Following up on an earlier post...
I wrote:
"I was wondering if I could get your best advice on approaching triple minor
> dances in the Midwest (Lawrence Kansas). I believe most of the contra
> dancers here have never seen such a critter, although a very few will have
> seen it at an English Country dance."
I also said I was considering calling "Sackett's Harbor."
>
> Alan Winston wrote:
"I'd suggest, as a first-ever triple minor,
> "Young Widow", if your band knows the tune. No swings, but a killer fun
> dance
> with balancing, etc, and it isn't all solos for the 1s."
>
David Millstone wrote:
"Jerome, please let us know how it turns out."
I called the triple minor dance "The Young Widow" in Merriam Kansas (the
Kansas side of Kansas City) last night, with moderate success. Here's the
figure, for those unfamiliar with it:
The Young Widow
(my source: Heritage Dances of Early America by Ralph Page. Page cites a
dance manual published in Otsego, NY in 1808 as his source)
triple minor -- proper contra
A1: Actives, with the couple below, hands-across right-hand star (8),
Same four star left back to place.
A2: Actives down the center holding right hands, turn as a couple halfway
round (Page says no CA twirls) and return, cast around the twos (active man
round the 2nd lady, active lady round the 2nd man).
B1: Six go forward & back (the original manual says "balance all six" but
Page describes this as four steps forward and four back, not the two step
balance common to modern contras),
Circle six halfway round (until the ones have traded places and are
proper, three are above and twos below, improper).
B2: Inactive couples go forward and back (up and down the set),
Same four right and left thru (to end proper)
I did not use the associated tune; the band did play a New England-style
tune rather than a midwestern old-time tune. Actually, I'm not sure what the
associated tune would be -- Page mentions "The Duke of Perth" medley. In any
case, I decided not to sweat the tune and just asked for a moderate tempo
reel.
I probably allowed the sets to be too long -- I had two lines each with four
minor sets. In retrospect, it would have been better to have four lines each
with two minor sets, or even six sets of four couples each.
In the walkthrough, I emphasized that the ones know who they are and thus
can help lead the others in the stars and also in the forward & backs. I
forgot to explicitly tell the ones how to get out at the bottom, so there
may have been some stranded couples at some point.
In terms of feedback, the beginners didn't seem any more confused than they
would have been in any other dance. That is, they accepted their confusion
as normal and didn't take it personally. (I had taught the beginners session
and assured them that moments of confusion were OK).
There were lumps of confusion when couples consisting of beginners met other
couples consisting of beginners, but if they managed to progress they
smoothed it on the next go-around. One set was pretty smooth throughout the
dance, the other had the lumps.
As I expected, many of the experienced dancers were also confused at times.
Many thanked me for calling an unusual dance. I solicited and got feedback
from a few folks who told me what they experienced. A few indicated that the
dance was just too confusing and one woman gave me "the look" when I said it
would go much better the next time I called a triple minor. "The look"
seeming to indicate that it would go much better if I never ever tried such
a thing again.
The good feedback:
1. The inactives never played the active role in the walkthrough and thus
and found it confusing to do the first time they were actives.
2. The sets were too long and I should consider shorter sets.
3. There were too many beginners present for me to try this sort of dance.
4. I called this dance too early in the evening (4th slot) and should have
waited until after the break.
My own assessment:
1. Circling six halfway was a challenge for many; lots of groups were
over-rotating. I began to prompt "circle just halfway, till the actives
trade places" and it seemed to help some.
2. Folks seemed to rush through the B2
3. I wonder if it would have helped to teach the right and left thru as a
square thru two places. Or just to prompt "right and left thru, now face
up," since the problem really was that the threes often watched the set
below during the A1 stars.
4. I might have spent a little more time reassuring people about the
right-and-left thru, since you are facing a same-sex person to start and
that's unusual for modern contra dancers.
5. When the ones were confident, the whole minor set was confident. The
inverse was also true.
6. Nobody moaned about "no partner swing." Thank God.
7. I did assure the dancers that the figure was unusual but not difficult,
but more confidence on my part (backed by more knowledge and experience)
would probably have helped sell that concept.
