I would never want to talk about a balance as a lurch, because it is one of
my favourite moves in contra dancing. It is one of the only steps which
cannot be done as a walk. I always demonstrate it in a variety of styles,
from one very close to the floor to one with much higher steps and kicks,
just to give people the idea that they can have fun with it and make it
their own. I appreciate Read's explanation of the function of it, but I
never think about any function of the balance other than the pleasure of
the balance in itself. What I don't appreciate in a partner doing a balance
is a lazy leaning in and out. I think the 1-2-3 footwork is essential to a
good balance, as is the weight in the arms.
Maura
Message: 1
Date: Sat, 17 Mar 2012 12:04:07 -0400
From: Read Weaver <rweaver(a)igc.org>
To: Caller's discussion list <callers(a)sharedweight.net>
Subject: Re: [Callers] American with Style
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I assumed the lurch he was talking about was the pulling into the
swing. I'm not sure what the pedagogical (or Terpsichorean) advantage
is in describing it as something willfully inelegant, but I do think
that's what he's referring to.
When I teach beginners, I describe the point of the balance as moving
you away from (while connected to) your partner so that you can pull
in to your partner as you begin the swing (California twirl, etc.).
With experienced dancers, it can be worth reminding them that fancy
balances that end without that tension in the arms lose the pulling-
in aspect.
--Read Weaver
Jamaica Plain, MA
http://lcfd.org
On Mar 17, 2012, at 7:07 AM, John Sweeney wrote:
In his article Colin Hume says that the balance
before a swing is
"more
of a lurch". But I would disagree.
My experience is that most dancers do some sort of footwork - they
step
forward with a 1-2-3 and back with a 1-2-3 or do a step and kick
across
or anything else they fancy in the way of footwork.
What is the general view? What do you teach when you teach a balance
before a swing? What do people actually do on the dance-floor?