<div dir="ltr">Hi John, <div><br></div><div>While there isn't a person there for the ladies to go around, I'd envisioned them looping around as if they were, and using the space and time to make the move flow. So they'd trace the path of what they'd do with a half figure eight, without a physical presence of the standard post. That leaves them better able to come into the meltdown swing. (Although as others have pointed out, that may work better as a balance and swing anyway). </div><div><br></div><div>If I understand your Bombast figure (a great name!) the action stays very internal to the space 4 dancers usually take up; whereas the half figure 8 and cast would be more expansive (and thus less adaptable to crowded floor conditions).</div><div><br></div><div>Thank you to all who wrote back with thoughts and feedback! I appreciate this shared resource.</div><div><br></div><div>Take care,</div><div>Luke</div></div><div class="gmail_extra"><br><div class="gmail_quote">On Wed, Jul 11, 2018 at 6:00 AM, John Sweeney via Callers <span dir="ltr"><<a href="mailto:callers@lists.sharedweight.net" target="_blank">callers@lists.sharedweight.net</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">Hi Luke,<br>
I am not sure why you are calling it a Half Figure Eight. Unless I have misunderstood something, you just have the ladies crossing the set, going around each other instead of straight across, while the men move out of the way. Since the active dancers don't go around a gatepost (person or position) then it doesn't seem to be a Figure Eight sort of move.<br>
<br>
I call that move a Bombast (Headcorn Morris use it and call it that and I thought it would make a nice dance figure for us). In this version of the move, instead of the men casting they move straight to their destination, then turn (the turns aren't full turns - just until you can see your next destination); the ladies turn as well at their destination. I also have the move along the set instead of your version across the set.<br>
<br>
The dances below are more ECDish dances, but may help clarify the idea.<br>
<br>
The "Turn Single Changing Places" starts as a Gypsy Right, but once you are past each other you keep turning to face away - I often call it a Spin Past.<br>
<br>
Bombast I (by John Sweeney)<br>
Longways; Improper<br>
<br>
A1: Bombast:<br>
Men go straight across to the Ladies’ places WHILE Ladies Gypsy Right 1/2 to Men’s Places; All Turn Single<br>
Ladies go straight across to the Men’s places WHILE Men Gypsy Right 1/2 to Ladies’ Places; All Turn Single<br>
A2: Repeat<br>
B1: Set to Partner, Turn Single Changing Places [End facing out] <br>
Lines Lead Away; Fall Back [Face In at last moment] <br>
B2: Balance the Ring; Ladies Cross; Balance the Ring; Men Cross<br>
<br>
Bombast II (by John Sweeney)<br>
Longways; Improper<br>
<br>
A1: Bombast:<br>
Men go straight across to the Ladies’ places WHILE Ladies Gypsy Right 1/2 to Men’s Places; All Turn Single<br>
Ladies go straight across to the Men’s places WHILE Men Gypsy Right 1/2 to Ladies’ Places; All Turn Single<br>
A2: Set to Partner, Turn Single Changing Places [End facing out] <br>
Lines Lead Away; Fall Back [Face In at last moment] <br>
B1: Long Lines Go Forward & Back – Men Roll the Ladies from Right to Left as you Fall Back<br>
Mad Robin – Men through the Middle<br>
B2: Long Lines Go Forward & Back – Ladies Roll the Men from Right to Left as you Fall Back<br>
Mad Robin – Ladies through the Middle<br>
<br>
Happy dancing, <br>
John <br>
<br>
John Sweeney, Dancer, England <a href="mailto:john@modernjive.com">john@modernjive.com</a> 01233 625 362 & 07802 940 574 <br>
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</div></div></blockquote></div><br><br clear="all"><div><br></div>-- <br><div class="gmail_signature" data-smartmail="gmail_signature"><div dir="ltr">Luke Donforth<br><a href="mailto:Luke.Donev@gmail.com" target="_blank">Luke.Donforth@gmail.com</a><br></div></div>
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