8. It might have helped to have coached a demonstration set before the
evening's dance, or at the very least to have some folks demonstrate the
cast-off.
9. Forgetting to talk about the end effects at the bottom was my bad,
probably related to all the faces expressing confusion during the first
walk-through, so I should probably have all my teaching points on a written
checklist.
10. I will try triple minor dances in the future, and they will go better,
and people will find a place in their hearts for these figures. Maybe even
the lady with "the look."
--Jerome
--
Jerome Grisanti
660-528-0858
660-528-0714
http://www.jeromegrisanti.com
Thanks, Jerome, for a detailed description of your experience.
> I probably allowed the sets to be too long -- I had two lines each with four
minor sets. In retrospect, it would have been better to have four lines each
with two minor sets, or even six sets of four couples each.
I agree, sort of. ;-) Rather than lining folks up with a number of completely
filled minor sets, with triple minors you might consider asking for sets of
seven or eight couples. With seven, for example, this means that a couple is out
at the bottom the first walkthrough, but with triple minors I almost always do
two walkthroughs. This lets the Ones learn their part more securely, and it
gives the inactives the opportunity to experience the dance as a Two and as a
Three. At the least, it lets folks take hands six in the second grouping.
Your last alternative [six sets of four couples each] is a good way of
workshopping several such dances. You dance it once with couples 1, 2, and 3;
second time through is couples 1, 3, and 4, and at the end of the figures couple
1 simply moves to the bottom of the set. This allows the original couple 2, who
have been waiting out, to start dancing after waiting only once. Eight times
through and everyone has had a chance to be an active couple twice.
Keeping the sets limited to 7 or 8 couples gives folks a longer time to dance
and still allows you to run the dance long enough so that every couple gets to
be active at least once. Since many of the triple minors are unequal dances--
i.e., there's more activity for the Ones than for the other four dancers-- one
way to get a really, Really, REALLY nasty look is to have long lines and a
couple gets to the top just as you announce last time through the dance.
The "associated tune" with the Young Widow could be found in Volume I of English
Country Dance Tunes, edited by Peter Barnes. There's a recording of it by Bare
Necessities on their CD "At the Ball."
> There were lumps of confusion when couples consisting of beginners met other
couples consisting of beginners, but if they managed to progress they smoothed
it on the next go-around.
Huzzah!
> As I expected, many of the experienced dancers were also confused at times.
Many thanked me for calling an unusual dance.
Yes, triple minors can be confusing if the dancers have only experienced duple
minor improper or Becket dances, which comprise most contra programs these days.
However, by occasionally including a triple minor (or a dance in an odd
formation, or a country dance in waltz time, etc.) you're broadening your
dancers' horizons and also increasing their skills.
I recall one of my local dancers who had attended only my dances for many years.
She finally went off to a hot contra dance an hour or two away and had a great
time-- enthusiastic and skiller dancers, hot music, all very energizing and
satisfying. "But," she later confided, "all they did were contras where everyone
moved all the time. No squares, no triplets, no mixers, nothing elegant, no
variety."
> 1. Circling six halfway was a challenge for many; lots of groups were
over-rotating.
It sometimes helps to stress "Large circles!" Extending those arms means that
folks have a greater distance to cover, which means they don't turn the circles
as far.
> 5. When the ones were confident, the whole minor set was confident. The
inverse was also true.
Yes, if the ones know what they're doing, they can often pull the others in.
It's helpful to remind the inactives to face up toward the head of the set at
the end of each time through the dance. They'll see the actives launch into
action and this may help they realize the new goruping in which they find
themselves. When you do Sackett's harbor <grin>, having folks join hands three
facing three rather than in long lines helps the new minor sets establish
themselves.
> 6. Nobody moaned about "no partner swing."
Double huzzah!
> 10. I will try triple minor dances in the future, and they will go better, and
people will find a place in their hearts for these figures.
