An occasional newsletter goes out to alumni of the Silver State Caller College. It discusses topics related to the art and science of calling square dances.
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| 2006 |
| January 3, 2007 Fun with Half Tag |
| January 4, 2007 Would you call this module? |
| January 5, 2007 Building up choreo so the dancers can win |
| January 6, 2007 Making Tag and Half Tag winnable for the dancers |
| January 7, 2007 On a Double Track |
| January 16, 2007 Smooth calling (Phrased calling) |
| January 22, 2007 Singing call figure from Lloyd |
| January 26, 2007 Singing call figure with Zoom, from Ray Rhea |
| January 28, 2007 Fun with Veer (from Lloyd Alexander) |
| January 30, 2007 The Spin (or overspin) Factor |
| March 12, 2007 Good flow preceeding Pass the Ocean |
| July 7, 2007 Leadership |
| August 14, 2007 Fixing a singing call figure |
| August 16, 2007 Recruiting idea from Wink Tidwell |
| November 22, 2007 Sight Resolving |
| December 12, 2007 Let's Teach! |
| 2008 |
Hi all,
Dean Black's "half-tag" idea inspired me to push some checkers!
Dean came up with some nice routines but they are probably too long for the average caller to remember. For the most part, entire pre-written routines can only be used once then discarded. There's a better way. I like to write modules because they can be re-used repeatedly. Modules Rule! So let's write some modules.
Instead of just telling you the end result, let's go through the thought process together. I hope each of you will get your checkers out and follow along.
SETTING THE STAGE FOR DANCER SUCCESS
Starting from a Zero Line, let's play with Pass Thru, Half Tag. First, is that a standard usage? CALLERLAB publishes a booklet called "Basic and Mainstream Standard Applications". I highly recommend it. It tells you what is considered "Standard" for each call. Anything NOT in the book is considered "non-standard". That doesn't mean you can't call it. It only means it might require extra care to ensure dancer success.
The booklet says Half Tag is standard from Right Handed Two Faced Lines. Let's ponder something. WHY is it easy from that setup? It's easy because everyone goes to their right. People just love to go to the right. But in today's exercise (Lines Pass Thru, Half Tag) some folks must go right and some must go left. It's not the standard usage. Clearly we need to "practice" the dancers through this bit, before we can fully develop it.
Here's your mantra: Start Easy then Build. NOT the other way around (start hard, break the floor, then keep dumbing it down until every gets it)! Start Easy, then Build Gradually. Crank it up one notch at a time.
So, you want to begin your tip with some standard Half Tags. For example, from standard 8 Chain Thru formation: Swing Thru, Boys Run, Half Tag. So far, so good. Now crank it up a notch by getting back into a normal 8-chain thru and call Swing Thru, Swing Thru again, girls run, Half Tag. So far we're completely standard in our usage of half tag.
Let's go up another notch. From BBGG lines, call Pass Thru, Half Tag. This is non-standard (according to the Standard Applications document) yet it's still easy. Why is it easy? Because it ends in a normal wave with Boys on the end and Girl in the middle. So from BBGG lines you can call: Pass Thru, Half Tag, Girls Trade IN THE MIDDLE, etc. Even if the dancers goof up, it's self-correcting when you say "Girls Trade In The Middle". Even if they blew it, the dancers can still scramble into the correct position and do the call. The square stays dancing. You're letting them feel like winners.
Let's crank it up another notch. From facing GGBB lines, call Pass Thru, Half Tag. This results in waves with Boys in the middle. So after this Half Tag you could call "Boys Trade In The Middle". Again, you're letting the dancers win.
Make sure the dancers can do all of the above before we crank it up another notch. We're now ready to call from normal facing lines: Pass Thru, Half Tag. We have prepared the dancers for success.
EXPLORATION #1
Now let's push the checkers and come up with some modules. Start with Zero Lines: Pass Thru, Half Tag. What do we have? Everyone just took a right hand-hold. It would be okay if the next move starts right-handed. But admit it: almost all callers start right-handed. Why be like everyone else? Let's give 'em a nice flowing left-handed move instead. I immediately see three left-handed possibilities: Centers Trade -or- Centers Circulate -or- Centers Hinge. Let's explore all three, starting with Centers Trade (which I figure is the easiest of the three). Yep, start easy, then build. Works for me.
After Zero Lines: Pass Thru, Half Tag, Centers Trade, now what do we have? We have Girls facing out and Boys facing in. Push the checkers and figure out something good to call. Sooner or later a getout will appear in front of your eyes. How about this one: Single Hinge, Centers Trade, R&L Grand. It works EXCEPT everybody is out of sequence! Such a small problem, yet it's critical. We can fix the problem with a R&L Thru at the very beginning. So the final module is:
Zero Line:
R&L Thru
Pass Thru, Half Tag
Centers Trade
Single Hinge
Centers Trade
R&L Grand
GETTING THE DANCERS THROUGH #1
Are there any potential "trouble spots" for the dancers? Well, R&L Grand from waves is not one of the Standard setups from the Callerlab document, so it must be non-standard.
I like to ease people into non-standard choreo. Of course I also like to get into a cold swimming pool a little bit at a time, instead of diving in headfirst. Let's ease the dancers into this pool. From Heads Lead Right box: Swing Thru, Boys Run, Boys Fold, R&L Grand. Although not one of the standard setups, it's easy.
Okay, crank it up a notch. Lead Right Box: Swing Thru, "Rear Back", R&L Grand.
Okay, one more notch. Lead Right Box: Swing Thru, R&L Grand. We have now eased the dancers into the swimming pool. Don't even ATTEMPT to call your cool module (above) until you know for a fact the dancers can easily handle every part of it. The whole point of pushing checkers and developing choreo is to give the dancers a successful winning dancing feeling!
MEMORIZING MODULE #1
Let's memorize this module. We need to put something in our brain to make us remember to start with a R&L Thru. How about this: If you do a R&L Thru, I'll give you a Hinge Sandwich. (The Hinge is sandwiched between two "Centers Trade"). Hey, cool. Do a R&L Thru and you get your very own Hinge Sandwich. Isn't that GRAND? (R&L Grand, get it?)
Works for me. With very little effort, this one is easy to memorize. Do a R&L Thru, then do today's theme, then you get a Hinge sandwich (sandwiched between two "Centers Trades"). Isn't that GRAND? :-)
Whenever you're trying to memorize things, it's more effective to pound away at it, then take a break (i.e. do something else), then in a few minutes check back to see if you've still got it memorized. Try to gradually increase your "Break Time" to at least five minutes long, then you will have it in long-term memory.
EXPLORATION #2
Go back go your Zero Line, Pass Thru, Half Tag. This time let's do Centers Circulate. Girls are facing out. What can outfacing people do? How about Girls Fold? What's our next move? How about Boys Swing Thru? What could happen next? Well, the Boys could Hinge and then everyone could Allemande Left EXCEPT the side boys are out of sequence. Wow, of all the luck. Six people are okay, but two are not. No problem, just trade those two within the module. So, here's the final module:
Zero Line:
Pass Thru, Half Tag
Centers Circulate
Girls Fold
Boys Step to a Wave
Center Two Boys Trade
Boys Swing Thru
Boys Hinge
Left Allemande
Analysis: Maybe this isn't the best module I ever wrote, but it's very usable. The girls do stand around for a while, but hey, consider it payback for all those Four Ladies Chains. It's "different, not difficult". I kinda like it.
GETTING THE DANCERS THROUGH #2
What are some potential trouble spots for the dancers? "Centers Circulate" is not one of the most common things we call from waves. What does the Standard Arrangements book say about Centers Circulate? It says it's standard from any kind of two faced LINE. But this is a WAVE. So we need to build the dancers up to this.
Let's start with the standard usage, then build from there. PRIOR to calling this module, have the dancers in normal two-faced lines and call Centers Circulate. For example: Zero Box, Swing Thru, Boys Run, Centers Circulate, etc.
Now crank it up a notch by calling it from Left-Hand Two Faced Lines. This is still considered Standard. Now one more notch by having the centers of waves Circulate. Finally, from any normal facing line call Pass Thru, Half Tag, Centers Circulate. We have prepared the dancers for this potential trouble spot.
Well what about having all four boys in a wave? Is that strange, or not? Refer back to your Standard Arrangements booklet. A right-hand wave in ANY arrangement is considered standard. Cool, we don't really need to practice the dancers through this bit. They're now primed for success.
MEMORIZING MODULE #2
We don't really need to memorize "Pass Thru, Half Tag" ... because that's pretty much the entire point of today's session. All we need to memorize is Centers Circulate, Girls Fold, and now Boys do everything else. Anyone caller can memorize this sequence, if you try. The dancers are worth the effort.
Again, memorizing is easier if you go at it for a while, then take a break from it (i.e. do something else), then come back to it again. Try to gradually increase the length of the break you take. Once your break gets to five minutes, you've got it memorized.
EXPLORATION #3
Going back to Zero Line, Pass Thru, Half Tag. How about Centers Hinge? We have a Left-handed Wave down the middle. What can people do in a Left-Handed Wave? Centers can Trade and Girls can Run. This is nice because Girls Run Left always results in normal couples. While the Centers are doing all that good schtuff, what can the others do? Well, one easy way to put the Ends into Normal Couples is for the Lead Girl to U-Turn Back, Ends Step to a Wave, and that Boy Run. Boys Run right (around a girl) always results in normal couples.
After pushing the checkers through all of that, we see everyone is now in sequence (by pure coincidence), so a neat getout just kinda jumps out at us. Here's the final module:
Zero Line:
Pass Thru, Half Tag
Centers Hinge
very center two Girls Trade
the other Girl U-Turn Back
the very center two Girls Run (left around a Boy)
the others Step to a Wave and that Boy Run
everyone Promenade Home
GETTING THE DANCERS THROUGH #3
Let's admit, this module is kinda far out. BUT ... not really!
What are the trouble spots? How about Girls Run from that Left Handed wave? According to CALLERLAB: it's standard! How about the End Girl U-Turn Back? Standard! How about the Ends step to a wave? Standard!
COOL! In fact, the entire sequence is standard except for the Half Tag (which we've already built up to, during this tip) and the Centers Hinge. But don't you figure if the Centers can Trade (earlier in the tip) they can sure hinge? Probably so! Just to be safe, I might work the dancers through a Left-Handed Hinge sometime during the tip. That's the only non-standard spot in this sequence. Choreo that's "out there", gives the dancers a feeling of actually accomplishing something monumental, yet it's completely standard applications: you just gotta love it.
However, dancer ability varies according to day, time, caller, phase of the moon, etc. If you're in the middle of the tip and it becomes obvious that these dancers here today will not be able to successfully dance these sequences right now today ... you've got to know when to back off and let 'em dance. Save your cool choreo for another tip or another day. Having good material is important. Knowing how and when to use it is just as important.
MEMORIZING MODULE #3
I can actually see this sequence unfold, kind like a movie. It's gonna be easy to memorize it. Have at it. You already know how: go at it hard, take a break, go at it again, gradually increase the break to 5 minutes long.
To fully remember all three modules, I would probably put on a some music, maybe a favorite patter record or maybe a new singing call I've been meaning to listen to anyway. Play the music from beginning to end. Practice the first module out loud, over and over, until the music runs out. By that time, I've practiced just that one module for 4 straight minutes. I should be able to remember just that one module after practicing it for that long. (If not, take a break then practice it for another four straight minutes)!
Do the same thing but use different music for modules 2 and 3, i.e. practice each one to a different piece of music. Go back to module 1 (using music 1). See if you remember it. If not, re-learn it. Now go back to module 2 (using music 2). Et cetera. Eventually, whenever you want to remember your three modules, just remember the three different songs. The module you practiced repeatedly with each music will be clearly remembered.
At this point you've spent 15 to 30 minutes preparing for a VERY nice tip. I think it's worth the effort. I'd use all three modules in one tip, building up gradually. With some groups you may not get through all three variations in just one tip. With other groups, they'll devour this stuff and they'll want even more from the tip. Things vary. My main goal for the tip would be for the dancers to actually DANCE the material. Not WALK it, EXECUTE it, LEARN it, PRACTICE it, nor SURVIVE it. But actually smoothly DANCE it. That's the point. Do your homework, and present the material such that the dancers will feel they're even better dancers than they thought they were.
ONE POSSIBLE ROADMAP FOR THIS TIP
1. Goal: prepare the dancers to dance from normal lines: Pass Thru, Half Tag:
A. from Normal Right-Handed Two-Faced Lines: Half Tag (i.e. from normal 8-chain thru: Swing Thru, Boys Run, Half Tag)
B. from Right-Handed Two-Faced Lines with Girls as Ends: Half Tag (i.e. from normal 8-chain thru, Step to a Wave, Girls Run, Half Tag)
C. from BBGG Lines: Pass Thru, Half Tag (i.e., static square, Heads Star Thru, Double Pass Thru, Face In, Pass Thru, Half Tag, Girls Trade In the Middle, etc.)
