Re: [Callers] Dances and Creative Commons

[Jim Hemphill via Callers]

Here Chris, you might find this helpful:
https://www.copyright.gov/circs/circ52.pdf

We are mostly on an honor system here anyway. Since social dances
themselves are not covered by copy right, there is nor a huge point to
doing it.
You can protect your specific written notes, like any written work, but the
actual sequence for a social dance is pretty much already used by anyone.
Bob Green
St. Louis

On Thu, Sep 12, 2019 at 1:57 AM Chris Page via Callers <
callers@lists.sharedweight.net> wrote:

> Hi,
>
> Does anyone have experience/advice using a creative commons license
> with dance descriptions?
>
> (asking for someone else)
> -Chris Page
> California
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[Callers] Dances and Creative Commons

[Chris Page via Callers]

Hi,

Does anyone have experience/advice using a creative commons license
with dance descriptions?

(asking for someone else)
-Chris Page
California
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Re: [Callers] dances

[Don Veino via Callers]

Caller's Box leads to Wayback Machine gets to
http://web.archive.org/web/20151009131959/http://www.theyken.net/don/Dances/Webster%20Hall.pdf

On Wed, Jul 17, 2019 at 3:20 PM Mark Hillegonds via Callers <
callers@lists.sharedweight.net> wrote:

> Webster Hall Reel, by Don Theyken. Not sure if it's OK to share so
> publicly, so I'll send it to you offline.
>
> It has a lovely English-y move to get into the CC. Looks simple on the
> card, but can be quite disorienting for newer or otherwise
> geographically-challenged dancers.
>
> On Wed, Jul 17, 2019, 2:55 PM Charles Abell via Callers <
> callers@lists.sharedweight.net> wrote:
>
>> There was a recent discussion of easy contra corners dances on here. As I
>> have a nice body of beginner level CC dances, I am looking to add some more
>> challenging contra corners dances into my repertoire. What do you all got?
>> (Triplets are okay, but definitely some in contra formation ...)
>>
>> Chuck
>>
>> Sent from my iPhone
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Re: [Callers] dances

[Mark Hillegonds via Callers]

Webster Hall Reel, by Don Theyken. Not sure if it's OK to share so
publicly, so I'll send it to you offline.

It has a lovely English-y move to get into the CC. Looks simple on the
card, but can be quite disorienting for newer or otherwise
geographically-challenged dancers.

On Wed, Jul 17, 2019, 2:55 PM Charles Abell via Callers <
callers@lists.sharedweight.net> wrote:

> There was a recent discussion of easy contra corners dances on here. As I
> have a nice body of beginner level CC dances, I am looking to add some more
> challenging contra corners dances into my repertoire. What do you all got?
> (Triplets are okay, but definitely some in contra formation ...)
>
> Chuck
>
> Sent from my iPhone
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Re: [Callers] dances

[Charles Abell via Callers]

There was a recent discussion of easy contra corners dances on here. As I have 
a nice body of beginner level CC dances, I am looking to add some more 
challenging contra corners dances into my repertoire. What do you all got? 
(Triplets are okay, but definitely some in contra formation ...)

Chuck 

Sent from my iPhone
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Re: [Callers] dances for Halloween

[Donna Hunt via Callers]

Barbara et al:
There's a lot of Halloween postings in the archives.  Check this out:



https://www.mail-archive.com/search?q=halloween=callers%40lists.sharedweight.net
 

 

Donna
Web Site:  donnahuntcaller.com
Email: dhuntdan...@aol.com
Cell:  215-565-6050



 

 

-Original Message-
From: Maia McCormick via Callers 
To: barbara153 
Cc: Shared Weight Callers' Listserv 
Sent: Sun, Aug 19, 2018 1:23 pm
Subject: Re: [Callers] dances for Halloween



The ones that come to mind are:
- Wizard's Walk
- The Zombies of Sugar Hill


Happy calling!


On Fri, Aug 17, 2018 at 11:12 AM barbara153--- via Callers 
 wrote:


Hi everyone!
 
I will be calling a dance on Halloween and would like to know if anyone  can 
share some Halloween themed dances with choreography if possible.
 
I do have :
Halloween Twist
Chainsaw
 
Thanks and keep on calling...
Barbara G 
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Re: [Callers] dances for Halloween

[Luke Donforth via Callers]

Well, there's what the kids go for: "All You Can Eat"; possibly of
something tasty for the season, like "Apples and Chocolate".
If you're not on the food part, there's "Black Cat Mixer", "Dancing In My
Bones", or "Witches Star".

Having danced at themed dancing where the theme overran programmatic
considerations; I'd say a holiday theme can be well used like a spice: just
a little to keep it interesting.

But if one of these fits you program, enjoy.

All You Can Eat
by Ted Crane
Contra/Improper/Easy

A1 ---
(8) Gypsy Neighbor R 1x
(8) Women allemande Left 1-1/2
A2 ---
(16) Partner gypsy R and swing
B1 ---
(8) Circle Left 3/4
(8) Neighbor swing
B2 ---
(8) Left hand Star 1x
(8) SAME Neighbor Gypsy Left 1x

Apples and Chocolate
by Sue Rosen
Contra/Improper

A1 ---
(8) Balance and slide to the right (as in Rory O’More)
(8) Balance and slide to the left (as in Rory O’More)
A2 ---
(4) Neighbor allemande Right 1/2
(4) Men allemande Left 1/2
(8) Partner swing
B1 ---
(8) Circle Left 1X
(8) Women's Chain to neighbor

B2 ---
(8) 1/2 Hey, women passing right shoulders
(8) New Neighbor Do-si-do to a wave of 4 (N R, W L)

Black Cat Mixer
by Martha Wild
Circle Mixer/Improper

A1 ---
(8) All forward and back
(8) All forward and back
A2 ---
(8) Circle Left
(8) Single file Prom Back to Right
Women tap Man in front of them on shoulder, who turns (new P)
B1 ---
(8) Partner Do-si-do
(8) Partner swing
B2 ---
(16) Promenade in line of direction, form a circle

Witch’s Star
by Linda Leslie
Contra/Improper

A1 ---
(8) Right Hands across star
(8) Left Hands across star back, gents drop out
A2 ---
(8) Women allemande Left 1-1/2
(8) Partner swing
B1 ---
(8) Long lines, forward and back
(8) Women's Chain across
B2 ---
(16) Hey, women passing right shoulders


On Sun, Aug 19, 2018 at 3:33 PM Karin Neils via Callers <
callers@lists.sharedweight.net> wrote:

> Witches' Cauldron by Kirsten Koths is a favorite of mine - Becket Sicilian
> Mixer - easy moves for the inclusion of beginners, and a very unusual
> progression (see Notes at
> 
> ) to keep the
> experienced dancers entertained. I do *not* recommend it if you have more
> than 20% beginners on the floor.The tune *OLD GREY CAT*’s a VERY GOOD
> MATCH  in rhythm and mood.  I've had fun introducing it with a witchy
> chant:
>
> *Double, double, toil and trouble; fire burn, and cauldron bubble!*
>
> *Come and stir my pot with me. Bring a partner; come and see!*
>
> When we dance *Witches’ Cauldron*, we’ll be stirring the pot this way and
> that; things will bubble up; there’ll be eddies and lumps.
> Karin
>
>
>
>
> On 8/19/2018 1:22 PM, Maia McCormick via Callers wrote:
>
> The ones that come to mind are:
> - Wizard's Walk
> - The Zombies of Sugar Hill
>
> Happy calling!
>
> On Fri, Aug 17, 2018 at 11:12 AM barbara153--- via Callers <
> callers@lists.sharedweight.net> wrote:
>
>> Hi everyone!
>>
>> I will be calling a dance on Halloween and would like to know if anyone
>> can share some Halloween themed dances with choreography if possible.
>>
>> I do have :
>> Halloween Twist
>> Chainsaw
>>
>> Thanks and keep on calling...
>> Barbara G
>> ___
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>>
>
>
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>
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>


-- 
Luke Donforth
luke.donfo...@gmail.com 
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Re: [Callers] dances for Halloween

[Karin Neils via Callers]

Witches' Cauldron by Kirsten Koths is a favorite of mine - Becket 
Sicilian Mixer - easy moves for the inclusion of beginners, and a very 
unusual progression (see Notes at 
) to keep the 
experienced dancers entertained. I do _not_ recommend it if you have 
more than 20% beginners on the floor.The tune *OLD GREY CAT*’s a VERY 
GOOD MATCHin rhythm and mood.  I've had fun introducing it with a witchy 
chant:


/Double, double, toil and trouble; fire burn, and cauldron bubble!/

/Come and stir my pot with me. Bring a partner; come and see!/

When we dance *Witches’ Cauldron*, we’ll be stirring the pot this way 
and that; things will bubble up; there’ll be eddies and lumps.


Karin

//

/
/



On 8/19/2018 1:22 PM, Maia McCormick via Callers wrote:

The ones that come to mind are:
- Wizard's Walk
- The Zombies of Sugar Hill

Happy calling!

On Fri, Aug 17, 2018 at 11:12 AM barbara153--- via Callers 
> wrote:


Hi everyone!
I will be calling a dance on Halloween and would like to know if
anyone  can share some Halloween themed dances with choreography
if possible.
I do have :
Halloween Twist
Chainsaw
Thanks and keep on calling...
Barbara G
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Re: [Callers] dances for Halloween

[Maia McCormick via Callers]

The ones that come to mind are:
- Wizard's Walk
- The Zombies of Sugar Hill

Happy calling!

On Fri, Aug 17, 2018 at 11:12 AM barbara153--- via Callers <
callers@lists.sharedweight.net> wrote:

> Hi everyone!
>
> I will be calling a dance on Halloween and would like to know if anyone
> can share some Halloween themed dances with choreography if possible.
>
> I do have :
> Halloween Twist
> Chainsaw
>
> Thanks and keep on calling...
> Barbara G
> ___
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>
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[Callers] dances for Halloween

[barbara153--- via Callers]

Hi everyone!

I will be calling a dance on Halloween and would like to know if anyone  can 
share some Halloween themed dances with choreography if possible.

I do have :
Halloween Twist
Chainsaw

Thanks and keep on calling...
Barbara G 
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[Callers] Dances written for Linda Leslie

[Robert Golder via Callers]

In remembrance of our dear Linda Leslie, and in partial thanks to all who have 
been so kind to me since her passing, I'd like to share two contra dances that 
you may not have in your collections, that were written for (not by) Linda 
Leslie.

I wrote "Fun Dance for Linda" fourteen years ago, and first called it on May 
15, 2004. I think it truly is a fun dance, and so did Linda, but I called it 
infrequently - whenever Linda was on the dance floor, and I was on stage, and 
those gigs were few and far between. I thank Lisa Greenleaf for including "Fun 
Dance for Linda" at Linda's celebration of life at the Concord Scout House on 
May 20. There are no circle-left figures in this lively and upbeat dance, which 
makes it a nice choice at times to drop into an otherwise-circly program.

FUN DANCE FOR LINDA (for Linda Leslie)
Bob Golder
Duple Improper
Two swings, Partner & Neighbor (P. & N.)

A1) Gents Allemande Left 1-1/2 (face P. ) / Half Hey (pass P. by R. to start)

A2) Partner Balance & Swing (end facing N. across set; give inside hand to N. - 
gents R. hand, ladies L. hand)

B1) (With N.) Inside-Hand Balance; Star Through / (Same 4) Ring Balance, Twirl 
to the Right

B2) (Same) Neighbor Balance & Swing

An earlier dance, written for Linda Leslie by Danish dance leader Frede Olsen, 
is "Linda's Surprise." My notes show that I first called it in 1998. There are 
several surprises, the first of which was that Linda didn't know that Frede had 
written a dance in her honor until he announced it from the stage. Another 
surprise is that the full hey for four travels beautifully across the musical 
phrase from the end of the A2 into the beginning of the B1. The transition is 
smooth as silk when the band plays romantic reels. Still another surprise is 
that although there are two swings, they are both danced with one's partner. 
Linda liked the dance but did not often call it because she worried about 
dancers who might be stuck with a less-than-satisfactory partner. I loved to 
call the dance because it is so beautiful and was written for Linda. For 
brevity I use here Frede's original instruction to "gypsy." Please substitute 
your preferred term when calling the dance.

LINDA'S SURPRISE (for Linda Leslie)
Frede Olsen
Becket
Two swings, both with Partner

A1) Ladies Gypsy by the Right (once, and a little bit more) / Partner Swing

A2) Gents Gypsy by the Left (once around; face P.) / Begin full Hay, passing by 
R. shoulder to start

B1) Continue the full Hay for Four / Partner Swing

B2) Long Lines Forward & Back / Circle Left once around, Slide Left to new N.'s

To these dances written for Linda Leslie may be added Don Veino's "¡Que 
Linda!," which he shared on this list in April. Enjoy! … Bob Golder


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Re: [Callers] Dances Inspired by "Beneficial Tradition"

[Don Veino via Callers]

I was inspired to try fitting it into a 4 Face 4 - which I dubbed
"Traditions with Benefits."

See http://veino.com/blog/?p=1500 .

On Fri, Mar 3, 2017 at 1:10 PM, Dugan Murphy via Callers <
callers@lists.sharedweight.net> wrote:

> Does anybody know of dances inspired by "Beneficial Tradition" by Dan
> Pearl that includes the "zipper" figure (B2 of "Beneficial Tradition") or
> variations of that figure?  I just wrote one myself, so I'm curious to see
> what else is out there.
>
> Here's mine:
>
> Dela Says Yippee by Dugan Murphy (Clockwise Becket)
>
> A1  Long Lines Forward and Back (8) / Neighbor Left Hand Pull-by Across
> the Set (hopping and shouting recommended on the fourth beat) (4) - New
> Same-Role Dancer Across the Set Right Hand Pull-by Across the Set (hopping
> and shouting recommended on the fourth beat) (4)
>
> A2  New Ladies (not the one just pulled by) Left Hand Allemande 1.5 (8) /
> Neighbor Swing
>
> B1  Circle Left 3 Places (8) / Partner Di-Si-Do (8)
>
> B2  Partner Balance & Swing (16)
>
> This dance is also posted here: www.duganmurphy.com/dances-i-wrote
>
> Dugan Murphy
> Portland, Maine
> dugan at duganmurphy.com 
> www.DuganMurphy.com
> www.PortlandIntownContraDance.com
> www.NufSed.consulting
>
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>

Re: [Callers] Dances Inspired by "Beneficial Tradition"

[Linda Leslie via Callers]

Al Olson wrote a triplet. Here it is
Linda

Benefical Triplet
by Al Olson
Other/Triplet/Int

A1 ---
Partner across pull by the right,  L diag pull by left
Across pull by R;  L diag pull by L

A2 ---
across pull by R;  L diag pull by L
Partner across Balance & Box the gnat
B1 ---
Partner Balance & Swing
B2 ---
Cpl #1  (at the bottom) up the center TA; 
Return to center (2s now at bottom)
& Cast UP with Cpl #2  
END:   2  1   3

On Mar 3, 2017, at 1:10 PM, Dugan Murphy via Callers 
 wrote:

> Does anybody know of dances inspired by "Beneficial Tradition" by Dan Pearl 
> that includes the "zipper" figure (B2 of "Beneficial Tradition") or 
> variations of that figure?  I just wrote one myself, so I'm curious to see 
> what else is out there.
> 
> Here's mine:
> 
> Dela Says Yippee by Dugan Murphy (Clockwise Becket)
> 
> A1  Long Lines Forward and Back (8) / Neighbor Left Hand Pull-by Across the 
> Set (hopping and shouting recommended on the fourth beat) (4) - New Same-Role 
> Dancer Across the Set Right Hand Pull-by Across the Set (hopping and shouting 
> recommended on the fourth beat) (4)
> 
> A2  New Ladies (not the one just pulled by) Left Hand Allemande 1.5 (8) / 
> Neighbor Swing
> 
> B1  Circle Left 3 Places (8) / Partner Di-Si-Do (8)
> 
> B2  Partner Balance & Swing (16)
> 
> This dance is also posted here: www.duganmurphy.com/dances-i-wrote
> 
> Dugan Murphy
> Portland, Maine
> dugan at duganmurphy.com
> www.DuganMurphy.com
> www.PortlandIntownContraDance.com
> www.NufSed.consulting
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Re: [Callers] Dances Inspired by "Beneficial Tradition"

[JD Erskine via Callers]

On 2017-03-03 1052, JD Erskine via Callers wrote:

On 2017-03-03 1016, Bill Olson via Callers wrote:

Dugan, Here are Dan's own notes regarding the dance.. not sure what the
Steve Schnur dance is titled, someone on here certainly knows..:


"I always loved this zig-zag gimmick when I danced it in Cor Hogendijk's
"Pat's Tradition", done by English country dancers. A dance by Steve
Schnur that featured it motiviated me to try my own. The dance was
written for and first performed at the Dance Musician's Development Fund
annual benefit dance. The Fund sprung out of a one-time benefit dance to
help Susan Worland, a fine fiddler in Boston, replace her stolen
instruments. From that, the Fund formed as a subcommittee of the Folk
Arts Center of New England. At the annual DMDF dance (12 hours of varied
dancing) funds are raised to benefit research and special projects for
Boston-area dance musicians. The title gives a nod to "Pat's Tradition"
and the beneficial tradition of the DMDF.