May blessings of the dance gods shower upon you. ;-)
David Smukler and I were just this week looking through a long list of possible
other dances to include in the appendix to the forthcoming "Cracking Chestnuts"
book, making a special point of looking for more triple minors. There are some
interesting choreographic possibilities in triple minors that duples just don't
offer, and presenting that sort of variety helps gives dancers a broader sense
of country dancing as a whole.
David Millstone
I called at an event recently where I was one of three callers. We
discovered that all three of us are left-handed. I am curious to know
how many people on this list are left-hand dominant.
Joyce Miller
Grass Valley, California
Amy wrote:
>The problem with expert adult dancers, of course, is that they sometimes
>ACT just like gradeschoolers, but then get bent all out of shape when you
>TREAT them that way....
And as well they should! I know I would certainly be disappointed in
a caller who treats us all like gradeschoolers.
Therein lies the problem with this entire thread.
The refrain of "Don't do it yet!" is one of the most frustrating and
unnecessary instructions. When I hear this instruction it is often
the case that the regular dancers are being told to shut up and sit
on their hands while the caller explains something verbally that
beginners could be led through in a fraction of the time.
If you think it is good for newcomers to be partnered with regular
dancers consider the implications of your teaching strategy. The
regulars want you to be successful. They want to help. Don't
sideline the regulars who have partnered with newcomers by making
them sit out while you teach something that they could easily show
the newcomers. This can lead to frustration and a sense that
partnering with newcomers is a futile effort.
Use all of the teaching resources you have on the floor. This gives
the regulars who partner with newcomers a sense that they have an
important role to play. In a sense, shut up and let the regular
dancers do their job. This allows the regulars to feel confident and
useful when they partner with newcomers. Reward them for taking that
step. Allow them to impress their partners. This will help you by
encouraging the integration of newcomers at your series.
Yes. There are some unique moves that require extra
instruction. But if you are using this instruction more than once an
evening I would encourage you to reconsider your assumptions.
Just a thought,
Greg
The first one of these I ever did was a dance called Huntsville's
Queen Bee Hey, and I loved it. Because of that, I guess I've always
called these "Queen Bee" heys, it brings up the image of the bees
doing their little dance while looking for new hives.
By the way, Chris Page wrote an AWESOME ricochet half-hey dance -
don't have time to find it now -
Chris? Care to share?
Anyway, I was inspired and wrote a few:
King Bee Hey Duple improper February 21, 2004
A1 Do-si-do neighbor
Allemande right neighbor 1 ½
A2 "King Bee Hey" (men pass left shoulder, women push off)*
B1 Men pass left one more time, swing partner
B2 Men allemande left 1 ½ ^
Women join in behind partner for a hands across star left 1X
*The men dance the full hey, passing left shoulders in the middle.
The women start the hey passing right with their partner, but then
the women meet in the middle and push off, backing up to the right
and then back to where they started, repeat. This effectively makes
little clockwise circles on the floor for the women.
^ On the men allemande left, the women have to let the men get around
once and then as their partner passes they move in behind him to join
the left hand star. A bit of a moving start on the part of the women
helps.
This next one is a little tricky at the end where the 2s swing and
end facing up - but if the 1s get ready for them it works quite well,
and I like it because it is both 1s and 2s get their day in the sun.
Worker Bee Hey #1
Duple improper September 24, 2006
A1 Down the set four in line (1s inside)
Turn as couples and return*, face in^
A2 “Worker bee” hey@, 2s start passing right shoulder
B1 2s gypsy and swing, end swing facing up!
B2 Handy-hand allemande ~1 ½ times (2s step inside)
1s swing and face down
* A little odd as the men are on the right of the women for the turn.
^ The line is not bent, all just turn to face center, 2s facing each
other, 1s behind.
@ I thought it would be nice to do the push off of a “queen bee” hey
with one’s own partner. In this case, the #2 couple does a full hey,
passing right shoulders to start, while the #1 couple meets at the
center and pushes off backwards in little counterclockwise circles.
This next is an easier version of the above, but it is unequal and
therefore better with shorter lines.
