So, what do dancers need to know in order to progress through a duple contra dance?
(1) At the end of a swing, who finishes on which side. Thus we need some words and concept of these two roles, whether men and women, larks and ravens, or P's and Q's. (This seems really important when neighbors swing, and less important in ECD.)
(2) The identity of their current and future neighbors. (Tells dancers which way they are progressing.)
(3) A consistent way to designate positions within a group of four. For the moment consider "first corners" to be the positions of woman 1 and man 2 at the start of the a duple improper dance.
Prudent use of all of these seems important over the various contra formations: improper, proper, becket (progressing left or right), indescent (2's crossed), and dances where the "1's" (those moving away from the music) start below the "2's."
For beginning and intermediate dancers, callers' use of (1) is often easier than (3). In dances with unusual end effects, caller's use of (3) can be difficult. In general using (1) is clearer, because (a) it is easier to find a person, and (b) one's position changes throughout the 32 seconds or so of a contra.
I can think of quite a few dances which become much more difficult to convey to the dancers when (1) is avoided. For example: (a) "Second corners chain on the left diagonal" will always seem obscure.(b) Who rolls in front during a roll away, or moves in front during a Mad Robin(c) dances with partial heys (d) Many proper dances
Michael Fuerst 802 N Broadway Urbana IL 61801 217 239 5844
Andea asked, "I would love to hear from those who have danced Morris or
other single gender sets in hands four whether they use numbered corners or
some other designation."
Most Cotswold Morris is six men - two lines of three. And, yes, we say
First Corners for the long right diagonal (what ECD would call First Long
Corners) and Second Corners. The two men in the middle of the two lines of
three are Third Corners.
I use the same nomenclature (Third Corners) when calling dances like Black
Nag.
There are not many situations where you have the equivalent of "hands four"
in Cotswold Morris. One exception is the Lichfield Hey - Lichfield is an
8-man dance. You will hear the men chanting, "First, Second, Pause,
Change". First and Second here refer to POSITION, so you alternate between
being a First Corner and a Second Corner.
= = = = = = = = = = =
I notice that neither
http://heatherandrose.org/terms.shtml
nor
http://lcfd.org/gf-ecd-calling-conventions.html
seem to have the word "Swing" anywhere on the page!
This seems to me to be a major omission!
There do appear to be people who think that ECD doesn't include swings, and
maybe in some American ECD clubs they don't.
But country dancing in England most definitely includes swings in all sorts
of styles.
Happy dancing,
John
John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362
http://www.contrafusion.co.uk for Dancing in Kent
This discussion of ECD just made me realize that the one move that is usually specifically gender related -- Ladies Chain -- is actually 2nd corners chain. If the idea of first and second corners is introduced to contra dancers than there would be no problem with most of the moves: chains, allemandes, heys. It all becomes position oriented.
Bob
Note, that page doesn't use the phrase "Global Terminology". More
specifically, the word "global" doesn't appear anywhere on it. It does
include a "Heather and Rose Terminology" section which is what I believe is
being referenced.
I only bring this up because it caused me some confusion at first, as it
was not clear in which section the referenced "global" material was.
On Mon, Jun 1, 2015 at 12:51 PM, Linda Leslie via Callers <
callers(a)lists.sharedweight.net> wrote:
> In an earlier email, David Casserly shared the following link, which
> defines the approach very, very well!
> http://heatherandrose.org/terms.shtml
> Linda
>
>
For those interested in gender free contra dance terms:
1. Do you like or dislike jets / rubies ?
2. How would gems / rubies compare?
In dance,
Ron Blechner