For others interested.
On Jul 19, 2016 5:21 PM, "Chris Page" <chriscpage(a)gmail.com> wrote:
> "The Merry-Go-Round", by Heiner Fischle, of all people.
>
> On Tue, Jul 19, 2016 at 2:02 PM, Ron Blechner via Callers
> <callers(a)lists.sharedweight.net> wrote:
> > No, but the timing on the circles will confuse some.
> >
> > But if you want 2 long lines, DSD and swing with both partner and
> neighbor,
> > you could do:
> >
> > Duple Imp
> > A1. N DSD (6)
> > NS (10)
> > A2. LLFB (8)
> > Circle L 3/4 (8, forgiving)
> > B1. P DSD (6)
> > PS (10)
> > B2. LLFB (8)
> > Circle L 3/4, Pass Thru By R (6,2)
> >
> > So... has *this* already been written?
> > Similar to Greetings, by Tori Barrone.
> >
> > Ron Blechner
> >
> >
> > On Jul 19, 2016 4:54 PM, "via Callers" <callers(a)lists.sharedweight.net>
> > wrote:
> >
> > Not sure if this has already been written, but it fits a particular
> spot in
> > an upcoming program:
> >
> > A1 LL FB
> > Circle L 1.25 to face P on side
> >
> > A2 DSD P, Swing P
> > (or Balance and Swing P)
> >
> > B1 LL FB
> > Circle L .75 to face N on side
> >
> > B2 DSD N, Swing N
> > (or Balance and Swing N)
> >
> > Thanks for any enlightenment!
> >
> > Ann in hot, humid, Annapolis, MD
> >
> > _______________________________________________
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> > http://lists.sharedweight.net/listinfo.cgi/callers-sharedweight.net
> >
> >
> >
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> >
>
No, but the timing on the circles will confuse some.
But if you want 2 long lines, DSD and swing with both partner and neighbor,
you could do:
Duple Imp
A1. N DSD (6)
NS (10)
A2. LLFB (8)
Circle L 3/4 (8, forgiving)
B1. P DSD (6)
PS (10)
B2. LLFB (8)
Circle L 3/4, Pass Thru By R (6,2)
So... has *this* already been written?
Similar to Greetings, by Tori Barrone.
Ron Blechner
On Jul 19, 2016 4:54 PM, "via Callers" <callers(a)lists.sharedweight.net>
wrote:
Not sure if this has already been written, but it fits a particular spot
in an upcoming program:
A1 LL FB
Circle L 1.25 to face P on side
A2 DSD P, Swing P
(or Balance and Swing P)
B1 LL FB
Circle L .75 to face N on side
B2 DSD N, Swing N
(or Balance and Swing N)
Thanks for any enlightenment!
Ann in hot, humid, Annapolis, MD
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I frequently roll swap with my partners on Californiatwirls and Petronella twirls as well.
However, when I have had neighbors do a longlines partner swap, I have felt abandoned as they discard my hand in the middleof the move. Is there a way execute thisswap without interfering with whole-set connection of long lines?
Date:Tue, 5 Jul 2016 18:57:33 -0400
From: Alexandra Deis-Lauby via Callers
>Also, if you find you are teaching to peoplewho are doing well with both
>roles,and want to learn when they can switch within a dance other than in
>aswing, the easiest places are in Long lines if one is across from your
>partner,(do like a hole-in-the wall gypsy), in Long lines, if one is next
>toyour partner (add a roll away) and then adding or subtracting a 1/2 turn
>in anallemande or do si do w/ partner.
Mark PigmanTacoma, WA
Hi Folks,
Several years ago (2013?) while at the fabulous DEFFA festival in Maine, I
danced a contra that had a grand square. I think it was on the diagonal.
But that's about all I remember about it.
Anyone know the dance? Or can give me more of a lead like the caller or
such?
I don't think it was a 4x4. I'm not sure if it had the full 16 beats one
way, then reverse and 16 beats the other way; because that'd be half the
dance...
Now that I'm thinking about it, as a 4x4 with a full grand square and still
following somewhat typical 4x4 conventions:
A1
Lines of 4 go forward and back
Corner Swing
A2
Grand Square: Heads start forward, sides split
B1
Reverse: sides start forward, heads split
B2
- Option 1: Heads pass straight through, sides pass straight through;
find partner
- Option 2: Pass new corner right, next left; find partner
- Option 3: Gents left hand star promenade with corner, ladies go ~1/2,
turn back to partner
partner swing, face line of direction
I'm now really confident it wasn't a 4x4 contra, but I still don't remember
what it was. Any help would be appreciated.
