Folks,
I was at a dance not too long ago, and as the caller (not me) invited
dancers to join the last dance of the night, he also declared it to be in
Becket formation. One visiting couple, who had been waiting eagerly for
the last dance , put on their jackets and left disappointed, stating that
they do not like Beckets.
Perhaps because I am a square dance caller, I tend to program about 40%
Beckets in a contra evening. Is there a negative sentiment about Becket
formation among many dancers? If so, can someone explain the reason?
Rich
Next time you see this couple at a dance, call for Rifleman Formation!
Maybe they will stay to see what it is.
Yes, before the relatively recent introduction of the term "Becket
Formation" that formation was known as "Rifleman Formation", after the
English country dance The Rifleman. Yes, we were using that formation in
the 19th century, and possibly earlier, way before Becket Reel was written!
Please note I use the term "English country dance" not capitalised, i.e. not
what Americans dance and call ECD. We do lots of English country dancing
with the " increased exertion and tempo" of contra dancing. Young dancers
over here tend to use their energy through stepping rather than spinning,
but the energy level at a good dance is the same as at a contra!
Progression: most of my Becket dances end with "Yearn on the Left Diagonal"
giving a full eight beats for the dancers to meet their new neighbours, high
five them and retire to their new place ready to start the dance again.
Happy dancing,
John
John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362
http://www.contrafusion.co.uk for Dancing in Kent
My first guess isbthatvthey were not overly familiar with what a Becket dance is. Recently I asked a person to dance who had been coming fairly frequently for a few weeks after the caller announced it was a Becket. He was going to sit out because he didn't know what a Becket dance was. Some callers don't say Becket, they just say turn your circles one place to the left/right. As the last dance of the evening, I would hope the call didn't have anything too complex (a major programming flaw in my book).
To address comments in the email below ...
1. Diaganol figures ... Except maybe slice left to a new couple, I can't think of much I would consider for a last dance. Last dances should be relatively simple so dancers can enjoy the music and the flow.
2. Debecketize maneuver ... I find this slightly annoying when callers say "like all Becket dances" circle left and pass through. I hate more when they either skip that part entirely in the walk through or start it un Becketized and then tell you afterwards that it is Becket. If you don't teach the walk through the way the dance is actually danced, you very well could have confused newer dancers, especially.
Since he is unlikely to say anything himself, I will point out that the "as with all Becket dances" comment was so annoying that Cary Ravitz once called an entire evening where none of the Becket dances have that progression ... None! And as most of you probably know, he writes a lot of Becket dances.
Partner swings at the end of the dance. .. To me that is the number one reason to have a Becket dance, especially as the last dance. You get to end with your partner and the caller doesn't have to break the moment to fudge the end to make you end with your partner. That being said, I do know a couple Beckets that do not end that way. Cary's Autumn Air is a pretty easy Becket that does not end with a partner swing.
3. If callers fudge the end of a duple improper dance to make it end with your partner, it is generally their responsibility to make sure it works smoothly. Most choreographers do not include an alternate ending to suggest how to make this work, so it is on the caller to figure it out. If poorly done, it can be really disappointing.
Janet
Sent from my Verizon Wireless 4G LTE smartphone
-------- Original message --------
From: Neal Schlein via Callers <callers(a)lists.sharedweight.net>
Date: 12/10/2015 8:25 PM (GMT-05:00)
To:
Cc: callers <callers(a)lists.sharedweight.net>
Subject: Re: [Callers] Becket Formation
Actually, I can see this.
As others suggested, it is probably a matter of the couple's prior poor experiences with dances in Beckets. That said, there are two fairly common tendencies in Becket formation choreography which are somewhat aggravating and another which absolutely drives me up a wall. Other callers and dancers don't seem to mind so much, but were it possible I would completely avoid the dances which have the last one.
1. The first tendency has to do with diagonal figures, even though I like them myself. They are often scrunched and uncomfortable, particularly right and left throughs; people run into each other. Add to this the slight disorientation for someone not used to diagonal figures, and it can be unpleasant. In a nice open hall, they're perfectly fine. Not a problem so much with the formation as with the fact that everyone is in the middle all at once and it's confusing.
2. The second is what I like to call the "DeBecketize Manuever." How many beckets start with, "Circle left 3/4 (and usually swing your neighbor" and end with "Partner swing on the side!" (answer: TOO MANY) If all you are going to do with the first move is take the dance out of Becket, it seems like a cheap trick done just to make the dance "different." Again, not an inherent problem of the formation, just a problem of choreographic selection.
3. The third choreographic tendency is often tied to dances which feature swings at the end of the dance: partial or non progression. This problem, unlike the others, is actually made possible because of the formation: such a difficulty isn't possible in a regular duple minor, and it drives me absolutely NUTS. I have experienced a number of dances in which the caller instructs the dancers to "fudge" or "maneuver" or "sludge" or some such to make the dance work. The contra doesn't actually progress the couples down the line, but leaves them 1/2 progressed or non-progressed--usually swinging partners on the outside, but not always. Sliding up the outside from a circle is one thing; swinging on the outside and fudging down the hall is another.
