I'll just add to Rich Hart's meticulous description that during the final part
of A1, the cast-off, the active couples each walk forward as the inactive pivots
them around.
It's a lovely dance, and can be a significant challenge for folks accustomed to
the current spate of duple improper and Becket dances.
Fully three quarters of the dance (A1, A2, and B1) have pieces that are not part
of the contemporary norm.
A1: As Rich notes, actives-- and yes, this is a dance where the terms "actives"
and "inactives" are really relevant-- go straight across the set, not
diagonally. Duke Miller, famed called in upstate New York and the Monadnock
region of NH, used to call this as "Cross... down the outside, then cross... up
the middle."
In A2, it's just the active couples who form the long wave. Inactives simply
watching. With the proliferation of dances these days with "Rory O'More
balances," dancers are more accustomed to the balance and slide motion, but
newbies will need to be reminded to face the same wall during this figure. For
example, the active gent is facing the wall behind the women's line. He forms
the wave, balances right and left, slides to his right, reforms the line, all
still facing that same wall. Similarly for the active woman.
B1 Contra corners: Again, depending on your local customs, dances may have
encountered this already (Chorus Jig is the best-known classic contra with the
figure, though some people encounter it in a more modern dance such as
Alternating Corners.) Since you've already introduced contra corners to your
regular dancers, this will go more smoothly.
Finally, a key point, at the end of the active balance and swing in B2, they
must finish facing UP the set, on their proper set. Most dancers today are
accustomed to finishing a swing improper, and that will leave them on the
incorrect side. I've seen many hot-shot dancers familiar only with modern
choreography get through the dance fine until that final end of swing, and then
they're on the wrong side for all else that follows. Not a pretty sight...
Have fun with it.
David Millstone
To: organizers(a)sharedweight.net.
CC:
BCC:
Subject:Dance in transition
Hi
Dance venue in transition Qs?
Just curious as to longevity of dance series.
How do you handle organizer burnout?
I know an organizer who has been at it for 12 years and wishes to turn
the series
over to a new 'generation'.
How do you generate support and bring new people in to the organization
of dances?
(dancers scatter when there is mention of organizing!)
There is a small loyal group of dancers. The problem is no one wishes to
take up the duties of organizer. This is compounded by the fact that the
main organizer needs to
be a resident of the town where the dance is held. (I do what I can. I
organized a dance and found it was not my calling. esp. as the sole
organizer, dancers want to dance not organize!)
History:
Dance started in 1996
In a beautiful medium size hall.
First 2 years averaged 65-70 dancers
In the third year there was a problem with parking at the hall. Number
of dancers dropped off. Parking problem was resolved but the numbers did
not rebound.
Year 3
A "Flashier" dance series, 50 miles away, was created for the same wknd.
This siphoned
off more dancers.
Over the next 8 years attendance fluctuated between 20-40. which is the
sustaining level for this dance.
In the past year attendance levels have dropped to 10-30
The dance is having problems hiring the "Name" talent that brings in
dancers from more than an hour away (Though Randy Miller from western NH
is a fan of this dance and
plays for the take of the door)callers and musicians ask for guarantee
sums
The organizer just does not want the hassle of it anymore.
There are several of us who help when we can.
Some of the reasons the dance is struggling (along with the above)
Very few local dancers.
Lack of flashy talent (dance can not provide the pay out)
It's a community dance that welcomes beginners/families
At one time there was a rowdy teenage group who frequented the dance,
they were very energetic, too much for some dancers. (they do not
attend the dance anymore, but the stigma is still there)
It's to far off the beaten path (Where is ----------- anyway?) [ I
choose not to include the name of the dance without permission of the
organizer]
Its to long of a drive! There are better dances closer by...
Is that dance still happening?
It is a shame to see the demise of this dance series due to lack of
interest, attrition
gas prices, an aging dance community, apathy.
Perhaps it is time for this 'community' dance to close it's doors. I
wonder how many other smaller dances are experiencing the same problems.
Here is in southern NH dance venues (new dance halls) are becoming
increasingly hard to find and it would be a shame to see this one fall
from use.
Hope to start a dialogue and get some ideas for keeping this series
viable
Thanks in advance
Gale Wood
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Hi,
Do you know the dance by Nils Fredland currently called Naked in
California? I have the ending as Swing your old neighbor a second time.
Is this correct?
The entire dance as I have it is
(A1) Long Lines Forward and Back/ Swing your (new) neighbor
(A2) Women allemande Right (1/2) to Partner/ Partner Allemande Left (3/4) to
Shadow/ Shadow Allemande Right (1 ½) to ling wavy lines up and down the set.
(B1) Balance that wave/ Slide (or twirl) Right (as in Rory OMore), into
your partners arms/ Swing Partner
(B2) Circle Left (3/4) / Swing your old neighbor again
Thanks again for your help.
Rickey Holt
