The Caller’s Wife by Ted Sannella — a classic no-partner-swing dance, with
endless speculation connected to the name...
Eric Black
e...@eric-black.com
> On May 13, 2018, at 12:35 PM, Rich Sbardella via Callers
> wrote:
>
> I cannot recall dancing a modern contra in the last fe
cus of each session. For
example, I did a NEFFA session “Buckets of Beckets” where each dance was Becket
formation, and none of the dances in that hour started with “Circle Left 3/4”.
That kind of thematic planning takes more time and meticulous care to do well.
Eric Black
e...@eric-black.com
See my
discussion
does not. English dancers know the difference.
Eric Black
e...@eric-black.com
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I’ve not heard that term (“mid-life crisis”) in the context of describing dance
choreography. I like it, but that carries no weight other than a personal
“inside joke” unless it has more widespread usage. But if it starts catching
on, I’ll see about joining that bandwagon.
-Eric
On Apr 18, 20
Deja vu all over again.
I’ve always taught this move as a “face to face do-so-do”. I might describe it
(once in an evening) by asking the dancers to "imagine the delicate gold chain
joining the rings in your noses”. I don't explicitly suggest it’s flirty or
even to make eye contact — that’s u
I like that. A related tactic is to swap roles with your partner (thereby
swapping shadows). And you get to dance both roles, which makes you a better
and more enjoyable dancer.
-Eric
On Sep 9, 2015, at 1:45 PM, Richard Fischer via Callers
wrote:
> Here's a suggestion I don't think I've s
ge to exhibit.
As much as callers might like to think that they guide and even control the
dance community, it just ain’t so.
All we can do is suggest. And as has been said before, no one listens to the
Caller.
-Eric
On Sep 9, 2015, at 6:39 AM, Eric Black via Callers
wrote:
> Wow. ISTM [It
Wow. ISTM [It Seems To Me] that this is far more responsibility for
controlling social interpersonal interactions than the programmer and/or caller
at the mic should have to worry about, even though we do worry about such
things.
Sorry I don’t have opportunity to participate on this email list
Why have to explain that a “jet” is a gem? Just say that it’s very different
from “ruby” so they are not easily confused in a noisy room.
-Eric
On May 28, 2015, at 1:48 PM, Ron Blechner via Callers
wrote:
> I have had to explain that "a jet is a gem, not the airplane or a West Side
> Story g
Oops. I should have read my own card more carefully. The dance titled “Dixie
Gal” starts with:
A: Long lines F & B, gents allemande left 1-1/2; Bal & Swing *partner*
Different dance. Sorry. Back to work.
-Eric
Eric Black
e...@mirador.com
http://eric-black.com
On Jul 23, 2014,
?).
-Eric
Eric Black
e...@mirador.com
http://eric-black.com
On Jul 23, 2014, at 12:29 PM, Dave Casserly via Callers
wrote:
> Yes, that's my interpretation as well (or, in Keith's words, "W2 Dixie twirls
> the two M, while W1 lets go and turns alone").
>
>
> On
I believe it’s called “Dixie Twirl”, and the confusing move is also called a
Dixie Twirl. Kind of a cousin to “Right hand high, left hand low”. The end
result is that the line is inverted and facing up, the same people on each end,
no hand changes.
-Eric
Eric Black
e...@mirador.com http
orners. Do I have this right, or am I missing
> something?
>
> --Jim
>
> On Jul 23, 2014, at 7:21 AM, Eric Black via Callers
> wrote:
>
>> I’ve done an alternating contra corners of Chorus Jig since shortly after
>> Jim Kitch started the trend. Hadn’t though
I’ve done an alternating contra corners of Chorus Jig since shortly after Jim
Kitch started the trend. Hadn’t thought about whether it would work for any
contra corners dance.
Eric Black
e...@mirador.comhttp://eric-black.com
On Jul 23, 2014, at 12:37 AM, Erik Hoffman via Callers
Bob Isaacs has written a number of them. He calls them “Zia formation”, and
says "The term zia comes from the name of the sun symbol of the Zia tribe of
New Mexico.” I’ve heard other origins of the term, but who knows?
Here’s some discussion on this very mailing list from 2008:
http://ww
At 11:16 PM -0400 10/3/13, Maia McCormick wrote:
This is maybe a silly question, but in an allemande to a star promenade, is
it assumed that the allemanders will keep their allemande until they've
brought the promenade-ee across the set?
I would think yes, otherwise it's an allemande or pull-b
At 12:48 PM -0700 10/3/13, Alan Winston wrote:
Not to hijack this completely, but dancing a man's role in a
men-allemande star promenade is also often really unsatisfying.
Something like 20% of the men I run into line (in the SF Bay Area)
just let go of me as soon as they've picked up their par
1/2 figure-8):
Road to Somewhere - Eric Black - Duple Proper REVERSE PROGRESSION
A: 1's take "inside hands" [nearest to your neighbor], balance (4)
Star thru (4) [leaves 1's improper facing down]
Do-si-do neighbor [below] (8)
These 4 circle Left 3/4 (8)
Sw
At 11:49 AM -0700 9/29/13, Kalia Kliban wrote:
On 9/28/2013 11:46 AM, Erik Hoffman wrote:
On 9/28/2013 8:54 AM, Aahz Maruch wrote:
One easy way of shaving time from the walkthrough that I wish more
callers would use: *Don't* have dancers return to their starting
points, just start the dance fr
e requirement that we list
actual bands (with musicians' names!) and callers on the printed
publicity which comes out quarterly.
There! Much more information than you ever wanted :-) But maybe some
of the reasoning behind it will be useful.
-Eric
--
Eric Black e...@eric-black.com
http://w
At 4:32 PM -0700 9/9/13, James Saxe wrote:
Sam Whited asked for "any move that's ever been used in a contra dance
(even if only once)" and that isn't listed in the Wikipedia article at
https://en.wikipedia.org/wiki/Contra_dance_choreography
or in Sam's lists at
https://github.com/SamWh
At 9:41 PM -0400 9/8/13, Jeff Kaufman wrote:
On Sun, Sep 8, 2013 at 8:14 PM, Woody Lane wrote:
> Unexpected moves are not necessarily enjoyed by contra dancers.
You can get
around this by announcing in advance that this will be a "hash square" so
the dancers are prepared for the challenge.
My version from Steve Hickman has Actives allemande Right 1x in B1, and
Actives balance & swing in B2 rather than long lines followed by a swing.
Folk Process?
-Eric
At 7:21 AM -0700 8/30/13, Linda Leslie wrote:
I have a slightly different version to share; but have heard the
same explanation
Here's one that fits a 40-bar (AABBC) tune:
Mudslide Reel - Eric Black [40-bar! Fits AABBC tune!]
A: Bal & sw neighbor (16)
Long lines (8)
Ladies forw to pt, take him back with you (8)
B: Sashay down hall (8) [line up gents back-to-back]
Pt do-si-do (8)
Hey across (8) [p
Jacqui,
If the gig is an intensive dance weekend, then the dancers probably expect
you to get them dancing, dammit, and never mind wasting this time on a
walk-through while we're talking and ignoring the caller.
That's always a problem. The way I've addressed it in that situation
might not alwa
Bob,
I've danced pretty much this sequence as a Becket starting at B2. Can't
remember who or where. I remember it because it not only was a "barely
Becket" but you immediately progressed away from your neighbor couple.
-Eric
Hi All:
Faced with a largely beginner audience at a recent fest
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