The annoyance of a non-progression can be mitigated if the caller teaches it well (end facing across, look left and...), but to me the partial progression problem always jars and simply seems to be excessively lazy choreography.Beak
Neal SchleinYouth Services Librarian, Mahomet Public Library
Currently reading: The Different Girl by Gordon Dahlquist
Currently learning: How to set up an automated email system.
On Thu, Dec 10, 2015 at 6:26 PM, John W Gintell via Callers <callers(a)lists.sharedweight.net> wrote:
My favorite progression requires Becket formation: circle left and then slide up/down and circle with the next pair.
> On Dec 10, 2015, at 6:43 PM, Greg Allan via Callers <callers(a)lists.sharedweight.net> wrote:
>
> Hi,
>
> That is a somewhat familiar story from my point of view. I dance in a number of different folk dancing communities - a varied program here in Winnipeg. It's quite common, as people from one group attempt to get interest from other dancing groups, that some people know what they like and what they don't like, and that's that. For example, people who English country dance often don't like contra because of the increased exertion and tempo. Personally, I'm not much of a fan of triple minor dances. Everyone's got their thing. But there's always a reason for it. It could be a bad experience, or it could be a stylistic feature of a region, where everyone does a figure in a way you find unpleasant. Hard to say. To leave an event because someone programmed something you didn't like? ... I'm not sure to make of it. You don't like it you don't like it, I suppose.
>
> We don't do Becket formation here at all, really. If someone left at the end of a night because of Becket formation, I would assume they didn't want to start learning new things late in the evening.
>
> Greg
>
>
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Hi,
That is a somewhat familiar story from my point of view. I dance in a
number of different folk dancing communities - a varied program here in
Winnipeg. It's quite common, as people from one group attempt to get
interest from other dancing groups, that some people know what they like
and what they don't like, and that's that. For example, people who English
country dance often don't like contra because of the increased exertion and
tempo. Personally, I'm not much of a fan of triple minor dances. Everyone's
got their thing. But there's always a reason for it. It could be a bad
experience, or it could be a stylistic feature of a region, where everyone
does a figure in a way you find unpleasant. Hard to say. To leave an event
because someone programmed something you didn't like? ... I'm not sure to
make of it. You don't like it you don't like it, I suppose.
We don't do Becket formation here at all, really. If someone left at the
end of a night because of Becket formation, I would assume they didn't want
to start learning new things late in the evening.
Greg
On Thu, Dec 10, 2015 at 3:01 PM, via Callers <callers(a)lists.sharedweight.net
> wrote:
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> Today's Topics:
>
> 1. Contra with Hey (jill allen via Callers)
> 2. Re: Contra with Hey (Martha Wild via Callers)
> 3. Becket Formation (Rich Sbardella via Callers)
> 4. Re: Becket Formation (Bill Olson via Callers)
> 5. Re: Becket Formation (Michael Fuerst via Callers)
> 6. Re: Becket Formation (Mac Mckeever via Callers)
> 7. Re: Becket Formation (Ron Blechner via Callers)
> 8. Re: Becket Formation (Ron Blechner via Callers)
> 9. Re: Becket Formation (Ryan Smith via Callers)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Wed, 9 Dec 2015 15:04:46 -0600
> From: jill allen via Callers <callers(a)lists.sharedweight.net>
> To: callers(a)lists.sharedweight.net
> Subject: [Callers] Contra with Hey
> Message-ID: <0B53D2A6-B7C5-47A1-BADB-C4103F7897DA(a)att.net>
> Content-Type: text/plain; charset="us-ascii"
>
> Here's something new:
>
> Signs of Life
> duple improper contra
> by Jill Allen
>
> A1 circle R X1, M allem L 1 1/2 to face P
> A2 hey for 4, start by passing R
> B1 gypsy and swing P (or B & S)
> B2 circle L 3/4, balance the ring, calif twirl to face the next..
>
> Also:
>
> Columbia Contra
> duple improper contra
> by Gene Hubert
>
> A1 Allem R N aprox 1 1/4, W allem L 1/2, allem R P X1 ending with Women
> facing each other in the middle
> A2 hey for 4, W pass L to begin
> B1 B & S P
> B2 W chain, star L
>
> I call both of these quite frequently. Both have timing which is
> forgiving for beginners.
> Jill Allen : )
>
>
> >> Hello Folks,
> >> >
> >> > I am relatively new at calling contras and I am looking for some asy
> to intermediate contras to introduce the hey to a group that includes many
> beginners. and/or club square dancers.
> >> >
> >> > "Butter" by Gene Hubert is my go to dance, but I am looking for a few
> more. I like Butter because the flow from ladies chain into a RH hey is
> great, and because all the other calls are introduced earlier in most
> evening.
> >> >
> >> > I love simple, but different choreography, so I am open to most
> suggestions.
> >> >
> >> > Rich Sbardella
>
Hello Folks,
I am relatively new at calling contras and I am looking for some asy to
intermediate contras to introduce the hey to a group that includes many
beginners. and/or club square dancers.
