I'm finding few callers these days verbally cuing dancers through calls, unless they see the floor is really weak overall. I'm trying to cue less, because I've found that the cueing becomes part of the call (Right and Left Thru, turn the girl or Tag the Line, all the way thru), and if they don't hear ALL of it, it's not a complete call, and gives a momentary synapse hesitation in execution.
Paul P said it right...it's mostly just body memory for most calls and only hearing either selectively or incorrectly. For the dancer, it's "go with the flow till you cain't go no mo."
Case in point: How often do you call a Spin Chain Thru that the initial point dancers don't turn back to try to form a star, but looking perplexed because they're not sure they need to? (they don't of course). I workshop that enough that I'd THINK that the point dancers will stand still for 10 counts of music (or whatever it is) and know not to turn around, but they get nervous not moving.
As for tact, it's an art in telling someone (usually the same someones all the time) to turn around...I've not mastered that one, for sure!
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Date: 2007-11-06 07:02 pm (UTC)Paul P said it right...it's mostly just body memory for most calls and only hearing either selectively or incorrectly. For the dancer, it's "go with the flow till you cain't go no mo."
Case in point: How often do you call a Spin Chain Thru that the initial point dancers don't turn back to try to form a star, but looking perplexed because they're not sure they need to? (they don't of course). I workshop that enough that I'd THINK that the point dancers will stand still for 10 counts of music (or whatever it is) and know not to turn around, but they get nervous not moving.
As for tact, it's an art in telling someone (usually the same someones all the time) to turn around...I've not mastered that one, for sure!