Re: [Callers] Social Dance Club intro program

[rich sbardella]

I think that dancers learn to put the lady on the right faster if you use 
dances with the swing followed by a promenade at the beginning of a program.   
After a keeper and a mixer with a promenade, I am more successful using a 
circle after a swing.  
I may also leave a swing out on the first dance with some variation of Circle 
left/right, Fwd & Bk, with Alle Left, with own Dosido, back to corner Alle 
Left, back to your own & promenade.   After prompting the promenade I quickly 
remind dancers Men on the inside.
Rich
 


 From: Maia McCormick <maia@gmail.com>
To: Caller's discussion list <call...@sharedweight.net> 
Sent: Tuesday, February 25, 2014 11:50 AM
Subject: Re: [Callers] Social Dance Club intro program
  

On busload-of-beginner nights, I inform the dancers that "the lady ends on
the right... because... [shamefacedly] the lady is always right." Then I
apologize profusely for having said anything that corny (not to mention
gendered) and I promise never to do it again, but they always remember.

(Another good one is noting that a swing has a blunt end and a pointy end,
and showing them how it'll always end up with the lady on the correct side
if you let go of the pointy end.)


On Tue, Feb 25, 2014 at 1:46 AM, Alan Winston At Slac <
wins...@slac.stanford.edu> wrote:

> We aargh at saying on the left and having to correct it to on the right.
>
> Sent from my iPhone
>
> > On Feb 24, 2014, at 6:49 PM, Michael Fuerst <mjerryfue...@yahoo.com>
> wrote:
> >
> > Alan:  Since when do we aargh on on right ?
> >
> > Michael Fuerst      802 N Broadway      Urbana IL 61801
> 217-239-5844
> > Links to photos of many of my drawings and paintings are at
> www.ArtComesFuerst.com
> >
> >
> >
> > On Monday, February 24, 2014 6:35 PM, Alan Winston <
> wins...@slac.stanford.edu> wrote:
> >
> > On 2/24/2014 2:48 PM, Alan Winston wrote:
> >> If it were me I'd be inclined to do it somewhat differently.  (The
> >> suggestions that have been made so far
> >> are just fine, though.)
> >>
> >> First night:
> >>
> >> Circassian Circle Mixer
> >>
> >> (Or some other super-easy mixer with a swing in it.  Teaches listening
> >> to the caller, doing things to the phrase, ending swings with the lady
> >> on the left,
> >
> > AARGH.  on the right.
> >
> >>    gets them used to changing partners rather than dancing
> >> only with the one they came in with.  Since it's not a one-night stand
> >> dance - that is, they're supposed to learn something - you want them
> >> doing a contra-dance swing; this gets the experienced contra dancers
> >> into the arms of as many people as possible right away.  Swings are
> >> easier to do right once you've felt them being done right.)  This is a
> >> dance that doesn't fail, so they'll feel successful right away.  Pretty
> >> much immune to tune choice so long as the band is clear about phrasing.
> >>
> >> Big Circle
> >>
> >> A1:  Forward and back twice
> >>
> >> A2:  Women to center and back to place
> >>         Men to center and back to woman originally on his left (not
> partner).
> >>
> >> B1:  They swing
> >>
> >> B2:  Promenade around, open to to big circle.
> >>
> >> [You might want to just have them swing their first partner and open up
> >> facing in, and then tell them that they're done with that person and the
> >> next partner is in their other hand]
> >>
> >>
> >> Some kind of Sicilian Circle ideally with a partner swing and a neighbor
> >> swing.  Gets them used to improper formation but without having to deal
> >> with action at the ends of the set.  (Although it's not totally ideal, I
> >> often use "Soldier's Joy", mostly because it's a Civil War era version
> >> and I use it when I'm calling Civil War dances and then I don't have to
> >> remember something else when I'm calling contras.)  Ladies chain along
> >> rather than across the set is unusual but not terribly difficult.  I'm
> >> certainly open to suggestions for better sicilian circle dances for this
> >> purpose. This give some opportunity to discuss giving weight.
> >>
> >> SOLDIER'S JOY.
> >> Sicilian Circle ("As for Spanish Dance") - that means facing the other
> >> couple, gent on the left, lady on the right.
> >> 32-bar reel.  The name tune is the best.
> >>
> >>
> >> A1: 1-4: Forward and back
> >>        5-8: Op

Re: [Callers] Social Dance Club intro program

[Maia McCormick]

On busload-of-beginner nights, I inform the dancers that "the lady ends on
the right... because... [shamefacedly] the lady is always right." Then I
apologize profusely for having said anything that corny (not to mention
gendered) and I promise never to do it again, but they always remember.

(Another good one is noting that a swing has a blunt end and a pointy end,
and showing them how it'll always end up with the lady on the correct side
if you let go of the pointy end.)


