swing Partner


Borrowdale Exchange - Scatter mixer
Formation: three couples in circle

Circle left, Circle right
Forward and Back, partner dosido
Hands-across right hand star.  Starting with the two people whose hands are
lowest, each pair pulls their partner to them for a swing
Promenade with your new partner to make new sets


Billingsdale Pattern - Chip Hendrickson
Two couples in line, women back to back

Hey for four
Dosido partner, Swing
Right hand star, Left hand star
Ladies Allemande R once and a half, Allemande L Neighbor.  Start with
Ladies back to back first two times, Gents back to back second two times.


Squeeze the Wheel - Rich Blazej
Circle of threesome facing threesome

Middles turn contra corners
All balance and swing opposite, end facing center of big circle
Four steps in, balance, four steps out, balance
Circle 6 once around, pass through


Space Debris - Jenkins
Individuals facing any direction

Promenade alone, find a partner, promenade any direction, find another
couple
Circle L, circle R
Dosido partner, dosido opposite
RH star, take L hands as well, buzz step swing for 8, explode the star and
promenade off alone


Luck of the Morris - Jacob Bloom
Circle of three couples.  Each person's partner is diagonally across the
circle of them.  I have sets form up as for a triplet, then say, "Second
couple change places with your partner, first and third ladies change
places with each other."  Each couple is active in turn.

Actives lead Forward 6 and Back (the actives take the people on each side
of them and lead towards their partner diagonally across from them), all
swing opposite, Actives end their swing facing one of the end couples and
the others end facing the middle
Actives with one end couple Ladies chain over, chain back, actives do an
extra half turn
Half Right and Left with the other end couple, Actives go between them,
cast off with next couple
Circle 6 to the left, all into center and back.  (The next time through, a
different couple leads the Forward 6 and Back.)


Cornwall 6 Hand Reel, Walpole Cottage, General Dummer's Reel, Levi Jackson
Rag, and The Weevil have already been mentioned.  A word about The Weevil:
I've found it important to emphasize to the dancers that they are NOT
standing across from any other dancer.  Instead, the three dancers on one
side are standing across from the spaces between the four dancers on the
other side.  If they stand across from another dancer, they will get
confused when they try to change places with the dancers on the right and
left diagonals.

Jacob


On Sun, Nov 1, 2015 at 12:10 AM, Donna Hunt via Callers <
callers@lists.sharedweight.net> wrote:

>
>
>
>
> Hi
> I'm doing a workshop on dances "outside the box" (ie, no squares or
> contras).
> Anyone have any interesting dances for contra dancers that fit the
> criteria?
>
> I have Tom Hinds "Hexitation" and several triplets, a Zia and a Tempest,
> and have looked through the Ralph Page weekend glossary, but I'm wondering
> if you were doing a workshop like this, what would be your top pick of a
> dance?
>
> Thanks
> Donna Hunt
>
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>
>

Re: [Callers] dances in unusual formations

[Jacob or Nancy Bloom via Callers]

I've found You Married My Daughter But Yet You Didn't to be a good
alternative tune for Levi Jackson Rag.

Jacob

On Sun, Nov 1, 2015 at 7:17 AM, Bree Kalb via Callers <
callers@lists.sharedweight.net> wrote:

> Levi Jackson Rag is a favorite of mine but not all bands know the tune.
>
> -Original Message-
> From: Donna Hunt via Callers
> Sent: Nov 1, 2015 12:10 AM
> To: call...@sharedweight.net
> Subject: [Callers] dances in unusual formations
>
>
>
> Hi
> I'm doing a workshop on dances "outside the box" (ie, no squares or
> contras).
> Anyone have any interesting dances for contra dancers that fit the
> criteria?
>
>
> ___
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> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
>

Re: [Callers] Gypsy Synopsis

[Jacob or Nancy Bloom via Callers]

Lewis Carroll may have defined the word that way on one occasion, but
Humpty Dumpty defined the word as "to go round and round like a gyroscope."
 And Humpty Dumpty was an expert on getting words to mean what you pay them
to mean!

And William Butler Yeats said, in his poem The Second Coming, "Turning and
turning in the widening gyre, the falcon cannot hear the falconer."  So his
meaning was clearly a spiral in which one turns.

Jacob

On Thu, Oct 29, 2015 at 7:44 PM, John Sweeney via Callers <
callers@lists.sharedweight.net> wrote:

> Sorry, but in 1855, in the magazine Misch-Masch, Lewis Carroll defined Gyre
> as follows:
> "Gyre, verb (derived from GYAOUR or GIAOUR, 'a dog'). To scratch like a
> dog."
>
> So, nope, nothing to do with gyration!
>
> And, I have always understood it to be pronounced with a hard "g" as in
> "give".  My dictionary agrees with me. So, no doesn't sound like "gypsy".
>
> Of course, you can still use the term and pronounce it "jire" (based on its
> other definitions).
>
> You see, words never mean what you think they do! :-)
>
> Happy dancing,
> John
>
> John Sweeney, Dancer, England j...@modernjive.com 01233 625 362
> http://www.contrafusion.co.uk for Dancing in Kent
>
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>

[Callers] Derivation of "Allemande"

[Jacob or Nancy Bloom via Callers]

For those interested in the historical derivation of our terms:

As Alan said, the Allemande was a couple dance from the late 1700s.  In it,
both hands were held, and the arms moved through various positions.  This
put the couple in much closer contact than they were in the minuet, in
which the only physical contact was through hands held at arm's length.
This makes the Allemande an important part of the transition of couple
dancing from the minuet to the waltz.