D. from GGBB Lines: Pass Thru, Half Tag (i.e. static Square, Heads Star Thru, everyone Face Your Partner (beside you), all Pass Thru, Half Tag, Boys Trade in the Middle, etc.)
E. from normal lines: Pass Thru, Half Tag. Goal accomplished.
2. To prepare for Module #1 (the Centers Trade module):
A. from Lead Right Box: Swing Thru, Boys Run, Boys Fold, R&L Grand
B. from Lead Right Box: Swing Thru, "rear back", R&L Grand
C. from Lead Right Box: Swing Thru, R&L Grand
D. Now we're ready for this module:
Zero Line:
R&L Thru
Pass Thru, Half Tag
Centers Trade
Single Hinge
Centers Trade
R&L Grand
3. Goal: prepare for Module #2 (the Centers Circulate module):
A. from normal Two-Faced Lines: Centers Circulate
B. from left-hand two-faced line: Centers (Boys) Circulate (i.e., normal 8-chain thru, Step to a Wave, Boys Run, Boys Circulate)
C. from left-hand two-faced line: Centers (Girls) Circulate (i.e., normal 8-chain thru, Swing Thru, Girls Run, Girls Circulate)
D. From normal lines: Pass Thru, Half Tag, Centers Circulate
E. Now we're ready for this module.
Zero Line:
Pass Thru, Half Tag
Centers Circulate
Girls Fold
Boys Step to a Wave
Center Two Boys Trade
Boys Swing Thru
Boys Hinge
Left Allemande
4. To prepare for Module #3 (the Centers Hinge module):
A. Heads Square Thru, Touch 1/4, Ends Circulate, CENTERS HINGE, Ends face In (look at the Wave), Extend, Boys Trade in the middle, etc.
B. Now we're ready for Module #3:
Zero Line:
Pass Thru, Half Tag
Centers Hinge
very center two Girls Trade
the other Girl U-Turn Back
the very center two Girls Run (left around a Boy)
the others Step to a Wave and that Boy Run
everyone Promenade Home
5. End the patter. Sing 'em a song. Take a well-earned break.
PS - it would be appropriate to include some Half Tag figures during the singer.
- - - - - - -
I hope the above illustrates some of the thought processes which go into creating a theme tip. Of course if you can build a tip on Half Tag, then you can build a tip for any call you wish. Looking back at the above, it's a lot of material for one tip. You can probably get two or three tips out of this idea. It depends on how everyone is feeling that particular day and/or everyone's tolerance for variations.
Is it a lot of work? Not really! It's a lot of FUN to create sequences which are a little different, yet the dancers can easily get through them. There's only one way I know of for this to happen: you gotta push the checkers!! Mankind has not yet invented a shortcut to pushing the checkers, and I don't expect any shortcut to materialize anytime soon.
Questions? Thoughts? Comments?
Nasser "the dancers are worth the effort" Shukayr
PS - please mention our upcoming caller schools to other callers and/or please consider attending yourself!
Hey cool, we're thinkin'. And talkin'. This could be interesting.
Someone sent in this module.
Zero Box: Half Sashay, Dosado, Veer Left, Couples Trade, Half Tag, Boys Run, Star Thru, Pass to the Center, Square Thru 3, Left Allemande
(I am not saying it's good or it's bad. I'm -only- saying someone sent it in.)
So let's discuss it. Would YOU use this module? Why, or why not? Think about it and send in your answer. I'll collect the answers and post them to the group. Then one of the instructors (hey, are you thinking what I'm thinking? It's Doug's turn!) will chime in and give us the definitive answer.
So, everyone send me your thoughts. Do you like the module? Why, or why not?
Nasser "vote early and often" Shukayr
1/17/2007
Several days ago I sent this out to the group. Several of you sent back answers, which are much appreciated. Let's share the results.
This discussion is not about any one choreographic sequence. Rather it's more about the process we use to create choreography.
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---#1---From Nasser Shukayr
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Someone sent in this module.
Zero Box: Half Sashay, Dosado, Veer Left, Couples Trade, Half Tag, Boys Run, Star Thru, Pass to the Center, Square Thru 3, Left Allemande
(I am not saying it's good or it's bad. I'm -only- saying someone sent it in.)
So let's discuss it. Would YOU use this module? Why, or why not? Think about it and send in your answer. I'll collect the answers and post them to the group. Then one of the instructors (hey, are you thinking what I'm thinking? It's Doug's turn!) will chime in and give us the definitive answer.
So, everyone send me your thoughts. Do you like the module? Why, or why not?
Nasser "vote early and often" Shukayr
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---#2---From Nasser Shukayr, private to Stoney Hollcroft
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Private Reply
Hi Stoney!
GOOD STUFF! It shows you're moving the checkers!
> Zero Box, Half Sashay
> do sa do
> veer left
Read the definition for Veer. It says it can apply to either individual DANCERS or to COUPLES. So, which one should the dancers do? In most cases, it's crystal clear. The dancers never hafta guess. But in this case, the dancers would be confused as to whether you want couples, or individuals, to Veer Left. The previous call (dosado) was done as individuals. I think if I were dancing it, I would do the Veer Left as individuals. Then the resulting formation would be ocean waves.
So, I'm not saying it's "bad". I'm just saying it's ambiguous. It's a good idea to NEVER give the dancers a choice. Make it crystal clear exactly what you want 'em to do.
After the Dosado you could say: As Couples Veer Left.
By the way, you came up with a VERY interesting combination of calls which I have never before considered. I like the combination of Half Sashay, Dosado, As Couples Veer Left!
> couples trade
> half tag
> boys run
> stat thru
> pass to the center
> sq thru 3
Each individual call is good, but the overall combination misses the mark. Dance this one through, mentally. Dance it first as the boy, then as the girl. Figure out how many times you change the wall you're facing. How many turns did you make, and in which direction?
For example, here's what you want to analyze:
Dancing as the boy:
You make ____ (fill in how many) turns.
The turns are in this direction:
1st: _____ (Clockwise or CounterClockwise) for ___ degrees
2nd: _____ (Clockwise or CounterClockwise) for ___ degrees
3rd: _____ (Clockwise or CounterClockwise) for ___ degrees
etc.
And do the same thing for dancing as the girl.
You can also analyze the hand usage, but in this particular case the hand usage is perfectly fine.
Think about the turning motion. The absolute most you want in any direction, without reversing the spin, is 450 degrees.
In your module:
Half Sashay - you remain facing the same way, so: No Turn
Dosado - if you do it by the definition, No Turn. If you do it the way dancers will actually do it on the floor, Clockwise Turn for 360 degrees.
As Couples Veer Left - you remain facing the same way throughout the call so: No Turn
Couples Trade - clockwise, 180 degrees
Half Tag - clockwise, 90 degrees
Boys Run - clockwise, 180 degrees
Star Thru - clockwise, 90 degrees
Pass to the center - some get zero turn, some get clockwise 180 degrees
Centers Square Thru Three - some get zero turn, some get clockwise 180 degrees
Okay, the above is for the boy. We end up with: hmmm, it sure would be nice to spin the other direction occasionally!
And how about for the girl:
Dosado - the way real dancers do it nowadays - clockwise 360 degrees (You end up facing all four walls, sometime during the wall)
Veer Left - none
Couples Trade - clockwise 180 degrees
Half Tag - clockwise 90 degrees
Boys Run - no turning motion for the girls
Star Thru - COUNTER-clockwise 90 degrees. Cool.
Pass to the Center - some of the girls have NO turn, others have Counter Clockwise for 180 degrees
Square Thru 3 - some girls have no turn, others have counter clockwise 180 degrees
So, actually, you're within the acceptable range (total of 450 degrees CCW) for the girls. But then you're almost certainly gonna call:
Left Allemande - 360 degrees counterclockwise
So, what I'm trying to say: your module VERY BADLY NEEDS something to break up the spin. In a case like this, R&L Thru is your Friend!
Sure appreciate your providing the fuel for group discussion!
Nasser
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---#3---From Stoney Hollcroft
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hi nasser thanks for the info
I see if I would do a slide thru and R and L thru after the half tag that would give me the left turn thanks I will work on this
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---#4---From Nasser Shukayr, private to Stoney Hollcroft
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Hi Stoney!
BINGO!
Zero Box: Half Sashay, Dosado, As Couples Veer Left, As Couples Trade, Half Tag, Boys Run, R&L Thru, Slide Thru, Left Allemande
Or ... if you're starting in the home quadrant ... end it with R&L Thru, Slide Thru, centers Roll, you're Home!
Or ... if you want 'em to remember you for a LONG LONG time:
Zero Box:
Half Sashay, AS Couples Dosado, AS Couples Veer Left, AS Couples Trade, Half Tag, Boys Run, Forward & Back,
Half Sashay, As Couples Dosado, As Couples Veer Left, As Couples Back Up Two Steps, Left Allemande
Nasser "they'll never forget ya' EVER" Shukayr
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---#5---From Wayne Shoemaker
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Nasser,
I'm at work, and don't have any checkers with me, but it looks good on paper.
The only problem I see is that most dancers do a 'swing' dosado which would not end in a good position to veer left. However, with a 'proper' dosado, I don't see any problem with it and would/will probably give it a try.
That's my vote.
p.s. - I can't get this to send to the SSCC Alumni group, only to you.
Wayne Shoemaker
Square Dance Caller
Promenade.Home@yahoo.com
www.geocities.com/Promenade_Home
Home - (972) 530-9274
Cell - (214) 336-7249
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---#5R---Reply from Nasser to the above
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> The only problem I see is that most dancers do a
> 'swing' dosado which would not end in a good position
> to veer left. However, with a 'proper' dosado, I don't
> see any problem with it and would/will probably give
> it a try.
Good observation, however in this case either type of dosado will blend smoothly into the Veer Left. I am 100% in favor of choreo combinations which "gently force" the dancers to do the calls correctly!
> p.s. - I can't get this to send to the SSCC Alumni
> group, only to you.
Alas, it's true. There are a dozen ways to send out a group e-mail, none of which are perfect. After relentless soul-searcing, I decided to send it out as a blind CC to everyone. All replies then go only to me. If you want the reply shared with the group, just say so and I'll send it out to the group.
I will never embarass anyone, no matter how much you tempt me, and I'll never send someone's comments out to the group without permission. (This particular exercise is different because everyone was invited to send in comments as a group exercise.)
If any of you internet gurus want to suggest a better way to handle the group e-mails, I'm All Ears!
Regards,
Nasser
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---#6---From Bob Joy (or maybe one of his kids commandeered his computer ... how can we ever know who really sent the message?)
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I don't like the flow from the Half Sashay to the Dosado - the right hand dancer has stepped ahead to slide in front and then step back to complete the Half Sashay movement and then reverse direction forward to start the dosado - the left hand dancer is sliding to the right for the Half Sashay and then must reverse to the left to start the dosado. Other than that, it seems to flow.
Bob
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---#6R---Reply from Nasser to the above
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Okay kids. Get off of Daddy's computer ... you each have your own. :-)
Good comments about the flow of Half Sashay to Dosado. You're absolutely right: it's not the best flow in the world for the man. You surely wouldn't use it all night long. At all times we need to be fully aware of the value of "something different" in contrast with "something comfortable". There's a balancing point somewhere.
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---#7---From Scott Henry
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I like this module with a couple of changes. Everything seemed to be going good until the Square Thru Three call. I would drop the Square Thru 3 and replace it with Centers Partner Trade and then Left Allemande. Then if you eliminated the Dosado the timing should fit into a singing call.
I like this one because its at a level that I think my club could actually dance at, although Half Tag is something of an iffy proposition and they haven't done Pass to the Center very often..
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---#7R---Reply from Nasser to the above
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Hi Scott! Wonderful to hear from you! Doug and I sure appreciate your participating in the discussion!
You wrote:
> I would drop the Square Thru 3 and replace it with
> Centers Partner Trade and then Left Allemande.
That's certainly a thought. After Pass to the Center, it's fairly common for the next call to be "Centers Square Thru 3". Technically, legally, in theory, dancers SHOULD be able to do a partner trade instead. In real life, they're gonna struggle with it. But go ahead and use it! I personally prefer to dance something a little different. Just be a nice guy and give 'em a couple of extra beats timing (by giving the call a beat or two early). For sure I'm not gonna blow the call, but as a dancer I'd appreciate your giving the REST of my square some advance warning. :-)
> Then if you eliminated the Dosado the timing should fit
Fantastic observation!! It had never occured to me that the figure might be usable as a singer. THANKS! Oh the wonderful things we instructors learn from students!
Thanks again, Scott.
Nasser
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Just the 1st four calls has the dancers stumbling all over themselves.
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Hi Bryce! You're right, the combination is a little bit different, and the flow can certainly be improved. Yet if there's some way to make the idea usable, we should search for that way. "Different, Not Difficult" is our mantra. Search for ways to give the dancers something a little bit different, yet something with which they can enjoy success.
