[Callers] Re: Twirly skirts - history question

[Angela DeCarlis via Contra Callers]

As usual, context matters a lot. When I was dancing in Boston, there were
plenty of cisgender men (in addition to other non-cis-woman genders)
wearing skirts. Now that I'm back in Florida, seeing a non-woman in a dress
or skirt is highly unusual, but no one causes a stink about it. In fact,
the only time I can remember seeing a skirt on a non-woman at my local
dance was recently: a sparkly dress on a little boy (or nonbinary or trans
kid, unknown).

I can't speak to Maia's notion that maybe skirts are less popular now OTHER
than to add my own anecdata: I've stopped wearing skirts to dances largely
for gender reasons. I'm a nonbinary person who dances the left-hand and
right-hand roles at my dance equally, and have found that folks' perception
of me goes better when I wear pants. Maybe there are other AFAB folks who
are queer-coding more by wearing skirts and dresses less?

Ang (they/them)

On Thu, Sep 12, 2024 at 5:35 AM Robert Matson via Contra Callers <
contracallers@lists.sharedweight.net> wrote:

> This is a fun question.
>
> I'd propose that people wearing clothing styles that are contrary to
> tradition occurs where there's acceptance and encouragement for play and
> self-expression, generally.  From that perspective, I'm landing on the
> thought that it's not a "which came first," the flourishes or the skirts,
> but rather what came first is an environment that nurtures the
> extra curlicue or do-dad for no reason other than it's someone's idea of
> fun.
>
> To share some of my rabbit hole as I explored skirted clothing and dance,
> here're a few videos I enjoyed seeing:
>
> Skirts for dance without twirls:
>
> "HAWAII - 1960s - Men and women perform hula dances in grass skirts in
> Hawaii."
>
> https://www.shutterstock.com/video/clip-3417132785-hawaii---1960s-men-women-perform-hula
>
> "Solomon islands - 1931 - in this ethnographic film, alleged cannibals of
> the solomon islands are introduced as a particularly bloodthirsty tribe."
>
> https://www.shutterstock.com/video/clip-1110464247-solomon-islands---1931-this-ethnographic-film
>
> Pina Bausch!!  The most ordinary clothing is a costume.
> IDAS FRÜHLINGSOPFER | THE RITE OF SPRING | Pina Bausch
> https://youtu.be/z3vZeAmcjf4?si=UAXnjHvk6hDUT9-Q
>
> Comic dance.
> Swan Lake Act II - Little Swans - Les Ballets Trockadero de Monte Carlo
> https://youtu.be/F83BbbtoX8Q?si=2srNnSp3AzdFJjyx
>
> Graham.
> Martha Graham performing “Letter to the World” (also called “The Kick”),
> 1940.
> Photo by Barbara Morgan (public domain)
> https://www.britannica.com/biography/Martha-Graham
>
>
> Hope you enjoy those.
>
> Rob
> Conway, AR
>
> - - - - - - - - - - - -
>
> Robert Matson
> Innovation Media Corp.
> The Innovation Works, Inc.
> Cell: (917) 626-2675
>
>>
>>
>>
>> On Wed, Sep 11, 2024 at 8:30 PM David Chandler via Contra Callers <
>> contracallers@lists.sharedweight.net> wrote:
>> >
>> > I started dancing in NY/NJ in the 1970's, and called contra and English
>> until mid-80's - and then had about a 15 year hiatus. Before my break I
>> only remember one male (to judge from facial and body hair) who regularly
>> wore dresses or skirts to dances. After I returned to dancing, there was a
>> gradual increase, though in the beginning it seemed some men chose kilts as
>> a way to mute the statement. And then
>> >
>> > I should note that my memory is not known for being accurate, so this
>> is just an observation, not a definitive statement. A source for more
>> extensive information would be CDSS, which has pictures from camps for many
>> years; and the Pinewoods archives also have many pictures. If one lives
>> near the U. of New Hampshire, the CDSS archives are there and should be a
>> useful source.
>> >
>> > David
>> >
>> > On Wed, Sep 11, 2024 at 7:42 PM Joe Harrington via Contra Callers <
>> contracallers@lists.sharedweight.net> wrote:
>> >>
>> >> Seems the edge of memory here so far is around 1990. Does anyone have
>> access to a photo or video archive from before, say at the CDSS?
>> >>
>> >> —jh—
>> >>
>> >>
>> >> On Wed, Sep 11, 2024 at 7:25 PM Bob Hofkin via Contra Callers <
>> contracallers@lists.sharedweight.net> wrote:
>> >>>
>> >>> On 09/11/2024 15:11, Louise Siddons via Contra Callers wrote:
>> >>> > separate the garment from its gendered connotations
>> >>>
>> >>> Louise,
>> >>>
>> >>> I started wearing skirts because they were more comfortable than jeans
>> >>> over a fairly substantial knee brace. Turns out they are better for
>> >>> ventilation, too.
>> >>>
>> >>> I definitely enjoy the twirl effect, and find the skirt a practical
>> tool
>> >>> for guiding the directionally-challenged through a hey. I've had fun
>> >>> making up silly answers when asked why I'm wearing a skirt, always
>> >>> trying to communicate the contra community's openness and acceptance,
>> >>> which goes far beyond fashion choices.
>> >>>
>> >>> Bob H (Nevada)
>> >>> ___
>> >>> Contra Callers mailing list -- contracallers@l

[Callers] Re: Resources to turn musicians into dance musicians?

[Angela DeCarlis via Contra Callers]

I'm in the same boat right now, Seth!

BIDA's Open Band Tune List is a really helpful resource:
https://www.bidadance.org/open-band-tune-list

But I've been having a hard time communicating about dynamics with them
other than pulling up videos of experienced bands to demonstrate how much
dance musicians break tunes down, improvise, and play. The energy needed to
carry across a 7-minute set is harder to describe!! Following along in case
others have ideas.

Ang

On Wed, Sep 4, 2024, 11:36 AM Tepfer, Seth via Contra Callers <
contracallers@lists.sharedweight.net> wrote:

> Hello hive mind
>
> I have an upcoming ONS gig with a group of people who are all professional
> musicians, but have never played together nor played for a dance. What
> resources are out there to help give these musicians an understanding of
> what is coming for them? Any web videos or PDFs of hints so they know what
> to expect? They are asking for sheet music and videos, which will help but
> I know there is much more to it than that.
>
> Seth
>
> Seth Tepfer, MBA, CSM, PMP (he, him, his)
> Senior IT Manager, Emory Primate Center
>
> 
>  Book
> time to meet with me
> 
>
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[Callers] Re: [External] Re: Choreographic No-Nos

[Angela DeCarlis via Contra Callers]

Surprised no one's mentioned interlocking long wavy lines, yet — I think
it's relatively well-known that Lisa Greenleaf hates this move! Can't say
I'm a huge fan, either, but it has its moments.

For my two-cents, butterfly whirls are on thin ice! I'll program dances
that include this figure with a partner on rare occasion, and symmetrical
dances with both a partner and neighbor whirl could be novel enough to be
okay (???) on a cold day, but I think I would essentially never call a
dance with only a neighbor butterfly whirl.

There are too many excellent dances to ever bother with the mediocre ones,
honestly.