Worker Bee Hey #2
Duple Improper September 24, 2006
A1 Do-si-do neighbor
Swing neighbor
A2 Four in line down the set
Turn as couples, come back up
B1 Face in, “Worker Bee” hey, 1s start^
B2 1s gypsy and swing
^ Worker bee hey is as described above.
I like version 1 because both 1s and 2s get a partner swing.
And here is Huntsville's Queen Bee Hey, I believe by Jane Ewing
A1 See-saw neighbor (left shoulder do-si-do
Allemande left neighbor 1 1/2
A2 Queen Bee Hey, starting right shoulders women in center
B1 Women pull by the right, swing partner (I use pass by the right)
B2 Women chain across
Star left
On Feb 7, 2008, at 9:00 AM, callers-request(a)sharedweight.net wrote:
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> Today's Topics:
>
> 1. Re: Waiting for Lefty (mavis mcgaugh)
> 2. Re: Contra Corners with Diagonal Wavy (Jerome Grisanti)
> 3. ricochet or push-back heys (jean francis)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Wed, 6 Feb 2008 17:33:07 -0800 (PST)
> From: mavis mcgaugh <yankeecalls(a)yahoo.com>
> Subject: Re: [Callers] Waiting for Lefty
> To: Caller's discussion list <callers(a)sharedweight.net>
> Message-ID: <728290.20024.qm(a)web36405.mail.mud.yahoo.com>
> Content-Type: text/plain; charset=iso-8859-1
>
>
> --- "Chris Weiler (home)"
> <chris.weiler(a)weirdtable.org> wrote:
>
>> I was left-hand dominant until age 5, when my
>> parents discovered that I
>> was right-eye dominant. So, with the cooperation of
>> my first grade
>> teacher, they made me switch. Now I only eat my
>> meals lefty. 8^)
>>
>> Maybe I call left-handed, too? 9^)
>>
>> Chris Weiler
>> Goffstown, NH
>>
>> Joyce Miller wrote:
>>> I called at an event recently where I was one of
>> three callers. We
>>> discovered that all three of us are left-handed. I
>> am curious to know
>>> how many people on this list are left-hand
>> dominant.
>>> Joyce Miller
>>> Grass Valley, California
>>> _______________________________________________
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>>>
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>>>
>>
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>
>
> Mavis L McGaugh
> 510-814-8118 (answering machine-leave message)
>
>
>
> ______________________________________________________________________
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> ------------------------------
>
> Message: 2
> Date: Wed, 6 Feb 2008 20:44:05 -0600
> From: "Jerome Grisanti" <jerome.grisanti(a)gmail.com>
> Subject: Re: [Callers] Contra Corners with Diagonal Wavy
> To: callers(a)sharedweight.net
> Message-ID:
> <78dbc7c60802061844w6c9873ccr1328308cc1e3d1eb(a)mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> I started to choreograph a dance like this a few years ago, then I
> found
> that Seth Tepfer had already done so, and his worked better than
> what I had
> written.... But perhaps I will revisit it....
> --jerome
> Perforated Corners
>
> By Seth Tepfer
>
> Formation: improper contra
>
> Level: Med
>
> Composed: 3/20/2003
>
> A1: (4) Down the Hall 4 in line, 1s in the center; (4) 1s turn as a
> couple,
> 2s turn alone; (4) up the hall 4 in line, (4) cast off with same
> gender
>
> A2: 1s allemande Right .75, give LH to 1s corner to form diagonal
> wave (4);
> balance (4); allemande L 1st corner 1x, 1s give right to partner to
> form
> diagonal wave (4); balance (4)
>
> B1: 1s allemande Right .75, give LH to 2s corner to form diagonal
> wave (4);
> balance (4); allemande L 2st corner 1x, 1s give right to partner to
> form
> diagonal wave (4); balance (4)
>
> B2: 1s swing
>
>
>>
>> Subject: Re: [Callers] Contra Corners Walk Through
>> To: Jack Mitchell <jamitch3(a)mindspring.com>
>> Cc: Caller's discussion list <callers(a)sharedweight.net>
>> Message-ID: <01MQZCZJVNMG8WXBS3(a)SSRL.SLAC.STANFORD.EDU>
>> Content-Type: TEXT/PLAIN; CHARSET=us-ascii
>>
>> Jack wrote:
>>
>> Anyone know of a dance already like that that I should be aware of?