As you noted, the original sequence:
Zero Box: Half Sashay, Dosado, Veer Left, Couples Trade ... might have "the dancers stumbling all over themselves". So, how can we improve it?
How about Zero Box: R&L Thru, Half Sashay, Individually Dosado, As Couples Veer Left ...
And if that doesn't work, improve it again until we finally shape the raw idea into a nice usable gem!
Ain't this a fun game we play?!?
Nasser
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Nasser...Most of this mod is cool...I looked at the flow and in my opinion the sticking point is working half sashayed..some dancers are very uncomfortable being sashayed......couples trade in the half sashyed position felt arkward.
My suggestion would be.
Zero box...
Keeps the germ of the idea alive, flows pretty good (I think) Just some of my thoughts.
Lloyd
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Good analysis. You're right, many dancers don't like working half sashayed. Fortunately in this particular module, they're only half sashayed during four calls. That's not very long. It does make sense to start 'em out with a small dose of "half-sashayed-ness" instead of a large one.
Your suggested choreo starts a whole 'nother discussion string. Let's talk about it:
> Zero box...
The dancers don't know whether you want them to veer left as couples or as individuals. Never let the dancers guess! They might guess wrong! So, in an ambiguous situation like this, flat-out TELL 'em: "as couples, Veer Left".
> couples trade
Interesting.
> half sashay
Good luck getting the dancers through this one. "Half Sashay" when they're -already- half sashayed is fairly difficult. If you're gonna use this, be sure to give 'em advance warning (i.e. deliver the call early) and be sure the getout is very near, i.e. if they're gonna break down, make sure they are physically near their corner so that they're not standing around too long before the resolve.
> star thru
VERY good! Call something strange, then get 'em out FAST.
Overall, I like it, and will probably use it in a Hot Hash tip. I will probably work 'em through some half-sashayed "Half Sashays" first, eventually building up to this sequence (you gotta call it real fast to get the full effect):
Zero Box, Swing Thru, Boys Trade, Boys Run, Couples Trade, Half Tag, Boys Run, U-Turn Back, Half Sashay, Star Thru, Left Allemande
Of course they're running around the floor frantically ... but isn't that the POINT of hot hash? Words cannot begin to describe just how much I'm gonna use this exact sequence, soon! THANKS LLOYD!
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I am with you in that I'm not going to say if it's good or bad. Even bad Choreo. is still Choreo. at least this person is thinking! Now for my input.
The biggest problem I see is flow. With that thought in mind here are my comments.
I wouldn't say "Heads square thru then Half Sashay I would add a Right & Left thru first. I also wouldn't Do-Sa-Do veer left. (After the R&L Thru you could then Veer Left.) I don't think it the first is much better than Star Thru Veer Left. I also don't think you would have much success getting dancers to Do-Sa-Do Veer Left, The biggest problem I see is that the dancers are going in circles. A big Clockwise direction.
P.S By adding R&L Thru. at the beginning then doing the sequence, after the star thru you are back to a zero box.
Dean
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Hi Dean! Extremely good analysis! Flow is very important, and I acknowledge and appreciate your suggestions for improving the flow of this choreo. Also, thanks for the often-ndeed reminder that choreo is good because at least it shows the caller is working at improving!
Good comments! Thanks, Dean!
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Many thanks to all who participated in this fun discussion! And for those who did not participate, I know you at least looked at the comments, so thanks for your participation as well!
Nasser "push push push the checkers" Shukayr
Hi Stoney!
WOW, you're coming up with some seriously good stuff!
I'll answer your last question first:
> can you comfortably do a box gnat from a wave it just doesnt seem comfortable
Box the Gnat is certainly "allowed" from a wave. It's not very common from there. In fact, Box The Gnat is not very common from anywhere. For sure, if you're trying to explore various cool ways to use calls, Box the Gnat from waves is a good thing to try. It's legal, it's doable, it's about the same amount of comfort as the regular ordinary call (i.e. not much), and it's a bit innovative.
You wrote:
> zero line ladies chain pass thru whh\ and deal
This is a VERY good module. It's also serious (and I mean serious) DBD. If you call it cold (without building up to it), most Advanced floors would not be make this module! But hey, I like it ... a lot!
Let's take it one step at a time.
> zero line, Ladies Chain
This is "okay". I prefer to give 'em some motion before a Ladies Chain. Except from Static Square, I almost never all Ladies Chain from a standstill. So maybe I'd call "R&L Thru, Flutterwheel" which is equivalent to Ladies Chain but a lot smoother (it has flow leading into the call).
But still, what you wrote is "Not Wrong". It would -work- exactly as written. I personally would give it more flow.
> Pass Thru, Wheel & Deal
That's another reason I like 'R&L Thru, Flutterwheel" instead of "Two Ladies Chain". AFTER a Two Ladies Chain, the men are backing up. Next we want them to put on the brakes and go forward at full tilt for a Pass Thru. That's what you call "an abrupt reversal of direction".
But if we set it up with R&L Thru, Flutterwheel now everyone is going sideways. The transition from Sideways to Forward is much smoother than the transition from Full Reverse to Full Forward.
Hey, Stoney, I'm not picking on ya' or anything like that: it takes a lot of careful analysis to come up with smooth interesting combinations. I'm trying to show you how to analyze it. Think about how each call ends (what motion do people have) and how the next call begins.
Dance it from the Man's view:
So what we gots is Back Up, Go Forward.
Now dance the alternative from the Man's view:
So what we gots is Forward, Sidewards, Back Up, Sidewards, Forward. That is much smoother than Run Backward ... HURRY ... now Run Forward ... QUICKLY !
Remember to also consider the lady's view of each combination.
Our original combination:
So, this lady is seriously going forward.
Now the alternative:
The alternative is more flowing, because it lets people flow smoothly to the right AND to the left.
Again, the first combination is not BAD. In fact, if you always call the second combination every time, then the first combination is very very GOOD, because it's Different But Not Difficult.
Smoothless and Body flow takes a long time to master. Even the best callers are always trying to improve. How can a caller get a handle on this topic? One simple solution is to never have any transition: just keep people moving in the same direction all the time. Granted, that would be smooth ... but it would also be overflow. People don't wanna go in tiny circles, always in the same direction, all night long! Somewhere in between is a fine balance. Good choreo flows smoothly and pleasantly back and forth in various directions.
Anyway, so far we've got: R&L Thru, Flutterwheel, Pass Thru, Wheel & Deal which is a very nice start to a good module
> Centers Lead Dixie Style to a Wave
WHOA NELLIE! If you call this cold, the very next call should be "Repair Your Square and Everyone Go Back Home". This is an exceptionally difficult usage for Dixie Style to a Wave. Yeah, I know, it's "legal" so dancers oughtta be able to do it. But that's in a fairytale world. In the real world, this mainstream call, used this way, will break down most Advanced floors.
But that is NOT a problem! It's an opportunity! Let's figure out what's difficult about it, and let's figure out how to get the dancers smoothly through it.
What does a standard everyday Dixie Style look like? It starts from lines or from Tandems, and it has the girls in the lead. But in this example, we're starting from DPT and we have mixed sexes in the lead. We've modified a standard Dixie style twice: a non-standard formation AND a non-standard arrangement. Either modification, by itself, makes the call about 3 times harder. The two modifications used TOGETHER make the call about NINE times harder!
So, earlier in the tip, you have TWO things to practice the dancers through:
A: Dixie Style from mixed Boy-Girl Arrangements (i.e. one couple normal, one couple sashayed)
and
B: Dixie Style from Starting DPT Formation
Please note this is -not- a bad thing. Indeed, it's a very very very GOOD thing. Your one module you wrote now becomes the basis for a complete entire tip.
Additional note: When I want the centers of a DPT to lead Dixie Style I try to make it crystal clear that I want the centers to be in the lead, and the outsides to also be involved. Otherwise the dancers might interpret it as "Just the Centers, do a Dixie Style to a Wave". That would be a legal interpretation, but it's not what I want 'em to do. So to make it crystal clear I would probably call it like this:
Pass Thru, Wheel & Deal, put the CENTERS in the Lead, Dixie Style to a Wave ... PULL BY, CENTERS! ... etc.
The officially recognized helper words in this case are "On a Double Track". So after Wheel & Deal you could say "On a Double Track, Dixie Style to a Wave". However, that word usage is not very common (even through it's proper), so I would not expect dancers to know those words. I'd get the point across to them some other way.
I would probably set this up by "practicing" the dancers with Double Pass Thru, Cloverleaf, Centers Lead Dixie Style to a Wave ... from various arrangements, until they get the idea.
At all times, you still have the option of NOT doing all the preparatory work. Just write a module, call it cold, and your best square stumbles through it while everyone else breaks down. I have NO problem with callers who do that. I only have a problem if they refer to it as Square DANCING when they really mean Square STUMBLING. :-)
Opinionated little devil, ain't I? :-)
> trade the wave
Trade the Wave is non-standard from here. Non-standard is a good thing, but it requires preparation. Think about the standard Trade the Wave. Where does it normally start? What Formation, and what Arrangement? Now think about this particular trade the wave. The arrangement is different. So, to use this module, you'd need to (earlier in the tip) practice the dancers through various arrangements of Trade the Wave.
Personally I'd call Everyone Cross Run. That way you have a Mainstream module. If you happen to be calling a Plus tip for some really good dancers, you could use the same module except instead of Everyone Cross Run, call Trade the Wave.
> box gnat same girl swing and prom
After Trade the Wave, everyone is holding right hands with original partner. You don't really need to Box the Gnat unless for some reason you're just itching to call Box the Gnat from there. You can end it with "Swing Partner, Promenade".
We could keep discussing this stuff forever, but let's fast forward to the end of the story:
Zero Line:
R&L Thru, Flutterwheel, Pass Thru, Wheel & Deal, CENTERS lead Dixie Style to a Wave, Trade by Wave, Swing Partner, Promenade
Executive Summary: Two Thumbs Up. Good module. Fairly difficult use of Dixie Style provides much opportunity for exploration of the call during the tip.
You can use the same module at Mainstream by replacing "Trade the Wave" with "everyone Cross Run". Either way will still require some pre-preparation of the dancers.
Sincerely,
Nasser, and Doug too, since we talked about this last night :-) We appreciate you, Stoney, for all that checker-pushin' you've been doing! The way we figger it, the more our alumni push their checkers and share the results with us, the less checker-pushin' me and Doug hafta do on our own. :-) :-) :-)
Keep them cards and letters comin'!
Hi Dean!
Great to hear from you! Happy New Year!
> According to the Callerlab web page and definitions updated
Correct in every detail.
> I am not disputing that you would need to build up to it, by first doing
I follow your logic. What you're saying makes sense. Let's find out if Callerlab agrees with us!
Callerlab's "Standard Basic & Mainstream Applications" says Tag the Line is standard from:
- Parallel Right Hand Two Faced Lines, All Arrangements
But it says Half Tag is standard only from:
So, to answer your question, apparently it -is- different to call, from outfacing lines, Half Tag (which is non-standard from there) instead of Tag the Line (which is standard from there). Weeeeeeird.
I suspect the reason is that dancers tend to resist anything which "looks weird". When you have normal outfacing lines and you call Half Tag, you end up with BBGG waves which dancers perceive as "weird". Another factor is how common something is. Obviously Tag the Line is standard from outfacing lines: it's the single most common place where that call is ever called.
Half Tag oughtta mightta shoulda be standard from outfacing lines, but in actual fact it's non-standard.
Non-standard is okay! The book includes a whole preface explaining it. I won't type that in here, but basically the book says it's important for callers to know which usages are standard (easy) and which usages are not. And I agree 100%. Call anything and everything ... but ... know how difficult your choreo is.
> I don't have a copy of the book you made reference to. Looking at the
It's one of Callerlab's Sales Items. The order form can be found at http://www.callerlab.org/documents/callerlabdocs/sale_order_2006_C.pdf
Or just call 'em on the phone and order it. Mainstream Standard Applications is $9, Plus is another $9. I highly recommend both booklets (especially the Mainstream one). Lots of info in there. Mainly it tells you what's Standard. Everything else, then, is considered non-standard. This doesn't mean you can't call it. Indeed, if you always call strictly standard, it's a dull dance. The main most important thing is a caller should know if a certain combination is standard or non-standard.
> I also respectfully dispute the use of Acey Deucy 1 1/2 in that it
No problem. Nobody likes all calls equally. Truthfully, I don't remember the figure in question. Stoney has sent me so much crap I can't tell one figure from the next. JUST KIDDING!!! :-)
I appreciate your feedback, and of course all that you do for square dancing in the beautiful Shasta region! Thanks for writing!