On Tue, Aug 6, 2024, 3:14 AM Neal Schlein via Contra Callers <
contracallers@lists.sharedweight.net> wrote:

> I agree with Jonathan about your existing list, and think that almost any
> sequence CAN be used if done with knowledgeable intent.
>
> However, for the general list of things to avoid I would nominate what I
> like to call “fudge down the line,” which is any adjustment that a) happens
> solely because the sequence doesn’t fully progress the couples and b) does
> not flow naturally from the existing movement.  (This most often happens in
> Beckett dances or those substantially in Beckett formation; examples
> include a 2 count sideways slide along the line or a slightly angled right
> and left thru.)
>
> Notably, the 4 beat slide in “With Thanks to the Dean” and similar dances
> would not count because they are full and discrete actions that are 
> specifically
> accounted for in the flow and timing.
>
> Neal Schlein
> Librarian, MSLIS
>
>
> On Mon, Aug 5, 2024 at 10:28 PM Michael Fuerst via Contra Callers <
> contracallers@lists.sharedweight.net> wrote:
>
>> Depending on the flow of the dance,  balance and box the gnat  can often
>> replace  dsd and shoulder rounds 1 1/2
>>
>> On Mon, Aug 5, 2024 at 11:17 PM Maia McCormick via Contra Callers <
>> contracallers@lists.sharedweight.net> wrote:
>>
>>> I don't have Bob's list handy, but I cribbed heavily from it to make this
>>> (much less extensive) list of figures + timings
>>> ,
>>> in case it's useful to anyone!
>>>
>>> (This reminds me of some more things I don't like, ha. Circle L and pass
>>> through to swing -- IME the swing always gets truncated. Dosido 1.5x and
>>> right shoulder round 1.5x don't quiiite fit in 8 counts of music and are
>>> often frustrating. And I don't call couples' dosidos anymore, they're a
>>> pain to execute correctly unless everyone in the hall is EXTREMELY on top
>>> of it.)
>>> --
>>> Maia McCormick (she/her)
>>> 917.279.8194
>>>
>>>
>>> On Tue, Aug 6, 2024 at 12:02 AM Joe Harrington <
>>> contradancer...@gmail.com> wrote:
>>>
 Is Bob Isaacs in the house?  He has a giant spreadsheet with every
 possible move transition and a count of the number of times it occurs in a
 set of dances that now numbers in the hundreds or maybe a lot more.  It’s
 interesting which unlikely combinations do occur and which rarely do.  I
 hope this someday sees the light of day.

 —jh—


 On Mon, Aug 5, 2024 at 11:29 PM Maia McCormick via Contra Callers <
 contracallers@lists.sharedweight.net> wrote:

> Jeff, impressively bad, well done!
>
> My biggest pet peeve is a RH chain (or promenade, or other move with a
> CCW courtesy turn) into a circle L—though this is a very of-the-moment
> style preference, as I know plenty of the classic dances have this combo.
> (Likewise for dances where just the 1s do a figure while the 2s stand
> around, doubly so if the dance doesn’t alternate active couples.)
>
> Long lines followed by a chain is quite idiomatic—and probably in part
> because of the strength that idiom, a chain (or other courtesy turn 
> figure)
> followed by long lines drives me up a wall.
>
> I don’t love long lines into a circle—I’ll tolerate it if the rest of
> the dance is really exceptional, e.
>
> --
> Maia McCormick (she/her)
> 917.279.8194
>
>
> On Mon, Aug 5, 2024 at 10:31 PM Jeff Kaufman via Contra Callers <
> contracallers@lists.sharedweight.net> wrote:
>
>> Balance neighbor (4), swing partner (12)
>>
>> Ones dosido below while twos seesaw above (8).
>>
>> Long lines forward (4), swing on the side (8), long lines back (4).
>>
>> Circle left 1x (6) pass through (2)
>>
>> Jeff
>>
>> On Mon, Aug 5, 2024 at 9:51 PM Tepfer, Seth via Contra Callers <
>> contracallers@lists.sharedweight.net> wrote:
>>
>>>
>>>- A right chain INTO a swing
>>>- A swing into a circle right
>>>- Standard right shoulder hey into a swing
>>>
>>>
>>> Plenty other bad flow examples
>>>
>>>
>>> Seth Tepfer, MBA, CSM, PMP (he, him, his)
>>> Senior IT Manager, Emory Primate Center
>>>
>>> 

[Callers] Re: In light of recent developments

[Angela DeCarlis via Contra Callers]

>
> "That said, there's abundant evidence that the party that routinely cuts
> funding for arts - which directly impacts so much of folk music and dance -
> isn't the blue one. How appropriate that is in a dance title? Debatable,
> sure. But appropriate in a discussion about folk music and dance?
> Absolutely relevant to our collective thriving."


Couldn't agree more, Julian. Vicki and I are here in Florida where arts
funding was just cut altogether

— people in my universe (visual arts, galleries, public arts programming,
theater, etc) are all panicking.

It is tricky, though, for those of us here who call to politically mixed
crowds. It's easy for some callers on this list to forget that dances like
this exist all over! Part of what I love about contra dancing is that it is
a bipartisan activity that brings people together. As such, I don't think
I'd be comfortable calling a dance with this title in my communities.
Frankly, it's political enough for me to arrive onstage as my nonbinary,
they/them-using self.

I do call Maia McCormick's dance Barack Me, Obamadeus
. Less of a
directive, more neutral, and it makes me laugh every time!

Ang
(they/them)

On Tue, Jul 23, 2024 at 10:47 AM Julian Blechner via Contra Callers <
contracallers@lists.sharedweight.net> wrote:

> The "no political stances" isn't really accurate. 501c3s cannot endorse
> candidates.
>
> If the rule was "non-profits can't take a political stand", a huge number
> of churches would lose tax-exempt status.
>
> On a personal level, I might encourage caution for any choreographer with
> a message about a political party.
>
> But I'd also point out that folk music and dance has a deep tradition of
> being political. Guthrie. Dolly. Heck, Jazz and Blues merely existing was
> radical at the time. Anti-war 50s/60s folk revival. Anti-slavery gospel and
> plantation songs. Pro-labor songs. I'm sure y'all can think of many more
> examples.
>
> I would hope and assume any on this list who'd raise a voice of caution
> are doing so from the spirit of helping fellow creatives be successful and
> express themselves.
>
> That said, there's abundant evidence that the party that routinely cuts
> funding for arts - which directly impacts so much of folk music and dance -
> isn't the blue one. How appropriate that is in a dance title? Debatable,
> sure. But appropriate in a discussion about folk music and dance?
> Absolutely relevant to our collective thriving.
>
> In dance,
>
> Julian Blechner
>
> He/him
>
> Western Mass
>
>
> On Tue, Jul 23, 2024, 8:09 AM Vicki Morrison via Contra Callers <
> contracallers@lists.sharedweight.net> wrote:
>
>> Considering all of the efforts our dance community makes to be welcoming
>> and inclusive, the title of this dance does just the opposite by
>> appearing unwelcoming and exclusive. Plus, as Mac said, non-profit
>> organizations risk losing their status by taking political stands.
>>
>> Vicki Morrison
>> Tallahassee
>>
>>
>> Sent from Yahoo Mail for iPhone
>> 
>>
>> On Tuesday, July 23, 2024, 12:47 AM, Mac Mckeever via Contra Callers <
>> contracallers@lists.sharedweight.net> wrote:
>>
>> You are  aware that not-for-profits can not take any kind of political
>> stand or they can lose their standing.  Just takes one  dancer on the red
>> side to report you.
>>
>> I'd check with your attorney before doing this.
>>
>> Mac
>>
>>
>>
>>
>>
>>
>> On Monday, July 22, 2024 at 05:59:01 PM CDT, Jonathan Sivier via Contra
>> Callers  wrote:
>>
>>
>>
>>
>>
>> I have a couple of gigs next month.  I'll give it a try.
>>
>> Jonathan
>> -
>> Jonathan Sivier
>> Caller of Contra, Square, English and Early American Dances
>> Dance Page: http://www.sivier.me/dance_leader.html
>> -
>> Q: How many angels can dance on the head of a pin?
>> A: It depends on what dance you call!
>>
>>
>> On 7/22/2024 5:00 PM, Elizabeth Bloom Albert via Contra Callers wrote:
>> > *my "**Vote Blue No Matter Who,**" tweaked for this election cycle:*
>> >
>> > *(let me know how it goes if you call this one!)*
>> >
>> > *
>> > *
>> >
>> > *Vote Blue No Matter Who, Version 2.024 *(5-2-24) /by Elizabeth Bloom
>> Albert /**
>> >
>> > Becket formation; start one-quarter turn to left of Improper; this
>> dance progresses clockwise.
>> >
>> > A1*(2) Slide Left to new neighbors:
>> >
>> > (6) Ladies Do-Si-Do 1 x
>> >
>> > (8) Swing Partner
>> >
>> > A2  (4) Ladies: R-hand Balance
>> >
>> >(4) Ladies: Pull-by R to switch [places] {Drop hands}
>> >
>> > (4) Gents: R-hand Balance
>> >
>> >(4) Gents: Pull-by R to switch [places] {Don’t drop hand

[Callers] Re: Ideas for teen dancer with cerebral palsy

[Angela DeCarlis via Contra Callers]

I love these, Rob!!

