This is often a problem if one insists on having every single dance have two swings in it. Many, many dances get that by the circle left 3/4 route, and it really gets old.
Here's a fairly simple dance I put together - I don't know if anyone else has written it before as it is rather straightforward and the whole B is in other dances, but since I didn't have another version I call it as this:
Magone's Maggot #3
Duple improper March 30, 2001
A1 Long lines forward and back
Swing neighbor
A2 Women go forward, lure partner back
Swing partner
B1 Star right
Star left
B2 Promenade across
Women chain
Note: A2 is NOT a "Give and Take". I like to have the women use four counts to go all the way over to the men, and then either take hands and draw them back with four counts or lure them back with their eyes. I have never liked the give and take move, the forward movement is stopped too soon, maybe only two steps, people sort of crash into each other, just highly unsatisfying. Anyway, 2 swings if you must have them, and no circle.
On Jun 5, 2013, at 1:19 PM, callers-request(a)sharedweight.net wrote:
> Send Callers mailing list submissions to
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> Today's Topics:
>
> 1. Circle left 3/4 (Kalia Kliban)
> 2. Re: Circle left 3/4 (Perry Shafran)
> 3. Re: Circle left 3/4 (Jack Mitchell)
> 4. Re: Circle left 3/4 (Kalia Kliban)
> 5. Re: Circle left 3/4 (frannie)
> 6. Re: Circle left 3/4 (Robert Golder)
> 7. Re: Circle left 3/4 (Donna Hunt)
> 8. Re: Circle left 3/4 (James Saxe)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Wed, 05 Jun 2013 12:42:58 -0700
> From: Kalia Kliban <kalia(a)sbcglobal.net>
> To: Caller's discussion list <callers(a)sharedweight.net>
> Subject: [Callers] Circle left 3/4
> Message-ID: <51AF94C2.5000401(a)sbcglobal.net>
> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>
> I'm in the process of putting together a program for the Berkeley contra
> this evening, and don't seem to be able to escape the words "circle left
> 3/4". I know there are dances where you don't do that, but in this
> otherwise nicely balanced program every dance but 2 ("Cows are Watching"
> by Bill Pope, and Carol Ormond's "Quilting Frolic" in which the cirle
> 3/4 is to the right) includes that move. Aargh.
>
> Is this one of those invisible moves that's just part of the fabric of
> the contra dance experience, or is this going to drive my dancers crazy?
>
> Kalia (who is now combing through the cards for dances without circle L 3/4)
>
>
> ------------------------------
>
> Message: 2
> Date: Wed, 5 Jun 2013 12:48:19 -0700 (PDT)
> From: Perry Shafran <pshaf(a)yahoo.com>
> To: "kalia(a)sbcglobal.net" <kalia(a)sbcglobal.net>, Caller's discussion
> list <callers(a)sharedweight.net>
> Subject: Re: [Callers] Circle left 3/4
> Message-ID:
> <1370461699.97957.YahooMailNeo(a)web120701.mail.ne1.yahoo.com>
> Content-Type: text/plain; charset=iso-8859-1
>
> Here's one I wrote without a circle:
>
> Dayton 1.5?? Perry Shafran
>
> A1 Allem R N 1 1/2
> Men Al L 1 1/2
> A2 Bal & Sw P
> B1 Ladies DSD 1 1/2
> Sw P
> B2 R&L thru
> LH star
>
> The interesting thing is that I did not set out to have a dance without a circle, but that happened to be a nice byproduct of the choreography!
>
> Perry
>
>
>
>
> ________________________________
> From: Kalia Kliban <kalia(a)sbcglobal.net>
> To: Caller's discussion list <callers(a)sharedweight.net>
> Sent: Wednesday, June 5, 2013 3:42 PM
> Subject: [Callers] Circle left 3/4
>
>
> I'm in the process of putting together a program for the Berkeley contra
> this evening, and don't seem to be able to escape the words "circle left
> 3/4".? I know there are dances where you don't do that, but in this
> otherwise nicely balanced program every dance but 2 ("Cows are Watching"
> by Bill Pope, and Carol Ormond's "Quilting Frolic" in which the cirle
> 3/4 is to the right) includes that move.? Aargh.
>
> Is this one of those invisible moves that's just part of the fabric of
> the contra dance experience, or is this going to drive my dancers crazy?
>
> Kalia (who is now combing through the cards for dances without circle L 3/4)
> _______________________________________________
> Callers mailing list
> Callers(a)sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>
> ------------------------------
>
> Message: 3
> Date: Wed, 05 Jun 2013 15:49:50 -0400
> From: Jack Mitchell <jamitch3(a)mindspring.com>
> To: kalia(a)sbcglobal.net, Caller's discussion list
> <callers(a)sharedweight.net>
> Subject: Re: [Callers] Circle left 3/4
> Message-ID: <51AF965E.5020002(a)mindspring.com>
> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>
> Here are a few without a CL 3/4 (or any circle at all). There are a
> bunch more but these are the first 4 that came to mind.
>
> *The Missing Piece*-- Bronwyn WoodsImproper
>
> *A1*N B&S
>
> *A2*Gents Alle L 1?
> P Sw
>
> *B1*LL F&B
> Ladies Chain
>
> *B2*Ring Balance, Petronella
> Ring Balance, Petronella
> [look for new neighbor -- behind you]
>
>
>
> *Punctuated Raindrops* -- Gene HubertImproper
>
> Notes: The timing is a bit tight in B1, so it may help to anticipate the
> start of the hey.Composed in Dec. '96 as a variation on my Dancing
> Raindrops.
>
> *A1*N Alle L 1?, Same N Alle R 1?
> to Wavy Line (Gents by LH in the middle)
>
> *A2*Wave Balance, Gents Alle L ? (quick alle -- 2 beats)
> P Sw
>
> *B1*LL F&B
> ? Hey
> catch partner by LH to swing the ladies into a wave (ladies in middle by RH)
>
> *B2*Wave Balance, Ladies Alle R ?
> N Sw
>
>
> *Salmonella Evening *- Steve Zakon-Anderson & Louie CromartieImproper
>
> *A1:*Neighbor Alle R 1?
> Gents Alle Left 1?
>
> *A2:*Partner Gypsy and Swing
>
> *B1:*Balance Ring, PetronellaTwirl
> Balance Ring, Petronella Twirl
>
> *B2:*Balance Ring, Petronella Twirl
> Balance Ring, Pass Thru Along the Set
>
>
> *Kitchen Stomp* - Becky HillImproper
>
> Tunes with punctuated four beat phrases in the Bs. Strong jigs or reels.
>
> *A1:*Neighbor Balance and Swing
>
> *A2:*Gents Alle Left 1?
> P Sw
>
> *B1:*Ladies Chain
> Balance the Ring, PetronellaTwirl
>
> *B2:*Balance the Ring, PetronellaTwirl
> LHS
>
>
>
> On 6/5/2013 3:42 PM, Kalia Kliban wrote:
>> I'm in the process of putting together a program for the Berkeley
>> contra this evening, and don't seem to be able to escape the words
>> "circle left 3/4". I know there are dances where you don't do that,
>> but in this otherwise nicely balanced program every dance but 2 ("Cows
>> are Watching" by Bill Pope, and Carol Ormond's "Quilting Frolic" in
>> which the cirle 3/4 is to the right) includes that move. Aargh.
>>
>> Is this one of those invisible moves that's just part of the fabric of
>> the contra dance experience, or is this going to drive my dancers crazy?