"Little did I know that when the dance started getting around, people
would start yelping, hooting, etc. during B2. I think this started in
Philadelphia. They have my blessing! Certainly, the "pulls" in B2 should
be done with strength, tension, and other good contra-type connection.
Foot-stompers have my blessing, too! ;-)"


bill


Further to Bills quote you'll find more from Dan on the figure
("interchanging waves" - Dan, not Steve), Steve's dance name of its
origin ("Winter of '82"), working with Steve ("Summer of '84"), in Mary
Darts piece on Contra dance choreography.

http://www.cdss.org/elibrary/dart/dance_composition_1.htm

Cheers, John
--
J.D. Erskine
Victoria, BC


Sorry, working on the second cup. The "Dan" referred to here is really 
Gene Hubert in disguise. _And_ I misread the directions/quote, so _not_ 
a useful reference. Going away now. Pardon me.


JD



*From:* Callers <callers-boun...@lists.sharedweight.net> on behalf of
Dugan Murphy via Callers <callers@lists.sharedweight.net>
*Sent:* Friday, March 3, 2017 6:10 PM
*To:* Callers List Serve
*Subject:* [Callers] Dances Inspired by "Beneficial Tradition"
Does anybody know of dances inspired by "Beneficial Tradition" by Dan
Pearl that includes the "zipper" figure (B2 of "Beneficial Tradition")
or variations of that figure?  I just wrote one myself, so I'm curious
to see what else is out there.

Here's mine:

Dela Says Yippee by Dugan Murphy (Clockwise Becket)

A1  Long Lines Forward and Back (8) / Neighbor Left Hand Pull-by Across
the Set (hopping and shouting recommended on the fourth beat) (4) - New
Same-Role Dancer Across the Set Right Hand Pull-by Across the Set
(hopping and shouting recommended on the fourth beat) (4)

A2  New Ladies (not the one just pulled by) Left Hand Allemande 1.5 (8)
/ Neighbor Swing

B1  Circle Left 3 Places (8) / Partner Di-Si-Do (8)

B2  Partner Balance & Swing (16)

This dance is also posted here: www.duganmurphy.com/dances-i-wrote
<http://www.duganmurphy.com/dances-i-wrote>

<http://www.duganmurphy.com/dances-i-wrote>

Choreography — DUGAN MURPHY <http://www.duganmurphy.com/dances-i-wrote>
www.duganmurphy.com
Dugan Murphy is a nationally known contra dance caller. He's written
contra dances, too, emphasizing intuitive transitions and flow.




Dugan Murphy
Portland, Maine
dugan at duganmurphy.com <mailto:du...@duganmurphy.com>
www.DuganMurphy.com <http://www.DuganMurphy.com>
www.PortlandIntownContraDance.com
<http://www.PortlandIntownContraDance.com>
www.NufSed.consulting <http://www.NufSed.consulting>


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Re: [Callers] Dances Inspired by "Beneficial Tradition"

[JD Erskine via Callers]

On 2017-03-03 1016, Bill Olson via Callers wrote:

Dugan, Here are Dan's own notes regarding the dance.. not sure what the
Steve Schnur dance is titled, someone on here certainly knows..:


"I always loved this zig-zag gimmick when I danced it in Cor Hogendijk's
"Pat's Tradition", done by English country dancers. A dance by Steve
Schnur that featured it motiviated me to try my own. The dance was
written for and first performed at the Dance Musician's Development Fund
annual benefit dance. The Fund sprung out of a one-time benefit dance to
help Susan Worland, a fine fiddler in Boston, replace her stolen
instruments. From that, the Fund formed as a subcommittee of the Folk
Arts Center of New England. At the annual DMDF dance (12 hours of varied
dancing) funds are raised to benefit research and special projects for
Boston-area dance musicians. The title gives a nod to "Pat's Tradition"
and the beneficial tradition of the DMDF.


"Little did I know that when the dance started getting around, people
would start yelping, hooting, etc. during B2. I think this started in
Philadelphia. They have my blessing! Certainly, the "pulls" in B2 should
be done with strength, tension, and other good contra-type connection.
Foot-stompers have my blessing, too! ;-)"


bill


Further to Bills quote you'll find more from Dan on the figure 
("interchanging waves" - Dan, not Steve), Steve's dance name of its 
origin ("Winter of '82"), working with Steve ("Summer of '84"), in Mary 
Darts piece on Contra dance choreography.


http://www.cdss.org/elibrary/dart/dance_composition_1.htm

Cheers, John
--
J.D. Erskine
Victoria, BC




*From:* Callers <callers-boun...@lists.sharedweight.net> on behalf of
Dugan Murphy via Callers <callers@lists.sharedweight.net>
*Sent:* Friday, March 3, 2017 6:10 PM
*To:* Callers List Serve
*Subject:* [Callers] Dances Inspired by "Beneficial Tradition"
Does anybody know of dances inspired by "Beneficial Tradition" by Dan
Pearl that includes the "zipper" figure (B2 of "Beneficial Tradition")
or variations of that figure?  I just wrote one myself, so I'm curious
to see what else is out there.

Here's mine:

Dela Says Yippee by Dugan Murphy (Clockwise Becket)

A1  Long Lines Forward and Back (8) / Neighbor Left Hand Pull-by Across
the Set (hopping and shouting recommended on the fourth beat) (4) - New
Same-Role Dancer Across the Set Right Hand Pull-by Across the Set
(hopping and shouting recommended on the fourth beat) (4)

A2  New Ladies (not the one just pulled by) Left Hand Allemande 1.5 (8)
/ Neighbor Swing

B1  Circle Left 3 Places (8) / Partner Di-Si-Do (8)

B2  Partner Balance & Swing (16)

This dance is also posted here: www.duganmurphy.com/dances-i-wrote
<http://www.duganmurphy.com/dances-i-wrote>

<http://www.duganmurphy.com/dances-i-wrote>

Choreography — DUGAN MURPHY <http://www.duganmurphy.com/dances-i-wrote>
www.duganmurphy.com
Dugan Murphy is a nationally known contra dance caller. He's written
contra dances, too, emphasizing intuitive transitions and flow.




Dugan Murphy
Portland, Maine
dugan at duganmurphy.com <mailto:du...@duganmurphy.com>
www.DuganMurphy.com <http://www.DuganMurphy.com>
www.PortlandIntownContraDance.com <http://www.PortlandIntownContraDance.com>
www.NufSed.consulting <http://www.NufSed.consulting>


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Re: [Callers] Dances Inspired by "Beneficial Tradition"

[Bob Green via Callers]

Hi Dugan,

Here is one with the zipper on steroids:

http://dancevideos.childgrove.org/contra/contra-modern/57-xyz

*XYZ *by Bob Green  Duple Minor improper  used by permission

A1 Ladies allamande by the right 1 1/2 (8)
Partner Swing (8)

A2  Ladies chain (8)
Long lines forward and back (8)

B1 With partner, pull by left, on right diagonal pull by right  (8)
On the left diagonal next pull by left, on the right diagonal pull by right
(8)

B2 Reverse with same person pull by right, then diagonal pull by left (8)
diagonal Pull by right, partner Pull by left.

This dance uses a modification of the "zipper" or "shoelace"  move used by
Dan Pearl in his classic dance *Beneficial Tradition*
<http://dancevideos.childgrove.org/contra/contra-modern/245-beneficial-tradition.html>,
that is, I believe is based on a move in the English Country dance, *Pat's
Tradition <http://www.youtube.com/watch?v=9026vlPB6do>*.
Date of video: May 20, 2011
Dance Group: Childgrove Country Dancers (St Louis, MO)

I have never gotten a chance to confirm this with Dan, but I am guessing he
was inspired by a 3-couple set dance called "*Pat's Tradition*" by Cor
Hogendijk written for Pat Shaw. It has a compact version of the zipper:

https://www.youtube.com/watch?v=9ISyXL4575k

Bob Green
St. Louis


On Fri, Mar 3, 2017 at 12:16 PM, Bill Olson via Callers <
callers@lists.sharedweight.net> wrote:

> Dugan, Here are Dan's own notes regarding the dance.. not sure what the
> Steve Schnur dance is titled, someone on here certainly knows..:
>
>
> "I always loved this zig-zag gimmick when I danced it in Cor Hogendijk's
> "Pat's Tradition", done by English country dancers. A dance by Steve Schnur
> that featured it motiviated me to try my own. The dance was written for and
> first performed at the Dance Musician's Development Fund annual benefit
> dance. The Fund sprung out of a one-time benefit dance to help Susan
> Worland, a fine fiddler in Boston, replace her stolen instruments. From
> that, the Fund formed as a subcommittee of the Folk Arts Center of New
> England. At the annual DMDF dance (12 hours of varied dancing) funds are
> raised to benefit research and special projects for Boston-area dance
> musicians. The title gives a nod to "Pat's Tradition" and the beneficial
> tradition of the DMDF.
>
>
> "Little did I know that when the dance started getting around, people
> would start yelping, hooting, etc. during B2. I think this started in
> Philadelphia. They have my blessing! Certainly, the "pulls" in B2 should be
> done with strength, tension, and other good contra-type connection.
> Foot-stompers have my blessing, too! ;-)"
>
>
> bill
>
>
>
>
> --
> *From:* Callers <callers-boun...@lists.sharedweight.net> on behalf of
> Dugan Murphy via Callers <callers@lists.sharedweight.net>
> *Sent:* Friday, March 3, 2017 6:10 PM
> *To:* Callers List Serve
> *Subject:* [Callers] Dances Inspired by "Beneficial Tradition"
>
> Does anybody know of dances inspired by "Beneficial Tradition" by Dan
> Pearl that includes the "zipper" figure (B2 of "Beneficial Tradition") or
> variations of that figure?  I just wrote one myself, so I'm curious to see
> what else is out there.
>
> Here's mine:
>
> Dela Says Yippee by Dugan Murphy (Clockwise Becket)
>
> A1  Long Lines Forward and Back (8) / Neighbor Left Hand Pull-by Across
> the Set (hopping and shouting recommended on the fourth beat) (4) - New
> Same-Role Dancer Across the Set Right Hand Pull-by Across the Set (hopping
> and shouting recommended on the fourth beat) (4)
>
> A2  New Ladies (not the one just pulled by) Left Hand Allemande 1.5 (8) /
> Neighbor Swing
>
> B1  Circle Left 3 Places (8) / Partner Di-Si-Do (8)
>
> B2  Partner Balance & Swing (16)
>
> This dance is also posted here: www.duganmurphy.com/dances-i-wrote
>
> <http://www.duganmurphy.com/dances-i-wrote>
> Choreography — DUGAN MURPHY <http://www.duganmurphy.com/dances-i-wrote>
> www.duganmurphy.com
> Dugan Murphy is a nationally known contra dance caller. He's written
> contra dances, too, emphasizing intuitive transitions and flow.
>
>
>
>
> Dugan Murphy
> Portland, Maine
> dugan at duganmurphy.com <du...@duganmurphy.com>
> www.DuganMurphy.com
> www.PortlandIntownContraDance.com
> www.NufSed.consulting
>
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
>

Re: [Callers] Dances Inspired by "Beneficial Tradition"

[Bill Olson via Callers]

Dugan, Here are Dan's own notes regarding the dance.. not sure what the Steve 
Schnur dance is titled, someone on here certainly knows..:


"I always loved this zig-zag gimmick when I danced it in Cor Hogendijk's "Pat's 
Tradition", done by English country dancers. A dance by Steve Schnur that 
featured it motiviated me to try my own. The dance was written for and first 
performed at the Dance Musician's Development Fund annual benefit dance. The 
Fund sprung out of a one-time benefit dance to help Susan Worland, a fine 
fiddler in Boston, replace her stolen instruments. From that, the Fund formed 
as a subcommittee of the Folk Arts Center of New England. At the annual DMDF 
dance (12 hours of varied dancing) funds are raised to benefit research and 
special projects for Boston-area dance musicians. The title gives a nod to 
"Pat's Tradition" and the beneficial tradition of the DMDF.


"Little did I know that when the dance started getting around, people would 
start yelping, hooting, etc. during B2. I think this started in Philadelphia. 
They have my blessing! Certainly, the "pulls" in B2 should be done with 
strength, tension, and other good contra-type connection. Foot-stompers have my 
blessing, too! ;-)"


bill




From: Callers <callers-boun...@lists.sharedweight.net> on behalf of Dugan 
Murphy via Callers <callers@lists.sharedweight.net>
Sent: Friday, March 3, 2017 6:10 PM
To: Callers List Serve
Subject: [Callers] Dances Inspired by "Beneficial Tradition"

Does anybody know of dances inspired by "Beneficial Tradition" by Dan Pearl 
that includes the "zipper" figure (B2 of "Beneficial Tradition") or variations 
of that figure?  I just wrote one myself, so I'm curious to see what else is 
out there.

Here's mine:

Dela Says Yippee by Dugan Murphy (Clockwise Becket)

A1  Long Lines Forward and Back (8) / Neighbor Left Hand Pull-by Across the Set 
(hopping and shouting recommended on the fourth beat) (4) - New Same-Role 
Dancer Across the Set Right Hand Pull-by Across the Set (hopping and shouting 
recommended on the fourth beat) (4)

A2  New Ladies (not the one just pulled by) Left Hand Allemande 1.5 (8) / 
Neighbor Swing

B1  Circle Left 3 Places (8) / Partner Di-Si-Do (8)

B2  Partner Balance & Swing (16)

This dance is also posted here: 
www.duganmurphy.com/dances-i-wrote<http://www.duganmurphy.com/dances-i-wrote>

[http://static1.squarespace.com/static/5704775b40261d846362291c/t/58768185e3df289e722ccf3b/1484942324192/?format=1000w]<http://www.duganmurphy.com/dances-i-wrote>

Choreography — DUGAN MURPHY<http://www.duganmurphy.com/dances-i-wrote>
www.duganmurphy.com
Dugan Murphy is a nationally known contra dance caller. He's written contra 
dances, too, emphasizing intuitive transitions and flow.




Dugan Murphy
Portland, Maine
dugan at duganmurphy.com<mailto:du...@duganmurphy.com>
www.DuganMurphy.com<http://www.DuganMurphy.com>
www.PortlandIntownContraDance.com<http://www.PortlandIntownContraDance.com>
www.NufSed.consulting<http://www.NufSed.consulting>

[Callers] Dances Inspired by "Beneficial Tradition"

[Dugan Murphy via Callers]

Does anybody know of dances inspired by "Beneficial Tradition" by Dan Pearl
that includes the "zipper" figure (B2 of "Beneficial Tradition") or
variations of that figure?  I just wrote one myself, so I'm curious to see
what else is out there.