On Wed, Jun 26, 2024, 8:40 PM Robert Matson via Contra Callers <
contracallers@lists.sharedweight.net> wrote:

> Hi Dianne and All,
>
> I worked with disabled athletes for 11 years, including people with CP.
> From my experience, if I was in this situation, I would seek to speak, in
> advance, with the person's caregiver, to explain the activity and ask them
> for advice on every angle of concern: "here's what we do, can they do
> that?"  "If they can't do [the thing] how would you handle it?"  "Can you
> be there and partner with them?"  "If you can't be there, who else can
> partner with them?"  "What would be your own concerns if you were taking
> them to a dance?"  etc.  Likewise, I'd ask for advice from whomever it is,
> wherever it is that the buck stops, so you know, at the end of the day,
> that you're doing the right thing if, say, someone falls.
>
> I'd also wonder if it'd be best to line up partners for them, in advance.
> If it's a camp with counselors, guess who.
>
> At the same time, looking at the dance event itself, if it looks likely
> they won't have fun, I'd consider inventing special roles within the dance
> that have an enviable cool factor.  For example, can you make them your
> co-caller?  E.g., if you do Sasha, they get to call the "1-2-3-Sasha"
> If you do Heel Toe Polka, they get to say the "Heel toe" part, or maybe
> even call the whole thing once you, the lead caller, can drop out, or else
> call along with or echo you.  Etc.
>
> One might also invent some ornament or exclamation for them to interject,
> thinking back to a recent discussion here about the shouting of "Hoy!," and
> you delegate to them the job of shouting Hoy or Hey or Hi or whatever at
> the end of each 32 bars or whenever they feel moved, or invent some funny
> instruction like "smile two times!" and you show them when to say it, more
> or less.  Another idea, for giving them a leadership role, would be to
> write out announcements for them to read, like the name, source, author of
> the next dance and next tune, or introducing the musicians, or maybe write
> out a dozen index cards with jokes that they get to read.  Basically, offer
> them leadership; teach them to call.
>
> Also, since it's a camp, there's always the possibility of a flashlight
> light show.
>
> I hope that sparks something for you.
>
> Rob
>
> - - - - - - - - - - - -
>
> Robert Matson
> Cell: (917) 626-2675
>
>
>
> On Wed, Jun 26, 2024 at 1:35 PM dpalmerquay--- via Contra Callers <
> contracallers@lists.sharedweight.net> wrote:
>
>> I’ve been asked to call a dance at a church camp for middle schoolers at
>> the end of July. Two of the campers have cerebral palsy - one is fairly
>> mobile but the other is on crutches. I’m looking for dance ideas that could
>> be used as is or modified for a dancer on crutches.  About 40 people are
>> anticipated (middle school aged campers and high school and adult staff).
>>
>> Thanks,
>> Dianne
>> ___
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>> contracallers-le...@lists.sharedweight.net
>>
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[Callers] Re: Ideas for teen dancer with cerebral palsy

[Angela DeCarlis via Contra Callers]

Hi Dianne, a few thoughts from a person who thinks about accessibility all
the time:

   - Ultimately, a lot comes down to the kid! Being a crutch-user doesn't
   mean the kid isn't capable or athletic. Is there a way you can learn more
   about their specific mobility? I'd be especially concerned if they have any
   issues with balance.

   - If their balance is a concern, I'd look into whether assisted
   wheelchair dancing might provide a better accessible experience for them,
   and whether a wheelchair is available. If this is an option they/you would
   like to pursue, I can offer more advice! I've worked with a dancer in a
   wheelchair at Pinewoods before and have some experience "piloting".

   - Even if balance isn't a concern, hand-holding is still an
   important component of most beginner-friendly dances for both stability and
   choreographic assistance, and crutches inhibit that connection and
   security. Maybe others have ideas?

   - Middle-school-aged is tricky because the kids are all over the place
   developmentally. Selecting dances that enable fun without jeopardizing
   safety (due to rowdiness, lack of coordination, etc) is a tough nut to
   crack!!


On Wed, Jun 26, 2024 at 2:07 PM dpalmerquay--- via Contra Callers <
contracallers@lists.sharedweight.net> wrote:

> I’ve been asked to call a dance at a church camp for middle schoolers at
> the end of July. Two of the campers have cerebral palsy - one is fairly
> mobile but the other is on crutches. I’m looking for dance ideas that could
> be used as is or modified for a dancer on crutches.  About 40 people are
> anticipated (middle school aged campers and high school and adult staff).
>
> Thanks,
> Dianne
> ___
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[Callers] Re: Aurora O’More

[Angela DeCarlis via Contra Callers]

Love the title, Joseph!!! I wrote a dance in 2016 with similar celestial
themes and figures for my friend and longtime contra, ECD, and waltz dancer
Dr. Bernard Whiting. He was one of the leading scientists responsible for
the historic first observation of Gravitational Waves. This dance describes
the process of that observation, with two black holes (the Gents) first
orbiting and then colliding (swinging).  The resulting "Wave" made in the
fabric of spacetime (largely represented by the Ladies' interweaving
trajectory) travels through space, and is observed here on Earth (for a
Partner Swing).

*Dr. Whiting's Delight*  2016, Angela DeCarlis
Becket R, Intermediate (harder for the caller than for the dancers!)

A1: Circle L 3/4
   N Swing
A2: Long Lines Forward, Gents Rollaway Neighbor on way Back
   1/2 Hey (Begins Gents by Right)
B1: Gents Right Shoulder 'Round and Cross-hand-grip Swing [1]
   While Ladies Orbit CCW All the way around [2]
B2: Gents keep Right, take Left with Neighbor in Short Wave, all facing
Direction of Progression [3]
   Balance Wave Forward & Back
   All walk forward, New gents pass by Right [4]
   Partner Swing

[1] The Gents' Cross-hand Swing often begins with a Right Allemande grip,
before the left hand grip and buzz-step are incorporated.  When done
correctly, this swing will be comfortable and safe for the Gents, and will
also transition effortlessly into taking hands in the short wave across.

[2] Taking the time to teach the ladies to pass adjacent orbiting ladies by
the Left, Olympic Rings Style, does a lot to make this part of the dance
more interesting for them.

[3] It's super useful to outline direction of progression for the dancers
at the beginning of the walk-through

[4] I used to call this as a short "Hook" Right Allemande when I led it,
but Lisa Greenleaf advised me to modify it so as to not involve hands.
Either way, It's easy for folks to autopilot in this part of the dance and
expect to form a new wave, when it's really more like a swing through.


I also just recently wrote a dance with an interesting star figure that
I'll look forward to sharing later this summer, after I've had a chance to
call it at BIDA on July 7. Happy writing, all!

Angela

On Wed, May 15, 2024 at 2:04 PM John Sweeney via Contra Callers <
contracallers@lists.sharedweight.net> wrote:

> Hi Joseph,
>
>   Middlemarch (ECD Waltz time) has Allemandes turning into
> Orbits.
>
>
>
>   Depends whether you want the Orbiters to continue in the
> same direction, or turn back to go the opposite way.  That is a common
> figure known as Allemande Orbits – you can see it in Sun Skip:
> https://youtu.be/nIUpxzeh4lw?si=CbRyF79l0S945DZy
>
>
>
> Happy dancing,
>
>John
>
>
>
> John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802
> 940 574
>
> http://www.contrafusion.co.uk for Dancing in Kent
>
>
>
>
> *From:* Joseph Erhard-Hudson via Contra Callers <
> contracallers@lists.sharedweight.net>
> *Sent:* 15 May 2024 18:34
> *To:* Shared Weight Contra Callers 
> *Subject:* [Callers] Aurora O’More
>
>
>
> This title and concept for a dance burst into my head during the recent
> auroras.
>
> It ought to have shifting wavy lines, of course, and is there a way to
> have an orbit around a star?  Ooh! A hands across star where a pair spits
> out and goes outward and into orbit…
>
> Anyway, I don’t have the compositional chops to develop it in a timely
> way, but I would love to see it exist. If my notion inspires anyone to
> write it, hooray.
>
> -Joseph
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[Callers] Re: Tony Parkes 1949-2024

[Angela DeCarlis via Contra Callers]

Thank you Lisa for sharing. Sending love out to those who knew Tony better
than I did — the few interactions I had with him were entirely lovely.

