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
It's been a while since I've danced one of these but I know they exist!
1. Line of four goes down the hall.
2. While there, do something such as 1/2 hey.
3. Line of 4 comes back up.
Any suggestions for lovely dances that include such a (or similar) sequence?
Thanks.
Ken Panton
Anyone know who wrote late in the evening?
A1 n balance and box the gnat, mad robin
A2 g cross, p swing
B1 g all left 1.5, n s
B2 int sq thru 4
And either name or author for
A1 n b and s
A2 pass the ocean, balance, walk forward, left shoulder round the previous back to original neighbors with gents in middle of wave
B1 balance waive, gents all L 1/2, p s
B2 circle l 3/4 pass thru next neighbor dsd
Or
A1 short wavy line across. Bal r,l all r 3/4 to long waves. Bal l, r, all l with previous 3/4 to short waves
A2 bal r and back, walk forward original n s!
B1 w all r 1.5, p s
B2 circle 3/4 bal ring, pass thru up and down to wave of 4
Thanks in advance!
Alex
Sent from my iPad
I picked up a Square Dance break from somewhere that was called the Dixie
Chain Break:
Dixie Chain Break:
Heads Hey for Four with hands Ladies lead with Right Hand
Sides the same
Heads and Sides do simultaneous Heys when four are in the middle they do a
Hands Across Star (Ladies Star, Pull the Men in, Men Star, Pull the Ladies
in)
My notes also say that the simultaneous crossed Heys are called a Grand Hey.
The original Dixie Chain was attributed to Bill Owen in 1952 and was just:
Ladies Pull By Right, Pull the Men in by the Left, Men Pull by Right
Quite why the Square Dance community felt the need to give "Three Changes of
a Hey" a special name, when it has been around since at least 1588, I don't
know - but then they did get up to over 5000 calls back in the 1950s...
Warleggan by Joyce Walker is a good four couple dance with a Grand Hey.
Happy dancing,
John
John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362 & 07802
940 574
http://www.modernjive.com for Modern Jive Events & DVDs
http://www.contrafusion.co.uk for Dancing in Kent
Hello all,
I was playing around with a new (?) composition; and since it's a 4x4, it's
unlikely I'll get a house-party together to test it any time soon. I'd
appreciate feedback on flow (would it work), timing (is it too much?) and
how you'd teach it. I'm especially curious if something similar exists in
the square dance repertoire; specifically the figure used in B1
Tamlin's Cross
Bent 4x4 (i.e. 4x4 formation, but with couples facing into the middle on an
X, instead of straight up and down in lines of four)
A1
(4) All 8 go into the middle and shout
(4) Gents roll partners away on the way out
(8) Neighbor Do-Si-Do
A2
(16) Neighbor Balance and Swing (square the set and face in)
B1
(8) Gents left hands across star 1x
(8) start passing neighbor you swung by right, all 8 half hey through,
then turn away from neighbor you swung
B2
(16) Partner Balance and Swing
End the swing facing new couple, having swapped sides with your trail-buddy
couple
For the half hey through, all 8 folks are moving at the same time. At the
end of A2, there are couples in head and side position (nobody is with
their partner). The heads are heying up and down, while the sides are
heying across. When four people of the same role come into the middle, what
would normally be a left shoulder pass is (in my mind's eye) half of a left
hand star
I look forward to hearing your thoughts.
Thanks
--
Luke Donforth
Luke.Donforth(a)gmail.com <Luke.Donev(a)gmail.com>
Woody,
I haven't heard anyone suggest standardization and I'm not pushing for it. My whole issue has been freedom so whatever people want to use if fine by me.
At one time, around 2011 I thought the use of different terms by callers might lead to problems but now I don't think that's the case.
Tom
Sent from my iPad
"Living Tradition"
Preserving tradition and being appropriate to our day and age are not
mutually exclusive.
I actually love rich traditions that we keep alive. We talk about "living"
traditions, so what do we mean by this phrase?
For something to be alive, it changes. It adapts. What it doesn't do is
stay stagnant and unchanging. The whole reason contra dancing is still
alive today is because it's alive and changing.
By insisting on holding onto traditions verbatim, we are actually doing
more to kill them than save them. Sure, we'll preserve them this way - as
one does a taxidermied animal: perfectly preserved, sitting on a shelf,
dead.
