Jerome Grisanti, Maryville, Missouri

Where did you first learn of contra dancing?

A woman where I worked in 1999 told the staff at a meeting about this cool thing she loved doing. I showed up at a dance about two or three weeks later and was immediately hooked. Funny thing, I never actually saw my colleague there until I had been dancing for about a year. I've been dancing since August 1999. That would be seven years and three months at this point. I danced weekly for nearly seven years until I moved to Missouri. These days I might dance twice a month.

As a beginner, what was your first impression of contra?

The figures seemed complicated but not overly so, the people seemed friendly and very knowledgeable about dancing.

How long have you been calling? Have you written dances?

I started to call regularly in 2001. I've written more than 10 dances, less than 20, and a few are even worth dancing.

Do you have a favorite dance to call...and why?

I have many favorites: "Nice Combination" for its simplicity, "Snake Oil Reel" for its balances, "Rollin' and Tumblin'" for those roll aways in long lines, "Kinematic Vorticity" for the connection in the hand casts, almost any dance with a Mad Robin for the flirting. For squares I like easily taught keeper squares for most crowds, and I look forward to crowds that can handle mixer squares and more complicated figures.

Do you have a favorite to dance...and why?

I like a lot of variety when I dance, so it's more about the whole evening's program. I get bored if all the dances have the same ending sequence (ladies chain to a star left) or the same sequence to the partner swing (circle left 3/4, partners swing) or the same beginning (neighbors balance and swing). I like a mixture of improper and Becket, with something unusual thrown in such as an indecent formation, a triplet, a circle mixer or Sicilian circle. And I like one or two squares per evening.

I also love the waltz for its infinite variety. Not for variety's sake, e.g., doing 10 different moves just to impress someone, but for the variety inherent in the different music, different moods, different partners, all of which combine to suggest different things in the moment. As a male, I enjoy the challenge of leading, giving signals that are clear with plenty of room for fun and flirty.

What one thing do you think that most contra dancers can do to improve their dance?

I would love if every person who danced was interested in becoming the best dancer they could be. People dance for many reasons: to meet people, to listen to music, to move their bodies, for the geometric challenge. Given that, I would really like people to find their interest and keep developing themselves.

I would love for more dancers to really appreciate the sense of connection in allemandes, rollaways, circles, stars, hand casts, etc. A sense of connection, balance, and weight really does it for me. And of course, that sense should inform the swing, which should be light and smooth. Connection also informs timing (don't be late!) and courtesy (listen to the body language of neighbors and partners).

I also like for dancers to participate in the story of each dance, whether it be a flirty chase or an unusual sequence that takes a few times through to master. And to remember that the partner swing is not the only pleasure to be had. The journey to that swing can be very satisfying as well.

What one piece of advice would you give beginner dancers so they can enjoy the dance more?

Presuming I've taught the beginner session, I will have talked about weight and connection and walked through a number of moves including the swing. I remind them that the goal is to have fun, and that the other dancers will help you have fun. Keep your hands available so people can help you into place. Take care of yourself by speaking up if you need to swing more slowly, or whatever.

From your perspective of the dance floor on the caller's stand, what movements do you most like to view during a dance?

I like the flows from neighbor interaction to set interaction to partner interaction, the shifts from swirling couples to groups or four happening all at the same time. For example, the sequence in Treasure of the Sierra Madre (N Balance, Box gnat, men allemande L 1 1/2, P Balance, box gnat, pass partner to start 1/2 hey, P Balance and Swing, Chain, Star Left) is way cool to watch from above. I like dances with wavy lines too, particularly wavy lines of four alternating with wavy lines up and down the set.

If you had some wishes related to contra dancing, what would they be?

That more folks were turned on to it, or capable of getting it. I know contradancing is not for everyone. I also wish to be in even more demand as a caller, in particular I would love to be a "headline" caller at dance weekends.

How would you prefer to be contacted?

By email to:Jerome Grisanti