GODS chariot

I was doing a sound check before the dance in Boca Raton, FL a couple of weeks ago. In walk Al, Patrick, and Lynn, a good 4.5 hour drive away from our home dance in Gainesville, FL. I knew that "GODS Chariot" had rolled again.

Al Rogers, Dave Pokorney, JoLaine, Lynn Ricketts, and Patrick Harrigan on our way to the Tallahassee dance in GODS Chariot.

The Gainesville dance is called "The GODS" (Gainesville Oldtime Dance Society), and I've taken to calling Al's van, GODS chariot. If there's a dance happening in Florida, you can be sure that the chariot will make the trip if at all possible, bearing at least three and as many as six dancers.
Al and company have been doing this consistent traveling to dances for a couple of years and some of our communities have benefited tremendously. Communities who have struggled with low attendance are now thriving. I can't give all the credit to Al and company, but I'm convinced that they've had a huge impact.

Al says:

"I think Patrick & I both feel that we've benefited in many ways from participation in social dancing, and want to support & encourage both our own home dance, and other groups as well. When we travel, we make a point to show up in time to participate in pre-dance lessons, and are always available to partner with new or beginning dancers as they learn the basics, just as we were helped when we started. During the course of the dance, if we are at our best, then we are using our experience & whatever skills we have developed to help others have a good time. I suppose you could say it's our way of paying it forward." 

What I notice about those in GODS chariot is that they always have a great time and they never complain. You'll never hear them muttering about the caller or band or their partner. You'll never hear them call a dance "lame." They are unfailingly positive.

There are others in Florida who are following their example. We're having folks from other communities show up at our Gainesville dances more often than in the past. Not only does this make our dance better, but those folks benefit from experiencing other communities, bands, callers, and take that back home to their dances.  

Patrick says: 

"And did I mention that the road trips themselves are fun? We enjoy the anticipation of dancing on our way to the dance and on the way home we bask in the dance's afterglow. Everywhere we go, people thank us for attending their dances. That makes a difference. Sometimes we talk about it, sometimes not, but it is always there sustaining us and driving us to plan even more road trips."

I asked one of the dancers at the Jacksonville dance for her thoughts on GODS Chariot. Chrissy says:

" Although we have some experienced dancers in Jacksonville, we have a large percentage of new ones and having friendly faces who are strong dancers is a definite boost to our dance. It's been hugely positive. I feel that it has helped form a sense of community to see familiar faces when a Jacksonville dancer ventures out to Gainesville."

While not everyone has the wherewithal to purchase a van and spend hours on the road, we can learn a lot from Al's example. Do what you can to support other communities. Build them up, don't tear them down. Bring your divine joy and happiness wherever you dance!

These are the Hands . . .

I was honored to be one of the callers for the wedding of Jennifer Mueller and Richard Mathews on May 5, 2018. These fabulous dancers wanted to celebrate their special day dancing with their friends and family, so they brought in "Notorious," who can easily play both English Country Dance tunes and Contra Dance Tunes. I called the Contra Dances and Randy Thorp and Annette Merritt called the ECD, alternating between the dance forms all day.

I was expecting that there would be some dancers who turned up their noses at the dances that weren't their "preferred" dance form. I have to admit that I was one of those dancers not so long ago, but I was pleased to see everyone happily dancing all the dances. It could be that Gainesville is just a fabulous dance community that loves to dance to any and all (yes, it's true!). But I'm hoping that there are just more people in general who are open to trying new dance styles and haven't decided that "ECD is stuffy," or "Contra is raunchy." After the wedding dance, there were calls from many of the dancers to do this more often. We're looking into how to make that happen.

Jennifer and Rich are examples of dancers who love it all and dance it all. In their honor, I wrote a contra dance with an "Englishy" feel. The name of the dance came from the hand-fasting ceremony in their wedding. Each sentence in that ceremony began with "These are the Hands . . ."

These are the Hands
JoLaine Jones-Pokorney
Improper

A1 - Couples Do-si-Do around Neighbors 1 1/2 to trade places. With NEXT neighbors, Circle R (1/2)
A2 - Continue Circle R to finish where you started. Turn around and swing original Neighbor.
B1 - Down the Hall 4-in line. (2s are in the middle, 1s are on each end.) 2s cast while the 1s lead up, 2s fall in behind the 1s to come up the hall as couples, 1s in front, 2s following.
B2 - 1s Cast just far enough to handy-hand allemande with Neighbor 1 1/2, 1s Swing in the middle

END EFFECTS: At the top and bottom, when your neighbors leave you momentarily to Circle R with their next neighbors, Do not trade places with your partner. Your neighbors will expect you to be right where they left you.

If You Stumble, Make it Part of the Dance!

You're calling a community dance. You've presented a fabulous introductory workshop for the two beginners who came early. Those two are integrating well and seem to be having fun. Three or four dances into the evening, you notice that there are quite a few people who are having a hard time. More folks have come in who have obviously never danced before, but on top of that, there are mobility limitations. These people are lost, AND they can't move quickly enough to keep up with the other dancers.

