Thanks, Yoyo.
I am causing myself serious brain injury mind-dancing this one.
In the end, I agree with you that treating your P as N works in this dance.
There remains another issue of locating error-recovery opportunities (and
possible caller interventions!) which I will look at (and NOT report back)
Ken
Yoyo Zhou via Callers Fri, 06 Apr 2018 15:50:03 -0700
On Fri, Apr 6, 2018 at 2:52 PM, K Panton via Callers <
callers(a)lists.sharedweight.net> wrote:
In The Hobbit, here are the 3 places you come back in. Let's call the top
couple "couple 1", and if someone is waiting out above them, call them
"couple 0".
0. as couple 1 (with nobody out), top of A1
The start of the dance - it's a regular improper dance. Couple 1 should
come in as usual (gents left, ladies right).
1. as couple 1 (with nobody out), B1: pass through to original neighbor
If there's no couple 0, couple 1 goes out in the pull by in A1. We can
figure out that couple 1 should come in as usual (gents left, ladies right).
2. as couple 0, A1: pull by to previous neighbor
This is the couple that just went out at the top. They have to come back in
with gents on the right, ladies on the left! However - this is the key - if
they treat their partner as neighbor at the end (box the gnat, pull by),
they end up in the correct place.
All this is to say that the advice for this dance should be "dance with
your partner as neighbor at the end", because it turns out that works for
all the situations here.
Perpetual Emotion - self titled (awesome contra dance tracks but not trad
music. If you want Zen trance dancing, this is the one to get. The phrasing
is not always obvious, though, so new dancers won't get as many clues as
the music of other bands as to the As & Bs. Ed and John made a great
pairing)
https://store.cdbaby.com/cd/PerpetualeMotion Only $10 to download! Great
deal.
The Old Sod Band - Grass Roots (our very talented house band in Ottawa.
Great trad tunes/arrangements. Still going strong! Calling with them in 2
weeks.) Typically longer tracks of 6-7 minutes
http://www.ottawacontra.ca/oldsodband/
hotpoint String Band - hotpoint Special (different twist on trad)
https://store.cdbaby.com/cd/hotpoint3 $10!
Giant robot Dance - spontaneous animation (though this seems to be live
tracks with the calling muted - longer tracks as a result)
https://store.cdbaby.com/Artist/GiantRobotDance
Brittany Bay - spirit of the dance (best choice for spirited trad tunes
with terrific, varied arrangements) I bought through their website several
years ago. Typically, 3 tunes per medley, 3 times through each tune = 4+1/2
minutes per track, generally.
http://www.betsybyars.com/guy/BrittanyBay/mus.html
KGB - Volga Notions (I'll second this choice but check out their other
albums as well. Not "driving" but great to dance to with a variety of
moods. Many original tunes or original twists on trad tunes)
https://store.cdbaby.com/Search/a2di/0
Elsewhere - find several very danceable tracks on various Lunasa CDs
(totally awesome band. but listen through to make sure they don't slip in
an extra measure/beat here or there in the tunes you select)
e.g. https://www.emusic.com/album/61623544/Lnasa/Lnasa sample: Meitheamh
(live recording, driving and danceable right through!) but there are many
other tunes. A wonderful band ranging from absolutely "driving" to
melodically romantic.
Ken Panton
I'm planning to include, in an upcoming evening, a dance with some moderate
(from a beginner perspective) end-effects. Preceding that, I'd like to get
the dancers accustomed to dancing with ghosts with a view to making the
end-effects make sense or, at least, be less of a concern.
I can think of a few dances in which there are easy-intros to end effects
(a move involving a an out-and-back with a shadow, for example (e.g. The
Young Adult Rose)) but I'm more interested in dances that callers may have
in mind that dance well with ghosts.
Maybe I could write a purpose-written dance with the name "The Ghosts and
Mrs. Muir". :)
(Dating myself)
Ken Panton
Right you are, Jack, though I want to read Colin's post in detail; I've had
a skim and he's put in much thought.
In the dance that I'm hoping to call (Mad Slice) the travelling is actually
done not with partner but with a neighbour with whom is visited Shadow 1
and shadow 2. At various points before finally getting clear of the end,
neigbbour is at least shadow 1 and probably shadow 2 but I need to make my
head hurt some more to get a full understanding. So far, though, it looks
as though dancing with ghosts should make it simpler and, in spite of there
being two shadows, it is quite straight forward to work around the ends and
get back successfully to one's partner.
Song in the Night is too complex for my crowd at my skill level as caller,
though I can see it being a useful ghost dance, as you suggest.
Ken
Jack Mitchell via Callers
<https://www.mail-archive.com/search?l=callers@lists.sharedweight.net&q=from…>
Thu, 05 Apr 2018 16:09:06 -0700
<https://www.mail-archive.com/search?l=callers@lists.sharedweight.net&q=date…>
That works a lot of the time, but it really doesn’t work in dances like Ken
is talking about. Dance like song in the night (gene Hubert), or for other
dances where you go out and then in and then out, not necessarily with your
partner.
On Thu, Apr 5, 2018 at 5:42 AM Colin Hume via Callers
<callers(a)lists.sharedweight.net> wrote:
> 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
> https://colinhume.com/dtendeffects.htm
>
> Colin Hume
> _______________________________________________
> List Name: Callers mailing list
> List Address: Callers(a)lists.sharedweight.net
> Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/
>
--
Jack Mitchell
Durham, NC
We danced this one last weekend, and it works quite well, even if the "dolphin" couple doesn't quite get the "switch leads without switching places" bit. As long as they wind up in the center, it works.
Passion for Dolphins
A1 Down the hall, 1s in the middle. Turn alone, come back, end with all facing Lady 2.
A2 Full dolphin hey by the 1s, starts with Gent 1 passing Lady 2 by the right.
B1 Ones swing in the middle of the set (8) (end facing down) and roll out to swing N (8) (progression).
B2 LL F/B. 2s (below) gate their new ones about 1.25, to a new line facing down.
April Blum