Like Mary, I'm also calling a dance on Friday. I'd love to call one of
Tony's dances — what are y'all's favorites?

Best,
Angela

On Tue, May 7, 2024 at 2:01 PM Mary Collins via Contra Callers <
contracallers@lists.sharedweight.net> wrote:

> Lisa,
>
> Thanks for sharing this.  I am calling Friday and will certainly add a
> Tony aspect to the evening.  His insights, support & dance writing will be
> sorely missed.
>
> Mary Collins
>
> "And those who were seen dancing were thought to be insane by those who
> couldn't hear the music." - Nietzsche
>
> “Life is not about waiting for the storms to pass ... it's about learning
> to dance in the rain!” ~ unknown
>
>
> On Tue, May 7, 2024 at 1:27 PM Greenleaf via Contra Callers <
> contracallers@lists.sharedweight.net> wrote:
>
>> Caller Tony Parkes passed away yesterday with his wife, Beth, at his
>> side. He will be missed.
>>
>> At the lovely Tony Parkes tribute at this year’s Neffa Festival, Beth
>> spoke of how Tony was touched and surprised that so many people were
>> telling him about his impact on their lives. Well, yes, Tony! He was a true
>> treasure.
>>
>> Lisa Greenleaf
>> ___
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>> contracallers-le...@lists.sharedweight.net
>>
> ___
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[Callers] Re: Favorite One Night Stand Dances

[Angela DeCarlis via Contra Callers]

I think Chris Page got it right, as per usual:


> "Rings of Spring" by Chris Ricciotti?
>
> Cheers,
> -Chris
>

It makes sense that I would have picked this up from Chris Ricciotti since
I was dancing in Boston for so long. That said, what I called is a bit of a
variant (possibly I folk-processed it myself, or someone else did,
intentionally or accidentally) from the original, here
<https://www.ibiblio.org/contradance/thecallersbox/dance.php?id=3369>.

Some thoughts on my variant:

   - There's a lot of extra time in the A1 in my version because I had the
   "gents go in" bit written as a "meanwhile" move. The timing of the original
   would be better for a hall of more seasoned dancers; my dancers really took
   advantage of the extra 4 beats to get their wave put together! Same for the
   16 count promenade — figuring out how to end the swing with everyone in the
   right place, and ending the promenade in the right place, took up all the
   extra time (this is compared to the B2 of Bill Olson's A Night at the
   Opera <https://www.ibiblio.org/contradance/thecallersbox/dance.php?id=95>,
   which is also very similar)

   - To Mac's point regarding balances, I inadvertently taught/called the
   balances differently than I usually would, and it was a BIG success!
   Describing balances as "step to your own individual right, then to your own
   individual left" wasn't quite working, so I said/demoed that it was more
   like "[looks/leans right] Hi! [looks/leans left] Hello!" The dancers
   *loved* this, so much so that during the dance they all said it out loud
   with me. The first balance, right and left, became "Hi! Hello!" and next
   balance, left and right, went "Hello! Hi!" All smiles. Best teaching
   accident in recent memory! Let me know if any of you try it!



On Sun, Nov 19, 2023 at 6:58 PM John Sweeney via Contra Callers <
contracallers@lists.sharedweight.net> wrote:

> Hi Angela,
>
>   It looks like a simplified version of Bill Olsen’s “A Night
> at the Opera”:
>
> http://www.ibiblio.org/contradance/thecallersbox/dance.php?id=95
>
>
>
>   Circassian Circle is much simpler.  I wouldn’t consider it
> to be related.  Did you know that most people only dance Part 2?  Lots more
> information at:
>
> http://contrafusion.co.uk/Dances/EFDS4802-CircassianCircle.html
>
>
>
> Happy dancing,
>
>        John
>
>
>
> John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802
> 940 574
>
> http://www.contrafusion.co.uk for Dancing in Kent
>
>
>
>
> *From:* Angela DeCarlis via Contra Callers <
> contracallers@lists.sharedweight.net>
> *Sent:* 19 November 2023 17:07
> *To:* m...@mowaddington.plus.com
> *Cc:* Shared Weight Contra Callers 
> *Subject:* [Callers] Re: Favorite One Night Stand Dances
>
>
>
> Hello all,
>
>
>
> I called an *awesome* one-off gig on Friday night (honestly the most fun
> ONS ever for me) and used a lot of the dances mentioned in this thread —
> thanks everyone! I'll include my program below.
>
>
>
> I also called a Circle Mixer that I've had in my box for a long time, but
> I don't remember where I got it and don't know its name or author — maybe
> one of y'all will recognize it? It goes:
>
>
>
> A1: Ladies in 3 steps, clap on the fourth beat (4)
>
>   While Ladies back out, Gents in 3 steps, clap on the fourth beat (4)
>
>   Gents face out, return to place to form a wavy line (circle) (8)
>
> A2: Balance wave R, L (4), Allemande R 1x (4)
>
>   Balance wave L, R (4), Allemande L 1x (4)
>
> B1: New Partner (the person you turned by the Right) Balance & Swing
>
> B2: All promenade CCW (Gents in the Center), face in as couples to reform
> the circle
>
>
>
> This dance was a little harder to teach than most of the other things I
> called (it was also the only dance I called with two roles) but was easily
> danced — the rhythm and timing makes sense, and if you emphasize who
> promenades on the inside/outside in the B2, then everyone stays in the same
> role regardless of the way the swing is done or where the dancers end it.
> The timing overall has a lot of cushion, giving dancers plenty of time to
> hit the beats in the A1 and (to a lesser extent) A2.
>
>
>
> Here's the rest of my program:
>
>1. Lucky Number Seven
>2. Galopede
>3. Do Si Three
>4. Accretion Reel
>5. Waves of the Sea
>6. The Loon Dance
>7. [Circle Mixer above]
>
> This got us through about 2 hours of dancing with some beefier-than-usual
> breaks in between each set. I walked through all the dances twice.
>
>
>
> Best,
>
> Angela
> ___
> Contra Callers mailing list -- contracallers@lists.sharedweight.net
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>
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[Callers] Re: Favorite One Night Stand Dances

[Angela DeCarlis via Contra Callers]

Hello all,

I called an *awesome* one-off gig on Friday night (honestly the most fun
ONS ever for me) and used a lot of the dances mentioned in this thread —
thanks everyone! I'll include my program below.

I also called a Circle Mixer that I've had in my box for a long time, but I
don't remember where I got it and don't know its name or author — maybe one
of y'all will recognize it? It goes:

A1: Ladies in 3 steps, clap on the fourth beat (4)
  While Ladies back out, Gents in 3 steps, clap on the fourth beat (4)
  Gents face out, return to place to form a wavy line (circle) (8)
A2: Balance wave R, L (4), Allemande R 1x (4)
  Balance wave L, R (4), Allemande L 1x (4)
B1: New Partner (the person you turned by the Right) Balance & Swing
B2: All promenade CCW (Gents in the Center), face in as couples to reform
the circle

This dance was a little harder to teach than most of the other things I
called (it was also the only dance I called with two roles) but was easily
danced — the rhythm and timing makes sense, and if you emphasize who
promenades on the inside/outside in the B2, then everyone stays in the same
role regardless of the way the swing is done or where the dancers end it.
The timing overall has a lot of cushion, giving dancers plenty of time to
hit the beats in the A1 and (to a lesser extent) A2.

Here's the rest of my program:

   1. Lucky Number Seven
   2. Galopede
   3. Do Si Three
   4. Accretion Reel
   5. Waves of the Sea
   6. The Loon Dance
   7. [Circle Mixer above]

This got us through about 2 hours of dancing with some beefier-than-usual
breaks in between each set. I walked through all the dances twice.

