[Callers] Re: Larks, Robins, Gents, Ladies and "X, formerly known as Twitter"

[Tony Parkes via Contra Callers]

I don't pretend to know about X/Twitter, though I suspect the "X" name will 
have a short life. I think the medium will either implode or be sold again (or 
both).

Regarding contra dance role names, I know even less. My impression (based on 
very limited observation) is that some groups have embraced larks/robins and 
others either aren't ready to change or think larks/robins has more drawbacks 
than advantages. I think most series in the Greater Boston area have gone to 
larks/robins but the Worcester (east-central Mass.) area along with Connecticut 
and Rhode Island have stayed with gents/ladies for now. I have no idea what's 
happening in the Pioneer Valley (west-central Mass., including Amherst, 
Greenfield, and Montague). I think we're years if not decades from a consensus.

Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(available now)


-Original Message-
From: Michael Fuerst via Contra Callers  
Sent: Friday, October 13, 2023 3:36 PM
To: contracallers@lists.sharedweight.net
Subject: [Callers] Larks, Robins, Gents, Ladies and "X, formerly known as 
Twitter"

Which do you speculate will come first?
a) The press will regularly refer to "X" rather than "X, formerly known as 
Twitter"
OR
b) The contra dance world will agree to one of larks/robins or gents/ladies 
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[Callers] Re: Favorite One Night Stand Dances

[Tony Parkes via Contra Callers]

This is a subject dear to my heart. At least half my gigs lately are 
one-nighters, and whole-set longways are almost literally my bread and butter. 
Although squares were my first love and I push constantly for my right to call 
squares at contra-series dances, there are plenty of times when squares just 
don't make sense: The numbers aren't right, or folks have had enough trouble 
with other dances that I don't want to give them more things to learn. And 
there are also times when people don't look like they want to change partners, 
or there are a lot of itties dancing, so circle mixers are out. So I've had to 
fall back on a diet of longways more than once.

Here are the whole-set longways that Beth and I use most frequently.

(For these descriptions I'll call the line on the caller's right Line 1. Feel 
free to coin your own role names or use positional terms.)

Galopede (trad. English, modified)   Any number of couples; I try for 8 to 10
A.1 Lines forward and back; Line 1 make arches and both lines cross 
over (Line 2 duck under, passing partner by R shoulder)
A.2 Repeat A.1 with Line 2 arching (so it's "the line facing the 
scoreboard [or whatever]" both times)
B.1  All turn partner with right arm; repeat with left arm
B.2  Couple 1 go down center to foot and stop; others move up one place
We make a big deal of how Couple 1 can choose their own way to go down the 
middle: sashay, arm turn, polka, tango, piggyback, wheelbarrow. I saw a couple 
do leapfrog the other night.

Kingston Flyer (Noeline O'Connor)   Intended for 4 couples, but can be done 
with more, esp. if phrasing is disregarded
A.1 Line 2 go around Line 1 (apparently the author wanted single file, 
but can be done with hands joined)
A.2 Line 1 go around Line 2
B.1  Couple 1 lead down center and return
B.2  Couple 1 (only) cast to foot; Couple 1 turn partner with right 
hand (we learned it as do-si-do)
Beth calls "The line over here go round over there" and vice versa.

Over the Top (Beth Parkes - assembled from trad. moves, but you could say the 
same about most new dances, e.g. Shadrack's Delight)   About 6 to 10 couples
A.1 Lines forward and back; keep hands joined, ends take partner's free 
hand, and all "oval" to the left
A.2 "Oval" to the right; all do-si-do partner
B.1  Couple 1 arch over one line to the foot (about 12 beats); begin to 
arch over the other line to the head (4)
B.2  Finish the arch to the head (8); Couple 1 sashay to the foot and 
stop (8)
Obviously, if the phrasing slips, let it.

Wheelbarrow Reel (Don Armstrong)   About 6 couples
A.1 Lines forward and back; all turn partner with right hand or arm
A.2 All turn partner with left hand or arm; all turn partner once 
around with two hands, keeping hands joined at end
B.1  Couple 1 poussette to foot; other couples counter (when #1 zigs, 
they zag)
B.2  Finish the poussette; all do-si-do partner (if time)

Boston Tea Party (Jean Butler, 1982)   A bit more complicated; works best with 
5 or 6 couples
A.1 Couple 1 sashay to foot; arch over Line 2 to head
A.2 Couple 1 arch over Line 1 to foot; sashay to head
B.1  Couple 1 face down, others up, #1 dip and dive to foot (#2 make 
first arch);
other couples cast to foot after #1 has passed them
B.2  Couple 1 make a two-hand arch, others pass it and lead their 
partners up through

For my first (and usually only) "hands four" dance, I use this:

Sanita Hill Circle (Ed Durlacher, before 1949)
Couple facing couple, either around a big circle ("Sicilian circle formation") 
or scattered around the floor
(scattered works well if there are fewer than 5 or 6 two-couple sets)
A.1 Circle left; circle right
A.2 Do-si-do neighbor; do-si-do partner
B.1  Right-hand star; left-hand star
B.2  Forward and back; pass through to next
(If doing the scatter version, change B.2 to "promenade 
anywhere and look for another couple")
If the group is receptive to a bit of yakking, I tell them this is a simple 
form of a contra dance (many New Englanders have heard of contras, even if 
they've never seen or done one). I almost never use straight-line contras at a 
one-nighter; the progression, waiting out, and change of roles add up to too 
much new stuff to learn.

If I need a nearly bombproof contra, I'll use one of these two. Both are 
genderless.

Family Contra (Sherry Nevins)
A.1 Balance the ring twice; circle left
A.2 Balance the ring twice; circle right
B.1  Do-si-do neighbor; do-si-do partner
B.2  As couples, do-si-do once and a half to next

Andy White's (Amy Cann)
A.1 Circle left; as couples, do-si-do neighbor couple
A.2 Do-si-do neighbor; two-hand turn neighbor once
B.1  With neighbor, clap hands together, R, together, L, repeat; repeat 
all with partner
B.2  

[Callers] Kingston Flyer and Ceilidh Dances (Was: Teaching 'contra' to adults with various developmental disabilities)

[Tony Parkes via Contra Callers]

Interesting that Lisa got Kingston Flyer from me, as I’ve only used it once or 
twice that I can recall (though it’s definitely on my short list of nearly 
bombproof dances). Seeing it here prompted me to search for its origin. I found 
this:

https://www.scottish-country-dancing-dictionary.com/dance-crib/kingston-flyer.html

I had assumed the “down and back” was originally a sashay, but these directions 
just say “lead.” And apparently the dance ended with the #1 couple doing a 
right-hand turn at the bottom, rather than everyone doing a do-si-do. Like most 
easy dances, it’s been folk-processed in various ways.

I would tend to think of Kingston Flyer as a ceilidh dance, but this website 
treats it as a Scottish country dance. The site has a separate page with a list 
of ceilidh dances (with links to directions) that may help some of us expand 
our list of easy material. The list includes some fairly recently devised 
dances, but not Kingston Flyer.

https://www.scottish-country-dancing-dictionary.com/ceilidh-dances.html

Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(available now)


From: Lisa Sieverts via Contra Callers 
Sent: Monday, October 9, 2023 11:10 AM
To: Bree Kalb ; Shared Weight Callers 

Subject: [Callers] Re: Teaching 'contra' to adults with various developmental 
disabilities


Bree,

I’ve done a few dances at a local residential facility which had events for the 
clients and their families. My notes to myself after doing it for the first 
time:

Spend some time re-writing dances so that there are almost no "single person" 
moves. The crowd does best when connected moves, such that one person in the 
pair is able to help direct the other. Casting down the outside is about the 
extent of "single person" moves that are possible.

I did dances like these:

Kingston Flyer

(4-couple longways). From Tony Parkes FAMILY
A1. Line 1 around Line 2 (let it take as long as it takes)

A2. Line 2 around Line 1

B1. top couple strut down the middle and back

B2. top couple (only) cast to the bottom and everyone do- si-do (I skipped the 
do-si-do)

Once I settled into realizing what was possible, I found these dances to be 
very rewarding. It was wonderful to watch everyone working together and having 
fun together.

Best,
Lisa

Lisa Sieverts
603-762-0235
l...@lisasieverts.com
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[Callers] Re: When Was the 12-Beat Swing Introduced?

[Tony Parkes via Contra Callers]

Great question! As much as I love digging into square & contra dance history, I 
have to say I don't know.

In Beth Tolman and Ralph Page's 1937 "bible," The Country Dance Book, "balance 
partners" is defined as taking 4 bars (= 8 beats), but the description is of a 
4-beat balance, with no indication that it is to be repeated. (Incidentally, it 
begins "step to the side with right foot," so I don't know where the 
present-day New Hampshire custom of balancing left comes from.)

Still in Tolman and Page, under "balance and swing partners" (8 bars = 16 
beats): "Originally the balance step was performed before the swing, but 
nowadays this has been almost universally abandoned, and the call now means 
only to swing, or turn, your partner." So it appears that in at least some 
parts of New England, they went straight from an 8-beat balance and an 8-beat 
swing to a 16-beat swing with no balance.

Margot Mayo, in The American Square Dance (1943, revised 1948), gives "Boston 
Fancy (as danced in Maine)," with figures identical to what I learned as Lady 
Walpole's Reel. The first call is "Balance and swing with the lady below" 
(which of course is incorrect for the first lady and second gent), but the 
description reads, in full, "Each gent swings the lady on his left." So when 
Mayo visited Maine, they must have been calling the balance but not dancing it.

When I danced contras to Ralph Page's calling in the 1960s and '70s, he taught 
a 16-beat swing in the dances that traditionally began with "balance and 
swing," such as Haymakers' Jig. In fact, I don't recall his ever using a 
balance in a contra (he did in the 5th figure of the Lancers and in one or two 
other squares). I heard via the grapevine that he hated the way modern contra 
dancers, especially around Boston, stomped their balances, and that was why he 
omitted the balance.

Can anyone else shed light on this?

Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(available now)


From: John Sweeney via Contra Callers 
Sent: Thursday, October 5, 2023 10:10 AM
To: contracallers@lists.sharedweight.net
Subject: [Callers] When Was the 12-Beat Swing Introduced?

Hi all,
  Does anyone know when the Balance & Swing as we know it today 
become popular with a 12-beat Swing instead of the more standard 8-beat or 
16-beat Swing?

  Thanks.

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

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[Callers] Re: Most-Easiest Duple Minors in existence

[Tony Parkes via Contra Callers]

No one has mentioned my favorite (along with Family Contra):

Andy White's (Amy Cann)
Duple, genderless
A.1 Circle left; as couples, dosido neighbor couple
A.2 As individual, dosido neighbor; two-hand turn neighbor once
B.1  With neighbor: clap hands together, R, together, L
Repeat with partner; repeat with neighbor and partner
B.2  Couple 2 arch, Couple 1 duck thru
Backing up: Couple 1 arch, Couple 2 duck thru
Forward: Couple 2 arch, Couple 1 duck (to new couple)

If people take more than 8 counts to finish the couple dosido, they can catch 
up during the individual dosido.

I was concerned that the "A" parts had too many clockwise moves in a row, but 
dancers don't seem bothered by this - probably because in the dosidos they're 
not turning (or, if they're experienced dancers and choose to spin, they're 
probably spinning counterclockwise).

Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(available now)


From: Tepfer, Seth via Contra Callers 
Sent: Monday, September 25, 2023 4:13 AM
To: contracallers@lists.sharedweight.net
Subject: [Callers] Most-Easiest Duple Minors in existence

Hello hive mind.

What are the absolute easiest duple minor dances you know? I know:

Title: Family Contra
Author: Sherry Nevins
A1: Balance 2x; Circle left (8)
A2: Balance 2x; Circle right (8)
B1: Neighbor DSD (8); Partner DSD (8)
B2: As couple, neighbor DSD 1.5 (16)

What other dances do you have that are duple minor and just as easy to teach to 
people who have never danced before? No swing needed!
Thanks


Seth Tepfer, MBA, CSM, PMP (he, him, his)
Senior IT Manager, Emory Primate Center

[cid:image001.png@01D9F14A.57970810]
Book time to meet with 
me





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[Callers] Re: Most-Easiest Duple Minors in existence

[Tony Parkes via Contra Callers]

I’m not saying this phrasing should be outlawed. But it’s enough of a challenge 
to get new folks to do a balance on 1-2-3-4 without giving them an exception 
early on.

Tony Parkes
Billerica, Mass.
www.hands4.com<http://www.hands4.com/>
New book! Square Dance Calling: An Old Art for a New Century
(available now)


From: Katherine Kitching 
Sent: Wednesday, September 27, 2023 10:03 AM
To: Tony Parkes 
Subject: Re: [Callers] Re: Most-Easiest Duple Minors in existence

aw, really?

I say, don't knock it till you try it :)

- I had a mix of beginner and more experienced dancers - I didn't explain it 
any detail, I just demo'd it once, and then they all did it easily and with 
gusto.   :D

Sep 27, 2023 10:50:10 AM Tony Parkes mailto:t...@hands4.com>>:
Ah, thanks.
Different strokes for different folks. I don’t think I could bring myself to 
ask for a balance on 3-4-5-6 of an 8-count phrase.
Tony Parkes
Billerica, Mass.
www.hands4.com<http://www.hands4.com/>
New book! Square Dance Calling: An Old Art for a New Century
(available now)
From: Katherine Kitching mailto:k...@outdooractive.ca>>
Sent: Wednesday, September 27, 2023 9:46 AM
To: Tony Parkes mailto:t...@hands4.com>>
Cc: Shared Weight Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
Subject: Re: [Callers] Re: Most-Easiest Duple Minors in existence
haha I was unsure it would work when I called it for the first time the other 
night - but it worked great!!

Previously I had done LLFB, LLF and pull by, LLFB, LLF and pull by--

but my dancers did it so fast and energetically there was a super long and 
awkward pause after they pulled by and turned to face their partner again.

the secret is, it only takes them 2 counts to get close enough to rt-hand 
balance.

so it's 1-2 (walk), 1-2-3-4 (balance), and 1-2 pass by and turn - that part is 
admittedly fast, but they enjoyed the challenge of it and it really livened up 
this beginner-oriented dance.

Sep 27, 2023 10:40:00 AM Tony Parkes via Contra Callers 
mailto:contracallers@lists.sharedweight.net>>:
“- LLFB, LLF, balance pull by:, LLFB, LLF, balance pull by again”
Will someone please explain the timing of this sequence? I get 8 steps for 
LLFB, 4 for LLF, 4 for a balance, and 4 for a pull by, adding up to 20; but I 
assume it’s intended to be done in 16. (I’m assuming that “turn to face in” is 
done as part of the pull by – no problem there.) Is there actually no LLF apart 
from the balance?
Tony Parkes
Billerica, Mass.
www.hands4.com<http://www.hands4.com/>
New book! Square Dance Calling: An Old Art for a New Century
(available now)
From: Katherine Kitching via Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
Sent: Wednesday, September 27, 2023 9:33 AM
To: Joe Harrington mailto:contradancer...@gmail.com>>
Cc: 
contracallers@lists.sharedweight.net<mailto:contracallers@lists.sharedweight.net>
Subject: [Callers] Re: Most-Easiest Duple Minors in existence
lol "full washing machine" - I hadn't heard that before!

I agree on avoiding the full one as much as possible - but I quite like just a 
circle-left-circle-right - brings the group together for some smiles and allows 
for fancy footwork for those who want to throw in a little something extra.

But it may be interesting to ask the group to compile a list of 
beginner-friendly figures, beyond the very basic ones like allemandes and do si 
dos, that could be used to put together some dances of the type that you (and 
I, always!!) are seeking?

My criteria would be:

- does not take anyone out of home place
(or takes them out temporarily but puts them back again, such as pulling by 
your partner across the set, but then pulling by again within the next 1 or 2 
moves).

- doesn't involve anything that is known to cause confusion for total 
beginners, such as courtesy turns or heys.

Here are some that I like:

- do si do as couples

- LLFB, LLF, balance pull by:, LLFB, LLF, balance pull by again

- take 4 steps left then 4 steps right, around the oval

- turn and walk individually around the oval for 8, then back for 8

- balance and spin the star (as per Louise S)

- balance the ring, then 2 hand balance your partner

- holding hands, veer right then left with your partner to progress

- what else?? :)

Sep 27, 2023 12:44:51 AM Joe Harrington 
mailto:contradancer...@gmail.com>>:
Thanks for this thread!  My group is tired of me bailing out to a small 
collection of trivial contras (Airpants, Midwest Folklore...).
How about the easiest dance *that experienced dancers don't mind dancing*? I 
have always disliked the "full washing machine" of circle left, circle right, 
star right, star left.  Even a half-wash makes my shoulders sag, inwardly.  Of 
course, I will try to do them with a smile and encourage both the new dancers 
and the caller.  But, surely we can make it a little more interesting without 
losing the newbies.  Airpants and Midwest Folklo

[Callers] Re: Most-Easiest Duple Minors in existence

[Tony Parkes via Contra Callers]

Ah, thanks.

Different strokes for different folks. I don’t think I could bring myself to 
ask for a balance on 3-4-5-6 of an 8-count phrase.

Tony Parkes
Billerica, Mass.
www.hands4.com<http://www.hands4.com/>
New book! Square Dance Calling: An Old Art for a New Century
(available now)


From: Katherine Kitching 
Sent: Wednesday, September 27, 2023 9:46 AM
To: Tony Parkes 
Cc: Shared Weight Contra Callers 
Subject: Re: [Callers] Re: Most-Easiest Duple Minors in existence

haha I was unsure it would work when I called it for the first time the other 
night - but it worked great!!

Previously I had done LLFB, LLF and pull by, LLFB, LLF and pull by--

but my dancers did it so fast and energetically there was a super long and 
awkward pause after they pulled by and turned to face their partner again.

the secret is, it only takes them 2 counts to get close enough to rt-hand 
balance.

so it's 1-2 (walk), 1-2-3-4 (balance), and 1-2 pass by and turn - that part is 
admittedly fast, but they enjoyed the challenge of it and it really livened up 
this beginner-oriented dance.

Sep 27, 2023 10:40:00 AM Tony Parkes via Contra Callers 
mailto:contracallers@lists.sharedweight.net>>:
“- LLFB, LLF, balance pull by:, LLFB, LLF, balance pull by again”
Will someone please explain the timing of this sequence? I get 8 steps for 
LLFB, 4 for LLF, 4 for a balance, and 4 for a pull by, adding up to 20; but I 
assume it’s intended to be done in 16. (I’m assuming that “turn to face in” is 
done as part of the pull by – no problem there.) Is there actually no LLF apart 
from the balance?
Tony Parkes
Billerica, Mass.
www.hands4.com<http://www.hands4.com/>
New book! Square Dance Calling: An Old Art for a New Century
(available now)
From: Katherine Kitching via Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
Sent: Wednesday, September 27, 2023 9:33 AM
To: Joe Harrington mailto:contradancer...@gmail.com>>
Cc: 
contracallers@lists.sharedweight.net<mailto:contracallers@lists.sharedweight.net>
Subject: [Callers] Re: Most-Easiest Duple Minors in existence
lol "full washing machine" - I hadn't heard that before!

I agree on avoiding the full one as much as possible - but I quite like just a 
circle-left-circle-right - brings the group together for some smiles and allows 
for fancy footwork for those who want to throw in a little something extra.

But it may be interesting to ask the group to compile a list of 
beginner-friendly figures, beyond the very basic ones like allemandes and do si 
dos, that could be used to put together some dances of the type that you (and 
I, always!!) are seeking?

My criteria would be:

- does not take anyone out of home place
(or takes them out temporarily but puts them back again, such as pulling by 
your partner across the set, but then pulling by again within the next 1 or 2 
moves).

- doesn't involve anything that is known to cause confusion for total 
beginners, such as courtesy turns or heys.