On Tue, Feb 25, 2014 at 1:46 AM, Alan Winston At Slac <
wins...@slac.stanford.edu> wrote:

> We aargh at saying on the left and having to correct it to on the right.
>
> Sent from my iPhone
>
> > On Feb 24, 2014, at 6:49 PM, Michael Fuerst 
> wrote:
> >
> > Alan:  Since when do we aargh on on right ?
> >
> > Michael Fuerst  802 N Broadway  Urbana IL 61801
> 217-239-5844
> > Links to photos of many of my drawings and paintings are at
> www.ArtComesFuerst.com
> >
> >
> >
> > On Monday, February 24, 2014 6:35 PM, Alan Winston <
> wins...@slac.stanford.edu> wrote:
> >
> > On 2/24/2014 2:48 PM, Alan Winston wrote:
> >> If it were me I'd be inclined to do it somewhat differently.  (The
> >> suggestions that have been made so far
> >> are just fine, though.)
> >>
> >> First night:
> >>
> >> Circassian Circle Mixer
> >>
> >> (Or some other super-easy mixer with a swing in it.  Teaches listening
> >> to the caller, doing things to the phrase, ending swings with the lady
> >> on the left,
> >
> > AARGH.  on the right.
> >
> >>gets them used to changing partners rather than dancing
> >> only with the one they came in with.  Since it's not a one-night stand
> >> dance - that is, they're supposed to learn something - you want them
> >> doing a contra-dance swing; this gets the experienced contra dancers
> >> into the arms of as many people as possible right away.  Swings are
> >> easier to do right once you've felt them being done right.)  This is a
> >> dance that doesn't fail, so they'll feel successful right away.  Pretty
> >> much immune to tune choice so long as the band is clear about phrasing.
> >>
> >> Big Circle
> >>
> >> A1:  Forward and back twice
> >>
> >> A2:  Women to center and back to place
> >> Men to center and back to woman originally on his left (not
> partner).
> >>
> >> B1:  They swing
> >>
> >> B2:  Promenade around, open to to big circle.
> >>
> >> [You might want to just have them swing their first partner and open up
> >> facing in, and then tell them that they're done with that person and the
> >> next partner is in their other hand]
> >>
> >>
> >> Some kind of Sicilian Circle ideally with a partner swing and a neighbor
> >> swing.  Gets them used to improper formation but without having to deal
> >> with action at the ends of the set.  (Although it's not totally ideal, I
> >> often use "Soldier's Joy", mostly because it's a Civil War era version
> >> and I use it when I'm calling Civil War dances and then I don't have to
> >> remember something else when I'm calling contras.)  Ladies chain along
> >> rather than across the set is unusual but not terribly difficult.  I'm
> >> certainly open to suggestions for better sicilian circle dances for this
> >> purpose. This give some opportunity to discuss giving weight.
> >>
> >> SOLDIER'S JOY.
> >> Sicilian Circle ("As for Spanish Dance") - that means facing the other
> >> couple, gent on the left, lady on the right.
> >> 32-bar reel.  The name tune is the best.
> >>
> >>
> >> A1: 1-4: Forward and back
> >>5-8: Opposites turn two hands (no progression), open facing
> partner
> >>
> >> A2: 1-8: Partners balance , face other couple
> >>
> >> B1: 1-8: Ladies chain over and back (along the line).
> >>
> >> B2: 1-8: Forward and back, forward and pass through.
> >>
> >>
> >> Then  Simplicity Swing (because they already know most of the bits and
> >> the bits they don't know are circle, star, and do-si-do, which are
> >> things many people think they know how to do even before their first
> >> contra dance.)
> >>
> >> SIMPLICITY SWING
> >> (by Becky Hill)
> >> Improper contra
> >>
> >> Figs: NB:CL3/4:PS:LLF:LC:LHS:NNDSD:
> >>
> >>
> >> A1: Neighbor Balance and Swing
> >>
> >> A2: Circle left 3/4;
> >>partner swing
> >>
> >> B1: Long lines forward and back;
> >>ladies chain
> >>
> >> B2: left hand star;
> >>next neighbor do si do
> >>
> >>
> >> And then you can do the rest of the  evening with easy to intermediate
> >> longways dances.
> >>
> >>
> >> Repeat this pattern (with different mixer and different Sicilian Circle)
> >> the next time to get the brand new dancers swung and sweaty before they
> >> have to learn much.
> >>
> >> -- Alan
> >>
> >>
> >>
> >>> On 2/24/2014 8:50 AM, Ben Hornstein wrote:
> >>> Greetings fellow callers,
> >>>
> >>> My graduate school's social dance club is going to be having a Contra
> >>> night, which I will be calling. I was hoping to get some advice on how
> to
> >>> structure 

Re: [Callers] Social Dance Club intro program

[Alan Winston At Slac]

We aargh at saying on the left and having to correct it to on the right. 