>>
>> Kalia (who is now combing through the cards for dances without circle
>> L 3/4)
>> _______________________________________________
>> Callers mailing list
>> Callers(a)sharedweight.net
>> http://www.sharedweight.net/mailman/listinfo/callers
>>
>>
>
>
>
> ------------------------------
>
> Message: 4
> Date: Wed, 05 Jun 2013 12:51:39 -0700
> From: Kalia Kliban <kalia(a)sbcglobal.net>
> To: kalia(a)sbcglobal.net, Caller's discussion list
> <callers(a)sharedweight.net>
> Subject: Re: [Callers] Circle left 3/4
> Message-ID: <51AF96CB.5030802(a)sbcglobal.net>
> Content-Type: text/plain; charset=ISO-8859-1; format=flowed
>
> On the plus side, as I look more closely, the circle L 3/4 is followed
> by a quite different thing in each dance, so the transitions are
> different...
>
> On 6/5/2013 12:42 PM, Kalia Kliban wrote:
>> I'm in the process of putting together a program for the Berkeley contra
>> this evening, and don't seem to be able to escape the words "circle left
>> 3/4". I know there are dances where you don't do that, but in this
>> otherwise nicely balanced program every dance but 2 ("Cows are Watching"
>> by Bill Pope, and Carol Ormond's "Quilting Frolic" in which the cirle
>> 3/4 is to the right) includes that move. Aargh.
>>
>> Is this one of those invisible moves that's just part of the fabric of
>> the contra dance experience, or is this going to drive my dancers crazy?
>>
>> Kalia (who is now combing through the cards for dances without circle L
>> 3/4)
>> _______________________________________________
>> Callers mailing list
>> Callers(a)sharedweight.net
>> http://www.sharedweight.net/mailman/listinfo/callers
>>
>
>
> ------------------------------
>
> Message: 5
> Date: Wed, 5 Jun 2013 12:53:49 -0700
> From: frannie <dancingfrannie(a)gmail.com>
> To: "Caller's discussion list" <callers(a)sharedweight.net>,
> kalia(a)sbcglobal.net
> Subject: Re: [Callers] Circle left 3/4
> Message-ID:
> <CAJmWE8g7F1AfnB+9dCkiuB_Tqg4Te=8uW47=96D7BGaJhYew5Q(a)mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> Circle L 3/4 & swing, Circle L 3/4 & pass thru, Circle L 3/4 & balance the
> wave, Circle L 3/4 & balance the ring all feel just a little different.
> And it's better than having a program with all gents allemande L 1.5!
> I've had this problem before!
> ~ frannie
>
>
> ------------------------------
>
> Message: 6
> Date: Wed, 5 Jun 2013 16:02:57 -0400
> From: Robert Golder <robertgolder(a)comcast.net>
> To: Caller's discussion list <callers(a)sharedweight.net>
> Subject: Re: [Callers] Circle left 3/4
> Message-ID: <915D4408-5406-400A-93D9-3638C60399C0(a)comcast.net>
> Content-Type: text/plain; charset=windows-1252
>
> There are many no-circle dances; "Flirtation Reel" by Tony Parkes is a modern classic. A special subset is no-circle Becket dances, which I started collecting a few years ago. It is always handy to have Becket dances that do NOT begin with "Circle left 3/4 to un-Becket?" You will find that Becket dances can start in a great variety of ways. "Tenth Year in Tommerup" by Linda Leslie is a good example (starts with gents allemande left). ? Bob
>
> ------------------------------
>
> Message: 7
> Date: Wed, 5 Jun 2013 16:08:57 -0400 (EDT)
> From: Donna Hunt <dhuntdancer(a)aol.com>
> To: kalia(a)sbcglobal.net, callers(a)sharedweight.net
> Subject: Re: [Callers] Circle left 3/4
> Message-ID: <8D0303FA54494FA-1BC8-43FA(a)webmail-d134.sysops.aol.com>
> Content-Type: text/plain; charset="utf-8"
>
>
> Oh, yes, a pet peeve of mine (along with men allemande left 3/4). Sometimes it seems like every choreographer uses those too much. Here are some dances sans circles.
>
>
>
> Becketin the Kitchen by Becky Hill Becket 1/4 turn to right
>
> A1 Long Lines Fwd and Back
> LadiesChain
> A2Balance ring and Petronella twirl to right
> Balance ring and Petronella twirl to right
> B1 Star left 1x
> Swingnext neighbor
> B2 Men Allemande left 1 1/2
> SwingPartner
>
>
> Get MeGoing ? Lisa Greenleaf IMP
>
> A1 Balance and Swing Neighbor
> A2 Long Lines fwd and back
> Ladies Do si do 1 ?
> B1 Balance and Swing Partner
> B2 Ladies Chain
> Star Left 1x
>
>
> Hay inthe Barn ? Chart Guthrie Improper
> A1 Balance and Swing Neighbor
> A2 Ladies Chain
> Ladies start ? hey
> B1 Balance and Swing Partner
> B2 Ladies Chain
> Ladies start ? hey
>
>
>
> Shadrack?s Delight Tony Parkes Improper
> A1. 8 Neighbor do-si-do 1? to wave across
> (Ladiesin middle with left)
> 4,4 Balance, neighbor allem R ?
>
> A2. 4,4 Balance, gents allem L ?
> 8 Partner swing ? face down
>
> B1. 8 Down hall in line 4x4 ? turn as a couple
> 8 Up hall and bend the line (orig: middlescast up & around ends)
>
> B2. 8 R and L through
> 8 Ladies chain to neighbor
>
>
> Heritage Reel TonyParkes Improper
> A1. 4,12 Neighbor balance,& swing
>
> A2. 8 Long lines forward and back
> 8 Gents allem L 1?
>
> B1. 4,12 Partner balance, & swing
>
> B2. 8 R and L through
> 8 Ladies chain to neighbor
>
>
> Get Me Going ? Lisa Greenleaf Improper
> A1 Balance &Swing Neighbor
>
> A2 Long Lines fwd andback
> LadiesDo si do 1 ?
>
> B1 Balance &Swing Partner
>
> B2 Ladies Chain
> Star Left 1x
>
>
>
>
> Donna
>
>
>
>
>
> -----Original Message-----
> From: Kalia Kliban <kalia(a)sbcglobal.net>
> To: Caller's discussion list <callers(a)sharedweight.net>
> Sent: Wed, Jun 5, 2013 3:43 pm
> Subject: [Callers] Circle left 3/4
>
>
> I'm in the process of putting together a program for the Berkeley contra
> this evening, and don't seem to be able to escape the words "circle left
> 3/4". I know there are dances where you don't do that, but in this
> otherwise nicely balanced program every dance but 2 ("Cows are Watching"
> by Bill Pope, and Carol Ormond's "Quilting Frolic" in which the cirle
> 3/4 is to the right) includes that move. Aargh.
>
> Is this one of those invisible moves that's just part of the fabric of
> the contra dance experience, or is this going to drive my dancers crazy?
>
> Kalia (who is now combing through the cards for dances without circle L 3/4)
> _______________________________________________
> Callers mailing list
> Callers(a)sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>
>
>
>
> ------------------------------
>
> Message: 8
> Date: Wed, 5 Jun 2013 13:19:41 -0700
> From: James Saxe <jim.saxe(a)gmail.com>
> To: kalia(a)sbcglobal.net, Caller's discussion list
> <callers(a)sharedweight.net>
> Subject: Re: [Callers] Circle left 3/4
> Message-ID: <E0D9A1F4-705F-419A-A81E-873ECAF27617(a)gmail.com>
> Content-Type: text/plain; charset=US-ASCII; format=flowed; delsp=yes
>
> Kalia,
>
> There are lots of good dances out there that don't include
> "Circle left 3/4". See, for example, this message from the
> archive
>
> http://www.sharedweight.net/pipermail/callers/2012-April/
> 004668.html
>
> in which Chris Page lists a bunch of dances that include a
> hey but not circle left (any amount) or ladies chain. (Some
> may include a circle right.)