Here's mine:

Dela Says Yippee by Dugan Murphy (Clockwise Becket)

A1  Long Lines Forward and Back (8) / Neighbor Left Hand Pull-by Across the
Set (hopping and shouting recommended on the fourth beat) (4) - New
Same-Role Dancer Across the Set Right Hand Pull-by Across the Set (hopping
and shouting recommended on the fourth beat) (4)

A2  New Ladies (not the one just pulled by) Left Hand Allemande 1.5 (8) /
Neighbor Swing

B1  Circle Left 3 Places (8) / Partner Di-Si-Do (8)

B2  Partner Balance & Swing (16)

This dance is also posted here: www.duganmurphy.com/dances-i-wrote

Dugan Murphy
Portland, Maine
dugan at duganmurphy.com 
www.DuganMurphy.com
www.PortlandIntownContraDance.com
www.NufSed.consulting

[Callers] Dances without LLFB and Ladies Chain

[Mark Hillegonds via Callers]

Hi all,

Following on the recent inquiries about favorite dances that [INSERT
CRITERIA HERE], I'll post my request.

I'm finding that when I put programs together, I'll have a string (or at
least several) dances that have a LL F or a Ladies Chain and sometimes
both.

I'd be interested to know your favorite dances (of any experience level)
that use neither of these figures.

Thanks and Happy Holidays to all!

-- 
*Mark Hillegonds*

Cell:  734-756-8441
Email:  mark.hillego...@gmail.com

Re: [Callers] Dances with multiple swings

[via Callers]

Illegal in Most States by Robert Cromartie.

A1  B/S N; face across.
A2  Ladies chain to P, Out of the courtesy turn, circle RIGHT halfway  (all 
are standing between P and  Shadow -- except at the ends of  course)  Pass 
through straight across, turn to Shadow. 
B1  (NO Bal either swing). Swing Shadow (8), roll out and swing P  (8)
B2   LL F/B.  Circle 0.75, pass thru

There's a video on  YouTube
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Re: [Callers] Dances with multiple swings- Trinity?

[Maia McCormick via Callers]

Some more for your list:
Moments of Transition by Chris Page


*Two-Way Street*
* by Lisa Greenleaf/Bob Isaacs* || becket left
*A1:* ladies alle. L 1 1/2; N1 swing, end facing DOWN
*A2:* down the hall, outsides (1s) keep going and insides (2s) turn back up
over R sh (8)
N2 swing, end facing up (8)
*B1:* up the hall and bend the line; circle L 3/4 and pass through
*B2:* shadow gypsy R; P swing


On Sat, Mar 12, 2016 at 2:01 PM, Jim Hemphill via Callers <
callers@lists.sharedweight.net> wrote:

> Here are a couple of mine with more than 2 swings.
>
> *Swingin and Slingin*  by Jim Hemphill
> A1 Neighbor balance and swing
> A2 Ladies allemande right 1 1/2
>  Partner swing
> B1 Circle left 3 places
>  1's swing in the center
> B2 Down the hall in lines of 4 (1's in center)
> Without turning around, put it in reverse back up the hall, 1's arch
> and sling the 2's thru
>
>
>
>
> *Steam Train   Indecent (2's cross over)A1 Gents dance in to a long wave
> in the center, balance right and leftGents allemande right 1/2, left 1/2 ,
> right 1/2, step to your new neighbor A2 New Neighbor balance and swingB1
> Circle left 3, pass thru up and downPartner swingB2 Ladies do si do 1
> 1/2Neighbor (original) swing  Note: In B1 you will be reaching across to
> your shadow to form the circle and they may be slightly left diagonal after
> the neighbor swing.   To ID your shadow, from indecent formation have
> dancers take hands in long lines and look at the couple on the Right
> diagonal. The person they would swing in that couple is your shadow.The end
> effects are fast paced and according to some fun,  so don’t relax at the
> end. *
>
>
> ___
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> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>
>

Re: [Callers] Dances with multiple swings- Trinity?

[Jim Hemphill via Callers]

Here are a couple of mine with more than 2 swings.

*Swingin and Slingin*  by Jim Hemphill
A1 Neighbor balance and swing
A2 Ladies allemande right 1 1/2
 Partner swing
B1 Circle left 3 places
 1's swing in the center
B2 Down the hall in lines of 4 (1's in center)
Without turning around, put it in reverse back up the hall, 1's arch
and sling the 2's thru




*Steam Train   Indecent (2's cross over)A1 Gents dance in to a long wave in
the center, balance right and leftGents allemande right 1/2, left 1/2 ,
right 1/2, step to your new neighbor A2 New Neighbor balance and swingB1
Circle left 3, pass thru up and downPartner swingB2 Ladies do si do 1
1/2Neighbor (original) swing  Note: In B1 you will be reaching across to
your shadow to form the circle and they may be slightly left diagonal after
the neighbor swing.   To ID your shadow, from indecent formation have
dancers take hands in long lines and look at the couple on the Right
diagonal. The person they would swing in that couple is your shadow.The end
effects are fast paced and according to some fun,  so don’t relax at the
end. *

Re: [Callers] Dances with multiple swings- Swingaround

[jwcontrahands4 via Callers]

I'm aware of one called Swingaround by Gene Hubert.  It has an 8 beat neighbor 
swing at the beginning followed by the number two couples swinging in the 
middle followed by a same-sex swing followed by the ones  swinging in the 
middle which leads to a line of four down the hall with the ones in the center. 
 That's three swing-swing transitions.  The dance is published online.


Sent via the Samsung Galaxy S™ III, an AT 4G LTE smartphone



 Original message From: Lindsey Dono via 
Callers <callers@lists.sharedweight.net> Date:03/11/2016  2:56 PM  
(GMT-06:00) To: Callers List <callers@lists.sharedweight.net> 
Subject: [Callers] Dances with multiple swings- Trinity? 
Hi all,

I'm in the process of sorting through old dance notes, and found this: 
"Trinity? triple swing, double progression, Al Olson." If this is an existing 
dance, does anyone have the choreography?

I'm also interested in finding other dances with more than two swings, 
especially swing-to-swing transitions.
I have:
Back from Vermont
String of Swings
CDS Reel
Meg's a Dancing Fool
Ten Strings Attached
Gang of Four
Naked in California
Alexander's Swingtime

Many thanks in advance!
Lindsey
(Tacoma, WA)

Re: [Callers] Dances with multiple swings- Trinity?

[Keith Wood via Callers]

Hi Lindsey

My dance Diana's Day has three swings with a swing-to-swing transition.

http://keith-wood.name/mydances.html#DianasDay

Cheers

Keith


Hi all,

I'm in the process of sorting through old dance notes, and found this: 
"Trinity? triple swing, double progression, Al Olson." If this is an 
existing dance, does anyone have the choreography?


I'm also interested in finding other dances with more than two swings, 
especially swing-to-swing transitions.

...

Many thanks in advance!
Lindsey
(Tacoma, WA)


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Re: [Callers] Dances with multiple swings- Trinity?

[Michael Dyck via Callers]

On 16-03-11 03:56 PM, Lindsey Dono via Callers wrote:

Hi all,

I'm in the process of sorting through old dance notes, and found this:
"Trinity? triple swing, double progression, Al Olson." If this is an
existing dance, does anyone have the choreography?


Gene Hubert wrote a double-progression, triple-swing dance named 'Trinity'.
It's published in his collection "Dizzy Dances volume II".

-Michael

Re: [Callers] Dances with multiple swings- Trinity?

[Colin Hume via Callers]

My dance Alterations Swing has three swings (double progression).

http://colinhume.com/instl.htm#AltSwing

Colin Hume

Re: [Callers] Dances with multiple swings- Trinity?

[Kalia Kliban via Callers]

3-2-1 Dance by Devin Nordberg (double progression)
Catch 'Em on the Fly by Al Olson (4 swings, 2 pairs of swing-to-swing 
transitions, hence the name).  Definitely not for a beginning group :>)


Kalia

On 3/11/2016 12:56 PM, Lindsey Dono via Callers wrote:

Hi all,

I'm in the process of sorting through old dance notes, and found this:
"Trinity? triple swing, double progression, Al Olson." If this is an
existing dance, does anyone have the choreography?

I'm also interested in finding other dances with more than two swings,
especially swing-to-swing transitions.
I have:
Back from Vermont
String of Swings
CDS Reel
Meg's a Dancing Fool
Ten Strings Attached
Gang of Four
Naked in California
Alexander's Swingtime

Many thanks in advance!
Lindsey
(Tacoma, WA)


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[Callers] Dances with multiple swings- Trinity?

[Lindsey Dono via Callers]

Hi all,
I'm in the process of sorting through old dance notes, and found this: 
"Trinity? triple swing, double progression, Al Olson." If this is an existing 
dance, does anyone have the choreography?
I'm also interested in finding other dances with more than two swings, 
especially swing-to-swing transitions.I have:Back from VermontString of 
SwingsCDS ReelMeg's a Dancing FoolTen Strings AttachedGang of FourNaked in 
CaliforniaAlexander's Swingtime
Many thanks in advance!Lindsey(Tacoma, WA)

Re: [Callers] Dances from English Dance & Song

[Tom Hinds via Callers]

Thank you for doing that!

Re: [Callers] Dances with R & L Thru

[Karin Neils via Callers]

Jim Hemphill caught an error in this dance

corrected choreography:

*Ted Under the Tent*by Glen Morningstar

Improper

Beg

A1Neighbor balance and box the gnat

Neighbor swing

A2Gents cross the set to your partner; swing

B1Right and Left through; over and back

B2Circle Left once and a quarter; twos arch, ones go thru


Glen introduced this dance by telling of a dance weekend years ago in 
Chicago in weather that was horribly hot. Ted Sannella was calling under 
a tent which offered shade but increased the heat. Recalling that 
event, Glenn composed this in October 2011.


My own notes after the first time I danced it: SO friendly to my 
beginner partner, and with a fine smooth feel to it.


happy dancing!
Karin





On 11/24/15 5:20 PM, Karin Neils via Callers wrote:

Dancing Raindrops by Gene Hubert[original]
Root Beer Float   adaptation of Root Beer Reel by Christine Hale; 
replace full ladies chain

Road to California   trad
Signs of Spring the one by Roberta Kogut
The Tourist by Ted Sannella
Washington Quickstep   trad
After the Solstice by Lisa Greenleaf

Ted Under the Tent   by Glen Morningstar
Improper
A1Neighbor balance and box the gnat
Neighbor swing
A2Gents cross the set to your partner; swing
B1Right and Left through; over and back
B2Circle Left 1X; twos arch, ones go thru


On 11/24/15 8:22 AM, Rich Sbardella via Callers wrote:
I am looking for a few good contras with a R & L Thru that do not 
contain a Ladies chain.  Any suggestions?

Peace,
Rich


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Re: [Callers] Dances with R & L Thru

[Karin Neils via Callers]

Dancing Raindrops by Gene Hubert[original]
Root Beer Float   adaptation of Root Beer Reel by Christine Hale; 
replace full ladies chain

Road to California   trad
Signs of Spring the one by Roberta Kogut
The Tourist by Ted Sannella
Washington Quickstep   trad
After the Solstice by Lisa Greenleaf

Ted Under the Tent   by Glen Morningstar
Improper
A1Neighbor balance and box the gnat
Neighbor swing
A2Gents cross the set to your partner; swing
B1Right and Left through; over and back
B2Circle Left 1X; twos arch, ones go thru


On 11/24/15 8:22 AM, Rich Sbardella via Callers wrote:
I am looking for a few good contras with a R & L Thru that do not 
contain a Ladies chain.  Any suggestions?

Peace,
Rich


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Re: [Callers] Dances with R & L Thru

[Karin Neils via Callers]

Dancing Raindrops by Gene Hubert[original]

Root Beer _Float_ adaptation of Root Beer Reel by Christine Hale; 
replace full chain


Road to Californiatrad

Signs of Springthe one by Roberta Kogut

The Tourist by Ted Sannella

Washington Quickstepbeg beg – great for teaching actives and out on ends

*Ted Under the Tent*by Glen Morninstar

Improper

Beg

A1Neighbor balance and box the gnat

Neighbor swing

A2Gents cross the set to your partner; swing

B1Right and Left through; over and back

B2Circle Left 1X; twos arch, ones go thru



On 11/24/2015 8:22 AM, Rich Sbardella via Callers wrote:
I am looking for a few good contras with a R & L Thru that do not 
contain a Ladies chain.  Any suggestions?

Peace,
Rich


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Re: [Callers] Dances with R & L Thru

[Michael Fuerst via Callers]

Here are several of my dances that qualify.


George's Neat Reel   Becket Counterclockwise  August, 1999
Video link: https://www.facebook.com/photo.php?v=1564652206411 
(One may have to be logged into Facebook to view the video)

A1  Promenade across
Hands across left hand star

A2  Men see-saw WHILE
   women exchange places by turning back over right shoulder and
   walking clockwise 1/2 way around the see-saw'ing men
Neighbors swing

B1  Long lines forward and on the way back, roll away to advance to a new 
neighbor,
   at end of which partners catch right hands across set so they can,
With new neighbors, right and left through

B2  Circle left 3/4, partners swing


Notes:  When out at the end, dancers must face back in with the man on the left,
women on the right.

Where is Tim's Cup?  Becket counterclockwise

A1  Circle left 3/4.  Swing neighbor.

A2  Circle left 3/4 and pass through up and down set, passing
   right shoulder with partner to face a shadow (same
   person throughout dance).
Star left with shadow and neighbor.

B1  Balance and swing partner.

B2  Right and left through.
Promenade across, but during the courtesy turn shift
   counterclockwise around the set to face new neighbors
   across.


The Mystery of Edwin DroodBecket Clockwise 

A1  Neighbors and their 1st shadows, star right (hands across).  (To
   find first shadows from initial Becket position, men look
   left and women right around the set.)
Left shoulder do-si-do partner 1 1/2 to face 2nd shadow.

A2  Neighbors and their second shadows star left (hands across).
Swing partner.

B1  Men allemande left 1 1/2, 
  Men scoop up neighbor for a star promenade and buterfly whirl,
releasing neighbor at end to face a new neighbor

B2  Circle left 3/4.Everyone now on opposite side of set
   from which they started.
Right and left through (8).


Alternative (a bit less difficult):

 B1   Circle left 3/4, pass through.  Do-si-do new neighbors.



Summer Haze  Becket Counterclockwise 

A1  Men allemande left 1 1/2.
Neighbors swing.

A2  Right and left through.
Circle left 3/4, pass through up or down set by partner to face
   shadow.

B1  Star left with shadow (and neighbor and shadow's neighbor)
Partners swing.

B2  Right and left through.
Promenade across with partner, but during the courtesy turn
   shift counterclockwise around the set to face new
   neighbors across.


A Fuerst Second Third Time's the Charm Becket CounterclockwiseJuly 3, 
1995

At beginning of walk through, have dancers note  their
current neighbors straight across, their previous neighbors
on the left diagonal and their next neighbors on the right diagonal

A1  Promenade and loop  (i.e. after courtesy turn slide right
  to face previous neighbors)
Right and left through

A2  Circle left 3/4 and swing with previous neighbor

B1  Men exchange places by walking across set and
  and around  partner WHILE women allemanderight 1 1/2.   
  AND everyone finish facing current neighbors  (8)
With current neighbors, left hand star 1/2
With next neighbors right hand star 3/4 to put
  all on side of set they started the dance
  (will run into first 2-4 beats of B2)

B2  Partners swing (or gypsy and swing) on side of set they
   started the dance and end facing across from
   new neighbors.

Alternative (requires ample room up and down set)

B2  As star turns one more place, men release joined hands
   and turn over their left shoulder to courtesy turn
   neighbor in middle of set, and eend facing partner
   up and down the set.  (Men are facing clockwise, 
   women counterclockwise, arond the longways set.)
Partners swing and end facing across from couple
   with whom they starred right and courtesy turned.

Notes:

(1) The promenade and loop in A1 progresses dancers backwards one place
  while the two half stars in B1 progress dancers
  forward two places, making the dance single progression.
  
(2) The caller should warn dancers that they will pass the
  the same neighbors several times.

(3) Everyone ends up neutral three times at each end, but
  the end effects are not difficult. 

