7 May
2012
7 May
'12
7:18 p.m.
I feel lucky that in our area these dances are occasionally part of a
standard "social dance" program (from whence they originally came). While I
can no longer claim to be a new dancer, when I was one I got exposed to
these dances and it opened my dance horizons, enough so that I wanted to
seek out opportunities to learn more about them at a more focused workshop
(which David does so well).
British Sorrow IMO is an example of a very fun dance that shows its age
well and is very accessible. Chorus Jig is done in at least one dance
community near me as a weekly feature. My wife was originally not fond of
Money Musk, until she got a chance to dance it with a great partner at
Ralph Page/UNH and "got it". It became such a favorite for her that I
taught myself to do a singing call of it for her as a gift at our
post-wedding dance party.
I enjoy getting a chance to dance these alongside the latest hot new DI
dance in our area dances.
-Don
On Mon, May 7, 2012 at 12:42 PM, Greg McKenzie <grekenzie(a)gmail.com> wrote:
Dave wrote:
Sure, there are times at festivals where callers
might program a
particular theme and
discuss dance history, or experienced dances where callers might teach
complex dance figures, but these are not the
open, public dances that
you're talking about.
I'm glad we are in agreement on this. Keeping the program appropriate for
the venue was the main point I was making.
Dave then wrote:
Fostering musical and dance traditions does not
come at the cost of
accessbility. I don't see how doing so takes away from the "central
purpose" of having a fun evening.
Good point. It doesn't necessarily conflict. It's a matter of being aware
of the purpose of the event.
Incidentally, I have not heard David Millstone call, so I would not presume
to comment on his conduct of an open public contra dance. I'm sure David's
cultural enrichment is all very appropriate for an open, public event.
- Greg
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