>
> See also this archived message
>
> http://www.sharedweight.net/pipermail/callers/2012-March/
> 004654.html
>
> in which I discuss why the figure
>
> * Circle left 3/4
>
> * Gents [or ladies] allemande 1 1/2
>
> and
>
> * Women chain
>
> tend to show up in a lot of dances and offer some examples of
> less common moves that achieve the same choreographic purpose,
> namely moving men or women, but not both, to the opposite side
> of the set, so that the dance can include both a partner swing
> and a neighbor swing.
>
> --Jim
>
> On Jun 5, 2013, at 12:42 PM, Kalia Kliban wrote:
>
>> I'm in the process of putting together a program for the Berkeley
>> contra this evening, and don't seem to be able to escape the words
>> "circle left 3/4". I know there are dances where you don't do that,
>> but in this otherwise nicely balanced program every dance but 2
>> ("Cows are Watching" by Bill Pope, and Carol Ormond's "Quilting
>> Frolic" in which the cirle 3/4 is to the right) includes that move.
>> Aargh.
>>
>> Is this one of those invisible moves that's just part of the fabric
>> of the contra dance experience, or is this going to drive my dancers
>> crazy?
>>
>> Kalia (who is now combing through the cards for dances without
>> circle L 3/4)
>> _______________________________________________
>> Callers mailing list
>> Callers(a)sharedweight.net
>> http://www.sharedweight.net/mailman/listinfo/callers
>
>
>
> ------------------------------
>
> _______________________________________________
> Callers mailing list
> Callers(a)sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>
>
> End of Callers Digest, Vol 106, Issue 8
> ***************************************
I had this same problem a couple years back in Chicago - un-airconditioned
hall with bad circulation and an old-time band with one speed: too fast.
Anyway, I ended up looking for dances where the 1s did something and then
the 2s did something (Dog Branch Reel, Bob Dalsemer; The Three Hats, Tom
Hinds; A Pocketful of Rye, Bob Isaacs). I noticed that dancers were more
likely to dance every other dance, too, so if you pick a dance where the
women stand around a lot, and then follow it with one where the men stand
around a lot (for example), people might only dance one of those anyway.
Maybe see if you can get some folks to go in on fruit popsicles or
watermelon for the break? Watermelon seems especially summery and festive
(and is usually cheap!)
Here's a couple of things I found in my box that might be fun:
Radioactive Reel, by Bob Nisbet (I think I would run this for a short time
and introduce it humorously.)
A1: Actives do si do neighbor
Actives do si do partner
A2: Actives gypsy neighbor
Actives gypsy partner
B1: Actives go down outside, come back up, lead into center, start ....
B2: hey for four.
Hands Off, It's Hot in Here, by Steve Holland
A1: Neighbor do si do
Neighbor gypsy 1.5x
A2: Men pass left to start half a hey
Neighbor swing
B1: Ladies cross the set
Partner swing
B2: Right and left thru
Promenade clockwise in own group of four, three places, pass thru to next
neighbor.
Meg
Hi Kalia - I just wrote a dance for the Catpult! Showcase. It has no
circle.
It's called 'Catapult Jig"
Improper
A1 - Neighbor Balance and Box the Gnat, Pull by to former Neighbor and Swat
the Flea, Pull by to Current Neighbor
A2 - Current Neighbor Balance and Swing
B1 - Long Lines Forward, Men take Partner home with a Give and Take,
Partner Swing
B2 - Hands in a Ring, Balance and Petronella, Catch L with Neighbor for an
Allemande L 1 1/2.
--
JoLaine Jones-Pokorney
"We are as gods and might as well get good at it!"
- Stewart Brand
Linda, that's a great dance! But chiming in as another relatively new
caller, can you please explain the last figure?
"16 WR 1?; Sw N"
On Mon, Jun 3, 2013 at 10:32 AM, <callers-request(a)sharedweight.net> wrote:
> Send Callers mailing list submissions to
> callers(a)sharedweight.net
>
> To subscribe or unsubscribe via the World Wide Web, visit
> http://www.sharedweight.net/mailman/listinfo/callers
> or, via email, send a message with subject or body 'help' to
> callers-request(a)sharedweight.net
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> You can reach the person managing the list at
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>
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of Callers digest..."
>
>
> Today's Topics:
>
> 1. Re: Favorite Hot Weather Dances (barbara153(a)aol.com)
> 2. Re: Favorite Hot Weather Dances (barbara153(a)aol.com)
> 3. Re: Favorite Hot Weather Dances (Linda Mrosko)
> 4. Re: Greenfield Formation (Keith Tuxhorn)
> 5. Re: "Full sashay"/"MadRobin" (was Re: Arms Folded in Dosidos)
> (Colin Hume)
> 6. Re: Greenfield Formation (Keith Tuxhorn)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Sun, 2 Jun 2013 14:43:42 -0400 (EDT)
> From: barbara153(a)aol.com
> To: callers(a)sharedweight.net
> Subject: Re: [Callers] Favorite Hot Weather Dances
> Message-ID: <8D02DD83D0CC199-2C44-58CC2(a)webmail-d218.sysops.aol.com>
> Content-Type: text/plain; charset="us-ascii"
>
>
> Linda
> Can you send the moves to Marianne the Magnificant? I am calling two gigs
> in non AC place in July and August.
> Does anyone know any other dances that would be good for hot weather and
> not exhausting for the dancers? Please share.
> Thanx
> Barbara G
> Toms River, NJ
>
>
> -----Original Message-----
> From: Linda Mrosko <elmerosko(a)gmail.com>
> To: Caller's discussion list <callers(a)sharedweight.net>
> Sent: Sun, Jun 2, 2013 1:55 am
> Subject: Re: [Callers] Favorite Hot Weather Dances
>
>
> "Gypsy Round Two" by Tom Hinds is good, and a dance I call "Unknown #24"
> because whoever I got it from didn't have a name for it and didn't know
> the choreographer either:
>
> Unknown #24
> A1/A2 Balance & Petronella Twirl 4x
> B1 Circle Left 1x; Swing Neighbor
> B2 Forward & Back; Couple 1 Swing in the middle & face the next
>
> Good to use as the third dance of the evening.
>
> One more dance I can think of that allows some rest is "Marianne the
> Magnificant" by Susan Elberger. One other called mentioned to me he like
> the "pause" that occurs when the women crossed and walk around behind their
> partner.
>
> You can also consider any dances that end in Couple One swinging in the
> middle (except Contra Corner dances that can really heat one couple up -
> although "Alternating Corners," also known as AC/DC, by Jim Kitch gives
> each couple a break every other time through the dance).
>
>
>
> --
> *Looking forward,
>
> Linda S. Mrosko
> 7302 CR 2829
> Mabank, Texas 75156
> (903) 451-5535 (H)
> www.towerwebsites.com/dancinglinda
>
> *"We should consider every day lost on which we have not danced at least
> once."
> -- Friedrich Nietzsche
> _______________________________________________
> Callers mailing list
> Callers(a)sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>
>
>
>
> ------------------------------
>
> Message: 2
> Date: Sun, 2 Jun 2013 14:46:40 -0400 (EDT)
> From: barbara153(a)aol.com
> To: kyrmyt(a)cotse.net, callers(a)sharedweight.net
> Subject: Re: [Callers] Favorite Hot Weather Dances
> Message-ID: <8D02DD8A70BF119-2C44-58D03(a)webmail-d218.sysops.aol.com>
> Content-Type: text/plain; charset="us-ascii"
>
>
> Hanny
> Where would I find them? New to the calling game so pardon my ignorance
> but what/who is "Anon"
> Barbara G
>
>
> -----Original Message-----
> From: Hanny Budnick <kyrmyt(a)cotse.net>
> To: Caller's discussion list <callers(a)sharedweight.net>
> Sent: Sat, Jun 1, 2013 9:51 pm
> Subject: Re: [Callers] Favorite Hot Weather Dances
>
>
> They are all traditional, authored by 'Anon', except for Waterfall Waltz
> which
> was written by Pat Shaw.