The dance form known as Germans was shortened from German Cotillions.
These were musical games which were popular in ballrooms in the 1800s.

Here's a link to an example of the Allemande being danced:

https://www.youtube.com/watch?v=c3ay1kAK0YA

Jacob

On Thu, Oct 29, 2015 at 6:00 AM, Alan Winston via Callers <
​​
callers@lists.sharedweight.net> wrote:

>
>
> On 10/29/15 2:45 AM, Jeff Kaufman via Callers wrote:
>
> On Oct 29, 2015 4:24 AM, "Erik Hoffman via Callers" <
> callers@lists.sharedweight.net> wrote:
> >
> >
> > No Hand Allemande (and I do think Allemande comes from "The
> German," a dance)
> >
>
> I wonder what we'll do if we discover that to some Germans the French term
> "Allemande" is derogatory and they prefer to be called "Deutsche".
>
> Given that "allemande" is an incredibly-overloaded term in different dance
> genres - it's a progressive figure for two or three couples in Scottish
> dancing; it's a kind of 1700s couple dance; it's a pretzel-armed turn in
> cotillions, it's a not-100%-clearly-understood-thing-with-a-circular-track
> in Regency-era longways dances, it's an elbow turn, it's a hand turn - it
> wouldn't ruin my life if we started saying "hand turn" instead of
> "allemande".
>
> Just sayin'.   (Although I would miss "allemande left with your left hand,
> walk right in to a right and left grand" and the allemande alphabet.)
>
> -- Alan
>
>
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>
>

[Callers] Female caller for one-time beginners party on Long Island

[Jacob or Nancy Bloom via Callers]

I've been contacted by someone who is looking for a female square dance
caller for a party on Long Island, NY, in December or January.  The
attendees will be 50 twelve-year-old girls.

If anyone would be interested in calling for this gig, please contact me
off-list.

Jacob Bloom
jandnbl...@gmail.com

[Callers] Historical derivation of term "Gypsy"

[Jacob or Nancy Bloom via Callers]

I've changed the name on the thread, to reflect the change of subject to
historical background.

I acknowledge Alan's point, that, unless a pre-Cecil Sharp source shows up
for the use of the term 'gypsy' as a country dance figure, the bulk of my
hypothesis falls apart.

As for the use of the terms 'gyp' and 'gypsy' in Morris dance, *The Morris
Book* by Cecil Sharp and Herbert Macilwaine defines the figure "Half-Hands
or Half-Gip" in part I, page 65, and defines the figure "Whole-Gip or
Gipsies" on page 32 of Part III.

No explanation for the derivation of the terms is given in either volume.

I do not have a copy of Sharp's Country Dance Book at hand.  Did someone
say that Sharp did not use the term gypsy in it?

Jacob

On Mon, Oct 26, 2015 at 4:40 AM, Alan Winston 
wrote:

>
>
> On 10/24/15 10:32 PM, Jacob Nancy Bloom via Callers wrote:
>
> See the link below for more information on the dance The Spanish Gypsy (or
> Jeepsie), the song from which the tune for the dance came, and the 1623
> play from which the song came, which had the title "The Spanish Gypsy".
>
> http://www.pbm.com/~lindahl/lod/vol4/spanish_gipsy.html
>
> I'll go out on a limb and make some historical pronouncements which cannot
> be proven, but which seem most probable to me:
>
> The dance title The Spanish Gypsy came from the dance being done to a tune
> associated with the play The Spanish Gypsy.
>
> Sure, extremely plausible.
>
> The dance figure Gypsy got its name from the prevalence of the figure in
> the dance The Spanish Gypsy.
>
>
> If true, only true in the modern revival.  (Basically, Cecil Sharp made up
> *and named* the Gypsy figure.  In Spanish Jeepsie - reconstructed at the
> link you have above- the figure isn't a gypsy, and it isn't called a
> gypsy.  It's a back to back.)
>
> Point me toward dance notation published before 1900  that uses the term
> "gypsy" as the name of a figure, and then we can talk.  Until there's some
> evidence that Elizabethan dancers used the figure name, your argument dies
> here.
>
> The Morris dance figures whole-gyp and half-gyp were originally called
> whole-gypsy and half-gypsy.  (Although parts of England had and ancient
> tradition of seasonal dancing under the name Morris Dance, it seems likely,
> from the nature of the dances, that the form of the Cotswold dance
> traditions collected by Cecil Sharp only went back to the Elizabethan
> period.)
>
> I think you're saying that Cotswold dances as collected by Sharp and
> others reflected Elizabethan country dances as shown in Playford, and that
> whole-gyp and half-gyp were therefore originally named after the (notional)
> country dance figure and were thus properly named whole-gypsy and
> half-gypsy.  Please correct me if I've misunderstood this.
>
> This is irrelevant unless you can show that Elizabethan country dance
> actually had a figure called gypsy, which you haven't.  (And it's actually
> irrelevant even if you can, since once you draw a line from the play to the
> tune to the dance you've said what you can about it not being an ethnic
> stereotype.)
>
> But if it *were* relevant, I'd ask you to explain why these
> Playford-following Elizabethan morris dancers used "half-gypsy" for what
> Playford called "sides all".
>
> -- Alan
>