(5) Despite all the stuff, this dance is deceptively easy for
  experienced dancers.

(6) Roger Diggle's dance 'The Third Time's the Charm (one of my favorite
   dances) has partners swing the 3rd time they meet.
   This has neighbors swing the 3rd time they meet.


A Proper Potpourri ProperJuly 3, 1995

A1  Star right (hands across)

Re: [Callers] Dances with R & L Thru

[Chris Page via Callers]

A few more:

A Bevy of Butterflies (Bob Isaacs/Chris Page)
Brimmer and May Reel (Dan Pearl)
Gene's Genius (Tony Parkes)
Goosebumps (Bob Isaacs)
Graceful Reel (Jan Larsen)
Little Girl With the Curl (Bob Isaacs)
Love thy Neighbor (Bill Pope)
R VIII (Steve Zakon-Anderson)
Right Thought (Yoyo Zhou)
Rod's Grits (Bill Olson)
Sweet Treats (Bob Isaacs)
True Grit (Chris Page)

-Chris Page
San Diego, CA

On Tue, Nov 24, 2015 at 5:22 AM, Rich Sbardella via Callers
 wrote:
> I am looking for a few good contras with a R & L Thru that do not contain a
> Ladies chain.  Any suggestions?
> Peace,
> Rich
>
> ___
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> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>

Re: [Callers] [trad-dance-callers] Dances with R & L Thru

[Yoyo Zhou via Callers]

On Nov 24, 2015 5:22 AM, "Rich Sbardella richsbarde...@gmail.com
[trad-dance-callers]"  wrote:
> I am looking for a few good contras with a R & L Thru that do not contain
a Ladies chain.  Any suggestions?

Here are some of my favorites:

Sarah's Journey by Gene Hubert
The Turning Point by Gene Hubert
Northeast on Southwest by Susan Petrick
Raeden Reel by Bob Isaacs
Deirdre's Delight by Erik Hoffman

Yoyo Zhou

Re: [Callers] Dances with R & L Thru

[Aahz Maruch via Callers]

On Tue, Nov 24, 2015, Rich Sbardella via Callers wrote:
>
> I am looking for a few good contras with a R & L Thru that do not contain a
> Ladies chain.  Any suggestions?

Panix Dot Chat (a...@pobox.com)

Becket formation
Double-progression, better with odd number of couples

A1  Right-and-left thru on left diagonal (8)
(Yes, start with progression)
(Warn ends about not moving)
Right-and-left thru new couple (8)
A2  Circle left 3/4 (8)
Swing neighbor (8)
B1  Pass through (4)
California twirl (4)
Men left-hand turn once-and-half (8)
B2  Balance and swing partner (16)

This was deliberately designed to not have a Ladies Chain.  ;-)
-- 
Hugs and backrubs -- I break Rule 6http://rule6.info/
  <*>   <*>   <*>
Help a hearing-impaired person: http://rule6.info/hearing.html

Re: [Callers] Dances with R & L Thru

[Maia McCormick via Callers]

*Easy:*
Centrifugal Hey by Gene Hubert
A1 Reel by Chris Weiler

*Intriguing:*
The Joy of Six by Myra Hirshberg (smooth and flowy mad robin dance)
Seven Sevens by Jim Kitch (also a smooth and flowy mad robin dance)
Bye Bye Baltimore by Bob Dalsemer (R/L through with a roll-away at the end)
Hot Point Special by Joseph Pimentel (includes the legendary "spank the
alligator"--this is a fun one!)

Any particular feel/level of difficulty you're looking for? Let me know if
you need the choreo for any of the above.

Cheers,
Maia

On Tue, Nov 24, 2015 at 8:47 AM, Mac Mckeever via Callers <
callers@lists.sharedweight.net> wrote:

> Couple of my favorites are:
>
> Sweet Music by Amy Kahn
> Good Friday by Kirsten Koths
>
> --
> *From:* Rich Sbardella via Callers <callers@lists.sharedweight.net>
> *To:* Caller's discussion list <call...@sharedweight.net>;
> trad-dance-call...@yahoogroups.com
> *Sent:* Tuesday, November 24, 2015 7:22 AM
> *Subject:* [Callers] Dances with R & L Thru
>
> I am looking for a few good contras with a R & L Thru that do not contain
> a Ladies chain.  Any suggestions?
> Peace,
> Rich
>
> ___
> 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
>
>

Re: [Callers] Dances with R & L Thru

[Rich Sbardella via Callers]

Please allow me to clarify.  I am looking for some modern dances with a R
Thru that include a partner swing, but not a ladies chain.
Rich

On Tue, Nov 24, 2015 at 8:22 AM, Rich Sbardella 
wrote:

> I am looking for a few good contras with a R & L Thru that do not contain
> a Ladies chain.  Any suggestions?
> Peace,
> Rich
>

Re: [Callers] Dances with R & L Thru

[Mac Mckeever via Callers]

Couple of my favorites are:

Sweet Music by Amy KahnGood Friday by Kirsten Koths
  From: Rich Sbardella via Callers <callers@lists.sharedweight.net>
 To: Caller's discussion list <call...@sharedweight.net>; 
trad-dance-call...@yahoogroups.com 
 Sent: Tuesday, November 24, 2015 7:22 AM
 Subject: [Callers] Dances with R & L Thru
   
I am looking for a few good contras with a R & L Thru that do not contain a 
Ladies chain.  Any suggestions?Peace,Rich
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[Callers] Dances with R & L Thru

[Rich Sbardella via Callers]

I am looking for a few good contras with a R & L Thru that do not contain a
Ladies chain.  Any suggestions?
Peace,
Rich

Re: [Callers] dances in unusual formations

[Leslie Gotfrit via Callers]

Here is is one people have a lot of fun with and it's a scatter set that has a 
gypsy (which you can debate replacing with one of the many discussed 
alternatives.) 

Accretion Reel by Chris Page
(I'm very loose about numbers in a group. )
Groups of four (or 5 or 6 or whatever)

A1 balance the ring of four and scatter (balance in, out, in, kaboom)
A2 catch someone's eye, gypsy/gyre and swing
B1 promenade and find another couple ( or two or three)
B2 circle left, circle right

Leslie Gotfrit 

Re: [Callers] dances in unusual formations

[James Saxe via Callers]

Another dance I haven't seen mentioned yet in this thread is the
six-couple circle dance "Thread the Needle", not to be confused
with various other, very different dances also titled "Thread the
Needle".  Here's a description:

 Thread the Needle
 Circle of six couples, numbered (in ccw order) 1, 2, 3, 1, 2, 3

 #1 ladies go out to the right and circle with that #2 couple
 until #1 ladies are facing ccw around the big circle.
 #2 couples arch and #1 ladies duck through to #3 couples while
 #2 gents follow up to form circles with #2 couples.
 All circle 3 once around.  #2 & #3 couples arch and #1 dancers
 duck to next couple ccw around the set.)
 Repeat circling and ducking to next two more times.  [At this point
 #1 ladies are again with their original #2 couples.]
 #3 couples with #1 gents circle left once while #2 couples with #1
 ladies circle just halfway.  #2 and #3 couples arch and #1
 dancers duck through to original home positions.
 All swing partners.

 The whole dance repeats with #2 ladies starting (and #2 gents
 following) and again with #3 dancers active.

When I've danced this, the callers have mixed the main figure described 
above with "break figures", typically involving a grand right and left
or some variation thereof.  There are lots of square-dance break figures
that you can easily adapt to work for a six-couple circle .  For one
example, see this video of "Thread the Needle" with calling by Phil
Jamison:

 http://squaredancehistory.org/items/show/297
 (also at https://www.youtube.com/watch?v=B_Ha27GDnSU )

--Jim

Re: [Callers] dances in unusual formations

[David Harding via Callers]

If the group can tolerate a little chaos, there is no reason to limit 
the sets to three couples.  The first time through everyone in a set 
with an odd number of couples gets a new partner in the same gender 
role, but in a set with an even number everyone gets a new partner of 
the same gender.  After that, it's a free-for-all.

-David

On 11/1/2015 3:14 PM, James Saxe via Callers wrote:

Jacob Bloom mentioned this dance:

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

Re: [Callers] dances in unusual formations

[James Saxe via Callers]

A dance I don't think anyone has mentioned yet is "Pride of
Dingle" (originally "Pride of Pingle") by Ken Alexander.  You
can find various slightly differing versions here:

 
http://www.izaak.unh.edu/dlp/NorthernJunket/pages/NJv14/NJv14-02/NJv.14.02.p24.htm
 http://www.dancerhapsody.com/handouts/DancesForNonDancers.pdf
 
http://archives.mvfolkdancers.com/0_Other%20Items%20of%20Interest/0_Dance%20Instructions/pride%20of%20dingle%202.pdf
 
http://www.barndances.org.uk/dance-detail.php?danceNameParam=pride-of-dingle
 https://www.library.unh.edu/special/forms/rpdlw/syllabus2005.pdf

The first version listed above (as published in _Northern Junket_)
seems closest to the way I remember learning it.  I don't know
which is closest to the Ken Alexander originally wrote it.

--Jim

Re: [Callers] dances in unusual formations

[James Saxe via Callers]

Jacob Bloom mentioned this dance:


> 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

I've also seen something similar where dancers mix only
within their group of three couples (eventually getting
original partners back) and throughout the whole hall.
You can see a version called by Phil Jamison (under the
name "Pull the Lady Through") here:

 http://squaredancehistory.org/items/show/301
 (also at https://www.youtube.com/watch?v=Pm5KTs-yTI8 )

And here's an archived message where I described (as best I
remembered it) a version I danced to the calling of Dolores
Heagy:

 
http://lists.sharedweight.net/pipermail/callers-sharedweight.net/2014-March/007599.html


Jacob also mentioned:

> 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.

On page 81 of _Zesty Contras_, Larry Jennings describes both
"Billingsdale Pattern" and his own variant of it, titled
"Chippendal Ornament".)

--Jim

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

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

Re: [Callers] dances in unusual formations

[Liz and Bill via Callers]

Hi David and all,

Those links are part of a playlist with a few more dances for five to seven 
which weve done here at our NZ house dance.

http://youtu.be/iW8fjgZV2Jk?list=PLFp1up9ZoGxhevcz7leTScc1XfgpjOF2Q

Cheers, Bill

> On 2/11/2015, at 6:54, David Harding via Callers 
>  wrote:
> 
> After finding The Weevil (4 facing 3) on YouTube
> https://www.youtube.com/watch?v=SM1vr2-QK_Q
> I stumbled on a 3 facing 2 dance "inspired by 'The Weevil'"
> https://www.youtube.com/watch?v=6GAAf-9unRg
> 

[Callers] dances in unusual formations

[Playford1651 via Callers]

You could try the contra modified version of Wendy Crouch's Winter Solstice
(square with an extra couple). Renamed Swinging Solstice for the other side
of the Pond. Features a grand square for 5 couples! Progression is
clockwise.

Although they do not feature swings she has Silver Thread ( 3 couples in a
line), which can be prove a challenge even for experienced ECD dancer; and
Sussex Martlets (3 couples in a delta formation).

Graham Knight

Re: [Callers] dances in unusual formations

[Aahz Maruch via Callers]

On Sun, Nov 01, 2015, Donna Hunt via Callers wrote:
> 
> 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?  

Levi Jackson Rag would've been my first suggestion.  I only skimmed the
thread, but I didn't notice anyone mentioning circle dance mixers such as
Jiffy Mixer, Arnold's Circle, or La Bastringue (last one is a personal
favorite).  Salty Dog Rag isn't a mixer, although you could probably
change the figure easily enough if you wanted.
-- 
Hugs and backrubs -- I break Rule 6http://rule6.info/
  <*>   <*>   <*>
Help a hearing-impaired person: http://rule6.info/hearing.html

Re: [Callers] dances in unusual formations

[David Harding via Callers]

After finding The Weevil (4 facing 3) on YouTube
https://www.youtube.com/watch?v=SM1vr2-QK_Q
I stumbled on a 3 facing 2 dance "inspired by 'The Weevil'"
https://www.youtube.com/watch?v=6GAAf-9unRg

At Squirrel Moon this September Carol Ormand did an enjoyable workshop 
on this theme.  I don't remember the names of most of the dances, but we 
worked our way up in dancers per set.  First one with five dancer sets, 
then a triplet with six dancer sets, "The Weevil" with seven dancer 
sets.  A square with two couples on each side that was sort of a toned 
down Dutch Crossing, though she said that the dance antedated Dutch 
Crossing.  Levi Jackson Rag.


David

On 11/1/2015 11:25 AM, Karin Neils via Callers wrote:

The Weevil is a great dance - - see it on You Tube.
Karin

On 11/1/15 8:38 AM, Jeremy Gmail via Callers wrote:


The Weevil (line of 4 facing line of 3)

The Weaving Way (Square inside another square)

Square 5 (a square with another couple in it)

Square 6 (a square with two other couples in it)

Dummer Reel (5 people in a circle)

Horse’s Bransle (8 people in a horseshoe shape)

Cornish 6 Hand Reel (3 couples in a line facing down the room)

Twelve Meet (4 lots of 3 in a square – not the original name for the 
dance but I can’t remember what it is)


From the barn dance side, Scatter Promenade always goes down well, as 
does Dashing White Sergeant (3 facing 3).


If you don’t count them as contras, Sicilian Circles feel like contra 
but without the end effects.


Hope this helps.

Jeremy

*From:*Callers [mailto:callers-boun...@lists.sharedweight.net] *On 
Behalf Of *Donna Hunt via Callers

*Sent:* 01 November 2015 04:11
*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?


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

[Martha Wild via Callers]

Levi Jackson can be done perfectly well to other tunes, though of course it is 
best with it's own tune. Ragtime Annie (A and B parts only) is a nice 
compromise that some bands know.
Martha

On Nov 1, 2015, at 4:17 AM, Bree Kalb via Callers 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?  
> 
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net

Re: [Callers] dances in unusual formations

[Don Veino via Callers]

Chris' dance "Happy Ending", it's in the video description text if you
expand it.

On Nov 1, 2015 12:37 PM, "Kalia Kliban via Callers" <
callers@lists.sharedweight.net> wrote:
>
>
>

>
> This video has the tune being used for a contra:
> https://www.youtube.com/watch?v=vp_pKOpn0mA
>
> Chris Weiler, if you're reading, or anyone else with a searchable
database, what was the dance?
> Becket
> Balance ring and spin to the R
> N allemande L 1-1/2
> Whole hey (WR)
> New N balance and swing
> Circle L 3/4
> P swing
>
> Kalia
>
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Re: [Callers] dances in unusual formations

[Kalia Kliban via Callers]

On 11/1/2015 5:12 AM, Donna Hunt via Callers wrote:

Thanks everyone for great ideas.
It was late when I posted my request and I should mention that this is
an English/Contra crossover weekend (Princeton Country Dancers Head for
the Hills).

I'm definitely looking for dances that don't fit a genre and appeal to
contra dancers (ie swings and not too much inactivity).  Am open to
"barn" dances if there's something unusual (but not too much sashaying).


Check out "Banjo In A Bear Suit" by Brooke Friendly and Chris Sackett. 
It's a square set ECD, set to a challenging rag tune (definitely give 
the tune to the band in advance).  Contra dancers would have plenty to 
chew on in that dance.  It's in Impropriety vol IV, available from 
CDSS,, and the companion CD has a great recording of the tune.


This video has the tune being used for a contra:
https://www.youtube.com/watch?v=vp_pKOpn0mA

Chris Weiler, if you're reading, or anyone else with a searchable 
database, what was the dance?

Becket
Balance ring and spin to the R
N allemande L 1-1/2
Whole hey (WR)
New N balance and swing
Circle L 3/4
P swing

Kalia

Re: [Callers] dances in unusual formations

[Karin Neils via Callers]

The Weevil is a great dance - - see it on You Tube.
Karin

On 11/1/15 8:38 AM, Jeremy Gmail via Callers wrote:


The Weevil (line of 4 facing line of 3)

The Weaving Way (Square inside another square)

Square 5 (a square with another couple in it)

Square 6 (a square with two other couples in it)

Dummer Reel (5 people in a circle)

Horse’s Bransle (8 people in a horseshoe shape)

Cornish 6 Hand Reel (3 couples in a line facing down the room)

Twelve Meet (4 lots of 3 in a square – not the original name for the 
dance but I can’t remember what it is)


From the barn dance side, Scatter Promenade always goes down well, as 
does Dashing White Sergeant (3 facing 3).