> > Can you share the moves to Lady of the Lake, Waterfall Waltz, Waves of
> Troy
> and Fisher's Hornpipe as well as the authors.
> > Thanx
> > Barbara G
> > TomsRiver,NJ
> >
> >
> >> Lady of the Lake, Waterfall Waltz, Waves of Tory, Fisher's Hornpipe -
> all
> >> cool, nice and 'wet'. Just kidding....
> >> Hanny
> >>
> >> ______________________________**_________________
> >> Callers mailing list
> >> Callers(a)sharedweight.net
> >> http://www.sharedweight.net/**mailman/listinfo/callers<
> http://www.sharedweight.net/mailman/listinfo/callers>
> >>
> >
>
> _______________________________________________
> Callers mailing list
> Callers(a)sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>
>
>
>
> ------------------------------
>
> Message: 3
> Date: Sun, 2 Jun 2013 14:17:07 -0500
> From: Linda Mrosko <elmerosko(a)gmail.com>
> To: "Caller's discussion list" <callers(a)sharedweight.net>
> Subject: Re: [Callers] Favorite Hot Weather Dances
> Message-ID:
> <
> CAHC5Bqe5VkYmwGb3QMc5rh+qEYTxe_0_KeGpNfqij98bsZ7J8g(a)mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> Here you go:
>
> *MARIANNE THE MAGNIFICENT* (Susan Elberger)
> Improper
>
> (NOTE: Have the 2 Women look at each other and let them know they will end
> up in that same spot in just a minute.)
>
> 8 DSD N
>
> 8 W walk straight across & walk round behind P passing him by
> the R shoulder & end on Left side of P (the space ID'd in "note" above)
>
> 16 Circle four to the Left; Sw P
>
> 16 Prom across; R&L thru back
>
> 16 WR 1?; Sw N
>
>
> --
> *Looking forward,
>
> Linda S. Mrosko
> 7302 CR 2829
> Mabank, Texas 75156
> (903) 451-5535 (H)
> www.towerwebsites.com/dancinglinda
>
> *"We should consider every day lost on which we have not danced at least
> once."
> -- Friedrich Nietzsche
>
>
> ------------------------------
>
> Message: 4
> Date: Sun, 2 Jun 2013 23:10:39 -0500
> From: Keith Tuxhorn <keithlmt(a)gmail.com>
> To: "Caller's discussion list" <callers(a)sharedweight.net>
> Subject: Re: [Callers] Greenfield Formation
> Message-ID:
> <CAFOvuevEhLQvbbAFjWgenzdA5JbFO=4_=
> 2FdKLgW-CjtBAVpJg(a)mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> If Greenfield wants to glorify themselves with a title, shouldn't they be
> the ones to come up with something? I'm really busy trying to make my own
> local dance a better one...
>
> And, Mr. Isaacs, shouldn't you be busy publishing a book of your dances?...
> Doing that would bring much joy to contra communities around the world, not
> just to one!
>
> Keith Tuxhorn
> Austin, TX
>
>
> On Thu, May 23, 2013 at 2:25 AM, Erik Hoffman <erik(a)erikhoffman.com>
> wrote:
>
> > Aha! So, there are two "Becket" formations in a double contra.
> >
> > One is where a line of four travels together in two lines and the other
> is
> > where there are four lines, and couples travel together in parallel
> lines,
> > but do things together somewhere in the dance...
> >
> > ~erik hoffman
> > oakland, ca
> >
> >
> > On 5/19/2013 11:09 PM, Michael Fuerst wrote:
> >
> >> Hello Eric:
> >>
> >> Al Olson's dances have a different formation from Major Hey. In Al's
> >> dances, four face four across the set and each time through the dance,
> >> groups of four advance left to face a new group of four
> >>
> >> Michael Fuerst 802 N Broadway Urbana IL 61801
> >> 217-239-5844
> >>
> >> ______________________________**__
> >> From: Erik Hoffman <erik(a)erikhoffman.com>
> >> To: Caller's discussion list <callers(a)sharedweight.net>
> >> Sent: Monday, May 20, 2013 12:45 AM
> >> Subject: Re: [Callers] Greenfield Formation
> >>
> >> I made up a dance years ago, called Major Hey, a Becket 4-face-4. Never
> >> knew we were nicknaming that "greenfield position." Now, if someone
> >> hadn't mentioned that Al Olson also played around with that idea, I'd
> >> say, we need a West Coast name for that formation. And since Major Hey
> >> came out of a dance I did with George Marshall, at BACDS' Spring
> >> Weekend, I'd suggest is should be called "Monte Toyon Formation." But,
> >> what the heck, I'm gonna just keep calling it a Becket Double Contra...
> >>
> >> Major Hey
> >> Becket Double Contra
> >> Note Directions:
> >> Direction of Progression
> >> Direction of "original wall"
> >>
> >> A1 In fours, circle left 3/4, pass through up & down in Direction of
> >> Progression
> >> With neighbor you meet, swing. End facing partner (four long
> >> lines)
> >> A2 Those lines go forward & back
> >> Men allemande left 1-1/2 to make a wave of 8 across
> >> (W-M-M-W-W-M-M-W)
> >> B1 Rory O'More Balances, towards partner,
> >> B2 Half a hey for eight, start passing partners right shoulder
> >> C1 Partner balance & swing
> >>
> >> And, yes, another 40-bar dance....
> >>
> >> ~erik hoffman
> >> oakland, ca
> >>
> >>
> >>
> >> On 5/16/2013 10:04 AM, Luke Donforth wrote:
> >>
> >>> The Proper Becket formation, and the nickname for it, have been kicking
> >>> around for years. Does that really count as a new formation for contra?
> >>> (And would Greenfield really want the nickname associated with it?)
> >>>
> >>>
> >>> On Thu, May 16, 2013 at 12:52 AM, Bob Green <bobgreen(a)swbell.net>
> wrote:
> >>>
> >>> O.K. , here is an entry, with two dances by Jim Hemphill. We have
> danced
> >>>> one of them, the other is by concept only, but will be vetted this
> >>>> weekend.
> >>>> The formation might be described as "proper becket" - if you line up
> >>>> proper
> >>>> and turn the group of four one place to the left.
> >>>> Jim's first dance, nicknamed* Missionary Men*, suggests another way
> to
> >>>> describe this formation. I had written an English style dance using
> this
> >>>> also, but Jim's dances are vastly superior I think.