Sent from my iPhone

> On Feb 24, 2014, at 6:49 PM, Michael Fuerst  wrote:
> 
> Alan:  Since when do we aargh on on right ?
>  
> Michael Fuerst  802 N Broadway  Urbana IL 61801   217-239-5844
> Links to photos of many of my drawings and paintings are at 
> www.ArtComesFuerst.com
> 
> 
> 
> On Monday, February 24, 2014 6:35 PM, Alan Winston 
>  wrote:
> 
> On 2/24/2014 2:48 PM, Alan Winston wrote:
>> If it were me I'd be inclined to do it somewhat differently.  (The
>> suggestions that have been made so far
>> are just fine, though.)
>> 
>> First night:
>> 
>> Circassian Circle Mixer
>> 
>> (Or some other super-easy mixer with a swing in it.  Teaches listening
>> to the caller, doing things to the phrase, ending swings with the lady
>> on the left,
> 
> AARGH.  on the right.
> 
>>gets them used to changing partners rather than dancing
>> only with the one they came in with.  Since it's not a one-night stand
>> dance - that is, they're supposed to learn something - you want them
>> doing a contra-dance swing; this gets the experienced contra dancers
>> into the arms of as many people as possible right away.  Swings are
>> easier to do right once you've felt them being done right.)  This is a
>> dance that doesn't fail, so they'll feel successful right away.  Pretty
>> much immune to tune choice so long as the band is clear about phrasing.
>> 
>> Big Circle
>> 
>> A1:  Forward and back twice
>> 
>> A2:  Women to center and back to place
>> Men to center and back to woman originally on his left (not partner).
>> 
>> B1:  They swing
>> 
>> B2:  Promenade around, open to to big circle.
>> 
>> [You might want to just have them swing their first partner and open up
>> facing in, and then tell them that they're done with that person and the
>> next partner is in their other hand]
>> 
>> 
>> Some kind of Sicilian Circle ideally with a partner swing and a neighbor
>> swing.  Gets them used to improper formation but without having to deal
>> with action at the ends of the set.  (Although it's not totally ideal, I
>> often use "Soldier's Joy", mostly because it's a Civil War era version
>> and I use it when I'm calling Civil War dances and then I don't have to
>> remember something else when I'm calling contras.)  Ladies chain along
>> rather than across the set is unusual but not terribly difficult.  I'm
>> certainly open to suggestions for better sicilian circle dances for this
>> purpose. This give some opportunity to discuss giving weight.
>> 
>> SOLDIER'S JOY.
>> Sicilian Circle ("As for Spanish Dance") - that means facing the other
>> couple, gent on the left, lady on the right.
>> 32-bar reel.  The name tune is the best.
>> 
>> 
>> A1: 1-4: Forward and back
>>5-8: Opposites turn two hands (no progression), open facing partner
>> 
>> A2: 1-8: Partners balance , face other couple
>> 
>> B1: 1-8: Ladies chain over and back (along the line).
>> 
>> B2: 1-8: Forward and back, forward and pass through.
>> 
>> 
>> Then  Simplicity Swing (because they already know most of the bits and
>> the bits they don't know are circle, star, and do-si-do, which are
>> things many people think they know how to do even before their first
>> contra dance.)
>> 
>> SIMPLICITY SWING
>> (by Becky Hill)
>> Improper contra
>> 
>> Figs: NB:CL3/4:PS:LLF:LC:LHS:NNDSD:
>> 
>> 
>> A1: Neighbor Balance and Swing
>> 
>> A2: Circle left 3/4;
>>partner swing
>> 
>> B1: Long lines forward and back;
>>ladies chain
>> 
>> B2: left hand star;
>>next neighbor do si do
>> 
>> 
>> And then you can do the rest of the  evening with easy to intermediate
>> longways dances.
>> 
>> 
>> Repeat this pattern (with different mixer and different Sicilian Circle)
>> the next time to get the brand new dancers swung and sweaty before they
>> have to learn much.
>> 
>> -- Alan
>> 
>> 
>> 
>>> On 2/24/2014 8:50 AM, Ben Hornstein wrote:
>>> Greetings fellow callers,
>>> 
>>> My graduate school's social dance club is going to be having a Contra
>>> night, which I will be calling. I was hoping to get some advice on how to
>>> structure the evening. Here's what I'm expecting:
>>> 
>>> Two 2 hour events, on March 3 and 10
>>> 20-30 people, with maybe 5-8 who have danced contra before at all, 1-3 who
>>> I would consider experts
>>> The second week will most likely have people who did not come the first week
>>> Minimal live band (who I have worked with before)
>>> 
>>> Here's what I'm thinking so far:
>>> 1st dance: something simple without any swing to teach a few of the most
>>> basic moves
>>> 2nd dance: teach the swing, do an easy dance
>>> remaining dances: teach one new move before each dance, then do a dance
>>> that incorporates that move
>>> 
>>> 2nd week: plan a generally easy program, but review moves as they come up
>>> (for those who missed the first week)
>>> 
>>> I'm hoping for 

Re: [Callers] Social Dance Club intro program

[Aahz Maruch]

