Contras
English
Country Dance
Calling
& Leading
Singing
-- lead by Fred Todt
First
Things First (and All the Time)
An
introduction to contras, often done just before an evening of dancing.
This is often a first contra dance
experience, so it's important that it be a positive one.
I focus on the big concepts and not on individual figures; experienced dancers help new folks learn a chain or a hey while
the caller is teaching during a walk-thru.
Here
we look at four big ideas:
having fun, the music, the community, and partners. We come to
a dance because it's fun, but we sometimes forget that. All the
figures fit musical phrases, and it feels best when they match.
Community dancing means being attentive and sensitive to everyone, and
knowing how to do that. And your partner in a given dance is
special, so it's good to know how to show them that.
These
ideas give new dancers confidence as they try something new and
experienced dancers ways to build on what they already know.
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Highly-Sought
Partners (and how to become one),
or Contra Dance Style
Ever
wondered why some dancers are highly-sought as partners? It probably
has more to do with their good swing than their good looks.
Raise your dance consciousness and become more attentive to partners
and neighbors and their needs -- and keep 'em coming back for more!
Exciting, comfortable and safe swings, allemandes,
chains, and twirls; sharing weight; and negotiating happy flourishes.
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Finding
Weight in Hidden Places
This
workshop for intermediate to advanced dancers focuses on particular figures which have great potential for
sharing really satisfying weight. Many dancers regularly miss
these opportunities, though, perhaps because they've never had the
chance to learn about it. Rory O'More slides,
Petronella turns, contra corners, and
the transition between a star promenade and a butterfly whirl are
great experiences just waiting to be had.
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Contra
Flourishes
We
start with the basics: moving with the music and being
on time, knowing the figures, and being attentive to and caring of
the people you're dancing with; then talk about adding flourishes as
icing if you're set with the cake. These flourishes rely on shared
weight, so we focus there -- all with a sense of humor
and in the context of dances.
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Gender
Role-Free Dancing
Using armbands to distinguish the traditional
men's and women's roles liberates dancers from gender-specified dance
roles and increases the number of potential partners. Try a new
role and discover how the other half lives. Gender-free contras
provide a welcome space for LGBT dancers and intergenerational groups --
and make for a bigger and brighter dance world.
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Inter-Generational
Dancing, or the Family Dance
What better way for people of different ages
and generations to enjoy spending time together? How better for a
dance community to invest in its future? Smalls enjoy the company
of talls, talls feel like smalls again, a new generation discovers the
joys of dancing, and everybody wins. Time-tested and
parent-approved play-party games and community dances provide fun for
all.
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Wicked Contras
Wicked cool contras with mind-boggling edges to challenge the most
hardy dancers in the most delightful way. Not for the faint of heart.
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Crooked Contras
Most of the contras we do these
days match 32-bar tunes, often called "square tunes."
Any musician will tell you there are lots of "crooked" tunes,
too -- those with a different number of bars. For a good number of
these crooked tunes, there are cool crooked contras, especially enjoyed
by dancers who like to think out of the box.
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New
England Chestnuts
Many dancers have heard, "as in
Petronella" or "as in Rory O'More," but not nearly as
many have done the original classics, perhaps because they no longer fit
our modern dance sensibilities of everyone moving all
the time. But these dances, with their original tunes, still
pack an exciting punch. Possibilities include Petronella, Rory O'More, Hull's Victory, Chorus Jig,
Sacketts Harbor, the Road to Californy, and Lady of the Lake.
If there's time and interest, we
might also do modern variants like "Hull's Fantasy" and
"Almost Sacketts Harbor" to help get the 2's (and 3's) more
active.
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Cardinal Collection Contras
Joseph's own dances, drawn from his first
dance book, The Cardinal Collection. Possible dances
include: Flapjack Express, Oh Geez!, Power Pass, and Ramsay Chase,
among others.
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English
as a Second Language
For
those who already love contra dancing, but aren't yet English fans.
Coming from just that place, we draw generously from the joys of contras
while gradually introducing the secrets that make English so exciting.
Forget stuffy and boring -- these dances are driving, flirty, and full
of cool connections with partners, neighbors, and others. A frequent
reaction to this workshop is, "I've never really liked English
country dancing before, but this was really fun!" Assumes some
contra dance experience -- and those who already love English are
welcome, too!
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English
for Everyone
Accessible
English country dances for those who already love them and those who
soon will.
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Modern
English
Join
in a celebration of this living tradition, exploring English dances
written by modern composers including Gary Roodman, Philippe Callens, and Fried de Metz
Herman, among others. Many of these dances have already become favorites
around the US, and many commemorate people and experiences familiar to
our own dance community. The focus is dancing -- and lots of it -- with
just enough background and styling to help bring personal connections to
the dance. For everyone.
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Experienced
English
Classic and modern dances for experienced
dancers, with a variety of formations and time signatures.
Familiar favorites with minimal (or no) teaching, and more complex
dances to treat old hands.
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English
for Small Spaces
Small
set dances specifically for limited spaces, making good use of the fine
2 and 3 couple dances in the repertoire. Fun dancing and good
ideas for parties in your own living room.
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Dutch
Crossing, and Yankee Dutch Crossing
This
very cool eight-couple dance makes for a bonding experience as everyone
cooperates intensively to get the carnival-ride buzz. The original
"Dutch Crossing" was written as an English country dance by
Ernst van Brakel of the Netherlands. Joseph's "Yankee Dutch
Crossing" version includes a balance & swing for extra contra
dance satisfaction. Figure on an hour or so for learning and
dancing.
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Contra
Calling 101 -- application
We
look at the various roles
of the caller, then focus on prompting (placing calls with the music).
We all call together as we dance, and then those who want to try calling
a dance of their own have an opportunity. The primary goal is to build skills and
confidence so that participants can work on their own and call at open
mic dances when they have a chance to do that. A supportive
and encouraging atmosphere stacks the deck so everyone is successful.
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Beyond
the Basics -- theory
For
those with some experience at open mics and local dances, we think about
effective ways to choose and teach dances, program an evening, attend to
the musicians and their music, and provide a good time for all.
What do dancers expect and how to deliver that? Where do you want
to lead dancers and how do you encourage them to follow? We talk
about the many pieces and how to put them together to make everyone
happy.
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Language
Choices for Contra Callers
Linguists
know that how we say something conveys as much as what we say.
For callers, this means reconciling traditional phrases with modern
sensibilities. Which do we favor and how will it affect
dancers? There's not a right and a wrong way, and many different
styles are equally effective. Thoughtful consideration about the
words you choose, though, will make you more comfortable and confident
using them, and dancers will feel the difference in your
words.
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English
Leading 101
After talking about the various roles of the
dance leader, we look at the close connection between dances and their
tunes, and how to convey that connection as we lead. We dance a
lot, and take turns prompting as we do. If time allows, we also
look at effective teaching for satisfying dancing.
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Shape
Note Singing with Fred Todt
Powerful
songs from The Sacred Harp, sung in four parts. This
style of singing, which has its roots in Revolutionary War-era New England,
spread down the Appalachians during the 19th century, and flourished in
the rural South. Fred's comfortable confidence inspires singers
throughout the Midwest, encouraging experienced and reluctant singers
alike to raise their voices in boisterous and joyful song.
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Round
Singing with Fred Todt
Great harmonies from familiar favorites and interesting novelty
rounds. Fred's strong voice, great selections, and gentle guidance
quickly have everyone singing and smiling.
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