Call

Call may refer to:

In arts and entertainment

In science and technology

Computing

Telecommunications

Other uses in science and technology

In finance

Caller (dancing)

A caller is a person who prompts dance figures in such dances as line dance, square dance, and contra dance. The caller might be one of the participating dancers, though in modern country dance this is rare.

In round dance a person who performs this function is called a cuer. Their role is fundamentally the same as a caller, in that they tell dancers what to do in a given dance, though they differ on several smaller points. In northern New England contra dancing, the caller is also known as the prompter.

Comparing callers and cuers

Callers and cuers serve slightly different functions in different types of dance. Improvisation in modern Western square dance calling distinguishes it from the calling in many other types of dance.

Callers in many dance types are expected to sing and to be entertaining, but round dance cuers do not sing and are expected to be as unobtrusive as possible.

Standardized dances such as round dance, modern Western square dance, and Salsa Rueda consist of a number of defined difficulty levels. Callers and cuers are responsible for knowing all of the calls or cues (respectively), also known as figures, for the defined difficulty level at which their dancers are dancing, as well as all figures belonging to lower or easier levels.

Betting in poker

In the game of poker, the play largely centers on the act of betting, and as such, a protocol has been developed to speed up play, lessen confusion, and increase security while playing. Different games are played using different types of bets, and small variations in etiquette exist between cardrooms, but for the most part the following rules and protocol are observed by the majority of poker players.

Procedure

Players in a poker game act in turn, in clockwise rotation (acting out of turn can negatively affect other players). When it is a player's turn to act, the first verbal declaration or action she takes binds her to her choice of action; this rule prevents a player from changing her action after seeing how other players react to her initial, verbal action.

Until the first bet is made each player in turn may "check," which is to not place a bet, or "open," which is to make the first bet. After the first bet each player may "fold," which is to drop out of the hand losing any bets they have already made; "call," which is to match the highest bet so far made; or "raise," which is to increase the previous high bet.

Bondage

Bondage may refer to:

Restraints

Social and economic practices

In arts and entertainment

Other uses

See also

Bondage (BDSM)

Bondage is consensually tying, binding, or restraining a partner for erotic, aesthetic, and/or somatosensory stimulation. Rope, cuffs, bondage tape, self-adhering bandage, or other restraints may be used for this purpose.

Bondage itself does not imply sadomasochism. Bondage may be used as an end into itself, as in the case of rope bondage and breast bondage. It may also be used as a part of sex or in conjunction with other BDSM activities. The letter "B" in the acronym "BDSM" comes from the word "bondage". Sexuality and erotica are an important aspect in bondage, but are often not the end in itself. Aesthetics also plays an important role in bondage.

A common reason for the active partner to tie up their partner is so both may gain pleasure from the restrained partner's submission and the feeling of the temporary transfer of control and power. For sadomasochistic people, bondage is often used as a means to an end, where the restrained partner is more accessible to other sadomasochistic behaviour. However, bondage can also be used for its own sake. The active partner can derive visual pleasure from seeing their partner tied up, and the restrained partner can derive tactile pleasure from the feeling of helplessness and immobility.

Bondage (play)

Bondage is a 1992 play by American playwright David Henry Hwang. It deals with issues of race and racial stereotypes by placing a fully disguised man and woman in an S and M parlor playing out sexual games. The play premiered as part of the Actors Theatre of Louisville's Humana Festival on March 1, 1992. It was shown in tandem with Suzan-Lori Parks' short play Devotees in the Garden of Love under the title Rites of Mating. It was directed by Oskar Eustis and featured B. D. Wong and Hwang's wife Kathryn Layng.

It is published as part of Trying to Find Chinatown: The Selected Plays by Theatre Communications Group. and also in an acting edition published by Dramatists Play Service.

References