"Butter" by Gene Hubert is my go to dance, but I am looking for a few
more. I like Butter because the flow from ladies chain into a RH hey is
great, and because all the other calls are introduced earlier in most
evening.
I love simple, but different choreography, so I am open to most suggestions.
Rich Sbardella
Here's something new:
Signs of Life
duple improper contra
by Jill Allen
A1 circle R X1, M allem L 1 1/2 to face P
A2 hey for 4, start by passing R
B1 gypsy and swing P (or B & S)
B2 circle L 3/4, balance the ring, calif twirl to face the next..
Also:
Columbia Contra
duple improper contra
by Gene Hubert
A1 Allem R N aprox 1 1/4, W allem L 1/2, allem R P X1 ending with Women facing each other in the middle
A2 hey for 4, W pass L to begin
B1 B & S P
B2 W chain, star L
I call both of these quite frequently. Both have timing which is forgiving for beginners.
Jill Allen : )
>> Hello Folks,
>> >
>> > I am relatively new at calling contras and I am looking for some asy to intermediate contras to introduce the hey to a group that includes many beginners. and/or club square dancers.
>> >
>> > "Butter" by Gene Hubert is my go to dance, but I am looking for a few more. I like Butter because the flow from ladies chain into a RH hey is great, and because all the other calls are introduced earlier in most evening.
>> >
>> > I love simple, but different choreography, so I am open to most suggestions.
>> >
>> > Rich Sbardella
Becket Formation:
R&L thru on left diagonal (ends do not move), R&L thru across
Circle left 3/4, Swing neighbour
Pass through, California twirl, Men left-hand turn once-and-half
Balance and swing partner
Improper:
Line of 4 (1s in the middle) go down the room and reverse back up ("turn and
fall back") - bend the line to a circle
Circle R, Ladies lead a LHS (1/2 way with each other then men join in)
New Neighbour dosido & Swing
Lines F&B, 1s swing (end in centre of new 2s)
Many thanks in advance J
Jeremy
I like First Hey by Paul Balliet
Sent from my iPhone
> On Dec 8, 2015, at 2:08 PM, Ron Blechner via Callers <callers(a)lists.sharedweight.net> wrote:
>
> Give the Scout a Hand, Bob Isaacs
>
> I'll second:
> Butter
> Carousel
> Hey the the Barn
> Roll in the Hey
>> On Dec 8, 2015 2:10 PM, "David A Kaynor via Callers" <callers(a)lists.sharedweight.net> wrote:
>> Hi Folks,
>>
>> A longtime lurker leaps in:
>>
>> Below: Two fairly easy Becket formation dances which present a full hay for four following a full ladies’ chain … a useful sequence from a pedagogical standpoint, in my opinion.
>>
>> First, Peter Stix’s “Purple Hays” (Becket formation)
>>
>> A1: Ladies chain (over and back)
>>
>> A2: Hay for four (over and back)
>>
>> B1: Ladies 1/2 [your politically/socially acceptable term for “gypsy”];
>> swing partner
>>
>> B2: 1/2 right and left; circle left 1/2 to original Becket home; with partner, slide left.
>>
>>
>> Here are Peter’s A parts followed by different B parts (Lindsey Dono told me that a dancer suggested this dance be called “Busy Bees”)
>>
>> A1: Ladies chain (over and back)
>>
>> A2: Hay for four (over and back)
>>
>> B1: with Partner, balance and swing
>>
>> B2: long lines forward & back; circle left (all the way around); with partner, shift left to new neighbors.
>>
>>
>> Note: On paper, there isn’t sufficient time for all of B2. However, in actual practice, the transition from the circle and shift to the ladies’ chain is forgiving enough for things to flow well.
>>
>> I believe my B parts to be a little easier for bringing newcomers along. To my knowledge, no contra prior to “Purple Hays” used this sequence of A parts.
>>
>>
>>
>>
>>
>> > On Dec 8, 2015, at 12:50 PM, susanelberger via Callers <callers(a)lists.sharedweight.net> wrote:
>> >
>> > Washington Hay by Ralph Sweet is my go-to dance for teaching a hay to relatively new dancers.
>> >
>> > Susan Elberger
>> >
>> > From: Rich Sbardella via Callers <callers(a)lists.sharedweight.net>
>> > To: Caller's discussion list <callers(a)sharedweight.net>; trad-dance-callers(a)yahoogroups.com
>> > Sent: Tuesday, December 8, 2015 12:48 PM
>> > Subject: [Callers] Contras with a Hey
>> >
>> > Hello Folks,
>> >
>> > I am relatively new at calling contras and I am looking for some asy to intermediate contras to introduce the hey to a group that includes many beginners. and/or club square dancers.
>> >
>> > "Butter" by Gene Hubert is my go to dance, but I am looking for a few more. I like Butter because the flow from ladies chain into a RH hey is great, and because all the other calls are introduced earlier in most evening.
>> >
>> > I love simple, but different choreography, so I am open to most suggestions.
>> >
>> > Rich Sbardella
>>
>> _______________________________________________
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