September 19, of course


On Mon, Feb 24, 2014, Michael Fuerst wrote:
>
> Alan: Since when do we aargh on on right?
> 
> 
> On Monday, February 24, 2014 6:35 PM, Alan Winston 
>  wrote:
>  
> On 2/24/2014 2:48 PM, Alan Winston wrote:
> > If it were me I'd be inclined to do it somewhat differently.? (The
> > suggestions that have been made so far
> > are just fine, though.)
> >
> > First night:
> >
> > Circassian Circle Mixer
> >
> > (Or some other super-easy mixer with a swing in it.? Teaches listening
> > to the caller, doing things to the phrase, ending swings with the lady
> > on the left,
> 
> AARGH.? on the right.
> 
> >?  gets them used to changing partners rather than dancing
> > only with the one they came in with.? Since it's not a one-night stand
> > dance - that is, they're supposed to learn something - you want them
> > doing a contra-dance swing; this gets the experienced contra dancers
> > into the arms of as many people as possible right away.? Swings are
> > easier to do right once you've felt them being done right.)? This is a
> > dance that doesn't fail, so they'll feel successful right away.? Pretty
> > much immune to tune choice so long as the band is clear about phrasing.
> >
> > Big Circle
> >
> > A1:? Forward and back twice
> >
> > A2:? Women to center and back to place
> >? ? ? ? Men to center and back to woman originally on his left (not partner).
> >
> > B1:? They swing
> >
> > B2:? Promenade around, open to to big circle.
> >
> > [You might want to just have them swing their first partner and open up
> > facing in, and then tell them that they're done with that person and the
> > next partner is in their other hand]
> >
> >
> > Some kind of Sicilian Circle ideally with a partner swing and a neighbor
> > swing.? Gets them used to improper formation but without having to deal
> > with action at the ends of the set.? (Although it's not totally ideal, I
> > often use "Soldier's Joy", mostly because it's a Civil War era version
> > and I use it when I'm calling Civil War dances and then I don't have to
> > remember something else when I'm calling contras.)? Ladies chain along
> > rather than across the set is unusual but not terribly difficult.? I'm
> > certainly open to suggestions for better sicilian circle dances for this
> > purpose. This give some opportunity to discuss giving weight.
> >
> > SOLDIER'S JOY.
> > Sicilian Circle ("As for Spanish Dance") - that means facing the other
> > couple, gent on the left, lady on the right.
> > 32-bar reel.? The name tune is the best.
> >
> >
> > A1: 1-4: Forward and back
> >? ? ?  5-8: Opposites turn two hands (no progression), open facing partner
> >
> > A2: 1-8: Partners balance , face other couple
> >
> > B1: 1-8: Ladies chain over and back (along the line).
> >
> > B2: 1-8: Forward and back, forward and pass through.
> >
> >
> > Then? Simplicity Swing (because they already know most of the bits and
> > the bits they don't know are circle, star, and do-si-do, which are
> > things many people think they know how to do even before their first
> > contra dance.)
> >
> > SIMPLICITY SWING
> > (by Becky Hill)
> > Improper contra
> >
> > Figs: NB:CL3/4:PS:LLF:LC:LHS:NNDSD:
> >
> >
> > A1: Neighbor Balance and Swing
> >
> > A2: Circle left 3/4;
> >? ? ?  partner swing
> >
> > B1: Long lines forward and back;
> >? ? ?  ladies chain
> >
> > B2: left hand star;
> >? ? ?  next neighbor do si do
> >
> >
> > And then you can do the rest of the? evening with easy to intermediate
> > longways dances.
> >
> >
> > Repeat this pattern (with different mixer and different Sicilian Circle)
> > the next time to get the brand new dancers swung and sweaty before they
> > have to learn much.
> >
> > -- Alan
> >
> >
> >
> > On 2/24/2014 8:50 AM, Ben Hornstein wrote:
> >> Greetings fellow callers,
> >>
> >> My graduate school's social dance club is going to be having a Contra
> >> night, which I will be calling. I was hoping to get some advice on how to
> >> structure the evening. Here's what I'm expecting:
> >>
> >> Two 2 hour events, on March 3 and 10
> >> 20-30 people, with maybe 5-8 who have danced contra before at all, 1-3 who
> >> I would consider experts
> >> The second week will most likely have people who did not come the first 
> >> week
> >> Minimal live band (who I have worked with before)
> >>
> >> Here's what I'm thinking so far:
> >> 1st dance: something simple without any swing to teach a few of the most
> >> basic moves
> >> 2nd dance: teach the swing, do an easy dance
> >> remaining dances: teach one new move before each dance, then do a dance
> >> that incorporates that move
> >>
> >> 2nd week: plan a generally easy program, but review moves as they come up
> >> (for those who missed the first week)
> >>
> >> I'm hoping for suggestions of specific dances that I should use, and ways
> >> to teach and handle a group with very few experienced dancers. How do I
> >> prevent the whole thing from falling apart? In general, I 

Re: [Callers] Social Dance Club intro program

[Michael Fuerst]

Alan:  Since when do we aargh on on right ?
 
Michael Fuerst      802 N Broadway      Urbana IL 61801   217-239-5844
Links to photos of many of my drawings and paintings are at 
www.ArtComesFuerst.com



On Monday, February 24, 2014 6:35 PM, Alan Winston  
wrote:
 
On 2/24/2014 2:48 PM, Alan Winston wrote:
> If it were me I'd be inclined to do it somewhat differently.  (The
> suggestions that have been made so far
> are just fine, though.)
>
> First night:
>
> Circassian Circle Mixer
>
> (Or some other super-easy mixer with a swing in it.  Teaches listening
> to the caller, doing things to the phrase, ending swings with the lady
> on the left,

AARGH.  on the right.

