g-open-band/>
> <https://cdss.org/programs/web-chats/creating-a-thriving-open-band/>
>
>
> Lisa Greenleaf
>
>
> On Sep 4, 2024, at 1:16 PM, Joseph Erhard-Hudson via Contra Callers <
> contracallers@lists.sharedweight.net> wrote:
>
> Another learning
Another learning opportunity I’ve run into with new-to-our-world players is
mechanics like potatoes, tune changes if there are any, and signaling for
last times through. If they have played sessions the latter two may be
okay, but in any case I’d suggest practicing starts and stops during setup,
ju
As for the first part of your question, callers have been tweaking
sequences for decades now, for all sorts of reasons; to make them work
better, or to suit evolving tastes in what dancers enjoy, or even by
accident. The Callers Box is chock full of the results. I don’t think
anyone is going to sud
; Librarian, MSLIS
>>
>>
>> On Wed, Jul 17, 2024 at 4:49 PM Joe Harrington via Contra Callers <
>> contracallers@lists.sharedweight.net> wrote:
>>
>>> Is it really any more disorienting to have a shadow change in a dance
>>> with a shadow swing
Re: partners swapping during shadow dances and confusing their respective
shadows (I think of it as Peter Pan-ing, on account of our shadows coming
detached)… I appreciate events where there are designated chaos lines so
those who are in the mood for them can indulge to their hearts’ content. I
sup
I’m a former B) who has recently shifted to C) on account of such
conversations as you mention.
For analogous reasons I have learned to always forewarn when I’m calling a
mixer, particularly one that involves changing partners.
-Joseph
*Sent from my phone, which has odd ideas about formatting so
The justification I heard ~25 years ago, when resistance to the claps
seemed even greater, was that the acoustic latency in a long hall could put
the band off kilter and it was a matter of respect to them. To illustrate:
in a hundred foot hall, from the time the band plays a note, to the time
the f
This title and concept for a dance burst into my head during the recent
auroras.
It ought to have shifting wavy lines, of course, and is there a way to have
an orbit around a star? Ooh! A hands across star where a pair spits out
and goes outward and into orbit…
Anyway, I don’t have the compositi
Add me to the list of callers honoring Tony this weekend (and next) in our
programs.
-Joseph
On Tue, May 7, 2024 at 5:08 PM Andrew Stout via Contra Callers <
contracallers@lists.sharedweight.net> wrote:
> I wasn't able to be at NEFFA for the tribute, but I called a week and a
> half ago and said
On Wed, Mar 6, 2024 at 2:49 AM Colin Hume via Contra Callers <
contracallers@lists.sharedweight.net> wrote:
> On Sun, 3 Mar 2024 17:30:25 -0600, Allison Jonjak via Contra Callers wrote:
> > Any simple favorites? Bonus points if they are a california twirl
> progression to feel "familiar".
>
> I'm
Hi everyone,
I had written this response to Ken’s question, and inadvertently sent it to
him rather than the whole list.
——
Hi Ken,
Speaking for myself as a dancer, and as a person with ADHD and consequent
subtle memory challenges, I find myself constructing a mental map of the
flow of the enti
Thus the perils of all language. Because of my personal ways of thinking
(somewhat twisted in physics labs and engineering classes, alas), the words
“weight” and “pressure” have precise mechanical meanings. As they have been
used in some of these examples, they have helped me and others improve
the
rigued by one paragraph in particular:
>
> Connect and relax. Be responsible for your own weight! Don't "Give
> weight"! Keep your arms firm but elastic.
>
> Since “give weight” has been customary parlance for maintaining firm
> connection (at least that’s how I’
John,
Thanks for sharing your teaching notes with us.
I’m intrigued by one paragraph in particular:
*Connect and relax. Be responsible for your own weight! Don't "Give
weight"! Keep your arms firm but elastic.*
Since “give weight” has been customary parlance for maintaining firm
connection (at
For the latter exercise, Sarah VanNorstrand led same sort of thing last
June at Lady of the Lake.
She had us take hands four and cross over (duple improper), then sent one
entire side of the set out of the room. She taught the dance to the
remaining folks while we were gone. I’m not sure whether s
Without your review I would have dismissed the price as too good to be
true. Thanks for sharing.
On Tue, Oct 31, 2023 at 10:27 PM Robert Matson via Contra Callers <
contracallers@lists.sharedweight.net> wrote:
> We haven't had the trouble that you describe, Joe, or really any annoyance
> other th
I heartily agree with all of John’s points, and the vital importance of the
human lives behind them, but I also call for compassion and patience as
communities discern their way forward. Each community grows at their own
pace. Rural communities in particular, and I am from one of them, can be
rela
Robins Chain.
> B2: (16) Hey for 4 [Robins start Right].
> C1: (16) Partner Balance and Swing.
> C2: (8) Circle Left ¾.
>(8) Balance Ring and Partner California Twirl,
> face new neighbors
>
> On Sun, Jul 30, 2023, 23:19 Joseph Erhard-Hudson via
On Mon, Jul 31, 2023 at 10:53 AM John Sweeney via Contra Callers <
contracallers@lists.sharedweight.net> wrote:
> … sagacious brutes …
>
There’s my next band name.
>
___
Contra Callers mailing list -- contracallers@lists.sharedweight.net
To unsubscribe
hands joined)*
>
> A1 Wave of 4 balance forward/back
> Let go, walk to new waves
> Waves balance F/B, Allemande L ~3/4
> A2 Partner B&S
> B1 Circle L 3/4, pass through
> New neighbor swing
> B2 Robins allemande R 1 1/2
> Partner allemande L 1 1/4 to wave acros
Hi there everyone, glad to join the list.
I’m curious about duple minor contra sequences that are written for 3-part
AABBCC tunes. Can anyone share or point me to any such dances?
My question is partly inspired by Gene Hubert’s *Fan In The Doorwa*y,
written for three part *slip* jigs. I’m pretty
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