Re: [Callers] Settlement Swing Balance Question
Thanks everyone. I'm going to give it a go this weekend and appreciate the correction Linda. Best, Nancy
[Callers] Settlement Swing Balance Question
Hi All, I have Settlement Swing by Penn Fix as this: A1 Neighbor dosido to long wavy line G face out, Ladies face in, rt hand to N Bal the wave, alle right 1x, re-form the wave A2 Balance wave, Neighbor swing B1 Ladies chain, over and back B2 One’s balance and swing I'm wondering what your instructions would be for the Balance at the start of A2? Balance right, then left again, Or for this second long wave, Balance left, then right? Thanks! Nancy Turner Waitsfield VT
[Callers] Wedding dance planning
Hi All, I followed the recent discussion of planning a dance for a highschool audience. I'd love to hear what you consider to be your "favorite" wedding dances for a wedding party of adults with some dancers in the mix but not too many, where the dance will run 45 minutes to an hour. I'm looking for non-contras, accessible to all dances. I've got the spiral waltz and Do-Si-Three as part of my preliminary planning Thank you very much Chrissy Fowler and Linda Leslie What else is tried and true and among your favorites? Thanks! Nancy Turner
[Callers] Zodiac
Hi All, I'd like to say that I called Zodiac last night, but this community knew it so well that a walk through or prompting through wasn't required! The band started playing, it was obvious they all knew it, and off we went! It was helpful to discover in advance of the evening that there are variations to the lyrics and the moves. In addition to the version that Martha shared, I now know this: Lyrics 1) Here comes Zodiac, Zodiac, Zodiac, here comes Zodiac all night long. 2) Step-back Sally, make a little alley, step back Sally all night long. 3) Here comes Sally, walking down the alley, here comes Sally, all night long. 4) Here comes the other one, just like the other 1, here comes the other 1 all night long. 5) I looked down the alley, and what did I see? A big fat man from Tennessee. 6) I betcha five dollars, you can't do this! I betcha five dollars, you can’t do that! To the front to the back, side-side-side! x2 7) Lean waaay back, you've got a hump on your back! x2 8) You do the camel’s walk, you do the camel’s walk. (Quietly) Moves: 1) Hands crossed with Partner across the set: sawing motion. 2) Step to beats, backing away from partner to make an "alley" down center of set. 3) First one of top couple, makes way down set. 4) Second person (or couple) follows. 5) Hand flat above eyes across to Partner; hands delineate a large belly. 6) Wag right finger, then left finger at partner. Hop to pattern x 2 7) Lean way back; reverse to lean way forward x 2 8) Move one step at a time towards their partners again and take hands. Thanks for the help. Nancy Turner Waitsfield VT
[Callers] Looking for Family Dance called Zodiac
I'm looking for a family dance called Zodiac. I've checked the books I have on hand and have not found it. Does anyone know it, and can it be shared? Thanks, Nancy Turner Waitsfield VT
Re: [Callers] Callers Workshop
Hi David and All -- As David knows, I'm a caller on the newer end of the spectrum. I would love a workshop on triplets and chestnuts. I picked up your book and since I haven't danced many of the dances and the formats are new to me (and the crowds that I call to), a session dancing them and learning how to call them would be really helpful. I don't yet "get" triplets, and knowing how to do them would solve an occasional issue of calling dances for a very small crowd. I'm a birder. When I look at a bird and try to identify it, I'm parsing out the features (beak type, size, flight pattern, etc) and then there is that ahah moment when the bird is identified. I'm still waiting for that to happen for me with contras -- I can imagine that there is a pattern to clusters of them. Maybe this is something that can only be felt and not taught, but if there are any useful tips on how you "recognize" a dance I would find that useful. I'm thinking it will help me with putting down the card and calling from memory. Count me in! Nancy Turner Waitsfield VT
[Callers] Keepin family dancers to the measures
Here is a question I've mulled over and I'm curious to know what others practice. Do you always try to keep family dancers in time with the music? Most of the family dances I've called have had a mix of young children 4 and up and their parents; so it is this type of crowd that I'm thinking of when I ask this question. Rather than split longways sets into 6-8 couples, I've let them run longer. The dancers need more time to complete the figures due to the length of the sets and I get them going with the next figure at the start of the next A or B. The plus is that we don't have to worry about rushing, but I find that this requires me to call the entire time as the dancers don't have the music as the cue. I've played a bit with tempo. Slowing it way down does allow even young dancers to complete the moves in sync, but I have found a corresponding loss of energy from the slow tempo. Thoughts? Nancy Turner Waitsfield VT
[Callers] Calling to Quebecois Tunes
Hi all, I am super excited about calling the Montreal dance in March; the band is an amazing Quebecois trio. I have heard of crooked tunes, but don't understand the concept fully. Can someone explain? How does it impact calling? How likely am I to encounter it? Anything else you can think of that I might appreciate knowing about this genre of music? Thanks! Nancy Turner Waitsfield Vermont
Re: [Callers] Trouble Getting Gigs