If you don’t count them as contras, Sicilian Circles feel like contra 
but without the end effects.


Hope this helps.

Jeremy

*From:*Callers [mailto:callers-boun...@lists.sharedweight.net] *On 
Behalf Of *Donna Hunt via Callers

*Sent:* 01 November 2015 04:11
*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?


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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http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net

Re: [Callers] dances in unusual formations

[Jeremy Gmail via Callers]

The Weevil (line of 4 facing line of 3)

The Weaving Way (Square inside another square)

Square 5 (a square with another couple in it)

Square 6 (a square with two other couples in it)

Dummer Reel (5 people in a circle)

Horse’s Bransle (8 people in a horseshoe shape)

Cornish 6 Hand Reel (3 couples in a line facing down the room)

Twelve Meet (4 lots of 3 in a square – not the original name for the dance but 
I can’t remember what it is)

 

>From the barn dance side, Scatter Promenade always goes down well, as does 
>Dashing White Sergeant (3 facing 3).

If you don’t count them as contras, Sicilian Circles feel like contra but 
without the end effects.

 

Hope this helps.

 

Jeremy

 

From: Callers [mailto:callers-boun...@lists.sharedweight.net] On Behalf Of 
Donna Hunt via Callers
Sent: 01 November 2015 04:11
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?  

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

Re: [Callers] dances in unusual formations

[Richard Fischer via Callers]

Hi Donna,

There's a lively circle mixer (from England, I believe) called Nervous 
Breakdown, with a balance and swing each time thru. I can send it to you if 
you're not familiar with it. I think people at HftH would enjoy it.

I second the recommendations for Levi Jackson Rag and Walpole Cottage. There's 
also Levi Jackson Rose for five couple sets.

Richard

On Nov 1, 2015, at 8:12 AM, Donna Hunt via Callers wrote:

> Thanks everyone for great ideas.  
> It was late when I posted my request and I should mention that this is an 
> English/Contra crossover weekend (Princeton Country Dancers Head for the 
> Hills).  
> 
> I'm definitely looking for dances that don't fit a genre and appeal to contra 
> dancers (ie swings and not too much inactivity).  Am open to "barn" dances if 
> there's something unusual (but not too much sashaying).  
> 
> 
> 
> Donna
> Web Site:  donnahuntcaller.com
> Email: dhuntdan...@aol.com
> Cell:  215-565-6050
> 
> 
> 
> 
> -Original Message-
> From: Bree Kalb <b...@mindspring.com>
> To: Donna Hunt <dhuntdan...@aol.com>; callers <call...@sharedweight.net>
> Sent: Sun, Nov 1, 2015 7:18 am
> Subject: Re: [Callers] dances in unusual formations
> 
> 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] dances in unusual formations

[Donna Hunt via Callers]

 Thanks everyone for great ideas.  
It was late when I posted my request and I should mention that this is an 
English/Contra crossover weekend (Princeton Country Dancers Head for the 
Hills).  

I'm definitely looking for dances that don't fit a genre and appeal to contra 
dancers (ie swings and not too much inactivity).  Am open to "barn" dances if 
there's something unusual (but not too much sashaying).  





Donna
Web Site:  donnahuntcaller.com
Email: dhuntdan...@aol.com
Cell:  215-565-6050







-Original Message-
From: Bree Kalb <b...@mindspring.com>
To: Donna Hunt <dhuntdan...@aol.com>; callers <call...@sharedweight.net>
Sent: Sun, Nov 1, 2015 7:18 am
Subject: Re: [Callers] dances in unusual formations



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?  

Re: [Callers] dances in unusual formations

[Keith Wood via Callers]

You could try a couple of my dances:

Rubigold - 5 couples in a horseshoe - 
http://keith-wood.name/mydances.html#Rubigold


Crossroads - 5 people in a diamond - 
http://keith-wood.name/mydances.html#Crossroads


Cheers

Keith






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

[Jack Mitchell via Callers]

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

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

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

Re: [Callers] dances in unusual formations

[Paul Wilde via Callers]

Donna,

Levi Jackson Rag, for 10.  Becoming a local favorite when numbers permit.
One I really like is David's Triplet #5 by David Smuckler.  (It has a hey
for 6, or do it w/ hands to introduce a grand R & L).  Nice dance.

Another quirky one that is a hybrid contra/square is Square Line Special by
Gary Roodman.
Lots of ways to mix things up in the B part.

best regards,
Paul

[Callers] dances in unusual formations

[Donna Hunt via Callers]

 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

Re: [Callers] Dances For Short Line

[JD Erskine iDance via Callers]

On 2015-10-18 1652, Rich Dempsey via Callers wrote:
snip


I love the use of shorter sets to bring asymmetric dances out for a
spin.  Chestnuts and triplets and triple minors come to mind.  In the
circumstance that started this thread, a hearty Chorus Jig sounds like
a win.

Rich


It's nice to have 7 couples to make a Triple Minor work well. Doing so 
keeps a relatively high number of folks from standing out at some point.


One may also dance a Triple Minor as in the Scottish Country dance 
standardised way of using a four couple set. There it is oft referred to 
as "a dance for three couples in a four couple set."


Triplets are great fun, as can be other Whole Set dances. In them one 
effectively gets to dance with many of the others in the set.


Kathy Anderson ran a workshop some years back at a Contra dance weekend 
I was at covering dances for strange, small or mixed numbers, or some 
such name. Good fun. Wish I could find the notes from it.


Not be missed are "other" country dances which, as they are not in a 
Longways Set For As Many As Will, 1s Improper formation, have largely 
been relegated in perception to the role of 
barn/community/family/ceilidh/eceilidh dance events. Not "proper" 
Contra. Check them out.


Some are once-and-to-the-bottom, others shift within a given dance 
between dancing in duple minor sets to a whole set figure and back.


It's all dance.

The now late James Barber, television cooking show host we had "up/over 
here" a few years back (The Urban Peasant), had a catch phrase of, "Use 
what you got." That might apply here, for numbers, for choices.


Cheers, John
--
J.D. Erskine
Victoria, BC

Island Dance - Folk & Country
Vancouver Island & BC islands
dance info - site & mail list
http://members.shaw.ca/island.dance/

Re: [Callers] Dances For Short Line

[Linda Leslie via Callers]

I believe it was written by Roger Diggle….
Linda

On Oct 17, 2015, at 4:32 PM, Louie.cromartie via Callers 
 wrote:

> Just curious. Robert doesn't recall writing (or calling) a dance called Saint 
> Louis Cruise. Perhaps it was created by someone else.
> -Louie (not a saint)
> 
>> On Oct 16, 2015, at 12:56 AM, Martha Wild via Callers 
>>  wrote:
>> 
>> It's a good time to call dances that might need extra space along the line - 
>> for example, there are some dances with a ladies chain up and down as 
>> opposed to across the set such as Saint Louis Cruise by Robert Cromartie. 
> ___
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> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net

Re: [Callers] Dances For Short Line

[Louie.cromartie via Callers]

Just curious. Robert doesn't recall writing (or calling) a dance called Saint 
Louis Cruise. Perhaps it was created by someone else.
-Louie (not a saint)

> On Oct 16, 2015, at 12:56 AM, Martha Wild via Callers 
>  wrote:
> 
> It's a good time to call dances that might need extra space along the line - 
> for example, there are some dances with a ladies chain up and down as opposed 
> to across the set such as Saint Louis Cruise by Robert Cromartie. 

Re: [Callers] Dances For Short Line

[P. Campbell via Callers]

I learned this one originally from John Gardiner Garden's Christmas dance book 
- done to "Good King Wenceslas," but it works with any good jig or reel.

Patricia Campbell 
Newtown, CT

Sent from my iPhone

> On Oct 17, 2015, at 3:09 PM, Robert Livingston via Callers 
> <callers@lists.sharedweight.net> wrote:
> 
> Same dance, but the formation is already set up with a square of 4 and a 5th 
> couple facing couple 1.
> Do the Dip & Dive once or twice thru -  until back to original positions.
> Couples 1 & 5 circle half (or equiv)  --  Outside 4 couples now circle 3/4.
> Begin again.
> Alternative: each couple can 1/2 promenade in and out of the center to 
> progress one position.
> 
> Maybe call it tonight up in Chesterfield, MA but those "Eastern" old timers 
> like to keep it in squares
> unless it's Oh Johnny, Climbing Up Them Golden Squares or Wearing of the 
> Green.
> 
> Bob Livingston
> Middletown, CT
> 
> 
> From: Rich Sbardella <richsbarde...@gmail.com>
> To: Tom Hinds <twhi...@earthlink.net>; Robert Livingston 
> <rlivng...@yahoo.com> 
> Cc: Laur <lc...@yahoo.com>; "callers@lists.sharedweight.net" 
> <callers@lists.sharedweight.net> 
> Sent: Friday, October 16, 2015 6:13 PM
> Subject: Re: [Callers] Dances For Short Line
> 
> Bob Livingston has another great Dip and Dive for a five couple square.  
> Perhaps he will share it.
> Rich
> 
> 
> 
> On Fri, Oct 16, 2015 at 5:33 PM, Tom Hinds via Callers 
> <callers@lists.sharedweight.net> wrote:
> Laur,
> 
> Even with great music and calling it's tough to create excitement when the 
> hall feels empty.  I've tried to think of everything I can do to make that 
> kind of evening fun.  My personal choice is to call a large proportion of 
> contras where the dancers swing their partner not their neighbor.  The logic 
> is this:  If you swing your neighbor in every dance, especially early in the 
> evening, what is there to look forward to?  With partner swing dances only, 
> when you get a new partner you haven't swung him/her 10 times before hand.
> 
> In general I usually run contras until everyone has swung their neighbors and 
> then end the dance.  So for me contras with a partner only swing is preferred 
> when numbers are small.
> 
> And I include many dances that are in other formations and also take some 
> time to teach and dance.  Here's one.
> 
> Dip and Dive for Five (my name)
> Formation is a small circle of 4 couples numbered 1-5.  There's sort of a 
> home place but this is not critical.
> I learned this from Fred Park and if my memory is correct it comes form the 
> border area between West Virginia and Ky.
> 
> Couple 1 swings in the center of the set, others form a square around couple 
> 1.
> 
> Couple 1 faces up or down, heads dip and dive- takes 16 beats
> 
> Couple 1 faces a side couple, dip and dive
> 
> 8 dancers join hands and go forward and back.  Go forward and back again and 
> bring couple 1 back where they belong.
> 
> Break
> Allemande left grand right and left.  With partner, turn back (5th hand is 
> with partner and is a left allemande).  Swing partner at "home".
> 
> I usually call break, figure, break, figure etc.
> 
> Tom
> 
> 
> 
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
> 
> 
> 
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net

Re: [Callers] Dances For Short Line

[Robert Livingston via Callers]

Same dance, but the formation is already set up with a square of 4 and a 5th 
couple facing couple 1.Do the Dip & Dive once or twice thru -  until back to 
original positions.Couples 1 & 5 circle half (or equiv)  --  Outside 4 couples 
now circle 3/4.Begin again.
Alternative: each couple can 1/2 promenade in and out of the center to progress 
one position.
Maybe call it tonight up in Chesterfield, MA but those "Eastern" old timers 
like to keep it in squaresunless it's Oh Johnny, Climbing Up Them Golden 
Squares or Wearing of the Green.
Bob LivingstonMiddletown, CT


  From: Rich Sbardella <richsbarde...@gmail.com>
 To: Tom Hinds <twhi...@earthlink.net>; Robert Livingston <rlivng...@yahoo.com> 
Cc: Laur <lc...@yahoo.com>; "callers@lists.sharedweight.net" 
<callers@lists.sharedweight.net> 
 Sent: Friday, October 16, 2015 6:13 PM
 Subject: Re: [Callers] Dances For Short Line
   
Bob Livingston has another great Dip and Dive for a five couple square.  
Perhaps he will share it.Rich


On Fri, Oct 16, 2015 at 5:33 PM, Tom Hinds via Callers 
<callers@lists.sharedweight.net> wrote:

Laur,

Even with great music and calling it's tough to create excitement when the hall 
feels empty.  I've tried to think of everything I can do to make that kind of 
evening fun.  My personal choice is to call a large proportion of contras where 
the dancers swing their partner not their neighbor.  The logic is this:  If you 
swing your neighbor in every dance, especially early in the evening, what is 
there to look forward to?  With partner swing dances only, when you get a new 
partner you haven't swung him/her 10 times before hand.

In general I usually run contras until everyone has swung their neighbors and 
then end the dance.  So for me contras with a partner only swing is preferred 
when numbers are small.

And I include many dances that are in other formations and also take some time 
to teach and dance.  Here's one.

Dip and Dive for Five (my name)
Formation is a small circle of 4 couples numbered 1-5.  There's sort of a home 
place but this is not critical.
I learned this from Fred Park and if my memory is correct it comes form the 
border area between West Virginia and Ky.

Couple 1 swings in the center of the set, others form a square around couple 1.

Couple 1 faces up or down, heads dip and dive- takes 16 beats

Couple 1 faces a side couple, dip and dive

8 dancers join hands and go forward and back.  Go forward and back again and 
bring couple 1 back where they belong.

Break
Allemande left grand right and left.  With partner, turn back (5th hand is with 
partner and is a left allemande).  Swing partner at "home".

I usually call break, figure, break, figure etc.

Tom



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Re: [Callers] Dances For Short Line

[Rich Sbardella via Callers]

Bob Livingston has another great Dip and Dive for a five couple square.
Perhaps he will share it.
Rich

On Fri, Oct 16, 2015 at 5:33 PM, Tom Hinds via Callers <
callers@lists.sharedweight.net> wrote:

> Laur,
>
> Even with great music and calling it's tough to create excitement when the
> hall feels empty.  I've tried to think of everything I can do to make that
> kind of evening fun.  My personal choice is to call a large proportion of
> contras where the dancers swing their partner not their neighbor.  The
> logic is this:  If you swing your neighbor in every dance, especially early
> in the evening, what is there to look forward to?  With partner swing
> dances only, when you get a new partner you haven't swung him/her 10 times
> before hand.
>
> In general I usually run contras until everyone has swung their neighbors
> and then end the dance.  So for me contras with a partner only swing is
> preferred when numbers are small.
>
> And I include many dances that are in other formations and also take some
> time to teach and dance.  Here's one.
>
> Dip and Dive for Five (my name)
> Formation is a small circle of 4 couples numbered 1-5.  There's sort of a
> home place but this is not critical.
> I learned this from Fred Park and if my memory is correct it comes form
> the border area between West Virginia and Ky.
>
> Couple 1 swings in the center of the set, others form a square around
> couple 1.
>
> Couple 1 faces up or down, heads dip and dive- takes 16 beats
>
> Couple 1 faces a side couple, dip and dive
>
> 8 dancers join hands and go forward and back.  Go forward and back again
> and bring couple 1 back where they belong.
>
> Break
> Allemande left grand right and left.  With partner, turn back (5th hand is
> with partner and is a left allemande).  Swing partner at "home".
>
> I usually call break, figure, break, figure etc.
>
> Tom
>
>
>
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>

Re: [Callers] Dances For Short Line

[Tom Hinds via Callers]

Laur,

Even with great music and calling it's tough to create excitement  
when the hall feels empty.  I've tried to think of everything I can  
do to make that kind of evening fun.  My personal choice is to call a  
large proportion of contras where the dancers swing their partner not  
their neighbor.  The logic is this:  If you swing your neighbor in  
every dance, especially early in the evening, what is there to look  
forward to?  With partner swing dances only, when you get a new  
partner you haven't swung him/her 10 times before hand.