Here are some that I like:

- do si do as couples

- LLFB, LLF, balance pull by:, LLFB, LLF, balance pull by again

- take 4 steps left then 4 steps right, around the oval

- turn and walk individually around the oval for 8, then back for 8

- balance and spin the star (as per Louise S)

- balance the ring, then 2 hand balance your partner

- holding hands, veer right then left with your partner to progress

- what else?? :)

Sep 27, 2023 12:44:51 AM Joe Harrington 
mailto:contradancer...@gmail.com>>:
Thanks for this thread!  My group is tired of me bailing out to a small 
collection of trivial contras (Airpants, Midwest Folklore...).
How about the easiest dance *that experienced dancers don't mind dancing*? I 
have always disliked the "full washing machine" of circle left, circle right, 
star right, star left.  Even a half-wash makes my shoulders sag, inwardly.  Of 
course, I will try to do them with a smile and encourage both the new dancers 
and the caller.  But, surely we can make it a little more interesting without 
losing the newbies.  Airpants and Midwest Folklore do, though they involve 
swings. Elbow or crossed-hand swings are fine for this and don't need to be 
taught outside of a walkthrough. If I'm using these dances in a workshop, I do 
tell the experienced dancers not to teach the ballroom swing, we'll get to that 
in a minute.  Otherwise, they all try.
--jh--
On Mon, Sep 25, 2023 at 7:27 PM Katherine Kitching via Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
 wrote:
Here are a couple more that I wrote, that I called the other night and went 
very well.
(again, I haven't searched to see if they exist already)

these all build on the skills we did in my "very simple contra" in the sicilian 
formation, that I outlined in a previous message.

1. "Off they go"

- Circle left
- Circle right
- LLFB
- (still holding hands) - walk 4 steps left then 4 steps right (or call it a 
giant oval 

[Callers] Re: Most-Easiest Duple Minors in existence

[Tony Parkes via Contra Callers]

“- LLFB, LLF, balance pull by:, LLFB, LLF, balance pull by again”

Will someone please explain the timing of this sequence? I get 8 steps for 
LLFB, 4 for LLF, 4 for a balance, and 4 for a pull by, adding up to 20; but I 
assume it’s intended to be done in 16. (I’m assuming that “turn to face in” is 
done as part of the pull by – no problem there.) Is there actually no LLF apart 
from the balance?

Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(available now)


From: Katherine Kitching via Contra Callers 

Sent: Wednesday, September 27, 2023 9:33 AM
To: Joe Harrington 
Cc: contracallers@lists.sharedweight.net
Subject: [Callers] Re: Most-Easiest Duple Minors in existence

lol "full washing machine" - I hadn't heard that before!

I agree on avoiding the full one as much as possible - but I quite like just a 
circle-left-circle-right - brings the group together for some smiles and allows 
for fancy footwork for those who want to throw in a little something extra.

But it may be interesting to ask the group to compile a list of 
beginner-friendly figures, beyond the very basic ones like allemandes and do si 
dos, that could be used to put together some dances of the type that you (and 
I, always!!) are seeking?

My criteria would be:

- does not take anyone out of home place
(or takes them out temporarily but puts them back again, such as pulling by 
your partner across the set, but then pulling by again within the next 1 or 2 
moves).

- doesn't involve anything that is known to cause confusion for total 
beginners, such as courtesy turns or heys.

Here are some that I like:

- do si do as couples

- LLFB, LLF, balance pull by:, LLFB, LLF, balance pull by again

- take 4 steps left then 4 steps right, around the oval

- turn and walk individually around the oval for 8, then back for 8

- balance and spin the star (as per Louise S)

- balance the ring, then 2 hand balance your partner

- holding hands, veer right then left with your partner to progress

- what else?? :)

Sep 27, 2023 12:44:51 AM Joe Harrington 
mailto:contradancer...@gmail.com>>:
Thanks for this thread!  My group is tired of me bailing out to a small 
collection of trivial contras (Airpants, Midwest Folklore...).

How about the easiest dance *that experienced dancers don't mind dancing*? I 
have always disliked the "full washing machine" of circle left, circle right, 
star right, star left.  Even a half-wash makes my shoulders sag, inwardly.  Of 
course, I will try to do them with a smile and encourage both the new dancers 
and the caller.  But, surely we can make it a little more interesting without 
losing the newbies.  Airpants and Midwest Folklore do, though they involve 
swings. Elbow or crossed-hand swings are fine for this and don't need to be 
taught outside of a walkthrough. If I'm using these dances in a workshop, I do 
tell the experienced dancers not to teach the ballroom swing, we'll get to that 
in a minute.  Otherwise, they all try.

--jh--


On Mon, Sep 25, 2023 at 7:27 PM Katherine Kitching via Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
 wrote:
Here are a couple more that I wrote, that I called the other night and went 
very well.
(again, I haven't searched to see if they exist already)

these all build on the skills we did in my "very simple contra" in the sicilian 
formation, that I outlined in a previous message.

1. "Off they go"

- Circle left
- Circle right
- LLFB
- (still holding hands) - walk 4 steps left then 4 steps right (or call it a 
giant oval left then right if you prefer)

- partner do si do
- neighbour left hand turn (allemande)
- partner 2 hand balance twice (I suggest the convention of veering slightly to 
the left the first balance, and slightly to the right on the second, for 
interest)
- holding inside hands with your partner facing the other couple, veer on a 
forward right diagonal to pass the other couple, then on a forward left 
diagonal to meet the next couple


2. "first out of place dance" (at a brisk pace)
people found this very fun!!

- circle left
- circle right
- partner do si do
- neighbour 2 hand balance once, and baby turn (ie switch places, by circling 
while holding 2 hands in the same direction you would in a 2 hand turn or swing 
- can also say - switch places with your neighbour, with the ravens going on 
the inside)

- LLFB
- LLF, balance partner by the right one time and pull by (to switch places w 
partner)
- LLFB
- LLF, just pull by the right (no balance) - give a little nod and stomp to 
your old group, turn to face the new

3. " first down the hall dance"

-1's split the 2's and all walk down the hall in line of 4, turn alone
- come on back, bend line
- circle left
- circle right

- partner left shoulder round
- neighbour right hand turn (allemande)
- all circle left again
- left hand star to new group


4. "first swing (or 2 hand turn) dance"

- N bal and 2 hand turn (or swing, 

[Callers] Re: Most difficult contras

[Tony Parkes via Contra Callers]

Ah, Neal’s post stirred memories…

True, context is everything, but I was a bit surprised to read that MWSDers had 
trouble with Inflation Reel. I (not Don Armstrong) wrote it and Shadrack’s 
Delight specifically to appeal and be accessible to both trad and MWSD groups. 
I’ve used both dances at Intro to Contra sessions at National SD Conventions, 
with no trouble. Perhaps the caller at the Tucson event was relatively new to 
contras and/or hadn’t worked out how to present Inflation. (Note: On occasion 
I’ve used Inflation as a first contra with MWSD peeps, and avoided the wait at 
the ends by calling Trade By after the Pass Thru. [Trade By = those facing a 
couple Pass Thru, those facing out Partner Trade… which takes care of the cross 
over.])

And I have fond memories of my two summers with the Lloyd Shaw Fellowship, an 
invitational group that was the predecessor of the Folk Fellowship. (I didn’t 
realize the FF lasted into the 21st century.) John Bradford was one of several 
respected callers in that world, which straddled the trad square and MWSD 
worlds. Others were Gib Gilbert and Bob Howell.

It was Don Armstrong who got me an invitation to the Shaw Fellowship, and who 
made me a household name among MWSD-affiliated contra callers by publishing 
Inflation and Shadrack, first in Sets in Order magazine (of which he was Contra 
Editor) and shortly thereafter in the Contra Manual that he wrote for SIO. He 
recorded the calls for both dances on the Lloyd Shaw label (using music I 
wouldn’t have chosen, but you can’t have everything).

Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(available now)


From: Neal Schlein via Contra Callers 
Sent: Tuesday, September 26, 2023 10:51 AM
To: Jerome Grisanti 
Cc: Michael Fuerst ; Shared Weight Contra Callers 

Subject: [Callers] Re: Most difficult contras

I have a couple of answers that are not exactly on-topic, because the answer is 
contextual:

Inflation Reel by Don Armstrong when attempted at a MWSD convention in Tucson.  
(I was dancing.)

Anything called to the Eastern-European-style band that played in Bend, Oregon 
circa November of 2003. (I was calling, it was their first time playing for a 
dance.)

A contra written for the caller’s son’s wedding and pre-tested at the Folk 
Fellowship dance camp, circa 2002; it was the first time most (any?) of us had 
encountered an Orbit.  In the camp yearbook notes it said that John Bradford 
had deemed the dance, “the greatest mixer ever written…although there was some 
question whether it was supposed to be one.” (This was a closed group and an 
expert caller with 50+ years experience. In my entire life, I have never seen 
another dance devolve like it. Couples peeled from the end and individuals were 
staggering out of the middle of the line because they were so disoriented, yet 
somehow it continued to grind on.  The dance went off phrase, out of rhythm, 
the caller himself got lost and couldn’t maintain the sequence…in the end he 
didn’t even cut the music off for us; the line just fatally disintegrated all 
at once. )


Neal
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[Callers] Re: New Terminology Question

[Tony Parkes via Contra Callers]

Bravo, Michael! (I’ve bolded, below, the point on which I want to agree 
wholeheartedly.) I’ve believed this for years, and had no way of knowing what 
percentage of active contra callers agreed. I dare to hope that, as Michael is 
known for writing and advocating difficult sequences, his opinion will carry 
added weight.

Over the decades, I’ve seen the number of contra “basics” increase dramatically 
– from about 12 in the 1960s, when many groups got started, to at least 36 
today. I’ve worried that the modern contra world has been going down the same 
path as modern “western” squares did. There’s always a gap between what a 
first-timer can grasp in one night and what a dancer needs to know to be 
comfortable at a dance series. But if “basics” are continually added, the gap 
gets ever wider, until a lesson or a series of lessons is needed. Western 
squares started with 6 lessons in the late 1940s; currently the Plus program 
(the prevailing club level in most parts of the US) contains 97 “basics” and 
(coincidentally) is recommended to be taught in 97 hours, or about 50 lessons. 
(Most clubs insist that their callers take less time, which results in new 
dancers not learning the calls adequately.)

We contra and trad square callers are nowhere near the excesses of MWSD. But 
even 36 “basics” are too many for an activity that supposedly anyone can join 
in without lessons. Some sequences – maybe even some moves – should be reserved 
for workshops. I’m glad to see an influential modern contra caller speaking out 
on this.

Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(available now)


From: Michael Fuerst via Contra Callers 
Sent: Thursday, September 14, 2023 4:11 AM
To: Helle Hill 
Cc: Shared Weight Contra Callers 
Subject: [Callers] Re: New Terminology Question

Jeff's suggestion of "facing star" works perfectly, and merits becoming the 
standard term used for discussions about and written descriptions of dances. 
However, such occasionally used figures must always be explained during 
walk-throughs, so the caller can designate, for the duration of the dance, any 
appropriate name. (I think I have used "funny" or "silly" star in the past.) 
The point being that dancers should need to understand the names of a dozen or 
so basic figures (such as F, allemande, promenade, star, chain, right and 
left, circle, shoulders round, hey, and maybe several more) and that callers 
should need only  basic figures to teach any dance.

On Wed, Sep 13, 2023 at 8:58 PM Helle Hill via Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
 wrote:
With all the changes to the "old" terminology, I am wondering what a "Gypsy 
Star" is now called.

Thank you.

Helle Hill

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[Callers] Re: Recorded contra music

[Tony Parkes via Contra Callers]

Well, it’s not exactly what you asked for, but these programs have a looping 
feature:
http://www.digitalmusicmagician.com/
http://squaredesk.net/
They’re made for MWSD callers and have a lot of features you probably don’t 
need, but I’ve used both for contras and trad squares.

As for long(er) contra tracks: When bands record music for sale, one of their 
priorities is to make the tracks interesting for those who are just listening. 
Most bands’ idea of a good listening track seems to max out at around 5 minutes 
– unless it varies the tempo, e.g. from slow air to jig to reel.

In the past, many bands were reluctant to issue tracks longer than 3 or 4 
minutes. Reasons may have included hopes of airplay and worries that people 
would use longer tracks for dancing and be less likely to hire the band ‘live.’ 
This has changed: Many bands now routinely issue tracks of 9x32 measures 
(typically 3 tunes played 3x each), lasting around 5 minutes. Here are some of 
my favorites:

Jigs (6/8)
Brisk Young Lads (Canterbury Country Dance Orchestra)
Debbie Keller’s (Old New England, ONE:IV)
Little Burnt Potato (Greenfield Dance Band)
Murray River Jig (Don Roy, Thanks for the Lift)

Reels and Marches (2/4 or 4/4)
Chickadee’s Polka (New England Chestnuts)
Combination Rag (Strings and Things, on Lloyd Shaw label)
Golden Slippers (Williams and Bray, Bluegrass Hoedown)
Liza Constable’s (Old New England, ONE:TWO)
Mount Cashel’s Brigade (The Rhythm Rollers, Grand Right and Left)
Ross’ Reel #4 (New England Chestnuts 2)
Silver Spire (Greenfield Dance Band)

Most of these are still available, many from Great Meadow Music.

Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(available now)


From: Harrison Keely via Contra Callers 
Sent: Monday, August 7, 2023 11:00 AM
To: contracallers@lists.sharedweight.net
Subject: [Callers] Recorded contra music

Hey, folks! Another techy contra question.

I’m hunting for a music app where I can splice a track into intro, AABB, and 
outro parts.
After the intro plays, the AABB could loop indefinitely until a button on 
screen is pressed to signal that I’m ready for it to play the outro.

Bonus points if it's an iPhone app. Does such a thing exist yet?

On a related note, I've had difficulty finding longer recordings of dance music 
(e.g. over five minutes).
Most tracks I find on Apple Music are but three or four minutes.
Any suggestions?

Thanks!

Harrison
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[Callers] Re: Going rates for ONS dances?

[Tony Parkes via Contra Callers]

A clarification: "If alcohol, double your fee" is something I heard years ago 
from a few veteran callers. I used to charge a bit more for "wet" events than 
"dry" ones, but found I had to work just as hard at the "dry" ones, so started 
charging the higher rate to everyone.

Currently I ask $475 for corporate or private events, $400 for nonprofits. I've 
been told by a couple of top callers that I could/should be charging more, but 
when I've tried raising the rates, I've gotten so many turndowns that I make 
more money with the lower rates.

My rate includes travel within ~1 hour of home, and once I'm there, I'm willing 
to stay up to 4 hours. I always recommend 1.5 to 2 hours of actual dancing if 
people aren't used to it, but I make it clear that I'll call as long as people 
want to dance. Almost never does anyone take me up on it; typically they've had 
enough after 90 minutes.

Rate changes: I ask $500 if it's a wedding, to cover repeated interactions with 
the client before the day. (Top DJs often ask a LOT more for weddings than for 
other family parties.) I'm willing to dicker if I don't have to bring, set up, 
and run sound, but I have to be sure that the gear and the operator will be 
adequate. My one-nighter rate for calling & sound is the same whether or not 
there's a band - obviously it's more work to do sound for 4 people than for 1, 
but the energy of a live band makes up for it.

Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(available now)

From: Tepfer, Seth via Contra Callers 
Sent: Monday, July 31, 2023 11:34 AM
To: Contra Callers 
Subject: [Callers] Going rates for ONS dances?

Hello hive mind

The costs of everything have gone up post-COVID. What are you charging for 
one-off dance events, aka One Night Stand dances? Assuming:

  *   you, the caller, are running sound and providing sound equipment
  *   there is no band
  *   It is 90 minutes give or take
  *   it is NOT a wedding
  *   no alcohol (hat-tip to Tony Parkes - if alcohol, double your fee!)
If the assumptions above are not true (there is a band, it is a wedding, there 
is alcohol, etc), how does that change your rates?


Seth


Seth Tepfer, MBA, CSM, PMP (he, him, his)
Senior IT Manager, Emory Primate Center
[cid:image001.png@01D9C3A5.F782E0B0]
Book time to meet with 
me

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[Callers] Re: calling weddings

[Tony Parkes via Contra Callers]

 “Liberal” west. I always 
start simple circle left, circle right, into the center & back X2, Swing 
Somebody (elbow swing or two hand swing). I might add: and Promenade. End with: 
… “into the middle if you’ve just got married!” Then the Virginia Reel.



Often, after that the dancing crowd gets a lot thinner. One of the first 
weddings I called, I think I got trough three dances. After that, waltzes and 
tunes. I thought, “I barely did anything…” Then I got the thank you notes: 
Comments about how great the dance created what the bride and groom wanted. I 
started realizing at weddings we’re offering a service of helping people 
connect with each other, and that can be successful with two or three dances. 
If people use the rest of the time to talk with each other, the job can be done.



That’s not to say I’ve called a lot of weddings when it’s clear a number of 
guests want to keep dancing, and might even get to one hands-four dance as 
Haste to the Wedding or Jefferson & Liberty, but that’s a judgement call. It’s 
just that many times two or three dances brings people together in ways other 
dance forms often fail to do.



~Erik Hoffman

Oakland, CA





From: Tony Parkes via Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
Sent: Tuesday, July 4, 2023 7:31 AM
To: Shared Weight Callers 
mailto:contracallers@lists.sharedweight.net>>
Subject: [Callers] Re: calling weddings





It looks as if we’re all agreed that *really* easy dances are the way to go at 
weddings (and similar events where no one is there to learn), but disagree on 
what constitutes “really easy.”



The sequence that John Rogers describes is similar to the Scatter Sanita that I 
use at nearly every one-nighter, including weddings. But I think the loss of 
original partner would feel to most wedding guests like “one thing too many” – 
and a much bigger “thing” than any of the moves such as dosido or swing.



At all my one-nighters – heck, at all my events, including contra-series dances 
– I use a combination of (1) my best pre-event guess of what’s needed, based on 
my experience with similar events, and (2) reading the room when I get there. 
Although I absolutely love mixers (and always call one at series dances, though 
I know a few contra dancers say they dislike them), my sense is that wedding 
guests feel shaky enough about joining in the dancing and that losing their 
partner and having to search for a new one would add a major dose of shakiness 
with nothing positive to compensate. If I use any mixer at all, it will likely 
be Heel and Toe (aka Pattycake Polka), where the next partner is right there 
and they don’t have to decide on one – and although I use it fairly often at 
one-nighters, I’m much less likely to use it at weddings.



Time allowed for dancing: I’ve found that at the vast majority of my 
one-nighters, including weddings, I end up doing either 2 or 3 sets of 30-40 
minutes each, usually 2. (The first one is often a bit longer than the others, 
as it takes a while to get everyone quiet and listening.) So I tell the couple 
(or whoever is my contact) in advance that that’s what I envision, but that 
it’s subject to modifying as things unfold. My average is probably about 6 
dance numbers total, but a few times I’ve done only the initial big circle and 
a Virginia Reel; once I did only the big circle. It’s important to remember 
that the organizers and guests have no preconceived idea of what constitutes a 
dance event; they’re not expecting 12 aerobic dances and a waltz. You may feel 
you haven’t earned your keep, but the clients are more than satisfied. (I 
always make it clear that I’m willing to call as long as there are a few 
couples who want to dance; almost never do I get taken up on the offer.)



Every caller will have a slightly different way of turning vision into reality 
(and that’s as it should be with a folk art), but hopefully always with a view 
to what will give the greatest number of people a taste of the joy that we know 
is there in the dance.



Tony Parkes

Billerica, Mass.

www.hands4.com<http://www.hands4.com/>

New book! Square Dance Calling: An Old Art for a New Century

(available now)





From: Adam Carlson via Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
Sent: Tuesday, July 4, 2023 2:24 AM
To: Shared Weight Callers 
mailto:contracallers@lists.sharedweight.net>>
Subject: [Callers] Re: calling weddings



Heck, even that sounds too complex. Forming circles of 4, finding another 
group, that took too long, what am I doing now, which one's my partner again, 
and which is my opposite? Nah, Stick with longways lines, circles and couple 
mixers until and unless people seem like they're actually into it and want 
something more complicated.



On Mon, Jul 3, 2023 at 10:26 PM John Rogers via Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
 wrote:

I’ll add two points of my own.  I was once hired to call 

[Callers] Re: calling weddings

[Tony Parkes via Contra Callers]

It looks as if we’re all agreed that *really* easy dances are the way to go at 
weddings (and similar events where no one is there to learn), but disagree on 
what constitutes “really easy.”

The sequence that John Rogers describes is similar to the Scatter Sanita that I 
use at nearly every one-nighter, including weddings. But I think the loss of 
original partner would feel to most wedding guests like “one thing too many” – 
and a much bigger “thing” than any of the moves such as dosido or swing.