>>
>>
>>
>
> --
> Jerome Grisanti
> 660-528-0858
> 660-528-0714
> http://www.jeromegrisanti.com
>
>
> ------------------------------
>
> Message: 3
> Date: Thu, 7 Feb 2008 08:40:17 -0800 (PST)
> From: jean francis <catherineaura(a)yahoo.com>
> Subject: [Callers] ricochet or push-back heys
> To: callers(a)sharedweight.net
> Message-ID: <185010.80857.qm(a)web53204.mail.re2.yahoo.com>
> Content-Type: text/plain; charset=iso-8859-1
>
> I am looking for some dances with push-back or ricochet heys. I
> have only found one, by Adam Carlson: A1 N B+S; A2 Ricochet hey
> B1wave balance, partner swing B2 Circle 3/4 pass thru, new N DSD
>
> Heard of another called Tapsalterrie, but can't find. Also would
> appreciate instructions or web site for Levi Jackson Rose.
>
> Many Thanks!
>
>
>
> ---------------------------------
> Never miss a thing. Make Yahoo your homepage.
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> ------------------------------
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>
> End of Callers Digest, Vol 42, Issue 8
> **************************************
OK, I add my count to the righties. Though I can actually write with
my left when pressed.
On Feb 6, 2008, at 9:00 AM, callers-request(a)sharedweight.net wrote:
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> Today's Topics:
>
> 1. Re: Waiting for Lefty (Delia Clark)
> 2. Re: Waiting for Lefty (Jerome Grisanti)
> 3. Re: Lefty (gtwood(a)worldpath.net)
> 4. Re: Waiting for Lefty (richgoss(a)comcast.net)
> 5. Re: Waiting for Lefty (barb kirchner)
> 6. Waiting for Lefty (Chrissy Fowler)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Wed, 6 Feb 2008 11:42:20 -0500
> From: Delia Clark <delia_clark(a)comcast.net>
> Subject: Re: [Callers] Waiting for Lefty
> To: Caller's discussion list <callers(a)sharedweight.net>
> Message-ID: <0A0D0751-8A06-42A2-BA7B-AC11AB9562DB(a)comcast.net>
> Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed
>
> I'm a righty, but I'm married to a lefty. Does that make me special?
>
> On Feb 6, 2008, at 11:32 AM, Barbara Groh wrote:
>
>> I'm right-handed, but I didn't speak up because...well, I was
>> starting to
>> feel "ordinary" in the midst of so many lefties.
>> ~Barbara
>> ----- Original Message -----
>> From: "Tepfer, Seth" <LABST(a)emory.edu>
>> To: "Caller's discussion list" <callers(a)sharedweight.net>
>> Sent: Wednesday, February 06, 2008 8:41 AM
>> Subject: Re: [Callers] Waiting for Lefty
>>
>>
>>> What about all the righties? Are all the people not speaking up
>>> right
>>> handed or left handed and not chiming in?
>>>
>>> I'm really curious about this now. This is fascinating.
>>>
>>>> -----Original Message-----
>>>> From: callers-bounces(a)sharedweight.net [mailto:callers-
>>>> bounces(a)sharedweight.net] On Behalf Of Bob Hofkin
>>>> Sent: Tuesday, February 05, 2008 7:16 PM
>>>> To: Caller's discussion list
>>>> Subject: Re: [Callers] Waiting for Lefty
>>>>
>>>> You may count me among the sinistrally enhanced.
>>>>
>>>> Joyce Miller wrote:
>>>>> I called at an event recently where I was one of three callers. We
>>>>> discovered that all three of us are left-handed. I am curious to
>>>>> know
>>>>> how many people on this list are left-hand dominant.