In general I usually run contras until everyone has swung their  
neighbors and then end the dance.  So for me contras with a partner  
only swing is preferred when numbers are small.


And I include many dances that are in other formations and also take  
some time to teach and dance.  Here's one.


Dip and Dive for Five (my name)
Formation is a small circle of 4 couples numbered 1-5.  There's sort  
of a home place but this is not critical.
I learned this from Fred Park and if my memory is correct it comes  
form the border area between West Virginia and Ky.


Couple 1 swings in the center of the set, others form a square around  
couple 1.


Couple 1 faces up or down, heads dip and dive- takes 16 beats

Couple 1 faces a side couple, dip and dive

8 dancers join hands and go forward and back.  Go forward and back  
again and bring couple 1 back where they belong.


Break
Allemande left grand right and left.  With partner, turn back (5th  
hand is with partner and is a left allemande).  Swing partner at "home".


I usually call break, figure, break, figure etc.

Tom

Re: [Callers] Dances For Short Line

[Martha Wild via Callers]

It's a good time to call dances that might need extra space along the line - 
for example, there are some dances with a ladies chain up and down as opposed 
to across the set such as Saint Louis Cruise by Robert Cromartie. 


On Oct 15, 2015, at 6:46 PM, Laur via Callers wrote:

>  I think I meant to type I am Stuck in making other observations on - groups 
> of 5 sets or 6 or so...
> 
> L
> 
> ~ When I dance, I cannot judge, I cannot hate, I cannot separate myself from 
> life. I can only be joyful and whole, that is why I dance. ~Hans Bos~ ~
> 
> 
> 
> On Thursday, October 15, 2015 9:38 PM, Laur via Callers 
>  wrote:
> 
> 
> I'm more thinking lines with maybe 5 or 6 sets, the smaller groups I think I 
> have an understanding of, but I'm sucking in any other observations, of 
> course.
> 
> Would medley's work for a smaller line? 
> 
> L
>  
> ~ When I dance, I cannot judge, I cannot hate, I cannot separate myself from 
> life. I can only be joyful and whole, that is why I dance. ~Hans Bos~ ~
> 
> 
> 
> On Thursday, October 15, 2015 9:35 PM, Jack Mitchell  
> wrote:
> 
> 
> If the numbers work out, then some triplets or squares could be good.  If 
> it's a lot of new dancers, you could even do some dances that just the top 
> couple is "active" like the virginia reel or galopade (or lots of other older 
> dances).  If you have lots of experienced dancers, you could either do 
> medleys or run the dances much shorter than usual.  Also, it can be a good 
> time to do an unequal dance since everyone will have time to be 1's -- was 
> calling in Greenwood, VA for a relatively small group -- maybe 4 -5 hands 4 
> -- and called Fiddleheads for the first time.  Such a great dance.  
> 
> J
> 
> On Thu, Oct 15, 2015 at 7:49 PM Laur via Callers 
>  wrote:
> Fellow callers, what are things to look for in dances for a short line. I'm 
> afraid that a limited number of dancers will be at an upcoming gig and I want 
> to be prepared in the best possible way, and so am looking for input and for 
> confirmation of my thoughts. They are intermediate/ experienced dancers. 
> 
> Laurie P
> West MI
>  
> ~ When I dance, I cannot judge, I cannot hate, I cannot separate myself from 
> life. I can only be joyful and whole, that is why I dance. ~Hans Bos~ ~
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
> -- 
> Jack Mitchell
> Durham, NC
> 
> 
> 
> ___
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> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
> 
> 
> ___
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> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net

Re: [Callers] Dances For Short Line

[David Harding via Callers]

I'll make the suggestion that you be very careful about any dances you 
want to call that involve traveling outside the foursome.  Those dances 
often introduce end effects that can ripple one or two foursomes into 
the set from each end, so with only 5 or 6 foursomes, the whole line is 
confused.


Also, any dance with double progression will leave the dancers feeling 
that they are bouncing off the ends of the line and being really limited 
in who they dance with.


Other than those issues, I agree with Jack that most dances should work 
fine.


David

On 10/15/2015 6:43 PM, Laur via Callers wrote:
Fellow callers, what are things to look for in dances for a short 
line. I'm afraid that a limited number of dancers will be at an 
upcoming gig and I want to be prepared in the best possible way, and 
so am looking for input and for confirmation of my thoughts. They are 
intermediate/ experienced dancers.


Laurie P
West MI
~ When I dance, I cannot judge, I cannot hate, I cannot separate 
myself from life. I can only be joyful and whole, that is why I dance. 
~Hans Bos~ ~



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Re: [Callers] Dances For Short Line

[Laur via Callers]

 I think I meant to type I am Stuck in making other observations on - groups of 
5 sets or 6 or so...

L
~ When I dance, I cannot judge, I cannot hate, I cannot separate myself from 
life. I can only be joyful and whole, that is why I dance. ~Hans Bos~ ~ 


 On Thursday, October 15, 2015 9:38 PM, Laur via Callers 
 wrote:
   
 

 I'm more thinking lines with maybe 5 or 6 sets, the smaller groups I think I 
have an understanding of, but I'm sucking in any other observations, of course.
Would medley's work for a smaller line? 
L ~ When I dance, I cannot judge, I cannot hate, I cannot separate myself from 
life. I can only be joyful and whole, that is why I dance. ~Hans Bos~ ~ 


 On Thursday, October 15, 2015 9:35 PM, Jack Mitchell 
 wrote:
   
 

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

J

On Thu, Oct 15, 2015 at 7:49 PM Laur via Callers 
 wrote:

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

-- 
Jack Mitchell
Durham, NC


 
   
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Re: [Callers] Dances For Short Line

[Jack Mitchell via Callers]

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

J

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

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

[Callers] Dances For Short Line

[Laur via Callers]

Fellow callers, what are things to look for in dances for a short line. I'm 
afraid that a limited number of dancers will be at an upcoming gig and I want 
to be prepared in the best possible way, and so am looking for input and for 
confirmation of my thoughts. They are intermediate/ experienced dancers. 
Laurie PWest MI ~ When I dance, I cannot judge, I cannot hate, I cannot 
separate myself from life. I can only be joyful and whole, that is why I dance. 
~Hans Bos~ ~

[Callers] Dances with One Swing

[John Sweeney via Callers]

Rich asked for dances with one or zero swings.  These are some of mine, many
aimed at beginners.

Duck! (by John Sweeney)
Contra; Improper; Double Progression
A1: Neighbour Dosido
  Neighbour Two Hand Turn - open into a circle
A2: Circle Left; Circle Right
B1: Men Dosido
  Ladies Dosido
B2: Balance the Ring; #2s Arch, #1s Duck Through to New Circle
  Balance the New Ring; #2s Arch, #1s Duck Through to face New
Neighbours
Do a quick California Twirl when you reach the end of the line


Finding Your Balance (by John Sweeney)
Contra; Becket (CW)
A1/A2: Four Changes all with Balances - Start Right with Partner and
alternate hands
B1:  Balance the Ring; Men Cross
   Balance the Ring; Ladies Cross
B2:  Half Promenade
   Yearn on the Left Diagonal to New Neighbours


Life is But A Melancholy Flower (by John Sweeney)
Contra; Improper
A1: Neighbour Dosido
 Neighbour two hand Balance & Petronalla Turn for Two (Men now back to
back in the middle)
A2: Take Two Hands with Neighbour:
 All Gallop* Down; All Gallop Up
B1: Start a Neighbour Gypsy; Men leave and Half Left Shoulder Gypsy with
each other
 Partner Swing
B2: Balance the Ring; Petronella Turn
 Balance the Ring; California Twirl
* Americans often say "sashay" - but that word doesn't give the right feel -
I mean gallop!


Rotafl (by John Sweeney)
Contra; Becket (CW)
A1: Yearn on Left Diagonal to a New Couple
 Ladies' Chain
A2:Long Lines Go F & B - Men Roll the Ladies from Right to Left
 Long Lines Go F & B - Ladies Roll the Men from Right to Left
B1: Tapsalteerie Hey: 
 Ladies Half Hey, Men Ricochet 
 Ladies Ricochet, Men Half Hey
B2: Flutterwheel and sweep the Men in to:
 Men Dosido


Pestchye (by John Sweeney)
Contra; Becket
A1:  Balance the Ring; Petronella
 Balance the Ring; Petronella
A2: Hands Across: Star Left; Star Right - Men Drop Out
B1: Ladies' Chain x 2
B2: Half Promenade
 Yearn to the Left


Dixie Doo-Dah (by John Sweeney)
Contra; Improper
A1: Neighbour Dosido & Swing - finish facing Down
A2: Down the Hall in Lines of Four; Dixie Twirl*
 Up the Hall in Lines of Four; Bend the Line
B1: Balance the Ring; Men Cross
 Balance the Ring; Ladies Cross
B2: Neighbour Two Hand Turn
 Long Lines Go Forward & Back
* Dixie Twirl: No letting go: middle couple arch; end lady leads through the
arch to the other end facing up; end man goes straight across to the other
end facing up.


The Mad Gypsy (by John Sweeney)
Contra; Becket (CW)
A1: Ladies' Chain
 Mad Robin - AC - Ladies through the Middle
A2: Full Hey - Ladies start Right Shoulder
B1: Ladies Gypsy
 Neighbour Two-Hand Turn (or Swing)
B2: Balance the Ring; Ladies Cross
 Yearn on the Left Diagonal


Someone mentioned that they didn't like the term "cross over". Whenever I
use it I mean pass by the right shoulder and turn right to face each other.
I also describe it as "half a gypsy to change places".

I hope you find some of those useful.  Please let me know if you use them or
have any feedback.

Thanks.

Happy dancing,
John

John Sweeney, Dancer, England j...@modernjive.com 01233 625 362
http://www.contrafusion.co.uk for Dancing in Kent

[Callers] Dances with One Swing

[Rich Sbardella via Callers]

I am happy to see that I am not alone in my perspective.  I oftn dance 18th
Century contras with little or no swinging and they are indeed enjoyable.

That being said, I have very few mondern contras with one, or no swings
included.  Can anyone suggest some good ones to add to my collection?

Rich Sbardella
Stafford, CT



On Fri, Jun 26, 2015 at 8:59 AM, Perry Shafran via Callers <
callers@lists.sharedweight.net> wrote:

> Completely agree with this perspective.  Contra is, at its heart, more of
> a community dance than a partner dance, because you dance with so many
> different people during the course of one dance.  I think that, over the
> years, contra has become more of a partner-centered dance, and I often see
> dancers outright ignore their neighbors to give full attention to their
> partners at all times.
>
> I also must be from the old school, because short periods of inactivity
> during a dance has never bothered me, and like Rich I do tend to appreciate
> that.  I think that the desire for contra to be fast-paced and
> always-moving, while exciting for many contra dancers, has turned off many
> other long-time contra dancers.
>
> But the trend does seem to be for fast-moving high-energy dancing, and I
> do think that callers need to be somewhat concerned with that.  However, I
> also think that callers also need to be concerned with the folks who don't
> move so fast and like the periods of inactivity, where they can get
> themselves set if need be and be where they want to be for the next move.
> Trying to integrate all types of dancers is what makes this a true form of
> community dance.
>
> Perry
>
>   --
>  *From:* Rich Sbardella 
> *To:* Perry Shafran 
> *Cc:* Shared_Weight_Callers 
> *Sent:* Thursday, June 25, 2015 2:41 PM
> *Subject:* Re: [Callers] More on Programming
>
> I differ with Cary's generalized storyline of contra being "uniting of
> partners".  If I had to generalize a storyline, it would be of building
> community.  I may be wrong, but I think David Kaynor, in his calling
> booklet, referred to your "hands four" group as your "neighborhood".  I
> love that terminology.  I often choose new or weak dancers as partners, and
> I rely on the support of these neighborhoods to make the dance enjoyable.
>
> In a square the neighborhood changes from four dancers to eight but you
> stay with them longer.  In most mixer squares, if called and danced
> correctly, the partner relationship is restored as the dance resolves.
>
> As a dancer, I love squares.  It is a refreshing change, thus adding
> variety without difficulty, during an evening of contras.  Squares often
> provide a rest period as others dance.  This is a plus, not a minus; as I
> age, I appreciate the rest.
>
> I have found that some callers who are quite competent with contras, are
> terrible with squares,  I also see callers choosing squares that are too
> difficult for an open contra dance, thus causing failure on the floor.
> Calling squares is a different art than calling contras.  Choosing squares
> carefully with an adequate walk thru is essential.  If a caller gets too
> much negative feedback, or no positive feedback, perhaps that caller should
> not be calling squares.
>
> Another problem is that squares are not called often enough at some
> series.  The concept of corners, opposites, home position, RH lady, etc,,
> are foreign to many contra dancers.  These are all EZ concepts but all
> together in a four minute blitz, every once in a while, can be overwhelming.
>
> Adding squares regularly to our programs would enhance and expand the
> experience.
>
> Squarely, (can I say that?)
> Rich Sbardella
> Stafford, CT
>
>
>
>
>
>
>
>
>
> On Thu, Jun 25, 2015 at 9:09 AM, Perry Shafran via Callers <
> callers@lists.sharedweight.net> wrote:
>
>
>
> See, this is what I mean, when I get advice from some callers that say one
> thing and advice from other callers that say the complete opposite.
>
> I figure that there are lots of different people on the floor.  Some
> people LIKE squares, believe it or not.  Whenever I see squares called,
> yeah, there are some people who head for the sidelines, but generally I see
> dancers on the floor having a good time.  So I learned some time ago that
> for everyone who grumbles about a square being called, there are 10 others
> who love it.
>
> As for insisting that every dance has two swings AND the neighbor swing
> MUST come before the partner swing, that seems to be a personal preference
> rather than a hard and fast rule.  I think that most dancers don't really
> care which one comes first.  I went to a dance weekend this past weekend
> where there were more than a few dances with no neighbor swing, and it
> appeared that everyone had a great time dancing.
>
> I have long been taught that variety is the spice of life, and people do
> enjoy squares mixed in with a contra, as well as 

Re: [Callers] Dances for Novice Crowds

[Alan Winston via Callers]

On 5/19/15 1:08 PM, Ben Hornstein via Callers wrote:

Hi All,

I'm calling a dance this weekend at Comicpalooza, a large comic book 
convention. The crowd will be at least 95% people who have never 
danced. What are some dances that you all recommend for this sort of 
crowd?


-Ben




If you're in a hotel ballroom, try to keep them from laying down a tiny 
dance floor in the middle of your space.  Short-pile ballroom carpet is 
a lot better than mostly-short-pile-ballroom-carpet with a wooden lump 
with raised edges in the middle. Dancers hate dancing on carpet; 
non-dancers don't care.  They're going to have the wrong shoes in any case.


Give up on any idea of doing modern contra dances with duple minor 
progression.  Things are different form when I first got involved with 
sf fandom, but I'm imagining you'll likely have a gender imbalance.  
Don't require or try to teach ballroom swings; elbow turns or two-hand 
turns are probably good.


These will typically be very in-their-heads people; you want to 
circumvent that at first by getting them moving right away, and not 
having to do any language processing.  Make them successful immediately.


Get one long line of people holding hands, you at one end.  Lead the 
line snaking around the room, doubling back sometimes so that everybody 
sees everybody.   Wind up the ball of twine by bringing the line into a 
circle and then doing progressively smaller circles until just before 
you can't turn around.  Turn around and trace your path back.  Bring the 
line around into a big circle, with you next to the person at the end of 
the line.  Bring them into the center and back on out, do it again with 
a great big shout.  Applause.


(If you have adequate gender balance or willing people, you could pair 
them up and do a Grand March instead of the "wind up the ball of twine" 
you have above, and if you're leading a Grand March you can turn it into 
a wind-up-the-ball-of-twine as well.  The thing above is great for 
getting hold of people too shy to find partners, and there's no partner 
stuff so even people who don't want to dance with the same sex don't 
generally freak out.)