> >>>>
> >>>> Proper Becket (proposed "Greenfield formation)
> >>>> A1 1st corners Chain with a courtesy turn
> >>>> Mad robin (1st corners in 1st) then step to an ocean wave (1st
> >>>> corners
> >>>> in center join right, left to same sex neighbor)
> >>>> A2 Balance right and left, slide right
> >>>> Partner swing
> >>>> B1 Slide left circle left 3
> >>>> Neighbor swing
> >>>> B2 Ladies chain, gent 1 roll your partner away
> >>>> Long line forward and back
> >>>> Fairly similar to May the 5th Be With You
> >>>>
> >>>> http://dancevideos.childgrove.**org/contra/contra-modern/443-**
> >>>> mission-men<
> http://dancevideos.childgrove.org/contra/contra-modern/443-mission-men>
> >>>>
> >>>>
> >>>> On Wed, May 15, 2013 at 5:49 AM, Bob Isaacs <isaacsbob(a)hotmail.com>
> >>>> wrote:
> >>>>
> >>>> Hi All:
> >>>>>
> >>>>>
> >>>>>
> >>>>> The Friends of the Guiding Star Grange in Greenfield, MA invite you
> to
> >>>>> enter The Greenfield Formation Contest - please see the attached for
> >>>>> details. We look forward to seeing what you come up with -
> >>>>>
> >>>>>
> >>>>>
> >>>>> Bob
> >>>>>
> >>>>>
> >>>>>
> >>>>>
> >>>>>
> >>>>> ______________________________**_________________
> >>>>> Callers mailing list
> >>>>> Callers(a)sharedweight.net
> >>>>> http://www.sharedweight.net/**mailman/listinfo/callers<
> http://www.sharedweight.net/mailman/listinfo/callers>
> >>>>>
> >>>>>
> >>>>> ______________________________**_________________
> >>>> Callers mailing list
> >>>> Callers(a)sharedweight.net
> >>>> http://www.sharedweight.net/**mailman/listinfo/callers<
> http://www.sharedweight.net/mailman/listinfo/callers>
> >>>>
> >>>>
> >>> ______________________________**_________________
> >> Callers mailing list
> >> Callers(a)sharedweight.net
> >> http://www.sharedweight.net/**mailman/listinfo/callers<
> http://www.sharedweight.net/mailman/listinfo/callers>
> >> ______________________________**_________________
> >> Callers mailing list
> >> Callers(a)sharedweight.net
> >> http://www.sharedweight.net/**mailman/listinfo/callers<
> http://www.sharedweight.net/mailman/listinfo/callers>
> >>
> >>
> >>
> >>
> > ______________________________**_________________
> > Callers mailing list
> > Callers(a)sharedweight.net
> > http://www.sharedweight.net/**mailman/listinfo/callers<
> http://www.sharedweight.net/mailman/listinfo/callers>
> >
>
>
> ------------------------------
>
> Message: 5
> Date: Mon, 3 Jun 2013 13:10:49 +0100
> From: Colin Hume <colin(a)colinhume.com>
> To: "Caller's discussion list" <callers(a)sharedweight.net>
> Subject: Re: [Callers] "Full sashay"/"MadRobin" (was Re: Arms Folded
> in Dosidos)
> Message-ID: <201363131049.557564@Owner-PC>
> Content-Type: text/plain; charset="us-ascii"
>
> On Sat, 1 Jun 2013 11:55:13 -0500, Jonathan Sivier wrote:
> > The name, and figure, almost certainly come from the English
> > country dance Mad Robin (Playford 1687) as reconstructed by Cecil
> > Sharp in 1922. In this dance the 1's do the figure of dancing
> > around their neighbor, usually while maintaining eye contact with
> > their partner, and then the 2's do it.
>
> No, that's the American way rather than the Cecil Sharp way. The ones
> are already progressed at this point, and Sharp says "First woman
> moves up the middle and casts down to second place; while the first
> man casts up and moves down the middle into the second place." The
> fixed stare at partner is an American thing. Playford also uses the
> word "cast" - you can see the facsimile at:
> www.izaak.unh.edu/nhltmd/indexes/dancingmaster/Dance/Play4204.htm
>
> Sharp and Playford then have the ones doing it the other way round -
> man up the middle and cast, woman cast up and move down the middle -
> though I quite understand callers wanting the twos to have a go!
>
> On Sat, 1 Jun 2013 14:11:47 -0400, Andrea Nettleton wrote:
> > I have also hard the move called a shuttle, which I think
> > diminishes the flirty part too much.
>
> Again, the flirty part is an American invention. I call it a shuttle
> because I think it's a good descriptive word. I've also heard it
> called Sliding Doors, but (to be pedantic) sliding doors just slide
> there and back; they don't go round each other!
>
> Colin Hume
>
> Email colin(a)colinhume.com Web site http://www.colinhume.com
>
>
>
>
> ------------------------------
>
> Message: 6
> Date: Mon, 3 Jun 2013 09:32:44 -0500
> From: Keith Tuxhorn <keithlmt(a)gmail.com>
> To: "Caller's discussion list" <callers(a)sharedweight.net>
> Subject: Re: [Callers] Greenfield Formation
> Message-ID:
> <
> CAFOvuet50WssMaLBZjhFrMebQ6cH6P3j73v63tzesPtJ4gf52w(a)mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> The above response was sent 95% with a smile on my face, and 5% wondering
> about Greenfield's desires... Just to clarify.
> Keith
>
>
> On Sun, Jun 2, 2013 at 11:10 PM, Keith Tuxhorn <keithlmt(a)gmail.com> wrote:
>
> > If Greenfield wants to glorify themselves with a title, shouldn't they be
> > the ones to come up with something? I'm really busy trying to make my own
> > local dance a better one...
> >
> > And, Mr. Isaacs, shouldn't you be busy publishing a book of your
> > dances?... Doing that would bring much joy to contra communities around
> the
> > world, not just to one!
> >
> > Keith Tuxhorn
> > Austin, TX
> >
> >
> > On Thu, May 23, 2013 at 2:25 AM, Erik Hoffman <erik(a)erikhoffman.com
> >wrote:
> >
> >> Aha! So, there are two "Becket" formations in a double contra.
> >>
> >> One is where a line of four travels together in two lines and the other
> >> is where there are four lines, and couples travel together in parallel
> >> lines, but do things together somewhere in the dance...
> >>
> >> ~erik hoffman
> >> oakland, ca
> >>
> >>
> >> On 5/19/2013 11:09 PM, Michael Fuerst wrote:
> >>
> >>> Hello Eric:
> >>>
> >>> Al Olson's dances have a different formation from Major Hey. In
> Al's
> >>> dances, four face four across the set and each time through the dance,
> >>> groups of four advance left to face a new group of four
> >>>
> >>> Michael Fuerst 802 N Broadway Urbana IL 61801
> >>> 217-239-5844
> >>>
> >>> ______________________________**__
> >>> From: Erik Hoffman <erik(a)erikhoffman.com>
> >>> To: Caller's discussion list <callers(a)sharedweight.net>
> >>> Sent: Monday, May 20, 2013 12:45 AM
> >>> Subject: Re: [Callers] Greenfield Formation
> >>>
> >>> I made up a dance years ago, called Major Hey, a Becket 4-face-4. Never
> >>> knew we were nicknaming that "greenfield position." Now, if someone
> >>> hadn't mentioned that Al Olson also played around with that idea, I'd
> >>> say, we need a West Coast name for that formation. And since Major Hey
> >>> came out of a dance I did with George Marshall, at BACDS' Spring
> >>> Weekend, I'd suggest is should be called "Monte Toyon Formation." But,
> >>> what the heck, I'm gonna just keep calling it a Becket Double Contra...
> >>>
> >>> Major Hey
> >>> Becket Double Contra
> >>> Note Directions:
> >>> Direction of Progression
> >>> Direction of "original wall"
> >>>
> >>> A1 In fours, circle left 3/4, pass through up & down in Direction of
> >>> Progression
> >>> With neighbor you meet, swing. End facing partner (four long
> >>> lines)
> >>> A2 Those lines go forward & back
> >>> Men allemande left 1-1/2 to make a wave of 8 across
> >>> (W-M-M-W-W-M-M-W)
> >>> B1 Rory O'More Balances, towards partner,
> >>> B2 Half a hey for eight, start passing partners right shoulder
> >>> C1 Partner balance & swing
> >>>
> >>> And, yes, another 40-bar dance....
> >>>
> >>> ~erik hoffman
> >>> oakland, ca
> >>>
> >>>
> >>>
> >>> On 5/16/2013 10:04 AM, Luke Donforth wrote:
> >>>
> >>>> The Proper Becket formation, and the nickname for it, have been
> kicking
> >>>> around for years. Does that really count as a new formation for
> contra?
> >>>> (And would Greenfield really want the nickname associated with it?)