>>>>> Joyce Miller
>>>>> Grass Valley, California
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> <>:<>:<>:<>:<>:<>:<>:<>:<>
>
> Delia Clark
> PO Box 45
> Taftsville, VT 05073
> 802-457-2075
> delia_clark(a)comcast.net
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>
>
>
> ------------------------------
>
> Message: 2
> Date: Wed, 6 Feb 2008 10:48:01 -0600
> From: "Jerome Grisanti" <jerome.grisanti(a)gmail.com>
> Subject: Re: [Callers] Waiting for Lefty
> To: callers(a)sharedweight.net
> Message-ID:
> <78dbc7c60802060848u31a2dc0ax48608ce6d4f2b64a(a)mail.gmail.com>
> Content-Type: text/plain; charset=ISO-8859-1
>
> I favor my "other" left hand. Right, that one.
>
> Jerome
>
> --
> Jerome Grisanti
> 660-528-0858
> 660-528-0714
> http://www.jeromegrisanti.com
>
>
> ------------------------------
>
> Message: 3
> Date: Wed, 6 Feb 2008 11:52:29 -0500
> From: "gtwood(a)worldpath.net" <gtwood(a)worldpath.net>
> Subject: Re: [Callers] Lefty
> To: callers(a)sharedweight.net
> Message-ID: <380-22008236165229217(a)M2W035.mail2web.com>
> Content-Type: text/plain; charset=iso-8859-1
>
> In this case I feel Left out... but really I am all Right (smile)
>
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> ------------------------------
>
> Message: 4
> Date: Wed, 06 Feb 2008 16:53:28 +0000
> From: richgoss(a)comcast.net
> Subject: Re: [Callers] Waiting for Lefty
> To: Caller's discussion list <callers(a)sharedweight.net>
> Message-ID:
>
> <020620081653.14113.47A9E608000D98AE0000372122073007939C9C0109080C079D
> @comcast.net>
>
> Content-Type: text/plain
>
> I'm right-handed, but I lean somewhat to the left.
>
> Rich
>
> ------------------------------
>
> Message: 5
> Date: Wed, 6 Feb 2008 16:56:13 +0000
> From: barb kirchner <barbkirchner(a)hotmail.com>
> Subject: Re: [Callers] Waiting for Lefty
> To: Caller's discussion list <callers(a)sharedweight.net>
> Message-ID: <BLU106-W21C56615B8F8B9FFBBAF5FDE2D0(a)phx.gbl>
> Content-Type: text/plain; charset="iso-8859-1"
>
>
> LOL! i thought you were looking a little lopsided lately ;-p
> barb
>> From: richgoss(a)comcast.net> To: callers(a)sharedweight.net> Date:
>> Wed, 6 Feb 2008 16:53:28 +0000> Subject: Re: [Callers] Waiting for
>> Lefty> > I'm right-handed, but I lean somewhat to the left.> >
>> Rich> _______________________________________________> Callers
>> mailing list> Callers(a)sharedweight.net> http://
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> Climb to the top of the charts!?Play the word scramble challenge
> with star power.
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> ------------------------------
>
> Message: 6
> Date: Wed, 6 Feb 2008 11:59:57 -0500
> From: Chrissy Fowler <ktaadn_me(a)hotmail.com>
> Subject: [Callers] Waiting for Lefty
> To: <callers(a)sharedweight.net>
> Message-ID: <BAY114-W13EAC6E0E4847C15D909C98D2D0(a)phx.gbl>
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>
> When this thread title came up I thought it was a new dance title,
> something like Waiting for Godot. Au contraire!
>
> For the survey, I am:
> ~ right hand dominant
> ~ left eye dominant
> ~ probably right brain dominant
>
> Fascinating factoid: For many years I entertained myself during
> long family trips and boring school days by practicing writing
> legibly with my left hand as well as with both hands simultaneously
> (LH frontwards l->r and RH backwards r->l) I just checked, and I
> am still reasonably good at both.
>
> ~ Chrissy Fowler
>
> _________________________________________________________________
> Climb to the top of the charts!?Play the word scramble challenge
> with star power.
