I have seen it called as a Sicilian Circle, which eliminated the end effects.
-------- Original message --------From: Bob Green via Callers <callers(a)lists.sharedweight.net> Date: 1/4/18 6:00 PM (GMT-05:00) To: Kalia Kliban <kalia.kliban(a)gmail.com> Cc: Caller's discussion list <callers(a)sharedweight.net> Subject: Re: [Callers] Beneficial Tradition
I have always thought part of the difficulty is that the ladies momentum is away from each other in that last pull by, leaving them a distance away from each other. On the end there can be some indecision about being in or out. In XYZ (which has a different set of challenges at the end with the "reverse") the momentum brings the ladies toward each other to start the next round, and makes it a little more obvious when you are out. Those dancing gent can help by giving SUBTLE weith in the correct direction after the last pull-by.
(https://www.youtube.com/watch?v=gBwjTWK3-4g)
Happy New Year,
Bob
Those of you who have called this dance a lot, have you noticed the same issue? How do you teach the B2-A1 transition to minimize the confusion and end effects?
Kalia
ps Happy New Year, everyone!
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I have dozens of caller's books in storage and I can't find my copy of Son
of Shadrack. Can anyone share Meshack's March by Tony Parkes, please?
--
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I wrote this dance yesterday, but I'm not confident it doesn't already
exist under a different name. Does anyone recognize the choreography under
a different name?
Longfellow's Revenge by Dugan Murphy (duple improper contra)
A1 Neighbor balance and swing (16)
A2 Long lines forward and back (8) / Gents left hand allemande 1.5 (8)
B1 Partner balance and swing (16)
B2 Ladies chain to neighbor (8) / Partner right hand balance (4) - Partner
pull by across (2) - Neighbor left hand pull by on the side to face new
neighbor (2)
Thanks for taking a look!
Dugan Murphy
dugan at duganmurphy.comwww.DuganMurphy.comwww.PortlandIntownContraDance.comwww.NufSed.consulting
Thanks, Michael and Linda! I'll write it down as a variation of "Finishing
Touches" by Ridge Kennedy. I like the original A1 with a do-si-do too.
Dugan Murphy
dugan at duganmurphy.comwww.DuganMurphy.comwww.PortlandIntownContraDance.comwww.NufSed.consulting
On Sat, Dec 30, 2017 at 9:08 PM, Linda Leslie <laleslierjg(a)comcast.net>
wrote:
> In my records, I have this dance with a minor variation:
> Finishing Touches by Ridge Kennedy
>
> In Ridge’s dance, the A1 is N do si do and swing.
>
> Cheers! Linda
>
> On Dec 30, 2017, at 7:37 PM, Dugan Murphy via Callers <
> callers(a)lists.sharedweight.net> wrote:
>
> I wrote this dance yesterday, but I'm not confident it doesn't already
> exist under a different name. Does anyone recognize the choreography under
> a different name?
>
>
> Longfellow's Revenge by Dugan Murphy (duple improper contra)
>
> A1 Neighbor balance and swing (16)
> A2 Long lines forward and back (8) / Gents left hand allemande 1.5 (8)
> B1 Partner balance and swing (16)
> B2 Ladies chain to neighbor (8) / Partner right hand balance (4) - Partner
> pull by across (2) - Neighbor left hand pull by on the side to face new
> neighbor (2)
>
>
> Thanks for taking a look!
>
> Dugan Murphy
> dugan at duganmurphy.com
> www.DuganMurphy.com <http://www.duganmurphy.com/>
> www.PortlandIntownContraDance.com
> <http://www.portlandintowncontradance.com/>
> www.NufSed.consulting
>
>
>
I composed this to have a fairly easy way to introduce diagonal moves to a
group that isn't familiar with them. I don’t usually write dances without a
N swing, but my attempts to include one haven’t gone well. Suggestions
welcome.