At all my one-nighters – heck, at all my events, including contra-series dances 
– I use a combination of (1) my best pre-event guess of what’s needed, based on 
my experience with similar events, and (2) reading the room when I get there. 
Although I absolutely love mixers (and always call one at series dances, though 
I know a few contra dancers say they dislike them), my sense is that wedding 
guests feel shaky enough about joining in the dancing and that losing their 
partner and having to search for a new one would add a major dose of shakiness 
with nothing positive to compensate. If I use any mixer at all, it will likely 
be Heel and Toe (aka Pattycake Polka), where the next partner is right there 
and they don’t have to decide on one – and although I use it fairly often at 
one-nighters, I’m much less likely to use it at weddings.

Time allowed for dancing: I’ve found that at the vast majority of my 
one-nighters, including weddings, I end up doing either 2 or 3 sets of 30-40 
minutes each, usually 2. (The first one is often a bit longer than the others, 
as it takes a while to get everyone quiet and listening.) So I tell the couple 
(or whoever is my contact) in advance that that’s what I envision, but that 
it’s subject to modifying as things unfold. My average is probably about 6 
dance numbers total, but a few times I’ve done only the initial big circle and 
a Virginia Reel; once I did only the big circle. It’s important to remember 
that the organizers and guests have no preconceived idea of what constitutes a 
dance event; they’re not expecting 12 aerobic dances and a waltz. You may feel 
you haven’t earned your keep, but the clients are more than satisfied. (I 
always make it clear that I’m willing to call as long as there are a few 
couples who want to dance; almost never do I get taken up on the offer.)

Every caller will have a slightly different way of turning vision into reality 
(and that’s as it should be with a folk art), but hopefully always with a view 
to what will give the greatest number of people a taste of the joy that we know 
is there in the dance.

Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(available now)


From: Adam Carlson via Contra Callers 
Sent: Tuesday, July 4, 2023 2:24 AM
To: Shared Weight Callers 
Subject: [Callers] Re: calling weddings

Heck, even that sounds too complex. Forming circles of 4, finding another 
group, that took too long, what am I doing now, which one's my partner again, 
and which is my opposite? Nah, Stick with longways lines, circles and couple 
mixers until and unless people seem like they're actually into it and want 
something more complicated.

On Mon, Jul 3, 2023 at 10:26 PM John Rogers via Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
 wrote:
I’ll add two points of my own.  I was once hired to call dances at a wedding 
and I didn’t find out until the bride and groom emerged from the chapel that 
the whole dance idea was orchestrated by others as a surprise  for the bride 
and groom.  Since them I have had a strict policy that no matters who hires me, 
I WILL discuss the program directly with the bride.

The other thing I have learned about “one night stands” is to always try to 
imagine the mindset of one of the participants as they enter the room.  Are 
they looking forward to a dance program, or are they there for other reasons.  
(Weddings fall heavily in the “for other reasons” category.)  Unless it is the 
wedding of two contradancers and everybody there is a dancer, keep in mind that 
participants did not come to the event thinking they were going to learn 
anything that day.

My last point (which follows from the above) is that there is no dance that is 
too simple to call at a wedding.  It is very easy to call a dance that is too 
hard, but impossible to call one that is too simple.  To give an example, this 
simple scatter mixer works extremely well at weddings: Circle left, circle 
right. Men DSD, Ladies DSD. Partner DSD, Opposites L elbow swing, Scoop up 
opposite and promenade to find a different opposite couple.  (This is plenty 
complex enough to be entertaining at a wedding!)

Good luck!
Sent from my iPhone


On Jul 3, 2023, at 4:07 PM, Roberta Kogut via Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
 wrote:

I agree with a lot of what was said.  I'll just add a couple of things.
I always talk to the wedding 

[Callers] Re: calling weddings

[Tony Parkes via Contra Callers]

One addendum: I said “no duple minors.” Let me amend that a tiny bit:

My second dance at all my one-nighters, after a big circle with ad-lib calling, 
is Ed Durlacher’s Sanita Hill, done either as a Sicilian or a scatter. (Scatter 
if there are too few folks for a good pass thru, or if there are too many 
drunks or little kids.) It’s done by groups of two couples and gives people the 
feel of a duple with very little teaching.

A.1  Circle left, circle right
A.2  Dosido neighbor, dosido partner
B.1  Star right, star left
B.2  (original version) Forward and back, pass thru to a new neighbor couple
B.2  (modified) Scatter promenade, look for a new neighbor couple

It’s one of the very few “nearly bombproof” dances on my list, particularly in 
the scatter version.

Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(available now)


From: Joe Harrington via Contra Callers 
Sent: Monday, July 3, 2023 3:53 PM
To: Shared Weight Callers 
Subject: [Callers] calling weddings

Any advice for calling weddings? I've been asked to call my first one and I 
don't see a lot of wedding-specific advice online. What do you ask them in 
advance, how do you approach it, what are good dances to call?

I'm assuming that a workshop is impractical, so it's barn dances and maybe 
working up to a contra by the end?  Try to teach a swing?  Some advice I've 
gotten so far:

Band - can they play contras, am I DJing instead, if so what kind of music, 
trad or pop?
Floor - make sure it's big enough, get length, width, and surface
Sound system - what is it and is there a sound tech?
Duration - how long they'll want to dance
Dancers - how many, any experienced guests?
Special dances - first, parents, bouquet, last?
Will the bride and groom dance? (If not, nobody will)
Will there be alcohol? (one person suggested doubling the fee if there is)
Will many women be in high heels?

I welcome any advice!  My main goal in taking wedding gigs is recruiting new 
dancers to our local scene, if that matters.

Thanks,

--jh--

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[Callers] Re: calling weddings

[Tony Parkes via Contra Callers]

Hi, Joe…

Several folks have jumped in already, saying pretty much everything I would 
say. While there are many points of disagreement among callers, we seem to be 
of one mind on weddings.

A wedding is a barn dance. Circles, easy squares (if the numbers work out), 
whole-set longways (one couple active, e.g. Virginia Reel). No duple minors, no 
chains or right-and-lefts, no ultra-quick changes of facing direction. The only 
exception is if the bride and groom are contra dancers and some of the guests 
are, too. But even in that case, I would do mostly dances of one-nighter level, 
with maybe one or two contras “for those who know how” – and I would definitely 
not do the contras before the easier dances; it might well scare the other 
guests away from trying anything. Squares and contras, even fairly easy ones, 
look much harder to spectators than you might realize.

I don’t teach a buzz swing at one-nighters (including weddings), and seldom do 
I suggest a ballroom hold for the swing. I use elbow turns and/or two-hand 
turns, depending on the age mix (two-hand turns work better if there are wide 
disparities in height), and always with a walking step.

It sounds as if you’re wondering if a band hired separately can play for you. 
Be very, very clear about what you want; listen to a sample of the band well 
before the day. They may or may not want to work with you; they may or may not 
get the trad/32-measure idiom. Be willing to use recorded music if necessary.

Sound: I bring my own, but I know not all callers have a system. Again, be 
crystal clear about what you need.

Alcohol: I charge what the traffic will bear, booze or no booze. Weddings are 
work, regardless. I find that alcohol doesn’t make my job a lot harder if I 
keep the figures easy and keep everyone moving (so they sweat off the liquor).

High heels: While some women are willing to remove their shoes to dance 
(depending on how smooth/rough the floor is), my preference is for the 
invitation to make clear that there will be trad group dancing and that 
comfortable clothes and low heels are recommended.

I agree with those who said that recruitment should be the farthest thing from 
your mind.

Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(available now)


From: Joe Harrington via Contra Callers 
Sent: Monday, July 3, 2023 3:53 PM
To: Shared Weight Callers 
Subject: [Callers] calling weddings

Any advice for calling weddings? I've been asked to call my first one and I 
don't see a lot of wedding-specific advice online. What do you ask them in 
advance, how do you approach it, what are good dances to call?

I'm assuming that a workshop is impractical, so it's barn dances and maybe 
working up to a contra by the end?  Try to teach a swing?  Some advice I've 
gotten so far:

Band - can they play contras, am I DJing instead, if so what kind of music, 
trad or pop?
Floor - make sure it's big enough, get length, width, and surface
Sound system - what is it and is there a sound tech?
Duration - how long they'll want to dance
Dancers - how many, any experienced guests?
Special dances - first, parents, bouquet, last?
Will the bride and groom dance? (If not, nobody will)
Will there be alcohol? (one person suggested doubling the fee if there is)
Will many women be in high heels?

I welcome any advice!  My main goal in taking wedding gigs is recruiting new 
dancers to our local scene, if that matters.

Thanks,

--jh--

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[Callers] Re: Dances with balancing waves forward and backward?

[Tony Parkes via Contra Callers]

When I wrote Shadrack’s Delight 51 years ago (one of the first all-moving 
contras to gain wide acceptance among trad callers), I envisioned the wave 
balances as forward and back. Both of the balances are followed by hand turns 
halfway around, and I dislike the feel of a hand turn following a sideways 
balance (starting in either direction relative to the following turn). In my 
experience, most dancers do sideways balances in Shadrack, perhaps because 
they’re used to balancing sideways in dozens of other dances. I find that even 
when I specify a forward and back balance, many dancers don’t try it.

Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(available now)


From: Emily Addison via Contra Callers 
Sent: Thursday, June 29, 2023 10:07 PM
To: contracallers@lists.sharedweight.net
Subject: [Callers] Dances with balancing waves forward and backward?

Hi folks :)

As a dancer, I remember loving the feel of waves lines that balance forward and 
back. However, I don't have any dances that specifically call for that.

Might you have suggestions of dances that specifically call for Bal F or 
which often get modified for that feel of a balance?

Thank you!
:) Emily in Ottawa
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[Callers] Re: Wikipedia Dance Vandalism

[Tony Parkes via Contra Callers]

Hi, John…

The problem is that square dance history can’t really be separated into 
“traditional” and “MWSD.” MWSD grew out of certain forms of traditional 
squares, a step at a time, like the “word ladder” game in which you can turn 
WARM into COLD by changing one letter at a time, always using real words (WARM 
– WARD – WORD – CORD – COLD). Many aspects of MWSD – the club and federation 
structure, the insistence on couples, the series of lessons, the dress codes – 
were in place before the choreography had strayed very far from tradition. In 
other words, club callers in the mid-1950s were using a lot of traditional 
material along with stuff that was innovative at the time but that today’s club 
callers and dancers would dismiss as “traditional.”

Whenever MWSD advocates write history, they start not in the 1940s but in the 
1650s. They try to mention every form of European group dancing from that day 
to this, usually getting the details wrong. One state federation, arguing for 
the recognition of SD as the national folk dance, published a statement that 
“square dancing has been enjoyed in New Jersey since 1651” (the date of 
Playford’s first edition).

I suppose I’d be OK with separating trad and MW history, as artificial as that 
seems to me, if the MW people would agree to keep their hands off everything 
except how MW evolved from c. 1945 to now. We can’t just agree that 
pre-1940s/50s belongs on the Trad page and post-1940s/50s on the MW page, 
because traditional dancing (even leaving contras aside) has continued to grow 
and change alongside MWSD.

(Side note: Most of the current Trad SD page is my work. When I first became 
aware of Wikipedia, that page consisted of 2 or 3 sentences, beginning with 
“Traditional square dance is the form of square dance done in alternation with 
contra dance.”)

Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(available now)


From: John Sweeney via Contra Callers 
Sent: Friday, March 24, 2023 9:44 AM
To: 'Caller's discussion list' 
Subject: [Callers] Re: Wikipedia Dance Vandalism

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
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[Callers] Re: Wikipedia Dance Vandalism

[Tony Parkes via Contra Callers]

I’ve been very concerned that Wikipedia has so little square dance history, and 
what there is has been superficial and sometimes misleading/inaccurate.

From my viewpoint there are two snags to improving things:

1. I know (or am pretty sure of) a lot of things that I can’t cite sources for. 
One of Wiki’s taboos is original research; sources cited must be secondary, not 
primary. I’m steeped enough in SD history that a lot of what I could say would 
probably count as original research.

2. There are three Wikipedia articles on SD: “Modern western square dance”; 
“Traditional square dance”; and “Square dance”, which was originally intended 
to be very generic and to point readers to the other two articles for in-depth 
treatment. I’ve never decided in my own mind, let alone fostered any consensus, 
in which article any statements on history belong. I commented, some years ago, 
on the “Talk” pages of the SD articles, trying to get other folks’ opinions on 
how to organize the historical section(s); I never heard back from anyone. 
(What I wanted to avoid was a duplication of effort, particularly if the same 
historical events were treated differently on, say, the MWSD and Trad pages. 
Another Wiki rule is “neutral point of view.” I have deleted links to outside 
sources that explain traditional SD from a blatantly MWSD viewpoint.)

I’d love to see the Wiki articles improved, and more historical material added. 
But I’m not sure I’m the one to do it.

Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(available now)


From: Julian Blechner via Contra Callers 
Sent: Friday, March 24, 2023 9:12 AM
To: John Sweeney 
Cc: Caller's discussion list 
Subject: [Callers] Re: Wikipedia Dance Vandalism

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 
mailto: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 

[Callers] Re: Curious about a tune - what dance would go with it? - with longish pre-amble

[Tony Parkes via Contra Callers]

Katherine Kitching wrote:
> the bands I work with do not choose music based on the walk-through.  They 
> have a set-list already set for the evening when they come in the door.
When I am doing the walk through (which is more than a walk through in our 
community - before each dance a new figure or two are taught in a big teaching 
circle so it can take 5-7 minutes depending on the dance), the band is often in 
the kitchen having a tea break, or quietly talking amongst themselves.  I am 99 
percent sure they are not listening to me at all, and certainly not thinking 
about the specific dance and what will go well with it.

Kat, I hesitated to jump into this discussion until I saw the paragraph above 
(part of your response to the responses). I hesitated because I realize I’m one 
of the most privileged callers out there, living in the Boston area with access 
to dozens of skilled musicians, many of whom have played for dancing for 
decades and pride themselves on prioritizing dancers’ needs. It obviously won’t 
help you to tell you that you should insist on certain behavior from your local 
bands.

But. I do feel that any band that chooses to play for group dancing (square, 
contra, ECD…) should be willing to meet the caller halfway. I would have 
trouble taking seriously a band that presented me with only 8 tunes or medleys, 
insisted on choosing the order of play, and opted out of watching the 
walkthroughs.

You say you work with bands, plural. Would it be possible in your community to 
get the bands to agree to participate more in the process if they wish to 
continue playing for dances?

Called forms of dance are weird in that they’re the only performing art I can 
think of where artists are routinely expected to collaborate onstage with other 
artists they don’t necessarily practice with and may not even have met. Again, 
I’m aware of my privilege – my area is rich in musicians and I’m not desperate 
for contra gigs – but after a recent negative experience, I insist on approving 
the organizers’ choice of band before I agree to have my name used in 
publicity. If I’ve worked with or listened/danced to key members of the band, 
that’s usually enough to satisfy me. But I want to give the dancers the best 
evening possible, and I can’t do that with insensitive music.

Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(available now)


From: Katherine Kitching via Contra Callers 

Sent: Monday, March 20, 2023 8:13 PM
To: Jeff Kaufman ; Shared Weight Contra Callers 

Subject: [Callers] Re: Curious about a tune - what dance would go with it? - 
with longish pre-amble

Hey I wanted to thank everyone so much, who replied about the general issue of 
communicating with musicians and how important it is (or not) to match tunes to 
dances.

the comments that some of you have shared, including Jeff below, makes me 
realize a very important difference between the bands I am working with and (at 
least some?  all?) of the bands you are working with.

the bands I work with do not choose music based on the walk-through.  They have 
a set-list already set for the evening when they come in the door.
When I am doing the walk through (which is more than a walk through in our 
community - before each dance a new figure or two are taught in a big teaching 
circle so it can take 5-7 minutes depending on the dance), the band is often in 
the kitchen having a tea break, or quietly talking amongst themselves.  I am 99 
percent sure they are not listening to me at all, and certainly not thinking 
about the specific dance and what will go well with it.

So this is interesting! I think i'll reach out to the bands and ask if they 
are interested in taking an active role in tune selection.
If you have any suggestions on how I should do this, let me know.  Many of our 
musicians are not contra dancers so. will they even be able to do this? I 
am not sure.  And/or it might take some time?

For the folks who said it's best to let the band play what they want, I did 
want to ask - would you be satisfied as a caller if you called every dance for 
the entire year, to a tune that was selected by the band without them knowing 
what dance it was?

That is how i've been operating the past decade and i've found it so hit and 
miss.  personally I find sometimes having the wrong tune can really hamper the 
dancers' enjoyment of a dance.

For a recent example - we have occasionally danced Citronella Morning in my 
group - or some variant that includes the last half of the dance - -and it's 
always been a great crowd pleaser.  it's not an easy dance for our group - but 
when they get it, and they sink into the rhythm of the balances and turns, the 
joyous energy in the room is palpable.
I love calling it.
In my experience it works better with a jig - and that is the level the bands 
are currently at -they often (though not always) ask me if I want a reel or a 

[Callers] Re: Starting to call squares at contra dances

[Tony Parkes via Contra Callers]

Thanks for the kind words, Ridge. A minor correction: Ed Durlacher (who indeed 
influenced recreational square dancing to an astounding degree) died while I 
was still in grade school. It was his son Don, who inherited his Jones Beach 
summer series, that I danced to around 1970. I learned more about crowd 
psychology and working with first-timers from Don than from any other single 
caller, through a few one-on-one conversations but mostly through watching him 
teach and call.

There have been many excellent suggestions in this thread. I’ll add one: Learn 
from as many different sources as you can. Squares are much more dependent on 
the caller’s personality than contras are, and every caller has a unique style 
and favorite wordings. If you listen mainly to one caller, you’ll find yourself 
copying him or her, at least for a while. If you listen to several, you’ll 
absorb what you like about each of them. (“If you copy from one source, it’s 
plagiarism; if you copy from three or more, it’s research.”)

Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(available now)


From: Ridge Kennedy via Contra Callers 
Sent: Sunday, March 19, 2023 12:51 PM
To: Maia McCormick 
Cc: Shared Weight Contra Callers 
Subject: [Callers] Re: Starting to call squares at contra dances

Maia McCormick said:

On Sat, Mar 18, 2023 at 12:21 PM Maia McCormick via Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
 wrote:
After dancing to some of Lisa's Greenleaf's  squares at Beantown Stomp last 
weekend, I'm feeling inspired to add some to my repertoire. (To be clear, I'm 
looking for squares-for-contra-dancers, not MWSD squares.)

  1.  Any resources to recommend for someone learning to call squares?
You've received many excellent recommendations. Add to them Tony Parkes' dance 
collection books --- Shadrack's Delight and (I think) Son of Shadrack. They 
include squares that are highly contra dancer accessible. And since Tony can't 
toot his own horn, do get his book on square calling and do attend any dances 
he calls if possible. He danced on Long Island to  Ed Durlacher's calls --- 
author of Honor Your 
Partner
 and one of the leading lights of the huge post WWII square dance explosion. 
This was a pre-television era when square dances were staged in Central Park 
and thousands of people participated. He's your finest living link in this 
great tradition. (Pete met Toshi Seeger at the square dance in NYC).

Ted Sannella, in addition to starting the Ralph Page Legacy weekend, included 
the idea of publishing a syllabus with all the dances included. These syllabi, 
maintained over the years by David Smukler, are an extraordinary resource and 
include lots and lots of great square dance material/info. All are available 
online via the University of New Hampshire Library. (google search will find 
them)

Organize Dare to be Square: NYC and build your own caller education track into 
it.


  1.  Any advice to share, techniques to look into, things you wish you'd known 
when starting out / wish contra callers knew about squares?
"Laugh when you make a mistake," John Krumm circa 1995. Have fun and share your 
joy with your dancers. If anything goes wrong, roll it in a tight little ball 
and tuck it away in a pocket somewhere to think about later. Emotions are 
contagious. You want to spread happiness.

When you call squares, you're part of the band. This is super true with 
singers, but also when calling any square. You're the lead instrument. Your 
sound people should know to dial back the band and keep you in front in the mix.

No cards, phones, tablets, or other distractions allowed while you're calling a 
square. Know your material cold. Keep your attention reserved for your dancers 
and your musicians.

When calling for contra dancers, call to the music--not the dancers. If a 
square falls apart, don't watch it -- you can't fix it on the fly. If things go 
crazy all over the floor, laugh, square 'em up, and start up again.

  1.  Suggestions for callers to look up on YouTube (besides Lisa ofc) / fave 
videos?
On the dance history project site, do watch Tony calling the Merry Go Round.