> http://club.live.com/star_shuffle.aspx?
> icid=starshuffle_wlmailtextlink_jan
>
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> End of Callers Digest, Vol 42, Issue 5
> **************************************
This may have been covered before - I'm relatively new to this list
and to contra calling (~6 months) but I'm an experienced MWSD caller
(18 years).
Last weekend I called an open contra dance with a large number of
newcomers. Each time I introduced a new call in a walk-thru some of
the experienced dancers would "jump the gun" and (begin to) do the
call before I could even say "don't do it yet" or "but let me demo (or
explain) it first". This was a problem and a bit awkward to have to
ask them to "undo" or wait for me just a little bit more. It caused
confusion and took up valuable time.
In my MWSD world, I have students for months at a time (learning large
numbers of calls) and they get used to my style of teaching and
introducing something new. I'll say "new call time" to get their
attention and get a chance to explain what they will be doing before
they do it. Experienced dancers ("angels" in MWSD parlance) know not
to jump the gun. I even use a bit of the future tense to indicate that
I'm describing an action but not asking them to do it just yet, e.g.,
"you are going to cast 3/4 and then..." and my students and angels
know that this particular construction from me means "DON'T DO IT JUST
YET!". But they are "trained" this way since they are in a continuing
class setting.
How do you handle this in a contra setting. What language or other
techniques do you use to indicate that you're not quite yet done
talking and you want them to listen just a bit more or perhaps watch a
demo from one foursome?
I'm thinking something like "In a minute, I'm going to ask you to do a
Ladies Chain and what you will be doing is..." (though that's too
wordy for my own taste). I think it is important to name the call
before you describe the action, as this at least clues in the
experienced dancers what they'll be helping on (and it's just good
teaching). I've been to a dance where the caller tried to describe a
star promenade and butterfly whirl without using those terms and the
experienced dancers were confused. But how to keep them from jumping
the gun?
Any insights appreciated!
/Andy Shore
http://andyshore.com/
"Men of few words are the best men" . - King Henry the Fifth (Act III,
Scene II).
"Words, words, words." - Hamlet (Act II, scene ii).
Sorry for the confusion caused by my creative "Dead Coat Bounce." I do know the
correct title, but my fingers did the walking without being actively connected
to my brain.
David
Dead Coat Bounce (by Nathaniel Jack) contains a ricochet hey.
Levi Jackson Rose (Bernie Chalk)
Formation: Partners in a single circle of five couples
Music: "October Rose" composed by Ruth McLain Smith
Bar Count DESCRIPTION
A 1-8 16 All allemande left with corner (thumbs up hold), allemande right
partner and, retaining partner's right hand, all balance toward partner and away
from partner
A 1-8 16 Dropping hands, all move forward (men CCW and women CW), meet at the
opposite side of the set and swing.
Complete the swing early enough so that the women can "roll" off their
partners right arm to stand behind him, men arch
B 9-16 16 Ladies go under arch made by partner's L arm, move to the left and
come out the next arch, continue left and go under the next arch, 5 ladies join
hands in the center while men bring their joined hands over the ladies heads to
form the "Rose"
B 9-16 16 Basket goes clockwise
I offer my dance from several years ago. I find that dancers enjoy it.
HUNTSVILLE'S QUEEN BEE By Jane Ewing 2002
Duple Improper
A1 Neighbor See-Saw
Neighbor Almd Left 1 ½
A2 Queen Bee Hey
B1 Ladies pull by the right
Partner Swing
B2 Ladies Chain
Left Hand Star
Queen Bee Hey: Ladies do their traditional part in a hey for 4 - start by
passing
right shoulders.As the Ladies pass the Gent(Partner) by the left shoulder
the gents
head for the middle of the set. They approach each other with palms facing
the other gent. They push off by the palms and go back to place. They will
notice that some side stepping will facilitate the move. Important point -
Gents
should try to avoid tripping Ladies! Gents will repeat this move after
their
Neighbor passes them.