Hi All, Great topic. I've been calling for almost two years with a mix of family dances and small contra dances. I've viewed these venues as a forgiving place to learn and practice, and I am grateful for them. I also help to organize a dance that is mid-sized with a mix of experienced and new dancers that runs once a month. In a good month we get 100 there; in smaller months 65. My "glass ceiling" was calling the dance that I organize. For many of the issues that Greg described, our organizing committee wants to keep the dance lively with consistent performers. However, we are also open to up and coming performers and decided that we would pair new bands with experienced callers and visa versa as a way to encourage and develop new talent. Our summer months are typically smaller dances, so this is a time when our booker feels more freedom to book a range of performers. This summer I've felt that I've been ready to call a whole night where there are more experienced dancers, and therefore at our dance. To get there, I had to meet the expectations of the committee that I was ready. I struggled a bit with this. I felt concern that I would take advantage of my position on the committee to get on stage. My "big break" came two weeks ago when our caller for the August dance cancelled with relatively short notice. Our outreach to other callers failed to come up with anyone who was available and so I got to call the night. As a caller, it was really a new experience to plan for and call a whole night of dances for these dancers. As Tina described, I was able to call dances that were more challenging to call and dance. Nothing too wowing, but for me, they were a stretch beyond what I'd been able to do elsewhere. It was really fun and all went well. I've talked with local musicians who felt this same sort of barrier to getting on stage at another big local dance. They felt that they were put to a higher standard by the bookers just because they were familiar and untested and young performers. I think what Tina is describing isn't atypical. Tina, if you are willing to travel, we'll book you at our dance! Maybe a strategy is to get on the road and call at bigger dances outside of your region. On the strength of that experience, you could reasonably the local organizers to give you a shot. My two cents, Nancy Turner Vermont
Re: [Callers] Callers Digest, Vol 40, Issue 3
In response to the question posed by Beth about what I'd like to learn as a new caller. Figures other than contras. E.g. squares, quadrilles, triplets. I've had a brief introduction to these other forms, but would find it helpful to understand their format more fully and to practice them. I'm still getting used to the fact that as the caller "I am in charge." As I call more dances, I'm facing new situations and responding. Perhaps a session that poses "difficult" or atypical situations and then talk about options for responding to them. E.g., you have a room that is way too crowded. What do you do? Nancy Turner Waitsfield VT -- Message: 1 Date: Fri, 7 Dec 2007 20:54:24 GMT From: "crunchym...@juno.com" Subject: Re: [Callers] Callers discussion / workshop topics To: call...@sharedweight.net Message-ID: <20071207.145424.1441...@webmail21.vgs.untd.com> Content-Type: text/plain; charset=us-ascii I've been calling for a little over a year now, on a volunteer basis here in Memphis TN. What that works out to is calling at one or two dances a month, and programming and calling half that evenings dances- between 4-5 individual dances each time. So I don't feel like I have a year's experience with the limited opportunities to practice with an audience. What I am most interested in, that could possibly be taught or explored in that time frame, is teaching walkthroughs. IME some of the greatest dances just don't go well or are slow starters if I don't give a good walkthrough. Things I'm working on that aren't as easily taught: personality and presence in dealing with the crowd, enunciation, and matching music to the dance and the dance to the music. For that last one I found Amy Cann's long post a few months back very helpful! -Alison Murphy Memphis TN "If Tyranny and Oppression come to this land, it will be in the guise of fighting a foreign enemy." ~ James Madison HTTP://WWW.RONPAUL2008.COM -- "Beth Parkes" wrote: A question for newer callers: Since this is a list specifically to support new callers, I thought I'd ask what you would like to have covered in a callers discussion workshop. Specifically, a single session of not more than a couple of hours, so there's really not time to do a lot of serious teaching. I have lots of ideas, but it's been a long time since I was a new caller and I want to know what YOU want to know. Thanks in advance, Beth ___ Callers mailing list call...@sharedweight.net http://www.sharedweight.net/mailman/listinfo/callers _ Boost your business with a small business loan. Click now! http://thirdpartyoffers.juno.com/TGL2111/fc/ Ioyw6iigEfXeQ2Vf7XVWG0liAF7hBZC1EjZEsGe0iuIDKr4gonKVYf/ -- Message: 2 Date: Fri, 7 Dec 2007 17:18:48 -0800 (PST) From: mavis mcgaugh Subject: Re: [Callers] Major Hey To: Caller's discussion list Message-ID: <766503.87706...@web36411.mail.mud.yahoo.com> Content-Type: text/plain; charset=iso-8859-1 Erik Hoffman has a dance called Major Hey. Done as Becket 40 Bar A1 Circle Left 3/4 Pass through up & down Swing neighbor you meet A2 long lines forward & back Men Left AL 1 1/2 end in waves of eight Men Have Left hands joined - and ALL have Right hand w/ Partner - ladies in center have left with each other B1 Rory O Moore balances B2 Half Hey for eight C1 Partner Balance & Swing Very clear description of all the unusual moves in his book Contradictations --- Chris Page wrote: On 12/5/07, Bob Isaacs wrote: Hi All; I'm looking for the moves and author of a 4 facing 4 named Major Hey, which has a 1/2 a hey for 8 in it. Any teaching points would also be helpful. Thanks, and a Happy Holidays to everyone - Bob "The Devil's Duty" by Al Olson, hidden in Zesty Contras, also has a hey for eight. It also has both swings ending in the middle of the phrase, so this past Friday I tried the following clean-up, and it worked pretty well: The Dancer's Duty Chris Page variant of an Al Olson dance Four-face-four A1 Lines of four forward and back [1] [2] Neighbor (person across from you) allemande right 1 & 3/4 to line of eight A2 Half hey for eight, start by pulling past that neighbor by right B1 Swing same neighbor [3] B2 Circle left 1/2 in groups of four [4] Swing partner, face next [1] Stretch out the lines of four a little to make room for everyone allemanding and swinging in the center. [2] At this point, you can tell the dancers to turn ninety degrees left. Then remember which wall they'll be facing for the end of the allemande and entry into t
[Callers] Swingless contras?