Best,
Angela

On Thu, Oct 12, 2023 at 7:25 AM Mo via Contra Callers <
contracallers@lists.sharedweight.net> wrote:

> I have noticed that this part of Shared Weight work differently from e.g.
> ECD
>
> I see some messages twice, others not at all except as a reply.
>
> I deduce that you need to use Reply to all, or it just goes to whoever
> posted last
>
>
>
> *From: *Mo via Contra Callers 
> *Sent: *12 October 2023 12:12
> *Cc: *Shared Weight Contra Callers 
> *Subject: *[Callers] Re: Favorite One Night Stand Dances
>
>
>
> Some good ideas in this thread
>
> I like the drawbridge.
>
>
>
> I use Galopde as a first dance and ask for well phrased music (with a
> 2bar,2bar,4bar feel to the A e.g. Winster Gallop) to get people dancing to
> the music. Though other dances particularly those with a Dip and Dive or
> Strip the Willow I’ll ask for a tune that can go out of time with the dance
> (some of the Irish tunes don’t seem to have a definite A or B, wouldn’t
> want a song tune).
>
>
>
> Differing energy levels and balance can be a problem. It certainly was for
> my u3a group, us 80 yr olds do try to keep up with the fit 60s
>
>
>
> *From: *Rich Sbardella via Contra Callers
> 
>
> Thanks Erik,
>
> I offer a lead down the center in lieu of a sashay, and I ask the people
> at the end to accommodate those of us who are slow.
>
> In Rural Felicity I teach: in the A1, if you don’t make it down to the
> bottom, just merge into the line to do the A2 F&B, since you then gig to
> sashay back to the top.
>
>
>
> Cheers,
>
> ~Erik
>
>
>
> *From:* Rich Sbardella via Contra Callers <
> contracallers@lists.sharedweight.net>
>
> One of my favorites does have arches but I let the dancers know the arches
> can be drawbridges to accommodate different heights.
>
>
>
> Rural Felicity
>
> B2 Top pair goes through the tunnel and remains at bottom.  Others move up.
>
>
>
> When I call this at a wedding, I rename it to "The Tunnel of Love", and I
> ask the Bride and Groom to be the first top pair.
>
>
>
>
>
> On Wed, Oct 11, 2023 at 7:50 AM Katherine Kitching via Contra Callers <
> contracallers@lists.sharedweight.net> wrote:
>
> To add a bit more interest to these simple repetitive ONS dances, I do a
> Gallopede very similar to Mo's, but with a mixer element.
> When it's time for the sashaying/galloping down the middle, I say "make
> way for the top Reindeer and the bottom Beluga!"
>
> The top reindeer walks, skips, or does a silly dance down to the bottom of
> *their* line, while the bottom beluga comes up from the bottom of their
> line doing the same - sometimes they high five when they pass in the
> middle.
>
> Once they reach the ends (of their own respective lines - no switching
> lines!), everyone adjusts the line till everyone is facing a new partner.
>
> If you have a long line you can send the two tops and bottoms (walking in
> single file) together.
>
> This is not to say I think arching dances are bad/shouldn't be used - but
> I am always trying in my ONS dances to produce the same joyous,
> amusement-ride feel of a true contra dance, so I personally like to favour
> figures that keep people flowing always.  My personal preference :)
>
> KK
>
>
>
>
> ___
> Contra Callers mailing list -- contracallers@lists.sharedweight.net
> To unsubscribe send an

[Callers] Re: Advanced dances gone awry

[Angela DeCarlis via Contra Callers]

[Somehow Ken Panton's reply to this thread ended up in a new email
altogether. I want to reply to what he and others in this thread have
shared, so I'll quote his text below mine in an effort to streamline.]

"Novel Dances" like what Alan and Ken both speak about is actually my best
answer to Maia's Q#3 about elevating community dance level. Start by
letting your local community expect the unexpected from you — I usually
start with dances where folks leave their minor set more often, but where
the moves themselves are still fairly glossary. I also love dances with
uncommon variations on common moves (circle right; gents right-hand chain)
where the momentum of the dance helps dancers understand where to go next
as they get into and out of the new/tricky part. There are so many skills
to be learned in those dances around musicality, timing, transitions, and
choreographic innovation, so let your dancers get comfortable with those
ideas first!

That said, I do not agree that *novel* choreography is the same as
*advanced* choreography, and agree that more opportunities to call and
dance challenging dances is valuable! It's also true that you need a
*critical mass* of competent dancers to pull off a session focused on
highly challenging choreo (interlocking orbits! contra corners! half a
diagonal hey followed by a half-hey straight across! yum!!). This is why
Flurry and NEFFA go great even with first-timers on the floor.

I agree with Brooke's points about not kicking folks out. I think once
dancers arrive, it's inappropriate to ask them to sit out or leave. This
feels especially true when I think about very experienced dancers who
struggle vs. brand-new dancers who pick up new information rapidly (surely
we can all think of a few dancers that fit into each of these categories!),
or even typically-competent dancers having an unusually difficult time
(brain fog, festival sleep deprivation, anxiety, etc).

Asking dancers to self-identify as "Advanced" or not is tricky, which is
why I also strongly agree with Jeff's point about clear advertising and
promotion. I like how the information he shared from the Concord
Challenging Series offers ways for dancers to make their *best effort* to
determine their skill level. Best Effort is Good Enough here because again,
ultimately, *we don't actually need 100% of the dancers at a session like
this to be 100% advanced.* We just need a critical mass (probably a clear
majority?) of advanced dancers to show up.

That's why I *really* liked this requirement from the Concord series:

** Assisting your partner and neighbor to the next move—while being
friendly and welcoming to those who may be having trouble.*

It sets the reasonable expectation that skill levels will always be mixed,
even at a clearly-promoted advanced evening.


-- Forwarded message --
>
From: "K P "



Hello all,
>
> I appreciate the time it takes to thoughtfully respond to challenging
> questions, and provide a variety of viewpoints. Thus, thanks for all the
> thoughts on this question.
>
> Something came to mind while reading the following paragraph late in
> Alan's reply to the question:
>
>
> -- Forwarded message --
>> From: "Winston, Alan P."
>> "Purely for callers dealing with the situation once it's happened
>> already: I don't know if advanced contras are meant to be
>> difficult/spatially-challenging etc contras.  You could in general try to
>> accommodate.a mixed level floor by trading complexity for novelty.  Unusual
>> figures equalize things for everybody (if nobody's used to a left-hand
>> chain the beginners are at no disadvantage)."
>
>
> My belief, which, I think, might differ from Alan's, is that "advanced"
> dancers -- let's define that as those fluent (i.e. able to successfully and
> happily enjoy a hash call) in a substantive set of glossary figures -- will
> have, by osmosis, unavoidably developed a degree of "dance thinking",
> musicality and spacial awareness. That includes an awareness of "the space
> between" figures; i.e. the transitions.
>
> So, I think that an advanced dancer does, in fact, have a leg up when
> faced with a novelty figure, or anything new in the dance; they can and
> will use their experience to help figure it out. (Unless, I guess, the
> novelty figure is so far removed from anything previously encountered; "if
> Einstein were a contradance choreographer and brought along a "quantum
> figure", for example. Egads!)
>
> Also, novelty, in my experience, can be hit-and-miss. From unexpected
> bliss to eye-rolling hokiness.
>
> To my mind, "dance thinking" somewhat analogous to "design thinking"; that
> is, a way of thinking that guides the experienced practitioner in whatever
> context the designer practices the craft.
>
> From Alan's paragraph, therefore, I might change the suggestion of
> "trading complexity for novelty" to "trading complexity of figures for
> satisfying, perhaps novel, combinations".
>
> Don't know if that's a useful o

[Callers] Re: Wikipedia Dance Vandalism

[Angela DeCarlis via Contra Callers]

One more add: the anonymous user who edited the Wikipedia page also added
this citation, which is considerably more nuanced than their edits to the
page content (which boiled down to "Square Dancing is racist"):

The video they linked to tells the history in more detail, including the
ultimate irony that many of the instruments, musical styles, and calling
styles of square dance were brought from Africa by enslaved people.

https://www.tiktok.com/@darastarrtucker/video/7176078180422405418?q=henry%20ford%20square%20dnacing&t=1679299462266


On Fri, Mar 24, 2023, 9:44 AM John Sweeney via Contra Callers <
contracallers@lists.sharedweight.net> wrote:

> Hi Tony,
>
>   I think the MWSD history should be on the MWSD page; the
> American traditional squares history should be on the traditional page and
> the main SD page should provide brief synopses of those with pointers to
> the other pages.
>
>
>
>   My main interest is the main SD page.  If you publish your
> research and let me know what you would like added to the main SD page,
> then I would be happy to update the main SD page and cite your articles.  I
> am Dancer42 on Wikipedia.
>
>
>
> Happy dancing,
>
>John
>
>
>
> John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802
> 940 574
>
> http://www.contrafusion.co.uk for Dancing in Kent
>
> ___
> Contra Callers mailing list -- contracallers@lists.sharedweight.net
> To unsubscribe send an email to contracallers-le...@lists.sharedweight.net
>
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[Callers] Re: Wikipedia Dance Vandalism

[Angela DeCarlis via Contra Callers]

I agree with Julian's really well-written statement, especially in hoping
that someone with more study on the topic will chime in.