If it’s original, I’ll call it ChainChainChain Improper
A1 N dosido into long lines, Gents face out; Ladies face in. Balance F&B,
Box circulate
A2 In these longlines (Ladies face out, Gents face in, partner on the
right) Balance the wave, Partner Swg
B1 on left diagonal, Ladies chain over and back to partner
B2 across the set, Ladies chain to N; Star Left
Hello all,
I'm on the road for vacation instead of calling, which means that I don't
have easy access to dancers to try things with; so I'm pinging the hive
mind.
What do folks think about the transition star->hey with the next.
For instance:
A1
Ladies start left shoulder hey
A2
Neighbor right shoulder gyre and swing
B1
Circle Left 3/4
Partner swing
B2
Ladies chain across
Left hand star 1x
The ladies have their left hand in on the star, and usually I avoid a left
with one, left with the next transition; but I feel like the swoopy nature
of the hey gives it some slack. It also sets the gents up for a turn over
shoulder entry into the hey.
It could be a right shoulder in the middle hey, and a balance and swing. I
don't have a passel of dancers to try it with.
What are your thoughts?
Thanks, and happy solstice and return of the light to you all.
--
Luke Donforth
Luke.Donforth(a)gmail.com <Luke.Donev(a)gmail.com>
Hi all,
Those of us who started dancing 2 or 3 decades back probably remember
the rule about sitting out the dance if you turn down a partner offer.
A very competent male dancer I know who started around the same time I
did (late 80s) recently confessed to me that he never asks anyone to
dance because he doesn't want to put folks in the position of thinking
"If I don't dance with this guy then I have to sit one out. Oh crap,
guess I'll have to dance with him." For the record, he's a totally
solid and delightful dancer.
To what extent has that earlier etiquette norm either survived or been
replaced, and what has it been replaced with? In your dance community,
do you have a written statement of the etiquette around this? Our
community's statement doesn't directly address this issue.
Kalia
Kalia,
At South Bay Contra ( SF Bay Area) we have a sign posted around the hall (edited from a sign that I got from Pasadena Contra that edited the sign from Lake City Contra). It says:
When looking for your next dance partner, please know:
Anyone can ask anyone. Don’t wait to be asked.
If someone asks you to dance, it’s fine to say no.
You don’t have to sit out a dance because you declined an offer.
If you want to dance, ask someone right after the last dance ends. Sitting down means you are not going to dance.
We also ask that the caller reiterate this during the lesson and during the dance.
Claire Takemori
On 12/16/17 11:39 AM, Kalia Kliban via Callers wrote:
> Hi all,
>
> Those of us who started dancing 2 or 3 decades back probably remember
> the rule about sitting out the dance if you turn down a partner offer.
> A very competent male dancer I know who started around the same time I
> did (late 80s) recently confessed to me that he never asks anyone to
> dance because he doesn't want to put folks in the position of thinking
> "If I don't dance with this guy then I have to sit one out.? Oh crap,
> guess I'll have to dance with him."? For the record, he's a totally
> solid and delightful dancer.
>
> To what extent has that earlier etiquette norm either survived or been
> replaced, and what has it been replaced with?? In your dance
> community, do you have a written statement of the etiquette around
> this?? Our community's statement doesn't directly address this issue.
>
> Kalia
> _______________________________________________
Thanks for the numerous varieties that have been posted!
Any ID at this point on the (very possibly folk-processed...) specific
variety that I described? (I'm pretty sure I'm describing it pretty
exactly as danced at Flurry '17.)
(For your convenience ;-) here again is the description: )
Formation: square with a cpl in the middle (i.e. 5 cpls)
A:
Middle cpl 1/2 R&L with cpl #1, which becomes new middle cpl
That cpl uses momentum from courtesy turn to turn twd cpl #2, 1/2 R&L with
that cpl
Cpl #2 becomes middle, 1/2 R&L with cpl #3
Cpl #3 becomes middle, 1/2 R&L with cpl #4
Cpl #4 becomes middle [turns to face current #1, which is orig middle]
B:
Couples currently along up/dn axis (heads+middle) turn back on ptnr, now
all can form 2 rings of 5, circle L/R;
Ptnr swing (some ppl may have to spin around to find Ptnr)
- Yaron