  1.  Favorite dances that I should add to my box?

Many of Ted's dances can be tricky for contra dancers and tricky to teach. But 
Joyeux Quadrille is not.  You can dance it to the name tune per Ted's 
suggestion (a jig, btw), but done to southern reels with energy, it can bring 
down the house. Tony does a neat change-up that's easy to accomplish with the 
long lines to corner swing transition, alternating between ladies and gents 
with the allemandes (and you can throw other stuff in there--an opportunity for 
fun).

Tony's dances -- for starters, Star Breakdown, Left-Hand Star Breakdown, and 
Duck Through and Swing

Contra dancers like keepers -- where you end each time 

[Callers] Re: Starting to call squares at contra dances

[Tony Parkes via Contra Callers]

Another “must have” for callers interested in contra-style squares is Calling 
Traditional New England Squares by Ted Sannella (CDSS, 2005). Ted was a triple 
threat: caller, choreographer, and mentor to many budding callers from the 
1950s until his passing in 1995. The booklet comes with a CD of Ted calling 14 
different squares with improvised breaks, including two versions of his 
signature Merry-Go-Round. The text contains a clear, concise explanation of how 
a prompted square is constructed and an extensive discussion of breaks, with 
more than 80 examples. There are transcriptions of the Merry-Go-Round 
recordings, but not of the other squares, most of which are treated fully in 
Ted’s other books, Balance and Swing (CDSS, 1982) and Swing the Next (CDSS, 
1996).

Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(available now)


From: Maia McCormick via Contra Callers 
Sent: Saturday, March 18, 2023 12:21 PM
To: Shared Weight Contra Callers 
Subject: [Callers] Starting to call squares at contra dances

After dancing to some of Lisa's Greenleaf's  squares at Beantown Stomp last 
weekend, I'm feeling inspired to add some to my repertoire. (To be clear, I'm 
looking for squares-for-contra-dancers, not MWSD squares.)

  1.  Any resources to recommend for someone learning to call squares?
  2.  Any advice to share, techniques to look into, things you wish you'd known 
when starting out / wish contra callers knew about squares?
  3.  Suggestions for callers to look up on YouTube (besides Lisa ofc) / fave 
videos?
  4.  Favorite dances that I should add to my box?
Thanks in advance,
Maia
--
Maia McCormick (she/her)
917.279.8194
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[Callers] Re: Starting to call squares at contra dances

[Tony Parkes via Contra Callers]

A resource definitely worth exploring is David Millstone’s Square Dance History 
Project. I didn’t mention it in my first response because it may not be the 
easiest place to find specific types of dance video quickly, but it’s a must 
for anyone who loves squares and has a bit of free time to peruse.
www.squaredancehistory.org

Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(available now)


From: Maia McCormick via Contra Callers 
Sent: Saturday, March 18, 2023 12:21 PM
To: Shared Weight Contra Callers 
Subject: [Callers] Starting to call squares at contra dances

After dancing to some of Lisa's Greenleaf's  squares at Beantown Stomp last 
weekend, I'm feeling inspired to add some to my repertoire. (To be clear, I'm 
looking for squares-for-contra-dancers, not MWSD squares.)

  1.  Any resources to recommend for someone learning to call squares?
  2.  Any advice to share, techniques to look into, things you wish you'd known 
when starting out / wish contra callers knew about squares?
  3.  Suggestions for callers to look up on YouTube (besides Lisa ofc) / fave 
videos?
  4.  Favorite dances that I should add to my box?
Thanks in advance,
Maia
--
Maia McCormick (she/her)
917.279.8194
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[Callers] Re: Starting to call squares at contra dances

[Tony Parkes via Contra Callers]

Hi, Maia…

First, welcome to the family-of-intention of traditional callers who love 
squares. As you’ve seen, when chosen and presented well, they can appeal to a 
wide cross-section of today’s dancers.

Normally I’m averse to tooting my own horn, but in this case I think I have 
something that may address some of your needs. My recent book on squares (see 
my signature for link) contains:


  *   Chapters on technique, including timing & phrasing, use of voice, 
teaching and walkthroughs, working with music, calling breaks, adapting and 
creating material, and more
  *   A specific section on “selling” squares to contra dancers
  *   Call charts (like expanded index cards) for 50+ of my favorite 
time-tested squares and breaks
  *   Capsule reviews of most of the useful books on non-MWSD squares published 
since the 1920s (quite a few of them now available free online)
  *   A list of great recording callers since the 1950s (again, many recordings 
with calls are available free online)

Here’s my favorite YouTube clip of myself calling a fast square to mostly 
seasoned dancers (from the era when squares made up 30%–40% of a typical Boston 
evening):
https://www.youtube.com/watch?v=odWjMBAzGWQ

Also, look for several dozen squares from 6 callers at Dare To Be Square 2011 
on David Millstone’s “SquareDanceHistory” YouTube channel.

Here’s one of the things I’ve learned over the years:
If you’re presenting squares at a contra-dance evening – let’s say you’ve 
called 3 contras and a mixer so far, and you want to do 1 or 2 squares next. A 
square that on paper looks equivalent in difficulty to the dances you’ve just 
used will probably be perceived by the dancers as more difficult. It’s been 
hard for me to understand this, as I grew up with squares and always thought 
they were intrinsically easier than contras because the dancers have a home 
position they can return to if they get confused. But anything unfamiliar to 
dancers is going to throw them. And, due to a vicious cycle, most contra 
dancers have little or no exposure to squares.

The vicious cycle: Squares have fallen out of fashion in contra groups over the 
last 50 years. This means fewer top-tier callers are using them, and those 
callers are often pressured to use few if any. With fewer role models at the 
top, newer callers either don’t try squares at all or begin (quite normally) by 
not doing them nearly as well as their contras, and not well enough to please 
their dancers. (Often they choose squares that turn out to take too much 
teaching, or they play it safe and choose entry-level squares. I’ve heard 
hotshot contra dancers say that squares in general are too easy or too hard, 
depending on what they’ve been exposed to.) With dancer feedback being largely 
unfavorable, callers are discouraged from using squares at all, and so it goes.

Happily, a number of top-tier callers have managed to “sell” squares at 
contra-dance events. We’re not out of the woods yet, but I think the position 
has improved since the 1980s, when dancers routinely groaned or booed when a 
square was announced. I’m hoping that between the work of callers like Lisa and 
an awareness of the rich resources available (see my book), we can continue to 
spread the good word.

Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(available now)


From: Maia McCormick via Contra Callers 
Sent: Saturday, March 18, 2023 12:21 PM
To: Shared Weight Contra Callers 
Subject: [Callers] Starting to call squares at contra dances

After dancing to some of Lisa's Greenleaf's  squares at Beantown Stomp last 
weekend, I'm feeling inspired to add some to my repertoire. (To be clear, I'm 
looking for squares-for-contra-dancers, not MWSD squares.)

  1.  Any resources to recommend for someone learning to call squares?
  2.  Any advice to share, techniques to look into, things you wish you'd known 
when starting out / wish contra callers knew about squares?
  3.  Suggestions for callers to look up on YouTube (besides Lisa ofc) / fave 
videos?
  4.  Favorite dances that I should add to my box?
Thanks in advance,
Maia
--
Maia McCormick (she/her)
917.279.8194
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[Callers] Re: Contras for a Crowd that does not Swing

[Tony Parkes via Contra Callers]

Jerome Grisanti wrote:
> As I see it, one of the fun challenges of calling outside of a group's normal 
> activity is to play with those expectations, giving satisfaction in both 
> expected and surprising ways.

I’ve told this story before. Wherever I’ve been based, I’ve tried to give 
dancers material they weren’t getting from anyone else. When I lived in NYC and 
the prevailing genres were more-or-less traditional squares and international 
folk dances, I attempted to teach a few contras. It was like pulling teeth. I 
got all the same complaints about contras that hotshot contra dancers make now 
about squares: They’re too hard; they’re too easy; they take too long to set 
up. (When a group is used to one dance form, a single example of a different 
form _will_ take a long time to set up.)

When I moved to the Boston area, most American dance series were about half 
squares and half contras – a mix that I liked very much and still do when I can 
get it as a dancer. The squares were phrased in New England style, what 
outsiders sometimes call “quadrilles,” so I made sure to include a few squares 
from other regions (mid-Atlantic, southern, old western). As the proportion of 
contras in the mix grew and grew, I tried to include a minimum of two square 
sets (four figures) in an average evening – and got lots of flak for it. By 
now, the problem is that most contra dancers weren’t around in the 1970s; 
they’ve grown up on a steady diet of contras and think of squares as an 
_invasive_ species, whereas I think of them as an _endangered_ species.

I encourage you all to work at broadening your dancers’ horizons in whatever 
ways feel right to you, so long as you can do it without alienating them.

Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(available now)


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[Callers] Re: Contras for a Crowd that does not Swing

[Tony Parkes via Contra Callers]

Jerome, I assumed you were talking about calling contras to MWSDers. Apologies 
if you meant calling MWSD, which I have no experience with.

Tony Parkes
Billerica, Mass.
www.hands4.com<http://www.hands4.com/>
New book! Square Dance Calling: An Old Art for a New Century
(available now)


From: Rich Sbardella 
Sent: Tuesday, March 14, 2023 3:08 PM
To: Jerome Grisanti 
Cc: Tony Parkes ; Caller's discussion list 

Subject: Re: [Callers] Re: Contras for a Crowd that does not Swing

Jerome,

I call trade by after a square thru 3 often with no confusion.
The Sq Thru 3 has left them in a Trade By formation.

Here is a singing call figure I use to teach Trade By:
Hds F, Hds Sq 4
R Thru
Ps Thru, Trade By
Sq Thru 3, Trade By
Corner Swing, Promenade
The figure ends in a Corner Box so you have an Alle Left available in lieu of 
the Corner Swing.

Rich

On Tue, Mar 14, 2023 at 2:31 PM Jerome Grisanti 
mailto:jerome.grisa...@gmail.com>> wrote:
Tony (and Rich and others),

I'm just learning to call to MWSD dancers, and learning how to gauge what will 
work out of the box, what will work with a heads-up phrase, and what needs a 
little teach.

With that in mind, how do you think dancers would respond to "trade by" without 
a preceeding "pass thru," to maintain a single progression. The power of habits.

Jerome

On Tue, Mar 14, 2023, 1:57 PM Tony Parkes via Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
 wrote:
I’ve led several Intro to Contras sessions at National S/D Conventions. The 
first dance in the session was typically my Inflation Reel, with a Trade By 
added after the Pass Thru. (Trade By: If you’re facing someone, pass thru; if 
not, do a partner trade [like a California Twirl without hands]). This gives a 
double progression and means I don’t have to explain waiting at the ends or 
crossing over. I’ve always also used Shadrack’s Delight, which I wrote to 
appeal to traditional dancers and MWSDers alike.

For the most part, I’ve found that MWSDers quickly get into the groove of 
dancing to the phrase, as long as they’re in longways formation. (I tell them 
that contra dancing is “square dance basics with round dance timing.”) But the 
moment I put them in squares, with the hope of doing some of my favorite 
Lancers or other quadrille figures, they think they can “relax” and clip the 
timing.

Tony Parkes
Billerica, Mass.
www.hands4.com<http://www.hands4.com/>
New book! Square Dance Calling: An Old Art for a New Century
(available now)


From: Rich Sbardella via Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
Sent: Tuesday, March 14, 2023 12:29 PM
To: Caller's discussion list 
mailto:call...@sharedweight.net>>
Subject: [Callers] Contras for a Crowd that does not Swing

Friends,

I have been asked to lead an intro to contra dance session at a square dance 
convention.

I will have time to lead 3-4 contras, and I am looking for suggestions.
My main concern is that most modern square dancers do not swing, they simply 
twirl under.  With that in mind, I need contras which have no more than an 
eight count swing yet reflect the spirit of the modern contra scene.

One major difference between contra dance and MWSD is square dancers are not 
trained to dance to the phrase of the music.  I will most likely begin with a 
circle mixer to encourage a full 8 count swing and to emphasize dancing to the 
phrase.

I am not looking for contra dances with MWSD basics, but rather typical contra 
basics.  Any suggestions?  I can certainly find some among my collection, but 
perhaps there is a gem I might miss.

Thanks,
Rich Sbardella
Stafford, CT
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[Callers] Re: Contras for a Crowd that does not Swing

[Tony Parkes via Contra Callers]

I’ve led several Intro to Contras sessions at National S/D Conventions. The 
first dance in the session was typically my Inflation Reel, with a Trade By 
added after the Pass Thru. (Trade By: If you’re facing someone, pass thru; if 
not, do a partner trade [like a California Twirl without hands]). This gives a 
double progression and means I don’t have to explain waiting at the ends or 
crossing over. I’ve always also used Shadrack’s Delight, which I wrote to 
appeal to traditional dancers and MWSDers alike.

For the most part, I’ve found that MWSDers quickly get into the groove of 
dancing to the phrase, as long as they’re in longways formation. (I tell them 
that contra dancing is “square dance basics with round dance timing.”) But the 
moment I put them in squares, with the hope of doing some of my favorite 
Lancers or other quadrille figures, they think they can “relax” and clip the 
timing.

Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(available now)


From: Rich Sbardella via Contra Callers 
Sent: Tuesday, March 14, 2023 12:29 PM
To: Caller's discussion list 
Subject: [Callers] Contras for a Crowd that does not Swing

Friends,

I have been asked to lead an intro to contra dance session at a square dance 
convention.

I will have time to lead 3-4 contras, and I am looking for suggestions.
My main concern is that most modern square dancers do not swing, they simply 
twirl under.  With that in mind, I need contras which have no more than an 
eight count swing yet reflect the spirit of the modern contra scene.

One major difference between contra dance and MWSD is square dancers are not 
trained to dance to the phrase of the music.  I will most likely begin with a 
circle mixer to encourage a full 8 count swing and to emphasize dancing to the 
phrase.

I am not looking for contra dances with MWSD basics, but rather typical contra 
basics.  Any suggestions?  I can certainly find some among my collection, but 
perhaps there is a gem I might miss.

Thanks,
Rich Sbardella
Stafford, CT
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[Callers] Re: Mousetrap?

[Tony Parkes via Contra Callers]

Veering slightly off topic: the rhyme "Oranges and Lemons" figures prominently 
in George Orwell's 1984.

Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(available now)


-Original Message-
From: jim saxe via Contra Callers  
Sent: Friday, February 10, 2023 3:29 PM
To: Luke Donforth 
Cc: Caller's discussion list 
Subject: [Callers] Re: Mousetrap?

For what it's worth, that "Venus Flyt Trap" dance looks like a variant of an 
old singing game called "Oranges and Lemons." This description in Wikipedia

https://en.wikipedia.org/wiki/Oranges_and_Lemons#As_a_game

has children going under the arch(es) in pairs, and thus being caught two at a 
time, but other descriptions have them going in single file, so that a child 
who is caught sometimes has to wait for another to be caught before forming a 
new arch. See also this page and the videos it links to:


https://anneyoungau.wordpress.com/2020/04/08/g-is-for-game-childrens-oranges-and-lemons/

--Jim

> On Feb 10, 2023, at 9:28 AM, Luke Donforth via Contra Callers 
>  wrote:
> 
> Hello all, 
> 
> With the prompts from this list as a spur to memory, the original caller was 
> able to remember more of what they did. The dance is definitely similar to 
> tunnel mania, but the song in question was "Venus Flytrap" (not mousetrap). 
> He even sang the song for me (he apologizes for his recovering from covid 
> voice, but it's fine.)
> 
> Venus Flytrap
> Formation: single file circle facing in same direction counter clockwise
> Tunes: song of the same name
> Set up: 2 couples with arches on opposite sides of circle, everyone going 
> under the aches
> 
> verse 1
> I’m flying south, so south
> Down to the Carolinas
> On vacation to see what I can see
> 
> verse 2
> The sky is blue, so blue
> There’s a sweet smell in the air
> Oh nectar, sweet like a honey bee
> 
> chorus
> But it's a Venus Fly Trap
> Don’t be tempted, stay on track
> A Venus Fly Trap
> Watch out, or it goes snap!
> 
> All stand in a circle.  Choose two people to make an arch with both hands and 
> turn so one is outside the circle and the other is inside the circle.  When 
> the song starts, sing along, turn to the left, and move in a ring under the 
> arch. The arch is the Venus Fly Trap, so watch out..  On the word SNAP 
> the arch comes down and whoever is caught goes to the center of the circle. 
> Whenever there are two people in the center they can join to make another 
> arch and become a new Venus Fly Trap.  The more you play the more Venus Fly 
> Traps you’ll get, until everyone gets caught.



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[Callers] Re: Gentlespoons/Ladles (from Rompin' Stompin')

[Tony Parkes via Contra Callers]

Callers have been adapting material since the 1940s – and probably since the 
advent of calling in the early 1800s. It’s been done for many reasons, not all 
having to do with sensitivity. Sometimes a word or a phrase gets changed simply 
because it “doesn’t fit the caller’s mouth.”

I have at least one recording of Take a Peek (circa 1950) on which the caller 
says “back to the center and shake your feet.” Of course this doesn’t allow for 
a swing, unless the active couple sneaks one.

Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(available now)


From: Rich Sbardella via Contra Callers 
Sent: Friday, February 10, 2023 3:03 PM
To: Don Veino 
Cc: Jill Allen ; Shared Weight Contra Callers 

Subject: [Callers] Re: Gentlespoons/Ladles (from Rompin' Stompin')


In reference to Jill's question, what shall we do with squares like Push Pa, 
Shove Ma, I would continue to call them with slight variations.
For example, I would say, Push old Pa, Push Old Ma, Swing the ONE from 
Arkansas.  I would also explain that some of the language of traditional square 
is from a different era with different sensibilities than today.

An old call says, "Go round that couple, take a little peek, back to the center 
and swing your sweet".   It could easily be changed to, "...back to the center 
and swing so sweet."   The change is acceptable, but it may take away some of 
the dance's personality.

I think callers need to know their audience, and make adjustments on the fly.  
This is extremely difficult when we use memorized rhymes and phrases.

Rich
Stafford Springs, CT


On Fri, Feb 10, 2023 at 12:55 PM Don Veino via Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
 wrote:
(distribution trimmed back to those who voluntarily joined this conversation )

That's what I've done with the singing squares I've chosen to learn/program. In 
most cases it's trivial to make the change and fit the meter of the dance/tune, 
and the quality/helpfulness of the resultant calls usually improves.

In just one example from "Trail of the Lonesome Pine":

"Do si do, and then your corner you swing,
you swing her, you promenade her and sing."

easily becomes:

"Do si do, and then your corner you swing,
yeah, you swing, you promenade (th)'em and sing."

Larks and Robins generally fit where specifying a particular role is necessary. 
I never understood why a number of the singers had lines like "swing that 
corner lady, put her on the right and..." when the "lady" had agency of her own 
and "corner" was enough to distinguish the target.

Some singers will require quite a bit of rejiggering and may end up losing 
essence without a lot of clever lyrics revision. Others might not easily 
survive scrutiny with today's improved cultural sensitivity - where dated 
attitudes and cultural assumptions/biases are firmly embedded.

-Don


On Fri, Feb 10, 2023 at 11:22 AM Jill Allen via Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
 wrote:
Great discussion!

So, now what do we do with squares? One of my favorites, “Push pa, shove ma” 
(swing the girl from Arkansas) Darn… but I get it.

Should we rewrite the singing squares that don’t comply? It might not be too 
difficult. I would just like to know what some of you have experienced with 
your squares. Are these dances and their poetry part of our tradition, or are 
they dinosaurs? Could they be called with a disclaimer?

Jill Allen
Lawrence, KS
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[Callers] Re: Mousetrap?

[Tony Parkes via Contra Callers]

John, do you know when the Clarks wrote or published this? I learned it from 
Ted Sannella under the name of Triple Promenade, probably in the late 1970s or 
early 1980s. The sequence is identical, except that I’m pretty sure Ted had the 
ladies “trap” the gents when the music stopped (maybe assumed but not specified 
in the notation below). I can still hear Ted’s voice chanting “And the ladies 
arch and the gentlemen march” in time with French-Canadian reels. I’d always 
thought it was Ted’s version of a dance that must have been traditional 
somewhere; now I’m wondering whether the Clarks made it up out of whole cloth 
or adapted some older routine.

Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(available now)


From: John Sweeney via Contra Callers 
Sent: Friday, February 10, 2023 4:36 AM
To: 'Caller's discussion list' 
Subject: [Callers] Re: Mousetrap?

<>

Hi Luke,
  Here is one:
https://squaredancehistory.org/exhibits/show/dare-to-be-square-weekend-2011/item/730

  Here is my notation:
Silly Threesome (by Kenneth & Sibyl Clark)
Trios (LML) plus spare men

A1:Promenade (16) – Spare Men in the Middle
A2:On the Right: Arm Right Twice; On the Left: Arm Left Twice
B1: Promenade (16)
B2: Ladies make a Tunnel; All Men go through Tunnel until the music 
stops – Form new Trios
Alt A2s: Hey, Basket, Right Hand High Left Hand Low, etc.

Larry Edelman (the one in the video):
A1:Promenade (16) – Spares in the Middle
A2:On the Right: Allemande Right; On the Left: Allemande Left
  On the Right: Dosido
B1: Ladies make a Tunnel; All REVERSE and go through Tunnel until the 
music stops – Form new Trios
B2: Basket Swing – open to a line with someone new in the middle


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: Luke Donforth via Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
Sent: 09 February 2023 22:33
To: Caller's discussion list 
mailto:call...@sharedweight.net>>
Subject: [Callers] Mousetrap?

Hello all,

I've been asked back to a family dance I did at a camp last summer. When I was 
there last year, one of the kids said "are we going to do Mousetrap?!", a dance 
they remembered from a previous year with the prior caller.

I've tried to find it, but am having no luck. The previous caller said:
Oh, it's been years...  Its a singing game, but I can't resurrect the 
words/melody at the moment - don't have it written down or recorded. Kind of 
like Ninepin square dance, where the band needs to stop playing on cue.  
Everyone's in a circle single file walking under arches - 2 to start, then 
doubled each time, those who are caught (i.e. the 'mousetrap') when the music 
stops make the arches, and the music resumes, until there's more arches than 
people on the line.

But that's all they've got. Anyone know this one, possibly under another name?

Thanks!
Luke
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[Callers] Re: Gentlespoons/Ladles (from Rompin' Stompin')

[Tony Parkes via Contra Callers]

Thanks, Jeff. It helps to hear this from an organizer of (IMX) one of the more 
avant-garde dance series.

Tony

From: Jeff Kaufman 
Sent: Thursday, February 9, 2023 10:44 AM
To: Tony Parkes 
Cc: Ridge Kennedy ; Shared Weight Contra Callers 

Subject: Re: [Callers] Re: Gentlespoons/Ladles (from Rompin' Stompin')

Hi Tony,

As someone who helps organize a Larks/Robins dance, I think it's completely 
fine for the caller to mention during the workshop that the Lark role often has 
a bit of leading and the Robin a bit of following.  It's an accurate 
description, and some dancers will come in with a preference, and this helps 
them figure out what they might prefer.

Jeff

PS: I'd quibble a bit with the "left over from an earlier day".  I think the 
increase in communities really practicing "anyone can dance any role" has led 
to a small increase in the relative amount of leading between Larks and Robins.


On Thu, Feb 9, 2023 at 10:35 AM Tony Parkes via Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
 wrote:
Ridge’s point about ballroom vs. symmetrical swings is related to an issue that 
I have about the trend toward de-gendered roles. I haven’t said much about this 
publicly, as I hesitate to appear to be either on the “wrong” side of a 
controversy or unwilling to listen and possibly change my mind.

Many contra series provide a 20-30 minute teaching session before each dance 
event. There’s a limit to what can be conveyed to a first-timer in such a brief 
session, but obviously it’s essential to explain the two roles and what 
differentiates one from the other. Fine.

Many contra series have adopted “larks/robins” as their standard terms for the 
roles. Also fine.

But some series – I don’t know how many – have instructed their teachers not to 
indicate in any way which role is which with respect to either male/female or 
leading/following.

This, I submit, is a disservice to new dancers as long as the contra dance 
repertoire includes (a) an asymmetrical swing position and/or (b) moves (e.g. 
courtesy turns and “official” turn-unders) where one role very often leads the 
other (and a reverse lead is extremely rare).

I get that it’s seen as desirable to allow new dancers to assume the role of 
their choice, without regard to gender – without the stigma of doing a part 
associated with a gender other than their own. But IMO that works only if the 
two roles are truly equal in the physical movements required and the physical 
sensations experienced. There is some element of leading and following in 
present-day contra moves, no matter if it’s vestigial or seen as something to 
work toward extinguishing. I feel that to be fair and consistent, the contra 
world should either do away with the asymmetrical moves (not likely) or give 
new folks the option of choosing to lead or follow.

At a teaching session, I’m inclined to say something like “The two roles are 
fairly equal, but there’s a tiny bit of leading and following left over from an 
earlier day. If you’re more comfortable with leading, I suggest you start as a 
lark; if you’re more comfortable being led, try starting as a robin.” I fail to 
see the problem with this.

As an aside, leading (sorry) into another can of worms (any hungry robins 
about?), I’m a bit nervous about teaching newbies that a good dancer learns 
both roles and that the ability to swap roles during a number is “a 
consummation devoutly to be wished.” I have no philosophical quarrel with this, 
but it inevitably widens the gap between what a newbie knows / can do and what 
one must know / be able to do to survive at a mostly-experienced dance. That 
gap has been widening over the last couple of decades anyway, as the list of 
accepted contra basics has grown from 12-15 to the 30s. But I’ve said enough 
for now.

Tony Parkes
Billerica, Mass.
www.hands4.com<http://www.hands4.com/>
New book! Square Dance Calling: An Old Art for a New Century
(available now)


From: Ridge Kennedy via Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
Sent: Thursday, February 9, 2023 9:52 AM
To: Shared Weight Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
Subject: [Callers] Re: Gentlespoons/Ladles (from Rompin' Stompin')

Dear All,

I have thought a lot about the nomenclature issues. I too went from ladies to 
women and back to ladies, worked with armbands and bare arms, leaders and 
followers, larks and robins, and have lapsed almost accidentally into 
positional calling out of an abundance of trying not to say the wrong thing.

Yet, for all the talk about the talk, there remains, for me, a big problem in 
the actual dancing.

"Comfort" and "comfortable" and words like that can be found in abundance in 
the charters, mission statements, and announcements that dance groups publish 
on their websites and read at dances. I'm in full agreement -- anyone who 
attends a dance should feel safe and comf

[Callers] Re: Gentlespoons/Ladles (from Rompin' Stompin')

[Tony Parkes via Contra Callers]

To be clear, I’m not advocating the use of “lead/follow” anywhere but in the 
preliminary session (or, if there is no session, in an experienced dancer 
briefing a first-timer friend on the way in). Like it or not, our heritage 
includes a few asymmetrical moves, and I think it’s more helpful to newbies to 
point out the asymmetry than to pretend it’s not there.

(I’m aware that some folks enjoy doing what an old-timer would call a reverse 
lead or a back-lead, with the robin leading the lark. But I believe that in 
practice it’s still relatively rare.)

Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(available now)


From: John Sweeney via Contra Callers 
Sent: Thursday, February 9, 2023 10:43 AM
To: 'Shared Weight Contra Callers' 
Subject: [Callers] Re: Gentlespoons/Ladles (from Rompin' Stompin')

I agree completely with Tony, except…

I don’t think it is a good idea to use the terms “leader” and “follower”.

The only leader in the room is the caller.

For flashy moves either person can briefly lead another – e.g. twirling the end 
person as you go Down the Hall in Lines of Four. That is gender-independent.

For much more on the subject please see: 
http://contrafusion.co.uk/LeadFollow.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
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[Callers] Re: Gentlespoons/Ladles (from Rompin' Stompin')

[Tony Parkes via Contra Callers]

I get the impression that “men/ladies” is a common set of terms in the UK. I 
believe it’s less commonly seen as acceptable here in the US, as the two words 
are not parallel. In the early days of the Second Feminist Movement (mainly the 
1970s) I seem to recall feminists objecting to the common practice of saying 
“ladies” rather than “women,” on the grounds that it downplayed their biology 
and hid them behind a mask of gentility. (This may be behind the objection of 
some female dancers and callers to the use of “ladies” even in conjunction with 
“gents.”) Of course “gents/ladies” and “men/women” are the parallel sets among 
commonly used terms. (At least “men/girls” is almost never heard these days.)

Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(available now)


From: John Sweeney via Contra Callers 
Sent: Thursday, February 9, 2023 10:33 AM
To: 'Shared Weight Contra Callers' 
Subject: [Callers] Re: Gentlespoons/Ladles (from Rompin' Stompin')

I also have many male dancers who don’t want to do ballroom-hold swings with 
other men.

I always recommend the Double Allemande Swing: 
https://youtu.be/Ue0yCtjjbGs?t=107

I have offered this hold to countless men and ladies on both sides of the 
Atlantic and it always works easily and well.

BTW When relevant I use Men and Ladies – I think the words are much clearer 
than the alternative gendered terms.

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
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[Callers] Re: Gentlespoons/Ladles (from Rompin' Stompin')

[Tony Parkes via Contra Callers]

t;>
>> If it matters, my dance community is in a progressive/liberal area, so
>> calling styles here might be different than in other places.
>>
>> Bree Kalb
>> Carrboro, NC
>>
>> On Wed, Feb 8, 2023 at 8:18 PM Jacob or Nancy Bloom via Contra Callers
>> mailto:contracallers@lists.sharedweight.net>>
>>  wrote:
>>>
>>> At the Ralph Page Legacy day last month, Chrissy Fowler did a session in
>>> which she called dances as she called them at different times in her
>>> career.  In it, she talked about how, at one point, she and other female
>>> callers were insisting on the term "women" because they weren't ladies,
>>> and then several years later they were insisting on the term "ladies"
>>> because that was understood to be the name of a role.
>>>
>>> I can't give a year when it happened, but I do believe I remember a time
>>> when at least some callers were making it explicitly clear that the terms
>>> Gents and Ladies referred to roles, and anybody could dance either role.
>>>
>>> Jacob
>>>
>>>
>>> On Wed, Feb 8, 2023, 2:29 PM Tony Parkes via Contra Callers
>>> mailto:contracallers@lists.sharedweight.net>>
>>>  wrote:
>>>>
>>>> I believe it’s in Myrtle Wilhite’s Lullaby of the Swing and other contra
>>>> dances, tunes, waltzes, and essays (Madison, WI, 1993). I can’t lay my
>>>> hand on my copy at the moment, but perhaps someone else has one.
>>>>
>>>>
>>>>
>>>> Tony Parkes
>>>>
>>>> Billerica, Mass.
>>>>
>>>> www.hands4.com<http://www.hands4.com/>
>>>>
>>>> New book! Square Dance Calling: An Old Art for a New Century
>>>>
>>>> (available now)
>>>>
>>>>
>>>>
>>>>
>>>>
>>>> From: Mary Collins mailto:native...@gmail.com>>
>>>> Sent: Wednesday, February 8, 2023 2:11 PM
>>>> To: Jeff Kaufman 
>>>> mailto:j...@alum.swarthmore.edu>>
>>>> Cc: Tony Parkes mailto:t...@hands4.com>>; Joe Harrington
>>>> mailto:contradancer...@gmail.com>>; 
>>>> contracallers@lists.sharedweight.net<mailto:contracallers@lists.sharedweight.net>
>>>> Subject: Re: [Callers] Re: Gentlespoons/Ladles (from Rompin' Stompin')
>>>>
>>>>
>>>>
>>>> Jeff, me too...if you find it, share please.
>>>>
>>>>
>>>>
>>>> mary
>>>>
>>>> "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 Wed, Feb 8, 2023 at 9:58 AM Jeff Kaufman via Contra Callers
>>>> mailto:contracallers@lists.sharedweight.net>>
>>>>  wrote:
>>>>>
>>>>> Aside: does anyone have a copy of the "I am not a lady" essay?  I'd be
>>>>> interested to read it.
>>>>>
>>>>>
>>>>>
>>>>> Jeff
>>>>>
>>>>>
>>>>>
>>>>> On Wed, Feb 8, 2023 at 9:54 AM Tony Parkes via Contra Callers
>>>>> mailto:contracallers@lists.sharedweight.net>>
>>>>>  wrote:
>>>>>>
>>>>>> Joe Harrington wrote:
>>>>>>
>>>>>>
>>>>>>
>>>>>> > When I started dancing in the late 1980s… Callers were taking the
>>>>>> > revolutionary step of not calling "men" and "women" but rather using
>>>>>> > "ladies" and "gents", to signal that switching roles was ok, since
>>>>>> > nobody referred to themselves as a "lady" or a "gent" in casual
>>>>>> > conversation.
>>>>>>
>>>>>>
>>>>>>
>>>>>> Where was this, Joe? And are you talking about contra callers (rather
>>>>>> than ECD)? I can only speak about the NYC area in the 1960s and early
>>>>>> ’70s, and New England starting in the late ’60s and continuing to the
>>>>>> pr

[Callers] Re: Gentlespoons/Ladles (from Rompin' Stompin')

[Tony Parkes via Contra Callers]

, so
I guess things are better now??

Whew. Change is hard.

On 2/9/23, Peghesley via Contra Callers
mailto:contracallers@lists.sharedweight.net>>
 wrote:
> Bree, I’m making the same change as well and am calling without reference to
> role and don’t need bird terms. Louise Siddons’ position is a compelling
> one.
>
> Peg Hesley
> www.peghesley.com<http://www.peghesley.com/>
>
> Sent from my iPhone using voice recognition
>
>> On Feb 8, 2023, at 7:04 PM, Bree Kalb via Contra Callers
>> mailto:contracallers@lists.sharedweight.net>>
>>  wrote:
>>
>> 
>> I made the same changes Chrissy did and for the same reason.  I think it
>> was 4-5 years ago when I switched from M and W to Gents and Ladies.  And
>> it seems to me that almost all the local callers did the same.
>>
>> ( Now I’m calling without reference to gender or role. Louise Siddons
>> booklet “Dance the Whole Dance” from CDSS describes well what many of us
>> are learning to do.)
>>
>> If it matters, my dance community is in a progressive/liberal area, so
>> calling styles here might be different than in other places.
>>
>> Bree Kalb
>> Carrboro, NC
>>
>> On Wed, Feb 8, 2023 at 8:18 PM Jacob or Nancy Bloom via Contra Callers
>> mailto:contracallers@lists.sharedweight.net>>
>>  wrote:
>>>
>>> At the Ralph Page Legacy day last month, Chrissy Fowler did a session in
>>> which she called dances as she called them at different times in her
>>> career.  In it, she talked about how, at one point, she and other female
>>> callers were insisting on the term "women" because they weren't ladies,
>>> and then several years later they were insisting on the term "ladies"
>>> because that was understood to be the name of a role.
>>>
>>> I can't give a year when it happened, but I do believe I remember a time
>>> when at least some callers were making it explicitly clear that the terms
>>> Gents and Ladies referred to roles, and anybody could dance either role.
>>>
>>> Jacob
>>>
>>>
>>> On Wed, Feb 8, 2023, 2:29 PM Tony Parkes via Contra Callers
>>> mailto:contracallers@lists.sharedweight.net>>
>>>  wrote:
>>>>
>>>> I believe it’s in Myrtle Wilhite’s Lullaby of the Swing and other contra
>>>> dances, tunes, waltzes, and essays (Madison, WI, 1993). I can’t lay my
>>>> hand on my copy at the moment, but perhaps someone else has one.
>>>>
>>>>
>>>>
>>>> Tony Parkes
>>>>
>>>> Billerica, Mass.
>>>>
>>>> www.hands4.com<http://www.hands4.com/>
>>>>
>>>> New book! Square Dance Calling: An Old Art for a New Century
>>>>
>>>> (available now)
>>>>
>>>>
>>>>
>>>>
>>>>
>>>> From: Mary Collins mailto:native...@gmail.com>>
>>>> Sent: Wednesday, February 8, 2023 2:11 PM
>>>> To: Jeff Kaufman 
>>>> mailto:j...@alum.swarthmore.edu>>
>>>> Cc: Tony Parkes mailto:t...@hands4.com>>; Joe Harrington
>>>> mailto:contradancer...@gmail.com>>; 
>>>> contracallers@lists.sharedweight.net<mailto:contracallers@lists.sharedweight.net>
>>>> Subject: Re: [Callers] Re: Gentlespoons/Ladles (from Rompin' Stompin')
>>>>
>>>>
>>>>
>>>> Jeff, me too...if you find it, share please.
>>>>
>>>>
>>>>
>>>> mary
>>>>
>>>> "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 Wed, Feb 8, 2023 at 9:58 AM Jeff Kaufman via Contra Callers
>>>> mailto:contracallers@lists.sharedweight.net>>
>>>>  wrote:
>>>>>
>>>>> Aside: does anyone have a copy of the "I am not a lady" essay?  I'd be
>>>>> interested to read it.
>>>>>
>>>>>
>>>>>
>>>>> Jeff
>>>>>
>>>>>
>>>>>
>>>>> On Wed, Feb 8, 2023 at 9:54 AM Tony Parkes via Contra Callers
>>>>> mailto:contracallers@lists.sh

[Callers] Re: Gentlespoons/Ladles (from Rompin' Stompin')

[Tony Parkes via Contra Callers]

I believe it’s in Myrtle Wilhite’s Lullaby of the Swing and other contra 
dances, tunes, waltzes, and essays (Madison, WI, 1993). I can’t lay my hand on 
my copy at the moment, but perhaps someone else has one.

Tony Parkes
Billerica, Mass.
www.hands4.com<http://www.hands4.com/>
New book! Square Dance Calling: An Old Art for a New Century
(available now)


From: Mary Collins 
Sent: Wednesday, February 8, 2023 2:11 PM
To: Jeff Kaufman 
Cc: Tony Parkes ; Joe Harrington ; 
contracallers@lists.sharedweight.net
Subject: Re: [Callers] Re: Gentlespoons/Ladles (from Rompin' Stompin')

Jeff, me too...if you find it, share please.

mary
"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 Wed, Feb 8, 2023 at 9:58 AM Jeff Kaufman via Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
 wrote:
Aside: does anyone have a copy of the "I am not a lady" essay?  I'd be 
interested to read it.

Jeff

On Wed, Feb 8, 2023 at 9:54 AM Tony Parkes via Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
 wrote:
Joe Harrington wrote:

> When I started dancing in the late 1980s… Callers were taking the 
> revolutionary step of not calling "men" and "women" but rather using "ladies" 
> and "gents", to signal that switching roles was ok, since nobody referred to 
> themselves as a "lady" or a "gent" in casual conversation.

Where was this, Joe? And are you talking about contra callers (rather than 
ECD)? I can only speak about the NYC area in the 1960s and early ’70s, and New 
England starting in the late ’60s and continuing to the present. In both 
regions, square/contra callers (contras were a subcategory of square dance 
until around 1975) universally used “gents/ladies.” (I believe ECD teachers 
have always used “men/women,” presumably emulating Playford and Cecil Sharp.) 
AFAIK, northeastern callers pretty consistently used “gents/ladies” until some 
of them started to move away from gender-related terms. Tolman and Page’s 
Country Dance Book (1937) uses “gents/ladies,” as do most of the other standard 
American dance books from the 1900s to the 1950s (a few, aimed at 
schoolteachers, use “boys/girls”).

I know of no region where callers changed from “men/women” to “gents/ladies.” I 
know that some callers, beginning I think in the ’80s, changed from 
“gents/ladies” to “men/women,” feeling that “gentlemen” and “ladies” smacked of 
classism. (One female caller, in an essay titled “I am not a lady,” requested 
that other callers not use her contra compositions if they adhered to 
“gents/ladies.”) As an amateur (= lover) of dance history, I would like to know 
about past changes of which I was unaware.

Tony Parkes
Billerica, Mass.
www.hands4.com<http://www.hands4.com/>
New book! Square Dance Calling: An Old Art for a New Century
(available now)

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[Callers] Re: Gentlespoons/Ladles (from Rompin' Stompin')

[Tony Parkes via Contra Callers]

In exploring the history of modern so-called western square dancing (“MWSD”), 
it’s important to bear this in mind: MWSD was not invented as a conscious 
departure from other styles, but evolved gradually out of traditional western 
dancing between the mid-to-late 1940s and the mid-1970s.