I had this experience recently and I realized I didn't know what to do with that situation. If they had simply been inexperienced dancers, I would have pulled out a circle mixer or other super simple dance to help them feel successful and integrate them into the group. But in this situation, my foggy brain balked. "What can I call that will allow them to be successful?" I drew a blank.

So I came home and called my buddy Seth Tepfer to talk it out. It was very helpful to think about which moves can be more accessible to people who move slowly:

• Moves where you are connected to other people
• Long Lines Forward and Back
• Simple Down the Hall
• Circles
• Promenade
• Moves that can be left out or shortened without affecting the dance
• Allemande 1 1/2 changed to Allemande 1/2
• Petronellas can be a simple circle to the right one place instead of twirling.

What moves would be more difficult for people with mobility limtations?

• Heys
• Do-si-Do (though that could easily be turned into a 2-hand turn or an allemande)
• Stars  (possibility of tripping)
• CA Twirl, Box the Gnat, etc., (easy to get off-balance)

I promised Seth I would create a list of dances that I could call on when this happens again. Below are a few of the dances I found:

Circle Dances for Limited Mobility:

Clouds of Incense - Maia McCormick

Circle Mixer

A1 Into the Middle and Back x2

A2 Partner Allemande R 1 1/2 (or 1/2); Neighbor Allemande L

B1 Partner Balance and Swing

B2 Promenade the Ring, Ladies turn back and Swing the Gent Behind

La Bastrangue - Traditional

Circle Mixer

A1 Circle L; Circle R

A2 Into the Middle and Back x2

B1 Partner Allemande R; Right and Left Grand

B2 Promenade #4

Contra Dances for Limited Mobility:

Kinematic Vorticity - Carol Ormond

Improper

A1 Long Lines Forward and Back; 2s Gate the 1s

A2 Down the Hall, Turn Alone to Return

B1 Circle L 3/4; Partner Swing

B2 Circle L 3/4; Neighbor Swing

The Gang of Four - Gene Hubert

Becket

A1 Circle L 3/4; Neighbor Swing

A2 Neighbor Promenade the Full Set; Ladies Turn Back and Swing the Next Gent

B1 Full Set Circle back to Partner; Long Lines Forward and Back

B2 Ladies Allemande Right 1 1/2 (or 1/2); Partner Swing

Pooh Bear's Holiday - Robert Cromartie

Improper

A1 Long Lines Forward and Back; Neighbor Allemande R, Ladies cross

A2 Partner Balance and Swing

B1 Down the Hall, turn as a couple (wheel around instead of twirl); Return

B2 Circle L 3/4; Neighbor Swing

Lady of the Lake - Larry Jennings

Improper

A1 Neighbor Balance and Swing

A2 1s Balance and Swing

B1 Down the Hall, turn alone to return, 2s cast the 1s

B2 Ladies Chain x2

Dance with Who's Comin Atcha!

Last night at a dance, I called "Accretion Reel" by Chris Page - a mixer that doesn't require dancers to adopt a particular dance role.  I announced they didn't need a partner and to just get up on the floor if they wanted to dance.  Afterwards, two young people came up to me and thanked me for calling that dance.  They said they had non-binary friends that they were reluctant to invite because of the gendered dance roles.  We talked about putting on a gender-free dance and I hope it happens, but I would really like to see ANY contra dance be a place where people can feel comfortable inviting their non-binary friends to dance. 

Even though in many dance communities, women dance together commonly, it is often done in such a way that the message is "we're doing this because there aren't enough men."  The woman dancing the gents role often wears a man's tie, sending the message that she is pretending to be a man, not simply dancing a role that anyone can dance. And since men rarely dance together, it reinforces the notion that the genders "should" be dancing their assigned roles.

I know that there are many, many women dancers out there that love dancing with other women, and invite other women to dance regardless of how many men are at the dance, and that is a step in the right direction.  There is even a "Form the Ocean" contra dance weekend for women happening in May, reinforcing the notion that we dance together because we love it, not because there aren't enough men.

Other things we can do?  Well, obviously shift from the gendered roles "ladies" and "gents," to something non-gendered, my favorite being "larks" and "ravens."  But even if your community isn't willing to make that step just yet, here are some interim steps:

• callers, state clearly that "gent" and "lady" are just a role name and that anyone can dance either role.  Even if the dancers stick with traditional roles, permission has been given.
• callers, work on ridding your vocabulary of gendered pronouns.  If you say, "Ladies chain to your neighbor and HE will give you a courtesy turn," you've established that the neighbor "should" be a man.  Just say "Chain to your Neighbor for a courtesy turn."  Substitute partner/neighbor/person in places where you would typically use a gendered pronoun.
• get rid of the ties that women are asked to wear when they dance the gents role - they're sweaty and disgusting anyway!
• ask everyone you dance with if they have a role preference, sending the message that it's not assumed based on gender which role you will dance.
• and men, don't let the women do all the work on this.  Go ask a man to dance.  It won't kill you.