>   gets them used to changing partners rather than dancing
> only with the one they came in with.  Since it's not a one-night stand
> dance - that is, they're supposed to learn something - you want them
> doing a contra-dance swing; this gets the experienced contra dancers
> into the arms of as many people as possible right away.  Swings are
> easier to do right once you've felt them being done right.)  This is a
> dance that doesn't fail, so they'll feel successful right away.  Pretty
> much immune to tune choice so long as the band is clear about phrasing.
>
> Big Circle
>
> A1:  Forward and back twice
>
> A2:  Women to center and back to place
>        Men to center and back to woman originally on his left (not partner).
>
> B1:  They swing
>
> B2:  Promenade around, open to to big circle.
>
> [You might want to just have them swing their first partner and open up
> facing in, and then tell them that they're done with that person and the
> next partner is in their other hand]
>
>
> Some kind of Sicilian Circle ideally with a partner swing and a neighbor
> swing.  Gets them used to improper formation but without having to deal
> with action at the ends of the set.  (Although it's not totally ideal, I
> often use "Soldier's Joy", mostly because it's a Civil War era version
> and I use it when I'm calling Civil War dances and then I don't have to
> remember something else when I'm calling contras.)  Ladies chain along
> rather than across the set is unusual but not terribly difficult.  I'm
> certainly open to suggestions for better sicilian circle dances for this
> purpose. This give some opportunity to discuss giving weight.
>
> SOLDIER'S JOY.
> Sicilian Circle ("As for Spanish Dance") - that means facing the other
> couple, gent on the left, lady on the right.
> 32-bar reel.  The name tune is the best.
>
>
> A1: 1-4: Forward and back
>       5-8: Opposites turn two hands (no progression), open facing partner
>
> A2: 1-8: Partners balance , face other couple
>
> B1: 1-8: Ladies chain over and back (along the line).
>
> B2: 1-8: Forward and back, forward and pass through.
>
>
> Then  Simplicity Swing (because they already know most of the bits and
> the bits they don't know are circle, star, and do-si-do, which are
> things many people think they know how to do even before their first
> contra dance.)
>
> SIMPLICITY SWING
> (by Becky Hill)
> Improper contra
>
> Figs: NB:CL3/4:PS:LLF:LC:LHS:NNDSD:
>
>
> A1: Neighbor Balance and Swing
>
> A2: Circle left 3/4;
>       partner swing
>
> B1: Long lines forward and back;
>       ladies chain
>
> B2: left hand star;
>       next neighbor do si do
>
>
> And then you can do the rest of the  evening with easy to intermediate
> longways dances.
>
>
> Repeat this pattern (with different mixer and different Sicilian Circle)
> the next time to get the brand new dancers swung and sweaty before they
> have to learn much.
>
> -- Alan
>
>
>
> On 2/24/2014 8:50 AM, Ben Hornstein wrote:
>> Greetings fellow callers,
>>
>> My graduate school's social dance club is going to be having a Contra
>> night, which I will be calling. I was hoping to get some advice on how to
>> structure the evening. Here's what I'm expecting:
>>
>> Two 2 hour events, on March 3 and 10
>> 20-30 people, with maybe 5-8 who have danced contra before at all, 1-3 who
>> I would consider experts
>> The second week will most likely have people who did not come the first week
>> Minimal live band (who I have worked with before)
>>
>> Here's what I'm thinking so far:
>> 1st dance: something simple without any swing to teach a few of the most
>> basic moves
>> 2nd dance: teach the swing, do an easy dance
>> remaining dances: teach one new move before each dance, then do a dance
>> that incorporates that move
>>
>> 2nd week: plan a generally easy program, but review moves as they come up
>> (for those who missed the first week)
>>
>> I'm hoping for suggestions of specific dances that I should use, and ways
>> to teach and handle a group with very few experienced dancers. How do I
>> prevent the whole thing from falling apart? In general, I think they'll be
>> more tolerant towards additional teaching time because it's billed more as
>> a lesson than a dance. (Last month they had a salsa lesson which went on
>> for 2 

Re: [Callers] Social Dance Club intro program

[Alan Winston]

On 2/24/2014 2:48 PM, Alan Winston wrote:

If it were me I'd be inclined to do it somewhat differently.  (The
suggestions that have been made so far
are just fine, though.)

First night:

Circassian Circle Mixer

(Or some other super-easy mixer with a swing in it.  Teaches listening
to the caller, doing things to the phrase, ending swings with the lady
on the left,


AARGH.  on the right.


  gets them used to changing partners rather than dancing
only with the one they came in with.  Since it's not a one-night stand
dance - that is, they're supposed to learn something - you want them
doing a contra-dance swing; this gets the experienced contra dancers
into the arms of as many people as possible right away.  Swings are
easier to do right once you've felt them being done right.)  This is a
dance that doesn't fail, so they'll feel successful right away.  Pretty
much immune to tune choice so long as the band is clear about phrasing.

Big Circle

A1:  Forward and back twice

A2:  Women to center and back to place
   Men to center and back to woman originally on his left (not partner).

B1:  They swing

B2:  Promenade around, open to to big circle.

[You might want to just have them swing their first partner and open up
facing in, and then tell them that they're done with that person and the
next partner is in their other hand]


Some kind of Sicilian Circle ideally with a partner swing and a neighbor
swing.  Gets them used to improper formation but without having to deal
with action at the ends of the set.  (Although it's not totally ideal, I
often use "Soldier's Joy", mostly because it's a Civil War era version
and I use it when I'm calling Civil War dances and then I don't have to
remember something else when I'm calling contras.)  Ladies chain along
rather than across the set is unusual but not terribly difficult.  I'm
certainly open to suggestions for better sicilian circle dances for this
purpose. This give some opportunity to discuss giving weight.

SOLDIER'S JOY.
Sicilian Circle ("As for Spanish Dance") - that means facing the other
couple, gent on the left, lady on the right.
32-bar reel.  The name tune is the best.