It's been my understanding that Ford promoted square dancing, and pushed
its inclusion in grade-school curricula, specifically as an "All-American"
counterforce to swing dancing and jazz music (read "Black dance/music").

I really hate that I'm about to cite someone on Reddit, but the top comment
on this post is really well-written and amply cited:

https://www.reddit.com/r/AskHistorians/comments/7ihbye/did_henry_ford_really_promote_the_square_dance_to/

"While there is no "smoking gun" that links Ford's anti-Semitism to his
promotion of the square dance, there is a great deal of evidence that
suggests his broader view of American culture - as a site of struggle
between rural, Anglo-Saxon traditions and urban, Jewish modernity - was an
important rationale for his patronage of traditional music and dance."

Seems like a great idea for the Wikipedia page to include similar language
acknowledging the social contexts in which Square Dancing was revived.

Angela
(they/them)

On Fri, Mar 24, 2023, 9:11 AM Julian Blechner via Contra Callers <
contracallers@lists.sharedweight.net> wrote:

> John,
>
> I looked at the version before your edits; that was pretty egregious, and
> I'm glad that's fixed.
>
> I'll put a disclaimer for the remainder of this reply:
> I'd be interested to hear takes on this from American square and contra
> historians on this subject, whether it's from this list or any discussion
> that might spin off elsewhere.
>
> ...
>
> So, while I do think that the edit that you removed, John, was
> appropriate, and I think labeling the whole dance form as "racist" is
> inaccurate an enormous disservice, I do think that the wikipedia page could
> use more examination.
> The entry doesn't mention contributions of black Americans at all.
>
> This line here:
> " This practice became common by the early 1900s and gave rise to the
> modern caller.[9]
> "
> has the citation for Phil Jamison's book on the subject, and Jamison is
> pretty clear that the contribution by black Americans was both widespread
> and critical to how calling evolved.
>
> So if I were going to suggest an edit to the page, I think that this line
> be revised to mention the 1800s instead of the 1900s (or both) and mention
> the role of black American servants and slaves in the rise of calling,
> since that's a major topic in Jamison's book.
>
> I didn't have time to look through all past revisions; I'm unsure if that
> had been included and then edited. But that may be worth looking into as
> well. It's possible that this sort of content was in past revisions, and
> whitewashed by other editors.
>
> Interestingly, while Henry Ford's wikipedia page has a section on his
> racism/antisemitism, it doesn't mention any of his musical interests, not
> even his fiddle playing.
> Given he poured large sums of money into promoting contras and squares,
> that seems like an oversight. But that page is a whole nother discussion, I
> suppose.
>
> Back to the Square Dancing page - it does have a few sentences about how
> it grew in the 30s, 40, and the 50s revival - but doesn't mention Ford in
> the 20s at all.
> A quick summation: https://www.americanheritage.com/square-dancing-master
>
> It's also perhaps worth considering that there were concerted efforts by
> lawmakers over decades to make square dancing the "official" dancing.
> And it was very successful, given how many American elementary school
> programs taught / teach square dancing and no other dance forms. (John, I'm
> unsure how aware or not aware you are of this, as a UK person.)
> A solid read on this subject:
>
> https://qz.com/1153516/americas-wholesome-square-dancing-tradition-is-a-tool-of-white-supremacy
>
>
> In dance,
> Julian Blechner
> he/him
> Western Mass
>
>
>
>
> On Fri, Mar 24, 2023 at 6:10 AM John Sweeney via Contra Callers <
> contracallers@lists.sharedweight.net> wrote:
>
>> Hi all,
>>
>>   The Wikipedia “Square Dance” entry, which covers all Square
>> Dance (Playford, ECD, MWSD, traditional American, Irish, etc.) was recently
>> vandalised with claims that Square Dancing is racist and antisemitic.
>>
>> https://en.wikipedia.org/wiki/Square_dance
>>
>>
>>
>>   These claims have now been removed.  But, in order to show
>> how far from the truth they are, I thought it might be nice to set up a
>> page which showed all the different styles of Square Dancing from around
>> the world and across time.
>>
>>
>>
>>   I therefore created this page:
>> http://contrafusion.co.uk/SquareDanceHistory.html with a brief history
>> and lots of diverse videos.
>>
>>
>>
>>   I would be grateful for any additions, corrections,
>> suggestions, etc., especially for suggestions of videos which show any
>> other forms of Square Dancing, or from any other countri

[Callers] Re: [External] Re: mechanical sorting systems

[Angela DeCarlis via Contra Callers]

Seth, I do my best to categorize difficulty by the dance and not the
context. I think my Section III might include minor ventures outside the
minor set, for example, but not big movements away. At a place like
Pinewoods I might never touch a dance from Sections I or II.

On Wed, Jan 11, 2023 at 2:34 PM Tepfer, Seth  wrote:

> Angela
>
> I love the idea of the colored stickers on the top. That sounds so
> colorful and enticing.
>
> When I started calling and building a collection of dances, I did a
> similar sorting by difficulty - Easy, Medium, Complex. And mostly, it
> works. However, My definition of difficulty changes in several different
> ways.
>
>- As I learn how to teach a dance - there are dances that previously I
>thought were challenging. But once I learned how to teach them effectively,
>it turns out there were not that challenging. It was me that was making
>them challenging
>- Context makes a huge difference as to what is an easy or challenging
>dance.
>   - A dance that might be considered easy for a regular dance might
>   suddenly become very challenging. We have had a huge influx of first 
> time
>   dancers in January - we call them the "New Years Resolution crowds".  
> "Air
>   pants" by Lisa G has no chain or courtesy turn, but would be far too
>   difficult for the first dance of the night with all these first timers. 
> I'm
>   pulling back to "Family Contra" or similar.
>   - On the other hand, if I'm calling in a school or for a wedding, I
>   MIGHT call family contra late in the session - but it would be one I 
> would
>   build up to. In that context, "Family Contra" is advanced.
>   - Finally, at a dance weekend, a dance that in other contexts might
>   be considered intermediate difficulty becomes "no walk thru" easy.
>
>
>
> Seth Tepfer, MBA, CSM, PMP (he, him, his)
> Senior IT Manager, Emory Primate Center
> --
> *From:* Angela DeCarlis via Contra Callers <
> contracallers@lists.sharedweight.net>
> *Sent:* Wednesday, January 11, 2023 1:48 PM
> *To:* Michael Dyck 
> *Cc:* contracallers@lists.sharedweight.net <
> contracallers@lists.sharedweight.net>
> *Subject:* [External] [Callers] Re: mechanical sorting systems
>
> I love that Joe remembered the edge-notched sorting system I told him
> about and also really love Jeff's suggestion of getting spiral-bound cards
> and removing the spiral! I've drilled holes in index cards before as Joe
> described, but the results weren't clean.
>
> *I don't remember who I first heard about this sorting system from, but I
> recall that they said some well-known caller/choreographer organized his
> cards this way. Anyone know who this was?* I've always wanted to
> rediscover this knowledge!
>
> For my cards, I've only in the last year developed a system I'm happy with
> after a decade of prototyping:
>
>- First, my box is divided into five sections (I, II, III, IV, and V)
>according to *difficulty*. Dances in the I section are easiest and
>won't even include a courtesy turn. Sections II and III are my most-used; a
>typical regular dance evening will pull from these sections. IV is for
>tricky dances — you could get away with one or two at a regular dance with
>a competent crowd, or you could save them for Advanced Dance events. V is
>really wacky hard stuff. Advanced as it gets.
>- Second, each card has a colored sticker (something like these
>
> <https://nam11.safelinks.protection.outlook.com/?url=https%3A%2F%2Fwww.webstaurantstore.com%2Favery-5796-1-4-round-assorted-removable-see-through-color-coding-dot-labels-pack%2F15405796.html%3Futm_source%3Dgoogle%26utm_medium%3Dfreeclicks%26utm_campaign%3DGoogleShopping&data=05%7C01%7Clabst%40emory.edu%7C320567296483459d017e08daf4047b2e%7Ce004fb9cb0a4424fbcd0322606d5df38%7C0%7C0%7C638090597349435039%7CUnknown%7CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%3D%7C3000%7C%7C%7C&sdata=X92GqD513UOOFl%2FEw8Jmrs3hVyz317TO8qQ9kgCukzc%3D&reserved=0>)
>to give a sense of the dance's *disposition*. Pink is very balance-y,
>orange is moderately balance-y, yellow is moderately smooth, green is very
>smooth. The important distinction here is that I'm not wed to how a
>particular bit of choreography should be danced (i.e., a band could
>successfully play a smooth tune to an orange-coded dance) but my coding
>does give a sense of where to look for certain moves: if I want
>petronellas, I look in the pink dances first.
>   - *The stickers are placed along the top e