Nasser
Someone had a very good question about the non-standard Dixie Style to a Wave. Please understand whenever you send a question it is accepted, categorized, carefully scanned, discussed with Doug Davis, and then whenever we finish laughing at you, we answer your question. What a deal. No, seriously, we love questions and we appreciate you for asking and we do --NOT-- laugh. Well, at least this one time we did not laugh, because it was a very good question. Maybe we'll laugh next time. Doesn't matter, because we welcome and appreciate all kinds of questions. Keep 'em comin'!
Here's the question:
- - - - - - - - - -
You gotta agree, that was one sweet letter. And a good question as well. The previous example we sent out could have been more clear.
"On a Double Track" means there are two side-by-side single-file DPT formations who each do the call.
Here are pictograms:
After Wheel & Deal:
G4v B1v
One track consists of G4, G3, B4 and B3.
After doing the First Part of "On a Double Track, Dixie Style to a Wave" (i.e. after the Right Pull By)
G4v B1v
After completing "On a Double Track, Dixie Style to a Wave":
Hope this helps! Thanks again for asking. We appreciate all of your for pushing the checkers and sharing with the group. Keep it up!
Nasser Shukayr and Doug Davis
PS - Did I mention that Doug somehow signed me and him up to do a caller school in June in the middle of nowhere? We need your help to find student callers who will put up with us for five days (June 15 thru 19, 2007) in Texarkana, Arkansas. It's gonna be a good caller school! Please recommend us to your friends!
Flyer here: http://www.nshukayr.com/ttcc2007.htm
Let's talk about phrased calling, which is the kind of calling which allows dancers to move in sync with the music.
Many years ago, I often wondered how the old masters (Johnnie Wykoff, Frank Lane, Earl Johnston, etc.) when calling could make you feel like you were floating on air. As a totally unrelated event, in 1990 I started cueing rounds.
I was always an experimenter. I try things just to try 'em. One day, probably in 1992, for no good reason, I decided to call a square dance tip "just like a round dance cuer would cue a round dance". It's hard to explain, except to say there is a certain mechanical style you use when cueing a round dance. You say the words at a certain place in the music, a few beats ahead of when the dancers are supposed to perform the actual move. I decided (on a lark, just for kicks) to do those same things when calling a square dance.
I looked out at the dancers on the floor and BINGO! Instant Discovery! I immediately saw the dancers moving with the phrase of the music, on beat, in perfect unison. I had accidentally discovered the "float on air" effect. Simply stated: call a square dance the same way you'd cue a round dance!
Very very few callers do this. Maybe only 2 percent.
The best dance experience occurs when the dancers can move with the phrase of the music. But most callers (national and otherwise) -CALL- with the phrase of the music. It's feels natural to sing and/or call with the phrase.
Dancers -always- dance 2 to 4 beats behind the caller. It takes 'em that long to figure out what the caller said. (This is known as "Lead Time" in your caller school syllabus.) If the caller is on the phrase (as most callers are) then it's quite impossible for the dancers to also be on that same phrase. Dancers -must- dance after the call is given. If the call is on phrase, dancers have no choice but to dance off-phrase.
We can all learn to call "before the phrase" so that the dancers can dance -on- the phrase. Even if you don't want to change your calling style every tip, you can still learn this skill and use it SOME of the time, to provide variety. Let's learn how to give the musical phrase to the dancers. Here are a few "baby steps" into this technique:
(a) Do you know the place in a singing call where you typically say "Sides Face Grand Square" or "Circle Left"? Those calls are normally prompted. It's quite common for Grand Square or Circle Left to be delivered ahead of the phrase so the dancers can start moving "on the phrase".
Since we already know how to prompt "Sides Face Grand Square", let's use that existing knowledge to help us learn a new skill. Try to prompt "Heads Square Thru" or "Heads Promenade Halfway". It's fairly easy. Instead of saying "Sides Face Grand Square", say "Heads Promenade Halfway Round" at exactly the same place in the music.
A grand square when prompted feels like this to the caller:
Sides Face Grand Square ... where So your command when prompted will feel exactly the same to you:
Heads Square Thru Four or
Heads Promenade Halfway Round Practice this skill. Can you teach yourself how to prompt various commands?
(b) After you can reliably prompt the first command of a sequence (i.e Heads Square Thru or Heads Promenade Halfway), try to deliver subsequent calls in the same "prompting" style.
Heads Square Thru Four et cetera
Let's agree you cannot make EVERY call precisely fit the music. That's because not every square dance call is an even multiple of 4 or 8 beats. But if a sequence starts out prompted, dancers will hit a lot more phrase-marks (during the dance) than if a sequence starts out 3 or 4 beats off the phrase.
As with any self-improvement technique, the best way to learn is to record your own calling, then dance to that recording.
Prompt-calling may not fit your style. I feel quite sure it will improve the overall dancing pleasure of your dancers. Even if you decide not to prompt-call all the time, it's still valuable to learn a new tool you can use occasionally in your calling.
I almost always prompt-call -everything-: patter, singers, beginners, advanced, everything. It produces a smoother dance experience. The dancers are not even aware of WHY it's smoother. They just know it feels smooth and easy. The reason is feels smooth and easy is because the dancers get to move WITH the musical surge instead of having to fight AGAINST it all night long.
At almost all of my dances, the same number of squares are dancing in the last tip as were in the first tip. It's NOT that I'm such an entertaining caller. Rather, I let the dancers "swim with the flow" of the music instead of making them "swim upstream" AGAINST the power of the music. They are moving with the musical phrase, so they do not tire out as quickly.
Only a very small percentage of callers use this technique. We don't spend nearly enough time on it during caller schools. I think prompted calling makes a much more pleasurable dance. Try it just for kicks, observe your dancers, dance to your own calling, and let me know if you like the results!
All the best,
Nasser Shukayr
PS - remember our upcoming caller schools!
Lloyd Alexander wrote:
Nasser..I thought of this figure this morning..it surprised me that it seems to work..the active couples do right at the max of turning ..but it isn't over 450 degrees and should work..ok to share if you think it's worth a crud..
Heads Pass the Ocean
Thanks
Lloyd "see ya'll soon" Alexander
- - - - - - - - - -
Nasser's comments (not just to Lloyd but to everyone): Good figure! I appreciate your sending it in for the group's perusal. However the figure need modification before it's usable.
The figure times out a little bit short. The Callerlab timing chart is available in your Caller College syllabus, among other places. Let's review how to time out a figure. Basically you look up each individual call on the timing chart, then add up the numbers.
Heads Pass the Ocean - 6
We're now ready to Swing and Promenade. So far we have used 36 beats.
How many beats -should- we have used, in order to time out perfectly? The entire figure (including Swing and Promenade) needs to time out to 64 beats. Swing takes "4 to 8" beats (dancers will swing long enough to get into phrase with the music), and from here (Home Quadrant) Promenade will take 16 to 18 beats.
Therefore we -should- have used 38 to 44 beats up to this point. But in this example figure we have only used 36 beats . We are 2 to 8 beats short. 2 beats is almost unnoticeable. 8 beats is very noticeable. Executive summary: the figure times out short.
There are literally a thousand ways to make the figure longer. You can insert a call. You can replace a call with an equivalent which takes longer. You can replace a group of calls with an equivalent group which takes longer. You can start over an do a complete rewrite. There may be other options as well.
Let's make this a fun exercise for the group. How would you change this figure to make it time out better? Send me your answer. I'll gather the answers and (in a week or so) forward them all to the group.
Let me know if you do NOT want your answer identified with you name. We never want to embarrass anyone; instead we want this to be a fun and meaningful learning experience for all.
Nasser "vote early and often" Shukayr
PS - it's okay to forward this newsletter to other callers and even to dancers who might be interested in calling. If you are reading a forwarded copy and if you want to receive your own copy, let me know. I'll add you to the list and you will start receiving your own copy. No obligation.
If anyone wants off this mailing list, let me know and you'll be promptly removed.
Remember our upcoming caller schools!
Ray Rhea sent in the following figure for comment.
> Hi Nasser, I was working my checkers through this
Ray, thanks for sending this in! It's the basis for some good discussion!
First, with a figure like this, you would -never- "call it cold" i.e. you'd never spring it on unsuspecting and unprepared dancers. A figure like this requires significant advance preparation for both caller and dancers. It might require more than one tip of preparatory work. You might even need to walk them through a full-blown detailed teach.
Decide if you are willing to:
- learn and understand the concept
- push your checkers for 5 to 10 minutes
- call 5 to 6 minutes of patter to your dancers to prepare them for this one figure. This particular figure might even require TWO tips of patter
- possibly abandon your grand master plan if the dancers are not getting it this particular evening
- enjoy and savor 20 seconds of glory while calling this figure
- be genuinely happy for the dancers when they successfully dance through it, because even after all the work YOU did, it's THEIR accomplishment and success which matters most!
- - - -
So, are you willing to pay the price? As for me: I'm THERE! I'm willing to do all this and more, to give the dancers a feeling of success. Let get started!
You will need to devise a patter tip which "teaches" the figure to the dancers. Let's break the figure down step by step, to find the potential trouble spots.
- Heads Square Thru - no problem
- Slide Thru - should be no problem EXCEPT ... we often call Swing Thru from there. If you surprise 'em with a Slide Thru, some dancers might want to start a Swing Thru instead. So it's a good idea, in the patter, to "practice 'em" through this Slide Thru, just to make double-dawg sure.
- Left Touch 1/4 - It's fairly easy, yet it's not all that common. For sure you need to have do a Left Touch 1/4 several times in the patter before calling it in the singer.
- Zoom once and a half - here's the tough part. Although it's a valid use of Zoom, it's unusual. To get 'em through this, you will need a plan. Your plan should start from the very easiest (standard) zoom, then gradually build up to this unusual usage. In fact, Zoom will be almost the entire focus of your patter tip.
Let's fast-forward ahead, to see how this story (ahem, this zoom) ends:
The zoom will be done "in your front-to-back twosome". From the left-hand column they're in, where is each twosome? Boys 1 and Girl 4 make up one twosome, Boy 4 and Girl 3 make up another, etc. To do the zoom, you stay within your own twosome.
To zoom ONCE, the leader of the twosome (in this case the boys) peels away from the center (in this case, to his right) while the trailer of the twosome steps straight forward. The leader circles on around to end up behind the original trailer. You end up in the same front-to-back twosome as where you started. The leader and trailer have swapped positions.
To do HALF a zoom, you merely do half of the above. From here (LH column) it will end in a RH wave.
Now if that's the final scene, how did we develop the plot to get to that point? Obviously, we start with a "standard" zoom, and then build.
What kind of Zoom is standard? Well, I could rely on my dazzling brilliance to conjure up the answer, -OR- I could refer to my handy-dandy Callerlab Standard Basic & Mainsteam Applications booklet. Go ahead and guess which option I'm gonna choose.
Neener neener, you weren't even close! I'm gonna use the booklet. Anyone who doesn't have this booklet should order a copy. The booklet says Zoom is standard from a starting Double Pass Thru formation. It says normal couples (#0 arrangement) is most common, but other arrangements usually pose no problem.
So, we have our starting point. From a normal everyday 8-chain-thru formation: Swing Thru, Boys Run, Ferris Wheel, Zoom.
Let's build. Have 'em do Just the Boys Zoom or Just the Girls Zoom, to get 'em into the habit of seeing just their twosome. Kick it up yet another notch by having mixed sexes doing the zoom (in other words, the front-to-back twosome consists of one boy and one girl, instead of two of the same gender.) Push your checkers to come up with smooth quick ways to get into and out of the desired setup. For example: Heads Touch 1/4, Head Girls Run, everyone zoom, Face your Partner, Lines Forward and Back, etc.
Now we want to kick it up another notch. We want to eventually get to zoom from a Left Hand Columns. You might wonder: Why a LEFT handed column? Aren't left-handed formations straaange? Well, starting from a LEFT handed column gives a RIGHT handed ending formation. Ending up right-handed is easier than ending up left-handed. So for now in our patter let's stick with left-hand columns, doing half a zoom and ending up in right-hand waves.
It is -MUCH- easier for dancers to see this "zoom from columns" thing if their front-to-back twosome consists of two boys or two girls. In other words, after a normal Double Pass Thru you can call "Face In" ... now you have BBGG lines, then Left Touch 1/4, then JUST THE BOYS ZOOM. Then JUST THE GIRLS ZOOM. Get the dancers into and out of this setup several times, giving them several chances to become comfortable with the idea of "Just Someone Zoom" from a left-handed columns. It will be a new action for many of the dancers.
After the dancers are well-versed in doing same-gender Zoom (one gender at a time) from BBGG or GGBB left-handed columns, kick it up a notch by having EVERYBODY ZOOM. After they're comfortable with that, kick it up another notch by having mixed genders doing the zoom. (Instead of starting from BBGG lines to set up your left-handed column, start from normal lines).