If you have partners, do Circassian Circle mixer (Into the center and 
out twice, ladies in and out, gents in and go to the lady who was on 
their other side (next neighbor); balance and swing (can be two-hand 
turn, elbow swing, whatever) and promenade.  Reform the ring, repeat) or 
La Bastringue (Into the center and out twice, circle left, circle right, 
swing the next lady/gent, promenade).


Squish the circle into two facing lines.  (If there's an extra person, 
step out, if you're needed make sure you're in at the top.)


Orcadian Strip the Willow (google it).  Top couple elbow turn right one 
and a half, left elbow turn the neighbor in line, turn partner once, 
left elbow turn the next neighbor, etc, etc.  A new couple starts every 
16 bars of music or when they have enough running room to do it.


Break up into smaller sets (four or five couples).  Virginia Reel/Roger 
de Coverley.


Another good five-couple set dance is "Up the Sides and Down the 
Middle", but don't do it as your first small set dance. - Take hands in 
lines, step-swing balance  right and left and right and left, drop 
hands, cross right should with partner and loop to make lines on the 
other sides. Repeat all that to return.  Tops make an arch and lead down 
the middle while second couples cast off, leading their lines down the 
outside; they meet and lead up the middle under the arch, finishing with 
original tops at the bottom, original seconds at the tops.  Swing to the 
end of the phrase and repeat from new places.


By this time everybody who isn't aerobically fit is resting.  Make 
squares for Cumberland Squares / Square 8.


By now there should be some understanding of phrasing, especially if 
you've been pointing out how figures fit to the music.


If you still have enough people and they are are reasonably gender 
assorted you could do a Sicilian Circle.  If you have gender balance, 
Spanish Waltz is good.  (Couple facing couple, gent on the left, waltz 
time.  Take near hand with partner.  That hand (gent's left, ladies 
right) is the only hand used for the first sixteen bars.
Balance forward and back; take neighbor's only hand with your only hand 
and change places, turning the lady under.  Face partner, repeat with 
partner.  Face neighbor, repeat with neighbor.  Face partner, repeat 
with partner, all are home.  Right hand star, left hands back.  Facing 
neighbors, lead forward, fall back, drop hands, pass through, bow or 
curtsey to next neighbors.  Repeat with new neighbors.)


-- Alan

Re: [Callers] Dances for Novice Crowds

[Grant Goodyear via Callers]

Here's some good advice and a few dances:
http://jolainejonespokorney.blogspot.com/2012/12/one-night-stand-dances.html

-Grant Goodyear-

On Tue, May 19, 2015 at 3:08 PM Ben Hornstein via Callers <
callers@lists.sharedweight.net> wrote:

> Hi All,
>
> I'm calling a dance this weekend at Comicpalooza, a large comic book
> convention. The crowd will be at least 95% people who have never danced.
> What are some dances that you all recommend for this sort of crowd?
>
> -Ben
> ___
> Callers mailing list
> Callers@lists.sharedweight.net
> http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
>

[Callers] Dances for Novice Crowds

[Ben Hornstein via Callers]

Hi All,

I'm calling a dance this weekend at Comicpalooza, a large comic book
convention. The crowd will be at least 95% people who have never danced.
What are some dances that you all recommend for this sort of crowd?

-Ben

Re: [Callers] Dances with three or more allemandes

[Don Veino]

Look here, I posted this link later: http://veino.com/allemande.html

On Tue, Feb 18, 2014 at 6:20 PM, Richard Dempsey wrote:

> Is the picture still on Google Drive?  I can't see it.  :-(

Re: [Callers] Dances with three or more allemandes

[Richard Dempsey]

Hi Don,

Is the picture still on Google Drive?  I can't see it.  :-(

I'm quite interested in seeing it.  Some years ago, Lisa Greenleaf taught a 
healthy allemande hold, and I'm curious to know if yours is the same or 
different.  I find there is a surprising level of disagreement on the topic.

Rich

On Feb 17, 2014, at 10:03 PM, Don Veino wrote:

> [Lots of other posts trimmed...]
> 
> BTW, for allemandes I use a connection that I picked up somewhere in my
> contra travels (which sounds a lot like some of he best practices described
> to this point). I find this to be fairly common where I dance. As a picture
> is worth a thousand words, here it is (note I'm torqued slightly in these
> due to holding the camera with the other hand for the photo -- the normal
> connection is neutral and unstressed but results in good weight):
> https://drive.google.com/file/d/0B3My2DFMxZpOb3g1MVJWSS1lOGc/edit?usp=sharing
> 
> -Don

Re: [Callers] Dances with three or more allemandes

[Dale Wilson]

Yes, the pictures explain it.  Note that there is nothing between the thumb
and the side of your hand.   You can't clamp the thumb down against
anything but your own hand.

And here is one of my favorite dances with lots of allemandes.

*The Big Bicep*  by Jim Hemphill Becket
A1 Circle left 3, step to an ocean wave (ladies by the left in center)
 Balance forward & back, step forward
A2 Next neighbor allemande right 1/2, men left 1/2,
 partner right 1/2, ladies left 1/2(double swing thru)
 Neighbor swing
B1 Men allemande left 1 1/2
 Partner pull by Right. Ladies Allemande left 1x
B2 Partner Balance and Swing

Dale


On Mon, Feb 17, 2014 at 9:03 PM, Don Veino wrote:

> [Lots of other posts trimmed...]
>
> Similar to a previous comment, and knowing one size does not fit all, I try
> to preface any "style points" with a fellow dancer with "it would help me
> if..." and then describe or show my desired interaction behavior. Puts the
> issue totally on me and makes it sound like I'm asking a favor of them to
> adjust to my needs, not correcting them -- if it leads to further good form
> from them generally thereafter, so much the better. I've not had a negative
> reaction to this since I started doing it.
>
> BTW, for allemandes I use a connection that I picked up somewhere in my
> contra travels (which sounds a lot like some of he best practices described
> to this point). I find this to be fairly common where I dance. As a picture
> is worth a thousand words, here it is (note I'm torqued slightly in these
> due to holding the camera with the other hand for the photo -- the normal
> connection is neutral and unstressed but results in good weight):
>
> https://drive.google.com/file/d/0B3My2DFMxZpOb3g1MVJWSS1lOGc/edit?usp=sharing
>
> -Don
> ___
> Callers mailing list
> call...@sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>



-- 
*So if you knew what was broken...how long would it take you to fix it?*

Re: [Callers] Dances with three or more allemandes

[Don Veino]

[Lots of other posts trimmed...]

Similar to a previous comment, and knowing one size does not fit all, I try
to preface any "style points" with a fellow dancer with "it would help me
if..." and then describe or show my desired interaction behavior. Puts the
issue totally on me and makes it sound like I'm asking a favor of them to
adjust to my needs, not correcting them -- if it leads to further good form
from them generally thereafter, so much the better. I've not had a negative
reaction to this since I started doing it.

BTW, for allemandes I use a connection that I picked up somewhere in my
contra travels (which sounds a lot like some of he best practices described
to this point). I find this to be fairly common where I dance. As a picture
is worth a thousand words, here it is (note I'm torqued slightly in these
due to holding the camera with the other hand for the photo -- the normal
connection is neutral and unstressed but results in good weight):
https://drive.google.com/file/d/0B3My2DFMxZpOb3g1MVJWSS1lOGc/edit?usp=sharing

-Don

Re: [Callers] Dances with three or more allemandes

[Jonathan Sivier]

On 2/17/2014 6:39 PM, Aahz Maruch wrote:

On Sun, Feb 16, 2014, Jerome Grisanti wrote:

Aahz wrote to Erik:


I have no idea what you mean by "guideposts", though; from my POV either
the thumbs are interlocked or they're not.  (If each person's thumb can
touch the other person's webbing between thumb and forefinger they're
interlocked.)


I believe most dancers can make a distinction between holding your
hand in a position (e.g. with interlocking thumbs), and gripping based
on that same position. How can we best communicate that difference?


Maybe they can make that distinction, but I sure can't based on what
you're writing here.  ;-)

What is the distinction/difference?


   This is probably one of those things that is easier to show than it 
is to explain in words.  However, I'll give it a try.


   I think referring to "interlocking" could be a confusion.  I 
wouldn't tell anyone to interlock their hands or thumbs.  Instead I like 
to tell people to hook their fingers behind the other person's thumb, 
between the thumb and the wrist, and to keep their thumbs in the "thumbs 
up" position, not closing them on the other persons hand.  That way 
either person can easily let go without any problem by just 
straightening their fingers.  Nothing is holding their hands together 
except their own bent fingers.  The hands and wrists should be held 
straight, without twisting or bending, so that when the fingers are 
straightened they will point at the other person's face (or 
thereabouts).  Arms should be held with with a slight bend in the elbow, 
adjusting the distance between the dancers by bending the elbows greater 
or lesser, to enable them to get around in more or less time depending 
on the time allowed for the figure.  All force should be straight along 
the arms from the shoulder of one person to the shoulder of the other, 
with no side force.  That way it is easy to give the appropriate amount 
of "weight" without any twisting or bending of the wrists.  In fact, I 
think that optimally both shoulders of both dancers, as well as their 
elbows and hands, should all lie in the same plane, perpendicular to the 
floor.  So you might start by having the two dancers stand facing in 
opposite directions, pointing their (right) shoulders at each other, 
then extent their (right) arms towards the other person and hooking 
their fingers around the other's thumb/wrist junction, keeping their own 
thumbs pointing straight up.


Jonathan
-
Jonathan Sivier
Caller of Contra, English and Early American Dances
jsivier AT illinois DOT edu
Dance Page: http://www.sivier.me/dance_leader.html
-
Q: How many angels can dance on the head of a pin?
A: It depends on what dance you call!

Re: [Callers] Dances with three or more allemandes

[Aahz Maruch]

On Sun, Feb 16, 2014, Jerome Grisanti wrote:
> Aahz wrote to Erik:
>>
>> I have no idea what you mean by "guideposts", though; from my POV either
>> the thumbs are interlocked or they're not.  (If each person's thumb can
>> touch the other person's webbing between thumb and forefinger they're
>> interlocked.)
> 
> I believe most dancers can make a distinction between holding your
> hand in a position (e.g. with interlocking thumbs), and gripping based
> on that same position. How can we best communicate that difference?

Maybe they can make that distinction, but I sure can't based on what
you're writing here.  ;-)

What is the distinction/difference?
-- 
Hugs and backrubs -- I break Rule 6http://rule6.info/
  <*>   <*>   <*>
Help a hearing-impaired person: http://rule6.info/hearing.html

Re: [Callers] Dances with three or more allemandes

[Jerome Grisanti]

Aahz wrote to Erik:

>
> I have no idea what you mean by "guideposts", though; from my POV either
> the thumbs are interlocked or they're not.  (If each person's thumb can
> touch the other person's webbing between thumb and forefinger they're
> interlocked.)
>

I believe most dancers can make a distinction between holding your hand in
a position (e.g. with interlocking thumbs), and gripping based on that same
position. How can we best communicate that difference?

I ask people to feel the connection through their entire arm, and their
entire body, and I avoid the term "grip" as well. Also, I find that when
the music is faster than people are comfortable with, they tend to grip
more -- so before asking the dancers to change I might first start with the
band or other factors.

I also remind dancers that they will eventually let go of the hand
connection they've made, and to make sure they allow other dancers to leave
them comfortably.

Also, Lindsay spoke of saying "ouch," adjusting the offending hand, and
saying "sorry, carpal tunnel." This has the benefit of making it about him
-- "this is what works for me" -- moreso than making it about the other
person -- "you're doing it wrong." Hard to do in a short time without
practice, but worth practicing that attitude as a dancer so you can
communicate quickly and effectively. (Upon re-reading, this does appear to
support scripting comments for common quandaries).

--Jerome

-- 
Jerome Grisanti
660-528-0858
http://www.jeromegrisanti.com

"We should consider every day lost on which we have not danced at least
once."
-- Friedrich Nietzsche

Re: [Callers] Dances with three or more allemandes

[Michael Dyck]

On 14-02-15 10:18 AM, Michael Fuerst wrote:


So I am asking for dances which have at least three, and preferably four 
allemandes


Searching my personal collection, I find:

6 allemandes:
"Al's Half a Heyday" [Al Olson] (but 2 are only 1/2)

5 allemandes:
"Jeffro's Tree" [Don Flaherty]
"Chuck the Budgie" [Rick Mohr]
"Remember the Alamo" [Gene Hubert] (but 4 are only 1/2)

4 allemandes:
"Two Whos in the Middle" [Al Olson]
"Chichester House Reel" [Steve Zakon]
"Dr Brown's Prescription" [David Kirchner]

4 allemandes, one of which is only 1/2:
"Coal Country Contra" [Ron Buchanan]
"Eric on Mondays" [David Kaynor]
"Al's Answer" [Al Olson -> David Kaynor]
"Hey in the Middle" [Tom Hinds]
"Thinking of John" [Erik Hoffman]
"Hull's Surprise" [Tom Hinds]

4 allemandes, two of which are only 1/2:
"Batja's Breakdown" [Tom Hinds]
"Ben's Spinoff #3" [Gene Hubert]
"Ben's Spinoff #2" [Gene Hubert]
"Southern Swing" [Steve Zakon]
"Fuller Park Fantasy" [Paul Balliet]
"Sunday on the Green" [Jim Kitch] (circle mixer)

-Michael

Re: [Callers] Dances with three or more allemandes

[Michael Fuerst]

Thanks you Joy and Les for the suggested dances.    
Does anyone have additional suggestions?
I think what I had in mind are dances where everyone allemandes 1 1/2 at least 
once plus allemande 3/4 or more at least one additional time
 
Michael Fuerst      802 N Broadway      Urbana IL 61801   217-239-5844



On Sunday, February 16, 2014 10:25 AM, Aahz Maruch  wrote:
 
On Sun, Feb 16, 2014, Erik Hoffman wrote:
> On 2/15/2014 10:32 PM, Aahz Maruch wrote:
>>On Sat, Feb 15, 2014, Michael Fuerst wrote:
>>>
>>>I should have said thumbs an wrapped around the other's hand.
>>>Interlocked was the wrong.
>>
>> I do know people who believe that interlocked thumbs are
>>correct, and I've been on a campaign to discourage the practice. ;-)
>
> So, Aahz, why do you want to eliminate it? I'm talking about the
> thumbs up as guideposts, fingers hooked around the others hand, a
> hook, not a grip, wrists straight, fingers curved. Is it just the
> safety issue? I play music. I teach music. I worry a lot about my
> hands! I have things I do to protect myself, and I don't let people
> grab and grip, or bend my wrist in some painful way.

Oddly enough, as has been pointed out here, you are a somewhat large-ish
man -- that means your personal safety requirements are not necessarily
what's appropriate for the general dancer population.

So yeah, it's pretty much all about safety from my POV.  Any kind of
spinning move out of allemande or wave risks yanking the thumb.  And
actually, my concern is more about waves than allemandes: the grip is
mostly the same for both and the spinning half-sashy is pretty much
standard these days.

I have no idea what you mean by "guideposts", though; from my POV either
the thumbs are interlocked or they're not.  (If each person's thumb can
touch the other person's webbing between thumb and forefinger they're
interlocked.)
-- 
Hugs and backrubs -- I break Rule 6                        http://rule6.info/
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Re: [Callers] Dances with three or more allemandes

[Erik Hoffman]

And I'm on a (perhaps hopeless) campaign to restore it.

So, Aahz, why do you want to eliminate it? I'm talking about the thumbs 
up as guideposts, fingers hooked around the others hand, a hook, not a 
grip, wrists straight, fingers curved. Is it just the safety issue? I 
play music. I teach music. I worry a lot about my hands! I have things I 
do to protect myself, and I don't let people grab and grip, or bend my 
wrist in some painful way.


~erik hoffman
oakland, ca


On 2/15/2014 10:32 PM, Aahz Maruch wrote:

On Sat, Feb 15, 2014, Michael Fuerst wrote:

I should have said thumbs an wrapped around the other's hand.
Interlocked was the wrong.

