Had a recent inspiration on a couple of Butterfly Whirl sequences - looking
for input on a few questions/options... opinions welcome!
Butterfly DRAFT 20180410.1 - 4 Face 4 - Don Veino
A1 LLF&B, Circle/8 RIGHT 1/2x
A2 Circle/4 Left 3/4x, Opposite N Swing [at Gent’s progressed home]
B1 (option A) Gents Star Left ~3/4x (to P)
P Star Promenade 1/4x [all at progressed home], Butterfly Whirl to face
(option B) Opposite Gents Allemande Left 1+1/2x (to P)
P Star Promenade 1/2x [w/in opp. 4; to all at progr. home], Butterfly Whirl
to face up/down
B2 (option A) Ladies Star Right 1x (to P), P Swing & face progression
(option B) Opposite Ladies Allemande Right 1x (to P), P Swing & face
- Option A, IMO, is more of a "real" 4 facing 4 - but I'm uncertain if the
timing will work? (Option B = bog standard timing.)
- Is there a strong argument for one option vs. the other - will dancers
care if the majority of the action is in 2-couple groups with opposites
rather than involving all 4 couples?
- Will there be a significant space problem when all 4 couples pass through
the center in B1 option B?
Butterfly DRAFT 20180410.2 - DI - Don Veino
A1 N Balance & Swing
A2 Gents Allemande Left 1+1/2x (Ladies left arm over P’s right as picked
P Star Promenade 1/2x, Butterfly Whirl CCW along set to next Ns*, stay
connected with P
B1 Ladies Catch RH, Star Promenade P 1/2x CW, Butterfly Whirl CW into P
Swing [on L’s home side]
B2 Ladies Chain, Half Hey (back to THIS N...)
End effects: re-enter in Butterfly hold with P (where/how depends upon
*Question: I believe the butterfly shift could progress this dance forward
(whirl shift to right as face out) or reverse (shift left). I believe
reverse progression would flow/feel slightly better but forward progression
could be less confusing to dancers - which would be best?
Great new ideas on 4X4 choreography! In regards to the "Tamlin's Cross," I
think the rollaway-swing transition in A1 would feel less than ideal, or
even awkward because the direction of the rollaway is counter to the
direction of the swing.
I love that transition when the gent is sashaying left and passing a dancer
in the lady role from the gent's left hand to gent's right hand right, then
the gent can catch the other dancer in the lady role in a swing (as in
"Rollin' with Rhode" by Jim Hemphill, "Rollaway Sue" by Bob Isaacs, "Luna
in the Library" by Ron Blechner,""Roll Twelve" by Chris Page, and "Into the
DMZ" by Cary Ravitz, among others). I fear that the rollaway-swing
transition as it is written in "Tamlin's Crossing" wouldn't be as
satisfying as int he dances I listed.
Thank you for your innovations and I look forward to seeing more!
dugan at duganmurphy.comwww.DuganMurphy.comwww.PortlandIntownContraDance.com
> Date: Wed, 4 Apr 2018 12:16:42 -0400
> From: Luke Donforth <luke.donev(a)gmail.com>
> Subject: Re: [Callers] New (?) 4x4 contra
> Thanks all for the feedback! I'll reach out to Erik and Nils.
> As Rick pointed out, the dance could work from standard 4x4 lines; and I
> certainly wouldn't object to folks dancing it that way. In my head, the
> half grand hey precludes this from many dance events, so I figured dancers
> I could toss this at would probably not be thrown by the bent formation.
> But keeping the non-hook moves simple is worthwhile.
> I haven't done a Dutch Crossing workshop, although I've been meaning to.
> Nice to see Lisa getting everyone through it, thank you for the link; and
> the reminder to learn Dutch Crossing.
> Colin, I don't remember the last time I got to call a 48 bar dance. But if
> I get a band itching to play one, now I've got some things in the quiver.
> Jim, I'll admit Heymania is intimidating to me. I like the fixed timing of
> contra, the squishyness of squares is a challenge for me. I'd have to work
> up to that one with some simpler non-musically-square squares.
> As for this dance, dropping the balance before the partner swing and
> letting the hey flow into B2 seems the simplest and most forgiving way of
> handling the timing. I like the idea of the reunion moment being marked in
> time though, so that partners know when they're supposed to find each
> other. You could give the hey more time in B1 at the expense of some of the
> neighbor swing. What about the following variation, informed by Chris's
> comments on timing?
