Dale,
Chorus Jig offers a lot of opportunities to embellish the moves beyond
what dancers are instructed in the walkthrough. The most popular one is
for the 2's to swing while the 1's are going down the outside. Besides
that, it can be fun to:
-- At the end of a swing, give a gentle "push off" with your partner to
either launch yourselves into the down-the-outside (if you're active),
or to get yourselves promptly to the side before the 1's start walking
down the middle (if you're an inactive).
-- Do that extra spin out of the allemandes (if time permits), as either
an active or inactive.
Mark Widmer
Dale Wilson <dale.wilson(a)gmail.com> wrote:
> Date: Fri, 30 Nov 2012 18:26:55 -0600
> Subject: Re: [Callers] What is the best contra dance(s) ever written?
>
> .
> .
> .
>
> And slightly more seriously.
>
> I don't want to start religious war but I have always wondered about A
> Chorus Jig. I just don't see why anyone likes it other than those who
> cherish it as a relic of a bygone era. The few times I have danced it my
> primary impression was that the inactive couples stood still for the entire
> dance -- offering admiration an occasional helping hand to the actives, and
> even the actives spent a great deal of time walking up and down the set.
> What am I missing? Why do people like it?
>
> Dale
>
>
Dale,
When did you start dancing? If you began during the "MUC" era, then you
likely never had a chance to appreciate some of the chestnuts and unequal
dances of the pre-MUC era. Some dances are comfortable, like an old pair of
dancing shoes. I remember dancing to some of these dances that began on their own
while the bend was "noodling" the tune, before the caller was ready.
John B. Freeman, SFTPOCTJ
Calling and dancing for only 30+ years
Kalia said, "a right and left through over and back (4 changes of rights
and lefts for you English dancers)".
Q1: Why for English dancers? Dancers in England do R&L Throughs, and I
am pretty sure that ECD dancers in the USA do them as well.
Q2: "Four changes" does NOT (to the best of my knowledge) have any
courtesy turns in it, whereas wherever I have danced in the UK or the
USA (extensively in both countries) R&L Throughs DO. How do you do a
R&L Through?
Q3: When the dance is proper like this, then the two men are courtesy
turning each other - is that what makes the difference? In my
experience the men turn shoulder to shoulder, possibly with arms around
each other, but they still do a turn which wouldn't happen in "four
changes". (And the ladies likewise of course.)
Q4: Does anyone know how a R&L Through was done, and with what styling,
back when this dance was written?
Thanks.
Happy dancing,
John
John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362
http://www.contrafusion.co.uk for Dancing in Kent
My all-around favorite to begin any dance has long been Don Armstrong's
"Broken Sixpence". It moves a lot, introduces dancers to each other, is easy
for beginners to comprehend, and would look familiar to square dancers. It's
all about the fun!
John B. Freeman, SFTPOCTJ
I've been listening a lot lately to Elixir's album "Rampant" and Wild
Asparagus's "From the Floor Up". I really like them just as upbeat
music to listen to. KGB's waltz album "The Red Light of Evening" is in
that class, too. What are some of your favorite contra band recordings,
and what is it about them that really gets your tail wagging?
Kalia
I have been known to sing along with the band on a fiddle tune now and
then. One of the bands that I used to work with played tunes that most bands
didn't play. I would often be asked by the band to sing along as they played
"Waltz Across Texas". This was usually well received by the dancers. Some
would join in on the chorus. The band and I usually sang along with "Just
Because" when it was used as a polka. The dancers seemed to appreciate our
playfulness. I have also, rarely, sung along to Petronella. Then, there are the
times when a band didn't show up, or I was asked to call with no notice. I have
had to sing and hum for several dances over the years.
John B. Freeman, SFTPOCTJ
I've been talking with my band lately about coming up with some contra
tunes that I/they/we can sing.
a) suggestions for tunes? (Contra and waltz alike.)
b) when do you usually stop calling and start singing? What do you do if
the dance gets off track and you need to throw in some more calls?
c) other relevant things to consider when the band/caller tries to sing for
a less experienced group of dancers?
Thanks!
Maia