Hi everyone, This week, I called a dance for 50 enthusiastic highschool juniors who were celebrating the end of their semester together. All beginners. The organizer asked that we do contras and so I picked ones that had very obvious transitions and slowly introduced new moves. I wasn't prepared for their enthusiasm! By the fourth dance they settled a bit and better understood the contra format and we all got into a good grove. I found that initially, the kids embraced the swings with gusto. The dances that I picked included both neighbor and partner swings -- and once they got going, there was no stopping them within the 8 measures. So we proceeded off-tempo and everyone had a good time. I'm wondering if anyone knows of any swingless contras. For this type of audience, I might consider adding in one or two such dances near the beginning. Any other tips that you've learned for calling for enthusiastic teens would also be appreciated. Nancy Turner Waitsfield VT
[Callers] What is a Clover Leaf Turn Single?
Hi All, Two questions. First, I'm looking at Sue Rosen's Handsome Young Maids and it includes a Clover-leaf turn single (Ladies turn over left shoulder, Gents Rt). In this move, it appears that both the ladies and the gents spin around themselves, with the ladies going around their left shoulders while the gents go around the right shoulders... they then meet for a balance and swing. Is this right? Here's the dance, so you can see it in context: A1: Lines of 4: Down 4 steps, turn alone Rejoin line, 4 steps down (going backwards) Up 4 steps, turn alone Up 4 steps (backwards) A2: Bend the line, cirlce left 1x, balance the ring Clover-leaf turn single B1: Neighbor B&Swing B2: LLFB, One's only Partner Swing (end facing down between new Neighbors) Second question: I'm looking for a copy of Sa-Sa-La-Do. Does anyone know it? Thanks very much, Nancy Turner Vermont
[Callers] The slow flow results...
Hi All, I wanted to extend my thanks to those who made suggestions on easy dances that align well with a slow flow. I've made a note of your advice and I'm planning on using it in the future! As I learned more about the expected crowd for the dance, I rethought the program and selected very simple dances. We had 4 year olds to 40+ year olds on the dance floor with the ratio of children to parents being skewed towards the younger set. At one point, two young girls under five formed an arch for all to duck through! What a sight and I really hope none of the adults strained their backs! Thanks for your help, Nancy Turner Waitsfield
[Callers] Seeking a contra dance with an smooth and slow flow
Hi All, I am calling a dance this coming weekend for a 40th birthday party. Since the group is mostly non-dancers, I have prepped a number of simple dances. I am looking for an easy contra that has a smooth and slow flow... almost English Country dance in the pace/tone. Any ideas for me? It would also help if you could suggest how you might describe this dance to the musicians so that they could play tunes to match. Thanks very much, Nancy Turner Waitsfield VT
[Callers] How to respond to sound snafus?
Hi everyone, I am a new member of this group and have enjoyed the postings in the last few weeks. I participated in David Millstone's calling workshops and look forward to practicing more and getting up on stage to call some day. The origin of my question comes from my role as a dance organizer, but I am wondering what you all think a caller might have done to respond to this situation. At a recent dance, the sound was not working correctly. From the floor, we could hear the caller and the one instrument that was plugged in. The two other instruments that were unplugged were barely heard. The sound quality was very poor. I witnessed the caller notify the band of a sound problem and the band was trying to solve the problem between dances, but it wasn't working. During the break, they moved the speakers off the stage and onto the floor and the problem was solved and the sound during the second half of the dance went really well. As the caller, what would you all have done in this situation? Nancy Turner Vermont