> >>>>
> >>>>
> >>>> On Thu, May 16, 2013 at 12:52 AM, Bob Green <bobgreen(a)swbell.net>
> >>>> wrote:
> >>>>
> >>>> O.K. , here is an entry, with two dances by Jim Hemphill. We have
> >>>>> danced
> >>>>> one of them, the other is by concept only, but will be vetted this
> >>>>> weekend.
> >>>>> The formation might be described as "proper becket" - if you line up
> >>>>> proper
> >>>>> and turn the group of four one place to the left.
> >>>>> Jim's first dance, nicknamed* Missionary Men*, suggests another way
> to
> >>>>> describe this formation. I had written an English style dance using
> >>>>> this
> >>>>> also, but Jim's dances are vastly superior I think.
> >>>>>
> >>>>> Proper Becket (proposed "Greenfield formation)
> >>>>> A1 1st corners Chain with a courtesy turn
> >>>>> Mad robin (1st corners in 1st) then step to an ocean wave (1st
> >>>>> corners
> >>>>> in center join right, left to same sex neighbor)
> >>>>> A2 Balance right and left, slide right
> >>>>> Partner swing
> >>>>> B1 Slide left circle left 3
> >>>>> Neighbor swing
> >>>>> B2 Ladies chain, gent 1 roll your partner away
> >>>>> Long line forward and back
> >>>>> Fairly similar to May the 5th Be With You
> >>>>>
> >>>>> http://dancevideos.childgrove.**org/contra/contra-modern/443-**
> >>>>> mission-men<
> http://dancevideos.childgrove.org/contra/contra-modern/443-mission-men>
> >>>>>
> >>>>>
> >>>>> On Wed, May 15, 2013 at 5:49 AM, Bob Isaacs <isaacsbob(a)hotmail.com>
> >>>>> wrote:
> >>>>>
> >>>>> Hi All:
> >>>>>>
> >>>>>>
> >>>>>>
> >>>>>> The Friends of the Guiding Star Grange in Greenfield, MA invite you
> to
> >>>>>> enter The Greenfield Formation Contest - please see the attached for
> >>>>>> details. We look forward to seeing what you come up with -
> >>>>>>
> >>>>>>
> >>>>>>
> >>>>>> Bob
> >>>>>>
> >>>>>>
> >>>>>>
> >>>>>>
> >>>>>>
> >>>>>> ______________________________**_________________
> >>>>>> Callers mailing list
> >>>>>> Callers(a)sharedweight.net
> >>>>>> http://www.sharedweight.net/**mailman/listinfo/callers<
> http://www.sharedweight.net/mailman/listinfo/callers>
> >>>>>>
> >>>>>>
> >>>>>> ______________________________**_________________
> >>>>> Callers mailing list
> >>>>> Callers(a)sharedweight.net
> >>>>> http://www.sharedweight.net/**mailman/listinfo/callers<
> http://www.sharedweight.net/mailman/listinfo/callers>
> >>>>>
> >>>>>
> >>>> ______________________________**_________________
> >>> Callers mailing list
> >>> Callers(a)sharedweight.net
> >>> http://www.sharedweight.net/**mailman/listinfo/callers<
> http://www.sharedweight.net/mailman/listinfo/callers>
> >>> ______________________________**_________________
> >>> Callers mailing list
> >>> Callers(a)sharedweight.net
> >>> http://www.sharedweight.net/**mailman/listinfo/callers<
> http://www.sharedweight.net/mailman/listinfo/callers>
> >>>
> >>>
> >>>
> >>>
> >> ______________________________**_________________
> >> Callers mailing list
> >> Callers(a)sharedweight.net
> >> http://www.sharedweight.net/**mailman/listinfo/callers<
> http://www.sharedweight.net/mailman/listinfo/callers>
> >>
> >
> >
>
>
> ------------------------------
>
> _______________________________________________
> Callers mailing list
> Callers(a)sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>
>
> End of Callers Digest, Vol 106, Issue 5
> ***************************************
>
--
"Music expresses that which cannot be said and on which it is impossible to
be silent."
Victor Hugo
www.huntandallison.netwww.animaterrasings.org
Hi All:
The Friends of the Guiding Star Grange in Greenfield, MA invite you to enter The Greenfield Formation Contest - please see the attached for details. We look forward to seeing what you come up with -
Bob
>
> Date: Tue, 21 May 2013 21:28:07 +0100
> From: "John Sweeney" <info(a)contrafusion.co.uk>
> To: <callers(a)sharedweight.net>
> Subject: Re: [Callers] Arms Folded in Dosidos
> Message-ID: <896C826125B44AB7A52BF412A8E4E3D0@study>
> Content-Type: text/plain; charset="us-ascii"
>
>
> Why teach the dosido spin? Because it helps people to know which way to
> spin, and because there are elements like catching your partner's eyes
> between the spins that people won't necessarily pick up without some
> guidance.
A couple of thoughts about spinning or not spinning - that has nothing to do with folded arms...
If you and the person you are do-si-doing and spin exactly once you can both keep your eyes on each other.
If you and the next opposite role person up/down the line don't spin you can both keep your eyes on each other, and then when you get back to place there is the person you were do-si-doing in front of you.
Hi,
RE hot weather dancing: It was once recommended to me that when it is hot
dance just as hard, but shorter, maybe only 10 times through. Perhaps also
take longer breaks, and of course remind folks to drink water. This is not
instead of the great suggestions for dances to use in the heat. What do you
think of running several of the dances energetically but short?
Rickey Holt,
Fremont, NH
_______________________________________________
Callers mailing list
Callers(a)sharedweight.net
http://www.sharedweight.net/mailman/listinfo/callers
I'm sure there are others but here's my dance titled "Angry Birds"
A1: Circle left 3/4,
Mad robin, facing neighbors with gents passing in front first
A2: Gents take right arm around each other's torso to do a U turn back to
their partner (spin optional)
Partners swing
B1: Ladies cross the set by R shoulders, using right arms around torso to
spin each other into a twirl
Neighbors swing
B2: Balance and spin to the right (Petronella)
Balance and spin to the right again, spinning extra to face new
neighbors
It includes both the mad robin joke, and a catapult-style fling. I have not
tried this out in the wild; I'm sure it "works" but no idea how the gents
will react to the arm around, or whether it's actually fun.
On Sat, Jun 1, 2013 at 11:12 AM, <callers-request(a)sharedweight.net> wrote:
> Send Callers mailing list submissions to
> callers(a)sharedweight.net
>
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> http://www.sharedweight.net/mailman/listinfo/callers
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>
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of Callers digest..."
>
>
> Today's Topics:
>
> 1. Re: Sashay (John Sweeney)
> 2. "Full sashay"/"MadRobin" (was Re: Arms Folded in Dosidos)
> (James Saxe)
> 3. Re: "Full sashay"/"MadRobin" (was Re: Arms Folded in Dosidos)
> (Jonathan Sivier)
> 4. Re: "Full sashay"/"MadRobin" (was Re: Arms Folded in Dosidos)
> (Charles Hannum)
> 5. Re: "Full sashay"/"MadRobin" (was Re: Arms Folded in Dosidos)
> (Jonathan Sivier)
> 6. Favorite Hot Weather Dances (Donna Hunt)
> 7. Re: "Full sashay"/"MadRobin" (was Re: Arms Folded in Dosidos)
> (Ric Goldman (letsdance))
> 8. Re: "Full sashay"/"MadRobin" (was Re: Arms Folded in Dosidos)
> (Andrea Nettleton)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Sat, 1 Jun 2013 17:05:04 +0100
> From: "John Sweeney" <info(a)contrafusion.co.uk>
> To: <callers(a)sharedweight.net>
> Subject: Re: [Callers] Sashay
> Message-ID: <688B0730D2344A89B91D326A50EDF0BF@study>
> Content-Type: text/plain; charset="us-ascii"
>
> Sorry - it changed chasse (with an accent) to "chass?"