[Callers] Re: mechanical sorting systems

[Angela DeCarlis via Contra Callers]

I love that Joe remembered the edge-notched sorting system I told him about
and also really love Jeff's suggestion of getting spiral-bound cards and
removing the spiral! I've drilled holes in index cards before as Joe
described, but the results weren't clean.

*I don't remember who I first heard about this sorting system from, but I
recall that they said some well-known caller/choreographer organized his
cards this way. Anyone know who this was?* I've always wanted to rediscover
this knowledge!

For my cards, I've only in the last year developed a system I'm happy with
after a decade of prototyping:

   - First, my box is divided into five sections (I, II, III, IV, and V)
   according to *difficulty*. Dances in the I section are easiest and won't
   even include a courtesy turn. Sections II and III are my most-used; a
   typical regular dance evening will pull from these sections. IV is for
   tricky dances — you could get away with one or two at a regular dance with
   a competent crowd, or you could save them for Advanced Dance events. V is
   really wacky hard stuff. Advanced as it gets.
   - Second, each card has a colored sticker (something like these
   
)
   to give a sense of the dance's *disposition*. Pink is very balance-y,
   orange is moderately balance-y, yellow is moderately smooth, green is very
   smooth. The important distinction here is that I'm not wed to how a
   particular bit of choreography should be danced (i.e., a band could
   successfully play a smooth tune to an orange-coded dance) but my coding
   does give a sense of where to look for certain moves: if I want
   petronellas, I look in the pink dances first.
  - *The stickers are placed along the top edge of the cards and
  positioned according to difficulty, with dances in Section I having
  stickers on the left of that edge and dances in Section V toward
the right.
  This makes sorting and identifying dances very easy.*
  - Finally, within each colored section I alphabetize. Occasionally I
   know the name of a dance I'm looking for (though not always!) and in those
   cases I usually remember enough about the dance to guess where in my box it
   will be.

I've been really happy with this sorting system. Programming is easier. It
means that if I need to change plans, I can select dances very quickly. It
also means I can replace dances and re-sort my box at the end of the
evening without trouble. I used removable stickers so that I could change
my mind if needed, and this is the only thing I'd do differently so far;
these stickers fall off too easily, even when folded over the top edge.

Bonus: My box looks like rainbow stripes from the top.

And another mechanic:

   - I always add a tally to the back of a card after I call it...
  - Regular at the top left, medley inclusion at the bottom
  - This allows me to turn my box around and select for favorites ("I
  need an old stand-by") or newly-collected ("I'm bored")
   - ...and I also add dance titles to a google spreadsheet before I
   re-sort the cards back into their categories
  - What did I call last time I was at this dance? What worked and what
  didn't?
  - I can also pull an old program from a comparable event if I don't
  have time to program from scratch




On Wed, Jan 11, 2023 at 11:26 AM Michael Dyck via Contra Callers <
contracallers@lists.sharedweight.net> wrote:

> On 2023-01-11 12:44 a.m., Joe Harrington via Contra Callers wrote:
> >
> > I heard recently (I believe from Angela DeCarlis) of a mechanical
> sorting
> > system based on the Jacquard loom concept that became the Hollerith
> punched
> > card system.  I've never seen it in use.  Does anyone do this?
>
> See https://en.wikipedia.org/wiki/Edge-notched_card
>
> [Ah, Jeff Kaufman beat me to it.]
>
> > Figure out the ten or so characteristics you might want to sort on.  For
> > example, easy, medium, hard, bouncy, flowy, separates partners,
> sweetheart
> > (keeps partners together), etc.  Take a stack of cards and drill holes
> near
> > the bottom edge, one per characteristic (you can drill a stack of cards
> if
> > you sandwich them between wood and clamp them).  Now, on a given card,
> punch
> > out the rest of the paper between the hole and the edge of the card for
> each
> > hole the card DOESN'T match.
>
> Alternatively, you could punch out the margin when it *does* match (which
> would probably be less work). Then in the selection procedure, the cards
> that fall out (as opposed to the ones that stay on the needle) are the
> selected ones.
>
> > [...]
> >
> > Good hole alignment and clean punching would matter, I think.  If you
> are a
> > real dance sorting fanatic, you could get like 30 holes around the card
> > edges, but that would limit the writing space

[Callers] Re: How to have the beginners choose roles

[Angela DeCarlis via Contra Callers]

I appreciate the care that goes into option #3, and also really like
Becky's comment about some of the asymmetries that occur on the dancefloor
as a result of the culture (i.e., that robins may encounter more twirling
than larks). Another piece of cultural asymmetry I've encountered is that,
in some communities, dancers are used to the dancer in the left-hand
position carrying more of the weight in the swing — as a small person with
bad joints, I find it more difficult to dance the left-hand role where this
is a factor. Depending on how much time you have, reflecting on these
differences in the roles' physicality seems like a kind and useful addition.

In practice, I think the thing I've done most often more closely resembles
your #1. As we break out of a circle, couples are given roles based
entirely on where they ended up.

On Mon, Nov 21, 2022 at 2:19 PM Alexandra Deis-Lauby via Contra Callers <
contracallers@lists.sharedweight.net> wrote:

> I do #3 and have then try both sides with two people and then choose a
> role for the rest of the lesson
>
> On Nov 21, 2022, at 11:55 AM, Maia McCormick via Contra Callers <
> contracallers@lists.sharedweight.net> wrote:
>
> Hey folks,
>
> Calling the occasional gig again after uh, everything, and I'm finally
> inspired to iron out a bit of my beginners' lesson that I've always just
> fudged in the past: *when calling gender-neutral, how do you have the
> beginners pick roles?*
>
> My spiel is generally, "we have these two roles, they're almost entirely
> the same with some small differences, pick one and stick with it for a few
> dances just to start and then you can try the other if you want, the most
> important thing is knowing which role you are for a given dance."
>
> In my lesson, I alternately:
>
>1. say "whoever's standing on the right of this couple right now,
>that's the robin" and then teach the swing in those roles
>2. tell folks "decide who's the lark and who's the robin" with no
>particular context and they pick arbitrarily
>3. teach both sides of the swing and let them choose roles based on
>which swing feels more comfortable
>
> But it feels clunky and awkward every time.
>
> I'm curious if others have similar experiences, or things they do in their
> lessons that feel effective at getting people into one role (for now) with
> a minimum of confusion. Hit me with your wisdom!
>
> *Note: this is NOT an invitation to debate whether contra roles should be
> gendered, or which set of role terms we should use, or whether we should
> use role terms or positional calling. If you must, please make a separate
> thread so I can mute it. If such discussion crops up in this thread, I'd
> ask people not to respond, or to take responses to a separate thread.
> Thanks.*
> --
> Maia McCormick (she/her)
> 917.279.8194
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[Callers] Re: The most ______ gig ever

[Angela DeCarlis via Contra Callers]

At Pinewoods Harmony Week this past week, I called the sleepiest gig ever.