A1: 1-4: Forward and back
  5-8: Opposites turn two hands (no progression), open facing partner

A2: 1-8: Partners balance , face other couple

B1: 1-8: Ladies chain over and back (along the line).

B2: 1-8: Forward and back, forward and pass through.


Then  Simplicity Swing (because they already know most of the bits and
the bits they don't know are circle, star, and do-si-do, which are
things many people think they know how to do even before their first
contra dance.)

SIMPLICITY SWING
(by Becky Hill)
Improper contra

Figs: NB:CL3/4:PS:LLF:LC:LHS:NNDSD:


A1: Neighbor Balance and Swing

A2: Circle left 3/4;
  partner swing

B1: Long lines forward and back;
  ladies chain

B2: left hand star;
  next neighbor do si do


And then you can do the rest of the  evening with easy to intermediate
longways dances.


Repeat this pattern (with different mixer and different Sicilian Circle)
the next time to get the brand new dancers swung and sweaty before they
have to learn much.

-- Alan



On 2/24/2014 8:50 AM, Ben Hornstein wrote:

Greetings fellow callers,

My graduate school's social dance club is going to be having a Contra
night, which I will be calling. I was hoping to get some advice on how to
structure the evening. Here's what I'm expecting:

Two 2 hour events, on March 3 and 10
20-30 people, with maybe 5-8 who have danced contra before at all, 1-3 who
I would consider experts
The second week will most likely have people who did not come the first week
Minimal live band (who I have worked with before)

Here's what I'm thinking so far:
1st dance: something simple without any swing to teach a few of the most
basic moves
2nd dance: teach the swing, do an easy dance
remaining dances: teach one new move before each dance, then do a dance
that incorporates that move

2nd week: plan a generally easy program, but review moves as they come up
(for those who missed the first week)

I'm hoping for suggestions of specific dances that I should use, and ways
to teach and handle a group with very few experienced dancers. How do I
prevent the whole thing from falling apart? In general, I think they'll be
more tolerant towards additional teaching time because it's billed more as
a lesson than a dance. (Last month they had a salsa lesson which went on
for 2 hours before they turned on the music.) I'm hoping that the fact that
these are mostly graduate/medical students who have done other forms of
social dance before will help greatly, but any and all advice is welcome.

Sincerely,
Ben Hornstein
___
Callers mailing list
call...@sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers

___
Callers mailing list
call...@sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers

Re: [Callers] Social Dance Club intro program

[Alan Winston]

If it were me I'd be inclined to do it somewhat differently.  (The 
suggestions that have been made so far

are just fine, though.)

First night:

Circassian Circle Mixer

(Or some other super-easy mixer with a swing in it.  Teaches listening 
to the caller, doing things to the phrase, ending swings with the lady 
on the left, gets them used to changing partners rather than dancing 
only with the one they came in with.  Since it's not a one-night stand 
dance - that is, they're supposed to learn something - you want them 
doing a contra-dance swing; this gets the experienced contra dancers 
into the arms of as many people as possible right away.  Swings are 
easier to do right once you've felt them being done right.)  This is a 
dance that doesn't fail, so they'll feel successful right away.  Pretty 
much immune to tune choice so long as the band is clear about phrasing.


Big Circle

A1:  Forward and back twice

A2:  Women to center and back to place
 Men to center and back to woman originally on his left (not partner).

B1:  They swing

B2:  Promenade around, open to to big circle.

[You might want to just have them swing their first partner and open up 
facing in, and then tell them that they're done with that person and the 
next partner is in their other hand]



Some kind of Sicilian Circle ideally with a partner swing and a neighbor 
swing.  Gets them used to improper formation but without having to deal 
with action at the ends of the set.  (Although it's not totally ideal, I 
often use "Soldier's Joy", mostly because it's a Civil War era version 
and I use it when I'm calling Civil War dances and then I don't have to 
remember something else when I'm calling contras.)  Ladies chain along 
rather than across the set is unusual but not terribly difficult.  I'm 
certainly open to suggestions for better sicilian circle dances for this 
purpose. This give some opportunity to discuss giving weight.


SOLDIER'S JOY.
Sicilian Circle ("As for Spanish Dance") - that means facing the other 
couple, gent on the left, lady on the right.

32-bar reel.  The name tune is the best.


A1: 1-4: Forward and back
5-8: Opposites turn two hands (no progression), open facing partner

A2: 1-8: Partners balance , face other couple

B1: 1-8: Ladies chain over and back (along the line).

B2: 1-8: Forward and back, forward and pass through.


Then  Simplicity Swing (because they already know most of the bits and 
the bits they don't know are circle, star, and do-si-do, which are 
things many people think they know how to do even before their first 
contra dance.)


SIMPLICITY SWING
(by Becky Hill)
Improper contra

Figs: NB:CL3/4:PS:LLF:LC:LHS:NNDSD:


A1: Neighbor Balance and Swing

A2: Circle left 3/4;
partner swing

B1: Long lines forward and back;
ladies chain

B2: left hand star;
next neighbor do si do


And then you can do the rest of the  evening with easy to intermediate 
longways dances.



Repeat this pattern (with different mixer and different Sicilian Circle) 
the next time to get the brand new dancers swung and sweaty before they 
have to learn much.


