Contra Callers

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4416 discussions

by Katie A

A Different Way Forward https://share.google/1OzBw4bN7wf8Zu9JN I am calling this weekend and walked this dance through with a small group last night to prepare. I thought it was such an easy, straightforward dance. 😆 No hard moves, everything flows into the next move nicely... The end effects were tripping people up even though they *knew* what was going on. These were all experienced dancers. We only had 2 hands fours and it's a triple progression dance, so everyone was always involved in end effects. Maybe that's the only reason it was so complicated. I do know more things I could point out from the beginning now (the ladies that are out won't be doing the first allemande, but everybody will be doing the second allemande; all the ladies will be traveling counterclockwise around the major set and all the men will be traveling clockwise) but I'm afraid to call it on Saturday. Is this dance really that hard? What should I think? 😅 How do I do a better walkthrough? I don't want it to be information overload but do I need to give a big picture explanation of the dance before anyone starts moving? Or is this just all going to go better in longer sets and people will sort out the end effects... ? It's such a fun dance that I don't want to give it up but I don't want it to be a flop either.

1 day, 9 hours

Reporting in on Alternate B1/B2 for Anne's Dream

by Emily Addison

Hi Folks, I wanted to report in as some of you gave some alternative B1/B2 parts to Anne's Dream and I was able to workshop a few this weekend to some really great success. (I would have tried others but I'm thinking about the context of my local dance community and what might work best here given their familiarity. I really appreciate everyone who chimed in though.) The first we tried was Lisa Sieverts' version: *B1: 1s with #3 neighbor, balance and allemande right 1 1/2, 1s with #2 neighbor, balance and allemande left 1 1/2B2: 1s cast to bottom. All step up and 2H turn or swing to their original side.I’m tempted by a mirror allemande in B1, which I think would leave both 1s facing out at the end of the second allemande, but fear that would be too complicated.* When we tested this, we quickly found that there wasn't enough time to balance and do the Allemands + cast/swing. What we ended up doing is B1: 1&3s Neighbour Allemand R 1.5 --> 1&2s Neighbour Allemand L 1.5 B2: Kept the same. The dancers really liked this version. They did point out that the cast should be prompted as the 1s forget what to do at the top. Folks also really liked the idea of the mirror Allemande but we didn't test that. Trickiest part is the 1s turn around to start Als right after popping thru. The second we tried was Jacob Bloom's version: *B1 Take hands in a ring, top couple (original #2 couple) make an arch, 1s duck through the arch and separate, pulling couples 3 and 2 under the arch as they cast back to placeB2 All swing partners in their new place* Folks really liked this! There seemed to be too much music for the amount of dance plus the end of A2 is a bit disorienting for the 1s. One dancer suggested we do a Bal at the top of the B1 before the rip and snort as well as a Bal at the top of the B2 before the P sw. That worked really well. Anyway... just wanted to share in the thought that a few others might enjoy trying these! Thanks again to all those who chimed in to share ideas. :) Emily in Ottawa

3 days, 12 hours

Putting a call out to those dance composers out there... triplet play?

by Emily Addison

Hi Folks :) I have what I think is a fun ask/challenge for a few of you.... I'm wondering if you might be up for a triplet composition brainstorm? Here's the situation.... One of the series that I call is to a very novice group of dancers - there are VERY few contra dancers in the mix. I do a lot of squares, scatters, the occasional very simple contra, and mix in other formations. Triplets work really well for this group. I came across the dance below a while back and I love love love the A part. Super simple but quite enjoyable. When I've workshopped it at home though, the B part is fairly tricky to get the actives to move up to the very top to get to that cast off. (It should work but I've workshopped it with a few other callers+ experienced dancers and doesn't seem intuitive/easy) So... I was wondering if anyone might enjoy the challenge of coming up with a fun second part to create a new dance? I thought I'd throw it out there into the universe as I know some of you are dance composers and enjoy taking aspects of a particular dance and playing with it. Nooooo pressure - just a fun exploration for those who might enjoy. :) Emily in Ottawa ==================== Anne's Dream by Katy Heine Triplet (can be danced no role if one wants) A1: Top 4 circle L all the way. Balance. 2s arch & 1s thru. A2: Bottom 4 circle L all the way. Balance. 3s arch & 1s thru. B1: Couple 1 strips the willow back up to the top (I've played with this a bit in terms of how many times around etc... it never seems to settle in) B2: 1s cross and cast to bottom. All step up and 2H turn or swing.

1 week, 4 days

Can anyone tell me what the name of this very cool dance is in the video?

by jean francis

https://www.youtube.com/watch?v=VR4BYw0oaRs&t=21s

1 week, 4 days

Visualization of contra dances by callers and composers

by Michael Fuerst

As a caller and/or dance composer, when mentally visualizing a dance do you put the caller at the top or bottom of your mental simulation. If the dance is Becket, do you put the caller off to the right or left?

