I started dancing in the early 1980's in Chicago, at the Old Town
School of Folk Music. The folks there called the dances "Barn Dances",
and I believe they still do (I moved to New England in 1988). There
were no introductory sessions; I do remember that Al Olson was my
first partner (for t
my 2 cents worth: Found contra dancing in 1992 at Glen Echo in Md.
They did a newcomer's session there --- moved to No. California in 1999 -
they did them out here at all the dances.
whenever I am doing a newomer's workshop before a dance - I always tell those
folks present - Contra dan
Hi Bob,
I'm impressed with your perceptiveness. True, it's the second-time-comers who
take the best advantage of the pre-dance stuff!
Hanny
Jon
I can tell you how they originated here in Los Angeles.
When I started contradancing in the '80s there was no beginner "lesson". The
callers taught the figures and you learned as you went. At the time, most of
the dances were pretty simple. I remember the first dance we had with a Hey for
4
Hi All:
While I am thankful for all the useful comments here, there is one thought
missing from this discussion.
You've all seen them; new dancers who miss the new dancer session and arrive
after the dance has started. Most likely for their first contra they get
paired up with some experie
I have encountered these pre-dance introductions only outside of New England.
When I reintroduced contra dancing in Philadelphia in the early seventies, we
did only traditional dances which are - in my opinion - very beginner-friendly
anyway and didn't need extra introductions, not even the trip
David raises an interesting question about when and how beginners'
workshops/orientation came to be part of the evening. I have been dancing in
Southern California for a little more than 20 years, and there have been
beginners' workshops here for at least that long.
I am wondering if one facto
I've found that the most comfortable position for my partner and me is
for us both to have our hand on the other's shoulder blade (that is to
say, on the back rather than the top of the shoulder). Push gently
there and you can get around as fast as you like without either person
getting injured. I
The more I read the comments in this discussion, the more I start humming lyrics
to an old Bob Dylan song: "You're right from your side and I'm right from mine."
Some folks are clearly on the side of not having newcomers' workshops at all.
Others think they're fine but should focus on various
I know this has been discussed a couple times before, but I can't find the
discussion. How can someone with the callers digest reply to a chain? Must
it always appear as a new thread?
Any suggestions or step-by-step would be great! Thanks!
-Sargon
Hmm...lots of comments about teaching. I must say that I don't agree
with all of them :-)
First, about implied comments in a workshop. While I agree that
nonverbal speech is important, we shouldn't promote it over the
content of what is said. If we really go down that path, we might as
well consid
I often dance the male role and after a few dances, my arms and
shoulders are tired! So I understand about the extra work whoever is
dancing that role takes on. When teaching the swing, its good to let
the dancers know that the best swings are ones where both partners
give weight and take r
On Thu, Sep 1, 2011 at 6:36 PM, Michael Barraclough
wrote:
>
> This all suggests to me that the most important elements to concentrate
> on are psychological and that overloading with facts will be
> counter-productive (unless it is how to find the restrooms, water
> fountains, when the break is,
barb kirchner wrote:
>
> one of the biggest complaints i have had over the years is from guys
> with painful shoulders and backs from swinging women who make the
> gents do all the work. i believe this is a direct result of ladies
> who put their hands on the front of the gents' arm and make him
As a dancer, I prefer to put my left hand over my partner's shoulder.
Definitely it helps us to share weight. It also depends on what dance
style it is that you are swinging in and what the next move is after
swinging - flowing into the next move is desirable. Also, I have a
better chance at mainta
i was the one who made a number of those statements, and i'll defend them now.
i focus a LOT on my teaching, especially beginners, and have very actively
pursued comments from new and old dancers and people attending my classes.
one of the biggest complaints i have had over the years is from
What a great discussion - some wonderful ideas and quotes to use.
But I am afraid that I don't agree with everything that has been said,
and I see some people have also already sent in some dissenting comments
to some of the statements that have been made.
Please forgive me if I have misunderstoo
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