>
> John
>
>
>
>
>
> ------------------------------
>
> Message: 2
> Date: Sat, 1 Jun 2013 09:10:17 -0700
> From: James Saxe <jim.saxe(a)gmail.com>
> To: Caller's discussion list <callers(a)sharedweight.net>
> Subject: [Callers] "Full sashay"/"MadRobin" (was Re: Arms Folded in
> Dosidos)
> Message-ID: <B10FBC78-968B-48E2-8500-5B7BEB30A61B(a)gmail.com>
> Content-Type: text/plain; charset=US-ASCII; format=flowed; delsp=yes
>
> On May 31, 2013, at 12:50 PM, Aahz Maruch wrote:
>
> > Bit of trivia I learned recently from square dancing: what we call a
> > Mad
> > Robin is also properly called a sashay (as opposed to the usual
> > half-sashay....).
>
> I've mentioned this before on this list and I guess it's time
> to mention it again: Check out the B2 part of the dance "Saint
> Paddy's Day" by Kirston Koths, as seen in _Zesty Contras_ or at
>
> http://www.quiteapair.us/calling/acdol/dance/acd_137.html
>
> The action that Kirston describes as a a "full sashay" (facing
> neighbor and maintaining eye contact as much as possible, walk
> clockwise around partner) is precisely the figure that has
> come to be known to contra dancers as a "Mad Robin", though in
> Kirston's dance it's done with dancers moving around partners
> across the set while looking up or down at neighbors. Kirston's
> description of the action as a "full sashay" certainly derives
> from one of the historical uses of that term in square dancing
> (Ken Sweeney's observation that "full sashay" is not currently
> part of the approved MWSD terminology as codified by CALLERLAB
> notwithstanding).
>
> Kirston wrote "Saint Paddy's Day" in 1982. The term "Mad Robin"
> entered the contra dance lexicon (for an action that only
> vaguely resembles something from the English country dance
> "Mad Robin") much later--perhaps in the late 1990's.
>
> Can any of you pinpoint who introduced term "Mad Robin" with
> it's current contra dance meaning, or when, or what dance they
> were describing?
>
> --Jim
>
>
>
> ------------------------------
>
> Message: 3
> Date: Sat, 1 Jun 2013 11:55:13 -0500
> From: Jonathan Sivier <jsivier(a)illinois.edu>
> To: "Caller's discussion list" <callers(a)sharedweight.net>
> Subject: Re: [Callers] "Full sashay"/"MadRobin" (was Re: Arms Folded
> in Dosidos)
> Message-ID: <51AA2771.6050001(a)illinois.edu>
> Content-Type: text/plain; charset="ISO-8859-1"; format=flowed
>
> On 6/1/2013 11:10 AM, James Saxe wrote:
> > Can any of you pinpoint who introduced term "Mad Robin" with
> > it's current contra dance meaning, or when, or what dance they
> > were describing?
>
> The name, and figure, almost certainly come from the English country
> dance Mad Robin (Playford 1687) as reconstructed by Cecil Sharp in 1922.
> In this dance the 1's do the figure of dancing around their neighbor,
> usually while maintaining eye contact with their partner, and then the
> 2's do it. In the figure as it has been imported into contra modern
> contra dances it is usually done with everyone moving at once.
>
> An idea for a workshop. Do a variety of older dances, ECD and early
> American, with various figures now considered to be standard in contra
> and square dance as well as modern dances with those figures.
> Possibilities would be Hunsdon House (1665) with a grand square and Mad
> Robin as well as any one of several different dances from the 1600's and
> 1700's with heys and contra corner type figures. I think I will propose
> this as a possible workshop for our local dance group, though it will
> have to be in the fall since our summer schedule is already set.
>
> Jonathan
> -----
> Jonathan Sivier
> Caller of Contra, English and Early American Dances
> jsivier AT illinois DOT edu
> Dance Page: http://www.sivier.me/dance_leader.html
> -----
> Q: How many angels can dance on the head of a pin?
> A: It depends on what dance you call!
>
>
>
> ------------------------------
>
> Message: 4
> Date: Sat, 1 Jun 2013 13:11:01 -0400
> From: Charles Hannum <root(a)ihack.net>
> To: "Caller's discussion list" <callers(a)sharedweight.net>
> Subject: Re: [Callers] "Full sashay"/"MadRobin" (was Re: Arms Folded
> in Dosidos)
> Message-ID:
> <CAEqW=hPXPvKKb1NtYJbUKB=wt+0kdEk3PNgPkgMfJ=
> 7w3NCccg(a)mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> I've been trying to rename it to "Angry Bird", but I haven't got much
> buy-in yet.
>
>
> On Sat, Jun 1, 2013 at 12:55 PM, Jonathan Sivier <jsivier(a)illinois.edu
> >wrote:
>
> > On 6/1/2013 11:10 AM, James Saxe wrote:
> >
> >> Can any of you pinpoint who introduced term "Mad Robin" with
> >> it's current contra dance meaning, or when, or what dance they
> >> were describing?
> >>
> >
> > The name, and figure, almost certainly come from the English country
> > dance Mad Robin (Playford 1687) as reconstructed by Cecil Sharp in 1922.
> > In this dance the 1's do the figure of dancing around their neighbor,
> > usually while maintaining eye contact with their partner, and then the
> 2's
> > do it. In the figure as it has been imported into contra modern contra
> > dances it is usually done with everyone moving at once.
> >
> > An idea for a workshop. Do a variety of older dances, ECD and early
> > American, with various figures now considered to be standard in contra
> and
> > square dance as well as modern dances with those figures. Possibilities
> > would be Hunsdon House (1665) with a grand square and Mad Robin as well
> as
> > any one of several different dances from the 1600's and 1700's with heys
> > and contra corner type figures. I think I will propose this as a
> possible
> > workshop for our local dance group, though it will have to be in the fall
> > since our summer schedule is already set.
> >
> > Jonathan
> > -----
> > Jonathan Sivier
> > Caller of Contra, English and Early American Dances
> > jsivier AT illinois DOT edu
> > Dance Page: http://www.sivier.me/dance_**leader.html<
> http://www.sivier.me/dance_leader.html>
> > -----
> > Q: How many angels can dance on the head of a pin?
> > A: It depends on what dance you call!
> >
> >
> > ______________________________**_________________
> > Callers mailing list
> > Callers(a)sharedweight.net
> > http://www.sharedweight.net/**mailman/listinfo/callers<
> http://www.sharedweight.net/mailman/listinfo/callers>
> >
>
>
> ------------------------------
>
> Message: 5
> Date: Sat, 1 Jun 2013 12:26:04 -0500
> From: Jonathan Sivier <jsivier(a)illinois.edu>
> To: "Caller's discussion list" <callers(a)sharedweight.net>
> Subject: Re: [Callers] "Full sashay"/"MadRobin" (was Re: Arms Folded
> in Dosidos)
> Message-ID: <51AA2EAC.7090005(a)illinois.edu>
> Content-Type: text/plain; charset="ISO-8859-1"; format=flowed
>
> On 6/1/2013 12:11 PM, Charles Hannum wrote:
> > I've been trying to rename it to "Angry Bird", but I haven't got much
> > buy-in yet.
>
> How about "Crazy Crow", "Wrought-up Wren", "Disturbed Duck", "Insane
> Ibis", "Passionate Pigeon" or others along the same lines? ;-)
>
> Jonathan
>
>
>
>
> ------------------------------
>
> Message: 6
> Date: Sat, 1 Jun 2013 13:43:10 -0400 (EDT)
> From: Donna Hunt <dhuntdancer(a)aol.com>
> To: callers(a)sharedweight.net
> Subject: [Callers] Favorite Hot Weather Dances
> Message-ID: <8D02D069E172234-21F0-46857(a)webmail-m213.sysops.aol.com>
> Content-Type: text/plain; charset="us-ascii"
>
> Hi
> As the summer is beginning (nearing 90 degrees today!) I'm wondering if
> any of you have favorite dances that you call that are not all action all
> the time. Please share modern dances that have interesting choreography
> and will help to keep the dancers cool or at least give them a break from
> the action for some of the dance.