If I can't find it I may try it as a 4x4, but it seems like you'd be
further ahead with a simple square to have a little more variety than just
grand square and two swings...
Thanks.
--
Luke Donforth
Luke.Donforth(a)gmail.com <Luke.Donev(a)gmail.com>
Ilove using role-neutral swings, and as Maia suggested, I think they are afabulous teaching tool to correct awkward swings during a lesson. However, I have observed stress indicatorsfrom some dancers newish to role swapping when I have tried using a neutralswing. It seems as though having an asymmetricalswing hold indicates that both parties are in agreement as to who will end upwhere at the end of a swing. Even forregular role swappers, using a neutral swing delays the role decisionconcurrence from the beginning of the swing to the end, possibly making peoplelate to the next move.
Mark Pigman
Tacoma,WA
> Maia McCormick via Callers callers at lists.sharedweight.net
>Tue Jul 5 14:06:36 PDT 2016>But, I emphasize that you're both walking (orbuzz-stepping) *forward*,
>roughlyaiming at a point over your partner's shoulder. In fact, *the
>footworkfor a swing for both roles is exactly the same!!!* A good way to
>emphasizethis might be to have participants do a gender-neutral swing
>(e.g.right hand on shoulder blade, left hand clasped with partner above
>theheads) and then change the hand position into your classic ballroom
>swing(perhaps even trying out ballroom position with person A leading,
>thenwith person B leading) and noting how the footwork stays the same.
Regarding swing position: With good frame, differences between the roles in
giving weight are slight. But not all dancers are accustomed to good frame.
I find a mirrored ballroom hold (both dancers have right hand on the
other's shoulder blade, left hand on the other's shoulder) offers several
advantages:
- In general, it's a good hold for dancers to know as it saves space
in crowded halls.
- It facilitates spinning out from a swing, useful when dancers
encounter "string of swings" choreography
- It allows both dancers to experience both sides of good frame
The one challenge is that dancers need to remember which side they are
ending the swing on, as it removes "pointer hands" from the equation.
This a bit of a tangent, but related to the chain: If we just called gents
chains (by either hand! the courtesy turn for a left-hand chain isn't
REALLY that complicated, folks) more often, role differences WRT chain
would be a moot issue, and both roles would be better equipped to
understand/offer/ask/decline flourishes. All for the effort of teaching one
move well, one move that's out there in good choreography waiting to be
used.
Susan, I'm assuming this workshop is at a gender-free series, but geared to
encourage attendance by dancers who aren't yet accustomed to gender-free
dance? Having danced both roles widely and called a bit of gender-free, I'd
be happy to chat by phone or IM. Feel free to ping me on facebook - Tavi
Merrill
On 7/5/2016 11:32 AM, Susan Pleck via Callers wrote:
> > Hi folks,
> >
> > I'm to lead a workshop/extended intro lesson at a local dance this
> > Saturday on gender-free dancing/dancing the "other" role/switching
> > roles. Not having done this before, I'd appreciate any thoughts or
> > advice about what this should include. For the gender-free aspect,
> > I'm not sure there's much to discuss, really; ir'd be more just giving
> > dancers a chance to practice responding to different terms. For
> > dancing the other role, though, what points of emphasis do you think
> > would be most useful? Two that come to mind are swing
> > positioning/giving weight, and figures such as a chain where the
> > actions of the two roles are different.
>
>
Hi folks,
I'm to lead a workshop/extended intro lesson at a local dance this Saturday on gender-free dancing/dancing the "other" role/switching roles. Not having done this before, I'd appreciate any thoughts or advice about what this should include. For the gender-free aspect, I'm not sure there's much to discuss, really; ir'd be more just giving dancers a chance to practice responding to different terms. For dancing the other role, though, what points of emphasis do you think would be most useful? Two that come to mind are swing positioning/giving weight, and figures such as a chain where the actions of the two roles are different.
thank you!Susan PleckOakland, CA
American Dance and Music Week at Pinewoods still has space to you to join us. It's a wonderful program in the most beautiful setting. Larry Edelman, caller, musician and teacher extraordinaire, will be teaching his very popular Square Dance Callers class. If you are a caller who has ever considered adding squares to your repertoire, you don't want to miss the opportunity to learn from Larry. Even callers with years of experience will benefit from Larry's wisdom.
The rest of the program is packed with great calling and teaching. Check it all out at
http://www.cdss.org/programs/dance-music-song-camps/camp-weeks/american
Hope to see you there!
Sue