> Tamlin's Cross (variation)
> 4x4 (lines or bent)
> (4) All 8 go into the middle
> (4) Gents roll partners away on the way out
> (8) Corner Swing, square set
> (8) Gents left hands across star 1x; gents drop out
> (8) Ladies left hands across star 1x;
> ladies keep hands, and take right hand with corner (making crossed wavy
> lines of 4)
> (4) Balance the wavy lines of four
> (12) half grand hey, start passing corner you swung by right
> then turn away from corner you swung
> (16) Partner Balance and Swing
> End the swing facing new couple, having swapped sides with your trail-buddy
> That gives both roles the muscle memory of a left hand star in the middle
> as prep for the handless-star in the hey; which could either be helpful or
> I wouldn't usually chase a left hand star with a left hand star, but I
> think left will flow better for the gents out of a swing; and I want the
> corners to take right hands (because getting folks to balance left then
> right seems impossible outside of Rory o'More). The two left hand stars
> would also leave some room for silliness on the part of the dancers.
> A2 could be ladies right hand star, then gents left; but I'm not super fond
> of the swing->ladies go in transition. It happens a lot in swing->chain,
> but I don't think it would add to the dance here.
> Thanks again for sharing your experience :-)
Hello all - I have two dances I've been calling of late, and wanted to verify they are both original to the best of our collective knowledge. Both have been satisfying to call and dance, so I also wanted to share them in the hopes that others might want to call either or both. I'm not including instructions for the Zia dance - there are already general instructions in Shared Weight for Zia set up and calling tips. Thanks, Chuck
X, Y, and Zia (Zia formation, double progression) Chuck Abell 3/18
A1 - Into the middle and back (8)
Balance the ring/square, circle left four steps (8)
A2 - Bal the ring/square, w/ partner California Twirl (8)
New N swing on side (8)
B1 - Give right to partner, balance square through past two (8)
Give right to partner, balance square through past two (8)
B2 - P bal and swing in middle, face new N (16)
Caller’s Delight (Becket) Chuck Abell 2/18
A1 Bal ring, pass through across and turn alone (8)
RHS (right hand star) 1x to long wavy line, gents face out (8)
A2 Bal, box circulate 1x (8)
N swing (8)
B1 On left diagonal ladies chain, make ring (8)
Bal ring, PT to ocean wave (8)
B2 Bal wave, all walk fwd (8)
P swing (8)
w/ same N…
I thru this together on the fly for a no walk thru, but I have to think someone already wrote this. Does anyone know the name and author?
Temporary name “Just Do It”, improper
A1 1-8 Neighbors balance and swing
A2 1-4 Long lines fwd and back
5-8 Gents allemande left 1-1/2
B1 1-8 Partners balance and swing
B2 1-4 Promenade across the set
5-8 Circle left ¾, pass thru
Thanx, Ric Goldman
Does someone have dance choreography for an easy contra that goes well with Wizard’s walk tune?
I know there was a “Grumpy” longways family dance written to go with it.
SF Bay Area
I need some advice. My wireless mic (Shure PGx2) has finally died - a problem with the on/off switch. I sent it to Shure but they said it was was too old to repair. Rather than buying through a cheap online site like I did last time, which might be why it seems to have broken and gone out of date so quickly, I went to the Shure website to look at new ones. Two that seem to look a lot like my old one are below. Can anyone recommend which might be better for calling, or another handheld wireless mic that you’d recommend more?
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My favorite dance to pair with the tune "Wizard's Walk" is "Bev's Becket"
by Cary Ravitz: http://www.dance.ravitz.us/#bb. I find that the hey in A2
pairs well with the musical buildup in that phrase and that the balance at
the top of B1 pairs well with the musical explosion at the top of that
dugan at duganmurphy.comwww.DuganMurphy.comwww.PortlandIntownContraDance.com
> From: Claire Takemori <cht(a)mac.com>
> Subject: [Callers] easy dance to Wizard's walk ?
> Does someone have dance choreography for an easy contra that goes well
> with Wizard?s walk tune?
> I know there was a ?Grumpy? longways family dance written to go with it.
> Thanks !
> Claire Takemori
> SF Bay Area
Warning: rabbit hole ahead.
Colin: I read your text for your workshop. All useful stuff and you do say
more than "treat your partner as a neighbour".
Re Michael Fuerst's quote, I agree that end-effects are what they are and
they are not (necessarily?) the point of the dance, but they sometimes must
be dealt with head-on. Example: I have tried to make any sense of the end
effects in the dance The Hobbit
http://www.quiteapair.us/calling/acdol/dance/acd_283.html . I think it's a
great dance - if you can avoid the ends - but I'll be [darned] if I can
make it around the end successfully. I've tried calling it, walking thru at
a callers workshop with several experienced dancers and none of us could
make sense of the end-effects. We were missing some magical key to
understanding (perhaps guarded by Smaug). "Go where you are needed" wasn't
going to work. Nor were the other rules. Sometimes, it seems, the
end-effects must be taught just as the dance. No easy feat.
Colin Hume via Callers
Thu, 05 Apr 2018 02:42:50 -0700
I'm not sure that dancing with ghosts is the best way to deal with end-effects
- I prefer "treat your partner as a neighbour".
I have a whole section of notes on End-effects at