Now we need to introduce the concept of Zoom Once and a Half. I'd probably stop 'em and teach it like this:
(from a zero line): Left Touch 1/4. Boys, your original partner is behind you, and in a minute you're gonna take her place. Girls your original partner is in front of you, and you're gonna take his place. Ready? ZOOM! Great! Now when we do that zoom again, we will all end up in the place we just came from. Ready? ZOOM!
Dance them through this several times until they're comfortable with it. There is a difference between "executing a move", "stumbling through a move", "surviving a move", and "DANCING a move". You want to cross the border from stumbling ... to dancing.
Now let's kick it up another notch. Get 'em into the same Left Hand column (i.e. Zero Line: Left Touch 1/4, Zoom). Now stop 'em and teach 'em something new. I'd call it like this:
"Think about half of that zoom. Leaders (Girls) you will do half of your motion and you will become the end of an ocean wave, holding right hands with your original partner. Trailers (Boys) you will step forward halfway and become the centers of that wave. Ready? HALF of a ZOOM!"
Dance them through this several times until they can do it easily.
Come up with a nice getout you can use in your patter. I like this one: Zero Line: Pass Thru, Partner Trade, Left Touch 1/4, Zoom Once and a Half, R&L Grand.
Before we put on that singing call records, let's make sure the dancers are okay with the rest of the planned figure:
> Got A Wave
You'll need to dance them through this as well (Fan the Top with Boys as centers of the wave) several times in the patter. That's why preparing the dancers for this particular singing call figure might require more than one tip.
> Spin The Top
It's standard usage from this setup.
> Explode and Square Thru Three
You might need to practice this part once or twice in the patter.
After all this work, now you're finally ready to call this figure in a singing call.
This figure would make the basis of a very nice workshop tip, or maybe even two tips. It's strange, yet at the same time it's wonderful, that an entire tip (or two) can be based on just one itty-bitty figure.
Can the same idea be used at Mainstream? It sure can. Just push your checkers and come up with some Mainstream choreo incorporating the same concept. I won't go through the entire development process in this e-mail (it's already a trifle long) but here's one possible singing call figure:
Heads Square Thru - 10 beats
Slide Thru - 4 beats
Left Touch 1/4 - 2 beats
Zoom once and a half - 6 beats (if the dancers are sufficiently prepared)
Boys Trade (in the middle of the wave) - 4 beats
Spin the Top - 8 beats
R&L Thru - 6 beats
Slide Thru - 4 beats
Subtotal: 44 beats
Swing, Promenade - 20 beats
Total - 64 beats
Have fun, and remember: the harder we work, the luckier we get!
Happy calling!
Nasser Shukayr
Lloyd wrote:
> Nasser..I heard Marshall Flippo use this figure in a singing call....I
I count 40 beats. You left out the Star Thru after Cast Off 3/4. Your count was correct (for what you wrote), but what you wrote was incomplete. Anyway, 40 beats before the Swing and Promenade is textbook perfect. This is exactly what we expect from Marshall Flippo!
Most dancers will need two extra beats for the first Veer Right. It depends on whether you prepared the dancers in the patter. There are couple of reasons why the two extra beats are needed. First, it's a veer RIGHT (veer Left is common; veer Right is a bit strange) and secondly it starts from a 2-faced-line (normally we start a veer from facing couples).
The second Veer Right does not take extra time because the dancers have just done a Veer Right (so the shock factor is not as large), plus they're in facing couples. The second Veer Left does not require extra beats because the dancers have already done a Veer from a 2FL earlier in the figure.
You're right, it's a cool figure. Thanks for sending it in. Here it is, with timing:
10 - Heads Square Thru 4
Total: 64 beats
Someone sent in a singing call figure for comment. Let's analyze it and compute the Spin Factor.
> 4 Ladies Chain
It's an okay figure. Note that the Swing and Promenade occur in the "Right Hand Lady Quadrant" instead of the usual "Corner Quadrant". This makes the promenade take 12 to 14 beats instead of the normal 16 to 18 beats. In an ideal world all figures times out to exactly 64 beats. This figure is 2 to 4 beats short. Let's acknowledge that fact, but let's ignore it for now.
Instead let's talk about something very important: SPIN!
Mentally dance the figure through. Whenever people make a turn during the figure, which direction do they turn? Let's analyze it by counting how many walls each person turns. Let's write down L if someone turns to face the wall on their left, and R if someone turns to face the wall on their right.
Four Ladies Chain
Heads Pass the Ocean
Extend:
Swing Thru:
Boys Run:
Half Tag:
Scoot Back:
Scoot Back again:
Swing:
Promenade:
Now lay it all on the table like this:
Head Man: LLLL RRR LL RRRRRRRRRRR LLL
Do you see the same thing I see? Everyone has -eleven- right-hand turns in a row! That's a lot of spinning in the same direction! (Note that the 11 turns are punctuated by some straight-ahead moves. So it's not a total complete overflow disaster. Yet it's awfully close to overspin city.)
Most callers overspin the dancers to the right. Do you wanna be just like everyone else? Or do you wanna work at being a little bit different, so that the dancers will enjoy dancing to you even though they may not know precisely WHY they enjoy it?
It's important to know how to spin people the other direction. It takes practice and it also takes careful attention to what we're calling. Eventually you can develop a "sixth sense" about overflow. You can intuitively "know" when you're spinning 'em too much. Again, please note that almost all callers spin 'em too much to the right. It's very common, because it's easier to call right-handed choreo than it is to call left-handed choreo.
Maybe the figure cannot possibly be improved. But let's try anyway.
We'll start out the same: 4 Ladies Chain, Heads Pass the Ocean, Extend, Swing Thru, Boys Run, Half Tag
Now let's change it a bit: Walk & Dodge, Partner Trade, face that same partner (at plus you could call "and Roll"), step to a wave, Boys Trade, Swing, Promenade.
Let's compute the new spin factor. To save time, let's fast-forward to the final result:
Head Man: LLLL RRR LL RRRRRR LL RRRR LLL
Do you see the difference? The first figure feels like this:
Turn Right, Turn Right, Turn Right, Turn Right, Turn Right, Turn Right, then repeat
The second figure feels like this:
Turn one way, then the other, then one way, then the other, then one way, then the other.
The first figure is like riding on a merry-go-round. The second one is like riding on a swing. The first figure fell apart when it included a bunch of right-hand spins in a row. Boys Run, Half Tag, Scoot Back, Scoot Back, Swing ... they're all right-hand spin. We need to throw in an occasional left-hand spin to break up the party.
We did exactly that in the second figure with Partner Trade (left-hand spin for the girls) and also with Boys (as centers of a wave) Trade (left-hand spin for the guys). The one and only reason I put those calls in there was to break up the clockwise spiral.
See the difference?
Now I am -not- saying the second figure is "perfect". A perfect sequence might not even exist. All I'm saying is that it's very EASY to spin everyone clockwise. It's certainly a popular way to call. Can we do better? I think we can.
We can improve our sequences dramatically by knowing what to guard against, and how to keep it from happening. We can spin the dancers both ways, instead of the same direction all the time. It takes knowledge, desire, practice, passion, and effort to develop and call things which are pleasantly different. The dancers will appreciate that effort!
Comments? Questions? Suggestions?
Happy calling,
Nasser "back-and-forth is better than forth-and-forth" Shukayr
One of the alumni wrote as follows:
I don't know why I have all of a sudden realized that the way I teach a call and use it in my patter figures, and some singing calls, just how awkward what I am calling is. Here is my example and question.
This year the 3 new dancer classes are having trouble understanding "Pass the Ocean"
When I teach the call I first let them know that the proper way to do it is to first pass thru then face your partner and step to a Right hand wave. After doing this a few times I then tell them ( and maybe this is where I get into trouble ) that it is common for the Right hand dancer or in normal partner pairing the Girl will take left hands and hinge or move forward 1/4 turn as the boys move up to become the end of the wave. I also tell them all of this is the same result as pass thru and make a wave. My reasoning for all of this lengthy explanation, is to try and prepare dancers for what they will encounter at open dances.
Now to my problem.. When calling I try not do use Pass the Ocean "Flat Footed" meaning I try to get some kind of flow first, like Right & Left thru, ( Pass the Ocean) ; Flutter Wheel, (Pass the Ocean) ; 2 ladies chain (Pass the Ocean) or something to this effect. What I have all of a sudden noticed,and what my dancers are getting confused about is that the Girls have to use their Left hands twice which seems to confuse them when doing the call. So my question is what would you (or other SSCC ) callers suggest as a different type (or way) of call to use?( or ways of getting into it.) Or should I just be patient and realize that in time they will finally understand that this is how it is?
I don't ( and it seems like other callers ) hesitate having an inactive couple like Heads, Sides, or sometimes Centers Pass the Ocean Flat Footed. How many times have we simply said "Heads" ( Sides) Pass the Ocean, or Clover and Centers Pass the Ocean. This seems to be kind of common while calling.
Maybe I'm just fussing over something I shouldn't. Any suggestions???
- - - - - - -
So, how about it? Who's got suggestions or ideas to share? I'll forward all of your suggestions to the group. Then, in a week or so, Doug and I will chime in with our answer.
Happy calling and teaching!
Nasser "Doug Davis arrives in my hometown today for a two-week stay" Shukayr
5/7/2007
Hi all!
Hopefully everyone is staying busy! Speaking of that, I have intended to write for quite a while, but have been very busy with, um, er, uh ... STUFF! I hope you've been busy with stuff also!
Last time this group communicated, we talked about how Pass the Ocean was awkward from certain setups. It's been so long ago that I don't remember the exact question. Hang on, I'll look it up.
Found it! Someone wrote:
> When calling I try not to use Pass the Ocean "Flat Footed"
First, I don't know where the idea came from that Pass the Ocean requires some kind of forward flow. Certainly SOME calls just scream for forward motion: Flutterwheel, Dixie Style, Reverse Flutterwheel, etc. But Pass the Ocean is not one of those calls. It's perfectly okay to call it from a standstill, just like it's okay to call Pass Thru from a standstill.
The above is just a minor point. Whether or not you have forward flow, Pass the Ocean is a smooth call. So let's move on to talking about the most important part of the question:
Pass the Ocean is a RIGHT-handed move. But the way callers often teach it (Girls Hook Left Hands and Hinge With Each Other), Pass the Ocean is suddenly transformed into a Left-Handed move. Therefore, choreo which really "oughtta" work suddenly becomes awkward.
Here's a specific example. From facing lines, "Pass the Ocean, Centers Trade" is supposed to be smooth as silk. You've got a Right Handed Call (pass the ocean) followed by a left-handed call (centers trade). It's the textbook example of smoothness.
But if we incorrectly teach Pass the Ocean as Girls Hook Left Hands with the Other Girl, then suddenly the above combination is not nearly as smooth. Suddenly you have two left-handed calls in a row.
Clearly, the solution is to teach Pass the Ocean properly. It consists of only three parts: Pass Thru, Face Your Partner, Step to a Right-Hand Wave. Either hand is now free for the next move, but in particular, the left hand is free. (The left hand is NOT free if they do a "Left-Hand Hinge" as the last part of the call).
Well then, how do we get around this "Girls Hook Left Hands" business? My advice is: forget you ever heard it! Still, first-time Ocean Passers will end up spread out too far. An easy (and wrong) way to fix this is to tell the girls to hook left hands. But it's much better to show 'em how their Pass Thru needs to be pass JUST BARELY thru. This will make the ending formation nice and small.
When teaching, I like to break a call down into its component parts. First we practice "Barely Pass Thru". We practice it until we're good at it. Hmmm, some of 'em NEVER get good at it. If a person tries and tries and just CANNOT ever get it, I usually hand 'em a flyer for our next caller school. Speaking of which, you can get YOUR flyer by clicking one of the links at the bottom of the page. :-)
But anyway, after we're good at Part One, we then practice until we're good at Part Two which is "Face Your Partner". Finally we practice part three which is "Step to a Wave". Now that the new dancers are good at all three parts, it's a very simple matter to combine the three parts into one smooth call: Pass the Ocean.
I also try to make it "entertaining". The first several times, I cue the move as "PASS 'em, FACE 'em, make a WAVE". Eventually this comes out wrong as "PASS 'em, WAVE at 'em, make a FACE". This is true entertainment in its highest form ... ONE time only. :-) Okay, I lied ... it entertains ME, each and every time. Maybe I'm different.
The point is, let's all teach correctly, teach each component part, and have fun!
Comments, suggestions and questions are welcome. Doug Davis and I go over every comment or question any alumnus sends in. When we get finished laughing at you, we eventually answer most of 'em.
All kidding aside, we sincerely appreciate each and every one of you for what you individually add to the square dance activity!
Happy calling!
Nasser Shukayr
Dear Silver State Caller College group,
A good friend who is an up-and-coming young caller recently wrote to me regarding dancers who simply cannot dance. Here is what he wrote:
> I was reading some of the emails of callers
This particular caller is very talented, and very wise for such a youngster. After all, Hey!