The visible attributes of MWSD – the structure of clubs and federations, the 
dress code, lessons as a prerequisite to club membership, the married couple as 
the norm – were in place by the early 1950s, when most callers were still using 
mostly traditional material. In a reflection of the wider American culture of 
the era, women were often referred to as “girls” or “gals,” but “ladies” was 
the default. Men were always “gents.”

To the best of my knowledge and recollection, it wasn’t until the calls “run,” 
“trade,” “fold,” and “circulate” were introduced – all in the mid-1960s – that 
“boys/girls” became more common than “ladies/gents.” I note that “girls trade” 
isn’t a whole lot easier to say than “ladies trade,” so there may have been one 
or more other factors behind the shift. But there definitely was a shift, and 
it didn’t happen until people had been square dancing in clubs for about 20 
years.

Sources, apart from my own memory: Monthly issues of Sets in Order and American 
Squares, along with the Sets in Order Yearbooks – all of which are available 
online.

Tony Parkes
Billerica, Mass.
www.hands4.com<http://www.hands4.com/>
New book! Square Dance Calling: An Old Art for a New Century
(available now)


From: Jerome Grisanti 
Sent: Wednesday, February 8, 2023 12:20 PM
To: Tony Parkes 
Cc: Joe Harrington ; 
contracallers@lists.sharedweight.net
Subject: Re: [Callers] Re: Gentlespoons/Ladles (from Rompin' Stompin')

Tony,

On a side note, do you happen to know how and when modern western square dance 
callers adopted the "boys/girls" nomenclature that is now common? Did they ever 
use ladies/gents?

— Jerome Grisanti

On Wed, Feb 8, 2023, 9:55 AM Tony Parkes via Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
 wrote:
Joe Harrington wrote:

> When I started dancing in the late 1980s… Callers were taking the 
> revolutionary step of not calling "men" and "women" but rather using "ladies" 
> and "gents", to signal that switching roles was ok, since nobody referred to 
> themselves as a "lady" or a "gent" in casual conversation.

Where was this, Joe? And are you talking about contra callers (rather than 
ECD)? I can only speak about the NYC area in the 1960s and early ’70s, and New 
England starting in the late ’60s and continuing to the present. In both 
regions, square/contra callers (contras were a subcategory of square dance 
until around 1975) universally used “gents/ladies.” (I believe ECD teachers 
have always used “men/women,” presumably emulating Playford and Cecil Sharp.) 
AFAIK, northeastern callers pretty consistently used “gents/ladies” until some 
of them started to move away from gender-related terms. Tolman and Page’s 
Country Dance Book (1937) uses “gents/ladies,” as do most of the other standard 
American dance books from the 1900s to the 1950s (a few, aimed at 
schoolteachers, use “boys/girls”).

I know of no region where callers changed from “men/women” to “gents/ladies.” I 
know that some callers, beginning I think in the ’80s, changed from 
“gents/ladies” to “men/women,” feeling that “gentlemen” and “ladies” smacked of 
classism. (One female caller, in an essay titled “I am not a lady,” requested 
that other callers not use her contra compositions if they adhered to 
“gents/ladies.”) As an amateur (= lover) of dance history, I would like to know 
about past changes of which I was unaware.

Tony Parkes
Billerica, Mass.
www.hands4.com<http://www.hands4.com/>
New book! Square Dance Calling: An Old Art for a New Century
(available now)

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[Callers] Re: Gentlespoons/Ladles (from Rompin' Stompin')

[Tony Parkes via Contra Callers]

Joe Harrington wrote:

> When I started dancing in the late 1980s… Callers were taking the 
> revolutionary step of not calling "men" and "women" but rather using "ladies" 
> and "gents", to signal that switching roles was ok, since nobody referred to 
> themselves as a "lady" or a "gent" in casual conversation.

Where was this, Joe? And are you talking about contra callers (rather than 
ECD)? I can only speak about the NYC area in the 1960s and early ’70s, and New 
England starting in the late ’60s and continuing to the present. In both 
regions, square/contra callers (contras were a subcategory of square dance 
until around 1975) universally used “gents/ladies.” (I believe ECD teachers 
have always used “men/women,” presumably emulating Playford and Cecil Sharp.) 
AFAIK, northeastern callers pretty consistently used “gents/ladies” until some 
of them started to move away from gender-related terms. Tolman and Page’s 
Country Dance Book (1937) uses “gents/ladies,” as do most of the other standard 
American dance books from the 1900s to the 1950s (a few, aimed at 
schoolteachers, use “boys/girls”).

I know of no region where callers changed from “men/women” to “gents/ladies.” I 
know that some callers, beginning I think in the ’80s, changed from 
“gents/ladies” to “men/women,” feeling that “gentlemen” and “ladies” smacked of 
classism. (One female caller, in an essay titled “I am not a lady,” requested 
that other callers not use her contra compositions if they adhered to 
“gents/ladies.”) As an amateur (= lover) of dance history, I would like to know 
about past changes of which I was unaware.

Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(available now)

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[Callers] Re: ChatGBT

[Tony Parkes via Contra Callers]

AI, CARAMBA!

Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(available now)


From: Jerome Grisanti via Contra Callers 
Sent: Sunday, January 29, 2023 8:00 PM
To: Charles Abell 
Cc: contracallers@lists.sharedweight.net
Subject: [Callers] Re: ChatGBT

Everyone is commenting on the AI, but what about the A2, and the BI and B2?

(NOTE: This pun may not work in every typeface).

Jerome Grisanti
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[Callers] Re: next steps between barn dance & contra, focus on fun figures

[Tony Parkes via Contra Callers]

David Harding wrote:

> I'd add a chain with a courtesy turn long before a R through with a 
> courtesy turn.

Me too. I’ve been saying for years that RLT is the hardest move for new 
dancers. It’s a compound move: You go straight and then turn, and you turn in a 
way you almost certainly didn’t anticipate. If you’re in an area that gives 
right hands when crossing, there’s the added danger of holding on too long and 
getting swiveled to face back the way you came.

It can help to call for a half promenade first – either as part of a dance or 
simply as a teaching technique during a walkthrough – and then modify it into a 
RLT. In any case, make sure the dancers know they’ll end up trading places with 
the opposite couple.

As for chains, I’ve found that having couples do a courtesy turn from a 
standing start (side by side) doesn’t give them enough idea of what the second 
half of the chain will feel like. Half a century ago, I saw Don Durlacher 
(working with hundreds of new and casual dancers at Jones Beach) teach the 
courtesy turn in a square by having all four ladies go to the center and stand 
back to back, then having everyone give left hand to partner and complete the 
turn. I’ve used something like this in various formations.
Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(available now)

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[Callers] Re: Dances with fewer swings

[Tony Parkes via Contra Callers]

Some of my favorite unequal dances:

Partner swing only:
Dancing Sailors (Ed Shaw & Al Olson - turn contra corners, then hey with second 
corners)
Lamplighter's Hornpipe (19th c., modern reconstruction)
Nova Scotian (Maurice Hennigar & Ralph Page - uses the square dance figure 
Right Hand High, Left Hand Low)

No swings:
British Sorrow (19th c. manuscript, as reconstructed by Ralph Page)
Long Valley (Don Armstrong - I like the duple version)
Petronella (actives-only or 4-person version)
Sackett's Harbor (one of the busiest-feeling no-swing contras)


Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(available now)

-Original Message-
From: Jonathan Sivier via Contra Callers  
Sent: Wednesday, November 23, 2022 1:06 PM
To: Caller's discussion list 
Subject: [Callers] Re: Dances with fewer swings

I've been trying to do some of the dances that were popular when I first 
started contra dance in the late 1980's.  Most evenings would include unequal 
dances where the 1's were the active couple and the 2's were inactive.  These 
dances included figures that have been neglected of late.  Like 1's down the 
middle and back and cast off with the 2's, along with chains and rights and 
lefts over and back.  We just don't see dances like that done very often any 
more.  While they all had swings my impression is that they had fewer swings 
than many of the dances today.

A few examples are:

Anne’s a Bride Tonight by Dillon Bustin
Aston Polka Contra by John Findlay
Blackthorn Reel by Roger Knox
Broken Sixpence by Don Armstrong (one of my favorite dances) etc.

Jonathan




On 11/23/2022 10:05 AM, Jerome Grisanti via Contra Callers wrote:
> I second Lisa's idea, with the added note that such choreography will likely 
> face some resistance if it's not sold well. So I encourage fun and creative 
> choreography that will outweigh the perceived loss of value of dances with 
> fewer swings.
> 
> We might reinvigorate ideas from old square-dance figures (lady/lark around 
> two, gent, robin drop through) and from English dance (cast and lead, set and 
> turn single). Selling meaning to explore the fun and connective elements in 
> these figures, rather than seeing them as placeholders. I'm sure there are 
> many more ideas and I'm interested in them.
> 
> Jerome
> 
> On Wed, Nov 23, 2022, 10:18 AM Lisa Sieverts via Contra Callers 
>  > wrote:
> 
> At the risk of derailing this conversation, ah, I definitely am derailing 
> it so will change the subject line.
> 
> I’d like to see new COVID-aware choreography with fewer swings. If 
> swinging is perhaps the most dangerous thing we do while dancing, I’d like to 
> see some new dances that emphasize partner swings and de-emphasize neighbor 
> swings, and at least some dances without any swings.
> 
> I’m intrigued by the idea that dances without swings open up 32 beats of 
> opportunity for new choreography.
> 
> Lisa Sieverts
> 603-762-0235
> l...@lisasieverts.com 
> 
> On 23 Nov 2022, at 9:30, Jeff Kaufman via Contra Callers wrote:
> 
>  > "during the average contra evening, you will spend approximately 30 
> minutes
>  > swinging"
>  >
>  > Tangent: I thought "that can't be right" but a little playing with 
> numbers
>  > and I think it is.  My back of the envelope: guess ~12 dances, each ~17
>  > times through, with ~20 beats of swinging per dance.  That's 4k beats 
> of
>  > swinging, which at 118bpm is 35min.  Another way to think of it is 
> that in
>  > a 3hr evening half of your time is dancing and a third of that is 
> swinging.
>  >
>  > Jeff
>  >
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> 
> 
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[Callers] Re: Dances with fewer swings

[Tony Parkes via Contra Callers]

And of course there are dozens of contras written before the Great Revival 
(roughly 1965-present), when swinging wasn’t considered essential to a good 
dance. Money Musk, anyone?

Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(available now)

From: Jerome Grisanti via Contra Callers 
Sent: Wednesday, November 23, 2022 11:05 AM
To: Lisa Sieverts 
Cc: Caller's discussion list 
Subject: [Callers] Re: Dances with fewer swings

I second Lisa's idea, with the added note that such choreography will likely 
face some resistance if it's not sold well. So I encourage fun and creative 
choreography that will outweigh the perceived loss of value of dances with 
fewer swings.

We might reinvigorate ideas from old square-dance figures (lady/lark around 
two, gent, robin drop through) and from English dance (cast and lead, set and 
turn single). Selling meaning to explore the fun and connective elements in 
these figures, rather than seeing them as placeholders. I'm sure there are many 
more ideas and I'm interested in them.

Jerome

On Wed, Nov 23, 2022, 10:18 AM Lisa Sieverts via Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
 wrote:
At the risk of derailing this conversation, ah, I definitely am derailing it so 
will change the subject line.

I’d like to see new COVID-aware choreography with fewer swings. If swinging is 
perhaps the most dangerous thing we do while dancing, I’d like to see some new 
dances that emphasize partner swings and de-emphasize neighbor swings, and at 
least some dances without any swings.

I’m intrigued by the idea that dances without swings open up 32 beats of 
opportunity for new choreography.

Lisa Sieverts
603-762-0235
l...@lisasieverts.com

On 23 Nov 2022, at 9:30, Jeff Kaufman via Contra Callers wrote:

> "during the average contra evening, you will spend approximately 30 minutes
> swinging"
>
> Tangent: I thought "that can't be right" but a little playing with numbers
> and I think it is.  My back of the envelope: guess ~12 dances, each ~17
> times through, with ~20 beats of swinging per dance.  That's 4k beats of
> swinging, which at 118bpm is 35min.  Another way to think of it is that in
> a 3hr evening half of your time is dancing and a third of that is swinging.
>
> Jeff
>
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[Callers] Re: dance name? - Big Easy variation

[Tony Parkes via Contra Callers]

In a similar vein, here are three of mine:

Gene’s Genius (1989)
A.1  N B
A.2  M AL 1.5, P swing
B.2  RLT, Circle L 3/4, pass thru
B.1  w/new Ns, RH star x1
B.2  w/orig Ns, LH star x1

Heritage Reel (1988)
A.1  N B
A.2  LLF, M AL 1.5
B.1  P B
B.2  Half prom across, W chain

Solstice Special (1991)
A.1  N dosido & swing
A.2  LLF, M AL 1.5
B.1  P R shoulder round & swing
B.2  Half prom across, circle L 3/4, pass thru

And for those who were wondering, here’s the original version of Ashokan Hello 
(1992):
A.1  N RH bal, box gnat, swing
A.2  LLF, W AL 1.5
B.1  P RH bal, box gnat, swing
B.2 Circle L 3/4, bal, #2 arch, #1 duck to next

All these are in my book Son of Shadrack, available at hands4.com (Advt.)

Tony Parkes
Billerica, Mass.
www.hands4.com<http://www.hands4.com/>
New book! Square Dance Calling: An Old Art for a New Century
(available now)

From: Julian Blechner via Contra Callers 
Sent: Sunday, October 23, 2022 11:53 AM
Cc: Shared Weight Contra Callers 
Subject: [Callers] Re: dance name? - Big Easy variation

Not on The Caller's Box, but, I realized this morning:
A1 Reel, by Chris Weiller:
Becket:
A1: Circle Left 3/4, Balance, Partner Cal Twirl
A2: New Neighbour Balance & Swing
B1: R Thru, Ladies RHT 3/2
B2: Partner Balance & Swing
Another similar dance, which I had forgotten I had written and hadn't published 
a variation Turtle Twirl, which I had written down as a variation on A1 Reel:
A1: N B+S
A2: Pass Thru Across, N Cali Twirl, Robins Alle R 1.5x
B1: P B+S
B2: Circle L 3/4, Bal Ring, P Cali Twirl
is the one I originally shared "new"?
Likely, I'll keep the version in my box because it serves a different purpose. 
I suppose every caller has to make decisions on what's a variation and what's 
in their box!

-Julian

On Sat, Oct 22, 2022 at 12:21 PM Julian Blechner 
mailto:juliancallsdan...@gmail.com>> wrote:
... and I was on my old gmail. I'll fix that sometime, promise.

-Julian

On Sat, Oct 22, 2022, 12:20 PM Ron Blechner via Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
 wrote:
I have a couple of Tony's books, but I just checked, and not the one containing 
Ashoken Hello. I'd be curious the choreo for that.

I've heard a few callers call The Big Easy, and most recently it was Liz 
Nelson, locally, early in an evening with a gaggle of new dancers, and she 
prompted it with the allemande Right.

The one on The Caller's Box has it as a Left.

I guess the other issue, which, now that I'm thinking about L vs R in details, 
is that from Robins role, an alle R puts it at 38-40 beats of clockwise 
rotation, which 26-28 beats is consecutively.

Hm.

Changing the alle to a DoSiDo solves that, keeps the timing and keeps it as 
glossary moves, and flows well from a promade.(alts: pass thru across + twirl, 
or R+L Thru)

A1: N B+S
A2: N Prom, Robins DSD 1.5x
B1: P B+S
B2: Circle L 3/4, Bal, Cali Twirl

This dance searched brings up Yoyo Zhou's "Larks in the Afternoon"

A1: same
A2: Larks Alle L 1.5x, Robins DSD 1x
B1: same
B2: same

And also is similar to Linda Leslie's Berlin Contra:

A1: same
A2: LLFB, Robins DSD 1.5
B1: same
B2: Bal Ring, 2s Arch, 1s Dive

(Essentially, the Big Easy but Robins DSD. Now I'm curious which dance came 
first?)

And of course, Diane Silver's Easy Peasy:

A1: same
A2: LLFB, Larks Alle L 1.5
B1: same
B2: Circle, bal, cali.

Adding in a chain and/or a star and dropping the promenade and I have at least 
a dozen other dances in my box. (Appetizer, Push the Button, Too Hot To Trot, 
Simplicity Swing, Spend Some Time Together, Harmony Supper Line, Dick & Mary's 
Departure, Baby Rose, et al)

... but this niche of "simple dance with a courtesy turn, one role doesn't stay 
mostly in one spot, no star, no chain" is something I know I've looked for 
programming gigs and left wanting.

I'll leave this thread going as more callers see it and have dances to think 
of. I may temprarily dub the DSD version "The Big Hello".

-Julian

On Sat, Oct 22, 2022, 9:16 AM Tony Parkes via Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
 wrote:
When I wrote Ashokan Hello, I realized that the left-hand turn was 
counterintuitive after a neighbor swing. But I needed it to be left because the 
next moves are a right-hand balance and box the gnat. I decided that the 
forward and back (between the swing and the turn) canceled the handedness. 
Obviously if it leads into a two-hand balance (the norm these days), the turn 
can be with either hand.

Tony Parkes
Billerica, Mass.
www.hands4.com<http://www.hands4.com/>
New book! Square Dance Calling: An Old Art for a New Century
(available now)



From: Bob via Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
Sent: Saturday, October 22, 2022 8:31 AM
To: 
contracallers@lists.sharedweight.net<mailto:contracallers@lists.sharedweight.net>
Subject: [Callers] Re: dance name? - Big Easy variation

Per my card on The Big Easy,

[Callers] Re: Short contra lines

[Tony Parkes via Contra Callers]

Remember that double progression dances work better with an odd number of 
couples (assuming the end effects are not overwhelming). With an even number, 
the dancers will always be doing the same part of the routine with the same 
neighbors. This will be even more frustrating in short lines.

Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(available now)

From: Victor Gascon via Contra Callers 
Sent: Saturday, October 22, 2022 9:30 AM
To: Mary Collins 
Cc: Contra Callers 
Subject: [Callers] Re: Short contra lines

Is there a list of easy double-progression dances that the group can recommend?

On Sat, Oct 22, 2022 at 07:42 Mary Collins via Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
 wrote:
I always carry an assortment of 3 face 3 and 4 face 4 since my home dance may 
range from 6 - 30 dancers.

Sometimes a move such as right hand high, left hand low presents a challenge 
for some of my dancers so I adjust on the fly. And may do a double progression 
so no one  is ever out.

Mary

On Sat, Oct 22, 2022, 1:25 AM Laur via Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
 wrote:
There is such a lack of attendance now post Covid in our area and I’m planning 
dances and then 20 people show. Do you have best selections or considerations 
for 20 to 16 peoples for  intermediate experience dancers or secondarily less 
experienced dancers

My immediate question is for more experienced dancers, because this is more of 
a complex preparation for me.

Laurie Pietravalle

Sent from Yahoo Mail for iPhone
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-= Victor =-

“Do or do not, there is no try.” ~ Jedi Master Yoda
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[Callers] Re: dance name? - Big Easy variation

[Tony Parkes via Contra Callers]

When I wrote Ashokan Hello, I realized that the left-hand turn was 
counterintuitive after a neighbor swing. But I needed it to be left because the 
next moves are a right-hand balance and box the gnat. I decided that the 
forward and back (between the swing and the turn) canceled the handedness. 
Obviously if it leads into a two-hand balance (the norm these days), the turn 
can be with either hand.

Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(available now)



From: Bob via Contra Callers 
Sent: Saturday, October 22, 2022 8:31 AM
To: contracallers@lists.sharedweight.net
Subject: [Callers] Re: dance name? - Big Easy variation

Per my card on The Big Easy, it’s an allemande left after the long lines and 
before the partner swing. But I’m away from my books for a while and can’t go 
back to the source. I bet I got it from The Rosen Hill Collection.


Her note on the dance says ‘This is a very easy version of “Ashokan Hello” by 
Tony Parkes, for use as a first contra dance of the evening where newcomers are 
plentiful.‘

\Bob


On Oct 21, 2022, at 21:53, Jerome Grisanti via Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
 wrote:

I wonder if Julian's notation assumes Robins right allemande unless otherwise 
specified. I'm only guessing. Julian?

On Fri, Oct 21, 2022, 1:15 PM Lisa Greenleaf via Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
 wrote:
The only change I’d suggest is Robins Allem R since that is the free hand after 
a swing.