-- Alan



On 2/24/2014 8:50 AM, Ben Hornstein wrote:

Greetings fellow callers,

My graduate school's social dance club is going to be having a Contra
night, which I will be calling. I was hoping to get some advice on how to
structure the evening. Here's what I'm expecting:

Two 2 hour events, on March 3 and 10
20-30 people, with maybe 5-8 who have danced contra before at all, 1-3 who
I would consider experts
The second week will most likely have people who did not come the first week
Minimal live band (who I have worked with before)

Here's what I'm thinking so far:
1st dance: something simple without any swing to teach a few of the most
basic moves
2nd dance: teach the swing, do an easy dance
remaining dances: teach one new move before each dance, then do a dance
that incorporates that move

2nd week: plan a generally easy program, but review moves as they come up
(for those who missed the first week)

I'm hoping for suggestions of specific dances that I should use, and ways
to teach and handle a group with very few experienced dancers. How do I
prevent the whole thing from falling apart? In general, I think they'll be
more tolerant towards additional teaching time because it's billed more as
a lesson than a dance. (Last month they had a salsa lesson which went on
for 2 hours before they turned on the music.) I'm hoping that the fact that
these are mostly graduate/medical students who have done other forms of
social dance before will help greatly, but any and all advice is welcome.

Sincerely,
Ben Hornstein
___
Callers mailing list
call...@sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers

Re: [Callers] Social Dance Club intro program

[Kalia Kliban]

On 2/24/2014 12:34 PM, Grant Goodyear wrote:


Here's a fun, silly dance with a piece count of 4:

The Belles of Auburn (Roger Knox,
1958)

Improper
A1. (16) N sashay down and back A2. (16) N bal & sw, end facing dn B1.
(16) 4-in-line dn hall, turn as cpls, ret, bend B2. (16) W ch over and bk


It may be a problem only for experienced dancers, but I've had issues 
with an expectation of a circle following "bend the line."  I have 
another dance in my stash with a ladies chain following a bend the line, 
and though the dance was very simple it hiccuped every single time on 
that spot as the dancers started to circle, caught themselves, and then 
recovered way late for the chain.  I'd suggest altering the language a 
little.  Either "couples face each other," or something else that 
doesn't trigger that gotta-circle-left impulse.  Anyone else have this 
problem with this combination of moves?



How do I
prevent the whole thing from falling apart?

It will probably fall apart at least once.  Smile, blame the caller, reset
the dance, fix the problem, and run the dance just long enough for the
dancers to feel comfortable with it.


And choose dances that _can_ be fixed.  Some are easier to repair than 
others.  When you're first doing longways impropers, it's great to 
choose ones where if the propriety gets screwed up you won't lose your 
progression.  Those "1s swing in the middle and make new lines of 4" 
dances can be really useful.  Washington Quickstep is the one I like for 
brand new groups who want to try contras but are still a little shaky on 
that whole "leave the lady on the right" business.  It has right and 
left throughs rather than a ladies chain.  More forgiving of propriety 
errors, especially if you teach the courtesy turn as "the person on the 
left backs up and the person on the right goes forward" and use a simple 
hand hold.


The whole issue of im/propriety is harder to grasp for new dancers than 
you might think.  They're trying to remember _everything_ -- what's a 
dosido, who's my partner, am I dancing the man's role, which hand do I 
give, which way is up, who are the 1s now..?  There's a lot of stuff 
that experienced dancers don't even think about anymore because we've 
oriented to the terminology and the general structure of the dance, but 
for new folks, it's all front and center.  The dances should be really 
smoothly constructed so that the moves flow well without needing any 
fudging or corrections.  The timing should be just right for the amount 
of music you have.  If a move needs 2 bars more than it gets, that will 
cause anxiety.  If there's way too much music, folks will likely just 
plunge into the next move without waiting.



Especially with beginners, if the last dance didn't work all that well,
then I try to make sure that the next dance is one that is likely to be
much more successful.  (I keep a collection of guaranteed successful dances
handy that I can pull out after abject failure!)


Oh yeah.  Gotta end with a smile!

Kalia

Re: [Callers] Social Dance Club intro program

[Grant Goodyear]

On Mon, Feb 24, 2014 at 10:50 AM, Ben Hornstein wrote:

> Two 2 hour events, on March 3 and 10
> 20-30 people, with maybe 5-8 who have danced contra before at all, 1-3 who
> I would consider experts
>

That's 1/4 to 1/3 experienced dancers, which isn't bad.  Also, it's much
easier to call for small groups than for large groups.  Not only are small
groups more forgiving, but they're easier for you to watch.  Are you going
to have a wireless mike?  You're welcome to borrow mine if you need it.


> The second week will most likely have people who did not come the first
> week
> Minimal live band (who I have worked with before)
>



>
> Here's what I'm thinking so far:
> 1st dance: something simple without any swing to teach a few of the most
> basic moves
> 2nd dance: teach the swing, do an easy dance
> remaining dances: teach one new move before each dance, then do a dance
> that incorporates that move
>

For the beginners, every move is new, so adding a new move for each dance
will get overwhelming pretty quickly.  The first two dances pretty much
have to introduce new figures, but by the third dance they know enough that
you can pick a dance that only uses only those moves, and give their brains
a break.

I would go ahead and put a swing in the first dance.  Swings are going to
be a consistent element throughout the evening.  Similarly, I would start
with an improper dance.  A proper dance does have a simpler progression,
but then you're introducing yet another new thing when you switch to
improper dances.