Apologies for the delay in correspondence. We're just getting back from Nationals. It was a hoot. You oughtta go next year ... it will get your name exposed all over the place! You may recall that you got booked in all sorts of places (including Japan) after calling at Nationals in Portland. Cool Cool Cool. Of course some of that was based on my personally recommending ya' to caller bookers. So, always remember: you owe me Big Time!! :-)
Anyhoo, regarding crummy dancers, let's first figure out our goal. Do we want to purge undesirables out of the system? Do we want to lower the level to suit the least common denominator? Or do we want to bring these people UP to the level of everyone else?
Clearly the best answer is to bring the crummy dancers UP to where everyone else is. It's the only solution which will please everyone in the group. Let's make it so.
Most dancers easily understand that if you use computer cards or strips, then everyone has an equal chance of getting into a good square. I use computer cards at -all- my regular weekly dances. So does everyone else in my local area. Back when I was calling in California, I used computer cards for all of my dances there as well. I just totally highly recommend computer cards.
You can get 'em from Palomino, but their's are not very durable. I get mine from a print shop called Express Press of Greenville, SC. Look 'em up on the net: www.epgvl.com . Call 'em and talk to Dave or Becky Knapp, who are both square dancers. Tell 'em Shukayr sent 'ya. They can make heavily laminated cards which are as thick as a credit card or a driver's license. It's just impossible to bend or break 'em. The cost is reasonable: about the same as the flimsy cards you get elsewhere.
But to start out, you can just use a deck of regular playing cards. Figure out how many squares you've got. Pull out the cards for that number of squares. For example, for four squares you need all the aces, twos, threes and fours from the deck. If you have two extra couples, put in two queens or something. Spread the cards out face down on a table. Every couple picks a card. That card tells 'em what square they're gonna dance in the next tip. Queens sit out. After everyone draws, put the cards back on the table. Mix 'em up and draw again before the next tip.
I have a "no one sits out twice in a row" rule. If someone draws a queen and they also drew a queen last time, I let 'em draw again. Of course if you are using computer cards instead of playing cards, this problem is solved because the computer cards control who sits out and when.
There are places on the net where you can print out your own computer cards, cut 'em apart, and use 'em for a dance. For example, www.ceder.net sells a Square Rotation Program for $25. His site includes a link to a free program which prints cards to cut out ... however that site and the cards are in Danish. Wow, what a dilemma. It's free in Danish but $25 in English. I'd probably choose Danish, and spend the 25 bucks on a "Learn to Speak Danish" course. You gotta agree, some of the hottest babes on the planet are Danish. It might be cool to be able to talk with 'em. This is all a moot point anyway, because first of all I'm married and secondly I have my own bright orange heavy-duty bullet-proof personal deck of NShukayr computer cards from EPGVL.com
Getting back to the problem: don't try just one solution. Try several. The success of the group depends on your finding a solution, so take several shots.
For your second shot, note that sometimes people are crummy dancers simply because they cannot hear. Do you have hearing enhancement equipment? It costs about 600 bucks. Sometimes, hard-of-hearing dancers will buy their own equipment, because it lets them continue doing the hobby they enjoy. I had some VERY (and I do mean VERY) crummy dancers who, after they started using assistive hearing, became very EXCELLENT dancers. Ends up they were excellent dancers all along, it's just that they couldn't hear.
So, get some hearing assistance equipment. Or, if you're broke, convince your club or your dancers to spring for the cost. I get mine from local round dance cuers who are dealers for the stuff. They sell it more-or-less at cost, just to help out the activity. Or, at least, that's the spiel I got. I'm a sucker for a good spiel. Anyhow, they are Bob and Kay Kurczewski of Pharr, TX. Their e-mail address is roundsbyskis@juno.com, their phone number is 956-781-8453 and their cell phone is 956-460-7520.
I believe Lee Siegel, another round dance cuer in the Reno area, is also a dealer for this schtuff. Hey, how come all hearing equipment dealers are round dance cuers? Must have something to do with the brightly-colored pants they make the guys wear. :-)
In my experience, people who just absolutely CANNOT learn to dance are extremely rare. I can think of maybe three individuals I've ever encountered (years ago) who just could NOT learn to dance. And if I knew (back then) what I know today about effective teaching techniques, then probably I could have taught those three difficult learners.
Different people learn in different styles. In square dancing, we commonly try to reach people through their sense of hearing. But not everyone can learn that-a-way. Try to reach people through their sense of SIGHT (i.e. teach them what a call LOOKS like) or their sense of TOUCH (i.e. teach 'em what a call FEELS like). Sometimes you can get caller checkers and have slow learners push their checker through a move. There are lots of effective ways to teach. The challenge is to find one that works.
Exactly which moves are they doing wrong, and exactly how are they doing it wrong? Share this info with a more experienced caller. For example, my buddy Doug Davis just loves to be bothered with stuff like that, and I heard a rumor that he's an Accredited Caller Coach. Hmmm, so am I. I'm impressed ... twice. But seriously, share your problems with more experienced callers. I do exactly that, all the time. If I've got a tough problem, I call a whole slew of friends until one of 'em finally gives me the answer. I will readily admit Wayne Morvent is my mentor, and I bug him regularly. Chances are, a more experienced caller has seen the same problem before, and will know some ways to deal with it.
Now if you have someone who just absolutely cannot dance the level, always remember your prime directive: PRAISE IN PUBLIC, BUT CRITICIZE IN PRIVATE. Do -not- call them down in front of other people. If you do, you're gonna lose some serious points.
Take 'em aside in private. Maybe y'all can go to dinner together. Ask 'em how they feel about dancing that level. Do they enjoy it? Does it make 'em happy? etc. In many cases, dancers are already aware they are crummy. So you might not need to point it out.
But if you do need to point it out, tell 'em tactfully that you and others have noticed they are slow to respond and/or they do not know several of the calls in that level. This is a problem. This is -not- a -unique- problem. Instead, it's a -common- problem which has a simple solution. They can choose to either dance a level below this one (i.e. a level where they do know all the calls and can respond to them quickly enough) or, they can choose to go back and take the class again for this level.
At all times let them know that you want them to continue dancing, but you want them to dance at a level which is comfortable and fun for them.
What do you reckon people want, most of all? I believe they want to be APPRECIATED. Find something for which you can appreciate them. Tell 'em how much you appreciate them coming out and supporting the group even though they're struggling with the lessons. Tell your good dancers how much you appreciate them taking their turn dancing with everyone. Et cetera. Just appreciate the dog-snot out of people, and you will go far.
Keep in mind that many people feel the social aspects of square dancing are extremely important. In other words, their friends all dance this level, so it's important for them to dance this level in order to be with their friends. Therefore, offer them the chance to work the door, or help open and close the hall, or help make coffee, etc., for the night when you're calling the level which they are unable to dance. Tell 'em that everyone in the group considers them a personal friend, so they are cordially invited to come out and be with the group. And after taking the course again (remind them that this is VERY common) they are welcome to dance with the group as well.
Note: they will only visit the group a couple of times ... they'll end up making new friends at their comfortable dance level.
In my experience, someone who cannot dance a level actually KNOWS they cannot dance it. They're looking for a way out, but the escape route can be hard to find. Your job as a LEADER is to help people get to where they want or need to go.
Okay, what if you try the above approach, and the problem still isn't solved? Hopefully you can find a solution before it gets to that point. Some combination of computer cards (i.e. random square assignment), hearing enhancement, better teaching on your part, and/or additional lessons should solve the problem. But what if someone just absolutely cannot learn to dance, and they're a complete total goofup?
Every time I find a total goofup, I always solve it the same way. In fact, I'm doing exactly that, right now. I'm writing YOU a letter.
Just kidding!
Do NOT put anything in writing! If you do, trust me ... you'll see your own words again, used against ya'!!
Still there's bound to be a place for 'em in the square dance activity. They can help you put up and take down your equipment. They can be in charge of mailing out invitations to prospects for lessons. They can be vice president of putting up posters. In other words, there's a place for everyone.
Every problem has an acceptable solution. Like it or not, you ARE the group's leader. Take the helm! Grab the controls! Steer the ship! Find the solution! I know you can!
Nasser "sure glad it's you and not me" Shukayr
PS - You raised some extremely important points, which are much appreciated. I'm gonna send this out to the entire Silver State Caller School Alumni group. Some of them might have even more suggestions or comments. If so, they're welcome to send' em to me and I'll forward 'em to you! Lemme know how it goes for ya'!
NS
7/4/2007
Here are some good comments received from caller Boyd Taylor of California (SSCC alumni 2006). Thanks for sharing with the group!
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Nasser,
I often do not comment because I am still learning so much, but I have
Some of our "crummy" dancers also have the best attitudes. They are
Some folks didn't want to dance with me when I was a 13 year old
Keep trying, success is worth the effort.
Boyd
7/5/2007
Caller Dean Black (SSCC 2002) from California sent in some words of wisdom on this topic. Thanks for sharing your viewpoint and your experience with the group, Dean!!
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Hi
I will put in my 2 cents worth. I think this is a tight rope to walk, personally do not think there is EVER failure in Square Dancing. I have taught and re-taught the same dancers for 2 or 3 years. And kept them coming back.. why?? because I ALWAYS told them they were ANGELS!!! I encouraged them to come back, I told them you know how to Do-Sa-Do etc. So come back and help those who don't know how.
I had a couple attend my classes when I was teaching in Anderson Ca. they drove over one hour each way to attend so they could brush up on Plus to attend the Nationals.. I knew then and know to this day they will never be very good Plus dancers but.... they were and are loyal Square Dancers and are the best promoters of Square Dancing you will ever find!! I don't think you should ever tell them to stop coming. If you do you have damaged not only your reputation but the reputation of square dancing. Try to get them involved in the club in other ways become new dancers hosts. or greeters. but always encourage them. NEVER criticize them. I guess I will always be humble and remember I was new once. Heck I've been calling 10 years and I 'm still a newby.
As far as people not wanting to dance with them, I think this is the nature of the game. There will always be "clicks" I do not use cards etc. I tell them each night and encourage them to dance in other squares. I tell them not to dance in the same position each time. (like the heads) I think you need to kinda train them from the get go.As far as the hearing system goes. I agree it's a good investment if you can afford one. If you can't... how bout having them dance up front close to the speakers. Sometimes the dancers who are not so good tend to dance in the back, but if they are not to good and can't hear, you've got a real problem. so ask them to move up front so they can hear better you can also watch them, maybe you will see that they have been doing the move wrong because they couldn't hear! Also take time between breaks to work with them unless it's something like Relay the Deucy you only need on other couple to help them. Heck try to use them on occasion as angels for the calls they DO know. What a better ego booster!! If they are in the spot light they may try a little harder.
I also have the tendency to turn my voice up, and take some of the bass out when I know I have dancers who may be a little hard of hearing, I think it helps them to hear.
If you are calling for a newly formed club, then start early with breakin em up. If your other dancers flat refuse to come and dance with them, Don't let it ride on your shoulders, you can not change personalities. Try another approach, or talk to the board of the club or the officers. If this is a club you have started then you are in charge. but.....
If you are calling far an older club ( one that has been around a while ) this may be a challenge. I took over calling for three clubs, each of these clubs had long time callers who either retired, passed away.It was hard to step in for many reasons. The biggest I felt was because didn't want ME they wanted "their caller" All you can do is....as the saying goes "be your self"
7/7/2007
Ray Rhea from Utah (SSCC 2006) sent in the following. Ray has been a club caller for many years, and I sincerely appreciate him for sharing.
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Hey Nasser, Great to hear from you again and especially on such an important subject. In my 30 years of being around and calling in some capacity for this activity. I believe I have a real insight on this subject.
I am also most of all a friend and a fellow dancer to all those I call for. As Dean said this is a real tight rope, but one we must walk, if not for any other reason, to establish what we all say about this activity. That it is friendship set to music.
I guess it is OK to have the advance and challenge for those who want to be with more advanced dancers. I really have never liked that situation ever since I tried it about 20 years ago and got shunned by the dancers than knew it,
So I decided that I would never call higher than plus or a few advanced calls that I teach and throw in occasionally. It is our responsibility as leaders of this activity, to do our very best, as you and all the National callers do, and try to balance this out and keep most of those who can still dance at all, coming out and having a good time. This is much more important for the longevity of our activity than faster or more advanced dancing. If you don't believe me talk to the children of those dancers after you have stopped them from coming.
Sincerely, Ray Rhea
7/17/2007
(The following was received from Daryl Clendenin, to be passed along to the group. Thanks for writing, Daryl!)
Hi Everyone,
Regarding: Being All Things To All People.
Nasser and the other fellows suggestions are all good and pertinent. This is a situation that we all have to deal with at some time.
Have you considered the role that PROGRAMMING might play in satisfying the squares and balancing the floor?
This would (should?) apply to classes as well as dances.
It's no secret that I am a firm believer in the use of the Sicillian Circle for teaching new dancers. A good 80% of the movements require only 2 couples to perform. The use of the Circle allows isolation of slower learning couples, easy mixing and a higher success rate for all.