2 weeks

Who wrote "Leave 'em Standing"?

by Sam Whited

I've got a variant of Leave 'em Hanging by Luke Donforth called "Leave Them Standing" ("Leave 'em Standing?"), does anyone know who wrote this? I don't recall where I got the card so it may be someone local, or maybe it's in wider circulation? I also feel like I'm missing something in the B2 since the same thing takes 8 beats in the original dance. If you do have this card does it match what I've got here? Thanks, Sam A1. Circle left; N. swing A2. Larks by the left, P. swing B1. Long lines; balance and petronella B2. Lark 1 cast CCW, single promenade ring out and around to next neighbors -- Sam Whited sam(a)samwhited.com

2 weeks, 4 days

Thoughts on fees for a wedding dance?

by Joseph Erhard-Hudson

Hi all, A good friend I made through contra dance has asked me to call some dancing at her wedding reception. (She is also a budding caller who I mentored for a while as she was getting started.) As soon as I said "yes", she asked what compensation would be meaningful to me, which strikes me as a thoughtful and thought-provoking way to put it. While I ponder my answer, I'm curious to hear what other callers charge for wedding dances. If there's a range, would you ask differently for newly-met people vs. friends from your dance community vs. close friends and family? What other factors would you consider? For myself, for very close friends I have sometimes refused payment out of love, considering it a wedding gift to them. Others view their own wedding as a time of outward generosity and wouldn't dream of paying less than the customary amount, whatever the heck that is. (I am also an occasional wedding officiant and faced the same conundrum there, but at least have a more well-defined range of fees from the local community to fall back on when either side considers full payment to be needed.) I have called enough family events that I know what to bring and what to expect as a caller. I'd just like to focus on compensation here, unless there's something about the work that's needed from the caller that would influence what you ask. Joseph Erhard-Hudson Moscow, Idaho

3 weeks, 1 day

Order of thanks

by Luke Donforth

Hey folks, I wonder what people's thoughts are on end-of-the night thank-you's for a contra dance. Folks you might thank or call-out for applause: Band Caller Organizers/volunteers Sound person I feel like a lot of places go band->caller->sound person; hopefully thanking the volunteers at the announcements. I can see doing the final band thank you right after the band gets to play their big closing number for the evening. Everyone's amped up, call out the band and then tack the other ones on. But I think about the theater, where at the end of the performance the performers come out for bows. There, it's usually chorus->supporting->main cast; and by that system I think we should thank the band last. But usually in theater when all the cast is on stage they give a thank you and wave to the tech crew and director. Which would imply caller->band->sound+organizers. Just wondering what folks' thoughts were on the subject. Happy dancing, Luke Donforth (Burlington, VT)

3 weeks, 3 days

Re: Fees for a wedding dance. Contra Callers Digest, Vol 136, Issue 5

by Leslie Gotfrit

I may waive or halve my fee for a close friend but I always ensure the three-piece band gets their full fee. With sound and travel of 1-2 hours I charge $2000 to $2500 with half up front to hold the date. (Date is not guaranteed until deposit is paid.) We are the entertainment. We take a dinner party and turn it to a memorable, joyful, playful event that brings two families together. We are there for four or five hours working hard to make that event a success regardless of alcohol, children, or lousy dance floors. All the same to me--that's my job. I have spent hours pulling the band, sound, the couple's vision and program together and no matter how inexpensive the wedding, we are still often the cheapest piece. Leslie Gotfrit WWW.LeslieGotfrit.com > On Nov 10, 2025, at 9:00 PM, contracallers-request(a)lists.sharedweight.net wrote: > > Send Contra Callers mailing list submissions to > contracallers(a)lists.sharedweight.net > > To subscribe or unsubscribe via email, send a message with subject or > body 'help' to > contracallers-request(a)lists.sharedweight.net > > You can reach the person managing the list at > contracallers-owner(a)lists.sharedweight.net > > When replying, please edit your Subject line so it is more specific > than "Re: Contents of Contra Callers digest..."Today's Topics: > > 1. Right hand high and left hand low figure (Elizabeth Bloom Albert) > 2. Re: [External] Right hand high and left hand low figure > (Tepfer, Seth) > 3. Re: Right hand high and left hand low figure (john(a)modernjive.com) > 4. Re: [External] Right hand high and left hand low figure > (Elizabeth Bloom Albert) > 5. Re: Right hand high and left hand low figure > (Elizabeth Bloom Albert) > 6. Re: Right hand high and left hand low figure (Yoyo Zhou) > 7. Re: Right hand high and left hand low figure (Winston, Alan P.) > 8. Thoughts on fees for a wedding dance? (Joseph Erhard-Hudson) > 9. Re: Thoughts on fees for a wedding dance? (Rich Goss) > 10. Re: Right hand high and left hand low figure (Louise Siddons) > 11. Re: Thoughts on fees for a wedding dance? (Mac Mckeever) > 12. Re: Thoughts on fees for a wedding dance? (Katherine Kitching) > 13. Re: Thoughts on fees for a wedding dance? (Luke Donforth) > 14. Re: Thoughts on fees for a wedding dance? (Lorraine Sutton) > 15. Re: Thoughts on fees for a wedding dance? (Lisa Sieverts) > 16. Re: Right hand high and left hand low figure > (Elizabeth Bloom Albert) > 17. Re: Order of thanks (Bill Olson) > 18. Re: Right hand high and left hand low figure (john(a)modernjive.com) > 19. Re: Right hand high and left hand low figure (john(a)modernjive.com) > 20. Re: Thoughts on fees for a wedding dance? (Julian Blechner) > 21. Re: Order of thanks (Rich Dempsey) > 22. Re: Order of thanks (Allison Jonjak) > 23. Re: Right hand high and left hand low figure (Winston, Alan P.) > _______________________________________________ > Contra Callers mailing list -- contracallers(a)lists.sharedweight.net > To unsubscribe send an email to contracallers-leave(a)lists.sharedweight.net

3 weeks, 3 days

Right hand high and left hand low figure

by Elizabeth Bloom Albert

Dear callers and fellow dance writers, I am writing a new contra dance and I have a question: Has there ever been an instance where, during a “Right hand high and left hand low,” everybody in a line of FOUR snakes under the raised arms (i.e., no one turns alone) in order to come back up the hall? Caller’s Box explains the move as “A way for a line of three to face the other direction and swap ends without dropping hands.” I want it to be a line of four. Will that work? Thank you! -- * Elizabeth Bloom Albert *

3 weeks, 4 days

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