>
> 2nd week: plan a generally easy program, but review moves as they come up
> (for those who missed the first week)
>
> I'm hoping for suggestions of specific dances that I should use, and ways
> to teach and handle a group with very few experienced dancers.
>

Low piece count and a really good storyline help a lot.

Here's a fun, silly dance with a piece count of 4:

The Belles of Auburn (Roger Knox,
1958)

Improper
   A1. (16) N sashay down and back A2. (16) N bal & sw, end facing dn B1.
(16) 4-in-line dn hall, turn as cpls, ret, bend B2. (16) W ch over and bk

The next dance has a higher piece count (5), but to some extent it is even
easier because the progression is automatic:
Whynot's Special (Roger
Whynot)

Improper, start in long lines
   A1. ( 8) Long lines fwd & bk
( 8) 1 sw, end facing down A2. (16) 4-in-line down hall, turn alone, ret,
bend B1. ( 8) Cir lf
( 8) Cir rt B2. (16) W ch over and back


> How do I
> prevent the whole thing from falling apart?
>

The simple dances that you're considering are probably more complicated
than you realize.  You might want to bounce your program off of somebody
first.

Since you can't rely on the experienced dancers to fix problems occurring
on the floor,  you need to be able to do that while calling.  Thus, you
should ideally pick dances that you can call pretty much on autopilot.  If
you've never called a particular dance before, now might not be the time to
start!

It will probably fall apart at least once.  Smile, blame the caller, reset
the dance, fix the problem, and run the dance just long enough for the
dancers to feel comfortable with it.  My experience has been that if you
don't restart a dance that has fallen apart, dancers feel that it is their
fault for the failure.  They'd much rather feel successful.

I often find that when you have a high percentage of beginners, you often
have at least one dance where the dance seems to hover on the ragged edge
of disaster.  It's working, but just barely, and you can feel it
not-quite-gelling.  I like to end those dance before they fall apart.

Especially with beginners, if the last dance didn't work all that well,
then I try to make sure that the next dance is one that is likely to be
much more successful.  (I keep a collection of guaranteed successful dances
handy that I can pull out after abject failure!)

If the last dance of the evening is awesome fun, nobody will remember
failures earlier in the evening.  (That's my "always end on a win" rule.)

Best of luck,
Grant
-- 
Grant Goodyear
web: http://www.grantgoodyear.org
e-mail: gr...@grantgoodyear.org

Re: [Callers] Social Dance Club intro program

[George Mercer]

Where are you located?


On Mon, Feb 24, 2014 at 11:50 AM, Ben Hornstein wrote:

> Greetings fellow callers,
>
> My graduate school's social dance club is going to be having a Contra
> night, which I will be calling. I was hoping to get some advice on how to
> structure the evening. Here's what I'm expecting:
>
> Two 2 hour events, on March 3 and 10
> 20-30 people, with maybe 5-8 who have danced contra before at all, 1-3 who
> I would consider experts
> The second week will most likely have people who did not come the first
> week
> Minimal live band (who I have worked with before)
>
> Here's what I'm thinking so far:
> 1st dance: something simple without any swing to teach a few of the most
> basic moves
> 2nd dance: teach the swing, do an easy dance
> remaining dances: teach one new move before each dance, then do a dance
> that incorporates that move
>
> 2nd week: plan a generally easy program, but review moves as they come up
> (for those who missed the first week)
>
> I'm hoping for suggestions of specific dances that I should use, and ways
> to teach and handle a group with very few experienced dancers. How do I
> prevent the whole thing from falling apart? In general, I think they'll be
> more tolerant towards additional teaching time because it's billed more as
> a lesson than a dance. (Last month they had a salsa lesson which went on
> for 2 hours before they turned on the music.) I'm hoping that the fact that
> these are mostly graduate/medical students who have done other forms of
> social dance before will help greatly, but any and all advice is welcome.
>
> Sincerely,
> Ben Hornstein
> ___
> Callers mailing list
> call...@sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>

[Callers] Social Dance Club intro program

[Ben Hornstein]

Greetings fellow callers,

My graduate school's social dance club is going to be having a Contra
night, which I will be calling. I was hoping to get some advice on how to
structure the evening. Here's what I'm expecting:

Two 2 hour events, on March 3 and 10
20-30 people, with maybe 5-8 who have danced contra before at all, 1-3 who
I would consider experts
The second week will most likely have people who did not come the first week
Minimal live band (who I have worked with before)

Here's what I'm thinking so far:
1st dance: something simple without any swing to teach a few of the most
basic moves
2nd dance: teach the swing, do an easy dance
remaining dances: teach one new move before each dance, then do a dance
that incorporates that move

2nd week: plan a generally easy program, but review moves as they come up
(for those who missed the first week)

I'm hoping for suggestions of specific dances that I should use, and ways
to teach and handle a group with very few experienced dancers. How do I
prevent the whole thing from falling apart? In general, I think they'll be
more tolerant towards additional teaching time because it's billed more as
a lesson than a dance. (Last month they had a salsa lesson which went on
for 2 hours before they turned on the music.) I'm hoping that the fact that
these are mostly graduate/medical students who have done other forms of
social dance before will help greatly, but any and all advice is welcome.

Sincerely,
Ben Hornstein