>
>
>
> Thanks
>
> Donna Hunt
>
>
>
> ------------------------------
>
> Message: 7
> Date: Sat, 1 Jun 2013 14:03:34 -0400
> From: "Ric Goldman \(letsdance\)" <letsdance(a)rgoldman.org>
> To: "'Caller's discussion list'" <callers(a)sharedweight.net>
> Subject: Re: [Callers] "Full sashay"/"MadRobin" (was Re: Arms Folded
> in Dosidos)
> Message-ID: <002201ce5ef2$5731c860$05955920$(a)rgoldman.org>
> Content-Type: text/plain; charset="us-ascii"
>
> There's a Morris dance which uses the figure called Belligerent Blue jay.
> :-)
>
> > -----Original Message-----
> > From: callers-bounces(a)sharedweight.net [mailto:
> callers-bounces(a)sharedweight.net] On Behalf Of Charles Hannum
> > Sent: Saturday, June 01, 2013 1:11 PM
> > To: Caller's discussion list
> > Subject: Re: [Callers] "Full sashay"/"MadRobin" (was Re: Arms Folded in
> Dosidos)
> >
> > I've been trying to rename it to "Angry Bird", but I haven't got much
> > buy-in yet.
> >
> >
> > On Sat, Jun 1, 2013 at 12:55 PM, Jonathan Sivier <jsivier(a)illinois.edu
> >wrote:
> >
> > > On 6/1/2013 11:10 AM, James Saxe wrote:
> > >
> > >> Can any of you pinpoint who introduced term "Mad Robin" with
> > >> it's current contra dance meaning, or when, or what dance they
> > >> were describing?
> > >>
> > >
> > > The name, and figure, almost certainly come from the English country
> > > dance Mad Robin (Playford 1687) as reconstructed by Cecil Sharp in
> 1922.
> > > In this dance the 1's do the figure of dancing around their neighbor,
> > > usually while maintaining eye contact with their partner, and then the
> 2's
> > > do it. In the figure as it has been imported into contra modern contra
> > > dances it is usually done with everyone moving at once.
> > >
> > > An idea for a workshop. Do a variety of older dances, ECD and early
> > > American, with various figures now considered to be standard in contra
> and
> > > square dance as well as modern dances with those figures. Possibilities
> > > would be Hunsdon House (1665) with a grand square and Mad Robin as
> well as
> > > any one of several different dances from the 1600's and 1700's with
> heys
> > > and contra corner type figures. I think I will propose this as a
> possible
> > > workshop for our local dance group, though it will have to be in the
> fall
> > > since our summer schedule is already set.
> > >
> > > Jonathan
> > > -----
> > > Jonathan Sivier
> > > Caller of Contra, English and Early American Dances
> > > jsivier AT illinois DOT edu
> > > Dance Page: http://www.sivier.me/dance_**leader.html<
> http://www.sivier.me/dance_leader.html>
> > > -----
> > > Q: How many angels can dance on the head of a pin?
> > > A: It depends on what dance you call!
> > >
> > >
> > > ______________________________**_________________
> > > Callers mailing list
> > > Callers(a)sharedweight.net
> > > http://www.sharedweight.net/**mailman/listinfo/callers<
> http://www.sharedweight.net/mailman/listinfo/callers>
> > >
> > _______________________________________________
> > Callers mailing list
> > Callers(a)sharedweight.net
> > http://www.sharedweight.net/mailman/listinfo/callers
>
>
>
> ------------------------------
>
> Message: 8
> Date: Sat, 1 Jun 2013 14:11:47 -0400
> From: Andrea Nettleton <twirly-girl(a)bellsouth.net>
> To: Caller's discussion list <callers(a)sharedweight.net>
> Subject: Re: [Callers] "Full sashay"/"MadRobin" (was Re: Arms Folded
> in Dosidos)
> Message-ID: <0D466FA5-ABDF-40A1-B5F3-D3CEE0CF9F77(a)bellsouth.net>
> Content-Type: text/plain; charset=us-ascii
>
> But Mad Robin is a nickname for a Puck-like character, in literature.
> Also known as Robin Goodfellow, a player of harmless pranks, random doer
> of little good deeds, a bit mischievous and secretive, given to pinching a
> sleeping queen of a night. I think perhaps the author of the ECD thought
> the flirtatious nature of the move was a bit Puckish. So alternate bird
> names wouldn't be proper substitutes. I have also hard the move called a
> shuttle, which I think diminishes the flirty part too much. Mad Robin
> works, even if less descriptive than we might like. Playful Parallels just
> doesn't quite cut it. But if we think of Mad Robin as Robin Goodfellow,
> aka Puck, maybe it sits a little more easily as a name for that very
> playful move.
> Andrea
>
> Sent from my iOnlypretendtomultitask
>
> On Jun 1, 2013, at 1:26 PM, Jonathan Sivier <jsivier(a)illinois.edu> wrote:
>
> > On 6/1/2013 12:11 PM, Charles Hannum wrote:
> >> I've been trying to rename it to "Angry Bird", but I haven't got much
> >> buy-in yet.
> >
> > How about "Crazy Crow", "Wrought-up Wren", "Disturbed Duck", "Insane
> Ibis", "Passionate Pigeon" or others along the same lines? ;-)
> >
> > Jonathan
> >
> >
> > _______________________________________________
> > Callers mailing list
> > Callers(a)sharedweight.net
> > http://www.sharedweight.net/mailman/listinfo/callers
>
>
> ------------------------------
>
> _______________________________________________
> Callers mailing list
> Callers(a)sharedweight.net
> http://www.sharedweight.net/mailman/listinfo/callers
>
>
> End of Callers Digest, Vol 106, Issue 2
> ***************************************
>
Aahz Maruch said, "I learned recently from square dancing: what we call
a Mad Robin is also properly called a sashay."
Well, yes and no...
In Modern Western Square Dancing the definitions are provided by
CALLERLAB - http://www.callerlab.org/ - see the "Basic and Mainstream
Definitions".
The Half Sashay is fully defined and includes:
"Styling: Dancers use a normal couple handhold, pulling slightly toward
each other as they initiate the sashay movement. As the dancers complete
the call, they catch hands to end in a couple handhold..."
In contra dancing a Mad Robin can start and finish with or without a
hand hold - I suspect "without" is more common.
But that is only half a Mad Robin. The Sashay itself has been
deprecated. CALLERLAB says, "The terms "Full Sashay" or "Sashay All The
Way Around" are not part of any dance program. This is improper language
and should not be used."
(So, definitely not "properly called a sashay"!)
Of course square dancers outside the MWSD world (and many of the clubs
within the MWSD world!) do what they want anyway :-)
The other challenge is that "Sashay" means lots of different things to
different people:
Dictionary definition: to walk or glide in an ostentatious way.
Sashay down the hall: take two hands with your partner and go
side-together-side-together down the hall (we normally say "Gallop" in
England).
In a waltz-time dance: take ballroom hold and step sideways (1 & 2
instead of 1,2,3) (we normally say "chassé" in England).
And indeed, in the dance world, "sashay" is derived from the word
"chassé" and has lots more variations - see
http://en.wikipedia.org/wiki/Sashay
So, I think I would stick to calling it a Mad Robin :-)
Happy dancing,
John
John Sweeney, Dancer, England john(a)modernjive.com 01233 625 362
http://www.contrafusion.co.uk for Dancing in Kent