  I do know people who believe that interlocked thumbs are correct,
and I've been on a campaign to discourage the practice.  ;-)

Re: [Callers] Dances with three or more allemandes

[Aahz Maruch]

On Sat, Feb 15, 2014, Michael Fuerst wrote:
>
> I should have said thumbs an wrapped around the other's hand.
> Interlocked was the wrong.

  I do know people who believe that interlocked thumbs are correct,
and I've been on a campaign to discourage the practice.  ;-)
-- 
Hugs and backrubs -- I break Rule 6http://rule6.info/
  <*>   <*>   <*>
Help a hearing-impaired person: http://rule6.info/hearing.html

Re: [Callers] Dances with three or more allemandes

[Les Addison]

Mary Wesley called a dance tonight with Five allemandes.  Perhaps someone
at Flurry remembers what it was.

On Saturday, February 15, 2014, Joy Greenwolfe 
wrote:

> When I think "lots of allemandes," I usually think first of Gene Hubert's
> Ben's Spinoff #3 (4 allemandes in the A1), and Susan Kevra's Hume Fogg Reel
> (3 in the B1). They both have a series of allemandes in succession, and are
> not too challenging otherwise.
>
> Other, more challenging, dances with lots of allemandes (again, I am
> thinking of a series of allemandes) are Fuller Park Fantasy by Paul Balliet
> (4 throughout the A parts), and Reel to Reel by Cary Ravitz (4 in the A1)
> (the latter with the extra bonus of orbits).
>
> This is apart from many other dances that include several allemandes to
> change between wave formations, another fun way to do it. Snake Oil Reel,
> Chuck the Budgie, or Amherst & Wooster come to mind.
>
> Joy
> Durham, NC
>
>
> On Feb 15, 2014, at 1:18 PM, Michael Fuerst wrote:
>
> > When I started contra dancing, people know how to allemande.  But over
> the years people starting bending and twisting the wrists of those with
> whom they allemanded, so today, in defense, dancers often allemande with a
> stiff open, bent non-thumb fingers, or wrist to wrist.  Thus I was
> pondering  a workshop on correct allemanding:
> >
> > 1) thumbs interlocked, the other four fingers wrapped over the other's
> hand,
> >
> > 2) the top of your hand and top of forearm forming a straight line,
> ensuring the other's wrist is not  contorted
> > 3) arm not held stiff, but used as a spring to maintain comfortable
> tension with the other dancer.
> >
> > Such a workshop should be held in the middle of the evening, last 5-8
> minutes minutes, and precede a dance with multiple allemandes.
> >
> > So I am asking for dances which have at least three, and preferably four
> allemandes
> >
> > 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
> > ___
> > Callers mailing list
> > call...@sharedweight.net 
> > http://www.sharedweight.net/mailman/listinfo/callers
>
> ___
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>

Re: [Callers] Dances with three or more allemandes

[Joy Greenwolfe]

When I think "lots of allemandes," I usually think first of Gene Hubert's Ben's 
Spinoff #3 (4 allemandes in the A1), and Susan Kevra's Hume Fogg Reel (3 in the 
B1). They both have a series of allemandes in succession, and are not too 
challenging otherwise. 

Other, more challenging, dances with lots of allemandes (again, I am thinking 
of a series of allemandes) are Fuller Park Fantasy by Paul Balliet (4 
throughout the A parts), and Reel to Reel by Cary Ravitz (4 in the A1) (the 
latter with the extra bonus of orbits). 

This is apart from many other dances that include several allemandes to change 
between wave formations, another fun way to do it. Snake Oil Reel, Chuck the 
Budgie, or Amherst & Wooster come to mind.

Joy
Durham, NC


On Feb 15, 2014, at 1:18 PM, Michael Fuerst wrote:

> When I started contra dancing, people know how to allemande.  But over the 
> years people starting bending and twisting the wrists of those with whom they 
> allemanded, so today, in defense, dancers often allemande with a stiff open, 
> bent non-thumb fingers, or wrist to wrist.  Thus I was pondering  a workshop 
> on correct allemanding:
> 
> 1) thumbs interlocked, the other four fingers wrapped over the other's hand, 
> 
> 2) the top of your hand and top of forearm forming a straight line, ensuring 
> the other's wrist is not  contorted
> 3) arm not held stiff, but used as a spring to maintain comfortable tension 
> with the other dancer.
> 
> Such a workshop should be held in the middle of the evening, last 5-8 minutes 
> minutes, and precede a dance with multiple allemandes.  
> 
> So I am asking for dances which have at least three, and preferably four 
> allemandes
>  
> 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
> ___
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> call...@sharedweight.net
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Re: [Callers] Dances with three or more allemandes

[Erik Hoffman]

And in my reply, I used "interlocking thumbs." Now I recall that I 
think, "Thumbs as guideposts" is a better way to describe my preferred 
allemande.


~erik hoffman
oakland, ca


On 2/15/2014 1:20 PM, Michael Fuerst wrote:

I should have said thumbs an wrapped around the other's hand.   Interlocked was 
the wrong.

  
Michael Fuerst  802 N Broadway  Urbana IL 61801   217-239-5844




On Saturday, February 15, 2014 2:49 PM, Aahz Maruch  wrote:
  
On Sat, Feb 15, 2014, Michael Fuerst wrote:



When I started contra dancing, people know how to allemande.  But
over the years people starting bending and twisting the wrists of
those with whom they allemanded, so today, in defense, dancers often
allemande with a stiff open, bent non-thumb fingers, or wrist to
wrist.  Thus I was pondering a workshop on correct allemanding:

1) thumbs interlocked, the other four fingers wrapped over the other's
hand,

As Lindsay's surprised interjection indicates, opinions vary widely about
correct styling here, and depending on exactly how you were phrasing
yourself, I might well loudly correct you if you were trying to workshop
this anywhere I'm dancing.

For my dancing style, interlocked thumbs are dangerous.

Re: [Callers] Dances with three or more allemandes

[Erik Hoffman]

I have done this:

I say, "Wrists are strongest when straight. Fingers are strongest, when 
curved -- their natural state." Then I discuss symmetry. In an 
allemande, both peoples arms should be bent, so as to permit a 
comfortable connection. Then I say, "it's never a grip! It's a hook!" 
and, for dancing purposes I have eliminated the word "grip" from my 
regular teaching.


Then I have advocated the return of the interlocking (but not locked) 
thumb. I have said "it just feels better," at which point I receive from 
some young and very experienced dancers, "No it doesn't! I think it 
feels better when the thumb is next to the hand, and not interlocking!" 
Then I realize certain things are habits that we learn to like.


I also teach protective hand positions. And, in my book, 
/ContraDictations/, I wrote an article with drawings, /If Allemande 
Left, Where Did Allemande Go? /Still available...


~erik hoffman
 oakland, ca

On 2/15/2014 10:18 AM, Michael Fuerst wrote:

When I started contra dancing, people know how to allemande.  But over the 
years people starting bending and twisting the wrists of those with whom they 
allemanded, so today, in defense, dancers often allemande with a stiff open, 
bent non-thumb fingers, or wrist to wrist.  Thus I was pondering  a workshop on 
correct allemanding:

1) thumbs interlocked, the other four fingers wrapped over the other's hand,

2) the top of your hand and top of forearm forming a straight line, ensuring 
the other's wrist is not  contorted
3) arm not held stiff, but used as a spring to maintain comfortable tension 
with the other dancer.

Such a workshop should be held in the middle of the evening, last 5-8 minutes 
minutes, and precede a dance with multiple allemandes.

So I am asking for dances which have at least three, and preferably four 
allemandes
  
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
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Re: [Callers] Dances with three or more allemandes

[Michael Fuerst]

I should have said thumbs an wrapped around the other's hand.   Interlocked was 
the wrong.

 
Michael Fuerst      802 N Broadway      Urbana IL 61801   217-239-5844



On Saturday, February 15, 2014 2:49 PM, Aahz Maruch  wrote:
 
On Sat, Feb 15, 2014, Michael Fuerst wrote:

>
> When I started contra dancing, people know how to allemande.  But
> over the years people starting bending and twisting the wrists of
> those with whom they allemanded, so today, in defense, dancers often
> allemande with a stiff open, bent non-thumb fingers, or wrist to
> wrist.  Thus I was pondering a workshop on correct allemanding:
>
> 1) thumbs interlocked, the other four fingers wrapped over the other's
> hand,

As Lindsay's surprised interjection indicates, opinions vary widely about
correct styling here, and depending on exactly how you were phrasing
yourself, I might well loudly correct you if you were trying to workshop
this anywhere I'm dancing.

For my dancing style, interlocked thumbs are dangerous.
-- 
Hugs and backrubs -- I break Rule 6                        http://rule6.info/
                      <*>           <*>           <*>
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Re: [Callers] Dances with three or more allemandes

[Aahz Maruch]

On Sat, Feb 15, 2014, Michael Fuerst wrote:
>
> When I started contra dancing, people know how to allemande.  But
> over the years people starting bending and twisting the wrists of
> those with whom they allemanded, so today, in defense, dancers often
> allemande with a stiff open, bent non-thumb fingers, or wrist to
> wrist.  Thus I was pondering a workshop on correct allemanding:
>
> 1) thumbs interlocked, the other four fingers wrapped over the other's
> hand,

As Lindsay's surprised interjection indicates, opinions vary widely about
correct styling here, and depending on exactly how you were phrasing
yourself, I might well loudly correct you if you were trying to workshop
this anywhere I'm dancing.

For my dancing style, interlocked thumbs are dangerous.
-- 
Hugs and backrubs -- I break Rule 6http://rule6.info/
  <*>   <*>   <*>
Help a hearing-impaired person: http://rule6.info/hearing.html

Re: [Callers] Dances with three or more allemandes

[Lindsay Morris]

Thumbs NOT interlocked, you mean?



Lindsay Morris
CEO, TSMworks
Tel. 1-859-539-9900
lind...@tsmworks.com


On Sat, Feb 15, 2014 at 1:18 PM, Michael Fuerst wrote:

> When I started contra dancing, people know how to allemande.  But over the
> years people starting bending and twisting the wrists of those with whom
> they allemanded, so today, in defense, dancers often allemande with a stiff
> open, bent non-thumb fingers, or wrist to wrist.  Thus I was pondering  a
> workshop on correct allemanding:
>
> 1) thumbs interlocked, the other four fingers wrapped over the other's
> hand,
>
> 2) the top of your hand and top of forearm forming a straight line,
> ensuring the other's wrist is not  contorted
> 3) arm not held stiff, but used as a spring to maintain comfortable
> tension with the other dancer.
>
> Such a workshop should be held in the middle of the evening, last 5-8
> minutes minutes, and precede a dance with multiple allemandes.
>
> So I am asking for dances which have at least three, and preferably four
> allemandes
>
> 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
> ___
> Callers mailing list
> call...@sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>

[Callers] Dances with three or more allemandes

[Michael Fuerst]

When I started contra dancing, people know how to allemande.  But over the 
years people starting bending and twisting the wrists of those with whom they 
allemanded, so today, in defense, dancers often allemande with a stiff open, 
bent non-thumb fingers, or wrist to wrist.  Thus I was pondering  a workshop on 
correct allemanding:

1) thumbs interlocked, the other four fingers wrapped over the other's hand, 

2) the top of your hand and top of forearm forming a straight line, ensuring 
the other's wrist is not  contorted
3) arm not held stiff, but used as a spring to maintain comfortable tension 
with the other dancer.

Such a workshop should be held in the middle of the evening, last 5-8 minutes 
minutes, and precede a dance with multiple allemandes.  

So I am asking for dances which have at least three, and preferably four 
allemandes
 
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

Re: [Callers] Dances which work with a wide variety of tune types?

[Bill Olson]

well, uuhhh, darn,.. now I'm gonna think of tofu every time i call this one.. 
hee hee..
HAPPY NEW YEAR everybody!
bill




> Date: Tue, 31 Dec 2013 15:18:38 -0800
> From: wins...@slac.stanford.edu
> To: call...@sharedweight.net
> Subject: [Callers] Dances which work with a wide variety of tune types?
> 
> Gang --
> 
> I was going to put "Tofu Dances" in the subject line, but I thought that 
> might dissuade some of you from reading it.
> I was thinking that tofu is a nutritious substance without a really 
> strong flavor of its own, and that can harmonize with a lot of different 
> treatments; it'll end up tasting like the dish you put it in.
> 
> Bill Olson's "Cranky Ingenuity" is a terrific dance - quick teach, 
> fairly low piece count, unusual enough figure (dosido as couples) that 
> it provides some variety in a program, useful as a first dance to let 
> you know the state of the crowd, useful as a last dance if you don't 
> have a lot of time, real teamwork with partner, adequate neighbor time.  
> And one of the things that's great about it is that it works with reels, 
> jigs, old-timey, rags, swing-dance tunes, French-Canadian tunes, Irish 
> polka - probably good for techno, too, although I haven't tried that.  
> While it has strong enough flow that dancers don't float in space 
> wondering what they're supposed to do yet, the transitions (other than 
> the closing balance-the-ring, California twirl) don't have hit precisely 
> to still be satisfying.
> 
> The dancers react to the music and the dance takes on the flavor of the 
> music.  If there's some tune set the band wants to play - like, it's the 
> last dance and it's their showstopper - Cranky Ingenuity will likely 
> work out well.  (It might not be the single best match possible to some 
> particular tune, but it's likely to be a good match, and having it handy 
> and walking it through in 30 seconds makes up for deficiencies.)
> 
> That's a great feature.  But if I use it all the time - and worse, if 
> everybody uses it all the time - I'll wear it out.
> 
> What other dances have this feature?
> 
> (I think anything where the distinctive figure of the dance has short 
> phrases and tight timing - eg, Rory O More balances in long or short 
> waves; roll away across the set, catch partner and swing, Petronella 
> sequences, balance and square thru - is going to be disqualified. But if 
> you have experience that says otherwise, speak up!)
> 
> In the meantime, Happy New Year!  I'm calling for an hour tonight at an 
> English dance and dancing for three at a contra dance; I hope you all 
> have agreeable New Year's Eves and 2014s full of satisfying music and dance.
> 
> -- Alan
> 
> ___
> Callers mailing list
> call...@sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
  

[Callers] Dances which work with a wide variety of tune types?

[Alan Winston]

Gang --

I was going to put "Tofu Dances" in the subject line, but I thought that 
might dissuade some of you from reading it.
I was thinking that tofu is a nutritious substance without a really 
strong flavor of its own, and that can harmonize with a lot of different 
treatments; it'll end up tasting like the dish you put it in.


Bill Olson's "Cranky Ingenuity" is a terrific dance - quick teach, 
fairly low piece count, unusual enough figure (dosido as couples) that 
it provides some variety in a program, useful as a first dance to let 
you know the state of the crowd, useful as a last dance if you don't 
have a lot of time, real teamwork with partner, adequate neighbor time.  
And one of the things that's great about it is that it works with reels, 
jigs, old-timey, rags, swing-dance tunes, French-Canadian tunes, Irish 
polka - probably good for techno, too, although I haven't tried that.  
While it has strong enough flow that dancers don't float in space 
wondering what they're supposed to do yet, the transitions (other than 
the closing balance-the-ring, California twirl) don't have hit precisely 
to still be satisfying.


The dancers react to the music and the dance takes on the flavor of the 
music.  If there's some tune set the band wants to play - like, it's the 
last dance and it's their showstopper - Cranky Ingenuity will likely 
work out well.  (It might not be the single best match possible to some 
particular tune, but it's likely to be a good match, and having it handy 
and walking it through in 30 seconds makes up for deficiencies.)


That's a great feature.  But if I use it all the time - and worse, if 
everybody uses it all the time - I'll wear it out.


What other dances have this feature?

(I think anything where the distinctive figure of the dance has short 
phrases and tight timing - eg, Rory O More balances in long or short 
waves; roll away across the set, catch partner and swing, Petronella 
sequences, balance and square thru - is going to be disqualified. But if 
you have experience that says otherwise, speak up!)


In the meantime, Happy New Year!  I'm calling for an hour tonight at an 
English dance and dancing for three at a contra dance; I hope you all 
have agreeable New Year's Eves and 2014s full of satisfying music and dance.


-- Alan