Lisa

Sent from my iPhone

> On Oct 21, 2022, at 11:47 AM, Julian Blechner via Contra Callers 
> mailto:contracallers@lists.sharedweight.net>>
>  wrote:
>
> 
> Hi all,
>
> I have a question about a variation on Becky Hill's Big Easy, which I see as:
> Big Easy Becky Hill
>
> A1: Bal Ring, Neighbor Swing (often changed to N B+S)
> A2: LLFB, Robins Alle 1.5
> B1: P B+S
> B2: Circle L 3/4, Bal ring, pass thru
>
> An easy variation I like, say, to introduce the courtesy turn early in the 
> evening and to have the Larks not have to be relegated to keeping basically 
> in one spot for 7/8ths of the dance, has:
> A2. N Prom, robins alle 1.5
> B2. Circle L 3/4, bal, cali twirl
>
> It's enough of a change - especially for one of these easy glossary dances - 
> that I figure someone may have claimed it as a new dance, and was looking for 
> author and title. I didn't see this variation listed in The Caller's Box 
> website.
>
> Thanks,
> Julian Blechner
> he/him
>
> p.s. Folks may know me as "Ron". I've been using a new first name. Pronouns 
> are the same. I'm slowly trying to change my online presence, get a new 
> website, etc.
> ___
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[Callers] Re: [External] RE: New dance for your consideration

[Tony Parkes via Contra Callers]

Wow! I had assumed you really meant "long lines", as in "Each couple face 
across the hall" as opposed to facing up and down toward the next line of four 
as is usual in 4x4s. If you mean the usual "Face another line of four," then 
"Long lines" (with or without "forward and back") is just plain inaccurate. 
Glad we clarified that.


Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(available now)



From: Tepfer, Seth 
Sent: Thursday, October 20, 2022 10:57 PM
To: Tony Parkes ; Caller's discussion list 

Subject: Re: [External] RE: New dance for your consideration

Tony

Thank you for your feedback. Instead of saying "long lines forward and back", I 
could have said "lines of four go forward and back", though technically they 
are going up and down. Perhaps "short lines, go forward and back"

I want the dance to be clearly understood by all.
Seth


Seth Tepfer, MBA, CSM, PMP (he, him, his)
Senior IT Manager, Emory Primate Center

From: Tony Parkes mailto:t...@hands4.com>>
Sent: Tuesday, October 18, 2022 9:02 AM
To: Tepfer, Seth mailto:la...@emory.edu>>; Caller's discussion 
list mailto:call...@sharedweight.net>>
Subject: [External] RE: New dance for your consideration


Hi, Seth and all... Two points:



1. I'm aware that a lot of folks use "long lines" as shorthand for "long lines 
forward and back." It bugs me, but that's probably just my age and 
eccentricity. But I humbly submit that in a 4x4, where there are fewer 
conventions - things taken for granted - than in a longways, it's helpful to 
spell out as much as possible.



2. Do you really mean "long lines forward and back," not "forward and back up 
and down the hall"? The former call is so unusual in 4x4s (in fact, I don't 
think I've encountered it before) that I think it merits a note below the 
description.



Cheers,

Tony



Tony Parkes

Billerica, Mass.

www.hands4.com

New book! Square Dance Calling: An Old Art for a New Century

(available now)





From: Tepfer, Seth via Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
Sent: Wednesday, October 12, 2022 10:09 PM
To: Caller's discussion list 
mailto:call...@sharedweight.net>>
Subject: [Callers] Re: New dance for your consideration



Hello Callers.



Update on the dance previously presented. Thank you Bill Baritompa for the 
suggestion to switch to left hand waves. Much more satisfying! Thank you Tanya 
for the naming feedback.



Title: Two for Tea*

Author: Seth Tepfer

Formation: 4x4

A1: Long lines (8), in fours, Right hand chain to neighbor (8)

A2: Same person DSD (8), Neighbor swing (8)

B1: in fours, balance the ring (4), petronella spin to a wave of two - give 
neighbor LEFT hand to form short waves of two people; balance (4), "circulate 
2" (walk forward two spaces) (4)

B2: balance (4), "circulate 2" (walk forward two spaces) (4); left hand dancer 
turn around and partner swing; end swing facing original direction and new 
couples progressed and on the other side of the 4-some



Note:

  *   At the start of the dance, identify your traveling buddy of the opposite 
role. This is your shadow. When doing the circulate two think of the direction 
you are facing as a racetrack or a paperclip - if you get to the end you will 
loop to your left to continue. You will end up in the place of the 2 people in 
front of you. You will pass 3 people and take the hand of the 4th. If you loop, 
looping counts as passing one person. When you remake the wave of two, the 
person you take left hands with  is your shadow,

*Please note new name and discard previous name of the dance.



Link to video that will help describe the dance: 
https://drive.google.com/file/d/1daSO086UwpoRA-J3C2j2jN2uQkwQGN4n/view?usp=sharing

  *   We only had 8 people, so after partner swing, we faced back in to repeat 
the dance. Normally after partner swing you would face your original direction 
to have new couples to play with.
  *   The musician was playing "Softly Good Tummas' on a lark and because it is 
such a fabulous tune. That tune is not requisite for the dance.



Seth Tepfer, MBA, CSM, 

[Callers] Re: New dance for your consideration

[Tony Parkes via Contra Callers]

Hi, Seth and all... Two points:

1. I'm aware that a lot of folks use "long lines" as shorthand for "long lines 
forward and back." It bugs me, but that's probably just my age and 
eccentricity. But I humbly submit that in a 4x4, where there are fewer 
conventions - things taken for granted - than in a longways, it's helpful to 
spell out as much as possible.

2. Do you really mean "long lines forward and back," not "forward and back up 
and down the hall"? The former call is so unusual in 4x4s (in fact, I don't 
think I've encountered it before) that I think it merits a note below the 
description.

Cheers,
Tony

Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(available now)


From: Tepfer, Seth via Contra Callers 
Sent: Wednesday, October 12, 2022 10:09 PM
To: Caller's discussion list 
Subject: [Callers] Re: New dance for your consideration

Hello Callers.

Update on the dance previously presented. Thank you Bill Baritompa for the 
suggestion to switch to left hand waves. Much more satisfying! Thank you Tanya 
for the naming feedback.

Title: Two for Tea*
Author: Seth Tepfer
Formation: 4x4
A1: Long lines (8), in fours, Right hand chain to neighbor (8)
A2: Same person DSD (8), Neighbor swing (8)
B1: in fours, balance the ring (4), petronella spin to a wave of two - give 
neighbor LEFT hand to form short waves of two people; balance (4), "circulate 
2" (walk forward two spaces) (4)
B2: balance (4), "circulate 2" (walk forward two spaces) (4); left hand dancer 
turn around and partner swing; end swing facing original direction and new 
couples progressed and on the other side of the 4-some

Note:

  *   At the start of the dance, identify your traveling buddy of the opposite 
role. This is your shadow. When doing the circulate two think of the direction 
you are facing as a racetrack or a paperclip - if you get to the end you will 
loop to your left to continue. You will end up in the place of the 2 people in 
front of you. You will pass 3 people and take the hand of the 4th. If you loop, 
looping counts as passing one person. When you remake the wave of two, the 
person you take left hands with  is your shadow,
*Please note new name and discard previous name of the dance.

Link to video that will help describe the dance: 
https://drive.google.com/file/d/1daSO086UwpoRA-J3C2j2jN2uQkwQGN4n/view?usp=sharing

  *   We only had 8 people, so after partner swing, we faced back in to repeat 
the dance. Normally after partner swing you would face your original direction 
to have new couples to play with.
  *   The musician was playing "Softly Good Tummas' on a lark and because it is 
such a fabulous tune. That tune is not requisite for the dance.


Seth Tepfer, MBA, CSM, PMP (he, him, his)
Senior IT Manager, Emory Primate Center
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[Callers] Re: Need help fitting to a tune

[Tony Parkes via Contra Callers]

My take: Ask them to play it during the sound check.

At the Concord (MA) Scout House the band used to play a “sound check polka” 
just before the first contra. Don’t know how widespread a custom that is. Most 
dancers did a Norwegian polka, though a few did a “standard” polka.


Tony Parkes

Billerica, Mass.

www.hands4.com

New book! Square Dance Calling: An Old Art for a New Century

(available now)


From: Laur via Contra Callers 
Sent: Wednesday, April 27, 2022 3:50 PM
To: Contra Callers 
Subject: [Callers] Need help fitting to a tune

A local band here plays Beaumont Rag As a part of their routine dance set. It’s 
a popular band.
I’ve never experienced  a contra dance The  band has  chosen to play for a 
dance work. It doesn’t work for the dancers and it’s agonizing for the caller.

Can anyone suggest a dance that could fit? At this point I’m planning to 
request they don’t include the tune.

I know there’s an English dance written to match but not interested in that for 
this set.

Laurie

Sent from Yahoo Mail for iPhone
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[Callers] Re: teaching Naked in California

[Tony Parkes via Contra Callers]

Years ago at NEFFA, I was teaching a buzz swing. I said "Don't look at the room 
going around; look at your partner's eyes... and if that makes you dizzy, for 
any reason, just look at something on your partner that does not appear to be 
moving." Five minutes later the room quieted down and I was able to continue 
the workshop.

Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(coming December 15)


-Original Message-
From: Amy Cann  
Sent: Tuesday, December 7, 2021 8:43 AM
To: Tony Parkes 
Cc: Ted Sims ; John Sweeney ; 
contracallers@lists.sharedweight.net
Subject: Re: [Callers] Re: teaching Naked in California

On 12/6/21, Tony Parkes via Contra Callers 
 wrote:

> I actually accepted a gig at a “naturist” resort in New England.
>I had to come up with patter

Since mostly all humans are pretty asymmetrical, how 'bout:

"Promenade and don't be slow,
Right (x) high and left (x) low"

:)
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[Callers] Re: teaching Naked in California

[Tony Parkes via Contra Callers]

I actually accepted a gig at a “naturist” resort in New England. Most of the 
dancers wore at least something, though there was one lady who conspicuously 
didn’t. I had to come up with patter like

Promenade that girl named Rose
She’s the one without no clothes

and

Promenade and keep in motion
Don’t forget the sunburn lotion


Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(coming Dec. 15)



From: Ted Sims via Contra Callers 
Sent: Monday, December 6, 2021 3:09 PM
To: John Sweeney 
Cc: contracallers@lists.sharedweight.net
Subject: [Callers] Re: teaching Naked in California

Really? I wouldn’t have missed it for the world.
Sent from my iPhone


On Dec 6, 2021, at 3:04 PM, John Sweeney via Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
 wrote:

I was asked to run a dance for a nudist colony in the south of England, but 
they said I wouldn’t have to be naked.

I wasn’t sure I wanted to watch all the wobbly bits bounce around though, so I 
declined.

Happy dancing,
   John

John Sweeney, Dancer, England   j...@modernjive.com 
01233 625 362 & 07802 940 574
http://contrafusion.co.uk/KentCeilidhs.html for Live Music Ceilidhs
http://www.contrafusion.co.uk for Dancing in Kent
http://www.modernjive.com for Modern Jive DVDs


From: Ted Sims via Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
Sent: 06 December 2021 19:55
To: Shared Weight Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
Subject: [Callers] teaching Naked in California

Hi everyone
This is kind of a newbie question. I've never called Naked In California [Nils 
Fredland] before and I'm thinking about how to teach it. I think I've mostly 
figured it out, but I welcome your comments on my thoughts below:

(1) I would like for everyone to identify their shadows straight away. I think 
the best way is to have everyone take hands in long lines then "If you are on 
the end and your left hand is free, your shadow is the person in your right 
hand (introduce yourselves). Everyone else, your shadow is the person across 
and two to the left of you".   Is there a better way?

(2) After the partner allemande, if the dancers on the ends have no one in the 
right hand, it seems to me that they have to stay put (there is no wrap around 
etc.). Is that correct?

(3) It looks like people out on the ends need to swap in the usual way.

Thanks for any help you can provide.

Ted

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[Callers] Re: Squares from Northern Junket

[Tony Parkes via Contra Callers]

Just to clarify: The Square Dance History Project functions independently from 
CDSS, although there are certainly close connections: David Millstone, founder 
and curator of the Project, is a CDSS past president, and CDSS helped fund the 
six-caller Dare To Be Square weekend held at the Campbell Folk School in 2011, 
which was a sort of launch party for the Project.

CDSS has a wonderful page about squares, originally put together by Nils 
Fredland, but they seem to be making it harder to find. From the CDSS home 
page, go to Resources, then Callers, then Reflections on the History and 
Evolution of Calling, then Introduction to the Various Styles of American 
Square Dancing.

Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(coming in December)


From: Lisa Sieverts via Contra Callers 
Sent: Wednesday, November 24, 2021 8:37 AM
To: Contra Callers 
Subject: [Callers] Re: Squares from Northern Junket


Just a reminder that we also have this resource at CDSS:

Square Dance History Project

And the digitized Northern Junkets at UNH

Northern Junket | Music and Dance | University of New 
Hampshire

Lisa Sieverts
603-762-0235
l...@lisasieverts.com

On 23 Nov 2021, at 16:10, Colin Hume via Contra Callers wrote:

Northern Junket was a magazine which Ralph Page edited from 1949 to 1984.
I've now started copying out the Squares he published there, sometimes with my 
own
comments and suggestions - I've finished Volume 1.

I know some of you dance and call Squares as well as Contras.
If you're interested, please read my page at:
https://colinhume.com/instnj.htm
and let me have any corrections and comments either through the list or by 
email.

Colin Hume

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[Callers] Re: Squares from Northern Junket

[Tony Parkes via Contra Callers]

Sounds like a monumental task, Colin. More power to you -- we need all the 
easily accessible sources of good squares that we can put in place.

Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(coming in December)


-Original Message-
From: Colin Hume via Contra Callers  
Sent: Tuesday, November 23, 2021 4:11 PM
To: Contra Callers 
Subject: [Callers] Squares from Northern Junket

Northern Junket was a magazine which Ralph Page edited from 1949 to 1984.
I've now started copying out the Squares he published there, sometimes with my 
own comments and suggestions - I've finished Volume 1.

I know some of you dance and call Squares as well as Contras.
If you're interested, please read my page at:
https://colinhume.com/instnj.htm
and let me have any corrections and comments either through the list or by 
email.

Colin Hume



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[Callers] Re: Covid cancellations

[Tony Parkes via Contra Callers]

Leaving Covid aside, I would retain the deposit if the client canceled a few 
days in advance for a non-emergency, e.g. they didn’t sell enough tickets. Not 
my problem.

During the pandemic, like a lot of other callers, I’ve refunded all outstanding 
deposits.

Looking ahead, I’ve backed out of one indoor private party due to the spread of 
the Delta variant. I have a couple of outdoor gigs coming up, which I’m less 
nervous about.

Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(aiming for Fall 2021)


From: Rich Sbardella via Contra Callers 
Sent: Saturday, August 21, 2021 9:31 AM
To: Don Veino 
Cc: Caller's discussion list 
Subject: [Callers] Re: Covid cancellations

Don,
I would not return a non-refundable deposit for a weather event.  That deposit 
could be applied for a mutually agreeable date.
I made exceptions to my policy during the pandemic.
Rich

On Fri, Aug 20, 2021 at 10:04 PM Don Veino via Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
 wrote:
On Thu, Aug 19, 2021 at 5:30 PM Rich Sbardella 
mailto:richsbarde...@gmail.com>> wrote:
I generally require a 50% non-refundable deposit for all weddings and outdoor 
events.
I do allow the forfeited deposit to be applied toward a mutually acceptable 
make-up date.

For the mentioned gig the deposit was less than 50%. The same policy was 
applied - so long as they wished to reschedule, the deposit amount rolled 
forward. After the third date was agreed they later chose to go ahead with the 
rest of the event, just cancel the dancing. They were cheerfully refunded the 
vast majority of the deposit and, should they choose to book for the suggested 
first anniversary barn dance, the small amount retained might be applied.

During the pandemic, I have returned many deposits without questions.

Yep, common decision. Though this might sound argumentative, it's not meant as 
such... just genuinely curious. In what situation would you *not* refund a 
"non-refundable" deposit?

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[Callers] Re: Paperless Calling

[Tony Parkes via Contra Callers]

Yes! Calling squares, especially straight-ahead old-timey squares, is 
definitely a right-brain experience. Beth says that when she really got the 
hang of calling that kind of square, it carried over into her contra calling.

I grew up with both squares and contras and learned to appreciate the merits of 
both. For me, calling a contra is something like following a recipe and 
measuring every ingredient, whereas calling a square is like tossing in the 
things I have on hand and tasting as I go. I often get into what feels like an 
altered state of consciousness while calling a square, whether during a 
memorized figure or an improvised break.

Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(available soon)

Sent from my phone.


From: Susan English via Contra Callers 
Sent: Sunday, August 1, 2021 9:00:51 AM
To: Woody Lane 
Cc: contracallers@lists.sharedweight.net 
Subject: [Callers] Re: Paperless Calling

Woody's mention of jazz brought up a deep memory for me.  I was patter-calling 
a square in Ann Arbor, and the fiddle player walked over to stand very close to 
me.  He started playing a shuffle in harmony to my patter.  I got into the 
dance such that all my thought processes disappeared. It was just me, the 
music, and the dancers.  It was a life-changing experience for me.  I say my 
calling shifted from left brain to right brain that evening.  I wonder if this 
is what other callers experience when they call without cards.  I still refer 
to my cards for contras, especially at the beginning and end of a dance, but 
the calling comes from deep inside me.  Susan

On Sat, Jul 31, 2021 at 9:36 PM Woody Lane via Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
 wrote:
This has been a fascinating thread, with a huge amount of valuable information, 
perspectives, and technical options.

I am impressed by those callers who can call from memory. Since for contras I 
don't have a good one. (Squares seem to come naturally to my memory; contras 
not so much). I still use cards. And my backup is a potpourri of photocopies of 
the cards and a pile of pdf versions of them. Although with all the ideas 
expressed in this thread for digital notes and backups, I am considering 
expanding and trying some.

But I was thinking that, memorizing or not, using virtual or not, using cards 
or not -- this is a bit like playing jazz. There's no single best way to play 
jazz. Likewise, I think there are lots of ways of creating a good evening with 
calling. Some rules -- like watching the dancers and reacting to the them and 
the musicians -- are universal, but every caller plays the way that works for 
them. All these techniques should not make a caller feel bad or inadequate. On 
the contrary, they illuminate the wide array of tools that we have access to, 
each in our own way to make the best of all that jazz.

Woody
--
Woody Lane
Caller, Percussive Dancer
Roseburg, Oregon


On 7/28/2021 9:45 AM, Susan English via Contra Callers wrote:
As I begin to travel again, I want to leave my dance cards home and access all 
my material virtually.  I have 2 questions:

1. Which virtual method (or app) do you prefer for accessing your dance 
instructions and notes?
2. What is your back-up plan at a dance if you can't get on the internet?

Susan  []  [☺]
330-347-8155
woosterdance.com





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--
Susan  []  [☺]
330-347-8155
woosterdance.com


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[Callers] Re: Paperless Calling

[Tony Parkes via Contra Callers]

It’s been interesting to read of the various approaches to dance library 
management. I have yet to put my working repertoire in digital form. I’ve shied 
away from cards for fear of losing one. As memory is one of my strengths, I 
rely primarily on a master list of titles; for the dances I use most often, the 
title is enough for me to recall the sequence. I carry a letter-size book that 
was made for sales reps, with many clear pockets for displaying catalog sheets; 
I use them for the list of titles and also for pages containing dances I 
haven’t memorized, with about 8 dances to a sheet.

Beth has a digital document with her dance routines formatted as they would be 
on cards. From this she can print a set of cards, or select an evening’s worth 
of dances, arrange them in order, and print them on a couple of letter-size 
pages; she gives a copy to the band and keeps one for herself.

I’m a strong advocate of relying on memory as much as possible, and of training 
the memory a little at a time if it’s not one of your long suits. To me it’s 
important to avoid looking at the card while calling, even if you need it 
during the walkthrough. While the music is playing, I need to focus my 
attention on the dancers; this means I need to know the dance so well that I’m 
not consciously thinking about it. The only exceptions are for workshops (or 
perhaps a single number in the middle of a regular evening) where I level with 
the dancers that I’m learning this routine along with them.