When in Squares a little thought to the programming of material can make the difference of satisfying the new, the experienced or all.
In a nutshell: Easy at the front, Difficult in the middle, Easy at the end.
I'll shut up now,
Daryl Clendenin
Let's take a singing call figure which does not work very well, and let's "fix" it. The following figure is on a popular singing call record (Mr.Bassman):
Heads Lead Right, Veer Left, Boys Run, Boys Trade, Swing Thru, Recycle, Veer Left, Bend the Line, R&L Thru, Touch 1/4, Circulate, Face Right, Slide Thru, Right Pull By, Allemande Left, Promenade
That's a LOT of words! Dancers hafta run like crazy. Perhaps in this particular song, running like crazy might be the whole point. :-) Still, the figure is a rat-race. What can we do to make the figure smoother and better timed?
First, let's analyze the timing of the supplied figure, to see just exactly what we're looking at. Got your timing chart? Good, let's add 'er up:
4 - Heads Lead Right
Total: 70 beats
But the music only allows 64 beats. What happens when you cram 70 beats of dancing into a 64-beat space? You have what's known as "Clipped Time". You're not allowing enough time for smooth dancing. Dancers will "do" the calls, but it's quite impossible for them to dance it smoothly, to the music.
How shall we fix it? First, please understand we do not necessarily HAVE to fix it. You can replace it instead, with any well-timed figure from any other singing call. But let's assume you wanna keep most of the supplied figure, just modify it to time out better. There are probably a million ways to fix it. I'll give you one of those ways, andfor your homework you can come up with the other 999,999 ways yourself. :-)
Replace these 10 beats:
4 - Recycle
with these 6 beats.
4 - Recycle
thus saving 4 beats. Also replace these 6 beats:
2 - Face Right
with these four beats:
4 - Boys Run
saving 2 beats. Total savings is 6 beats, new total is 64 beats, there is now an abundance of joy and balance in the world.
Other solutions may be possible.
Comments? Observations? Accolades?
Thanks for reading.
Nasser Shukayr
8/17/2007
Bryce Birkman (SSCC alumnus 2002, wow he was at the very first one) send in the following:
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Nasser sez:
THANKS, BRYCE! You are exactly right! And your modification spices up the figure, making it a little different, yet not difficult! That's actually our ultimate goal: Different, Not Difficult! Okay, we're not keeping score, but if we were, Bryce gets a hundred!
So the entire figure is now:
4 - all Rollaway
Total - a perfect 64
Of course we will all need to "work the figure" a bit with the dancers during the patter portion of the tip. Speaking of which, that's precisely what I did with my local group just a few hours ago. So, thanks again Bryce for sharing a great idea with others!
Nasser "I woulda thought of it before Bryce did, but I've been, um, er, sick ... yeah, that's the ticket" Shukayr
This just in from Wink Tidwell of Texas (Trail Thru Caller College alumni, 2006 and 2007): THANKS FOR SHARING!!
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Nasser: Thanks! You done good!
Hey, on another subject; and you may share this one with whomever:
We are still having trouble recruiting for our Square dance night....we'll try our advertising again after school starts! but we found out something about recruiting that could help with the problem of not having enough men!
I was recruiting for our Ballroom Dance Lessons, and when the women told me they were having a problem getting their husbands and boyfriends to come with them, I came up with a answer for them...and our final tally included 14 couples, 1 single lady, and 1 married lady whose husband bailed out! We limited our class to just 15 couples, and were quite surprised at the ratio of men to women!
Here is what I told the women: "Men are blessed (or cursed) with a "gene" that compels them to "take responsibility" and to try to "solve" your problems" (I know this because my wife tells me that most times she tells me her problems just to sound them off of me, and does NOT want me to come up with solutions...check with Jeanna on this!). Well, anyway, I told them to "tell their partners that the class was limited to just "Couples" and the only way she was going to get to take the class was for him to come with her!" I guess most all the men took the responsibility and "solved" the problem, because all but one showed up! Now they are having fun...not one has missed a lesson since!
Have a great day!
Wink
Most callers want to master the art of "sight resolving". Resolving quickly and easily is actually an easy trick. You already know the basics. You must notice and remember two adjacent couples. You must also remember -one- corner relationship.
Sometimes it's easy to remember the key couples. Suppose that Andy and Alice are a couple dancing together, and so are Bill and Brenda. They are adjacent to each other in the same square. What a coincidence! The dancers in each couple share an initial letter, and those letters happen to be A and B. Although this is very nice when it happens, most real-life couples do -not- share an initial. How can we remember them?
Here's a hint: JUST REMEMBER THEM! Do whatever it takes. Get 'er done! Practice and hone your skills of observation and recollection.
Arrange 8 random objects on your desk. Memorize two adjacent pairs or "couples" of objects. Leave the room. After a minute or so, try to recall the two pairs. Go back into the room to check. Did you remember correctly?
It is often easier if you "make it personal". Mentally "become" the man (or, if you're a lady caller, the woman) of your primary couple. Every time you look at the square, pick out which dancer represents "YOU". Notice and memorize who is "your" partner, "your" corner, and "your corner's partner".
Often it's even easier, because real-life couples often dance together. If you know one person then you automatically know the other person in a couple. All you need to remember is "WHO AM I?" (which gives you the primary couple) and "WHO IS -MY- CORNER?" (which gives you the secondary couple). Do try to observe carefully before the tip begins, because real-life couples do not -always- dance every tip together!
I often use mnemonics (memory aids). Assign one word or even one letter to each couple. Then combine the two words or letters into a simple easy-to-remember phrase.
Often the mnemonic is based upon the color of people's clothing. Couples often dress alike. Let's say your primary couple is dressed in black. (Important: they need to be the -only- dressed-in-black couple in that particular square!). So your first word is "black". The secondary couple is in white. So you need a mnemonic for "Black and White". The phrase "black and white" might conjure up an image of a typewritten page. "There it is, in black and white". Can you imagine the primary man and the secondary lady (i.e. the corners) wrapped in a big typewritten sheet of paper? The more vivid and absurd your mnemonic image, the easier it is to remember.
Here's another example. You are calling for your home group. You know the dancers by name. Bill and his wife are your primary couple, while Olivia and her partner are secondary. Whenever you see Bill, you automatically know who his partner is, and ditto for Olivia. B is primary and O is secondary. Can you combine the letters B & O to conjure up a mental image? How about the game of Monopoly, and B & O Railroad? Can you vividly imagine Bill and Olivia winning at Monopoly together, and becoming obnoxious in celebration of their win? Can you imagine them riding in the B&O Railroad locomotive? If so, then you have just created a memory aid which is almost impossible to forget. Can you imagine one person as the train engineer riding the other person as the locomotive? The more ridiculous the image, the easier it is to remember.
Use everyday opportunities to practice remembering two pairs of things. The next time you're in a Wal-Mart parking lot, look for a "pair" of cars which "go together", adjacent to another "pair" of cars which also "go together". Memorize the two pairs. Develop a quick mnemonic (memory aid). For example, you might see two BIG cars next to two WHITE cars. What is BIG and WHITE? A huge snowman? Mentally imagine a huge snowman which represents a pair of BIG plus a pair of WHITE. The first two cars are his eyes, and the second two cars are his teeth ... or whatever. Now look away. Wait 30 seconds, then try to remember the partner pairings. Did you recall them correctly?
The more you practice, the better you become at recalling your two pairs and your one corner relationship.
The "Good Book" from your caller school outlines several different methods of resolving. Choose a method, then push your checkers through various scenarios with that method. Learn the method well. Master it. Eventually, you will learn various shortcuts for your method.
For example, let's review the popular "States of the Square" method. In that method, you do -not- constantly track the dancers. Instead, just call. When it's time to resolve, look at the square and determine the state. A state ONE square has one paired couple and one un-paired couple. A State TWO square has two paired couples. A state ZERO square has -no- paired couples.
Here's a shortcut. There are four key people per square. If you see THREE key people in a foursome, you have a State One square. Likewise, if you see just ONE key person in a foursome, it's also State One (because the other three people must be in the other foursome).
Question: If you see all FOUR key people in a foursome, what state do you have?
Answer: state TWO, because everyone has their partner in the foursome. Likewise, if you see NONE of your key people in a foursome, you have state TWO (because all four key people must obviously be in the other foursome).
What if you see TWO key people? Ask yourself a question. Are those people from the same couple? If so, then you have State Two. Otherwise, you have State Zero.
Cool cool, you can quickly and accurately determine the state by merely looking at any foursome!
Here's a chart. It shows the number of key people in a foursome, along with the State of the square:
ONE or THREE key people = STATE ONE
ZERO or FOUR key people = STATE TWO
TWO key people who make up a couple = STATE TWO
TWO key people who are -not- an original couple = STATE ZERO
Of course this is just one of the many shortcuts you will discover as you work the method. After you have mastered one method of resolving, learn another method! In square dance calling you -never- "graduate" from class. Learn something new every day!
Have fun, and ... Happy Calling!
Nasser Shukayr
PS - Silver State Caller College 2008 happens in November in Reno. Each year a different guest instructor will be there along with Doug Davis and Nasser Shukayr. We do expect the school to sell out to capacity. If a good fun caller school fits into your plans, or if you know of another caller who could benefit from this school, please register early! Go ahead and tell your kinfolks that when it comes to Christmas shopping, you are the easiest person in the world to shop for (big grin). A $50 refundable deposit holds your place. For more info see the flyer at http://www.nshukayr.com/sscc2008.htm
Let's teach a call!
Let's use Ferris Wheel for an example. The planning process is similar for every call.
FIRST A REVIEW of Teaching Principals
A quick review of how people learn:
We as callers commonly teach by TALKING about the call. This approach appeals to Auditory learners. But what about Tactile Learners and the Visual Learners? We need to think about them while planning our teach.
Many calls are similar to other calls the dancers already know. "Positive Transfer" means using those similar calls to aid learning. Some calls are different to calls the dancers already know. "Negative Transfer" means pointing out the differences between similar calls.
PLANNING THE TEACH - LOOK AND FEEL
Read the definition. At this (mainstream) level, the definitions are aimed for the Caller, not the Dancer! We want to teach correctly as per the definition, but we do -not- want to merely read the def out loud to the class.
Let's analyze the definition, paying close attention to what the Visual Learner SEES and what the Tactile Learner FEELS at the beginning, during, and at the end of the call.
> 52. FERRIS WHEEL: Starting formation - two parallel
Note that it does not say "two-faced lines ONLY". Therefore, other formations may be possible. For the beginning caller, don't worry about other formations (yet). Trust me: they're weeeeeird. Just realize that unless the definition says "Two Faced Lines ONLY", you cannot assume the call can ONLY be done from the given formation. So, do the dancers a favor and do -not- tell them it can ONLY be done from two-faced lines. You do not have to tell them nor show them other formations where it can be done. Just don't restrict the call, because the definition does not restrict it.
> The couples facing out Wheel and Deal to become the
This is easy. At the beginning of the call, you're either a Couple Facing Out, or you're a Couple Facing In. How would you know? If you're a couple facing OUT, then you do not SEE other people in front of you in your square. You FEEL that if you move forward, you will leave the square.
During the call, if you're a couple facing OUT, you do a normal Wheel & Deal.
After the call, if you're a couple facing OUT, you will SEE everyone else in the set, lined up in front of you. You will FEEL like the end couple in a Double Pass Thru formation, lined up even with everyone else.
> Meanwhile, the couples facing in step straight ahead
Before the call starts, if you're a couple facing IN, you SEE the other couple facing IN. You see the Center of the square: that's where you need to be before starting your Wheel & Deal action. You FEEL as if you could Circulate forward if you wanted to.
During the call, you start to circulate forward until you're in the center. You will SEE the other couple side-by-side with you. Then you will SEE your couple doing a Wheel & Deal with the other couple. This will FEEL like the begining of a Couples Circulate, then you will FEEL the presence of the other couple beside you, then you will FEEL like a Wheel & Deal.
At the end of the call, you will SEE yourself in the center, looking right at the other infacing couple. You will FEEL yourself in the center of the set, lined up with the other couples, in a Starting DPT formation.
> STYLING: All dancers use couple handholds. It is
This is good stuff! The Visual Learner will SEE themselves side-by-side with the other infacing couple. The Tactile Learner will FEEL the couple handhold throughout the call. The Tactile Learner should also FEEL the handhold of the other couple side-by-side.
> TIMING: 6 steps.
Since a Wheel & Deal is 4 steps, and a Couples Circulate is 4 steps, they're obviously allowing two steps for the half-circulate plus 4 steps for the Wheel & Deal.
Now let's look at opportunities to use Positive and Negative Transfer.
Positive Transfer (how this call is like other calls they already know): the outfacing couple does an ordinary Wheel & Deal. The infacing couple starts like a Couples Circulate until they are side-by-side with the other infacing couple, then they do a normal Wheel & Deal with that other couple.