The contra dance world is changing, and I believe for the better.  In today's world, there is no reason that we should be stuck in gendered roles at a dance where everyone is free to dance with everyone else.  We can be at the forefront of the change, or we can resist and complain.  I hope you choose to dance!

Accretion Reel - Chris Page

A1 - Go into the Middle and back, scatter promenade as individuals

A2 - vis-a-vis (or do-si-do, or balance, or hand jive) and swing somebody

B1 - Scatter promenade with this temporary partner

B2 - Find some more couples and make circles.  Circle L, Circle R

Meeting "Face to Face"

There has been much heated discussion in the contra community regarding the use of the word "g***y" as dance terminology.  Until now, I've pretty much watched from the sidelines, but I've come to realize that as a caller, I have a stake in this conversation so I'd like to share my thoughts on the subject.

First, I do think we should eliminate the term.  If it offends even a few people, that is reason enough for me to discontinue the use of the word.  It's just a word.  If changing it makes someone more welcome at our dances, that's reason enough for me.

Second, what word will replace it?  I've heard some of my favorite callers use "walk around."  I walk around the block.  I don't consider that a dance term.  I've heard "dance around," which is slightly better, but still not my first choice.

My term of choice is "Vis-a-Vis, French for "face to face."  There is already the precedent of having several French terms:
Do-si-do is "back to back."
Allemande is "by the hand."
Promenade is "walking."
Pousette is "pushcart" or "baby stroller."

When I teach the introductory workshop, I teach the Vis-a-Vis as simply a variance on Do-si-Do. I do not mention eye contact or flirting.

I've started using Vis-a-Vis during my California tour and so far it has been well received and I've had no problems with confusing experienced dancers once the move is explained.  It rolls off the tongue very beautifully, and it ends with the "ee" sound, as does the word it replaces.

I hope other callers will give this term a try and let me know how it goes!

Suwannee Roots Revival

Suwannee Roots Revival

Calling buddy Susie Rudder and I got to call at the Suwannee Roots Revival recently with a Florida favorite "The Dunehoppers."  I've come to love these kinds of dances.  The dancers will happily dance any dance I call.  No one is whining that there aren't enough neighbor swings, or the dances are too easy, or too hard, or whatever.  I wrote a simple square for the event that I call "The Suwannee Star."  Has it been written already?  Probably! 

Suwannee Star -

Gents to the Middle and Back to the Bar

Ladies to the Middle with a Left Hand Star

Turn that Star go all the way

Back to your Partner Allemande Right 

Go once and halfway more

Gents to the Middle with a Left Hand Star

Turn that Star go all the way

Scoop up your Partner, Star Promenade

Ladies Roll Back and Swing the Next

And Promenade to the Gents Home Place.

I called a simple break in the beginning, middle, and end.  This dance doesn't require you to know who your corner is, neither does it matter if you're a head or a side.  It could be made even simpler by not changing partners, just star promenade home and swing when you get there.

Other dances I called:  Monkey in the Middle, Haste to the Divorce, Galopede, Barrowdale Exchange, Lucky 7, etc.  I get to call another dance this weekend in McIntosh Florida for a group of teenagers.  FUN!

Are We Too Sexy for this Dance?

Last night I called a dance in Jacksonville FL that was truly inter-generational.  There were folks ranging in age from 6 to 60s (70s?) with everyone dancing happily together.  Isn't that the ideal we've always wanted in the contra dance community?

I've read facebook posts from many communities saying they're losing young people, especially young women, because contra doesn't feel like a safe space for them. I see responses from the older generation (MY generation) saying "flirting is the contra way" or "if you're not flirting, you're not doing it right' and that young people are being too sensitive, or the young people are just using it as an excuse to avoid dancing with older folks. 

Is flirting really the contra way?  Since when?  Well definitely since I started dancing in 1996.  But I was freshly divorced so flirting was a lot of fun for me!  And I considered it "safe" flirting.  I could do it without sending the message I was going home with anyone but myself. 

I think it's time to make adjustments, and as a caller, I want to withdraw my participation in making contra about sex, even "innocent" sex.  A phrase like "g***y until you can't stand it anymore and then melt into a swing" implies that the sexual tension is so high you just can't keep your hands off each other.  Really?

When you think about it, a phrase like "snuggle-up next to your partner" is creepy if you're talking to a 16 year old girl partnered with a 60 year old man.  "Another beautiful lady coming your way" is not something I want to tell a 7 year old boy about to dance with his grandmother.  Who cares if she's beautiful or not?!  It may not even be a "she" coming your way!

I am using those scenarios as a yardstick to determine how I want to talk to the dancers.  Would I feel comfortable saying that to a small child dancing with an adult?  If not, I say it differently.

If it is true that "flirting is the contra way," do we want to change that? What if it was "community is the contra way."  Callers have a huge responsibility for culture-creation in our community.  We're the ones with the microphones.  If you're a caller, I invite you to examine the language you use when talking to the dancers.  What phrases can you change to make the dance a safer place for all ages?