Tony Parkes
Billerica, Mass.
www.hands4.com
New book! Square Dance Calling: An Old Art for a New Century
(to be published real soon)


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[Callers] Re: Question on Gig Requests

[Tony Parkes via Contra Callers]

I’ve been saying a tentative yes to private parties; I haven’t been asking for 
contracts or deposits, with the understanding that I’ll be there unless things 
take an unexpected turn for the worse.

Tony Parkes
Billerica, Mass.

From: Jim Thaxter 
Sent: Tuesday, May 4, 2021 5:20 PM
To: Tony Parkes 
Subject: Re: [Callers] Re: Question on Gig Requests

Tony,
You address the “series dance” issue, but didn’t say how you’ve responded to 
the private party requests. I’ve had a couple of those requests that I’ve 
turned down, but am reconsidering now that I’m fully vaccinated. One party said 
all the non-dancing guests would be masked, but the dancers would not. Not sure 
I get that.
Jim Thaxter
Columbia, MO

On Tue, May 4, 2021 at 4:01 PM Tony Parkes via Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
 wrote:
Hi, Woody (and all)…

I’ve been getting requests for the fall (and one for the summer), but so far, 
they’re all for private parties – weddings, family reunions, homeschooler 
gatherings. (From the context, I assume that by “community dance” you mean 
“public series dance.” I’ve also often seen the term used to mean “one-nighter 
/ private party / non-dancer event.” Due to lack of consensus on its meaning, I 
tend to avoid the term.)

I’m not sure how I’d respond if I were approached for a series dance. I’m 
hopeful that by September either we’ll be close to herd immunity or we’ll be 
reconciled to thinking of Covid the way we think of the flu: an annual 
annoyance but not something to deter us from doing what we love.

I might accept an invitation to call at a series on the condition that if Covid 
statistics change drastically for the worse (to the point that states and 
cities are reimposing restrictions), the date could be canceled with no 
liability on either my part or the organizers’.

Tony Parkes
Billerica, Mass.
t...@hands4.com<mailto:t...@hands4.com>


From: Woody Lane via Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
Sent: Tuesday, May 4, 2021 4:37 PM
To: 
contracallers@lists.sharedweight.net<mailto:contracallers@lists.sharedweight.net>
Subject: [Callers] Question on Gig Requests

Hi Everyone,

The pandemic has shut down dances for nearly 15 months, but things may be 
beginning to change. I would like your input on this --

I just received my first request to call at a regular community dance. The 
dance would be scheduled for September. (The organizers are beginning to 
schedule for the fall.) This would be a typical evening indoor dance held in a 
gym. Pre-covid attendance was 70-100. The organizers assured me that safety 
protocols would be followed, etc. I have not responded yet. (I am fully 
vaccinated.)

Has anyone else begun receiving invitations to call dances? How far out? What 
are your thoughts on this situation? What is your sense of risk and comfort and 
community responsibility? I'd really like to get some feedback from this group.

Thanks!
Woody

--
<><><><><><><><><><><><><><><><><><>
Woody Lane
Caller, Percussive Dancer
Roseburg, Oregon
http://www.woodylanecaller.com
cell: 541-556-0054
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[Callers] Re: Question on Gig Requests

[Tony Parkes via Contra Callers]

Hi, Woody (and all)...

I've been getting requests for the fall (and one for the summer), but so far, 
they're all for private parties - weddings, family reunions, homeschooler 
gatherings. (From the context, I assume that by "community dance" you mean 
"public series dance." I've also often seen the term used to mean "one-nighter 
/ private party / non-dancer event." Due to lack of consensus on its meaning, I 
tend to avoid the term.)

I'm not sure how I'd respond if I were approached for a series dance. I'm 
hopeful that by September either we'll be close to herd immunity or we'll be 
reconciled to thinking of Covid the way we think of the flu: an annual 
annoyance but not something to deter us from doing what we love.

I might accept an invitation to call at a series on the condition that if Covid 
statistics change drastically for the worse (to the point that states and 
cities are reimposing restrictions), the date could be canceled with no 
liability on either my part or the organizers'.

Tony Parkes
Billerica, Mass.
t...@hands4.com


From: Woody Lane via Contra Callers 
Sent: Tuesday, May 4, 2021 4:37 PM
To: contracallers@lists.sharedweight.net
Subject: [Callers] Question on Gig Requests

Hi Everyone,

The pandemic has shut down dances for nearly 15 months, but things may be 
beginning to change. I would like your input on this --

I just received my first request to call at a regular community dance. The 
dance would be scheduled for September. (The organizers are beginning to 
schedule for the fall.) This would be a typical evening indoor dance held in a 
gym. Pre-covid attendance was 70-100. The organizers assured me that safety 
protocols would be followed, etc. I have not responded yet. (I am fully 
vaccinated.)

Has anyone else begun receiving invitations to call dances? How far out? What 
are your thoughts on this situation? What is your sense of risk and comfort and 
community responsibility? I'd really like to get some feedback from this group.

Thanks!
Woody

--
<><><><><><><><><><><><><><><><><><>
Woody Lane
Caller, Percussive Dancer
Roseburg, Oregon
http://www.woodylanecaller.com
cell: 541-556-0054
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[Callers] Re: Coronadance

[Tony Parkes via Contra Callers]

If you’re not averse to squares… here’s one from Lloyd Shaw’s seminal work, 
_Cowboy Dances_ (1939):

DON’T YOU TOUCH HER
First gent out around the opposite lady,
And don’t you touch her.
Now back around your own,
And don’t you touch her.
All four gents around the right hand ladies,
And don’t you touch ’em.
Now promenade those ladies fair,
But touch ’em? No sir, don’t you dare!

Tony Parkes
Billerica, Mass.

From: Erik Hoffman via Contra Callers 
Sent: Wednesday, March 18, 2020 2:41 PM
To: Shared Weight - Contra Callers 
Subject: [Callers] Re: Coronadance

Make sure all are at least six feet away from each other…

From: Mary Collins via Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
Sent: Wednesday, March 18, 2020 5:18 AM
To: Martha Wild mailto:maw...@sbcglobal.net>>
Cc: 
contracallers@lists.sharedweight.net
Subject: [Callers] Re: Coronadance

LOVE this!!! Thanks.
Mary

On Tue, Mar 17, 2020, 9:37 PM Martha Wild via Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
 wrote:
A contra dance for social distancing:

Coronadance

Duple improper

A1) Do-si-do neighbor
Mad robin (facing partner) ladies in front
A2) Single file circle 3/4 around
Spiral around your partner 2x until gents are facing across
B1) Full hey, gents passing left shoulder to start
B2) Gents spiral left 1 1/2
Spiral right neighbor 1 1/2
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[Callers] Re: Totally open question: what's a "quadrille" ?

[Tony Parkes via Contra Callers]

Jerome Grisanti wrote:

> I would add that I've danced an Italian folk dance called Quadrille d'Aviano.

> In that case, we learned it in private practices and performed it without 
> prompting during public events with other Italian folk dances.

The original (early 19th century) quadrille would have been learned thoroughly 
in advance and danced without a prompter. Prompting or “calling” the figures 
was considered low-class for a long time. This may have been partly because the 
first callers, to the best of our knowledge, were African American. Certainly 
the dancing masters railed against the practice because it enabled people to do 
the dances without taking lessons.

Tony Parkes
Billerica, Massachusetts, USA

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[Callers] Re: Totally open question: what's a "quadrille" ?

[Tony Parkes via Contra Callers]

Here’s my take on it, from the glossary of my forthcoming book _Square Dance 
Calling: An Old Art for a New Century_:

Quadrille  (1) A formal square dance in five or six figures, 
introduced in the early 19th century; the original figures were selected from 
the cotillion (definition 1), although additional figures were written later. 
(2) In the Northeast, a term used until the mid-20th century for a set of 
(usually three) squares done with the same partner. (3) A term used by modern 
square dance callers for a square phrased and prompted in New England style. 
(4) In some areas, a fiddle tune in 6/8 meter.

Tony Parkes
Billerica, Massachusetts, USA


From: Rich Sbardella via Contra Callers 
Sent: Friday, February 21, 2020 12:41 PM
To: Amy Cann 
Cc: Contra Callers 
Subject: [Callers] Re: Totally open question: what's a "quadrille" ?

Amy,

My interpretation is that a quadrille is a square prompted in the New England 
tradition.

In the modern western tradition few callers use this method, but I was taught 
by New England caller Dick Leggier who composed many promoted 'quadrille" 
figures to use in the MWSD environment.  This is still my method of calling 
squares in the club scene.

I am not sure why I understand it that way.  Word of mouth is a contributor, 
but also older publications like Sets in Order often referred to many of these 
simple 64 step dances as quadrilles.

Here's one Jerry Helt called by from Tony.
https://www.youtube.com/watch?v=H9d46BSqRLI

Rich
Rich

On Fri, Feb 21, 2020 at 12:26 PM Amy Cann via Contra Callers 
mailto:contracallers@lists.sharedweight.net>>
 wrote:
What do you think of as a quadrille, tune and/or dance?

I'm very curious to hear as many different answers as there are
ages/locations/opinions on here. :)

(Tell you why *after* we have a nice long thread. :)

Cheers,
Amy
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[Callers] Re: square dances for teens

[Tony Parkes via Contra Callers]

Martha Wild wrote:

> I like the visiting square Birdie in the Cage... Crows are fun because people 
> can make cawing noises...

Some years ago I was hired to call a one-nighter at the Manomet Bird 
Observatory (www.manomet.org). I was walking the group through Bird in the 
Cage; when I got to the namesake part of the figure, I said, as I usually do, 
"Some people like to make bird noises." I was rewarded with lifelike calls of a 
dozen different species.

Tony Parkes
Billerica, Massachusetts, USA


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[Callers] Re: square dances for teens

[Tony Parkes via Contra Callers]

When I was at Farm & Wilderness in the 1960s, we had several favorite squares - 
though we typically didn't work up to them until mid-summer, and I wouldn't use 
most of them at a one-nighter: (singing) Alabama Jubilee, Just Because, My 
Little Girl, (patter) Swing Like Thunder aka The Basket, Texas Star, Grapevine 
Twist.

One F favorite that I do use at one-nighters is the full version of Duck for 
the Oyster. It takes a bit of teaching, so I use it in the middle of the 
evening, after I've gained the group's confidence. Unlike many squares, it's 
totally gender-free. Active couple lead right and circle four halfway around, 
then "Duck for the oyster": Active couple ducks under, then changes their mind. 
"Dig for the clam": Hosting couple does the same. "Duck through the hole in the 
old tin can": Active couple ducks under, rolls back to back, raises their 
joined hands, pulls the hosting couple under, then the hosting couple unwinds. 
Hosting couple should keep their joined hands in front of their faces while 
being pulled through, rather than unwinding too soon. Simpler version (if lots 
of kids, therefore big height differences): Active couple ducks under, drops 
partner's hand while keeping neighbor's hand, goes around the outside, forcing 
hosting couple to turn under own arms, and re-forms the circle. In either 
version, end with active couple ducking through and going to next couple.

My all-time favorite ONS square, good for almost any group, is Kitchen Lancers 
(a rough-and-ready version of the fifth figure of the Lancers Quadrille):
https://www.youtube.com/watch?v=oC1zlybRZzs
The main figure begins at 0:35. Note that the figure begins with the active 
couple promenading, so avoid ending any breaks with a promenade.
The dance is gender-free except for the single file bit, where I often call 
"Right hand people go round," then "Left hand people go."
At 1:08, with most ONS groups, instead of "Active couple through the middle, 
others follow, separate to lines, forward & back, swing partner to place," I 
usually call "Face your partner, back away, forward again and swing partner to 
place - all forward & back twice." The video is from Dare To Be Square 2011, 
where all the dancers were experienced, so I called a version closer to the 
original ballroom Lancers.

Tony Parkes
Billerica, Massachusetts, USA


From: Charles Abell via Contra Callers 
Sent: Friday, February 21, 2020 9:12 AM
To: call...@lists.sharedweight.net
Subject: [Callers] Re: square dances for teens

Hey all, What are your favorite square dances for older teenagers in a 
one-night-stand setting? These could be Southern, New England, or other. 
Looking for a few new options...

Less interested in non-squares (circles, mixers, etc.), but if you have 
something you really like in one of those categories, feel free to share it.

Thanks!


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[Callers] Re: Recordings of 40 Bar Tunes

[Tony Parkes via Contra Callers]

Let's try that again with the link included.

Here's a 40-bar singing square from the 1950s. It's only 6 times through, but 
it's in five 8-bar phrases (two in the "A" part, three in the "B").
https://archive.org/details/78_banjo-pickers-ball_schroeders-playboys-jerry-allen-mr-banjo-jad-paul-freddy-mor_gbia0024730a

Tony Parkes
Billerica, Massachusetts, USA

-Original Message-
From: Amy Cann via Contra Callers 
Sent: Friday, January 3, 2020 1:48 PM
To: John Sweeney 
Cc: contracallers@lists.sharedweight.net
Subject: [Callers] Re: Recordings of 40 Bar Tunes

I'm going to head off-list and talk to my friend Norb Spencer, accordionist 
extraordinaire, major tune-hound, and player of all three
likely-to-be-not-32 genres (Oldtime, Fr.C, and Scottish). Watch this space...

On 1/3/20, John Sweeney via Contra Callers 
 wrote:
> Hi Amy,
>   You asked about the 40-bar dance.
>
>   The dance I am currently working on is " Ladies Walk Around Their 
> Contra "
> http://contrafusion.co.uk/Dances/FormationsDances.html#LadiesWalk
>
>   I was at a dance on New Year's Eve where it was called and realised 
> it was a new formation for me.  It is a Becket dance for Trios 
> (Lady-Man-Lady).  It is Formation #102 at 
> http://contrafusion.co.uk/Formations.html
>
>   I don't know who wrote it.  Does anyone know?
>
>   A good 40-bar tune will also be useful for:
> "Major Hey" by Erik Hoffman
> http://www.ibiblio.org/contradance/thecallersbox/dance.php?id=5030
> “Apple Pie Quadrille” by Ron Beeson
> http://www.ibiblio.org/contradance/thecallersbox/dance.php?id=12522
> "Not So Solitary" by me (Nine dancers in a 3x3 grid doing lots of
> Heys)
>
>   Thanks.
>
> Happy dancing,
>John   
>   
> John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802
> 940 574   
> http://contrafusion.co.uk/KentCeilidhs.html for Live Music Ceilidhs   
> http://www.contrafusion.co.uk for Dancing in Kent 
> http://www.modernjive.com for Modern Jive DVDs
>
>
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[Callers] Re: Recordings of 40 Bar Tunes

[Tony Parkes via Contra Callers]

Here's a 40-bar singing square from the 1950s. It's only 6 times through, but 
it's in five 8-bar phrases (two in the "A" part, three in the "B").

Tony Parkes
Billerica, Massachusetts, USA

-Original Message-
From: Amy Cann via Contra Callers  
Sent: Friday, January 3, 2020 1:48 PM
To: John Sweeney 
Cc: contracallers@lists.sharedweight.net
Subject: [Callers] Re: Recordings of 40 Bar Tunes

I'm going to head off-list and talk to my friend Norb Spencer, accordionist 
extraordinaire, major tune-hound, and player of all three
likely-to-be-not-32 genres (Oldtime, Fr.C, and Scottish). Watch this space...

On 1/3/20, John Sweeney via Contra Callers 
 wrote:
> Hi Amy,
>   You asked about the 40-bar dance.
>
>   The dance I am currently working on is " Ladies Walk Around Their 
> Contra "
> http://contrafusion.co.uk/Dances/FormationsDances.html#LadiesWalk
>
>   I was at a dance on New Year's Eve where it was called and realised 
> it was a new formation for me.  It is a Becket dance for Trios 
> (Lady-Man-Lady).  It is Formation #102 at 
> http://contrafusion.co.uk/Formations.html
>
>   I don't know who wrote it.  Does anyone know?
>
>   A good 40-bar tune will also be useful for:
> "Major Hey" by Erik Hoffman
> http://www.ibiblio.org/contradance/thecallersbox/dance.php?id=5030
> “Apple Pie Quadrille” by Ron Beeson
> http://www.ibiblio.org/contradance/thecallersbox/dance.php?id=12522
> "Not So Solitary" by me (Nine dancers in a 3x3 grid doing lots of 
> Heys)
>
>   Thanks.
>
> Happy dancing,
>John   
>   
> John Sweeney, Dancer, England   j...@modernjive.com 01233 625 362 & 07802
> 940 574   
> http://contrafusion.co.uk/KentCeilidhs.html for Live Music Ceilidhs   
> http://www.contrafusion.co.uk for Dancing in Kent 
> http://www.modernjive.com for Modern Jive DVDs
>
>
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[Callers] Re: Really fun 3X3 dances? And easy squares?

[Tony Parkes via Contra Callers]

It’s 4 slides to the right, then 4 to the left. Everyone is going in the same 
direction, so there’s little risk of tripping. (The move is a simplification of 
the original formal Lancers, in which partners went past each other, ladies in 
front to the left, gents behind to the right.)

I always demonstrate it, modeling short slides to minimize rowdiness. (It’s 
closer to a basketball shuffle than to an all-out gallop.) If the group is 
mainly retirement age or I have other reasons to suspect they may be 
uncomfortable sliding, I offer “side, behind, side, kick” as an alternative, 
pointing out that both versions can be mixed in a set without mishap.

Tony Parkes
Billerica, MA, USA

From: joe micheals 
Sent: Monday, November 25, 2019 2:14 PM
To: Tony Parkes 
Subject: Re: [Callers] Re: Really fun 3X3 dances? And easy squares?

Hi Tony,

On Kitchen Lancers please describe the slide left and right….is it 8 sashays 
each way?  How do you make it fun and not trip over each other?
-Joe

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[Callers] Re: Really fun 3X3 dances? And easy squares?

[Tony Parkes via Contra Callers]

Regarding squares:

Every caller who uses squares should have Cumberland Square Eight in their 
repertoire. It’s easy both to dance and to call.

CUMBERLAND SQUARE EIGHT (trad. English)
Music: My Love Is But a Lassie Yet (2/4) or Athol Highlanders (6/8) or some of 
each
A.1  Heads slide across in ballroom hold or “kayak” position (join two hands, 
spread arms to side); gents pass back to back
Return, ladies passing back to back
A.2  Sides the same
B.1  Heads right hands across (English star), left hands back
B.2  Sides the same
C.1  Heads basket
C.2  Sides the same
D.1  All circle left once around
D.2  All promenade once around

A polka or rant step is traditional for D.1 and D.2, but a dance-walk can be 
used.
With groups that don’t know the buzz step (i.e. at most one-nighters), I 
replace the basket with a slipping circle of four (to the left only, about 
twice around).
It seems to be traditional to do the whole dance twice through – or is that 
just because it neatly filled up half a record side in the days of 78s?

Just about my favorite easy square is Kitchen Lancers. It does take a bit more 
calling skill than Cumberland.

KITCHEN LANCERS (one of several simplified versions of the 5th figure of the 
Lancers Quadrille from 1817, collected at country dances in New England and 
Quebec)
Music: Quebecois reels (note that it’s a 48-measure figure, but you can use 
32-measure tunes and start the 2nd and 4th couples halfway through the tune)
A.1  Couple 1 promenade the inside, ending at home facing out; sides jump in 
behind #1 to form a column all facing the music
A.2  All forward and back; all slide to right and return to left
B.1  Ladies/ravens parade in single file around partner’s line (four around 
four, not each one around one)
B.2  Gents/larks the same
C.1  All face partner, back up three steps, forward three steps; swing partner 
to original place in the square
C.2  All join hands, forward and back twice
Sequence: Once for each couple (when a side couple is active, the heads will 
jump in at A.1)

After the walkthrough, I mention that the whole contraption will face a 
different wall for each active couple. Sometimes I walk A.1 and C.1 for Couple 
2 to illustrate this.

Tony Parkes
Billerica, MA, USA

From: Emily Addison via Contra Callers 
Sent: Saturday, November 23, 2019 2:19 PM
To: Caller's discussion list 
Subject: [Callers] Really fun 3X3 dances? And easy squares?

Hi fellow callers!

I remember seeing a video a few months back from the Portland Intown contra.  
The dancers seemed to be having an absolute blast with a 3X3 contra-like dance.

Does anyone have any really fun 3X3 dances?
I'm looking to add variety into the formations I'm calling at an upcoming 
contra/square/barn dance.

Also --> Any suggestions for super fun but easy to learn square figures?

Thanks!
Emily in Ottawa
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