Before choosing a Dynamic Calling Paradigm, the caller (and the group) must first decide if the circle will be .
In , the caller has to limit calls to the “lowest common denominator” (calls that the least prepared Leader can do with proficiency). With novices in the circle, that often means lots of repetitive guapeas, timing checks (shouts, foot-stomps) and simple calls at a much slower pace with perhaps occasional Enchuflas con Afro or Reggaeton embellishments. A good example:
First, instead of turning the lights up and the sound volume down, as in the one above. He’s trying but, in one huge circle, he can barely be heard or seen. Without a microphone, he will definitely be “one and done”.
Second, since everyone is encouraged to join this INCLUSIVE circle, the caller even more to accommodate Leaders unfamiliar with Rueda vocabulary or efficient Rueda technique.
Third, experienced Rueda dancers find these , leave the circle at the end of the song, and usually abandon Rueda completely.
However, … such as this R3 Social Rueda, Miami-style, February, 2016.
Keeping a balance between INCLUSIVE and EXCLUSIVE Ruedas is the challenge in public places (i.e.. clubs). In the long run, Social Ruedas will be successful only when cantantes can alternate successfully between calling inclusive and exclusive circles.
Therefore, , callers should specify the number of couples and pre-announce the Rueda structure(s) he expects dancers to be proficient in [… not just ask “Who knows Setenta?]. Furthermore, once the Rueda starts, the group should discourage others from “jumping in”.
In Europe, Nikola Medic (Serbia, UK) and others embraced movement and speed in both performance AND social Ruedas. In 2016, in Boston, this concept earned the name and, in Berlin, into … NOT structures but rather a new calling paradigm, different from the Traditional one. On the bar above, scroll down for info!