I'd prefer my traditions alive. I'd like to keep sharing them with younger
generations. That means that people like Rich are asking the right
questions. That means we need to consider that language changes and that we
need to speak in a language that reaches an audience not merely just our
own.
Hey, isn't that the whole point of being a dance caller? Being heard by
your audience?
In dance, again,
Ron Blechner
On Wed, Mar 28, 2018, 1:33 AM Ron Blechner <contraron(a)gmail.com> wrote:
> I want to echo the words of Alex D-L and Dave Casserly.
>
> I'm also appalled at the casual use of the n-word on this thread without
> anyone whatsoever calling it out. This is really giving me pause. :(
>
> Contra's attendance is dwindling - I hear it from every organizer I talk
> to, with a couple exceptions. I also hear about the desire to "get the
> young people to dance". Hmmm.
>
> Ron Blechner
>
>
> On Tue, Mar 27, 2018, 11:39 AM Dave Casserly via Callers <
> callers(a)lists.sharedweight.net> wrote:
>
>> Rich,
>>
>> I don't think your situation here is exactly what Colin describes--
>> you're not worried about any of the particular words, as many of us are
>> regarding the word "gypsy," for instance. The question here is whether the
>> phrase has an offensive *meaning* of "women are things," and if so, is
>> that a good reason not to use it. Personally, I'd probably alter it or do
>> a different singing square. I don't subscribe to the extreme position that
>> you should never sing lyrics to a folk song unless you agree with those
>> lyrics; that would make singing folk songs very difficult to do at all.
>> That said, there are some times where the meanings of lyrics are offensive
>> enough, without any redeeming qualities, that I leave a verse out or alter
>> a few words in the singing sessions that I lead. There is nothing
>> sacrosanct about a particular set of lyrics to a folk song; people have
>> been changing them for whatever reason for generations, and will continue
>> to do so. If future singers don't like my revisions, they can sing a
>> different version, just like I sometimes prefer to ignore Victorian-era
>> revisions to bawdier songs.
>>
>> Here, I'd lean toward not using the lyrics for three reasons: 1) they
>> imply that women are objects; 2) there's nothing redeeming or valuable
>> about them, as they're the only things sung, with no context; and 3)
>> similarly, they don't represent the meaning of the song, and when repeated
>> on their own, sort of pervert that meaning (at least going by the lyrics
>> Yoyo posted).
>>
>> I also think there are good reasons to err on the side of inclusive
>> language, particularly in our community. Contra dancing is overwhelmingly
>> white, and for a long time, contra dance calling was dominated by men. The
>> loudest voices on this forum are those of older white men. Contra dancers
>> and particularly organizers are disproportionately white baby boomers.
>> We're seeing the effects of that now; dance attendance has been dwindling
>> as older dancers stop attending and aren't replaced by younger dancers. If
>> we want our dance form to continue to thrive, when there's a question on
>> which there's a generational divide (as you, in my view correctly, note
>> here), I would err toward using the language less likely to turn off our
>> younger generations, which are also our most diverse generations. This
>> isn't an issue where changing the lyrics is going to bother people-- very
>> few would know the original lyrics well enough to notice-- and certainly
>> nobody would know if you selected a different singing square instead.
>>
>> -Dave
>>
>> --
>> David Casserly
>> (cell) 781 258-2761
>> _______________________________________________
>> List Name: Callers mailing list
>> List Address: Callers(a)lists.sharedweight.net
>> Archives: https://www.mail-archive.com/callers@lists.sharedweight.net/
>>
>
Some of you may have known Susan Moffett, who was a dancer and a caller and
a musician (and an artist and a mother and a wife and a friend and a
professor and a teacher in the truest sense). She danced and called dances
in Louisville and the surrounding region.
She was consistently positive and supportive, a great communicator who
modeled so many things for me as a caller and as a human.
Her celebration of life will include both a service and, of course, a
dance, on Saturday, May 19 in Louisville. (Service at 4:30, dance at 8:00).
https://m.legacy.com/obituaries/louisville/obituary.aspx?n=susan-phillips-m…
--Jerome
Jerome Grisanti
660-528-0858
http://www.jeromegrisanti.com
"Whatever you do, or dream you can, begin it. Boldness has genius and power
and magic in it." --Johann Wolfgang von Goethe
Hi Sharedweight,
I would like to take a time out from Shareweight. Could you please remove my email address from the forum. My name is Joe De Paolo and my email is jsphdep(a)aol.com
Thank you,
Joe