Negative Transfer (how this call is different from other calls they already know): It's just like a normal Wheel & Deal for everyone, except the infacing couple must first move forward until side-by-side with the other infacing couple before starting the Wheel action.
FORMATION MANAGEMENT
We're -almost- ready to teach, but first let's figure out how to efficiently call the dancers into and out of this call. Four little questions:
a. How do you go from a Static Squares to where we can do a Ferris Wheel?
And four little answers:
(a) From a static set, how about Heads Lead Right, Veer Left? Then we can call Ferris Wheel.
(b) After calling Ferris Wheel, Centers Pass Thru, R&L Thru, Veer Left will set us up again for the same exact Ferris Wheel.
(c) After calling Ferris Wheel, ZOOM, Centers Pass Thru, R&L Thru, Veer Left will set us up for a Ferris Wheel with different infacers and outfacers.
(d) A common singing call figure is: Heads promenade halfway, Square Thru, R&L Thru, Veer Left, Ferris Wheel, centers Square Thru 3, Swing Corner, Promenade
READY TO TEACH
Now that we've done the homework, teaching the call is easy!
FIRST, call some of the component calls, to make sure the dancers can do them. In other words, call Couples Circulate and also call Wheel & Deal from two-faced lines. We will be referring to these during the teach, so it makes sense to reinforce these basics. This should only take 30 seconds or so.
THEN, set them up so they can do a Ferris Wheel.
Start to preach, but keep it short, and be entertaining! If you can't be entertaining, at least act happy!
"Here is a popular little call which is fun to do. The name of the call is Ferris Wheel. It usually starts from here, Two Faced Lines. There is an Infacing Couple and an Outfacing Couple. Which kind of couple are YOU? GREAT! We all know who we are!"
"On the call Ferris Wheel, the outfacing couple (IN A MINUTE) will do a normal Wheel & Deal. The infacing couple ... you're SPECIAL. See the other infacing couple, across the set? The infacing couples will move forward, just like the beginning of a Couples Circulate. Go ahead, infacing couples. Do half of a Couples Circulate, until you are standing side-by-side with the other infacing couple. Do you SEE that couple to your side? Do you FEEL them to your side? WONDERFUL!"
"Now, to finish this Ferris Wheel, EVERYONE do a Wheel & Deal. You will all end in a Double Pass Thru formation. END OF CALL!"
"Let's set it up again. Centers Pass Thru, everyone R&L Thru, Veer Left. Here is where a Ferris Wheel starts. Ready to do a Ferris Wheel? Infacing couple move forward until you "see" and "feel" that other couple by your side. Then everyone will do a Wheel & Deal. That's a Ferris Wheel!"
"One more time. Centers Pass Thru, R&L Thru, Veer Left. This call takes 6 steps for the infacers, but only 4 steps for the outfacers. Ready? Please say the name of the call as you do the call. Ferris Wheel! WONDERFUL!"
"Whoa! There are two views of the call Ferris Wheel. You are an expert at ONE of the views. Let's make you an expert at the OTHER view."
Ask 'em to square up at home, then give 'em a good song. Congratulations in advance on being a great teacher!
EXTRAS
Although the very first teach should be from the most common setup (normal couples in right-hand two-faced lines), you may eventually want to teach the call from various formations and arrangements. Research the possibilities in advance, by pushing your checkers through the various setups. Then, present the possibilities to your dancers. Remember at all times they are DANCERS instead of CHECKERS! Keep it fun, and keep them moving!
Wanna be among the very best teachers? Use a wireless microphone! Get out amongst your dancers, and teach up-close and personal. Wander around the square and "feel" whether everyone's getting it. Don't just TELL them what to do: get out on the floor and SHOW them!
Happy Teaching!
Nasser Shukayr - www.NShukayr.com
PS - Doug Davis has a new website at www.callerdoug.com
PPS - remember our upcoming caller school! A $50 refundable deposit holds your place. Even if a caller school is not in your plans for 2008, we sincerely appreciate your telling others about this great opportunity for quality caller education.
Silver State Caller College, November 20 thru 24, 2008 in Sparks, Nevada. Flyer is at http://www.nshukayr.com/sscc2008.htm
> into a singing call.
---#8---From Bryce Birkman
----------
---#8R---Reply from Nasser to the above
----------
---#9---From Lloyd Alexander
----------
Dosado
veer left
couples trade
half tag
boys run
u turn back
half sashay
star thru
allemande left
---#9R---Reply from Nasser to the above
----------
> Dosado
> veer left
> half tag
> boys run
> u turn back
> allemande left
--#10---From Dean Black
----------
--#10R---Reply from Nasser to the above
----------
--#11---In Closing
----------
January 5, 2007 Building up choreo so the dancers can win
> cen lead dixie style to a wave
> trade the wave box gnat same girl swing and prom
Two Ladies Chain - man backs up
Pass Thru - man goes forward
R&L Thru - man goes forward, turns, then backs up
Flutterwheel - man transitions to sideways (to the right) flow
Pass Thru - man goes forward
Two Ladies Chain - lady goes forward then makes a left-turning circle forward
Pass Thru - ladies goes forward
R&L Thru - lady goes forward, then makes a left-turning circle
Flutterwheel - lady goes forward then makes a right-turning circle
Pass Thru - lady goes forward
January 6, 2007 Making Tag and Half Tag winnable for the dancers
> 2006 tag the line can be done form any line with even numbered
> dancer formation in which centers and ends can be clearly defined.
> I also looked in the booklet, "The Illustrated Mainstream movements
> of Square Dancing" endorsed by Callerlab published and revised
> 2003. Which I hand out at all of my classes. It also says that 1/2 tag
> is similar to tag the line except that the dancers stop walking forward
> when the original center from each side of the line meets the original
> end from the other side.
> 1/2 tag from a 2 faced line etc. and that it may not be "normal", but is
> it any worse than, zero lines Pass Thru Tag the Line?
and
- Outfacing Lines, All Arrangements
- Parallel Right Hand Two Faced Lines, All Arrangements
> Callerlab web page all I can find is a diagram of standard formations.
> is definitely not standard use age. Which was the basis behind
> my response to Stoney's figure. I simply don't like and don't use
> Acey Deucy 1 1/2 for the reason stated in my first post.
January 7, 2007 On a Double Track
Hi Nasser, For the life of me I cannot figure out why you say this is a boy and a girl leading the dixie style to a wave. I have run my checkers through it and it all seems to be standard positioning. The two couples in the middle with the ladies leading dixie style. Are you trying to catch us? I agree with your flow ideas
and it would seem very awkward for the dancers to do a wheel and deal and then a dixie style to a wave cold turkey. However it works to end up with your corner like for a singing call, at least the way I understand it. So
where did you lose me? Or are we supposed to figure this out? Thanks for your thoughts ...
- - - - - - - - - -
dancer identity is shown as B1 G3 B4 et cetera
facing direction is shown by v ^ < >
G3v B2v
B4^ G1^
B3^ G2^
The other track consists of B1, B2, G1 and G2.
B4^ G1^
G3v B2v
B3^ G2^
January 16, 2007 Smooth calling (Phrased calling)
Swing Thru
Spin the Top
Right & Left Thru
January 22, 2007 Singing call figure from Lloyd
Extend
Swing Thru
Boys Run
Wheel and Deal
Right and Left Thru
Pass to the Center
Box the Gnat
Centers U Turn Back
Swing
Promenade Home
Extend - 2
Swing Thru - 6
Boys Run - 4
Wheel & Deal - 4
R&L Thru - 6
Pass to the Center - 2
Box the Gnat - 4
Centers U-Turn Back - 2
January 26, 2007 Singing call figure with Zoom, from Ray Rhea
> singing call figure and could not get through the
> zoom once and 1/2 from a left hand column. Perhaps
> you could work this through and give the group some
> insight into using zoom at the same time?
>
> Heads Square Thru
> Slide Thru
> Left Touch 1/4
> Zoom Once and 1/2
> Got A Wave
> Fan the Top
> Spin The Top
> Explode and Square Thru Three
> Swing Corner
> Promenade
> Fan the Top
January 28, 2007 Fun with Veer (from Lloyd Alexander)
> count 36 beats till the swing...
6 - Right and Left Thru
2 - Veer Left
4 - Veer Right
2 - Centers Veer Right
2 - Centers Veer Left
2 - Centers In
6 - Cast Off 3/4
4 - Star Thru
2 - Centers Pass Thru
4 to 6 - Swing
18 to 20 - Promenade Home
January 30, 2007 The Spin (or overspin) Factor
> Heads Pass the Ocean
> Extend
> Swing Thru
> Boys Run
> Half Tag
> Scoot Back
> Scoot Back
> Swing
> Promenade Home
Boys: L L L L
Girls: L R R L L L
Head Boys: R
Head Girls: L
Sides: -
everyone: -
Boys: RRLL
Girls: RR
Boys: RR
Girls: -
Everyone: R
Everyone: R R
Everyone: R R
Everyone: R R R R (there's a half-wall in here somewhere, but let's use whole numbers to keep it simpler)
Everyone: L L L
Side Man: LLLL RR LL RRRRRRRRRRR LLL
Head Lady: L RR LLLL RRRRRRRRRRR LLL
Side Lady: L RR LLL RRRRRRRRRRR LLL
Side Man: LLLL RR LL RRRRRR LL RRRR LLL
Head Lady: L RR LLLL RRR LLL RRRR LLL
Side Lady: L RR LLL RRR LLL RRRR LLL
March 12, 2007 Good flow preceeding Pass the Ocean
Harlingen, Texas
> meaning I try to get some kind of flow first, like Right &
> Left thru, ( Pass the Ocean) ; Flutter Wheel, (Pass the
> Ocean) ; 2 ladies chain (Pass the Ocean) or something to
> this effect. What I have all of a sudden noticed,and what
> my dancers are getting confused about is that the Girls have
> to use their Left hands twice which seems to confuse them
> when doing the call.
Silver State Caller College
in Nevada each November
July 7, 2007 Leadership
> discussing dancers who can't learn.
>
> I have about 4 that can't get it and
> truthfully probably won't. Unfortunately what
> I'm running into is the experienced dancers
> don't want to dance with them (of course) and
> they all stick together. It is also causing my
> good dancers to not want to come out and dance.
>
> If everybody was to come out I could have 5
> squares dancing but the good dancers are starting
> to not come out because of the bad ones. Any
> suggestions to keep the good ones and help the
> bad? Or what should I do with the bad ones.
> I hate to ask them to leave but I may have no
> choice.
some things to add here.
great folks who just love the activity, and after 3 or 4 beginner
classes they are doing just fine at mainstream. One drives over 80
miles every week just to have 2 hours of dancing time.
beginner, I was good--but 13 and a little immature, but I never broke
down the square. My point is, some folks just like to gripe; they
have lost sight of the "team" aspect of square dancing. I try to
stress that every night, and I remember that I am part of the team,
too. Maybe the captain. And to quote a favorite sports movie of
mine, "attitude reflect[s] leadership."
August 14, 2007 Fixing a singing call figure
2 - Veer Left
4 - Boys Run
4 - Boys Trade
6 - Swing Thru
4 - Recycle
2 - Veer left
4 - Bend the Line
6 - R&L Thru
2 - Touch 1/4
4 - Circulate
2 - Face Right
4 - Slide Thru
2 - Right Pull By
6 - Allemande Left
14 - Promenade (in this particular setup)
2 - Veer left
4 - Bend the Line
2 - Sweep a Quarter
4 - Slide Thru
I think that: All RAWAHS ... Hds LdRt ... SWT will cut off six beats.
- - - - - - -
4 - Heads Lead Right
6 - Swing Thru
4 - Recycle
2 - Veer left
4 - Bend the Line
6 - R&L Thru
2 - Touch 1/4
4 - Circulate
2 - Face Right
4 - Slide Thru
2 - Right Pull By
6 - Allemande Left
14 - Promenade (in this particular setup)
August 16, 2007 Recruiting idea from Wink Tidwell
November 22, 2007 Sight Resolving
December 12, 2007 Let's Teach!
> two-faced lines.
> outside couples in a double pass thru formation.
> to momentarily form a two-faced line in the center.
> Without stopping, they Wheel and Deal in that line
> to end as the center couples in a double pass thru
> formation.
> important that those couples doing a half circulate
> form a momentary two-faced line in the center
> (perhaps touching hands to ensure the two-faced line
> position) before starting their wheel and deal motion.
> Couples do not start wheel and deal motion from
> original starting position. They must circulate half
> to the momentary two-faced line.
b. Immediately after a Ferris Wheel, how do you go to where we can do another Ferris Wheel with the same infacers?
c. Immediately after a Ferris Wheel, how do you go to where we can do another Ferris Wheel with -different- infacers?
d. What is a good singing call figure featuring Ferris Wheel?