Turnout was sparse for the afternoon contra for the duration of camp. On
Friday, the last day of the week, I arrived to the hall and only one dancer
was there, sitting on the floor stretching. I sat on the edge of the stage
to wait for others.

Another dancer arrived and laid down flat on her back in the middle of the
hall. The pianist began playing meditation/spiritual music. I decided to
also lay down on the floor, as did two, then three, then four other dancers
as they arrived. The other musician arrived and, as though this was all
normal, began playing yoga whistle tones.

Eventually there were nine or ten of us there, laying flat on the floor,
stretching, doing yoga, or moving gently to the music. The musicians
transitioned to playing dance tunes, but way downtempo and still in the
style of meditation music.

After half an hour of this, we decided we had time to do two very sleepy
dances. I called my own dance, Amble On East, followed by Bronwyn Woods's
dance Sleepwalking. It was actually perfect.

It wasn't exactly what anyone arrived to do, but it was absolutely what we
all needed. Definitely a gig I hope to remember for a long time!

Thanks for the prompt, Luke!

Angela


On Sun, Jul 31, 2022, 4:55 PM Amy Cann via Contra Callers <
contracallers@lists.sharedweight.net> wrote:

> Calling Andy Davis -- tell about the one on the covered bridge!
>
> On 7/31/22, Luke Donforth via Contra Callers
>  wrote:
> > Hello all,
> >
> > Contras are starting back up, and I thought we might play a little game.
> > I recently had the joy of calling my "most Vermont gig ever".
> >
> > I had to go down a dirt road to get there.
> > Hosted by a farm, it was outdoors in a cow pasture.
> > Half way through the cows came down to the adjacent pasture.
> > There was a fabulou view of the sunset on the nearby mountains
> > The music was a wonderful local band.
> > The dancers were intergenerational, kids with grandparents and folks in
> > between.
> > When I finished my gig, I went to another contra dance less than an hour
> > away.
> > Over half of my pay was in maple syrup.
> >
> > So that's my "most Vermont gig ever". What's a quintessential experience
> > calling for you? The most __ gig ever, where the blank might be your
> > own state, or festival, or wedding, etc.?
> >
> > Happy dancing, happy calling!
> >
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[Callers] Re: Alternative Name for Dixie Twirl

[Angela DeCarlis via Contra Callers]

I like "Grand Twirl." If you want something with a similar mouthfeel to the
original, though, you could try "Daisy Twirl"?

On Fri, Jul 8, 2022, 10:25 AM John Sweeney via Contra Callers <
contracallers@lists.sharedweight.net> wrote:

> Hi Jeff,
>
>   The Caller’s Box has 64 dances so far, and I just wrote
> another… I would have thought that was enough. Maybe not.
>
>
>
>   They give “As a couple, California Twirl” but I am not too
> keen on that.
>
>
>
> Happy dancing,
>
>John
>
>
>
> *From:* Jeff Kaufman 
> *Sent:* 08 July 2022 15:11
>
> Does this figure actually need a name?  It's rare enough that I would just
> describe what the dancers do, and prompt it with a shortened version of
> those words ("make an arch, come back up" or something)
>
> Jeff
>
>
>
> Hi all,
>
>   I understand that some people object to the use of the word
> Dixie (I don’t necessarily agree, but please let’s not get into that now).
>
>I am currently using “Grand Twirl” as an alternative name
> for a Dixie Twirl, since “Grand” generally implies “everyone” and the move
> applies to all four dancers in the line.
>
>Has anyone come up with a better term?
>
>Thanks.
>
>  Happy dancing,
>
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[Callers] Re: Northeast by Southwest?

[Angela DeCarlis via Contra Callers]

Thanks all! Wasn't sure if the Star hand was miswritten in Mac's, or if it
was one of those reach-backs with the other hand, as sometimes seen...I
think the latter is a proper square dance figure. I suspected the former!
Thanks for checking that, y'all.

Angela

On Fri, Nov 1, 2019, 4:59 PM Quiann2  wrote:

> I have the same A1 as Frannie of “circle, pass thru, N Sw” rather than the
> “slide left, circle left, N Sw” that Mac has.
> Jacqui
>
> On Nov 1, 2019, at 13:55, frannie via Contra Callers <
> contracallers@lists.sharedweight.net> wrote:
>
> *Only glanced at the dance from Mac.  Right hand Star not left*
>
>
> *Northeast on Southwest*
>
> Susan Petrick
>
> Type: Contra
>
> Formation: Becket-CW
>
> Level: Easy
>
>
> A1 ---
>
> (8) Circle Left 3/4 and pass through along the set (slide?)
>
> (8) Neighbor swing
>
> A2 ---
>
> (8) Long lines, forward and back
>
> (8) Star Right 3/4
>
> B1 ---
>
> (4) Neighbor across Right Hand Balance  (4) Box the Gnat
>
> (8) pull by Right and left through
>
> B2 ---
>
> (6) Ladies right shoulder around 1X to P
>
> (10) Partner swing
>
>
>
> On Fri, Nov 1, 2019 at 1:48 PM Angela DeCarlis 
> wrote:
>
>> Actually, if anyone could confirm the choreography that Mac sent and
>> clarify the second half for me, that would be great. When it says "keep
>> right with N" following a Star Left, I'm not sure what is happening there!
>>
>> Thanks,
>> Angela
>>
>> On Fri, Nov 1, 2019 at 4:41 PM frannie  wrote:
>>
>>> The title is actually Northeast ON Southwest.  Susan was flying to the
>>> Northeast on Southwest airlines when she wrote the dance.
>>>
>>> Twirls,
>>> Frannie
>>>
>>> On Fri, Nov 1, 2019, 8:28 PM Angela DeCarlis via Contra Callers <
>>> contracallers@lists.sharedweight.net> wrote:
>>>
>>>> I picked up the title for this dance from Lisa Greenleaf about a month
>>>> ago, but am not finding the dance anywhere online. Does anyone have the
>>>> author and the choreo for the dance Northeast by Southwest?
>>>>
>>>> Thanks!
>>>> Angela
>>>> ___
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>>>>
>>>
>
> --
> twirls,
> Frannie
>
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[Callers] Re: Northeast by Southwest?

[Angela DeCarlis via Contra Callers]

Actually, if anyone could confirm the choreography that Mac sent and
clarify the second half for me, that would be great. When it says "keep
right with N" following a Star Left, I'm not sure what is happening there!

Thanks,
Angela

On Fri, Nov 1, 2019 at 4:41 PM frannie  wrote:

> The title is actually Northeast ON Southwest.  Susan was flying to the
> Northeast on Southwest airlines when she wrote the dance.
>
> Twirls,
> Frannie
>
> On Fri, Nov 1, 2019, 8:28 PM Angela DeCarlis via Contra Callers <
> contracallers@lists.sharedweight.net> wrote:
>
>> I picked up the title for this dance from Lisa Greenleaf about a month
>> ago, but am not finding the dance anywhere online. Does anyone have the
>> author and the choreo for the dance Northeast by Southwest?
>>
>> Thanks!
>> Angela
>> ___
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>>
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[Callers] Re: Northeast by Southwest?

[Angela DeCarlis via Contra Callers]

Y'all are the best! Thanks Frannie and Mac!

On Fri, Nov 1, 2019 at 4:41 PM frannie  wrote:

> The title is actually Northeast ON Southwest.  Susan was flying to the
> Northeast on Southwest airlines when she wrote the dance.
>
> Twirls,
> Frannie
>
> On Fri, Nov 1, 2019, 8:28 PM Angela DeCarlis via Contra Callers <
> contracallers@lists.sharedweight.net> wrote:
>
>> I picked up the title for this dance from Lisa Greenleaf about a month
>> ago, but am not finding the dance anywhere online. Does anyone have the
>> author and the choreo for the dance Northeast by Southwest?
>>
>> Thanks!
>> Angela
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>>
>
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[Callers] Northeast by Southwest?

[Angela DeCarlis via Contra Callers]

I picked up the title for this dance from Lisa Greenleaf about a month ago,
but am not finding the dance anywhere online. Does anyone have the author
and the choreo for the dance Northeast by Southwest?

Thanks!
Angela
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